Chapter XX: Fireside Amusements (1)

$Chess in Twelve Easy Lessons.$--There is nothing like beginning at the beginning, so I first give a diagram of the board and men as set out for play.

It will be noticed that in the above diagram the square at the bottom right hand is a white one, and it is in this way that, by custom, the chess-board is always placed. The board is divided into 64 squares, coloured alternately black and white, or some similar distinctive colours. The squares are always called "White" and "Black," whatever their actual colour may be, and similarly the men are invariably termed "White" and "Black," though, as a matter of fact, often coloured white and red.

Having got the board in proper position, with its white square at the bottom right-hand corner, the next thing is to set up the men in proper order. There are thirty-two men in all--sixteen White and sixteen Black. They consist of the following:--

TWO KINGS: one White, one Black. The White King stands on the fourth square, counting from the White player's _right_ hand, and the Black King stands on the fourth square, counting from the Black player's _left_ hand. This brings the two Kings opposite each other, the White King standing on a black square and the Black King on a white square.

TWO QUEENS: one White and one Black. The White Queen stands on the white square to the left of the square occupied by the King. Similarly, the Black Queen stands on the black square next to the Black King. It is of importance in setting up the men to bear in mind that the Queens stand on squares of the same colour as themselves, the White Queen being on a white square and the Black Queen on a black square.

FOUR BISHOPS: two White and two Black. These stand on the squares adjoining their respective King and Queen. The one next the King is called the King's Bishop, and the one next the Queen is known as the Queen's Bishop.

FOUR KNIGHTS: two White and two Black. These stand on the squares adjoining the Bishops. The Knight nearest the King is called the King's Knight; the other is called the Queen's Knight.

FOUR ROOKS: two White and two Black. These occupy the four corner squares, the one nearest the King being termed the King's Rook; the one nearest the Queen the Queen's Rook. The Rooks are sometimes called Castles.

These sixteen men are collectively called pieces.

SIXTEEN PAWNS: eight White and eight Black. These stand on the squares immediately in front of the sixteen pieces. They are named after the pieces in front of which they stand, as the King's Pawn, the Queen's Pawn, the King's Bishop's Pawn, and so on.

As it would be very cumbrous to use the full name of each piece or Pawn every time it may be necessary to refer to it, I shall in future use the recognised English notation, as follows:--

K for King.
Q for Queen.
B for Bishop.
Kt for Knight.
P for Pawn.

Other abbreviations will be--

Sq for square.
Ch for check.
Dis ch for discovered check; and
Doub-ch for double check.

Written in this notation, King's Rook's Pawn becomes K R P, and Queen's Bishop's square Q B sq, and so on.

Now for the practical use of this lesson. Let all the readers who wish to learn the game first of all set the board before them as herein described. Then let them place the White men in their proper order on the board, beginning with the K. Similarly let them place the Black men on the board, beginning also with the K. As a second try, let them place the men on the board beginning with one of the R's, and going across to the other R. Finally, let them familiarise themselves with the English notation, as given above. By the time they have done this they will be in a position to benefit by a further lesson.

II

THE BOARD.--The chess-board is not merely something upon which the game of chess is played; it is part of the game itself, for it limits, and, to some extent, controls the action of the men. In my first lesson I gave a diagram of the board with the men set out for play, and I now give an outline diagram of the board on which the name of each square is given, both from the White and the Black side.

Now, in order to read the moves correctly, it is of the greatest importance for the student to understand the method of naming the various squares. From the diagram on page 276 it is clear that, according to our English style, each square has two names, the White player naming the squares from his own side, and the Black player from his. Thus, what the White player calls his King's square the Black player calls his King's eighth, and so on with all the other squares. All the boys who are taking an interest in these lessons should get this point fixed in their minds to avoid mistakes.

III

The squares running across the board are termed _ranks_; those running up and down, _files_; and those in a slanting direction, _diagonals_. The squares, as will be seen, are named from the pieces, which, at starting, occupy their first rank; thus the square at the lower right-hand corner is White's King's Rook's Square (K R sq); the square immediately in front is White's King's Rook's second (K R 2)--the word square being omitted; the next in front is White's K R 3, and so on till you come to White's K R 8. In a similar way you get White's K Kt sq, or 2 or 3, etc., or White's K or Q sq, or 2 or 3, and so on. Similarly, by turning the board round, you count the squares from the Black side as Black's K R sq, or 2, etc., or Black's K or Q sq, or 2 or 3, etc. The files are also named in a similar manner; thus the file running from White's K sq to Black's K sq is called the K's file, and so with all the other files. The ranks are simply called first rank, second rank, etc. The diagonals have no special name, with the exception of the two running direct from one corner of the board to the other--that is, the diagonal from White's K R sq to Black's Q R sq, and that from White's Q R sq to Black's K R sq. These are called the long diagonals. Of course, some of the very sharp boys who read this will at once exclaim, "Why, they are the only diagonals a square can have, for a rectangular figure can only have two diagonals." Well, that is all right in mathematics, but in chess, use or custom has brought about the practice of calling all the sloping lines of squares diagonals, and the two which, according to mathematics, are really diagonals, the long diagonals.

