The Art of Amusing

Punch dances a triumphant jig, and so ends the immoral drama of Punch and Judy.

Many more characters can be added at the option of the performer, besides which, jokes and riddles can be introduced to any extent. We have given the skeleton of the play, with all the necessary information for getting up the characters.

We will conclude this chapter with an excellent charade, the answer to which will be given in the next chapter:

CHARADEMy whole is the name of the school-boy's dread,My first is the name of a quadruped;My first transposed a substance denotes,Which in carts or in coaches free motion promotes;Transpose it again, and it gives you the keyWhich leads to the results of much industry.My second is that which deforms all the gracesWhich cluster around the fair maidens' fair faces;Transpose it, and it gives you the name of a creatureOf no little notice in the history of nature.Now take my whole in transposition,And it will give you the dress of a Scotch musician.

CHAPTER V

Heretofore the fireside amusements recorded by us have been rather masculine in their character. In this chapter we shall have the pleasure of describing an entertainment of more feminine qualities. It was a small party, of the description which the Scotch call a cookeyshine, the English a tea-fight, and we a sociable. A few young ladies in a country village had conspired together to pass a pleasant evening, and the head conspirator wrote us a note, which consisted of several rows of very neat snake-rail fences (not "rail snake" fences, as the Irishman said), running across a pink field. We got over the fences easily, and found ourselves in a pretty parlor, with six pretty young ladies, one elderly ditto, and a kind of father. The ladies, as we entered, were engaged in making tasty little scent-bags. We had often seen the kind of thing before, but never so completely carried out.

The principal idea consisted in making miniature mice out of apple-seeds, nibbling at a miniature sack of flour. But in this case they had filled the sack with powdered orris-root, and the small bottles with otto of roses, making altogether a very fragrant little ornament. The subjoined sketch will convey the idea to any one wishing to try her hand at this kind of art.

As to the process of manufacture, that is simple enough: you first make neat little bags of white muslin, and with some blue paint (water color) mark the name of the perfume, in imitation of the ordinary brands on flour-bags; then fill the bag with sachet-powder and tie it up. You then get some well-formed apple-seeds, and a needle filled with brown thread or silk with a knot at the end; after which pass the needle through one side of the small end of the seed, and out through the middle of the big end; then cut off your thread, leaving about half an inch projecting from the seed; this represents the tail of the mouse. After this you make another knot in your thread, and pass it through the opposite side of the small end of the seed, bringing it out, not where you did the other thread, but in the middle of the lower part, that part, in fact, which represents the stomach of the mouse. You can now sew your mouse on the flour-sack. It should be borne in mind that the two knots of thread, which represent the ears, must appear near the small end of the seed. We once saw some mice made of apple-seeds where the ears were placed at the big end, producing the most ridiculous effect. We annex enlarged diagrams of each style.

It will be seen that one looks like a mouse, whilst the other resembles a pollywog, or a newly-hatched dragon.

You must now get a good-sized card, and if you wish to have it very nice, paint it to resemble the boards of a floor. On this you sew your sack, and one or two stray mice who are supposed to be running round loose. Then having provided yourself with a couple of those delicate little glass bottles of about an inch and a half in length, which are to be found in most toy-stores, you fill them with otto of roses or any other perfume; and with a little strong glue or gum, stick them to the card in the position represented. If glass bottles are not to be obtained, you may cut some out of wood, a small willow stick perhaps being the best for the purpose; blacken them with ink, and varnish them with weak gum-water, at the same time sticking on them little pieces of paper to represent the labels, and, if you please, a little lead-paper round the neck and mouth of the bottles, to give the flasks a champagney flavor. The boxes and jars are likewise cut out of wood, and easily painted to produce the desired appearance.

After a time, while the young ladies were still at work on the mice like so many kittens at play, a practical young gentleman, in spectacles and livid hands, came in, and asked of what use were those articles. Upon which one of the young ladies very properly replied that they did not waste their time in making anything useful. This seemed to afford an opportunity to the young gentleman to say something agreeable in connection with beauty; but he put his foot in it, and we heard him late in the evening, as the party was breaking up, trying to explain his compliment, which, though well intended, had unfortunately taken the form of an insult, and had not been well received.

