THE GAMBLER'S FLASH.

WORDS FREQUENTLY USED BY GAMBLERS AMONG THEMSELVES, SOMETIMES IN GENERAL CONVERSATION, AND SOMETIMES WHILE AT PLAY.

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A

A GOSS. The card that has won three times in one deal.

ANTI-GOSS. The card that has lost three times in one deal. It is sometimes called a "hotel." For instance, a gambler who has been playing, finally gets "broke;" but the love of play which from habit has become a second nature in him, causes him to linger behind to see the luck of others at the table. Being "dead broke," he borrows from a brother gambler money enough to pay his hotel or boarding-house bill. While looking on at the game an anti-goss occurs, and thinking that the fourth time is sure to win, he stakes the money he has borrowed to pay the hotel, boarding-house, or washerwoman's bill, whichever it may be, and he loses. The exclamation among gamblers would then be, "There goes his hotel."

ARTIST. One who excels as a gamester.

B

BANK. Without a party to play against, there can be no faro-playing. The player must play against some body, and that some body is a party of one or more, who hire rooms, and own gambling instruments. The gambling concern is owned by them, and the servants, from the negro at the door who answers to the touch of the bell, to the gentlemanly "picker-up," are in their pay, and act entirely in accordance with their instructions. The capital which the owners invest in this gambling co-partnership is called the "bank," but the amount varies greatly. Some banking concerns are not worth over $100, while others are worth $100,000. It is sometimes easy to break a bank of limited capital, but to make bankrupt the other is almost an impossibility. The necessity of a large capital is apparent. If four or six parties seated at the table should have $50 each on the table, and four of the six should win and the other two lose, then the bank in five minutes would be $1000 the loser. The bank must be always prepared to lose a thousand or two of an evening, they knowing well enough that it will all come back to them before the game closes.

BANKER. The man who puts the money up to be played for. The owner of the bank.

BETTER. A party who enters a gambling-saloon, takes his seat at the table, and commences to play, is a better.

BETTING ON TIME. This frequently occurs when the character of a party is such that he can be trusted to pay the money he borrows or the debts he incurs. If his character is good in this respect, then he will be permitted to play after he is "broke," if it occurs that he should be the loser when he rises from the table. This is betting on time. The same thing is done in Wall street every day by speculating brokers. In Wall street gambling there are the "bulls" and the "bears," the object of the one being to raise stock above its actual value and then dispose of it, while the other party depresses it below its value and then purchases it. Nothing of this sort, however, occurs among the professional gamblers, who locate in Broadway and some of the down-town streets running from it.

C

CALLING THE TURN. When there is one turn, say 4, 6, and 8, and the player calls 4, 8, the caller loses; but if on the other hand it should be the cards he calls, then he wins, and is paid four to one. When a man calls both, he wins and loses on the same turn. In the last turn the player can win three ways. He can copper, call, and play the winning card. He can double the limit of the game, which is the privilege of the player on the last turn.

CAPPER. A man who sets at the table and plays, but neither wins nor loses. He is there only for the purpose of swelling the number of players, so that the game won't hurry through too quickly, thus giving the actual player proper time to consider the game and study the moves he should make.

CAPPER. A man in the employ of the bank, who pretends to be playing against it, and winning large amounts. Some gambling-houses in New-York keep two sets of cappers all the time; one set goes on at ten in the morning and retires at six in the evening, when the night-set comes on. Thus the game is continually going on; no matter when a man entered, he finds the game in full blast, and there never is any necessity to start it because of a fresh arrival. Professional gamblers drop to cappers very quickly. Cappers usually want to make too big bets—that is, make too heavy bets. As a general thing they want to bet with the red checks, which represent $5, putting down ten or twenty at a time.

CASHING. This is getting the money from the bank for the checks or chips, if the player has any left on hand when he stops playing.

CAT HOPP. Is when there is one turn left in the box of the same denomination. For instance, two jacks and a five; or three cards in the box, and two of a similar count.

CHANGING IN. Handing in your money for the chips.

CHIPS or CHECKS. The chips or checks are round fancy pieces of ivory of the size of a half dollar, and a trifle thicker. These represent money, and are received from the dealer to play with in exchange for money. They are much easier to handle, and the dealer can see at a glance how much money is bet on a card. The color of the chips indicate the value they represent. There are three colors, namely, white, red and blue. White chips represent twenty-five cents, or one dollar, according to the house. Red chips represent five times the value of the white chips. Blue chips represent $25, $50, and $100. A hundred dollar chip is the highest "fish", as the gambler calls it.

