Three Hundred Things a Bright Boy Can Do
CHAPTER XX
FIRESIDE AMUSEMENTS
$Chess in Twelve Easy Lessons.$--There is nothing like beginning at the beginning, so I first give a diagram of the board and men as set out for play.
It will be noticed that in the above diagram the square at the bottom right hand is a white one, and it is in this way that, by custom, the chess-board is always placed. The board is divided into 64 squares, coloured alternately black and white, or some similar distinctive colours. The squares are always called "White" and "Black," whatever their actual colour may be, and similarly the men are invariably termed "White" and "Black," though, as a matter of fact, often coloured white and red.
Having got the board in proper position, with its white square at the bottom right-hand corner, the next thing is to set up the men in proper order. There are thirty-two men in all--sixteen White and sixteen Black. They consist of the following:--
TWO KINGS: one White, one Black. The White King stands on the fourth square, counting from the White player's _right_ hand, and the Black King stands on the fourth square, counting from the Black player's _left_ hand. This brings the two Kings opposite each other, the White King standing on a black square and the Black King on a white square.
TWO QUEENS: one White and one Black. The White Queen stands on the white square to the left of the square occupied by the King. Similarly, the Black Queen stands on the black square next to the Black King. It is of importance in setting up the men to bear in mind that the Queens stand on squares of the same colour as themselves, the White Queen being on a white square and the Black Queen on a black square.
FOUR BISHOPS: two White and two Black. These stand on the squares adjoining their respective King and Queen. The one next the King is called the King's Bishop, and the one next the Queen is known as the Queen's Bishop.
FOUR KNIGHTS: two White and two Black. These stand on the squares adjoining the Bishops. The Knight nearest the King is called the King's Knight; the other is called the Queen's Knight.
FOUR ROOKS: two White and two Black. These occupy the four corner squares, the one nearest the King being termed the King's Rook; the one nearest the Queen the Queen's Rook. The Rooks are sometimes called Castles.
These sixteen men are collectively called pieces.
SIXTEEN PAWNS: eight White and eight Black. These stand on the squares immediately in front of the sixteen pieces. They are named after the pieces in front of which they stand, as the King's Pawn, the Queen's Pawn, the King's Bishop's Pawn, and so on.
As it would be very cumbrous to use the full name of each piece or Pawn every time it may be necessary to refer to it, I shall in future use the recognised English notation, as follows:--
K for King. Q for Queen. B for Bishop. Kt for Knight. P for Pawn.
Other abbreviations will be--
Sq for square. Ch for check. Dis ch for discovered check; and Doub-ch for double check.
Written in this notation, King's Rook's Pawn becomes K R P, and Queen's Bishop's square Q B sq, and so on.
Now for the practical use of this lesson. Let all the readers who wish to learn the game first of all set the board before them as herein described. Then let them place the White men in their proper order on the board, beginning with the K. Similarly let them place the Black men on the board, beginning also with the K. As a second try, let them place the men on the board beginning with one of the R's, and going across to the other R. Finally, let them familiarise themselves with the English notation, as given above. By the time they have done this they will be in a position to benefit by a further lesson.
II
THE BOARD.--The chess-board is not merely something upon which the game of chess is played; it is part of the game itself, for it limits, and, to some extent, controls the action of the men. In my first lesson I gave a diagram of the board with the men set out for play, and I now give an outline diagram of the board on which the name of each square is given, both from the White and the Black side.
Now, in order to read the moves correctly, it is of the greatest importance for the student to understand the method of naming the various squares. From the diagram on page 276 it is clear that, according to our English style, each square has two names, the White player naming the squares from his own side, and the Black player from his. Thus, what the White player calls his King's square the Black player calls his King's eighth, and so on with all the other squares. All the boys who are taking an interest in these lessons should get this point fixed in their minds to avoid mistakes.
III
The squares running across the board are termed _ranks_; those running up and down, _files_; and those in a slanting direction, _diagonals_. The squares, as will be seen, are named from the pieces, which, at starting, occupy their first rank; thus the square at the lower right-hand corner is White's King's Rook's Square (K R sq); the square immediately in front is White's King's Rook's second (K R 2)--the word square being omitted; the next in front is White's K R 3, and so on till you come to White's K R 8. In a similar way you get White's K Kt sq, or 2 or 3, etc., or White's K or Q sq, or 2 or 3, and so on. Similarly, by turning the board round, you count the squares from the Black side as Black's K R sq, or 2, etc., or Black's K or Q sq, or 2 or 3, etc. The files are also named in a similar manner; thus the file running from White's K sq to Black's K sq is called the K's file, and so with all the other files. The ranks are simply called first rank, second rank, etc. The diagonals have no special name, with the exception of the two running direct from one corner of the board to the other--that is, the diagonal from White's K R sq to Black's Q R sq, and that from White's Q R sq to Black's K R sq. These are called the long diagonals. Of course, some of the very sharp boys who read this will at once exclaim, "Why, they are the only diagonals a square can have, for a rectangular figure can only have two diagonals." Well, that is all right in mathematics, but in chess, use or custom has brought about the practice of calling all the sloping lines of squares diagonals, and the two which, according to mathematics, are really diagonals, the long diagonals.
Having thus described the board, I next proceed to describe the moves of the various men.
THE KING.--The King is by far the most important man on the board, inasmuch as a successful attack upon him (as will be explained later on) involves the loss of the game. On the other hand, his moves are much more circumscribed and his powers of attack more limited than those of any other man except the Pawn. He moves only one square at a time, but that move can be made in any direction--that is, to any adjacent square, either forward, backward, sideways, or diagonally. Place the king on his own square and he can move to Q sq, Q 2, K 2, K B 2, or K B sq. Similarly, if he be placed on a centre square, he can move on to any of the eight adjacent squares. The King captures in the same direction in which he moves; that is, if any one of the enemy's men stands on an adjacent square to his own, he can occupy that square, the other piece being removed from the board, or "taken" or "captured," as it is termed. The King cannot move on to any square commanded by an enemy's man, or, as it is technically called, he cannot move into check; neither can the two Kings occupy adjacent squares. Once during the progress of each game the King has the option of an extension of his ordinary move, but this I will describe under its proper head of castling.
THE QUEEN.--The Queen is by far the most powerful piece on the board, as she possesses such a wide range of moves. Like the King, she can move in any direction--forward, backward, sideways, or diagonally; but these moves are not confined to the adjacent squares, for the only limits to her range of moves are the sides of the board, provided no piece or Pawn is in the way of her march. Place the Queen on her own square, and she can be moved to any one of twenty-one squares, namely, Q B sq, Q Kt sq, Q R sq, K sq, K B sq, K Kt sq, K R sq, Q 2, 3, 4, 5, 6, 7 and 8 squares, Q B 2, Q Kt 3, Q R 4, K 2, K B 3, K Kt 4, and K R 5. Similarly placed on a centre square, say Q 4 or 5, or K 4 or 5, and it will be found that she commands (that is, can be moved to) no less than twenty-seven squares on a clear board. The Queen takes in the same direction as she moves; this she does by displacing the enemy's man, and occupying the vacated square herself.
THE ROOK.--Next in importance comes the Rook. This piece moves forward, backward, or sideways, as far as the open board permits, but not diagonally. Place the K R on its own square, and it can move to fourteen squares, namely, R's 2, 3, 4, 5, 6, 7 and 8 squares, K Kt sq, K B sq, K sq, Q sq, Q B sq, Q Kt sq and Q R sq. Placed on any position on the open board, in a corner, at the side, or in the centre, it will be found that it always commands fourteen squares, neither more nor less. It captures in the same direction as it moves in a similar manner to the King or Queen; that is, by removing the enemy's attacked man and occupying the square so vacated.
IV
THE BISHOP.--The Bishop moves diagonally only (that is, in a similar manner to a man at draughts) but he can pass over any number of squares that may be open to him. Place the K B on its own square, and it can move on to any of the following seven squares, viz.: Kt 2, R 3, K 2, Q 3, B 4, Kt 5, or R 6. Placed on a centre square, it commands thirteen squares in all. It captures in the same direction as it moves, and in a manner similar to the K and Q. From the nature of its move the B can never leave the squares of the colour on which it originally stood. Therefore the White K B is always on a White square, and the Black K B upon a Black one.
THE KNIGHT.--Whilst the move of the Kt is one of the most beautiful upon the chess-board, it is, at the same time, the most difficult to describe, though a knowledge of its move is not by any means difficult to acquire by a little practice. It may be described as a combination of the shortest move of the R with the shortest move of the B; that is, one square in a straight direction--forward, backward, or sideways--and one square in a diagonal direction. Place the K Kt on its own square, and it can move on to the following three squares, viz.: K 2, B 3, and R 3. It will be seen that its imaginary R's move would bring it over Kt 2, and then its imaginary B's move places it on B 3 or R 3. Or its imaginary R's move takes it over B sq., and then its imaginary B's move places it on K 2. Placed on a centre square, say K's 4, it commands eight squares--K B 2, K Kt 3, K Kt 5, B 6, Q 6, Q B 5, Q B 3, and Q 2. It will be noticed that it invariably moves on to a square differing in colour from that which it has just left; or, in other words, that it leaps from a White square to a Black one, and from a Black square to a White one. This peculiarity arises from the combination of the R and B moves. Place the Kt again on K's 4 (a White square), and it will be seen that the imaginary R's move brings it on to a square of a different colour (in this case a Black one), either K 3, Q 4, K 5, or B 4--and then the imaginary B's move keeps it on the same colour. The Knight captures as it moves in the same manner as the other pieces--that is, the captured piece is removed from the board, and the capturing Kt occupies the vacated square. It has one advantage possessed by no other man, and that is the power of leaping over any intervening piece or Pawn, whether belonging to its own side or the enemy's. For example, when the men are first set out in battle array, the only piece that can move without some of the Pawns first making an opening is the Kt, for it can at once spring on to B 3 or R 3, despite the intervening Pawns.
