Now in all the English examples it is remarkable that the tug-of-war does not appear to be a part of the game; and if this evidence be conclusive, it would appear that this incident got incorporated in America. It is this incident which Mr. Newell dwells upon in his ingenious explanation of the mythological interpretation of the game. But apart from this, the fact that the building of bridges was accompanied by the foundation sacrifice is a more likely origin for such a widespread game which is so intimately connected with a bridge. This view is confirmed by what may be called the literary history of the game. The verses, as belonging to a game, have only recently been recorded, and how far they go back into tradition it is impossible to say. Dr. Rimbault is probably right when he states that they have been formed by many fresh additions in a long series of years, and [the game] is perhaps almost interminable when received in all its different versions (_Notes and Queries_, ii. 338). In _Chronicles of London Bridge_, pp.
When two play against two as partners, each takes an adversary and plays against him individually, the scores being balanced at the end by adding those of the partners together. *** END OF THE PROJECT GUTENBERG EBOOK FOSTER S COMPLETE HOYLE: AN ENCYCLOPEDIA OF GAMES *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.
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When the partners will sit next each other, proposals may be accepted on slightly weaker hands than would be considered safe otherwise. _=Playing Proposals and Acceptances.=_ If the eldest hand has proposed, and his partner sits next him on the left, the commanding trumps should be first led, in order to secure as many rounds as possible. If the eldest hand has no high-card combination in trumps, it is sometimes better to lead a small card from a weak suit, hoping to put the partner in. If successful, the partner will first show his suit, and then lead trumps through the adversaries. If the acceptor sits on the right of the proposing eldest hand, trumps should be led immediately, and the highest of them first, no matter what they are. The Q or J at the head of five trumps may be of great use to a partner with an honour. When the eldest hand has proposed, and his partner sits opposite him, trumps should be led at once, and all combinations played as at Whist. The foregoing principles equally apply when the eldest hand has accepted a proposal, if the player can be depended on to have proposed on general strength. When partners sit opposite each other, the general principles of leading, establishing, defending, and bringing in suits, are the same as at Whist, and the usual trump signals and echoes are made use of.
” “Not good.” “Quatorze Aces,” which he knows is good; and which admits of his counting his triplets of Kings and Queens. These are worth collectively 20 points, and on leading one of his Aces he announces “Twenty-one.” The dealer, before playing a card, proceeds to claim the count for the combinations which are good in his own hand, which is as follows:-- ♣ J 10 9 8: ♢ J 10 9: ♠ K Q J 10 9. The point is worth 5; the quinte 15, the quatrième 4, and the tierce 3; 27 altogether. His trios of Jacks and Tens are shut out by the superior combinations in the elder hand. Having claimed these 27 points, and their correctness having been admitted by the elder hand, the dealer proceeds to play a card. If either player has forgotten to declare anything before he plays, the count is lost. _=Sinking.=_ A player is not obliged to declare any combination unless he wishes to do so, and he may sink a card if he thinks it would be to his advantage to conceal his hand.
The cards rank as in plain suit, and ties cut again, to decide the tie. _=DEALING.=_ When the pack is cut, at least four cards must be left in each packet. (In Switzerland they cut to the left and deal to the right; but in America this is not necessary.) The cards are dealt three at a time for three rounds, so that each player receives nine cards. When four play, the last card must be turned up for the trump. When three play, the twenty-eighth card is the trump. _=OBJECT OF THE GAME.=_ The play is to win tricks with cards of pip value in them, especially aces and tens, called game points, and also to meld certain combinations of cards that are found in the player’s hand. When three play, the dealer may exchange his nine cards for the nine that are left on the table, but he must surrender the turned up trump among those nine cards to any player that holds the six.
[_Or, at Market Drayton._ Shift your feet with nimble light, And you ll be there by candle-light.] Open the gates as wide as the sky, And let King George and his lady go by. --Market Drayton, Ellesmere, Whitchurch, (Burne s _Shropshire Folk-lore_, p. 522). XVI. How many miles to Bethlehem? Three score and ten. Shall we get there by candle-light? Yes, there and back again. So open the gates and let King George and his family go through. --Hayton, near York (H.
Two boys sit face to face astride of a form or a log of timber. If a piece of turf can be procured so much the better. One boy lays his chestnut upon the turf, and the other strikes at it with his chestnut; and they go on striking alternately till one chestnut splits the other. The chestnut which remains unhurt is then conqueror of one. A new chestnut is substituted for the broken one, and the game goes on. Whichever chestnut now proves victorious becomes conqueror of two, and so on, the victorious chestnut adding to its score all the previous winnings. The chestnuts are often artificially hardened by placing them up the chimney or carrying them in a warm pocket; and a chestnut which has become conqueror of a considerable number acquires a value in schoolboys eyes; and I have frequently known them to be sold, or exchanged for other toys (Holland s _Cheshire Glossary_). The game is more usually played by one boy striking his opponent s nut with his own, both boys standing and holding the string in their hands. It is considered bad play to strike the opponent s _string_. The nut only should be touched.
