^^il^^^ WLKiNG ^flBIBlRta^ 3 0^ URE • I ii«i|»*i|i»i|i» A;: ^|i*iii»iii»i|i»i|»*i|i*if»*i|i »T]l ERICAN -VIRLS ili*i{i*iTr^iii»i|i»i|fi|i*iii*i|i*i|i*ii»*i|i ^t|i*'|i ^wm^^^^ LIBRARY OF THE University of California. -^ GIFT OF Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/americangirlshomOOcamprich :B^ Ibelen Campbell I. THE AMERICAN GIRL'S HOME-BOOK II. HOUSEHOLD ECONOMICS G. P. Putnam's Sons, New York and London THE AMERICAN GIRL'S HOME BOOK WORK AND PLAY HELEN CAMPBELL AUTHOR or " UNDBR GRKBN APPLE-BOUGHS," " THE PROBLEM OF THE POOR," "PATTY FBAXSON'S BOV," " THB AINSLBB SERIES," ETC. NEW EDITION, REVISED AND ENLARGED ILLUSTRATED NEW YORK AND LONDON G. P. PUTNAM'S SONS %\t limcHtrbochtr $xe«i U%% 0^ MAY 29 I9n Copyright . By G. »». PUTNAM'S SONS PREFACE L(»fG ago, when the writer was young, she owned a little book, consulted with never-flagging enthusiasm, and written by a woman who did the first intelligent and sympathetic work for children ever accomplished in this country. In Mrs. Lydia Maria Child's " Girl's Own Book " such plays as tne more rigorous educational theories of the time allowed, were set forth m order, and there were also sundry small occupations for amusement ; the crystallized grasses, alum-baskets, and various ornamental works still to be found in old houses, testifying to the zeal with which her instructions were fol- lowed. The little book is now, in many points, as antiquated as if written in the fifteenth, instead of the nineteenth, century ; and yet it em- bodies a plan which has never since been carried out, — that of com- bining all the occupations, as well as amusements, practicable in a mixed family of all ages and tastes. As yet, though boys are pro- vided for, girls have no book that will be a trustworthy guide, either in work or play ; and it is hoped that the present one will fill that "long unoccupied niche" which many authors have felt it their mission to redeem fi*om emptiness, and become the trusted friend and adviser of all the girls who are uncertain what is best in either work or play. All directions have been made as plain and explicit 219364 11 PREFACE, as possible ; and the writer believes that every fact and figure may be trusted as the real result of real work, and that, while the Loui- siana girl may have to plan a shghtly diiferent course from her Massachusetts sister, the same results are probable for both. The author is indebted to Mrs. Hester M. Poole of Metuchen, N.J., for the matter from Chaps. XI. to XX. inclusive of Part III. ; her experience having been a practical one, and her facts most carefully stated. The use of Mr. George B. Bartlett's work in Chaps. V. and VI., in Part I., has been cordially given by both author and publishers ; and the same is the case with Mrs. Charles F. Femald's "Jack and the Beanstalk" in Part I. The matter and drawings for part of the chapter on "Magic-Lanterns," in Part I., was furnished by Mrs. May Cole Baker of Washington; and the "Stage-Coach" story, by Miss Louise Stockton of Phila- delphia. Every available authority has been consulted and sifted; and it is hoped that the American girl will find the results, though giving slight indication of the amount of labor expended, good both for present and future. HELEN CAMPBELL. Philadblphia, August, i88> PREFACE TO REVISED EDITION. Five years have passed since the first edition of the " American Girls' Home Book of Work and Play ** was prepared ; and though there are many points in which it might be bettered, it has proved the safe and trusty com- panion of a good many girls who have studied the third part eagerly, and have found it, as they say, precisely the help they needed. Two chapters are added to the present edition : one on " Candy- Making," which has proved itself a practical and profitable home occupation; the other on **A New Home Industry," a new form of mosaic-work both pretty and practical. Naturally in five years countless games have been in- vented, and have had their day, the old favorites calmly holding their own, and returned to always with the sense of satisfaction found in familiar and well-tested friends. It would be quite possible to make many alterations and additions, where this portion of the book is concerned, but the gain would be but trifling, since the children of each generation reproduce the games of the last, and are all, in this direction, conservatives of the first water. And so, having turned over the pages diligently, the author leaves them as they stand, knowing that other books will give the newest thing told in the newest way, but that she may still count upon friends for the old, as well as hope for new ones to come. London, February, 1888. m CONTENTS PART FIRST. CHAPTER I. PAdB Rainy-day Amusements and Home-made Toys for Younger Chil- dren I Coloring Pictures, 2 ; Making Scrap-books, 3 ; A Picture-puzzle, 4 ; Paper Dolls and Furniture, 4 ; Reception-chair, 5 ; Paper Bed, 6; Paper Sofa, 7 ; Rocking-chair and Ottomans, 8 ; Parlor Table, 9 ; Bureau, 10; Washstand, 1 1 ; Cork-work, 12 ; Paper Fly-boxes, 13; Paper Caps or Cocked Hats, 14; Paper Boats, 15; Pricking Pictures, 16; Soap- bubbles, 16; Keeping Store, 17; Home Newspapers, 20; Home Post- offices, 20. CHAPTER II. A Children's Party and the Games they played .... 23 Stage-coach, 24; Bluff, 27; Magic Music, 28; How do you Like it? When do you Like it? Where do you Like it? 28; Hunt-the-slipper, 30; Thus says the Grand Mufti, 31 ; The Emperor of Moscow, 31; The German Dwarf, 32; The Kentucky Giant and the Kentucky Giant's Wife, 34 ; The Elephant, 35 ; Magic-lantern, 35 ; The House that Jack built, 36; Little Miss Muffet, 39. CHAPTER III. Fiftt Forfeits 41 VI CONTENTS. CHAPTER IV. PAGE Some Games they might have played 52 Shadow Buff, 52 ; The Reader, 53 ; The Elements, 55 ; The Secret Word, 57 ; Many Words in One, 59; The Watchword, 61 ; The Mer- chants, 62; Consequences, 63; How to guess any Number thought of, 67 ; Here I Bake, and here I Brew, 67 ; You are Nothing but a Goose, 67 ; The Puzzle Wall, 69 ; Girofle, Girofla, 70 ; Good-day, Ce- cilia, 73; The New French Fashion, 76; Sowing Oats, 78; The Black Art, 81 ; Galoo, 81 ; To put Three Children through the Keyhole, 82; How Two Children may stand on a Handkerchief without touching One Another, 82 ; French Blind Man's Buff, 82 ; Bachelor's Kitchen, 82; Easter Eggs, 83; Bonbons, 84; Balloons. 84; Grab-bag, 85; Paper Bags, 85 ; Scissor Presents, 85. CHAPTER V. Hints for Parlor Plays 86 Simple Tableaux Vivants and Frame Pictures, 89; Plan for the Frames, 91 ; Faith, Peace, and Glory, 93 ; Ignorance is Bliss, 93 ; Exe- cution of Joan of Arc, 94 ; Living Statuary, 95 ; Monumental Group, 99; The Angel of Sleep, 99; Nydia, 100; The Christian Graces, 100; Caractacus, 100; Justice, Mercy, and Peace, 100; Maud Muller, loi. CHAPTER VI. Ballads in Action 102 Auld Robin Gray, 102; The Mistletoe-bough, 104; Villikins and his Dinah, 106; Lord Ullin's Daughter, 109. CHAPTER VII. The Twelve Miss Pelicoes 113 CHAPTER VIII. Charades and Proverbs in Action 116 Patchwork, 116, Dramatic, 117; Childhood, 118; Proverbs in Tab- leaux, ii8; A Stitch in Time saves Nine, 118; Hunger is the Best Sauce, 119; Acting Charades, 120 ; Ringlet, 120; Petticoat, 121 ; Post- man, 122; Post-chaise, 122; Bookcase, i22j Wedlock, 123; Mis CONTENTS. vii PACK chief, 123; Wardrobe, 124; Woodstock, 125; Mortality, 125; Help- mate, 126; Incautious, 126; Illustrated Poems, 127; Jack and the Beanstalk, 127. CHAPTER IX. Halloween and Other Amusements 144 Snapdragon, 144; Nut-burning, 144; Diving for Apples, 145; The Wedding-ring Test, 145; The Needle Test, 145; Melting Lead, 145} The Looking-glass Test, 146; Literary Enigmas, 147. PART SECOND. CHAPTER I. Lawn Tennis and its Laws 151 Strokes, 160; Holding the Racket, 162; The Serve, 162; The Take and the Return, 165 ; Volleys and Half-volleys, 169 ; Four-handed Games, 171; Winter Tennis, 173; Seaside Tennis, 174. CHAPTER II. Archery and Other Games 175 The Bowstring, 177; The Arrow, 178; The Target, 179; How to Shoot, 180; Rules for Target-shooting, 181; Croquet, 183; Croquet Pool, 183; Badminton, 184; Lawn Billiards, 187; Ship-Coil, 187; Rounders, 188. CHAPTER III. A Home Swimming-school 189 Swimming on the Chest, 191 ; Swimming on the Side, 193; Miscella- neous Instructions, 194. CHAPTER IV. Boating for Girls 196 Parts of a Boat, 197 ; Short Rules for Rowing, 198 ; Towing, 202. CHAPTER V. Hints on making Small Collections 204 Butterflies and Moths, 205 ; Caterpillars, 206 ; Pins and Mounting, 212. Vlll CONTENTS. CHAPTER VI. PAGE The Aquarium 215 Aquarium Cement, 215 ; A Marine Aquarium, 217 ; Shoi t Rules, 222. CHAPTER VII. Walking-Clubs and Camping Out 225 Dress, 227 ; Shoes, 227 ; Rest, 227 ; Camping, 228. CHAPTER VIII. ♦ Dress, 230; Rings, 231 j Wands, 232; Dumb-bells, 232. Light Gymnastics 230 PART THIRD. CHAPTER I. Sewing and Doll's Dress-making 234 Straight Lines, 234 ; Outline Pictures, 234 ; Doll's Nightgown, 239 ; Chemise, 239; Drawers, 239; Waist, 240; Apron, 242; Dresses for China Dolls, 243; Boy's Knickerbockers, 244; Costume Dolls, 245; Normandy Peasant, 245 ; Italian Peasant, 246 ; Spanish Dancer, 247 ; Marquise Dress, 247. CHAPTER II. Fifty Christmas-Gifts for Small Fingers 248 Spectacle-wipers, 248; Baby-shoe Penwiper, 248; Leaf Penwiper, 249; Shaving-paper Case, 250; Garters, 250; "Polly, put the Kettle on," 251 ; Turtle Cloves, 251 ; Another Gift with Cloves, 252 ; Pretty Scent- cases, 252 ; English Walnut Scent-cases, 252 ; Walnut Boats, 253 ; Bureau Covers, 253; Drawn-work, 253; Crocheted Mats, 257 ; Pansy Pincushion, 258; Parasol Penwipers, 258; Work-cases, 259; Birchbark Presents, 259; Straw Wall-baskets, 260 ; Feather Screens, 261 ; Spatter-work, 263 ; Shadow-pictures, 264 ; Book-covers, 265 ; Scent-cases for Trunks, 265 ; Cabin-bags, 266 ; Work-aprons, 266 ; Toothbrush-rack, 266 ; Sand bags for Windows, 267 : Shoe-cases, 267 ; Bean-bags, 268 , A Hemlock Pillow, 268 ; Sachet for Linen-closet, 268 ; Baby's Blanket, 268 ; Sum- mer Blankets, 269; Napkin-bands, 269, Embroidered Linen, 269, Shawl- CONTENTS, ix PAGE bags, ^^f*{ Bird's-nest Penwiper, 270; Glove-box, 270; Plain Sewing, 271 ; What to do with Autumn Leaves, 271 ; Fern-work, 272 ; Barrel- chair, 273; Decorated Candles, 273; A Christmas-pie, 273; A Broom Penwiper, 274 ; Tea and Egg Coseys, 274. CHAPTER III. Doll's Houses and Make-believe Housekeeping .... 276 Tomato-can Box Houses, 276; Beds, 278; Chairs and Home-made Furniture, 281. CHAPTER IV. What can be done with Tissue-Paper 283 Tools, 283; Patterns, 284; Lamp-shades, 288. CHAPTER V. Cardboard and its Uses ... 290 Cardboard Cottage, 290 ; Perforated Card, 292 ; Crosses, 293. CHAPTER VI. Preserving Autumn Leaves, Ferns, etc 294 Gathering Ferns, 294 ; Pressing Leaves, 295 ; Seaweeds, 295 ; Drying Flowers, 296 ; Skeletonizing Leaves and Flowers, 297 ; Mounting, 298. CHAPTER VII. What may be Done with Leather 299 Materials, 299; Tools, 299; A Spray of Ivy-leaves, 300; Vine, Leaf, and Stalk, 303 ; Convolvulus Flowers and Leaves, 304 ; Large Garden-rose, 306; Mouldings, 307; The Redemption of the Tin Can, 308 ; Decorative Leather, 316. CHAPTER VIII. Wax Flowers 318 Wax, 318; Patterns, 319; Tools, 319; White Camellia, 320; Leaves, 322; White Jasmine, 324; White Pmk, 324; China Rose, 326; Tea- rose, 329; Stephanotis and Hoya, 333 Wax Fruit, 334. X- CONTENTS, CHAPTER IX. Shells, Mosses, Pine-Cones, etc 335 Cement, 335; Brackets, 335 ; Shell Pincushions, 336; Mosses, 336; Cones, 336 J Lawn Flower-box, 337. CHAPTER X. Wood-carving, and Light Carpentering 339 Manuals, 339 ; Tools, 345 ; Woods, 347 ; Sharpening, 352 ; Spray of Ivy-leaves, 355 J Light, 359; Polishmg, 360. CHAPTER XI. Strawberry-Culture for Girls 561 Ground, 362 ; Plants, 362 ; Varieties, 363 ; Picking, 364 ; Returns, 365. CHAPTER XIL Small Fruits, Currants, Raspberries, and Blackberries . . 367 Land, 367 ; Pruning, 367 ; Raspberries, 368 ; Profits, 369. CHAPTER XIH. Canned Fruit, Jelly, and Preserves 371 Glass Cans, 37 1 ; Jelly, 372 ; Canning, 373 ; Preserves, 374 ; Profits, 375. CHAPTER XIV. The Rearing of Poultry 37^ Hatching, 376; Coops, 377 ; Food, 377; Roosts, 378; Eggs in Win- ter, 379; Profits, 379. CHAPTER XV. Canary-Birds, their Rearing and Training 380 Pairing, 380; Feeding, 381; Hatching, 382; Food, 382; Training, 382 ; Diseases, 383. CONTENTS, M CHAPTER XVI. FAGB The Honey-Bee 384 Hives, 384; Queen-bees, 384 ; Eggs, 385; Queen-rearing, 385 ; Honey- making, 386; Swarming, 387 ; Italian Bees, 388 ; Profitsr389. CHAPTER XVII. Silk-Culture 390 Mulberry-planting, 390; Eggs, 390; Hatching, 391; Feeding, 391; Cocoons, 392; Profits, 392; Shrubs, 397. CHAPTER XVIII. Floriculture 394 Dress, 394 ; Preparing Ground, 394 ; Plants, 395 ; Seeds, 395. CHAPTER XIX. Parlor-Gardening . 399 Compost, 399; Flowers and Cuttings, 400; Boxes, 400; Bulbs, 401 ; Hanging-baskets, 402. CHAPTER XX. Drawing and Designing 403 Paper, 403; Pencils, 403; Geometrical Drawing, 404; Sketching, 405; Art Manuals, 406. CHAPTER XXI. H0ME.MADE Candy . 407 CHAPTER XXII. A New Home Industry 414 CHAPTER XXin. Cooking^lubs and Work in General 4So Cooking-clubs, 420 ; Bread, 421 ; Home-made Things, 421 ; Village Improvement Society, 422 ; Village Library, 423 ; Amusements, 423. LIST OF ILLUSTRATIONS. Poll's Furniture: — pagb Reception and Rocking Chair ....•••• 5 Paper Bed O Paper Sofa 7 Ottoman 8 Rocking-chair 8 Parlor Table 9 Mirror ...lO Bureau 10 Washstand ...... 11 Paper Fly-boxes 13 Paper Caps and Cocked Hats 14 Paper Boats 115 Home Store-keeping 17 The German Dwarf 33 The Kentucky Giant 34 The Elephant 35 The House that Jack built 36, 37, 38 Little Miss Muffet 39 Name in Letter 45 Goose Puzzle 68 Puzzle Wall 69 Plan for Tableau Stage yi Monumental Group 99 Lawn Tennis: — Plan of Ground ij;^ Movement of Ball 163 Position of Players 164 xiii XIV LIST OF ILLUSTRATIONS, hAVf 19 TEums, continued:- page Fall of Ball .165 Fore Overhand Stroke 167 Back Overhand Stroke 167 Forward Play 168 Forward Play Underhand 169 Back Stroke 169 Target-shooting, Scoring-card . . 181 Plan for Badminton 185 Swimming on the Chest 191 Swimming on the Side 193 View of Aquarium 219 Sectional View of Slope-back Tank 220 Doll's Dress-making Patterns 237-246 Baby-shoe Penwiper 249 "Polly put the Kettle on" Holder 251 Turtle Cloves . . 251 Drawn-work 254, 255 Pansy Pincushion . . 258 Feather Screens 261, 262 Broom Penwiper 274 Doll's Bed • . 280 Doll's Bed Canopy 280 PiLi^Box Chair 281 Tissue-paper Flowers 285, 286, 287 Card-board House 291 Leather-work Leaves 301, 302, 303, 304, 306 Leather-work Mouldings • • 307 Tin Can with Wooden or Leather Handle and Base ... 309 Tin Can decorated 31c Tin Can doubled and ornamented 311 Tools for ornamenting the Leather 312 Tin Can with Basket Handle 3^3 Tin Biscuit or Cracker Box 3M Wax Flowers .... 320, 321, 324, 325, 326, 329, 331, 332, 333 Lawn Flower-box 337 Tools for Wood-carving 34S» 35' Spray of Ivy-leaf (wood-carving) 35S THE AMERICAN GIRL'S HOME BOOK. Part First. INDOOR PLAYS. CHAPTER I. RAINY-DAY AMUSEMENTS AND HOME-MADE TOYS FOR YOUNGER CHILDREN. To begin with, some room where work or play can go on without interfering with the elder people ought to be set aside in every family. No matter how small, such a room — with long, low shelves on one side, and a long, narrow table on the other — will give space for the keeping of all the countless odds and ends that have their value, however worth- less they seem to others. Supposing there are four children : one or two of these shelves may be divided into compart- ments, where the special property of each can be kept ; while the full length of another may be reserved for boxes of all shapes and sizes, holding the materials to be used, — in one, scraps of silk and lace and ribbon, for dolls' dress- making; in another, cardboard and needles, for pricking pictures ; in another, pictures for scrap-books ; and so on through the long list of articles that will be found necessary 2 RAINY-DA V AMUSEMENTS. both for work and play. One corner should be given to the blunt scissors, the pot of nicely prepared paste (which can now be bought very cheaply, but may also be made at home), the little glue-pot, which will often be needed, and all the brushes and other small things required. Let it be a rule to put every thing back in its place as soon as used. Wash all paint or paste brushes, so that they may not be found hard and sticky when wanted again, and pick up all litter of every sort. In this way there will never be any trouble in knowing just where things are ; and, whether the day is rainy or pleasant, here will be a place always ready for work. If it is impossible to give up a whole room to such purposes, a closet may be arranged to hold all the small properties ; but even one end of a room is better than none, and, if desired, can be curtained off, and hidden from general view. Such a room will often take the place of school, in part at least ; for invention is stimulated, and a child finds out what can be done without depending upon others. In any case, it saves worry and vexation. The older people are not troubled by litter in unexpected places ; and the younger ones know that here is a spot where they have full right, and may arrange as seems good to them. COLORING PICTURES. It is always easier to color a picture before it has been cut from the paper. Let it lie smoothly before you on the table. Have every thing ready beforehand, with the cup of water for wetting the brushes, two or more of which will be necessary for nice work. The " Kate Greenaway " paint- boxes are of tin, and made with hollow spaces opposite the colors for mixing different shades ; as red and blue to make purple, or yellow and blue for different shades of green. There are books, also, in which a colored picture is on one MAKING SCRAP-BOOKS. . 