This is probably the same game as that printed by Halliwell, No. cccxxxv., to which the following rhyme applied:-- My father was a Frenchman, He bought for me a fiddle; He cut me here, he cut me here, He cut me right in the middle. Feed the Dove An undescribed game mentioned in an old poem called _Christmas_ (i. 285), quoted in Ellis s Brand, i. 517: Young men and maidens now at Feed the Dove (with laurel leaf in mouth) play. Find the Ring O the grand old Duke of York He had ten thousand men, He marched them up the hill ago And he marched them down again. And when they were up they were up, And when they were down they were down, And when they were half-way up the hill They were neither up nor down. --Sheffield (S. O.
Green Gravel [Music] --Madeley, Shropshire (Miss Burne). [Music] --Earls Heaton (H. Hardy). [Music] --Sporle, Norfolk (Miss Matthews). [Music] --Redhill, Surrey (Miss G. Hope). [Music] --Lancashire (Mrs. Harley). [Music] --Derbyshire (Mrs. Harley).
Kenrick in his Review of Dr. Johnson s Shakespeare, 1765, on rules for seemly behaviour, in which the forfeits imposed by barbers as penalties for handling razors, &c, are set forth. Although barbers forfeits are not of the same nature as the nursery forfeits, it is possible that this general custom among so important a class of the community in early times as barbers may have suggested the game. Both Forby in his _Vocabulary of East Anglia_ and Moor in his _Suffolk Words_ bear testimony to the general prevalence of barbers forfeits, and it must be borne in mind that barbers were also surgeons in early days. A curious custom is also recorded in another East Anglian word-list, which may throw light upon the origin of the game from popular custom. A forfeit is incurred by using the word water in a brew-house, where you must say liquor; or by using the word grease in a chandlery, where it is stuff or metal. The forfeit is to propitiate the offended _genius loci_ (Spurden s _East Anglian Vocabulary_). The element of divination in the custom is perhaps indicated by a curious note from Waldron, in his _Description of the Isle of Man_ (_Works_, p. 55), There is not a barn unoccupied the whole twelve days, every parish hiring fiddlers at the public charge. On Twelfth Day the fiddler lays his head on some of the wenches laps, and a third person asks who such a maid or such a maid shall marry, naming the girls then present one after another; to which he answers according to his own whim, or agreeable to the intimacies he has taken notice of during this time of merriment.
Judging from the rank of the cards, which is peculiar to German games, Bézique may have originated in an attempt to play Binocle with a piquet pack, for Binocle seems to have been originally played with a full pack of fifty-two cards. One German writer says the game is of Swiss origin, and that they probably got it from Spain. In one writer’s opinion, the name Binocle, is derived from _bis_, until, and _knochle_, the knuckle, which would imply that the original meaning was, until some one knuckled; _i.e._, stopped the game by knocking on the table with his knuckles. This interpretation seems far-fetched, but if correct, it would sustain the opinion that Binocle was derived from the old game of Cinq-Cents, in which the player knocked with his knuckles to announce that he had made enough points to win the game. In the opinion of the author, the word “binocle” is a German mispronunciation of the French word “binage,” which was the term used in Cinq Cents for the combination of spade Queen and diamond Jack, as will be seen if the description of Cinq Cents is referred to. Stopping the play is a prominent feature in Sixty-Six, another variation of Bézique, and the connecting link between Binocle and Skat. In Sixty-Six, the combination known as Bézique, or binocle, is omitted; so is the sequence in trumps. Sixty-four-card Binocle is simply Bézique, with a slight difference in the counting value of the various combinations.
Monday was a good man, He whipped his children now and then; When he whipped them he made them dance, Out of Scotland into France; Out of France into Spain, Back to dear old England again. O-u-t spells out, If you please stand out. I had a little dog and his name was Buff, I sent him after a penn orth of snuff, He broke the paper and smelled the snuff, And that s the end of my dog Buff. He shan t bite you--he shan t bite you--he shan t bite you, &c., &c.--he _shall_ bite you all over. --Dorsetshire (_Folk-lore Journal_, vii. 213). VII. I sent a letter to my love, I carried water in my glove, And by the way I dropped it.
