[The following was transcribed directly from the published pammplet, regardless of existing typographical errors.] CHESSHIRE-CAT-PLAYETH LOOKING-GLASS CHESSYS (Part II) by V.R. Parton ------------------------------------------------------------------------------------------- [page 1] "THE CHESSHIRE CAT'S GRIN." In the Queen of Heart's garden Alice and the White King with several other creatures were admiring the painted flowers of the beautiful cardboard Rose Cabbage Tree. Suddenly on a tree branch just in front of the White King's nose there appeared the Cheshire Cat, which so startled the King that he nearly tumbled over backwards. "You shouldn't come like that without my royal consent" said the White King greatly annoyed, " for it makes my majestic whiskers so highly nervous!" "I'm rather clever at appearing" said the Cheshire Cat grinning at Alice and the White KIng," and I'm even better at disappearing." Just as suddenly the Cheshire Cat disappeared into thin air, leaving it Grin, which went on grinning at them out of that empty space. Among the creatures Alice had encountered in Wonderland, the extraordinary Cheshire Cat was one which came also through the Looking-glass. There some of the Chessmen did not object to the Cat itself, but they disliked that Grin, especially the White King to whom that Grin was (he told Alice) too much like the unpleasant expression on the face of some hostile Red chessman which had struck this unhappy trembling King with violent check! As the Cat said to Alice, the rules of Chess provide no features of special interest to an orthodox Cheshire Cat. Why should not a rule be added which would make Chess a "serious game" for Cheshire Cats? It then explained its own idea of a grinning rule to Alice. The basis rule for this "Grin" is the following: Whenever a piece moves from its square, then that particular square must at pnce completely disappear out of the chessboard! In a real Alician Tale, I would obviously invite the Carpenter with the Walrus to help him if needed, to saw such a square out of a wooden chessboard. The rule refers naturally to Scacetic disappearance of such squares from the board, which means that when a piece moves from its square then no other pieces can occupy that square again during the playing of the game. Once and once only, therefore, in a Cheshire Cat game, will any square be occupied. For example, if White opens with the move P - K4, then the square K2 disappears from play, and moves like Q - K2 or B - K2 are now lost to White at once. Castling is impossible for Cheshire Cat! The advance of the King's Bishop and Knight removes their squares (K B1 and K Kt) as well, so that this K and his R have no squares to move into for castling. ------------------------------------------------------------------------------------------- [page 2] The "disappeared squares" are not barriers, however, to the moves of pieces. Though a piece may not occupy such squares, it can move across or through them! A King is not protected from check by any "disappeared square" between himself and an enemy, which checks him if that square was not "disappeared" out of the board (This game is best played on the Decimal board, with extra Rooks placed in corner squares.) A simple method of indicating which squares have "disappeared" out of the chessboard is to place a draughtsman or piece of paper on each square as a chessman moves from it, so making it to disappear by the "grinning rule." As the field of play is gradually reduced at each move, the game must become easier to play. It is possible that a King may find himself on an "island" square from which he cannot step, all squares adjacent having disappeared under the Grin. "Perhaps the square to which a piece goes and this piece itself might likewise disappear," suggested the Cat's Grin, and vanished! "For his first move the King must move like a Queen, otherwise the unhappy King will never be able to move from his first square" said the Grin, coming back without the Cheshire Cat! SCACI PARTONICI "Now the cleverest new thing I did (said the White Knight) was inventing a new pudding in chessys". A CHESS REFLECTION Through the open door Alice heard the Red Queen's angry voice, and drawn by curiosity to know what was really happening she entered the rooom. Here the Red Queen was waving her arms about in string protest against the Looking-glass with which she was just then arguing very angrily. The Looking-glass had turned even its face to the wall! "What's the friendly quarrel about, your Red Majesty?" asked Alice. "It's the stupidest of all looking-glasses!" replied the Red Queen in a great temper. "I only wish to het out of this ridiculous thing to see what has happened to the Red King, but....would you believe it? This very plain bit of cheap glass has refused to let me pass through it and....and.... "Words the failed the Red Queen. "I object to you solid lumps treating me just like a common door, and going through my presence as if it was my absence; and I'm no more like a door than any pendulum would think you're like half-past six!" cried the Looking glass, quite as angry as the Queen. "I'm the Looking-glass, and my rule has always been: real things outside and reflections inside." ------------------------------------------------------------------------------------------- [page 3] The Looking-glass suddenly turned round, its