Books: Entertainments for Home, Church and School
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Frederica Seeger >> Entertainments for Home, Church and School
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If the game is played smartly, and care taken not to pull the cord,
the knight may often be kept revolving for a considerable period before
he discovers the secret.
"HE CAN DO LITTLE."
This is another "sell" of almost childish simplicity, but we have seen
people desperately puzzled over it, and even "give it up" in despair.
The leader takes a stick (or poker) in his left hand, thence transfers
it to his right, and thumps three times on the floor, saying: "He can
do little who can't do this." He then hands the stick to another person,
who, as he supposes, goes through exactly the same performance; but
if he does not know the game, is generally told, to his disgust, that
he has incurred a forfeit, his imitation not having been exact.
The secret lies in the fact that the stick, when passed on, is first
received in the left hand and thence transferred to the right before
going through the performance.
"THROWING LIGHT."
Two of the company agree privately upon a word (which should be one
susceptible of two or three meanings), and interchange remarks tending
to throw light upon it. The rest of the players do their best to guess
the word, but when any of them fancies he has succeeded, he does not
publicly announce his guess, but makes such a remark as to indicate
to the two initiated that he has discovered their secret. If they have
any doubt that he has really guessed the word, they challenge him,
i.e., require him to name it in a whisper. If this guess proves to be
right, he joins in conversation, and assists in throwing light on the
subject; but if, on the other hand, he is wrong, he must submit to
have a handkerchief thrown over his head, and so remain until by some
more fortunate observation he shall prove that he really possesses the
secret.
We will give an example. Mr. A. and Miss B. have agreed on "bed" as
the word, and proceed to throw light upon it, alternating upon its
various meanings of a place of repose, a part of a garden, or the bed
of a river.
Miss B. I don't know what your opinion may be, but I am never tired
of it.
Mr. A. Well, for my part, I am never in a hurry, either to get to it
or to leave it.
Miss B. How delightful it is after a long, tiring day!
Mr. A. Yes. But it is a pleasure that soon palls. The most luxurious
person does not care for too much of it at a stretch.
Miss B. Oh, don't you think so. In early spring, for instance, with
the dew upon the flowers!
Mr. A. Ah! you take the romantic view. But how would you like it beneath
some rapid torrent or some broad majestic river?
Miss C. (thinks she sees her way, and hazards a remark). Or in a sauce?
Mr. A. I beg your pardon. Please tell me in a whisper what you suppose
the word to be?
Miss C. (whispers) Fish! What! isn't that right?
Mr. A. I am afraid you must submit to a temporary eclipse. (Throws her
handkerchief over her face.)
Mr. A. to Miss B. You mentioned spring, I think. For my own part, I
prefer feathers.
Mr. D. (rashly concludes, from the combination of "spring" and
"feathers," that spring chickens must be referred to). Surely you would
have them plucked?
Mr. A. (looks puzzled). I think not May I ask you to name your guess?
Oh, no, quite out. I must trouble you for your pocket handkerchief.
Miss B. It is curious, isn't it, that they must be made afresh every
day?
Mr. A. So it is; though I confess it never struck me in that light
before. I don't fancy, however, that old Brown, the gardener, makes
his quite so often.
Miss B. You may depend that he has it made for him, though.
Miss C. (from under the handkerchief). At any rate, according as he
makes it, his fate will be affected accordingly. You know the proverb?
Mr. A. (removing the handkerchief). You have fairly earned your release.
By the way, do you remember an old paradox upon this subject, "What
nobody cares to give away, yet nobody wishes to keep?"
Miss E. Ah! now you have let out the secret. I certainly don't wish
to keep mine for long together, but I would willingly give it away if
I could get a better.
Miss B. Tell me your guess. (Miss E. whispers.) Yes, you have hit it.
I was afraid Mr. A.'s last "light" was rather too strong.
And so the game goes on, until every player is in the secret, or the
few who may be still in the dark "give it up" and plead for mercy.
This, however, is a rare occurrence, for, as the company in general
become acquainted with the secret, the "lights" are flashed about in
a rash and reckless manner, till the task of guessing becomes almost
a matter of course to an ordinarily acute person.
CHAPTER VII
CHURCH AND SCHOOL SOCIALS
CHARADES: "CICERO"--"ATTENUATE"--SUGGESTED WORDS--"METAPHYSICIAN"--
CHARADES ON THE GRECIAN ISLANDS
ACTING CHARADES
In some form or other the game of charades is played in almost every
country under the sun. In acting charades the characters and situation
are made to represent a play upon a word or words by portraying some
feature which vividly brings such word or words to the mind.
