Quantum Physics 3rd Edition 3rd Edition Stephen Gasiorowicz

Quantum Physics 3rd Edition 3rd Edition Stephen
Gasiorowicz download
https://ebookbell.com/product/quantum-physics-3rd-edition-3rd-
edition-stephen-gasiorowicz-1838890
Explore and download more ebooks at ebookbell.com

Here are some recommended products that we believe you will be
interested in. You can click the link to download.
Understanding Quantum Physics An Advanced Guide For The Perplexed 3rd
Edition Shan Gao Phd
https://ebookbell.com/product/understanding-quantum-physics-an-
advanced-guide-for-the-perplexed-3rd-edition-shan-gao-phd-4173838
Greens Functions In Quantum Physics 3rd Eleftherios N Economou
https://ebookbell.com/product/greens-functions-in-quantum-physics-3rd-
eleftherios-n-economou-5064034
Ideas Of Quantum Chemistry Volume 1 From Quantum Physics To Chemistry
3rd Edition Lucjan Piela
https://ebookbell.com/product/ideas-of-quantum-chemistry-
volume-1-from-quantum-physics-to-chemistry-3rd-edition-lucjan-
piela-11045532
Quantum Physics 3rd Ed S Gasiorowicz
https://ebookbell.com/product/quantum-physics-3rd-ed-s-
gasiorowicz-4087954

Quantum Nonlocality And Relativity Metaphysical Intimations Of Modern
Physics 3rd Edition Tim Maudlin
https://ebookbell.com/product/quantum-nonlocality-and-relativity-
metaphysical-intimations-of-modern-physics-3rd-edition-tim-
maudlin-2612654
Quantum Nonlocality And Relativity Metaphysical Intimations Of Modern
Physics 3rd Tim Maudlin
https://ebookbell.com/product/quantum-nonlocality-and-relativity-
metaphysical-intimations-of-modern-physics-3rd-tim-maudlin-6985260
Greens Functions In Quantum Physics 3rd Ed Eleftherios N Economou
https://ebookbell.com/product/greens-functions-in-quantum-physics-3rd-
ed-eleftherios-n-economou-4794894
Path Integrals In Quantum Mechanics Statistics Polymer Physics And
Financial Markets 3rd Hagen Kleinert
https://ebookbell.com/product/path-integrals-in-quantum-mechanics-
statistics-polymer-physics-and-financial-markets-3rd-hagen-
kleinert-1531664
Path Integrals In Quantum Mechanics Statistics Polymer Physics And
Financial Markets 3rd Edition Hagen Kleinert
https://ebookbell.com/product/path-integrals-in-quantum-mechanics-
statistics-polymer-physics-and-financial-markets-3rd-edition-hagen-
kleinert-892044

1
Quantum Physics III
Errata
p.21. In problem 2, replace …use your estimate of the sun’s surface temperature to…
by and use 6000K as an estimate of the sun’s surface temperature to…
p.40 In the solution to Example 2-4 (b) the second equation should have ¢ on the left
side.
x2
²
.64. In problem 11, the last equation should read
(x,t) A sin
Sx
a
§
©
·
¹
5
p.90. In problem 2, the definition of V(x) in the third line should read
V(x) = 0 a x
p.92. In problem 2, on the right side of the two equations make the replacements
tanhab o tanhDb; cothab o cothDb
p. 103 In equation (5-49), in lines 4 and 5 there should be a dx inserted.
p.118 In problem 7, the first line should read: Use the results of problems 5 and 6 ….
In problem 16, the first equation should read
e
OA
f (A

) |0² f (A

O) |0²
p.119. In problem 17, the last term of the last equation should read
O2
2!
[A,[A, A
]]
p.126 In equation (7-48) the denominator should be (l + m)!
p.148 In equation (9-21) the summation sign should read
k,l
¦
p.154. In the first un-numbered equation which lists the eigenvectors, the last one should
be associated with O = -1.
p.156. Problem 1: In the second line use :…left-hand 5 x 5 corner of the infinite array.)

2
The two equations referred to in problems 2 and 3 should be (6-36) instead of
(6-4).
p.191, The material just below Figure 12-1 should read as follows:
It follows that the energy shift is
mec2
(ZD)4

1

®
¯
½
¾
¿
n3
l(l 1/2)(l 1)
'

E
1
4
(12-16)
valid for l 0. When the effects of H1 and H2 are combined, we get
'E
1
2
mec
2
(ZD)
4 1
j 1 /2

3
4n
§
©
¨ ·
¹
(12-17)
valid for both values of l = j ± 1/2. It is necessary….
p.197. In problem 4. The final states in both cases should be 1 . In part (b) the first
2
S1/2
wavelength should be 589.592 nm.
p.208 replace material from below Eq. (13-54) to below Eq. (13-57) by
Note that there is quite a lot of degeneracy in the problem: There are as many solutions
for a given E as there are sets of integers {n1,n2,n3} that satisfy (13-54). Degeneracy is
usually associated with the existence of mutually commuting observables and this
example is no exception. In general when H = Hx + Hy +Hz where
Hx
px
2
2m
V1(x)
Hy
py
2
2m
V2(y) (13 55)
Hz
pz
2
2m
V3 (z)
the eigenfunctions of H have the form
E1E2E3
(x,y,z) uE1
(x)vE2
(y)wE3
(z) (13 56)

3
where uE1
(x),vE2
(y),wE3
(z) are eigenfunctions of Hx, Hy, and Hz respectively, with
eigenvalues E1, E2 and E3, and
E = E1 + E2 + E3 (13-57)
p.238 In the expression for cn( ) the second line should read
f

qE
i!
¢x | x |0² dt'eiZnt'
f
f
³ e t'2
/W 2
p.249 The two equations following (16-22) should read

w
wt
w
wt
e
i/
' i
w/
wt
e
i/ w'
wt
i!’ i!’ e i/
' !’ i!ei/
’'
p.255 In the line following Eq. (16-71) replace L1,L2 by the product L1L2.
p.260 In the line above Eq. (17-3) replace t-me-independent by time-dependent
p. 264 Two lines below Eq. (17-30) replace m = mi by m = - mi
p.266 In Eq. (17-37) the r.h.s. should read

|
g!
4
k
p
...
p.316. line 8 above Eq. (20-1) replace protons by photons.