Having thus described the board, I next proceed to describe the moves of the various men.

THE KING.--The King is by far the most important man on the board, inasmuch as a successful attack upon him (as will be explained later on) involves the loss of the game. On the other hand, his moves are much more circumscribed and his powers of attack more limited than those of any other man except the Pawn. He moves only one square at a time, but that move can be made in any direction--that is, to any adjacent square, either forward, backward, sideways, or diagonally. Place the king on his own square and he can move to Q sq, Q 2, K 2, K B 2, or K B sq. Similarly, if he be placed on a centre square, he can move on to any of the eight adjacent squares. The King captures in the same direction in which he moves; that is, if any one of the enemy's men stands on an adjacent square to his own, he can occupy that square, the other piece being removed from the board, or "taken" or "captured," as it is termed. The King cannot move on to any square commanded by an enemy's man, or, as it is technically called, he cannot move into check; neither can the two Kings occupy adjacent squares. Once during the progress of each game the King has the option of an extension of his ordinary move, but this I will describe under its proper head of castling.

THE QUEEN.--The Queen is by far the most powerful piece on the board, as she possesses such a wide range of moves. Like the King, she can move in any direction--forward, backward, sideways, or diagonally; but these moves are not confined to the adjacent squares, for the only limits to her range of moves are the sides of the board, provided no piece or Pawn is in the way of her march. Place the Queen on her own square, and she can be moved to any one of twenty-one squares, namely, Q B sq, Q Kt sq, Q R sq, K sq, K B sq, K Kt sq, K R sq, Q 2, 3, 4, 5, 6, 7 and 8 squares, Q B 2, Q Kt 3, Q R 4, K 2, K B 3, K Kt 4, and K R 5. Similarly placed on a centre square, say Q 4 or 5, or K 4 or 5, and it will be found that she commands (that is, can be moved to) no less than twenty-seven squares on a clear board. The Queen takes in the same direction as she moves; this she does by displacing the enemy's man, and occupying the vacated square herself.

THE ROOK.--Next in importance comes the Rook. This piece moves forward, backward, or sideways, as far as the open board permits, but not diagonally. Place the K R on its own square, and it can move to fourteen squares, namely, R's 2, 3, 4, 5, 6, 7 and 8 squares, K Kt sq, K B sq, K sq, Q sq, Q B sq, Q Kt sq and Q R sq. Placed on any position on the open board, in a corner, at the side, or in the centre, it will be found that it always commands fourteen squares, neither more nor less. It captures in the same direction as it moves in a similar manner to the King or Queen; that is, by removing the enemy's attacked man and occupying the square so vacated.

IV

THE BISHOP.--The Bishop moves diagonally only (that is, in a similar manner to a man at draughts) but he can pass over any number of squares that may be open to him. Place the K B on its own square, and it can move on to any of the following seven squares, viz.: Kt 2, R 3, K 2, Q 3, B 4, Kt 5, or R 6. Placed on a centre square, it commands thirteen squares in all. It captures in the same direction as it moves, and in a manner similar to the K and Q. From the nature of its move the B can never leave the squares of the colour on which it originally stood. Therefore the White K B is always on a White square, and the Black K B upon a Black one.

THE KNIGHT.--Whilst the move of the Kt is one of the most beautiful upon the chess-board, it is, at the same time, the most difficult to describe, though a knowledge of its move is not by any means difficult to acquire by a little practice. It may be described as a combination of the shortest move of the R with the shortest move of the B; that is, one square in a straight direction--forward, backward, or sideways--and one square in a diagonal direction. Place the K Kt on its own square, and it can move on to the following three squares, viz.: K 2, B 3, and R 3. It will be seen that its imaginary R's move would bring it over Kt 2, and then its imaginary B's move places it on B 3 or R 3. Or its imaginary R's move takes it over B sq., and then its imaginary B's move places it on K 2. Placed on a centre square, say K's 4, it commands eight squares--K B 2, K Kt 3, K Kt 5, B 6, Q 6, Q B 5, Q B 3, and Q 2. It will be noticed that it invariably moves on to a square differing in colour from that which it has just left; or, in other words, that it leaps from a White square to a Black one, and from a Black square to a White one. This peculiarity arises from the combination of the R and B moves. Place the Kt again on K's 4 (a White square), and it will be seen that the imaginary R's move brings it on to a square of a different colour (in this case a Black one), either K 3, Q 4, K 5, or B 4--and then the imaginary B's move keeps it on the same colour. The Knight captures as it moves in the same manner as the other pieces--that is, the captured piece is removed from the board, and the capturing Kt occupies the vacated square. It has one advantage possessed by no other man, and that is the power of leaping over any intervening piece or Pawn, whether belonging to its own side or the enemy's. For example, when the men are first set out in battle array, the only piece that can move without some of the Pawns first making an opening is the Kt, for it can at once spring on to B 3 or R 3, despite the intervening Pawns.

