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 Revoke.=_ If a player revokes, and he is one of the adversaries of the single player, the game is lost for the player in error; but he may count the points in his tricks up to the time the revoke occurred, in order to save schneider or schwarz. In Nullos, the game is lost the moment the revoke is discovered. _=Seeing Tricks.

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” The original Edmund Hoyle wrote on very few games, but his work was the first attempt to put together the rules for the most popular indoor games in one volume. Although Hoyle died more than a hundred years ago, his work has been constantly added to as new games came into vogue, which has led many to believe that he is the authority for games that he never heard of, such as pinochle and poker. Persons who have never given the subject much attention may be surprised to learn how little authority there is for the rules governing the majority of our popular games. If we except the table games, such as chess, checkers, billiards, backgammon and ten pins, and such card games as whist, bridge, auction, and skat, all of which are regulated by well-defined codes of laws, agreed upon by associations of prominent clubs, to govern championship contests, etc., we have very few games left which are not played in different ways in various localities. This is undoubtedly because such games are learnt at the card table and not from books. A person who is shown a new game cannot remember all its details, some of which may not have been explained to him even. If he tries to teach it to others while his knowledge is in this imperfect state, he will naturally invent rules of his own to cover the points he has forgotten, or has never learnt, usually borrowing ideas from games with which he is more familiar. The pupils of such a teacher pass on to others the game thus imperfectly learnt, and in a short time we have a number of corruptions creeping in, and the astonishing part of it is the insistence with which some persons will maintain that they alone have the right idea of the rules, just because so-and-so showed them the game, or because they and their immediate friends have “always played it that way.” This does not alter the fact that the fundamental principles of every game are known and can be readily found if one knows where to look for them.

S. O. Addy. DEVONSHIRE Halliwell s _Dictionary_. DORSETSHIRE { Barnes _Glossary_, _Folk-lore { Journal_, vol. vii. DURHAM { Brockett s _North Country Words_, ed. { 1846. Gainford Miss Eddleston. South Shields Miss Blair.

2. Play for the suit in which you have the greatest number of cards between the two hands, because it will probably yield the greatest number of tricks. 3. If two suits are equal in number, play for the one in which you have the greatest number of cards massed in one hand. That is, if you have two suits of eight cards each, select the one that has six of those cards in one hand, in preference to the suit with four in each hand. 4. Everything else being equal, play for the suit which is shown in the Dummy, so as to conceal from the adversaries as long as possible the strength in your own hand. A suit is said to be _=established=_ when you can win every remaining trick in it, no matter who leads it. As it is very important that the hand which is longer in the suit should be able to lead it without interruption when it is established, good players make it a rule always to _=play the high cards from the shorter hand=_ first, so as to get out of the way. With Q 10 and three others in one hand, K J and one other in the other hand, the play is the K and J from the short hand, keeping the Q 10 in the long hand.

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2; to the left, No. 3; the pin farthest from the string line is No. 4; and the central or black pin, No. 5. These numbers may be chalked on the cloth in front of each particular pin. Neither carroms nor hazards count; for pocketing a ball (when playing on a pocket table), or causing it to jump off the table or lodge on the cushion, or for missing altogether, nothing is forfeited other than the stroke. The only penalty is that the ball so offending shall be spotted upon the white-ball spot at the foot of the table, or if that be occupied then on the nearest spot thereto unoccupied. When the pins are arranged, the rotation of the players is determined in like manner as in Fifteen-Ball Pool, after which each player receives from the marker a little numbered ball which is placed in the player’s cup on the pool board, and the number of which is not known to any of his opponents. The object of the player is to knock down as many pins as will count exactly thirty-one when the number on the small ball held by him is added to their aggregate; thus, if the small ball is No. 9, the player will have to gain twenty-two points on the pins before calling game, and whoever first gets exactly thirty-one points in this manner wins the pool.

This will simply have the effect of forming an additional pool to be played for. When there are several pools on the table, a successful caller takes any of those that contain the limit. When there is only one pool on the table, he must be satisfied with its contents, however small. At the end of the game, after the twelfth hand has been settled for, it is usual to divide the pool or pools equally among the players. But sometimes a grand is played without trumps, making a thirteenth hand, and the pool is given to the player winning the last trick. _=METHODS OF CHEATING.=_ There being no shuffling at Boston, and each player having the right to cut the pack, the greek must be very skilful who can secure himself any advantage by having the last cut, unless he has the courage to use wedges. But Boston is usually played for such high stakes that it naturally attracts those possessing a high degree of skill, and the system adopted is usually that of counting down. The greek will watch for a hand in which there is little changing of suits, and will note the manner of taking up the cards. The next hand does not interest him, as he is busy studying the location of the cards in the still pack.

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| | 5.|Huddles and cuddles, |Kisses and cuddles, |Huggled andguggled, | | |and sits on his knee. |and sits on his knee. |and took on his knee. | | 6.| -- | -- | -- | | 7.|Mutual expressions of |Mutual expressions of | -- | | |love. |love. | | | 8.| -- | -- |Asking to marry.

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XIII. We ve come to see poor Jenny Jones. Poor Jenny Jones is washing, you can t see her. We ve come to see poor Jenny Jones. Poor Jenny Jones is drying, you can t see her. We ve come to see poor Jenny Jones. Poor Jenny Jones is starching, you can t see her. We ve come to see poor Jenny Jones. Poor Jenny Jones is ironing, you can t see her. We ve come to see poor Jenny Jones.

--H. S. May. See Doncaster Cherries. Bag o Malt A bag o malt, a bag o salt, Ten tens a hundred. --Northall s _English Folk Rhymes_, p. 394. Two children stand back to back, linked near the armpits, and weigh each other as they repeat these lines. See Weigh the Butter. Ball I.

