On the other hand, as there are certain limits that guide the sculptor, the painter, the poet or the musician; so likewise there are certain principles that restrict the problematist. The poet must bend his grandest thoughts to the measure and rhythm of his verse, and the Chess artist must clothe his finest conceptions in the forms prescribed by established usage. In either case, the thoughts, the ideas, are subject to no other trammels than those relating to the composition, the construction. But these trammels are binding, and exact the most patient study from the poet or the composer, in order to fashion his creations therewith. There is no rising above them. Whether it be the author of " In Memoriam," or the authoress of the last poem on “Our Dead Baby;" whether it be a Klett or a Dollinger, these restrictions must be met alike. The systematisation of such restrictions as apply to the construction of Chess Problems was the "problem" that I found it convenient to "solve" in order methodically to class the works of KLING which I was passing in review. This is a very different "problem" from the one that "X" would mix up with it. As far as tried, my "solution" seems to work well. Moreover, the definitions have received the sanction of some of the best judges in this department of Chess, having been pronounced by many, both publicly and privately, to be a fair interpretation of the prevailing views as to accuracy of construction. These definitions are not fanciful or empirical. They create nothing; they simply give a name to what already exists. They point out plain distinctions. No two persons can differ in applying them. There is no problem they fail to reach. They form a standard by which the minutest deviation from perfection can be at once detected, and placed in its proper category. They do not relate to what is a mere matter of opinion; they fix the position of the problem in the scale of accuracy, and it is then passed on to the Arbitrie elegantic for their opinions as to its general excellence. It is at this point that the element of doubt enters. If, after having been pronounced not Faulty or Unsound, by the critical examiner, its status as to fineness come in question, how various will be the opinions offered One will pronounce it "neat," another "pretty," another "beautiful," another "elegant," and so on. As many men, so many minds. Indeed, the same mind will give different decisions according to its mood. And there is no asthetimeter--there scarcely can be one until it is satisfactorily settled which tastes the best— lemon pie or mince pie -that will indicate the unmistakable position of the problem. If such a meter ever be invented, I shall be among the first to applaud. One thing is plain, and "X" must have known it, even though he failed in his attempt to master them, that my definitions were not intended to serve as any such meter. Few could unintentionally so pervert the sense of the terms perfect, imperfect, defective, faulty and unsound, as to make them refer to the "quality of the idea," instead of the manner of rendering it. OUR PROBLEMS REVIEWED. Ed. No. 263, by J. W. ABBOTT. "Rather wanting in point," J. N. K "Class A, a fine and difficult problem," C. W. M. D. J. A. M. is mistaken, Kt. takes P will not answer. "Difficult, the variations are happily worked out," T. Kaynor.—— “Good idens, not well expressed," J. M.—“ Rather easy," T. R. Howard. No. 264, by J. G. CAMPBELL.- "White's first move is beautiful," J. N. K.- -"Class A, very elegant," J. A. M.— “Very elegant, and by no means easy," T. Kaynor.—“ Pretty, but much power is wasted," J. M.- "Ce n'est que le premier pas que coûte," T. R. Howard. No. 265, by P. T. Durgy.-"Well constructed; the way in which the mate is brought about is admirable," T. Kaynor.-"The way in which a solution by R to Q R 6 is prevented, is its chief merit," J. M.-T. R. Howard cannot solve this problem by Q to Kt sy ch. Ed. No. 266, by F. HRALRY.