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Library 1991.THE MODERN
CHESS PROBLEMTHE MODERN
CHESS PROBLEM
BY
PHILIP H. WILLIAMS, F.C.A.
Issued under the supervision of
THE BRITISH CHESS COMPANY
THIRD EDITION.
PHILADELPHIA:
DAVID McKAY COMPANY,
604*8 $OUTH WASHINGTON SQUARE.“5 cannot to ft:
tet 5’U hammer it out.”
Rich. 11., v., 4.
Printed in Great Britain by
Whitehead & Miller, Ltd., Elmwood Lane, Leeds.PREFACE TO THE SECOND EDITION
I TAKE this opportunity of thanking the
chess public for the very cordial reception
which greeted the appearance of my book in
1903. Since its publication the growth of
interest in problems has been very marked, as
shown by the number of regular weekly chess-
columns in which problems play a prominent
part. A further proof of increasing popularity
is to be found in The Chess Amateur, a monthly
journal which contains an important problem
department. In my capacity as Problem
Editor, I have noticed with gratification the
continual increase of interest in the subject.
Impetus has also been given to the cause
by the splendid work of Mr. Alain C. White, of
New York, whose annual classified collections
are such a feature of modern problem science.
Indeed, his activity, in which he is assisted by
an army of collaborators, is leading to the
production of literature on problems on very
much the same lines as already exists in the case
of openings and end-games. Mr. White has
dealt with ideas of all times with methodical
and untiring enthusiasm Many later problems,
splendid examples of the composer's art though
they undoubtedly are, have been unreservedly
withdrawn in face of indisputable proof of theexistence oi earlier compositions on almost
identical lines. Priority of date of publication
when once established, is an argument against
which there is obviously no appeal. This is
interesting to the public, but exasperating to
those composers who have found their work
forestalled, all unconscious that their patience
and resource have merely led them to an almost
exact reproduction of a problem thay have
never seen. In this direction, however, no
composer can be sure of his ground.
Plagiarism is an ugly word, and I for one
should never apply it in any direction without
overwhelming proof. My collection of com-
positions (see Appendix) contains one or two
cases of unconscious imitation, but, despite
these curious revelations, I am content to let
it stand. It is not of course representative of
my later work, but references to the Appendix
are to be found in the text, and a revision of
the selected positions would lead to confusion.
I have made but one alteration in the Appendix,
correcting an error which escaped the vigilance
of the numerous solvers who tackled No. 73 on
page 201 when it first appeared in the press.
Without a White Pawn on I14, there is a curiously
subtle second solution by 1 R—R4. I regret
to learn that Mr. Shinkman’s clever problem on
page 102 is unsound, since there is an alternative
and pointless method of solution, the remedy
tor which is difficult to discover.
As to the text, some of my more enthusiastic
critics have referred to the scant attention I have
given to four-movers. Nevertheless I contendthat as far as English problems are concerned,
the four-mover is the exception. I have
accumulated large experience of the national
taste and confidently assert that not five per
cent, of our British solvers will look at a four-
mover, and not two per cent, of our composers
will construct one, owing to the appalling diffi-
culties of the task. Moreover, my original
intention in writing the book was to steer the
middle course, avoiding on the one hand the
extremely elementary, and on the other the
highly advanced phase of the subject.
Changes in technique and nomenclature are
of course inevitable as investigation, discussion
and analysis are pursued, but there seems to
be no necessity for revision, since the text
describes the broad principles which govern
problems, and may still help the student to a
ready grasp of the solution and construction
of these fascinating and fanciful positions, of
which the chess-board seems to be able to
produce an almost inexhaustible supply.
PHILIP H. WILLIAMS.
Hampstead, April, 1912.CONTENTS
Chapter.	Page.
I.—Problemist versus Player	..	..	i
II.—General Principles................. 8
III.	—Solving ..........................22
IV.	—Solving (continued) ..	..	..	..	31
V.—Composing...........................43
VI.—Composing (continued) ..............55
VII.—Something about Three-Movers ..	66
VIII.—More about Three-Movers	..	..	74
IX.—Three-Move Composition..............85
X.—Initial Ideas ......................95
XI.—Miscellaneous......................105
XII.—Conclusion........................118
Appendix.—Two-Movers ....................129
Three-Movers..................179
Various ..	 215
Solutions ...............................229INTRODUCTORY.
PROBLEMIST versus PLAYER.
BEFORE entering into an analysis and
explanation of the solution, classifica-
tion, and construction of chess problems,
I should like to say a few words in their
defence.
This chapter, and, indeed, the whole book,
is written for the benefit of average players,
who profess to despise problems; and, alas!
their numbers are many. There would be a
great many more problem enthusiasts if these
“ average ” players, as I term them, would
regard problems in the right light. So many
of them look upon these fanciful positions as
exercises to further their powers of readily
grasping situations in a game : they look upon
them from a player’s standpoint. Nothing
could be more erroneous. As long as they
do so they will unjustly sneer at problems,
and, if ever tempted to try to solve one, will
probably play the nineteen wrong moves first,
and the right one last. One of the objects of
this little book is to enable the reader to play
the twentieth move first, leaving the other2
The Modern Chess Problem.
nineteen to be waded through by those who
prefer to remain ignorant of what a problem
really is, what it does, and why it appears so
constantly in our leading journals.
I have been so often told that problems
do not seem to improve one’s playing strength.
Quite true—they do not: and, I boldly assert,
are not meant to. Problems are the poetry
of chess. They show a player perhaps that,
under certain peculiar conditions, and in
certain peculiar situations, powerful pieces
appear impotent, while the tiny Pawn may
seem a veritable tower of strength ; its simple
march may lead, perhaps, to a most unexpected
development, or may constitute an unanswer-
able reply to a wrong first move'. Problems
are a distinct branch of chess which must not
be confounded with the game itself. There
are many fine players who are capable prob-
lemists, yet they view a game situation in a
totally different light from that in which they
consider a problem. Points in common to
both problems and games are rarely to be
met with:	first, because in a problem the
disparity in the forces is almost always great
(and is not taken into account); and as the
scorner of problems is so fond of saying,
“ Black would have resigned long ago! ”
Secondly, a problem is the deliberate fancy
of a single mind : a mind, too, unfettered by
what the opponent may do. How often hasThe Modern Chess Problem.	3
it happened, when playing chess, that White
foresees, with much suppressed excitement,
that he can make a brilliant sacrifice which
will cause the downfall of his adversary, on
condition, however, that the latter makes a
certain move. Then, all unconsciously per-
haps, Black has done something else, and the
“fireworks” which were to dazzle the onlookers
are dummies after all!
It is not so with problems. Here we
find these brilliancies are carefully preserved,
embellished and perpetuated ; if it is a good
one, the solver cannot thoroughly master the
problem without grasping the author’s idea in
all its grace and strategy. Thus it will be
seen that the problemist opens a field of
entirely different situations and tactics, and
that problems cannot be compared with
games, any more than billiards with pyramids.
One does not hear of billiard players deriding
the game of pyramids because it is so easy to
make a cannon. There is no analogy between
the two games, though played with the same
materials.
So with games and problems. The
object in a game is to beat your opponent.
In nine cases out of ten a mate is never
reached, and when it is, it is clumsy and
inartistic. That of a problem is to exhibit
some ingenious and unlooked-for idea in a
stipulated number of moves.4	The Modern Chess Problem.
To further point the distinction, I submit
two positions in both of which White plays
first and mates in two moves. In position
No. i* the mate is accomplished by i B to
Kt sq. Now as a position in a game this is
a neat ending enough, but it is emphatically
not a problem. The initial move is, perhaps,
the very first the solver would try, and the
resulting mate is ugly; moreover, there are
other solutions. At least a dozen pieces have
No 1.
BLACK.
* The references throughout the work are to the
positions in the text and, not to those in the Appendix.The Modern Chess Problem.	5
no use, but these must, of course, remain
where the players left them. It is a chance
position, brought about by the conflict of two
distinct intellects, and is, in fact, an ending
from actual play.
As to No. 2, though by no means a
model problem, it is the creation of a single
mind; there is no opponent; there is no
game to be won. It is a challenge to the
solver to discover the hidden idea, the nature
of which he would not grasp until he had
played 1 R to Q 4. As a position in a
game it is a preposterous one—but then, I ask
No. 2.
BLACK.
WHITE.6
The Modern Chess Problem.
the reader to lay aside his thoughts of game
tactics, and to look upon such positions
differently ; ignore White’s preponderance of
force : ignore that White can take the Black B
for nothing: ignore the march of the Black
P to Queen. The position, simple though it
may be, is artfully thought out, and any
attempt at a vigorous assault, such as i R to
K 4 ch, R takes B or i R to B 4 are all
futile: for Black has an escape in each case.
As a preliminary exercise, let the reader try
if this is not so.
After all, then, the desired end is accom-
plished by White’s sacrificing one of his very
few fighting pieces; and, further, when 1...,
K takes R, the mate is one peculiar to prob-
lems. This final position is artistic—it is
only just mate—it requires a moment’s con-
sideration to see that it is mate. Had it been
the finale to a game, there would have assuredly
been pieces on the board which had nothing
whatever to do with the actual mating position.
Suppose, for instance, there had been a White
R on K 3 and a Black Kt on Q 6, is it not
evident that the neatness of the mate after
1..., K takes R would have been completely
destroyed ?
It is such things as these that I propose
to discuss in the following pages, and if my
remarks above are generously construed, the
scorner of problems will welcome themThe Modern Chess Problem.
7
occasionally as a pleasant relief and relaxation
from the scientific, but frequently dull match
game, or the meteoric, but frequently faulty
"skittle” game.a
The Modern Chess Problem.
II.—GENERAL PRINCIPLES.
A MODERN chess problem is an example
of evolution, as with many other
things. Years ago, the positions were
very lengthy affairs, and the method of
achieving the desired mate in six, seven or
eight moves was devoid of subtlety or com-
plexity. They usually consisted of a series of
brilliant though forcible checks which drove
the luckless enemy all over the board, finally
mating him after numerous sacrifices. As a
rule Black had no choice of defences, or, if he
had, one variation led to a very tame conclusion
in a less number of moves. Two-movers were
occasionally to be met with, as a search
through a file of the Illustrated London News
will show. (It has one of the oldest chess
columns in existence.) These were, for some
reason, always referred to as “ enigmas,”
and were frequently pointless and easy. In
modern times, however, four-movers are rare,
three-movers popular, and two-movers as
plentiful as the proverbial blackberry. Variety
is introduced, ideas are blended, subtle coups-
de-repos find favour—in short, the modern9
The Modern Chess Problem.
three-mover is far more involved and difficult
than the leviathan ten-movers of sixty years
ago. Sometimes three or four ideas are*so
ingeniously interwoven into one problem, that
it is difficult to tell which is the main-play as
designed ,by the composer.
There are one or two terms and matters
which are peculiar to problems, and these I
shall proceed to discuss.
It has been a custom for some years to
give the attack to White, and the lower half
of the diagram, as also the first move. So,
unless otherwise stated, these conditions pre-
vail.
In almost all problems, a mate is to be
achieved in a definite number of moves.
In modern problems there should not be
a single piece on the board that has not some
definite use. The only exception to this is
the White K, for it sometimes happens that
no office can be assigned to him, yet, as
problemists are governed by the strict laws of
the game, the White K must appear some-
where, even if of no use.
In all serious problems, it will,be found
that the results of “ Queening ” are never taken
advantage of with a view to making use of
three or more Bishops or Rooks in an initial
position, though, of course, the process of
“Queening” is sometimes to be found in the
course of the solution of problems.10
The Modern Chess Problem.
In a game, when an actual mate is
reached, there is, as a rule, but little neatness
to be seen. For instance, in No. I, page 4,
there is much unnecessary force bearing on
White's K Kt 4 and K 4. In a problem, one
frequently meets with what is known as a
pure mate, i.e.> one in which there is only just
enough guarding or blocking of squares to
prevent the escape of the K. In No. 2, page 5,
after 1..., K—B 4, the mate is “ pure." Again,
when there are no pieces of either colour on
the squares contiguous to that occupied by
the Black K, as he stands mated, the mate is
termed a “ mirror ” mate. In the position just
• mentioned, this mate is a “ mirror ” mate ; as
it combines both qualities, it is called a “pure
mirror ” mate. Such positions always add to
the beauty and not infrequently to the diffi-
culty of a problem. Let the reader refer to
some of the examples at the end of this work.*
All problems, whether in two, three, or
four moves, are constructed on one of two
principles, or a combination of both ; first the
attacking or “threat” principle, and secondly
the waiting move or “block” principle. The
characteristics of each are to be found shown
in the accompanying diagrams (see Nos. 3
and 4), which have been merely constructed
for this purpose.
* See Appendix, amongst the three-movers, where several
instances are to be found.The Modern Chess Problem,
ii
In No 3, it will be found that, without
moving at all, White has a mate ready for
any move of Black’s. It follows, therefore,
that if White makes some apparently purpose-
less move, in order to wait for his adversary
to let in the enemy, and which yet does not
disturb the existing arrangements, that move
No. 3.
BLACK.
will solve the problem. A little analysis will
show that i R to Q 3 is the only move that
will suffice, and is consequently the key. In
No. 4, a glance at Black’s resources at once
shows that we are not prepared for such
moves as 1..., P to R 3, or 1..., Kt~B 2;12
The Modern Chess Problem, .
and this fact calls for some definite action on
White’s part, in the shape of a threat, which
these moves would not defend. Of course it
is open to White to prevent them by adminis-
tering a check. But it is an unwritten law
among problemists that a check should not
begin a problem, owing to its inartistic and
aggressive nature.
No. 4.
BLACK.
On this point a great deal of misconcep-
tion exists in the mind of the uninitiated. I
have so frequently heard an inexperienced
solver say “ I must not begin with a check, of
course! ” as though there were some offenceThe Modern Chess Problem, 13
in so doing. But the solver is, of course, at
liberty to do the problem in any way he
pleases, provided it is a correct one. Yet, if
he succeeds with a checking first move, it is
fairly certain that the solution is an uninten-
tional one. There is good reason for excluding
checks as initial moves ; it is the aim of the
composer to achieve his end by the least
obvious methods, and though there are plenty
of problems where an attack is the correct
method, yet that attack is, or should be, always
more or less hidden, and should display some
feature which modifies what would be other-
wise merely an exhibition of brute force.
Now a check is the most aggressive of attacks,
and the fact that the checking piece is itself
offered up does not atone for it, since Blacks
available replies are narrowed considerably,
and variety suffers in consequence.
There is also another unwritten law in
connection with all problems:	that they
should have no alternative solution. It is
the very essence of a good problem that it
should have but one solution, and that
the one intended by its composer. In fact a
problem with two solutions is looked upon as
worthless—and for this reason : the alternative
method generally leads to uninteresting and
clumsy mates. Part of the beauty of a good
problem is that the neat method of accomplish-
ing the end should be compulsory, not optional.14 The Modern Chess Problem,
Once more returning to No. 4, it will be
seen that no check will solve the problem in
two moves; and as there is no chance of
providing a specific mate in answer to say
1..., P to R 3, the first move must threaten
mate; this done, this move of Black's, being
merely a waste move, would be useless. Now
if White's B could vault over the R (a privi-
lege which it enjoyed in very old chess), B to
K 2 would despatch Black on the spot. To
move the R, therefore, seems a likely way,
and its exact destination is easily ascertained
by exhausting all his moves. If it moves
along the Kt's file, the Black Q P is liberated;
if it moves to B 4, its capture by the K P is a
valid defence. The only other square is K 4,
which, is the correct one ; for it is easily seen
that i..., Q P takes R is successfully met by
2 B to B 7, mate.
To thoroughly grasp all the variations of
a waiting-move problem, it is necessary to
examine every move at Black's command, and
the replies thereto. In a threat, however, it
suffices to study those moves which 'defend
that threat. Thus, in No. 4,if 1...,Kt to B 6,
2 Kt to R 3, mate ; if 1..., P takes R, 2 B to
B 7, mate; these being the only defences to
2 B to K 2, mate. It must of course be
distinctly understood that this is by no means
an example of what a good threat problem
should be, but merely typical of the principle
in its simplest form.The Modern Chess Problem. 15
Opinions differ as to which is the more
appreciated, the threat or the waiting move;
attacking problems are more difficult to solve,
waiting movers usually have more variety.
The latter principle is capable of the most
surprising and even humorous applications.
It is possible, for instance, to compose a
problem where a waiting move is obviously
required, and the only possible one allows
further variety. (See No. 5.) Here, were it
Black to play, mate would inevitably follow
in every case. Where then is this waste move
No. 5.
BLACK.
WHITE.
Two-mover.16	The Modern Chess Problem.
for White that will not upset the arrangement ?
At first sight it appears there are many moves ;
but careful scrutiny shows that all but one are
useless. Thus, i K takes P is defended by
i..., B takes P, ch\ i K to Kt ^ by i..-,
P to R 3 ; i R to B 2 or takes B by i...,
P Queens, ch; i B to R 4 by 1..., P to R 4,
&c. The one and only key is 1 Q to Kt sq !
allowing two more mates. If 1..., P to Kt 3,
2 Q to Kt 7, and 1..., P to Kt 4, Q returns to
her former position.
