QJotttell Unitteraity Ethtarg CHARLES WILLIAM WASON COLLECTION CHINA AND THE CHINESE THE GIFT OF CHARLES WrULIAM WASON CLASS OF 1876 1918 UBRARYAHNEX DATE DUE Cornell University Library GV 133.K8C96 Korean games :with notes on the correspo 3 1924 023 272 424 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023272424 ^^^^^44 i:% 'V PLATE I. KOREAN OFFICIALS IN MILITARY COURT DRESS. KOREAN GAMES WITH NOTES ON THE CORRESPONDING GAMES OF CHINA AND JAPAN BY STEWART CULIN Director of the Museum of Archasology and Pateontolegy, University of Pennsylvania :-^ fZD PHILADELPHIA UNIVERSITY OF PENNSYLVANIA Copyright, 1895, by Stewart Culin ALL RIGHTS RESERVED Owing to unusual stress of work and continued illness, Mr. Gushing has been unable to complete the commentary on this work announced in the prospectus. The material for the proposed commentary has grown to such proportions that it is his intention to expand it from a mere running com- parison of the games of the two continents, as was originally intended, into a volume more or less like the present, on Ameri- can Games in general. STEWART CULIN. University of Pennsylvania, October, 1895. PREFACE. This work is intended not only as a survey of the games of Korea, but as a practical introduction to the study of the games of the world. It is based upon a collection of games made by the writer, and exhibited by him at the Columbian Exposition in Chicago in 1893, and now contained in the Museum of Archaeology of the University of Pennsylvania; and upon information obtained from natives of Eastern Asia residing in the United States, the author never having visited the East. The description of the Korean games was furnished to me orally by Mr. Pak Young Kiu, the accomplished Secretary of the Korean Commis- sion to the Columbian Exposition, and at present Charge d'affaires of the Korean government at Washington. The illustrations are almost entirely by native artists. The Korean plates are faithful copies of part of a series of colored pictures made by Ki San, an artist in the little Korean village of Tcho-ryang, back of Fusan. They represent the people of that locality. They were executed in 1886 upon the order of Miss Shufeldt, daughter of Rear Admiral R. W. Shufeldt, U. S. N., who visited Korea upon the King's repeated invitation just four years after Admiral Shufeldt had negotiated the treaty between Korea and the United States. The sketches in the text are in part by Teotiku Morimoto of Tokyo ; in part reproduced from native books, and in part drawn from specimens in the collection of games in the Museum of the University of Pennsylvania. The incentive to the preparation and publication of this work was pri- marily the inspiration drawn from suggestions based upon his studies of the institutions and games of primitive American peoples, made to me by my friend and collaborator, Mr. Frank Hamilton Cushing, of the Bureau of American Ethnology, of Washington. In his suggestions as to the object and origin of American games, I recognized a means of removing the study .of games and allied customs from the uncertain domain of so-called Folk- lore into the realm of true scientific investigation. I have left the direct comparison of the games of the two continents to Mr. Cushing, while I have carried forward the investigation of the Asiatic games upon the in- trinsic evidence they themselves have afforded. vi PREFACE. I desire to express my obligations and thanks to W. H. Wilkinson, Esq., late H. B. M. Acting Consul-General in Seoul, Korea, who placed at my disposal the accounts of Korean chess and playing-cards which are incor- porated in this book, and in addition sent me, for the purposes of exhibition and study, his very perfect and unique collection of Chinese playing-cards. I also desire to acknowledge the assistance I have received from many sources in direct contributions of information and gaming material, and in critical suggestions, as well as in perfecting the artistic and mechanical details of this volume. My thanks are especially due to those whose names appear below. Mr. Saburo Arai, Toyama, Ichigo, Japan. Dr. Daniel G. Brinton, Philadelphia. Hon. Sir Charles Todd Crosthwaite, K. S. I., Calcutta, India. Mr. C. Hachiro Kajiwara, Aidzu, Japan. Lieut. Tatsuzo Kosugi, I. J. N., Tokyo, Japan. Li Ch'un Shan, Sinshang, Hoh Shan, Kwangtung, China. Mr. Benjamin Smith Lyman, Philadelphia. Mr. Kumpei MA-fsuMOTO, Shidzuoka, Japan. Mr. Jumatsu Matsuo, Nagasaki, Japan. Hon. Dato Meldrum, Johore, S. S. Mr. Kintaro Sato, Tokyo, Japan. Syed Mohammed Hadi, Sultanpur, India. SwAMEE Bhaskara Nand Saraswatee, Jodpur, India. Lieut. H. L. Scott, Third Calvary, U. S. A., Fort Sill, O. T. Count Seyichiro Terashima, Kagoshima, Japan. Mr. Yasujiro Yamagi, Bingo, Japan. artists. Robert G, Leinroth, Philadelphia. Teotiku Morimoto, Tokyo, Japan. William S. Rice, Philadelphia. Wells M. Sawyer, Washington, D. C. MANUFACTURERS. Franklin Printing Company, Philadelphia, Printers. Ketterhnus & Company, Philadelphia, Lithographers. Levytype Company, Philadelphia, Photo-engravers. PREFACE. vii AUTHORITIES CITED. John D. Champlin, Jr., and Arthur E. Bostwick, The Young Folks' Cyclopedia of Games and Sports. New York, 1890. E. J. EiTEL, Handbook for the Student of Chinese Buddhism. London, 1870. Edward Falkener, Games Ancient and Oriental, and how to play them. London, 1892. Duncan Forbes, The History of Chess. London, i860. Alice Bertha Gomme, The Traditional Games of England, Scotland, and Ireland, Vol. I. London, 1894. John Henry Gray, China. London, 1878. M. DE GuiGNES, Dictionnaire Chinois, Frangais et Latin. Paris, 1813. Anton Huber, Uber das Meisir genannte Spiel der heidnischen Araber. Leipzig, 1883. Thomas Hyde, De Ludus Orientalibus. Oxford, 1694. James Legge, The Sacred Books of China, The Texts of Confucianism, Part II, The Yi King. Part III, The Li Ki. Oxford, 1882, 1885. William Frederick Mayers, The Chinese Reader's Manual. Shang- hai, 1874. W. H. Medhurst, English and Chinese Dictionary. Shanghai, 1847. A. B. Mitford, Tales of Old Japan. London, 1871. Robert Morrison, A Dictionary of the Chinese Language. Macao, 1815-1823. Albert Norman, Ungdomens Bok. Stockholm, 1878. T. A. Purcell, Our Neighborhood. Yokohama, 1874. M. l'Abbe de Savigny, Le Livre des Ecoliers. Paris. Z. Volpicelli, Wei-Ch'i, Journal of the China Branch of the Royal Asiatic Society, Vol. XXVI, 1891-92. Shanghai, 1894. W. H. Wilkinson, A Manual of Chinese Chess. Shanghai, 1893. Chess in Korea, Pall Mall Budget, December 27, 1894. Chinese Origin of Playing-Cards, American Anthropologist, January, 1895. A. Wylie, Notes on Chinese Literature. Shanghai, 1867. , Wah Kan san sai dzu e. " Japanese, Chinese, Three Powert (Heaven, Earth, Man), picture collection.'' Osaka, 1714- KuN Mo dzu e tai sei. " Very Complete Collection of Pictures to teach the unenlightened." Kiyoto, 1789. The Japanese Months. Printed by the Kokubunsha, Tokyo. PREFACE. TRANSLITERATION. The orthography and transliteration of tlie Korean words is in accord- ance with the Dictionnaire Coreen Frangais, Yokohama, 1880. The Chinese is transHterated in the Canton dialect, following Dr. S. Wells Williams' Tonic Dictionary, Canton, 1856. The Japanese-English Dictionary of Dr. J. C. Hepburn, Tokyo, 1888, has been taken as a standard for Japanese orthog- raphy. Stewart Culin. University of Pennsylvania, August, iSg^. Publications on Chinese Games, by Stewart Culin : Chinese Games with Dice. Philadelphia, 1889. The Gambling Games of the Chinese in America. Fan t'an : the Game of Repeatedly Spreading Out. Pak kop piu ; or, the Game of White Pigeon Ticket. Philadelphia, 1891. Chinese Games with Dice and Dominoes. Report of U. S. National Museum, 1893. Tsz' Fa j or " Word Blossoming." A Lottery among the Chinese in America. Overland Monthly, September, 1894. CONTENTS. PAGE Praface, V Introduction, xvii I. Htal-teung — Toys and Lanterns 3 II. NOUN-MI-RYEK — SnOW-MAN, 8 III. Kak-si-no-reum — Doll Play, 9 IV. Keu-rim-tja — Shadows 9 V. Nyen — Kites, 9 VI. Nyen-e-oul-ni-ki — Kite Fighting 20 VII. El-neng-tjil, 21 VIII. .Syok-koptjil-ha-ki — Playing House, 21 IX. Koang-tai — Rope-walker Toy, 21 X. To-REu-RAK-i — Wind-mill, 21 XI. Seu-ram-i — The Buzz, 22 XII. Tjouk-pang-oul — Z>zoi/^, 23 XIII. Hpaing-i— Tops, 24 XIV. Mai-am-tol-ki— Spinning Round, 29 XV. Tak-tchong — Pop-guns, 29 XVI. Na-koui — Squash-donkeys, .... 29 XVII. Mu-teung — Turnip-lanterns, 30 XVIII. Ssi-teu-ki — Cat's Cradle, 30 XIX. Kem-eui-tjyoul-tchai — Spider-web (Net) Bat 31 XX. Ryou-kaik-tjyo — Ring Puzzle, 31 XXI. Mal-nong-tjil-ha-ki — Playing Horse, 32 XXII. Nyang-pan-no-ram — Nobleman Play, 32 XXIII. Hyeng-ka-rai-tjil-tchi-ki, 32 XXIV. Aing-keum-tjil — Hopping, 33 XXV. Ttoui-em-ttoui-ki — Jumping, 33 XXVI. Ttoui-ye-nem-ki — Leap Frog, 33 XXVII. Tjoul-nem-ki — Jumping Rope 33 XXVIII. Nel-ttoui-ki — See-saw, , .... 34 XXIX. Tchyou-tchyen or keu-neui — Swinging, 34 XXX. Tjoul-ta-ri-ki— Tug of War, 35 XXXI. Ssi-reum-ha-ki — Wrestling, . 36 XXXII. Htaik-kyen-ha-ki— Kicking (5'at'3/^), 39 XXX [II. Tjye-ki-tcha-ki — Shuttlecock-kicking, 39 XXXIV. Moul-htaik-kyen-ha-ki— Water-kicking 43 XXXV. Syeng-ssa-hom — Dam-combat, 43 XXX V^. Tjou-MEK-TCHi-Ki —Fist-striking, 44 XXXVII. Syou-pyek-tchi-ki — Hand-clapping 44 ix X CONTENTS. PAGE XXXVIII. Mek-kouk 49 XXXIX. SONG-TJANG-TCHAT-KI — CoRPSE-SEARCHING, 5° XL. KO-NO TTEU-KI, ... 5° XLI. MOUT-KO-TCHAT-KI — HiDE AND FlNU, 5° XLll. Neung-kyen-nan-sa, 51 XLIII. Syoum-pak-kkoum-tjil-ha-ki — Hide.and Seek, 5^ XLIV. Syoum-ra-tjap-ki — Tag, 5' XLV. Syoum-ra-pap— Drawing Straws, • 52 XLVI. Counting Out, . 53 XLVII. Ka-mek-tjap-ki — Blind Man's Bufk, 54 XLVIII. Hkou-tou-rong-koing 55 XLIX. 0-rang hkai-khot-tchi-ki — Violet Fighting, 55 L. HpouL-TCH-Ki— Grass Gaming 56 LI. Yet-tchi-ki — Candy Gaming, 56 LII. Aing-to-tchiki — Cherry Gaming, 56 LIII. Neun-keum-tchi-ki — Apple Gaming, 56 LIV. Kam-tchi-ki — Persimmon Gaming, 57 LV. Sal-kou-tchi-ki— Apricot Gaming, 57 LVI. Tcham-oi-tchi-ki — Melon Gaming, 57 LVII. Tjyo-kai-ssa-hom— Clam-skell Combat, 57 LVIII. Kong-tchi-ki— Ball Batting, 57 LIX. HtAING TJA-TE-TJI-Kt — ORANGE THROWING, 58 LX. KoNG-KEUi — Jackstones 58 LXI. Shi-tchi-ki — ^Metal Striking, 59 LXII. Ton-tchi-ki — Cash Striking, 60 LXIII. Mo-to-mek-ki — Eating All . . 60 LXIV. Ppyem-nai-ki — Measure Taking, 60 LXV. Hpal-mai-tchi-ki — Stone Throwing, 62 LXVI. Pyen-ssa-hom — Side or Faction Fights ... 62 LXVII. Hpyen-sa-ha-ki 63 LXVIII. Ttjak-pak-ki — Shoe Shooting, 65 LXIX. Pang-htong-i— Pitch Pot, 65 LXX. Nyout-nol-ki — Nyout Playing, 66 LXXI. Tjyong-kyeng-to — The Game of Promotipn 77 LXXII. Tjyou-sa-a— Dice 78 LXXm. Ssang-ryouk— Backgammon, 79 LXX IV. Tjyang-keui— Chess. (By W. II." Wilkinson) 82 LXXV. Pa-tok — Pebble Game, gi LXXVI. Ou-moul-ko-no — Well Kono, . 100 LXXVII. Nei-pat-ko-no — Four-Field Kono loi LXXVIII. 0-pat-ko-no— Five-Field Kono 102 LXX IX. Ryouk-pat-ko-no— Six- Field Kono, . . 102 LXXX. Kon-tjil— Merrells, ... . 102 LXXXI. Kol-hpai — Dominoes, ... . 102 LXXXII. Ho-hpai — Foreign Tablets, . 104 LXXXIII. Ttjak-ma-tcho-ki — Pair Mating, . ........ ..... . . 106 LXXXIV. Kko-ri-pout-tchi-ki— Tail Joining, 107 LXXXV. Kol-ye-se— Domino yE-se, • .... 107 CONTENTS. xi PAGE LXXXVI. Ryong-hpai— Dragon Tablets. [Solitaire), ... . io8 LXXXVII. Ke-pouk-hpai — Tortoise Tablets. (Solitaire), 109 LXXXVIII. SiN-syo-TYEM — Personally Counting Diyination, 109 LXXXIX. 0-KOAN— Five Gateways, 112 XC. Htoutjyen— Playing-Cards, 123 XCI. Yet-pang-mang-i, 126 XCII. Tong-tang 128 XCIII. San-htong — Lottery, 147 XCIV. Syou-sou-kyet-ki — Enigmas, 153 XCV. TjA-MAT-TCHiM— Word Tallying, 153 xcvi. kol-mo-tom-ha-ki — district picking 154 xcvii. tcho-tjyoung-tjyang 154 Index to Korean Names, 157 Index to Japanese Names, 160 Index to Chinese Names, 164 General Index, 168 KOREAN PLATES. I. Court Officials in Military Dress, Frontispiece. II. Dancing Boy, Facing page 2 III. Hunters on Snow-Shoes, " 8 IV. Kite Flying " 10 V. Rope Walking, " 20 VI. Top Spinning, " 24 VII. Spade Shovelling, " 32 VIII. See-saw, " 34 IX. Swinging, " 36 X. Kicked Shuttlecock, " 40 XI. Boys Playing Blind Man's Buff, . " 54 XII. Girls Playing Blind Man's Buff " 56 XIII. Girls Playing tja-ssei, " j8 XIV. Bowmaker and Han-ryang, ^ ■' 64 XV. Nyout Playing, ... , " 68 XVI. Game of Dignitaries, . " 78 XVII. Backgammon, ■< go XVIII. Chess, « 82 XIX. Chess, " qq XX. Pa-tok Game, XXI. Dominoes, " 92 " 104 XXII. Card Playing, . . ' '■ 126 xn FIGURES IN TEXT. PAGE I. Shaftment of Practice Arrow, Korea, xx II. " " " " XX III. " " " " XX IV. Shrine of God of War, xxii V. Ts'im ii, China, xxiii VI. Zeichiku, Japan, xxvii VII. Shuffling Zeichiku, Japan, xxvii VIII. Manner of placing splints in Eki, Japan, xxvii IX. Faces of Sangi, Japan, xxvii X. Fortune-teller, with Zeichiku, Japan, xxviii XI. Kwa ts'im, China, xxx XII. P'ai ts'im, Notice Tally, China, xxx XIII. Haida Indian Gambling stick, xxxi XIV. Device on Haida Indian Gambling stick xxxi XV. Cylindrical Stamp, Ecuador, xxxii XVI. Staves used in Zohn Ahl, Kiowa Indians, U. S., xxxii XVII. Kwai, Ceremonial sceptres, ancient China, xxxiii XVIII. Soul bird, Ancient Egypt, xxxv 1 . Daruma, or Oki agari koboshi, Japan, S 2. Tsuchi ning yo, Japan S 3. Dogu, or Ancient Earthen Idol, Japan, 5 4. Ta pat t6. Canton, China, 6 5. Le Poussah, France 7 6. Tilting Toy, Spain, 7 7. Putzelmann, Germany, 7 8. Trollgubbe, Sweden, 7 9. Tilt-up, United States 7 10. Ceremonial Pottery Vase, Missouri, 7 11. Take uma — Stilts, Japan, 9 12. Tori-sashi — Bird Catcher, Japan 10 1 3. Suki ye — Shadow figures, Japan, 10 14. Nyen — Kite, Korea, 10 15. Nyen — Kite, Korea, 10 16. El-lai— Kite Reel, Korea 12 17. Ika nobori — Cuttlefish Kite, Japan 13 18. Hata— Flag Kite, Japan, 13 19. Ika-bata — Cuttlefish Kite, Japan, 14 20. Shoki Kite, Japan, 15 21. Yakko-bata — Servant Kite, Japan, IS xiii xiv FIGURES IN TEXT. PAGE 22. Tsuru Kame — Stork and Tortoise Kite, Japan, l6 23. Ogi nojigami — Fan-paper Kite, Japan 17 24. Kasane Ogi — Double Fan Kite, Japan, 17 25. Oni-dako — Devil Kite, Japan, 18 26. Chinese Kite, Japan, 18 27. Mame-ningyo — Bean Doll, Japan, 21 28. Tsuna watari — Rope Walking, Japan, 21 29. Bun bun — Buzz, Japan, 22 30. Buzz, Eskimo, North Greenland, 22 31. Tombo — Dragon Fly Toy, Japan, 23 32. Flying Cone, 23 33. Koma — Top, Japan, • -25 34. Bai mawashi — Conch-shell Game, Japan 25 35. Bai — Conch-shell Top, Japan, ... 25 36. Hakata-goma — Hakata Top, Japan, • .... 25 37. Hakata-goma mawashi — Hakata Top-spinning, Japan, 25 38. Bozu-goma — Priest-top, Japan, 25 39. Uchi tsuke-goma — Striking-top, Japan, 25 40. Nage-goma — Throwing-top, Japan, 25 41. Uke-goma — Catching-top, Japan 27 42. Tsumami-goma — Pinching-top, Japan, 27 , 43. Te-goma — Hand-top, Japan, 27 44. Kashinomi-goma — Acorn-top, Japan, 27/ 45. Senpei-goma — Cake-top, Japan, 27 46. Fue-goma^Whistle-top, Japan, 27 47. Chochin-goma — Lantern-top, Japan , 27 48. Yakko-goma — Slave-top, Japan 27 49. Tsuna watari-goraa — Walking-the-Rope-top, Japan, 28 50. Komochi-goma — Child-bearing-top, Japan, 28 51. Kaminari-goma — Humming-top, Japan, 29 52. Kau tsz' lin wan — Ring Puzzle, China, 31 53. Chiye no wra — Ring Puzzle, Japan, 31 54. Taki uma. — Bamboo Horse, Japan, 32 55. Tobi koshi — Leap Frog, Japan, 33 56. Tobi koshi — Jumping Rope, Japan, 34 57. See-saw, Japan, 34 58. Buranko — -Swing, Japan, 35 59. Tsuna hiki — Tug-of-war, Japan . . 35 60. Sumai — Wrestling, Japan, 36 61. Hago asobi — Shuttlecock Play, Japan, 40 62. Hago ita — Battledore, Japan, 41 63. Hago — -Shuttlecock, Japan, 41 64. Kemari — Foot-ball, Japan, 41 65. Kemari asobi — Foot-ball play, Japan 42 66. Kai m6 in — -Shuttlecock, China, 43 67. Satsuma Ken, Japan 46 68. Hand-clapping Game — Ancient Egypt 4g 69. Kiu jo — Ball-stick, Japan, 57 FIGURES IN TEXT. XV PAGE 70. Ishi nago — Jackstones, Japan 59 71. Diagram for Shi-tchi-ki — Korea 59 72. Diagram used in game of throwing cash — Japan, , 60 73. Zeni uchi — Pitching Pennies, Japan, 61 74. Tsubo ichi — Pitch-pot, Japan, 65 75. Nyout-hpan — Nyout board, Korea, 67 76. Pam-nyout, Korea 68 77. Nyout-hpan, Korea, ... ... . ... 71 78. Tjyang-tjyak -nyout — Long nyout sticl«, Korea 71 79. First page of Tjyek-sa-tjyem, Korea, 73 80. The Sixty-four Hexagrams, 74 81. The Pat kwa, or Eight Diagrams, 75 82. Diagram of Pachisi cloth, Maldive Islands, 75 83. Yasu sakari musashi, Japan, 77 84. Tjyong-kyeng-to, Korea, 77 85. Long Lawrence, England, 78 86. Chinese dice 79 87. Japanese children playing Sugoroku, 79 88. Mai — Man used in Backgammon, Korea, 80 89. Diagram of Backgammon board, Korea, 80 90. Board for Sugoroku (Backgammon), Japan, . 80 91. Geisha playing Sugoroku, Japan 81 92. Chinese Backgammon board (from Hyde), 81 93. Tjyailg-keui-hpan — Chess-board, Korea, 83 94. TsSung k'i pan — Chess-board, China, 85 95. Shogi — Chess, Japan, 90 96. Pa-tok-hpan — Board for Pebble Game, Korea 92 97. Diagram of Wai k'i board, showing method of dividing, 93 98. Eace of Pa-tok board, Korea, .... 94 99. Diagram of Wai k'i board, illustrating Chinese method of notation, 95 100. Diagram of Wai k'i board, showing eyes and enclosures, . 96 loi. Diagram of Wai k'i board, showing protected enclosures and methods of attack, .... 97 102. The Game of Go, Japan 98 103. Ou-moul-kono, Korea, loi 104. Pong hau k'i, China, loi 105. Sua tok tong, Siam, loi 106. Nei-pat-ko-no, Korea, loi 107. O-pat-ko-no, Korea, 102 108. Skm k'i, China, , 102 109. Chinese game of Dominoes, • . . 103 no. European game of Dominoes, .... 103 111. Korean Dominoes, showing manner of pairing, ... 104 112. Arrangement of dominoes in " Dragon tablets," Korea, 108 113. Arrangement of dominoes in " Tortoise tablets," Korea, 109 114. Combinations of Dominoes, significant in Fortune telling, China, in 115. Arrangement of Dominoes in " Five Gateways," Korea, ... . . . . 112 116. Chinese Dominoes, showing manner of pairing, 115 117. Kwat p'ai — Dominoes, Kwangtung, China, 116 xvi FIGURES IN TEXT. PAGE 118. Stack of Dominoes, China, Il6 119. Method of Pairing Chinese Dominoes in the game of Kap tai shap 119 120. Reverse of Korean playing-card, 123 121. The Eight " General " cards, Korea, 124 122. Numerals on Korean cards, 125 123. Suit marks on numeral cards, Korea, 125 124. Uta-garuta, Japan, 134 125. Nine of Myriads, Red Flower and White Flower, Chungch'ing, 137 126. Suit of Myriads, Kiu Kiang, 138 127. Nine of Myriads, Hong Kong, 139 128. The Five Blessings, Anhui Province, 139 129. Actor's cards, Shanghai, 142 130. Cards with writing lesson, Hankow, 145 131. Children's cards, Chungch'ing 146 132. Chart for Tsz' fa lottery, China, 149 133. Enigma for Tsz' fa lottery, China, 150 134. Ticket for Pkk-k6p-piu, China, 152 135. Enigma, Korea, 153 INTRODUCTION. Therefore, anciently, the son of Heaven chose the feudal lords, the dignitaries who were Great officers, and the officers, from their skill in archery. Archery is the special business of males, and there were added to it the embellishment of ceremonies and music. Hence among the things which may afford the most complete illustration of ceremonials and music, and the frequent performance of which may serve to establish virtue and good conduct, there is nothing equal to archery ; and, therefore, the ancient kings paid attention to it. — Li Ki, Book XLIII, ShS I, 4. Legge's Translation, p. 448. There are two principal questions involved in the study of games : that of their origin, and that of their distribution. Their origin has hitherto generally been vaguely assigned to the inborn tendency of mankind to amuse itself As lambs frolic on the green, so it is thought man's festal instincts find expression in games and play. The wide geographical dis- tribution of games is accounted for in two ways : by direct transmission from one nation or country to another ; as, for example, the supposed intro- duction of chess into Europe, and by natural and spontaneous invention under similar influences and conditions. The consideration of the question of origin naturally precedes that of distribution. Upon comparing the games of civilized people with those of primitive society many points of resemblance are seen to exist, with the principal dif- ference that games occur as amusements or pastimes among civilized men, while among savage and barbarous people they are largely sacred and divinatory. This naturally suggests a sacred and divinatory origin for modern games, a theory, indeed, which finds confirmation in their tradi- tional associations, such as the use of cards in telling fortunes. An exami- nation of the native games of the American Indians throws much light upon the subject. Investigation, however, has been hitherto comparatively unproductive of results, from the fact that most students have failed to perceive the true significance of games in primitive culture, regarding them primarily as pastimes; and, secondly, from their being led by the resemblances between the games of the two hemispheres into the discussion of questions of contact and migration, which have proved unfruitful and inconclusive. 2 xvii xviii INTRODUCTION. Modern games have so nearly lost their original meaning that even with the light afforded by history it is practically impossible to trace their origin. A clue is furnished by America, but there remains a great gap between its primitive conditions and the earliest historic time in Europe, in which games existed as amusements, played in much the same manner, and for the same object as at the present day. Impressed with the difficulties that beset the direct application of the explanations found in primitive life to our own customs, I have turned to Eastern Asia for evidence to connect the remote past with the present, and especially to Korea, a land most prolific in survivals, for confirmation of my theory. Games, I hold, must be regarded not as conscious inventions, but as survivals from primitive conditions, under which they originated in magical rites, and chiefly as a means of divination. Based upon certain funda- mental conceptions of the universe, they are characterized by a certain sameness, if not identity, throughout the world. Without the confirmation of linguistic evidence they are insufficient to establish the connection of races or the transference of culture. They furnish, however, the most per- fect existing evidence of the underlying foundation of mythic concepts upon which so much of the fabric of our culture is built, and are of the highest value from the wide application which may be made of the principles which they^illustrate. Before proceeding to discuss the" origin of games, I desire to call attention to the remarkable survivals of primitive social conditions that exist in Korea, conditions to which the national games owe their form, if not their very existence. Foremost among them is the division and classifica- tion of the people^ according to the four cardinal points and the middle. This division, common among the American tribes, exists in Korea at the present day. At the age of fifteen years every free-born Korean boy is en- rolled by the government, and designated in Seoul as belonging to one of the quarters or the middle. The capital itself is divided into five wards, agreeing with these directions. Again, in the state there are eight prov- inces,' corresponding, it would seem, with the- four quarters and the inter- mediary points. Upon examining the numerical categories of the old Chinese writers and the philosophical systems in which they explain the relations that are supposed to exist between natural phenomena, we find classification, according to the four quarters and the middle, extended not ' There are 360 magi.stracies. INTRODUCTION. xix only to the regions, but to the seasons of the year, the elements, colors, planets, and the notes of the musical scale.' We discover, too, an extension of the system to a nine-fold division of the universe in accordance with the four quarters, the four intermediary points, and the middle, and the classi- fication almost indefinitely extended to every domain of energy and thought. A numerical relation was assumed to exist between the domi- nant principles with their dependent categories, and the discovery of this relation was believed to furnish a clue to the solution of the profoundest problems of existence. In this attempt at classification according to the directions which is practically universal among primitive people, things and affairs were en- countered which did not in themselves reveal their proper assignment. To effect their classification resort was had to magic. The processes, at first serious and divinatory, afterward practiced as a means of diversion as chil- dren play at the serious business of life, became games. The games which thus originated hold a peculiar position among the world's amusements, and may be regarded as games par excellence. They frequently retain something of their original character and often survive in two forms, more or less distinct — as a divinatory rite and as a simple amusement. The study of the games of Korea reveals the fact that there were two principal systems of divination in Eastern Asia, from which games arose, in both of which the arrow or its substitute was employed as the implement of magic. Mr. Gushing has disclosed the importance of the place held by the arrow in primitive culture. It was and is no less significant in Asia than in America. Examining the arrows used in Korea at the present day, they are found to occur in sets of five, each archer usually having three sets. The five arrows are numbered with Chinese characters from one to five. The arrows of each individual bear his name, also written in Chinese characters, and are further distinguished by colored rings as red, green or black on the shaftment, by which the archer more quickly recognizes his ' The following table, compiled from Part II of Mayer's Chinese Reader's Manual, will give some idea of the system of classification as it existed in Eastern Asia : Metals. Grains. Lead and Tin, Com. Copper, Millet. Silver, Hemp. Iron, Pulse. Gold, Rice. Directions. Seasons. Colors. Elements. Planets, East, Spring, Green, Wood, Jupiter, South, Summer, Red, Fire, Mars, West, Autumn, White, Metal, Venus, North, Winter, Black, Water, Mercury, Middle, Yellow, Earth, Saturn, INTRODUCTION SO ^ Figs, i, ii.iri. — Shaftmiints of Practice Arkows, Kokea. United States National Museum. INTRODUCTION. xxi own.' At an early period in culture the arrow, marked with the designa- tion of its owner, by which he recognized his quarry or the foe that fell be- fore his arm, came to stand as his symbol and representative. From evi- ' The arrows here referred to are those used in archery. These practice arrows, called You- yep-tjytn (Chinese, lau ip /sin), or, "willow leaf arrow," are made of bamboo, about thirty-four inches in length. The point is of iron, nail shaped, with a stop which fits against the foreshaft. The latter is usually made of cherry wood with or without the bark on, and is about one and one- quarter inches in length. The footing, also of cherry wood, has a cylindrical nock with a U-shaped notch. The feathers, three in number, are carefully and uniformly trimmed, as shown in Figs. I,n, III, and are fastened with glue, on some in a straight line, and others at a slight angle to the shaft. Some of these arrows in the Museum of the University of Pennsylvania, and in the United States National Museum bear the personal name of the owner, written in Chinese characters between the feathers. On others, in the same collections, the name has been erased in accordance with the sentiment that exists in regard to the personal name. One of these arrows in the National Museum, Fig. II, bears the title of the owner, Han-ryang (Chinese, han Hung), (see pages 62, 64), above the name ; while others in the University Museum is similarly inscribed with Tchyoul-sin (Chinese, ch''ut shan), the first step in military rank. Many specimens are marked on the foreshaft near the notch with a ring, as Fig. II, or with a black dot, or with both in combination. These are said to be used to distinguish the individual arrows in contests, when for some reason, the personal name is not written upon them. Two arrows in the National Museum, Fig. Ill, have bands of green paper on the foreshaft. These, with similar ribbons of different colors, are said to be used to enable contestants to readily distinguish their arrows. The last-mentioned arrows have the character I'd, " earth," written on one, Fig. Ill, and sAui, " water," on the other, on the foreshaft near the notch, instead of rings or dots, and are apparently intended to serve the same purpose. All of these arrows are numbered with Chinese characters, from one to five, below the fore- shaft. A set consists of five arrows, and in archery contests three sets are usually carried. The suggestion of Mr. Cushing that the Korean card numerals. Fig. 122, are derived from the cut cock- feathers of arrows is not confirmed by the featherings of the practice arrows, which do not appear to be so marked, and to be uniform. It will be observed, too, that the arrows are in sets of five, and do not agree in their numbering with the cards, which are in suites of ten. A miniature quiver with five arrows without points, the whole called tong-kai (Chinese, tsin ^oiy, or " quiver," is carried by high officials in Korea as an emblem of military rank, as is shown in Plate I. The specimen in the United States National Museum, however, has ten instead of five arrows, the feathers of which agree with the feather marks on the backs of the playing-cards, having black tips, which may be perpetuated in the black mark at the top of the scroll on the cards. The cor- responding ceremonial quiver in Japan, /azafea, has ten arrows. In addition to the above-described practice arrows, many other kinds of arrows are used in Korea. The most formidable, which are used in war, are called hpyen-tjym (Chinese, /'z'» tsin), " part arrows." They are much shorter than ordinary arrows, but are shot from the same bow with the aid of a guide or rest. The latter falls when the arrow is discharged, and is recovered by means of a string, by which it is tied to the archer's finger. The specimens in the National Museum are 18 inches in length. They have a heavy conical iron head. The shaftment, which has three feathers, is painted black. These arrows bear no marks and were kept tied in large bundles, to be ready for use when required. Archery is the test of proficiency in the military examinations in Korea. The candidate shoots five arrows at a mark, and three hits are necessary to qualify, whereby the rank of Tchyoul-sin referred to as written on the arrows in the University Museum, is obtained. INTRODUCTION. dence afforded by the Korean playing-cards it appears that the use of the personal name upon the arrow was preceded by that of the symbol of the world quarter to which;the owner belonged. Under these conditions the P'iG. IV — A Shrine of the God of War in Philadelphia,! arrows of the quivers of the representatives of the quarters stood for the people and the world in its totality. The Korean playing-cards again fur- ' Cf. Religious Ceremonies of the Chinese in the Eastern Cities of the United States. By Stewart Culin. Philadelphia. 1887. INTRODUCTION. XXlll I nish the most direct evidence in Asia of the ceremonial use of the arrow in divination, which afterward became an amusement. They still bear repre- sentations of the feathers of the arrows from which they were derived, and their Chinese name varies only in tone from that of arrow, tsi/t. The com- plete pack consists of 80 cards in eight numbered sequences from one to ten, the sequences being desig- nated by symbols which correspond more or less closely with those still assigned to the world quarters. A simple method of using these numbered arrows survives in the lot- tery. In Korea numbered balls have been substituted for arrows, but the name of the game, san-htong (Chi- nese, ts'im t'ung), betrays its origin. In the Chinese lottery, although writ- ten paper lots are employed, they are still 80 in number, and, before play- ing, gamblers resort to a shrine of the God of War, Fig. iv, and throw 80 numbered arrow lots. Fig. v, to " di- vine " the lucky numbers. The rationale of the lottery, and the similar divinatory processes in which arrows are shaken at random from the lot tube (quiver), is very evi- dent,' but the writer is not prepared to offer an explanation of the card Fio. V. — Ts'iM u IN Box, Ts'iM T'ung. Kwan TUNG. China. Museum of Archaeology. Univ. of Penna. No. 9.048. 