WOODLAND LOVERS (THE)

5 to 30 or more players.

House party.

Each player is given a paper on which the following is written or dictated, the words in parentheses being omitted and a blank space left. The game consists in each player filling in these blank spaces with the name of some tree. The host or hostess at the end reads this list of words in order, the player winning who has the largest number correct. The same tree may be mentioned more than once.

He took her little hand in his own big (palm). "I love (yew), dear," he said simply. She did not (sago) away, for it had been a case of love at first sight. She murmured something in (aloe) voice. They had met one day upon a sandy (beech), and from that (date) onward, they cared not a (fig) for the outside world. Her name was (May Ple). She was a charming girl. Rosy as a (peach); (chestnut) colored hair; (tulips) like a (cherry); skin a pale (olive). In fact, she was as beautiful (as pen) or brush ever portrayed. The day he met her she wore a jacket of handsome (fir). He was of Irish descent, his name being (Willow) 'Flaherty. He was a (spruce) looking young fellow. Together they made a congenial (pear). But when did the course of true love ever run smooth? There was a third person to be considered. This was (paw paw). Both felt that, counting (paw paw) in, they might not be able to (orange) it. What if he should refuse to (cedar)! Suppose he should (sago) to her lover? And if he should be angry, to what point won't a (mango)? Well, in that case she must submit, with a (cypress) her lover in her arms for the last time, and (pine) away. But happily her parent did not constitute (ebony) skeleton at their feast. He was guilty of no tyranny to reduce their hopes to (ashes). They found him in his garden busily (plantain). He was chewing (gum). "Well," he said thoughtfully, in answer to the question: "Since (yew) love her I must (cedar) to (yew). You make a fine young (pear). Don't cut any (capers) after you're married, young man! Don't (pine) and complain if he is sometimes cross, young woman! I hope to see (upas) many happy days together!"



ZOO

5 to 10 players.

Parlor; schoolroom.

Each player is provided with ten slips of paper, numbered conspicuously from one to ten, but arranged irregularly in a pile. The players gather around a table or sit in a circle, each one being given the name of an animal; the sport of the game will consist largely in choosing unusual or difficult names, such as yak, gnu, camelopard, hippopotamus, rhinoceros, Brazilian ant-eater, kangaroo, etc.

Each player holds his slips with the numbers turned downward. The first player turns up his upper slip so that the number is visible and lays it down in front of him. In doing this he must turn it away from himself, so that the other players see it first; the next player then does the same. Should the two slips happen to coincide in number, for instance, should the first player have turned up number three and the second player turn up number three, they must each at once call each other's names, as "Yak!" "Hippopotamus!" or whatever name was assigned to them. The one who first calls the other's name gives away his slip to that other, the object being to get rid of one's slips as fast as possible.

Should the slip turned up by the second player not correspond in number to that turned by the first, he also lays it down in front of him; the third player then turns his up, and this is continued around the circle until a slip is turned that corresponds in number with any that has already been turned up, when those two players must immediately call each other's names, as before explained. The player wins who first gets rid of all of his slips.

For schools, a class should divide into small groups for this game, which may be made to correlate with geography or history, by using proper names from those subjects instead of names of animals.

For older players the game may be made very funny also by assigning to each player the name of a patent medicine instead of the name of an animal, and playing cards may be used instead of the numbered slips.



FEATS AND FORFEITS



FEATS AND FORFEITS

Athletic feats requiring skill, strength, or agility are a very interesting and amusing feature for gymnasiums and many other conditions, and contain possibilities for some excellent and vigorous physical development. As some of these may be used for forfeits (although some kinds of forfeits cannot take the place of athletic feats), these two classes of amusements are included here in one chapter. The searcher for forfeits will do well, however, to look through the section on feats.

I. CONTESTS FOR TWO: WRESTLING MATCHES AND TUGS OF WAR

The following group of wrestling matches and races make a very interesting and vigorous form of game with which to close a lesson in formal gymnastics. For instance, if pupils are in a formation that admits of immediately turning toward partners without change of formation, this may be done and any of these games then used without further rearrangement of a class. When used in this way the wrestling matches are generally determined by the winning of the best two out of three trials.

These wrestling matches and races may of course be used also for forfeits.

BALANCE WRESTLE.—Two contestants stand each in a forward stride position, the right foot being lengthwise on a line (the same line for both contestants) and the left foot back of it, turned at right angles to the right foot with the heel touching the same line. The toes of the right feet should touch. In this position players grasp right hands. The objects of the game are to make the opponent (1) move one or both feet, or (2) touch the floor with any part of the body. A point is scored for the opponent whenever a player fails in one of these ways. After a trial has been made with the right hand and foot, the wrestle should be repeated with the left hand and foot extended, and so on alternately.

BOUNDARY TUG.—Two lines are drawn on the floor, five feet apart. Within this space two contestants face each other, the right toes touching and each stepping backward in a strong stride position with the left foot. Both players grasp a cane or wand, and each tries to pull the other across one of the boundary lines.

HARLEQUIN WRESTLE.—This is a one-sided wrestle between two persons. Each stands on one leg; they then grasp right hands and each tries to make the other lower his upraised foot to the ground, or touch the floor with his free hand. The opponent may not be touched with the free hand.

INDIAN WRESTLE.—Two players lie on their backs side by side, with adjacent arms locked. The feet should be in opposite directions. At a signal the adjacent legs are brought to an upright position and interlocked at the knees. The wrestle consists in trying to force the opponent to roll over from his position.

INTERFERING.—This is one of the hopping relays, but the shoulders may not be used in it. Two contestants fold arms, and each, while hopping on one foot, tries to make his opponent put the other foot to the floor. As neither arms nor shoulders may be used, this is done entirely by a side movement of the free leg.

KNEE AND TOE WRESTLE.—Two players sit on a mat, facing each other. The knees should be drawn up closely and the players should be near enough together to have the toes of each touch those of the opponent. Each player passes a stick under his knees, and then passes his arms under it and clasps his hands in front of his own knees. The wrestling begins at a signal and consists in each player trying to get his toes under those of his opponent and throw him backward.

LUNGE AND HOP FIGHT.—A circle six feet in diameter is drawn on the ground. One player takes a lunge position forward, so that his forward foot rests two feet within the circle. The second player stands in the circle on one foot with arms folded across the chest. The hopper tries to make the lunger move one of his feet. The lunger in turn tries to make the hopper put down his second foot or unfold arms. Either player is defeated also if he moves out of the circle. The lunger may use his hands and arms.

PUSH AND PULL.—Two lines are drawn on the floor at an interval of five feet. Within these lines two players take their places with two stout sticks, canes, or wands between them, each player grasping one end of each cane. The object of the feat is to push the opponent across the boundary line behind him, or to pull him over the nearer boundary line.

The relative positions of the opponents may be reversed and the same struggle gone through back to back, still holding the canes.

This differs from Boundary Tug in the way the wands are held and the fact of there being two wands.

ROOSTER FIGHT.—This is an old Greek amusement. A ring six feet in diameter is drawn on the ground. Two players are placed in this, who stoop and grasp each his own ankles. In this position they try to displace each other by shouldering. The player loses who is overthrown or who loosens his grasp on his ankles.

SHOULDER SHOVE.—For this, the players are divided into groups of five; each group marks on the ground a circle about eight feet in diameter. All five players stand within the circle. Four of them must fold their arms across the chest and hop on one foot. The object of the game is for these four players to push the fifth one, who is It, out of the circle with their shoulders. They may not use their hands. The fifth one may stand on both feet and use his arms. Should one of the hoppers place both feet on the ground or unfold his arms, he must leave the circle. The player who is It may avoid the hoppers by running and dodging. Should he be pushed out of the circle, the four hoppers are considered to have won the game.

WAND AND TOE WRESTLE.—Two players sit on the floor with knees bent and toes touching those of the opponent. One wand is held between them, which both grasp so that the hands are placed alternately; there should be a short space in the center between the hands. The object of the tug is to pull the opponent up and over the dividing line. This is an excellent form of wand wrestle and will hold the interest of a class for months, especially if a continuous score be kept for the same contestants.

WAND TWIST.—Two players stand and grasp at or near shoulder height a wand or cane held in a horizontal position. The object of one player is to raise or twist the wand out of the horizontal position, and of the other player to prevent this. The one who is trying to hold the wand in the horizontal position should have his hands next to each other in the center of the wand. The one who tries to twist the wand should place his hands outside of and touching those of the player who is resisting.

WAND WRESTLE.—One player holds a wand or cane at full arm's length above his head, the hands being at about shoulder width distant on the wand, which should be held horizontally. The other player tries to pull the wand down to shoulder height. He may pull it forward at the same time, as it may be almost impossible in some cases to lower it without this forward movement.

II. RACES

ESKIMO RACE ON ALL FOURS.—The performers stand with hands and feet on the floor, the knees stiff, the hands clinched and resting on the knuckles. The elbows should be stiff. In this position a race is run, or rather "hitched," over a course that will not easily be too short for the performers.

This is a game of the Eskimos, reported by Lieutenant Schwatka.

ESKIMO JUMPING RACE.—Fold the arms across the breast with the knees rigid and the feet close together. Jump forward in short jumps of an inch or two.

