SNOOKER POOL.
This increasingly popular version of the game of Pool is in fact a combination of Pool and Pyramids. The fifteen coloured Pyramid balls are placed on the table by means of the "triangle," in the same way as for Pyramids, whilst the white ball is used by each player as the cue-ball throughout the game. Six Pool balls are used, viz., the Black, Pink, Blue, Brown, Green and Yellow balls, the positions and values of which are set out in Rule 2 (vide infra).
Each player is bound to play at a Red ball first, and, having taken it (or another Red ball or balls), then at a Pool ball, and again, if successful, at a Red ball, and so on. Whilst any Red balls remain on the table the Pool balls, after having been pocketed, are replaced on their respective spots; but after all the Red balls have been taken, the players play at each Pool ball in rotation in their order as coloured on the marking board, viz., Yellow, Green, Brown, Blue, Pink, and Black, until every ball has been pocketed, when the game is ended.
Much amusement is often caused by a player being "snookered"—in other words, by his ball being so obstructed by other balls that he cannot hit a Pool or Pyramid ball direct, but has to play it off a cushion, when, in the event of a miss, the value of the ball played at is counted to each of the other players' scores. (Vide Rules 7 and 11.)
At "Snooker" safety-play is of little or no use. A player must try to get on the Pool balls, particularly on those of highest value, as often as he can. Still, safety-play can be indulged in to some extent at the end of the game, when only the Pool balls are left on the table, and a player should remember to play for hazards with a fair amount of strength, and thus avoid leaving a ball over a pocket for an opponent to profit by.
Bad hazard strikers should think twice before joining in Snooker Pool, even for small stakes, with better players than themselves, as, with the high values of the Pool balls, large scores can be run up by an expert, and those players who own the lowest scores at the end of the game have to make heavy disbursements, as they have to pay every one whose score is higher than their own. The scores are best kept on a slate.
THE NATIONAL RULES OF SNOOKER POOL.
(Reprinted verbatim, by permission of Messrs. Burroughes and Watts, Limited.)
1. This game is played on a Billiard Table, and may be played by any number of players. Any one wishing to join after the commencement of the game may do so at the end of a round, but does not play until last. Any player wishing to leave off during the game must declare his intention of doing so in lieu of playing, when it shall be his turn to play, but shall be counted as a player until another round be played.
2. Fifteen red balls are placed on the table as in
"Pyramids," and six coloured[[71]] balls, placed thus: Yellow on left-hand spot of D [the half-circle], Green on centre spot of D, Brown on right-hand spot of D, Blue on middle spot of table, Pink at apex of triangle, Black on the billiard spot. The value of the balls shall be: Red 1, Yellow 2, Green 3, Brown 4, Blue 5, Pink 6, Black 7.
3. The player must first play at a Red ball, and may not play at a coloured ball until he shall have first pocketed a Red ball, but after taking a coloured ball, shall again play on and take a Red ball before he can again play on any coloured ball.
4. A player having taken a Red ball, and then pocketed a coloured ball, must replace the latter on the original spot before playing another stroke. For every coloured ball not replaced each player shall pay a penalty of one point for each stroke made by him, until such ball be replaced.
5. A player is responsible that all the balls are in their proper place before he plays. He is liable to a penalty of one point for every ball not in its right place previous to making a stroke. The striker may be called upon to replace any ball not in its right place.
6. When all the Red balls have been pocketed, the coloured balls shall be played at according to their value. (Vide Rule 2.)
7. For each ball pocketed by the striker he shall receive its value from each player, all forfeits having been first deducted; and if he has incurred any penalties pay their value to each player.
8. If the player shall strike one or more balls, and
then pocket his own ball, he shall pay the value of the ball first struck, and shall forfeit any points he may have gained during that stroke.
9. If a striker shall pocket a ball, and then cannon on to one or more coloured balls and pocket them, he shall receive the value of the ball he originally played at, and shall pay the value of the highest coloured ball he may have pocketed in the same stroke. This does not apply in the case of Red balls, any number of which may be pocketed in the same stroke.
10. If a Red ball is covered by a coloured ball, and such coloured ball be pocketed, it shall count, provided the player was entitled to play at that coloured ball. Only the coloured ball aimed at may be taken. It counts even if it goes in off other balls. Only one coloured ball may be taken at the same stroke.
11. For making a miss, or making a miss and running in, the striker shall lose one point, except when he must play on a coloured ball, when he loses the value of that ball.
12. When playing on a Red ball, if the striker misses, and hits a coloured ball, and at the same stroke accidentally pockets one or more Red balls, he loses the value of the coloured ball first hit, and cannot score. The Red balls so pocketed shall be replaced on the table.
13. For striking a wrong ball, the striker shall pay the value of the ball hit.
14. When the Red balls are all pocketed, if the player shall pocket a coloured ball, and then cannon on to one or more coloured balls and pocket them, he shall receive the value of the ball he first played at, and shall pay the value of the highest coloured ball he may have pocketed in the same stroke.
15. When the Red balls are all pocketed, if the player pocket his own ball as well as the coloured ball played at, the ball which is pocketed shall be placed on the table, and the player shall lose the value of the coloured ball.
16. If the White ball be touching a coloured ball, the striker cannot score; he must play his stroke and shall be liable to any penalties incurred.
17. If more than one error be committed in the same stroke, the highest penalty only shall be exacted. Penalties shall not hold good after one complete round shall have been played.
18. If a player force a ball off the table, he shall pay the value of that ball, or, in the case of the White ball, as if he had made a coup.[[72]]
19. For making a foul stroke, or fouling another ball, a player cannot score.
20. For playing out of turn, the striker shall pay one point to each player besides any penalties incurred, but shall not receive any points he may have won.
21. No ball may be temporarily taken up. No Red ball shall be replaced on the table except when forced off, or for a foul stroke, or under Rules 12 and 15.
22. When it is required to replace a coloured ball and its spot is occupied, it is to be placed on the nearest vacant spot. In the case of the Brown, if the green and yellow spots are vacant, it is to be put on the green spot; if all the spots are occupied, then as near as possible to its own spot in the direction of the top of the table.
23. All disputes are to be decided by a majority of the players or by the referee.
CHESS.[[73]]
The game of Chess is a battle between two armies, numerically equal, of which the two players are the generals. The battle-field upon which this mimic warfare takes place is called the chess-board. This is a square board divided into sixty-four equal alternate white and black squares, and should be so placed that each player shall have a white square at his right.
The Men.
The forces consist of thirty-two "men," each side having eight Pieces and eight Pawns, of a light and dark colour (known as "white" and "black"), to distinguish the opposing forces from each other.
In print the pieces and pawns are pictorially represented as on p. [337].
At the commencement of the game, the pieces are placed as shown in Fig. 1. It is to be noticed
that the white king occupies a black square, and the black king a white square.
The horizontal divisions are called "rows," and the vertical divisions are called "files."
The Movements of the Men and their Power to Take.
A piece or pawn has the power to take any adverse piece or pawn, according to the laws which govern its movements. The King alone, as will presently be seen, is inviolable. If the King is attacked, the fact must be notified by the warning
"Check," and if the King cannot by some means escape from the attack, the game is at an end.
1. The King.
The King, as the name denotes, is the most important piece on the board, inasmuch as the object of the game is to capture the King. It is, however, never actually "taken," the game ending whenever (the opposing player having the move) the King
remains liable to capture. The King may move from any square upon which it stands to any adjoining square not occupied by any piece or pawn of its own colour. If one of such adjoining squares is occupied by an undefended piece or pawn of the opposite colour, it may take such piece or pawn.
An additional privilege of the King ("castling") will be explained in its proper place.
2. The Rook.
The Rook (or Castle) moves upon straight lines only, in a horizontal or vertical direction, to any square not occupied by any piece or pawn of its own colour. If the line on which it operates terminates in a piece or pawn of the opposite colour, it can take such piece or pawn.
3. The Bishop.
The Bishops move and take upon diagonals only: the King's Bishop upon the diagonals of its own colour, the Queen's Bishop on those of the opposite colour; stopping short, however, when it reaches a square occupied by any piece or pawn of its own colour.
4. The Queen.
The Queen combines the power of Rook and Bishop—i.e., the Queen may move and take horizontally or vertically like a Rook, or upon diagonals like a Bishop. It is, therefore, the most powerful piece on the board, because not only has it the power of Rook and Bishop, but it has also the privilege to move like either of the two Bishops, according to the colour of the diagonal it may for the time being stand upon.
5. The Knight.
The movement of the Knight is more complicated than that of any other piece. One move of the Knight combines two King's moves: one square straight, and one square diagonally to any but the adjoining squares to its starting-point. Unlike any other piece, it may leap over any piece or pawn of its own or the opposite colour intervening between
its starting-point and the square to which it moves. Thus, in Fig. 2, the white Knight may move to K B 2, K Kt 5, Q 6, Q B 5, or Q B 3, but not to Q 2, that square being occupied by a piece of its own colour.[[74]] It may take the black pawn at K Kt 3, or the black Knight at K B 6. It will be noticed that with every move the Knight changes colour—viz., from a white to a black square, and vice versâ.
6. The Pawn.
The pawn, in spite of its limited power of movement, plays a most important rôle amongst the forces. The pawns are the rank and file of the array. The pawn, is, so to speak, the tirailleur; it engages the enemy, advances into the opponent's camp, and clears the road for the officers who follow in its wake to the attack; the pawn is mostly the first victim, and in the large majority of cases the pawn decides the game. Like the private soldier, who is supposed "to carry the marshal's baton in his knapsack," the pawn may be promoted to the highest rank. If it reaches the "eight" square, it may be converted, according to the choice of the player, into a Bishop, Knight, Rook, or Queen. Even though the player has still his full complement of pieces, any pawn may be so converted. Thus a player may have at the end of a game as many new pieces as pawns reach the eight squares.
The pawn may only move one square at a time, straight forward on the file on which it is placed, with the option of moving two squares at first starting. Thus in Fig. 3, section a, the pawn at K 2 has the
choice of moving either to K 3 or at once to K 4. But the pawn takes on diagonals only; thus, in section b of the same figure, the pawn at K 7, having the move, can take either the black Bishop at K B 8 or the black Queen at Q 8, and in either case it must be converted into some piece of its own colour (other than a King), according to the choice of the player, when the converted piece will act immediately in its new capacity. It is against the laws of the game to leave it still a pawn.
The pawn cannot move backwards nor sideways, but only forward along the "file" on which he stands. The pawn is also restricted in his power of taking. Thus any adverse piece or pawn standing on the adjacent squares to a pawn (other than forward diagonals) cannot be taken. Pawns placed as shown in section c or d of Fig. 3 could not take each other.
The pawn may also take "en passant," which means that if a pawn moves two squares at starting, thus "passing" an adverse pawn which could have taken it had it moved only one square, such adverse pawn has the option of taking it as if it had moved one square only; but the taking en passant must form the next move of the adversary. Thus in section c of the diagram, supposing the black pawn to have just moved from Q R 2 to Q R 4, it may be taken by the white pawn at Q Kt 5; the white pawn standing, after the move, at Q R 6. Such a move would be recorded thus: P takes P e.p.
Chess Notation.
It is necessary that the novice be thoroughly familiar with the original position of each piece, this being the foundation of what is called Chess Notation, or the system by which moves are recorded, and without which it would be impossible to convey written instruction in the game. Various systems are employed in different countries, but what is called the English notation is the only one with which our readers need trouble themselves.
Each square in the two outer rows is named (see Fig. 4) after the piece which occupies it, and the other squares by reference to these. For instance, the square upon which the King stands is called the
King's Square, or more shortly K sq., or K 1. The square in front of it is K 2; the next K 3, and so on throughout the file. In like manner with the other files. The pieces on the right side of the King are called the King's pieces—i.e., King's Bishop,
K B; King's Knight, K Kt; King's Rook, K R; and the pieces on the left of the Queen are called Queen's pieces—i.e., Queen's Bishop, Q B; Queen's Knight, Q Kt; Queen's Rook, Q R. The same rule applies to the black pieces; so that each square has two names, as it may be necessary to describe it with reference to the one or the other player. Thus White's King's square would be Black's King's eight (K 8), whilst Black's King's square would be White's King's eight (K 8), and so on with all the other squares.
Method of Recording Games.
