The Traditional Games of England, Scotland, and Ireland (Vol 1 of 2): With Tunes, Singing-Rhymes and Methods of Playing etc.Gomme, Alice Bertha
History
The Traditional Games of England, Scotland, and Ireland (Vol 1 of 2): With Tunes, Singing-Rhymes and Methods of Playing etc.
Gomme, Alice Bertha
Folklore -- Great Britain; Games -- Great Britain
The following are the accounts of this game given by the commentators on
Shakespeare:—
“In that part of Warwickshire where Shakespeare was educated, and the
neighbouring parts of Northamptonshire, the shepherds and other boys dig
up the turf with their knives to represent a sort of imperfect
chess-board. It consists of a square, sometimes only a foot diameter,
sometimes three or four yards. Within this is another square, every side
of which is parallel to the external square; and these squares are
joined by lines drawn from each corner of both squares, and the middle
of each line. One party, or player, has wooden pegs, the other stones,
which they move in such a manner as to take up each other’s men, as they
are called, and the area of the inner square is called the pound, in
which the men taken up are impounded. These figures are by the country
people called _nine men’s morris_, or _merrils_; and are so called
because each party has nine men. These figures are always cut upon the
green turf, or leys as they are called, or upon the grass at the end of
ploughed lands, and in rainy seasons never fail to be choked up with
mud” (Farmer). “_Nine men’s morris_ is a game still played by the
shepherds, cow-keepers, &c., in the midland counties, as follows:—A
figure (of squares one within another) is made on the ground by cutting
out the turf; and two persons take each nine stones, which they place by
turns in the angles, and afterwards move alternately, as at chess or
draughts. He who can play three in a straight line may then take off any
one of his adversary’s, where he pleases, till one, having lost all his
men, loses the game” (Alchorne).
Public-domain text, read in full here on John Shaqi.
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