CHOPPING. A card which commences to win and lose alternately, is called chopping, and to commence to lose and win alternately, is anti-chopping.

COLD DECK. This is generally done in short cards, or short games. A pack of cards is shuffled, and just as they are about to be dealt out, another pack is substituted. This is sometimes done by faro-players. The dealer having shuffled the cards, or having got another party to do it, drops the cards at his feet, and lifts the packed cards from a handkerchief on his lap. He calls on Sambo, the darkey waiter, to lift a check at his feet, and thus the evidence of his guilt is carried off unobserved. When cleverly done, the trick can not be discovered. One gambler often plays this trick on another, and hence it derives the expressive name of "cold deck."

COPPER. A card can be played to win or lose, at the option of the player. If he wishes to play any particular card to lose, he places a penny on top of the money he stakes. This signifies that he plays it to lose; hence it is called coppering.

CRAPS or PROPS. A game peculiar to Boston. Sometimes it is played with shells, and sometimes with coffee-beans, but more generally the former, as they can be loaded. If four shells are not at hand, four coffee-beans answer the same purpose. It is a substitute for the dice. Thousands of dollars have been lost on this game, but as it has not received the same condemnation from the moral portion of the community that dice has, Bostonians patronize it. There is no other reason why that city alone should patronize it. The game is so childish, that it is ten times more dangerous than any other, and gamblers have no trouble in "roping in" men to play at it, who would faint with horror at the sight of a pack of cards.

CUE. Is a calculation which confirmed gamblers are guided altogether by in playing. They know that after three cards of one denomination have gone out, they can not be split.

CUE-BOX. The cue-box is an exact representation of the lay-out of the cards on the table. The player, by looking at the cue-box, can instantly see what cards have been drawn from the box, thus relieving him of the trouble of keeping the run of the cards in his head. For instance if four jacks had been drawn from the box, and a player should place his money on the jack, they being all drawn, he could not win or lose.

CUE-KEEPER. The man who keeps the cues or marks, so that a player knows by looking at it, which card is in and which is out.

D

DEALER. The party who deals out the cards, receiving generally for his services from ten to twenty per cent of the profits of the game from the banker.

DOUBLE CARD. Two cards of the same denomination.

E

EVEN. The player who trys to make up what he has lost. Having lost $50, he stakes another $50, perhaps his last, for the purpose of getting back what he had lost, to be even with the bank, or get broke in the attempt.

F

FLAT. One who has no knowledge, or an imperfect knowledge, of gambling. No matter how much a man may know of all the sciences in the world, if he is ignorant of gambling, and should enter a gambling-room, the players would smile and say, "There's a flat," a man who did not know any thing.

G

GAFF. The gaff is a ring worn on the fore-finger of the dealer. It has a sharp point on the inner side, and the gambler, when dealing from a two-card box, can deal out the card he chooses; some, however, are smart enough to do this trick without the gaff. It is now out of date, and the only city in which it is now in use, is Baltimore. The gaff has been the initiative idea of tricks of this character, and many improvements, of which it is the foundation, have been discovered by sharpers.

H

HOCK. The last card in the box. Among thieves a man is in hock when he is in prison; but when one gambler is caught by another, smarter than himself, and is beat, then he is in hock. Men are only caught, or put in hock, on the race-tracks, or on the steamboats down South. In a hock-game, if a man hits a card, he is obliged to let his money lie until it either wins or loses. Of course there are nine hundred and ninety-nine chances against the player, and the oldest man living never yet saw him win, and thus he is caught in hock.

I

ITEMS. Items derives his name from looking at a party's hand, and conveying to the opposition player what it contains by signs. This is Item's occupation. A looking-glass is sometimes used, sometimes signs which mutes would only understand, and sometimes the signs are agreed upon and known only to the parties interested.

L

LAMAS. High chips or checks representing $25, $50, and $100. There are no $1000 lamas, for the simple reason that with $100 chips any amount of money can be laid on the table.

LAY-OUT. The "lay-out" is composed of all the cards in a suit, commencing at the ace and ending at the king. These cards are posted upon a piece of velvet, which can be spread upon the table whenever the dealer chooses to open the game. When play has commenced, each player places his stake upon any card he may choose, and as the cards are drawn from the box, his bet is determined. LEAVING OUT. When a dispute arises, a referee of outsiders or lookers-on, is appointed, to whom the difficulty is referred, and whose decision among professional men is decisive.