Supplement 1-A
Einstein’s Approach
to Planck’s Law
In 1917 Albert Einstein wrote a remarkable paper in which he used classical statistical me-
chanics and elements of the old Bohr theory to derive the Planck distribution and to relate
spontaneous emission, as it appears in the Bohr theory to induced emission and absorption.
We start with radiation in a cavity at temperature T. Assume that the walls of the cav-
ity consist of atoms that can be in a variety of stationary states. These are labeled by ener-
gies En, and furthermore we allow for degeneracy—that is, the possibility that each
energy level may accommodate gn states. According to classical statistical mechanics
(Boltzmann distribution), the ratio of the number of atoms in the state m to those in the
state n is given by
(1A-1)
Let us now consider a pair of levels of energies E1 and E0 with E1 ⬎ E0 (Fig. 1A-1). The
number of transitions from the upper to the lower state per second—that is, the rate of
transitions—is denoted by R10. The rate of transitions from the lower to the upper level is
R01. The number of transitions from the lower level to the upper level must be propor-
tional to the number of atoms in the lower state N0, as well as to the intensity of the radia-
tion in the cavity. For frequency ␯ and temperature T this is denoted by u(␯, T). We write
(1A-2)
The frequency ␯ is the one that is absorbed in the induced absorption, and the constant B01
is called the coefficient of induced absorption.
For the transition from the upper level to the lower level, Einstein uses the Bohr pos-
tulate, according to which spontaneous emission occurs with a rate independent of the ra-
diation present. In addition, the presence of radiation also induces transitions to the lower
level. The coefficient of induced emission is denoted by B10. If the number of atoms in the
upper state is N1, then
(1A-3)
with the two terms describing spontaneous and induced emission. In equilibrium there
must be as many “up” transitions as “down” transitions, so that
(1A-4)
It follows that
(1A-5)
N0
N1
⫽
A10 ⫹ B10u(␯, T)
B01u(␯, T)
⫽
g0
g1
e⫺(E0⫺E1)/kT
R10 ⫽ R01
R10 ⫽ N1(A10 ⫹ u(␯, T)B10)
R01 ⫽ N0u(␯, T)B01
Nm
Nn
⫽
gme⫺Em/kT
gne⫺En/kT
⫽
gm
gn
e⫺(Em⫺En)/kT
W-1

W-2 Supplement 1-A Einstein’s Approach to Planck’s Law
We rewrite this in the form
(1A-6)
A number of consequences can be drawn from this formula. First, in the limit of large T,
for fixed (E1 ⫺ E0),
(1A-7)
Furthermore, in that limit, the classical Rayleigh-Jeans formula for the energy density ap-
plies, so that
(1A-8)
The left side of (1A-6) is independent of T, so it follows that the term proportional to T on
the right-hand side must vanish. This implies
(1A-9)
The meaning of this result is that the rate per atom of induced absorption is equal to the
rate per atom of induced emission. The equality of the terms independent of T leads to
(1A-10)
If we now go back to equation (1A-6), we find that
(1A-11)
The left-hand side must, on general thermodynamic grounds, obey Wien’s law; that is, it
must be of the form ␯3
f(␯/T). This then has the following important consequences: (E1 ⫺
E0) has to be proportional to ␯, so that
(1A-12)
and finally,
(1A-13)
This expression for the energy density has three components: the first one is the number
of modes for the radiation field in the vicinity of ␯. More precisely, we should be talk-
ing about u(␯, T)d␯; the energy density in the frequency range (␯, ␯ ⫹ d␯), and the cor-
responding number of modes is (8␲␯2
d␯/c3
). The second factor is the energy per mode;
we associate it with the energy of the quantum of radiation emitted by the decay of the
upper to the lower state, because of energy conservation. Finally, the third factor is the
u(␯, T) ⫽
8␲h␯3
c3
1
eh␯/kT
⫺ 1
⫽ 冢8␲␯2
c3 冣h␯
1
eh␯/kT
⫺ 1
E1 ⫺ E0 ⫽ h␯
u(␯, T) ⫽
A10/B10
e(E1⫺E0)/kT
⫺ 1
⫽
8␲␯2
c3
(E1 ⫺ E0)
e(E1⫺E0)/kT
⫺ 1
A10
B10
⫽
8␲␯2
c3
(E1 ⫺ E0)
g0B01 ⫽ g1B10
u(␯, T) l
8␲␯2
c3
kT
e(E1⫺E0)/kT
l 1 ⫹
E1 ⫺ E0
kT
⫹ 0冢 1
(kT)2冣
g1A10 ⫽ u(␯, T)(g0B01e(E1⫺E0)/kT
⫺ g1B10)
Spontaneous
emission
Induced
transitions
EA
E0
Figure 1A-1 Possible transitions in a two-level
system. Downward transitions can be both
spontaneous and induced by an external
electromagnetic field. Upward transitions can only
be stimulated.

average number of quanta with frequency ␯ that make up the energy density, so that we
can write
(1A-14)
Let us now get back to the emission rate per atom. It is
(1A-15)
The absorption rate per atom is similarly found to be proportional to 具n(␯)典. In photon lan-
guage we see that both emission and absorption are enhanced by the number of photons of
the right frequency that are present. Although this result was only derived for blackbody
radiation, this result does not depend on the particular form of the frequency distribution.
⫽ A10(1 ⫹ 具n(␯)典
R10 /N1 ⫽ u(␯, T)B10 ⫹ A10 ⫽ A10冢1 ⫹
1
eh␯/kT
⫺ 1冣
具n(␯)典 ⫽
1
eh␯/kT
⫺ 1
Einstein’s Approach to Planck’s Law W-3

Supplement 1-B
Estimate of the Lifetime
of a Rutherford Atom
We begin with the form of F ⫽ ma for a circular orbit of an electron in the Coulomb field
of a proton. The equation reads
(1B-1)
which leads to Kepler’s third law
(1B-2)
The energy can be expressed in terms of r with the help of the above:
(1B-3)
The Larmor formula for the instantaneous power radiated—that is, the energy loss per
unit time—is
On the other hand, it follows from the expression for the energy that
(1B-5)
If we combine these equations we get
(1B-6)
This may be integrated, and it leads to
(1B-7)
4冢 e2
4␲␧0
冣
2
1
m2
c3
T ⫽ [r3
(t ⫽ 0) ⫺ r3
(t ⫽ T)]
3r2 dr
dt
⫽ ⫺4冢 e2
4␲␧0
冣
2
1
m2
c3
dE
dt
⫽
1
2
e2
4␲␧0
1
r2
dr
dt
⫽ ⫺
2
3
e2
4␲␧0
1
c3
1
r4
(␻2
r3
)2
⫽ ⫺
2
3
e2
4␲␧0
1
c3 冢 e2
4␲␧0m冣
2
1
r4
⫽ ⫺
2
3冢 e2
4␲␧0
冣
3
1
m2
c3
r4
P ⫽
dE
dt
⫽ ⫺
2
3
e2
4␲␧0
a2
c3
⫽ ⫺
2
3
e2
4␲␧0
1
c3 冢v2
r 冣
2
⫽ ⫺
2
3
e2
4␲␧0
1
c3
(␻2
r)2
⫽ ⫺
1
2
e2
4␲␧0r
E ⫽
1
2
mv2
⫺
e2
4␲␧0r
⫽
1
2
e2
4␲␧0r2
r ⫺
e2
4␲␧0r
␻2
r3
⫽
e2
4␲␧0m
mv2
r ⫽ m␻2
r ⫽
e2
4␲␧0r2
W-4
(1B-4)

