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 Introduc on to Show Networking
JOHN HUNTINGTON
ZIRCON DESIGNS PRESS
Copyright © 2020 by John Huntington, All Rights Reserved

No part of this book may be reprinted or reproduced or utilized in any form or by any
electronic, mechanical, or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or retrieval system, without
permission in writing from the publisher.

Although every precaution has been taken to verify the accuracy of the information
contained herein, the author and publisher assume no responsibility for any errors or
omissions. No liability is assumed for damages that may result from the use of information
contained within.

Trademark notice: Product or corporate names may be trademarks or registered

trademarks, and are used only for identi cation and explanation without intent to infringe.

Zircon Designs Press

Brooklyn, NY, USA

www.zircondesigns.com
Print ISBN-13: 978-1-7357638-0-4

EBook ISBN-13: 978-1-7357638-1-1

LCCN: 2020918289

BISAC: Performing Arts / eater / Stagecraft

Version 1.0, October 5, 2020

PREFACE
What’s Included and Not Included? xiv
For Whom Is is Book Written? xv
How Should is Book Be Used? xv
Conventions xvi
Disclaimers xvi
anks to My Production Team xvi
Website and Lecture Videos xvi

CHAPTER 1

INTRODUCTION
What Is a Network? 1
How are Networks Used on Shows? 1
Lighting Networks 1
Sound Networks 3
Video Networks 3
Scenery Networks 4
Networks for Pyro, Costumes, Props, Show Control, You Name It! 5
Network Types 5
Local Area Network (LAN) 6
Wide Area Network (WAN) 6
Internet 6
Networking Concepts 6
Bit Rate/Bandwidth 6
Determinism 7
Data Encoding 7
Error Detection 8
Packets and Frames 8
 Packet Forwarding 8
Networking Using Electricity 10
TIA Category Cables 10
Shielded or Unshielded Cables 11
Solid or Stranded Conductors 11
RJ45 (8P8C) Connectors 11
TIA-568 Cabling Standard 12
Networking Using Light 14
Fiber Types 14
Connectors 15
Networking Using Radio 15
Layering 15
Open Systems Interconnect (OSI) Model 17
Here’s Everything You Need To Know About Show Networking! 19

CHAPTER 2

ETHERNET
Logical Link Control (LLC) 22
Media Access Control (MAC) 22
CSMA/CD 22
MAC Address 22
Frame Check Sequence 23
Physical Layer (PHY) 23
Ethernet Implementations 24
100Mbit/s 24
1 Gbit/s 24
 2.5 and 5 Gbit/s 24
10 Gbit/s 24
Higher Rates 24
Ethernet Hardware 25
Network Interface Controller 25
Hubs 26
Switches 27
Routers 28
Media Converters and Bridges 29
Power over Ethernet (PoE) 29
IEEE 802.11 “Wi-Fi” 30
Basic Structure 31
Service Set IDenti er 31
Security Issues 31
Should You Use Wi-Fi On Your Show? 32
Why Ethernet is Good for Our Industry 33

CHAPTER 3

NETWORK OPERATIONS
Transmission Control Protocol (TCP) 36
User Datagram Protocol (UDP) 36
Internet Protocol (IP) 36
Address Classes 37
Broadcast Address 38
Loopback/Localhost IP Address 38
Private IP Addresses 38
Setting IP Addresses 39
Dynamic Host Con guration Protocol (DHCP) 39
Link-Local Addresses 40
Static/Fixed IP Addresses 41
Useful Commands Working with IP Addresses 41
Subnets 43
A Simpli ed Subnet Mask Approach 44
Example Network with One Subnet 45
Example Network with Two Subnets 47
Address Resolution Protocol (ARP) 50
ARP Command 52
Ports 52
IPv6 53
A New Address Format and Shorthand 54
Pre x/Subnet 55
ree Types of Transmission 55
Global Unicast 55
Multicast 56
Anycast 56
IPv6 Network Systems 56
IPv6 in Show Networking? 56
Why IP Networking is Good For Our Industry 57

CHAPTER 4

MORE NETWORK OPERATIONS

Visualizing Tra c Flow 59
Resolving Layer 2 and 3 Addresses 62
Broadcast Domain 63
Learning MAC Addresses 63
Network Topology Issues 64
Broadcast Storms 65
Managing Loops 67
Virtual LANs (VLAN) 67
Routing 72
Other Network System Protocols 75
Internet Group Management Protocol (IGMP) 75
Domain Name System (DNS) 75
Network Address Translation (NAT) 75
Virtual Private Network (VPN) 76
Quality of Service (QoS) 76
Link Layer Discovery Protocol (LLDP) 76
Show Networking Best Practices 77
A Mature Solution 80

CHAPTER 5

EXAMPLE NETWORKS
Network Design/Implementation Process 83
1: Analyze Network Needs 84
2: Design Address/Subnet Scheme 84
3: Determine Network Topology 84
4: Document the Network 84
5: Build, Label, and Verify the Network 85
 6: Implement Security 85
7: Maximize Operational Reliability 86
Example Lighting Network 86
Example Sound Network 89
Example Video Network 93
Example Scenery Control Network 97
Example Managed Show Control Network 99
Explaining e Network 107

CONCLUSION
Contact Info and Blog 113

APPENDIX: NUMBERING SYSTEMS

Base 10 (Decimal) Notation 115
Base 2 (Binary) Notation 116
Base 16 (Hexadecimal) Notation 117
Number Context 119
Converting Number Bases 119
Sample Numbers in Di erent Formats 122

