The Right Way To Play Chess (1997) by D. Brine Pritchard

THE RIGHT WAY TO PLAY
D. BRINE PRITCHARD
ftnternationallyacmowledged as the
standard chess book for beginners
T H E R IG H T W A Y T O
PLAY C H ESS
THE RIGHT WAY
TO
PLAY CHESS
D. Brine Pritchard
THE LYONS PRESS

Copyright © 1950 by Elliot Right Way Books
Introduction copyright © 1997 by D. Brine Pritchard
ALL RIGHTS RESERVED
No part of this book may be reproduced in any manner without the express
written consent of the publisher, except in the case of brief excerpts in critical
reviews and articles. All inquiries should be addressed to: The Lyons Press,
123 West 18 Street, New York, NY, 10011.
Printed in Canada
10 9 8 7 6 5 4 3 2 1
Library of Congress Cataloging-in-Publication Data
Pritchard, D. Brine (David Brine)

The right way to play chess / D. B. Pritchard,
p. cm.
Originally published: 10th ed. Tadworth : Elliot Right Way Books, © 1997.
Includes index
ISBN 1-58574-046-2 (pbk.)
1. Chess. I. Title.
GV1445 .P74 2000

794.1*2—dc21
00-032130
CONTENTS
CHAPTER PAGE
Introduction 7
1 How The Game Is Played 11
2 Rudimentary Theory 32
3 Examples Of Play 46
4 Powers Of The Chessmen , 66
5 The Openings 90
6 The Middle Game 127
7 The End Game 162
8 Illustrative Games 190
9 General Information 210
Index 220
INTRODUCTION
The Right Way To Play Chess has now served as tutor to a

whole generation of readers and it is a continual source of
satisfaction to me to be approached by young, and
sometimes not-so-young experts and be told that their
introduction to the game was through this book.
Chess is perennial but not changeless. Many develop
ments have taken place in the game during the last forty
years and these have been reflected in succeeding editions
of The Right Way To Play Chess. It may therefore comfort
you to know that this book was right up to date at the time
of going to press and for practical purposes is likely to
remain so for a few years at least, by which time, if past
experience is to be relied on, it will be overtaken by a new
edition.
Chess is not an easy game, but any idea that you have to
be highly intelligent or “clever” to play it should be
dismissed. If the game were easy to master, it would be
trivial and would attract little interest. On the other hand,
if chess were hard to learn it would not be played - and
often played well - by six- and seven-year-olds. The magic
of chess is that it can be learnt by almost anyone, played
almost anywhere and at almost any level with equal
enjoyment.
The developments in the game over the past forty years,
8 The Right Way To Play Chess
to which I referred above, have been exciting ones. Chess

has suddenly become both respectable and popular.
The World Championship match at Reykjavik in 1972
between Bobby Fischer and Boris Spassky attracted
world-wide publicity, though admittedly for reasons not
wholly to do with chess. This accelerated the boom which
had started years before and which, against many predic
tions, has yet to show signs of a decline. Chess, it appears,
is here to stay; not just as an indoor game but as a major
field of intellectual activity with wide support from
educationalists as well as the public at large.
Millions of people - literally - play at home in the
family circle and with friends but never take the game
seriously. At the other end of the spectrum there is a
growing body of chess professionals, in Europe and the
Americas in particular. In between these two groups are
what may be called the club players who vary from the
man who turns out occasionally for his works’ team to the
enthusiast who gives most of his spare time to the game
and enters for every event in the calendar.
The standard of play, certainly at the higher levels and
probably at the club level as well, has risen remarkably.
Whereas thirty or so years ago the international scene was
dominated by a handful of masters, now there is a small
army of them and behind them another, larger army of
players only marginally below master strength.
How has this come about? The explanation is easy to
find: youth has taken the game for its own. If you look in
today on almost any chess event you will be struck by the
number of young players, many of school age, taking part.
This phenomenon is the natural outcome of the rapid
growth of chess clubs and chess teaching in schools that
has taken place since the war. The image of chess as an old
man’s game has quietly died.
In the World Olympiads - the Olympic Games of chess
Introduction 9
- teams representing over a hundred nations regularly

compete; and here too youth is very much in evidence.
At no period in its long history has the game been so
intensely studied as at present. Recent researches have led
to many theoretical advances, particularly in the opening
phase (chess openings, since they begin from a standard
position, lend themselves more readily to analysis than
other stages of the game). Old ideas have been chal
lenged, techniques perfected, styles modified, fashions
changed.
Yet it is true to say that the basics of the game remain
invariable and The Right Way To Play Chess is as relevant
today as when it was first written. The book is planned to
take the complete beginner to the standard expected of a
good club player. The journey should be a pleasant one,
for chess is above all a game and a game is to be enjoyed.
A chess set is necessary to follow the text. A plain wooden
or plastic set is best. The type known as Staunton pattern
is the most widely used'and is recommended.
The final chapter gives some general information for
the reader who wishes to take the game seriously. It is
necessarily brief, but hopefully provides sufficient insight
into the exciting world of competitive chess to encourage
further enquiry.
It would be wrong to leave this introduction without a
brief mention of the history of the game. The precise
origins of chess are obscure and are still being debated.
Almost certainly, however, a four-handed game of
ancient India known as chaturanga is a distant ancestor.
From chaturanga was developed a two-player version,
called shatranj, the true forerunner of our chess. The
game reached Europe via Persia and the Arab lands by
about the 9th century, and for many hundreds of years
remained a pastime of the rich and privileged. Popular
interest in the game spread as cheap printing made
communication easier and technical advances afforded

greater leisure.
Over the centuries the rules of the game have benefited
from many changes, and even today minor amendments
are made from time to time as chess remains for millions
indisputably the best two-player game in the world. This is
something that will not change.
In this new, and completely revised edition of The Right
Way To Play Chess, the modem and now internationally-
approved method of recording game moves has been
adopted.
D.B.P.
1
HOW THE GAME

IS PLAYED
The Game
The game of chess is played between two players or
parties on a board of sixty-four squares (8 x 8) alternately
coloured light and dark (normally black and white).
Each player has at his command a force of sixteen men;
eight pieces (one king, one queen, two rooks, two bishops,
two knights) and eight pawns. The opposing forces are
usually coloured, and are referred to as White and Black.
Players move in turn, and the object of the game is to
capture (checkmate) the opposing king.
Each chessman is governed by its own rules of move
ment and is now examined separately.
The King (<g|?^)

The king moves one square in any direction (diagram
1), but since he takes seven moves to cross the board he is
a comparatively weak piece. However, the importance of
the king is evident from the previous paragraph - his loss
entails the loss of the game.
The king may not therefore be moved onto a square

attacked by an opposing man. If the king is attacked (i.e.,
if he is threatened with capture on the next move), he is
said to be “in check” , and the opponent may, but is not
obliged to say “check” when making the move that
attacks the king.
The player whose king is threatened must immediately
move out o f check. There are three methods of doing this:
(1) By moving the king onto a square not attacked by

an enemy man.
(2) By capturing the attacking unit, either with the king
or with another man.
(3) By moving a man between the king and the
attacker.
DIAGRAM 1
THE KING AND QUEEN

How The Game Is Played 13
Not all these resources may be available. If none are

playable - that is, if the king has no square to which to
move out of check, the attacking man may not be
captured and no man may be interposed - then the king is
said to be “checkmated” , or, simply “mated” , and the
game is over. Note that the king is the only piece that can
never actually be captured - the game is concluded when
capture is inevitable.
A king may capture an opposing man by moving onto
the square on which it stands, simultaneously removing it
from the board. Since it is illegal for the king to move into
check, only an undefended man may be so captured.
Capturing in chess is not compulsory (as in draughts), and
there is no “huffing” or jumping over the captured man.
The two kings must not stand on adjacent squares, since
both would then be in check from each other.
The Queen
The queen moves in any direction across any number of
squares that may be vacant (diagram 1). Her move is an
extension of the king’s move, limited only by the confines
of the board. She is the most powerful of the pieces.
The queen captures in the same manner as the king, but
since she is not liable to check, she may capture a man that
is defended, although such a movement is unusual, as,
being the most powerful piece, the queen is rarely
surrendered voluntarily for a piece other than the oppos
ing queen. It will be seen that the queen, if centrally
placed, controls almost half of an unrestricted board.
The Rook ( § H )
The rook, sometimes referred to as the castle, may
move in a vertical or horizontal direction only, over any
number of squares that may be vacant (diagram 2). It
captures in the same manner as the queen, occupying the
square on which the hostile man stands, whilst removing it

from the board. Note that wherever a rook stands on an
empty board, it commands fourteen squares.
The Bishop ( Q § )
The bishop moves diagonally only, over any number of
squares that may be vacant, capturing in the same manner
as the preceding pieces (diagram 2). Note that a bishop is
restricted to the squares of one colour only, and that the
nearer it stands to the edge of the board, the fewer the
squares it controls.
DIAGRAM 2
THE ROOK AND BISHOP
From the foregoing it will be clear that the queen

combines the moves of rook and bishop. If the queen is
moved vertically or horizontally over an odd number of
squares, she will then command diagonals of the opposite
colour, a property with which the bishop is not endowed.
The Knight (£ } % )
The move of the knight occasions some beginners
difficulty. The move is best defined as from one corner of
a 3 x 2 rectangle to the opposite comer. Diagram 3 should
make this clear.
Men standing on intervening squares do not affect the
knight’s move. For this reason, some players talk of a
knight “jumping” other men.
DIAGRAM 3
THE KNIGHT
The knight captures in occupying, as is the case with the

other pieces. It is strongest on a crowded board, when it
can pursue its designs unimpeded, and is very much
weaker on an open board when the mobility of the other
pieces is proportionately increased.
It will be noted, also, that the knight, like the king,
queen and bishop, controls fewer squares when stationed
on or near the edge of the board. Also, that if on a white
\
square it controls only black squares and vice versa.

Until the knight becomes familiar, it is not easy to
anticipate its movements and in consequence there is a
tendency amongst beginners to over-estimate its powers.
The Pawn ( ^ j t )
The pawn, unlike the pieces, moves in a forward
direction only, one square at a time.
Each pawn has, however, the option of moving two
squares forward on its first move, and this right is retained
throughout the game, always provided the pawn has not
been moved.
The pawn, alone of all the chessmen, captures in a
different manner to which it moves. Whereas it moves one
square straight forward, it captures one square diagonally
forward. A pawn may not move diagonally forward
unless, in so doing, it captures an opposing man; nor may
it move straight forward, either one or two squares, unless
such squares are vacant.
The initial double move of the pawn was introduced to
stimulate what would otherwise be a slow game.
However, in order that a pawn should not take advantage
of the double move to evade a hostile pawn, a rule, known
as the en passant (Fr.: “in passing”) rule was introduced.
This lays down that if a pawn, moving two squares
forward from its initial position, could have been captured
by an opposing pawn if it had only moved one square, then
such capture may be effected as if the pawn had only
moved one square. The pawn making the initial double
move is removed from the board and the capturing pawn
occupies the square that the captured pawn would have
occupied had it only moved one. The right to make a
capture en passant is forfeited if not exercised immediately
Note that a pawn can only be captured en passant by
another pawn, and not by a piece.
A pawn on reaching the end of the board (the last rank

of eight squares) is promoted to any piece (other than a
king) that the player chooses. A queen is the natural
selection, in view of her being the strongest piece, but
occasionally the peculiarity of the position demands
promotion to knight, or even to bishop or rook.
No restriction is placed on the number of pawn-
promotions, and although eight such promotions are
possible, it is very rare that more than one or two occur in
a game.
Examine the diagram (4). In this, as in all other
diagrams in this book (and commonly in all chess
literature) White is assumed to be playing UP the board,
Black DOWN the board. For purposes of economy, four
separate positions are given on the one diagram, but in
each case the whole of the board is assumed to be
included.
DIAGRAM 4
BLACK
WHITE
THE PAWN
\
In (a) none of the four pawns can move. In (b) the white
pawn can capture either the rook or the bishop, or it can
move straight ahead onto the white square. In each of
these cases it has reached the eighth rank, or end of the
board, and must be simultaneously promoted to a piece
which is placed on the square to which the pawn moves. If
a queen is desired, and the white queen is still on the
board, a reversed rook or a coin will serve the purpose.
In (c) the white pawns stand in their initial positions, as
will be clear from diagram 5. Hence the two outside pawns
can both be advanced one or two squares. Both can also
capture the black pawn. The black pawn can capture
either of these two pawns, whilst the middle white pawn is
unable to move.
In {d) the white pawn has just made the initial double
move, and Black can consequently capture en passant as
shown.
In contrast to knights, pawns tend to be underestimated
by beginners. Do not shed pawns lightly: every one is a
potential queen.- Between strong players, an extra pawn
on one side is often sufficient to force victory.
Initial Position
Having seen how the chessmen move, let us now set
them up in their initial positions, preparatory to the
commencement of a game (diagram 5).
Note that the board is oriented so that there is a black
square in the left-hand comer of each player.
In the four corners of the board are the rooks, next to
them the knights, then the bishops and finally the royal
couples - the queens on the squares of their own colour
(black queen on black square, white queen on white
square).
Notice carefully the asymmetrical arrangement of the
kings and queens - each piece opposite its rival counter
part. The pawns are arrayed in front of their respective

pieces.
DIAGRAM 5
BLACK
WHITE
THE INITIAL POSITION
In chess, White always moves first (choice of colour is

decided by sortilege: it is common for one player to
conceal two pawns, one white and one black in clenched
fists, the opponent then choosing “which hand” to
determine forces).
Before we can start playing an actual game, however,
there are one or two more important rules to be learned;
after which it will be necessary to become familiar with a
few rudimentary manoeuvres. Chess, to be learnt properly,
must be studied step by step, each point being thoroughly
assimilated before passing on to the next one, too rapid
advancement leading only to confusion and eventual

frustration.
Castling
Castling is a privilege to which both sides are entitled
once in a game. The manoeuvre, which is a joint move of
king and one rook, counts as a single move. It may be
played only if all the following conditions are fulfilled:
(1) Neither the king nor the rook have moved.

(2) The king is not in check.
(3) There are no pieces, either hostile or friendly,
between the king and the rook, nor does an enemy man
attack a square over which, or onto which the king must
move.
There is a misconception that one may not castle once

the king has been in check. This is incorrect: provided
that, in getting out of check the king was not moved
(thereby contravening (1) above), castling is permitted.
In castling, the king is first moved two squares in the
direction of the rook, which is brought over next to the
king on the inside. The move is then complete.
Castling may take place on either side of the board, and
is referred to as K-side castling and O-side castling. Once
castling is complete the pieces reassume their normal
functions and the manoeuvre cannot be retracted.
The object of the move is two-fold: to bring a rook into
play in the centre of the board and to give greater security
to the king. The manoeuvre is commonly used by both
players during a game.
Examine diagram 6. White may castle on either side
(the movements of the pieces are indicated by arrows),
whereas Black may not castle at all, since the rook on the
Q-side has been moved, and to castle K-side the black
king would have to pass over a square commanded by an

enemy piece (the white bishop).
DIAGRAM 6
BLACK
WHITE
CASTLING
Checkmate
We have seen that if a king is attacked (in check) and
cannot be moved out of check, and the attacking unit
cannot be removed or a friendly man interposed, the king
is assumed to be captured (checkmated, or mated) and the
game is over.
Here are four examples in each of which the black king
is mated. In diagram 7 (a) the black king is attacked by the
white queen, which also controls all the neighbouring
squares. Since the white queen is protected by the white
king she may not be captured, and Black has consequently
lost the game. In (b) the black king is attacked by the

advanced white pawn, which is defended by the second
white pawn. The knight controls the two remaining
squares in the vicinity of the king (“the king’s field”), who
is therefore checkmated.
DIAGRAM 7
BLACK
(a) (b)
(0 (d)
WHITE
CHECKMATE
In (c) the black king is again attacked, this time by the

white bishop, which also indirectly guards the rook, as if
the black king captured the rook he would still be in
check, and, as we have seen, this would constitute an
illegal move. The white rook controls no less than four of
the squares in the king’s field, the only two remaining
escape squares being occupied by black men. The pawn is
unable to move (remember, White is playing UP the
board, Black is playing DOWN), and the black bishop,

only capable of moving on white squares, is unable to
intervene. Both the black men are restricting the move
ments of the black king, and are said to be creating “self
blocks” .
In (d) the position is more complex and should be
examined carefully. The black king is attacked by the
white rook, which is also indirectly defending the knight.
The white king controls two escape squares, the bishop
one and the knight one. Neither the black rook nor the
black knight can capture the attacking piece, nor can
either interpose between it and the black king. Black is
checkmated. Note that if the black rook and knight were
interchanged, either of them would be able to move onto
the black square between the black king and the hostile
rook. If, in the position given, the black knight was not on
the board, the black king would still be checkmated, since
the white knight attacks the vacated square.
If the black rook was off the board, however, the black
king would be able to move out of check into the comer.
All the white pieces are indispensable to the mate.
Stalemate
Occasionally a position arises (usually when there are
only a few pieces left on the board) when one side, whose
turn it is to move, is unable to do so. If the king were in
check, the position would be checkmate. If, however, the
king is not in check, the position is known as stalemate,
and the game is adjudged a draw.
In diagram 8 (a) the white queen controls the three
squares in the king’s field, but she is not attacking the king.
If Black has no other pieces on the board, the position
would be stalemate with Black to move. In (b), similarly,
the bishops control the king’s escape squares. Neither the
pawn nor the king can move, and if it is Black’s turn to
play, White is said to have stalemated Black and the game

is a draw.
DIAGRAM 8
STALEMATE
In (c), the black king’s only square is next to the white

king - to occupy which would be an illegal move. A move
by the black bishop would expose the king to an attack
from the white rook - again illegal. The black rook is in
the same dilemma; any move exposing the king to check
from the white bishop. These two black pieces are said to
be “pinned” . As neither can move, with Black’s turn to
play the game is drawn. If it were White’s turn to play,
however, the bishop could capture the rook delivering
checkmate.
In (d) it will be seen that none of the black men can
move - the pawns obstructing the pieces. Black, to play, is

stalemated. The possibility of such a position as this
occurring in an actual game is remote.
Stalemates are not common in chess, although the
threat of stalemate (or rather, self-stalemate) by the
player with the weaker force is often encountered.
Other Methods of Concluding a Game

Apart from checkmate and stalemate, there are several
other ways by which a game may be concluded.
(1) INSUFFICIENT FORCE

If neither side has sufficient force left to checkmate the
opposing king, the game is drawn. What constitutes
insufficient force will be explained in the next chapter.
(2) PERPETUAL CHECK

If one side is able to submit the enemy king to a perpetual
series of checks, the game is drawn. Clearly it will not be
to the advantage of the stronger side to resort to a
“perpetual” (as perpetual check is more commonly
called). ,
(3) REPETITION OF MOVES

If the same position occurs three times in a game, with the
same player to move in each case, either side may claim a
draw.
(4) FIFTY MOVE RULE

If each side has played 50 consecutive moves without
making a capture or pawn move, either player may, on
turn, claim a draw. This rule is designed to limit aimless
play. The number of moves has recently been extended to
75 in certain specified cases.
(5) DRAW BY MUTUAL AGREEMENT

A draw may be agreed between the players at any stage of
the game. Positions are often reached where neither
player can lay claim to a winning advantage, and both
players are reluctant to embark on doubtful ventures. In
such positions, a draw is commonly agreed. A high
percentage of master games finish in this way.
(6) RESIGNATION
A player who sees the position is hopeless, and that
checkmate is inevitable sooner or later, will “resign”
(concede) the game. More than half of all chess games
conclude in this manner.
In point of fact, it is advisable for the beginner not to

resign, as more can be learnt from being checkmated a
few dozen times. Later, however, resignation in irredeem
able positions is desirable. A few novices consider that
holding out to the bitter end constitutes courage. On the
contrary, chess etiquette requires that a player who is
clearly beaten shall resign in good grace. A player who
continues the struggle can only be prolonging the game in
the hope that his opponent will make a mistake - a
discourteous imputation of an adversary’s ability. But, to
repeat, every game should be played to a finish in the
initial stages of instruction.
In addition to those given above, there are some other
ways in which the result of a game may be determined.
These, however, have only to do with such matters as the
players’ conduct and necessary legal niceties associated
with match and tournament games, and they need not
concern us here.
Chess Notation
It is one of the merits of chess that moves can be
H ow The G am e Is Played 27
recorded. We are thereby not only the fortunate inheritors

of the great games of past generations but we also have
access to the day-by-day battles of modem masters. In the
comfort of your own home you can recreate world
championship encounters and, if you wish, keep a record
of your own games for future amusement or study.
Systems of recording moves are known as notations.
There are two common notations; the Algebraic, now in
general use and alone sanctioned by the world chess
authority, and the Descriptive (or English) notation, still
favoured by many players and commonly met with in
older chess books. The Descriptive notation, together
with the Forsyth notation (used for recording positions),
are explained in Chapter 9.
The Algebraic Notation

It is convenient, for reference purposes, to divide the
chessboard into eight files (vertical lines of eight squares)
and eight ranks (horizontal lines of eight squares). In the
algebraic notation the files are lettered a to h from left to
right and the ranks are numbered from 1 to 8 bottom to
top, using as datum the near left-hand comer of the board
when seen from White’s side (see diagram 9). Thus every
square of the chessboard can be described by a unique
letter-and-figure (in that order) combination. For exam
ple, in the starting position (diagram 5) White’s queen
stands on d l and Black’s king on e8. The board is also
notionally divided vertically into two halves, the king’s
side and the queen’s side. Viewed from White’s side, the
king’s side is the right half of the board and the queen’s
side the left half. We have already met this distinction in
our discussion of castling.
The men are identified in algebraic notation by their
initial letters: K (king); Q (queen); R (rook); B (bishop);
N (knight: to distinguish it from the king) and P (pawn).
Chess Moves
We now have a system for identifying men and squares.
All that is needed in addition in order to record games is a
few symbols to indicate different types of moves. Just to
confuse things a little, there are two types of algebraic
notation, the long and the short. The only difference
between them is that in the long algebraic a move is
described in full, whereas in the short algebraic the move
is abbreviated. The long algebraic is now little used as it is
cumbersome and takes up more space. However, since it
is clearer it will be used until Chapter 3 when a switch will
be made to the shortened form.
In the long algebraic, the initial of the man moved is
given first followed by the square on which it stands. Then
a dash (—) to indicate a move to a vacant square, followed
by the description of the square moved to. If a man is
captured in the process, the dash is replaced by a cross (x)
to indicate this. Notice that no ambiguity can arise
because no more than one man can ever occupy a square.
Other symbols, common to both long and short
notations, are:
+ or ch = check
$ or mate = checkmate
0-0 = castles (king’s side)
0-0-0 = castles (queen’s side)
and by way of annotation :
! (exclamation) = good move;

? (interrogation) = bad move.
A few situations are abbreviated; e.g., e.p. = en

passant.
DIAGRAM 9
a b c d e f g h
8
7
6
5
4
3
2
1
a b c d e f g h
THE •ALGEBRAIC NOTATION
Now for a few examples. Look at diagram 9. If in this

position White advanced the pawn at a2 two squares the
move would be transcribed Pa2-a4, while if instead this
pawn captured the knight, the move would be recorded as
Pa2xb3. If White checks with the bishop (only one bishop
can check) the move would be Bfl-b5 ch. If Black chose
to move the queen’s rook next to the king, the description
would be Ra8-d8 while if the advanced black pawn is
promoted to queen this move would be recorded as Pd2-
dl(Q ). At first, this may seem a bit complicated but
fluency will come with a little practice.
Conclusion
If you have read this chapter at a single sitting, you will
probably be in a state of near mental exhaustion. You
have possibly already forgotten how the knight moves, or
what stalemate is; but you should not let this worry you.
You have the consolation of knowing that there are
only a few very minor rules still to be learned, the rest of
the book being devoted to the right way to play the game.
The chapter should be re-read carefully after a short
interval, and before going on, you should be thoroughly
conversant with the moves of the pieces, pawn promotion,
check and checkmate, stalemate, castling and chess
notation. A good idea is to place half-a-dozen pieces
haphazardly on the board and move them around, black
and white alternately, capturing, checking, and, if poss
ible, securing positions in which checkmate or stalemate
may be given. Then try recording moves as you go along.
By way of a test, return to diagram 9 and see how many
of the following questions you can answer correctly:
(answers at foot of page):
(1) How many men in the position given are unable to

move?
(2) To how many squares can the white bishop on d6
move?
(3) How many men are on their original squares?
(4) Can White play Kf2-el?
(5) If Black captures the pawn on b6 with the pawn at
a7, how should this move be recorded?
(6) On the whole board how many possible (i.e., legal)
black moves are there (count the pawn promotion as one
move)?
Solutions to Test (Chapter 1)

(1) One. The black pawn at b7.
(2) Eight, including the pawn capture.

(3) Ten: White B fl, Pa2, Pg2, Ph2.
Black Ke8, Ra8, Rh8, Pa7, Pb7, Ph7.
(4) No: because the white king would then be in check
from the black pawn.
(5) Pa7xb6.
(6) Twenty-nine.
2
RUDIMENTARY THEORY
Relative Values of the Chessmen

The reader will no doubt have gathered by this time that
the chessmen, being possessed of intrinsic qualities of
movement and capture, may also be compared, one with
the other, on the yardstick of relative values.
The correlation of the powers of the pieces is deceptive,
however, as in any position each man will be possessed of
a power peculiar to that position. In diagram 9, page 29,
for example, both black rooks are out of play, whereas the
humble pawn on d2, threatening, if unwatched, to become
a queen, is an apparent force. However, the pawn may
soon fall, and the black rooks may bring their long-range
guns to bear down the vital files. A game is therefore in a
permanent state of flux, and force values change from
move to move. The scale of relative values can only
remain a guide for the exchange of pieces (an exchange is
when one side captures an opposing man, giving up one of
its own men in the process) when other considerations are
approximately equal. The ability to assess the true value
of a position and, in consequence, the extempore values
of the men composing the position, is a gift with which
Rudimentary Theory 33
only really strong chess-players are endowed.

