CHAPTER I._Studies of chess

Transcriber’s Notes:

Underscores “_” before and after a word or phrase indicate _italics_

in the original text.

Equal signs “=” before and after a word or phrase indicate =bold=

in the original text.

Small capitals have been converted to SOLID capitals.

Deprecated spellings have been preserved.

Typographical and punctuation errors have been silently corrected.

[Illustration]

STUDIES OF CHESS;

CONTAINING

CAISSA, A POEM,

SIR WILLIAM JONES;

_A Systematic Introduction to the Game_;

AND

THE WHOLE

ANALYSIS OF CHESS,

COMPOSED BY

MR. A. D. PHILIDOR:

WITH

Original Critical Remarks.

IN TWO VOLUMES.

“_Ludimus effigiem belli._”

VOL. I.

London:

PRINTED FOR SAMUEL BAGSTER, NO. 81, STRAND.

1803.

_Printed by W. Smith,

King Street, Seven Dials._

_Contents of the First Volume._

PAGE

Caïssa, a Poem, by Sir William Jones 1

Introduction to Chess 21

Elementary Institutes 23

Description of the Pieces 24

General Maxims 35

Progressive Examples—First Essay 54

—— —— Second Essay 68

Scale of Powers 82

Second Essay resumed 85

The Scholar’s-Mate 98

Game of Combinations 112

Analysis of Chess 125

Philidor’s own Games—First Party 127

—— —— —— Second Party 143

—— —— —— Third Party 157

—— —— —— Fourth Party 175

Philidor’s First Gambit 190

—— Second Gambit 212

—— Third Gambit 235

The Cunningham Gambit 251

PREFACE.

Chess is distinguished from other games, by having long had the

suffrages of contemplative men in its favor; the countenance of

illustrious characters of the most opposite professions. Generals have

modelled their operations on its little portable field; philosophers

have traced consequences through its range of combinations; divines

have exercised contemplation in its vicissitudes. Teeming, through its

varied progress and turns, with excitements to thinking, it is, in its

essential tendency, a _gymnasium_ of the mind.

It is unnecessary to insist on the right of this game to be classed

alone, as the distinction with which it is viewed is a general

sentiment. The EDITOR is equally unoriginal on another subject, his

own merely coinciding with public impressions. This is the excellence

of the work of PHILIDOR, as a deposit of science and experience. It

is a publication intrinsically pervaded by invention and skill. The

substance alone is, however, entitled to unqualified eulogy: it must be

admitted, that PHILIDOR presented it in a dress capable of improvement.

This partly arose from an implicit adoption of terms which he found

in the game; and partly from the difficulty of giving his ideas an

expression, as clear as their conception, when conveying them in a

foreign language.

Hence the EDITOR found it necessary to recompose some, and to retouch

almost all the notes of the _ANALYSIS_. For any degree of obscurity

which may remain, or have acceded, he is thus become chargeable. He

hopes he has not unsuccessfully endeavoured at clearness; and he felt

it not a duty, incumbent on his province, to aim at elegance.

In the notation of the moves, the following are the principal

alterations upon which he has ventured. When the first lessons at Chess

were given to PHILIDOR, a habit of speaking of a piece, as making two

moves at once, infected his masters; and he imbibed it. “The king’s

pawn _two moves_.” It would be as proper to direct a bishop to make at

once seven moves. For phrases which have been repeated till they cease

to be strange, in marking the distance to be passed by a pawn, the

EDITOR uses the phrases, “_one square_”—“_two squares_.”

When two or three captures succeed without intermission, he found the

word _retake_ employed. But a piece once lost, is recovered by a

different process than capture; and though a player may make reprisals

or retaliate, he cannot, by any latitude of accommodation, be said

to retake. As this expression must perplex a novitiate, by implying

a resemblance in Chess and arms, which, in this respect, does not

exist, and cannot be agreeable to the proficient who considers its

incorrectness, it is rescinded, in the present copy, for the simple

word _take_.

The term _double check_ was indiscriminately applied, in the

_ANALYSIS_, to a situation which it precisely marks, and to another

situation. _The king in check with two pieces_, and _one piece taking

such an attitude to give check, that a part of the assailing power

diverges on a second piece_, are, surely, different relations of the

mimic forces. The EDITOR has introduced the new term _divergent check_,

for the latter situation

The high reputation of PHILIDOR, has not deterred the EDITOR from

critically examining each successive example in the ANALYSIS, whether

invented or adopted; and if an inquisitorial review has detected

circumstances, in the collision of the pieces, which appear to flow

from oversight, it is a just encomium on that accomplished player, that

they are very few. Aware of the delicacy with which movements dependent

on complicate play should be touched, the EDITOR has uniformly retained

the original course assigned by PHILIDOR; with regard to any change

of course, merely proposing it in a stricture, or pursuing it in the

detached form of a variation.

The _ANALYSIS_, as left by our professor, was not accompanied by a

compendium of the first elements of Chess, though a standard display of

the constitution of the game must be more or less necessary to every

person who consults a Chess Book. The _INTRODUCTION_ now prefixed,

proceeds on the supposition, that the reader is an inquirer on _every_

point connected with the board and pieces; any other idea excludes

method, and involves rejections that may be attributed to caprice. The

divisions will enable each reader to pass, in masses, those particulars

of which he does not want to be informed.

The rising series of games form an ascent to _PHILIDOR_. The inceptive

party is interspersed with moves which are declared to be wrong:

these may have a parallel use with the examples of false construction

inserted in grammars. The latter have long been pronounced to furnish

an improving exercise.

The scale of powers is a branch of Theory, new in its design. An

engaging part of the work remains to be noticed.

The Poem of Sir WILLIAM JONES is introduced as a relief from a serious

application to the game, and an elegant embellishment. Among its

numerous beauties, the description of the operations of the knight,

may be pointed out as eminently happy. The reader of taste, far from

disapproving the assignation of twenty pages to this admired effusion,

will regret that the recreative flight is so soon suspended; and the

amateur and polite scholar will hail, with pleasure, such a classical

offering to Chess.

CAÏSSA .

THE GAME AT CHESS.

A POEM.

WRITTEN IN THE YEAR 1763.

BY SIR WILLIAM JONES.

The first idea of the following piece was taken from a Latin poem of

Vida, entitled SCACCHIA LUDUS, which was translated into Italian by

Marino, and inserted in the fifteenth Canto of his Adonis: the author

thought it fair to make an acknowledgment in the notes for the passages

which he borrowed from those two poets; but he must also do them the

justice to declare, that most of the descriptions, and the whole story

of Caïssa, which is written in imitation of Ovid, are his own, and

their faults must be imputed to him only. The characters in the poem

are no less imaginary than those in the episode; in which the invention

of Chess is poetically ascribed to Mars, though it is certain that the

game was originally brought from India.

CAÏSSA.

Of[1] armies on the chequer’d field array’d,

And guiltless war in pleasing form display’d;

When two bold kings contend with vain alarms,

In ivory this, and that in ebon arms;

Sing, sportive maids, that haunt the sacred hill

Of Pindus, and the fam’d Pierian rill.

[2]Thou, joy of all below, and all above,

Mild Venus, queen of laughter, queen of love;

Leave thy bright island, where on many a rose

And many a pink thy blooming train repose:

Assist me, goddess! since a lovely pair

Command my song, like thee divinely fair.

[1] Ludimus effigiem belli, simulataque veris Prælia, buxo acies

fictas, et ludicra regna: Ut gemini inter se reges, albusque nigerque,

Pro laude oppositi certent bicoloribus armis. Dicite, Seriades Nymphæ,

certamina tanta. _Vida._

[2] Æneadum genitrix, hominum divûmque voluptas, Alma Venus! &c.

_Lucretius._

Near yon cool stream, whose living waters play,

And rise translucent in the solar ray;

Beneath the covert of a fragrant bower,

Where spring’s soft influence purpled every flower;

Two smiling nymphs reclin’d in calm retreat,

And envying blossoms crouded round their seat;

Here Delia was enthron’d, and by her side

The sweet Sirena, both in beauty’s pride:

Thus shine two roses, fresh with early bloom,

That from their native stalk dispense perfume;

Their leaves unfolding to the dawning day

Gems of the glowing mead, and eyes of May.

A band of youths and damsels sat around,

Their flowing locks with braided myrtle bound;

Agatis, in the graceful dance admir’d,

And gentle Thyrsis, by the muse inspir’d;

With Sylvia, fairest of the mirthful train;

And Daphnis, doom’d to love, yet love in vain.

Now, whilst a purer blush o’erspreads her cheeks,

With soothing accents thus Sirena speaks:

“The meads and lawns are ting’d with beamy light,

“And wakeful larks begin their vocal flight;

“Whilst on each bank the dewdrops sweetly smile;

“What sport, my Delia, shall the hours beguile?

“Shall heavenly notes, prolong’d with various art,

“Charm the fond ear, and warm the rapturous heart?

“At distance shall we view the sylvan chace?

“Or catch with silken lines the finny race?”

Then Delia thus: “Or rather, since we meet

“By chance assembled in this cool retreat,

“In artful contest let our warlike train

“Move well-directed o’er the colour’d plain;

“Daphnis, who taught us first, the play shall guide;

“Explain its laws, and o’er the field preside:

“No prize we need, our ardour to inflame;

“We fight with pleasure, if we fight for fame.”

The nymph consents: the maids and youths prepare

To view the combat, and the sport to share:

But Daphnis most approv’d the bold design,

Whom Love instructed, and the tuneful Nine.

He rose, and on the cedar table plac’d

A polish’d board, with differing colours grac’d;

[3]Squares eight times eight in equal order lie;

These bright as snow, those dark with sable dye;

Like the broad target by the tortoise born,

Or like the hide by spotted panthers worn.

Then from a chest, with harmless heroes stor’d,

O’er the smooth plain two well-wrought hosts he pour’d;

The champions burn’d their rivals to assail.

[4]Twice eight in black, twice eight in milkwhite mail;

In shape and station different, as in name,

Their motions various, nor their power the same.

Say, muse! (for Jove has nought from thee conceal’d)

Who form’d the legions on the level field?

[3] Sexaginta insunt et quatuor ordine sedes Octono; parte ex omni, via

limite quadrat Ordinibus paribus; necnon forma omnibus una Sedibus,

æquale et spatium, sed non color unus: Alternant semper variæ,

subeuntque vicissim Albentes nigris; testudo picta superne Qualia

devexo gestat discrimina tergo. _Vida._

[4] Agmina bina pari numeroque, et viribus æquis, Bis niveâ cum veste

octo, totidemque nigranti. Ut variæ facies, pariter sunt et sua cuique

Nomina, diversum munus, non æqua potestas. _Vida._

High in the midst the reverend kings appear,

And o’er the rest their pearly scepters rear:

One solemn step, majestically slow,

They gravely move, and shun the dangerous foe;

If e’er they call, the watchful subjects spring,

And die with rapture if they save their king;

On him the glory of the day depends,

He once imprison’d, all the conflict ends.

The queens exulting near their consorts stand;

Each bears a deadly falchion in her hand;

Now here, now there, they bound with furious pride,

And thin the trembling ranks from side to side;

Swift as Camilla flying o’er the main,

Or lightly skimming o’er the dewy plain:

Fierce as they seem, some bold Plebeian spear

May pierce their shield, or stop their full career.

The valiant guards, their minds on havock bent,

Fill the next squares, and watch the royal tent;

Tho’ weak their spears, tho’ dwarfish be their height,

[5]Compact they move, the bulwark of the fight.

To right and left the martial wings display

Their shining arms, and stand in close array.

Behold, four archers, eager to advance,

Send the light reed, and rush with sidelong glance;

Through angles ever they assault the foes,

True to the colour, which at first they chose.

Then four bold knights for courage fam’d and speed,

Each knight exalted on a prancing steed:

[6]Their arching course no vulgar limit knows,

Transverse they leap, and aim insidious blows:

Nor friends, nor foes, their rapid force restrain,

By one quick bound two changing squares they gain;

From varying hues renew the fierce attack,

And rush from black to white, from white to black.

Four solemn elephants the sides defend;

Beneath the load of ponderous towers they bend:

In one unalter’d line they tempt the fight;

Now crush the left, and now o’erwhelm the right.

Bright in the front the dauntless soldiers raise

Their polish’d spears; their steely helmets blaze:

Prepar’d they stand the daring foe to strike,

Direct their progress, but their wounds oblique.

[5] The chief art in the Tactics of Chess consists in the nice conduct

of the royal pawns; in supporting them against every attack; and,

if they are taken, in supplying their places with others equally

supported: a principle, on which the success of the game in great

measure depends, though it seems to be omitted by the very accurate

Vida.

[6] Il cavallo leggier per dritta lista, Come gli altri, l’ arringo

unqua non fende, Mà la lizza attraversa, e fiero in vista Curvo in

giro, e lunato il salto stende, E sempre nel saltar due case acquista,

Quel colore abbandona, e questo prende. _Marino, Adone. 15._

Now swell th’ embattled troops with hostile rage,

And clang their shields, impatient to engage;

When Daphnis thus: A varied plain behold,

Where fairy kings their mimick tents unfold,

As Oberon, and Mab, his wayward queen,

Lead forth their armies on the daisied green.

No mortal hand the wondrous sport contriv’d,

By Gods invented, and from Gods deriv’d;

[7]From them the British nymphs receiv’d the game,

And play each morn beneath the crystal Thame;

Hear then the tale, which they to Colin sung,

As idling o’er the lucid wave he hung.

[7] Quæ quondam sub aquis gaudent spectacla tueri Nereides, vastique

omnis gens accola ponti; Siquando placidum mare, et humida regna

quierunt. _Vida._

A lovely Dryad rang’d the Thracian wild,

Her air enchanting, and her aspect mild:

To chase the bounding hart was all her joy,

Averse from Hymen, and the Cyprian boy;

O’er hills and valleys was her beauty fam’d,

And fair Caïssa was the damsel nam’d.

Mars saw the maid; with deep surprise he gaz’d,

Admir’d her shape, and every gesture prais’d:

His golden bow the child of Venus bent,

And through his breast a piercing arrow sent:

The reed was Hope; the feathers, keen Desire;

The point, her eyes; the barbs, ethereal fire,

Soon to the nymph he pour’d his tender strain;

The haughty Dryad scorn’d his amorous pain:

He told his woes, where’er the maid he found,

And still he press’d, yet still Caïssa frown’d;

But ev’n her frowns (ah, what smiles have done!)

Fir’d all his soul, and all his senses won.

He left his car, by raging tigers drawn,

And lonely wander’d o’er the dusky lawn;

Then lay desponding near a murmuring stream,

And fair Caïssa was his plaintive theme.

A Naiad heard him from her mossy bed,

And through the crystal rais’d her placid head;

Then mildly spake: “O thou, whom love inspires,

“Thy tears will nourish, nor allay thy fires.

“The smiling blossoms drink the pearly dew;

“And ripening fruit the feather’d race pursue;

“The scaly shoals devour the silken weeds;

“Love on our sighs, and on our sorrow feeds.

“Then weep no more; but, ere thou canst obtain

“Balm to thy wounds, and solace to thy pain,

“With gentle art thy martial look beguile;

“Be mild, and teach thy rugged brow to smile.

“Canst thou no play, no soothing game devise;

“To make thee lovely in the damsel’s eyes?

“So may thy prayers assuage the scornful dame,

“And ev’n Caïssa own a mutual flame.

“Kind nymph, said Mars, thy counsel I approve;

“Art, only art, her ruthless breast can move.

“But when? or how? Thy dark discourse explain:

“So may thy stream ne’er swell with gushing rain;

“So may thy waves in one pure current flow,

And flowers eternal on thy border blow!”

To whom the maid replied with smiling mien:

“Above the palace of the Paphian queen

“[8]Love’s brother dwells, a boy of graceful port,

“By gods nam’d Euphron, and by mortals Sport:

“Seek him; to faithful ears unfold thy grief,

“And hope, ere morn return, a sweet relief.

“His temple hangs below the azure skies;

“Seest thou yon argent cloud? ’Tis there it lies.”

This said, she sunk beneath the liquid plain,

And sought the mansion of her blue-hair’d train.

[8] Ecco d’astuto ingegno, e pronta mano Garzon, che sempre scherza, e

vola ratto. _Gioco_ s’apella, ed è _d’amor germano_. _Marino, Adone.

