Chess Problems Rice Ocr (1979) R

JOHN M.
RICE
CONTENTS
Preface page 9
Notation 11
SECTION I:
Introducing Chess Problems 13
SECTION II:
Themes and Terms 36
SECTION III:
Composing and Solving 266
SECTION IV:
Problems for Solving 303
Solutions. to Problems for Solving 322
Bibliography 336
General Index 339
Index of Names 346
7
PREFACE
The algebraic notation for recording the moves has been used in
this book, because it is briefer and sitnpler than the descriptive
notation. Furthermore it is the accepted notation among prob-
lemists, and is used in all problem periodicals and most prob-
lem sections of chess magazines. Readers not familiar with it
will find it explained in a note below.
The author would like to express his thanks to all who have
helped with the preparation of this book, and especially to
Barry Barnes, Anthony Dickins, Michael Lipton, Robin
Matthews and Chris Reeves.
9
NOTATION
Two notations are used in this country for writing down chess
pi~ce.s, squares and n1oves. Many chess players use the des-
cnptlve notation, but the algebraic notation, which is used in
this book, has been universally adopted among problemists,
and is rapidly gaining currency with players of the gatne.
Unlike descriptive, algebraic notation sees all squares and
moves from White's point of view. As will be seen from the
accompanying ·diagram, the ranks (horizontal rows of squares)
are numbered 1 to 8, starting w·ith the rank where White's
pieces begin the game. The files (vertical rows of squares) are
lettered a to h, from left to right. The pieces are given letters:
K = King, Q = Queen, R = Rook, B = Bishop, S = Knight
and P =Pawn. The S used for the Knight is derived from the
German "Springer". If White has Ss on cl and el (QBI and
Kl in descriptive notation), and 1noves the latter two squares
up and one to the left, we write the move eSd3. When a capture
is made, algebraic notation shows on which square the capture
takes place, rather than what piece is taken. Thus if Black has
Rs on al and a8 which can capture a white B on a5, the capture
by the R a8 is wdtten 8R x a5. Castling is written 0 - 0 (King's
R) or 0 - 0 - 0 (Queen's R). The symbol indicates that a
f"'-j
piece moves "at random" (i.e. to no square in particular),

while > designates a threat. + means check.
11
- -~ · - ---------
SECTION I
l11troducing Chess Probletns
If you are a chess-player interested only in improving your game,

this book is not for you. As many players have proclaimed in
the past, studying chess problems will not help you to evaluate a
position more accurately or to see any further ahead in a game.
Chess problems have little in common with over-the-board
play: they use the same board and pieces, and for the most part
the same conventions, but otherwise they are quite different.
If you are keen to see just how and why they are different, why
so many people find them fascinating, and how the chess
board and pieces can be made to produce miniature works of
art, then read on.
Chess players don't normally give problems a chance. Their
view is often that since White clearly has such a marked superi-
ority of forces, he is bound to win in the end. The stipulation
"White to play and mate in two" is, they claim, irrelevant and
unnecessary. They are happier with a position like that shown
in Diagram No. 1, which is not a problem but part of a game
which actually took place, though not in a major tournament.
1 POSITION FROM ACTUAL PLAY

KERES v. BRONSTEIN, Zi.irich, 1965
Black to play
(Throughout this section, a commentary
on each position will be found in the
text.)
13
Introducing Chess Prob/en1s
Settings of this type are frequently to be found in chess maga-
zines, and in son1e newspapers, and the reader is required to
discover a line of play which will lead to a decisive advantage
for one side or the other, or maybe to a clear draw. "Decisive
advantage" implies considerable material superiority (or at least
sufficient for a win to be forced at some later stage of the game),
rather than a forced mate. In No. 1, one of White's replies to
Black's first tnove leads to mate on Black's seventh move,
while another leads to a gain of material for Black. White's
plight, adtnittedly, looks pretty desperate: his King is being
hunted, he has a couple of undeveloped minor pieces, his
Rooks are not doing much good just at present, and his Queen
is apparently chasing stray Pawns. But players, especially grand-
tnasters, have been known to get themselves out of worse jams
than this. However, it is Black's move, and 1 ... Qb6, with the
very obvious threat of 2 ... Q x b7 is good enough to finish the
game off in a few more moves. White must choose between
exchanging Queens and withdrawing his own Queen to d5.
The latter move allows Black to win material with an eventual
S-fork: 2 ... Qa6+; 3 Qa5, Qc6+; 4 Ka3, Sc2+; 5 Kb3,
S x al+. (If 3 Kb4, fRb8+; 4 Kc5, Se6+.) 2 Q x b6 seems to
be White's best bet, but the consequences turn out to be
even more disastrous than those of 2 Qd5. Black recaptures
with the Pa7: 2 ... aP x b6+; 3 Kb4, and now there follows a
sacrifice which is designed to create what a problemist would
term a square-vacation: 3 ... Ra4+!; 4 K x a4, Ra8+; 5 Kb4.
At this point the position is the same as it was after 3 Kb4,
with the important difference that f8 is not now occupied by
a black piece. This square has been vacated, and Black can
accordingly proceed 5 ... Bf8 +, forcing 6 Kc4, and now comes
6 ... PbS+; 7 Kd5/ x d4, Rd8 mate! In bringing about this
mate, Black gets rid of three of his own pieces, and forces the
white King to one of the squares he has in mind right from the
beginning of the manoeuvre, d4 or d5. The sacrifice followed by
square-vacation is basic to the scheme.
It must be emphasised that No. 1 is not a chess problem,
even though it may have one or two features to be found
occasionally in problems. A problem is always a composed
position, and does not often look as if it might have occurred
14
in a gan1e. lt should, however, be a legal position-this is one
of the problemists' conventions. In an orthodox problem you
are always told in how many moves the win n1ust be achieved,
and the win is invariably a clear-cut affair: it is always a mate.
In a direct-mate problem, White, playing up the board, must
move and force mate within the stipulated number of moves,
whatever Black may reply. There are therefore three clear
reasons why No. 1 is not a chess problem: (1) it is not a com-
posed position, but one taken from actual play; (2) mate is
forced in only one line: variations lead to gain of material
which will doubtless prove decisive in the end, though not
straightaway; and (3) it is not a forced tnate for White in a
stipulated number of moves.
Nor is No. 2 strictly a chess problem. But it is much nearer
2 ENDING
D. JOSEPH
British Chess Magazine, 1922
White to play and win
to being one than No. 1 is. It is a composed position, and so

not a contest between two players, but between composer and
solver. In fact, as is the case with n1ost chess problems as well,
the composer had a two-fold aim in producing this position.
Quite apart frotn presenting the solver with a challenge, the
composer sought to achieve .something artistic, a manoeuvre
with the chess pieces with a claim to be regarded as beautiful.
The stipulation "White to play and win" n1eans that this
position is of a type known as an ending or end-game study.
Endings or studies may be draws or wins for one side or the
other, and very often look as if they could well have occurred
in a garne. Mate is rarely forced in such a position, the outcotne
being norrna11y decided by material factors.
15
Introducing Chess Problen1s
In No. 1 we saw how Black manipulated the white forces,
especially the King, in forcing the win. In No. 2, White must
manipulate the black forces. The first tnove for each side is
obvious: 1 Ph8 = Q, Pal = Q. For White it is now a question
of forcing the black Queen to a square from which she will be
unable to defend against a threat of mate along the eighth rank.
2 Qe8? will not do, because Black replies with 2 ... Qg7!
2 Qf8? is also no good, since Black can play 2 ... Qa3 !, follo\ved
by 3 ... Qd6+! if White continues 3 Qe8 ?. Only 2 Qg8! will
work, to which Black's best reply is 2 ... Qa2 (if then 3 Q X a2 ?,
stalemate!). Now the black Queen can no longer reach g7,
which means that White can proceed with 3 Qe8 !, forcing
3 ... Qa4. White continues: 4 Qe5 +, Ka8; 5 Qh8 !, and Black
is now powerless to prevent 6 Ke7 + other than by sacrificing
his Queen, which White can capture without now allowing
stalemate.
Every regular player of the game of chess will have realised,
at one time or another, what an extraordinary game it is:
what possibilities, real or potential, what subtlety and yet
what simplicity-and above all what infinite variety! Some of
the potential possibilities offered by the chess pieces can be
turned into realities by the problem-composer. And the infinite
variety of the game is just as meaningful to him, too. For the
composer is 1naster of both the white and the black pieces: his
powers extend beyond those of the player. How often have you,
battling against ·your opponent, wished that just one more
square next to his, King were guarded by one of your men, or
blocked by one of his, so that you could bring off a brilliant
mate in three? The problemist can put the pieces just where he
wants them, so that the strategy of your brilliant mate in three,
expressed in a problem, can become actual instead of merely
theoretical. In arranging the pieces, both black and white, to
suit his purpose, the composer hopes that he is expressing some
worthwhile idea, :in as elegant and economical a style as possi-
ble-in other words, that he is creating something of beauty, to
be appreciated and enjoyed by the solver.
We have so far studied together two positions, of which one
was not a problem at all, and the other only resembled a
problem to a certain extent. No. 3, however, is in every way a
16
3 FOUR-MOVE DIRECT-MATE
'V-.' . SPECKMANN
First Prize, Die Schwalbe, 1960
\Vhite to play and mate in four
problem, and a fine one at that. It is a direct-mate in four

n:oves, which means that White, to play, must inflict mate on
h1s fourth move at the latest, against any black defence. It is a
threat-problem: White's first move threatens a n1ate which
Bla~k must parry if he is to attempt survival. A problem where
Wh1te plays a first move which simply compels Black to make
some mistake that will weaken his position (i.e. puts him in
Zugzwang) is known as a block-problem. White's first move is
called the key of the problem, and unless the composer specifies
to the contrary, a problem must have only one key. If a different
White first move will also lead to forced mate within the
stipulated number of moves, this move is known as a cook, and
the problem is said to be unsound because cooked. I am
confident that practically all the problems in this book are
sound, since they have all been carefully tested and checked by
solvers, but if an unsound one has slipped through the net, I
apologise in advance!
Our four-move direct-mate No. 3 has a strategic feature in
common with the composed ending No. 2: White manipulates
one of the black pieces to his own advantage. The black Bishop
is forced to move to a certain square (g4), so that it will prevent
another black line-piece*, the Rh4, from exercising its influence ·
westwards to c4. In solving this problem, you should notice
that every white mov~ n1ust either check or threaten immediate
mate, be<;ause Black, if given time, can get a Rook to his
second rank and delay the mate with nuisance checks. In fact,
White's key is 1 Qe6, which threatens immediate mate by
• Q, R and B are line-pieces.
17
Introducing '/u. s J>roh/ 'IllS
2 Q . 1 k hn tw( 1 o , iblc d f n - Jnovcs which pr vcn
th thr t frotn \V rking. We shall look first at I ... Pb4; if
now 2 .Q 8+ ?, the black King c capes to b5. While the bl ~ck
Pawn 1 on b5, that square i blocked; the square-vacatton
1 ... Pb4 unblocks it. This move is clearly advantageo us to
B!ack, as it gives his King a flight-square. But it carries a
disadvantage, which White exploits: the line of squares from
e2 to a6 has been opened, and White can therefore play
2 Q X e2+. Line-opening is a very comtnon way in which Black
can weaken his own position. Black's two possible replies to
2 Q X e2 + are 2 ... Rc4 and 2 ... Pc4, after ·both of which
White plays 3 Qa2+, followed by 4 Qa5 mate after the King has
moved to his flight-square b5.
Why could White not play 1 Qa2+ (or 1 Qa3+) straight-
away? Because Black replies 1 ... Ra4, and there is now no
mate in another three moves. The white move Qa2+ is not
sensible until after 1 ... Pb4 has interfered with the black
Rook's guard of a4, and prevented the Rf4 from playing to
that square. Black Interference, which occurs when the influence
of a black line-piece is obstructed by the move of anGther
black man, is a second common black self-weakening move.
After 1 Qe6, Pb4; why won't 2 Qa2+ do? Because after
2 ... Kb5; 3 Qa5 + is not mate, as the black King can escape
to his new flight-square c4. Therefore Black must first be
induced to block that square with his Rook: 2 Q x e2+, Rc4;
or with his Pawn: 2 Q x e2+, Pc4. When a black King-flight,
either actual or potential, is blocked by a black unit in the
course of the solution of a problem, we speak of a self-block, a
third very common self-weakening move.
We have so far examined only one of Black's possible
defences· to White's threat. If White were to play 1 Qg8 ? right
at the outset, to threaten 2 Qc8 or 2 Qa8 mate, then 1 . .. Pb4!
would be an adequate defence, as Black has three pieces, his
Bishop and two Rooks, to prevent White from exploiting the
line-opening. So White must get all of these pieces out of the
way somehow or other. As we have seen, 1 Qe6 threatens
2 Qc8 mate. Black's second defence is 1 . .. Bg4, which gets the
Bishop where White wants it. Now, on~e White ~an compel
... Pb4, there will be only one black p1ece guard1ng c4, the
18
square on which White wants to mate after the black Pawn b5
has moved. To get rid of that one remaining piece, White
continues 2 Qa2+, and Black's forced reply is 2 ... Ra4. Now
3 Qg8 can be played: it threatens 4 Qa8, and Black's attempt
to defeat this threat by 3 ... Bc8 fails because of 4 Q x c8. His
only other defence is 3 ... Pb4, which is now an interference
with the Rook a4, and 4 Qc4 results. The point of all White's
manoeuvres is now clear: the Bishop must be forced to move to
g4 (decoyed to interfere with the Rook h4), and then the Rook
f4 must be decoyed to a4 so that 3 ... Pb4 becomes a fatal
interference. Play through the solution to this problem once
again, and then consider whether or not problems of this type
are worthwhile. Does this composition not express something
which lies outside-and far beyond-the scope of over-the-
board play?
The reader may well have realised by now that Nos. 2 and
3 differ from the game position No. 1 in one important respect
which has not so far been touched on. In the composed posi-
tions, both the ending and the problem, there is no piece . on
the board which does not play some part, however small, in
the solution. (The term "solution" is used here, and throughout
the book, to refer not just to the key; but to the entire play,
both potential and actual, of the problem. What is meant by
"potential play" will be made clear in due course.) In No. 1,
however, several of the pieces and pawns on the board do not
participate at all in the play as far as we examined it. The four-
mover No. 3 contains only three white pieces, but each plays a
vital role, even though the King and Bishop are not in fact
called upon to move. Their function is to prevent the black
King from moving too far, and they fulfil this by guarding,
between them, four squares in his field (i.e. the squares around
the King). The Bishop guards (or holds) a7 and a5, and the
King guards b6 and b7. As we have seen, the black King is
allowed to move only as far as b5 in the course of the problem's
solution: the white forces and his own men conspire against
him to prevent his going any further. The three black line-
pieces and the Pb5 are, of course, basic to the cotnposer's idea.
Only the presence of the other Pawns remains to be accounted
for. Those on f6 and h5 clearly prevent the black Rooks from
19
Introducing he. s Proh/ 'IllS
inflicting disastrou check on the white 1 ing- di a tro us
because they \Vould prevent White fro n1 n1ating on hi · fourth
move as stipulated. The Pawns on c6 and c5 prevent 2 ... Rc4
from being a check, and each has a further function: the one
on c6 stops a defence against the threat 4 Qa8 by 3 .. . Bf3 in
the second variation we examined, while the Pc5 prevents a
cook by I Qa2+, Ra4; 2 Qe6 (threat 3 Qc8), Pb4; 3 Q X e2+
(no mate after 3 ... Pc4 !). Every piece on the board, therefore,
is essential in one way or another, son1etilnes in more than one
way. It should always be one of the cotnposer's principal aims
to express his idea with as little force as possible; in other words,
with the greatest possible economy.
The next two problems carry the stipulation "White to play
and mate in two" (to save space, this is normally reduced to
"Mate in two"). No. 4 is an old and famous composition. In
4 TWO-MOVE DIRECT-MATE:
BLACK S-WHEEL
G. HEATHCOTE
First Prize, Hampstead and Highgate
Express, 1905
White to play and mate in two
comparison with Nos. 2 and 3, the board is crowded, but

naturally every piece is necessary. Every chess-player knows
that a Knight standing in the middle of the board has a nlaxi-
mum of eight possible moves. In this problem ·every move by
the Sd4 defeats White's threat, and all eight defences lead
to new mates. This is known, for brevity's sake, as a Black
Knight-wheel, and the problen1 is a Task, because the composer
has succeeded in achieving, in this case, a record number of
ne.w mat~s introduced .by moves of a single black Knight. As
this particular record IS clearly one which can never be sur-
passed, we may speak of a maximum task achievement.
20
Introducing Chess Problems
Let us examine the method by which the Knight in question
defeats the threat by each of his moves, and how the moves all
permit White to make a different mating move. White's key is
1 cRc7, and the threat 2 Sc3. The square d4 is not only blocked
by the black Knight but also guarded by the Bb2. This means,
however, that White cannot mate by 2 Sc3 after this black
Knight has moved, for the black King would then have a
flight-square at d4. The Knight-defences are, therefore, exam-
ples of square-vacation, a device which we have already met in
connection with the game position No. 1. The Knight defeats
the threat by departure from d4; it allows new mates by reason
of its arrival on each of eight squares.
The moves 1 ... Sc6 and 1 ... Se6 are self~ blocks: each allows
a white piece holding the square on which the Knight arrives
to abandon its guard: 1 ... Sc6 permits the Rc7 to mate on d7,
while 1 ... Se6 leads to a mate on the same square by the other
Rook. The defences 1 ... Sb5 and 1 ... Sf5 are interferences, for
in each case the arrival of the Knight cuts a black line of guard:
. 1 ... Sb5; 2 Rc5; and 1 ... Sf5; 2 Re5. Three other defences by
the black Knight are also interferences: 1... Sf3, which cuts
the black Q's line of guard on e4 and so permits 2 Qe4; 1 ... Se2,
leading to 2 Q x h5 because the guard-line of the Bd1 has been
cut (note that 1 ... Sf3 cuts this same guard-line, d1-h5, but
does not allow 2 Q x h5 because the Knight can interpose from
f3 on the check-line by 2 ... Se5 or 2 ... Sg5); and 1 ... Sc2,
which interferes with the same Bishop on the other side and
leads to 2 Pb4. This last is a battery-mate: the Ba2 and the Pb3
constitute a Bishop + Pawn battery, which opens as the Pawn
moves. It is a direct battery because the firing-piece (the Bishop)
is aimed directly at the black King.
Two of the defences by the Knight introduce self-blocks, and
five are interferences; what of the eighth? 1 ... S x b3 is a self-
pin: by capturing the Pawn the Knight pins itself o~ b3, and so
allows White to mate by 2 Qd3 because the Kn1ght cannot
return to d4. A mate which is permitted because a black piece
is pinned, and which woul? be invali~ if that piece were J.?Ot
pinned, is referred to as a p1n-mate. This fine p~oblem contains
a splendid mixture of strategy-self-bl~cks,. Interferences~ a
pin-mate, a battery-mate-and at no time IS the defending
21
Introducing Chess Prob!enu
Knight captured by White. And even though there are twenty-
one pieces on the board, the econon1y is excellent. The white
Queen, two Rooks, Ba2 and Sa4 all give mates and also guard
squares in the black King's field, and the Bb2 and the Sb7 do
important guard-duty as well. It is normally agreed that the
white King n1ust be on the board, even if he plays no direct part
in the proceedings. Here he is used to prevent a cook. If the
con1poser had placed him on, say, a8, White could mate in two
by 1 Qg8 +, Se6; 2 Q x e6, and the probletn would be unsound.
So the white King stands on g8, and must be shielded from
check from black pieces on the g-file-hence the Pg7, which also
stops the cook 1 Qf7 +. Economy of white force is much more
important than economy of black force, and so a composer
would much prefer to use a black Pawn rather than a white one.
But a black Pawn on g7 would be able to play to g5 after
1 cRc7, Se2!; 2 Q x h5 ?, and consequently the problem would
again be unsound, this time by reason of No Solution.
The function of most of the black pieces the cotnposer has
used in this problem is clear. But what of the Bgl and the black
Pawns? The Pa\vn on h2 prevents the black Queen from
guarding h5, while that on e3 prevents the Bg1 from playing to
d4 after 1 ... S x b3, and to c5 after 1 ... Sb5, and also stops
Black from defending with 1 ... Qf3, after which there would be
no mate by 2 Sc3. The Pa7 prevents the Sa4 from mating on b6,
and the Pa6 stops both 1 ... Pa6 and 1 ... Ra6. Neither of these
moves would defeat the threat, and White would thus be
allowed a choice of mating moves. Such a choice of mates is
called a Dual (or sometimes Triple or Quadruple if the choice
is between three, or four, mates). A dual is serious if, for
example, it occurs in one of the composer's intended main
variations. It used to be thought that almost any dual was
serious if it could be avoided easily, and certainly Heathcote, in
1905, would have been dissatisfied with his problen1 if he had
not taken steps to avoid the duals after 1 ... Pa6 and 1 ... Ra6.
He even added the black Bg1 to prevent the relatively harn1less
dual (2 Sc3 or 2 Qe4) after moves ·by the black Queen along the
rank. Nowadays composers would omit this Bishop; and most
would leave off the Pa6 as well. This would not be regarded
as slipshod construction: it is simply that attitudes towards
22
duals have softened, while attitudes towards economy of
force have become more rigorous.
It has been mentioned already that the composer of a problem
will generally want to demonstrate a particular idea. The idea
behind a problem is usually referred to as the theme, a term
which virtually defies definition. The theme may cover the
possibilities inherent in the position before the key is played;
it may involve the key itself; it may be simply the play which
follows the key; or it may be any combination of these. The
theme of the problem may be displayed by the strategy (e.g.
interferences, self-blocks, pin-mates, etc.), or by the pattern of
the play-the relationship between different variations. In the
problemist's vocabulary, the expression "variation" refers
always to black defences plus white continuations. The theme
of No. 4 is the complete black Knight-wheel, with its eight
distinct variations. The key of this problem is not thematic,
because it is not related to the theme.
The key of No. 5, however, is thematic, because it directly
5 CROSS-CHECKS+ SELF-PINS
AND BATTERY MATES
C. MANSFIELD
Version, Magasinet, 1933
Mate in two
introduces the problem's theme. The diagram position contains

three batteries, two white and one black. There is the direct
battery consisting of the Bg8 and the Se6. On the fifth rank
White has a masked battery, consisting of Rh5 + Sf5 and in
addition one black piece, the ReS, the masking piece. Black also
has a masked battery directed at the white King: Queen + Rook,
with the white Queen as the masking piece. If the \Vhite Queen
were to move off the line c3-h8, she would unmask the battery
and thereby allow Black a couple of discovered checks by
23
~oves of the Rook. Solvers with a knowledge of problem
history would look instinctively for a move by the white
Queen as a possible key to this problem, for checks by Black
are .a favourite theme of Comins Mansfield, the composer.
As In the game, White may have three ways of countering a
black check: (1) by tnoving his King; (2) by capturing the
c.hecking piece; (3) by interposing one of his own pieces on the
hne of check. In the two-n1ove problem, White's replies to
Black's checks tnust themselves give mate, of course. A reply
of type (3) is known as a cross-check, and we see two examples
of cross-check in No. 5. The thematic key 1 Qa7 threatens
2 Q X a8. Black's two checks are 1 ... R x f5+ and 1 ... R x e6+,
and these two moves, as well as being checks, are self-pins.
1 ... R X f5 + allows the direct Bishop + Knight battery to
open: 2 eSd4-cross-check, because the black line of check is
closed. This is also a pin-mate: Black cannot play 2 ... Rf7 to
defeat the mate because the Rook has pinned itself on f5.
1 ... R X e6+ not only gives check and pins the Rook again,
but also unmasks the Rook + Knight battery, and so allows
the cross-check pin-mate 2 fSd4. The black self-pin is exploited
in each variation. Notice that after 1 ... R x f5+ White's
Knight is forced to play to e4 rather than to g7 to counter the
check, because of the black King-flight c6, which must be
guarded. (After 1 ... R X e6 + the same applies to the mate by
the Sf5, but there is a second reason why 2 Sg7? would not
mate: Black could play 2 ... Qe5 !)
The theme of this problem~ therefore, not simply "Cross-
checks", but "Cross-checks + self-pins, leading to battery
openings that deal with a flight-square". But we have not yet
examined all of Black's de(ences. There are four other varia-
tions, and because they are not part of.the principal theme of
the problem, they constitute \vhat is known as By-play. By-play
usually adds to the interest and_att~activ~~ess of a prob~em,. and
often arises naturally from the basic position of the main pteces
being used to show the theme. Mansfield is a master of good
by-play; let us see how he ha~ in~orporated some. into No. 5.
The black King may play to his flight-square, and If he does so
the white Bishop + Knight batt~ry becomes indirect, because
it will now fire at a flight of the King rather than directly at him.
24
Introducing Chess Proble1ns
The defence 1 ... Kc6 allows an opening of this now indirect
battery by 2 Sd8. Notice that if it were Black's turn to play
in the diagram position, White would have no immediate
mating reply to 1 ... Kc6. The flight is therefore unprovided, and
White's key, while good in respect of the checks it allows, has
the weakness that it provides for the very strong black defence
1 ... Kc6. If a black defence has a mate provided for it in the
diagratn position, the mate is called a set mate, and the whole
variation (black set defence followed by white set mate) is
termed set play.
Black has three more defences: 1 ... Bb7, which merely
unguards b7 and so allows the simple capture 2 Q x b7; 1 ... Bc6,
, a self-block on the flight-square, '---ading to 2 Sc7; and all
moves by the Sc8 (1 ... S x a7 /Sb6jS 7), which, like 1 ... Bb7,
are unguards, since they permit 2 Se7. No other black moves
defeat the threat. This by-play is an integral part of the
problem: no force has been added to achieve· it. 2 Se7 must be
prevented from occurring as a mate in the initial position-
hence the need for the Sc8. And White must not be allowed to
mate in one with 1 Qb7, which accounts for the Ba8. It may
well have been a stroke of luck for the composer that 1 ... Bc6
auton1atically allo\ved 2 Sc7, but he had to use the black Queen
instead of merely a Bc3 so that 2 Se3 would not work just as
well. .
Some of the strategic devices we have encountered so far
reappear in No. 6, in which White is to play and mate in three
moves. The composer of the problem is a young Russian who
has rapidly estab1ished himself as one of the world's leading
6 INTERFERENCES + PIN-MATES
V. F. RUDENKO
First Prize, Zvezda, 1959
Mate in three
25
problemists. The key is 1 Rc2, which carries the threat of
2 Sc4+ followed by 3 Re2. Black's ~ain defences involve the
closing of a white line-that of the wh1te Queen down the d-ille.
1 ... Bd5 defeats the threat because after 2 Sc4 + ? the black
King could escape to d3 or d4. However, this move interferes
with the Ra5, and White may play 2 S X f5 +. The only reply
open to Black is 2 ... Kd3, whereupon White may play 3 Rf3-
a pin-mate, as the Bd5 has become pinned through the King's
move. There are three basically distinct ways in which a piece
may become pinned: (1) by its capturing an enemy piece on a
battery line, as in No. 5; (2) by a move of the King, as here;
(3) by a move of a third piece, a method which will be exempli-
fied in No. 9.
The strategy of the variation 1 ... Bd5; 2 S x f5 + etc. is re-
peated when Black defends by 1 ... Rd5, which also closes the
white Queen's line of guard. White may now play 2 Rf3+,
since the guard of the Ba8 over f3 has been interfered with.
Black's sole reply is 2 ... Kd4, and White's third move, another
pin-mate, is 3 S X f5, exploiting the pin of the Rd5 resulting
from the King-move. Notice the very close connection between
the two variations we have so far looked at: in the first the
black Ba8 interferes with the Ra5, while in the second it is the
Rook which interferes with the Bishop. And White's second
move in the one variation is his third move in the other, and
vtce versa.
Many a composer would have been satisfied to have construc-
ted a three-mover with just these two main variations. Not so
Rudenko, however. He has doubled the theme by incorporating
a second pair of variations which echo the first pair. This
composer's great success in composing tourneys (the name
given to competitions for problem composing) is mainly due to
his boldness in striving for a maximum effect and the ingenuity
he displays in achieving it, as in this problem. Black can defeat
White's threat by moving either his Bh8 or his Ra4 to d4. If
1 ... Bd4, White exploits first the interference with the Rook:
2 Bf4 + , Kd3- and then the pin of the Bishop: 3 Rc3. And if
1 ... Rd4, then 2 Rc3 + comes first and is followed, after
2 ... K x d2, by 3 Bf4. Once again White plays the same two
moves, but in reverse order in the two variations.
26
Let us now give pin-Inates a rest for a ti1ne, and turn our
attention to an extren1ely popular and very con1mon theine:
Unpin of White by Black. We have seen already several ways in
which Black can create weaknesses in his own position, for
example by self-block, by interference with one of his own men,
by opening a white line, etc. A black defence may also unpin a
pinned white unit, which is thus free to mate. The unpin may
be effected in one of two ways: (1) by withdrawal, when the
pinning piece moves off. the pin-line; (2) by interference, when
another black piece plays on to the pin-line. Interference unpins
are found in No. 7. White plays 1 Bh2, to threaten 2 Bc7 mate~
7 UNPIN OF WHITE BY BLACK +

DUAL AVOIDANCE
C. MANSFIELD
Good Companions, 1919
Mate in two
Black's main defences are 1 ... Bg3, which cuts the white
Bishop's line to c7, and 1 ... Bc3, which cuts the white Rook's
line of guard over c7. The mates are delivered by the white
Knight, which is unpinned by these two defences. As is usual in
a Mansfield problem, there is interesting by-play: 1 ... Pd6;
2 Rc6 (a simple unguard); 1 ... Pd5; 2 Qg6 (an interference with
the black Queen, which enables the white Queen to move off
the pin-line in order to mate); and 1 ... Ra8; 2 R x b7 (another
ll:nguard). . . .
Five variations altogether, consisting of two Interference
unpins, two unguards ~nd. an interference. Not much, yo.u
might think. But there IS, In fact, a good deal more to th1s
problem than tha~. We have not so fa.r exami~ed exactly which
Knight-mate White plays after which unpin, and why. If
White had a choice of mates after the two Bishop-defences, the
27
problem would be no good at all. It is the fact that White does
not have such a choice that makes this problem really interesting.
Each Bishop-defence cuts a white line of guard. Thus 1 ... Bg3
shuts the line of the Bh2. If White now played 2 Sc4 ?, Black
could play 2 ... Kc7! Therefore the Knight must play to d5,
precisely because the black Bishop has arrived on g3. And
1 ... Bc3 shuts the line of the Rcl, so that White must carefully
not play 2 Sd5? (2 ... Kc6 !), and must instead choose 2 Sc4.
In other words, it looks as if White is going to have a choice of
mates, a dual. But as the defending black piece arrives on a
particular square, one of the apparent alternative mates is
automatically eliminated and only the other remains. This
device (it is not a theme) is known as Dual Avoidance. A clear
understanding of the principle of Dual Avoidance is absolutely
essential for a full comprehension of what many chess problems
are all about.
This being so, I shall now quote a further example of it. The
key of No. 8, 1 Sc1 threatens 2 P x b3. The main def~nces,
8 DUAL AVOIDANCE+ BLACK

CORRECTION
T. EBEND
First Prize, Paral/ele 50, 1949
~fate in two
those which exemplify the dual-avoidance scheme, are 1 ... Sd4

and 1 ... Sd5. The arrival of a black piece on the line d6- d3
seems to allow White a choice of mates by 2 S x d6 or 2 P x d3,
for the black Rooks' guard of each other is interfered with.
But 1 ... Sd4 unpins the black Pe4, so that 2 P x d3? is answered
by 2 ... P x d3 !, and only 2 S x d6 will work. In similar fashion
the move 1 ... Sd5 unpins the black Queen to guard d6:
2 S x d6? is therefore out, and White must choose 2 P x d3. The
28
mate which occurs in one variation is avoided in the other.
White's choice depends on Black's arrival square, in both No. 7
and No.8.
Just as there was more to No.7 than unpins, interferences and
unguards, so there is more to No. 8 than the dual-avoidance
variations we have so far studied. It will be seen that any n1ove
by either black Knight \Vill defeat the threa . The departure of
the Knight from b3 allows White to mate by 2 Qc5. The Knight,
in moving at random, commits the general error of unguarding
c5. However, by arriving on d4, the Knight corrects the general
error by cutting the white Bishop's guard of c5. 1 ... Sd4 is
therefore a correction move, which nevertheless creates a new
weakness (interference with Rd3) and allows the new mate
2 S x d6, as we have already seen. The tern1 "Black Correction"
was invented by a famous composer and problem editor,
Brian Harley, in 1935. The simplest form of Black Correction
occurs when a black piece tries to put right, by its arrival, the
error created by its departure. In this problem the other
black Knight performs a correction as well. If 1 ... cS~ (the
symbol ~ is used to indicate that a piece moves at random,
creating a general er,ror), then White plays 2 Qb5 mate. 1 ... Sd5
is the correction: the white Queen cannot now reach b5.
Mention has already been made of set play: black moves with
white mates already prepared for them in the diagram position.
A problem in which every possible black move has a set mate
is known as a complete block. One where most of Black's
moves have set mates and the key merely provides mates for
the rest of them is called an incomplete block. A complete block
may be (1) a waiting-move problen1, or waiter, when White's
key is a neutral move which simply waits for Black to commit
himself; (2) a block-threat, in which the key surprisingly
introduces a threat; or (3) a mutate, in which the key abandons
one or more of the set mates and replaces them with new ones.
New mates replacing set mates are called changed mates, or
changes.
No. 9 is a mutate. Black has only three set defences:
1 ... B x b7, and the moves of the Pawns d7 and e7. These
Pawn-moves are of particular interest, for if one of the Pawns
moves the other remains pinned by the Rf7. This arrangement
29
9 MUTATE: HALF-PIN
K. A. K. LARSEN
First Prize, Good Companions Com-
plete Blocks Tourney, April 1921
Mate in two
(two black pieces on a line between the black King and a white
line-piece) is termed a Half-pin. The half-pin, the third of the
three principal ways a piece may become pinned (see page 26),
is of interest only if White exploits the pin when mating. The set
play of No.9 shows two pin-mates: 1 ... Pe6; 2 Qc6 (2 ... P x c6?
impossible); and 1 ... Pd6+; 2 P x d6 (2 ... P x d6 ?). White has
no neutral move, which would simply transfer to Black the
obligation to move, though there are several tries, notably
1 Ke5 ?, defeated by a pinning defence 1 ... B x b7! The key
1 Sd8 still leaves Black in Zugzwang, but changes the set replies to
the Pawn-moves and adds a variation: 1 ... K x d8; 2 Q x d7 (an
added mate). Now 1 ... Pe6 allows 2 S x e6, and 1 . ·.. Pd6 +
leads to 2 Q X d6. The pin is again exploited each time, so that
the half-pin can be said to be complete, both before and after
the key. This is a two-phase problem: the set play is the first
phase, and the play following the key (sometimes called the
actual play, but more accurately termed the post-key play) is
the second phase.
No. 10 is also a two-phase problem, but whereas in No. 9 the
black defences remain the same in the two phases, here the
black defences change and White's mates remain the same.
This kind of changed play is known as Mate Transference, ·
because the mates are transferred from one group of defences
to another. Black's defences, in both phases of No. 10, are
self-blocks, but of a type we have not previously seen. If in the
diagram position Black were to play 1 ... Sg5, White could
exploit the fact that the Knight has blocked g5 and play
30
2 Sg6, a White Interference mate, so called because White has
been permitted to cut his own Rook's guard of g5. There is a
second white interference in the set play: 1 ... Pf5; 2 Sd3-the
black Pawn blocks f5 so that White, in mating, may close the
line of guard of his Bb1 to that square. A white-interference
mate may be permitted in two ways: (1) by self-block, as in this
example; (2) by line-opening: Black's defence n1ay open one
white guard-line so that White is able to close another. The
post-key play of No. 10 shows the same two mates, but this
time after different black moves. The key 1 Qb5 is a square-
vacation to threaten 2 Se2, and Black's thematic defences are
1 ... Bg4 and 1 ... Re4. The former blocks g4, a square which
is still doubly guarded by White even after the key (it had a
triple guard before), and now White replies with 2 Sg6. The
key turns out to be an ambush of the white Queen behind the
Se5, and now the line of guard is opened to hold g5, the square
on which the set self-block took place. Black's second defence
1 ... Re4 leads to 2 Sd3, because of the block of e4. Once again
the Queen's ambush is exploited, this time to hold f5-again
the square of the set self-block. Black's set defences do not
defeat the threat, nor do they lead to a repetition of the set
mates. And Black's post-key defences have no mates set for
them. Accuracy, of both defences and tnates, is an extremely
important feature of n1ate-transference problems.
No. 11 is also a con1plete block: if it were Black's turn to play,
White would be able to mate whatever he did. This n1eans that
a waiting-move will solve the probletn, so let us set about
31
11 TRIES
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finding one. The \vhite King does not seem to be doing any-
thing useful: surely one of his moves would be good enough?
We'll try 1 Ka2, which seems to maintain the block position.
Not quite, however, since Black can play I ... Rh2 !, and now
the set mate 2 Bg3 will not work, because the Bishop is pinned.
1 Ka2? is therefore a Try, a move which very nearly solves the
problem but fails to a single black defence. The try is defeated
(or refuted) by the one move I ... Rh2! It is usual to put a
question-mark after a white try, and an exclamation-mark
after a black refutation.
The fact that we have found a try by the white King suggests
that there may be others. What about 1 Kc3? This, too, is only
a try, for Black can play 1 ... R x c6 !, and the mate set for this
move, 2 Qf5, is prevented, again by pin. There is a third try,
1 Ka3 ?, which is defeated by a third pinning defence, 1 ... Bf8 !,
for 2 Qg5 is now impossible. The key is the only King-move
which does not allow a pin of another white _piece: 1 Ka4!
(An exclamation-mark is used here to distinguish this move
from the tries.) The subsequent play is not of much interest: it
consists, in fact, of five simple unguard variations. The whole
point of the problem lies in the tries, which are closely related
to one another by the'fact that they are all defeated by pinning-
moves. They therefore share a common error, that of permitting
Black a single pinning defence.
A try of a very different kind is found in No. 12 .. The play of
this problem revolves round the move of the Pe2 to e1 and its
choice of promotion piece. In a two-move problem, the choice
normally lies between Queen and Knight, since the Queen's
32
. ·- -----·~ - .------- -

12 ZAGORUYKO: PROMOTIONS
. --~~~=-~~~~.
••••
• • • 0. STOCCHI
••••
Version, Second Prize, L' /talia
Scacchistica, 1958
•• • • • Mate in two
•• - -•
. • § •••
~ ~
~--····
~t -
--
-~~-- -~ !£)-
u
powers include those of both Rook and Bishop. (For this
reason, a white mating-move choice between Queen and Rook
or between Queen and Bishop is not regarded as constituting
a dual.) In a three-mover or longer problem, however, the
theme 1nay demand a white promotion to Rook or Bishop (e.g.
if stalemate is to be avoided*), or even a similar promotion by
Black (e.g. to attempt to force stalemate). Nos. 9 and 10 are
two-phase problems; No. 12, on the other hand, has three
phases. The set play is 1 ... Pe1=Q; 2 Rd4; and 1 ... Pe1=S;
2 Be3. In addition to the key, White has a second plausible-
looking first move, a try which very nearly solves but fails to a
single black defence. And this try, 1 Se3 ?, looks so plausible
because it introduces two new mates to follow the promotions
on el: 1 ... Pel=Q; 2 Qc2; and 1 ... Pel=S; 2 Sfl. The original
set mates are impossible because the Knight which makes the
try abandons its guard of c3 (so that 2 Rd4? is no longer mate
after 1 . . . Pel =Q), and of e3, the square on which it arrives
(2 Be3? therefore being impossible after 1 ... Pel =S). Play
introduced by a try is known as virtual play. A further virtual
mate in No. 12 is 2 Se4, which follows 1 ... Ba3 after the try.
1 ... Ba3 is, in fact, a random move by the Bishop: 2 Se4 occurs
because the Bishop has opened the white Queen's guard of el .
The correction 1 ... Bb2! prevents 2 Se4 by pinning the Sc3,
and is the move which refutes the try, for Black's only other
available move, 1 ... Ke1, is met by 2 Q x cl.
The correct white first move is 1 ·sf2 !, which puts Black in a
*This occurs very occasionally in two-movers as well.
33
Zugzwang position. This is a flight-giving key, because ~he
black King is granted a second flight-square, e3. A key. wluch
deprives Black of a flight is called a flight-taking key, while one
which allows one flight but retnoves another is a give-and-take
key. Some of the conventions covering keys, especially with
regard to their strength, are discussed in Section II, under Keys.
After 1 Sf2 !, Black's two promotions lead to a further pair of
white mates: 1 ... Pel=Q; 2 Qd3; and 1 ... Pc1=S; 2 fSe4. ~ I
I
The latter mate also follows 1 ... Ba3 and 1 ... Bb2 (the Bishop I
~
cannot correct its general error this time), while 1 ... Kel leads
once again to 2 Q x cl, and 1 ... Ke3 is met by 2 Qd3. The theme
of this problem is the changed replies to the two promotion-
moves. These replies are, in fact, doubly changed, since there
, I
are three pairs of mates altogether, one pair in the set play, one
pair in the virtual play (after the try), and the third pair in the
i
post-key play. Thus one pair appears in each of the three phases
of the problem. Problems of this type, in which at least two
black defences are followed by different mates in at least three
phases, illustrate what is known as the Zagoruyko theme, which
is named after a Russian con1poser who has made a number of
fine examples of it. No. 12 is one of the most economical and
beautiful of all settings of the theme: rarely has so 1nuch rich
and interesting play been achieved with so few pieces. The
thematic defences are self-blocks, and in each phase there is
dual avoidance (see page 28): White would have a choice of
1 I
two mates if the Pawn could remain on el unpromoted, but is

forced to choose one or the other according to Black's choice of
Queen or Knight.
A two-phase problem may have either set play or virtual play
in addition to the post-key play. A three-phase problem may
consist of set play, virtual play and post-key play (like No. 12),
or may have two virtual-play phases, each introduced by a
white try. Problems with more than four phases are rare,
though an example of the Zagoruyko theme has been produced
with as many as seven phases (six virtual, one post-key-see
No. 238 under Tasks in Section II). Note that the term "Zago-
ruyko" can be used only if at least two of White's mates are 1
changed in at least three phases: it does not cover changes of
Black's defences (tnate transference). Examples of three-phase •
1
34
•
mate transference are, in any case, tnuch rarer than those of the
Zagoruyko then1e.
* * *
By the time you have read through this introduction and studied
and understood the examples in it, your knowledge of what a
chess problem is all about should be sufficient to enable you to
solve and appreciate some of the compositions you may come
across in newspapers and magazines. A few hints on the solving
process are offered in a later section of this book, but these will
not in themselves turn you into an expert solver. Only experi-
ence can do that. As you tackle more problems and start to read
problem-sections of chess magazines, or even problem-
magazines themselves (see the Bibliography on page 336), you
will inevitably meet more technical terms than the few which
have been mentioned in this section. That is where Section II
of this book can help you. All the most important problem
themes and devices are explained and illustrated, and so are a
good many other things connected with chess problems of all
types. The entries are arranged alphabetically, so that you can
turn immediately to any new theme you may have encountered,
and familiarise yourself with its workings by studying the
examples quoted. A section of further problems for solving
will be found towards the end of the book.
You rnay decide after a time-most newcomers to problems
do !-that you can do better than some of the composers whose
work appears in this book. In case you do, I have included a
chapter on composing, though this, like solving, is an art which
cannot be taught. Again only experience will help you. But the
would-be composer is earnestly advised to read the notes on
Anticipation and Economy in Section II before he submits his
own work to a problem editor for approval. Some people take
to composing like ducks to water: I hope you will. And if this
book helps you at all on your way to becoming an expert, it
will have served its purpose. __
35
SECTION II
Themes and Terms
The technical terms to be found in this section may appear some-

what forbidding at first, but the reader is assured that it does
not take long to get used to them! The majority of problemists,
including the author, are opposed to the use of unnecessary
jargon. What has been included here is either necessary jargon-
a time-saving method of referring to common problem ideas- .
or else terms in popular use which the reader is likely to come
across in studying other problem books or magazines.
If you are keen on the game of chess, you will have heard of
the Sicilian Defence and know that it means an opening based
on 1 Pe4 by White followed by 1 ... PeS by Black. The jargon
of problems is no more confusing and no more difficult to pick I
up than that of the game. Many of the terms are self-explana-
tory, e.g. self-block and interference. A theme with a non-self-
explanatory name has usually been called after a composer who
has paid particular attention to the theme, and in some cases
produced the pioneer example of it, or alternatively after a
l
town or country associated in some way with a composer or
group of composers. The name may have been given to the .
theme originally in honour of a composer, but the reason for
its retention is normally that it is much quicker and easier to
use than a descriptive phrase would be. Imagine what a cumber-
some p_hrase would be required to refer adequately to the
Zagoruyko or Dresden themes!
It is not recommended , that the beginner should read right
through this section from A to Z. He should perhaps start by
looking at the articles on some of the terms which have been
introduced in section I, such as flight, interference, self-block.
Note, however, that some of the elementary terms defined in the
36
•
Albino
first section of the book are not included in this alphabetical
survey.
Added Play
See under Mutate.
Albino
A white Pawn standing on the sec<;>nd rank, anywhere from b2
to g2, may have up to four moves available to it (two forward,
two captures). A problem showing the four possible moves of a
single white Pawn at some stage during the solution illustrates
an Albino. In a two-mover these four moves are most commonly
found as mates, which means that the Pawn in question must
be part of a battery, either diagonal (Bishop+ Pawn) or
orthogonal (Rook+ Pawn). No. 13, a mutate, has a diagonal
ALBINO (+ROYAL BATTERY)

H. D'O. BERNARD
Second Prize, ex aequo, Good Com- ·
13 panions, May 1917
Mate in two
Set 1 ... bB,_,; 2 Sb3
1 ... Bxd2; 2 Rxd2
Key 1 Qal, zugzwang
Bxa5; 2 Pb4
Bxd2; 2 Pb3
Ba3; 2 Pxa3
Bc3; 2 Pxc3
cS,_,; 2 Ke7
Bh7; 2 Kf7
Rxg6+; 2 Kxg6
Rh4·
. ' 2 Kg5
Sxf5; 2 Kxf5
Bxe6; 2 Kxe6
battery, with the Queen as firing-piece. In the diagram position

the battery is not yet set up: random n1oves of the Bb4 lead to
2 Sb3, while the correction 1 ... B x d2 is answered by 2 R x d2.
37
71rcJncs and Tcrnrs
The key replaces these two mates by four, all fron1 the Queen +
Pawn battery. Notice how the self-pin 1 ... B X d2, by attempt. .
ing to gain a flight at c4, forces 2 Pb3. This is reall~ two pr~b
Iems in one, for in addition to the play we have JUSt studied
there are also six mates frotn the Royal battery in the north-
east corner of the board. All of these mates, however, occur in
both set and post-key play. The composer has achieved a
double Task: an Albino combined with the maximum possible
nun1ber of 1nates fro1n a Bishop + King battery.
A second way of presenting an Albino in two ..move form is to
make each Pawn-move into a try. This device is found in
No. 14, where the composer has brilliantly arranged that each
ALBINO + PICKANINNY
14 A. C. REEVES
Probleemblad, 1965
Mate in two
Try 1 P X b3? (> 2 Pb4)
Pxd6!
Try 1 Pc3? (> 2 Re5)
Pxf6!
Try 1 Pc4? (> 2 Qd5)
Pe6!
Try 1 P X d3? (> 2 Pd4)
Pe5!
Key 1 Rb4! (> 2 Se4)
of the four white Pawn-tries is defeated by each of the four

possible moves of a black Pawn, standing, like the white Pawn,
on its starting square. 1 P x b3? threatens 2 Pb4, but fails to
1 ... P x d6 !, which obtains a flight for Black on b5. 1 Pc3?
looks rather tnore promising, since it threatens 2 Re5 (which
will cover b5 after 1 ... P x d6 ?). But 1 ... P x f6! directly
guards e5 (notice that 1 ... P x d6? does not, as the Pawn is
pinned). 1 Pc4? threatens 2 Qd5, but Black guards d5 with
1 ... Pe6! Finally 1 P x d3? (> 2 Pd4) fails to 1 ... Pe5! So
White must give up trying to do things with this Pawn, and
must instead play 1 Rb4! (>2 Se4). Black has three defences
leading to new mates, but these are of minor importance by
38
An1bus!t
con1pari on with the intricate try-p1ay. ike the previ us pr b-
len1, this is a double task (Albino tries, answered by the four
n1oves of a single black Pawn), but unlike the previous problem
No. 14 features a close connection between the two tasks. he
four possible moves of a black Pawn appearing at some stage
in the probletn's solution are known as a Pickaninny.
In the three-mover or longer problem, the moves of the
Albino may, of course, be found as continuations or as mates,
with, or more elegantly without, a battery. In No. 15 the four
ALBINO (FOUR PIN-MODELS)

15
G. HEATHCOTE
f
The Observer, 1927
Mate in three
Key 1 Pf3 (> 2 Qe5/Qe7/P X b7+)
Bxf3; 2 Qe7+, Kd4;
3 Pxe3
Qd6;
3 Pd4
Qc2; 2 Qe5+, K x c4;
3 Pd3
Sc3; 2 P X b7 + ~ Kd4;
3 Pxc3
moves occur as mates on White's third move, after self-pinning

play by Black in each variation. This attractive problem also
illustrates Model Mates, of a type known as Pin-models.
Ambush
A white line-piece "A" is placed behind a piece "B" of either
colour so that when "B" moves, "A" 's line is opened. This
strategic device, known as an Ambush, is illustrated by the key
of No. 16. The white Queen ambushes herself behind the Sd3
so as to threaten 2 Sb4. The Queen's line of guard to the flight
b3 is opened as soon as the Knight leaves d3. Notice that
1 Sb4+? cannot be played straightaway, as this move interferes
with the Queen's guard of b3 while she is still on b7. The key not
only gives the flight and sacrifices the Queen to two enemy units,
• 39
Thenres and Tenns
16 AMBUSH
J. A. Sc HIFFMANN
First Prize, Bristol Times and M ercury
1927
Mate in two
Key 1 Qf3 ( > 2 Sb4)
Qxf3+; 2 Re4
Rx f3; 2 Rg4
Pbl=Q; 2 Rc2
Kb3; 2 Set
but also allows Black a check: 1 ... Q x f3 +. This is answered

by 2 Re4, a battery-tnate pennitted by the fact that the black
Queen has abandoned her guard up the g-file of the Bishop +
Rook battery. The white Rook, in mating, can shut off the
black Queen and Rook simultaneously. A similar shut-off occurs
after 1 ... R x f3: 2 Rg4. A double-checkmate from the battery
follows 1 ... Pb1 =Q, while if the black King takes his flight,
the ambushed Queen becomes· the firing-piece of a new direct
battery and White mates with 2 Scl (not 2 Sb4 ?, because of
2 ... Ka4 !). While the black King retnains on a2, the white
Queen and Sd3 form an indirect battery. An ambush-key setting
up a direct battery is found in No. 13, under Albino.
Annihilation
See under Clearance.
Anti-Bristol
The Anti-Bristol is an interference in which like-moving black
pieces interfere along the same line (contrast Holzhausen and
Wurzburg- Plachutta interferences, in which the thematic pieces
are not on the same line). Mutual anti-Bristol interference
occurs when piece "A" interferes with piece "B" in one varia-
tion, and "B" with "A" in another. No. 17 presents three
pairs of mutual anti-Bristols, i.e. six anti-Bristol interferences
altogether. The key 1 Rh5 threatens the short mate 2 Bc5 (a
short threat is very common with this theme). ~ ... Rc3 allows
40
Ant irlpatinn
17 L
• K. HANNEMANN
First Prize, ka~ blade/ 191 9
Mate in three
Key I Rh5 ( > 2 Dc5)
Rc3; 2 Sb3+
Qc3; 2 Qe3+
Bd5; 2 Sc6+
Qd5; 2 Re4+
Rf5; 2 Qg7+
Qf5; 2 Qf4+
2 Sb3 +, White exploiting the black Rook's interference with
the black Queen's guard of b3. The Rook is now overloaded,
being unable to retain its guard over both b3 and c5. In the
analogous variation 1 ... Qc3; 2 Qe3 +, it is the black Queen
which becon1es overloaded, White exploiting her interference
with the Ra3. The second pair of variations involves the black
Queen and the Bb7 (1 ... Bd5; 2 Sc6+; and 1 ... Qd5; 2 Re4+ ),
while the Queen again and the Rf7 feature in the third pair
(1 ... Rf5 ; 2 Qg7 +; and 1 ... Qf5; 2 Qf4+ ). The· theme is
called "anti-Bristol" because it is the weakening manoeuvre
• which is the opposite of the strengthening n1anoeuvre of the
" Bristol" (see under Clearance); in the Anti-Bristol the pieces
• get in each other's way by moving towards each other, whereas
in the Bristol the pieces get out of each other's way by moving
away from each other.
Anticipation
If you compose a problem which someone else has made
before you, your problem is anticipated, and the other man's is
an anticipation. Deciding whether or not a problem is completely
new (or original) is nearly always an extremely difficult and
sometimes an embarrassing business. Nobody has a collection
of all the problems ever published, and in any case it would be
a tremendous labour to look up everything that was composed,
• even if such a collection existed. A problem is completely
anticipated if the theme, the strategy and the positions of the
principal pieces in the two settings are identical, or so nearly
41
Themes and Tenns
identical as to tnake no material difference to the play. If,
however, the two problems resetnble one another in so1ne but
not all respects, then the newer one is said to be partially
anticipated by the older. The extent to which a problem is
partially anticipated varies from one case to another. A con1-
poser who knows that his problem is partially anticipated but
feels that his version adds something really worthwhile to the
previous setting will publish his problem as "by Mr. X, after
Mr. Y" if the difference is considerable, or as "by Mr. Y:
version by Mr. X" if the difference is only slight. A version of
someone else's problem should ideally appear in the satne
publication as the first setting. Such versions are not normally
eligible to compete in composing tourneys.
It is sometimes a difficult n1atter to determine the exact date
of a problem. Contributions to a formal tourney (see page 275)
are normally given the date of the last day for receipt of entries
for that tourney, while all other problems are dated from the
day or month when they first appear in print.
There are one or two conventions concerning anticipations.
In the first place, a composer should not submit for publication
a problem which he knows to be completely anticipated. If he
does so, he is guilty of plagiarism, the problemist's most
serious crime. If he suspects that his work may be anticipated,
he should submit it to the editor of a well-established problem
section in a newspaper or magazine, or of a magazine catering
entirely for problemists. If the editor, too, is in doubt about
anticipation, he will probably publish the problem and see if
any of his readers can supply further information.
Secondly, a problem which has been awarded sonie distinc-
tion in a composing tourney will lose that distinction and be
removed from the award if a complete anticipation is fouJ?.d
within a few months of the publication of the award. In the
event of a partial anticipation, it will be the judge's responsi-
bility to decide whether the problem should keep its place or be
lowered in the award or even come out of it altogether.
Thirdly, a point which, regrettably, is not universally ob-
served: no pro blemist should offer his services as the judge
of a tourp.ey, formal or informal, unless he has a sound know-
ledge of.the history and development of the type of problem for
42
Antifonn
which the tourney is being organised. How can he judge the
originality of other people's work if he. has only a hazy idea of
what has been achieved in that field?
On the whole question of anticipation, little advice can be
offered to the beginner other than this: if you think your prob-
lem is worthwhile, show it to an expert. He will at least be able
to tell you whether it stands a chance of being original, and
whether it is worth publishing. If it isn't, don't despair-try
again!
Anti-critical Play
See under Critical Play.
Antiform
Look at the set defence 1 ... 4R x b5 in No. 18: this is a self-
FORM : ANTIFORM (UNBLOCK

18 AND SELF-BLOCK)
N. G. G. VAN DIJK
First Prize, Chess Life, 1956
Mate in two
Set 1 ... 4Rx b5; 2 3Rd4
6Rx b5; 2 Rc3
Sxb5; 2 Qe6
Key 1 Qfl (> 2 Rc3)
4Rx b5; 2 Qf4
6Rxb5; 2Qcl
Sxb5; 2 Qf7
Rb3; 2 3Rd4
block, allowing 2 3Rd4. Why does it not also allow 2 Rc3?

