[24] See Law 50. The same ruling applies to Law 54. [25] This includes a double or redouble out of turn. See Law 57. TEXT BOOKS. Bridge, and How to Play It, by A. Dunn, Jr., 1899. Foster’s Bridge Manual, by R.F.
We can consider transport, supply, ammunition, and the moral effect of cavalry impact, and of uphill and downhill movements. We can also bring in the spade and entrenchment, and give scope to the Royal Engineers. But before I write anything of Colonel Sykes suggestions about these, let me say a word or two about Kriegspiel country. The country for Kriegspiel should be made up, I think, of heavy blocks or boxes of wood about 3 x 3 x 1/2 feet, and curved pieces (with a rounded outline and a chord of three feet, or shaped like right-angled triangles with an incurved hypotenuse and two straight sides of 3 feet) can easily be contrived to round off corners and salient angles. These blocks can be bored to take trees, etc., exactly as the boards in Little Wars are bored, and with them a very passable model of any particular country can be built up from a contoured Ordnance map. Houses may be made very cheaply by shaping a long piece of wood into a house-like section and sawing it up. There will always be someone who will touch up and paint and stick windows on to and generally adorn and individualise such houses, which are, of course, the stabler the heavier the wood used. The rest of the country as in Little Wars. Upon such a country a Kriegspiel could be played with rules upon the lines of the following sketch rules, which are the result of a discussion between Colonel Sykes and myself, and in which most of the new ideas are to be ascribed to Colonel Sykes.
Carte blanche, The Point, Sequence, Quatorze or Trio, Repic, Points for Leading or Winning, Pic, the Odd Trick, Capot. If one player reaches 100 before his adversary has reached 50, it is a _=lurch=_, and counts a double game. _=Abandoned Hands.=_ If a player throws down his cards, he may still take them up again, unless he or his adversary have mixed their cards with the discards, or with the remainder of the talon. _=SUGGESTIONS FOR GOOD PLAY.=_ The chief points for the beginner are good discarding, and taking advantage of tenace positions in the play, so as to secure the count for cards, which is often important. _=Elder Hand.=_ In discarding, the pone should consider what there may be against him. If it is unlikely that he will lose a pic or repic, he should try for the _=point=_, which very often carries with it the sequence. It must be remembered that there are only eight cards in each suit, and by comparing those that you hold with those that your adversary may hold it is comparatively easy, in the majority of hands, to estimate the possible scores against you.
=_ Shuffle and cut the pack, and deal the cards one at a time, face upward, into twelve piles, and continue dealing on the top of these twelve until the pack is exhausted. This will give you four piles which contain one card more than the others. Then take off any two of the top cards which will make 14, reckoning the Jack as 11, the Queen as _12_ and the King as 13, all the others at their face value. Only two cards must be used to make 14. If you succeed in taking off all the cards in this manner, you win. You are at liberty to look at the underneath cards in the various piles, but you must not disturb their positions. _=HELP YOUR NEIGHBOUR.=_ Take from the pack the four aces, and lay them face upward on the table in a row. These are to be built upon in ascending sequences, following suit. Shuffle and cut the remaining forty-eight cards, and deal off four starters in a row, below the aces.
It is usual for the strongest adversary to sit Right. _=With Four Players=_, we can best describe the arrangement by numbering them 1, 2, 3, and 4, respectively, the lowest number, 1, having cut the lowest card, and the others having the right to play Vivant in their numerical order. The initial arrangement would be as follows:-- [Illustration: 4 4 +---------+ +---------+ | Mort. | | Mort. | 2 | | 3 or this:-- 3 | | 2 | Vivant. | | 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.
Remember that the figures above the line are for the white men; those below for the black. P-K4 Kt-KB3 Kt-QB3 B-B4 1 ---- 2 ------ 3 ------ 4 ----- P-K4 P-Q3 P-KR3 B-Kt5 The third move made by Black accomplishes nothing, and is simply a waste of time. He should have continued by bringing his Knights into play. His fourth move is also a mistake; he should develop the Knights before the Bishops. KtxP BxKBP ch Kt-Q5 mate 5 ---- 6 -------- 7 ---------- BxQ K-K2 On his fifth move, Black jumps at the chance to win White’s Queen, but this is not of the slightest benefit to him, because the object of the game is not to win the Queen, but to mate the King. At the seventh move the beginner will see that the black King cannot move out of check, neither can he move into check by taking the Bishop. He has no piece that can capture the Knight that gives the check, and nothing can be interposed, so he is mated, and White wins. Here is another simple little game. Take the black pieces this time, but make the white men move first, of course. P-K4 Kt-KB3 KtxP 1 ---- 2 ------ 3 ------ P-K4 Kt-KB3 Kt-QB3 You don’t take the King’s Pawn; it is much more important to develop your pieces rapidly.
