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The third column is the English system, which ranks the straight above the full hand. As no person has as yet come forward with any figures to show which combination is easier to get in patience poker, nor the proportion of one hand to the other, these figures are all guess work; and players may adopt any values they please. As soon as the tableau is complete, with five rows of five cards each, the value of each of the ten hands the tableau contains is found and the total put down. The object of the solitaire player usually is to see how many tableaus he needs to reach a grand total of 500 points. _=SUGGESTIONS FOR GOOD PLAY.=_ Experience has shown that it pays to keep certain classes of hand in one section, either left to right or up and down. Many players put all the flushes in the vertical columns, and build the pairs, triplets and fours from right to left. Straights are uncertain quantities unless they are flush also and are seldom played for. Each card has a double value, and it may help to make up two hands of high scoring power, if well placed. The highest possible point value for a tableau would probably be five hands of four of a kind and five straight flushes, four of which would be royal, like this: [Illustration: 🂱 🃑 🃁 🂡 🃉 🂾 🃞 🃎 🂮 🃈 🂽 🃝 🃍 🂭 🃇 🂻 🃛 🃋 🂫 🃆 🂺 🃚 🃊 🂪 🃅 ] The odds against the cards coming from the stock in such order as to make a tableau like this possible would be enormous, but there are many sets of twenty-five cards that can be rearranged so as to make a much higher count than that actually arrived at in the solitaire.
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Baker (_Northamptonshire Glossary_) calls Merrytotter the game of See-saw, and notes that the antiquity of the game is shown by its insertion in Pynson, Myry totir, child s game, oscillum. Chaucer probably alludes to it in the following lines of the _Miller s Tale_-- What eileth you? some gay girle (God it wote) Hath brought you thus on the merry tote. 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.
If another boy succeeds in getting his place he becomes King, and repeats the doggerel (G. L. Gomme). This is a very popular boys game. Newell (_Games_, 164) mentions it as prevalent in Pennsylvania. See Tom Tiddler s Ground. King Plaster Palacey The players are a King and his three sons named White Cap, Red Cap, Brown Cap. Red Cap says, Plaster Palacey had a son, whose name was old daddy White Cap. White Cap, in an injured voice, says, Me, sir? The King says, Yes, sir. White Cap answers, You re a liar, sir.
If, at the end of a rubber, admission be claimed by one or two candidates, the player or players who have played the greatest number of consecutive rubbers withdraw; when all have played the same number, they cut to decide upon the outgoers; the highest are out.[5] RIGHT OF ENTRY. 22. At the end of a rubber a candidate is not entitled to enter a table unless he declare his intention before any player cut, either for partners, for a new rubber, or for cutting out. 23. In the formation of new tables candidates who have not played at an existing table have the prior right of entry. Others decide their right to admission by cutting. 24. When one or more players belonging to an existing table aid in making up a new one, which cannot be formed without him, he or they shall be the last to cut out. 25.
The last verse is sung altogether going round in a ring. In the Shipley version, Miss Busk says: The children form themselves into two lines, while two or three, representing the robbers, swagger along between them. When the robbers sing the last verse they should have attained the end of the lines [of children], as during the parley they were safe; having pronounced the defiance they run away. The children in the lines rush after them, and should catch them and put them in prison. (_c_) The analysis of this game is easy. The Deptford, Belfast, and Wolstanton versions are clearly enough dramatic representations of the capture of a robber, and probably the game dates from the period of the prevalence of highway robbery. The Wolstanton version shows us that the game is breaking up from its earlier form, while the Norfolk and Shropshire versions show a fresh development into the mere game for children, apart from its original significance. The action of the game confirms this view. 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.
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It is a contract to lose tricks instead of winning them, and is primarily a defence against overwhelmingly strong no-trumpers. A bid of three nullos means that the declarer will force his opponents to win nine tricks, he winning four only, so that each trick _=under=_ seven counts for the nullo player on his side. _=SCORING.=_ There is some difference of opinion as to the proper value for the nullo, but the general verdict seems to be to put it just below the no-trumper at 10 a trick, no honours. Two no-trumps will outbid two nullos. If the adversaries of a nullo revoke, the declarer can give them three of his tricks, or take 100 in honours as penalty. If he revokes, they take 100 penalty as usual. _=SUGGESTIONS FOR BIDDING.=_ The dealer should never bid a nullo originally, as it gives his partner no information as to the distribution of the suits. When any player has one long suit good for either no trumps or nullos, such as A K Q 6 4 2, he should “shout,” bidding a trick more than necessary.
When sold, the honey pot is taken to the other side, or home of the purchaser. The game goes on till all the honey pots are sold.--London (A. B. Gomme). In Sporle, a girl clasps her hands under her legs to form a seat, and two others swing her by the arms, saying-- Honey pot, honey pot, over the river; When the old cat dies you shall have the liver. --Miss Matthews. In a version sent by Miss Chase, and told her by a London maidservant, the children sit as in Hunt the Slipper. One steps in a corner out of earshot; the rest are named Gooseberry Tart, Cherry Tart, &c., by another, who recalls the child in the corner with-- Fool, fool, come to school, Pick me out a [cherry tart, as the case may be].