By means of this principle, too, the most
bizarre keys can be made. That of No. 6,
No. 6.
BLACK.The Modern Chess Problem. ij
for instance, is B to R 4! The addition of a
piece merely to make the key is perhaps
questionable.
Attacking problems, too, are capable of
most interesting developments, and, in some
cases, though an attack is obviously necessary,
there is such a choice that it becomes a matter
of great experience to quickly hit on the right
one. The key in these problems is, from its
very nature, less artistic than a waiting move.
It is the aim of the problem composer to
provide a key which appears, at. first sight, to
No. 7.
BLACK.
Two-mover, by A. C. Challenger.
c18	The Modern Chess Problem.
be one of the worst moves on the board* and
an attack, in a general sense, is what a player
would be more likely to try early in his
investigations. No. 7 is solved by an un-
doubtedly attacking move (Kt to Kt 5); but
it also permits an apparently formidable check
by discovery on the part of Black, which,
however, is very happily overcome.
This position serves to illustrate another
point arising in problems. I allude to what are
known as “duals” Broadly speaking, a dual
occurs whenever White has a choice of moves
in answer to Black. The worst form of dual
is when the very first move of White can be
varied. In this case the position, as before
stated, is unsound and worthless. But if it is
on the second move that there is a choice, the
fault is not so serious. It must be remem-
bered that t there should be no superfluous
force in a properly constructed problem. In
position No. 7 it would appear that the White
B on Q sq could have been removed, and a
White P added at K R 2 to prevent 1..., R to
R 8, ch ; thus effecting a saving of a powerful
White piece. There would, however, be a bad
dual when 1..., R to K Kt 8, &c., for the Q
Kt could then discover mate on eight different
squares! This would be a serious fault, and
the presence of the B prevents it: for it
curtails the Black R’s moves to two only, and
when I.;.., R takes B, the White Q Kt isThe Modern Chess Problem. 19
forced to go to Q 3. As an example of a
very unobjectionable dual I quote No. 8.
No. 8.
BLACK.
Two-mover, by B. G. Laws.
Here the key is 1 R to K 3, threatening 2 R
to K 4, mate. Some very lively play results
from Black’s attempts to defend himself, such
as 1..., Kt to B 3, 2 Q to R 7 : 1..., P takes R,
2 Kt to B 3 (a pure mate) : 1..., Q takes Q P,
2 Kt to K 2, &c. If, however, Black wished
to play the very worst move at command, he
would probably select 1..., R to B 4, enabling20
The Modern Chess Problem.
White to mate either by 2 R to K 4, or 2 Kt
takes R. Duals are much more excusable in
threat problems, if it so happens that one of
the two mates is the one originally threatened,
as is the case in the one mentioned above. In
a waiting move position, however, it is different,
since Black is not called on to defend any-
thing : and if by moving haphazard he allows
a choice of mates, it frequently points to loose
construction, or even to a breach of economy.
Here is an example of a really bad dual:
place White K at Q R 6, Q at Q Kt 8, B at
Q B 3, Kt at K 4: Black K at Q B 5, and
P at Q 6. Now White has a very elegant
mate by Q to Kt 8, but it will readily be seen
that its beauty is sadly marred by the fact that
Q to Kt 5 is an equally effective but much
more commonplace finale. In a lesser degree
would the dual offend if the Q were originally
at K Kt 4, Then a choice of moving to K 6
or Kt 8 is not nearly so offensive. It will be
seen later that one of the chief merits of a
problem may lie in the ingenious way in
which all duals are avoided, either by skilful
addition of variety, or judicious placing of
pieces. (See position No. 12, page 29.) Thus
the reader should familiarise himself with these
troublesome worries and early learn to cope
with them, for they constantly spoil the
pleasure of the solver and beset the composer.
In the next chapter I propose to giveThe Modern Chess Problem.	21
the solver some hints for ensuring a ready
grasp of two-movers, showing him how seem-
ingly crowded and confusing positions will in
no great measure trouble him. I propose
to devote the latter portion of the book to
the contemplation of three-movers, as it is
essential that the simpler branches of the art
should be thoroughly mastered before begin-
ning the deeper study which longer problems
undoubtedly require.22
The Modern Chess Problem.
III.—SOLVING.
I WOULD wish my readers to understand
that to solve a problem does not merely
mean finding the first move. Once I
remember submitting one of my three-movers
to a friend, and though he soon hit on the key,
I found afterwards that he had overlooked
the main variation, thus showing that he had
not given enough study to Blacks moves.
The key, therefore, should be looked on as
only a stage of the solution, though necessarily
the most important one.
The first matter requiring attention when
solving a two-mover is to find out whether an
attacking or waiting move is needed. As a
rule, this is an easy matter. If there are
several powerful Black pieces which can move
freely ; if but few mates appear evident on
superficial examination ; and, in some cases,
if Black’s strength nearly approaches White’s;
all these are signs that mate must be
threatened. On the other hand, if replies to
many of Black’s moves are already evident;
if Black Ps are carefully stopped by White
ones ; if Black’s pieces are more or less
restrained ; then it is likely that a waiting
move will solve the position. For quickly
arriving at the key-move, a method adoptedThe Modern Chess Problem. 23
by many is that of allowing Black to move
first, and ascertaining whether mates await
his various moves. With a waiting move
problem, this plan, if systematically applied,
very soon reveals the right key-move ; with a
threat problem, however, it is often of no avail.
No. 9 possesses all the characteristics (as
No. 9.
BLACK.
Two-mover, by E. Halliwell.
mentioned above) of a threat problem. It will
be observed that the Black K can capture the
R, and that, at present, no mate follows.
Therefore our key must not only threaten24 The Modern Chess Problem.
mate, but must also provide one when i...,
K takes R. i Q to B 5 would defend the R,
but as a key it would be most inartistic;
curtailing, as it does, Black’s movements, and
if correct, would be exceedingly obvious.
However, this attack is easily parried by 1...,
B to Q 4. Any attempt to sacrifice the R on
some other square,say K 5, is useless ^there-
fore some mate must be provided for it as it
stands. Let us play 1..., K takes R, and
examine the state of things. It appears a
difficult task to inflict mate, for the K has
three awkward squares to which to escape,
viz.: B 5, R 5, and R 4. We are tempted to
advance the P, bringing our B into play ; but
when the former is moved on it is undefended,
and moreover, 1..., K to R 5 is still possible.
These considerations point to 1 Q—B 2, at
any rate as far as 1..,, K takes R is concerned,
and it only remains to see whether this move
threatens an immediate mate (for we have
already decided to which class the problem
belongs). A glance will show that as the Q
now defends K Kt 3, the R is free to mate on
K B 5, and this would therefore be the reply
to any waste move of Black’s, say, 1..., Q to
R 7. The variations may be thus noted. If
1..., any waste move, 2 R to.K B 5 (the
threat); if 1..., K takes R, 2 P to B 4 (a pure
mate) ; if 1..., Q to K 4, 2 R to Kt 4 ; if 1...,
RtoQ4,2 Kt to K 6 ; if 1,.., BorPtakesR,25
The Modern Chess Problem.
2 Kt to Kt 6 ; if i..Kt to K 6,2 Q to Kt 3 ;
if 1..., Kt to Q 5, 2 Q takes Q P. It will be
noticed that not a single move of Black's will
permit a choice of mates. Altogether it is a
capital problem, more on account of the
variations than of the key-move, which is not
difficult to discover. The position illustrates
another point in problematic matters : to find
the key-move is not the only thing to be done.
There may be cleverness to be found in many
other directions which is worthy of detection
and appreciation. Of course a poor key leading
to poor after-play is not worthy of much praise,
but it is unfair to cast a stigma upon a problem
because the first move is obvious, when all the
while the essence of the idea may be contained
in subsequent developments.
Now let us turn to No, 10. The Ps on
the K R file are, in themselves, indicative of
waiting move strategy, the White one on R 6
evidently obstructing the march of the Black
one. If a threat were to solve the position,
in all probability this Black P could have no
effect, should it elect to move, and consequently
the White R P would not be there. Again,
several mates are already obvious, before
White makes a move at all. If 1 .., Q B
moves, 2 Q to K B 8; if 1..., B takes Kt chy
2 Q takes B; if i..., R to Kt 8 ch> 2 Q takes
R ; if 1..., Kt moves, 2 Q takes Q B. But if
i..., B takes Q, there is np mate. The same26	The Modern Chess Problem.
applies to such moves as i..., R to Kt 6, 7,
&c. Also note the inactivity of White’s Q R,
which strongly suggests a move of the White
Kt. Then if iu.., R to Kt 7, Black’s B P
would be pinned and we might reach Q 4 with
the Kt. There are only two points whence
No. 10.
BLACK.
this square can be reached, viz.Q B 6 and
K B 3 ; if 1 Kt to B 3, 1..., B to Kt 6 would
prevent further doings. But from B 6 the Kt
can also play Kt takes Kt. The problem is1The Modern Chess Problem.	27
solved, therefore by 1 Kt to B 6. It may be
well to mention that this type of key is ex-
tremely common, where the Black K stands
on the next square in rank or file to a White
Kt. An experienced solver would be inclined
to move this Kt somewhere almost at once.
Consequently a problem is sure to present
more difficulty where (a) the position, being
similar to No. 10, the Kt does not move, or
(b) the Kt, being on the same colour as the K,
moves to the position occupied in No. 10.
Mr. Loyd's problem (No. 11), is a well-known
No. 11.
BLACK.
Two-mover, by Samuel Loyd.28 The Modern Chess Problem,
and difficult example of (b). Here, beyond
seeing that it is apparently a threat problem
(owing to the freedom of Black’s R), there is
not much to help us. The pieces are few;
there is not one mate prepared. The only
item that ought to assist the solver is that
I..., R to B 6, which gives check, must be
overcome, either by prevention or preparation.
Two ways of preventing it are i K to R 2
and i B takes R. The former merely allows
another check by i..., R takes Kt, while the
latter stale-mates, and is also a most un-
likely key from a problematic point of view.
If i..., R to B 6 ch> 2 Kt takes R would be
mate but for 2..., K takes R, and this suggests
Kt to Q 4 or R sq for a key. The former is
defended by i..., R takes Kt, thus leaving us
no choice but I Kt to R sq, which is in fact
the key. Mr. Loyd’s problems are always
puzzling, and this one is no exception. The
presence of the B is difficult to account for:
a White P on that square would have done
duty as well, to allow 2 Q to R 5 after 1..., R
to B 4. The key is not so bad as it looks:
for the Kt though ungallantly depriving the
K of his chance of exterminating the R, yet
offers his own life instead.
Position No. 12 will be found a very
excellent one. At first sight it appears to
have the attributes of a threat problem (note
the free Black Q and the Ps on the R’s file).The Modern Chess Problem, 29
Yet closer inspection will show that it is not
of that nature. Nevertheless, a systematic
analysis of Black's moves is not the quickest
way of arriving at the key-move. Two things
strike us at once : the check by 1.Q takes P,
to which there is at present no reply, and the
position of the Q B so manifestly “ out of it.”
No. 12.
BLACK.
Two-mover, by W. A. Clark.
In a two-mover, when there is a White
B, and this B and the Black K are on squares
of a different colour, this B must, as a rule,30 The Modern Chess Problem,
have no other office than to defend some
square or squares against the Black K’s
retreat If, therefore, as in this instance, this
B does not do so, a strong clue is afforded as
to the quickest method of finding the key. In
No. 12, the K R is obviously in the way.
Yet, as it is wanted to reply to i..., P takes
Kt, by 2 R to K 5, if we move it at all it
must go to R 5, which will be found to solve
the problem. The key is not good, owing to
the check for which provision has obviously
to be made, but the solver should not condemn
the problem for this defect alone. He should
note the extremely clever and natural way in
which the dual question has been met. There
is not one, nor does there seem to be a single
addition merely to eradicate duals. The
composer evidently prefers to weaken his key
in order to eliminate all duals. He might
well have strengthened it by choosing another
square for the White K, but then when i...,
Q takes P, there would be a choice of 2
Q takes Q and 2 Kt to B 3, mate. As the
chief feature is the avoidance of duals (a
difficult task in waiting-moves when there is
a free Black Q on the board), the position of
the White K is thus intelligible. Here the Q
has nine moves at command, and there is but
one reply to each.*
* For other examples where the Black Q is free, see
Appendix, No. 16 and Nos. 45 to 50 inclusive.The Modern Chess Problem.
3i
IV.—SOLVING (continued).
WE observed when discussing No. 12
that the White Q B was out of play,
and that when the Black K is on a
White square, this B merely defends. But so
manifold are the ramifications of two-move
construction that it is possible to produce a
position where this piece is used for a totally
different purpose. See diagram No. 13. Here,
No. 13.
BLACK.32 The Modern Chess Problem.
any attempt to bring the Q B to bear on some
square contiguous to the Black K is abortive.
Its office is more subtle : for the key is i Q to
R sq, and after x..., Kt to Kt 5 or B 8, 2 B
takes Kt, discovers mate. There are no doubt
many other instances.*
The principle of examining Black’s move
first, when solving, is a very good one, and
when there are many Black pieces to consider,
the problem is all the easier. This may appear
somewhat of a parodox; for one would
imagine that the more pieces present, the
more complex would the solution be. Let the
reader examine No. 14, however, and by a
regular procedure such as I have suggested,
the position at once loses its superficial appear-
ance of involved tangle. The White K is
just prevented from discovering mate on six
different squares. (This is a common device
amongst composers). This fact helps us to
simplify several of Black’s moves. It is not
worth while enumerating the moves of Black
and the respective replies to them; they are
all obvious, with the exception of 1..., Q Kt
P moves. Is there not some way of coping
with this difficulty without disturbing the other:
arrangements? Yes, assuredly: play 1 B to
Kt 6, and the problem is done. It is useless
for Black to take the B, for if he did, White’s
* See Appendix, Nos. 34 and 40; also the Problem
On page 16.The Modern Chess Problem.	33
Kt would not remain idle. A point arises
here which perhaps applies more to composi-
tion, but may as well be dealt with as it
comes. I allude to the fact that, though
Black's Q Kt P and Q P are unmoved, we
NO. 14.
BLACK.
WHITE.
Two-mover, by J. Lambe.
have the Q B masquerading on the other side
of the board ! We can only assume that one
of Black’s Ps must have been promoted to a
B in the course of an imaginary game result-
ing in the present position. It is an axiom
D34
The Modern Chess Problem.
among problemists that a position must 'be a
possible, though not necessarily a probable
one. Thus No. 14 would have been quite
worthless had there been a Black B at Q R sq,
a position it could never have reached until
the Kt P had moved. Nevertheless the
problem would have' been all the better without
the peculiarity as regards the Q B. The Q P
it is true could have been removed, without
spoiling the solution, but it would have allowed
1..., R to Q 2, creating a bad dual with the
White K in reply.
Occasionally problems with few pieces
give trouble. This is because there is gen-
erally so much room for the attacking force
that it is difficult to choose the right method.
In such positions, the Black K almost always
has one or more “ flight-squares,'” i.e.> squares
to which he can apparently escape ; and it is
difficult to prescribe a system for solving.
Sometimes it is useful to examine one of the
Black K moves, endeavouring to arrange a
mate for it. Yet, even then, there is frequently
a choice, and, if the problem is a good one,
you may rely on making the wrong one first.
I give an example in No. 15 : the Black K
has two flight-squares, and there are no mates
at present in answer to either. 1 Q to B 3
provides a mate for 1..., K to K 8, or P
•moves; but if the unkind monarch elects to
go to B 7, he eludes us in spite of the heavyThe Modern Chess Problem.	35
artillery around him. How, then, are we to
defend both wings at once? The answer is,
by playing 1 Q to B 7—an essentially prob-
lematic key, allowing a beautifully pure mate
if 1..., K to B 7 ; 2 Kt to K 3. It is, of
No. 15.
BLACK.
Two-mover, by G. E. Barbier.
course, quite as easy to reach B sq from B 7
as from B 3, should the K go to K 8, or take
the P. Practice alone will assist the solver in
finding the key to such problems as these.36
The Modern Chess Problem.
A similar position is shown in No. 16,
where some step must be taken to provide for
Black's two moves, and it will not be long
before the Q finds her way to R sq for this
purpose. We can, of course, leave the P to
No. 16.
BLACK.
the mercy of the enemy; for if he captures,
Q to B 6 is an elegant mate. On referring
to our remarks touching “pure mates," it
will be seen that this is a pure mirror mate.
The problem is an extremely easy one ; but,37
The Modern Chess Problem,
as an excuse for its simplicity, I may mention
that it was composed “blindfold,” and was
published before it had ever been put upon
a board.
Occasionally, on examining a position, the
piece to move first betrays itself at once, its
No. 17.
BLACK.
WHITE.