This is the regular form of one of the games of the Eskimos, reported by Lieutenant Schwatka.

III. MISCELLANEOUS FEATS

ANKLE THROW.—This feat consists in tossing some object over the head from behind with the feet. A bean bag, book, or basket ball, is held firmly between the ankles. With a sudden jump, the feet are kicked backward so as to jerk the object into an upward throw, which should end in its curving forward over the head. It should be caught as it comes down.

ARM'S LENGTH TAG.—Two players stand each with an arm extended at full length at shoulder level, and try to touch each other without being touched in return. This will require some rapid twisting, dodging, and bending. A touch on the extended hand does not count.

BACKSLIDING.—The hands are placed palm to palm behind the back with the fingers pointing downward and thumbs next to the back. Keeping the tips of the fingers close to the back and the palms still together, the hands are turned inward and upward until the tips of the fingers are between the shoulders, pointing upward toward the head, and the thumbs outside.

CATCH PENNY.—One elbow is raised level with the shoulder, the arm being bent to bring the hand toward the chest. Three or four pennies are placed in a pile on the bent elbow. Suddenly the elbow is dropped and the same hand moved downward quickly in an effort to catch the pennies before they fall to the ground.

CHINESE GET-UP.—Two persons sit on the floor back to back with arms locked, and retaining such relative positions they try to stand upright.

COIN AND CARD SNAP.—Balance a visiting card on the tip of the middle or forefinger. On top of the card place a dime or nickle; this should be exactly over the tip of the finger and in the middle of the card. Snap the edge of the card with a finger of the other hand, so that the card will be shot from under the coin and leave the coin balanced on the finger.

DOG COLLAR.—Two players on hands and knees on a mat, rug, or cushion, face each other with about three feet distance between them. A knotted towel or a strap, or anything that will not chafe or cut the flesh, is thrown over both heads like a collar, being long enough to encircle the two. The head should be held well upward to prevent this from slipping off. At a signal, the players pull against each other, each trying to pull the opponent from the mat or to pull the collar from around his neck.

DOG JUMP.—The performer holds a stick horizontally between the forefingers of his hands, pressing with the fingers to keep it from falling. Keeping the stick in this position, he should jump over it forward and then backward. The same feat may be performed by pressing together the middle fingers of the two hands without a stick and jumping over them forward and backward, as a dog jumps through curved arms.

DOT AND CARRY TWO.—This is a spectacular feat of strength for three performers, A, B, and C. They stand in line, side by side, A standing in the center with B on his right and C on his left. He stoops down and passes his right hand behind the left thigh of B, and clasps B's right hand. He then passes his left hand behind C's right thigh, and takes hold of C's left hand. B and C pass each one arm around A's neck, and A, by raising himself gradually to a standing position, will find that he is able to lift the other two from the ground.

HAND STAND SALUTE.—A player is required to stand on his hands with legs stretched at full length in the air, and then wriggle the feet at the ankles.

HEEL AND TOE SPRING.—A line is drawn on the floor. The performer places his heels against this line, bends down, grasps the toes with the fingers underneath the feet and pointing backward toward the heels. He then leans forward slightly to get an impetus, and jumps backward over the line.

This same feat may be reversed. Standing in the same position, the performer toes a line and jumps over it forward.

JUG HANDLE.—The performer places his hands across the chest, with the tips of the middle fingers touching and the elbows extending on each side like a jug handle. Another player tries to pull the arms apart, either by working at them separately or together. Jerking is not permissible; the pull must be steady.

Until one has tried this, it is surprising to find that even a strong person cannot overcome a weaker one in this position.

LAST AND FIRST.—Place one foot immediately behind the other. On the rear foot place a small object, such as a light book, a slipper, or a small stick. With a sudden movement lift the forward foot, at the same instant hopping on the rear foot with a kicking movement forward, so as to throw the object forward beyond a given mark.

LATH AND PLASTER.—Rub the top of the head with one hand, and simultaneously pat the chest with the other hand. Reverse the movement, patting the head and rubbing the chest. Do each of these things with the hands changed, the hand that was on the chest being placed on the head, and vice versa.

PICK ME UP.—The performer is required to stand against the wall, drop a handkerchief at his feet, and without bending the knees stoop and pick up the handkerchief.

PICK UP AND PUSH UP.—A line is drawn about two feet from a wall, which is toed by the performer, facing the wall. Between the line and the wall is placed a stool directly in front of the performer. The player leans forward, puts the top of his head against the wall, picks up the stool with his hands, and pushes himself backward to an upright position, getting an impetus from the head only, and lifting the stool as he does so.

PINCUSHION.—On a chair having a cane or rush or wooden bottom a pin is stuck on the edge of the seat, or just under the edge, well around on one side toward the back. The performer starts sitting in the chair, and without leaving it, or touching his hands or feet to the floor, must reach around so as to remove the pin with his teeth.

PRAY DO.—A line is marked on the floor. The performer stands with his toes on the line, and without using his hands or moving his feet, kneels down and gets up again.

RABBIT HOP.—This should be done on a soft mat or cushion. The performer kneels; then sits back on the heels and grasps the insteps with his hands. From this position he leans suddenly forward, and while doing so pulls the feet up from the floor. In the instant that his weight is released, he hitches forward on the knees, the two knees moving forward alternately.

ROTARY.—Raise both arms above the head. Move both with a rotary motion in opposite directions, describing a circle in the air, with the right hand moving forward and with the left moving backward simultaneously.

Extend both arms in slanting position downward from the shoulders, elbows straight. Describe circles in the air with both arms, the hands at about the level of the hips, the right turning forward and the left backward.

"RUBBER NECK."—In this feat a kneeling performer is required to pick a card up from the floor with his teeth, both hands being behind his back. The card is placed in front of him at the length of his forearm and hand from one knee. This distance is measured by placing the elbow against the knee and stretching the forearm and the hand at full length on the floor; the point which the middle finger reaches is the point at which the card must be placed. The card has the ends folded down so as to rest like a small table on the floor. The nearer edge of it must rest on the line determined as above specified.

SCALES.—Hold a weight out at arm's length for a given time.

SIAMESE TWINS.—Two players (two boys or two girls), of about the same height and weight, stand back to back and lock arms. The object is to walk in one direction, using first the legs of one player and then those of the other. This may be done by one player moving his feet forward slightly. This is accomplished by both bending the knees, and the player on the side toward which progress is to be made sliding his feet forward. Bracing his feet in the new position, he straightens his entire body upright, drawing the rear player after him until both are in the same relative position as at the start. This constitutes one step, and is repeated over as long a distance as may be specified or desired.



SKIN THE SNAKE.—This is a feat for several performers—from five to fifty or more, and is suitable for the gymnasium. The players stand in a line, one behind another, with a short distance between. Each player bends forward and stretches one hand backward between his legs, while with the other hand he grasps that of the player in front, who has assumed the same position. When all are in position, the line begins backing, the player at the rear end of the line lying down on his back, and the next player walking backward astride over him until he can go no farther, when he also lies down with the first player's head between his legs. This backing and lying-down movement continues until all the players are lying in a straight line on the floor. Then the last one to lie down gets up and walks astride the line toward the front, raising the man next behind him to his feet, and so on until all again are standing in the original position. The grasp of hands is retained throughout.

It hardly need be said that this game is of Chinese origin. It makes a very funny spectacle, especially if done rapidly.

STOOPING PUSH.—Draw a line on the floor. Toe it with the feet spread wide apart. Reach around outside of the legs and grasp a light dumb-bell or other object of similar weight with both hands; throw or slide it forward on the floor from between the feet, the hands being kept together throughout. The object is to see how far the dumb-bell may be thrown without the player losing his balance.

TANTALUS.—The left foot and leg and left cheek are placed close against the wall. The right foot is then slightly lifted in an effort to touch the left knee. Having reached it, the position should be steadily maintained for a few moments.

THUMB SPRING.—This is similar to the Wall Spring, but differs both in method of execution and in general difficulty. The performer places the inner side of the thumbs against a wall, or the edge of a table or window sill may be used. No other part of the hands should touch this surface. The feet should then be moved as far backward as possible. The body will then be leaning forward; and from this position, without any movement of the feet, a sudden push should be made from the thumbs, the object being to recover the upright position. It is well to begin with a slight distance and work up to a greater one.

WALL PIVOT.—One foot is placed against a wall at about the height of the knee. The other foot is thrown over it, the body making a complete turn in the air, so that the free foot may touch the ground in time to sustain the weight before a tumble. Thus, if the right foot be placed against the wall, the left leg will be thrown over it and the body turned over toward the right, the left foot being replaced on the floor to receive the weight. This is usually easier if done with a short run, and is best practiced on a thick gymnasium mattress.

WALL SPRING.—The performer should stand facing a wall and a short distance from it. Keeping his feet in one spot, he should lean forward and place the palms of his hands flat against the wall; from this position he should then make a sudden push and spring backward to an upright position. With some practice, this may be done with a very considerable distance between the feet and the wall.

WOODEN SOLDIER.—The arms are folded across the chest. In this position the performer is required to lie down on the back and rise again to an upright standing position, without assistance from either hands or elbows.