It simplifies matters if we write
(1B-8)
We take r(T) ⫽ 0, and for r(0) we take a number of the order of 10⫺10
m. We know from
our discussion of the Bohr atom that this is approximately equal to 2a0 where a0 is the
Bohr radius. When we put all this together we get
(1B-9)
If we put in numbers we get T ⫽ 1.3 ⫻ 10⫺10
sec.
T ⫽ 冢2
ប
mc␣冣
3
m2
c
4␣2
ប2
⫽ 2
ប
mc2
1
␣5
冢 e2
4␲␧0
冣
2
⫽ 冢 e2
4␲␧0បc冣
2
ប2
c2
⫽ ␣2
ប2
c2
Estimate of the Lifetime of a Rutherford Atom W-5

Random documents with unrelated
content Scribd suggests to you:

old Border warfare peculiarly flourishes, the boys are accustomed to
use the following rhymes of defiance:—
King Covenanter, come out if ye daur venture!
Set your foot on Scots’ ground, English, if ye daur!
—Chambers’ Popular Rhymes, p. 127.
The following version was written down in 1821 under the name of
Scotch and English:—Two parties of boys, divided by a fixed line,
endeavoured to pull one another across this line, or to seize by
bodily strength or nimbleness a “wad” (the coats or hats of the
players) from the little heap deposited in the different territories at a
convenient distance. The person pulled across or seized in his
attempt to rob the camp was made a prisoner and conducted to the
enemy’s station, where he remained under the denomination of
“stinkard” till relieved by one of the same side, or by a general
exchange of prisoners.—Blackwood’s Magazine, August 1821, p. 25.
The Denham Tracts, i. 150, gives a version of the game much the
same as these, except that the words used by the English are,
“Here’s a leap into thy kingdom, dry-bellied Scot.” See also Hutton’s
History of Roman Wall (1804), p. 104. Brockett’s account, under the
title of “Stealy Clothes, or Watch Webs,” is as follows:—The players
divide into two parties and draw a line as the boundary of their
respective territories. At an equal distance from this line each player
deposits his hat or some other article of his dress. The object of the
game is to seize and convey these singly to your own store from that
of the enemy, but if you are unfortunately caught in the attempt, you
not only restore the plunder but become a prisoner yourself. This
evidently takes its origin from the inroads of the English and Scotch;
indeed, it is plainly proved from the language used on the occasion,
which consists in a great measure of the terms of reproach still
common among the Borderers.—Brockett’s North Country Words.
Jamieson, also, describes the game under the title of “English and
Scotch,” and says the game has originated from the mutual
incursions of the two nations.

See “French and English,” “Prisoner’s Base,” “Rigs.”[Addendum]
Scratch Cradle
The game of “Cat’s Cradle.”
Scrush
A game much like Shinty between two sides of boys, each with
bandies (scrushes) trying to knock a roundish stone over the other’s
line.—Barnes’ Dorset Glossary. See “Shinney.”
Scurran-Meggy
A game much in vogue in Cumberland during the last century, and in
which a peculiar form of top called a “scurran top” was used.—
Halliwell’s Dictionary.
See-Saw
[Play]
—London (A. B. Gomme).
I. Titty cum tawtay,
The ducks in the water;
Titty cum tawtay,
The geese follow after.
—Halliwell’s Nursery Rhymes, p. 213.
II.See-saw, Margery Daw,
Sold her bed to lie upon straw;
Wasn’t she a dirty slut
To sell her bed to lie upon dirt?

—London (A. B. Gomme).
III.
See-saw, Margery Daw,
Johnny shall have a new master;
He shan’t have but a farthing a day,
Because he can’t work any faster.
—London (G. L. Gomme).
IV.See-saw, sacradown,
Which is the way to London town?
One boot up, and the other down,
And that is the way to London town.
—Halliwell’s Nursery Rhymes, No. cccxxx.
V. The poor man was digging,
To and fro, to and fro;
And his spade on his shoulder,
To and fro, to and fro.
The poor man was digging,
To and fro, to and fro;
And he caught the black cross,
To and fro, to and fro.
—Isle of Man (A. W. Moore).
A common game, children sitting on either end of a plank supported
on its centre, and made to rock up and down. While enjoying this
recreation, they sing the verse. Addy, Sheffield Glossary, gives Ranty
or Rantypole, a plank or pole balanced evenly, upon which children
rock up and down in see-saw fashion. Jamieson, Etymological
Dictionary, gives Coup-the-Ladle as the name for See-saw in
Aberdeen. Moor, Suffolk Words and Phrases, describes this game,
and gives the same words to be sung while playing as Halliwell’s
above. Grose gives “Weigh,” to play at See-saw. Holloway, Dictionary
of Provincialisms, says, in Norfolk See-saw is called Titti cum Totter;
and in Gainford, Durham, Ewiggy Shog. Halliwell gives versions of
Nos. II. and III. in his Nursery Rhymes, and also other verses with

