The blue book of chess

WHITE.

His power and method of taking an opponent's man will be seen from the diagram (No. 6) on page 14.

In this situation, in the centre of the board, he would have the power of taking any one of the men stationed on the squares numbered, by removing the man and placing himself on the vacant square.

The Pawn moves only one square at a time, and that straight forward, except in the act of capturing, when it takes one step diagonally to the right or left file on to the square occupied by the man taken, and continues on that file until it captures another man. It may, however, for its first move advance two steps, provided no hostile Pawn commands the first square over which he leaps, for, in that case, the adverse Pawn has the option of taking him in his passage, as if he had moved one step only. A Pawn is the only one of the forces which goes out of his direction to capture, and which has not the advantage of moving backwards; but it has one remarkable privilege, by which, on occasions, it becomes invaluable, whenever it reaches the extreme square of the file on which it travels, it is invested with the title and assumes the power of any superior Piece, except the King, which the player chooses. From this circumstance it frequently happens that one party, by skilful management of his Pawns, contrives to have two, and sometimes even three Queens on the board at once, a combination of force which of course is irresistible.

As we before observed, the Pawn is the only man which captures in a direction different from his line of march. Suppose, at the opening of the game, White begins by playing King's Pawn to King's fourth square (see the article on Notation), Black may reply in the same manner with King's Pawn to King's fourth square, and neither Pawn can do more than remain an obstruction to the onward march of the other, but if Black answer instead with King's Bishop's Pawn to Bishop's fourth, or as in the diagram, with Queen's Pawn to Queen's fourth, then White, if he choose, may take the adverse Pawn from the board and place his own in its stead.

No. 7.

BLACK.

WHITE.

THE NOTATION ADOPTED TO DESCRIBE THE MOVES OF THE MEN.

There is no portion of an elementary work on Chess of so much importance to the learner, and none which requires more resolute mastering than this.

The notation may be called the language of the game and a knowledge of it is absolutely indispensable to every one who is himself ambitious of excelling, or who is desirous of appreciating the excellencies of other players.

Having marshalled the men in battle order, as shown in the first diagram, you will observe that each party has two ranks of men, on the first of which stand the superior Pieces, and on the next the eight Pawns. The eight squares which compose the first rank are each distinguished by the name of the Piece which occupies it when the men are first arranged. There are, therefore, the King's square, the King's Bishop's square, King's Knight's square, and King's Rook's square, and in like manner, the Queen's square, Queen's Bishop's square, Queen's Knight's and Queen's Rook's squares. The files, that is, the row of squares running from top to bottom of the board, are also named by the Pieces occupying the first square in each file. Thus each of the superior officers has a file or row of eight squares running from his end of the board to the corresponding Piece of the enemy, and every one of these eight squares takes its name from such officer.

Bear in mind that White names every square on the board, in accordance with its relative position to one of his eight Pieces, and that Black does the same. Hence it follows that Black's first squares are White's eighth, and vice versâ.

Before proceeding further, it will be desirable for the student to familiarize himself with the respective moves of the Pieces, names of the squares, &c. A very little practice will enable him to do so, especially with the aid of any friend acquainted with them. He should, in the first place, accustom himself to the setting up the men in order of battle; after a few repetitions of the process, and comparing their position with diagram No. 1, he will soon have no difficulty whatever in arranging them correctly without referring to the book. It will then be well to clear the board of all but a single Piece, and practise with that until perfect in its movements; another, and then another, may be added, until the action of every one is as familiar as the alphabet.

Suppose, as a first exercise, you begin by placing your Queen on her square (i.e., her first square), then play her to Q's 5th square, then (diagonally, observe) to Q. Rook's 8th square, then to King's Rook's 8th square, then to Q. R's square, and then home again to her square. It is proper to mention that the directions for moving a Piece are not usually printed in full, and that, according to the modern abbreviations in the present and other chess-books, these several instructions would be given thus:—

As a next exercise, put the Queen's Bishop on his square, beside the Queen, and play him as follows:—

To these two Pieces now add the Queen's Knight, on his own square, and play as follows:—

By taking all the Pieces in succession thus, you will speedily obtain sufficient knowledge of their movements to commence the opening of a game; but before attempting this, it is needful for you to be acquainted with the technical terms in use among chess-players, and the code of laws which governs the game.