The king, since he cannot be captured, and is only used
as an attacking piece towards the end of the game when
his powers are approximately equal to those of a bishop, is
excluded from the assessment.
Queen = two Rooks

Bishop = Knight
Rook = Bishop (or Knight) and two Pawns
Bishop (or Knight) = three Pawns
These are approximations. The bishop is normally

worth a fraction more than the knight and two rooks
fractionally more than a queen.
Basic Positions
(a) The Pin
As we have seen in position (c), diagram 8, a piece is
pinned if, in moving, it would expose the king to a hostile
check. In diagram 10 (a), the knight is also said to be
pinned, for although it may be legally moved, the white
bishop would then capture the black queen which would
be a poor bargain for Black even should the bishop then
succumb.
The term “pin” is thus extended to signify any position
in which the movement of a man would expose another
man to attack from a weaker piece. If there was another
black knight at c7 (that is, on the diagonal between the
queen and the other knight), the set-up would be known
as a half-pin as the movement of either knight would
automatically result in the pinning of the other.
(b) Double Check

In the second example (diagram 10 ( b ) ) we see a
34 The Right W ay To Play Chess
double check, when a king is exposed to attack from two

hostile men simultaneously. White has just moved the
rook, as indicated. In a double check the king must move,
since he cannot capture both attacking men or interpose
two of his own men in one move. If he cannot move, as in
the diagram, he is checkmated. Note that Black can
apparently capture either piece with the rook, or interpose
a piece between either the king and rook or the king and
bishop, but none of these resources are open to him
because whichever he adopts the king will still be in
check from the remaining white piece.
DIAGRAM 10
BLACK
(a) (b)
(c) (d)
WHITE
RUDIMENTARY MANOEUVRES
The extraordinary power of the double check is appar

ent, and it is something a player should endeavour to
avoid unless he is certain that such check would be
innocuous - which is very rarely the case.
(c) Discovered Check

This is similar to the double check, but not as
dangerous, as the piece moved does not itself give check.
If in diagram 10 (b), the white rook had moved to f7
instead of f8 it would then have been a “discovered” and
not a “double” check. Black could thus have avoided
mate, but would have lost the queen.
(d) The Skewer

The position in 10 (c) is something to guard against.
Here the black king, in check, is compelled to move, when
the bishop will capture the black queen.
(e) The Fork

The knight, by virtue of its irregular move, can create
an embarrassing attack known as a “fork” . In the position
10 (d), the knight is attacking both king and queen, and as
the king must move out of check, the queen is doomed.
The most common fork of the knight is of king and rook,
when the rook, which, as we have seen, is the stronger
piece, is lost. Forks by other pieces are possible. In
diagram 4 (b) for example, the white pawn has forked the
black rook and bishop. The term is self-explanatory.
Endings
In order to acquaint the reader with the practical power
of the pieces, we will examine one or two game endings.
Assuming that Black has only a king left, White will be
able to force mate with a minimum force of:
(1) King and queen. The white king will, of course, be

on the board. If White has a pawn which he can safely
promote, then it can be reckoned as a queen.
(2) King and rook.
(3) King and two bishops.
(4) King, bishop and knight.
Mate cannot be forced against a lone king with:
(1) King alone - this is obvious.

(2) King and bishop.
(3) King and knight or king and two knights.
(4) Certain positions involving pawns.
It is interesting to observe that two knights (the joy of

the novice!) are unable to force mate, whereas a mere
pawn which can be promoted is sufficient for the purpose.
King and Queen v. King

Let us examine the system of forcing mate by king and
queen against a bare king.
This performance should not demand more than ten
moves, in most positions considerably fewer (when one
talks of moves in chess one means moves of both sides).
Place the white king on e l , the white queen on e8, and
the black king on g5. White can mate in a number of ways,
but the principle remains the same in every case - the lone
king must be driven to the edge of the board where the
queen will deliver the mate, the white king assisting.
A series of checks with the queen will achieve nothing
(all beginners assume that checks are stronger than quiet
moves (i.e., moves that are not checks), in the hope,
presumably, that “it might be mate”). White therefore
moves Qe8-f7!, restricting the movements of the doomed
monarch.
Notice that in chess, moves are numbered in pairs.
White Black
1. Qe8-f7 Kg5-g4
R u dim en tary T heory 37
Not Kg5-h4, when Qf7-g6, further restricting the king.
2. K el-f2 K g4-g5
3. K f2-g3 K g5-h6
The only square.
4. Q f7-g8
4. Kg3-f4? would be a grave error since the black king

would then be without a move - stalemated, in other
words - and the game would be drawn.
4. . . . K h6-h5
Again the only move.
5. K g3-f4 K h5-h6
Not Kh5-h4 allowing White to mate immediately.
6. K f4-f5
And now mate next move is unavoidable.
6. . . . K h6-h5
7. Qg8-g5 mate
The black king has been forced to the edge of the board
and is there checkmated. King and queen cannot mate a
bare king anywhere except at the side: the same applies to
king and rook against bare king, as the following example
shows.
King and Rook v. King

Set up the,kings as before, and substitute a white rook
for the queen. Since this mate is more difficult, as might
be expected, and as it is one which you are likely to
encounter (if your opponent obstinately refuses to res
ign), it is essential to be familiar with the correct
procedure.
White Black
1. Re8-f8
Limiting the black king.
1. . . . Kg5-g4
2. Kel-e2 Kg4-g3
3. Ke2-e3 Kg3-g4
4. R f8-fl Kg4-g5
Both sides are playing the best moves.
5. Ke3-e4 Kg5-g6
6. Ke4-e5 Kg6-g7
7. Ke5-e6 Kg7-g6
8. R fl-glch .
The king is now forced to the edge of the board. Note

the position of the white king at the precise moment of the
check: it is directly opposite the black king, thereby
controlling the three squares between them that would
otherwise have been open to the fugitive. The black king
is now confined to the h file. White aims to set up the
same position to deliver checkmate.
8. . . . Kg6-h5
9. Ke6-f5 Kh5-h4
10. Rgl-g8 Kh4-h3

11. Kf5-f4 Kh3-h2
12. Kf4-f3 Kh2-hl
13. Kf3-f2 K hl-h2
The black king is forced to face the white king: the

curtain falls.
14. Rg8-h8mate
The maximum number of moves required for this type

of ending is seventeen - and this only in extreme cases.
King and two Rooks v. King

This is a very easy ending, the two rooks being moved
rank by rank or file by file, to the edge of the board where
the lone king is checkmated.
Place the white king on e l , the two white rooks on al
and h i, and the black king on e4. White mates in eight
moves by:
1. R al-a3 (R hl-h3 also forces mate in eight), Ke4-f4;
2. Rhl-h4 ch., Kf4-g5; 3. Rh4-b4, Kg5-f5; 4. Ra3-a5 ch.,
Kf5-e6; 5. Rb4-b6 ch., Ke6-d7; 6. Ra5-a7 ch., Kd7-c8;
7. Ra7-h7, Kc8-d8; 8. Rb6-b8 mate.
King and two Bishops v. King

The ending with king and two bishops embraces the
same idea of driving the lone king to the edge of the
board, the pieces working in conjunction to cut-off the
escape squares (or flight squares, as they are more
commonly called). The king must be mated on a corner
square, and in this respect the mate differs from the
endings with queen and rook given above.
King, Bishop and Knight v. King

The ending with king, bishop and knight against bare
king is conducted in the same manner as the ending with
the two bishops, except that the victim must be mated on a
corner square of the same colour as that on which the
bishop stands.
Most elementary text-books on chess give pages of
analysis on these two endings which serve only to bewilder
the student. Many experienced players are unable to force
the mate with bishop and knight. And, indeed, why
worry? In my experience I have never played or seen
played an ending of this nature. Archaic instruction is
almost always a forerunner of boredom and disinterest.
King and Pawn Endings

When the tumult of the middle game has subsided into
the comparative quiet of the end game, it is usual for each
side to be left with a few pawns and perhaps a piece or
two. With only a handful of men remaining it is easier to
calculate with precision the best line of play - indeed, the
end game of chess is a fine art, and there are many books
devoted to this subject alone.
With only a limited force available, it is unlikely that
either king is in danger of being mated. The play is
therefore concentrated on the task of queening (promot
ing) pawns - which does not mean to say that either player
should lose sight of mating possibilities.
As soon as one side succeeds in promoting a pawn, he
will obviously have a decided, if not decisive advantage,
and can then turn his attention to destroying the enemy
force preparatory to the final checkmate.
On a crowded board the likelihood of a pawn surviving
the hazardous march from the second to the eighth rank is
remote; but as the forces decrease its power augments. It
will be seen, therefore, that in the end game the pawn
takes on a new importance, since the longer it survives the

greater are its chances of eventual promotion.
To understand even the simplest end games, it is
necessary to study the movements of the pawn in
conjunction with the movements of the friendly king vis-a
vis the hostile king.
Look at the diagram (11). Here are four simple
examples of king and pawn endings.
DIAGRAM 11
WHITE
P A W N -P L A Y
In (a), Black to move is a draw, since the king is

stalemated. White, to move, wins, however. 1. Kb6-c6,
Kb8-a7 (the only move); 2. Kc6-c7 (still guarding the
pawn and preventing Black returning to the promotion
square), Ka7-a6; 3. Pb7-b8(Q) and White mates in two
more moves.
In (b), Black to move is a draw (stalemate). If White to
move, he is in a quandary. The only square to which he
can play the king and still guard the pawn (g6) leaves the
black king in stalemate, whilst any other king move
permits Black to capture the pawn. From which we derive
the important precept that if, in a king and rook’s pawn v.
king ending, the solitary king can reach the queening
square before the pawn, the game is drawn.
The difference between 11 (a) and 11 (b) will now be
apparent. In (a) the white king penetrates by forcing the
black king out on the opposite file; whereas in (b) he is not
able to do this.
In (c) the king is unable to capture either pawn without
permitting the other to queen. For example, 1. Kb2-c3,
Pa4-a3; 2. Kc3xc4, Pa3-a2 and queens (promotes to
queen) next move. The white king can only shuffle
impotently between b2 and bl until the black king arrives
on the scene to force the issue. Black loses both pawns in
an attempt to promote one without assistance:
1. K b2-bl, Pc4-c3; 2. Kbl^c2, Pa4-a3; 3. Kc2xc3, Pa3-
a2; 4. Kc3-b2.
In (d) White can again do nothing but move his king
around until the black king arrives. If he captures the
unprotected pawn he cannot stop the other one queening.
Promotion Square
A simple rule for determining whether a pawn, advanc
ing alone to promotion, can be captured by the king
before it reaches the queening square, is illustrated in
diagram 12.
Imagine a square with one side embracing the path from
pawn to queening square. If the black king can move
inside this square he can capture the pawn. In the
diagram, Black, with the move, draws by playing Kb3-c3
or c4. White, with the move, wins by Ph3-h4, and the
pawn cannot be stopped. If the pawn were at h2, White
would still win by virtue of the initial double pawn move

1. Ph2-h4. This rule only applies to a pawn advancing
alone: if the White king or other man can in any way
influence the play, the formula does not apply.
DIAGRAM 12
BLACK
WHITE
THE QUEENING SQUARE ■
Conclusion
You should now be possessed of a reasonable grasp of
the elementary principles of the game. In order that you
may not become over-wearied with theory we shall
proceed to play over a short game or two, assessing the
value of each move as we go.
Before passing on, however, try the following brief test
based on the points we have examined (answers on page
44):
(1) Place WK on a8, WN on e3; BK on h6, BQ on h2,

BB on b8. Black plays Bb8-a7 attacking the knight and
threatening Qh2-b8 mate. What result?

(2) In the king and queen ending given in this chapter,
after Black played 6. . . . Kh6-h5, White mated by
7. Qg8-g5. Can you see any alternative mates for White
in this position (one move)?
(3) Place WK on a l, WP on a4; BK on f5. Can Black,
to move, prevent the WP queening?
(4) Place WK on d6, WR on d l ; BK on e8. White to
play. Mate in how many moves?
(5) Place WK on h5, WP on f7; BK on h7. White to
play. What result?
(6) Place WK on b5, WP on b6; BK on b8. (i) White to
move - what result? (ii) Black to move - what result?
Solution to Test (Chapter 2)

(1) Draw. White can play Ne3-g4 ch.! forking king and
queen, thus leaving both sides with insufficient mating
force. If White plays Ka8xa7?, Black plays simply Qh2-f2
pinning the knight, capturing it next move and winning
easily with king and queen against king.
(2) Qg8-h8 or g7 - here the queen, notice, is only
exercising her powers as a rook.
(3) Yes, by Kf5-e6, e5 or e4.
(4) Two: 1. R d l-fl!, Ke8-<18; 2. R fl-f8 mate.
(5) White wins: 1. Pf7-f8(R) etc. Not 1. Pf7-f8(Q)
stalemate, or 1. Pf7-f8(B) or (N) with insufficient mating
force. Black to play draws by Kh7-g7 winning the pawn.
(6) Draw in each case, (i) 1. Kb5-a6, Kb8-a8 (not
1____Kb8-c8?; 2. Ka6-a7); 2. Pb6-b7 ch., Ka8-b8; and
White must now give up the pawn or stalemate the black
king, (ii) 1. . . . Kb8-b7! and White can do nothing except
move about on the fifth rank as Black alternates between
b8 and b7. If the white king tries to penetrate the sequel is
as in (i). Note that 1. . . . Kb8-a8 (or c8) would be fatal:
2. Kb5-a6 (or c6), Ka8-b8; 3. Pb6-b7 wins (see diagram
11 (a) ). On examination it will be seen that if one side can

play a pawn to the seventh rank in this type of ending
without giving check, and provided that the pawn is not an
outside pawn, he will win.
3
EXAMPLES OF PLAY
The object of the game, we know, is to checkmate the

opposing king. Since a direct assault is not always possible
(and might result in placing one’s own king in jeopardy)
other, more immediate targets, must be found.
Three factors dominate the play:
(i) Time - represented by the moves of the men.
(ii) Force - represented by the powers of the men.
(iii) Space - represented by the territory controlled by
the men.
A gain in time (or “tempo” as it is called), by forcing
your opponent to waste moves, permits you to marshal
your forces effectively and swiftly.
A gain in force by, say, capturing an enemy rook for
bishop or a knight (known as “winning the exchange”) is
clearly advantageous.
A gain in space - extending your territorial control,
thereby achieving greater manoeuvrability for your pieces
-is again an obvious advantage.
Bearing these three points in mind, in addition to the
ultimate aim of mating the opposing king, every move in a
game should be made to some purpose.
Examples Of Play 47
If you have no plan, and aimlessly shift men around as

the fancy takes you, you will rarely hold out for longer
than a dozen or so moves. Better - far better - to have a
bad plan than to have no plan at all. Which does not mean
that a course of action, once formulated, should be
adhered to obstinately; but rather that it should be
modified or recast if necessary to meet changing conditions.
Remember, therefore, to play with a purpose at all
times.
In chess, as in war, movements are governed by two
determining factors - strategy and tactics. Strategy can be
said to consist of the spade-work; tactics, which imple
ments strategy, the point-to-point struggle.
Some players prefer the subtleties of finer strategy,
others the exhilarating rough-and-tumble of tactical play;
it is this distinction which to a greater or lesser degree
determines a player’s style.
So much for theory, and we are now ready to play over
an actual game. The men are set up as in diagram 5, page
19 (black square left-hand corner!) and White moves first.
From hereon the short algebraic will be used. In this
notation, the square from which a man moves is omitted,
as is the dash. Thus Bfl-e2 is recorded simply as Be2.
Sometimes ambiguity can arise. Look back at diagram 9.
Assume White captures the black knight at b3 with the
rook at b4. Rxb4 is not good enough because it is not clear
which rook is taking the knight. In situations like this,
either the rank (in this case) or the file on which the piece
to be moved stands is given immediately after the initial
letter. So the move would be written R4xb3. Similarly, if
Black moves the knight e6 to d4, the move would be Ned4
since the knight at b3 could also move there. There is one
other refinement: the pawn is not identified (which is itself
an identification). Thus g2-g4 becomes simply g4. Where
a pawn makes a capture, the file on which the pawn stands
is given first; thus Pd5xe6 is rendered as dxe6, or

sometimes simply xe6. Notice that no ambiguity is
possible in the case of pawn moves.
White Black
1. e4
An excellent move. Note that the king’s bishop and the

queen are now free (in the initial position only the pawns
and the knights are able to move). This pawn advance also
strikes at the centre, which is the most important area of
the board and the focus of all opening play.
1. . . . e5
The same. One of Black’s best replies. Clearly it

achieves the same as White’s move. Note that now neither
of these pawns can move.
2. Nf3
The king’s knight is brought into play. It attacks the

black pawn and is therefore an aggressive move. It also
attacks the square d4.
2. . . . Nc6
Obvious and best. The pawn is now guarded, and the

knight counter attacks square d4. It will be observed that
the game to this point has revolved round the four centre
squares. The struggle for these squares, control of which
always yields the superior game, motivates most opening
manoeuvres.
3. a4
Examples Of Play 49
A very weak move indeed: it demonstrates White has

no plan. It does not serve a single useful function, being
far removed from the central loci. White has dissipated
the advantage of the extra move.
3. . . . Nf6
A good move, it continues the assault on the centre,

attacking White’s KP.
4. Qe2
Bad. Although this move protects the threatened pawn,

it hinders the development of the king’s bishop. Bd3 in
this position would have been no better, since then the
queen’s pawn would have been unable to move and White
would have experienced difficulty in getting the queen’s
bishop out. Nc3 was correct.
4. . . . Bc5
Another good move which develops a piece and attacks

the square d4.
5. g3
White sees that he is unable to develop the bishop on

the long diagonal, and seeks to bring it into play via g2.
5. . . . d6
Black’s QB is now able to come into the game.
6. Bg2
The bishop is now said to be “fianchettoed” in the

jargon of the chess-player. In the old-time game, before
the introduction of the double pawn move, it was usual to
develop the bishops in this manner, since the centre
pawns, only capable of moving one square at a time,
would free one bishop only to block the other.
White could not, of course, play 6. Bh3 here, as the
piece would then have been undefended, permitting Black
to play Bxh3, winning a clear piece for nothing.
6. . . . (H)
Castles. The black king is now in comparative safety,

and the rook is brought into the game.
Up to here Black’s moves have been an example of
model play. At some points he has had the choice of
several good moves, whilst other moves could have been
transposed, but his play could hardly have been improved
upon.
The position in diagram 13 has now been reached.
Check this with your board to ensure that the two agree.
A quick assessment of the game as it stands reveals that
White has decidedly the worst of it. The KB is doing
nothing, the queen is no better placed at e2 than at d l ;
and the a-pawn, a waif in the wilderness, has achieved
nothing by its inconsequential advance.
Black on the other hand has his men posted to some
purpose. His development (i.e., the bringing of his pieces
into play) is almost complete, when he will be ready to
embark on an attack. The contest may now be said to be
entering the middle game. There are three recognized
phases in a game of chess, the opening, middle game and
end game. There is no strict dividing line between them,
the opening being understood to consist of the developing
moves of each side, the middle game the main struggle,
Examples Of Play 51
the end game when the majority of the pieces are off the
board and the kings and pawns come into their own. We
shall study each of these phases separately in ensuing
chapters.
DIAGRAM 13
POSITION AFTER BLACK'S 6TH MOVE
7. Qb5
Another bad move which threatens nothing; the black

bishop, knight and knight’s pawn are all protected and the
KP is now unguarded. White should have again played
Nc3. " "
7. . . . Nb4!
A very strong move, hence the exclamation mark.

Black now threatens to play Nxc2 ch., forking the king

and the rook, with considerable material gain.
8. Na3
This guards the bishop’s pawn, which would now make

the exchange unfavourable to Black. White could also
have played K dl, but then the KBP would have been
undefended, and, more important still, White would have
forfeited the right to castle. c3 attacking the knight would
also have been no good, since Black could still have
continued Nc2 ch. winning the exchange at least. Qc4
would have allowed Black to continue Be6! attacking the
queen and thereby gaining a “tempo” .
8. . . . Bd7
The white queen is attacked.
9. Qc4
Note carefully that if, in this position, White had played

instead Qxb7, Black would have replied Rb8! and the
queen is without a flight square. White would then have
had nothing better than to give up the queen for the rook.
9. . . . Be6
Again attacking the queen.
10. Qc3
Observe how an early foray with the queen is quickly

punished. It is rarely advisable to bring the major pieces
into the middle of the board at the beginning of a game,
since they can be constantly harassed by the minor enemy
Examples Of Play 53
pieces and much time is lost in the process. (The bishops

and knights are known as the “minor” pieces, the rooks
and queens as “major” pieces.) This move turns out to be
very bad, as will be seen. Correct was Qe2.
10. . . . Nxe4
The queen is trapped. 10. . . . Bxf2 ch. would also have

been playable here, but after 11. Kdl (not 11. Kxf2, Nxe4
ch. forking king and queen), Black cannot win the queen
since after 11. . . . Nxe4; White can reply 12. Qxb4, the
black bishop no longer defending this piece. Consequently
the text move is much stronger.
11. d4
White opens the game - too late.
11. . . . exd4
There is no hurry to take the queen off - she is still not

able to escape. Note that the king’s file is now open for
Black’s rook.
12. Nxd4 Nxc3

13. bxc3
As the result of this move White has what is known as

“doubled pawns” - two pawns on the same file. The a-
pawn is now isolated, and is called an “isolated pawn” .
Both these are weaknesses which we shall examine at a
later stage; White’s game is lost anyway.
13. . . . Re8
14. cxb4
Ignoring the “discovered check” which is threatened by

Black moving the QB, thereby exposing the white king to
attack from the rook. Black has time to spare however,
and first takes his piece back
14. . . . Bxd4
Attacking the QR. c3 is no defence for White, as Black

would play simply Bxc3 ch., forking king and rook.
15. Rbl
Now Black can play to win material by Ba2 dis. ch.,

when White, who must first deal with the check, will lose
his rook. Observe the immense power of a discovered
check - the bishop can go anywhere on the board without
fear of capture, because White must first attend to th e’
attack on his king.
15. . . . Bc3 ch.
Not the best. Black does not take full advantage of the
position in which there are several good continuations.
He is so heavily up in material however - a queen and a
pawn for a knight - that it matters little.
16. Kfl
Escaping from the discovered check, but Kdl would

have been better.
16. . . . Bc4 ch.
Decisive.
Examples Of Play 55
17. Kgl
Not Nxc4, R el mate! Black sacrifices the bishop in

order to clear the file for the rook. It may be argued that
such an offer hardly constitutes a sacrifice. Certainly it is
not a sacrifice in the true sense, but chess terminology
rules that it shall be so described, so there it is.
The sacrifice is one of the keenest sources of delight to
the chess-player, the apparent surrender of force creating
a whimsical effect which is at once self-satisfying and
artistic. This is an example of a tactical sacrifice - by far
the most common. The strategical sacrifice - the relin
quishing of a pawn or a piece in order to gain time or
space, particularly in the opening - is more common
among stronger players as it requires sound judgment.
17. . . . Rel ch.

18. Bfl
The only move.
18. . . . Rxfl ch.

19. Kg2
The king cannot, of course, take the rook since it is

defended by the QB.
19. . . . Bd5 ch.

20. Kh3?
20. Kxfl, Bxhl was much better, but naturally not

20. f3, Rxf3 when Black would again be threatening a
dangerous discovered check.
20. . . . Qd7 ch.

21. Kh4
21. g4 would only have protracted the agony.
21. . . . Bf3
Now mate cannot be avoided. It is often the quiet move

rather than the garish check that precedes the climax.
22. Kg5 Qg4 mate
Finis. See diagram 14.
DIAGRAM 14
FINAL POSITION
Observations
By normal standards this is a short game, the average
being around thirty-five moves. A long game will run to
sixty moves and more - occasionally into three figures.
Examples Of Play 57
There are a number of lessons to be learned from the

play of both sides, but the main cause of White’s collapse
was his dilatory handling of the opening. It was evident
almost from the outset that he had no plan of campaign.
Witness Black’s handling of the game by comparison - a
polished if not perfect performance.
(i) He developed his pieces quickly.

(ii) He took advantage of White’s errors.
(iii) He wasted no time in side issues.
It is of particular interest to notice that Black succeeded

in castling and bringing his king’s rook into play, the
uncastled white king offering a vulnerable target.
In the final position observe the confusion in the white
ranks. The QB and KR are still “at home” ; the QN is
posted at the side of the board guarding a threat which for
many moves has ceased to exist; the QR has been forced
to waste a tempo to avoid the attack of a minor piece; and,
of course, that unhappy pawn is still forlornly standing,
without rhyme or reason, on a4. A sorry picture!
Three Brevities
The shortest game of chess possible is a brevity known
as Fool’s Mate. It runs to only two moves:
W h ite B la ck
1. f3 e5
2. g4 Qh4 mate
None of White’s king’s side pieces is able to interpose.

The term “Fool’s Mate” is something of a misnomer,
since in his early acquaintance with the game the beginner
may easily overlook the vulnerability of his king, parti
cularly when the attacking piece descends “from the

blue” .
On the other hand, a game concluded in four moves
known as the “Scholar’s Mate” is much more obvious.
White wins this time:
W h ite B la ck
1. e4 e5
2. Bc4 Bc5
3. Qh5 Nf6
4. Qxf7 mate
If Black had played Nf6 before he brought the bishop

out all would have been well, as Qh5 could then have been
met by Nxh5. But in any case Black had nothing to fear if
he fathomed White’s designs. For example, 3. . . . Qe7,
defending both the threatened mate and the e-pawn was
good since, as we have learned from the previous game,
White will lose time parrying Black’s imminent attacks on
the wayward queen.
Variations and extensions of these two mating themes
are often encountered. The f-pawn, against which the
attack in Scholar’s Mate is directed, is the weakest link in
the initial position, for it is guarded only by the king. A
further point in favour of castling: the rook is brought to
the protection of this pawn.
Here is another short game with an attractive sacrifice:
W hite B la ck
1. e4 e5
2. Nf3 d6
3. Bc4 h6
4. Nc3 Bg4
Pinning the knight.

Examples Of Play 59
5. Nxe5!
The surprise: White sacrifices the queen.
5. . . . Bxdl
This loses, but after 5. . . . dxe4; 6. Qxg4, White has

won a pawn and is ahead in development
6. Bxf7 ch.
That weak f-pawn again!
6. . . . Ke7
7. Nd5 mate.
Before returning to the study of chess theory, the

reader would do well to play over another game and
endeavour to answer the questions posed.
Initial position again - black square left-hand corner -
queens on the squares of their own colour.
White Black
1. e4 e5
2. Bc4
(a) Good or bad?
2. . . . Na6
(b) Is this better than Nc6?
3.Nf3
The black pawn is now attacked and is said to be en

prise (Fr: ‘in a position to be taken’).
3. . . . f6?
It is a good general rule that this move is bad in the

opening, seriously weakening the king’s position.
4. Nxe5!
A tactical sacrifice.
4. . . . fxe5
Black has nothing better.
5. QhS ch. g6
(c) Why not 5. . . . Ke7?
6. Qxe5 ch. Qe7

7. Qxh8 Qxe4 ch.
8. Be2
(d) Why not Kdl or Kfl ?
8. . . . Nc7
(e) What was White threatening?
9. d3 Qxg2
10. Bh6
Another sacrifice.
10. . . . Qxhl ch.

11. Kd2 d6
Examples Of Play 61
(f) Why cannot Black play Bxh6 ch.?
12. Qxf8 ch. Kd7

13. Bg5
A strong move, as will be seen. The black knight is

twice attacked, and since it cannot be further protected by
another man, it must move or be captured.
13. . . . Nf5
(g) W hynotNcb?
14. Qf7 ch. Kc6

15. Nc3!
Another good sacrifice. The rook is enprise to the black

queen.
15. . . . Qg2
The only move. Black must keep on the diagonal to

prevent the bishop check. If 15. . . . Qxal? there would
follow 16. Bf3 ch., when Black would be mated in three
moves at most. How? (h).
16. Rgl!
A pretty move. The QB is attacked by the black queen,

so White promptly offers the rook again, hoping to decoy
the queen off the vital diagonal.
16. . . . Qxf2
Now the white KB is pinned.

17. Rfl
(i) If 17. Be3, attacking the queen and guarding the

rook, how would Black have continued?
17------- Qg2
18. Kdl
(j) Why?
18. . . . dS
Clearly not 18. . . . Ne3 ch?; 19. Bxe3. Or 18. . . .

