Part 26

Black. +---------------------------------------+ | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | #K | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | ^K | ^R | ^R | | | | | | +---------------------------------------+ White.

FIG. 17.

Fig. 17 shows the most unfavourable position for White's two Rooks. The shortest way to checkmate the Black King is as follows:

{418}

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.

Black. +---------------------------------------+ | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | #K | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | ^K | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | ^R | | | | | | | +---------------------------------------+ White.

FIG. 18.

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. {419}

KING AND TWO BISHOPS AGAINST KING.

Black. +---------------------------------------+ | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | #K | ^B | ^B | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | ^K | | | | | | | | +---------------------------------------+ White.

FIG. 19. [WHITE TO MOVE AND WIN.]

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.

{420}

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.

{421}

Black. +---------------------------------------+ | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | ^K | | #K | | | | | ^B | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | ^Kt| | | | | | | | +---------------------------------------+ White.

FIG. 20. [WHITE TO MOVE AND WIN.]

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 {422} 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. {423}

... 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 {424} 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. {425}

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. {426}

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.

* * * * *

{427}

DRAUGHTS.

"In friendly contention, the old men Laughed at each lucky hit or unsuccessful manoeuvre-- Laughed when a man was crowned, or a breach was made in the king-row." LONGFELLOW--_Evangeline._

The game of Draughts is played on a board of sixty-four squares of alternate colours, and with twenty-four pieces, called men (twelve on each side), also of opposite colours. It is played by two persons; the one having the twelve black or red pieces is technically said to be playing the _first side_, and the other, having the twelve white, to be playing the _second side_. Each player endeavours to confine the pieces of the other in situations where they cannot be played, or both to capture and fix, so that _none can be played_; the person whose side is brought to this state loses the game.

The essential rules of the game are as under--

The board shall be so placed that the bottom corner square on the left hand shall be black.

The men shall be placed on the black squares.[107]

{428}

The black men shall be placed upon the supposed first twelve squares of the board; the white upon the last twelve squares.

Each player shall play alternately with black and white men. Lots shall be cast for the colour at the commencement of a match, _the winner to have the choice of taking_ black _or_ white.

The first move must _invariably_ be made by the person having the black men.

At the end of five minutes "Time" may be called; and if the move be not completed on the expiry of another minute, the game shall be adjudged lost through improper delay.

When there is only _one way_ of taking one or more pieces, "Time" shall be called at the end of one minute; and if the move be not completed on the expiry of another minute, the game shall be adjudged lost through improper delay.

After the first move has been made, if either player arrange any piece without giving intimation to his opponent, he shall forfeit the game; but, if it is his turn to play, he may avoid the penalty by playing that piece, if possible.

After the pieces have been arranged, if the person whose turn it is to play _touch_ one, he must either play that piece or forfeit the game. When the piece is not playable, he is penalised according to the preceding law.

If _any part_ of a playable piece be played over an {429} angle of the square on which it is stationed, the play must be completed in _that direction_.

A capturing play, as well as an ordinary one, is completed the moment the hand is withdrawn from the piece played, even though two or more pieces should have been taken.

When taking, if a player remove one of his own pieces, he cannot replace it, but his opponent can either play or insist on his replacing it.

Either player making a false or improper move shall forfeit the game to his opponent, without another move being made.

The "Huff" or "Blow" is, _before one plays his own piece_, to remove from the board any of the adverse pieces that might or should have taken. The "Huff" does not constitute a move.

The player has the power either to _huff_, _compel the take_, or to _let the piece remain on the board_, as he thinks proper.[108]

When a man first reaches any of the squares on the opposite extreme line of the board, it becomes a "King." It must be crowned (by placing a man of the same colour on the top of it) by the opponent, and can afterwards be moved backwards or forwards as the limits of the board permit.

A Draw is when neither of the players can force a win. When one of the sides appears stronger than the other, the stronger party may be required to {430} complete the win, or to show a decided advantage over his opponent _within forty of his own moves_--counted from the point at which notice was given--failing in which, he must relinquish the game as a draw.

White. +---------------------------------------+ | | W | | W | | W | | W | |---------------------------------------| | W | | W | | W | | W | | |---------------------------------------| | | W | | W | | W | | W | |---------------------------------------| | | | | | | | | | |---------------------------------------| | | | | | | | | | |---------------------------------------| | B | | B | | B | | B | | |---------------------------------------| | | B | | B | | B | | B | |---------------------------------------| | B | | B | | B | | B | | +---------------------------------------+ Black.

FIG. 1.

