Hardy says, This was sung to me by a girl at Earls Heaton or Soothill Nether. Another version commences with the last verse, continues with the first, and concludes with the second. The last two lines inserted here belong to that version. All the Fishes in the Sea A Suffolk game, not described.--Moor s _Suffolk Glossary_. See Fool, fool, come to School, Little Dog, I call you. All the Soldiers in the Town [Music] All the soldiers in the town, They all bop down. --Sporle, Norfolk (Miss Matthews). The children form into a ring and sing the above words. They bop down at the close of the verse.
--Sporle, Norfolk (Miss Matthews). X. Draw a bucket of water For my lady s daughter; A guinea gold ring And a silver pin, So pray, my young lady, pop under. --Haydon (Herbert Hardy). XI. Draw a bucket of water To wash my lady s garter; A guinea gold ring And a silver pin, Please, little girl, pop under. --Earls Heaton (Herbert Hardy). XII. See-saw, a bucket of water, To wash my lady s garter. One in a rush, and two in a bush, To see a fine lady pop under a bush.
Mother, Mother, the Pot boils over. Mount the Tin. Mouse and the Cobbler. Muffin Man. Mulberry Bush. Munshets. Musical Chairs. NACKS. Namers and Guessers. Neighbour.
What shall we dress her in, dress her in, dress her in? What shall we dress her in? Shall it be orange? Orange for the Orange-men, Orange-men, Orange-men, Orange for the Orange-men, and that shall not do. What shall we dress her in, dress her in, dress her in? What shall we dress her in? Shall it be white? White for the corpse, the corpse, the corpse, White for the corpse, and that will just do. We have lost a soldier, soldier, soldier, We have lost a soldier, and the Queen has lost a man. We will bury him in the bed of glory, glory, glory, We will bury him in the bed of glory, and we ll never see him any more. --Holywood, co. Down (Miss C. N. Patterson). V. I ve come to see Jenny jo, Jenny jo, Jenny jo, I ve come to see Jenny jo, How is she now? Jenny jo is washing clothes, washing clothes, washing clothes, Jenny jo is washing clothes, You can t see her now.
Then the children who are standing still (against the wall) answer by singing the second and fourth verses. When these are sung the moving line of children take Mary and dance round, singing some lines which my informant, says Mr. Addy, has forgotten. (_c_) I have no description of the way Miss Chase s game is played. It, too, is probably an incomplete version. The words Ring ding di do do show a possible connection between this and games of the Three Dukes a-riding type. They may or may not be variants of the same game. See Here comes a Lusty Wooer, Here comes a Virgin, Jolly Rover, Three Dukes. Jolly Miller [Music] --Epworth, Doncaster (C. C.
SUGGESTIONS FOR GOOD PLAY. A good player, after sorting his hand, carefully estimates its possibilities. The hand may be such that it is evidently impossible to avoid taking some hearts. The player must then decide whether he will play to give each of the others hearts, or will take them all himself. If he succeeds in either object he has a chance to win back his money in the ensuing Jack. In deciding on his chances to get clear without taking a single heart, the player must first consider the advisability of beginning with a heart, or with a plain suit. If hearts, he should know the probability of the heart he leads not winning the trick; if a plain suit, he should know the probability of the suit going round one or more times without hearts being discarded on it, especially if he intends to lead high cards. These chances must then be balanced one against the other and the more favourable selected. _=LEADING HEARTS ORIGINALLY.=_ When your hearts are so small as to be absolutely safe, such as the 7 5 3 2, it might be supposed that the best play would be to lead them at once, in order to get a large number of hearts out of your way.
The ship that overhangs the most, or the deuce nearest the edge, counts. Twenty-one points is game. The sides play from each end alternately. _=On ship board=_, the pieces are wooden disks, six inches in diameter, marked with oughts and crosses. These are pushed along the deck with long sticks that have enlarged and flattened ends to fit the pieces. The object is to get each piece to settle fairly and squarely within the borders of some one of a number of spaces which are chalked out on a diagram about 10 feet by 6, which is about 30 feet from the player. These spaces are numbered from 1 to 10, and some of them are marked “minus.” Each side has four shots with four separate pieces. Fifty points is game. BILLIARDS.
