After supper must they begin to pipe and daunce again of anew. And though the young persons come once towards their rest, yet can they have no quietness. --1575 edit., fol. 59, rev. 60. Edward L. Rimbault, writing in _Notes and Queries_, vi. 586, says it was formerly the custom at weddings, both of the rich as well as the poor, to dance after dinner and supper. In an old Court masque of James I.
The handkerchief was called hewley puley, and the questions are asked by the child who holds it. If one answers wrongly, a box on the ear with the handkerchief was the consequence; but if they all replied correctly, the one who broke silence first had that punishment. For similar rhymes see Dump, Mother, may I go out? Hey Wullie Wine I. Hey Wully wine, and How Wully wine, I hope for hame ye ll no incline; Ye ll better light, and stay a night, And I ll gie thee a lady fine. Wha will ye gie, if I wi ye bide, To be my bonny blooming bride, And lie down lovely by my side? I ll gie thee Kate o Dinglebell, A bonny body like yersell. I ll stick her up in the pear-tree Sweet and meek, and sae is she: I lo ed her ance, but she s no for me, Yet I thank ye for your courtesy. I ll gie thee Rozie o the Cleugh, I m sure she ll please thee weel eneugh. Up wi her on the bane dyke, She ll be rotten or I ll be ripe: She s made for some ither, and no me, Yet I thank ye for your courtesy. Then I ll gie ye Nell o sweet Sprinkell, Owre Galloway she bears the bell. I ll set her up in my bed-head, And feed her wi milk and bread; She s for nae ither, but jist for me, Sae I thank ye for your courtesy.
The Norfolk action seems to be the most nearly perfect in its dramatic significance, and the Shropshire action comes next. The action of the other games seems to have been grafted on to the superior form of Oranges and Lemons. It is probable that this fact has preserved the words more completely than in the other cases, where the force of the robber action would become less and less as actual experience of robbers and robbery died out. Altogether, this game supplies a very good example of the change produced in games by changes in the actual life which gave rise to them. It is singular that the verses of this game also enter into the composition of London Bridge is broken down. It is probable, therefore, that it may be an altered form of the game of London Bridge. The refrain, My fair lady, occurs in both games. See London Bridge. Hats in Holes A boys game. The players range their hats in a row against the wall, and each boy in turn pitches a ball from a line at some twenty-five feet distance into one of the hats.
The tunes of the games have been taken down, as sung by the children, either by myself or correspondents (except where otherwise stated), and are unaltered. 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.
--Raunds (_Northants Notes and Queries_, i. 232). V. Here come three jolly, jolly, jolly boys As lately come from shore; We will spend our time on a moonlight night As we have done before. We will have a round, a round, a round, We will have a round, a round, a round; Let the lad that delights in a bonny, bonny lass, Let him kiss her on the ground. --Earls Heaton, Yorks. (Herbert Hardy). VI. Here comes three jolly, jolly sailors, Just arrived on shore; We ll spend our money like merry, merry men, And then we ll work for more. Hurrah for the round, round ring, Hurrah for the round, round ring; And he that loves a pretty, pretty girl, Let him call her from the ring.
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Is played by three players. One hand, called Dummy’s, lies exposed on the table. The laws are the same as those of Whist, with the following exceptions: I. Dummy deals at the commencement of each rubber. II. Dummy is not liable to the penalty for a revoke, as his adversaries see his cards; should he revoke, and the error not be discovered until the trick is turned and quitted, it stands good. III. Dummy being blind and deaf, his partner is not liable to any penalty for an error whence he can gain no advantage. Thus, he may expose some or all of his cards--or may declare that he has the game, or trick, etc., without incurring any penalty; if, however, he lead from Dummy’s hand when he should lead from his own, or _vice versa_, a suit may be called from the hand which ought to have led.
Can we get there by candle-light? Yes, and back again. Open the gates so wide, so wide, And let King George aside, aside; The night is so dark we cannot see, Thread the needle and go through. --Isle of Man (A. W. Moore). XII. How many miles to Banbury Cross? Three score and ten. Shall we get there by midnight? Yes, if you run well. Then open your gates as wide as the sky, And let King George and his men pass by. It is so dark we cannot see, so thread the needle Nancy, Thread the needle Nancy.