INDEX
Index 125

TABLE OF CONTENTS
PREFACE
is book re ects the impact of a dramatic, decades-long evolution in
entertainment control technology1, which started in the mid 1980s as
digital control protocols replaced older analog approaches. ings developed
rapidly from there, with networks rst appearing in show systems in the
mid 1990s. With the explosion of a ordable computing and networking
power, by the 2010s, mature networks were lling show-critical roles on all
kinds of productions, and the eld morphed from a bunch of individual,
point-to-point connection methods to a variety of protocols and digital
media data transported over a ubiquitous digital highway system: Ethernet.
is technological maturation led me to write the book you are reading,
which traces its roots back to 1994, when the rst edition of my Control
Systems for Live Entertainment was published. at book (and its successors)
covers the broad world of entertainment control (individual control systems
as found in lighting, sound, video, machinery, pyro, lasers, etc.) and also
show control (connecting two or more entertainment control systems
together). I followed the market evolution over two more editions of that
book over a couple decades, and then, re ecting the rise of the network, I
reorganized the entire book for the self-published 2012 edition and
changed the title to Show Networks and Control Systems. Five years later, I
issued a second edition, and actually cut material out of the book because
networks had become so dominant.
By design, and re ecting the realities of the market today, Introduction to
Show Networking is smaller and less comprehensive than its predecessor. It
is not meant to replace the larger book, but as networks have matured and
been made easier to use by the brilliant engineers working for our
manufacturers, many show technicians today will spend their career
working on a mature hardware platform, and will be operating primarily at
a higher virtual level. And at this level, they don’t need to understand the
low-level details that were so important in comprehending 1980s vintage
control approaches. If you set things up right, use good-quality gear, and
follow some basic best practices, Ethernet just works. And since it’s
everywhere on shows, I hope this book will help technicians understand the
basics of how it works; with the information here as a starting point, there
are myriad resources available for the more advanced information, tailored
to each usage.
WHAT’S INCLUDED AND NOT INCLUDED?
As the title Introduction to Show Networking suggests, this book is an
introduction to the networks found on live shows: concerts, theatre
productions, corporate and special events, cruise ship revues, wrestling
shows, houses of worship, museum presentations, fountain spectaculars, etc.
—any kind of show presented live for an audience. While we borrow and
share technology with other forms of entertainment such as movies and
television, those forms are not speci cally included here. However, the
basics of Ethernet are the same whether used in a concert or on a lm set,
so while the applications may be di erent, the core technologies covered
here are the same. In addition, beyond a few examples, I don’t focus a lot on
speci c usage by any particular show department, and this, too, is by design:
a network is a network, and an IP address is an IP address, whether that IP
address is used to transport streaming audio/video, lighting control data or
pyro ring information.
is book focuses on understanding the basic technologies that allow data
to be transported across a show network. By design, some complex
operational protocols are introduced here but not explained fully, because
while it’s important for show techs to understand what some complex
protocol o ers us, and how to use it, they don’t really need to know the gory
details in order to use it e ectively. However, if (like me) you nd the low-
level details intriguing out of curiosity (if not need), to try and get a low-
level understanding of something like gigabit Ethernet or a modern
network-based control or distribution protocol, you may need to develop
some pretty advanced programming and engineering chops. I had a
reasonably low-level understanding of the early versions of Ethernet, but
even after learning about and teaching this stu for more than 20 years now,
I really have no low-level understanding about the electrical workings of
gigabit Ethernet transmission. And that’s because I don’t really need to
spend time learning that low-level, head-splitting detail in order to make a
working, reliable system (my main interest).
And while I will mention the Internet here, and productions may (carefully)
connect to it for either interactivity or maintenance, the complex operations
of the larger Internet or corporate networks are also outside our scope here,
and are well documented elsewhere (that said, I do have some thoughts
about how to manage those connections—see “Show Networking Best
Practices” on page 77). I don’t speci cally cover Internet streaming here, but
again, the principles and best networking practices used on live shows can
apply. I also don’t discuss any speci c gear or show software in this book;
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one reason for that is that the gear changes constantly, and in addition the
speci c ways that some networking features are implemented vary a lot by
manufacturer. Finally, this book also does not include details on the control
protocols that form so much of the basis of many entertainment control
systems and much of the larger Show Networks and Control Systems book.
at information remains available there and on many other sources,
including my blog at www.controlgeek.net.
FOR WHOM IS THIS BOOK WRITTEN?
While not every entertainment technician needs to be a networking expert,
I do believe that everyone working in entertainment technology should have
at least a basic understanding of these critical technologies, since they are
found on all kinds of shows in any department that uses technology. at
said, this is a topic best approached by those who already have some
experience in lighting, sound, video, scenery control, etc; it’s easier to
muddle through some of the arcane details here if you already are passionate
about an area of our eld. In addition, since I’m assuming most readers (like
me) love building stu more than they enjoy dealing with abstract
information, I use a bottom-up approach, talking about cabling and the like
before getting to the abstract layering concepts that traditionally are used to
introduce networking technologies.
HOW SHOULD THIS BOOK BE USED?
I have attempted here to present the information in a form readable straight
through by motivated, independent readers, while also making the structure
modular enough to be useful for working professionals and educators (I
teach classes based on the book myself ).
To keep the applicability of the information here as broad as possible, if you
see a computer represented in a diagram, imagine that could be anything on
a show network: lighting console, network-enabled speaker, video server,
pyro controller, etc.
You can do a lot in networking without understanding binary, but things
like IP addresses are a lot easier to understand if you have a foundation in
number bases. Since readers may or may not bring that knowledge, I’ve
included an introduction in the “Appendix: Numbering Systems” on page
115.
CONVENTIONS
ere are a number of cross references in this book. In print, they should
refer to a page number; in electronic form they should take you to the
related part of the book. However, I’ve only included forward cross
references here when speaking about something we haven’t covered yet. To
look backward, there is a detailed Table of Contents and an Index.
If a term is bolded, then it is a “key” term; I generally mark the rst major
usage of the term in the book.

