Duals In Two-More Problems.

Otago Witness, Issue 2207, 18 June 1896, Page 40

Duals In Two-More Problems.

Your correspondent X.Y.Z." takes exception 'to the "defensive" that I used in oontradistmc•tionto those I tanned "purposeless." At least he ' will admit that those moves had a purpose in 'them which the others had not, and that purpose* I distinctly* pointed out, but then some people ; delight in splitting, straws. In all" two-movera ] Black must, in guarding one point, expose or leave unguarded, some other, otherwise it would hardly be a two-mover. He also says that the word "defensive" "could be applied to aa end same, but not to a problem"— at least of the kind I submitted. We 11, ,1 have always looked on problems aa end games, except in cases where the compouer has notified to the contrary, and I thought the word was admissible, but if it will please him better I will use tha word '* purposeful" instead. Even in the position ha siTbmits whenever he guards the , Q'a fifth square he commits suicide" in some other way, so Khat after all it is very much like making a distinction without a difference. He also says "a dual in a two-mover quite spoils his pleasure in solving it" (What a pityl lam exceedingly ■orry his artistio sensibilities are so easily shocked), "and he always criticises them 1 adversly." I suppose fault finding comes easier than commending, and in looking out for a paltry dual it is quite possible for one to overlook the good points of a composition. The way in which " X.Y.Z." cures the duals in the position I sent in . is very olever indeed, and in fact I have invariably admired 1 the compositions that have appeared under that signature (even though some of them may have contained duals) but the way I cured them was done purposely to illustrate and emphasise what I had to pay. Of course duals or no duals in problems will always be very muoh a I matter of taste, and if " X.Y.Z." doesn't like them, by all means let him exclude them from his compositions — I am sure no one will blame him for so doing; but to say (as I have so often noticed would-be critics say) "that a dual in answer to what is often a purposeless move, quite spoils the composition "is simply rot. As I said in my last, the authorities are not so illiberal iv the present day as to condemn a composition simply because it contains a dual. Here is a composition that tpok first prizs in an English magazine :—

Motto— "Feep Beneath."

White mates in two moves.

The* key move is Q-Kt 2, and if BUck plays q.-q 7. then QxQ or KtrK 2 mates. I should like to ask " X.Y.Z. ' if a fine stratagem should be cast into oblivion for such a trivial fault. I don't know the name of the composer of the above, but here is another by a composer who has attained a world-wide reputation z —

By Da, Samuel Gold, Vienna.

White mates in two moves. It will be seen that after I Q-Q Z q-kt 8, B 7, B 4 ka 9or Xt mater. This will go to show that iom« eminent composers are not; qultr BOBtrait*

laced as "X. Y.Z." I also submit to you another position by one of our rising colonial cbmpoaers j—

By 3. 0. Anderson, Ohristchuroh. (Specially composed for Al.)

White to play and mate in two moves;

After 1 Kfc-B 2, k-k 5, then Q-Q 4 or B 5 mates, I think the above examples will go to show that Ido not stand alone in my opinions. In con. elusion, Ido not wish it to b» understood that I advocate duals or even carelessness in composing on the contrary, I aay exclude or eliminate- duals whenever you oan, do so without spoiling tho beauty of the position. II the duals occur in answer to purposeful' moves then a problem will" require to contain some excellent qualities in other directions to justify il being given publication. But if the duals occur in answer- to purpoaelest moves, don't cumber the diagram Withstlot of pieces to cure them, as I think the remedy worse than the disease; and though "X.Y.Z.V pleasure may be spoiled in solving such (for which I am awfully sorry), many others will enjoy the task.— l am. etc.,

Thomas Sexton.