The following are the abbreviations in use in scoring with the aid of the English notation:
K = King; Q = Q; R = Rook; K R = King's Rook; Q R = Queen's Rook; B = Bishop; K B = King's Bishop; Q B = Queen's Bishop; Kt = Knight; K Kt = King's Knight; Q Kt = Queen's Knight; P = Pawn; ch. = check; dis. ch. = discovered check; e.p. = en passant; Castles, or o—o = Castles on the King's side; and Castles Q R, or o—o—o = Castles on the Queen's side. To take may be noted "takes," or shorter thus, ×; (!) indicates a good move; (?) a bad or indifferent move; + the better game; - the inferior game; = an even game. To familiarise himself with the system the reader is recommended to study, with the aid of the board, the following example, a "Ruy Lopez" game, recorded according to the English notation.
| WHITE. | BLACK. | ||
| X. | Z. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | B to Kt 5 | 3. | P to Q R 3 |
| 4. | B to R 4 | 4. | Kt to B 3 |
| 5. | Castles | 5. | P to Q Kt 4 |
| 6. | B to Kt 3 | 6. | B to K 2 |
| 7. | P to Q 4 | 7. | P to Q 3 |
| 8. | P to B 3 | 8. | B to Kt 5 |
| 9. | B to K 3 | 9. | Castles |
| 10. | Q Kt to Q 2 | 10. | P to Q 4 |
| 11. | K P takes P | 11. | K Kt takes P |
| 12. | Q to B 2 | 12. | P takes P |
| 13. | B takes P | 13. | Kt takes B |
| 14. | Kt takes Kt | 14. | Q to Q 2 |
| 15. | Q Kt to B 3 | 15. | B to B 3 |
| 16. | Q to K 4 | 16. | K B takes Kt |
| 17. | B takes Kt | 17. | B takes Kt |
| 18. | Q takes Q B | 18. | Resigns. |
A variation of this is the "fractional" notation, in which White's move is recorded above the line, and Black's below the line—e.g.:
| 1. | P to K 4 | 2. | Kt to K B 3 | 3. | B to Kt 5 |
| P to K 4 | Kt to Q B 3 | P to Q R 3 |
The moves may be recorded in columns or in lines, according to individual choice. "To" is frequently represented by a dash—e.g., instead of P to K 4, P—K 4. A single move of Black is recorded thus: 1. ... P to K 4 (or, P—K 4); 16. ... K B takes Kt (or, K B × Kt); the dots standing in lieu of White's preceding move.
Having mastered the notation, the student should next familiarise himself with—
The Technical Terms used in the Game.
The more important of these are as under:
Check and Checkmate.—The whole object of the game is the capture of the opponent's King, though, as we have said, the King is never actually taken, the game coming to an end when the next move, if made, would result in his capture. If the King is attacked, the attack must be accompanied with the warning, "Check." A check may be met in three different ways. The player may either interpose one of his own pieces[[75]] (or pawns) between the King and the attacking piece; he may move it out of the range of the attacking piece; or he may take the attacking piece with the King or any other of his forces which may be available for that purpose. If he cannot resort to either of these three defences, he is checkmated, or more shortly, "mated," and the game is lost.
"Discovered" check is given when, by moving a piece, another piece is unmasked which attacks the adversary's King.
Drawn Game.—Beside the more decided issue of checkmate, there is another possible termination of a game—viz., the "drawn game," or "draw."
A draw ensues: 1. If neither side can give checkmate.
2. If both sides remain with King only, or with a single Bishop, or single Knight only in addition.
3. If both players repeat the same series of moves three times, thereby tacitly admitting that they are
not strong enough to give checkmate, or that they do not intend to venture upon another line of play.
4. If a player under certain specified conditions is unable to give mate in fifty moves.
5. Through "perpetual check"; for instance, if a player, having otherwise a lost game, can save it by constantly forcing the opponent to move his King by repeated checks. In Fig. 5 Black is threatened with checkmate by Q to R 8, or Q to Kt 7. But,
it being Black's move, he would play Kt to Kt 6: ch.; White must play K to R 2; Black returns to his old position again, checking, and as there is nothing to prevent his repeating these two moves ad infinitum, the game is drawn.
6. In case of a "stalemate"—i.e., when the player whose turn it is to move cannot make a move without violating the laws of the game. For instance, in Fig. 6, Black (having the move) would be
"stalemate," as his King (his only piece) cannot move without placing itself in check, the white pawn guarding the squares Q B 8 and Q R 8, and the King guarding the squares Q B 7 and Q R 7.
Castling.—Once in the game the King has the privilege of making a double move in conjunction with either Rook. This move is called "Castling." In castling on the King's side, the King is moved to K Kt square, and the Rook is placed next to it on K B square; in castling on the Queen's side, the King is moved to Q B square, and the Queen's Rook placed next to it upon Q square.
The right to castle is subject to the following conditions:
1. That no piece of its own or the opponent's colour be between the King and the Rook with which the King is to be castled.
2. That neither the King nor the Rook with which it is to castle has yet moved.
3. The King cannot castle if in check, or into check; neither can he cross a square which is commanded by any of the opponent's pieces.
Command.—A piece is said to "command" a given square if it can take any adverse piece placed on such square.
Develop.—To move a piece from its original position is to develop it or bring it into play. The quicker the development of the pieces the better. If a player can concentrate upon a given point a greater number of pieces than his opponent is enabled to develop for its defence, he must obtain an advantage.
Double Pawn.—Two pawns on the same file. A "double pawn" is weaker than two pawns in the
same row, because in the former case they must be independently defended, whilst in the latter case either can be made to defend the other.
En prise.—A piece or pawn is en prise if so placed as to be liable to be taken by any other. Sometimes the same phrase is applied to a piece or pawn insufficiently defended.
To Exchange.—Is to give up a piece or pawn for another of equal value.
The Exchange.—A player gaining a Rook for a minor piece (Bishop or Knight) is said to "win the exchange." His opponent loses the exchange.
Forced Move.—Is where the player has only one move at his disposal; for instance, in case of a check with a Knight, where the Knight cannot be taken, and the King has only one square to which he can move.
Fork.—This term is chiefly used where, by advancing a pawn, two pieces are attacked. (In Fig. 3, b, the white pawn forks K & B.) But it may also be used to express that any one piece attacks two others simultaneously.
Isolated Pawn.—Is a single pawn, the pawns of same colour on the right and left being off the board. A pawn is said to be "passed" when there is no pawn of the opposite colour which can bar its progress.
Gambit.[[76]]—Any opening in which a pawn is sacrificed by the first player in order to obtain a quicker development of his pieces is called a gambit. The pawn so sacrificed is called the "gambit-pawn." A counter-gambit is where the second player sacrifices a pawn with a similar object.
J'adoube.—("I adjust") is said by a player, to inform his opponent, before touching a piece or pawn of his own or his adversary's, that such piece or pawn is only to be adjusted, but not played.
Pin.—A piece is said to be "pinned" if it is attacked by an adverse piece in such manner that, by moving the attacked piece, a more valuable piece would be "unmasked," and left en prise; but chiefly if it is unable to move because it guards the King from being in check.
Value of the Pieces.
The approximate value of the pieces, as they stand on their respective squares at the beginning of a game, is estimated to be as follows: Taking the pawn as unit, the value of the Knight is 3.05; of the Bishop, 3.05; of the Rook, 5.48; and of the Queen, 9.94. German authorities estimate (taking also the pawn as unit), Bishop = 3; Knight = 3; Rook = 4½; and Queen = 9. The King in the End game is worth 4. Obviously the value of piece or pawn changes as the game advances, according to the position it occupies for the time being. There are, however, general principles which hold good in a large majority of cases. For instance, two Bishops are more serviceable than two Knights in the End game.[[77]] Bishop and Knight are also preferable to two Knights, but a single Knight is more serviceable, in most cases, in the End game than a single Bishop.
THE OPENINGS.
A game of Chess consists of three phases: the Opening; the Middle game; and the End game. It need not, however, pass through all three stages, but may come to a conclusion at either of them.
The Opening is the development of the pieces. A quick and judicious development of the forces is half the battle won. From a mistake in the beginning of a game—assuming both players to be of equal strength—it is difficult to recover. The Openings, therefore, should be studied carefully.
The Middle Game is entirely a matter of practice, and its proper management can only be acquired by experience. Both players are here thrown upon their own resources, as the analysis does not reach beyond the opening.
The End Game is a study in itself, and one which will repay the most careful attention. There are certain positions which occur frequently at the end of a game; these have been systematically arranged by eminent specialists, and may be committed to memory; but the larger number (like the Middle game) depend upon ingenuity and individual skill.
The Openings are divided into Open Games—i.e., where White plays 1. P to K 4, and Black replies 1. ... P to K 4; and Close Games—i.e., where White's first move is any other than 1. P to K 4. The Open Games will be first dealt with.
The first opening which we shall describe is the Giuoco Piano, "the slow, or steady, opening," so
called because it is a quiet strategical development of the forces.
The game is presented to the reader just as if it were played over, and explained by the professor over the board. The reasons for each move are given in language adapted to the perception of the student who plays a game of chess for the first time.
THE GIUOCO PIANO.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | ... |
This move allows most scope for the development of two pieces. P to Q 4 also allows this, but it gives less scope to the Queen.
| ... | 1. | P to K 4 |
The same observations apply to Black's first move.
| 2. | Kt to K B 3 | ... |
The aim of the player being a quick development of his forces, it is advisable to bring each piece into play by attacking an adverse piece or Pawn immediately, if possible. The Kt here attacks Black's K P.
| ... | 2. | Kt to Q B 3 |
This move not only defends the attacked Pawn, but at the same time brings a piece into play, and thus establishes an equilibrium in the development. 2. ... Q or K 2, or 2. ... Q to B 3, would be unfavourable defences, because the former move would prevent the development of the K B, and the latter the sortie of the Knight, besides exposing
the Queen to attack. It may be taken as a general rule that it should be avoided as much as possible to defend pieces of less value with pieces of greater value. Black could also play here 2. ... P to Q 3, which is called Philidor's Defence, or reply, by 2. ... Kt to K B 3, with an attack upon White's K P, which is called Petroff's Defence. These will be treated later on.
| 3. | B to B 4 | ... |
Clearing the King's side for castling, and posting the Bishop ready for attacking the present weakest point in Black's position—viz., the K B P; weakest because defended by the King only.
| ... | 3. | B to B 4 |
No immediate danger being apprehended, Black brings a piece into play. These three moves on either side constitute the opening called the Giuoco Piano, whatever be the moves that may follow.
| 4. | P to Q 3 | 4. | P to Q 3 |
| 5. | B to Q 3 | 5. | B to Kt 3 |
Better than 5. ... B takes B, because in that case White would obtain an "open Bishop's file," and double his Rooks upon it after castling; and the "double pawn," which is in the majority of positions a weakness, is strong in the centre.
| 6. | Q Kt to Q 2 | ... |
The object being to play this Knight to K B sq., and then to Kt 3. This could also be done if White had played 6. Kt to B 3, then Kt to K 2, and Kt to Kt 3. The manœuvre in the text is generally adopted, because if 6. Kt to B 3, Black could "pin" it with 6. ... B to R 4.
| ... | 6. | Kt to B 3 | |
| 7. | P to B 3 | ... |
Intending to advance the Q P, and thus prepare the formation of a strong centre.
| ... | 7. | B to Q 2 |
Threatening to attack and exchange White's Bishop, by playing upon his next move, if feasible, 8. ... Kt to Q R 4. He could not have done so before, because of White's reply, 8. B to Kt 5: ch., forcing the Knight back to B 3, or leaving it at R 4 out of play.
| 8. | B to Kt 3 | ... |
White, who does not want to exchange his Bishop for Knight, retires it, so that he may play, should Black attack it (with 8. ... Kt to R 4), 9. B to B 2.
| ... | 8. | Q to K 2 |
In the Giuoco Piano it is not advisable for either player to castle early, and Black wisely makes a waiting move. He is now able to castle on either side, according to circumstances.
| 9. | Q to K 2 | 9. | P to K R 3 |
This move is strictly defensive. Black might also have played 9. ... Q Kt to Q sq., and then from Q sq. to K 3, which would have been a better manœuvre.
