Give every one in the room a number. And when you call for a number announce a letter of the alphabet. The person called must, before you count six, apply the letter to the name of a place and to two things he might see there.

For example:

No. 1. Y.

I am going to York to see Youngsters and Yachts.

No. 2. B.

I am going to Baltimore to see Belles and Beaux.

COMPOSITION.

Arrange for it beforehand, and therefore have the requisite slips of paper, and nicely sharpened lead pencils ready for all, but if you are not ready there is a certain satisfaction in knowing that part of the amusement may be in the preparation. In the latter case, have a competition as to who will make the sharpest points on the pencils, or cut the papers the most accurately; when all is prepared, however, give slips of paper and lead pencils to your friends, and ask them to write the words you will name. State that they will have fifteen minutes in which to write a composition, and put into the same every word you have mentioned. No one can look over his neighbor’s paper, and each composition must be signed with the writer’s full name.

When the time has expired, all the compositions are collected and read aloud, votes are taken as to which is the best, and the individual having received the highest number of votes is entitled to a prize.

Example: Wreath, Mausoleum, suicide, farewell, another, conjointly, starred, huntsman’s song, early, queen, historical, many, dramas.

Alfred, Lord Tennyson, was for many years Poet Laureate. He wrote several poems, descriptive, historical, national and otherwise. He also wrote three notable dramas, one called Becket, known as Thomas À Becket, Chancellor of England, afterwards Archbishop of Canterbury, another called Queen Mary, the ill-starred daughter of Henry the Eighth, and Harold, who was Earl of Wessex, afterwards King of England.

Early in life Tennyson wrote several poems, conjointly with his brother Charles. Among these were the Huntsman’s Song, The Grave of a Suicide, The Fall of Jerusalem, and the Bard’s Farewell.

Tennyson’s monument is in that great English mausoleum, Westminster Abbey. On the dark stone slab, the visitor may frequently see a wreath of laurel, so placed in grateful memory.

As this game would oftener than otherwise be played informally, the matter of prizes cannot be too simple. If you are in the birch-bark section, why not make a bookmark or a napkin ring out of the bark? Should you be at the seashore make a nest of shells. For example, find a large mussel shell, and next to it put one a size smaller, and so on fit in the others, graduating them evenly, the top one being very small. Or give a curious shell, which may be used as an ornament or receptacle.

INITIAL PLATTER TWIRLING.

This is very amusing, but the players must be on the alert or they will surely be caught.

Before the game commences, every player must tell the initials of his and her name, and to aid memory, slips of paper may be given, on which each one may write his initials.

When the sentence is called by the person twirling the platter, all the company must eagerly listen, or else the platter will fall to the floor before the one who should have run for it, recognizes he is the one called. If the platter is not caught by the proper person before it ceases to whirl, he or she must exchange places with the one who has whirled the platter. As the sentences are impromptu, they are apt to be absurd and ridiculous, but in any case they should be correct, or the one making the error must give a forfeit. Each sentence must have as many words as the initials of the one called, and each word must commence with the right letter. Example: Frank Fraser Phillips might be called French Fried Potatoes. Or Janet Belle Roberts might be June Brings Roses.

This game should cause much merriment. It quickens thought and language, and it is suitable to all ages,—the boys and the girls, or their fathers and mothers.

OVER, OVER, WHOSE HEAD IS IT OVER?

This is a clever trick, and it requires two persons. The idea is for the confederate out of the room to correctly name the individual over whose head the other person is holding a wand.

A person takes a cane, which he carelessly points toward some one; while so doing he is cleverly explaining what he is about to do, asking people to move, in order to further mystify, etc. The confederate notes where the cane is pointing, then goes from the room, and the one holding the wand puts it over several heads, saying “Over,” which the confederate echoes, until finally the question comes, when the wand is over the person before surreptitiously pointed out, “Whose head is it over?” The confederate’s answer is naturally correct.

TEAKETTLE.

This may be played by a number of people.