LITTLE FIGURE. Ace, deuce, and tray.

LOOK-OUT. The look-out is the man who is supposed to keep every thing straight, and see that no mistake is made, and that the dealer does not neglect to lift any money that he has won.

M

MARKER. Marking is frequently done in playing the game of faro. It is something put down on the card, a pencil, a knife, or any thing, to represent any amount of money the player pleases. He says: I bet $5, $10, $50, or $100, as it suits him and his finances. This saves him from delaying the game by going through his pockets for the exact money he wants. When the deal is out, he settles.

N

NUDGE. This is not often practised at the game of faro; it is applicable, as its name implies, to cribbage and similar games. The office of a nudger is to touch an associate with his feet. These touchings are signs, which are denominated nudging.

P

PALMING. Concealing cards in the palm of the hands.

PARLIEU. Is to allow one's money to lie on the table and double. For instance, the player puts $5 on the table, and it wins; instead of lifting it, he lets the original sum lie—that is called a parlieu. PICKER-UP. We frequently read of country-men being "roped" into gambling-houses, but this occurs from the ignorance of the reporters, who know nothing of the language used by gamblers and sportsmen. Gamblers of the higher grade in New-York, never use the word "roper-in." It is usually confidence-men, ball-players, pocket book droppers, and others attached to that fraternity. The roper-in takes a man over to Brooklyn or New-Jersey, and is an actor in the swindle; the picker-up takes his man to a gambling-saloon, and there leaves him to be enchanted, enchained, and allured by what he sees. Sometimes he only gives the man he has picked up his card, which will admit him to a gaming-house, where he can play a card of another description. The roper-in and the picker-up therefore should not be confounded.

The picker-up is always a gentleman, in manners, taste, dress, and appearance, and sometimes has the superficial knowledge of a scholar. He is thoroughly informed on all the topics of the day. He has seen New-Orleans, knows all about it, and can talk of the gallant defense made there from behind the cotton-bales. He knows all about the evil results arising out of the agitation of the slavery question. He loves Boston and New-England, for it was there he was born and spent his earliest and his happiest days; it was the cradle and the birth-place of liberty, and the world looked with unreserved delight upon the efforts which the men of the East put forth in the cause of freedom; he has spent many happy years in the far West, its vast prairies, its wide-spread, majestic forests, and mighty rivers, and he can not help warming up when he reverts to these themes, which moved the hearts of philosophers, poets, and statesmen.

This is the picker-up. He first sees the man's name on the hotel-register, and where he is from. He then sees him out, studies his character, and ascertains his means and the object of his visit to the city; and the picker-up, if smart, reads his victim phrenologically without touching his head. Every man has some weak point which can be played upon, and the duty of the picker-up is to discover it. It does not take him long generally to get a stranger to visit a gambling-hell. Very many of the servants of hotels are in the pay of pickers-up—the duty of the servant being to get information concerning guests, which his employer can use.

PIKER. Is a man who plays very small amounts. Plays a quarter, wins, pockets the winnings, and keeps at quarters; and never, if he can help it, bets on his winnings.

PLAYING ON VELVET. Playing on the money that has been won from the bank.

PRESS. When a man wins a bet, and instead of lifting and pocketing the winnings, he adds to the original stake and winnings, it becomes a press.

PRIVATE GAME. So called because the flat is led to suppose that no professional gamblers are admitted, and thus he is the more easily duped.

PUBLIC GAME. A game where any body can be admitted.

R

REPEATER. For instance, when a card wins or loses at one deal, and the same thing occurs the next deal, it is a repeater.

ROUNDER. One who hangs around faro-banks, but does not play. In other words, a loafer, a man who travels on his shape, and is supported by a woman, but does not receive enough money to enable him to play faro. Gamblers call such men rounders, outsiders, loafers.

RUSSER. A big player.

S

SHOE-STRING. When a man bets a small amount and runs it up to a large amount, it is called a shoe-string.

SHORT CARDS. By some called short game. A game of seven-up or cribbage. For instance, "Have you been playing faro to-night?" "No." "What then?" "I have been playing short cards."

SKINNING. A sure game, where all who play are sure to lose, except the gamesters.

SLEEPER. A bet won by the bank or a better, which has been overlooked and lies on the table without a claimant.

SPLIT. When two cards come alike. For instance, if two jacks should come out, the banker takes one half of the money.