Two-mover.
exact destination being the only question to be
dealt with. In No. jy, for instance, we profit
by our experience in mastering No. 12 (a wait-
ing move), and detect that, owing to the Q B
being masked, it is obvious that the R at B 6gB	The Modern Chess Problem.
must move. The threat that results is by no
means obvious. It will be noted that if the
R is moved away, the Q B defends Q 4, per-
mitting 2 B to Q 5, mate. At first sight,
however, almost any square on the file will
suffice. Nevertheless, there is but one point
on this file that will be successful, and it
becomes a question of carefully examining
Black’s resources before the correct square
can be found. I leave it to my readers, to
discover the correct destination of the K R.
It would be well to trace how carefully and
rigorously all duals are avoided. The author
(in company with many British problemists)
takes the greatest pains, even in attacking
problems, to banish all duals wherever possible,
even at the expense of an ugly exterior.
Some, however, would prefer to overlook a
dual or two, and have a less unsightly crowd
of pieces on the right side of the board.
This, of course, is a matter of taste. Many
continental composers, for instance, would
have omitted the Black R on Q R 4, counten-
ancing a dual if 1..., Kt to R 2 or 6.
I will conclude my remarks on solving by
appending two fairly typical positions by
continental composers, both of which may be
described as difficult compositions No. 18 is
an ungainly position, but will be found to
possess remarkable qualities. Now, 1..., K
takes Kt, or to K 6 need no preparation : forThe Modern Chess Problem. 39
2 Q Kt to Q 5 is a reply to both these moves.
1.. ., R takes Kt is met by 2 Kt to B 4, and
1.. ., K Kt anywhere by 2 Kt to Q 5. A
waiting move is therefore sufficient. It is
obvious that the White Ps are all immovable,
save for 1 P takes Kt which we dismiss as
unlikely. The White K’s solitary move (to
R 3) is successfully met by 1..., R takes Kt
ch; the R at Q sq must not stir as we cannot
afford to liberate the Black Q Kt. The K B,
too, must do its duty by obstructing Black’s
No. 18.
BLACK.
Two-mover, by E. Pradignat.40	The Modern Chess Problem.
Q Kt P. There is, of course, no reason why
the solver should not try i B takes R for a
key, but it would be undoubtedly wrong as it
would be more forcible than problematic, and
if it did solve the problem, it would be an
oversight on the part of the composer. The
K R is wanted where it is to deal with the
moves of the Black Kt on B 4. A move of
the Q Kt would discover check, but we have
shewn that a check is sure to be wrong. If 1
K Kt to Q 5, the Black K would be allowed
two flight-squares side by side (*>., K takes P
at K 5 or K 4, a thing seldom met with in a
two-mover),besides removing a piece to a place
of safety. The only piece left is the Q, and
it soon becomes apparent that she cannot
move without giving the Black K more liberty.
As she is the only piece defending Q 3, it is
extremely likely that the key is to move
along the diagonal. Q R 6 looks a problematic
and characteristic position to take up, and will
be found to answer our requirements, even
though allowing two extra moves of the Black
K. The mate if 1..., K takes P is elegant
and surprising.
Our last position (No. 19) is a very
different one. There is only one active Black
piece with which to deal. If we allow the
Black Kt to move away, the Black K has two
awkward avenues of escape. It is, therefore,
a necessity that the Q (which is somewhat outThe Modern Chess Problem.	41
of the field) should command the K R file. If
moved to K R 8, a neat mate after 1..., K to
B 3 is possible by 2 Kt to K 6. This move
also applies if 1..., K to B 5, but is reckoned
as a separate variation since the position is
different, and it is merely a coincidence that
the Kt should play to the same square.
No. 19.
BLACK.
WHITE.
Two-mover, by J. Berger.42
The Modern Chess Problem.
Though we have outlined the system to
be observed in mastering two-movers, we have
not touched on a tenth part of the variety
which will confront the solver when studying
tourney problems, or when himself competing
in solution contests. Skill comes with practice
alone. .Still, the broad principles are the same,
and if they are intelligently applied, the reader
will have no difficulty ip becoming an efficient
solver; though, of course, as I have already
pointed out, it is not everything to find the
key alone. One frequently meets with solvers
who “ solve at a glance ” and air their views
in public, showing that they have not grasped
all the points of a particular position. The
key is not all that is to be considered. In
many positions, it is the least important part.
The exigencies of construction frequently ren-
der a good-smart key impossible, and provided
the construction is well done, composer^ may
be excused when they provide a key of only
moderate or even indifferent quality. No. 12
is an instance where a poor key is atoned for
by excellent construction, and No. 18 an
example of a first-rate key which quite
excuses the awkward exterior.The Modern Chess Problem.
43
V.—COMPOSING.
NOW comes the most interesting branch
of problem study, where one’s ingenuity
and originality are severely tested. It
is a difficult matter to lay down any rules as
to the best method of constructing problems.
No doubt if my readers find that they possess
an aptitude for the art sufficient to induce
them to persevere they will strike out a line
of their own.
Nevertheless, perhaps a detailed explana-
tion of the various steps in building a two-
mover may help to form a sort of ground
work, and may give an explanation of the
most usual way of setting up a problem.
It is in the composition of chess problems
that originality and individual character are
brought out: and this to a far greater extent
than in playing games. In the latter pursuit,
of course, each has his style, his weaknesses,
and his idiosyncracies,but surely it is a higher
flight of art to create beauty unaided, rather
than to be a mere participator in producing
chess strategy.
To begin with, then, one must start with
some sort of an idea. It is useless to crowd
pieces haphazard on to the board and then try
and evolve a problem from the confusion. Of44
The Modern Chess Problem.
course there are some ideas which one may
reject at the outset as being prosaic and un-
problematic. Thus, place White K on Q Kt 2,
Q on K 3, P on Q B 3: Black K on Q R 5,
Q on Q B 4, Kt on O B 3. Then play
1 Q takes Q, Kt moves, 2 Q to Kt 4, mate.
A glance at this position will show that
it contains nothing but the obvious and the
commonplace. We are trespassing on the
ground appertaining to games alone, and may
well imagine that all the beauty has passed in
the course of a game which led to this state
of things, and whatever beautiful strategy
may have arisen, it is certainly not present
here. A glance at my first chapter will further
point my meaning.
No: our idea is very different, as will be
seen on reference to Diagram No. 20. The
White K is absent for the moment, as he
forms no essential part of the plan. We will
contrive to hem the Black K. in completely,
and assuming for the moment that he has no
move, play 1..., R takes P. Then it will be
observed that the Q is brought to bear on
Q 5, thus leaving the Kt to mate on B 6 or
Kt 6. Later on we must eliminate one of
these moves, as we do not want to have any
duals.
It will be noticed, too, that I am
ignoring White’s first move. This question
can well wait, and will no doubt suggest itselfThe Modern Chess Problem, 45
during our constructing operations.	Con-
tinuing our remarks on No. 20, we play 1...,
R to B 3 and find that though Q 5 is again
commanded by the Q, yet K B 5 is only
guarded by the Kt, which cannot therefore stir.
No. 20.
BLACK.
WHtTE.
Q to Q S, however, would be mate, the Black
R now preventing escape by way of Black's
B 3. Again, if 1..., R takes Kt, 2 P takes R
or P to Q 7, mate (another dual requiring
elimination later on). As before mentioned,
these moves are not yet mate; so we set to46	The Modern Chess Problem.
work to confine the Black K so that he shall
not stir. We place the White K at K 3. The
result of this is to allow two mates on the
move with the Q at B 5 and B 4. If we
stationed Black men so as to defend these two
moves, their moving away would cause variety
(that is, would force White to vary his second
move). We therefore add a Black P at K Kt
3, and a Kt of that colour on K R 6.
We must now consider how to eradicate
the dual when i.» , R takes Kt, by 2 P takes
R or P to Q 7. If the White K were in such
a position as to be checked when Black makes
this move, the dual would be avoided. Let us
remove him to K 8. This will, to some extent,
heighten the effect of the Black R’s moves
and Whited replies. To replace the barrier
the White K had formed, we add a White R
on Q R 4.
The other dual requiring attention . is
that when 1..., R takes P. It is as well to
cope with these difficulties early in the con-
struction, as, when the position is beginning
to assume a more complete look, it may be
hard to make such alterations without dis-
turbing existing arrangements. We could
place a White P on Q B 6, which would com-
pel the Kt to mate on the other side when
1..., R takes P; but this is a clumsy device,
known as “ plugging,” and should be avoided
where possible. A neater way is to removeThe Modern Chess Problem. 47
the Black P and add the other Black Kt on
K R S, and the dual is avoided without a man
added specifically for that purpose.
We have now reached a stage where a
diagram will help us. See No. 21. With the
No 21.
BLACK.
exception of the key-move, still to be provided,
the position is now complete. But I am sure
my readers cannot fail to see that there is too
much of the obvious about it. The play of the
Black Kts is uninteresting. The variety, too, is
poor*. I see a way of overcoming both these48 The Modern Chess Problem.
faults remove the Kt on R 6 to K 7, remove
the White R to Q B 4, adding a White P at
Q 3 ; then if 1..., Kt to Q 5, Q to B 4 is no
longer possible, but a new mate is introduced
by 2 R to B 5. But R to K 4 is a mate at
once, which necessitates a Black R on K 6.
It must be noted that, as this is a waiting-
move problem, we cannot add powerful Black
pieces without considering their every move-
ment. Our key will not threaten any definite
mate ; So if we allowed Black some move that
did not contribute to his own undoing, that
move would constitute a valid defence to the
problem. In this position, however, the move-
ment of the Black R is controlled by the Kt
on e 2. Yet, Black can play 1..., R takes P
(d 3), and there is no mate. This necessitates
fresh force for White. We add a White Kt
at Q B sq, which can then mate by 2 Kt takes
R. Again we have a complete arrangement
but for the key (see No. 22).
Still the position, as it stands, has not
enough in it to warrant our choosing a key
and considering the problem finished. I
notice a distinct fault in the inactivity of
the Kt on the Q B sq, which is a mere
spectator except in reply to one move of
Black’s. The composer should strive to give
as much work to the attacking force as
possible. To bring the Q Kt more into
play, let us replace the R on Q R 4, andThe Modern Chess Problem.	49
remove the Q Kt to Q Kt 2, so as to permit
1..., Kt to Q 5 ; 2 Kt to B 4, mate.
It would now be as well to consider what
move shall constitute our key. There will be
found to be always a choice. We have merely
to retract a move of White’s; but the diffi-
No. 22.
BLACK.
culty is to select the best and still preserve
the soundness (a problem is called unsound if
it has other solutions than those intended by
the author). It would, of course, be perfectly
easy to place the B on Q R 7, thus arranging
j B to JCt 8 as the first move. But a moment’s50 The Modern Chess Problem.
reflection will show that such a move Would
be flagrantly transparent, and inartistic
besides, as it would simply deprive the Black
K of a dangerous avenue of escape, and
would, in fact, be the most obvious and
strongest • move at White’s command. We
must, therefore, seek a move which, though in
reality the strongest, has the appearance of
being the weakest.
This is, of course, the acme of perfection
as regards key-moves, and we cannot hope to
attain it in this and, alas ! in many other prob-
lems. However, I consider that we have here
a rather happy blending of variations which
will perhaps atone for a rather weak key. The
best that I can see is to plate the K on K B 8,
making i K to K 8 the initial move. I choose
this because it appears to paralyse the Kt, a
piece which is obviously intended to be an
active soldier. Let us, -therefore, place the
White K on K B 8, and consider the position
once more.
The first thing that strikes us is that
i..., Kt to Kt 3 is check, and as White
has no answer to it, it would be a distinct
“finger-post” to our solver, whom it must be
our aim to deceive by every legitimate means
in our power.
Off must come this Black Kt then, and,
to maintain a defence of Black’s K B 4, we
place a Black B on K Kt 5. This newThe Modern Chess Problem.	51
comer can, however, retreat and still defend
the mate. If this B were at the side of the
board, it could not retreat; and as there are
no other pieces on the K R file, there is
nothing to prevent our moving the whole
position one file to the right. Thus the Black
No. 23.
BLACK.
B will stand on K R 5, the White K and Q
on K Kt 8 and 7 respectively, and so on with
all the pieces, when a position will be reached
as in Diagram No. 23.
The new arrangement allows our old
enemy the dual in reply to 1..., R takes P52 The Modern Chess Problem.
(e 6). We must therefore “plug” this with
a White P at Q 6. As regards our key, it
appears that K to R 8 or 7 would do as well
as K to 13 8, so once more we must revise
matters on the K R side : remove the B at
K R 5 and Black R from B 6 to K R 4, and,
to stop 1..., R to R sq ch, add a White P
at K R 7. We can now remove the P at Q 6.
Now R to K B 4, mate, requires attention.
The other Black Kt re-appears at K Kt 7,
and has precisely the same effect as had the
R on B 6.
Another and more serious difficulty con-
fronts us, for 1 P to K 7 ch leads to mate.
The march of this P must evidently be
stopped at all costs. If we could spare the
White K, his presence on Q R 6 would do
this, but he is already required elsewhere. A
Black P on K. 2 would only make matters
worse, for if 1..., R takes Kt, there would be
no mate. A White P on K 7 would answer,
but would also allow 1 P becomes a Kt, and
I see no defence. As there are no pieces on
White's first rank, we will move the whole
position one rank downwards, as Diagram No.
24 will show. Then the White P cannot
reach the 8th square in time to do mischief.
On looking round for other unintentional
solutions, we come across 1 K to B 8. To
remedy this, remove the K to K Kt 8 and the
B, P to JC R 7. This will compel 1 K to B 8,The Modern Chess Problem.	53
which is as good a key as the former choice.
On carefully scrutinising the whole position,
it appears to be ready to be placed before the
solver in the form of No. 25. I have retired
the White R and B to the confines of the
board. This is merely a matter of taste, and
should be by no means followed slavishly.
No. 24,
BLACK.
The problem is complete, but not perfect.
The White doubled Ps are ugly, that on K 6
especially so, as it is only there to block the
progress of the one behind it. The play of
Black's four pieces, however, is far from bad,54 The Modern Chess Problem.
and causes surprising variety. We have com-
pletely excluded all duals, and the key-move
is a fair one. All White’s pieces are active,
and there are a few good tries, notably I P to
K 4, the defence to which is i..., Kt to K 6
only.
No. 25.
BLACK.
Two-mover.
If the reader will refer to Diagram No. 20
(page 45), he will see that the six pieces are
relatively unchanged throughout our opera-
tions, thus showing that we have not lost
sight of the idea with which we began.The Modern Chess Problem.
55
VI —COMPOSING (CONTINUED).
I WILL now direct my readers’ attention to
the construction of a threat problem in
two moves. As our key will, from its
very nature, form a part of the idea, this cannot
so easily be left to the last, as in our previous
effort at composition.
I must at the'outset warn the novice
against a too lavish addition of Black force.
Owing to the nature of the key-move of a
threat problem, the addition of powerful Black
pieces is an easy matter. It is no longer
necessary to provide replies for their every
movement, so the temptation will be to add a
Black R or B where a P would suffice. Yet
rigid economy is essential for the production
of good work, and though the finished article
might look more imposing with a large array
of Black pieces, we must still strive to effect
much with slender materials. If we discover a
second solution, let us remedy it by a judicious
re-arrangement rather than a reckless addition
of “timber”
Diagram No.. 26. sets forth the idea for
our proposed threat .problem. The intention
is to provide a key by moving the B away,56 The Modern Chess Problem.
threatening mate by 2 Q to ICt 2. The variety
will be caused, in this case, by Black, in his
efforts to defend this mate, compelling White
to mate in some other way.
I may here mention that variety in this
class of work is harder of attainment than in
No. 26.
BLACK.
waiting-move positions. If 1..., P to Q 4,
Q is to mate on the 6th rank: and if 1...,
P to B 6, 2 Q to B sq, mate. Having
provisionally decided on our key, let us now
remove the B to, say R 7, and set about the
construction.The Modern Chess Problem.	$7
In order to confine the Black K, we add
the White one at K 7, and a White Kt on K
R 6, and a R at K R sq. It now appears that
Q .to Q 5 is “sudden death” as the saying
goes. A Black P on K 4 prevents this but
allows it on the second move, should it move
forward, thus adding another variation. Now
if 1..., P to Q 4 there is a dual by 2 Q to B 6
or Kt 6, mate. There is also little variety,
and further, 1 Q to Q 7 is an obvious second
method. A way suggests itself of introducing
more variety, which has also other advantages.
Let us change the Black P on K 4 into a
White one, removing the White K for the
moment.
To avoid the dual as above mentioned,
remove the B to Q Kt sq, adding a Black
P at I( R 2. Now if 1..., P to Q 4, 2 Q to
B 6, mate. But if 1..., P takes P, there
is no mate. Add a White R at K sq to
provide the reply 2 R takes P. This new
piece will administer a short mate by 1 Q R
to Kt sq: to remedy this, remove the other R
to K R 2, adding a Black P at K Kt 7. If
this P becomes a Q or R, the threat is defended,
and the mate with the R is then forced. If,
however, Black should elect to make a B or
Kt of this P, a dual arises, as the threat is not
defended.
