| -- | -- | -- | |18.|Sweetheart is dead. |True love is dead. |True love is dead. | |19.| -- | -- | -- | |20.| -- | -- | -- | |21.| -- | -- | -- | |22.| -- | -- | -- | |23.|He sent letter to turn|He sent letter to turn|He sent letter to turn| | |your head.
=_ If the first cut does not decide, those tying must cut again. Should two or more players cut cards of equal value, the new cut will decide nothing but the tie; for even should one of those cutting to decide a tie draw a card lower than one previously cut by another player, the original low cannot be deprived of his right. For instance: there are six players. [Illustration: First cut is:-- 🂥 🃘 🃋 🂷 🃞 🃈 Second cut is:-- 🂴 🃒 ] The 5 and 7 have the first and second choice of seats; the 2 and 4 the third and fourth choice. _=PLAYERS’ POSITIONS.=_ There are only three distinctive positions at the poker table: the _=dealer=_; the _=pone=_; and the _=age=_. The pone is the player on the dealer’s right, and the age is the one on his left. _=STAKES.=_ Before play begins, or a card is dealt, the value of the counters must be decided, and a _=limit=_ must be agreed upon. There are four limitations in Draw Poker, and they govern or fix the maximum of the four principal stakes: the blind; the straddle; the ante; and the bet or raise.
According to the strict rules of the game, a player who is playing for pic is not allowed to count 30 at all, but must jump from his last count, 29, to 60, or he loses the pic; but this is seldom or never insisted on. _=SCORING.=_ The last card played, the total number of points made by each player are put down on the score sheet, or marked on a cribbage board, and if neither player has reached 100 points, the deal passes to the one who was elder hand on the last deal. The order of scoring should be carefully observed, in order to determine which goes out first, and whether or not a player is lurched. 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.
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There was a jolly miller, and he lived by himself, As the wheel goes round he makes his wealth; One hand in his hopper, and the other in his bag, As we go round he makes his grab. --Monton, Lancashire (Miss Dendy). IV. There was a jolly miller, and he lived by himself, As the mill went round he gained his wealth; One hand in the hopper, and the other in the bag, As the mill went round he made his grab. Sandy he belongs to the mill, And the mill belongs to Sandy still, And the mill belongs to Sandy. --Addy s _Sheffield Glossary_. V. There was a jolly miller, and he lived by himself, As the wheel went round he made his wealth; One hand in the upper and the other in the bank, As the wheel went round he made his wealth. --Earls Heaton, Yorks. (Herbert Hardy).
I guess I put that punishment on myself for what I done, she said. Then you can still heal the sick? I asked. She shrugged. I want you to try, I added. Not till I get a sign, she said, moving uneasily. I m to get a sign. I waved my hands in disgust and turned away from her. There had to be some fakery in it somewhere, I said. You couldn t heal a hang-nail! Not a fake! she said hotly. I _have_ healed the sick! Don t get uppity, I said.
| FIFE. |GLASGOW. | KELSO. | | | | | | | | | | 11-15 | 9-14 | 12-16 | 9-13 | 11-15 | 11-15 | 10-15 | | 22 17 | | | | 23 19 | 23 19 | | | 15-19 | | | | 9-14 | 8-11 | | | | | | | 22 17 | 22 17 | | | | | | | 5- 9 | 11-16 | | +=========+=========+=========+=========+=========+=========+=========+ | | | | | SECOND | | | | LAIRD | MAID OF | OLD | | DOUBLE | SINGLE | | |AND LADY.|THE MILL.| 14TH. |PAISLEY. | CORNER. | CORNER. | SOUTER.