The games consist of two main divisions, which may be called descriptive, and singing or choral. The descriptive games are arranged so as to give the most perfect type, and, where they occur, variable types in succession, followed, where possible, by any suggestions I have to make as to the possible origin of the game. The singing games are arranged so as to give, first, the tunes; secondly, the different versions of the game-rhymes; thirdly, the method of playing; fourthly, an analysis of the game-rhymes on a plan arranged by my husband, and which is an entirely novel feature in discussing the history of games; fifthly, a discussion of the results of the analysis of the rhymes so far as the different versions allow; and sixthly, an attempt to deduce from the evidence thus collected suggestions as to the probable origin of the game, together with such references to early authorities and other facts bearing upon the subject as help to elucidate the views expressed. Where the method of playing the game is involved, or where there are several changes in the forms, diagrams or illustrations, which have been drawn by Mr. J. P. Emslie, are inserted in order to assist the reader to understand the different actions, and in one or two instances I have been able to give a facsimile reproduction of representations of the games from early MSS. in the Bodleian and British Museum Libraries. Although none of the versions of the games now collected together are in their original form, but are more or less fragmentary, it cannot, I think, fail to be noticed how extremely interesting these games are, not only from the point of view of the means of amusement (and under this head there can be no question of their interest), but as a means of obtaining an insight into many of the customs and beliefs of our ancestors. Children do not invent, but they imitate or mimic very largely, and in many of these games we have, there is little doubt, unconscious folk-dramas of events and customs which were at one time being enacted as a part of the serious concerns of life before the eyes of children many generations ago.
In small parties this is a very common way of working what is known as _=the top stock=_. If such a dealer is carefully watched it will usually be found that he seizes the first opportunity to place the part cut off on the top of the part dealt from. The top stock is then ready for the draw, and the judicious player should at once cash his chips and retire from the game. Never play with a man who continually holds his cards very close to his body, or who completely conceals his hand before the draw, or who takes great care to put his discard among previous discards, so that the exact number of cards put out cannot be counted. He is probably working a vest or sleeve hold-out. Some clumsy or audacious sharpers will go so far as to hold out cards in their lap, or stick them in a “bug” under the table. One of the most successful poker sharps ever known, “Eat-um-up Jake” Blackburn, who had a hand like a ham, could hold out five cards in his palm while he carried on all the operations of shuffling, dealing, and playing his hand. Such men require great dexterity and nerve to get rid of their “deadwood,” or surplus cards, without detection. _=Holding out=_ is regarded by the professional as a most dangerous experiment, but it is very common. Never play with a man who keeps his eyes rivetted on the cards as he deals, and who deals comparatively slowly.
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.
Another child comes up to the first of the row, and strikes smartly on the ground with a stick. The child facing him asks the first question, and the one with the stick answers. At strokes his face he suits the action to the words, and then thumps with his stick on the ground at the beginning of the last line. The object of all the players is to make Buff smile while going through this absurdity, and if he does he must pay a forfeit. Another version is for one child to be blindfolded, and stand in the middle of a ring of children, holding a long wand in his hand. The ring dance round to a tune and sing a chorus [which is not given by the writer]. They then stop. Buff extends his wand, and the person to whom it happens to be pointed must step out of the circle to hold the end in his hand. Buff then interrogates the holder of the wand by grunting three times, and is answered in like manner. Buff then guesses who is the holder of the wand.
--Symondsbury (_Folk-lore Journal_, vi. 212). Jack lost his supper last night, And the night before; if he does again to-night, He never will no more--more--more--more. I wrote a letter to my love, And on the way I dropt it; Some of you have picked it up, And got it in your pocket--pocket--pocket--pocket. I have a little dog, it won t bite you-- It won t bite you--it won t bite you-- It _will_ bite you. --Leicestershire (Miss Ellis). The Forest of Dean version is the same as the Dorsetshire, except that the child who is unsuccessful in gaining the vacant place has to stand in the middle of the ring until the same thing happens to another child.--Miss Matthews. In Nottinghamshire the children form in a ring; one walks round outside the ring singing and carrying a handkerchief: I wrote a letter to my love, and on the way I dropt it; One of you has picked it up and put it in your pocket. It isn t you, it isn t you, &c.