TECHNICAL TERMS IN USE AMONG CHESS-PLAYERS.

Castling.—Although, as a general rule, the move of the King is restricted to one square at a time, he has the privilege, under certain conditions, once in the game, of moving in conjunction with either of the Rooks two squares. This peculiar movement is called Castling, and is performed in the following manner:—If a player wishes to castle on his King's side of the board, he moves the King to K. Kt's sq., and then places the K's Rook on K. B's square. If he castles on the Queen's side, he plays his King to Q. B's sq, and Q's Rook to Q's sq. The object of this compound move is to place the royal Piece in safety, and at the same time bring the Rook from the corner square into better play.

The conditions under which a player is permitted to castle are:—1st. The King must not be in check. 2d. The King must not have moved. 3d. The Rook must not have moved. 4th. The King must not pass over or on to any square attacked by an enemy's man. And 5th. There must be no Piece, either of his own or the adversary's, between the King and the Rook.

In exemplification of the importance of castling, to escape from an attack, and to retort one on the adversary, see, presently, the diagram No. 8 (p. 24).

Check and Checkmate.—The King is said to be in check when he is attacked by any Piece or Pawn, for it being a fundamental law of chess that the King can never be taken, whenever any direct attack upon him is made, he must be warned of his danger by the cry of check, and the player is then compelled either to remove his King out of check, or parry the check by interposing a man between the King and the attacking Piece, or capture the checking man.

When he can do none of these three things, he is checkmated, and the game won by the other side. (See diagrams Nos. 9 and 10.) When the King is directly attacked by the Piece played, it is a simple check; but when the Piece moved does not itself give check, but unmasks another which does, it is called a discovered check. (See diagram No. 8.) The third species of check is named the double check, where the King is attacked both by the Piece moved and the one discovered. The fourth description is called perpetual check, a case which arises when a player has two or more squares on which he can give check, and his opponent can only parry one check by affording an opportunity for another. If the first player then persists in the repetition of these particular checks, the game must be abandoned as drawn. (See diagram No. 11).

Doubled Pawn.—When two Pawns of the same color are on the same file, the front one is called a doubled pawn.

Drawn Game.—When neither party can give checkmate, the game is drawn. This may arise from several causes, as:—1st. Perpetual check. 2d. Where there is not sufficient force to effect a mate, as a King and a Knight only, or a King and two Knights, &c., &c. 3d. Where one party has force sufficient, but is ignorant of the proper mode of applying it, and thus fails to checkmate his helpless adversary within the fifty moves prescribed by the "Code". 4th. Where both parties persist in repeating the same move from fear of each other. 5th. Where both parties are left with the same force at the end, as a Queen against a Queen, a Rook against a Rook, and the like, when, except in particular cases, the game should be resigned as a drawn battle. And 6th. When one of the Kings is stalemated.

En Prise.—When a Piece or Pawn is in a situation to be taken by the enemy, it is said to be en prise. To put a piece en prise, is to play it so that it may be captured.

The Exchange.—When a player gains a Rook for a Bishop or a Knight, it is termed winning the exchange.

False Move.—Any illegal move, such as castling when the King has been moved or is in check, moving a Rook diagonally, or a Bishop like a Knight, is called a false or an "impossible" move.

Fool's Mate.—This is the simplest of all checkmates, being accomplished in two moves in the following manner:—

It cannot possibly be given by the first player.

Forced Move.—When a player has one only legal move at command, it is said to be a forced move.

Gambit.—This word is derived from an Italian phrase in wrestling, and signifies a movement by which the adversary is tripped up. In chess, this is attempted by the first player putting a Pawn en prise of the enemy early in the game, by which he is enabled more rapidly and effectually to develope his superior Pieces. There are several gambits, but the most important, and one which includes many others, is the King's gambit, commenced as follows:—

The Pawn offered by the first player here at his second move is called the Gambit Pawn, and when taken by the adversary the opening becomes a gambit.