Kb6; 19. Qb3 ch. Another possible line is 18. . . . Nd4;
19. Qc4 ch., Nc5 (19. . . . Kd7?; 20. Rf7 ch., Ke8;
21. Re7 ch., Kf8; 22. Qf7 mate; or 21. . . . Kd8, Qg8
mate.) 20. B f3 ch !-y et another sacrifice-Nxf3; 21. Qb5
mate.
19. Nxd5
(k) Why not still 19. Bf3?
19. . . . Nc5
(l) Why not 19. . . . Qxd5?
20. Qxc7 ch.
White, offering a further knight, wins the queen at last.
20. . . . KxdS
(m) Can Black play 20. . . . Kb5, declining the tainted

gift?
Examples Of Play 63
21. Bf3 ch.
White misses a conclusive finish: 21. Rxf5 ch., B(or

P)xf5; 22. c4 ch., Kd4; (22. . . . Ke6? 23. Qe7 mate)
23. Q d6ch., Qd5; 24. Qxd5 mate.
21. . . . Qxf3 ch.

22. Rxf3 Resigns
Black has two knights for a queen and a pawn. He has

no chance of redressing the balance, and his king is in the
centre of the board open to continuous attack. Under the
circumstances, a graceful surrender is the best course.
Observations
This is the kind of punishment that the student must
expect to receive from the strong player. A wasted knight
move, an injudicious pawn advance and it was virtually all
over.
White sacrified continually throughout the game and
yet won with ease. Why? Because on each occasion he
correctly assessed the relative values of the men engaged,
and played accordingly.
Sacrifices of this nature have to be very carefully
calculated, however, since a single slip in analysis would
prove disastrous.
For this reason the student is advised not to give up
voluntarily even a pawn unless he can foresee the
consequences. As you progress you will often be able to
sense a sacrifice, but insight of this nature comes only with
practice.
All sacrifices should be treated on their merits alone.
Regrettably, this seemingly trite advice is rarely followed.
Beginners tend to fall into two classes; those who grab
everything on the principle that they then have the

superior force and it is incumbent upon the opponent to
maintain the initiative; and those who never accept
anything on the principle that if a man is offered it must be
a trap.
If you see no objection to accepting a proffered piece,
do not hestitate. An apparent sacrifice is often an
oversight: the player has simply put or left a man en prise.
Solutions to Test - Chapter 3

(a) Good, since it develops a piece, prevents Black
playing d5, and attacks the weak f-pawn. The usual rule,
and a good one to stick to when learning the game, is
“knights and bishops out first” .
(b) No. It is away from the centre of the board. The
knight on a6 controls four unimportant squares - exactly
half the number of squares it would control on c6.
(c) Because of Qxe5 checkmate!
(d) Because the bishop is en prise.
(e) 9. Qxg8.
(f) Because the bishop is pinned by the white queen.
(g) Because of Bg4 mate.
(h) (1) 16. . . . d5; 17. Qxd5 ch., Kb6; 18. Qb5 or Na4
mate.
(2) 16. . . . Kc5; 17. Qc4 (or d5) ch., K moves;
18. Qb5 mate.
(3) 16. . . . Kb6; 17. Qb3 ch., Nb4; (17. . . . Ka5;
18. Qb5 mate) 18. Qxb4 ch., Ka6; 19. Qb5 mate.
(i) 17. . . . Qxe3 ch. (not 17. . . . Nxe3? 18. Qxf2);
18. Kdl, Qxgl ch.; and Black wins easily, being a R, N
and P ahead. This move (17. Be3) would have been a
bad blunder on White’s part.
(j) To un-pin the bishop. The move threatens Bf3 ch.,
winning the queen. Note that the white bishop at g5 is now
en prise. White forced Black to capture the f-pawn, a
Examples Of Play 65
sacrifice that permitted the white rook to make use of the

open file to guard f3 so that the bishop can check.
(k) Because of 18. . . . Qxfl ch.
(l) Because of 20. Bf3, and the queen is pinned and lost.
(m) No; Black would then be mated by 21. a4 ch., Ka6;
22. Nb4. Or 21. . . . Nxa4; 22. Qc4 ch., Ka5; 23. b4 mate;
If 21. . . . Kxa4, White can mate in several ways: 22. Nc3
ch. followed by 23. Rf4 ch.; or 22. b3 ch. followed by
23. Bel ch. etc.
4
POWERS OF THE
CHESSMEN
If the previous chapters have been followed carefully, the

reader should now have a good idea of how to play chess.
Should he still be uncertain on any point he would be well
advised to turn back here and dispel any doubts before
proceeding further.
The last chapter was devoted to actual games, as a
means of breaking the inevitable boredom that the study
of page upon page of theory engenders; but now it is
necessary to return to the elements of play.
As has been seen, the functions and values of the
chessmen vary from stage to stage individually, collec
tively and relatively.
It is possible to generalise on the powers and limitations
of the various men throughout the game, and to lay down
broad principles for handling them.
It will be as well to repeat here that the three phases
through which a game can pass are:
(a) The opening - development of the pieces.

Powers Of The Chessmen 67
(b) The middle game - the main struggle.

(c) The end game - the fight for pawn-promotion.
A game can be concluded in the opening or the middle

game without ever reaching the end game (as in the
illustrative examples in Chapter 3), the three divisions
having no relation to the duration of a game; that is to say,
the end game is not the last moves of any chess game, but
specifically that field of play in which the majority of the
pieces are off the board and the kings and pawns dominate
the play.
Bearing this in mind, let us examine the pieces
individually under these three headings.
1. The Opening .
(a) King
The king should be kept closely guarded in the opening,
when a surprise attack is always a danger. Early castling is
advisable, and in this respect the K-side is to be preferred
to the queen’s, since after the latter the QRP is unpro
tected.
(b) Queen
It is inadvisable to move the queen beyond the third
rank where she is prone to attack from the light enemy
forces. Contravention of this maxim may result in loss of
time occasioned by the queen having to seek sanctuary.
(c) Rook
The rooks should be united (i.e., one guarding the
other) as soon as possible. Castling is a means of achieving
this aim.
Rooks should be retained on the back rank, preferably
on open files.
(d) Bishop
The bishops should be developed early in the game.
The best squares for posting the white bishops (corres
ponding squares for the black bishop) are (1) c4/f4; (2) b5/
g5 if pinning an enemy knight; (3) b2/g2 - the fianchetto;
(4) d2/e2; (5) d3/e3 if here they do not block the advance
of their respective centre pawns.
(e) Knight
Knights are employed to their best advantage in the
opening. They should be developed towards the centre of
the board unless there are good tactical reasons for not
doing so.
(f) Pawn
The first thing to remember about the pawn move - and
this applies to all stages of the game - is that, unlike the
pieces, it may not be retraced. In other words, a minor
rubicon is crossed every time a pawn is moved; therefore
all pawn moves should be made only after careful
deliberation. Ask yourself: “If I advance this pawn, am I
likely to regret it at a later stage?”
A pawn advance on one or more of the four central files
is normal and necessary in the opening. A single exception
may be noted: f3 (f6) is almost invariably bad as it
seriously weakens the king’s position and takes away the
best square for the king’s knight.
A knight’s pawn may be moved a single square to per
mit the development of a bishop; a rook’s pawn a single
square to prevent the pinning of a knight by a hostile
bishop. But a good rule is: if in doubt, don’t move a pawn.
2. The Middle Game

(a) King
As in the opening, the king must be protected against
attack. Towards the end of the middle game with most of

the pieces off the board, an uncastled king which is
required for active service is best advanced to the second
rank rather than relegated to a wing position by the no
longer useful castling.
(b) Queen
The queen is a real power, and can often be man
oeuvred to attack two undefended units simultaneously,
thereby winning one of them. The queen should avoid
picking up stray pawns if they beguile her from the scene
of activities. On the other hand, a pawn safely won is a
clear advantage.
This is a further point on which the expert can be
distinguished from the ordinary player - he knows which
pawn can be safely captured and which pawn should be
left alone.
(c) Rook
The rooks are best placed on the four centre files,
particularly if any should be “open” (a file is said to be
open if there are no friendly pawns on it). Doubled rooks
(one behind the other) are very strong on an open file.
A rook (or better still, doubled rooks) on the seventh
rank is something to be played for, as here the major
pieces are immune from pawn attack, and assume the role
of “cats among the pigeons” .
Rooks are especially vulnerable to attack from the
bishops - particularly if the latter are working in conjunc
tion: therefore they should, if possible, be confined to the
first two ranks unless an occupation of the seventh is
‘ feasible.
(d) Bishop
The bishops are the real workers - they never relax
their activities throughout the game.

They are dangerous attacking pieces, but operate best,
like the rooks, from a distance where they are less open to
attack themselves.
A common task of the bishop is to pin potentially active
hostile knights.
As has been observed, the bishop, like the rook and the
queen, operates to greater advantage on an open board.
The efficacy of the bishops depends on free diagonals,
therefore avoid curtailing their range by obstructive pawn
moves.
(e) Knight
Knights are quite at home in the middle game, and are
best posted on advanced squares free from pawn attack.
They are economical in defence, being capable of
holding up an assault by considerably superior forces on
the king; and very effective in attack, the sacrifice of a
knight for a pawn often completely destroying an other
wise impregnable position.
Knights are least effective when guarding one another,
since, if both are attacked by a piece, neither can move
without loss of the other. They are most effective when
working in conjunction on opposite-coloured squares.
(f) Pawn
The pawns are as important in the middle game as they
are in the other stages.
In defence, they present a united front to direct
onslaught; the more they are moved the weaker they
become as a body creating “holes” , or undefended
squares, for occupation by enemy pieces.
In attack, the pawns are the battering-rams used to
breach the enemy position. A spearhead of pawns,
supported by pieces, advancing on a king position stands
an infinitely greater chance of success than an attack by

pieces alone.
Pawns are well-employed defending pieces from attack
by hostile pieces, and they are also the best men with
which to attack hostile pieces because of their relatively
inferior value.
It must be kept in mind throughout the middle game
that all pawns are potential queens. Try to picture the
skeleton when the meat is off, and play for a favourable
end game position before forcing the exchange of too
many pieces.
3. The End Game

(a) King
In the ending the king assumes the role of attacker, and
his transitory function is to assist in pawn-promotion.
The versatility of the king at close range allows him to
penetrate weak pawn structures.
Too often, when the end game is reached, players
continue to manoeuvre their few remaining pieces instead
of bringing the kings forward.
If the opposing forces still contain three or more pieces,
an early advance of the king is likely to prove an
embarrassment.
(b) Queen
With the reduction in forces, the queen’s power
augments. If in a bad position in the middle game, the
retention of the queen will at least offer chances of a
“perpetual” in the ending, for a lone queen can often
force the draw in this manner.
(c) Rook
The rooks, since they are generally the last pieces to go
into action in a game, are most commonly met with in end
games; king, rook and pawns versus king, rook and pawns
being by far the most frequent.
A book could well be written on the functions of this
piece in the ending alone, but briefly the work of the rook
is confined to three fields:
(i) Restricting the movements of the hostile king.

(ii) “Mopping-up” and obstructing the advance of
hostile pawns.
(iii) Protecting friendly pawns advancing to promotion.
A rook on the seventh rank - particularly if the enemy

king is still on the eighth - is almost always strong, as in
the middle game.
Two rooks on the seventh with the enemy king on the
eighth usually draws by perpetual check against a similar
piece-force, even if a pawn or two down.
Whereas an extra pawn in a king and pawn end game is
usually sufficient to win, with rooks on the board the
chances favour a draw. Therefore if a pawn or more down
in the ending, endeavour to retain a rook on the board.
All these factors should be borne in mind when the
middle game is drawing to a close.
(d) Bishop
A paramount maxim to remember here is that if each
side is left with a bishop and pawns, and the two bishops
are on opposite coloured squares, the game is nearly
always drawn, even if one side is a pawn or even two
pawns ahead. .
If a disadvantageous end game is foreshadowed, play to
obtain bishops of opposite colours.
With bishops on squares of the same colour, however,
even a small advantage on one side is often sufficient to
win.
The reason for this is that, with bishops of opposite

colours, the play of each side tends to be canalised onto
the squares of the same colour as the respective bishops,
leaving one party playing on the black squares and the
other party operating on tHe white, thereby creating a
deadlock. With bishops operating on the same coloured
squares, force will be met by force, and an impasse is less
likely to occur.
Another important fact to remember in the ending is
that K, B and RP versus bare K is a draw where the bishop
stands on a square the opposite colour to the pawn’s
promotion square; always provided that the solitary king
can get in front of the advancing pawn. As in K and RP
versus K, the superior force is compelled to surrender the
pawn (leaving insufficient mating force) or give stalemate.
With a bishop on the same-colour square as the promotion
square, the stronger side-always wins in this type of ending.
Bishops can be employed to good purpose preventing
hostile pawn advances. For example, a white bishop on fl
prevents the advance of any black pawn in a chain of
squares extending from f2 to e3, d4, c5 and b6. This is an
elaborate case, but it demonstrates the power of the
bishop in the end game.
If, in an ending, you are left with a bishop and pawns,
the pawns should be advanced to squares of the opposite
colour to that on which the bishop stands.
This may appear strange, since the bishop cannot then
guard the pawns, but this drawback is outweighed by the
bishop’s greatly increased mobility, and the elimination of
duplicated square control. It is quite a common sight to
see a bishop reduced to the role of a pawn when the men
stand on the squares of one colour.
‘ !
(e) Knight
In the ending the powers of the knight are limited,
owing to the comparative impotence of its march on a free

board.
A player left with knight and pawns against a bishop
and pawn should, if possible, force off by exchanges the
pawns on one side of the board, as knight is seriously
handicapped in having to watch both wings. The converse,
of course, holds good - if left with a bishop and pawns
against a knight and pawns, essay to keep pawns on both
wings, on which the bishop, with its greater powers, is
able to operate simultaneously.
(f) Pawn
When one talks of the end game one is really discussing
pawns, and their handling is therefore of the utmost
importance.
Their play is examined at length in the chapter on the
end game; it suffices here to quote a few general rules.
When there is a choice of pawn moves in the ending, the
one that is farthest from the scene of operations (usually
centred around the kings) should be made.
Remember always that a rook’s pawn is insufficient to
win, other things being equal, therefore pawn exchanges
must be planned accordingly.
The advance of a pawn can be arrested by the sacrifice
of a piece if necessary, a device which should not be
overlooked.
In the ending, the remote wing pawns play their part,
the centre struggle no longer dominating the game. A king
cannot possibly stop two pawns, one advancing on each
wing, but he can successfully blockade two centre pawns
advancing together.
As with the pieces, a cautionary eye must be kept on the
pawns in the middle game, in order that they may be
deployed to the best advantage when the final phase is
reached.
Combinations
So much for the general manipulation of the men at the
various stages. Let us now see how they can combine
effectively. The joint action of two or more men, working
to achieve a desired object - to checkmate the opposing
king, or capture material - is known as a combination; a
sound combination if its purpose cannot be resisted, an
unsound combination if there exists a plausible defence.
Combinations are often initialled by a sacrifice.
There are a number of standard mates which keep
occurring in one form or another, the dispersal of the
majority of the men being purely incidental to the
position.
A player should be able to recognise these positions at
once, regardless of the camouflage concealing them.
The following examples are all quite common in
practice, and cover the majority of actual mating attacks
in the middle game. Be on guard against any and every
similar position, however secure it may appear, for a
deflective sacrifice, that cannot be declined, may be the
prelude to catastrophe.
Mating Combinations
(a) A variation of Fool’s Mate, involving the sacrifice of
a piece, is commonly encountered in play. It can occur in
the opening: 1. f4, e5; 2. fxe5, d6; 3. exd6, Bxd6; 4. Nc3?,
Qh4 ch.; 5. g3, Qxg3 ch.; 6. hxg3, Bxg3 mate (diagram
15).
(b) A typical middle game sacrifice is to take the h-
pawn with a bishop when the enemy king has castled on
the king’s side. A conclusive combination is often poss
ible. In the diagram (16) White wins by 1. Bxh7 ch.,
Kxh7?; 2. Qh5 ch., Kg8; 3. Ng5, Rfe8; 4. Qh7 ch., Kf8;
5. Qh8 mate.
(c) After the sacrifice of a bishop for the h-pawn, the
DIAGRAM 15 DIAGRAM 16
EXAMPLE A EXAMPLE B
most common mating attack begins with the sacrifice of a

bishop for the f-pawn against an unmoved king. Diagram
17 shows a typical example. White wins by 1. Bxf7 ch.,
Kxf7; 2. Ne5 dbl. ch. (that fearsome double check again! -
the king must move), Ke6; (if 2. . . . Ke8; 3. Qh5 ch. and
mate in two; if 2. . . . Ke7; 3. Nd5 ch.) 3. Qg4 ch., Kxe5
(again . . . . Ke7; 4. Nd5 ch.); 4. Qf4 ch., Kd4 (or 4. . . .
Ke6; 5. Qf5 ch. with mate to follow); 5. Be3 mate. The
forced march of the black king into the centre of the board
is a feature of this type of attack.
(d) Mate on the back rank by a rook or the queen is
common if the pawns in front of the king have not been
moved. In diagram 18 White wins by: 1. Re8 ch., Rxe8;
2. Rxe8 ch., Rxe8; 3. Qxe8 mate. Always be alert to this
possibility: decoy sacrifices are common.
(e) An ingenious attack, involving a queen sacrifice on
the penultimate move, is known as Philidor’s Legacy,
EXAMPLE C EXAMPLE D
after a famous French player (diagram 19). White forces

mate in five moves: 1. Qc4 ch., Kh8; (if 1. . . . Kf8;
2. Qf7 mate) 2. Nf7 ch., Kg8; 3. Nh6 dbl. ch., Kh8
EXAMPLE E EXAMPLE F
(otherwise mate as above: note once again the power of

the double check which White here uses to manoeuvre the
knight to the desired square); 4. Qg8 ch., Rxg8 (the king
cannot capture as the knight guards the queen); 5. Nf7
mate.
(f) Philidor’s Legacy demonstrates what is commonly
known as a “smothered mate” . The description is a good
one; all the escape squares for the king being occupied by
friendly (?) pieces who stifle the luckless monarch.
Smothered mate can only be given by a knight, and is not
uncommonly preceded by a sacrifice, as in the previous
example. This device can occur in the opening: 1. e4, e5;
2. Ne2, Nc6; 3. Nbc3, Nd4; 4. g3, Nf3 mate (diagram 20).
(g) A position to be played for if your opponent has
castled on the queen’s side (diagram 21). White wins
quickly by 1. Qxc6 ch., bxc6; 2. Ba6 mate. Note the power
of the two bishops working together.
EXAMPLE G EXAMPLE H
(h) A king behind a fianchettoed position from which

the bishop has departed is very weak if the queens are still
on the board, particularly if the other player has retained
the bishop on the same coloured squares as the departed
bishop, and/or a knight. Examples of this type are
common, the strategy being to attack the weak squares in
the king’s field. In diagram 22 White wins by 1. Qh6
(threatening mate on the move), Bf8; 2. Ne7 ch., Bxe7;
3. Qg7 mate. In this type of position a pawn at f6 is often
as good as a bishop; and with a queen established at h6,
Nf6 ch. followed by Qxh7 mate is also a common finale.
(i) A device against a fianchettoed position (normally
difficult to attack: diagram 23). White mates in four by
1. Nf6 ch., Bxf6; 2. Rxe8 ch., Kg7; 3. Bf8 ch., K moves;
4. Bh6 mate. If 1. . . . Kh8; 2. Rxe8 ch., Bf8; 3. Bxf8
and mates next move.
DIAGRAM 23
EXAMPLE I
(j) Another mating position often reached when the

bishop has vacated the fianchetto (diagram 24). White

mates in three by 1. Qxh7 ch., Kxh7; 2. Rh3 ch., Kg8;
3. Rh8 mate.
DIAGRAM 24
EXAMPLE J
(k) An end game attack on a castled king (diagram 25).
DIAGRAM 25
EXAMPLE K
White mates in three: 1. Re8 ch., Kh7; 2. Bf5 ch., g6;

3. Rh8 mate. The pawn move closes the line of one
bishop only to open a line for the other. All Black’s
moves are forced.
(1) With the hostile king in the corner, a typical mating
set-up starts with a queen sacrifice (diagram 26): 1. Qxh7
ch., Kxh7; Rh3 mate.
DIAGRAM 26
EXAMPLE L
(m) A less usual position, but nevertheless frequently

occurring in one form or another (diagram 27). White
wins by 1. Rxg7 ch., Rxg7; 2. Nf6 ch., Kh8; 3. Qh5 and
mate is unavoidable. If 1. . . . Kh8; White can win in a
number of ways, for example 2. Qg2, Be6; 3. Qg6 and
mate next move. Black can prolong the agony by
sacrificing the queen.
DIAGRAM 27
EXAMPLE M
Material-Winning Combinations
There exist a number of stereotyped combinations for
winning material (i.e. gaining an enemy man or men for
nothing, or for the loss of a weaker force) arising from
certain positions that are met with time and again in one
form or another.
A sound knowledge of these basic positions and how to
exploit them will prove of inestimable value to the
student.
Three good rules to observe in order to avoid loss of
material are:
(1) Watch all checks.

(2) Watch all “discovered” attacks.

(3) Do not leave men undefended or insufficiently
defended unless absolutely necessary.
(a) An attack on the king (a check) may often succeed

in winning material out of hand:
(1) It may force the defender to interpose a stronger

piece than the man checking, which then captures it.
(2) The checking piece may simultaneously attack an
undefended man, or a more valuable man (a knight fork is
a good example of this).
(3) The move may uncover (“discover”) an attack on
another man.
(4) If a piece on each side is attacked, and one can
evade the attack by a checking move, then the other
piece, still en prise, will fall.
(5) The skewer, illustrated in diagram 10 is yet another
means of winning material in this fashion.
An example of (1) taken from play: 1. e4, c5; 2. Nf3,

d6; 3. Nc3, Bg4; 4. h3, Bxf3; 5. Qxf3, Na6; 6. Bb5 ch., and
the queen must interpose. To illustrate (2), another
example from actual play: 1. d3, c6; 2. Nf3, e5; 3. Nxe5,
Qa5 ch.; and the undefended knight is captured next
move.
A trap in a well-known defence demonstrates the
discovered attack (3): 1. e4, e6; 2. d4, d5; 3. e5, c5; 4. Nf3,
Nc6; 5. c3, Qb6; 6. Bd3, cxd4; 7. cxd4, Nxd4; 8. Nxd4 -
the trap is sprung - 8. . . . Qxd4?; 9. Bb5 ch., and the
black queen is lost (diagram 28).
A game opening will serve to make (4) clear: 1. e4, c5;
2. Nf3, d6; 3. Bc4, Bg4; 4. Nc3, Nc6; 5. h3, Bh5; 6. g4
(attacking the bishop again), Na5 (attacking White’s
DIAGRAM 28
FINAL POSITION
bishop); 7. Bb5 ch. winning a piece (diagram 29). These

opening examples given to demonstrate elementary stra
tagems are not, of course, intended as patterns of model
play.
DIAGRAM 29
FINAL POSITION
(b) When two undefended men are attacked simulta

neously, one is frequently lost. In the diagram (30), the
rook threatens both the knight and the bishop and must
win one of them.
(c) Underprotection. A common failing of inexperi
enced players is to use one man to perform two functions -
for example, guarding two pieces. In the diagram (31), the
black king is defending both the knight and the bishop.
White wins a piece by: 1. N xal, K xal; 2. K xcl.
(d) Two knights guarding one another are weak. In the
diagram (32) the rook is attacking both knights. The white
bishop is threatening to capture one of them, and Black
must lose apiece.
(e) A similar type of manoeuvre to (a) is the threat of
mate combined with an attack on an undefended man.
Such a position may occur early in the game. Examine

diagram 33, a position which can arise from an opening
called the Colle System: Black’s previous move (b6) was
bad, and now White threatens both Qh7 mate and Qxa8.
The mate must be attended to, and the rook is conse
quently lost.
(f) The “discovered” attack almost always wins mat
erial: 1. e4, e5; 2. Nf3, Nc6; 3. Bc4, Nf6; 4. d3, Nh5?;
5. Nxe5 (discovering the queen attack on the unprotected,
knight), Nxe5; 6. Qxh5 and White has won a pawn.
(g) A similar device to (f) which also wins a pawn: 1. e4,
e6; 2. d4, d5; 3. e5, c5; 4. c3, Nc6; 5. Bb5, Bd7; 6. Nf3?,
Nxe5. And now if 7. Bxd7 ch., Nxd7; and if 7. Nxe5 (or
dxe5), Bxb5.
This very common trap continues to net a large haul of
victims (including quite experienced players) year after
year. The diagram (34) gives the position after Black’s 6th
move.
DIAGRAM 34
(h) A common material-winning device, particularly in

the opening, is the advance on a hemmed-in bishop: 1. e4,
c5; 2. Nf3, Nc6, 3. Bc4, d6; 4. 0-0, a6; 5. Qe2?, b5; 6. Bd3
(or Bb3), c4; (diagram 35). White must give up the bishop
for two pawns, an exchange we know to be unfavourable.
DIAGRAM 35
(i) A pinned man, being immobile, is particularly

vulnerable to pawn attack. In the opening after, for
example, 1. c4, e5; 2. Nc3, Nc6; 3. e3, Nf6; 4. d4, d6;
5. Qa4, Bf5? White wins a piece for a pawn by 6. d5
and Black’s pinned knight must fall. The diagram (36)
shows the position after White’s final move.
(j) A king may be lured from the defence of a man by a
check - very often by a sacrifice. This is also liable to
occur in the opening. A good example is offered: 1. e4, c5;
2. Nf3, Nc6; 3. d4, cxd4; 4. Nxd4, Nf6; 5. Nc3, d6; 6. Bc4,
g6; 7. Nxc6, bxc6; 8. e5, dxe5?; 9. Bxf7 ch. (see diagram