The above diagram (Fig. 1) shows the board set for play, and Fig. 2 shows the draught-board numbered for the purpose of recording moves. {431}

White. +---------------------------------------+ | | 32 | | 31 | | 30 | | 29 | |---------------------------------------| | 28 | | 27 | | 26 | | 25 | | |---------------------------------------| | | 24 | | 23 | | 22 | | 21 | |---------------------------------------| | 20 | | 19 | | 18 | | 17 | | |---------------------------------------| | | 16 | | 15 | | 14 | | 13 | |---------------------------------------| | 12 | | 11 | | 10 | | 9 | | |---------------------------------------| | | 8 | | 7 | | 6 | | 5 | |---------------------------------------| | 4 | | 3 | | 2 | | 1 | | +---------------------------------------+ Black.

FIG. 2.

The men being placed as shown in Fig. 1, the game is begun by each player moving alternately one of his men along the diagonal on which it is situated. The men can only move forward either to right or left one square at a time, unless they have attained one of the four squares on the extreme further side of the board (technically termed the "crown-head"). This done, they become Kings, and can move either forward or backward. The {432} pieces take in the direction they move, by leaping over any opposing man that may be immediately contiguous, provided there be a vacant square behind it. If several men should be exposed by having open spaces behind them alternately, they may be all taken at one capture, and the capturing piece is then placed on the square beyond the last man.

To explain the mode of capturing by a practical illustration, let us begin by placing the men as for a game. You will perceive that Black, who always plays first, can only move one of the men placed on 9, 10, 11, or 12; supposing him, then, to play the man on 11 to 15, and White to answer this by playing 22 to 18, Black can take the white man on 18 by leaping from 15 to 22, and removing the captured piece from the board. Should Black not take the man on 18, but make another move--say 12 to 16, for instance--he is liable to be "huffed"; that is, White may remove the man (that on 15) with which Black should have taken, off the board for not taking. When one party "huffs" the other in preference to compelling the take, he does not replace the piece his opponent moved, but simply removes the man huffed from the board, and then plays his own move.

GENERAL ADVICE.

It is generally better to keep your men in the middle of the board than to play them to the side squares, as in the latter case one-half of their power is curtailed.

When you have once gained an advantage in the number of your pieces, you increase the proportion by exchanges, but in forcing them you must take care not to damage your position. Open your game {433} at all times upon a regular plan; by so doing you will acquire method in both attack and defence. Accustom yourself to play slowly at first, and, if a beginner, prefer playing with better players than yourself. Note their methods of opening a game, and follow them when opportunity presents itself.

If playing against an inferior, it is as well to keep the game complicated; if with a superior, to simplify it. Avoid scattering your forces; as they get fewer, concentrate them as much as possible.

Never touch the squares of the board with your fingers; and accustom yourself to play your move off-hand, when you have once made up your mind.

Do not lose time in studying when you have only one way of taking, but take quickly.

Pay quite as much attention to the probable plans of your adversary as to your own.

Remember that the science of the game consists in so moving your pieces at the commencement as to obtain a position which will compel your adversary to give his men away. One man ahead with a clear game should be a certain _win_.

In conclusion, the student is strongly advised to study and master the theory and practice of the play embraced in the First, Second, Third, and Fourth Positions (see _post_). These endings, in different forms, are of very frequent occurrence, and should be thoroughly mastered.

THE NAMES OF THE VARIOUS OPENINGS AND HOW FORMED.

1. The "Ayrshire Lassie" is formed by the first four moves (counting the play on both sides): 11 to 15, 24 to 20, 8 to 11, 28 to 24. {434}

2. The "Bristol" is formed by the first three moves: 11 to 16, 24 to 20, 16 to 19. It was so named in compliment to the players of that city for services rendered to the late Andrew Anderson, one of the greatest masters of the game.

3. The "Cross" is formed by the first two moves: 11 to 15, 23 to 18. It is so named because the second move is played across the direction of the first.

4. The "Defiance" is formed by the first four moves: 11 to 15, 23 to 19, 9 to 14, 27 to 23. It is so named because it defies or prevents the formation of the "Fife" game.

5. The "Dyke" is formed by the first three moves: 11 to 15, 22 to 17, 15 to 19.

6. The "Fife" is formed by the first five moves: 11 to 15, 23 to 19, 9 to 14, 22 to 17, 5 to 9. It has been so called since 1847, when Wyllie, hailing from Fifeshire, played it against Anderson.

7. The "Glasgow" is formed by the first five moves: 11 to 15, 23 to 19, 8 to 11, 22 to 17, 11 to 16. It has been known by this name since Sinclair, of Glasgow, played it against Anderson at a match in 1828.

8. The "Laird and Lady" is formed by the first five moves: 11 to 15, 23 to 19, 8 to 11, 22 to 17, 9 to 13. It was so called from its having been the favourite opening of Laird and Lady Cather Cambusnethan, Lanarkshire.