Merry-ma-tansa [Music] --Biggar (Wm. Ballantyne). I. Here we go round by jingo-ring, Jingo-ring, and jingo-ring, Here we go round by jingo-ring, About the merry-ma-tansa. Come name the lad you like the best, Like the best, like the best, Come name the lad you like the best, About the merry-ma-tansa. Guess ye wha s the young gudeman, The young gudeman, the young gudeman, Come guess ye wha s the young gudeman About the merry-ma-tansa. Honey s sweet and so is he, So is he, so is he, Honey s sweet and so is he, About the merry-ma-tansa. [Or-- Crab-apples are sour and so is he, So is he, so is he, Crab-apples are sour and so is he, About the merry-ma-tansa.] Can she bake and can she brew? Can she shape and can she sew, Boot a house can a things do? About the merry-ma-tansa? She can bake and she can brew, She can shape and she can sew, Boot a house can a things do, About the merry-ma-tansa. This is the way to wash the clothes, Wash the clothes, wash the clothes, This is the way to wash the clothes, About the merry-ma-tansa.
” A player is not compelled to announce or mark the King if he does not choose to do so. If a player announces and marks the King when he does not hold it, his adversary can take down the point erroneously marked, and mark one himself, for penalty. This does not prevent him from marking an additional point for the King if he holds it himself. For instance: The pone announces King, and marks it, at the same time leading a card. Not having notified the dealer that he was about to play, the dealer cannot be deprived of his right to mark the King himself, if he holds it. The dealer marks the King, marks another point for penalty, and takes down the pone’s point, erroneously marked. If the player announcing the King without holding it, discovers his error before a card is played, he simply amends the score and apologizes, and there is no penalty. If any cards have been played after an erroneous announcement of the King, such cards can be taken back by the adversary of the player in error, and the hand played over again. _=METHOD OF PLAYING.=_ The elder hand begins by leading any card he pleases, at the same time announcing the suit; “hearts;” “spades;” or whatever it may be.
Northall (_English Folk Rhymes_, p. 354) says that in Warwickshire and Staffordshire boys torture an unfortunate victim by throwing him on the ground and falling atop of him, yelling out the formula, Bags to [on] the mill. This summons calls up other lads, and they add their weight. Mother, may I go out to Play? I. Mother, may I go out to play? No, my child, it s such a wet day. Look how the sun shines, mother. Well, make three round curtseys and be off away. [Child goes, returns, knocks at door. Mother says, Come in. ] What have you been doing all this time? Brushing Jenny s hair and combing Jenny s hair.
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He was burning something called tobacco in it. It was a dirty sort of habit, but it made him look very dashing and adventurous. Look here, youngster. You don t have to worry about that stuff. Pinlighting is getting better all the time. The Partners are getting better. I ve seen them pinlight two Rats forty-six million miles apart in one and a half milliseconds. As long as people had to try to work the pin-sets themselves, there was always the chance that with a minimum of four hundred milliseconds for the human mind to set a pinlight, we wouldn t light the Rats up fast enough to protect our planoforming ships. The Partners have changed all that. Once they get going, they re faster than Rats.
As soon as the Mother has gone, the old Witch comes and says, Please, can I light my pipe? Then the children say, Yes, if you won t spit on t hearth. She pretends to light her pipe, but spits on the hearth, and runs away with the girl called Sunday. Then the Guardian, among the confusion, pretends to rush down stairs, and, failing to find Sunday, calls out, Mother, mother, t pot boils over. The Mother replies, Put your head in; the Guardian says, It s all over hairs; the Mother says, Put the dish-clout in; the Guardian says, It s greasy; the Mother says, Get a fork; the Guardian says, It s rusty; the Mother says, I ll come mysen. She comes, and begins to count the children, Monday, Tuesday, up to Saturday, and missing Sunday, asks, Where s Sunday? the Guardian says, T old Witch has fetched her. The Mother answers, Where was you? Up stairs. The Mother says, What doing? Making t beds. Why didn t you come down? Because I had no shoes. Why didn t you borrow a pair? Because nobody would lend me a pair. Why didn t you steal a pair? Do you want me to get hung? Then the Mother runs after her, and if she can catch her thrashes her for letting Sunday go.
See Nine Men s Morris, Noughts and Crosses. Fox in the Fold The Tod (Fox) i the Faul (Fold). This game is commonly played by boys. Any number of boys join hands and stand in a circle to form the Faul. The boy that represents the Tod is placed within the circle. His aim is to escape. To effect this he rushes with all his force, increased by a run, against the joint hands of any two of the players. If the rush does not unloose the grasp, he hangs on the two arms with all his weight, pressing and wriggling. If he fails he makes a rush at another two, always selecting those players he thinks weakest. When he does break through he rushes off at the top of his speed, with all the players in full cry, till he is caught and brought back.