15._

Meantime the god, elate with heart-felt joy,

Had reach’d the temple of the sportful boy;

He told Caïssa’s charms, his kindled fire,

The Naiad’s counsel, and his warm desire.

“Be swift, he added, give my passion aid;

“A god requests.”—He spake, and Sport obey’d.

He fram’d a tablet of celestial mold,

Inlay’d with squares of silver and of gold;

Then of two metals form’d the warlike band,

That here compact in show of battle stand;

He taught the rules that guide the pensive game,

And call’d it _Cassa_ from the Dryad’s name:

(Whence Albion’s sons, who most its praise confess,

Approv’d the play, and nam’d it thoughtful _Chess_.)

The god delighted thank’d indulgent Sport;

Then grasp’d the board, and left his airy court.

With radiant feet he pierc’d the clouds; nor stay’d,

Till in the woods he saw the beauteous maid:

Tir’d with the chase the damsel set reclin’d,

Her girdle loose, her bosom unconfin’d.

He took the figure of a wanton Faun,

And stood before her on the flowery lawn;

Then show’d his tablet: pleas’d the nymph survey’d

The lifeless troops in glittering ranks display’d;

She ask’d the wily sylvan to explain

The various motions of the splendid train;

With eager heart she caught the winning lore,

And thought ev’n Mars less hateful than before;

“What spell, said she, deceiv’d my careless mind?

“The god was fair, and I was most unkind.”

She spoke, and saw the changing Faun assume

A milder aspect, and a fairer bloom;

His wreathing horns, that from his temples grew,

Flow’d down in curls of bright celestial hue;

The dappled hairs, that veil’d his loveless face,

Blaz’d into beams, and show’d a heavenly grace;

The shaggy hide, that mantled o’er his breast,

Was soften’d to a smooth transparent vest,

That through its folds his vigorous bosom show’d,

And nervous limbs, where youthful ardour glow’d:

(Had Venus view’d him in those blooming charms,

Not Vulcan’s net had forc’d her from his arms.)

With goatlike feet no more he mark’d the ground,

But braided flowers his silken sandals bound.

The Dryad blush’d; and, as he press’d her, smil’d,

Whilst all his cares one tender glance beguil’d.

He ends: _To arms_, the maids and striplings cry;

_To arms_, the groves and sounding vales reply.

Sirena led to war the swarthy crew,

And Delia those that bore the lily’s hue.

Who first, O muse, began the bold attack;

The white refulgent, or the mournful black?

Fair Delia first, as favouring lots ordain,

Moves her pale legions tow’rd the sable train:

From thought to thought her lively fancy flies,

Whilst o’er the board she darts her sparkling eyes.

At length the warrior moves with haughty strides;

Who from the plain the snowy king divides:

With equal haste his swarthy rival bounds;

His quiver rattles, and his buckler sounds:

Ah! hapless youths, with fatal warmth you burn;

Laws, ever fix’d, forbid you to return.

Then from the wing a short-liv’d spearman flies,

Unsafely bold, and see! he dies, he dies:

The dark-brow’d hero, with one vengeful blow

Of life and place deprives his ivory foe.

Now rush both armies o’er the burnish’d field,

Hurl the swift dart, and rend the bursting shield.

Here furious knights on fiery coursers prance,

Here archers spring, and lofty towers advance.

But see! the white-rob’d Amazon beholds

Where the dark host its opening van unfolds:

Soon as her eye discerns the hostile maid,

By ebon shield, and ebon helm betray’d;

Seven squares she passes with majestic mien,

And stands triumphant o’er the falling queen.

Perplex’d, and sorrowing at his consort’s fate,

The monarch burn’d with rage, despair, and hate:

Swift from his zone th’ avenging blade he drew,

And, mad with ire, the proud virago slew.

Meanwhile sweet smiling Delia’s wary king

Retir’d from fight behind his circling wing.

Long time the war in equal balance hung;

Till, unforeseen, an ivory courser sprung,

And, wildly prancing in an evil hour,

Attack’d at once the monarch and the tower:

Sirena blush’d; for, as the rules requir’d,

Her injur’d sovereign to his tent retir’d;

Whilst her lost castle leaves his threatening height,

And adds new glory to th’ exulting knight.

At this, pale fear oppress’d the drooping maid,

And on her cheek the rose began to fade:

A crystal tear, that stood prepar’d to fall,

She wip’d in silence, and conceal’d from all;

From all but Daphnis: He remark’d her pain,

And saw the weakness of her ebon train;

Then gently spoke: “Let me your loss supply,

“And either nobly win, or nobly die;

“Me oft has fortune crown’d with fair success,

“And led to triumph in the fields of Chess.”

He said: the willing nymph her place resign’d,

And sat at distance on the bank reclin’d.

Thus when Minerva call’d her chief to arms,

And Troy’s high turret shook with dire alarms,

The Cyprian goddess wounded left the plain,

And Mars engag’d a mightier force in vain.

Strait Daphnis leads his squadron to the field;

(To Delia’s arms ’tis ev’n a joy to yield.)

Each guileful snare, and subtle art he tries,

But finds his heart less powerful than her eyes:

Wisdom and strength superior charms obey;

And beauty, beauty, wins the long-fought day.

By this a hoary chief, on slaughter bent,

Approach’d the gloomy king’s unguarded tent;

Where, late, his consort spread dismay around,

Now her dark corse lies bleeding on the ground.

Hail, happy youth! thy glories not unsung

Shall live eternal on the poet’s tongue;

For thou shalt soon receive a splendid change,

And o’er the plain with nobler fury range.

The swarthy leaders saw the storm impend,

And strove in vain their sovereign to defend:

Th’ invader wav’d his silver lance in air,

And flew like lightning to the fatal square;

His limbs dilated in a moment grew

To stately height, and widen’d to the view;

More fierce his look, more lion-like his mien,

Sublime he mov’d, and seem’d a warrior queen.

As when the sage on some unfolding plant

Has caught a wandering fly, or frugal ant,

His hand the microscopick frame applies,

And lo! a bright hair’d monster meets his eyes;

He sees new plumes in slender cases roll’d;

Here stain’d with azure, there bedropp’d with gold;

Thus, on the alter’d chief both armies gaze,

And both the kings are fix’d with deep amaze.

The sword, which arm’d the snow-white maid before,

He now assumes, and hurls the spear no more;

Then springs indignant on the dark-rob’d band,

And knights and archers feel his deadly hand.

Now flies the monarch of the sable shield,

His legions vanquish’d, o’er the lonely field:

[9]So when the morn, by rosy coursers drawn,

With pearls and rubies sows the verdant lawn,

Whilst each pale star from heaven’s blue vault retires,

Still Venus gleams, and last of all expires.

He hears, where’er he moves, the dreadful sound;

_Check_ the deep vales, and _Check_ the woods rebound.

No place remains: he sees the certain fate,

And yields his throne to ruin, and Check-mate.

A brighter blush o’erspreads the damsel’s cheeks,

And mildly thus the conquer’d stripling speaks:

“A double triumph, Delia, hast thou won,

“By Mars protected, and by Venus’ son;

“The first with conquest crowns thy matchless art,

“The second points those eyes at Daphnis’ heart.”

She smil’d; the nymphs and amorous youths arise,

And own that beauty gain’d the nobler prize.

Low in their chest the mimic troops were lay’d,

[10]And peaceful slept the sable hero’s shade.

[9] —— Medio rex æquore inermis Constitit amissis sociis: velut æthere

in alto Expulit ardentes flammas ubi lutea bigis Luciferis Aurora,

tuus pulcherrimus ignis Lucet adhuc, Venus, et cœlo mox ultimus exit.

_Vida_, ver 604.

[10] A parody of the last line in Pope’s translation of the Iliad,

“And peaceful slept the mighty Hector’s shade.”

SYSTEMATIC

_INTRODUCTION_

THE GAME OF CHESS.

INTRODUCTION TO CHESS.

CHAPTER I.

=_Elementary Institutes_=.

The board on which this game is played, like that used at _Draughts_,

is a square, divided into sixty-four lesser squares, and checquered

black and white. At _Chess_ these squares have the technical name of

_houses_, and are all made use of in play.

In placing the board, care must be taken that one of the two white

corner squares be at the right hand of each player. _Note_—That when

the board is in this position, the several ranges of houses running

in a strait line from left to right, are called _ranks_; those

perpendicular to them, running from one player to the other, take the

name of _files_, and the two ranges, sloping from one corner of the

board to the opposite, (one of white, the other of black squares,

touching at the corner), are _diagonals_; so are the lesser ranges

which run in a parallel direction.

THE PIECES

Allotted to each competitor are sixteen, viz. a king, a queen, two

bishops, two knights, two rooks, and eight pawns. As a necessary

distinction, each set is coloured in a different way; one is commonly

white, the other red or black.

THE DISPOSITION OF THE PIECES ON THE BOARD

Is as follows: The white king is to be seated on the first or nearest

rank, on the fourth house (a black one) from that corner of the board

which is to the right of the player to whom he belongs; his queen

close to him on his left, on a house of her own colour—on one side of

each of these, a bishop—adjoining each of the bishops, a knight—and

last of all, at the corners of the board, the two rooks. Having thus

arranged the first line, let the whole of the second rank be occupied

by the pawns, one before each of the dignified pieces. As to the

counter set, the black king is to be placed on the farther side of the

board, exactly opposite the white one—his queen opposite the white

queen—and so on; placing all the pieces opposite those of corresponding

denominations—the pawns on the second rank as before.

To illustrate what has been said, and to prevent any misunderstanding

respecting it, as well as to shew the forms of the pieces, the plate

forming the frontispiece is given; which see.

THEIR POWERS AND MODE OF ACTION.

The gradation in rising from the lowest, to the higher pieces, will

shew the _comparative worth of each kind_.

I. Of the PAWN. When one of the pawns is moved, it must be along the

file in which he has been first placed, in a strait line towards the

adverse party. The first move may be either _one_ or _two_ squares, at

the option of the player: after which, no one of them, while he remains

a pawn, can advance more than _one_ house at a time. When once brought

out, a pawn, more restrained than any other piece, cannot retreat or

move back again. He is prohibited too from quitting his own file for

that of another, except in the single case of making a capture; on

which occasion he moves obliquely into the next file, to the right or

left (as the case may happen) one house forward; _placing himself on

the square of the piece taken_,[11] which is removed from the board;

after which he is confined to moving directly forwards as before, and

cannot leave his new file for another, but on a similar occasion to

that which led him into it.

A pawn, like every other agent on the board, takes any piece that comes

within his reach, indiscriminately from one of his own quality to the

queen.

[11] This is the custom of all the pieces on a capture.

II. The KNIGHT. The move of the knight is peculiar to himself, and

difficult to explain. It is two squares at once (three, including his

own) in a direction partly diagonal and partly strait. The house he

goes into, is always of a _different colour_ from that which he leaves.

It may likewise be said to be uniformly _next but one_ to the latter;

although in his passage to it he passes transversely over the corners

of _two_.

The knight’s power of capture reaches to any square that his move will

take him into.

Note—That this is the only piece that has a _vaulting motion_; or

that is not precluded from going to a square, between which and his

own other pieces intervene: just to shew what is meant, if good play

permitted it, any one of the knights could move out before a pawn had

stirred, alighting on the third square of either the bishop or the

rook; without waiting, as the other superior pieces are obliged, till

an opening be made.

III. The BISHOP. By observing the plate it will be seen, that the

bishops of the same set are placed on squares of a different colour;

the white king’s bishop, for instance, being seated on a white, and

the white queen’s bishop on a black square. What makes it necessary

to remark this, which is common to the knight and rook, is, that the

bishop, unlike all the other pieces, is obliged to walk, throughout the

game, on that colour of the exchequer[12] that he was placed on at the

commencement of it; which is a necessary consequence of his motion

being purely _diagonal_. His step is in other respects very unlimited,

as he may, at a single effort, go any length of squares from one to

eight. The bishop, if the road be open for him, takes at any distance.

[12] A technical name for the board.

IV. The ROOK. The rook moves in _strait lines_, forwards or sideways.

He can, at one step, pass along a whole rank, or a whole file, or

stop short at the first, second, third, or any other square of a rank

or file, as occasion may require. Like the bishop, and on the same

condition, he takes at any distance[13].

[13] Having gotten through the last of the pieces of which there are

more than one of a sort, in order to confirm the reader in what he

might suppose, and to leave him no question to make, we turn aside

to observe to him, that the difference in the worth of pieces of the

same kind, is indeed _next to nothing_; that the little odds there is,

between superior pieces of the same description, is in favour of that

on the king’s side; and that of the four centre commoners, which are

reckoned rather the best, the king’s bishop’s commoner is the most

esteemed.

V. The QUEEN—unites the moves of the _bishop_ and _rook_; and, like

them, when the road is open, takes at any distance.

VI. The KING—_except_ when he avails himself of the privilege of

_castling_, can move only _one square_ at a time; of course he can take

at no greater distance: he may, however, both move and take either

forwards, backwards, sideways, or aslant. When policy shall invite the

player to the expedient, and the previous unarbitrary removal of the

bishop and knight on his right, or of the bishop, rook and queen on his

left, has rendered it effectible without any violence to propriety, the

king may _castle_ with either of his rooks; which is done by placing

the king on that knight’s square that is next to the rook with whom

he castles, and by placing the rook at the other side of the king, on

the bishop’s square adjoining. This _ambidextral_ manœuvre of changing

the situation of two pieces at one time, the player is allowed to

employ but once; and not at all if the king has previously moved. It is

impracticable and unnecessary at the beginning of the game. The only

prerogative of the king, is a great one; that of _never being taken_.

OF PROMOTING A PAWN TO BE A QUEEN, ROOK, &c.

When a pawn has penetrated to the farthest rank on the adverse side

of the board, he is rewarded with promotion to the _highest vacant

dignity_[14]; that is to say, if the person playing him there has lost

his queen, he succeeds to the honor. If instead of his queen one or

both of the rooks be lost, he is made a rook. If the queen and rooks

have escaped capture, he is made a bishop. If the bishops have likewise

been preserved, he is made a knight. The ceremony of transformation

taking place in either case, and which is necessary to distinguish him,

is very short: A sort of exchange: The pawn is removed from the board,

and put among those taken by the adversary; and a captured piece,

of the denomination he is advanced to, is taken from thence, and

substituted in his room. It can hardly be necessary to say, that his

powers and mode of action alter with his quality.

[14] Under the scheme that advances the pawn to the _rank of the piece

whose square he gets into_, it happens that when his player has not

lost a piece of that identical quality, the only reward of the pawn is

to stand exposed to incessant attacks, without the power of retreating

in any direction:—To have _both the bishops of a set moving on the

same colour_, an anomaly which will seldom occur, and which the other

is just as liable to induce, is the only one that can result from this

scheme.

OF GIVING CHECK, AND CHECK-MATE.

Upon this the game hinges. As the king is never taken, whenever an

adversary is advanced upon him in such a manner, as that, remaining

where he is, if he were _any other piece_ he would be captured; the

person advancing it is to salute him with the word “_Check_,” warning

him of his situation; upon which it is absolutely necessary for him to

alter it in one of the following ways: either, _relatively_, by taking

the threatening piece, or interposing[15] one of his own between that

and himself; or, _positively_, by removing to a square where neither

that nor any other of the adversary’s pieces reach. If he cannot do

one of these, the game is lost. This inextricable _contact_ with an

_adverse piece_ is technically termed CHECK-MATE.

[15] _Note_—This second mode of defending himself cannot be practised

when he is checked by the knight, owing to the vaulting motion of that

piece; he must then have recourse to either the first, or the third:

and should he be checked by any two pieces at once, which is called

_double check_, the third only will avail.

OF GIVING A STALE.

The game may be lost too in quite an _opposite_ manner. By the

constitution of Chess, the king is on no account to move into check;

and, therefore, when, as it not unfrequently happens, one party has

crowded up the king of the other with so many pieces, that the only

move left him would take him into check; if the person to whom the king

so circumstanced belongs has no other piece, or no other that can be

moved, the contest must necessarily stagnate. Come to an end before the

arrival of the regular result, it can be proceeded in no further. It

is not, however, _undecided_. The player giving the other the _stale_,

(so, in the language of Chess, the _dilemma_ which the king is in is

called) is, by a rule immemorially acquiesced in, adjudged to have

_defeated himself_.

