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OVER THE CHESS BOARD., Issue 10470, 13 November 1897, Supplement
OVER THE CHESS BOARD.
[Conducted bt J. W. Mellob, B.Sc]
Solution of Problem No. 214. Key move: Q-B 7. PROBLEM No. 246. J. MIESES.' * ■ Black S pieces.
A SPARKLING GAME,
The subjoined Evans gambit occurred in the tournament now being contested for the championship of the Otago Chess Club. Mr Mouat (white) conducted the attack againßt Mr 0. Balk (black). The game is characteristic of Mr Mouat's vigorous style : EVANS GAMBIT. White. Black. White. Black. 1 P-KU P-JU 21R-Qsq Kt-Q 6 2 Kt-K B 3 Kt-Q BS 22 R-K'4 R x R 3 B-B i. B-BU 23Pxft Kt-K B 5 IP-QKtl* BzP 24 0-KBsq QxP? SP-B3 BR4 SSBxQP P-QB7 gPO 4 PxP SBRQSsq Kt-K3 r Castles Bx P 27 Bx R Kx B BKtxß PxKt 28RxP P-KKt3 98-R3 G-KB3 29R-KBG P-B4 10P-K5 Q-Kt3 SOR-K9 Q.Q6 11 Q-K 2 11 Kt-K 231 Q-K *q Rt-Kt 4 ?.« }2QR-Qsq Castlcu 32 Q-QKUchK-Kt/a 13 Kt-Q 4 , Kt xKt 33 8-R 7eh K-R 3 d '' 14 R x Kt' P-Q 3 34 F-K R 4 Kt-K 6 15 Px P Kt?Q B3 35 B-K Kt 8 Kt-B 3 ICR.KB4 MRU 38Q.B8ch K-R 4 17 P-B 3 Px P 37 Qx Kt Q-K Kt B 18R-K«> Kt-K 4 38§xP- 8 QxP eh 198-QKt3 OR-Ksq 39QxQ tfxQ 20 K-R sq-a B-Q 2 ! 40 Bx P and wins. NOTES. a If 20 kt x b p, 21 B x P ch, etc., and White gets the best of it. 6 The kt cannot be taken. c This is unsatisfactory ; but what is better? d Sad, yet forced. ft e 37 R-B 7 is better, as it winsdihe bishop after qxpch3BQxQ,kxq39RxPch,etc. A PRETTY ENDING. The subjoined diagram shows the position which occurred in an Evans gambit played between Messrs . Anderssen (white) and Steinitz (black) in 1866. It was successfully defended by Steinitz, and that gave him the title of chess champion of the world, which he retained for some thirty years : Position after Black's Forlietk Move. Black S pieces.
White 8 piece*. " White to play. The game continued : White. Black. White. Black. RxQ - 53K-Kt2 K-K5 42KtxB-a RxPch 54K-Bsq P-86-& 43K-Rsq R x B ch 55 K-Kt sq P-Kt 4 44 K x R Kt-B 6 ch 56 K-R 2 P-R 4 % g-f* 2 5J £ R ch 57 K " Kt 3 Kt-B 4 ch 4bK-Bsq Kt-Q6 58 K-R 2 P-Kt 5 47 K-K 2 Kt-B 4 59 P x P P k P 48 Kt-B 6 K-Kt 3 60 K-Kt sq K-Q5 49 K-B 3 Kt-K 3 61 Kt-B 2 ch K-Q 6 50 Kt-K 5 ch K-B 4 62 Kt-R 3 P-Kt 6 S£H£ 3 £ Kt3 63Kt-Kts-c P-Kt7 52 Kt-K sq Kt-Q 5 ch 64 Resign?. NOTES. a He had nothing better. If 42 P-Kt 3, then .i p x , p ; . and tne bishop cannot retake because of 43 r x b ch. etc. hj White s knight is now shut in. c If 63 P x P, then 63 k-k 7, and wins. TYPES OF CHESS PLAYERS. THE MODEL PLAYER. The best type of chess player is the one who wins a game without any undue display of exultation, arid who loses one without exhibiting the least sign of temperorannoyance. .He neither "overestimates his own skill nor undervalues that of his adversary. He is at all times quiet, courteous, and unassuming; he gives his entire attention to the game he is playing, and can admire a clever bit of strategy although it loses him the game. He resigns gracefully when defeated, and does not attempt to explain away his defeat. He plays because he loves chess, not because he hungers after-victory. THE IRRITABLE PLAYER. The irritable player is not a particularly agreeable antagonist; the least trifle annoys him, and he is ready to find fault with the board or the men, the lights or the table—in fact, anything will serve to hang an excuse
uponßhould he lose,his game. He cannot' conceal his vexation if his opponent is not ready With his rhove>; he grudges him every moment consumed in the -study of a difficult position, and is ready to boil over with righteous indignation if any bystander should make the most innocentremark. Irritable players should invariably play together until they see themselves as others see them. .--a : -
THE ABSENT-MINDED PLAYER. The absent-minded player is apt to forget when it is his turn to move.' He will puff vigorously at his pipe, although perchance he has forgotten to light it." See ! -he has just popped a pawn into his coffee instead of a lump of sugar. Soon he will be searching in all sorts of impossible corners for it He dreams between each move; nothing will disturb ,him. If" the house were on fee he would calmly continue his game: Now he is stuffing the table napkin into his pocket instead of his handkerchief. When he leaves the club room he will take someone else's' hat and exchange his umbrella for somebody's walking stick, and-will only wake up to realise that he has taken a wrong turn and is walking away from his own house when a friendly policeman will show him where he lives.