SQUARE GAME. When cards are dealt fairly, and there is no cheating.

STRIPPERS. Cards cut at the sides for the purpose of carrying on a skinning game.

STUCK. When a man has lost all his money, and is trying on the last throw to retrieve his loss and he is beat, then he is stuck.

SUCKER. A flat; one who can play cards, but does not know all the tricks and traps in gambling.

SUMMER GAME. Playing merely for amusement.

SUMMER GAME. Playing a game for the benefit of another person with his money.

SUPPER CUSTOMERS. Some of the fashionable gambling-houses have free suppers for their customers; this is done to induce the better class of gambling merchants to patronize the house. But there are some men who frequent these houses and take supper, but never play. When such a one is asked if he is going to take a hand in, his usual answer is, "Thank you, sir, I'm a supper customer to night."

T

TELL-BOX. The tell-box is an improvement on the gaff, and has a fine spring attached to it. The object is to cheat the dealer. The dealer plays with a pack of cards which the player has had a chance to handle, and he rubs the backs of certain of them with sand-paper. The rough card adheres to the smooth one, and the fact that it does not move a hair's breadth in the box enables him to know the card that is covered, and he plays accordingly. He can also play in the same manner with a new pack of cards without sanding them, as certain cards require a greater amount of ink than others.

THE POT. The six, seven, and eight.

TRICKS. When a player takes the cards from his opponent that counts. If the queen is put down and king follows, which is higher, then the queen is taken. That is a trick.

TRICK GAMES. Such games as whist, where tricks count.

Z

ZODIAC. This word has degenerated into Soda. It means the top card in the box.

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TECHNICAL WORDS AND PHRASES,
USED BY
BILLIARD-PLAYERS.

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ATTITUDE. The position in which the player stands while at the billiard-table, when about to strike the ball. The acquisition of a good attitude is a matter of first importance to the new beginner. It is almost impossible to lay down fixed rules in this particular, as the peculiarities of height and figure would render the rules that would be excellent in one case, totally inapplicable in the other. Perfect ease is the grand desideratum; and this is to be acquired by practice, and a close observation of the best players.

BANK. When the player makes his own ball hit any of the cushions before striking the object-ball.

BILLIARD-SHARP. A class of character not tolerated in respectable saloons. As a general thing, the billiard-sharp is a retired marker, who fancies it is no longer respectable to work for an honest living, but that he is smart enough, and has learned tricks enough at his former business, to enable him to win as much money as he wants from the less experienced amateurs of the game, who figure in his vocabulary as "the flats." He generally frequents those establishments where one or two billiard-tables are made the stall behind which some dishonest occupation is carried on; and here he is at home, and in his glory. He makes himself particularly friendly with any one who will ask him to "take a drink," and in his assumed duties he fills the offices of lounger, runner, talker, player, sponge, shoulder-hitter, and referee.

He is also a runner, and sort of travelling blower to second-rate manufacturers of billiard-tables. These men supply him with clothes, to enable him to mingle in respectable society, and allow him an enormous per centage for every billiard-table sold to a stranger through his agency. In addition to this, it is his business to pull down the reputation of such manufacturers as despise and scorn the means by which he earns his dishonest livelihood. As soon as he has made "a hit" in one saloon, he is off to another, and in this way goes the rounds of the city until all the places which harbor him, are, in his own phrase, "played out."

Such a man is to be avoided as one of the worst species of sharpers. He has a thousand pretenses under which to borrow money, and will act as if quite offended if refused. The stranger should avoid all such men, and especially any one with whom he is not well acquainted, who should ask him to play for any given sum, "just to give an interest to the game."

BOWERY SHOT. When the balls played with and at, are jarred together—a pushing shot.

BREAK. The position the balls are left in after the shot.

BURST. A term chiefly used at pin-pool, when a player has exceeded the number which is placed as the common limit to the game, and must, therefore, either retire from the game, or take a privilege of another life.

CAROM. (French, Carombolage.) To hit more than one of the balls on the table with your own. In England this word has been corrupted to "cannon."

COUNT. Is the reckoning of the game. Making a count, is to make a stroke which will add some figures to the player's reckoning. DISCOUNT. When one player is so much the superior of another, that he allows all the counts made by his opponent to be deducted from his own reckoning, he is said to "discount" his adversary's gains. In "double" and "treble discounts," twice and thrice the amount of his opponent's gains are deducted from the player's score. In no other game but billiards are such immense odds possible. A man of close observation, temperate habits, steady nerves, and large experience, may give almost any odds to an inferior player, and still have a fair chance of success.

