Play
First, the player deals eleven overlapping cards in a row. These cards form the reserve or terrace. After leaving a space below the terrace for the foundations, the player lays four cards in a row. The player then chooses which of these four cards starts the first foundation. The player places the chosen card on the foundation row, immediately fills the gap it left with a new card from the stock. The player adds five new cards beside these four to form the tableau.
The player builds the foundations in alternating colors, wrapping from King to Ace if necessary. The cards on the tableau are available to build either on the foundations, or on other cards in the tableau. Cards on the tableau are built down on each other, also in alternating colors, and the player immediately fills any gap with a card from the stock. The player moves one card at a time, and when building cards form a column, only the top card is available for play. The top card (the exposed card) of the terrace is the only card available for play and the player can only use it to build on the foundations.
When there are no more possible moves on the tableau, the stock is dealt one card at a time and placed on the wastepile, the top card of which is available to be built on the foundations or the tableau. The top card of the wastepile is also used to fill a gap on the tableau whenever it occurs. However, when the stock runs out, there is no redeal; the game ends soon after.
The player wins the game when all cards end up in the foundations—and looses when stuck after dealing the entire stock.
See also: solitaire terminologyRead more about this topic: Queen Of Italy
Famous quotes containing the word play:
“In 1600 the specialization of games and pastimes did not extend beyond infancy; after the age of three or four it decreased and disappeared. From then on the child played the same games as the adult, either with other children or with adults. . . . Conversely, adults used to play games which today only children play.”
—Philippe Ariés (20th century)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)