37). Now Black must take with the king leaving the queen
undefended.
DIAGRAM 36
(k) A “forced” move, that is to say a move that must be

made either to save the game or as a matter of legality,
may frequently concede material. Diagram 38 shows a
common strategm. White plays here Bh6, threatening
Qxg7 mate. The bishop cannot be taken as the g-pawn is
pinned, and g5 would allow mate in two by Qxg5 ch.
followed by Qg7. So g6 is forced, and now White wins the
exchange by Bxf8.
5
THE OPENINGS
Introduction
It has been seen that a game is divided arbitrarily into
three phases, the opening, the middle game and the end
game. An advantage gained in the opening will be carried
into the middle game; so it follows that the opening will
tend to shape the course of a game.
Chess openings have, as might be expected, provided
the chief source of research for analysts down the ages.
Fortunately no perfect opening has been discovered: the
subtleties of a game invented by man transcend man’s
breadth of knowledge - and seem likely to do so for ever.
Nevertheless, chess scholars have succeeded in deter
mining and classifying the best of the initial moves for
both sides to various degrees of profundity. The net result
of these years of constant research proves only that there
is no proof; that if both players adopt the best lines of
play, the game will remain approximately level. Theory is
always changing - there are schools of thought in chess as
in literature - and what was considered best a hundred
years ago is classed as only mediocre today. Since analysis
is recorded and published, however, the sum of our
The Openings 91
knowledge of the openings is constantly increasing - not a

month passes without new discoveries, of greater or lesser
importance, being added to this sum. Even a quite
elementary book on the openings will bewilder the new
player, conveying the impression that chess is a profound
esoteric science rather than a game. Page upon page of
continuations, prefaced by exotic names and punctuated
with seemingly endless footnotes, each subdividing into
further enumerated variations, are enough to frighten the
most composed and self-confident of novitiates.
Such works, however, are rarely treated as more than
sources of reference; mentors to indicate the pitfalls that
attend the unwary, surgeons to assist the student conduct
ing his own post-mortem.
A good player will follow a book line without being
conscious of doing so - simply because his moves are the
best in the position with which he is confronted and, in
consequence, are listed in the opening compendiums.
The purely “book” player, moving “according to
Hoyle” , will be at a disadvantage if the opponent deviates
from the accepted line. In order to play chess openings
well, it is not only essential that an elementary knowledge
of the approved lines is acquired, but, more important,
that the ideas that activate these lines are clearly under
stood.
Openings are loosely divided into “open” and “close”
games.
Open games are those in which the pieces are develo
ped quickly, and the play is directed chiefly along tactical
lines - games commencing: 1. e4, e5 are mostly in this
category; close games are those in which play develops
along strategical lines (for example: 1. d4, d5). Broadly
speaking, pieces are posted in front of the pawns in open
games, behind the pawns in close games. Certain openings
fall between these two groups and are classed as “half
open” .
There are about a score of important openings and
several hundred minor and branch openings recognized.
In each of these there are variations and sub-variations.
Some of these openings are acknowledged as better
than others, but in general choice of opening is dependent
upon style; players selecting lines of play (so far as it is in
their power to do so) most suited to their temperament.
The majority of openings commence with: 1. e4 or d4.
Occasionally one of the bishops’ pawns is advanced, or a
knight brought out first, but never a wing pawn. Openings
that begin: 1. d4 - the close and half-open games - usually
have deep-rooted ideas and involve long-term strategy,
and are therefore best avoided in the early stages of a
player’s development. In this chapter attention will be
mainly directed to those openings arising from: 1. e4.
All opening theory is based on the control of the centre,
the importance of which has already been demonstrated.
Control may be effected in three ways:
(1) Occupation - by the establishment of pawns and/or

pieces on the centre squares.
(2) Delayed occupation - by permitting the opponent
to occupy the centre at first, then attempting to under
mine and break up the position.
(3) Remote control - by commanding the centre from a
distance by means of the pieces without actually occupy
ing the squares. In this technique one or both bishops are
fianchettoed.
Gambits
It is quite common in the opening to sacrifice a pawn (or
even occasionally a piece) in order to gain time in
development. An opening sacrifice of this nature is called
a gambit. There are a number of recognized gambits, the
The Openings 93
most common being the King’s Gambit and the Queen’s

Gambit, in both of which a pawn is offered.
Amongst strong players, an extra pawn on one side in
the opening, provided other factors - time and space, that
together govern position - are equal, is sufficient to win.
With average club players of experience, a minor piece
ahead will usually prove decisive. From this it will be seen
that a strong player who succeeds in refuting a gambit and
obtaining equality in position is well on the way to victory.
An Opening (1)
After this superficial survey of opening theory, let us
follow an established method of opening, endeavouring to
understand the principles underlying the play. The reader
may pass straight on to the next chapter, returning to the
study of the openings after mastering middle and end
game play.
White Black
1. e4 e5
Black could also reply here 1. . . . c5 (the Sicilian

Defence); 1. . . . e6 (the French Defence); 1. . . . c6 (the
Caro-Kann Defence); 1. . . . Nf6 (Alekhine’s Defence);
1. . . . d5 (the Centre Counter) etc. This will give an idea
of the choice open to the second player at the start of a
game. Each of these defences has its own characteristics
and its own advocates. After White’s initial pawn adv
ance, Black is in a position to dictate, to a great extent,
the future course of the game.
2. Nf3 Nc6
We have already seen that both of these are good

moves.
3. Bc4 Bc5
These three moves give the opening its name - the

Giuoco Piano. The Giuoco is characterised by the quick
development of the pieces and direct play in the centre.
These straightforward aims recommend it to the student.
4. c3
Preparing the advance of the d-pawn.
4. . . . Nf6
4. . . . d6 is a good alternative. Black’s move attacks

the undefended e-pawn. To attempt to delay the advance
of White’s d-pawn by 4. . . . Qf6 would be bad as it
violates opening principles: (1) it takes away the best
square for the king’s knight. (2) The queen is vulnerable
to attack here. White might then continue 5. d3 (threaten
ing 6. Bg5, driving the queen to a bad square) and after
5. . . . h6; 6. Be3, d6; 7. Nbd2 Black would be far behind
in development.
5. d4 exd4
6. cxd4 '
The black bishop is again attacked, and since the

queen’s pawn is twice protected, capture would only result
in the loss of a piece. The white pawn on d4 is referred to
as the d-pawn or the queen’s pawn, even though it started
life on c2. Pawns, unlike pieces, assume the name of the
file on which they stand.
6. . . Bb4 ch.
The Openings 95
A check to some purpose, as will be seen. No check

should be made just for the pleasure of announcing it.
7. Bd2 Bxd2 ch.

8. Nbxd2
Both white knights can capture the bishop, but this

move develops another man. Also, if 8. Nfxd2, Nxd4 and
Black has won a pawn. If 8. Qxd2, Black replies Nxe4,
again winning a pawn. 8. Kxd2 would be bad: (1) it would
permit Black 8. . . . Nxe4 ch.; (2) White would thereby
surrender the privilege of castling; (3) the move would not
develop a man for attack.
8. . . . d5!
Black strikes at the right moment.
9. exd5 Nxd5
If now 10. Bxd5, Qxd5; White would be saddled with an

isolated centre pawn, difficult to maintain since it cannot
be supported by another white pawn.
10. Qb3
Attacking the king’s knight twice.
10. . . . Nce7
Not 10. . . . KN moves; 11. Bxf7 ch. nor 10. . . . Be6;

11. Qxb7.
11. 0-0 0-0

Both sides castle king’s-side and the position in diagram

39 is now reached. Black has equalised.
DIAGRAM 39
Opening (2)
Another example of the Giuoco Piano, in which White
gains the ascendency.
W h ite B la ck
1. e4 e5
2. Nf3 Nc6
3. Bc4 Bc5
4. c3 Nf6
5. d4 exd4
6. cxd4 Bb4 ch.
So far, the same as the previous example.

The Openings 97
7. Nc3
White, instead of interposing the bishop (the more

passive line), sacrifices a pawn for speedy development.
7. . . . Nxe4
8 . 0-0
White is now threatening Nxe4. Note that before

castling there was no threat as the QN was pinned by the
bishop.
8. . . . Bxc3
9. d5!
DIAGRAM 40
POSITION AFTER WHITE'S 9TH MOVE
A surprising move. Instead of recapturing the bishop,

White attacks another piece. Black has now two pieces

attacked simultaneously by pawns, an undefended knight
in a precarious position and a king in considerable danger.
To compensate, Black is a piece and a pawn ahead.
9. . . . Ba5
10. dxc6
White regains the piece and is now only a pawn in

arrears.
10. . . . 0-0?
Black castles at the wrong moment. Correct was

10. . . . bxc6.
11. Qd5
A good example of when a queen may be brought out

with safety in the opening. Black has two undefended
men: the bishop on a5 and the knight. The queen now
attacks them both.
11. . . . Nd6
The only move. Black prepares a counter. If now

12. Qxa5, Nxc4.
12. Bd3
White now threatens to win a piece with Qxa5.
12. . . . Bb6
13. Bxh7 ch.
The Openings 99
And here we are at the typical B/Q/N attack on the

castled king (diagram 16). Black can only avoid mate by
ruinous loss of material. A good sample of an open game:
highly tactical, with time as valuable a commodity as
force. In a close position, a player may make four or five
consecutive moves with a knight in order to post it on a
good square, whereas even two such moves in a game like
this could result in calamity.
Opening (3)
W h ite B la c k
1. e4 e5
2. NO Nc6
3. Nc3 Nf6
Now all four knights are in play and the position is solid
on both sides. This opening is known as the Four Knights’
Game, and since it is lacking in punch - White’s third
move could hardly be called aggressive - it is favoured, in
general, by those who like to “play safe” .
4. Bb5 Bb4
5. 0-0 0-0
The development of both sides has been logical. First

the knights came out, then the freed bishops before the d-
pawns are advanced to free the remaining bishops. Both
sides then castled so that after the advance of the d-pawns,
the queens’ knights would not be pinned.
6. d3 d6
7. Bg5
Pinning the knight. White is threatening the powerful

Nd5 putting further pressure on the pinned piece.
7. . . . Bxc3
8. bxc3 h6
Attacking the bishop. Black cannot afford to release the

knight by moving the queen, since White would then
exchange bishop for knight when Black, being compelled
to recapture with the g-pawn, would be left with a weak
king’s position. Often in the opening a knight can be
unpinned by Qd6, a move which allows the recapture with
the queen should the knight be taken. This move is not, of
course, possible here as d6 is occupied by a pawn.
9. Bh4 Qe7
Black dare not now play g5 to release the knight, as the

king’s position would then become very weak. White
could sacrifice with advantage: 10. Nxg5, hxg5; 11. Bxg5,
and the knight remains pinned with the black king
deprived of all pawn shelter. Since Black did not intend to
follow up the attack on the bishop, what was the point of
h6? This type of position occurs in almost every opening
and its anatomy is worth attention. The move does not
lose time since the bishop is compelled to retire, and its
importance lies in the fact that g5, although not immedi
ately practical, can be held in reserve as an option should
the need arise. Further, the move provides a square for
the king at h7 which might prove useful later if back-rank
mates threaten (see diagram 18).
10. Qd2
A multi-purpose move. Its merits are worthy of

The Openings 101
analysis: (a) it prevents, at least for the time being, g5

since this would be swiftly punished: 10. . . . g5?;
11. Nxg5, hxg5; 12. Qxg5 ch., Kh7; 13. Qxf6 and White
stands two pawns to the good, (b) It neutralises the
counter-pin 10. . . . Bg4 (c) It unites the two white rooks,
which we know to be desirable, (d) It affords protection to
the undefended white pawn at c3.
The position in diagram 41 has now been reached. An
assessment of the game at this point shows that White
stands very marginally better: (a) the pin is still in place;
(b) the b-file is open for the white rooks to occupy; (c)
White has attack possibilities with an eventual advance of
either the d- or f- pawn; (d) White has the slight advantage
of the two bishops. Black is solid but has no visible
attacking prospects at this stage.
DIAGRAM 41

Opening (4)
The King’s Gambit was very popular a century ago, less
so at the present day. The opening provides a good
example of speedy development of the pieces; play is
often wild with both sides in peril of a sudden collapse.
Here is a typical skirmish:
White Black
1. e4 e5
2. f4
This move establishes the opening. Black may now

either accept or decline the gambit pawn.
2. . . . exf4
Black can decline the gambit by 2. . . . d5 or 2. . . .

Bc5.
3. Nf3
Attacking the centre and preventing 3. . . . Qh4 ch.

This early knight move is common to almost all openings
and is very rarely inferior.
3------ g5
Black supports the pawn at f4. Notice that the g-pawn is

guarded by the queen so White cannot play 4. Nxg5. The
yolk of White’s game in the King’s Gambit is the attack
against the weak point in Black’s defence: the f7 square.
The surrender of the f-pawn by White opens the file for
the rook (after castling) to bear indirectly against this
weak point. In order to keep the f-file closed, Black
The Openings 103
endeavours to maintain the advanced pawn, but 3. . . . d6

is less hazardous.
4. h4
Hitting at the support.
4. . . . g4
Black has little option but to advance. If 4. . . . gxh4;

Black’s pawns are hopelessly weakened and neither f6 nor
h6 are playable: (a) 4. . . . f6; 5. Nxg5, fxg5; 6. Qh5 ch.,
Ke7; 7. Qxg5 ch., Nf6; 8. e5 and White recovers the piece
with a winning attack. Or (b) 4. . . . h6; 5. hxg5, hxg5;
6. Rxh8 and wins.
5. Ng5 .
This variation is known as the Allgaier Gambit.
5. . . . h6
The knight is trapped.
6. N x f7
White has sacrificed a piece to disrupt Black’s king’s

side.
6. . . . Kxf7
Black has no choice as the rook and queen are forked.
7. d4
Now the bishop attacks the pawn f4. Observe that

White concentrates on speedy development. If 7. Qxg4,
Nf6; and Black gains time by attacking the queen. 7. Bc4
ch. is also good.
7. . . . d5
Black must counter-attack quickly but 8. . . . f3 may

have been better.
8. Bxf4 Nf6
8. . . . dxe4; allows 10. Bc4 ch., developing another

piece. Black is aiming to keep the position as closed as
possible. If the Black forces can be marshalled in time, the
extra piece will prove a telling advantage.
9. Nc3
Black was threatening 10. . . . Nxe4.
9. . . . Bb4
10. Be2
White is staking everything on attack. The position now

reached is typical of the opening; there are good chances
for both sides in practical play, when there is the time
factor to be considered (in fact, theoretically lost positions
are often won in practice: time is on the side of the
attacker). Notice that Black’s queen’s side is still unde
veloped. (See diagram 42 opposite.)
Opening (5)
One of the oldest and most popular openings is the Ruy
Lopez, named after a Spanish dignitary of the 16th
The Openings 105
DIAGRAM 42
Century. Recent analysis shows that the Lopez does not

confer the marked advantage to White it was once thought
it did, but no one will assert that the last word has been
said on this remarkable opening.
The centre remains the focus of action for both sides,
but strategy rather than tactics forms the basis of action.
White Black
1. e4 e5
2. Nf3 Nc6
3. Bb5
The purpose of this move is not at once apparent. It

does not pin the black knight and the continuation
4. Bxc6, dxc6; 5. Nxe5 is not a threat because of 5. . . .
Qd4! attacking both the knight and the e-pawn, with a
good game for Black.
3. . . . a6
Black attacks the bishop immediately with essentially

the same idea we saw in Opening (3). Black has several
playable moves in this position: 3. . . . Nd4; 3. . . . Nf6;
and 3. . . . d6 are examples. The text (i.e., the move
played) is probably the best, however, as after the retreat
of the bishop Black may still adopt any of these continua
tions.
4. Ba4 Nf6
Black develops a piece, attacking White’s e-pawn in the

process.
5. 0-0
White ignores the attack, sacrificing the pawn for speed

of development.
5. . . . Nxe4
Black had the choice here of two contrasting lines of

play. The text opens the game, promising lively play by
both sides. The passive 5. . . . Be7 would have been more
solid, but would not have presented White with problems.
A good example of where players of different tempera
ment and style would diverge.
6. d4
Vigorous play is called for.
6. . . . b5
7. Bb3 d5
The Openings 107
Black counters in the centre and gives back the pawn.

The player who accepts a sacrifice can often return the
material at the right moment with advantage. The value of
Black’s 3rd move is now clear. If it had not been played,
White would have exchanged the bishop for the knight at
the right time, hindering or even preventing the advance
of Black’s d-pawn.
8. dxe5
Nxe5 was also playable.
8. . . . Be6
White was threatening to capture the d-pawn.
9. c3
Securing the square d4 and allowing the king’s bishop to

be brought into play on the king’s side.
9. . . . Be7
Bc4 would be bad as then the Ne4 would have had no

escape square for White’s e-pawn is attacking both d6 and
f6.
10. Nbd2 0-0

11. Qe2
Threatening to win a pawn by 12. Nxe4, dxe4;

13. Qxe4.
11. . . . Nc5
An inexperienced player might prefer 11. . . . Nxd2.

The move would be weak however, because it would
exchange off a piece that has no immediate use and it
would bring White’s bishop into play thereby uniting the
rooks.
12. N d 4
This move accomplishes several things. It stops the

advance of the d-pawn, attacks Black’s knight, and allows
the f-pawn to advance with consequent gain in mobility
for the rook behind it. The queen’s knight now has a good
square to move to, releasing the bishop. It is pleasing to
see how positions unfold in this manner, each man
gracefully moving into its place in the opening framework.
This would be a good point to leave the game, which is
on the point of entering the middle game stage. White is
playing for a K-side attack, with the aim of keeping the
centre and the queen’s wing closed. Black, on the other
hand, has no chances on the K-side, and will play for a Q-
side attack. Note that Black has the pawn majority on the
queen’s wing. White on the king’s wing, and alignment
which is conducive to a two-wing struggle. In the position,
Black’s immediate aim is to play c5 as soon as possible -
an objective which will be resisted by White. So long as
the c-pawn remains backward, Black will be unable to
assert superiority on this side. Broadly speaking, White
may be said to have kept the advantage of the initial
move.
Opening (6)
In the 1890’s a great American authority wrote that the
Queen’s Gambit “is now rarely met with in serious play.”
If he had lived another thirty years he would have.seen the
The Openings 109
DIAGRAM 43
opening established as one most favoured in master

tournaments.
Compared with the King’s Gambit, the Queen’s Gam
bit is dull in the sense that there is little action in the initial
stages. Both sides concentrate on developing their forces,
which is accomplished without undue interference.
W h ite B la ck
1. d4 d5
2. c4
The Queen’s Gambit. As in the King’s Gambit, Black

may now accept or decline the proffered pawn, but
whereas in the King’s Gambit acceptance of the pawn is
normal, the reverse is true of the Queen’s Gambit.
2. . . . e6
This move shuts in the QB, the development of which is

the chief headache for Black in this opening. Black can
obviate the problem by playing here 2. . . . c6 (the Slav
Defence), keeping the diagonal clear for the bishop, but it
also has its disadvantages. If the Black d-pawn is left
unattended, White gains time and a powerful centre with
3. cxd5, Qxd5; 4. Nc3 followed by 5. e4.
’ 3. Nc3 Nf6
White covets control of the two white squares in the

centre. Black’s move counters the attack.
4. Bg5
Pinning the knight, thereby neutralizing its restraining

influence on the centre.
4. . . . Nbd7
Setting a trap whilst developing a piece. If White now

continues 5. cxd5, exd5; 6. Nxd5?, Nxd5!; 7. Bxd8, Bb4
ch.; 8. Qd2 (White has no option), Bxd2 ch.; 9. Kxd2,
Kxd8 and Black has won a piece.
5. e3 Be7
White frees the king’s bishop and also threatens cxd5 as

now the king would have an escape square (e2) after the
bishop check. Black’s reply unpins the knight, and if now:
6. Bxf6, Nxf6 and not Bxf6, losing a pawn after 7. cxd5,
exd5; 8. Nxd5.
The Openings 111
6. Nf3
A quiet developing move asserting White’s control of

e5.
6. . . . 0-0
7. Rcl
The order of moves is important. The position is

pregnant with possibilities, and as so often in chess, the
most interesting variations are those which are not played.
7. . . . c6
8. Bd3 dxc4
Black waits until after the bishop has moved before

capturing the pawn, thereby causing White to lose time.
9. Bxc4 Nd5
Black, whose pieces need air, must find a good square

for the queen’s bishop.
10. Bxe7 Qxe7

11. 0-0 Nxc3
12. Rxc3 e5
Black has at last succeeded in playing e4, freeing the

bishop, but White is ahead in development.
13. dxe5
White decides to dissolve the centre.
13. . . . NxeS
14. Nxe5 Qxe5

15. f4
We now reach a position (diagram 44) commonly

arrived at in the Queen’s Gambit. Although White has
more pieces in play, Black’s position is solid, and with
correct play a draw should result.
DIAGRAM 44
Opening (7)
We have seen that Black has several good defences to
1. e4 without replying 1. . . . e5; so too in answer to 1. d4,
Black is not obliged to respond 1. . . . d5 immediately.
Popular is 1. . . . Nf6, which may lead into several
defences. Here is the King’s Indian Defence in which
Black does not immediately challenge in the centre.
The Openings 113
White Black
1. d4 Nf6
2. c4 g6
3. Nc3 Bg7
White prepares to take charge of the centre whilst the

black bishop positions itself on the long diagonal.
4. e4 d6
5. f4
The Four Pawns’ Attack. This mass advance looks

formidable but conversely it presents Black with a target.
The advanced pawns are often difficult to defend and are
thereby forced into further advances. 5. Be2 is a more
circumspect line for White.
5. . . . 0-0
6. Be2 c5!
Striking at White’s d-pawn. If 7. dxc5, Qa5; threatening

Nxe4 and Black’s development is excellent.
7. d5 e6
A further undermining of the advance. If 8. dxe6, Bxe6;

followed by Nc6. Black has a backward d-pawn but plenty
of freedom.
8. Nf3 exd5
9. cxd5
Also playable is 9. exd5 when White relinquishes all

idea of advancing the centre pawns.
114 The Openings
9. . . . b5
Threatening 10. . . . b4 followed by Nxe4 when the
white knight moves, yet apparently losing a pawn for
nothing. But after 10. Bxb5, Nxe4; 11. Nxe4, Qa5 ch.;
12. Kf2, Qxb5; 13. Nxd6, Qa6; 14. Nxc8, Rxc8; Black has
a good game and value for the pawn lost with the white
king dangerously exposed (diagram 45).
DIAGRAM 45
Opening (8)
In opening (1), several other defences to White’s initial
e4, other than e5, were mentioned. One of these, the
Sicilian, is a very popular choice for the fighting player; it
meets thrust with thrust and counter-thrust with counter
thrust.
White Black
1. e4 c5
The Right Way To Play Chess 115
Threatening to take off the d-pawn should it advance.
2. Nf3 d6
3. d4 cxd4
4. Nxd4 Nf6
5. Nc3 g6
Black prepares to fianchetto the king’s bishop - the

Dragon variation.
6. Be2 Bg7
7. Be3 Nc6
8. 0-0 0-0
9. Nb3 Be6
Both sides are now preparing to attack, White on the

king’s side (notice the two bishops and the f-pawn poised
for assault) and Black on the queen’s side (Black’s king’s
bishop, although screened, is trained on White’s rook at
al).
10. f4
Attack!
10. . . . Na5
Counter-attack!
11. f5 Bc4
12. Nxa5 Bxe2
Not of course 12. . . . Qxa5; 13. Bxc4.

13. Qxe2 Qxa5
14. g4
White flings caution to the winds. Should the attack fail

and the majority of the pieces stay on the board, White’s
king will be difficult to defend.
14. . . . Nd7
15. Nd5
So far, White has had most of the game and has a slight
advantage in position, but Black has plenty of fight and if
White pauses a reversal of fortunes is likely. It is on this
razor-blade margin between success and failure that the
appeal of the opening rests.
DIAGRAM 46
Opening (9)
The French Defence is an ideal opening for the patient
The Openings 117
player. Black allows White to build up a strong pawn

centre and then harasses it from van to rear. As in the
Queen’s Gambit, Black’s chief worry is the development
of the queen’s bishop which is imprisoned by the very first
move.
White Black
1. e4 e6
It is this move that gives the opening its name.
2. d4 d5
The almost invariable second moves,
3. e5
This advance is often delayed.
3. . . . c5
Hitting immediately at the support of the e-pawn.
4. c3 Nc6
Keeping up the pressure on White’s d-pawn.
5. Nf3 Qb6
6. Be2 cxd4
7. cxd4 Nge7
8. b3
The queen’s bishop must be developed.
8. . . . Nf5
Black brings the second knight to bear on the d-pawn

which has now been deprived of its pawn support.
9. Bb2 Bb4 ch.

10. Kfl
DIAGRAM 47
The only move, for if a piece is interposed the d-pawn

falls. An assessment of the position (diagram 47) reveals
that White has so far maintained the pawn at e5,~ a
powerful wedge in the centre. Black however still has
three pieces trained on the weak d-pawn and has
prevented White from castling whilst retaining a solid
defence position. A factor in favour of White, and by no
means obvious, is the mutual interference of the black
bishop at b4 and the knight at f5. Both can be attacked by
The Openings 119
pawns and both would then best be placed at e7. White

will now bring the king to g2 after advancing the g-pawn
and may attack with almost equal facility on either side.
Black will rely for defence on a sound position and the
pressure on the d-pawn. Note that Black’s game is
cramped and that the bishop at c8 is still undeveloped -
two typical features of the French.
Summary
The examples given above are not arranged in any kind
of order but they are generally representative of their
respective openings and run the gamut from the patently
aggressive (King’s Gambit) to the stolidly defensive
(French Defence).
But how, the reader asks, am I to assimilate a seemingly
endless string of variations, where the first slip may prove
dangerous if not fatal?
Fortunately there is no need to learn more than one or
two openings. For example, with the white pieces you will
be able to play the English Opening (1. c4) with little fear
of your opponent transposing it into another. As Black, in
reply to: 1. e4, the French, Sicilian or Caro-Kann are
three good resources at your disposal, and you can
specialise in one of these. After: 1. d4, the Dutch Defence
(1. . . . f5) leaves White little option but to follow the
normal course of the opening.
If, on the other hand, you open: 1. e4 yourself, your
opponent will be able to choose a pet defence - a factor
which will offset the advantage of the move.
However, the adoption of selective lines, based on
personal preference of style, should be left until you have
acquired a thorough working knowledge of the theory of
the game. Until you are reasonably sure of yourself, the
advice offered earlier still applies: 1. e4 is the best opening
move.
It is said that one cannot ride a horse properly until one

has been thrown a few times. The same holds good for
chess; more being learned from a few opening debacles
than this, or any other chapter could impart.
Major Openings
A short list of the openings commonly met with is given
below in alphabetical order. In each example, try to
visualise the central pawn structure, the development of
the pieces and the strategical aims of each side. It
sometimes happens that one opening transposes into
another (for example, a Petroff becomes a Four Knights’).
Artful transpositions have become a technique of modem
master play.
Albin Counter-Gambit (1. d4, d5; 2. c4, e5\ followed after

3. dxe5 by 3. . . . d4). Black surrenders a pawn for the
sake of quick development. Generally good for White.
Alekhine’s Defence (1. e4, Nf6). Black entices the white

pawns to advance by offering the king’s knight as a target.
Normally slightly favourable to White.
Benko Gambit (1. d4, Nf6; 2. c4, c5; 3. d5, b5). A modern
gambit which White generally finds safer to decline.
Benoni (1. d4, c5). A relatively recent addition to Black’s

repertoire, more often seen in the form of the Modern
Benoni (1. d4, Nf6; 2. c4, c5).
Bird’s Opening (1. f4). A doubtful move since it exposes

the white king to attack. Not much played.
Bishop’s Opening (1. e4, e5; 2. Bc4). Can be transposed

into several well-known lines.
The Openings 121
Caro-Kann Defence (1. e4, c6). A popular defence to the

king’s pawn, the Caro-Kann is sound but unambitious. It
avoids the drawback of the French - shutting in of the
queen’s bishop - but has other problems. Slightly favour
able to White.
Centre Counter (1. e4, d5). Black immediately counters in

the centre. Vigorous play, normally with some advantage
to White.
Centre Game (1. e4, e5; 2. d4). White relies on the

initiative and breaks open the centre at once. Equal
chances.
Danish Gambit (1. e4, e5; 2. d4, exd4; 3. c3). Followed,

after 3. . . . dxc3 by 4. Bc4, cxb2; 5. Bxb2. A projection
of the Centre Game, the Danish gives White good chances
in practice despite the loss of the two gambit pawns, due
to the free development obtained for the pieces.
Dutch Defence (1. d4, /5). Black aims at controlling e4.