The varieties of the gambits are often designated by the names of the players who invented or first brought them into vogue—as the Muzio gambit, the Salvio gambit, the Allgaier gambit, the Lopez gambit; while others obtain their names from the opening moves of the first player, as the King's Bishop's gambit, which begins thus:—

and is so called because the K's Bishop is played out at the 3d move instead of the K's Knight.

There is also the Queen's gambit, of which the opening moves are—

The gambits are the most brilliant and animated of all the openings, full of hair-breadth 'scapes and perilous vicissitudes, but affording an infinitude of beautiful and daring combinations.

"Giuoco Piano," a solid and instructive modification of the King's Knight's game, is safe and for drawing games generally practised by the leading players. The opening moves are:

To Interpose.—When the King is checked, or any valuable Piece in danger from the attack of an enemy, you are said to interpose a man when you play it between the attacked and attacking Piece.

Isolated Pawn.—A Pawn which stands alone, without the support and protection of other Pawns, is termed an isolated Pawn.

J'adoube.—A French expression, signifying "I arrange," or "I replace," which is used by a player when he touches a man merely to adjust its position on the board, without intending to play it. (See the 7th law.)

Minor Pieces.—The Bishop and Knight, in contradistinction to the Queen and Rook, are called Minor Pieces.

The Opposition.—A player is said to have the opposition when he can place his King directly in front of the adverse King, with only one square between them. This is often an important advantage in ending games.

Party.—From the French partie. Frequently used by modern writers instead of the word "game."

Passed Pawn.—-A Pawn is said to be a passed one when the adversary has no Pawn to obstruct its march on the same file, or on either of the next files to the right or left.

Pion Coiffé, or Marked Pawn.—This is a description of odds but rarely given, and only when there is a vast disparity between the skill of the players. It consists in one party placing a cap or ring on one of his Pawns, and undertaking to checkmate his opponent with that particular Pawn. He is not allowed to Queen the Pawn, and if he loses it, or happens to checkmate his opponent with any other man, he forfeits the game. The Pawn usually capped is the King's Knight's, because it can be more readily and effectually surrounded by protecting Pieces.

To Queen a Pawn, or to advance a Pawn to Queen.—When a player has contrived to advance a Pawn to the eighth or last square of the file, it assumes the rank and power of a Queen, or of any other Piece he chooses, and he is then said to have queened his Pawn. (See the 21st law.)

Scholar's Mate.—A checkmate occasionally given at the opening of a game by a practised player to one but little tutored in the science. The following are the moves:—

Smothered Mate.—A checkmate which is sometimes given by the Knight when the adverse King is hemmed in, or smothered, by his own forces. (See diagram No. 12.)

Stalemate.—When one party has his King so circumstanced that, not being at the moment in check, he cannot play him without going into check, and at the same time has no other Piece or Pawn to move instead, he is said to be stalemated, and the game is considered drawn. (See diagram No. 13.)

Taking a Pawn en Passant, or in Passing.—It has been shown before, in speaking of the action of the Pawn, that he is limited in his march to one square forward at a time, when not capturing, and one square forward diagonally, either to the right or left, when he takes an adversary, but that he has the privilege, on being first played in the game, to advance two squares, unless in so doing he pass a square which is attacked by a hostile Pawn; in which case the opponent may, at his option, permit him to make the two steps forward, and there remain, or may capture him in his passage in the same way as if he had moved but one step.

ILLUSTRATIONS OF TECHNICAL TERMS.

The Operation of "Castling;" and "Discovered Check."

No. 8.

BLACK.

WHITE.

