SIR,-Lake, in the sense of play (for it has several other meanings), or rather laken, comes, no doubt, from COLCHESTER, 8th October 1873. To the Editor of the WESTMINSTER PAPERS. DEAR SIR,-On turning over your pages, I observe a query as to the North Country word laking-playing. This, like many words still in use in the North of England, is a remainder of Saxon; the original word in that language being "laikan," to play. In the Cumberland dialect it is still speit laiking. The expression is found in the old poem of "William and the Werwolf." It is also used in the sense of plaything or toy. In the "Gesta Romanorum occurs the words, "He putt up in his bosome thes iij lakayns." Is it probable that the slang expression, "What a lark!" is from the same root? I am, Sir, yours truly, M. LAW. 141 GLOUCESTER ROAD, REGENT'S PARK. 9th October 1873. To the Editor of the WESTMINSTER PAPERS. SIR, I have read Mr. George Walker's letter, in your last number, asking if any of your Yorkshire readers can give the etymology of the word "laking," as applied to the practice of games and sports. It may, possibly, interest some of your readers to know that the word is of Westmoreland, rather than Yorkshire, origin. The labourers in the neighbourhood of Windermere and Kendal never use the word "play," but invariably speak of "laking" at quoits or any other game. I have often noticed this; but although I have spent the greater part of my life in the West Riding of Yorkshire, I never heard the expression used there, although it doubtless may be customary in some parts of the West Riding. To "lake" means to play, all over the county of Westmoreland, especially in the lake district. I regret that I cannot give the derivation of the word. Yours truly, G. H. D. GOSSIP. To the Editor of the WESTMINSTER PAPERS. DEAR SIR,-Will you allow me to have a conversation on Problems with your readers? I. In order to analyse and understand a Problem the better, it might be divided into three parts. The first part is the idea which the Composer has realised on the Chess-board, whatever that idea may be. But as ideas are as different as men, and as the complete idea of a Problem is not grasped and thoroughly understood at once-because, besides the leading line of play, it is also composed of details, the beauty of which, severally, and in relation the one to the other, it is difficult to analyse-I do not think it possible to lay down rules by the standard of which we can set a correct value upon what we call Ideas in Problems. This part is altogether intellectual. It might be Another, which for the sake of order may be called the second part, is more mechanical. called the Grammar of Problem construction. The pieces are the vocabulary of the composer; and in the same manner as when we give a form to our ideas by language spoken, or written, we do not put words together by mere chance, but place them in some order, according to certain accepted rules, so must we use pieces in Chess. There are certain rules which every composer is bound to respect. It is by a judicious regard of the value, and the position of the pieces, or words, that a composer will be able to compose grammatically. With regard to this second part, I think some rules might be set down, the application of which to Problems would decide whether they are constructed correctly or not. After reading the correspondence lately printed in the WESTMINSTER PAPERS, on the subject of Problems, in which Messrs. Carpenter and Freeborough took a part, it seems to me that the latter had in view more specially the Ideas, and the former the Grammar, which may have been partially the cause of their misunderstanding. There is a third part to be considered, and I acknowledge it has especial attractions for me. I know not how to call it. If I do not offend your critical readers by the use of a big word, I shall call it the Rhetoric of construction. It is the garb in which the idea is clothed. It stands between the Grammar and the Idea, and partakes of both. Ideas are not scarce. Everybody, now-a-days, is full of ideas; but that which makes them more or less acceptable is the form, more or less elegant, in which they are presented to others. The composers of this century have made problems, and Tupper, of later celebrity, verses, full of ideas, but I prefer J. B. and Tennyson. In order to be merely correct, a composer may altogether neglect the third part, provided he respect the Rules of Grammar. He may present his idea in as ugly a form as he likes; that is his business. Nobody has a right to quarrel with him on the ground that his problem is not a problem. But, of course, few men will give themselves the trouble to get better acquainted with him after they have waded through the solution of his first problem. To present an idea in an attractive form is a personal gift, although a bad manner of construction may be improved by the study of the elegant masters. And I take it that no problem is perfect unless the form is neat and suitable to the idea. Form will only be unattractive when the composer himself does not fully possess his idea; but if he has it well in hand, if he has looked at it from all points of view, then will he find the only way to make the most of it, and, without effort, the form and the idea will blend harmoniously together. Boileau has said: "Ce que l'on conçoit bien s'énonce clairement," and Pope, with not more conciseness, but with more originality, speaking of the form of poetry : "The sound must seem an echo to the sense." Form must seem an echo to the Idea. II. BLACK. And now, Sir, I propose to show what a good Problem is, by going through the Solution of Mr. Menzies' in the September number of the "WESTMINSTERS PAPERS." It is in the margin. Let us have a first glance at the position. For a four mover its looks are decidedly prepossessing. There are not too many pieces, and the board is open to a great variety of moves from most of them. The key move is Kt to Bishop's 6, threatening mate at Queen's 5. The composer's idea is to compel Black to take both his Pawns on the diagonal, with the Rooks, freeing it for the pinning action of the Queen at King's Rook 8 at the 3rd move. This first move is very happy, as it conceals the idea from the very beginning. Any other move would not be so good, as, after the Black Rook has taken the Pawn, the fact that the diagonal is free at Bishop's 5 would more easily lead the solver to the correct solution; he would ee more readily that the Queen might play an important part at King's Rook's 8; Black can avoid the mate in three ways; and here I would notice that the present manner of recording solutions is illogical. The solution of the prominent idea is first given, then that of the weaker lines of play. I direct the attention of your readers to this, that in a good Problem the solution of the prominent idea should be the most difficult. If it be so, then the solution of the minor variations is found out, according to their degree of difficulty, on the way to the principal solution. Therefore, we should record our solutions in the same order that we find them, and dismiss the variations the one after the other, till we find our way to the principal solution. I give below what I consider a logical record of the solution of Mr. Menzies' problem.