Part 11

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

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

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

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

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

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

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

The following words are easy to be acted:—

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

TABLEAUX VIVANTS.

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

The Sibyl.

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

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

THE FIAT OF FATE.

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

The Fiat of Fate.

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

BLUE.

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

VARIEGATED.

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

WHITE.

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

SCARLET.

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

GREEN.

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

LILAC.

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

CHECKERED.

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

BROWN.

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

SLATE.

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

PURPLE.

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

YELLOW.

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

PINK.

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

FLOWER FATE.

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

FATE BOX.

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

The Puzzler.

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

CONUNDRUMS.

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

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

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

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

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

6. Why do we all go to bed?

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

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

9. When is a door not a door?

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

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

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

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

14. What sea would make the best bedroom?

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

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

17. Why is the letter D like a sailor?

18. Why is grass like a mouse?

19. Why is a bald head like heaven?

20. What two letters make a County in Massachusetts?

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

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

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

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

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

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

27. Who was the fastest woman in the Bible?

28. How did Adam and Eve leave Paradise?

29. Why was not Noah a good mouser?

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

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

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

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

34. Why is a sword like lager beer?

ENIGMAS, CHARADES AND RIDDLES.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

These lines suggested the following enigma:—

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

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

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

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

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

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

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

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

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

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

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

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

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

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

An Enigmatical Dinner.

PARADOXES AND PUZZLES.