See also:

• EBURACUM, or EBORACUM (probably a later variant)

EBURACUM, or EBORACUM (probably a later variant)  , the See also:

• ROMAN

Roman name of See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York (q.v.) in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . Established about A.U.75—80 as fortress of the Ninth See also:

• LEGION (Lat. legio)

legion and garrisoned (after the annihilation of that legion about A.U . 118) by the See also:

• SIXTH

Sixth legion, it See also:

• DEVELOPED

developed outside its walls a See also:

• TOWN

town of See also:

• CIVIL

civil See also:

• LIFE

life, which later obtained Roman municipal See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank and in the 4th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century was the seat of a See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

bishop . The fortress and town were separated by the See also:

• OUSE

Ouse . On the See also:

• LEFT

left See also:

• BANK

bank, where the See also:

• MINSTER
• MINSTER (from Lat. monasterium; cf. German Munster)

minster stands, was the fortress, of which the walls can still be partly traced, and one corner (the so-called Multangular See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower) survives . The See also:

• MUNICIPALITY

municipality occupied the right bank near the See also:

• PRESENT

present railway station . The See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place was important for its See also:

• GARRISON
• GARRISON, WILLIAM LLOYD (1805-1879)

garrison and as an administrative centre, and the town itself was prosperous, though probably never very large . The name is preserved in the abbreviated See also:

• FORM (Lat. forma)

form Ebor in the See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official name of the See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

archbishop of York, but the philological connexion between Eboracum and the See also:

• MODERN

modern name York is doubtful and has probably been complicated by Danish See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence . (F . J . H.) EgA DE QUEIROZ, JOSE MARIA (1843-1900), Portuguese writer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at the See also:

• NORTHERN

northern fishing town of Povoa de Varzim, his See also:

• FATHER

father being a retired See also:

• JUDGE (Lat. judex, Fr. juge)

judge . He went through the university of See also:

• COIMBRA

Coimbra, and on taking his degree in See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law was appointed Administrador de Concelho at See also:

• LEIRIA

Leiria, but soon tired of the narrow See also:

• MENTAL

mental See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere of the old See also:

• CATHEDRAL

cathedral town and left it .

He accompanied the See also:

• CONDE
• CONDE, LOUIS DE BOURBON, PRINCE
• CONDE, LOUIS II
• CONDE, PRINCES OF

Conde de Rezende to See also:

• EGYPT

Egypt, where he assisted at the opening of the See also:

• SUEZ

Suez See also:

• CANAL
• CANAL (from Lat. canalis, " channel " and " kennel " being doublets of the word)

Canal, and to See also:

• PALESTINE

Palestine, and on his return settled down to journalism in See also:

• LISBON (Lisboa)

Lisbon and began to evolve a See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, at once magical and unique, which was to renovate his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country's See also:

• PROSE

prose . Though he spent much of his days with the philosopher sonneteer Anthero de See also:

• QUENTAL, ANTHERO DE (1842-1891)

Quental, and the critic Jayme See also:

• BATALHA (i.e. battle)

Batalha Reis, afterwards See also:

• CONSUL
• CONSUL (in Gr. generally ihraros,ashortened form of errpavgybs 8hraeos, i.e. praetor maximus)

consul-See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general in See also:

• LONDON

London, he did not restrict his intimacy to men of letters, but frequented all kinds of society, acquiring a See also:

• COMPLETE

complete acquaintance with contemporary Portuguese life and See also:

• MANNERS, CHARLES (1857– )

manners . Entering the consular service in 1872, he went to See also:

• HAVANA (the name is of aboriginal origin; Span. Habana or, more fully, San Cristobal de la Habana)

Havana, and, after a tour in the See also:

• UNITED

United States, was transferred two years later to Newcastleon-See also:

• TYNE

Tyne and in 1876 to See also:

• BRISTOL
• BRISTOL, EARLS AND MARQUESSES OF
• BRISTOL, GEORGE DIGBY, 2ND EARL OF1 (1612-1677)
• BRISTOL, JOHN DIGBY, 1ST EARL OF 6 (1580-1653)

Bristol . In 1888 he became Portuguese consul-general in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and there died in 1900 . Queiroz made his See also:

• LITERARY

literary debut in 187o by a sensational See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story, The See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

Mystery of the See also:

• CINTRA

Cintra Road, written in collaboration with the See also:

• ART

art critic Ramalho Ortigao, but the first publication which brought him fame was The Farpas, a See also:

• SERIES (a Latin word from serere, to join)

series of satirical and humorous sketches of various phases of social life, which, to quote the poet Guerra Junqueiro, contain " the See also:

• EPILEPSY (Gr. &L, upon, and kaµ)3avew, to seize), or FALLING

epilepsy of See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent." These essays, the See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of the same partners, criticized and ridiculed the faults and foibles of every class in turn, mainly by a comparison with the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French, for the See also:

• EDUCATION

education of Queiroz had made him a Frenchman in ideas and sympathies . His Brazilian friend, Eduardo Prado, bears See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness that at this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period French literature, especially See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo's See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, and even French politics, interested Queiroz profoundly, while he altogether ignored the belles-lettres of his own country and its public affairs . This phase lasted for some years, and even when he travelled in the See also:

• EAST
• EAST, ALFRED (1849- )

East he was inclined to see it with the eyes of See also:

• FLAUBERT, GUSTAVE (1821-1880)

Flaubert, though the publication of The Relic and that delightful prose poem Sweet See also:

• MIRACLE (Lat. miraculum, from mirari, to wonder)

Miracle afterwards showed that he had been directly impressed and deeply penetrated by its scenery, See also:

• POETRY

poetry and See also:

• MYSTICISM (from Or. µuety, to shut the eyes; µuorrts, one initiated into the mysteries)

mysticism . The Franco-See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War of 1870, however, by lowering the See also:

• PRESTIGE

prestige of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, proved the See also:

• HERALD (O. Fr. heraut, herault; the origin is uncertain, but O.H.G. heren, to call, or hariwald, leader of an army, have been proposed; the Gr. equivalent is Kddpvi : Lat. praeco, caduceator, fetialis)

herald of a See also:

• NATIONAL

national Portuguese revival, and had a See also:

• GREAT

great influence on Queiroz, as also had his friend Oliveira Martins (q.v.), the biographer of the patriot See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings of the Aviz See also:

• DYNASTY (Gr. &vvaareta, sovereignty, the position of a hevnori7r, lord, ruler, from SuvaaBay to be able, Suvaµas, power)

dynasty . He founded the Portuguese Realist-Naturalist school, of which he remained for the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of his life the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief exponent, by a powerful See also:

• ROMANCE

romance, The See also:

• CRIME (Lat. crimen, accusation)

Crime of Father Amaro, written in 1871 at Leiria but only issued in 1875 . Its See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance then led to a baseless See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge that he had plagiarized La Faute de l'See also:

• ABBE (Serbo-Croatian Rai))

Abbe Mouret, and See also:

• ILL

ill-informed critics began to name Queiroz the-Portuguese See also:

• ZOLA, EMILE EDOUARD CHARLES ANTOINE (1840-1902)

Zola, though he clearly occupied an altogether different See also:

• PLANE

plane in the domain of art . During his stay in England he produced two masterpieces, See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

Cousin See also:

• BASIL (Russ. VASILY)

Basil and The Maias, but they show no traces of See also:

• ENGLISH

English influence, nor again are they French in See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, for, living near to France, his disillusionment progressed and was completed when he went to Paris and had to live under the regime of the Third See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

Republic . Settling at Neuilly, the novelist became chronicler, critic, and See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter-writer as well, and in all these capacities Queiroz displayed a spontaneity, See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power and See also:

• ARTISTIC

artistic finish unequalled in the literature of his country since the See also:

• DEATH

death of See also:

• GARRETT, JOAO BAPTISTA DA SILVA LEITAO DE ALMEIDA, VISCONDE DE

Garrett .

A bold draughtsman, he excelled in freshness of See also:

• IMAGINATION

imagination and careful choice and collocation of words, while his warmth of colouring and brilliance of See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language speak of the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south . Many of his pages descriptive of natural scenery, such for instance as the See also:

• EPISODE

episode of the return to Tormes in The See also:

• CITY (through Fr. cite, from Lat. civitas)

City and the Mountains, have taken rank as classic examples of Portuguese prose, while as a creator of characters he stood unsurpassed by any writer of his See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation in the same See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field . He particularly loved to draw and judge the See also:

• MIDDLE

middle class, and he mocks at and chastises its See also:

• HYPOCRISY

hypocrisy and narrowness, its See also:

• VENEER

veneer of See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion and culture, its triumphant lying, its self-satisfied propriety, its cruel egotism . But though he manifested a predilection for middle-class types, his portrait See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery comprises men and See also:

• WOMEN

women of all social conditions . The Maias, his longest See also:

• BOOK

book, treats of fidalgos, while perhaps his most remark-able See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character study is of a servant, Juliana, in Cousin Basil . At least two of his books, this latter and The Crime of Father Amaro, are chroniques scandaleuses in their plots and episodes; these volumes, however, See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark not only the high-See also:

• WATER

water See also:

• LINE

line of the Realist-Naturalist school in See also:

• PORTUGAL

Portugal, but are in themselves, leaving aside all accidentals, creative achievements of a high See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order . Though Queiroz was a keen satirist of the ills of society, his pages show hardly a trace of See also:

• PESSIMISM (from Lat. pessimus, worst)

pessimism . The City and the Mountains, and in See also:

• PART

part The Relic also, reveal the apostle of See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

Realism as an idealist and dreamer, a true representative of that See also:

• CELTIC

Celtic tradition which survives in the See also:

• RACE

race and has permeated the whole literature of Portugal . The See also:

• MANDARIN

Mandarin, a fantastic variation on the old theme of a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man self-sold to Satan, and The Illustrious See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House of Ramires, are the only other writings of his that require mention, except The See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

Correspondence of Fradique Mendes . In See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with Anthero de Quental and Jayme Batalha Reis, Queiroz invented under that name a See also:

• SMART, CHRISTOPHER (1722-1771)
• SMART, HENRY (1813–1879)
• SMART, JOHN (c. 1740–1811)
• SMART, SIR GEORGE THOMAS (1776–1867)

smart man of the See also:

• WORLD

world who had something of himself and something of Eduardo Prado, and made him correspond on all sorts of subjects with imaginary See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends and relatives to the delight of the public, many of whom saw in him a mysterious new writer whose identity they were eager to discover . These sparkling and humorous letters are an especial favourite with admirers of Queiroz, because they reveal so much of his very attractive See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality, and perhaps the cleverest of the number, that on See also:

• PACHECO, FRANCISCO (1571-1654)

Pacheco, has received an English See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress . In addition to his longer and more important See also:

• WORKS

works, Queiroz wrote a number of See also:

• SHORT, FRANCIS JOB (1857– )

short stories, some of which have been printed in a See also:

• VOLUME

volume under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Contos .

The gems of this remarkable collection are perhaps The Peculiarities of a See also:

• FAIR

Fair-haired Girl, A Lyric Poet, Jose See also:

• MATTHIAS
• MATTHIAS (1557-1619)

Matthias, The See also:

• CORPSE (Lat. corpus, the body)

Corpse, and Sweet Miracle . Most of his books have gone through many See also:

• EDITIONS

editions, and they are even more appreciated in the Brazils than in Portugal . It should be mentioned that the See also:

• FOURTH

fourth edition of Father Amaro is entirely different in form and See also:

• ACTION

action from the first, the whole story having been re-written . One of Queiroz's romances and two of his short stories have been published in English . An unsatisfactory version of Cousin Basil, under the title See also:

• DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

Dragon's See also:

• TEETH (O.E. Eel); plural of tooth, O.E. top)

Teeth, appeared at See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston, U.S.A., in 1889, while Sweet Miracle has had three editions in England and cne in See also:

• AMERICA

America, and there is also a See also:

• TRANSLATION

translation of 0 Defunto (The Corpse), under the name of Our See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady of the See also:

• PILLAR (0. Fr. piler, Mod. pilier, Late Lat. pilare, from pila, column)

Pillar . An admirable See also:

• CRITICAL (in alphabetical order of authors)

critical study of the See also:

• WORK

work of Queiroz will be found in A Geracceto Nova—Os Novellistas, by J . Pereira de Sampaio (See also:

• BRUNO (BRUN, BRUNS) OF QUERFURT, SAINT (c. 975-1009)
• BRUNO, GIORDANO (c. 1548-1600)
• BRUNO, or BRUN (925–965)
• BRUNO, SAINT

Bruno), (See also:

• OPORTO (i.e. o Porto, " the port ")

Oporto, 1886) . The Revista moderna of the 2oth of See also:

• NOVEMBER (Lat. novem, nine)

November 1897 was entirely devoted to him . Senhor Batalha Reis gives interesting reminiscences of the novelist's See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early days in his See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface to some prose fragments edited by him and named Prosas Barbaras (Oporto, 1903) . (E . PR.) $See also:

• CART (A.S. crcet, Gaelic cairt; connected with " car ")

CART$ (Fr. for " separated," " discarded "), a See also:

• GAME

game at See also:

• CARDS, PLAYING

cards, of modern origin, probably first played in the Paris salons in the first See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the 19th century . It is a development of a very old card game called la triomphe or French-See also:

• RUFF

ruff .