Here is a popular one: Send one-half the company out of the room, into
another which may be separated by double doors; portieres are best for
the purpose. The party in the inner room think of some word which can
be represented entire, in pantomime or tableau, and proceed to enact
it. After they have made up, the door opens, and discloses half a dozen
girls standing in a line, while one of the acting party announces that
this striking tableau represents the name of a famous orator. The
others failing to guess are told that Cicero (Sissy-row) is the orator
represented.
Again, just as the clock strikes ten, the doors opening reveal a lady
eating an apple or any convenient edible, while a gentleman who stands
near points to the clock and then at her. This being correctly guessed
to represent "attenuate" (at ten you ate), the other side goes from
the room and the previous performers become the audience.
There are a host of words which with a little ingenuity may be turned
to account. For example:
Ingratiate. (In gray she ate.) Catering. (Kate. Her ring.) Hero. (He
row.) Tennessee. (Ten, I see.) The following are also good charade
words: Knighthood, penitent, looking-glass, hornpipe, necklace,
indolent, lighthouse, Hamlet, pantry, phantom, windfall, sweepstake,
sackcloth, antidote, antimony, pearl powder, kingfisher, football,
housekeeping, infancy, snowball, definite, bowstring, carpet, Sunday,
Shylock, earwig, matrimony, cowhiding, welcome, friendship,
horsemanship, coltsfoot, bridegroom, housemaid, curl-papers, crumpet.
We will take the word "windfall," as affording a ready illustration
of the pantomime charade. "Wind" may be represented by a German band,
puffing away at imaginary ophicleides and trombones, with distended
cheeks and frantic energy, though in perfect silence. "Fall" may be
portrayed by an elderly gentleman with umbrella up, who walks
unsuspectingly on an ice slide and falls. The complete word "windfall"
may be represented by a young man sitting alone, leaning his elbows
on his hands, and having every appearance of being in the last stage
of impecuniosity. To produce this effect, he may go through a pantomime
of examining his purse and showing it empty, searching his pockets and
turning them one by one inside out, shaking his head mournfully and
sitting down again, throwing into his expression as much despair as
he conveniently can. A letter carrier's whistle is heard; a servant
enters with a legal-looking letter. The impecunious hero, tearing it
open, produces from it a roll of stage banknotes, and forthwith gives
way to demonstrations of the most extravagant delight, upon which the
curtain falls.
In another the curtain rises (i.e., the folding-doors are thrown open),
and a placard is seen denoting, "This is Madison Square," or any other
place where professional men congregate. Two gentlemen in out-door
costumes cross the stage from opposite sides and bow gravely on passing
each other, one of them saying, as they do so, "Good morning, doctor."
The curtain falls, and the audience are informed that the charade,
which represents a word of six syllables, is complete in that scene.
When the spectators have guessed or been told that the word is
"met-a-physician," the curtain again rises on precisely the same scene,
and the same performance, action for action, and word for word, is
repeated over again. The audience hazard the same word "metaphysician"
as the answer, but are informed that they are wrong--the word now
represented having only three syllables, and they ultimately discover
that the word is "metaphor" (met afore).
In another charade is seen a little toy wooden horse, such as can be
bought for fifty cents. The spectators are told that this forms a word
of two syllables, representing an island in the Aegean Sea. If the
spectators are well up in ancient geography, they may possibly guess
that Delos (deal hoss) is referred to. The curtain falls, and again
rises on the same contemptible object, which is now stated to represent
a second island in the same part of the world. The classical reader
will at once see that Samos (same hoss) is intended. Again the curtain
rises on the representation of an island. Two little wooden horses now
occupy the scene, Pharos (pair 'oss) being the island referred to.
Once more the curtain rises, this time on a group of charming damsels,
each reclining in a woebegone attitude, surrounded by pill boxes and
physic bottles, and apparently suffering from some painful malady.
This scene represents a word of three syllables, and is stated to
include all that has gone before. Cyclades (sick ladies), the name of
the group to which Delos, Samos and Pharos belong, is of course the
answer.
A comical charade is a performance representing the word "imitation."
