Part 9

The landowner in the illustration is consulting with his bailiff over a rather puzzling little question. He has a large plan of one of his fields, in which there are eleven trees. Now, he wants to divide the field into just eleven enclosures by means of straight fences, so that every enclosure shall contain one tree as a shelter for his cattle. How is he to do it with as few fences as possible? Take your pencil and draw straight lines across the field until you have marked off the eleven enclosures (and no more), and then see how many fences you require. Of course the fences may cross one another.

167.--THE WIZARD'S CATS.

[Illustration]

A wizard placed ten cats inside a magic circle as shown in our illustration, and hypnotized them so that they should remain stationary during his pleasure. He then proposed to draw three circles inside the large one, so that no cat could approach another cat without crossing a magic circle. Try to draw the three circles so that every cat has its own enclosure and cannot reach another cat without crossing a line.

168.--THE CHRISTMAS PUDDING.

[Illustration]

"Speaking of Christmas puddings," said the host, as he glanced at the imposing delicacy at the other end of the table. "I am reminded of the fact that a friend gave me a new puzzle the other day respecting one. Here it is," he added, diving into his breast pocket.

"'Problem: To find the contents,' I suppose," said the Eton boy.

"No; the proof of that is in the eating. I will read you the conditions."

"'Cut the pudding into two parts, each of exactly the same size and shape, without touching any of the plums. The pudding is to be regarded as a flat disc, not as a sphere.'"

"Why should you regard a Christmas pudding as a disc? And why should any reasonable person ever wish to make such an accurate division?" asked the cynic.

"It is just a puzzle--a problem in dissection." All in turn had a look at the puzzle, but nobody succeeded in solving it. It is a little difficult unless you are acquainted with the principle involved in the making of such puddings, but easy enough when you know how it is done.

169.--A TANGRAM PARADOX.

Many pastimes of great antiquity, such as chess, have so developed and changed down the centuries that their original inventors would scarcely recognize them. This is not the case with Tangrams, a recreation that appears to be at least four thousand years old, that has apparently never been dormant, and that has not been altered or "improved upon" since the legendary Chinaman Tan first cut out the seven pieces shown in Diagram I. If you mark the point B, midway between A and C, on one side of a square of any size, and D, midway between C and E, on an adjoining side, the direction of the cuts is too obvious to need further explanation. Every design in this article is built up from the seven pieces of blackened cardboard. It will at once be understood that the possible combinations are infinite.

[Illustration]

The late Mr. Sam Loyd, of New York, who published a small book of very ingenious designs, possessed the manuscripts of the late Mr. Challenor, who made a long and close study of Tangrams. This gentleman, it is said, records that there were originally seven books of Tangrams, compiled in China two thousand years before the Christian era. These books are so rare that, after forty years' residence in the country, he only succeeded in seeing perfect copies of the first and seventh volumes with fragments of the second. Portions of one of the books, printed in gold leaf upon parchment, were found in Peking by an English soldier and sold for three hundred pounds.

A few years ago a little book came into my possession, from the library of the late Lewis Carroll, entitled _The Fashionable Chinese Puzzle_. It contains three hundred and twenty-three Tangram designs, mostly nondescript geometrical figures, to be constructed from the seven pieces. It was "Published by J. and E. Wallis, 42 Skinner Street, and J. Wallis, Jun., Marine Library, Sidmouth" (South Devon). There is no date, but the following note fixes the time of publication pretty closely: "This ingenious contrivance has for some time past been the favourite amusement of the ex-Emperor Napoleon, who, being now in a debilitated state and living very retired, passes many hours a day in thus exercising his patience and ingenuity." The reader will find, as did the great exile, that much amusement, not wholly uninstructive, may be derived from forming the designs of others. He will find many of the illustrations to this article quite easy to build up, and some rather difficult. Every picture may thus be regarded as a puzzle.

But it is another pastime altogether to create new and original designs of a pictorial character, and it is surprising what extraordinary scope the Tangrams afford for producing pictures of real life--angular and often grotesque, it is true, but full of character. I give an example of a recumbent figure (2) that is particularly graceful, and only needs some slight reduction of its angularities to produce an entirely satisfactory outline.

As I have referred to the author of _Alice in Wonderland_, I give also my designs of the March Hare (3) and the Hatter (4). I also give an attempt at Napoleon (5), and a very excellent Red Indian with his Squaw by Mr. Loyd (6 and 7). A large number of other designs will be found in an article by me in _The Strand Magazine_ for November, 1908.