In such problems as these, the play
more nearly approaches game tactics, sinceS8 The Modern Chess Problem.
Black has a definite danger with which to
cope. It therefore follows that should he
make only a B of this P, it would be about
the weakest move he could choose. The dual
resulting is in consequence a pardonable one.
In fact we may say broadly that duals are
more excusable in this class of work than
in waiting-move strategy : for if Black de-
liberately refuses to defend himself, it is his
bad play more than imperfect construction
which is responsible for the blemish.
The weak spot now seems to be the idle-
ness of the K R, which defends the R file in
a very common-place way. So powerful a
piece should most certainly have more to do.
The White K, at present banished, could do
duty equally well were there room for him,
and as there are no pieces on the Q R file, we
will take it away and add it on the other side,
or in other words, we move the whole position
one file to the left (a process which we have
already utilized and explained). We remove
the idle R, and place the White K on K R 5,
and Diagram No. 27 is the result.
Once more considering the key, it will b#
seen that the B can move to more than one
square with equal success. I think we shall be
able to get a much better effect by slightly
modifying our original idea. This we do by
removing the B altogether, with the intention
of placing the R on Q 4, making 1 R to Q sqThe Modern Chess Problem.	59
the key-move. We shall require a White P
on K Kt 5, now that the B is away.
As it stands, our new key is far too
obvious owing to the Black P on B 7,
which is prosaically caught by our initial
move. As this P already creates a dual,
No. 27,
BLACK.
we will make a revision in this quarter.
We take it off therefore, and add a Black R
on K R 8, and a Black P on R 7. This is a
lucky idea, for now the key will be distinctly
improved, as the sacrifice may appear to be,
momentarily, at any rate, a meaningless one..6o The Modern Chess Problem*
Further, we may also succeed in misleading
the solver on account of i..., P to K 6 leading
to 2 R to B 4 only, whereas when the right
move is found, the reply is a totally different
one. This little deception, though accidental,
will do something towards increasing the
difficulty of the problem.
1 Q to Q 8 or to B 5 are both unin-
tentional solutions requiring eradication. A
Black Kt on K sq will suffice for both
attempts, but will necessitate the White K’s
removal to K R 4, and the addition of a
White P on K R 5, to guard our trusty
Kt. The Black P on Kt 2 can now come off,
for his duties are done by the Black Kt just
added. This latter piece is extremely well
placed, as it does yeoman service in preventing
other moves as key-moves. When 1 Q to
Kt 8, no less than four different mates are
threatened, all of which are simultaneously
defended by 1..., Kt to Q 3.
A systematic search after second solu-
tions reveals but one, happily:—Q takes P.
Following my remarks at the beginning of
this chapter, I ought to add a Black P
on Q Kt 2, as being the least force that
is necessary to defend this move, but I am
going to commit a pardonable breach of
economy by placing the other Black Kt on
Q Kt sq instead, in order to preserve the
capital “ try ” by 1 Q takes Kt, the merits of
which I have pointed out above.The Modern Chess Problem.	61
The affair is now complete and is given
on Diagram No. 28.
Here is a good opportunity to impress on
the composer that it is a mistake to force
variety into a problem, especially a threat
No. 28.
BLACK.
problem, where variety is hard to attain in a
natural way. Such devices as removing the
Black Q Kt to Q R 2, adding a White B on
Q Kt 8 and a Black P on^Q B 2, in order to
allovv i...? P takes Q, 2 Kt mates, would b$62 The Modern Chess Problem.
weak in the extreme, for several reasons: first,
because the B would be but a mere spectator,
and second, because the solver would see this
variation at once, and would therefore not
attempt to move the Q away; and lastly,
because the resulting mate is not of sufficient
interest to warrant the additional force required
to produce it; a capable critic would at once
see that it was obviously tacked on as an
after-thought.
I grant in this particular problem the
variety is far from great, yet there are but
few pieces, and the position is an open and
neat one, and might tempt the hasty to send
up more than one solution, and as this would
be unjustified, we should pride ourselves on
having perhaps “bowled over” one of our
problem-scorning friends.
Such instances are always welcomed by
composers, especially when accompanied by
scathing criticisms, as has happened to me on
more than one occasion.
This brings me to the question of unsound .
problems. I must myself plead guilty on this
head. I have occasionally overlooked an
obvious second solution :	yet the task of
testing is far more difficult than one might at
first imagine. The composer may spend
infinite care in getting his variations to work,
and by the time the testing part of it comes
along (a tedious business at best^ his mind \sThe Modern Chess Problem.
63
so accustomed to the position, that he may
fail to grasp the very simplest move, which
though ugly and forcible, suffices equally with
his own elaborate method. In such cases I
advise setting the position aside for a few days,
perhaps even playing a game or two mean-
while ! Then, when setting the position up
once more, test it from Black’s side of the
board, or reverse the colours in order to get
the affair in a different aspect. I have fre-
quently reveiseJ the whole position, changing
right to left and left to right. Thus, set up
No. 28 as follows :—White K on Q R 4, Q on
IC Kt 6, R on IC 4, Kt on Q Kt 6, Ps on Q R
5, Q Kt 5 and K 5 : Black K on Q B 4, R on
Q R 8, Kts on Q sq and K Kt sq, Ps on Q R
7, Q S and IC E 3.
This device will give the position a
momentary aspect of unfamiliarity which
may speedily lead to the detection of flaws
that were overlooked again and again during
construction.
But the very best method, is to button-
hole a patient chess friend and ply him with
the position until errors are detected or the
problem is proved sound. Let the budding
problemist apply this last test with modera-
tion however, as the work is uninteresting, and
might lead to expostulation and yawns 1
To conclude these remarks on the con-
struction of two-movers^ avoid composing64 The Modern Chess Problem.
problems in one groove or style. The two
positions just composed are of the “fixed
King ” type, but there is, of course plenty of
scope for those in which the K is allowed a
run on his own account, and very lively the
play can be made. Here keys can be arranged
No. 29.
BLACK.
Two-mover (and a very poor one).
where still more liberty is allowed to the King,
but which proves only a snare after all.
Avoid composing too many problems.
One really good one is worth half-a-dozen of
the indifferent sort. There are composers whQThe Modern Chess Problem, 65
are always pouring forth a stream of positions
after the style of No. 29, which I have tacked
together in a very few minutes as a warning
to those inclined to prolixity. Here there is
no originality or strategy. It is all accurate
enough, but as old as the hills, notably the
position of the Black K, Q, White Q and Q B.
The position however, has one useful point.
In ordinary cases a Black B would suffice
instead of the Q, and should be used: but
here the Q is essential to prevent I Kt to B 8,
K moves, 2 Kt to K 5, mate.
Such mechanical problems should be
avoided.
When a problem is completed, do not at
once send it to the publisher. I have fre-
quently found that a later examination, when
the position has perhaps been almost forgotten*
has led to manifest improvement or to the
detection of some error.
Study the compositions of celebrated
workers of all nations. Join in solution
tourneys, carefully criticizing the competing
positions, and endeavour to foretell the judges1
award.
Lastly* HAVE PATIENCE.
I66
The Modern Chess Problem.
VII.—SOMETHING ABOUT
THREE-MOVERS.
THE Three-mover is the ideal problem.
It is not, however, the most popular,
on account of the fact that it is a more
serious study—requires more skill and patience
on the part of both solver and composer—is
capable of greater developments. A three-
mover is more difficult both to solve and
compose.	*
In giving hints about the solution and
construction of these problems, I am con-
fronted with a greater difficulty than was the
case with two-movers, owing to their more
varied character. However, a great many of
the remarks in previous chapters apply with
equal force and but little amplification.
In speaking of three-movers,the term dual
is somewhat loosely applied. Strictly speak-
ing, when White has a choice of moves at his
second move, a dual continuation is the result:
when there is a choice at the third (the mating
move), a dual mate arises. A dual continua-
tion is a far greater blemish than a dual mate,
just as a choice of moves on the first move is
a greater blot than a choice on the second.The Modern Chess Problem, 67
It must always be remembered that how-
ever pretty the author’s design may be,it is very
much marred if there is another method which
accomplishes the end in a more common-place
manner. Dual mates should, of course, be
avoided where possible, but I certainly should
not add extra pieces to accomplish their
eradication.
Touching the theory of threat and
waiting-move strategy, things assume a more
complicated aspect in three-movers. It is
possible to combine both in one problem.
Thus the first move may threaten mate in
two more moves, or even in one (though this
form of key is not of the highest); Black
may make a reply defending that threat,
whereupon White may answer with a waiting-
move, or vice versa (see Diagram No. 32,
page 78, and remarks thereon).
As with two-movers, solving is much
simplified by mentally deciding to which class
the problem belongs. This is frequently so
at any rate as far as the key-move is concerned.
By free Black pieces or equality of forces a
threat is indicated: blocked Black Pawns or
variations sufficiently obvious before the key
is found, etc., point to waiting move strategy.
It is to be noticed that by far the greater
proportion of three-movers are of the “ flight-
square ” order, and it is to be further noted
that, as a rule, the main variations are to be68 The Modern Chess Problem.
found when the Black K moves. It is here,
therefore, that the solver gains the most time
by moving the Black K first, in the hopes
that a key will suggest itself according to the
requirements of the altered state of affairs.
Some three-movers are constructed in
such a way that the beauty lies more or less
in the ingenious defences rather than with
White’s replies to them. It is even possible
to hit on the right key and overlook one of
the chief variations. Let the reader beware,
therefore, before committing himself to ad-
verse criticisms.
A great deal is to be said in the matter
of style. Broadly speaking there are three
styles to be met with. There is first the heavy
complicated problem, partaking somewhat of
the character of an end game, such as is to be
found in German examples and also among
first prize-winners in tourneys.
Secondly there is the “trick” problem,
where there may be but one idea, and that
so sly and elusive, that one may flounder
about for some time without the slightest
notion of what it is all about. In such
positions, the Black K is frequently in a
corner, and the author provides the solver
with an array of White pieces which seem
perpetually in each other’s way, and apparently
useless and irritating. “ What on earth can
this wretched Kt have to do with it ? ” saysThe Modern Chess Problem. 69
the struggling solver. But he is generally
rewarded eventually by stumbling across the
idea in which that particular piece plays the
central part. We meet with this style in
American compositions.
Lastly there is the style for which I
must confess to having a weakness, where
with but few pieces a number of pure mates
are introduced, even at the expense of subtle
play in the second moves. In these problems,
the beauty is not reached until the end. Black
frequently has but a couple of Ps to play, and
White has perhaps, Q, B, Kt, and one P. It
is surprising to see what variety can be intro-
duced with such slender force.*
I will take a finished example of each
class, giving hints and instructions that occur
to me on the way.
No. 30 is a very fine specimen of its kind
and was awarded the first prize in an important
Russian tourney held recently. A glance at
the setting will suffice to show that the first
move must threaten an attack. As it is a first
prize-winner, it is unlikely that it threatens
mate on the second move, though, of course,
not out of the question. We begin by noting
that the Kt cannot make the key, as in so
doing it would give check, and we know by
experience that such an opening would violate
one of the principles of problem construction.
* Some examples of these delicate positions are included
amongst the three-movers in the Appendix.70 The Modern Chess Problem.
As hinted above, ideas may frequently
be gathered from the moves of the Black K,
irrespective of the key. We accordingly play
i..., K takes R, and once more look around.
The result is rather disquieting, for the enemy
No. 30.
BLACK.
Three-mover, by A. F. MACKENZIE.
seems at liberty to reach Q Kt 3 where we
have absolutely no representative, at present,
to wait upon the distinguished traveller. Our
only chance is 2 Kt to Q 7 ch, and then Black
plays K takes P (his only move), and he
eludes us.n
The Modem Chess Problem.
. Here we can narrow down our choice
of moves. Whatever may be the right key,
it certainly cannot be i Q to R 6, as this
would lead to mate on the second move : i...,
K takes R, 2 Kt to Q 7 mate. Though a
pretty conclusion were it in a two-mover, we
can be practically certain that such is not the
author’s intention here. Let us replace
the pieces and try what can be gained by
playing the K to his other flight-square.
When 1..., K to K 6, we arrive at very much
the same state of affairs : for the K threatens
to go to B 7, where, surrounded by an army
of attendants, he can once more defy us.
This compels 2 Kt to Kt 4 ch, when the K
promptly despatches our indispensable B and
is safe once more from our attentions.
If we make experiments with the other
Black pieces, we do not gain much. Yet there
is one move which might help us, and here it
is only experience that will teach us to strike
the right road. If 1..., P to K Kt 5, a beautiful
quiet move suffices, namely 2 Q to R 6, and
this allows of the identical mate after 2..., K
takes R, that we were just now discussing. If
the bait is refused, 3..., R to Q 5 follows with
good results.
But to return to our original experiment,
as to the K taking the R on the first move.
It is extremely unlikely that the key merely
prevents this, so we must either prepare a72 The Modern Chess Problem.
mate for this move, or sacrifice the R else*,
where. On trying i R to K 5, we find that
the K can take it with impunity, and we
are worse off than before, since we cannot
move the Kt without losing the B. Again, if
the K is to take the R on its original square,
we have absolutely no choice, and are com-
pelled to play 2 Kt to Q 7. Therefore we
must provide a mate after 2 K takes P or give
the problem up. If our K B could be at K
B 5 as well as his present square, B to K 5
would be mate, and the Q would be useless,
since the mating piece is sufficiently defended
by the Kt.
This brings us at last to the desired
elucidation of the mystery. Let us make
the Q do duty for another K B by placing
her at K R 3 as a first move. As this
leads to so beautiful a mate, we can be well
assured that the key is found, and there now
remains only to trace what we are to do in
reply to other moves of Black. When 1...,
K to K 6, we play 2 Kt to Q 5 ch; and if
2..., K to B 7, B to Q 4 is mate, the Q being
on the defensive only. Should Black make a
waste move, such as 1..., R to R 8, we reply
with 2 Q to B 5 (which is the threat), mating
next move with the Kt at Kt 4 The defence
by 1..., P to K Kt 5, we have already dis-
cussed, and there remains but one more move,
and that is not a particularly obvious one. IfThe Modern Chess Problem. 73
1 ...,P to B 7, our threat does not work, as the
Black P would queen next move, pinning the
Kt which is to give mate, a pretty feature in
itself. Our reply then, is 2 Q takes P, whence
she can still defend the P at Q 6 should
Black take the R, and 3 Kt to Q 7 mate
follows in due course. Should Black play
2..., B takes B, White plays Kt to Q 7 once
more, mate. If 2..., any other, 3 R to Q 5
mate.
All these ingenious ideas rolled into one
problem cannot be achieved without some
disadvantages. There is a cluster of Black
pieces that at first sight are unnecessary. But
yet they must all be there to prevent frustra-
tion of the author’s plan. The Black R on
Q 8 hinders the Q P from becoming a Q on
the first move, eventually taking the Kt P,
which would prevent the third move of the
threat, i.e., 3 R to Q 5. The other R is
neces... <y to block Black’s K 8. when the K
roams in that direction. And so on, with a
little study an office can be assigned to each
of the Black men.*
* The composer of this intricate problem (No. 30) and
very many more of surpassing excellence is, without doubt,
facile princeps amongst composers, and, marvellous to relate,
is blind.74
The Modern Chess Problem.
VIII.—MORE ABOUT
THREE-MOVERS.
THE problem which we have just discussed
in the previous chapter is, of course, one
of considerable complexity, and is in
marked contrast to the next example, which
makes no pretence of involved strategy, and
only embodies one idea; when once this
is found the problem is thoroughly grasped.
In No. 3! we have a curious state of affairs,
and in such positions the solution is some-
times more of an inspiration than the result
of systematic analysis. With some solvers,
if the idea is not grasped almost immediately,
the problem is not solved for hours. Under
these circumstances, it is rather difficult to
lay down rules or give much assistance: for
such positions have different effects on
different solvers. I well remember solving it
myself, when I stared at it for no little time
without the faintest glimmer of a clue, and
then suddenly saw the whole plan without
moving a piece.
It is always well to solve any position
without touching the men at all, and hereThe Modern Chess Problem. 75
practice can be gained by using the diagram
only. In some positions, such as No. 30 for
instance, this plan is difficult for the novice,
but experience and perseverance soon bring
facility. He should endeavour to solve all the
two-movers in the Appendix from the dia-
grams, which lack nothing on the score of
clearness in printing.
In No. 31, we find Black with only one
move to make as the position stands, and that
one is so separate from the centre of opera-
tions that it must be obviously provided to
avoid actual stale-mate at some stage of the
action. We can soon see that the White K
does not make the key, for if K to R 2, Black
is stale-mate ; and if 1 K to Kt sq, the P will
check, and will ultimately become a Q, since
we dare not take it.
It is tempting to try and force the Black
K away from his corner and queen the White
R P; but with a little analysis, this plan is
seen to be useless. Thus, 1 P to B 7, K to
Kt 2; 2 R P Queens ch> and the K escapes.