The game is usually close in the early stages. White has
slightly the better of it as a rule.
English Opening (1. c4). The fianchetto of the king’s

bishop is normal for the first player. White is often playing
the Sicilian Defence with a move in hand but Black has
several good lines.
Evans Gambit (1. e4, e5; 2. Nf3, Nc6; 3. Bc4, Bc5; 4. b4).
The Evans offers White many compensations for the
pawn; a strong centre, quick development and good
attacking chances. The refutation, as is often the case with
gambits, is for Black to give the pawn back at the right
moment.
Flank Openings. A whole complex of openings, grouped

under this general heading, has enjoyed increased popu
larity in recent times. As the description suggests, these
openings are characterised by the avoidance of an early
occupation of the centre, at least by one side. The
fianchetto of one or more bishops is a common feature.
The aim is a timely central pawn advance. The Flank
Openings include the King’s Indian Attack, the Pirc,
Robatsch and some lines of the English, the Reti and
others. A side which avoids early occupation of the centre
must play energetically or be overwhelmed, whilst the side
which occupies the centre first must be careful to avoid
compromising the pawn structure.
Four Knights’ Game (1 . e4, e5; 2. Nf3, Nc6; 3. Nc3, Nf6).

A solid opening giving little advantage to the first player.
French Defence (1. e4, e6). A common reply to e4. Both

players now advance their queens’ pawns when Black has
a secure but rather restricted position. Popular with
positional players who are content to work for an end
game advantage. White usually plays for a king’s side
attack.
Giuoco Piano (1. e4, e5; 2. Nf3, Nc6; 3. Bc4, Bc5). A very
old opening. Sharp attacks by either side are not uncom
mon. Equal game.
Grunfeld Defence (1 . d4, Nf6; 2. c4, g6; 3. Nc3, d5). After

the usual 4. Nf3, Bg7 (diagram 48) Black aims to exploit
the al-h8 diagonal on which White is weak.
King’s Gambit (1. e4, e5; 2. f4). Once one of the most
popular openings, the King’s Gambit is now rarely played
as White’s second move is considered too loosening. The
The Openings 123
gambit is the starting point of many adventurous lines: the

Allgaier, Bishop’s Gambit, Kieseritzsky, and Muzio are
examples. The pawn offer may either be declined or
accepted. In either case, Black has an easy game with
correct play. The opening is highly tactical.
DIAGRAM 48
THE GRUNFELD DEFENCE
King’s Indian Defence (1. d4, Nf6; 2. c4, g6; 3. Nc3, Bg7).
Now one of the most popular defences, giving Black good
chances. White usually adopts one of two general systems:
a large pawn centre with the king’s bishop posted at e2 or
d3, or a less ambitious pawn advance with the bishop
posted at g2. Black sometimes has difficulty in finding
good squares for the minor pieces. The King’s Indian can
easily transpose into one or other of the Flank Openings.
Nimzo-Indian Defence (l.d4, Nf6; 2. c4, e6; 3. Nc3, Bb4).

A popular and versatile defence, described as the equiva
lent of the Ruy Lopez in the Queen’s Pawn Game (q.v.).
A game of strategic possibilities.
Nimzo-Larsen Attack (1. b3). As with most Flank Open

ings, White plans to control the centre by indirect play.
Black should have no difficulty in equalizing.
PetrofTs Defence (1. e4, e5; 2. NO, Nf6). Black counter

attacks at once. A sound reply to 1.e4, usually good for a
draw with best play.
Philidor’s Defence (1. e4, e5; Nf3, d6). White gets the
more mobile game as Black’s king’s bishop is shut in.
Pirc (1. e4, d6; 2. d4, Nf6). A resilient but rather passive
defence.
Queen’s Gambit (1. d4, d5; 2. c4). Like the King’s

Gambit, the starting point of several opening systems; for
example, the Queen’s Gambit Accepted (not often seen),
the Tarrasch, the Catalan, the Cambridge Springs. Popu
lar until recent years when the King’s Indian and Flank
Openings came into favour on account of their greater
flexibility.
Queen’s Indian Defence (1. d4, Nf6; 2. c4, e6; 3. Nc3, b6;
4. g3, Bb7). Black aims to control e4 and prevent the
advance of White’s e-pawn. White prepares to face
bishops on the diagonal.
Queen’s Pawn Game (1. d4, 45). White plans a more

The Openings 125
cautious approach than the Queen’s Gambit. Here 2. Nf3

is common.
Reti Opening (1. Nf3). Coupled with c4, g3 and Bg2, the
aim is control of the centre without occupation in the hope
that Black will set up a rigid pawn structure that will then
be vulnerable to attack. A typical Flank Opening (q.v.).
Ruy Lopez (1. e4, e5; 2. Nf3, Nc6; 3. Bb5). One of the
oldest and most popular of openings, the Ruy abounds in
complex strategical ideas in which the strongest player is
likely to come out on top.
Scotch (1. e4, e5; 2. Nf3, Nc6; 3. d4). After 3. . . . exd4;

4. Nxd4, the Scotch Game, there are few terrors for the
second player. White can instead give up the pawn with
4. Bc4, the Scotch Gambit, but Black should have no
difficulty in withstanding the attack.
Sicilian Defence (1. e4, c5). Nowadays the most popular

defence to 1. e4. Generally, White plays an early d4 when
Black exchanges pawns and attempts to play d5 when it is
safe to do so. Debacles in this opening are not uncommon
but results are evenly balanced.
Slav Defence (1. d4, d5; 2. c4, c6), also the Semi-Slav
(1. d4, d5; 2. c4, c6; 3. Nc3, e6). A resourceful and
interesting defence to the Queen’s Gambit. The Meran
System (which either side can avoid) is an exciting variant
of the Semi-Slav offering equal chances.
Two Knights’ Defence (1. e4, e5; 2. Nf3, Nc6; 3. Bc4,

Nf6). An alternative to the Giuoco Piano 3. . . . Bc5.
Interesting play follows 4. Ng5 attacking the weak f-pawn.
On the whole, chances are about even.
Vienna (1. e4, e5; 2. Nc3). Gives a fairly equal game.

After 2. . . . Nc6; 3. f4, we have the Vienna Gambit, not
dissimilar to the King’s Gambit.
6
THE MIDDLE GAME
Introduction
In the opening and the end game the chessplayer can
fall back to a considerable extent on the labour of others.
In the middle game, however, you are on your own.
Very little clear-cut instruction can be given on this
phase of the game, but there exists an extensive field of
theory. A lot of this theory is based on personal
preferences, but certain aims, and the means of achieving
these aims, are endorsed by all authorities. It is with this
field of accepted theory that we are concerned in this
chapter.
The Importance of the Centre

A lot has been said already on this subject. Pawns and
pieces established on, or controlling, centre squares also
exert their influence on both wings. ‘
Pieces, we know, have greater scope when in the middle
of the board. A knight posted on a central square can be
transferred to any position in two or three moves whereas
a knight on the edge of the board would require several
moves to reach a vital point on the other wing.
As in warfare, the break-through in the middle is the

most effective, the defence forces being split into two
camps which, being to a degree interdependent, are the
more easily destroyed.
A wing attack, even if successful, may not be decisive.
In practice, however, the wing attack is the more common
because, as a result of the necessity of central concentra
tion in the early stages of the game, a deadlock is frequent
here.
Exchange of Men
The vexed question of when and when not to exchange
has been long encumbered by prejudice and a distorted
sense of what constitutes sportsmanship.
Be guided only by the position; if you are ahead in
material, endeavour to force exchanges and so increase
your strength ratio; if behind, avoid exchanges, particu
larly of queens, or bishops of opposite colours. Do not let
favouritism affect your judgment: many otherwise good
players admit to preferences for this or that piece and
avoid exchanging even when to do so would be to their
advantage. Ignore the widespread belief that exchanging
queens early on in the game is a breach of fair play.
Ask yourself the following questions when contemplat
ing an exchange:
(a) Am I ahead in material and well placed for the end

game?
(b) Which of the two pieces, mine or my opponent’s, is
the stronger or likely to become the stronger?
(c) Am I losing time by taking his piece off, and would
it not be better to let mine be taken first?
Let the answers determine your course of action.

The Middle Game 129
Pawns and Pawn Structures

The importance of the pawn structure is difficult to
over-estimate. Pawns can be battering-rams for the
attack, bulwarks for the defence; and they can also be
grave liabilities in either.
Because of the great influence that pawn formations
exert on the middle game, and to a lesser degree on the
opening and end game, a comprehensive survey of their
diverse functions and their merits and demerits are given.
Again, generalization has been necessary, and the relative
position of the pieces, material and temporal factors must
also be taken into account.
Isolated Pawn
A pawn is isolated if there is no friendly pawn on either
of the two adjacent files. Because it cannot receive pawn
support an isolated pawn is weak.
Doubled Pawns
Pawns are said to be doubled if there are two of the
same colour on a file. Doubled pawns are unable to
support each other and are particularly vulnerable to
attack. Their value is relatively slight (one pawn is able to
block two hostile pawns that are doubled). Doubled,
isolated pawns are weaker still. Occasionally pawns may
be trebled or even quadrupled on a file.
Passed Pawn
A passed pawn is one which is faced with no hostile
pawn either on the same file or on one of the two adjacent
files.
A passed pawn is a distinct asset, particularly in the
ending, since it will command the attention of an enemy
piece to restrain its advance.
Backward Pawn
A backward pawn, as its name implies, is a pawn that
has been “left behind” and thereby deprived of its pawn
support. It is weak because to all intents and purposes it is
isolated.
United Pawns
Pawns standing side by side or supporting one another
are said to be united. United pawns are strong.
DIAGRAM 49
Diagram 49 gives examples of the pawn types men

tioned. The white pawns on b5 and d2 are isolated. The
two black pawns on b6 and b7 are doubled and isolated.
They are blocked by the single white pawn.
The white pawn on d2 is a passed pawn, notwithstand
ing that it has not yet moved and is isolated. Black’s pawn
at g7 is backward; it cannot advance without being
captured by the white pawn at f5. Both the pawn
The Middle Game 131
formations on the king’s side are composed of united

pawns.
Pawn Formations
A pawn formation is a series of united pawns; it may be
mobile or static in character.
(a) Mobile. The strongest mobile formation is line
abreast, provided the pawns have ample piece support.
(b) Static. The strongest static pawn formation is one in
the form of a wedge with the apex in the centre, or a single
diagonal chain directed towards the centre. A chain
extending outwards from the centre of the board is weak.
Diagram 50 will make this clear. The White pawn
structure is strong, that of Black weak. White controls by
far the greater space. The structure is static (none of the
pawns can move) and the play would therefore be
confined to the pieces. Such formations are uncommon;
but chains of three pawns, as in the last diagram, occur in
almost every game at one stage or another.
DIAGRAM 50
132 The Right .Way To Play Chess
United Pawn Structures

Structures of three united pawns are very common, and
every combination, together with general remarks on the
intrinsic value of each, is given below. For combinations
of four or more pawns, the assessment has only to be
extended. Orientations and reflections of a basic structure
are not included.
DIAGRAM 51
(A) Very strong. The pawns command a line of five

squares immediately in front of them. If any one is
attacked, it may advance one square when it will
automatically be defended.
(B) Strong, particularly if the advanced pawn is nearest
the centre of the board.
(C) Strong if the apex is towards the centre, weak if
away from the centre. Any bishops remaining on the
board must also be taken into account. If White has a
bishop on the opposite colour to that on which the pawns
stand their value is enhanced; on the other hand, if Black
has a bishop on the opposite colour it will diminish the
value of the structure. The reason for this has already
been explained in Chapter 4.
The Middle Game 133
DIAGRAM 54 DIAGRAM 55 DIAGRAM 56
(D) (E) (F)
(D) Strong if combined with a bishop on the opposite

colour.
(E) Moderately strong if the backward pawn is nearest
to the edge of the board, weaker if nearest the middle.
(F) Generally weak, but if the centre pawn can be
advanced will become strong. The “hole” is an ideal post
for a hostile piece.
DiAG. 57 DIAG. 58 DIAG. 59 DIAG. 60
(G) ( H) (1) (J)
(G) Weak, particularly if there is a single black pawn in

front of the foremost white pawn.
(H) Weak, but slightly better if the double pawn is
away from the centre.
(/) Weak, but not so weak as (G) or (H).
(J) Very weak. Again the question of the opposite-
coloured bishops will arise.
Pawns in Attack
Supposing Black has castled on the king’s side, and the
moment is propitious for attack. Which pawn or pawns
should White advance?
The choice usually falls between the f-pawn and the h-
pawn. It must be remembered that pawns are easily blocked
by opposing pawns. But a defender will often be compel
led to weaken the attacker to make a profitable sacrifice.
White sometimes advances the g-pawn to drive away an
enemy piece (usually a knight) at f6, or to attack a pawn
that has been played to h6. You must be careful, when
advancing like this, not to expose your own king. In this
respect the advance of the g-pawn is especially important
since it provides the most shelter for the king.
Pawns in Defence
Here we are concerned primarily with the defence of
the king after castling, the rules given holding good,
however, for defence under most circumstances.
Pawns are at their strongest in their initial positions,
and the golden rule is: “Don’t move a pawn until you are
forced to.” The reason for this is that a pawn once moved
offers a target and creates structural weaknesses. The
exception to this rule is a pawn advance to the third rank
in order to fianchetto a bishop. Occasionally a move like
f4 by White will block the position, but if this pawn can be
attacked by an enemy pawn the measure will only be
temporary, and the weaknesses created by the advance
may prove to be irreparable.
The defence of the castled king depends to a large
extent on the make-up of the attacking forces. Supposing
White, who has castled king’s side, is under fire from
Black. The most vulnerable point is h2 (compared to f2
prior to castling), particularly if Black has retained the
king’s bishop. White must be careful of the move h3 if
The Middle Game 135
Black’s queen’s bishop is still on the board, for the

sacrifice Bxh3 is a common way to break open the king’s
position since after gxh3, the king is stripped bare.
The main pawn positions that can arise in front of a
castled king, together with remarks on the strong and
weak points of each, are given in outline:
(>4) Strong; particularly if there is a knight at f3 to

guard the h-pawn.
(B) Strong; particularly if Black has not the same
coloured bishop.
(C) Quite strong; but not so favourable as the first two.
Vulnerable to pawn attack.
(D) Quite strong if there is also a knight at f3. May be

dangerous if Black has retained the bishop that can attack

the h-pawn, or if Black is able to advance the g-pawn with
impunity.
(E) Strong; particularly if a knight can be brought to f3.
(F) Weak, but not unduly so, particularly if f4 can be
played in safety.
(G) (H) (/)
(G) Very weak if the black queen is on the board

supported by one or more of the following: (1) Queen’s
bishop. (2) One or both knights. (3) A pawn that can be
established at f3 or h3 (i.e., either of the holes formed by
the advance of the g-pawn). As has been seen in Chapter
4, it is not difficult to mate a king in this position. Of
course, if the white king’s bishop is still on the board and
can be brought to g2 the position immediately becomes
strong (see (B) ).
(H) Structurally weaker than (G), this pawn formation
does not, however, offer Black quite so many mating
opportunities, but almost any hostile man established at
g3 will prove a source of embarrassment.
(7) Weak. If White has a bishop at g2 and a knight at
f3 the position is considerably improved. Black’s best way
. of storming this position is by h5, h4, attacking the g-pawn
and threatening by exchange to open the h-file.
The Middle Game 137
General
All other pawn formations in front of a castled king are
bad; if the rook has been moved away, each position is
proportionately worse. The criterion in all the examples,
and in (G) and (H) in particular, lies in whether Black has
adequate force and is sufficiently well placed to carry out
an attack. If the end game is reached the pawn structure,
so far as the defence of the king is concerned, is
inconsequential.
The Pieces
General handling of the pieces in the middle game has
already been covered. The bishops and rooks need open
lines on which to operate; the knights strong central
squares immune from pawn attack. Two bishops co
operate well, covering diagonal side by side. Queen and
bishop and queen and knight work together harmoniously
as do rook and knight. Two or more pieces exercising the
same function on a file, diagonal or rank can be powerful;
for example, queen and bishop (the queen in front of the
bishop) attacking a square, especially in the field of the
enemy king. Also two rooks, rook and queen or two rooks
and queen on a file or rank (the queen behind the rook(s)
here). As far as the ranks go, the seventh and occasionally
the eighth are the only two that come in for consideration,
as on these the major pieces are secure from pawn attack.
Strong and Weak Squares

Every move by either side may result in a change of
square values. A weak square may be said to be a hole in
the pawn formation - the result, in the majority of cases,
of a backward pawn. This weak square will be a strong
point for the other side, and since, by definition, it is
immune from pawn attack, it will be an ideal post for a
piece. Weak squares may be only temporarily weak,

however. Master-play is entirely concerned with the
aggravation and exploitation of weak points.
Open and Close Positions

Blocked positions are not common in chess, although
one wing may become paralysed as the result of the rival
pawn formations interlocking.
If it is intended to attack on one side of the board it is
often advisable to seal the other side in order to forestall
any possible counter-attack in that quarter. This can be
accomplished by timely pawn advances.
In a close position in particular the ultimate pawn
skeleton should be considered with regard to the end
game. Such positions afford more opportunity for precise
calculation than in open games, as with static or near
static pawn formations the advancing kings will not have
to contend with mercurial pawn structures.
In close positions any discrepancy in forces is less
marked than in open positions.
In open games, which can arise from close openings it
should be noted, the prestige of the pawn suffers; but
often exchanges result in some neglected pawn proving
the decisive factor.
Piece Traps
There are several traps for winning material that are
perennial. It is consequently well worth while to commit
them to memory. *
(i4) Knight. Be careful to leave an escape square for a
knight after playing it to the side of the board, otherwise
*The examples given are basic structures which must be recognised in

game settings and are not of course, game positions complete in
themselves.
The Middle Game 139
the advance of a hostile pawn may win it. The same care
should be taken if a knight is on the fifth rank with an
enemy pawn behind controlling the two best escape
squares.
Example: (i) WHITE: N on h4, Ps on e5, f2, g2;
BLACK: Ps on e6, g7, h7. If White plays 1. f3?, Black
wins the knight by 1 . . . . g5.
(ii) WHITE: N on e5, Ps on d4, e3, f4; BLACK: K on
e8, N on e7, Ps on d5, e4, f7, h5. Black wins the knight by
1. . . . f 6 .
( B ) Bishop. The trapping of a bishop by pawns was
demonstrated in Chapter 4. Another common device is
the shutting-in of a bishop that captures an undefended
rook’s pawn.
Example: WHITE: B on e3; BLACK: R on c8, Ps on
a7, b7, c7. If White now takes the pawn - 1. Bxa7, Black
plays 1. . . . b6; closing the bishop’s escape route and
threatening Ra8 and Rxa7.
(C) Rook. A bishop is sometimes able to shut-in a rook,
winning the exchange.
Example: WHITE: R on e4, P on a2; BLACK: B on d6,
Ps on a5, b7. If White now attacks the a-pawn, disaster
awaits: 1. Ra4?, Bb4 (now the rook cannot escape); 2. a3,
b5; winning the exchange for a pawn.
(D) Queen. A queen can be trapped if she ventures too
far into enemy territory, particularly if she has only one
line of retreat.
Example: WHITE: Q on a l ; BLACK: K on c7, R on
d8, B on b7, Ps on a7, b6. If 1. Qxa7?, Ra8 and the queen
cannot escape.
The Seventh Rank

In Chapter 4 we remarked on the power of the rook on
the seventh rank and we also investigated the potentiali
ties of the discovered check. A type of position not by any
means uncommon illustrates the devastating effect of the

combination of these two forces: WHITE: R on e7, B on
a l ; BLACK: K on g8, Q on a8, Ns on d7, f8, Ps on a7, b7,
c7, g7. Here the black queen, apparently secure in the
corner, falls along with all of Black’s queen’s side men:
1. Rxg7 ch!, Kh8 (the only square); 2. Rxd7 dis. ch., Kg8;
3. Rg7 ch., Kh8; 4. Rxc7 dis. ch., Kg8; 5. Rg7 ch., Kh8;
6. Rxb7 dis. ch., Kg8; 7. Rg7 ch., Kh8; 8. Rxa7 dis. ch.,
Kg8; 9. Rxa8. '
General Maxims
Before going on to practical examples of middle game
play, a few general maxims will not come amiss.
(a) Watch for forks. To someone not familiar with the

moves of the men, the fork is a perpetual source of worry,
particularly where knights are concerned. Momentary
“blindness” also results in casualties from the pawn fork.
This accounts, curiously, for a higher relative percentage
of victims among more experienced players than the
knight fork - possibly because the players are more
concerned with strategical considerations and are inclined
to overlook the anti-positional move.
(b) Watch the back rank. Even if no immediate danger
threatens, a “hole” for the king by moving up a pawn is
always a sound investment if time and position permit.
(c) Do not attack undefended pieces for the privilege of
driving them to better squares. Such pieces are best left
“hanging” as they may become ideal targets for combina
tions at a later stage.
(d) After castling K-side be careful of advancing the
bishop’s pawn if the hostile king’s bishop can check. There
is a prosaic finesse winning the exchange which is common
to such positions:
The Middle Game 141
WHITE: K on g l, Q on d l, R on fl, Ps on f4, g2, h2;

BLACK: B on e7, N on g4 or e4. White has just played
1. f4?. Play now runs 1. . . . Bc5 ch.; 2. K hl, Nf2 ch.
(forking king and queen); 3. Rxf2, Bxf2. Black has won a
rook for a bishop.
(e) Do not bring rooks into play via the wings.
Development of this nature is almost invariably bad.
(f) If you intend to attack be careful to keep a fluid
pawn formation: do not block the position or allow your
opponent to do so.
(g) Finally, remember that in chess timidity pays no
dividends - play aggressively!
Examples from Play: (1) King’s Side Attack

When discussing the question of an attack with pawns
on a castled king it was pointed out that it is often
advisable to castle on the opposite side. Here is a good
example of this type of game taken from club play.
White Black
1. e4 e6
2. d4 d5
3. exd5 exd5
4. Bd3 Nf6
5. Ne2 Be7
6. Nbc3 c6
7. Bf4 Bg4
8. f3 Bh5
9. Qd2 Nbd7
10. Ng3 Bg6
11. Nf5 0-0
12. Ne2 Re8
13. g4
White, having established a strong knight at f5, judges

the moment right for attack. Notice these points:
(a) White’s pieces are all in play.

(b) Black’s queen’s bishop is open to attack from the
advancing pawns. Bxf5 would be a mistake, as after gxf5
White would have an open file along which the white
rooks would threaten the black king.
(c) White’s pawn at f3 immobilises the knight at f6, the
square e4 otherwise providing a splendid outpost for this
piece.
13. . . . Nf8
14 . (MM) a5
DIAGRAM 70
Black correctly appraises that the best chance lies in

counter-attack on the queen’s wing. However prospects
do not look good and the text move is too slow. From now
The Middle Game 143
on White dominates the game.
15. h4
White threatens h5, which would force White to take

off the knight as the bishop has no escape square.
15. . . . h5
16. Neg3
White wishes to recapture on f5 with a knight, and so

sacrifices a pawn to this end.
16. . . . hxg4
17. fxg4 Nxg4
These exchanges are fatal for Black, who now opens the
g-file as well as allowing the h-pawn to advance.
18. h5 Bh7
19. Qe2 Nf6
20. Qg2
White has gained time and is in a position to exploit the

open file. The immediate threat is the curious 21. Nxg7,
and the king would not be able to recapture because of
22. Nf5 dbl. ch., Kh8; and 23. Qg7 mate. The power of the
double check is admirably demonstrated: the knight is en
prise to the bishop and there are notionally three pieces
that Black can interpose between the king and the queen.
But a double check prescribes a king move and nothing
can be done to avert mate.
20. . . . Ne6
21. Be5
Indirectly attacking the weak g-pawn.
2 1 .... Kh8
The black king evades the indirect file attack of the

white queen only to walk into the indirect attack of the
white bishop on e5. However, there is littie to be done.
22. h6 g6
To avoid the opening of the h-file, which would be

terminal, Black is compelled to advance the g-pawn. Now
however the N at f6 is pinned and Black cannot escape the
loss of apiece.
23. Nxe7 Qxe7

24. Rdfl Kg8
25. Rxf6 Nf8
26. Nh5 Nd7
Black cannot capture the knight as the pawn is pinned.
27. Bxg6
An example of bulldozer tactics to crush a weak king’s

position: Black’s last defences are stripped.
27. ... fxg6

28. Rxg6 ch. Bxg6
29. Qxg6 ch. Kf8
30. Bg7 ch. Kg8
31. h7 mate.
Black watched passively as White’s forces gathered

strength, instead of initiating early action in the centre or
The Middle Game 145
on the queen’s side. Black’s position was cramped,

making it difficult to marshal a defence - notice that at the
end of the game, the queen’s rook still stood on its starting
square.
DIAGRAM 71
FINAL POSITION
One lesson at least may be drawn: it never pays to adopt

wait-and-see tactics in the middle game.
Example from Play: (2) The Switch Attack

When engaged in a struggle on one wing, an eye should
be kept on the possibility of a quick switch-over to the
other wing if the opportunity presents itself.
Here is another game in which White never for one
moment loses sight of the whole board.
W h ite B la ck
1. e4 e5
2. Nf3 Nc6
3. Bb5 a6
4. Ba4 Nf6
5. 0-0 Nxe4
6. d4 b5
7. Bb3 d5
8. dxeS Be6
Up to here, identical with the game given in Opening

(5) in the last chapter.
9. Qe2 Be7
10. Rdl Na5
11. Nbd2 Nxd2
12. Bxd2 Nc4
13. Bxc4 bxc4
14. b3 cxb3
15. axb3
White has gained a positional advantage. The black a-

pawn is isolated on a file open to the white rooks. The
threat is Rxa6.
15. . . . Qc8
16. Ra5
This square is momentarily safe from bishop attack so

White takes the opportunity of doubling rooks.
16. . . . Qb7
17. Rdal BcS
18. Bg5
The Middle Game 147
DIAGRAM 72
An attempt to prevent Black castling. If Black plays

now 18. . . . f6; White wins quickly by 19. exf6 and the
black bishop is pinned.
18. . . . Bb4
19. R5a4 0-0
20. Qd3 Bd7
A trap. If now 21. Rxa6, Bb5!; attacking both rook and

queen, would win. However, Black did not expect White
to walk the plank, and real intention was to establish the
bishop at b5, relieving the weak a-pawn and freeing the
queen’s rook for action elsewhere. Black is blind to
White’s plan, although White’s last move, coupled with
the presence of the two white minor pieces on the king’s
side were a warning that White might not be wholly
concerned with what was happening on the queen’s side.
The next move comes as a complete shock.
21. c3 Bxa4
Black can do no better than accept the offer of the

exchange.
22. Rxa4 Bc5

23. Rh4
Switching to the king’s side. White threatens mate on

the move by Qxh7.
23. . . . f5
Black has little option. The other alternatives are

worse, (a) 23. . . . g6; permitting Bf6 and a set-up similar
to example (h) of Mating Combinations (Chapter 4),
when White can force mate in a few moves; or (b) 23. . . .
h6; allowing the sacrificial combination 24. Bxh6! and
Black’s king’s position is hopeless. This second type of
position - when the king is denuded of pawn protection -
has also been referred to previously, an endorsement of
how frequently these standard positions can arise.
24. exf6 e. p.
White takes the pawn en passant. It cannot be recap

tured without quick loss, as Qhx7 ch. is still threatened.
24------ g6
25. Ne5 c6
. 26. Nxg6
As in the previous game, White sacrifices a piece on g6

to break open the position. Here it cannot be taken
without mate in two following (26. . . . hxg6; 27. Qxg6
i
The Middle Game 149
ch., Qg7; 28. Qxg7 mate).
26. . . . Rf7
27. Ne5 Re8
28. Qg3
28. Nxf7 would be a bad mistake. 28. . . . Rel ch.;

29. Qfl (forced), Rxfl ch.; 30. Kxfl, Qxf7 and wins. This
bears out the maxim “W atchthe back rank” .
28. . . . Qa7
Black cannot well avoid the double check, for Kf8 or

Kh8 would be met with decisive checks from the bishop
and knight respectively.
29. Bh6 dis. ch. Kh8

30. Ng6 ch. Kg8
DIAGRAM 73
FINAL POSITION
Black cannot capture the knight: 30. . . . hxg6; 31. Bf7

d b l. ch., Kg8; 32. Rh8 mate.
31. Ne7 dbl. ch. Kh8

32. Qg7 ch. Rxg7
33. fxg7mate
A delightfully conducted attack. (See diagram 73.)
Examples from Play: (3) The Centre Break-Through

A break-through in the centre in the early stages of the
game is not common, since it can only be achieved when
the opposition is disproportionately weak. This example
shows condign punishment meted out to a timid player.
W h ite B la ck
1. c4 e5
2. Nf3 e4
3. Nd4 d5
4. e3 c5
5. Nb3 d4
6. d3
White was worried about being left with a backward d-

pawn.
6. . . . exd3
7. Qxd3 Nc6
8. exd4 cxd4
Black has got a passed pawn in the centre. Can it be

held? If so, White’s game is already bad as the pawn
exercises restraint over the white minor pieces. White will
The Middle Game 151
take at least two moves to bring another piece to bear on

the intruder (Nbd2-f3), and meanwhile the queen is
exposed to attack.
9. a3
White is afraid of Nb4 because after 10. Qe4 ch., Be6;

11. Nxd5, Qxd5; 12. Qxd5, Nc2 ch.; 13. K moves, Nxd5;
and Black has won a piece for a pawn. This line is by no
means forced however, and the text is a waste of time.
9. . . . Qf6
10. N ld2 Bf5
11. Ne4
This is a mistake, but Black already has command of the
centre.
11. . . . Qe6
Pinning the knight and threatening to win it next move.