W. Gregor). See Bull in the Park, Frog in the Middle. Fox in the Hole All the players are armed with handkerchiefs. One of the players is chosen for Fox, who has his den marked out. The Fox hops out on one leg, with his handkerchief ready to strike. The players gather round him and attack him. If he can strike one of his assailants without putting his foot to the ground from his hopping position, the player so struck is chased by the others into the den, and he then becomes the Fox for another round of the game.--Cork (Miss Keane). Halliwell (_Nursery Rhymes_, p.
Metcalfe, 1905. Foster’s Complete Bridge, by R.F. Foster, 1905. Foster’s Bridge Maxims, by R.F. Foster, 1905. The Bridge Blue Book, by P.F. Mottelay, 1906.
--Ireland (Miss Keane). This game is known in and near London as Cross Touch. Cry Notchil This is an old game where boys push one of their number into a circle they have made, and as he tries to escape push him back, crying, No child of mine! (Leigh s _Cheshire Glossary_). He adds, This may be the origin of the husband s disclaimer of his wife when he notchils her. To cry notchil is for a man to advertise that he will not be answerable for debts incurred by his wife. Cuck-ball A game at ball. The same as Pize-ball. It is sometimes called Tut-ball. --Addy s _Sheffield Glossary_. See Ball.
If the dealer holds carte blanche, he does not declare it until the pone has discarded. _=DISCARDING.=_ The five cards on the top of the talon belong to the pone, and he may discard from his hand any number of cards from one to five, and replace them by an equal number from the top of the stock. He must take at least one card, and he must take from the talon in the natural order of the cards. If he has elected to let a deal stand in which he has been given thirteen cards, he is entitled to four cards only from the talon, and must in all cases leave himself with twelve cards after his discard and draw are completed. If he does not take all five cards, he must announce distinctly how many he leaves, for if he fails to do so the dealer is not liable for having too many cards. The dealer then discards, first declaring carte blanche if he holds it. In England, he need not draw at all, in France he must draw at least one card. Besides the three cards which belong to him, he is entitled to take as many as he pleases of those left by the pone, and in drawing from the talon he must take the cards in the order in which they come. If two cards are left by the pone, for instance, and the dealer wants three only, he must take the two left by the pone and one of his own three, leaving the two others face down on the table.
London A diagram (similar to Fig. 9 in Hopscotch ) is drawn on a slate, and two children play. A piece of paper or small piece of glass or china, called a chipper, is used to play with. This is placed at the bottom of the plan, and if of _paper_, is _blown_ gently towards the top; if of glass or china, it is _nicked_ with the _fingers_. The first player blows the paper, and in whichever space the paper stops makes a small round [o] with a slate pencil, to represent a man s head. The paper or chipper is then put into the starting-place again, and the same player blows, and makes another man s head in the space where the paper stops. This is continued until all the spaces are occupied. If the paper goes a second time into a space already occupied by a head, the player adds a larger round to the head, to represent a body; if a third time, a stroke is drawn for a leg, and if a fourth time, another is added for the second leg; this completes a man. If three complete men in one space can be gained, the player makes arms; that is, two lines are drawn from the figures across the space to the opposite side of the plan. This occupies that space, and prevents the other player from putting any men in it, or adding to any already there.
Have you seen the muffin man, the muffin man, the muffin man, Have you seen the muffin man that lives in Drury Lane O? Yes, I ve seen the muffin man, the muffin man, the muffin man; Yes, I ve seen the muffin man who lives in Drury Lane O. --Earls Heaton, Yorks. (H. Hardy). II. O, have you seen the muffin man, The muffin man, the muffin man; O, have you seen the muffin man Who lives in Drury Lane O? --N. W. Lincolnshire (Rev. ---- Roberts). III.
