Another was for one player to remain the banker until he had lost or won a certain amount, when the privilege was drawn for again. The modern practice is for each player to be the banker in turn, the deal passing in regular rotation to the left. When this is done there must be a penalty for dealing twice in succession, and it is usually fixed at having to pay ties, if the error is not discovered until one player has drawn cards. If before that, it is a misdeal. _=Pools.=_ Vingt-et-un is sometimes played with a pool. Each player contributes one counter at the start, and the pool is afterward fed by penalties. Every player who is créve puts in a counter; all ties with the dealer pay one, and the dealer pays one for any irregularity in dealing. The pool may be kept to pay for refreshments, like the kitty in Poker, or it may be won by the first natural shown, as may be agreed. _=Probabilities.
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A short draw may also be made by using the pinch. [Illustration] _=The Massé.=_ Most players imagine this to be a very difficult shot, but it is extremely simple if the principle of the direction of the cue and the effect of the pinch are kept in view. If we place the three balls in a straight line, about four inches apart, we have the simplest form of the massé. To find the exact spot at which the cue ball must be struck, join the centres of the cue and object balls by an imaginary line A-B. At right angles to this will be a line A-E, and no matter which side of the ball B you wish to massé upon, your cue must strike the ball A somewhere on the line A-E. Suppose you wish to massé to the left, as shown in the diagram. The pinch must be made on the ball about a quarter from the top, the cue being pointed in the direction in which you want the ball to go, which will be to the extreme edge of B, on the line C-D. The cue must be held at an angle of about 70 degrees. A firm but light blow with a well chalked cue will pinch your ball toward E; but the direction of the cue will propel it toward D.
For further information relating to this game, as played by the ancients, the reader may consult _Joannis Meursii Ludibunda, sive de Ludis Græcorum, Liber singularis_ (8vo, Lugd. Bat. 1625), p. 7, and _Dan. Souterii Palamedes_, p. 81; but more particularly, _I Tali ed altri Strumenti lusori degli antichi Romani, discritti da Francesco de Ficoroni_, 4to, Rom. 1734. Against the suggestion that the modern game is derived directly from the Romans, is the fact that it is known in countries never traversed or occupied by the Romans. Thus Dr. Clarke, in his _Travels in Russia_, 1810, p.
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Perception is nice in the dark. I tracked her automatically. What was the vow you broke? I said. She sighed, near me. I divorced my husband, my own darlin Billy, she said. There s no divorce in Heaven. Tough, I said. I thought _I_ was her darlin Billy. Talk about Double-think! Will you miss never having a man again? I mean, once you ve been a wife-- I added, letting it drift off. God has been good to me, she said out of the dark.
Miss Matthews thus describes the Norfolk game: Two girls take hold of hands, and another, the prisoner, stands between them. The rest form themselves into a line opposite, and advance and retreat while singing the first verse, the gaolers singing the next verse, and so on alternately. [At the end of the last verse but one] the children break the line, form themselves into a ring, and dance round the prisoner, singing the final verse. Miss Harley describes the Shropshire version as follows: The first six verses are sung by the alternate parties, who advance and retire, tramping their feet, at first, to imitate the robbers. The last verse is sung altogether going round in a ring. In the Shipley version, Miss Busk says: The children form themselves into two lines, while two or three, representing the robbers, swagger along between them. When the robbers sing the last verse they should have attained the end of the lines [of children], as during the parley they were safe; having pronounced the defiance they run away. The children in the lines rush after them, and should catch them and put them in prison. (_c_) The analysis of this game is easy. The Deptford, Belfast, and Wolstanton versions are clearly enough dramatic representations of the capture of a robber, and probably the game dates from the period of the prevalence of highway robbery.
Only two cards may be used to form a 10. The K Q J 10 of each suit must be lifted together, none of these cards being touched until all four of the same suit are on the table together. When no cards can be lifted, the game is lost. The object in most patience games is to arrange the cards in sequences. An ascending sequence is one in which the cards run from A 2 3 up to the King; and a descending sequence is one in which they run down to the ace. Sequences may be formed of one suit or of mixed suits, according to the rules of the game. _=THE CARPET.=_ Shuffle and cut the pack. Deal out twenty cards in four rows of five cards each, face up. This is the carpet.