the opening words “See-saw,” namely, “See-saw, Jack-a-Daw,” “See-
saw, Sack-a-day;” but these are not connected with the game by
Halliwell, and there is nothing in the words to indicate such a
connection. Mactaggart, Gallovidian Encyclopædia, calls the game
“Coggle-te-Carry,” but gives no verses, and Strutt calls it “Titter
Totter.”—Sports, p. 303. He does not give any rhymes, except to
quote Gay’s poem, but it is possible that the rhyme to his game may
be No. I. Brogden gives “Hightte” as the game of See-saw. The Manx
version has not before been published, and Mr. Moore says is now
quite forgotten in the Isle. The game is called “Shuggy-shoo” in Irish,
and also “Copple-thurrish,” evidently “Horse and Pig,” as if the two
animals were balancing against each other, and alternately becoming
elevated and depressed.—Ulster Journ. Arch., vi. 102. The child who
stands on the plank in the centre and balances it, is frequently called
the “canstick” or “candlestick.”
See-Sim
A children’s game. If one of the party is blindfolded, it is “Blind-
Sim.”—Spurden’s East Anglian Glossary.
Shame Reel, or Shamit Dance
In several counties of Scotland this was the name of the first dance
after the celebration of marriages. It was performed by the bride and
best man and the bridegroom and best maid. The bride’s partner
asked what was to be the “sham spring,” and she commonly
answered, “Through the world will I gang wi’ the lad that lo’es me,”
which, on being communicated to the fiddlers, was struck up, and
the dance went on somewhat punctiliously, while the guests looked
on in silence, and greeted the close with applause. This dance was
common in Forfarshire twenty years ago.—Jamieson’s Dictionary.
See “Cushion Dance,” “Salmon Fishers.”
She Said, and She Said

This game requires two confederates; one leaves the room, and the
other in the secret asks a player in the room to whisper to him whom
she (or he) loved; he then calls in his companion, and the following
dialogue is carried on:—
“She said, and she said!
And what did she say?”
“She said that she loved.”
“And whom did she love?
Suppose she said she loved ——?”
“No! she never said that, whatever she said.”
An indefinite number of names are mentioned before the right one.
When that came, to the surprise of the whisperer, the answer is—
“Yes! she said that.”
The secret was very simple; the name of a widow or widower known
to both players was always given before that whispered.—Cornwall
(Folk-lore Journal, v. 50).
Shepherd and Sheep
Children choose, by “counting out,” or otherwise, a Shepherd and a
Wolf (or Mother Sheep, and Wolf). The Wolf goes away, and the rest
of the players are the Sheep (or Lambs) and stand in a row. The
Shepherd counts them—Sunday, Monday, Tuesday, c. Then—
Shepherd—“What shall I bring home for you for dinner, Sunday, I’m
going to market?”
Sunday chooses something—roast veal, apple tart, or anything else
that she likes. Then Monday, Tuesday, and the rest choose also.
Shepherd goes away, saying—
“Mind you are all good children.”

The Wolf comes directly the Shepherd goes out of sight, and takes
away one of the Sheep. Shepherd comes back and begins to
distribute the different things—
“Sunday, Monday,——why, where’s Tuesday?” (or Wednesday, as
the case may be.)
The Children cry in chorus—
“Old Wolf came down the chimney and took him (or her) away.”
This formula is repeated till all the children (sheep) are stolen.
The Shepherd now goes to the Wolf’s house to look for his sheep—
Shepherd—“Good morning, have you seen my sheep?”
Wolf—“Yes, they went down Red Lane.”
[Shepherd looks down Red Lane.]
Shepherd—“I’ve been down Red Lane, and they’re not there.”
Wolf—“I’ve just seen them pass, they’re gone down Green Lane,”
c. These questions and answers continue as long as the
children’s fancy holds out; then the Shepherd comes back.
Shepherd—“I’ve looked everywhere, and can’t find them. I b’lieve
you’ve got them? I smell meat; may I go up and taste your
soup?”
Wolf—“You can’t go upstairs, your shoes are too dirty.”
Shepherd—“I’ll take off my shoes” (pretends to take them off).
Wolf—“Your stockings are too dirty.”
Shepherd—“I’ll take off my stockings” (suits the action).
Wolf—“Your feet are too dirty.”
Shepherd—“I’ll cut my feet off” (pretends to cut them off).
(Milder version, “I’ll wash my feet.”)
Wolf—“Then the blood’ll run about.”
(Milder version, “Then they’ll wet my carpet.”)

Shepherd—“I’ll tie up my feet.”
(Or, “I’ll wipe my feet”)
Wolf—-“Well, now you may go up.”
Shepherd—“I smell my sheep.”
The Shepherd then goes to one child, pretends to taste—using
fingers of both hands as though holding a spoon and fork—on the
top of the child’s head, saying, “That’s my sheep,” “That’s Tuesday,”
c., till he comes to the end of the row, then they all shout out and
rush home to the fold, the Wolf with them. A fresh Shepherd and
Wolf are chosen, and the game starts once more.—Cornwall (Miss I.
Barclay).
One player is chosen to be the Shepherd, another the Thief, and the
rest the sheep, who are arranged in a long row. The Shepherd
pretends to be asleep; the Thief takes away one of the sheep and
hides it; he then says—
Thief— “Shepherdy, shepherdy, count your sheep!”
Shepherd— “I can’t come now, I’m fast asleep.”
Thief— “If you don’t come now, they’ll all be gone,
So shepherdy, shepherdy, come along!”
The Shepherd counts the sheep, and missing one, asks where it is
gone. The Thief says, “It is gone to get fat!” The Shepherd goes to
sleep again, and the same performance is repeated till all the sheep
are hidden; the Shepherd goes in search of them, and when found
they join him in the pursuit of the Thief.—Oswestry (Burne’s
Shropshire Folk-lore, p. 520).
Mr. Northall (Folk Rhymes, p. 391) gives a version from
Warwickshire, and says he believes the Shepherd’s dog to be the
true thief who hides his propensity in the dialogue—
Bow, wow, wow, What’s the matter now?
A leg of a louse came over my house,

And stole one of my fat sheep away.
The game is played as in Shropshire. The dialogue in the Cornish
game is similar to that of “Witch.” See “Wolf.”
Shepherds
One child stands alone, facing the others in a line opposite. The
single child shouts, “Shepherds, shepherds, give warning.” The
others reply, “Warn away! warn away!” Then she asks, “How many
sheep have you got?” They answer, “More than you can carry away.”
She runs and catches one—they two join hands and chase the rest;
each one, as caught, joining hands with the chasers until all are
caught.—Liverpool (Mr. C. C. Bell.) See “Stag,” “Warney.”
Shinney, or Shinty, or Shinnops
A writer in Blackwood’s Magazine, August 1821, p. 36, says: The
boys attempt to drive with curved sticks a ball, or what is more
common, part of the vertebral bone of a sheep, in opposite
directions. When the object driven along reaches the appointed place
in either termination, the cry of hail! stops the play till it is knocked
off anew by the boy who was so fortunate as to drive it past the
gog. In the Sheffield district it is played as described by Halliwell.
During the game the boys call out, “Hun you, shin you.” It is called
Shinny in Derbyshire.—Addy’s Sheffield Glossary. Halliwell’s
description does not materially differ from the account given above
except that when the knur is down over the line it is called a “bye.”—
(Dictionary). In Notes and Queries, 8th series, viii. 446; ix. 115 et
seq., the game is described as played in Lincolnshire under the name
of “Cabsow,” which perhaps accounts for the Barnes game of Crab-
sowl.
In Perthshire it is described as a game in which bats somewhat
resembling a golf club are used. At every fair or meeting of the
country people there were contests at racing, wrestling, putting the
stone, c., and on holidays all the males of a district, young and old,