| 10. | Kt to B sq. | 10. | B to K 3 |
| 11. | B to R 4 | 11. | B to Q 2 |
| 12. | Kt to Kt 3 | 12. | P to Kt 3 |
Black's defence is somewhat timid. At a previous stage he intended to exchange his Q Kt against White's B, and now when White "pins" the
Knight with 11. B to R 4, he retires the Bishop, so as to avoid a double pawn. Now he has to prevent White's Knight from moving to B 5, attacking the Queen, but in doing so he weakens his King's position for the purpose of castling on the King's side. The student should bear in mind that these pawns are strongest in their original position.
| 13. | B to B 2 | ... |
The Bishop is better placed now at B 2. At R 4 it was, owing to the changed position, less useful. At its new post it strengthens the centre.
| ... | 13. | P to Q 4 |
Black anticipates White's possible P to Q 4 by himself advancing.
| 14. | Castles | 14. | P takes P |
| 15. | P takes P | 15. | Kt to Q sq. |
Black now executes the manœuvre which was suggested at his ninth move. But it is not so good at this stage. The position is now as shown in Fig. 7.
| 16. | Q R to Q sq. | ... |
It is always good to occupy an open file with a Rook.
| ... | 16. | K to B sq. |
Black cannot play 16. Kt to K 3, because he would thereby leave his K P en prise; he cannot castle, because then his K R P would be en prise; and if he were to return with the Kt to B 3, he would have lost a move. Therefore he has nothing better than to move his King into safety to B sq., and then to Kt 2.
| 17. | Q to Q 2 (?) | 17. | K to Kt 2 |
| 18. | P to K R 3 | ... |
To prevent Black from playing 18. ... B takes B; Q takes B, Kt to Kt 5, attacking the Queen.
| ... | 18. | Kt to B 3 | |
| 19. | Kt to R 4 | 19. | Q R to Q sq. |
Occupying the "open file" and defending the Bishop, so as to free his K Kt, which was before fixed, as it had to defend the Bishop.
| 20. | B takes B | 20. | R P takes B |
It is, in the majority of these cases, better to take with the R P, because it gives an additional "open file" for the entry of the Rook.
| 21. | Q to K 2 | ... |
White has now lost the attack, and is virtually on the defensive. He is obliged to move his Queen, because Black threatens 21. ... B takes P, discovering an attack upon the Queen with his Rook.
| ... | 21. | B to K 3 | |
| 22. | R takes R | 22. | R takes R |
| 23. | B to Kt 3 | 23. | K to R 2 |
A good move, because White threatens, in case Black should exchange Bishops, to win the Queen with either Kt to B 5: ch., P takes Kt; Kt takes P: ch., K moves; Kt takes Q.
| 24. | B takes B | 24. | Q takes B |
White, having failed in his attack, exchanges pieces, so as to simplify the position, hoping thus to be able to draw the game.
| 25. | P to R 3 | 25. | Q to Q 3 |
Doubly occupying the "open file," and so preventing White from moving 26. R to Q sq., and forcing his Rook off the "file," or an exchange of Rooks. But he would have done better to play 25. ... Q to Q 2, as White's next move will show.
| 26. | Q to B 3 | 26. | Q to K 3 |
Black has lost a move by not playing 25. ... Q to Q 2, for now he cannot move his Queen away from the protection of the Knight, and the Knight
he cannot move, because his K B P would then remain en prise. If he moved 26 ... K to Kt 2, defending Kt and P, White would win his Queen by playing either Kt to B 5: ch., &c., as pointed out after Black's 23rd move; he is consequently forced to move as in the text.
| 27. | Q to K 3 | ... |
To prevent Black from playing 27.... R to Q 7, which would be a powerful move, as it would attack White's pawns on the Queen's side.
| ... | 27. | Q to B 5 (?) | |
| 28. | Kt (R 4) to B 5 | ... |
(The position being highly instructive, it is illustrated in Fig. 8. White sacrifices a piece on the chance of Black not seeing the right defence. In which case the subtle threat is as follows—
... 28. P takes Kt 29. Kt takes P 29. Kt to Kt sq. Defending the threatened R P.
30. Q to Kt 3 ... And wins, as the mate with Q to Kt 7 cannot be prevented.)
| ... | 28. | P takes Kt | |
| 29. | Kt takes P | 29. | Kt to Kt sq. |
| 30. | Q to Kt 3 | ... |
| ... | 28. | P takes Kt |
Black would have done better not to take the Knight, but to play 28. ... Kt to Kt sq.
| 29. | Kt takes P | 29. | Kt to K sq. (!) |
(As pointed out above, if Black had made what seems to be the obvious move, viz., to defend the R P with 29.... Kt to Kt sq., White would win with 30. Q to Kt 3 and mate to follow at Kt 7 with the Queen.)
| 30. | Q takes P: ch. | 30. | K to Kt sq. |
| 31. | Q to Kt 5: ch. | 31. | K to R 2 |
And the game is drawn by White giving "Perpetual check." That is the utmost he can hope, being a piece minus.
| Second Variation. First three moves as before. | Third Variation. First three moves as before. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
With an even game. |
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| And Black should win, as he threatens to play 16. ... P to Q 4, attacking Bishop with pawn and Knight with King, &c. |
Fourth Variation.
| First three moves as before. | ||||||||||||||||||||||||||||||||||||
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And wins, for Black can only play 12. ... Kt to K 2, to which White replies 13. R takes B, or R to K sq., or Kt to K 5, &c. This variation should be carefully studied, for Black will frequently fall into the trap thus laid for him.
From considerations of space, it is only possible to give two or three variations of each opening, and these in a very condensed form. For further examples the reader is referred to Hoffer's Chess (see note on first page of this article).
THE EVANS GAMBIT.
The Evans Gambit is in reality only a sub-variation of the Giuoco Piano, but might aptly be called,
in contradistinction to it, Giuoco Presto, the former being slow, the latter lively.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | B to B 4 | 3. | B to B 4 |
| 4. | P to Q Kt 4 | ... |
The first three moves are those of the Giuoco Piano. The last move constitutes the Evans Gambit. The object of sacrificing the Kt P is to establish a centre through the advance of the Q B P and Q P; to open an outlet for the Q and Q B, and so obtain a quick development of the pieces, and consequently a powerful attack.
| 4. | B takes P |
If 4. ... Kt takes P, White replies with 5. P to B 3, and after 5. ... Kt to Q B 3 the position is the same.
| 5. | P to B 3 | 5. | B to Q B 4 |
The Bishop may also retire to R 4, to Q 3, or to K 2. The two last mentioned moves cannot be recommended, and may be dismissed; but it is desirable to know the variations arising from 5. ... B to R 4, which is preferred by many eminent players.
| 6. | P to Q 4 | 6. | P takes P |
| 7. | Castles | ... |
White may also play here 7. P takes P, to which Black's best reply is 7. ... B to Kt 3, and not 7. ... B to Kt 5; ch.
| ... | 7. | P to Q 3 |
This is the only safe move in this variation. 7. ... P takes P, would be bad unless, on the fifth move, Black had played B to R 4, when the so-called "compromised" defence would have ensued.
7. ... Kt to B 3, which seems a plausible move here, would involve the probable loss of the game—e.g.:
7. ... 7. Kt to B 3 8. P takes P 8. B to Kt 3 9. P to K 5 9. P to Q 4 10. P takes Kt 10. P takes B 11. R to K sq.: ch. 11. K to B sq. 12. B to R 3: ch. 12. K to Kt sq. 13. P to Q 5 13. Kt to R 4 14. B to K 7 14. Q to Q 2 15. P takes P 15. K takes P 16. Q to Q 2 16. Q to Kt 5 17. Q to B 3: ch. 17. K to Kt sq. 18. Q takes R: ch. 18. K takes Q 19. B to B 6: ch. 19. K to Kt sq. (or Q to Kt 2) 20. R to K 8: checkmate
| 7. | ... | 7. | Kt to B 3 |
| 8. | P takes P | 8. | B to Kt 3 |
| 9. | P to K 5 | 9. | P to Q 4 |
| 10. | P takes Kt | 10. | P takes B |
| 11. | R to K sq.: ch. | 11. | K to B sq. |
| 12. | B to R 3: ch. | 12. | K to Kt sq. |
| 13. | P to Q 5 | 13. | Kt to R 4 |
| 14. | B to K 7 | 14. | Q to Q 2 |
| 15. | P takes P | 15. | K takes P |
| 16. | Q to Q 2 | 16. | Q to Kt 5 |
| 17. | Q to B 3: ch. | 17. | K to Kt sq. |
| 18. | Q takes R: ch. | 18. | K takes Q |
| 19. | B to B 6: ch. | 19. | K to Kt sq. (or Q to Kt 2) |
| 20. | R to K 8: checkmate |
| 8. | P takes P | 8. | B to Kt 3 |
| 9. | P to Q 5 | 9. | Kt to R 4 |
The best move. It is the Normal Defence to the previous move, which constitutes the Normal Attack.
9. ... Kt to K 4 would be unfavourable, because of 10. Kt takes Kt, P takes Kt; 11. B to R 3, B to Q 5 (?); 12. Kt to Q 2, B takes R; 13. Q takes B, P to K B 3; 14. P to B 4, and should win. The alternative Knight's move—viz., 9. ... Q Kt to K 2, is also inferior, because of 10. P to K 5, Kt to R 3 (!); 11. Kt to B 3, Castles; 12. Kt to K 4, with a good attack.
| 10. | B to Kt 2 | 10. | Kt to K 2 (!) |
One of the chief points of the Evans Gambit is that Black's Q Kt is driven to Q R 4, and has to remain there for some time inactive, so that Black is, for the time being, practically a piece minus for the defence. White must, therefore prevent as long as possible this Knight from coming into play. It will be seen that Black could not have played 10. ... Kt takes B, because in such case 11. B takes K Kt P, winning the exchange.
| 11. | B to Q 3 | ... |
If White had here played 11. B takes P instead of the text move, the continuation might probably have been—
11. B takes P 11. R to K Kt sq. 12. B to B 6 12. Kt takes B 13. Q to R 4: ch. 13. Q to Q 2 14. Q takes Kt 14. R takes P: ch. 15. K takes R 15. Q to Kt 5: ch. 16. K to R sq. 16. Q takes Kt: ch. 17. K to Kt sq. 17. B to R 6, and wins.
| 11. | B takes P | 11. | R to K Kt sq. |
| 12. | B to B 6 | 12. | Kt takes B |
| 13. | Q to R 4: ch. | 13. | Q to Q 2 |
| 14. | Q takes Kt | 14. | R takes P: ch. |
| 15. | K takes R | 15. | Q to Kt 5: ch. |
| 16. | K to R sq. | 16. | Q takes Kt: ch. |
| 17. | K to Kt sq. | 17. | B to R 6, and wins. |
| ... | 11. | Castles | |
| 12. | Kt to B 3 | 12. | Kt to Kt 3 |
| 13. | Kt to K 2 | 13. | P to Q B 4 |
White concentrates his forces for an attack on the King's side, whilst Black, being stronger on the Queen's side, must try to create a diversion on that side.
| 14. | Q to Q 2 | 14. | P to B 3 |
| 15. | K to R sq. | ... |
The King's move is necessary, else Black could play 15.... Kt to K 4; 16. Kt takes Kt, B P takes Kt, and White could not reply 17. P to B 4 (an essential move for the attack), because Black would then win a piece with 17.... P to B 5; discovering check, and attacking the Bishop at the same time.
| ... | 15. | B to B 2 |
This Bishop being now comparatively useless at Kt 3, since the White King has quitted the black diagonal, retires, in order to make room for the advance of the pawns.
| 16. | Q R to B sq. | 16. | R to Kt sq. |
To support the advance of the Kt P.
| 17. | Kt to Kt 3 | 17. | P to Kt 4 |
| 18. | Kt to B 5 | 18. | P to B 5 |
It is an essential point in the defense to prevent White's Knight from being posted at K 6. If White is able to accomplish this, his attack becomes so powerful that it cannot be withstood. It would, therefore, be bad for Black to play, instead of the move given in the text, 18.... B takes Kt, because of 19. P takes B, Kt to K 4; 20. B takes Kt, B P takes B; 21. Kt to Kt 5, followed by 22. Kt to K 6 (the dangerous move just pointed out).
| 19. | B to K 2 | ... |
Not 19. B to Kt sq. White wants to keep a pressure upon Black's pawns. The position is now as shown in Fig 9. Neither side has as yet gained any marked advantage.
Second Variation.
Repeat Opening to Black's eighth move inclusive.
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Third Variation.