At first we played the game from the outset, with each player s force within sight of his antagonist; then we found it possible to hang a double curtain of casement cloth from a string stretched across the middle of the field, and we drew this back only after both sides had set out their men. Without these curtains we found the first player was at a heavy disadvantage, because he displayed all his dispositions before his opponent set down his men. And at last our rules have reached stability, and we regard them now with the virtuous pride of men who have persisted in a great undertaking and arrived at precision after much tribulation. There is not a piece of constructive legislation in the world, not a solitary attempt to meet a complicated problem, that we do not now regard the more charitably for our efforts to get a right result from this apparently easy and puerile business of fighting with tin soldiers on the floor. And so our laws all made, battles have been fought, the mere beginnings, we feel, of vast campaigns. The game has become in a dozen aspects extraordinarily like a small real battle. The plans are made, the Country hastily surveyed, and then the curtains are closed, and the antagonists make their opening dispositions. Then the curtains are drawn back and the hostile forces come within sight of each other; the little companies and squadrons and batteries appear hurrying to their positions, the infantry deploying into long open lines, the cavalry sheltering in reserve, or galloping with the guns to favourable advance positions. In two or three moves the guns are flickering into action, a cavalry melee may be in progress, the plans of the attack are more or less apparent, here are men pouring out from the shelter of a wood to secure some point of vantage, and here are troops massing among farm buildings for a vigorous attack. The combat grows hot round some vital point.
It follows, therefore, that if after the adjudication of a melee a player moves up more men into touch with the survivors of this first melee, and so constitutes a second melee, any prisoners made in the first melee will not count as combatants in the second melee. Thus if A moves up nineteen men into a melee with thirteen of B s--B having only five in support--A makes six prisoners, kills seven men, and has seven of his own killed. If, now, B can move up fourteen men into melee with A s victorious survivors, which he may be able to do by bringing the five into contact, and getting nine others within six inches of them, no count is made of the six of B s men who are prisoners in the hands of A. They are disarmed. B, therefore, has fourteen men in the second melee and A twelve, B makes two prisoners, kills ten of A s men, and has ten of his own killed. But now the six prisoners originally made by A are left without an escort, and are therefore recaptured by B. But they must go to B s back line and return before they can fight again. So, as the outcome of these two melees, there are six of B s men going as released prisoners to his back line whence they may return into the battle, two of A s men prisoners in the hands of B, one of B s staying with them as escort, and three of B s men still actively free for action. A, at a cost of nineteen men, has disposed of seventeen of B s men for good, and of six or seven, according to whether B keeps his prisoners in his fighting line or not, temporarily. [Illustration: Fig.
_=Irregularities in the Hands.=_ If, during the play of a hand, any person is found to have too many or too few cards, the others having their right number, it is evident that there has been no misdeal if the pack is perfect and there are two cards in the Skat. If the player in error has too few cards, probably from having dropped one on the floor, or having played two cards to the same trick, he loses in any case, but the adversary may demand to have the hand played out in order to try for schneider or schwarz, and the last trick, with the missing card, must be considered as having been won by the side not in fault. If the player in fault is opposed to the single player, his partner suffers with him. If the player discovers his loss, he is not allowed to pick the card from the floor and replace it in his hand if he has in the meantime played to a trick with a wrong number of cards. _=Playing Out of Turn.=_ The usual penalty in America for leading or playing out of turn is the loss of the game if the error is made by the adversaries of the single player. If by the player himself, the card played in error must be taken back, and if only one adversary has played to the false lead, he may also take back his card. If both have played, the trick stands good. The single player suffers no penalty, as it is only to his own disadvantage to expose his hand.
The suits that need close watching are those in which you have nothing smaller than a six or eight. You should be careful to note which player appears to have the smaller cards, after the suit has been led once or twice, and be on the watch to take the lead away from him in other suits if you can, or he may load you by leading the small cards of your dangerous suit, in which he is safe. When this danger is apparent, it is best to retain, until the second round, such high cards as Kings and Queens of the suits led. Even if you have four of the suit, you run only a 2 to 1 risk in winning the second round instead of the first, as against a certainty that you will be out of the pool at once if the dangerous player gets the lead. For an example of this, see B’s play in Illustrative Hand No. 2. Where you have a certain safe card, and others of another suit not absolutely safe, it is better to keep the safe card, in order to be sure of getting rid of the lead if you are put in on your dangerous suit. In following suit, the most annoying hand that one can hold is one containing at least three cards of each suit, none of them below a 6. There is no hope of a discard, unless two players make a fight in some one suit, which they lead four or five times in order to load each other, regardless of the escape of the other players. This very seldom occurs, and never among good players.