Besides this main line of criticism brought out by the analysis there is little to note. The Hurstmonceux version begins with taking lambs over London Bridge, and the Shropshire version with the players themselves going over; but these are doubtless foreign adjuncts, because they do not properly prefix the main incident of the bridge being broken. The Belfast version has a curious line, Grant said the little bee or dee, which the Cork version renders, Gran says the little D. To these there is now no meaning that can be traced, but they help to prove that the rhyme originated from a state of things not understood by modern players. In all the versions with the prisoner incident it comes quite suddenly, without any previous indication, except in the Kent version, which introduces the exclamation, Here s a prisoner I have got! As the analysis shows the prisoner incident to be a real and not accidental part of the game, and the unmeaning expressions to indicate an origin earlier than modern players can understand, we can turn to other facts to see if the origin can be in any way traced. ANALYSIS OF GAME-RHYMES. +---+----------------------+----------------------+----------------------+ |No.| Belfast. | Halliwell. | Liphook.
Then THEY set a contract for two tricks, getting 100 in penalties, against simple honours in royals, scored as 18 above for WE and 100 for THEY. Then THEY made four odd at no trump and 30 aces, winning the first game, under which a line is drawn. On the next deal THEY made four odd in royals, with four honours, 36 each way, winning the second game and also the rubber, for which they add 250 points. Both scores are now added up and the lower deducted from the higher, showing that THEY win 450 points on the balance. _=CUTTING OUT.=_ At the conclusion of the rubber, if there are more than four candidates for play, the selection of the new table is made by cutting; those who have just played having an equal chance with the newcomers. The reason for this is that a Bridge table is complete with four, and that a rubber is usually too long, with its preliminaries of making the trump, and its finalities of settling the score, for players to wait their turn. A rubber at Short Whist is often over in two hands; but a carefully played rubber at Bridge sometimes occupies an hour. _=CHEATING.=_ Most of the cheating done at the bridge table is of such a character that it cannot be challenged without difficulty, although there is enough of it to be most annoying.
Another name is Doddart (Brockett, _North Country Words_). (_c_) An old custom in vogue in bygone days was Rotherham Fair, or what was called Whipping Toms, which took place in the Newarkes every Shrove Tuesday. So soon as the pancake bell rang men and boys assembled with sticks having a knob or hook at the end. A wooden ball was thrown down, and two parties engaged in striving which could get the ball by striking it with their sticks to one end of the Newarke first--those who did so were the victors. This game was called Shinney, or Hockey. About one o clock the Whipping Toms appeared on the scene of action. These were three men clad in blue smock frocks, with very long waggon whips, who were accompanied by three men with small bells. They commenced driving the men and boys out of the Newarkes. It was very dangerous sometimes; they would lash the whip in such a manner round the legs of those they were pursuing as to throw them down, which produced laughter and shouting. Some would stop, and turn to the whipper and say, Let s have a pennyworth, and he would guard and parry off the lashes with his shinney stick.
We now compare B and C, and find that B wins the difference, which is 69 points; put down plus for B, minus for C. Then we add up to see that the scores balance. +-----+-----+-----+ | A | B | C | +-----+-----+-----+ | -7 | +88 | +19 | +-----+-----+-----+ | -95 | +95 | +26 | | -26 | +69 | -69 | +-----+-----+-----+ |-121 |+164 | -43 | +-----+-----+-----+ The same method may be used when four play; but some prefer to call the lowest score zero, and so make all the others plus. Suppose the final scores were as follows: ------+------+------+------------ A | B | C | D ------+------+------+------------ +186 | +42 | +344 | +116 ------+------+------+------------ +144 | 0 | +302 | +74 = 520 +4 | 4 | 4 | 4 ------+------+------+------------ +576 | 0 |+1208 | +296 -520 | -520 | -520 | -520 ------+------+------+------------ +56 | -520 | +688 | -224 ------+------+------+------------ If B is zero, his points are to be taken from those of each of the others, as B is plus. If the low score is a minus, the points must be added to each of the others. The three totals are added, and found, in this case, to be 520, which is the total of B’s loss. We now multiply the scores by the number of players engaged, in this case four, and from the product we deduct the 520 already found. Then the scores balance. When Skat is played for the League stake, which is one-fourth of a cent a point, the results may be found in a still shorter way by adding up all the scores and taking an average, this average being the sum divided by the number of players. Take the results just given for example:-- ------+------+------+--------------------- A | B | C | D ------+------+------+--------------------- 186 | 42 | 344 | 116 = 688 ÷ 4 = 172 172 | 172 | 172 | 172 ------+------+------+--------------------- +14 | -130 | +172 | -56 ------+------+------+--------------------- The average is simply deducted from each score, and the remainder is the amount won or lost, in cents.