'As, for example, the Meisir game of the heathen Arabs, in which seven arrows were shaken from a quiver. These arrows may be regarded as probably referring to the seven directions. North, South, East, Weit, Upper, Lower, and Middle. The Mei-ir was a game which, from the constant references to it by Arab writers and poets, must have constituted one of the chief amusements of the Arabs before the time of Mohamiped. The game was always played in the winter time. The stakes were invariably camels, which were slaughtered and eaten. Marked arrows were used, which were shaken from a holder one at a time by a disinterested third person, and the players won or lost accordingly as the arrows they bet on came out or remained in the holder. The accounts of the game, according to Dr. Anton Huber, to whose learned monograph, Ober das Meisir genannte Spiel der heidnischen Araier, Leipzig, 1883, I am indebted for the following particulars, are somewhat varied and confusing. The game was prohibited by Mohammed. In the second year of Higera he uttered a warning ^^[y INTRODUCTION. games in which the bundle of arrows, or their substitutes, are mixed (shuffled) and apportioned (dealt) at random among the players. against wine and the Meisir, and two years later he prohibited their use and branded them as the works of the devil. • Huber, gives numerous references to the game being played in winter. Not only was there more time to play it at this season, but, as it was the custom to distribute the winnings to the poor, they played it more at this, time as the poor were more in need of assistance. The poets before the time of Mohammed always boasted of taking part in the Meisir game, as they got the reputation thereby of being benevolent. It was considered shameful not to take part, and numerous examples are given to show the contempt in which those who declined to participate in the game were held. Such were designated as baram, an opprobious word which was only said of those who refrained from the game out of miserliness. A man who fell in battle is praised as one who was not a coward, and would not stay away from the Meisir game when the times were hard. One poet who wanted to outdo others in generosity says to his guests that he is ready to gamble also for horses. The Arabs were such inveterate gamblers they would lose all their possessions, and finally their own person. The players bought amongst themselves the camel to be slaughtered, so that it belonged to them jointly, and the commentary says that this was done on credit, as it was not possible to tell beforehand who was the loser and had to pay. The division of the camel was done by the butcher, who for his trouble received the head and feet. The remainder of the camel was divided into ten parts. Ten or eleven arrows were used, seven of which were marked and won portions of the camel if they were drawn, and three or four, which neither won nor lost and were added to increase the weight or bulk of the arrows. The material of the arrows was the wood of the nab' a tree, from which bows also were made. All authorities agree that the arrows were yellow in color. They had a peculiar ring when shaken, so that one could easily dis- tinguish if an arrow of another kind of wood was amongst them. The first of the winning arrows was called the Fadd. It had a single notch in its lower part and when it was drawn it drew one part of the stakes, and when it was not drawn its owner had to pay the price of one part. The second was the Tau'am, which drew or lost two parts ; the third, the Kakib, which drew or lost three parts ; the fourth, the Hih, which drew or lost four parts; the fifth, the Nafin, with five parts; the sixth, the Musbil or Miisfak, with six parts, and the seventh, the Mu'alla^yfi{\i seven parts. The four arrows, which only increase the weight, were called the Safih, the Manih, the Mitda" af and. the Wagd. The number of the winning arrows is everywhere spoken of as seven, but it is reasonable to believe that the additional ones were not always four in number; indeed, according to another authority, they were three instead of four. The number of the players was not more than seven. If one or two were missing out of that number any of the players could take the surplus arrows. The players took the seven marked arrows according to their circumstances. Thus, if one took the Fadd, he won or lost one part of the camel; the Tau'am, two parts, and so on. When the number of players was complete the arrows were placed in a piece of leather called the ribSba. The one who manipulated the arrows was called the Hurda, who was a man well versed in the aiTOws, and who never ate meat for his pay. Close behind him stood the Rakib. As the name signifies, this man had the office of a watcher. A piece of white cloth was spread before the Hurda. The Rakib, or game overseer, handed the ribaba of arrows to the Hurda, who seized them with his left hand and put them, with the ribaba, under the white cloth aiid shook them. When one of the arrows projected beyond the others he seized it with his right hand, which was covered with a cloth, and handed it, without looking at it, to the Rakib. The latter examined it, and after he had assured himself whether it INTRODUCTION. xxv A method of divination with the entire bundle of arrows, which is quite intelligible, exists, however, at the present day in Korea, China, and Japan. In this system, called Eki (Chinese, yiJi) in Japan, the arrows are primarily employed as magical appliances to ascertain the number, place, or direction, being discovered by counting. The process is a revival of the ancient method of divination which is described at length in the third appendix to the Yih King.' It \\;ill be seen from the appended note that no very clear idea of the process can be obtained from the Chinese record. was a winning arrow or one of the blank arrows, called guff, he would call out to whom it belonged in the first case and what it won. If, on the other hand, the arrow was a. guff it was immediately replaced in the ribdba. When the Fadd came out as first arrow its owner received one part and the others continued to play with the remaining arrows for the nine parts of the camel that were left. If the Tau'am came after this its owner received two parts and the others continued to play with the remaining arrows for the seven parts. If after these two the Mu'alla came its owner re- ceived the remaining seven parts. This would close the game, and those whose arrows did not come out had to pay the price of the slaughtered camel. In the above-mentioned case these were the Rakib, the Hils, the Nafiz, and the Musbil. These arrows had eighteen parts, therefore the price of the camel was divided into eighteen even shares, and each one shouldered as much of the debt a!> his winning part would have been of the meat if his arrow had won. The four who lost paid in the proportion of ^^, ^\, ^j, and ^. Ifthe Mu'alla came first, its owner received seven parts of the camel, and all those whose arrows did not come out had to pay, their proportions being j'j-, j^, j'j, /j, j\, and ^"j. They also had to slaughter another camel, as one of the remaining arrows was the Musbil, which drew six parts of the camel when it won, whereas there were only three parts of the meat of the first camel remaining. Those whose arrows lost at the first game were not entitled to eat of the flesh of the first camel. When the second camel was killed, and the Musbil caxae first when the arrows were drawn, its holder received six parts, namely : three parts of the first camel and three parts of the second camel. On the first camel he had to pay ^^j-, but of the second, he had nothing to pay. There remained in this case seven parts of the second camel for which the players continued with the remaining arrows. If the Nafiz came, it drew five parts, and its holder had to pay for ^^ of the first camel, but nothing on the second. There now remained only two parts of the meat, but one of the remaining arrows was the Hils, which could win four parts. It was therefore necessary to kill another camel. Those whose arrows did not win any of the second camel, and they were, if no one re-entered the game, the holders of the Fadd, the Tau'am, the Rakib, and the Hils, had to pay for the second camel, in the proportions of ^^, -l^, ^j, and y*j exclusive of their proportion of the first camel. If they killed a third camel and the Hils was drawn, its holder receives four parts, viz. : two parts of the second, and two parts of the third camel. There now remained eight parts of the third camel, for which the players continued with the remaining arrows until the arrows came so that their respective winnings were equal with the parts of the meat. It is not clear who had to pay for the third camel if no one re-entered the game, but in the opinion of Dr. Huber, a new camel would be killed only when there was a certainty of there being arrows remaining, which would lose and pay for it. If pieces remained after all the arrows were drawn, they belonged to the poor of the tribe. ' Chapter IX, 49. To heaven belongs (the number) I ; to earth 2 ; to heaven 3 ; to earth 4 ; to heaven 5; to earth 6; to heaven 7 ; to earth 8 ; to heaven 9 ; to earth 10, xxvi INTRODUCTION. As practiced at the present day in Japan, 50 slender, rounded splints of bamboo are employed. These sticks, called zcichilai (Chinese, sliai cAk/^'), Fig. VI, may vary in length from two to fourteen inches. The fortune-teller takes the bundle in his right hand and raises it reverentially to his forehead. He then place.s the ends in the palm of his left hand and with his right hand shuffles them with a rotary motion. Fig. vii. The bundle is then taken in the right hand, and one splint is placed between the little finger and the third finger of the right hand, Fig. viii. He then divides the remainder (49) into two parts at random, and places one of the divided bundles between his middle finger and forefinger and the other between his forefinger and thumb. The latter bundle is then counted, two at a time, around the Pat Kwd, or " Eight Trigrams," Fig. 81, commencing at the one consisting of unbroken lines, which is designated as K'in and corresponds with the North West. The trigram at which the count stops (if there be an uneven number the odd one is not counted) is then noted. A record of 50. The numbers belonging to heaven are five, and those belonging to earth are (also) five. The numbers of these two series correspond to each other (in their fixed positions), and each one has another that may be considered its mate. The heavenly numbers amount to 25, and the earthly to 30. The numbers of heaven and earth together amount to 55. It is by these that the changes and transformations are effected, and the spirit-like agencies kept in movement. ' 51. The numbers of the Great Expansion (multiplied together), make 50, of which (only) 49 are used (in divination). (The stalks representing these) are divided into two heaps to represent the two (emblematic lines, or heaven and earth). One is then taken (from the heap on the right), and placed (between the little finger of the left hand and the next), that there may thus be symbo- lized the three (powers of heaven, earth, and man). (The heaps on both sides) are manipulated by fours to represent the four seasons ; and then the remainders are returned, and placed (between) the two middle fingers of the left hand, to represent the intercalary month. In five years there are two intercalations, and therefore there are two operations; and afterward the whole process is repeated. 52. The numbers required for Khien (or the undivided line) amount to 216; those for Khwan (or the divided line), to 144. Together they are 360, corresponding to the days of the year. 53. The number produced by the lines in the two parts (of the Vi) amounts to 11,520, cor- responding to the number of all things. 54. Therefore by means of the four operations is the Yi completed. It takes 18 changes to form a hexagram. 55. (The formation of) the eight trigrams constitutes the small completion (of the Yi). 56. If we led on the diagrams and extended them, if we prolonged each by the addition of the proper lines, then all the events possibly under the sky might have their representation. TJie Sacred Books of China; '1 he Texts of Confucianism, Translated by James Legge. Part II. The Yi King, Oxfoird, 1882. ' Shai, " to divine with slips of milfoil ; the most efficacious is from the grave of Confucius." Chuk, "bamboo." — Williams's Tonic Dictionary. INTRODUCTION. xxvii Fig VI.— Zeichiku. Divining Splints, Japan. Fig. vii.— Shuffling Zeichiku. Japan. % ^ Fi«.vui. — "One Splint is Placed Between Little Finger." FiG.ix.— Facks of Sangi used in Eki, Japan. XXVUl INTRODUCTION. this is kept by means of six rectangular wooden prisms called satigi (Chi- nese, siln muk), or " calculating sticks," ' Fig. ix. These blocks are about four and one-half inches long by three-fourths of an inch square, and have two contiguous sides plain and the other two contiguous sides marked with a square cut across the middle about three- quarters of an inch wide, the depression being painted red. The six sangi are laid in a row before the fourtune-teller with the plain faces uppermost. If the lowest line of the trigram at which the count stops is broken, the lowest block of the six, that is the one nearest the diviner, is turned so that the marked side is upper- most. If the lowest line of the trigram is unbroken, the block is allowed to remain in its original position. This is re- peated with the second and third blocks, which are ar- ranged to correspond with re- maining lines of the trigram. The entire operation is then repeated and the other three blocks turned to correspond with the trigram that is indi- cated. Reference is then made to the corresponding hexa- gram in the Yih King, under which is an explanatory text, by means of which, together with traditional interpretations, the augury is made. A knowledge of present events is thus supposed to be obtained, but if it is desired to know the future, the six blocks are reversed, and the result, which is the complement of that first obtained, is referred to the corresponding hexagram. I am informed by recent travelers in Japan that fortune-tellers with the bundle of splints and a diagram with the Eight Trigrams may still be seen at the street corners.^ Persons who practice this art. Fig. x, are called Bai boku sha (Chinese, mdi puk che). Fig. X. — Fortune-teller with Zeichiku. After Purcell. Japan. Japan. Similarly-named sticks are used for performing arithmetical operations in China, Korea, and Mitford speaks of the Japanese fortune-tellers " with a treatise on physiognomy laid before INTRODUCTION. xxix It has been assumed without discussion that the zeichiku were origi- nally arrows or arrow shaftments. Mr. Gushing has clearly demonstrated the arrow origin of similar objects in America, and additional evidence is found in China in the name and form of the like implements employed by the Chinese in an analagous method of divination popularly known from the name of its reputed inventor Man Wong (Wen Wang) \ as Man Wong kwd. In this process 64 splints of bamboo, about four inches in length, called kwa ts'itn. Fig. xi, are used. These splints, which are tipped with red paint, are marked in four ways : sixteen with a single dot, called tan, " single " ; sixteen with two dots, called ckit, "broken" ; sixteen with a circle, called cliung, " duplicated," and sixteen with a cross, called kdu. " united." They are considered respectively as jenug, "masculine"; j'ain, "feminine"; s/ttti yeung and shiii yam, shiii meaning " assistant." In the practice of fortune- them. . If he finds a customer he closes his eyes, and, lifting the divining sticks reverentially to his forehead, mutters incantations between his teeth. Then suddenly putting the divining sticks in two bundles, he prophesies good or evil according to the number in each." — Tales of Old Japan , London, 1871, Vol. I, p. 148. T. A. P. (Dr. Purcell) in that charming book. Our Ntighborliood ; or. Sketches in the Suburbs of Yedo, Yokohama, 1 874, gives the following account of the Japanese Fortune-Teller : " Having rattled his rods together by rolling them between his palms, he raises them to his forehead for a moment in a reverential manner, and then taking one from the bundle lays it on the little table besidehis right hand. He then proceeds, having divided them into two and rejected one portion, which he replaces in the pencil-holder, to count out by fours those retained in his hand, and, in accordance with the broken number left, he moves a block. This process twice .again repeated by threes on these occasions, and a block moved as before, a combination of the blocks results, in which the characters upon them correspond with the numbers of a paragraph in a book of oracular responses, which, when referred to, is accepted as a satisfactory reply to the query. He does not, however, depend much upon the book, but trusts in a great measure to his inspiration. He will tell you that he passes one hour every morning in a religious trance, in which it is revealed to him what general form of combinations of the sangi will be properest for the day. He pro- fesses to know beforehand that certain questions will be asked of him, and is prepared to answer them accordingly without much deliberation. Joy or sorrow, anger or dismay, he has found to in- terfere with the spirit of divination. He cannot depend upon his prophecies after such emotions." ' Si Peh, B. C. 1231-1135. The chief of the West, the title borne during life by Ch'ang, Duke of Chow, afterward canonized as Man Wong, and recognized as the virtual founder of the Chow dynasty. He was hereditary chieftain in the principality of K'i (in the territory of modern Shensi). Succeeding to his father's throne in B. C. 1 169, the Duke of Chow manifested himself as a pattern of princely virtues, and was resorted to by multitudes, who eagerly enrolled themselves among his subjects. In B. C. 1144 he was denounced by Hu, the how or earl of Ts'ung, to Chow Sin, the debauched tyrant then seated on the throne of the Yin dynasty, as dangerous to the latter's power, whereupon Chow Sin cast him into prison at Yew Li. Here during two years he remained in durance, occupying his leisure in composing an arrangement of the Yih ; or, Book of Changes. — Chinese Reader's Manual, No. 570. XXX INTRODUCTION. telling with these splints the inquirer draws six splints from a vase, and the marks ppon them are written by i 'tr i f\ J I "7 ft Fig. XI. — KwA Ts'i China, the fortune-teller upon paper, that of the first splint drawn being placed at the bottom and the others above, in succession. The six marks are then referred to the hexagram assumed to cor- respond with them. It will be observed that the kwd ts'hn have notched points, and their name, ts'im, approximates that of arrow, tsin. Before considering the other principal method of divination in Asia, out of which games arose, I shall endeavor to indicate some of the most conspicuous survivals of the arrow, as symbolic of man, apart from games in which it was used as his emblem and representative. It is related to me that anciently in Japan the grave of a warrior on the field of battle was marked with his arrow. It is but a step from this custom to the ancestral tablet, and with the latter might be placed the ho-hpai, or " name tablet," carried by every male Korean. Direct evidence is lacking in Asia to estab- lish the ancestry I have suggested, but such evidence does exist in the case of a similar and equally sig- nificant object, the p'di ts'ivi or " notice tally," Fig. XII. The Chinese guilds in the Unified States, when they have occa.sion to assemble their members, fre- quently make use of small wooden tablets, bearing on one side the name of the guild, and on the other that of the individual to whom it is sent. These tallies, called p'di ts'im, serve as the credentials of the members at the place of meeting. Their tip, which is painted red, is notched to suggest an arrow, and their name, ts'im, the same as that of the preceding splints, approximates that of arrow, tsin. Fig. XIII represents a carved gambling stick of the Haida Indians, of Fig. XII. — P'ai Ts'im. Notice Tally. Chinese in Philadelphia, INTRODUCTION. XXXI Vancouver's Island, B. C, one of a set of thirty-two, bearing devices of the totemic animals of the world quarters, in the United States National Museum. An examination of other sets of Hal da gambling sticks shows that this is an elaboration of the sticks marked with colored ribbons, doubt- FiG. XIII. — Haida. Indian Gambling Stick . U. S. Nat. Museum, No. 73,552. Fig. XIV. — Device on Haida. Indian Gambling Stick (Beaver). less also having the same significance. Comparing the latter sticks with the arrows of the Northwest Coast Indians, notably those of the McCloud River Indians, of California, it is seen that the banded sticks are directly copied from tHe arrow shaftments, a complete set representing the arrows of all the people. The Haida gambling sticks may therefore be regarded XXXll INTRODUCTION. ■r,';H ^.■ Fig. XV. — Cylindrical Stamp. Ecuador. Museum of Archasology, Univ. of Penna, No. 12,983. as the American counterparts of the Korean playing-cards. The latter, from their resemblance to the bamboo lots, ts'im, were doubtless originally made of that material. Mr. Wilkinson has referred to the tradition that the devices on the Korean cards were once pictures, more or less carefully drawn, of the various em- blems portrayed, and that the present scrawls are declared to be corruptions of these pictures. The carved gambling stick furnishes a sugges- tion as to the probable origin of the seal cylinder such as was used in ancient Babylonia. Cylindrical stamps of unglazed pot- tery, pierced with a hole like the seal cylinder of Asia, are found in various parts of America. Such a stamp from Ecuador, Fig. xv, bearing a highly conventionalized device of a bird might readily have been derived from a carved arrow shaftment, and it is reasonable to believe that the Babylonian seals, often bearing devices of animals, and like the carved gambling stick, the emblem and symbol of a man, should have had a simi- lar origin. If we admit this theory of the genesis of the cylindrical seal, may not the flat, carved, wooden seal of Eastern Asia represent the un- folding of the cylindrical seal, and thus be derived through it from the arrow ? A voluminous list might be made of objects of common and general use, among which may be mentioned the folding fan, and in China, the current coin known as " cash," which can be traced with more or less certainty to the marked arrow of primitive culture. The second method of divination which has given rise to games is one in which several two-faced staves are tossed, and numerical counts attributed to their various falls. Of this, the game of Nyoiit is a striking and typical example. In Nyout, as in many similar games of the same order, direction or place is determined by counting around a diagram which may be regarded ^S ^^5" Fig. XVI.— St.avrs used in- Zohn Ahi.. Kiowa Indians. INTRODUCTION. xxxiii i? # ± ^0 as representing the world and its quarters. -Such games are found widely distributed throughout the world. In North America they occur in one form or another in almost every tribe, both East' and West, and among the Indians of 'the South- western United States they exist with rules iden- tical with those of Nyout, played with four staves upon practically the same diagram. The staves employed in one of these games, the Zohn AM of the Kiowas, Fig. xvi, enable us, from the arrow marks upon them, to refer the origin of the staves used in America to the arrow. I have indicated on page 73 the probable origin of the Pat Kwa or " Eight Trigrams," together with the Sixty-four Hexagrams in the scoring or recording of the falls of two-faced staves. It would appear probable from the American games that these staves were derived from arrows, but the composition of the Chinese character for the name of the diagrams, kzvd, as well as that for divination by means of the diagrams, kwd, does not confirm this. Both are compounded of the character kwai, meaning the sceptres anciently carried by nobles, Fig. .wii,' one with piik " divi- nation " written on the right, and the other with shau, " hand," written on the left, the one with " divination " on the right indicating the result or record of the divination, the ktvd, and the one with " hand" on the left, the act of divining. I am not prepared to show that these ancient sceptres were originally arrows, nor yet to relinquish the belief that such was the derivation of the Nyout staves.^ Fic. XVII.- Kwai. Leremonirl Slrpthes Carried by Nobles. A.Ni lENT China. ' These sceptres were of five kinds. They were made of some kind of precious stone and carried in the hands by ancient governors as signals of authority. A duke held an un kwai, "pillar sceptre," which is described as a flat, oblong piece of stone, about nine inches long, rounded at the top and encompassed by a border. Fig. xvii. No. I. A marquis held a smi kwai, " straight scepire," which is described as resembling the former, about seven inches long, with the border only half round, No. 2. An earl held a iung kwai, " crooked sceptre," which is represented as similar to the preceding, also seven inches long, only a little bent, No. 3 — . The Shoo King or the Historical Classic, p. 18. Translated by W. H. Medhurst, Sen. Shanghai. 1846. 2 An interesting commentary upon the probable use of the kwai or ceremonial scepire of ancient China in divination may be based upon the so-called mustache sticks of Jhe Ainos of Yezo, Japan. These sticks, which are used to raise the mustache in drinking sakt, are about fourteen inches 3 xxxiv INTRODUCTION. The processes to which I have referred illustrate the two systems of gaming and divination in which the arrow is employed. In the first the entire quiver of arrows (Korean cards, gambling lobs) or certain representa- tive arrows [Meiser) are used. They are either shaken so that one or more falls according to chance (lottery, Meiser) or they are divided at random to ascertain the number {Eki) or they are apportioned among the players (cards). In the second the arrows are replaced by two-faced staves, to the falls of which numerical values are attributed. In both systems, when the arrows are used to determine number, a diagram is also used upon which the counts are made, whereby place is ascertained. This diagram, whether th.e.Nyout circuit, orthe Eight or Sixty-four diagrams, the Pachisi cfoss or the chess-board invariably stands for the world. The cosmical import of game boards is often plainly manifest, but in none more clearly than the Korean board for Pa-tok, whose quarters are designated by the cosmical symbols. It is apparent in the divinatory games that the counts refer ultimately to people, and that the counters actually stand for men. In the Pachisi game they are differentiated with the colors of the- world quarters. Of the ninety-seven Korean games described in the following pages' twenty-three may be referred to the arrow employed as an implement of magic in divination. Among them I have included the Chinese game of dominoes, in which the duplication of the eleven pieces has hitherto re- mained unaccounted for. Dominoes I now regard as having originated in the attribution of the dice casts to the world quarters, the duplicates being added to complete the chxuit of 32, in which each piece has its complement. Hence the cosmical terms, paralleled by those of the Hexagrams, which are given to the pieces. Incidentally, in the consideration of these games an ex- planation is suggested of the world-wide custom of counting-out among children. The Korean counting-out rhyme will be seen to be a numerical formula, and with the custom of counting around the circuit of the world in divination, in mind, may not counting-out rhymes be survivals of the formulje used in such counting, applied in counting-out to the representatives of the world quarters ? The terms employed in divination in Korea are, as far as in length, flat on one side and slightly rounded on the other, and with one end cut to a point. The rounded face is carved with more or less elaborate designs, which, taken in connection with the scratches on the reverse of the sticks, and the fact that the two faces, as shown by specimens in the United States National Museum, are sometimes lacquered red on one face and black on the other, would seem to bear a co-smical significance, such as may be found in the devices on similar staves used in games among certain of the North American tribes. The mustache sticks would thus appear to form a kind of link, connecting the ceremonial sceptre with the divinatory staves. INTRODUCTION. X.NXV I have observed, exclusively of Chinese origin, and a knowledge of their exact meaning is confined to scholars. I cannot leave the subject of these counting games without referring to the explanation of the sinistral and dextral circuits, disclosed to me by a Korean gentleman of rare attain- ments, whose life had been passed in the study of the Chinese Book of Divi- nation. They represent, he tells me, the Celestial and the Terrestial circuits, one nat- urally being the reverse of the other. Ceremonial divination has lost none of the respect in which it was once held in Europe, among the scholars of Korea and China, or even among a few rare students in Japan, who cling to the old order of things^ It was an important adjunct of the Chi- nese art of war, the camp itself being arranged in ac- cordance with the Eight Dia- grams.' The Korean battle- flags, with the colors of the world quarters and the em- blems of the Four Quadrants, or divisions of the Twenty-eight Constella- tions,^ illustrate the harmony that prevails between the symbols of power and the mythic conceptions upon which the theory of the State is founded. Apart from the games I have considered there remain a large number, consisting in what may be regarded as athletic sports, or in games of chil- dren, for which a convenient explanation is found in the festal theory. Some of these games, as wrestling and the fist-game in Japan, which are ceremonially practiced in the pavilions of the Four Directions, and the Fig. xviii.— Soul Bikd. Ancient Egypt. 'Chu-ko Liang, A. D. 181-234. The great counsellor of Liu Pei invented a formation of troops which he denominated Pat chan t'd, or the tactics of eight lines of battle, which has been the subject of much disquisition ^-Chinese Header's Manual, No. 88. ^I. The Azure Dragon — on the East. 2. The Sombre Warrior— on the North. 3. The Vermillion Bird — on the South. 4. The White Tiger — ^on the West. — Chinese Reader's Manual, Part 11, 91. xxxvi INTRODUCTION. divinatory tug-of-war, still retain traces of their primeval divinatory char- acter. In discussing the fist-game with a Japanese adept, he pointed out to me the distinction which should be observed between games and plays. The fist-game as practiced in the pavilion was the true game, while the perform- ance of children and the Geisha was only play, they playing or imitating the game, which he regarded seriously. I take it that the plays of children must be regarded apart from games, being dramatic and imitative, although copying games as they copy other affairs of life, and thus often preserving remains of ceremonials of remote antiquity. With children's games may be included their toys, many of which are ceremonial appliances of dis- carded religions, as the tilting Buddha toy, or remains from that primitive culture which would seem to have been once well-nigh universal. The kite, with us a mere toy, is seen in Asia to retain suggestions of its original significance as the " over soul," a conception akin to that of the employment of the kite-bird as the emblem of the soul in ancient Egypt. ti, or " devil," referring to a well-known story.' The Chinese at Nagasaki have different kites from those used by the Japanese. The shapes of their kites are even and centipedes Fig. 20. — Shoki Kite. Tokyo, Japan. more varied. Birds and representations of men, Fig. 26, are common. The frames i^hatii no hone, " bones of kite,") of Japanese kites are al- ways made of bamboo. They are invariably cov- ered with paper at the present day. The strings, itome (Chinese, sz' muk), " string eye," are made of hemp. Reels, itomaki, are commonly used. The size of a kite is usually estimated by the num- FiG. 21.— Yakko-bata. Servant Kite, Japan. ber of sheets of paper ^Oe yama oni taiji, " The Oe Mountain Devil-Destroying.' 1-6 KOREAN GAMES., used in its construction, as for example, 7««2' mai no tako, a " kite of twelve sheets.'' It is customary to attach a " hummer," unari, to large kites. This is Fig. 22. — TsuRU Kame. STOitic and 'roRTOisE Kitjs. Nagasaki, Japan, fastened to the top of the kite, as shown in Figs. 22, 23, 24, and consists of a bow of bamboo with a cord of raw-hide. Boys are extremely proud of the noise made by their kites. At Nagasaki, kites having such a hummer attached are called bara-inon. KITES. 17 Fig. 23.— Ogi no jigami. Fan-paper Kitr. Nagasaki, Japan. Fig. 24.— Kasane Ogi. Double Fan Kite. Nagasaki, Japan. KOREANJGAMES. The season for flying kites varies greatly in different parts of Japan. In general it appears to depend upon the prevailing winds. In Tokyo it beo-ins the first of the first month. Kites are never flown in summer or winter. In Nagasaki the days for kite flying are the festivals of the 3d, loth, 15th, and 2Sth of the third month. They are never flown in Naga- saki in the first month. In some other parts of Japan the Sth^ of the fifth month is the especial time of kites. In the pro- vince of Suruga, it is said that -the boys in all families that can afford it have a kite on this day. It is considered very unlucky here for a Fig. 25. — Oni-dako. Devil Kite. Nagasaki, Jaian. Fig. 26. — Chinese Kite, Nagasaki, Japan, ' " On the 3d of March, which is a lioliday called Jdni% no sechiye (sechiye, ' a banquet given by the Mikado to the nobles of the court,' a ' feast;' no ' of;' Jonii, the cyclical name of the 3d of the third month). In houses where there is a little girl of less than seven years of age, there is a pretty display of dolls and small figures, called Hlna no matsiiri [matsuri, ' religious festival ;' no KITES. IQ boy to lose his kite. It is related that a boy once lost his kite upon the day of this festival. A few months later, the boy died. It is customary for search parties to follow a lost kite, sometimes for a distance even of twenty miles. Those who bring back such a kite are given an entertain- ment, and rewarded with presents of sahe. From this custom, the kite would appear here to be regarded as the emblem of one of the personalities of the boy. Girls never have kites. In Nagasaki, when a kite escapes, no special effort is made to re- cover it. Many stories are current in Japan in which kites figure. Among others, it is related that Ui Shosetsu, who tried to overthrow the Tokugawa government in the seventeenth century, made a large kite on which he 'of;' ^j«a, ' dolls,' literally ' chickens,' or ' young birds'). These figures, which are dressed to represent the costumes of former days, are arranged in tiers, figures of the Emperor and Empress being given the highest place, while below them, in succeeding ranks, are warriors, court ladies, musicians, etc. At the bottom are arranged little models of the articles necessary for a bride going to the house of a husband — chest of drawers (tansu)^ long box for bed-clothing [nagamochi),io'^A- horse {iko), mirror on stand, and so forth. The large dolls ordinarily used for playing with form a part of the show, as does also a model of the small carriage, drawn by oxen, which was used by the Emperors in former days. Large diamond-shaped cakes, called kusa-tnochi, made of rice and boiled mugwort, are offered to the figures, and are given to those friends and relatives who pre- sented the dolls. The origin of this is not known, but it is supposed to date from over 900 years ago.'' — The Japanese Months, Vol. I. March. ' " The 5th of May is marked by a festival called Tango no sekku [seiku, ' holiday ;' no 'of;' tang-o, the cyclical name of the 5th of the fifth month), in honor of boys, the girls already having had their day, on the 3d of March. It is celebrated in every house which has been favored with the advent of a boy baby during the previous twelve months, and, to a less extent, in houses where there are boys below the age of seven. In front of the door are set up flags bearing the family crest, figures of warriors, elephants, tigers, dragons, and so forth. The most conspicuous object, however, is a tall pole, generally sm rounded by a round basket, covered with gilding, and having attached to it long narrow streamers, and a little wheel turned by the wind. From these poles, bellying out in the breeze, are one, or two, or three larged-sized colored carp, made of cloth or paper. The carp being a fish which resolutely overcomes all the difficulties it encounters in its pas- sage up the streams of the country, even ascending waterfalls, and eventually, it is said, being changed into a flying dragon, it is chosen to shadow forth what it is hoped will be the career of any youthful male members of the household. Inside the house, small flags and a military ensign, umajirusht, are set up in a wooden frame, together with helmets, and figures of fighting men, all being expressions of the hope that the small boys of the house may ultimately become great men. Old books say that this holiday was observed as far back as the reign of Jintoku Tenno, about fif- teen centuries ago." — TTie Japanese Months, Vol. I. May. There appears to be a more or less intimate association between the long flags, nobori, the carp, W, made of cloth or paper, /So««ofor!, and kites, which are designated, as seen in the ]Va Kan san sai dm e, as ika nobori. They are all connected with the boys' festival, on the 5th of the fifth month. Nobori means literally " to go up, to ascend." 