REASONS FOR ASSIGNING, IN THE CASE OF A STALE-MATE, THE VICTORY TO THE

PARTY SUFFERING IT.

A little reflection will shew that this rule is not incapable of the

justification which at first sight it may seem to want. It would be an

intolerable defect in the game to have it perpetually liable to an

accident that would render it undecisive. The only way of avoiding this

defect, is the instituting an artificial rule, awarding the victory,

whenever a stale happens, to one party or the other.

The necessity of making some kind of decision being arrived at, the

propriety of placing the bias where it is may be easily evinced.

It is to be recollected that the rule under discussion is an arbitrary

one. The expediency of an arbitrary rule, however great, cannot

entirely divest it of the dissatisfactory; and therefore the seldomer

there is occasion for it the better: now the making him to lose by a

stale, who may always avoid it by caution, is an effective bar to its

happening very often.

Other properties of this rule do not merely justify—they highly

recommend it. The bias which it has adopted serves to balance the

advantages of the game, as it is entirely in favour of the weaker

party. Owing to this very bias, whenever the critical case, to which

it is applied, is likely to occur, _a greater exertion of intellect in

conducting the approach is incited_; than which nothing can be more

agreeable to the genius of the game, as the professed object of Chess

is to call out the powers of the mind.

Thus a defect inherent in the structure of the game, and from which

it were impossible to free it, is overruled so as to give it a higher

degree of interest. Upon the whole, the necessity for this rule is not

to be deplored.

OF A DRAW GAME.

If it be not superfluous to put it any where, it must be added here,

that whenever from the greatness of the loss on each side, (the more

potent pieces, and those capable of becoming so, being gone), or

from any other cause, it becomes certain that neither party can give

the other Check-mate; the game is to be discontinued as insipid and

useless, the players consenting to draw their pieces, and begin afresh.

CHAP. II.

=_General Maxims_=.

These questions occur at every evolution—_What piece is to be moved?

Where is it to be moved to?_ After the first time, for a very obvious

reason to the practical player, (the abstraction from any particular

situation, which from the latitude of moves in the power of the

adversary, the mind of the theorist is forced to make), we can only

give helps for the reader himself to decide them.

The game cannot be better opened than by advancing the _king’s pawn

two squares_. If the first adventurer be threatened, the queen’s or

bishop’s pawn may lend him support. Which of the others should succeed

will depend greatly on the moves of the opposite party. The pawns must

not be so placed as to interrupt the freedom of the other pieces. Where

the pawns are not equal to the defence of each other, the other pieces

must be brought out to support them:[16]—in this business the bishops

are in general the preferable agents, as they are not so liable as the

knights to be clogged by the obstructions which this early stage of the

game from its crouded stage is sure to present[17].

[16] One piece to guard another, at Chess, must be placed so that if

the piece he is designed to guard were an opponent he could take him.

The protection results from the adversary’s being deterred from a

capture by the certainty of a reprisal. The king alone is to be guarded

in a different mode, and that mode will be explained in its place.

[17] It may seem strange that the knight, which overleaps every other

piece, should be more liable to obstruction than the bishop: the reason

of the fact is, that the knight cannot stop short of, any more than

exceed, a very limited extent.

_Prudence_ requires that the superior pieces be not over forward in

acting offensively; because by every one that is driven back you lose

a move: but when a few pieces have been[18] changed, and the game

is somewhat advanced, and there is no danger of their stopping the

progress of such of the pawns as you wish to push on, you need not be

shy of using the _knights_, any more than the _bishops_, in occasional

attacks on the most unguarded of the adversaries.

[18] To change our exchange pieces is to lose one or two of your own

for the sake of taking one or two of the adversary’s. It serves to

clear the board, and enlarge the scene of action; and, when you get a

piece of greater value than that lost, it encreases your comparative

strength. Nevertheless it is only to be done with caution, and of those

pieces for which you have the least occasion.

The _queen_ must not be moved hastily;—for offence in particular, not

till some kind of method pervades the rest of your pieces—and you can

guess what aspect the game is likely to assume. To put this piece in

motion before you had digested a set of measures, and had a probable

certainty of succeeding in them, would be entirely to misemploy her

great powers.

As the _rooks_, while the game is thronged, can effect nothing worthy

their attempting; generally speaking, it is advisable to keep them in

reserve till towards the conclusion of the game. The usefulness of

the rook, gradually increasing as the crisis approaches, is then very

little inferior to that of the queen[19].

[19] To the adversary’s king stript of his attendants, the rook, with

the sole assistance of his own king, is capable of giving check-mate

beyond the possibility of illusion; a degree of prowess which, besides

the queen, no other piece than the rook can boast.

The _king_ is not to act offensively. He is to be put where he will be

least open to attack; and, while a fatal one is possible, neither move

nor take but with a view to his own defence. _The two points_ to which

every thing else is to subserve, are, _the giving check-mate to the

adversary’s king_, and _the preservation of your own_.

To make you as much acquainted with the right way of endeavouring at

these, as _bare Theory_ is able to do; it will be necessary to be a

little more particular.

§ 1. On that side of the board, whether right or left, on which you

mean to castle the king—neither the bishop’s, the knight’s, nor the

rook’s pawn must stir from its place; because the principal inducement

to the measure, is, the protection he will receive by retiring behind

them.

2. The other pawns must be kept together and well supported; and not

suffered to straggle forwards alone. A party of these, managed with

address, may, in a future part of the game, repair the loss of a

capital piece, or do some other signal service.

3. At the same time that you are concerting the attack of the

adversary, endeavour (but not so as to interfere with any thing of more

importance) to have your own king so circumstanced that he may castle

when he pleases. Should this convenience be effected, if his not being

castled be no obstruction to your other operations, let him remain at

his own square till there is a necessity for his going to the retreat

secured for him. The advantage to be gained by this procedure is, that

the adversary will be obliged to form two distinct systems of attack.

4. As soon as the adversary has castled, if it be on a different side

of the board from that on which you have castled, or intend to castle,

let your pawns opposite bear down upon his king. The queen and what

other pieces you can spare, in particular the rook to whom their

removal opens a field, must support them in this onset[20].

[20] If the adversary castles on the same side with you, an adherence

to what is contained in the first section will lead you to attack him

with the superior pieces only.

5. Where a direct attack upon the adversary’s king is impolitic or

impracticable, you must endeavour to take those of his pieces that most

contribute to render it so.

6. Ineffectual checks, or checks that the adversary can easily elude,

are in general to be refrained from; as they are very apt to lead

to loss of move, loss of the checking-piece, and so on. Experience,

however, will furnish a few cases, in which there is a propriety in

giving such a check—where it will force the adversary’s king into a

more exposed situation—where the movement, necessary to avert it,

will leave a capital piece unguarded—where, the adversary’s king not

having castled, nor being in a condition to do so, it will force him by

moving to forfeit that privilege—and where, having a piece of your own

attacked, that you are not able otherwise to save, it will cause the

removal of some piece that impedes his escape.

7. In defending your own king when closely attacked—where it will

either cause the adversary to lose a move, or increase your comparative

strength; and at the same time, be a successful means of parrying the

check—you should offer to make an exchange of pieces.

8. If the king be castled, the pawns forming a cordon before, or round

him, should be guarded as much as possible from the brunts of the

adversary.

9. Whenever, from being either reduced in number, or obliged to

quit their stations, the defence afforded the king by these becomes

precarious—or whenever the king is not castled at all—some of the

superior pieces should be kept in readiness to contribute actively to

his safety; being posted so, that where they cannot prevent, they may

at least cover him from check. Their number and quality circumstances

must decide. Those that operate at a distance, will not on this service

be out of their province; nor will it often be found of them, as it

will of the knights, that they are thereby rendered the less prepared

to act offensively. The keeping, too, such pieces as the rook, the

bishop, or the queen, near your own king, may sometimes cause the

adversary to relax in his caution where it does not add to his security.

10. Of the queen, it is however to be noted, that she must never stand

in such a way before the king, as that were an adverse rook or bishop

to attack her, her moving aside would leave the king in check; because

were she to be so attacked, should the rook or bishop be well guarded,

and you had no piece to interpose, as it would not do to expose the

king, you could no how avoid losing the queen for a less valuable piece.

11. Great advantages are often gained by an _ambuscade_; which is the

having one piece, a pawn, for instance, so placed before another, we

will say the queen, that though the adversary, on a cursory view,

might seem to be safe; yet by simply playing the piece in front, whose

intervention alone keeps him from it, check, single or double[21], will

be discovered to his king.

[21] A rook and a bishop may be placed so that the adversary’s king is

in check with neither; and yet by moving that nearest him forwards or

sideways, he will be in check with both; and so with respect to others.

12. While intent on projects of offence, take care that you are not

surprised yourself. Indeed every detail of a stratagem to be practised

on the adversary, carries with it a tacit admonition to beware of the

like from him; as to caution against any evolution, is saying, “look

out for an opportunity to practise it.”

13. Take care that an adverse pawn does not advance upon two

superior pieces, which is called forking them; knights and rooks are

particularly liable to be attacked in this way, the pawns not requiring

to be guarded, because the moves of those pieces do not comprehend the

moves of the pawn. Thus where there is not a reciprocity in the mode

of action between a smaller and a larger piece, the approach of the

smaller may be very dangerous.

14. Hence it is, that unremitting vigilance must be exerted throughout

the game, to prevent either of the adverse knights from checking the

king and queen at the same time; because as the king can only save

himself from the knight by a positive removal, the sacrifice of the

queen is rendered inevitable.

15. Nor must the adversary be suffered to direct the insidious power of

the knight, on any other two pieces of more importance than himself; as

the loss of one of them for the knight, or for nothing, will be sure to

follow.

16. When two pieces are attacked in such a way, that one of them at

least must be lost; in deciding which to give up, you must not think

so much on the difference in their worth, which may be more than

counterbalanced by other circumstances, as on the particular effects

which the capture of this or that is likely to have.

17. Whenever you are so well prepared for the worst, as to have two or

three pawns so near the adversary’s farthest rank, and so well posted,

that you are almost certain of reaching it with one of them when you

please; you may be the bolder with your capital pieces—and, where you

would be otherwise in doubt which to surrender, the less tenacious of

retaining one of them in preference to another that is less capital.

18. Without there should be no other way of saving the king, or no

other but what would be attended with a greater disadvantage, never

cover him from check by placing a superior piece in that manner, that a

pawn of the adversary, by being advanced a move, could take him; lest

the adversary, availing himself of the opportunity, oblige you to a

losing exchange.

19. In order to have as powerful pieces as you can in play, let

those that are stationed to guard some other stationary ones, be of

no greater force than is necessary; that is, where the motives for

employing one of several pieces on this service are in other respects

equal, take the lowest.

20. Where two of the adversaries are so circumstanced that you take

either, similar considerations to those in the 16th section will

determine you.

21. Where an adversary is so exposed that you can take him when you

please, be in no haste about it: but see whether there be not some

danger to avert, or advantage to seize, in another quarter, and let him

alone till it be effected. It may at length be in your power to combine

the piece that shall move into his square in some extensive scheme, as

he may be supposed to move merely to take this piece.

22. Where an adverse pawn has advanced to the square immediately before

your king, do not take him, unless some consideration superior to his

worth impels his removal from the board; as an adverse pawn before the

king is generally found to be a safeguard.

23. Whenever you can anticipate by calculation that the sacrifice of

such and such a piece, though it can yield no immediate requital, will

yet lead to such an arrangement, as will enable you in the end to give

the adversary check-mate, true policy requires that you make it.

24. Never let an over-eagerness of the victory which a superiority

may promise you, lead you to endanger its forfeiture by giving a

stale: on the contrary, till you can give check-mate without a risk of

miscarriage, always leave the adversary ample room to move.

25. Whenever you have clearly the disadvantage of the game in other

respects, and yet happen to be in a position that by good management,

may be turned into a stale; you must, as your only resource, endeavour

to avail yourself of it. To do this, the following case will serve

as a general clue. Your king is close pressed on all sides, and you

have only the queen and an inferior piece left in play—take the first

opportunity of playing the inferior piece so, that by its being either

blocked up or lost, the king would be in a stale already if you had not

the queen.—This done, with the queen keep giving incessant[22] check

to the adversary’s king, till at length, to avoid a check-mate, the

adversary is forced to capture him. Your object will then be attained.

_Note_—Sometimes a check-mate or a stale will speedily terminate the

game; sometimes it will happen that the pieces are nearly played away,

without either taking place. To the latter case, the six sections that

next follow are exclusively adapted.

[22] The kings, in the course of play, may happen to be circumstanced

so nearly alike, as for the adversary’s to be liable to a stale at

the same time with yours. This will be a very nice point indeed, and

require your utmost skill and caution in checking—and now and then a

temporary forbearance.

26. When the adversary’s force is so much diminished, that your king,

if in any, is in no immediate danger—and your own force is so much

diminished likewise, that you can make no effective attack without

him—the necessity and policy of confining the king to defence only will

be superseded.

27. Among other uses to which he may then be devoted,—you must take

every opportunity of putting him in motion, where your doing so, will

be the only or the best way of either gaining or preserving the move,

which it is of such importance to have, that if the contest has been

otherwise equally conducted, your getting the game will depend upon

nothing else.

28. He may then, too, as circumstances vary, occasionally be of

service, either in protecting some pawn of your own which may be more

advanced than the rest, and which you want to raise to queen; or in

taking or harrassing any pawns of the adversary on the like expedition.

29. The note at the bottom of page 37, respecting the rook, is a

sufficient intimation that the king may, in this stage of the game,

be employed in combination with another piece in giving check to his

antagonist.

From the same note it is to be inferred, that if one party

has only a king, and the other in addition to the king

has but one piece, and that piece be a knight or a

bishop, it must be a draw game; and therefore that, next

to a queen or a rook, it is best for that piece to be a

pawn, from the possibility of making him a piece of the

first power. This serves to introduce the two following

PARTICULAR CASES.

30. The adversary has the king and a pawn, and you have only the king.

You will naturally endeavour to intercept that pawn—his king, if he be

in any danger, will as naturally go to his assistance—this, if the king

is time enough to save him, will bring them together. Though you will

then have failed in taking the pawn; yet, if you can get before either

to the square towards which the pawn is moving; by manœuvering on the

first square of that file, and the second of that and the adjoining

files, you will either make a draw game, or win by a stale.

31. Upon certain contingencies, the adversary may have the king, a

bishop, and a pawn, when you have only the king, without being able

to beat you: which contingencies are these:—If the pawn be on a rook’s

file—if you can get into the square at your end of that file—if this

square be of a color different from that on which the bishop moves—all

these concurring, it is even possible for you to win by a stale.

32. To conclude; if you would have something more than a mere exemption

from defeat, depending on chances, to hope for, let this rule, in

connection with the others, be specially regarded. From first to last,

the changes and declensions, successively taking place in the number,

value, and situation of the pieces must be noted with exactness; and no

movement at any time made till the consequences are considered. This,

among other good effects, will the better enable you to conjecture what

the adversary may mean to do, and to take measures accordingly. If

closely pursued, it will at once prevent you from giving any advantage

to the adversary, and from overlooking any which he may give to you.

The initiate reader, having arrived thus far, will perhaps be impatient

to make a practical essay. From that, though it may originate in

a mistake, we would not withhold him. As what we design, is his

progressive improvement, we do not care how soon he is convinced that

he cannot make himself master of the whole at once. After he has made

the experiment, we would, for his next essays, direct his attention to

two or three games which we mean to detail as examples, move by move.

By studying these, and noting the foregoing directions, one at a time,

as the advantages of pursuing, or the effects of deviating from them

are laid open, he will soon imprint the spirit of them on his memory;

and practice, either by himself, or with a friend, will imperceptibly

confer on him a habit of adopting them with promptness.

If he is a genius, practice will do more; it will lead him to form

maxims of his own for indescribable cases.

After setting down the laws of the game, which will end this chapter;

we give the examples promised, chiefly as vehicles for rules for

particular situations, which can only be imparted with clearness, when

particular situations are exhibited on the board.

THE LAWS OF THE GAME,

_Reduced to their most simple Construction, are_,

I. If a player touches a piece, he must play it somewhere; and when he

has quitted it, he cannot change its place.

II. If one party, by mistake or otherwise, makes a false move, and

it is not discovered till after the other has played in his turn, it

cannot be revised or rectified by either.

III. If a player misplaces the pieces, and, before he finds it out,

plays two moves, it is at the choice of his opponent to permit him to

begin the game afresh or not.