We had observed, on entering, that one of the young ladies present wore in her hair a very beautiful white rose, and that another held in her hand a small bunch of marigolds. As the season was mid-winter, this fact attracted our attention, and we very gracefully complimented said damsel on the beauty of her coiffure, at the same time expressing our ardent admiration for flowers generally, roses particularly, and white roses above all other roses. "We had made a study of them." We spoke rapturously of them as the poetry of vegetation, as vestals among flowers, as the emblems of purity, the incarnation of innocence. Then the young lady asked us how we liked them boiled, and taking the one from her head begged us to wear it next our heart for her sake. We received it reverentially at her hand – it was heavy as lead. Her somewhat ambiguous language immediately explained itself as she gaily stripped off the leaves and revealed a good-sized turnip-stock on a wooden skewer. We felt slightly embarrassed, but got over the difficulty by saying that when we spoke so poetically we had no idea what would turn-up.

"Ah!" sighed one of the young ladies, "it is the way of the world; the flower worshipped from afar, possessed, will ever turn out a turnip!"

"Or," added we, "as in the case of Cinderella's humble vegetable turn up, a turnout."

This inoffensive little joke, being rather far-fetched, perhaps, was immediately set upon and almost belabored to death by those who understood it; whilst for the enlightenment of those who did not, we had to travel all the way to fairy-land, so that it was some time before we got back to vegetable flowers – a subject on which we felt not a little anxious to be enlightened, as we saw therein something that might interest our friends who meet by the fireside and help us in our occupation of unbending the bow. Marvellously simple were the means employed in producing such beautiful results. A white turnip neatly peeled, notched all round, stuck upon a skewer, and surrounded by a few green leaves, and behold a most exquisite white rose, perfect enough to deceive the eye in broad daylight at three feet distance. The above sketch will explain the whole mystery at once.

On the same principle a marigold may be cut out of a round of carrot with a little button of beet-root for the centre; a daisy can be made from a round of parsnip with a small button of carrot for the centre; a dahlia from a beet; and several other flowers from pumpkins. It will be easily seen that a beautiful bouquet can be compiled of these flowers with the addition of a few sprigs of evergreen. Indeed, great taste and ingenuity may be displayed in managing these simple materials. When the process had been explained to us, as above described, we expressed our delight, at the same time saying carelessly that there were doubtless millions of ladies in the country who would find pleasure in learning so graceful an accomplishment. The gentleman with the gold spectacles was down upon us in a moment.

"Did we know what a million meant?"

To which we promptly replied that a million meant ten hundred thousand.

"Did we know what a billion meant?"

A billion, according to Webster, was a million million.

A light twinkled out of the gold spectacles, and a glow suffused the expansive forehead, as, with a certain playful severity, he propounded the following:

"How long would it take you to count a million million, supposing you counted at the rate of two hundred per minute for twenty-four hours per day?"

We replied, after a little reflection, that it would take a long time, probably over six months.

With a triumphant air, the gold spectacles turned to our friend Nix. Nix, who is a pretty good accountant, thought it would take nearer six years than six months. One young lady, who was not good at figures, felt sure she could do it in a week. Gold Spectacles exhibited that intense satisfaction which the mathematical mind experiences when it has completely obfuscated the ordinary understanding.

"Why, sir," he said, turning to us, "had you been born on the same day as Adam, and had you been counting ever since, night and day, without stopping to eat, drink, or sleep, you would not have more than accomplished half your task."

This statement was received with a murmur of incredulous derision, whilst two or three financial gentlemen, immediately seizing pen and paper, began figuring it out, with the following result:

From this calculation we see that by counting steadily, night and day, at the rate of two hundred per minute, we should count something over one hundred and five millions in a year. Now let us proceed with the calculation:

So that it would take nine thousand five hundred and twelve years, not to mention several months, to count a billion. Gold Spectacles chuckled visibly, and for the rest of the evening gave himself airs more worthy of a conquered Southerner than a victorious mathematician. He afterwards swooped down upon and completely doubled up a pompous gentleman bearing the cheerful name of Peter Coffin, for making use of the very proper phrase, "As clear as a mathematical demonstration."

"That may not be very clear, after all, Mr. Coffin," said Gold Spectacles.

"How is that, Mr. Sprawl (Gold Specks' proper name being Sprawl); can anything be clearer than a mathematical demonstration?"

"I think, sir," answered Mr. Sprawl, "I could mathematically demonstrate to you that one is equal to two. What would you think of that, sir?"

"I think you couldn't do it, sir."