Moreover, the B in the other corner- is of no
use whatever. If 1 R anywhere on his file,
Black is forced to move his P, and then White
must let the K out, and there is no mate.
Again, if we move the R away from his file
on the first move, the R P goes, and even with
the R at Q Kt sq we are helpless. This
leaves only the B to try.76 The Modern Chess Problem.
Now we know that when Black has
played his one move with the P, he must
be liberated from his corner. Thus, our
second venture must be either by moving
R away, by moving the B P, or by moving
No. 31.
BLACK.
Author unknown.
the B in front of the R. We very nearly
succeed by i B to K 5, P moves; 2 P to B 7,
K to Kt 2 ; 3 P Queens, mate all but one
square! If at the second move we are toThe Modern Chess Problem. 77
mask the R with the B, we must either play
it at the first move to Q Kt 2 or B 3. When
once the latter square is chanced upon, the
second move becomes obvious, for 2 B to R 5
forces 2..., K takes P, and the enemy is
A prettily despatched by 3 B to B 7, mate!
All this reminds one of the conjuror, who
generously explains “ how it is done,” and we
are all amazed that we should have been so
dense as to be mystified by so simple a device.
Yet, I have shown this problem to quick
solvers with reputations to guard, and have
made enemies of them in consequence of
the fact that so simple a position should
beat them.
The next example—a problem of my own
making—illustrates purity of mating positions,
and is a fair example of the last class of
three-movers to which reference has already
been made. With so few pieces it is im-
material to discover whether the problem
proceeds by threat or by waiting-move. Our
best course is to play one of Black’s moves,
and note the result. If 1 K to K 6, we need
some extremely forcible play in order to catch
the foe, and at present there does not seem to
be any useful move at command. If 1 Kt lo
Kt 3, we could meet 1..., K to K 6 by 2 Q to
Q 2, and this leads to a characteristic mate by
3 B to Q 5 if the King goes to K 5, but there
is no reply if he goes to B 6.78 The Modern Chess Problem.
Besides all this, he has a dangerous first
move: i..., P to K 5, and the K will escape
at K 4. This strongly suggests Kt to K 4
as a key, and is in fact the correct one. If
1..., P takes Kt, we continue with 2 Q to K 2,
No. 32.
BLACK.
a waiting-move, mating according to Black’s
play. It will be noticed that all White’s
mating moves are pure, with the exception of
that in answer to 2 P to K 6.
There are hundreds of examples of this
style of composition, one of its foremostThe Modern Chess Problem. 79
exponents being J. B., of Bridport, who was, if
I mistake not, the pioneer; but he has been
excelled by an American composer—Mr. Otto
Wurzburg, whose delightful work is distin-
guished by neatness and accuracy.
The composition of this style of problems
is not at all easy, as the temptation to add
pieces is sometimes very strong, especially for
the purpose of stopping unintentional solu-
tions, the other alternative of re-arrangement
being frequently difficult. In the course of con-
structing No. 32, a problem which gave me a
considerable amount of trouble, I had placed
my B on Q R 2, and was much bothered on
account of 1 Kt to K 6 ch ; 2 B to B 4; and
3 Q to K 2, mate; and it was some time before
I hit on the plan of placing the B on the
other side of the board—an infinitely more
elegant way of stopping the trouble than the
addition of further force.
I should like to discuss the many beauties
of No. 33, one of my favourites. It is an
example of judicious blending of ideas, an
essential feature of most modern composition.
It was awarded a well-merited first prize in an
American tourney. The problem is a waiting-
move one. The key is 1 Q takes P. The
capture is but a slight blemish, because firstly
it is only a P that is taken, and its presence is
necessary to prevent a solution beginning
with Kt to Kt 3, and secondly it is but a80 The Modern Chess Problem.
chance that the necessary Black P should be
on the very square to which the Q has to go.
The judges in the tourney seem to have for-
given the capture. The position of the two
Kts renders the problem extremely difficult,
No. 33.
WHITE.
Three-mover.
By Dr. C. PLANCK.
owing to the strong temptation to play the
Kt at Q S on the first move—a matter upon
which I have previously touched (regarding
the Kts being on the same coloured squaresThe Modern Chess Problem.	°1
as the Black K). But such attempts are
merely waste of time, for the Kts in this case
remain where they are for the first move.
There are very many beautiful variations. I
append a table of these, and the solver is
recommended to study it carefully.
Key-move :—Q takes P.
i-.., K takes Kt; 2 Q takes P ch, K takes
Q; .3 B to K 7, mate. Or 2..., K to Q 5;
3 Kt to B 6.
1..	., K to B 5 ; 2 Q takes Kt ch, K takes
Kt; 3 B to Kt 6.
1..	., B P takes Kt; 2 Q to K 4 ch, P takes
Q ; 3 Kt to Kt 3. Or 2..., K takes Kt; 3
Q takes P.
1..	., B to B 5 ; 2 Kt to K 6 ch, K takes
Kt; 3 Q to B 5.
1.,	Q P takes Kt; 2 B to B 6 ch, K to
B 5 ; 3 Kt mates.
1..	., P to B 7 ; 2 Kt to Kt 3 ch, K to B
S ; 3 Q takes Kt.
1..	., B to Kt 4 ; .2 Q to K 4 ch, K takes
'Kt; 3 B to Kt 6,82 The Modern Chess Problem.
There are some who would object to the
fact that all White’s second moves are checks.
Of course, quiet moves are always an advan-
tage, and very frequently add to the difficulty;
but I think the want of such play here is not
much to be deplored, as the problem is full of
such interesting points, and the constructive
difficulties have been so splendidly coped
with. Let the reader try a similar position,
especially as regards the two Kts, and he will
find that it will take all his skill to keep
affairs out of tangle.
The study of problems, and especially
that of three-movers, shows the average
player how much more powerful a few pieces
can be, at times, than he imagines. This is
natural, for one very rarely sees two players
gravely “ playing out ” a game in which one
has overwhelming strength. In nine cases
out of ten, when an open field is reached, each
has almost equal force. Thus, many beautiful
ideas are lost to these exclusive devotees of
chess. It has been demonstrated again and
again that the most ingenious play is necessary
to accomplish mate under peculiar conditions
if the idea is properly worked out by the
composer.
No. 34 is an instance. Should one see
two players fighting a position similar to
this, as regards relative strength, one would
immediately put them down as inferior players,.The Modern Chess Problem, 83
But when these forces are artfully placed, and
formed into a compact problem, the affair
wears a very different aspect at once. There
are endless ways of winning in this position,
but only one of mating in three. The player
No. 34.
BLACK.
Three-mover.
might ^effect a clumsy mate in four or five
moves, but would overlook the somewhat
surprising mate in three as.follows: 1 B to Kt
2, P takes B ; 2 Kt to B 3 ch> K to R 8 ; 3
Q to R 8, mate. If 1..., K takes Kt; 2 B84 The Modern Chess Problem.
takes P, K to B 7; 3 Q to R 7, mate. The
inexperienced solver would here waste time
in trying to bring the Q to closer quarters,
only to meet with repeated failure.
To solve problems of this stamp with
facility is quite a distinct art, and requires as
much practice as mastering the heavier ex-
amples, where, very frequently, some sort of
exhaustive system is practicable.
It is, of course, possible to solve any
position by playing every move on the board.
When the position is an open one, the process
is very tedious, and by the time the right move
comes along—generally last but one or two—
the solver's perception is so dulled by the
monotony that he will overlook some vital
move, and will thus go through to the bitter
end without succeeding after all.
It is to be hoped that by reading the
foregoing remarks the reader may be spared
this drudgery, though I freely confess that I
am unable to afford much assistance in the
case of such problems as Nos. 31, 32, and 34.
I can but say that general proficiency will
come with perseverance, by solving problems
of all sorts, and by resisting the desire to
“ look at the end ” for the answer.
Though we all disliked our mathematics
master for thoughtfully providing us with
treatises on Algebra “without answers,” I am
sure that we are all the better for the strict
discipline!The Modern Chess Problem.
85
IX.—THREE-MOVE COMPOSITION.
THERE is a story of a celebrated musician
who once asked a young man: “ Can
you play the violin ? ” “I don’t know ;
I have never tried !” was the amazing answer.
History does not relate whether this self-
confident youth went home to tackle a violin
concerto. Perhaps.
A similar question was asked me relative
to chess problems when I first began to be
interested in them, and I believe I made
a similar reply. I also believe that I went
home with the purpose of composing a three-
mover. At all events my very first effort at
composition was a three-mover. As, through
ignorance and inexperience, I was trying to
run before I had learned to walk, the result
can be imagined. The problem, published in
a London newspaper in the spring of 1889,
was a wretched specimen. I am tempted to
display it here, in all its hideousness, with
directions to the reader to “ go thou, and do
not likewise.” It violated almost every one
of the maxims which I have so carefully laid
down in this book.86 The Modern Chess Problem.
However, I soon discovered my error,
and for a very long time confined myself to
two-move composition, and this discipline
soon told me that the addition of one move
makes all the difference. Still, I keep my
first venture in my portfolio as a curiosity ; it
forms a singular frontispiece. It is the first of
over seven hundred positions, and though
there are numbers open to question, none, I
I am sure, can equal that weird three-mover.
Now I set myself the task of putting
down a few hints for composing three-movers,
and, profiting by the experience just alluded
to, I say to aspiring composers, do not attempt
them until you can compose good two-movers
with a certain amount of facility. The plan
I have already adopted in my previous chap-
ters will answer for the present discussion, so
I accordingly proceed on the same lines by
noting on Diagram No. 35 the crude idea for
a threat three-mover. The key, which we will
arrange later, is to threaten mate in two moves
by 2 R takes P, K takes Kt; 3 R to B 5, mate.
It is as well to fix the threat at once, even
though not part of the main idea. It is not
essential that it should be even of an interesting
nature.
Now as regards the main-play : this will
be found first when K takes R, and secondly
when K takes Kt. When 1..., K takes R, I
prdpose to play 2 Q takes P ch, K to B 2, andThe Modern Chess Problem. 87
arrange mate by 3 Kt to Q 6. In order that
this may in reality be mate, we add a White
R at Q R 8, and a Black P at K Kt 3. Then
if 2..., K to Q 2, 3 Q to Q 6 is mate (and an
ugly one).
No. 35.
BLACK.
But experience has taught me that White
Rs are awkward customers to deal with in
three-movers, unless they form an integral
part of the main idea. Consequently the one
on Q R 8 will give us trouble, inasmuch as it
does nothing until the last, and then only
defends. I therefore suggest removing it, and88 The Modern Chess Problem.
by moving the whole position one square
downwards, the two proposed mates are
possible without the extra force, since the
Black K cannot step off the board, much as
he might like such a way out of his troubles.
There are some who do not like mates at the
side of the board, but I see nothing against
them, if managed with neatness.
Now let us try i..., K takes Kt, and see
what continuations we can provide. I see a
pretty mate by playing 2 R to B 7 ch, K to
Kt 3; 3 Q to mate on the diagonal, so as to
defend the R behind the K. As this would
take the Q right off the board, we must once
more slide the whole position to accommodate
her majesty. We therefore move the entire
problem one square to the right, and then add
a White P at Q R 5.
This is all very nice, but supposing after
1..	, K takes Kt; 2 R to Q 7 ch, the K goes
back to K 3 ? It is obvious that the R must
be defended, so a White P appears on Q B 6,
allowing a somewhat uninteresting mate by
3 Q to K 4. In default of a better one, we
will allow this to remain (see No. 36).
To recapitulate: 1, key to be decided;
1..	., K takes Rj 2 Q takes P ch, &c. If 1...,
K takes Kt; 2 R to Q 7 ch, &c.; the threat
being as arranged, 2 R takes P ch, K takes
Kt; 3 R to Q 6, mate.
Further investigations reveal the fact thatThe Modern Chess Problem. 89
there is also a threat by 2 R to Q 7. This
must be stopped at all costs. By placing a
Black B at Q R sq, such an attack would be
useless, owing to 2..., B takes P. Suppose,
however, that the B were to make this move
as his first? Away goes our threat, since
No. 36.
BLACK.
2 R takes P gives the K a chance of going to
Q 2, and we are powerless. Yet this is not
such a serious blow as might be imagined:
for it leads to a new and very pretty variation
by merely adding a White P on Q Kt 3. Thispo The Modern Chess Problem,
addition may seem purposeless, but in reality
it is the cause of one of the best mates in the
problem : for now i..., B takes P ; 2 R—K 7
ch, K takes Kt; 3 Q to Q.2, mate!
Now comes the worst difficulty of all.
If i..., P—B 5, our threat is defeated, since
there is no mate on the third move. Careful
scrutiny shows that this square 5) must be
blocked. A White P on Q Kt 4, for instance,
is out of the question, because we must not
forget that the Q has to reach Q R 4 in the
course of the solution, and so the way to it
must be left clear all the time.
When originally composing this problem
(for the Illustrated London News), I well
remember nearly having to give the whole,
affair up, owing to this irritating move 1...,
P—B 5. Suppose for instance we remove it
and also the White P on Q R 5, and add a
White B at K Kt sq. This would mean that
a strong White piece would be standing idle
during most of the solution, and for this very
reason would most surely play an aggrava-
tingly prominent part in helping towards
second solutions. It is true that the mate
which it would assist to bring about would
be improved, but otherwise the addition would
be" a fatal mistake. Moreover after 1..., B
takes P ; 2 R to K 7 ch, K takes Kt; 3 Q to
Q 4 mate would spoil the effect of. our idea
of 3 Q to Q 2 mate (see Diagram 37).The Modern Chess Problem. gi
The remedy is a round-about one, and
somewhat unsatisfactory, but fortuitously leads
to an additional variation. Remove the White
B and restore the Pawns; then place the
White K (hitherto in the box) on K R 4, a
White P on K R 2, and a Black R on Q B 8.
No. 37.
BLACK.
Why a Black R ? How can the addition of
further Black strength cure a defence of
Black’s which already is too strong? This is
only an example of the delightful possi-
bilities which arise in the composition of chess
problems. The effect of the addition is this :Q2 The Modern Chess Problem,
when i..., P to B 5, the Black R is prevented
from playing to that square (where it would
pin the Q). This will give us time to play 2
R to Q 7, and though this is not a check,
mate must follow next move, do what Black
will. Yet stay! can he not still play 2...,
B takes P ? This is a true bill, and in order
to settle the troublesome customer, we remove
him from Q R sq, and stand him on the very
square to which we propose to play our R,
and then, though 2 R takes B is a somewhat
forcible move, it does away with an annoying
difficulty; in fact without some such an
arrangement, we should have to give the
whole thing up.
On examining the Black R's other moves,
we find that 1..., R—Q Kt 8 (a very feeble
move) allows a dual by 2 R takes B or 2 the
threat. This is not worth considering, and
we will let it go. If the R goes to B 5, it
allows a dual mate with the Kt P in the
threat variation; but this, too, is of little
moment.
Now as to the key, it would be a very
good point if we could allow of one with the.
R, so offering it to the K. There are only
two squares upon which it could stand, namely
K B 8 and K Kt 7. If we placed it on the
former, there is an undoubted mate in two,
and as this method is part of the threat, it is
obvious that without addition the R cannotThe Modern Chess Problem.	93
stand on K B 8. If the other square is tried
(K Kt 7), a sweetly simple mate on the move
with the Kt is at once apparent. Still, I am
determined to sacrifice that R on the first
move! We will place him on K B 8, and
add a Black P on K B 2. Then the key will
be a capture, but it is such a mild and in-
offensive one that‘I am sure no exception can
be taken to it.
We notice that in one or two instances
there are dual mates with the Kt, and as one
is possible in the main variation, I think a
Black Kt should appear on Q R sq, and it
will be seen that this added force does not
interfere with the threat. Diagram No. 38
shows the finished article.
As regards second solutions, we are lucky.
There does not appear to be one. There is
nothing more exasperating than to work away
at some nice idea, and to get everything to
run smoothly, and then to find, at the eleventh
hour, that some miserable checking move
spoils all our brilliant play. It is more annoy-
ing still not to find it. Then the problem is
triumphantly sent to the press,—it appears,—
and some novice discovers the flaw, and the
luckless composer is held up to derision. The
chapter of accidents may sometimes go even
further. The composer writes at once to
■apologise, promising a revision. He tries to
revise, and finds that the second solution94 The Modern Chess Problem.
refuses to be knocked on the head. Or if he
does succeed in destroying the microbe, the
problem has by that time lost all resemblance
to the original position ! Such are a few of
the trials of the composer.
No. 38.
BLACK.
Three-mover.
If he wishes to do good work, and plenty
of it, he must satisfy himself that his stock of
patience is ample, and that his vocabulary of
expletives is small!The Modern Chess Problem.