In this situation the white King is threatened with what is called "a discovered check," that is, his opponent, by removing the Bishop, would discover check from the Queen, a proceeding in the present instance, which would speedily involve the loss of the game to White. Not being at the moment in check, however, and having moved neither King nor Rook, and there being no intervening Piece between the King and his own Rook, White is enabled to castle, giving check to the adverse King at the same time, and win the game easily, for Black has no square to which he can move his King without going into check, and is consequently obliged to interpose his Q. at K. B's second, or K. B's third square, in either case being checkmated in two more moves, as you will soon be able to see.

Checkmate.

No. 9.

BLACK.

WHITE.

The above position represents the appearance of the forces on each side towards the end of a game, and will assist to explain the application of two or three of the technical terms described in the present section, as well as to exhibit the King in a situation of checkmate. You already understand that the moves at chess are played by each party alternately; in this case it is White's turn to play, and he will checkmate his antagonist in two moves. Place the chess-men on your board exactly in the order they stand in the diagram; having done this, suppose yourself to be playing the White men, and take the Black King's Pawn with your Queen, in the manner before shown, i.e., by taking the Pawn from the board and stationing your Queen on the square it occupied. By this act, you not only take his Pawn, but you attack his King, and must apprise him of his danger by calling "check." He has now two ways only of parrying this check. It is clear he cannot move his King, because the only two squares to which he could move without going into check are occupied by his own men; he is forced then either to take the Queen with his K. B's Pawn, or to interpose the Bishop at King's second square. If he take the Queen with his K. B's Pawn, you must reply by playing your King's Bishop (which you will know by the color of the diagonal on which he travels) to K. Kt's sixth square, crying "check." Examine the position attentively, and you will find that Black has no square to which he can move his King, the only vacant one being attacked by your Queen's Bishop, that he has nothing wherewith to take the Bishop that has given check, and neither Piece nor Pawn with which to interpose between it and his King, and that consequently, he is not only checked, but checkmated. In like manner, if, at his first move, instead of capturing your Queen, he interpose his Bishop at King's second square, you immediately take the Bishop with your Queen, who is protected by her Bishop, and say "checkmate."[A]

Perpetual Check.

The diagram on page 28 will enable you to understand what is meant by perpetual check as well as the most elaborate arrangement of the men could do. Place the men on your chess-board according to the diagram, suppose yourself to be playing the white Pieces, and that it is your turn to move. Your adversary, you will observe, has the advantage in point of force, but this is counterbalanced by the situation, which enables you to draw the game. To do this, you must first play your Queen to one of the three squares where she will check the King, i.e., to K's 4th, Q's 5th, or Q. B's 6th; it is indifferent which, say, therefore, Q. to K's 4th (check). Black has no option, his King cannot move, he must interpose his Queen. If now you were to take the Queen you would lose the game, on account of his two Pawns; but instead of doing so, you play the Queen to King's 8th sq, giving check. The black Queen must again interpose; you repeat the check at K's 4th, Black can only parry it with his Queen, and you may persist in giving the same two checks, ad infinitum. In such cases, the game is resigned as "drawn by perpetual check."

No. 11.

BLACK.

WHITE.

Smothered Mate.

This is a familiar example of smothered mate, which you will find can be effected by no other Piece than the Knight. White first move is, Queen to her 5th square checking. Black is obliged to retreat his King to the R's sq., because, were he to play him to his B's sq., the Q would checkmate at once. Upon the King retiring, White gives check with his Kt. at K. B's 7th; this brings the King back again to Knight's sq., and affords to White an opportunity of giving double check, which he does by moving the Knight to K. Rook's 6th, checking with both Q. and Knight; as before, the King must go to Rook's sq.; and now follows a beautiful move—White plays his Queen down to K. Kt's 8th (next square to the Black King), giving check; the King cannot take on account of the Knight; he is compelled, therefore, to capture with his Rook, and the Knight then gives the smothered mate at K. B's 7th square.

No. 12.

BLACK.

WHITE.

Stalemate.
(See Diagram on page 30.)

