When the song is over the girls say, Point with your finger as we go round. The girl in the centre points accordingly, and whichever of the others happens to be opposite to her when she says Stop! is caught. If the blindfolded girl can identify her captive they exchange places, and the game goes on as before. The Forest of Dean and the Earls Heaton versions are played the same as the Lancashire. In the West Cornwall version, as seen played in 1884, a ring is formed, into the middle of which goes a child holding a stick; the others with joined hands run round in a circle, singing the verses. When they have finished singing they cease running, whilst the one in the centre, pointing with his stick, asks them in turn to spell Bingo. If they all spell it correctly they again move round singing; but should either of them make a mistake, he or she has to take the place of the middle man (_Folk-lore Journal_, v. 58). In the Hexham version they sing a second verse, which is the same as the first with the name spelt _backwards_. The Berks version is practically the same as the Tean version.
Here comes One Virgin Here comes one Virgin on her knee, On her knee, on her knee, Here comes one Virgin on her knee, Pray what will you give her? When did you come? I came by night and I came by day, I came to steal poor Edie away. She is too old, she is too young, She hasn t learnt her virgin tongue. Let her be old or let her be young, For her beauty she must come. In her pocket a thousand pounds, On her finger a gay gold ring. Good-bye, good-bye, my dear. --Hurstmonceux, Sussex (Miss Chase). One child stands by herself, and the rest of the players range themselves in line. The child sings the first verse and the line replies, the four succeeding verses being alternately sung. After the last line the girl tries to pull one whom she has chosen from the line toward her. If not successful, she must try again.
No complaint respecting an adversary’s time can be considered, unless this rule be strictly complied with. But nothing herein is intended to affect the penalty for exceeding the time limit as registered. _=Abandoning the Game.=_ If either player abandon the game by quitting the table in anger, or in any otherwise offensive manner; or by momentarily resigning the game; or refuses to abide by the decision of the Umpire, the game must be scored against him. If a player absent himself from the table, or manifestly ceases to consider his game, when it is his turn to move, the time so consumed shall, in every case, be registered against him. _=Disturbance.=_ Any player wilfully disturbing his adversary shall be admonished; and if such disturbance be repeated, the game shall be declared lost by the player so offending, provided the player disturbed then appeals to the Umpire. _=The Umpire.=_ It is the duty of the Umpire to determine all questions submitted to him according to these laws, when they apply, and according to his best judgment when they do not apply. No deviation from these laws can be permitted by an Umpire, even by mutual or general consent of the players, after a match or tournament shall have been commenced.
1st game; 10 to 6 2nd game; 4 to 16 3rd game; 14 to 8 Rubber; 10 -------- Totals 38 to 30 This is a good game for superstitious people, who believe that certain trump suits are favourable to them. TEXT-BOOKS. The following list of works on _=whist=_, alphabetically arranged, contains the principal standard text-books on the game. Those marked * are especially for the beginner. Those marked x are chiefly devoted to the Short-suit game. Art of Practical Whist, by Major Gen. Drayson. * Foster’s Whist Manual, by R.F. Foster.
Howell was the first to attempt to set the short-suit game in order, but his methods have long since been superseded by more elastic tactics. The fundamental principle of the short-suit game, as first explained to the world by the New York _Sun_, is to use the original or opening lead to indicate the general character of the hand rather than any details of the individual suit. In the long-suit game the original leader is always assuming that his partner may have something or other, and playing on that supposition. The short-suit player indicates the system of play best adapted to his own hand, without the slightest regard to the possibilities of his partner. It is the duty of the partner to indicate his hand in turn, and to shape the policy of the play on the combined indications of the two. This does not mean that the player shall always lead a short suit, but that he should combine the best features of both systems, without slavish adherence to either. This idea has been brought to perfection in practice by the famous American Whist Club of Boston, and under the able leadership of its captain, Harry H. Ward, it has demonstrated that he can take any kind of a team and beat any of the old style long-suit players, no matter how skilful they may be. The following is a brief outline of the American game, as given by Captain Ward in _Whist_ for May, 1906:-- _=Five-trump Hands.=_ With five trumps, and the suits split, 3, 3, 2, we always open a trump, unless we have a tenace over the turn-up card.
Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. 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.
In the version given by Halliwell there is more difficulty in the game, and possibly more fun. This version shows the game to be cumulative, each player having to go through an additional antic for each verse sung. This idea only needs to be carried a little further to cause the players to be ridiculous in their appearance. This version would be more difficult to perform, and they would be exhausted by the process, and the constant motion of every member of the body. Attention, too, might be drawn to the word Hinkumbooby occurring in Chambers s version. Newell (_Games_, p. 131) mentions that some sixty years ago the game was danced deliberately and decorously, as old fashion was, with slow rhythmical movement. Lug and a Bite A boy flings an apple to some distance. All present race for it. The winner bites as fast as he can, his compeers _lugging_ at his ears in the meantime, who bears it as well as he can, and then he throws down the apple, when the sport is resumed (Halliwell s _Dictionary_).