The spectators are informed that the charade about to be performed can
be exhibited to only one person at a time. One person is accordingly
admitted into the room in which the actors are congregated. The unhappy
wight stares about him with curiosity, not unmingled with apprehension,
fearing to be made the victim of some practical joke; nor is his comfort
increased by finding that his every look or action is faithfully copied
by each person present. This continues until he has either guessed or
given up the word, when a fresh victim is admitted, and the new initiate
becomes in turn one of the actors. Sometimes, however, the victim
manages to turn the laugh against his persecutors. We have known a
young lady, seeing through the joke, quietly take a chair and remain
motionless, reducing the matter to a simple trial of patience between
herself and the company.
CHAPTER VIII
CHURCH AND SCHOOL SOCIALS
LIVING PICTURES--TABLEAUX: DIGNITY AND IMPUDENCE--SAILOR'S FAREWELL--HOME
AGAIN--VARIOUS TABLEAUX
LIVING PICTURES
There are few better amusements for a large party in the same house,
with plenty of time on their hands, than the organization of _tableaux
vivants,_ or living representations. Tableaux, to be successfully
represented, demand quite as much attention to detail as a theatrical
performance, and scarcely less careful rehearsal. The first element
of success is a competent stage manager. His artistic taste should be
beyond all question, and his will should be law among the members of
his corps. The essentials of a "living picture" are very much the same
as those of a picture of the inanimate description, viz., form, color
and arrangement. If, therefore, you can secure for the office of stage
manager a gentleman of some artistic skill, by all means do so, as his
technical knowledge will be found of the greatest possible service.
Before proceeding to plan your series of pictures, it will be necessary
to provide the "frame" in which they are to be exhibited. If the room
which you propose to use has folding doors, they will of course be
used. A curtain, preferably of some dark color, should be hung on each
side, and a lambrequin or valance across the top. Where circumstances
admit, the directions we give elsewhere as to the construction of a
stage and proscenium for private theatricals may be followed with
advantage. In any case, a piece of fine gauze should be carefully
stretched over the whole length and depth of the opening. This is
found, by producing softer outlines, materially to enhance the pictorial
effect. If it is practicable to have a raised stage, it will be found
of great addition. Where this cannot be arranged, it is well to place
a board, six inches in width, and covered with the same material as
the rest of the frame, across the floor (on edge) from side to side,
in the position which the footlights would ordinarily occupy.
The next consideration will be the curtain. The ordinary domestic
curtains, hung by rings from a rod or pole, and opening in the middle,
will serve as a makeshift; but where a really artistic series of
tableaux is contemplated, the regular stage curtain of green baize is
decidedly to be preferred.
The question of "background" will be the next point to be considered.
_Tableaux vivants_ may be divided into two classes, the dramatic, i.e.,
representing some incident, e.g., a duel, or a trial in a court of
justice, and the simply artistic, viz., such as portray merely a group,
allegorical or otherwise, without reference to any particular plot or
story. For the former, an appropriate scene is required, varying with
each tableau represented; for the latter, all that is necessary is a
simple background of drapery, of such a tone of color as to harmonize
with, and yet to give full prominence to, the group of actors. The
material of the latter as also the covering of the floor, should be
of woolen or velvet, so as to absorb rather than reflect light. A
lustrous background, as of satin or glazed calico, will completely
destroy the effect of an otherwise effective tableau.
The lighting is a point of very considerable importance--the conditions
appropriate to an ordinary theatrical performance being here reversed.
In an ordinary dramatic performance all shadow is a thing to be avoided,
the point aimed at being to secure a strong bright light, uniformly
distributed over the stage. In a _tableau vivant_, on the contrary,
the skillful manipulation of light and shade is a valuable aid in
producing artistic effect. Footlights should, in this case, either be
dispensed with altogether or at any rate used very sparingly, the
stronger light coming from one or the other side. A good deal of
experiment and some little artistic taste will be necessary to attain
the right balance in this particular. Where gas is available it will
afford the readiest means of illumination. What is called a "string
light," viz., a piece of gaspipe with fishtail burners at frequent
intervals, connected with the permanent gas arrangements of the house
by a piece of india rubber tube, and fixed in a vertical position
behind each side of the temporary proscenium, will be found very
effective; one or the other set of lights being turned up, as may be
necessary. Where a green or red light is desired, the interposition
of a strip of glass of that color, or of a "medium" of red or green
silk or tammy, will give the necessary tone. Colored fires are supplied
for the same purpose, but are subject to the drawback of being somewhat
odoriferous in combustion. Where, as is sometimes the case, a strong
white light is required, this may be produced by burning the end of
a piece of magnesium wire in the flame of an ordinary candle.