E. Tremlow). (_c_) The popular version of this game is played by the greater number of the children forming a line on one side with joined hands, and one child (sometimes two or more) facing them, advancing and retiring while singing the verses. When he asks the question, Will you come? one girl on the opposite side answers No! and afterwards Yes! When this is said, she goes to the opposite side, and the two dance round together while singing the next verse. The game begins again by the two singing the verses, and thus getting a third child to join them, when the game proceeds for a fourth, and so on. The Congleton and London versions are played by two lines of children of about equal numbers. In the Lincolnshire version the above description answers, except that when the last line is sung every one claps hands. In the Sussex version the child at the end of the line is taken over by the child who sings the verses, and they lock their little fingers together while singing the remainder. Addy (_Sheffield Glossary_) says:-- Two children advance and retire on one side. When the opposite side says Yes! the two take the first child in the row and dance round with her, singing the remaining verse.
If another player should raise B again, he would be putting up three times the limit; A’s bet, B’s raise, and his own raise. In the absence of any definite arrangement, it is usual to make the betting limit fifty times the amount of the blind. That is, if the value of the blind, or one white counter, is five cents, the limit of a bet or raise will be two dollars and a half, or two blue counters. This fixes the ante at two white counters, or ten cents, in the absence of straddles, and limits the straddling to the fourth player from the age, or sixteen white counters. This proportion makes a very fair game, and gives a player some opportunity to vary his betting according to his estimate of the value of his hand. Where the blind is five cents, the ante ten, and the limit twenty-five, the game ceases to be Poker, and becomes a species of _=show-down=_. It is universally admitted by good judges that a player can lose more money at twenty-five cent show-down than he will at two-and-a-half Poker. There are several other variations in the manner of arranging the stakes and the betting limits, but they will be better understood after the game itself has been described. _=DEALING.=_ The age having put up the amount of the blind, and the cards having been shuffled by any player who chooses to avail himself of the privilege, the dealer last, they are presented to the pone to be cut.
To do this he should have four reasonably sure tricks in his own hand. Some players say he should be strong in trumps; while others claim that the eldest hand should propose only on general strength. The former is the better plan. No other player should propose on trumps alone. This announcement is made by saying “_=I propose=_.” If a player thinks he can take five tricks against the combined efforts of the three other players, he announces: “_=Solo=_.” If he feels equal to a misère, he calls: “_=Misère=_;” and so on, according to the strength of his hand. If he does not feel justified in making a call, he says “_=I pass=_;” and the next player on his left has the opportunity; and so on, until some player has proposed to do something, or all have passed. If any player has proposed for a partner, any of the others, in their proper turn, may accept him by simply saying “_=I accept=_.” By so doing, a player intimates that he has four probable tricks also, but in the plain suits, and that he is willing to try for eight tricks with the proposer for a partner.
Lug and a Bite A boy flings an apple to some distance. All present race for it. The winner bites as fast as he can, his compeers _lugging_ at his ears in the meantime, who bears it as well as he can, and then he throws down the apple, when the sport is resumed (Halliwell s _Dictionary_). Brogden s _Lincolnshire Provincial Words_ says Luggery-bite is a game boys play with fruit. One bites the fruit, and another pulls his hair until he throws the fruit away. The game is also played in Lancashire (_Reliquary_). See Bob-Cherry. Luggie A boys game. In this game the boys lead each other about by the lugs, _i.e.