THE PAWNS.--The Pawn moves in one direction only, and that is one square straight forward (that is the shortest P's move, except that on its first move it has the option of moving forward either one or two squares). Place the K P on its square, and it can move either to K 3 or K 4. Place on K 4, however, it can only move to K 5. Unlike the pieces, the Pawn does not capture in the same direction that it moves, but diagonally, one square only (the Bishop's shortest move). Place a Pawn at K 4, and whilst it can move to K 5 it can only capture at B 5 or Q 5. The capture is effected, as it is by the pieces, by removing the enemy's man and placing the Pawn on the square thus left vacant. The Pawn has the privilege of claiming promotion as soon as it reaches the eight square. This is done by its being exchanged for any piece of its own colour (excepting a King) which the player may desire. This is technically called "queening a pawn," although it does not follow that a Queen is always called for. It is not necessary that the player should have lost a piece when he thus promotes a Pawn, and it therefore follows that he can have two or more Queens or three or more Rooks, etc., on the board at the same time.

This last statement may puzzle a good many boys, some of whom may say: "I am under the impression that there is only one set of chessmen used at a game of chess. If this is so I do not see that there can be two or more Queens, etc., of the same colour on the board at the same time. Will you kindly explain this?"

They would be perfectly right in stating that only one set of men is used in a game. The set constitutes thirty-two men (sixteen White and sixteen Black), and these thirty-two men form a complete set. To distinguish one piece from another different figures are used, but the shape of these figures is purely conventional, and flat counters could be used with the name or with some other distinguishing mark written on them. As a matter of fact, indeed, the Mohammedans do play chess with such counters, sculptured figures of any kind being prohibited by the Koran. Now, supposing a set is rendered incomplete by a man being lost, the place of the lost man can be taken by anything that will serve to denote that the piece should be on the board. I have often played a game where a thimble has done duty for a Bishop, and a small paper-weight for a Rook, and so on. So that it is quite easy to get something to do duty as a second Queen, etc.

In clubs and chess resorts, where there are many sets of men, a second Queen, if need be, is borrowed from another set. Sometimes, where only one set of men is available, a Rook (if one has been captured) is turned upside down, the promoted Pawn is placed on the top, and there you have a most excellent substitute for a Queen. Supposing, however, that no piece has been lost when the Pawn is promoted, then a piece of twisted paper can be placed on the head of the Pawn, and again we have a good substitute for a Queen.

Some boys may ask me to explain to them what is meant by "Castling" and "Taking _en passant_," and as it is somewhat difficult to do so without the use of diagrams, I think I cannot do better than give the required explanation.

V

CASTLING.--In describing the move of the K, I stated that once during the game the K had the option of an extension of his ordinary move, and promised to describe it later on. This extended move of the K--or rather combined moves of K and R--is termed "Castling." There are two species of Castling, one on the K's side, the other on the Q's side, as shown on the diagrams upon the next page.

The operation of Castling can only be performed once on each side in a game, and that under the following conditions:--

1. The King must not be in check.

2. The King must not have moved.

3. The Rook must not have moved.

4. The King must not pass over or occupy any square commanded by an adverse man.

5. All the squares between the King and the Rook must be unoccupied.

These five points being kept in view, Castling is performed as follows:--On the King's side by the K being moved to K Kt sq and the K R over him to K B sq. On the Queen's side by the K being moved to Q B sq and the Q R over him to Q sq. By inspecting the diagrams this will be made clear. In Castling it will be observed that the K moves two squares (to the right or left, as the case may be), and the R leaps over him to the adjoining square. In Castling it is always best to move the K first to show clearly that Castling is the move intended. The diagrams show only White's method of Castling, but Black castles exactly in the same way. It must be borne in mind that previous checks do not prevent the K Castling, so long as he has not been moved, and is not in check at the time of Castling. The young player must also remember that though the K be on his own square, and the R on its square with no intervening piece, yet Castling cannot be performed if either the K or R has moved, and then come back to his original square.

PAWN TAKING EN PASSANT.--This method of capturing can only be exercised by a P standing on its fifth square, and the captured P on the move immediately preceding the capture, have been played from the second to the fourth square. The following diagram will assist the student.

If Black in this position move the P to K 3, then the White P at B 5 can capture it in the usual course, that is by taking it off the square it occupied at K 3 and occupying the vacated square. Should, however, the Black P go to K's 4 then the White P at B 5 could capture it _en passant_, or "in passing" as the term means. This is done by lifting the B P from K 4 (to which square it has gone) and placing the W P not on the square thus left vacant but on the K 6 (Black K 3) precisely as if the Black P had only moved to K 3. In the position on the diagram, should the Black P go to K 4, then the White P at Q's fourth could capture it in the ordinary manner. It must be borne in mind that the right of capturing _en passant_ must be exercised on the move immediately following the one which the adverse Pawn has made its move from the second to the fourth square, otherwise the right lapses.

VI

I now resume the easy lessons by giving a list of TECHNICAL TERMS.

ADVERSE PIECE, ADVERSE PAWN.--An "adverse piece" is a piece of an opposite colour to your own, and, of course, belongs to your adversary. Similarly, an "adverse Pawn" is a Pawn of an opposite colour to your own.

ATTACK.--The combined action of several men against an adverse position. Attacks, of course, are generally made directly against the King, but occasionally they are directed against some weak point in the enemy's position apart from the King.