Here you observe that White has the great advantage of a Queen against a Rook; but with all this, and the move to boot, it is impossible for him to do more than draw the game. It is evident that he cannot move his Queen from the front of his King on account of exposing him to check with the Rook. If he move his King, Black takes the Queen, and the game is drawn. And lastly, if he take the Rook with his Queen, he places the adverse King in the position before described of stalemate.

No. 13.

BLACK.

WHITE.

ON THE RELATIVE VALUE OF THE CHESS FORCES.

An attempt to establish a scale of powers whereby the relative values of the several men could be estimated with mathematical exactitude, although it has frequently engaged the attention of scientific minds, appears to be an expenditure of ingenuity and research upon an unattainable object. So ever varying, so much dependent on the mutations of position which every move occasions, and on the augmented power which it acquires when combined with other forces, is the proportionate worth of this with that particular man, that it would seem to be beyond the reach of computation to devise a formula by which it can be reckoned with precision. But still an approximation to correctness has been made, and the result arrived at gives the following as the ultimate respective values:—

The King, from the nature of the game, which does not admit of his being exchanged or captured, is invaluable, and he is not, therefore, included in the calculations.

The Pawn, it is seen, is the least valuable of all the men, the Knight being worth at least three Pawns.

The Bishops and Knights are practically considered of equal value, although there is a difference in the estimate here given.

A Rook is of the value of five Pawns and a fraction, and may be exchanged for a minor Piece and two Pawns. Two Rooks may be exchanged for three minor Pieces.

The Queen is usually reckoned equal, in average situations, to two Rooks and a Pawn, but towards the end of a game she is hardly so valuable as two Rooks.

These comparative values may be of service to the student in general cases of exchanging men, but he will find in practice the relative worth of his soldiers is modified by so many circumstances of time, opportunity, and position, that nothing but experience can ever teach him to determine accurately in every case "which to give up and which to keep."

GENERAL RULES AND OBSERVATIONS.

Be cautious of playing your Queen in front of your King and in subjecting yourself to a discovered check. It is better when check is given to your King to interpose a man that attacks the checking Piece than with one that does not. Beware of giving useless checks to your adversary's King, but when, by checking, you can oblige him to move, and thus deprive him of the right to castle, it is generally good play to do so. It is sometimes useful to give a series of checks, and even sacrifice a Piece, to force the King into the middle of the board, where he may be subjected to the attacks of your other men.

Do not in all cases take an enemy's Pawn which stands before your King,—it may serve sometimes as a protection to him; and bear in mind that towards the termination of a game, especially when the superior Pieces have been taken off the field, the King should be made to compensate for his previous inactivity, by being busily engaged. The fate of the game is then dependent for the most part on the skill displayed in the management of the King.

Concerning the Queen.—The Queen is so powerful and important a Piece at chess that she should rarely be employed to defend or attack any point if you can do it as well with a subordinate.

It is not good to play the Queen out in the game at the beginning, because she can be attacked by inferior Pieces, and is compelled to retire with the loss of many moves.

Be careful, too, when about to capture a distant Pawn or Piece, that you do not remove your Queen too far from the immediate point of action. A skilful player will often permit you to win a Pawn with the Queen, that he may prevent her returning in time to rescue your King from his attack. The power of the Queen is wonderfully greater when she is aided and protected by other Pieces than when she goes forth unsupported; it is generally injudicious, therefore, to make an attack with her unless in combination with some other of your forces.

Concerning the Rook.—The Rook is a most important officer, yet few players even amongst the best avail themselves sufficiently of his power. He has seldom much scope for action in the early part of the engagement, but when the field is thinned no time should be lost in bringing him into action. You should then endeavor to double your Rooks, that is, to place them one before the other on the same file: in this situation, mutually sustaining one another, their potency on a clear field is equal to the Queen's.

It is usually good play to get command of an open file, that is to say, a file which is occupied by no other man, by stationing a Rook at one end of it. When you have thus gained possession of the file, should your opponent try to dispossess you of it, by playing one of his Rooks on the same file, it is frequently better to defend with your other Rook than to take his or remove your own. You will often embarrass your adversary, too, if you can manage to post a Rook on his second rank, say at your King's 7th or Queen's 7th square. In this position he generally makes an attack on the Pawns unmoved, and compels the enemy to lose time in defending them, while you can bring more forces into action.