glass face rippled in temper, to shout, "What are you two, but the Red Queen's silly reflection and Alice's? So your proper places are here inside; and here you'll certainly stop from now on, even if I crack!" About that quarrel Alice wrote down in her memorandum book that for some time the Looking-glass was stubborn in its refusal to permit the Red Queen to pass through. At last, when the White Knight arrived and began to suggest that he might charge through on his Horse with all their heavy armour, then the Looking-glass agreed, but reluctantly, to allow them to pass through itself. Nevertheless, the condition which the Looking-glass claimed on return was that Alice should write down there and then in her book, how the Looking-glass saw the game of Chess, both "inside and outside" of course! For playing the "Looking-glass Game," two chessboards and two ordinary sets of chessmen are required. The two boards are placed side by side, and between them is to be imagined the Looking-glass itself! At the start of play, on each board one of the sets of pieces is arranged in the usual initial formation. In general, it will seem that one board and its chessmen reflect the other and its pieces. White, after opening the game by advancing a white pawn on one of the boards, must also at this same turn make the corresponding symmetrical move on the other board. For example, if White plays P - QB4 on the left board, he must also play the symmetrical move of P - KB4 for the right. If he should open with the move P - Q3 on the right board, then he must play the symmetrical advance of P - K3 on the left. In case White should open with the move of King Knight to square KB3 on one board, he is obliged to play symmetrically the move of Queen Knight to square QB3 on the other. The principle concerned in Looking-glass Chess is that any move or take on one board is always reflected or symmetrically copied on the other. For instance, the White King Rook of one board is clearly the reflection of (or symmetrical image of) the Queen Rook of the other board, and each move or take made by either rook must be symmetrically copied by the other. When a piece is captured, naturally its corresponding piece on the other board is also taken at that same turn of play. ------------------------------------------------------------------------------------------- [page 4] The truly Alician feature in this idea is that the King of one board is reflecting (or symmetrical with) not the King, but the Queen of the other board!! In consequence, it is the rule that, when a player moves his Queen of one board, the King on the other, as the reflection, must exactly copy her move by symmetry, even if it means this monarch may move actually more than one square, in so imitating the Queen's movement. (Should the player move his King on one board, the corresponding Queen will, of course, merely move one square on her own board. A King may castle with his own Rook, but this operation of castling will be imitated on the other board by the associated Queen with her own Rook. (Just as a theoretical point, if the King should "castle long" then that Queen would imitate such operation with the KR of her board.) A player is foridden of course, to play any move or take which would reflect into a move or take on the other board, resulting in his King there being exposed to check. At any turn a player can choose which board he prefers to make his move on, but that move must at once be reflected symmetrically on the other board, under the fundamental rule of this game of the Looking-glass. "DEMIGORGONS." Alice and the Gryphon were returning for the Knave of Hearts' trial after their visit to the sad and tearful Mock Turtle for a story, song and dance. "While I'm lightly dreaming of you and the Mock Turtle" Alice was saying, "I find it easy to think of you being proper creatures like my cat or my arithmetic book - of course with the answers!" "You'll need to dream very heavily, or darkly, according to what you mean, about the Demigorgon" said the Gryphon," if you wish to think it into a proper creature like a pair of shoes, both even." "I've read about that in a fairy tale" said Alice, pausing a little to think about being certain on this point. "When it looks at you, then it petrifies you into real stone. Aren't you still solid stone for centuries and centuries after?" "No, that's the Gorgon" replied the Gryphon. "That sort could only just half-pass its examination for being Gorgon. What happens is really this: you petrify as long as you are gazing at the Demigorgon, but you completely dispetrify as soon as it goes out of sight. It's motto is, of course, "Out of sight, out of Mind." ------------------------------------------------------------------------------------------- [page 5] Naturally the particular "Alician Theme" introduced here by that fragment of my "Tale" is concerned with a new Scacetic king of pieces. The chief kind of Demigorgon moves like the Queen, and so it will simply be called "the Demigorgon." (On the Decimal board, a player has a pair of Demigorgons.) When threatening to capture some enemy piece, the Demigorgon petrifies that foe, which in consequence loses its power to move from its square, and is not even able to take as long as it is being menaced by the monster. Immediately the threat by the Demigorgon vanishes, however, that foe becomes "dispetrified" and recovers its normal powers of move and capture (Demigorgon may be limited to their Queen move and power to petrify). From the nature of the Demigorgon three special points result: (A) Because a foe petrified by this monster loses its power to take, it follows therefore that such a petrified piece will also lose its checking right at the same time. For example, White King on a1 and White Demigorgon on d2; Black Rook on a8. In this position White can annul the Black Rook's check either by moving his Demigorgon between the checked monarch and the checking foe in the usual way of intervention, or by moving the Demigorgon to d8 or g2, so attacking and petrifying the Black Rook. (Here the check made by the Rook, disappears strangely, though the Rook is openly facing the King in the same column!) (B) When the Demigorgon checks the enemy King, it means of course, that the monarch being petrified, cannot now move from his position out of the check. To defend against such petrifying checks, a player has the remedy of intervention or else capturing the Demigorgon! At first a reader may think that such a monster can never be captured. Because a Knight when attacking the hostile Demigorgon is not attacked back, it becomes possible in some situations to capture that monster with a Knight. A piece rendered "moveless" by any of the hostile Demigorgons can of course be captured by a free piece. (C) The climax to the Alician character of these Demigorgons comes when one of them is actually menacing a hostile Demigorgon, so that the result is reciprocal petrification!! Each of these two opposing terrorswill here deny any sort of movement to the other. A Demigorgon even when itself petrified and "moveless" will nevertheless continue to petrify normal chessmen on which its icy gaze may strike. Because a petrified piece cannot move to take, such a piece "appearing to check" the enemy King in some position is of course not checking at all! ------------------------------------------------------------------------------------------- [page 6] For play on the ordinary board a player adds to his normal chessmen a pair of Demigorgons. The pawns are initially arranged on the 3rd rank, the King and Queen on the two central squares of the second rank, and the two Demigorgons in the middle of the back rank, replacing K and Q. THE MAD TEA PARTY. The second time that Alice met the Mad Hatter, the March Hare and the Dormouse was "through the looking-glass," and again she met them at a tea party. As she told her sister afterwards, the first had been merely an Ordinary Mad Tea Party, but this second was a very Un-ordinary Mad Tea-party. When Alice unexpectedly walked on to the scene of the second tea party, she saw that the three were chiefly engaged in the rather strange work of busily painting with jam! The March Hare was colouring some of the white tea crockery red with cherry jam , some of it with greengage,and some black with blackcurrant jam. For his painting brush the March Hare used a bread knife. The Mad Hatter was helping, and for a brush he was using the price ticket off his hat, while the Dormouse drew "unstraight" straight line on the large white tablecloth already much stained by spilled tea. The Dormouse painted jam on with sugar tongues. "What are you threee doing?" asked Alice. "We're going to have a Mad Three party" explained the Mad Hatter. Alice thought he must have meant "tea party." "Can I join you please in this party?" she asked politely, and with much curiousity over this painting with jam. "No, you can't" said the March Hare rather impolitely." If you join, then it would be a Four party instead. We're having a Three party, but we'll let you watch us however. Stupid!" Alice saw that the March Hare meant the Dormouse who had clumsily marked the March Hare's coat with blobs of jam just at that moment. "What are you doing with the jam ?" said Alice still puzzled. "We're painting chessmen!" explained the Mad Hatter to Alice's great surprise, "We're painting the tea things into red, black and green chessmen." ------------------------------------------------------------------------------------------- [page 7] "But why the green chessmen?" The red and the black would be enough; the green seem a waste of jam," said Alice. "The three of us play this game" answered the Hatter "and each of us wants his own colour. Stupid, that is my jam leave it alone." This last remark was of course addressed to the Dormouse. "I shall choose the chessmen with the greengage" the March Hare broke in, "for I like the taste of that jam best. "Alice thought a little and then remarked "I would say these tea things look nothing at all like real chessmen." "Don't be so duncified! Can't you see the little plates are the pawns?" said the Hatter impatient at Alice's slow understanding. "The saucers are the Bishops and the cups are the castles." He added "and the teapots are Kings because they're the largest in size." Though she noted that the Hatter had already painted one large teapot greengage for a King, Alice saw the Hatter now busy painting a second greengage teapot King, and remarked to him how unnecessary it seemed to paint a second greengage teapot. "Each player has two Kings!" replied the Hatter very crossly at Alice's ignorance in this matter. "It is home-made plain cake commonsense. One of your opponents attacks one of your