They take her to a distance, when she is secretly told the name of her lover. The remainder of the girls imitate sweeping, and sing several stanzas to the effect that they will sweep the house till the bride comes home, when the bride is now placed within the circle, and from a score to a hundred stanzas, with marching and various imitations of what the lucky bride accomplishes or undergoes, are sung. Each one closes with Down goes Merrima Tansa and the head-ducking; and this wonderful music-drama of childhood is not concluded until the christening of the bride s first-born, with-- Next Sunday morn to church she must gae, A babe on her knee, the best of a-- And down goes Merrima Tansa! Jamieson gives the game as a ring within which one goes round with a handkerchief, with which a stroke is given in succession to every one in the ring; the person who strikes, or the taker, still repeating this rhyme:-- Here I gae round the jingie ring, The jingie ring, the jingie ring, Here I gae round the jingie ring, And through my merry-ma-tanzie. Then the handkerchief is thrown at one in the ring, who is obliged to take it up and go through the same process. He also mentions another account of the game which had been sent him, which describes the game as played in a similar manner to the versions given by Chambers. Stewart, in his _Ben Nevis and Glencoe_, p. 361, records the following rhyme:-- Here we go with merry shout, Up and down and round about, And dance a merry-ma-tandy, but he does not describe the game in detail. Milking Pails [Music] --Monton, Lancashire (Miss Dendy); London (A. B. Gomme).
Let us suppose B then to examine his hand, finding ♡ J 10; ♣ Q 9 8 7; ♢ A 10 9; ♠ 10 9 8 2. Being unsafe in everything, he passes, and practically submits to his fate, his only hope being that the pool will result in a Jack. Z then examines his hand, finding ♡ Q 9 7 5 2; ♣ none; ♢ Q J 6 2; ♠ A K Q J. He sees at once that on spades he would lose everything, and on diamonds he would have a very poor chance. On clubs the result would depend on how often spades were led. In hearts, he has a very good hand, especially as he has a missing suit to discard in. As he is the last bidder he can make sure of the choice for 27, which he bids, and pays into the pool. The result of the play is given in Illustrative Hand No. 4. (As the cards happen to lie, had A been the successful bidder and made it clubs, Z would have won the pool.
B. G.). Chambers (_Pop. Rhymes_, p. 148) gives a similar verse, used for starting a race:-- Race horses, race horses, what time of day? One o clock, two o clock, three, and away; and these lines are also used for the same purpose in Cheshire (Holland s _Glossary_) and Somersetshire (Elworthy s _Glossary_). Halliwell, on the strength of the corrupted word Bellasay, connects the game with a proverbial saying applied to the family of Bellasis; but there is no evidence of such a connection except the word-corruption. The rhyme occurs in _Gammer Gurton s Garland_, 1783, the last words of the second line being time to away. Bellie-mantie The name for Blind Man s Buff in Upper Clydesdale. As anciently in this game he who was the chief actor was not only hoodwinked, but enveloped in the skin of an animal.
The winner of the trick takes it in, but before leading for the next trick he draws one card from the top of the pack lying on the table, restoring the number of his cards to thirteen. His adversary then draws the next card, and the cards are played and drawn in this manner until the pack is exhausted. The thirteen cards remaining in the hands of the two adversaries are then played, and after the last trick has been won, each turns over his cards and counts the number of hearts he has taken in. The object of the game is to take fewer hearts than your opponent, and the method of settling is either for the greater number to pay the lesser the difference; or, for the first six hearts taken by the loser to count nothing, but all above six to be paid for. The most popular way is to peg up the difference on a cribbage board, and to settle at the end of the sitting. _=THREE-HANDED HEARTS.=_ The deuce of spades is discarded, and seventeen cards are dealt to each player, one at a time, after which the game proceeds in the usual way. There are several methods of settling. Howell’s method is undoubtedly the best, but Sweepstakes is very common. An excellent way is for the player who takes the largest number of hearts to pay the two others as many counters as he has hearts in excess of theirs.