Thereupon Mr. Sprawl took a sheet of paper and wrote down the following equation – the celebrated algebraic paradox:

a = x a x = x2 a x – a2 = x2 – a2(x – a) × a = (x – a) × (x + a)a = x + aa = 2 a1 = 2

Mr. Coffin examined it carefully standing up, and examined it carefully sitting down, and then handed it back, saying that Mr. Sprawl had certainly proved one to be equal to two. The paper was passed round, and those learned enough scrutinized it carefully. The demonstration all allowed to be positive, yet no one could be made to admit the fact.

Here a certain married lady avowed her great delight in knowing that one had at last been proved equal to two. She had been for years, she said, trying to convince her husband of this fact, but he always obstinately refused to listen to the voice of reason. She now trusted he would not have the effrontery to fly in the face of an algebraic paradox.

Seeing the talk had taken an arithmetical turn, and was moreover getting fearfully abstruse, our friend Nix thought he would gently lead the tide of conversation into some shallower channel, wherein the young ladies might dabble their pretty feet without danger of being swept away in the scientific torrent. To this end he submitted the well known problem: "What is the difference between six dozen dozen and half a dozen dozen?" Strange to say, no one present had ever before heard of it, but the best part of the joke consisted in Mr. Sprawl being completely taken by it.

"Why, they are both the same," he answered promptly.

All the rest seemed to think so too, and some could not get into their heads, although poor Nix spent half an hour trying to convince them, that half a dozen dozen was the same thing as six dozen, or 72; whilst six dozen dozen must of course be seventy-two dozen, or 864.

While Nix still spoke, a handmaiden appeared, bearing tinkling cups and vessels of aromatic tea (not the weak green kind, bear in mind), and plates of sweet cookies and toast, and then bread and butter, and steaming waffles, and divers and sundry other delicacies known to true housewives and good Christian women, who love their fellow-creatures and respect their organs of digestion.

As the tea is being served, we walk up to a young gentleman and ask him if he knows why the blind man was restored to sight when he drank tea. The young gentleman gave it up precipitately.

"Because he took his cup and saucer (saw sir)."

The gentleman in gold spectacles says something about our being a sorcerer, but we heed him not, fearing he may put us through another algebraic paradox. Then comes a general demand for the answer to the charade we published in our last chapter, which commenced:

"My whole is the name of a school-boy's dread."

"The answer to this, ladies, is Rattan; and you will find it," said we, "a most excellent charade for children."

Now commenced a grand festival of puzzles and riddles. Specimens of all kinds were trotted out for inspection, from the ponderous construction of our ancestors, commencing in some such style as, "All round the house, through the house, and never touching the house," etc., to the neatly turned modern con.

Our friend Nix asked why Moses and the Jews were the best-bred people in the world?

Another wished to know why meat should always be served rare?

Both these individuals, however, refused to give the solution until the next meeting of the assembled company. Others were more obliging, but as their riddles were mostly old friends, somebody knew the answers and revealed them. It is a mistake to suppose that a good thing ought not to be repeated more than once. There are certain funny things that we remember for the last twenty years, and yet we never recall them without enjoying a hearty laugh. We have read Holmes's Autocrat of the Breakfast-Table once every six months, ever since it was published, and enjoy it better each time. We have been working away at the Sparrowgrass Papers for years, and yet we raise just as good a crop of laughter from them as ever. These books resemble some of our rich Western lands: they are inexhaustible. So when one of the company asked, "When does a sculptor die of a fit?" we waited quietly for the answer, "When he makes faces and busts," and laughed as heartily as though it were quite new, although we had been intimate with the old con ever since it was made, some fifteen years ago. We even enjoyed the time-honored riddle: "What was Joan of Arc made of?" "Why, she was Maid of Orleans, of course." But then this was put by a seraph with amber eyes, and a very bewildering way of using them. The success attending this effort seemed to stimulate the gentleman in gold spectacles, who rushed into the arena with the inquiry: "What was Eve made for?" Most of us knew the answer well enough, but we waited politely to let him deliver it himself. Our surprise may be readily conceived when he informed us, with evident glee, that "she was made for Harnden's Express Company." Some looked blank, and others tittered, whilst Nix explained to the ladies the true solution. It was for Adam's Express Company that Eve was made. After this followed in quick succession a shower of riddles, some of them so abominably bad, that an old gentleman, who did not seem to take kindly to that sort of amusement, gave the finishing-stroke to the entertainment by the annexed:

Question. "Why is an apple-tart like a slipper?"

Конец ознакомительного фрагмента.

Текст предоставлен ООО «ЛитРес».

Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.

1

Should any of our friends not know how to produce an imitation of the banjo on a piano, we may as well inform them that it is done by simply laying a sheet of music over the strings during the performance.