Chapter II: Part 2

This class of riddle is of recent introduction. The Arithmorem is made
by substituting figures in a part of the word indicated, for Roman
numerals. The nature of the riddle--from the Greek _arithmos_, number,
and the Latin _remanere_, back again--will be easily seen from the
following example, which is a double Arithmorem:

H 51 and _a tub_--a fine large fish.
A 100 and _gore_--a sprightly movement in music.
R 5 and _be_--a part of speech.
U 551 and _as and_--a Spanish province.
To 201 and _ran_--a stupefying drug.
R 102 and _nt_--an acid.
OU 250 and _pap_--a Mexican town.

The answer is Havanna--Tobacco.
_H_alibu_t_, _A_llegr_o_, _V_er_b_, _A_ndalusi_a_,
_N_arcoti_c_, _N_itri_c_, _A_capulc_o_.

52. Charades

are compositions, poetical or otherwise, founded upon words, each
syllable of which constitutes a _noun_, the whole of each word
constituting another noun of a somewhat different meaning from those
supplied by its separate syllables. Words which fully answer these
conditions are the best for the purposes of charades; though many
other words are employed. In writing, the first syllable is termed
"_My first_," the second syllable "_My second_," and the complete word
"_My whole_." The following is an example of a Poetical Charade:

The breath of the morning is sweet;
The earth is bespangled with flowers,
And buds in a countless array
Have ope'd at the touch of the showers.
The birds, whose glad voices are ever
A music delightful to hear,
Seem to welcome the joy of the morning,
As the hour of the bridal draws near.
What is that which now steals on _my first_,
Like a sound from the dreamland of love,
And seems wand'ring the valleys among,
That they may the nuptials approve?
'Tis a sound which _my second_ explains,
And it comes from a sacred abode,
And it merrily trills as the villagers throng
To greet the fair bride on her road.
How meek is her dress, how befitting a bride
So beautiful, spotless, and pure!
When she weareth _my second_, oh, long may it be
Ere her heart shall a sorrow endure.
See the glittering gem that shines forth from her hair--
'Tis _my whole_, which a good father gave;
Twas worn by her mother with honour before--
But _she_ sleeps in peace in her grave.
Twas her earnest request, as she bade them adieu,
That when her dear daughter the altar drew near,
She should wear the same gem that her mother had worn
When she as a bride full of promise stood there.

The answer is _Ear-ring_. The bells _ring_, the sound steals upon the
_ear_, and the bride wears an _ear ring_. Charades may be sentimental
or humorous, in poetry or prose; they may also be _acted_, in which
manner they afford considerable amusement.

53. Charades (Acted).

A drawing room with folded doors is the best for the purpose. Various
household appliances are employed to fit up something like a stage,
and to supply the fitting scenes. Characters dressed in costumes made
up of handkerchiefs, coats, shawls, table-covers, &c., come on and
perform an extempore play, founded upon the parts of a word, and its
_whole_, as indicated already. For instance, the events explained in
the poem given might be _acted_--glasses might be rung for
bells--something might be said in the course of the dialogues about
the sound of the bells being delightful to the _ear_; there might be a
dance of the villagers, in which a _ring_ might be formed; a wedding
might be performed, and so on: but for _acting charades_ there are
many better words, because _Ear-ring_ could with difficulty be
_represented_ without at once betraying the meaning. There is a little
work entitled "Philosophy and Mirth united by Pen and Pencil," and
another work, "Our Charades; and How we Played Them," [1] by Jean
Francis, which supply a large number of these Charades. But the
following is the most extensive list of words ever published upon
which Charades may be founded:

[Note: hyphen added to Art less, Bar rack]

[Footnote 1: "Philosophy and Mirth, united by Pen and Pencil," One
Shilling.

"Our Charades; and How we played Them," by Jean Francis, One Shilling.

Both published by Houlston and Sons, Paternoster Square, London, EC.]

[A FOOL'S BOLT IS SOON SHOT.]

54. Words which may be converted into Acting or Written Charades:

Aid-less Air-pump Ale-house Ann-ounce Arch-angel Arm-let Art-less Ass-ail

Ba-boon Back-bite Back-slide Bag-gage Bag-pipe Bag-dad Bail-able Bale-ful Band-age Band-box Bane-ful Bar-bed Bar-gain Bar-rack Bar-row Bat-ten Beard-less Bid-den Bird-lime Birth-right Black-guard Blame-less Block-head Boat-man Boot-jack Book-worm Bound-less Bow-ling Brace-let Brain-less Break-fast Breath-less Brick-bat Brick-dust Bride-cake Bride-groom Broad-cloth Broad-side Broad-sword

Brow-beat Brown-stone Bug-bear Bull-dog Bump-kin Buoy-ant But-ton

Cab-in Can-did Can-ton Care-ful Car-pet Car-rot Cart-ridge Chair-man Chamber-maid Cheer-ful Cheer-less Christ-mas Church-yard Clans-men Clerk-ship Cob-web Cock-pit Cod-ling Coin-age Con-fined Con-firm Con-form Con-tent Con-test Con-tract Con-verse Cork-screw Count-less Court-ship Crab-bed Cross-bow Cur-tail Cut-throat

Dark-some Day-break Death-watch Dog-ma Don-key Drink-able Drug-get Duck-ling

Ear-ring Earth-quake Ear-wig

False-hood Fan-atic Fare-well Far-thing Fear-less Fee-ling Field-farm Fire-lock Fire-man Fire-pan Fire-ship Fire-work Fir-kin Fish-hook Flag-rant Flip-pant Flood-gate Fond-ling Foot-ball Foot-man Foot-pad Foot-step Foot-stool For-age For-bear For-bid Found-ling Fox-glove Free-hold Free-stone Fret-work Fri-day Friend-ship Frost-bite Fur-long

Gain-say Gang-way Glow-worm Glut-ton God-child God-daughter God-father God-like God-mother God-son Gold-finch Gold-smith Goose-berry Grand-father Grate-ful Grave-stone Green-finch Grey-hound Grim-ace Grind-stone Ground-plot Ground-sell Guard-ship Gun-powder

