Part 22
Having mastered the notation, the student should next familiarise himself with-- {347}
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 {348} 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.
Black. +---------------------------------------+ | | #K | | | | | | | |---------------------------------------| | | | #P | | | | | | |---------------------------------------| | ^Q | #P | ^B | | | | | | |---------------------------------------| | | ^P | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | ^P | | | #B | | | | | |---------------------------------------| | | ^P | | | | | | | |---------------------------------------| | ^K | | #Kt| | | | | | +---------------------------------------+ White.
FIG. 5. (Drawing by perpetual check.)
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, {349} 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.
Black. +---------------------------------------+ | | #K | | | | | | | |---------------------------------------| | | ^P | | | | | | | |---------------------------------------| | | ^K | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | +---------------------------------------+ White.
FIG. 6. (Illustration of stalemate.)
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 {350} "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 {351} 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.
{352}
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.
{353}
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 {354} 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 {355} 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 manoeuvre in the text is generally adopted, because if 6. Kt to B 3, Black could "pin" it with 6. ... B to R 4. {356}
... 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 manoeuvre.
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 {357} 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 manoeuvre 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.
Black. +---------------------------------------+ | #R | | | #Kt| #K | | | #R | |---------------------------------------| | #P | #P | #P | #B | #Q | #P | | | |---------------------------------------| | | #B | | | | #Kt| #P | #P | |---------------------------------------| | | | | | #P | | | | |---------------------------------------| | | | | | ^P | | | | |---------------------------------------| | | | ^P | | ^B | ^Kt| ^Kt| | |---------------------------------------| | ^P | ^P | ^B | | ^Q | ^P | ^P | ^P | |---------------------------------------| | ^R | | | | | ^R | ^K | | +---------------------------------------+ White.
FIG. 7. [POSITION AFTER BLACK'S 15TH MOVE.]
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 ...
{358}
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
{359}
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 {360} 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.
{361}
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 ...
Black. +---------------------------------------+ | | | | #R | | | | | |---------------------------------------| | | #P | #P | | | #P | | #K | |---------------------------------------| | | #P | #Kt| | | #Kt| #P | #P | |---------------------------------------| | | | | | #P | ^Kt| | | |---------------------------------------| | | | #Q | | ^P | | | | |---------------------------------------| | ^P | | ^P | | ^Q | | ^Kt| ^P | |---------------------------------------| | | ^P | | | | ^P | ^P | | |---------------------------------------| | | | | | | ^R | ^K | | +---------------------------------------+ White.
FIG. 8. [POSITION AFTER WHITE'S 28TH MOVE.]
(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
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_. {362}
SECOND VARIATION. THIRD VARIATION.
First three moves as before. First three moves as before.
P to B 3[78] Castles 4. ------------- 4. --------- Kt to B 3[79] Kt to B 3
P to Q 4 P to Q 3 5. --------- 5. --------- P takes P P to Q 3
P takes P B to K Kt 5 (?) 6. ------------------ 6. --------------- B to Kt 5: ch. (!) P to K R 3
B to Q 2 (!) B to R 4 7. -------------- 7. ---------- B takes B: ch. P to K Kt 4
Q Kt takes B B to K Kt 3 8. ------------ 8. ------------ P to Q 4[80] P to K R 4
P takes P Kt takes Kt P 9. ------------ 9. ------------- K Kt takes P P to R 5
Q to Kt 3 Kt takes P 10. ----------- 10. ----------- Q Kt to K 2 P takes B
Castles Kt takes Q[81] 11. ------- 11. -------------- Castles B to K Kt 5
With an even game. Kt to B 7 12. --------- R to R 4
Q takes B 13. ---------- Kt takes Q
R P takes P 14. ----------- Kt to Q 5
Kt to B 3 15. --------- P to B 3
{363}
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.
P to B 3 P takes Kt 4. --------- 9. ---------- Kt to B 3 B takes P
P to Q 4 Q to Kt 3 5. --------- 10. --------- P takes P B takes R
P takes P B takes P: ch. 6. -------------- 11. -------------- B to Kt 5: ch. K to B sq.
Kt to B 3 12. B to Kt 5 7. ------------ Kt takes K P
Castles 8. ----------- Kt takes Kt
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, {364} 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 ...