If any player in his proper turn says, “I doubt it,” the three cards are at once turned face up. If the statement is not correct, the three cards are at once taken back into the player’s hand, together with all the cards lying face down in the centre of the table at the time. Should the statement turn out to be true, the player who doubted it must take the three jacks and all the cards on the table. That settled, the next player to the left lays out three cards and announces that they are three of a kind of something or other, each player to the left passing or doubting it. If no one questions the correctness of a statement, no explanation is given by the player who laid out the cards. He simply pushes them to the centre of the table with the others, face down. If he shows them, or any one of them, as some may do in a spirit of bravado, he must take all three back into his hand and all on the table with them. The object of doubting is simply to prevent a player from getting rid of three cards, but toward the end of the game one must be careful, as triplets are gradually gathered for that stage. If any player has less than three cards in his hand when it comes to his turn to lay down, he must draw from the table, face down, enough to make three. He may look at what he draws before announcing.
Women are great offenders in trifling matters, such as asking the dealer if she passed it, when nothing has been said; looking over the adversaries’ hands as dummy, and then pushing dummy’s cards forward, as if arranging them, but in reality indicating which one to play. A great deal of petty cheating is done in putting down the score, and also in balancing it by cancellation. In large charity games, some women are so eager to win a prize that they will stoop to all manner of private signals, and some go so far as to make up a table and agree to double everything, so that some one of the four shall have a big score. Another common trick in so-called social games is to have a stool pigeon to overlook the hand of another and signal it up to the confederate who is playing. There may be some remedy for this sort of thing, but so far no one seems to have found it; or at least they lack the courage to put it in practice and expose the offenders. _=SUGGESTIONS FOR GOOD PLAY.=_ The great secret of success in auction lies in sound bidding, so that no bid shall have a double meaning and the partner may be able to rely absolutely on the information which the bid should convey. The complications of the situation are so numerous, owing to the variations introduced by each succeeding bid as the players over-call one another, that it would be impossible to cover them in a work of this kind, and the student would do well to consult some such work as “Whitehead’s Conventions,” which covers every situation that could possibly arise in the bidding. A few general hints may be of assistance in showing the principles that govern the more common situations. _=The Dealer’s Bids=_ may be divided into four parts; a spade, a losing suit, a winning suit, and no trumps.
The nurse took a napkin off a goblet of chilled fruit juice. * * * * * Underhill tried to smile at her. There seemed to be something wrong with the girl. He wished she would go away. First she had started to be friendly and now she was distant again. It s a nuisance being telepathic, he thought. You keep trying to reach even when you are not making contact. Suddenly she swung around on him. You pinlighters! You and your damn cats! Just as she stamped out, he burst into her mind. He saw himself a radiant hero, clad in his smooth suede uniform, the pin-set crown shining like ancient royal jewels around his head.
At the last verse the girl jumps up and breaks through the ring by force; another girl takes her place in the ring, and the game begins again. The Sussex version of Mary Brown (Chas. Wise) is played by the children standing in line and advancing and retiring towards the lying or kneeling child. The Barnes version of Rise, Daughter is also played in this way. The daughter lays down, and at the end of the game joins the line, and another lays down. In the Hurstmonceux version, when the last verse is sung, the girl in the middle rises and picks a boy out of the ring; he goes in the middle with her, and they kiss. The version given by Halliwell is played in the same way as the Barnes version. (_c_) Halliwell (_Game Rhymes_, p. 219) gives a version of a Swedish ballad or ring dance-song, entitled Fair Gundela, he considers this may be a prototype of the English game, or that they may both be indebted to a more primitive original. The Swedish game rather gives the idea of a maiden who has sought supernatural assistance from a wise woman, or witch, to ask after the fate of those dear to her, and the English versions may also be dramatic renderings of a ballad of this character.
] After a Pawn has crossed the middle line of the board into the adversary’s territory, it is called a _=passed Pawn=_. If an adverse Pawn attempts to pass this Pawn by availing itself of the privilege of moving two squares the first time, that would not prevent the passed Pawn from capturing it _=en passant=_. In the position shown in Diagram No. 3, for instance, if the black Queen’s Pawn were to advance two squares, the white Pawn could capture it en passant, lifting it from the board, and taking the position that the black Pawn would have occupied if it had moved only one square the first time; that is, the first black square in front of the Queen. A Pawn can be taken en passant only by another pawn, never by any other piece. [Illustration: _No. 3._ BLACK. +---+---+---+---+---+---+---+---+ | ♜ | ♞ | ♝ | ♛ | ♚ | ♝ | ♞ | ♜ | +---+---+---+---+---+---+---+---+ | ♟ | ♟ | ♟ | ♟ | | ♟ | ♟ | ♟ | +---+---+---+---+---+---+---+---+ | | | | | ♟ | | | | +---+---+---+---+---+---+---+---+ | | | | | ♙ | | | | ] ♜ _=The Rook=_ can be moved any number of squares at a time, forward or backward, but only in vertical or horizontal lines, never diagonally. The Rook’s movement is of course limited by pieces obstructing its path, for it cannot jump over anything.