Because the move 1 ... 4R x b5, as well as blocking b5, un-
blocks b4, which White must take care to guard when mating.
Unblock (also known as Square-vacation) is the opposite of
self-block. Self-block and unblock therefore stand in the
relation FORM: ANTIFORl\t[ of the sa1ne basic tactic. The
two other set defences of No. 18 are self-blocks but not un-
blocks: 1 ... 6R x b5; 2 Rc3; and 1 ... S x b5; 2 Qe6. The key
43
Themes and Terms
1 Qfl (> 2 Rc3) changes the replies to these three self-blocks,
and also permits a second unblock/self-block variation, 1 ... Rb3;
2 3Rd4 (a transferred mate, since this is the move which
followed 1 ... 4Rxb5 in the set play).
The unity of a problem is increased if a Form :Antiform
relationship can be seen in the strategy. This is the case with
No. 19. The key 1 Kc6 threatens 2 Se4, a move which unpins the
19 GOETHART AND ANTI-GOETHART
E. I. UMNOV
First Prize, "64", 1929
Mate in two
Key 1 Kc6 (> 2 Se4)
S,_,; 2 Se5
Sf3; 2 Pe4
Se4; 2 Rd4
black Queen. If the black Knight departs from d2, the threat
fails because the now unpinned Queen can capture the Rei. A
random move of the Knight allows 2 Se5. It is the correction
I ... Sf3 which produces the interesting strategy. 2 Se4? still
fails on account of 2 ... Q x ci ! But because the black Knight
has closed the line f4-fl, White can play 2 Pe4!-an unpin of
the black Queen made possible by the fact that the reply
2 ... Q x fl has been prevented. An unpin of this type is known
as a Goethart unpin. Black's defensive play with his Knight n1ay
therefore be termed Anti-Goethart, since White is prevented
from executing a Goethart unpin by 2 Se4.
Battery
The white Be6 and the Rf5 in No. 20 constitute a battery: if the
Rook moves away, the Bishop's line of attack on the black
King is opened. In the diagram position the battery is controlled
by the Ba2, and the control of this Bishop cannot be shut off
by 2 Rd5 until after the key I Sg6. Even then White cannot play
2 Rd5 until Black blocks g2 with I ... Sg2, for this is a white
44
Battery
interference mate: the Rook is allowed to interfere with the
white Queen's guard of g2. The key threatens 2 Sf4, and Black,
in addition to the variation we have just seen, has four more
defences allowing mate by the battery: the cross-check 1 ...
Sc4+; 2 ReS (in this variation the black Queen + Knight battery
opens); a second self-block with white interference, 1 ... Pg2;
2 Rf3; a black interference 1... Pd5, which forces 2 Rf2, a&
White must regain control of g2; and another black interference,
with shut-off: 1 ... Rc4; 2 Rf4. Two further variations round
off this attractive work, which is notable chiefly for the extra-
ordinary economy of the white force.
BATTERY MATES
20
L. I. LOSHINSKI
Second Prize, Olympic Tourney, 1964
Mate in two
Key 1 Sg6 (> 2 Sf4)
Sc4+; 2 Re5
Sg2; 2 Rd5
Pg2; 2 Rf3
Pd5; 2 Rf2
Rc4; 2 Rf4
Ph1 = Q; 2 Qxhl
Rxf5+; 2 Bxf5
A battery is found in a great many problems where it is a

strategic device rather than the 1nain theme. Many such exam-
ples will be found throughout this book. Like No. 20, however,
the next four problems show batteries as the central idea. No. 21
has two batteries, and each gives a total of four mates. Each
battery is controlled by two black pieces, and when one moves
away to defend against the threat, White is able to shut off or
capture the other one. In addition there are four double-check-
mate variations, three of them white-interference mates per-
mitted by black self-blocks.
The batteries in these two problems are all direct, since the
firing-piece is aimed straight at the black King. If the firing-
piece aims instead at a black flight-square, potential or actual,
we speak of an indirect battery. No. 22 has batteries of both
45
Thernes and Tern1s
BATTERY MATES
E. RUKHLIS
First Prize, Shakhmaty v. SSSR, 1945
Mate in two
Key 1 Qb6 (> 2 Qxd6)
Sc7; 2 Sb7
Rd8; 2 Sxa6
Be4; 2 cSe6
Bc4; 2 Sb3
Rx b6; 2 Sh5
Qf3; 2 Se8
Se3; 2 gSe6
Qxf5; 2 Sxf5
Pd5; 2 Qf6
DIRECT AND INDIRECT BATTERIES

E. LOPATINSKI
Second Prize, Leipzig Olympic Tourney,
1960
Mate in two
Key 1 Pxe7 (> 2 PeS= Q)
Kx e7; 2 Bc6
Rxe7; 2 Bb6
Sc6; 2 Bf5
Qg6; 2 Bf6
Qxb5; 2 Bc5
kinds. The indirect battery consisting of Rei. + Be4 is aimed at

e7, a flight granted by the key. This battery becomes direct, and
is allowed to open, when Black takes the flight:. 1 ... K x e7;
2 Bc6-the Rook being the mating piece, while the Bishop sets
up a new guard on the black King's original square. And it
opens a second time after 1 ... Sc6, operating indirectly. The
roles are reversed: 2 Bf5, with the Bishop giving the mate and
the Rook holding the flight. The other battery, the direct one,
opens three times: 1 ... R x e7; 2 Bb6 (self-block on flight
allowing shut-off); 1 ... Qg6; 2 Bf6 (the black Queen's control
of the battery is shifted to the other side and can be shut off by
the Bishop as it guards the flight); and 1 ... Q x b5; 2 Bc5 (a
46
Battery
second shut-off with guard of flight). As in Loshinski's example,
fine use is made of the white force.
Interest can be added to the activity of a white battery by the
introduction of changed play. In the set play of No. 23, Black
CHANGED BATTERY MATES

23
C. MANSFIELD
Fourth Prize, British Chess Federation
Tourney, 1960
Mate in two
Set 1 ... Bb7; 2 Rf3
Rxh8; 2 Rb5
Pf5; 2 Re3
Key 1 Qc5 ( > 2 Sf8)
Bb7; 2 Rd3
Rxh8; 2 Rb7
Pf5; 2 Qxc6
Bd7; 2 Re3
has a flight f5, \vhich White must take care to guard when
mating. The key is of the give-and-take variety: f5 is exchanged
for d7, so that the white Rook must now guard this square after
the thematic defences 1 ... Bb7 and 1 ... R x h8. There is a
third change after 1 ... Pf5, and the mate set for this defence
reappears after 1 ... Bd7 in the post-key play. Once again the
economy of white force is remarkable.
Battery-play in the three-mover is illustrated by No. 24. The
key sets up the battery by moving the white King off the battery-
line. As keys go, this is rather a strong one, but perhaps the
fact that the King is then exposed to two checks makes up for
it. The threat of 1 Ke8 is 2 Re5 +, K x d4; 3 Qd5. 1 ... Ba4+ is
a prospective self-block (of a square in the black l(ing's
extended field), so that White can afford to allow 2 ... Kb5 by
playing 2 Rd7 +. Mate follows by 3 Qd5. 1 ... Bb3 defeats the
threat because the Bishop now guards d5 after 2 ... K x d4.
However, the Bishop has exposed itself to capture on the third
move: 2 Rd6+, Kb5; 3 Qxb3. 1 ... Se4 defeats the threat
because after 2 ReS+?, K x d4 the Rook no longer guards e3.
But 1 ... Se4 is an interference and unguard of f5: 2 Ra5 +,
47
Then1es and Batter.y
BATTERY PLAY
V.BRON
24
Fir t Prize, ex aequo, British Chess
Magazine, 1966
Mate in three
Key
1 Kc8 ( > 2 ReS+, Kx d4; 3 Qd5)
Ba4+; 2 Rd7+, Kb5;
3 Qd5
Bb3; 2 Rd6+, Kb5;
3 Qxb3
Se4; 2 Ra5+, K ·x d4;
3 Sx f5
Rh8; 2 Rc5+, Kxd4;
3 Bf2
Kb3; 2 Rb5+, Ka4;
3 Qc4
K x d4; 3 S X f5. 1 ... Rh8 threatens 2 ... R x g8, but unguards
f2: 2 ReS+, K x d4; 3 Bf2. Finally 1 ... Kb3 leads to 2 Rb5 +,
Ka4; 3 Qc4. The battery opens six times altogether, the white
Rook playing to four squares on the rank and two on the file.
A battery is masked if there is another piece standing on the
battery-line. White does not always have to \vait until a black
masking piece has moved in order to mate with a masked
battery: a pin-mate may take place with the piece still there.
In No. 25, however, the battery opens four times as the black
MASKED BATTERY (PIN-MATES)
25 V. RUDENKO
First Prize, Problemnoter, 196 I
Mate in three
Key
1 Bd5 ( > 2 Sc2+, Sxc2; 3 Sf3)
Rxd5; 2 Rg8+, ReS;
3 Rd8
Rxe4; 2 Rh7+, Rc5;
3 Rh4
Rxe6; 2 Rx f7+, ReS;
3 Se6
RxfS; 2 Rx g6+, ReS;
3 Sf5
48
Block
Rook leaves e5. Pin-1nates result when this Rook is forced
back to the battery-line to parry White's sccond-tnove checks.
In each variation White exploits the fact that the black Rook has
captured a white piece, by occupying the square or line of the
capture. The key 1 Bd5 threatens 2 Sc2+, S x c2; 3 Sf3; and
Black defends by obtaining a flight for his King on e5. 1 ...
R x dS leads to 2 Rg8 +, ReS; 3 Rd8-the white Rook cannot
mate from this direction until his black opponent has cleared
the white Bishop out of the way. An analogous variation is
1 ... R X e4; 2 Rh7 +, ReS; 3 Rh4. With its other two tnoves the
black Rook removes vvhite Pawns to enable the Knights to
mate: 1 ... R X e6; 2 R X f7 +, ReS; 3 Se6; and 1 ... R X f5;
2 R x g6 +, ReS ; 3 SfS.
Further problems in vvhich batteries form the principal idea
will be found in our discussion of the Half-battery.
Block
A problem in which White's key makes no threat but merely
puts (or keeps) Black in a Zugzwang position is termed a
INCOMPLETE BLOCK
A. F. MACKENZIE
First Prize, Mirror of American Sports,
25 1886
Mate in two
Key 1 Sg7, zugzwang
cR,_,3; 2 Rc8
cR,_,c; 2 Qxd3
Rc4; 2 Rd6
Bb8; 2 Rxc3
dR,_,; 2Rd6
Ke4; 2 Re6
Bg2; 2 Qxg2
Bf3; 2 Qxf3
Be4; 2 Qxf7
S,_,; 2 Qf5
Sd6; 2 Rc5
Se5; 2 Sf6
Sh6; 2 Qxhl
49
Thenzes and Ternzs
Block. When the key creates the block (i.e. by providing mates
for black defences which have no set tnates), we speak of an
incomplete block. If Black's moves all have set mates in the
initial position, the block is complete. A complete block n1ay
be a Waiter, in which case a simple waiting-move will solve.
Or it may be a Mutate, with a key which changes one or more
of the setn1ates. Alternatively, but much more rarely, it may be a
Block-threat, in which the key sets up a threat and very likely
abandons some of the set mates.
No. 26 is an incomplete block. Some, but not all, of Black's
defences have set 1nates; the key 1 Sg7 does no more than
cotnplete the block, introducing mates to answer those defences
without replies in the initial position. No. 27, on the other hand,
27 COMPLETE BLOCK: WAITING

TRIES AND lillY
N. G. G. VAN DIJK
First Prize, Banska Bystrica Tourney,
1964
Mate in two
Try 1 Ke7? Ra7! · (2 Sb5 ?)
Try 1 Ke6? Bb3! (2 Q X d3 ?)
Try 1 Ke5? Pc4! (2 Qd4 ?)
Try 1 Kg5? Bxd2! (2 Be5 ?)
Key 1 Kg6!; zugzwang
is a complete block: every black defence has a set mate, and the
solver has only to find a move which will hold the position. As
readers who have studied No. 11 in Section I will soon realise
it is important not to play a move which will allow Black to pin'
a crucial white piece. There are four tries by the white King:
1 Ke7 ?, 1 Ke6 ?, 1 Ke5? and 1 Kg5 ?. Only 1 Kg6! does not
allow a fatal pin.
The Mutate, a special kind of complete block with changed
mates, is illustrated by No. 173.
The block-threat, though never very con1mon, was once a
fairly popular type of problem, on account of the element of
surprise of the key and subsequent play. No. 28 is typical of
50
Bohenzian Sclzoo/
BLOCK-THREAT
28 w. B. RICE
Mate in two
Set 1 ... Pg4; 2 Rf4
Pe6; 2 Qh7
Pe5; 2 Sd6
B---; 2 Sxe7
S---; 2 dSe3
Key 1 Sf4 (> 2 Qe6)
Pg4; 2 Qg6
Pxf4; 2 Rxf4
ICg4; 2 Qh3
the early "Good Companion"* era. Its composer was born in

1895 in Philadelphia, and is no relation of the author of this
book, as far as the latter is aware. The set play has three self-
blocks and two unguard-variations, but the key 1 Sf4 destroys
all these possibilities by giving a flight-square on g4 and setting
up a threat of 2 Qe6. One of the pre-key mates returns in the
post-key play, but after a new defence.
Bohemian School
The composers of the Bohemian School were and are the
principal exponents of model-mate problems. Mobility of force,
especially white, and beauty of mate are their ideals, strategy
and difficulty being of only subsidiary interest. No. 29 is a
clear example of the style by the greatest of all Bohemian
composers. The -key 1 Kf8 threatens the sacrifice 2 Q x d3 +,
which leads to the model mate 3 ReS after 2 ... P x d3. In the
two variations, the black King is mated on different squares,
and the white pieces perform completely different mating- and
guard-duty-a typical feature of the best Bohemian work:
I ... Ke3; 2 R x d3 +, P X d3; 3 Qei-the Queen mates and the
Knights guard squares; and I ... Pf2; 2 Qe2+, Kxd5; 3 Se7,
* The Good · Companion Chess Problem Club was an international society of
problemists which was founded by James Magee, with the support of Alain White
in America in 1913. Its famous "Folders" of original work contain some of the finest
problems ever composed . .
51
Themes and Ter~ns
• .\t>.
.~~~~~~~~=
~-
29 MODEL MATES: BOHEMIAN STYLE
M. HAVEL
•
• • .
.l•t•••
LJ •• lL
•
J. •
~-
•
Key
Second Prize, Szachy, 1956
Mate in three
• --- -~· t·
1 Kf8 ( > 2 Q X d3 +, P X d3 ; 3 Re5)
Ke3; 2 R X d3 +, P X d3 ;
••
3 Qel
~~ ~"- .,.,~ Pf2; 2 Qe2+, Kx d5;
-~- 3 Se7
with one of the Knights giving the mate and the Queen guarding
three squares in the black King's new field.
Brede Cross-check
The Brede cross-check is a three- or more-move strategic device
in which White parries a check by playing on to the check-line a
piece which Black then unpins, allowing it to mate. See No. 57,
under Cross-check.
Brede Square-vacation
Brede square-vacation itnplies the departure from a square of
the white Queen (according to Weenink in "The Chess Pro b-
l
lem") or of any white piece (Harley in "Mate in Three Moves"),
so that a Knight can occupy that square to give mate. See No.
233, under Square-vacation.
By-play
Variations not directly connected with or a part of a problem's
principal theme are usually termed By-play. This subject is
treated in greater detail in the chapter on Con1posing (Section
III).
Bristol
See under Clearance.
52
Castling
Castling
Castling is permitted in a chess problem, provided King and
~ook ar~ on their home squares, unless it can be proved that
etth~r Ktng or Rook must have moved in the imaginary game
leadt.ng .to the diagram position. Such a proof involves the
application of Retrograde Analysis, and a problem where this
forms the rrinci~al idea may be found under this heading.
No. 30 1s a Witty two-mover in which White's selection of
CASTLING IN TRY AND KEY

30
M. LIPTON
Fourth place, Match Great Britain v.
Israel, 1960-1
Mate in two
Try 1 0-0? (> 2 aR/fRe1)
Ke4+; 2 eSc5
Ke2+; 2 Sd4
Pxc4!
Key 1 0-0-0! (> 2 cR/hRel)
Ke4+; 2 Sg5
Ke2+; 2 eSf4
key-move involves a choice between long and short castling.

After the try 1 0-0? (threats 2 aRe 1 or 2 fRe 1), Black defends by
opening the Queen+ King battery to give check: 1 ... Ke4+
and 1 ... Ke2 +. White parries with the cross-checks 2 eSc5 and
2 Sd4 respectively. The try is defeated ·by 1 ... P x c4 !, so White
must instead play 1 0 - 0 - 0 !, with similar threats. The same two
black defences now open a check-line from the Bishop, which
White again parries with cross-checks: 1 ... Ke4+; 2 Sg5; and
1 ... Ke2+; 2 eSf4.
In the five-mover No. 31, Black cannot castle in the initial
position for the obvious reason that the white Queen guards c8.
The point of the problem lies in the ways in which White
continues to prevent Black from castling. The try 1 Qh6?
(> 2 Qh8) is defeated by 1 ... 0-0-0! The key is 1 Ph6!, and
now Black's two best defences are 1 ... Bc6 and 1 ... Bc4, which
allow the defence 2 ... 0 - 0 - 0 after 2 Ph7? In the one variation
53
11ten1es and Tenlls
CASTLING PREVENTION
A. KRAEMER and W. MASSMANN
Die Welt, 1955
31
Mate in five
Try 1 Qh6? 0 - 0-0!
Key 1 Ph6!, Bc6
2 Qel +, Kd8
3 Qe8+, Kxe8
4 Ph?,
5 Ph8 = Q·
1 ... Bc4
2 Qa3, Rc8
3 Qa8, Rxa8
4 Ph?,
5 Ph8 = Q
2... Kf8
3 Qe7+, Kg8
4 Qxf6
White prevents castling by forcing the King to move, while in

the other it is the Rook which has to leave its square. In each
case the white Queen is sacrificed before mate can be effected.
1 ... Bc6; 2 Qel +, KdS; 3 QeS+ !, K XeS; 4 Ph7-and mate by
5 PhS= Q cannot now be avoided, since 4 ... 0-0-0? is no
longer legal. 1 . .. Bc4 leads to 2 Qa3 (> 3 Q x aS), ReS; 3 QaS !,
Rxa8; 4 Ph7-and once again castling is out.
Check by Black
Checks inflicted by Black at some stage in the course of a
problem's solution always contain an element of surprise, and
this is very likely the reason for their great popularity with both
composers and solvers. There are lots of examples throughout
this book of black checks parried by White in all sorts of ways,
the most interesting way being by cross-check, under which
heading several fine problems will be found.
The two two-movers quoted here show checks answered by a
capture of the checking piece, but in each one there is changed
play in three phases. In the set play of No. 32, the checks by the
54
Check by Black
BLACK CHECKS (ZAGORUYKO)
32 C. GOLDSCHMEDINO
Problem, 1951
(version suggested by C. Mansfield)
Mate in two
Set 1 ... Rb7+; 2 Pxb7
R X c6+ ; 2 Q X c6
Try 1 Qal? (> 2 S,_,)
Rb7+; 2 Sxb7
Rxc6+; 2 Sxc6
Rxb5!
Key 1 Qfl! (> 2 Rxb6)
Rb7+; 2 Rxb7
Rxc6+; 2 Rxc6
Rook on b7 and c6 are answered by 2 P x b7 and 2 Q x c6.
White tries 1 Qa1 ?, threatening a mate by the new Queen+
Knight battery, and the same checks are now answered by
1 ... S x b7 and 1 ... S x c6. However, the try is defeated by
1 ... R x b5 !, which means that White must instead play 1 Qfl !,
threatening 2 Rxb6. Now 1 ... Rb7+ allows 2 Rxb7, while,
because the Queen now guards b5, 2 R x c6 can be played in
reply to 1 ... R x c6 +. The changes are not partjcularly subtle,
but the economy of the setting is remarkable.
BLACK CHECKS (ZAGORUYKO)
0. STOCCHI
33 First Prize, II Due Mosse, 1951
Mate in two
Set 1 ... · Se6+; 2 Qxe6
Sf5+; 2 Qxf5
Try 1 Qc5? (> 2 Qd4)
Se6+; 2 Pxe6
Sf5+; 2 Rxf5
Pal = Q!
Key 1 Qcl! (> 2 Qf4)
Se6+; 2 Rxe6
Sf5+; 2 Pxf5
Rxcl; 2 Pf4
Rxf2; 2 Qal
Sxe4; 2 Qg5
55
Thentes and Tenns
No. 33 is altogether more sophisticated. The checks. 1. · ·
Se6+ and 1 ... Sf5 + are obviously answered by recaptures by
the Queen in the set play. The try 1 Qc5? (> 2 Qd4) re~laces
these 1nates by 2 P x e6 and 2 R x f5 respectively, but fatls to
1 ... Pa1=Q! The key 1 Qc1! (> 2 Qf4) introduces analogous
P- and R-captures: 1 ... Se6+; 2 Rxe6; and 1 ... Sf5+;
2 P X f5. The post-key play is rounded off by three by-play
variations: 1 ... Rxcl; 2 Pf4; 1 ... Rxf2; 2 Qa1; and 1 .. ·
S X e4; 2 Qg5. Both this and the preceding problem illustrate the
Zagoruyko then1e: two mates are changed in three phases of
play, here set, virtual and post-key.
No. 34 is one of the most fan1ous problems ever composed.
BLACK CHECKS
C. S. KIPPING
34
Manchester City News, 1911
Mate in three
Key 1 Ka5!, Pel = Q+;
2 Kb6!, Qbl +; 3 cSb4
Qa5+; 3 Sx a5
Qe3+; 3 Sd4
Qe5; 3 Sxe5
Qe7; 3 Sxe7
Qe6; 3 Sc7
Rg8; 2 Sd4+, Ka7; 3 Sb5
Kb7; 2 Se7+, Ka7; 3 Sc8
Try 1 Kb5?, Rg8!;
2 Sd4+ ?, Ka7! (3 Sb5 ?)
The key invites Black to promote his Pawn to a Queen and give
check at the same time! And the reply to the check is another
quiet King-move, apparently inviting checks from several
directions: 1 Ka5!, Pel=Q+; 2 Kb6! But Black's checks are
now all answered by a shut-off mate from the Bishop + Knight
battery, e.g. 2 ... Qbl+; 3 cSb4; 2 ... Qe3+; 3 Sd4; etc.
Black's alternative first-move defences lead to immediate
openings of the battery: 1 ... Rg8; 2 Sd4 +, Ka 7; 3 Sb5; and
1 ... Kb7; 2 Se7 +, Ka7; 3 Sc8. It is because the Knight needs
b5 in order to mate there in the first of these two variations that
White cannot start 1 Kb5? (1 ... Rg8!; 2 Sd4+ ?, Ka7 !-no
mate).
56
Clearance
Clearance
The key of No. 35 is the very surprising move 1 Qg8! This
CLEARANCE KEY
35 H. GRASEMANN
First Prize, Horizon! Tourney, 194 7
Mate in three
Key 1 Qg8!
( > 2 Bf7+, Kbl; 3 B X g6)
Bf5; 2 Be6+
Be4; 2 Bd5+
Bd3; 2 Bc4+
Bc2; 2 Bbl+
Try 1 Qf7? Bh7!
1 Qd3? Bc3!
1 Qb4? Bc2!
1 Qa3? Bf8!
threatens 2 Bf7+, Kbl; 3 B x g6. The white Queen clears the

line a2- g8 for the Bishop, but stays on that line, going past the
square (f7) which the Bishop is to occupy. Clearance of this
type is sometimes known as Bristol-clearance. The try 1 Qf7?
makes it quite clear why the white Queen must play as far as
g8: Black can reply 1 ... Bh7 !, and the Bishop is now immune
from capture. Other tries by the Queen to squares off the line
a2- g8 are defeated by moves of one or the other black Bishops:
1 Qd3? Bc3! 1 Qb4? Bc2! 1 Qa3? Bf8!
Two further types of clearance are to be found in No. 36.
36 CLEARANCE
A. HUFNER
First Hon. mention, Sclzach, 1956
Mate in three
Key
1 fRe2, zugzwang
Bxe2; 2 Sh4, B~; 3 Qb2
B X g2; 2 Ra2, B~; 3 Qb2
57
Then1es and Tenns
The white Queen could n1ate on b2 if the Knight g2 and the
Rook f2 were ren1oved and it will be White's task to shift these
' by Black, who is placed in Zugzwang
pieces. In this he is aided
by the key 1 fRe2. This move is a particular type of cleara~ce
known as an Annihilation: the Rook cannot clear the hne
con1pletely, and so plays to a square on which it can be captured
by Black. (It also incidentally prevents other moves by the
black Bishop.) The capturing piece subsequently moves away,
and in so doing opens the line to allow White to mate. After
1 ... B x e2, White continues 2 Sh4-not a clearance, but a
line-vacation, since the Knight leaves the line in question
altogether. The Bishop must then move, and White follows
with 3 Qb2. In the other variation 1 ... B x g2, the white Rook
carries out a Bristol-clearance (2 Ra2) like the one in No. 35,
so that White can mate by 3 Qb2 after 2 ... B moves. The two
moves by the white Rook, 1 fRe2 and subsequently 2 Ra2,
form a clearance in stages (known in German as "Stufen-
bahnung", but without an established name in English problem
terminology).
Further problems featuring clearance will be found under
Doubling, Turton and Zepler-Doubling.
Cook
A cook is a solution not intended by the problem's composer.
Cooked problems are not eligible to compete in tourneys,
although it is usually permissible for a composer to submit a
corrected version of a cooked problem before the closing date
for receipt of tourney-entries.
Correction
(a) BLACK CORRECTION
A black piece moving "at random" -(i.e. to no square in particu-
lar) may automatically allow a white mate. The mate which
follows the "random" move of a black unit is known as a
Secondary Threat (sometimes Contingent Threat). This term is
used because any threat which the key may carry is regarded as
Primary. The black ::?ieee in question, as it moves, commits a
58
Correction
General Error; but by moving to a particular square it may be
able to correct that error by preventing the secondary threat
fron1 functioning as a mate. The correction move will contain
a further error, however, and this, the Secondary Error, will
permit a new white mate.
Let us see how this works in practice, in a problen1 where
three black pieces each move at randotn and then correct the
general error committed by their move. In No. 37 Black is in
BLACK CORRECTION
37 T. TIKKANEN
First Prize, "BABY" Tourney, 1960

Mate in two
Key 1 Qf8, zugzwang
CS'"'-'; 2 Rxe5
Sxe4; 2 Sc7
R,_,; 2 Qd6
Rxe6; 2 Qc5
eS,_,; 2 Qa8
Sc6; 2 Sxc3
Kxe4; 2 Sxc3
Kxe6; 2 Qf7
Kc6; 2 Qc5
Zugzwang after 1 Qf8. There is therefore no primary threat,

but this in no way invalidates the correction play. If the Sc3
moves at random, he makes the general error of opening the
line c2-c6, so that one of Black's three flights (c6) is guarded,
and a second guard is put on the square c4. This enables White
to mate by 2 R x e5, the other two flights (e4 and e6) now being
held by the mating Rook. The correction move (secondary
defence) is the capture of this Rook: 1 .. .. S x e4. The new error
is self-block of e4, so that mate is now possible by 2 Sc7.
What of the other Knight? A random move by this piece
opens the line e4 to e6, and at the same time unguards c6.
White therefore mates with 2 Qa8. The correction is clearly
1 ... Sc6, which again is a self-block of a flight, allowing
2 S x c3. The Rook, too, has both random and correction
moves : 1 .. . R~ opens the line h7-e4, permitting 2 Qd6, while
1 ... R x e6 once again blocks a flight, and 2 Qc5 follows. The
59
Themes and Terms
v~riations of this fine problem are completed by three King-
flights, one of which (1 ... K x e6) leads to a pin-mate (2 Qf7).
No. 38 shows three corrections by a single black piece, in
CHANGED CORRECTION
J. HARING
First Prize, Sach, 1963
Mate in two
Try 1 eSxd4? (> 2 Qxc6)
cS~; 2 Se2
Sb4; 2 Sxe7
Se5; 2 Se3
Qg3!
Key 1 fS X d4! ( > 2 Q X c6)
cS~; 2 Sf5
Sb4; 2 Pxc4
Se5; 2 Sf4
Pf5; 2 Sxc6
Qg3; 2 Sxc6
both virtual and post-key play. 1 eS x d4? threatens 2 Q x c6,

and 1 ... S,_, defeats the threat by removing the Knight from
the capture-square. The general error is unguard of the Rook +
Knight battery on the d-file, so that the shut-off 2 Se2 will mate.
1 ... Sb4 defends against this secondary threat by maintaining
the guard on the battery, but interferes with the Ba3, with the
result that White can mate by 2 S x e7. (Notice that 1 ... Sb4
also interferes with the Ra4, but this interference cannot be
exploited because the black Bf1 guards c4 and so prevents
2 P x c4.) A second correction 1 ... Se5 also ·maintains the
guard on the battery, but interferes with the Re7, thus allowing
2 Se3. The third correction is a capture of the moving-piece of
the battery, 1 ... S x d4. White simply recaptures with the Rook.
These variations form the virtual play, for 1 eS X d4? is only a
try, defeated by 1 ... Qg3! The key sets up an identical battery,
but introduces new mates to follow the black Knight's random
move and two of its three corrections: 1 fS X e4 !, with the same
threat as before. The play now runs: 1 ... cS,.._,; 2 Sf5 (shut-off);
1 . .. Sb4; 2 P x c4 (exploiting the other interference this time);
1 .. . Se5 ; 2 Sf4 (self-block with white interference); and finally
60
Correction
an unchanged variation, 1 ... S x d4; 2 R x d4. The move which
defeated the try, 1 ... Qg3, is followed, like 1 ... Pf5, by
2 S X c6-a second battery-opening.
Random and correction moves are found in three phases in
No. 39. In the set play, 1 ... s~ unguards the line a3-d6 and
BLACK CORRECTION: ZAGORUYKO
39
B. ZAPPAS
First Prize, Schach, 1959
Mate in two
Set 1 ... S~; 2 Q X a3
Sc5; 2 Qc7
Try 1 Sb4? (> 2 Rd3)
s~; 2 Pc5
Sc5; 2 Sb5
Rf6!
Key 1 Sc7! (> 2 Rd3)
s~; 2 Rxe6
Sc5; 2 cSb5
allows 2 Q x a3, while the self-block correction 1 ... Sc5 leads

to 2 Qc7. Any move by the Sd5 eliminates both these mates by
removing White's second guard of c7. If White tries 1 Sb4 ?, the
threat is 2 Rd3, and Black defends by pinning the white Rook.
1 ... s~ allows 2 PeS, and the secondary defence 1 ... Sc5 is
again a self-block, \Vhich White this time exploits with a self-
interference mate: 2 Sb5. Black may also defend against the
primary threat with any move by his Rook, but a random move
unguards e5 and so permits 2 Qe5. However, this Rook may
correct by shutting off the white Bishop's guard of this square:
1 ... Rf6! This is the move which defeats the try, and because
it is a correction it fits in most harmoniously with the theme of
the problem. The key 1 Sc7! carries the san1e primary threat as _
the try, but the secondary threat and the mate following the
secondary defence are again changed: 1 ... S~; 2 Rxe6;
1 ... Sc5; 2 cSb5. A further change between virtual and post-key
play may also be noted: after 1 Sb4? Black may defend with
1 ... Q x g7, which leads to 2 Sc8. Following the key this same
defence permits 2 Se8. This probletn illustrates the Zagoruyko
theme.
61
The1nes and Tenns
A three-move device en1bodying correction play is seen in a
fairly simple form in No. 40. The key 1 Ra3 is a square-
CONSECUTIVE CORRECTION
40
G. BONIVENTO
First Prize, To Mat Theme Tourney,
1963
Mate in three
Key
1 Ra3 (> 2 Qb3)
rs~; 2 Qf7
Sd6; 2 Re3, dS~; 3 Qf7
Sf5; 3 Sf4
Se7; 2Rd3, dS~; 3Qf7
Sf5; 3 Qd5
vacation threatening immediate mate by 2 Qb3. The Sf5 can

defeat this threat by square-vacation, but the general error is
line-opening to allow another short mate by 2 Qf7. This
secondary threat is defeated by 1 ... Sd6, whereupon White
plays 2 Re3, with the new primary threat of 3 P X d6. A random
move by the Knight now reintroduces the original secondary
threat 2 Qf7, but this can be corrected by a return to the
Knight's original square. The white Rook has now blocked the
Queen's line to b3, so that mate cannot be given on that square;
but the Rook now holds e5, with the result that White can
exploit the self-block of f5 with the self-interference 3 Sf4.
Black's other first-move correction, 1 ... Se7, allows the con-
tinuation 2 Rd3, with the threat of 3 Rd6. Again the Knight
defends with a random move, and again the original secondary
threat reappears: 3 Qf7. The correction 2 ... Sf5 is once more
exploited as a self-block: White mates by 3 Qd5. When the
same black piece carries out corrections on successive moves,
we speak of Consecutive Correction.
No. 41 illustrates two quite different types of correction. The
key 1 Qf3 threatens 2 Qd5, and this primary threat may be
defeated by any move by either black Knight. If I ... gS""';
2 Se3 (the general error is unguard). The correction 1 ... gSf4
unpins both Black and White: the Pd4 is unpinned to defeat
62
~---~--. _.. . ... - - ------
Correction
41 ARRIVAL CORRECTION ( + UNPIN
OF WHITE)
S. S. LEVMAN
Third Prize, Tijdschrift v.d. Neder/andse
Schaakbond, 1937
Mate in two
Key 1 Qf3 ( > 2 Qd5)
gS'"'"'; 2 Se3
gSf4; 2 Rx d4
dS'"'"'; 2 Qc3
dSf4; 2 Rc6
the secondary threat, and the Rd6 is unpinned to give the new
mate 2 R X d4. The other black Knight has analogous defences:
1 ... dS,_,; 2 Qc3; and 1 ... dSf4; 2 Rc6. Once again two pieces
are unpinned simultaneously by the secondary defence. ·
All right, you may say, how does all that differ from the sort
of correction we have examined so far? It doesn't, if looked at
simply, as in the above analysis. But let us look more carefully
at the two moves 1 ... gSf4 and 1 ... dSf4, the two secondary
defences. Let us suppose that a dutnmy black piece with no
powers whatever were to arrive on f4. The white Rook would
then be unpinned, but would be able to mate only by 2 R x d4,
the move which follows 1 ... gSf4. This move might be regarded
as a "random unpin" of the Rook. But playing the other Knight
to f4 prevents 2 R X d4 by opening a black line to guard d4,
even though it looks as though 2 R x d4 ought to be possible,
since the Rook is unpinned. No, this move 1 ... dSf4 is a correc-
tion of the general error of unpinning the Rook by arrival on
the line g3- e5. Like any other correction move, this must
commit some further error if White is to have an effective mate,
and in this case the further error is that of allowing the un-
pinned Rook to mate on the c-file: 1 ... dSf4; 2 Rc6. This type
of correction, where Black corrects the general error of arriving
on a particular square or line, is known as Arrival Correction.
The two types of correction we have just seen in No. 41
appear again in No. 42, but combined to create a special
correction effect. The key 1 R X e6 sets up a powerful Bishop +
Rook battery to threaten 2 R X g6, but at the same time allows
63
Themes and Terms
42 BLACK CORRECTION:
TERTIARY J>LA Y
S. BREHMER
First Prize, Schach, 1951/1
Mate in two
Key 1 R X e6 (> 2 R X g6)
s~+; 2 Sxf2
Sd3+; 2 Re3
Se4+; 2 Rb6
Rxe6; 2 Qe2
the black Bishop + Knight battery to function, by departure

from e3. A random move by the black Knight enables White to
parry the check by 2 S X f2, since the Knight has opened the
white Queen's line of guard to g5. Black can clearly correct
against this secondary threat by playing to d3 or e4 to guard f2.
Both 1 ... Sd3+ and 1 ... Se4+ interfere with the Bbl, and so
seem to allow mate by the Bishop + Rook battery. However,
the Re6 must remain on the e-file, for otherwise Black will be
able to play 2 ... Re6! After the secondary defence I ... Sd3 +,
White can play 2 Re3 all right: the Bb 1 is interfered with by
Black, and White shuts off the Re1. But 1 ... Se4+, though
committing the same error of interfering with the Bishop,
corrects the general error of arriving on the line b 1-f5 by
preventing the white Rook from playing to e3. We called
1 ... Sd3 + the secondary defence, and so, since that move is
also a general error which is subsequently corrected, we must
caii 1 ... Se4+ a tertiary defence. White's reply is 2 Rb6: the
Knight, by arriving on e4 ·instead of on d3 , has cut out 2 Re3,
but at the same time has interfered with the Rei, with the
result that the white Rook can now leave the e-file. Black's
tertiary defence illustrates arrival correction. Notice that in the
preceding example the arrival correction was effected by the
arrival of a different black piece on the same square as that on
which the random arrival error was committed, whereas here
the same black piece corrects by arriving on a different square
on the same line.
Readers who have found the complexities of tertiary play
64
Cm-rection
quite taxing enough would be well advised to postpone their
study of the next problem! Robin Matthews, while preparing
the three-move section of "Chess Problems: Introduction to an
Art" in I96I, discovered that there were few really satisfactory
examples of Quaternary Correction, and so set about con1posing
one. Because a black Knight can arrive on a maximum of two
squares on a straight line, it is necessary to use a bent line, in
three-move form, if the Knight is going to be made to correct
its random arrival error twice over, the second correction
itself being a correction of the first. The key of No. 43, 1 Bc6,
43 BLACK CORRECTION:
QUATERNARY PLAY
R. C. 0. MATTHEWS
First Prize, The Observer, 1964
Mate in three
Key
1 Bc6 (> 2 Re3+, Pxe3; 3 Pd4)
fSt"-1; 2 R X e7 +, Re6; 3 R X e6
Sg6; 2 Pc3, ,-....; 3 P X d4
Se6; 2 Kx b2, ,-....; 3 Sc4
Sd5; 2 Sb5, ,-....; 3 B x d4
threatens 2 Re3 +, P x e3; 3 Pd4. Obviously a random move by

the Sf4 defeats the threat by square-vacation, and such a random
move (e.g. 1 ... Sh3) enables White to continue 2 R x e7 +,
Re6; 3 R x e6. Three black Knight-rnoves prevent this: 1 ... Sg6,
I ... Se6 and 1 ... Sd5, and all three interfere with the Rh6 by
ensuring that the defence 2 Rd6 does not defeat a threat of
mate on d4. After I ... Sg6, White continues 2 Pc3, the second-
ary threat which itself carries the third-move threat of 3 P x d4.
1 ... Se6 and I ... Sd5 correct against 2 Pc3 by either guarding
d4 or threatening to capture on c3. However, both these moves
by the black Knight interfere with the Be8! This is because the
move 2 ... B x f7 is no longer a defence against a threat of mate
on c4 if e6 and d5 are blocked. 1 ... Se6 allows White to proceed
with 2 K x b2, followed by 3 Sc4. But this will not do after
I ... Sd5, because Black can defend with 2 ... Se3 or 2 ... Sb6.
However, I ... Sd5 is a self-block, for it permits White to con-
tinue with 2 Sb5, and now the defence 2 ... B x c6 (which would
65
Themes and Tenns
previously have obtained a flight for Black on d5) cannot
prevent the threatened 1nate 3 B X d4.
A summary of these variations with the appropriate tennin-
ology 1night be helpful. White's key carries the pri1nary threat
2 Re3 +. Black's Sf4 moves at randon1 and commits the general
error of unguarding e6, so that the secondary threat 2 R X e7 +
can be played. The secondary defence 1 ... Sg6 corrects, but
interferes with the Rh6 to allow 2 Pc3 (the tertiary threat).
1 ... Se6 commits the same error as the secondary defence, but
corrects it by guarding d4: this is therefore the tertiary defence.
The error inherent in this defence is that of preventing 2 ... B X f7
as an adequate defence against 3 Sc4 mate after 2 K X b2. The
quaternary defence 1 ... Sd5 commits the same errors as both
the secondary defence and the tertiary defence, but corrects both
by threatening 2 ... S x c3 if White ·were to c_ontinue 2 Pc3 ?, or
2 ... Se3fb6 after 2 K x b2? The quaternary defence carries the
final error of self-block of d5, so that 2 Sb5 may be played with-
out the fear of 2 ... B x c6 to prevent 3 B x d4.
(b) WHITE CORRECTION

The principle of Correction can be applied to white pieces as
\Yell as to black. White Correction is a try-play theme when
presented in two-move form, and is illustrated by Nos. 44 to 47.
In No. 44 a random move by either White Knight threatens
WHITE CORRECTION
44 (HALF-BATTERY)
B. P. BARNES
Commended, British Chess Magazine,
1961
Mate in two
Try I bS~?, Rc7!
Try 1 Sc4 ?, Pb3! (2 Qa4 ?)
Try 1 cS~?, Rxd5!
Key 1 Sb5! (> 2 bS~)
Rxd5; 2 Qa7
Pb3; 2 Qa4
mate by a move from the other Knight, and Black has only his
Rook and Pawn with which to parry any such threat. If the
66
Correction
Sb2 moves at random, I ... Pb3 leads to 2 Qa4, but 1 ... Rc7!
d~feats, as the Queen + !(night battery cannot now open to
g1ve n1ate. So White corrects with 1 Sc4 ?, which cuts out
I_. .. Rc7? as an adequate defence. But 1 ... Pb3! now defeats,
Since the Queen can no longer play to a4. A random move by
the Sc3 again threatens a battery-opening; 1 ... Pb3 leads, as
before, to 2 Qa4, but 1 ... R x d5! defeats. The correction
1 ~b?! (an anticipato~y closing of the line d5-a5) is the key:
this IS the only safe move that either Knight can make. 1 ...
R X d5 is now answered by 2 Qa7, but the post-key play is not
o~ great importance, for the point of the problem lies in the
tnes.
The same is true of No. 45, but here the composer has
WHITE CORRECTION
H. AHUES ·
45
Second Prize, Schach-Echo 1960
Mate in two
Set 1 ... Bx d5; 2 Sd2
Try 1 dB~? (> 2 Rd4)
Bxd5!
Try 1 Be5?, Bxd5; 2 Qxf4
Ba7! (2 Re5 ?)
Try 1 Bf6?, Bxd5; 2 Bxf5
Rd8! (2 Sf6 ?)
Key 1 Bg7!, Bxd5; 2 Sg5
Kxd5; 2 Qf3
Ba7; 2 Re5
Rd8; 2 Sf6
incorporated some changed play after each try. The move \Vhich
defeats the random move of the white Bd4, instead of being
ruled out as a defence, as happens in No. 44, is here followed by
a new mate which differs according to the arrival-square of the
Bishop. Furthermore, this defence has a set mate, which is
abandoned as soon as the Bishop moves. Set: 1 ... B X d5;
2 Sd2. Try 1 dB~? ( > 2 Rd4), Bxd5! Correct the general
error of moving this Bishop with 1 Be5 ?, so that 1 ... B x d5 is
followed by 2 Q x f4. But now 1 ... Ba7! defeats, since 2 Re5?
cannot be played. So correct again with 1 Bf6? .Now 1 ... B x d5
67
Thentes and Tenns
leads to 2 B x f5, but there is nothing after I ... Rd8! (2 Sf6 is '!
impossible). The key is the further correction 1 Bg7 !, whJch
introduces yet another n1ate after 1 ... B x d5: 2 Sg5. 2 ReS and
2 Sf6follow 1 ... Ba7 and 1 ... Rd8 respectively, while 1 ... K X d5
pennits 2 Qf3. White correction is here presented with great
clarity, and, furthermore, with great unity: the correction tries
both fail because the Bishop occupies a square required by
another white piece, and these tries and the key are united not
only by the fact that they are corrections of a random move, but
also because each closes a black line in order to effect the
thematic changes.
Readers who have studied the example of Black Correction
showing tertiary play will doubtless wonder whether such
effects are obtainable with White Correction. No. 46 shows how
WHITE CORRECTION:
TERTIARY PLAY
46
P. BARNES and A. C. REEVES
B.
Die Schwalbe, 1966. Second hon.
mention,
Mate in two
Set 1 ... Bxe6; 2 Sc3
Try 1 K,_,? (> 2 Sc7)
Bxe6!
Try 1 J( X b7 ?, B X e6; 2 Bc6
Rbl!
Key 1 Kb6!, Bxe6; 2 Sb4
Rbl; 2 Sf4
Kxe6; 2 Qxc4
this may be achieved. The white tries and key are made)
curiously enough, by the King. If the King moves at random
(e.g. to the eighth rank) to threaten 2 Sc7, the mate set in reply
to 1 ... B x e6, namely 2 Sc3, is abandoned. The white general
error is unguard of d6 by the King. 1 K x b7? corrects by sub-
stituting the new n1ate 2 Bc6 to follow 1 ... B x e6, but fails
because Black now has the pinning defence 1 ... Rb1 !, to which
White has no reply. The key 1 Kb6! retains the primary error
of unguarding d6 and also the secondary error of permitting the
pinning defence, but, by guarding c5, introduces new mates to
68
Correction
meet both defences: 1 ... B x e6; 2 Sb4; and 1 ... Rb 1 ; 2 Sf4.
It is the retention of the secondary error in the key-move whic~
makes this problem an example of tertiary play, and a compa~t
son of the nature of the key with that of the key of No. 45 Will
clarify the point. In Ahues' example the key succeeds because
it simply fails to commit a secondary error.
White Tertiary Arrival Correction is found in No. 47. 1 Be5?
WHITE TERTIARY ARRIVAL

CORRECTION
47
A. C. REEVES
Second Hon. mention, British Chess
Magazine, 1965
Mate in two
Try 1 Be5? (> 2 Rd4)
Bf2; 2 Sd2
Sc2!
Try 1 cSe5? (> 2 Rd4)
Sc2; 2 Bxd3
Bf2!
Key 1 gSe5! (> 2 Rd4)
Bf2; 2 Qg4
Sc2; 2 Qxf3
represents a random arrival on e5, and threatens mate by the

unpinned Rook d6. 1 .. . Sc2! defeats. 1 cSe5? improves on
this by arranging a mate to follow 1 ... Sc2, viz. 2 B X d3. But
Black can now play 1 ... Bf2!, since White has committed a
secondary error by giving up the mate 2 Sd2. The key, 1 gSe5 !,
like the try 1 cSe5?, corrects the primary error committed by
1 Be5 ?-failure to cope with 1 ... Sc2 (2 Q x f3 can now be
played). But the key, while maintaining the secondary error
committed by 1 cSe5 ?-abandonment of the mate 2 Sd2 after
1 ... Bf2-is a tertiary correction, opening h5- f3.
White Correction may be found in the second-niove continua-
tions of a three-mover. Really convincing examples, like No. 48,
however, are rare. The key 1 Qg7 sets up a block position.
Note that it does not threaten 2'eS'""+ ?, even though 2 ... Kc5
is followed by 3 Qg1, because of 2 ... Be4! The Se4 cannot
69
Then1es and Tenns
WHITE CORRECTION + BLACK
CORRECTION
J. SCHEEL
48 First Prize, U.S. Chess Federation
Tourney, 1946-8
Mate in three
Key
1 Qg7, zugzwang
Bbl; 2 Sc3+, Kc5;
3 Sxa4
Bd1; 2 Sf6+, Kc5fxd6;
3 Sd7
Bb3; 2 Sc5+, Kxc5;
3 Qgl
Bxe4; 2 Bxe4+, Kc5;
3 Qgl
Kd5; 2 Rh5+
S,_,; 2 Qxc7+
afford to move until the black Bishop has first done so. 1 ... Bbl,
unguarding a4, allows the continuation 2 Sc3 +, Kc5; 3 S x a4-
not 2 eS~+ ?, because 2 ... Be4! is still playable. 1 ... Bd1
removes the Bishop from its potential guard of the line h6-d6,
which means that White may play 2 Sf6+, followed by 3 Sd7
after 2 ... K x d6 or 2 ... Kc5. (2 eS~+ ? fails to 2 ... Bf3 !) The
black Bishop can avoid the error of unguarding a4, and at the
same time correct the error of relinquishing control of the line
h6-d6, by playing 1 ... Bb3. Now 2 eS,_,+ will work, because
2 ... Bd5 is followed by 3 Q x c7. But the White Knight cannot
simply depart from e4: it must arrive somewhere. 2 Sg5+ ?,
2 Sg3 + ? and 2 Sf2+ ? cannot be played, because 3 Qg1 must
remain possible as a reply to 2 ... Kc5. 2 Sf6+? fails to
2 ... Kxd6! (3 Sd7?, Be6!), and 2 Sd2+? and 2 Sc3+? will
not work, on account of 2 ... Kc5! (3 Qgl ?, Kb4). So it turns
out that the only "random" move available to the Knight is
2 Sc5 + ! This beautiful combination of white and black
correction-play is enriched by the fact that the three thematic
variations, and also the line 1 ... B X e4; 2 B x e4+, Kc5;
3 Qgl, end in model mates.
70
Critical Play
Critical Piay
A critical move is one in which a piece passes over a square
(known as the critical square) with the result that any other
piece moving subsequently to that square \vill produce an
interference. No. 49 is a simple but clear example of black
49 CRITICAL PLAY
J. MOSTERT
First Prize, The Problemist, 1964
Mate in three
Key
1 Rd2 (> 2 Rxd5+, Pxd5; 3 Sxd6)
R X d2; 2 Bc8 (3 B X e6) ·
... Sd4; 3 Sxd6
B x d2; 2 Be2 (3 Bg4)
... Se3; 3 Sh6
critical play in two main variations. With 1 Rd2, White threatens

2 R x d5 +, P x d5; 3 S x d6. 1 ... R x d2 is a critical move with
respect to the square d4: White continues 2 Bc8 (> 3 B x e6),
and if Black defends with 2 ... Sd4, White exploits the interfer-
ence with the Rook with 3 S x d6. This variation is echoed by
I ... B x d2 (critical with respect to e3); 2 Be2 (> 3 Bg4), Se3;
3 Sh6.
Critical play may be conveniently classified as follows:
Critical move Advantage gained Subsequent occu-
made by by pation of critical
square by
A Black (i) White (a) Black
(b) White
(ii) Black (a) Black
(b) White
B White (i) White (a) White
(b) Black
(ii) Black (a) White
(b) Black
No. 49 illustrates type A (i) (a).
71
The1nes and Terms
Type A(i)(b) is the very common strategy of shut-off.by ~hite
after Black has played across a critical square. No. 50 ts a JUstly
CRITICAL AND ANTI-

50 CRITICAL PLAY
M. BARULIN, G. P. GOLUBEV, A. P.
GULYAEV, L. LOSHINSKI, E. UMNOV and
V.I. SCHIFF
"64" 1932
'
(in memoriam L. Isaev)
Mate in two
Key 1 Rb5 (> 2 Se4)
Qd5; 2 Bg4
Qa8; 2 Sb7
Re5; 2 Sxf4
Rxe7; 2 Se6
fan1ous example, in which anti-critical strategy is also featured,

in each of Black's thematic defences. The key 1 Rb5 threatens
2 Se4, which simultaneously shuts off the black Queen and eR
from the line b5-h5. Black defends by playing these two pieces
on to or beyond that line, so that 2 Se4 becomes ineffective
as a shut-off. Such defences are anti-critical with respect to e4.
1 ... Qd5 allows 2 Bg4. 1 ... Qa8, however, prevents this mate
by pinning the Bc8. But in playing to a8 the black Queen
crosses not only e4 but also a second critical square, b7. White
is thus able to play 2 Sb7, again shutting off the black Queen,
but this time on the other side of the fifth rank. Note that the
Re2 is pinned as soon as the Queen leaves th~ line d1-h5. An
analogous pair of defences is made by this Rook, the Queen
becoming thematically pinned. 1 ... ReS, crossing anti-critically
the square e4, leads to 2 S x f4. 1 ... R x e7, however, removes
the second guard from h4 so that 2 S x f4? no longer mates.
But, like 1 ... Qa8, this defence crosses a second critical square,
this time e6, so that 2 Se6 becomes playable.
A black critical move to .Black's advantage, whether the
subsequent interference is carried out by Black or by White,
cannot be shown in a problem of fewer than four n1oves. No.5
72
Critical Play
51 CRITICAL PLAY
J. KoHTZ and C. KocKELKORN
Schachaufgaben, 1875
Mate in five
Key
1 Be5, Bhl;
2 B x g3 (3 Bd6; 4 Bf8; 5 Bg7)
Try
1 Bb2 ?, 1 Bc3 ?, 1 Bd4 ?, Bhl!
(> 2 ... Pg2!)
a miniature five-mover, gives an indication why this is so. It is

clear that White must eventually mate on g7 with the Bishop.
Black's only hope of preventing this lies in the creation of
stalemate, which might be done by means of the critical move
1 ... Bhl, followed by the interference 2 ... Pg2, paralysing the
Bishop. If by this time White is about . to play 3 Bf8 (e.g.
1 Bb2?; 2 Ba3 ?), stalemate ensues. White must therefore select
his key with care, so as to forestall Black's stalemate plans.
1 Be5! must be played, so that 2 B x g3 removes the offending
Pawn after 1 ... Bhl. Black's threatened manoeuvre illustrates
our critical-play category A(ii)(a).
A critical move made by White to his own advantage, with
subsequent white interference (a three- or more-move tactic), is
the main feature of the Indian and Turton themes, under which
headings examples will be found.
Nos. 52 and 53 show critical play by white pieces as tries,
with Black gaining the advantage from the crossing of the
critical square. In No. 52 the try 1 Rg2? (> 2 Qh4) fails to
1 ... R x f4! because 2 Sg4? cannot be played: the Knight
cannot afford to cut the white Rook's guard of g5. Similarly
1 R x d5? is refuted by 1 ... B x f4 !, because 2 Be5? would
again close the Rook's line of guard to g5. Two further tries
show square-block rather than critical play: 1 Rg4? failing to
1 ... Rh5 !, since 2 Sg4? is not now playable; and 1 ReS?, ruling
out 2 Be5? after the refutation 1 ... Bb6! With 1 Rh5 !, however,
White plays his Rook to a square where it neither crosses nor
blocks a square needed for mating. The critical tries illustrate
category B(ii)(a).
73
Themes and Tenns
CRITICAL TRIES
E. VISSERMAN
Third Prize, Schaclz, 1959
52
Mate in two
Try 1 Rg2? ( > 2 Qxh4)
Rxf4! (2 Sg4?)
Try 1 Rxd5? (> 2 Qxh4)
Bxf4! (2 Be5?)
(Try 1 Rg4? (> 2 Qxh4)
Rh5 ! (2 Sg4 ?)
Try 1 ReS? ( > 2 Qxh4)
Bb6! (2 Be5 ?))
Key 1 Rh5! (> 2 Qxh4)
Rx f4; 2 Sg4
Bxf4; 2 Be5
(Sxg6; 2 Rf5
Sf7; 2 Re6)
CRITICAL TRIES
53 H. AHUES and A. VoLKMANN