Had-dock Hail-stone Hail-storm Half-penny Ham-let Ham-mock Hand-cuff Hang-man Hap-pen Hard-ship Hard-ware Harts-horn Head-land Head-less Head-long Head-stone Head-strong Hear-say Heart-less Heart-sick Heart-string Hedge-hog Heir-less Heir-loom Hell-hound Hell-kite Hence-forth Hen-roost Herb-age Herds-man Her-self Hid-den High-land High-way Hind-most Hoar-frost Hob-goblin Hogs-head Home-bred Honey-bag Honey-comb Honey-moon Honey-suckle Hood-wink Horse-back Horse-shoe Host-age Hot-bed Hot-house Hot-spur Hounds-ditch Hour-glass House-hold House-maid House-wife Hum-drum Hump-back Hurri-cane

Ill-nature Ill-usage In-action In-born In-crease In-justice Ink-ling In-land In-mate In-no-cent In-sane In-spirit In-tent Inter-meddle Inter-sect Inter-view In-valid In-vent In-vest In-ward Ire-ful Iron-mould I-sing-lass

Jac(k)o-bite Joy-ful Joy-less Justice-ship

Key-stone Kid-nap King-craft King-fisher Kins-man Kit-ten Knight-hood Know-ledge

Lace-man Lady-bird Lady-ship Lamp-black Land-lady Land-lord Land-mark Land-scape Land-tax Lap-dog Lap-pet Laud-able Law-giver Law-suit Lay-man Leap-frog Leap-year Lee-ward Life-guard Like-wise Live-long Load-stone Log-book Log-wood Loop-hole Lord-ship Love-sick Low-land Luck-less Luke-warm

Ma-caw Mad-cap Mad-house Mad-man Mag-pie Main-mast Main-sail Main-spring Mam-moth Man-age Man-date Marks-man Mar-row Mass-acre Match-less May-game Meat-man Mis-chance Mis-chief Mis-count Mis-deed Mis-judge Mis-quote Monks-hood Moon-beam Moon-light Muf-fin

Name-sake Nan-keen Nap-kin Neck-cloth Neck-lace Nest-ling News-paper Nick-name Night-cap Night-gown Night-mare Night-watch Nine-fold Noon-tide North-star North-ward Not-able Not-ice No-where Nut-gall Nut-meg

Oak-apple Oat-cake Oat-meal Off-end Oil-man O-men On-set O-pen O-pinion Our-selves Out-act Out-bid Out-brave Out-brazen Out-cast Out-cry Out-do Out-grow Out-law Out-line Out-live Out-march Out-rage Out-ride Out-run Out-sail Out-sell Out-shine Out-side Out-sit Out-sleep Out-spread Out-stare Out-stretch Out-talk Out-vie Out-ward Out-weigh Out-wit Out-work Out-worn Over-act Over-awe Over-bear Over-board Over-boil Over-burden Over-cast Over-charge Over-cloud Over-come Over-court Over-do Over-due Over-eye Over-feed Over-flow Over-grown Over-head Over-hear Over-heard Over-joy Over-lade Over-lay Over-leap Over-load Over-look Over-mast Over-match Over-pass Over-pay Over-peer Over-plus Over-poise Over-power Over-press Over-rack Over-rate Over-reach Over-right Over-ripen Over-roast Over-rule Over-run Over-see Over-seer Over-set Over-shade Over-shadow Over-shoe Over-shoot Over-sight Over-size Over-sleep Over-spread Over-stock Over-strain Over-sway Over-swell Over-take Over-throw Over-took Over-value Over-work Ox-gall Ox-lip

Pack-age Pack-cloth Pad-dock Pad-lock Pain-ful Pain-less Pal-ace Pal-ate Pal-let Pan-cake Pan-tiler Pa-pa Pa-pal Par-able Pa-rent Pa-ring Par-snip Par-son Par-took Part-ridge Pass-able Pass-over Pas-time Patch-work Pa-tent Path-way Pat-ten Peace-able Pea-cock Pear-led Peer-age Peer-less Pen-knife Pen-man Pen-man-ship Penny-worth Per-jury Pert-in-a-city Pick-lock Pick-pocket Pie-bald Pike-staff Pill-age Pin-cushion Pine-apple Pip-kin Pitch-fork Pit-men Plain-tiff Play-fellow Play-house Play-mate Play-wright Plough-man Plough-share Pole-cat Pol-lute Pop-gun Pop-in-jay Port-age Port-hole Post-age Post-chaise Post-date Post-house Post-man Post-office Pot-ash Pot-hook Pound-age Prim-rose Prior-ship Prop-a-gate Punch-bowl

Quad-rant Quench-less Quick-lime Quick-sand Quick-set Quick-silver

Rain-bow Ram-part Ran-sack Rap-a-city Rasp-berry Rattle-snake Red-breast Red-den Rid-dance Ring-leader Ring-let Ring-tail Ring-worm Rolling-pin Rose-water Rot-ten Round-about Round-house Run-a-gate Rush-light

Safe-guard Sal-low Sand-stone Sat-in Sat-ire Sauce-box Sauce-pan Saw-dust Saw-pit Scare-crow Scarf-skin Scar-let School-fellow School-master School-mistress Scot-free Screech-owl Scul-lion Sea-born Sea-calf Sea-coal Sea-faring Sea-girt Sea-gull Sea-maid Sea-man Seam-less Seam-stress Sea-nymph Sea-piece Sea-port Sea-sick Sea-son Sea-ward Second-hand Seed-cake Seed-ling Seed-pearl Seed-time Seers-man Sex-tile Sex-ton Shame-less Sham-rock Shape-less Sharp-set Sheep-cot Sheep-shearing Sheep-walk Sheet-anchor Shell-fish Shift-less Ship-board Ship-wreck Shirt-less Shoe-string Shoe-waker Shop-board Shop-keeper Shop-man Shore-less Short-hand Short-lived Short-sighted Shot-free Shoulder-belt Shrove-tide Side-board Side-long Side-saddle Side-ways Sight-less Silk-weaver Silk-worm Silver-smith Sin-less Six-fold Skim-milk Skip-jack Sky-lark Sky-light Slap-dash Sleeve-less Slip-board Slip-shod Slip-slop Slope-wise Slow-worm Snip-pet Snip-snap Snow-ball Snow-drop Snuff-box Sod-den Sol-ace So-lo Sol-vent Some-body Some-how Some-time Some-what Some-where Song-stress Son-net Southern-wood Span-king Spare-rib Spar-row Speak-able Speech-less Spite-ful Sports-man Spot-less Spring-halt Spruce-beer Stair-case Star-board Star-gazer Star-less Star-light Star-like Star-ling States-man Stead-fast Steel-yard Steer-age Step-dame Step-daughter Step-father Step-mother Steward-ship Stiff-neck Still-born Stock-jobber Stone-fruit Store-fruit Store-house Stow-age Strata-gem Straw-berry Stream-let Strip-ling Sum-mary Summer-house Summer-set Sun-beam Sun-burnt Sun-day Sun-dry Sun-flower Sun-less Sup-plant Sup-pliant Sup-port Sup-port-able Sup-position Sup-press Swans-down Sweep-stake Sweet-bread Sweet-briar Sweet-heart Sweet-william Sweet-willow Swine-herd Swords-man