THE PAWNS.--The Pawn moves in one direction only, and that is one square straight forward (that is the shortest P's move, except that on its first move it has the option of moving forward either one or two squares). Place the K P on its square, and it can move either to K 3 or K 4. Place on K 4, however, it can only move to K 5. Unlike the pieces, the Pawn does not capture in the same direction that it moves, but diagonally, one square only (the Bishop's shortest move). Place a Pawn at K 4, and whilst it can move to K 5 it can only capture at B 5 or Q 5. The capture is effected, as it is by the pieces, by removing the enemy's man and placing the Pawn on the square thus left vacant. The Pawn has the privilege of claiming promotion as soon as it reaches the eight square. This is done by its being exchanged for any piece of its own colour (excepting a King) which the player may desire. This is technically called "queening a pawn," although it does not follow that a Queen is always called for. It is not necessary that the player should have lost a piece when he thus promotes a Pawn, and it therefore follows that he can have two or more Queens or three or more Rooks, etc., on the board at the same time.
This last statement may puzzle a good many boys, some of whom may say: "I am under the impression that there is only one set of chessmen used at a game of chess. If this is so I do not see that there can be two or more Queens, etc., of the same colour on the board at the same time. Will you kindly explain this?"
They would be perfectly right in stating that only one set of men is used in a game. The set constitutes thirty-two men (sixteen White and sixteen Black), and these thirty-two men form a complete set. To distinguish one piece from another different figures are used, but the shape of these figures is purely conventional, and flat counters could be used with the name or with some other distinguishing mark written on them. As a matter of fact, indeed, the Mohammedans do play chess with such counters, sculptured figures of any kind being prohibited by the Koran. Now, supposing a set is rendered incomplete by a man being lost, the place of the lost man can be taken by anything that will serve to denote that the piece should be on the board. I have often played a game where a thimble has done duty for a Bishop, and a small paper-weight for a Rook, and so on. So that it is quite easy to get something to do duty as a second Queen, etc.
In clubs and chess resorts, where there are many sets of men, a second Queen, if need be, is borrowed from another set. Sometimes, where only one set of men is available, a Rook (if one has been captured) is turned upside down, the promoted Pawn is placed on the top, and there you have a most excellent substitute for a Queen. Supposing, however, that no piece has been lost when the Pawn is promoted, then a piece of twisted paper can be placed on the head of the Pawn, and again we have a good substitute for a Queen.
Some boys may ask me to explain to them what is meant by "Castling" and "Taking _en passant_," and as it is somewhat difficult to do so without the use of diagrams, I think I cannot do better than give the required explanation.
V
CASTLING.--In describing the move of the K, I stated that once during the game the K had the option of an extension of his ordinary move, and promised to describe it later on. This extended move of the K--or rather combined moves of K and R--is termed "Castling." There are two species of Castling, one on the K's side, the other on the Q's side, as shown on the diagrams upon the next page.
The operation of Castling can only be performed once on each side in a game, and that under the following conditions:--
1. The King must not be in check.
2. The King must not have moved.
3. The Rook must not have moved.
4. The King must not pass over or occupy any square commanded by an adverse man.
5. All the squares between the King and the Rook must be unoccupied.
These five points being kept in view, Castling is performed as follows:--On the King's side by the K being moved to K Kt sq and the K R over him to K B sq. On the Queen's side by the K being moved to Q B sq and the Q R over him to Q sq. By inspecting the diagrams this will be made clear. In Castling it will be observed that the K moves two squares (to the right or left, as the case may be), and the R leaps over him to the adjoining square. In Castling it is always best to move the K first to show clearly that Castling is the move intended. The diagrams show only White's method of Castling, but Black castles exactly in the same way. It must be borne in mind that previous checks do not prevent the K Castling, so long as he has not been moved, and is not in check at the time of Castling. The young player must also remember that though the K be on his own square, and the R on its square with no intervening piece, yet Castling cannot be performed if either the K or R has moved, and then come back to his original square.
PAWN TAKING EN PASSANT.--This method of capturing can only be exercised by a P standing on its fifth square, and the captured P on the move immediately preceding the capture, have been played from the second to the fourth square. The following diagram will assist the student.
If Black in this position move the P to K 3, then the White P at B 5 can capture it in the usual course, that is by taking it off the square it occupied at K 3 and occupying the vacated square. Should, however, the Black P go to K's 4 then the White P at B 5 could capture it _en passant_, or "in passing" as the term means. This is done by lifting the B P from K 4 (to which square it has gone) and placing the W P not on the square thus left vacant but on the K 6 (Black K 3) precisely as if the Black P had only moved to K 3. In the position on the diagram, should the Black P go to K 4, then the White P at Q's fourth could capture it in the ordinary manner. It must be borne in mind that the right of capturing _en passant_ must be exercised on the move immediately following the one which the adverse Pawn has made its move from the second to the fourth square, otherwise the right lapses.
VI
I now resume the easy lessons by giving a list of TECHNICAL TERMS.
ADVERSE PIECE, ADVERSE PAWN.--An "adverse piece" is a piece of an opposite colour to your own, and, of course, belongs to your adversary. Similarly, an "adverse Pawn" is a Pawn of an opposite colour to your own.
ATTACK.--The combined action of several men against an adverse position. Attacks, of course, are generally made directly against the King, but occasionally they are directed against some weak point in the enemy's position apart from the King.
TO ATTACK: ATTACKED.--A piece or Pawn attacks an adverse man when it threatens to capture it on the move. A piece or Pawn is said to be "attacked" when it is threatened with capture on the move by an adverse man.
CASTLING.--This combined move of K and R I have fully described previously.
CHECK.--This term signifies that the King is attacked by an adverse piece or Pawn. It is one of the very fundamental principles of the game that the King cannot be captured, and therefore when a move is made by which he is attacked, notice thereof must be given by audibly saying "Check." The King is now said to be "checked," or "in check," and this check must be at once parried. There are three methods by which this can be done:--
1. By moving the King on to a square not commanded by any of the adverse men.
2. By interposing a man between the attacking piece and the King.
3. By capturing the attacking man.
There are three descriptions of checks:--
1. The "direct check," which is given by a piece or Pawn directly attacking the King.
2. The "discovered check," or "check by discovery," which is given by a piece, which, whilst it does not attack the King directly, yet by its removal, uncovers an attack from another piece.
3. "Double check," which is a combination of the "direct check" and the "discovered check." This is brought about by a piece directly attacking the King and at the same time uncovering an attack from another piece.
This last is the most dangerous form of all the checks, for it cannot be parried either by interposition or capturing. The available defences of the King are therefore greatly lessened, as he must move to get out of check.
VII
CHECKMATE.--When the King is in check and has no power of escape--that is, the attacking piece cannot be captured, the King moved, or a piece interposed between the King and the attacking piece--it is "checkmate," and the game is lost for his side. To escape from a double check the King must move, and if there is no square to which he can move the game is lost, though both the attacking pieces are _en prise_, for it is plain that if one be taken the check from the other yet remains.
The diagram on page 286 will help the student to understand these different checks.
In the first place let White play R to Q 2, and it is a _direct_ check. The Black K cannot move out of check, as all the squares adjoining his present position are either guarded by White pieces, or blocked by Black ones; neither can the R be taken, for no Black piece attacks it. Black, however, has one move to parry the check, and that is by playing Q to Q 5, or interposing the Q as it is termed. Similarly, White can play Q to Q sq, again giving _direct_ check, to which Black can again only reply Q to Q 5. Once more, White can play P to R 8, becoming a Q or a B and giving _direct_ check, to which Black's only reply is Q, Q Kt 2.
In the second place, if White play Kt to Q 2 he gives a _discovered_ check; that is, by so moving his Kt he uncovers the attack of the Q upon the K, or, in other words, the Kt moving discovers the check by the Q. In reply to this move Black has again only one move, that being P to B 5 or interposing the P. If White play B R 7, Q 3, B 2, or Kt sq. there is again a _discovered_ check, for the R now attacks the K. In reply to this Black has three lines of play, namely, K takes Kt (at K 3) which is left unguarded by the removal of the B, or by playing the Q either to K 4, or Kt 4 interposing. If the B had gone to Kt 6 the Q could only interpose at K 4; and if it had gone to Kt 4 or R 3 the K could not then capture the Kt, but, instead, could have moved to K 5 out of check.
In the third place if the B move to K 4 there is then given _double_ check, for whilst the B now directly checks himself, by moving he has also discovered the check from the R, and the King to get out of this double attack must move. He has two lines of escape, one by capturing the Kt at K's third, the other by capturing the attacking B.