3 page, and one in black and white, to be colored like it, on the other. These are very expensive; and there is just as much pleasure to be had with an old " Harper's Weekly," or any good illustrated paper. Think what the colors ought to be before you put them on. Be very careful not to run over the edges, and make a thing look swollen or jagged ; and often you can paint a picture so that it will be quite pretty enough to paste on a card and give away, or to put in a scrap-book for a sick child, either at home or in a hospital. MAKING SCRAP-BOOKS. These are of two sorts. Where they are to be turned over and over by little fingers, it is well to have the leaves made of strong, thick cotton cloth ; and after they are filled a bright cover can be made, and the whole sewed together. Colored cambric leaves with pinked edges are also used. But it is best to begin with a common paper book, an old copy-book being quite as good as a new one. Cut the pictures out very carefully, and plan how to arrange them before you begin work. Sometimes one is large enough to cover a page ; and sometimes one can be put in the middle, with smaller ones at each corner. To paste neatly you want smooth paste, a small but broad brush, and a soft clean cloth. Lay the picture on its face, on a paper spread on the table. Take only a little paste on the brush at once, and cover the back of the picture thoroughly ; then lift it carefully and lay in its place, dabbing it smooth with the small cloth, pressing it down, and wiping away any particle of paste about the edges. Paste but one side at a time, and, when nearly dry, iron smooth with a warm iron, when the other side can be filled if you want both covered. A book of animals can be made the pictures colored before or after pasting ; and it is very easy, now that pictures are so plenty, 4 ^ RAINY-DAY AMUSEMENTS. to have them on special subjects. A nice rainy-day game is to take one of these scrap-books, and make up stories about the pictures ; the best time for this being the twilight, when you cannot see any longer to work comfortably. A PICTURE-PUZZLE. Take a picture which has a good many figures in it, and color it, or leave it plain (though coloring will be best) ; or a small bright chromo can be used. Paste it carefully on a piece of stiff pasteboard the same size : an old box-lid will often answer perfectly well. Let it get thoroughly dry, then cut it into pieces not over two inches long or wide, and in any shapes you choose. Mix the pieces all together, and then try to put them in such order as to make the picture again. A map can be treated in the same way, and you will have just as amusing and interesting a "dissected " map or picture as can be bought in the toy-stores. ** Sliced let- ters" may be made on the same plan. Cut large letters from advertising-bills or newspaper-headings until you have enough, then paste carefully, and, when dry, first cut out, and then cut each one in two or three pieces. To put them together is a game for little children who have just learned their letters. PAPER DOLLS AND FURNITURE. These are sold in every toy-store ; the dresses and furni- ture being printed on thick paper, which will bear a good deal of handling, ready for cutting out. In the country, where it may not be easy to buy them ready-made, a doll can be cut from the fashion-plate of a magazine, and a pat- tern made, from which the dresses and hats may be cut. If you have only plain white paper, it can be colored from the paints in your color-box ; and it is really more interesting to plan a doll's wardrobe in this way than to have it all ready- PAPER DOLLS AND FURNITURE. 5 made. Diagrams for bed, chair, table, and sofa, are given below ; and the furniture can be cut from bristol-board, and colored, or from thin, smooth pasteboard. In cutting out this furniture, patterns of it may first be taken by laying a piece of thin paper over each diagram, and carefully copying every line. These can be laid on the 8 RAINY-DAY AMUSEMENTS. cardboard, and a pencil-line drawn around them. There are three sorts of lines, each one meaning different treatment, as you will see in the description of how to cut out the rocking-chair. If you have only white cardboard to use, you will have to paint your furniture, — either dark-brown, like walnut ; or in colors, like the enamelled sets. PAPER DOLLS AND FURNITURE, 9 First af all, cut round the outside of the rocking-chair ; and, if you begin by cutting off the greater part of the waste cardboard, you can turn your scissors more easily. Now lay it down ; take a flat ruler, or something with a straight edge, Pks. 7. — Parlor Table. and mark over all the parts which are to be turned dowuy with the point of your scissors, or with a penknife, but not deep enough to cut through : these parts are indicated in little dots ; thus, (as seen in the lines from A to A). Now the lines marked thus are to be marked in the same manner ; but, as those parts are to be turned up^ you must mark them on the reverse side. PAPER DOLLS AND FURNITURE. II 12 - RAINY-DAY AMUSEMENTS, As there are no lines on that side, make a little hole with the point of a pin at the extreme end of these lines (B and B), to show you where to draw your knife when the rocking- chair is turned over. Next you must cut through the lines marked thus (as seen in lines from C to C) : now bend the parts up or down, as the lines direct. You will find, when you have cut out and bent your furniture as directed, little tabs, that are to go underneath, to gum or sew the other parts to. CORK-WORK. Every bit of gay-colored yarn or worsted works into pretty little mats, though it is well to have a good deal of either black or some dark color as contrast. A patent spool with wires set in it, and a catch at one side for holding the worsted, is now sold ; but a common spool answers just as well. A large one is necessary ; and into it four stout pins are set, around the hole in the middle, and close to the edge. Then wind the worsted once around each pin, letting it be drawn rather tightly, and letting the end at which you begin be long enough to drop down through the hole in the spool, and be used to gradually pull the work through. Now, hold- ing the spool and the worsted in the left hand, wind the worsted round so as to begin another row. Then take up the loop on the first pin, with a long pin or needle, and pull it out toward you till long enough to lift over the top of the pin that holds it. It will make a loop like a crochet-stitch, which must be pulled tightly enough to fasten the worsted firmly : keep on with this, and, as the work grows, pull it down through the hole in the spool. When you want to fasten on another color, put one end inside the spool-hole, and hold the worsted against the pin, till you have fastened it by a fresh loop. The work makes a hollow worsted tube ; and, when all the colors are used, it is to be coiled round and PAPER FLY-BOXES. 13 round, sewing it together on the wrong side, as yo^i go, till you have a round mat, which can be lined or not as you like, and is pretty for bureau or for baby-house. PAPER FLY-BOXES. Cut a piece of stiff paper six inches square. Fold paper from A D, then from B C, making creases. Place points A, B, D, C, successively, to centre O, making creases da^ etc. Fold points A, B, D, and C respectively, to /, g^ h, and ^, making creases op, ij\ Ik, and mn. Make creases ni,pl, jfUt and k 0. Cut out small triangles, indicated by creases whose bases are ia, ap, lb, bj, mc, ck, o d, dn. Cut slits Fig. II. — Box Square creased for cutting. Fig. 12. — Box Square ready for folding. in middle of lines pi,jm. Cut slits from points k, o, n, and i, towards^ and x. Cut lines op, Ik, to m, r, s, t. The paper now appears as in Fig. 1 2. Fold rs, st, t u, u r, with a sharp crease, so as to make a right angle. The square r s t u forms the bottom of the box. Fold ab, be, cd, da, in same manner. The loose squares formed in cut- ting paper to r, s, t, and u, fold to the inside of box. The points A and C are folded, and stuck through slits at mj and p /, and the box is complete. M RAINY-DA Y AMUSEMENTS. PAPER CAPS OR COCKED HATS. For a small cocked hat, take a piece of firm paper seven inches by five, and fold as in diagram. FxG. 13. — Hat before folding. I. Fold along the line A B, doubling the paper. II. Fold along the lines C D and C E. III. Fold along the line D E. IV. Fold the corners O along the lines O P. Newspaper or brown wrapping-paper can be used for larger hats ; and, if the corners are sewed or pinned, they will keep in shape much longer. A bright feather is a great addition. Fig. 14. — Cocked Hat as folded. PAPER BOATS. 15 PAPER BOATS. To make a paper boat, make first the cocked hat, and then continue folding according to following directions : — I. The lines C D, C E, D E, and O P, having been folded, fold along the line C F, and open out the creases C D and C E, thus forming a square C D F G ; the corner opposite F being lettered G. II. Fold back the corners D and E until they touch the corner C, making a triangle CFG. III. Flatten the creases C F and C G, bringing the corners F and G together, forming a new square. The corners D and E still touch the corner C ; draw them out laterally, and the paper assumes the shape of a boat. A match may be Fig. 16. — Paper Boat as folded put in the centre fold for mast, first running it through a bit of paper for sail ; and a fleet of these little boats filled with paper sailors can be navigated either in wash bowP or bath-tub. l6 kAlNV-DA Y AMUSEMENTS. PRICKING PICTURES. Where kindergarten materials are kept in bookstores, cards on which outlines of animals, flowers, or geometrical patterns, are drawn, are used for the pricking ; and needles for the purpose come with them. Just as good a result may be had at home by tracing a pattern on stiff paper. Lay the pattern to be copied against the window-pane, and the paper over it, and draw the outlines very carefully. A coarse needle, or a large black-headed pin, is best for the pricking, which must be very closely done, the pricks almost touching one another. Very pretty lamp-shades are made in this way, in from tour to eight pieces ; a flower or some other design being pricked on each piece, which is lined with colored paper, bound, and fastened at top and bottom with small bows of ribbon. For little children, the simple pricking out a house or animal is always an amusement. SOAP-BUBBLES. The coarser the soap, the brighter and bigger the bubble will be. A set of common clay pipes can have place on one of the shelves, long ones giving better bubbles than those with short handles. Dissolve the soap in warm water till it is a mass of suds, and, if you want your bubble to last, never throw it off on a bare floor or table, but always on carpet, or something of rough woollen. Often you can have a whole flock of the lovely balls dancing about as if alive ; and the big people are very likely to want to borrow a pipe "just for a moment." If no pipe is to be had, a very large single bubble can be blown by covering the hands with soapsuds and putting them together so as to make a cup open a little at the bottom. Hold your mouth about a foot from your hands, and blow steadily and strongly. A bubble KEEPING STORE. 17 twit*4 AS big as your head can often be made, but it bursts the moment it touches the floor. Mr. Beard describes smoke-bubbles, which every Southern child knows all about. In the old plantation days the old negroes who sat in the sun or by the fire smoked corn-cob pipes. The children would come with a bowl of soapsuds, start a bubble, and then hand the pipe to ''Uncle Cassius," who had, in the mean time, taken a long pull at his corn-cob, and filled his mouth with smoke. Some of them, as the smoke is slowly blown into them, will look like lovely opals. Others will seem like balls of milk-white china, and will roll slowly over the floor as if heavy, like china. If " the dog chases and catches one of these bubbles, how the children laugh to see the astonished and injured Jook upon his face ! and what fun it is to see him sneeze, and rub his nose with his paw ! Still better fun is to have two or three lively kittens in the room. They will jump after them, roll over and over, and never stop being surprised at not finding them in their paws." KEEPING STORE. In the large toy-stores, tin stores, fitted up with counter, scales, and boxes, are sold ; but quite as good ones can be made at home. An older brother who can use tools, or a carpenter, must be called upon in the beginning, who, from a smooth and well-finished box such as canned fruits come in, can make a back for the store. Half of the top and sides should be taken off, so that the shelves can be easily reached, leaving the bottom for floor. Supposing the box to be ten or twelve inches high and wide, and eighteen inches long : after half of the top and sides are taken away, three shelves are to be made at the back ; the lower one five inches from the floor, and about five inches wide, the other two not over three inches wide, and some two inches apart. It is best to 1 8 RAINY-DAY AMUSEMENTS. plan for a country store, where all sorts of things are kept ; and then, with a division in the middle of each shelf, dry- goods and fancy articles can be on one side, and groceries on the other. The pieces which come off the box will make shelves, and a counter ten inches long, five inches high, and four inches broad, which must be fastened to the side of the box, and closed in front. Some bits of cigar-box or thin shingle can be used to make a little drawer for change. When all is finished, the nail-holes can be filled with putty, and the store either painted or stained a dark brown. It is easy to fit up the dry-goods side with miniature pieces of calico, flannel, and silk, little rolls of ribbon, ruffles, and all sorts of penny toys, and bits of china. For the grocery side, more trouble is needed. Little tea-chests can be covered with paper saved from larger ones, and small spice-tins do duty for coffee-cans and canned goods, or pill-boxes answer almost as well. Tiny tin or earthen pans can hold samples of peas, beans, etc. ; and miniature coffee-sacks, etc., can be made of coarse bagging. There is no limit to what can be done toward making it seem a real store. A supply of paper money must be made, and this may be the work of an older brother or sister. Thin pasteboard must be cut in circles, or visiting-cards or old postal-cards can be used, cut in the sizes of a five, ten, and twenty-five cent piece, and silver paper pasted on neatly. When dry, they may be merely marked plainly, 5 cents, 10 cents, etc., or may be lettered as nearly in imitation of the real pieces as possible. Bills may be cut from tinted linen paper, and colored to imitate real ones. Where the thin gold or silver paper is used, it soon tears, unless pasted on a stiff back ; but a little box of well-made money will last a generation of children if always put away after using. Toy scales can be made where the expense of buying druggist's scales seems too great. KEEPING STORE, 19 20 RAINY-DA Y AMUSEMENTS. There is no more delightful way of taking in some of the mysteries of arithmetic than in making change ; and I have known one case where French and German and English money was also used, and the exercise stimulated by real candy, nuts, etc., in the small jars. There must be a little flour-barrel, sugar-boxes, etc. ; and, if a pair of druggist's or any very small scales can be had, this will prove one of the surest of amusements for both pleasant and rainy days. HOME NEWSPAPERS. Those who doubt if there can be any fun in this are referred to '* Little Women," and the newspaper edited and owned by Jo and Beth and the rest. If the boys, or girls either, own a home printing-press, it can come out in real newspaper shape ; and hundreds are now printed in this way. But there is, perhaps, as much pleasure in the one which depends altogether on the pen, a large sheet of congress paper being divided into three columns to the page, with news and a story, and paragraphs of all sorts ; each variety having its own special writer. Nobody's feelings are hurt by rejected articles ; for whatever is written has its place, and it may be made as large or as small as seems best. HOME POST-OFFICES. I wonder if any child takes the delight in these that I shared in my own childhood with the cronies who spent long Saturday afternoons writing the letters. Sometimes I was Robinson Crusoe, and the letters were from my friends, who advised me what to do. Sometimes it was fairies who wrote, sometimes giants ; and often we were all grown up, and wrote about our families, and all our difficulties in bringing them up. A letter-box can be fastened in one corner of the work- room, and opened on any day selected. A real postman's HOME NEWSPAPERS. 