Text in a box like this is an aside, historical or other informa on that is related
to the topic in ques on but not part of the main ow.

DISCLAIMERS
And now for the “It’s not my fault!” disclaimers: While I’ve made every e ort
to ensure that the information in this book is accurate, DO NOT
implement anything in any product or system based solely on the
information in this book. e goal here is understanding; if you want to go
to the next level—implementation—you need to obtain information from
the appropriate standards or other organizations. Additionally, while
networks can be used to control dangerous stu , safety is the
responsibility of system designers and operators.
THANKS TO MY PRODUCTION TEAM
Literally hundreds of people helped me with this book and its predecessors
over the years. But I want to extend a special thanks to Aaron Bollinger for
creating all the excellent illustrations in the book; Shelbye Reese, who
designed the fantastic layout and the cover, and Michael Lawrence for copy
editing.
WEBSITE AND LECTURE VIDEOS
Errata for this book, my blog, and much more is available on my website:
http://www.controlgeek.net. In addition, the site features lecture
videos for chapters in the book:
I developed a timeline wrote an article about this evolution for Lighting and Sound
America that is available on my website, www.controlgeek.net.
Chapter 1
INTRODUCTION
WHAT IS A NETWORK?
A network is two or more devices using a common physical infrastructure
to allow each connected computer to communicate with all the others. Any
device connected by the network is called a node; if the node has data to
communicate, it may be referred to as a host. Ethernet, the most widely-
used network standard, o ers incredible exibility and power at a low cost,
and—built correctly—Ethernet networks are robust, reliable and perform
many mission-critical functions on our shows.
Networks are found on shows of all sizes, primarily serving two roles. First,
networks transport control data to operate show equipment (lights, sound
playback systems, video servers, automated scenery controllers, rigging
controllers, pyro and special e ect devices, etc.); this is a critical function
they have been serving since the 1990s. Additionally, once network capacity
increased, networks became widely used to transport, or “stream1”, digital
audio and video media. e real power of Ethernet is that—built correctly
—the same network could work well in either role, carrying just about any
kind of digital data for a show.
HOW ARE NETWORKS USED ON SHOWS?
Before moving on to details, let’s take a look at how networks are used in
various ways on shows, and introduce—at a high level—some realistic show
networks, which we will revisit in detail at the end of the book. At this
point, since we haven’t covered any of the fundamentals, don’t worry about
how these systems work; instead focus on how they are structured and being
used.
Ligh ng Networks
Lighting systems are all about control, and, traditionally, connections have
been implemented with 1980s vintage point-to-point serial lighting control
approaches like DMX512-A (Digital MultipleX) and RDM (Remote
Device Management). As networking became cheaper and more powerful,
network-based approaches to carrying lighting data such as Art-Net™,
Streaming ACN (sACN, Architecture for Control Networks) and RDMnet
became available2. Lighting networks can directly connect to controlled
devices such as moving lights, dimmers, LED xtures, and even fog
machines and media servers. Or, the network might act as a backbone,
transporting control data out to a “gateway”, which converts it to older
serial protocols like DMX512-A for direct, non-networked connections.
Example Ligh ng Network
is example lighting network for a simple system installed in a small venue
is a mixture of both approaches, connecting a control console with several
lights and a wireless remote phone app, and also transporting data to a
gateway for traditional DMX control:

Sound Networks
As sound systems moved from analog to digital in the late 1990s, digital
audio started to be transported over standard networking equipment, and
this led to the eventual development of proprietary media networking
approaches like Audinate’s Dante®, or open approaches like AES-67 and
the multi-named AVB (Audio Video Bridging) / TSN (Time-Sensitive
Networking) / “Milan®”. In addition, networks are used to transport a
number of proprietary audio control systems implemented by
manufacturers, as well as open control standards like OSC (Open Sound
Control), MIDI (Musical Instrument Digital Interface) and AES-70
(Open Control Architecture).
Example Sound Network
In this example sound network for a one-o show, we share some
networking hardware to transport two separate networks; one carries remote
control data for the console; the other transports digital audio:

Video Networks
As computing power increased in the late 1990s, networks started being
used widely as the control and distribution backbones of many video
systems. And then in the 2010s, as a ordable networks became capable of
carrying and routing high-resolution digital video signals, open standards
like SDVoE (Software De ned Video over Ethernet) and SMPTE 2110
were developed.
Example Video Network
is example video system for a permanent show in a museum is actually
made up of two physically-separated networks: one for control and one for
distribution of the high resolution video signals; some devices connect to
both networks via separate physical connections.