95
X.—INITIAL IDEAS,
I SHOULD like to say a few words about
initial ideas generally. It is quite pos-
sible to produce a problem from other
ideas than actual mating positions or from
actual defences. As a rule, the most unin-
teresting problems are those which are
constructed by hemming in the Black K and
placing powerful White pieces around him, all
threatening mate, and then adding Black
pieces to defend these mates. A reference to
No. 29 will show what is likely to result.
Especially in three-movers, however, ideas of
a different character are frequently worked
upon. A glance at No. 39 will show an idea
and how it was carried out. The first move
is 1 R to Kt 8, a key which was obviously of
secondary importance. The raison d'etre
being that, on 'moving the Black R, White
will attack it with that on Q Kt 3, at the
same time threatening mate with Kt P.
Should Black, however, play 2..., P to Kt 5,
White plays 3..., R takes R, mate. There
are other variations.
Again, the main idea of a problem may
be contained in some subtle defence of Black,g6 The Modern Chess Problem.
not necessarily leading to a beautiful male.
To those who find that ideas come slowly, I
would prescribe exercises as follows: place
the Black K in a corner and, say, a Black Kt
on the next square in front of him, and I
No. 39.
BLACK.
Three-mover, by G. Hume.
believe that one could evolve a fair problem
by merely studying the effect of the move-
ment of these pieces. Of course it is not the
highest art, but, by luck, a good problem
may result; and I myself have, on more thanThe Modern Chess Problem. 97
one occasion, turned out a very fair position
on this principle.
Again, there are vast resources at hand
by placing the Black K in a stale-mate posi-
tion and working up a simple problem from
No. 40.
BLACK.
Three-mover, by P. Daley.
this basis. A well-known position on these
lines is No. 40. I have known this problem
to puzzle capable solvers for hours. Another
fruitful source of production is to have a
White piece pinned by a Black one in such a
H98	The Modern Chess Problem.
way that when liberated a mate ensues. In
working this idea in two-move form, either
the pinning piece must itself be pinned or
due allowance made for Black’s taking the
White pinned piece, which of course would be
No. 41.
BLACK.
Two-mover, by Thomas Taverner.
a check.* Another good theme, though a
common one, is to have a Black B and R,
which cause variations by getting in each
* Examples are to be found in the Appendix Nos. 35
to 37, 41 to 44, and 48.The Modem Chess Problem.	99
other’s way. A notable example of this is
No. 41, where the principle is present in
bewildering complexity. As a rule, one can
tell, especially as regards three-movers, which
stage of the solution had the author’s first
consideration. One with several pure mates
usually has a key which was provided for
last of all; while one with comparatively
uninteresting final positions generally has a
bizarre key, showing clearly that the latter
was the original conception.
As regards problems with flight squares,
nothing can be finer than a good position
where the K has two or three avenues of
escape; but if the flight square idea is over-
done, I have frequently noticed that variety is
sacrificed ; in some cases the same Kt mates
in every variation, backed up by the attack of
pieces behind it. Opinions differ on this point,
but I lean towards other styles, where this
fault is not present.
One occasionally hears of competitions
where ideas are prescribed. This, with limita-
tions, is sometimes productive of good work ;
but, overdone, the regulations seem foolish.
For instance, it seems somewhat waste of time
to take certain pieces from the box and set
to work to construct a problem with these
alone; yet,fine work has been done even with
such stringent conditions. See No. 42, a
prize-winner in an American tourney. TheIOO
The Modem Chess Problem,
competitors were given the actual pieces.
The example quoted is first prize winner,
and a very fine position it is.
I have found the most fruitful source of
ideas in actual composition. This is para-
doxical perhaps; but given a good idea and
No. 42.
BLACK.
Three-mover, by W. A. Shinkman.
careful manipulation, other plans are sure to
present themselves, which, though not possible
to include in one position, are at least good
enough to form the central feature of another.The Modern Chess Problem
IOI
Solving leads sometimes to original work.
Of course this must be accepted with reserva-
tion. I do not imply copying or adapting the
conceptions of others, but I mean that, for
instance, you are solving a three-mover and
you go down an utterly wrong turning, as it
were, and fancy you have hit on the author’s
plan. Yet subsequently you find that this
particular situation or strategy has nothing
whatever to do with the position. As far as
I can see, there is nothing to prevent one from
embodying the situation in a new problem,
which will be as unlike the original one as it
is possible to be.
I have found, too, in composition, that
occasionally one’s original idea is almost lost
in course of construction. Of course it would
not be good to lose the idea and produce a
problem with next to no idea at all ([v. No. 29).
But as an instance, I cite position No. 28,
where the original key was abandoned in
course of construction, with satisfactory results.
Ideas principally founded on difficulty
lead, as a rule, to problems of a more or less
ugly exterior, and personally I do not care to
solve a really difficult problem with no beauty
or other quality besides. ^ I contend that a
solver does not want a Chinese puzzle, but
something he can admire on more counts than
one. Of course difficulty should be present
amongst other attributes, but should not be102
The Modern Chess Problem.
of paramount importance. I could, I doubt
not, puzzle an experienced solver by submit-
ting a problem solved, say, by i R takes Qychy
but when once the difficulty had been nego-
tiated, he could well turn round and say what
No. 43.
BLACK.
WHITE.
Three-mover, by W. A. SHINKMAN.
a poor problem it was otherwise, and with
perfect fairness.
Fundamental ideas rendered alone are all
old stories by now, and the composer may
safely assume that he cannot evolve an abso-
lutely novel situation. Combining well knownThe Modern Chess Problem.	103
ideas in one problem, in which the same pieces
execute both designs, is an art in which it is
most difficult to excel, and when such positions
are composed, they come as near originality as
No. 44.
BLACK.
Two-mover by A. C. Challenger and
the Author.
is possible. No. 43 is solved by 1 R to Q R 6
(A)	P takes R ; 2 R to Kt 4, etc.; if (B) 1...,
P to Kt 3; 2 B to Kt 4, etc. Now both (A) and
(B)	are old friends, and the ideas have long
ago been rendered singly, but to combine the104	7%£ Modern Chess Problem.
two in one problem is, I consider, a specimen
of ingenuity and originality it would be diffi-
cult to surpass.
Again, one idea can be made the central
feature of two different problems. Nos. 44
No. 45.
BLACK.
and 45 will show this. But I strongly depre-
cate the habit of rendering two slightly
different versions of the same problem, as it
is always difficult to decide which is best, and
yet the two could not be considered as distinct
problems.The Modern Chess Problem.
105
XL—MISCELLANEOUS.
HAVING dwelt on the fact that three-
movers are far more difficult to
compose than two-movers, it may be
perhaps wondered why I have only given one
example of the method of composing the
former. Yet I feel that it is useless to
multiply instances ; the subject is so capable
of extension, and is in fact almost unlimited.
The resources at the disposal of the composer
are so great, that it is best to leave the reader
to his own devices, although it is hoped he
will derive a certain amount of instruction
from the details of composition in Chapter IX.
The example is an unpretentious one, but has
been chosen as being a good means for intro-
ducing and coping with the average difficulties
to be encountered. These difficulties will
spring up in endless variety; but then, as a
consolation, so will the ideas.
It is a well known fact that the number
of possible combinations of the first four
moves of a game of chess is colossal. By
adding a single extra move, that number is
increased to such gigantic proportions, that it
becomes merely a meaningless row of figures.io6	The Modern Chess Problem,
So with two-move and three-move problems.
The field in the former case is being worked
out rapidly, although not nearly exhausted
yet; but the scope for research in the latter
branch is boundless, and there are thousands
upon thousands more positions to see the light.
Thus an enormous field is always at hand
for those who wish to explore it, and I take it
that those who have the wish will also have
the ideas.
To one aspiring to compose an opera, I
should say, “ Master the principle of harmony,
counterpoint, and orchestration,” and beyond
providing him with pens, ink, and paper,
nothing more could be done for him : if he
had no composition in him, it would not help
him for an old hand to draft out sheets of
score as a model. So it is with three-move
chess problems. I have laid down some of
the fundamental principles of construction in
its general sense, and can then only prescribe
board and men. Almost anyone, with very
little aptitude, can turn out .a passable two-
mover, but longer problems bespeak more
individuality and imagination, without which
failure is inevitable.
However, indications of further flights
into this fascinating realm cannot be amiss,
and I will briefly discuss a few of the other
varieties.
First and foremost are the four-movers.The Modern Chess Problem.	107
These problems are only for a minority
of problem devotees, and there are but
few papers which will even publish them,
unless of the simplest. There are, of course,
splendid ones to be met with, and they
No. 46.
BLACK.
White compels mate in nine moves.
generally represent weeks of labour. Our
continental friends are indefatigable in this
direction. I can call to mind one by a celeb-
rity named Dobrusky, the full solution to
which took up nearly a sheet of foolscap, andio8
The Modern Chess Problem.
displayed the marvellous mental capacity of
the composer. Yet in these days of hurry,
who is there to solve these Titanic efforts?
I fear there are but few.
The next important class is the ever
increasingly popular “ sui ” problem, or more
correctly suicidal problem. Students of the
game proper will know how a powerful player
can offer to compel a considerable weaker
opponent to mate him, and even force him to
do it with a particular piece, or on a particular
square. Problems on these lines are frequently
to be met with, in from two moves to anything
over twenty. One finds longer problems on
these lines than in direct-mate composition.
No. 46 is in nine moves, and has an amusing
finale. But such problems are not difficult to
compose (by a process of working backwards),
and are not exactly high class work, being
frequently spoilt by the addition of too many
moves. No. 46 is solved as follows ;—
I	WHITE. Kt to K 6, ch	1	BLACK. K to Q 7
2	Kt to B 4, ch	2	K to K 7
3	Kt to B 4, ch	3	K to B 6
4	R to Kt 5, ch	4	R takes B
S	Q to K 4, ch	5	K takes Q
6	Kt to Q 2, ch	6	Kto B4
7	B to B 7, ch	7	B to B 4
8	P to K 4, ch	8	K to Kt 4
9	Kt to B 3, ch	9	R takes Kt, mafe.The Modern Chess Problem.	109
It will be noticed that all Black’s moves
are forced, and that in the case of White’s
checks by discovery, the moving piece is com-
pelled to go to one square only. In composing
this class of problem, one must try to avoid
No. 47.
BLACK.
White compels mate in eight moves.
By Dr. C. PLANCK.
the possibility of interchanging the order of
the moves. All White’s moves are checks—
a drawback; yet this very often enables one
to introduce a fantastic finish. Where thereno
The Modern Chess Problem.
are but few checks, there are but few active
Black pieces, and the beauty lies rather in the
strategy in the course of the solution, than
in the actual mate.
Such is the case with No. 47, which
contains play of a very high order. The
solution is as follows :—
WHITE.	BLACK.
I	R to K B sq !	1	Kt to Kt 4
			or B sq (or a
2	B to Q 6, ch	2	Kt takes B
3	Kt (Q 2) to B 4, ch	3	Kt takes Kt
4	R to B 3, ch	4	Kt to K 6
5	Kt to B 6	5	P to K 4
6	R to Kt sq	6	P to IC 5
7	Kt to Q 4	7	P takes R
8	Kt to B 2, ch	8	Kt takes Kt, mate.
	{a)		
1		1	Kt to B 3
2	B to Q 6, ch	2	Kt covers
3	P to R 4	3	P takes P
4	R to B 2 !	4	P moves
5	B takes Kt ch	5	P takes B
6	Kt to Kt sq, ch	6	K to Kt 6
7	R to R 6	7	P to R 6
8	R to Q Kt 2, ch	8	P takes R, mate.
The two distinct variations are admirable,
and the key appears to be of the vaguest, yet
it is the only move that will suffice.The Modern Chess Problem.
in
There are numerous specimens of two-
move, three-move, and four-move sui-mate
problems, but variety is harder of attainment
No. 48.
BLACK.
White compels mate in two moves.
By A. F. Mackenzie.
(Key-move, i Q to K 8.)
with these than with the direct-mate class.
Nos. 48 and 49 are good specimens. I indi-
cate the keys, leaving the variations to be112 The Modern Chess Problem.
discovered (in the case of the latter, a task by
no means easy). In these problems economy
and elegance are most difficult to attain, for
arrangements have to be made to properly
No. 49.
BLACK.
White compels mate in three moves.
By G. Hume.
(Key-move, Q to B sq.)
restrain both the Ks. I have frequently had
to abandon an idea owing to lack of sufficient
force to hold the Kings in proper control.The Modern Chess Problem.	i i 3
Some composers are guilty of enormities
in the self-mate line, with very lengthy solu-
tions ; these are merely grotesque. When one
sees that conclusions are arrived at in 426
No. 50.
BLACK.
Place the Black K on the board, then
White mates in two moves.
By Henry Hall.
moves or thereabouts, one can only sigh and
say, “ Ah! I daresay that is so,” and turn to
something more worthy of one’s solving skill.
\The Modern Chess Problem,
114
Of course, such affairs should be avoided.
There is so much scope for fine work in an
ordinary problem of smaller calibre, that such
brain-twisters should be left severely alone.
“ One-King ” problems have come into
some prominence of late. The author com-
poses an ordinary two-mover, and presents it
to the solver without the Black K, the task
being to “put on the Black K” and then
mate in two moves. This might at first
appear easy: but, of course, such a problem
must have but one position for the K, which
necessitates careful construction and laborious
analysis to ensure it. No. 50 is an example :
it won first prize in a recent tourney held for
these positions.
Other varieties there are which become more
in the nature of puzzles than problems, and
these will find value with individual tastes and
capacities. Some of the many chess columns
have a Christmas budget of such fare to tickle
the palates of their readers. These come as
a welcome relaxation from the severity of the
usual matter. I must confess to having been
guilty in this respect on one or two occasions.
Nos. 51 and 52 are specimens, appearing in
past Christmas numbers. No. 51 is solved by
1 Kt to Q 4 ch ; 2 P to K 8 becoming a Black
R ch (the old laws in force at the time did
not forbid it; since the publication of the
British Chess Code, however, many of theseThe Modern Chess Problem. 115
conceits are put out of court), 3 P to B 8
becoming a Black B ch, which new-comer
must take the White Q, giving mate. No. 52
is solved by 1 K to R 2, and, I need hardly
say, was entitled “ Arabian Knights.”
No. 51.
BLACK.
WHITE.
White compels mate in three moves.
“White to retract his last move and then
to mate ” is another device. The proof that
a certain move must have been White’s last is
often very ingenious and entertaining.116	The Modern Chess Problem.
Of course, there are other forms of prob-
lems and puzzles which can be devised with
the help of the chessmen and board, and to
those who care for such researches much
entertainment is afforded. To my mind,
No. 52.
BLACK.
however, there is still such a vast held to
explore, particularly in the direction of three-
movers, that I do not follow these eccentrici-
ties with much interest.The Modern Chess Problem,	117
s
One is always hearing of somebody who
claims to have “ invented ” a new piece; or
another who has a board with eighty-one
squares, and an “emperor” or a “grand vizier”;
and a third who sets up the pieces in a
different order. All these innovations appear
to me great waste of time. Both for problems
and games the existing tenets seem as perfect
as they can well be, and it will be many years
before the resources of chess run dry.The Modern Chess Problem*
118
XII.—CONCLUSION.
I STRONGLY recommend the study of
problems. My own experience may
have been particularly fortunate, but I
must say that this pursuit has been a special
delight to me. I began in the year 1889, and
have been more or less a staunch devotee
ever since. I have formed many acquaintances
by its means. I have had most interesting
letters on problematic matters from enthusiasts
known to me only by name and handwriting.
Having contributed upwards of seven hundred
positions to the press, I have made friends
with many chess editors—genial and courteous
men, who help to add to the interests of
my life.
But where this pastime would seem to be
most beneficial is in the case of those who
are invalids or who lead solitary lives. A
problemist can enter the lists with perfect
ease, and when his interest is once aroused,
and when others’ interest in his work is also
aroused, he can make a name for himself in a
modest and, of course, a limited way, in spite
of possible physical or circumstantial draw-
backs, . In my collection of published prob-
lems are to be found hundreds of criticisms,The Modern Chess Problem.	119
remarks, and paragraphs which are most
amusing to dip into occasionally. Here I
consider I have an advantage over the player.
He goes to his club or to friends, and plays
thousands of games in his day, and a great
temporary amusement they are to him ; but,
unless he has a most marvellous memory,
there is very little in the nature of a permanent
record of his doings. In a busy town, of
course, it is possible to combine problems and
game playing ; but what can be said for the
enthusiast who has suddenly to leave his old
haunts and settle in some far-off colony with
no opponents within a day's journey?
It is then that the benefit of problems
becomes apparent. Mr. Tinsley, the well-
known chess editor, has told me that his
correspondence bag contains hundreds of
communications from all parts of the globe
from men who show a most intimate know-
ledge of problems and their composers. In
his chess columns one sees huge lists of foreign
and colonial contributors, who get to know
each other’s styles, and thus, though far away,
the problemist can become part of a delightful
club, as it were.
It is always a matter of wonder to me
why there should not be some sort of Union
or Organization for problemists. It is not
from lack of numbers, for there are hundreds
of well-known names, which are constantly120
The Modern Chess Problem.
appearing in the chess press, though of course
they are much scattered. Such a Union could
hold International Tourneys, frame rules,
publish treatises, and generally further the
cause and spread more widely the tenets of
problematic lore.