met to play at football, but oftener at shinty.—Perthshire Statistical
Account, v. 72; Jamieson’s description is the same.
Mactaggart’s Gallovidian Encyclopædia says: A game described by
Scotch writers by the name of Shintie; the shins, or under parts of
the legs, are in danger during the game of being struck, hence the
name from shin.—Dickinson, Cumberland Glossary, mentions Shinny
as a boyish game, also called Scabskew, catty; it is also the name of
the crook-ended stick used in the game. Patterson, Antrim and Down
Glossary, under name Shinney, says, This game is played with
shinneys, i.e., hooked sticks, and a ball or small block of wood called
the “Golley,” or “Nag.”
In London this game is called Hockey. It seems to be the same which
is designed Not in Gloucestershire; the name being borrowed from
the ball, which is made of a knotty piece of wood.—Grose’s Glossary.
It has been said that Shinty and Hockey differ in this respect, that in
the latter two goals are erected, each being formed by a piece of
stick with both ends stuck in the ground. The players divide into two
parties; to each of these the care of one of the goals belongs. The
game consists in endeavouring to drive the ball through the goal of
the opposite party.—Book of Sports (1810), pp. 11-13. But in Shinty
there are also two goals, called hails; the object of each party being
to drive the ball beyond their own hail, but there is no hole through
which it must be driven. The ball, or knot of wood, is called Shintie.
See “Bandy,” “Camp,” “Chinnup,” “Crab-sowl,” “Doddart,” “Hockey,”
“Scrush.”
Ship
A boy’s game. It is played in two ways—(1) Of a single character.
One boy bends down against a wall (sometimes another stands
pillow for his head), then an opponent jumps on his back, crying
“Ships” simply, or “Ships a-sailing, coming on.” If he slips off, he has
to bend as the other; but if not, he can remain as long as he

pleases, provided he does not laugh or speak. If he forgets to cry
“Ships,” he has to bend down. (2) Sometimes sides are chosen; then
the whole side go down heads and tails, and all the boys on the
other side have to jump on their backs. The game in each case is
much the same. The “naming” was formerly “Ships and sailors
coming on.”—Easther’s Almondbury Glossary. Mr. H. Hardy sends an
account from Earls Heaton, which is practically the same as these.
Ship Sail
A game usually played with marbles. One boy puts his hand into his
trousers pocket and takes out as many marbles as he feels inclined;
he closes his fingers over them, and holds out his hand with the
palm down to the opposite player, saying, “Ship sail, sail fast. How
many men on board?” A guess is made by his opponent; if less he
has to give as many marbles as will make up the true number; if
more, as many as he said over. But should the guess be correct he
takes them, and then in his turn says, “Ship sail,” c.—Cornwall
(Folk-lore Journal, v. 59).
See “Handy Dandy,” “Neivvie-nick-nack.”
Shiver the Goose
A boys’ game. Two persons are trussed somewhat like fowls; they
then hop about on their “hunkers,” each trying to upset the other.—
Patterson’s Antrim and Down Glossary.
See “Curcuddie.”
Shoeing the Auld Mare
A dangerous kind of sport. A beam of wood is slung between two
ropes, a person gets on to this and contrives to steady himself until
he goes through a number of antics; if he can do this he shoes the
auld mare, if he cannot do it he generally tumbles to the ground and
gets hurt with the fall.—Mactaggart’s Gallovidian Encyclopædia.

Shue-Gled-Wylie
A game in which the strongest acts as the Gled or Kite, and the next
in strength as the mother of a brood of birds; for those under her
protection, perhaps to the number of a dozen, keep all in a string
behind her, each holding by the tail of one another. The Gled still
tries to catch the last of them, while the mother cries “Shue! Shue!”
spreading out her arms to keep him off. If he catch all the birds he
wins the game.—Fife, Teviotdale (Jamieson).
See “Fox and Geese,” “Gled-Wylie,” “Hen and Chickens.”
Shuttlefeather
This game is generally known as “Battledore and Shuttlecock.” The
battledore is a small hand bat, formerly made of wood, then of a
skin stretched over a frame, and since of catgut strings stretched
over a frame. The shuttlecock consists of a small cork into which
feathers of equal size are fixed at even distances. The game may be
played by one, two, or more persons. If by one person, it merely
consists of batting up the shuttlecock into the air for as long a time
as possible; if by two persons, it consists of batting the shuttlecock
from one to the other; if by more than two, sides are chosen, and a
game has been invented, and known as “Badminton.” This latter
game is not a traditional game, and does not therefore concern us
now.
Strutt (Sports and Pastimes, p. 303) says this is a sport of long
standing, and he gives an illustration, said to be of the fourteenth
century, from a MS. in the possession of Mr. F. Douce. This would
probably be the earliest mention of the game. It appears to have
been a fashionable pastime among grown persons in the reign of
James I. In the Two Maids of Moreclacke, 1609, it is said, “To play at
Shuttlecock methinkes is the game now,” and among the anecdotes
related of Prince Henry, son to James I., is the following: “His
Highness playing at shittle-cocke with one farr taller than himself,
and hittyng him by chance with the shittle-cock upon the forehead”
(Harl. MS., 6391). Among the accounts of money paid for the Earl of

Northumberland while he was prisoner in the Tower for supposed
complicity in the Gunpowder Plot, is an item for the purchase of
shuttlecocks (Hist. MSS. Com., v. p. 354).
But the popular nature of the game is not indicated by these facts.
For this we have to turn to the doings of the people. In the villages
of the West Riding the streets may be seen on the second Sunday in
May full of grown-up men and women playing “Battledore and
Shuttlefeathers” (Henderson’s Folk-lore of the Northern Counties, p.
80). In Leicester the approach of Shrove Tuesday (known amongst
the youngsters as “Shuttlecock Day”) is signalised by the appearance
in the streets of a number of children playing at the game of
“Battledore and Shuttlecock.” On the day itself the streets literally
swarm with juveniles, and even grown men and women engage in
the pastime. Passing through a by-street the other day I heard a
little girl singing—
Shuttlecock, shuttlecock, tell me true
How many years have I to go through?
One, two, three, four, c.
—Notes and Queries, 3rd series, iii. 87.
The occurrence of this rhyme suggests that there is some sort of
divination in the oldest form of the game, and it appears to me that
the origin of the game must be sought for among the ancient
practices of divination. An example is found among the customs of
the children of Glamorganshire during the cowslip season. The
cowslip heads are strung on a piece of thread and tied into a “posty,”
and the play is to throw it up a tolerable height, catching it on the
distended palm with a blow that sends it up again, while the player
sings:—
Pisty, posty, four and forty,
How many years shall I live?
One, two, three, four, c.