WRIGGLE WALK.—The performer stands with heels together and toes pointed outward. Simultaneously he raises the right toes and the left heel, and turns them toward the same direction, the right toes inward and the left heel outward, pivoting on the opposite toe and heel. This is then reversed, so as to continue progress in the same direction. Resting on the toes and heel just moved, he lifts the opposite ones; that is, the left toes moving outward, the right heel moving inward, and so progresses for a specified distance.

IV. FORFEITS

Many of the things described in the previous section of this chapter may be used as forfeits.

Forfeits are used in many games as a penalty for failure, and may be an occasion for much merriment. The usual method of collecting and disposing of the forfeits is for each player when he fails, to deposit with some one person designated for the purpose some article which shall serve to identify him when the penalties are assigned. This may be a ring, some small article from the pocket, a bonbon, a pebble, or flower, a bit of ribbon, or other ornament of dress.

When the game is over, the forfeits are redeemed. For this purpose one player is chosen as the judge, who is seated. Behind him stands a player who takes one article at a time from the pile of collected forfeits, holds it over the head of the judge so that he may not see it, and says, "Heavy, heavy hangs over thy head."

The judge then asks, "Fine or superfine?" (meaning, boy or girl?)

The holder answers, "Fine," if a boy, and "Superfine," if a girl, and adds, "What must the owner do to redeem it?"

The judge then pronounces sentence. Part of the sport of this imposing of penalties for forfeits is the ignorance of the judge as to who is the owner of the forfeit.

The following penalties are appropriate for the paying of forfeits, and many of the feats previously described are also suitable.

The practice of forfeits is prehistoric, and is thought to have originated in the custom of paying ransom for immunity from punishment for crimes. As used in games of later years, the main object has been to make the offender ridiculous.

AFFIRMATIVE, THE.—A player is required to ask a question that cannot be answered in the negative. The question is, "What does y-e-s spell?"

BLARNEY STONE.—The player is required to pay a compliment to each person in the room in turn.

BLIND WALTZ.—Two players are blindfolded and told to waltz together.

CHEW THE STRING.—Two bonbons are wrapped in paper and tied each to a piece of string six yards in length. These are placed on the floor at a distance from each other, the free end of each string being given to one of the two players who are assigned to this penalty. At a signal, each player puts his piece of string in his mouth, and with hands behind back chews rapidly at the string, trying to get it all into the mouth. The one who first gets to his piece of candy is rewarded by having both pieces.

CONSTANTINOPLE.—The player is required to "Spell Constantinople, one syllable at a time." As soon as he gets to the letter "i," all of the other players shout the following syllable, "No!" The speller naturally thinks that he has made a mistake, and commences again. Each time that he gets to the letter "i," the same cry of "No" is made, and the poor victim may become very much confused, and doubt his own memory as to spelling before he discovers the trick.

CORDIAL GREETING, A.—This penalty is imposed upon two players at once. They are blindfolded and led to opposite corners of the room. They are then told to go toward each other and shake hands.

CRAWL, THE.—The player is required to leave the room with two legs and come back with six. He does this by bringing a chair with him when he returns.

DANGEROUS POSITION, A.—The player is required to sit upon the fire. This is done by writing the words "the fire" on a slip of paper, and then sitting on it.

ENNUI.—The player is required to yawn until he makes some one else yawn.

FOOTBALL.—A ball the size of an orange is made of crumpled paper. It is placed on the floor, and the player is required to stand at a point three times the length of his foot from the ball. From this point he is required without bending the knees to kick the ball out of the way.

FORUM, THE.—The player is required to make a speech on any subject assigned by the judge.

FOUR FEET.—The player is required to put four feet against the wall. He does this by placing the feet of a chair against the wall.

GRASSHOPPER.—The player is required to hold one foot in his hand and hop on the other around the room.

HAND-TO-HAND.—A player is given some small article to hold in each hand, such as a flower or lead pencil, and required to stretch both arms at full length sideways, the right arm to the right and the left arm to the left. He is then required to bring both articles into one hand without bending shoulders or elbows; or, to state it differently, without bringing the hands any nearer together. This may be done by placing one of the objects on a table with one hand, turning around, and picking it up with the other hand.

HAYSTACK.—A player is required to make a pile of chairs as high as his head, and then take off his shoes and jump over them. (Jump over the shoes.)

HOTTENTOT TACKLE.—The player is required to cross the arms and grasp the left ear with the right hand and the nose with the left hand. He is then suddenly to release the grasp and reverse the position of the hands, grasping the right ear with the left hand and the nose with the right hand. This should be repeated several times in quick succession.

INSIDE AND OUT.—The player is required to kiss a book inside and outside without opening it. He accomplishes this seemingly impossible task by taking the book out of the room, kissing it there, coming back, and kissing it again inside the room.

JINGLES.—The player is given two pairs of rhymes and required to write a verse of four lines ending with the prescribed rhymes. This same forfeit may be imposed on several different players at once, an added interest arising from comparison of the finished verses.

KNIGHT OF THE RUEFUL COUNTENANCE.—This requires two players, one who is assigned to be the knight and the other to be the squire.

The squire takes the knight by the arm and leads him before each lady present. The squire kisses the hand of each lady in turn, and after each kiss carefully wipes the knight's mouth with a handkerchief. The knight must display his grief at the loss of so many opportunities by preserving throughout an unsmiling countenance.

LITTLE DOG TRAY.—The player is required to crawl under the table on all fours and bark like a dog.

LITTLE GERMAN BAND, THE.—Three or four players are told to imitate a little German band, each being required to represent a certain instrument, and all to join in rendering some popular air, which should be assigned.

LITTLE SUNSHINE.—The player is required to walk around the room and bestow a smile on each person in turn.

LUNCH COUNTER.—An apple is suspended at head height on the end of a string from a chandelier or portiere pole. The delinquent player is required to walk up to the apple and take a bite from it without help from the hands. For obvious reasons, only one person should be allowed to bite at an apple.

MOODS.—The player is required to laugh in one corner of the room, to sing in the second corner, to cry in the third, and to whistle or dance in the fourth.

NEGATIVE SIDE, THE.—The player is required to answer "No" to a question put to him by each member of the company in turn. This may be made very funny if he be required, for instance, thereby to express dislike for his favorite occupations or friends.

PILGRIMAGE TO ROME, A.—The judge announces that the player who is to redeem this forfeit is about to make a pilgrimage to Rome, and requests that each member of the company give him something to take on his journey. The pilgrim is then required to pass around the room while each person, in turn, presents him with some article, the more inappropriate or difficult or cumbersome to carry the better. These may consist, for instance, of a small chair, a sofa pillow, a house plant, a big basket, a lunch consisting of a nut, etc. These must all be carried at once, and when all have been collected, the pilgrim must make one entire round of the room before laying any of them down.

SAFETY POINT.—The player is required to put one hand where the other cannot touch it. He does this by placing the right hand on the left elbow, or vice versa.

SO NEAR AND YET SO FAR.—Two players are required to stand upon an open newspaper in such a manner that they cannot possibly touch one another. They will find the solution of the problem in placing the newspaper over the sill of a door, and then closing the door between them.

SPOON FOOD.—Two players are blindfolded and seated on the floor, each with a large towel or napkin pinned around the neck like a bib. Each is then given a bowl filled with corn meal or flour, and a spoon. When all is ready, the two players are told to feed each other. This forfeit makes as much sport for the rest of the company as for those engaged in its performance.

THREE QUESTIONS.—The delinquent player is sent out of the room. While he is gone, the remaining players decide on three questions, to which he must reply "Yes" or "No" before he knows what the questions are. When he returns, he is asked if he will answer the first question with "Yes" or "No." Having made his choice, the question is then repeated to him, often resulting in much laughter from the incongruity of the answer. The other questions are answered in the same way.

TIDBIT.—The player is required to bite an inch off the poker. He does this by holding the poker about an inch from his face and making a bite at it.

TOAST OF THE EVENING, THE.—The player is required to propose his or her own health in a complimentary speech about himself or herself.

UMBRELLA STAND.—A closed umbrella or a cane is held upright on the floor by pressing on the top of it with the forefinger. The player is then required to release his hold, to pirouette rapidly, and snatch the umbrella before it falls to the ground.

VERSE LENGTHS.—The player is required to repeat a verse or jingle, stating the number of the word after each word. For example:—

"Yankee, one, Doodle, two, went, three, to, four, town, five," etc.

WALKING SPANISH.—The player is given a cane or closed umbrella. He rests this on the floor, places both hands on top of it, and then rests his forehead on the hands. While in this position, he is required to turn around three times, then suddenly stand with head erect, and walk straight ahead.

ZOO, THE.—The player is required to imitate a donkey or any other animal.



SINGING GAMES



SINGING GAMES



DID YOU EVER SEE A LASSIE?

10 to 60 or more players.

Playground; gymnasium.

This is a game for very little children, and with a little suggestion as to the exercises or movements to be illustrated by the "lassie," may be the source of some very good exercise as well as a pleasing game.

All of the players but one form a circle, clasping hands. They circle around, singing the first two lines of the verse. While they are doing this, the odd player stands in the center and illustrates some movement which he chooses for the others to imitate. During the last two lines of the verse the players stand in place, drop hands, and imitate the movements of the center player, which he continues in unison with them.