Scenery Networks
In scenic automation and rigging systems, networking started being used in
the late 1990s to transmit control data between various controllers,
input/output (IO) systems, and controlled devices; much of this is done via
proprietary approaches from a single manufacturer, and this closed approach
is often used to implement safety-rated connections. In addition, for
simpler applications, protocols adapted from the days of serial, point-to-
point connections like ModBusTCP are used. And as networks became
ubiquitous, approaches to share positional data safely between systems, such
as RTTrPM (Real-Time Tracking Protocol - Motion), became available.
Example Scenery Network
Scenic automation systems typically draw on the world of industrial
controls, which, like the entertainment industry, builds on top of Ethernet
as a backbone. is simple scenic automation system connects a controller, a
remote pendant, a computer for display and editing of cues, and two drive
units:
Networks for Pyro, Costumes, Props, Show Control, You Name It!
Networking presents such a powerful and a ordable infrastructure that it is
the obvious choice to carry just about any kind of digital data. You will nd
it in one form or another behind all kinds of systems throughout live shows.
In addition, networks are ideal for show control applications, which
connect together two or more entertainment control systems (lighting,
sound, video, etc.), allowing the connected systems to synchronize or
interact3.
Keep these systems and applications in mind as we work through all the
underlying details of networks; we will revisit, expand on and explain each
of these example networks outlined above in the nal chapter of this book
(see the example systems on page 83).
NETWORK TYPES
We can break down networks into two basic types: Local Area Network
(LAN) and Wide Area Network (WAN).
Local Area Network (LAN)
A Local Area Network (LAN) covers a “small area,” ranging from two
devices up to a single building or a small group of buildings, and is typically
owned and maintained by one organization. Most show networks are
LANs.
Wide Area Network (WAN)
A Wide Area Network (WAN) covers long distances, a wide area, or a
broad geographic area. Of course, the best known usage of a WAN is to
connect to the Internet. WANs typically use a “common carrier” such as a
phone company for some or all of their connections and, therefore, are
rarely entirely owned and operated by a single organization. WANs are a
separate area of specialty, mostly outside of the scope of this book, and are
rarely used for live entertainment applications except in the largest
applications (e.g., a theme park).
Internet
e Internet is basically a network of networks. To the user, the Internet
appears to be one giant network; but, in fact, the user’s network, through
their Internet service provider (ISP), is simply connected to many other
private and public networks. e Internet Protocol (IP, page 36) is the basis
of this system.
NETWORKING CONCEPTS
Before moving on to some practical concepts, let’s go through some
abstract, but important networking concepts.
Bit Rate/Bandwidth
A digital data link carries a binary4 stream of 1s and 0s. e rate of
transmission is known as the bit rate, which is measured in bits per second
(bit/s, or BPS). Bit rate measurements use the International System of
Units (SI) pre xes, so it’s very common to see something like Mbit/s, a
megabit (1 million) per second, or Gbit/s, a gigabit (1 billion) per second.
Whatever the transmission medium, there is always some limit as to how
much data a single communications connection can handle; this capacity is
known as the channel’s bandwidth. A “high bandwidth” connection can
carry more than a “low bandwidth” link.
Determinism
All networks have some transmission latency (delay), and in the wider
Information Technology (IT) industry, if a web page is a bit slower to load
today than it was yesterday it’s an inconvenience. But in our industry, a
delayed light cue could expose the workings of a magic trick, and ill-timed,
stutter-y audio or video could ruin a live concert. So, the timely delivery of
data as a critical need is one of the things that sets our industry apart from
the larger business networking world, and it drives the way we design and
con gure our networks. Data communications systems that can deliver data
in a predictable amount of time are said to be deterministic. Actually
guaranteeing a delivery time can involve complex systems; in many cases,
“good enough” delivery time is more than adequate for the task, especially
when we are sending relatively small amounts of data over systems with a
very large available bandwidth.
Data Encoding
To allow systems to communicate over a network, we must rst agree on the
way that machines model and represent the physical world, and make sure
that all devices communicating with one another use an agreed-upon
approach. For speci c kinds of data like audio samples, “Light Cue 13 Go,”
or “platform move at 66% speed,” there are speci c standards5. However,
deserving a mention here are three interrelated, open data character
encoding standards prevalent in the world of networking: the American
Standard Code for Information Interchange (ASCII), Unicode, and the
Universal Character Set’s (UCS) widely used UTF-8 variant.
ASCII (pronounced ASS-kee) was standardized in the early 1960s, and is
basically a grown-up version of a communication game you may have played
as a child: substituting numbers for letters of the alphabet in order to send
coded messages. For example, to send the text “Ethernet” in ASCII, the
following decimal and hex6 numbers would be used:
Character E t h e r n e t