Of course, if it falls to the ground uncaught, or even if caught in the
clenched hand, there is an end of the player’s “life.” There is a good
deal of emulation amongst the children as to who shall live the
longest (Notes and Queries, 3rd ser., iii. 172). Miss Burne (Shropshire
Folk-lore, p. 530) mentions the same custom, giving the rhyme as—
Toss-a-ball, toss-a-ball, tell me true
How many years I’ve got to go through,
and she says the cowslip is thence called a “tissy-ball.” In this
custom we have no artificial aids to form a game, but we have a
significant form of divination from natural flowers, accompanied by a
rhyming formula exactly parallel to the rhymes used in the
Leicestershire game of “Shuttlecock,” and I conclude therefore that
we have here the true origin of the game. This conclusion is
confirmed when it is found that divinatory verses generally
accompany the popular form of the game.
At Wakefield the children playing “Battledore and Shuttlecock” take it
in turn, and say the following sentences, one clause to each bat, and
repeated until the shuttlecock falls:—
1st. This year, next year, long time, never.
2nd. Monday, Tuesday, Wednesday, Thursday, Friday, Saturday,
Sunday.
3rd. Tinker, tailor, soldier, sailor, rich man, poor man, beggar-man,
thief.
4th. Silk, satin, cotton, rags.
5th. Coach, carriage, wheelbarrow, donkey-cart.—Miss Fowler
At Deptford the rhymes were—
Grandmother, grandmother,
Tell me the truth,
How many years have I been to school?

One, two, three, c.
Grandmother, grandmother,
Tell me no lie,
How many children
Before I die?
One, two, three, c.
In the same way the following questions are put and answered:—
How old am I?
How long am I going to live?
How many children shall I have?
Black currant,
Red currant,
Raspberry tart,
Tell me the name
Of my sweetheart.
A, B, C, D, c.
Tinker, tailor, soldier, sailor, potter’s boy, flour boy, thief.
Silk, satin, cotton, muslin, rags.
Coach, carriage, wheelbarrow, dungcart.
On their buttons they say: “Bought, given, stolen,” to show how
acquired.—Miss Chase.
In London the rhymes were—
One, two, buckle my shoe,
Three, four, knock at the door,
Five, six, pick up sticks,
Seven, eight, lay them straight,
Nine, ten, a good fat hen,
Eleven, twelve, ring the bell,

Thirteen, fourteen, maids a courting,
Fifteen, sixteen, maids in the kitchen,
Seventeen, eighteen, mistress waiting,
Nineteen, twenty, my plate’s empty.
One, two, three, four,
Mary at the cottage door,
Eating cherries off a plate,
Five, six, seven, eight.
Up the ladder, down the wall,
A twopenny loaf to serve us all;
You buy milk and I’ll buy flour,
And we’ll have pudding in half an hour.
One, two, three, four, five, six, c.
This year, next year, some time, never, repeated.
A, B, C, D, E, c., repeated for the initial letter of the future
husband’s name.
Tinker, tailor, soldier, sailor, apothecary, ploughboy, thief, for future
husband’s vocation.
Monday, Tuesday, c., for the wedding day.
Silk, satin, cotton, rags, for the material of the wedding gown.
Coach, carriage, wheelbarrow, dungcart, for conveyance on wedding
day.
Big house, little house, pigsty, barn, for future home.—(A. B.
Gomme.)
It will be seen that many of these divination formulæ are used in
other connections than that of “Shuttlecock,” but this rather
emphasises the divinatory character of the game in its original form.
—See “Ball,” “Teesty-tosty.”

Shuvvy-Hawle
A boys’ game at marbles. A small hole is made in the ground, and
marbles are pushed in turn with the side of the first finger; these are
won by the player pushing them into the shuvvy-hawle.—Lowsley’s
Berkshire Glossary.
Silly Old Man
[Play]
—Leicester (Miss Ellis).
[Play]
—Monton, Lancashire (Miss Dendy).
I. Silly old man, he’s all alone,
He wants a wife and can’t get one;
Round and round and choose a good one,
Or else choose none.
This young couple are married together,
Their fathers and mothers they must obey;
Love one another like sister and brother,
And down on their knees and kiss one another.
—Leicester (Miss Ellis).
II.Silly old man, he walks alone,
He walks alone, he walks alone;
Silly old man, he walks alone,

He wants a wife and can’t get one.
All go round and choose your own,
Choose your own, choose your own;
And choose a good one or else choose none.
Now young couple you’re married together,
Married together, married together;
Your father and mother you must obey.
So love one another like sister and brother,
And now young couple pray kiss together.
—Lancashire (Notes and Queries, 5th series, iv.
157).
III.
Silly old maid (or man), she walks alone,
She walks alone, she walks alone;
Silly old maid, she walks alone,
She wants a man (or wife) and she can’t get one.
Go around and choose your own,
Go around and choose your own,
And take whoever you like in.
Now these two are married together,
Married together, married together;
Now these two are married together,
I pray love, kiss again.
—Isle of Man (A. W. Moore).
IV.Here’s a silly ould man that lies all alone,
That lies all alone, that lies all alone;
Here’s a silly ould man that lies all alone,
He wants a wife and he can get none.