2 20 KOREAN GAMES. ascended to overlook the castle of Yedo. It is also told that the famous robber, Ishikawa Goemon, in the sixteenth century, attempted to steal the gold from the celebrated golden fish on the Castle of Nagoya by mounting on a kite. Since that time, it is said that large kites are prohibited in Owari. VI. NYEN-E-OUL-NI-KI KITE FIGHTING. Simple kite flying, nyen-nol-i-ki, or " kite playing," is quite secondary in Korea to the sport of kite fighting, nyen-e-oul-ni-M, that is, " kite uniting," or " bringing together." Kite flying is practiced chiefly with this in view, the silk strings being prepared their entire length by dipping them in fish-glue to which some sharp material, such as powdered glass or porcelain, has been added. Any kite, no matter to whom it belongs, may be cut down by another. The moment two kite-strings are crossed, the players must let out their lines, as when one of them becomes tense, it is immediately cut through. Sometimes four or five strings are crossed, and the sport often lasts all day. The moment a kite is cut down it is at once seized by small boys who watch for such catastrophies. It is a common saying that there is no property in a lost kite, and when a kite is cut all of the string that may be off" the reel is also forfeited. Kites are not matched by previous ar- rangement in Korea, and their owners do not bet upon them. Hummers are not put in kites, as in Japan. Silk string, which is sold by weight, is invariably used, except by young boys, who have cotton cord. All silk string is first prepared with glue, and fresh glue put upon it, to which the glass or porcelain is added, when it is used. From the preceding account of kites in Japan, it is natural to suppose that kite fighting is not as general or as popular in Japan as in Korea. It is, however, very common, being called tako no kiri-ai, or " kite cutting." ^ Powdered glass or porcelain is fastened to the line with rice-paste for about a hundred fathoms below the kite, and sometimes a sharp, curved knife- blade is attached, in order to cut another's cord. Men frequently match their kites by appointment. At Nagasaki, kite fighting is one of the favorite sports among men, who wager much money on their kites. In Suruga, kite fighting would appear less popular. A secret enemy will sometimes at- tempt to cut down another's kite, and boys are generally careful not to en- tangle their kite-strings. When such entanglement happens, they fre- quently come to blows. ' In Nagasaki it is called kakiko suru. us V3yft/£^ PLATE V. KOREAN ROPE WALKING. WIND-MILL. 21 VII. EL-NENG-TJIL. When boys secure the string of a lost kite, they frequently tie stones to pieces of the string, and fight them by whirling the stones so that the strings cross and cut each other, in somewhat the same manner as when attached to the kites in the air. This is called el-neng-tjil. ~x:> VIII. SYOK-KOP-TJIL-HA-KI PLAYING HOUSE. Little girls in Korea play house in much the same manner as children do in Europe and America. Thev have no speciallv '^'°' ''7~'^*"'^ """^ ''°- bean doll. Japan. made toys for the purpose, but use clam-shells and small cups from the table service, in which they pretend to serve food. Little girls in Japan play house, using sea-shells and toy utensils, of which a great variety are sold. They call it mama goto, " rice (repast) play." IX. KOANG-TAI ROPE-WALKER TOY. Boys make a toy of paper imitating a koang-tdi, or " rope-walker," which they call by that name. Small stones are tied to the legs, which are placed astride a cord, along which the figure is made to move by striking the cord on the side toward which it is desired to go. They sometimes whistle through a crook in their little finger when they play with this toy. A similar toy is made in Japan, under the name of manie ning yo, or " bean doll," Fig. 27. Its arms are represented by a cross-piece of bamboo, to the ends of It is usually balanced on the finger. Fig. 28.— Tsuna-wataki. Rope-walking From the Wak Kan san sai dzu e. I'hich beans are attached. X. TO-REU-RAK-I WIND-MILL. Children make wind-mills of paper with two vanes which represent kites (v). The shape is always the same, but the color varies, and they fre- 22 KOREAN GAMES. Fig. 29. — Bun bun. Buzz. Japan. Museum of Archseology, University of Penna. No. 16,219. quently have a picture of a man on one vane and a woman on the other. In Japan, the wind-mill is a common toy, and is made of paper vanes fastened on slips of bamboo, which are arranged like the spokes of a wheel. The vanes are usually alternately red and white, or other colors. It is commonly called kazaguruma (wind-mill), and sometimes hana- garuma (flower-mill), the latter name being applied to a special kind. XI. SEU-RAM-I THE BUZZ. This receives its name from the sound it makes. There are two kinds : one a simple circular card, with two holes through which cords are passed, and the other a tube of bamboo, which is held vertically, within which is an axle terminating in a kind of vane of different colored paper, which is made to revolve by means of a string which wraps and un- wraps itself about the axle. In Japan, a buzz called bun brin^ is made out of a rec- tangular slip of bam- boo, Fig. 29, about two and o n e - h a 1 f inches long, through which two cords are passed. The buzz is to be found widely distribu- ted among the In- dians of North Ame- rica. Fig. 30 repre- sents a buzz made of ivory, with a cord of sinew from the North Greenland Eskimo, collected by Mr. Henry G. Bryant. The second form^ is common ' This name, which is evidently imitative of the sound of the buzz, was given me as its vulgar name, and its more technical name, if it possesses one, is unknown to me. ' This is also common in India. A specimen from Lucknow, called charki, is made of tin. Fig. 30. — Buzz. North Greenland Eskimo. Museum of Archaeology, Univ. of Penna. No. 18,391. DEVJL ON TWO STICKS. 23 Fig. 31. — ToMBo. Dragon Fly Toy. Japan. Museum of Arch., Univ. of Penna. No. 16,225. in Japan, under the name of Tombo, or " dragon fly," a name which i.s also given to the flying toy, Fig. 31, made by affixing a rectangular strip of bam- boo, cut in a slightly twisted or screw- like shape to the end of a stick which passes through it. , In China (Canton) a buzz is made out of a disc of wood pierced with two holes, like the first- mentioned Korean form, or, the seed- pod of the ling kok (Trapa bicornis) 1, ^ffl t- is hollowed out, and cords passed \ ^l>^' through it. These toys are called * mang fung che , "pulling wind-wheel." XII. TJOUK-PANG-OUL (dEVIL ON TWO STICKS, Viable). Jugglers, syot-tai-hpdi, who travel about the country in large parties, play with an object made of two inverted cones fastened together at the apex, and manipulated by means of a cord, which is attached to two sticks, one of which is held in either hand. Champlin and Bostwick ^ give the following history of a toy simi- lar to the above, under the name of "Flying Cone," or " Devil on Two Sticks," Fig. 32. " This toy had its origin in China, where peddlers use it to announce their approach by its humming. The Chinese form is much larger than ours, and consists of two cylinders of metal or bamboo, united by a thin stem. A string makes a running knot around the stem, and no sticks are used in spinning it. On its introduction into Europe, early in this century, it assumed its present form. In France, where it is called le diable, it was at one time so popular that, says a French writer, the toys were made of the most valuable RIGHT HANU Fig. 32. — Flying Cone. From The Young; Folks Cyclopcedia of Gaines and Sports.- ^7 he Young Folks' Cyclopedia of Games and Sports, New York, 1890. ^ With courteous permission of Messrs. Henry Holt & Co. 24 KOREAN GAMES. woods, and even of glass. They were played with in parlors and on roofs, in public places, and promenades ; the sport was not confined to children, but ladies and even persons of eminence strove to excel in it." XIII. HPAING-I — TOPS. , Tops are played in winter on the frozen ground, being spun with a whip. There are no particular games. They sometimes have iron points, and are made of a hard wood, called tan-mok} The ironing sticks are also made of this wood, and their makers cut the pieces from the ends into tops. This wood is from the tree under which it is said the first king of Korea sat when he came from heaven. His Majesty the King of Korea is there- fore called Tan-Koun from the name of this tree. The Dictionnaire Coreean Frangais also gives Hpding-keu-ram as a little top, which is turned with the forefinger and thumb, an amusement of children. It defines hpding as an imitation of the sound made by a stone in the air, of a ball, or of the top of children. My Korean informant tells me that tops are also called hpding-ko. Plate VI. represents country boys whipping tops on the ice. Top-play is described under two titles in the Wa Kan san sai dzu e. One, koma (Chinese, tuk lok) " solitary pleasure," Fig. 33, and the other dai mawashi (Chinese, hoi lo lutig), or "conch-shell play," Fig. 34. The writer says he considers the koma as different from the bat mawashi, Fig. 35, although the amusement is the same. The latter is played by a number of persons as a gambling game, observing gains and losses, while the koma is not used for gambling ; hence the name " solitary or individual pleasure." In modern times we have the chikujen Jiakata '''-gonta, which is made of wood, in the form of a lotus seed-pod, the size of a fist. Fig. 36. The spindle is made of iron like a nail, which is wrapped with cord that is pulled around. It prevailed during the Gen Roku period (A. D. 1688- 1704). Those who become skillful can spin the hakata-goma upon a slender branch or upon a wire, Fig. 37. The writer says that he does not know when the bai mawashi began. Country people take conch shells to play with, and grind the pointed heads flat and the tips round, and wind a cord ' " Red wood." The Dictionnaire Coreian- Franiais defines it as " Brazil wood." 2 The city of Hakata, in the province of Chikujen, where it may be supposed this top was first made or came into use. 2 >]\'j^] PLATE VI. KOREAN TOP SPINNING. TOPS. Fig. 38. Fig. 39. Fig. 40. Fig. 33. — KoMA. Top. Japan. From the ll^a A'a?i san sai dzi Fig. 34 Fig. 35 Fig. 36. Pig. 37, Fig. 38. Fig. 39, Fig. 40, — Bai mawashi. Conch-shell (^ame. Japan. From the JVa Kan san sai dzu c — Bai. Conch-shell Top. Japan. — Hakata-goma. Hakata Tup. Japan, — Hakata-goma mawashi. Hakata Top-spinning. Japan (Bokii sen). , — Bozu-GOMA. Pkiest-Top. Japan. — UCHI TSUKE-GOMA. SXRIKING-TOP. JaPAN. — Nage-goma. ThrowinG'Top. Japan, 26 KOREAN GAMES. around them to spin them with on a mat-tray. ' Two or three shells are nec- essary to constitute a game. The shell that is knocked out of the tray loses. The one that goes in first is called ika (Chinese, i ka), and the one that goes in last dai wu (Chi- nese, nai ts.'y'). When they collide with each other and go out together, it is called karu (Chinese, cheung). In this case the ika wins. The shells from Kumano ^ are good and strong. I am informed by Mr. Matsuo that only the tips of the shells are used, and that they are weighted with lead. Good ones cost as much as one to one and a half yen. The game is still very popular at Osaka. Mr. Mori- moto has sketched a great variety of tops which are current at the present day in Japan. Among the commonest is the bozu-goma, or " priest-top," Fig. 38, which is so called from its resemblance to the shaven head of a Buddhist priest. It is played with a cord, and is usually made of tsuge, or box-wood. A similar top with a sharp iron peg is used by boys in Nagasaki in a top-fighting game like that practiced by American children. The uchi tsuke-goma, or " striking-top," Fig. 39, has its upper surface painted with rings of red, and is also played with a cord. The nage-goma, or " thro wing-top," Fig. 40, is usually made of box- wood, and is played with a cord, being thrown directly on the ground, or with a sideways motion. The uke-goma, or " catching-top," Fig. 41, is made of wood, with an iron spindle around which the cord is wound. This top is thrown sideways, and caught in the hand, or it may be taken up in the hand when spinning on the ground. The tsumami-goma, or " pinching-top," Fig. 42, has an iron spindle, on the upper part of which is a loosely-fitting tube by which the top may be lifted with the fingers. Little children frequently play with tops, which they twirl with their fingers or between their hands, such as is represented in Fig. 43, under the name of te-goma, or " hand-top," or hineri-goma, " twirling-top." The spindle is made of bamboo, and the body of wood, with incised rings, which are painted red, on its face. Fig. 44 represents another form of top which is spun with the fingers, called kashinomi-goma, or " acorn-top." The body of the top is made of an acorn, with a bamboo spindle. 1 This consists of a folded mat, as shown in the picture. ' A district of Kishiu. TOPS. 27 Fig. 47- Fig. 41.— Uke-goma. Catching-Top. Japan. Fig. 42. — TsuMAMi-GOMA. PiNCHiNG-Top. Japan. Fig. 43.— Tk-goma. Hand-Top. Japan. Fig. 44. — Kashinomi-goma. Acorn-Top. Japan. Fig. 48. Fig, 45. — Senpei-goma. Cake-Top. Japan. Fig. 46.— Fue-goma, Whistle-Top. Japan. Fig. 47. — Chochin-goma. Lantekn-Top. Japan. Fig. 48. — Yakko-goma. Slave-Top. Japan. 28 KOREAN GAMES. The senpei-goma, Fig. 4g. — Tsuna wataki-Goma. Walking the Rope Top. Japan. .SO called from the cake which it somewhat resemble.s, is also spun with the fingers. Fanciful tops are com- mon in Japan, such as the fue-goma, or "whistle-top," Fig. 46; the chochin-goma, or " lantern-top," Fig. 47, made in two parts, connected with paper like a lantern, which distends when it is spun ; the yakko-goma, or " slave-top," Fig. 48, which has a mauie ning yo, or " bean-doll " (Fig. 27), at the top ; the tsuua-watari-gonia or " walking the rope top," Fig. 49, and the komochi- goma, " child-bearing top," Fig. 50, which contains a number of small tops, which are released when the top is spun. Many other tops, modifications of these de- scribed, are also known. The top represented under the general name of koma • in the Wa Kan san sai dzu e, Fig. 33, is a humming- top. Humming-tops are known in Japan as kaminari- goma, or "thunder-tops." They are made of a section of bamboo, with wooden ends, through which a bamboo spindle is passed. Fig. S I represents a Japa- nese humming-top in the Uni- versity Museum, which is F-o. so.-Komochi-goma. CmLD-nEAmNG top. Japan. rudely painted with flowers. It is identical in form with a bamboo hum- ming-top from Java in the same collection. ^"^""'''taiillipppt*''''''"''''^ SQUASH. 29 XIV. MAI-AM-TOL-KI SPINNING ROUND. This game is played by little boys. A boy will draw a circle on the ground, and, crossing his arms, will take hold of one of his ears. He will then stand within the circle and turn around in the same direction until he steps outside of the ring. His companions count the number of turns. He may turn either to the right or left, accordingly as he grasps the right or left ear with his hand. In Japan little children spin around, holding their ear with their hand, in the same manner as in Korea. XV. TAK-TCHONG POP-GUNS. Boys made various kinds of guns of bamboo. Pop-guns, in which paper wads are used, are called tji-tak-tchong (Chinese, chi, "paper" — diung, " gun "). Blow-guns, in which pebbles are thrown, are called ino-ri-tak-tchong. Boys put a needle in a piece of reed and blow it from a hollow bamboo. Squirt-guns for water are also made, called moul- tak-tchong. Japanese boys make pop-guns out of bamboo, which they call kami-deppo, or "paper-guns." They also make blow-guns out of bamboo or wood. The latter are preferred, and are usually hexagonal in shape instead of round. A bamboo dart feathered ^ , . - ^^, Thunder (Humming) Top. Japan. with paper is used m them. These guns are called Museum of Arch., Univ. of Penna. /«/^/_^'«, "blow-arrow." They also make bamboo '^°' squirt-guns, called midzudeppo, " water-guns." In China (Kwangtung) boys make pop-guns of bamboo, which they call id pic pok} They also make squirt-guns out of bamboo, which they call shui chit, " water-squirts." XVI. NA-KOUI (squash) DONKEYS. Boys mount a squash, ko-pak, on four sticks to make a na-koui, " donkey." In Japan boys imitate animals in the same way with egg plants and radishes. These are made to represent horses or donkeys, and are especi- Kaminari-goma. ' The last two words are colloquial and mimictic. ,Q KOREAN GAMES. ally made at the festival called Bon/ that commences on the eve of 13th of the seventh month. The custom was very common in ancient times. XVII. MOU-TEUNG TURNIP-LANTERNS. Boys make lanterns out of turnips in the autumn. These "turnip- lanterns," mou-teung, have a window cut in them, which is covered with a piece of paper. Japanese boys make lanterns out of watermelons after eating the pulp. XVIII. SSI-TEU-KI — WOOF TAKING (cAT's CRADLE). Cat's cradle is usually played by girls. The figures which are the same as in our own children's play are named as follows : i. Sang-tou-tou-ki, ■'cover for hearse;" 2. Pa-tok-hpan, "chess-board;" 3. Tjye-ka-rak, " chop- sticks;" 4. Soi-noim-kal, "cow's eyeball;" 5. Tjyel-kou-kong-i, "rice- mill pestle.'J^ In Japan cat's cradle is called aya ito torif " woof pattern string-taking." The figures are identical with those in Korea, but receive diiiferent names. The first I have been unable to learn ; the second is called nekoinata, de- fined as " a mountain cat into which a domestic cat is supposed to transform itself;" the third, koto, " a musical instrument,'' or geta no ha, the two pieces of wood under the sole of clogs ; the fourth, lunano vie, " horse-eye," and the fifth, tsuzuini, " a musical instrument." In Southern China " cat's cradle " is called kang sok, which means literally " well rope." It is spoken of as an amusement of girls, but is known to all the Cantonese laborers of whom I have inquired concerning it. They make the same figures as those of Korea and Japan, but do not, they tell me, give them names. The order of the figures, after the first, is not neces- sarily that here given. Miss Fielde* says that the Chinese (Swatow) call cat's cradle " sawing wood," " in allusion to the final act in the performance." ' The "feast of lanterns," celebrated at the full moon. * The fingers receive the following names in Korea : Thumb, mo-tji (Chinese mo chi), " mother finger;" index, sik tji (Chinese, shik chi), "eating finger;" middle, /y/ow^-^V (Chinese, cKiung chi), "long finger;" third, mou-myeng-tji (Chinese, mo ming cki),"no name finger," and little finger, tjd-tji (Chinese, tsz' chi), "little" or "son finger." The same names, among others, are given to the fingers in China. ^ Hepburn's Dictionary defines aya as " cat's cradle." * A corner of Cathay. New York, 1894, p. 87. DELAY GUEST INSTRUMENT. 31 \1X. KEM-EUI-TJYOUL-TCHAI — SPIDER WEB (nET) BAT. A hoop of about one or two feet in diameter is made of a branch of a scrubby tree which the Chinese call nau, to which a handle is attached. Boys go out early in the morning and catch spider-webs upon the- hoop until it is covered, and later capture locusts, mdi-am-i, and dragon-flies, pdlk-a-syong-i, in the net thus formed. When a dragon-fly is captured, it is customary to stick a piece of straw through its abdomen and release it. The insect then mounts directly into the air. This is called " sending into exile." In Japan, boys use a hoop of bamboo covered with spider-web, which they call kumono ami, or "spider-net,'' to catch locusts, but the same net is also used to catch dragon-flies. They usually catch dragon-flies with mochi, or bird-lime, but it is considered more dexterous to seize them with the fingers. It is customary for them to attach a piece of paper to the ab- domen of a dragon-fly, and then release it. In going in search of dragon- flies, they generally recite a certain poem. Superstitious people do not catch a certain kind of dragon-fly having a red appearance. The reason given at Tokio is that these dragon-flies make their appearance at the Bon festival ; at Nagasaki they say that the spirits of the dead return to earth riding upon their backs at that time. XX. RYOU-KAIK-TJYO DELAY GUEST INSTRUMENT (rING PUZZLe). Ryou-kaik-tjyo (Chinese, laii kdk clia), or " Delay guest instrument," is the name given to the familiar ring and bar puzzle which the Chinese call kau tsz' lin wan, or " nine connected rings," Fig. 52. My Korean informant tells me that this puzzle is said to have been invented, according to a Chinese story, by the famous Chinese hero, Hung Ming^ (A. D. 181-234), who gave it to his wife when he went to the war. The story Fig. 52. — Kau tsz' lin wan. Canton, China. Museum of Arch., Univ. of Pennsylvania. No. 7,626. Fig. 53. — Chive no wa. Ring Puzzle. Japan. relates that she forgot her sorrow in attempting to solve it. In Japan there are a great variety of ring puzzles, which are known as chiye no wa, or "rings of ingenuity." A simple form is represented in Fig. 53. I am ' Chinese Readers' Manual, No. 1 32 KOREAN GAMES. unable to learn that the first represented ring puzzle is commonly known in Japan. XXI. MAL-NONG-TJIL-HA-KI PLAYING HORSE. Little boys play riding a stick, which they call mdl, " horse." They generally take their grandfather's cane. The same name is applied to riding a stick, and to riding astride another boy's shoulders. In Japan, little boys play " horse," which they call take ?^;«ia:, " bamboo horse." They sometimes have a stick with a horse's head, with bridle and reins, Fig. 54. The Wa Kan sai dzii e relates that T'au Hien, of the Later Han Dynasty (A. D. 25—221), when fourteen years old, made him- self a flag, rode on a "bamboo horse," and played. Kan Kung observed his appearance, and admired it, and granted him his daughter as a wife. His wife indignantly said : " The iG. 54— AKE UMA. Japan. y^ ^j- ^^ j,^^ family plays too much. How From the Wa Kan san sai dzu e, ^ i- j can we give him our daughter?" Kan Kung replied : " He has a noble aspect, which certainly presages great success," and he gave him his daughter. The same book states that boys of seven years of age take pleasure in the " bamboo horse." XXII. NYANG-PAN-NO-RAM — NOBLEMAN PLAY. A boy bends his back while two boys each take one of his hands and a fourth boy then rides on his back. A similar game is very popular among Japanese boys. One bends his back and seizes the girdle of another boy who precedes him, while a third rides. The rider is called Taisho, or " general," and the game consists in a contest between two riders, who endeavor to pull each other down. XXIII. HYENG-KA-RAI-TJIL-TCHI-KI. This is a form of punishment applied as a forfeit in games. The loser is swung by four boys, each one taking an arm or leg until he becomes very tired. The name of this game is derived from the operation of spading practiced by farmers— a kind of shovel shod with iron, ka-rai, which is di- •i^^^^ 'm'^y \\m- V: A y me vjiu-^ \ 'L^' elnirc^-J PLATE VII. KOREAN SPADE SHOVELLING. ROPE-JUMPING. 33 rected by one man, who holds the pole or handle, while two or four men drag the implement by two or four ropes, as shown in Plate VII., is used for the purpose. X.\1V. AING-KEUM-TJIL HOPPING. The one who hops farthest wins. This is a very common amusement in Japan, where the players usually race to a goal. The name for hopping varies greatly in the different pro\finces. In Tokio it is called chin chin mago mago ; in Aidzu, biko biko ; in Shonai, kata ashi tobi ; in Yamaguchi, ken ken tobi , in Shimabara (Hizen), ^w^z gislii, and in Kagoshima, sukkengyo. In China (Kwangtung) hopping, called chik keuk, is a favorite amuse- ment with boys. XXV. TTOUI-EM-TTOUI-KI JUMPING. Boys jump standing, and running, from a mark. The running-jump is czWe-A pa- raiii-ttoui-em ; literally, "wind jump." Boys sometimes jump over a rope, and sometimes practice jumping down from high places. In Japan (Nagasaki) jumping is practiced as an amusement by boys under the name of tobikko. A rope is stretched and boys jump over it, or they compete in jumping on the level, sometimes running to obtain impetus. XXVI. TTOUI-YE-NEM-KI JUMPING OVER (lEAP frog). This game is played by several persons, one of whom leans over, putting his hands on the ground, and the others, who stand behind him, vault over his back by placing their hands upon his shoulders. Leap frog is a very common game in Japan, under the name of tobi-koshi, "jump- ing over," Fig. 55. XXVII. TJOUL-NEM-KI — ROPE-JUMPING. j.^^ ^^ Jumping rope is a spring game, played only by boys. One turns and jumps by himself. In Japan boys jump rope, one turning and jumping, or sometimes two turn and one or two —Tobi-koshi. Leap Frog. Japan. 34 jump. KOREAN GAMES. It is also called tobi koshi, or tsuna tobi, " rope jumping," Fig. 56. In China (Canton) jumping rope, which is played occasionally by one boy, who turns and jumps, is called t'iu siting, "jumping rope." XXVIII. NEL-TTOUI-KI — BOARD-JUMPING (SEE-SAWJ. This is practiced especially by girls, even by those of nineteen and twenty years. The two players stand on the end of the board, which is laid on a roll of mats as a fulcrum, and ' alternately jump up and down. Plate VIII. rep- resents two country girls playing on the nel- ttoui-em, or see-saw. The see-saw is a common game in Japan, ' where it is called " see-saw," the name having been introduced with the game from Europe or America, Fig. 57. In China (Canton) see-saw is called tang fin p'ing. Fig. 56. — Tobi koshi. Jumping Rope. Japan. XXIX. TCHYOU-TCHYEN, OR KEU-NEUI SWINGING. Swings are suspended from branches of trees, or where there is no available tree two poles are erected as a support. Young men and women Fig. 57.— See-saw. Japan. of the same family often swing together. Grown men also practice swinging. The object is to go as high as possible and touch the branches of the tree. \ < '}iv>'ji PLATE VIII. KOREAN SEE-SAW. ROPE-PULLING. 35 Swinging is a spring sport, common in the fifth month. Plate IX. represents two country girls about eighteen years of age, swinging. In Japan men and boys swing, both the swing and the act of swinging being called Buranko, Fig. 58. In China (Kwangtung) swinging is called Td ts'au is'in. XXX. TJOUL-TA-RI-KI ROPE-PULLING (tUG-OF-WAR). This is played by any number of boys at a cer- tain time of year, about the i Sth of the first month. In the country the entire population of districts and villages engage against other districts or villages at this season. It is believed that the village that wins will have a good harvest. The rope is of straw, two feet in diameter, with its ends divided into branches. The men take the main stem, and the women the branches. The latter frequently do more than the men, as it is customary for them to load their skirts with stones on these occasions. The Dictionnaire Coreen Frangais gives the name of this rope as Kei-tjoul, and defines it as a " rope which they pull by the two ends to secure abun- dance." The Tug-of-war is a common amusement among school-boys in Japan ^_fC\ Fig. 58. — BuKANKo. Japan. Swing. Fig. 59. — TsuNA hiki. Tug-of-wak. Japan. under the name of Tsuna hiki, or *' Rope-pulling," ^ Fig. 59. Another similar 1 According to The Japanese Months, on the 15th day of the eighth month, in the old calendar, people turned out to admire the full moon and made offerings to it of dango, a kind of cake made 3 36 KOREAN GAMES. Japanese game is played by two persons who sit opposite to each other with a cord passing around their necks. They each endeavor to pull the other over. This is called Kubi hiki, or " Neck-pulling." XXXI. SSI-REUM-HA-KI WRESTLING. A rope is usually tied around the right thigh to furnish a hold. Shoulder is placed to shoulder, and the object is to throw the opponent. In the country grown people wrestle, and a prize is fre- quently given to the winner. There are no professional wrestlers, as in Japan. WrestHng is commonly known as Sumo ^ in Japan, and a wrestler as sumo tori, Fig. 60. The following interesting and sug- gestive account of wrestling in Japan I have extracted from Mitford's Tales of Old Japan} The first historical record occurs in the sixth year of the Emperor Suinin (B. C. 24), when one Taima no Kehaya, a noble of great stature and strength, boasting that there was not his match under heaven, begged the Emperor that his strength might be put to the test. The Emperor accordingly caused the challenge to be proclaimed ; and one Nomi no Shikune answered it, and Fig. 60. — SuMAi. Wrestling. Japan. From the Wa Kan san sai dzu e. of rice, beans, and sugar. The sport known as "Tug-of-war" — in Japanese Tsuna-hiki, or " Rope- pulling" — afforded amusement on the same evening to the boys of rival villages, or to contending parties belonging to the same place, grown-up persons sometimes joining in the fun. Each party furnished itself with a large rope made of rice-straw, having a loop at one end. A stick was passed through the two loops, thus uniting the ropes, and then the two sides commenced to tug. Whichever party was pulled over the dividing line was derided and crowed over, and the same ignominy befel the party whose rope happened to break during the strain. This practice, however, is now a thing of the past. From the middle of July to the middle of August is an anxious period for the farmers, whose rice plants are in danger of perishing from lack of water, should no rain fall for several consecutive days. ' Hepburn's Japanese English Dictionary gives the following additional names : Jidori^ Yawara and Jujutsu. 2 Tales of Old Japan, by A. B. Mitford, London, 1871. Vol. I, pp. 203-207. ^is-ig? c^ ^">to^-^v PLATE IX, KOREAN SWINGING. WRESTLING. 