Decimal 69 116 104 101 114 110 101 116

Hex 45 74 68 65 72 6E 65 74

ASCII was, and UTF-8 is now, one of the most widely-used standards in
computing and networking, and many other standards reference or use
them. UTF-8 and Unicode are backwards compatible, and in basic control
systems we’re likely to be using pretty simple characters, so most people call
just this standard “ASCII”7.
Error Detec on
No communications link is perfect; there is always some possibility of an
error occurring in the transmission—whether caused by noisy lighting
dimmers or a loose connector. Error detection schemes add some data to
the information traveling over the link, and o er the receiver a mechanism
to determine if the data was corrupted during transmission (or storage). e
Cyclic Redundancy Check (CRC) approach, which is included in
Ethernet, is an extremely e ective error-detection method, with accuracy
approaching 100% in many implementations. Basically, with the CRC
approach, the data to be checked is treated as a block of bits, which is
divided using a specially designed polynomial. e result of the division is
transmitted along with the data for veri cation by the receiver. If the
receiver detects some corruption, it can request for the data to be resent, or
discard it.
PACKETS AND FRAMES
In “old school” analog or point-to-point digital connections, a continuous,
physical data communications pathway exists between two (or a few)
communicating devices, which simply sends voltages representing
information back and forth. Networks, on the other hand, share a common
physical infrastructure to create virtual connections, so the data tra c must
be managed, or packaged, in some way. e most typical approach is to
break the data up into packets or frames with each unit containing a small
chunk of the larger data stream. (Whether a data unit is called a packet or a
frame depends basically on what layer it occupies; more on that shortly on
page 15). e packetized nature of networks adds another level of
complexity, since it’s possible for packets to arrive at the receiving node
delayed, out of order, or corrupted. Higher-level protocols are required to
handle these issues, but the bene ts of exibility and sophisticated cross-
system interoperability far outweigh the drawbacks.
Packet Forwarding
Packets on a network can be delivered in di erent ways, depending on the
application, and the network components can make a decision on a packet-
by-packet basis whether to forward (or not) a packet to a particular
interface. e three basic delivery types we will cover are unicast, multicast,
and broadcast. e di erent approaches can each have a place in a network,
depending on what is needed, and networks can operate in di erent modes
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genres, available in popular formats like
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Other documents randomly have
different content
 55 55 55 59 59 59
57 58 60 60 60 60
59 59 61 61 61 61
61 62 62 62 62 62
63 63 63 63 63 63

The slips being thus prepared, a person is to think of any one of the
numbers which they contain, and to give to the expounder of the
question those slips in which the number thought of occurs. To
discover this number, the expounder has nothing to do but to add
together the numbers at the top of the columns put into his hand.
Their sum will express the number thought of.

Example.—Thus, suppose we think of the number 14. We find that

this number is in three of the slips, viz., those marked B, C, and D,
which are therefore given to the expounder, who, on adding
together 2, 4, and 8, obtains 14, the number thought of.

The trick may be varied in the following manner: Instead of giving to

the expounder the slips containing the number thought of, these
may be kept back, and those in which the number does not occur be
given. In this case, the expounder must add together, as before, the
numbers at the top of the columns, and subtract their sum from 63.
The remainder will be the number thought of.

The slips containing the columns of numbers are usually marked

with letters on the back, and not above the columns, as we have
expressed them. This renders the deception more complete, as the
expounder, knowing beforehand the number at the top of each
column, has only to examine the letters at the back of the slips given
him, when he performs the problem without looking at the numbers,
and thus renders the trick more extraordinary.

151. A pair of little quadrupeds,

Transpose them, and you’ll find
The lords of ocean, or the aids
 For disciplining mind;
Or that which cheers the midnight hour,
Or gilds the flagstaff high;
Now test your transposition power,
And for the answer try.

152. When is a chair like a rich lady’s dress?

153. One p, one i, four a’s, two r’s, two s’s, two l’s—what do they
make, and who has made a fortune by them?

154. What odd number will give, on being divided, a half clear of a
fraction?

155. I’m in the book, but not on any leaf;

I’m in the mouth, but not in lip or teeth;
I’m in the atmosphere, but never in the air;
I wait on every one, but never on a pair;
I am with you wherever you may go;
And every thing you do I’m sure to know;
Though when you did it I should not be there,
Yet when ’twas done, you’d find me in the chair.

156. What is the difference between Joan of Arc and Noah’s ark?

157. I am composed of seventeen letters.

My 4, 6, 10, is what we all do.
“ 5, 8, 14, 11, is a great part of the body.
“ 1, 13, 9, 15, is the name of a fish.
“ 7, 16, 2, 10, is a part of speech.
“ 13, 8, 3, is the name of a fowl.
“ 6, 15, 14, is a girl’s name.
“ 17, 6, 10, 15, is very useful to vessels.
“ 13, 6, 12, is a personal pronoun.
My whole is what we may all expect if we live.
158. My first is an instrument, which, though small, has more power
than any monarch on earth. It is the lover’s friend and the poet’s
pride; yet has overthrown kingdoms, ruined reputations, set folks
together by the ears, and caused more destruction than plagues,
pestilence, or famine. My second, though not quite so mischievous,
is very destructive when in improper hands, and my whole, though
employed against my first, is deemed its friend and improver.
LEAP FROG.
159. This is a most excellent pastime. It should be played in a
spacious place, out of doors, if possible, and the more there are
engaged in it, provided they be of the same height and agility, the
better is the sport. We will suppose a dozen at play:—Let eleven of
them stand in a row, about six yards apart, with all their faces in one
direction, arms folded, or their hands resting on their thighs, their
elbows in, and their heads bent forward, so that the chin of each
rests on his breast, the right foot advanced, the back a little bent,
the shoulders rounded, and the body firm. The last begins the sport
by taking a short run, placing his hands on the shoulders of the
nearest player, and leaping with their assistance—of course,
springing with his feet at the same time—over his head, as
represented in the cut. Having cleared the first, he goes on to the
second, third, fourth, fifth, etc., in succession, and as speedily as
possible. When he has gone over the last, he goes to the proper
distance, and places himself in position for all the players to leap
over him in their turn. The first over whom he passed, follows him
over the second, third, fourth, etc.; and when he has gone over, the
one who begun the game places himself in like manner for the
others to jump over him. The third follows the second, and so on
until the parties are tired.
160. His heart was sad, and his foot was sore,
When a stranger knocked at the cottager’s door;
With travel faint, as the night fell down,
He had missed his way to the nearest town,
And he prayed for water to quench his thirst,
And he showed his purse as he asked for my first.
The cotter was moved by the stranger’s tale,
He spread the board, and he poured the ale:
“The river,” he said, “flows darkly down
Betwixt your path and the lighted town,
And far from hence its stream is crossed
By the bridge on the road that you have lost;
Gold may not buy, till your weary feet
Have traversed the river and reached the street,
The thing you ask; but the wandering moon
Will be out in the sky with her lantern soon;
Then cross o’er the meadow, and look to the right,
And you’ll find my second by her light.”
My second shone like a silver floor,
When the traveler passed from the cotter’s door;
He saw the town on its distant ridge,
Yet he sighed no more for the far-off bridge;
And his wish of the night soon gained its goal,
For he found my first when he reached my whole.