* WHITE. White to play and mate in four moves. Your readers will be able to go themselves through the solution of the two variations. I want to point out, in the second variation, the indeterminate moves of the Queen at the third move, either to Q 8, or Q 7, as I want to refer to the subject again. Let us then take the principal solution : I Kt to B 6 I R takes P at Q 4 Now the position is getting very interesting, and White's next move is very fine. The solver sees the second move is with the Queen, but where to? She has a number of moves at command. At first sight it seems as if there was an easy solution by 2 Q to Kt 5, but that will not do. The move is 2 Q to Q Rook's 8. Hereabouts, both the attack and the defence are very lively and interesting. The beauty of this move will not be entirely seen unless it be connected with the third move, between which and it there is a link which is better appreciated than analysed. Black is sorely tried. He has only one available move-Rook takes Pawn. And now, upon this move, the mind searches for a little time, and suddenly foreseeing the final idea, it rushes to King's Rook's 8th with the Queen, and experiences, in a minor degree though it be, that pleasure one derives from the sight of a great picture, the hearing of beautiful music, the reading of elegant verse. It was my intention to make some observations upon two distinct schools of composers, about the best mental condition for the composing of the best Problems, as I understand them to be, and finally, about the provoking question of indeterminate moves; but my letter is too long as it is, and with your permission, I shall reserve them for a future number. I am, Dear Sir, your faithful servant, G. E. BARBIER. FELSTED, October 1873. OUR PROBLEMS REVIEWED. No. 329, by J. MENZIES.-This problem is impossible of solution. It is worthy of note however that several reviewers have forwarded what purport to be solutions, overlooking that Black can check the White King by Kt takes R. No. 330, by C. CALLANDER.- "This composer, a youth in years, but almost a veteran in subtlety of idea, is quite up to the mark in this problem. The variations are numerous and ingenious," H. J. C. Andrews.-"Just what a two-move problem should be few pieces, several distinct variations, and nearly every one of these dependent on White's first move," J. N. K. A very elegant position, showing especially the power of the two Knights. There is no padding in this problem," R. W. Johnson." Although rendered easy by the probability of the first move, this is an excellent problem, and well constructed in every way," O. D. D.-" A good and natural-looking position," T. R. H.-" An extremely attractive problem, both on account of the naturalness of the position, and the proportion of pieces,' C. W. M. D.-"A perfect two-move problem-cleverly constructed, ingenious in design, and rich in variation," W. Nash. -"Very neat ; the position pretty," H. E. B. Rackham. " No. 331, by J. W. ABBOTT.-"This problem seems to me to be imperfect, as, supposing Black to play 1 B to K B 2, or B to K B 5, White can mate in three different ways. It is otherwise a clever problem," H. J. C. Andrews." Easy, and the dual moves render some of the variations valueless," J. N. K. "R. W Johnson is wrong. I B to KR 7 will not answer,' Editor."- "The construction is unhappy," O. D. D.—“T. R. H. is wrong. I B to KR 7 will not answer," Editor.-"The main idea is good, but the composer has overlooked the dual attacks," C. W. M. D.-" Almost devoid of variation, except where a choice of attack is allowed to White,' W. Nash.-"A very fine problem," H. E. B. Rackham. No. 332, by P. T. DUFFY.-"This problem I think the gem of this number. It has brilliancy, as well as ingenuity, to recommend it," H. J. C. Andrews.- "As far as construction goes, this problem is admirable,” J. N. K.—“This problem appears as if a move had been added to a three-move problem. The first move is very obvious, and the position does not look very elegant or Chess-like," R. W. Johnson.—“All the moves are artistic, and not easy of discovery. The construction is free and good. This is a very fine problem," O. D. D.-"A very diffi cult and interesting problem, with much apparent variety both in attack and defence," T. R. H.-" A remarkably good problem. There are a great many ways of nearly doing the problem, but it is perfectly accurate. A problem like this shews the value of every piece," C. W. M. D.-" The solution suggests that it was originally a three-mover. The idea in the leading variation is well carried out, but the position is wanting in variation and weak in the defence," W. Nash.-"Easy; some of the variations pretty," H. E. B. Rackham. No. 333, Ars celare Artem.-"Pretty, though easy," H. J. C. Andrews.-"A very neat position, rendered very deceptive by its symmetry.-1 Q to B 8 and 1 R to QB 4, are plausible attacks. The solution is very elegant, and not at all easy," R. W. Johnson.—“A good position, both as to construction and idea. The variations are perfect, and the first move is ingenious," O. D. D.-" An interesting end game, with more variety of defence than at first appears, but simple after the first move," T. R. H.—“Remarkably piquant and clever, but spoiled by dual attacks," C. W. M. D.-"A good idea, but not well carried out," H. E. B. Rackham. No. 334, Ars celare Artem.-"H. J. C. A. is wrong. 1 B to KB 3 will not answer. Black's best reply is 1 Kt takes P at QB 3," Editor.- "A problem of this sort is necessarily somewhat clumsy in construction. This one is less so than most formed upon the same principle," J. N. K.-"In my opinion the best in the number. White's excess of power is balanced by Black's position and good defences, all his pieces being well placed," R. W. Johnson.-"A fair problem. Two faulty variations," O. D. D.-"Difficult of solution, but a vast disparity of force," T. R. H.-"The same remarks apply to this problem as to the last," C. W. M. D.—"Easy, not well carried out," H. E. B. Rackham. NOTE. The Reviews in last number upon Problem No. 322 were made under a misapprehension, for which we, and not either the Author or Reviewers, are responsible. A Black Bishop at QR 5 was omitted from the diagram.-Editor. |