Tar-get Tar-tar Taw-dry Tax-able Tea-cup Teem-ful Teem-less Tell-tale Ten-able Ten-a-city Ten-ant Ten-dance Ten-don Ten-dril Ten-or Thank-ful Thank-less Them-selves Thence-forth There-after There-at There-by There-fore There-from There-in There-on There-to There-with Thick-set Thought-ful Thought-less Thread-bare Three-fold Three-score Thresh-old Through-out Thunder-bolt Thunder-struck Till-age Tip-pet Tip-staff Tire-some Title-page Toad-stool Toil-some Tom-boy Tooth-ache Top-knot Top-most Top-sail Touch-stone Touch-wood Towns-man Toy-shop Track-less Trap-door Tre-foil Trip-let Trip-thong Trod-den Turn-pike Turn-spit Turn-stile Tutor-age Twelfth-night Twelfth-tide Two-fold Two-pence

Up-braid Up-hill Up-hold Up-land Up-ride Up-right Up-roar Up-shot Up-start Up-ward Use-less

Vain-glory Van-guard Vault-age

Wag-on Wag-tail Wain-scot Waist-coat Wake-ful Wal-nut Wan-ton Ward-mate Ward-robe Ward-ship Ware-house War-fare War-like War-rant Wash-ball Waste-ful Watch-ful Watch-man Watch-word Water-course Water-fall Water-fowl Water-man Water-mark Water-mill Water-work Way-lay Way-ward Weather-cock Weather-glass Weather-wise Web-bed Web-foot Wed-lock Week-day Wel-come Wel-fare Well-born Well-bred Wheel-wright Where-at Where-by Whet-stone Whip-cord Whip-hand Whirl-pool Whirl-wind White-wash Whit-low Whit-sun-tide Who-ever Whole-sale Whole-some Wild-fire Wil-low Wind-lass Wind-mill Wind-pipe Win-now Win-some Wise-acre Wit-less Wolf-dog Wood-cock Wood-land Wood-lark Wood-man Wood-note Wood-nymph Work-house Work-man Work-shop Worm-wood Wrath-ful Wrath-less Wrist-band Writ-ten

Year-ling Youth-ful

[A LIAR SHOULD HAVE A GOOD MEMORY.]

55. Chronograms or Chrono-graphs

are riddles in which the letters of the Roman notation in a sentence
or series of words are so arranged as to make up a date. The following
is a good example:

My Day Closed Is In Immortality.

The initials MDCIII. give 1603, the year of Queen Elizabeth's death.
Sometimes the Chronogram is employed to express a date on coins or
medals; but oftener it is simply used as a riddle:

A poet who in blindness wrote; another lived in Charles's reign; a
third called the father of English verse; a Spanish dramatist; the
scolding wife of Socrates; and the Prince of Latin poets,--their
initials give the year of the Great Plague--MDCLXV.--1665: Milton,
Dryden, Chaucer, Lope-de-Vega, Xantippe, Virgil.

The word comes from _Chronos_, time, and _gramma_, a letter.

[BEGIN WELL AND END BETTER.]

56. Conundrums.

These are simple catches, in which the sense is playfully cheated, and
are generally founded upon words capable of double meaning. The
following are examples:

Where did Charles the First's executioner dine, and what did he
take?
_He took a chop at the King's Head._

When is a plant to be dreaded more than a mad dog?
_When it's madder._

What is majesty stripped of its externals?
It is _a jest_.
[The _m_ and the _y_, externals, are taken away.]

Why is hot bread like a caterpillar?
_Because it's the grub that makes the butter fly._

Why did the accession of Victoria throw a greater damp over England
than the death of King William?
_Because the King was missed_ (mist) _while the Queen was reigning_
(raining).

Why should a gouty man make his will?
_To have his legatees_ (leg at ease).

Why are bankrupts more to be pitied than idiots?
_Because bankrupts are broken, while idiots are only cracked._

Why is the treadmill like a true convert?
_Because it's turning is the result of conviction._

When may a nobleman's property be said to be all feathers?
_When his estates are all entails_ (hen-tails).

[EVERY MAN KNOWS WHERE HIS OWN SHOE PINCHES.]

57. Cryptography, or secret writing

from the Greek _cryptos_, a secret, and _graphein_, to write--has been
largely employed in state despatches, commercial correspondence, love
epistles, and riddles. The telegraphic codes employed in the
transmission of news by electric wire, partakes somewhat of the
cryptographic character, the writer employing certain words or
figures, the key to which is in the possession of his correspondent.
The single-word despatch sent by Napier to the Government of India,
was a sort of cryptographic conundrum--_Peccavi_, I have sinned
(Scinde); and in the agony column of the 'Times' there commonly appear
paragraphs which look puzzling enough until we discover the key-letter
or figure. Various and singular have been the devices adopted--as, for
instance, the writing in the perforations of a card especially
prepared, so as only to allow the real words of the message to be
separated from the mass of writing by means of a duplicate card with
similar perforations; the old Greek mode of writing on the edges of a
strip of paper wound round a stick in a certain direction, and the
substitution of figures or signs for letters or words. Where one
letter is always made to Stand for another, the secret of a
cryptograph is soon discovered, but when, as in the following example,
the same letter does not invariably correspond to the letter for which
it is a substitute, the difficulty of deciphering the cryptograph is
manifestly increased:

Ohs ya h sych, oayarsa rr loucys syms
Osrh srore rrhmu h smsmsmah emshyr snms.

The translation of this can be made only by the possessor of the key.

a b c d e f g h i j k l m n o p q r s t u v w x y z
h u s h m o n e y b y c h a r l e s h r o s s e s q

"Hush Money, by Charles H. Ross, Esq."--twenty-six letters which, when
applied to the cryptograph, will give a couplet from Parnell's
"Hermit":

"Far in a wild, unknown to public view,
From youth to age a reverend hermit grew."