Repeat Second Variation up to White's ninth move inclusive.
| First three moves as before. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
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Fourth Variation.
Repeat Third Variation up to Black's tenth move inclusive.
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And White draws by perpetual check.
The "Compromised" Defence to the Evans Gambit.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | B to B 4 | 3. | B to B 4 |
| 4. | P to Q Kt 4 | 4. | B takes P |
| 5. | P to B 3 | 5. | B to R 4 |
By retiring the Bishop to R 4, instead of to B 4 as in the previous variations, Black reserves the option of adopting either the "Compromised" or the "Normal" Defence.
| 6. | P to Q 4 | 6. | P takes P |
| 7. | Castles | 7. | P takes P |
The capture of this, the third Pawn, constitutes the "Compromised" Defence, so called because it was formerly considered that this capture compromised Black's game.
| 8. | Q to Kt 3 | 8. | Q to B 3 |
| 9. | P to K 5 | 9. | Q to Kt 3 |
If 9. ... Kt takes P, White would win with 10. R to K sq., P to Q 3. 11. Kt takes Kt, P takes Kt. 12. Q to R 4, or Kt 5: ch., winning a piece.
| 10. | Kt takes P | 10. | K Kt to K 2 |
| 11. | B to R 3 | 11. | Castles |
| 12. | Kt to Q 5 | 12. | Kt takes Kt |
| 13. | B takes Kt | ... |
If White were to capture the Rook, the course of the game would probably be as follows—
13. B takes R 13. Kt to B 5 (!) 14. Kt to R 4 14. Q to Kt 5 15. Q to Kt 3 15. P to Q 4 16. Q takes Q 16. B takes Q And White must lose one of the two attacked Bishops.
| 13. | B takes R | 13. | Kt to B 5 (!) |
| 14. | Kt to R 4 | 14. | Q to Kt 5 |
| 15. | Q to Kt 3 | 15. | P to Q 4 |
| 16. | Q takes Q | 16. | B takes Q |
| ... | 13. | P to Q 3 | |
| 14. | P takes P | 14. | P takes P |
| 15. | Q R to Q sq. | 15. | R to Q sq. |
| 16. | Q to R 4 | ... |
Threatening to win a piece with 17. B takes Kt.
| ... | 17. | B to Kt 3 | |
| 18. | B takes Kt | 18. | P takes B |
| 19. | Q takes B P | 19. | R to Kt sq. |
| 20. | R takes P | 20. | B to K 3 |
The only defence, for Queen and Rook are
attacked, and he cannot play 20. ... R takes R, because of 21. Q to K 8 mate.
| 21. | K R to Q sq. |
Threatening 22. R takes R: ch., R takes R: 23. R takes R: ch., B takes R; 24. Q to K 8: mate.
| ... | 21. | P to K R 3 |
The position being perfectly even, the game should result in a draw. There is no danger now for Black to lose a piece, because after 22. R takes R: ch., R takes R: 23. R takes R: ch., B takes R; 24. Q to K 8: ch., K to R 2, White cannot play 25. Q takes B, because of 25. ... Q to Kt 8: mate.
Second Variation.
Repeat the opening from preceding game up to White's 9th move.
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| With the better game. | |||||||||||||||||
THE EVANS GAMBIT DECLINED.
From the foregoing illustrations of the Evans Gambit, it will be seen that this opening is exceedingly complicated both for the attack and the defence. It is safer for Black to decline accepting the gambit, which is done by playing 4. ... B to
Kt 3. The opening is then reduced to a Giuoco Piano, White having (theoretically speaking) compromised his pawns on the Queen's side by having advanced them prematurely, which advance may prove a weakness in the ending.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | B to B 4 | 3. | B to B 4 |
| 4. | P to Q Kt 4 | 4. | B to Kt 3 |
| 5. | P to Q R 4 |
The best move. 5. P to Kt 5 is inferior, as shown exhaustively in the following variations:—
5. P to Kt 5 5. Kt to R 4 6. Kt takes P 6. Kt to R 3 (!) 7. P to Q 4 7. P to Q 3 8. B takes Kt 8. P takes B Not 8. ... P takes Kt, because of 9. B takes P, R to K Kt sq.; 10. B takes P: ch., K takes B; 11. B takes P, Q to Kt 4; 12. P to Kt 3, B to Kt 5; 13. P to B 3, with four pawns for a piece, which is more than an equivalent.
9. Kt takes P ... Not 9. B takes P: ch., because of 9. ... K to K 2; 10. Q to B 3, R to B sq. (!); 11. Kt to Q B 3, B to K 3; 12. Q to B 5, B takes B (if 12. ... B takes Q; 13. Kt to Q 5, mate), and wins; or 12. Q to R 5, then P takes Kt, and wins.
... 9. Q to B 3 10. Q to R 5 ... Not 10. Kt takes R, became of 10. ... B takes P; 11. Q to R 5: ch., K to K 2; 12. Q to B 7: ch., Q takes Q; 13. B takes Q, B takes R, and wins. Equally bad would be 10. P to K 5, P takes P; 11. Kt takes P, Kt takes B; 12. Kt takes Kt, B takes P, and wins.
... 10. Castles (quite legal) 11. Kt takes R P: dble. ch. 11. K to Kt 2 12. Kt to Kt 4 12. B takes Kt 13. Q takes B: ch. 13. K to R sq. 14. Q to K 2 14. B takes P, and wins.
| 5. | P to Kt 5 | 5. | Kt to R 4 |
| 6. | Kt takes P | 6. | Kt to R 3 (!) |
| 7. | P to Q 4 | 7. | P to Q 3 |
| 8. | B takes Kt | 8. | P takes B |
| 9. | Kt takes P | ... |
| ... | 9. | Q to B 3 | |
| 10. | Q to R 5 | ... |
| ... | 10. | Castles (quite legal) | |
| 11. | Kt takes R P: dble. ch. | 11. | K to Kt 2 |
| 12. | Kt to Kt 4 | 12. | B takes Kt |
| 13. | Q takes B: ch. | 13. | K to R sq. |
| 14. | Q to K 2 | 14. | B takes P, and wins. |
| ... | 5. | Q P to R 3 |
Not 5. ... Kt takes P, which would be met by 6. P to R 5, with a winning attack. And not 5. ... P to Q R 4, which is inferior to the text move, and weakens the pawns on the Queen's side for the End game.
| 6. | Castles | 6. | P to Q 3 |
| 7. | P to B 3 | 7. | Kt to B 3 |
| 8. | P to Q 3 |
The position is now equivalent to the Giuoco Piano, except that White has advanced his Queen's side pawns, which is a slight disadvantage.
THE TWO KNIGHTS' DEFENCE.
Reverting to the opening moves of the Giuoco Piano, in answer to 3. B to B 4, Black may play (instead of 3. ... B to B 4), 3. ... Kt to B 3. This constitutes the Two Knights' Defence. White may continue with 4. P to Q 3, or Kt to B 3, or adopt a more spirited line of play with 4. Kt to Kt 5. Black's defences being 4. ... P to Q 4. or 4. ... Kt takes P. We append one or two leading variations:
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | B to B 4 | 3. | Kt to B 3 |
| 4. | Kt to Kt 5 | ... |
In the Giuoco Piano, where Black's Knight would be still at Kt sq., this advance would be bad, because Black could reply 4. ... Kt to R 3,
defending the K B P. Here, however, it is the best move. Black's best defence is
| ... | 4. | P to Q 4 | |
| 5. | P takes P | 5. | Kt. takes P (?) |
Not to be recommended. The best move is 5. ... Kt to Q R 4.
| 6. | Kt takes B P (!) | 6. | K takes Kt |
| 7. | Q to B 3: ch. | 7. | K to K 3 |
In order to defend the Knight, which is twice attacked. 7. ... Q to B 3 would be bad policy, for in such case White would play 8. B takes Kt: ch., B to K 3; 9. B takes Kt, P takes B; 10. Q takes P, with three Pawns ahead.
| 8. | Kt to B 3 | 8. | Kt to K 2 |
White attacking the Knight once more, and Black defending it again.
| 9. | P to Q 4 | 9. | P to B 3 |
And we have the position depicted in Fig. 10. Black could not play 9. ... P takes P, for fear of 10. Q to K 4: ch., winning back the piece.
| 10. | B to K Kt 5 | ... |
Pinning the Knight, so as to take off one of the defences of the Kt at Q 4.
| ... | 10. | K to Q 2 | |
| 11. | P takes P | 11. | K to K sq. |
| 12. | Castles Q R | 12. | B to K 3 |
| 13. | Kt takes Kt | 13. | B takes Kt |
| 14. | R takes B | 14. | P takes R |
| 15. | B to Kt 5: ch. | 15. | Kt to B 3 |
| 16. | B takes Q | 16. | R takes B |
| 17. | P to K 6, and wins. |
Second Variation.
Repeat as far as White's 8th move inclusive.
Should Black play, instead of 8. ... Kt to K 2, 8. ... Kt to Kt 5, the following variations may ensue:
| 9. | Q to K 4 | 9. | P to Q Kt 4 |
| 10. | B to Kt 3 | 10. | P to B 4 |
| 11. | Kt takes P | 11. | B to R 3 |
| 12. | P to Q R 4 | 12. | R to B sq. |
| 13. | P to Q 3 | 13. | B to K 2 |
| 14. | Castles | ... |
White threatens now a formidable attack with 15. P to K B 4, to be followed by attacking the Knight with the Q B P, and so to win back the piece.
| ... | 14. | B to Kt 2 | |
| 15. | P to Q B 3 | 15. | P to Q R 3 |
If 15. ... Kt to R 3, White would win with 16. P to K B 4.
| 16. | Q to Kt 4: ch. | 16. | K to B 2 |
| 17. | P to K B 4 | 17. | R to B sq. (best) |
| 18. | P takes P: dis. ch. | 18. | K to Kt sq. |
| 19. | B to R 6 (!) | 19. | R takes R: ch. |
| 20. | R takes R | 20. | B to B sq. |
| 21. | Kt to Q 6, and wins. |
For the immediate threat, 22. Q to K 6: ch., or Kt takes B, is fatal.
Third Variation.
Repeat the Opening up to Black's 5th move.
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position on the Queen's side. |
THE RUY LOPEZ.
This Opening, invented by the Spaniard Ruy Lopez in the sixteenth century, is still resorted to in tournaments and matches, where caution and safety are essential. Instead of developing the Bishop to Q B 4 with the intention of an attack upon Black's weakest point—viz., the K B P, White plays 3. B to Q Kt 5, threatening 4. B takes Kt, and 5. Kt takes P. In answer to 3. B to Kt 5, Black may play 3. ... P to Q R 3; 3. ... K Kt to B 3 (best); 3. ... K Kt to K 2 (not so good); 3. ... B to B 4; 3. ... Kt to Q 5 (not to be recommended); 3. ... P to Q 3 (a safe, but dull defence); 3. ... P to B 4 (risky); and 3. ... P to K Kt 3, the latter involving the development of the K B to Kt 2.
White's replies are, in answer to 3. ... P to Q R 3; 4. B takes Kt; or 4. B to R 4. And in answer to 3. ... Kt to B 3; 4. Kt to B 3; 4. P to Q 3; 4. Q to K 2; 4. P to Q 4, or 4. Castles.
The main defences are 3. ... P to Q R 3, and 3. ... Kt to B 3. The latter is to be preferred; for to a certain extent the White Bishop is not in such a favourable position at Kt 5 as at R 4; it should, therefore, not be driven into a better one.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | B to Kt 5 |
These moves complete the Ruy Lopez Opening.
| ... | 3. | P to Q R 3 | |
| 4. | B to R 4 | ... |
White could here temporarily win a pawn with 4. B takes Kt, Q P takes B, 5. Kt takes P. But 5. ... Q to Q 5 wins it back for Black; it is, therefore, useless to exchange the powerful King's Bishop.
| ... | 4. | Kt to B 3 | |
| 5. | P to Q 3 | 5. | P to Q 3 |
This is the quietest form of the Lopez and may be adopted with safety.
| 6. | Kt to B 3 | 6. | B to Q 2 |
| 7. | Castles | 7. | B to K 2 |
| 8. | P to Q 4 | 8. | P to Q Kt 4 |
| 9. | P takes P | 9. | Q Kt takes P |
| 10. | Kt takes Kt | 10. | P takes Kt |
| 11. | B to Kt 3 | 11. | Castles |
| 12. | B to Kt 5 | 12. | P to Q R 4 |
A good move, as it anticipates White's advance of the Q R P, and thus renders the Queen's side safe.
| 13. | B takes Kt | 13. | B takes B |
| 14. | P to Q R 4 | 14. | P to Kt 5 |
It would be bad to play here 14. ... P takes P,
because it not only would give White an open Rook's file, but also isolate Black's R P and Q B P, a weakness from which he could not recover against the best play.