You’re married together, you’re married together;
You must obey your father and mother,
And love one another like sister and brother.
I pray, young couple, you’ll kiss together.
—Carleton’s Traits and Stories of the Irish
Peasantry, p. 107.
V. Silly old man, he walks alone,
Walks alone, walks alone;
Silly old man, he walks alone,
Wants a wife and he canna get one.
Choose a good one or let it alone.
Now he’s got married and tied to a peg,
Tied to a peg, tied to a peg;
Now he’s got married and tied to a peg,
Married a wife with a wooden leg.
—Monton, Lancashire (Miss Dendy).
VI.
Silly old maid, she lives alone,
She lives alone, she lives alone;
[Silly old maid, she lives alone,]
Wants a husband but can’t get one.
So now go round and choose your own,
Now go round and choose your own,
Choose the very one you love best.
Now young couple, you’re married for ever,
Your father and mother you must obey;
Love another like sister and brother,
And now young couple, pray kiss together.
—Dublin (Mrs. Lincoln).

(c) The children form a ring, joining hands. A child, usually a boy,
stands in the middle. The ring dances round and sings the verses.
The boy in the centre chooses a girl when bidden by the ring. These
two then stand in the centre and kiss each other at the command.
The boy then takes a place in the ring, and the girl remains in the
centre and chooses a boy in her turn. In the Dublin and Isle of Man
versions a girl is first in the centre; in the Manx version (A. W.
Moore) the two children hold hands when in the centre.
(d) In the Traits and Stories of the Irish Peasantry, Mr. Carleton gives
this game as one of those played by young people of both sexes at
funeral wakes. It is played in the same way as the game now is;
boys and girls stand alternately in a ring holding hands, choosing
each other in turn, and kissing. The other versions do not differ
materially from each other, except that the Lancashire version
described by Miss Dendy has evidently been corrupted quite lately,
because a purer form is quoted from the same county in Notes and
Queries. The game seems to be one of the group of marriage games
arising from the fact that at any gathering of people for the purpose
of a ceremonial, whether a funeral or a festival, it was the custom to
form matrimonial alliances. The words are used for kiss-in-the-ring
games, and also in some marriage games when the last player is left
without a partner.
Skin the Goatie
One boy takes his stand in an upright position at a wall. Another boy
stoops with his head in the breast of the one standing upright. A
third boy jumps stride-leg on his back, and tries to “crown,” i.e., put
his hand on the head of the boy at the wall. The boy on whose back
he is tries every means by shifting from side to side, and by throwing
up his back, to prevent him from doing so, and to cast him off. If he
succeeds in doing so, he takes his stand behind the stooping boy in
the same position. Another boy then tries to do the same thing over
the two stooping boys. If he succeeds in crowning the standing boy,
he takes his station at the wall. If not, he takes his stand behind the

two stooping boys. The game goes on till a boy “crowns” the one
standing at the wall.—Banchory (Rev. W. Gregor).
See “Saddle the Nag.”
Skipping
Strutt says (Sports, p. 383), “This amusement is probably very
ancient. Boys often contend for superiority of skill in this game, and
he who passes the rope about most times without interruption is the
conqueror. In the hop season a hop-stem, stripped of its leaves, is
used instead of a rope, and, in my opinion, it is preferable.” On Good
Friday on Brighton beach the fisher folk used to play at skipping, six
to ten grown-up people skipping at one rope.
Apart from the ordinary, and probably later way of playing, by one
child holding a rope in both hands, turning it over the head, and
either stepping over it while running, or standing still and jumping
until the feet catch the rope and a trip is made, skipping appears to
be performed in two ways, jumping or stepping across with (1) more
or less complicated movements of the rope and feet, and (2) the
ordinary jumping over a turned rope while chanting rhymes, for the
purpose of deciding whether the players are to be married or single,
occupation of future husband, c.
Of the first class of game there are the following variants:—
“Pepper, salt, mustard, cider, vinegar.”—Two girls turn the rope slowly
at first, repeating the above words, then they turn it as quickly as
possible until the skipper is tired out, or trips.
“Rock the Cradle.”—In this the holders of the rope do not throw it
completely over, but swing it from side to side with an even motion
like the swinging of the pendulum of a clock.
“Chase the Fox.”—One girl is chosen as a leader, or fox. The first
runs through the rope, as it is turned towards her, without skipping;
the others all follow her; then she runs through from the other side

as the rope is turned from her, and the others follow. Then she runs
in and jumps or skips once, and the others follow suit; then she
skips twice and runs out, then three times, the others all following in
turn until one trips or fails. The first one to do this takes the place of
one of the turners, the turner taking her place as one of the
skippers.
“Visiting.”—One girl turns the rope over herself, and another jumps
in and faces her, while skipping in time with the girl she visits. She
then runs out again without stopping the rope, and another girl runs
in.
“Begging.”—Two girls turn, and two others run and skip together side
by side. While still skipping they change places; one says, as she
passes, “Give me some bread and butter;” the other answering, “Try
my next door neighbour.” This is continued until one trips.
“Winding the Clock.”—Two turn the rope, and the skipper counts
one, two, three, up to twelve, turning round each time she jumps or
skips.
“Baking Bread.”—Two girls turn, and another runs in with a stone in
her hand, which she puts down on the ground, and picks up again
while skipping.
“The Ladder.”—The girls run in to skip, first on one foot and then the
other, with a stepping motion.
Two other games are as follows:—(1.) Two ropes are used, and a girl
holds either end in each hand, turning them alternately; the skipper
has to jump or skip over each in turn. When the rope is turned
inwards, it is called “double dutch,” when turned outwards, “French
dutch.” (2.) The skipper has a short rope which she turns over
herself, while two other girls turn a longer rope over her head.
The second class of games consists of those cases where the
skipping is accompanied by rhymes, and is used for the purpose of

foretelling the future destiny of the skipper. These rhymes are as
follows (all collected by Miss Chase):—
Ipsey, Pipsey, tell me true
Who shall I be married to?
A, B, C, c.
Letters—initial of one to whom you’ll be married.—Hurstmonceux,
Sussex.
Half pound tuppeny rice,
Half a pound of treacle,
Penny ’orth of spice
To make it nice,
Pop goes the weazle.
—Crockham Hill, Kent.
When I was young and able,
I sat upon the table;
The table broke,
And gave me a poke,
When I was young and able.
[The children now add that when singing
Pass the baker,[8]
Cook the tater,
is the full couplet.]—Deptford.
Every morning at eight o’clock,
You all may hear the postman’s knock.
1, 2, 3, 4. There goes “Polly.”
Girl named running out, and another girl running in directly.—
Marylebone.