If a player pass out of turn, the order of the bidding is not affected, _i.e._, it is still the turn of the player to the left of the last declarer. The player who has passed out of turn may re-enter the bidding in his proper turn if the declaration he has passed be overbid or doubled. 50. If a player make an insufficient or impossible declaration, either adversary may demand that it be penalized. The penalty for an insufficient declaration is that the bid is made sufficient in the declaration named and the partner of the declarer may not further declare unless an adversary subsequently bid or double. The penalty for an impossible declaration is that the bid is made seven in the suit named and the partner of the declarer may not further declare unless an adversary subsequently bid or double. Either adversary, instead of penalizing an impossible declaration, may demand a new deal, or that the last declaration made on behalf of his partnership become the final declaration. 50_a_.
In Oxfordshire the maids, when they have put themselves into the fit posture, say thus:-- My granny is sick, and now is dead, And wee l goe mould some cockle-bread. Up with my heels, and down with my head, And this is the way to mould cocklebread. --Aubrey s _Remains_, pp. 43, 44. To make Barley bread (in other districts, Cockley bread ) this rhyme is used in West Cornwall:-- Mother has called, mother has said, Make haste home, and make barley bread. Up with your heels, down with your head, That is the way to make barley bread. --_Folk-lore Journal_, v. 58. The Westmoreland version is given by Ellis in his edition of Brand as follows:-- My grandy s seeke, And like to dee, And I ll make her Some cockelty bread, cockelty bread, And I ll make her Some cockelty bread. The term Cockelty is still heard among our children at play.
In case of exchange, the discarded hand is placed on the table face down; and the other taken up and played. If a player retains the hand originally dealt him, he must not look at the others. If the dealer exchanges, he loses the turn-up card, but the trump suit remains the same. Each player deals for himself in turn, there being no deal for the dead hands. Whist laws govern the deal and its errors. _=METHOD OF PLAYING.=_ The dealer’s adversary has the first lead; the other must follow suit if he can, and the highest card of the suit led wins the trick. Trumps win all other suits. _=SCORING.=_ Each trick above six counts one point towards game.
This is inflicted for playing with more or less than five cards; for exposing any card; for leading or playing out of turn; for renouncing; and for refusing to head or trump a trick when able to do so. _=DIVIDING THE POOL.=_ Pools may be simple or double. The usual custom is to compel every one to play when the pool is a simple, containing nothing but the five counters put up by the dealer. When there are more than five counters in the pool they must be some multiple of five, and the pool is called a double. In double pools the players may play or pass as they please. No matter how many counters are already in the pool, the dealer must add five. Each player gathers in the tricks he wins, and at the end of the hand he is entitled to take one-fifth of the contents of the pool for every trick he has won. If he has played his hand, and failed to get a trick, he is ramsed, and forfeits five counters to form the next pool, in addition to those which will be put up by the next dealer. If two or more players fail to win a trick, they must each pay five counters, and if the player whose turn it will be to deal next is ramsed, he will have to put up ten; five for his deal, and five for the rams.
If the winners of a game are five points to their adversaries’ nothing, they win a _=treble=_, and count three rubber points. If the adversaries have scored, but have one or two points only, the winners mark two points, for a _=double=_. If the adversaries have reached three or four, the winners mark one, for a _=single=_. The rubber points having been marked, all other scores are turned down. The side winning the rubber adds two points to its score for so doing. The value of the rubber is determined by deducting from the score of the winners any rubber points that may have been made by their adversaries. The smallest rubber possible to win is one point; the winners having scored two singles and the rubber, equal to four; from which they have to deduct a triple made by their adversaries. The largest rubber possible is eight points, called a _=bumper=_, the winners having scored two triples and the rubber, to their adversaries’ nothing. It is sometimes important to observe the order of precedence in scoring. For instance: if, at the beginning of a hand, A-B have three points to Y-Z’s nothing, and A-B make two by honours, Y-Z winning three by cards, Y-Z mark first; so that A-B win only a _=single=_, instead of a _=treble=_.