First Prize, SV Dortmund-Hombruch-
Barop, 1951
Mate in two
Try 1 Ba2? Sb3!
Try 1 BaS? Sb7!
Try 1 Bg8? Se6!
Try 1 Bh1? Se4!
(Try 1 Bc6? Rd8!)
Key 1 Bc4! ( > 2 Rd5)
cS,-J; 2 Sd3
Rd8; 2 Sc6
Sf6· 2 Bd6
'
Critical tries where Black plays the subsequent interference
move (type B(ii)(b)) are less subtle than those found in No. 52,
but lend themselves to economical presentation, as is shown in
No. 53. To vacate d5 in order to threaten 2 Rd5, the Bishop
tries playing to a2, a8, g8 and hl, but whichever direction it
chooses its guard of d5 can be shut off by the Knight c5, so that
the white interference mate 2 Sd3 becomes unplayable. The
Bishop must therefore remain inside the range of the black
74
Cross-check
Knight (i.e. must avoid crossing a critical square). 1 Bc6? fails
to 1 ... Rd8! (2 Sc6 ?), so only 1 Bc4! will do.
Pericritical play, in which a piece moves round, rather than
across, a critical square, is illustrated by No. 192, and is also
found in No. 76 (under Doubling) and No. 214 (under Roman).
Cross-check
It has long been one of the problem composer's favourite
devices to allow Black, invariably the underdog in the direct-
mate problem, a chance to ·carry out one ~ast attack on the
white King before his own King finally succumbs. One of
White's three possible ways of answering a black check is by
placing a piece on the check-line. In the two-mover any piece
which interposes on the check-line must itself inflict mate,
either directly or by opening a white battery. Such a reply to a
black check is known as a cross-check.
The great master of the cross-check is undoubtedly Comins
Mansfield. No. 54 is one of his less well-known examples. The
. CROSS-CHECKS
54 -j C. MANSFIELD
Second Prize, La Settimana Enigmistica,

1935
Mate in two
Key 1 Kf5 (> 2 Bxc5)
Bd4+; 2 Be5
Be3+; 2 Sc5
B x d6+; 2 Sb5
Rfl+; 2 Sf2
Rdl; 2 Sd2
Sd7; 2 Qd5
Sc7; 2 Qxc7
key 1 Kf5 is entirely thematic in that it exposes the white King

to the checking defences which are to form the main variations
of the problem. The Bc5 produces three of these variations.
The threat is 2 B X c5, and this same move follows checks .by
the black Bishop if it moves to b4 or a3. If, however, Black
75
Themes and Tenns
plays 1 ... Bd4+, 2 Bc5? fails to 2 ... Bf6! So the shut-off
2 Be5 must be played-a double shut-off, because not only the
check-line but also the Bishop's line from d4 to f6 must be
closed. 1 ... Be3 + allows no mate from the Rook + Bishop
battery on the sixth rank (2 Bf4? does not parry the check).
But this defence interferes with the Re 1, so that White can now
play 2 Sc5. Supposing Black plays 1 ... B x d6+, a move which
allows neither the Rook + Bishop batter-y nor the Bishop +
Knight battery to function? This is a self-pin: the black Bishop
cannot return to c5, and so the previously masked battery con-
sisting of Rook + Knight can open with the mate 2 Sb5. A
further check introduced by the key is 1 ... Rf1 +, which White
can meet with the cross-check 2 Sf2. Three by-play variations
(1 ... Rd1; 2 Sd2; 1 ... Sd7; 2 Qd5; and 1 ... Sc7; 2 Q x c7)
complete a typical Mansfield cross-check masterpiece.
The checks in No. 55 are inflicted by black King-moves to
CHANGED CROSS-CHECKS
55
A. VOLKMANN
First Prize, Lippische Landeszeitung,
1951
Mate in two
Try 1 Rd2? (> 2 Rd5)
Ke5+; 2 cSd3
Kg5+; 2 Se4
Rh2!
Key 1 Qd2! (> 2 Qd5)
Ke5+; 2 Sg6
Kg5+; 2 fSd3
the orthogonal flights e5 and g5. White's set mates are given by
the Queen + Knight battery: 1 ... Ke5 + ; 2 cSd3; and 1 ...
Kg5 + ; 2 Se4. These mates are emphasised by means of the try
1 Rd2? (> 2 Rd5), which, however, fails to the pinning defence
1 ... Rh2! The key 1 Qd2! changes the set mates, replacing them
with moves from the Sf4: 1 ... Ke5 +; 2 Sg6; and 1 ... Kg5 + ;
2 fSd3. Notice that, in mating, this Knight must take care which .
he picks of the two squares g6 and d3. 2 fSd3? after 1 ... Ke5 +
76
Cross-check
would allow 2 ... Kd5!: the Knight tnust therefore avoid inter-
fering with the Queen's guard of d5. Sitnilarly, after 1... I<g5 +,
2 Sg6? cannot be played because of 2 ... Kh5-the Knight
n1ust not cut the line of guard to h5 from the Be8. More about
this type of strategy will be found under the heading Dual
AYoidance.
Cross-checks are, of course, frequently found in the three-
mover and longer problems, and tnay occur at any stage in the
course of the solution. In No. 56 Black's set checks with the
CHANGED CROSS-CHECKS
Y. G. VLADIMIROV
First Place, U.S.S.R. Championship,
56 1960
Mate in three
Set
1 ... Qb4+; 2 Sd6+, Kg5;
3 Bf4
Qh4+; 2 Sg5+, Kxg5;
3 Bf4
Key
1 Qa8 (> 2 Pc8 = Q+, Ke4; 3 Rd4)
Qb4+; 2 Bd6+, Ke4;
3 Sg5
Qh4+; 2 Bf6+, Ke4;
3 Sd6
(Q x e5+; 2 Rxe5+,B x e5;
3 Pc8 = Q)
Queen on b4 and h4 are answered in the set play by cross-

checks from the Sf7, followed by mate on the third move by the
Bishop, exploiting Black's first-move unpins. After the key
1 Qa8 ( > 2 Pc8 = Q +, Ke4; 3 Rd4), the unpins are exploited
straightaway: 1 ... Qb4+; 2 Bd6+; and 1 ... Qh4+; 2 Bf6+.
In each case Black's only possible second move is 1 ... Ke4, and
now White's original second-move continuations reappear as
third-n1ove mates: 3 Sg5 and 3 Sd6-the white Knight avoiding
playing to a square held by the black Queen.
A special kind of three- and more-move cross-check, known
as the Brede cross-check, is featured in No. 57, where it is
77
Then1es and Tenns
57 BREDE CROSS-CHECKS
G. J. BouMA
First Prize, De Waarheid, 1965
Mate in three
Key
1 Kb8 (> 2 Qe5+/Sxe7+)
Bg3+; 2 Se5+, Rd6;
3 Sxg4
Rbl +; 2 Sb4+, Bb6;
3 Sd5
combined with pin-mates. The key 1 Kb8 (two threats, 2 Qe5 +

and 2 S X e7 +) unpins the Sc6 but exposes the wh.ite King to
checks from two directions. 1 ... Bg3 + is answered by 2 Se5 +.
The white Knight is now pinned, and is unpinned again by
Black's second-move reply to the check from the Rook,
2 ... Rd6. Now the Knight is free to mate, and can exploit the
fact that the Bf3 was pinned by Black's first move: 3 S x g4. In
the parallel variation 1 ... Rb 1 +, the Knight becomes pinned
on the b-file: 2 Sb4+. Now the Bf3 is again left pinned as
Black parries White's second-move check with 2 ... Bb6. And
this move once again unpins the white Knight to allow the
pin-mate 3 Sd5. Brede cross-check consists in its simplest form
of a white cross-check with a subsequent unpin by Black of the
piece which has parried Black's original check: this piece then
mates. In this example the theme is shown in two variations,
with the embellishments of a highly thematic key permitting
the checks and unpinning the piece which is to parry them, and
a black half-pin line which gives rise to eventual pin-mates.
The only serious weakness of this problem is the double
threat.
Cyclic Play
Before attempting to understand the intricacies of Cyclic Play,
the reader is advised to look at the article on Reciprocal Play
on page 211 and study the problems under that heading. Whereas
Reciprocal Play requires two related elements, Cyclic Play
needs at least three. The nature of the cycle involved depends
78
Cyclic Play
on the theme into which it is incorporated. We shall discuss
so1ne of the commonest types of Cyclic Play.
Cycles linuted to the post-key play of a two-mover are found
in the first four examples. No. 58 i~lustrates an interference
58 INTERFERENCE CYCLE
G. F. H. PACKER
Second Hon. mention, British Chess
Magazine, 1944
Mate in two
Key 1 Sg8 (> 2 Pg6)
Re5; 2 Sf6
Be3; 2 Pg4
Rf3; 2 Kg2
Be4; 2 Be8
cycle, in which the important pieces are the black Rooks and
Bishops. For the sake of clarity we shall refer to these units as
piece W (the Rei), piece X (Bd4), piece Y (Rd3) and piece Z
(Bc6). The key 1 Sg8 threatens 2 Pg6, and each of the four
lettered pieces can defend against this threat. If Black plays
1 ... Re5, White replies 2. Sf6-piece W has interfered with
piece X. 1 ... Be3 leads to 2 Pg4: here piece X interferes with
piece Y. After 1 ... Rf3, the mate is 2 Kg2, which exploits the
interference of piece Y with piece Z. Finally piece Z defends,
and in so doing interferes with piece W: 1 ... Be4; 2 Be8. The
cycle is complete: each piece defends once and is interfered with
once. It will be observed that the interferences all take place on
different squares. A four-piece interference cycle in a two-mover
with all the interferences on the same square has been achieved,
but at the cost of a checking key.
Dual Avoidance is basically a reciprocal idea: the move avoided
in one variation usually appears as the 1nate in the other, and
vice versa. No. 59 shows how a fa1niliar dual-avoidance theme
(Mari) can be extended to show cyclic avoidance. In each of
three variations, only one white move will mate, while a second
must be avoided. The possibility of playing the third does not
arise at a]l. The threat carried by the key 1 Rd3 is 2 Re3, and
79
Tlze1nes and Terms
CYCLIC DUAL AVOIDANCE
59 S. BREHMER
First Prize, ex aequo, 91st Theme Tour-
ney, Die Sclzwalbe, 1949
Mate in two
Key
1 Rd3 (> 2 Re3)
Rxc3; 2 Sf2 (A)
not Sd6? (B)
Bxd3; 2 Sd6 (B)
not Bd5? (C)
Sxd2; 2 Bd5 (C)
not Sf2? (A)
Black's three thematic defences are 1 ... R x c3, 1 ... B x d3 and

1 ... S X d2. Each of these moves opens a white line, \Vhich
White must avoid closing again with his mating move. 1 ...
R x c3 opens b8-f4, but only 2 Sf2 (mate A) can be played,
because 2 Sd6? (mate B) would re-close this line. After 1 ...
B x d3, which opens a5-f5, only mate B will do, as mate C
(2 Bd5 ?) would close the line again. Finally 1 ... S x d2, opening
fl-f5, permits only mate C, since mate A would interfere with
the white Queen on the newly-opened line.
A related idea appears in No. 60, except that here we have
60 CYCLIC TRIPLE AVOIDANCE
R. M. KOFMAN
First Prize, "64", 1934
Mate in two
Key
1 Rh7 ( > 2 Re7)
Sf4; 2 Sf6 (A) (Sg7? Sd6 ?)
Sg7; 2 S x g7 (B) (Sd6? Sf6 ?)
Sc5; 2 Sd6 (C) (Sf6? Sg7 ?)
cyclic triple-a\'oidance: all three of White's thetnatic n1oves

seem to be pl ayable after Black's defence, but in fact two of
them m ust be avoided- a different pair in each case. The key
80
Cyclic Play
is poor, but the "task" is considerable and the economy
remarkable. 1 Rh7 threatens 2 Re7, and ·Black has three line-
closing defences with· his Se6. These moves, 1 ... Sf4, 1 ... Sg7
and 1 ... Sc5, have the effe~t of pinning the Be5, and so appear
to allow White a choice between the three mates 2 Sf6 (A),
2 Sg7 (B), and 2 Sd6 (C). In fact, however, Black's defences
close lines to defeat the threat and at the satne time force White to
pick his mate with care. After 1 ... Sf4, only mate A \Vill do,
since B and C would both close white lines to squares which were
doubly guarded before the black Kni.ght interfered with the Rf2.
1 ... Sg7 shuts off the guard on f7 a:nd e7 of the Rh7, so that
White cannot interfere with his Bishop or Rf2: therefore only
mate B works. Mate C is the only one that can be played after
1 ... Sc5: again White ~ust avoid fatal closure of his own lines.
(This white-line theme, in which White must play on to the line
which Black has just closed in order to avoid self-interference,
is known as the Java theme.)
Black Correction and cyclicity are by no means incompatible
concepts, as is amply demonstrated by No. 61. Each of four
CYCLIC BLACK CORRECTION
61 J. RETTER
First Prize, "BABY" Theme Tourney,
1962
Mate in two
Key 1 ReS, zugzwang
B'""' ; 2 Re4 (A)
B x e5 ; 2 Sf5 (B)
fPr--..~ ; 2 Sf5 (B)
Pxe3 ; 2 Rd5 (C)
dR'""' ; 2 Rd5 (C)
Rx d3 ; 2 Sc6 (D)
cR'""' ; 2 Sc6 (D )
R X c5 ; 2 Re4 (A)
black units has one random move and one correction move.
The white mate which follows the correction move of piece W
reappears after the random move of piece X; piece X's correc-
tion move then leads to the same mate as the random move of
81
Then1es and Tenns
piece Y, and so on until the cycle is complete. '!'he k.ey, 1 Re~,
puts Black in Zugzwang. Black's f9ur the1nat1c units are his
Bishop, the Pf4, and the two Rooks. If the Bishop moves at
random, 2 Re4 (n1ate A) results. The correction 1 ... B X e5
blocks e5 and allows 2 Sf5 (mate B). This mate also follows
1 ... Pf3, the random move of the Pawn. (It is quite legitimate
to regard this single move as a random move, since the error
which it commits, viz. opening of the line h2-e5, would still be
there if the Pawn were entirely removed from the board. This
is a test of whether a departure can be regarded as "random" or
not.) The Pawn corrects by capturing the Se3, thereby blocking
e3 and introducing mate C, 2 Rd5. 1 ... dR,_,, by opening
cl-e3, permits mate C again, but 1 ... R x d3 corrects. However,
this is a further self-block, and White can accordingly proceed
with mate D, 2 Sc6. 1 ... cR,_, allows this same mate by opening
bl-d3, but this Rook corrects by playing to c5. This is the
defence which completes the cycle, for, by blocking c5, it re-
introduces mate A, 2 Re4-and we are back where we started.
Cyclic effects are commonly found spread over various
phases of the problem's solution. Cyclic Refutation is the name
given to an arrangement in which Black has three thematic
defences and White's three tries fail to each in turn. The key, of
course, provides mates for all the defences. There are lots of
dull examples of this idea where White's mates remain the
same all the time. The scheme becomes interesting, however,
when changed play is introduced. No. 62 is a very simple
example with son1e changed mates. Black's three thematic
defences are 1 ... Kc5 (A), 1 ... Kd3 (B) and 1 ... Pd3 (C). The
try 1 Qh2? provides for A and B with 2 Qc7 and 2 Qe2 respec-
tively, but fails to C. 1 Bc6? deals with B and C: 1 ... Kd3;
2 Bb5; and 1 ... Pd3; 2 Qd5; but is defeated by A. 1 Ba8? is
good enough to cope with C and A (2 Qd5 and 2 Qc6), but B
remains unprovided. The key 1 Bb7! sets up mates for all
three defences: 1 ... Kc5; 2 Qc6; 1 ... Kd3; 2 Ba6; and 1 ... Pd3;
2 Qd5. Six different white mates appear in the course of the
solution.
It will be readily seen that the maximum number of white
mates demanded by the cyclic refutation scheme, if all mates
are changed, must be nine (two after each try, and three after
82
Cyclic Play
CYCLIC REFUTATION
M. LOCKER
Second Prize, Stella Polaris, 1%6
62 Mate in two
Try 1 Qh2?
Kc5; 2 Qc7
Kd3; 2 Qe2
- Pd3!
Try 1 Bc6?
Kd3; 2 Bb5
Pd3; 2 Qd5
Kc5!
Try 1 Ba8?
Pd3; 2 Qd5
Kc5; 2 Qc6
Kd3!
Key 1 Bb7 !, zugzwang
Kc5; 2 Qc6
Kd3; 2 Ba6
Pd3; 2 Qd5
the key). Like many ideals in the chess proble~ world, this
maximum is hard to obtain but it has been· achteved at least
five times, No. 63 being th~ most spectacular setting. In this
CYCLIC REFUTATION
M. PARTHASARATHY
. First Prize, ex aeqtto, British Chess
63 Magazine, 1966
Mate in two
Try 1 dS---? Pxf5/Kxe5/Bxe5!
Try 1 dS X e3 ? P X f5; 2 S X f5
Kxe5; 2 Rxe6
Bxe5!
Try 1 Sxb4? Kxe5; 2 Qc3
Bxe5; 2 Pc3
Pxf5!
Try 1 Sc3 ? B X e5 ; 2 Se2
Pxf5 ; 2 Rd5
Kxe5!
Key 1 Sc7! ( > 2 Re4)
Px f5; 2 Rxd6
Kxe5 ; 2 Rf8
Bxe5 ; 2 Sxe6
83
Then1es and Terms
example the tries and key are all made by the same piece, and
this fact has enabled the composer to emphasise the precise
nature of his thematic idea by having a random move of this
piece (Sd5) defeated by all three of the thematic defences:
1 ... Pxf5 (A), 1 ... Kxe5 (B) and 1 ... Bxe5 (C). The tries
and key therefore illustrate White Correction. The threat
throughout is 2 Re4. 1 dS x e3? introduces mates for A and B:
1 ... Pxf5; 2 Sxf5; and 1 ... Kxe5; 2 Rxe6. But 1 ... Bxe5!
defeats. 1 S x b4? deals with B and C (2 Qc3 and 2 Pc3), but
fails to A. The third try 1 Sc3 ? brings in mates to counter
defences C and A (2 Se2 and 2 Rd5), but B remains unprovided.
Now comes the delight of the problem, the key 1 Sc7! and the
play it introduces: 1 ... P x f5; 2 R x d6; 1 ... K x e5; 2 Rf8!!;
and 1 ... B x e5; 2 S x e6. The new battery-mate after 1 ... K x e5
is especially impressive.
An idea related to Cyclic Refutation is one known as Cyclic
Mating Permutation. This scheme requires basically three
phases rather than four, and the same mates recur in cyclic
pattern after different black defences. There seem to be two
fundamentally different ways in which Cyclic Mating Permuta-
tion can be shown. In No. 64 there are three black line-pieces
each guarding a pair of mating squares. With his tries and key
White shuts off each of these pieces in turn, so that the defences
by the other two lead to two of the thematic mates. Each try
is defeated by the piece which has been shut off, which means
that the key must introduce a new mate to follow the defence
by the black piece which the key shuts off. Let us see how this
works in practice. A random move by the Rc5 threatens mate
by 2 Bc5, but would fail to the three defences I ... Bf2, I ...
R x d4 and 1 ... R x a5. The try I Rc8? brings in the following
play: 1 ... Bf2; 2 Pd8=Q (mate A); 1 ... Rxd4; 2 dPxe8=S
(B). In each of these variations White, having shut off one
black guard unit, must mate on the square from which Black
removes the second guard in defending against the threat.
This try fails to the defence by the piece shut off, I ... R x a5!
1 Rg5? leads to 1 ... Rxd4; 2 Pf8=Q (C); and 1 ... Rxa5;
2 Pd8 =Q (A), but fails to I ... Bf2! The choice of mating
square follows the same pattern as before. The key I Re5! re-
introduces mates B and C: 1 ... R X a5; 2 dP x e8 = S (B); and
84
Cyclic Play
CYCLIC MATING PERMUTATION
B P. BARNES
Fourth Prize, Die Schwalbe, 1960
Mate in two
Try 1 Rc8? (> 2 Bc5)
Bf2; 2 Pd8 = Q
(x- A)
R X d4; 2 dP X e8 = S
(y- B)
Rx a5! (z!)
Try 1 Rg5? (> 2 Bc5)
Rxd4; 2 Pf8 = Q
(y- C)
Rxa5; 2 Pd8 = Q
(z- A)
Bf2! (x!)
Key 1 Re5! (> 2 Bc5)
R X a5; 2 dP X e8 = S
- (z- B)
Bf2; 2 Pf8 = Q
(x- C)
Rx d4; 2 Re6
(y- d)
1 ... Bf2; 2 Pf8 = Q (C). Finally 1 ... R x d4, which looks as if

it ought to defeat, is followed by the new mate 2 Re6. Mates A,
B and C each appear twice in the course of the solution, after
different defences in the three phases.
The second way of setting Cyclic Mating Permutation is
exemplified by No. 65. Here the white Rook + Knight battery
on the a-file is controlled by three black pieces, the Queen and
the two Rooks. White's initial move shuts off the first one of
these, a second moves away to defend against the threat, and
finally the third is shut off by the mating move. 1 Sd8? (> 2
Qb3), Rd5; 2 Sc5 (A); 1 ... Q x f7; 2 Sc7 (B); but 1 ... Bg8!
Black closes the line White has just closed, so that no mate is
now possible.) 1 eSc7 ?, Q x f7; 2 Sb8 (C); 1 ... Bg8; 2 Sc5 (A);
but 1... Rd5! The next phase is usually the last one in this sort
of problem, but in this example the composer has introduced a
fourth phase which in fact repeats the thematic mates of the
third phase. The reason for this fourth phase will become plain
85
Themes and Tenns
CYCLIC MATING PERJ\IlUTATION
C. GOLDSCHMEDING
First Prize, Probleemb!ad, 1960
Mate in two
65 Try 1 Sd8? (> 2 Qb3)
Rd5; 2 Sc5
(x- A)
Qxf7; 2 Sc7
(y- B)
Bg8! (z!)
Try 1 eSc7? ( > 2 Qb3)
Qxf7; 2 Sb8
(y- C)
Bg8; 2 Sc5
(z- A)
Rd5! (x!)
Try 1 eSc5? ( > 2 Qb3)
Bg8; 2 Sc7
(z- B)
Rd5; 2 Sb8
(x- C)
Qxf7! (y!)
Key 1 Sd4! (> 2 Qb3)
Qxf7; 2 Sxc2
Ka4; 2 Sc5
in a moment. The third try is 1 ... eScS ?, and the ensuing play:
1 ... Bg8; 2 Sc7 (B); 1 .... Rd5; 2 Sb8 (C); but 1 ... Qxf7!
Once again the try fails to a defence by the piece which has just
been shut off. The key 1 Sd4! shuts off the same piece, and so
the thematic play which follows is the same as that following
1 eSc5? But now 1 ... Q x f7, which defeated the try, is answered
by the new mate 2 S x c2. And mate A, which does not appear
in the post-key play after any of the thematic defences, does in
fact come in again after Black's King moves to the flight which
the key grants: 1 ... Ka4; 2 ScS.
Yet another type of cyclic effect is found in the next two
problems. Black has three set-play or virtual-play defences X,
Y and Z, which allow respectively tnates A, B and C. After the
key the same defences and tnates recur, but in a different
pattern: X, Y and Z now lead respectively to mates B, C and A.
86
- --
Cyclic Play
This arrangement is known as a Cyclic Shift. The thematic
defences of No. 66 are 1 ... Kd4 (X), 1 ... Sf6 (Y), and 1 ... Kd6
CYCLIC SIDFT
V. RuoENKO
Second Prize, Tijdschrift v.d. Koning-
66 lijke Nederlandse Schaakbond, 1959
Mate in two
Set 1 ... Kd4; 2 S X c4
(x- A)
Sf6; 2 Bxf6
(y- B)
Kd6; 2 Bg3
(z- C)
Key 1 Sc7 ( > 2 Qd5)
Kd4; 2 Bf6
(x- B)
Sf6; 2 Bg3
(y- C)
Kd6; 2 Sxc4
(z- A)
(Z), and the mates of the set play 2 S x c4 (A), 2 Bf6 (B), 2 Bg3
(C). The key 1 Sc7, which threatens 2 Qd5, shifts the mates
in the following manner: 1 ... Kd4 (X) is now followed by mate
B, 2 Bf6 (White must re-guard c3, and the Sd7 is now pinned);
1 ... Sf6 (Y) now leads to mate C, 2 Bg3 (self-block, with line-
opening to guard d3); while 1 ... Kd6 (Z) allows, and forces,
mate A, 2 S x c4 (now a double-checkmate-the Bh4 must
retain its guard of e7).
No. 67 is a three-move version of this rather complex scheme.
Black's thematic defences are 1 ... cS x e2 (X), 1 ... gS ·x e2 (Y)
and 1 ... P x e2 (Z). White's try 1 Bc5? introduces the continua-
tions 2 S x b4+ (A) to follow defence X, 2 Sf6+ (B) after
defence Y, and 2 dS X c3+ (C) after defence Z. The try is
defeated by 1 ... B X e2! The key 1 Kg5! (> 2 Qh7 +) shifts the
continuations in such a way that defences X, Y and Z are now
followed respectively by continuations B, C and A. The reader
is invited to work out for himself how this shift is achieved.
Related to the Cyclic Shift is an arrangement which is called
87 .
Themes and Terms
CYCLIC SHIFT
V. TIMONIN
Third Prize, Shakhmaty v. SSSR, 1966
Mate in three
67
Try
I Bc5 ? ( > 2 Sd 6)
cSxe2; 2 Sxb4+, Kf4;
3 Sxd3
gS x e2; 2 Sf6+, Kf4;
3 Sh5
Pxe2; 2 dSxc3+, Kf4;
3 Qxd2
Bxe2!
Key
1 Kg5! ( > 2 Qh7+)
cS x e2; 2 Sf6 +, Ke3 ;
3 _S xg4
gS X e2; 2 dS x c3 +, Ke3 ;
3 Sdl
P xe2; 2 Sx b4+, Ke3;
3 Bc5
Cyclic Change or Cyclic Zagoruyko. Black has two defences,

X and Y, which are followed by mates A and B in the fir-st
phase, by B and C in the second, and finally by C and A after
the key. The author of this book composed the first-ever
example of this scheme, a problem which won a first prize (in
a theme tourney) in 1961, despite a double-checking try and
key. For a long time it was thought that checking tries and
key would be necessary to achieve this cyclic pattern at all, but
systematic work by a few brilliant Russian composers has
proved that this is by no means the case. Two of their outstand-
ing settings of Cyclic Change are quoted here. In No. 68 Black's
defences are 1 ... S x e5 (X) and 1 ... S x d4 (Y). These are
followed by 2 Sc7 (A) and 2 B X b7 (B) (pin-mates in each case)
after the try 1 Q X d3? (defeated by 1 ... Ra3 !). 1 Qf5 ?, with
the same threat of 2 Qf3, introduces n1ates B and C: 1 . .. S x e5;
2 Bxb7 (B); and 1 ... Sxd4; 2 Sb6 (C); but fails to 1 ... Pg4!
The unexpected key 1 Bf8! (> 2 Qh 1), by providing additional
guard for d6 and c5, completes the cyclic pattern: 1 ... S x e5;
2 Sb6 (C); and 1 . .. S X d4; 2 Sc7 (A). Note that mate B cannot
88
Cyclic Play
CYCLIC CHANGE
E. LIVSHITS
First hon. mention, Shakhmaty v. SSSR,
1962
68 Ivf ate in two
Try 1 Q X d3 ? ( > 2 Qf3)
S x e5; 2 Sc7
(x- A)
Sxd4; 2 Bxb7
(y- B)
Ra3! ·
Try 1 Qf5? (> 2 Qf3)
Sxe5; 2 Bx b7
(x- B)
Sxd4; 2 Sb6
(y- C)
Pg4!
Key 1 Bf8! (> 2 Qhl)
Sxe5; 2 Sb6
(x- C)
Sxd4; 2 Sc7
(y- A)
appear in the post-key play because the black Knight cannot

pin itself.
No. 69 is notable for the by-play which the composer has
skilfully combined \Vith the cyclic-change pattern. The threat in
each phase is a capture of the Bc4. 1 Kbl? pins this B, and so
allows 2 S x e6 (A) and 2 Sa6 (B) after the self-blocks I ... PbS
and 1 ... Pd5 (pin-tnates). I ... Qhl is followed by 2 B x b8, but
1 ... Rgi! has no reply. The second try I Q x e6? cuts out mate
A by occupying the mating square, but adds an e~tra guard on
dS. This means that I ... PbS is now an interference with the
Bc4, allowing mate B, 2 Sa6. Mate C, 2 Qc6, comes in after
1 ... PdS. This try fails, however, to 1 ... Qg8! The white Queen
must therefore go to the other side, introducing analogous play:
1 ... PbS; 2 Qc6 (C); and 1 ... PdS; 2 S x e6 (A). The by-play
con sists of two n1ates by the Rook + King (Royal) battery
after checks on b3 and d3. These two variations, arising
naturaJiy fro n1 the position, amply justify the use of the Rei.
89
Then1es and Terms
CYCLIC CHANGE
V. RUDENKO
Mate in two
69 Try 1 Kbl? (> 2 Rxc4)
Pb5; 2 Sxe6
(x- A)
Pd5; 2 Sa6
(y- B)
Rg1!
Try 1 Qxe6? (> 2 Qxc4)
Pb5; 2 Sa6
(x- B)
Pd5; 2 Qc6
(y- C)
Qg8!
Key 1 Qa6! (> 2 Qxc4)
Pb5; 2 Qc6
(x- C)
Pd5; 2 Sxe6
(y- A)
CYCLIC MATE TRANSFERENCE

J. M. RICE
First special mention, British Chess
Federation Tourney, 1968
70 Mate in two
Try 1 Rx d3+ ?, Kc5; 2 Qb4
(x- A)
Kc4; 2 Qc3
(y- B)
Bd4!
Try 1 Rx b5+ ?, Kc4; 2 Qb4
(y- A)
Kd4; 2 Qc3
(z- B)
(Bc5; 2 Qxd3)
Sc5!
Key 1 Be6+ !, Kd4; 2 Qb4
(z- A)
Kc5; 2 Qc3
(x- B)
(Ke4; 2 Qxd3
Kxc6; 2 Rc8)
90
Cyclic Play
These two Russian problems have each had two thematic
black defences and three thematic white mates. With No. 70 we
encounter Cyclic Mate Transference: three black defences and
two white mates. The defences are the black King's moves to
c5, c4 and d4; the thematic mates are given by the Queen on
b4 and c3. With this then1e one of Black's defences must be
eliminated in each phase, or else another mate, outside the
thematic pattern, must be introduced to provide for it. From
the composer's point of view, elimination is easier than provi-
sion! In this example the tries and the key all inflict check, and
at the san1e time set up a guard on one of the King's flights, so
that one of the three thematic defences is automatically excluded.
1 R x d3 + ? leads to 1 ... Kc5 (X); 2 Qb4 (A); and 1 ... Kc4
(Y); 2 Qc3 (B); but 1 ... Bd4! defeats. 1 R x b5 + ? cuts out
defence X: 1 ... Kc4 (Y); 2 Qb4 (A); 1 ... l(<;i4 (Z); 2 Qc3 (B).
1 ... Bc5 does not defeat, for White can play 2 Q x d3. But the
try fails to 1 ... Sc5! The key 1 Be6+! con1pensates for its
strength in checking and depriving the King of his flight c4 by
granting two new flights, on c6 and e4. The thematic play runs:
1 ... Kd4 (Z); 2 Qb4 (A); 1 ... Kc5 (X); 2 Qc3 (B); and the
by-play 1 ... Ke4; 2 Q x d3 (another transferred mate); and
1 ... Kxc6; 2 Rc8.
A great deal of attention has been paid in the last few years to
cyclic play in the three-mover. As in the two-mover, the
cyclicity may take several forms, but post-key cycles still
predominate, and are often concerned with the relationship
between White's second and third moves. Before examining
71 CYCLIC OBSTRUCTION
K. FABEL
First Prize, Deutsche Sclzachzeitung,

1965
Mate in three
Key
1 Pc5 ( > 2 Sg7+, Rxg7; 3 Re8)
B X c5; 2 P X c8 = Q (3 Q X d7)
S X c5; 2 P X aS = S (3 S X c7)
R X c5; 2 P X c8 = S (3 Sf8)
91
Themes and Terms
three examples of this type of cycle, we shall look at a kind of
interference-cycle impossible to achieve in two-move form.
One can create in the three-mover an interference with a
Knight, or with a Pawn away from its starting square, by making
it impossible for the Knight or Pawn to move to the square on
which the interference takes place, in order to defend. Such an
interference is usually termed Obstruction. No. 71 illustrates
Cyclic Obstruction: in the first variation black piece X obstructs
piece Y; in the second Y obstructs Z, and finally Z obstructs
X. The key 1 Pc5 threatens 2 Sg7 +, R x g7; 3 Re8. The obstruc-
tions take place on c5: 1 ... B x c5 obstructs the Sa4 and
prevents it from defending by 2 ... S x c5 after White's continua-
tion 2 P x c8=Q (>3 Q x d7). 1 ... S x c5 obstructs the Rook,
so that White can play 2 P x a8 = S without fear that his threat
3 S x c7 will be defeated by 2 ... R x c5. Finally 1 ... R X c5
obstructs the Bishop: 2 Pxc8=S (>3 Sf8) can now be played,
since 2 ... B x c5? is impossible. Considerable interest and unity
is achieved in this example of the theme by the fact that each of
White's continuations is a promotion of the Pb7. The composer
of this problem, Dr. Karl Fabel, is a very versatile problemist,
perhaps best known for his work in the field of Retrograde
Analysis.
One of the most popular three-move cyclic themes is Cyclic
Overloads. A black piece becomes overloaded if it is expected
to guard too many squares at once: White, \Vith his second
move, draws the piece away from its guard of a square or line
on which White plans to mate with his third move. (See
Overloads, Anti-Bristol and Wurzburg-Plachutta.) The cyclic
pattern in No. 72 is to be seen in the order of the white second
and third moves. The key 1 Qb7 threatens 2 Sf3+, Kc5; 3 Qb6.
If 1 ... Pe4, e4 is blocked and White can play 2 Sb3 + (A).
This forces the black Rook to abandon its guard on c5:
2 ... R X b3; 3 Qb6 (B). In the second variation, 1 ... Pd5
blocks d5, and White may then proceed 2 Qb6 + (B), forcing a
pin of the Rook on c5 and enabling White to play 3 Sc2 (C).
Finally 1 ... Sc4, blocking c4, permits 2 Sc2+ (C), R x c2;
3 Sb3 (A). The self-blocks are crucial to the whole scheme of
this very clear setting of the cyclic-overload theme: the three
thematic white pieces, the Queen and Knights, each guard two
92
Cyclic Play
CYCLIC OVERLOAD
72
E. VISSERMAN
L' Italia Scacchistica, 1963
Mate in three
Key
1 Qb7 ( > 2 Sf3+)
Pe4; 2 Sb3+, Rxb3;
3 Qb6 (A- B)
Pd5; 2 Qb6+ Rc5·'
'
3 Sc2 (B- C)
Sc4; 2 Sc2+, Rxc2;
3 Sb3 (C- A)
of the three squares e4, dS and c4, on which the self-blocks

occur. The black Rook becomes overloaded because it must try
to preserve its lines of guard in three different directions all at
once.
No. 73 shows the same idea . but with four thematic white
CYCLIC OVERLOAD
c. J. R. SAMMELIUS
73
Third Prize, Wurzburg Chess Club
Jubilee Tourney, 1965
Mate in three
Key
1 Rd5 ( > 2 Rc5+, Pc5; 3 Sx a5)
Sd7; 2 B X b5 +, Qxb5;
3 Rd4 (A- B)
Sc6; 2 Rd4+, Qxd4;
3 Bb3 (B- C)
S X b7; 2 Bb3+, Qxb3;
3 Se5 (C-D)
Se6; 2 Se5+, Qxe5;
3 Bxb5 (D-A)
moves. The Queen is the overloaded black piece: she has to try
to maintain her guard over two squares on the b-file, b3 and bS,
and two on the diagonal to the north-east, d4 andeS. The key
1 RdS threatens 2 ReS+, P X cS; 3 S X aS. 1 . ·.. Sd7 allows
2 B x bS + (A), Q X bS; 3 Rd4 (B) . White's second move is here
93
Themes and Terms
allowed because the black reply is not check: 1 ... Sd7 therefore
illustrates Anticipatory Interference (see under Interference,
Black). 1 ... Sc6 is an unguard of b3: 2 Rd4+ (B), Q x d4;
3 Bb3 (C). 1 ... S x b7 is again an unguard of b3: 2 Bb3 + (C),
Q X b3; 3 Se5 (D). Notice that this sequence cannot be played
after 1 ... Sc6 because e5 is guarded; and 2 Rd4? will not do
after 1 ... S x b7 because c5 would then be a flight. The fourth
variation is 1 ... Se6, a second anticipatory interference per-
mitting 2 Se5 + (D), ·Q x e5 (not check!); 3 B x b5 (A). The
composer of this fine problem, like that of the preceding one,
is a Dutchman. It is probably true to say that the Dutch and
the Russians are the leading three-move composers of the
present time. The Gennans excel in the more-move field, and
the central Europeans (especially Hungarians and Czechs) in
helpmates and selfmates. The Russians, once again, are the
leading two-move composers at the moment, but the problem-
ists of Great Britain are perhaps not so far behind in this field.
Readers with stamina are finally invited to study No. 74, a
CYCLIC OVERLOAD DOUBLED

R. C. 0. MATTHEWS
First pnze, British Chess Magazine,
74 1968
Mate in three
Key
1 Qa4 ( > 2 Qxc4)
Ba5; . 2 Qc2+, Pd3;
3 Rxe3 (A- B)
Se5; 2 Rxe3+, Pxe3;
3 Sc3 (B- C)
Rxh6; 2 Sc3+, Pxc3;
3 Qc2 (C- A)
Rxc6; 2 Rxe3+, Pxe3;
3 Qc2 (B- A)
Sc5; 2 Sc3+, Pxc3;
3 Rxe3 (C- B)
Qxh6; 2 Qc2+, Pd3;
3 Sc3 (A- C)
three-mover of great complexity. Cyclic overloads are featured

once tnore, but this tin1e there are two complete and distinct
94
Cylinder Boards
cycles. The satne three white moves are used throughout, but
every possible pairing and order of these moves is demonstrated
in the six variations. The two cycles run as follows: AB- BC- CA,
and BA-CB-AC. The moves of the second cycle represent a
total reversal of those of the first cycle. The key is 1 Qa4, with
a threat of 2 Q x c4. The thematic defences of the first cycle are
1 ... BaS (X), 1 ... Se5 (Y) and 1 ... R x h6 (Z). Defence X
allows 2 Qc2+ (A), Pd3; 2 R x e3 (B). Y leads to 2 R x e3 +
(B), P x e3; 3 Sc3 (C). And Z gives 2 Sc3 + (C), P X c3; 3 Qc2
(A). The overloaded unit is the innocent Pd4, and this is the case
in the second cycle as well: 1 ... R x c6 leads to 2 R x e3 + (B),
P X e3; 3 Qc2 (A). After 1 ... Sc5 comes 2 Sc3+ (C), P x c3;
3 Rxe3 (B). And 1 ... Qxh6 permits the continuation 2 Qc2+
(A), Pd3; 3 Sc3 (C). If the reader's stamina has held out this far,
he will have little difficulty in working out for himself how these
continuations are motivated, and why the cyclic pattern of this
highly ingenious problem arises.
Cylinder Boards
The Cylinder Board belongs to the realm of Fairy Chess. There
are three types: (1) the vertical cylinder, on which the h- and a-
files are joined together so that the board is like a tin can without
top and bottom; (2) the horizontal cylinder, on which the first
and eighth ranks are joined together (the tin can is now on its
side); (3) the anchor-ring, which combines the properties of the
vertical and horizontal cylinders (imagine that the can is bent
so that the open ends are sealed together).
A Bishop on b 1 on an empty vertical cylinder will have access
to c2, d3, e4 etc., and also to a2, h3, g4, f5, e6, d7 and c8. On a
horizontal cylinder the same Bishop would be able to move
north-west to a2, north-east to c2, d3 etc., and also south-west
to a8 and south-east to c8, d7, e6, f5, g4 and h3. On an anchor-
ring a Bishop on b1 would be able to reach all the squares
mentioned for the Bishop on the vertical cylinder, plus those for
the Bishop on the horizontal cylinder. Moves on all kinds of
cylinder are not limitless: they must come to a definite stop.
Pawn-promotion on a horizontal cylinder and on an anchor-
ring is permissible only if specifically stated.
95
'
Themes and Terms
CYLINDER BOARDS
75
c. R. FLOOD
A Guide to Fairy Chess, 1967
Series-helpmate in three
(a) normal board
(b) vertical cylinder
(c) horizontal cylinder
(d) anchor-ring
Black Ps promote on first rank of
diagram
(a) 1 Ph1 = Q; 2 Qxd5; 3 Qb5, Pb3
(b) 1 Ph1 = R; 2 Rh5; 3 Rb5, Pb3
(c) 1 Ph1 = B; 2 Bg2; 3 Bb5, Pb3
(d) 1 Ph1 = S; 2 Sa7; 3 Sb5, Pb3
No. 75 is a fairly simple series belpmate (see under Help-

mate) with four solutions which differ according to the type of
board. (Black plays three consecutive moves to reach a position
where White can mate in one.) On a normal board Black plays
1 Phl=Q; 2 Qxd5; 3 Qb5, and now White plays 3 ... Pb3.
But if the board is a vertical cylinder this will not work, since
1 Phi =Q? would be check (hl to a2), and under the rules of
the series helpmate Black may not inflict check until the very
last move of the series. The solution is therefore 1 Phl =R;
2 Rh5; 3 Rb5 (via a5), Pb3. Clearly this solution, exploiting the
properties of the vertical cylinder for the third move, will not
work on a horizontal cylinder. Nor will the normal-board
solution, since the Queen on b5 would guard White's mating
square b3 (via b8 and bl). The only "horizontal" solution is
1 Ph1=B; 2 Bg2; 3 Bb5 (via fl and e8), Pb3. Promotions to
Queen, Rook or Bishop all fail on the anchor-ring board,
however: 1 Phl=Q? and 1 Ph1=B? are both check, while
1 Phi =R? fails because White's mating square is guarded by
the Rook after 3 Rb5? Black must therefore play 1 Pbl =S;
2 Sa7; 3 Sb5, Pb3. Working out the solution of an anchor-ring
problem is made easier if one bears in mind that the squares
hl and a8 are diagonally adjacent to one another, as areal and
h8.
96
Doubling
Doubling
Doubling involves getting two \-Vhite pieces on to the same line
in such a way that the rear-piece (seen from the point of view of
the black King) supports the front-piece (i.e. guards it) in the
mate. Basically this is a three- or more-move manoeuvre, for
doubling is really interesting only if White's key is a move by
either the eventual front-piece or rear-piece along the doubling
line (or one parallel to it) to enable the other piece or pieces to
get into their correct positions. A single example will suffice
here to show the true nature of doubling-schemes in three-
move form: further examples may be found under Turton-
Doubling and Zepler-Doubling.
In No. 76, the key 1 Re8 prepares the way for four different
76
DOUBUNG
Z. MASLAR
First Prize, ex aequo, Problem, 1962-3
Mate in three
Key 1 ReS, zugzwang
Pel = S ; 2 Qe7
Pel = Q/R; 2 eRe5
Pel = B ; 2 Be4
Kel; 2 RdS
subsequent manoeuvres by \Vhite, dependant on Black's reply.

If 1 ... Pel =S, then 2 Qe7 puts Black in Zugz\\ ang. for 3 Qe2
can be played after the Knight has tnoved. If 1 ... Pel =Q or
Rook, White plays 2 cRe5. and then 3 R e 1. 1 ... Kc 1 forces
2 Rd8, which threatens 3 Q x d 2, and if _ ... Pd 1= Q + then
3 Q x d I. F inally 1 ... Pc 1= B a ll \V a continuation unrelated
to the doubling f und in the other variations: 2 Be-t This has
to be played to av id talen1at . Black then move hi~ J(ing to
c1 or c2, and White mate with 3 B 2. (A \vhite critic~l mo,-:--e--
hcrc I Rc() - f llo\ved by white interfcrenc to aYoid talemate-
h rc 2 Dc4- i kn wn a an Indian.) In addition to the Indian,
thi . pr blcm c ntain -. tw Turton and a pericritical Turton.
It will b clear that d u lint- of thi typ ann t be ho\vn in
7
Themes and Ternts
the two-mover. The nearest one can get is to have the white key-
piece capturing a black Pawn on the doubling-line, ~ith the
supporting piece already in position, ambushed behind t4e
Pawn. This arrangement is illustrated in try and key by No. 77.
TWO-MOVE DOUBLING
77 P. BARNES
B.
Fourth Prize, The Problemist, 1965
Mate in two
Try 1 Qxe6?
Kxd4; 2 Qe3
Pf3;· 2 Qe7
Pxb6; 2 Qxb6
Pc6!
Key 1 Qxf4! zugzwang
Kxd5; 2 Qf5
Pe5; 2 Qc1
Pxd5; 2 Qxc7
Pc6; 2 Qd6
The rear-piece is not required to support the front-piece in

the mate, but instead it is used to guard a square in the black
King's field. The try is 1 Q x e6? which brings the Bf7 into play,
to guard d5 after 1 ... K X d4; 2 Qe3; after 1 .. . Pf3; 2 Qe7; and
after 1 ... P x b6; 2 Q x b6. The try fails to 1 . .. Pc6! The key,
1 Q x f4 !, brings the Rook into play, so that it can guard d4,
which it does in four different variations: 1 . .. K x d5; 2 Qf5;
1 ... PeS; 2 Qc1; 1 ... P x d5; 2 Q x c7; and 1 ... Pc6; 2 Qd6.
Notice how the piece whose line of guard is not opened by the
Queen-capture is in fact used in some of the variations, most
interestingly after the black King has moved to his flight-
square: in each case a pin-mate results.
Dresden
The Dresden is a three- or more-move theme consisting of the
following. In .the diagram position, if White made a certain
threat, a black piece X would have an adequate defence. White
therefore plays in such a way that Black is obliged to replace
98
Dresden
this defence by another, by piece Y, which, ho~ever, will let in
a new weakness. The idea is clearly illustrated 111 No. 78.
78 DRESDEN
E. ZEPLER
Fourth prize, Dresdener Anzeiger, 1927
Mate in three
Try 1 Qg2? (> 2 Qg8), Rg4!
Try 1 Qa2? (>2 R x a7), Ra4!
Key 1 Qf2! (>2 Qgl, r-~; 3 Qg8)
Pf4; 2 Qg2, Rg5;
3 Qxc6
Pb4; 2 Qa2, Ra5;
3 Qg8
Black's defence-substitution may be carried out by any piece:

the one which makes the original defence, the one giving the
new defence, or a third unit. In No. 78 Black's adequate
defence by piece X is prevented and an inadequate defence by
piece Y introduced through the move of piece Z. In fact, the
Dresden idea is doubled in this example. If White were to try
1 Qg2? (>2 Qg8), Black would have the reply 1 ... Rg4!
Similarly, 1 Qa2? (>2 Rxa7) fails to 1 ... Ra4! White there-
fore plays first of all 1 Qf2! (> 2 Qgl), and of course 1 ... Rg4
is ans~ered by 2 Q/R X a7. Black's thematic defences are
1 ... Pf4 and 1 ... Pb4, which allow the Rook d5 to defend
against White's third-move threat 3 Qg8 with 2 ... Rg5 and
2 ... Rb5 respectively. However, 1 ... Pf4 cuts out the defence
2 ... Rg4, so that White may continue 2 Qg2. Black's new
defence against the threat 3 Qg8 is 2 ... Rg5, but, unlike
... Rg4, this move contains a weakness: the line g2-c6 is now
open, and Whjte can thus play 3 Q x c6. Much the same thing
happens on the other side of the board. 1 ... Pb4 prevents
2 ... Ra4, which means that 2 Qa2 js now playable. The sub-
stitute defence 2 ... Ra5 contains a line-opening weakness
analogous to that found in the first variation, for White can
now mate with 3 Qg8.
99
The1nes and Tenns
Most continental composers seem to insist on the P.resence ~f
thematic tries to underline the logic of the Dresden tdea, as JS
the case with the Roman, a closely related theme. However, the
same arrangement of substitute defences by different pieces can
be shown-and understood-without the tries. The tries in No.
79 ought to be the three then1atic white second moves, but in
DRESDEN
79 L. I. LOSHINSKI
Second Prize, Galitzky Memorial
Tourney, 1963- 4
Mate in three
Key
1 Sg7 ( > 2 Sf5)
Rc3; 2 P X f3, Rc4;
3 Qd7
Sc3; 2 Bb6, Se4;
3 Qe6
Bc3; 2 Bxb5, Bd4;
3 Qxf3
fact none of these can introduce a threat until after the key has
been made. What is needed is simply an alternative way of
considering the logic of the solution. After 1 Sg7, why will
2 P x f3? not work as a threat? Because of 2 ... Sc3 !, which
prevents 3 Qe4. Why will 2 Bb6? not do? Because 2 ... Bc3!
stops 3 Qd4. And finally, what is wrong with 2 B x b5? The
answer is that 3 Qc4 is no use after 2 ... Rc3! White's real
threat is 2 Sf5 (> 3 S x e7). The three black moves we have just
_ looked at are in fact defences against this threat, each allowing
one of the continuations mentioned. 1 ... Rc3 prevents Black
from playing 2 ... Sc3, which means that 2 P x f3 can now be
played. The substitute defence is 2 ... Rc4, a self-block allowing
3 Qd7. 1 ... Sc3 rules out 2 ... Bc3 as a defence, so 2 Bb6 is now
possible. Again the substitute defence is a self-block: 2 ... Se4,
permitting 3 Qe6. Finally 1 ... Bc3 obstructs the Rook and
prevents 2 ... Rc3. White can therefore continue 2 B x b5, and
once more self-block is the weakness of the substitute defence:
2 ... Bd4; 3 Q X f3. This fine Dresden problem illustrates, inci-
dentally, Cyclic Obstruction, and may be compared in tlus
100
Dual Avoidance
respect with No. 71. (Notice, however, that No. 71 is not a
Dresden: the black pieces simply get in each other's way,
without introducing substitute defences.)
Dual
A white choice of mating-move in a two-mover, or of continua-
tion in a three- or more-mover, is termed a Dual, the word
covering triples, quadruples and other multiple choices. A dual
is held to be serious if it follows a thematic black move, or an
otherwise interesting or intelligent one, or one that defeats
White's threat. This is particularly the case if the continuations
or mates are not separately forced by other black moves. Some
problemists regard duals arising in a block position as more
serious than those which occur in a threat-problem. Duals
which occur when Black makes an unintelligent move (e.g. one
which fails to defeat the threat) are of little importance, and
there must be few composers who would bother to add extra
force to prevent them. Duals were formerly divided into two
types, major and minor. A "major dual" occurred when at
least one of the choice of continuations or mates was not
otherwise forced by Black, while the term "minor dual" was
applied to a choice of otherwise forced continuations or mates.
This distinction, observed nowadays by only a very few com-
posers, has been superseded by the division into "serious" and
"harmless" duals outlined above.
Dual Avoidance
A black move may create a certain weakness and thereby seen1
to allow White a choice between two possible mates (or con-
tinuations in a three- or more-mover). However, this same
black move may have an additional effect, advantageous to
Black, which prevents one of the two mates or continuations,
forcing White to pick his move with care. Consider the black
defence 1... S x c6 in No. 80. (The key is 1 Bg3, and the
threat 2 Qh5.) By blocking c6, Black appears to allow White
to mate either by 2 Kc3 (a white-interference mate) or by
101
Themes and Terms
SELF-BLOCKS+ DUAL AVOIDANCE
M. MYLLYNI EMI
Die Schwalbe, 1955
80
Mate in two
Key 1 Bg3 ( > 2 Qh5)
Sxc6; 2Kc3,
not cRd2?
Q x c6; 2 cRd2,
not Kc3?
Sxd6; 2 Re5,
not Pf4?
Q X d6; 2 Pf4,
not Re5?
S x e6; 2 Se3,
not eRd2?
Q x e6; 2 eRd2,
not Se3?
2 cRd2. But because c6 has been blocked by a Knight, 2 cRd2

is excluded on account of 2 ... Sd4! Therefore only 2 Kc3 will
work, and the dual mate has been avoided. Strategy of this type
is known as Dual Avoidance.
The true nature of Dual A voidance can perhaps best be
understood if we consider what would happen in this problem
if a dummy black piece, with no powers at all, were to block c6.
White would then have the choice between the two mates
mentioned above, 2 Kc3 and 2 cRd2. 1 ... dummy x c6 would
merely block c6, and would contain no effect advantageous to
Black to eliminate one of the two white mates-no compensating
element, as it is sometimes called.
This ingenious problem in fact has six dual-avoidance
variations, paired in such a way that the white mate avoided in
one variation is the one which must be played in another. We
have seen that 1 ... S X c6 forces 2 Kc3, eliminating 2 cRd2. A
further self-block on c6, 1 ... Q X c6, prevents 2 Kc3? and
allo\VS only 2 cRd2. There are pairs of self-blocks on d6 and
e6 as well: if a dummy piece blocked d6, White could choose
between 2 ReS and 2 Pf4. 1 ... S X d6 forces 2 ReS (if 2 Pf4 ?,
Se4 !), while 1 ... Q x d6 allows only 2 Pf4 (2 ReS?, Q xeS!). A
dummy piece blocking e6 would enable White to play either
102
I I Dual Avoidance
2 Se3 or 2 eRd2. But 1 ... S x e6 cuts out 2 eRd2? (2 ... Sd4 !),
while 1 ... Q x e6 eliminates 2 Se3? (2 ... Q X e3 !).
No. 81 presents a rather more complex dual-avoidance
DUAL AVOIDANCE
81 G. LATZEL
First Prize, Chess, 1948
Mate in two
Key 1 Bc6 (> 2 Sf3)
Sd5; 2 Rc4,
not Qg7?
Pd5; 2 Qg7,
not Rc4?
Bd5; 2 S X f5,
not Qg7?
Rd5; 2 Sb3,
not Rc4?
scheme. The key 1 Bc6 threatens 2 Sf3, and Black can defend
by playing any one of four pieces to d5, to cut White's control
of e4. If a dummy unit arrived on d5, White could choose
between 2 Qg7 (exploiting the interference with the Rb5) and
2 cRc4 (exploiting the interference with the Be6). 1 ... Sd5
allows only 2 Rc4 (2 Qg7? Sf6 !), while 2 Qg7 follows 1 ... Pd5
(2 Rc4 ?, P x c4!). Thus we see a pair of dual-avoidance varia-
tions not unlike those of the previous example, except that here
White exploits interference rather than self-block. Black's two
other defences are also a pair, but of a different type, for here
the dual that is avoided in one variation does not appear as the
mate in the other. 1 ... Bd5 seems to allow 2 Qg7 again, but in
fact the Bishop has opened the guard of the Rd8 on to e5. So
2 Qg7? would fail to 2 ... ReS!, and White must instead exploit
the new error, unguard of f5 combined with interference,
mating by 2 S x f5. After 1 ... Rd5 it looks as if 2 Rc4? ought
to be possible, but the Rook has opened the Queen's line of
guard on to c4. So White must play 2 Sb3, again exploiting the
unguard plus interference.
Occasionally one comes across a problem in which dual mates
that are avoided never occur at all, in any variation. Such dual
103
Themes and Tern1s
avoidance is described as total, whereas the type we have
studied so far, with avoided mates appearing in other v~riation ~ ,
is known as partial dual avoidance. Total dual avoidance ~s
seen in No. 82. 1 Rb4 threatens 2 PeS, and the three thematic
82 TOTAL DUAL AVOIDANCE