Observe how the white pieces get tied up in trying to
prevent the loss of this piece.
12. f3 Nf6
13. Nd2
Since the knight on e4 is unable to move, this means the

king’s knight.
13. . . . 0-0-0
Black has succeeded in trussing the defence. The text

brings the rook to guard the advanced pawn. White can do
nothing about the terrible threat of 14. . . . Ne5! attack
ing the queen and preparing a further advance of the
formidable and now secure pawn.
14. Kdl
To unpin the knight.
14. . . . Ne5
15. Qb3 d3
16. Nxf6 gxf6
17. Qa4
Paralysis has set in, and White is reduced to moving the

queen again.
17. . . . Bc5
Black guards the a-pawn, brings the last minor piece

into play and unites the rooks, all in the one move.
18. Nb3 Nxf3
DIAGRAM 74

The Middle Game 153
This sacrifice can hardly be wrong in such an over

whelming position.
19. gxf3
White has no option but to accept: Qel mate was

threatened. Here 19. Bd2 was useless: 19. . . . Nxd2;
20. Nxd2, Bg4 ch.; 21. Nf3 (not 21. Kcl, Qel mate),
Rhe8; 22. Kcl (22. Qa5 is no better), Bxf3; 23. gxf3,
Qel ch.; 24. Q d l, Be3 ch. etc.
19. . . . d2
The pawn which has been the cause of all White’s

troubles is now sacrificed to force the win. Whichever
white piece captures (although again there is no option)
will be pinned.
20. Bxd2 Rhe8

21. Bh3
White had to prevent mate at e l .
21. . . . Qe2 ch.

22. Kcl Bxh3
23. Rel Qxel ch.!
24. Bxel Rxel ch.
25. Kc2 Bf5 ch.
26. Kc3 Re3 mate
A pleasing finish. Note how White’s forces were split in

two by the centre thrust and how, until near the end,
neither of the white bishops or rooks had even moved. In
the final position it will be seen that both the centre files
are controlled by the black rooks and both bishops are
occupying the best possible squares relative to the

position, whereas not one of the white men is well placed.
Examples from Play: (4) The Queen’s Side Attack

The Q-side attack differs fundamentally from the K-
side attack in that there is no obvious target. This is only
true in the broad sense, for in effect any weakness
constitutes a target; but a weakness is not strictly a
weakness unless it can be exploited. A Q-side attack may
be desirable for one or more of several reasons; it may be
to counter a K-side attack, it may be because the K-side is
either blockaded or barren of opportunity, or it may be
because the dispersal of the men is such as to be conducive
to action on this wing. In the Q-side attack the balance of
pawns engaged is of prime importance. By early
exchanges it is common to find one player left with three
pawns against two on the Q-side and with, say, three
against four in the centre and on the K-side. In any case,
the attacker’s plan should be governed to a large extent by
the pawn ratio and the pawn structure, for weaknesses are
created primarily by pawns through their inability to
retrace their steps.
The attacker therefore launches an assault with the
intention of exploiting (or creating) a weakness in order to
achieve an advantage in material, space or time.
The attacker must be prepared to change his plan at any
apparent change of weaknesses (i.e., when the defender
disposes of one weakness only to create another). *
The example appended is from Master play, and I have
selected it for its simplicity of idea and execution.
W h ite B la ck
1. d4 d5
2. c4 e6
3. Nc3 Nf6
The Middle Game 155
4. Bg5 Be7
5. e3 h6
6. Bh4 <M)
7. R cl Ne4
8. Bxe7 Qxe7
9. cxd5 Nxc3
Not of course 9. . . . exd5; 10. Nxd5!
10. Rxc3 exd5

11. Bd3 c6
12. Ne2 Nd7
13. 0-0 Nf6
14. Qbl
Up to here the game has followed well-trodden paths.

White now perceives that the king’s side is sterile of
opportunity, the centre is closed (there is little chance of
being able to force e4), and therefore the future of the
game lies on the queen’s wing.
Although White has the pawn minority on this side (two
to three), the Black pieces are not well placed whilst
White can manoeuvre freely. The text move prepares the
advance of the b-pawn.
14. . . . a5
Temporarily delaying the advance of the pawn.
15. a3 Bd7
White has succeeded in creating a small weakness in the v

black position: either the b- or c-pawn is going to be
permanently backward.
16. b4 axb4
17. axb4 Ra4
Black has obtained compensation in the open rook’s

file. There follows a typical manoeuvre in which Black
moves the rook up to attack an undefended man and is
thereby able to double rooks on the file.
18. Rb3
Not 18. b5, cxb5; 19. Bxb5, Rb4; 20. Rb3, Bxb5;
21. Rxb4, Bxe2; 22. Rxb7, Qe4; forcing the exchange
of queens and leaving Black with a material advantage.
Subtle resources frequently lurk in innocent-looking
positions!
18. . . . Rfa8
19. b5 g<*
20. bxc6 Bxc6
Now the black b-pawn is isolated. The d-pawn is also

isolated. Black could have avoided both these contingen
cies by recapturing with the pawn, but then the bishop
would have been shut in, a white rook would have been
able to occupy the seventh rank, and the advance c5
would probably never have been playable.
21. Bb5 Ra2

22. Nc3 R2a3
23. Rcl Ng4
24. Rxa3 Rxa3
25. Ndl
Black threatened to give up the knight for a winning

The Middle Game 157
attack by: 25. . . . Nxe3; 26. fxe3, Qxe3 ch.; 27. K hl,
Rxc3.
25. . . . Qc7
26. g3
Black threatened Qxh2 ch. White correctly estimates

that Black’s attack to be of little consequence as Black has
not now time to take advantage of White’s weakened
pawn position.
26. . . . Qa5
27. Bxc6 bxc6
28. h3 Nf6
29. Rxc6
The weak pawn falls, and Black has a lost position.

Observe how White is now able to turn the flank and to
proceed to a direct attack on the black king.
29. . . . Ral
30. Qb8 ch. Kg7
31. Qe5
Wrong would have been 31. Rxf6, hoping for 31. . . .

Kxf6; 32. Qe5 mate because of the reply 31. . . . Rxdl
ch.; 32. Kg2, Q el; and now White, faced with a mate
threat, has nothing better than 33. Rxf7 ch., Kxf7; 34. Qc7
ch., Kf6; 35. Qd6 ch. etc.
31. . . . Rxdl ch.
White has not sacrificed a piece because the black

knight is pinned and cannot be saved.
DIAGRAM 75
POSITION AFTER WHITE'S 31 ST MOVE
32. Kh2 Qd8
If 32. . . . Q e l; White gets there first with 33. Qxf6 ch.

and mate in two.
33. Rd6 Qxd6
There is nothing better. If 33. . . . Qc7; 34. Qxf6 ch.,

Kh7; 35. Rd8 threatens mate on the move and the queen
must be given up. Or 33. . . . Qe8; 34. Qxf6 ch., Kh7;
35. Rd8.
34. Qxd6 Rd2

35. Qe5
And Black prolonged the game a few more moves

before resigning.
The Middle Game 159
The game, logical throughout, is a lesson in model play

on the part of White who created weaknesses and
exploited them sufficiently to win a pawn, and then
attacked the compromised defence structure that
remained. Even if Black had not gone in for the faulty
combination that cost the game, it would not have been
long before White’s extra pawn would have made itself
felt. The isolated d-pawn would also have been difficult to
defend against the combined assault of the White pieces,
and the bolder but swifter death was to be preferred.
Combinations
To give you practice in assessing positions where it is
often possible to force immediate wins, some examples
from play are given. In all cases White, to move, wins. No
solution is longer than six moves, and the examples are
given in order of difficulty. Solutions are given at the end.
The Middle Game 161
Solutions
DIAGRAM 76: 1. Qxh7 ch, Kxh7; 2. hxg6 d b l. ch. and
mate.
DIAGRAM 77: 1. Qxh7 ch., Kxh7; 2. Nxf6 dbl. ch.,

Kh8; 3. Ng6 mate.
DIAGRAM 78: 1. Qxg7 ch., Kxg7; 2. Bc3 ch., Kg6

(Kg8; 3. Nh6 mate); 3. Nf4 mate.
DIAGRAM 79:1. Bf8 dis. ch., Bh5; 2. Qxh5 ch., gxh5;

3. Rh6mate.
DIAGRAM 80: 1. Rd8 ch., Rxd8; 2. Qa2 ch. (and now

White has the Philidor’s Legacy), Kh8; 3. Nf7 ch., Kg8;
4. Nh6 d b l. ch., Kh8; 5. Qg8 ch., Rxg8; 6. Nf7 mate.
DIAGRAM 81: 1. Ra8 ch., Kxa8; 2. Ral ch., Kb8;

3. Ra8 ch., Kxa8; 4. Qal ch., Kb8; 5. Qa7 ch., Kc8; 6. Qa8
mate.
7
THE END GAME
Introduction
Very few players get excited about the end game; it is
the calm after the storm, the anti-climax. This is probably
why the average player manages it so badly; certain it is
that more won games are dissipated in the ending than in
the opening and middle game combined.
There is a tendency to speed up the play when there are
only a few men left on the board - and the “obvious” line
of play is often the wrong one. The subtleties that exist in
this branch of the game are prodigious, and seemingly
hopeless positions may be redeemed by witch-like man
oeuvres. There is an old chess adage that runs, “If you see
a good move, look for a better one” , and nowhere does it
hold more true than in the end game.
The first prejudice that must be destroyed is that the
end game is stereotyped and uninteresting. It demands
imagination, patience and accurate calculation. A study of
the various piece and pawn endings also accords a
valuable insight into the powers, both latent and active, of
the individual chessmen.
The End Game 163
The Opposition
In order to begin to understand the theory governing
the end game, a clear conception of the “opposition” and
what it implies is essential.
If two kings are facing each other on the same file or
rank with one vacant square only between them, the
player who HAS NOT the move is said to have the
“opposition” . A corollary is the diagonal opposition - two
kings standing on the same diagonal with one vacant
square between them. Again the player who HAS NOT
the move has the opposition.
The opposition is only considered to be in effect if the
player who is not possessed of it has no other man except
the king that can be moved without incurring disadvan
tage.
To have the opposition is almost always desirable, and
is often a winning advantage for it permits the king to gain
territory at the expense of the enemy king, and perhaps,
eventually to penetrate the enemy pawn position.
Look at diagram 82. Here the kings are facing each
other and the pawn formations are static and to all intents
symmetrical. If Black is to move, White wins. If White is
to move the game is a draw.
(a) Black to move. 1. . . . Ke6; 2. Kc5 (the white king
is at once able to attack Black’s pawns), Ke5; 3. Kxb5,
Kd4 (only now is the black king able to pass to attack the
white pawns); 4. Kxa4, Ke3; 5. b5, Kxf3; 6. b6, Kxg4;
7. b7, f3; 8. b8(Q) and wins. However, the conclusion
requires some care: 8. . . . f2; 9. Qb5, Kf4 (9. . . . Kf3?;
10. Qxg5, fl(Q ); 11. Qf5 ch., Ke2; 12. Qxfl ch., Kxfl;
13. Kb5 and the a-pawn queens); 10. Qe2, Kg3; 11. Kb4,
Kg2 (there is nothing better); 12. Qg4 ch., K hl; 13. Qh5
ch., Kgl; 14. Qxg5 ch., and again White can give up the
queen for the f-pawn, marching the a-pawn through to
promotion. (There are other ways of winning this ending.)
DIAGRAM 82
Supposing if, instead of 1. . . . Ke6; Black had played

1. . . . Kc6. Now White’s task is easier: 2. Ke5, Kc7 (the
diagonal opposition, but now tactical considerations take
precedence); 3. Kf5, Kd6; 4. Kxg5, Ke5; 5. Kh6 and
White promotes the g-pawn quickly. Note that the white
king in advance and to one side of the passed pawn assures
its promotion. Black can do nothing; viz: 5. . . . Kf6;
6. g5 ch., Kf7; 7. Kh7 (preventing the black king occupy
ing the promotion square), Kf8; 8. g6, Ke7; 9. g7, Kf7;
10. g8(Q) ch.
(b) White to move. 1. Ke4, Ke6; 2. Kd4, Kd6 and the
white king cannot pass, and draw by repetition of moves
will follow (see Chapter 1).
Now remove the four pawns on the king’s side and

study the position again. What result with each player to
move? Answer - as before: White to move draws; Black
The End Game 165
to move, White wins.
(a) Black to move. 1. . . . Kc6 (Black has lost the

opposition); 2. Ke5 (White elects to penetrate the fifth
rank instead: to have taken the opposition would merely
have maintained the status quo), Kc7; 3. K,d5, Kb6 (now
the importance of White’s Ke5 is evident: Black is obliged
again to surrender the opposition in order to protect the
undefended b-pawn); 4. Kd6! (White, having gained
territory, now takes the opposition), Kb7; 5. Kc5, Ka6;
6. Kc6 (the opposition again: Black is compelled to relin
quish the pawn), Ka7; 8. Kxb5, Kb7; 9. Kxa4 and White
will have no difficulty in winning.
(b) White to move. 1. Ke4, Ke6; 2. Kd4, Kd6; and we
have the same crab-like repetition of moves as before,
with neither party yielding ground.
Now replace the four pawns on the king’s side and

remove the four pawns on the queen’s side. Is the result
materially affected? The answer is no - White without the
move wins, but with the move can only draw.
(a) Black to move. 1. . . . Ke6; 2. Ke4, Kf6; 3. Kd5

(temporarily surrendering the opposition, but penetrating
the same rank as the undefended black pawn), Kf7;
4. Ke5 (threatening to win the pawn in two moves), Kg6;
5. Ke6, Kg7; 6. Kf5, Kh6; 7. Kf6, Kh7; 8. Kxg5, Kg7;
9. Kxf4 and wins.
(b) White to move. 1. Ke4, and Black takes up the
opposition again by 1. . . . Ke6; forcing a repetition of
moves. If Black opts instead to advance among the white
pawns the game still ends in a draw: 1. . . . Kc5; 2. Kf5,
Kd4; 3. Kxg5, Ke3; 4. Kh5, Kxf3; 5. g5, Ke2; 6. g6, f3;
7. g7, f2; 8. g8 (Q), fl(Q ) and since both sides have a king
and queen left, the game will be drawn (there are
sometimes exceptions to this rule).
The thoughtful reader might ask: Why, in a symmetrical

position, does White manage to draw with the move
whereas Black loses? Study diagram 82 again. It will be
seen that the position is not in fact symmetrical; the white
king has the advantage of position. If both kings were
moved one rank down the board (to stand on d3 and d5
respectively) the game would be drawn whoever had the
move.
King and Pawn v. King

In this ending, the theme is only carried a stage further.
Turn back to diagram 11 (Chapter 2). In example (a)
White to move wins by Kc6 or Ka6. Because of the pawn
at b7 the black king is not able to take up the opposition
and must immediately yield ground. This ending (K +
P v. K) is simply a fight for the opposition with the odds
on the superior force. If a pawn is mobile (not far
advanced) it can be used to gain the opposition by
interpolating a move.
There are some rules that can be used to guide the
player:
(a) With an a- or h-pawn the game is always drawn if the

lone king can reach the promotion square or if able to
confine the opponent’s king on the file in front of the
pawn.
(b) If the pawn is advancing level with or in front of the
supporting king, the lone king always draws with the
opposition.
(c) A king two squares in front of its pawn will always
win since a pawn move will ensure the opposition.
(d) A king one square in front of its pawn will win if in
possession of the opposition.
T h e End G am e 167
King and Pawn v. King and Pawn

The various cases of K and P v. K and P are most
important as they are forever recurring. We are not
concerned with instances where one pawn immediately
falls, or marches through to queen several moves before
its rival; but those in which the result may be obscure.
(a) If two pawns stand facing each other away from the
edge of the board, and both kings are able to approach the
opposing pawns, then the side which approaches first will
lose if such approach is not from behind.
WHITE: K on f5, P on d4. BLACK: K on b5, P on d5.
1. Ke5?, Kc4; 2. Ke6 (White is compelled to leave the
pawn), Kxd4 and wins. If White approaches from behind,
however, the result will be a draw: 1. Ke6, Kc6 (not
1.. . .Kc4?, 2. Ke5 and it is Black who must give up the
pawn); 2. Ke5, Kc7; 3. Kxd5, Kd7 and Black has got the
opposition.
(b) Where each side has a pawn marching to queen, and
the promotions are consecutive, the result is usually a
draw, but not always. Here is an exception: WHITE: K on
d2, P on h5. BLACK: K on d4, P on a3. 1. h6, a2; 2. h7,
al (Q); 3. h8(Q) ch., K moves; 4. Qxal and wins.
This possibility prompts the necessity for attention to all
pre-promotion king moves. WHITE: K on g7, Ps on b2,
h6. BLACK: K on c2, Ps on b3, h7. 1. Kxh7, Kxb2; 2.
Kg8, Kc3? (this move loses: any other move except Kal or
Kbl drew); 3. h7, b2; 4. h8(Q) ch. Now we see the
importance of careful king-play. The black king is in check
and will not be able to queen the pawn. 4 ... .Kc2; 5. Qh7
ch. (the ending is instructive and is therefore given in full;
White must play to drive the black king in front of the
pawn by a series of checks, permitting the white king to
approach), Kcl; 6. Qc7 ch., Kdl; 7. Qd6 ch., Kcl; 8. Qc5
ch., Kdl; 9. Qd4 ch., Kcl; 10. Qc3 ch., Kbl (now the
white king can approach); 11. Kf7, Ka2; 12. Qc2 (pinning
the pawn), Kal (not 12. . . . Ka3; 13. Q bl); 13. Qa4 ch.,
K bl; 14. Ke6, Kcl; 15. Qc4 ch., K dl; 16. Qb3 ch., Kcl;
17. Qc3 ch., Kbl; 18. Kd5, Ka2; 19. Qc2 (the same cycle),
K al; 20. Qa4 ch., K bl; 21. Kd4, Kcl; 22. Qc4 ch., Kdl;
23. Qd3 ch., Kcl; 24. Kc3, bl(Q ); 25. Qd2 mate. If
24. . . . bl(N )ch., Black has insufficient force to draw.
(c) In the foregoing example, Black was left with a king
and knight’s pawn against king and queen and was unable
to save the game. If instead the pawn had been on a
bishop’s or rook’s file the result would have been a draw,
due to a stalemate threat.
(i) Bishop’s Pawn. WHITE: K on g7, P on h7. BLACK:
K on d2, P on c3. 1. h8(0), c2; 2. Qd8 ch., Kc3; 3. Qc7
ch., Kb2; 4. Qb6 ch., K al; 5. Qa5 ch., Kbl (Black
always threatens to promote the pawn, giving the white
king no time to approach); 6. Qb4 ch., Kal; 7. Qa3 ch.,
K bl; 8. Qb3 ch., Kal! (instead of moving in front of the
pawn, which the king was forced to do in the previous
example, the black king moves into the corner for now if
White plays 9. Qxc2, Black is stalemated); 9. Qc3 ch.,
K b l; 10. Qb3 ch., Kal and White can make no headway.
(ii) Rook’s Pawn. WHITE: K on g7, P on h7. BLACK:
K on c2, P on a3. 1. h8(Q), a2; 2. Qh2 ch., Kbl; 3. Qgl
ch., Kb2; 4. Qf2 ch., K bl; 5. Qel ch., Kb2 (not 5. . . .
Kc2; 6. Q al); 6. Qb4 ch., Kcl; 7. Qa3 ch., Kbl; 8. Qb3
ch., Kal when Black has no move. To avoid stalemate,
White must move the queen away so the white king will
never have time to approach.
A lesson to be learned from the above examples is the
method of bringing the queen up the board by a series of
checks, which can be done vertically, as in (i), or
horizontally, as in (ii).
These are the only three cases of K and P v. K and P
endings that are likely to cause you any difficulty. There
The End Game 169
are certain exceptions, but being rare in practical play

they are not worth our investigation here. To recapitulate:
in the cases where one side queens first, and the other side
then advances a pawn to the seventh rank supported by
the king on the seventh or eighth ranks (also the sixth rank
in the majority of cases), the game is a draw if the pawn is
on a bishop’s or rook’s file, a win for the stronger force if
on any other file - always provided, of course, that the
other king cannot immediately influence the play. If the
second party can only advance the pawn to the sixth rank
on the move following promotion, the game is always won
by the first party regardless of the position of the kings.
King and Two Pawns v. King and One

This is nearly always a win for the superior force, but
there are, nevertheless, numerous positions in which the
game is drawn. The two most common cases are:
(i) The two pawns are on opposite wings with the single
pawn facing one of them. Suppose White is the superior
force in this case. Then White wins by deserting the
solitary wing pawn, moving across to the other side of the
board, capturing the black man and queening the remain
ing pawn; for Black must attend to the unwatched pawn,
which will march to queen if not intercepted and captured.
Only in unusual cases can the weaker force draw in an
ending of this nature.
(ii) The three pawns and two kings are more or less
together. It is then simply a question again of the stronger
party deserting one of the pawns at the right moment and
going for the other, or of exchanging a pawn in order to
get a won position in the K and P v. K category.
Diagram 83 illustrates four positions not uncommon in
this type of ending.
DIAGRAM 83
(a) (b)
(c) (d)
(a) Black draws with or without the move. Black has

only to keep the king close to the single pawn. If White
advances the b-pawn, the resulting exchange will leave
White with the a-pawn which, as we know, is insufficient
to win.
(b) White wins with an immediate sacrifice regardless of
the white king position. 1. g6, hxg6; 2. h7 and queens next
move. Or 1. . . . Kf6; 2. gxh7 and the pawn on h6
prevents the black king approaching.
(c) Drawn, regardless of who has the move. White
alternates the king between bl and c2 and any attempt by
Black to interfere will result in stalemate.
(d) This position is like (c) but away from the edge of
the board. In this and similar positions the stronger force
wins, with or without the move. 1. Kg2, Kf4; 2. Kfl, Ke4;
3. Kg2, Kd4; 4. Kfl, Kc3; 5. Kg2, Kd2; 6. Kfl, Kdl;
7. Kg2, Kxe2 and wins.
The End Game 171
King and Two Pawns v. King and Two Pawns

This ending, and endings involving more than two
pawns a side, are but extensions of those we have already
examined. The opposition remains paramount.
A well-known stratagem, not often seen in actual play,
is the establishment of a passed pawn when both sides
have three pawns, line abreast, facing each other.
WHITE: K on h i, Ps on a5, b5, c5. BLACK: K on h3,
Ps on a7, b7, c7. Although the black king can reach the
pawns first, White wins by : 1. b6, cxb6; 2. a6, bxa6; 3. c6.
If 1. . . . axb6; the procedure is the same; viz: 2. c6 etc.
King, Minor Piece, Pawn v. King and Minor Piece

The issue at stake here is a simple one: can the pawn be
queened? The important point to remember is that the
weaker force has only to sacrifice the piece for the pawn to
draw. A simple example will show how important it is for
the stronger party to keep the pawn mobile in order to
retain any winning chances.
WHITE: K on h i , N on b l . BLACK: K on g3, N on g5,
P on e5. 1. Nd2, Kh3?; 2. Nf3 and now 2. . . . Nxf3 gives
stalemate, and any other move allows White to capture
the pawn leaving Black with insufficient force.
Bishops of opposite colours invariably draw in this type
of ending, but with bishops of the same colour the
stronger side can often force a victory, the method being
to drive the opposing bishop from the vital diagonal by
offering an exchange at the moment when such an
exchange would yield the opposition. If the opposing king
is in front of the pawn, however, and cannot be driven
away by checks from the bishop, the game is always
drawn.
The N and P v. B and the B and P v. N are the two most
interesting - and most common - endings in this category.
In the first case the superior force endeavours to block

the bishop diagonal by intervening the knight, and in the
second case to force the win by placing the bishop so as to
prohibit the knight from approaching the pawn. The
power of the bishop over the knight, which is complemen
tary to the knight’s power over the bishop, can be seen if a
white bishop is placed on e4 and a black knight on h4.
Here the knight is unable to move without being captured,
although the bishop, in turn, may not move to any of the
squares in the knight’s field without being exposed to the
same risk. This setting is normally unfavourable to the
knight, but under certain conditions it may be advanta
geous, particularly if the bishop is nearer the edge of the
board than the knight.
If there are more pawns on the board the matter
becomes purely an elaboration of the same theme. The
reader is advised to turn back to Chapter 2 for general
hints on handling the minor pieces in the ending.
King and Minor Piece v. King and Pawns

With two pawns, this ending is resolved to a case of
where the player with the piece will sacrifice it for one
pawn in order to be left with the opposition in the ensuing
play, thereby assuring the draw.
If the pawns are on opposite sides of the board, or at
least separated, the outcome is not difficult to foresee.
Two disunited pawns can frequently “squeeze” a bishop:
WHITE: K on h2, Ps on b5, g6. BLACK: K on h4, B on
e2. White wins by 1. b6, Bf3; 2. g7, Bd5; and now the
advance of either pawn will force the bishop to capture,
allowing the other to promote. With a knight instead of
the bishop the two-pawn “squeeze” is even easier. These
cases are, of course, assuming that the kings cannot affect
the play.
If a minor piece is opposed by three pawns, it is usually
The End Game 173
possible to promote one of the latter with correct play, but

there are a number of positions where this ending is only a
draw.
Queen and Pawn Endings

In this type of ending the position of the kings is of the
utmost importance. If a king is exposed to a series of
checks from which there is no sanctuary, the pawn ratio
will have no bearing on the game, which will result in a
draw.
If, however, the king is able to reach a position of
security a mobile extra pawn will be sufficient to win, it
being escorted to promotion by the queen.
Rook and Pawn Endings

These are by far the most important, as they are the
most common form of ending, due, in part, to the
normally retarded development of the rooks in the
opening and middle game which enhances their chances of
survival.
As has been remarked elsewhere, when both sides have
two rooks left the drawing opportunities that present
themselves to the side possessed of the inferior pawn
position, structurally or numerically, are greater, on
average, than occur when each side has only one rook
remaining on the board.
The endings involving single rooks and pawns are much
the more usual however, and the strategy they embrace
may be applied in measure to the positions involving the
weightier force.
The main features of this type of ending may be
conveniently tabulated.
(a) Stopping Promotion. A rook can prevent the

promotion of a pawn assisted by a rook by moving onto
the same file as the pawn either behind or in front of it.