THE NERVOUS PLAYER. The nervous player is to be pitied rather than blamed. See how his poor hand shakes; he can scarcely set up one piece without knocking another down. He will be calmer when he settles down to play. Look at the beads of perspiration on his forehead, whilst his left leg is Bhaking like an aspen leaf. He can scarcely control bis voiee to s\y check, and his poor heart is thumping away at &\ furious rate. He is often a fine player, and as he becomes absorbed in the game his nerves become steadier; the position becomes intricate, critical, now he is all there, calm and impassive, motionless as a statue. Never trade on a man's nervousness, or imagine that he will play the worse for it and become an easy victim. Some of the finest players who have ever lived have been painfully nervous men. The very highest chess skill is frequently allied to an intensely nervous organisation. -..-.- THE CONCEITED PLAYER. The conceited player has always an idea pervading his mind that he plays a very strong game. He imagines himself to be second only to the Morphys and Anderssens of the past. He will freely criticise the play of a Lasker or a Steinitz after a hasty and imperfect analysis, and will endeavor to improve upon their play, generally coming to grief in the process. Sometimes conceited players really have something to be conceited about; their vanity may; to some extent, be justified by their skill. This", however, is not often the case. The real type of conceited playtr will mostly turn out to be an easy victim. THE MODEST PLAYER. The modest player, like the nervous player, is a man to. treat with the utmost respect if you hope to score off him. You cannot gauge his real strength.by his conversation. He never talks about his own play cr boasts of his victories. If you offer him odds he will accept them cheerfully. Harrwitz offered Paul Morphy odds, which Morphy modestly acoepted. The clever little German expert was soon taught his mistake, for he never won a single game off Morphy, though they crossed swords fre-. quently at the cafe de la regence. There are plenty of weak players who are .modest, and rightly so, about their still, but do not forget that there are also many fine and even distinguished players who are very modest. THE SLOW PLAYER. The slow player is of a lethargic temperament, and seldom hurries himself about anything. He speaks slowly, he thinks slowly; every action is deliberate and cautious. He abhors hurry, and has no idea of crowding too much business into the day's work. Having carefully deposited his hat and folded his gloves, he will take his seat, and in a leisurely way set up the pieces, which he will carefully adjust and readjust so that each one may stand exactly in the centre of its own square. Having accomplished this performance with patient methodical accuracy he will rest awhile and study the position. Every move is made slowly, deliberately, and with a solemnity befittiDg a general. He glories'in a long time limit, and prefers playing with clocks. Sometimes his king is in check, and there is only one possible move. Will he make it ? Yes, but not until after patient laborious consideration ; it is his one idea of recreation to ponder an long as time permits over a forced move. Slow players are usually very careful ; they favor the safer openings, and stick to the line of play laid down in the text books as Ion? as may be possible. Sometimes they make a brilliant move; after prolonged study they find it possible to do so without risking anything. Chess played slowly—say at the rate of four moves an hour—iß highly exhilarating, and has been rcoommended by eminent physicians as a oure for melanoholia. Played at the rate of from ten to fifteen moves an hour, there is a daDger that it may beoome intoxicating,