TO ATTACK: ATTACKED.--A piece or Pawn attacks an adverse man when it threatens to capture it on the move. A piece or Pawn is said to be "attacked" when it is threatened with capture on the move by an adverse man.

CASTLING.--This combined move of K and R I have fully described previously.

CHECK.--This term signifies that the King is attacked by an adverse piece or Pawn. It is one of the very fundamental principles of the game that the King cannot be captured, and therefore when a move is made by which he is attacked, notice thereof must be given by audibly saying "Check." The King is now said to be "checked," or "in check," and this check must be at once parried. There are three methods by which this can be done:--

1. By moving the King on to a square not commanded by any of the adverse men.

2. By interposing a man between the attacking piece and the King.

3. By capturing the attacking man.

There are three descriptions of checks:--

1. The "direct check," which is given by a piece or Pawn directly attacking the King.

2. The "discovered check," or "check by discovery," which is given by a piece, which, whilst it does not attack the King directly, yet by its removal, uncovers an attack from another piece.

3. "Double check," which is a combination of the "direct check" and the "discovered check." This is brought about by a piece directly attacking the King and at the same time uncovering an attack from another piece.

This last is the most dangerous form of all the checks, for it cannot be parried either by interposition or capturing. The available defences of the King are therefore greatly lessened, as he must move to get out of check.

VII

CHECKMATE.--When the King is in check and has no power of escape--that is, the attacking piece cannot be captured, the King moved, or a piece interposed between the King and the attacking piece--it is "checkmate," and the game is lost for his side. To escape from a double check the King must move, and if there is no square to which he can move the game is lost, though both the attacking pieces are _en prise_, for it is plain that if one be taken the check from the other yet remains.

The diagram on page 286 will help the student to understand these different checks.

In the first place let White play R to Q 2, and it is a _direct_ check. The Black K cannot move out of check, as all the squares adjoining his present position are either guarded by White pieces, or blocked by Black ones; neither can the R be taken, for no Black piece attacks it. Black, however, has one move to parry the check, and that is by playing Q to Q 5, or interposing the Q as it is termed. Similarly, White can play Q to Q sq, again giving _direct_ check, to which Black can again only reply Q to Q 5. Once more, White can play P to R 8, becoming a Q or a B and giving _direct_ check, to which Black's only reply is Q, Q Kt 2.

In the second place, if White play Kt to Q 2 he gives a _discovered_ check; that is, by so moving his Kt he uncovers the attack of the Q upon the K, or, in other words, the Kt moving discovers the check by the Q. In reply to this move Black has again only one move, that being P to B 5 or interposing the P. If White play B R 7, Q 3, B 2, or Kt sq. there is again a _discovered_ check, for the R now attacks the K. In reply to this Black has three lines of play, namely, K takes Kt (at K 3) which is left unguarded by the removal of the B, or by playing the Q either to K 4, or Kt 4 interposing. If the B had gone to Kt 6 the Q could only interpose at K 4; and if it had gone to Kt 4 or R 3 the K could not then capture the Kt, but, instead, could have moved to K 5 out of check.

In the third place if the B move to K 4 there is then given _double_ check, for whilst the B now directly checks himself, by moving he has also discovered the check from the R, and the King to get out of this double attack must move. He has two lines of escape, one by capturing the Kt at K's third, the other by capturing the attacking B.

In the fourth place let White play P K 4, and the K is in direct check; but it is now _checkmate_, for the K has no possible move out of check, and the checking Pawn cannot be taken. Again, let White play Kt, Kt 6, and he gives double check, for the Kt checks directly, and has also discovered the check by the Q. Once more this is _checkmate_, for the K has no possible move. It is true that the B could capture the attacking Kt, but then the Q still checks and the danger of mate has not been averted; similarly, the P could cover at B 5, but the attack from the Kt remains all the same. This aptly illustrates what I have already said as to the extra danger of a double check.

VIII

CLOSE GAME.--See "Game" later on.

COMBINATIONS.--The concentrated action of two or more pieces and Pawns, operating in common either for attack or defence.

COMMAND: COMMANDED.--To "command" a square is to have the power of moving a piece on to it, or to capture an enemy's piece that already occupies it. To "command" the board is to have the pieces so placed that a great many of the squares are commanded.

COUNTER GAMBIT.--See "Game" later on.

COUNTER ATTACK.--See "Game" later on.

DEBUT.--A French word, meaning "opening," sometimes used by English writers on chess.

DEFI.--A French word meaning "challenge," and sometimes used in English chess books.

DEVELOP: DEVELOPMENT.--To develop a piece is to bring it into more active play. To develop a game is to bring as many pieces as you possibly can into active co-operation.

DOUBLED PAWN.--Two Pawns of the same colour standing on the same file are said to be "doubled." Generally, but not always, this is a weak position for the Pawns to occupy, as one cannot support the other.

DOUBLED ROOKS.--When two Rooks of the same colour occupy the same file, or the same rank with no man of their own colour intervening they are said to be "doubled." This is one of the strongest positions the Rooks can occupy.

END GAME.--See "Game" later on.