The employment of figures and signs for letters is the most usual form
of the cryptograph. From the following jumble we get a portion of
Hamlet's address to the Ghost:

9 a 6 2 x # 9 a 1 | 3 a 3 # 2 \ # * 7 6 \
9 5 2 1 2 7 2 a 1 ; #
4 2 8 * ; # ( 3 \ 3 , * 7 8 2 9 x , 1 * \
6 * 4 x 3 a 1 9 | a 2 1

With the key

a b c d e f g h i j k l m n o p q r s t u v w x y z
9 4 5 1 2 7 6 8 3 + - x | a * ( ) \ # , ; : . o $ /

it is easy to write and not very hard to read the entire speech. The
whole theory of the cryptogram is that each correspondent possesses
the key to the secret. To confound an outside inquirer the key is
often varied. A good plan is to take a line from any ordinary book and
substitute the first twenty-six of its letters for those of the
alphabet. In your next cryptogram you take the letters from another
page or another book. It is not necessary to give an example. Enough
will be seen from what we have written to instruct an intelligent
inquirer.

58. Decapitations and Curtailments

are riddles somewhat of the nature of the Logogriph, which _see_.
In the first, the omission of the successive initials produces new
words, as--Prelate, Relate, Elate, Late, Ate. In the curtailment the
last letter of the word is taken away with a similar result,
as--Patent, Paten, Pate, Pat, Pa. Of like kind are the riddles known
as variations, mutilations, reverses, and counterchanges. A good
example of the last-named is this:

Charge, Chester, Charge: on, Stanley, on!
Were the last words of Marmion.
Had I but been in Stanley's place,
When Marmion urged him to the chase,
A tear might come on every face.

The answer is onion--On, I, on.

[MOCK NOT A COBBLER FOR HIS BLACK THUMB.]

59. Enigmas

are compositions of a different character, based upon _ideas_,
rather than upon words, and frequently constructed so as to mislead,
and to surprise when the solution is made known. Enigmas may be
founded upon simple catches, like Conundrums, in which form they are
usually called RIDDLES, such as:

"Though you set me on foot,
I shall be on my head."

The answer is, _A nail in a shoe_. The celebrated Enigma on the
letter H, by Miss Catherine Fanshawe, but usually attributed to Lord
Byron, commencing:

"'Twas whispered in heaven, 'twas muttered in hell,
And echo caught faintly the sound as it fell;"

and given elsewhere in this volume (See _par_. 215, page 77), is an
admirable specimen of what may be rendered in the form of an Enigma.

60. Hidden Words.

A riddle in which names of towns, persons, rivers, &c., are hidden or
arranged, without transposition, in the midst of sentences which
convey no suggestion of their presence. In the following sentence, for
instance, there are hidden six Christian names:--Here is hid a name
the people of Pisa acknowledge: work at each word, for there are worse
things than to give the last shilling for bottled wine.--The names are
Ida, Isaac, Kate, Seth, Ethel, Edwin. Great varieties of riddles,
known as Buried Cities, Hidden Towns, &c., are formed on this
principle, the words being sometimes placed so as to read backwards,
or from right to left. The example given will, however, sufficiently
explain the mode of operation.

61. Lipogram

from _leipein_, to leave out, and _gramma_, a letter--is a riddle in
which a name or sentence is written without its vowels, as:

Thprffthpddngsthtng,
The proof of the pudding is in the eating.

Whnhnorslst ts--rlftd,
Dths bt--sr rtrt fm nfmy.

"When honour's lost 'tis a relief to die,
Death's but a sure retreat from infamy."

This riddle sometimes appears as a proverb.

"Fear's the white feather all cowards wear."
----s' th wht fthr ll cwrds----

62. Logogriph.

This is a riddle (_logos_, a word, and _griphos_, a riddle) in which a
word is made to undergo several changes. These changes are brought
about by the addition, subtraction, omission, or substitution of a
letter or letters. The following, by the late Lord Macaulay, is an
excellent example:

"Cut off my head, how singular I act:
Cut off my tail, and plural I appear.
Cut off my head and tail--most curious fact,
Although my middle's left, there's nothing there!
What is my head cut off?--a sounding sea!
What is my tail cut off?--a flowing river!
Amid their mingling deaths I fearless play
Parent of softest sounds, though mute for ever!"

The answer is _cod_. Cut off its head and it is _od_ (odd, singular);
its tail, and it is Co., plural, for company; head and tail, and it is
o, nothing. Its head is a sounding C (sea), its tail a flowing D
(river Dee), and amid their depths the cod may fearless play, parent
of softest _sounds_ yet mute for ever.

63. Metagram,

a riddle in which the change of the initial letter produces a series
of words of different meanings; from _meta_, implying change, and
_gramma_, a letter. Thus:

I cover your head; change my head, and I set you to sleep; change it
again and again, and with every change comes a new idea.--Cap, Nap,
Gap, Sap, Hap, Map, Lap, Pap, Rap, Tap. This kind of riddle is also
known as word-capping.

[GUNPOWDER MADE BY A MONK AT COLOGNE A.D.1330.]

64. Palindrome,

from the Greek _palin-dromos_, running back again. This is a word,
sentence, or verse that reads the same both forwards and
backwards--as, madam, level, reviver; live on no evil; love your
treasure and treasure your love; you provoked Harry before Harry
provoked you; servants respect masters when masters respect servants.
Numerous examples of Palindrome or reciprocal word-twisting exist in
Latin and French; but in English it is difficult to get a sentence
which will be exactly the same when read either way. The best example
is the sentence which, referring to the first banishment of the Great
Napoleon, makes him say, as to his power to conquer Europe:

"Able was I ere I saw Elba."

65. Puzzles

vary much. One of the simplest that we know is this:

Take away half of thirteen and let eight remain.

Write XIII on a slate, or on a piece of paper--rub out the lower
half of the figures, and VIII will remain.

Upon the principle of the square-words, riddlers form Diagonals,
Diamonds, Pyramids, Crosses, Stars, &c. These specimens will show
their peculiarities:

66. Oblique Puzzle.

Malice, eight, a polemical meeting, a Scottish river, what I write
with, a decided negative, the capital of Ireland. The initials
downward name a celebrated musician.