Did you ever see a lassie, a lassie, a lassie, Did you ever see a lassie do this way and that? Do this way and that way, and this way and that way; Did you ever see a lassie do this way and that?

When a boy is in the center, the word "lassie" should be changed to "laddie."

The player may imitate any activity, such as mowing grass, raking hay, prancing like a horse, or turning a hand organ; may use dancing steps or movements such as bowing, courtesying, skipping, whirling in dance steps with the hands over the head, etc.; or may take any gymnastic movements, such as hopping, jumping, arm, head, trunk, or leg exercises, etc.



DRAW A BUCKET OF WATER

4 to 60 or more players.

Indoors; out of doors.

This game is played in groups of four, generally by girls. Two players face each other, clasping hands at full arm's length. The other two face each other in the same way, with their arms crossing those of the first couple at right angles. Bracing the feet, the couples sway backward and forward, singing the following rhyme:—



Draw a bucket of water, For my lady's daughter. One in a rush, Two in a rush, Please little girl, bob under the bush.

As the last line is said, the players all raise their arms without unclasping the hands and place them around their companions, who stoop to step inside. They will then be standing in a circle with arms around each other's waists. The game finishes by dancing in this position around in a ring, repeating the verse once more.

The illustration shows in the left-hand group the pulling backward and forward; in the rear (center) group the lifting of hands and stooping under; and in the right-hand group the position for dancing around while repeating the verse.



I saw a ship a-sailing, a-sailing on the sea; And oh, it was laden with pretty things for me. There were comfits in the cabin, and apples in the hold; The sails were made of silk, and the masts were made of gold.

Four and twenty sailors that sat upon the deck Were four and twenty white mice with chains about their necks. The captain was a duck with a packet on his back, And when the ship began to move the captain cried quack! quack!

The players hold hands and circle rapidly while singing. After the last verse one of the players breaks the circle and with his next neighbor raises his hand high to form an arch, calling "Bid, bid, bid!" which is the call for ducks. The player on the opposite side of the break in the circle proceeds to pass under this arch, the entire circle following, all holding hands and answering "Quack! quack! quack!"

When all have passed through, the two players at the opposite end of the line raise their hands and cry, "Bid, bid, bid!" while the two who first made the arch pass through, drawing the line after them, and calling "Quack! quack! quack!" This passing of the ducks under the gateway is continued during one or two repetitions of the music. The players should repeat "Bid, bid, bid!" and "Quack, quack, quack!" in rhythm during all of this latter part of the play.



FARMER IN THE DELL

10 to 30 or more players.

Indoors; out of doors.

The farmer in the dell, The farmer in the dell, Heigh-o! the cherry-oh! The farmer in the dell.

The farmer takes a wife, The farmer takes a wife, Heigh-o! the cherry-oh! The farmer takes a wife.

The wife takes a child, The wife takes a child, Heigh-o! the cherry-oh, The wife takes a child.

The succeeding verses vary only in the choice in each, and follow in this order:—

The child takes a nurse, etc. The nurse takes a cat, etc. The cat takes a rat, etc., The rat takes the cheese, etc.



The players stand in a circle with one of their number in the center, who represents the farmer in the dell. At the singing of the second verse, where the farmer takes a wife, the center player beckons to another, who goes in and stands by her. The circle keeps moving while each verse is sung, and each time the player last called in beckons to another; that is, the wife beckons one into the circle as the child, the child beckons one for the nurse, etc., until six are standing in the circle. But when the lines, "The rat takes the cheese," are sung, the players inside the circle and those forming it jump up and down and clap their hands in a grand confusion, and the game breaks up.



HUNTING

10 to 60 or more players.

Indoors; out of doors.

This game is especially enjoyed by little boys, for whom there is a comparatively small number of appropriate singing games.

The players all stand in two lines facing each other. They clap their hands in time with the song, and sing the first verse:—



Oh, have you seen the Shah? Oh, have you seen the Shah? He lights his pipe on a starlight night. Oh, have you seen the Shah?

For a-hunting we will go, A-hunting we will go. We'll catch a fox and put him in a box. A-hunting we will go.

While the last verse is being sung, the two players at the top of the lines run forward, join hands, and run down between the lines to the foot, turn around, join the other hands, and return between the lines. When they have reached the head again, they unclasp hands and run down the outside of the lines, each on his own side, and take their places at the foot of the lines. By this time the verse should be finished, and it is then sung again, the two players who are now standing at the head running down through the middle, etc. This is repeated until all the players have run, when the two lines join hands in a ring and all dance around, repeating the verse for the last time.

For a large number of players several may run instead of two. The first two then represent foxes, the next four, prancing or galloping horses (all in time to the music), and four others for riders or hunters.



ITISKIT, ITASKET

10 to 30 or more players.

Indoors; out of doors.

This is a form of Drop the Handkerchief, differing somewhat in play, and also in that a verse is sung with the game.

All of the players but one stand in a circle with clasped hands; the odd player, carrying a handkerchief, runs around on the outside of the circle, singing the following verse:—

Itiskit, Itasket, A green and yellow basket; I wrote a letter to my love And on the way I dropped it. Some one of you has picked it up And put it in your pocket; It isn't you—it isn't you—

This last phrase is repeated until the player reaches one behind whom he wishes to drop the handkerchief, when he says, "It is you!" and immediately starts on a quick run around the circle.



The one behind whom the handkerchief was dropped picks it up and at once starts around the circle in the opposite direction, the object being to see which of the two shall first reach the vacant place. The one who is left out takes the handkerchief for the next round.

Should a circle player fail to discover that the handkerchief has been dropped behind him until the one who has dropped it has walked or run entirely around the circle, he must yield his place in the circle to the handkerchief man, changing places with him.



KEEP MOVING

5 to 60 players.

Indoors; out of doors; schoolroom.

One player is chosen as leader. He repeats or sings the following formula, at the same time going through the motions indicated. The other players must repeat the formula and the motions with him. They may be either seated or standing. The rhythm should be very rapid:—



One finger one thumb keep moving, One finger one thumb keep moving, One finger one thumb keep moving. Tra-la! la-la! la-la!

(The thumb and index finger of one hand are separated and brought together, as when a bird's beak is being imitated with the fingers.)

Two fingers two thumbs keep moving, Two fingers two thumbs keep moving, Two fingers two thumbs keep moving. Tra-la! la-la! la-la!

(The thumb and index finger of both hands are moved in similar manner.)

Four fingers two thumbs keep moving, Four —— Four —— Tra-la! ——

(The thumb, index, and middle fingers on each hand.)

Six fingers two thumbs keep moving, Six —— Six —— Tra-la! ——

(Add the ring finger.)

Eight fingers two thumbs keep moving, Eight ——, etc.

(All the fingers.)

Eight fingers two thumbs one hand keep moving, Eight fingers two thumbs one hand keep moving, Eight fingers two thumbs one hand keep moving. Tra-la! la-la! la-la!

(The finger motion is continued, and to it is added an up-and-down shaking of one hand.)

Eight fingers two thumbs two hands keep moving, Eight —— Eight —— Tra-la! ——

(A similar movement of the other hand is added.)

Eight fingers two thumbs two hands one arm keep moving, etc.

(One arm is moved up and down with the shoulder, elbow, and wrist all active, while the movement of the fingers and of the opposite hand continues.)

Eight fingers two thumbs two hands two arms keep moving, etc.

(Add similar movement of the other arm.)

Eight fingers two thumbs two hands two arms one foot keep moving, etc.

(The toes of one foot are lifted (bending the ankle) and tapped on the floor as in beating time.)

Eight fingers two thumbs two hands two arms two feet keep moving, etc.

(Add similar movement of other foot.)

Eight fingers two thumbs two hands two arms two feet one leg keep moving, etc.

(Lift one leg with bent knee and replace the foot on the floor in rhythmic time, while all of the other parts mentioned are kept in motion as previously.)

Eight fingers two thumbs two hands two arms two feet two legs keep moving, etc.

(Add similar movement of the other leg.)

Eight fingers two thumbs two hands two arms two feet two legs one head keep moving, etc.

(Add a nodding movement of the head, forward and backward.)

This is a Scotch game and is full of sport, but will depend largely for its success upon the familiarity of the leader with the order of the movements, and, like most Scotch games, upon the rapid and sustained time in which it is kept going. It is especially good for the schoolroom, as it affords some excellent exercise without the players leaving their seats.



KING OF FRANCE (THE)

10 to 60 players.

Playground; gymnasium; schoolroom.



The King of France with forty thousand men Marched up the hill and then marched down again.

The players stand in two rows or groups facing each other. Each group has a leader who stands in the center and represents a king leading his army.

The game or play is a simple one of imitation; in which the players perform in unison some action first indicated by one of the leaders.

The leaders of the two groups take turns in singing the verse, at the same time marching forward during the first line of the verse, and back again to their places during the second line, illustrating the action that is then to be taken by all. The verse is then sung by both groups while advancing toward each other and retreating, performing the movements indicated by the leaders. The movements illustrated by the leaders may be anything suitable to an army of men, the words describing the movement being substituted for the line, "Marched up the hill." Thus:—

The King of France with forty thousand men Waved his flag and then marched down again.