These points being disposed of, costume and make-up will be the next
consideration. As to the latter, the reader will find full instructions
in the chapter devoted to private theatricals. With respect to costume,
as the characters are seen for only a few moments, and in one position,
this point may be dealt with in a much more rough-and-ready manner
than would be advisable in the case of a regular dramatic performance.
The royal crown need only be golden, the royal robe need only be trimmed
with ermine-on the side toward the spectators; indeed, the proudest
of sovereigns, from the audience point of view, may, as seen from the
rear, be the humblest of citizens. Even on the side toward the
spectators a great deal of "make believe" is admissible. Seen through
the intervening gauze, the cheapest cotton velvet is equal to the
richest silk; glazed calico takes the place of satin; and even the
royal ermine may be admirably simulated by tails of black worsted
stitched on a ground of flannel. Lace may be manufactured from cut
paper, and a dollar's worth of tinsel will afford jewels for a congress
of sovereigns. Of course, there is not the least objection to his
wearing a crown of the purest gold, or diamonds of the finest possible
water (if he can get them), but they will not look one whit more
effective than the homely substitutes we have mentioned.
A "ghost effect" may, where necessary, be produced by the aid of a
magic lantern; the other lights of the tableau being lowered in order
to give sufficient distinctness to the reflection.
Dramatic tableaux may often be exhibited with advantage in two or more
"scenes"; the curtain being lowered for a moment in order to enable
the characters to assume a fresh position. Examples of this will be
found among the tableaux which follow.
Having indicated the general arrangements of _tableaux vivants_, we
append, for the reader's assistance, a selection of effective subjects,
both simply pictorial and dramatic.
I. DIGNITY AND IMPUDENCE.
(With background of plain drapery, remaining unchanged.)
A magnificent flunkey, in a gorgeous suit of livery, standing, with
left hand on hip, right hand in breast, side by side with a very small
and saucy "boy in buttons," upon whom he looks down superciliously.
Boy with both hands in trouser pockets and gazing up at his companion
with an expression of impertinent familiarity.
II. THE FORTUNE-TELLER
A pretty girl, in simple outdoor costume, standing sideways to the
spectators, with downcast eyes and a half-smiling, half-frightened
expression. The fortune-teller faces her and holds the young lady's
right hand in her left, while her own right hand holds a coin with
which she is apparently tracing the lines of the young lady's palm,
at the same time gazing with an arch expression into her face, as
though to note the effect of her predictions. The fortune-teller should
be in gipsy costume, a short, dark skirt and a hood of some brighter
material thrown carelessly over her head. She should be of a swarthy
complexion, with a good deal of color and jet-black hair.
III. FAITH
A large cross, apparently of white marble (really of deal, well washed
with whitening and size) occupies a diagonal position across the center
of the stage, facing slightly toward the left. Its base or plinth is
formed of two or three successive platforms or steps of the same
material. At the foot a woman kneels, clasping her arms around the
cross, as though she had just thrown herself into that position in
escaping from some danger. Her gaze should be directed upward. A loose
brown robe and hood, the latter thrown back off the head, will be the
most appropriate costume. Magnesium light from above.
IV. HOPE
A female figure, clothed in sober gray, and seated on a very
low stool, facing right and gazing heavenward. (If a "sky" background
is procurable, a single star should be visible, and should be the
object of her gaze.) Her right elbow rests upon her right knee, and
her right hand supports her chin. Her left hand hangs by her side, and
at her feet lies the emblematic anchor. Red light, not too strong.
V. CHARITY
A ragged boy, barefooted and clasping a wornout broom, sits huddled
on the ground left, but facing right. His arms are folded and rest on
his knees, and his head is bent down upon them, so as to hide his face.
A girl, in nun's costume, is touching him on the shoulder, and
apparently proffering help and sympathy.
VI. SINGLE LIFE
Scene, a tolerably well-furnished but untidy sitting-room, with numerous
traces of bachelor occupation, such as crossed foils on the wall, a
set of boxing-gloves under a side table, boots, hats and walking-sticks
lying about in various directions. On one corner of the table some one
has apparently breakfasted in rather higgledy-piggledy fashion. Near
the table sits a young man, with a short pipe in his mouth and one
foot bare, while he is endeavoring to darn an extremely dilapidated
sock.
VII. THE SAILOR'S FAREWELL
Scene, a cottage home. A young man, in sailor costume and with a bundle
on his shoulder, stands with his right hand on the latch of the door,
right center, but looking back with a sorrowful expression at his
wife--personated by a young lady in short black or blue skirt, red or
white blouse, and white mob-cap--who sits with her apron up to her
eyes in an apparent agony of grief. Three children are present, the
two elder crying for sympathy, the youngest sitting in a crib or cradle
and amusing himself with some toy, in apparent unconsciousness of his
father's approaching departure. Soft blue light from left. Music, "The
Minstrel Boy."