Ecarte is generally played by two persons, but a See also:

• POOL

pool of three may be formed, the player who is out taking the place of the loser, and the winner of two consecutive See also:

• GAMES, CLASSICAL

games winning the pool . At French ecarte (but not at English) bystanders who are bettingmay advise the players, but only by pointing to the cards they See also:

• DESIRE

desire them to See also:

• PLAY

play, and the loser of the game goes out, one of the rentrants taking his place, unless the loser is playing la chouette, i. e. playing single-handed against two, and taking all bets . The small cards (from the two to the six, both inclusive) are removed from an See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

• PACK (apparently from the root pak-, paq-, seen in Lat. pangere, to fasten; cf. " compact ")
• PACK, OTTO VON (c. 1480-1537)

pack . The players cut for See also:

• DEAL

deal, the highest having the choice . The See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king is the highest card, the See also:

• ACE (derived through the Lat. as, from the Tarentine form of the Gr. etc)

ace ranking after the See also:

• KNAVE (O.E. cnafa, cognate with Ger. Knabe, boy)

knave . The dealer gives five cards to his adversary, and five to himself, by two at a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to each and by three at a time to each, or See also:

• VICE

vice versa . The See also:

• ELEVENTH

eleventh card is turned up for trumps . If it is a king, the dealer scores one, at any time before the next deal . The non-dealer then looks at his cards . If satisfied with them he plays, and there is no discarding; if not satisfied he " proposes." The dealer may either accept or refuse . If he accepts, each player discards See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face down-wards as many cards as he thinks See also:

• FIT

fit, and fresh ones are given from the undealt cards or " stock," first to complete the non dealer's See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand to five, then to complete the dealer's . To ask for " a book " is to ask for five cards .

Similarly a second proposal may be made, and so on, until one player is satisfied with his hand . If the dealer refuses, the hand is played without discarding . If the non-dealer announces that he holds the king of trumps, he scores one; and similarly, if the dealer holds the king and announces it, he scores one . The announcement must be made before playing one's first card, or if that card be the king, on playing it . The non-dealer, being satisfied with his hand, leads a card . The dealer plays a card to it, the two cards thus played forming a See also:

• TRICK

trick . The winner of the trick leads to the next, and so on . The second to play to a trick must follow suit if able, and must win the trick if he can . The scores are for the king and for the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of tricks The player who wins three tricks scores one for the " point "; if he wins all five tricks, he scores two for the " See also:

• VOLE

vole." If the non-dealer plays without proposing, or the dealer refuses the first proposal, and fails to win three tricks, the adversary scores two, but no more even if he wins the vole . The game is five up . The points are conveniently marked with a three-card and a two-card, as at See also:

• EUCHRE

euchre . The three is put face upwards with the two face downwards on the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top of it .

When one or two or three points are scored the top card is moved so as to expose them . At four, one pip of the two-card is put under the other card . Games may be recorded similarly . Hints to Players.—The following hints may be of service to beginners:—Shuffle thoroughly after every deal . Do not announce the king until in the See also:

• ACT (Lat. actus, actum)

act of playing your first card . The hands which should be played without proposing, called jeux de rkle (See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard hands), ought to be thoroughly known . They are as follows: 1 . All hands with three or more trumps, whatever the other cards . 2 . Hands with two trumps which contain also (a) Any three cards of one See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain suit; b) Two cards of one plain suit, one being as high as a See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen; c) Two small cards of one suit, the fifth card being a king of another suit; (d) Three high cards of different suits . 3 . Hands with one See also:

• TRUMP (1) (O. Fr. trompe)

trump, which contain also (a) King, queen, knave of one suit, and a small card of another (b) Four cards of one suit headed by king; (c) Three cards of one suit headed by queen, and queen of another suit .

4 . Hands with no trump, which contain three queens or cards of equal value in different suits, e.g., four See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court cards . 5 . Hands from which only two cards can be discarded without throwing a king or a trump . Holding cards which make the point certain, propose . If you hold a eu de regle, and one of the trumps is the king, propose, as your adversary cannot then take in the king . When discarding, throw out all cards except trumps and kings . If your adversary proposes you should accept, unless you are guarded in three suits (a queen being a sufficient guard), or in two suits with a trump, or in one suit with two trumps . Hence the See also:

• RULE

rule not to discard two cards, unless holding the king of trumps, applies to the dealer . The hands with which to refuse are the same as those with whith to play without proposing, except as follows:— 846 1 . Two trumps and three cards of one plain suit should not be played unless the plain suit is headed by a court card . 2 .

One trump and a tierce See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major is too weak, unless the fifth card is a court card . With similar hands weaker in the tierce major suit, accept unless the fifth card is a queen . 3 . One trump and four cards of a plain suit is too weak to play . 4 . One trump and two queens is too weak, unless both queens are singly guarded . 5 . One trump, queen of one suit, and knave guarded of another should not be played unless the queen is also guarded, or the card of the fourth suit is a court card . 6 . One trump, a king and a queen, both unguarded, should not be played, unless the fourth suit contains a card as high as an ace . , 7 . Four court cards without a trump are too weak to play, unless they are of three different suits .