A noun which has two or more meanings is selected. One may be thought of by any of the players, and in describing the same he should use the word “teakettle” instead of the proper name. All meanings of the word must be explained, but not too clearly at the first, else the “teakettle” will be at once guessed. When any of the listeners think they have discovered the word, instead of naming it, he should ask a question regarding the “teakettle” which would indicate to the one describing the same, whether the interrogator was correct. If correct, he too joins in the description, and throws light on the word. This should be continued until all the company show by their conversation that they know the noun selected. Not infrequently it is necessary to talk very plainly, or throw “electric light” on the teakettle before it is guessed.

Example: The teakettle I have in my mind, has been from the creation of the world, and will continue until the world ends. It is also peculiar in being of the most service during the winter, and forms a distinguished position in the homes of all American households at Thanksgiving dinners. My teakettle is cultivated on the farm of many a plain countryman, but graces the table of many a fastidious city millionaire, and the longer it lasts, the shorter it grows. Already somebody is sure they know the word, and says, “Your teakettle may be squandered, may it not?” and another asks, “Wasn’t it Queen Elizabeth who would have given her crown for a diminutive teakettle?” And yet another asks, “Is it not savory, and of great assistance to the poultry cook?” And thus light is thrown, until the teakettle in question is known to be another name for thyme, and time.

AUTHORS.

This is a popular game for students young or old.

Some one who understands should have charge.

Give each person the same sized piece of writing paper and a lead pencil. On the piece of paper he must write a familiar quotation, and then pass it to his left-hand neighbor. The one who receives it must add the author’s name, and also his own. If he does not know the author, he must write underneath the quotation the word “Unknown,” and his own name.

Five minutes are allowed in which to write a quotation, and three minutes to affix the name of the author, and the signature of the writer. The papers are then collected by the person in charge, who will then proceed to read aloud the quotations, authors, and signatures.

All persons unable to write a quotation must pay a forfeit. All unable to transcribe the name of the author, must also pay a forfeit.

Should there be a dispute regarding an author, the one in charge must decide.

Example:

AUTHORS.

No. 2.

The hostess should form a ring with herself in the centre, and to make it more comfortable all should have chairs. Number each person, naming yourself last. Number one repeats a quotation, Number two tells the author, Number three gives another quotation, and Number four gives the author, and so on. The person in charge, who is the one in the centre of the ring, keeps the game under proper control and time. No longer than ten seconds should be allowed for each person to respond. Every wrong guess of an author demands a forfeit. Surely, every one can give a quotation.

Example:

No. 1, gives,

No. 2, Mother Goose.

No. 3,

No. 4, Longfellow.

No. 5,

No. 6, Tennyson.

GHOST.

This is a spelling game. A person gives a letter, not necessarily having any particular word in mind, his next neighbor must think of a word beginning with this letter, and then say the second letter, the third person must think of a word using the two letters previously given, and add the third and so on, to the end of the word. A person is not a ghost until he is four times caught.

The penalties are to be challenged rightfully, to challenge wrongfully, or to complete a word. The challenging consists in doubting a letter which a player has given. A player may say, “I challenge you,” when a person has added a letter, if he feels sure there is no word spelled in that order. If rightfully challenged, the speaker has one penalty against him as ghost. If, on the contrary, he gives the word which he had in his mind, as he is bound to do when challenged, the challenger is one-fourth of a ghost.

Every word finished makes one-fourth of a ghost, but it is proper to add a letter and thus form a new syllable. If a syllable of a word is a complete word in itself, the one pronouncing the last letter has incurred the penalty. For example, take the word revelry. R-e-v-e have been given, and unless the fifth player can think of n, and change it to revenue, or some other word, he must say l, and thus the word ends.

Whoever is ghost has to keep absolute silence throughout the game.

CELEBRATED AUTHORS.

One member of the company should leave the room, while those who remain determine what celebrated author he is to represent.

On his return, he must in all respects be treated as that author would be were he the guest of the evening. He must be entertained by conversation and questions which would be of interest. Neither the conversation nor the questions may be misleading, but on the contrary helpful to the discovery of himself. He may be Shakespeare or Kirk Monroe, or if a girl she may be Lucy Larcom or Mary E. Wilkins.