21 The Weekly Budget. "Infinite Riches in a Little Room." Poetrs, f^0me Utemg. iF0rei'jD(n, ODE. T.K. STelegrapfjic. • • .* -^ . 22 RAINY-DAY AMUSEMENTS. bag can be made, and " one of the boys " chosen to deliver them all. Save the stamps from old letters, and cut them down. And old envelopes can also be turned, and cut into smaller ones, if you have not the little boxes of little sta- tionery sold now for children. I know of one family where one child went to Italy, and another to Norway, — make- believe, of course, — and each wrote to the other all the things she saw. No matter what you choose to write about, there is always excitement in opening the letters, for some- times the big people drop in one ; and it may be a little scolding, which can be more easily borne in this way, or perhaps an invitation or a plan for something pleasant. In a chapter of this nature not much more than hints and suggestions can be given. There are countless quiet games for a rainy day or home evenings. Jack-straws are old-fash- ioned, but always interesting. Mrs. Mary Mapes Dodge has an excellent set of games, published by Charles Scribner's Sons ; and there are consequences, and the game of authors, and word-games with letters, to say nothing of dominos and checkers, loto, fox-and-geese, solitaire, and the whole host of puzzles and games in general. Only do not have too many ; for, though names multiply, many are simply old acquaint- ances in new dress. Your own invention can often plan some new form ; and, in the chapters that follow, you will find many which can be altered to suit circumstances. A CHILDREN'S PARTY AND THE GAMES PLAYED. 23 CHAPTER II. A CHILDREN'S PARTY AND THE GAMES THEY PLAYED. It was a sensible party ; and that, you see, made it at once different from all every-day parties. The children did not come from eight in the evening to midnight, dressed in silk and lace, and jewelry even, like their grown-up sisters. Nor did they think that dancing, and a band, and a great supper, were a necessary part of the invitation, which read " From 4 to 8 P.M.," and had in one corner, "Old-fashioned plays." As you grow older, you will often hear two sentences used by everybody ; some knowing just what they mean, and many, not at all. But they are used all the same, and are, "the law of natural selection," and "the survival of the fittest;" applying just as much to plays as to people, and meaning for us that boys and girls, almost from the very beginning of the world, have had sense enough to make plays that were pleasant, and suitable for the place they were to be played in, and that, where there were too many, they were weeded out, and only those lived that were good and pleasant everywhere. All the boys the world has ever held have played ball and marbles, and flown kites, and had "buzzers " and "bull-roarers," or something that would make a dreadful noise ; and all the girls have had dolls, and played house, and all the other girl's games. And so with "forfeits " and "stage-coach " and "button," and many other games under one name and another. They are sure to amuse if well done. We are far too fond of endless variety ; and 24 A CHILDREN'S PARTY AND THE GAMES PLAYED. there is more real pleasure in a few well-understood and well-played games than in dozens of new ones, which are really often only changes rung on the old. So if you have been spoiled in this way, and think no game should ever be played twice in the same way, you must look in some of the many books of " home amusements," and make your choice there. The children at this party began with "stage-coach," because seven of the twenty were strangers, and this game gave them a chance to look at one another, and get ac- quainted, first slowly, then all at once as a great rush came. Curiously enough, perhaps because it is so old, it is given in but one of many books of plays I have examined. STAGE-COACH. This is sometimes called "The Family Coach." The players sit as nearly in a row as possible, and each one re- ceives the name of something connected with the coach, as in the form given, in which a story is told, introducing all the different characters ; as, for instance, — Tke Driver. Whip. Right Wheel. Two Horses y — one Grayy one Black, Miss Stacy s Box, The Old Woman, The Parrot (this ought to be the youngest child). The Old Woman's Basket. The Man with a Long Beard, The Girl with a Red Hat. The Stage-coach. Other parts of the coach, such as axle, or door, or other passengers, can be added if they are needed, and the story altered so as to bring them in. STAGE-COACH. 25 The characters who are Italicized get up and turn around as their names are mentioned ; and, as has been said, at " Stage-coach^'' every one gets up at the same time, and turns around once, until it upsets, and they all rush to change seats. ** One day I wanted to go from Albany to New York in the Stage-coach. It always started very early in the morning, but every thing made me late. I overslept myself; breakfast was not ready ; my boots were stiff, and hard to put on ; all seven of the children had to be hunted up and kissed good- by ; my wife had fifty jast directions ; and at the last moment, as I rushed off, out came Miss Stacy, the milliner, with a Box she wanted me to carry to her mother. I hadn't a moment to spare, and I rushed down the street as if I was crazy; but to my delight, when I reached the inn, there stood the Driver snapping his Whip^ and now and then patting the Gray Horse. " * My goodness ! ' I cried : * I expected the Stage had gone.' " * Gone ! ' said the Driver. * Not much, if an Old Woman can hinder you.' " * Go without her,' called a Man with a Long Beardy put- ting his head out of the Door. " * Here she comes,' said the Driver; and he snapped his Whip again, and got up on his box. "The Old Woman was pretty stout; but she came steadily along, carrying a Basket in both hands, with her bonnet swinging on the back of her head. " * I was half afraid I might be late,' the Old Woman §aid. ** * Come, get in, get in ! ' cried the Man with a Long Beard. And he flung open the Door^ and the Old Woman climbed in, and I after her ; and the Mart zvith a Long Beard banged the Door fast, the Driver snapped his Whip, and the Gray Horse gave a pull, and that wakened up the Black 26 A CHILDREN'S PARTY AND THE GAMES PL A YED. one ; and so the Stage-coach started off. In front of the Old Woman sat a young Girl with a Red Hat, who was forever putting her head out of the window to watch the Right Wheely which she said she knew would break down. She had noticed it as she got in the Door. " I put my Box on the floor, and the Old Woman put her Basket by it, and then the Man with a Long Beard began to talk of robbers. "'It was only last week,' he said, 'that a Stage-coach going to Rochester was stopped by ,two men in masks, who * — " ' You'd better believe it ! ' said a strange voice. " The Man with a Long Beard looked at the Girl with a Red Hat, and she put her head out of the window as if the Right Wheel had spoken. " ' Who,' continued the Man with a Long Beard, * pulled out pistols, and ' — " ' Stuff ! ' said the voice. " Then the Man with a Long Beard looked at me, and I looked at the Girl with a Red Hat, and she looked at the Old Woman, who looked at my Box. This made me mad. " ' There's nothing in that Box that isn't right,' I said. " *Nor in my Basket^ said the Old Woman ; *and, if that Black Horse don't run away, I'll be surprised.' " * I'll eat him with a grain of salt,' said the voice ; and the Girl with a Red Hat screamed ; and the Driver pulled up both of his Horses^ and dropped his Whip under the Right Wheel ; and the Man with a Long Beard flung open the Door, put his foot in my ^^;r, upset the Old Woman s Basket ; and out jumped a great green Parrot, screaming, *Fire! Fire ! ' and this frightened the Horses, and over went the Stage-coach down the hill." If any one forgets to answer to the name given, a forfeit is BUFF. 27 paid. These forfeits were not redeemed till various other forfeit-games had been played, each pledge being put on a little table in the corner. Before any one had begun to be tired of "stage-coach," "buff" was started; and this is the way they played it. BUFF. This, like many of the games is only a way of collecting forfeits. One of the players comes forward with a poker, and knocks on the floor three times. " Whence come you .-^ " one of the company asks. " I come from poor Buff, full of sorrow and care." — " And what did Buff say to you ? '* "Buff said, *Bu£E!' And he gave me this staff, And he bade me not laugh Till I came to Buff's house again.'* With this the poker is handed to the questioner. But before this is done all have been trying to make the poker-bearer laugh. If there is even the faintest smile, a forfeit is paid. Sometimes the rhyme is like this : — " Buff says ' Buff ' to all his men, And I say ' Buff ' to you again. Buff he neither laughs nor smiles, In spite of all your cunning wiles, But keeps his face with a very good grace. And carries his staff to the very next place." The poker is handed from one to another till each has said the rhyme, and it must pass from hand to hand as rapidly as possible. Only seven of the twenty kept a perfectly sober face ; and they were not the seven strangers, who by this time were not strangers at all, and who, when all the fr rfeits had been redeemed, were ready for 28 A CHILDREN'S PARTY AND THE GAMES PLAYED. MAGIC MUSIC. In this game one child is sent out of the room, and any one who can play the piano tolerably takes a place there. A pair of gloves, or any small object, must be hidden, and the banished one called in ; and the business of the player is to indicate by the music when the seeker comes near the hiding-place. When at the greatest distance, the music is very low, and as mournful as possible ; as it is more nearly approached, the tones are louder and louder ; and, when found, there should be a triumphal march or a gay reel. The game is varied by choosing something the player is to do, and letting the music show what it is. This is a game for chil- dren from eight to twelve, though I have seen older ones enjoy it. Then came an old-fashioned guessing game : — HOW DO TOU LIKE IT.? WHEN DO YOU LIKE IT.? AND WHERE DO • YOU LIKE IT } In this, one of the company is sent out, and the rest choose some article or object with several different mean- ings, which she, on her return, must endeavor to discover by asking the three questions, " How do you like it } "' "When do you like it.?" and "Where do you like it.?" The one whose reply betrays the secret pays a forfeit, and changes places with the questioner. Example. Fanny leaves the room : her companions, having in her absence decided on the word "box," recall her. Fanny. Jane, how do you like it .? Jane. Of Chinese workmanship. Fanny. And you, Clara .? now DO YOU LIKE IT? 29 Clara. Not too crowded. Fanny. Mary ? Mary. Lined with crimson velvet. Fanny. Now, Agnes. Agnes. Filled with pleasant people Fanny. Martha, it is your turn. Martha. Green and flourishing. Fanny. Constance } Constance. Well cushioned. Fanny. And Ellen 1 Ellen. Inlaid with silver. Fanny. Annie } Annie. Not too hard. Fanny. Come, Emily. Emily. Large and handsome. Fanny. And when do you like it } Jane. When I'm at work. Clara. In the evening, after nine o'clock. Mary. At any time. Agnes. Some day next week. Martha. At all seasons of the year. Constance. Whenever I can get it given me. Ellen. On my next birthday. Annie. When I have neglected my music-lesson. Emily. Next time I go a journey. Fanny. And now where do you like it } Jane. On my table. Clara. At the opera. Mary. On my toilet. Agnes. At the theatre. Martha. In my garden. Constance. In the best circle. Ellen. Where it can be seen and admired. 30 A CHILDREN'S PARTY AND THE GAMES PLAYED. Annie. On my ear. Emily. In my dressing-room. If Fanny is still unable to guess the word, she pays a forfeit, and again leaves the room : if not, the one from whom she guesses it changes places with her. There was not time for more than two more games before supper ; and, as the children were tired of sitting still, one of the older ones proposed HUNT-THE-SLIPPER. All the players but one are placed in a circle : that one remains inside to hunt the slipper, which is passed from hand to hand very rapidly in the circle. The hunter can- not judge where it is, because all the players keep their hands moving all the time, as if they were passing it. The one in whose hand it is caught becomes the hunter, and pays a forfeit. Usually little girls play sitting side by side, very close to each other, on low stools, or resting upon their feet. If the company be sufficiently numerous, it is better to have two circles, one within another, sitting face to face, resting on their feet, with their knees bent forward so as to meet each other : in this way a sort of concealed arch is formed, through which the slipper may be passed unper- ceived. There should be two slight openings in the circle, one on one side, and the other opposite. When the slipper is passing through these openings, the player who passes it should tap it on the floor to let the hunter know where it is. She springs to seize ii ; but it is flying round so rapidly, and all hands are moving so fast, that she loses it, and in less than an instant, perhaps, she hears it tapping on the other side. This game may be played rudely, and it may be played in a ladylike manner. If little girls are rude, they are in great danger of knocking each other down in trying THE EMPEROR OF MOROCCO. 