DOUBLET or CROSS. When the ball to be pocketed is first made to rebound from the opposite cushion.

FOLLOW. When a player's ball rolls on after another ball which it has impelled forward.

FORCE. When the player's ball retrogrades after coming in contact with another.

FOUL STROKE or SHOT. Any stroke made in violation of the known rules of the game.

FULL BALL, QUARTER BALL, HALF BALL, FINE or CUT BALL, OWN or CUE BALL, and OBJECT BALL. The "object ball" is the ball aimed at; the "own or cue ball" is the ball directed toward the "object ball;" the other terms relate to the position in which the object ball is struck.

GERMANTOWNER. See Bowery Shot.

HAZARD. To drive any of the balls into any of the pockets.

HAZARD, DOUBLE. When two balls are pocketed with the same stroke.

HAZARD, LOSING. When the player's ball is pocketed by his own act.

HAZARD, TAKING A. A term used to express that a player is so confident of making a certain hazard, that he will undertake to do it, under penalty of losing, in case he does not succeed, as many lives as he would have gained if successful. The phrase is most frequently employed in two-ball pool.

HAZARD, WINNING. When the player pockets either of the red balls, or his adversary's ball.

HUG. When any of the balls run close alongside of a particular cushion, they are said to hug it.

JAW. When a ball is prevented from dropping into a pocket by the cushions, which extend like jaws on either side.

JUMP. When the player forces his ball by a downward stroke to leap up from the table.

KILLED or DEAD BALL. When a ball in pool has lost its lives, and its chances are not renewed by privileges, it is said to be killed.

KISS. When the ball played with strikes another ball more than once, they are said to kiss; or when two balls, not played with, come in contact.

LONE GAME. A game in which one of the parties is an experienced player, and the other a novice—the former having the game in his own hands.

MISS. To fail striking any of the balls upon the table.

MISS-CUE. When the cue, from any cause, slips off the ball without accomplishing the intended stroke.

PLAYING FOR SAFETY. When the player foregoes a possible advantage, in order to leave the balls in such a position that his opponent can make nothing out of them.

PLAYING SPOT-BALL. When the player is not limited to the number of times he may pocket the red ball from the spot.

PRIVILEGE. When a player loses the lives, or chances, which were given to his ball on its entry into the game, and desires to purchase another chance from the other players, he asks a "privilege."

SCRATCH. When a player wins a stroke or count by accident, without deserving it, he is said to have made a scratch.

STRINGING FOR THE LEAD. A preliminary arrangement, by which it is determined who shall have the choice of lead and balls.

TIMBER LICK. See Bowery Shot.

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BROKERS'
TECHNICALITIES IN BRIEF.

A BULL is one who buys stocks on speculation, thinking they will rise, so that he can sell at a profit.

A BEAR is one who sells stocks on speculation, thinking they will fall, so that he can buy in for less money to fill his contracts.

A CORNER is when the bears can not buy or borrow the stock to deliver in fulfillment of their contracts.

A DEPOSIT is earnest-money, lodged in the hands of a third party, as a guaranty; "5 up," "10 up," etc., is the language expressive of a deposit.

OVERLOADED is when the bulls can not pay for the stocks they have purchased.

SHORT is when a person or party sells stocks when they have none, and expect to buy or borrow them in time to deliver.

LONG is when a person or party has a plentiful supply of stocks.

A FLYER is to buy some stock with a view to selling it in a few days, and either make or lose, as luck will have it.

A WASH is a pretended sale, by special agreement between the seller and buyer, for the purpose of getting a quotation reported.

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A HUNDRED STRETCHES HENCE

TECHNICAL WORDS AND PHRASES
IN GENERAL USE BY PUGILISTS.

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ABROAD. Confused; staggered.

A GENERAL. Possessed of superior science.

BACK-HANDED BLOW. Striking with the back of the clenched fist.

BARNEY. A fight that is sold.

BEAK. The nose.

BEAM-ENDS. Thrown or knocked into a sitting position.

BOKO. The nose.

BOTTOM. Power of endurance.

BOUNCED. Frightened with stories of another's prowess.

BREAD-BASKET. The stomach.

BUFFER. A pugilist.

CHANCERY. When one boxer gets the head of his opponent under his left arm, and holding him by the left wrist, strikes him in the face with his right hand, severely punishing him.

CLARET. Blood.

CHOPPER. A blow given from above.