THE NOISY PLAYER. The noisy player is rather trying to some j he mo3tly haß-a very high opinion of his own skill. When he makes a move he bangs his piece down as if he were testing the solidity of the board. He has a loud Voice, which seems able to do without rest. He will discuss ..his opponent's moves and his line of play during the game, and call attention to any fancied good move of his own. If he is not talking he is whistling or singing, shuffling hia feet or drumming the table with his knuckles. When he loses he always explains it to his own satisfaction. "I could have won the game easily, but I wanted to try a bit of Morphy," he will say, or else : "It was my game easily, only it is impossible to play With so much noise." He oan always demonstrate to his own satisfaction that the game ought to have been his. If he wins he gets boisterously excited, aud will talk of his victory for weeks afterwards, just as if no one else had ever won a game before. . _« THE FIDGETY PLAYER. The fidgety player may be known by his restless ways. He can neither sit nor stand for more than a minute at a stretch. He will assume every conceivable attitude, touch everything that is within reach, -try to perform impossible balancing feats with the chessmen off the board. When he moves a piece he often knocks another one over, and then replaces both on wrong squares, saying " I adjust" with th? utmost politeness. He will get up several times during a game, either to poke the fire, to turn on the gas, to see what o'clock it is. Then his pipe will get blocked up and require a surgical operation to make it draw, or he will want to borrow a match. If there is a fly around he will make frantic efforts to catch it. He is a good-hearted, jovial fellow, and cheerfully pulls himself together for half a minute if remonstrated with. There is something comio about his astonishment when he is mated, but he never minds being beaten. It is good fun for outsiders to pair him with an irritable player.
THE POST MORTEM PLAYER.' '■' The "post mortemist" is to be found in every club, and is ready at every conceivable opportunity to demonstrate this, that, or the other thing to anyone who will listen. If he cannot find an opportunity, he will make one. He will prove to you that if white had moved P to K 5 instead of B to K 3 at the thirty-fourth move, he would have had the winning position. He will analyse this and analyse that, and if you venture to differ with him—which is what he is fishing for—he will turn you upside down in four moves. Get into a quiet corner with someone, set up a position, and say in any tone of voice above a whisper: "I think White ought to win." The post mortemist will scent you from afar and will be down on you like a carrion crow on a deceased animal in the wilderness. He will, beyond a doubt, aver that Black is bound to win. Get two of these gentry together and show them a position. _ Before you can count the pawns on the board one! will have demonstrated that the other has a losing position. Watch them go over a game between two masters, say between Lasker .arid Steinitz. Somewhere about the thirteenth move they start off ,oji their own account, and finish it to their own satisfaction, or rather to the satisfaction of one of them. They go back and again try a side issue, probably at the nineteenth move. Before they have finished the original game one arrives at the conclusion that White.; played' a fool of a game, and the other's verdict is that Blaci'a play waß absolutely idiotic, and
neither ia satisfied. They set up the position of some game in progress in the room and tearit to pieces, demonstrating without doubt _tba.b Black has mate on in fifteen moves. And while they are doing this Black is wiping his perspiring brow and wondering how on earth he is going to get out of the hole he is in. A wonderful type is the P.M. He is generally the last to leave the club room, and should you happen, to walk home with two of them you will hear remarks sn.ch as this : -" Well, if Kt takes R, Bto K7 forcing the sacrifice of Q and on mating R 2 w»th the P."."A1l of which is unintelligible to anyone but themselves, and is calculated to give any passerby the impression that it is unsafe to wander out at night without arms. But it is not, for the P.M. is quite and is geher* ally the moat good-natured' of men.—'Exchange.'
OVER THE CHESS BOARD., Issue 10470, 13 November 1897, Supplement
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