Suppose Shakespeare is the distinguished guest. Of course all polite people would rise to receive him, and the hostess would offer him the most comfortable chair; every one’s manner would indicate that they were in the presence of greatness.

The conversation would naturally be of England and the changes that had come to her within the last three hundred years. That the town in which he was born had changed greatly; that the streets once so full of mud and refuse were now not only clean and tidy but almost uncomfortable with too great cleanliness and neatness. That the town owned a very pretty theatre, ornamented with statues of heroes and heroines. That a fine drinking fountain had lately been put there by a philanthropic visitor from Philadelphia, now dead. That the townspeople had been known to express their delight over the fact that he had been so obliging as to be born there.

He might be asked how he liked Queen Elizabeth, and if it was true she was as fond of him as had been expressed, and if so why didn’t he write something In Memoriam of her?

If the company discovers that the person who is personating Shakespeare is not able, after a few minutes of opportunity, to guess who he is, they should then throw on more light, by either asking him more prominent questions, or in connection with each other indicate more clearly. Ask some such question as, How far was the Mermaid Tavern from the home of John Milton? and, Did you meet Ben Jonson there? or did you call for each other and go and dine together?

There is great difference of opinion as to the correct way to spell your name. In the register which marks your birth, we noticed in reading the surname, that the letter E was left out of the first syllable. Do you put it in the last syllable, or is it out of that also? Did the boys ever call you Bill? Isn’t Warwickshire beautiful? What do you think of the river Avon? In what year did Bacon write Hamlet?

Of course, by this time, the celebrated Author would be guessed and some one else would leave the room, another Author be selected, and the game proceed as before.

THE ARSENAL.

The players must be seated in a circle, with the understanding that whoever smiles must pay a forfeit. No. 1 turns to his neighbor on the left and sings, while nodding his head,

The person addressed replies in the same tune, nodding,

Then both sing and nod,

No. 2 then turns to No 3, nodding and singing the same question, who replies in the same way, only singing,

And so complete the circle, the chorus being added to by one or more each time.

MAGICAL READING.

Ask your audience to be seated, while you talk for a few minutes on the wonders of occult science. Having mystified them as much as possible, you arouse their curiosity by announcing that you are now prepared to state whatever they may choose to draw or write, provided the sentence is a short one, by pressing the words or picture against your forehead, instead of reading with the eye.

You then distribute lead pencils, and equal sized slips of paper to all who wish to try, and take your seat at a table, on which you put a work-basket, with the request that when they are finished, they will fold the papers over once and then drop them in the basket.

When this is done you draw out any paper you may first touch; unfolding it so that you cannot read, you press it against your forehead, being careful to cover the entire paper with the fingers of each hand, which touch each other. You must explain that this contact is necessary for your revelation. After some minutes spent in thought, you read it and immediately draw another paper, laying each one before you, behind the basket.

The trick is simple, and consists in reading any word or sentence which may first occur to you, for the first paper, but reading the words thereon, or noting the picture when you lay it behind the basket. The picture or words on the first paper are read for the second, the second read for the third, and so on, until the last one has been pressed to the forehead, in removing which it is hidden by being crushed in the hand, or in whichever way may prove the easiest at the time, as the last paper is a necessity to make up for the one you falsely read.

It is not often that this trick is detected, unless it is bunglingly shown, and for that there is no excuse, as it is ridiculous to exhibit magic without long and careful practice.

Always change as much as possible the method of exhibition and never show this feat twice in one evening. Remember that diversion is an important feature in all magical entertainment; therefore you should be a capital story-teller, have a fund of funny stories on which you call at a moment’s need, for the attention of your friends must be constantly turned from your nervousness.

Every one understands that they are being deceived. You must be a clever magician or they will discover how.

LAUGHABLE RHYMES.

This game may amuse any number, if those playing will each pleasantly do their part.

The company should be seated in a circle and the one in charge repeats from memory, reads from a book, or makes up a line of poetry. The individual to whom he addresses it, must add a line of the same rhyme and sense.