In the fourth place let White play P K 4, and the K is in direct check; but it is now _checkmate_, for the K has no possible move out of check, and the checking Pawn cannot be taken. Again, let White play Kt, Kt 6, and he gives double check, for the Kt checks directly, and has also discovered the check by the Q. Once more this is _checkmate_, for the K has no possible move. It is true that the B could capture the attacking Kt, but then the Q still checks and the danger of mate has not been averted; similarly, the P could cover at B 5, but the attack from the Kt remains all the same. This aptly illustrates what I have already said as to the extra danger of a double check.
VIII
CLOSE GAME.--See "Game" later on.
COMBINATIONS.--The concentrated action of two or more pieces and Pawns, operating in common either for attack or defence.
COMMAND: COMMANDED.--To "command" a square is to have the power of moving a piece on to it, or to capture an enemy's piece that already occupies it. To "command" the board is to have the pieces so placed that a great many of the squares are commanded.
COUNTER GAMBIT.--See "Game" later on.
COUNTER ATTACK.--See "Game" later on.
DEBUT.--A French word, meaning "opening," sometimes used by English writers on chess.
DEFI.--A French word meaning "challenge," and sometimes used in English chess books.
DEVELOP: DEVELOPMENT.--To develop a piece is to bring it into more active play. To develop a game is to bring as many pieces as you possibly can into active co-operation.
DOUBLED PAWN.--Two Pawns of the same colour standing on the same file are said to be "doubled." Generally, but not always, this is a weak position for the Pawns to occupy, as one cannot support the other.
DOUBLED ROOKS.--When two Rooks of the same colour occupy the same file, or the same rank with no man of their own colour intervening they are said to be "doubled." This is one of the strongest positions the Rooks can occupy.
END GAME.--See "Game" later on.
EN PASSANT.--A French term, meaning "in passing," and applied to a peculiar capture of P by P, which I have fully described previously.
EN PRISE.--A French term signifying "exposed," or in danger of capture. In chess a piece or Pawn is said to be _en prise_ when it is attacked by an enemy's piece and not sufficiently guarded. We do not say, however, that the K is _en prise_ when attacked, but in check, as already explained.
ESTABLISH.--To establish a piece or Pawn is to place it in such a position that it cannot be dislodged by the enemy's pieces, except at a loss. To establish a centre of Pawns is to occupy the centre squares of the board with Pawns, which mutually strengthen and support each other.
EXCHANGE.--The winning of one piece by the losing of another.
EXCHANGE, TO WIN THE.--The winning of a superior piece by losing an inferior one. Especially used when a Rook is won at the expense of a B or Kt. The player on winning the R is said to have "won the exchange"; the player losing the R is said to have "lost the exchange."
IX
FILE.--Each line of squares stretching from one player's side of the board to the other is termed a "file," and appears perpendicular in printed diagrams. Each file is named from the piece which originally stood on its outermost square, as the King's file, the Queen's file, the K R's file, and so on. The lines of squares stretching horizontally across the board are termed "ranks."
FILE: OPEN.--An open file is one unoccupied by pieces or Pawns, and it is a great point that a Rook should be played so as to command such a file. In the diagram on page 289 the K B's file is "open," whilst White has doubled his Rooks on the otherwise "open" K Kt's file.
FORK.--A term originally applied to the attack of a Pawn upon two of the opponent's men at the same time. It is now, however, so extended as to include the minor pieces when any one of them--more especially the Kt, however--attacks two pieces at the same time.
In the diagram the Black Pawn on Q Kt 4 "forks" the Q and B. If White plays P Q 4 ch, then the P "forks" both K and Q. If the Kt goes to Q 7 ch, it also "forks" K and Q. Similarly if Kt B 3 it "forks" the Q and R, and lastly, if B takes Kt ch, it "forks" K and Q. A "fork" from a Kt on two superior pieces is always dangerous, and often fatal, whilst that from a Pawn is also dangerous.
X
GAMBIT.--See "Game."
GAME.--Besides its ordinary meaning, the word is used in a technical sense, such as "open game," "close game," etc. A game of chess has three phases more or less well defined. The "opening," the "mid game," and the "end game."
THE "OPENING."--The first or developing moves in a game, wherein the pieces are brought from their original comparatively inoperative position into active co-operation, both for attack and defence. It is here that book play comes in, and in the study of openings the young student of chess will find wide scope.
THE "MID GAME."--That portion of the game immediately following the opening; the pieces being developed on both sides, combinations result, and attack, defence, and counter-attack take place. It is here that the native skill of the player finds full scope for its display.
THE "END GAME."--The final scene of all, after the bustle and life of the mid-game pieces have been exchanged, the board stripped of the men, and the combat reduced to narrower bounds. Here again book knowledge is of the greatest benefit to the player.
It is to be noted that some games never pass into the third stage, for the attack in the mid-game may have been so strong that surrender was imperative forthwith. Nay, in the hands of a weak player, or by some gross blunder, a game may be finished even in the "opening" stage.
The "openings" may be thus classified--
(_a_) GAMES, when neither player offers any sacrifice of material force in order to gain some strategical advantage.
(_b_) GAMBITS, when the first player offers to sacrifice some material force in order to quickly develop his game, or otherwise to gain some advantage in position. A Pawn is generally sacrificed in the gambits.
(_c_) COUNTER GAMBITS, when the second player makes the sacrifice.
(_d_) DEFENCES, when the game gains its distinctive character from the line of play adopted by the second player. Some "defences" may properly be termed _Counter Attacks_.
There are many well-known openings, all of which have a distinctive name, sometimes that of their inventor, sometimes that of a well-known player who may have made them familiar, sometimes from some place or incident with which they have been connected. Thus there are the "Scotch Game," the "Steinitz Gambit," the "Greco Counter Gambit," the "Philidor Defence," and "Petroff Defence," the latter of which should be more properly termed "Petroff Counter Attack." Then there are many other recognised openings.
XI
GAME, CLOSE.--A "close" game is one wherein the development both of pieces and Pawns is mainly of a conservative or non-committal nature, the Pawns being very cautiously advanced, and the pieces mainly massed behind them. The term "close" is used to designate this class of openings, because, as a rule, for many moves the board presents a crowded appearance, owing to the massing of the pieces and Pawns, and the few exchanges effected. Great nicety is required in playing the "close" game, so that when the time does come for dissolving the close position, the pieces may occupy commanding positions.
GAME, OPEN.--An "open game" is one wherein the opening moves are of a more immediately attacking nature, and where the pieces are more quickly marched to the front. The game is termed "open" because the board, as a rule, soon presents an open appearance. Pieces and Pawns are often got rid of early, and attack and defence embarked on at an early stage. Formerly all games commencing 1 P K 4 on each side were classed as open, and all games, such as the French, etc., wherein one or both players adopted other opening moves were classed as "close." This is, however, now given up, for as a matter of fact, many French defences develop into very "open" games indeed, whilst games commencing 1 P K 4, P K 4 often early take on a "close" character.
"HOLE," A.--This is a modern term greatly used by Mr. Steinitz, who may be considered as the "great apostle" of what is called the "modern school" of chess. As used by him, a "hole" means any square on the third rank left unguarded by a Pawn during the developing or opening moves. For example, if a player having advanced both his K P and Q P, should follow this up by advancing his K B P, or his Q B P, in each case he creates a "hole"; in one instance at K 3, in the other at Q 3. These "holes" are regarded by modern theorists as very dangerous, for an adverse piece can often be posted with great advantage on the unguarded square.
XII
INTERPOSE.--To move a man between an attacked man and the opponent's piece which attacks it. Very often "checks" to the King, and attacks upon the Queen are warded off by interposing a Pawn or piece. As an illustration of "interposing" let the student refer to the diagram on page 289. If White play 1 Q R 3 ch, then Black plays 1 ... P Kt 5, thereby warding off the check. The Pawn thus moved is said to be interposed. Similarly, if it were Black's turn to move, and he played 1 Q K 8 ch, or 1 R Q 8 ch, then White could play either 1 ... R Kt sq, or 1 ... Kt B sq, either piece then warding off the check, or "interposing."
ISOLATED PAWN.--When a Pawn occupies any file, both the adjoining files of which are unoccupied by any Pawns or Pawn of the same colour, such Pawn is said to be "isolated." In the diagram on page 286, White's Pawns on Q B 3 and Q R 7 are both "isolated." Isolated Pawns in an end game are often weak, whilst Pawns on adjoining files are generally strong.
J'ADOUBE.--This is a French term, and means "I adjust," and is used by players who may touch a man without intending to move it. Any English expression signifying that the man is touched merely with the intention of adjusting it on the board may be used. Any man that may be touched without such intimation being given, must be moved should it be the player's turn to move, hence the importance of saying "_j'adoube_" (or similar words) in such cases. Young players (and indeed old ones also for that matter) should never get into a habit of touching any piece unless they intend to move it, except such piece manifestly needs to be adjusted on its square. Such a habit is likely to irritate your opponent.