VIII. HOME AGAIN.
The same scene. Children a couple of years older. (This may be effected
by suppressing the youngest and introducing a fresh eldest, as much
like the others as possible.) The sailor of the last scene, slightly
more tanned, and with a fuller "made-up" beard, has apparently just
entered. The wife has both arms round his neck, her face being hidden
in his bosom. Of the children, the eldest has seized and is kissing
her father's hand, while the two younger each cling round one leg.
Soft red light. Music, "A Lass that Loves a Sailor," or "When Johnny
Comes Marching Home Again."
VARIOUS TABLEAUX
We subjoin a list of favorite subjects, leaving their actual arrangement
to the taste and intelligence of the reader. It will usually be safe
to follow the hints in good illustrations.
"Choosing the Wedding Gown." A charming scene after Mulready, from the
"Vicar of Wakefield."
"William Penn Signing the Treaty with the Indians."
"The Drunkard's Home," "Signing the Pledge," "The Temperance Home."
See some good illustrations.
"Mary Queen of Scots and the Four Maries."
"Mr. Pecksniff Dismissing Tom Pinch."
"The Song of the Shirt."
"Little Red Riding-Hood."
"The Duel from the 'Corsican Brothers.'"
"Heloise in Her Cell."
"William Tell Shooting the Apple From His Son's Head," etc., etc., etc.
CHAPTER IX.
CHURCH AND SCHOOL SOCIALS
WAX WORKS GALLERY: MRS. JARLEY'S COLLECTION--CHINESE GIANT--TWO-HEADED
GIRL--CAPTAIN KIDD--CELEBRATED DWARF--YANKEE--CANNIBAL, ETC.
The idea is that of a waxwork exhibition, the characters being
personated, after a burlesque fashion, by living performers. Each
"figure" is first duly described by the exhibitor, and then "wound up"
and made to go through certain characteristic movements.
The collection is supposed to be that of the far-famed Mrs. Jarley,
of "Old Curiosity Shop" celebrity. She may be assisted, if thought
desirable, by "Little Nell" and a couple of manservants, John and
Peter. The costume of Mrs. Jarley is a black or chintz dress, bright
shawl and huge bonnet; that of Little Nell may be a calico dress and
white apron, with hat slung over her arm. John and Peter may be dressed
in livery suits, and should be provided with watchman's rattle,
screwdriver, hammer, nails and oil-can. At the rise of the curtain the
figures are seen ranged in a semicircle at the back of the stage, and
Little Nell is discovered dusting them with a long feather brush. Mrs.
Jarley stands in front, and delivers her descriptive orations, directing
her men to bring forward each figure before she describes it. After
having been duly described, the figure is "wound" up, and goes through
its peculiar movement, and when it stops it is moved back to its place.
If the stage is small, or it is desired that the same actors shall
appear in various characters in succession, the figures may be exhibited
in successive groups or compartments, the curtain being lowered to
permit one party to retire and another to take their places. After the
whole of the figures of a given chamber have been described, the
assistants wind them all up, and they go through their various movements
simultaneously, to a pianoforte accompaniment, which should gradually
go faster, coming at last to a sudden stop, when the figures become
motionless and the curtain falls.
Mrs. Jarley may be made a silent character, sitting on one side, and
occasionally making believe to dust or arrange a figure, while the
"patter" is delivered by a male exhibitor. Or Mrs. Jarley may, if
preferred, be suppressed altogether, and the exhibitor appear as (say)
Artemus Ward, or in ordinary evening costume, without assuming any
special character. A good deal of fun may be made of the supposed
tendency of any particular figure to tip over, and the application,
by John and Peter, of wooden wedges, penny pieces, etc., under its
feet to keep it upright. Supposed defective working, causing the figure
to stop suddenly in the middle of its movements, and involving the
rewinding or oiling of its internal mechanism, will also produce a
good deal of amusement. The "winding up" may be done with a bed-winch,
a bottle-jack key, or the winch of a kitchen range, the click of the
mechanism being imitated by means of a watchman's rattle, or by the
even simpler expedient of drawing a piece of hard wood smartly along
a notched stick. (This, of course, should be done out of sight of the
audience.) The movement of the figure should be accompanied by the
piano, to a slow or lively measure, as may be most appropriate.
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