When the director has given his line, he runs three times around the outside of the circle, or he may spin a large tin platter. The second line of poetry must be added before he completes his third round of the circle, or before the platter has ceased to spin. Should the line fail to be given in time, the one to give it must pay a forfeit. The director then gives another line to another person, the game thus continuing until all have taken part, or the players desire a change.

The director may change any time with any one of the company. Poetry of merit is not expected.

Examples:

Director, (giving a line),

“Miss Beecher’s class came down the street.”

Answer.

“And every one looked perfectly sweet.”

Director,

“Ring, ring, rosy,”

Answer,

“I’m your Josy.”

Director,

“I wandered by the brook-side.”

Answer,

“I saw you on my morning ride.”

Another way of playing laughable rhymes, is to give each one of the company a piece of paper and a pencil. Each paper has a verse written on it of the same number of lines in length. But these lines are incomplete, as each line is minus one word. This word may be the last one of a line, or it may be any of the others. Five minutes is a fair time to allow for the completion of these rhymes. Then the papers should be collected and read aloud, the reader indicating the supplied words. All failing to complete their verses within the time allowed must pay a forfeit.

Examples:

Supplied word in parentheses above

For older people, try and pique their memories; therefore some familiar poem should be selected, or some sonnet of Shakspeare.

This game is more suitable for scholars; those who have made a study of biography and definition. It is readily divided in two parts, and each part may be played separately, but it is more satisfactory to unite them. The first part is to guess who is personated, and the second is to write definitions. If everybody understands or is studying French it would be a change to personate a Frenchman, and, in like manner, if every player understands or is studying German, personate a German, perhaps some author, whose book is authority in school.

The leader of the game commences by stating, “I have compiled a dictionary,” and if he is personating a German, before proceeding further he must give that clue. Example: “Ever since the appearance of the vocabulary to my German Reader in 1870, I have been receiving, from various quarters, suggestions and solicitations of a more general German dictionary, to be constructed upon the same plan.” And if he is personating a Frenchman he must be equally helpful.

After this the leader is silent until asked questions, which he must correctly answer. Should he be representing the notable Noah Webster, the following would readily discover him.

“Were you born in the United States?”

“Yes.”

“Were you born in the South?”

“No.”

“In the East?”

“Yes.”

“Are you living?”

“No.”

“Were you very old when you died?”

“Yes, in my eighty-fifth year.”

“What college did you attend?”

“Yale.”

“What was your father’s business?”

“He was a farmer and justice of the peace.”

“Tell me about your mother.”

“She was a descendant of William Bradford, the second Governor of Plymouth Colony.”

“Were you married?”

“Yes.”

“How many children had you?”

“Six; one son and five daughters.”

By this time any player knowing the biography of Mr. Webster would have guessed him.

The leader now distributes to each person equal sized pieces of paper, on which the same and several words have been written. He also gives them lead pencils. The test is to write the best definitions for these words, which, if honestly done, is without consultation. A minute is allowed for each word, and the papers being signed are then collected, and by the leader read to the audience. With a dictionary for reference there will be no dispute as to who has won.

Test words should be common ones, as they are much more difficult to define. For instance, Defy,—a challenge. Fortieth,—following the thirty-ninth, or preceded by thirty-nine units, things or parts, the quotient of a unit divided by forty. To-morrow,—a day after the present. Wrist,—the joint connecting the hand with the arm. Rather than such as Homing Home,—used specifically of carrier pigeons. Subpoena,—a summons for witnesses. Xanthine,—yellow dyeing matter in certain plants and flowers. Islamism,—the Mohammedan religion.

This game played with the right people, will give a delightful evening.

DESERT ISLAND.

Make believe that you have heard of people living on a desert island, on which there is absolutely nothing for their comfort or enjoyment.

Distribute an equal number of pieces of wood, and ask your guests to cut out utensils for cooking, furniture, etc. Or give papers, and let each in the game draw articles, or take the papers and fold to shape articles. A limit of time must be named, and in the end, whoever has made or drawn or folded the greatest number of recognizable articles has won the game.

THE BUTTERFLY TEST.