(solution in p.67 below.)

67. Diagonal Puzzle.

A direction, a singer, a little bird, a lady's ring, a sharp shaver.

Read from left to right and right to left, the centrals show two
famous novelists.

The following are answers to these two puzzles, and afford good
examples of their construction to any one who wishes to try his hand
at their manufacture.

OBLIQUE. DIAGONAL.

R E V E N G E L A B E L
O C T A V E T E N O R
S Y N O D D I V E R
S P E Y J E W E L
I N K R A Z O R
N O
I

68. Diamond Puzzle.

The head of a mouse, what the mouse lives in, the county of calves,
the city of porcelain, a German town, a Transatlantic stream, a
royal county, a Yorkshire borough, Eve's temptation, our poor
relation, myself. Centrals down and across, show a wide, wide, long
river.

The construction of the Diamond Puzzle is exhibited in the following
diagram, which is, at the same time, the answer to it.

DIAMOND.
M
A I R
E S S E X
D R E S D E N
G O T T I N G E N
M I S S I S S I P P I
B E R K S H I R E
H A L I F A X
A P P L E
A P E
I

69. Rebuses

are a class of Enigma generally formed by the first, sometimes the
first and last, letters of words, or of transpositions of letters, or
additions to words. Dr. Johnson, however, represents Rebus to be a
word represented by a picture. And putting the Doctor's definition and
our own explanation together, the reader may glean a good conception
of the nature of the Rebus of which the following is an example:

The father of the Grecian Jove;
A little boy who's blind;
The foremost land in all the world;
The mother of mankind;
A poet whose love-sonnets are
Still very much admired;--
The _initial_ letters will declare
A blessing to the tired.

Answer--_S_aturn; _L_ove; _E_ngland; _E_ve; _P_lutarch.
The initials form _sleep._

The excellent little work mentioned in para. 63, entitled "Philosophy
and Mirth united by Pen and Pencil," has this novelty, that many of
the Enigmas are accompanied by enigmatical pictures, so that the eye
is puzzled as well as the ear.

[GLASS FIRST BROUGHT TO ENGLAND A.D. 668.]

70. Square Words.

A comparatively modern sort of riddle, in which the letters of each
word selected reads both across and down. With four letters the
making of the riddle is easy, but with five or six the difficulty
increases. We give an example of each.

i. Inside, a thought, a liquid gem, a timid creature.

ii. To run out, odour, to boil, to loosen, unseen essence.

iii. Compensations, a court favourite, to assist, to bite slightly,
Spanish money, sarcasms.

i. ii.
P I T H I S S U E
I D E A S C E N T
T E A R S E E T H
H A R E U N T I E
E T H E R

iii.
A M E N D S
M I N I O N
E N A B L E
N I B B I E
D O L L A R
S N E E R S

With seven or eight letters the riddle becomes exceedingly difficult,
especially if the selected words are of like character and syllables.

71. Chess, Laws of.

The rules given below are those which are now universally accepted by
English players.

i. The board is to be so placed as to leave a white square at the
right hand of the player.

ii. Any mistake in placing the board or the men may be rectified
before the fourth move is completed, but not after.

iii. The players draw lots for the first move, and take the move
alternately.

[When odds are given, the player giving them moves first. White
generally moves first; therefore, if black win the move, the board
is turned. It is usual to play with the white and black men
alternately.]

iv. The piece touched must be moved. When the fingers of the player
have once left the man, it cannot be again removed from the square
it occupies.

[Except the move be illegal, when the opponent can insist on the
piece being moved in the proper manner, or for the opposing King to
be moved.]

v. In touching a piece simply to adjust it, the player must notify
to his adversary that such is his intention.

[It is usual, in such a case, to say _J'adoube_ (I adjust); but he
may not touch a piece with the intention of moving it, and then,
when he discover his mistake, say, _J'adoube._ The phrase is simply
intended to be used when a piece is displaced or overturned by
accident.]

vi. If a player take one of his own men by mistake, or touch a wrong
man, or one of his opponent's men, or make an illegal move, his
adversary may compel him to take the man, make the right move, move
his King, or replace the piece, and make a legal move.

vii. A pawn may be played either one or two squares at a time when
first moved.

[In the latter case it is liable to be taken _en passant_, with a
pawn that could have taken it had it been played only one square.]

viii. A player cannot castle under any of the following
circumstances:--1. If he has moved either King or Rook. 2. If the
King be in check. 3. If there be any piece between the King and the
Rook. 4. If the King, in moving, pass over any square commanded by
any one of his adversary's forces.

[You cannot castle to get out of check.]

ix. If a player give a check without crying "check," the adversary
need not take notice of the check. But if two moves only are made
before the discovery of the mistake, the pieces may be replaced, and
the game properly played.

x. If a player say check without actually attacking the King, and
his adversary move his King or take the piece, the latter may elect
either to let the move stand or have the pieces replaced and another
move made.

xi. If, at the end of a game, the players remain, one with a
superior to an inferior force, or even if they have equal forces,
the defending player may call upon his adversary to mate in fifty
moves on each side, or draw the game.

[If one player persist in giving perpetual check, or repeating the
same move, his opponent may count the moves for the draw; in which
case touching a piece if reckoned a move.]

xii. Stalemate, or perpetual check is a drawn game.

xiii. Directly a pawn reaches its eighth square it must be exchanged
for a piece.

[It is usual to change the pawn for a Queen, but it may be replaced
by a Rook, Bishop, or Knight, without reference to the pieces
already on the board. In practice it would be changed for a Queen or
a Knight, seeing that the Queen's moves include those of the Rook
and Bishop. Thus you may have two or more Queens, three or more
Rooks, Bishops, or Knights on the board at the end of the game.]

xiv. Should any dispute arise, the question must be submitted to a
bystander, whose decision is to be considered final.

For information as to the best modes of play, the Openings and Endings
of Games, &c., read 'The Book of Chess', by G.H. Selkirk, published by
Messrs. Houlston and Sons.

72. Draughts, Rules of the Game.

The accepted laws for regulating the game are as follows:

i. The board is to be so placed as to have the white or black double
corners at the right hand of the player.

ii. The first move is taken by chance or agreement, and in all the
subsequent games of the same sitting, the first move is taken
alternately. Black generally moves first.

iii. Any action which prevents your adversary from having a full
view of the board is not allowed, and if persisted in, loses the
game to the offending player.

iv. The man touched must be moved, but the men may be properly
adjusted during any part of the game. After they are so placed, if
either player, when it is his turn to play, touch a man, he must
move it. If a man be so moved as to be visible on the angle
separating the squares, the player so touching the man must move it
to the square indicated.