Neither side has so far gained any material advantage.
Second Variation.
Repeat the first five moves on either side.
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| Even game. | |||||||||||||||||||||||||
Third Variation.
Repeat first four moves on either side.
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| Even game. | |||||||||||||||||||||||||||||||||
Fourth Variation.
Repeat first four moves as above.
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Not 11. ... B to Kt 2, because of 12. B takes P ch., Kt takes B; 13. Q takes B, &c.
About an even game.
At the present day, however, as we have said, the defence of 3. ... P to Q R 3 is discarded by the best authorities in favour of 3. ... Kt to K B 3. The game may then proceed as follows:
| 4. | Castles | 4. | Kt takes P |
| 5. | P to Q 4 | 5. | B to K 2 |
| 6. | Q to K 2 | 6. | Kt to Q 3 (!) |
| 7. | B takes Kt | 7. | Kt P takes B (!) |
If 7. ... Q P takes B, White would obtain an advantage by 8. P takes P, Kt to B 4; 9. R to Q sq., B to Q 2; 10. P to K 6 (!), P takes P; 11. Kt to K 5, Kt to Q 3 (or B to Q 3); 12. Q to R 5; ch., P to Kt 3; 13. Kt takes Kt P, and wins.
| 8. | P takes P | 8. | Kt to Kt 2 (!) |
| 9. | Kt to B 3 | 9. | Kt to B 4 |
| 10. | Kt to Q 4 | 10. | Castles |
The tempting move 10. ... B to R 3, winning the exchange, would be unsound, because of White's reply 11. Q to Kt 4, Castles; 12. B to R 6, &c.
Another variation proceeds as follows:
| 4. | P to Q 4 | 4. | P takes P |
| 5. | Castles | 5. | B to K 2 |
| 6. | P to K 5 | 6. | Kt to K 5 |
| 7. | R to K sq. | 7. | Kt to B 4 |
| 8. | B takes Kt | 8. | Q P takes B (!) |
| 9. | Kt takes P | 9. | Castles |
| 10. | B to K 3 | 10. | R to K sq. |
| 11. | Kt to Q B 3 | 11. | Kt to K 3 |
| 12. | Kt to B 5 | 12. | Kt to B sq. |
| Even game. | |||
The remaining Openings, though not less important, we shall be compelled to deal with more briefly. It must, however, be remembered that it is only the first three or four moves on either side (or even less) which constitute a given Opening. All beyond these are optional, though in many instances the best moves in continuation on either side have been ascertained by careful analysis, and these are consequently known, among players, as "book" moves.
PHILIDOR'S DEFENCE.
After 1. P to K 4, P to K 4; 2. Kt to K B 3, Black may defend the attacked King's pawn with 2.... P to Q 3, and this constitutes Philidor's Defence.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | P to Q 3 |
| 3. | P to Q 4 | 3. | P takes P |
| 4. | Kt takes P | ... |
If 4. Q takes P, Black replies 4.... Kt to Q B 3 (best); 5. B to Q Kt 5, B to Q 2; 6. B takes Kt, B takes B; 7. B to Kt 5, Kt to B 3; 8. B takes Kt.
Q takes B; 9. Q takes Q, P takes Q; 10. Kt to B 3, and Black has two Bishops against two Knights, and an open Kt and K file for his Rooks, and consequently the advantage.
| ... | 4. | Kt to K B 3 | |
| 5. | B to Q B 4 | 5. | B to K 2 |
Equal game.
Second Variation.
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Third Variation.
Repeat the opening of second variation up to Black's fourth move.
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This variation has been selected to illustrate mate being given by castling.
THREE KNIGHTS' GAME.
The Three Knights' Game is brought about if, after 1. P to K 4, P to K 4; 2. Kt to K B 3, Kt to Q B 3, White plays 3. Kt to B 3, The following is an example:
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | Kt to B 3 | 3. | B to Kt 5 |
| 4. | B to Kt 5 | 4. | K Kt to K 2 |
| 5. | P to Q 4 | 5. | P takes P |
| 6. | Kt takes P | 6. | Castles |
Even game.
FOUR KNIGHTS' GAME.
If Black moves 3. ... Kt to B 3, the previous moves being the same as in the Three Knights' Game, it is called the Four Knights' Game. It is convertible into a Ruy Lopez, if White plays 4. B to Kt 5; and into a Double Ruy Lopez, if Black replies 4. ... B to Kt 5.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to Q B 3 | 2. | Kt to K B 3 |
| 3. | Kt to B 3 | 3. | Kt to B 3 |
| 4. | B to Kt 5 | 4. | B to Kt 5 |
| 5. | Castles | 5. | Castles |
| 6. | Kt to Q 5 | 6. | Kt takes Kt |
| 7. | P takes Kt | 7. | P to K 5 |
| 8. | P takes Kt | 8. | P takes Kt |
| 9. | Q takes P |
If White had played 9. P takes Q P, Black's best reply would have been 9. ... P takes P, attacking the Rook; if 9. P takes Kt P, Black replies 9. ... B takes Kt P, with a promising attack.
| ... | 9. | Q P takes P | |
| 10. | B to K 2 | 10. | B to Q 3 |
Even game.
THE VIENNA OPENING.
If, after 1. P to K 4, P to K 4, White plays 2. Kt to Q B 3, the Vienna Opening is the result. The Q Kt does not act immediately, but rather seems to relinquish the advantage of the first move; but this is only apparently so. For in all Openings the Q Kt plays an important rôle, and, having this piece in play, White soon resumes the attack, and with increased vigour in certain variations.
The defences for Black are—2. ... B to B 4; 2. ... B to Kt 5; 2. ... Kt to Q B 3; 2. ... Kt to K B 3. The latter yields the most satisfactory results. 2. ... Kt to Q B 3 may lead to the Steinitz Gambit, a difficult game for both sides; whilst 2. ... B to Kt 5 is the least satisfactory variation of all.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to Q B 3 | 2. | Kt to K B 3 |
| 3. | P to B 4 | 3. | P to Q 4 (best) |
In this variation it is not advisable to take the offered Gambit pawn, though Black might have done so if he had played 2. ... Kt to Q B 3 instead of 2. ... Kt to K B 3.
| 4. | B P takes P | 4. | Kt takes P |
| 5. | Q to B 3 | 5. | Kt to Q B 3 |
| 6. | B to Kt 5 | ... |
If 6. Kt takes Kt, Black would win with 6. ... Kt to Q 5; 7. Q to Q 3 (best), P takes Kt; 8. Q takes P, B to K B 4, to be followed by Kt takes P: ch. &c.
| ... | 6. | Kt takes Kt | |
| 7. | Kt P takes Kt (!) | 7. | B to K 2 |
| 8. | P to Q 4 | 8. | B to K 3 |
| 9. | Kt to K 2 | 9. | Castles |
| 10. | Castles | ||
| With a very good game. | |||
Second Variation.
| Third Variation.
|
THE STEINITZ GAMBIT.
This gambit is an offshoot of the Vienna Opening. It leads to a very difficult game, and the student will be well advised to avoid it. It is, however, desirable that he should know the moves of the Opening.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to Q B 3 | 2. | Kt to Q B 3 |
| 3. | P to B 4 | 3. | P takes P |
| 4. | P to Q 4 | ... |
This constitutes the Steinitz Gambit. The White King becomes exposed to a violent attack; but if the attack fails, White is able to exchange pieces, and so obtain a superior End game, his King (an essential factor in the ending) being in better play than the Black King.
THE SCOTCH GAME AND SCOTCH GAMBIT.
Next in importance to the Ruy Lopez and the Vienna Opening is the Scotch, an Opening very frequently adopted in matches and tournaments. If after 1. P to K 4, P to K 4; 2. Kt to K B 3, Kt to Q B 3; White plays 3. P to Q 4, it is called the Scotch Game. Black's best move is 3. ... P takes P (not 3. ... Kt takes P), and White can either retake the Pawn or leave it. In the latter case the Opening becomes the Scotch Gambit. The former Opening is considered sounder than the latter, and for that reason is met with more frequently nowadays. Formerly, when Gambits generally were more in vogue, the Scotch Gambit enjoyed corresponding popularity. A few of the most essential variations of this interesting Opening follow. First, of the Scotch game.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | P to Q 4 | 3. | P takes P |
| 4. | Kt takes P | 4. | Kt to B 3 |
| 5. | Kt to Q B 3 | 5. | B to Kt 5 |
| 6. | Kt takes Kt | 6. | Kt P takes Kt |
| 7. | Q to Q 4 | 7. | Q to K 2 |
| 8. | P to B 3 | 8. | P to B 4 |
| 9. | Q to K 3 | 9. | Castles. |
| Even game. | |||
Second Variation.
Repeat the Opening up to Black's 4th move.
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| Even game. | |||||||||||||||||||||||||||||||||
Third Variation.
Repeat Opening as before.
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| Even game. | |||||||||||||||||||||
THE SCOTCH GAMBIT.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | Kt to K B 3 | 2. | Kt to Q B 3 |
| 3. | P to Q 4 | 3. | P takes P |
| 4. | B to Q B 4 | ... |
The Pawn not being re-taken, as in the Scotch Game, constitutes the Scotch Gambit.
| ... | 4. | B to B 4 | |
| 5. | Kt to Kt 5 | 5. | Kt to R 3 |
Not 5. ... Kt to K 4, which most beginners are in the habit of playing, because White would still proceed exactly as after the move given in the text, and after the exchanges Black would have the K Kt not developed.
| 6. | Kt takes B P | 6. | Kt takes Kt |
| 7. | B takes Kt: ch. | 7. | K takes B |
| 8. | Q to R 5: ch. | 8. | P to Kt 3 |
| 9. | Q takes B | 9. | P to Q 4 (best) |
| 10. | P takes P | ... |
If 10. Q takes P: ch., then 10. ... Q takes Q; 11. P takes Q, Kt to Kt 5; 12. Kt to R 3, R to K sq.: ch.; 13. K to Q sq., Kt takes Q P, &c.
| ... | 10. | R to K sq.: ch. | |
| 11. | K to Q sq. | ... |
Forming the position shown in Fig. 11.
| ... | 11. | R to K 4 | |
| 12. | P to Q B 4 | 12. | Q to R 5 |
| 13. | Q to R 3 | 13. | Q takes B P |
| 14. | Q to B 3: ch. | 14. | Q takes Q |
| 15. | P takes Q | ... | |
| Black has the better game. | |||
Second Variation.
Repeat the Opening up to White's 6th move.
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Q R, he has the better game. |
THE DANISH AND CENTRE GAMBITS.
The opening moves in each case are 1. P to K 4, P to K 4; 2. P to Q 4, P takes P. If White continue 3. P to Q B 3, it is called the Danish Gambit, which is rarely played now. The Centre Gambit is a modification of the Scotch, and similar to it in many of the continuations. 3. Q takes P constitutes this Gambit. (Strictly speaking, it is not a Gambit, the pawn not being sacrificed.) Latterly the Centre Gambit has been somewhat neglected.
The Danish Gambit.
| WHITE. | BLACK. | ||
| 1. | P to K | 1. | P to K 4 |
| 2. | P to Q 4 | 2. | P takes P |
| 3. | P to Q B | ... |
These moves constitute the Danish Gambit.
| ... | 3. | P takes P | |
| 4. | B to Q B 4 | 4. | Kt to K B 3 |
| 5. | Kt takes P | 5. | B to Kt 5 |
| 6. | Kt to K 2 | 6. | Castles |
| 7. | P to K 5 | 7. | Kt to K 5 |
(Or 7. ... P to Q 4, equally good, and leading to a livelier game.)
| 8. | Castles | 8. | Kt takes Kt |
| 9. | P takes Kt | 9. | B to B 4 |
And White is better developed, for the pawn minus. Still Black has a tangible advantage.