[Illustration: 2]

[Illustration: 3]

[Illustration: 4]

On the appearance of this magazine article, the late Sir James Murray, the eminent philologist, tried, with that amazing industry that characterized all his work, to trace the word "tangram" to its source. At length he wrote as follows:--"One of my sons is a professor in the Anglo-Chinese college at Tientsin. Through him, his colleagues, and his students, I was able to make inquiries as to the alleged Tan among Chinese scholars. Our Chinese professor here (Oxford) also took an interest in the matter and obtained information from the secretary of the Chinese Legation in London, who is a very eminent representative of the Chinese literati."

[Illustration: 5]

"The result has been to show that the man Tan, the god Tan, and the 'Book of Tan' are entirely unknown to Chinese literature, history, or tradition. By most of the learned men the name, or allegation of the existence, of these had never been heard of. The puzzle is, of course, well known. It is called in Chinese _ch'i ch'iao t'u_; literally, 'seven-ingenious-plan' or 'ingenious-puzzle figure of seven pieces.' No name approaching 'tangram,' or even 'tan,' occurs in Chinese, and the only suggestions for the latter were the Chinese _t'an_, 'to extend'; or _t'ang_, Cantonese dialect for 'Chinese.' It was suggested that probably some American or Englishman who knew a little Chinese or Cantonese, wanting a name for the puzzle, might concoct one out of one of these words and the European ending 'gram.' I should say the name 'tangram' was probably invented by an American some little time before 1864 and after 1847, but I cannot find it in print before the 1864 edition of Webster. I have therefore had to deal very shortly with the word in the dictionary, telling what it is applied to and what conjectures or guesses have been made at the name, and giving a few quotations, one from your own article, which has enabled me to make more of the subject than I could otherwise have done."

[Illustration: 6]

[Illustration: 7]

Several correspondents have informed me that they possess, or had possessed, specimens of the old Chinese books. An American gentleman writes to me as follows:--"I have in my possession a book made of tissue paper, printed in black (with a Chinese inscription on the front page), containing over three hundred designs, which belongs to the box of 'tangrams,' which I also own. The blocks are seven in number, made of mother-of-pearl, highly polished and finely engraved on either side. These are contained in a rosewood box 2+1/8 in. square. My great uncle, ----, was one of the first missionaries to visit China. This box and book, along with quite a collection of other relics, were sent to my grandfather and descended to myself."

My correspondent kindly supplied me with rubbings of the Tangrams, from which it is clear that they are cut in the exact proportions that I have indicated. I reproduce the Chinese inscription (8) for this reason. The owner of the book informs me that he has submitted it to a number of Chinamen in the United States and offered as much as a dollar for a translation. But they all steadfastly refused to read the words, offering the lame excuse that the inscription is Japanese. Natives of Japan, however, insist that it is Chinese. Is there something occult and esoteric about Tangrams, that it is so difficult to lift the veil? Perhaps this page will come under the eye of some reader acquainted with the Chinese language, who will supply the required translation, which may, or may not, throw a little light on this curious question.

[Illustration: 8]

By using several sets of Tangrams at the same time we may construct more ambitious pictures. I was advised by a friend not to send my picture, "A Game of Billiards" (9), to the Academy. He assured me that it would not be accepted because the "judges are so hide-bound by convention." Perhaps he was right, and it will be more appreciated by Post-impressionists and Cubists. The players are considering a very delicate stroke at the top of the table. Of course, the two men, the table, and the clock are formed from four sets of Tangrams. My second picture is named "The Orchestra" (10), and it was designed for the decoration of a large hall of music. Here we have the conductor, the pianist, the fat little cornet-player, the left-handed player of the double-bass, whose attitude is life-like, though he does stand at an unusual distance from his instrument, and the drummer-boy, with his imposing music-stand. The dog at the back of the pianoforte is not howling: he is an appreciative listener.

[Illustration: 9]

[Illustration: 10]

One remarkable thing about these Tangram pictures is that they suggest to the imagination such a lot that is not really there. Who, for example, can look for a few minutes at Lady Belinda (11) and the Dutch girl (12) without soon feeling the haughty expression in the one case and the arch look in the other? Then look again at the stork (13), and see how it is suggested to the mind that the leg is actually much more slender than any one of the pieces employed. It is really an optical illusion. Again, notice in the case of the yacht (14) how, by leaving that little angular point at the top, a complete mast is suggested. If you place your Tangrams together on white paper so that they do not quite touch one another, in some cases the effect is improved by the white lines; in other cases it is almost destroyed.

[Illustration: 11]

[Illustration: 12]

Finally, I give an example from the many curious paradoxes that one happens upon in manipulating Tangrams. I show designs of two dignified individuals (15 and 16) who appear to be exactly alike, except for the fact that one has a foot and the other has not. Now, both of these figures are made from the same seven Tangrams. Where does the second man get his foot from?