Up and down the ladder wall,
Ha’penny loaf to feed us all;
A bit for you, and a bit for me,
And a bit for Punch and Judy.
—Paddington Green.
As they run thus, each calls in turn, “Red, yellow, blue, white.”
Where you are tripped, the colour stopped on marks that of your
wedding gown.—Deptford.
Each of the two girls turning the rope takes a colour, and as the line
of children run through, they guess by shouting, “Red?” “Green?”
When wrong nothing happens; they take the place of turner,
however, if they hit upon her colour. Another way is to call it “Sweet
stuff shop,” or “green grocers,” and guess various candies and fruits
until they choose right.—Deptford.
When several girls start running in to skip, they say,
“All in, a bottle of gin,”
and as they leave at a dash, they cry—
“All out, a bottle of stout.”
While “in” jumping, the turners time the skippers’ movements by a
sing song.
Up and down the city wall,
Ha’penny loaf to feed us all;
I buy milk, you buy flour,
You shall have pepper in half an hour.
—Deptford.
At pepper turn swiftly.
Up and down the ladder wall,
Penny loaf to feed us all;

A bit for you, and a bit for me,
And a bit for all the familee.
—Marylebone.
Up and down the city wall,
In and out “The Eagle,”
That’s the way the money goes,
Pop goes the weazel.
—From “A London Maid.”
Dancing Dolly had no sense,
For to fiddle for eighteenpence;
All the tunes that she could play,
Were “Sally get out of the donkey’s way.”
—Deptford.
My mother said
That the rope must go
Over my head.
—Deptford.
Andy Pandy,
Sugardy candy,
French almond
Rock.
—Deptford.
B-L-E-S-S-I-N-G.
Roses red, roses white,
Roses in my garden;
I would not part
With my sweetheart
For tuppence hapenny farthing.
A, B, C, c., to X, Y, Z.—Deptford.
Knife and fork,

Lay the cloth,[9]
Don’t forget the salt,
Mustard, vinegar,
Pepper! —Deptford.
They sometimes make a girl skip back and forth the long way of the
rope, using this dialogue—
Girl skipping.—“Father, give me the key.”
Father.—“Go to your mother.”
Girl jumping in opposite direction.—“Mother, give me the key.”
Mother.—“Go to your father.”
Lady, lady, drop your handkerchief,
Lady, lady, pick it up.
Suiting action to the words, still skipping.
Rhyme to time the jumps—
Cups and saucers,
Plates and dishes,
My old man wears
Calico breeches.
[8] To change from left to right side, crossing a second skipper, is called “Pass the
Baker.”
[9] In Marylebone add here, “Bring me up a leg of pork.”
Skyte the Bob
This game might be played by two, three, or more. A small stone of
a squarish form, called the “bob,” was placed on a level piece of
ground. On this stone each player placed an old button, for buttons

were the stakes. A point was fixed several yards from the stone, and
a line was drawn. Along this line, “the stance,” the players took their
stand, each holding in his hand a small flat stone named “the
pitcher.” This stone was thrown so as to strike “the bob” and make
the buttons fall on “the pitcher,” or nearer it than “the bob.” The
button or buttons that lay nearer “the pitcher” than “the bob” fell to
the lot of the player. The second player did the same, but he had to
guard against driving any of the buttons nearer the first player’s
stone. If a button was nearer his stone than “the bob,” or the first
player’s stone, he claimed it. The third player followed the same
course if all the buttons had not been won by the two players. If the
buttons were not all won at the first throw, the first player had a
second chance, and so on till all the buttons were won. If two
played, if each won a button, they alternately began, but if one
gained the two buttons, the other began. When three played, if one
had two for his share he played last in the following game, and the
one that had nothing played first. If the players, when three played,
were experts, the one whose lot it was to play second, who was
called the “poust,” lost heavily, and to be “pousted” was always
looked upon as a misfortune, for the reason that the first player
often by the first throw gained the whole stake, and then in the
following game the last player became the first, and the gainer in the
foregoing game became the last. If this player carried off the whole
stake, he in the next game took the last place, and the last took the
first, and so between the two good players the “poust” had no
chance.—Aberdeenshire (Rev. W. Gregor).—See “Buttons.”
Smuggle the Gig
Mr. Ballantyne describes the game as played in his young days at
Biggar as follows:—Two boys would each select his own side. “First
pick” was decided by lot. A third boy took two straws, one shorter
than the other, and held them between his finger and thumb in such
a way that only equal lengths were visible. Each leader drew a straw.
The one who drew the longest had “first pick” of all the intended
players, the other leader had the next; alternate choice was then

made by them until both sides were complete, and were ranged by
their leaders. Then lots were again drawn as to which side should go
out first. The side going out had to show the Gig; anything easily
carried in the hand sufficed. The “outs” went out from the den
twenty or thirty yards, sometimes round the end of a house, to
“smuggle the Gig”—that is, to give one of their number the Gig to
carry, care being taken that the “ins” did not know who had it.
During this time the leader of the ins called “out” in a loud voice—
Zimerie, twaerie, hickeri seeven,
Aucherie, daucherie, ten and eleven;
Twall ran musha dan
Tweedledum, twadledum, twenty-one. Time’s up!
Outs had all to appear by “Ready” when the chase began. Boundary
limits were fixed, beyond which outs could not run and ins could not
stand, within a fixed distance of the den. This den was a place
marked by a mark or rut in the ground, about four feet by six feet.
The outs endeavoured (particularly the one carrying the Gig) to get
into the den before any one could catch and “crown” him. The
pursued, when caught, was held by the pursuer, his cap taken off,
and the palm of the hand was placed on the crown of his head. As
he did so the pursuer would say, “Deliver up the Gig.” If he had it
not, the pursuer went off after another player. If he had the Gig, and
succeeded in getting into the den without being “crowned,” outs won
the game; but if the Gig was caught and “crowned,” ins won.
At Fraserburgh the players are divided equally. A spot is marked off,
called the Nestie. Any small object known to all is chosen as the Gig.
One half of the players receive the Gig and retire, so as not to be
seen distinctly by the other half that remains in and near the Nestie.
The Gig is concealed on the person of one of the players that retire.
When everything is ready those having the Gig move towards the
Nestie, and those in the Nestie come to meet them. The aim is to
catch the player who has the Gig before reaching the Nestie. If this

Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.
More than just a book-buying platform, we strive to be a bridge
connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.
Join us on a journey of knowledge exploration, passion nurturing, and
personal growth every day!
ebookbell.com

Quantum Physics 3rd Edition 3rd Edition Stephen Gasiorowicz

More Related Content

Similar to Quantum Physics 3rd Edition 3rd Edition Stephen Gasiorowicz (20)

Recently uploaded (20)

Quantum Physics 3rd Edition 3rd Edition Stephen Gasiorowicz