161. What two letters of the alphabet make a prophet?

M
162. I 8 0
day.

163. Plant an orchard of twenty-one trees, so that there shall be

nine straight rows, with five trees in each row, the outline a regular
geometrical figure, and the trees all at unequal distances from each
other.
 nor
164. B 0 yy for U c what a fool u b.
nice
165. What part of the horse resembles you?

166. Why is a horse like the prophet Elijah?

167. Why is a new married man like a horse?

168. Why is it profitable to keep fowl?

169. My first is a collection of water; my second is used when

speaking of myself; my third is a fruit; my whole is a town in
Hindostan.

170. “Thomas,” said Charles, “you are good at figures, please give
me a figurative answer to this question:—What ought one to do who
arrives at a friend’s house too late for dinner?”
 Thomas, after thinking a little, wrote the following—1028,40.
What was his meaning?

171. A teacher, having fifteen young ladies under her care, wished
them to take a walk each day of the week. They were to walk in five
divisions of three ladies each but no two ladies were to be allowed
to walk together twice during the week. How could they be arranged
to suit the above conditions?

172. My first is a letter, an insect, a word,

That means to exist; it moves like a bird.
My next is a letter, a small part of man,
’Tis found in all climes; search where you can.
My third is a something seen in all brawls.
My next you will find in elegant halls.
My last is the first of the last part of day,
Is ever in earnest, yet never in play.
My whole gives a light, by some men abhorred,
The blessings from which no pen can record.

173. What number is that, which, added separately to 100 and 164,
shall make them perfect squares?

174. Why is the letter F like death?

175. Why are mortgages like burglars?

176. I’m composed of letters four,

A turkey, cock, or hen;
Behead me, and I upward soar.
Put on my head again,
Transpose me, then a beast I am,
Both bloodthirsty and wild,
That preys on many a helpless lamb,
And oft devours a child.
177. I am a word of three letters, signifying to spoil or injure.
Transposed, I am an animal. Transposed again, I am a part of the
human frame.
178. Why is a grist-mill like the court-martial which cashiered Fremont?

179. I have wings, yet never fly—

I have sails, yet never go—
I can’t keep still, if I try,
Yet forever stand just so.

180. Why is a grist-mill like an orange-tree?

181. What Scripture character was a stupid sheep?

182. What animal that always has a cold chin is used to keep the
ladies’ chins warm?

183. What two reasons why a young lady going to the altar is certainly
going wrong?

184. Why is it dangerous for a teetotaler to have more than two

reasons for the faith that is in him?
185. What is the most cheerful part of an arsenal?

186. When does the tongue assume the functions of the teeth?

187. My first is company, my second is without company, and my third

calls company.
188. An emblem of stupidity,
My first in forests found;
Up in air oft rises high,
Though fastened to the ground,
But by sharp means it is removed,
And managed various ways;
By art or skill may be improved,
Or, perhaps, it makes a blaze.
My second is of every kind,
Is good, or bad, or gay;
Is dull or bright, to suit all minds,
By night as well as day.
The patient seaman keeps with care my whole,
And well it knows his secrets night and day;
And though it has no tongue, nor heart, nor soul,
It tells the story of the ship’s long way.

189. There is a word of six letters. Take off three letters at either
end, and add another letter, and it will make one of the most useful
members of the body.

190. Tell me why is it, if you lend

But forty dollars to a friend,
It does your kindness more commend
Than if five hundred you should send?

191. What is that which is less tired the longer it runs?

192. Why is a tailor finishing your pants like a polite host serving his
guests with water-fowl?

193. What was a month old at Cain’s birth, that is not five weeks old
now?
194. What looks worse on a lady’s foot than a darned stocking?

195. Which of the girls can answer questions best?

196. What is the shape of a kiss?

197. My first is a busy industrious thing,

Without which no bundle your porter can bring;
My second is nothing to speak of, yet stands
For thousands and millions, in money or lands;
My third is a question we meet every day,
Relating to things we do, think, or say;
My whole is the questioner—once it was you,
If not, ’twas your brother, or cousin, or—whew!
 It was somebody else whom your grandmother knew.

198. I am composed of four letters. We do not 4 2 3, 1 4 2 3, 2 3, 3

4 2.

199. My first is a preposition.

“ second implies more than one.
“ third is a pronoun.
“ fourth some people do not pay.
“ whole is not consistent.