IV. If one party plays or discovers check to the king of the other, and

neglects to notify it, the other may let him remain in open check till

he does.

V. After the king has moved, or if both the rooks have moved, he cannot

be castled.

Where the object is mutual improvement, and not decision

of skill—or where the superiority of one party is

admitted, and the object is the improvement of the

other—the first four of these may be dispensed with.

CHAP. III.

=_Progressive Examples_=.

APOLOGETIC INTRODUCTION.

As it is not the habit of every reader to wade patiently through a

preface, the author begs leave to condense here the substance of an

apology, which, from the influx of topics, could not there be presented

in a disentangled form.

Whoever has marked the experiments of a novitiate in Chess, must have

observed a propensity to a variety of moves, which while they appear to

open a field teeming with advantage, really lead to results that are

disastrous. Some of these are interspersed in the following examples,

and the adverse consequences with which they are pregnant traced to

their source. Thus by the publication of games with notes, a plan to

which Philidor led the way, the student steps by a short route on the

high ground, to which the guides who framed the artificial passage,

only reached by repeated labor and experience. But a gigantic genius,

it would seem, cannot conceive exactly what are the desiderata of a

mind of less compass; and Philidor left a trying distance between the

level from which the inexperienced would rise, and the steps at the

bottom of his ascending ladder. A professor, who is not incapacitated

by extraordinary powers from imagining where interposition is wanted,

may supply acceptable remedies for these vacuities.

Let us now attend the pupil at the board, and conduct him through such

evolutions as may fit him to appreciate and enjoy the enterprise and

spirit of Cunningham, the brilliant promptness at resource of Salvio,

and the comprehension and foresight of Philidor.

=_First Essay_=.

EXAMPLE I.

FIRST COUPLET OF MOVES.

White. The king’s pawn 2 squares.

Black. The same.

W. Queen’s pawn 1 square.(a)

B. King’s knight’s pawn 1 square.

W. King’s knight at king’s bishop’s 3d square.(b)

B. King’s bishop’s pawn 2 squares.(c)

W. The king’s pawn takes the black[23] pawn.

B. The king’s knight’s pawn takes the white pawn.

(a) Unless necessity call for it, no one of the other six pawns should

be moved until you have ascertained on which side to castle. The

queen’s pawn advances but one square, not so much because the black one

prevents his going farther as to support that of his own king.

(b): This move is partly accounted for by the remark on the last.

propriety than the blacks.

[23] Note. When there is but one piece that can move, or take, or be

taken, in the manner described; as it would be unnecessary, we shall

never circumstantially name it.

W. The king’s knight takes the black pawn.

B. The queen’s pawn 1 square.(d)

W. King’s knight at the king’s bishop’s 3d square.

B. Queen’s bishop at queen’s 2d square.(e)

W. Queen’s knight’s pawn 2 squares.(f)

B. Queen’s knight at queen’s bishop’s 3d square.

W. Queen’s bishop at queen’s knight’s 2d square.(g)

B. King’s knight at his bishop’s 3d square.

(d) If this move had been made before, the king’s pawn of this party

might have been preserved; the snatching away of which, has rendered

them in situation and comparative strength, much inferior to their

adversaries.

(e) The chief object of this, and some subsequent moves, is the having

the king in readiness to castle.

(f) Finding that his adversary means to castle with the queen’s rook,

the player of the whites begins to get his opposite pawns ready to

advance.

(g) This attack on the black rook is not a good move; for the bringing

out of the black knight, which it incites as the only, though an easy

mode of parrying it—a movement which his player might not otherwise

have meditated—or if he had, must have lost a move in effecting—gives

the rook an opportunity to be very troublesome to the opposite pawns.

W. The queen’s rook’s pawn 1 square.(h)

B. Queen at the king’s 2d square, giving the white king check.(i)

10.

W. King’s bishop at king’s 2d square, covering the check.

B. King’s rook at his knight’s square.

11.

W. The king castles with his rook.(k)

B. King’s bishop’s pawn 1 square.(l)

(h) This is to protect the knight’s pawn from the black knight.

(i) There is no impropriety in the queen’s standing thus before her

king, so long as no guarded rook of the counter set can be brought

to attack her; and while her player has several pieces that he could

interpose.

(k) If he did not castle now, he could not preserve his knight’s pawn

in it’s place, without forfeiting the privilege. To have advanced him a

square, would, however, have been better.

(l) To make way for the following move. If the white queen’s bishop had

not quitted his house, the command he would have had of the diagonal

into which this move is made, would have prevented it; which it will be

presently seen it was the interest of that player to have done.

12.

W. Queen’s bishop’s pawn 2 squares.(m)

B. The queen’s bishop at the white king’s knight’s 4th square.(n)

13.

W. Queen’s knight’s pawn 1 square.

B. Queen’s knight at his king’s 4th square.(o)

(m) Any move that is properly made, and which preceding remarks, or a

subsequent move will shew the reason of, we shall not observe on. It

may, however, be of use to review the situations of the two sets of

pawns; those of the white party to the left of the king, are advanced

so as to derive from themselves all the support they want: whereas

the pawns to the left of the other player must depend entirely on the

superior pieces for protection. When pawns are seated, like these,

on files that do not adjoin, they are, considered by themselves, as

insecure as they can be.

(n) But if the pawns are played worse, the bishops and knights of this

party are played better than those of the other.

(o) The move of the white pawn, which was necessary to the prosecution

of the white queen’s scheme, gave the black knight an opportunity of

coming here without suspicion, as he seems to remove merely for his own

safety.

14.

W. Queen at her rook’s 4th square.

B. Queen’s bishop takes the white knight.

15.

W. King’s bishop takes the black bishop.(p)

B. The queen’s knight takes the white bishop, and gives check.(q)

16.

W. The king retires to his rook’s square.

B. The knight at the 4th square of the same rook.(r)

17.

W. The queen’s knight’s pawn 1 square, discovering check.

B. The king castles.

(p) From the cramped situation in which the player of the white’s too

eager attention to projects of offence, had left this bishop, whether

he takes the black one or not, he must be lost.

(q) Though the player of the blacks is a knight, and the difference

there is between a king’s bishop and a queen’s bishop, the better for

these exchanges; he might have conducted them in a way by which he

would have profited more essentially; as the third example will shew.

(r) To avoid being taken by the knight’s pawn.

18.

W. The queen takes the black pawn, and gives check.(s)

B. As the king, if he takes the queen, will be in check

with the pawn, he is _check-mated_.(t)

(s) Had the white pawn made this capture, the black king, instead of

receiving the defeat which the present move has given him, by retiring

to his rook’s square, would have been a long while secure from any

further attack.

(t): But as he was made to castle when he did, merely to shew that it

is not _always_ a measure of safety; we shall, in the next example,

point out how he might have acted better.

⁂ When the student is conscious of having done wrong, and yet at a loss

to know what rule he has broke, he may conclude it to be the last, that

contained in section xxxii.: this is indeed so comprehensive, that all

the others might be resolved into it.

EXAMPLE II.

THE PRECEDING GAME CONTINUED FROM THE SIXTEENTH COUPLET.

_Note—Games which, like this, are taken up from others, are called

Back-Games._

COUPLET 17.

W. Queen’s knight’s pawn 1 square, discovering check.

B. The knight covers the check.

18.

W. The pawn takes the bishop’s pawn.(a)

B. The king’s rook takes the opposite pawn.(b)

19.

W. Queen at black queen’s knight’s 4th square.(c)

B. Queen at her king’s 3d square.

(a) He is thus ready to be converted into a capital piece, and as long

as he remains there, will prevent the black king from moving into any

square on the queen’s part of the file.

(b) If the rook’s only object was to snatch this pawn and retire, it

was worth the effort; he has, however, something else in view.

making a bishop of his own.

20.

W. Queen takes the black pawn.

B. Queen at the white king’s rook’s 3d square.(d)

21.

W. Queen takes the black rook, and gives check.

B. The king at his bishop’s 2d square.(e)

22.

W. Queen at the black queen’s 4th square, giving check.(f)

B. The king at his knight’s 3d square.(g)

(d) To seize this advantageous post, he has left a rook to be taken and

his king to be checked. The bold kind of play which each pursues, can

only be justified by a conviction that the result will be favourable.

Both, however, cannot have this conviction. The event will shew which

is right.

(e) He prefers this to his own second square, that he may not be

checked by the white rook.

(f) As the black queen, who cannot be dislodged, will, at her next

move, by taking the pawn, give the king check-mate—the player of the

whites has no other resource than constantly checking the black king—if

he cannot mate him, and can be stopped from checking, the moment he is,

he will lose the game.

(g) He takes care to move on white, that he may not be checked by the

bishop.

23.

W. The queen at the black king’s 3d square, still giving check.(h)

B. The king at his rook’s 4th square.

24.

W. Queen at her own king’s 2d square, still giving check.

B. The king’s bishop’s pawn 1 square, covering the check.

25.

W. The queen at the black king’s square, still giving check.

B. The knight covers the check.

26.

W. Queen’s bishop at the black king’s 4th square.(i)

B. The pawn takes the bishop.

(h) If this player could give perpetual check, it would be a draw

game—fifty moves in this way would make it so—or a less number, if a

course of moves was begun that had before been made.

(i) As the queen can no longer check the king without being taken, the

bishop is placed here to prevent the black queen from taking the pawn;

which, however, he can do but for a moment.

27.

W. The queen takes the pawn, and gives check.

B. One of the knights takes the queen.(k)

28.

W. The pawn is made a queen.

B. Queen takes the rook’s pawn, and gives _check-mate_.

(k) If the player of the whites could in this way have lost all his

pieces, he would have won by being in a _stale_; this, however, from

their number, was never possible; or it would not have been prudent in

the adversary to have made the 20th move—a move which has won him the

game.

EXAMPLE III.

A SECOND BACK-GAME.

_Continued from the Thirteenth Couplet of_ EXAMPLE I.

COUPLET 14.

W. Queen at her rook’s 4th square.

B. The knight takes the white knight, and gives check.

15.

W. The king’s bishop takes the knight.(a)

B. The bishop takes the bishop.

16.

W. The rook’s pawn 1 square.(b)

B. The rook takes the opposite pawn, and gives check.

(a) If, instead of the bishop, the pawn had taken the knight; the black

bishop, by taking that pawn, would have given check-mate instantly.

(b) The object of this and the future moves of the white player, is

to prevent check-mate, which he now perceives the other thus early

to meditate. When the tyro has seen what these moves are, it will

edify him to try whether better ones might not have been adopted. On

this, however, and similar experiments, he must not hastily conclude;

because was he to move the whites not so well, and the blacks more than

proportionally worse, the necessary consequence might lead him to think

that he had moved the former better.

17.

W. The king at his rook’s square.

B. The rook takes the pawn, and discovers check from the bishop.

18.

W. The king at his knight’s square.

B. The queen at her king’s knight’s 2d square, giving check.

19.

W. The king takes the rook.

B. The queen advances to the white knight’s 3d square, and gives

_check-mate_.(c)

been done. The player of the whites should have taken this straggler

before he proceeded to detach the queen.

EXAMPLE IV.

VARIATION TO THE FIRST BACK-GAME.

_Beginning from the Nineteenth Couplet of_ EXAMPLE II.

COUPLET 20.

W. The rook at his knight’s square.(a)

B. Queen at her king’s knight’s 3d square.(b)

21.

W. The rook at the king’s square, checking.(c)

B. The bishop covers the check.

22.

W. The queen takes the pawn.

B. The queen takes the pawn.

23.

W. Queen takes the rook, and gives check.(d)

B. The king at his bishop’s 2d square.

(a) He offers to change rooks, that such a dangerous neighbour as the

black one may be either taken or driven away.

(b) This, however, not only prevents either, but keeps the white queen

from going to the black king’s rook’s 4th square; by which the black

knight, whose vicinity is as incompatible as the rook’s with the safety

of the white king, would have been obliged to remove to cover the check.

been equally dangerous.

(d) As the player of the whites cannot remove either of the pieces

menacing his king, he has now, as he had in Example II. no other way of

defending him than attacking the black one.

24.

W. The pawn becomes a bishop.

B. The queen’s pawn 1 square.

25.

W. The bishop takes the knight.

B. The rook at the black knight’s square giving check.

26.

W. The rook takes the rook.(e)

B. The queen at the white king’s 4th square,

giving check-mate.

(e) If the king had taken the rook, the game would have lasted one

move longer. In that case the black queen must have gone to her king’s

knight 3d square, and then to the black knight’s 2d square; so she

should have done, if, at the 24th move, instead of that set down, the

white knight had gone to his queen’s bishop’s 3d square.

_Remarks._

⁂ Of two different modes of playing, both of which end in a defeat,

that is the best which protracts the game the longest.

†§† No game can end so soon as the longest form of that we have already

given, that is played throughout well on both sides.

=_Second Essay_=.

EXAMPLE V.

_Exhibiting Situations rendered critical by Enterprise, and the

Resources of Play in those Situations._

COUPLET 1.

White. KING’s pawn 2 squares.

Black. The same.

W. King’s bishop at queen’s bishop’s 4th square.(a)

B. The same.

W. Queen’s bishop’s pawn 1 square.(b)

B. Queen’s knight at his bishop’s 3d square.

(a) Not for any purpose that it will immediately answer, but that he

may escape the obstruction, which, if it should be necessary to advance

the queen’s pawn a square, would be opposed by his moving directly out.

We have seen in Example III. that by a pawn on one side, and a knight

on the other, this bishop was so embarrassed, as not to be able to move

even for his own preservation.

(b) The having two pawns a-breast of each other, at houses 4. of the

king and queen, secured by the changes which brought them there from

capture by pieces of their own quality, and therefore, in their further

progress to the promotion line, easily protected— is a great step

towards making one of them a queen. To have them in this position,

is the object of the present and several succeeding moves: of the

corresponding moves of the blacks, the object is to prevent it.

W. Queen’s pawn 2 squares.(c)

B. The same.(d)

W. The bishop takes the pawn.

B. The pawn takes the pawn.

W. The pawn takes the pawn.

B. The knight takes the pawn.(e)

W. Queen’s bishop at the king’s 3d square.

B. The knight at the king’s 3d square.(f)

his player would prefer doing that to retiring with his bishop—The

player of the whites intending afterwards to supply his place by a

reprisal.

(d) The player of the blacks, willing neither to take the pawn nor to

retire with his bishop, plays this pawn here, in order that if the

white one takes his bishop, he may retaliate in kind.

(e) The plan of having two pawns in the middle of the exchequer is thus

rendered abortive. The bringing this knight out was the principal mean

of defeating it.

(f) This leaves the king’s bishop liable to be changed for the bishop

of the adversary’s queen. If, however, the knight had not moved at all,

or moved otherwise, his player might have been obliged to an exchange,

in which the difference against him would have been of real moment.

W. The bishop takes the bishop.(g)

B. The knight takes the bishop.

W. King’s pawn 1 square.(h)

B. Queen at king’s 2d square.

(g) Between equal players the minutest advantage should be seized on.

It may be observed here, that the superestimation of the king’s bishop

over the bishop of the queen, rests on his not being prevented by

the colour of his field, from checking the adversary at his original

square. The white player having had the first move, the other could not

well have foiled him, with regard to the pawns, at a less expence.

(h) That he may not be taken by the knight if the bishop should remove.

_Variation._

To protect him from the knight, instead of pushing him a square, the

queen’s knight is moved to the 3d house of the queen’s bishop. This

would be ineffective—the adversary, by placing his king’s knight at his

king’s bishop’s 3d square, might counteract it so completely as to make

the bishop retreat at the same time that he secured taking the pawn—at

least, secured an exchange, by which he would get the pawn to boot.

10.

W. King’s knight at king’s bishop’s 3d square.(i)

B. Queen’s bishop at the white king’s knight’s 4th square.(k)

11.

W. Queen’s knight’s pawn 2 squares.(l)

B. Bishop takes the knight.

12.

W. Queen takes the bishop.

B. Queen takes the pawn, and gives check.

13.

W. The king castles.

B. Queen takes the rook.

14.

W. Pawn takes the knight.

B. The king castles.(m)

15.

W. Knight at queen’s bishop’s 3d square.(n)

B. Queen at the knight’s 2d square.(o)

(i) To support the pawn.

(k) An adventurous speculation, in which the risk is but little.