37 having wrestled with Kehaya, kicked him in the ribs and broke his bones, so that he died. After this Shikune was promoted to high office, and became further famous in Japanese history .as having substituted earthen images for the living men who, before his time, used to be buried with the coffin of the Mikado. In the year 858 A. D., the throne of Japan was wrestled for. The Emperor Buntoku had two sons, called Koreshito and Koretaka, both of whom aspired to the throne. Their claims were de- cided in a wrestling-match, in which one Yoshiro was the champion of Koreshito, and Natora the champion of Koretaka. Natora having been de- feated, Koreshito ascended his father's throne under the style of Seiwa. In the eighth century, when Nara was the capital of Japan, the Emperor Shomu instituted wrestling as part of the ceremonies of the autumn festival of the Five Grains, or Harvest Home ; and, as the year proved a fruitful one, the custom was continued as auspicious. The strong men of the various provinces were collected, and one Kiyobayashi was proclaimed the cham- pion of Japan. Many a brave and stout man tried a throw with him, but none could master him. Rules of the ring were now drawn up ; and in order to prevent disputes, Kiyobayashi was appointed by the Emperor to be the judge of wrestling-matches, and was presented, as a badge of his office, with a fan upon which were inscribed the words the " Prince of Lions." The wrestlers were divided into wrestlers of the eastern and of the western provinces, Omi being taken as the centre province. The eastern wrestlers wore in their hair the badge of the hollyhock ; the western wrestlers took for their sign the gourd-flower. Hence the passage leading up to the wrestling-stage was called the " Flower Path." Forty-eight various falls were fixed upon as fair — twelve throws, twehe lifts, twelve twists, and twelve throws over the back. All other throws not included in these were foul, and it was the duty of the umpire to see that no unlawful tricks were resorted to. It was decided that the covered stage should be composed of sixteen rice-bales in the shape of one large bale, supported by four pil- lars at the four points of the compass, each pillar being painted a different color, thus, together with certain paper pendants, making up five colors, to symbolize the Five Grains. The civil wars by which the country was disturbed for a while put a stop to the practice of wrestling ; but when peace was restored it was pro- posed to re-establish the athletic games, and the umpire Kiyobayashi, the " Prince of Lions," was sought for ; but he had died or disappeared, and could not be found, and there was no umpire forthcoming. The various provinces were searched for a man who might fill his place, and one Yoshida 38 KOREAN GAMES. lyetsugu, a Ronin of the province of Echizen, being reported to be well versed in the noble science, was sent for to the capital, and proved to be a pupil of Kiyobayashi. The Emperor, having approved him, ordered that the fan of the " Prince of Lions " should be made over to him, and gave him the title of Bungo no Kami, and commanded that his name in the ring should be Oi-Kaze, the " Driving Wind." Further, as a sign that there should not be two styles of wrestling, a second fan was given to him, bear- ing the inscription, " A single flavour is a beautiful custom." The right of acting as umpire in wrestling-matches was vested in his family, that the " Driving Wind " might for future generations preside over athletic sports. In ancient days, the prizes for the three champion wrestlers were a bow, a bowstring, and an arrow. These are still brought into the ring, and at the end of the bout the successful competitors go through a variety of antics with them. To the champion wrestlers — to two or three men only in a generation — the family of the " Driving Wind " awards the privilege of wearing a rope- girdle. In the time of the Shogunate, these champions used to wrestle before the Shogun. At the beginning of the seventeenth century (A. D. 1606) wrestHng-matches as forming part of a religious ceremony were dis- continued. They are still held, however, at the shrines of Kamo, at Kiyoto, and of Kasuga, in Yamato. They are also held at Kamakura every year, and at the shrines of the patron saints of the various provinces, in imitation of the ancient customs. In the year 1623 one Akashi Shiganosuke ob- tained leave from the Government to hold pubHc wrestling-matches in the streets of Yedo. In the year 1644 was held the first wrestling-match for the purpose of raising a collection for building a temple. This was done by the priests of Kofukuji, in Yamashiro. In the year 1660 the same ex- pedient was resorted to in Yedo, and the custom of getting up wrestling- matches for the benefit of temple funds holds good to this day. According to The Japanese Months ', autumn is the season when wrestling is most indulged in throughout the empire of Japan at large, although- it is indulged in any period of the year in Tokyo and other large cities. Professional wrestlers are huge fellows, who wear their hair like Spanish bull-fighters, in a style different from that of most other people. They are divided into bands, each under a leader, who gives in- struction in the art to his followers, and these companies go from place to place. 'Vol. II. September. SHUtTLECOCK KICKING. 30 In Tokyo, wrestling contests generally take place at Ekoin, and con- tinue for ten days at a time. There is a raised arena, encompassed by a double circle of straw bags filled with earth — sixteen bags in the inner circle, and twenty in the outer one. Four pillars, which support a roof, have the lower part hung with red blankets, swathed round with white, and the upper parts colored respectively Green, Red, White, and Black, to represent Spring, Summer, Autumn, and Winter. Two tubs of water, salt, and sheets of paper are provided, and two fans, a bow, and bow-string are attached to one of the pillars, to be given as prizes in final contests. After certain opening formalities have been performed by the judge, he summons by name two combatants from the rival parties, who thereupon advance and squat upon their heels in the arena. At a signal from the round fan in the judge's hand, the men rise and grapple with each other, and at the end of each bout the judge indicates by his fan the side to which the victor belongs. One use of superannuated wrestlers is to act as umpires, and to compose the quarrels which sometimes arise among the younger men — quarrels in which men of ordinary muscle do not care to interfere. XXXII. HTAIK-KYEN-HA-KI — KICKING {Fr. Savatc). Htdik kyen-hd-ki is a combat between two players, chiefly with the feet. They take their positions with their feet apart, facing each other, and each endeavors to kick the other's foot from under him. A player may take one step backward with either foot to a third place. His feet, there- fore, always stand in one of three positions. One leads with a kick at one of his opponent's legs. He moves that leg back and kicks in turn. A high kick is permitted, and is caught with the hands. The object is to throw the opponent. This game also occurs in Japan, but the Chinese laborers from Canton do not appear to be familiar with it. XXXIII. TJYE-Kl TCHA-KI — SHUTTLECOCK KICKING. The Korean shuttlecock consists of a flattened ball made of cotton cloth and filled with clay or ashes, having a feather from a pheasant's tail stuck in the top. Shopkeepers play the game in the streets to keep their feet warm. The Tjye-ki is kicked from one person to another, and may be put in place to kick with the hand. The Chinese character kin, " foot-ball," is given as an equivalent for Tj'ye-ki in the Dictionnaire Coreen-Frangais. Tcha-ki, " kicking," is apparently from the Chinese Uk, "to kick." 40 KOREAN GAMES. Plate X. represents country boys kicking the shuttlecock, which the artist has designated as Myen. ^^ In Japan the girls only y^ * lr '^^^'c^HSb P^'^y with the shuttlecock, Fig. 6i. It is their customary ^^^_^^ amusement at the New Year. *C^S. /^Vr f They use a battledore, Hugo ^~t^L^ •^^ci, " snake ;" the forefinger, kairu, " frog," and the little finger, namekuji, " slug." The snake beats the frog, the frog the slug, and the- slug the snake. These may be regarded more as play than as serious games. Such is not always the case with the following game of Ken, commonly known as Kitsune Ken, or " Fox Ken!' In Kitsune Ken, the two hands slightly bent forward and raised to the ears is called kitsune, " fox ;" the two hands placed on the thighs in the respectful posture, shoya, " the headman of a village," and the extended forefinger, (eppd, " gun." In this game kitsune beats shoya, because the fox can deceive the man ; the shoya beats teppo, because the gun may not shoot the magistrate, but the teppo beats the kitsune, because the gun kills the fox. There are a great variety of positions in which the hands may be placed to represent the figures in Kitsune Ken, no less than twenty-five dif- ferent attitudes being used for kitsune, and ten, it is said, for shoya. Kitsune Ken is said to be more properly called To Hachi Ken, after an itinerant quack doctor named To hachi, some . two hundred years ago, when the game was very popular. Instruction is regularly given in To Hachi Ken by teachers of the game, who are usually schoolmasters. In Tokyo matches are held at places devoted to the game, such as the Kotobuki Tei. The announcement is made by circulars and an admission charged. Many hundred spectators assemble, and from 70 to 120 contests are held during the day and evening. A structure, shi hon bashira, " four posts," consisting of a square pavilion, supported by four bamboo posts, is erected for the players. This pavilion is similar, only smaller, to that used in wrestling, and the posts are colored in the same manner — green, red, white, and black — to represent the four seasons. The players sit opposite to each other at the sides of the pavilion, within which a small narrow table, ken dai, is placed, upon which they rest their elbows. Two umpires, called Gyoji and Mukogyoji, who have fans, gumbai, like those used by umpires in wrestling, sit on the other sides. At the corners are four men 46 KOREAN GAMES. called Toshiyori, " Elders," who watch the game. They are usually experts who have retired from contests. They are appealed to when a controversy arises. They are called respectively Asakusa, Shiba, Kanda, and Kojimachi, Toshiyori, from the four principal wards of Tokyo, which they are supposed to represent. Small prizes are given, such as inexpensive watches or kimono (coats) to the successful players. Another popular game of Ken is Satsuma Ken (Fig. (y"}^. The players extend the fingers of one or both hands simultaneously, and at the same time endeavor to guess the number put out by the others, crying the number aloud. They use Chinese words in this game, as follows : ichi, rian, san, osai, go, roku, diet, taina, kwai, " one, two, three, four, five, six, seven, eight, nine." This /V V^ _jt Jj'^"'^ '^^->^!^S^ \T^ game is the same as the com- \mK \Jv^ I /""^^ ^^ll '"^^ Chinese game of guess- ' ^ "'^ - ' — I f ^ It ij^g (-j^g fingers, Clidi viiii, and its Chinese origin in Japan is M/ i. ^^ confirmed by its other common y^jX^ Japanese name of Tojin Ken, J --^ or " Chinese Ken." Fig. 67. — Satsuma Ken. Japan (Boku-sen). t *i .lI • 1 1 i ' Like the simple hand- clapping games, with which they are sometimes combined, the more com- plicated games of Ken are frequently played as amusements to the accom- paniment of songs and music. One of the songs, well known to many tourists in Japan, is as follows : Chonkina, chonkina Chon, cho7i, kina, kina, Chochonga, na no ha de ' Chochonga choi! At the end of the last line the motion is consummated, the hands keeping time through the song. When a second round is commenced, the verse is varied, the winner singing: Chon kata, chon kata^ Chon, chon, kata, kata ' Instead of na no ha de,yoi ya sa de is substituted. ^ X'ala, " won.'' HAND-CLAPPING. 47 and so on, and the loser : Chonmake, chonmake} Chon, chon, make, make. The game of Ken is often played in Japan for forfeits (batsu, " punish- ment "). A common one is sake batsu. A cup of sake is placed between the players, which the loser is required to drink at the end of each round. Sometimes the loser must sing or dance, according to agree- ment, and when the gaishas play for the entertainment of guests they frequently remove their ornaments and apparel until they divest themselves entirely of their clothes. " Hand-clapping " is played in China (Kwangtung) under the name of P'dk cheung, or " Clapping-hand." The game is a common amuse- ment among children. The two players sit opposite to each other. First they clap their hands. Then they clap each other's right hands and clap their hands. Then they clap each other's left hands and clap their hands. These motions are continued alternately, faster and faster, until one makes a miss. Chinese counterparts also exist of the Japanese games, such^as Ishi and Kitsune Ken, as will be seen from the following accoimt given by Miss Adele M. Fielde : " In many games a servitor or leader is chosen in the following way : The children stand in pairs, and each suddenly thrusts out an arm with one digit extended from the closed iist. One or the other in each pair is vanquished if he holds out a finger reckoned to be of lesser power than the one extended by his neighbor. The thumb is counted as the local idol, the forefinger as a fowl, the middle finger as a gun, the ring-finger as a fox, the little finger as a white ant. If the thumb be opposed to a forefinger the thumb vanquishes, because fowls are commonly slain as offerings to idols. If a thumb be opposed to a middle finger the thumb vanquishes, because a god is greater than the gun, which is often used to announce the presence of the gods. If a thumb be opposed to a ring-finger, there is neither a victory nor a defeat, because gods and foxes are supposed to be always on friendly terms, and so there must be another trial. If a thumb be opposed to a little finger the thumb is vanquished, because white ants often devour idols. If a forefinger be opposed to a middle finger the latter is victor, because guns destroy fowls. If a forefinger be opposed to a ring-finger the former is conquered, because foxes eat fowls. If a fore- ii»/a/J«, "lost." 48 KOREAN GAMES. finger be opposed to a little finger the latter is defeated, because fowls eat white ants. If a middle finger be opposed to a ring-finger the latter is defeated, because guns kill foxes. If a middle finger be opposed to a little finger there must be another trial, because guns and white ants have no mutual influence. If a ring-finger be opposed to a little finger the same result follows, because foxes and white ants have no known relation to each other for either good or ill. When the vanquished in each couple is declared, then these defeated ones pair off and compete among themselves until a servitor is announced by the showing of the last pair of hands.' Hand-clapping is played by children in the Eastern United States in practically the same manner as in Eastern Asia. The game is played with the accompaniment of the following verse, the players clapping their hands as they utter each word : " Peas porridge hot. Peas porridge cold. Peas porridge in the pot. Nine days old." The movements are as follows : (i) clap knees with both hands {peas), (2) clap hands {porridge), (3) each clap right hands {lioi), (4) clap knees with both hands {peas), (5) clap hands, (6) each clap left hands [cold), (7) clap knees with both hands {peas), (8) clap hands {porridge), (9) clap each other's hands {in the pot), (10) clap knees with both hands {nine), (11) clap ha,nds {days), (12) clap each other's hands (o/a?). In Brooklyn, N. Y., this order is reversed, 7, 8, 9, 10, 11, and 12 preceding i, 2, 3. In the next movement the players clap their hands, then clap left hands, then clap hands, and then clap each other's hands. The game is commonly known among children in the United States by the first line of the verse, but I was informed in Montgomery County, Pennsylvania, that it was called " Slap the Quaker," or " Box the Quaker." The Romans and the ancient Greeks and Egyptians were familiar with the fist and hand-clapping games, of which they appear to have had a great variety. They are figured by Mr. Edward Falkener in his Games Ancient and Oriental,^ from which I have taken the following picture of the hand- clapping game played by two young Egyptian girls, from the tomb of Ak-hor. ^A Comer of Calhay,yp. S0-&1. '■'London, 1892. MEK-KOUK. 49 XXXVm. MEK-KOUK. A boy will take several pine nuts, tjat, in one hand and hold out both hands. Another boy then endeavors to point out the hand that contains the nuts. If he succeeds he wins them, but if he fails he pays an equal Fig. 68. — Hand-Clapping Game. Ancient Egypt. From Games Ancient and Oriental* number. Another way is for several boys to each take pine nuts in one hand, and cross the fingers holding the nuts. Then each guesses the total number, and the one who guesses correctly takes all. The Dictionnaire Coreen-Frangais defines Mek-kouk as follows : Nojn d'unjeu de hasard qui consiste a deviner combien d'objets sont caches dans la main dune personne (Si on tombe juste, on gagne un jeton), and gives the Chinese word k'un, " fist " (see No. xxxvii) as an equivalent. The Japanese play a similar game which they regard as a kind of Ken, but which receives the name of Nanko} or " What number ?" * With the kind permission of Messrs. Longmans, Green & Co., New York. ' Hepburn's Dictionary gives ts'ong kau " hiding hook " as the Chinese equivalent for nanko. JO KOREAN GAMES. Two persons play, using three small pieces of wood, which usually con- sist of pieces of chop-sticks, about half an inch long. One takes the sticks and holds them out to the other on the outstretched palm of his left hand. He then clasps his closed right hand upon the left hand containing the sticks and cries san ! " three !" This is repeated and then he holds out his right hand closed, inviting the other to guess. The latter makes signs with his lingers or cries out a number, " one," " two," or " three." If he fails to guess, the other shows him the sticks, and repeats the operation; but if he guesses correctly, he is given the sticks, and his opponent guesses. The player who first loses three times must drink a cup of sake, whereupon the game begins over again. A game similar to Mek-kouk is played in China (Kwangtung) by boys. One boy will take some small object, a stone or a nut, in his hand and cover it with his other hand and swing both hands clasped over the object up and down, repeating the following lines : Luk kii luk tung kwd Pau kwo pau kwo t'ong Ts'ii. sheng, ts'it hd '? At the last line he will draw his fingers apart, and the other will guess whether the object is above or below. At the close of the last line he holds his hands apart, one above and one below, and the other player guesses in which hand the object is concealed. XXXIX. SONG-TJANG-TCHAT-KI CORPSE SEARCHING. One boy is blinded, and the others hide a stone or some small object under a mat or in a hole in the ground. The one who is it asks, " Did you bury it?" The reply is, " Yes,", and he then endeavors to find it. In Japan a popular game is called Kakushi ko, " Thing hiding." XL. KO-NO-TTEU-KI. This game was not known to my informants. The Dictionnaire Coreen-Frangais defines it as a game which consists in the players sticking a little stick in the sand in which a ring has been con- cealed. The one whose stick passes through the ring wins. XLI. MOUT-KO-TCHAT-KI HIDE AND FIND. Another game of concealing a stone is played as follows : Three or four engage. One boy takes a stone in his hand, and, making a fold in WATCHMAN CATCHING. SI another boy's coat, places the hand holding the stone in the fold, and, on withdrawing it, the owner of the coat holds up the fold as though it con- tained the stone. This is repeated with one or more players, and finally the first boy holds out his closed fist. Another boy now guesses where the stone is concealed, whether in one of the boys' coats or in the first player's fist, and if he guesses correctly he takes the stone and hides it. XLII. NEUNG-KYEN-NAN-SA. A boy will hide a slip of paper between his fingers and alternately raise and set down two cloth cuffs. The other players then guess under which cuff the slip of paper is concealed. The name neung-kyen-nan-sa (Chinese, nang kin nan sz') means some- thing that is seen without being understood. The Dictionnaire Coreen- Frangais says that thus is called the twelve vases of the same size that fit one into another in any order in which they are placed. XLIII. SYOUM-PAK-KKOUM-TJIL-HA-KI — HIDE AND SEEK. One boy is blinded while the others hide. A boy who remains with the one who is " It " beats his back when all have concealed themselves. The game is played in the same manner in Japan under the name of Kakurembo — " Hiding." XLIV. SYOUN-RA-TJAP-KI WATCHMAN CATCHING (tAg). One boy is called the Syoun-ra (Chinese, ts'un lo), or watchman, and chases the others, endeavoring to catch them. The one who is caught be- comes the Syoun-ra. When a boy sits down and says " taik-kok, " he may not be caught. The one who shall be Syoun-ra at first is decided by draw- ing straws. According to law and custom in Korea, men are not allowed to go out at night, this privilege being accorded to women alone. When a man meets a woman in a public place he must turn away his head, thereby intimating that he does not see her. An explanation of these customs is to be found in the fact that, according to primitive belief, man belongs to the masculine principle of the universe, the sun, and therefore to the day, while woman belongs to the feminine principle, the moon, and therefore to night. The Syoun-ra is the night watchman, whose duty it is to enforce the custom pre- scribed by this mythic ordinance. In Japan, the one who is " It " in tag is called Oni, " Devil," and the game is called Oni gokko, or " Devil playing." The game is frequently played 4 52 KOREAN GAMES. with stations, called hashira, " posts," ' at which the players may take refuge. XLV. SYOUN-RA-PAP DRAWING STRAWS. The boy who gets the longest straw becomes Syoun-ra. The name syoun-ra-pap, applied to drawing straws, means literally " watchman repast," and was explained to me by the statement that the watchman is supposed to get a good supper for his night's services. Drawing straws is practiced in Japan by boys, who call them kuji, '• lots." As many straws are used as there are players, and the one who gets the longest or the shortest straw, as may be agreed upon, becomes the Om. Drawing straws is practiced in China (Canton) by boys under the name of 7i'z';« ts'o. A boy will hold two straws of unequal length in his hand and invite another to draw one of them. If the drawer gets the longer straw, the holder pays him one " cash," but if he gets the shorter straw, he pays the holder one cash. Boys in Canton frequently decide which shall perform an appointed task by drawing, straws, the one getting the shorter losing. Six boys sometimes play the following game : Six straws are tied in two sets of three each. Each boy chooses a projecting end, and the threes who get the same sets become partners-. The two sides draw again for position. The losers seat themselves on three stools placed to form a triangle and put their feet together. The others then endeavor to jump in from the three sides. Another similar game, called T 'in lung miinf or " Jumping the dragon's gate," is played by four boys, as follows : The players pair off by one of them holding two straws by the middle. Each boy seizes a projecting end, and those who get the same straw become partners. One will now offer a long and a short straw to one of his opponents to draw for position. If he draws the short straw, the drawer loses, and vice versa. The loser and his partner seat themselves on two stools, facing each other, and, leaning their bodies backward, raise and spread their legs apart, with the soles of their feet pressed each against the other's. The boys who are out now stand on either side and, one at a time, endeavor to jump into the space between the seated players' legs. As one runs, the other endeavors to distract the attention of the seated ones, and there feints, with the efforts made to keep the players from jumping in, ' Referring to the posts or pillars of the house. " This expression is also used metaphorically for " rising rapidly in (literary) degrees " (Williams's Tonic Diciionafy). ■COUNTING OUT. S3 and with their falls and other misadventures furnish the amusement of the game. The custom of drawing straws appears to be closely associated in China, if it did not indeed originate, in ceremonial divinations with straws and splints. XLVI. COUNTING OUT. It is also customary for boys to determine who shall be Syoun-ra by counting out, for which purpose the following rhyme is used. It is the only one my informant ever heard : Ha-nal-tdi, Tou-al-tdi, Sam-a-tjyoung, Na-al-tdi, Ryouk-nang, Ke-tji, Hpal-tai, Tjang-koun, Ko-tou-rHi, Pping. It may be translated in part as follows : " One time," " Two times," " Three a tjyoung" " Four times,'' " Six nang," " Ke-tji," " Eight times," " Tjang-koun" " Nine tou-rdi" "Pping" Counting-out rhymes are also used in Japan to determine who shall be Oni in games. The following was related to me from Shonai, where boys use it to determine the guilty one when an offense has been committed, as well as in games : Hifu no da Da Daruma da no da 54 KOREAN GAMES. Chin kuruma Chin no chin} The following line is also occasionally repeated around in counting out: Fuku toku bin, " happiness, virtue, poverty." This is more frequently used, however, in a kind of childish fortune-telling, to decide the future of the individuals of the company. Chinese boys use a variety of counting-out rhymes. The following was related to me by a boy from Hoh Shan, Kwangtung : Tim tivi tsz' nip Shut fb shui mat nip Sheun^ shui yam Hd shui nip Kam chifu yung Ma tsz heiing shai Pan pdk pb Pdk pan pb d tsai A tsai mi to loi P'ai yan om ngdn P'ai yan nip Cliuk tb fan loi Tsau k'i't tsit. They employ this rhyme in determining who shall be "It" in hide and seek. The boy who is " It" is called Ping, " soldier," and those who hide Ts'dk, " thieves." Counting out is commonly spoken of as playing Tim tim tsz' nip. XLVII. KA-MEK-TJAP-KI IN THE DARK CATCHING (bLIND-MAN's BUFf). When the one who is " It " has his or her eyes blinded, the game " Blind- man's Buff" is called Ka-mek-tjap-ki, " In the dark catching." It is played in the house for fear of injury to the players. The one who is " It " is called Syoun-ra as in the preceding, and in games of "Tag" generally. Plate XI represents boys, and Plate XII, girls, playing Blind-man's Buff It is desig- nated by the artist as Noun-ssa-mai-ki, or " Eye hiding." In Japan the game of Blind-man's Buff is Z2X\^A. Me kakushi, " Eye hid- ing." It is customary for the players to clap their hands and cry : '^Hi fu, "one, two;" no means "of;" Daruma is the idol (cf. No. l), and /5?o o o o if!* o o o o E o o o o c D O Fig. 75. — Nyout-hpan. Korea. Museum of Archaeology, Univ. of Penna. No. 18.569. Fig. 76. — Pam-nyout. Korea. Museum of ArchEcology, Univ. of Penna. No. 16,897. 58 KOREAN GAMES. about a foot long, which is stuck in the ground in the centre of the ring. This is done to render the result of the throws more a matter of chance than of skill. In the picture, Plate XV, the boys are represented as throw- ing the nyojit blocks through a cuff, hto-syou (Chinese, fb shati), which one of them has removed for the purpose. The pieces or men, called lual (Chinese, ma), " horses," may consist of any convenient stick or stone or piece of paper, and are moved according to the throws, which count as follows : 4 white sides up, called nyoiit, 4. 4 black sides up, called mo, 5. 3 white sides up, called kel, 3.. 2 white sides up, called kdi, 2. I white side up, called to, i. When a block falls in an upright position it counts as though it fell with the black side up. The players frequently utter loud cries when they throw nyout or mo. A throw oi nyout or mo entitles the player to another throw, which he makes before moving his piece. The one who shall play first is determined by throwing the blocks, the highest leading, and the others in the order of their throws. The players enter their men on the mark next on the left of that marked with the character ch'nt, and move around from left to right against the sun, according to their throws. The object of the game is to get from one to four horses, as may be agreed, around the circle and out at A, in advance of the men of the other players. A throw of one more than enough to carry a man to that point is necessary to take it out, but if there is an excess, it does not matter. When two play, each strive to get one or four men around, as may be agreed upon. When three play, each play three horses, and when four play, the winning side must get four horses around. In the latter case those that sit opposite play as partners. If a player throws so that one of his men falls upon another of his own, he may double up the two pieces, and thereafter take them round as one piece, but they count as two in the game. This play is called kou-et-td' (Chinese, cJi'aii). The process may be repeated once or twice, depending upon the number of men required to make the circuit. A single " horse " is spoken of as han- pen-kou-et-ta (Chinese, yat fiiii cJCan), but when the piece is doubled it becomes tou-pen-kou-et-ta (Chinese, ?' fun ch'mi) ; when it is trebled it becomes sei-pen-kou-et-ta (Chinese, sdm fun c/i'an), and when three horses have been added it becomes nei-pen-kou-ct-ta (Chinese, .yj'///« ch'an). When B%-^m ^Sliff 5J^f- iT" PLATE XV. KOREAN NYOUT PLAYING. NYOUT PLAYING. 69 a player moves so that his piece falls upon a piece occupied by one of his opponents, the latter's piece is " caught," tjap-ct-ta (Chinese, iia), and must be started again as at first. When a player captures an opponent's piece, it gives him another throw. When a player throws iiyoiit or uio, and another throw, whatever it may be, he may divide the throws between two pieces. A player may move his partner's pieces. In opening the game a throw of ino, or five, takes the player to the spot marked B, and he returns toward the goal by the radius BE. If, on the contrary, the player throws less than five, and his next throw or throws do not terminate upon the mark B, he must continue around the circle, until, if he falls upon the mark C, he may return by the way of CE, EA. If he overthrows the mark C, he must con- tinue on to D, and thence around to A, the going-out place. As ordinarily played upon the ground, the Chinese character cliut is drawn at the going-out place. Other Chinese characters are sometimes written in the large circles at the sides and bottom. At the left the character j/a/ (Korean, toiil-ip)," to enter;" below, /^ww,^ (Korean, kot-tjil-kong)," \.o arch," or "encircle;" and on the right lit (Korean, tji-tjil-yel), "to cut through." When a player first puts a horse on, it is said to be pout-tchyet-ta (Chinese, />£>), " applied," and, accordingly, as it enters upon the first, second, third, fourth, or fifth mark, it is spoken of as to, kdi, kel, nyout, or nio-pout- tchvct-ta. When a horse stops on the first double circle marked with the Chinese character yap, it is said to be eit-tjyet-ta (Chinese, yap^, "entered." When it stops at the centre, it is said to be ne-et-ta (Chinese, cliung yeung), " centered." When it stops at the bottom, it is said to be ko-tjyet-ta (Chinese, kung), " encircled ;" at the right, tjeu-tjyet-ta (Chinese, lit), " cut through," and at the top, " tied." When a horse stops on the mark next to the one at the top, it is spoken of as " nearly tied." On going out at the top, it is spoken of as " gone out." Games with one, two, three, and four " horses," are respectively called tan-tong-nai-ki (Chinese, tdn p'at), " single horse going out ;" tou-tong-nai- ki (Chinese, i p'at), " two horse going out ;" syek-tong-nai-ki (Chinese, sdvi p'at), "three horse going out;" and nek-ton g-nai-ki (Chinese, sz' p'at), "four horse going out." In the more classical forms of the game. Fig. JJ, Chinese characters, forming an ode, are written within the circles, exclusive of a centre, at which is inscribed the name Hang Ou. This form of the game is said to have been written by a scholar of Southern Korea. According to the tradition of the game, the twenty-eight marks represent the horse-soldiers of jQ KOREAN GAMES. the famous Chinese general, Hiang Yu/ with the general himself in the centre. It is related that when Hiang Yii was defeated by the Prince of Han, he was left alone with twenty-eight soldiers, surrounded by whom he made his successful escape. The Chinese ode written upon the board refers to an episode in the conflict between Hiang Yu and the Prince of Han, and from the direction in which it must be read would seem to indicate that the original goal in the game was the centre instead of the place at the top. The inscription is as follows : Hon t'di tso sin yap Kivdn Chung. Chau Man Wong shut kung P'ing Cheung. Fan tsciing kwan tsnii lit iinik ts'z' . Ch'o pa wong nam ch'ut fill wai. I am informed that the name Hiang Yu is usually written in the centre, but the scholarly Korean who wrote the board or chart represented by Fig- T7> substituted in its place the characters Chiu-Sin [Tyo-syen) or Chosen, the present name of the Kingdom of Korea. Nyout is played for money in the cities by the lower classes, especially in public houses. Parents do not allow their children to play it, and the blocks are confiscated by them and by teachers whenever they are found. Korean boys concealed them in their pockets when these contrivances were imitated from foreigners, but now this is known, and an examination of boys' pockets is made by teachers. While short blocks, pam-nyout, are used by children, and gamblers in cities, in the country, long blocks, called tjyang-tjak-nyout (Chinese, clieung cheuk sz') or "long-cut nyout" are employed. These blocks. Fig. 78, are usually about eight inches in length. In throwing them, one is often placed across the others which are held lengthwise in the hand by the thumb, with the ends resting on the fingers. This is the conventional way, but not obHgatory. When played indoors, they are often made to rebound by striking against the roof of the house. The game is very generally played in this manner by all classes in the country, but only from the 15th of the 1 Hiang Tsi, or Hiang Yii (Koreans write Hang Ou), D. B. C. 201. Nephew of Hiang Liang, and noted from his youth by his great stature and martial prowess. On the downfall of the house of Ts'in, proclaimed himself ruler of the western provinces of Ts'u (corresponding to the modem provinces of Ho-nan and northern Nganhwei), whence he is known as Sz' Ts'u Pa- Wang. In B. C 206, the armies of Ts'in, to the number of 200,000, surrendered themselves to him, and he is said to have butchered them to the last man. He also put to death Tsze Ying, the rightful successor to the throne. In B. C. 205, he similarly murdered the puppet sovereign, I Ti, but upon this his powerful ally, the self-styled Prince of Han, declared war against him, and after a long and sanguinary struggle effected his complete overthrow. When all was lost, he committed suicide at Kai Hia (in modern Ngan-hwei)., — Chinese Header's Manual, No. 165. NYOUT PLAYING. (^ ® ® ® Fig. 77. — Nyout-hpan, Korea. Museum of Archaeology, Univ. of Penna. No. 16,487. t«7 I 71 Fic. 78. — TjYANG-TjAK-NYOUT. KoREA. Museum of Archscology, Univ. of Penna. No. i6,8( 72 KOREAN GAMES. twelfth month to the 15th of first month, the season at which visits are exchanged. The names applied to the throws in Nyout, with the exception of the name of the game itself,^ which is confounded with ryouk, "six" (the Chinese character luk, " six," being given as its equivalent), are not given in the Dictionnaire Coreeii Frangais, nor do they appear to be used in Korea except in connection with this game. Dr. Daniel G. Brinton, who has kindly compared them, tells me that the first three have rather close analo-. gies with the Ural-Altaic stock. The " four" and perhaps the " five" seem connected with the Samoyfed. • Korean. Ural-Altaic. 1. To OX ta. it, tc (Finnish, Lappish). 2. Kdi or kd. kah (Finnish, Lappish). 3. Kel or kol. kol (Finnish, Lappish). 4. Nyout. tet (Samoyed). 