There _must_ be a new deal: (_a_) If the cards be not dealt, beginning at the dealer’s left into four packets one at a time and in regular rotation. (_b_) If, during a deal, or during the play the pack be proved incorrect. (_c_) If, during a deal, any card be faced in the pack or exposed, on, above, or below the table. (_d_) If more than thirteen cards be dealt to any player.[6] (_e_) If the last card does not come in its regular order to the dealer. (_f_) If the dealer omit having the pack cut, deal out of turn or with the adversaries’ cards, and either adversary call attention to the fact before the end of the deal and before looking at any of his cards. 38. Should a correction of any offence mentioned in 37 _f_ not be made in time, or should an adversary who has looked at any of his cards be the first to call attention to the error, the deal stands, and the game proceeds as if the deal had been correct, the player to the left dealing the next. When the deal has been with the wrong cards, the next dealer may take whichever pack he prefers. 39.
One will be unable to find a seat, and this player remains out. A chair is then taken away, and the music and dancing round begins again. There should always be one chair less than the number of players.--A. B. Gomme. In Ellesmere, Miss Burne says, Snap-tongs, called in other circles Magic Music or Musical Chairs, is thus played. Five players take part; four chairs are set in the middle, and one of the players, who holds a pair of tongs, desires the others to dance round them till the clock strikes a certain hour, which is done by snapping the tongs together so many times. While they dance, a chair is taken away, and the player who cannot find a seat has to become the snap-tongs next time.--_Shropshire Folk-lore_, p.
Two children stand back to back, linked near the armpits, and weigh each other as they repeat these lines. See Weigh the Butter. Ball I. Stottie ba , hinnie ba, tell to me How mony bairns am I to hae? Ane to live, and ane to dee, And ane to sit on the nurse s knee! --Chambers _Pop. Rhymes of Scotland_, p. 115. II. Toss-a-ball, toss-a-ball, tell me true, How many years I ve got to go through! --Burne s _Shropshire Folk-lore_, p. 530. (_b_) Children throw a ball in the air, repeating the rhyme, and divine the length of their lives by the number of times they can catch it again.
Markers must be made to score at least 5000 points. When a cribbage board is used, it is usual to count the outside row of pegs as 10 each, the inner row as 100 each, and the game pegs in the centre as 1000 each. If counters are used, there must be for each player; four white, to mark 10’s; one red to mark 50; nine blue to mark 100’s; and four coppers to mark 1000 each. These counters are moved from left to right of the player as the points accrue. In whatever manner the count is kept, it should be distinctly visible to both persons, as playing to the score is very important. _=STAKES.=_ Rubicon Bézique is played for so much a hundred points, and in settling up, all fractions of a hundred are disregarded, unless they are necessary to decide the game. Ten cents a hundred is the usual stake; sixpence in England. Games are seldom worth less than one or two thousand points. _=PLAYERS.
If there are four at the table the dealer takes no cards, but shares the fortunes of those who are opposed to the single player, winning and losing on each hand whatever they win and lose. If there are five or six at the table, the dealer gives cards to the two on his left, and the one next him on the right. Those holding no cards share the fortunes of the two who are opposed to the single player. After the table is formed, no one can join the game without the consent of all those already in, and then only after a _=round=_; that is, after each player at the table has had an equal number of deals. Should any player cut into a table during the progress of a game, he must take his seat at the right of the player who dealt the first hand. When six persons offer for play, it is much better to form two tables, but some persons object to playing continuously, and like the rest given to the dealer when more than three play. There are always three active players in Skat. The one who makes the trump is called _=the player=_, or Spieler; the two opposed to him are called the _=adversaries=_, or Gegners; while those who hold no cards are called _=im Skat=_, or Theilnehmer. Of the three active players, the one who leads for the first trick is called _=Vorhand=_; the second player is called _=Mittelhand=_, and the third _=Hinterhand=_. The person sitting on the dealer’s right, to whom the cards are presented to be cut, is called the _=pone=_.