(l) Ditto.

(m) To preserve the means of preservation.

(n) To lay an embargo on the black queen.

(o) Any where else, she would be taken.

16.

W. The rook at the same knight’s 1st square.(p)

B. The rook at his king’s square.(q)

17.

W. King’s rook’s pawn 2 squares.(r)

B. Queen at the white queen’s 2d square.(s)

18.

W. Bishop takes the bishop’s pawn.

B. Rook at the white king’s square, giving check.(t)

19.

W. The rook takes the rook.

B. Queen takes the rook, and checks.

(p) The comment on the next is a comment on this.

(q) If the black queen had moved aside into one of the three squares to

which her sphere of action is at present reduced, the white rook, by

taking the pawn opposite, might have ensured check-mate in another move.

(r) Had the queen’s rook taken the black queen, the black king’s rook,

by crossing to the white king’s square, would have won the game; by the

present move, that way of receiving check-mate is rendered impossible.

In advancing a pawn to the adverse party, let it always be as far as is

consistent with security.

(s) In order to extricate herself.

(t) He does this, which will cause him to be exchanged for the

white rook, to save his own king from the check-mate which is still

impending, and which, had the white queen been suffered to take his

king’s knight’s pawn, would by now have been inflicted.

20.

W. The king removes.

B. Queen at her king’s 4th square, still giving check.(s)

21.

W. King’s knight’s pawn covers the check.

B. Queen takes the other pawn.

22.

W. Knight at the king’s 4th square.

B. Queen at her king’s 2d square.

23.

W. Queen at her knight’s 3d square.

B. Queen takes the knight.

24.

W. Bishop at the black queen’s 4th square.

B. Queen takes the bishop.(t)

(s) The black queen has thus made a triumphant retreat. To the

advantages which sometimes attend giving check, although it can

be easily eluded or covered, already enumerated, may be added

that of gaining a move. There is still another: under the present

circumstances, the taking of a piece is ensured by it.

(t) This player could not do better to prevent the check-mate, which

the white queen would else have given, by taking the pawn.

25.

W. Queen takes the queen.

B. Queen’s knight’s pawn 1 square.(u)

26.

W. Queen at the black king’s 4th square.(v1)

B. Knight at his bishop’s 3d square.(v2)

27.

W. Queen at the black king’s 2d square.

B. Rook at his knight’s square.

(u) That the liability of check-mate by the white minister’s stepping

into their first rank may at once be quashed. An instance similar has

before occurred. Of the moves in general now, but a few, we imagine,

will require to be observed on.

(v2) To preserve his pawn (v1) (v2). The subsequent moves will for some

time be conducted on the plan of these. Of the player of the whites,

inferior in numbers, though not in force, the object is, either to

take, or keep in inaction, these pieces of the adversary preparatory to

advancing his own pawns on this side. The pawns of the adversary on the

other side, which are so disposed that he could make no impression on

them, he is not concerned at present to obstruct any otherwise than his

movements in this quarter virtually will. The object of the player of

the blacks will declare itself.

28.

W. Queen at the black king’s bishop’s 2d square.

B. Queen’s bishop’s pawn 2 squares.(w)

29.

W. King’s bishop’s pawn 1 square.

B. Queen’s knight’s pawn 1 square.

30.

W. King’s knight’s pawn 1 square.

B. Rook at the queen’s square.(x)

31.

W. Queen takes the knight’s pawn.

B. Rook at the queen’s 3d square.(y)

(w) Of the rook, the knight, and the knight’s pawn on the other side,

no one can move without one of them being taken; this player has,

therefore, no better alternative than urging to promotion the pawns on

this.

(x) The advancing a white pawn on the black knight, a step that is

in readiness, would have enabled the white queen to make great havoc

among the pieces she hovers over, had this rook remained where he was.

The present movement, and timely sacrifice of a pawn will prevent any

further uncompensated loss.

(y) The knight protects the pawn, the rook protects the knight.

32.

W. King’s knight’s pawn 1 square.(z)

B. Rook at the white queen’s 2d, giving check.(a)

33.

W. The king at his rook’s 3d.(b)

B. The knight at the queen’s 4th.

34.

W. The queen takes the pawn.

B. The rook takes the pawn.

35.

W. King’s knight’s pawn 1 square.

B. Queen’s bishop’s pawn 1 square.

(z) The opportunity of giving check, which the white queen neglects, is

one of those cases in which it ought to be avoided. The black king, by

removing to his queen’s bishop’s 2d, would have covered both himself

and the rook; and the whites (including the loss of one to themselves

and the gain of one to their adversaries) would have sustained a

difference against them of two moves.

(a) This secures an equivalent for the pawn which the knight will be

forced to desert.

(b) The king, when his pieces are advancing to the adversary’s side,

should keep as near to them as possible.

36.

W. King’s knight’s pawn 1 square.

B. King at his queen’s knight’s 2d.(c)

37.

W. The pawn becomes a rook and discovers check.

B. The king at his queen’s knight’s 3d.

38.

W. Rook at black queen’s knight’s square, giving check.(d)

B. King at his queen’s bishop’s 4th.(e)

would check-mate him.

(d) Though it is not to be presumed that the player of the whites, with

his present force, will check-mate the other, yet he is now acting

rightly; for were he to refrain any longer from offence, his adversary

would make a queen before he could make an additional rook, and perhaps

turn the tables on him. What he aims at present, is not a mate, nor

primarily a capture; but to bring about such a change in the position

of the blacks, that the foremost of his pawns may wrest the move from

the foremost of theirs.

(e) Any where else he would, probably, either soon lose his rook, or

suffer a worse disaster.

39.

W. Rook at the black queen’s bishop’s square, still checking.

B. The king at the white queen’s 4th square.(f)

40.

W. The queen at her king’s 4th giving check.

B. The king at the white queen’s bishop’s 3d.

41.

W. The queen takes the knight.

B. Queen’s rook’s pawn 1 square.

42.

W. The king’s rook’s pawn 1 square.(g)

B. The king at the white queen’s knight’s 2d.(h)

43 and 44.

W. The king’s rook’s pawn 2 squares.

B. Queen’s bishop’s pawn 2 squares.

(f) Had he gone to the white queen’s knight’s 4th square—and had the

white queen then moved to the 1st square of that knight—the loss of the

black rook would have been inevitable.

(g) The remaining black pieces are posited so, that an attempt at this

time to make any further capture, or to give check-mate, might only

bring their pawns nearer to promotion. As this piece has now the start,

this is the moment to push him on.

(h) He thus makes way for the black pawn without exposing either

himself or the rook.

45.

W. Queen at the black king’s knight’s 4th square.(i)

B. Rook at the white queen’s rook’s square.

46.

W. The queen at the black king’s 4th square, checking.

B. King at the white queen’s knight’s square.

47.

W. The pawn becomes a rook.

B. The pawn becomes a queen.

48.

W. The rook takes the queen.

B. The king takes the rook.

49.

W. The queen takes the rook, and checks.

B. The king at the white queen’s 2d.(k)

(i) For some of the moves commented on, we were in doubt whether the

tyro, unaided, could in passing have accounted: of this, and the

following ones, we are persuaded he will at once see the reason.

(k) As check-mate is unavoidable, it is a matter of indifference what

moves he makes. He adopts those which will put off the evil longest. We

set them down merely that the game may not seem unfinished.

50.

W. The rook at the black queen’s square, giving check.

B. King at the white queen’s bishop’s 2d.

51.

W. The rook checks again.

B. King at the white queen’s 3d.

52.

W. The queen at her bishop’s 3d square, giving check.

B. The king removes.

53.

W. The rook checks.

B. The king at the square of the white queen.

54.

W. The rook at his king’s square, gives _check-mate_.

The move at which the fortune of the blacks began to decline, and at

which a back-game may with most interest be taken up, is that where

the queen takes the white knight (couplet 23). At the moment before

(numbers and force considered apart from position) the advantage was

on their side. What followed this move will impress on the student,

that whenever an adversary seems to expose a piece to capture without

securing an equivalent, or without securing a proper one the reprisal

which the white bishop might have made on the black knight, as it

would have spoilt the position of the white pieces, and lessened their

comparative strength, could not be considered a proper one] he must not

attribute to accident what may be the effect of design, and take the

exposed piece without hesitation. If the player he is contending with

be not contemptible, it is rather to be suspected that he has, as the

player of the whites had in the present case, some ambuscaded motive

for losing the piece: whether he has or no, it behooves the student,

before taking it, well to examine.

The game just ended, affords occasion likewise to observe, that sudden

incursions on the adversary’s pieces are only to be made with caution.

The 13th move of the blacks, the difficulty with which the queen

retreats, and her being once within an ace of capture, very forcibly

suggest this maxim. Of this move, however, we do not mean to impeach

the propriety.

At the 10th move, to have acted more systematically, the black bishop

should have stopped at the 4th square of the bishop of his king. In

the counterstep to this and other moves, the whites, too, might have

acted more systematically: but as we mean to give separate examples of

that kind of play, from which these are deviations, and as many of the

intervening moves are properly consequent one of the other, it will not

be necessary to begin any variation of the last example at an earlier

move than the 1st of the 23d couplet.

FIRST SCALE OF POWERS.

The introductory chapter classes the pieces in the order of their

relative values; but nothing is added of the ratio in value, which

two or three inferior pieces bear to a superior, or two superior; as

the introduction of minute discriminations, before the attainment

of some practical knowledge, might have perplexed the reader. As,

however, situations occur on the board, in which it is necessary that

the most critical calculations of force should be consulted, and as

the propriety of accepting or declining some exchanges depends on

punctilious considerations, it is thought proper to give, as a prelude

to the remaining examples, the following scale:

2⅕, 14,

9, 15,

9, 28.

With respect to qualification for attack and defence, the facility of

conducing to these ends, by a stationary attitude, or by moving, and

extent of action, the powers of the pawn, the knight, the king, the

bishop, the rook, and the queen, are to each other in this proportion.

The values of all the pieces, except the pawn and king, are

commensurate with their powers.

The nature of the game puts the king’s value above competition.

The value of every pawn, taking into the account the probability of his

becoming a capital piece, is on the average, about 5⅖.

SECOND SCALE OF POWERS.

In the foregoing estimate, of the five superior pieces the highest

force is taken; that is to say, each is supposed to be in that part of

the board where its sphere of action is largest: assuming, however,

that in play the probability of their occupying any given square is

equal, their powers will be,

2³²/₁₆₀, Pawn 9¹²⁰/₁₆₀, Bishop

6⁴⁰/₁₆₀, Knight 15, Rook

7⁹⁰/₁₆₀, King 23¹²⁰/₁₆₀ , Queen.

The pawn’s chance of promotion makes his value 4¹⁴³/₁₆₀.

It will be perceived, that by this scale, the relative powers of the

pawn and rook, with respect to each other, remain as before; while with

respect to the other pieces, that of the former is trivially, and that

of the latter, greatly enhanced.

In finding both scales, the part of the board within the sphere of each

respective piece wherever it is placed, is supposed to be unoccupied.

As the player cannot always put the pieces where their range of action

will be the most extensive, the latter scale is the safer to be

adopted, as a datum from which to estimate their values, in balancing

one piece against two pieces, two against three, previously to

suffering or effecting such a kind of exchange.

EXAMPLE VI.

THE SECOND ESSAY CONTINUED FROM THE TWENTY-SECOND COUPLET.

COUPLET 23.

W. The queen at her knight’s 3d square.

B. The knight at his rook’s 3d square.(a)

24.

W. The bishop at the black queen’s 4th.(b)

B. Queen’s knight’s pawn 1 square.(c)

25.

W. King’s bishop’s pawn 1 square.(d)

B. Queen’s rook’s pawn 2 squares.

(a) His standing before the pawns on this side is of no consequence, as

their only use will be to obstruct the white ones: those on the other

side are what this player must expect to promote. The only other way of

preserving this knight, moving the black queen to the 1st rank, would

have been a bad step.

(b) He would have been safe before the black queen; but by thus

threatening check-mate he gains a move, and is in a better position.

must move so as to expose him to it; therefore, if, instead of this,

the bishop’s pawn had moved a square, the white bishop might have taken

his assailant with security.

(d) To keep the black knight from checking the king. Had this pawn

been moved further, the black knight, at the white knight’s 4th house,

supported by the black queen and rook’s pawn, would have totally

obstructed him and his companions.

26.

W. Queen’s rook’s pawn 2 squares.

B. Rook at his king’s bishop’s square.(e)

27.

W. The king at his rook’s 3d square.(f)

B. Knight at his bishop’s 2d square.(g)

28.

W. King’s knight’s pawn 1 square.

B. Knight at his king’s 4th square.

(e) As, from the impendence of the white queen and bishop, the

protection of both the knight and the rook is necessary to the pawns

on the other side, moving forward with safety, this player is about to

transfer them there.

(f) To sustain the rook’s pawn when that of the knight advances.

(g) He could not get to the square he is going to without first coming

here: to protect him in this first stage of his gambit[24], was the

chief reason of placing the rook where he is.

[24] A gambit is an indirect and circuitous movement, by several

intermediate steps, to a particular square. In a larger sense, a gambit

is a game mostly made up of such movements; it, perhaps, includes the

idea of one player being quickly circumvented.

29.

W. Knight at the black king’s knight’s 4th square.(h)

B. King’s rook’s pawn 1 square.

30.

W. Knight at the black king’s 3d square.

B. Rook at the queen’s bishop’s 1st square.

31.

W. King’s bishop’s pawn 1 square.(i)

B. Knight at his queen’s 2d square.

(h) He moved to save the king’s bishop’s pawn, now amply protected. The

pieces are so arranged, you see, that if the black player was to begin

exchanging, the white one would have the last capture. At the time of

observing (g) the reverse was the case.

(i) Pawns, as they are pushed on, increase in value. Of a set of pawns,

one at least of which you are striving to promote, neither should, if

possible, be moved without having a piece as guardian, should no enemy

at the moment be at hand; for a sudden occurrence, the same which may

prevent you from providing for his safety, may bring an adversary in

a position to command him. But though this pawn, as thus moved, is in

the predicament of having no support, it would have been still worse

to have stirred any other; if the rook’s pawn had advanced a square,

the knight’s pawn of the blacks, by advancing two squares, might have

completely blockaded all three. A circumspect resiler from enterprise,

instead of moving either, would have placed the king behind the

knight’s pawn.

32.

W. Knight at his queen’s 4th square.(k)

B. Queen at the king’s bishop’s 3d square.(l)

33.

W. The knight gives check.

B. The king at the rook’s square.

34.

W. The knight at the black king’s 2d square discovering check.

B. The bishop’s pawn covers the check.

35.

W. The knight takes the rook.

B. The pawn takes the bishop.

36.

W. The queen takes the pawn and gives check.

B. The king removes.

(k) This more than prevents the black pawn’s being advanced upon the

bishop.

(l) She could not do better. If the black bishop’s pawn had been moved

against the bishop, the white knight would have taken him. If the

rook had taken the knight, the bishop would then have taken the rook.

Combinations, such as these, may be carried to a great extent, and very

much try the skill of the player.

37.

W. Queen takes the knight.

B. Queen at the white queen’s bishop’s 3d square, giving check.(m)

38.

W. King at his rook’s 2d square.

B. The queen takes the knight.

39.

W. The queen takes the queen.

B. The king takes the queen.

40.

W. King’s bishop’s pawn 1 square.

B. Queen’s knight’s pawn 1 square.(n)

_Variation._ (m) This queen takes the king’s bishop’s pawn.

38.

The white knight takes the pawn.

The black queen at the white king’s 3d square, giving check.

39.

The white king removes.

The black queen takes the knight.

40.

The white queen takes the pawn—and so on.

The result is, as it will be of the present way of moving,

that the black king is check-mated.

(n) Nothing better could be done than to offer this. Paradoxical as it

may seem to the unpractised reader, if the three pawns on the queen’s

side of the board were entirely away, the player of the blacks would

be better off. By moving his king to intercept the white ones, and

by judiciously managing his own, he might then, and the other could

not help it, so exchange one for one, that to the white king and

single pawn left, his own would at length stand opposed in the manner

described at the end of Section xxx; the consequence of which would be,

that the adversary, to avoid a stale, would resign his pawn, content

neither to beat nor be beaten. But, circumstanced as he now is, the

player of the blacks would be soonest check-mated on the interception

plan. We will suppose him to have gone upon it, and to have arrived at

the point just mentioned. The white king instead of surrendering his

pawn, closely supports him, leaving the black king without a move, and,

but for having other pieces, in a stale. Then follows the move at which

we are pausing. The white pawn takes the pawn, and leaves the black

queen’s rook’s a free passage. The white pawn gets to the promotion

line a move before his rival, and at the moment of doing so, gives

check-mate.