One of the strongest reasons for playing out your Pieces early in the battle, is, that while at home they are not only themselves inactive, but they utterly retard the movements of your Rooks. In an unskilfully developed game it is a common occurrence to see the victory won before the defeated player's Rooks have ever moved.

Concerning the Bishop.—When the game is opened by each party with King's Pawn to King's 4th square, the King's Bishop is somewhat superior to the Queen's, because it can be sooner brought into play, and may be made to bear immediately on the King's weak point, his Bishop's Pawn. It is desirable therefore generally to exchange your Queen's Bishop or Queen's Knight for the adversary's King's Bishop. The King's Bishop should rarely or never be played to the Queen's 3d square before the Queen's Pawn is moved. His best position, as we have remarked above, is to Queen's Bishop's 4th square, where he attacks the opponent's King's Bishop's Pawn. If your antagonist then challenges an exchange of Bishops by moving his Queen's Bishop to King's 3d square, it is not always prudent to accept it, because although you may double the Pawns on his King's file, you at the same time afford him an open range for his King's Rook when he has castled. The best play in such a case is, therefore, to retreat your King's Bishop to Queen's Knight's 3d square.

Be careful, as a general rule, in an open game, not to move your Queen's Pawn one square before you bring out the King's Bishop, as by so doing you leave him but the King's 2d square on which to move, and there his position is defensive rather than attacking.

If strong in Pawns towards the conclusion of the game, endeavor to get rid of the enemy's Bishops, because they can impede the march of your Pawns more readily than either the Rooks or Knights.

When the other men are exchanged off, and you remain with a Bishop and two or three Pawns, it is often proper to keep your Pawns on squares of a different color from those on which your Bishop travels, as he can then prevent the opposing King from approaching them. If, however, you have the worst of the game, it is mostly better then to keep them on the same color as the Bishop, that he may defend them.

Supposing you have Pawns only at the end of a game, and the adversary has a Bishop, it is generally advisable to move the Pawns as soon as possible to squares of a different color from the diagonals on which he moves.

Do not indiscriminately exchange your Bishops for Knights, or vice versâ. Two Bishops at the finish of a game are stronger than two Knights, and one Knight generally more useful than a single Bishop.

Concerning the Knight.—The Knight is at once the most striking and most beautiful of all the Pieces. The singularity of its evolutions, by which it is enabled to overleap the other men and wind its way into the penetralia of the adverse ranks, and if attacked leap back again within the boundary of its own, has rendered it the favorite Piece of leading players in every country.

The assault of the Knight is more subtle and dangerous than that of any other Piece, because he attacks without putting himself en prise, and his attack can never be resisted by the interposition of another man.

At the commencement of a game, the best place for the King's Knight is at K. B's 3d sq.; it there attacks your adversary's K's Pawn, if it has been moved two squares, and offers no impediment to the playing out your King's Bishop, and prevents the adversary from placing his Queen on your King Rook's 4th sq., where she would often be a source of restraint and danger to your King. Many persons prefer playing the K. Kt. to K's 2d at the second move, from the mistaken notion that the K. B's P. should be moved before the Knight is played to B's 3d; this is an error, and generally leads to a very bad game.

When you have brought out your Q. Kt. to B's 3d, it is frequently advisable, at a proper opportunity, to get him round by K's 2d sq. to the K. Kt's 3d, where he exercises a very important influence, by threatening, whenever the square is left unguarded, to post himself on K. B's 5th.

A Knight with three or four Pawns, at the end of a game, has an advantage over a Bishop with an equal number of Pawns, because he can leap from white to black, and thus attack the Pawns on either colored squares, whereas the Bishop can attack them only when they move on squares of the color of his diagonals. In similar circumstances, however, he is not so useful in defending as a Bishop or a Rook, since if forced to remove he ceases to defend, while the Rook or Bishop may retreat and still protect.