There is another point upon which I
should like to dwell with insistence. I would
caution my readers against over-absorption in
this fascinating study of chess problems. I
speak from experience. I have found these
matters have a way of intruding on one’s
thoughts when other and more serious affairs
ought to claim undivided attention. In no
case should one's business or occupation be
allowed to suffer. Interesting though they
be, problems (and indeed chess in its broadest
sense) lead to no particular end, and being
a recreation only, should be practised with
moderation.
If any reader discovers that he has a
facility for composition, he is sure to meet
with generous encouragement, and this may
lead him to become too absorbed. I have
found it necessary to put my chess completely
aside on one or two occasions, and to do
it ruthlessly and firmly, finding that on re-
suming my old love I have not retrograded
or dropped out of the little arena of contests
and so forth, but have taken up the subject
with renewed and refreshed interest, especiallyThe Modern Chess Problem.
121
on one occasion when I had to solve a set of
six problems of my own composition which
I had entirely forgotten in the interval!
On reading through this little book, I am
conscious of its incompleteness, but I have
endeavoured in a small space to cover as
much ground as is consistent with clearness,
and have paid considerable attention to the
earlier lessons, believing that, if a genuine
interest is awakened, the budding composer
will soon strike out for himself. There are
several fine works on the subject which, owing
to their size, are able to go into it with more
profundity and completeness, and to them I
unhesitatingly refer the student who requires
greater detail. Unfortunately some of the best
are scarce. One in particular I number as a
valuable item amongst my collection of chess
problem literature; it is by the redoubtable A.
F. Mackenzie, of Jamaica,W.I.,entitled “Chess:
Its Poetry and Prose,”published by de Cordova
& Co., 148, Harbour Street, Jamaica, in 1887.
It is a work of some 400 pages, the bulk of
which are devoted to the “ Poetry,” followed
by a short treatise on the game proper. “ The
Chess Problem,” a text book by Messrs.
Andrews, Frankenstein, Laws, & Planck, is
another fine work,published by Messrs. Cassell,
and contains a capable essay and many fine
examples from the works of these celebrated
composers.122
The Modern Chess Problem.
Mr. Laws has written a capital book on
the two-mover, published by George Bell, and
there is also a popular treatise by the late
James Rayner, issued by Swan Sonnenschein
in 1890. Of collections pure and simple there
are many, but one I specially recommend is the
following German series:—“Schachaufgaben”
edited by Jean Dufresne, and published by
Philipp Reclam, jun., Leipzig, consisting of
three little volumes, part of a series called
“ Universal Bibliothekwhich can be obtained
from David Nutt, the foreign book dealers,
for about 2s. 6d. the three.
The British Chess Company, of Stroud,
Gloucester, could doubtless obtain most of
those mentioned above. One other address
I will give where treasures can sometimes be
unearthed:—Mr. Frank Hollings, Great Turn-
stile, Holborn, London.
In an appendix will be found a small
selection of my problems. Practice can be
gained by endeavouring to reset some of the
ideas contained in them, or by improving
them, considering them as studies for subse^
quent independent work. It is half the battle
to evolve a workable and pleasing idea which
may not suggest itself at the outset, and the
plan I recommend may lead to better original
work if applied intelligently.The Modern Chess Problem. 123
I lay down my pen with reluctance, and
can but say that if I have given as much
pleasure to the reader as I have afforded
myself in the task of writing this little
book, I shall have cause to be satisfied. Yet
I know full well that in the eyes of a tried
expert, there will be manifest shortcomings to
be found in the work. Nevertheless, I trust
my pleasant labours will fulfil the object I
had in view: that of further popularizing the
delightful study of chess problems amongst
players of all classes.APPENDIX.126
The Modern Chess Problem.
APPENDIX.
I HAVE selected one hundred positions
from my latest published problems to
form an appendix to this book. As all
have appeared in the press, the accuracy of
them is practically assured.	If there are
errors, they must have escaped the vigilance
of editors, solvers, and myself. By errors, I
mean second solutions or no solutions.
As regards duals, I have already stated
my views, and these blemishes will be found to
be very scarce. In the fifty two-movers, with
the exception of No. 45, there is not one.
That in No. 45 is more the fault of the
laws of chess, which allow a choice of
pieces on “queening,” and can hardly be
eradicated, in consequence. Amongst the
two-movers, my favourites are Nos. 8, 16, 25,
42, and 48. The three-movers chiefly show
purity and neatness at the expense of pro-
fundity, especially Nos. 55, 60, 61, and 70.
No. 78 is a joint composition, appearing in
the Morning Post; it was very favourably
received. , Most of the praise is, however,
due to my worthy colleague. It is an example
of a three-mover, where the beauty lies inThe Modern Chess Problem.
12 7
the threat. No. 79, also from that paper, was
so honoured by critics that modesty forbids
me reprinting the remarks made upon it.
I was much surprised that this little problem
should have apparently given so much
pleasure.
In the self-mates, or, as the French term
styles them, inverse problems—a much more
suitable expression—I have perhaps trespassed
on the style of a past age (on account of the
continued checks), yet the play is lively, and
the mates are in almost all cases pure. No.
91 winds up with a pure mirror mate. I know
of no other example. Some might say that
as the mate is a double check, it is not pure ;
yet, as a double check is necessary (either
check could be parried singly), it seems allow-
able to call it pure.
The collection contains several prize-
winners, but these I have not specified, as the
positions are more as typifying the rules,
maxims, and reasonings which come before.
The fact that some ten or twelve were lucky
tourney entries does not affect them as types
to which reference has already been made.
Prize-winning is, to my mind, largely a
question of luck. Thus No. 16, for instance,
did not win a prize, although entered for one,
while No. 32 did. Perhaps I may be a bad
judge of my own work, but it seems that the
former is superior in every way.128 The Modern Chess Problem.
The solutions (given with some detail)
should be sparingly used. Suffice it that
there is a solution to every one. That elusive
and elastic quality “difficulty” may be present,
but I fancy that what merits there are lie in
neatness of construction and mating positions
rather than depth of strategy.The Modern Chess Problem.
129
BLACK.
WHITE.
TWO-MOVER.
K130
The Modern Chess Problem.
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem.
I3i
3
BLACK.
WHITE.
TWO-MOVER.132
The Modern Chess Problem.
4
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem, 135
BLACK.
WHITE.
TWO-MOVER.136	The Modern Chess Problem.
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem.
137
9
TWO-MOVER.130 The Modern Chess Problem.
10
WHITE.
TWO-MOVER.. The Modern Chess Problem.
139
11
BLACK.
TWO-MOVER.140 The Modern Chess Problem.
12
BLACK.
TWO-MOVER.The Modern Chess Problem. 141
13
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem.
14
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem.
M3
15
BLACK.
WHITE.
TWO-MOVER.144
The Modern Chess Problem.
16
BLACK.
WHITE.
TWO-MOVERThe Modern Chess Problem.
145
17
BLACK.
WHITE.
TWO-MOVER.146 The Modern Chess Problem.
18
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem.
147
19
BLACK.
Kf
=1..nm
JiPJlL
" * T.14||JH
WHITE.
TWO-MOVER.148 The Modern Chess Problem.
20
WHITE.
TWO-MOVER.The Modern Chess Problem.
149
21
BLACK.
WHITE.
TWO-MOVER.150 The Modern Chess Problem.
22
BLACK.
WHITE.
TWO-MOVER.The Mpdern Chess Problem. 15!
23
BLACK.
TWO-MOVER.The Modern Chess Problem,
tC2
24
BLACK.
TWO-MOVER.The Modern Chess Problem.
153
25
BLACK.
WHITE.
TWO-MOVER.154 The Modern Chess Problent.
26
BI.ACK.
TWO-MOVER.The Modern Chess Problem, 155
27
BLACK.
TWO-MOVER.156 The Modern Chess Problem.
28
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem.
157
29
TWO-MOVER.158 The Modern Chess Problem.
30
BLACK.
TWO-MOVER.The Modern Chess Problem.
159
31
WHITE.
TWO-MOVER.i6o
The Modern Chess Problem.
32
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem,:	i6t
33
BLACK.
WHITE.
TWO-MOVER.
u162
The Modern Chess Problem.
34
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem,
35
BLACK.
WHITE.
TWO-MOVER.164
The Modern Chess Problem.
36
BLACK.
TWO-MOVER.The Modern Chess Problem.
165.
37
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem,
166
38
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem.	167
39
BLACK.
WHITE.
TWO-MOVER.168	The Modern Chess Problem,,
40
BLACK.
TWO-MOVER.The Modern Chess Problem. 169
41
BLACK.
WHITE.
TWO-MOVER.170 The Modern Chess Problem,
42
BLACK.
WHITE.
TWO-MOVER.The Modern Chess Problem.	171
43
BLACK.
WHITE.
TWO-MOVER.172 The Modern Chess Problem.
44
BLACK.
TWO-MOVER.The Modern Chess Problem. 173
45
BLACK.
TWO-MOVER.174 The Modern Chess Problem.
46
WHITE.
TWO-MOVER.The Modern Chess Problem.	175
47
BLACK.
WHITE.
TWO-MOVER.176 The Modern Qhess Problem.
48
BLACK.
TWO-MOVER.The Modern Chess Problem.
177
49
BLACK.
WHITE.
TWO-MOVER.
N178 The Modern Chess Problem.
50
BI.ACK.
TWO-MOVER,The Modern Chess Problem.
179
51
BLACK.
WHITE.
THREE-MOVER.The Modern Chess Problem.
180
52
BLACK,
WHITE.
THREE-MOVER.The Modern Chess Problem,
53
BLACK.
WHITE.
THREE-MOVER.182 The Modern Chess Problem.
j
54
BLACK.
THREE-MOVER.The Modern Chess Problem. 183
55
BLACK.
WHITE.
THREE-MOVER.184 The Modern Chess Problem.
56
BLACK.
THREE-MOVER.*Ihe Modern Chess Problem.	185
57
BLACK.

WHITE.
THREE-MOVER.i86 The Modern Chess Problem.
58
WHITE.
THREE-MOVER.The Modern Chess Problem.	187
59
BLACK.
THREE-MOVER.188 The Modern Chess Problem,
60
BLACK.
THREE-MOVER.The Modern Chess Problem. 189
61
BLACK.
WHITE.
THREE-MOVER.190 The Modern Chess Problem,
62
BLACK.
WHITE.
THREE-MOVER,The Modern Chess Problem.	191
63
BLACK.
THREE-MOVER.192
The Modern Chess Problem.
64
BLACK.
THREE-MOVER.The Modern Chess Problem..
193
65
BLACK.
WHITE.
THREE-MOVER.
o194
The Modern Chess Problem.
66
BLACK.
WHITE.
THREE-MOVER.The Modern Chess Problem,
195
67
BLACK.
THREE-MOVER.196 The Modern Chess Problem.
68
BLACK.
WHITE,
THREE-MOVER.\The Modern Chess Problem.
197
69
BLACK.
THREE-MOVER.198 The Modern Chess Problem.
70
WHITE.
three-mover:The Modern Chess Problem.
199
71
WHITE.
THREE-MOVER.£oo The Modern Chess Problem.
72
BLACK.
WHITE.
THREE-MOVER.The Modern Chess ProbleWi, 201
73
BLACK.
THREE-MOVER.202 The Modern Chess Problem,
74
BLACK.
THREE-MOVER.The Modern Chess Problem.
203
75
BLACK.
THREE-MOVER.204
The Modern Chess Problem,,
76
BLACK.
THREE-MOVER.The Modern Chess Problem.
205
77
BLACK.
THREE-MOVER.206	The Modern Chess Problem.
78
Joint composition with
Mr. A. C. Challenger.
BLACK.
THREE-MOVER,The Modern Chess Problem.
79
BLACK.
WHITE.
THREE-MOVER.208 The Modern Chess Problem,,
80
BLACK.
THREE-MOVER.The Modern Chess Problem.
209
81
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THREE-MOVER.
?210
The Modern Chess Problem,
82
BLACK.
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THREE-MOVER.The Modern Chess Problem,
83
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WHITE.
THREE-MOVER.212
The Modern Chess Problem.
84
BLACK.
THREE-MOVER.T. he Modern Chess Problem.
213
85
BLACK.
THREE-MOVER.214
The Modern Chess Problem.
86
BLACK.
WHITE.
THREE-MOVER,The Modern Chess Problem, 21$
87
WHITE.
COMPEL MATE IN TWO.216
The Modern Chess Problem.
88
WHITE.
COMPEL MATE IN SIX.7he Modern Chess Problem. 217
89
BLACK.
WHITE.
COMPEL MATE IN SEVEN.2i8 The Modern Chess Problem,
“DON QUIXOTE.”
90
BLACK.
COMPEL MATE IN SEVEN.The Modern Chess Problem. 219
91
black.
• m
, wim
»_
WHITE.
COMPEL MATE IN SEVEN.220 The Modern Chess Problem.
92
BLACK.
WHITE.
COMPEL MATE IN SEVENThe Modern Chess Problem.
221
93
BLACK.
COMPEL MATE IN EIGHT.222
The Modern Chess Problem,,
94
BLACK.
COMPEL MATE IN EIGHT.The Modern Chess Problem. 223
95
BLACK.
COMPEL MATE IN EIGHT.224
The Modern Chess Problem,
96
BLACK.
COMPEL MATE IN NINE.7 he Moaern Chess Problem,
225
WHITE.
COMPEL MATE IN NINE.226 The Modern Chess Problem, «
98
WHITE.
COMPEL MATE IN NINE.The Modern Chess Problem.
227
99
WHITE.
COMPEL MATE IN NINE.228	, The Modern Chess Problem.
100
BLACK.
WHITE.
COMPEL MATE IN ELEVEN.The Modern Chess Problem.
229
SOLUTIONS.
1	R to	B 3	26	R	to	Q 3
2	B to	B 8	27	R	to	Q Kt 3
3	Kt to	B 6	28	Q	to	R 4
4	R to	K 6	29	R	to	B 4
5	P to	K 6	30	R	to	R 3
6	K to	B 6	31	Q	to	R 4
7	Q to	R sq	32	Q	to	Kt sq
8	Q to	Kt 4	33	Q	to	Kt 6
9	K to	B 6	34	B	to	R 6
10	Kt to	1 B 4	35	R	to	Kt 8
11	R to	Kt 3	36	R	to	Kt 2
12	Kt to R 6		37	R	to	Kt 6
13	R to	Q 6	38	B	to	B 8
14	Kt to	1 K sq	39	Q	to	K 6
15	R to	Q 2	40	R	to	Kt s
16	Q to	R 5	41	B	to	Q B 2
17	B to	K 3	42	B	to	K 3
18	Q to	Q Kt 7	43	B	to	K B 6
19	B to	Kt sq	44	B	to	Kt 8
20	Q to	K 8	45	R	to	R 4
21	R to	Q ^	46	Kt tc		» Q 2
22	B to	R 4	47	B	to	K 6
23	B to	Kt S	48	B	to	B 2
24	B to	R 6	49	Q	to	Q Kt s
25	Q to	R 3	50	Q	to	Kt sq23Q
The Modern Chess Problem.
1	Kt to R 5
2	B to K 3 ch
3	Kt to B 4
1	Q	to	IC	R	7
2	Q	to	B	2
3	Q	to	B	sq	mate.
2	Q to Kt sq ch
3	Q to Kt 5 mate.
1	Kt to Kt 5
2	P to B 4
3	Q to R 3 or 7
2	Q to R 7 ch
3	Q or Kt mates.
1	Kt to R 4
2	Q to Kt 5
3	Q to Kt 2 mate.
51
K to Q s
K moves
52
K takes B
P to R 7
(a)
K to Kt 6
K moves
53
K to R 4
K moves
mate.
(a)
K to Kt 2
K moves
54
K takes Kt (R 6)
K to R 71
2
3
t
2
3
[
2
3
1
2
3
1
2
3
1
2
3
The Modern Chess Problem. 231
(«)
....	K	takes Kt	(R 5)
Kt	to	B	2	P	to Kt 4
Q to R 2 mate.
(6)
....	P	to Kt 4
Kt to B 2 ^	K to R 4 or takes Kt
Q mates accordingly.
55
Q to	B	4	P	takes B
R to	R	sq	K	takes R or to R 6
Q to	B	sq	or R takes	P mate.
0)
....	K	takes B
Q to Q 4	K	or P moves
Q or R mates.
56
R to	Q	sq	K	takes Kt
R to	Q	2 ch	K	moves
Mates accordingly.
0)
K to K 6
Q Kt to Kt 4 ch K to K 7
B to B 3 mate.232
The Modern Chess Problem,.
1	R to Kt
2	R to B
3	R to B ;
1	•*....