3 1 to catch the slipper ; for cowering upon their feet, as they do in this game, they easily lose their balance. It is best for the hunter never to try to catch the slipper, except at the two openings in the circle : then there is no danger of tumbling each other down. Some prefer playing this game with a thimble or a marble, because it is not so likely to be seen as a slipper. If any one happens to drop the slipper in passing it, she must pay a forfeit. Then came, when they were quite out of breath with laughing over the slipper : — THUS SAYS THE GRAND MUFTI. This is a favorite game among children. One stands up in a chair, who is called the Grand Mufti. He makes what- ever motion he pleases ; such as putting his hand on his heart, stretching out his arm, smiting his forehead, making up a sorrowful face, etc. At each motion he says, " Thus says the Grand Mufti," or "So says the Grand Mufti." When he says, " Thus says the Grand Mufti," every one must make just such a motion as he does ; but when he says, " So says the Grand Mufti," every one must keep still. A forfeit for a mistake. A game very much like this is called, THE EMPEROR OF MOROCCO. In this game two of the players must walk solemnly toward one another, bow ceremoniously without a smile, and look steadily at one another while they repeat the following dialogue : — First Player. The Emperor of Morocco is dead. Second Player. I'm very sorry for it. First Player. He died of the gout in his left great toe Second Player. I'm very sorry for it. 32 A CHILDREN'S PARTY AND THE GAMES PLAYED, First Player. And all the court are to go in mourning, and wear black rings through their noses. Second Player. I'm very sorry for it. They then bow again, and retire to their places, while another pair comes forward to go through the same impres- sive dialogue ; and so on, till the game has gone all round the circle ; a forfeit being the penalty for the slightest approach to a giggle. By the time almcvst every one had giggled, and the stand in the corner was covered again with forfeits, supper was ready, it being exactly half -past six ; and every one was so hungry, that the piled-up table very soon showed empty dishes, and more sandwiches had to be brought in. The supper was as sensible as the hours, — plenty of delicious sandwiches, three sorts, made from tongue, ham, and chicken ; light, delicate cake, but no heavy, rich fruit-cake ; custards in pretty cups ; plenty of ice-cream and fruit, but no candy, save that to be found in the piles of "crackers," which they pulled after supper, each child putting on the caps they held. When they entered the parlors again, the curtains across the deep bay-window were drawn ; the chairs were in rows as if ready for a lecture, and a table stood half hidden by the curtains, on which, as soon as all were in their places, suddenly appeared what was announced to be THE GERMAN DWARF. For this entertainment two people are needed, and there must be a loose and very gorgeous jacket with large sleeves. This may be made from turkey-red covered with gilt spangles, or from some bright chintz. The one who is to do the speaking dresses his arms to represent legs, and puts his hands into a pair of high shoes, though patent-leather boots are much better. A cap or hat with many plumes finishes THE GERMAN DWARF. 33 the costume. Behind him stands the acting player, who thrusts his arms under the make-believe legs of the speaker, and fits them into the sleeves of the jacket. Then the speaker puts his hands on the table, and a third person draws and pins the curtain, so that no one can see the per- formers. The dwarf looks amiably about, and then begins a speech. He may be an Irish or French dwarf, but must use Fig. i8. — The German Dwarf. a good many phrases from whatever language is his own. In the mean time, the actor uses his arms in making extraor- dinary gestures. Then the dwarf dances his national dance, somebody playing the music for him, and the hands do what they please ; the whole being so real, that every child will insist that it is truly a dwarf. The curtains were drawn suddenly while he was still 34 A CHILDREN'S PARTY AND THE GAMES PLAYED. dancing. There was a little rustle and moving about, and then they parted suddenly, and out came THE KENTUCKY GIANT AND THE KENTUCKY GIANT's WIFE. For this two very long cloaks must be made of black cam- bric. Two tall boys are necessary to play the giant's part, as in the cut given, where one is perched on the shoulders of the other, and wears a high hat with a feather in it. This is one way ; but a simpler one is to make the giant on the same plan as the giant's wife. In this case a long cane is taken, and a piece of lath eighteen inches long is fastened about five inches from the top. The person who is to play the part of the giantess first puts on a long skirt. An old bonnet is tied firmly on the end of the cane, and the black cloak just below it ; the piece of lath holding it out, and rep- resenting the shoulders. A large blanket- shawl can be used instead of the cloak, the ends of either hiding perfectly the head of the player. The cane must be held firmly ; and the giantess, as she walks in to the room, can look for a nail in the wall ; then stoop down to the keyhole in the door, at the same time lowering the cane ; then rise very gradually, standing finally on tiptoe, and slowly raising the cane, till the bonnet is as near the ceiling as possible. The giant's hat can be managed in the same way, and this one made a little speech, telling where he and his wife were born, and how they happened to grow so tall, all the time short- ening or lengthening, so that the children screamed with laughter. Then in a minute both had gone behind the cur- tains. There was another little rustle, and then out walked Fig. 19. THE &LEPHANT. 35 Fig 20. THE ELEPHANT. For this, two boys are needed, who must stand as shown in the cut, one boy representing the hind, and the other the fore legs. A thick quilt or comfortable must be doubled three or four times, and laid on their backs. Over this throw a very large gray blanket or travelling-shawl, twisting one end to imitate the trunk, and the other more tightly for the tail. Two black but- tons may be pinned on for eyes, and two long paper cones for tusks. A third person must lead in the ele- phant, and must lecture on its wonderful intelligence and its great gentleness, proving the latter quality by lying down, and letting the elephant walk over him. This can be made very funny by bright players. Many other ani- mals are possible, a rhinoceros and hippopotamus among them, their skins being well imitated by the gray blanket or shawl. As the elephant was led out, the children sat won- dering what it could be, till suddenly one of them remem- bered the forfeits. There was no time to redeem many ; but there was great laughing over some of them, and I have put them, with many others which could have been used, in a chapter by themselves. And now came something they had not expected, — a magic-lantern exhibition, very simple, because all the pic- tures had been made at home. A large sheet was pinned against the curtains of the deep window, and the lantern put on a high table in the back of the room. The gas was low- ered to just a point ; and one of the children who gave the 36 A CHILDREN'S PARTY AND THE GAMES PLAYED. party came forward with a pointer in her hand, and took charge of the little exhibition. First came the House that Jack Built, as shown on the slides below ; her little sister standing in the shadow, and Fig. 21. Fig. 22. repeating, as the figures appeared upon the sheet " This is Jack," "This is the House that Jack Built;" and so on to the end. Then it was the little brother's turn, and he shouted " Little Miss Muffet ! " in great glee. How they all laughed when the big spider appeared, and little Miss Muffet ran away ! Now I will tell you just how to make these slides for your- selves. Get from a glazier strips of clear glass sixteen inches long, and of a proper width for the lantern in which they are to be used. Place the glass in the lantern, with the lamp lighted ; mark the top, bottom, and sides of the glass at the outer line that will appear upon the round Fig. 23. MAGIC-LANTERN EXHIBITION. 37 38 A CHILDREN'S PARTY AND THE GAMES PLAYED. MAGIC-LANTERN EXHIBITION. 39 Fig. 34. field of light cast upon the wall : this is for a guide to the size of picture that can be used. Cut from old picture-books, or from tracings made upon ordi- nary plain paper, the picture desired. In the pictures given here, the lines are to be followed in cutting, and care must be taken not to cut across the pa- per farther than the lines ex- tend. Paste the pictures upon the glass at the same level, fa- cing toward the front outer edge of the slide, and fill in the ground, grass, etc., with a brush dipped in varnish mixed with black paint. If a movable scene is desired, the object to be moved must be placed upon a separate slide, from the one used for the sta- tionary object. This is shown in ''Little Miss Muffet," who ap- pears upon one end of the slide, eating her curds and whey : upon the other end, ready to be shown as soon as the spider hangs be- fore her, she is ''running away." Upon a second and narrower slide is the spider, who, by drawing in the second slide, can be made to appear while Miss Muffet is seen sitting still. These paper figures of course appear as black shadows upon the light field, entirely without color. (See cuts given.) Fig. 35 40 A CHILDREN'S PARTY AND THE GAMES FLAYED, To produce, instead, outline figures in light upon a dark ground, the glass can be covered with a coating of parafiine, so thin as to be transparent, the glass laid over the figure it is desired to trace, and the parafifine removed in the outline by means of any smooth point. If the paraffine be found too thin to obstruct the light sufficiently, give the glass a second thin coating, through which the lines traced will show, and remove it in these lines. If you can draw the figures yourself, a simpler method still is to cover the glass with white castile-soap, and draw through it with a smooth point. Common asphalt-varnish laid on in two thin coats, with a brush three-quarters of an inch broad, and traced through in the same way, gives the most satisfactory results, as the lines will be smooth, and give a perfect outline. For home pictures it is decidedly best not to try to color the slides, as it is very difficult work, and colored slides are not at all expensive ; though, for home amusement, black or white answers almost as well. Dolbear's book on magic- lanterns, to be had of any bookseller, gives full directions for every variety of slide. FIFTY FORFEITS. 41 CHAPTER III. FIFTY FORFEITS. When a sufficient number of forfeits, or pawns, have been collected during the play, it is time to sell them. For this purpose, one of the girls is seated on a chair in the middle of the room, and blindfolded. Another stands behind her with the basket containing the forfeits ; and, taking out one at a time, she holds it up, asking, " What is to be done to the owner of this } " She that' is blindfolded inquires, " Is it fine, or superfine } " meaning, does it belong to a young gentleman, or to a young lady } For the latter the reply must be, " It is superfine." Then the seller of the forfeits (still remaining blindfolded) must decide what the owner must do before the pawn can be restored to her. It is extremely difficult to find such forfeits as are neither dangerous nor unlady-like ; the fifty given, however, being the best selection that can be made for young players. Examples. First. The first may be what is called performing a statue. The owner of the forfeit is to stand on a chair in the middle of the room ; and every one, in turn, is to put her in a different position. One is to make her raise her hands above her head, and clasp them together ; another is to place her arms behind her, grasping her elbows with her hands ; a third makes the statue clasp her hands on her breast ; a N 42 FIFTY FORFEITS. fourth requires her to hold out her dress, as if she were just going to dance ; a fifth desires her to cover her eyes with her hands ; and so on, till each has placed the statue in a different attitude ; after which, she descends from her pedestal, and the forfeit is restored to her. Second. The owner of the forfeit is to be fed with water till she guesses who is feeding her. For this purpose she is blindfolded, and seated on a chair. A glass of water with a teaspoon in it is prepared, and each girl, in turn, puts part of a spoonful of water into the mouth of her blindfolded com- panion, who must endeavor to guess who is doing it. When- ever she guesses rightly, the bandage is removed, and the forfeit is restored to her. Third. To perform the laughing gamut, without pause or mistake, thus : — ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha Fourth. She must repeat a verse of poetry, which had better be something diverting or humorous. Fifth. She must keep silent, and preserve a serious face, for five minutes, without either smiling or frowning, let the company do as they will. Sixth. She must repeat five times rapidly, without mispro- nouncing a letter, " Willy Wite and his wife went a voyage to Winsor and West Wickham one Witsun Wednesday." Seventh. Laugh in one corner of the room, cry in another, yawn in the third corner, and dance in the fourth. Eighth. Rub one hand on your forehead, at the same FIFTY FORFEITS. 43 Or, time striking the other on your heart, without changing the motion of either for an instant. Ninth. Repeat as follows three times successively, with- out a pause or blunder : — " Peter Piper picked a peck of pickle-peppers, A peck of pickle-peppers Peter Piper picked : If Peter Piper picked a peck of pickle-peppers, Where's the peck of pickle-peppers Peter Piper picked?" Or, " A peacock picked a peck of pepper ; Did he pick a peck of pepper ? Yes, he picked a peck of pepper : Pick pepper peacock." " One old ox opening oysters. Two tea-totally tired toads trying to trot to Teaberry. Three thick, thumping tigers tickling trout. Four fat friars fanning fainting flies. Five frivolously foolish females flying to France for fashions. Six sentimental spoonies sedulously sipping sarsaparilla. Seven seasick sailors sanctimoniously singing psalms." Tenth. Say this correctly, without stopping : — " Bandy-legged Borachio Mustachio Whiskerifusticus, the bald and brave Bombardino of Bagdad, helped Abomilique, Blue-Beard Bashaw of Babelmandeb, to beat down an abominable bumble-bee at Balsora. ' Eleventh. To stand in the middle of the room, and first make up a very woful face, then a very merry one : if it be in the evening, a lamp must be held in the hand. Twelfth. Answer five questions while another taps you under the chin. Thirteenth. Ask a question of one of the company which they can only answer by saying " Yes." The question is, "What does YES spell ? " 44 FIFTY FORFEITS. Fourteenth. Quote a line of poetry to bring in any easy word that may be given you ; such as " bird," or " flower," or the like. Fifteenth. Imitate, without laughing, such animals as your companions name. Sixteenth. Ask a riddle or conundrum. Seventeenth. Hop on one foot four times round the room. Eighteenth. Make a nosegay with any six letters of the alphabet that are given you. Thus, suppose the letters were L, W, G, F, T, N, you might fill them in with lily, wood- bine, geranium, foxglove, tulip, and nasturtium. Should the company wish to tax your ingenuity, they would choose more difficult letters, such as X or Z ; but flowers may be found even for these by taking a little trouble. Nineteenth. Count twenty backwards. Twentieth. Stand up in a chair, and make whatever motions or grimaces you are ordered,, without laughing. Young ladies should be very particular never to exact any thing awkward or improper. Twenty-first. Pay a compliment, and undo it after, to every one present. Twenty-second. Sing a short song. Twenty-third. Dance a pas-seul, or hornpipe. Twenty-fourth. Put yourself, through the keyhole. This is done by writing the word "yourself " on a small slip of paper, rolling it up, and putting it through the keyhole. Or, push some one's head through the handle of the teapot. This is done by putting your finger through the handle, and then pushing the person's head. Twenty-fifth. Repeat these four lines rapidly, without a pause or a mistake : — FIFTY FORFEITS. 45 " As I went in the garden, I saw five brave maids, Sitting on five broad beds, braiding broad braids. I said to these five brave maids, sitting on five broad beds, Braiding broad braids, ' Braid broad braids, brave maids.' " Twenty-sixth. Kiss yourself in the looking-glass. Twenty-seventh. Guess a riddle or conundrum. Twenty-eighth. Spell new door in one word. This is done by writing on a slate or piece of paper one word. It will be seen that " new door " and " one word " contain exactly the same letters, though differently arranged. Twenty-ninth. Repeat the "twine-twister." " When the twister a twisting would twist him a twist, For the twisting his twine he three times doth intwist ; But if one of the twists of the twist doth intwine, The twine that intwisteth untwisteth the twine." Thirtieth. Immediately after the "twine-twister" has been said, the next forfeit may be redeemed by desiring the owner to spell all ^this in seven letters ; which is done by spelling ALL THIS. Thirty-first. Write your name in one letter. This is done by writing on a slate, or on paper with a lead-pencil, one very large letter, introducing in it your own name, written small, thus : — Thirty-second. Decipher two lines, addressed by a boy to his schoolmaster. The following lines must be written by some one who knows how, and the owner of the pawn must write under them the explanation : — 2 + u r 2 + u b; I c u r 2 + for me. The explanation is : Too cross you are, too cross you be ; I see you are too cross for me. 46 FIFTY FORFEITS. Thirty-third. Decipher the schoolmaster's answer to the boy : — 2yyur2yyub; I c u r 2 yy for me. This is the explanation : — Too wise you are, too wise you be ; I see you are too wise for me. Thirty-fourth. Say five flattering things to the one who sits next you, without making use of the letter L. Thirty-fifth. Perform the dumb orator. Thirty-sixth. Repeat the list of WONDERFUL SIGHTS. I saw a peacock with a fiery tail. I saw a blazing comet pour down hail. I saw a cloud all wrapped with ivy round. I saw a lofty oak creep on the ground. I saw a beetle swallow up a whale. I saw the foaming sea brimful of ale. I saw a chma mug fifteen feet deep. I saw a well full of men's tears that weep. I saw wet eyes all of a flaming fire. I saw a house high as the moon, and higher. I saw the sun even in the dark midnight. I saw the man that saw these awful sights. Or this: — MORE WONDERS. I saw a pack of cards gnawing a bone. I saw a dog seated on Britain's throne. I saw King George shut up within a box. I saw a shilling driving a fat ox. I saw a man lying in a muff all night. I saw a glove reading news by candlelight. FIFTY FORFEITS. 