The following variations are suggested, each of which indicates the movements to go with it.

Gave a salute, etc. Beat his drum. Blew his horn. Drew his sword. Aimed his gun. Fired his gun. Shouldered arms. Pranced on his horse.

It is scarcely necessary to say that a real flag and drum add much to the martial spirit of the game, and if each soldier can have a stick or wand over his shoulder for a gun, the esprit de corps will be proportionately enhanced.



KITTY WHITE

10 to 30 or more players.

Indoors; out of doors.

This is an admirable game for very little children. Their dramatic tendency should be given full rein in impersonating the soft movements of the kitty and mousie before the chase begins.

Kitty White so slyly comes, To catch the Mousie Gray; But mousie hears her softly creep; And quickly runs away.

Run, run, run, little mouse, Run all around the house; For Kitty White is coming near, And she will catch the mouse, I fear.



One player is chosen for the mouse and stands in the center, and another for Kitty White, who stands outside of the circle. The other players join hands in a ring and move around, while singing the first four lines. Meanwhile Kitty White is creeping around outside of the circle, peeping in at little Mousie Gray. When the fourth line is reached, "And quickly runs away," the circle stops moving and drops hands while the mouse runs out and in through the circle, chased by Kitty White. For the last four lines, while the chase is going on, the players in the circle stand in place and clap their hands while singing "Run, run," etc.

When the mousie is caught, both return to the circle, and another mouse and kitty are chosen.



LEAVES ARE GREEN

4 to 60 players.

Indoors; out of doors.

This is a game for small children. The players join hands and form a ring. They dance around in a circle in time to the music, singing to the air of "Mulberry bush":—

The leaves are green, the nuts are brown; They hang so high they will not come down; Leave them alone till frosty weather; Then they will all come down together.

As the last words are sung, the children all stoop suddenly to the ground, to represent the falling nuts. This is more interesting if the time be rapid and if the players jump before stooping, which may lead to their tumbling over as the nuts do when they fall from the trees.



LET THE FEET GO TRAMP

10 to 60 players.

Playground; gymnasium; schoolroom.

Let the feet go tramp! tramp! tramp! Let the hands go clap! clap! clap! Let the finger beckon thee. Come, dear friend, and skip with me. La, la la la, la la la, etc.

Let the Feet Go Tramp



The players form a circle with from one to five in the center, according to the number of players. All of the players, both circle and center, sing the verse, suiting the action to the words with stamping of the feet for "Tramp, tramp, tramp!" and clapping of the hands for "Clap, clap, clap!" As the last line, "Come dear friend and skip with me," is sung, each child in the center beckons to one in the circle, who steps in and joins hands with the little partner as they stand facing each other. These partners in the center then dance around in time to the chorus "La, la," and the circle players may also join hands and dance in a circle.



LONDON BRIDGE

6 to 30 or more players.

Indoors; out of doors.



London Bridge is falling down, Falling down, falling down. London Bridge is falling down, My fair lady!

Build it up with iron bars, Iron bars, iron bars. Build it up with iron bars, My fair lady!

Iron bars will bend and break, Bend and break, bend and break, Iron bars will bend and break, My fair lady!

Build it up with gold and silver, etc. Gold and silver will be stolen away, etc.

Get a man to watch all night, etc. Suppose the man should fall asleep? etc.

Put a pipe into his mouth, etc. Suppose the pipe should fall and break? etc.

Get a dog to bark all night, etc. Suppose the dog should meet a bone? etc.

Get a cock to crow all night, etc. Here's a prisoner I have got, etc.

What's the prisoner done to you? etc. Stole my hat and lost my keys, etc.

A hundred pounds will set him free, etc. A hundred pounds he has not got, etc.

Off to prison he must go, etc.

Two of the tallest players represent a bridge by facing each other, clasping hands, and holding them high for the others to pass under. The other players, in a long line, holding each other by the hand or dress, pass under the arch while the verses are sung alternately by the players representing the bridge and those passing under, those forming the arch singing the first and alternate verses and the last "Off to prison." As the words,—

"Here's a prisoner I have got"

are sung, the players representing the bridge drop their arms around the one who happens to be passing under at the time. The succeeding verses are then sung to "Off to prison he must go." During this last one the prisoner is led off to one side to a place supposed to be a prison, and is there asked in a whisper or low voice to choose between two valuable objects, represented by the two bridge players who have previously agreed which each shall represent, such as a "diamond necklace" or a "gold piano." The prisoner belongs to the side which he thus chooses. When all have been caught, the prisoners line up behind their respective leaders (who have up to this time been the holders of the bridge), clasp each other around the waist, and a tug of war takes place, the side winning which succeeds in pulling its opponent across a given line.

Where a large number of players are taking part, say over ten, the action may be made much more rapid and interesting by forming several spans or arches to the bridge instead of only one, and by having the players run instead of walk under. There is thus much more activity for each player, and the prisoners are all caught much sooner.

This is a very ancient game, supposed to have originated in the custom of making a foundation sacrifice at the building of a bridge. The tug of war is thought by Mr. Newell possibly to signify a contest between powers of good and evil for the soul of the victim sacrificed.



LOOBY LOO

5 to 60 or more players.

Indoors; out of doors.

Here we dance, looby, looby, looby. Here we dance, looby, looby, light. Here we dance, looby, looby, looby, loo, Every Saturday night.

Put your right hand in Put your right hand out Give your right hand a shake, shake, shake, Hinkumbooby round-about.

Here we dance, looby, looby, looby, etc.

Put your left hand in, etc.

Here we dance, looby, looby, looby, etc.

Put your two hands in, etc. Put your right foot in, etc. Put your left foot in, etc. Put your two feet in, etc. Put your right elbow in, etc. Put your left elbow in, etc. Put your two elbows in, etc. Put your right ear in, etc. Put your left ear in, etc. Put your head way in (bend deeply from the waist).



The players stand in a ring, clasping hands. For the first two lines of the chorus,—

Here we dance, looby, looby, looby, Here we dance, looby, looby, light,

the players sway from one foot to the other, throwing the free foot across the other in sort of a balance movement in rhythm to the music. On the last two lines of this verse,—

Here we dance, looby, looby, looby, loo, Every Saturday night,

the circle gallops halfway around to the left for the first line, and reverses the action, returning to place on the last line.

For the alternate verses which describe action the movements are suited to the words; for instance, when the left hand is called for, the players lean far forward and stretch the left hand into the ring while singing the first line, turn around, and stretch the left hand outward for the second line, shake the hand hard on the third line, and on the last line jump or spin completely around.

This is a very ancient game, supposed to have originated in a choral dance, probably in celebration of the rites of some deity, in which animal postures were assumed or animal rites were an object. Later, it was an old court dance, stately and decorous as the minuet.



MUFFIN MAN

6 to 30 or more players.

Indoors; out of doors.

The players stand in a circle, with one or more in the center. The circle dances around and sings the first two lines of the following verse. They then stand still while the player or players in the center choose each a partner who enters the circle with him; they clasp hands and dance around, singing the last two lines:—

Oh, have you seen the muffin man, the muffin man, the muffin man? Oh, have you seen the muffin man that lives in Drury Lane, O! Oh, yes, I've seen the muffin man, the muffin man, the muffin man, Oh, yes, I've seen the muffin man that lives in Drury Lane, O!



Miss Newton has a very good adaptation of this game for the schoolroom or parlor, in which four or five players stand in corners. Each of these chooses a partner at the end of the second line, and these groups of two dance in a circle.



MULBERRY BUSH

6 to 60 players or more.

Indoors; out of doors.

Here we go round the mulberry bush, The mulberry bush, the mulberry bush, Here we go round the mulberry bush, So early in the morning!



This is the way we wash our clothes, We wash our clothes, we wash our clothes, This is the way we wash our clothes, So early Monday morning.

This is the way we iron our clothes, We iron our clothes, we iron our clothes, This is the way we iron our clothes, So early Tuesday morning.

This is the way we scrub the floor, We scrub the floor, we scrub the floor, This the way we scrub the floor, So early Wednesday morning.

This is the way we mend our clothes, We mend our clothes, we mend our clothes, This the way we mend our clothes, So early Thursday morning.

This is the way we sweep the house, We sweep the house, we sweep the house, This is the way we sweep the house, So early Friday morning.

Thus we play when our work is done, Our work is done, our work is done, Thus we play when our work is done, So early Saturday morning.

The players stand in a circle clasping hands, and circle around, singing the first verse. In the second and alternate verses the action indicated by the lines is given in pantomime. In all verses the players spin around rapidly, each in her own place, on the repetition of the refrain, "So early in the morning."

This is one of the oldest traditional games, and probably one of the most widely known. It is considered to have originated as a marriage dance around a sacred tree or bush, our mistletoe custom having come from the same source.



NUTS IN MAY

6 to 60 or more players.

Indoors; out of doors.

(Sung to the air of "Mulberry Bush")

Here we come gathering nuts in May, Nuts in May, nuts in May. Here we come gathering nuts in May, On a cold and frosty morning.

Whom will you have for nuts in May, Nuts in May, nuts in May? Whom will you have for nuts in May On a cold and frosty morning?