200. I am a word of four letters often used in prayer.

Transposed, I become what every one professes.
Transposed again, I become an adjective, the qualities of
which every one despises.
Transposed again, I am part of a horse.
201. My first is poison, slow yet sure,
That preys on many frames;
Compounded oft of things impure,
And called by many names.
My first and second form my whole,
That’s one of Satan’s dens;
Many a man has lost his soul,
Through meeting there with friends.

202. I am a word of four letters—the name of a Cape.

Transposed, I am a portion of the earth’s surface.
Transposed again, I am a kind of meat.
Transposed again, I become a verb signifying to wash.

203. I prove 2 = 1, thus:—

x = a; then x2 = ax
x2 - a2 = ax - a2
(x + a)(x - a) = a(x - a)
x+a=a
2a = a
2=1
Who will detect the fallacy?
204. In what ship, and in what capacity, do young ladies like to
engage?

205. Ethereal thing, on unseen wing,

Through space my first is wandering;
It nothing sees, it nothing knows,
Yet all that’s known and seen it shows.
Brick, iron, mud, stone, reed, or wood,
My second in all climes has stood—
A lodge, a nest, where love may rest,
Or a prison, gloomy, dark, unblest.
Away on the bleak and desolate peak
 Where the rude tempests howl and shriek,
Like a friendly eye, looking out from the sky.
My whole to the wanderer gleams on high.

206. What kind of a ship did Solomon object to?

207. There are two numbers whose product added to the sum of their
squares is 109, and the difference of whose squares is 24.

208. In every hedge my second is,

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

209. My first is a pronoun; my second is not high; my third we must all

do; my fourth is a pronoun of multitude; my whole is musical.

210. What is the difference between a grandmother and her infant

grandchild?

211. Add one to nine and make it twenty.

212. What is that which the dead and living do at the same time?

213. When winter months have passed away,

And summer suns shine bright,
You ope the coffer where I lay,
And bring my first to light.
My second is a valiant knight,
Who wears his crest and spur,
And when he’s challenged to a fight,
He does not long demur.
My whole, as ancient fables say,
Was once a friend of Juno,
 In dress he makes a great display—
His name by this time you know.

214. Why is a bullet like a tender glance?

215. When innocence first had its dwelling on earth,
In my first’s lovely form it alighted;
And still to this time, from the hour of its birth,
In my first it has greatly delighted.
My second’s a part of a smart lady’s dress,
Yet on age it may also be found;
Again, ’tis a garb when the heart feels distress—
And my whole does with pleasure abound.

216. Why are children at play like a bird in her nest?

217. My first is male or female, young or old,

’Tis very sad if you are forced to doubt one;
Much must we pity the false heart or cold,
Who is so selfish as to live without one.
My second is a noble work of art,
Which brings together distant shores and lands;
Though neither feet it has, nor head, nor heart,
’Tis often furnished with a hundred hands.
My whole in youth or age, sickness or health,
In joy or sorrow, charms to life can give;
Without it, all in vain are hoards of wealth,
By it unblest in solitude we live.

218. What spice are the Hindoos fond of?

219. Why is a dog like a tanner?

220. Why are A B’s successors seedy?

221. What is nothing good for?

222. I am composed of four letters—the initials of four of the

principal personages in Europe—the name of a river in Russia;
transposed, I am a part of the Crystal Palace; transposed again, I
am not proud, although elevated above the heads of most people.
223. My first is when the summer wind
Sweeps rustlingly through the trees,
When the jasmine spray and the eglantine
Are swayed by the whispering breeze;
My second, a weapon of bloody strife,
Of steel, so cruel and cold,
Which ruthlessly takes the soldier’s life,
The cowardly, and the bold;
My whole is a Poet, by every one known,
So wide is his renown.

224. Why is the letter y like a young spendthrift?

225. Why is memory like the peacock?

226. My first in the garden luxuriantly grows,

Delicious and sweet, as every one knows;
My second a noisy, vain, garrulous thing,
The lord of a harem, as proud as a king;
My whole is still prouder, and seems to rejoice
As much in his tail as he does in his voice.

227. One man said to another, “Give me one of your sheep, and I
shall have twice as many as you.” The other replied, “No, give me
one of yours, and I shall have as many as you.” How many had
each?
228. Where were potatoes first found?

229. Where did cherries come from?

230. Why is a ship under full sail like Niagara?

231. O’er a mighty pasture go
Sheep in thousands, silver white;
As to-day we see them, so
In the oldest grandsire’s sight.
They drink—never waning old—
Life from an unfailing brook;
There’s a shepherd to their fold,
With a silver-horned crook.
From a gate of gold let out,
Night by night he counts them over;
Wide the field they rove about,
Never hath he lost a rover:
True the dog that helps to lead them,
One gay ram in front we see;
What the flock, and who doth lead them,
Sheep and shepherd, tell to me?

232. I am a word of four letters. Take off my hat, and you have
something which you do every day. Take off my head, and you have
a preposition. Leave off my head and put on my hat, and you have
something used before a door. Entire, and taken backward, with my
two middle letters transposed, I am a very convenient thing. I,
myself, am often eaten.

233. What part of a ship was Cain?

234. What animal resembles the sea, and why?

235. What animal is the most windy, and why?

236. What animal is like an apothecary?

237. What animal is like a stone-breaker?

238. A man had a bar of lead that weighed 40 lbs., and he divided it
into four pieces in such a way as to allow him to weigh any number
of pounds from one to forty. How did he manage the matter?