_=PLAYERS.=_ Two, three or four persons may play. When three play, the game resembles Cut-throat Euchre, each for himself. When four play, two are partners against the other two, and the partners sit opposite each other. The player on the dealer’s left, or his adversary if only two play, is always spoken of as the eldest or elder hand. The one on the dealer’s right is the pone. _=CUTTING.=_ If there are four players, they cut for partners, deal, and choice of seats. The two lowest are partners against the two highest; the highest cut has the choice of seats, and deals the first hand. When two or three play, they cut for seats and deal.
When a good player opens his hand with a trump, right up to the declaration, his partner should lead his best supporting cards boldly up to dummy’s weak suits. _=The Pone’s Leads.=_ When the pone gets into the lead, if he does not return his partner’s suit, he should open his own suits according to the rules already given for all the high-card combinations. If he has no high-card combination, it is usually better for him to lead some card that will beat Dummy than to lead his fourth-best. Suppose he wishes to lead a diamond, in which he holds Q 10 8 4 3; Dummy having the 9 and 6 only. It is better to lead the ten of diamonds than the fourth-best, because if the declarer does not follow with an honour, your partner will not have to sacrifice an honour to keep Dummy from winning the trick with the 9. After the opening lead, when Dummy’s cards are exposed, the knowledge of his cards may change the aspect of the game greatly; but the proper cards to lead to and through Dummy will be better understood in connection with the play against no-trumpers. _=No-trump Leads.=_ The chief difference in the leads against no-trumpers is, that there is no hurry to make your aces and kings, the chief thing being to make some of the smaller cards good for tricks. When you are long in a suit, if you lead out the winning cards first, your partner may have none to lead you later on, and if you cannot make every trick in the suit before you lose the lead, you may never make anything but your one or two high cards.
Summertown _Midland Garner_, vol. ii. SHROPSHIRE Burne s _Shropshire Folk-lore_. Madeley, Middleton Miss Burne. Tong Miss R. Harley. { Elworthy s _Dialect_, _Somerset and SOMERSETSHIRE { Dorset Notes and Queries_, Holloway s { _Dictionary_. Bath Miss Large. STAFFORDSHIRE-- Hanbury Miss E. Hollis.
--_Ibid._ In Westminster four stones are held in the right hand, a marble is thrown up, and all four stones thrown down, and the marble allowed to bounce on the hearthstone or pavement, and then caught in the same hand after it has rebounded. The marble is then thrown up again, and one of the four stones picked up, and the marble caught again after it has rebounded. This is done separately to the other three, bringing all four stones into the hand. The marble is again bounced, and all four stones thrown down and the marble caught. Two stones are then picked up together, then the other two, then one, then three together, then all four together, the marble being tossed and caught with each throw. An arch is then formed by placing the left hand on the ground, and the four stones are again thrown down, the marble tossed, and the four stones put separately into the arch, the marble being caught after it has rebounded each time; or the four stones are separately put between the fingers of the left hand in as straight a row as possible. Then the left hand is taken away, and the four stones caught up in one sweep of the hand. Then all four stones are thrown down, and one is picked up before the marble is caught. This is retained in the hand, and when the second stone is picked up the first one is laid down before the marble is caught; the third is picked up and the second laid down, the fourth picked up and the third laid down, then the fourth laid down, the marble being tossed and caught again each time.
IV. You must surrend me, you must surrend me To the Queen of Barbaloo. No, we ll not surrend you, no, we ll not surrend you To the Queen of Barbaloo. We ll complain, we ll complain, &c. [To the Queen of Barbaloo.] You can complain, you can complain, &c. [To the Queen of Barbaloo.] --Penzance (Mrs. Mabbott). (_b_) Two children stand together joining hands tightly, to personate a fortress; one child stands at a distance from these to personate the King of Barbarie, with other children standing behind to personate the soldiers (fig.