[Illustration: 13]

[Illustration: 14]

[Illustration: 15]

[Illustration: 16]

PATCHWORK PUZZLES.

"Of shreds and patches."--_Hamlet_, iii. 4.

170.--THE CUSHION COVERS.

[Illustration]

The above represents a square of brocade. A lady wishes to cut it in four pieces so that two pieces will form one perfectly square cushion top, and the remaining two pieces another square cushion top. How is she to do it? Of course, she can only cut along the lines that divide the twenty-five squares, and the pattern must "match" properly without any irregularity whatever in the design of the material. There is only one way of doing it. Can you find it?

171.--THE BANNER PUZZLE.

[Illustration]

A Lady had a square piece of bunting with two lions on it, of which the illustration is an exactly reproduced reduction. She wished to cut the stuff into pieces that would fit together and form two square banners with a lion on each banner. She discovered that this could be done in as few as four pieces. How did she manage it? Of course, to cut the British Lion would be an unpardonable offence, so you must be careful that no cut passes through any portion of either of them. Ladies are informed that no allowance whatever has to be made for "turnings," and no part of the material may be wasted. It is quite a simple little dissection puzzle if rightly attacked. Remember that the banners have to be perfect squares, though they need not be both of the same size.

172.--MRS. SMILEY'S CHRISTMAS PRESENT.

Mrs. Smiley's expression of pleasure was sincere when her six granddaughters sent to her, as a Christmas present, a very pretty patchwork quilt, which they had made with their own hands. It was constructed of square pieces of silk material, all of one size, and as they made a large quilt with fourteen of these little squares on each side, it is obvious that just 196 pieces had been stitched into it. Now, the six granddaughters each contributed a part of the work in the form of a perfect square (all six portions being different in size), but in order to join them up to form the square quilt it was necessary that the work of one girl should be unpicked into three separate pieces. Can you show how the joins might have been made? Of course, no portion can be turned over.

[Illustration]

173.--MRS. PERKINS'S QUILT.

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It will be seen that in this case the square patchwork quilt is built up of 169 pieces. The puzzle is to find the smallest possible number of square portions of which the quilt could be composed and show how they might be joined together. Or, to put it the reverse way, divide the quilt into as few square portions as possible by merely cutting the stitches.

174.--THE SQUARES OF BROCADE.

[Illustration]

I happened to be paying a call at the house of a lady, when I took up from a table two lovely squares of brocade. They were beautiful specimens of Eastern workmanship--both of the same design, a delicate chequered pattern.

"Are they not exquisite?" said my friend. "They were brought to me by a cousin who has just returned from India. Now, I want you to give me a little assistance. You see, I have decided to join them together so as to make one large square cushion-cover. How should I do this so as to mutilate the material as little as possible? Of course I propose to make my cuts only along the lines that divide the little chequers."

[Illustration]

I cut the two squares in the manner desired into four pieces that would fit together and form another larger square, taking care that the pattern should match properly, and when I had finished I noticed that two of the pieces were of exactly the same area; that is, each of the two contained the same number of chequers. Can you show how the cuts were made in accordance with these conditions?

175--ANOTHER PATCHWORK PUZZLE.

[Illustration]

A lady was presented, by two of her girl friends, with the pretty pieces of silk patchwork shown in our illustration. It will be seen that both pieces are made up of squares all of the same size--one 12 × 12 and the other 5 × 5. She proposes to join them together and make one square patchwork quilt, 13 × 13, but, of course, she will not cut any of the material--merely cut the stitches where necessary and join together again. What perplexes her is this. A friend assures her that there need be no more than four pieces in all to join up for the new quilt. Could you show her how this little needlework puzzle is to be solved in so few pieces?

176.--LINOLEUM CUTTING.

[Illustration]

The diagram herewith represents two separate pieces of linoleum. The chequered pattern is not repeated at the back, so that the pieces cannot be turned over. The puzzle is to cut the two squares into four pieces so that they shall fit together and form one perfect square 10 × 10, so that the pattern shall properly match, and so that the larger piece shall have as small a portion as possible cut from it.

177.--ANOTHER LINOLEUM PUZZLE.

[Illustration]

Can you cut this piece of linoleum into four pieces that will fit together and form a perfect square? Of course the cuts may only be made along the lines.

VARIOUS GEOMETRICAL PUZZLES.

"So various are the tastes of men." MARK AKENSIDE.

178.--THE CARDBOARD BOX.