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There s a mouse. Go and get your father s watch and chain. There s a mouse. The Mother then goes to see herself. The second time she is scratched and chased. When caught she takes the Mouse s place.--Deptford, Kent (Miss Chase). This is evidently the same game as Ghost in the Garden and Ghost in the Copper, in a decaying stage. There is no _raison d etre_ for either mouse or cobbler. Probably these words are a corruption of the older Ghost in the Copper.

They planoformed with the ships. They rode beside them in their six-pound craft ready to attack. The tiny ships of the Partners were swift. Each carried a dozen pinlights, bombs no bigger than thimbles. The pinlighters threw the Partners--quite literally threw--by means of mind-to-firing relays direct at the Dragons. What seemed to be Dragons to the human mind appeared in the form of gigantic Rats in the minds of the Partners. Out in the pitiless nothingness of space, the Partners minds responded to an instinct as old as life. The Partners attacked, striking with a speed faster than Man s, going from attack to attack until the Rats or themselves were destroyed. Almost all the time, it was the Partners who won. With the safety of the inter-stellar skip, skip, skip of the ships, commerce increased immensely, the population of all the colonies went up, and the demand for trained Partners increased.

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This is often a valuable hint to the adversaries. When he quits his original suit and leads trumps, without his partner having called, the adversaries may conclude that the suit has been established. When a player puts Ace on his partner’s Jack led, and does not lead trumps, the adversaries may count on him for only one small card of the suit led. When an adversary finesses freely, he may be credited with some strength in trumps. When a player changes his suit, the adversaries should note carefully the fall of the cards in the new suit. As already observed, the leader almost invariably opens the new suit with the best he has. Suppose a player to lead two winning cards in one suit, and then the Eight of another, which the Second Hand wins with the Ten; The four honours in the second suit must be between the Second and Fourth Hands. Having won the first or second round of the adverse suit, and having no good suit of his own, the Second or Fourth Hand may be able to infer a good suit with his partner, by the play. For instance: A player opens Clubs, showing five, his partner wins second round, and opens the Diamond suit with the Jack, on which Second Hand plays Ace, his partner dropping the 9. Having now the lead, and no good suit, it is evident that the play should be continued on the assumption that partner is all Spades and trumps.

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Mother, buy some milking-cans, Milking-cans, milking-cans. Where must our money come from? Sell our father s feather bed. [This goes on for many more verses, articles of furniture being mentioned in each succeeding verse.] --Earls Heaton (Herbert Hardy). IX. Buy me a milking-pail, my dear mother. Where s the money to come from, my dear daughter? Sell father s feather bed. Where could your father sleep? Sleep in the pig-sty. What s the pigs to sleep in? Put them in the washing-tub. What could I wash the clothes in? Wash them in your thimble.

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It is not a book upon Kriegspiel. It gives merely a game that may be played by two or four or six amateurish persons in an afternoon and evening with toy soldiers. But it has a very distinct relation to Kriegspiel; and since the main portion of it was written and published in a magazine, I have had quite a considerable correspondence with military people who have been interested by it, and who have shown a very friendly spirit towards it--in spite of the pacific outbreak in its concluding section. They tell me--what I already a little suspected--that Kriegspiel, as it is played by the British Army, is a very dull and unsatisfactory exercise, lacking in realism, in stir and the unexpected, obsessed by the umpire at every turn, and of very doubtful value in waking up the imagination, which should be its chief function. I am particularly indebted to Colonel Mark Sykes for advice and information in this matter. He has pointed out to me the possibility of developing Little Wars into a vivid and inspiring Kriegspiel, in which the element of the umpire would be reduced to a minimum; and it would be ungrateful to him, and a waste of an interesting opportunity, if I did not add this Appendix, pointing out how a Kriegspiel of real educational value for junior officers may be developed out of the amusing methods of Little War. If Great War is to be played at all, the better it is played the more humanely it will be done. I see no inconsistency in deploring the practice while perfecting the method. But I am a civilian, and Kriegspiel is not my proper business. I am deeply preoccupied with a novel I am writing, and so I think the best thing I can do is just to set down here all the ideas that have cropped up in my mind, in the footsteps, so to speak, of Colonel Sykes, and leave it to the military expert, if he cares to take the matter up, to reduce my scattered suggestions to a system.

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He considers it to be an old English song which has been fitted for a ring game by the addition of a verse. See Lady on Yonder Hill. Lady on Yonder Hill I. Yonder stands a lovely lady, Whom she be I do not know; I ll go court her for my beauty, Whether she say me yea or nay. Madam, to thee I humbly bow and bend. Sir, I take thee not to be my friend. Oh, if the good fairy doesn t come I shall die. --Derbyshire (_Folk-lore Journal_, i. 387). II.

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I love Antimacassar, Antimacassar loves me. Put your left foot in, Put your right foot out, Shake it a little, a little, a little, And turn yourself about. --Dorsetshire (Miss M. Kimber). (_b_) A ring is formed and the children dance round, singing the first verse. They then stand till, sing the next verse, and, while singing, suit the action to the word, each child turning herself rapidly round when singing the last line. The first verse is then repeated, and the fourth sung in the same way as the second, and so on. Another way of playing is that the children do not dance round and round. They form a ring by joining hands, and they then all move in one direction, about half way round, while singing the first line, lubin; then back again in the opposite direction, while singing the second line, light, still keeping the ring form, and so on for the third and fourth lines. In each case the emphasis is laid upon the Here of each line, the movement being supposed to answer to the Here.