For clapping of hands to indicate bell-tolling or bell-ringing at times of death see Napier s _Folklore_, p. 66. Henderson (p. 63) says the passing bell was supposed in former times to serve two purposes: it called on all good Christians within hearing to pray for the departing spirit, and it scared away the evil spirits who were watching to seize it, or at least to scare and terrify it. On the whole evidence from the rhymes, therefore, I should be disposed to class this game as originally belonging to burial, and not love, rites. Green Gravel [Music] --Madeley, Shropshire (Miss Burne). [Music] --Earls Heaton (H. Hardy). [Music] --Sporle, Norfolk (Miss Matthews). [Music] --Redhill, Surrey (Miss G.
--Halliwell s _Nursery Rhymes_, p. 222. The children are seated, and the questions are put by one of the party who holds a twisted handkerchief or something of the sort in the hand. The handkerchief was called hewley puley, and the questions are asked by the child who holds it. If one answers wrongly, a box on the ear with the handkerchief was the consequence; but if they all replied correctly, the one who broke silence first had that punishment. For similar rhymes see Dump, Mother, may I go out? Hey Wullie Wine I. Hey Wully wine, and How Wully wine, I hope for hame ye ll no incline; Ye ll better light, and stay a night, And I ll gie thee a lady fine. Wha will ye gie, if I wi ye bide, To be my bonny blooming bride, And lie down lovely by my side? I ll gie thee Kate o Dinglebell, A bonny body like yersell. I ll stick her up in the pear-tree Sweet and meek, and sae is she: I lo ed her ance, but she s no for me, Yet I thank ye for your courtesy. I ll gie thee Rozie o the Cleugh, I m sure she ll please thee weel eneugh.
Then all the ring sing the next verses, imitating washing clothes, wringing, ironing, baking bread, washing hands, combing hair, &c., suiting their actions to the words of the verses sung. The boy who was chosen then presents a ring, usually a blade of grass wrapped round her finger, to the girl. The ring then sing the ninth, tenth, eleventh, and twelfth verses. When all have chosen, if any lad is left without a partner, the last verse is sung. The version recorded by Chambers is similar in action, but there are some important differences in detail. The centre child acts as mistress of the ceremonies. The ring of children dance round her, singing the verses. At the end of the first line of the second verse they all courtesy to her, and she returns the compliment. At the conclusion of this verse she selects a girl from the ring and asks her her sweetheart s name, which is imparted in a whisper.
The third position is a light force shot but would be a half follow if the spot white were further out. BAULK-LINE BILLIARDS. Professionals became so skilful in rail nursing that the baulk-line was introduced to keep the balls away from the rail. This is a chalk line, 10, 12, 14, or 18 inches from the cushions, according to agreement, dividing the table into eight baulk spaces, as shown in the diagram. [Illustration] It is foul if more than two successive shots are made on balls both of which are within any one of the eight interdicted spaces. Both balls being within the space, the striker can play on them once without sending either out; his next stroke must send at least one out. Should it return, and both balls be again inside, he can play one shot, as before, without sending either out. This process may be repeated _ad libitum_. Should the second stroke fail to send a ball out it does not count, the striker’s hand is out, and the next striker plays at the balls as he finds them. [Illustration] The great art in baulk-line nursing is to get the object and carrom balls astride the line, and then to follow the principle of the rail nurse.
=_ It is quite unnecessary to follow any system of leads, further than to distinguish between the combinations from which high or low cards are led. But it is important to remember that although a high-card combination may be divided, it should be played as if in one hand. For instance: The declarer holds Q J x x x of a suit; Dummy having A x x. By leading Q or J, Dummy is enabled to finesse, as if he held A Q J. The declarer holds K J x x x; Dummy having Q x x. The play is to force the Ace, as if the combination of K Q J x x were in one hand. Many opportunities arise for leading the Ace first from a short suit, in order to secure a ruff on the second or third round. _=Second Hand Play.=_ If any card is led by the adversaries which the fourth hand cannot win, the second hand should cover it if possible; for unless he does so, his weakness will be exposed, and the suit will be continued. This is especially true of cases in which the second hand holds single honours, such as Jack and others, or Queen and others.