EN PASSANT.--A French term, meaning "in passing," and applied to a peculiar capture of P by P, which I have fully described previously.

EN PRISE.--A French term signifying "exposed," or in danger of capture. In chess a piece or Pawn is said to be _en prise_ when it is attacked by an enemy's piece and not sufficiently guarded. We do not say, however, that the K is _en prise_ when attacked, but in check, as already explained.

ESTABLISH.--To establish a piece or Pawn is to place it in such a position that it cannot be dislodged by the enemy's pieces, except at a loss. To establish a centre of Pawns is to occupy the centre squares of the board with Pawns, which mutually strengthen and support each other.

EXCHANGE.--The winning of one piece by the losing of another.

EXCHANGE, TO WIN THE.--The winning of a superior piece by losing an inferior one. Especially used when a Rook is won at the expense of a B or Kt. The player on winning the R is said to have "won the exchange"; the player losing the R is said to have "lost the exchange."

IX

FILE.--Each line of squares stretching from one player's side of the board to the other is termed a "file," and appears perpendicular in printed diagrams. Each file is named from the piece which originally stood on its outermost square, as the King's file, the Queen's file, the K R's file, and so on. The lines of squares stretching horizontally across the board are termed "ranks."

FILE: OPEN.--An open file is one unoccupied by pieces or Pawns, and it is a great point that a Rook should be played so as to command such a file. In the diagram on page 289 the K B's file is "open," whilst White has doubled his Rooks on the otherwise "open" K Kt's file.

FORK.--A term originally applied to the attack of a Pawn upon two of the opponent's men at the same time. It is now, however, so extended as to include the minor pieces when any one of them--more especially the Kt, however--attacks two pieces at the same time.

In the diagram the Black Pawn on Q Kt 4 "forks" the Q and B. If White plays P Q 4 ch, then the P "forks" both K and Q. If the Kt goes to Q 7 ch, it also "forks" K and Q. Similarly if Kt B 3 it "forks" the Q and R, and lastly, if B takes Kt ch, it "forks" K and Q. A "fork" from a Kt on two superior pieces is always dangerous, and often fatal, whilst that from a Pawn is also dangerous.

X

GAMBIT.--See "Game."

GAME.--Besides its ordinary meaning, the word is used in a technical sense, such as "open game," "close game," etc. A game of chess has three phases more or less well defined. The "opening," the "mid game," and the "end game."

THE "OPENING."--The first or developing moves in a game, wherein the pieces are brought from their original comparatively inoperative position into active co-operation, both for attack and defence. It is here that book play comes in, and in the study of openings the young student of chess will find wide scope.

THE "MID GAME."--That portion of the game immediately following the opening; the pieces being developed on both sides, combinations result, and attack, defence, and counter-attack take place. It is here that the native skill of the player finds full scope for its display.

THE "END GAME."--The final scene of all, after the bustle and life of the mid-game pieces have been exchanged, the board stripped of the men, and the combat reduced to narrower bounds. Here again book knowledge is of the greatest benefit to the player.

It is to be noted that some games never pass into the third stage, for the attack in the mid-game may have been so strong that surrender was imperative forthwith. Nay, in the hands of a weak player, or by some gross blunder, a game may be finished even in the "opening" stage.

The "openings" may be thus classified--

(_a_) GAMES, when neither player offers any sacrifice of material force in order to gain some strategical advantage.

(_b_) GAMBITS, when the first player offers to sacrifice some material force in order to quickly develop his game, or otherwise to gain some advantage in position. A Pawn is generally sacrificed in the gambits.

(_c_) COUNTER GAMBITS, when the second player makes the sacrifice.

(_d_) DEFENCES, when the game gains its distinctive character from the line of play adopted by the second player. Some "defences" may properly be termed _Counter Attacks_.

There are many well-known openings, all of which have a distinctive name, sometimes that of their inventor, sometimes that of a well-known player who may have made them familiar, sometimes from some place or incident with which they have been connected. Thus there are the "Scotch Game," the "Steinitz Gambit," the "Greco Counter Gambit," the "Philidor Defence," and "Petroff Defence," the latter of which should be more properly termed "Petroff Counter Attack." Then there are many other recognised openings.

XI

GAME, CLOSE.--A "close" game is one wherein the development both of pieces and Pawns is mainly of a conservative or non-committal nature, the Pawns being very cautiously advanced, and the pieces mainly massed behind them. The term "close" is used to designate this class of openings, because, as a rule, for many moves the board presents a crowded appearance, owing to the massing of the pieces and Pawns, and the few exchanges effected. Great nicety is required in playing the "close" game, so that when the time does come for dissolving the close position, the pieces may occupy commanding positions.

GAME, OPEN.--An "open game" is one wherein the opening moves are of a more immediately attacking nature, and where the pieces are more quickly marched to the front. The game is termed "open" because the board, as a rule, soon presents an open appearance. Pieces and Pawns are often got rid of early, and attack and defence embarked on at an early stage. Formerly all games commencing 1 P K 4 on each side were classed as open, and all games, such as the French, etc., wherein one or both players adopted other opening moves were classed as "close." This is, however, now given up, for as a matter of fact, many French defences develop into very "open" games indeed, whilst games commencing 1 P K 4, P K 4 often early take on a "close" character.