5. Mo, sniiiiila (Samoyed). It is clearly apparent that these terms are numerals, and they point very directly to the source of the game. A game similar to Nyout, played with staves, is recorded to have existed in China in the third century of our era. It was then regarded as a foreign and non-Chinese game, which agrees with the linguistic evidence furnished by the terms used in Nyout. It is customary in Korea to use the long blocks at the 15th of the first month for the purpose of divination. Early in this month a small book is sold in the markets of Seoul to be used in connection with the blocks. The players throw the sticks three times, noting the number that is counted for the throw at each fall. The series of three numbers is then referred to ^ The name of the game, nyout, is written in Korea with an obsolete Chinese character which the Koreans read as sa, having the sound of jz' in China. It is formed by compounding the Chinese radical niuk, "wood," with the character sz , "four," placed to the right, the compound apparently referring in this connection to the four blocks of wood which are used in the game. M. de Guigues in his dictionary gives the sound of the character as ssi, with the following defini- tion : Sorte de spatuli dont on se sert four ouvrir la bouche d'un mart, afin d'y introduire des f tries ou alettes objets precieux. Morrison's Dictionary (Macao, 1822) gives the pronunciation as sz6, and the meaning, " a sort of spoon;" Keo (kok) sz6, " certain utensils of the spoon kind, used in funeral ceremonies." Kanghi's dictionary gives two pronunciations for this character: one as the correct pronun- ciation, like siti, a "breath," and the other as sz, "four;" and the meaning, ^i, a spoon. "In ceremonial usage it stands for a spoon used to eat the juice of a certain fruit from a cup. Again it is used at the funeral ceremonies." It quotes the Li sang ta ki chu, or Book of Funeral Cere- monies, as saying that the s%' must be cut six inches in length and have both ends curved. NYOUT PLAYING. 73 the book, upon the several pages of which are printed in Chinese charac- ters all the various permutations of the numbers, taken three at a time, with Korean text explanatory of their significance. A reproduction of the first page of the section, entitled Tjyek- sd-tjyem (Chinese, chdk sz' chini), " Throwing iyj'o?^/ Divination, "from a little Korean hand-book, Tjik- syeng-pep (Chinese, chik sing fat), " Correct Planet Rule," is given in Fig. 79. The numbers represented by the throws are from " one " to " four " in 64 permutations, from which, it will be seen, that only three staves are used. Nyout, or " four," is the highest throw, and an explanation is thus given of the name of the game, which is that of the highest throw in the divina- tory system from, which the game originated. The Chinese Book of Divina- tion consists of 64 diagrams, Kwd, composed of combinations of un- broken with broken lines , six being taken at a time, and the resulting diagrams being known as the Sixty-four Kwd, Fig. 80. Each of these 64 hexagrams is designated by a name and is accompanied by a short ex- planatory text. Now the Sixty-. four Hexagrams are regarded as an expansion of the Eight Trigrams, Fig. 81, called the Pat Kwd, or " Eight Kzvd" formed by combining the same un- broken and broken lines three at a time.^ The unbroken lines in the dia- FiG. 79. — First page of Tjyek-sa-tjyem. Korean hand-book for divination with staves. ^ These combinations of triple lines are believed to have been invented by Fuh-hi, the legen- dary founder of the Chinese polity, as successor to the divine beings who are reputed to have reigned during countless ages before human society was constituted. To further his efforts, it was 74 KOREAN GAMES. grams are called yeung, " masculine," and the broken lines, jatn, " feminine." It is apparent that if the two sides of the Korean blocks be regarded as # >//// ================ *\\\\x llllll ============ = = *v^\\ .'//.'// ni^== = n = === \\s mill = = = = = = = = .i;;i| iiini uM^nn^mnn "''in ^^ =H == = == ^ = = E= II I II ^A == == ii = Q = ^ ^ S// %;■ -.# Fig. So. — The 64 Hexagrams. China. representing the unbroken, or masculine, lines and the broken, or feminine, hnes, the trigrams will form a record of the throws when three blocks are so ordered by Heaven that a supernatural being called the dragon-horse rose from the waters of the Yellow River and presented to his gaze a scroll upon its back, inscribed with mystic diagrams. From these and from the movements of the heavenly bodies he deciphered the system of written characters with which he superseded the method of keeping records by means of knotted cords. According to the Chinese belief, the eight figures, together with sixty-four combinations to which they are extended, accompanied by certain presumptive explanations attributed to Fuh hi, were the basis of an ancient system of philosophy and divination during the centuries preceding the era of WSn Wang (twelfth century, B. C), but of which no records have been preserved beyond the traditional names of its schools or divisions. W6n Wang, while undergoing imprisonment at the hands of the tyrant Shau, devoted himself to the study of the diagrams, and appended to each a short explanatory text. These explanations, entitled T'li/i, with certain further observations on the strokes of the figures, termed Tsiung, which are attributed to Chau Kung, the son of Wfin Wang, constitute the work known as Chow-Yih; or. Book of Changes of the Chow Dynasty, which, with the commentary added by Confucius, form the Yih King, the most venerated of the Chinese classics. — Chinese Reader's Manual, Pt. II, No. 241. NYOUT PLAYING. 75 used, and the hexagrams when six blocks are taken. This I believe to have been their original purpose. I regard South the diagrams as records of possible throws with two-faced staves, and the text that ac- companies the hexagrams in the Yih King, to be explanatory, in somewhat the same way as the text of the Korean Tjyek-sd- tjyent shown in Fig. 79. The Korean game of Nyout may be re- garded as the antetype of a large number of games which exist throughout the world. Thus the diagram of the Hindu game known as Pachisi, or Chmisar} as illustrated by a specimen in the Museum of the University of Pennsylvania, Fig. 82, North Fig. 81. — The Pat Kwa ok Eight Trigrams. China. I X < > 7 X X X X X X < > L X Fig. 82.— Diagram of Pachisi-Cloth. Maldive Islands. Museum of Archgeology. Univ. of Penna. No. 16,476. will be seen to be an expansion of the Nyout circuit with its internal cross. The four large circles at the extremity of the internal cross are represented ' Called Pachisi when played with cowries, and Chausar when three long dice are used. 76 KOREAN GAMES. by the kot, or " castles," marked with crossed lines upon the /acfe? diagram, and the count remains the same ; the five squares from the end of the arm representing the five circles of the arc and the three squares the radius of the nyoui circuit. The chess-board is the square of the arm of the pachisi cross. This furnishes a likely explanation of the koung, or " palace," of the Korean (Chinese) chess-board, Fig. 93, which appears to be a survival of the kot, or castles of the pachisi cloth. In the Pachisi game we find the four mat, or horses, of the Nyout game replaced by four objects of wood or ivory, distinguished by their color, for each player. They are painted with the colors symboHc of the four direc- tions : red, green, yellow, and black. These men, called in Hindustani gote)i (plural oi got), are doubled in the ancient Hindu game of Chaturanga, or dice-chess, each player having eight men, four of which remain un- changed, and four, distinguished by their forms, designated as King, Ele- phant, Horse, and Ship. The moves in Chaturanga are made according to throws of an oblong four-sided die, similar to the dice used at the present day in India in the game of Chausar. This die was marked on its four sides with the numbers 2, 3, 4, and 5. " If on throwing the die the number should turn up 5, the King or one of his Pawns must move ; if 4, the Elephant ; if three, the Horse, or, if the throw be 2, the Ship must move." Professor Duncan Forbes ^ has clearly pointed out the relations of the four-handed game of Chatur- anga to our own game of chess. In the former game " it was of the utmost importance with each of the players to get possession of his ally's throne, a step which thenceforth secured to him the individual command of the allied forces. It must, therefore, have often happened that, after some tweijty or thirty moves, the contest remained to be decided between two players only." In the two-handed game, one of the allied Kings becomes a subordinate piece, called by the Persians and Arabs Farzin or Wazir, the queen of our European game. In addition, the game of Nyout may be regarded as the ancestor, or a type of the ancestral form, of the various games played with dice upon boards. These will be referred to under Tjyou-sd-ct,"Y)\c?:" i^o. lxxii), zxiA Ssatig-ryouk, "Backgammon" (No. Lxxiii). It has been shown that our game of chess, in which the die has been abandoned, appears to have been derived from it. In the same manner, it appears to have given birth to ' The History of Chess, London, 1 860. THE GAME OF DIGNITARIES, 77 a variety of other board games, of which " Fox and Geese " is a type. This is well illustrated in the Japanese game of " Fox and Geese," figured in the Wa Kan san sai dzu e under the name of Yasasukari musashi (Fig. 83), and com- monly known as Juroku musashi, or " Sixteen Soldiers." In this game we have sixteen soldiers, Juroku musashi, surrounding the general, Taisho, in the same manner as, ac- cording to the tradition, the 28 horse-soldiers surrounded their general. Hang Ou. LXXI. TJYONG-KYENG-TO THE GAME OF DIGNITARIES ,\ /\' y ^x I / K/. \ i T J^\ This is the Chinese game of the Fig. 83. — Yas^^sukaki musashi. Japan. From the \i'a Kait san sai dzu e. " Promotion of Officials," Shing kiin fof a commo'n game in China and frequently played by the Chinese laborers in the United States. It is played in Korea upon a printed chart called Tjyong-kyeng-to-hpan, bearing the name of Korean officials. The moves are not made according to the throws with dice, as in the Chinese game, but with respect to the way in which a block of wood turns, which is rolled from the hand. This block. Fig. 84, called tjyong-kyeng-to, is about four inches long and has five sides, which slope from the middle to the pen- tagonal ends. Its longitudinal edges are notched with from one to five nicks, painted rec^andthe moves are made, from one to five, as one of these numbers comes uppermost. The various positions upon the board, which are inscribed with the names of the officials of the kingdom, ad- vance from the lowest to the highest, as in the Chinese game, up to the title of Ryeng-eui-tjyeng (Chinese, ling i ching), the first of the three Ministers of State, or to Pong-tjyo-ha (Chinese, fung ch'iii ho), explained ' Tjyong-kyeng-to (Chinese, sung heung Vo) is given as the name of this game in the Diction- naire Corien-Franfuis. My Korean informant tells me that Seung-kyeng-to (Chinese, shing heung fo) is the more correct name. ^ Chinese Games with Dice. By Stewart Culin: Philadelphia, 1889, p. 18. Fig. 84, — Tjyong-kyeng-to. Museum ol Archseology. Univ. of Penna. Xo. 16.899. 78 KOREAN GAMES. as " retired minister." There is also a third goal called Htoi (Chinese, t'ut), " retirement." Tjyong-kyeng-to is permitted in schools, and my informant suggests that the use of the peculiar die is due to the fact that ordinary dice are for- bidden to children. However this may be, I am inclined to regard it as a survival, and derived from the staves originally used in the similar game of Nyout, with which the game was doubtless originally played. Plate XVI represents an old man and a young man playing the game. A die similar to the Korean Tjyong-kyeng-to is described as having been used in England, in Easther's Almondbury Glossary, quoted by Mrs. Gomme,^ under the name of Lang Larence: " That is Long Lawrence, an instrument marked with signs, a sort of teetotum. A ' Long Law- rence' (Fig. 85) is about three inches long, some- Fio.85.-LoNaL.wKKNCE, a.mon.- thing like a short ruler with eight sides; occa- EUEY, England, sionally they have but four. On one side are Specimen reproduced from descrip- , ,- . i ■ i r 1 j_i_* 1 tion given by Mrs. Gomme. Museum ten X s Or crosscs tormmg a Kmd oi lattice-work ; of ArchcBology, Univ. of Penna. Ni., 1 1 r 1 111 i8,!!S7. on the next, to the left, three double cuts or strokes, passing straight across in the direction of the breadth ; on the third, a zigzag of three strokes oneway, and two or three the other, forming a W, with an additional stroke or a triple V ; on the fourth, three single bars, one at each end and one in the middle, as in No. 2, where they are doubled ; then the four devices are repeated in the same order. The game, formerly popular at Christmas, can be played by any number of persons. Each has a bank of pins or other small matters. A pool is formed ; then in turn each rolls the ' Long Lawrence.' If No. i comes up the player cries ' Flush,' and takes the pool; if No. 2, he puts down two pins; if No. 3, he says ' Lave all,' and neither takes nor gives ; if No. 4, he picks up one. The sides are considered to bear the names, ' Flush,' ' Put down two,' ' Lave all,' ' Sam, up one.' It has been suggested that the name ' Lawrence ' may have arisen from the marks scored on the instrument, not unlike the bars of a gridiron, on which the saint perished." LXXII. TJOU-SA-A — DICE. The Koreans call dice Tj'you-sd-d, which appears to be compounded of the Chinese chi'i slid, " vermillion," with the particle a. Their dice are iden- ' The Traditional Games of England, Ireland, and Scotland, by Alice Bertha Gomme. Lon- don, 1894. Vol. I, p. 326. PLATE XVI. KOREAN GAME OF DIGNITARIES. DOUBLE SIXES (BACKGAMMON). 79 Fig. 86. — Chinese Dice. tical with those of China, Fig. 86, being bone or ivory cubes, regularly marked on their six sides with spots from one to six arranged so that the sum of any two on opposite sides is equal to seven. The " ones " and " fours " are painted red and the " fours " are larger and more deeply incised than the other spots. Their principal game with dice is Ssang-ryouk or Backgammon. The other games with dice known to my informants were one in which a die is substituted for the four staves in the game of Nyout (No. Lxx), and another which I am told has no special name, but might be called Tjyou- sd-d-nol-ki. Three or four boys sit around and one puts a peanut or pinenut on the floor. Each throws a die, and the one who gets highest wins the nuts. In Japan dice are called sai, and in China sldk tsai} It may be observed that the Korean game of Nyout when played with dice is much the same as the game widely played throughout Europe under the name of the " Game of Goose." ^ A similar game is extremely com- mon in Japan under the name of Su- goroku, or " Double Sixes," Fig. 87, This name is distinctively that of the backgammon game played with two dice, but it is applied in Japan to all games played upon a board or diagram according to the throws with dice, or a Fig. 87.-jAPANESECHi1.DKEN Playing SuGOROKu. Spinning die, coma (teetotum). Svgoroku is a common amusement of Japanese children at the New Year, when new games are usually published. LXXIII. SSANG-RYOUK DOUBLE SIXES (bACKGAMMON). The game of backgammon is known in Korea under the name of Ssang-ryouk (Chinese, sheung luk), " Double Sixes." It is played with ^ Medhurst's English and Chinese Dictionary, Shanghai, 1847, gives the following additional names for dice : t'au tsz\ luk ch'ik, and sheung luk, the latter, " double sixes," being the name of the highest throw in the game with two dice. '^ Known in France as Xh^ Jeu de I'oie ;■ in Italy as the Ciuoco dell oca, and again in Mexico as iht Juego de la oca. In northern Europe it is frequently called the " Snake game," as in Eng- land, and again in Sweden, where it is known as the Orm spel. 8o KOREAN GAMES. wooden pins or men called ;«a/ (Chinese, md), " horses," upon a hollowed wooden. board called the Ssang-ryouk-hpan. The board has mortised sides, which extend above the surface. The- divisions on either side, called pat Fig. 88.-MAL. "Horse." Man used in Ssang- RYOUK. Korea. Fig. 8g. — Diagram of Korean Board for Ssang-kyouk (Backgammon). (Chinese, fin), " fields," are outlined in black. The large ones in the mid- dle are not counted in moving, and are used to throw the dice in. The men. Fig. 88, are about three and a half inches in height. Fifteen are employed on each side, one set being painted red and the other left the natural color of the wood. They are usually made of boxwood, but some -, ^ <7 softer wood is used in the cheaper sets. The moves are made according to the throws with two dice, and receive the same names as the correspond- ing pieces in the Domino game (page 103). A diagram of the board, as set at the opening of the game, is shown in Fig. 89. It will be seen to be the same as in the English game of Backgammon. The first player is determined by the highest throw with one die. The pieces are moved as in the English game, but it is customary to move two pieces when doublets are thrown, and doublets do not entitle the player to another Fig. go.^BoARD FOR SUGOROKU (BaCKGAMMOn). JapAN. From the Kmn mo dzu e tat sci. ^>^^ ^^A^h iild'iifu 1^^ &// /i LATE XVII. KOREAN BACKGAMMON. DOUBLE SIXES (BACKGAMMON). throw, nor to an additional count. A player may take an opponent's place, called tjap-ta, "to catch," and the piece so taken must be re-entered again. When a player gets all his men around to his own place he bears them off according to his subsequent throws. Plate XVII represents a ki-s&ing playing Back- gammon with a guest. The Japanese play Backgammon under the name Sugoroku upon a board, represented in Fig. 90, but the game does not appear to be generally known at the present day. Dr. Thomas Hyde describes the Chinese game of Backgammon under the name of (^oan kt, which he translates as erectus htdus, or ere c to- rum ludus, but which might be rendered as the " Bottle game " or " Bottle chess," ^ an {tsuri) meaning a vase or bottle and ki (k'l) being a generic tenn for games played with men or pieces, as chess.' Backgammon is also played in Siam and Fig. 91 -Gaisha Playing Sugoroku. Japan (Boku-sen). flOflOQQOQ flQOOQOQQ oan QQQQQQQQ OOOOQOQO Fig. 92. — Chinese Backgammon Board. (From Hyde.) the Malay Peninsula in much the same manner as in Europe.^ The backgammon board may be regarded, without much stretch of the imagination, as the expansion of a circuit like that of the Nyout game. ' " This game is played with dice and small upright pillars, from which the name is derived. The board is divided into eight equal parts by transverse lines, and the pieces, which are from KOREAN GAMES. LXXIV. TJYANG-KEUI — CHESS. By W. H. Wilkinson, Late H. B. M. Acting Consul-General in Korea. Korean chess, Tjyang-keid (Chinese, tseung k'i) is admittedly a variant of Chinese, yet, as will be seen, there are some important differences be- tween the two games. The design of the board, but not its shape, is the same, save that in Korea the files are carried across the " river," which is, in fact, ignored. The men, again, have the same names as in China, and, except that the King is placed in the centre of his " camp," and that the " Horse" and " Elephant" are interchangeable, occupy the same positions at starting. But their powers and privileges in most cases differ largely. A Korean chess-board and men, arranged for a game, is represented in Fig. 93. It will be noticed that the board is not square, but oblong, the width being greater than the breadth. All the Korean chess.-boards have this shape, the object in view being to facilitate the moving of pieces when they have reached the opponent's end of the board. It may be observed, in passing, that chess-boards would seem to be all of domestic manufacture, as they are not sold in any shops, even at the capital. The men can be procured, two to three inches high and number sixteen on each side, are arranged upon it when the playing commences, as seen in the figure. " The pieces are moved line by line, according to the throws with the dice, from the places on the left to the eighth place on the right, and from thence ascending to the opposite side and back to the starting place, the player who first gets all his pieces there winning the game. " Two dice are thrown, and the pieces are moved to the places which the number of the throw directs. One may move whatever piece or pieces one chooses, according to the number, either pieces which have been moved before or those which have not yet been moved. If, instead of upright pieces, one plays with small flat discs, which is also permitted, they may be placed side by side or piled on top of each other, as seems most convenient. "A throw of two 'ones' causes a piece to be set aside and delivered up as lost; or, if the game is played for money, it loses the player the tenth part of his stakes. Whoever throws ' twos ' or ' threes ' begins moving to the second or third lines, and so on. If doublets are thrown, one may move to the place corresponding to the half number of such doublets ; ajid this may be done by moving one piece once to such half number, or two pieces at the same time to the place cor- responding with such whole number, for in this case either one piece or two pieces together may be moved. If ' five' and 'six,' which make eleven, are thrown, one may move one piece to the fifth place and another to the eleventh ; or else move two pieces at the same time to the tenth line or place, and then one of them to the next line, which is the eleventh. And thus with respect to other throws : if single (as ' two ' and ' four ' ), for the single numbers move as many places, but if joined (as 'five ' and 'six') then otherwise, as already stated." De Ludis Orientalibits, Oniord, 1694, p. 65. ^ See author's paper on Chinese Games with Dice and Dominoes. Report U. S. National Museum, 1893. PLATE XVIII. KOREAN CHESS. CHESS. 83 though they are usually made to order, inclosed in a net resembling an onion bag. Another feature in which the Korean game will be seen to differ out- wardly from the Chinese is the shape of the men and the circumstances that the hieroglyphics on one side are inscribed in the " grass character," or running hand. Korean chessmen are not circular, as in China, but octagonal,^ and vary in size according to their value, the King (General) being the largest, the Chariot, Elephant, Horse and Cannon of medium Fig. 93. — TjYANG-KEUl-HPAN. Chess-Board. Korea. From a native drawing. size and the Pawns (soldiers) and Counsellors the smallest. The hiero- glyphs on one side are usually colored red, on the other green — the draughtsmeri, for such in appearance they are, being all of the same wood and undyed. 1 The men of the set exhibited by the Korean Government at the Columbian Exposition, Chi- cago, now in the Museum of the University of Pennsylvania, are circular, but vary in size according to their value. The two sets in the U. S. National Museum, Washington, are octagonal. 6 84. KOREAN GAMES. In deseribing the powers of the pieces, it will be convenient to give each its corresponding Western name, the Hpo, a piece we unfortunately lack, being styled a Cannon. The Korean names are as follows : 1. Tjyang (Chinese, tseung), " General," more usually called Koung (Chinese, kiin), " Palace," the King. 2. Tcka (Chinese, M), " Chariot," Rook. 3. Hpo (Chinese), p'du), " Cannon." 4. Pyeng (Chinese, ping), or tjol (Chinese, tsut), " Foot-soldier," Pawn. 5. Sd (Chinese, sz'), " Counsellor," Queen. 6. Syang {OamtsG, tseung), "Elephant," Bishop. 7. Ma (Chinese, ma), " Horse," Knight. The moves of these pieces follow two general laws, the existence of which makes Korean chess a more finished or more logical game than the Chinese. The first is that the pieces invariably take as they move ; the second, that, within their limitations, they move along any marked line. In Chinese chess the P'du moves like a Rook, but takes only when a piece intervenes ; the Korean Cannon moves and takes in the same way. On the Chinese board the files between the fifth and sixth ranks are not marked, in order to better indicate the " river," after the crossing of which the Pawns acquire increased powers; yet for the purposes of play they exist. The diagonal lines joining the corners of the General's " camp " may be, though they seldom are, omitted from a Chinese chess-board ; but neither they nor the river files must be left out on the Korean. For, as has been said, wherever a line is marked a Korean piece can, within its limi- tations, move along it. Thus the Chariot, which has precisely the same powers as our Rook, may move from one corner of the " camp " to the centre, or, if so desired, to the corner diagonally opposite, because those points are connected by a marked line. For the same reason the Cannon, if on one such corner, may, when the centre is occupied, hop over to the opposite corner along the line of the diagonal. A similar train of reason- ing has made identical the movements of the two Counsellors and the General. The General, or King, as he shall be called, may move from his orig- inal position at the centre on to any one of the nine points in his camp, but he can never leave his camp. Within it he moves only one step at a time, and that only along marked lines. Thus, if the King were at 5 a he could move thence to 5 b (the centre), 6 a or 4 a, but he could not move to 4 b or 6 b, because there is no line connecting 5 a with these last two points. As in the Chinese game, the Kings check one another across the CHESS. 85 board if they are on the same file, with no piece intervening. Korean chess, however, leans here, as in other games, toward the losinsr side. If i)^dKl) Fig. 94. — TsEUNG k'i pan. Chess-Board. China. one of the players has an overpowering advantage the other is allowed, should opportunity occur, to check his opponent's King with his own. 86 KOREAN GAMES. Thus, if Red has King on 6 i, Pawns on 3 d and 6d, while Green has King on 5 a, Rook on 7 a, Pawn on 7 d, Red is allowed to play King 6 i to 5 i (check). When Green moves his King to 4 a or 6 a (his only alternatives), Red again checks with his King, making the game a draw. It should, how- ever, be observed that the act of checking the opponent's King with one's own is in itself a confession of inferiority, and deprives the player of any chance of winning the game, — he can at most draw it.' The King on the losing side is allowed yet another privilege. If he is the only piece on his side, and if his moving would greatly endanger him, he is allowed, as the equivalent of a move, to turn over and remain in his original position. Thus (the finish of an actual game, played in the British Legation garden at Seoul) : Red : King on 5 i. Queen on 4 i, Pawn on 5 c. Knight on 3 c. Green : King on 4 b. Green's only move — K 4 b to 4 a — would be followed by Red — Pawn 5 c to 5 b, mate. Green therefore being called on to play, simply turned over his King. The game then proceeded : RED. GREEN. Kt4dtosf K4bto4a Kt5bto6d K4ato4b Pawn 5 c to 5 b, mate. Instead of playing K 4 b to 4 a in reply to the move of the Red Knight, Green might again have reversed the King, for there is no limit to this exercise. The Counsellors, or Queens, move in all respects like the King, and are equally confined to the nine points of the camp. They cannot give ' The same penalty attaches to the checking of the opponent's King by a piece which the King could capture were it not on an open file of his rival's. Thus: Red : King on 4j, Knight on 3 c. Pawn on 4b. Green : King on 5 a, Rook on I i, Bishop on I j. If it is Red's turn to play he mates by Pawn to 5 b, for if the King moves to 6 b he is equally under check by the Pawn, since the points 5 b and 6 a are connected by a marked line. If it is Green's turn he can only play R I i to 5 i> « draw, not a mate. A player cannot force a draw by checking his opponent's King with his own, even though the alternative is to be mated if he has a greater strength in men. For example : Red : King on 6 j, Queen on 5 j, Bishop on 5 i, Kt on 3 c, Pawn on 4 c. Green : King on 5 a. Rook on I g. Cannon on I f, Kt on 3 g, Pawn on 3 f. Red would mate by Pawn to S b, but if it is Green's turn, he may not play King 5 a to 6 a, check and draw, because the value of his pieces is superior to that of Red's, a Rook and a Cannon being worth more than a Queen and a Bishop. CHESS. 87 check, however, across the board. They are more powerful than the Chinese Ss', which can only occupy the five points on the diagonals. The Chariots, or Rooks, have exactly the powers of our own Castles, or the Chinese Kii, except that, as has been said, they can also move along the marked diagonals of either their own or the enemy's camp. The Horses (Knights) have precisely the move of the Chinese Md, which is also that of the Western Knight, with one important limitation. The Korean and the Chinese Md always moves first one step along a file or rank, and then a step diagonally. If there be a piece, whether of his own side or the enemy's, at the elbow, so to speak, of his beat, he cannot move. Thus in the example given above, the Red Knight on 3 c could not move to 5 b or 5 d, because of the Pawn on 4c; had the Pawn been on 4b or 4 d the Knight would not be estopped. It will be seen that it is, owing to this rule, possible to cover check- from a Korean Knight. The Elephant, or Bishop, moves one step along a rank or file, then two steps diagonally. It differs from the Jafna/ or Camel of Tamerlane's Chess, in that the latter moves first a step diagonally, and then two straightwise, and has, which the Syang has not, the privilege of vaulting. For the Korean Elephant must have a clear course from start to finish, like the Chinese Elephant. UnHke the latter (whose move is that of Tamerlane's Fil, or the original Bishop, the Fil less their power of vaulting), the Korean Elephant is not confined to its own side of the river, but may move freely all over the board. At starting, the Korean Bishop must stand on one of the two points between the Rook and the Queen, the Knight being placed on the other; but on which point depends upon the whim of the player. Perhaps it would be simpler to say that at the commencement of the game, the men being arranged as in Chinese chess (except that the Kings are on 5 b, not 5 a, and 5 i, not 5 j, either player may, before moving, but not afterward, interchange Knight or Bishop at one or both sides of his Hne. If one player so inter- changes, it is generally considered advisable for the other to do the same, but he is under no obligation in the matter. The Soldiers (Pawns) differ from those of China in that they have from the first the move which the Chinese Ping only gets after crossing the river. A Korean Pawn moves one step sideways or forward, but never backward or diagonally. When he reaches his tenth rank (the enemy's first) he does not change his condition, but remains a Pawn, restricted to a sidelong move- ment up and down that rank. For this reason a Pawn is not often ad- vanced to the last line — is, indeed, seldom carried beyond the eighth 88 KOREAN GAMES. rank, his strongest position. We have seen that, in common with the Rook, the King, and Queen, the Pawn can travel along the diagonal of the camp. The Cannon differs from the P'du of China in that it moves as it takes, and that another Cannon can neither form a " Screen " for it nor be taken by it. The Korean Hpo moves in a straight line, horizontally or perpen- dicularly, but only when some piece (not itself a Cannon) intervenes. Thus, in the example above given, the Cannon on i f can move to i h, i i or i j over the Rook on i g, or to 4 b, 5 f . . . 8 f over the Pawn on 3 f If moved to ij it would give check to the enemy's King on 6j, because the Queen on 5 j intervening forms a Screen. But as the men are placed at the commencement of the game, the Cannon on 2 c cannot take the Knight on 2 j, because the other Cannon on 2 h does not act as a Screen. Although this is the case, an intervening Cannon is not alto- gether ignored. For instance, if Red had had a Cannon on 4 a when Green checked by Cannon i f to i j, he could have repHed by Cannon 4a to 4J, interposing, when the Green Cannon on i j would practically bear on nothing but the empty points i f to i a. This restriction of the power of the Cannon makes it inferior to the Chinese P'du and its movements more cumbrous. In all other respects the Korean game is a distinct advance on the Chinese, and, this drawback modified, might even aspire to rivalry with Western Chess were the King and Queens permitted to move freely over the board. There are, as far as can be learnt, no native books whatsoever on the subject of Korean Chess corresponding with the work which formed the basis of the writer's Manual of Chinese Chess} Nor have the numerous books of end games or problems of China any counterpart in Korea. Chess in the latter country is regarded, in spite of its unusual diffusion, as a some- what frivolous pastime, suitable for young persons and rustics. The educated Korean, deeply imbued as he is with Chinese sympathies, affects to prefer Pa-tok (No. Lxxv), though it is open to considerable doubt whether he would not, as a matter of actual fact, rather play at chess. The first move is usually conceded to the weaker player, a plain proof that the advantage is supposed to rest with the opener. The usual com- mencement is either a Rook's Pawn horizontally or a Knight interposing be- tween the Cannons to serve as a Screen for one of them. In the following short game the Bishops were placed on 3 a, 8 a, 2 j, and 7j respectively : ^A Manual of Chinese Chess. Shanghai; Printed at the North China Herald o&Qt, 1893. CHESS. 89 Red. 1. Pggto 8g 2. Kt 3 j to 4 h To form screen for Cannon. 3. B 2j to s h 4. Kt 8j to 7h To defend Pawn on 5 g. 5. Kt4h to 5f Green Cannon now bears on Pawn. 6. P 3 g to 4 g 7. Kt 5 i to 5 j 8. R 9J to 9f 9. Q 4j to s i 10. P igto 2g(?) 