_=Suggestions for Good Play.=_ Beyond the usual qualifications necessary to succeed with any member of the poker family, Bouillotte requires some study of the probable value of the point, which value will vary with the number of players engaged in the coup. For instance: The first player to say, having only 21 in his hand, should ante; but if two other players had already anted, 31, or even 40 would be a doubtful hand. If a bet had been made and met by another player, such a point should generally be laid down. With good cards it is always better for the eldest hand to pass, especially with a brelan, for he will then have an opportunity to judge of the value of the hands against him, and he can raise the bet to his advantage. Good players will not bet on an ace alone, unless the suit is turned up; nor on a point of 21 with a weak card of the turn-up suit. If three play in a pool the point should be very strong to follow beyond the first raise; and if four players are engaged, it is almost a certainty that brelans will be shown. When a player with a brelan has frightened off his opponents with a big bet, it is usual to _=stifle=_ the brelan, as it is considered more to the player’s advantage to leave his adversaries under the impression that he may have been bluffing than to show the hand for the sake of the one white counter to which it entitles him. With three cards of one suit to the King, it is usual to bet high, in order to drive out anything but a brelan. Any player holding ace and another of the suit will of course abandon his hand, as his point is worth only 21 at the most, and the player with three to the King will get the benefit of his cards when the point is counted.
III. A dish, a dish, a green grass, A dish, a dish, a dish, Come all you pretty maidens And dance along wi us. For we are lads a roving, A roving through the land, We ll take this pretty fair maid By her lily white hand. Ye sall get a duke, my dear, An ye sall get a drake, An ye sall get a bonny prince For your ain dear sake. And if they all should die, Ye sall get anither; The bells will ring, the birds will sing, And we ll clap our hands together. --Biggar (W. Ballantyne). IV. Dissy, dissy, green grass, Dissy, dissy, duss, Come all ye pretty fair maids And dance along with us. You shall have a duck, my dear, And you shall have a drake, And you shall have a nice young man To love you for your sake.
As five points is the game, four of these counters are necessary for each player. _=PLAYERS.=_ Écarté is played by two persons, who sit opposite each other. One is known as the dealer, and the other as the pone, the adversary, the elder hand, the non-dealer, the leader, or the player. _=THE GALLERY.=_ In clubs that make a feature of Écarté, and in which there is a great deal of betting on the outside by the spectators, it is not usual to allow more than one game between the same players, the loser giving place to one of those who have been backing him, and who is called a _=rentrant=_. This is known as playing the _cul-levé_. Any person in the gallery is allowed to draw attention to errors in the score, and may advise the player he is backing, or even play out the game for him, if he resigns. The player need not take the advice given him, which must be offered without discussion, and by pointing only, not naming the suit or cards. If a player will not allow the gallery to back him, taking all bets himself, no one may overlook his hand nor advise him without his permission, and he need not retire if he loses the game.
Placer la main, to place the lead. Make-up, to get the cards ready for the next deal. Make the Pass, to put the two parts of the pack back as they were before the cut. Maldonne, F., misdeal. Manche, F., one game of the rubber. Manque, the numbers from 1 to 18 at Roulette. See Passe. Marque, F.
8, + 3, + 4, + 3 for the revoke = 18, from which there is nothing to deduct. The greatest number of points that can be made on a game, exclusive of slams and revokes, is 17; and the least number is 6. _=MARKING.=_ The methods of using the counters in scoring the game points have already been described in connection with whist. _=CUTTING OUT.=_ If there are more than four candidates for play at the conclusion of a tournée, the selection of the new table must be made as if no tournée had been played; all having equal rights to cut in. _=CHEATING.=_ Mort offers even less opportunity to the greek than whist, as the deal is a disadvantage, and nothing is gained by turning up an honour, beyond its possession. CAYENNE, OR CAYENNE WHIST. _=CARDS.