"HOLE," A.--This is a modern term greatly used by Mr. Steinitz, who may be considered as the "great apostle" of what is called the "modern school" of chess. As used by him, a "hole" means any square on the third rank left unguarded by a Pawn during the developing or opening moves. For example, if a player having advanced both his K P and Q P, should follow this up by advancing his K B P, or his Q B P, in each case he creates a "hole"; in one instance at K 3, in the other at Q 3. These "holes" are regarded by modern theorists as very dangerous, for an adverse piece can often be posted with great advantage on the unguarded square.

XII

INTERPOSE.--To move a man between an attacked man and the opponent's piece which attacks it. Very often "checks" to the King, and attacks upon the Queen are warded off by interposing a Pawn or piece. As an illustration of "interposing" let the student refer to the diagram on page 289. If White play 1 Q R 3 ch, then Black plays 1 ... P Kt 5, thereby warding off the check. The Pawn thus moved is said to be interposed. Similarly, if it were Black's turn to move, and he played 1 Q K 8 ch, or 1 R Q 8 ch, then White could play either 1 ... R Kt sq, or 1 ... Kt B sq, either piece then warding off the check, or "interposing."

ISOLATED PAWN.--When a Pawn occupies any file, both the adjoining files of which are unoccupied by any Pawns or Pawn of the same colour, such Pawn is said to be "isolated." In the diagram on page 286, White's Pawns on Q B 3 and Q R 7 are both "isolated." Isolated Pawns in an end game are often weak, whilst Pawns on adjoining files are generally strong.

J'ADOUBE.--This is a French term, and means "I adjust," and is used by players who may touch a man without intending to move it. Any English expression signifying that the man is touched merely with the intention of adjusting it on the board may be used. Any man that may be touched without such intimation being given, must be moved should it be the player's turn to move, hence the importance of saying "_j'adoube_" (or similar words) in such cases. Young players (and indeed old ones also for that matter) should never get into a habit of touching any piece unless they intend to move it, except such piece manifestly needs to be adjusted on its square. Such a habit is likely to irritate your opponent.

$Draughts in Nineteen Easy Lessons.$--It is very easy to learn the moves of the men on the draught-board, but it is not quite so easy to learn to play draughts. Draughts is not a complex game like chess, but simple and straightforward, and herein lies its charm to many people who are afraid of chess with its variety of men, and their diverse powers and moves. In draughts there is only one description of men when the board is set for play, and the only addition is when any of these men become promoted to Kings by gaining the opposite side of the board from that whence they started. It is plain then that any boy can learn the moves of the game in a few minutes, and can at once commence to play.

English draughts is played on the 32 white squares of a 64-square board, the squares of which are alternately coloured white and black, white and red, or in some other similar distinctive manner. There are 24 men--12 White and 12 Black.

Above is a diagram of the numbered draught-board, and it is well for the beginners to number the white squares of their draught-board in a similar manner. The best way to do this is to write the numbers on small pieces of paper and stick these on the upper left-hand corner of the squares. Then when the men are placed on the squares the numbers can still be read. It will be observed that the position of the board is the reverse of that of the chess-board, for here a black, and not a white square, occupies the lower right-hand corner. This brings what is technically called "the double corner" to the right hand of the player. The black "double corner" is formed by the squares 1 and 5; the white "double corner" by squares 32 and 28.

At the commencement of the game the Black men occupy the 3 rows of squares numbered from 1 to 12, and the White the 3 rows numbered from 32 to 21, the intervening two rows, numbered from 13 to 20, being vacant. The row 1 to 4 is Black's crown-head, and the row 32 to 29 White's crown-head; the square 4 being Black's "single corner," the square 29 White's "single corner." By usage in this country Black is always given the first move, which again reverses the custom observed in chess. The first move at draughts, however, gives no advantage to the player having it, whereas in chess the advantage of the first move is of some moment.

II

At draughts the men move forward diagonally from square to square. That is, a black man on 11 can move to 15 or 16, and a white man on 22 can move to 17 or 18. When a man reaches the far side of the board he becomes a King, or is crowned; that is, a second man is placed on top of him. A King moves precisely in a similar way to an ordinary man, except that he can go either backwards or forwards; that is, a King (either Black or White) on 11 can go to 7 or 8, or 15 or 16.

In capturing or taking, the capturing piece jumps over the captured piece or pieces. Supposing a Black man is on 15 and a White man on 18, whilst 22 is vacant, then the Black man can capture the White man. This he does by jumping over him to square 22, and the captured man is removed from the board. If a second White man stood on 25, and 29 were vacant, the Black man could jump over both the White men, and go to 29. The King captures in a similar manner, except that he can capture as he moves either backwards or forwards.

III

A game at draughts is won when all the pieces of one colour have either been captured, or forced into such a position that their ultimate capture is certain, or where the remaining pieces of one colour are so blocked that the player thereof cannot move any of them when it is his turn to move, and the player, who thus captures or blocks all his opponent's men, is the winner of the game.