-"Class A, but not up to the composer's standard," J. A. M.-"Very ingeniously constructed," T. Raynor."Neat and easy." J. M.-"A good problem," T. R. Howard. No. 267.-"Not first-rate," J. N. K.-Class A, elegantly designed," C. W. M. D.-"Class A, easy," J. A. M.-"Very neat,' L. H. Lofthouse. "Curious and neat," J. M. 'Pretty," C. Dalton.-" Very ingenious," T. R. Howard. No. 268.-"Poor," J. N. K.-"Class A, but poor," J. A. M. "One of the best problems I ever solved," L. H. Lofthouse.-"Neat," J. M.- -"A suggestive problem," T. R. Howard. Ed. No. 269.-"Very poor," J. N. K.-"Class A, easy," C. W. No. 270.-A second solution by J. N. K. and T. R. Howard. . J. A. M.-"Very ingenious," L. H. Lofthouse.-"Neat," No. 273. Very easy," J. N. K. "Class A, easy," C. W. M. D.-"Poor," J. A. M.-"Very good," L. H. Lofthouse."Not brilliant," J. M.-"A simple specimen of the block pattern," C. Dalton.--Correct solution by T. R. Howard. 46 No. 274. A fair problem," J. N. K.- Class A, extremely good," C. W. M. D.-"Beautiful," L. H. Lofthouse.-"Neat and difficult," J. M.-"Too obvious," T. R. Howard. No. 275.- "Kather neat," J. N. K.- "Class A, fine," C. W. M. D. "Capital," L. H. Lofthouse.-"Fair," J. M."Variations nice, but not difficult," C. Dalton.-Correct solution by T. R. Howard. No. 276.- Neat," J. N. K.-"Class B, rather obvious," C. W. M. D. Class A, good,” J. A. M.-"Neat," L. H. Lofthouse.- Fine," J. M.-"Very obvious," C. Dalton.Correct solution by T. R. Howard. No. 277.-"Very good, and quite refreshing," J. N. K.— Second solution by C. W. M. D., J. A. M., L. H. Lofthouse, J. M., C. Dalton and T. R. Howard. No. 278.-"Easy," J. N. K.- "Class B," C. W. M. D."Class A, good," J. A. M.. -"Done to death," J. M.-L. H. Lofthouse is mistaken, Q to KB 3 will not answer. Ed.-"Pretty, but easy," C. Dalton.-Correct solution by T. R. Howard. No. 279."Class A, very fine," C. W. M. D.-"Class A, very good," J. A. M.-"Good, and piquant," L. H. Lofthouse. "Fine," J. M.--C. Dalton, R to Q 8 will not answer. Ed. -T. R. Howard, "R to Q 8 will not answer when black plays P to K 4. No. 280.-"Easy," J. N. K.- Class B, but very good," C. W. M. D.-"Class A, good," J. A. M.-"Good" L. H. Lofthouse. "Very fine," J. M.-Easy," C. Dalton.-Correct solution by T. R. Howard PROBLEMS. One of the competing sets in the Problem Tourney of the British Chess Association. The fifth problem of No. 281. BLACK. this set we published last month. (a) This mode of pursuing the attack in the Allgaier, after the Knight has been sacrificed, has totally superseded the old style of procedure by 7 Q takes P; in this case the second player soon wins, as follows: 7 Q takes P 8 Q takes KBP 9 B to QB 4 ch (b) 8 K to K sq is the best move for Black. practice he very seldom does choose. 7 K Kt to B 3 8 B to Q 3 10 Q to KB 5 10 B to Kt 6 ch 8 K to Kt 2 allows the first player, if he choose, to draw the game, although in (c) White may now, as stated in the preceding note, draw the game, thus : 9 B takes Q Kt P 10 Q takes Kt P ch 9 B takes B and the student will speedily discover that Black cannot prevent perpetual check. (d) A weak mode of pursuing the defence. Black should have played 9 Kt to K B 3; if White answer with 10 Q Kt to B 3 the Black K B may be moved to Q Kt 5; if with 10 Q B takes P, the K B may be taken off, and the Black K B played to K 2. (e) By this manœuvre, Black gives up his piece, obtaining in return the exchange of Queens and two passed Pawns, but he did not take sufficiently into account the superior development of the White pieces, the strength of the White K P, and the exposed position of his own King. (f) Driving the Knight to a hopelessly bad position. (g) This move deprives Black of almost his last chance. 21 Kt takes B ch, followed by B to K 3, were by far the preferable course. (h) This and the last move make bad worse. (i) Leaving Black without any resource. GAME 147.-Played in the Grand Tournament, 3rd July 1872, at the Westminster Chess Club. Sicilian Opening. |