In playing for a schneider, it is often advisable to continue the trumps, even after the adversaries are exhausted, so that they shall not know which suit to keep for the last trick. _=Laying out the Skat.=_ In a Frage or a Tourné, some judgment is required in discarding for the Skat. It is often necessary to lay aside the Ace and Ten of trumps if there is any danger that the adversaries may catch them. Unguarded Tens should always be laid out, and it is a good general principle to get rid of one suit entirely, so that you can trump it. It is a common practice to put in the Skat the Ace and Ten of a suit of which you hold also the King. When you lead the King, if Mittelhand has none of the suit he is sure to fatten the trick for his partner, thinking he must have Ace or Ten. With the Ten, King, and small cards of a plain suit, lay the Ten and King in the Skat. _=The Adversaries=_ should combine against the single player by getting him between them if possible. If you sit on the left of the player, lead your short suits up to him; but if you sit on his right, lead your longest suit through him.
If the caller fails, he must pay each adversary the amount he would have won if successful, with the addition of five white counters for every trick that he falls short of his proposal. For instance: He bids nine hearts, and wins six tricks only. He must pay each adversary 115 white counters. TABLE No. 1. ----------------------+--------+-----------------+---------+ | | The trump being | | | No +-----+-----+-----+ Extra | | trump. | ♣♠ | ♡ | ♢ | tricks. | ----------------------+--------+-----+-----+-----+---------+ Boston, five tricks | | 10 | 20 | 30 | 5 | Six tricks | | 30 | 40 | 50 | 5 | Little misère | 75 | | | | | Seven tricks | | 50 | 60 | 70 | 5 | Piccolissimo | 100 | | | | | Eight tricks | | 70 | 80 | 90 | 5 | Grand misère | 150 | | | | | Nine tricks | | 90 | 100 | 110 | 5 | Little spread | 200 | | | | | Ten tricks | | 110 | 120 | 130 | 5 | Grand spread | 250 | | | | | Eleven tricks | | 130 | 140 | 150 | 5 | Twelve tricks | | 150 | 160 | 170 | 5 | Slam, thirteen tricks | | 400 | 450 | 500 | | Spread slam | | 600 | 700 | 800 | | TABLE No. 2. In America, the last two items are usually reduced, and are given as follows:-- | | ♣♠ | ♡ | ♢ | | Slam, thirteen tricks | | 250 | 300 | 350 | | Spread slam | | 350 | 400 | 450 | | ----------------------+--------+-----+-----+-----+---------+ Why a player should be paid more for spreads than for eleven or twelve tricks while the trick bid outranks the spreads, is difficult to understand; but we have no authority to change the tables.
71. If, without waiting for his partner to play, either of the declarer’s adversaries play or lead a winning card, as against the declarer and dummy and continue (without waiting for his partner to play) to lead several such cards, the declarer may demand that the partner of the player in fault win, if he can, the first or any other of these tricks. The other cards thus improperly played are exposed. 72. If either or both of the declarer’s adversaries throw his or their cards face upward on the table, such cards are exposed and liable to be called; but if either adversary retain his hand, he cannot be forced to abandon it. Cards exposed by the declarer are not liable to be called. If the declarer say, “I have the rest,” or any words indicating the remaining tricks or any number thereof are his, he may be required to place his cards face upward on the table. He is not then allowed to call any cards his adversaries may have exposed, nor to take any finesse not previously proved a winner unless he announce it when making his claim. 73. If a player who has rendered himself liable to have the highest or lowest of a suit called (Laws 80, 86, and 92) fail to play as directed, or if, when called on to lead one suit, he lead another, having in his hand one or more cards of the suit demanded (Laws 66, 76, and 93), or if, when called upon to win or lose a trick, he fail to do so when he can (Laws 71, 80, and 92), or if, when called upon not to play a suit, he fail to play as directed (Laws 65 and 66), he is liable to the penalty for revoke (Law 84) unless such play be corrected before the trick be turned and quitted.
|dragon. | | | 21.| -- | -- | -- | | 22.| -- | -- | -- | | 23.| -- | -- | -- | |[8.]| -- | -- | -- | | 24.|And ye shall get a |You shall have a nice |Ye sall get a bonny | | |young prince. |young man. |prince. | | 25.