HAMPSHIRE-- Hartley, Winchfield, Witney Mr. H. S. May. Southampton Mrs. W. R. Carse. ISLE OF MAN Mr. A.
| -- | -- | -- | |31.| -- | -- | -- | +---+----------------------+----------------------+----------------------+ +---+----------------------+----------------------+----------------------+ |No.| Sporle, Norfolk. | Gainford, Durham. | Hants. | +---+----------------------+----------------------+----------------------+ | 1.| -- | -- |Green gravels. | | 2.| -- | -- | -- | | 3.|Green meadows.
Their persons are sacred, and if amidst the general row the Hood falls into the hands of one of them, the sport begins again. The object of the person who seizes the Hood is to carry off the prize to some public-house in the town, where he is rewarded with such liquor as he chooses to call for. This pastime is said to have been instituted by the Mowbrays, and that the person who furnished the Hood did so as a tenure by which he held some land under the lord. How far this tradition may be founded on fact I do not know, but no person now acknowledges to hold any land by that tenure.--Stonehouse s _Isle of Axholme_, p. 291. W. J. Woolhouse (_Notes and Queries_, 2nd series, v. 95) says when the Hood is thrown up by the Chief of the Boggons or by the officials, it becomes the object of the villagers to get the Hood to their own village, the other eleven men, called Boggons, being stationed at the corners and sides of the field, to prevent, if possible, its being thrown out of the field; and should it chance to fall into any of their hands, it is boggoned, and forthwith returned to the chief, who again throws it up, as at the commencement of the game.
| -- | | 45.| -- | | 46.| -- | +----+----------------------+ (_e_) Henderson, in describing the curious rites accompanying the saining or blessing of a corpse in the Scottish Lowlands, states that empty dishes are arranged on the hearth as near as possible to the fire, and after certain ceremonies in connection therewith have been performed, the company join hands and dance round the dishes, singing this burden:-- A dis, a dis, a dis, A green griss; A dis, a dis, a dis. --_Folk-lore of Northern Counties_, p. 54. This rhyme is, it will be seen, the same as the first two lines of the game, the word griss in the burial-rhyme becoming grass in the game-rhyme, grisse being the old form for grass or herb (Halliwell, _Provincial Glossary_, quotes a MS. authority for this). This identification of the game-rhyme would suggest that the game originally was a child s dramatic imitation of an old burial ceremony, and it remains to be seen whether the signification of the words would carry out this idea. In the first place, the idea of death is a prominent incident in the game, appearing in seven out of the fourteen versions. In all these cases the death is followed by the clapping of hands and bell-ringing, and in five cases by the singing of birds.
The secret in this case is to say, Look here! before commencing the formula. It is the business of those players who know the game to say the words in such a way that the uninitiated imagine the saying of the words correctly with particular accents on particular words to be where the difficulty lies. If this is well done, it diverts suspicion from the real object of these games.--A. B. Gomme. Marbles Brand considers that marbles had their origin in bowls, and received their name from the substance of which the bowls were formerly made. Strutt (_Sports_, p. 384) says, Marbles have been used as a substitute for bowls. I believe originally nuts, round stones, or any other small things that could easily be bowled along were used as marbles.
But should the pairs be alike in both hands; such as tens, the highest card outside the pair would decide the rank of the hands, and if those were also alike, the next card, or perhaps the fifth would have to be considered. Should the three odd cards in each hand be identical, the hands would be a tie, and would divide any pool to which each had a claim. Two flushes would decide their rank in the same manner. If both were ace and Jack high, the third card in one being a nine, and in the other an eight, the nine would win. In full hands the rank of the triplets decides the value of the hand. Three Queens and a pair of deuces will beat three Jacks and a pair of aces. In straights, the highest card of the sequence wins; not necessarily the highest card in the hand, for a player may have a sequence of A 2 3 4 5, which is only five high, and would be beaten by a sequence of 2 3 4 5 6. The ace must either begin or end a sequence, for a player is not allowed to call such a combination as Q K A 2 3 a straight. It was evidently the intention of those who invented Poker that the hands most difficult to obtain should be the best, and should outrank hands that occurred more frequently. A glance at the table of odds will show that this principle has been carried out as far as the various denominations of hands go; but when we come to the members of the groups the principle is violated.