Place a white rook on b8, a black rook on h2 and a black
pawn on b2. The black pawn cannot move without being
captured, and the black rook is unable to leave the second
rank. Note that the white rook can move up and down the
file without in any way relaxing vigil on the advanced
pawn. Now leave the two black men where they are and
place the white rook oh b l . Again the black rook cannot
leave the rank, but now Black can play Rc2, and the white
rook is unable to move along the rank on account of Rcl
followed by bl. From this we see that the rook is best
employed behind an enemy pawn. In these two examples
the black rook is badly placed. Now consider the following
position: white rook on b l, black rook on b8 and black
pawn on b2. Here it is Black who retains mobility - the
white rook is unable to move without allowing the
promotion of the pawn. If the white king is able to reach
the pawn first it will fall, if the black king reaches it first
the white rook will be lost or the pawn will be successfully
promoted - the unhappy choice resting with White. If, in
the example just given, the two rooks are interchanged,
White’s position is immeasurably improved for similar
reasons.
(b) The Promotion Check. This may arise out of the last
example, and should be carefully watched. WHITE: K on
g2, R on b8. BLACK: K on g7, R on b l, P on b2. The
white king is here in the dismal plight of only being able to
move backwards and forwards between g2 and h2. Any
move to the third rank loses at once: 1. Kg3, Rgl ch.; and
promotes next move. More subtle is the pitfall 1. Kf2?,
R h l!; and if 2. Rxb2, Rh2 ch.; (the “skewer”) and the
rook is lost.
(c) Rook and Pawn v. Rook. The convenient rule for
this ending is that if the king of the weaker force can reach
the promotion square of the pawn the game is drawn; if it
The End Game 175
can be prevented from reaching it, the game is won by the

stronger force. An exception, as always, is the rook’s
pawn, which in certain positions is only a draw. There is
considerable finesse necessary to consummate the promo
tion, even after the opposing king has been shut off, as the
perpetual check remains a recourse for the weaker player
which may not be easily discounted.
(d) Rook v. Pawn(s). Two important points to be
remembered here. Firstly, that two united pawns that are
able to reach the sixth rank without capture will win
against a rook, provided that the opposing king cannot
interfere: and secondly, that a king and single pawn
advanced to the fourth rank or beyond, will draw against a
rook provided that the other king is unable to interfere.
The first case can be easily proven by just setting the
pawns up, placing the rook anywhere on the board where
it is unable to capture either of the pawns immediately,
and then attempting to arrest promotion. One pawn will
certainly fall, but the other will reach the eighth rank
safely, and the balance (queen v. rook) is then sufficient
to achieve victory.
The second rule is as easy to verify as the first, but why
the stipulation “advanced to the fourth rank” ? Because, if
only on the third rank, the king can be cut off by the rook,
the pawn permitted to advance and then attacked and
captured before the king can reach it.
Here is an example to clarify the method: WHITE: K
on h8, R on a l. BLACK: K on g6, P on h5. With Black to
move, the fourth rank is attained by Kg5 and the game is
drawn. But White, to play, wins by 1. Ra5, h4; 2. Kg8,
h3 (if the pawn is not advanced, the white king will return
to decide the issue); 3. Kf8, h2; 4. R al, Kg5; 5. R hl, Kg4;
6. Rxh2 and wins. It will be seen that if the black king had
been one square nearer he would have been defending the
pawn, and the result would have been a draw.
This “cutting o ff’ of the king is an important feature of

rook and pawn end games. An enemy rook ensconced on
the seventh (i.e., on the second) rank can be very
disturbing if one’s king has not left the back rank.
Conclusion
So far we have covered, if very superficially, the entire
field of end game play. Many of the points stressed
require elaboration and, in certain cases, qualification,
but essentially the fundamentals are there. Few average
players know more about this phase of the game than
these fundamentals, and many are not even conversant
with all of them. Three endings from play are now given
which demonstrate that charm and subtlety may be
concealed in apparently dull positions.
Examples from Play: (1) Pawn Ending

The position in the diagram, with Black to play, was
reached in a match-game between two strong amateurs.
Pawns are level, and at first glance it appears as though a
draw is the likely result. A closer examination will disclose
that there is considerably more play in the position than at
first meets the eye.
White Black
1. . . . f4
2. e4
This is forced. If 2. exf4 ch., Kxf4; 3. Kg2, Ke3; and

Black will win the f-pawn, and with it the game. To give
up the pawn is equally suicidal: 2. Kg2, fxe3; 3. Kfl, Kd4;
4. Ke2, h3; 5. a3, Kc3; 6. Kxe3, Kxb3; winning easily.
Black now observes that White has an uncompromised
pawn majority in that theatre of the board bounded by the
a- and e-files. Every uncompromised pawn majority (i-e.,
The End Game 177
DIAGRAM 84
BLACK TO PLAY
where no pawn is doubled) must yield a passed pawn so

any incursion by the black king could prove fatal. For
example: 2. . . . Kd4; 3. Kg4, Ke3; 4. b4l, Kd4 (not
4. . . . cxb4?; 5. c5, dxc5; 6. e5 and queens in three
moves); 5. bxc5, Kxc5 (5. . . . dxc5; would allow 6. Kf5,
when the pawn would march to queen); 6. Kxg5, Kxc4;
7. K x either pawn, winning.
2. . . . Kf6
3. Kg4 Kg6
4. h3 a5
5. a4
These pawn moves are important and are often decisive

in pawn endings. White has the opposition, and the black
king is forced to move, allowing the white king to
penetrate. If in the position now reached, White had the
move instead of Black, White would have lost, being
compelled to advance a pawn: 1. e5, dxe5; 2. b4, cxb4;

3. c5, b3; 4. c6, b2; 5. c7, bl(Q ); 6. c8(Q), Qg8 mate.
If instead of 4. . . . a5; Black had played 4. . . . a6;
White’s reply would have been 5. a3, and not 5. a4?, a5;
and Black has the opposition.
5. . . . Kh6
Not of course 5. . . . Kf6; 6. Kh5 followed by Kxg5

winning for White.
6. Kf5
And now it looks as though White is going to force the

win.
6. . . . Kh5
White must select from several moves here. The

interesting pawn sacrifice: 7. b4 is not quite sound. 7. . . .
cxb4 (if axb4; White wins by 8. a5, b3; 9. a6, b2; 10. a7,
bl(Q ); 11. a8(Q), Qb2 (the only move to stop the
threatened mate at h8); 12. Qe8 ch., Kh6; 13. Qg6 mate);
8. c5, dxc5; 9. e5, b3; 10. e6, b2; 11. e7, bl(Q ) ch.,
winning.
The obvious 7. Ke6 is fatal, as White would succumb to
the same trap: 7. . . . g4! (Black’s uncompromised pawn
majority on the king’s side is set into motion to yield a
passed pawn now that the hostile king is out of range);
8. fxg4 ch. there is nothing better), Kg5; and the f-pawn
goes through to queen.
White is therefore left with the alternatives of playing
Kf6 or Pe5. If the king advances, the game will be drawn
for Black would have nothing better than to return with
the king (Kh6) which will result in a repetition of moves.
The End Game 179
Black could not now play 7. . . . g4; as White could

respond 8. hxg4 ch., Kh6; 9. g5 ch., Kh5; 10. g6, h3;
11. g7, h2; 12. g8(Q), hl(Q ); 13. Q mates.
Supposing White plays 7. e5, what happens then? Black
must capture: 7. . . . dxe5 and White can do no better
than recapture: 8. Kxe5. Now 8. . . . g4 loses for Black.
9. fxg4 ch., Kg5; 10. Ke4, and Black must yield the pawn.
After White’s 8th move, both sides have a clear majority
on one side of the board, and neither can afford to take
the initiative in establishing a passed pawn without
conceding the game to the other. One illustration will
serve to demonstrate this: 8. . . . Kg6; 9. b4?, cxb4;
10. Kd4, Kf6; 11. c5, Ke6; 12. Kc4, Kd7; 13. Kd4, and
now g4; 14. fxg4, f3; 15. Ke3, b3 wins.
In consequence of these continuations, the game was
abandoned as a draw. A highly-instructive end game.
Examples from Play: (2) Bishop and Pawns

This example is also from amateur play. Although
pawns are level the bishops are of the same colour - a
factor which is important, as we have commented that, in
endings of this nature, the side possessing even the
slightest advantage in position is often able to force the
win.
Here the black king is confined to the edge of the
board, and White, with considerable ingenuity, is able to
exploit this weakness to secure the win.
White Black
1. . . . g3
Black has a choice of five plausible moves here, all of

which lose. The text appears to be the most promising, for
White is unable to play 2. hxg3 on account of 2. . . . h2!
DIAGRAM 85
BLACK TO PLAY
2. Bxa7 Bf8
Black cannot play 2. . . . gxh2 as after 3. c5, the mate

4. Bb6 would be unstoppable.
3. Bb8
Threatening 4. Bc7 mate.
3. . . . Bc5
On 3. . . . Kb6; White would have continued 4. a5

ch., Kc5 (b7 is no better); 5. Bxf4 and wins, as after
5. . . . gxh2; 6. Bxh2, Black cannot play Bd6 as this
would permit 7. Bgl mate.
It is amusing to note that after 3. . . . Kb6; White
The End Game 181
would be ill-advised to accept the pawn at once: 4. Bxf4?,

g2; 5. Be3 ch., Bc5; 6. a5 ch., Kxa5; 7. Bxc5, gl(Q );
8. Bxgl stalemate!
4. Bc7ch. Bb6
5. Bxf4
Threatening Bd2 mate, as the black piece now blocks

the king’s flight square.
5. . . . Bc5
6. Bc7 ch. Bb6
A vicious see-saw. Compare the example given under

“The Seventh Rank” in the last chapter.
7. Bxg3
And now White wins comfortably.

Let us examine the other lines available to Black on the
first move:
(A) 1. . . . f3. This loses quickly. 2. c5 (threatening
mate by B el), Bd2 (the only move); 3. Bh4 and Black
cannot avert the mate at d8.
(B) 1. . . . a6. Now 2. b6! Bf8; 3. c5 (Bel is again
threatened), Bxc5; 4. Bxc5, g3; 5. b7, gxh2; 6. b8(Q, R or
B) and White mates next move.
(C) 1. . . . Bg7. 2. c5, Bc3; 3. Bh4 - the mixture as
before.
(D) 1. . . . Bf8. 2. c5, Bxc5 (this sacrifice is forced, as
the mate at el is again threatened); 3. Bxc5, g3 (if 3. . . .
a6, the continuation is 4. b6, as in (B) above); 4. Bd6 (the
mating threat is now Bc7), Kb6; 5. Bxf4 and White wins
easily by forcing home a queen’s-side pawn.
Examples from Play: (3) Rook and Pawns

As stated previously, this type of ending is by far the
most common, and the position in the diagram is as
prosaic as one could wish for. In its banality lies its
importance, however, for most players, as Black, would
be content with a draw. This ending was reached in a
match between players of international repute, and Black,
far from being satisfied with a draw, perceived that by
exact play a win could be forced. Every move is an object-
lesson in timing and precision.
DIAGRAM 86
WHITE TO PLAY
White Black
1. Rd7
Preventing the advance of the black king.

The End Game 183
1. . . . Rb3
Cutting off the white king from the defence of the f-

pawn.
2. Ra7 Rd3
Black’s task is by no means easy. In general, a pawn

plus in rook-and-pawn endings is of little importance if the
pawns are all on one side of the board and the kings are in
their own territories.
3. Rb7
White plays at “wait and see” .
3. . . . Kg7!
A profound move. If 3. . . . Kg6; 4. f5 ch., exf5

(4. . . . Kxf5; Rxf7 ch.); and Black although two pawns
ahead, would have difficulty in winning for technical
reasons too involved to discuss here.
4. Ra7 h5
5. Ra5 Rd5
6. Ra3
Of course, 6. Rxd5, exd5 would be instantly fatal for

White. But after 6. Ra7, the subsequent play is not so
easy: 6. . . . Kg6; 7. Re7 (not 7. f5 ch., as Black can now
reply 7. . . . Rxf5; nor 7. Kf3, Rb5; 8. Ke4, Rb2; 9. f5
ch., Kf6!; arriving at a similar position to that in the
game), Rb5; 8. Kf3, Rb3 ch., 9. Kf2, h4; 10. Kg2, Rb2
ch., 11. Kh3, Rf2; 12. Kg4, f5 ch.; 13. Kh3, Kf6 and with
the white king temporarily out of the game, and with both
the white rook and f-pawn en prise, Black is left with a

simple win.
6. . . . Kg6
7. Kf3 Kf5
8. h3 h4
An important move, as will be seen.
9. Rb3 f6
Now Black is able to stand a rook check without

yielding ground and can concentrate on the weak h-pawn.
10. Ra3 Rb5
White’s rook cannot leave the rank on account of the

menace of a black rook check.
11. Rc3 Rb2
Threatening to win by Rh2 followed by Rxh3.
12. Rc5 ch. e5

13. fxe5 fxe5
Now Black has obtained a passed pawn on the e-file.
14. Rc4
Possibly Rc8 was slightly better here, but the scaffold is

already erected.
14. . . . Rb3 ch.

The End Game 185
15. Kg2 Rg3 ch.

16. Kh2
The only move to save the pawn. Now the black centre
pawn is free to advance. If this pawn had been on the f-
file, White could have saved the game (see note above).
Black has calculated deeply.
16. • • • e4
17. Rc8 e3
18. Rh8 Rg6
19. Rh5 ch.
Not 19. Rxh4, e2; winning., nor 19. Re8, Re6; 20. Rf8
»., Ke4; 21. R fl, e2; 22. R el, Ke3; 23. Kgl, Kd2;
24. Kf2, Rf6 ch.; followed by Kxel.
19. . . . Rg5
20. Rh8 Kf4
20. . . . e2; would be a grave error, on account of Re8,

winning the pawn and forcing the draw.
21. Rxh4 ch. Kf3

22. Rh8 e2
23. Re8
Not 23. Rf8 ch., Ke4!; 24. Re8 ch., Re5.
23. . . . Rg2ch.
24. Khl Rf2
25. Rf8 ch. Kg3
26. Resigns
There is nothing to be done as the white rook must keep

checking because of Black’s impending Rfl ch. followed

by el(Q ). Now the black king comes back until the checks
are exhausted. For example, 26. Rg8 ch., Kh4; 27. Rh8
ch., Kg5; 28. Rg8 ch., Kh6; 29. Rh8 ch. (Rgl is still met
by R fl), Kg7; and White’s rearguard action is over. An
instructive, if difficult ending.
Conclusion
A favourite query of the average chessplayer is - How
can I improve my play? It is a question the reader will be
asking sooner or later. The answer is simple - study the
end game. Practice will not make perfect, but it will go a
long way towards perfection - and in the ending the stakes
are high!
A few test positions are given. In problems of this
nature the phrase “to win” does not mean that analysis of
WHITE TO PLAY AND DRAW WHITE TO PLAY AND WIN

The End Game 187
WHITE TO PLAY AND WIN WHITE TO PLAY AND WIN
WHITE TO PLAY AND WIN WHITE TO PLAY AND WIN

play right up to the final mate is necessarily required, but

only up to the point where victory is solely a matter of
time. None of the examples is long, but each contains a
“twist” that may occur in practical play.
Solutions
(87) 1. Ne6 ch., Bxe6; 2. Rf2, Qf7 (Qxf2 is stalemate);
3. Rxf7 ch., Kxf7 and Black cannot win (see “Bishop in
Ending” , Chapter 4).
(88) 1. g6, hxg6; 2. h6! Not 2. hxg6, Ke7; and Black
wins. But 1. h6 (threatening g6), also wins for White.
(89) 1. R el!, Rf2 (if 1. . . . Rxel; 2. f8(Q) ch., Kc7;
3. Qc5 ch., Kd8; 4. Qa5 ch., winning the rook, or 3. . . .
Kb7/8; 4. Qb4 ch., also winning the rook); 2. a3! (now
Black is left without a waiting move and is said to be in
“zugszwang” . If Rg2 or Rh2, the pawn queens; whilst if
the king moves, Ke7 wins), R fl; 3. Rxe2, Rf3 (the rook
cannot leave the file); 4. Rd2 ch., Kc8; 5. Rd5, Kc7;
6. Rf5, Re3 ch.; 7. Kf6 and queens next move.
(90) This is a very old ending. White, though a pawn
down, is able to force a win. 1. a6!, Kb8 (to stop c7);
2. Kgl! (the only move; now the black king cannot move
or one of the white pawns will queen, so a pawn is
compelled to advance), f3; 3. Kf2 (White’s strategy is to
move the king in front of whichever pawn advances), h3;
4. Kg3 (now Black is in zugszwang; the pawns must be
surrendered in turn after which the king must move to let
by a white pawn), h2; 5. Kxh2, f2; 6. Kg2, g3; 7. K fl, g2 ch.;
8. Kxf2, gl(Q ) ch.; 9, Kxgl, Kc7; 10. a7, Kxc6; 11. a8(Q)
wins.
(91) 1. Rc8 ch., Rxc8; 2. Qa7 ch!, Kxa7 (if 2. . . . Kc7;
3. bxc8(N) dis. ch., Kxc8; 4. Qxe7); 3. bxc8(N) ch., Kb7;
4. Nxe7, f4; 5. Nf5 and Black’s pawns are decimated.
(92) 1. Bal (the only move), Kxal; 2. Kc2, g5; 3. fxg5,
The End Game 189
f4; 4. g6, £3; 5. g7, £2; 6. g8(Q), fl(Q ); 7. Qg7 ch., Qf6;
8. Qxf6mate.
8
ILLUSTRATIVE GAMES
The six master games that comprise this chapter have

been chosen to illustrate the changing styles of play over
the last century and a half. They range from the
swashbuckling “ Immortal Game” , the positional mastery
of Capablanca, the genius of Fischer, the technique of
Karpov and the unrivalled creativity of the World Cham
pion, Kasparov.
Game (1)
This game, played in London in 1851 between two of
the leading players of the day, is popularly known as the
Immortal Game. Typically, both sides attack, with White
sacrificing in turn both rooks, a bishop, and finally the
queen.
White Black
Anderssen Kieseritzky
1. e4 e5
2. f4 exf4
The King’s Gambit. White has given up a pawn to gain

Illustrative Games 191
time and development.
3. Bc4 b5
Striking at the weak square f7. Black returns the pawn

to deflect the bishop.
4. Bxb5 Qh4 ch,

5. K fl Nf6
6. Nf3 Qh6
7. d3 Nh5
8. Nh4 c6
9. Nf5 Qg5
10. g4 Nf6
11. R gl cxb5
A sacrifice: the black queen now finds herself in a deal

of trouble.
12. h4 Qg6
13. h5 Qg5
14. Qf3 Ng8
Black’s queen finds space at the cost of retarded

development.
15. Bxf4 Qf6

16. Nc3 Bc5
17. Nd5 Qxb2
This takes the queen away from the action. Sometimes

called “the poisoned pawn’’, the b-pawn is frequently put _
on offer in modern opening play.
18. Bd6 Qxal ch.

DIAGRAM 93
The bishop moves into place for the mating net. Black
now accepts the offer of the second rook.
19. Ke2 Bxgl

20. e5 Na6
21. Nxg7 ch. Kd8
22. Qf6 ch.
The final sacrifice.
22. . . . Nxf6
23. Be7 mate
Game (2)
The strategy in this game is clear-cut, White’s superior
ity in space affording greater manoeuvrability for his
pieces.
White Black
Capablanca Eliskases
1. e4 e5
2. Nf3 Nc6
3. Bc4 Bc5
The Giuoco Piano is considered a slow game, as its

name implies: it is not popular in master play.
4. Nc3
Another good move here is c3.
4. . . . Nf6
5. d3 d6
Decorous development: neither party interferes with

the other - yet.
6. BgS h6
This move is important as White was threatening Nd5

followed by an exchange of pieces at f6, when Black
would have been compelled to recapture with the pawn,
creating serious structural weaknesses.
7. Bxf6 Qxf6
8. Nd5 Qd8
To guard against Nxc7 ch., winning the exchange, and

also of course to rescue the queen.
9. c3
White sacrificed the two bishops (marginally stronger

than bishop and knight, remember) but in turn achieved

quicker development. The text prepares to press home
this advantage.
9. . . . Ne7
10. Ne3!
The move presents Black with a difficult problem since

on 10. . . . 0-0; 11. d4, exd4; 12. Nxd4 White would
command the centre.
10. . . . Be6
This move is a mistake, as Capablanca demonstrates.
11. Bxe6 fxe6

12. Qb3
Threatening two pawns.
12. . . . Qc8
13. d4 exd4
14. Nxd4 Bxd4
15. cxd4
The first phase may be said to be over. White, by

unassuming moves, has gained a distinct advantage in the
centre, a well-placed queen (against Black’s passive one)
and an open c-file for the white rooks.
15. . . . 0-0
16. 0-0 Qd7
17. Racl
If 17. Qxb7, Rfb8.

DIAGRAM 94
17. . . . Rab$
Necessary, since White was now threatening 18. Qxb7,

and if 18. . . . Rfb8; 19. Qxc7.
18. Rc3 d5
19. Qc2 c6
19. . . . Nc6; would have given Black more counter

chances after 20. exd5, exd5; 21. Rc5, Nxd4; 22. Qd3.
20. e5 Rf4
21. Qdl mm
22. f3 Qd8
23. g3 R4f7
24. f4 Nf5
25. Nxf5 Rxf5
26. h4
White has a pawn majority on the king’s side whereas

Black’s queen’s side majority has been rendered
immobile. White controls more of the board and has a
better pawn formation. Small considerations, perhaps,
but enough for Capablanca to forge a win.
26. . . . g*
27. Kg2 Qe7
28. a3
White does not wish the black queen to exercise her

nuisance value on the queen’s wing. *
28. . . . Qg7
29. Rcf3 Qe7
30. Qc2 Kg7
Black awaits the gathering storm. After 31. g4, White

threatened 32. Qxg6 ch.
31. g4 R5f7
32. Kh3 Qd7
33. b4 Rg8
34. Rgl Kh8
35. Qd2
Threatening f5.
35. . . . Rh7
36. Qf2 h5
37. gxh5 Rxh5
If here 37. . . . gxh5; 38. Rg5, followed by a concen

tration of pieces on the g-file would be decisive.
38. Rg5 Qh7

39. Qg3 Qh6
40. Qg4 Rg7
41. Rg3 Kh7
On 41. . . . Rh7; 42. Rxh5, Qxh5; 43. Qxh5, gxh5;

44. Rg6, Re7; 45. Rh6 ch. would win.
42. Rg2
The object of this move is to bring the rook to the

defence of the h-pawn and release the queen for action
elsewhere.
42. . . . Kg8
43. Kg3 Kh7
44. Rh2 Re7
For now White did threaten Qxe6.
45. Rh3 Kg7
A weak move, but Black’s hopes are fading. 45. . . .

Re8 was better.
46. Rxh5 Qxh5

47. Qxh5 gxh5
48. f5!
The break-through.
48. . . . exf5
49. Kf4 Re6
If 49. . . . Rf7; 50. Rg3 ch., Kh6; 51. Rg5.

50. Kxf5 Rg6

51. e6! Rg4
52. Ke5 Re4 ch.
53. Kd6 Rxd4
54. Re3 Resigns
The pawn must go through to queen.
Game (3)
This game demonstrates the folly of neglecting develop
ment and the safety of the king.
White Black
Fischer Geller
1. e4 e5
2. Nf3 Nc6
3. Bb5 a6
4. Ba4 d6
5. 0-0 Bg4
6. H3 Bh5
The ingenious sacrifice 6. . . . h5; is quite playable: if

7. hxg4, hxg4; the knight is attacked, and if it moves Black
will threaten mate by 8. . . . Qh4.
7. c3 Qf6
8. g4
This pawn advance in front of the castled king is usually

dangerous; however Fischer has calculated that Black’s
king’s side is uncoordinated.
8. . . . Bg6
9. d4 Bxe4
White has sacrificed a pawn to open up the game.
10. Nbd2 Bg6

11. Bxc6ch. bxc6
The black king now has no shelter on the queen’s side.
12. dxe5 dxe5

13. Nxe5 Bd6
Not 13. . . . Qxe5; because Black would lose his queen

after 14. Rel.
14. Nxg6 Qxg6

15. R eich . Kf8
16. Nc4 h5
17. Nxd6 cxd6
18. Bf4 d5?
This move loses quickly. Somewhat better might have

been 18. . . . Rd8; 19. Qe2, hxg4; 20. hxg4 and Black is
practically in zugszwang.
19. Qb3 hxg4

20. Qb7! gxh3 dis. ch.
21. Bg3 Rd8
22. Qb4 ch. Resigns
Black must lose knight and rook after 22. . . . Ne7;

23. Qxe7 ch., Kg8; 24. Qxd8 ch. See diagram 95 overleaf.
Game (4)
An example of a nicely-controlled king’s-side attack.
The players castle on opposite sides which usually makes
for an exciting contest.
DIAGRAM 95
White Black
Karpov Korchnoi
1. e4 c5
2. Nf3 d6
3. d4 cxd4
4. Nxd4 Nf6
5. Nc3 g6
6. Be3 Bg7
7. f3
This is a sharp continuation in which White plans to

castle queen’s side and attack on the king’s side.
7. . . . Nc6
8. Qd2 0-0
9. Bc4 Bd7
10. h4 Rc8
11. Bb3 Ne5
12. 0-0-0 Nc4
13. Bxc4 Rxc4
14. h5 Nxh5
White has given up a pawn to clear the file for the king’s
rook.
15. g4 Nf6
16. Nde2 Qa5
17. Bh6
This is a favourite manoeuvre to get rid of a fianchet-

toed bishop which here both defends the king and
indirectly attacks White’s castled position.
17. . . . Bxh6
18. Qxh6 Rfc8
19. Rd3
It is necessary to defend the knight and consolidate the

defence before launching the final attack on the king’s
side. Notice the black knight is tied to the defence of the
h-pawn which is under pressure from the white queen and
rook. '
19. . . . R4c5
20. g5 Rxg5
The black rook has been lured from its attacking

position on the c-file. .
21. Rd5 Rxd5

22. Nxd5 Re8
23. Nef4 Bc6
DIAGRAM 96
POSITION AFTER BLACK'S 23RD MOVE
24. e5! Bxd5
If 24. . . . dxe5; 25. Nxf6 ch., exf6; 26. Nh5. *
25. exf6 exf6

26. Qxh7 ch. Kf8
27. Qh8 ch. Resigns
. After 27. . . . Ke7; 28. Nxd5 ch., Qxd5; 29. Rel ch.
and White wins a rook or a queen for a rook.
Game (5)
In this game the centre is locked, both sides castle king’s
side and seek play on opposite wings. This time it is Black

who attacks on the king’s side, and Kasparov finishes the
game with a startling coup-de-grace.
White Black
Piket Kasparov
1. d4 Nf6
2. Nf3 g*
3. c4 Bg7
The “Indian” bishop is in place. White does not venture

the Four Pawns Attack (see Opening 7) and instead
develops circumspectly.
4. Nc3 0-0
5. e4 d6
6. Be2 eS
7. 0-0 Nc6
8. d5
Lacking the centre.
8. . . . Ne7
9. Nel
In order to mobilise the f-pawn.
9. ••• Nd7
10. Be3 f5
11. f3 f4
12. Bf2 g5
13. b4
White counter-attacks on the queen’s side.