47 I saw a woman not a twelvemonth old. I saw a greatcoat all of solid gold. I saw two buttons telling of their dreams. I heard my friends, who wished I'd quit these themes. Thirty-seventh. Repeat the "Wonderful Sights," so as to make them no wonders at all. This is done by alter- ing the punctuation ; thus : — I saw a peacock. With a fiery tail I saw a comet. Pour down hail I saw a cloud. Wrapped with ivy round I saw a lofty oak. Creep on the ground I saw a beetle. Swallow up a whale I saw the foaming sea. Brimful of ale I saw a china mug. Fifteen feet deep I saw a well. Full of men's tears that weep I saw wet eyes. All of a flaming fire I saw a house. High as the moon, and higher, I saw the sun. Even in the dark midnight I saw the man that saw these awful sights. MORE WONDERS EXPLAINED. I saw a pack of cards. Gnawing a bone I saw a dog. Seated on Britain's throne I saw King George. Shut up within a box I saw a shilling. Driving a fat ox I saw a man. Lying in a muff all night I saw a glove. Reading news by candlelight I saw a woman. Not a twelvemonth old I saw a greatcoat. All of solid gold I saw two buttons. Telling of their dreams I heard my friends, who wished I'd quit these themes. Thirty-eighth. Get a sixpence off your forehead with- out putting your hands to it. This is done as follows : The mistress of the play takes a sixpence or fourpenny- piece, and, wetting it with her tongue, pretends to stick it 48 FIFTY FORFEITS, very fast on the forehead of the owner of the forfeit. In reality she withdraws it immediately, and conceals it in her own hand, but makes the owner of the forfeit believe that it is all the time on her forehead. And she is easily deceived, as she is not permitted to put up her hand to feel ; and all the company humor the joke, and pretend that the sixpence is actually sticking there. She shakes her head, and tries every means (except the interdicted) to make the sixpence drop off, wondering she does not see it fall, and amazed that it sticks so fast, supposing it to be really on her forehead. No one must undeceive her. Whenever she discovers the trick, and finds that in reality there is nothing on her fore- head, her forfeit may be restored to her. If she puts up her hand to feel for the sixpence, she must pay another forfeit. Thirty-ninth. Stand in the corner till some one pre- vails on you to come out, though all your answers must be " No." The dialogue that ought to take place is as follows, or something to this effect ; but it may be varied, according to the ingenuity of the questioner : — *' Do you wish to remain in the corner } " — " No.'* " Is it very irksome to you } " — ** No." " Shall I lead you out in half an hour t " — " No." " Are you willing to stay here all night 1 " — " No." " Shall I go away and leave you here } " — " No." " Will you remain in the corner another moment } " — " No." The answer to this last question implies a consent to quit the corner immediately : therefore you must be led out. Fortieth. Walk three times round the room with a boy's hat on your head, and bow to the company as you take it off. Forty-first. Spell Constantinople. When this is done, FIFTY FORFEITS. 4^ after the speller has gone through the three first syllables, Con-stan-ti, the other girls must call out, " No, no ! " mean- ing the next syllable. If the speller is not aware of the trick, she will suppose that they wish her to believe she is spelling the word wrongly, and she will stop to vindicate herself ; in which case she is liable to another forfeit. If she knows the trick, she is con- vinced that she is right, and will have sufficient presence of mind to persist in spelling the word, notwithstanding the interruption. If she gets through it without stopping, the forfeit is restored to her. Forty-second. Take a penny out of a plate of meal, without flouring your hands. A penny covered up in meal is brought to you. You take the plate, and blow all the flour off the penny ; after which you can easily take it up in your thumb and finger, without getting your hands dusted. Forty-third. Shoot the robin. This is done by blind- folding the owner of the forfeit, and leading her to a part of the room where a sheet of paper or a handkerchief has been pinned to the wall. She is directed then to shoot the robin, which she must do by starting forwards, extending her right arm, and pointing her finger so as to touch the sheet of paper. Whenever she succeeds in doing so, her forfeit is restored. Her finger had better be blackened with a coal, or burnt cork, or something that will leave a mark on the paper. Forty-fourth. Walk round the room, and kiss your shadow in each corner, without laughing. Forty-fifth. The one who is to pay a forfeit stands with her face to the wall. One behind her makes signs suita- ble to a kiss, a pinch, and a box on the ear, and asks her whether she chooses the first, the second, or the third; 50 FIFTY FORFEITS. whichever it happens to be is given to her. The blows and pinches must not be too hard. Forty-sixth. Two forfeits may be redeemed at once, by the persons to whom they belong lamenting the death of the King of Bohemia. They must go to opposite ends of the room, and then turn round and advance, so as to meet in the centre. One must walk very slowly, with her hand- kerchief to her face, and say to the other in a melancholy tone, "The King of Bohemia is dead!" The hearer must then pretend to burst into tears, and say, ** Is it possible ! Sad news, sad news ! " but must then exclaim, " Let us cry for the King of Bohemia ! " All this must be performed in a lamentable voice and with disconsolate faces. If they laugh, the forfeits must be redeemed over again. Forty-seventh. When a line is given out to you, answer it with another that will rhyme with it. Forty-eighth. Sit down on the carpet, close to the door (which must be shut), and say, — " Here will I take a seat under the latch, Till somebody comes a kiss to snatch." The forfeit is redeemed as soon as one of your playmates kisses you. Forty-ninth. A number of forfeits may be redeemed together, by the owners all sitting in a row, and playing Mrs. M'Tavish ; which is performed by the following dia- logue going round : — **Mrs. MTavish has fainted away.** ** Is it possible } How did she faint } '* *'Just so." The speaker then throws herself back, and looks as if she were fainting. The one next to her then, in turn, announces FIFTY FORFEITS, 5 1 the fainting of Mrs. MTavish. Thus the play goes on, till all engaged in it have performed the fainting, and this redeems the forfeits. The whole must be done without laughing. The modes of fainting should all be as different as possible, and may be made very diverting. Fiftieth. After a number of pawns have been sold, those that are left on hand may be redeemed all at once, by the whole company performing a cats' concert. That is, they must all sing together, as if in chorus ; but each must sing a different song and tune. One verse will be sufficient. 52 SOME GAMES THEY MIGHT HAVE PLAYED. CHAPTER IV. SOME GAMES THEY MIGHT HAVE PLAYED. Blind Man's Buff is an old favorite, so well known as to need no description, but, unless a large and almost unfur- nished room can be had, is too noisy for a large party. Almost as much amusement may be had from SHADOW BUFF, OR PORTRAITS A LA SILHOUETTE. Buff, or, as she is more elegantly called by the French, " Colin Maillard," has not her eyes bandaged : on the con- trary, she has need of all her penetration. A sheet is hung from the ceiling, as though for the performance of a magic- lantern, before which " Colin Maillard " takes her seat on a low footstool, so that her shadow does not fall upon the cloth. All the lights are extinguished, with the exception of a single candle placed on a small stand at some little dis- tance behind her. When these preparations are completed, the other players form a sort of procession, and pass, one after another, between their seated companion (who is strictly forbidden to turn her head) and the table on which the lighted candle is placed. The light being thus inter- cepted by each of the persons passing before it, a series of shadows, distinctly enough defined, are naturally cast upon the white cloth ; and these, as they file slowly before her, " Colin Maillard *' is obliged to identify, the errors she may fall into being received with shouts of laughter. It is scarcely necessary to say that each performer, when passing THE READER. 53 before the light, endeavors to change as much as possible her general appearance, figure, and gait, so as to be less easily recognized. It is not customary to exact forfeits at this game, but a great many might be obtained by making each correct guess claim one from the person whose identity is thus detected. THE READER. This is a most laughable game, and, though very simple, rarely fails to excite great mirth. One of the party assumes the post of ** reader;" whilst her companions each choose a trade or profession, being careful not to fix on those too closely resembling each other. The reader then com- mences reading aloud some short article from a newspaper or book (something of the narrative kind being most effec- tive), every now and then pausing, and glancing at one of the other players, who, without a moment's hesitation, must substitute for the word about to be pronounced some one relating to her trade or profession ; the reader afterwards going on as though no interruption had taken place. We give an example : — Julia. I will be reader; you, Mary, shall be a butcher; Con- stance, a milliner ; Jane, a baker ; Fanny, a grocer ; Clara, a hard- ware-merchant ; Ellen, a fruiterer ; Annie, a dry-goods-merchant ; and Kate, a market-woman. Now to begin. JuLU. Boiling with indignation at Louis' insulting defiance, Ro- nald returned to his {looks at Mary) — Mary. Sirloin — Julia. In the {looks at Constance) — Constance. Show-room. Julia. Determined at daybreak to summon him forth to {looks at Jane) — 54 SOME GAMES THEY MIGHT HAVE PLAYED, Jane. Hot rolls — Julia. Or {looks at Fanny) — Fanny. Best Mocha coffee. Julia. He often repeated the words " her " {looks «/ Clara) — Clara. Flatirons — Julia. Have never wandered from you. Ah, if this should indeed be the case ! and that Alice loved {looks at Ellen) — Ellen. Fresh raspberries — Julia. After all ! But from Louis his honor demanded {looks at Annie) — Annie. A pair of lamb's- wool stockings — Julia. And {looks at Kate) — Kate. The finest Stilton, thirty cents per pound — Julia. Either of which he feared the proud {looks at Mary) — Mary. Calfs head — Julia. Would never stoop to grant. Yet to level a {looks at Constance) — Constance. Spool of cotton — Julia. Against the brother of Alice, against him to whom he had been a constant friend and companion in {looks at Jane) — Jane. Sally Lunns — Julia. And {looks at Fanny) — Fanny. Turkey figs — Julia. And perhaps by a single {looks at Clara) — Clara. Coal-scuttle — Julia. To destroy him, the {looks at Ellen) — Ellen. Crab- apples — Julia. And {looks at Annie) — Annie. Doeskin driving-gloves — Julia. Of his amiable {looks at Kate) — Kate. Pats of fresh butter — Julia. And {looks at Mary) — Mary. Mutton-chops — Julia. He felt that, should this happen, he could never forgive himself. But there was no {looks at Constance) — THE ELEMENTS. 55 Constance. Blonde veil and orange-blossom — Julia. It was {looks at Jane) — Jane. Crusty loaves — Julia. And {looks at Fanny) — Fanny. Brown sugar, etc. The paragraph, from Grant's " Romance of War," which Julia has been reading, stands, without the interpolations, thus : — "Boiling with rage at Louis' insulting defiance, Ronald returned to his quarters in the Alcanzar, determined at day- break to summon him forth to fight or to apologize. He often repeated the words, * Her heart has never wandered from you.' Ah, if this should indeed be the case, and that Alice loved him, after all ! But from Louis his honor de- manded a full explanation and ample apology, either of which he feared the proud spirit of the other would never stoop to grant. Yet to level a deadly weapon against the brother of Alice, against him to whom he had been a constant friend and companion in childhood and maturer youth, and per- haps by a single shot to destroy him, the hopes and the peace of his amiable father and sister, — he felt, that, should this happen, he could never forgive himself. But there was no alternative : it was death or dishonor." THE ELEMENTS. A handkerchief is rolled up into the shape of a round ball. The little girls sit in a circle. She that is to begin the play takes the ball, and throws it to one of her companions, call- ing out either "Earth!" "Air!" or "Water!" fire being omitted, as that element has no inhabitants. Should any player, however, call out, " Fire ! " every one must keep silence. The little girl to whom the ball is directed must, 56 SOME GAMES THEY MIGHT HAVE PLAYED. on catching it, reply by giving the name of an animal proper to the element that has just been mentioned. If the word is ''air,'* the answer must be "eagle," "vulture," "hawk," or any other bird. If the word is " water," the reply may be "whale," "shark," "porpoise." If the element is "earth," the answer must be the name of a beast ; as " lion," " tiger," "bear," etc. If she that is addressed does not reply promptly, or makes a mistake, and names a bird when she should have mentioned a beast, she is to pay a forfeit. Any one who mentions the same animal twice is likewise liable to a forfeit. The one that receives the ball then throws it to another, calling out one of the elements ; and so the play goes round. Example, Maria {throwing the ball to Helen) . Earth ! Helen. Panther. {She throws the ball to Louisa.) Air ! Louisa. Woodpecker. {She throws it to Julia.) Water ! Julia. Barbel. {Throws it to '^vn\k.^ Water! Sophia {starting) . Oh ! what am I thinking of ? Turkey — tur- key. Maria. Ha, ha, ha ! Do turkeys live in the water? Sophia. Oh, no ! I meant turtle. However, I see I am too late. Here is this pencil as a forfeit. {She throws the ball to Maria.) Earth ! Maria. Buffalo {throwing the ball to Harriet) . Air ! Harriet. Mocking-bird. {Throws the ball to Ymiin .) Water! Emily. Salmon {throwing the ball to Charlotte) . Air ! Charlotte. Duck. Helen. Now, Charlotte, that does not seem exactly right. A duck is a bird, to be sure ; but does it ever fly in the air? Earth is its proper abode. Charlotte. You are very particular. Do not wild ducks fly in the air? and very high too, and in large flocks. Helen. Then, you should have said " wild duck." THE SECRET WORD. '57 Emily. And ducks also swim in the water. Maria. Well, I believe we must admit the word "duck" as a sufficiently good answer, whether the word be earth, air, or water ; ducks being found in all those three elements. Helen. But always say " wild duck," if the word is "air." THE SECRET WORD. One of the company leaves the room, and the others fix on a word ; such as "like," "care," "sight," "leave," "hear," etc., which is to be introduced into all their answers to the questions she must put to them on her return. When the word is decided on, she is called in, and asks a question of each, in turn. In replying, every one must contrive to use the secret word, without laying any emphasis, or making it conspicuous. If the questioner remarks the frequent recur- rence of the same word in the answers, she will easily be able to guess what it is. The one from whose reply she has made the final discovery, then, in her turn, leaves the room while the next word is fixed on, and, on her return, becomes the questioner. Example, Maria. Do you go out, Emily. (Emily leaves the room.) Now, what shall be the word? Helen. " Fear," or " love." Julia. Will not those words be too conspicuous? Let us try "like." All. " Like," " like." Let it be " like." Come in, Emily. Emily {returning), Maria, do you not think the weather is very warm this evening? Maria. Not warmer than I like it. Emily. Julia, are you fond of watermelon? Julia. No. I like pine-apple better. 