11. R9fto 6f 12. C 8h to 6h 13. B 7j to9g 14. R ij to I b Green. P I d to 2 d Kt 7 a to 6 c 15. C 6h to 3h 16. C 3 h to 3 b (check) 17. C 3b to 3i 18. P 7 g takes P 7f 19. C 3 i to 3 a (check) 20. R I b to I a 21. R I a takes Kt 2 a 22. R 2 a takes B 3 a (check) 23. Kt 5 f takes B 6 d -24. R 6 f takes P 6d 25. R 6 d takes Kt 6 c 26. R 6 c to 8 c 27. R 8 c to 8 a (check) 28. B 9 g to 7 d (check) 29. R 3 a takes Q 4 a (check) 30. R 8 a takes Q 6 a (mate) " Check " in Korean is tj'yang, ' 3. C 8 c to 5 c 4. P 5 d to 4 d Brings Cannon to bear on Bishop. 5. B 3 a to 5 d Threatens Pawn on 3 g. 6. Kt 2 a to 4 b 7. B 8 a to 6 d 8. R I a to I e 9. R I e to 4e 10. P 9d to 9 e 11. P 96 to 8e 12. R 9a to 9J 13. C 2 c takes P 2g 14. C S c to 7 c 15. P 8e to 7e 16. K 5 b to 5 a 17. P 7e to 7f Better to 6 e 18. C 2 g to 2C 19. Q 4a to 5 b 20. Kt 4 b to 2 a 21. B 5 d takes C 3 a 22. Q 5 b to 4 a 23. P 7 d takes Kt 6 d 24. C 7 c takes Kt 7 h 25. Q 6a to 6b 26. C 7 h to 7 b 27. Q 6 b to 6 a 28. K 5 a to 5 b Only move. 29. K 5 b takes R 4 a General " (King), and " mate," tjyou- sa." ' Mr. Wilkinson is to be credited with the first publication by any Western writer on Korean Chess. See his Chess in Korea in the ^all Mall Budget, Dec. 27th, 1894.— S. C. 90 KOKEAN GAMES. Plate XVIII represents two men playing chess. The one on the right wears the hat such as is worn in doors, which marks him as the host, while the other is doubtless a guest. In Plate XIX the players are both in in- door dress, the one on the right being distinguished by his hat as an official. In Japan, the game of chess is called Shogi (Chinese, tseung k'i), Fig. 95, and although in general the same, differs in many particulars from the Chinese and Korean game. It is played on a board, usually in the form of a small table, like that used for Go, with nine squares on a side. The men are placed on the squares, not on the intersections, as in China. They consist of punt-shaped pieces of wood of different sizes, lying flat on the board and slightly inclined toward the front, the direction of the point determining to whom the piece belongs. Unlike other games of chess, the men are all of one color, and the same pieces serve for the player and his adversary. Another peculiarity is that any piece taken up may be entered by the adversary in any place he chooses and at any time he thinks desirable, such entry constituting his move. The pieces, of which there are twenty on each side, are as follows : Slid, " General," commonly called C (i) = King- Kin Slid, " Gold Generals,'' commonly called Kin (2). Gin Sho, " Silver Generals,'' commonly called Gin (2). Hisha, " Flying Wagon," (i) = Castle. Kakko, " Angle going," commonly called Kaku (i) = Bishop. Keima^ (2) = Knights. Kyosha, "Fragrant Chariots,"^ (2). Hohci, "Foot-soldiers," commonly called Fu (9) = Pawns. The Sho, or " General," stands in the centre of the first row. He moves one square in any direction, and loses the game when checkmated. The " Gold Generals " stand on either side of the King, and move one square in any direction, except the two back diagonals. Fig. 95. — Shogi. Chess. Japan (Boku-sf,n). ■ Written with the Chinese characters kwai »;a, which may be translated " Honorabje Horse." '' Kyosha is sometimes written with the Chinese characters king kii, " Capital Chariot," instead of heung kit, " Fragrant Chariot." t^^^ ±-: PLATF XIX. KOREAN CHESS. PEBBLE GAME. 91 The " Silver Generals " stand on each side next to the " Gold Generals," and move one square in any direction, except sideways and backward. The Keima stand next to the " Silver Generals," and have our Knight's move, but only forward. The Kyosha occupy the extreme ends and move any number of squares, perpendicularly only. The Hisha stand in front of the right-hand Keima and has the move of our Castle. The Kakko stand in front of the left-hand Keima, and have the move of our Bishop. The " Foot-soldiers," or Pawns, occupy the third row, and move and take one square forward only. The three rows nearest each side constitute the opposing camps. The King and " Gold Generals " retain their rank unchanged throughout the game, but the following pieces are promoted, immediately upon entering the enemy's camp, when they are turned over, then new names being written on their reverse sides. The Hisha becomes Ryo-wo, " Dragon King," and has the .privilege, in addition to its former power, of moving one square diagonally like the Kakko. The Kakko becomes Ryo-ma, " Dragon Horse," and has the additional power of moving one square forward, sideways, or backward. The " Silver Generals," Keima, Kyosha, and Hohei, or Pawns, can all attain the rank of " Gold Generals." A detailed account of Shogi will be found in Mr. Falkener's Games, Ancient and Oriental, from which the above account was extracted. The Wa Kan san sai dzu e states that the date of the origin of the game is unknown. LXXV. PA-TOK PEBBLE GAME. . The Korean game of Pa-tok is practically identical with the Chinese game of Wai k'i (Wei ch'i), which is played in Japan under the name of Go. It is played by two players upon a board special to the game, and with two sets of men of different colors. " The board is divided into squares like a chess-board, but into a much greater number, and without any alternation of color, their total number being 324, 18x18. This, however, does not repre- sent the scale of the game, because, as in Chinese chess, the pieces are played on the intersection of the horizontal and vertical lines and not on their intervals. Thus, as there are nineteen lines in either direction, the total number of places on which the men can be played is 19x19, or 36 l" The Korean board, pa-tok-hpan, differs from that of Japan, in being made in the form of a small hollow table, while the Japanese board consists of a solid block of wood. The Korean board is resonant, and by an arrangement of wires stretched within, emits a musical note when a piece is Q2 KOREAN GAMES. played. A specimen in the Museum of the University of Pennsylvania, Fig. 96, is eleven inches high and about sixteen inches square. In China, the boards are printed on paper, with the printer's name attached, so as to be ready for either playing or scoring a game, and there is a margin at the top for writing remarks, such as noting a point from which a pip of one color has been taken up, and into which a piece of another color has subsequently been played.^ Fig. 96. — Pa-tok-hpan. Board for Pebble Game. Korea. Museum of Archseology, Univ. ol Penna. No. 16,431. The men used in Korea are small, polished black pebbles, mak-tjd (Chinese, hak tss), and irregular pieces of polished white shell, pdik-tjd (Chinese, pdk tss'). The set in the University Museum consists of 143 black and 140 white pieces,^ contained, as is customary, in two unpainted wooden bowls with wooden covers, called pa-tok-htong (Chinese, fiing). In Japan the ■m.&x\,go ishi, are known as kuro-ishi, "black," and shiro- ishi, " white stones,'' and are slightly convex discs about seven-eighths of an inch in diameter. Those in the same museum consist, respectively, of worked slate and shell, and are contained in black-lacquered wooden boxes with covers. " The Chinese, in the books which treat of the game, divide the board ' Z. Volpicelli, Journal of the China Branch of the Royal Asiatic Society, Vol. XXVI, p. 80, Shanghai, 1894. * These do not appear to be the requisite number. mm PLATE XX. KOREAN PA-TOK GAME. PEBBLE GAME. 93 into foiir equal parts, which they call ' corners ' {kok or u), and which are called by the names of the four Chinese tones : P'ing for the lower left corner. Sheung for the upper left corner. Mil for the upper right corner. Yap for the lower right corner. 1 ^ i 2 hh ^ T ■« ^r > /• ; K f 1 1 c§^ I i ?ii ^ ■M^ Fig. 97. — Diagram of Wai k'i Board, Showing Method of Dividing. (From Volpicelli.) " In each of these four sections a place is generally marked out at a dis- tance of four steps along the principal diagonal counted from the outer angle. Each spot is, therefore, equi-distant from the two external sides of the section. These four points are called Kan, Sun, Kwan, and Kin, and the players generally begin the game by alternately covering them, each player occupying two at opposite angles. Sometimes the centre of the board is marked." 94 KOREAN GAMES. The Korean board is marked in the same manner, with the addition of eight intermediary marks as shown in Fig. 98. The Chinese have adopted a system of notation for each of the four corners. This is minutely described by Mr. VolpicelH, to whose treatise the reader is referred for particulars. Fig. 99, upon which a few spots are marked with the numbers used to designate their position, will give a gen- eral idea. " The players place their men alternately on any of the points of inter- • • • • ^ • • _• • • • • • — •^^ »_»^ • • • • • • •_ Fig. 98. — Face of Korean Board for Pa-tok. section of the horizontal and vertical lines not already occupied," the object of the game being to occupy as much of the board as possible, victory being decided in favor of the player who has command of the most spots. " Space can be occupied in two ways — -by placing men on the different points, and by forming an enclosure with one's men, the space thus contained being reckoned as one's territory." The latter gives the name of the game, Wat (to surround) being its principal object. The simplest possible enclosure that can be formed on the board is that of four men enclosing one spot, PEBBLE GAME. 95 which is called in Chinese, ngdn, "eye;" in Japanese, me, having the same meaning, and in Korean, tjip, " house," and which can be seen in the lower left-hand corner of Fig. loo. The next in simplicity is that formed by six men enclosing two spots, an example of which is given in the lower right- hand corner of the same diagram. In the same way large enclosures can be formed with a greater number of men, as will be seen in the upper left- 2 3 4 5 6 7 8 9 lo 9 2 3 4 5 6 7 8 9 lO 9 8 7 6 5 4 3 2 I l29 ^ F f |g3 ^ r K J plio ^ /K -c f eff J r L L J r f5 r 48 K^ <^ J r 43 \ J 2 3 4 5 6 7 8 9 lo 9 123456789 lo 98765432 FlG. 99. — Diagram of Wai k'i Board, Illustrating Chinese Method of Notation. (From Volpicelli.) hand corner of Fig. 100. All enclosures require a smaller number of men to form them when they are situated around a corner or angle of the board, as then only two .sides need be formed, the other two being the limits of the board itself. All enclosures may be formed not only round unoccupied spots, but also round unprotected men of the adversary, who are forthwith taken and their empty places become the conqueror's territory. The ele- ment of strife thus comes in and lends interest to the game. The interest 96 KOREAN GAMES. is not concentrated in one spot, as at chess, around the King, but is diffused all over the board, as e;very single spot is equally important in effecting the result and counts in the grand total which represents the position of each side at the end of the struggle. An opponent's pieces may be captured when they are completely sur- rounded, but whenever a group of men contains within itself two or more empty spots forming complete eyes, it is secure against attack. It does not (^ ■M> ■"* ^"" r- r- -c rp. tS ^ 1 r :S y- -< ^ r s < > 1 L u ) y. • -< -< y \ ? \ r >- -c >- — J -c s r J K. L J \ Q L Fig. ioo. — Diagram OF Wai k'i Board, Showing Eyes and Enclosures. (From Volpicelli.) matter where or how far apart from each other these eyes are situated, pro- vided they form part of one unbroken group of men joined together. The upper left-hand corner of Fig. loi exhibits a territory which cannot be conquered by the adversary, because it contains three complete eyes, any two of which alone would be sufficient to secure its independence. If White should fill up an eye at any point, Black in his turn would take the man that White played, for it would be surrounded by his men. A detailed account of these enclosures is given by Mr. Volpicelli, who PEBBLE GAME. 97 describes the manner in which they may be joined together to secure them against attack. At the close of the game there may be empty spaces, sur- rounded partly with white and partly with black pieces, so that neither side can claim them. In such cases they are alternately filled up by the two players before the counting begins. Each player then counts his pieces, including the eyes which he has surrounded, and the one having the highest wins the game. JH^JW- -- -W^ Vx? TV aT iiJrS nnnSn nJnJnl 1 nnZn Tnnn i TrsXnn iTT 1? T X V 1 V T T Y Y T T y Y i A 1 \\~ o o o •S • • r^ lA • ic)iens, /apanese Lyrical Odes, London, 1866. Each of the hundred poems is by a different poet. PLAYING-CARDS. j^c World's Columbian Exposition at Chicago. These cards are classified by him, according to their symbols and marks, as follows :' 1. From the sapeck, or " cash," and its multiples. 2. Through Dominoes. 3. From Tseung k'i, the Chinese form of Chess. 4. From other sources. I. CARDS DERIVED FROM MONEY OR MONEY TOKENS. In Mr. Wilkinson's collection this class includes : a. Kwanp'di, " Stick cards," or, Md tseuk, " Hempen birds." b. Lilt chi, " Waste paper." c. Chung fat, " Hit and go." a. KWAN p'ai.^ The simplest form of a Kwan p'di pack consists of thirty cards, viz.: the ace, 2, 3, 4, 5, 6, 7, 8, and 9 in three suits, together with three court cards. The suits are (i) ts'in, " sapecks," or ping, "cakes;" (2) sok, " strings," or /^//«, " rouleaux ;" (3) ;«««," myriads." The court cards are usually Hungfd, " Red Flower ;'.' Pdk fd, " White Flower," and Ts'in mdn, " Thousand Myriads,'' the last being popularly described as Ld ts'in, or " Old Thousand." Kwan p'di are, however, very rarely put up in this simple form. As a rule, four of these packs, or packets, of thirty cards go together, and with them are often provided in addition a number — two, five, or six, usually five, special cards, called by the Chinese Kam, or " Golds." These " Golds " play the same part as the old Mistigris, or the Joker in Euchre ; that is, they can take the place of any required card. No. I. — From Nanking. Four packets of thirty cards and five jokers. Index marks for suits and pips and for White Flower, Old Thousand, and each joker. The jokers are the Five Virtues : yan, i, lai, chi, sun — " humanity," "benevolence," "courtesy," " knowledge," and "sincerity." Total, 125. No. 2. — From Peking. Four packets of thirty cards and six jokers. De- scribed as Wai p'di — i. e., "cards from the cantonment'' of Tientsin. Index ' The catalogue that follows, prepared by Mr. Wilkinson, was printed in the Descriptive Cata- logue, World's Columbian Exhibition, Department M, Revised Edition, p. 84, Chicago, 1893. The original transliteration of the Chinese has been modified to agree with the Cantonese dialect used in this book. ''■ For a description of the methods in which Kwan p'ii are used in play, see The Game of Khanhoo, London, Chas. Goodall & Son, 1891. 1 36 KOREAN GAMES. marks for suits and pips and for White Flower, Red Flower, and two of the six jokers. The jokers are Shi Ts'in, Wong To, Chiu K'oi, Ts'ing She, Pdk She and Hi'/ Sin. These, which were put up outside the pack, are the heroes and heroines of certain tales. The first is a character in the Shwui Hii Chuen' (Water's Marge), a Robin Hood romance which furnishes names for the figures in the suit of myriads. The last three — " Blue Snake," " White Snake," and " Fairy Hit. " — are taken from " The Tale of the White Snake." Total, 126. No. 3. — From Hankow. Four packets of thirty each and five jokers. Index marks for suits and pips and for the coat cards. The jokers are the Five Blessings, viz.: fuk, "happiness;" /uk, "promotion;" skau, "long hfe;" hi, " joy " (i. e., " pnster\ty"), and ts' oi, " weahh." The set was described on the original paper box in which it was sold as Ka/n kwan, " Golden kwan " (stick) cards. There are only three speci- mens of Old Thousand and of Lam Ch'ung, " White Flower." It is not unusual to. find apparent defects of this kind in Western China packs. Total, 123. No. 4. — From Hongkong. Four packets of thirty each and five jokers — the Five Blessings. No index marks. The wrapper was inscribed " Five Stars " (z. e., the Five Jokers), and " Please note the real article, made by Li at the sign of Man (luxuriance)." Total, 125. No. 5. — From Chungch'ing. Four packets of thirty each and five jokers, the Five Blessings, these last elaborately colored. Index marks as in No. 3, with slight modifications for Wong Ying, " Red Flower." Total, 125. Fig. 125.^ No. 6. — From Kiu Kiang. Four packets of thirty and five jokers — the Five Blessings. Described on wrapper as ^s'i/i, ktin, sok, " cash, rouleaux, and strings." Black backs, clipped corners ; index marks for suits and pips. Maker's name, Tsang, on every card ; his shop sign on Ace of cakes. Gilt marks on the Aces, the three coat cards, and the five jokers ; red splashes on the 9's. Total, 125. Fig. 126. No. 7. — From Fuhchau. Four packets of thirty; no jokers. Index ' Wylie's Notes on Chineie Literature, p. 162. Translated in part by M. Bazin, Le SUcle des Youin, Paris, 1850, p. 108. 2 The pictures of Chinese playing-cards, with the exception of No. 126, are reproduced from Mr. Wilkinson's paper on the Chinese Origin of Playing-Cards in The American Anthropologist, for January, 1895, with the courteous permission of its editor. The coloring of the cards is repre- sented by heraldic symbolism, the doited signifying yellow or gold ; vertical lines ; oblique, green ; horizontal, blue. PLAYING-CARDS. 137 marks for pips and suits. Maker's sign, Tdi-li, on Aces and coat cards. Diapered backs. Total, 120. No. 8. — From Peking. Four packets of thirty; no jokers. Index marks vary for suit and pips. Artistic cards in cream white on a black ground. Total, 120. No. 9. — From Taiyuan, Shansi. Four packets of thirty ; no jokers. Index marks for pips only. Designs very conventional. Total, 120. (f2 i it TS 1 Fig. 125. — Nine of Myriads, Red Flower and White Flower. Chungch'ing. No. 5. (Actual Size.) No. 10. — FromWenchow. Two packets of thirty ; no jokers. Index marks for suits and pips coarsely executed. Total, 60. No. II. — From Honan Province. Four packets of thirty; no jokers. Index marks for suits and pips. Names of each personage in the suit of myriads. Total, 120. No. 12. — From Hongkong. Four packets of thirty ; no jokers. No index marks. Total, 120. No. 13. — From Canton. Originally put in a set of ten packets of thirty each ; no jokers. Similar to No. 14. Total, in collection, 60. 138 KOREAN GAMES. Fig. 126. — Suit of Myriads^ Kiu Kiang, No. 6, Showing Index Marks. (Actual Size of Impressions.) PLAYING-CARDS. 139 No. 14. — From Hongkong. Four packets of thirty ; no jokers; no index marks. Orange-colored backs. Total, 120. Fig. 127. -. No. 15. — From Anhui Province. Five packets of thirty- each, and five jokers — the Five Blessings. In the following cases two of the five are colored, three are plain : In each suit. I, 2, 5. 8. 9; Old Thousand, Wong Ying, White Flower ; jokers, Posterity and Wealth (total different cards, 10). Index marks for pips, suits, coat cards, and jokers. When the cards are col- ored, these index marks are for myriads and cakes in gold ; for strings and jokers, in gold and red ; when the cards are plain, the index marks are in white, except for nine of cakes (in red and white), and the coat cards. Diapered backs. Total, 155. Fig. 128. No. 16. — From Hankow, each ; no coat cards or jokers. Total, 108. No. 17. — From Yii-tz'u, Four packets of twenty-seven Index marks for suits and pips. near Taiyuan, Shansi. Four packets of thirty each ; no jokers. Index marks for pips only. Designs very conventional. Total, 120. b. LUT CHI. A Lilt clii pack is distinguished from a Kwan p'di, [ci) in that it is used for games in which the cards do not take one an- ^otSi'^^^^ other ; {B) from possessing four suits instead of three. These n?.™'^''™?^- suitsare (i) cash, (2) strings, (3) rouleaux, (4) lakhs. There are "*'- ^'z^-) besides certain other cards which in play are reckoned as belonging to the suits of cash and lakhs respectively. ^^ ^^'l I^S No. 22. — FromSwatow. Ace- to 9 of strings and rouleaux, 2 to 9 of cash and lakhs, and Wan ts'in (=Ace of cash) ; Luk Fa, " Stag Flower;" Mb Kung, "Prince of Mo," and Pdk Tsz\ " Hundred Sons." The red impress consists of twelve characters, reading Lung yap Li it ka ph fung, Kon ki kd clieung tai cheiing, "Town of Lung (Dragon), Liii family, Pb Fung Sign of Kon, extra long, large cards." It is struck US 1^ -The Five Blessings. No. ,5. (J.) Anhui Province. (precious abundance). I40 KOREAN GAMES. on Hundred Sons, Prince of Mo, Ace of Cash, the four 9's and the 8 of lakhs. Total, 38. No. 23. — From Canton. Similar to No. 22, but having in addition Ts'in Tsz and Man Tsz' , " Thousand Sons " and " Myriad Sons." The red impress reads, Tse kd Wing Fung chdi, Yan ki ts'in kun sok. " Tse family. Wing Fung (' brilliant abundance ') studio. Sign of Yan (' benevolence '). Cash, rouleaux, and strings." It is impressed on 9 of " strings," the 8, 9 of lakhs, 9 of rouleaux. Prince of Mo, Hundred Sons, Thousand Sons, Myriad Sons. Total, 40. C. CHUNG FAT. As Lut cht is confined to the Hakka country of South China, so is Chung fat to the provinces of Chekiang and Kiangsu. It is usually, if not invariably, put up in tablet rather than pasteboard form. The method of play is analogous to "Khanhoo." No. 43. — From Ningpo. Ace, 2, 3, 4, 5, 6, 7, 8, 9, of cash, strings, and myriads, quadrupled, four each of the cards marked East, West, North, South, chung and fat and eight blanks. Tablets of bone with bamboo backs. The coloring, whether in red, green, or blue, is purely ornamental and has nothing to do with the play of the game. 2. CARDS DERIVED FROM DICE AND DOMINOES. The Chinese themselves make no great distinction between dice, dominoes, and domino-cards, styling them all p'di. A set of Chinese dice usually consists of six, although it may contain thre^. The four spot is in- variably colored red, the ace usually so ; and this peculiarity is copied into all Chinese domino-cards. In these last the double-six, the best card in the pack, is very often colored partly red and partly black. " Cards " of this class appear indifferently in pasteboard and tablet form. The specimen packs in this collection may be divided as follows : a. T'in kau, " Heavens and nines.'' b. Fd ho, " Flower Harmony." c. Fd ho, variety. d. Eight T'in kau. e. Twelve T'in kau. f Un p'di. g. Tong kau, or Fd Tong kau. a. t'in KAU. The greatest possible number of combinations of a pair of dice is twenty-one. Each of these has in Chinese its name, and while eleven of PLAYING-CARDS. I4I the twenty-one are styled tiiaii, " civilian," the remaining ten are called mo, " military." Double the eleven civilian and add a set of military and the result is the thirty-two cards or dominoes of the game of T'in kau, a game which was certainly played in its present form in 11 20 A. D., and is now popular all over the Chinese empire. It is remarkable that although of tablet form, the " cards " in this game invariably take one another. No. 40. — From Shanghai. Bone with black wood backs. No. 41. — From Canton. Bone with bamboo backs. If from a T'in kau pack the following cards are rejected, viz., 4-5, 3-5, 2-4. 3~4. 2-S, 2-3, 1-4, 1-2, then with the remaining twenty-four a game very closely resembling the ordinary European game of Dominoes is played. At Wenchow the game is called Chi lung, " Connect the dragon." b. FA HO, FLOWER HARMONY. The game consists of twenty-one T'in kau cards (i) plain, (2) illumi- nated, (3) doubled, three each of the first, two of the second, and one only of the third. There are thu.s sixty-three plain, forty-two illuminated, and twenty-one doubled, or 126 cards in all, together with a varying number of blanks serving the purpose of jokers. The game is played on the " Kan- hoo " principle, with, of course, certain differences. No. 26. — From Shanghai. Known as " Actors' cards." The " illumi- nated " cards bear portraits of the heroes and heroines of certain plays, the " doubled " cards are duplicates of the " plain." The three jokers are " illuminated " cards without domino points. Total, 129. Fig. 129. No. 45. — From Shanghai. A tablet set. The illuminated show sprays of flowers ; the doubled, flowers and symbolic ornaments. The jokers, six in number, are blanks. No. 24. — From Hankow. Known as Fd-wong, " Flower princes '' (see No. 38). The twenty-one natural dominoes ; three each plain, two each with flowers or ornamental objects, one each with a figure of a hero or heroine. No jokers. Total, 126. No. 38. — From Hankow. Also a Fd-wong. The 126 cards as in No. 24. Illuminated cards have the fdi kik (protyle dividing into \h^ yeung, or male, and yam, or female, elements) in black and a black border ; the doubles bear in red the hieroglyph wong, "prince" and have a black border. C. VARIETY OF FA HO. No. 30. — From Chungch'ing (Chungking). Known as Fd p'di, or " Flower cards." Three each of the twenty-one natural dominoes plain, and 142 KOREAN GAMES. four each illuminated. The illumination is a spray of flowers, and is the same for each card. Total, 147. It is to be noted that all Chungking domino packs are usually put up in the order of the dominoes, viz. : 6—6, i-i, 4-4, 1-3 (3-3, 5-5 sic) 2-2, 5-6, 4-6, 1-6, i-s ; 3-6, 4-s, 2-6, 3-5, 2-S> 3-4, 2-3, 1-4, 2-4, 1-2. d. PAT T'lN KAU, OR EIGHT t'IN KAU.' No. ly.- — From Hankow. The twenty-one natural dominoes simply quintupled. Fig. 129. — Actors' Cards. Shanghai. No. 26. (Actual Size.) No. 28. — From Macao. Described on wrapper as Tim p'di, or " Dotted cards." The twenty-one natural dominoes quintupled. No. 31. — From Chungking. Known as Ts'at hung p'di, or " Seven red cards." The twenty-one natural dominoes quintupled, one of each being illuminated. Of the 2-5 there is one extra card, but no illuminated. Total, 127. This game is played by the Chungking women, and is only in form a variety of Fa ho. ' This game is said to be of Cantonese origin. Although packs are found as far west as Chung- king, they are described as " Cantonese cards," and are kept in stock for sale to Cantonese residents. J'LAYING-CARDS. I43 c\ SHAP-I t'iN KAU, or TWELVE x'lN KAU. No. 25. — From Hankow. The twenty-one natural quintupled, and these five cards: 1-3 2-3 1-2, 1-5 3-6 2-4, 3-5 1-4 2-6, 3-4 1-6 2-5, 4-5 5~6 4-6. These are known as Sam, or " Hearts." /. Un pai. Under 2a {Tin kau) the game of Chi lung, or Dominoes, was de- scribed as played with a Tin kau pack fi-om which the following eight cards had been thrown out, viz. : 4-5, 3-5, 2-4, 3-4, 2-5, 2-3, 1-4, 1-2. The twenty-four cards left will be described as a Chi lung pack. No. 34. — From Shansi province. The card 1-4 being substituted for 1-3, this consists of a double Chi lung pack. Total, 48. No. 37. — From Chungch'ing. Somewhat similar to No. 34, except that the cards 1-2 and 3-4 are substituted for the two 1-3's. One of each of the fourteen kinds is illuminated. Total, 48. g. TONG KAU. No. 44. — From Wenchow. The twenty- one natural dominoes quin- tupled, and the following seventeen special cards: (1)6-6 6-3,(2) i-i 1-3, (3) 4-4 1-3, (4) 2-4 4-4, (s) 3-3 5-6, (6) 1-2 2-2, (7) 1-2 2-4, (8) 4-s 5-5, (9), (10), (i i), the sequence 1-6, [a) man, " civilian ;" (d) mo, " military;" {c) tsung, " universal ;" (d) t'ai, " highness ;" (e) ho, " lily;" (/) p'ui, " heap up." The blanks are used only to replace cards lost. The coloring of the cards is immaterial. Total, 122. The pack as above is known as Fa Tong kau, " Flowery Tong kau." The simpler form, or Tong kau proper, has only five special cards, viz. : 6-6 6-3, i-i 1-3, 4-4 1-3, 6-6 3-3, 1-2 2-4. It is usually put up with two blanks. 3. CARDS DERIVED FROM TSEUNG k'i, THE CHINESE CHESS. These seem to be peculiar to the Southern and Southeastern provinces, notably Fuhkien and Kwangtung. No. 18. — From Swatow. Eight each of the seven black and of the seven white men, except that of the soldiers, there are ten of each color. The Generals (Kings) are elaborately ornamented. Long, narrow gray cards, apt to curl up. Total, 116. This, in common with all other packs of its class, is known as Ku-ma-p' an, " Rook-knight-cannon." No. 19. — From Fuhchau. Four each of the red and the same number 144 KOREAN GAMES. of the black cards. Remarkable for having index marks. Elaborate pat- terns on backs. Total, 56.' No. 20. — From Swatow. Four each of the Tseung, Sz', Tseung, Ku, Ma, P'du in red, the same number in black, and ten each of the red and of black pawns, one black and one red kam, " gold " or joker. Total, 70. The pack comes from Lung-chou, near Hui-chou, some fifty miles from Swatow. No. '2 1 . — From Swatow. Four each of the seven kinds in four colors — red, yellow, white, green. The firm name, Li Siting, is on the red and yellow Kings, Li on all the other yellows and reds, Shing on all the greens and whites. Total, 1 12. No. 29. — From Canton. Four each of the seven men in four colors : red, yellow; white, green, and five jokers, the Five Blessings. The jokers in this example are printed on'white; they are sometimes met with in red. Total, 117. 4. MISCELLANEOUS CARDS. This class of cards, drawn in the present collection entirely from West- ern China, bears some resemblance to the " Proverbs " and " Happy Fami- lies," of Europe and America. With the exception, however, of the Wd-wd p'di, or children's cards, these Chinese packs are used by adults, and may be legitimately included in a collection of Chinese cards. a. CARDS BASED ON NUMBERS. No. 33. — From Chungch'ing. The first ten natural numbers (a) in large script, {b) in small script, four of each. Of each number, one card bears a scene from a play, the remaining three cards have one, or sometimes two, branches of flowers, in red. The numbers 11, vii, x, 2, 7, 10, are printed in red with a spray of peony blossom ; the rest are in black, i, iii, IV, V with a single bunch, vi, viii, i\ with a double branch, of flowers, i, 3, 4, 5, 6, 8, 9 all with a double bunch. Total, 80. No. 39. — From Hankow. Four each of the first ten natural numbers, {a) in large script, {b) in small script, and the following eight special cards : (i) 2 I 7 I 10, red; (2) 11 | vii | x, red; (3) 3 I 6 | 9, black; (4) in | vi I IX, black ; (5) a crab, black ; (6) a butterfly or bat, red ; (7) hong, " de- scend," black ; (8) shing, " ascend," red. All the cards are hand-painted. The crab and butterfly serve the purposes of jokers. Total, 48. ^ A card-holder, made of pewter, accompanies this pack, intended to obviate any advantage derivable from marked backs. In it, after dealing the ten cards to each of the two three, or four players, the stock is placed ; the bottom card is then drawn. tLAYING-CARDS. i4S 4 O Q_A ^ b. CARDS BASED ON A WRITING LESSON. The earliest, or one of the earliest writing lessons set to a Chinese child, commences Sheung tdiyan, " Once (there was a) great man." There are several variants of the lessons, which in Hunan province and other parts of Western China forms the basis of the most popular card parks. No. 35. — From Hankow. The screed runs: Sheung tdiyan \yau ut ki fa sdm ts'in \ ts'at shap sd" \ Ni siu shang \ pat kau tss' \ ho chi lai \ i sz' 'ng luk. That is, " Once a great man Yau Ut-ki (Confucius) converted three thousand, seventy were disciples ; you small scholars, eight or nine youths, may learn politeness ; two, four five, six." Each of these twenty- one hieroglyphs, except ho, " may," of which there are only four, is quintupled. Total, 124. No. 36. — From Hankow, but like No. 35, really from Hunan province. Similar to No. 35, but (rt) for Yau is substituted Hiivg, the surname of Con- fucius, and for ho chi lai \ i sz' 'ng luk, are employed kdi tsok yan \ fuk luk shau, " gratefully practice humanity ; happi- ness, promotion, longevity;" (3) there are only four of each kind, not five. All handwritten on smooth oiled paper. The first card of each triplet is in red, the other two are in black. The sec- ond card has a red mark at the top and bottom. The cards have index marks, a miniature hieroglyph at the right-hand corner of each. Total, 96. Fig. 130. C. CARDS BASED ON LUCKY FORMULA. No. 32. — From Chungch'ing. The Wd-wd p'di, or children's cards. Eight cards each of the hieroglyphs, /^2^/^ u tung hoi \ shau pi nam shdn, " Happiness, like the eastern sea, age more than the southern hills." The eight fuk and the eight shau are in red ; the rest in black ; one fuk has upon it a spray of flowers. Total, 64. Fig. 131. The playing-cards sold in the Chinese shops in the United States are similar to Nos. 13 and 14 in Mr. Wilkinson's collection. They are usually put up in small pasteboard boxes, containing four packets of thirty cards. The backs of these cards are usually red or black, and sometimes Fig. 130. — Cards with Writing Lesson. Kow. No. 36. (J.) Han- 146 KOREAN GAMES. white. They are commonly known as Tseung kwan chifdi, or " Commander- in-chief cards." Although generally sold in their shops, these cards are seldom, if ever, used by the Chinese in the United States for the purpose of play, and comparatively few of the immigrants understand the card games, the long wooden dominoes described on page 116 taking the place of cards. Playing-cards are used, however, as counters or chips in the game of Fan t'dn,^ for which purpose cards with plain white backs are used. Narrow cards with red backs are also used to register bets upon the board * f 1. 'iiii'' J|l| ltll>n|IM|i, I T 1 W lliiilliil' .*&•' •■"■•gStily ^^Vl'Vi;,, Fig. 131. — Children's Cards. Chungch'ing. No. 32. (§.) in the same game, special cards having two red faces, without devices, called Mu /z, or " dog tongues," being sold for the purpose. The Tskiing kwan chi p'di are regarded as a powerful charm to drive away evil spirits, and are placed upon the coffin when a dead body is transported from one place to another. The Tseung kwan chi p'di are sometimes spoken of as the Sam shap luk fin tseung ts'at shap i ti shdt, or the " Thirty-six heavenly Generals and seventy-two earthly malignants." They are also called the Yat pdk ling ' Cf. The Gambling Games of the Chinese in America. LOTTERY. J.