2	B to Kt
3	R to Kt
2	B to Kt
3	B to R
1	Q to R
2	Q to Q
3	P mates.
1	K to K
2	Q to Kt
3	Q takes
2	K to Q
3	Q to Q
	57 K to	B 7
ch	K to	Kt 8
mate.	(a) K to	K 5
ch	K to	Q S
. mate.'	■(*) P to	B S
ch	K to	B 7
mate.	58	
sq	Any
R 8 ^ Any
59
5	K to Kt 5
2 ch	K moves
P mate.
(a)
P to Kt 5
4	P takes Kt
Kt sq mate.The Modern Chess Problem.
233
60
1 Q to Q B sq	K to K 4
2 Q to K B 4 ch	K takes B
3	Kt to B 7 mate.
(a)
1	..... K to Kt 3
2	Q to Kt 5 ch K moves
3	Q to Kt 7 mate.
(*)
1	..... K to Kt S
2	Q to K B 4 ch K to R 6
3 Kt to Kt 5 mate.
61
I	Q to Kt sq		K takes R
2	Q to Kt sq		IC to R 5
3	Q to Kt 4 mate.		
			(a)
1			K to B 7
2	R to R 2 ch		K to Kt 6 or K 6
3	Q to Kt 8 or	Q	B sq mate.
			62
1	B to B 2		K takes P
2	B to B 5 ch		K takes B, to B 2 or Q 4
3	Q to Kt 4, B	8,	or B 5 mate.234
The Modern Chess Problem,
(a)
1 ...... K to B 3
2	B to K 4 ch	K to B 2
3	Q to Kt 8 mate.
V)
1 ...... Kt moves
2	B to Kt 3 ch	K to B 3
3	Q to Kt 6 mate.
63
1	B	to	B	2	K	takes	Kt
2	B	to	Q	sq	K	takes	Kt
3	R to. B 3 mate.
(«)
1	  P	to Q	8
2	Kt takes piece	K	to Q	7
3	R to B 2 mate.
64
1	Kt to B 4
2	Q to K 3 ch
3	Q to K 5 mate.
K to K 5
K to B 4
(«)
1	..... K to B 4
2	Q to Kt 6 ^ K takes Kt
3	Q to Kt 4 mate.The Modern Chess Problem.
23?
2	Q to Q
3	Q to Q
1	Q to R
2	Q to Q
3	Kt to B
2	K to Kt
3	Q to Q
1	Kt to B
2	Q to Kt
3	? to Q ,
2	Q to Kt
3	Q to R
2	P to Q -
3	Q to Kt
Kt moves
3 ch	K	to	B	4
5 mate.
65
7	K	to	K	4
B 7 ch	K	to	Q	5	or B 3
5 or K 4 mate.
(a)
K to B 3
8	K to Q	3
B 7 mate.
66
sq	K takes	Kt
3	P to Q	5
j mate.
(«)
K to Kt 8
3 ch	K to R	8
2 mate.
(*)
K to Q 8
I.	K to K 8 or B 7
sq or Kt 3 mate.236 The Modern Chess Problem.
67
1 Q to B 2
2 Q to Q 3 ch
3	B to Q 6 mate.
2	K to Kt 4
3	B to B 2 mate.
1	....
2	B to B 2 ch
3	Q to B 6 mate.
K takes Kt
K to B 4
0)
P takes Kt
K to K 6
(*)
P to K 4
K takes Kt
68
1	Q to Kt 6
2	Q to K 4 ch
3	B to Kt 4 mate.
K to Q 5
K to B 6
00
1	....
2	Q to K 4 ch
3	Mates accordingly.
Any other
Moves
69
1 P to Kt 4	K to K 3
2 Kt to Kt 5 ch K to K 4
3	Kt to Kt 6 mate.The Modern Chess Problem.
237
(a)
1 ...... B to Q 6
2 Kt to B 3 ch	K to K 5 or K 3
3 Q to Q R 8 or Kt to Kt 5 mate.
(*)
1 ...... Any other
2	Kt to Kt 6 cht &c.
70
1	Kt to K s
2	Q to K 4 ch
3	Q or Kt mates.
2 Q to Kt 6 ch
3 Q or Kt mates.
K takes Q Kt
K moves
id)
K takes K Kt
K moves
(*)
T ..... B takes Kt
2 Kt to K 4 ch	K to K 3
2 Q to K B 7 mate.
(0
1	..... Any other
2	Q Kt takes P, &c.238 The Modern Chess Problem.
71
1	Kt to K 5
2	K to Kt 6
3	Q to Q 3 mate.
P takes Kt
K to Q 4
(a)
1 ...... P to Q 4
2 K to B 6	P to Q 5
3	Q to K sq mate.
(*)
1	.... K to Q 4
2	Kt to Q 7	K to K 5
3	Kt to B 6 mate.
72
1 Q to R 3
2 Q to B 3 ch
3	Q to Q 3 mate.
K takes R
K to Q 5
(a)
1	.... K to B 3
2 R to Q B 4 ch K to Kt 2 or
3 Q to B 8 or K 6 mate.
(*)
1	.... P to B 7
2	Q to K 6 ch	K takes ft
3	Q takes P mate.The Modern Chess Problem.
239
W
1	.... Any other
2	R to Q 4 ch K or P moves
3	Q mates accordingly.
				73		
I	R to	R	7	P to	K	3
2	R to	Q	7,	&c.		
				74		
I	Kt to	Q	7	K to	K	3
2	Kt to	B	8	ch K to	B	3 ur O 4
3	Kt to	R	7	or B to Kt 7	mate.	
		-	{a)
			K to K 5
Kt to	B	5	K to B 6
B to	Kt	4 mate.	
			(b)
			Any other
Q to	K	5 ch% &c.	
75
1 B to Kt 2	K to K 3
2 Q to K 4 ch	K to Q 2
3	Q to B 5 or K Kt 4 mate.240
The Modern Chess Problem.
{a)
1	...... K to B 4
2	Q to Q 4 ch	K to Kt 4
3	Kt to B 7 mate.
(*)
1	.... P	to B 4
2	Kt to B 7 ch	K	to Q 3
3	P to K 8 (Kt) mate.
(?)
1	.... Kt	moves
2	Q to Q 4 ch	K	to K 3
3	Kt to Kt 7 mate.
(d)
1	.... B	moves
2	Q takes Kt P ch	K	to B 4	or	K	5
3	P to Q 4 or Kt to	Q	6 mate.
76
1	Kt to Q 7	K	to Q 4
2	Q to K B 3 ch	P	to K 5,	K	to	B 5,
3	Q to Q Kt 3 or Kt to B 8 mate, [or K
0)
1	.... K	to B 5
2	Q to B sq ch	K	moves
3	Kt takes B P mate.The Modern Chess Problem,
241
1
2
3
1
2
3
1
2
3
1
2
3
1
2
3
1
2
3
to
	P to R 4
Kt takes BP ch Q to B sq mate.	K to B 5
	to
	Kt moves
Kt takes B P ch Q to Kt 4 mate.	K to B 5
	77
Kt to Q 3	K to Q 4
Kt to B 5 R to B 5 mate.	K takes Kt
	(a)
	K to K 6
R to K 6 ch	K to B 6
Kt to K sq mate.	to
	P to B 4
R to K 6 ch R or Kt mates.	K moves
	78
Q to B 7	K takes Kt
R takes P ch	K to Q 5
Q to Q B 4 mate.	242
The Modern Chess Problem,
2	Kt to Q ]
3	R to K 7
2	Kt to Kt
3	R to R 4
2	Q to K 6
3	R takes P,
1 Kt to K ,
2 Kt to Q
3	Q to R 8
2 Q to B 5
3 Q to B 6
1	....
2	Q to Kt
3	Kt to Q
(a)
P takes P
3 2	Any move
mate.
(*)
P to Kt 6
4 ch	K moves
mate.
(*)
Any other
ch	K takes Q, or to Q 5 or B 5
Kt to Q B 2 or Q 5 mate.
79
3	K	to	Q	6
B 5 ch K	takes	P
mate.
(a)
K to K 4
ch	K	to	Q	3
mate.
(*)
K to B s
3 ch	K	to	K	5
B 5 mate.The Modern Chess Problem.
243
1
2
3
1
2
3
1
2
3
1
2
3
1
2
3
1
2
3
(0
......	Any other
Kt to Q B 5 ch K moves
Q to Kt 3 mate.
80
Q to Kt 8	K takes R
Q to Kt 5 ch K takes Kt
P to K 3 mate.
(a)
....	K takes P
R to B 5 ch	K to B 3, takes Kt or
Q to K B 8 or takes P mate.	[to B 5
(*)
....	P takes P
Q to Kt 5 ch K to Q 3
Q to B 5 mate.
W
....	Kt to B 6
Q takes P ch	K takes R
P to Q 3 mate.
81
Q to Q 2	K takes B
Q takes R ch	K takes Kt or P
Kt to Kt 5 or takes Kt mate.244
The Modern Chess Problem.
(a)
1	  R	takes	B
2	Kt	to	B	5	ch	K	to K	3
3	Kt to Kt 7 mate.
(*)
1	  P	to K	6
2	Q	to	R	5	ch	K	to K	5
3	P takes B mate.
if)
1	  P	takes	P
2	Q	to	R	5	ch	K	to B	5
3 R P takes P mate.
82
1	Kt to Kt 4	K	to	B	4
2	Kt to Q 3 ch	K	to	Q 3	or	Q	5
3	Kt to B 5 mate.
ia)
1	.................... K	to	K	4
2	Q to K 3 ch	K	to	Q 3	or	B	3
3	Kt to B 5 or Q 5 mate.
(*)
1	  Q	to	K	4
2	Q to Q 3 ch	K	to	B	4
3	Kt to R 6 mate.The Modern Chess Problem.
245
2	Q to Q 5
3	Kt to R 2
1	B to Q 7
2	B to Kt 2
3	B to Kt 5
2	Q to Kt 7
3	B to B sq
2 Q to K 3
3 Q to K 7
1 Kt to Q B
2 Kt to K 7
3	Q mates.
2	Q to Kt 8
3	Q to Q B
(*)
Any other
ch	K to B 6 or K 6
or Q to Q 2 mate.
83
K to Q s
ch	K takes P or to B 4
or Q to B 8 mate.
(«)
B takes P
ch K to B 5
mate.
(*)
Any other
ch	K	to B	3
mate.
84
1 6	K	takes	Kt
ch	K	takes	P	or to Q 2
(a)
K to K 3
ch	K	to B	4
8 mate.246 The Modern Chess Problem.
2 Q takes Kt ch, &c.
2 Kt to Q 4, &c.
2	Q to Q B 8 ch
3	Kt to Kt 6 mate.
1	Kt to Kt 6
2	Q to Q 3 ch
3	Kt to K 7 or Q
1	....
2	Q to Kt 2 ch
3	Kt to K 5 mate.
2 Q to Q B 4 ch, &c.
1	......
2	Q to K 2 ch, &c.
m
Kt takes Q P
to
Kt takes B P
(d)
Kt to B 7, &c.
K takes Q
85
K to Q 4
K takes P or to Q 3
to Q 7 mate.
(a)
P to B 4
K to Q 6
Any other
to
Kt to Q 3The Modern Chess Problem.
247
1	B to Kt 6
2	Q to B 6 ch
3	Kt to K 5 mate.
2	Q to K 4 ch
3	Kt to Q 6 mate.
1	....
2	Q to K Kt 4 ch
3	Kt to K 5 mate.
2	Q takes R ch
3	B to B 5 mate.
2	Q to Kt 4 ^
3	B to Q 4 mate.
1	R to R 7, &c,
j___B	to	K	5
2	Q	to	Q	B 7
3	Q	to	B	3
4	B	to	Q	3
5	Q to B sq ch
6	K\to B 6
86
K to Q 2
K takes Q
(a)
K to B 4
K takes Q
(*)
Q takes B
K to B 2
(?)
R takes Kt
K takes P
(d)
Kt takes Kt
K to K 4
87
88
P to Q 3
P takes B
P to K 5
P takes B (or a)
R to Kt 8
R takes Q mate.248
The Modern Chess Problem,
4	.....
5 Q to B sq ch
6 R to K 2
1	B to R 6 ch
2	Q to K B 8 ch
3	B to B 7 ch
4	B to Kt 7 ch
5	B takes P ch
6	B to Kt 3 ch
7	K to B 3
1	Kt to R 6 ch
2	P to Kt 4 ch
3 R takes P ch
4 P to K 4 ch
5	Q to K B 7 ch
6	Q to Q 5 ch
7	Kt to K 3 ch
1	R to Kt 5 ch
2	Kt to Q 7 ch
3	Kt to B 8 ch
4	Kt to Kt 4 ch
5	R takes K B ch
6	Kt to R 7 ch
7	B to B 6 ch
(a)
P to K 6
R to Kt 8
R takes Q mate.
89
K to K 2
K to K 3
K takes P
K to B 5
B to B 4
Kt to B 5 ch
Kt to K 7 mate.
90
Kt takes Kt
Kt takes P
Kt takes R
Kt takes P
Kt to B 3
Kt takes Q
Kt takes Kt mate.
91
K to B 3
K to K 3
K to B 3
B takes Kt
R takes B
K to K 3
B to K 7 mate.The Modern Chess Problem.
92
249
1	K	to	Q 2
2	R	to	Kt 4
3	B	to	Q -sq	ch
4	Kt to Kt sq
5	Q to B 4 ch
6	Q	takes Kt	ch
7	K	to	B sq
1	K to K 2 ch
2	Kt to B 5 ch
3	P to R 3 ch
4	B	to K	4	ch
.5	P	bee. Kt	ch
6	Kt to Kt 5 ch
7	Q	to R	6	ch
8	R	takes	P	ch
1	Q to Kt 8 ch
2	B to K 8 ch
3	B to R 5 ch
4	B to Kt 5 ch
5	Kt to K 7 ch
6	R to R 7 ch
7	Kt to Q 5 ch
J R to K 4 ch
P to R 4
P takes R
Kt to K 7
P to Kt 6
R to K 5
R takes Q ch
P mates.
93
B takes B
K takes P
K takes Kt
K to K 3
K to Q 3
Kt takes Kt
B takes Q
Kt takes R mate.
94
K to Q 2
K to Q sq
R takes B ch
B to B sq ch
K takes Kt
B to Kt 2
Kt takes Kt
B takes R mate.250
The Modern Chess Problem.
1	Kt to R 7 ch
2	B.to Kt 3 ch
3	Kt to Q 2 ch
4	Kt to Kt 5 ch
5	B	to	Q	R 2 ch
6	P	to	B	4
7	P	to	B	5
8	K	to	Kt 3
1	B to Kt s ch
2	Kt to Kt 2 ch
3	Q takes P ch
4	Kt to K sq ch
5	Kt to Kt 6 ch
6	Kt to Q 3 ch
7	Kt to B 8 ch
8	P to K 5 ch
9	R to B 4 ch
1	R to B 8 ch
2	Kt to K 6 ch
3	Q to K 8 ch
4	B to K 5 ch
5	Kt takes R
6	P to B 4 ch
7	R to K 6 ch
8	B to Kt 3 ch
9	P to K 4 ch
95
K to B 5
K to K s
B takes Kt
B takes Kt
B to K 2
P to Q 4 ch
P takes P ch
P to B 5 mate.
96
P takes R
K takes P
K takes Q
K to B 5
K to B 4
K to Q 3
B takes Kt
K to K 2
Kt takes B mate.
97
K takes R
K to K 2
K to B 3
K takes B
B to K 2
K takes K P
K to Q 4
P takes B
Kt takes P mate.The Modern Chess Problem.
1	R to R 8 ch
2	P bee. B ch
3	K to B 6 ch
4	R to B 3 ch
5	Kt to B 7 ch
6	B takes B P ch
7	K to Q 6 ch
8	Kt to R 6 ch
9	K to K 5 ch
1	R to Q 3 ch
2	Kt takes Q P ch
3	P to Kt 4 ch
4	Kt takes P ch
5	Q Kt to Kt 3 ch
6	B to K 3 ch
7	R to K B 6 ch
8	B to Q 2 ch
9	B to Q 5 ch
98
K to K 2
K to Q sq
B takes B
P takes Q
K to K sq
R takes R
K to B sq
Kt to B 4 ch
R takes B mate.
99
P to Q 5 ch
Kt takes Q
K to Q 4
K to K 5
K to B 5
K to B 6
Q takes R
P takes R
P to K 5 mate.2$2 The Modern Chess Problem.
100
I	Kt	: tc	• Q	! 2	; ch	Q	takes		Kt
2	Kt	: to Q		: a	l ch	Q	takes		Kt
3	R	to	B	2	ch	Q	takes		B
4	Q	to	R	sq ch		K	to	B	5
5	R	to	K	4	ch	K	to	B	4
6	Q	to	R	7	ch	K	to	B	3
7	B	takes		Kt ch		K	to	B	2
8	B	to	K	5	ch	K	to	K	sq
9	B	takes		P	ch	K	to	Q	sq
10	B	to	B	7	ch	K	to	B	sq
ii	B	to	R	5	ch	Q	or	Kt	; mates.WORKS ON CHESS,
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