Francis. GLOUCESTERSHIRE { Holloway s _Dictionary_, _Midland { Garner_. Shepscombe, Cheltenham Miss Mendham. Forest of Dean Miss Matthews. HAMPSHIRE Cope s _Glossary_, Miss Mendham. Bitterne Mrs. Byford. Liphook Miss Fowler. HAMPSHIRE-- Hartley, Winchfield, Witney Mr. H.
Don t you think we could spot any of the ordinary kinds of cross-roading? This is TK, and it has real voltage. We can t spot it. We ve got to have Psi power do it for us. Maybe, I agreed. But no TK can do it if Smythe can t. Have you tried a PC? Simonetti grabbed a piece of the heavens in rage. No! he yelled in his loud whisper. None of your crystal-ball witches in here! I knew how he felt. PC s give me the colly-wobbles, too. What s the matter with precognition? I asked him.
When they come to the word grab, those children standing on the _inside_ of the wheel leave hold of their partners arms, and try to catch hold of the one standing immediately in front of their previous partners. The child in the centre (or Miller) tries (while they are changing places) to secure a partner and place (fig. 2). If he succeeds in doing this, the one then left out becomes the Miller. At Leicester the odd child, or miller, stands _outside_ the wheel or ring, instead of being in the centre, and it is the outside children who change places. Mr. Addy, in the Sheffield version, says, The young men stand in the outer ring, and the young women in the inner. A man stands within the inner circle, quite near to it. The men try and grasp the arm of the girl in front of them, and the man in the centre also tries to grasp one; the man he displaces taking his place as Miller. Then the three last lines are sung.
II. Will ye gang wi me, Curcuddie, Gang wi me o er the lea? I lookit roun , saw naebody; Curcuddie, he left me. --Biggar (William Ballantyne). (_b_) This is a grotesque kind of dance, performed in a shortened posture, sitting on one s hams, with arms akimbo, the dancers forming a circle of independent figures. It always excites a hearty laugh among the senior bystanders; but, ridiculous as it is, it gives occasion for the display of some spirit and agility, as well as skill, there being always an inclination to topple over. Each performer sings the verse (Chambers; Mactaggart s _Gallovidian Encyclopædia_). Mr. Ballantyne says that each one apart tried to dance by throwing out their feet and jumping sideways. (_c_) The first syllable of this word is, says Jamieson, undoubtedly the verb _curr_, to sit on the houghs or hams. The second may be from Teut.
B. Gomme) a handkerchief was laid on the ground, and the two children stood on each side of it and clasped hands across it. In the Fernham and Longcot version the one child leads the other out of the ring at go to church, with a graceful half-dancing motion, and back again in the same way. The first child joins the ring while the refrain is sung. In the Hanbury version the centre child pretends to be weeping; another child stands outside the ring and goes into it; when the two meet they kiss. In the North Derbyshire version (Mr. S. O. Addy) a ring is formed of young men and women, a young man being in the centre. He chooses a young woman at the singing of the fifth line, and then joins the ring, the girl remaining in the centre.
.The Project Gutenberg eBook of The Game of Rat and Dragon This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Game of Rat and Dragon Author: Paul Myron Anthony Linebarger Release date: August 5, 2009 [eBook #29614] Language: English Credits: Produced by Sankar Viswanathan, Adam Buchbinder, and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK THE GAME OF RAT AND DRAGON *** Produced by Sankar Viswanathan, Adam Buchbinder, and the Online Distributed Proofreading Team at http://www.pgdp.