58 SOME GAMES THEY MIGHT HAVE PLAYED. Emily. Helen, have you read Mrs. Howitt's " Sowing and Reap- ing"? Helen. Yes; and I do not like it so well as her "Love and Money." Emily. Matilda, were you up early this morning? Matilda. Very early. I always like to rise with the lark. Emily. Harriet, did you make that bag yourself ? Harriet. I did. I like to make bags, pincushions, needlebooks, emery-bags, and every thing of the sort. Emily. " Like." I have guessed it. " Like " is the word. Harriet. So it is. Now I will go out. {She goes,) Charlotte. " Saw." Let " saw " be the word. Maria. Very well. Come in, Harriet. (Harriet comes in,) Harriet. Maria, when did you see Clara Simmons ? Maria. I saw her the day before yesterday, when I was walking with Julia. Harriet. Julia, was Clara Simmons quite well ? Julia. Quite. I never saw her look better. Harriet. Louisa, are you not very much pleased with your hand- some drawing-box? Louisa. Very much. But I saw one in a shop yesterday that was still more complete than mine. Harriet. Charlotte, are you acquainted with Laura Morton? Charlotte. I saw her once at a private ball, but have no acquaint- ance with her. Harriet. Emily, do not you think the new table in your honey- suckle arbor is too high ? Emily. Yes ; but the carpenter is coming to-morrow to saw off a piece from each leg, and then it will be a proper height. Harriet. " Saw," " saw," is the word. Maria. Ha, ha, ha ! Emily, you had better not have used the word " saw " in that sense. You see, Harriet guessed it immediately. Emily. No matter. J have not the least objection to going out again. MANY WORDS IN ONE. 59 MANY WORDS IN ONE. One of the company having left the room, the others fix on a word for her to guess. The word may be "cake." She is called in, and stops before the first one in the row, who says, " Cap." She goes to the next, who says, "Apple ; " the third says, "Kettle;" and the fourth says, "Egg;" each taking care to mention a word whose first letter is one that is found in the word "cake," and to say them in regular order. The guesser, having heard all these words, pauses to think over their initial letters, and finds, that, when put together, they are CAKE, and compose the word " cake," which she immediately pronounces. And it is then the turn of the one at the head of the row to go out while a word is proposed. If most of the company are unacquainted with the play, the one at the head need not explain at first the manner in which the word is guessed. But she had better tell her companions beforehand what words they are to say when the guesser comes in ; and then they will all be surprised at her guessing, not thinking that it is from putting together the initial letters. Example. Maria. Julia, you know this play : so you had better be the first to go out. (Julia leaves the room.) Now we will fix on the word " rainbow " for Julia to guess. Are any of you acquainted with the play? All. I am not ; I am not. Maria. Very well, then I will tell you what words to say when Julia presents herself before you. If you all knew the play, you might choose your own words. I myself will say, " rose." Sophia, tlo you say, " arrow." Emily, your word iriay be " ice." Caroline's may be "nutmeg." Louisa's may be "bonnet." Charlotte's may be " orange ; " and Harriet may say, " wafer." Come in, Julia. 6o SOME GAMES THEY MIGHT HAVE PLAYED. Now be sure to remember your words. (Julia returns^ Well, Julia, my word is "rose." (Julia goes all along the row^ and, as she stops before each, they say the word allotted to them.) Sophia. Arrow. Emily. Ice. Caroline. Nutmeg. Louisa. Bonnet. Charlotte. Orange. Harriet. Wafer. (Julia pauses a moment, and finds that the initial letters of aH these words make rainbow.) Julia. Rainbow ; the word is rainbow. All. So it is. Caroline. I cannot imagine how you could find it out. Emily. I think I can guess how it was done. However, I will not tell. Harriet. I believe I can guess it too. But I also will not tell. Charlotte. Well, it is a mystery to me. Julia. It will not be, when the play has gone on a little longer. You will find it out by practice. Come, Maria, you are to be the next guesser. THE WATCHWORD. One of the company must leave the room, while another touches some article in her absence, which she must en- deavor to guess on her return. Before her departure, the mistress of the play takes her aside, and whispers to her the watchword, meaning that when she hears her ask, " Is it this.?" she may be sure that she points to the object which has been actually touched • but, on the other hand, the ques- tion, "Is it that?'' refers to things that have not been touched. THE WATCHWORD. 6t Example. Maria. Louisa, do you go out ) but first let me say something to you in private. {She takes Louisa aside, and whispers to her, say- ing), Julia will touch something while you are gone; and when, on your return, I point to different things, and ask, "Is it that?" you may be sure I am not directing you to the right object, and you must say, "No." But when I ask, "Is it this?" you may say, "Yes:" for you may be sure that I mean the thing that Julia has actually touched. Go now. Remember that the watchword is " this" and reply accordingly. (Louisa goes out.) Come, Julia, what will you touch? JuuA. There, I touch the work-basket. Come in, Louisa. (Louisa returns.) Maria {pointing to a book). Is it that? Louisa. No. Maria {showing a pincushion) . Is it that? Louisa. No. Maria {pointing to a newspaper). Is it that? Louisa. No. Maria {showing a work-box). Is it that? Louisa. No. Maria {pointing to a basket) . Is it this ? Louisa. Yes. {The other girls, being unacquainted with the play ^ look surprised.) Charlotte. Well, it really was the basket that Julia touched. Helen. How could Louisa possibly know? Harriet. How could she be sure that Julia had not touched any of the other things that were mentioned ? Maria. Well, Harriet, you shall go out next. So first come aside with me, and I will let you into the secret. (By the by, it must be remembered, that, in this play, no one goes out twice.) {She takes Harriet to the other end of the room, and whispers to her that the watchword will now be "that." Harriet goes out, and, while she is away, Charlotte touches the lamp; 62 SOME GAMES THEY MIGHT HAVE PLAYED. and on her return Maria questions her for a while by askings " Is it this / " to which, of course, Harriet answers, " No.^' But when Maria inquires, "Is //that? " as she points to the lamp, Harriet knows that she may say, " Kfj.") THE MERCHANTS. Each of the company, in turn, calls herself a merchant, and mentions an article that she has for sale. The one next to her must say whether that article is animal, vegetable, or mineral. If she makes a mistake, she loses her turn. If she answers rightly, she becomes the next merchant, and pro- poses something for sale, asking, also, if it be animal, vegeta- ble, or mineral. And in this manner the play goes round. Example. Maria. I am a china-merchant, and have a tea-service to sell. Is it animal, vegetable, or mineral? Louisa. Mineral. China is made of clay and flint, and things belonging to earth. Now it is my turn. I am a dry-goods merchant, and have a piece of gingham to sell. Is it animal, vegetable, or mineral ? Helen. Vegetable ; gingham being made of cotton. I keep a grocery, and have a box of candles to sell. Are they animal, vegetable, or mineral ? Charlotte. Animal. Candles are made either of tallow, sperma- ceti, or wax, all of which are animal substances. 1 keep a cabinet warehouse, and have a dining-table for sale. Is it animal, vegetable, or mineral ? Harriet. Vegetable ; being made of the wood of the mahogany- tree. I am a silk-merchant, and have a piece of satin for sale. Is it animal, mineral, or vegetable ? Caroline. Vegetable. Harriet. What ! satin vegetable ? Is it not made of silk thread, produced by the silkworm ? Therefore it must be animal. Caroline, CONSEQUENCES. 63 you have lost your turn, and can sell nothing this time. — Come, Emily, you are merchant now. Emily. I am a stationer, and have a quire of letter-paper for sale. Is it animal, vegetable, or mineral ? Julia. Vegetable ; white paper being made of linen or cotton rags. I am a druggist, and have some opium to sell. Is it animal, mineral, or vegetable ? Matilda. Mineral. Maria. Oh, no, no ! Opium is vegetable : it is the condensed juice of the poppy. You have lost your turn of being merchant, Matilda, and it has now come to me again. Matilda. I thought almost all medicines were minerals. Maria. A great many of them are ; but a very great number of drugs are made from plants, and therefore vegetable. CONSEQUENCES. This is best played by three persons, though four or two may engage in it. First prepare some white pasteboard or some blank cards by cutting them into small slips, all of one size. There should at least be four dozen slips ; but eight dozen will be better still, as the game will then be longer, and more varied. We will, however, suppose that there are four dozen slips of card. First take twenty-four of these slips, and write upon each, as handsomely and legibly as you can, the name of one of your acquaintances. Then take twelve more cards, and write on each the name of a place, as "In the street," "In church," "In the garden," "In the orchard," "At a ball," "At school," etc. Lastly, on the remaining dozen of cards write the consequences, or what happened to the young ladies. You may say, for instance, "They lost their shoes," "They tore their gloves," "They took offence," or something similar. The consequences should be so contrived that none of them will appear absurd and unmeaning with reference to the places. 64 SOME GAMES THEY MIGHT HAVE PLAYED. When the cards are all ready (and, when once made, they will last a long time), the play may begin by Julia taking the two dozen that have the names (two names being read together), Sophia taking the dozen that designate the places, and Harriet taking charge of the consequences. Each had better put her cards into a small basket, from which they are to be drawn out as they chance to come uppermost. Or they may be well shuffled, and laid in a pile before each of the players, with the blank sides upwards. They must be shuffled every game. Example. Julia, Sophia, Harriet. Julia. Well, are we all ready ? Come, then, let us begin, (^-^^f takes up two cards, and reads them,) " Louisa Hartley and Helen WalUs" — Sophia {reading a card) . Were together " in a phaeton." Harriet {reading). The consequence was, "they caught cold." JuuA. " Emily Campbell and Clara Nelson " — Sophia. Were both " at a ball." Harriet. The consequence was, "they were taken with fevers " Julia. " Maria Walden and Charlotte Rosewell " — Sophia. Were together " in the street." Harriet. The consequence was, " they got their feet wet." Julia. " Fanny Milford and Ellen Graves " — Sophia. Were both " at a party." Harriet. The consequence was, " their noses bled." Julia. " Amelia Temple and Caroline Douglas " — Sophia. Were together " at the museum." Harriet. The consequence was, " they were highly delighted." Julia. " Sophia Seymour and Harriet Hartland " — Sophia. Ah, Harriet, your name and mine ! {reading) "were both in the kitchen." Harriet. The consequence was, " they did nothing at all." CONSEQUENCES. 65 Julia. " Matilda Granby and Eliza Ross " — Sophia. Were together " in the orchard." Harriet. The consequence was, " they quarrelled and parted." Julia. "Marianne Morley and Julia Gordon " (that is myself) — Sophia. Were both " in church." Harriet. The consequence was, " they did not speak a word." Julia. "Adelaide Elmer and Juliet Fanning" — Sophia. Were both " at the theatre." Harriet. The consequence was, " they were laughing all the time." Julia. " Georgiana Bruce and Eleanor Oakley " — Sophia. Were " on the top of the house." Harriet. The consequence was, " they sprained their ankles." Julia. " Emmeline Stanley and Laura Lear " — Sophia. Were both " at school." Harriet. The consequence was, " they spoiled their bonnets." Julia. " Margaret Ashwood and Lydia Barclay " — Sophia. Were together " on a visit." Harriet. The consequence was, " they were glad to get home." Julia. There now, we have gone through all the cards : so let us shuffle them, and begin another game. This time, Sophia may take the names, Harriet the places, and I the consequences. I hope the answers this time also will be somewhat appropriate. If you cannot conveniently procure white pasteboard or blank cards, slips of thick white paper will do nearly as well. When not in use, they should be kept in a box. Remember, that, as two names are always read together, the number of names should be double that of the places and consequences. Four persons may play this game by dividing the names between two, each of which will read one name. If played by two persons only, one must take all the names, the other must read both the places and consequences. This way is best for younger girls. For older ones, the better plan is to furnish slips of paper to the company. 66 SOME GAMES THEY MIGHT HAVE PLAYED. At the top of the paper each writes a quality of a gentle- man. "The fickle," for instance, or *'The insinuating," or "The handsome," "The ugly," or any epithet, in fact, that may occur to the mind at the moment. But nobody may see what the neighbors to the right and left have written. The top of each paper is then folded down so as to hide what has been written, and each one passes his paper to his neighbor on the right, so that every player has now a new paper before him. On this he writes a gentleman's name ; if that of one of the gentlemen in the company, so much the better. Again the papers are passed to the right after being folded over ; the beauty of the game being that no one may write two consecutive sentences on the same paper. The quality of a lady is now written (fold, and pass the paper), the ladys name, then where they mety what he said to heVy what she said to hint, the consequence, and what the world said. The papers are now unfolded in succes- sion, and the contents read, and the queerest cross ques- tions and crooked answers are almost sure to result. For instance, the following will be a specimen : " The conceited Mr. Jones (one of the company) and the accomplished Miss Smith met on the top of an omnibus. He said to her, 'Will you love me then as now } ' She said to him, * How very kind you are ! ' The consequence was, * they separated for ever;' and the world said, 'Serve them right.'" Another strip, on being unfolded, may produce some such legend as this: "The amiable Artemus Ward and the objectionable Mrs. Grundy met on the mall at the Central Park. He said to her, ' How do I look .? * She said to him, * Do it.' The consequence was ' a secret marriage ; ' and the world said, * We knew how it would be. ' " yOl/ ARE NOTHING BUT A GOOSE. 