kings and the other attacks the other. That is quite easy to understand. If you had only a single king it would get too complicated when both of your opponents attacked the same king." He added with a glare of annoyance at Alice's obvious doubt about that point. "If they had only one teapot they would have to halve it, and what use is half a teapot? You seem as stupid as the Dormouse!" "How many teapots will there be in this game?" Alice asked the March Hare, for she felt too cross with the Hatter just then to ask him. "Five, of course, that's all there are on the table" said the March Hare. "Alice thought a moment and then said "Thrice twice are six, so you'll want another teapot for this new game." "Alice will have to be the sixth teapot" said the Hatter who turned to glare at the March Hare. "There would have been six teapots if you hadn't broken the best teapot by trying to mend its spout with a hammer." "It was the best hammer and at the shop the Knave of Hearts said it would mend anything" grumbled the March Hare. "Alice will have to be the sixth teapot" repeated the Hatter. "Shall we paint Alice with the cherry jam or the greengage" said the Dormouse. "She can't be painted with the blackcurrant for there isn't very much left of it." Whether that Mad Threeparty was successful or not we cannot say, ------------------------------------------------------------------------------------------- [page 8] for Alice hurried away, naturally not wishing to be painted with any sort of jam. The idea of "Mad Threeparty Chess" is quite a reasonable game to play! Six kings on the chessboard at the same time perhaps are rather confusing for the ordinary player to grasp as a logical system, before he has well saturated his orthodox mind with the Scacetic spirit. It is played in the Decimal board. By now the reader will realize that the present idea concerns Chess as a game, not for two but for three persons who play it on the same board, and that each player is fighting alone to win. For the game of Mad Threeparty Chess the players must have a set of cherry, greengage and blackcurrant chessmen!!! Each of these men is a square piece of cardboard about 1.5 inches wide, on which there has been drawn in red, green or black colour, a likeness to a castle, mitre, horse, king's crown or queen's crown which it represents (Pawns are not used in Mad Threeparty Chess.) [Note from transcriber: In the preceding paragraph the phrase "1.5" was used in place of the original typeset which utilized "1" with the symbol of a one over a two divided by a line which denoted the half inch. This was done to account for the use of fonts which do not include such a symbol.] The essential feature of this idea is that a player has two kings, one of which is to be attacked by one opponent and the other by his other opponent. His two monarchs are distinguished by marking one with a small star. The player's right-hand opponent attacks the star-marked king. The game is begun by the players in rotation placing their pieces one at a time on vacant squares of the board. Kings are placed last and naturally a player must not place either of his monarchs in a checked position on the board. A player can check the star king of his left-hand opponent and the "starless" king of his right. On the contrary the player is strictly forbidden to check the star king of his right adversary and the "starless" of his left. The order of play is Black, Green and Red, clockwise rotation. At his turn to move a player may find his "star king" in check but be unable to defend the piece; in which case his right-hand opponent is victor of this game of Mad Threeparty chess. If the player finds his "starless" king in check but cannot defend the piece then his left-hand adversary wins the game. A situation can of course develop where a player at his turn to move finds both his monarchs in check. If he is able to defend one but not the other king, the Mad Threeparty is won by his opponent whose target king he has not protected, For example, both black kings are in check but Black is able to guard only his "star" monarch; because the black "starless" monarch is Green's particular target, then the victor in this case will be Green. ------------------------------------------------------------------------------------------- [page 9] "KNIGHTMARES" Alice saw the White Knight come galloping on his Horse, his lance set as if he charged at something very dangerous in his path. When the Horse stopped suddenly and the White Knight came tumbling off amid much noisy clatter of armour. Alice went to help the unfortunate Knight to rise and to gather the pieces of armour flung off by his fall. "I have missed those Knightmares again. This lance must be blunt for they are always getting away from me," the White Knight complained bitterly. "I cannot see anything" said Alice very puzzled, looking carefully all round and even peering up into the squared patches of the Looking-glass sky. "That is just the trouble with my Knightmares for they are never here but always going somewhere else, "explained the White Knight very sadly. "For you must think a Knightmare to be, and I am not very good at thinking them though I try so hard." After a few sighs he began to sing to Alice his song. "Creatures of my distorted thought are they! Sirens to lead the chess mind astray! These monsters of chess must I chase