If there is any advantage in being the banker, it is supposed to be a permanent one, and if the banker has not been at any special expense in securing the advantages of his position he is obliged to surrender it from time to time and give other players a chance. This is the rule in Vingt-et-un, Baccara, and Blind Hookey. If the banker is not changed occasionally, he retains his position on account of the expense he has been put to to provide the apparatus for the play, as in Faro, Keno, Roulette, and Rouge et Noir. To justify this expenditure he must have some permanent advantage, and if no such advantage or “percentage” is inherent in the principles of the game, any person playing against such a banker is probably being cheated. At Monte Carlo, everything is perfectly fair and straightforward, but no games are played except those in which the percentage in favour of the bank is evident, and is openly acknowledged. In Faro there is no such advantage, and no honest faro bank can live. It is for that reason that the game is not played at Monte Carlo, in spite of the many thousands of Americans who have begged the management to introduce it. The so-called percentage of “splits” at Faro is a mere sham, and any candid dealer will admit that they do not pay for the gas. Roulette, Rouge et Noir, Keno, and Chuck Luck are all percentage games, although the banker in the latter is seldom satisfied with his legitimate gains. The peculiarity about all percentage banking games is that no system, as a system, will beat them.
--Jamieson. Hot Cockles At Sheffield a boy is chosen for a Stump, and stands with his back against a wall. Another boy bends his back as in Leapfrog, and puts his head against the Stump. The cap of the boy who bends down is then taken off, and put upon his back upside down. Then each of the other boys who are playing puts the first finger of his right hand into the cap. When all the fingers are put into the cap, these lines are sung-- The wind blows east, the wind blows west, The wind blows o er the cuckoo s nest. Where is this poor man to go? Over yond cuckoo s hill I O. Then the boy whose back is bent jumps up, and the others run away crying out, Hot cockles. The boy who is caught by the one whose back was first bent has to bend his back next time, and so on.--S.
-+---+-.-+ | | . | | . | | . | | . | +---+-.-+---+-.-+---+-.-+---+-.-+ | | .
_=12th Trick.=_ A will not give up the heart until he is sure that B has not the ♣7. * * * * * _=Text Books.=_ There are at present only two text-books on the game; _Foster on Hearts_, and _Hearts and Heartsette_. SLOBBERHANNES. _=Cards.=_ Slobberhannes is played with a Euchre pack, thirty-two cards, all below the Seven being deleted. The cards rank: A K Q J 10 9 8 7, the ace being the highest both in cutting and in play. There is no trump suit. _=Counters.
The table was being taken. Now watch it, Pheola, I said, as we squeezed into the crowd, opposite the dealers. Almost anything can happen. I want to know the instant you get a feeling. You understand? She nodded and wiped at her drippy nose with a clean handkerchief. I d gotten her a dozen. There was the same old racket. The burnt out voice of a chanteuse, coming over the PA system from the dining room, tried to remember the sultry insouciance with which it had sung Eadie was a Lady in its youth. Waiters in dude-ranch getups swivel-hipped from table to table like wraithes through the mob of gamblers, trays of free drinks in their hands. This time Pheola didn t have the same greedy grab for the _hors d oeuvres_.
Each player in turn, beginning with the age, then examines his hand, and has the option of exchanging it for the widow; keeping it for the purpose of drawing to it; or risking his chances of winning the pool with it as it is. If he wishes to exchange, he must place his five cards face upward on the table, and take up the widow, but without showing it to any other player. 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.
If a player cannot propose, he says: “Je passe,” and each of the others in turn from right to left have the opportunity to make a proposal. When any player proposes, any player in turn after him may accept, although such a one may have already passed. If the fourth player proposes, the three others having passed, and no one will accept him he is bound to play solo against three such weak adversaries, and must make five tricks, either in belle or in petite. He is not allowed to play in a plain suit if he has made a simple “demand.” The only solo bids allowed are those for six, eight, or nine tricks, which outrank one another. A player cannot bid seven to over-call six; he must go to eight; and a player cannot _=bid=_ five tricks without a partner, although, as we have just seen, he may be forced to _=play=_ in that manner. When six, eight, or nine tricks are bid, the suits outrank one another for equal numbers of tricks; but as the suit called need not be the bidder’s true intention, nor the same as the card laid on the table, the proposer must be careful that his play will be as good as his bid. For instance: He intends nine tricks in spades, but proposes eight in diamonds. He cannot bid nine in diamonds, for that would be a better bid than he intends to play; but the ruse may succeed in inducing a player not to bid against him, hoping diamonds is the true suit. It is a common artifice to bid the true suit, because few will believe it to be such.