Here are the robbers coming through, Coming through, coming through, Here are the robbers coming through, My fair lady. What will the robbers do to you, Do to you, do to you, What will the robbers do to you, My fair lady? Steal your watch and break your chain, Break your chain, break your chain, Steal your watch and break your chain, My fair lady. Then they must go to jail, Go to jail, go to jail, Then they must go to jail, My fair lady. --Belfast (W. H. Patterson). III. Hark the robbers Coming through, coming through, My fair lady. They have stolen my watch and chain, Watch and chain, watch and chain. Off to prison they shall go, They shall go, they shall go, My fair lady.
--Kent (J. P. Emslie). Two children cross their hands in the fashion known as a sedan chair. A third child sits on their hands. The two sing the first line. One of them sings, You re the lock, the other sings, and I m the key, and as they sang the words they unclasped their hands and dropped their companion on the ground. Mr. J. P.
If the dealer has better plain suits, or stronger trumps, he has of course so much more in his favour if he refuses. The first column of figures gives the number of times in 65,780 that there will be no proposal, so that the dealer has no choice but to play. The other columns give the number of times the dealer or the player will win if the player proposes and the dealer refuses. The first suit given in each instance is the trump. NO DEALER PLAYER PROPOSAL. WINS. WINS. 22 [Illustration: 🃗 🃘 🃙 🃇 🂧] 6,034 36,974 22,772 23 [Illustration: 🂷 🂸 🂡 🂨 🂧] 9,826 38,469 17,485 24 [Illustration: 🂧 🂨 🂾 🂷 🃗] 8,736 41,699 15,345 25 [Illustration: 🃇 🃈 🃝 🃗 🂷] 9,256 40,524 16,000 26 [Illustration: 🃗 🃘 🃇 🃈 🂭] 10,336 37,484 17,960 27 [Illustration: 🂷 🂸 🃘 🃙 🃋] 9,776 37,439 18,565 28 [Illustration: 🂧 🂨 🂹 🂺 🃚] 9,776 36,909 19,095 29 [Illustration: 🃇 🃈 🃗 🃁 🃈] 9,776 36,733 19,271 In giving cards, some judgment of human nature is necessary. Some players habitually propose on strong hands, and it is best to give to such pretty freely. _=DISCARDING.
To win _=Nine Tricks=_. To lose every trick; _=Grand Misère=_. To win _=Ten Tricks=_. To win _=Eleven Tricks=_. To lose twelve tricks, after having discarded a card which is not to be shown; the single player’s remaining twelve cards being exposed face up on the table, but not liable to be called; _=Little Spread=_. To win _=Twelve Tricks=_. To lose every trick; the single player’s cards exposed on the table, but not liable to be called; _=Grand Spread=_. To win Thirteen Tricks; _=Grand Slam=_. The object of the proposing player, if successful in his bid, is to win or lose the proposed number of tricks; while that of his three adversaries is to combine to prevent him from so doing. There are no honours, and the only factor in the count is the number of tricks taken.
A little chaffing generally goes on against Foolie. The Namer says, Come chise me oot, come chise me in, tae so and so, naming one by the assumed fancy name. Foolie makes choice of one. If the choice falls right, the one so chosen steps from the line and stands beside Foolie. If the choice falls wrong, the one named remains in the line. All the players names are called out in this way. If any stand unchosen by Foolie, the Namer then goes up to each and asks if he wants, _e.g._, an aipple, an orange, a kirk, a cottage, &c. Each one whispers what he wants.
Six packs of fifty-two cards each are shuffled together and used as one, the dealer taking a convenient number in his hand for each deal. The players having made their bets, and cut the cards, the dealer turns one card face upward on the table in front of him, at the same time announcing the colour he deals for, which is always for _=black first=_. The dealer continues to turn up cards one by one, announcing their total pip value each time, until he reaches or passes 31. Court cards and Tens count 10 each, the ace and all others for their face value. Having reached or passed 31 for black, the _=red=_ is dealt for in the same manner, and whichever colour most closely approaches 31, wins. Suppose 35 was dealt for black, and 38 for red; black would win. The number dealt must never exceed 40. The colour of the first card dealt in each coup is noted, and if the same colour wins the coup, the banker pays all bets placed on the space marked _=Couleur=_. If the opposite colour wins, he pays all bets in the triangle marked _=Inverse=_. All bets are paid in even money, there being no odds at this game.