$Draughts in Nineteen Easy Lessons.$--It is very easy to learn the moves of the men on the draught-board, but it is not quite so easy to learn to play draughts. Draughts is not a complex game like chess, but simple and straightforward, and herein lies its charm to many people who are afraid of chess with its variety of men, and their diverse powers and moves. In draughts there is only one description of men when the board is set for play, and the only addition is when any of these men become promoted to Kings by gaining the opposite side of the board from that whence they started. It is plain then that any boy can learn the moves of the game in a few minutes, and can at once commence to play.
English draughts is played on the 32 white squares of a 64-square board, the squares of which are alternately coloured white and black, white and red, or in some other similar distinctive manner. There are 24 men--12 White and 12 Black.
Above is a diagram of the numbered draught-board, and it is well for the beginners to number the white squares of their draught-board in a similar manner. The best way to do this is to write the numbers on small pieces of paper and stick these on the upper left-hand corner of the squares. Then when the men are placed on the squares the numbers can still be read. It will be observed that the position of the board is the reverse of that of the chess-board, for here a black, and not a white square, occupies the lower right-hand corner. This brings what is technically called "the double corner" to the right hand of the player. The black "double corner" is formed by the squares 1 and 5; the white "double corner" by squares 32 and 28.
At the commencement of the game the Black men occupy the 3 rows of squares numbered from 1 to 12, and the White the 3 rows numbered from 32 to 21, the intervening two rows, numbered from 13 to 20, being vacant. The row 1 to 4 is Black's crown-head, and the row 32 to 29 White's crown-head; the square 4 being Black's "single corner," the square 29 White's "single corner." By usage in this country Black is always given the first move, which again reverses the custom observed in chess. The first move at draughts, however, gives no advantage to the player having it, whereas in chess the advantage of the first move is of some moment.
II
At draughts the men move forward diagonally from square to square. That is, a black man on 11 can move to 15 or 16, and a white man on 22 can move to 17 or 18. When a man reaches the far side of the board he becomes a King, or is crowned; that is, a second man is placed on top of him. A King moves precisely in a similar way to an ordinary man, except that he can go either backwards or forwards; that is, a King (either Black or White) on 11 can go to 7 or 8, or 15 or 16.
In capturing or taking, the capturing piece jumps over the captured piece or pieces. Supposing a Black man is on 15 and a White man on 18, whilst 22 is vacant, then the Black man can capture the White man. This he does by jumping over him to square 22, and the captured man is removed from the board. If a second White man stood on 25, and 29 were vacant, the Black man could jump over both the White men, and go to 29. The King captures in a similar manner, except that he can capture as he moves either backwards or forwards.
III
A game at draughts is won when all the pieces of one colour have either been captured, or forced into such a position that their ultimate capture is certain, or where the remaining pieces of one colour are so blocked that the player thereof cannot move any of them when it is his turn to move, and the player, who thus captures or blocks all his opponent's men, is the winner of the game.
A game at draughts is drawn when an end game results wherein the two forces are so balanced, both in number and position, that neither side can force the capture or blocking of all the pieces of the opposite side.
The following positions are illustrations of the close of games.
White to move and Black to win. (Fig. 1.)
In this position White cannot go to 27, or he would lose at once; he therefore plays 31-26, and the game goes on 32-27, 26-22, 27-23, 22-17, 23-18, 17-13, 18-14. White has now no other move than 13-9, whereupon the Black King jumps over it and the game is won. Had White had a King instead of a man he would just as surely have lost.
Black to move and win. (Fig. 2.)
In this position the pieces are perfectly equal on both sides, but Black has the advantage in position. He played 1-6, and the game goes on 5-1, 6-9, 14-5, 7-10. Now White has no other move than 1-6, whereupon the Black King jumps over it to 1, and the remaining White man is "blocked" and consequently Black has won.
IV
Further illustrations of won and drawn games are the following positions:--
White to move and win. (Fig 3.)
Black men on 3, 8, 12, 17, 20, 21, 25, and 28.
Kings on 29, 30, 31, and 32.
White man on 15. Kings on 18 and 19.
This is a position well known to old hands at the game; though it is not likely to occur in actual play, yet it illustrates the power of the "block." White has only three pieces against Black's twelve, yet he wins the day. Here is the play which brings this about:--
19-24 17-26 10- 6 8-11 20-27 15-10 16-19 1- 5 18-22 12-16 6- 1 11-15
White now plays 5-1 and 1-5 alternately, and the Black men must go forward until they are blocked; and White therefore wins.
Now, to illustrate one form of the draw, let the student look again at the first position in third easy lesson. Had it been Black's turn to move, no more than a draw would result, for Black must play 32-28, whereupon White plays 31-27 and runs down to 1, making a King and drawing.
In the following position White has two Kings to one, yet Black, by the strength of his position, forces the draw.
Black to move and draw. (Fig. 4.)
Black King on 22.
White Kings on 25 and 29.
The Black now plays 22-17 or 26, White replies 25-21 or 30, whereupon the Black King comes back to 25 and the draw is manifest.
V
When a man reaches the crown-head in capturing, and thus becomes a King, that completes the move, although there may be a piece or pieces which could have been captured if it had been a King and not a man, which made the original capture. Many of the finest stroke problems are based upon this peculiarity, for the opposing player has thereby time to make a move. The subjoined position (Fig. 5) shows another won game, the victory being brought about by White gaining a move through the Black having to stop to be crowned.
Black men on 2, 6, 15, and 22. (Fig. 5.)
White men on 27, 30, and 32.
White plays 30-26, then Black must play 22-31 and becomes a King. Then the game goes on 32-28, 31-24, 28-1. Black must now play 2-7, and White follows him up and takes him 24. If the piece on 22 had been a King this could not have been brought about, for after going to 31, thereby taking the man on 26, the move would not then have been finished, but the King would have continued by taking the man on 27, thus winning easily.
Many young players are puzzled how to force the victory when they have two Kings against one, the single King being within reach of the "double corner." Take the following position as an example:--
Black Kings on 18 and 19. (Fig. 6.)
White King on 27.
Black wins thus:--
18- 1 15-19 28-32 15-18 27-32 28-32 27-31 26-31 19-24 24-28 (a) 19-15 18-22 32-28 32-27 31-26 B. wins.
(a) It is here that many young players miss the point. They play 19-23 and Black moves to 31-27 and the work is all to do over again.
VI
The last lesson showed how to win with two Kings against one, the latter being able to reach the double corner. Three Kings can also win against two, even when each of these latter can reach a separate double corner. The way to win has often puzzled young players, but yet it is comparatively easy. The following position shows how to force the victory:--
Black Kings on 14, 18, and 23. (Fig. 7.)
White Kings on 6 and 24.
Black to move and win.
The win is brought about thus:--
18-15 (a) 6- 1 (c) 27-24 5- 1 (f) 24-28 14-10 1- 5 (e) 24-19 23-27 (b) 28-32 (d) 10-6 B. wins.
(a) One of the Black Kings must now go into the double corner.
(b) This is an important move, forcing as it does the remaining King into the other double corner.
(c) For if 28-32, then 15-18 wins.
(d) Compulsory, for if 1-5, then 27-24 wins.
(e) If 32-28, then 24-19 wins.
(f) If 32-28, then 6-10 wins.
It will be noticed that Black must force the exchange of a King, and then he wins with two Kings against one, as shown in fifth lesson.
VII
Already it has been pointed out that the weaker side, though a man down, can often force a draw by correct play. Here is a position from Sturge:--
Black man on 7. King on 6. (Fig. 8.)
White men on 14 and 20. King on 3.
Black to play and draw.
The draw is brought about thus:--
7-10 6- 2 2-20 20-16 14- 7 20-16 3- 7 Drawn.
Here is another example of a draw, this time by Payne:--
Black Kings on 7 and 11. (Fig. 9.)
White man on 20. Kings on 18 and 19.
Black to move and draw.
This position is more complicated than the former, and White can vary his moves to a considerable extent, but Black, by careful play, can always force the draw. The point is that Black must hold the White man on 20. Here is a leading line of play:--
7-10 18-23 15-11 (a) 12-16 19-16 11-15 23-19 3- 7 10- 16-12 7- 3 Drawn.
(a) If 19-16 then 11-15 draws.
This is a useful position as similar endings often occur in actual play, and all younger students should study it carefully.
VIII
Here are some examples of easy forced wins. Payne has the following:--
Black man on 1. King on 7. (Fig. 10.)
White man on 14. King on 5.
Black to move and win.
The win is brought about thus:--
1-6 6-9 7-10 10-1 5-1 14-5 1- 6 B. wins.
Another very interesting position is:--
Black man on 2. Kings on 6 and 11. (Fig. 11.)
White man on 8. Kings on 1 and 4.
Black to move and win.
Black wins thus:--
11-16 2- 7 16-12 1-10 10- 3 B. wins.
IX
Some of the finest play in end games occurs in positions when two Kings more or less sheltered by the double corner are opposed by three Kings or two Kings and a man. The point for the player with the strong forces to seize, is either to force the exchange of a King for a King, or to give up a King for a forced won position. It is here that great nicety of judgment is required, and the greatest attention is necessary if the game is to be won. The following position is from Payne:--
Black Kings on 1 and 2. (Fig. 12.)
White man on 5. Kings on 10 and 11.
Either to move. White wins.