Concerning the Pawns.—Struck by the scope and power of the higher Pieces, young players commonly overlook the homely Pawns, or deem them scarcely worthy of regard, and are amazed to learn that the combinations of these simple elements are among the most refined and arduous studies of the science. Yet such is the fact, and without a thorough comprehension of their quiet but remarkable predominance in almost every circumstance of the game, it is impossible for any one to attain a high degree of excellence.

It is generally advantageous for your Pawns to occupy the middle of the board, because when there they greatly retard the movements of the opposing forces. The King's Pawn and Queen's Pawn, at their fourth squares, are well posted, but it is not easy to maintain them in that position, and if you are driven to advance one of them, the power of both is much diminished. It is well, therefore, not to be too eager to establish two Pawns abreast in the centre until you are fully able to sustain them there.

When you have two Pawns abreast, the King and Queen's, for instance, at their fourth squares, should the adversary attack one of them with a Pawn, it is occasionally better to advance the Pawn that is attacked another step, than to take the Pawn.

The Pawns, however, should seldom be far advanced, unless they can be properly sustained by the Pieces. Pawns at their fourth squares are therefore mostly more powerful than at their sixth.

The King's Bishop's Pawn having no support but that of the King, is usually the point to which the first attack is directed, and more than ordinary care should be taken to preserve it. It is rarely good play to move the King's Bishop's Pawn to Bishop's 3d early in the game.

As a general rule, it is not advisable to move King's Knight's Pawn or Queen's Knight's Pawn early in the game. The former played to K. Kt's 3d square will often allow your adversary to play his Queen's Bishop to your King's Rook's 3d square, a dangerous move when you have castled on King's side.

After castling, it is generally proper not to move the Knight's Pawn that is before your King, until you are obliged.

In a diagonal line of Pawns you should endeavor to preserve the Pawn at the head of them. Pawns, when united, have great strength; but when separated, their power is sensibly lessened.

A passed Pawn is mostly serviceable when supported by another Pawn.

A doubled Pawn is not in all cases a disadvantage, especially if it is united with other Pawns. The worst kind of doubled Pawn is one on a Rook's file; while the most advantageous is the King's Bishop's Pawn doubled on the King's file, because it strengthens your middle Pawns and opens a file for your King's Rook.

The Pawn being less important than a Piece, it is usually better to defend with it than with a Piece. For the same reason it is likewise better to protect a Pawn with a Pawn than with a Piece. No Piece can interpose between the attack of a Pawn, it can therefore frequently check the King with great advantage.

Be cautious generally of advancing the Pawns far on either side, till you see on which your opponent castles; and remember, when approaching the end of a game, where you have Pawns, or even a Pawn, against a minor Piece, that you may win, but that your opponent, except in very rare cases, cannot, and that two Pawns in any situation can protect themselves against the adverse King.

MAXIMS AND ADVICE FOR AN INEXPERIENCED PLAYER.

There is nothing that will improve you so much as playing with good players; never refuse, therefore, when any one offers you odds, to accept them: you cannot expect a proficient to feel much interest in playing with you upon even terms, and as you are sure to derive both amusement and instruction from him, it is but fair that he should name the conditions. It will soon happen that you yourself will be able to give odds to many amateurs whom you meet; when this is the case, avoid, if possible, playing them even, or you are likely to acquire an indolent, neglectful habit of play, which it will be very difficult to throw off.

Never permit your hand to hover over the board, or indeed to approach it, until you have completely made up your mind what Piece to move; a contrary habit begets a feeling of indecision that is fatal to success. Play invariably according to the laws of the game, neither taking back a move yourself, nor allowing your opponent to recall one. Do not exhibit impatience when your adversary is long in making his move. His slowness is a tacit compliment to your skill, and enables you to play with proportionate quickness, because while he is meditating on his next step you can take advantage of the time to consider what shall be your rejoinder; besides, it is absolutely necessary for every one desirous of excelling at chess to play slowly. A fine player examines occasionally from five to twenty or more moves on each side: can this be done in a moment? It is easy enough to play quick against inferior play; but against equal and very good play one cannot play quick without losing.