Rogers notices Marbles in his _Pleasures of Memory_, l. 137:-- On yon gray stone that fronts the chancel-door, Worn smooth by busy feet, now seen no more, Each eve we shot the marble through the ring. Different kinds of marbles are alleys, barios, poppo, stonies. Marrididdles are marbles made by oneself by rolling and baking common clay. By boys these are treated as spurious and are always rejected. In barter, a bary = four stonies; a common white alley = three stonies. Those with pink veins being considered best. Alleys are the most valuable and are always reserved to be used as taws (the marble actually used by the player). They are said to have been formerly made of different coloured alabaster. See also Murray s _New English Dict.
Should a player be mistaken in exacting either of these penalties, he must not only take down what he pegged, but allow his adversary to peg the same number as penalty. None of these corrections can be claimed until the player in error has pegged and quitted the score; that is, removed his fingers from the front peg. The claim should always be prefaced by the word _=Muggins=_. If the error is one of omission in play, the adversary must play his own card before claiming muggins. If it is in the hand or crib, the adversary must wait until the points claimed are pegged and quitted. If there are no points claimed, he must wait until the cards are turned face down, thus acknowledging that there is apparently nothing to score. A player is not allowed to tell his adversary whether or not he has counted his hand or crib correctly, until it is pegged. _=Nineteen.=_ As it is impossible to hold 19 in hand or crib, it is a common practice for a player, when he has nothing at all to score, to announce, “Nineteen.” The numbers twenty-seven, twenty-six and twenty-five are also impossible.
A pool is made up by any number of players. The dealer takes a pack of fifty-two cards and gives three to each, face down, and three extra cards to the table, dealt face up. Each player in turn to the left can exchange one of his own cards for one of those on the table, the object being to get a flush of three cards of some suit having a pip value of thirty-one; or else to get three of a kind. The aces are worth 11, the other court cards and the ten, 10 each. If no one can get a flush worth thirty-one, three of a kind wins the pool. If no one has three of a kind, the highest pip value shown in one suit wins. Drawing is kept up until some player knocks, after which only one more draw is allowed, the knocker not being allowed to draw again. A player can knock without drawing at all if he wishes to prevent the others from beating his original hand. PROGRESSIVE POKER. There are several ways to play Progressive Poker, but the description of one will suffice.
Among some players the original lead of a strengthening card is an evidence of four trumps, and is called an _=Albany Lead=_. A player holding three cards of any plain suit, such as the 3, 4, 5, may show the number of his trumps by playing these small cards as follows:-- No of trumps. 1st trick. 2nd trick. 3rd trick. 3 or less 3 4 5 4 exactly 4 5 3 5 ” 4 3 5 6 ” 5 3 4 7 or more 5 4 3 The second of these is the four-signal; the last three are trump signals. They are used only in following suit. The four-signal is sometimes used in the trump suit as a _=Sub-echo=_, to show three trumps exactly. Apart from signalling, trump strength may often be inferred, especially from player’s passing doubtful tricks, forcing their partners, etc. _=Trump Suit Leads.
If Dummy is weak in the two other plain suits, your partner may have a good finesse in one or both of them. When your partner wins the first round of an adverse suit, and immediately returns it, he is inviting a force. _=Dummy on the Left.=_ When the player is third hand with Dummy on his left, his chief care will be to divine his partner’s object in leading certain cards up to Dummy. The general principles of inference are the same as in the preceding case, and cards may often be inferred in the same manner from the evident intention of partner. For instance: You hold K x x; partner leads J, declarer covering with Queen. A glance at Dummy’s cards shows him to have 10 x x; so your partner may be credited with A 9. You have x x; your partner leading Q, covered by declarer with K, and Dummy having J x x. You may credit your partner with A 10. You have x x; your partner leads Q and declarer wins with Ace; Dummy holding 10 x x.
Any number can play at this game. In the Epworth version the children range themselves in double rank at one end of the room or playground, and march down to the other end hand in hand. At the bottom they loose hands and divide, the first rank turning right, the second left, and march back in two single files to the other end again, where they re-form as at first, and repeat their man[oe]uvre, singing the verses alternately. The Lincolnshire game is played by the children walking two and two in a circle round one of their companions, singing. The players then stand facing the child in the centre, and place their hands on their partners shoulders. After the lines are sung the centre child cries out, Halt! Shoulder arms! Fire! at which words each child kisses his partner. If the commander sees any one hesitate, or avoid kissing, he runs forward and takes the defaulter s place, leaving him to fill the middle position. Similar versions are played at Earls Heaton (Mr. Hardy), Forest of Dean (Miss Matthews), Ellesmere (Burne, _Shropshire Folk-lore_, p. 574), Derbyshire (_Folk-lore Journal_, i.