We'll have (Mary) for nuts in May, Nuts in May, nuts in May, We'll have (Mary) for nuts in May, On a cold and frosty morning.

Whom will you send to fetch her away, To fetch her away, to fetch her away? Whom will you send to fetch her away, On a cold and frosty morning?

We'll send (Alice) to fetch her away, To fetch her away, to fetch her away. We'll send (Alice) to fetch her away, On a cold and frosty morning.

The players stand in two lines facing each other and holding hands, with a wide space between which will admit of advancing toward each other and retreating. The first line sings the first verse, advancing toward its opponents and retreating. The second line then advances and retreats and sings the second verse. The first line again advances and retreats, singing the third verse, naming some player who stands in the opposing line. The second line, unwilling to yield a player so easily, then advances and retires, singing the fourth verse, in which it suggests that some one be sent to take the one who has been selected for "nuts," and the first line then advances and retires, singing the last verse, in which it names some player from its own side whom it considers a good match for the player whom it has called from the opposite side.

The lines then stand still while these two players advance to the center, draw a mark on the ground, or throw a handkerchief down to serve the purpose, take hold of right hands across the line, and have a tug of war. The player who is pulled across the line becomes the captured "nut" and joins the side of her captors. The game is then repeated, with the change that the lines of players sing the verses that were sung by their opponents the previous time, the second line of players starting with the first verse. This should be continued until all of the players have taken part in the tug of war. The line wins which gets the most "nuts."

For large numbers of players, instead of a tug of war between two players only, the two lines may advance, each player joining hands with the one opposite, and all taking part in the tug of war. Still another method is to have the two players who are named, join hands, with the players of their respective sides all lined up behind them for a tug of war, as in London Bridge.



OATS, PEAS, BEANS

6 to 60 players.

Indoors; out of doors.



Oats, peas, beans, and barley grows, Oats, peas, beans, and barley grows. Nor you nor I nor nobody knows How oats, peas, beans, and barley grows.

Thus the farmer sows his seed, Thus he stands and takes his ease, Stamps his foot and claps his hands, And turns around to view his lands.

A-waiting for a partner, A-waiting for a partner, So open the ring and choose one in, Make haste and choose your partner.

Now you're married, you must obey. You must be true to all you say. You must be kind, you must be good, And keep your wife in kindling wood.

The players form a ring, clasping hands, and circle about one of their number who has been chosen to stand in the center. They all sing the first four lines, when they drop hands, and each player goes through the motions indicated by the words: sowing the seed with a broad sweep of the arm as though scattering seed from the hand; standing erect and folding the arms; stamping the foot; clapping the hands; and at the end of the verse turning entirely around. They then clasp hands again and circle entirely around, singing:—

Waiting for a partner, Waiting for a partner,

standing still for the last two lines:—

So open the ring And choose one in.

On these words the one in the center chooses one from the circle as a partner. The player who was first in the center then returns to the circle, and the one chosen as partner remains in the center while the game is repeated.

If large numbers are playing, four players may stand in the center instead of one, and in that case, of course, four partners will be chosen. This form of playing the game has traditional sanction, and at the same time adapts itself nicely to the large numbers that often have to be provided for under modern conditions of playing.

This is one of the games that Mr. Newell calls "world-old and world-wide." It is found in France, Italy, Spain, Germany, etc., was played by Froissart in the fourteenth century, and by Rabelais in the fifteenth. The game is supposed to have had its source in a formula sung at the sowing of grain to propitiate the earth gods and to promote and quicken the growth of crops. Mrs. Gomme notes that the turning around and bowing to the fields and lands, coupled with pantomimic actions of harvest activities, are very general in the history of sympathetic magic among primitive peoples, from which doubtless came the custom of spring and harvest festivals.

Mrs. Gomme also points out that the choosing of the partner indicates the custom of courtship and marriage at these sowing and harvest gatherings.



ROUND AND ROUND THE VILLAGE

6 to 30 or more players.

Indoors; out of doors.



Go round and round the village, Go round and round the village, Go round and round the village, Go as we have done before.

Go in and out the windows, Go in and out the windows, Go in and out the windows, Go as we have done before.

Now stand and face your partner, Now stand and face your partner, Now stand and face your partner, And bow before you go.

Now follow me to London, Now follow me to London, Now follow me to London, As we have done before.

The players form a circle, clasping hands, with one player outside. In this game the circle stands still and represents the houses of a village. The player outside sings the first verse dancing around the circle. On the second verse, "In and out the windows," etc., the players forming the ring raise their clasped hands to represent windows, and the outside player passes in under one arch, out under the next, and so on, winding in and out until the circle has been completed. She tries to get around by the time the verse is finished, and then goes on singing the third verse while she pauses in the circle and chooses a partner. These two then run around the outside of the circle while singing the last verse, "Follow me to London," etc., returning at the close to the center of the circle, where they bow and part, the first player taking her place in the ring. The game is then repeated, with the second player running around the outside of the village.

Where large numbers are playing, several players may be chosen instead of one, to run around the village and in and out of the windows. In that case several partners will be chosen, and at the close the first players will return to the circle, and the partners whom they have chosen will go on with the game by running around the village and singing the first verse again.

FOR THE SCHOOLROOM.—In the schoolroom two players may be chosen to run "Round and round the village," starting from different parts of the room. The remainder of the class sits and sings while these players run up and down through the aisles, each touching two or three pupils, who rise and run after them. When the windows are mentioned, the seated players who still have neighbors sitting across the aisles, stand, and clasp hands with the neighbors to form an arch under which the runners make their way.

Variations.—A pretty variation in this game, adapting it to the modern city environment, with which many city children are more familiar than they are with village life, is to substitute for the words "Round and round the village" and "In and out the windows" the words, "Round and round the city" (presumably on elevated or subway trains) and "In and out the stations" or "In and out the subway." While this tampering with a traditional form of the game is questionable, there is no doubt that children much enjoy playing about things related to their own experiences. A gradual and probably unconscious adaptation to environment is one of the manifestations of the folk-lore spirit.

This is one of the very old traditional games, based on village customs. Mrs. Gomme traces it to the periodical village festivals at which marriages took place. In some of these it was customary for the young people to go through the houses in procession.



SNAIL

10 to 60 players.

Indoors; out of doors.

This is a favorite game with very little children. For large numbers each verse may be repeated as needed to complete the winding or unwinding of the line.

Hand in hand you see us well Creep like a snail into his shell, Ever nearer, ever nearer, Ever closer, ever closer, Very snug indeed you dwell, Snail, within your tiny shell.

Hand in hand you see us well Creep like a snail out of his shell. Ever farther, ever farther, Ever wider, ever wider. Who'd have thought this tiny shell Could have held us all so well.



The players all stand in line holding hands; while singing the first verse they wind up in a spiral, following the leader, who walks in a circle growing ever smaller until all are wound up, still holding hands. The leader then turns and unwinds, until all are again in one long line.

This "winding up" is a very old traditional feature in games, and is supposed to have originated in tree worship.



BALLS AND BEAN BAGS



BALLS AND BEAN BAGS



SPECIFICATIONS FOR BALLS, BEAN BAGS, MARKING GROUNDS, ETC.

BALLOONS.—Gas balloons have been found very useful for quite a large class of games, and are specially suitable for use in the schoolroom or parlor, though they may also be used out of doors. The balloons are the regular toy balloons used by children, and are preferably ten or twelve inches in diameter when inflated, though smaller ones may be used. In games where two balloons are used it is desirable that they be of different colors, to distinguish which belongs to each team. When the gas in a balloon is exhausted, if it be not convenient to refill the rubber bag with gas, it may be filled with the breath, and will be found still to float sufficiently in the air for purposes of the game, though of course the gas-filled balloons with their tendency to rise are superior.

BASEBALL (See also Indoor Baseball).—Baseballs are hard and preferably leather covered. The required ball for the National Association of Baseball Leagues is not less than 5 nor more than 5-1/4 ounces in weight, and measures not less than 9 nor more than 9-1/4 inches in circumference. A slightly smaller ball is used in junior play; that is, for boys under sixteen. The best construction of baseballs is that in which there is a rubber center wound with woolen yarn, the outside covering being of white horsehide. Good balls cost from fifty cents to $1.50 each, but baseballs may be had at five cents each.

BASKET BALL.—Basket balls are comparatively large, round, "laced" balls; that is, they consist of a rubber bladder inserted in a leather case; the bladder is inflated by means of a hand or foot pump; after it is placed inside of the leather cover the opening in the cover is laced together. The official ball prescribed by the Amateur Athletic Union and the Young Men's Christian Association Athletic League of North America calls for one that measures, when inflated, not less than 30 nor more than 32 inches in circumference; the limit of variableness to be not more than 1/4 inch in three diameters; the weight to be not less than 18 nor more than 20 ounces; the ball when ready for use to be tightly inflated and so laced that it cannot be held by the lacing. The best basket balls cost about $6 each.

