ECONOMY OF FORCE IN CHESS PROBLEMS.

By Sehok J. Tolosa-y-Carreras.

(Translated from La % Strategic.) (Continued from last issue.)

It is evident that economy of force in the mating position forms an element of perfection and progress in the construction of the works of art with which we are dealing. We think that it is necessary to consider this kind of economy as an excellent quality, which raises the merit of the work, whilst nevertheless we think that it would be an exaggeration, to demand as an indispensable condition in the admission or rejection of a problem. In our opinion persuasion is preferable to insistence, and we are convinced that if economy, of mate is not yet preached by Tyrians and Trojans, it is because of the extreme demands on the point made in compositions by Germans, Slavs, and the North of Europe. In the application of theoretic principles it is necessary -to kJbw, according to circumstances, when to accept and when to reject them. No absolute principle can be laid down for tho construction of a problem; that which is good in one case may be unsuitable in another. It depends upon the nature of the idea intended to be illustrated and the nature of the proceedings, which the character and the realisation of the idea may impose. Take, for instance, No. 14: —

No. 14. By Shinkman

k 3 r 3, 1 R E5. 1 P P3 PJ, r7, 8, 3 Q 2 P P P2PIPJ K.B. ' Whit j m play and mate in three moves.

K-KIU J 2Q-K5 4C. Isote.— ln the diagram given iv La Strateeie there is no white pawn at K-Kt t ! . There would be a double solution without it by 1 Q.K Xt 4 We have therefore added the I\— Gh.Ed.O W

It is admitted that it detracts greatly from the general beauty of a problem for White to capture a piece of his opponent, and the more important the piece, and the greater its material value to. the defence the niorq such a capture

detracts from the merits of the problem. In this problem, however,^ it is undoubtedly the case that the capture of the^two rooks by the Queen for White's last move, fai from being a defect in construction, is a charming idea. In this case, therefore, the capture of a piece, instead of being a defect of construction, becomes a remarkable element of beauty in the denouement. We present another instance, No. 16, which is based on a theme called "anmilation: —

No. 15. By S. Loyd.

2 Q 4 B, 7 R, 8. 5 B 2. 6 p 1. 7 P, 5 p r k, 5 X b b. White to play and mate in three moves. 1 R-Q7 P-Ktfi 2 PxPdschAc. 2 B-K R 7 Xx P 1 KKt 6 3 B mate s 2' Q-Kt 8 eh <*c 1 R-Kt 6 The intention, in fact, of the celebrated cornposer is to annul in two moves the action of four white pieces which defend the White pawn which ought to be taken by the Black king when Black plays 1 p-kt 6. It is manifest that the author's intention does not permit of economy of force in the mating position. We might multiply instances to show that the practical application of theoretical principles permits of numerous exceptions, especially when it is a question of problems having an abstract indeterminate theme — that is to say, when the composer conceives the idea of the '< work without choosing befoiehand the pieces to be used in tha execution of his plan, and ignoring the mode in which the mate shall be produced. In such case 1 } criticism ought to ; be indulgent and judge eclecticatly, in order to avoid going astray into systematic exaggerations proper to sectaries. In this matter we concur in the opinion of the eminent problemist Chocolous, who, with much good sense, has said: "That which is original and genial ought not to be confined within the narrow limits of rules; in such cases the composer should be permitted to do as he likes; the chief value of the composition can then spring exclusively from the point or trick of the idea conceived." The demands relative to the theoretic principle of which we are treating may to some extent be justified in the following cases: —

1. When the conception of the problem is based on a mating position more or less free, and obtained by means of the evolutions of a certain number of pieces shown beforehand by the composer.

2. When the aim of the composer is merely to- prevent a "complexus" of variations without any generating abstract definite idea.

(To be continued.)

Q-KB3 no B-K R 3 E-R5 BxP K-Q B 1 11-K Xt ] 2 Q-Q 2 Aq, 2 Q-B 7 Ac. 2 Q-Q B 5 4c. 2 Q Q 5 &c. 2 Q-Q 5 *c.