J. BucHWALD
Third Prize, Christian Science Monitor
1946
Mate in two
Key
1 Rb4 ( > 2 Pc5)
Bxa3; 2 Qxc3 (B c3 ?)
X
Sc6; 2 Qd5 (Rd5 ?)
Sxe5; 2 Be3 (Qe3 ?)
defences are 1 ... B x a3, 1 ... Sc6 and 1 ... S x e5. Each of these
moves appears to allow two mates, by unguarding a mating
square. But in each case one of the two mates is prevented
because the defending piece opens a black line to pin one of
White's potential mating units. Mter 1 ... B x a3 White could
reply 2 B X c3 or 2 Q X c3, were it not for the fact that the white
Bishop is now pinned. Similarly 1 ... Sc6 permits only 2 Qd5,
2 Rd5? being impossible, on account of the pin, and after
1 ... S x e5 White has only 2 Be3, and not also 2 Qe3? The
mates avoided in each variation are never allowed to occur.
In each of these three problems the dual avoidance occurs
because of some positive action on Black's part: his moves
contain not only a weakness but also a compensating element
to restrict White's choice of mate to a single move. Such
strategy is usually referred to as active dual avoidance, to
distinguish it from the passive variety, exemplified by No. 83.
Here Black's defence has no positive effect whatever, but White
must choose his mate with care so as not to annul the self-
weakening effect of the black move. 1 Sd5 threatens 2 Sc3, and
Black defends by self-pinning his Queen on e5 and g4. In mating,
White must regain control of the ne\V flight d5, and this can be
done only by means of2 Se7 and 2 Sf4. If Black plays 1 . .. Q x e5,
104
Echo
83 PASSIVE DUAL AVOIDANCE
C. MANSFIELD
First Prize, Schiffmann Memorial
Tourney, 1931
Mate in two
Key
1 Sd5 ( > 2 Sc3)
Qxe5; 2 Sf4 (Se7 ?)
Qxg4; 2 Se7 (Sf4 ?)
Qxg6; 2 Be6
then 2 Se7? fails because it has the effect of unpinning the black
Queen who has just obligingly pinned herself. Therefore only
2 Sf4 will \vork. In the analogous variation, 1 ... Q X g4 allows
only 2 Se7, since after 2 Sf4? Black's Queen is again mobile.
Black hin1self does nothing to affect White's choice of mate,
beyond self-pinning the Queen to allow the mates to function at
all. His role is negative, and the dual avoidance is therefore
passive. (A further black Queen self-pin, 1 ... Q x g6, is followed
by 2 Be6: no dual avoidance here.)
A lot of dual-avoidance themes have acquired jargon-names.
Some more examples of this strategy will therefore be found
under Herpai, Java, Mari and Stocchi, as well as in plenty of
other problems throughout the book.
Echo
The set play of No. 84 is 1 ... Ph3; 2 Pg3 mate. The reader
should study this mating position carefully: e5, f5 and g5 are
guarded by the Rh5; e4 and g4 are held by the Pf3, which
itself is guarded by a Bishop to the south-west of it; e3 and g3
are held by the other white Bishop, and the mate is given by
the g-pawn. It takes six moves to reach another mating position,
since White has no waiting 1nove to preserve the block (this is
a Pseudo-Two-Mover). The main play runs: 1 Rh6, Kg5;
2 Be3+, Kf5; 3 Pf4, Ke4; 4 B x d2, Kf5; 5 Bf3, Ph3; 6 Pg4-
and now compare this position with the one \Ve have just
discussed: e6, f6 and g6 are guarded by the Rh6; e5 and g5 are
105
Themes and Tenns
CHAMELEON ECHO
84 J. BREUER
Second Prize, Prob/eemb!ad, 1967
Mate in six
Set
1 ... Ph3; 2 Pg3
Key 1 Rh6, zugzwang
Kg5; ( ... Kf5;
2 Be3+, Kf5; 2 Bd4, Kf4;
3 Pf4, Ke4; 3 Rg6, Ph3;
4 B x d2, Kf5; 4 Pg3, Kf5;
5 Bf3, Ph3; 5 Rf6, Kg5;
6 Pg4 6 Pf4)
held by the Pf4, which itself is guarded by a Bishop to the

south-west of it; e4 and g4 are held by the other white Bishop,
and the mate is given by the g-pawn. In other words, the set-
play mating position is reproduced, or echoed, one rank
further up the board. An echo in which the black King is on a
square of a different colour is known as a Chameleon echo.
Economy
Like clarity, unity and, of course, originality, economy is one
of the principal elements of any good chess problem. Once a
composer has decided on the idea or theme he wishes to ex-
press, his first aim will be to set about expressing it as economic-
ally as possible. Different problemists have different views on
what exactly is the most important feature of economy. The
composers of the Bohemian School, for example, held that
economy of mating forces should be the main aim. The result
is that their problems have relatively few white pieces, and the
mates are models or near-models. The new-German School, on
the other hand, under the influence of J. Kohtz (1843-1918),
considered that "purity of aim" (Zweckreinheit) was all-
important: there should be no extraneous elements to confuse
the logic of a problem's strategic play. Most present-day
problemists, however, are agreed that the main principles of
economy concern time, space, play and force.
106
Econ01ny
Econo1ny of Time is easily defined. A problem sho~ld not
take three moves to say what can be better expressed 1n two.
·r he Grimshaw, for example, is a two-move theme. It is possible,
of course, to extend it to three moves by introducing some
element which will delay the mate for a move, but this will not
make it into a genuine three-move theme. Interference between
unlike-moving pieces is common enough in three-movers, but
interference between like-moving pieces (e.g. Holzhausen,
Wurzburg-Plachutta, Anti-Bristol) is thematically more interest-
ing and more successful, because such interference lies outside
the scope of the two-mover. Problems in three or more moves
which demonstrate a two-move theme followed by some mate-
delaying tactic, unless this is very skilfully combined with the
theme in question, as in No. 6 in Section I, run the risk of being
merely built-up two-movers.
Economy of Space is a much less clear-cut matter. It is easy
enough to point out that the board has 64 squares, 8 X 8, and
to suggest that the composer should use this space to the full,
but how exactly can this be done? A proble1n position should
ideally be as open as possible: ugly clusters of pieces, especially
strings of pieces along a single file, rank or diagonal, should be
avoided, for an attractive, open setting will appeal to the
solver much more readily than a cramped one. Only when a
composer is aiming at some special effect will he produce
settings like No. 149 (under Key). It is curious that "Economy
of Space" implies spreading the pieces out as much as possible,
but the fact is that the board is a fixed size, and it is uneconomi-
cal not to utilise it to the full.
Problems whose construction does not conform with the
principle of Econotny of Play are for the most part inferior
works, and as such find no place in this book. The by-play of a
problem should arise naturally from the composer's setting:
no extra pieces should be added to achieve it, although it
n1ight be admissible to replace, say, a black Pawn by a black
ICnight, or even a white Pawn by a white Knight, if an extra
variation of some interest (i.e. not just a simple unguard) can
thereby be gained. Unity of play is normally regarded as
preferable to quantity of variations: therefore fringe varia-
tions, bearing no thematic relationship to the rest of the play
107
Themes and Terms
and only anstng through the addition of force, should be
eschewed.
This brings us naturally to Economy of Force, for it is
obvious that one of the fundamental conventions is that no
force should be added to a position merely to create fringe
variations. Every piece on the board must have at least one
function, and if it can have more than one, so much the better.
A white piece used to give mate in one variation should, where
possible, guard a black King-flight in another. A black unit
added to prevent a dual might also serve to shield the white King
from check, or to stop a crucial pin of a white piece. In general,
economy of white force is more important than economy of
black force. So a serious dual, or a cook, will be stopped by a
black Pawn rather than a white one (if the choice arises), one
piece will be used instead of two, and so on. If the white Queen
has to be used where a Rook would do just as well (e.g. if there
are two Rooks on the board already, and a third is needed to
pin a black piece), the composer will try to arrange for the
Queen's diagonal power to be employed in some way, for
example in giving mate in the by-play (but better to use the
white Queen as a Rook only than to add lots of force just in
order to give her something extra to do).
The process known as "dressing the board" (i.e. adding
pieces to the position solely to increase the difficulty of the
problem-"camouflage pieces") was very popular among the
earliest composers, but is not the done thing nowadays. Every
unit on the board must have some part to play in the com-
poser's idea or theme, and preferably more than just a tiny part.
In problems with two or 1nore phases (those with set or virtual
play or both), it is desirable that all the force should be used in
some way in the play that follows the key. This is not always
possible, however, and critics should be prepared to accept
without prejudice positions in which this ideal is not achieved.
A problem such as Jonsson's astonishing seven-phase task No.
238 amply demonstrates the need for a broad-minded attitude
to the question of force which plays no part in the key and post-
key variations. Such force in no way "dresses the board": it is
an integral part of the problem, and, if properly used, commits
no offence against the principle of Economy of Force.
108
------ ------
Fairy Chess
Fairy Chess
Nearly all the problems in this book are direct-mates: White,
tnoving first, forces mate in a stipulated number of moves.
Such problems, using only the six standard units and a nor~al
board, are orthodox. Any problem which does not conform With
the conventions of orthodox chess is an illustration of Fairy
Chess, a vast and possibly limitless offshoot of the normal game.
Here are some of the ways in which a fairy problem may differ
from an orthodox one:
(1) The problem may be a Selfmate, or a Helpmate, rather
than a direct mate. Other possible modifications to the conven-
tional direct-mate stipulation include Stalemate, Reflex-mate
(see under Selfmate) and Series-helpmate (see under Helpmate).
(2) The problem may contain new pieces, unknown in ortho-
dox chess and with movements different from those of the
standard units (e.g. Grasshopper and Nightrider).
(3) The properties of the board may be altered: it may be
reduced or increased in size, or converted into a Cylinder or
Grid-board.
(4) The solver may be required to determine from the
diagram position whether castling, or an en passant capture, is
possible or not, or what the last move was or whether the
position is legal or illegal; this must be done by means of
Retrograde-Analysis. Sometimes the solution of an otherwise
orthodox problem may involve Retrograde Analysis.
(5) The problem may be a Construction Task, a tour de
force of constructional ingenuity, in which the composer aims
at a record number of e.g. possible captures, checks, mates,
stalemates, stalemate-releases, etc.
Fairy Chess was popularised in this country by Thomas
Rayner Dawson, v'hose death at the age of 62 in 1951 robbed
the chess problem world . of one of its most brilliant creative
minds. Dawson was for many years editor of the problem sec-
tion of the British Chess Magazine, and also of the Fairy
Chess Review, and many of Dawson's inventioGs first appeared
in one of these two periodicals. He was also President of the
British Chess Probletn Society from 1931 to 1943. His handbook
of fairy chess, "Caissa's Wild Roses", which was published in
109
The1nes and Tenns
1935, gives a full survey of the extent of the genre as know~ at
the tin1e, and is still a fascinating introduction to the subject.
Copies are unfortunately very scarce.
Since 1951 interest in fairy problems in Great Britain has been
kept alive, and even perhaps expanded, by W. Cross, with his
Fairy Chess Correspondence Circle (inaugurated when the
Fairy Chess Review ceased publication in 1958); by the problem
section of the British Chess Magazine (edited by the author of
this book); and by a relatively new section in The Proble1nist.
The editor of the last-mentioned section is A. S. M. Dickins,
who, in December 1967, formed the "Q" press to print and
publish a booklet entitled "A Guide to Fairy Chess". Like
"Caissa's Wild Roses", this gives a complete survey of fairy
chess in all its currently known forms, and is an indispensable
handbook for the enthusiast.
Fleck Theme
White's key may carry more than one threat. Usually double-
threats, triple-threats, etc. are regarded as blemishes, but there
are certain problem ideas which depend for their effect on
multiple threats. The Fleck theme is one of these. The idea is that
each one of at least three white threats shall be forced separately,
PRIMARY FLECK
(SEVENFOLD THREAT
85 SEPARATION)
P. 0 VERKAMP
Second Prize, Dutch Jubilee Tourney,
1951-2
Nlate in two
Key l Sf2 (> 2 Qe4/Qf4/Sd3/
R e 1/Qc5/Qc3/Pd4)
R x g3~ 2 Qe4
S/ B X f2 ; 2 Qf4
S X g3; 2 Sd3
P X f5; 2 Rel
Rxh4; 2 Qc5
fR,_,; 2 Qc3
Pxb4; 2 Pd4
110
Fleck Theme
and singly, by Black. No. 85 is an illustration, in which no
fewer than seven threats are separately forced, in turn, by all
the moves available to Black. If only some of Black's moves
force a single threat, we speak of a partial Fleck: this one,
however, is total, because only one white threat will work what-
ever Black plays, and they each appear at some stage or other.
This idea of threat-separation is essentially a two-move
theme, though occasional three-n1ove renderings are to be
found. In No. 86 a poor (because obvious) key threatens seven
PRIMARY FLECK
A. Y AROSLA VTSEV
Fourth Hon. mention, IVth FIDE
86 Tourney, 1962-3
Mate in three
Key
1 Bfl ( > 2 R,_,+)
Re2; 2 Rd5, Pxd5;
3 Bxe2
Rc4; 2 Rd4, Pxd4;
3 Bxc4
Rxc5; 2 Rb3+, Rc4;
3 Bxc4
Rxb2; 2 Ra3+, Re2;
3 Bxe2
Rcl; 2 Rdl +, Rc4;
3 Bxc4
Rd2; 2 Rxd2
Rc3; 2 Rxc3
moves by the white Rook, and these are forced separately by

the seven moves available to the black Rook. In both this and
the preceding example, the mates that are threatened would be
playable immediately after the key, if Black were to forgo his
right to move. These are, therefore, primary threats, and the
problen1s illustrate the primary Fleck theme.
No. 87 is an example of the secondary Fleck theme. (A full
analys is of the concept of secondary play may be found under
Correction.) A white mate pennitted by the random n1ove of a
black piece- a n1ove away from a square, witho ut any specific
111
Themes and Tenns
SECONDARY FLECK
0. STOCCHI
87
First Prize, Christian Science Monitor,
1953
Mate in two
Key
1 Sh2 ( > 2 Rfl)
gS'"'"'; 2 Bd2/Bg3/Pe3
Sxh4; 2 Bd2
Se3; 2 Bg3
Sxel; 2 Pe3
CS'"'-'; 2 Qf5/Qe5/Qg5
Se6; 2 Qf5
Se4; ·2 Qe5
Sd3; 2 Qg5
arrival effects-is known as a secondary threat. The secondary

Fleck theme involves the accurate separation of three or more
secondary threats by the moves of a single black piece. After
the key, 1 Sh2, of No. 27, the black Sg2, moving at random,
would allow White to mate by 2 Bd2, 2 Bg3 and 2 Pe3. However,
the Knight must in fact arrive somewhere: it cannot merely hang
in the air. And these three white mates are forced in turn
according to the Knight's arrival square: 1 ... S x h4; 2 Bd2
only; 1 ... Se3; 2 Bg3 only; and 1 ... S x el; 2 Pe3 only.
A similar arrangement is found after the three moves of the
other black Knight. 1 ... Sr-; seems to permit 2 Qe5, 2 Qf5 and
2 Qg5. The Knight's arrivals on e4, e6 and d3 force each of
these replies in turn. Notice how the composer has had to use
black Pawns to "plug" a6, b7 and d7 to prevent the Knight
from occupying these squares. Without these plugs, the second-
ary Fleck introduced by this Knight would be only partial.
No. 88 shows a curious type of secondary threat-separation
scheme known as Progressive Separation. The key 1 Qb5 puts
Black in Zugzwang. A random move by the Knight d5 (1 ...
Sb4) allows five secondary threats to operate: 2 Qe5, 2 S x f6,
2 Sf2, 2 Rei and 2 Qf5. After 1 ... Se7, however, the first four
of these will work, but the fifth, 2 Qf5, is prevented. 1 ... Sf4
prevents both 2 Qf5 and 2 Rei, but permits the other three.
Only two mates, 2 Qe5 and 2 S x f6, follow the defence 1 ... Se3.
112
Fleck 'Ihen1e
PROGRESSIVE SEPARATION
88
J. M. RICE
Prob/emisten, 1965
Mate in two
Key
1 Qb5, zugzwang
Sb4; 2 Qe5/S x f6/Sf2/Rel/
Qf5
Se7; 2 Qe5/S x f6/Sf2/Rel
Sf4; 2 Qe5/S x f6/Sf2
Se3; 2 Qe5/S x f6
Sx c3; 2 Qe5
while 1 ... S x c3 allows only 2 Qe5. The number of mates

available to White is progressively reduced, and once a mate
has been eliminated from the sequence, it never reappears.
An equally strange form of secondary threat-separation is
seen in No. 89. White's threat of 2 Qc2, introduced by the
COMBINATIVE SEPARATION
89
J. M. RICE
Die Schwalbe, 1964
Mate in two
Key
1 Bh3 ( > 2 Qc2)
Sh5; 2 Qd6/Qc6/Qb6 (ABC)
Sg4; 2 Qd6/Qc6 (AB)
Se4; 2 Qc6/Qb6 (BC)
S X g8; 2 Qd6/Qb6 (AC)
S X d5; 2 Qd6 (A)
Sd7; 2 Qc6 (B)
Se8; 2 Qb6 (C)
withdrawal key 1 Bh3, is defeated by any n1ove of the Sf6. A

random move (1 ... Sh5) allows three secondary threats:
2 Qd6 (A), 2 Qc6 (B) and 2 Qb6 (C). The Knight's other six
moves allow all possible combinations of these threats: A + B
(after 1 ... Sg4), B + C (1 ... Se4) and C +A (1 ... Sxg8); A
only (1 ... S x d5); B only (1 ... Sd7) and finally C only (1 ..•
Se8). Such an arrangement is called Combinative Separation, and
113
I I 1
The1nes aud Terms

is criticised by some problemists on the grounds that it relies
for its point more on Mathematics than on chess strategy.
Combinative separation of primary threats is also a possibility,
of course, but in its most intensive renderings (with four
primary threats separated in all possible combinations-IS
altogether) it tends to produce cumbersome settings even more
vulnerable to the criticism mentioned above.
Flight
A flight, or flight-square, is a square to which the black King
has access. The more mobile the black King, the harder is
White's task, for in mating it may be necessary to arrange an
attack on two or more squares (the square on which the King
stands, and also his flight or flights) rather than merely one.
After the King has moved to his flight, White's mate will need
to cover both the black King's original square and his new
square.
Solvers .usually enjoy problems featuring flights, as the
strategy and mates are often made the more interesting by their
very existence. Many problems in this book show flights as an
incidental feature, co1nbined with other, often unrelated,
strategy. In Nos. 90 and 91, however, the flights are thematised.
STAR-FLIGHTS
(RECIPROCAL CHANGE)
90 J. Kiss
First Prize, Hungarian Problemists'
Theme Tourney, 1942
Mate in two
Set 1 ... Kd6; 2 Pd8 =Q
Kf6; 2 Pf8 =Q
Kd8; 2 Qg5
Kf8; 2 Qc5
Key 1 Qe4, zugzwang

Kd6; 2 Pf8 = Q
Kf6; 2 Pd8 = Q
Kd8; 2 Qh4
Kf8 ; 2Qb4
114
Flight
In the diagram position of No. 90, mates are set for all of the
black King's moves: I ... Kd6; 2 Pd8 = Q; 1 ... Kf6; 2 Pf8 = Q;
1 . .. Kd8; 2 Qg5; and I ... Kf8; 2 Qc5. When the King has
access, as here, to his four diagonal flights, we speak of Star-
flights. Plus-flights is the term used if the King can move to all
four orthogonal flights. The harmless looking key of this
problem has the radical effect of changing the reply to each of
Black's four moves: I ... Kd6; 2 Pf8=Q; I ... Kf6; 2 Pd8=Q;
1 ... Kd8; 2 Qh4; I ... Kf8; 2 Qb4. The changes following the
King's moves to d8 and f8 are of a type known as concurrent:
the Queen merely mates on a different square but on the same
line in relation to the black King. Such changes are held to be
slightly inferior to a more complete alteration of the mating
position. But this small drawback is more than counter-
balanced in this particular problem by the character of the
other two changes, which are of great interest. The mate which
follows 1 ... Kd6 in the set play appears after 1 ... Kf6 in the
post-key play, while that set for 1 . .. Kf6 recurs after 1 ... Kd6
following the key. Such an interchange of mating n1oves
between two variations is known as Reciprocal Change, a
MULTI-PHASE PLUS FLIGHTS

H. HERMANSON
First Commendation, Die Schwalbe, 1956
91
Mate in two
Try . 1 Rb3? ( > 2 Rb6)
Ke6; 2 Rb6
Kf7; 2 Rf3
Pb5!
Try 1 Rc4? ( > 2 Rf4)
Ke6; 2 Rc6
Kf7; 2 Rf4
Pxb2!
Try 1 Rc2? ( > 2 Rf2)
Kf5; 2 Rf2
Kg6; 2 Rc6
Pg3!·
Key 1 Rd3! ( > 2 Rd6)
Kf5 ; 2 Rf3
Kg6 ; 2 Rd6
115
Themes and Terms
thematic device to which composers have paid a great deal of
attention in the past twenty years or so. Kiss's problem is a
relatively early example, though by no means the first.
Plus-flights are to be found in No. 91, but there are only two
flights in each of the four phases. The Rc3 has two tries which
create an indirect battery aimed at the squares e6 and f7: 1 Rb3?
and 1 Rc4? After each try White's indirect battery opens to give
mate when the black King moves to his newly acquired flights.
These tries are defeated respec_tively by 1 ... PbS! and 1 ...
P x b2! A third try 1 Rc2? (failing to 1 ... Pg3 !) creates another
indirect battery and grants two different flights, f5 and g6.
These same flights are also allowed by the key, 1 Rd3 !, which,
however, introduces another pair of mates.
Focal Effects
A black line-piece guarding potential mating squares in at
least two different directions is said to focus those squares,
which themselve~ are the "foci" or focal points. Focal effects in
the two-mover are at their most interesting when White
apparently has a number of different ways of taking advantage
of the fact that the black line-piece in question cannot retain its
guard on more than one focal point at a tiine (as in No. 92), or
FOCAL EFFECTS: ZAGORUYKO
N. A. MACLEOD
92
American Chess Bulletin, 1961
Mate in two
Try 1 Sh5 ?, Bd2; 2 Sf6
Bd8; 2 Sf4
Be7!
Try 1 Sf5 ?, Bd2; 2 Se7
Bd8; 2 Se3
Bf4!
Try 1 Sg4 ?, Bd2; 2 Sf6
Bd8; 2 Se3
Bxcl!
Key 1 Sg6!, zugzwang
Bd2; 2 Se7
Bd8; 2 Sf4
(Pf2; 2 Qxg2
Bhl; 2 Qa2)
116
Focal Effects
else when White tries to disrupt Black's focal contr~l of t~o
squares (as in No. 93). In No. 92 White has three tnes which
each introduce a pair of mates to follow the moves of the Bg5
to north-west or south-west. 1 Sh5? fails to 1 ... Be7 !, because
2 Sf4? would allow 2 ... K x e5! Similarly 1 Sf5? fails to
1 ... Bf4! (2 Se7 ?, K x e5 !). Nor is 1 Sg4? any use, because of
1 ... B x cl !, acquiring a flight (c6) which White cannot regain
control over. The key 1 Sg6! introduces a fourth pair of mates
in reply to the Bishop's moves. Notice that in the four phases
the actual focal points (White's mating squares) are four
different pairs of squares. Two by-play variations involving
FOCAL EFFECTS: SHUT-OFFS

B. P. BARNES
Die Schwalbe, 1964
Mate in two
Try 1 Bc3? (> 2 Bb3)
93
Rxc3; 2 Qf5
Qc5; 2 Sxc5
Qg5; 2 s xg5
Rfl!
( > 2 Sc5)
Qxd6; 2 Sg5
Rf5; 2 Qxf5
Rb3+; 2 Bxb3
Pxd6!
(> 2 Sg5)
Qc5; 2 Sxc5
Rf5; 2 Q xf5
Rb3+; 2 Bxb3
Qxf6!
Key 1 Bf4! (> 2 Qf5)
Rxf4; 2 Bb3
Qc5; 2 Sxc5
Qg5; 2 Sxgs
Pf6; 2 Qxe7
mates by the white Queen complete the play of this fine work.
The point of No. 93 lies in the tries which aim to interrupt
one of the two focal guards of the black line-pieces, Queen and
Rook. 1 Bc3? threatens 2 Bb3, but Black defeats by pinning the
117
Themes and Terms
white Bishop with 1 ... Rfl! 1 Bd6 ?, cutting the Queen's guard
of c5, threatens 2 Sc5, but fails to 1 ... P x d6! 1 Bf6? threatens
an analogous mate on the other side of the black King, 2 Sg5,
but is defeated by 1 ... Q x f6! The key cuts the guard of the
black Rook over f5: 1 Bf4! (> 2 Qf5). In each phase Black can
defend against the threat in other ways, but in so doing aban-
dons one of his crucial focal guards, thereby allowing a white
mate.
Focal play in the three- or more-mover is generally of ·a very
different character. No. 94 combines focal effects with anti-
94 FOCAL PLAY: ANTI-CRITICAL

MOVES
B. KozooN
Hon. mention, Stuttgart Tourney, 1961
Mate in three
Key
1 Sf6, zugzwang
Bh1; 2 Rh4 (3 Pd4)
Bf3; 2 Bc8
Bc6; 2 Rd3
critical moves. The key 1 Sf6 puts Black in Zugzwang. Negative

black moves such as 1 ... Bh1, 1 ... Bb7 or 1 ... BaS allow
White to continue 2 Rh4, with the inescapable threat of 3 Pd4.
1 ... Bf3, however, prevents 2 Rh4 from being effective because
of 2 ... Bg4! But now the Bishop has reached a square where
White can exploit its focal guard of two potential mating
squares, e4 and g4, by continuing 2 Bc8. The black Bishop
must now permit either 3 Re4 or 3 Sg4. In similar fashion,
1 ... Bc6 allows the continuation 2 Rd3, so that either 3 Re4 or
3 Sd7 1nust eventually be possible.
No. 95 is a Pseudo-Two-Mover: if it were Black's turn to play,
mate would follow in1mediately. It takes White six moves to
reach the diagram position with Black to play. The problem
also illustrates a then1e known as Opposition: the white Queen
and the black Bishop fight it out. Most of the tin1e the latter is
forced to try to retain its focal guard. 1 Qe2 threatens 2 Qe8 +.
118
Four-Hands-Round
FOCAL EFFECTS: OPPOSITION
E. M. H. GUTTMANN
Tlzemes 64, 1959
Mate in seven
• -• • -
•
95
Set 1 ... Ba8; 2 Qc4
•- ••••-•
~-
0~ Key
1 Qe2,
Bg8;
Bf7
2 Qc6
.u t •-'•-•--•-•
~
®
~.i(%
~~
~ .. .. /:
B ~ ··0/-
~~
2 Qe5,
3 Qh5,
Be6
Bf7 3 ... Bc4
4 Qe8+, Bb5
•
4 Qe2, Be6
••-.1.
-~ ~~ ~.. 3
~ ..% 5 Qd3, Bd5 5 Qe5
~....~
~ ·~
~it
~ .... /: 6 Qa6, r-..J
~ -~
fi
••
~ .... z 7 Qc4/c6
~ ~ ~
~,._ -_ , ~
2 ... Bg6/h5
3 Qc5
1 ... Be6
2 Qd3, Bd5
3 Qa6
1 ... Bf7 defends, and so White continues 2 Qe5, waiting. (If

Black plays 1 ... Be6, White replies 2 Qd3, with 3 Qa6 after
2 ... Bd5.) If now 2 ... Bg6 or Bh5, then 3 Qc5. But if 2 ... Be6,
then 3 Qh5 (>4 Qe8). Black defends with 3 ... Bf7, whereupon
White's Queen moves to e2. After 4 ... Be6, 5 Qd3, and Black's
only sensible reply is 5 ... Bd5. Now the Bishop is back where
White wants it, so that after 6 Qa6 the original position has
been reached once again-but now it is Black to move! The
Bishop cannot continue to guard both c4 and c6.
Four-Hands-Round
The reader should familiarise himself with the term Grimshaw
(mutual interference between Rook and Bishop, or between
Pawn and Bishop) if he wishes to understand the strategic
arrangement known as Four-Hands-Round. This thematic
idea consists of Grimshaw interferences on two squares, in
which only one black Rook and one black Bishop take part. In
other words, there are four variations, two in which the Bishop
119
Themes and Tenns
interferes with the Rook, and two where the Rook interferes
with the Bishop. No. 96 shows the idea in the post-key play.
96 FOUR-HANDS-ROUND
N. G. G. VAN DIJK
Frederikborg Amts Avis, 1957
Mate in two
Set I ... Be5; 2 Bx b5
Re5; 2 Sb4
Key 1 Q X e6 ( > 2 Q X d5)
Bc5; 2 Bxb5
Bc5; 2 Sb4
Be5; 2 Q~f5
Re5; 2 Sf4
The Grimshaw interferences occur on c5 and e5. In this particu-
lar example the composer has ingeniously incorporated changed
play of a rather unusual character. The black Rook and Bishop
are half-pinned in the diagram position, and their set moves to
e5 are followed by mates exploiting this half-pin. The key
destroys these pin-mates, but the set mates now recur in answer
to the moves of the Bishop and Rook to c5, rather than to e5
as previously. (Readers familiar with the Rukhlis theme may like
to compare this problem with those to be found under that
heading.)
No. 97 is a fine three-move rendering of Four-Hands-Round.
FOUR-HANDS-ROUND
97 TJOA GIOK RING

First Ron. n1ention, Prob/eemblad, 1965
Mate in three
Key
1 Qa7 ( > 2 Rei+, Kd5; 3 Qa2)
Bf6; 2Bg6+, Kxf4;
3 Bxd6
Rf6; 2 Rd4+, Kf5;
3 Qxd7
Bd4; 2 Sd2+, Kc3;
3 Qa3
Rd4; 2 Sc3+, Ke3;
3 Rd3
120
Four-Way Play
The excellent withdrawal key 1 Qa7 threatens 2 Rel1:'", K.d5;
3 Qa2. Black defends by trying to obtain flights for hts ~tng,
but each time he cuts a white line of guard, a black one 1s cut
as well. White exploits the interferences in his second-move
continuations, allowing the King a flight in each case. White's
final move is then a pin-mate. 1 ... Bf6 allows 2 Bg6 +, K X f4;
3 Bxd6; while 1 ... Rf6leads to 2 Rd4+, Kf5; 3 Qxd7. The
Grimshaw interferences on d4 allow the following play:
1 ... Bd4: 2 Sd2+. Ke3; 3 Qa3~ and 1 ... Rd4; 2 Sc3+, Ke3;
3 Rd3 ~
Four-Way Play
Four-Way Play is the term used to denote a black defence which
simultaneously opens one black line and one white one, and
closes one black line and one white one. The key 1 Pe3 of No. 98
-
.......
-~~R~
--~~~- - 98 FOUR-WAY PLAY
- -
S. EKSTROM
-.....4j.®
~ ~~-~
~~-
.
-
. - ..
... . .
~- ...,x -
Tidskrift for Schack, 1942
Mate in two
-
·it ·i.t · .. - Key 1 Pe3 (> 2 Qd4)

S,_,;
Sf4;
2 Sf2
2 Qe5
.. ..
Sf6; 2 Bg6
~-- ~
· § -~
threatens 2 Qd4. Any move of the Sd5 automatically defeats
the threat by opening the line d6- d4. But it also opens the
white line c5- e5, enabling White to ans\ver a random move of
the black Knight with 2 Sf2. The two corrections 1 ... Sf4 and
1 ... Sf6 both illustrate four-way play: each closes the white
line f8- f3, thereby preventing 2 Sf2 (if 2 Sf2 ?, Kf3 !), but allows
a new mate by reason of the closure of a black line: 1 ... Sf4;
2 Qe5 (closure of h2- e5); and 1 ... Sf6; 2 Bg6 (closure of
d6- g6). This last defence is a Valve: the black Knight opens one
line of the Rd6 but closes another. A defence which opens the
line of one black piece but closes that of a different piece (like
1 . .. Sf4) is known as a Bi-valve.
121
Themes and Terms
Fringe Variation
A variation which is not part of a problem's principal theme
and which is brought about by the addition of extra force is
often termed a Fringe. Such variations, normally condemned
as an offence against the ideals of Economy, are discussed more
fully in the chapter on Composing (Section III).
Gamage Unpin
The key of No. 99, 1 Rb4, threatens 2 Rc3. If Black defends by
99 GAMAGE UNPINS
H. E. FUNK
(version by H. Knuppert)
Mate in two
Key I Rb4 (> 2 Rc3)
Bc5; 2 Qb5
Re5; 2 Qh3
Rc5; 2 Sx c5
Be5; 2 Bb5
playing I ... Bc5, then White can mate by 2 Qb5. This mating
move is a Gamage unpin: the black Bishop has interfered with
the newly-pinned Rd5, preventing it from capturing on b5
after 2 Qb5. I ... Re5 is a further Gamage unpin: 2 Qh3 can
be played, because 2 ... Bg3? has been ruled out by the black
interference. The half-pinned position of Black's thematic
pieces is an unusual feature: normally the piece which is un-
pinned by the mating move is completely pinned in the initial
position.
Goethart Unpin
In the set play of No. IOO, Black has two moves with his Knight
which lead to mates of a type known as Goethart unpins:
I ... Sf3; 2 Sf2; and I ... Se6; 2 Sc3. In each variation the
moving-piece of the white Bishop + Knight battery can unpin,
122
Grab
GOETHART UNPINS
100
C. MANSFIELD
Evening News, 1933
Mate in two
Set 1 Sf3; 2 Sf2
Se6; 2 Sc3
Key 1 Sb3 (> 2 Sd4)
Sf3; 2 Sd2
Se6; 2 Sc5
(P X b3; 2 S X g5
Rc3+; 2 Rx c3)
by interference, a black piece which would have been able to

interpose on the check-line if the black Knight had not inter-
cepted its route. The moves 1 Sf2? and 1 Sc3? will not mate in
the diagratn position because of 1 ... Be4! and 1 ... Rg6!
respectively. The key, 1 Sb3, by depriving Black of his flight d 1
and giving him instead a flight b3, alters the mates set for the
black defences given above, which both defeat the threat of
2 Sd4. I ... Sf3 now allovvs 2 Sd2, while 1 ... Se6 leads to 2 Sc5.
Like the mates of the set play, these are Goethart unpins. A
third mate by the Bishop + Knight battery, 2 S x g5, occurs
after the self-block 1 ... Pxb3. The unprovided flight (1 . .. Kdl )
and unprovided check (1 ... Rc3 +) are serious dra\vbacks,
hardly balanced by the sacrificial key, yet the problem is none-
theless noteworthy for its four Goethart unpins spread oYer
t\vo phases. So far no composer has succeeded in achieving
more than two such unpins in a single phase \Vithout a really
terrible key. There's a challenge for the ambitious reader!
Grab
The key of No. 101, I Bel, sets up a ZugZ\\ang po ition. White
wi11 eventu.ally mate by n1ean of 3 RdX, if both of Black's
Kni ghts can be induct:d t leave th e-filc to enable the \vhite
Queen to guard c7. A it turn out thi i not a difficult bu ~ iness,
f r no n1atter which Knight n1 vc - and irre ~ p cti\e of \vhere it
pla ys to, it expose. itself to capture, that the )ther Knight i,
then f( reed to n1ovc ( unlcs · Black play.. _ ... P --, which
123
Themes and Tern1s
GRAB (DOUBLE S-WHEEL)
C. S. KIPPING
The Prob/emist, 1936
Mate in three
101 1 Bel, zugzwang .
Key
Sdl; 2 S X dl
Sc2; 2 S x c2
S x c4; 2 S x c4
Sd5; 2 Px d5
Sf5; 2 Bxf5
Sg4; 2 Bxg4
Sg2; 2 Bxg2
Sfl; 2 B X f1
Sd2; 2 Bxd2
Sc3; 2 B X c3
Sxc5; 2 Pxc5
Sd6; 2 Px d6
Sf6; 2 Pxf6
Sxg5; 2 Pxg5
Sg3; 2 Bxg3
Sf2; 2 Bxf2
Pf6; 2 Qh5
allows 3 Qh5). This problem therefore presents a doubling of

the Grab theme: each of two black pieces is grabbed wherever
it goes.
Grasshopper
The Grasshopper (G in notation) is a fairy-chess piece. It
moves along Queen-lines, but must hop over another piece of
either colour and land on the next square beyond. If that
square is occupied by a piece of the same colour as the G, the
move is impossible. The piece was invented by T. R. Dawson in
1912, and is the most popular of all fairy..;chess units. The
strategic possibilities of the G are considerable: some of them
are seen in No. 102.
The white Ga4 has two moves available to it, to c6 and to f4.
If it moves to the latter square, the black King is in check. The
black Ge4 is pinned in the diagram position, for if it were to
move it would expose the black King to check from the Ga4.
124
'
Grid-Ghess
GRASSHOPPERS
102 T. R. DAWSON
Mate in two
Key 1 Se3, zugzwang
Ge6; 2 5Sg4
Gg6; 2 Bg4
Ge2; 2 3Sg4
gG~; 2 Bel
Gxf5; 2 Sxf5
s~; 2 Sf3
Ph2; 2 Sg2
Pg4; 2 Gf4
The key is 1 Se3, and, curious as it may seem, this unpins the
Ge4! If Black now plays 1 ... Ge6, White mates with 2 5Sg4-
by moving away from e5, the white Knight prevents the black
G from returning to e4. Notice how the special property of the
G makes it possible for a white piece to play to a square, rather
than away from it, in order to achieve a sort of battery-mate.
Two other variations show similar strategy: 1 ... Gg6; 2 Bg4;
and 1 ... Ge2; 2 3Sg4. Each time White moves a piece to prevent
the return of the G-a kind of shut-off in reverse. The non-
return feature of the G occurs automatically (i.e. without any
assistance from the opposite side) if the G crosses any un-
occupied squares before hopping, as in the variation 1 ... Gd6
(or 1 ... Gd3), allowing 2 Bel, since the G cannot return to g3.
Two further variations feature Gs: 1 ... G x f5; 2 S x f5; and
1 ... Pg4; 2 Gf4.
Grid-Chess
Grid-chess is played on a Grid-board, a fairy-chess board
invented by W. Stead in 1953. As can be seen from the accom-
panying diagram, No. 103, the board is divided not only into
its usual 64 squares, but also into 16 larger squares consisting
of four squares each. All moves by both sides must cross at
least one line of the grid, so that movement within a large
125
Themes and Tern1s
GRID-BOARD
103
E. VISSERMAN
Fairy Clzess Review, 1954
Mate in two
Key 1 Ra5 ( > 2 Qxc4)
Qf6; 2 Qf5
Qe6; 2 Qe5
Qd6; 2 Bx b7
Qc6; 2 Qd5
Qxb6; 2 Bxb6
Pd5; 2 Bc5
R X f2+ ; 2 B X f2
square is impossible. In No. 103, for instance;f4 is not guarded
by the Be3, but even so the black King cannot move to it. Nor
can he move to f3. Some curious interference effects are possible
on a grid-board, as this problem demonstrates. The key 1 Ra5
threatens 2 Q x c4. The principal defences are made by the
black Queen, which interferes with four of her own pieces:
1 ... Qf6; 2 Qf5 (interference with Rf7); 1 ... Qe6; 2 Qe5;
1 ... Qd6; 2 B x b7 (interference with Pd7); and 1 ... Qc6;
2 Qd5. On a normal board interferences cannot be effected in a
two-mover by the black Queen unless she is pinned.
Grimshaw
No. 104 is one of the most famous two-movers ever composed.
The position is a complete block: every black move · has a set
mate. The key is the waiting move 1 Bb3, which holds the
block position so that Black is bound to commit an error per-
mitting a white mate. Six of Black's moves are interferences,
and these interferences forn1 the theme of this superb problem.
1 ... Bb7 allows 2 Re7, because of the interference with the Ra7.
This black Rook may in turn play to b7, in which case it inter-
feres with the Bishop and permits mate by 2 Rc6. A pair of
interference variations, in which piece X interferes with piece Y
and vice versa, is known as a Grimshaw. (The name derives
from a nineteenth-century composer who made an early
example of the theme.) The remarkable thing about this prob-
lem is that it contains three Grimshaws altogether, i.e. three
126
Grimshaw
DOUBLE GRIMSHAW +
P GRIMSHAW
104
I. LOSHINSKI
L.
Commended, Tijdschrift v.d. Neder/andse
Schaakbond, 1930
Mate in two
Key 1 Bb3, zugzwang

Bb7; 2 Re7
Rb7; 2 Rc6
Bg7; 2 Qxf7
Rg7; 2 Qe5
Bf6; 2 Qg4
Pf6; 2 Qe4
Pf5; 2 Qd6
Bxd4; 2 Sxd4
Rxc7; 2 Sxc7
pairs of interferences. A pair similar in character to the varia-

tions already examined may be seen on the other side of the
board: 1 ... Bg7; 2 Q x f7 (Bishop interferes with Rook); and
1 ... Rg7; 2 Qe5 (Rook interferes with Bishop). The third
Grimshaw involves the Bh8 and the Pf7: 1 ... Bf6; 2 Qg4 (the
Bishop prevents 2 ... Pf5); and 1 ... Pf6; 2 Qe4 (2 Be5? being
impossible). A Grimshaw of this kind is known as a P-Grim-
shaw, to distinguish it from the more usual Rook + Bishop
variety. Notice that in the orthodox two-mover a Pawn can be
interfered with only when it stands on its starting square, so
that its double jump is prevented. To complete this problem,
there are three further variations, a self-block by 1 ... Pf5
(2 Qd6) and two straight recapture-mates after 1 ... R x c7 and
1 ... B x d4. It is extremely doubtful whether three Grimshaws
can ever again be combined in a single phase as neatly as in this
example.
No. 105 also has three Grin1shaws, but spread over three
phases: the black defences remain the same, but there are three
different pairs of replies. The set mates following 1 ... Bc3 and
1 ... Rc3 are respectively 2 Se3 and 2 Se5. The try 1 Sf2?
(> 2 Qb4) automatically eliminates these mates, but introduces
2 Qd3 and 2 Qf4, thanks to the additional guard on d3. 1 ...
Rb3! defeats. The key is 1 Be3 !, with the new threat of 2 Rb4.
127
Then1es and Ternls
GRIMSHAW: ZAGORUYKO
M. MANOLESCU
105 First Prize, Meredith Section, Revista
de Sah, 1956
Mate in two
Set 1 Bc3 ; 2 Se3
Rc3; 2 Se5
Try 1 Sf2? ( > 2 Qb4)
Bc3; 2 Qd3
Rc3; 2 Qf4
Rb3!
Key 1 Be3! ( > 2 Rb4)
Bc3; 2 Qe2
Rc3; 2 Qd4
Rb3; 2 Rc5
Rd3; 2 Qb4
Rxe3; 2 Sxe3
The set mates are ruled out because the Bishop occupies one
of the Knight's mating squares and has opened the line of the
black Rh5 to guard the other. The try-play mates by the
Queen will not work either, because there is no secdnd guard
on d3. There is, however, a second guard on d4, which enables
White to mate by 2 Qe2 after 1 ... Bc3, and by 2 Qd4 after
1 ... Rc3. The mechanism by which all these changes are
brought about is extremely skilful. Furthermore, there is some
good by-play to complete the problem. The move which defeats
the try, 1 ... Rb3, leads, after the key, to 2 Rc5, while the self-
block 1 ... Rd3 reintroduces the threat of the try-play, 2 Qb4.
Finally, the Knight which provides the set mates and makes the
try is given work to do after the key: 1 ... R x e3; 2 S x e3.
Grimshaw interferences have appealed to composers even
more than most other two-move themes. Several recent compo-
sitions embodying basic Grimshaw arrangements will be found
under the heading Nowotny, a closely related theme. No. 106 is
one of only three or four examples of a very difficult task:
changed double Grimshaw. There are two Grimshaws in the
diagram position with mates set for them: 1 ... Rb6; 2 S x c5;
1 ... Bb6; 2 Bxc6; 1 ... Re2; 2 Qf3; and 1 ... Be2; 2 Qe3. The
key 1 Q x c5 (zugzwang) changes all four of these mates, and
128
Half Battery
CHANGED DOUBLE GRIMSHAW
J. Kiss
Second Prize, Prob/eemblad, 1953
106
Mate in two
Set 1 ... Flb6; 2 Sx c5
Bb6; 2 Bxc6
Re2; 2 Qf3
Be2; 2 Qe3
Key 1 Qxc5, zugzwang
Flb6; 2 Qd4
Bb6; 2 Qxc6
Re2; 2 Sf6
Be2; 2 Re3
Bxc2; 2 Sf2
s---; 2 Sd6
Sxe5; 2 Qxe5
Bxc5; 2 Sxc5
Bxg4+; 2 Rxg4
also introduces some fine by-play. The new play is 1 ... Rb6;
2 Qd4; I ... Bb6; 2 Q x c6; I ... Re2; 2 Sf6; and I ... Be2;
2 Re3. The by-play includes a second unpin of the Sg4 (1 ...
B X c2 ; 2 Sf2- notice how this move is forced in preference to
2 Sf6, by the need to re-guard d3, whereas 1 ... Re2 forces
2 Sf6 because f2 is guarded). The unprovided check 1 ... B x g4+
is an excusable blemish.
Half-Battery
A half-battery exists in its simplest form when two white
pieces, X and Y, stand on a line between the black King and a
white line-piece, such that if one of these pieces moves away a
normal battery is formed. The Half-battery theme, however, is
a strategic extension of this basic arrangement. Piece X moves to
make a try, thereby perhaps introducing virtual play involving
battery-openings by moves of piece Y. The key is made by
piece Y, and the same, or different, black defences may lead
to play in which piece X moves to open the battery. Nor is the
try-play necessarily confined to a single white move, for the
point of the problem may lie not only in the choice of which
129
The1nes and Tenns
white piece to 1novc, but also in that piece's actual destination .
Such a half-battery is seen in No. 44, under Correction, White.
In No. 107 the half-battery on the fourth rank yields different
HALF-BATTERY
107
G. BAKCSI
First Prize, F.I.D.E ..Tourney, 1962- 3
Mate in two
Try 1 S X d5 ? ( > 2 Rd 1)
Kd3; 2 Sf2
Kx d5; 2 Sc3
Bd6!
Key 1 Sxc5! (> 2 Qb4)
Kc3; 2 Sxd5
Kxc5; 2 Sd3
(B X c5; 2 Qe5)
mates after the King-flights in virtual and post-key play. The

try is made with the Sf4: 1 Sxd5? (>2 Rdl). Black's defences
are 1 ... Kd3 and 1 ... K x d5. These are followed by 2 Sf2, and
2 Sc3 respectively, each mate being an opening of the newly-
formed Rook+ Knight battery. The try is defeated by 1 ... Bd6!
and so White, in order to threaten 2 Qb4, plays 1 S x c5!
Black now has two new flights, c3 and c5. 1 ... Kc3 leads to
2 S x d5, while 2 Sd3 follows I ... K x c5. This time the battery
consists of Rook + Sf4. This attractive setting illustrates
Total change: the theme remains the same throughout the
problem's solution, but the thematic defences and mates are
different in the two phases.
The amazing fertility of the half-battery can be judged from
the large number of such problems which appear under other
headings in this book. (A glance at the index will show where
they are to be found.) Two further examples must suffice here,
both showing a direct half-battery. Indirect half-batteries are
not uncommon, nor are masked half-batteries, both direct and
indirect. Indeed, the possibilities are almost boundless.
No. 108, besides being a half-battery, illustrates Radical
Change: not only do the thematic defences and mates change
between the virtual and the post-key play, but the variations
130
HalfBatteJy
HALF-BATTERY
W. JSSLER
108 Second Prize, Die Schwalbe, 1962

Mate in two
Try 1 Se5? (> 2 Sf7)
Pe6· 2 Sf5
'
Sxe5; 2 Sb5
Bxc4; 2 Sxc4
Qfl; 2 Se2
Qf3; 2 Sxf3
Sh8!
Key 1 Se6! (> 2 Qc5)
Qat; 2 Sb2
Qh5; 2 Se5
Qgl; 2 Sf2
Qg4; 2 Sf4
(P X c6; 2 Qd8)
also display different strategy in the two phases. 1 Se5? threatens
2 Sf7, and four of Black's six defences lead to openings of the
battery consisting of Rook+ Sd4: 1 ... Pe6; 2 Sf5 (self-block+
white interference); 1 ... S x e5; 2 Sb5 (ditto); 1 ... Qf1; 2 Se2
(unguard + shut-off); and 1 ... Qf3; 2 S x f3 (unguard +
capture). The fifth defence, 1 ... B x c4, is answered by 2 S x c4,
while the sixth, 1 ... Sh8 !, defeats the try. The key is a move by
the other Knight, 1 Se6! (threat 2 Qc5). The four thematic
defences by the Queen introduce shut-off mates from the new
battery: 1 ... Qal; 2 Sb2; 1 ... Qh5; 2 Se5; 1 ... Qg1; 2 Sf2;
1 ... Qg4; 2 Sf4. The only weakness of this otherwise very
elegant problem is that the play following the try is strategically
superior to that found after the key.
No. 109 is a three-move rendering in which the white half-
battery works in combination with a black half-pin. The
withdrawal key 1 Qb1 threatens 2 Qa1 +, and 3 bS x c5 after
2 ... K x d3. To defend against this threat, Black guards c5 with
his Queen, which in the initial position exercises a dual control
over the half-battery on the fourth rank. 1 ... Qe7 allows
White to continue 2 Sf2 (>3 Qal). If Black replies 2 ... Rxf2,
White can exploit two weaknesses simultaneously, namely the
pin of the black Se5 and the fact that the black Rook has
played across the critical square f3, and can therefore be shut
131
Th enzes and Tenns
off by 3 Bf3. (White shut-offs following black critical mov~s
may sometimes fonn the principal strategy of a problem, as In
HALF-BATTERY
(+ BLACK fiALF-PIN)
109 W. HEBELT
First Place, International Team Match,
1962-3
Mate in three
Key
1 Qbl (> 2 Qal+, Kxd3; 3 bSxc5)
Qe7; 2 Sf2, Rxf2;
3 Bf3
2 ... Sxc4
3 Be6
Q X c7; 2 Be2, Rfl ;
3 Sf2
2 ... Sxc4
3 Sd6
the Mousetrap theme.) 2 ... S x c4, on the other hand, leads to
3 Be6: the black Rook is pinned, and White's Bishop, in
mating, must re-close the line which Black has just opened,
from the black Queen (now on e7) to the battery-line on the
fourth rank. In the second thematic variation, 1 ... Q x c7
forces White to play 2 Be2, with the same third-move threat of
3 Qa 1. 2 ... Rfl, again a critical move, allows 3 Sf2, a shut-off
which also exploits the pin of the Se5. 2 ... S x c4 once again
opens a line from the black Queen which White must close in
mating by 3 Sd6, the Rf6 being now pinned.
A great deal of work has been done on the half-battery theme
in the two-mover, but its possibilities in longer problems are by
no means exhausted. Indeed, comparatively few three-move
examples exist. He belt's fine setting of the theme is ample proof
of its suitability for expression in three-move form.
Half-Pin
(a) BLACK
Two pieces are said to be half-pinned when one of them
becomes completely pinned if the other moves. Such is the case
with the black Bd4 and Sf4 in No. 110. The key of this problem,
132
Half-Pin
HALF-PIN
110
C. MANSFIELD
First Prize, El Ajedrez Argentino, 1921