The Centre Gambit.
| WHITE. | BLACK. | ||
| 1. | P to K 4. | 1. | P to K 4 |
| 2. | P to Q 4 | 2. | P takes P |
| 3. | Q takes P | 3. | Kt to Q B 3 |
| 4. | Q to K 3 | ... |
Formerly the continuation was 4. Q to Q sq., Kt to B 3; 5. B to Q 3, P to Q 4, &c., but the text-move is now considered superior to the retreat of a developed piece, especially as from K 3 the range of the Queen's action on both sides should prove more advantageous to White.
| ... | 4. | Kt to B 3 | |
| 5. | Kt to Q B 3 | 5. | B to Kt 5 |
If 5. P to K 5, Black's best reply is 5. ... Kt to K Kt 5; 6. Q to K 4, P to Q 4; 7. P takes P e.p.: ch., B to K 3; 8. P takes P, Q to Q 8: ch., followed by 9. ... Kt takes P: ch. and 10. ... Kt takes Q, with the better game.
PETROFF'S DEFENCE.
Here, after 1. P to K 4, P to K 4; 2. Kt to K B 3, Black, instead of defending the K P with 2. ... Kt to Q B 3, plays Kt to K B 3, attacking the opponent's K P. This mode of defence is sometimes adopted if the second player wishes to avoid the Ruy Lopez, Scotch Opening, or Evans Gambit. On the whole it yields a safe defence, although somewhat tame in the majority of variations.
THE KING'S GAMBITS.
The reader has already had several examples of Gambits, but others still remain to be described. A pawn is sacrificed in order to get a compensating advantage in a rapid development of the pieces, and an immediate attack. Formerly the Gambits were played very frequently, but more perfect knowledge of the possible defences has caused the less speculative Openings to be resorted to in preference—a
tacit admission that the Gambits are for the most part hazardous for the first player, though they give rise to ingenious combinations and interesting positions.
The principal Gambits (apart from the "Evans") are the King's Knight's and King's Bishop's Gambits. From the former spring other well-known Gambits, such as the Kieseritzky, Allgaier, Muzio, &c.
THE KING'S KNIGHT'S GAMBIT.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | P takes P |
| 3. | Kt to K B 3 | ... |
This move completes the Gambit.
| ... | 3. | P to K Kt 4 |
This move has a double object. First, it protects the Gambit pawn, which would be attacked after White's necessary P to Q 4, and then it enables Black to post his B at Kt 2, which is essential, as in some variations White might play P to K R 4, when without the B at Kt 2, Black could not reply P to K R 3, because his Rook would not then be protected, and his pawns on the King's side would be broken up.
| 4. | B to B 4 | 4. | B to Kt 2 |
| 5. | P to Q 4 | 5. | P to Q 3 |
| 6. | P to K R 4 | 6. | P to K R 3 |
See previous remark. Of course, were Black now to advance the attacked pawn, he would weaken the Gambit pawn.
| 7. | P takes P | 7. | P takes P |
| 8. | R takes R | 8. | B takes R |
| 9. | Q to Q 3 | ... |
The intention being to play P to K 5 and Q to R 7, attacking two pieces, and threatening mate. Black prevents this by—
| ... | 9. | Kt to K R 3 |
White has not as yet gained any marked advantage to compensate for the sacrificed pawn.
Black's best defence in the King's Knight's Gambit is to play 4. ... P to Kt 5, thereby forcing White to adopt either the Muzio or the Salvio attack, in either of which cases Black should get the best of the game, as we proceed to show.
THE MUZIO GAMBIT.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | P takes P |
| 3. | Kt to K B 3 | 3. | P to K Kt 4 |
| 4. | B to B 4 | 4. | P to Kt 5 |
| 5. | Castles | ... |
The Knight cannot go back to Kt sq., consequently White must either give it up or play Kt to K 5, which will be treated in the Salvio Gambit. Leaving the Knight en prise constitutes the Muzio Gambit.
| ... | 5. | P takes Kt |
The position is now as represented in Fig. 12.
| 6. | Q takes P | 6. | Q to B 3 |
| 7. | P to K 5 | ... |
This further sacrifice may be regarded as compulsory. White gains time to develop his pieces, as Black has, after the capture of the K P, both King and Queen in an exposed position.
| ... | 7. | Q takes P | |
| 8. | P to Q 3 | 8. | B to R 3 |
| 9. | B to Q 2 | ... |
Threatening 10. R to K sq.; or if Black plays 9. ... Q takes P; 10. B to B 3, &c. White has gained no material advantage.
Second Variation.
Reverting to the position after Black's 5th move (Fig. 12), instead of, as in the preceding variation, 6. Q takes P, let White play—
| 6. | P to Q 4 | ... |
This attack, if not properly met, is extremely embarrassing for Black; but, against the correct play, it is inferior to the one already given.
| ... | 6. | P to Q 4 (best) | |
| 7. | B takes P | 7. | Q B to Kt 5 |
| 8. | R to B 2 | 8. | P to Q B 3 |
| 9. | B to B 4 | 9. | B to Kt 2 |
| 10. | P to B 3 | 10. | B to R 3 |
| 11. | Kt to Q 2 | 11. | Kt to K 2 |
| 12. | Kt takes P | 12. | Kt to Kt 3 |
And Black even without Castling may assume the counter-attack with R to Kt sq., bringing the Queen into play as soon as feasible.
THE SALVIO GAMBIT.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | P takes P |
| 3. | Kt to K B 3 | 3. | P to K Kt 4 |
| 4. | B to B 4 | 4. | P to Kt 5 |
| 5. | Kt to K 5 | ... |
This move constitutes the Salvio attack. White
attacks Black's K B P, intending to obtain a compensating advantage for being compelled to move his King without castling.
| ... | 5. | Q to R 5: ch. | |
| 6. | K to B sq. | 6. | Kt to Q B 3 |
| 7. | B takes P: ch. | 7. | K to K 2 |
Better here, as in most cases, than 7.... K to Q sq., for it keeps an attack upon the B in case the Kt has to move.
| 8. | Kt takes Kt: ch. | 8. | Q P takes Kt |
| 9. | B to Kt 3 | 9. | Kt to B 3 |
| 10. | P to Q 3 | 10. | Kt to R 4 |
Black has by far the better position.
THE KIESERITZKY GAMBIT.
Here the opening moves are again: 1. P to K 4, P to K 4; 2. P to K B 4, P takes P; 3. Kt to K B 3, P to K Kt 4. If White plays 4. B to B 4, Black can play either 4. ... B to Kt 2, thus consolidating his King's pawns, which are difficult to break up, or 4. ... P to Kt 5, with the consequences shown in the Muzio and Salvio. To obviate this, White plays now 5. P to K R 4. Black's Knight's pawn cannot be defended with P to K R 3, the Bishop not being yet at Kt 2. Therefore Black's best course (B to K 2 not being good) is 5. ... P to Kt 5, to which White replies 6. Kt to K 5—the Kieseritzky, or 6. Kt to Kt 5, the Allgaier, to be considered subsequently.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | P takes P |
| 3. | Kt to K B 3 | 3. | P to K Kt 4 |
| 4. | P to K R 4 | 4. | P to Kt 5 |
| 5. | Kt to K 5 | 5. | B to Kt 2 |
Black has various defences here, the best being the text-move and 5. ... Kt to K B 3.
| 6. | P to Q 4 | ... |
If 6. Kt takes Kt P, Black replies 6. ... P to Q 4; 7. Kt to B 2, Kt to K 2; 8. P takes P, Castles; 9. B to K 2, Kt to B 4, with the better game.
| ... | 6. | Kt to K B 3 | |
| 7. | Kt to Q B 3 | 7. | P to Q 3 |
| 8. | Kt to Q 3 | 8. | Kt to R 4 |
| 9. | Kt takes P | 9. | Kt to Kt 6 |
| 10. | R to R 2 | 10. | Castles |
| 11. | Q to Q 3 | 11. | Kt takes B |
| 12. | K takes Kt | 12. | Kt to B 3 |
And Black has a good game.
THE ALLGAIER GAMBIT.
Here, as in the Muzio, a piece is sacrificed for an early and strong attack. The opening moves are—
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | P takes P |
| 3. | Kt to K B 3 | 3. | P to K Kt 4 |
| 4. | P to K R 4 | 4. | P to Kt 5 |
| 5. | Kt to Kt 5 | ... |
This move involves the sacrifice of the Knight, and constitutes the Allgaier.
| ... | 5. | P to K R 3 | |
| 6. | Kt takes K B P | 6. | K takes Kt |
| 7. | B to B 4: ch. | 7. | P to Q 4 |
Black gives up this pawn to free his Bishop and protect the pawn at Kt 5.
| 8. | B takes P: ch. | 8. | K to Kt 2 |
| 9. | B takes Q Kt P | 9. | B takes B |
| 10. | Q takes P: ch. | 10. | K to B 2 |
| 11. | Q to R 5: ch. | 11. | K to K 2 |
| 12. | Q to K 5: ch. | 12. | K to Q 2 |
| 13. | Q takes R | 13. | Kt to K B 3 |
Threatening to win the Queen by 14. ... Q to K 2, and 15. ... B to Kt 2.
| 14. | P to Q Kt 3 | ... |
To be able to play, in reply to 14. ... Q to K 2; 15 B to R 3. This avoids the immediate danger, but White has no tangible advantage.
An important modification of this is the Allgaier-Thorold, in which White at move 7 advances the Queen's pawn, instead of at once checking after the sacrifice of the Knight. The following is an example of this Gambit, and a probable continuation.
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | P takes P |
| 3. | Kt to K B 3 | 3. | P to K Kt 4 |
| 4. | P to K R 4 | 4. | P to Kt 5 |
| 5. | Kt to Kt 5 | 5. | P to K R 3 |
| 6. | Kt takes P | 6. | K takes Kt |
| 7. | P to Q 4 | 7. | P to B 6 |
| 8. | B to B 4: ch. | 8. | P to Q 4 |
| 9. | B takes P: ch. | 9. | K to Kt 2 |
| 10. | P takes P | 10. | Kt to K B 3 |
Black has slightly the advantage.
THE CUNNINGHAM GAMBIT.
This should rather be called the Cunningham Defence to the King's Knight's Gambit. The opening moves are: 1. P to K 4, P to K 4; 2. P to K B 4, P takes P; 3. Kt to K B 3, B to K 2. This defence is less favourable than either the Muzio or the Salvio.
The game may proceed as follows—
| WHITE. | BLACK. | ||
| 4. | B to B 4 | 4. | B to R 5: ch. |
| 5. | K to B sq. | ... |
This is the best move, which should give the advantage to White. Less favourable is Cunningham's own line of play: 5. P to K Kt 3, P takes P; 6. Castles, P takes P: ch.; 7. K to R sq., P to Q 4, 8. B takes P, Kt to K B 3; 9. B takes P. ch., K takes B; 10. Kt takes B, R to B sq.; 11. P to Q 4, K to Kt sq., with a good game for Black.
| 5. | ... | 5. | P to Q 4 |
| 6. | B takes P | 6. | Kt to K B 3 |
THE BISHOP'S GAMBIT.
Here the opening moves are: 1. P to K 4, P to K 4; 2. P to K B 4, P takes P; 3. B to B 4. The Bishop being developed at this stage, instead of the King's Knight, gives the Opening its name. Its special feature is that White exposes himself to a check, which compels him to move his King, and thus loses the privilege of castling without gaining such an immediate attack as in the Salvio. But though White thus gives up the attack temporarily, he is able to reassume it with intensified vigour, owing to the exposed position of the Black Queen. The check with the Queen is therefore now only
resorted to in conjunction with 4. ... P to Q 4, a counter-gambit which furthers Black's development.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | P takes P |
| 3. | B to B 4 | 3. | P to Q 4 |
Or 3. ... Q to R 5: ch., followed by 4. ... P to Q 4.
| 4. | B takes P | ... |
Not 4. P takes P, because of 5. ... Q to R 5: ch.; 6. K to B sq., B to Q 3; 7. Kt to K B 3, Q to R 4; 8. P to Q 4, Kt to K 2; 9. Kt to B 3, Castles, with the better game.
| ... | 4. | Q to R 5: ch. | |
| 5. | K to B sq. | 5. | P to K Kt 4 |
| 6. | Kt to K B 3 | 6. | Q to R 4 |
| 7. | P to K R 4 | ... |
Upon the same principle as in the other Gambits (or, indeed, as in every strong pawn position), viz., to attempt to break the force of the united pawns.
| ... | 7. | B to Kt 2 |
Second Variation.