41.

W. King’s knight’s pawn 1 square.(o)

B. The queen’s knight’s pawn takes the pawn.

(o) It is better now to lose a pawn than a move. If the queen’s

rook’s pawn were to take the black one, the other player would make a

queen first; for the black queen’s rook’s pawn having then nothing to

interrupt him, would be virtually a move before either of the other

white ones; and as to the capturing pawn, then in the knight’s file,

the black king need not lose the time of one step to keep him from

promotion.

42.

W. King’s bishop’s pawn 1 square.

B. The king’s knight’s pawn takes the pawn.

43.

W. The pawn takes the king’s rook’s pawn.

B. The queen’s knight’s pawn 1 square.

44.

W. The king’s knight’s pawn 1 square.

B. The queen’s knight’s pawn 1 square.

45.

W. The pawn becomes a queen, and gives check.

B. The king at his queen’s knight’s 2d square.

46.

W. The queen takes the pawn.

B. The queen’s rook’s pawn 1 square.

47.

W. The queen at her knight’s 2d square.

B. The king moves obliquely to his right.

Though at the risk of dividing the reader’s attention, we have been

fuller on the part just preceding, in order that it may serve as a

precedent for cases not exactly similar. The moves after this, however,

will require no remark from us.

48.

W. The queen takes the pawn.

B. The king moves to support his remaining pawn.

49.

W. The queen at her rook’s 3d.

B. The king where he can support the pawn without being checked.

50, &c.

When the queen made the last capture, the game was virtually ended. If,

however, the player of the blacks is obstinate enough still to continue

it, the following is the most summary way of mating him.

From 50 to 54, the white king crosses toward his queen, the black king

in the mean time regrading in the same two squares, so as to prevent

the queen, who remains inactive, from taking his pawn: 55, (the white

king being at his queen’s bishop’s 3d square) the queen gives check;

the king removes: 56 to the end, the queen takes the pawn, and in

concert with her king, effects the check-mate.

EXAMPLE VII.

A SECOND BACK-GAME TO EXAMPLE V. TAKEN UP AFTER THE 24th COUPLET OF

EXAMPLE VI. pa. 85.

COUPLET 25.

W. King’s bishop’s pawn 1 square.

B. The knight at the bishop’s 4th square.

26.

W. The king at his rook’s 3d square.(a)

B. The knight at the white queen’s 4th.(b)

27.

W. Queen at her own 3d square.(c)

B. Queen at her king’s 4th square.(d)

28.

W. Knight at his queen’s bishop’s 3d.(e)

B. Queen’s bishop’s pawn 1 square.

(a) Combining with his knight’s, in support of his rook’s pawn.

(b) Instead of supporting his right hand pawns from behind, as he did

in the last game, in order to advance them against the white queen

and bishop—a plan that was found unsuccessful—this player is now

endeavouring to remove the white queen and bishop in the first instance.

(d) Chiefly to preserve her knight.

(e) To protect the bishop.

29.

W. King’s bishop’s pawn 1 square.

B. Queen at her king’s bishop’s 3d.

30.

W. The bishop at his king’s 4th square.

B. King’s rook’s pawn 1 square.(f)

31.

W. Queen at the square of her king’s bishop.(g)

B. Queen’s knight’s pawn 1 square.

32.

W. King’s bishop’s pawn 1 square.

B. The king at his queen’s knight’s 2d.(h)

33.

W. Queen at her king’s bishop’s 4th.

B. The king at his queen’s knight’s 3d.

(f) Pawns, whose only use is obstruction, can seldom promote their

object by moving forwards[25]—and therefore, while there is any thing

to do in another quarter, they should in general only be moved, as this

has been now, for self-preservation.

[25] When those they are to stop are more than a step off, they never

can.

(g) To support the bishop’s pawn in his next move.

(h) In employing only the king to escort his pawns, to which he is at

present adequate—and reserving his rook as an ambuscaded check to the

advancement of the white ones—this player pursues an eligible policy.

34.

W. Queen at her king’s knight’s 4th.(i)

B. Queen’s rook’s pawn 2 squares.

35.

W. Queen at the black king’s rook’s 4th square.

B. Queen’s rook’s pawn 1 square.

36.

W. King’s knight’s pawn 1 square.

B. The king at his queen’s rook’s 4th.

37.

W. King’s knight’s pawn 1 square.

B. The same.(k)

(i) The white pawns are very critically situated, for they can hardly

move without committing themselves. Had the knight’s advanced a square,

and his immediate opponent two squares, an uncompensated loss would

have been inevitable; so that this move of the queen, though not the

most obvious, is, perhaps, the best that could be made.

(k) This is far better than moving the queen away. When one is sure

of promoting a pawn before the adversary—if an occasion of exchanging

queen for queen does not offer, it ought to be sought—that the

preponderance which the promoted pawn will give, may be as great as

possible.

38.

W. Queen takes the pawn of the black knight.(l)

B. The queen takes the queen.

39.

W. The pawn takes the queen.

B. The king’s rook’s pawn takes the knight’s.

40.

W. The bishop at his queen’s 3d square.(m)

B. Queen’s knight’s pawn 1 square.

41.

W. The knight at his king’s 4th.

B. Queen’s knight’s pawn 1 square.

42.

W. Queen’s rook’s pawn takes the pawn.

B. Queen’s rook’s pawn 1 square.(n)

(l) This, and not the reverse, that his pawns may not be doubled, or

two in a file—which, had this player taken the queen, would have been

the case. Doubling pawns is chiefly to be avoided, when, as here, there

would be no pawn in an adjoining file: when there are others to support

them, it is an evil so evanescent, that no sacrifice ought to be made

to prevent it.

(m) To make way for the knight.

(n) If he had taken the pawn, the critical square would have been

within the range of the white bishop.

43.

W. Knight at the black king’s bishop’s 3d.

B. Queen’s rook’s pawn 1 square.

44.

W. King’s knight’s pawn 1 square.

B. Rook takes the pawn of the white rook, and gives check.(o)

45.

W. The king at his knight’s 3d square.

B. The pawn becomes a queen.

46.

W. The pawn becomes a queen.

B. The queen at the white king’s knight’s square,

giving check-mate.

(o) The rook’s forbearing this capture thus long, is an exemplication

of rule 21. If it had been material to prevent the white player from

having a queen, this player would have detached the rook along his own

rank to a square out of the knight’s reach; and on the white pawn’s

becoming a queen, would have exchanged the rook for the queen.

=_The Scholar’s-Mate_=.

EXAMPLE VIII.

_Meditating and evading that Stratagem._

COUPLET 1.

W. The king’s pawn 2 squares.

B. The same.

W. King’s bishop at the queen’s bishop’s 4th square.

B. The same.

W. The queen at the black king’s rook’s 4th square.(a)

B. The queen at her king’s 2d.(b)

(a) In this example, and the rest that make up the section, which after

the 2d move are very different from those that go before, it is rather

the movements of the blacks than of the whites that are proposed for

imitation. The mode to be pursued by one player, depends in a great

measure on that pursued by the other: we have therefore given these,

that the tyro might not be surprised into a defeat, or uncompensated

loss, if an opponent, having the first move, should at the 3d couplet

take the same step that the whites have done here—a step of that

fundamental kind, that the future aspect of the game is influenced

materially by it.

(b) She thus prevents the white queen, as well from taking the king’s,

as from giving check-mate by taking the bishop’s pawn.

W. King’s knight at his bishop’s 3d.

B. Queen’s pawn 1 square.

W. Knight at the black king’s knight’s 4th.(c)

B. King’s knight’s pawn 1 square.

W. The bishop takes the pawn and gives check.

B. The king at his queen’s square.

W. The queen at her king’s rook’s 4th.(d)

B. King’s knight at his bishop’s 3d.

and retire, or, by the sacrifice of a knight or a bishop, make a

practicable breach in the black pawns.

(d) The remaining moves, declare their object.

The reader will observe, that the game might be finished at the 4th

couplet; which is the earliest termination it can well be made to

receive, and is called the _scholar’s-mate_.

The game may be finished in two couplets, the fatal stroke being given

by the second move of the second player: but there requires so much

fatuity to permit this, that it has the name of the _fools-mate_.

W. King’s bishop’s pawn 1 square.

B. The knight takes the king’s pawn.

W. The pawn takes the knight.

B. King’s rook at his bishop’s square.

10.

W. The bishop at his queen’s bishop’s 4th.

B. King’s bishop at the white king’s bishop’s 2d square,

giving check.

11.

W. The queen takes the bishop.

B. The rook takes the queen.

12.

W. The king takes the rook.

B. The queen takes the knight, &c. &c.(e)

(e) As the forces of both are at par, or nearly so, and the intricacies

consequent on the 3d, 4th, and 5th steps gotten over, it is not

essential to our purpose to proceed any further. If the reader likes to

pursue the subject, the economy of the pawns and other pieces during

the rest of the game, is not very different from the finishings in the

second essay. In the mean time we submit to him some variations, all

of which, however, as soon as the blacks are equal or superior to the

whites, and the future moves of both, independent of those that have

preceded, will, like this, be discontinued.

EXAMPLE IX.

MOVES CONSEQUENT ON THE ATTEMPT TO GIVE THE SCHOLAR’S-MATE.

_Beginning after the Sixth Couplet of_ EXAMPLE VIII.

COUPLET 7.

W. The queen at her king’s rook’s 4th.

B. King’s rook’s pawn 1 square.

W. The bishop takes the knight’s pawn.

B. The queen takes the knight.

W. The queen takes the queen.

B. The pawn takes the queen.

10.

W. Queen’s pawn 1 square.

B. King’s knight at his king’s 2d.

11.

W. The bishop at the black bishop’s 2d.

B. King’s rook at his bishop’s square.

12.

W. The bishop at his queen’s bishop’s 4th.

B. Queen’s bishop takes the pawn, and checks.

13.

W. The king at his 2d square.

B. King’s knight’s pawn 1 square.

14.

W. King’s rook at his bishop’s square.(a)

B. King’s knight’s pawn 1 square.

15.

W. The pawn takes the pawn.

B. Queen’s bishop at the white king’s knight’s 4th, checking.

16.

W. King at his queen’s 2d.

B. King at his 1st square.

17.

W. Queen’s knight at his bishop’s 3d.

B. The bishop takes the pawn.

18.

W. The rook takes the rook.

B. The king takes the rook.

19.

W. The knight at his king’s 2d.

B. The bishop at the white rook’s 4th.

20.

W. Queen’s bishop’s pawn 1 square, &c.

(a) Owing to this, the black bishop cannot move without exposing the

rook. To save his bishop, and the knight’s pawn, or to lose neither

without a recompense, will require the black player’s utmost skill.

EXAMPLE X.

_Beginning after the Ninth Couplet of_ EXAMPLE IX.

COUPLET 10.

W. The bishop at the black bishop’s 2d.

B. King’s knight at his rook’s 3d.

11.

W. The bishop at his queen’s bishop’s 4th.

B. The knight at the white knight’s 4th.

12.

W. King’s bishop’s pawn 1 square.(a)

B. The knight takes the rook’s pawn.

13.

W. The king at his queen’s square.(b)

B. Queen’s knight at his bishop’s 3d.(c)

(a) The white player _must_ lose one of the pawns without a recompense,

and had he suffered this to be taken, he would have lost two—because

the knight would then have attacked the king’s pawn and rook, and both

could not have been saved.

(b) If the king had not removed, the black knight would have taken the

bishop’s pawn and given check; the consequence would have been, that

the rook as well as the pawn, would have been lost for the mere knight.

Now the knight cannot remove without exposing his own rook.

is, to support the black rook when the other knight removes.

14.

W. Queen’s pawn 1 square.

B. King’s knight’s pawn 1 square.

15.

W. Queen’s bishop at the black king’s knight’s 4th, giving check.

B. The knight covers the check.

16.

W. The bishop at the black bishop’s 3d.

B. The pawn takes the pawn.

17.

W. The bishop takes the rook.

B. The pawn 1 square.

18.

W. The king at his 2d square.

B. Queen’s bishop gives check.

19.

W. The king at his queen’s 2d.

B. The pawn becomes a queen.

20.

W. The rook takes the queen.

B. The knight takes the rook and gives check.

21.

W. The king at his 1st square.

B. The king castles.

22.

W. Bishop at black king’s bishop’s 3d, &c.

EXAMPLE XI.

_Beginning, like the last, after the 9th Couplet of_ EXAMPLE IX.

COUPLET 10.

W. King’s bishop’s pawn 1 square.

B. The king at his 2d square.

11.

W. The bishop at the black king’s bishop’s 4th.

B. The bishop takes the bishop.(a)

12.

W. The pawn takes the bishop.

B. King’s knight at his rook’s 3d.

13.

W. King’s knight’s pawn 2 squares.

B. The knight takes the 1st pawn in the king’s bishop’s file.

-----------------------------------------------

_Variation._

11.

W. King’s knight’s pawn 2 squares.

B. The king at his bishop’s 3d.

12.

W. The bishop at the black bishop’s 4th.

B. The bishop takes the bishop(a), &c.

-----------------------------------------------

(a) Had the black player suffered the white bishop to take his bishop,

moving out his knight in order to capture him with his rook, he would

be unable to break the white pawns.

14.

W. The pawn takes the knight.

B. King’s rook at his bishop’s square.

15.

W. Queen’s pawn 1 square.

B. The rook takes the pawn.

16.

W. King’s rook at his bishop’s square, &c. &c.

EXAMPLE XII.

_Beginning after the Seventh Couplet of_ EXAMPLE IX.

COUPLET 8.

W. The knight at the black king’s 3d square, giving check.

B. The bishop takes the knight.

W. The queen takes the queen.

B. The king takes the queen.

10.

W. The bishop takes the pawn.

B. King’s rook’s pawn 1 square.

11.

W. The bishop at the black bishop’s 4th.

B. The bishop takes the bishop.

12.

W. The pawn takes the bishop.

B. The king’s knight at his rook’s 3d.

13.

W. Queen’s pawn 1 square.

B. The knight takes the pawn, &c. &c.

A better mode to be pursued by the blacks than any yet exhibited, is

the following.

EXAMPLE XIII.

_Beginning at the Fifth Couplet of_ EXAMPLE VIII.

COUPLET 5.

W. Knight at the black king’s knight’s 4th.

B. King’s knight at his rook’s 3d.

W. The bishop takes the pawn, and gives check.

B. The knight takes the bishop.

W. The knight takes the rook’s pawn.

B. Queen’s knight at the queen’s 2d.

W. King’s rook’s pawn 2 squares.

B. Queen’s knight at the king’s bishop’s square.(a)

W. King’s knight’s pawn 1 square.

B. The rook takes the knight.

10.

W. The queen at her home, &c. &c.

(a) The player of the white knight, feeling his insecurity, would be

glad to exchange him; therefore had this knight gone to the bishop’s

3d square instead of the 1st, the white one would have taken him. The

white knight, by giving check, would have afforded his queen time to

remove from the rook.

EXAMPLE XIV.

_Beginning after the Seventh Couplet of_ EXAMPLE XIII.

COUPLET 8.

W. Queen at the black king’s knight’s 3d.

B. Queen at the white king’s rook’s 4th.(a)

W. Knight’s pawn 1 square.(b)

B. The queen takes the knight.

10.

W. The queen takes the queen.(c)

B. The rook takes the queen, &c. &c.

(a) If, instead of this, the black knight had moved, as in the 8th move

of the last Example, the white knight would have taken him.

(b) If the white player had neglected this move to take the pawn in his

queen’s power, the black queen, would have captured, in addition to

the bishop’s pawn, by afterwards successively checking the king, two

or three other pawns, without ultimately suffering the white knight to

escape.

queen: if he had not, he must have lost the king’s pawn uncompensated.

GENERAL REMARKS.

On the part of the blacks it is to be observed, that the result of

the two last ways of moving, though something more in their favour

than the result of any of the others, is not so decidedly superior as

at the first view it may seem. The white player’s having preserved

all his pawns entire is a circumstance that almost counter-balances

his disadvantages; for to prevent one of the three white pawns on the

king’s side from becoming a queen, the other player must exchange for

them, at least two knights and the pawn opposite: Suppose these changes

to have taken place, and the difference in favour of the blacks will be

very inconsiderable.