6^ HOW TO GUESS ANY NUMBER THOUGHT OF. Desire one of the company to think of any number she chooses, provided it be even. Tell her to triple it, halve the product, triple this half, and then tell you hov^r many times nine will go into it. Multiply this by two, and it will be the number thought of. Thus, suppose 4 to be the num- ber ; you triple it, making 12 ; halve this product, leaving 6 ; again triple this, making 18, in which 9 will go twice : this " twice " multiplied by 2 gives you 4, the number thought of. Or, to give another example, suppose 6 to be the number; triple it, 18; halve it, 9; triple it again, 27. You ask how many times 9 will go in it, and, being told 3 times, multiply it by 2, and the answer is 6. HERE I BAKE, AND HERE I BREW. A circle of little girls hold each other firmly by the hand. One in the centre touches one pair of hands, saying, " Here I bake ;" another, saying, "Here I brew;" another, saying, ** Here I make my wedding-cake ; " another, saying, " Here I mean to break through." As she says the last phrase, she pushes hard to separate their hands. If she succeed, the one whose hand gave way takes her place : if not, she keeps going the rounds till she can break through. Sometimes they exact a forfeit from any one who tries three times with- out success, but it is usually played without forfeits. YOU ARE NOTHING BUT A GOOSE. This play consists in telling a stoi*y, and at the same time making marks to illustrate what you are telling. For instance, " An old man and his wife lived in a little round cabin. I v^rill sketch it for you with my pencil, so that you may know it. Here it is : o This cabin had a window in 68 SOME GAMES THEY MIGHT HAVE PLAYED. the middle, which I shall make thus : ° On one side was a projecting door, which I shall make opposite the window, thus : = From the side opposite the door branched out a road, bordered on one side by a hedge. Here is a print of it : -^^ This road terminated in a large pond. Here it is : ^^ J^ Herbs grew round it, which I mark thus : ^^ One night some robbers came to the farther end of this pond. I will mark them thus ; ^^^.^^ The old woman heard them, and persuaded her husband to get up and see what was the matter. The old people travelled along, down to about the middle of the pond, and there they stopped. I shall represent them thus : || || Each one held out a hand to keep silence, which movement I shall mark thus : " But they did not hear any thing ; for the robbers had taken fright, and run away. After standing out in the cold some time for nothing, the old man said to his wife, * Go back to the house : you are nothing but a goose.' " As you say these words, hold up the sheet of paper on which you have been drawing, and the company will see the print of a goose rudely sketched, thus : While making your marks, you must be careful that those who are watching you see the print sideways or upside down : otherwise they will be apt to sus- pect your design before you finish it. THE PUZZLE WALL. Suppose there were a pond, round which four poor men built their houses, thus : THE PUZZLE WALL. 69 o Suppose four wicked rich men afterwards built houses around the poor people, thus : O o O O d? O O o O and wished to have all the water of the pond to themselves. How could they build a high wall so as to shut out the poor people from the pond ? You might try on your slate a great while, and not do it. I will show you. RONDOS AND MUSIC. French children are especially fond of these graceful games, and several are given here. The songs, of course, require memorizing, and some one who plays the piano will add much to the enjoyment, though this is not essential. 70 SOME GAMES THEY MIGHT HAVE PLAYED. GIROFLE, GIROFLA ! . fie, g» ro - fla! Some in curls, and some ^ ^^ ^ ^ fe -v-^ >. K- •y— V- :=M4 iPI] in braids, Gi • ro . lie, gi - ro - fla! • fl^, gi - ro - fla! The players range themselves in a line, holding each other's hands, the tallest taking her station in the middle, and leading the song. One of the number, who, instead of GIROFLE, GIROFLA! *J\ joining her companions, has been left standing apart, then dances up to them, singing the first verse, "Here's a band of pretty maids," etc., returning to her place when she has finished it. The other players then advance and retire in the same manner, singing their answering verse. This in repeated until they come to the question — " What if, after all, you should — ' Girofl^, girofla ! Meet the old witch in the wood ? Girofl^, girofla ! " To which the person addressed must reply by crooking her fingers to represent claws, and assuming as terrible a voice and appearance as possible, as she sings, " I would frighten her — this way," etc.; her companions meanwhile joining hands, and dancing round her ; after which the game finishes. FIRST VERSE. — SOLO. Here's a band of pretty maids, Girofld, girofla ! Some in curls, and some in braids, Girofld, girofla ! CHORUS. They are fair as well as good, Girofle, girofla ! And behave as maidens should, Girofld, girofla ! " SOLO. Give me one of them, I pray : Girofld, girofla ! Do not take them all away, Girofld, girofla ! CHORUS. No, indeed ! I could not spare — Girofla, girofla ! Even one bright curl of hair, Girofld, girofla ! 72 SOME GAMES THEY MIGHT HAVE PLAYED. SOLO. I must seek the wood alone, Girofld, girofla ! Since you will not give me one, Girofld, girofla ! CHORUS. , . In the dark and lonely wood, Girofld, girofla ! You can have no purpose good, Girofld, girofla! SOLO. Violets, both white and blue, Girofla, girofla ! There I find, and cowslips too, Girofld, girofla ! CHORUS. What if you should meet the king — Girofle, girofla ! Whilst your flowers gathering ? Girofld, girofla ! SOLO. I would make him courtesies three, Girofle, girofla ! Say, " Long live your Majesty ! " Girofld, girofla ! CHORUS. What if you should meet the queen ? Girofld, girofla ! That would startle you, I ween, Girofld, girofla ! SOLO. I would offer her my flowers, Girofld, girofla ! To perfume her royal bowers, Girofld, girofla ! GOOD-DAY, CECILIA I n CHORUS. What if, after all, you should — Girofld, girofla ! Meet the old witch in the wood ? Girofla, girofla ! SOLO. I would frighten her — this way, Girofld, girofla ! Till she dared no longer stay, , Girofla, girofla! GOOD-DAY, CECILIA ! 'mm^ ther had child but ^^ l-M-4 74 SOME GAMES THEY MIGHT HAVE PLAYED. pret . ty Ce - ci - li . a, Ah ! Ah ! Ce - ci - li - a ! ^i S -#-v- *Ti: feCT^JJ^a One of the players is blindfolded, and a long wand or stick given her. Her companions then join hands, and dance round her, singing the first verse of the rondo. When this is finished, they pause, and the blindfolded person, extend- ing her wand, touches one of them, saying, " Good-day, Cecilia ! " to which she must immediately respond by taking hold of the end of the wand, and repeating the same words. The other one then resumes, " Ah, ah, Cecilia ! " which having been duly echoed by her companion, if she does not then succeed in discovering her identity, she lowers her wand, and the other players resume their dance and song, again pausing at the end of the second verse. The person touched is, of course, allowed to disguise her voice to the best of her ability. GOOD-DAY, CECILIA! 75 My father had no child but me, He banished me across the sea : Good-day, my pretty Cecilia ; Ah, ah, Cecilia ! He banished me across the sea : The boatman gay then said to me, — " Good-day, my pretty Cecilia ; Ah, ah, Cecilia ! " The boatman gay then said to me, " What will you give me for my fee ? " Good-day, my pretty Cecilia ; Ah, ah, Cecilia ! " What will I give you for your fee ? Pve but these golden guineas three." Good-day, my pretty Cecilia ; Ah, ah, Cecilia ! " You've but these golden guineas three ? Then sing instead a song to me." Good-day, my pretty Cecilia ; Ah, ah, Cecilia ! " I'll sing instead a song to thee. The same the bird sings on the tree." Good-day, my pretty Cecilia ; Ah, ah, Cecilia ! " The same the bird sings on the tree; And this is what the song shall be : Good-day, my pretty Cecilia ; Ah, ah, Cecilia ! " And this is what the song shall be : When you guess right, we'll set you free." Good-day, my pretty Cecilia ; Ah, ah, Cecilia ! When the blindfolded person makes a correct guess, she changes places with the one v^^hose identity she has dis- covered. ^6 SOME GAMES THEY MIGHT HAVE PLAYED, THE NEW FRENCH FASHION. K^Tl—!-^ ^ Do you know how now they dance, Do w ^==^m -* — T I ^ i #-> — f- ;■ ; I J' n ;' i ^ -4 — #- you know how now they dance, Do you know how now i».rj t Hf -N^^^i^M they dance. In the new French fash ion? The leader of the game is called the captain, and his movements must be imitated by all the other players. THE NEW FRENCH FASHION 77 Captain and men dance round, joining hands, and sing- ing, — Do you know how now they dance \bis. - In the new French fashion ? until the air has been once gone through. They then pause ; and the captain says, " Attention to the word of command ! Right hand ! Left hand ! " at the same time stretching out one hand after another ; his companions doing the same. They dance round again, singing, — This is the way now we dance In the new French fashion ! SECOND. Let us go on with this dance \bis. In the new French fashion ! Captain. Attention to the word of command! Right hand ! Left hand ! Right foot ! Left foot 1 and — - This is the way now we dance In the new French fashion ! THIRD. Let us try again this dance \his* In the new French fashion ! Captain. Attention to the word of command ! Right hand! Left hand! Right foot! Left foot I Right side! {embracing the next player) diXid — This is the way now we dance In the new French fashion I FOURTH. Let us now conclude this dance In the new French fashion ! 78 SOME GAMES THE Y MIGHT HA VE PL A YED. Captain. Attention to the word of command ! Right hand ! Left hand ! Right foot ! Left foot ! Right side ! Left side ! (embracing the players on both sides of him) and — This is the way now we dance In the new French fashion ! The captain's movements must be imitated by all the other players, and he himself must be careful to execute »ach movement as he names it. SOWING OATS. i M ^ d d p^^? I y This is the way my fa - ther sows, This is the way my ■ I N_ f^ :ir=^ h=^ J^^ - > ^ ^ 1^1^ ^ tf % \ ^ fa - ther sows His as through his fields he goes. His f\i t t t ^ f— i-f— r ^g ^ SOWING OATS. 79 e t* :p=p: Xr- M oats as through his fields he goes; And when the grain spring *: ^^S IFt^ s ill ^ f-^ 7 f? 7 * 3 I Ifc Ps — V ^^^ from the ground, He folds his arms, and gaz - ing round, says, a^ • u-?- 7 r "^ =^ f=t ^ "T ^ ^ '^-j— 1^ "^ ^ ! f^=^ tf NT:t=l: Jl ;^ g -^-^ ■.trust " Soft rain, fall, and bright sun, shine. And make my oat - crop fine ! ' I ^ : ; ^ J ^ ^ p :S -T -r -# — #- f — r^ » I C I r ^ y — L^ u P7 i=^ 3PS The players then range themselves in a circle, and dance round without singing, whilst the air is played once. The •ong then commences thus : — So SOME GAMES THEY MIGHT HAVE PLAYED. I. This is the way my father sows \bis. His oats, as through his fields he goes ; \bis. {Here the players imitate the action of sowing) And, when the grain springs from the ground, He folds his arms, and, gazing round, {Here they all fold their arms, pirouette round, and return to their places) Says, " Soft rain fall, and bright sun shine, And make my oat-crop fine ! " II. This is the way my father reaps \lns. His oats ; and when they lie in he^s,-^ \bis* {Here they imitate the -action of reaping In yellow heaps, upon the ground, He folds his arms, and, gazing round, {Same movements as in preceding verse) Says, " Rain keep off, and bright sun shine, And make my oat-crop fine ! " III. This is the way my father binds \bis. His oats in sheaves ; and, when he finds \bis. {Each player here passes her right arm round her companion's waist) No more remaining on the ground, He folds his arms, and, gazing round, {Same movements as before) Says, " Thanks to rain and bright sunshine, My oat-crop has been fine." IV. This is the way my father's oats \bis. Are made to lose their husky coats ; \bis. {Here each player imitates on her companion's shoulder the action of threshing GALOO. 8l And when the flail rings on the ground, He folds his arms, and, gazing round, {Same movements as before) Says, " Come what will, come rain or shine, My crop is housed in time." THE BLACK ART. This is a very simple trick, which may cause much mysti- fication. There must be two initiated ones. The magician sends his partner out of the room, and announces that any one of the company may choose an object in the room, which his partner will recognize as soon as asked. Suppose a book on the table is chosen. The partner is called in. Magician points with his wand to a variety of objects, and finally to his shoe, a black ribbon, or any other black thing, immedi- ately before indicating the chosen book. The magician may make his list of questions long or short, as he thinks best. If the tests are repeated many times, it varies the game to substitute the white or red art, wherein the object mentioned last before the right one is white or red, instead of black. GALOO. Of much the same order of trick is "galoo," which seems quite as mysterious as the "black art.'* One leaves the room, the partner remaining in it, and selecting a person to be guessed. She then points to one and another, at each per- son saying, "Galoo.^" and the child in the hall answering " No," till the right one is reached. The secret lies in the fact that the one who spoke last before the room was left is the one chosen. If no one speaks, the partner is the one. 82 SOME GAMES THEY MIGHT HAVE PLAYED. TO PUT THREE CHILDREN THROUGH THE KEYHOLE. This is done by choosing three children, with a great deal of ceremony, and arranging them by the door, with orders to stand perfectly still till their turn comes. Then write their names, each on a separate slip of paper, and roll them up, so that they easily pass through the keyhole. HOW TWO CHILDREN MAY STAND ON A HANDKERCHIEF WITH- OUT TOUCHING ONE ANOTHER. Lay a handkerchief across the sill of a door, close the door carefully, and have a child stand on each side of it, on the bit of handkerchief which will extend beyond it. FRENCH BLIND MAN's BUFF. Children form in circle. One is in the centre, olindfolded, and furnished with a stick. The children dance round in the circle to music, if possible, until the blindfolded person knocks the stick on the floor. They then stop instantly. The blindfolded lifts the stick to some one in the circle, and asks a question. The one addressed answers in a disguised voice, holding his end of the stick close to his mouth to help in disguising the voice. As soon as the blindfolded guesses any one by means of the voice, he changes places with that person. bachelor's kitchen. All the children sit in a row or a circle. Any number can play. One is named "the old bachelor." He goes to each child, in turn, and says, " Have you any thing for a poor old bachelor like me .^ " Each player makes some answer, offering the " bachelor *' any thing, from a crying doll to an elephant. The bachelor then questions the giver about the article. The giver is onlv EASTER EGGS. 83 allowed to respond to the questions by repeating the name of his article. If he speaks an unnecessary word, or laughs, he must pay a forfeit. If a player has failed, or cannot by any device be made to fail, the bachelor passes on to the next player. EASTER EGGS. If a party is given on Easter Monday, or in Easter week, these may be made a very pretty and attractive feature. Decorated Easter eggs can, of course, be bought at con- fectioners', from simple painted eggs to gorgeous egg-shaped boxes filled with confectionery ; but pretty home-made ones can be easily prepared. First the eggs must be blown, or boiled hard. If boiled, they are less fragile, but, of course, cannot be kept very long. If blown, the hole can be covered with a little picture, or bit of ribbon, no matter what ornamentation is used for the rest of the egg-shell. For coloring the shell, Paas Dyes are effective, and easily used. They can be bought at any fancy-store. Directions for use are given with every package. An old-fashioned way of coloring the boiled eggs is to wrap a piece of bright silk, or cheap calico, around the eggs before putting them into water. The water must be cold when put on the stove, and must be allowed to boil at least twenty minutes. This method may make the shells very pretty, but it is not always sure of success. A third manner of decoration is to paste little decalco- manie pictures over the white shell. The pictures can be bought in sheets very cheaply. If the weather is warm at Easter time, the eggs can be hidden out of doors, undet bushes, or in low trees. Ingenuity can be exercised in mak- ing pretty little nests of dried moss or twigs, decorated with ribbons, which serve as resting-places for the eggs. The 84 SOME GAMES THEY MIGHT HAVE PLAYED. children are told to hunt for them, and of course are allowed to keep all that they find. Prizes can be offered to the most successful hunter and to those who find none. If the weather is not suitable, the eggs can be hidden in the house. Another pretty device for giving the Easter eggs is to have a candy or cotton-wool hen sitting upon an egg-filled nest on the tea-table. If she is made of candy, she can be broken up, after the distribution of the eggs, and form part of the feast. Or the eggs can be served in a dish called " the ostrich- nest," or "a dessert pie." This is a large tin pan filled with sand, in which the eggs are placed. It can be brought to the children at the close of their tea, and introduced with a little story of how Chinese eat birds' nests, and that the host has determined to let the children try whether they like it or not. Each child is given a saucer full of pie, and finds an Q,^'g. If there are only a few children, they could dig in the sand for the eggs which the ostrich has put there. For a party at a season of the year when Easter eggs are not suitable, it is pretty to give the children some little present. This may be done in a variety of ways. BONBONS. Paper caps and other articles of paper attire are done up in snapping bonbons, which may be bought at any confec- tioner's. BALLOONS. Get as many red balloons as there are children. Let them float in a room, with strings attached. Open the doors, and let the children rush in, and try to catch the strings. In New York white balloons with children's names in red letters can be made to order. SC/SSO/^ PRESENTS. 