1. The LYAHF game with a romantic scenario and imaginary fighting

It can be illustrated by Clotilde de Marelle from Maupassant’s “Bel Ami”,
a charming, provocative, provoking and romantic woman. Clotilde is passionately in love with Duroy. Though warm and sincere in her feelings she is greatly fond of adventure and pretense and dresses “like a soubrette in a French farce”  and manipulates her lover to take to the most disreputable drinking haunts where she imagines herself being assaulted by the ruffians and rescued heroically by her lover:

“Sometimes she asked Duroy, with a shudder: "If I were insulted in these places, what would you do?"

He would answer, with a swaggering air: "Take your part, by Jove!"

And she would clasp his arm with happiness, with, perhaps, a vague wish to be insulted and defended, to see men fight on her account, even such men as those, with her lover.”

(Maupassant. Bel Ami. Translation into English. Chapter 5)

Since the insult never comes the danger is imaginary as well as the vehicle of it, turning the whole situation into make-believe LYAHF. However, it doesn’t diminish the pleasure of extracting romance from it.

2. The imaginary LYAHF game with real fighting

It can be illustrated by a painting described in the next chapter:

“The governor continued to light up the pictures as he explained them. He now showed a water-color by Maurice Leloir, "The Obstacle." It was a sedan chair checked on its way, the street being blocked by a fight between two laborers, two fellows struggling like Hercules. From out of the window of the chair peered the head of a charming woman, who watched without impatience, without alarm, and with a certain admiration, the combat of these two brutes.”

(Maupassant. Bel Ami. Translation into English. Chapter 6)

Clotilde must have admired the water-color like this. The picture catches the darker side of the LYAHF game: the woman enjoys the fighting with no sign of her caring for the possibility of a tragic outcome. The triangle is situationally arranged since no relations among its participants are specified. Henceforth, no romance is implied. However, the game is evident in the presentation of the events because the woman imagines herself to be the cause of fighting, thus making herself and the two men participants of the game.

3. The LYAHF game with a tragic outcome:

It can be illustrated “The Dual” by A. I. Kuprin.  Here the roadmap of the game is masterminded and engineered by a scheming, unscrupulous and ruthless woman engaged in back-street affairs. The woman’s name is Shurochka. Second lieutenant Georgy Romashov is going to fight a dual with an officer of the same regiment over the latter’s wife Shurochka. Shurochka is determined to make her husband climb up the career ladder and reap the benefits. Since Romashov may kill her husband in the dual and destroy her plans in this way, Shurochka  comes up with an idea of a mock dual.   She wants Romashov to fire off the target. She assures her lover that he will be safe, because she will persuade her husband to play a mock dual. She is lying because she is planning nothing of the kind. She doesn’t give a damn whether Romashov is going to remain alive. Shurochka is as hard as a nail. She knows her manipulative power:

 "Cheap effects I despise, and I will spare you them. But I know I am young, intelligent, and well-educated. I am not pretty, but I know the art of catching men far better than all those famous charmers who, at our official balls, receive the prize for beauty in the form of an elegant card-tray or something between a musical-box and an alarum. I can stand in the background; I can, by coldness and contempt, be bitter to myself and others. But I can flame up into a consuming passion and burn like a firework.”

(A. I. Kuprin. The Dual. Chapter 22)

4. The LYAHF game in the animal world

It can be illustrated by Jack London’s story in which the author draws stunning parallels between the world of people and the animal world:

“But the elder leader was wise, very wise, in love even as in battle. The younger leader turned his head to lick a wound on his shoulder. The curve of his neck was turned toward his rival. With his one eye the elder saw the opportunity. He darted in low and closed with his fangs. It was a long, ripping slash, and deep as well. His teeth, in passing, burst the wall of the great vein of the throat. Then he leaped clear.

The young leader snarled terribly, but his snarl broke midmost into a tickling cough. Bleeding and coughing, already stricken, he sprang at the elder and fought while life faded from him, his legs going weak beneath him, the light of day dulling on his eyes, his blows and springs falling shorter and shorter.

And all the while the she-wolf sat on her haunches and smiled. She was made glad in vague ways by the battle, for this was the love-making of the Wild, the sex-tragedy of the natural world that was tragedy only to those that died. To those that survived it was not tragedy, but realisation and achievement.”

(Jack London. White Fang. Part II. Chapter I. The Battle Of The Fangs) 

Such words as smiled and love-making are a transferred from the world of people to the world of animals humanizing in this way physical actions performed by wolves. The smiling and gladness of the she-wolf puts the game into the same cognitive scenario that is observed in example 2. The transfer of the LYAHF game to the world of animals is an indicator of internalization of roles through numerous repetitions of the cognitive scenario.

5. The LYAHF game with a fighting, but without a guilty party

In the situation below Martin Eden has to fight with the man who claims Lizzie Connolly as his girl, the event irony being that Martin is indifferent to her while she is passionately in love with him.  Lizzie is straightforward in her desire and dumps her companion to gain Martin. The whole game used to be fun for Martin, but now he feels that after years of intellectual effort to educate himself he no longer belongs to the world of working people. He is forced to accept the rules of the game and fight the rival, but all the participants of the love triangle are doomed to see their dreams tumble down.

“Martin was thrilling all over.  This was the old days with a vengeance, with their dancing, and their fighting, and their fun.  While he kept a wary eye on his antagonist, he glanced at Lizzie.  Usually the girls screamed when the fellows got to scrapping, but she had not screamed.  She was looking on with bated breath, leaning slightly forward, so keen was her interest, one hand pressed to her breast, her cheek flushed, and in her eyes a great and amazed admiration.”

(Jack London. Martin Eden. Chapter 42)