Reverting to the position after Black's 5th move, White has two other attacks here—viz., 6. Q to B 3, and 6. P to K Kt 3.
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| With advantage for Black. | |||||||||||||||||||||||||||||||||
Third Variation.
(First five moves as before.)
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Two other continuations for Black should be noted by the student—viz., 3. ... P to K B 4, and 3. ... Kt to K B 3.
Fourth Variation.
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Fifth Variation.
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THE GAMBIT DECLINED.
Although, in the majority of Gambits, the defence should obtain, if not an advantage, at least an even game, some players (fearing to give their opponent the chance of a sudden and vigorous attack) decline to accept the Gambit.
There are various modes of refusing the Gambit; the one most frequently resorted to being by playing B to B 4. The game may proceed as under:
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | B to B 4 |
| 3. | Kt to K B 3 | 3. | P to Q 3 |
| 4. | P to B 3 | ... |
Intending to establish a centre with 5 P to Q 4.
| ... | 4. | B to K Kt 5 | |
| 5. | B to K 2 | ... |
5. P to K R 3, B takes Kt; 6. Q takes B, may also be played.
| ... | 5. | B takes Kt | |
| 6. | B takes B | 6. | Kt to Q B 3 |
| 7. | P to Q Kt 4 | 7. | B to Kt 3 |
| 8. | P to Kt 5 | 8. | Q Kt to K 2 |
| 9. | P to Q 4 | ... |
And White has, so far, carried out his plan of establishing a centre. The position is about even.
The following defence is known as the Falkbeer Counter-Gambit, after its author:
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 4 |
| 2. | P to K B 4 | 2. | P to Q 4 |
| 3. | K P takes P | ... |
Not 3. B P takes P, because of 3. ... Q to R 5: ch., which would give Black a winning game.
| ... | 3. | P to K 5 |
Black gives up a pawn for the attack, and a spirited game. It would be disadvantageous for Black to play 3. ... Q takes P, because White would then develop his pieces quicker, which it is the object of Black's counter-gambit to prevent.
| 4. | B to Kt 5: ch. | 4. | P to B 3 |
Both White's and Black's moves are the best available.
| 5. | P takes P | 5. | P takes P |
Black takes with the pawn in order to maintain the attack, for which he gave up a pawn.
| 6. | B to B 4 | 6. | Kt to B 3 |
Again the best moves for both sides. Black could not play 6. ... B to Q B 4, because of 7. B takes P: ch., K takes B; 8. Q to R 5: ch., P to Kt 3; 9. Q takes B, &c.
CLOSE GAMES.
All games which commence with any other move than 1. P to K 4, or in which Black replies with any other move than 1. ... P to K 4, are called Close Games. These Openings are resorted to either by the first player, if he has to meet an opponent who is well versed in book knowledge, or by the second player, if he is afraid to trust himself in the wide field of the Open Games, with all the numerous variations and combinations, which the first player, knowing what Opening he proposes to adopt, might have prepared.
The Close Games require a considerable knowledge of pawn-play, which is a specialty, only to be acquired by long experience. In the Open Games the attack is mostly made with pieces, while in close or irregular games the pawns are pushed forward, and the pieces are posted behind them in strategical positions, and only come into action after the dispositions of the plan of campaign are matured. Any attempt at full treatment at the Close Games would therefore be out of place in an elementary treatise.
The French Defence and the Sicilian Defence are, however, exceptions. They are very frequently played. To these, therefore, it will be necessary to devote special attention.
THE FRENCH DEFENCE.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 3 |
This move of Black constitutes the French Defence. It gives a safe but dull game, with the exception of a few variations. The game may continue as follows:
| 2. | P to Q 4 | 2. | P to Q 4 |
| 3. | P to K 5 | 3. | P to Q B 4 |
To prevent the establishment of a centre. It may be taken as a principle—always try to prevent or break the formation of a centre.
| 4. | P to Q B 3 | 4. | Kt to Q B 3 |
| 5. | P to K B 4 | ... |
In anticipation of Black's probable 5. ... Q to Kt 3, when White would have to develop his K Kt.
| ... | 5. | Q to Kt 3 | |
| 6. | Kt to B 3 | 6. | B to Q 2 |
| 7. | P to Q Kt 3 | ... |
In order to play his Bishop to K 3, which he cannot do now, because the Kt P would be en prise.
| ... | 7. | R to B sq. | |
| 8. | B to K 3 | 8. | Kt to R 3 |
| 9. | B to Q 3 | ... |
To prevent 9. ... Kt to B 4, attacking Bishop and Queen's Pawn. 9. ... Kt to K Kt 5 would be loss of time, as White would play 10. B to Kt sq., and then drive the Knight back.
| ... | 9. | P takes P | |
| 10. | P takes P | 10. | Kt to Q Kt 5 |
| 11. | P to K R 3 | ... |
The White Bishop cannot move, because of Kt to B 7: ch., and if 11. Castles, Black would win the exchange with 11. ... Kt takes B; 12. Q takes Kt, B to Kt 4.
| ... | 11. | Kt takes B: ch. | |
| 12. | Q takes Kt | 12. | B to Kt 5: ch. |
| 13. | K to B 2 (or Q Kt to Q 2) | ... |
With a very good game for Black.
Second Variation.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K 3 |
| 2. | P to Q 4 | 2. | P to Q 4 |
| 3. | Kt to Q B 3 | 3. | Kt to K B 3 |
| 4. | P to K 5 |
P to K 5 on White's third move having been found unsatisfactory, the modified form here given is now fashionable.
| ... | 4. | K Kt to Q 2 | |
| 5. | P to B 4 | 5. | P to Q B 4 |
Again the attempt to break the centre.
| 6. | P takes P | 6. | Kt to Q B 3 |
As the pawn cannot be defended, Black utilises his time by bringing an additional piece into play.
| 7. | Kt to B 3 | 7. | B takes P |
| 8. | B to Q 3 | 8. | P to B 3 |
Again an attack upon the centre.
| 9. | P takes P | 9. | Kt takes P |
| 10. | Q to K 2 | 10. | Castles |
| 11. | P to Q R 3 | 11. | P to Q R 3 |
| The game is so far even. | |||
THE SICILIAN DEFENCE.
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to Q B 4 |
This move of Black constitutes the Sicilian Defence, its main object being to prevent White from establishing a centre.
| 2. | Kt to Q B 3 | 2. | Kt to Q B 3 |
White might also play 2. B to B 4, or 2. Kt to K B 3; the development of the Q Kt is, however, generally adopted.
| 3. | Kt to B 3 | 3. | P to K 3 |
| 4. | P to Q 4 | 4. | P takes P |
| 5. | Kt takes P | 5. | Kt to B 3 |
| 6. | Kt (Q 4) to Kt 5 | 6. | B to Kt 5 |
| 7. | P to K R 3 | 7. | B takes Kt: ch. |
| 8. | Kt takes B | 8. | P to Q 4 |
Black remains with an isolated Queen's pawn after the exchanges which follow; but as in most forms of the Sicilian Defence, Black's Queen's pawn is weak, the position arising from Black's text-move is not inferior to any other he can obtain.
| 9. | P takes P | 9. | Kt takes P |
| 10. | Kt takes Kt | 10. | Q takes Kt |
| 11. | Q takes Q | 11. | P takes Q |
| 12. | B to K B 4 | 12. | Castles |
| 13. | Castles | 13. | B to K 3 |
| Even game. | |||
THE QUEEN'S GAMBIT.
The Queen's Gambit, 1. P to Q 4, P to Q 4; 2. P to Q B 4, P takes P; 3. P to K 3, or 3. P to K 4, or 3. Kt to K B 3, &c., is rarely played, because the Gambit pawn cannot, as in the King's Gambit, be defended by Black with the Knight's pawn; therefore the offered Gambit is usually declined (say, by 2. ... P to K 3), and the games take the form of close openings. The Queen's Gambit Declined is a very popular Opening in tournaments.
THE FIANCHETTO.[[105]]
The Fianchetto takes various form—viz., the King's Fianchetto, wherein White commences with 1. P to K Kt 3, and 2. B to Kt 2; and the Queen's Fianchetto, where White plays 1. P to Q Kt 3, and 2. B to Kt 2; the King's Fianchetto Defence, where Black defends with 1. ... P to K Kt 3, and 2. ... B to Kt 2; and the Queen's Fianchetto Defence, where Black defends with 1. ... P to Q Kt 3, and 2. ... B to Kt 2. The Double Fianchetto is where either White or Black develops both Bishops at Kt 2. The shape of White's development against either Fianchetto defence should be as under:
| WHITE. | BLACK. | ||
| 1. | P to K 4 | 1. | P to K Kt 3 |
| 2. | P to K B 4 | 2. | P to K 3 |
| 3. | P to Q 4 | 3. | B to Kt 2 |
| 4. | Kt to K B 3 | 4. | P to Kt 3 |
| 5. | P to B 3 | 5. | B to Kt 2 |
| 6. | B to Q 3 | 6. | Kt to K 2 |
| 7. | B to K 3 | 7. | P to Q 4 |
| 8. | P to K 5 | 8. | Kt to Q 2 |
| 9. | Q Kt to Q 2, &c. |
All kindred Openings should be treated after this manner—viz., the opposing player should aim at the formation of a strong centre, so as to close the diagonal occupied by the Bishop.
THE END GAME.
As before stated, the game of Chess consists of three parts:
The Opening, i.e., the strategical disposition of the forces; the Middle Game, i.e., the campaign, and the End Game.
The Middle part of the game commences where the Opening ceases, and here the player is thrown upon his own resources.
The End Game commences where the Middle Game ceases, and this latter stage of the game is a study in itself. In the majority of cases the treatment of the End Game is a matter of intuition. The student may, however, be assisted by the knowledge of general principles, and by familiarity with certain standard positions, which frequently occur in practice. Examples of these positions, and the methods of dealing with them, will be given in the following pages.
KING AND PAWN AGAINST KING.
In the majority of games, either one or the other player remains at the close with a pawn, which has to be queened. Fig. 13 illustrates an ending in which White is a pawn ahead, and if he had the move, would win with 1. R to R 2, checkmate. It being, however, Black's turn to move, he is able to exchange both Queen and Rook, and if he can stop White's pawn from reaching the 8th square and becoming a Queen, he may draw the game. There
is a simple method of ascertaining this at a glance without calculation (by means of the imaginary "square" depicted in Fig. 14). Black forces the exchange of pieces thus:
| WHITE. | BLACK. | ||
| ... | 1. | Q to B 3: ch. | |
| 2. | Q to Kt 2: ch. | 2. | Q takes Q: ch. |
| 3. | R takes Q | 3. | R to R 8: ch. |
| 4. | R to Kt sq. | 4. | R takes R: ch. |
| 5. | K takes R | ... |
Producing the position shown in Fig. 14; and Black draws; for the Black King can reach the pawn before the White King can approach to defend it. Consequently White can only advance the pawn; but the Black King will be able to stop it from queening, for his next move will bring him within
the square (indicated above) in which the pawn stands, and in such case he can always overtake it. Thus—
| WHITE. | BLACK. | ||
| ... | 5. | K to Kt 6 | |
| 6. | P to Kt 4 | 6. | K to B 5 |
| 7. | P to Kt 5 | 7. | K to K 4 |
| 8. | P to Kt 6 | 8. | K to Q 3 |
| 9. | P to Kt 7 | 9. | K to B 2 |
And the pawn is lost. It will be seen that the Black King remains with every move within the square of the pawn.
Fig. 15 illustrates a position in which the pawn can be supported by the King. Here if White were at once to advance the pawn, the Black King would move within the square of the pawn and capture it. Therefore the King must go to protect it.
| 1. | K to Q 2 | 1. | K to B 5 |
| 2. | K to K 3 | 2. | K to Q 4 |
| 3. | K to B 4 | 3. | K to K 3 |
| 4. | K to Kt 5 | 4. | K to B 2 |
| 5. | K to R 6 | 5. | K to Kt sq. |
| 6. | P to Kt 4 | 6. | K to R sq. |
| 7. | P to Kt 5 | 7. | K to Kt sq. |
| 8. | K to Kt 6 | 8. | K to R sq. |
| 9. | K to B 7 | ... |
If Black had played 8. ... K to B sq., White would have played 9. K to R 7.
| ... | 9. | K to R 2 | |
| 10. | P to Kt 6: ch. |
And the pawn cannot be prevented from queening.