Here is the win when Black moves first:--
2- 6 6- 9 9- 6 6-13 11-15 14-17 22-18 18-14 6- 9 9-13 6- 2 2- 7 15-18 18-22 13- 9 1- 6 9- 6 13- 9 1- 6 White wins (b) 10-14 17-13 (a) 5- 1
(a) Here comes White's opportunity of sacrificing a King, thereby obtaining a position won by force.
(b) For this King must ultimately "fix" the King now on 7.
This is the victory when White moves first:--
10-14 6- 2 18-22 13- 9 2- 6 16-19 6-2 14-10 14-17 2- 6 (b) 13-9 9-13 6- 9 19-23 (c) 1-6 5- 1 17-13 6- 2 22-18 (d) 13-17 9- 6 23-18 6-13 1- 5 (a) 11-16 2- 6 18-14 White wins (e)
(a) Not 11-15, for then Black wins two for one by 6-9, and this danger must be guarded against for several moves.
(b) This is the decisive moment when the sacrifice of the King must be prepared.
(c) 2-7, too, would lose, for White would then move up his King now on 22, and ultimately man off.
(d) If 2-7, 10-14, 7-2, 14-9, and White wins.
(e) Black must play 17-13 or 17-22, and then comes 10-6, 2-9, 5-14, and all is over.
X
The play in these "double corner" positions is always of a very delicate nature. Here is a drawn position from Payne, requiring great nicety of play:--
Black Kings on 1 and 6. (Fig. 13.)
White man on 5. Kings on 14 and 15.
Black to move and draw.
The draw is proved thus:--
6- 9 18-22 9-13 22-18 15-18 13- 9 17-14 9-13 (a) 9-13 14-17 13- 9 Drawn.
(a) Black keeps command of square 13 and so forces the draw.
Here is another drawn position, from Rogers:--
Black Kings on 1 and 10. (Fig. 14.)
White man on 13. Kings on 3 and 16.
Black to move and draw.
The play on the position runs thus:--
1- 6 10- 6 2-6 9-13 16-11 9- 5 7-2 15-10 6- 2 6- 1 6-9 13- 9 (b) 13- 9 (a) 3- 7 11-15 Drawn.
(a) 3- 8 6- 1 16-19 2- 6 12-16 10-14 8-12 1- 6 Drawn.
(b) White cannot crown the man or force an exchange, and hence the game is drawn.
XI
When the forces on each side are reduced to two men, or a man and a King each, many positions occur which are won, lost, or drawn by well-known and long-recognised lines of play, and all who wish to become draught players should have a knowledge of them. Here is such a position:--
Black man on 22. King on 27. (Fig. 15.)
White man on 30. King on 7.
Black to move and win.
Here is the win:--
27-23 18-14 6- 1 5- 1 7-10 6- 1 5- 9 25-21 22-26 22-18 1- 5 1- 5 (a) 10-36 1- 6 9-13 10- 6 26- 1 18-15 10-14 18-15 6- 9 6- 1 13- 9 21-17 31-26 15-10 14-18 5- 1 9- 6 1- 5 9- 6 6- 9 26-22 10- 6 18-15 15-18 6-10 5- 1 30-25 Black wins 23-18 14-10 15-18 by "first 10- 6 1- 5 6-10 position." (a) 30-25 10- 6 1- 6 1- 5 23-18 18-14 26-22 Black wins 25-21 6- 1 6- 1 by "first 26-30 30-26 22-17 position."
Here is another position:--
Black Kings on 14 and 22. (Fig. 16.)
White man on 29. King on 1.
Black to move and win.
This is the play for the defeat of your opponent:--
22-17 1- 5 18-15 21-17 1- 5 6- 1 29-25 5- 1 17-13 5- 9 15-18 6- 9 5- 1 1- 5 6-10 15-18 13- 9 9-13 5- 1 Black wins 1- 5 10-14 25-21 by "first 9- 6 13- 9 1- 5 position." 5- 1 14-18 10-6 14-10 9- 6 18-15
The student will notice that all these victories are by "first position." This so-called "first position" will be explained in the next lesson.
XII
We now come to the ending known amongst all draught players as
THE "FIRST POSITION."
Black Kings on 14 and 17. (Fig. 17.)
White man on 21. King on 5.
Black to move and win.
If the student refers to the solution of the position on the first diagram in the eleventh lesson, he will find that the play shown in note (a) ends with the position shown above. The victory is brought about thus:--
17-13 14-10 15-18 5- 1 5- 1 1- 5 5- 9(a) 6- 9 13- 9 6- 1 1- 5 15-18 1- 5 5- 9 9- 6(b) See 9- 6 10-15 18-15 position 5- 1 9- 5 21-17 below.
(a) 21-17 1- 6 1- 5 Black 18-22 5- 1 22-17 wins. 17-14 6- 2
(b) 9-13 5- 1 14-10 5- 1 18-22 17-14 22-18 Black 21-17 1- 5 10- 6 wins.
A MORE ADVANCED STAGE OF "FIRST POSITION."
Black Kings on 1 and 18. (Fig. 18.)
White man on 17. King on 9.
White to move. Black to win.
This position is formed at the end of main play of both positions given in eleventh easy lesson, as well as of main play in the position on the first diagram above.
White has two lines of play. First--
17-13 15-10 25-22 10-15 18-15 17-22 1- 6 22-25 9-14 10-14 22-25 15-18 1- 5 22-25 6-10 Black 14-17 1- 5 25-22 wins.
Second--
(a) 9- 5 1- 6 1- 5 Black 18-22 5- 1 22-17 wins. 17-14 6- 2 14- 9
(a) Both 17-14 and 9-13 lose at once by 6-2.
XIII
A careful study of the principles underlying the play given in the positions in the eleventh and twelfth lessons will suffice to show the student how to secure success (if that is possible) when two Kings are opposed to man and King, the latter commanding or occupying his opponent's double corner, where also the man can only hope to be crowned. If the single man and the King cannot be forced to take up some of the positions shown at some part of the different lines of the play, then the game will be drawn.
The next class is composed of endings in which two Kings are opposed to two Kings and a man.
The following diagram shows what is called
THE "THIRD POSITION."
Black man on 5. Kings on 13 and 21. (Fig. 19.)
White Kings on 14 and 22.
Black to move and win.
The end is brought about thus--
13- 9 25-22 27-23 24-20 22-18 15-10 22-25 22-26 9- 6 22-26 2- 7 20-16 18-22 14-18 25-22 26-22 6- 1 5- 9 7-11 16-12 22-18 10- 6 22-25 22-26 21-25 9-13 11-15 12- 8 18-15 6-10 25-22 26-22 1- 6 26-31 23-27 8- 3 14-17 10-14 22-26 14- 9 6- 2 31-27 27-24 15-10 17-14 18-22 26-22 Black wins.
XIV
Another class of endings is when three pieces are opposed to three pieces, generally, of course, drawn, but yet in some cases admitting of forced wins by delicate play. The following is a characteristic specimen of such a forced victory, and should be carefully studied by all young students of the game. It is well known to experts as
THE "SECOND POSITION."
Black men on 3 and 6. King on 1. (Fig. 20.)
White men on 12 and 13. King on 8.
Black to move and win.
The play for the victory follows:--
1- 5 32-28 24-27 28-32 8-11 24-27 28-24 19-24 5- 9 28-32 27-32 32-28 11-15 27-31 24-28 11-16 9-14 32-28 32-27 28-19 15-11 31-27 28-32 16-23 14-18 28-32 27-24 12- 8 11-16 27-23 32-28 23-18 18-15 32-28 24-19 8- 4 16-20 23-18 28-32 18-14 15-11 28-24 19-15 4- 8 20-24 18-14 32-28 6- 1 3- 7 24-19 15-10 8-11 24-19 6-10 28-24 14- 9 7-10 19-23 10- 6 13- 6 19-23 10-15 24-19 1-10 10-15 23-27 14-10 11-16 23-27 15-19 19-24 10-15 15-19 27-32 10-15 16-20 27-32 19-24 24-28 15-19 19-24 32-28 15-19 Black wins.
XV
The position given below is well known to experts, and the play upon it is very fine; but with the proviso, "Black to move and win," it cannot easily occur in actual play, as the student will speedily discover if he examine the position carefully. Nevertheless, it aptly illustrates an important principle in end game play, and is well worthy of careful study. It is known as
THE "FOURTH POSITION."
Black man on 21. Kings on 22, 23, and 28. (Fig. 21.)
White man on 30. Kings on 31 and 32.
Black to move and win, or White to move and draw.
The Black victory is brought about as follows:--
28-24 23-19 18-22 24-27 32-28 27-31 31-27 31-24 24-20 19-24 22-26 20-18 28-32 32-27 30-23 Black 22-18 24-28 28-24 wins. 31-27 27-32 27-31
The draw arises thus:--
31-27 32-27 31-27 31-26 23-19 24-20 28-24 27-31 27-32 27-31 Drawn. 19-24 22-18 18-23
Black can vary his play to some extent, but he can never man off to advantage, or force a winning position by any line of play, and the position is drawn.
XVI
Here is an example of a Black win brought about by very fine play, and well worthy of attentive study. It is by the celebrated James Wyllie:--
Black man on 3. Kings on 11, 19, 27. (Fig. 22.)