away - away!" This group of Scacetic pieces, the White Knight explained to Alice, are really chessmen of double character for each is a kind of two pieces in one." A Knightmare is not only the union of two chess- men quite different in move and take, but these two pieces must also be different in colour!! In consequence, both players can make a move or a capture with a Knightmare though its character will be different for each player. In the eyes of an ordinary player, the very idea of uniting a White Knight and the red King together in order to form a "Knightmare" will be crazy. How very dumbfounding on the player's mind will be the absurd sight of his King leaping like a Knight at the handle of his opponent into a position of check!! Whatever strength any Knightmare may have as a piece in play, the nature of that Knightmare is to be a most disagreeable and troublesome chessman for both players. The separate characters of the two hostile pieces associated in some particular Knightmare are not quite in themselves what determines the merit and interest of their joint result as that special piece. It is really sharp contrast, not similarity between the two components which gives the annoying power essential in a Knightmare. In an ideal Knightmare, the two hostile components must have little or nothing in common. Uniting a white Rook and a red Bishop gives a proper Knightmare because the diagonal movement of the red component is so sharply contrasted with the orthogonal movement of the white companion. (The association of the white Rook with a red Queen, Rook and Bishop with hostile Knight creates three pieces of the type which the term "Knightmare" seems to denote in the narrow sense of the name. The uniting of the King with hostile Queen produces probably the most terrible monster which the player of the King can have to defend among Knightmares. ------------------------------------------------------------------------------------------- [page 10] SCACI PARTONICI. (by V.R.Parton) The game of "scaci partonici" is the special form of my idea "partonici." Chessmen are used as pieces in playing this form of the idea; they have in general their various normal moves in this game that they have in chess itself. In playing scaci paronici, all the pieces as well as pawns are strictly limited to advancing movements until they reach the enemy back rank, where such men are "promoted" and so gain their complete chess moves in any direction. Pawns reaching that enemy rear rank are "promoted" to queen, or other kind of chessman required. Such distinction between pieces restricted to advancing and pieces promoted to their full powers of movment can very conveniently and suitably be made by using smaller size chessmen to represent "advancing men" and larger size chessmen to represent "promoted" in partonici play. Larger sized pawns are not different in play, and move, however, from smaller pawns. The objective of play in partonici is to capture hostile pieces. The manner of capturing in partonici games is an unusual idea, not at all like the modes employed in ches or draughts for the capture of hostile pieces. The partonici system of taking really consists of four or five special but related linds of capturing which are designed to deal in general with various types of groups, into which enemy pieces may assemble or separate by their advancing movements over the board, which may be the ordinary chessboard or the 9 x 9 or the 10 x 10. It is this style or rather system of related styles of capture which gives to partonici play its strange character, and quite new distinctive kind of tactics and strategy. For playing spaci partonici on the ordinary chessboard, a player's pieces are arranged on the board in the following manner: pawns occupy the eight squares of his first (or back) rank; the other pieces in his second rank. (1) A player captures an enemy with a simple partonici take when he moves one of his men to a vacant square adjacent to the for, by which already another of this player's pieces is standing adjacent, so that now the enemy piece becomes situated between both of his men. The three pieces must lie in a straight line, but the direction can be vertical, horizontal or diagonal. The pieces so gripped or held between its two enemies is now a captive by this simple partonic take, and is therefore removed from the board. ------------------------------------------------------------------------------------------- [page 11] Example: White Rook on KR2; Bishop on QKt5; Knight on QB3; Pawn on KB5. Black Queen on QB4; Pawn on KKt3. In this position, if the white Knight at QB3 goes to square Q5, then the black Queen will be held between the white Bishop on (QKt 5) and this Knight himself in his new position on the square Q5. The black Queen is thus captured by a simple partonici take made in a horizontal line, and she must consequently be removed off the board. The white Rook on square KR2, by moving to KR7, would trap in a simple partonici take (in a diagonal line) the black pawn between himself in his new position and the white pawn on the square KB5. (2) The contrary idea to the simple partonic take produces the mode which I term contrary partonic variety of capture. Here, it is not the piece between its two foes which is captured, but those two foes between which it is moved, that fall victims in this contrary partonic