With respect to the propriety of the reader’s opening the game in

this way, when his having the first move puts it in his power, we

know but one case in which there would be any.—When there is any

reason to think, that, from the antagonist’s estrangement to it,

notwithstanding his having had some practice, the triumph of beating

him in four moves might be attained[26]. In such a case, as there is

a probability of snatching a piece on its failure, and as no decisive

loss is to be apprehended if one be defeated even in that, it cannot

be very imprudent to try it. Another consideration which, in such a

case, lessens the impropriety, is, that if you meet with success,

either complete or partial, the adversary, at his turn of moving first,

may be induced to adopt the same mode, which most probably, from its

novelty, will to him be disastrous. As soon as this stratagem ceases

to profit, or if it fails in the first instance, it will of course be

instinctively resigned.

[26] If he is inexperienced, it will be no triumph.

A deviation on this plan, from the maxim, “Never count on the mistakes

of your adversary, or act as if you expected him to adopt measures

different from those which you would adopt in his situation,” is,

perhaps, the only kind of one not very reprehensible.

EXAMPLE XV.

=_Game of Involved Combinations_=,

A STUDY.

COUPLET 1.

W. King’s pawn 2 squares.(a)

B. The same.

W. King’s bishop at the queen’s bishop’s 4th.

B. Queen’s bishop’s pawn 2 squares.(b)

(a) That this move should precede all the others, is right in theory as

well as in practice. We add the following, which is more definite, to

the reasons directly or indirectly already dropt for it. The rooks are

useless at the beginning of the game,—the knights, to step out, require

no pawn to be moved,—the bishops cannot render their immediate service

without an opening;—the advancement of the king’s pawns 2 squares,

which leaves the king’s bishop and queen at liberty to act, without

exposing the king, either in front or obliquely, is therefore dictated

by propriety, as the preliminary movement. And there are other reasons,

if it would not divide the attention to give them here.

(b) This move, in these circumstances, may now and then be used with

advantage as a change, instead of that which places the king’s bishop

at the same square; it will, though the adversary has the first move,

prevent him from getting two pawns a-breast in the centre—and if he be

unused to it, rather confine and disconcert his other operations: at

the same time, your own king’s bishop will, in some degree, be cramped

by it.

W. King’s knight at his bishop’s 3d. †

B. Queen’s knight at his bishop’s 3d. ⸸

W. Queen’s bishop’s pawn 1 square.

B. King’s knight at his bishop’s 3d. †

W. Queen’s pawn 1 square. ⸸

B. Queen’s rook’s pawn 1 square.

W. Queen’s bishop at his king’s 3d.

B. Queen’s knight’s pawn 2 squares.

W. King’s bishop at queen’s knight’s 3d.

B. Queen’s bishop’s pawn 1 square.

W. The pawn takes the pawn.

B. The king’s knight takes the pawn.

W. The pawn takes the pawn.

B. The pawn takes the pawn.

_Remarks._

†⸸ The moves, with this mark (†) will be found to menace, with this (⸸)

to parry.

10.

W. Queen at her 3d square. †

B. King’s knight at the queen’s 3d.(c)

11.

W. King’s bishop at the black queen’s 4th.(d)

B. King’s pawn 1 square.

12.

W. Queen at her king’s 2d.

B. The pawn takes the knight.

13.

W. The queen takes the pawn.

B. King’s bishop’s pawn 1 square.(e)

14.

W. King’s bishop takes the knight.

B. The pawn takes the bishop.

15.

W. The queen takes the pawn, and gives check.

B. Queen’s bishop covers the check.

(d) With a view to take the king’s pawn with his knight, which would be

secured from the black knight by the ambuscade on the rook; and if he

be disappointed in the way he expects, with another view.

(e) To save the king from check-mate.

16.

W. Queen at her king’s bishop’s 3d.(f)

B. Queen’s bishop at his king’s 3d. †(g)

17.

W. Queen’s rook’s pawn 1 square. ⸸(h)

B. Queen’s knight’s pawn 1 square.

18.

W. Queen’s bishop’s pawn takes the pawn.

B. Knight at the white queen’s bishop’s 4th. †

19.

W. Queen at the black queen’s bishop’s 3d, giving check. ‡

B. The king at his bishop’s 2d.

(f) This player’s object now will be to promote the pawns on his

queen’s side as soon as he can.

(g) This player having no pawns which he has any prospect of promoting,

at least while those on the adverse king’s side remain unbroken, cannot

do better than, availing himself of his superiority in other pieces,

endeavour to snatch some of the pawns of the adversary; attacking him

first on one wing, then on the other, and bringing two or three pieces

to bear upon one.

(h) If the knight’s pawn, with a view to save this, had moved a square,

the black bishop would have taken the knight’s pawn.

_Remarks._

‡ The moves with this mark, will be found not directly to parry a

menaced blow; but merely, by making a counter attack, to suspend its

execution.

20.

W. Queen’s bishop at his 1st square. ⸸(i)

B. King’s bishop takes the pawn and gives check.

21.

W. The king castles.

B. King’s bishop at his queen’s 3d.

22.

W. Queen at her king’s bishop’s 3d.

B. Queen at her own bishop’s 2d. †

23.

W. King’s knight’s pawn 1 square. ⸸

B. Queen’s rook at the square of the queen’s knight. †

24.

W. Queen at her king’s 2d. ⸸

B. Queen’s bishop at his queen’s 4th.

25.

W. Knight at his bishop’s 3d. †(k)

B. Queen’s bishop at the queen’s knight’s

2d. ⸸(l)

(i) To save himself and the knight’s pawn.

(k) The pawns cannot advance with safety at present.

(l) This is hardly parrying an attack, it is rather flying from it;

however, he is only driven to the square to which he was gambiting.

26.

W. Queen’s rook’s pawn 1 square.

B. Knight at his king’s 4th square.

27.

W. Knight at the black queen’s knight’s 4th. †

B. Queen at the bishop’s 3d. ‡

28.

W. King’s bishop’s pawn 1 square.(m)

B. King’s bishop gives check.(n)

29.

W. The king at his knight’s 2d.

B. King’s rook at the king’s square.(o)

30.

W. The bishop at his king’s 3d.

B. The knight takes the pawn.

(m) To save the king from check-mate.

(n) The assault of the white knight prevented this player from

executing the scheme that he intended; or otherwise, instead of giving

check with his bishop, he would have taken the white king’s bishop’s

pawn with his knight.

(o) When a player has fewer pawns, and more superior pieces than the

adversary, he should bring as many of the latter into play as he can:

if he adduce, on the whole, but one more piece, and carry on the

combination with skill, the other _must_ give way at last.

31.

W. The rook takes the knight.

B. The queen takes the rook.

32.

W. The queen takes the queen.

B. The bishop takes the queen.

33.

W. The king takes the bishop.

B. The rook takes the bishop and gives check.

34.

W. The king at his bishop’s 4th.(p)

B. Queen’s rook at the king’s square.(q)

35.

W. The king at his knight’s 4th.

B. Queen’s rook gives check.

36.

W. The king at his rook’s 3d.

B. The knight’s pawn 2 squares.

(p) Of the four squares which he may go into, if he were not to take

one of the two next his adversary’s side, he would, at the next move,

lose either a pawn or his rook.

(q) The black player has now virtually won: we shall make the rest of

the moves as summary as propriety will allow.

37.

W. The rook at his queen’s bishop’s square.

B. The knight’s pawn gives check.

38.

W. The king at his knight’s 2d.

B. The king’s rook gives check.

39.

W. The king at the bishop’s 1st.(r)

B. The king’s rook gives check at the white

bishop’s 2d.

40.

W. The king removes.

B. King’s rook at the white queen’s bishop 2d,

discovering check from the bishop.

41.

W. The king removes either to his right or left.

B. The king’s rook takes the rook and gives check.

42.

W. The king removes.

B. Queen’s rook at the white king’s 2d,

giving _check-mate_.

(r) If he goes to his rook’s 1st, the black king’s rook checks him at

his first square; and when the white rook takes the black king’s rook,

the black queen’s rook takes the capturer, and repeats check: the king

removes, and is check-mated.

=_Conclusion_=.

In the former edition of this work, the author took occasion to

introduce, with a game of PHILIDOR, some observations on the critical

situations, into which an inexperienced player may get, from attempting

that master’s mode of managing the pawns, on account of the address

and ability which a successful pursuit of it requires. The difficulty

is, should the adversary abandon the direct mode of opposition with

his own pawns, to guard against the facility which he thereby obtains,

of employing a great number of his superior pieces in forcing the

position of your king. This inconvenience is to be prevented, without

relinquishing the defence of the pawns, or failing in their ultimate

promotion, but there is danger, in pursuing any plan intensely, of

acquiring a manner. The judicious player will avail himself of the

masterly instructions which PHILIDOR gives for the evolutions of

the minor pieces; without reposing on his system on all occasions;

adopting or declining it, as he finds it successful or disastrous

with different players; and obstructing, or conniving at its trial on

himself, as it may be in unison with the general mode of the person

who would practise it. The models of CUNNINGHAM and SALVIO, requiring

great stores of resource to prevent the adventurer from suffering by

enterprise, will in practice be equally delicate to follow. The spirit

of these accomplished specimens is what you should endeavour to seize.

In opposition to any project, to adhere invariably to the routine of

moves in the best edited forms is ineligible; for instance, if you were

to imitate exactly the second mover in the first party of PHILIDOR, an

inferior player might beat you by rote. And though the black player,

under the conduct of PHILIDOR, suffering the establishment of two white

pawns in the centre, proceeds on the conception, that it could not be

prevented, without giving his skilful opponent in some shape or other

an equivalent advantage; you will sometimes find it profitable to try

the effect of that equivalent advantage, where the variation forces

the adversary to the resource of his own talents. Thus, while with a

mixture of prudence and spirit, you do not disdain to adopt from edited

forms moves that are suited to the situation; the features of your

play will be impressed with the character of your own powers; and you

will guard against a habit of ingrafting moves in a mechanical series,

as if you wanted that promptness which should conform itself to all

circumstances.

You may play the game of HANNIBAL or FABIUS. If you have naturally a

disposition for enterprise, and are fertile in expedients, you will do

well to cultivate it, as it will prevent an adversary of slower parts

from prosecuting those systematic plans, which he has tried and proved.

If, on the contrary, your abilities are rather solid than splendid, you

must, even in those speculations into which a player of an opposite

turn will sometimes draw you, keep as near as possible to the shore

of certainty, never launching into a new track with wantonness, never

without deliberation. But whether your ingenuity expatiate, or your

judgment, preponderate, your best guide will be Experience. If you have

enlisted both these in your accomplishments, you will not want, though

you will excuse, the officiousness of advice.

The observations on points, respecting which the practice is not

entirely uniform, are postponed to the appendix.

ANALYSIS

THE GAME OF CHESS.

BY MR. PHILIDOR.

TO WHICH IS ADDED,

SEVERAL PARTIES, PLAYED BY THE

AUTHOR BLINDFOLD,

AGAINST

THREE ADVERSARIES.

=_A New Edition_=,

WITH CORRECTIONS BY THE EDITOR,

CHIEFLY REGARDING THE PERSPICUITY OF THE LANGUAGE.

_Ludimus effigiem belli._ VIDA.

=_Advertisement_=.

It is to be observed, that in the Notes, the reader is addressed as the

player supposed to move the white pieces, and the player of the blacks,

an imaginary antagonist of the reader, is spoken of in the third

person, to avoid equivocation.

It is also to be observed, that when the manœuvre of castling is

performed in the following examples, the king stands on the square

_next but one to his own_, and the rook on the _square adjoining

the king’s original square_;—so that the place for castling on the

king’s and on the queen’s side, is not, as in the preceding games,

uniform:—but the king and rook stand on the same squares on the king’s

side.

ANALYSIS OF _CHESS_.

=_Philidor’s own Games_=.

FIRST PARTY,

_With Two Back Games; the First beginning from the Twelfth,

and the Second from the Thirty-seventh Move, of the Black_.

W. The king’s pawn 2 squares.

B. The same.

W. The king’s bishop at his queen’s bishop’s 4th square.

B. The same.

W. Queen’s bishop’s pawn 1 square.

B. King’s knight at his bishop’s 3d square.

W. Queen’s pawn 2 squares.(a)

B. The pawn takes the pawn.

(a) This pawn, is pushed two steps, for two reasons: the first, to

hinder the adversary’s king’s bishop from attacking your king’s

bishop’s pawn; the second, to bring the strength of your pawns into the

centre of the chess-board.

W. The pawn takes the pawn.(b)

B. The bishop at his queen’s knight’s 3d.(c)

W. Queen’s knight at his bishop’s 3d square.

B. The king castles.

W. King’s knight at his king’s 2d.(d)

B. Queen’s bishop’s pawn 1 square.

(b) When you find your game in the present situation, _viz._ two pawns

in a front line, you must take care not to push either of them, before

your adversary proposes to change one for the other: which you will

then avoid, by pushing forwards the attacked pawn.

cover the check with the bishop; and, in case he takes your bishop, you

must take his bishop with your knight, who will then defend your king’s

pawn.

(d) Before the bishop’s pawn has been pushed two squares, avoid playing

the knight at the bishop’s 3d, when it will answer the purpose to play

him any where else; for the obstruction which the knight gives to the

motion of the pawn, is sometimes inconvenient in its consequences.

W. King’s bishop at his queen’s 3d.(e)

B. Queen’s pawn 2 squares.

W. King’s pawn 1 square.

B. King’s knight at his king’s square.

10.

W. Queen’s bishop at his king’s 3d.

B. King’s bishop’s pawn 1 square.(f)

11.

W. The queen at her 2d square.(g)

B. The pawn takes the pawn.(h)

(e) The bishop retires, to avoid being attacked by the adversary’s

queen’s pawn, because that would force you to take his pawn with yours,

and separate your pawns.

(f) He plays this pawn to give an opening to the rook; and this cannot

be hindered, whether he or you take.

(g) You should not take the pawn which is offered you, because your

king’s pawn would then lose its file; whereas, leaving yours to be

taken, you supply its place by the pawn of your queen, and sustain it

afterwards with your king’s bishop’s pawn. These two pawns united will

undoubtedly win the game.

(h) He takes the pawn to pursue his design of giving an opening to his

rook.

12.

W. The pawn takes the pawn.

B. Queen’s bishop at his king’s 3d square.(i)

13.

W. King’s knight at his king’s bishop’s 4th.(k)

B. The queen at her king’s 2d square.

14.

W. Queen’s bishop takes the black bishop.(l)

B. The pawn takes the bishop.

(i) He plays this bishop to add to the security of his queen’s pawn,

and to enable him to push afterwards his queen’s bishop’s pawn: you

could, it is true, oblige him to double a pawn in the knight’s file, by

taking his king’s bishop with your queen’s bishop, but this would make

an opening to his king’s rook: besides a doubled pawn, when connected

with others, as his would be, is by no means disadvantageous; however,

the present attitude of the pieces will be the subject of a back game,

making him take your queen’s bishop with that of his king.

(k) Your king’s pawn being as yet in no danger, your knight attacks his

bishop, in order to take him, or have him removed.

(l) It is always dangerous to let the adversary’s king’s bishop command

the diagonal of your king’s bishop’s pawn; and therefore when your

queen’s pawn cannot form a bar to his action, it is necessary to oppose

him with your queen’s bishop, and to exchange him for that piece, if

you cannot procure him for a smaller.

15.

W. The king castles with his rook.(m)

B. Queen’s knight at his queen’s 2d square.

16.

W. King’s knight takes the bishop.

B. The queen takes the knight.

17.

W. The king’s bishop’s pawn 2 squares.

B. King’s knight at his queen’s bishop’s 2d square.

18.

W. The queen’s rook at its king’s square.

B. The king’s knight’s pawn 1 square.(n)

19.

W. The king’s rook’s pawn 1 square.(o)

B. The queen’s pawn 1 square.

(m) You castle on that side, in order to sustain and strengthen your

king’s bishop’s pawn, which you will advance two squares as soon as

your king’s pawn is attacked.

(n) He is forced to push this pawn, to hinder you from playing your

king’s bishop’s pawn upon his queen, which would give you two pawns in

a front line upon his field.