- pat, or " One hundred and eight." Both of these names refer to the one hundred and eight heroes or personages of the Shwui Hu Chuen, whose pictures, often with their names appended and apparently copied from an illustrated edition of the novel, occur on the suit of Man, or " myriads." The origin of these cards appears to be directly traceable to the Ko- rean Htou-tjyen. The index-marks at the ends which are shown in the pack from Hankow, Fig. 126, and are practically identical on all the packs in Mr. Wilkinson's extensive collection from various parts of China, may be regarded as survivals of the cut-feather numerals of the Korean cards. The suits consist of numerical series from one to nine, the extra cards of the Chinese packs taking the place of the " General " cards of the Korean. Indeed, the latter may have furnished the name of " Commander in Chief," or " General," applied by the Cantonese to these packs.' The reduction in the number of suits from eight to six and even four, according to the num- ber of players, occurs in the Htou-tjyen. Another point of correspondence between the Chinese and Korean cards is found in the agreement between the name of the latter, tsin, with the money symbols, ts'in, that occur on the Chinese money- cards. The addition of the money symbols to the Htoti-tjyen seems most natural in view of the relation that appears to exist between the tsin, or written tablets of bamboo, and the ts'in, or current money of China. The present form of the Tseung kwan p'di\5 doubtless later than the novel, written by Shi Nai Ngan, in the Yuen dynasty (A. D. 1 280-1 368), from which the pictures on the higher cards were taken. In conclusion, it may be observed that the Korean Htou-tjyen may be regarded as survivals of the ancestral type, if not of the direct ancestors of existing Chinese cards, and that, as before men- tioned, they may be directly traced to the arrow, in which they originated. XCIII. SAN-HTONG LOTTERY. This agrees very closely with the Kyei (Chinese, k'ai), or money- lending clubs. The membership in these clubs may be 10, 20, 50, 100, or 1,000, but is usually 50 or 100. The members each contribute the same amount at fixed intervals, and a drawing takes place at the same time, at which the entire amount contributed is drawn by one of the members, and this is continued until each have got back their own. The drawing is con- ducted with wooden balls about the size of marbles, for which hazel nuts ^ Mr. Wilkinson describes these cards as " stick " cards, the word sticlt, kwan, having the same sound as kwan in tseung kwan. 10 148 KORKAN GAMES. are frequently used. These are marked in Chinese characters with the names and numbers of the members, and are put in an oval wooden box, which consists of two parts and opens in the middle, and has a mouth like that of a bottle, from which the balls are shaken. This box, called San- hto ng {Chmese, ts'iin t'ung), meaning "tube for lots," gives its name to the lottery. The drawings are usually held every month, but not upon any special day. There are two ways in which the clubs are conducted. In one the player continues to pay, after he has been successful, until the end of the drawings. In the other, by agreeing to accept less than the amount actually won, he compounds for future payments, and withdraws. It is customary for the club to choose a member who manages its affairs, for which he receives a small commission. The club frequently has a little money which is put out at interest, and sometimes, when the entire hun- dred, or whatever number is agreed upon, cannot be made up, the club takes a sufficient number of shares to complete it. If a player is unable to pay, he may sell his share to the club. Poor merchants frequently help each other by this means. The Chinese laborers in the United States have organized a lottery in most of their larger colonies, which appears to have originated directly from something like the Korean San-htong. In this lottery, called Tsz' fd, or " Word Blossoming,'' thirty-six names of men and women are used as lots. Any one may buy whichever name he chooses, and receives thirty times the amount of his stakes if he guesses the winning name. This lottery is com- plicated by the use of -a chart called the tsz' fd fb, shown in Fig. 132, on which the thirty-six names are printed. They are divided into the follow- ing categories : 1. The four Chong 2111} 2. The seven successful merchants. 3. The four Buddhist priests. 4. The five beggars. 5. The five generals. 6. The four ladies. 7. The four destined to good fortune. 8. The nun. 9. The two Taoist priests. Each of these names appear in a ruled division of the chart, which is ' The highest degree at the examinations for the Hanlin. LOTTERY. 149 subdivided by horizontal lines into three parts. In the middle, below the name itself, are two names, one of them, in most cases, that of an animal, and the other that of some historical personage, while the lower division contains two characters which constitute the surname of one of the names that appear in the upper division. In the middle of the chart is the picture C9 ^ ^ ^ ^ 09 I -rf- ^- -rp JtP- £^^ ^s>mm i ^ M ^-^ s w I ^i f4 ^ ^ K # Fig. 132. — Tsz' fa t'o. Chart for Tsz' fA Lottery. From original in the Museum of Archaeology, Univ. of Penna. No. 7151. of a man, who is known as the T'ung Yan, or " Composite man," over whom are written the thirty-six surnames before referred to. It is said that this chart, which is analogous to the dream books sold in the United States, serves the same purpose with the more ignorant gamblers among the Chinese laborers, the player betting upon the name written upon the part ISO KOREAN GAMES. of the body of which he happened to dream, or, if he dreamed of an animal or some character in the historical novels, on the name which is given in connection which that animal or personage. This appears to have been the original purpose of the chart, but this employment is secondary to one in . ^ _ ^^ which superstition has less part. The writer of ^(^f 1^1 ^^ lottery composes an original ode, called fai, ^ ' -— ^ " composition," for each day's drawings, which ^t »<• *^ must contain, either directly or by implication, -A^* /^M v'^'t* some demonstrable reference to one of the ob- ^Hk » ' jects or persons mentioned in the middle space yhf^. ig Vx^ °^ ^^^ division in which the winning name occurs, '^''Ir- I* or some reference to the part of the man's body * upon which the name appears. The lottery's •wjj* \A ^ chances are increased by the writer being per- ^^ ^^ 1 mitted to select as the winning name either the ■» T-T# > name in the upper space or its alternate in the «n;Ef -^ ^ lower space of each of the thirty-six divisions. ' *^ 1 The manager of the lottery hands each player a copy of the ode referring to the next day's draw- ings at the conclusion of each day's business. The odes usually consist of two measured couplets, each composed of lines of three and five characters, printed in green or blue ink upon white paper. The first couplet on the right must contain a reference to the afternoon drawing, and the other to the one that takes place in ^'^'TorTsz'pALo^T^ERv!"™" the evening. The following is a specimen : Fig. 133- Kwok yau th, Man man chim u I'd, Kun un yung, Pak sing cJieung wofung. " The country has the (right) way." "All the people with rain and dew are moistened." " The officers all forbear." " The people spread abroad with favorable winds." It is the practice of the writer of the lottery to mislead the players as far as possible by means of his verses, but he must always be able to give a satisfactory explanation of their connection with the name he displays. LOTTERY. I e j The drawings are managed by rolling a piece of white paper, upon which the last two characters of the winning name are plainly written, within a piece of black cloth which is hung in the room where the drawing takes place. When the bets are all made, the manager slowly unrolls the cloth and reveals the winning name. This procedure probably explains the peculiar name, Tsz' fa, or " Word Blossoming," which is given to the game.' There is another form of lottery which is even more popular than the preceding among the Chinese in the United States. It is popularly known as the Pdk kbp piii, or " White Pigeon Ticket." Like the Tsz' fa, it is con- ducted by regularly organized companies who hold drawings once or twice daily. The tickets, which are imported already printed from China, invari- ably consist of pieces of paper about five inches square, upon which have been printed in black, blue, or green ink the first eighty characters of the Ts'in Tsz' Man, or " Thousand Character Classic." This book, which con- tains precisely one thousand characters, no two of which are alike, is so well known in China that its characters are frequently used instead of the corresponding numerals from one to one thousand. They serve the pur- pose of numbers on the tickets. The impression on these tickets is repro- duced in Fig. 134. Twenty of the eighty numbers are drawn every night. The company sells the players ten or more numbers and pays prizes to those who guess the characters drawn. A player prepares his tickets by dotting the character he selects with black ink, and this ticket is handed to the manager with the money wagered. Eighty pieces of white paper are provided at the drawing, upon which have been written or printed the eighty characters on the tickets, one on each, a box of hand stamps for the purpose forming part of the equipment of most lotteries. The manager rolls the eighty pieces of paper into as many pellets, so that they cannot be distinguished, one from another, and places them in a large tin pan. He mixes them thoroughly and, then, one at a time counts twenty of the pellets into a white china bowl, distinguished by a paper label marked " one." He then counts twenty more into another bowl marked " two," and, in turn places the remainder in two other bowls marked " three " and " four." One of the players, who is paid a small gratuity, is now asked to select one of 1 Archdeacon Gray describes this lottery as being played in China under the name of " Koo- yan," or " the Ancients," and says it is also known as " Flowery Characters." The names of the animals associated with the names and surnames are explained by him as those of the forms of being in which the several personages existed in a former state of existence. He states that this game originated in the department of Chun-chow and was introduced into Canton in the twenty- eighth year of Taou-kwang (A. D. 1848). 152 KOREAN GAMES. the bowls, and the one he designates is declared to contain the winning numbers. These the manager carefully unrolls, one at a time, at once pasting them upon a board in the back part of the office. Those who purchase ten numbers lose their stakes unless they happen to. have bought at least five of the winning numbers. Those who guess ^i^ n,mt^m%m^\ Uk\ i^^i'Amn^n i^l lkM^^ M.^A^SLii:l ^ik ^m^^^'^'k^'k ^^ fL ;fx ^ ,?s*. ^#ii:f^^^^ tm ^^^'k^^^'^% ^m ^^^^m^^'iml %.n ^^ni^n^^^l KiG. 134.— Ticket for Pak kop piu Lottery. Kwangtung, China, and Chinese in the United States. five or more of the winning numbers receive the following sums for each dollar they wager . For 5 wmnir S numbers, " 6 " 7 " 8 " 9 " 10 ;?2.oo 20.00 200.00 1 ,000.00 1,500.00 3,000.00 , The companies, however, always deduct five per cent, from these amounts, and when the ticket has been sold through an agent, fifteen per WORD TALLYING. jr, cent., ten per cent, of which is paid to the agent. Proportional sums are paid when the amount wagered is less than one dollar. Most of the companies sell more than ten numbers, from ten up to twenty, at a proportional advance in prices as the player's chances are in- creased. The price which should be charged for more than ten numbers, with the prizes to be paid, and the methods of calculating the company's chances, and what its profits should be, are contained in a book known as the Pdk Kbp Piii T'h, of which several editions are current among the gam- blers in American cities. One in general use, entitled, Shang Ts'oi Tsit King, or " Quick Way to Get Rich," may be purchased in Chinese shops.' The name of this game, pdk kip piu appears to the writer to be a cor- ruption of pak hbp piu, or " One Hundred United Lottery." If this be true, its resemblance to the Korean San-htong is still further increased. It is customary for the Chinese in the United States to re- _^ sort to a shrine of Kwan Ti, the God of War, the divinity gen- 32» erally worshiped by the Chinese in America, before playing this rt game. Here is kept a set of bamboo lots, ts'im (Korean, suit) '1 marked with the eighty numbers of the lottery tickets. The in- I tending player, after performing the customaiy rites, kneels and ' shakes thepe lots from their receptacle, a bamboo box or tube j^ about eighteen inches in length called ts'iin t'ltng, in order to divine the lots which will be lucky at play. It will be observed "S that this ceremonial procedure is similar to that now employed ~ "* in Korea in actual gambling, and that the name of the implement employed, ts'im t'ung (Korean, san-htong), is identical. jlj, XCIV. SYOU-SOU-KYET-KI ENIGMAS. ^% ^ Although games are ordinarily forbidden to children in Ko- ^sou-kyet™"' rea, certain games of a literary character, as Tjyong-kyeng-to answ"! jTcT- (lxxi), and others to be described, are permitted and even en- '"'*■ couraged. Enigmas, Syou-sou-kyet-ki, are a common diversion, as for ex- ample: "What character would the characters ip, ouel, hok, keni and sam (Chinese, lap, ut, puk, ki and sdni) make if joined together?" The answer is ryong (Chinese, lung) " dragon." XCV. TJA-MAT-TCHIM WORD TALLYING. This is a literary game which children are always encouraged to play, and indeed, it sometimes forms one of their school exercises. Two, three, or 'Cf. Thi Gambling Games of the Chinese in America. By Stewart Culin, Philadelphia. 1891. 154 KOREAN GAMES. four play. When two play, one chooses Ha-nal, " Heaven," and the other Ti, " Earth." A Chinese book is then opened and the one who chooses " Heaven " examines the open page on the right, while the one who choose " Earth " examines the open page on the lower side on the left. They con- tinue to examine the corresponding pages on the right and left in the book. The objects of their search are two or three identical characters arranged in the following ways : * *, ka-ro-tja-mat-tchim, or " crosswise word tally- ing ;" % mai-tol-tja-mat-ichim, "pestle word tallying;" et-kdt-tja-mat-tchim, " shoulder word tallying ;" *^, ka-ro-tja-^nat-tchim, " oblique word tallying ;" * * *, san-tja-mat-tchim, " three word tallying," and * ° * noun-kal-tja- mat-tchim, or " eye-ball word tallying. All of these combinations count one unless otherwise agreed. The players go over the book, page by page, and the one who gets the highest number, wins. When three or more play the book is not divided. Each player announces a mat-tchim as soon as he finds it, and it counts for him. If a player makes a mistake, as frequently happens, he loses all he has made, or a certain number, according to agreement. XCVI. KOL-MO-TOM-HA-KT DISTRICT PICKING. This is another literary game. A Chinese book is opened as in the preceding game and each player endeavors to pick out as many names of Korean cities and towns as possible from the words on the exposed page, adding when necessary to form such names one of the Chinese characters which the Koreans call san, tchyen, tjyou and syeng (Chinese, shdn, " moun- tain ;" ch'un, " mountain streams ;" ckan, " district," and shing, " city "), com- mon geographical suffixes. Only Korean geographical names are taken, and sometimes, when geographical names are numerous in the book, the suffixes are not permitted. The same character may be used more than once, but not to form the same name. The one who finds the highest number wins, and the lowest must pay a treat. A somewhat similar game is played by Japanese children under the name o{ Ji tsunagii Two or more play. A simple Chinese character is agreed upon and each in turn, as the game goes around, endeavors to combine with the given radical some character which will form a compound. When a player is unable to do this he loses, and the game is continued until one remains the winner. XCVII. TCHO-TJYOUNG-TJYANG. This is also a literary game. The name (Chinese, chung cheung cheung), means literally " First, middle chapter." A Chinese book is opened at LITERARY GAMES. 155 random, and each player endeavors to pick out a character which is the initial character in one of the Chinese classical odes. Sometimes they confine the selection to the first characters of the lines of a particular ode in the Book of Poetry. The one who finds such a character must repeat the line, and this may not be selected again. The one who gets the highest number wins. It is customary to write down the lines. There are many forms of this game. , ' INDEX TO KOREAN NAMES. Aing-keum-tjil, 33 Aing-to-tchi-ki, 56 A-ki, 106 Al-hpoum-ki, 59 Al-kka-ki, 59 Al-nat-ki, .58 A-ryouk, . 103 Asa, .103 A-sam ... .103 A-sok, 105 El-lai, . II, 12 El-neng-tjil, 21 En-tjyet-ta, . , .69 Ep-hpe-tjyet-la, ... 66 Et-kai-tja-mat-tchim, 154 Eun-tjin, 8 Ha-nal, . ■ 154 Ha-nal-tai, 53 Ha-nam-tchon-han-ryang, 64 Hang-Ou, 69, 70, 77 Han-hpai, 105,106,110,112 Han-pen-kou-et-ta, . 68 Han-ryang, xxi, 62,64,65 Hkou-to-rong-koing, 55 Ho-hpai, . . . 62,102,104,105,112,122 Hok 153 Hol-ssang-syo, . ... . . 105 Hong-sok 105 Ho pak, 29 Hpaingi, . ■ 24 Hpaing-keu-ram 24 Hpaing-ko, 24 Hpal-koai-nyen, . . ... n Hpal mai-tchi-ki, . .... 62 Hpal-ttji, . . 63 Hpo, 84,87.88 Hpoul-tchi-ki, . 56 Hpyeng-an, 1 27 Hpyen-sa-ha-ki 63 Hpyen-tjyang, ... 64 Hpven-tjyen, . ... .... xxi Htaik-kyen-ha-ki, 39 Htaing-tja, 5^ Htaing-tja-te-tji-ki, .... . 5^ Htal-teung, .... ^, 4 Hte-tjye-ta, I05 Htoi 78 Htok-ki .123 Hto-syou, 58 Htou-tjyen 123,126,127,128,147 Hyeng-ka-rai-tjil-tchi-ki, 32, 62 IP- 153 Kai, . 68, 69, 72 Kak-si-no-reum, 9 Ka-keui, . 126 Kal-ka-pal, 11 Ka-ma-koui, 123 Ka-mek-tjap-ki, 54 Kap-o, 127 Ka-rai, 32 Ka-ro-tja-mat-tcliim, 154 Kei-tjoul, . . . 35 Kel 68, 69, 72 Kem-eui-tiyoul-tchai 31 Ke-pouk-hpai, 109 Ki San, v Keui 153 Keu-neui 34 Keu-rim-tja, 9 Ki-saing 4, 64, 65, 81 Koang-tii, 21 Koan-han-ryang, 64 Koan-i 103, 107 Koan Ou, 113 Koan-yek 63 Koa-tchyen 8 Kkok-tji, ... II Kol-hpai, . 102 Kol-ye-si, 107,126 Kol-mo-tom-ha-ki, 154 Kom-tchi-ki .... 57 Kong . .57 Kong-keui, 5^ Kong-tchi-ki, .... .... 57 Ko-no, 55, 100, loi Ko-no-tteu-ki, . 5° Kon-tjil, 102 Kop-soi, 126 Kko-ri-pout-tchi-ki 107 Kot-tjil kong 69 Ko-tjyet-ta, 69 Kou 126 Kou-et-ta, 68 Kkoueng 123 Koung, "jt, 84 Koung-tjang-i, 65 Ko-yang-i-tjoui, 4 Kyei, 147 Ma 84 Mai-am-i 3' Mai-am-tol-ki .29 Mai-tol-tja-mat-tchim, '54 iS8 INDEX TO KOREAN NAMES. ki, iMak-tji, . . . Mai Mal-nong-tjil-liS.-ki, Mat-tchiin, . . . Mek-kouk, . . . Mi-ryek, Mo, Mok-tji, . . . Mo-ri-tak-tchong, Mo-tji, . Mo-to-mek-ki, . . Moul-htaik-kyen-ha Moul-ko-ki, . . . Moul-tak-tchong, Moul-tjyou, Moa-myeng tji, Mou teung, . . Mout-ko-tchat-ki, . Myen, . Ma-koui, Naltchyoul, . . Nam-tchon-han-ryang, Ne-et-ta, Nei-pat-ko-no, Nei-pen-kou-et- ta, . . Nek-tjyang-ke-ri, Nek-tong-nai-ki, . . ... Nel-ttoui-em, . . . . Nel-ttoui-ki, Neung-keum-tchi-ki, Neung-kyen-nan-sa, ... No-ro Nouii-kal-tja-mat-tchim, ... Noun-mi-ryek, Noun-ssa-mai-ki Nyang-pan no-ram, . , Nyen, Nyen-e-oul-ni ki, , , Nyen-nol-i-ki, Nyen-tjoul, Nyout, . . xxxii, xxxiii, xxxiv, 66, 7o, 72- 73. 75, 76, 78, 79 Nyout-hpan, . . 66 *Nyout-noI-ki, Oin-son, . ... O-koan, , . 0-pat-ko-no, , . . . O-rang-hkai-khot-tchi-ki, O-ryoiik, . . 0-sok, . . . Ot-tok-i, Ouel, Oumoul-ko-no, . . . Paik-i Paik-rouk, . . . Paik-sa, Paik-sok, ... Paik-tjri Pak-tal-na-raou PAGE . . 92 32, 68, 80, 123 ■ 32 ... .154 ... 49, 50 . . 8 . 68, 69, 72 . 60, 126 29 • 3" 60 • 43 • 123 . . 29 107, 127 • • 30 • 30 ■ ■ 50 . . 40 . 29 . . 66 64 69 lOI . . 68 . 126 . 69 • ■ 34 ■ 3 + • ■ 56 • 51 • 154 . S 54 • • 3^ 9, 10, 12 . . 20 . . 20 . . II , 81, 100 67, 71 6i,66 . . 60 112, 114 . XOi 55 . . 103 . . 105 . .4.8 '53 100, lOI • . 103 . . 103 • . 103 . . 105 ■ . 92 . . 66 I'ak Young Kiu, , . Palk-a-syong-i, . . . Fam-nyout, . . . Pang-htong-i, . . . Pang-mang-i, . . . Pa-ram-ttoui em, . . . Pa-reun-son, Pat Pa-tok, Pa-tok-hpan, . . Pa-tok-htong, . . . . Pek-kouk Pong-tjyo-ha, . . . . Pou, Pou-hpyen-tjyang, . . Pouk-tchou-han-ryang, Pou-tong, Pout-tchyet-ta, . . Pou-tyeui, . . . . Pyel Pyel-pou-nyo, . . . . Ppyem-nai-ki, . i'yeng Pyen-ssa-hom, . . . Ro-in, .... Ryeng-eui- tjyeng, Ryong, . . Ryong-hpai, . . . Ryouk, Ryou-kaik-tjyo, . . . Ryouk-pat-ko-no, . Ryouk-sok, . . . Sa, Sak-ki, Sal-kou-tchi-ki, . . . Sam Sam-hpyen-tjyang, . . Sam-o, . . . . 66, xxxiv, 88, 91, 30, ■ • 31 67, 70 • 65 126 • • 33 . . 60 80 94, loi 91, 92 92 • • 4 77 62 . 64 . 64 . 105 69 64 123 . 64 60 . . 84 . . 62 . 106 77 • 153 . 108 • • 72 • 31 . 102 . 105 72, 84 . . 62 ■ 57 153 64 103 Sam-ryouk, 103 Sam-sa, 103 Sam-sok, 105 Sam-tong-sip-sa-tyem, 112 Sam-tong-tan-o-tyem, . 112 Sam-tong-tchi-ma 11 Sam-tyeui, 64 San, 154 San 153 106 • 76,79, 103 80 Ssangpyen, . . Ssang-ryouk, . . , Ssang-ryouk-hpan, . Ssang-syo-han-hpai, Sang-tou-touki, San-htong, San -sin, .... San-tja-mat-tchim, Sa-o, Sa-ouel-tcho-hpal-il, Sa-ram, . . , . ,S.sa-ri, xxm, 147, 14 30 .153 4 .154 103 4 123 66 INDEX TO KOREAN NAMES. IS9 Ssa-ri-nyout, Sa-ryouk, . Sa-si-rang-i, . Sei-pen kou-et-ta, beoul, . Seung-kyeng to, Seu-ram-i, . . Shi-tchiki, Sik-tji, . . Sin-syo-tyem, Ssi-reum-ha-ki, Ssi-teu-ki, Soi-noun-kal, Sok, . . Song-tjang-tchat-ki Syang, Syek tong-nai-ki, Syel-mal, . . Syeng, .... Syeng-ssa-hom, Sye-tchon-han-ryang, Syek-tong-nai-ki, Syok-kop-tjil-ha- ki, Syo-sam, .... Syo syo, . . Syot-tai-hpii, . Syoum-pak-kkoum-tjil-ha-ki Syoun-ra, .... Syoun-ra-pap, . . Syoun-ra-tjap-ki, . Syou-pyek-tchi-ki, Syou-sou-kyet-ki, Syou-tyeui, . . . Taik-kok, Tai-sam-tong, . . Tai-sa-ttai, Tak-tchong, . . Tan-koun, . . . Tan-mok, . . . Tantong-nai-ki, . Tcha, .... Tcha-ki, Tcham-oi-tchi-ki, Tchi-ma, . . . Tchim-mo, . . Tcho-ryang, Tcho-tjyoung-tjang, ■ Tchyoul-sin, Tchyen, . . Tchyou-tchyen , Ti, Ttjak-ma-tcho-ki, Ttjak-pak-ki, Tta-mat-tchim, Tjang-tjak-nyout, Tjap-et-ta, . Tjap-pa-tjyet-ta, . Tjap-ta, Tja-ssei, .... vi, 8, 64, 72, 86, PAG 66 103 126 68 103 77 22 59 30 109 36 30 30 105, 106 ■ 50 84,87 . 69 SI,S2| IS4 43 64 69 21 103 103 23 51 .53-54 52 51 44 153 64 5' los 105 29 24 24 69 39 57 II 3 V 154 xxi 154 34 154 106 65 153 70 69 6b 81 59 PACE 49 30 69 73 127 62 95 29 Tjat, ■ij'WJi Tjeii-tjyet-ta, Tjik-syeng-pep, .... Tjil, rjin-sa ' ■iljP, Tji-tak-tchong . . . Tjitjil-yel 6g Tjol, 84 Tjoui-hko, 103 Tjouk-pang-oul, 23 Tjoul-nem-ki, j^ Tjoul-ta-ri-ki, ^5 Tjou-mek-tchi-ki, . . ... 44 U'joun-a, 103 Tjoung, ... 9 Tjoun-hong, 103 Tjoun-o, 103 Tjoun-ryouk, . . 103 Tjyang, 84,89,123,126,127 Tjyang-keui, 82 Tjyang-keui-hpan, 83 Tjyang-ouen, . . . . 104, I05, lob Tjyang-sam, ... ... 103 Tjyang-tyak-nyout, 70, 71 Tjyangtji, 30 • 30 30. 40, 43 ■ 39 • 73. 75 . . . 30 . . 58 57 153 77 64 154 • 77,78. Tjye-ka-rak, . . . Tjye-ki, Tjye-ki-tcha-ki, ... Tjyek-sa-tjyem, . . , Tjyel-kou-kong-i, . . Tjye-tjyou, . . . Tjyo-kai-ssa-hom, . Tjyong-kyeng-to, Tjyong-kyeng-lohpan, . . Tjyong-tyeui, . Tjyou, . . . . . Tjyou-sa, . . ... Tjyou-sa-a, ... 76, 78 Tjyou-sa-a-nol-ki, . 79 To, 68, 69, 72, 78 Tong-kai, . xxi Tong-tang, 128 Ton-tchi-ki, 60 To-reu-rak-i, 21 Ttoui-em-ttoui-ki, . . ■ ■ • 33 Ttoui-ye-nem-ki, 33 Toul-ip, 69 Tou-pen-kou-et-ta, 68 Tou-tong-nai-ki, 69 Tyo-syen, 7° Ye-se 107 Yet, Yet-pang-mang-i, Yet-tchi-ki, , . Yo-soun, . . . . You-yep-tjyen, . You-mo, 126 126 56 106 INDEX TO JAPANESE NAMES. PAGE Aidzu, 33 Akashi Shiganosuke, . 38 Aka, 132 Ame, . . . 56. 130. '32 Ame ni tsubame, 130 Ame ni yanagi, 130, 133 An ri, . . 42 Asakusa, 46 Asukai, 43 Asukai Masatsune, 4' Awotan, 130. 131 Aya, . . . 30 Aya ito tori, 30 Ayame, . . 130 Ayame ni liotaru, 130 Bai, • ?,5. Bai boku sha, . xxviii Bai mawashi, 24^25 Bai shO, ■ 133 Bakuchi no fuda, . . 129 Bara-mon, 16 Batsu, . . 47 Ben ShO, . . 100 Bijutsu Sekai, 6 Biki, • 130, 133 Bike biko, ■ 33 Boku-Sen, 40, 42, 43, 46, 81, 90, 98 Bon, 30.31 Botan, i3o> 131 Botan ni cho, ■ 130 Bozu, ■ 131 Bozu-goma, . • 25,26 Buka, . 14 Bun bun, . 22 Bungo no Kami, 38 Buntoku, 37 Buranko, 35 Busshi, . 6 Chet, 46 Chikujen, 24 Chikujen hakata-goma, 24 Chin chin mago niago, 33 Chiye no wa, 31 Chochiu-goma, . ■ 27, 28 Chon kata, . . . . 46 Chonkina, 46 Chonmake, 47 Coma 79 Daijakwan Nishi, 43 Dainagon, 42 160 PAGE Dai wu, 26 Dango, . • • 35 Daruma, 5, 8, 54 Deld yaku, 131 Dogu, 6 Doni, . 131 Echizen, 38 Eki, XXV, xxvii, xxxiv Elioin, 39 En u, 42 Fu. 90 Fuda, . .129 Fue-goma, 27, 28 Fuji, . . 129 Fuji ni hotogisu, 1 29 Fuki ya, . . 29 Fuku toku bin, 54 Fu sho, . 13 Geisha, .' xxxvi, 47, 81 Gempei, 63 Genji, . 63 Gen Roku, 24 Geta no ha, . 30 Gin sho, 90 Gishi gishi, ... 33 Go, . 46, 90, 9[, 97, 98, 99, 100, loi Go ban, . . . ... 97 Go ban no me . .98 Go ishi, .92 Go ki -97 Go kwan, . . . . . 131, 132 Gotoba, . . ... 41 Go-Tsuchimikado, . . . . loo GoyOzei, . . . ... 100 Gumbai, ... . . 45 Gyoji, .... 45 Hacbi-ju-hachi, . . 133 Haclli kwan, . 131, 132, 133 Hagi, . . .130' Hagi ni inoshishi, 130 Hago, 40,41 Hago asobi, . ... 40 Hago ita, . . 40, 41 Hakata ... 24 25 Hakata-goma, 24, 25 Hakata-goma mawaslii, ... .21; Hama, 58 Kama nage, . . c8 Hama yumi, ' , . , j8 Hana-awase, 129 INDEX TO JAPANESE NAMES. I&I Hana-guruma, .... Hana-garuta, . Hana-garuta shi yO ho, Hana ken, Hana-sumO, Han kwan, Haru, . . . Hasami, . . . Hashira, ... Hata, Hata no hone, . Hebi, Heike; Hiehi kwan. Hi fu. Hi fu no da, Hikari, . . Hikari ichi, . Hina, . . Hina no matsuri, . Hineri-goma, Hinoki, Hisha, Hizen, Hohei, . . Hon In Bo, . Hon In Bo Do Saku, Hyaku Nin Isshu, . . Ichi, Iclii kwan Ichi ni shi, Ika Ika-bata, Ika nobori, Iko Iroha, Iroha-garuta, . Ishi, Ishikawa Goemon, . . Ishi Ken, Ishi nage Ishi nago Itoraaki, . . Itome. I Un Ronin, .... Jakkoji, . . . . Janken, Ji butsu ki gen, jidori, Jintoku Tenno, . . Tito Ti-tsunagi, JOmi no sechiye, . Jujutsu, luni mai no tako, . . Juroku musashi, Ka an rin, Kage ye Kagoshima, . I'AGE , 22 129 '32 55 26 44 • 52 13,14 •5 • 45 63 132 54 53 132 132 19 18 26 99 90,91 • 33 90,91 100 loo 134 46 132 132 13.26 14 13,19 19 133 133 • 44 . 20 44,47 59 59 ■ 15 15 100 . 100 44,45 • 13 ■ 36 • 19 . 100 ■ 1.54 18 36 16 77 42 33, 57, 58 Kairu, .... Kakeko sum, Kaki kiri, KakkO, . Kaku, Kakurembo, Kakushi ko, . . Kamakura, Kami, . Kami-deppo, Karainari-goma, Kami tobi, . . . Kamo, . ... Kanda, Karasu, Karuta, . . . Kasane ogi, Kasane yaku, Kashinomi- goma, Kasuga, Kata, . t . Kata ashi tobi, Katsura, Kaya, Kaz^unima, . . Kei Keima, Kemari, Kemari asobi, . . Ken, . Ken dai, . . Ken ken tobi, . . Kibi. Kiku, Iviku ni sakazuki. Kimono, Kin slio, Kiri Kiri ni ho-o, Kishifl, Kitsune, . . . Kitsune ken, Kiu jo, . . . Kiyobayashi, Kydto, ... Kofukuji, . . . Kogioku, .... Koi Koi nobori, . . . Kojimachi, Ko kon shii, Kokuzo, . . Koma, . . . Komochi-goma, . Kor^shito, . . Kor6tal5>i7 38 133 5 37 53 18 SI • 46 26, 133 90 100 . 20 133 IS 46 60 46 132 • 132 •38,58 91 91 ... 79 19, 47, 5° • • 47 • 129,131 130,132, , I: 131, • 37 ■ 46, 50 • .; ^32 xxvii, xxviii ... 63 .... 132 . 46 . . 18 Sei dai myo jin, 42 .Seiwa, 37 Sekku, . . 19 Senpei-goma, 27. 28 Shaku Ben ShO, 99, 100 .Sheng fu ron ' . . . . 5 She ro she 13 Shiba, .... 46 Shi hon bashira, 45 Shi-lvaruta, . 134 Shiko, . . . 131 Shi kwan, . . . 132 Shimabara, . . 33 Shippo, 14 Shiro ishi, Shi so, . . Shiu Ken, Shogi, . . Shogun, 92 132 99 90 38 Shoki, , . 14, 15 V INDEX TO JAPANESE NAMES. 163 PAGE SJio«ai 33, 53 ohOya, 45 Shu dan, gy Shudan, 99 Shu en, ... 42 Shun yO kwa, 42 Sugi, 40 Sugoroku, 79, 80, 81, 100 Suinin, 36 Sujuroku 133 Suki ye 9, 10 Sukkengyo 33 Sumai, 36 Sumo, 36 Sumo tori, 36 Suniga, 14, 18, 20 Susuki, 130 Susuki ni karigane, 130 Susuki ni tsuki 130, 131, 132 Tai Ho 41 Taima no K6haya, 36, 37 Taira, 63 TaishO, 32, 77 Take uma, 9, 32 Tako, . 13, 14, IS Tako no kiri-ai, 20 Tama, ... 46 Tamon Maeda, . . 133 Tango no sekku, 19 Tan ichi, 132 Tansu, . . . 19 Tanzaku, 129,130,131,132,133 Tanzaku ame, 130 Tanzaku ayame, 130 Tanzaku botan 1 30 Tanzaku fuji .129 Tanzaku hagi, .... . . 130 Tanzaku kiku, 130 Tanzaku matsu, . ..129 Tanzaku momiji, . . . ... 130 Tanzaku sakura, 129 Tanzaku ume, 1 29 Te-goma, 26, 27 Ten 129 Ten Pei, 99, 1°° Ten sho, '14 Teppo 45 Te shi, 132 Te yaku, • • ■ 13' Tobikko, 33 Tobi-koshi, . . 33, 34 To Hachi, 45 T5 Hachi Ken 45 To ichi 132 TOjin ken, 4° Tokugawa, '9 PAGE Tokyo, . . 6, 14, IS, 18, 31, 33, 38, 39, 44, 45, 46 Tombo 23 Tongari, 14 Tori-sashi 9, 10 Tosaku Kuratsukuri, 6 Toshiyori, 46 TotOmi 14 Towashi 133 Tsubo uchi, 6s Tsuchi ningyo, S Tsuge, 26 Tsugi 130,133 Tsumamigoma, . 26, 27 Tsuna hiki, 3s, 36 Tsuna tobi, 34 Tsuna watari, • . . 21 Tsuna-watari-goma, 28 Tsuru kame, '5, 16 Tsuzumi, 30 TotOmi, 14 Uchi tsuke-goma, 2S,26 Ui Shosetsu, 19 Uke-goma 26, 27 Umajirushi, 19 Umano me, 30 Ume, 129, 131 Ume ni uguisu 129 Unari 16 Urasu, 131 Uta-awase, 134 Uta-garuta, ... . 134 Wa Kan san sai dzu e xxi 5, 13, 19, 21, 24, 2S, 28, 32, 36, 40, 41, S7, 58, 59, 61, 6s, 77, 9", 97, '33 Yakko-bata, 15 Yakko-goma, . . . 27, 28 Yaku, . 131, 132 Yaku-bana, . 133 Ya kwa, . . 42 Yamaguchi, . 33 Yamashiro, . 38 Yamato, . . . 38 Yasasukari musashi, . . 77 Yawara, , . 36 Yazutsu, . . . xxi Yedo, . 20, 38 Yen, . . 26 Yoi Kokuzo, . . 44 Yoshida ly^tsugu, 37 Yoshird, ..... 37 Yura san, 55 Yurei, ... . . .10 Zain, . . 97 Zeichiku xxvi, xxvii, xxviii, xxix Zeni uchi, 61 INDEX TO CHINESE NAMES. The words in Roman are transliterated in the Cantonese dialect, and those in small capitals, chiefly proper names and titles, in the Northern dialect according to Williams. PAGE A chi, I06 Anhui, 139 Ch'ai miii 46 Chak shik, '59 Chak sz' chim, . . . . 73 Chan, 154 Ch'an, 68 Ch'ang, xxix Chang Fei, 113 Ch'ang-gan, . (j8 Chang FIfeNG, 99 Chao Kw'Ang-yin, 102 Chap tsz', 59 Chat, 129 Chau Kung, 74 Chekiang, 140 CH'iNG Ti 41 Ch6ung, . . 26, 123 Cheung ch6uk sz', 70 Ch'6ung chi, 30 Cheung sam, 114 Cheung ii, 13 Chi 29 Chi, 123, 126, 135 Ch'i, 126 Chi chi 13 Chikk^uk, 33 Chile sing fat, 73 Chi Kung, •. 97 Chi 16 ch'i, 13 Chi lung 141,143 Ching fai, no Ch'ing Ngok, no Chin Ht, 13 Chit, xxix Ch'i t'ai shap, 118 Chi tsiin, 115, 116,117,122 Chili K'oi, 136 Chili-Sin, 70 Cheng, 121 Chong ka, 121 Chong iin 104, 148 Chow, xxix, 74 Chow Sin xxix 164 PAGE Chow-Yih, . 74 Chuk, xxvi Chu-ko Liang, . . xxxv Chun, . . . .... 98 Ch'iin, ... . . 154 Chun-chow, . . . . . . 151 Ch'ung, xxix, 29 Chung cheung cheung, 154 Chungch'ing, 136, 137, 141, 143, 144, 145, 146 Chung fat 13s, 140 Chung ha, no Chung Hwui Kung 113 Chungking, 141, 142 Chung Kw'ei 14 Chung p'ing, no Chung tai, 64 Chung y^ung, 69 Ch'un y6ung fa, 42 Chil sha, 78 Ch'ut, 66, 68, 69 Ch'ut shan, xxi Ch WANG Miu Wu Ngan Wang, . . . .113 Fa ho, 140, iji,i42 Fan s^ung, no Fan t'4n, 146 Fa p'ai, 141 Fat 140 Fa tong kau, 140, 143 Fa-wong, 141 Fi 99 Fuhchau, 116,136,143 Fuh-hi, 73, 74 FUHKIEN, 143 FV'K 136, 145 Fuk ii tung hoi, 145 Fung chang 13 Fvmg ch'iu ho, 77 Fil pin ch'^ung, .... 64 Fii tai, 64 Filt'au, 114 Hi ha, no Hak 61 Hakka, 140 INDEX TO CHINESE NAMES. i6s PAGE Hak tsz', 92 ■Han 13,32,40,41,70,98 ■Ha. nam ts'iin hanl^ung, 64 Hankow, . . 136, 139, 141, 142, 144, 145 Han leung, xxi, 64 Hanlin, 104, 148 HAn Shau t'ing hau, 113 Han Shun Ti, 99 Han Sin, 13 HAntAn 98 Ha on lam 42 H^ung kii 90 Hi, 136 HiANG Liang, 70 HiANG Tsi, 70 Hiang Yu, 70 Ho 143, 145 HoH ShAn, 54 Hoi kom piii, 57 Hoi lo lung, 24 Hoi t'ap 109 HoNAN, 70, 137 Hong, 144 Hongkong 136, 137, 139 Hon t'ai ts6 sin yap Kwan Chung, ... 70 H6 p'ai, 62 H6p hau no H6 sii ts'in, 126 How, xxix, 114 Hu, xxix Hu 93. 136 HuAN Tsung, 99 Hii hung chii 44 Hii hung ts^ung, 44 Hu;i-CHou 144 Hunan 14S Hung, 145 Hung ch'ui luk 114 Hung fa 13s Hung Ming, 3^ Hu Sin, 136 Hung t'au shap 114 Hwang Ti 4° HwEi Tsung, 113 I -135 I ftin ch'an 68 I ka 26 I King, 98 I p'at, 69 Isamluk, "o I Ti, 70 Tillsam, "O Kai, 66, 126 K'ai, 147 Kai HiA, 1° Kai m6 in, 43 Ka k'f 126 Kam 135. 144 Kam kwan, 13° page Kan, 93, 100 Kang sok, 30 KAn Kung, , 32 Kao Tsu 13 Kao-tsung 123 K'ap shap, 120 K'ap t'ki shap, 118,119,120 Kau, 126 Kau xxix K'au chfiung, 58 Kau li 146 Kau tsz' lin wan, . 31 Keo szt 72 Khien xxvi Khwan, xxvi Ki IS3 K'l, xxix K'i, • 81, loi KiAi chow, 113 KlANGSU, 140 KlEH, 98 K'i kuk 97 K'i lim 97 K'im shap, . 120 K'lm t'ai shap, 1 18 Kin 39 K'in xxvi, 93, 100 King kii 90 K'ishing, 99 Km KIANG, . 136, 138 Ko Hung, 98,99 Kok 93 Ko k^uk ts'at, 114 Kon 139 Koo-YAN, 151 Kii 84, 87, 144 Ktli 99 Kii-ma-p'au, 143 Klin, . . .• 84, 131, 135, 136 K'un, 44, 49 Kung, 69 Kungkwai xxxiii Kwa, xxxiii, 73, 98, 100 Kwai, xxxiii, 99 Kwai ma, 90 Kwai p'ai, 109 Kwan, 136, 147 Kwan 114 Kw'an, 93, 100 Kwan Chwang Miu, 113 Kwang, 61 KwANG PO WUH CHI, 98 Kwang sam man, 61 Kwangtung, 29, 33, 35, 47, 50, 54, 57, 59, loi, 116, 143, 152 Kwang U pak, 6t Kwanhanl^ung, 64 Kwan p'ai, 135,139 KwanTi 113,153 1 66 INDEX TO CHINESE NAMES. • PAGE Kwan u, 113,114 ICwAN Yti, . • 113 Kwat pai, 102,114,116,129 Kwa ts'im, xxix, xxx ICwei ma, . ,90 Kwo, 128 Kwok yau td, 150 Lai, 13S Lam Ch'ung, ... . 136 LAng Yt, .... 99 Lap, 153 Lau ip tsin, .... xxi Lau kak ch'a, 31 Lfiw HiN, 98 'Li, . . 136 Li Ki, . .... xvii, 65 Ling i ching, 77 Ling kok, . . . . .23 Li Peh, . . . 90 Li sang tA ki chu, 72 Ll Shing, ... . 144 Lit, . .69 Lid, ... . . 139 Lm HiANG, 40 Liu Pang, . ........ 13 Liu Pei, xxxv, 113 L6 ts'In, 135 L6 yan, ... • 106 Luk, 61, 72, X36 Luk ch'ik, 79 Luk fa 139 Luk kil lulc tung kwa, 50 Luk ngau, 61 Lung 126, 139, 153 LUNG-CHOU, 144 Lung p'ai, 108 Lot ciii, 135, 139, 140 Ma, 68, 80, 84, 87, 123, 126, 144 Macao, 142 Ma chung, 99 Mai puk ch6, xxviii Ma kwan, no Man, 61,114,117,120,141,143 Man, 13s, 147 Mang fung cli6, 23 Man Tsz', 140 Man Wong xxix Man Wong kwa, xxix Ma Sui Ming, 99 Mat chu, 107 Ma ts6uk, 13S Mau, . 136 Ming Hwang 14 Ming Wan Li, ... ... 113 M6, . . .114, IIS, 117. 120, 140, 141, 143 Mo chi 30 M6 ICnng 139 Mo ming chi, 30 Mdi, 114 PAGE Muli, 72 Muk chi, 126 Muk shing, 99 Na, 69 Nai s6 yan, 5 Nai tsz', 26 Nam ts'un han leung, 64 Nang kin nan sz', 51 Nanking, 135 Nan Sung, 99 Nau, 31, 66 Nau t'in kau, 1 20 Ngan, 95, 118, 120 Ngang ngan, 118 Ngan-hwei, 70 Nga p'ai shan sho t'd chii tsSung kai, . .110 Ngau, 61, 126 'Ngkwan, 112,114 'Ng tsz', no NiNGPO, 140 Noi 105 P'ai, 140 P'ai ts'im, xxx Pak, 61 P'ak chSung, 47 Pak fa, 135 Pak h6p piii, 153 Pakkfippiu 128,151,152,153 Pak K6p Pill T'6, 153 Pak She, 136 Pak ts'iin han leung, 64 Pak tsz', 92, 139 Pan Koo, 98 Pan tang, 114 Pat kwa, xxvi, xxxiii, 73, 75, 126 Pat mat, 126 Patchant'd, xxxv Pat t'in kau, 142 Patt'ung, 105,110 P'au, 84, 87, 144 P'Au P'OH Tsz', 99 Peking, 135 136 Pi, 72 Pi chi, 63 PlEH-LUH, 40 P'in, 128 Pin ch'fiung, 64 Ping 54, 84, 87, 13s F'lng, 93 Pin sh6 63 P'in tsin, xxi Po, 69 Pd, . . . , 62 Pd fung, 139 P'o mo kung, 58 Pong hau k'l, loi P'6 sat, 6 Po WUH CHI, 40 Pii, 62 INDEX TO CHINESE NAMES. 