_=PLAYERS.=_ Four persons cut for partners, the two highest playing against the two lowest, the lowest cut having the choice of seats and cards and dealing the first hand. _=DEALING.=_ The cards shuffled and cut, thirteen are given to each player, one at a time in rotation to the left. No trump is turned, as every hand is played without a trump. _=MISDEALING.=_ In case of any irregularity in the deal, the same dealer must deal again. The laws governing misdeals are the same as at whist or bridge. _=OBJECTS OF THE GAME.=_ The play is for tricks alone, but whether the players try to win them or to lose them depends on the declaration.
] [Illustration: _=Second Position.=_ Black to move and win. WHITE. +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | ⛀ | +---+---+---+---+---+---+---+---+ | ⛀ | | | | | | | | +---+---+---+---+---+---+---+---+ | | ⛁ | | | | ⛂ | | | +---+---+---+---+---+---+---+---+ | | | ⛂ | | | | ⛃ | | +---+---+---+---+---+---+---+---+ BLACK. ] [Illustration: _=Third Position.=_ Either to move; White to win. WHITE. +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | ⛃ | | ⛁ | | | | | +---+---+---+---+---+---+---+---+ | | | | | ⛁ | | | | +---+---+---+---+---+---+---+---+ | | | | | | ⛁ | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | ⛃ | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ BLACK. ] [Illustration: _=Fourth Position.=_ Black to play and win.
Pick up. Hop, having one foot in No. 2 and the other in No. 3. Step into No. 4. Hop, having one foot in No. 5 and the other in No. 6. Jump round.
If the black man can reach the free country behind the white men, he wins the game. The game is a certainty for the white men if properly played. At the end of four moves they should be lined up on squares 25, 26, 27, 28 and whichever end the devil attacks, the tailors should move in from the other end. There are two critical positions. [Illustration: No. 13. +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | ⛂ | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | ⛀ | | ⛀ | | ⛀ | | +---+---+---+---+---+---+---+---+ | | | | ⛀ | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ ] [Illustration: No. 14. +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | ⛂ | | ⛀ | | | +---+---+---+---+---+---+---+---+ | | | | | ⛀ | | | | +---+---+---+---+---+---+---+---+ | | ⛀ | | ⛀ | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ ] In Diagram No. 13, if White moves 24 19 he loses, because Black goes to 11, and as the tailors advance to head him off, he goes back to 15 and 18, and then gets round by going to 14.
) Drawing of water from a well. (2.) For a devotee at the well. (3.) Collecting flowers for dressing the well. (4.) Making of a cake for presentation. (5.) Gifts to the well [the silver pin, gold ring, and probably the garter]. (6.
When the fingers are lifted, if the heads of the pins hid and those beside them be lying one way when the crier cried Headim, then that player wins; but if Corsim, the one who hid the pins wins. This is the king of all the games at the preens.--Mactaggart s _Gallovidian Encyclopædia_. The editors of Jamieson s _Dictionary_ say that the name should be Headum and Corsum. Heads and Tails That plan for deciding matters by the birl o a bawbee. The one side cries Heads (when the piece is whirling in the air) and the other Tails, so whichever is uppermost when the piece alights that gains or settles the matter, heads standing for the King s head and tails for the figure who represents Britannia.--Mactaggart s _Gallovidian Encyclopædia_. This is a general form of determining sides or beginning a game all over the country. Hecklebirnie A play among children in Aberdeenshire. Thirty or forty children in two rows, joining opposite hands, strike smartly with their hands thus joined on the head or shoulders of their companion as he runs the gauntlet through them.
The pone scores two whites, reaching six, and advancing his score to 3 reds, which are sometimes called impérials. The dealer must take down his white counters, losing that count altogether, and leaving himself 1 red. The only exception to this is that at the beginning of the hand if both have impérials combinations in hand, neither side takes down its white counters. In _=Counting out=_ the following order of precedence must be observed: The turn-up trump, (if it is an honour). The Point. Impérial in hand, sequences first. Impérial de retourne. Impérial tombée. Honours in tricks. Odd tricks.
It is, in fact, a part of the Three Dukes game. The first part is a kiss-in-the-ring game, a version of Here stands a Young Man, Silly Old Man, and Sally Water. Hewley Puley Take this, What s this? Hewley Puley. Where s my share? About the kite s neck. Where s the kite? Flown to the wood. Where s the wood? The fire has burned it. Where s the fire? The water s quenched it. Where s the water? The ox has drunk it. Where s the ox? The butcher has killed it. Where s the butcher? The rope has hanged him.