White men on 12, 20. Kings on 1, 2.
White to move, Black to win.
1- 6 18-14 1- 6 7-10 27-23 5- 1 5- 1 18-23 6-10 14- 9 6- 9 10-15 23-18 6- 2 19-15 23-27 10- 6 13-17 (b) 9- 5 15-19 18-14 1- 5 11- 7 27-32 6- 1 17-14 14- 9 19-23 14-17 5- 1 7- 2 32-28 1- 6 9- 5 9-13 6-10 19-23 2- 6 15-11 28-24 6- 9 14-18 13-17 10-15 23-18 6-10 3- 7 Black 2- 6 18-23 17-14 wins.
17-13 (a) 10-14 2- 6 9- 5 23-19 14-18
Var. (a.)
10- 6 19-15 6- 2 Black 23-19 2-6 17-10 wins. 6- 2 3-7
Var. (b.)
9-13 17-21 17-13 20-16 11- 7 1- 6 10-14 18-15 14-17 13-17 13-17 Black 15-18 6-10 7-10 wins.
XVII
The position given in the last easy lesson showed a Black win when it was White's turn to play, but it is only a draw if Black had to play first. Let the student add to the diagram the condition "Black to move, White to draw."
The draw is brought about as follows:--
27-23 10- 6 7-10 2- 6 1- 6 19-15 5- 1 18-23 19-15 6- 2 14- 9 6-10 6- 1 7-11 20-16 15- 6 15-18 9- 6 10-15 1-10 1- 6 17-13 1- 6 23-19 18-22 6- 1 9- 5 16-11 6- 9 15-10 6- 1 19-16 22-17 2- 6 13-17 11- 7 2- 6 10-14 2- 6 Drawn. 23-19 1- 5 17-14 6-10 (a) 11- 7 6- 2 11- 7 6- 2 14-18
Var.(a.)
11-15 10-14 18-23 23-19 5- 1 5- 1 6-10 11- 7 14-10 9- 5 15- 6 19-16 6- 2 20-16 1-10 7- 2 13- 9 14-18 5- 9 Drawn 1- 5 2- 6 6-11
Here is a neat winning stroke from Sturges:--
Black Kings on 10, 16, 23. (Fig. 23.)
White Kings on 9, 19.
Black to move and win.
The win is forced thus:--
10-14, 9-27, 16-32. Black wins.
XVIII
I give the following beautiful example of a Black win by W. G. W. Leggett:--
Black man on 1. Kings on 3 and 11. (Fig. 24.)
White men on 9, 10, 13. King on 4.
Black to move and win.
The win is thus brought about:--
11- 7 (b) 1- 5 25-22 5- 1 10- 6 15-19 9- 5 7-10 1-10 5- 1 22-18 1- 5 9- 6 19-23 5- 9 10- 6 7- 2 1- 5 18-15 5- 1 (a) 6- 1 23-26 9- 5 14-10 2- 6 5- 9 15-11 1- 5 1- 5 26-30 5- 9 6- 1 10-15 9- 5 11- 7 5- 9 5- 1 30-25 9- 5 1- 5 6-10 5- 9 10-14 Black wins.
Var. (a.)
13- 9 3- 7 8-11 18-22 10-15 4- 8 15-18 Black 6- 1 7-10 11-16 wins.
Var. (b.)
13- 9 4- 8 8-3 Black 3- 7 15-18 7-2 wins.
XIX
CLASSIFIED LIST OF PRINCIPAL OPENINGS.
9-13 OPENING.
Edinburgh
9-14 OPENING
Double Corner 9-14
Choice 9-14, 22-18, 11-15
10-14 OPENING
Denny 10-14
10-15 OPENING
Kelso 10-15
11-15 OPENING.
Ayrshire Lassie 11-15, 24-20, 8-11, 28-24
Second Double Corner 11-15, 24-19
Virginia 11-15, 23-19, 10-14
Glasgow (Irregular) 11-15, 23-19, 9-14, 22-17 8-11, 25-22, 11-16
Wilter (Irregular) 11-15, 23-19, 9-14, 22-17 7-11
Fife 11-15, 23-19, 9-14, 22-17 5-9
Souter 11-15, 23-19, 9-14, 22-17 6-9
Sunderland 11-15, 23-19, 9-14, 22-17 14-18
Defiance 11-15, 23-19, 9-14, 27-23
Will o' the Wisp 11-15, 23-19, 9-13
Old Fourteenth 11-15, 23-19, 8-11, 22-17 4-8
Alma 11-15, 23-19, 8-11, 22-17 3- 8
Glasgow 11-15, 23-19, 8-11, 22-17 11-16
Laird and Lady 11-15, 23-19, 8-11, 22-17 9-13
Centre 11-15, 23-19, 8-11, 22-17 15-18
Doctor 11-15, 23-19, 8-11, 22-17 9-13, 17-14, 10-17, 19-10 7-14
Nailor 11-15, 23-19, 8-11, 26-23
Cuckoo 11-15, 23-19, 8-11, 22-18
Wilter 11-15, 23-19, 7-11
Wilter-Cross 11-15, 23-19, 7-11, 26-23 3-7, 23-18
Cross 11-15, 23-18
Cross Choice 11-15, 23-18, 9-14
Dyke (second Irregular) 11-15, 23-18, 8-11, 26-23 4-8, 30-26, 15-19
Single Corner 11-15, 22-18, 15-22, 25-18 8-11
Flora Temple 11-15, 22-18, 15-22, 25-18 9-13
Maid of the Mill 11-15, 22-17, 15-18
Maid of the Mill 11-15, 22-17, 8-11, 17-13 (Irregular) 15-18
Pioneer 11-15, 22-17, 8-11, 25-22
White Dyke 11-15, 22-17, 8-11, 17-14
Albemarle 11-15, 22-17, 8-11, 17-13 4-8, 21-17
Erie 11-15, 22-17, 8-11, 17-13 9-14
Dyke 11-15, 22-17, 15-19
Dyke (Irregular) 11-15, 22-17, 9-14, 25-22 15-19
Boston 11-15, 22-17, 9-13, 17-14
Wagram 11-15, 22-17, 9-13, 24-20
Switcher 11-15, 21-17
11-16 OPENING.
Bristol 11-16, 24-20
Liverpool 11-16, 24-20, 9-13, 20-11 8-15
Paisley 11-16, 24-19
Manchester 11-16, 23-18
London 11-16, 22-18
White Doctor 11-16, 22-18, 10-14, 24-20 16-19, 23-16, 14-23
Leeds 11-16, 22-17
Newcastle 11-16, 21-17
12-16 OPENING.
Dundee 12-16
THE LOSING GAME.
As a matter of fact very fine scientific play is possible with this form of Draughts, but all the same the youngest beginner can play at it, and very amusing results will follow. The object in the game is for one of the players to give all his men away, or get them fixed immovably, which, of course, would be a lost game in ordinary draughts, but is a won one at the losing game. It must be borne in mind, in playing the losing game, that it is not good policy to give away men at the beginning of the game so as to be left with three men against six, or two against five, for as a matter of fact in most positions the player with the superior forces can give all his men away, leaving the other player with one or more of his men left. Here is where the laugh comes in. The hasty player keeps giving away his men until possibly he has only one left, whilst his more wary opponent has three or four. But can he give that man away and so win? Not much! He soon finds he is perfectly helpless, and the other player can force him to take all his men, whilst his solitary man or King remains still on the board, a woeful example of "vaulting ambition, overleaping itself and falling on t'other side." In the losing game it is a case of "the more haste the least speed," for he who is too hasty to give away his men at the beginning finds he cannot give the remainder away at the end. From the first "position" must be played for, the board opened, and men exchanged carefully, so that at the end the player who wants to win may have such advantage that he can compel his opponent to capture his remaining pieces. When the game is reduced to one man on each side he who has "the move," as it is called, which would enable him to win, or draw, at the least, in the ordinary game must lose at the Losing Game. Here is an example of
A LOSING GAME.
11-15 8-11 5- 9 20-27 24-19 22-18 17-13 30-26 15-24 9-14 3- 8 23-14 27-20 18- 9 29-25 White wins, 8-11 6-13 12-16 for his sole 20-16 25-22 23-19 remaining man 11-20 1- 6 16-32 is blocked. 32-27 22-17 31-27 4- 8 13-22 32-23 28-24 26-17 21-17
Another form of the Losing Game is for one player to have all his twelve men against a single man of the other player. I give a position of this kind as
The 12 Black men on their original squares.
White man on 29.
Black to move and win, that is, give all his men away.
Another funny form of draughts is for one player to give the other the odds of having once (or oftener during the progress of the game) the right of moving twice in succession, this right being exercised at such time as the odds-receiver may choose. There should be great disparity in the strength of the two players, as the odds is really very great.
THE INTERCHANGED MEN.
As a final poser for those who like to puzzle their brains, I give the following as a problem. Place the men in due order on the draught-board, and then by a series of legal moves reverse the position of the men, that is, the Black men must stand where the White men came from, and _vice versa_.