239. What is the best key to a good dinner?

240. Why is a farm-yard like a hotel?

241. If a woman stands behind a tree, how does the tree stand?

242. Wherein does a turkey-cock differ from a lady?

243. Three men buy a grindstone, 40 inches in diameter, on equal

shares. Each one is to use it until he has worn away his share. How
many inches in diameter must each one use?
244. What two letters of the alphabet do children like best?

245. Why are Cashmere shawls like deaf persons?

246. Ye mortals—wonder! I’m an elf,
A strange, mysterious thing;
More powerful than all the sprites
Within a magic ring.
I speak—although I have no tongue—
I speak, and thrill the soul;
I sing—and many a song I’ve sung
Resounds, while ages roll.
I am a weapon, strong and keen,
All made of glittering steel;
But human souls—not senseless flesh—
My sharp two-edges feel.
The greatest writer e’er was born—
But, ah!—a thievish elf;
For what I write is not, alas!
Original with myself.
I often take a cooling bath;
But, like the Ethiop’s skin,
When I have bathed, I’m blacker still
Than when I did begin!
Most kind am I; I glad the heart
Of many a wretched wight,
And many a sufferer is by me
Transported with delight.
Most cruel I; I’ve pierced the soul
With cutting, burning darts;
I’ve dashed the fondest hopes to earth,
I’ve crushed the lightest hearts.
Yet wise and powerful as I am,
A very slave am I;
I’m forced the mandates to obey
Of both the low and high.
Now, witty brains, tell who this is,
Who blesses and who curses;
Who has no hands, yet still who is
The writer of these verses.
247. Why is an Indian like a flirt?

248. Why is an Indian like a scholar?

249. How much silk is required to make a spherical balloon, 16

inches in diameter, without allowing for seams?

250. All children love to go to sea, and why?

251. That gentle picture dost thou know,

Itself, its hues, and splendor gaining?
Some change each moment can bestow,
Itself as perfect still remaining;
It lies within the smallest space,
 The smallest framework forms its girth,
And yet that picture can embrace
The mightiest objects known on earth:
Canst thou to me that crystal name
(No gem can with its worth compare)
Which gives all light, and knows no flame?
Absorbed is all creation there!
That ring can in itself inclose
The loveliest hues that light the heaven,
Yet from its light more lovely goes
Than all which to it can be given!

252. From 6 take nine, from 9 take 10;

From 40 take 50, and 6 remain.

253. Why is marriage like truth?

254. Required to divide 45 in four parts, so that the first part with
two added, the second with two subtracted, the third divided by
two, the fourth multiplied by two, shall equal each other.

255. Where was Major Andre going when he was captured?

256. There is a mansion, vast and fair,

That doth on unseen pillars rest;
No wanderer leaves the portals there,
Yet each how brief a guest!
The craft by which that mansion rose,
No thought can picture to the soul;
’Tis lighted by a lamp which throws
Its stately shimmer through the whole.
As crystal clear, it rears aloof
The single gem which forms its roof,
And never hath the eye surveyed
The master who that mansion made.
257. Why is a sculptor like a man who “splits his sides with
laughter?”

258. Why were the Scribes and Pharisees like a great conflagration?

259. My first is a collection of water, my second is used when

speaking of myself, my third is a fruit, my whole is a town in
Hindostan.

260. X U R, X U B,
X, 2 X U R 2 me.

261. Why was Daniel like Nebuchadnezzar’s image?

 SEE-SAW.

262. Several things are necessary to make this sport safe and pleasant.
First, a strong bar on which to balance your board or plank. Secondly,
a strong, straight-grained board or plank, which will not crack nor twist.
Thirdly, an equal weight at each end, or nearly so. Fourthly, a clear
head, and a steady hand, or foot, to keep up an even motion. With
these all right, you will go up and down as easily and smoothly as men
of business do, or political parties;—but, hallo there, boys, John has
tumbled off, and you will have a smash at the other end, which will
leave John’s partner in doubt whether he is up or down.

263. What island in the Pacific is always at this sport?

264. What is there at the same time philosophical and ungrammatical
in this sport?

265. Why is an elephant like a lady’s veil?

266. I was before the world begun,
Before the earth, before the sun;
Before the moon was made, to light
With brighter beams the starry night;
I’m at the bottom of the sea,
And I am in immensity;
The daily motion of the earth
Dispels me, and to me gives birth;
You can not see me if you try,
Although I’m oft before your eye;
Such is my whole. But, for one part,
You’ll find in taste I’m rather tart;
Now I become the abode of men—
And now, for groveling beasts, a pen;
I am a man who lives by drinking;
Anon I keep a weight from sinking;
To take me, folks go far and near;
I am what children like to hear;
I am a shining star on high;
And now, its pathway through the sky;
My strength o’erpowers both iron and steel;
Yet oft I’m left behind the wheel;
I’m made to represent a head;
Am found in every loaf of bread;
Such are the many forms I take,
You can not count all I can make;
Yet, after all, so strange am I,
Soon as you know me, then I die.

267. Henry is four feet high and William is five. The sum of their
heights multiplied by five is equal to their father’s age, plus fifteen.
How old was their father?

268. My first is the name of a river, my second is a pleasant

beverage, my third is what we are too apt to do, and my whole is
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