[By this it is meant that a player may not move first to one square
and then to another. Once moved on to a square, the man must remain
there.]

v. It is optional with the player either to allow his opponent to
stand the huff, or to compel him to take the offered piece.

["Standing the huff" is when a player refuses to take an offered
piece, but either intentionally or accidentally makes another move.
His adversary then removes the man that should have taken the piece,
and makes his own move--huff and move, as it is called.]

vi. Ten minutes is the longest time allowed to consider a move,
which if not made within that time, forfeits the game.

vii. It is compulsory upon the player to take all the pieces he can
legally take by the same series of moves. On making a King, however,
the latter remains on his square till a move has been made on the
other side.

viii. All disputes are to be decided by the majority of the
bystanders present, or by an umpire.

ix. No player may leave the room without the consent of his
adversary, or he forfeits the game.

x. A false move must be remedied as soon as it is discovered, or the
maker of such move loses the game.

xi. When only a small number of men remain toward the end of the
game, the possessor of the lesser number may call on his opponent to
win in at least fifty moves, or declare the game drawn. With two
Kings to one, the game must be won in at most twenty moves on each
side.

xii. The player who refuses to abide by the rules loses the game. In
the losing game a player must take all the men he can by his move.

73. Whist.

(Upon the principle of Hoyle's games.)

Great silence and attention should be observed by the players. Four
persons cut for partners; the two highest are against the two
lowest. The partners sit opposite to each other, and he who cuts the
lowest card is entitled to the deal. The ace is the lowest in
cutting.

i. Shuffling---Each person has a right to shuffle the cards before
the deal; but it is usual for the elder hand only; and the dealer
after.

ii. Cutting.--The pack is then cut by the right hand adversary; and
the dealer distributes the cards, one by one, to each of the
players, beginning with the player on his left, until he comes to
the last card, which he turns up for trump, and leaves on the table
till the first trick be played.

iii. First Play.--The elder hand, the player on the left of the
dealer, plays first. The winner of the trick plays again; and so on,
till all the cards are played out.

iv. Mistakes.--No intimations, or signs are permitted between the
partners. The mistake of one party is the profit of the adversary.

v. Collecting Tricks.--The tricks belonging to each player should be
turned and collected by one of the partners only. All above six
tricks reckon towards game.

vi. Honours.--The ace, king, queen, and knave of trumps are called
honours; and when either of the partners hold three separately, or
between them, they count two points towards the game; and in case
they have four honours, they count four points.

vii. Game.--_Long Whist game consists of ten points, Short Whist of
five points._

74. Terms used in Whist.

i. _Finessing,_ is the attempt to gain an advantage; thus:--If you
have the best and third best card of the suit led you put on the
third best, and run the risk of your adversary having the second
best; if he has it not, which is two to one against him, you are
then certain of gaining a trick.

ii. _Forcing_, is playing the suit of which your partner or
adversary has not any, and which in order to win he must trump.

iii. _Long Trump,_ the one or more trumps in your hand when all the
rest are out.

iv. _Loose Card,_ a card of no value, and the most proper to throw
away.

v. _Points,_--Ten make the game; as many as are gained by tricks or
honours, so many points are set up to the score of the game.

vi. _Quarte_, four successive cards in suit.

vii. _Quarte Major_, a sequence of ace, king, queen, and knave.

viii. _Quinte_, five successive cards in suit.

ix. _Quinte Major,_ is a sequence of ace, king, queen, knave, and
ten.

x. _See-saw,_ is when each partner trumps a suit, and when they play
those suits to each other for that purpose.

xi. _Score_, is the number of points set up. The following is a good
method of scoring with coins or counters:

1 2 3 4 5 6 7 8 9
00 0 0 00 000 0
0 00 000 00 00 000 0 0 0

For Short Whist there are regular markers.

xii. _Slam,_ is when either side win every trick.

xiii. _Tenance,_ is possessing the first last and third best cards,
and being the player; you consequently catch the adversary when that
suit is played: as, for instance, in case you have ace and queen of
any suit, and your adversary leads that suit, you must win two
tricks, by having the best and third best of the suit played, and
being the last player.

xiv. _Tierce,_ three successive cards in suit.

xv. _Tierce Major,_ a sequence of ace, king, and queen.

[CHILDREN AND CHICKENS MUST ALWAYS BE PICKING.]

75. Maxims for Whist.

i. Lead from your strong suit, be cautious how you change suits, and
keep a commanding card to bring it in again.

ii. Lead through the strong suit and up to the weak; but not in
trumps; unless very strong in them.

iii. Lead the highest of a sequence; but if you have a quarte or
cinque to a king, lead the lowest.

iv. Lead through an honour, particularly if the game is against you.

v. Lead your best trump, if the adversaries be eight, and you have
no honour; but not if you have four trumps, unless you have a
sequence.

vi. Lead a trump if you have four or five, or a strong hand; but not
if weak.

vii. Having ace, king, and two or three small cards, lead ace and
king if weak in trumps, but a small one if strong in them.

viii. If you have the last trump, with some winning cards, and one
losing card only, lead the losing card.

ix. Return your partner's lead, not the adversaries'; and if you
hold only three originally, play the best; but you need not return
it immediately, when you win with a king, queen, or knave, and have
only small ones, or when you hold a good sequence, a strong suit, or
five trumps.

x. Do not lead from ace queen, or ace knave.

xi. Do not--as a rule--lead an ace, unless you have a king.

xii. Do not lead a thirteenth card, unless trumps be out.

xiii. Do not trump a thirteenth card, unless you be last player, or
want the lead.

xiv. Keep a small card to return your partner's lead.

xv. Be cautious in trumping a card when strong in trumps,
particularly if you have a strong suit.

xvi. Having only a few small trumps, make them when you can.

xvii. If your partner refuse to trump a suit, of which he knows you
have not the best, lead your best trump.

xviii. When you hold all the remaining trumps, play one, and then
try to put the lead in your partner's hand.

xix. Remember how many of each suit are out, and what is the best
card left in each hand.

xx. Never force your partner if you are weak in trumps, unless you
have a renounce, or want the odd trick.

xxi. When playing for the odd trick, be cautious of trumping out,
especially if your partner be likely to trump a suit. Make all the
tricks you can early, and avoid finessing.

xxii. If you take a trick, and have a sequence, win it with the
lowest.