BEAN BAGS (See also Oat Sacks).—Bean bags are especially useful for tossing games with little children and for use in the schoolroom, where a ball is not easily recovered if dropped; but many bean-bag games are of great interest even to adult players and are suitable for almost any conditions,—playground, parlor, or gymnasium. Bean bags should be made of heavy, closely woven material, such as ticking, awning, duck, or denim, and should be from 6 to 12 inches square when finished. They are stitched around the outer edge (except for a small length through which the beans are inserted). The bag should then be turned and stitched a second time. Hand sewing is preferable, as often better able to withstand the strain put upon it. The bag is filled with dried beans or peas. A bag 6 inches square should contain 1/2 pound of these. A larger bag may contain a few more, but the half-pound weight is good for any sized bag. For little children a 6 or 8 inch bag is very good. It is desirable to have an equipment of bags made of two different colors, half of the bags, for instance, being red and the other half blue; or some of striped material and others of plain. This aids in distinguishing the bags that belong to opposing teams or groups of players. It is easy to improvise a substitute for bean bags under almost any conditions. The writer has known some very good substitutes to be made by placing dried leaves in a square of cloth, gathering up the corners and tying them with a string. Bean bags 7 inches square may be purchased for about $2 per dozen.

For adults, especially for men, the oat sacks make a very interesting implement for play, the weight making them a good substitute for medicine balls. (See Oat Sacks.)

CRICKET BALL.—This is the same as a hockey ball, but red instead of white. The official specifications (Marylebone Club) are identical with those of the American baseball, except for 1/2 ounce heavier weight. They call for a ball weighing not less than 5-1/2 ounces, nor more than 5-3/4, with circumference not less than 9 inches nor more than 9-1/4. The construction and appearance differ from baseballs, the cricket balls being of heavy rubber, usually, but not invariably, covered with leather, which is sometimes enameled. The leather is put on in even hemispheres instead of in shaped pieces, as for a baseball. Cost, $1.50 to $2 each.

FOOTBALL.—Official footballs are "laced" balls; that is, they consist of a rubber bladder, which is inflated and inserted in a leather casing which is then laced firmly to close the opening. Two shapes of balls—round, and so-called "oval"—are official for different organizations. The round ball is prescribed for the "Association" games (American Football Association) and for Soccer, the circumference of the ball to be not less than 27 inches, nor more than 28. The prolate spheroid ("oval") ball is prescribed by the Intercollegiate and Rugby Associations of America, diameters about 9-1/4 x 6-1/4 in. The cost of best quality balls of both shapes is $5, and from that down to $1. Cheaper balls may be had (to substitute for any laced leather balls) made of sealed rubber, or to be inflated like a water polo ball, some incased in duck, others without casing.

GAS BALL.—A gas ball is a sealed rubber ball filled with gas and very light in weight, generally used by little children. These are extremely useful for the schoolroom, where it is desirable to avoid damage from the hitting of objects by a hard ball, and where it facilitates play to keep the ball in the air, as it is difficult to locate balls that roll on the floor. Gas balls measure from 4 to 6 inches in diameter, and cost from ten to forty cents each.

GOLF BALL.—Golf balls are made of gutta percha, painted white. The interior construction varies. The surface is made uneven with lines, dots, or dimples, to give greater buoyancy to the strokes. Size, about 1-5/8 inches in diameter. Cost, from $2 to $9 per dozen.

HANDBALL.—The term "handball" is generally used to designate any ball that can be caught easily in one hand, as distinguished from larger balls, such as basket, foot, and volley balls. Technically, the term "handball" applies to the balls used in the game of Handball.

In selecting a ball for general games, including Handball Drills as herein given, it is desirable to have one slightly larger than for the official game and to get one with considerable resiliency; that is, a ball that will rebound from a hard floor to a height of about 3 feet when dropped from a height of about 6 feet. A good ball for this purpose will measure about 2-1/4 inches in diameter and weigh 2-1/2 ounces. They are of hollow rubber, sealed. Such balls will cost about $5 per dozen. For children's play of course cheaper balls can be had.

Official Handballs used for the game of Handball differ somewhat in America and Ireland, where this is the national game. The American balls are made both of rubber and leather. The specifications for the balls of the Amateur Athletic Union of America call for a ball measuring 1-7/8 inches in diameter, with a weight of 1-5/8 ounces.

The Irish official handball is smaller and heavier than that of America and is generally made of rubber. The official ball called for by the Gaelic Athletic Association of Ireland is hard, covered with sheepskin or any other leather, and is not less than 1-1/2 ounces nor more than 1-3/4 ounces in weight. Handballs suitable for the game of that name may be had of leather and rubber, ranging in price from twenty-five cents to $1 each.

HOCKEY BALL.—Field Hockey is played with the same kind of ball as Cricket, but white instead of red. This is usually but not invariably covered with white leather, the latter sometimes enameled, put on in even hemispheres instead of in shaped pieces like the covering of a baseball. The dimensions are the same as for a baseball but the weight usually about 1/2 ounce greater. Field Hockey balls measure 9 inches in circumference and weigh 5-1/2 ounces. The official rules of the American Field Hockey Association specify merely "an ordinary cricket ball painted white." Hockey balls cost from $1 to $2.75 each; practice balls of solid rubber, fifty cents.

Ice Hockey is played with a "puck," solidly cylindrical in shape and smaller than the ring for Ring Hockey. The official specifications for the American Amateur Hockey League require a puck of vulcanized rubber one inch thick throughout, 3 inches in diameter, weight not less than 7-6/16 ounces nor more than 7-9/16 ounces. These cost fifty cents; practice pucks, twenty-five cents.

Ring Hockey or Indoor Hockey is played indoors with a ring of flexible rubber, 5 inches in diameter, with a 3-inch hole through the center. The official rules specify a weight of not less than 12 ounces nor more than 16 ounces. Rings cost from $1 to $1.25 each.

INDOOR BASEBALL.—Indoor baseballs are specially constructed for indoor play, being much larger and more elastic than those for outdoor play. This ball is generally composed of a core of packed leather strips, around which is placed curled horsehair tied on with string. The cover is of leather, preferably horsehide, somewhat softer in quality than that used on the outdoor baseball. The dimensions of the ball vary from 15 to 17 inches in circumference, or about 5 inches in diameter. The weight is from 8 to 8-3/4 ounces. The official ball specified by the National Indoor Baseball Association of the United States is not less than 16-3/4 nor more than 17-1/4 inches in circumference; made of yielding substance; not less than 8 nor more than 8-3/4 ounces in weight; and is required to be covered with white skin. The color of the ball naturally assists in indoor play where lights vary. Most of these balls have red stitching on the seams, which makes them even plainer to be seen. Good balls cost from eighty cents to $1.25 each.

LA CROSSE BALL.—The official ball for the game of La Crosse is made of sponge rubber, sometimes leather covered (white). It is very slightly smaller in size than a baseball, and about the same weight. The Intercollegiate La Crosse Association of the United States specifies a ball weighing about 5-3/4 ounces, with circumference of 8 inches. The National Amateur La Crosse Union of Canada specifies a weight of from 4-1/2 to 5 ounces, and circumference of not less than 7-3/4 nor more than 8 inches. The best balls cost sixty-five cents each.

MEDICINE BALL.—Medicine balls are leather covered and of greater weight than any others used in the gymnasium. These balls were devised to give exercise of a vigorous character, particularly for the abdominal and other trunk muscles, and afford some of the most hygienic exercise to be had in the gymnasium. Medicine balls vary considerably in size and weight. The usual balls measure from 10 to 16 inches in diameter, and weigh from 4 to 12 pounds. They cost from $4.50 to $15, those with laced leather covers being more expensive than those with sewn covers.

OAT SACKS.—Oat sacks as here described were devised by Dr. R. A. Clark and Mr. A. M. Chesley, to be used in place of medicine balls for adult players. In addition they may be used for many bean-bag games. Oat sacks are made of heavy (10 oz.) duck. They are circular in shape, 14 inches in diameter when finished. Two circles of this size are stitched around the edge, except for an opening where the oats are inserted. The bag is then turned and stitched a second time. They are then filled with four pounds of oats each.

PLAYGROUND BALL.—For the game of Playground Ball there is used a ball that in size is between a baseball and indoor baseball. Usually balls of from 12 to 14 inches in circumference (of this type of construction) are called playground balls, and those from 15 to 17 inches, indoor baseballs. Because of their size, these balls cannot be batted as far as the usual baseball, and this and their softer texture make them especially useful for limited areas. This same type of soft ball may be had in the smaller size of the regulation baseball. The construction is the same as for indoor baseballs—a wound ball covered with soft white leather, the whole being firm, but more elastic and yielding than a baseball.

The National Amateur Playground Ball Association of the United States specifies a ball not less than 12 inches nor more than 14 inches in circumference, not less than 8 ounces nor more than 8-3/4 ounces in weight, made of yielding substance covered with a white skin.

Good playground balls of any of the sizes here mentioned cost $1 each.

POLO BALLS.—Polo or Roller Polo (on roller skates) is played with a very hard rubber-covered ball, painted bright red and about the size of a baseball—9 inches in circumference. Cost, from ten cents to $1 each.