$Quaternions.$--Quaternions is the name of a somewhat easy yet interesting game played on a checkered board (similar to a draughts board) with thirty-two counters or draughtsmen (sixteen white and sixteen black). The players move alternately by placing one of their men on a white square of the board, and the object of the game is to get four men of the same colour in a line, either perpendicular, horizontal, or diagonally, and the player who first succeeds in doing this wins the game. Of course, each player also does his best to stop his opponent from forming his quaternion or file of four. Should neither player be able to form a quaternion, then the game is drawn.
To show clearly what a quaternion is, I give the following diagram:--
The four men on squares 1, 2, 3, and 4, form a quaternion, and similarly do those on 5, 13, 21, and 29, and those on 10, 15, 19, and 24. The numbers here given to the squares are the same as in draughts. The point to be borne in mind in playing the game is to try to unite a perpendicular with a horizontal line of squares, or with a diagonal line. By careful play three men can be got on one of these lines, and three on a communicating line, each having a vacant square. The player of the opposite colour can fill only one of these squares, and consequently cannot prevent the formation of the quaternion on the other line.
The most careful play on both sides is required from the very first move, or the game can be forced right off. I give a diagram of an opening:--
It is now Black's turn to play, and he must stop White from forming a line of three men with a vacant square at each end. To do this he must place a man either on 7 or 17. Supposing he plays on to 17, then White can force the game thus:--
White. Black.
18 23 Black plays on 23 to stop White 7 3 getting an open three; 9 would not 9 5 be so good. 11 12 2
The position is now as diagrammed:--
It will be seen that White has now three on a perpendicular (beginning at 2) with a vacant square, and he also has three on a diagonal (also beginning at 2) with a vacant square. Black can now only occupy one of the vacant squares, and White thereupon occupies the other, thereby forming his quaternion and winning. Black lost the game on his second play by placing his man on 17; had he gone on to 7 his game would have been as good as White's.
Now for a few general hints. Open the game on the middle of the board. Play to squares near those occupied by your opponent's men. Keep your men in connection (with an eye to forming threes, as in the illustrative game given above). Keep forming threes as long as you can so as to force your opponent to stop the threatened quaternion. Keep a wary eye always on your opponent's game, and try to confine him as much as possible so as to prevent him from forming threes with an adjacent vacant square. Play the cautious game rather than the risky one--that is, keep the draw always in hand, and win if you can.
$Consequences.$--Each player has a slip of paper. Three inches broad and eight inches long is a convenient shape and size. Each player writes upon the top an adjective which might be applied to a lady, and then folds the top of the slip so as to cover the word. All now pass their slips to their neighbours so that each one has another slip. Without looking at the adjective, which should be well covered by the fold, each writes the name of a lady who is in the room, and folds the slip again so that no writing may be seen. Once more the slips are passed along, and upon the new slip which each player has now should be written an adjective applicable to a gentleman. Fold the paper and pass it along again. This process is repeated until this adjective has been followed by the name of some gentleman of the party, then by the name of a place, next by what the gentleman said to the lady, then her reply. After that come the consequences, and finally what the world said. All the slips are now dropped into a hat, and someone is appointed to read them one by one, supplying the verbs in the right place. They will create roars of laughter, for they will run something like this: Simpering Jane Cook met Knock-kneed Peter Thompson up a tree. He said to her, "Well, I am surprised" and she replied, "Does your mother know you're out?" The consequences were that he pawned his boots, and the world said, "I told you so."
$Concert.$--The players having selected a "conductor," seat themselves round him. The conductor now gives to each a musical instrument, and shows how it is to be played. When all are provided with their imaginary instruments, he orders them to tune, and so gives each musician a chance to make all sorts of noises. Next the conductor waves an imaginary _baton_, and begins to hum a lively tune, in which he is accompanied by his band, each player imitating with his hands the different movements made in performing on his supposed instrument. Every now and then the conductor pretends to play an instrument, and the player to whom it belongs must instantly alter his movements for those of the conductor, and continue to beat time until the conductor abandons his instrument. Should a player fail to take the conductor's office at the proper time, he must pay a forfeit.
$Shadow Buff.$--A sheet or other large piece of white linen should be fastened at one end of the room, so that it hangs without wrinkles; Buff seats himself on a low stool with his face to the sheet, and a table, on which is a lighted candle, should be placed about four or five feet behind him, and the rest of the lights in the room extinguished. Buff's playfellows next pass in succession, between him and the candle, distorting their features as much as possible--hopping, limping, and performing odd antics, so as to make their shadows very unlike themselves. Buff, who is not blindfolded, must try to guess to whom the shadows belong, and if he guesses correctly, the player whose shadow he recognises takes his place. Buff is allowed only one guess for each person, and must not turn his head either to the right or to the left to see who passes.
$The Boat Race.$--A most exciting game, and one that is particularly suited to parties. Any number of players may take part in it, the more the merrier, and they must be divided into two sides. The players stand in two rows, facing one another; at one end of the line there is the starter and at the other the umpire.
At the word "Go!" the starter drops a penny into the hands of each of the two men nearest him. These two men then drop it into the outstretched palms of the people next to them, and so the pennies are passed along from one to the other, and the winning side is the one which manages to get its penny into the hands of the umpire first. A great point which all the players must bear in mind is that on no account must the coin be touched by the fingers. Each player must secure the penny in the palms of his hands placed together, and must drop the penny into the hands of the man next him by simply opening his palms. This greatly adds to the fun of the game. In the hurry to pass on the coin the excited player will drop the money and pick it up in his fingers, and his side is then disqualified for that game.
$A Musical Glass.$--Take a thin cut-glass goblet, and having cut out of stiff writing-paper a cross with arms of equal length, lay it on the top of the glass, and turn down each end of the four arms, so that the cross will not slip off. Having thus fitted the cross, take it off the glass and pour water into the glass until it is nearly full. Now wipe the rim carefully, so that no particle of moisture remains on it, and replace the cross. You can make the glass vibrate and give out a sound by rubbing your damped finger over some part of the exterior. That is why it is called a musical glass; but an even more wonderful experiment may be made with it. You rub the glass with your damped finger under one of the arms of the cross; the cross will not move. Rub it between any two of the arms, and the cross will begin to turn slowly, as if by magic, and will not stop turning until one of the arms reaches a point immediately over the place you are rubbing. You can then move your finger round the glass and make the cross move as you please.
$Boomerangs.$--The wooden boomerang of the Australian savage has elements of danger, and attempts should not be made to throw it except away from other people and from animals. Even the thrower will do well to have a tree behind which he can retire; but meanwhile much fun can be derived from small boomerangs made of pasteboard. They should be cut in the shapes given, A and B are the best. There is no need to be very exact, but the card should not be bent and should be capable of lying flat upon a table. Other similar shapes may be invented. The curious flight of a little boomerang of this kind is induced by placing it upon a book with one of its ends projecting over the side of the book. Raise the book to a level with your eyes and then with a pencil or penholder strike sharply the edge of the boomerang near the end. Do not treat the boomerang as though you were playing at tip-cat or "peggy," and avoid smiting it upon its upward flat surface. When you have learned to hit it properly it will skim through the air, then rise a little, and finally come back to some place not far from its starting-point. In any case its peculiar movements are likely to be amusing. A flip with the finger nail is another way to start the boomerang upon its course.
$An Amusing Game.$--In this game the ball is an empty egg-shell, and the field a covered table.
After the sides have been chosen--any number of persons taking part--the players kneel at both sides of the table, a captain at the head on one side, and another captain at the foot on the other side. In front of each captain are placed two upright articles--candlesticks, tumblers, or what not. These are the goals, across which a ribbon is stretched.
The egg-shell is placed in the centre of the table, and put in play by both captains blowing at it. All the other players then assist in the blowing, which keeps the ball moving about the table at such a rapid succession of tangents as to cause a great deal of fun. Soon most of the players will be helpless with laughter.
A touchdown, which scores four points, is made by blowing the ball through the opponents' goal. The captain of the victorious side then takes the ball back to the opposite goal and blows it across the table, the object being to pass it through the same goal again. This, if successful, scores two more points.
The time limit of the game is thirty minutes, divided into two parts of fifteen minutes each. After the first half the two teams change positions, as in football.
$Nine Men's Morris.$--Two persons, having each of them nine pieces, or men, different in colour from those of his opponent, lay them down alternately, one by one, upon the spots; and the aim of both players is to prevent his antagonist from placing three of his pieces so as to form a row of three without the intervention of an opposing piece. If a row be formed, he that made it is at liberty to take up one of his competitor's pieces from any part he thinks most to his advantage; unless he has made a row, which must not be touched. When all the pieces are laid down, they are played backwards and forwards in any direction that the lines run, but can only move from one spot to another at one time. He that takes all his antagonist's pieces, is the winner.
$Fox and Geese.$--Fifteen draughtsmen serve for the flock of geese. The fox may be two draughtsmen placed one upon another. The game is played on a board marked as shown in the illustration. Sometimes holes are pricked at the junction of the lines and pegs are used instead of draughtsmen. The fox is placed in the middle of the board, and the geese as shown in the illustration. The game is to confine the fox to some spot on the board, so that there shall be either the edge of the board or else two rows of men round him. When the fox cannot escape, the game is done, and the player of the geese wins; but when one of the geese is left on a point next to that occupied by the fox, and is not supported by another goose behind, or by the edge of the board, the fox can take it, and by jumping over its head to the next space, as in draughts, he may, perhaps, escape the others, as all the geese are compelled to move forwards towards the end of the board that was unoccupied at the commencement of the game. The fox is allowed to move either backwards or forwards. Neither the fox nor a goose must be moved more than one space at a time. If the fox neglects to take when he has a chance, he is huffed, and one of the captured geese is restored to the board. The fox should avoid getting into the lower square of the board if possible, as he will find it difficult to extricate himself from a position which can be so easily blockaded.