[THERE ARE NONE SO WICKED AS REPRESENTED.]

76. Laws of Whist,

as accepted at the best Clubs.

i. The deal is determined by cutting-in. Cutting-in and cutting-out
must be by pairs.

[Less than three cards, above or below, is not a cut. Ace is lowest.
Ties cut again. Lowest deals. Each player may shuffle, the dealer
last. The right-hand adversary cuts to dealer.]

ii. If a card be exposed, a fresh deal may be demanded.

iii. Dealer must not look at bottom card; and the trump-card must be
left, face upwards, on the table till the first trick be turned, or
opponents may call a fresh deal.

iv. Too many or too few cards is a misdeal--an exposed or face card.
In either case, a fresh deal may be demanded.

[In cases of a misdeal, the deal passes to the next player.]

v. After the first round has been played, no fresh deal can be
called.

[If the first player hold fewer than thirteen cards, the other hands
being right, the deal stands.]

vi. If two cards be dealt to the same player, the dealer may rectify
his error before dealing another card.

[The dealer must not touch the cards after they have left his hands;
but he may count those remaining in the pack if he suspect a
misdeal, or he may ask the players to count their cards. One partner
may not deal for another without the consent of opponents.]

vii. If the trump-card be not taken into the dealer's hand at the
expiration of the first round, it may be treated as an exposed card,
and called.

[After this, no one has a right to ask what was the trump-card, but
he may ask "What are Trumps?"]

viii. If the third hand play before the second, the fourth has a
right to play before his partner; or if the fourth hand play before
the second or third, the cards so played must stand, and the second
be compelled to win the trick if he can.

ix. If a player lead out of his turn, or otherwise expose a card,
that card may be _called_, if the playing of it does not cause a
revoke.

[Calling a card is the insisting of its being played when the suit
comes round, or when it may be played.]

x. If a player trump by mistake, he may recall his card, and play to
the suit, if the card be not covered; but he may be compelled to
play the highest or lowest of the suit led, and to play the exposed
trump when it is called by his adversaries.

xi. If, before a trick be turned, a player discover that he has not
followed suit, he may recall his card; but the card played in error
can be called when the suit is played.

xii. Before a trick is turned, the player who made it may see the
preceding trick.

[Only _one_ trick is to be shown; not more, as is sometimes
erroneously believed.]

xiii. Before he plays, a player may require his partner to "draw his
card," or he may have each card in the trick claimed before the
trick be turned.

xiv. When a player does not follow suit his partner is allowed to
ask him whether he has any card of the suit led.

xv. The penalty for a revoke--either by wrongfully trumping the suit
led, or by playing a card of another suit--is the loss of three
tricks; but no revoke can be claimed till the cards are abandoned,
and the trick turned.

[Revokes forfeit three tricks from the hand or score: or opponents
may add three to their score; partner may ask and correct a trick if
not turned; the revoking side cannot score out in that deal.]

xvi. No revoke can be claimed after the tricks are gathered up, or
after the cards are cut for the next deal.

[The wilful mixing up of the cards in such case loses the game.]

xvii. The proof of a revoke lies with the claimants, who may examine
each trick on the completion of the round.

xviii. If a revoke occur on both sides, there must be a new deal.

xix. Honours cannot be counted unless they are claimed previous to
the next deal.

[No omission to score honours can be rectified after the cards are
packed; but an overscore, if proved, must be deducted.]

xx. Honours can only be called at eight points (in Long Whist), and
at nine they do not count.

[In some Clubs, eight, with the deal, cannot call against nine.]

77. Short Whist

is the above game cut in half. Honours are not _called_ at any part of
the game; but, as in Long Whist, they are counted by their holders and
scored--except at the score of four. All the maxims and Rules
belonging to the parent game apply to Short Whist.

78. Points at Short Whist.

The Game consists of Five Points. One for a Single--5 to 3 or 4; Two
for a Double--5 to 1 or 2; Three for a Triple--5 to love. A
Rubber--two Games successively won, or the two best Games out of
three--counts for Two Points. Thus, if the first Game be won by 5 to
4, the Points are 1 to love; the second Game won by the opposite side
by 5 to 1, the Points are then 1 to 2; the third Game won by the side
which won the first, by 5 to love. The Points are then 6 to 2--a
balance of 4. This is arrived at thus: the Single in the first Game,
1; the Triple in the third Game, 3; the Rubber (two Games of three),
2; together, 6. From this deduct 2, for the Double gained by the
opponents in the second Game, which leaves 4, as above. Short Whist is
usually played for points--say, a shilling, or a penny, for each
point; two for the Game, and two for the Rubber.

[NONE ARE SO GOOD AS THEY SHOULD BE.]

79. Advice to all Players.

i. Count, and arrange your cards into suits; but do not always place
your trumps in one particular part of your hand, or your opponents
will discover how many you have.

ii. Attend to the game, and play as though your hand consisted of
twenty-six instead of thirteen cards.

iii. In the second round of a suit, win the trick when you can, and
lead out for your partner's high cards as soon as possible.

iv. Touch only the card you intend to play.

v. Retain a high trump as long as you can, to bring back your strong
suit.

vi. With a weak hand, always try to secure the seventh or odd trick
to save the game.

vii. Attend to the score, and play as if the whole fortune of the
game depended on yourself.

viii. Remember the number of trumps out at every stage of the game.
Note, also, the fall of every court-card in the other suits, so that
you are never in doubt as to the card that will win the trick.

ix. Hold the turn-up as long as you can, as by that means you keep
your adversaries from knowing your strength in trumps.

x. Do not force your partner unnecessarily, as by that means you
sometimes become his adversary instead of his friend.

xi. When in doubt, play a trump. Play the game in its integrity, and
recollect that Whist is full of inferences as well as facts.

80. Cribbage.

The game of Cribbage differs from all other games by its immense
variety of chances. It is played with the full pack of cards, often by
four persons, but it is a better game for two. There are also
different modes of playing--with five, six, or eight cards; but the
best games use those with five or six cards.

[NIGHT IS NOT DARK TO THE GOOD.]