A game at draughts is drawn when an end game results wherein the two forces are so balanced, both in number and position, that neither side can force the capture or blocking of all the pieces of the opposite side.

The following positions are illustrations of the close of games.

White to move and Black to win. (Fig. 1.)

In this position White cannot go to 27, or he would lose at once; he therefore plays 31-26, and the game goes on 32-27, 26-22, 27-23, 22-17, 23-18, 17-13, 18-14. White has now no other move than 13-9, whereupon the Black King jumps over it and the game is won. Had White had a King instead of a man he would just as surely have lost.

Black to move and win. (Fig. 2.)

In this position the pieces are perfectly equal on both sides, but Black has the advantage in position. He played 1-6, and the game goes on 5-1, 6-9, 14-5, 7-10. Now White has no other move than 1-6, whereupon the Black King jumps over it to 1, and the remaining White man is "blocked" and consequently Black has won.

IV

Further illustrations of won and drawn games are the following positions:--

White to move and win. (Fig 3.)

Black men on 3, 8, 12, 17, 20, 21, 25, and 28.

Kings on 29, 30, 31, and 32.

White man on 15. Kings on 18 and 19.

This is a position well known to old hands at the game; though it is not likely to occur in actual play, yet it illustrates the power of the "block." White has only three pieces against Black's twelve, yet he wins the day. Here is the play which brings this about:--

19-24 17-26 10- 6 8-11
20-27 15-10 16-19 1- 5
18-22 12-16 6- 1 11-15

White now plays 5-1 and 1-5 alternately, and the Black men must go forward until they are blocked; and White therefore wins.

Now, to illustrate one form of the draw, let the student look again at the first position in third easy lesson. Had it been Black's turn to move, no more than a draw would result, for Black must play 32-28, whereupon White plays 31-27 and runs down to 1, making a King and drawing.

In the following position White has two Kings to one, yet Black, by the strength of his position, forces the draw.

Black to move and draw. (Fig. 4.)

Black King on 22.

White Kings on 25 and 29.

The Black now plays 22-17 or 26, White replies 25-21 or 30, whereupon the Black King comes back to 25 and the draw is manifest.

V

When a man reaches the crown-head in capturing, and thus becomes a King, that completes the move, although there may be a piece or pieces which could have been captured if it had been a King and not a man, which made the original capture. Many of the finest stroke problems are based upon this peculiarity, for the opposing player has thereby time to make a move. The subjoined position (Fig. 5) shows another won game, the victory being brought about by White gaining a move through the Black having to stop to be crowned.

Black men on 2, 6, 15, and 22. (Fig. 5.)

White men on 27, 30, and 32.

White plays 30-26, then Black must play 22-31 and becomes a King. Then the game goes on 32-28, 31-24, 28-1. Black must now play 2-7, and White follows him up and takes him 24. If the piece on 22 had been a King this could not have been brought about, for after going to 31, thereby taking the man on 26, the move would not then have been finished, but the King would have continued by taking the man on 27, thus winning easily.

Many young players are puzzled how to force the victory when they have two Kings against one, the single King being within reach of the "double corner." Take the following position as an example:--

Black Kings on 18 and 19. (Fig. 6.)

White King on 27.

Black wins thus:--

18- 1 15-19 28-32 15-18
27-32 28-32 27-31 26-31
19-24 24-28 (a) 19-15 18-22
32-28 32-27 31-26 B. wins.

(a) It is here that many young players miss the point. They play 19-23 and Black moves to 31-27 and the work is all to do over again.

VI

The last lesson showed how to win with two Kings against one, the latter being able to reach the double corner. Three Kings can also win against two, even when each of these latter can reach a separate double corner. The way to win has often puzzled young players, but yet it is comparatively easy. The following position shows how to force the victory:--

Black Kings on 14, 18, and 23. (Fig. 7.)

White Kings on 6 and 24.

Black to move and win.

The win is brought about thus:--

18-15 (a) 6- 1 (c) 27-24 5- 1 (f)
24-28 14-10 1- 5 (e) 24-19
23-27 (b) 28-32 (d) 10-6 B. wins.

(a) One of the Black Kings must now go into the double corner.

(b) This is an important move, forcing as it does the remaining King into the other double corner.

(c) For if 28-32, then 15-18 wins.

(d) Compulsory, for if 1-5, then 27-24 wins.

(e) If 32-28, then 24-19 wins.

(f) If 32-28, then 6-10 wins.

It will be noticed that Black must force the exchange of a King, and then he wins with two Kings against one, as shown in fifth lesson.

VII

Already it has been pointed out that the weaker side, though a man down, can often force a draw by correct play. Here is a position from Sturge:--

Black man on 7. King on 6. (Fig. 8.)

White men on 14 and 20. King on 3.

Black to play and draw.

The draw is brought about thus:--

7-10 6- 2 2-20 20-16
14- 7 20-16 3- 7 Drawn.

Here is another example of a draw, this time by Payne:--

Black Kings on 7 and 11. (Fig. 9.)

White man on 20. Kings on 18 and 19.

Black to move and draw.