type of taking. Example: White King on KKt5; Queen on QR4: Knight on QB2. Black Rook on KB2; Bishop on QB5; Pawn on KR4; Knight on K5 In this second position the white Knight by moving to square Q4 can capture at the very same time in such contrary partonic, both the black Bishop and the black Knight between which he is moved. Consequently, both those black pieces must be removed off the board as captives. Also, the white King can capture with a contrary partonic attack, the black Rook and black pawn, by moving to square KKt6, which lies between those two foes. Black could her capture in a contrary partonic the white Queen and white Knight by playing his Bishop (on QB5) to square QKt6 between them. (3) In the mode which I term line partonic capture, the idea of partonic take is extended so that a straight line of two or more enemy pieces become capturable at a single turn of play. Instead of only just one enemy between two of the player's chessmen, now two or more foes lie in a straight row between his two pieces whereby the line partonic position of attack is created. Those two or more enemies thus gripped between his two men are captives by this line partonic, and must therefore be removed as prisoners off the board. Example: White King on KB5; Queen on K7; Knight on QKt1. Black Queen on QKt5; Rook on Q3; Knight on QB4; pawns on Q6 and QB7. In this third position, the white Knight by moving to square QR3 can make such a line partonic take. Here the three black pieces (Queen, Rook and Knight) are gripped in a straight row between the white Queen and this Knight in his new position. These three black pieces are thus captured in a line partonic, and so are removed together off the board. ------------------------------------------------------------------------------------------- [page 12] (4) Naturally the line partonic capture just described has its own contrary form in similar manner as the simple partonic has its contrary. In this line contrary partonic take, the player attempts to create a straight line on which two or more of his chessmen will be situated between two of the opponent's pieces. By such contrary line partonic, the player will therefore capture those hostile men, one at each end of the line so formed. In the third position the black Knight can make a contrary line partonic take by joining with his pair of black pawns to form a line between the white King and white Knight, both of which are thus captured in this new type of partonic taking. (5) The double and triple partonic take is an attack in which move makes two and three partonic captures at the same time. These may be the same kind of partonic or different kinds which are combined into a single attacking move. Example: White Knight on QB5; Bishop on K3; Rook on QB6. Black Pawns on Q2 and KB4; K4 and K5, and Q3. In this position the white Knight can by moving to square K6 make a triple form of partonici; which associates a simple, a line and a contrary partonic. Together all five black chessmen here seized by white with such triple partonic are, of course, removed off the board as prisoners. The player capturing the larger number of enemy pieces by means of partonic takes will gain the victory in such partonici battle with his opponent. When the player having the smaller number of pieces left on the board in a partonici game has clearly no strong reserves for equalizing, the game is logically ended, further play being quite unnecessary. Next, the variant called "royal Partonici" is quickly explained, and also "decimal partonici." Naturally, the idea of scaci partonici is played also in a form very closely resembling the game of ordinary chess in its purpose of play. This is, that instead of the player's objective being the general capturing by partonic attacks of hostile pieces, his aim is the specific capture by some partonic of the enemy king. In such resulting chess-like version of partonici, it is seen that threats made to capture the hostile king by partonic attacks are logically partonic checks, and the final situation where the enemy monarch cannot escape partonic capture is logically "partonic checkmate." The player capturing the opponent's king by partonic is the winner. ------------------------------------------------------------------------------------------- [page 13] The extension of the idea of scaci partonici to play on the larger scale board of 100 squares (termed the decimal board) raises no serious difficulties. For this game of "decimal partonici" a player has a force of 20 pieces, his extra men being the four pawns from a second set of chessmen. The initial arrangement of the 20 men on this decimal board is as follows: The rear rank is not occupied; the second is completely occupied by ten pawns; the arrangement of pieces in the third row may be P,R,B,Q,N, N,K,B,R,P, (N for Knight). The royal partonici game may be played on the decimal board. Naturally many suitable initial arrangements of pieces are possible, especially on the 100 square decimal and the 81 square boards. Those arrangements already given are of course, just examples for illustration. With the three boards (64,81 and 100 squares) and the many possible arrangements of pieces on them, almost infinite variety in manoeuvres and traps for victory in attacks and obstruction in opening developments and endings can be enjoyed in playing scaci partonici.