81. Terms Used in Cribbage.

i. _Crib._--The crib is composed of the cards thrown out by each
player, and the dealer is entitled to score whatever points are made
by them.

ii. _Pairs_ are two similar cards, as two aces or two kings. Whether
in hand or play they reckon for two points.

iii. _Pairs-Royal_ are three similar cards, and reckon for six
points, whether in hand or play.

iv. _Double Pairs-Royal_ are four similar cards and reckon for
twelve points, whether in hand or play. The points gained by pairs,
pairs-royal, and double pairs-royal, in playing, are thus
effected:--Your adversary having played a seven and you another,
constitutes a pair, and entitles you to score two points; your
antagonist then playing a third seven, makes a pair-royal, and he
marks six; and your playing a fourth is a double pair-royal, and
entitles you to twelve points.

v. _Fifteens_.--Every fifteen reckons for two points, whether in
hand or play. In hand they are formed either by two cards--as a five
and any tenth card, a six and a nine, a seven and an eight, or by
three cards, as a two, a five, and an eight, two sixes and a three.
If in play, such cards as together make fifteen are played, the
player whose card completes that number, scores two points.

vi. _Sequences_ are three or four more successive cards, and reckon
for an equal number of points, either in hand or play. In playing a
sequence, it is of no consequence which card is thrown down first;
as thus:--your adversary playing an ace, you a five, he a three, you
a two, then he a four--he counts five for the sequence.

vii. _Flush_.--When, the cards are all of one suit, they reckon for
as many points as there are cards. For a flush in the crib, the
turned-up card must be of the same suit as those put out.

viii. _Nob_.--The knave of the suit turned up reckons for one point;
if a knave be turned up, the dealer marks two.

ix. _End Hole_.--The point scored by the last player, if he make
under thirty-one; if he make thirty-one exactly, he marks two.

x. _Last_.--Three points taken at the commencement of the game of
five-card cribbage by the non-dealer.

[NOR IS DAY BRIGHT TO THE WICKED.]

82. The Accepted Laws of Cribbage.

i. The players cut for deal. The ace is lowest in cutting. In case
of a tie, they cut again. The holder of the lowest card deals.

ii. Not fewer than four cards is a cut; nor must the non-dealer
touch the pack after he has cut it.

iii. Too many or too few cards dealt constitutes a misdeal, the
penalty for which is the taking of two points by the non-dealer.

iv. A faced card, or a card exposed during the act of dealing
necessitates a new deal, without penalty.

v. The dealer shuffles the cards and the non-dealer cuts them for
the "start."

vi. If the non-dealer touch the cards (except to cut them for the
turn-up) after they have been cut for the start, he forfeits two
points.

vii. In cutting for the start, not fewer than three cards must be
lifted from the pack or left on the table.

viii. The non-dealer throws out for the crib before the dealer. A
card once laid out cannot be recalled, nor must either party touch
the crib till the hand is played out. Either player confusing the
crib cards with his hand, is liable to a penalty of three points.

[In three and four-hand cribbage the left-hand player throws out
first for the crib, then the next; the dealer last. The usual and
best way is for the non-dealer to throw his crib over to the
dealer's side of the board; on these two cards the dealer places his
own, and hands the pack over to be cut. The pack is then at the
right side of the board for the next deal.]

ix. The player who takes more points than those to which he is
entitled, either in play or in reckoning hand or crib, is liable to
be "pegged;" that is, to be put back as many points as he has
over-scored, and have the points added to his opponent's side.

[In pegging you must not remove your opponent's _front_ peg
till you have given him another. In order "to take him down,'' you
remove _your own back peg_ and place it _where his front peg
ought to be_, you then take his _wrongly placed peg_ and put
it in _front of your own front_, as many holes as he has
forfeited by wrongly scoring.]

x. No penalty attaches to the taking of too few points in play,
hand, or crib.

xi. When a player has once taken his hand or crib, he cannot amend
his score.

xii. When a knave is turned up, "two for his heels" must be scored
before the dealer's own card be played, or they cannot be taken.

xiii. A player cannot demand the assistance of his adversary in
reckoning hand and crib.

xiv. A player may not, except to "peg him," touch his adversary's
pegs, under a penalty of two points. If the foremost peg has been
displaced by accident, it must be placed in the hole behind the peg
standing on the board.

xv. The peg once holed cannot be removed by either player till
another point or points be gained.

xvi. The player who scores a game as won when, in fact, it is not
won, loses it.

xvii. A _lurch_--scoring the whole sixty-one before your adversary
has scored thirty-one--is equivalent to a double game, if agreed to
previous to the commencement of the game.

xviii. A card that may be legally played cannot be withdrawn after
it has been once thrown face upwards on the table.

xix. If a player neglect to score his hand, crib, or any point or
points of the game, he cannot score them after the cards are packed
or the next card played.

xx. The player who throws up his cards and refuses to score,
forfeits the game.

xxi. If a player neglect to play when he can play a card within the
prescribed thirty-one, he forfeits two holes.

xxii. Each player's hand and crib must be plainly thrown down on the
table and not mixed with the pack, under penalty of the forfeiture
of the game.

The player who refuses to abide by the rules, loses the game.
Bystanders must not interfere unless requested to decide any
disputed point.

83. Five-Card Cribbage.

In this the sixty-one points or holes on the cribbage-board mark the
game. The player cutting the lowest card deals; after which, each
player lays out two of the five cards for the crib, which belongs to
the dealer. The adversary cuts the remainder of the pack, and the
dealer turns up and lays upon the crib the uppermost card, the
turn-up. If it be a knave, he marks two points. The card turned up is
reckoned by both in counting their hands or crib. After laying out,
the eldest hand plays a card, which the other should endeavour to
pair, or find one, the pips of which, reckoned with the first, will
make fifteen; then the non-dealer plays another card, and so on
alternately, until the pips on the cards played make thirty-one, or
the nearest possible number under that.

84. Counting for Game in Cribbage.

When he whose turn it is to play cannot produce a card that makes
thirty-one, or comes under that number, he says, "Go," and his
antagonist scores one, or plays any card or cards he may have that
will make thirty-one, or under. If he can make exactly thirty-one, he
takes two points; if not, one. Such cards as remain after this are not
played, but each player then counts and scores his hand, the
non-dealer first. The dealer then marks the points for his hand, and
also for his crib, each reckoning the cards every way they can
possibly be varied, and always including the turned-up card.