13. . . . Nf6
14. c5 Ng6
15. cxd6
Opening the c-file.
15. ... cxd6

16. Rcl Rf7
17. a4 Bf8
18. a5 Bd7
19. Nb5 g4
If 20. fxg4, the white e-pawn is undefended.
20. Nc7 g3!
DIAGRAM 97
21. Nxa8 Nh5

Maintaining the pressure. After 21. . . . gxf2 ch.;

22. Rxf2, Qxa8; White gains material but the attack
disappears.
22. Khl
If 22. Bxa7, Qh4; and White cannot survive.
22. . . . gxf2
23. Rxf2 Ng3 ch.
The knight can’t be taken (24. hxg3, fxg3 with Qh4 ch.
to follow).
24. Kgl QxaS

25. Bc4
White still dare not take the knight.
25. ••• a6
26. Qd3 Qa7
27. b5 axb5
28. Bxb5 Nhl!
Resigns
Black wins rook for knight to secure a bishop-for-pawn

advantage. See final position overleaf.
Game (6)
The best method of defence is often attack, particularly
if a win is necessary. Britain is now in the top rank of
chess-playing nations, and in this game the British
Grandmaster Speelman shows why.
DIAGRAM 98
FINAL POSITION
White Black
Timman Speelman
1. e4 e5
2. NO Nc6
3. Bb5 f5
An aggressive, but little-played line. 3. . . . a6, Nf6, or

d6 are usual.
4. Nc3 fxe4
5. Nxe4 d5
6. Nxe5 dxe4
7. Nxc6 Qg5
Early fireworks, but this is a trodden path.

8. Qe2 Nf6
9. f4
Defending the g-pawn. Notice that Black cannot cap

ture en p a ssa n t as Black's e-pawn is pinned.
9. . . . Qxf4
10. NeSdls. ch. c6
11. d4 Qh4 ch.
12. g3 Qh3
13. Bc4
Better than 13. Nxc6.
13. . . . Be6
14. Bg5 <MM>
15. 0-0-0
Both kings fly to safety.
15. . . . Bd6
16. Nf7 Bxf7
17. Bxf7 Rhf8
18. Bc4 Rde8
19. d5 c5
After this move White’s bishop has a bleak future.
20. Rhfl Kb8

21. Bf4 Rd8
22. Bg5 a6
Preparing an eventual b5.

23. Bxf6 gxf6

24. Qxe4 Qxh2
25. Rhl Qxg3
26. Rxh7 Rfe8
27. Qf5
This loses. White’s only chance was 27. Qh4, Qf4 ch.;
28. K bl.
27. . . . b5
DIAGRAM 99
28. Bfl
Otherwise the bishop is lost. If 28. Bb3, c4; and if

instead 28. Bd3, c4; 29. Be4, Qe3 ch.; etc.
28. . . . Rel
29. Qh5
If 29. Qd3, there follows 29. . . . Bf4 ch., 30. Kbl,

Qxd3 winning.
29. . . . Qf4ch.
30. K bl Qxfl
Resigns
9
GENERAL INFORMATION
This short chapter, in dealing with peripherals, ignores

the title and the intention of the book.
A background of general information is desirable in any
game however, and this is sufficient excuse for its
inclusion.
Match Play
The first and paramount rule to remember in match
play is that a chessman once touched must be moved; and
that once a man is played (the move is completed on
letting go of the man) the move stands.
It is a very good idea to keep to this rule in friendly
games; there is little more annoying than the player who
dithers when making a move. Decide on your move,
execute it incisively, withdraw your hand.
If an opposing chessman is touched, the rule is that it
must be captured if this is legitimately possible. If it is
desired to centralize a man that has become misplaced,
this can be done by saying j ’adoube (Fr. “I adjust”) before
touching the man in question, and then only when it is
your turn to move.
General Information 211
Matches and tournaments are decided on points - one

point for a win, half a point for a draw.
In match play a time limit is normally imposed on the
number of moves each player shall make in a prescribed
period. Twenty to twenty-four moves an hour is usual,
and if this time, which is allowed to each player (who is
also permitted to think in the opponent’s time) is
exceeded, the player overstepping the time limit is ruled
to have lost the game.
A chess clock is used to record the time taken by each
player. This instrument consists of two ordinary clocks
side by side connected by a lever which, when depressed,
stops the clock on the one side and restarts it on the other;
hence the two clocks never run simultaneously.
When you have made your move you press the lever
thereby stopping your clock and setting your opponent’s
in motion. Should you omit to do this, your opponent will
be thinking “free of charge” .
Chess clocks have two small strips of metal, known as
flags, fixed to the dials. They are so positioned that when
the minute hand approaches the hour, it will push the flag
up, releasing it exactly as the hour is passed, thereby
eliminating any dispute that might otherwise have arisen
as to whether or not the time limit had been exceeded.
Not all games may be concluded at the end of a match,
when one of two courses is normally adopted:
(a) The game may be adjudicated (i.e., the result

agreed upon) on the spot by the respective match
captains, or by a strong player or players nominated by
them. Often the game position is sent to an expert for a
decision. Adjudications are common in team matches.
(b) The game may be adjourned, the players resuming
when convenient. The procedure at adjournment is for
the player whose move it is to write it down without making
it on the board and without disclosing it. The clocks are

then stopped and the game position, together with the
clock times and the sealed move (often all on the one
piece of paper) are put in an envelope. The envelope is
sealed and the player who made the sealed move signs
across the flap. The envelope is then given to the
tournament director or to the second player to retain until
the game is restarted. An illegal sealed move forfeits the
game.
Players are permitted to analyse adjourned games. It is
common practice but dubious ethics to seek advice at this
stage.
Etiquette
It is not permitted in any way to disturb or distract a
player during a game. In practice, this rule may prove
difficult to interpret but it can be said that the player who
is distracted is the best judge of what constitutes a
. distraction.
A player who resigns a game should obviously do so
gracefully. Poor sportsmanship is unfortunately to be
found in chess as it is in other games; one famous player
wryly remarked that he had never won a game off a fit
opponent!
Spectators should never pass audible comment on any
match game in progress and nor should they interfere in
any such game even if a breach of the rules has been
committed.
Chess Clubs and British Chess

Chess clubs usually meet one or two evenings a week
and apart from affording the opportunity for friendly
games, offer various activities such as tournaments,
matches against other clubs, etc. Most chess clubs are
affiliated to their respective County Associations which in
turn are affiliated to one or other of the regional Unions.

These Unions, together with a few other independent
bodies, send delegates to the British Chess Federation
which is responsible for organised chess on a national
basis.
A pleasing feature of chess life is that the traveller or
holiday-maker is likely to find a welcome at the local club
whether at home or abroad.
Congresses
A feature of chess in recent years has been the rise in
popularity of the congress. A chess congress is an open
tournament (usually a number of tournaments) covering
anything from a day to a fortnight. Congresses are often
arranged at resorts so that the competitor combines chess
with a holiday. Normally one game is played each day, but
in one-day and week-end events a fast time-limit, or a
time-limit per game, is usual.
Chess Computers
In recent years the chess computer has become a
popular opponent. Technical development in this field has
been dramatic, and few players can now match the
strength of the more advanced models. A chess computer
is an always-ready opponent, capable of playing at a
number of different speeds and levels, and usually
offering a range of other facilities including advice on the
best move, retracting moves, repeating games and solving
problems. All computers have built-in opening reper
toires. If no human guidance is at hand, a chess computer
or software program, preferably the most advanced you
can afford, is a recommended purchase.
Literature
Thousands of books have been written about chess,
covering the game in all its aspects. Most public libraries

now offer a fair selection, but the average player will
wish to have for his own use at least one book on the
openings and one on the end game. These two books will
be used mainly for reference and are essential for anyone
who aspires to match or tournament play.
Two leading periodicals published in Great Britain are
the British Chess Magazine and Chess Monthly. There are
a number of other publications as well as scores of
newspaper columns devoted to the game.
Famous Players
It is invidious to attempt this subject in a paragraph, but
some players are so widely known, if only by name, even
among non-players, that these at least deserve a mention.
Capablanca and Alekhine were two former world
champions (and great rivals), but it was Steinitz, an
earlier champion, who has probably contributed most to
chess theory.
Except for the brief reign of an American, Bobby
Fischer, the modem era has been dominated by the
Russians with Karpov and Kasparov its present-day stars.
Britain, which now has a number of Grandmasters, has
in recent years become a leading chess-playing nation.
Simultaneous Chess
Simultaneous displays are a feature of many clubs’
activities. A master opposes a number of players (usually
around twenty) at the same time.
Each player sits at a board. The master circulates and
plays a move on every board. Players withhold their
replies until the master returns to their table.
Time is heavily on the side of the challengers to begin
with but this advantage is gradually reduced as the
number of unfinished games diminishes.
Blindfold Chess
Many strong players are able to conduct one or more
games without sight of the board. Moves are announced,
and the blindfold player may or may not be literally
blindfolded. The world record is over forty games played
simultaneously in this fashion - an incredible achieve
ment.
Correspondence Chess
Playing chess by post is popular among those who have
time to spare or who are inhibited by domicile or infirmity
from taking part in over-the-board activities. A corres
pondence game may last a few months or a few years and
is a good way of improving one’s powers of analysis.
There are many correspondence chess organisations,
both national and international, and a player may of
course participate in several matches and tournaments at
the same time.
Chess Studies
Chess studies are often published in the Press. A study
is a chess puzzle which the reader is invited to solve. There
are three main types: the game position, the end game
study and the problem. The game position is from actual
play and the reader has to find the correct continuation.
The end game study is contrived but is a plausible game
position. The problem is another animal: it is artificial in
appearance and in its most common form requires the
reader to give checkmate with White in a specific number
of moves. The chess problem is an art form, designed to
puzzle and entertain, not to improve one’s play.
Fairy Chess
Fairy chess covers in a general sense all those divertisse
ments which are related to but deviate from the normal
216 The Right W a y To Play Chess
game. In this sense, the games mentioned in the following

paragraph are Fairy chess. The term however is more
commonly applied to problems. The artistic expression of
the orthodox composer is severally constrained by the
confines of the chessboard, the limitations of the regular
chessmen and the rules of play.
In Fairy chess, the composer makes his own condi
tions. These may include the use of a different board,
different men and different rules - sometimes all three in
the same problem. Some wonderful work has been done
in this field.
Other Games with the Chessmen

There are many digressive games possible with the
normal chessmen.
Kriegspiel, Losing Game, Progressive Chess, Rifle
Chess, Alice Chess - these are but a few. They are
occasionally played in clubs and there is a specialist
magazine, Variant Chess, published by the British Chess
Variants Society.
Forsyth Notation
For taking down a position the Forsyth notation is
unexcelled. Facing the board from White’s side, squares
and men are enumerated, starting at the top left-hand
corner (a8) and working from left to right, rank by rank.
White men are given in capitals, black in small letters.
The position in Diagram 9 (page 29) would thus be
recorded: r3k2r/ (black rook, three squares, black king,
two squares, black rook) pp5p/ (black pawn, black pawn,
five squares, black pawn) lP lB n lp l/ (one square, white
pawn, one square, white bishop, black knight, one square,
black pawn, one square) 2pP4/lR6/ln3P2/P2plKPP/
1R3B2.
Descriptive Notation
The principal feature of the descriptive notation is that
moves are recorded from the side of the player making
them, so that each square has two descriptions, one for
White, the other for Black.
The board is divided into files and ranks. Each file is
named after the pieces (one on each side) that occupy it in
the initial position. Thus the a-file is known as the queen’s
rook’s (QR) file and the g-file as the king’s knight’s (KN)
file. Ranks are numbered progressively 1-8 from the
player. In the starting position each player’s king stands
on K1. Moves are recorded in the same way as in the short
algebraic notation except that a dash is usually inserted
between the initial of the man to be moved and the square
to which it moves; also a pawn is always designated by its
initial. For example, the opening moves 1. e4, e5; would
be recorded in descriptive as 1. P-K4, P-K4.
Symbols are generally the same in the two systems, and
ambiguities are resolved in a similar way. When capturing
however it is the piece captured that is designated, not the
square on which it stands. In diagram 100 the white move
R4xb3 would be written by both White and Black as
R(4)xN. The descriptive equivalent of white move axb3
would be RPxN or PxN(N3); PxN would not do, because
it would not be clear which knight was captured. Where
confusion cannot arise, the move can be abbreviated. The
white move Bg3 is described simply as B-N3 - it is not
necessary to say which bishop or which N3 square because
only one is possible in each case.
The system is more cumbersome than the algebraic but
has the merit of being linked to the starting position
whereas the algebraic is abstract.
International Chess
The Federation Internationale des Echecs (F.I.D .E.) is
the recognised world body responsible%inter alia for the

World Championship and Chess Olympiad arrangements.
F.I.D.E. has ruled that the algebraic notation must be
used in all official events. Nearly all countries where chess
is organised are members of F.I.D.E.
DIAGRAM 100
QRQNQB Q K KB KN KR
QRQNQB Q K KB KN KR
CHESS NOTATION
Master Titles
Grandmaster and International Master titles are confer
red by F.I.D.E. from time to time on players whose
performance in international events reached the required
standard. Titles below this level (e.g., National Master,
Candidate Master) are awarded by national chess author
ities and vary from country to country. Only very strong

players ever achieve recognition in this way.
Grading
Many countries now grade players who compete regu
larly in approved matches and tournaments and who
attain a certain minimum standard.
A player’s rating, or grading as it is commonly called, is
derived from the aggregate of results over a period, the
strength of the opponents being taken into account.
Gradings are used to determine qualification for natio
nal titles and, more widely, to assist in selection of players
for matches and tournaments. They are also an incentive
to the individual.
Other Notations
There are international codes for use in correspond
ence, radio, cable and telephone matches. Two letters or
figures denote each square on the board, and a move is
transmitted as a four-symbol group, the first two symbols
indicating the square on which the man to be moved
stands, the second two symbols the square to which it is to
be moved. Checks and captures are not annotated.
INDEX
A C haturanga, 9-10
AJbin C ounter-G am bit, 120 Check, 12
A lekhine’s D efence, 93,120 , D is c o v e r e d , 35 ,5 4
A lgebraic N otation, 27, 28, 47, , D o u b le , 33,35
218 , P erpetual, 25
, Long, 28 C heckm ate, 13,21
, Short, 28, 47 Chess, A lice, 216
A ttack, Four Paw ns’, 114,203 , Blindfold, 215
, King’s Side, 141 , British, 212
, Q u een ’s Side, 154' Clocks, 211
, Switch, 145 Clubs, 212
C om puters, 213
B Congress, 213
Benko G am bit, 120 , C orrespondence, 215
Benoni, 120 E tiquette, 212
B ird’s O pening, 120 , Fairy, 215
Bishop In E nd G am e, 72 , International, 217
M iddle G am e, 69 L iterature, 213
O pening, 68 , Losing G am e, 216
, M ove O f, 14 - Players, 214
Piece T rap, 139 , Progressive, 216
Bishop’s O pening, 120 , Rifle, 216
British Chess F ederation, 213 , Sim ultaneous, 214
M agazine, 214 Studies, 215
C hessm en, 11
C , R elative V alues Of, 32
Caro-K ann D efence, 93, 119, Close G am e, 91
121 Colle System, 86
Castle, See R ook C om binations, 75,159
Castling, 20 , M aterial-W inning, 82 e ts e q .
C entre B reak-Through, 128, 150 , M ating, 75
, D elayed O ccupation O f, 92 Concluding A G am e, 25-26
Im portance, 48,127
, O ccupation O f, 92 D
, R em ote C ontrol O f, 92 D anish G am bit, 121
Index 221
D escriptive N otation, 27,217 F orks, 140

“ D iscovered” A ttacks, 83,86 F orsyth N otation, 27,216
D is c o v e r e d C h e c k , 35 ,5 4 F our K nights’ G am e, 99,122
D o u b le Cheeky 33,35 Paw ns’ A ttack , 113,203
“ D oubled paw ns” , 53 F rench D efence, 93, 117, 119,
D raw By A greem ent, 26 122
D utch D efence, 119,121
G
E G am bit, T h e, 92
E nd G am e, 50, 67 , 71 e t s e q ., , A lbin C ounter-, 120
162 e ts e q . , A llgaier, 103
E ndings, 35 , B enko, 120
, B & Ps, 179 , D anish, 121
, K & 2B v. K , 39 , E vans, 121
, K & 2P v. K & IP , 169 , K ing’s, 93, 102, 109, 119,
, K & 2 P v . K & 2 P , 171 122
, K & 2R v. K, 39 , Q u ee n ’s, 93, 108, 109, 112,
, K & m inor piece v. K & Ps, 117,124
172 G am e, A djo u rn m en t O f, 211
, K & P, 40 , A djudication O f, 211
, K & P v. K , 166 , Close, 91
, K & P v. K & P, 167 , O pen, 91
, K & Q v. K , 36 G eneral M axims, 140
, K & R v . K ,3 8 G iuoco P iano, 9 4 ,9 6 ,1 2 2
, K, B & N v. K, 40 G rading, 219
, K , m inor piece, P v. K & G runfeld D efence, 122
m inor piece, 171
, P in, 176 I
, Q & P, 173 Initial Position, 18
, R & P, 173 Insufficient F orce, 25
, R & Ps, 182 “ Isolated P aw n” , 53
English O pening, 119,121
en p a s s a n t , 1 6 ,1 8 ,2 8 , 207 K
e n p r is e , 5 9 ,6 1 ,6 4 , 83 ,1 4 3 ,1 8 4 King In E nd G am e, 71
Evans G am bit, 121 M iddle G am e, 68
Exchange O f M en, 128 O pening, 67 ,
, M ove O f, 11
F K ing’s G am bit, 102, 109, 119,
’ F ianchetto, 5 0 ,7 9 -8 0 ,9 2 122
■F .I.D .E .,2 1 7 Indian D efence, 112,123
Fifty M ove R ule, 25 Side A ttack, 141
File, 27,217 K night, In E nd G am e, 73
Flank O penings, 122 M iddle G am e, 70
F ool’s M ate, 57,75 O pening, 68
Forced M ove, 89 , M ove O f, 15
F ork, T h e , 35 Piece T raps, 138
222 Index
M , E nglish, 119,121
M ajor O penings, 120 , E vans, 121
M aster G am es, 190 e t s e q . , Flank, 122
T itles, 218 , Four K nights’ G am e, 99, 122
Match Play, 210 Paw ns’ A ttack , 114,203
M ate, See also C heckm ate, 13, , French D efen ce , 9 3 ,1 1 7 ,
3 5 ,3 6 119, 1’2 2
, F o o l’s, 57 . , G iu oco Piano, 94, 9 6 ,1 2 2
, Scholar’s, 58 , , G runfeld, 122
M ate rial-W inning C om bination, , K ing’s G am bit, 1 0 2 ,1 0 9 ,
82 e t s e q . 119 ,1 2 2
M ating C om binations, 75 Indian D e fen ce , 1 12,123
M iddle G am e, 5 0 ,6 7 ,6 8 e t s e q . , , N im zo-Indian D efen ce , 124
127 e t s e q . Larsen A ttack , 124
M oves, 28 , P etroff’s D e fen ce , 124
, Fifty, R ule, 25 , Philidor’s D efen ce , 124
, Forced, 89 , Pirc, 124
, R epetition O f, 25 , Q u ee n ’s G am bit, 1 0 8 ,1 0 9 ,
1 1 2 ,1 1 7 ,1 2 4
N Indian D e fen ce , 124
N im zo-Indian D efen ce , 124 Pawn G am e, 124
Larsen A ttack, 124 , R eti, 125
N otation, 26-27 , Ruy L op ez, 1 0 4 ,1 2 4 ,1 2 5
, A lgebraic, 27, 28, 47, 218 , Scotch, 125
, D escriptive, 27, 217 , Sicilian D efen ce , 9 3 ,1 1 4 ,
, Forsyth, 2 7 ,2 1 6 1 19,125
, O ther, 219 , Slav D e fen ce , 125
, T w o K nights’ D efen ce, 125
O , V ien n a, 126
O pen G am e, 91 O penings, M ajor, 120
O pening, 50, 66, 67 e t s e q . , 90 O pposition, 163
et seq.
, A lbin C ounter-G am bit, 120
, A lek h in e’s D efen ce , 93, 120 Pawn, 11
, A llgaier, 103 , backward, 130
, B enko G am bit, 120 , “ D o u b led ” , 53, 129
, B enoni, 120 F orm ations, 131
, Bird’s, 120 “ H o le s” , 70, 140
, B ishop’s, 120 In A ttack , 134
, Caro-Kann D efen ce , 93, D efen ce , 134
119, 120 End G am e, 74
, Centre C ounter, 9 3 ,1 2 1 M iddle G am e, 70
G am e, 121 O pening, 68
, D anish G am bit, 121 , “ Isolated ” , 53, 129
, D utch D efen ce, 119,121 , M ove O f, 16
Index 223
, Passed, 129 R elative V alu es O f C hessm en ,

P rom otion, 1 7 ,6 7 ,7 2 32
Stopping P rom otion, 173 R ep etition O f M o v es, 25
Structure, 129 R esignation , 26
, U n ited , 130 R eti O p en in g, 125
, Structures, 132 R o o k In End G a m e, 71
Pergam on C hess, 214 M iddle G a m e, 69
Perpetual C heck, 2 5 ,7 1 O p en in g, 67
P etro ffs D e fe n c e , 124 , M ove O f, 13
Philidor’s D e fe n c e , 124 P iece Trap, 139
L egacy, 7 6 - 7 7 ,7 8 R uy L op ez, 1 0 4 ,1 2 4 ,1 2 5
Piece Traps, 138
P ieces, 1 1 ,1 3 7 S
, M ajor A nd M inor, 53 Scholar’s M ate, 58
P in , T h e , 33 S cotch, 125
Pirc, 124 S eventh R ank , 1 3 9 ,181
Players, C hess, 214 Sicilian D e fe n c e , 9 3 ,1 1 4 ,1 1 9 ,
P ositions, O pen A nd C lo se, 138 125 .
Prom otion C heck, 174 S k e w e r , T h e , 3 5 ,8 3
, Paw n, 1 7 ,6 7 , I t Slav D e fe n c e , 1 1 0 ,1 2 5
Square, 42 Squares, Strong A nd W eak, 137
, Stopping, 173 S talem ate, 23
Staunton Pattern, 9
Q Stopping P rom otion, 173
Q ueen In End G am e, 71 Strategy, 46 e t s e q .
M iddle G am e, 69 S w itc h A t t a c k , 1 4 5
O pening, 67
, M ove O f, 13 T
P iece Trap, 139 T actics, 46 e t s e q .
Q u een ’s G am bit, 1 0 8 ,1 0 9 ,1 1 2 , T w o K nights’ D e fe n c e , 125
1 1 7 ,1 2 4
Indian D efen ce , 124 U
Pawn G am e, 124 U n d erprotection , 85
Side A ttack , 154
V
V ie n n a ,126
R a n k ,2 7 ,2 1 7
, B ack, 140 Z
, S even th, 139,181 Z ugszw ang, 188
Games ISBN 1-58574-046-2
$12.95 ($19.95 in Canada)
*The magic of chess is that it can be learned

by almost anyone, played almost anywhere and at
almost any level with equal enjoyment ”
—D. BRINE PRITCHARD, from the introduction
ith remarkable ease and clarity, author D. Brine Pritchard explains

W the modern and internationally approved method of chess to the
beginning chess player. In this, the tenth revised edition of the standard
work on the subject, Pritchard draws new inspiration from the latest
developments in chess, taking the reader through detailed and illustrated
explanations of the basic rules and general theories of chess, openings,
middle games, end games, and much more.
Retaining its unique distinction and indispensable expertise, this fully
updated edition takes the complete beginner on an effortless and inspirational
journey toward the skill level expected of an intermediate player.
D. Brine Pritchard was the editor of Games and Puzzles magazine for ten
years and is the former games director of the Mind Sports Olympiad and
the current president of the British Chess Variants Society. He lives in
England with his wife, Elaine, an international chessmaster.
The Lyons Press

123 West 18 Street
New York, NY 10011
www.lyonspress.com
Printed in Canada

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THE RIGHT WAY TO PLAY

THE LYONS PRESS

ALL RIGHTS RESERVED

Library of Congress Cataloging-in-Publication Data

Pritchard, D. Brine (David Brine)

GV1445 .P74 2000

The Right Way To Play Chess has now served as tutor to a

to which I referred above, have been exciting ones. Chess

- teams representing over a hundred nations regularly

communication easier and technical advances afforded

HOW THE GAME

The King (<g|?^)

The king may not therefore be moved onto a square

(1) By moving the king onto a square not attacked by

THE KING AND QUEEN

Not all these resources may be available. If none are

square on which the hostile man stands, whilst removing it

THE ROOK AND BISHOP

From the foregoing it will be clear that the queen

The knight captures in occupying, as is the case with the

square it controls only black squares and vice versa.

A pawn on reaching the end of the board (the last rank

part. The pawns are arrayed in front of their respective

In chess, White always moves first (choice of colour is

advancement leading only to confusion and eventual

(1) Neither the king nor the rook have moved.

There is a misconception that one may not castle once

king would have to pass over a square commanded by an

lost the game. In (b) the black king is attacked by the

In (c) the black king is again attacked, this time by the

board, Black is playing DOWN), and the black bishop,

play, White is said to have stalemated Black and the game

In (c), the black king’s only square is next to the white

move - the pawns obstructing the pieces. Black, to play, is

Other Methods of Concluding a Game

(1) INSUFFICIENT FORCE

(2) PERPETUAL CHECK

(3) REPETITION OF MOVES

(4) FIFTY MOVE RULE

(5) DRAW BY MUTUAL AGREEMENT

In point of fact, it is advisable for the beginner not to

recorded. We are thereby not only the fortunate inheritors

The Algebraic Notation

and by way of annotation :

! (exclamation) = good move;

A few situations are abbreviated; e.g., e.p. = en

THE •ALGEBRAIC NOTATION

Now for a few examples. Look at diagram 9. If in this

(1) How many men in the position given are unable to

Solutions to Test (Chapter 1)

(2) Eight, including the pawn capture.

Relative Values of the Chessmen

only really strong chess-players are endowed.

Queen = two Rooks

These are approximations. The bishop is normally

(b) Double Check

double check, when a king is exposed to attack from two

The extraordinary power of the double check is appar­

(c) Discovered Check

The extraordinary power of the double check is appar