The hand he abandons then becomes the widow. If he prefers to draw to his hand, he says: “_=I pass=_,” which transfers to the next player the option of taking the widow. If he wishes to stand on the merits of the hand dealt to him, without drawing to it, he _=knocks=_ on the table, which also passes the option of taking the widow to the next player on his left. If any player takes the widow, the next player on his left can do any one of three things: He may discard from his own hand any card he pleases, taking one from the widow in its stead; the card which he discards being placed on the table face upward, and becoming part of the widow; or he may exchange his entire hand for the widow; or he may stand on the hand dealt him, and knock. Whether he draws one card, exchanges his entire hand, or knocks, the next player on his left has the option of drawing, exchanging, or knocking; and so on, until some player does knock. Should no player take the widow until it comes to the dealer’s turn, he must either take it, or turn it face upward on the table. Even if the dealer knocks, he must turn up the widow, and allow each player an opportunity to draw from it, or to exchange his entire hand for it. When a player knocks, he signifies that no matter what the players following him may do, when it comes to his turn again the hands must be shown. A player cannot draw and knock at the same time; but a player can refuse to draw or exchange after another player has knocked, not before. In some localities it is the rule to turn the widow face up at once if any player knocks before it is taken; allowing all those after the knock an opportunity to draw or exchange; but this is not the usual custom.
Disjoining hands, they then begin, with skirts held daintily up behind, to walk singly along, singing-- This is the way the ladies walk, The ladies walk, the ladies walk; This is the way the ladies walk, And round the merry-ma-tanzie. At the last line they reunite, and again wheel round in a ring, singing as before-- Here we go round the mulberry bush, &c. After which, they perhaps simulate the walk of gentlemen, the chief feature of which is length of stride, concluding with the ring dance as before. Probably the next movement may be-- This is the way they wash the clothes, Wash the clothes, wash the clothes; This is the way they wash the clothes, And round the merry-ma-tanzie. After which there is, as usual, the ring dance. They then represent washing, ironing clothes, baking bread, washing the house, and a number of other familiar proceedings. Chambers quotes a fragment of this little ballet, as practised at Kilbarchan, in Renfrewshire, which contains the following lines similar to those in this game:-- She synes the dishes three times a day, Three times a day, three times a day; She synes the dishes three times a day, Come alang wi the merry-ma-tanzie. She bakes the scones three times a day, Three times a day, three times a day; She bakes the scones three times a day, Come alang wi the merry-ma-tanzie. She ranges the stules three times a day, Three times a day, three times a day; She ranges the stules three times a day, Come alang wi the merry-ma-tanzie. This game originated, no doubt, as a marriage dance round a sacred tree or bush.
Whatever the number of players, they cut for positions at the table, for partners, and for the deal. _=CUTTING.=_ The cards are usually spread, face down, and each candidate for play draws a card. [Illustration: SPREADING THE PACK.] When _=two=_ or _=three=_ play, the lowest cut has the choice of seats, and takes the first deal. When _=four=_ play, they cut for partners; the two highest pairing against the two lowest. The lowest has the choice of seats, and deals the first hand. When _=five=_ or _=seven=_ play, they have the choice of seats in their order, the lowest first, and the lowest cut deals. When _=six=_ play, the three lowest are partners against the three highest, the lowest cut having the choice of seats, and the first deal. _=TIES.
=_ Any player coming into the pool has the privilege of raising the original opener any amount within the betting limit, and he may in turn be raised again, just as in the ordinary pools. Should the opener decline to meet such a raise, he must show his entire hand before abandoning it. If he declines to do so, he must pay the antes for all the other players for another jack. It is not enough to show openers before the draw, the whole hand must be shown. _=43. Drawing Cards.=_ Each player in turn who has come in, beginning on the left of the dealer, may discard and draw, to improve his hand. The opener is allowed to split his openers, provided it is the rule of the game that the opener shall _always_ put his discard under the chips in the pool, whether he is going to split or not. The opener’s discard must never be gathered in with other discards when the pack runs short for the draw. _=44.
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If No. 2 should throw a four and two sixes, for instance, he would count nothing himself, but No. 4 would count 1, and No. 6 would count 2 points toward game. PASSE DIX. Any player can be the banker for the first round, and he holds his position as long as he wins. When he loses, he passes the box to the player on his left hand. He has three dice, which he throws in one cast, after the players have made their bets. If he gets ten or more, he wins. If he gets less than ten, he loses.