Refuse with three, queens, if two are singly guarded; otherwise, accept . See also:

• LEAD
• LEAD (pronounced iced)

Lead from your guarded suit, and lead the highest . If the strong suit led is not trumped, persevere with it, unless with king of trumps, or queen (king not having been announced), or knave ace, when lead a trump before continuing your suit . You should not lead trumps at starting, unless you hold king or queen, knave, or knave ace, with court cards out of trumps . The See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score has to be considered . If the dealer is at four, and the king is not in your hand nor turned up, play any cards without proposing which give an even See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance of three tricks, e.g. a queen, a guarded knave, and a guarded ten . The same rule applies to the dealer's refusal . At the adverse score of four, and king not being in hand or turned up, any hand with one trump should be played, unless the plain cards are very small and of different suits . If the non-dealer plays without proposing when he is four to three, and the dealer holds the king he ought not to mark it . The same rule applies to the non-dealer after a refusal, if the dealer is four to three . At the score of non-dealer three, dealer four, the dealer should refuse on moderate cards, as the player proposing at this score must have a very See also:

• BAD, BCD

bad hand . At four a forward game should not be played in trumps, as there is no See also:

• ADVANTAGE

advantage in winning the vole .

See also:

• LAWS

Laws of Ecarte.—The following laws are abridged from the revised See also:

• CODE (Lat. codex)

code adopted by the See also:

• TURF

Turf See also:

• CLUB (connected with " clump ")

Club :—A cut must consist of at least two cards . Card exposed in cutting, fresh cut . Order of See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution of cards, whether by three and two, or vice versa, once selected, dealer must not See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change it during game . Player announcing king when he has not got it, and playing a card without declaring See also:

• ERROR (Lat. error, from errare, to wander, to err)

error, adversary may correct score and have hand played over again . If offender wins point or vole that hand, he scores one less than he wins . Proposal, See also:

• ACCEPTANCE (Lat. acceptare, frequentative form of accipere, to receive)

acceptance, or refusal made cannot be retracted . Cards discarded must not be looked at . Cards exposed in giving cards to non-dealer, he has See also:

• OPTION (Lat. optio, choice, choosing, optare, to choose)

option of taking them or of having next cards; dealer exposing his own cards, no See also:

• PENALTY (Lat. poena, punishment)

penalty . Dealer turning up top card after giving cards, cannot refuse second discard . Dealer accepting when too few cards in stock to See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply both, non-dealer may take cards, and dealer must play his hand . Card led in turn cannot be taken up again . Card played to a lead can only be taken up See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

prior to another lead, to See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save revoke or to correct error of not winning trick .

Card led out of turn may be taken up prior to its being played to . Player naming one suit and leading another, adversary has option of requiring suit named to be led . If offender has none, no penalty . Player abandoning hand, adversary is deemed to win remaining tricks, and scores accordingly . If a player. revokes or does not win trick when he can do so, the adversary may correct score and have hand replayed . See Academie See also:

• DES

des jeux (various editions after the first quarter of the 19th century) ; See also:

• HOYLE, EDMUND, or EDMOND (1672-1769)

Hoyle's Games (various editions about the same See also:

• DATES

dates) ; Ch . See also:

• VAN

Van-Tenac et See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis Delanoue, Traite du jeu de l'ecarte (Paris, 1845; translated in See also:

• BOHN, HENRY GEORGE (1796-1884)

Bohn's Handbook of Games, London, 185o) ; " See also:

• CAVENDISH
• CAVENDISH, GEORGE (1500-1562?)
• CAVENDISH, HENRY (1731-1810)
• CAVENDISH, SIR WILLIAM (c. 1505-1557)

Cavendish," The Laws of Ecarte, adopted by the Turf Club, with a See also:

• TREATISE

Treatise on the Game (London, 1878) ; See also:

• POCKET

Pocket See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

Guide to Ecarte (" Cavendish," 1897); See also:

• FOSTER, GEORGE EULAS (1847– )
• FOSTER, JOHN (177o-1843)
• FOSTER, MYLES BIRKET (1825-1899)
• FOSTER, SIR CLEMENT LE NEVE (1841-1904)
• FOSTER, SIR MICHAEL (1836-r9o7)
• FOSTER, STEPHEN COLLINS (1826-1864)

Foster's See also:

• ENCYCLOPAEDIA

Encyclopaedia of Indoor Games (1903) .