A SECOND METHOD.--There is another way of playing fox and geese on a chessboard, with four white men, representing the geese, and one black one, for the fox.
The geese are placed on the four white squares nearest one player, and the fox may be put where his owner pleases. The best place for him is that marked in the diagram.
The geese can move forward only, and the fox moves either way. The object of the geese is to pen the fox so that he cannot move, and the fox has to break through.
The geese have a great advantage, and a good player keeps them in a line as much as he can. This the fox tries to prevent, and if the geese make a false move he is able generally to break through the line.
$Puzzles.$--DEAD DOGS MADE LIVING.--The dead dogs are, by placing two lines upon them, to be suddenly aroused to life and made to run away. How and where should these lines be placed, and what should be the shapes of them?
THE SPRINGS PUZZLE.--A is a wall, B C D three houses, and E F G three springs. It is required to bring the water from E to D, from G to B, and from F to C, without one pipe or channel crossing the other, and without passing outside of the wall A.
THREE-SQUARE PUZZLE.--Cut seventeen slips of cardboard of equal lengths, and put them on a table to form six squares, as in the figure. Now take away five of the pieces, leaving only three perfect squares.
SIX AND FIVE MAKE NINE.--Draw six vertical lines, and, by adding five more lines let the whole make nine.
CYLINDER PUZZLE.--Cut a piece of cardboard about four inches long, of the oblong shape of the figure, and make three holes in it as shown. Make one piece of wood pass through, and also exactly fill, each of the three holes.
A BUTTON PUZZLE.--In the middle of a piece of leather make two parallel cuts, and below a small hole of the width of the distance between the cuts, pass a piece of string under the slit and through the hole, as in the diagram, and tie two buttons much larger than the hole to the ends of the string. The problem is to draw the string out without taking off the buttons.
A SLIT PUZZLE.--Cut a round piece of wood as in A, and four others, like B. Get them all into the cross-shaped slit, as in C.
CREEPING THROUGH A SMALL SPACE.--Take a piece of cardboard or of leather, the shape and size suggested in the diagram. Cut it in such a way that you may creep through it, still keeping it in one piece.
AN INGENIOUS SQUARE.--Here is a way to place one to nine in three rows of three figures each, so that they will add up to fifteen in eight different ways.
+--+--+--+ | 4| 9| 2| +--+--|--| | 3| 5| 7| +--+--+--+ | 8| 1| 6| +--+--+--+
+-------------------+ |o o o| | | | | | o o | |o o| | o o | | | | | |o o o| +-------------------+
THE CABINET-MAKER'S PROBLEM.--A cabinet-maker had a round piece of veneering, with which he has to cover the tops of two oval stools. It so happens that the area of the stools, without the hand-holes in the centre, and the circular piece, are the same. How must he cut his veneer so as to be exactly enough for his purpose?
CIRCLE PUZZLE.--Secure a piece of cardboard, the size and shape of the diagram, and punch in it twelve holes in the position shown in the diagram. Cut the cardboard into four pieces of equal size, each piece to be of the same shape, and to contain three holes, without cutting into any of them.
THE NUNS.--Twenty-four nuns were placed in a convent by night to count nine each way, as in the figure. Four of them went for a walk; how were the remaining nuns arranged in the square so as still to count nine each way? The four who went out returned, bringing with them four friends; how were they all arranged still to count nine each way, and thus to deceive the sister in charge, as to whether there were 20, 24, 28, or 32 in the square?
CROSS-CUTTING.--How can you cut out of a single piece of paper, and with one cut of the scissors, a perfect cross, and all the other forms that are shown in the diagram?
CROSS PUZZLE.--Cut three pieces of paper to the shape of A, one to the shape of B, and one to that of C. Let them be of the same relative sizes as in the diagram. Place the pieces together so as to form a cross.
MORE CROSS CUTTING.--With three pieces of cardboard of the form and size of A, and one each of B and C, to form a cross.
A PROBLEM FOR SURVEYORS.--A gentleman who lived in a house on an estate decided that he would divide the estate into five building plots. There were ten fine old trees, and his instructions to the surveyor were: Don't count my house in the division. I shall have that extra, but divide the remainder of the park into five equal parts with straight boundaries. I shall retain one part for my own grounds. Be careful to arrange that each plot shall have two of the trees. How did the surveyor divide the estate?
ANOTHER PROBLEM FOR SURVEYORS.--A squire planted a number of oaks when his heir was born, and on the twenty-seventh birthday of the young man there was a tree for every year, and yet though there were only 27 trees, there were ten rows and six trees in each row, which made sixty, the age of the squire himself. How did he manage it?
HALFPENCE PUZZLE.--Place ten halfpence in a row on the table. Take up one of them and place it on another, never in any case passing over more than two halfpence. Repeat the operation until no halfpenny remains by itself in the row.
PUZZLING ADVICE.--Read the following:--
If your B m t put : When your IS . putting :
THE MISER'S RUSE.--A miser once asked his tenants to dinner at an inn, and asked the landlord to join the party. When the bill was presented, the miser suggested that they should cast lots who should pay the score. It was decided that they should be counted by the days of the week, and that every time he who counted called "Saturday," the person so named should leave the room until there was only one man left, and he should pay. How did the miser manage to throw the expense on the landlord?
TWO EYES BETTER THAN ONE.--Put a coin on a table's edge, with half the coin's edge overlapping. Move three yards away and close one eye; now advance, and try to knock it off with one finger, keeping the one eye shut all the time.
WOLF, GOAT, AND CABBAGES.--Suppose a man has a wolf, a goat, and some cabbages on the bank of a river, and he wishes to cross with them, and that his boat is only large enough to carry one out of the three besides himself. He must, therefore, take them over one by one, in such a manner that the wolf shall have no opportunity of devouring the goat, or the goat the cabbages. In which way is he to do this?
THE DOUBLE HANDCUFFS.--Ask two friends to allow their hands to be fastened together with string, which must be looped, as shown in the illustration. Now tell them to liberate themselves without unfastening the knots, or cutting the string.
Answers to Puzzles.
THREE-SQUARE PUZZLE.--Take away the pieces numbered 8, 10, 1, 3, 13, and three squares only will remain.
A SLIT PUZZLE.--Arrange the pieces side by side in the short arms of the cross, draw out the centre piece, and the rest will follow easily. The same process reversed will put them back again.
CREEPING THROUGH A SMALL SPACE.--Double the cardboard or leather lengthways down the middle, and then cut first to the right, nearly to the end, and then to the left and so on to the end of the card; then open it and cut down the middle, except the two ends. By opening the card or leather, a person may pass through it. A tough leaf may be treated in this way.
THE CABINET-MAKER'S PROBLEM.--The cabinet-maker must find the centre of the circle, and strike another circle, half the diameter of the first, and having the same centre. Then cut the whole into four parts, by means of two lines drawn at right angles to each other, then cut along the inner circle, and put the pieces together as in the following diagram.
BUTTON PUZZLE.--Pull the narrow slip of the leather through the hole, and the string and buttons may be released.
CROSS CUTTING.--Take a piece of writing paper about three times as long as it is broad, say six inches long and two wide. Fold the upper corner down, as shown in Fig. 1; then fold the other upper corner over the first, and it will appear as in Fig. 2; you next fold the paper in half lengthwise, and it will appear as in Fig. 3. Then the last fold is made lengthwise also, in the middle of the paper, and it will exhibit the form of Fig. 4, which, when cut through with the scissors in the direction of the dotted line, will give all the forms mentioned.
CYLINDER PUZZLE.--Take a round cylinder of the diameter of the circular hole, and of the height of the square hole. Having drawn a straight line across the end, dividing it into two equal parts, cut an equal section from either side to the edge of the circular base, a figure like that represented by the woodcut in the margin would then be produced, which would fulfil the required conditions.
HALFPENCE PUZZLE.--Place the fourth on the first, seventh on the third, fifth upon the ninth, the second upon the sixth, and the eighth upon the tenth.
PUZZLING ADVICE.--
If your grate be (great B) empty, put coal on. When your grate is (great IS) full, stop putting coal on.
THE MISER'S RUSE.--The counting, which stopped at every seventh man, was made to begin at the sixth from the landlord, who sat at the end of the table.
WOLF, GOAT, AND CABBAGES.--First he takes over the goat; he then returns and takes the wolf; he leaves the wolf on the other side, and brings back the goat; he now takes over the cabbages, and comes back once more to fetch the goat. Thus the wolf will never be left with the goat, nor the goat with the cabbages.
THE DOUBLE HANDCUFFS.--This is the way to do it. C must gather up into a loop the string which binds his hands, pass it under the string fastened round either of B's wrists, and slip it over B's hands. This done, both will be set free. To replace the strings, reverse the process.