Mate in two
Key 1 Pc3 (> 2 Qxd4)
Bxc3; 2 Pd3
Bc5; 2 Qd3
Be5; 2 Bxe6
Sd5; 2 Qxc6
Se2; 2 Sxe3
B/Rd5; 2 Qb4
1 Pc3, threatens 2 Q x d4, and Black has a total of five defences

with his half-pinned units, after each of which White's mate
would be ineffective but for the pin. 1... B X c3 pins the
Knight, blocks c3 and so allows 2 Pd3. 1 ... Bc5 is a second
self-block, and White again exploits the pin of the Knight with
2 Qd3. 1 ... Be5, on the other hand, is an interference: 2 B x e6
is made possible not only by the pin of the Knight, but also
because the Rh5 is prevented from playing to d5 to interpose.
Then there are two defences by the Sf4 which allow White to
exploit the pin of the Bishop: 1 ... Sd5; 2 Q x c6; and 1 ... Se2;
2 S x e3. Both these defences are also interferences. It is most
often the case with the half-pin, possibly the most fertile of all
two-n1ove themes, that the composer combines his half-pin
with other strategy, such as self-blocks and interferences (as in
this example), or cross-checks or unpin of White.
Successful doublings of the half-pin theme (i.e. with two
distinct half-pin lines, and with each piece thematically pinned
in at least one variation) are by no means uncommon, but
there are not many examples of the triple half-pin. No. 111 is
a particularly fine one, with a key that changes one of the
thematic mates. 1 Qc5 creates a block position. The changed
mate is that following 1 ... Bg5: before the key this is answered
by 2 Q x f3, while the post-key mate is 2 Qf5. The other varia-
tion yielded by this half-pin line is 1 ... Qg5; 2 Qe3. Readers
should have no difficulty in working out the variations from
the other two half-pin lines. Incidentally, a half-pin is not
133
Then1es and Terms
TRIPLE HALF-PIN
111
B. MALMSTROM
Third Prize, Good Companions, Feb-
ruary, 1923
Mate in two
Key 1 Qc5, zugzwang
Rxc5; 2 Pd3
Sd3; 2 Sc3
Rxe2; 2 Qxc4
Sd4; 2 Sf2
Bg5; 2 Qf5
Qg5; 2 Qe3
regarded as "complete" unless each half-pinned piece becomes

thematically pinned in at least one variation.
Changed play centring on a half-pin arrangement is com-
paratively common, but No. 112 is a rather curious example.
112 HALF-PIN: RECIPROCAL CHANGE

I. GROSSMAN and A. HIRSCHENSON
Prob!eemblad 1965
Mate in two
Set 1 Se5 ; 2R X e5
Qxe3; 2 Sd6
Key 1 Sf4 ( > 2 Bf3)
Se5; 2 Sd6
Qxe3; 2 Re5
The set defences 1 ... Se5 and 1 ... Q x e3 are met by 2 R x e5

and 2 Sd6 respectively. The key 1 Sf4 (> 2 Bf3) has the effect of
reversing these two mates: 1 ... Se5; 2 Sd6; and 1 ... Q x e3;
2 ReS. Such a reversal of two set mates is known as Reciprocal
Change, and is a very popular modern strategic idea. However,
a reciprocal change in which all the thematic mates exploit a
half-pin is most unusual.
Half-pin two-movers in three phases are extremely rare,
especially when the black defences remain exactly the same
throughout the problem's solution. The set play of No. 113 has
134
Half-Pin
HALF·PIN: ZAGORUYKO
~. PARTHASARATHY
113
The Prob/emist, 1966
(version by B. Zappas)
Mate in two
Set 1 ... Sd4; 2 Qd6
Qh7; 2 Qb2
Try 1 S X c5? ( > 2 Re4)
Sd4; 2 S X d7
Qh7; 2Pd4
Pd5!
Key 1 Sd6! (> 2 Re4)
Sd4; 2 Sf7
Qh7; 2 Qxc5
the variations 1 ... Sd4; 2 Qd6; and 1 ... Qh7; 2 Qb2. Both
these mates are rendered impossible if the white Knight leaves
e4. The try 1 Sxc5? (>2 Re4) introduces two new mates:
1 ... Sd4; 2 S x d7; and 1 ... Qh7; 2 Pd4. However, there is no
mate to follow 1 ... Pd5! The key 1 Sd6 !, with the. same threat,
brings in a third pair of mates: 1 ... Sd4; 2 Sf7; and 1 ... Qh7;
2 Q x c5. This very fine problem, therefore, illustrates the
Zagoruyko theme, and is only the third Zagoruyko half-pin
known to the author.
Three examples follow of black half-pin in three-move form.
In No. 114 the chief interest lies not so much in the strategy with
114 HALF·PIN: CYCLIC EFFECTS
N. G. G. VAN DIJK
First Prize, Stella Polaris, 1966
Mate in three
Key
1 Qb2 ( > 2 Bf6, f"'J; 3 Qd4/e5)
Ra I ; 2 Re3 +, S x e3 ; 3 Sc5
Ra3; 2 Sc5+, Qxc5; 3 Rf4
Rh8; 2 Rf4+, Sx f4; 3 Sd6
Rf8; 2 Sd6+, Qx d6; 3 Re3
which the half-pin is combined, as in the relationship between

White's second and third moves. The key I Qb2 threatens
135
The1nes and Tenns
2 Bf6 followed by 3 Qd4 or 3 Qe5. If Black defends with
I ... Ra1 (threatening 2 ... R x fl + ), White proceeds with
2 Re3 + (A), S x e3; 3 Sc5 (B). 1 ... Ra3 allows (B) as the
second move, 2 Sc5 +, forcing 2 ... Q x c5, and White then
mates with 3 Rf4 (C). 1 ... Rh8 leads to 2 Rf4+ (C), S x f4;
3 Sd6 (D), while 1 ... Rf8 allows 2 Sd6+ (D), Q x d6; 3 Re3
(A). The half-pin is therefore combined with Cyclic Play:
there is a cyclic relationship (AB-BC-CD-DA) between
White's second-move continuations and his third-move mates.
The half-pin in No. 115 does not in fact exist until Black has
HALF-PIN
J. MONTGOMERIE
115
First Prize, British Chess Magazine, 1964
Mate in three
Key
1 Bh3 (> 2 Sg4+, Kf5; 3 2e4)
B x d5; 2 Rg4, Sd4; 3 Re4
2 . . . Be4; 3 Pd4
P x d5; 2 Se2, Sd4; 3 Sc4
2 . . . Pd4; 3 Q X d4
Sxe3; 2 Qf4+
Sd4; 2 Qd6+
Ph5; 2 Bg5
Sd6; 2 Pd4+
S X c3; 2 Q x c3 +
made his first n1ove. 1 Bh3 threatens 2 Sg4+, and the principal
defences involve the capture of the Pd5 by the Bb7 or the Pe6.
After 1 ... B x d5 White continues 2 Rg4 (> 3 Qf4). Black's
continuations and White's subsequent mates are now such as
might be found in a two-mover: 2 ... Sd4; 3 Re4; and 2 ... Be4;
3 Pd4. 1 ... P x d5 introduces a second situation reminiscent of
two-move strategy: 2 Se2 (>3 Qf4), Sd4; 3 Sc4; and 2 ... Pd4;
3 Q x d4. The half-pin is complete in each variation, so that
there are in all four white mates exploiting the mechanism
which Black himself is responsible for creating.
A casual glance at No. 116 is unlikely to suggest the existence
of a half-pin arrangement. Yet there is one there all right, of a
type known as an Anticipatory half-pin. 1 Ka5 threatens
136
1/alfPin
116 A
J. J. RIETVE D
Second Prize, British !tess !vlag azine,
1963
Mate in three
Key
1 Ka5 ( > 2 Sb4+, Px b4; 3 Rc4)
Pxg4; 2Qc1, Kxd5; 3 Qhl
Pf4; 2Qc3, Kxd5; 3 Qf3
Pe4; 2 Qc2, Kxd5; 3 Qx e4
2 Sb4+, P x b4; 3 Rc4. Black's main defences are with his

Pawns e5 and f5, which move so as to prevent the Rg4 from
playing to c4. Whichever of the Pawns moves, White can
allow the black King to escape to d5, whereupon the non-
moving Pawn becomes pinned and White can mate accordingly.
I . . . P x g4 allows 2 Qcl (> 3 Sb4), and if 2 ... K x d5, then
3 Qhi! I ... Pf4 leads to 2 Qc3, with the same threat, and now
2 ... K x d5 is answered by 3 Qf3. Finally I ... Pe4 permits
2 Qc2, with 3 Q x e4 to follow 2 ... K x d5. In each variation of
this elegant work, the half-pin does not become effective until
after 2 ... K x d5. The play of the white Queen to three different
squares on the c-file gives the problem extraordinary unity.
For another three-move extension of the Half-pin theme, see
under Third-pin.
(b) WHITE
The reader who has just studied Nos. IIO to II6 will have no
trouble in recognising the black half-pin on the fifth rank in
No. 117. However, this problem contains in addition a white
half-pin: if either the Bf6 or the Se6 were to move, the other
would be left pinned. The nature of a white half-pin can be best
appreciated if one examines plausible-looking check-tries
(known as cook-tries) by these two pieces. 1 Bd8 +? fails to
1 ... Sf7 !, because White cannot continue 2 S x d4? And
1 S x d4+? will not work either because 2 Bd8? is impossible
after 1 ... B X d4! As well as these cook-tries, the solver should
see the try by the Se6 which leads to mate by the Rook +
Bishop battery on the f-file after unpins of the Bishop: 1 S x g5?
137
Then1es and Tenns
WHITE HALF-PIN +
BLA K HALF-PIN
M. LIPTON
117 Third Prize, British Chess Maga zine,
1966
Mate in two
Try 1 Bd8+ ?, Sf7!
Try 1 Sxd4+?, Bxd4!
Try 1 S X f4 ?, Rxh5!
Try I S X g5? (> 2 Rxe5)
Sc6; 2 Bd8
Pd6!
Key I Sd8! (> 2 Rxe5)
eS~; 2 Qxd7
Sc6; 2 Bxd4
(Be 7; 2 Q x e5)
Bd6; 2 Be7
Pd6; 2 Bxe5
( > 2 Rxe5), Sc6; 2 Bd8; but 1 . .. Pd6! (2 Bxe5? is ruled out

·because the Bishop must continue to guard g5). The key 1 Sd8!
(> 2 R x e5) allows Black three defences which unpin the
Bishop: 1 ... Sc6; 2 B x d4; 1 ... Bd6; 2 Be7; and 1 ... Pd6;
2 B x e5. In the first two of these variations the black half-pin
is exploited, with Black Correction. The key also gives up
two set half-pin lines: 1 ... Sf3; 2 B x d4; and 1 ... Sf7; 2 S x d4
Hamburg
The Hamburg theme is a three- and more-move strategy which
can best be understood by reference to the very clear example
of it, No. 118. If White were to try 1 Sc4 ?, with the double
threat of 2 Se5 and 2 Rd6, Black would have the adequate
defence 1 ... Rg6! (opening a line to guard e5 and directly
controlling d6). In addition, the try 1 Rd4 ?, threatening 2 Rb6,
is defeated by the pinning defence 1 ... Rg5! White's object
must therefore be to induce Black to eliminate these defences
in turn, so that the moves shown as tries can be played instead
as second-move continuations. This is done by means of
138
Helpmate
1 Pf4 ! which threaten 2 Rb6+, K x d5; 3 Sc7. Black's principal
defences are tnade with the Pf7, which opens the Jjne of the
Rg7 to guard c7, the eventual mating-square. 1 ... Pf6 a llo~s
the continuation 2 Sc4 (threat 3 Rd6). Black has lost hts
HAl\'lBURG
118 S. BREHMER
Second Prize, German Ring Tourney,
1948
Mate in three
Try
1 Sc4? Rg6!
Try
1 Rd4? Rg5!
Key
1 Pf4! ( > 2 Rb6+, K X d5; 3 Sc7)
Pf6; 2 Sc4, Rd7; 3 dRc5
Pf5; 2 Rd4, Rb7; 3 bRc5
previous adequate defence 2 ... Rg6, but this has been replaced
by a new defence from the same piece, namely 2 ... Rd7.
However, this move is a self-block and permits 3 dRc5. The
other move by the black f-Pawn, I ... Pf5, eliminates 2 ... Rg5
as a defence to 2 Rd4. As in the try the threat is 3 Rb6, and
Black's new defence, 2 . .. Rb7, is a further self-block, leading
this time to 3 bRc5 . This attractive problem shows the Hamburg
idea doubled. In its simplest form, the theme involves the
elimination by black piece B of an adequate defence by piece A,
and its replacement by a new defence by piece A which creates
a new weakness. The theme is a near-relation of the Roman and
Dresden themes.
Help1nate
Most of the problems in this book are direct-mates: the normal
rules of the game of chess apply, in that White and Black are
playing against one another, each trying to avoid being mated.
In a helpmate, however, a spirit of co-operation exists: both
sides play towards the common goal of the mate of the black
King. It is normal for Black to play first, which means that in
139
Then1es and Tern1s
a helpmate in two, for example, each side has two mo~es. !n
the printed solution the black moves are given first, whtch IS,
of course, the reverse of the usual procedure.
Helpmates are often fairly easy to solve, because it is usually
possible to spot the ultimate mating position, and the solver's
job is then to find the correct order of moves which will lead to
this position. However, one occasionally comes across help-
mates of extreme difficulty, such as No. 119. To test your
119 HELPMATE
F. E. GIEGOLD
Feenschach, 1963
Helpmate in two
1 Sb3, R x d7; 2 Ke6, Sc5
powers as a solver, cover up the solution shown by the diagram

and work out the succession of black move, white move, black
move, white move which will lead to mate of the black King.
Remember, Black is trying just as hard as White to get to this
mating position.
Satisfactory helpmates with only a single line of play, as in
No. 119, are a comparative rarity amongst two- and three-
movers, though many very fine single-line helpmates of greater
length can be found, such as No. 120, a beautiful helpmate in
nine. In shorter helpmates, however, it is usual to find at least
two lines of play. There follows a brief survey of some of the
ways in which such variety may be achieved.
(1) The problem may have set play, which, in a two-move
helprnate, will consist of white move, black move, white mate.
In the actual play Black will have no waiting move at his
disposal to preserve this set line, which must therefore be
changed. No. 121 is a simple illustration, by the German
"Allumwandlung" expert Theodor Steudel (see Promotion).
140
Helpn1ate
HELPMATE
120 Z. Maslar
Problem, 1955
Helpmate in nine
I Sh6, Bd8
2 Kb8, Be7
3 Kc8, Bf8
4 Kd8, Kc6
5 Ke8, Kd6
6 Kf7, Kxe5
7 Kg8, Kf6
8 Kh8, Kg6
9 Sg8, Bg7
121 HELPMATE: SET PLAY

T. STEUDEL
Feenschach, 1956
Helpmate in two
Set 1 . . . Pc8 = B; 2 Kc7,
Pxe8 = S
Play 1 Ke7, Pxd8 = R; 2 Rf6,
Pxe8 = Q
(2) The position may be a Twin. The twinning methods set

out under the heading Twin apply to helpmates as well as to
direct-mates. No. 122, by one of the greatest helpmate com-
122 HELPMATE: TWIN
G. PAROS
Third prize, British Chess Magazine,
1967
Helpmate in two
(a) diagram
(b) B b8 t<? f8
(a) 1 Se3, Ra5; 2 Pc5 Sb5 .
(b) 1 Sb2, B X g6; 2 Sd3 Sf5
141
The1nes and Tenns
•
posers, has a second position and solution brought about by
the simple shift of a single white unit. This problen1 illustrates
the modern style of helpmate composition, where interest
centres on white line-play and dual-avoidance. As in direct-
mates, pieces are not added to a helpmate position which are
not required in the solution or for purposes of soundness.
Getting his helpmate sound is often the composer's chief
\Vorry.
Twinning by the removal of a piece is seen in No. 123, in
123 HELPMATE: TWIN

H.-P. REHM
First Prize, Problem; 1960-1
Helpmate in two
(a) diagram
(b) remove R f3
(a) 1 Qd5, P X f3; 2 Kd4, Se6
(b) 1 Sd5, Sb7 +; 2 Kd4, Pe3
which each solution displays a black anticipatory half-pin,

together with anticipatory self-pin, with resultant double pin-
mate. Turning the whole board clockwise produces the twins of
No. 124.
HELPMATE: TWINS
124 V. TCHEPIZHNI
Fifth Prize, Bohemian Centenary
Tourney, 1962
Helpmate in two
(a) diagram
(b) turn board 90° clockwise
(c) turn board 180° clockwise
(d) turn board 270° clockwise
(a) 1 Pel = R, R x g5; 2 Rc3, Bc2
(b) 1 Pb5, Bc3+; 2 Kc5, Ba5
(c) 1 Pb3, Rb4; 2 Pf6, Bf7
(d) 1 Pg2, Bf4+; 2 Kf2, Bh2
142
Helpn1ate
(3) The problem n1ay have several solutions. No. 125 shows
125 HELPMATE: TWO SOLUTIONS

WoNG KoNG WENG

Helpn1ate _in two: two solutions
1 Ba7, Rd5; 2 Be3, Bc2
1 Ret, Bd3; 2 Rc7, Ra6
withdrawal unpin of White, followed by interference unpin

with additional interference, in each of the two lines. ·
(4) The Duplex helpmate has two solutions, one normal (i.e.
Black begins and is mated) and one with the colours reversed
(i.e. White begins and is mated). No. 126 is by a composer who
• • • •
126 HELPMATE: DUPLEX
-•• •.t••••-
~~
0~
~ E. ALBERT
Ideal-At/ate Chess Problems, 1966
•-§. ---
• •-
Helpmate in three: duplex
,
~
~; .... . ~ Black plays
-~-
• •
// Z~ 1 Pe5, Kd3; 2 Kd5, Ra6;
~ -·%
~ -~ 3 Bc5, Pe4
~ D
-
• • • •
~ ~
~•.•• 7.
White plays
••••
1 Ke5, Kc6; 2 Rf4, Kd7;
•"- ~
3 Pe4, Bb2
specialises in Ideal-mate problems, and was first published as an

original in his interesting book on the subject, "Ideal-Mate
Chess Problems". Note that in the second solution given
White's moves appear first.
(5) Variations are permitted, beginning either on White's

fir st or on Black's second move. The mating move in No. 127
143
Then1es and Tenns
127 HELPMATE: VARIATIONS
~~~~~~~~
• • • • E. VISSERMAN
•
~-
B --
~
•
•E. •
W
•
i •
~-···-~ B
Helpm~te
Die Schwalbe, 1963
in two: three variations on
- .-.: -,
• n • B!£)
.a.
•~- -
B
~-
White's first move
1 Kf5, Kf2; 2 Sc2,
~~~~;; ~ ~~i,· ~~3
Sg33
.iB B !f)B B
-- ~.-7 --
-- L -
is the same in each line, but White has three different first
moves, each of which unpins and re-pins the Se2 and necessi-
tates a different black continuation.
(6) Try-play is accepted by some problemists as a legitimate

helpmate device. The effect is often unconvincing, because the
logic involved is at variance with the essential nature of the
helpmate, viz. co-operation between the two sides, and making
wrong moves is simply a failure to co-operate. But some
examples have been produced which make out a convincing
case for the acceptance of tries, notably No. 128, in which the
128 HELPMATE: TRIES

N. A. MACLEOD
Commended, British Chess Magazine,
1967
Helpmate in two
Try 1 Sc5 ?, K x d2; 2 Sb5!
Try 1 Sb5?, Kc2; 2 Sc5!
Play 1 S X e6, Ra8; 2 Kd7, Se5
tries by the black Knights fail because they open a black line
which ultimately pins the piece White wants to use for mating.
Two off-shoots of the helpmate deserve brief mention here.
One is the helpstalemate, which works just like a helpmate
144
Herpai
except that the eventual aim is a stalemate of th~ black Ki~g
and forces. The other is the series-helpmate, tllustrated In
simple form by the King of chess-board unorthodoxy, T ..R.
Dawson, in No. 129. Black plays a given number of consecutive
129 SERIES-HELPMATE
T. R. DA\VSON
Fairy Chess Review, 1947
Series-helpmate in seventeen
1 Kh2; 2 Kh3; 3 Kg4; 4 Kf3;
5 Ke3; 6 Kd2; 7 Kd 1 ; 8 Pd 1 = R;
9 Rc2; 10 Kd2 ; 11 Ke3 ; 12 Kf3 ;
13 Kg4; 14 Kh3; 15 Kh2; 16 Kh1;
17 Rh2, Sg3
moves (White remaining motionless) until a position is reached

in which White can mate in one. No. 129, with a switchback of
the black King, shows a typical series-helpmate manoeuvre in
whlch the white King has to be shielded from check while Black
makes the necessary arrangements of his own pieces.
Herpai
The Herpai is a Dual A voidance theme incorporating Black
Interference. A black piece, in defending, moves to a square
where it interferes simultaneously with two of its own pieces,
thereby appearing to allow White a choice between two mates.
However, some positive aspect of · this black move, some
"compensating effect", will eliminate one of White's mates,
and so force him to select the other. Variations of this type are
usually found in pairs, so that a second black move causing the
same double interference will also carry some compensating
element which will force White to choose the mate which had
to be avoided in the other variation. Reference to No. )30, in
which the theme is combined with Unpin of White, will clarify
the nature of Herpai effects. 1 Ph4 threatens 2 Sf6, and Black's
principal defences are 1 ... cSe5 and 1 ... dSe5. These two moves
145
Then1es and Terms
130 HERPAI
F. FLECK
First Prize, Magyar Sakkvilag, 1934
Mate in two
Key 1 Ph4 (> 2 Sg6)
cSe5; 2 S X e2 (S X e6 ?)
dSe5; 2 S X e6 (S X e2 ?)
unpin the white Sd4 and interfere with the black Rooks' guard
of each other, so that it seems that White will be able to play
either 2 S x e2 or 2 S x e6, whichever black Knight makes the
defence. The compensating effect is that the black Knights each
open a line of guard from the black Queen to one of the Rooks.
Consequently 2 S x e6? cannot be played after 1 ... cSe5
because of the reply 2 ... Q x e6! Similarly, 2 S x e2? is ruled
out after 1 ... dSe5 because of 2 ... Q x e2! White's choice is
restricted not by the interferences themselves, but by the line-
opening effects.
The Herpai effects of No. 131 are also achieved by means of
CHANGED HERPAI
E. VISSERMAN
First Prize, Limburgsch Dagblad, 1940
Set 1 . . . gSe6; 2 Sc6 (Sg4 ?)
cSe6; 2 Sg4 (Sc6 ?)
Key 1 Rf4 (> 2 Pd4)
gSe6; 2 Bd6 (Rf5 ?)
cSe6; 2 Rf5 (Bd6 ?)
black line-opening, but this exan1ple differs from the previous

one in that the thematic mates are changed from set to post-key
play, and so, too, are the black lines which are opened to
create the dual-avoidance effects. In the set play, 1 ... gSe6 is
146
Holghausen
followed by 2 Sc6, which exploits the interference with the
Rg6, and not by 2 Sg4 ?, exploiting the interference with the
black Queen, because the line of the Rg6 has been opened to
guard g4. In the analogous variation, 1 ... cSe6, White must play
2 Sg4 and not 2 Sc6? because of the opening of the black
Queen's line to guard c6. (There is a further set interference
variation, 1 ... Sb5; 2 Qel-but this, of course, has nothing to
do \Vith the Herpai.) The key 1 Rf4 (> 2 Pd4), by granting the
black King a flight on f4, rules out the set mates, but introduces
two new ones to follow the moves of the Knights to e6. 1 ...
gSe6 leads to 2 Bd6, not 2 Rf5 ? because of the opening of the
line h5-f5. And 1 ... cSe6 allows 2 Rf4, not 2 Bd6? because
b8-d6 has been opened. So in both set and post-key play the
interferences on e6 appear to allow duals, but in each case on~
of the apparent mates must be avoided because of black line-
opening. Notice how skilfully the composer has worked in a
third change: 1 ... Sb5 now leads to 2 fSd3 instead of 2 Qe1.
Holzhausen
Holzhausen is the term used to denote interference between
pieces of like motion (e.g. Queen and Rook, Rook and Rook,
or Queen and Bishop}. (Mutual interference between such
pieces, where piece A interferes with piece B in one variation,
and vice versa in a second, is kno\vn as Wurzburg-Plachutta.)
No. 132 contains four Holzhausen interferences, all committed
by the black Queen. The key 1 Qg5 sets up a threat of 2 S x g7 +,
132 HOLZHAUSEN
A. P. GRIN
Honourable Mention, British Chess
Magazine, 1967
Mate in three
Key1Qg5 ( > 2Sxg7+ , Kxd6,
3 Be7)
Qc5; 2 Qxd5+
Qc4; 2 Qx g4+
Qc3; 2 Qe5+
Qc2; 2 Qf5+
147
Then1es and Tenns
K x d6; 3 Be 7. Black defends by means of Square-vacation: the
Queen leaves c6 in order to obtain a flight for the King after
2 ... K x d6. However, the Queen n1ust retain her guard over
c7, for otherwise White may play 2 aS x c7. As she moves down
the c-file, she interferes with the four other black line-pieces in
turn. If 1... Qc5, White can play 2 Q x d5+, for Black cannot
reply 2 ... R x d5: the defence 2 ... Q x d5 has been substituted,
and White now proceeds with 3 aS x c7. Similarly 1 ... Qc4
leads to 2 Q x g4 + ; 1 ... Qc3 allows 2 Qe5 + ; and finally
1 ... Qc2 is followed by 2 Qf5+. On each occasion the black
Queen is overloaded: she is required to take over the guard duty
of another black piece, and so can no longer perform her
original task of guarding c7.
Horseblock
The key of No. 133, 1 Sg3, threatens mate by 2 Qe4. Black's
two Knights defend against this threat, and in so doing commit
a total of four self-blocks. The problem therefore illustrates a
133 HORSEBLOCK
G. GUIDELU
First Prize, Good Companions, 1917

Mate in two
Key 1 Sg3 ( > 2 Qe4)
dS,_,; 2 R x e6
Sf4; 2 Qxc3
Sf6; 2 Rg5
Sd6; 2 Bxc3
Sd4· 2 Qx c7
Horseblock. I ... dS at random permit 2 R x e6 but the

correction I ... Sf6 lead to 2 Rg5- lf-bl k. The further
correction I ... Sf4 enable Whit t xpl it n t nly the self-
block of f4 but al o the pin fth b5 in the t\v bla k Knights
arc initially half-pinned: 2 Q x . Th df-bl k defence by
the th r Knight b th pcrn1it an c pi itati n f th half-pin:
1. . . d ; 2 B X c3; and 1 . . . d4 · 2 Q X 7.
14
Indian
Ideal Mate
An Ideal Mate is a Model mate in which all the force on the
board, both black and white, is necessarily used, white King
and Pawns included. Such a mate represents the ultimate in
terms of Economy of Force. No. 134 is a miniature five-mover
IDEAL MATE
W. PAULY
• • • •
134
.A•
•.§• ••• ~
Deutsche Schachbliitter, 1924
Mate in five
•-•••- •••
Set 1 ... Kd5
;i'_/.
'
''/;
'I
2 Be8, Ke5
~;.,, . ~~
3 Bg6, Kd5
•••• • • ~ 4 Be4+, Ke5

~ ~~ ~ft -
L~.-~ -
5 Pf4
Key 1 Bc8, Kd5
•- • •- •
~ 2 Bb7,
3 Rg6,
4 Be4+,
5 Pf4
Ke5
Kf5
Ke5
in which both the set and the post-key lines terminate in an

ideal mate. The mate is given by the white Pawn; the white
King guards the three squares to the south of the black King,
and the Rook holds the three to the north of it, while the
squares d5 and f5 are held by the Bishop.
lllegal Force
See under Obtrusive Force~
Indian
An Indian manoeuvre consists of a white critical move, followed
by a self-interference on the critical square for the purpose of
relieving stalemate, and finally a discovered mate. Such strategy,
though with double checkmates, is found twice over in No. 135,
once in the set play and again in the post-key play. The set play
149
Themes and Terms
INDIAN
135 M. NtEMEIJER
LaLiberte, 1928
Mate in four
Set 1 ... PbS;
2 Bel, Pb4;
3 Rd2, Kf4;
4 Rd4
Key 1 Bxh6, zugzwang
Pb5;
2 Kg3, Pb4;
3 Rg5, Ke3;
4 Rxe5
runs: 1 ... PbS; 2 Bel (the critical move, over d2), Pb4 (threaten-
ing stalemate); 3 Rd2 (self-interference on the critical square),
Kf4; 4 Rd4. No waiting-move can hold this position, so White
must substitute a different line: 1· B x h6 (critical move), Pb5;
2 Kg3 (to leave e3 eventually unguarded), Pb4 (stalemate
threat); 3 Rg5 (self-interference on critical square), Ke3;
4 Rxe5.
No. 136 is an amazing achievement, with two consecutive
INDIANS
R. C. 0. MATTHEWS
136 First Prize, Die Schwalbe, 1952
Mate in six
Key 1 Bh3, zugzwang
Pg6;
2 B X b6, Pd5;
3 Rd4, Kxf2;
4 Rx d5+, Kel;
5 Bd4, Kxd2;
6 Bf2
Pd5;
2 Rx d5, Pg6;
3 Bd4, Kxd2;
4Bxb6+, Ke1;
. 5 Rd4, Kxf2;
6 dRXd1
150
lnteJference
Indians in each of two lines. The key is 1 Bh3, waiting. If
1 ... Pg6, White continues 2 B x b6 (critical move), Pd5; 3 Rd4
(self-interference), K x f2; 4 R x d5+, Ke1; 5 Bd4 (second self-
interference), K x d2; 6 Bf2. If on the other hand Black opens
with 1 ... Pd5, then White plays 2 R x d5, Pg6; 3 Bd4, K X d2;
4 B x b6+, Kel; SR d4, K x f2; 6 dRx dl. The order in which
the Indian manoeuvres are played is reversed in the second line.
Interference
(a) BLACK
There cannot be many problems in this book in which Black
Interference is not found in one form or another. An interfer-
ence occurs when one black piece closes the line of another, and
the idea becomes interesting, from the strategic point of view,
when White is able to exploit the interference somehow. Single-
phase two-movers in which the emphasis is on black interference
are of particular interest when the interferences are related, as
in the examples quoted under the heading Grimshaw, and in
Nos. 137 to 141 given here.
In No. 137 the interferences all occur on one square. The key
137 FIVE INTERFERENCES ON ONE
SQUARE
I. LOSHINSKI
L.
The Problemist, 1930
Mate in two
Key 1 Qf2 (> 2 Q x a7)
Bd4; 2 Qxe2
Pd4; 2 Bc4
Rd4; 2 Rh6
eSd4; 2 Qa2
fSd4; 2 Ra3
1 Qf2 threatens 2 Q x a7, and Black defends by playing any one

of five pieces to d4 to prevent the white Queen from reaching
her destination. 1 ... Bd4 interferes with the Rh4, and allows
2 Q x e2. 1 ... Pd4 is a second interference with the Rook, and
also opens a white line (g8-c4) to permit 2 Bc4. 1 ... Rd4,
opening another white line (h3- h6), interferes with the Bishop so
151
Themes and Ternzs
that 2 R h6 can be played . The defences by the Knights are
both interferences with the Rook co rnbined with li ne·opening:
1 .. . eSd4; 2 Qa2; and 1 . .. fSd4; 2 Ra3. T his is easi ly the most
economical version yet composed of the five in terferences on
one square. It seems unli kely that six such interfere nces can be
achieved without some constructional defect such as a promo·
tion-key.
Six interferences on one line can be shown without such a
weakness, however, and tnay be seen in No. 138. The key
SIX INTERFERENCES ON ONE

LINE
138
L. I. LOSHINSKI and G. BAEV
First Prize, Vetsjernjaja Moskva, 1933
Mate in two
Key 1 R x e4 ( > 2 Re7 /Be6)

Bc5; 2 Qb3
Pc5; 2 Qd5
Sc5; 2 Q X f3
dSe5; 2 Rf4
fSe5; 2 3Sg5
Pg5; 2 Bh5
(Qe5; 2 P X d8 = S)
(1 R x e4) is poor, in that it brings the white Rook into a

prominent position and carries two threats, 2 Re7 and 2 Be6.
The six interferences are all on the fifth rank, and in each case
it is the line of the black Queen which is closed. Three black
pieces play to c5: 1 ... Bc5; 2 Qb3; 1 ... PeS; 2 Qd5; and
1 ... Sc5; 2 Q X f3. The two Knights play to e5: 1 ... dSe5;
2 Rf4; and 1 ... fSe5; 2 3Sg5. The sixth interference variation is
1 ... Pg5; 2 Bh5.
The very entertaining No. 139 also illustrates interferences
with the black Queen, but here the five interference-defences
each obstruct the Queen in a different direction. The key 1 Sd1
threatens 2 R x d2. 1 ... Sd5 interferes with the Queen to the
west, and White mates by 2 Q x a6. 1 ... Sd4 interferes to the
south-west, allowing 2 S X c3. The interference to the south,
1 ... Se4, is followed by 2 Qe3, while that to the south-east,
152
I 139
Interf erence
FIVE INTERFERENCES WIT H
BLACK Q
G. P. GO LUBEV
First Prize, Die Sch walbe, 1931
Mate in two
Key 1 Sd I (> 2 R X d2)
Sd5; 2 Qx a6
Sd4; 2 S X c3
Se4; 2 Qe3
Rf4; 2 Sx g3
Bg5; 2 Pf4
1 ... Rf4, gives 2 S x g3. Finally 1 ... Bg5 interferes with the
Queen to the east and permits 2 Pf4.
A number of composers have concerned themselves with the
task of incorporating as many interferences into a problem as
possible. For a great many years the record stood at eight. In
1965 John Driver produced what was thought to be the first
setting with nine. Subsequently Jeremy Morse, who made an
exhaustive study of interference tasks and published his findings
in a series of articles in "The Problemist", discovered that a
NINE INTERFERENCES
H. w. GRANT
• •.§. •
First Prize, British Chess Federation
140 Tourney, 1966-7
.--~~~~~~==
Mate in two
m •
~ - t~~- -
m
•. a. a •m®•.
K .. z
;--. . . ,%
-
~
~t-
~
,-, .. ... %
~.:.~ tr~
B~
~
-
.. . • %
Key 1 Bd4, zugzwang
Rb6 ;
Rc6 ;
Bb5;
2 Kd8
2 Kxd7
2 Bxd5
~- ~3 ~
~J Bc6; 2 Kxd6
mA• B.lLJ•
Sc3 ; 2 Sd2
:n:• :n:• • •
.41. f~ •
Sd2 ;
Rg7 ;
Bg7 ;
Sg7 ;
2 Pxf4
2 Kf8
2 Qxg6
2 Qx f4
(B X g5+ ; 2 Sxg5
Rxf7+; 2 Kxf7
Sg3 ; 2 K f6
Pxe3 ; 2 Rx e3 )
153
Themes and Terms
problem showing nine interferences, by H. J. Burgess, ha? in
fact been published nearly twenty years before! It had rem.atned
unknown not because of its flight-taking key, but because It had
J first appeared in the "Braille Chess Magazine", where few
problemists could have seen it. Since Driver's version appeared,
there have been several 1nore, mainly by H. W. Grant, whose
No. 140 is perhaps his finest achievement. The key, 1 Bd4, is
only moderate, but the nine interferences can be clearly seen,
and there are in fact four further variations to round off a
remarkable problem, which actually includes two unpins and
six mates by the white King. !his problem competed in the
annual British Chess Federation tourney of 1966-7, in which it
quite rightly won first prize.
By an odd coincidence No. 141, by composers who can have
TEN INTERFERENCES
V. BARTOLOVIC and N. PETROVIC
First Hon. mention, British Chess
Federation Tourney, 1966-7
141
Mate in two
Key
1 P x c8 = S, zugzwang
Bg2; 2 Kxg4
Bf3; 2 Kxf4
Rg2; 2 Bxe4
Rg3; 2 Kh4
Pe3; 2Rd4
Pb2; 2Ba2
Pc5; 2 Sb6
Rg7; 2 Kh6
Bg7; 2 Qe6
Sg7; 2 Qxd6
(Sc7; 2 Kf6
Rxg6+; 2 Kxg6
Bxe7+; 2 S x e7)
had no idea of the scheme which Grant was working on, was
entered in the same tourney. The judge held that the extremely
poor key of this problem (1 P X c8=S) was an artistic defect
of such magnitude that 110 prize could be awarded to it. Yet
this problem, extraordinary as it may seem, contains 110 fewer
154
Interference
than ten interference variations, the first tin1e this task has been
achieved. One can only hope that the setting will encourage
others to attempt the task, with a view to finding a less objec-
tionable key.
An enorn1ous number of problems have been composed
featuring changed mates after black interferences, and several
exan1ples will be found in other parts of this book. One of the
neatest three-phase settings is No. 142. The tries and key are
INTERFERENCES: ZAGORUYKO
H. L. MUSANTE
• • •
142 Problem, 1955
•a •
~ ~~
• • •••a•
~
Mate in two
~ Try I Sf3? ( > 2 Bd5)
~-
- •
Sb4; 2 3Sd2
~
~ .-; ~-·~
Sc7; 2 Re5
•
~;. ... ~~ %:!i ... . %
Qa2!
~®·~-
-~· t · •
~ ~.~ ~. : Try I Sc2? ( > 2 Bd5)
• • • •
Sb4; 2 Sd2
•• .22J . Key · 1 Se2!

Sc7;
Pd2!
( > 2 Bd5)
Sb4;
Sc7;
2 Sg3
2 Sc3
2 2Sg3
(Pxe2; 2 Bc2)
all made by the Sd4, and carry the threat 2 Bd5. Black's thema-
tic defences are 1. ·.. Sb4 (interfering on the line a5-el) and
1 ... Sc7 (closing b8- g3). The try 1 Sf3? introduces the mates
2 3Sd2 and 2 ReS after these defences, but fails to 1 ... Qa2!
After 1 Sc2? the thematic mates are 2 Sd2 and 2 Sg3, but
1 ... Pd2! defeats. The key 1 Se2! introduces the third pair of
mates after the interference defences: 2 Sc3 and 2 2Sg3.
Any of the interferences obtainable in a two-mover can, of
course, be shown in three-movers or longer problems. In a
three-mover the interference may perhaps not occur until
Black's second move, or alternatively there may be some reason
why mate cannot be given straightaway but must be delayed for
a move (e.g. in No. 6 in Section I). Such strategy, however,
155
Themes and Terms
being of essentially two-move character, is generally less interest-
ing when expressed in three- or more-move form than the sort
of interference which cannot normally be shown in the two-mover.
Some remarks on the subject of interference between like-
moving pieces will be found under the headings Anti-Bristol,
Holzhausen and Wurzburg-Plachutta.
A special type of interference is seen in No. 143, a fine three-
ANTICIPATORY INTERFERENCE
L. I. LOSHINSKI
143
First Prize, Probleemblad, 1965
Mate in three
Try 1 Sd4? (> 2 Qd6+)
cSe4; 2 Be5+, Qx e5;
3 Se2
dSe4; 2 Se2+, Q x e2;
3 Be5
Ba3!
Key 1 Sb4! (> 2 Qd6+)
cSe4; 2 Rf3 +, Q X f3;
3 Sd5
dSe4; 2 Sd5 +, Q x d5;
3 Rf3
mover in the modern style, with both virtual and post-key play.
White has a try, 1 Sd4 ?, introducing the threat 2 Qd6+. Black
defends by guarding d6 with each of his Knights: 1 ... cSe4
allows the continuation 2 Be5 +, for after 2 ... Q X e5 White can
mate by 3 Se2. The black Knight, by moving to e4, closes the
line e5-e2, although the black Queen is not yet on this line.
Similarly, 1 ... dSe4 permits 2 Se2+, with 3 Be5 to follow after
2 ... Q x e2. Interference of this sort, where the piece \Vhose line
of guard is closed is not yet in position, is known as Anticipatory
Interference. This try of White's is defeated by 1 ... Ba3! The
key is 1 Sb4 !, with the same threat of 2 Qd6+. Similar anticipa-
tory interferences now take place, but with changed continua-
tions and mates: 1 ... cSe4; 2 Rf3+, Qxf3; 3 Sd5; and
1 . .. dSe4; 2 Sd5 +, Q x d5; 3 Rf3. Notice that in each phase
White's second move in one variation is his third move in the
other.
156
Interference
(b) WHITE
White Interference occurs when a white piece, in playing to a
particular square, cuts the line of a second white piece. In the
two-mover, a white-interference mate may be permitted by a
black self-blocking defence, as in the two principal variations of
No. 144, a famous example featuring Withdrawal Unpin of the
WHITE INTERFERENCE: UNPINS

144
A. ELLERMAN
First Prize, Guidelli Memorial Tourney,
1925
Mate in two
Key 1 Rd7 (> 2 Qf4)
Qd4; 2 Sd6
Qe5; 2 Sc5
Qh8+; 2 Sd8
Bf2; 2 Qxh1
Bf3; 2 Qd3
Rd4; 2 Re7
white Sb7. The key 1 Rd7 threatens 2 Qf4. 1 ... Qd4 defeats the
threat by closing the line d7-d3, but allows the white-interfer-
ence mate 2 Sd6 (the Queen has blocked d4). In the companion
variation, 1 ... Qe5, the mate 2 Sc5 is permitted because the
Ra5 need no longer guard e5. The main play of this fine problem
is completed by a third unpin of the Knight with cross-check:
1 ... Qh8 + ; 2 Sd8; and there are three further variations, two
interferences (1 ... Bf2; 2 Q x h1; and 1 ... Rd4; 2 Re7) and a
self-block (1 ... Bf3; 2 Qd3). Notice also the tries: 1 Rd8?
Qf2! (2 Sd8 ?); 1 Rd6? Qd4! (2 Sd6 ?); and 1 Rd1? Qd2!
A white interference mate may also be permitted by a black
line-opening defence. The elegant No. 145 shows three such
defences. The key 1 Qc7 threatens 2 Se7, and Black defends by
moving his Knight. Tlus has the effect of opening the line
c7~4, so that White, in mating, may close the line h~4:
1 ... S,._,; 2 Sf4; 1 ... Sd3; 2 Pe4; and 1 ... Se6; 2 Be4. For
another form of white interference mate, see under Goethart
unpin.
157
Then1es and Tern1s
145 WHITE INTERFEREN E
P. KN JEST
F irst Pri ze, 9th Theme Tourney, Die
Sc!n va/b e, 1946
Mate in two
Key 1 Qc7 (> 2 Se7)
S,_,; 2 Sf4
Sd3; 2 Pe4
Se6; 2 Be4
White mates which will not work because of white interference

are found in a number of themes, e.g. the dual-avoidance theme
known as Java. In the very curious and highly original No. 146,
CRITICAL TRIES:
146 WHITE INTERFERENCE
M. LIPTON
First Hon. mention, Probleemblad, 1960
Mate in two
Try 1 Ba7+ ?, bRd5!
Try 1 Ba1 + ?, cSd5!
Try 1 Bg1 + ?, eSd5!
Try 1 Bf6+ ?, gRd5!
Key 1 Bg7+ !, bRd5; 2 Sc5
cSd5; 2 Rc3
eSd5; 2 Re3
gRd5; 2 Qxg3
White's critical tries fail because of resulting self-interference.

What is original about this problem is not so much the critical
tries themselves (many exatnples of such tries were composed in
the late forties and early fifties, especially by the Germans), as
the fact that the four tries and the key all administer check, and
the black defences are consequently self-pins which lead to pin-
mates. The Bd4 is the crucial piece: wherever it moves, Black
is in check, but the Bishop must choose its destination with care.
1 Ba7 + ? will not do, because, after 1 ... bRd5!, 2 Sc5? would
give Black a flight on d4. 1 Ba1 + ? fails to 1 ... cSdS !, because
2 Rc3? would similarly be a white interference allowing
158
Java
2 . . . Kd4! 1 Bgl +? is defeated by 1 ... eSd5! (2 R e3 ?), while
1 .. . Bf6+? is answered by 1 ... gRd5 ! (2 Se5 ?). The sol ve r
n1ay well wonder where this Bishop can safely go. The an swe r
is to g7, where it cuts the line of the bl ack Q ueen down th e
g-file, thereby allowing the mate 2 Q x g3 after 1 ... gRd5 .
Black's three other defences are followed by the pin-mates
which could have been played after the tries had it not been
for the ensuing white interference.
Java
The Dual Avoidance theme known as Java is so called because
it was used as the basis of a number of problems by the Danish
composer H. V. Tuxen when he was living in Java in the 1930s.
The first published example of it, however, is thought to be
Mansfield' s No. 7. The mechanism of the theme is as follows:
a black defence appears to allow two white mates, each of which
would close a white line of guard to a doubly-guarded square in
the black King's field. This black defence, however, by closing
one white guard-line, forces White to choose the mate which
does not allow Black a flight through White Interference. A
second black defence, by means of a different line-closure, will
force the mate which White had to avoid in the first variation.
This sounds highly complicated in theory, but in practice is
fairly straightforward. Let us examine the unpins of the white
Sf2 in No. 147. The key 1 Qg2 threatens 2 Bd4; Black's defences
with the Bel are to d2 and c3. The square d5 is guarded by the
147 DOUBLE JAVA

0. STRERATH
First Place, Hamburg v. Wurzburg, 1948
Mate in two
Key 1 Qg2 ( > 2 Bd4)
Bd2; 2 Sd3 (Se4 ?)
Bc3; 2 Se4 (Sd3 ?)
Bf3 ; 2 Se6 (Sd7 ?)
B x dl; 2 Sd7 (Se6?)
159
Themes and Terms
white Queen and the Rdl. If Black plays I ... Bd2, White
must not reply 2 Se4 ?, because Black would then have a flight
d5. Therefore 2 Sd3 is the only possible mate. 1 ... Bc3 closes
the line al-d4, so that 2 Sd3 ?, closing dl-d4, would permit
2 ... Kd4! So 2 Se4 . must be played. This very ingenious
problem actually has a further pair of Java-type variations, in
which the Bg4 abandons its control of the potential mating-
squares e6 and d7. 1 ... Bf3 cuts the line g2-c6, thereby ruling
out 2 Sd7?, as 2 ... Kc6! would follow. And 1 ... Bxdl
destroys one white guard of d6, so that White cannot destroy
the other by playing 2 Se6? This last variation suffers from the
impurity that Black captures the guard-piece instead of merely
cutting its line of guard.
Key
A great deal has been written and spoken about what constitutes
a good key. Problemists seem to be generally agreed that a
good key should in some way increase the strategic possibilities
open to Black, e.g. by allowing flights, checks, etc. Yet a key can
still be good without doing this, simply by being surprising or
unexpected. After all, a problem is among other things a
puzzle to be solved, even if composers seldom allow the puzzle-
element to form more than a very small part of their aims.
It is far easier to define a bad key than to say what constitutes
a good one. A key is usually bad in some respect if any of the
following things occurs:
(a) a black piece (other than a Pawn) is captured;
(b) the black King is deprived of a flight-especially one with
no set mate-unless another flight is offered in exchange;
(c) a mobile black piece is pinned;
(d) an out-of-play white piece is 1noved to a prominent and
powerful position;
(e) White adds to his strength by promoting a Pawn to a
Queen (promotion to Rook, Bishop or Knight is normally
admissible, mainly because of the element of surprise);
(f) a strong unprovided black defence (e.g. check, or capture
of an important white piece) is prevented or provided for.
160
Key
Several other possibly bad features of a key could be listed
here, but might in any problem be accompanied by compensat-
ing elements which would mitigate the badness. Many problem-
ists would unhesitatingly add to the list any move which checks
the black King. However, checking keys are increasing in
popularity, and should be regarded as bad only if the play they
introduce could have been shown without such a key.
We shall examine first two sorts of key-move which un-
failingly appeal to the beginner. No. 148 has a multi-sacrifice
SACRIFICIAL KEY
148 N. G. G. VAN DIJK

Eighth Hon. mention, Illrd F.I.D.E.
Tourney, 1961
Mate in two
Key 1 fRe5 (> 2 Rd8)
Qxe5; 2 Pc6
dPxe5; 2 Qxd5
dRxe5; 2 Qc6
eRxe5; 2 Bb5
Bxe5; 2 Qf5
fp X e5; 2 Q X g4
4S X e5; 2 S X f6
6S x e5; 2 Sf8
key: the Rf5 offers itself on e5 to no fewer than eight different

black pieces. The actual mates which follow the captures are
not in themselves of great strategic interest, though the budding
composer would do well to notice how the white Queen is used
to give mate on four different squares. The point of the proble1n
lies in the "task" achievement of an eight-fold sacrifice key.
No. 149 is perhaps the ugliest position in the book! The
solver is invited to consider what Black's last move can have
been in this extraordinary situation, and it will not take him
long to realise that only the Pd5 can have moved last, and
indeed must have made its double jun1p from d7 (on d6 it
would have been checking the white King). Since Pd7-d5 can
be proved to have been Black's last move, White is justified in
capturing this Pawn en passant: 1 P x d5 e.p. is therefore the
161
The1nes and Terms
EN PASSANT CAPTURE KEY
149 R. SUTHERLAND
Sunday Times, 1966

(Special Hon. mention, B.C.P.S. Ring
Tourney, 1966)
Mate in two
Key
I P x d5 e.p., zugzwang
5R~; 2 Se5
R X f5 + ; 2 P X f5
R X g8; 2 P X g8 = S
Bxe7; 2 Pf8 = Q
Bxg4; 2 Qxh6
key! This cluttered setting yields an amazing amount of variety.