_=Simple Inferences=_ from the fall of the cards usually supply the best guide in the matter of changing suits. If the Jack is led from K Q J x x, and wins the trick, partner may be credited with the Ace; and if the original leader has four trumps, and a card of re-entry, he should quit his established suit, and lead trumps to defend it. If the King and Ace have been led from A K x x, partner dropping the Queen on the second round, the suit should be changed, unless the original leader is strong enough to risk weakening his partner by forcing him to trump the third round. Four trumps are generally considered to be sufficiently strong to justify a force in this position. Some players will force, even with a weak hand, if the two cards played by the partner are small, and he has not availed himself of an artifice known as _=calling for trumps=_, which we shall consider presently. If the King and Ten have been led from K Q J 10, and on the second round one adversary has dropped the Eight, the other the Nine; the suit should be changed, as partner must have the Ace, and neither of the adversaries have any more. To lead such a suit again is called _=forcing both adversaries=_; as it allows one to make a small trump and the other to get rid of a losing card. If the Four has been led from J 8 6 4, and the adversaries have won the first trick with the Nine or Ten, A K Q must be against the leader and his partner, and the suit should be abandoned as hopeless, unless it is feasible to force the partner. If at any time there is a strong indication that the adversaries will have a cross-ruff, it is usually best to stop leading plain suits, and attempt to get out the trumps. _=THE LEADER’S PARTNER=_, or the Third Hand, has several conventional plays to remember; the most important of which are the following: _=When Partner Leads High Cards=_, the Third Hand has usually little to do but to play his lowest of the suit.
Trios are worth 3 only. In discarding, the object is to secure the best counting combinations, and also to retain cards which will win tricks in play. The combinations take precedence of one another in scoring, the first being always Carte Blanche, then the Point, then Sequence, and lastly the Quatorze or Trio. _=DECLARING.=_ Carte blanche must be announced and shown before a discard is made. Each player having discarded and drawn, the elder hand proceeds to announce any counting combinations he holds, which he must declare in regular order, beginning with the point. In announcing the point, the suit is not mentioned, only its value. The sequences are defined by the number of cards and the highest; “sixième to the King,” for instance. The fours and trios are defined in the same way; “four Kings,” or “three Jacks.” To each of these declarations, as they are made in regular order, the dealer must reply: “_=Good=_,” “_=Equal=_,” or, “_=Not good=_.
If a card faced in the stock is not discovered until the first trick has been played to, the exposed card must be turned face down, without disturbing its position. If a pack is found to be imperfect, the deal in which the error is discovered is void, but all previous cuts or scores made with that pack stand good. _=METHOD OF PLAYING.=_ The pone begins by leading any card he chooses, to which his adversary may play any card he pleases. A player is not obliged to follow suit, nor to trump; but may renounce or trump at pleasure until the stock is exhausted, after which the method of play undergoes a change. If a player follows suit, the higher card wins the trick, and if identical cards are played to the same trick, such as two Jacks of clubs, the leader wins. Trumps win plain suits. The winner of the trick takes in the cards, turning them face down; but before he leads for the next trick he has the privilege of announcing and scoring any one of certain combinations that he may hold in his hand. After, or in the absence of any such announcement, and before leading for the next trick, he draws a card from the top of the stock and places it in his hand, without showing or naming it. His adversary draws the next card, so that each player restores the number of cards in his hand to eight.
| | Vivant. | +---------+ +---------+ 1 1 ] For the three succeeding games the arrangement would be:-- [Illustration: 1 2 3 +---------+ +---------+ +---------+ | Mort. | | Mort. | | Mort. | 3 | | 4 4 | | 1 1 | | 2 | Vivant. | | Vivant. | | Vivant. | +---------+ +---------+ +---------+ 2 3 4 ] It will be seen that each player, immediately after being Vivant, sits out, or takes Mort’s place, for the next game. _=DEALING.=_ It is usual for Vivant to deal the first hand for himself, as the disadvantage of exposing fourteen cards is more than compensated for in compelling the adversary to open the game by leading up to an unknown hand.
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III. Here comes one jolly sailor, Just arrived from shore, We ll spend our money like jolly, jolly joes, And then we ll work for more. We ll all around, around and around, And if we meet a pretty little girl We ll call her to the shore. --Northants (Rev. W. D. Sweeting). IV. Here comes four jolly sailor boys, Just lately come ashore; They spend their days in many merry ways, As they have done before. Round, round the ring we go, Round, round the ring, And he that choose his bonny, bonny lass Must kiss her on the floor.