After the cards have been cut, the dealer must distribute them one at a time to each player in rotation, beginning at his left, and continuing until the pack is exhausted; or in Two-Handed Hearts, until each player has thirteen. 9. The deal passes to the left. 10. There must be a new deal by the same dealer if the pack is proved to be incorrect, either during the deal or during the play of a hand; or if any card is faced in the pack, or is found to be so marked or mutilated that it can be named. In the last case a new pack must be used. 11. If a card is exposed during the deal, the player to whom it is dealt may demand a new deal, provided he has not touched any of his cards. If the deal stands, the exposed card cannot be called. 12.
This B does with the two long spades, the caller being marked with the ace and others on the second trick. Then Z allows B to discard his high diamonds on the clubs. SCOTCH WHIST, OR CATCH THE TEN. _=CARDS.=_ Scotch Whist is played with a pack of 36 cards, which rank in plain suits, A K Q J 10 9 8 7 6; the Ace being highest both in play and in cutting. In the trump suit the Jack is the best card, the order being, J A K Q 10 9 8 7 6. _=MARKERS.=_ There are no suitable counters for Scotch Whist, and the score is usually kept on a sheet of paper. _=PLAYERS.=_ Any number from two to eight may play.
Don’t think your wrist is gone if it hurts after bowling a few games. Change your grip and throw the strain somewhere else. Don’t bend your back when delivering the ball. With your feet far apart and knees bent you can start the ball with little or no sound. Don’t be superstitious--13 is a better start than 12. Don’t think it necessary to be a Sandow. Many lightweights bowl well. Don’t get discouraged, you can learn. Any able-bodied person, with ordinary nerve and a good eye, can become quite expert with little practice. Don’t let an alley owner use pins that are worn out.
70. If any one play two cards to the same trick, or mix his trump, or other card, with a trick to which it does not properly belong, and the mistake be not discovered until the hand is played out, he is answerable for all consequent revokes he may have made. If, during the play of the hand, the error be detected, the tricks may be counted face downward, in order to ascertain whether there be among them a card too many; should this be the case, they may be searched, and the card restored; the player is, however, liable for all revokes which he may have meanwhile made. THE REVOKE. 71. Is when a player, holding one or more cards of the suit led, plays a card of a different suit. 72. The penalty for a revoke-- I. Is at the option of the adversaries, who at the end of the hand may either take three tricks from the revoking player or deduct three points from his score, or add three to their own score; II. Can be claimed for as many revokes as occur during the hand; III.
If you are playing against a Grand, and have two trumps, one of them the best, lead it, and then play your long suit; but if you have the two smallest trumps, lead the long suit first, and force with it every time you get in. The partners should always scheme to protect each other’s Tens by keeping the Aces of plain suits. For this reason it is very bad play to fatten with the Ace of a suit of which you have not the Ten, or to play an Ace third hand when there are only small cards in the trick, and the Ten of the suit has not been played and you do not hold it. If the player is void of a suit, continue leading it, no matter what you hold in it. This will either weaken his trumps, or, if he is between you, will give your partner discards. If the player leads a Wenzel, it is usually best to cover it if you can; but do not play the club Jack on the diamond Jack unless you want the lead very badly. When the single player does not lead trumps, but plays his Aces and Tens, the Germans call it “auf die Dörfer gehen;” that is, getting to the villages, or getting home; equivalent to our expression, “getting out of the woods,” or “getting in out of the rain.” When the single player runs for home in this way, it is usually best to lead trumps through him at the first opportunity. In playing against a Nullo, the great point is to give your partner discards. If you find that the player’s long suit is yours also, continue it until your partner has discarded an entire suit if possible.
Kings can move either backward or forward, but only one square at a time. If a man arrives at the king-row by capturing an adverse piece, that ends the move, and the newly made king cannot move again, even to capture another piece, until his adversary has moved. [See notes to Diagram No. 7.] _=The Object of the Game=_ is to confine your adversary’s pieces so that he cannot move any of them; or to capture all of them, so that he has none to move. You may succeed in confining the whole twelve of your adversary’s men, without capturing any of them, as in Diagram No. 2; or such as are left on the board after a certain number have been captured, as in Diagram No. 3. [Illustration: No. 2.