The most interesting variations are 1 ... R x g8, which is
ans\vered by 2 P x g8 = S (the promotion to Knight being
required to guard the flight, granted by the key, on f6); and
1 ... B X e7, which pennits a second promotion by the same
Pawn, 2 Pf8=Q.
Let us now consider some of the circumstances under which a
checking key might be justified. Problems with such keys most
commonly feature King-flights or pin-mates. No. 150 is by far
150 CHECKING lillY: PLUS-FLIGHTS
N. G. G. VAN DuK
Mate in two
Key 1 Sf7+
Kd7; 2 Pc8 = Q
Ke6; 2 Qf5
Kx d5; 2 Qc4
Kc6; 2 Qb5
Kc5; 2 Qc4
the most economical rendering to date of the Plus-flight

theme: the black King is allowed access to all four of his
orthogonal flights. The checking key 1 Sf7 + is of the give-and-
take variety: two flights are granted (c6 and e6), while the King
162
.
'I
I
Key
is deprived of access to e5. Notice that the Ki~g may m?ve not
only to his four plus-flights, but also to the dtagonal fltght c5.
The key of this problem cannot reasonably be held to be bad,
since Black's mobility is scarcely restricted by it. He is bound
to move his King in any case, as it is the only piece he has.
(However, a checking key does restrict the black King~s
freedom after he accepts a flight, since his original square ts
guarded by the key.)
No. 151 is another checking-key problem featuring flights,
CHECKING KEY:
CHANGED STAR-FLIGHTS
A. ZARUR
151 Second Prize, Probleemblad, 114th Theme
Tourney, 1964
Mate in two
Set Kc8; 2 Sb6
Ke8; 2 Pd7
Ke6; 2 Qf5
Kc6; 2Pxb8=S
Key
1 Pxe7+
Kc8; 2 ePxd8 = Q
Ke8; 2Pxf8=Q
Ke6; 2 Pxf8 = s
Kc6; 2Pe8=Q
Kxc7; 2 Sb5
this time Star-flights. Each of the King's moves to his diagonal

flights is set with a mate: 1 ... Kc8; 2 Sb6; 1 ... Ke8; 2 Pd7;
1 ... Ke6; 2 Qf5; 1 ... Kc6; 2 Pxb8=S. The key 1 Pxe7+
eliminates all these set mates, and replaces them with promotion
mates by the Pawn which makes the key: 1 ... Kc8; 2 eP x d8 = Q;
1 ... Ke8; 2 Pxf8=Q; 1 ... Ke6; 2 Pxf8=S; and 1 ... Kc6;
2 Pe8=Q. The key incidentally grants a further flight, on c7:
I ... K x c7; 2 Sb5. In this case the checking key is justified by
the interesting changed play, and the combination of star~
flight changes with four promotions by a single Pawn.
No. 152 presents the extraordinary task of star-flight tries by
the white King answered by star-flight refutations by the black
163
Themes and Terms
CHECKING TRIES AND KEY:
STAR-FLIGHTS OF BOTH KINGS
M. LIPTON
First Prize, Segal Memorial Tourney,
152
1962
.
Mate in two
Try
1 Kf2+? Kf5! (2 Pg4 ?)
Try
1 Kf4+? Kd7! (2 Pc8 = Q?)
Try
1 Kd4+? Kf7! (2 Pxf8 = Q?)
Try
1 Kd2+? Kxd5! (2 Pc4 ?)
Key
1 Kd3+!
Kxd5; 2 Ba3
Kf5; 2 Pg4
Kd7; 2Pc8=Q
Kf7; 2Pxf8=Q
King. The tries fail because the pieces which are supposed to
deliver the mates after the black King's moves are pinned by
the white King's moves. 1 Kf2+? fails to 1 ... Kf5 !, because
2 Pg4? cannot be played. 1 Kf4+? will not do because the
Pc7 is pinned and cannot mate by 2 Pc8=Q after 1 ... Kd7!
1 Kd4+ ? fails to 1 ... Kf7! because of the pin of the Pg7
(2 Pxf8=Q?), while 1 Kd2+? is defeated by 1 ... Kxd5!
(2 Pc4 ?). Remarkable as it may seem, the key 1 Kd3 + ! also
pins this Pc2, but provides a new mate to follow 1 ... K X d5,
namely 2 Ba3. An amazing task, typical of this original and
talented composer.
A most unusual task is found in No. 153. The try 1 Rc7+?
fails to 1 ... Ke8! because the white Queen is prevented by the
Rook from playing to b8 to mate. Similarly 1 Qc7 + ? is
defeated by 1 ... Kf8 !, since 2 Rc8? cannot now be played.
This pair of tries therefore illustrates Mutual Interference
between the two white pieces. And there is a further pair of
such tries: 1 Re5+ ?, Kd8! (2 Qd6?); and 1 Qe5+? Kf8!
(2 Rf5?). The key must avoid any obstruction: 1 Qe2+! The
post-key play, in which the black King moves to five flights, is
164
Knight-tour
153 CHECKING TRIES AND KEY:
WHITE SELF-OBSTRUCTION
W. SPECKMANN
Second Hon. mention, Schach, 1951
Mate in two
Try 1 Rc7+? Ke8! (2 Qb8 ?)
Try 1 Qc7+? Kf8! (2 Rc8 ?)
Try 1 ReS+? Kd8! (2 Qd6?)
Try 1 Qe5+? Kf8! (2 Rf5?)
Key 1 Qe2+!
of secondary importance: what matters is the try-play. The

composer of this problem, Dr. Werner Speckmann, is an
acknowledged expert on the miniature form: a very large
number of his problems have seven pieces or fewer.
Knight-tour
A Knight placed somewhere near the middle of the board may
have access to a maximum of eight squares. When a white
Knight visits each of these eight squares in the course of the
solution of a problem, we speak of a white Knight-tour.
Naturally, if the tour is complete on the second move of a
two-mover, it must be with the aid of a battery, as in No. 154.
WHITES-TOUR+
SCHIFFMANN DEFENCES
154 K. A. K. LARSEN
Special Prize, Schiffmann Memorial
Tourney, 1930
Mate in two
Key 1 Bf3 (> 2 Sg5)
Qxe5; 2 Sf2
Sxe5; 2 Sd6
Sx c3; 2 Sxc3
Sxd2; 2 Sxd2
S x c5; 2 S x c5
S X f6; 2 S X f6
Rxg3; 2 Sxg3
Rxe5; 2 Qg8
165
Themes and Terms
The key 1 Bf3 sets up the battery and threatens one of t~e
eight Knight-moves, 2 Sg5. Five of the Knight's potential
arrival squares are initially blocked by white units, and if the
Knight were to play to either of the other two, he would allow
Black a flight-square through white interference. In fact,
2 Sf2 and 2 Sd6 are the mates after Black's principal defences,
I ... Q x e5 and 1 ... S x e5. These defences are of the special
type known as Schiffmann defences: the black pieces pin them-
selves to prevent the threat from working, since in each case
2 Sg5? would be an unpin permitting a black second-move
defence (2 ... Qe4! or 2 ... S x f3 !). 1 ... Q x e5 allows 2 Sf2
because Black has opened the white Queen's guard on c5, and
White can therefore shut off the Bishop's guard of that square.
Similarly, 1 ... S X e5 opens the white Queen's guard on e6, so
that the guard of the Ra6 can be shut off by 2 Sd6. (A further
example of this white line-opening and -closing strategy will
be found under Interference (White).) Black has five further
defences to the threat of 2 Sg5, each involving the capture of
a white unit on a square to which the Se4 has access. The tour
is therefore complete, in the_threat and seven variations. There
is an eighth variation, a third Schiffmann defence: 1 ... R x e5;
2 Qg8. J. A. Schiffmann, after whom this type of defence was
named, died in 1929 at the early age of twenty-six. Since Larsen's
problem was entered for the tourney organised in memory of
Schiffmann, it is obvious that the three Schiffmann defences
were intended as the principal feature. Their combination with
the complete Knight-tour is a considerable achievement.
No. 155 is one of the outstanding two-movers of the 1960s.
It won first prize in the theme tourney for Half-battery problems
organised in the German problem magazine Die Schwalbe
and judged by Michael Lipton, one of the earliest exponents
of the theme. Van Dijk's superb problem shows a double
white-Knight tour, one after the try and second after the key.
In each case the eight Knight-mates are all threats, separated by
various black moves. It is interesting to notice that the key is
made by the Knight nearer to the black King, which means that
the Knight further away makes the post-key tour. As a result,
the defences 1 ... Sb4, 1 ... S x c3 and 1 ... Sb6, each answered
by one of the Knight-moves in the virtual play, n1ust have
166
Knight-tour
DOUBLE WHITE S-TOUR
N. G. G. VAN DIJK
First Prize, Die Schwalbe, 133rd Theme
Tourney, 1961
Mate in two
Try 1 Sg3? ( > 2 dS~)
155 Qb8; 2 Sc7
Qe8; 2 Se7
Pg6; 2 Sf6
Bxg3; 2 Sf4
Bd2; 2 Se3
B/Sc3; 2 S X c3
B/Sb4; 2 S x b4
Sb6; 2 Sx b6
Ph6!
Key 1 Sc3! ( > 2 fS~)
Qb8; 2 Sd6
Qe8; 2 Se7
Pg6; 2 Sg7
Ph6; 2 Sxh6
Bh4; 2 Sxh4
Bg3; 2 Sx g3
Bd2; 2 Se3
Bxc3; 2 Sd4
Sb4/xc3; 2Qb4
Sb6; 2 Qx b6
completely different mates after the key, as the Sf5 cannot

reach b4, c3 and b6 to capture the defending pieces. It is a
tribute to this composer's extraordinary skill that he has
succeeded in arranging new mates by the Queen after these
defences: 1 ... Sb4 or 1 ... S X c3; 2 Qb4; and 1 ... Sb6; 2 Q x b6.
The white Knight-tour in the three-mover is comparatively
common, but the theme gains in interest when the Knight,
having discovered check on White's second move, then gives
mate on the third move, after the black King has moved to a
flight-square. This idea, known as the Rossel theme,* was the
subject of a book by Theodor Siers, published in 1948, called
"Rosselspriinge im Schachproblem". Once again Nils van
Dijk provides a beautifully clear example, No. 156. As in No.
• No te, however, that the Rosseltheme need not necessarily motivate a completeS-tour.
Indeed, the theme can be shown with a white Bishop or Rook as the thematic piece.
167
Themes and Terms
WHITE S TOUR (R<lSSEL)
N. G. G. VAN DIJK
First Prize, The Prob!emist 1965
Mate in three
Key
156
1Bb7 ( > 2Sa7+, Kd4; 3Sxb5)
Qb3; 2 Sa5+, Kd4;
3 Sxb3
Qc4; 2 Sb4+, Kd4;
3 Sxc2
B x f6; 2 Sd4+, Ke5;
3 Sf3
(Kxd4;
3 Q X f6)
B x c3; 2 Se5+, Kd4;
3 Sf3
(Kxe5;
3 B X c3)
B x f5; 2 Se7+, Kd4;
3 Sxf5
Pc4; 2 Sd8+, Kd4/c5;
3 Se6
Bd4; 2 Sb8+, Ke5;
3 Sd7
Rbl; 2 Qg8+
154, the key sets up the battery: 1 Bb7, with the threat of
2 Sa7 +, Kd4; 3 S x b5. The nature of the Rosse! theme can be
clearly seen from this threat: the Knight moves, giving check
from the Bishop; the black King moves to his newly-gained
flight; and finally the Knight gives mate. The seven main
variations show exactly this same pattern. Black defends by
guarding b5 (the eventual mating-square of the threat), or else
by obtaining a new flight for himself. 1 ... B x f6, for instance,
leads to 2 Sd4+, Ke5; 3 Sf3. If 2 ... K x d4, then 3 Q x f6.
1 ... Qb3 allows 2 Sa5+, Kd4; 3 Sxb3. 1 ... Pc4 is a variation
of particular strategic interest, for it allows 2 Sd8 +, Kd4/c5;
3 Se6. This mate would not be possible but for the anticipatory
interference created by Black's first move, which makes 3 ...
Q x e6? impossible. The Knight-tour is completed by four
further black defences: 1 ... Qc4; 2 Sb4+; 1 ... B x c3; 2 Se5+;
1 ... Bxf5; 2 Se7+; and 1 ... Bd4; 2 Sb8+.
168
Knight- Wheel
No. 157, an amazing miniature, shows a complete white
first-move Knight-tour. The seven tries by the Knight are all
defeated in different ways, and the key is sitnply the only one
WHITE FIRST-MOVE S-TOUR
157
G. LATZEL
Fifth Hon. mention, Die Schwalbe, 1956
IVfate in two
Try 1 S X g3? Kf4!
Try 1 Sf2? Pxf2!
Try I Sd2? Ke6!
Try 1 Sc3? Kd4!
Try 1 Sc5? Pxc5!
Try 1 Sx d6? Pg2!
Try 1 Sf6? Pd5!
Key 1 Sg5!
of the Knight's available moves which does not commit a

fatal error of some kind, such as exposing the Knight to capture
or causing an interference with the mobility of the white Rook.
The wonderful economy of this setting makes it all the more
remarkable that it gained only fifth honourable mention in the
tourney in which it compete.d, though perhaps the flight-taking
key had something to do with it.
Knight-Wheel
Curious as it may seem, black Knights do not tour: they wheel.
One of the finest of all examples ·of the black Knight-wheel is
Heathcote's masterpiece discussed in the first section of this
book (No. 4). At the time of writing (September, 1968), no
composer has yet achieved a complete Knight-wheel in which
each Knight-defence is an interference leading to a different
mate, except by using promoted force. The present record of
seven interferences by a black Knight has been achieved several
times: No. 158 is an example. (A problem by Alberto Mari
shows eight Knight-interferences, but two of them lead to the
same mate.) The key of Beers' example, 1 Sa5, threatens 2 Rc4,
and Black defends by -opening a line of guard from the Bg8.
The only non-interference variation is 1 ... S x c7; 2 Q x c7.
169
Themes and Terms
BLACKS-WHEEL
(SEVEN INTERFERENCES)
158
w. A. BEERS
Atlanta Journal, 1934
Mate in two
Key 1 Sa5 (> 2 Rc4)
Se7; 2 Bd6
Sf6; 2 Qxf8
Sf4; 2 Qxg1
Se3; 2 Qd4
Sc3; 2 Sxd3
Sb4; 2 Bb6
Sb6; 2 Sxb7
Sxc7; 2 Qxc7
Obviously a single black Knight can yield only eight varia-

tions. So how is it that the solution beside No. 159 indicates
BLACK s:-WHEEL (SPOOF
SECONDARY THREAT)
159 J. M.R.ICE
Stella Polaris, 1968
Mate in two
Key 1 Qel (> 2 Qxe5)
s~; 2 Qxh4
Sg4; 2 Qe4
Sx f3; 2 S X f3
Sd3; 2 Pc3
S X c4; 2 Sb3
Sc6+; 2 Pxc6
Sxd7; 2 Rxd7
Sf7+; 2 Rxf7
S X g6; 2 R X g6
nine mates following moves of the Se5? The answer lies in the
fact that there is a Secondary Threat (see under Correction
(Black)), 2 Q x h4, which White could play if the black Knight
in question were simply lifted off the board, merely retaining
its guard on e5. But the Knight must not only leave e5-it must
also arrive somewhere. And wherever it arrives, it prevents
this mate from working! The secondary threat, therefore, can
170
Line-opening
never be played at all: every single Knight-1nove is a correction
of the general error of allowing 2 Q x h4. The secondary threat
is pure spoof.
Line-opening
The strategy of line-opening can take a great many forms.
Black may open a line (i.e. remove a piece from a rank, file or
diagonal) for White to mate, either by allowing the mating
piece to make use of the opened line, or, more interestingly, by
enabling a white piece to guard a black King-flight so that
another piece may relinquish its guard of that flight. Alterna-
tively Black may open one of his own lines in defence of a
threat. Or again a white try rnay fail because it makes the error
of opening a black line. There are a large number of possibili-
ties, and the reader will find examples of line-opening of one
sort or another under many headings.
The Open-gate type of Black-for-White line-opening is a dull
strategic idea, unless it is shown in combination with some
other thetne, or else, as in No. 160, the composer aims at a
LINE-OPENING
160
C. J. MORSE
First Prize, Tlze Observer, 1964
Mate in two
Key 1 Qc4, zugzwang
Rc5; 2 Qe6
Re5; 2 Qf7
Bxe3; 2 Qe4
Be5; 2 Qxg4
Bg7; 2 Qf4
Pd2; 2 Qfl
Px b5 ; 2 Qc8
Pc5; 2 Bd7
" task" rendering of it. The key 1 Qc4 completes the block, and
there follow seven line-opening variations giving rise to mates
by the white Queen. Notice how, by means of line-closing
effects, the Bd4 forces three different Queen-mates: 1 ... B x e3 ;
171
Themes and Terms
2 Qe4; 1 ... Be5; 2 Q x g4; and 1 ... Bg7; 2 <?f4. The ~ariation
1 ... PeS; 2 Bd7 brings the total of line-op~ntngs t~ etght. The
two-move record for line-openings of thts type IS currently
nine, also achieved by Jeremy Morse. .
Line-openings of a more subtle nature are found In No. 161.
LINE-OPENING +
161 DUAL AVOIDANCE
F. FLECK
L' It alia Scacchistica, 1939
Mate in two
Key
1 Rd6 (> 2 Re6)
cS,_,; 2 Q X f6 (Sf7 ?)
cSx d6; 2 Sd7 {S X c6?)
fS,_,; 2 Sf7 (Q X f6?)
fS X d6; . 2 S X c6 (Sd7 ?)
Kxc4; 2 Qe7
The key 1 Rd6, granting a second flight d6, threatens 2 Re6.

Black defends against this threat by moving his Knights to
open lines of guard from the Queen and the Ba2. At the same
time the Knights open white lines of guard on to the flight e4.
Consequently, in mating, White simply has to take care of the
flight d6. But there is more line-opening yet. If the Sc4 moves
at random, 2 Q x f6 is mate. But the Knight can correct by
capturing the Rook which guards f6: 1 ... cS X d6. This appar-
ently allows mate by either 2 S x c6 or 2 Sd7, since the defence
is a self-block. But the Knight has also opened the line of the
black Rook from c2, so that 2 S x c6? would fail to 2 ... R x c6 !,
and so only 2 Sd7 will work. Random moves of the other black
Knight allow 2 Sf7. Why not 2 Q x f6? Because of the opening
of the Rook's line from f2 to guard f6. (And why could 2 Sf7?
not be played after the random move of the Sc4? Because of the
opening of the line a2-f7 !) The correction move of the Sf5,
1 ... fS x d6, seems to allow White a choice once again, be-
tween 2 Sd7 and 2 S x c6. But again because of the opened line
h3-d7 only 2 S X c6 will mate. Black's opened lines are used,
therefore, not only to defeat the threat, but also to force a
172
Mari
unique choice of mate. (For problems with similar strategy,
see under Dual Avoidance.) A fine addition to the complex
line-play of this problem is the variation 1 ... K X e4; 2 Qe7-
a double pin-mate.
Line-opening is naturally a very common feature of three-
movers and longer problems. A brief note on some of the
possibilities may be found under Clearance. Line-opening of a
very simple kind is seen in No. 162. The key 1 Pe3 puts Black
162 LINE-OPENING
J. HARTONG
Fourth Prize, Kecskemet Chess Club,
1927
Mate in three
Key
1 Pe3, Zugzwang
B x c5; 2 Pe6, B,_,; 3 Qh5
B X e5; 2 Pc6, B,_,; 3 Qh5
B x c3; 2 Qc4, B,_,; 3 Qc2
B X e3; 2 Qd3, B,_,; 3 Qf3
in Zugzwang, leaving him with a choice of four moves by his

Bishop. Wherever the Bishop goes, White plays a quiet move to
enable him to take advantage of the fact that the Bishop is
bound to open a line on its second move, e.g. 1 ... B x c5;
2 Pe6, Bishop moves; 3 Qh5.
Mari
The Mari theme is an important Passive Dual Avoidance
mechanism. Black opens a white line, thereby allowing White
an apparent choice between two mates. But one of these mates
would re-close the line which Black has just opened, and thus
only the other one can be played. No. 163 is a complicated
rendering of the theme, combining it with other dual avoidance
effects. The key 1 Ba7 threatens 2 Rc6. Black has a flight c4,
and White's three thematic mates, 2 eSd5, 2 Bd4 and 2 Rd3,
cannot be played until Black has obligingly opened a white line
of guard to that flight-square. This he can do by moving one of
173
I Thernes and Tenns
l\tiARI
163 L. Lt\CNY
F irst Hon. mention , Czech Chess C lub
Tourney, 1948
Mate in two
Key
I Ba7 ( > 2 Rc6)
Re4; 2 eSd5 (Rd3 ? Bd4 ?)
R x e5; 2 Bd4 (Rd3? eSd5 ?)
Rf6; 2 Bd4 (eSd5 ? Rd3 ?)
Rf4; 2 Rd3 (eSd5? Bd4 ?) .
Se3; 2 Rd3 (Bd4? eSd5 ?)
Sxe5; 2 eSd5 (Bd4? Rd3?)
three pieces, the Re2, the Rf7 and the Sg4. 1 ... Re4 allows
only 2 eSd5: the mate 2 Rd3? would re-close the opened line
fl-c4, while 2 Bd4? is prevented by direct guard. 1 ... Rf6
allows only 2 Bd4, since 2 eSd5 ? would shut the line g8-c4,
and 2 Rd3? is prevented by the pin of the white Rook. After
I ... Se3, only 2 Rd3 can be played, since 2 Bd4? would close
h4-c4, while d5 is guarded by the black Knight.
It would be possible to end our discussion of this problem at
this point, since we have now seen how the Mari theme works.
However, part of the point of this particular rendering lies in
the fact that there are three further defences, which lead in
fact to the same three mates, but which each eliminate the
other two mates in the reverse order. 1 ... R X e5 prevents
2 Rd3? (Mari) and 2 eSd5? (direct guard). 1 ... Rf4 rules out
2 eSd5? (Mari) and 2 Bd4? (direct guard). And finally, after
1 ... S x e5, 2 Bd4? is not playable (Mari), and nor is 2 Rd3?
(direct guard). Readers may care to return to this problem
after studying the examples of Cyclic Dual Avoidance under the
general heading of Cyclic Play.
Mate Transference
The majority of changed-play problems feature changed
mates: Black's defences remain the same, but White's mates are
different. An almost equally important, even if less fruitful,
174
Mate Transference
changed-play concept is that of Mate Transference, in which
the mates remain the san1e, but the defences are changed-the
mates are transferred from one group of defences to another·
Transference of mates is the basic idea behind a number of
themes of recent developtnent, and further discussion. of this
principle will be found under several other headings, parhcu~arly
Rukhlis, Reciprocal Play and Cyclic Play. The three examples
quoted here illustrate Mate Transference in its simplest form.
The set play of No. 164 consists of self-blocks: 1 ... Sc4;
MATE TRANSFERENCE
164 J. C. MORRA and J. B. SANTIAGO

First Prize, Israel P.A. Tourney, 1953
Mate in two
Set 1 ... Sc4; 2 Sc7
Rc4; 2 Rd8
Bxd4; 2 Pe4
Pxd4; 2 Qe6
(Pe4; 2 Qd7)
Key 1 Bc5 (> 2 Rd6)
Bxc5; 2 Sc7
Rxc5; 2 Rd8
Sc4; 2 Pe4
Pe4; 2 Qe6
2 Sc7 (self-block + black and white interference); 1 ... Rc4;

2 Rd8; 1 ... B x d4; 2 Pe4 (self-block+ white interference); and
I ... P x d4; 2 Qe6. The key 1 BcS (> 2 Rd6) transfers all these
mates so that they occur after different defences: 1 ... B X c5;
2 Sc7 (self-block + white interference); 1 ... R x c5; 2 Rd8;
I ... Sc4; 2 Pe4 (self-block+ white interference); and 1 ... Pe4;
2 Qe6. Notice that the defence 1 ... Sc4 occurs in both the set
and the post-key play, .but is followed, of course, by different
mates.
The key of No. 165 transfers five mates altogether, by means
of a flight-giving sacrifice. The mates which follow the defences
I ... Rb7, 1 ... Ba4, 1 ... Sd7 and 1 ... Sb7 in the set position
follow the captures on c6 by these same four pieces after the
key 1 S x c6, with its threat of 2 Se7. The fifth transference is
175
Themes and Terms
MATE TRANSFERENCE
G. POPOV
165
Themes 64, 1961
Mate in two
Set 1 Rb7; 2 Pe4
Ba4; 2 Pc4
Sd7; 2 Q X d7
Se6; 2 Qf3
Sb7; 2Qg8
Key I Sxc6 (> 2 Se7)
Rx c6; 2 Pe4
Bxc6; 2 Pc4
bSxc6; 2 Qd7
Kxc6; 2 Qf3
dSxc6; 2 Qg8
of the mate 2 Qf3, which follows I ... Se6 before the key and
I ... K x c6 after it.
Change of mate in three phases is extremely common (see
under Zagoruyko). Yet examples of three-phase mate transfer-
ence are comparatively rare. The thematic mates of No. 166 are
THREE-PHASE MATE
TRANSFERENCE
166
I. and A. HIRSCHENSON
GROSSMAN
Second Prize, Prob!eemblad, 1966
Mate in two
Set 1 Kx d5; 2 Bd7
Bxd5; 2 Pd4
Try 1 Sf4? ( > 2 Q x e4)
Kf5; 2 Bd7
Pf5; 2 Pd4
Bd5!
Key 1 Sf6! ( > 2 Sd7)
Ke6; 2 Bd7
Be6; 2 Pd4
2 Bd7 and 2 Pd4. These follow I .. . l( x d5 and I ... B x d5 in

the set play, I ... Kf5 and 1 ... Pf5 after the try I Sf4? (defeated
by I . .. Bd5 !), and I ... Ke6 and 1 ... Be6 following the key
I Sf6 ! (> 2 Sd7).
I76
Model Mates
Meredith
A problem with at least eight but not more than twelve pieces is
known as a Meredith, after a nineteenth-century American
composer who made a large number of small-scale problems.
Miniature
A problem with seven pieces or fewer is termed a Miniature.
Minimal
A Minimal is a problem in which the white force consists
purely of the King and one other unit.
Model Mates
A model mate is a mating position in which no square in the
black King's field is guarded more than once by White, and no
square is guarded by White and simultaneously blocked by
Black, and in which all the white men on the board, with the
permitted exception of the King and Pawns, play son1e active
part in the mate by guarding squares. The interest in a model-
mate problem centres generally on the beauty of the actual
mating positions, and the nature of the play leading to these
positions. Consequently the two-mover offers little scope to
the model-mate enthusiast, and few satisfactory examples are
to be found. In the three- and more-move field, however, the
possibilities are enormous-so enormous indeed, that it is
difficult to give more than the sketchiest idea of what has been
achieved.
Four distinct model mates are found in No. 167. The key
1Qd4 introduces a threat which itself leads to a sideboard-
model: 2 Sc3+, Ka6; 3 PbS. (The white Queen guards a7 and
b6, b7 is held by the Ba8, and bS by the Sc3, while aS is blocked
by the black Pawn.) If Black plays 1 ... Ka6, Vv'hite has the
quiet (i.e. non-checking) continuation 2 QcS, threatening 3 PbS
or 3 Q x aS (neither of them models), but 2 ... P x b4 leads to
the model 3 S x b4. 1 ... Ka4 allows 2 Bc6+, Kb3; 3 Sc1-also
177
Themes and Tenns
MODEL MATES
167 M. HAVEL
Third Prize, Scltaclz, 1958
Mate in three
Key
1 Qd4 (> 2 Sc3+, Ka6; 3 PbS-
model)
Ka6; 2 Qc5, P x b4;
3 S x b4-model
Ka4; 2 Bc6+, Kb3;
3 Sci-model
P X b4; 2 Bb7, ,_,;
3 Q x b4-model
a model. Finally 1 ... P x b4 permits 2 Bb7, threatening 3 Q X b4,

a fourth model mate. Miroslav Havel, who died in 1958, is
generally agreed to have been the outstanding composer of
model-mate problems.
Echo-models are featured in No. 168. 1 Bf5 sets up Zugzwang.
MODEL MATES (ECHOES)
168
0. WURZBURG
First Prize, Cheney Miniature Tourney,
1937
Mate in four
Key
1 Bf5, Kf3; 2 Kgl , Ke2;
3 Bc2, Kf3; 4 Bdl
... Kel; 4 Re4
Kfl ; 2 Bg4, Kf2;
3 Bd2, Kg3; 4 Bel
... Kfl; 4 Rf4
If 1 ... Kf3, then 2 Kgl, Ke2; 3 Bc2, Kf3; 4 Bdl- model mate.
The reader should study carefully the relative positions of the
white Rook and Bishops before considering the second varia-
tion. The reason is that after 1 ... Kfl ; 2 Bg4, Kf2; 3 Bd2,
l Kg3; 4 Bel, the position of the three pieces in question is
echoed: they stand in the same relationship to the black King in
the two variations. (Echoed lines in which the King ends up on
I 178
Model Mates
squares of differe.nt colours, as here, are known as chameleo.n
echoes.) This elegant problen1 has two more model mates: If
in the first variation Black plays 3 ... Kel, White mates wi~h
4 Re4. And this mate is echoed by that which follows 3 ... Kfltn
the second variation, namely 4 Rf4. It is probably true to say
that elegance is the key-note of model-mate compositions:
economy of tneans and beauty of effect contribute to this
elegance.
Not all model-tnate problems contain play of this character,
however, for 1nany composers have combined models with
themes of considerable strategic complexity. In No. 169 we
ECHO-MODELS
169
0. WuRZBURG and J. BucHWALD
First Place, 1st International Team
Match, 1962-3
Mate in four
Key
1 Qc6 (> 2 Sf6+, Kf4; 3 Qe4+
Qal; 2 Sc3+, Kf4;
3 Qe4+
Qd4; 2 Sg5+, . Ke5;
3 Qe6+
Qe5; 2 S X d2+, Kd4;
3 Qc4+
find critical and anti-critical play, self-blocks and other interest-

ing strategy besides the echo-models. The key 1 Qc6 threatens
2 Sf6+, Kf4; 3 Qe4+, b/eRxe4; 4 Sd5 (if2 ... Ke3; 3 Qc5+).
1 ... Qal defeats the threat by an anti-critical defence, over the
critical square f6, bringing the black Queen into a position to
interpose on d4 after 2 Sf6 +, Ke3; 3 Qc5 + ? But the defence
turns out to be a critical error, crossing a second critical square
c3: 1 ... Qa1; 2 Sc3+, Kf4; 3 Qe4+, b/eRx d4; 4 Sd5. Two
further defences by the black Queen introduce play involving
the opening of the Bishop + Knight battery in the south-east
corner of the board. 1 ... Qd4 allows 2 Sg5 +, Ke5; 3 Qe6 +,
Rxe6; 4 Sf7-model! And 1 ... Qe5 gives 2 Sxd2+, Kd4;
3 Qc4 +, R x c4; 4 Sb3- another model, and an echo of the
179
The1nes and Tern1s
previous one. This fine four-mover dese~vedly won first place
in one of the sections of the first International Team Match for
problem composition, organised by the U.S.S.R.
Our fourth example shows models of a very popular type. In
the course of the solution a black piece becomes pinned, and a
pin-model results. In such a mate one of the white units is used
to pin the black piece in question, and can thus be regarded as
participating in the mate. The key of No. 170, 1 Qc5, threatens
PIN-MODELS
170
H. FROBERG
U.S. Problem Bulletin, 1964
Mate in three
Key
1 Qc5 ( > 2 Bc4 +)
Ba6; 2 Q X c7 +, K X b5;
3 Sc3
Pc6; 2 Qa7+, K X b5;
3 Sxa3
Qe8 ; 2 S x a3, P x a3 ;
3 Qxc7
2 Bc4+, with the third-move non-model 3 Qb5. Black's

principal defences are anticipatory self-blocks. 1 ... Ba6 allows
2 Q x c7 +, K X b5; 3 Sc3-model with the Pb4 pinned. And
1 ... Pc6leads to 2 Qa7 +, K x b5; 3 S x a3-a second pin-model.
Notice that the square b4 is both blocked by the Pawn and
guarded by the white Rook effecting the pin. Such a duplication
of control is permitted in the case of pin-models, for otherwise
no pin-model would be possible with the pinned piece on a
square adjacent to the black King. The third variation of this
neat problem also leads to a model mate, though not this time
a pin-model: 1 ... Qe8; 2 S X a3, P x a3; 3 Q x c7.
Munich
The Munich is a three- and tnore-move theme involving the
following strategy. A black defence has a set mate. On his first
move Black deprives hin1self of this defence, so that White is
able to abandon the set mate on his second move. No. 171 is a
180
Munich
171 MUNICH
.H . GARN
First Prize, German Ring Tourney, 1948
Mate in three
Try 1 Bg6?, Bb5! (2 Sg6 ?)
Try 1 Bf5?, Qa6! (2 Sf5 ?)
Key 1 Bc2!, zugzwang
Sc6; 2 Bg6
Sa6; 2 Bf5
Pc5; 2 Bdl
clear illustration. The set replies to 1 ... Bb5 and 1 ... Qa6 are
respectively 2 Sg6 and 2 Sf5. White has two tries which emphasise
the character of the theme: 1 Bg6?, defeated by 1 ... Bb5!
(2 Sg6? being no longer possible); and 1 Bf5 ?, which fails to
1 ... Qa6 !, since 2 Sf5? is now ruled out. The key 1 Bc2! puts
Black in Zugzwang and forces him to abandon his set defences
by making them impossible. 1 ... Sc6 eliminates a pin of the
white Queen by the Be8, so that 2 Bg6 can now be played.
Similarly after 1 ... Sa6, the black Queen can no longer reach
a6, with the result that 2 Bf5 is playable.
No. 172 is a more complex example. The set defences are
MUNICH
172
L. I. LOSlllNSKI
First Prize, Schach, 1956
Mate in three
Try 1 Bc5 ?, Sb5!
Try 1 Be5 ?, Se6!
Try 1 B X e3 ?, Pf2!
Try 1 Rd3 ?, Pb3!
Key 1 Rg5 !, zugzwang
Rb5; 2 Bc5
Re6; 2 Be5
Bf2; 2 Bxe3
1 ... Sb5, 1 ... Se6 and 1 ... Pf2, which lead respectively to the
set mates 2 Sc5, 2 ReS and 2 Q X e3. The tries 1 Bc5 ?, 1 Be5?
and 1 B x e3? occupy the squares needed for these three mates,
181
The1nes and Terms
and so fail to the respective set defences. The key 1 Rg5!
completes the block. Black's principal defences now prevent the
set defences from taking place, and thus allow, as second-move
continuations, the three white Bishop-moves shown as tries:
1 ... Rb5; 2 Bc5 (3 Sc5 is not needed as a n1ate any more,
because 2 ... Sb5 has been ruled out); 1 ... Re6; 2 Be5 (no need
to retain 3 ReS); and 1 ... Bf2; 2 B x e3 (2 ... Pf2 cannot be
played). Any other black first move either unguards a square to
allow White to n1ate immediately, or else exposes a black unit
to capture so that mate on the third tnove is inevitable.
Mutate
Mutate is the term given to a complete-block problen1 in
which White, with no mere waiting-tnove at his disposal, is
forced to abandon one or more of his set mates and introduce
new replies to Black's defences, while at the satne time keeping
Black in Zugzwang. No. 173 is a sin1ple setting, illustrating a
173 MUTATE: FOCAL PLAY

E. E. ZEPLER
Die Schwalbe, 1928
Mate in two
Set 1 R'""'4; 2 Qe6
Rr-.~e; 2 Qd3
Pc4; 2 Qc6
Key 1 Sf7, Zugzwang
R'""'4; 2 Se7
Rr-...~e; 2 S X f4
Pc4; 2 Qd6
focal idea. In the set position White could mate \vith either
2 Qe6 or 2 Qd3 according to whether the black Rook moved
away along the rank or along the file. The key 1 Sf7 changes the
focal mates to 2 Se7 and 2 S x f4, and also introduces a new
mate to follow 1 ... Pc4.
Three-move mutates, of which No. 174 is a fine example, are
fairly rare. As is always the case with a 1nutate, every one of
Black's defences has a set reply: 1 ... P X b4; 2 R x b3; 1...
182
Neutral Piece
THREE-MOVE MUTATE
Y. G. VLADIMIROV
174 First Prize, Central Chess Club BuJJetin,
1964
Third Place, U.S.S.R. Composing
Championship, 1962-4
Mate in three
Set 1 ... Pxb4; 2Rxb3
Pxd4; 2Sd3
Pxc2; 2Sxc2
Pc4; 2Sd5
Key 1 Sa2, Zugzwang
Pxd4; 2Bd3
P x c2; 2 Scl
Pc4; 2 Sc3
Pxa2; 2Rb5
Pxd4; 2 Sd3; I ... Pxc2; 2 Sxc2; and I ... Pc4; 2 Sd5. It is,
of course, not essential that every mate should be changed in a
mutate, and indeed this seldom happens, but it is the case with
this problem, except that one defence (1 ... P X b4) is rendered
impossible and another (1 ... P x a2) becomes play·a ble in its
place. (Defences which are not possible until after the key of a
mutate are known as added play.) After the surprising key
1 Sa2, the play runs: I ... P X d4; 2 Bd3; I ... P x c2; 2 Sci;
1 ... Pc4; 2 Sc3; and I ... Pxa2; 2 Rb5. A delightful problem,
which would have appealed to the inventor of the term
"mutate", the late Brian Harley.
Neutral Piece
Several composers of fairy problems have experimented with
the effects that can be achieved with a neutral piece, which
belongs to whichever side chooses to use it. No. I75 is a help-
mate in two, with three solutions varying according to whether
the Bb2 is (a) white, as in the diagram; or (b) black; or (c)
neutral. Black moves first in each solution. Part (a) is solved by
1 Bh7, Kf6; 2 Pc2, Kf7. With a black Bb2 the solution is 1 Pc2,
Ph6; 2 Bg7, P x g7. And if the Bishop is neutral, the play runs
1 Bal, Kf6; 2 Pc2, Kg6. The Bishop is used by Black to begin
183
Themes and Terms
175 NEUTRAL PIECE
P. B. VAN DALFSEN
Probleemblad, 1968
Helpmate in two
(a) white B b2 (as diagram)
(b) black B b2
(c) neutral B b2
(a) 1 Bh7, Kf6; 2 Pc2, Kf7

(b) 1 Pc2, Ph6; 2 Bg7, P X g7
(c) 1 Bat, Kf6; 2 Pc2, Kg6
with, and then by White for the mate. This is why it must be
moved into the corner first of all: if it remained on b2, Black
would not be mated on the second move, since he would be able
to play 3 Ba3 or 3 Bel.
Nietvelt Defence
No. 176, incidentally a fine illustration of the Half-battery
theme, shows two Nietvelt defences in virtual and post-key play.
The try 1 Rc2? threatens 2 Qe2. The black Queen and Rook
NIETVELT DEFENCES
(HALF-BATTERY)
W. lSSLER
176
First Prize, ex aequo, Deutsche Schach-
zeitung, 1961
Mate in two
Try 1 Rc2? ( > 2 Qe2)
Qxe3; 2 Se7
Rxe3; 2 Sxb6
Sd4; 2 Pe4
Qd4!
Key 1 5Sc3! ( > 2 Qe2)
Qxe3; 2 Re6
Rxe3; 2 Rxb6
Sd4; 2 Rf6
Pfl = Q+; 2Qxfl
Sf4+; 2 R~f4
184
Nightrider
now pin themselves on e3 in order to defeat the threat, becau~e
the white Queen, in moving off the line d3-f3, would unpin
them so that they guarded the intended mating square e2. The
play after the try runs: 1 ... Q x e3; 2 Se7; and 1 ... R X e3;
2 S x b6; but 1 ... Qd4! defeats. So White must play instead
1 5Sc3 !, with the same threat of 2 Qe2. Again the black Queen
and Rook make Nietvelt defences on e3, with resulting pin-
mates from the Bishop + Rook battery: 1 ... Q x e3; 2 Re6;
1 ... R x e3; 2 R x b6. There is a third changed mate, not
connected with the Nietvelt mechanism: l ... Sd4, followed by
2 Pe4 in the virtual play, and by 2 Rf6 after the key.
Nightrider
The Nightrider (N in notation) is a fairy piece invented by
T. R. Dawson in 1925. It performs one or more Knight-leaps
in a straight line as a single move. Thus a N on a1 has access
on a clear board to the squares b3, c5, d7, c2, e3 and g4. TheN
is therefore a line-piece (known in fairy terminology as a Rider)
just like the Queen, Rook and Bishop of the orthodox game,
and can consequently be used to achieve interference and
pinning effects. The N, the most popular fairy piece after the
Grasshopper, is seen in No. 177: to inflict the stipulated mate
177 NIGHTRIDER
T. R. D AWSON
British Chess M ag a=ine, 1925
Mate in five
Nightrider c6
1 Ne7, Ka7
2 Ng3 , Ka8
3 Ne4 Ka7
4 Sb5+ , Ka
5Nd2
in five, theN vi its e7, g3, e4 and finally d2. It is interesting that
mate can be forced again t a lone King with Knight + N but
not with Knight + Kn ight.
185
Tlzenws and Terms
Son1e of the tnore complex effects which may be prod u~ed
with a N are to be found in No. 178 . The key is 1 Pd8 = N, wh tch
NIGHTRIDERS
178
P. MoNREAL and J. OuooT
Second Prize, Themes 64, 1964
Mate in two
Nightriders b7, g3, h7, b5
I
( > 2 Q X b5)
~ Key 1 Pd8 = N
Na7; 2 gNa6
Nd6; 2dNxc6
Nd4; 2 Qc4
Nf3; 2 hNxd5
Nh2; 2 gNx hl
Ra5; 2 bNd3
pins the Pc6 and thereby threatens 2 Q x b5. It is a convention

in fairy problems that promotion to a fairy piece is permissible
provided there is a piece of the same type on the board already.
So since there are plenty of Ns about, 1 Pd8=N is a perfectly
legitimate promotion, though rather a strong key. Black defends
against the threat by moving the NbS, but five of the six moves
of this piece produce interferences. 1 ... Na7 interferes with the
Ra8, permitting the white Ng3 to play to a6 to mate. 1 . .. Nd6
leads to 2 N X c6, exploiting the interference with the black
Queen on the sixth rank, while 1 ... Nd4 allows 2 Qc4, owing to
the interference with the Rg4. Notice that in this latter variation
Black cannot reply 2 ... P x c4 ?, since the Pawn d5 is pinned by
the white Nh7. 1 ... Nf3 enables this same Nh7 to come into
play as a mating piece with 2 N X d5 (2 ... P X d5? cannot be
played because the Pc6 is still pinned by the Nd8). The fifth
interference by the black N is 1 ... Nh2, which interrupts the
black Queen's line of guard down the h-file and so permits
2 N x hl. The capacity for producing spectacular interference-
variations like this last is one of the many entertaining proper-
ties of the N. (A further variation featuring one of the white
Ns is the self-block 1 ... Ra5, which leads to 2 Nd3.)
186
Nowotny
Nowotny
The Nowotny, currently (1969) one of the most popular themes
for problems of all lengths, is a close relation of the Grimshaw.
A white piece plays on to a square which is the cutti?g-point. of
the lines of (typically) a black Rook and a black Bishop, With
the result that the capture of that piece leads to the same
effects as straightforward interferences would produce. Merely
stated in words, this theme may sound either complicated or
else boring. In fact, it has given rise to a very large number of
extremely fine problems, of which we can quote no more than
a handful here.
We start our brief survey of the theme with an ingenious
seven-mover, No. 179, in which the Nowotny occurs on White's
NO\VOTNY
179
B. SCHAUER
First Prize, Europe Echecs, 1963
Mate in seven
1 Bd3, Re7
2 Bc4, Rd7
3 Bb5, Rd6 3 ... Kb7
4 Bfl, Rg6 4Bxd7+
5 Bg3, Bxg3
6 Bxg2+
5 ... Rxg3
6 Rb8/Sc7
fifth move. White's plan must be to force the black Rook to g6,
which is done in the following manner: 1 Bd3 (> 2 Be4), Re7
(forced, since 1 ... Rf4 allows 2 Sc7 or 2 Rb8); 2 Bc4 (> 3 Bd5),
Rd7; 3 Bb5 (>4 Bc6), Rd6 (if 3 ... Kb7, 4 B x d7 +); 4 Bf1
(> 5 S x c7), Rg6-and now White's primary purpose is
accomplished, for he can now play 5 Bg3 !, the Nowotny move
which simultaneously cuts the lines of guard of the Bh2 and
the Rook which has been decoyed to g6. To survive, Black
must capture the Bg3, but 5 ... R X g3 leads to 6 Sc7 or 6 Rb8,
while 5 ... S x c7 permits 6 B x g2+, Rc6; 7 B x c6.
The very close affinity between the Grimshaw and No\votny
themes may be clearly seen from No. 180. The solver with
187
Themes and Terms
180 NOWOTNYS + GRIMSHAWS
w. TURA
First Prize, Europe Echecs, 1962
Mate in two
Try 1 Bb4? (> 2 Qel/Q x d4)
Re6! (2 Rb5 ?)
Try 1 Rb4? (> 2 Qel/Q x d4)
Be6! (2 Bd6?)
Key 1 Be6! (> 2 Rb5/Bd6)
Rb4; 2 Qe1
Bb4; 2 Qxd4
experience of the former theme will be quick to see two promis-

ing-looking Grimshaws with set mates, the interferences
between black Rook and Bishop on b4 and e6. White has two
Nowotny tries, 1 Bb4? and 1 Rb4 ?, both threatening the two
mates set for the interferences on this square, namely 2 Q x d4
and 2 Qe1. However, these tries constitute a white Grimshaw,
for the two white pieces get in one another's way. 1 Bb4? is
defeated by 1 ... Re6 !, because 2 Rb5? cannot now be played.
And 1 Rb4? fails to 1 ... Be6 !, because 2 Bd6? is now in1possible.
The key of this problem is a third Nowotny, this time on e6:
1 Be6! The threats are now the two moves 2 Rb5 and 2 Bd6, and
Black's defences, the interferences on b4, lead to the mates
threatened by the tries, 2 Q x d4 and 2 Qe1. The double threat,
an extremely common feature of Nowotny-key problems, is
reduced to a single mate by the captures of the key piece on its
arrival square: 1 ... R x e6; 2 Rb5 only; and 1 ... B x e6;
2 Bd6 only.
One of the principal Nowotny tasks which composers have
set themselves is the achievement of a record number of different
Nowotnys in a single problem, on different squares or on the
same square. Such problems are often not of the greatest
strategic interest, but may well be fiendishly difficult to solve.
Michael Lipton is one of those who have striven after maximum
effects with this theme, but his No. 181, an elegant pawnless
setting, shows great artistic restraint, as well as a considerable
amount of interesting play. There are three set mates, but these
are not the main point .o f the work, which lies in the choice of
188
Nowotny
NOWOTNYS
181 M. LIPTON
Second Prize, B.C.P.S. Ring Tourney,
1966
Mate in two
Try 1 Be5? ( > 2 Sg7 /Re7)
Sxh7!
Try 1 Sd4? (> 2 Sf6/Rd8)
Re7!
Try 1 Rd4? (> 2 Sf6/Sd6)
Se4; 2 Re7
Re6!
Key 1 Bd4! ( > 2 Sg7 /Rd8)
Se6; 2 Re7
Nowotny and the manner in which the wrong choices fail.

1 Be5? threatens 2 Sg7 or 2 Re7 (as usual, the threats are forced
separately by the two captures on the Nowotny square), but is
defeated by 1 ... Sxh7! 1 Sd4? (>2 Sf6/Rd8) fails to 1 ... Re7!
1 Rd4? ( > 2 Sf6/Sd6) is refuted by 1 ... Re6! (but notice that
1 ... Se4? does not defeat, since it is answered by 2 Re7 !). The
key is therefore 1 Bd4! (>2 Sg7/Rd8), and if 1 ... Se6, then
2 Re7. The way in which the white pieces exchange roles, now
making tries, now giving mates, is most entertaining.
Lipton's problem might well have won first prize in the
tourney for which it was entered had it not been up against
stiff competition from a veritable masterpiece, curiously
enough illustrating the same theme. No. 182, however, has a
total of eight different threats in its four Nowotnys, two on
each of two squares. What makes this problem so remarkable
is not merely the Nowotnys and the play they introduce, but
the enormous amount of interesting by-play which the com-
poser has brilliantly incorporated. The pattern of changed and
transferred mates is indeed bewildering. 1 Rf5? threatens
2 Pc8 = Q and 2 Se5. The threats are, of course, separated by
the captures of the try-piece by the Rh5 and the Bh3. Three
defences defeat both threats: 1 ... Rd7, answered by 2 Q x d 7;
1 ... Rd8+, to which the reply is 2 Pxd8=S; and 1 ... Qxf4!,
which has no reply and which therefore defeats this try. 1 Pf5?
189
Then1es and Tenns
NOWOTNYS
C. GoLoscHMEDING
First Prize, B.C.P.S. Ring Tourney, 1966
182
Mate in two
Try 1 Rf5? ( > 2 Pc8 = Q/Se5)
Rd7; 2 Qxd7
Rd8 + ; 2 P X d8 = S
Qxf4!
Try 1 Pf5? (> 2 Qd7 /dRc5)
Qe5+; 2 Sxe5
1Rxd5; 2 Pxd5
Qd6!
Try 1 Rd2? (> 2 Sa5/Sd4) ·
Rxb5!
Key 1 Sd2! (> 2 Qc3/Rd6)
ReS+; 2 Sxe5
Bd7 + ;. 2 Q X d7
hR X d5; 2 P X d5
carries the threats 2 Qd 7 and 2 dRc5. Once again there are

three defences defeating both threats: 1 ... Qe5 + (2 S x e5),
1 ... 1R x d5 (2 P x d5), and 1 ... Qd6! (no reply). White
therefore turns his attention away from the unproductive
Nowotny attempts on f5, and tries Nowotnys on d2 instead.
1 Rd2 ?, with the threats 2 Sa5 and 2 Sd4, fails to 1 ... R x b5!
So White is left with 1 Sd2 !, the key, which threatens 2 Qc3 and
2 Rd6. Again there are three total defences, but this time all
have replies: 1 ... Re5 +; 2 S x e5; 1 ... Bd7 +; 2 Q x d7; and
1 ... hR x d5; 2 P X d5. All this complex play is achieved with
extraordin~.ry economy and amazing clarity. The Dutch expert
Cor Goldschmeding has made several examples of this theme,
but surely none finer than this.
By an odd coincidence, the three-move section of the same
tourney (the 1966 Ring Tourney of the British Chess Problem
Society) was won by an outstanding problem also showing the
Nowotny theme. The Nowotny in the three-mover occurs more
usually on vVhite's second tnove than on his first. In this
example, No. 183, the theme is combined with a Pickaninny,
the name given to maximum activity (four moves altogether)
of a single black Pawn. The key is somewhat perfunctory, and
190
,.
Nowotny
NOWOTNYS + PJCKANINNY
N. LITTLEWOOD
First Prize, B.C.P.S. Ring Tourney, 1966
Mate in three
183 Key
1 Re6 ( > 2 Sh7)
Pxe6; 2 Pc6, Rxc6;
3 Rxg3
Bxc6;
3 dSxe6
Pxg6; 2 Bc7, Rxc7;
3 Re5
Bxc7;
3 Sh7
Pf6; 2 Rd6, Rxd6;
3 Bf4
Bxd6;
3 dSe6
Pf5; 2 Rc6, Rxc6;
3 Rxg3
Bxc6;
3 dSe6
Rxe6; 2 Pxg3
· threatens immediate mate: 1 Re6 (>2 Sh7). Now each move of

the Pf7 leads to a Nowotny continuation: 1 ... P x e6; 2 Pc6
(> 3 R X g3/dS X e6); 1 ... P X g6; 2 Bc7 (>3 Re5/Sh7); 1 ... Pf6;
2 Rd6 (>3 Bf4/dSe6); and 1 ... Pf5; 2 Rc6 (>3 R x g3/dSe6).
As in the two-move examples we have studied, the threats are in
each case separated by the captures on the Nowotny square.
Interest in the Nowotny in three-movers among British com-
posers is largely due to several very fine examples produced by
R. C. 0. Matthews, a composer of remarkable inventiveness and
constructional ability. One of his most famous problems is
No. 184, with its brilliant combination of interference and
Nowotny play. The key 1 Pb4 threatens 2 B x b1 followed by
3 Ra3. Black has six thematic defences, each leading to a
Nowotny. I ... Bb6 allows 2 Rd5, with the threats 3 Sb5 and
3 Se4 (separated by the captures 2 ... B x d5 and 2 ... R x d5).
This continuation is made possible because the black Bishop
initially interferes with the Rb8. 1 ... Bc5 is an interference with
191
Then1es and Tenus
NOWOTNYS
R. C. 0. MATTHEWS
184
Mate in three
Key
1 Pb4 (> 2 B X bl, f"'"oo-1' 3 Ra3)
'
Bb6; 2 Rd5, Bxd5;
3 Sb5
Rxd5;
3 Se4
Bc5; 2 Rb7 etc.
bRxb5; 2 Qd5 etc.
Bb7; 2 Rc5, Bxc5;
3 Sb5
Rxc5;
3 Bxd4
Bd5; 2 bRb6 etc.
hRxb5; 2 Rb6 etc.
the Rh5, and permits the continuation 2 Rb7, with the same
threats as before. 1 ... bR x b5 is an unguard of b5, allowing
2 Qd5 (same threats). 1 ... Bb7 is a second interference with the
Rb8, and White can now play 2 Rc5, this time threatening
3 Sb5 and 3 B x d4. The same third-move threats are found
after 1 ... Bd5; 2 bRb6 (exploiting the interference with the
Rh6), and 1 ... hR x b5; 2 Rb6 (a second unguard of b5). As
with the two-mover by Tura, the affinity between the Grimshaw
and Nowotny themes stands out clearly.
With his No. 185 Nils van Dijk has added a new twist to the
three-move Nowotny by incorporating changed play. The set
play consists of Holzhausen interferences (interferences between
like-moving pieces): 1 ... Qe3; 2 Bc3 +, Q x c3; 3 Qe5; and
1 ... Qf5; 2 S x c2+, Q x c2; 3 Qe5. The key 1 Kc6 threatens
the checking Nowotny 2 Qd3+, followed by 3 S x c2 or 3 Bc3,
according to whether the Rook or the Bishop captures the
Queen. The set continuations after 1 ... Qe3 and 1 ... Qf5 will
not work now because the Queen, in capturing the checking
piece on her second move, would give check to the white King.
Instead, Nowotny-type moves are possible: 1 ... Qe3; 2 eSd3-
White can afford to give up the mate 3 S x c2, since 2 ... Q x d3
192
Nowotny
NOWOTNY: CHANGED PLAY
N. G. G. VAN DuK
Prize, British Chess Magazine, 1967
Mate in three
185
Set
1 . . . Qe3 ; 2 Bc3 + , Q x c3 ;
3 Qe5
Qf5; 2 S x c2+, Q x c2;
3 Qe5
Key
1 Kc6 ( > 2 Qd3 +, R X dJ ; 3 S X c2
B x d3; 3 Bc3
Qe3 ; 2 eSd3, Q x d3 ;
3 Qe5
Bxd3;
3 Bc3
Qf5; 2 Pd3, Qxd3;
3 Qe5
Rxd3;
3 Sxc2
Qg3; 2 Sf3+
can be followed by 3 Qe5. And 1 ... Qf5; 2 Pd3-because 3 Bc3

will not now be required: if 2 ... Q x d3; 3 Qe5 !
Three variants of the Nowotny theme deserve brief mention
here. One is the Finnish Nowotny. In the initial position a
black Pawn stands on the intersection-square of the lines of a
black Rook and Bishop. White has a try threatening two mates,
both defeated simultaneously by the move of the black Pawn to
open the Rook's and Bishop's lines. The key is a capture of this
Pawn, and the play thereafter is exactly as in a normal double-
threat Nowotny. The second variant has been named the
English Nowotny by its inventor, Michael Lipton. A white
piece plays on to the intersection-square of the lines of a pinned
black Queen and another black line-piece. An extension of this
idea is seen in No. 186, a Cyclic Nowotny, in which three black
lines are simultaneously cut, in both try and key, with three
threats, separated in cyclic fashion according to the captures.
1 eSc4? threatens 2 dS x f7, 2 Pb6 and 2 Qc5, and these appear
singly after the captures 1 ... Q x c4, 1 ... R x c4 and 1 ... B x c4.
The try fails, however, to 1 ... R x e8! Tlie key is 1 dSc4!, with
193
.-
The1nes and Tenns

CYCLIC NOWOTNY
M. LIPTON
186 Second Prize, British Chess Mag azine,
1967
Mate in two
Try 1 eSc4?
Qxc4; 2 dS X f7
Rxc4; 2 Pb6
Bxc4; 2 Qc5
Rxe8!
Key 1 dSc4!
Qxc4; 2 eSxf7
Rxc4; 2 Pb6
Bxc4; 2 Rc6
Bxe7; 2 Qxe7
three threats once again, but two of them different from

before: 2 eS xf7, 2 Pb6 and 2 Rc6. They are separated by the
same three captures as after the try. The richness of this in-
genious work is enhanced by the set play (1 ... B X b5 +;
2 S X b5; 1 ... Qc6 + ; 2 R X c6; 1 ... Ra8; 2 P X a8 = S; 1 ...
Rc8; 2 P x c8 =Q; and 1 ... R x e8; 2 S x e8-this last defence
being the one which defeats the try), and by the use made of the
white Queen after the key: 1 ... B x e7; 2 Q x e7.
Obstruction
Obstruction occurs when a piece moves to a square so that
another piece is prevented from occupying that square. In the
two-mover this tactic is restricted to obstruction of the black
King, i.e. Self-block. In three-movers and longer problems,
however, the possibilities are much greater. No. 187 shows
obstruction in combination with Nietvelt defences: the black
Ba1 and Sdl get in each other's way as they pin themselves on
c3. The key 1 Kc7 threatens 2 Qb6 followed by 3 Sh4. The self-
pins by the Bjshop and Knight defeat the threat because, after
2 Qb6 ?, checks on the white King would be possible as a result
of the unpjn. However, 1 . . . B x c3 allows 2 Pc5, with the
threat 3 Qd5, because the Bishop, by occupying c3 , has preven-
ted the K night from self-pin ning on that square. The parallel
194
Obstruction
OBSTRUCTION
(NIETVELT DEFENCES)
187
J. HARTONG
Third Prize, Parallele 50, 1949
Mate in three
Try
1 Qa3?, Bxc3!
Try
1 Pc5 ?, S x c3 !
Key
1 Kc7! (> 2 Qb6, ~; 3 Sh4)
Bx c3; 2 Pc5 (> 3 Qd5)
Sxc3; 2 Qa3 (> 3 Qf8)
variation, in which the Knight obstructs the Bishop, is 1 ... S X c3;