85 GRAB-BAG. Put a number of little presents in a bag, and let the chil- dren grab for them. PAPER BAGS. Fill a large paper bag with candy, suspend it to chandelier, blindfold the children, and let each, in turn, try to break the bag with a stick. When it breaks, all scramble for the candy. A clean sheet should be spread under the bag. SCISSOR PRESENTS. Tie the present to the chandelier with a string; lead child in turn to end of room ; blindfold him, turn him round, and let him march to chandelier, and cut down the present with scissors. 86 HINTS FOR PARLOR PLAYS, CHAPTER V. HINTS FOR PARLOR PLAYS. In all entertainments at home, whether tableaux, living statuary, charades, or short plays, it is well to have ready certain " properties," as they are called, that add greatly to the effect, yet need not be expensive. There are various books giving full directions for building a stage, and arran- ging every thing connected with it, often at great cost and trouble. With such work this book does not meddle, pre- ferring to give only what is possible anywhere, and need cost but a very small sum. But there are certain directions which apply to the simplest as well as to the most elaborate entertainment, and will help in "the arrangement of stage scenery, furniture, curtains, background, costumes, and light." A stage raised from the floor is of course most desirable ; but, where this cannot be, a parlor with folding-doors is next best. Where tableaux or living statuary are to be attempted, one person should be chosen as stage-manager, who has a good eye for color and grouping. A frame is the first essen- tial, and must be made to fit the front of the stage, whether this is a raised platform or merely a back-parlor. "Four* pieces of wood an inch thick, and about one foot in * The directions which follow are taken from a very carefully prepared little book entitled Parlor Exhibitions, edited by Mr George W. Bartlett, a name familiar to all the readers of St. Nicholas and Wide Awake, and published by Dick & Fitzgerald, New Y«rk. HINTS FOR PARLOR PLAYS. 8y width, are neatly joined at the corners ; and over the entire open space is fastened a coarse black lace, through which all the pictures are to be seen. The wooden frame must now be covered with glazed cambric, bright yellow in color, which is drawn tightly over the wood, and fastened securely, being neatly drawn over the edges. At regular intervals fasten large full rosettes of the cambric. It is a great im- provement, though not necessary, to mix black with the rosettes, and carry a narrow strip of black all round the inner and outer edges of the frame. Upon the inside of the frame fasten several curtains of colored gauze, — blue for ghostly scenes, and rose-color for fairy scenes. Arrange these so that they can be lowered or raised easily when required. The frame is now ready to put up. "If you have a pair of full, handsome crimson curtains, they are very effective placed upon a bar inside the frame, about one foot from it, and looped at the sides high enough to clear the heads of the performers. The drop-curtain (to be raised and lowered) should be hung about two feet from the frame, on the inside. " When your frame is up, fasten, at the sides and top, rods with gas-jets ; or, if gas is not available, lamps should be located at regular intervals to light the tableaux. "The frame now being ready, stretch across the sides of the stage and background dark gray or brown muslin, or woollen cloth, so as to shut out all objects behind the frames. " The best arrangement for a background is to stretch a strong wire down each side of the stage, and another one across the back, from which the dark muslin or woollen cur- tains hang down, forming a complete enclosure behind the frame. The wires should be placed so as to leave free pas- sage on each side of and behind the enclosure, and furnish 88 HINTS FOR PARLOR PLAYS, a space, out of sight of the audience, for putting away furniture and properties, etc., when not in use. " If the parlor is used as a stage, the floor should also be covered with plain dark cloth, that can be removed when the scene requires a parlor carpet. " It must be remembered that carpet and background must be of woollen material, or unglazed cotton. Any material that will shine in a strong light will ruin the effect of a tableau. Woollen is by far the best, as it completely ab- sorbs the light, and hangs in uniform folds. "In grouping, the colors must be very carefully selected to prevent either glaring or gloomy effect. Often a piece of gay drapery thrown over a chair will enliven a picture where all the figures are in the dark evening-dress of a gentleman of the present day ; but, where ladies are grouped, their own dress is usually sufficiently bright. "Never bring two bright colors against each other. If they are necessary in the same group, introduce between them some white, black, or neutral-tinted drapery. If they are light as well as bright, use gray or brown to harmon- ize them. "White should always be sparingly and judiciously used in tableaux, and should be of either very glossy fabric or very thin material ; as tulle, book-muslin, or lace. Thick white material, like lawn, marseilles, or pique, is not effective in vtableaux. " The arrangement of color in tableaux must be governed by the same rule as in painted pictures ; and it must be borne in mind, that not only the personages who are grouped for the picture are to be considered, but the accessories and background will also strike the eye of the spectator at the same time." SIMPLE TABLEAUX VIVANTS. 89 SIMPLE TABLEAUX VIVANTS, AND FRAME PICTURES. " We will now give a few plain directions by which effec- tive scenes can be arranged in any room, with but little trouble or expense. " Necessary Materials. — Ten wooden boxes of various sizes. " Two half-length picture-frames. '* Twenty feet of annealed wire. "Two dozen curtain-rings. " Twelve large lamps, or a gas-rod twelve feet long, with fifteen five-foot burners inserted at regular intervals upon it. " Six yards black tarlatan-muslin. " Some narrow pine boards. " The Stage and Frames. — If the room has no foldings doors, a thick curtain or bed-quilt must be contrived to draw across the room at one end, leaving a space about fifteen feet deep for the stage. This space is draped with curtains of maroon or dark-colored stuff by stretching wire across the sides and back of the stage near the ceiling, and hang- ing them by means of rings firmly sewed upon the upper edge of the cloth. This will form a square room, draped all around except in front. Then procure four upright pieces of narrow board, just the height of the room, for posts. Screw two of the posts, one on each side, on the back of each frame, so that, when each frame is raised upright upon its supporting posts, the bottom of both frames will be four feet and a half from the floor. Set the posts, with the frames upon them, upright, two feet and a half in front of the back-wall, and secure them, leaving a distance of four feet between the frames. Then nail four strips of board five inches wide, to form a larger frame, between the two smaller ones. The dimensions of the large frame are six go HINTS FOR PARLOR PLAYS. feet and a half in height between the top and bottom strips which form the frame ; the width, four feet, the same as the distance between the two smaller frames ; and the bottom strip two feet and a half above the floor." When this is completed, it will present the appearance of a large frame between two smaller ones. Cover all the space above and below the frames with clotli of the same color as that upon the back-wall, so that the frames will appear to be hanging upon the wall. Behind the frames, erect a platform two feet and a half above the floor, upon which the performers are to stand. If gas is available, fasten a rod, with burners upon it, over the top of the curtain or folding-doors. The best way is to make for it a shelf supported upon two posts about eight feet high. Over the burners, and behind them, tack sheets of common tin, bent so as to throw the light down. If you cannot get the tin conveniently, fasten behind the burners a white sheet, which will serve the purpose very well. If the curtain does not come to the ceiling, a shawl or thick cloth must be put above it, so that the light cannot show over the curtain into the darkened room where the audience sit. When gas cannot be had, and kerosene-lamps are used, holes must be made in the board to fasten them firmly in their places. Next make a veil of black tarlatan-mushn large enough to cover the space before the folding-doors or posts which support the curtain. The construction of the frames will be clearly understood by examining the diagram on the next page, in which all the details of measurements, and the relative positions of the frames, are very plainly exhibited in skeleton form, previous to applying the covering, which hides all of the construction except the three picture-frames. PLAN FOR THE FRAMES. 9< A B B A B * A^ \ / 4 FEET. b< \ / V y 3 FEET. g 3 FEET. i iR / \ / S A c C B S A ■>«■ / A B ^ A as; 1 Fig. 36. PLAN FOR THE FRAMES. A A A A, four posts set upright from floor to ceiling, two feet and a half from back of stage, and at distances apart marked on diagram. 92 HINTS FOR PARLOR PLAYS. Spaces marked B to be filled in with material to match the drapery back of the stage. Dotted line C is the raised platform behind the three frames, upon which the performers stand. Scenery is more easily managed than one would suppose. For the home of the drunkard, or of the starving seamstress, a small pine table holding a candle stuck in a porter bottle, and a broken chair, will be all that is needed. Flower-pots or a box of plants suggest a garden-scene. For a nursery, a cradle and some toys. For a prison-scene, an iron bedstead and a small table, no chairs. For a moonlight-scene, the light in front must be very dim. Cut a round hole in the background curtain, and cover it with silver lace, or white tarlatan with tinsel threads in it. A gold-fish globe full of water, and two candles or a lamp burning behind it, will give a good imitation of moonlight. Cambric, or highly glazed paper-muslin, will pass for satin in a dim light, and cotton velvet answers every purpose for richer dresses ; tissue and gold and silver paper making lace and ornaments of all sorts. A well can be imitated by sawing a barrel in two, cover- ing it with gray cloth tightly tacked on, and tacking white tape irregularly up and down to indicate the mortar which joins the stones. Nail on three laths for uprights and a cross-piece ; make a windlass from other pieces, and hang on a bucket and chain, and you have a well which can be used for a generation in historical or scriptural tableaux, and in country scenes. These arrangements are for tableaux on rather a large scale, or for living statuary. Two or three tableaux are given, illustrative of what may be done in this way. IGNORANCE IS BLISS. 93 FAITH, PEACE, AND GLORY. Construct a cross of board, six inches wide, and about seven feet high, the cross-bar being two feet six inches long. Cover the cross with white paper or muslin, and nail the foot of the cross against the back of a box to serve for a pedestal, and also covered with white. The box and cross are placed in the back centre, with another box of the same size behind it ; so that the foot of the cross will appear to be inserted in the centre of the pedestal. Faith stands upon the pedestal, her right hand resting on the bar of the cross, and her left hand around the staff, or upright portion of the cross. Peace lies at the foot of the cross, holding a white dove in the right hand. The drapery of Peace and Faith can be made of cotton sheets. Fame stands in the foreground, on the floor, holding a large trumpet. Her dress is made of turkey-red, plaited in front, and falling in plain folds to the feet. For this scene a chant may be sung. When the audience have seen enough of this, lower the curtain. The assistants rapidly clear the stage ; draw away the curtain which hides the picture, and in one minute the audience behold, to their astonishment, a set of tableaux. In one frame, IGNORANCE IS BLISS (iN THREE SCENES). Scene First. — At the left of the stage an old lady is asleep in a high chair. She is dressed in black, or in any plain dress ; wears a white apron ; and has a white shawl folded across her shoulders ; also a high cap and spectacles, which have fallen upon her nose. At the right, a girl sits at the spinning-wheel. She has on a bright, short skirt, 94 HINTS FOR PARLOR PLAYS. white waist, red or black bodice ; on her head a cap of lace gathered in a rosette, with very long ribbons streaming from it ; on her arms she has three ribbons, — one at two inches above the wrist, the next below the elbow, the third near the shoulder. A youth is kneeling at her feet, holding her left hand. She looks archly at him, regardless of the uncon- scious grandmother. The youth has ribbons upon his arms, like the girl. He has no coat on, but bright suspenders joined in front with two bars. Scene Second. — The lovers remain as before, except that the grandmother has wakened, and is just raising her broom, with the intention of waking the young man also. Scene Third. — The grandmother holds the lovers apart at arm's-length, by grasping one ear of each. The girl is crying at the left side ; and the youth, at the right of grand- mother, looks sheepishly down, with his finger in his mouth. Next, draw away the back curtain again, and show more pic- tures, which the assistant has had time enough to prepare. In the centre frame stands a gleaner. In one small frame, a child with a red cape over her head, and a little basket in her hand, personates Red Riding-Hood ; and in the other, a marchioness. the execution of JOAN OF ARC. Have no furniture upon the stage. In the centre place a wooden stool about six or eight inches high, and behind this have a tall, rough stick about nine feet long : a young tree stripped of branches is the best. Around these pile fire- wood, with the bark on, some four feet high, in a loose, irregular pile. The Joan of Arc selected should have long dark hair, and dark eyes, and her face well powdered, with lines of India-ink under the eyes and in the cheeks, to give it a ghastly, emaciated look. The hair must be parted be- LIVING STATUARY. 95 hind, and drawn forward to hang loosely over each shoulder in front. The dress, of white woollen or linen, must hang in long, full folds from the throat, below the feet, as like a shroud as possible, and ungirdled. The figure must stand upon the stool, the dress falling to cover it ; and a rough rope must be knotted around the waist and the tall wood behind, as if tying the Joan to the stake. The hands should be crossed over the breast, holding a rosary and cross, and the head thrown slightly back, the eyes lifted, the lips a little apart, as if in prayer. Very slow music adds to the effect, and the light should be very dim. This is a very good scene, as only one performer is re- quired, the arrangement is easy, and there is no furniture used. Living statuary is the most troublesome and difficult of all parlor entertainments, yet one of the most beautiful and satisfactory ; and the directions given here are from one who has made hundreds of experiments, and foun