Cut white writing paper in uniform size—eight in width by ten in length. Have as many pieces of paper as the number of painters, also several extra ones, as undoubtedly the butterfly makers would want to try again and yet again. One palette would suffice for a large company, for every one likes to watch the development of his neighbor’s work, almost as much as he does his own. But, of course, more palettes may be used if desired. Oil paints of divers colors must be placed on the palette, having a larger amount of the yellow paint than of any of the others, for not only are there more yellow butterflies, but yellow often conspicuously appears in almost every butterfly. As many palette-knives will be required as palettes. Brushes are not needed.

Put one butterfly on one piece of paper only. Fold the paper you use exactly in half, creasing it the longest way, thus giving it the appearance of an ordinary sheet of letter paper. This done, take the palette-knife and on its point and edge gather a little of the paint, putting the knife into the different portions, and so getting the colors which you desire. It is better to allow the paint to extend about half to two-thirds of an inch along the inside edge of the knife. All the paint you would need would not more than cover a five-cent nickel.

When the paint is on the palette-knife, open your sheet of paper, and in the exact centre of the inside crease, put the paint. This is done by putting the edge of the point of the knife directly in the crease, and pressing downward, and also a trifle towards the right.

Be satisfied with whatever leaves the knife the first time. Do not attempt to pick the paint off, or stick more on. Then carefully remove all paint from the palette-knife. For this you will need a small piece of soft cotton cloth. Where many people are at work several cloths should be in readiness.

The palette-knife now being clean, fold the paper over in the crease first made, being careful that you have folded it even, otherwise, the wings of the butterfly would be out of proportion, one being higher than the other. When the paper is folded you will distinctly see the blotch inside, and in this press heavily with the end of the palette-knife, starting at the crease and form an upward long arch, then press again from the centre towards the right, and arch in the same way, only proportionately shorter. The two arches should meet.

When you have pressed over and over again on the same places, and find that it is impossible to further spread your paint, open the sheet of paper, and inside you will see a butterfly delicately tinted and veined, his wings full spread as if to alight on a white clover, or other sweet-scented wild flower. In pressing out the paint you can more fully control the palette-knife, as well as protect the paper, if you put your fingers close to the paint. Sometimes a perfect butterfly is thus made the first time, but with a little practice any one may make butterflies as they will.

Before painting commences, each artist should draw from a receptacle a small paper, which will bear a number. This paper must be held until the prize is given, as an inexpensive prize would better be awarded to the one painting the most natural butterfly.

When the one in charge calls a number, the one having it at once goes forward and paints a butterfly on a paper bearing the same number as the one he drew. No matter how many butterflies this individual may paint, each paper on which the painting is done must bear the number drawn. As each butterfly is painted it is placed on the top of a large table. When all are through painting, the judge who has hitherto not been in the room, examines all of the butterflies, and decides according to number who is entitled to the prize. Example, No. 23.

Should there be two or more equally well done, those who painted them must each try again. The best of these is then awarded the prize.

A SKATING PARTY.

All taking part should be in costume. The costumes may relate to a special anniversary, such as Lincoln’s or Washington’s Birthday, or a St. Valentine revel. They may also be simply fantastic or pretty, or they may recall the old Knickerbocker days.

The fÊte would have to be under the direction of patronesses. To their decision is left the programme, time, place, etc. Suppose for example, it is Washington’s Birthday night, some one of the number should represent General Washington. Other characters should be prominent Revolutionary heroes, as John Hancock, General Gates, General Lafayette, etc. Then, too, Mary and Martha Washington should be on skates, and Betty Washington, George Washington’s sister, and other notable women of the Declaration of Independence period. But besides these, there should be Clowns and Dumpies.

PROGRAMME.

Cornet solo, followed by bugle call. Enter General Washington on skates, followed by two valets.

Fifteen minutes of general skating in costume.

A sleigh race between the most prominent generals, and their wives.

Fifteen minutes of general skating in costume.

A musical match between the clowns and dumpies.

Fifteen minutes of general skating in costume.

Then all skate, the onlookers and those taking part, General Washington leading.