2 Qa3, threat 3 Qf8. The Bishop cannot now self-pin on c3 to
defeat this third-move threat. Notice that the white second-
move continuations are also first-move tries, defeated by the
self-pins : 1 Qa3 ? B x c3 ! ; and 1 Pc5 ? S x c3 !
No. 188 illustrates an odd obstruction strategy involving
188 OBSTRUCTION BY PROMOTION
G. F. ANDERSON and
R. C. 0. MATIHEWS
First Prize, Probleemblad, 1963
Mate in four
Key
1 Bh6 (> 2 Bd5, Pel = Q; 3 Bf3)
Pb3; 2Bf3, Pel= S;
3 Bd5
pawn-promotion. If a: black Pawn pron1otes to a Queen, it

thereby denies itself the opportunity of promoting to a Knight,
and the other way round. The key 1 Bh6 threatens 2 Bd5
followed by 3 B x c4. If Black defends on his second move with
2 ... Pel = Q, then White can continue 3 Bf3, because the
black Pawn which has promoted to a Queen cannot turn itself
into a Knight to defeat the threat of 4 Be2. If Black were to p1ay
195
Thernes and Tenns
the first-move defence 1 ... Pb3, White could play 2 Bf3
straightaway, threatening 3 Be2. The promotion 2 ... Pel = S
would then permit 3 Bd5 (4 B x c4), because there would be no
possibility of promotion to a Queen to defe~t. Th_er: are _two
points of particular interest to note concerning this Ingenious
problem. The first is that White's second and third moves are
interchanged between the two lines of play. Secondly, the
white King plays a crucial part in the mechanism of the strategy.
The promotion 2 ... Pel = S cannot be permitted by White
until b3 has been blocked, because of 3 ... Sb3 +! Similarly,
2 ... Pel = Q cannot be allowed when the Pawn has played
from b4 to b3, on account of 3 ... Qa3 +.
Obtrusive Force
The diagram beneath this paragraph is not a problem. The
pieces have been arranged on the board to illustrate what is
meant by (i) obtrusive, (ii) promoted, and (iii) illegal force. The
white Bc4 is obtrusive: there is only one other white Bishop on
the board, yet it is evident, from the fact that the white e- and
g-pawns are still on their starting squares, that this Bc4 can only
have arisen through the promotion of a white Pawn. (It is also
evident from this position, though irrelevant to the present
discussion, that this promotion could only have taken place
on e8 or g8, which means that Black is unable to castle, since
the Pawn must have passed over f7 before promoting.) The
black Rh5 is also obtrusive: the original black h-Rook must
have been captured on h8 or g8, since it could never have
escaped from that corner, just as the black a-Rook can only
have moved to b8. We should not normally refer to either the
Bc4 or the Rh5 as "promoted", though they clearly are promo-
ted Pawns, because the number of white Bishops and black
Rooks on the board does not exceed two in each case. However,
the black Bf4 is promoted, because it is a third black Bishop.
The white Bal, on the other hand, is illegal: it could never have
reached al, promoted or not, with the white b-Pawn still on its
starting square. By convention, promoted force is not normally
admitted in orthodox (i.e. direct-mate) problems, but obtrusive
force, though not tolerated by some purists, is usually accepted
196
Organ-pipes
if it cannot possibly be avoided. Illegal force, however, ts
definitely out!
Organ-pipes
Organ-pipes is the name given, by F. Janet, to the formation of
black Bishop, Rook, Rook, Bishop (as on the eig~th rank of
No. 189) in which each Bishop interferes with each Rook and
ORGAN-PIPES
J. HARTONG
First Prize, Problem, 1951
Mate in two
Key 1 P x f6, Zugzwang
Bd7 /Bd6; 2 Qd5
Be7 /Be6; 2 Re5
Rd7; 2 Bf5
Rd6; 2 bSc5
Re7; 2 dSc5
Re6; 2 Qxh7
(B X g4; 2 Q X g4
s,_,; 2 Sf2)
vice versa. This arrangement normally produces four interfer-

ence-variations, each mate being allowed by two of the inter-
ferences. This is the case in the original Organ-pipes problem,
composed by Sam Loyd in 1859. In Hartong's example,
however, the Organ-pipes produce a total of six variations,
thanks to some ingenious dual-avoidance play. The key 1 P x f6
197
Then1es and Terms
waits for Black to commit himself. The defences 1 ... Bd7 and
1 ... Bd6 both lead to 2 Qd5 (exploiting the interference by the
Bishops with the Rd8). Sin1ilarly, 1 ... Be7 and I ... Be6 are
both followed by 2 ReS, since the line of guard of the Re8 has
been cut. 1 ... Rd7 and 1 ... Re6, however, lead to two different
mates, the former to 2 Bf5 and the latter to 2 Q x h7. 2 Bf5?
will not work after 1 ... Re6 because the black Rook has cut the
line g8-d5, with the result that the white Bishop cannot close
h5-d5 without giving the black King a flight d5. 1 ... Rd6 and
1 ... Re7 also lead to distinct mates: 1 ... Rd6 gives 2 bScS (not
2 dSc5 ?, since this Knight must remain at d3 to hold f4 now that
the line b8-f4 has been closed); and 1... Re7 forces 2 dSc5, the
other Knight being pinned. One of these days some brilliant
composer like Jan Hartong, the distinguished Dutchman, may
find a way of forcing eight distinct mates from an Organ-pipe
setting such as this.
Overload
A black piece is overloaded if it is n1ade to guard more squares
than it can cope with. The overloaded unit in No. 190 is the PeS,
OVERLOAD
190
E. VISSERMAN
First Prize, Sclzakend Nederland, 1961
Mate in three
Key
1 Kf7 ( > 2 Rg5+)
Sf2; 2 Qxf4+, Pxf4;
3 Sd4
Se3; 2 Sd4+, Pxd4;
3 Bxd3
Sf3; 2 Bxd3+, Pe4;
3 Qxf4
which, after interferences by the black Knights, must try to

maintain a guard over d4 and f4 and at the same time stay in
position so as to be able to move forward to e4. The key 1 Kf7
introduces the threat 2 Rg5 +, either P X g5; 3 Sg7. Black
198
Paralysis
defends by moving his Sg4, with a view to gaining a fljght for
himself after 2 RgS+ ?, P x gS l Thi s Knight has only two
moves available to it, and each is a fatal interference . 1 ... Sf2,
interfering with the Rfl , allows 2 Q x f4+. Black's only
possible reply is 2 ... P x f4, with the result that d4 is now
unguarded and can be occupied by the Se6. 1 ... Se3 interferes
with the black Queen, but White does not exploit this interfer-
ence until his third move. Again the poor PeS is overloaded:
2 Sd4+, P x d4; 3 B x d3. Black's third defence is a direct
guard of gS by the Sh4: 1 ... Sf3. This interferes with both
the Rfl and the Queen, and for a third time the PeS is forced
to relinquish one of its guards: 2 Bxd3+, Pe4; 3 Qxf4.
Readers who have studied the remarks on Cyclic Play will see
that this problem, like No. 72· by the same composer, illustrates
cyclic overload: White's second and third moves occur in the
cyclic pattern AB : BC : CA.
Paralysis
Paralysis, sometimes known as Incarceration, occurs when a
black piece is prevented from playing away from a particular
square. (As readers will realise, this tactic is the reverse of
Obstruction, where a piece is prevented from reaching a particu-
lar square.) No. 191 is a fine four-mover with echoed effects.
The threat introduced by the key 1 Kg6 is 2 Sf6 +, Kf4;
3 Q X f5 +, Ke3; 4 R X d3; and if 2 ... Ke3, then 3 R X d3 +,
Kf4; 4 Q x f5. Black defends by moving his Rooks, in an effort
to gain flights for himself on his third move. But the Rooks
must retain their respective guards over f5 and d3, and so are
limited as to their choice of defence. 1 ... Rf4 is followed by
2 Bc8, which threatens 3 Q x f5 +, R x f5; 4 B x f5. All Black
can do is to double his Rooks on the f-file so as to add a
second guard to f5: 2 ... gRf3. This move, however, has the
effect of preventing the Rf4 from moving away from that
square: it has been incarcerated, and White can therefore
continue 3 Qa7, threatening 4 Sf6- and the Rf4 is powerless to
gain its King a flight. This variation is echoed by the play
following the defence 1 ... Re3: 2 Qb5 ( > 3 Q x d3 +, R x d3;
4 B x d3). Again Black must double his Rooks, this time on the
199
Themes and Terms
191
PARALYSIS
L.ZAGORUYKO
First Place, ex aequo, 1st International
Team Match, 1962-3
Mate in four
Key 1 Kg6 (> 2 Sf6+, Kf4; 3 Qxf5+, Ke3; 4 Rxd3

... Ke3; 3 Rxd3+, Kf4; 4 Qxf5)
Rf4; 2 Bc8 (> 3 Qxf5+, Rxf5; 4 Bxf5)
. . . gRf3; 3 Qa7 (> 4 Sf6)
Re3; 2 Qb5 (> 3 Qxd3+, Rxd3; 4 Bxd3)
. . . fRf3; 3 Kg5 (> 4 Sf6)
third rank: 2 ... fRf3. Now the Re3 is paralysed, and White can
play 3 Kg5, for the Rooks cannot now prevent 4 Sf6. What is
echoed in this beautiful problem is not only the paralysis of
each black Rook in turn, but also the doubling manoeuvres,
which are performed by both Black and White. The black
Rooks give each other all the support they can, while White's
Queen and Bishop collaborate in similar fashion. Notice the
fine use made of the white King.
Pericritical Play
In a normal critical move a piece moves over a critical square,
with the result that an interference takes place on that square.
In a pericritical move, however, a piece moves round a critical
square. No. 192 features pericritical tries by the white Queen.
White wishes to threaten 2 Se7, and for this purpose the Queen
must set up a guard on d4. She has five possible ways of doing
this, but four of her moves fail because a black piece is able to
interpose between the Queen and the square d4. 1 Qg7? will
not work because of 1 ... Pe5! (1 ... Re5? leads to 2 Q x e5.)
1 Qg4? provides a mate for 1 ... Be4, viz. 2 Q x e6, but fails to
1 ... Re4! 1 Qf2? is adequate to deal with 1 ... Qe3 (2 B x c4),
200
I Pickaninny
PERICRITICAL TRIES
M. ScHNEIDER
First Prize, Main-Post, 1964
192 Mate in two
Try 1 Qg7? (> 2 Se7)
Re5; 2 Qxe5
Pe5!
Try 1 Qg4? (> 2 Sc7)
Be4; 2 Qxe6
Re4!
Try 1 Qf2? (> 2 Se7)
Qe3; 2 Bxc4
Re3!
Try 1 Qd2? (> 2 Se7)
Qd3; 2 Qxa5
Bd3!
Key 1 Qb2! (> 2 Se7)
Qc3; 2 Qb5
Pc3; 2 Qxb3
but 1 ... Re3! defeats. 1 Qd2? introduces 2 Q x a5 to follow

1 ... Qd3, but there is no reply to 1 ... Bd3! Therefore only
1 Qb2! will work. 1 ... Qc3 is answered by 2 Qb5, while the
reply to 1 ... Pc3 is 2 Q xb3.
Pericritical play in three-move form is seen in ·No. 76, under
the heading Doubling, and in more-move form in No. 214, under
Roman.
Pickaninny
A black Pawn standing on its starting square (other than a7 or
h7) has a maximum of four moves available to it. When all four
moves of a single black Pawn occur at some stage in the course
of a problem's solution, we speak of a Pickaninny. There are
two Pickaninnies in No. 193. The key 1 Pb3 puts Black in
Zugzwang, and there follows a wealth of interference and self-
block play, centring on the moves by the Pawns b7 and e7.
Only one of the eight variations involves a mating capture of the
Pawn in question, which testifies to the composer's construc-
tional skill.
201
Then1es and Tenns
PICKANINNY
193 N. G. G. VAN DuK
Mate in two
Key 1 Pb3, Zugzwang
Px a6; 2 R x a5
· Pb6; 2 Sc7
Pb5; 2 Rc5
bPxc6; 2 Rd4
Pxd6; 2 Qxe4
Pe6; 2 B xe4
Pe5; 2 Qd2
PX f6; 2 S X f6
Similar constructional skill is evinced by Christopher Reeves

in No. 194, in which the four mates following the moves of the
CHANGED PICKANINNY
194 A. C. REEVES
Die Schwalbe, 1965
Mate in two
Set 1 ... P x c6 + ; 2 B x c6
Pd6; 2 Sd5
Pd5; 2 Qb4
Pxe6; 2 Bc8
Key 1 Qxe5 (> 2 ePxd7)
P x c6+; 2 S x c6
Pd6; 2 Qf6
Pd5; 2 Qc7
Pxe6; 2 Qxe6
Pd7 are changed from set to post-key play< Set: 1 ... P x c6+;
2 B x c6; 1 ... Pd6; 2 Sd5; 1 ... Pd5; 2 Qb4; and 1 ... P X e6;
2 Bc8. The key 1 Q x e5 threatens 2 eP x d7, and the new play
runs: 1 ... Pxc6+; 2 Sxc6; 1 ... Pd6; 2 Qf6; 1 ... Pd5;
2 Qc7; and 1 ... P x e6; 2 Q x e6. The mate 2 Sd5 reappears
after 1 ... Rd5+. The only (small) weakness of this fine problem
is that the Ra7 and the Bb7 play no part in half of the solution.
Their existence is amply justified, however, by the fact that
without them there would be no changed Pickaninny. (For a
202
Pin
further con1ment on the justification for inactive force, see
under Economy.)
No. 195 combines the Pickaninny with the Albino (maximum
195 PICKANINNY + ALBINO

G. H. DRESE
Second Prize, Tijdschrift v.d. K.N.S.B.,
1935
Mate in three
Key 1 Bd3, Zugzwang
Pxf6; 2 Pf4
Pxd6; 2 Pf3
Pe6; 2 Pxe3
Pe5; 2 Pxg3
activity of a white Pawn). After the key 1 Bd3, which completes

the block, the four moves of the Pe7 are answered by the four
moves of the Pf2: 1 ... P x f6; 2 Pf4; 1 ... P x d6; 2 Pf3;
1 ... Pe6; 2 P X e3; and 1 ... PeS; 2 P X g3. In the first two
variations the white Pawn must replace the guard which the
black Pawn has just removed, so that Zugzwang is maintained,
while in the last two mate must be threatened with the Bishop
on c4 or e4.
No. 14, under Albino, shows four tries by a white Pawn
refuted by the four moves of a black Pawn.
Pin
Pinning and unpinning is one of the problemist's favourite
devices. The possible combinations of pin- and unpin-mechan-
isms are far too numerous to mention, and in any case copious
examples will be found throughout the book. Suffice it to say
that some of the most beautiful problems ever composed have
featured pin-mates, or else mates brought about by means of
unpinning defences. It would be difficult to find a more elegant
illustration of pin-mates than No. 196. In the initial position the
Sd4 is pinned by the black Queen, which itself is half-pinned,
like the Rd2, by the white Queen. The key 1 Ka5 unpins the
203
Thetnes and Terms
196 PIN-MATES
L. I. LOSHINSKI
First Prize, Abastumansky Shakhmaty
Bureau, 1933
Mate in two
Key l Ka5 ( > 2 Se2)
Qxf2; 2 Sf5
Qxe5+; 2 Sb5
Rxd4; 2 Sd3
Qxd4; 2 Rxd4
(Qe4; 2 Se2)
Sd4 to threaten a double checkmate by 2 Se2. Black now has

four self-pinning defences, three of them leading to double pin..
mates (a double pin-mate occurs when two black pieces are
essentially pinned in the mating position): 1 ... Q X f2; 2 Sf5;
1 ... Q X e5 + ; 2 Sb5; 1 .. . R X d4; 2 Sd3; and 1 ... Q X d4;
2 Rxd4.
Pin-mates are extremely common in three- and more-
movers, where they are often combined with model-mates to
form pin-models, as in No. 170.
A curious pin-mechanism, known as Pin-unpin Restoration,
deserves a brief mention here. It is illustrated by No. 197. In
197 PIN-UNPIN RESTORATION
J. PERIS
First Prize, ex aequo, Spain v. Holland,
1935
Mate in two
Key 1 Qd8 ( > 2 Rx c4)
Qd7; 2 Qb6
Kc5; 2 Sxe6
the diagram position the ReS is pinned, while the Sd6 is free to
move. The key reverses this situation by unpinning the Rook
and pinning the Knight: 1 Qd8 (> 2 R X c4, exploiting the pin
of the Knight). In the two . main variations the pin-unpin
204
Plachutta
arranaen1ent is again reversed: 1 ... Qd7 re-pins the Rook but
unpin~ the Knight again (the tnate is 2 Qb6), while 1.. : Kc.5
(2 Se6) has precisely the same effect. (For the sake of punty, It
is vital that, as here, the unpin should be the only reason why
the threat does not work-and the pin should be essential in
the mate.) The mechanism is complex, but its possibilities are
limited, and problems in which its features tend to be rather
heavy positions, because a lot of force is needed to make the
scheme work.
Plachutta
The Plachutta is a three- and n1ore-move interference theme in
which a white piece sacrifices itself on the intersection square of
the lines of two like-moving black pieces (e.g. Rook and Rook,
or Bishop and Queen). As each black piece captures the white
unit, it becomes overloaded, being forced to take over the
duties of the other black piece as well as its own. T'his strategy
can be clearly seen in the threat-line of the five-mover, No. 198.
198
~- rJ rJ ~ . -~
rJ rJ • • PLACHUTTA
rJ rJ § rJ~rJ
•
- ft · ft~
~J LJ
L~.
~
rJ t rJ
~ --~
-~
-
-
H.-P. REHM
Fifth Prize, Deutsche Schachzeitung, 1963
Mate in five
-
~
t-- . -- --
~
;:; . ... !
~ ·-
-
.... 7.
~-
LJ
..... ;
~
-
~=~
~--~
Key 1 Bg5 ( > 2 Se2+, eRx e2; 3 Sc2+
. . . hR X e2; 3 B X e3 +)
... Rb2; 2 Be?, Rc1; 3 Sc2+, bRx c2; 4 Bc5+
... cRx c2; 4 Se2+
1 Bg5 threatens the Plachutta-type sacrifice 2 Se2+. If 2 ...

eR x e2, White can play 3 Sc2+, to draw the Rook on the
e-file away fron1 its guard of e3 so as to mate with 4 B x e3. The
white third and fourth moves are reversed if Black captures \Vith
205
Tlte1nes and Tenns
the other Rook: 2 ... hR x e2; 3 B X e3 +, R X e3 ; 4 Sc2.
Interference between like-moving pieces is an extremely
comn1on strategy in problems of more than two moves. When
such interference is not introduced by a white sacrifice, the
tactic is termed Wurzburg-Plachutta if the variations are paired,
or Holzhausen when only a single interference takes place.
(Cf. the two-move terminology: Grimshaw-mutual interference
between unlike-moving pieces-and Nowotny, the same with
white sacrifice.)
No. 198 has more to it than sitnply the four-move threat-line
we have so far examined. Black can defend by playing 1 ... Rb2,
which has the effect of allowing White to shift the Plachutta
sacrifice to c2: 2 Be7 (>3 Bc5), Rcl; 3 Sc2+! Now the situation
which· we saw in the threat-line after White's second move has
arisen again, but this time after White's third move and on a
different square. The black Rooks are forced to capture:
3 . . . bR x c2; 4 Bc5 +, R x c5; 5 Se2; and 3 ... cR x c2; 4 Se2 +,
Rxe2; 5 Bc5.
Promoted Force
See under Obtrusive Force.
Promotion
Pawn-promotion rules in problems are exactly the same as
those in the game. In a two-mover the useful choice is between
Queen and Knight, since the Queen combines the powers of
Rook and Bishop. Consequently it is felt that a white second-
move choice between Queen and Rook or between Queen and
Bishop is not a dual mate, and that a black promotion to Rook
or Bishop immediately before the mate does not cause a dual
either. No. 199 shows the maximum task of six distinct promo-
tions of a single white Pawn, choosing between Queen and
Knight on three different squares. 1 P x f7 puts Black in
Zugzwang, and gives the King a third :flight d7, to add to
those he already has, f6 and f8. The six mates occur after the
King moves to these flights (1 ... Kf6; 2 P x e8 = S; 1 ... K x d7;
2 Pf8 = S; and 1 ... Kf8; 2 P X g8 = Q), after a self-block by
206
Pr01not ion
SIX PROMOTION BY ONE WHJT ' P
199
S. LE ITES
F irst Pri ze, Slwklzmaty v. SSS R, 1946

M a te in two
Key
1 P X f7, Zugzwang
Pd5; 2 Pxe8 = Q
Kf6; 2 Pxe8 = S
Bh7; 2 Pf8 = Q
Kxd7; 2 Pf8 = S
Kf8; 2 Pxg8 = Q
Rf8; 2 Pxg8 = S
the black Rook (I ... Rf8; 2 P x g8 = S), and after two line-
opening defences (I ... Pd5; 2 P X e8 = Q; and 1 ... Bh7;
2 Pf8 = Q).
Promotion by a black Pawn is featured in the three phases of
No. 200. The try 1 Qb5? threatens 2 Qd3, and Black defends
c
PROMOTION: ZAGORUYKO
A. ELLERMAN and H. L. MusANTE
200
Third Prize, Die Schwalbe, 1955
Mate in two
Try 1 Qb5? (> 2 Qd3)
Pb1 = Q; 2 Qe2
Pb1 = S; 2 Bd1
Sc4!
Try 1 Qf4? (> 2 Qe4)
Pb1 ~ Q; 2 Qd2
Pb1 = S; 2 Qcl
Sb3!
Key 1 Qg3! ( > 2 Qd3)
Pb1 = Q; 2 Qc3
Pb1 = S; 2 Ra2
with 1 ... Pb1 = Q (allowing 2 Qe2) and 1 ... Pb1 = S (2 Bd1).

This try fails to 1 ... Sc4 !, and so 1 Qf4? is tried instead. Now
the mates after the promotions are respectively 2 Qd2 and
2 Qcl, but 1 ... Sb3! defeats. The key is 1 Qg3 !, which intro-
duces the mates 2 Qc3 and 2 Ra2 .. to follow 1 ... Pbl = Q and
207
Themes anti Terms
1 ... Pbl = S. In this fine example of the Zagoruyko theme with
promotions, the two Argentinian experts have achieved a great
deal of play with very small means. .
Promotion effects in three- and more-movers are considerably
more varied. In No. 201 a single white Pawn promotes on the
201 ALLUMWANDLUNG + PICKANINNY

M. NIEMEIJER
First Prize, Tijdschrift v.d. N.S.B., 1928
Mate in three
Key 1 P x f7, Zugzwang
Pe6; 2 Pf8 = Q
P X d6; 2 Pf8 = R
Pxf6; 2 Pf8 = B
PeS; 2 Pf8 = S+
same square to four different pieces in reply to the four moves

of the black Pe7. The key brings the white Pawn in question into
position for promotion: 1 P x f7, completing the block. 1 ... Pe6
leads to 2 Pf8 = Q. After 1 ... P x d6, however, this continua-
tion would fail because of stalemate! So underpromotion is
necessary: 2 Pf8 = R. U nderpromotion is again required after
1 ... P x f6, for the same reason: 2 Pf8 = B. Finally, after
1 ... PeS, Black must not be permitted to play 2 ... P x d4,
thereby gaining himself a flight c6, so a check is needed:
2 Pf8 = S+. The four promotions in a single problem have
no precise natne in English (other than Fourfold Promotion),
and it is therefore quite common to refer to the task by its
German name, Allumwandlung. (The maximum task of four
defences by a single black Pawn is known as the Pickaninny
· theme, under which heading other examples will be found.)
Allumwandlung as white tries is found in the very ingenious
miniature 1'-Jo. 202. It is highly likely that the solver will look
first at the Pc7 as a possible key-piece, and the question of a
choice of promotions will naturally occur to him. 1 Pc8 = Q?
fails because it produces stalemate. So underpromotion must
be tried. 1 Pc8 = R? leaves Black a single move, 1 ... Ke6 !, but
208
Pseudo-two-mover
ALLUMWANDLUNG TRIES
202 F. ABDURAHMANOVIC
First Prize, Yugoslav Republic Tourney,
1957
Mate in two
Try 1 Pc8 = Q? Stalemate!
Try 1 Pc8 = R? Ke6!
Try 1 Pc8 = B? Kc6!
Try 1 Pc8 = S? Kc4!
Key 1 Se4!, Zugzwang
Ke6; 2 Qf7
Kc6; 2 Qd6
Kc4; 2 Qf7
l(x e4; 2 Qf3
this is sufficient to defeat. 1 Pc8 = B? allo\vs tvvo moves,

1 ... Kc4 (after which 2 Be6 is mate), and 1 ... Kc6 !-no mate.
1 Pc8 = S? provides mates to follow 1 ... Kc6 and 1 ... Ke6,
but fails to 1 ... Kc4! The key, therefore, has nothing whatever
to do with this Pawn, but is the surprising sacrifice 1 Se4! The
black King now has four flights (star-flights), each answered by
a mate by the white Queen.
A further example of Fourfold Promotion will be found
under the heading Helpmate, since it is in this type of problem
that the feature is most commonly found.
Pseudo-two-mover
A pseudo-two-mover is a three- or more-mover in which vVhite
would have an immediate mate if it were Black's turn to play in
the diagram position, but has no waiting move and so must
delay giving mate until the third tnove or later. No. 203 is a
simple four-move example. If White could find a waiting move,
he could mate in two, as the black Bishop tnust unguard c5 or
d6. But, there being no such move, White deliberately sacrifices
a piece v1hich is unnecessary to his plans, merely in order to gain
a tempo. After the key 1 Sd8, Black's Rook 1nust move. A
random departure from c6 allows immediate mate by 2 Bd5,
and the correction 1 ... ReS leads to 2 Qa4 mate. But after the
further correction 1 ... Rd6, White has no immediate mate, and
209
Tlze1nes and Tenns
PSEUDO-TWO-MOVER
203 W. MASSMANN
First Prize, Die Schwalbe Theme Tour-
ney, 1942
Mate in four
Set 1 ... R,_,c; 2 Sd6
R,_,6; 2 Qc5
Key 1 Sd8, Rd6
2 Bc6, Rxc6 Rd2+
3 Sb7, Rb6 3 Qx d2, Kc5
4 Qc5 4 Qd4
3 ... Rc7
4 Sd6
so plays 2 Bc6, which carries the threat 3 Qb5. If the Rook

captures the Bishop, White continues 3 Sb7, reverting to the
initial position but with Black to play. Wherever the Rook goes,
White now mates with either 4 Qc5 or 4 Sd6, the two mates set
in the diagram position.
Radical Change
The set play of No. 204 contains four mates by the masked
204 RADICAL CHANGE

M. LIPTON
First Commend., Probleemblad, 1965
Mate in two
Set 1 ... Qxh6; 2 Rh7
Qh8; 2 Rg7
Qf7; 2 Rxf7
Qc6; 2 Re6
Key 1 R X e5 ( > 2 B X f6)
Sd4; 2 Rh5
Pd4; 2 Rxe4
Bishop+ Rook battery: 1 ... Qxh6; 2 Rh7; 1 ... Qh8; 2 Rg7;

1 ... Qf7; 2 Rxf7; and 1 ... Qc6; 2 Re6. The key 1 Rxe5
renders all these defences and mates impossible by destroying
210
}
Reciprocal Play
the tnasked battery and pinning the white Rook and the black
Queen. The threat of 2 B x f6 is now defeated by two moves
which unpin the black Se4 to guard f6, but these mov~s also
unpin the newly pinned white Rook, vvhich consequently ts able
to give mate: 1 ... Sd4; 2 Rh5; and 1 ... Pd4; 2 Rxe4. The full
solution of the problem therefore consists of changed defenc~s
and mates, with a cotnplete change of theme: battery-mat~s I.n
the set play changed to unpin of White after the key. This ts
known as Radical Change.
Reciprocal Play
Several of the simplest problem themes are reciprocal in
character: the Grimshaw, the Half-pin, the Half-battery, the
Placbutta, and tnany others. What these themes have in common
is a relationship between two elen1ents. In the Gritnshaw, a
black Rook interferes with a black Bishop in one variation, and
in a second variation the Bishop interferes with the Rook. In
the half-pin, one piece moves off the half-pin line in one varia-
tion, leaving the other totally pinned, while in the second
variation the other piece returns the compliment. One of the
reciprocal themes most frequently encountered is Partial Dual
Avoidance: the mate avoided in one variation is the one which
must be played in the other, and vice versa.
Our discussion of Reciprocal Play will not be concerned with
the themes already mentioned: these are dealt with more fully
under the appropriate headings. The term "Reciprocal Play" is
in fact used chiefly to denote two particular reciprocal strategies:
Reciprocal Correction, and Reciprocal Change.
No. 205 is a simple illustration of the former. The key 1 Qe7
grants Black a second flight c3, and puts him in Zugzwang. If
the Bishop d5 moves at randotn, White can play 2 Qc5 (mate A).
The correction 1 ... Bc4 prevents this n1ate by cutting the line
c5- c3 (and therefore stops the Queen from guarding c3 after
2 Qc5 ?), but blocks the flight c4, allowing 2 Bb2 (mate B). A
randon1 move by the Bc7 opens the line of guard of the white
Rc8 on to Black's two flights: 2 Bb2 (mate B) can thus be
played. The correction 1 ... Be5 cuts the white Queen's guard of
e3 to prevent 2 Bb2 ?, but, by blocking e5, pern1its 2 Qc5 (mate
211
Themes and Tenns
205 RECIPROCAL CORRECTION
H. KNUPPERT
Tidskrift for Schack, 1946
Mate in two
Key 1 Qe7, Zugzwang
dB~; 2 Qc5 (A)
Bc4; 2 Bb2 (B)
cB~; 2 Bb2 (B)
Be5; 2 Qc5 (A)
Kc4/c3; 2 Qb4
A) once again. The reciprocal strategy is clear: the random

move of each black piece is followed by the same mate as the
correction move of the other.
The same thing happens in No. 206, except that the mates are
CHANGED RECIPROCAL
CORRECTION
206
V. RUDENKO and V. I. TCHEPIZHNI
First Prize, Tijdschrift v.d. K.N.S.B., 1958
Mate in two
Set 1 ... R~; 2 Sg6 (A)
Rxe5; 2 Qg5 (B)
dS~; 2 Qg5 (B)
Sf3; 2 Sg6 (A)
Key 1 Qd6, Zugzwang
R~; 2 Sd3 (C)
Rxe5; 2 Qh6 (D)
dS~; 2 Qh6 (D)
Sf3; 2 Sd3 (C)
both changed from the set play to the post-key play. In the
diagram position, 1 ... Rf"../ would allow 2 Sg6 (A) by opening the
line d5- f3, while the correction 1 ... R x e5 (self-block of e5)
would enable White to mate by 2 Qg5 (B). The random move
of the Sd4 opens the line a 1-e5, so that mate B (2 Qg5) is again
possible, while the correction 1 ... Sf3, by blocking f3, allows
mate A (2 Sg6) to recur. The key eliminates both these mates:
1 Qd6, completing the block position. Now 1 .. . R~ gives
212
Reciprocal Play
2 Sd3 (C), and the correction 1 ... R x e5 leads to 2 Qh6 (D).
And these two mates D and C appear respectively after the
random and correction moves of the Sd4. The relationship
AB : BA is replaced by CD : DC.
Reciprocal Correction is essentially a two-move theme, but
three-move settings are occasionally found. No. 207 won first
RECIPROCAL CORRECTION
P. B. VAN DALFSEN
First Prize, Probleemb/ad 57th Theme
207 Tourney, 1945
Mate in three
Key
1 PeS, Zugzwang
s~; 2 Re7+, Kd5;
3 Sf6
Se4; 2 Pd5+, R X d5;
3 Re7
Kxe5;
3 Sc6
R~· 2 Pd5+, Rxd5;
'
3 Re7
Kxe5;
3 Sc6
Rxd4; 2 Re7+, Kd5;
3 Sf6
prize in a theme tourney organised by the editors of the Dutch

problem magazine Probleemblad. The key, as in so many
two-move examples of the theme, merely completes the block:
1 PeS. If the black Knight moves at random, \Vhite continues
2 Re7 +, KdS; 3 Sf6. The correction 1 ... Se4 guards the white
Knight's eventual mating square, but causes an anticipatory
self-block: 2 Pd5 +, K XeS; 3 Sc6 (if2 ... R x d5; 3 Re7). White's
moves A and B (since this is a three-tnover, they are continua-
tions, not mates) are therefore ~ Re7 + and 2 Pd5 +. These are
the very continuations which occur after the random _and
correction moves of the black Rook, but of course in the
reverse order: 1 ... R,_,; 2 Pd5 +, K x e5; 3 Se6; and 1 ... R x d4;
2 Re7 +, Kd5; 3 Sf6. Like the Knight, the black Rook creates
213
The1nes and Terms
an anticipatory self-block with its correction move, which has
exactly the same effect as the line-opening of the random move
of the other piece.
Reciprocal Change consists of the following strategy. In the
set (or virtual) play, black move X is followed by mate A, and
black tnove Y by mate B. The key reverses this pattern, so that
B follows X and A follows Y. No. 208 is a simple virtual-play
RECIPROCAL CHANGE: FLIGHTS

208 V.I. TCHEPIZHNI
First Place, IVth U.S.S.R. Tean1 Cham-
pionship, 1963
Mate in two
Try 1 Rf8?
Kxc7; 2 Rxe7 (A)
Kd7; 2 Rd5 (B)
Pe6!
Key 1 Rf7!, Zugzwang
K x c7; 2 Rd5 (B)
Kd7; 2 eRxe7 (A)
Pe6; 2 Pc8 = S
example, in which the black defences involved are King-flights.

The try 1 Rf8? introduces 2 R x e7 (A) to follow 1 ... K x c7 (X),
while 1 ... Kd7 (Y) leads to 2 Rd5 (B). 1 ... Pe6! defeats. The
key is 1 Rf7 !, and the play now runs: 1 ... K X c7 (X); 2 Rd5
(B); 1 ... Kd7 (Y); 2 eR x e7 (A) . (1 ... Pe6 allows 2 Pc8 = S.)
Reciprocal change has been incorporated into almost every
known two-move theme: there tnust be thousands of examples.
One more must suffice here. Barry Barnes has made a special
study of reciprocal change after unpins of a white piece, and
his No. 209 is one of his least known but most attractive
examples. The unpins of the Pb7 are effected by the withdrawal
of the black Rook frotn the b-file. The Rook's n1ost promising-
looking defences are the shut-offs 1 ... Rd2 and 1 ... Rf2. The
former leads to 2 P x c8 = S in the set play, because White
must reguard d6. And after 1 ... Rf2, c5 n1ust be reguarded, so
2 P x c8 = Q must be played. By adding new guards to d6 and
c5 but removing one of the two guards on each of the squares d7
214
RecijJrocal Play
RECIPROCAL CH ANGE ;
UNPIN OF WHI TE
209
D.P. B ARNES
Problem 1962
Mate in two
Set 1 ... Rd2; 2 Pxc8 = S
Rf2; 2 Pxc8 = Q
Key 1 Be7 ( > 2 Qc5)
Rd2; 2 Pxc8 = Q
Rf2; 2 P X c8 = S
Sd6; 2 Rx d6
S x e7; 2 S x e7
Rb5; 2 Px b5
Rxb7+; 2Bxb7
and b6 (controlled respectively by the Rdl and the Queen), the

key 1 Be7 (> 2 Qc5) reverses the set mates: 1 ... Rd2; 2 P X c8 =
Q (to reguard d7); and 1 ... Rf2; 2 P x c8 = S (to reguard b6).
Barnes, who was elected in 1967 to the title of International
Master of Chess Problen1 Composition, is one of the country's
most successful two-move composers. His work combines
originality of idea and expression with a considerable construc-
tional talent, and he is never satisfied to publish problems in an
unfinished state: he always has to be sure that the version which
RECIPROCAL CHANGE
A. KoPNIN and A. KusNETZOV
210 First Prize, Tchigorin !'v'Iemorial Tour-
ney, 1959
Mate in three
Set
1 ... Bxd6; 2 Pe8 = B, Kxe6;
3 Bf7
Sxd6; 2 Pe8 = S, Kxe6;
3 Sc7
Key
1 Sf3, ( > 2 Qe5+)
Bxd6; 2 PeS= S, Kxe6;
3 Qg8
Sxd6; 2 PeS= B, Kxe6;
3 Qe5
215
Themes and Terms
appears in print is the best possible rendering of the idea .he
wishes to show. One could wish that many more prohfic
composers might follow his example.
It seems there is still a fair amount of scope for composers of
three-movers in the field of reciprocal change, for relatively few
examples exist. No. 210 is a splendid problem, however, with
black half-pin and self-pinning and white underpromotions. In
the set play, 1 ... B x d6 leads to 2 Pe8 = B (not =Q-stale-
mate !), so that White can play 3 Bf7 after 2 ... K X e6. 1 ...
S X d6, on the other hand, allows 2 Pe8 = S, with 3 Sc7 to
follow 2 ... Kxe6. The key 1 Sf3 threatens 2 Qe5+. Now
1 ... B x d6 forces 2 Pe8 = S, to allow 3 Qg8 after 2 ... K X e6
(f7 being no longer guarded). 1 ... S x d6, however, leads to
2 Pe8 = B, K x e6; 3 Qe5. The reversal of White's second
moves is caused by the removal of the key Knight's guard of f7
and the substitution of an additional guard on e5-a decep-
tively simple mechanism.
Retrograde Analysis
Before the solution to a problem can be discovered, the solver
may have to decide whether or not castling is legal, or whether
an- en passant capture key is possible. Problem·s where this
procedure is necessary must be solved by Retrograde Analysis,
which is strictly a branch of Fairy Chess. Two examples will be
quoted here, though Sutherland's No. 149 (under the heading
Key) also illustrates the idea.
No. 211 is a twin problem: there are two positions, differing
from one another in only one respect. The question in the
diagram position is whether it can be proved that it is illegal for
White to castle after the Bel has moved. (Castling is always
deemed to be legal unless it can be proved otherwise.) Can the
black King and Rook have reached g1 and hl respectively
without checking the white King? The black King can certainly
have got there, via g3 and h2. And if the Rhl is a promoted
Pawn, then that, too, could quite well have reached its present
position without going via fl. So castling will be legal, and
White can therefore play 1 Ba3 ( > 2 Ke2). If 1 ... Rb4, then
2 0 - 0 - 0; and if 1 ... R X d2; 2 K X d2. The try 1 Ke2? is defeated
216
Retrograde Analysis
RETROGRADE ANALYSIS
(HALF-BATTERY)
B. P. BARNES
211 Second Prize, Problem Theme Tourney,

1964
Mate in two
(a) diagram
(b) add black P g7
(a) Try 1 Ke2? Q x g2! (2 Se2 ?)

Key I Ba3! ( > 2 Ke2)
Rb4; 2 0-0-0
Rxd2; 2 Kxd2
(b) Try 1 Ba3? Rb4!
(2 0-0-0? Illegal!)
Key 1 Ke2! (> 2 B--')
Rb4; 2 Bb2
Rx d2+; 2 B X d2
Qa8; 2 Ba3
by 1 ... Q x g2 !, since the white King has occupied the square

on which the Sf4 could otherwise mate. Position (b) is the
same as (a), but with the addition of a black Pg7. This clearly
rules out the defence 1 ... Q x g2, so the solver should now
wonder why both 1 Ke2 and 1 Ba3 cannot be played. Further
retrograde analysis is required to determine the correct key.
White has twelve pieces on the board, which means that only
four have been captured. If the Rh1 is a promoted Pawn, can
the black Pawn-formation be legal? At least two captures must
have been made by the Ph2, since it has passed the white h-Pawn .
.A.nd that leaves only two for the promoted Phi, but this must
have come frotn the e-file-and in order to get to h1 it would
have had to make three captures. Therefore the Rh1 is an
original Rook (or a Pawn promoted on el), and so the white
King must have moved in the imaginary "game" leading to the
present position. White castling is thus illegal, and so 1 Ba3?
fails to I .. . Rb4! Q.E.D.
No. 212 is an exan1ple of Partial Analysis. The solver must
first of all decide whether White can play 1 0-0, and whether
Black can play 1 ... 0 - 0 - 0. The crucial piece is the white Ra6.
If it started life on hl, obviously White cannot castle. If it is
217
Thenzes and Terms
212 PARTIAL ANALYSIS
L. CERIANI
Europe J:.checs, 1960
Mate in two
Solution in text
White's original Queen's Rook, it must have moved from al

to a6 via e1 (thereby invalidating 1 0-0), since the move
P(a2) x b3 cannot have been played until after S(b3)-al. If on
the other hand this Rook is a promoted Pawn, then castling
by Black is ruled out, because the Pawn must have passed over
d7 or f7 before promoting, forcing the black King to move if
indeed he was standing on e8 at the time. Whichever is the case,
therefore, either castling by White or castling by Black is
impossible. If White is in a position to play 1 0-0, then this
works as a solution because Black cannot defeat the threat of
2 Rf8 by means of 1 ... 0-0-0. If, however, 1 ... 0-0-0 can be
played, then 1 0-0? is not possible. Instead, White is entitled
to play 1 P x b5 e.p.+, because Black's last move must have
been P(b7)-b5 if the King and Rook have not moved. (Note
that P(b6)-b5 cannot have been Black's last move because
White would not then have had a possible previous move. As it
is, with P(b7)-b5 as Black's last move, White's previous move
can only have been R(c6) X a6+.)
Roman
The Roman is a three- and more-move thematic strategy, an
elaboration of sitnple decoy tactics. What happens is as follows.
If White were to 1nake a certain threat straightaway, a black
unit would have an adequate defence to that threat. This black
unit is therefore first decoyed away from the square from which
it can play its adequate defence, and to a square from which it
can play a new defence. This new defence, however, will
218
R01nmz
carry a weakness not present in the original ~efet~ce. No. 213
is a simple illustration. The try 1 Qd5 ?, wtth Its threat of
2 Qd8, is defeated by 1 ... B x g5! If White is to play 2 Qd5 as
213 ROMAN
J. MoLLER
Skakb/adet, 1911
Mate in three
Try
1 Qd5 ?, B X g5 !
Key
1 Qh 1! (> 2 Qh8)
Bb2; 2 Qd5 ( > 3 Qd8)
Bf6; 3 eS x c6
his second move, the black Bishop must first be induced to

abandon this defence. The key 1 Qh1! serves White's purpose.
Black's best defence is 1 ... Bb2, which now allows the con-
tinuation 2 Qd5. 2 ... B x g5 is no longer possible, but has been
replaced by the defence 2 ... Bf6, defeating the threat of
3 Qd8. But 2 ... Bf6 is an interference-unpin of the Se6, and
allows White to mate by 3 eS x c6. Romans are usually classified
according to the weakness of the substitute defence (e.g.
interference-Roman, self-block-Roman, etc.). This one is an
unpin-Roman.
No. 214 shows a Roman in combination with pericritical
moves of two black pieces. The try 1 Kg8? (>2 Pf8 = Q) fails
to 1 ... Rg2+ !, for if 2 Sg4+ ?, R x g4+!; 3 Kf8-then Black
continues with 3 ... Re3 !, and the Rook frotn a3 has taken over
the guard of e7 which the Re2 held in the diagram position.
White n1ust therefore prevent this defence by the Ra3, so that
Black's only continuation after the moves given above will be to
play the other Rook from g4 to e4-an interference permitting
n1ate on f5. White does this by means of a three-move decoy
n1anoeuvre of the Bc2, so that this piece ends up on d3: 1 Ke8 !,
Ba4+; 2 Pb5, B x b5+; 3 Kf8, Bd3-the Bishop must return
to this diagonal in order to retain its guard over f5. Now any
defence by the Ra3 on the e-file has been made impossible, and
so White can pursue the line shown as the try-play: 4 Kg8,
219
Themes and Terms
DECOY + ROMAN
214 H.-P. REHM
First Prize, Leipzig Olympiad, 1960
Mate in seven
Try 1 Kg8 ?, Rg2+;
2 Sg4+, Rxg4+;
3 Kf8, Re3!
Key 1 Ke8 !, Ba4+;
2 Pb5, Bx b5+;
3 Kf8, Bd3;
4 Kg8, Rg2+;
5 Sg4+, Rxg4+;
6 Kf8, Re4;
7 Rxf5
Rg2+; 5 Sg4+, R x g4+; 6 Kf8, Re4-necessary to restore the

guard on e7-and then White mates with 7 R x f5, exploiting
the interference with the Bishop. The beauty of this remarkable
problem lies not merely in the strategy, but also in the echo
effects of the pericritical moves of the black Bishop and Re2:
both are made to move round three sides of a rectangle so that
they finish up exactly where White wants them.
German composers have very strong views with regard to the
Roman and related themes (e.g. Dresden, Hamburg). They
regard the thematic try or tries as essential. Furthermore,
Black's first move must allow the continuation only through the
defence-substitution, and not additionally because of some fur-
ther weakness. Names have been given to the two parts of
Roman strategy, to emphasise the distinction between them:
White's main aim (clearly indicated by the thematic try-play) is
called the "Hauptplan", while the introductory move, which
induces the defence-substitution, is termed the "Vorplan". The
Germans would scarcely consider No. 215 to be a true Roman,
since Black's adequate defence is not possible before the key,
and there is therefore no try-play. But the relation_ship between
this example and the preceding ones becomes apparent if one
works out why White's second-move replies to Black's three
main defences will not work as white threats. The key 1 S x d6
threatens 2 Pc4+, Kxd4; 3 Sb5 (or 2 ... Qxc4; 3 Qxe4). If
220
Roman
ROMAN
J. HARTONG and TJOA GIOK HING
Second Prize, Schakend Nederland, 1964
215
Mate in three
Key
1 Sxd6 (> 2 Pc4+)
S x d4; 2 eSc4, Sf3·
'
3 Sxe3
Sc6;
3 Sb6
Sh4; 2 Sxg4, Sf3;
3 Sxe3
Sg6;
3 Sf6
Sxe7; 2 Sd7, Sc6;
3 Sb6
Sg6;
3 Sf6
White were to threaten instead 2 eSc4, 2 S x g4 or 2 Sd7, then

Black's adequate defence would in each case be 1 ... S X d6! So
White must delay these continuations until the black Knight has
moved away from f5. 1 ... Sxd4 allows 2 eSc4: Black's new
defence to the threat of 3 Qe5 are now the interference 2 ... Sf3
(3 S x e3) and the self-block 2 ... Sc6 (3 Sb6). After 1 ... Sh4,
White can continue 2 S x g4, to provide third-move mates
3 S x e3 and 3 Sf6 after the new interference-defences 2 ... Sf3
and 2 ... Sg6. Finally 1 ... S x e7 leads to 2 Sd7, and if 2 ... Sc6,
then 3 Sb6; and if 2 ... Sg6; 3 Sf6. Roman-style play with a
black Knight is by no means common.
Readers to whom the distinction between the Roman,
Dresden and Hamburg themes is not quite clear may find the
following summary helpful:
Roman: move by piece A substitutes defence by A for defence
by A;
Hamburg: move by piece B substitutes defence by A for defence
by A;
Dresden: move by any piece substitutes defence by B for defence
by A.
221
Thenzes and Tern1s
RosseI
See under Knight-tour.
Royal Battery
A Royal Battery consists of line-piece + King aim~d directly
or indirectly at the opposing King. The royal battery 1n No. 216
ROYAL BATTERY
B. w. DENNIS
Tlze Prob/emist, 1968
Jvfate in two
Set 1 ... R X e4 + ; 2 l( X e4
216 R X d3 + ; 2 K X d3
fS,-..;; 2 K x e3
Bxd5; 2 Kxd5
Ba4; 2 Kc4
Bc5+; 2 Kxc5
Try 1 Kc3? (> 2 K x b3)
R X d3 + ; 2 K X d3
Sxd2; 2 Kxd2
Bxd5; 2 Kc2
Ba4; 2 Kc4
Bb4+; 2 Kxb4
Pg5!
Key 1 Ke5! ( > 2 Ke6)
Pg5; 2 Kf5
Sg5; 2 Kf4
Rxe4+; 2 Kxe4
Bxd5; 2 Kxd5
Bd6+; 2 K. xd6
(Rf3; 2 Qh6)
is diagonal, with the Bb2 as the firing piece. A royal battery can
open at most six times: in this example there are six set mates,
moves of the King from d4. After 1 Kc3 ?, the try, the King
again visits six squares, four of then1 different from those which
are visited in the set play. The key 1 Ke5! leads once again to
six openings of the battery, with four completely new variations.
222
Rukh/is
Rukhlis
The Rukhlis is a thetne in which n1ate-change and mate-
transference are con1bined. At least two set or virtual-play
mates are transferred to different defences after the key, while
the original defences gain new mates. The scheme is shown
with great clarity in No. 217, in which three mates are trans-
RUKHLIS
C. GOLDSCHMEDING
217
First Prize, Peris Memorial Tourney,
1960
Mate in two
Set 1 ... R,_,; 2 Rx f6
gS,_,; 2 Sh6
Pd4; 2 Bxe6
Key 1 S x e4, Zugzwang
R,_,; 2 Sxd6
gS,_,; 2 Q X h7
Pd4; 2 Qxe6
Rxe4; 2 Rxf6
Sxe4; 2 Sh6
Pxe4; 2 Bxe6
ferred. The set play is as follows: 1 ... R~; 2 Rxf6; 1 ... gS,_,;
2 Sh6; and 1 ... Pd4; 2 Bxe6. The key, 1 Sxe4, grants the
black King a flight and puts Black in Zugzwang. The defences
of the set play now have new mates: 1 ... R,_,; 2 S x d6;
l ... gS~; 2 Qxh7; and 1 ... Pd4; 2 Qxe6. These changes
occur because White must establish a guard on the new flight e4
in each case. The original mates, however, reappear after
defences which were impossible before the key, namely the
captures of the key-piece on the flight-square: 1 ... R x e4;
2 R x f6; 1 ... S x e4; 2 Sh6; and 1 ... P x e4; 2 B x e6. It is not
an essential feature of the Rukhlis theme that the post-key
defences which are followed by the set mates should have been
impossible before the key, but it is essential that they should
not have given rise to these tnates.
No. 218 is one of the two-move glories of the post-war era.
Four self-blocks are set: 1 ... Se5; 2 Se2; 1 ... Qe5; 2 Q x dl;
223
Themes and Tern1s
RUKHLIS
L. I. LosmNSKI
218
First Prize, Tchigorin Memorial Tour-
ney, 1950
Mate in two
II Set 1 ... Se5; 2 Se2
Qe5; 2 Qx dl
Bxd5; 2 Bc5
Rxd5; 2 Ra4
Key 1 Be4 ( > 2 Rd3)
Se5; 2 Bc5
Qe5; 2 Ra4
Bxe4; 2 Se2
Rxe4; 2 Qxdl
1 ... B x d5; 2 Bc5; and 1 ... R x d5; 2 Ra4. The apparently very
simple key 1 Be4 ( > 2 Rd3) transfers the third and fourth of
these mates so that they now follow the first two defences,
while the mates which followed the first two defences in the set
play recur after two new defences, once again self-blocks:
1 ... Se5; 2 Bc5; 1 ... Qe5; 2 Ra4; 1 ... B x e4; 2 Se2; and
1 ... R X e4; 2 Q x d1. The open and economical setting, com-
bined with the richness of the self-block strategy and the
pattern of changed and transferred mates, make this a memor-
able problem.
The Rukhlis differs from straightforward mate-transference
in that the set defences must have new mates after the key.
When the defences which acquire the transferred mates in the
post-key play also have set mates, the Rukhlis is described as
Ideal. The strategy of the Ideal Rukhlis can be stated in fairly
simple terms like this: the mates following four black defences
are c~anged, two of them being transferred (without reciprocal
effect). The scheme may be found in No. 219-and just look
at the date of this problem! It is unlikely that Moseley realised,
in 1914, that his work would be the precursor of a number of
masterpieces forty or fifty years later. The set play runs:
1 ... Bd6; 2 Sb6; 1 ... Be5; 2 Be4 (both self-blocks with white
interference); 1 ... Sc6; 2 Q x c6; and 1 ... Pb4; 2 Bc4. The key
1 Sc4 (Zugzwang) changes two mates and transfers two mates:
1 ... Bd6; 2 Q x d6; 1 ... Be5; 2 R X e5; 1 ... Sc6; 2 aSb6; and
224
Rukhlis
IDEAL RUKHLIS
219 A. MosELEY
Second Prize, Good Companions, April,
1914
Mate in two
Set 1 ... Bd6; . 2 Sb6
Be5; 2 Be4
Sc6; 2 Qxc6
Pb4; 2 Bc4
Key 1 Sc4, Zugzwang
Bd6; 2 Qxd6
Be5; 2 Rx e5
Sc6; 2 aSb6
Pb4; 2 Be4
1 ... Pb4; 2 Be4. There is also a third transferred mate, for the
new defence 1 ... P x c4 brings back 2 B x c4, which previously
followed 1 ... Pb4. But it would be asking too much to expect
2 Qc6 to reappear as well. Notice that the white Ba3, which
completes the pre-key block (set 1 ... Pc4; 2 Sb6), is idle after
the key, and irrelevant to the thematic play. Most composers
nowadays would ·remove it.
A rather more modern example of the Ideal Rukhlis is No.
220, by the brilliant Italian composer Ottavio Stocchi, one of
the half-dozen greatest two-move composers of all time. The
IDEAL RUKHLIS
220 0. SToccm
Sah, 1950
Mate in two
Set 1 . . . Pc3 ; 2 S x e3 (Sb4 ?)
Pe2; 2 Sb4 (Se3 ?)
Sc6; 2 Rd6 (Rf5 ?)
Sf5; 2 Rxf5 (Rd6?)
Key 1 Se6 ( > 2 Qdl)
Pc3; 2 Rd4
Pe2; 2 Qd4
Sc6; 2 S x c3 (Sb4 ?)
Sf5; 2Sb4 (S X e3 ?)
Kd6; 2 Sc7
225
Themes ·and Tenns
four set mates all illustrate dual avoidance: 1 ... Pc3; 2 S X e3
(not 2 Sb4 ?, since White must not close the line which Black
has just opened-Mari theme); 1 ... Pe2; 2 Sb4 (not 2 Se3 ?, for
the same reason); 1 ... Sc6; 2 Rd6 (not 2 Rf5 ?, prevented by
direct guard); and 1 ... Sf5; 2 R x f5 (not 2 Rd6 ?) . The dual
avoidance by direct guard is maintained in the post-key play,
but the mating-squares guarded are different. Mter 1 ... Se6
(>2 Qdl), 1 ... Pc3 allows 2 Rd4 and 1 ... Pe2 leads to 2 Qd4.
The mates by the Sc2 are transferred: 1 ... Sc6; 2 S X e3 (not
2 Sb4 ?) ; and 1 ... Sf5; 2 Sb4 (not 2 S x e3 ?). All this is brought
about by the fact that the key rules out the mates given in the
set play by the Rf6, grants Black a new flight on d6, guards d4
again to free the Sc2, and makes possible, by square-vacation,
the mates by the white Ra4 and Queen on d4. Observe the
'additional defence 1 ... Kd6, leading to 2 Sc7.
The change and transference effects of the Rukhlis theme
may be spread over three, rather than two, phases of the
problem's solution. One of the ways in which this can be done
is illustrated by No. 221. The set play has 1 ... cP x d6; 2 Sc7;
EXTENDED RUKHLIS:
SET/VIRTUAL TRANSFERENCE-
VIRTUAL/ACTUAL CHANGE
221
V. RUDENKO
First Prize, Praca, 19S9
Mate in two
Set 1 ... cP x d6; 2 Sc7
ePx d6; 2 Sf6
Try 1 BcS? ( > 2 Qxe4)
SeS; 2 Sc7
PeS; 2 Sf6
Sd4!
Key 1 Bb6! ( > 2 Qxe4)
Se5; 2 Rd4
PeS; 2 Bxc6
Sd4; 2 ReS
and 1 ... eP X d6; 2 Sf6. These mates are transferred by the try
1 Bc5? so that they follow self-blocks on the new flight e5:
1 . . . Se5; 2 Sc7; 1 ... Pe5; 2 Sf6. However this try is defeated
226
Schiffmann Defence
by 1 ... Sd4! The key changes the mates which follow the
defences of the virtual play: 1 Bb6! (> 2 Q X e4), Se5; 2 Rd4;
and 1 ... Pe5; 2 B x c6. (1 ... Sd4; 2 Rc5.) Numerous problems
of this type, with changed and transferred effects extended over
three phases, have been composed during the last ten years or so.
This particular example shows set-virtual transference + virtual-
actual change, but several other combinations are possible.
Such patterns can most conveniently be termed Extended
Rukhlis.
Schiffmann Defence
The key of No. 222, 1 Rg4, threatens 2 ·Sf4. Black may defeat
222 SCHIFFMANN DEFENCES

P. S. MussuRI
Western Morning News, 1929
Mate in two
Key 1 Rg4 (> 2 Sf4)
Px d4+; 2 Sg3
Sxd4; 2 Sc3
Qxd4; 2 Sc6
Rxd4; 2 Qxf7
this threat by self-pinning each of four pieces on d4, for the

move 2 Sf4? would then be an interference-unpin allowing the
unpinned black unit to interpose on the check-line fl-c4. The
most spectacular variation is 1 ... P X d4+, which permits the
cross-check pin-mate 2 Sg3. 1 ... S X d4 leads to 2 Sc3 (Black
opens one white guard-line to b4, so White can safely close the
other); 1 ... Q x d4 allows 2 Sc6, a straightforward pin-mate;
and 1 ... R x d4; 2 Q x f7, another pin-mate. Each of these
defences is of the Schiffmann variety, since they defeat the
threat by self-pinning on a line on which they would be un-
pinned by the threat-move. Readers may like to compare this
strategy with that of the Nietvelt defence.
227
The1nes and Terms
Self-block
Self-block is the term used to describe a move by a black piece
which restricts the mobility of the black King. In the two-moyer,
the self-block must occur on a square adjacent to the Ktng,
since White must be able to exploit the weakness straightaway.
In three-movers and longer problems, however, the self-block
tnay well occur on a square outside the King's initial field, but
within the eventual scope of his mobility.
The maximum number of self-blocks attained in a single two-
mover is eight (at the time of writing-November, 1968). This
record was set by A. J. Fink and J. F. Stimson in 1920, and has
yet to be surpassed. No. 223 shows only six self-blocks, but
223 SIX SELF-BLOCKS ON FLIGHTS

T. SIAPERA
First Prize, Sah, 1949
Mate in two
Key 1 Rd8 (> 2 Bf5)
Rd4; 2 bSc5
Qd4; 2 Qe2
Sd4; 2 Rxe3
Re4; 2 Bb5
Qe4; 2 Rdl
Pe4; 2 Sb2
they all occur on flight-squares. The key 1 Rd8 threatens 2 Bf5.