167 PAGE P'u'. 143 Puk xxxiii, 153 Sai ts'iin han l^ung 6^ "7 Sai i Sam, Sam, Sam fiin ch'an. 6i, 143 153 6» Sam k'i 102 Sam kwok clii, • ... 113 Sam p'at, 69 Sam shap luk t'in tsfeung ts'at shap 1 ti shat, 146 Sam tai, .... 64 Sam tung kw'an, 11 Sam t'ung shap sz' tim 112 Sam t'ung tan 'ng tim, 112 Sang, 9 San Tz'ai t'u hwui 40 Shai chuk, xxvi Shan i^^ Shanghai xxxiii, 116, 141, 142 Shang Kiun, 98 Shang Ts'oi Tsit King, 153 Shan shan, 4 Shan sh6 chlm, 109 Shansi, 113,137,139,143 Shap-1 t'ln kau, 143 Shap tsai, 120 Shau, 74 Shau, xxxiii, 136, T45 Shau pi nam shan, 145 Shau tai, 64 Shau t'am, 97, 99 Sh£ 1 xvii Shensi xxxi Sh6ung, 93 Sh^ung luk, 79 Sh^ungpin 106 Sh^ung sh^ung, 110,112 Sh^ung tai yan 145 Sheung tsii yat p'at 105 Shiungtung, 116 Shik chi, 30 Shik tsai 79 Shik yan 8 Shi NAi NgAn 147 Shing 144, 154 Shing h6ung t'6, 77 Shing kiin t'6, 77 ShiTs'in, , 136 Shii, xxix Shoo King, xxxiii 63 "3 xxi . 29 98, 106 . . 136,147 .72 123 Shu, Shuh, . Shui, . Shui chit, . . Shun, Shwui Hu Chuen, SiH, Sing Si Peh, Sok, ... . Sun, Sung Sung h^ung t'6, Sun K'tJAN, . Sun kwai, Siin muk, . . Silt ma, SwATOW, . Sz', . . Sz' chfiung, SzE, . Sz' fun ch'an, . . Sz' KING TSAH Kl, Sz' muk, . . Sz' p'at, . . Sz' Ts'u PA-Wang, Sz' WUH KI YUEN, . T'ai, . . . T'ai Chung, T'ai kik, . Tai-H, Tai u, . Taiyuan, Ta k'au, Ta ma, . . Tan, . . . Tan Chu, T'ANG, . . Tang t'in ping. Tan p'at, . . Taou-kwang, Ta pat t6, . Ta pic pok, .. Tap tl, . Ta t'in kau, . Ta ts'au ts'in, Tau, . T'AU HiEN, . T'au kom piii, . Tau tsin, T'au tsz', . T'au u, . T'ek in, T&k k'au, . Ti, Tl, Tientsin, Tik, Tim, . . . . Tim p'ai, Tim tim tsz' T'in, . . , Ting hau, T'in kau, . . T'in .shii, . Tit, T'ifi lung miin. nip, PAGE .... xxix 135.136 93. 100, 135 102,113 • ■ 77 • "3 xxxiii xxviii 8 • 3°. 55. 139. 143. 144 72, 84, 87, 98, 100, 144 126 72 68 . 98 15 . 69 . . 70 13 150 99 141 .136 • "7 137.139 ■ 58 • • 133 xxix • 98 ■ 99 34 69 . . 151 6 29 . 118 35 98, 128 • 32 57 . 128 79 6s 43 43 114 "3 13s 39,63 129 . . . 142 ■ • • 54 80, 114 "3 "5, 140. 141, 142, 143 .114 . 127 52 1 68 INDEX TO CHINESE NAMES. Tiii sam kok, T'iil shing, Till ii, . . . . T'iii li pak, T'6, ... T'oi, Tong' kau, . . T'6 shau, . . ; To yan ying, Ts'ak, . . . Tsang, . . . Ts'Ao Ts'ao, . Tsap in, Tsap kau, Tsap 'ng, . Tsap pat, . Tsap ts'at, . Ts'at tiung p'ai, Ts'au iin, Tse, . Tseung, . . Tseung k'i, . . Tseung k'i pan, Ts6ung kwan, . Ts6ung kwan chi p'j Ts'IEN FU LUN, TS'IEN T'Ang, . Ts'im, . Ts'im ts'i, Ts'im t'ung, Ts'im ii. . . TsiN, . . Tsin, Ts'in, .... Ts'ing Sh4, Tsin k'oi, . Ts'ln man, Ts'in Tsz', Ts in Tsz' Man, Tsd chong, Ts'oi, . Ts'ong kau, , Tso yan, Ts'u, . , Ts'uk kuk, . Tsun, . Tsung, Ts'UNG, Tsung shap, Ts'un lo, Tsun sz', Tsut, Tsz' chi, TszE YiNG, , Tsz' fa, Tsz' fa t'ai, Tsz' fa t'6, Tsz' King, Tii Fu Tsz', Tiii, . . • T'ui, . . PAGE 6l . ■ . .34 .116 . 61 xxi, 123 .... 143 • 140, 143 68 . . 5 54 . .136 . . 113 ... .99 . 115 . .. . 115 IIS . . 115 . 142 .... 42 . . 140 . . 74,84,123,144 82,90, 101,135,143 . . . . 85 147 • • 146, 147 ■ • 5 ■ ■ ■ ..• • 99 . XXX, xxxii, 128, 153 . . . . . 52 . xxiii, 148, 153 xxiii, 128 • • ;,. • 70, 97, 98 xxiii, XXX, 128, 147 • 135. 136, 147 . 136 . xxi • • 13s 140 151 121, 122 ■136 49 97 70 40 81 • 143 . xxix 117 51 62 84 • • 30 . . 70 .150,151 • • 150 . . 148 • • 99 148, 149^ n8 78 Tiii sam t'ung, Tili sz' tai, . . Tiii tsz', . . . Tuk lok, . . . Tuk sh^ung tsii, Tu Ling, . . . T'un, . . . T'ung, .... Tung Sze-chang, T'ung tong, . . T'ung yan, . . TUY, . . U, . . tJn, . . Un kwai, . tin ngan, . . iin pai U p'ai ^t, . . . tr ts'ak, . Wai Wai-k'i, Wai p'ai, .... Wang Chung Long, Wang Hi, Wan ts'in, Wa-wap'ai, . . . Wei, . Wei Ch'i, Wenchow, WfiN Wang, Wing Fung, . Wo, . Wong, . Wong T6, . Wong Ying, . . Woo YUN, . Wu, ... WuTi, . . . Wu Ts'AH Tsu, Wu Ts'au, Wu Yen Wu, . Yam, . . . Yan Yao, . ... Yap, . . . Yat fiin ch'an, . Yat p'ai, . . . Yat pak ling pat, Yaut)t-ki, . Yen Tsz' K'ing, Yiung, . . Yew Li . YiH King, Yik, . Yin, . . , Ying t'6, Yuen, . , YO-TS'U, . • 91, 93 page . 105 • 105 . no • 24 . 105 98,99 74 • 92 . 98 . 128 149 55 61, 123 93. 123 12 . xxxiii . . 118 140, 143 102 • . 153 13 94 , 95. 96, 97, loi • • 135 97 • • 99 ■ • 139 144, 145 63,98 91 137, 143 74 . 140 . . 114 . 141 .136 136, 139 . 98 ■ 63 "3 99 . . xxix, 74, 141 114,123,135,140 98, 106 ■ 69, 93 . 68 >oS . 146 ■ ■ . . 145 99 XXIX, 74, 126, 141 xxix xxvi, xxviii, xxix, 74, 75 XXV xxix 56 147 "39 GENERAL INDEX. PAGE Acorn-top, Japan, ... 2b 11 " Actors' " cards, . . . 141,142 Aino mustache sticks xxxiii Allen, Dr. H. N., . . . . . .4 American Anthropologist, . . 136 American games, . . . xvii Ancestral tablet, . xxx " Angle going," Japanese chessman, . 90, 91 Anhui cards, 139 Animals corresponding with '' eight dia- grams," .... .... 126, 128 Animal suits, Korean cards, . . 123, 126, 128 Annals of the Three States, Chinese romance, . 113 " Antelope," Korean card suit, . . . .123 Apple gaming, . . . 56 Apricot gaming, . 57 Arabs, meisir game of, . . xxiii Archery, xvii, xxi, 63 Archery, ofiScers chosen by, . . . xvii Arm-ties, archers, . . . . 63 Arrow divination, . . . xxiii, xxv Arrow feathers, . . . . xxi, xxiii, 128 Arrow feathers, Korean cards, xxi, xxiii, 128 Arrow lots, xxiii Arrow, prize in wrestling. Japan, . . . 38 Arrow shaftments, . . . xx, xxi, xxxi, xxxii Arrow shooters, . 63, 64 Arrow, symbolic of man, . xxi, xxx Arrows, bamboo, . . xxi Arrows, McCloud River Indian, . . xxxi Arrows, numbered, . . . xix, xxi, xxiii Arrows, " part," . . . . xxi Arrows, practice, ... . xx, xxi Arrows, ribbons on, . xxi Arrows, sent at new year, Japan, . 40 Arrows, shaftments of, . . xx, xxi, xxxi, xxxii Arrows, war, ... . xxi Arrows, " willow leaf," xxi Art of war, Chinese, . . . . xxxv Astrological significance of dominoes, . 1 10 Athletic sports, xxxv Autumn, season for wrestling, Japan, . 38 Backgammon board, . 80. 81 Backgammon, Chinese, . . . 8l Backgammon, Korean 7^, 79 Backgammon, Japanese, . ... 80, 81 Ball batting . . .57 PAGE Balls as lots, Korean Lottery, . . xxiii, 147 Balls, kicking, . . , . . . 43 Ball stick . . . 57, 58 " Bamboo horse," . .... 32 " Bamboo horses," stilts, Japan, ... 9 Banker in dominoes, 107 " Harbarian flowers," violets, Korea, . . 55 Bat and ball, . . . . . 57, 58 Battledore, Japan, 40 Battledore, Japan, significance of, ... 40 Battle-flags, Korean, . . . xxxv Bean doll, Japan, ... 21, 28 '' Bench," Chinese domino, , . . 114 Bird catcher, Japan, , . 9,10 Bird lime, Japan, . 9 Birthday, first, Korea, ... . 3 Birthday of Buddha, ... 4 " Black and white," game with " cash," China, 61 " Black," reverse of ' cash," China, . 61 Blind-man's buff, .... 54 Blocks, nyout, . . 66, 67, 70, 71 Blow-arrow, . . . ... 29 Blow-guns, . . 29 " Blue snake," Chinese card, . . . 136 ** Board-jumping " (see-saw), 34 Boas, Dr. Franz, . . . ... 63 Bodhisattva, 6 Bogy man, . . 6 " Bone tablets," name of dominoes, . . 102 Book of Changes, . xxv, xxviii, xxxv, 73, 74 Book of Divination, . xxv, xxviii, xxxv, 73, 74 Book of Poetry, . . 155 Book used in divination with nyout. . . 72 "Bottle chess," 8l " Bottle game," 8l " Bouncing Betty," " Bouncing Billy," . . Bow-maker, ... ... 65 Bow, prize in wrestling, Japan, . . . 38, 39 Bow, to drive away evil spirits, . . -58 Bows, sent at new year, Japan, . . 4o 'Bowstring, prize in wrestling, Japan, . 38 " Box the Quaker," 48 Boxwood men in backgammon, . 80 Boxwood " name tablet," ... .62 Boys' festival, Japan, 19 Brazil-wood tops, 24 169 170 GENERAL INDEX'. PAGE Brinton, Dr. Daniel G. 72 Brooklyn, N. Y., hand-clapping game, . 48 Buddha's birthday . . 4 Buddhist priest toy, Japan, ... 5 Bull's-eye, .... . . 63 Burmese dominoes, 123 Butzenmann, .6 Buzz, 22 Buzz, Chinese, 23 Buzz, Eskimo, . 22 " Cakes," Chinese card suit, . . 135 Cake-top, Japan, . . ... 27, 28 " Calculating sticks," used in divina- tion, . . . xxviii Camp, Chinese, . . . . . xxxv " Camp," Korean chess-board, . . . . 82, 84 " Candy club," Korean card game, . .126 Candy gaming, 56 ' Cannon," Korean Chessman, Canton, cards, Card holder, . .... Card makers, China, Cards, " actors' " . Cards as charms, . . Cards as counters, . . . Cards as markers, . . Cards based on lucky formula. 137, 83, 84, 139.141,144 • • 144 139. 140 . . 141, 142 . 146 146 . 146 145 XXll, xxxu, Cards based on writing lessons, 145 Cards, chess, . Cards, children's, China, Cards, Chinese, Cards, domino. Cards, Japanese, . Cards, Korean, Cards, Korean, significance of, Cards, miscellaneous Chinese, Cards, Korean name of, . . . Cards, origin of Chinese, . . Cards, " poem," Cards, Shanghai, . ... Cards, Shansi, . . Cards, shuffling, Korea, Cards, " stick," Cards, Swatow, . . Cards, " syllabary," . . Cards, Taiyuen, Cards, Wenchow, Cards with money symbols, . Carp, paper, Japan, .... " Cash," as jackstones, 59 " Cash," cards with emblems, derived from, . ... 135 " Cash," games with, 59, ^°) 61 '■ Cash," origin, . . . xxxii ■ 135. 143 • 144, 145, 146 • 134 135. 140 . . 128 123 128 • • 144 128 147 ■ 134 . . 141 143 126 13s '43, 144 ■ ■ 133 • 137, 139 137, 143 13S-140 19 139: ' Cash striking," . " Castles," pachisi board, Cat and rat toy, Korea, Catching-top, Japan, Categories, numerical, . 60 76 4 ... ■ V xviii, xix 26, Cat's cradle 30 Celestial circuit, . xxxv Cercidiphyllum Japonica, wood for go boards, 99 Champlin and Bostwick, 23 '' Chariot," Korean chessman, . . 83, 84, 87 Charki, wheeled toy, India, 22 Charm gamblers, Japan, ....... 129 Charms, cards as, .... ... 146 Chaturanga, . . 76 Chausar, . 75 Cherry gaming, 56 " Cherry," Japanese card suit, . . . 129 Cherry wood footing on arrows, . xxi Chess-board, Chinese, . . 85 Chess-board, Japanese, ... ... 90 Chess-board, Korean, 83 Chess-board, origin of, 76 Chess, cards, with emblems derived from, 13s. 143 76 126 90 82 85 90 82 99 66 43 28 106 4 18,19 xxxv 69, 70 . 46 IS, 18 . 46 50 130 Chess, dice, ... .... Chess, false, Korean card game, . Chess, Japanese, . . Chess, Korean, Chessmen, Chinese, Chessmen, Japanese, Chessmen, Korean, . " Chess," sage, . , " Chestnut " nyout, " Chicken-feather swallow," Chinese shut- tlecock, ... "Child-bearing" top, Japan, . " Child," combination in dominoes. Children's festival, Korea, . . . , Children's festivals, Japan, . Children's games, . . Chinese characters on nyout diagram, Chinese ken, Japan, ... Chinese kite, . . . . . . Chinese numerals in ken, Japan, . Chop-sticks, pieces in nanko, Japan, "Chrysanthemum," Japanese card suit, Chungching, cards, 136, 141, 144, 145 Chungking, cards, 142, 143 " Civil " suit, Chinese dominoes, . 114, 141 Clam-shell combat, . . ... 57 Clapping hand play 44 Classification according to directions, . xviii Club, foot-ball, Japan, ... . . 42 Clubs, money-lending, Korea, .... 147 Colors corresponding with directions, xix, xxxiv, xxxv, 37, 39, 45, 64, 76 Colors, five, . . xix, 37 Columbian Exposition, Chicago, v, 11, 83, 135 "Commander-in-chief" cards, . 146,147 " Complete many tens," Chinese domino game . . 118 " Complete tens," Chinese domino game, . 1 20 " Composite man," , . . . . 149 GENERAL INDEX. 171 PAGE " Conch shell play," top spinning, Japan, 24, 25 " Connect the dragon," Chinese domino game, 141 Constellations, twenty-eight, .... xxxv Corner of Cathay, a, 30, 48, 55 " Corners " of game board, 93 Corpse-searching, . . .... 50 Correct Planet Rule 73 " Counsellor," Korean chessman, . 83, 84, 86 Counters, cards as, 146 Counting out, ... . . xxxiv, 53 Counting out, origin xxxiv Counts in nyout .68 Cross, nyout, 66,75 Cross, pachisi, xxxiv, 75 " Crow," Korean card suit 123 " Crow's foot," tails to kites, 11 CuiTs, blocks thrown through in nyout, . 68 Cuffs, in hiding game, 51 Cushing, Frank Hamilton, . v, xix, xxix, 128 Cuttlefish kite, 14 " Cuttlefish," name of kite 13 Dam-combat 43 Dealer, Japanese card games, . . . 131 "Delay guest instrument," ring-puzzle, 31 "Devil" kite, 15,18 " Devil on two sticks," 23 '' Devil playing," tag, Japan, 51 Dextral circuit, .... . . . xxxv Diagram, Chinese lottery, 149 Diagram, nyout, . . . . xxxiv, 66, 67, 71 Diagram, throwing " cash," ... . 60 Diagrams, eight, xxvi, xxviii, xxxiii, xxxv, 73,75, 126, 128 Diagrams, kono, .... . loi Dice, ... 76, 78 Dice, Chinese, ..... .... 79 Dice, divination, ... . . 122 Dice in chausar, 76 Dice, Japanese, .... . . .79 Dice, long 76 " Dignitaries," game of, . .■ . . 77 Directions, cards marked with four, . . . 140 Directions, five, xix Directions, four, xviii, 98, 100 Directions, seven, . . xxiii " Dispute for tens," Chinese domino game, 117 Distribution of games, xvii " District picking," . .... 154 Divination by lanterns, 4 Divination, domino, ... ... lo8 Divination, first birthday, Korea, . . 3 Divination, nyout blocks 72 Divination, stave, 7^, 73 Divination with splints xxvi-xxix Divining splints, China, xxix Divining splints, Japan, .... xxvi-xxviii Divinities, foot-ball, Japan 42 " Dog tongues," . . 146 PAGE Dolls, Korea, 9 " Domino " cards, .... 135,140 Dominoes, bamboo, . . . 116, 141 Dominoes, Burmese 123 Dominoes, Canton, 141 Dominoes, Chinese, . . .103,114,140,141 Dominoes, divination with, 108 Dominoes, European, 103 Dominoes, Fuhchau, 116 Dominoes, Japan, .114 Dominoes, Korean, ... . . 102 Dominoes, names, China, . ... 1 14 Dominoes, names, Korea, 103 Dominoes, origin, xxxiv, 122 Dominoes, Shanghai, ... . 116, 141 Dominoes, Siamese, 123 " Donkeys," squash, 29 " Double sixes," name of backgammon, . 79 " Double fan " kite 15,17 Dove toy, Korea, 4 Dragon-flies, capture, 31 Dragon-flies, superstition, Japan, . . 31 Dragon-fly toy, Japan, . ... 23 " Dragon horse," title assumed by Japan- ese chessman, 91 " Dragon king," title assumed by Japan- ese chessman, ... 91 " Dragon tablets," domino game, . . . 108 Drawing straws, 51,52,53 Dream books, lottery chart analagous to, . 149 " Driving wind," wrestler's title, Japan, . 38 " Earth," Chinese domino, .... 114 " Eating all," . . 60 Ecuador, cylindrical stamp from, . . . ♦ xxxii Egg game with jackstones, .... 5^) 59 Egg plants, animals initiated with, Japan, 29 Egypt, hand-clapping game in ancient, 48, 49 Egyptian soul bird, . . xxxv,xxxvi " Eight creatures," 126, 128 " Eight diagram " kite, Korea, . . 11 Eight diagrams, xxvi, .x.xviii, xxxiii, xxxv, 73, 75, 126, 128 Eight diagrams, animals corresponding with, . . . 126, 128 Eight lines of battle, ... . xxxv Eight provinces in Korea, .... xviii " Eighty-eight," Japanese card game, 131 Eitel, Rev. E. J., . . . . 44 Elements, five, . xix " Elephant," Korean chessman, 82, 83, 84. 87 Enigma, Chinese lottery, ... 150 Enigmas, ... ... 153 " Erect standing " toy, Korea, . . .4 Erectus ludus, 81 Eskimo boys' contests, 63 Etymology, nyout, .... 72 Etymology, putzelmann, . . 6 Eularia, Japanese card suit, 1 30 " Eye," enclosure, go board, . • . 95 172 GENERAL INDEX. PAGE Eye hiding, 54 " Eye paper," Korean card game, . . , 126 '' Eyes," domino pairs called, 118 Faction fights, . . 62 Falkener, Edward, 48,91 " False chess," Korean card game, . . 126 Fan, folding, .... ... xxxii '• Fan paper," kite, 'S, I? Fans, umpires, Japan, 37, 45 Feast of lanterns, Japan, . . . .30 Feather mark, Korean cards, . xxi, xxiii, 128 Feather numerals 128 Feminine, broken lines, 74 Festal origin of games, . . . xvii, xxxv Field, Adele M., . . . . 30, 47, 55 Fights, faction . . : 62 Fights, stone, 63 Finger games, see ken, . 44 Fingers, names of, . . . 30 Finnish numerals in nyout, . . ■ T^ Fire crackers, Korea, .... 4 First player, dominoes, ... . 104,121 '' Fish," dominoes called, .... -117 " Fishing-by-hand," ■ • 55 " Fish," Korean card suit, . . . 123 Fist games, see ken, .... 44 Fist-striking 44 '• Five blessings," jokers, Chinese cards, 136,139 Five colors, xix, 37 Five directions, ... . xix Five elements, . xix " Five-field," kono, 102 *' Five gateways," divination with domi- noes, ... .... .112 Five grains, xix, 37 Five metals, ... . . . . xix Five planets, . xix " Five virtues," jokers, Chinese cards, . 135 " Flag" kite, Nagasaki, 13 Flags in archery contests, 63, 64 "Flower" cards, Japan, ... . . 129 " Flower harmony," Chinese card game, 140, 141 " Flower matching," Japanese card game, 120 "Flower-mill," wind-mill, Japan, . 22 " Flower path," wrestling-stage, Japan, . 37 " Flower princes," Chinese cards, . . 141 " Flowery characters," Chinese lottery, 151 Flying cone, .... • 23 " Flying wagon," Japanese chessman, . 90, gi Folding fan, . , . . . . xxxii Foot-ball, China, . 40 Foot-ball club, Japan, '. . . . 42 Foot-ball divinities. Japan, . . 42 Foot-ball, introduction, Japan, ... 41 Foot-ball, Japan, . ... 41 Foot-ball, origin of, .40 Foot-ball rules, Japan, 42 PAGE Foot, Japanese, 99 " Foot soldiers," Japanese chess pawns, 90, 91 Forbes, Duncan, . 76 " Foreign tablets," domino game, . . 104 " Foreign tablets," name dominoes, . . . 102 Forfeits in games, 32, 47, 50 Fortune-teller, Japanese, . xxvi— xxix Fortune-telling, dominoes, . . 108,110 Forty-seven Ronins, 55 Four cardinal points, xviii Four directions, card marked with, . 140 Four directions, classification according to xviii Four directions, diagrams referring to, 98, 100 " Four-field," kono, . . loi " Four pages," Korean card game, . . .126 Four quadrants, xxxv Four seasons, xix, 39, 45 Fox-and-geese, . -77 " Fox ken," Japan, . ... • • 45 " Fragrant chariots," Japanese chessmen, 90, 91 " Frog," name in ken, Japan, . . 45 Fuhchau cards, . /. 136 Gamblers, Japan, 129 Gambling, invention of, . . 98 Gambling sticks, Haida Indian, xxx, xxxi Gambling with tops, . ... 24 Game of " dignitaries," . . 77 Game of goose, ... .79 Game of sua tok long, Siam, . loi Game of " surrounding," .... 94 Games, American, . . . xvii, xxxii, xxxiii Games, Ancient and Oriental, 48, 49, 91 Games, children's xxxv Games, distribution of, . . . . xvii Games, origin of, xvii Games, school 153 Gems as go stones. . . . . . 99 " General " cards, Korean pack, 123, 127, 147 " General," Japanese chessman, . . 90, 91 '' General," Korean chessman, .... 83, 84 Geographical game, . . , 154 Girls' festival, Japan, . . . . 18 Giuoco dell oca, Italy, . . .79 God of war, Chinese, . xxii, xxiii, 113, 153 Gods of foot-ball, Japan, 42 " Gold general," Japanese chessman, 90, 91 " Golds," jokers, Chinese cards, . . . 135 Gomme, Alice Bertha, 78 Goose, game of, . . ... 79 Gourd-flower, wrestlers' badge, Japan, . 37 " Grasp many tens," Chinese dominogame,ll8 "Grasp tens." Chinese domino game,,. . 120 Grass gaming, 56 Grave marked with arrow, . . . . xxx Gray, Archdeacon, 63, 151 " Great expansion," xxvi Guessing fingers, China, 46 Guilds, Chinese, xxx GENERAL INDEX. 173 114 147 45 143 114 114 PAGE " Gun," name in ken, Japan, 45 Haida gambling sticks, .... xxx, xxxi Hakata-top, Japan, 24, 25 Hand-clapping, 44 Hand-clapping game, ancient Egypt, . 48, 49 Hand-clapping game, Japan, 44 Hand-clapping game, Montgomery Co., Pa., 48 Hand-clapping game, United States, . 49 Hand-top, Japan 26, 27 Hankow cards, 136, 139, 141, 142, 144, 145 '' Harmony," Chinese domino, . . . Hazel nuts as lots, Korean lottery, . . " Headman," name in ken, Japan, . " Hearts," Chraese cards, . " Heaven," Chinese domino piece, . . " Heavenly writings," dominoes, Japan, " Heavens and nines," Chinese domino game, . . .... 120,121, 141 Heavy '• cash," ... . ... 60 " Hempen birds," variety Chinese cards, . 135 Hexagrams, sixty four, xxviii, xxxiii, xxxiv, 73, 74 Hide-and-find . . 50 Hide-and-seek, .... " Hit and go," variety Chinese cards, I " Hitting the ball," Japan, .... HoUy-hock, wrestler's badge, Japan, Honan cards, . Hongkong cards, . . Horn " name tablet," . . . Hopping, Hopping, names for, Japan, " Horse," Korean card suit, " Horse," Korean chessman. Horse, playing, " Horse soldiers," nyout diagram " Horses," backgammon, " Horses," nyout, . . . " Horses." pachisi, . . " Horses," pitch hot, . . . " House," enclosure on pa-tok, board. House, playing, Huber, Dr. Anton, .... . . Hummers, kite, . . . Humming-top, Japan, Humming-top, Java, . . Hunan cards, . . ... " Hundred sons," Chinese card, . Hyde, Dr. Thomas, Index marks, Chinese cards, " In the dark catching," Ironing slicks, " It," in games of tag, . . . Ivory " name tablet," Jackstones, Jackstones, China Jackstones, Japan, ... Java humming-top, 36 51 35, 140 58 37 137 137 62 • 33 • 33 • 123 84,87 • 32 . 69 80 . 68 76 66 95 21 xxiii 16, 20 28, 29 28 • 145 '39 81 138, 147 54 ■ 24 54 62 58 59 59 28 51 PAGE Jeu de I'oi, France, ... .... 79 Jokers, Chinese cards 135 Juego de la oca, Mexico, 79 Jugglers, 23 Juggling with wild oranges, 58 Jumping, 33 ■Jumping rope 33 " Jumping the dragon's gate," China, . 52 Ken, Japan, . .' xxxv, 44 Khanhoo, game of, ... 128,135,140,141 Kicking, 39 Kicking balls, China, 43 Kicking shuttlecock 39, 43 Kiowa Indian game, ... . xxxii, xxxiii Kite, " eight diagram," Korea, n Kite fighting, ... .... ii, 14, 20 Kite frames, 14, 15 Kite hummers 16, 20 Kite makers, Korea, 11 Kite reels n, '5 Kite, significance of, xxxvi, 12 Kite string 1 1, 12, 14, 15, 21 Kite string cutting, . . 21 Kites as scapegoats, Korea, 12 Kites, invention of, 9, '3 Kites, season . 12, 18 Kites, size estimated, ... . 15 Kites, stories about, Japan 19 Kites, superstition, Japan, ... . 18 Kiu Kiang cards, .... 136 Korean Repository, 127 Korean Tales 4 Lanterns, divination by, 4 Lanterns, feast of, Japan 30 Lanterns, Korea, 4 Lanterns, turnip, 30 Lanterns, watermelon, 30 Lantern top, Japan, ... . 27, 28 Lappish, numeral in nyout, . . 72 Leaders, archery contests, 64 Leap-frog, 33 Le Diable, . . . . 23 Legge, James, xvii, 65 Le Livre des Ecoliers, . . . 7 Le Poussah, tilting toy, France, ... 6, 7 " Leisure fellow," designation of archers, xxi, 64 Lespedeza, Japanese card suit, . . . . 1 30 Literary games, ... 153 " Little tens," Chinese domino game, . .120 Locusts, capture of, .... . 31 " Long cut " nyout, 70 " Long Lawrence," ... . . 78 '' Long-leg seven," Chinese domino, . 114 " Long three," Chinese domino, .... 103 Lots, temple, . . . ... 128 Lots used in divination by gamblers, 128, 153 Lottery, Chinese, in United States, . . . 148 Lottery, Korean xxiii, 147 174 GENERAL INDEX. loo. PAGE Lottery, " opening orange," China, . 57 Lottery, prizes in, . . . . 152 Lottery ticliet, Chinese, 151 Lottery, '■ white pigeon ticket," . xxiii, 151 Lottery, " word blossoming," . . . . 148 Lot tube, xxiii^ Lucky formula, cards based on, . 145 Macao cards 142 Magistracies, 360 in Korea, xviii Mahogany " name tablet," . . . . 62 Malay peninsula, backgammon, ... 81 Maldive Islands, pachisi, 75 Manager, Chinese lottery, 150 " Man," Chinese domino piece, . 114 " Man," Korean card suit, .... 123 " Maple," Japanese card suit, .... 130 Masculine, unbroken lines, . . 73 Matches, ken, Japan, 45 Matches, wrestling, Japan, 37, 38 " Measure taking," 60 Medhurst, W. H., xxxiii Meisir game xxiii, xxxiv Melon gaming, Merrells, Merrells, inventor, Metals, five, . . Metal striking, Middle Milfoil, slips of, used in divination, " Military " suit, Chinese dominoes Missouri, prehistoric vase, .... Mitford, A. B., xxviii,36, 42 Money-lending clubs, . . . . 147 Money symbols, cards with, . . I3i;-I40 Musical note emitted by Korean " pebble game " board, 91, 100 Musical notes corresponding with direc- tions, ... xix " Name tablet," xxx.fii Nanking cards, 135 National Museum, United States, xx, xxi, xxxi, x\xiv, 83, 123 " Neck -pulling," Japan, . . . . 36 " Nine connected rings," . . . . 31 '' Nine lights of heaven,'' 98 Ningpo cards, ... .... 140 " Nobleman play," 32 Notation of wai k'i board, . . . 94, 95 Notes on Chinese Literature, . . 98,113,136 Notice-tally xxx Numerals, Chinese, in ken, Japan, . . 46 Numerical categories, . . . xviii, xix Nyout, etymology, . . .... 72 Nyout, foreign origin, Ti " Octopus," name of kite, Japan, .... 13 Ode, Chinese lottery, . . ... 150 Ode, nyout diagram, 69, 70 Officers chosen by archery, . . . . xvii Officials, game of promotion of, China, . 77 57 102 102 . . xix 59 xviii . . xxvi 114,141 PAGE " Old Goblin," tilting toy, Sweden, ... 8 " Old Man," combination in dominoes, . 106 " Old Thousand," Chinese card, 135, 136, 139 " Opening orange lottery," China, . . 57 " Opening the pagoda," Chinese domino game, 109 Orange throwing, 50 Oranges, juggling with wild, 58 Orm spel ... 79 Our Neighborhood, . . . . xxix Pachisi, . xxxiv, 75 Paddle, battledore derived from woman's, 40 " Pair-mating," domino game, .... 106 " Palace," king, Korean chess, . . . . 84 " Palace," Korean chess-board, ... 76 Paper-guns . . . 29 '• Paper hawk," name of kite, . . . 13 " Paper," name in ken, Japan 44 *' Paper owl," name of kite, 13 Paullownia, Japanese card suit, . .130 Pavilion, ken matches, Japan, . xxxv, 45 Pavilion, wrestling matches, Japan, . xxxv, 39 Pear wood, " name tablet," 62 " Pease-porridge-hot," 48 " Pebble game," .... .... 91 Peking cardSj 135, 137 " Peony," Japanese card suit, .... 130 "Perfect tablets," combinations in domi- noes, 105 " Persimmon cutting," Japan, 57 Persimmon gaming, ... . 57 " Personally counting divination," with dominoes, 109 " Pheasant," Korean card suit, . . . 123 " Picking up stones," game of jackstones, China, . 59 Pinching-top, Japan, 26, 27 " Pine,", Japanese card suit, 129 Pine nut game, . . . .49 " Pitching at the triangle," game with "cash," China, 61 Pitching pennies, 60 Pitch pot 65 Planets, five, . xix Player, first, in dominoes, . . . 104,121 Playing-cards, see Cards. Playing "heavens and nines,'' Chinese domino game, 121 Playing " horse," 32 Playing house, 21 " Plum flower," Chinese domino 114 " Plum," Japanese card suit, 129 " Poem " cards, Japan, 134 " Poem-matching," Japanese card game, . 134 Pop-guns, 29 Posti, tilting toy, India, 6 " Priest," Japanese card, 131 " Priest " top, Japan, 25,26 " Prince of Lions," wrestler's title, Japan, 37, 38 GENERAL INDEX. I7S PAGE Prince of M6, Chinese card, 139 Prizes, Chinese lottery, 152 " Prizes," Japanese card games, .... 131 Prizes, ken, Japan, 46 Prizes, wrestling, Japan, 3^, 39 " Promotion of officials," game of, China, 77 Provinces in Korea, xviii Pm-cell, T. A., . ... xxviii, xxix Putzelmann, etymology, 6 Putzelmann, tilting toy, Germany, . . . 6, 7 Puzzle, ring 31 Quadrants, four, xxxv Quiver, xxi " Rabbit," Korean card suit, 123 Radishes, animals imitated with, Japan, . 29 " Rain," Japanese card suit, 130 " Rat nose," Korean domino, . . . 103 " Red flower," Chinese card, . . . 1 35, 136 " Red-head-ten," Chinese domino, . . - 114 " Red-mallet-six, Chinese domino, . . .114 Red-wood, 24 Reels, kite, . i', '5 Reptile, ken, 45 Ring hiding, 50 Ring puzzle, 31 Ring, straw, in nyout, 66 " Rings of ingenuity," puzzle, Japan, . . 31 " River," Chinese chess-board, . . . 82, 84 " Rouleaux," Chinese card suit, . . 135 Rolling " cash," China 61 " Rook-knight-cannon," Chinese chess cards 143 Rope-jumping, 33 " Rope-pulling " (tug-of-war), 35 Rope, straw, in faction fights, . ... 62 Rope-walking, 21 Rope- walking toy, 2 1 Rules, backgammon, 8 1 Rules, chess, 84 Rules, domino, . . 104 Rules, foot-ball, Japan, 42 Rules, Japanese card 131 Rules, nyout, . . . 68 Rules, pitch pot 65 Rules, wrestling 37 Running-jump, 33 Sake drinking forfeit, japan, . . 47, 50 Salt provided in wrestling, 39 Samoyed numerals in nyout, . .72 Satsuma ken, Japan, 46 Savate, ... 39 Scapegoat, kite as, Korea, 12 Sceptres anciently carried by nobles, China, , xxxiii " Scissors," name in ken, Japan, .... 44 Seal, cylindrical, xxxii Seals, origin of, xxxii Seamstress, Korea 3 Season, kite-flying, 12, 18 Season, lanterns, 4) 3° Season, long nyout staves, 70 Season, top, 24 Season, toy, Korea, 4 Season, tug-of-war, 35 Season, wrestling 38 Seasons, four, xix, 39, 45 Secret societies, gamblers, Japan, .... 129 See-saw, 34 Seoul, divisions of, 62 Sequence in dominoes, 105 "Servant" kite, . 15 Seven directions, xxiii Sexes separated, Korea, China, 3 Shadow pictures 9, lo Shoe shooting, 65 Shufeldt, Admiral R. W v Shuffling divining sticks, . . xxvi, xxvii Shuttlecock, China, 43 Shuttlecock, Japan, 40 Shuttlecock kicking, 39, 43 Shuttlecock, sent at New Year, Japan, . 40 Siamese backgammon, 81 Siamese dominoes, 123 " Side shooting," ... 63 " Silver general," Japanese chessman, 90, 91 Singing girls, Korea, . . 4,64,65,81 Singing kite 13 Sinistral circuit, xxxv " Six-field," kono, ... 102 " Sixteen soldiers," Japanese fox-and-geese, 77 Sixty-four hexagrams, xxviii, xxxiii, xxxiv, 73.74 Skates, not used in Korea, 8 "Slap the Quaker," 48 Slave-top, Japan, .... ..... 27, 28 Sleds not used as playthings, Korea, . 8 Sliding 8 " Slug," name in ken, Japan, 45 "Small cash," Korean card game, . 126 Snake game, 79 " Snake," name in ken, Japan, 45 .Snow house, Japan, 8 Snowman 8 Snow shoes, Korea, 8 Soap-berry shuttlecock, Japan, .... 40 Societies, archers', . 64 " Soldiers," Korean chess pawns, . 83, 84, 87 Solitaire with dominoes, 108 Songs, ken, Japan, 46 Sortilege with dominoes, ... . . 108 Soul-bird, ancient Egypt, . . . xxxv, xxxvi Spade-shovelling, Korea, .... 32 Spanish cards, Japanese, derived from, . .133 Spider-net to catch dragon-flies, 31 Spider-web-net bat, 31 Spinning round ... 29 -Spiritsof foot-ball, Japan, 42 Splints, divination with, xxvi-xxix 176 GENERAL INDEX. Squirt-guns " Stag flower," Chinese card, Standing stones, Korea, . . . "Star," Korean card suit, . Staves, games witii, . . . " Stick" cards, China, . Stilts Stone fighting. PAGE 29 • 139 • 123 xxxii, xxxiii, 70 • • • • 135 . . 9 .... 62 Stone Iven, Japan, 44 " Stone man," standing stones called, . . 8 Stones as men in games, . . 92, 99, loi Stone-throwing, . . 62 Stork and tortoise kite, . 14, 16 Straw ring in nyout, . . .66 Straw ropes in " faction fights," . . 62 Straws, drawing, . . S'lS^, 53 Striking-top, Japan, . .... 25, 26 " String cutting," kite, . 21 " Strings," Chinese card suit, 135 Strings, kite, , . . 11,12,14,15 Suits, Chinese domino, 114 Suits, Chinese card, 135 Suits, Japanese card, . . . 129 Suits, Korean card, . 123, 127 ''Supreme," Chinese domino, I15, II6, 122 " Sweep " in dominoes .118 " Sweet flag," Japanese card suit, 130 Swinging, 34 Tablet, ancestral, , . xxx Tablet, name, . xxx, 62 Tag, ....... 51 " Tail joining," domino game, . . . 107 Tails, kite, . . . . . n, 14 Tale of the White Snake, Chinese ro- mance, .... . . 136 Tales of Old Japan, . . xxviii, 36, 42 Target, archery, Korea, . 63 Tee-to-tum, ■ . . 79 " Tens, complete," Chinese domino game, 120 " Tens, complete many," Chinese domino game, ..118 " Tens, dispute for," Chinesedomino game, 117 " Tens, grasp," Chinese domino game, 120 "Tens, grasp many," Chinese domino game . . 118 " Tens, little," Chinese domino game, . . 120 Terrestrial circuit, xxxv "The ancients," Chinese lottery, . . 151 " Thing-hiding," Japan, .... 50 " Things ruler," banker in dominoes, . 107 Thousand Character Classic, . . . 151 "Thousand myriads," Chinese card, . 135 " Three " chess, China, 102 " Three States," boys' game, Japan, . . 63 Throwing oranges, 58 " Throwing stones," game of jackstones, . 59 Throwing-top, Japan 25, 26 Throws, backgammon, 80 " Thunder " top, humming top, Japan, . , 28 PAGE Thuya obtusa, wood used for go boards, . ' 99 Tickets, Chinese lottery, 151 " Tiger's head," Chinese domino,' . . ..114 Tilting toy, China, 6 Tilting toy, Germany, 6, 7 Tilting toy, India, . 6 Tilting toy, Japan, ... .... 5 Tilting toy, Spain, 6, 7 Tilting toy, Sweden, .... 7, 8 Tilting toy. United States, . . .8 Tilt-up, . 7, 8 " To angle," Chinese domino game, . . 116 To hachi ken, Japan, 45 Tombstone, fragment of, used as charm by gamblers, Japan, 129 Tones of Chinese spoken language, divi- sions of game board called by names of, 93 26, 27 27,28 26, 27 . . 28 24, 25 . . 26 ■ 24. 25 26, 27 28, 29 27, 28 26, 27 . 25, 26 27, 28 25, 26 • 25, 26 26 . 28 27, 28 24 Top, "acorn," Japan, Top, " cake," Japan, Top, " catching," Japan, Top, "child bearing," Japan, Top, conch shell, Japan, Top-fighting, Japan, Top, Hakata, Top, " hand," Japan, Top, humming, Japan, Top, "lantern," Japan, . Top, " pinching," Japan, Top, "priest," Japan, . Top, "slave," Japan, . Top, " striking," Japan, Top, " throwing " Japan, Top, " twirling," Japan, Top, " walking-the-rope," Japan, Top, "whistle," Japan, . . . Tops, Korea, Torreya oucifiera, wood used boards, " Tortoise tablets," Toy, cat and rat, Toy, dove. . . Toy, rope-walking. Toys and lanterns, Toy, tilting. for go Korean domino game. 99 109 4 4 21 . 3 xxxvi, 4 Trapa bicornis, seed used for buzz, China, 23 Trigrams, eight, xxvi, xxviii, xxxiii, xxxiv, xxxv, 73, 75, 126, 128 Trollgubbe, tilting toy, Sweden, 7, 8 Tug-of-war, xxxvi, 35 Turnip lanterns, . . . 30 Twenty-eight constellations, . . . xxxv Twirling-top, Japan, . . 26 Umpires' fans, Japan, . . 37, 39, 45 Umpires, ken, Japan .45 Umpires, wrestling, Japan, . . 37, 38, 39 Ungdomens bok , .7 Ural-Ataic affinities of nyout numerals, 72 Vase, pitch pot, 65 Vernal equinox, .,..,, 4 GENERAL INDEX. 177 Violet fighting, 55 Volpicelli, Z, 92 Walking-the-rope-top, Japan, 28 War, Chinese art of, xxxv Wards in Seoul xviii, 62 War, god of, China, . . xxii, xxiii, 113, 153 " Waste paper," variety Chinese cards, 135. 139 " Watchman catching,'' . ... 51 Water-guns, -29 Water-jar, stakes put in, . . . 107 Water-kicking, 43 Water's Marge. Chinese romance, . .136 Water-splashing, . .... -43 " Well," kono, .100 " Well-rope," cat's cradle, China, ... 30 Wet-nurse, Korea, . . . -3 " What number ?" .... .49 Whistle-top, Japan, ■ 27, 28 '' White flower," Chinese card, 135, 136, '37,139 White, obverse of " cash," China, . 61 " White pigeon ticket," lottery, . 151 " White snake," Chinese card, , . . 136 Wild orange, ... . . 58 PAGE Wilkinson, W. H., vi, xxxii, 82, 89, 116, 127. 134, 136, 145, 147 " Wind harp," singing kite 13 Wind-mill, 21 Winter amusements, Korea, . . 8, 12, 24, 70 '' Wisteria," Japanese card suit, . . . 129 Wood for go boards, 99 Wood for nyout blocks, .66 " Wood," sage 99 " Word blossoming," Chinese lottery, . . 148 " Word tallying," 153 World of Fine Arts, .... ... 6 Wrestler's fan, Japan 37, 38, 39 Wrestlers, professional, Japan, ... • 3^ Wrestlers' titles, Japan, .... • 37, 3^ Wrestling, Korea, . . 36 Wrestling-matches, Japan, . . xxxv, 37, 38 Wrestling prize, Japan, . . . • 3^, 39 Wrestling rules, Japan, . ■ • 37 Wrestling season, Japan, . ... 38 Wrestling-stage, Japan 37 Wrestling umpires, Japan, ... 37, 38, 39 Writing lesson, cards based on, . . 145 Wylie, A, ... . 98,113,136 Zohn ahl, Kiowa game, .... xxxii, xxxiii \