Learn to play indifferently either with the white or black men. Do not play too many games at a sitting—and never suffer the loss of a game to occasion you much disquietude. Think of how many thousand games a Philidor must have lost before he attained his highest excellence; besides, the loss of one well-fought game with a fine practitioner will do more towards your improvement than the gain of ten light skirmishes with weaker players than yourself. Endeavor to play all your Pieces equally well. Many young players have a predilection for a particular Piece, as the Knight or the Queen, and lose both time and position in trying to prevent exchanges of their favorite. In opening your game, endeavor to bring your superior officers into action speedily, but avoid all premature attacks. Take care not to play a Piece to a square where it impedes the action of another, and beware of venturing an unsupported Piece in the adversary's game.

If subjected to a violent attack, you may often disconcert your opponent by compelling the exchange of two or three Pieces. When, however, you are about to exchange officers, you must calculate not only their ordinary value, but their peculiar worth in the situation in question; for example, a Rook is generally more valuable than a Knight or a Bishop; but it will happen, that by exchanging a Rook for one of the latter you may greatly improve your game.

It is mostly good play to exchange the Pieces off when you are superior in power, so that when you have the odds of a Piece given to you by a finished player, you should endeavor to exchange as often as you can consistently with safety.

When an exchange of two or more Pieces appears inevitable, look closely to see whether it is better for you to take first or to compel your opponent to do so. When one of the enemy is completely in your power, do not be too eager to make the capture—there may perhaps be a move of importance which you can make before you take him. Beware also of snatching hastily a proffered man, it may be only given as a bait to catch a more important advantage from you.

If at the end of a game you remain with Pawns against a Knight and find it difficult to evade his repeated checks, recollect that by placing your King on the same diagonal as the Knight, with but one intervening square between them, you cannot again be checked under three moves.

When you have lost a game which has cost you great attention, it is a good practice to play it over afterwards in private, and endeavor to discover where the error occurred through which your opponent gained his first advantage. This custom will improve both your memory and your play.

ON THE SEVERAL OPENINGS OR BEGINNINGS OF GAMES.

Before proceeding to the consideration of the various methods of commencing the game, it is advisable for you to recur to the preceding sections, which treat of the arrangement of the men—the moves of the men—their relative powers—the technical terms in use among players—and the laws of the game. When you have familiarized yourself with these, it will be time for you to direct your attention to that most important feature in the game of chess—the art of opening the game.

There are several modes of beginning the game, but the following are the principal:—

1st. Each player begins by moving his King's Pawn to King's 4th square, and the first player then moves King's Knight to King's Bishop's 3d square. This is called the King's Knight's opening.

2d. Each player commences by moving his King's Pawn to King's 4th square, and then he who has the first move plays King's Bishop to Queen's Bishop's 4th square. This is known as the King's Bishop's opening.

3d. Each player opens with King's Pawn to King's 4th square, and the first plays Queen's Bishop's Pawn to Bishop's 3d square. This is termed the Queen's Bishop's Pawn's opening.

4th. Each player begins with King's Pawn to King's 4th square, and the first follows with King's Bishop's Pawn to Bishop's 4th square. This is called the King's gambit.

Of these four openings on the King's side there are many modifications, of which each has its appropriate appellation; there are also several openings begun on the Queen's side, but the four above-named are those most generally practised, and with them you should be thoroughly conversant before advancing further.

PRELIMINARY GAME.

Preparatory to the investigation of the several openings treated of in the following chapters, it may not be uninstructive to give a short game which shall exhibit the application of some technical phrases in use at chess, and at the same time show a few of the most prominent errors into which an inexperienced player is likely to fall.

In this game, as in all the analyses which follow, the reader will be supposed to play the White Pieces and to have the first move, although, as it has been before remarked, it is advisable for you to accustom yourself to play with either Black or White, for which purpose it is well to practise the attack, first with the White and then with the Black Pieces.