--Halliwell s _Dictionary_; Peacock s _Manley and Corringham Glossary_; Cole s _S. W. Lincolnshire Glossary_. Biggly Name for Blind Man s Buff. --Dickinson s _Cumberland Glossary_. Billet The Derbyshire name for Tip-cat. --Halliwell s _Dictionary_. Billy-base A name for Prisoner s Base. --Halliwell s _Dictionary_. Bingo [Music] --Leicestershire.
*** START OF THE PROJECT GUTENBERG EBOOK LITTLE WARS; A GAME FOR BOYS FROM TWELVE YEARS OF AGE TO ONE HUNDRED AND FIFTY AND FOR THAT MORE INTELLIGENT SORT OF GIRL WHO LIKES BOYS GAMES AND BOOKS. *** Produced by Alan D. Murray, William Jenness, and Andrew Sly. HTML version by Al Haines. Little Wars (A Game for Boys from twelve years of age to one hundred and fifty and for that more intelligent sort of girl who likes boys games and books) With an Appendix on Kriegspiel By H. G. Wells CONTENTS I. OF THE LEGENDARY PAST II. THE BEGINNINGS OF MODERN LITTLE WARFARE III. THE RULES-- The Country The Move Mobility of the Various Arms Hand-to-Hand Fighting and Capturing Varieties of the Battle-Game Composition of Forces Size of the Soldiers IV.
Batson). VI. Who will go gathering nuts in May, Nuts in May, nuts in May? Who will go gathering nuts in May, At five o clock in the morning? --N.-W. Lincolnshire (Rev. ---- Roberts). VII. Here we come gathering nuts in May, Nuts in May, nuts in May, Here we come gathering nuts in May, On a cold and frosty morning. Who will you have for your nuts in May, Nuts in May, nuts in May? Who will you have for your nuts in May, On a cold and frosty morning? We will have a girl for nuts in May, Nuts in May, nuts in May, We will have a girl for nuts in May, On a cold and frosty morning. --Earls Heaton, Yorks.
We call it simply _morris_. Probably it took the name from a fancied resemblance to a dance, in the motions of the men. Dr. Johnson professes that he knew no more of it than that it was some rustic game. Another commentator speaks of it as common among shepherds boys in some parts of Warwickshire. It cannot well be more common there than here, and it is not particularly rustic. Shepherds boys and other clowns play it on the green turf, or on the bare ground; cutting or scratching the lines, on the one or the other. In either case it is soon filled up with mud in wet weather. In towns, porters and other labourers play it, at their leisure hours, on the flat pavement, tracing the figure with chalk. It is also a domestic game; and the figure is to be found on the back of some draught-boards.
F. Foster. Foster’s American Leads, by R.F. Foster. * Foster’s Whist at a Glance, by R.F. Foster. * Gist of Whist, by C.E.
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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. +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | ⛂ | | ⛂ | | ⛂ | | ⛂ | | +---+---+---+---+---+---+---+---+ | | ⛂ | | ⛂ | | ⛂ | | ⛂ | +---+---+---+---+---+---+---+---+ | ⛂ | | ⛀ | | ⛂ | | ⛂ | | +---+---+---+---+---+---+---+---+ | | ⛀ | | ⛀ | | ⛂ | | ⛀ | +---+---+---+---+---+---+---+---+ | ⛀ | | ⛀ | | ⛀ | | ⛀ | | +---+---+---+---+---+---+---+---+ | | | | ⛀ | | ⛀ | | ⛀ | +---+---+---+---+---+---+---+---+ | | | ⛀ | | | | | | +---+---+---+---+---+---+---+---+ White to Move.] [Illustration: No. 3. +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | ⛂ | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | ⛂ | | | | | +---+---+---+---+---+---+---+---+ | ⛂ | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | ⛀ | | | | ⛀ | +---+---+---+---+---+---+---+---+ | ⛃ | | ⛀ | | | | | | +---+---+---+---+---+---+---+---+ White to Move.] Diagram No.