This puzzle is not difficult, but it will be found entertaining to discover the simple rule for its solution. I have a rectangular cardboard box. The top has an area of 120 square inches, the side 96 square inches, and the end 80 square inches. What are the exact dimensions of the box?

179.--STEALING THE BELL-ROPES.

Two men broke into a church tower one night to steal the bell-ropes. The two ropes passed through holes in the wooden ceiling high above them, and they lost no time in climbing to the top. Then one man drew his knife and cut the rope above his head, in consequence of which he fell to the floor and was badly injured. His fellow-thief called out that it served him right for being such a fool. He said that he should have done as he was doing, upon which he cut the rope below the place at which he held on. Then, to his dismay, he found that he was in no better plight, for, after hanging on as long as his strength lasted, he was compelled to let go and fall beside his comrade. Here they were both found the next morning with their limbs broken. How far did they fall? One of the ropes when they found it was just touching the floor, and when you pulled the end to the wall, keeping the rope taut, it touched a point just three inches above the floor, and the wall was four feet from the rope when it hung at rest. How long was the rope from floor to ceiling?

180.--THE FOUR SONS.

Readers will recognize the diagram as a familiar friend of their youth. A man possessed a square-shaped estate. He bequeathed to his widow the quarter of it that is shaded off. The remainder was to be divided equitably amongst his four sons, so that each should receive land of exactly the same area and exactly similar in shape. We are shown how this was done. But the remainder of the story is not so generally known. In the centre of the estate was a well, indicated by the dark spot, and Benjamin, Charles, and David complained that the division was not "equitable," since Alfred had access to this well, while they could not reach it without trespassing on somebody else's land. The puzzle is to show how the estate is to be apportioned so that each son shall have land of the same shape and area, and each have access to the well without going off his own land.

[Illustration]

181.--THE THREE RAILWAY STATIONS.

As I sat in a railway carriage I noticed at the other end of the compartment a worthy squire, whom I knew by sight, engaged in conversation with another passenger, who was evidently a friend of his.

"How far have you to drive to your place from the railway station?" asked the stranger.

"Well," replied the squire, "if I get out at Appleford, it is just the same distance as if I go to Bridgefield, another fifteen miles farther on; and if I changed at Appleford and went thirteen miles from there to Carterton, it would still be the same distance. You see, I am equidistant from the three stations, so I get a good choice of trains."

Now I happened to know that Bridgefield is just fourteen miles from Carterton, so I amused myself in working out the exact distance that the squire had to drive home whichever station he got out at. What was the distance?

182.--THE GARDEN PUZZLE.

Professor Rackbrain tells me that he was recently smoking a friendly pipe under a tree in the garden of a country acquaintance. The garden was enclosed by four straight walls, and his friend informed him that he had measured these and found the lengths to be 80, 45, 100, and 63 yards respectively. "Then," said the professor, "we can calculate the exact area of the garden." "Impossible," his host replied, "because you can get an infinite number of different shapes with those four sides." "But you forget," Rackbrane said, with a twinkle in his eye, "that you told me once you had planted this tree equidistant from all the four corners of the garden." Can you work out the garden's area?

183.--DRAWING A SPIRAL.

If you hold the page horizontally and give it a quick rotary motion while looking at the centre of the spiral, it will appear to revolve. Perhaps a good many readers are acquainted with this little optical illusion. But the puzzle is to show how I was able to draw this spiral with so much exactitude without using anything but a pair of compasses and the sheet of paper on which the diagram was made. How would you proceed in such circumstances?

[Illustration]

184.--HOW TO DRAW AN OVAL.

Can you draw a perfect oval on a sheet of paper with one sweep of the compasses? It is one of the easiest things in the world when you know how.

185.--ST. GEORGE'S BANNER.

At a celebration of the national festival of St. George's Day I was contemplating the familiar banner of the patron saint of our country. We all know the red cross on a white ground, shown in our illustration. This is the banner of St. George. The banner of St. Andrew (Scotland) is a white "St. Andrew's Cross" on a blue ground. That of St. Patrick (Ireland) is a similar cross in red on a white ground. These three are united in one to form our Union Jack.

Now on looking at St. George's banner it occurred to me that the following question would make a simple but pretty little puzzle. Supposing the flag measures four feet by three feet, how wide must the arm of the cross be if it is required that there shall be used just the same quantity of red and of white bunting?

[Illustration]

186.--THE CLOTHES LINE PUZZLE.

A boy tied a clothes line from the top of each of two poles to the base of the other. He then proposed to his father the following question. As one pole was exactly seven feet above the ground and the other exactly five feet, what was the height from the ground where the two cords crossed one another?

187.--THE MILKMAID PUZZLE.

[Illustration]