This position is more complicated than the former, and White can vary his moves to a considerable extent, but Black, by careful play, can always force the draw. The point is that Black must hold the White man on 20. Here is a leading line of play:--

7-10 18-23 15-11 (a) 12-16
19-16 11-15 23-19 3- 7
10- 16-12 7- 3 Drawn.

(a) If 19-16 then 11-15 draws.

This is a useful position as similar endings often occur in actual play, and all younger students should study it carefully.

VIII

Here are some examples of easy forced wins. Payne has the following:--

Black man on 1. King on 7. (Fig. 10.)

White man on 14. King on 5.

Black to move and win.

The win is brought about thus:--

1-6 6-9 7-10 10-1
5-1 14-5 1- 6 B. wins.

Another very interesting position is:--

Black man on 2. Kings on 6 and 11. (Fig. 11.)

WHITE.

FIG. 5.]

WHITE.

FIG. 6.]

WHITE.

FIG. 7.]

WHITE.

FIG. 8.]

White man on 8. Kings on 1 and 4.

Black to move and win.

Black wins thus:--

11-16 2- 7 16-12
1-10 10- 3 B. wins.

IX

Some of the finest play in end games occurs in positions when two Kings more or less sheltered by the double corner are opposed by three Kings or two Kings and a man. The point for the player with the strong forces to seize, is either to force the exchange of a King for a King, or to give up a King for a forced won position. It is here that great nicety of judgment is required, and the greatest attention is necessary if the game is to be won. The following position is from Payne:--

Black Kings on 1 and 2. (Fig. 12.)

White man on 5. Kings on 10 and 11.

Either to move. White wins.

Here is the win when Black moves first:--

2- 6 6- 9 9- 6 6-13
11-15 14-17 22-18 18-14
6- 9 9-13 6- 2 2- 7
15-18 18-22 13- 9 1- 6
9- 6 13- 9 1- 6 White wins (b)
10-14 17-13 (a) 5- 1

(a) Here comes White's opportunity of sacrificing a King, thereby obtaining a position won by force.

(b) For this King must ultimately "fix" the King now on 7.

This is the victory when White moves first:--

10-14 6- 2 18-22 13- 9
2- 6 16-19 6-2 14-10
14-17 2- 6 (b) 13-9 9-13
6- 9 19-23 (c) 1-6 5- 1
17-13 6- 2 22-18 (d) 13-17
9- 6 23-18 6-13 1- 5
(a) 11-16 2- 6 18-14 White wins (e)

(a) Not 11-15, for then Black wins two for one by 6-9, and this danger must be guarded against for several moves.

(b) This is the decisive moment when the sacrifice of the King must be prepared.

(c) 2-7, too, would lose, for White would then move up his King now on 22, and ultimately man off.

(d) If 2-7, 10-14, 7-2, 14-9, and White wins.

(e) Black must play 17-13 or 17-22, and then comes 10-6, 2-9, 5-14, and all is over.

X

The play in these "double corner" positions is always of a very delicate nature. Here is a drawn position from Payne, requiring great nicety of play:--

Black Kings on 1 and 6. (Fig. 13.)

White man on 5. Kings on 14 and 15.

Black to move and draw.

The draw is proved thus:--

6- 9 18-22 9-13 22-18
15-18 13- 9 17-14 9-13 (a)
9-13 14-17 13- 9 Drawn.

(a) Black keeps command of square 13 and so forces the draw.

Here is another drawn position, from Rogers:--

Black Kings on 1 and 10. (Fig. 14.)

White man on 13. Kings on 3 and 16.

Black to move and draw.

The play on the position runs thus:--

1- 6 10- 6 2-6 9-13
16-11 9- 5 7-2 15-10
6- 2 6- 1 6-9 13- 9 (b)
13- 9 (a) 3- 7 11-15 Drawn.

(a) 3- 8 6- 1 16-19
2- 6 12-16 10-14
8-12 1- 6 Drawn.

(b) White cannot crown the man or force an exchange, and hence the game is drawn.

XI

When the forces on each side are reduced to two men, or a man and a King each, many positions occur which are won, lost, or drawn by well-known and long-recognised lines of play, and all who wish to become draught players should have a knowledge of them. Here is such a position:--

Black man on 22. King on 27. (Fig. 15.)

White man on 30. King on 7.

Black to move and win.

Here is the win:--

27-23 18-14 6- 1 5- 1
7-10 6- 1 5- 9 25-21
22-26 22-18 1- 5 1- 5
(a) 10-36 1- 6 9-13 10- 6
26- 1 18-15 10-14 18-15
6- 9 6- 1 13- 9 21-17
31-26 15-10 14-18 5- 1
9- 6 1- 5 9- 6 6- 9
26-22 10- 6 18-15 15-18
6-10 5- 1 30-25 Black wins
23-18 14-10 15-18 by "first
10- 6 1- 5 6-10 position."
(a) 30-25 10- 6 1- 6 1- 5
23-18 18-14 26-22 Black wins
25-21 6- 1 6- 1 by "first
26-30 30-26 22-17 position."

Here is another position:--

Black Kings on 14 and 22. (Fig. 16.)

White man on 29. King on 1.

Black to move and win.

This is the play for the defeat of your opponent:--