KING AND QUEEN AGAINST KING.
The position being as in Fig. 16, the shortest way to checkmate the Black King is as given below:
| WHITE. | BLACK. | ||
| 1. | K to Kt 2 | 1. | K to Q 4 |
| 2. | K to B 3 | 2. | K to K 4 |
| 3. | Q to K Kt 6 | 3. | K to B 5 |
| 4. | K to Q 4 | 4. | K to B 6 |
| 5. | Q to Kt 5 | 5. | K to B 7 |
| 6. | Q to Kt 4 | 6. | K to K 8 |
| 7. | K to K 3 | 7. | K to B 8 |
| 8. | Q to Kt 7 | ... |
Not 8. Q to Kt 3, because Black would then be stalemate, a contingency which White must carefully guard against in similar positions.
| ... | 8. | K to K 8 | |
| 9. | Q mates at Kt sq. or R sq. |
TWO ROOKS AND KING AGAINST KING.
Fig. 17 shows the most unfavourable position for White's two Rooks. The shortest way to checkmate the Black King is as follows:
| WHITE. | BLACK. | ||
| 1. | R to K sq. | 1. | K to Q 5 |
| 2. | R (Kt sq.) to Q sq.: ch. | 2. | K to B 6 |
| 3. | R to K 2 | 3. | K to B |
| 4. | R to B 2: ch. | 4. | K to Kt 6 |
| 5. | R to B 8 | 5. | K to R 6 |
| 6. | R to Q Kt sq. | 6. | K to R 5 |
| 7. | R to R 8, mate. |
KING AND ROOK AGAINST KING.
Fig. 18 represents the most unfavourable position for White. The shortest way to checkmate the Black King is—
| WHITE. | BLACK. | ||
| 1. | K to B 4 | 1. | K to K 5 |
| 2. | R to K sq.: ch. | 2. | K to B 4 |
| 3. | K to Q 4 | 3. | K to B 5 |
| 4. | R to B sq.: ch. | 4. | K to Kt 4 |
| 5. | K to K 4 | ... |
It will be noticed that the White King always approaches at the distance of a Knight's move, whilst the Black King moves either on diagonals, or takes the "opposition" to the White King.
| ... | 5. | K to Kt 3 | |
| 6. | K to K 5 | 6. | K to Kt 4 |
| 7. | R to Kt sq.: ch. | 7. | K to R 5 |
| 8. | K to B 5 | 8. | K to R 6 |
| 9. | K to B 4 | 9. | K to R 7 |
| 10. | R to Kt 3 | 10. | K to R 8 |
| 11. | K to B 3 | 11. | K to R 7 |
| 12. | K to B 2 | 12. | K to R 8 |
| 13. | R to R 3, mate. |
N.B.—The Rook can only checkmate on an outer row or file of the board.
KING AND TWO BISHOPS AGAINST KING.
To checkmate with two Bishops is comparatively easy. Fig. 19 illustrates the most unfavourable position for White, and the solution given is the shortest attainable.
| WHITE. | BLACK. | ||
| 1. | B to Q sq. | 1. | K to K 6 |
| 2. | K to Kt 2 | 2. | K to Q 7 |
| 3. | B to Q B 2 | 3. | K to K 6 |
| 4. | K to B 3 | 4. | K to B 6 |
| 5. | K to Q 4 | 5. | K to Kt 5 |
| 6. | B to K sq. | 6. | K to B 6 |
| 7. | B to Q 3 | 7. | K to B 5 |
| 8. | B to K 4 | 8. | K to Kt 4 |
| 9. | K to K 5 | 9. | K to Kt 5 |
| 10. | B to K B 2 | 10. | K to Kt 4 |
| 11. | B to K B 5 | 11. | K to R 3 |
| 12. | K to B 6 | 12. | K to R 4 |
| 13. | B to K 6 | 13. | K to R 3 |
| 14. | B to Kt 4 | 14. | K to R 2 |
| 15. | K to B 7 | 15. | K to R 3 |
White must he careful not to stalemate the Black King. For instance, if Black were to play here 15. ... K to R sq., White could not play 16. B to K B 5; but must play 16. B to K 3, K to R 2; 17. B to B 5: ch., K to R sq.; 18. B to Q 4 mate.
| 16. | B to K 3: ch. | 16. | K to R 2 |
| 17. | B to B 5: ch. | 17. | K to R sq. |
| 18. | B to Q 4, checkmate. |
KING, BISHOP, AND KNIGHT AGAINST KING.
To checkmate with Bishop and Knight is a very difficult process. Checkmate can only be forced if the Black King is driven to one of the Rook squares of the same colour as the Bishop. In the position shown in Fig. 20 the Black King must be driven either to Q R sq., or K R 8. Frequently the Bishop and Knight are separated from the White King; in that case the Black King cannot be prevented from moving to a Rook square of the opposite colour to the Bishop. Then the forces must be brought together to act in concert with the White King; when, by combined action, the Black King can be forced on to a corner square of the same colour as White's Bishop, and checkmated as shown in the appended solution. Mate can be forced in the most
unfavourable position (see Fig. 20) in about thirty or thirty-one moves.
| WHITE. | BLACK. | ||
| 1. | Kt to Kt 3: ch. | 1. | K to B 3 |
If 1. ... K to B 5; then 2. B to Q sq., K to B 6; 3. K to Kt 5, K to Q 6; 4. K to B 5, K to K 5; 5. B to B 2: ch., K to K 4; 6. Kt to Q 4, K to B 3; 7. K to Q 6, K to B 2; 8. Kt to B 3, K to B 3; 9. Kt to K 5, K to Kt 2; 10. K to K 6, and the King is gradually forced on to the last row.
| 2. | K to Kt 4 | 2. | K to Q 4 |
| 3. | B to B 3: ch. | 3. | K to Q 3 |
| 4. | Kt to Q 4 | 4. | K to K 4 |
| 5. | K to B 5 | 5. | K to B 3 |
| 6. | K to Q 5 | 6. | K to B 2 |
| 7. | Kt to B 5 | 7. | K to B 3 |
| 8. | Kt to Q 6 | 8. | K to Kt 3 |
| 9. | K to K 5 | 9. | K to Kt 2 |
| 10. | B to K 4 | 10. | K to Kt sq. |
| 11. | K to B 6 | 11. | K to R sq. |
The King is now on the Rook square of opposite colour to the Bishop, and must be driven to K R 8, or Q R square, in order to be checkmated.
| 12. | Kt to B 7: ch. | 12. | K to Kt sq. |
| 13. | B to B 5 | ... |
Purposely losing a move (coup de repos); it is immaterial where the Bishop moves to so long as it remains on the same diagonal, the object being to force Black to move, without altering White's position.
| ... | 13. | K to B sq. | |
| 14. | B to R 7 | ... |
To prevent the King from returning to Kt sq. if the Kt moves.
| ... | 14. | K to K sq. | |
| 15. | Kt to K 5 | 15. | K to Q sq. |
| 16. | B to K 4 | 16. | K to B 2 |
| 17. | Kt to B 4 | ... |
The Black King is now gradually forced on to the fatal White corner.
| ... | 17. | K to Q 2 | |
| 18. | K to B 7 | 18. | K to Q sq. |
| 19. | B to B 6 | 19. | K to B 2 |
| 20. | B to Kt 5 | ... |
Not to R 4, because at Kt 5 the Bishop guards the additional square R 6.
| ... | 20. | K to Q sq. | |
| 21. | K to K 6 | 21. | K to B sq. |
| 22. | K to Q 6 | 22. | K to Q sq. |
| 23. | Kt to R 5 | 23. | K to B sq. |
| 24. | B to Q 7: ch. | 24. | K to Kt sq. |
If 24. ... K to Q sq., then 25. Kt to B 6, checkmate.
| 25. | K to B 6 | 25. | K to R 2 |
| 26. | Kt to B 4 | 26. | K to R 3 |
| 27. | K to B 7 | 27. | K to R 2 |
| 28. | B to B 8 | 28. | K to R sq. |
| 29. | Kt to R 5 | 29. | K to R 2 |
| 30. | Kt to B 6: ch. | 30. | K to R sq. |
| 31. | B to Kt 7, checkmate. |
END GAME WITH TWO KNIGHTS.
With two Knights alone no mate can be forced, except through incorrect play on the part of the defence. Consequently the remaining with two
Knights should be avoided. If the player has the option to change off pieces, he should keep Bishop and Knight rather than two Knights.
General Observations.
A good system for the student is to practise one Opening only, attack and defence alternately, till it is thoroughly well mastered, and so on with every other Opening. The student should not get into the habit of playing with one colour only, or he will find himself at a disadvantage when he cannot have his favourite colour. He must not make a move without carefully weighing the possible replies. If he finds a good move, let him still try to find a better one. When his opponent makes a move, he must try to discover the object of such move, whether it is immediately menacing, or only indirectly so. In the first case, a suitable defence must be found; in the latter case, he may profit by the respite to bring a piece into play.
The first principle is to develop the pieces quickly, and never to commence an attack with insufficient forces. If a player is able to bring more pieces into play than his opponent, it is obvious that he must be stronger. The Opening correctly played is frequently half the battle won.
Avoid useless checks. Avoid useless exchanges. Bear in mind that it is disadvantageous to be left with two Knights only, as mate cannot be given with them. If the player has the better game, he should avoid remaining with a Bishop of different colour from a like piece of his opponent, as Bishops of different colour frequently lead to a draw.
The student should further accustom himself to an elegant style of play—viz., strictly to adhere to the laws of the game; never to take back a move; never to touch a man until he has determined where to move it; and to move his pieces quietly.
Bibliography of Chess.
The literature of chess is very extensive, but many of the best works would be practically useless to a beginner, as too advanced for his capabilities. Any of the works mentioned next below may be studied with advantage by the learner.
Chess[[106]] (Oval Series). By L. Hoffer. Routledge, 1s.
Common Sense in Chess. By E. Lasker. Bellairs & Co. 2s. 6d. nett.
Chess. By R. F. Green. Bell & Sons. 1s.
The Chess-Player's Mentor. By F. J. Lee and G. H. D. Gossip. Ward & Downey. 1s.
The Chess-Player's Vade Mecum. By G. H. D. Gossip. Ward & Downey. 1s.
The Chess Openings. By I. Gunsberg. Bell & Sons, 1s.
The Chess-Player's Pocket Book. By James Mortimer. Sampson Low & Co. 1s.
Six Practical Chess Openings. Anon. British Chess Company. 6d.
Six Chess Lessons for Junior Players. By S. Tinsley. British Chess Company. 6d.
Fifty Pawn Puzzles. Anon. British Chess Company. 4d.
To more advanced players may be recommended, in addition—
The Chess-Player's Handbook. By Howard Staunton. Bell & Sons. 5s.
The Chess-Player's Companion. By Howard Staunton. Bell & Sons. 5s.
Morphy's Games of Chess. By J. Löwenthal. Bell and Sons. 5s.
Chess Openings, Ancient and Modern. By E. Freeborough and C. E. Ranken. Kegan Paul & Co. 8s.
Chess Endings. By E. Freeborough. Kegan Paul & Co. 7s. 6d.
Select Chess End-Games. By E. Freeborough. Kegan Paul & Co. 1s. 6d. nett.
Chess Studies and End Games. By J. Kling and B. Horwitz. Bell & Sons. 7s. 6d.
Synopsis of the Chess Openings. By William Cook. Simpkin, Marshall & Co. 4s.
The Chess-Player's Manual. By G. H. D. Gossip. Routledge. 7s. 6d.
The Principles of Chess. By James Mason. Horace Cox. 2s. 6d.
The Art of Chess. By James Mason. Horace Cox. 5s. nett.
Chess Openings. By James Mason. Horace Cox. 2s. net.
Chess Masterpieces. By H. E. Bird. Dean & Sons. 3s.
Chess Practice. By H. E. Bird. Sampson Low & Co. 2s. 6d.
Chess Novelties. By H. E. Bird. Warne & Co. 3s. 6d.
Modern Chess Brilliancies. By G. H. D. Gossip. Ward & Downey. 1s.
The Hastings Chess Tournament Book (1895). Edited by Horace Cheshire. Chatto & Windus. 7s. 6d. net.