(o) This pawn is played to enable you to push your king’s knight’s pawn

two steps.

20.

W. The knight at his king’s 4th square.

B. The king’s rook’s pawn 1 square.(p)

21.

W. The queen’s knight’s pawn 1 square.

B. The 1st of the double pawns 1 square.

22.

W. The king’s knight’s pawn 2 squares.

B. King’s knight at his queen’s 4th square.

23.

W. The knight at his king’s knight’s 3d square.(q)

B. King’s knight at the white king’s 3d square.(r)

(p) He plays this pawn to hinder your knight entering his game, and

forcing his queen to remove, which would immediately make an opening

for your pawns.

(q) You play this knight to enable yourself to push your king’s

bishop’s pawn next, which will be then supported by three pieces, the

rook, the bishop, and the knight.

(r) He plays this knight, in order to cut off the communication between

your pieces, and break the strength of your pawns; which he would

undoubtedly do, by pushing his king’s knight’s pawn; but you prevent

his design, by sacrificing your rook.

24.

W. Queen’s rook takes the knight.

B. The pawn takes the rook.

25.

W. The queen takes the pawn.

B. Queen’s rook takes the rook’s pawn.

26.

W. The rook at its king’s square.(s)

B. The queen takes the queen’s knight’s pawn.

27.

W. The queen at her king’s 4th square.

B. The queen at her king’s 3d square.(t)

28.

W. King’s bishop’s pawn 1 square.

B. The pawn takes the pawn.

29.

W. The pawn takes the pawn.

B. The queen at her 4th square.(u)

(s) You play the rook to support your king’s pawn, which would be left

without adequate support, were you to push your king’s bishop’s pawn.

(t) The queen returns to this square, in order to hinder the

check-mate, now prepared.

(u) The queen offers to be exchanged with the other queen, in order to

break the scheme of a check-mate, by the adverse bishop and queen.

30.

W. The queen takes the queen.

B. The pawn takes the queen.

31.

W. The bishop takes the pawn in his way.

B. The knight at his 3d square.

32.

W. King’s bishop’s pawn 1 square.(x)

B. Queen’s rook at the white queen’s knight’s 2d square.

33.

W. The bishop at the queen’s 3d square.

B. The king at his bishop’s 2d square.

(x) You are to observe, that when your bishop runs upon the white

squares, you must put your pawns upon the black ones; or, if your

bishop runs upon the black, you must have your pawns upon the white; by

which course the bishop prevents the adversary’s pieces from intruding

between your pawns. This rule is hardly ever to be dispensed with,

in case you attack, and have some pawns advanced; but, in case of a

defence, the rule must be reversed, and the pawns set upon the bishop’s

colour.

34.

W. The bishop at the black king’s bishop’s 4th square.(y)

B. The knight at the white queen’s bishop’s 4th square.

35.

W. The knight at the black king’s rook’s 4th square.

B. King’s rook gives check.

36.

W. The bishop covers the check.

B. Knight at the white queen’s 2d square.

37.

W. King’s pawn gives check.

B. King at his knight’s 3d square.(z) ☜

38.

W. King’s bishop’s pawn 1 square.

B. The rook at his king’s bishop’s square.

39.

W. The knight gives check at the 4th square of his king’s bishop.

B. The king at his knight’s 2d square.

(y) Here is an example of the above note: if your bishop run black,

your adversary’s king might insinuate between your two pawns.

(z) As the king may retire to his bishop’s square, we will make it the

subject of a second back game.

40.

W. The bishop at the black king’s rook 4th square.

B. Plays any where: the white pushes to queen.

FIRST BACK GAME,

TO THE FIRST PARTY,

_On the Twelfth Move of the Black_.

12.

W. The pawn takes the pawn.

B. King’s bishop takes the queen’s bishop.

13.

W. The queen takes the bishop.

B. Queen’s bishop at his king’s 3d square.

14.

W. King’s knight at his king’s bishop’s 4th square.

B. Queen at her king’s 2d square.

15.

W. The knight takes the bishop.

B. The queen takes the knight.

16.

W. The king castles with his rook.

B. Queen’s knight at his queen’s 2d square.

17.

W. King’s bishop’s pawn 2 squares.

B. King’s knight’s pawn 1 square.

18.

W. King’s rook’s pawn 1 square.

B. King’s knight at his 2d square.

19.

W. King’s knight’s pawn 2 squares.

B. Queen’s bishop’s pawn 1 square.

20.

W. The knight at his king’s 2d square.

B. Queen’s pawn 1 square.

21.

W. The queen at her 2d square.

B. Queen’s knight at his 3d square.

22.

W. The knight at his king’s knight’s 3d square.

B. Queen’s knight at his queen’s 4th square.

23.

W. Queen’s rook at its king’s square.

B. Queen’s knight at the white king’s 3d square.

24.

W. The rook takes the knight.

B. The pawn takes the rook.

25.

W. The queen takes the pawn.

B. The queen takes the queen’s rook’s pawn.

26.

W. King’s bishop’s pawn 1 square.

B. The queen takes the pawn.

27.

W. King’s bishop’s pawn 1 square.

B. The knight at his king’s square.

28.

W. King’s knight’s pawn 1 square.

B. The queen at the white queen’s 4th square.

29.

W. The queen takes the queen.

B. The pawn takes the queen.

30.

W. King’s pawn 1 square.

B. The knight at his queen’s 3d square.

31.

W. The knight at his king’s 4th square.

B. The knight at his king’s bishop’s 4th square.

32.

W. The rook takes the knight.

B. The pawn takes the rook.

33.

W. The knight at the black queen’s 3d square.

B. King’s bishop’s pawn 1 square,

or any move indifferently, the game being unavoidably lost.

34.

W. King’s pawn 1 square.

B. Rook at his queen’s knight’s square.

35.

W. The bishop gives check.

B. The king retires, having but one place.

36.

W. The knight gives check.

B. The king removes.

37.

W. The knight at the black queen’s square, discovering check.

B. The king removes where he can.

38.

W. King’s pawn becomes a queen, and gives check-mate.

SECOND BACK GAME,

TO THE FIRST PARTY,

_On the Thirty-seventh Move of the Black_.

37.

W. King’s pawn gives check.

B. The king at his bishop’s square.

38.

W. The rook at the queen’s rook’s square.

B. The rook gives check at the white queen’s knight’s square.

39.

W. The rook takes the rook.

B. The knight takes the rook.

40.

W. The king at his rook’s 2d square.

B. Knight at the white queen’s bishop’s 3d square.

41.

W. Knight at his king’s bishop’s 4th square.

B. Knight at the white king’s 4th square.

42.

W. The knight takes the pawn.

B. The rook at his king’s knight’s 4th square.

43.

W. King’s pawn 1 square, and gives check.

B. The king at his bishop’s 2d square.

44.

W. Bishop gives check at the black king’s 3d square.

B. The king takes the bishop.

45.

W. King’s pawn becomes a queen, and wins the game.

SECOND PARTY,

_With Three Back Games: the First on the Third, the Second on the

Eighth, and the last on the Twenty-sixth Move of the Black_.

W. The king’s pawn 2 squares.

B. The same.

W. King’s bishop at his queen’s bishop’s 4th.

B. Queen’s bishop’s pawn 1 square.

W. Queen’s pawn 2 squares.(a)

B. The pawn takes the pawn.(b)

W. The queen takes the pawn.

B. Queen’s pawn 1 square.

(a) It is absolutely necessary to advance this pawn two squares to

prevent your adversary from bringing his pawns into the centre of the

board; and this he certainly could effect, by pushing his queen’s pawn

two squares against your bishop, which would give him the move and

attack.

(b) Had he pushed his queen’s pawn two squares instead of taking, it

would have materially altered the game, so we will make it the subject

of a back game.

W. King’s bishop’s pawn 2 squares.

B. Queen’s bishop at his king’s 3d.(c)

W. King’s bishop at his queen’s 3d square.

B. Queen’s pawn 1 square.

W. King’s pawn 1 square.

B. Queen’s bishop’s pawn 1 square.

W. The queen at her king’s bishop’s 2d.

B. Queen’s knight at his queen’s bishop’s 3d.(d)

his queen’s pawn, in order to make room for his king’s bishop; the

second, to oppose it to your king’s bishop, and take him from the field

in time, according to the rule prescribed in the first game.

(d) If, instead of getting out his superior pieces, by playing his

knight, he should continue to advance his pawns, he might with ease be

made to lose the game. It must be observed, that one or two pawns, too

far advanced, may be reckoned as lost, except when there is an open

field for other pieces to protect them, or when the same pawns may be

sustained or supplied by others. By a back game it will convincingly

appear, that two pawns in a front line, situated upon the chess-board’s

fourth square, are better than upon the sixth square.

W. Queen’s bishop’s pawn 1 square.

B. King’s knight’s pawn 1 square.

10.

W. King’s rook’s pawn 1 square.

B. King’s rook’s pawn 2 squares.(e)

11.

W. King’s knight’s pawn 1 square.(f)

B. King’s knight at his rook’s 3d.

12.

W. King’s knight at his bishop’s 3d.

B. King’s bishop at his king’s 2d.

13.

W. Queen’s rook’s pawn 2 squares.

B. King’s knight at his bishop’s 4th.

(e) He pushes this pawn two squares to prevent your pawns falling upon

his.—Here observe, two equal bodies of pawns are on the board: you have

four to three on your king’s side, and he has four to three on his

queen’s side; the player that is able first to separate his adversary’s

pawns, on the side where they are most in number, will undoubtedly win

the game.

(f) This move is material, by its seasonable anticipation, because by

pushing his king’s rook’s pawn a square, he would have cut off the

communication between your pawns; your king’s knight’s pawn being then

unable to join that of your bishop, without being exposed to be taken

by his rook’s pawn.

14.

W. The king at his bishop’s square.

B. King’s rook’s pawn 1 square.

15.

W. King’s knight’s pawn 1 square.

B. The knight gives check to the king, and attacks the rook.

16.

W. The king at his knight’s 2d square.

B. The knight takes the rook.

17.

W. The king takes the knight.(g)

B. The queen at her 2d square.

18.

W. The queen at her king’s knight’s square.(h)

B. Queen’s rook’s pawn 2 squares.

(g) Though a rook is commonly more valued than a knight, yet your game

may be better than his: because, notwithstanding this loss, your king

is safe, and you are the better enabled to form your attack on which

ever side your adversary may chuse to castle.

(h) It is essential to play your queen to sustain your king’s knight’s

pawn, least he should sacrifice his bishop for your two pawns, which

he certainly would; because all the strength of your game consisting

in your pawns, the breaking of them would give him the attack, and

probably make you lose the game.

19.

W. Queen’s bishop at his king’s 3d square.(i)

B. Queen’s knight’s pawn 1 square.

20.

W. Queen’s knight at his rook’s 3d square.

B. The king castles on his queen’s side.(k)

21.

W. The king’s bishop gives check.

B. The king at his queen’s bishop’s 2d square.

22.

W. Queen’s knight at his queen’s bishop’s 2d square.(l)

B. Queen’s rook at its own square.

23.

W. King’s bishop at the black queen’s knight’s 4th square.

B. The queen at her own square.(m)

(i) In order to engage your adversary to push his queen’s bishop’s

pawn, which would give you the victory very soon, by making an opening

for your knights.

(k) He castles on that side to avoid the strength of your pawns upon

his king, which present a menacing front, and are already farther

advanced than those on the side of your queen.

(l) Had you given him check with this knight, you would have entangled

your bishop, and lost many moves: it is therefore better to go back.

(m) He brings back his queen to her home, with a design to place her

next at her king’s bishop’s square, to increase the support of his

queen’s bishop’s pawn.

24.

W. Queen’s knight’s pawn 2 squares.

B. The queen at her king’s bishop’s square.

25.

W. Queen’s knight’s pawn takes the queen’s bishop’s pawn.

B. Queen’s knight’s pawn takes the pawn.

26.

W. King’s knight at his queen’s 2d square.(n)

B. Queen’s bishop’s pawn 1 square.(o)

27.

W. King’s knight at his bishop’s 3d square.

B. King’s bishop’s pawn 1 square.(p)

28.

W. The bishop gives check.

B. The king at his queen’s knight’s 2d square.

(n) With a view to pursue your attack on his pawn.

(o) In order to gain a move, and to hinder your king’s knight from

placing himself at your queen’s knight’s third square; but as the

twenty-sixth move might have been different, it will be the subject of

a back game.

(p) Let him now play as he will, his situation is irretrievable;

because your knights have got a free passage into his game.

29.

W. The bishop takes the knight and checks.

B. The king takes the bishop.

30.

W. King’s knight gives check.

B. The king at his queen’s 2d square.(q)

31.

W. King’s bishop’s pawn 1 square.

B. The bishop at his king’s knight’s square.

32.

W. The pawn gives check.

B. The king at his own square.

33.

W. King’s knight at the black queen’s knight’s 4th square.

B. King’s bishop at his queen’s 3d square.

34.

W. The queen at her 4th square.(r)

B. Lost every where.

(q) If his king takes your queen’s bishop, you have his queen by a

discovered check; and if he removes his king elsewhere, he loses his

queen’s bishop.

(r) The queen next takes the adversary’s queen’s pawn, exposes every

one of his pieces, and wins the game.

FIRST BACK GAME,

TO THE SECOND PARTY,

_On the Third Move of the Black_.

W. The queen’s pawn 2 squares.

B. The same.

W. King’s pawn takes the pawn.

B. The pawn takes the pawn.

W. The bishop gives check.

B. Queen’s bishop covers the check.

W. King’s bishop takes the bishop.

B. Queen’s knight takes the bishop.

W. Queen’s pawn takes the pawn.

B. The knight takes the pawn.

W. The queen at her king’s 2d square.

B. The same.

W. Queen’s knight at his bishop’s 3d square.

B. The king castles.

10.

W. Bishop at his king’s bishop’s 4th square.

B. Queen’s knight at his bishop’s 3d square.

11.

W. The king castles.

B. The queen takes the queen.

12.

W. King’s knight takes the queen.

B. Queen’s pawn 1 square.

13.

W. Queen’s knight at his king’s 4th square.

B. King’s bishop’s pawn 1 square.

14.

W. King’s rook’s pawn 2 squares.

B. The same.

15.

W. King’s rook at its 3d square.

B. King’s knight at his rook’s 3d square.

16.

W. The bishop takes the knight.

B. The rook takes the bishop.

17.

W. King’s rook at its queen’s 3d square.

B. Queen’s rook at its king’s square.

18.

W. King’s knight takes the pawn.

B. The knight at the adverse queen’s knight’s 4th square.

19.

W. King’s rook at its king’s 3d square.

B. Knight takes the rook’s pawn, and gives check.

20.

W. The king at his queen’s knight’s square.

B. The knight retires.

21.

W. The knight at once checks the king, and attacks the rook, &c. &c.

SECOND BACK GAME,

TO THE SECOND PARTY,

_On the Eighth Move of the Black_.

W. The queen at her king’s bishop’s 2d.

B. Queen’s bishop’s pawn 1 square.

W. King’s bishop at his king’s 2d.

B. The queen’s pawn 1 square.

10.

W. Queen’s bishop’s pawn 1 square.

B. Queen’s pawn 1 square.

11.

W. King’s bishop at his 3d square.

B. Queen’s bishop at his queen’s 4th.

12.

W. Queen’s knight’s pawn 1 square.

B. Queen’s knight’s pawn 2 squares.

13.

W. Queen’s rook’s pawn 2 squares.

B. Queen’s bishop’s pawn takes the pawn.

14.

W. Queen’s rook’s pawn takes the pawn.

B. The bishop takes the bishop.

15.

W. King’s knight takes the bishop.

B. Queen’s knight at his queen’s 2d square.

16.

W. Queen’s bishop at his king’s 3d square.

B. The rook at his queen’s knight’s square.

17.

W. Queen’s bishop’s pawn 1 square.

B. Queen’s knight at his 3d square.

18.

W. Queen’s knight at his queen’s 2d.

B. King’s bishop at the white queen’s knight’s 4th.

19.

W. The king castles, and will undoubtedly win the game.

THIRD BACK GAME,

TO THE SECOND PARTY,

_On the Twenty-sixth Move of the Black_.

26.

W. King’s knight at his queen’s 2d.

B. King’s bishop’s pawn 1 square.