COLORS. The respective handkerchiefs that each fights under.

COMMISSARY. The person who fixes the ropes and stakes.

CONK. The nose.

CORINTHIAN CANVAS. A term applied to the propria personÆ of an English nobleman who is an amateur of pugilism. COUNTER-HITTING. When both parties in a fight strike each other at the same time.

CROSS-BUTTOCK. To get an adversary on the hip, and then throw him.

CUT OF TIME. Defeated; could not come up to the call.

DADDLES. The hands.

DOING WORK. Training.

DOUBLER. A blow which causes the person struck to bend forward.

DUKES. The hands.

DUTCH COURAGE. Cowardice; one who drinks liquor to stimulate his courage.

ENOUGH. When one of the boxers wishes to discontinue the fight he exclaims, "Enough."

FACER. A severe blow struck directly in the face.

FEINTING. Making pretense of delivering a blow.

FIBBING. Short, quick blows when the parties are close to each other.

FIDDLER. A pugilist that depends more upon his activity than upon his bottom.

FINICKING FOP. A dandy or empty swell who makes much ado about pugilism, because he thinks it knowing and stylish.

FINE FETTLE. In good condition; healthy.

FLABBY. The flesh in a soft condition.

FLOORER. A knock-down blow.

FORKS. The hands.

FOSSED. Thrown.

FOUL. An unwarrantable interference on the part of a second to frustrate an opponent's designs.

FOUL BLOW. A blow given contrary to the accepted rules of the ring; below the belt.

GAME. Courageous, unflinching.

GAVE IN. Yielded.

GLUTTONY. Punishing a man severely, without special regard to the science of pugilism. One who can endure a great amount of punishment, is called a glutton. GOB. The mouth.

GOOD-WOOLED. A man of unflinching courage.

GOT HOME. A telling blow.

GROGGY. Not able to stand erect from punishment received.

GRUEL. Punishment.

GULLET. The throat.

HIGH-COLORING. Drawing blood freely.

IN DIFFICULTIES. Nearly defeated.

IN MOURNING. The eyes blackened and closed up.

IN TROUBLE. Almost beaten.

IVORIES. Teeth.

JOLLYING. Low expressions used by one combatant to the other during the fight, for the purpose of irritating him and diverting his attention.

KNOWLEDGE-BOX. The head.

LAMPS. The eyes.

LEARY. Active; smart.

LEVELLER. When one of the contestants is brought completely to the ground.

LISTENERS. The ears.

MARK. The pit of the stomach.

MAZZARD. The mouth.

MENTOR. A second in the ring.

MILLED. See Punished.

MILLING COVES. Persons who regularly frequent milling-pannies, for the purpose of exhibiting their skill in boxing.

MILLING-PANNIES. Places of resort for pugilists in which sparring exhibitions are given.

MITTENS. Boxing-gloves.

MITTEN-MILL. A glove fight.

MUSH. The mouth.

NUT. The head.

NUT-CRACKER. A severe blow on the head.

OGLES. The eyes.

PINS. The legs.

PLUCK. Spirit; boldness; courage.

POTATO-TRAP. The mouth. PUFFED. Swollen.

PUNISHED. Severely bruised or cut in the fight.

RALLY. When the fighters close up and strike promiscuously.

RANTER. One who makes greater pretension of skill in boxing than he exhibits when engaged in a set-to.

RIB-BENDER. A forcible hit in the ribs.

RUBY. Blood.

SHAKE-UP. A pugilistic encounter.

SHIFT. When a boxer purposely falls to save himself from a knock-down blow, he is said to make a shift.

SLOGGER. A pugilist.

SMELLER. The nose.

SPARRING GILLS. See Milling Coves.

STAMINA. Ability to punish and endure punishment.

TAKE THE SHINE OUT. To lower the man's self-esteem.

THE CROOK. Entwining the legs for a fall.

THE SCRATCH. A line drawn in the middle of the ring.

THREW DOWN THE GLOVE. Gave a challenge.

TIME. The breathing-space which, by the accepted rules of the ring, is confined to a given period. "Coming to time," is coming promptly to the line at the expiration of the time agreed upon.

TOLD OUT. Beaten; defeated.

UPPER CUT. A terrific blow struck upwards.

UPPER CUSTOMER. A term applied to patrons of the ring amongst the upper classes who are not themselves pugilists.

UPPER STORY. The head.

WHITE FEATHER. Cowardice.

WIND UP. The finishing round.