Then, making a stop, the wo(man) sings as before-- This dance, &c. Musician: I pray you, madam, &c. Woman: Because John Sanderson, &c. Musician: He must, &c. And so she lays down the cushion before a man, who, kneeling upon it, salutes her, she singing-- Welcom, John Sanderson, &c. Then, he taking up the cushion, they take hands and dance round, singing as before. And thus they do till the whole company are taken into the ring. And then the cushion is laid before the first man, the woman singing, This dance, &c. (as before), only instead of come to, they sing go fro, and instead of Welcom, John Sanderson, &c., they sing Farewel, John Sanderson, farewel, farewel; and so they go out one by one as they came in.
Put the Pawn behind the King, on K B 5, and White wins, no matter which moves first, for if Black moves he allows the white King to advance to the seventh file, which will queen the Pawn. If White moves first, and the black King keeps opposite him, the Pawn advances. If Black goes in the other direction, the white King goes to the seventh file and wins by queening the Pawn. If the white King and Pawn are both moved one square further back, the King on K B 5, and the Pawn on K B 4. the win will depend on the move. If it is White’s move he can win by advancing the King; but if it is Black’s move he can draw by keeping his King always opposite the white King. If the Pawn advances, he will get in front of it, and if the King is afterward advanced, he will get in front of it; winning the Pawn or securing a stale-mate. _=THE KNIGHT’S TOUR.=_ Owing to the peculiarity of the Knight’s move, many persons have amused themselves in trying to cover the entire chess board with a Knight, touching the same square once only, and returning to the starting-point again. There are several ways of doing this, one of the simplest being the following:-- [Illustration: +--+--+--+--+--+--+--+--+ |14|29|34|55|12|27|24|49| +--+--+--+--+--+--+--+--+ |35|56|13|28|33|50|11|26| +--+--+--+--+--+--+--+--+ |30|15|54|51|58|25|48|23| +--+--+--+--+--+--+--+--+ |41|36|57|32|61|52|63|10| +--+--+--+--+--+--+--+--+ |16|31|40|53|64|59|22|47| +--+--+--+--+--+--+--+--+ |37|42| 1|60|19|62| 9| 6| +--+--+--+--+--+--+--+--+ | 2|17|44|39| 4| 7|46|21| +--+--+--+--+--+--+--+--+ |43|38| 3|18|45|20| 5| 8| +--+--+--+--+--+--+--+--+ ] _=TEXT BOOKS.
She returns, saying-- Yes! mother! I have seen a ghost. M. Nonsense, child! we will take a candle, and all go together to search for it. The mother picks up a twig for a candle, and they set off. When they come near to the Ghost, she appears from her hiding-place, mother and children rush away in different directions, the Ghost chases them until she has caught one, who in her turn becomes Ghost.--West Cornwall (Miss Courtney, _Folk-lore Journal_, v. 55). This game was Ghost in the Copper in London. It was played in the same way as above. Chairs formed the copper, and the ghost crouched down behind.
federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance.
_=10th Trick.=_ If Z now leads ♠ 7, he loads A; but if his ♡ 5 should win the next trick he will take all the rest of the hearts, Y and B dividing the pool. If he leads the ♡ 5 first he cannot get more than four hearts, and the other players will inevitably make a Jack of it. _=11th Trick.=_ Y sees that if he underplays the 7 led, B will win the pool, as he has nothing but hearts, A having only one more. He keeps A out of the lead by winning two rounds, so as to be sure of loading B, making it a Jack. The ending is very well played. _=No. 2.=_ A has an even chance to escape, and it is better for him to be third or fourth player in hearts than to lead them.
F. Foster, 1903. Foster’s Self-playing Bridge Cards, 1903. The Bridge Book, by A. Dunn, Jr., 1903. Bridge Up to Date, by C.S. Street, 1903. Sixty Bridge Hands, by C.