Equestrian Polo is played with a wooden ball, usually of willow, having no other covering than white paint. The Polo Association of America specifies such a ball 3-1/8 inches in diameter and not to exceed 5 ounces in weight. The English rules (Hurlingham) call for a slightly larger and heavier ball, 3-1/4 inches in diameter and 5-1/2 ounces in weight—material not specified. Willow balls cost $2 per dozen; others, $1.25 per dozen.

Water Polo is played with a ball of white rubber, inflated through a key afterward used to screw shut the opening. The official American rules for Water Polo call for a white rubber ball of not less than 7 nor more than 8 inches in diameter. Cost, $2 each.

PUSHBALL.—The game of Pushball is played with the largest ball ever constructed for any game. The ball measures 6 feet in diameter, and consists of an inflated rubber bladder inserted in a leather cover. Cost, $200 each.

RUGBY BALL.—See Football.

SOCCER BALL.—See Football.

SQUASH BALL.—For the game of Squash, a hollow rubber ball is used similar to a tennis ball, and about the same size. It measures 8 inches in circumference, and is covered with felt, black, red, or white; some have an overspun cover knitted on the ball in green or white. Cost, $6 per dozen. Enameled rubber squash balls in black or gray may be had at twenty cents each.

TENNIS BALL.—Tennis balls are of rubber, hollow, and are covered with white felt. The official specifications call for a ball measuring not less than 2-1/2 nor more than 2-9/16 inches in diameter, of weight not less than 1-15/16 nor more than 2 ounces. Tennis balls cost about $4 per dozen.

VOLLEY BALL.—Volley balls are quite similar to basket balls, but slightly smaller and lighter. They are suitable for games in which the ball is batted with the open hand or fist and where it is to be kept continuously in the air, such as the game of Volley Ball. The ball consists of a rubber bladder inclosed in a laced leather cover of white. The official specifications call for a ball not less than 25 nor more than 27 inches in circumference, of weight not less than 9 ounces nor more than 12 ounces. Volley balls cost from $2.50 to $4 each.

MARKING GROUNDS

Where boundary lines are important in a game and need to be seen from a distance, as in many ball games, they should be plainly marked. On a gymnasium floor black paint for permanent diagrams is the best. For out of doors white linen tape may be had, with wooden staples and pins for fastening to the ground, costing from $3.50 to $6 per set for a court the size of a tennis diagram. A liquid mark may be made of whitewash, and a dry mark by mixing two parts of sand with one of whiting. Marble dust or slaked lime also make good dry marks. Roller markers for placing either wet or dry marks in lines of even width may be had at from $1 to $5 each.



BEAN BAG AND OAT SACK GAMES



BAG PILE

10 to 100 players.

Gymnasium; playground; schoolroom.

Bean bags; oat sacks.

The players are divided into two or more equal parties which line up in ranks. Near the front end of each rank is a pile of from ten to fifteen bean bags or oat sacks, which are to be passed down the line. At a signal the first player in each rank takes a bag and passes it down the line, sending the others in succession as rapidly as possible. The last player in the line when he receives the bean bag lays it on the floor in front of him; and as each bean bag reaches him, he piles it on the first one, making a stack. Only the first bag must touch the floor. The stack must be able to stand without assistance, and the player who stacks the bags must have no help in his task. Should the bags fall over at any time, the player who stacked them must pick them up and pile them over again. The line scores one which first succeeds in getting all of its bags stacked. The last player, the one who stacked the bags, then carries them up to the front of the line and becomes the first passer for the next round of the game.

The line wins which first scores five or ten, as may be decided beforehand. The play should be very rapid.



BEAN BAG AND BASKET RELAY

10 to 60 players.

Schoolroom.

Each player is provided with a bean bag. A waste-paper basket or a box is placed on the floor near the blackboard in front of each aisle. In line horizontally with the forward edge of each front desk, a chalk line is drawn on the floor at the end of each aisle, which serves as a throwing line, from which players throw their bean bags into the baskets.

The game is a competition of skill rather than of speed. At a signal from the teacher, the first pupil in each row stands, places his toe even with the throwing line, and tosses his bean bag toward the basket. If the bag goes into the basket, it scores five. Should it lodge on the edge of the basket, it scores three. Should it fall outside, there is no score.

As soon as these first players have thrown they return to their seats and the second row across the room steps forward and throws. This is continued until each player has thrown, and the line wins which has the highest score. There should be one score keeper for the entire game, who should draw a diagram on the board in which to write the score.



BEAN BAG BOARD

(Faba Gaba)

2 to 30 or more players.

Playground; gymnasium; schoolroom.

This game consists in throwing bean bags through holes in an inclined board. The board should be preferably eighteen inches wide by three feet long. Near the lower end of it should be cut a square hole about the size of the bean bags. Higher up in the board a second hole about three inches larger should be cut. The board should be slanted by resting it against a wall or fence, or bracing one end of it in some other way, so that it is at an angle of about forty-five degrees.

The players stand at a throwing line from ten to fifteen feet from the board. Each player has five bags—or five may be used for the entire group of players, the bags being recovered for each thrower in turn. A bag thrown into the larger hole counts five; into the smaller hole ten. The player wins who first scores one hundred.

Where there are a large number of players, it is desirable to have more than one board, so that the players may be divided into several groups and make the game more rapid.



BEAN BAG BOX

2 to 20 or more players.

Playground; gymnasium; schoolroom.

A small box measuring not less than six inches square should be fastened inside of one about twice the size and that in a third, leaving at least six inches margin between the boxes. This is set up on a slight incline with a stone or other object under its further end, or tipped up against the wall. From ten to twenty feet away from this a throwing line is drawn. Each player is provided with five bean bags and takes his place in turn on the throwing line, throwing all five bags at each turn. A bag thrown into the smallest box scores five points, one into the middle box ten points, and into the outside box fifteen points. The player who first scores one hundred wins.

This is a very popular game, and the paraphernalia for it may be easily improvised.



BEAN BAG CIRCLE TOSS

10 to 30 or more players.

Gymnasium; playground; schoolroom.

Bean bags; balls.

There should be a bean bag for each of the players except one. All of the players form a circle, separated from each other by a small space. At a signal from a leader, each player turns toward his right-hand neighbor and tosses his bean bag to him, turning at once to receive the bag which is coming to him from the left. The game should move rapidly, but of course this is a matter of skill and may have to be acquired. With very little children it may be advisable to first play the game with a fewer number of bean bags, till they grow accustomed to tossing and turning quickly to catch. Balls may be used instead of bean bags if desired.

When the tossing has gone once or twice around the circle to the right, the direction should be changed to the left. It is well to have one of the bean bags of a different color from the others, so as to know when the circle has been completed. Any player failing to catch a bag must pick it up and toss it regularly to his neighbor.



BEAN BAG RING THROW

10 to 60 or more players.

Playground; seashore; gymnasium; schoolroom.

Bean bags; blocks of wood; stones; shells.

This game may be played with bean bags, or when out of doors, especially at the seashore, with small blocks of wood, stones or shells. The players should be divided into groups of equal numbers, which compete against each other. A small ring should be drawn on the ground or floor measuring from twelve to eighteen inches in diameter, one ring opposite each group of players, who should be lined up in single file. The leader of each row should toe a starting line drawn across the ground at from ten to fifteen feet from the row of circles. Each row should be provided with six bean bags or other objects for throwing, as indicated above.

At a signal, the leader of each row throws each of his bags in succession toward the circle, and scores one point for each bag that lands within the circle. Any bag that touches the line does not count. The player then takes up his bags and runs back to the rear of the line, giving the bags as he passes to the front player of his row, who should have moved up to the starting line. These second players, in turn, all begin throwing on a signal. The line wins which has the highest score when all have thrown.

It is advisable to have some one to act as scorer for all of the lines; though it is practicable for the first player in each line to act as scorer for his line.

IN THE SCHOOLROOM.—When this game is played in the schoolroom a circle should be drawn on the floor near the front blackboard opposite each aisle; across the end of each aisle, and even with the front row of desks, should be drawn a throwing line. The game should start with the six bean bags on each front desk. At a signal the front pupil in each row steps forward to the throwing line and throws the six bags in succession for his circle. Each bag that lands fully within the circle scores one point for him. No score is made for a bag that touches a line. He then steps to the blackboard in front of his aisle, and writes down his score; then gathers up the bags, places them on the front desk, and takes his seat. When he is seated the player next behind him steps forward to the throwing line and repeats the play; or, if desired, the next row of players across the room may wait for the teacher's signal for doing this, as the game is played for a score and not on time limits.

The row wins which has the highest score when each of its players has thrown.



CATCH BASKET

10 to 60 players.

Schoolroom.

Bean bags; gas ball.

The class stands in a circle around the room, each half constituting a team with a leader at one end. On a desk in the center of the room is placed a waste-paper basket. The game consists in throwing a bean bag or a ball (large, light gas ball preferable) into the basket, the teams alternating their turns. There is no interference, but an umpire stands in the center who returns the ball to the next player after each throw. The leaders throw first and each player in turn thereafter. Each time the ball lodges in the basket it scores one for the team throwing. A bean bag lodged on the edge of the basket scores as a goal. A player may throw but once at each turn. The game may be limited by time, the team winning which has the highest score at the end of ten or fifteen minutes; or it may end when each player has had a turn. The former method leads to quicker and more expert play, which should be encouraged.