1 ... Rd4 allows 2 bSc5, 1 ... Qd4 leads to 2 Qe2, and 1 ... Sd4
gives 2 R x e3. The blocks on the other flight are: 1 ... Re4;
2 Bb5; 1 ... Qe4; 2 Rdl; and 1 ... Pe4; 2 Sb2.
Dr. Werner Speckn1ann, with his amazing capacity for
reducing practically everything to miniature form, attains two
changed self-blocks with only seven pieces in No. 224. The try
1 Kg3? (>2 Re3) introduces the play 1 ... Bd5; 2 Qe3; and
1 ... PeS; 2 Qc4; but fails to 1 ... Sc2! The key is 1 Qd6 (> 2
Rf5), and the mates after the same two defences are now 2 Qf4
and 2 Qd3. The Sal serves merely to defeat the try, and if it is
moved to h8, then the try and key of the problem are reversed.
The task of two changed self-blocks in miniature was first
228
Self-block
CHANGED SELF-BLOCKS
W. SPECKMANN
224 Schach-Echo, 1961
Mate in two
(a) diagram
(b) Sal to h8
(a) Try 1 Kg3? (> 2 Re3)

Bd5; 2 Qe3
Pe5; 2 Qc4
Sc2!
Key 1 Qd6! ( > 2 Rf4)
Bd5; 2 Qf4
Pe5; 2 Qd3
(b) Try 1 Qd6? Sg6!
Key 1 Kg3!
achieved by H. Weenink in 1917, but without the twinning
device.
Curious as it may seem, the task of four changed self-blocks
is a difficult one to achieve. Three such changes are found in
No. 225, with the additional refinement of cross-checks in the
225 CHANGED SELF-BLOCKS
G. H. DRESE
First Prize, Israel Ring Tourney, I959
Mate in two
Set I ... Rf3 ; 2 Sc5
gRe3 ; 2 Sb4
Rd3; 2 Sg5
Key I Pf5 ( > 2 Sb4)
R f3 + ; 2 eSf4
gRe3 + · 2 dSf4
R d3 + ; 2 dSc7
post-key play. Set: 1 . .. Rf3; 2 ScS · 1 .. . gR c3 · 2 Sb4 · 1 ... Rd3;

2 Sg5. The key 1 Pf5 (> 2 Sb4) open the black Bishop + Rook
battery line, which White mu t of cour e be careful to close
when mating: 1 ... Rf3+; 2 Sf4· 1 ... gR 3+ · 2 dSf4 · and
1... Rd3+; 2 dSc7.
he ·cJf-b1ock in the thre -m v r N . 226 ar of an anticipa-
tory nature. After th k y 1 Kf , th R 7 n1u t move in order to
229
The1nes and Terms
ANTICIPATORY SELF-BLOCKS
226 L.J. LOSHINSKI and V. S CHI FF

Second Prize, Slzaklzmatny , 1961
Mate in three
Key
1 Kf8 ( > 2 Bf6+, Kxd6; 3 Bd4)
Rc6; 2 Rxg5+, Kxd6;
3 Rxd5
ReS; 2 Qe2+, Kd4;
3 Bf6
Rc4; 2 Qxg5+, Kd4;
3 Qe3
Rc3; 2 Qf5+, Kd4;
3 Qxd5
create a flight in the black King's extended field to defeat the

threat of 2 Bf6 +, K x d6; 3 -Bd4. But each black Rook-move is
a self-block of a square in the King's extended field. 1 ... Rc6
allows 2 Rxg5+, Kxd6; 3 Rxd5. 1 ... Rc5leads to 2 Qe2+,
Kd4; 3 Bf6. 1 ... Rc4 permits 2 Q X g5+, Kd4; 3 Qe3. And
after 1 ... Rc3. White can play 2 Qf5+, Kd4; 3 Q x d5. In each
variation White is able to exploit the fact that the black King's
potential mobility has been restricted by the Rook. (Theorists
may like to note that this problem is a good illustration of the
combination of a theme with its Antiform, the antiform of self-
block being unblock, which is the motivation of the defences.)
No. 227, by a talented Viennese composer, is a witty seven-
227
SELF-BLOCK
A. JOHANDL
First Prize, Die Schwalbe, 1964
Mate in seven
Key 1 Sf8 ( > 2 fSd7)
Kxf6
2 Sh7+, Ke5
3 P X d3, Pal = Q
4 Sd7+, Kd5
5 hSf6+, Q X f6
6 Sb5+, Ke5
7 Pd4
230
I
Se!fmate
1nover in which White first encourages Black to promote his
a-Pawn to a Queen, and then induces this Queen to block a
vital square in the black King's field. The play runs: 1 Sf8
(>2 fSd7), Kxf6; 2 Sh7+, Ke5; 3 Pxd3 (>4 Pd4), Pal = Q;
4 Sd7+, Kd5; 5 hSf6+, Qxf6; 6 Sb5+, Ke5; 7 Pd4. It is
amusing that White can manage without his Sh7 provided
Black has a Queen to block the square which this Knight is
guarding in the initial position.
Selfmate
The stipulation beside the diagram of No. 228 reads "Selfmate
228 SELFMATE
N. PETROVIC
First Prize, Wahlmark Memorial Tour-
ney, 1959
Selfmate in two
Key
1 Qd6 ( > 2 Ra3+, S x a3)
Sb3; 2 bSc3+
Sd3; 2 dSc3+
in two". This means that the solver must discover how White,
moving first, forces Black to inflict mate on his second move.
In this problem it is clear that the mate \Vill be given by the
Rook + Knight battery along the first rank. But how to force
this Knight to 1nove? The key is 1 Qd6, threatening 2 Ra3 +,
which Black must answer with 2 ... S x a3 mate. 1 Ra3 + ? is
impossible because the white Queen's diagonal line to c1 has
been opened, so that 1 ... S X a3 + is only check, not mate. And
there is no way of forcing Black to play 2 ... R x cl after 2 Qcl.
Black's. replies to White's threat are 1 ... Sb3 and 1 ... Sd3,
shutting off the white Rook from a3. White must take great care
over his choice of continuation. 1 ... Sb3 allo\vs 2 bSc3 +,
S x c3 mate- not 2 dSc3 + ?, because the guard of the white
Queen down the d-file is opened, and so 2 ... S x c3 is no longer
231
Themes and Terms
mate. And after 1 ... Sd3, only 2 dSc3 + will work, because
2 bSc3 + ? would open the line b8-b 1 to allow the white Rook
to interpose after 2 ... S x c3 +. .
No. 229 is a selfmate of a very different type. It takes Whtte
SELFMATE
229 E. HOLLADAY
Selfmate in ten
1 Sa7, Rf8
2 Rg8, Re8
3 Rf8, Rd8
4 Re8, Rc8
5 Rd8, Rb8
6 Rc8, Rx c8
7 Qb8+, Rx b8
8 Bb7+, Rx b7
9 Sb5+, Ra7
10 Ra6, Rx a6
no fewer than ten moves to force Black into a position where he

cannot avoid giving mate. The way the white Rook follows the
black Rook along the eighth rank, restricting its mobility with
each move, is elegant and ingenious.
A special type of problem, known as a Maximummer,
deserves mention at this point, since the vast majority of
maximummers are selfmates. In problems of this type, Black
must always play his geometrically longest move. If he has two
moves of equal length, then he may choose between them. If
he is in check, he must play the longest move that will get him
out of check. The distances between the squares are measured
from the square-centres, which means that al to b3 is longer
than al to a3, and al to f6 is longer than al to a8. No. 230 is a
selfmate maximummer in seven moves.
White has a much greater control over Black's moves in a
maximummer than in any other kind of selfmate.
The Reflex-mate is also fundamentally a selfmate, with the
added stipulation that either side must give mate on the move
if this becomes possible. If this stipulation applies to Black only,
232
Selfmate
MAXIMUMMER
230
W. HAGEMANN
First Prize, Zastrov ~femorial Tourney,
1949
Maximummer: selfmate in seven
1 Rh3, Qdl
2 Rx h5, Qd8
3 Rh3, Qdl
4 Rd3 , Qh5
5 Rf3, Qe8
6 Re3+, Se4
7 Rd3, Qa4
the problem is termed a Semi-Reflex-mate. The traditional style

of reflex-mate usually had a try by White which failed because
Black replied with a move which forced White to give mate.
More recent exatnples, however, have featured complex
strategic play, like that found in No. 231, by a young German
REFLEX-MATE
231 H.-P. REHM
Die Schwalbe, 1963
Reflex-mate in two
Key
1 Qf5 (> 2 Rg8, Qe7)
dS,_,+ ; 2 Qe6 Bxe6
Sb4+; 2 Ke7 Sc6
Se7+; 2 Kx f Sg6
Sf6+ ; 2 g , Sxe
Sc3+; - Kf6. Se4
fS--: - e6. ' /f4
Qe7+: - Kgc Sf6
whose brilliant probl m f aln1 t all t p , ha\ e pia ed him,

in a very hort time, am ng t th r at t fall mpo er . The
key 1 f5 thr at n 2 Rg aft "r \ hich Bla k mu t mate by
2 ... c7. try t uv id Ji in n1atc n hi' nd moe
Bla k 'iv · heck n hi · Jir t. rand m m of the Sd5
all w 2 , ~ r ~ing 2. . . x . hi" m ni ht ha f ur
2
Themes and Ternzs
corrections, leading to plus-flights of the white King: 1 ... Sb4+;
2 Ke7, Sc6; 1 ... Se7+; 2 Kxf8, Sg6; 1 ... Sf6+; 2 Kg7,
S x e8; and 1 ... Sc3 + ; 2 Kf6, Se4. Two further defences by
Black lead to white I<ing-flights: 1 ... fS,_,; 2 Ke6, Sc7 /Sf4; and
1 ... Qe7 +; 2 Kg8, Sf6. Problems of this calibre show the
nature of the possibilities inherent in the reflex-mate for the
composer who is tiring of direct-mates!
Square-vacation
As the name implies, square-vacation consists of the removal of
a piece from a square so that another piece, nearly always of the
same colour, may occupy that square. Square-vacation by
Black is a defensive tactic: in a two-mover, a black piece
standing next to the black King may move in order to obtain a
flight, thereby defeating White's threat. Such strategy, often
known as Unblock, is the Antiform of Self-block, and is illustra-
ted, in conjunction with Black Correction and Battery play, in
No. 232. The key 1 7Sf5 threatens 2 Sg3, which closes the line
Second Prize, "64", 1935

Mate in two
Key 1 7Sf5 (> 2 Sg3)
eS.-.; 2 Re7
Sd7; 2 Rb6
Sc6; 2 Sd6
B.-.; 2 Rb4
Bb6; 2 Re7
h2-e5. Black can therefore defend by removing his Knight from

e5, since 2 Sg3? would then allow 2 ... Ke5! A random
departure from e5 allows the double-checkmate 2 Re7. The
corrections 1 ... Sd 7 and 1 ... Sc6 both close white and black
lines, and lead respectively to 2 Rb6 and 2 Sd6. Square-
vacation can also be effected by the black Bishop (I ... B moves;
2 Sg3 ?, Kd4!): 1 ... B~; 2 Rb4; I ... Bb6; 2 Re7. Notice that
234
Stocchi
this last ll10Ve, 2 Re7, is the satne as that found after 1 ... s~,
but because it is brought about by con1pletely different black
strategy, it may be regarded as a distinct variation.
Square-vacation by White is used as a means of attack. In
No. 233, the white Queen four times vacates f5 to allow the Se3
SQUARE-VACATION
S. SEIDER
Second Prize, Israel Ring Tourney, 1964

Mate in three
Key
1 Sf2 ( > 2 Q x f6, r-~; 3 Sf5)
Rxe6; 2 Qf4+, Pxf4;
3 Sf5
B b6; 2 Qe4 +, P x e4;
3 Sf5
S X a5; 2 Qd3 +, P X d3;
3 Sf5
Kxe3; 2 Qf3+, Kd4;
3 Qxc3
to n1ate on that square. The first such vacation is found in the

threat: 1 Sf2, threatening 2 Q x f6, followed by 3 Sf5. Each of
Black's three thematic defences opens a white line, allowing
White to sacrifice his Queen: 1 ... R X e6; 2 Qf4+, P X f4;
3 Sf5 (the Bb8 now holds e5); 1 ... Bb6; 2 Qe4+, Pxe4; 3 Sf5
(d5 held by Ra5); and 1 ... S x a5; 2 Qd3 +, P x d3; 3 Sf5 (c4
held by Ba2).
Stocchi
The Stocchi is a self-block theme in which at least three self-
blocks on a single square lead to mates differentiated by means
of dual avoidance. No. 234 is one of the neatest and clearest
examples of the theme. The key 1 Se4 threatens 2 Rb8, and the
blocks, four of them in all, occur on the flight-square b4. If a
black dummy unit, with no powers at all except those of self-
block, were to arrive on b4, four mates would be possible:
235
Themes and Terms
234 STOCCHI
P. BEKKELUND
First Prize, Sjakk-Nytt, 1947
Mate in two
Key
1 Se4 (> 2 Rb8)
P x b4; 2 Rc5 (Sc3/Bc4/Sd6 ?)
R x b4; 2 Sc3 (Rc5/Bc4/Sd6 ?)
B x b4; 2 Bc4 (Rc5/Sc3/Sd6 ?)
S x b4; 2 Sd6 (Rc5/Sc3/Bc4 ?)
2 Rc5, 2 Sc3, 2 Bc4 and 2 Sd6. These mates are forced individu-
ally by the captures 1 ... P x b4, 1 ... Rx b4, 1 ... B x b4 and
1 ... S X b4 respectively.
Stocchi-blocks in the form of anticipatory self-blocks are
found in No. 235. 1 Bf2 threatens 2 Rf3+, Pxf3; 3 Pg4.
STOCCHI
235
F. METZENAUER
Tijdschrift v.d. K.N.S.B., 1951
Mate in three
Key
1 Bf2 ( > 2 Rf3 +, P X f3 ; 3 Pg4)
R X d3; 2 S X h 7 +, Ke4;
3 Sxg5
bS x d3 ; 2 Se8 +, Ke4;
3 Sd6
cS x d3 ; 2 Sd5 +, Ke4;
3 Sc3
Captures of the Rd3 lead to checks by the Queen+ Knight

battery, allowing the black King to escape to e4 so that White
can take advantage of the self-blocks when mating. 1 ... R x d3
forces 2 S x h7 +, Ke4; 3 S X g5. After 1 ... bS x d3, White must
play 2 Se8+, so that 3 Sd6 \vill mate whether Black replies
2 ... Ke4 or 2 ... Bf6. Finally 1 ... cS x d3 leads to 2 Sd5 +, Ke4;
3 Sc3. As with the two-move example of the theme quoted
above, a capture of the Rd3 by a dummy black unit with only
236
Switchback
self-blocking power would allow all three white continuations.
This "dun1my unit" principle is ultitnately the test of whether
dual avoidance is present or not.
Strategy, Change of
The set play of No. 236 consists of interferences on d5 (1 ...
CHANGED STRATEGY
236 K. HANNEMANN
First Place, Denmark v. Norway, 1946
Mate in two
Set 1 ... bSd5; 2 Rc6
cSd5; 2 Bxa6
Rxc3; 2 Qe4
Bxc3; 2 Qe2
Key 1 Sd5 (> 2 Qb4)
bSx d5; 2 Rc6
cSxd5; 2 Bxa6
Rc3; 2 Qe4
Bc3; 2 Qe2
bSdS; 2 Rc6; and 1 ... cSd5; 2 B x a6), and self-blocks with dual
avoidance on c3 (1 ... R x c3; 2 Qe4; and 1 ... B x c3; 2 Qe2).
The key 1 Sd5 introduces the threat 2 Qb4. The same defences
now lead to the same mates, but for quite different reasons:
1 ... bS x d5 and 1 ... cS X d5 are now self-blocks, while 1 ... Rc3
and 1 ... Bc3 have become interferences. All that changes is the
strategy of the variations.
Switchback
A Switchback occurs when a piece returns to a square which it
has occupied already at some previous point in the problem's
solution. In the two~mover, only white pieces can perform
switchbacks: White's key-piece returns to its starting-square on
its second move. No. 237 shows a switchback in each of two
phases, combined with other closely related play. The try 1 Se5?
waits for Black to commit himself. If the unpinned black
237
- ~ - -----
Thenzes and Tenns

SWITCHBACKS
237
F. SALAZAR
Die Schwa/he, 1968
Mate in two
Try 1 Se5 ?
Bxe6; 2 Sf3
Bxd3; 2 Qg2
Bh3; 2Sg4
Be4!
Key 1 Qg2! ( > 2 Qa2)
Bxe6; 2 Qg5
B x d3; 2 Se5
Bishop pins itself on e6, unmasking the Queen + Knight

battery, White plays 2 Sf3- switchback. The self-pin 1 ... B x d3
leads to 2 Qg2, a second pin-mate. 1 ... Bh3 or Bg4 allows
2 Sg4, but there is no reply to 1 ... Be4! White must therefore
play 1 Qg2!, which move we have already seen as the second-
move reply to 1 ... B x d3 in the virtual play. The key carries
the threat 2 Qa2, which Black defends against by means of the
self-pins of the Bishop on e6 and d3. 1 ... B x e6 permits the
switchback mate 2 Qg5, while 1 ... B x d3 allows 2 Se5, the
same move as White's try. The pattern of white moves in this
well-constructed setting is quite delightful.
Task
In a sense, every problem is a task, since it is the cotnposer's
aim to produce the best setting of his idea with the fewest
possible units. But the term is usually applied only when the
composer has produced either a maximum possible effect, or
the maximum effect so far attained. A "maximum effect"
implies the greatest possible activity of a single unit, or the most
elaborate combination of thematic ideas. A fine example of the
former type is Heathcote's masterly setting of the Knight-
wheel (No. 4 in Section I), while the latter type is illustrated
by Malmstrom's triple half-pin, No. 111), and by Jonsson' s
extraordinary No. 238, built on earlier problems using this
238
Task
TASK: SEVEN-PHASE ZAGORUYKO
G. JoNssoN (after V. Bartolovic and
M. Lipton)
Die Schwalbe, 1962
Mate in two
Try 1 Sb7?
dS,_,; 2 Rc5
fS,_,; 2 Rd6
Sd4!
238 Try 1 Sf3?
dS,_,; 2 Re5
fS,_,; 2 Rd4
Sd6!
Try 1 Pg8 = S?
dS,_,; 2 Sf6
fS,_,; 2 Se7
Pf6!
Try 1 Qh2?
dS,_,; 2 Qe5
fS,_,; 2 Qd6
Sg3!
Try 1 Qgl?
dS,_,; 2 Qc5
· fS,_,; 2 Qd4
Se3!
Try 1·Qfl? (> 2 Qc4)
dSb6; 2 Qxf5
fSd6; 2 Qd3
Se5!
Key 1 Sc4!, Zugzwang
dS,_,; 2 Sb6
fS,_,; 2 Se3
Pf6· 2 Pg8 = Q
'
matrix, composed independently by V. Bartolovic and M.

Lipton. The tries 1 Sb7 ?, 1 Sf3 ?, 1 Pg8 = S ?, 1 Qh2 ?, 1 Qg1 ?,
and 1 Qfl ?, all differently defeated, and the key 1 Sc4! each
introduce a different pair of mates to deal with the moves by the
black Knights: the Zagoruyko theme extended to seven phases!
As frequently happens with extreme tasks, the composer has
justifiably ignored one of the desirable elements in the principle
of Economy.
239
The1nes and Tern1s
Theme-change
A number of t\vo-movers exist in which mates are changed from
set to post-key (or virtual to post-key) play because the strategy
of the variations is altered. No. 239 shows set self-pins on d5
CHANGE OF THEME
239 0. STOCCHI
Ninth Hon. mention, F.I.D.E. Tourney,
1957-8
Mate in two
Set 1 ... B x d5 ; 2 Sc6
S X d5; 2 Ph8 = Q
Qxd5; 2 Sf3
Rxd5; 2 Bb2
Key 1 Rc4 ( > 2 Q X e6)
Bxd5; 2 Qc7
Sxd5; 2Sd7
Qxd5; 2 Sxg6
Rxd5; 2 Bxf4
changed to self-blocks on the same square. Set: 1 ... B x d5;

2 Sc6; 1 ... S X d5; 2 Ph8 = Q; 1 ... Q X d5; 2 Sf3; and 1 ...
R x d5; 2 Bb2. These 1nates are rendered impossible by the key
1 Rc4 (> 2 Q x e6), because the defences are no longer self-pins.
Instead they are self-blocks on the newly granted flight-square:
1 ... B X d5; 2 Qc7; 1 ... S X d5; 2 Sd7; 1 ... Q X d5; 2 S X g6;
and 1 ... R x d5; 2 B x f4. The key-move looks so innocent, but
its effects are drastic.
Third-pin
On a half-pin line, two pieces are arranged so that if one moves
off the line the other remains totally pinned. Three pieces are
needed to form a third-pin line, and therefore at least three
moves are required for the solution of the problem if the third-
pin line is to be utilised, for two pieces have to n1ove away
before the third remains pinned. The key of No. 240, 1 Bf5,
threatens 2 K x gl followed by 3 Sh2. Black has a first-move
defence by each of his third-pinned pieces: 1 ... S x e5, which
240
Threat -correction
THIRD-PIN
240
M. NIEMEIJER
Mate in three
Key
1 Bf5 (> 2 K x gl, ,_,; 3 Sh2)
S x e5; 2 S x e5 +, Q x e5;
3 Rd3
Q X e5; 2 Rd3 +, P X d3 ;
3 Sxe5
Pe3; 2 Sf6, S X e5;
3 Sxd4
allows 2 S x e5 +, Q x e5; 3 Rd3-the Pawn is now left pinned;

1 ... Q x e5, leading to 2 Rd3+, P x d3; 3 S x e5, with the
Knight now pinned; and finally 1 ... Pe3, permitting 2 Sf6
(>3 Bg4), S x e5; 3 S x ~4-the Queen is the only piece left
on the pin-line. Partly because of the difficulties of construction,
the third-pin has enjoyed far less popularity than the half-
pin. Indeed, really good examples are hard to find, whereas
the half-pin theme has led to the production of hundreds of
masterpieces.
Threat-correction
Threat-correction is a white first-move tactic related to White
Correction. It can best be explained by reference to an example,
No. 241. If the Rook on the d-fi1e plays southwards (over the
square d6), White's threat can be 2 Sd6. So try 1 R x d2? This
fails, however, to the pinning defence 1 ... Ra7! Now the white
Rook has no way of preventing this defence or of providing a
mate for it, so instead of correcting the general error of removing
itself from the seventh rank, it corrects the actual threat, by
playing to d3 instead of d2. The new threat is 2 Re3: 2 Sd6? is
impossible as a threat now, because the black King has a flight
d3. But 2 Sd6 can be played after the self-blocking defence
1 . .. P x d3. 1 ... K x d3 leads to 2 Sc5, while 1 ... Bd4 allows
2 R x d4, but this white first move is also only a try, since there
is no reply to 1 . . . Be5! (After 1 R X d2 ?, 1 ... Be5 was followed
by 2 R x d5, but the flight d3 makes this reply impossible after
241
The1ues and Tenns .
·TI-IREAT CORRECTION
M. LIPTON
Third Prize, Die Schwalbe, 1962
241
Mate in two
Try 1 Rx d2? ( > 2 Sd6)
Be5; 2 Rxe5
Ra7!
Try 1 Rd3? ( > 2 Re3)
Px d3; 2 Sd6
Kxd3; 2 Sc5
Bd4; 2 Rx d4
Be5!
Try 1 Rxg5? ( > 2 Sc5)
Bd4; 2 Rx d4
Ra5!
Key 1 Rf5! ( > 2 Bc2)
P X f5; 2 Sc5
Kx f5; 2 Sd6
1 Rd3 ?) The solver's attention must now be turned to the other

white Rook, which can threaten 2 Sc5 by moving eastwards as
far as g5. 1 ... Bd4 is answered by 2 R x d4, but there is no
reply to 1 ... Ra5! Therefore the threat must be corrected once
again: 1 Rf5 !, threatening 2 Bc2. The original threat returns
after the self-block 1 ... P x f5, while 2 Sd6 reappears when
Black plays 1 ... K X f5. This highly original work therefore
shows threat correction twice over, by each white Rook.
The close affinity between White Correction and Threat
Correction may be seen from No. 242. A random move by the
Sd4, pinning the Knight d5, threatens 2 Sf6. If 1 ... PeS; 2 Qb5;
and if 1 ... Pe5; 2 Qf5. But 1 ... Sg3! defeats by closing the line
h2-d6. So the white Knight merely tries first to add another
guard to d6, in order to prevent 1 ... Sg3 from defeating the
threat of 2 Sf6. 1 Sb5? is a white-correction try, which, however,
fails to 1 ... Pc5! because White can no longer reply 2 Qb5.
Similarly 1 Sf5? fails to 1 ... Pe5!, because 2 Qf5? has been
ruled out. The white I( night thus has no way of maintaining its
original threat, and tnust substitute a new one, in the hope that
Black will have no adequate defence. I S x c6? is tried, threaten-
ing 2 Se5. The original threat 2 Sf6 now reappears after
242
Threat correction
WHITE CORRECTION+ THREAT
CORRECTION
J. M. RICE
Probleemblad, 1964
Mate in two
242 Try I dS,..._,? (> 2 Sf6)
Pc5; 2 Qb5
Pe5; 2 Qf5
Sg3!
Try I Sb5? (> 2 Sf6)
Pxb5; 2Qb5
Pc5!
Try 1 Sf5? ( > 2 Sf6)
Pxf5; 2 Qxf5
Pe5!
Try I Sxc6? (> 2 Se5)
Kxc6; 2 Qb5
Pxc6; 2 Sf6
Pe5; 2 Qxd5
Pf6!
Key 1 Sxe6! (> 2 Sc5)
Kxe6; 2 Qf5
Pxe6; 2 Sf6
PeS; 2 Qx d5
1 ... P x c6, while 1 ... K x c6 leads to a further transference,

2 Qb5. After 1 ... Pe5, White can play 2 Q X d5, but 1 ... Pf6!
defeats. The key is therefore 1 S x e6, with another corrected
threat, this time 2 Sc5. Once again mates which have been seen
before recur by means of transference: 1 ... P X e6; 2 Sf6;
1 ... K x e6; 2 Qf5; and 1 ... Pc5; 2 Q x d5. The author regards
this as one of his most satisfactory problems, and was dis-
appointed to find that it was almost completely ignored by the
judges of the informal tourney in the Dutch magazine Prob-
leemblad in 1964. Incidentally, the mate-transference effects in
both these examples of threat correction, by means of which the
original threat which has to be corrected is re-introduced in the
post-key play in one of the variations, is regarded by many
purists as a sine qua non of the theme.
243
Themes and Terms
Three-Rider-Double
Known in certain quarters as the T.R.D. theme (after the
famous problem editor of the British Chess Magazine, T. R.
Dawson), the Three-Rider-:-Double consists of a double Grim-
shaw executed by two Rooks and one Bishop, or by two
Bishops and one Rook. No. 243 has the former combination.
243 THREE RIDER DOUBLE

J. A. SCHIFFMANN
T.N.S.B. Chess Assn. Tourney, 1929
Mate in two
Key 1 Sf8 (> 2 Sh7)
Rc4; 2 Bel
Bc4; 2 Sd3
Rd3+; 2 Be3
Bd3; 2 Sc4
The key 1 Sf8 threatens 2 Sh7. Black may defend by cutting the
guard-line of the white Ba2 to the square e6: 1 ... Rc4 (interfer-
ence with the Ba6), allowing the shut-off mate 2 Bel; and
1 ... Bc4 (interference with the Rook), leading to a second shut-
off, 2 Sd3. Indeed, the thematic mates in this problem are all
shut-offs, for the other two interference-defences lead to similar
mates: 1 ... Rd3 + ; 2 Be3; and 1 ... Bd3 ; 2 Sc4.
Total Change
Total change occurs when the defences and mates of a two-
mover are all changed between set and/or virtual and post-key
play, but the theme remains the same throughout the various
phases. No. 244 is an entertaining three-phase example, featur-
ing en passant captures by Black. Try 1 Pb4? ( > 2 Rc5),
aPxb4 e.p.; 2 Qa5; 1 ... cPxb4 e.p.; 2 Pc4; but 1 ... Be3! So
try 1 Pf4? ( > 2 Se7), ePxf4 e.p.; 2 Pe4; 1 ... gPxf4 e.p.;
2 Be6; but 1 ... Sd6! So only 1 Pd4 !, with its double threat of
2 Rc5 or 2 Se7 will work, and the defences and mates are now
1 . . . cPxd4 e.p.; 2 Qa2; and 1 ... ePxd4 e.p.; 2 Bxg2. The
244
Tries
THREE-PHASE TOTAL CI-IANGE
M. MYLLYNIEMI
244
Problem, 1968
Mate in two
Try 1 Pb4? (> 2 Rc5)
aPxb4 e.p.; 2 Qa5
cPxb4 e.p.; 2 Pc4
Be3!
Try 1 Pf4? (> 2 Se7)
ePxf4 e.p.; 2 Pe4
gP X f4 e.p.; 2 Be6
Sd6!
Key 1 Pd4! (> 2 Rc5/Se7)
cP x d4 e.p.; 2 Qa2
ePxd4 e.p.; 2 Bxg2
actual strategy of this problem is not very profound, but there

is unity in the fact that all the mates are made possible by line-
opening or square-vacation.
Tries
In the two-mover, a try, which is normally defined as a white
move which nearly solves the problem but is defeated by (ideally)
only one black refutation, may have one of several functions.
(1) A two-mover of the traditional style (in which the
interest is centred on the play which follows the key) may have a
try which adds to the difficulty (and thus to the pleasure) of
solving the problem, but which in no way affects the rest of the
play. A good composer would never add extra force to create
such a try: it should be inherent in the problem's position, and
a composer will usually regard it as a matter of luck if a try of
this sort happens to exist. A waiting-move (complete block)
problem may very well have a number of tries, each one
faili~g because a set mate is thereby abandoned.
(2) A try may serve to emphasise the set play of a problem. A

try of this type is likely to be rather misleading to the solver,
who is normally reluctant to sacrifice whatever set play the
position may contain.
245
The1nes and Terms
(3) New play may be introduced by a try, and this new play
will contrast with the set play (if any) and with the post-key
play. The solver's enjoyment of a problem should not be
impaired if he happens to discover the key first and the try
afterwards, though ideally the try should be the more obvious
move. For this reason a composer will generally attempt to
TRIES WITH COMMON AIM:

NO\VOTNYS
M. LIPTON
Special Prize, The Problemist, 1966
Mate in two
Try 1 Pg4?
Rxg4; 2 Be2
Bxg4; 2 Rd4
Pxdl = Q!
Try 1 Pf3?
Rxf3; 2 Be2
245 Bxf3; 2 Rc3
)
Pxdl = S!
Try 1 Pf4?
Rxf4; 2 Se5
Bxf4; 2 Rd4
Sc6!
Try 1 Bg3?
Rxg3; 2 Sd6
Bxg3; 2 Rc3
Sd5!
Try 1 Bf4?
Rxf4; 2 Sd6
Bxf4; 2 Rd4
Sxd7!
Try 1 Rg3?
Rxg3; 2 Se5
Bxg3; 2 Se3
Re4!
Try 1 Sg3?
Rxg3; 2 Se5
Bxg3; 2 Rc3
Rd4!
Key 1 Pg3!
Rxg3; 2 Se5
Bxg3; 2 Rc3
246
Tries
obtain the most obscure refutation for his try, to mislead the
solver as n1uch as possible. However, a problem with a try
defeated by the most evident of refutations should not be dis-
nussed as worthless if the play which this try introduces is of
some genuine value in itself. The obvious refutation may have
been forced on the composer by the nature of his setting.
(4) A series of tries may be of interest in themselves through

their relationship to one another. Tries of this type may
conveniently be classified according to whether they are related
by having a common aim or a common error. Tries showing
White Correction are illustrative of the former type, and so, too,
is No. 245, one of the most baffling Nowotny problems ever
composed. To work out which of the eight Nowotny-style white
first moves is the correct one (from amongst 1 Pg4 ?, 1 Pf3 ?,
1 Pf4 ?, 1 Bg3 ?, 1 Bf4 ?, 1 Rg3 ?, 1 Sg3? and 1 Pg3 !) demands
great care on the part of the solver.
Tries related by common error are found in No. 246. In
TRIES WITH COMMON ERROR

246
C. GOLDSCHMEDING
Second Prize, Prob/eemb/ad, 1964
Mate in two
Try 1 Sd6? Sc6! (2 Qd6 ?)
Try 1 Se5 ? Sd5 ! (2 Re4 ?)
Try 1 Se3 ? Sd3 ! (2 Pe3 ?)
Try 1 Sd2? Sc2! (2 Rdl ?)
Key I Sa5! (> 2 Qc4)
Sc6; 2 Qd6
Sd5; 2 Re4
Sd3; 2 Pe3
Sc2; 2 Rdl
playing to each of the squares d6, e5, e3 and d2, the white Sc4
prevents a necessary white mate from taking place: 1 Sd6? Sc6!
(2 Qd6? cannot be played); 1 Se5? Sd5! (2 Re4 ?) ; 1 Se3? Sd3!
(2 Pe3 ?) ; 1 Sd2? Sc2! (2 Rdl ?). The only square which the
Knight can safely occupy without interfering with one of his
own men is a5. The beauty of this problem lies in the way the
247
Themes and Terms
black Knight follows the white Knight round: rarely is such
unity achieved on the chessboard. .
No. 247 is an extension of the basic idea of the previous
TRIES WITH COMMON ERROR
(WHITES-TOUR)
First Hon. n1ention, BABY Tourney,
1964
Mate in two
Try 1 Sb4? Qb5! (2 Rxb5?)
Try 1 Sc3? Sf4! (2 Bc3 ?)
Try 1 Se3? Pxf3! (2 Re3 ?)
Try 1 Sf4.? Sd4! (2 B X g3 ?)
Try 1 Sf6? Se7! (2 Qh8 ?)
Try 1 Se7? Sf6! (2 Q X f6?)
Try 1 Sc7? Qxa5! (2 Qx a5?)
Key 1 Sb6! ( > 2 Rd5)
Qxa5; 2 Sxc4
problem, for here the white Sd5 has seven tries, each failing as
a result of self-interference or square-block. Artistically this
problem is inferior to Goldschmeding's, sin~e there is no
suggestion of a duel bet\.veen two pieces; yet there is no lack of
unity here, for the nature of the error committed by the white
tries ensures a unified relationship between them. 1 Sb4? Qb5!
(2 Rxb5? is ruled out); 1 Sc3? Sf4! (2 Bc3?); 1 Se3? Pxf3!
(2 Re3?); 1 Sf4? Sd4! (2 Bxg3?); 1 Sf6? Se7! (2 Qh8?);
1 Se7? Sf6! (2 Qxf6?); 1 Sc7? Qxa5! (2 Qxa5?). So the key
is 1 Sb6 !-and here comes the surprise, for this move commits
the same error as the last of the tries, that of closing the line
d8-a5. But it is a correction of this error, because it introduces
a new mate to follow 1 ... Q x a5, viz. 2 S x c4.
Several other problems showing tries related either by common
aim or by common error will be found in other parts of the book.
Three-movers may also have tries introducing new play, or
common-aim or common-error tries, and examples of these
may be found elsewhere. For a comment on the purpose of
tries in defence-substitution themes in three- and more-movers
see under Roman. '
248
Twin
Turton
The Turton is a doubling manoeuvre. What happens is that th e
key of a three-mover (or continuation of a more-n1over) is a
clearance move over a critical square, played so that a second
white piece can move on to the same line (on the critical square)
and subsequently down that line to give mate, usually with the
clearing-piece lending support in the form of guard. The tactic
is illustrated by No. 248. The key 1 Rf8 clears the f-file so that
248 TURTON
W. SPECKMANN
Fourth Prize, Die Schwalbe, 1955/II
Mate in three
Key 1 Rf8
PeS; 2 bRf7, r-~;
3 Rxf2
Kxg2; 2 Rbl+
after 1 ... PeS, White can continue 2 bRf7, followed by 3 R x f2.

A further instance of Turton-doubling is found in one variation
of No. 76, under Doubling. True Turton-doubling is clearly not
possible in the two-mover.
Twin
Twin is the term used to designate a problem with more than
one setting, each differing from the others in only a very small
respect, and with play which is in some way different in the
various settings. Although there is still some argument as to
whether twins should be eligible to compete along with "ortho-
dox" problems in composing tourneys, composers have come
to accept twinning as a useful and fruitful method of achieving
changed effects. Here are some of the ways in which twins may
be created (in each case it is implied that there are two settings
altogether):
249
Then1es and Terms
(i) one piece of either colour n1ay be tnoved to a differen t
square; ..
(ii) one piece tnay be retnoved from or added to the ongtnal
position;
(iii) one piece may be replaced by another of either colour on
the same or on a different square;
(iv) the board may be given a 90° or 180° turn, to alter the
moves of the Pa\vns, castling possibilities, etc.;
(v) the position may be moved en bloc to a different part of
the board;
(vi) the post-key position of a block problem may itself be a
sound problem.
In each case, the twinning mechanisn1 must be a single action
only (e.g. shift of one piece, not two). Some problemists are
prepared to accept double-action twinning devices, calling
such problems "approximate twins".
The possibilities of twins have been most fully explored by the
composers of Helpmates, but some idea may be gained, from
the four examples quoted here, of what can be done in twin-
form in the two-mover. In No. 249 the shift of a single piece
changes the plus-flights found after the key of the diagram
position (1 Sh5) to star-flights, introduced by the checking key
TWIN: TOTAL CHANGE

(PLUS- AND STAR-FLIGHTS)
249 J. J. GILL (after G. Latzel)

Mate in two
(a) diagram
(b) S f5 to e7
(a) Key 1 Sh5,Zugzwang
Kxf5; 2 Re2
Ke4; 2 Rc5
Kd5; 2 Re3
Ke6; 2 Rb5
(b) Key 1 Re3+, Kx f6 ; 2 Qx b2
Kf4; 2 fSd5
Kd4; 2 Sf5
Kd6; 2 Se8
250
Twin
1 Re3 +. No. 250 again shows the shift of a single piece, but
this time there are six different settings, all with difTerent keys
and play. In the initial position in each case, Black has no n1ove,
TWIN: FLIGHTS
C. MANSFIELD
250 First Prize, B.C.P.S. Twin Tourney, 1965
Mate in two
(a) diagram
1 Bc2, Kc4; 2 Be4
(b) white K to d7
1 Rf6, Ke5; 2 Rf5
(c) white K to e2
1 Bc3, Kc4; 2 Ba2
(d) white K to f8
1 Bg6, Ke6; 2 Be4
(e) white K to g3
1 Rc2, Ke4; 2 Rc5
(j) white K to g5
1 Kf6, Kd4; 2 Ke6
and it is a question of deciding which white piece can be shut

off by the key-move to allow Black a flight for his King. Clearly
this idea is beyond the scope of the orthodox two-mover.
No. 251 illustrates how a 90° anticlockwise turn of the board
TWIN: HALF-BATTERY
251 B. P. BARNES
The Tablet, 1961
Mate in two
(a) diagram
(b) turn board 90° anticlockwise
(a) Try 1 Ke2? Pe3!
Key 1 Sc3! ( > 2 Ke2)
Ra4; 2 0-0- 0
Rxd2; 2 Kxd2
Pe3; 2 Se2
(b) Try 1 Sf3? Re1!
Key 1 Kg5! (> 2 Sfl/f3)
Rxg4+; 2 Sxg4
251
Then1es and Tern1s
can change the try of setting (a) into the key of setting (b) and
vice versa. 1 Ke2? fails in the diagram position because the Pe4
can move to e3. But when the board is given a quarter-turn to
the left the Pawn becomes immobile. However, 1 Sf3? now
'
fails, because castling is no longer possible!
Finally we have a forty-year-old mutate twin, No. 252, where
TWIN: MUTATE
J. A. SCHIFFMANN
First Prize, Aachener Anzeiger, 1928
Mate in two
(a) diagram
(b) after key of (a)
(a) Set 1 . . . Kxf3; 2 0-0
Key 1 Rh2!, Zugzwang
Kxf3; 2 Rf2
Pd3; 2 Qxe3
Pe2; 2 Bd2
Pxf3; 2 Rh4
(b) Set 1 . . . P X f3; 2 Rh4
Pe2; 2 Bd2
Try 1 Rh1 ? K X f3 !
Key 1 Rd2 !, Zugzwang
Pxf3; 2 Rxd4
Pe2; 2 Rx d4
P X d2+ ; 2 B X d2
Pd3; 2 Qx d3
Kxf3; 2 Rf2
the second setting cannot be solved until the key of the first
setting has been found. The set mate of position (a) is of great
importance: 1 ... K X f3; 2 0-0. The key 1 Rh2 changes the
reply to 1 ... K X f3 to 2 Rf2-a pin-mate. The solver must now
decide why the solution to position (b) is not a simple return to
the status quo, since the problem is a complete block. The
answer" lies in that set mate: the try 1 Rh1 ? in position (b) is
defeated by 1 ... K x f3 !, because castling is impossible. The
true key is 1 Rd2!, with further changed play after 1... P x f3
(changed from 2 Rh4 to 2 R X d4), and 1 ... Pe2 (previously
2 Bd2, now 2 R X d4).
252
Unpin
Unpin
A black defence may effect an unpin of a white piece in one of
two ways: (i) by interference, when another black piece plays on
to the pin-line; or (ii) by withdrawal, when the pinning piece
itself moves off the pin-line. Both types of unpin are exemplified
by No. 253. The key is thematic in that it pins the white Queen,
UNPIN OF WHITE BY BLACK
253 C. MANSFIELD
First Prize, South African Chessplayer
1960
Mate in two
Key 1 Q X f3 ( > 2 B X d5)
Pe4; 2 Qe3
Se4; 2 Qxa3
Bxe6; 2 Qf8
Sb5; 2Qxd5
Be4; 2 Bxe4
B X f3 + ; 2 B X f3
Sb6; 2 Be7
which is to be unpinned in three of the variations: 1 Q x f3

(> 2 B x d5). The unpins by interference are 1 ... Pe4, allowing
2 Qe3, and 1 ... Se4, which is followed by 2 Q x a3. 1 ... B x e6
is the withdrawal unpin, leading to 2 Qf8.
Four interference unpins of a white Knight (the maximum
number so far achieved) are found in No. 254, a problem of
INTERFERENCE UNPINS
254
N. EASTER
First Prize, Bristol Times and Mirror,
1926
Mate in two
Key 1 Sxe6 (> 2 bSc5)
fSe3; 2 eSc5
gSe3; 2 Sg7
Se5; 2 Sc7
Ke4; 2 Sg5
Kc4; 2 bSxd4
Sxd2; 2 Sxd2
253
Thernes and Tenns
extraordinary beauty. Again there is a then1atic key, which also
grants the black King a second flight: 1 S X e6 (> 2 bSc5). The
defence 1 ... fSe3 leads to the switchback 2 eSc5 (the Knight
returns whence it came). After 1 ... gSe3, White no longer
needs to put a guard on e4 when mating, because the black
Knight has opened the white Rook's line of guard from h4.
But another line has also been opened, that of the black Rg 1,
and White must see that this is closed if the Queen + Knight
battery is to functi0n effectively. The mate is 2 Sg7-not 2 Sg5 ?,
which would unpin the black Bf5, enabling it to interpose on e6.
1 ... Se5, as well as being an interference unpin, is a self-block
permitting the white interference mate 2 Sc7. (Notice that
2 Sg7? will not work now because of 2 ... Be6 or 2 ... Sf7.) The
fourth interference unpin is effected by the black King himself:
1 ... Ke4; 2 Sg5. This mate is forced (rather than 2 bSc5 ?)
because of the need to put a guard on f3. Two variations
leading to opening of the other battery round off a memorable
problem: 1 ... Kc4; 2 bS x d4; and 1 ... S x d2; 2 S x d2.
Jeremy Morse has made systematic researches into several
fields of task problem, including Unpin of White by Black,
publishing his findings in a series of articles in "The Problemist".
One of his own compositions No. 255, illustrates a maximum
task, equalling the record for withdrawal unpins of a white
WITHDRAWAL UNPINS
255 C. J. MORSE
The Observer, 1962
Mate in two
Key 1 Pc4, Zugzwang
Qal+; 2 Bel
Qc3+; 2 Bd2
Qxb5; 2 Bc5
Qd4; 2 Bxd4
Qf6; 2 Bf4
Qg7; 2 Bg5
Qh8; 2 Bh6
Qxe3+; 2 Rxe3
Q else; 2 Qb3
254
Unpin
Bishop. The key 1 Pc4 introduces a fine set of variations, in
which the white Bishop is thematically unpinned seven times.
A theme which received a good deal of attention some years
ago, not least from the author of this book, is that of white
self-pin with subsequent unpin by Black in at least two phases.
The theme lends itself to expression in various ways. A single
white piece may pin itself in try and key on two different
squares. Or two white pieces may stand in a half-pin situation
in the diagram position: one moves away in the try, leaving the
other pinned, while the key is made by the second, with subse-
quent unpins of the first. A third possibility is that seen in
No. 256, where two different white pieces pin themselves in try
WHITE SELF-PIN+ UNPIN

256 G. PAROS
First Prize, Budapest Chess Club Tour-
ney, 1955
Mate in two
Try
1 S x e5? ( > 2 Rd7)
Sf6; 2 Sc4 (Sf7 ?)
Sg7; 2 Sf7 (Sc4 ?)
Bh3!
Key
1 Rxe5! ( > 2 Se8)
Sf6; 2 Re6 (Rd5?)
Sg7; 2 Rd5 (Re6 ?)
and key on the same square. Try 1 S X e5 (> 2 Rd7). The unpins
are effected by the Sh5, and there is dual avoidance present in
the mates: 1 .. . Sf6; 2 Sc4 (not 2 Sf7 ?) ; and 1 ... Sg7; 2 Sf7 (not
2 Sc4 ?-the Java theme). The try is defeated by 1 ... Bh3 ! The
key pins the Re4 on the same square, and the same defences,
now defending against the threat of 2 Se8, lead to the mates
2 Re6 and 2 Rd5, differentiated according to which potential
mating square the unpinning Knight guards. It is a pity that
the virtual play is more interesting than the post-key play.
All sorts of other unpinning efl'ects are possible, of course.
The key may thematically unpin a black piece, whose moves will
255
Themes and Tenns
then form the problem's principal variations. Altern~tively
Black may defend against a threat by unpinning one of hts o\vn
men. No. 254 shows, in the variation 1 ... gSe3; 2 Sg7, how
White must avoid unpinning a black piece when mating. Unp~n
of White by White is found in No. 257. The key- yet agatn
257 UNPIN OF \VHITE BY WHITE
R. BuRGER and R . C. 0. MATTHEWS
Mate in three
Key 1 Rxe5 ( > 2 Kf7)
Rei; 2 Kf8
Rdl; 2 Kg8
Rel; 2 Kxg6
Ra3; 2 Kh6
thematic-is the self-pin 1 R x e5, threatening 2 Kf7 followed

by 3 Rf5 or 3 Re4. 1 ... Rc1 allows the white unpin 2 Kf8, and
if Black checks with 2 .. . Qb4+, then 3 ReS shuts off both the
Queen and the Rook simultaneously. 1 ... Rd 1 allows 2 Kg8,
and if 2 ... Qa2 or Qb3 +, then 3 Rd5-again a double shut-off.
1 ... Re1 leads to 2 K x g6, and 1 ... Ra3 to 2 Kh6.
Unprovided Check
A check available to Black without a set white reply in the
diagram position is said to be unprovided. Many solvers regard
unprovided checks as intolerable, and will quite cheerfully
dismiss a problem as worthless simply because of such a weak-
ness. An unprovided check is only . a weakness, however,
inastnuch as it restricts the choice of key and therefore facilitates
the solvil).g process. But the play of the problem may well
contain many a compensating factor. No. 258 may be cited as a
case in point. 1 ... Phl = Q+ has no set reply. This auto-
matically suggests 1 Bf4 as the key, so that I ... Ph1 = Q+
may be met by 2 Sh2. But it is not until the solver has found this
key that he is likely to enjoy the full play of this delightful
little probletn. The variation we have seen is only one of four
256
Valt:e
258 UNPROVID ~ D H 1
K
c. G. WATNEY
Mate in two
Key 1 Bf4, Z ugzwang
Phl = Q+ ; 2 Sh2
Phl = S ; 2 Se3
Pfl = Q ; 2 gSf2
Pfl = S; 2 Qd5
Khl; 2 Qd5
Kfl; 2 Se3
self-block promotions, the others being 1 ... Phi = S; 2 Se3;

1 ... Pfl = Q; 2 gSf2; and 1 ... Pfl = S; 2 Qd5. All this is
achieved, plus two flight-squares for the black King, with only
ten pieces altogether. So perhaps the unprovided check may, for
once, be excused? This is not to condone all unprovided checks,
or unprovided flights (black King-flights with no set mate), or
strong unprovided black moves, such as a capture of the white
Queen with a resulting gain of several flights. Where possible the
composer will avoid non-provision of strong black defences-
and this is often the difference between the good composer and
the poor composer, for the latter will be more easily satisfied
with a work containing strong unprovided black defences.
However, the solver should be wary of dismissing a problem as
valueless (or a composer as poor!) merely because of the
existence of such defences.
Valve
The term Valve is used to denote a black move which simul-
taneously opens one line of a black Rook, Bishop or Queen, but
closes another. When the move opens the line of one piece but
closes the line of another piece, we speak of a Bi-valve. The key
of No. 259, 1 Sh6, threatens 2 Q x e7, against which Black can
defend with any move of his Bishop, opening a line to pin the
white Queen. This Bishop focusses the squares g4 and d5, so that
the mate 2 S x g4 can be played after a random Bishop-move to
north-west or south-east, while 2 Rd5 follows a random move
257
Tllen1es and Tern1s
259 VALVE AND BI-VALVE
L. I. LOSHINSKI and E. U MNOV
First Prize, Western Morning News, 1930
Mate in two
Key 1 Sh6 ( > 2 Qxe7)
Bhl; 2 Sxg4
Bdl; 2 Rd5
Be2; 2 Se4
Be4; 2 Se2
to the south-west. 1 ... Be2 and 1 ... Be4, however, prevent both
mates by unpinning the black Knight to guard the two mating
squares. The first of these unpinning defences is a valve: the
Bishop simultaneously opens the black Queen's line northwards
but closes her line westwards, so that 2 Se4 can be played.
1 ... Be4, on the other hand, is a bi-valve: the Queen's line is
opened and that of the black Rg4 is closed. White therefore
mates with 2 Se2.
No. 260, with its key 1 S x e4 (> 2 Bf2, followed by 3 Sh4),
260 VALVES
R. C. 0. MATTHEWS
Mate in three
Key 1 S x e4 (> 2 Bf2, ,...._,; 3 Sh4)
Be7; 2 Sd4
Bd6; 2 Sc5
Bc5; 2 Sd6
Bb4; 2 Se5
Ba3; 2 Rfl
shows a fivefold valve. In this case the black line that is closed
is a potential, rather than an actual, line, as a study of the
variations will reveal. Any move by the Bf8 will defeat the
threat by allowing Black to play 2 ... Rh8. This is the line-
opening, effected by the departure of the Bishop from f8. If
1 ... Be7, White can continue 2 Sd4, threatening mate by the
258
Wu rzb urg-PIacIt ut ta
Bishop + Knight battery. No defence b~ 2 ... Re8 .is . now
possible, because the Bishop has closed the hne e8- e4. Stmdarly
after 1 ... Bb4, White can play 2 Se5, since 2 ... Ra4 is ruled ~ut
as a defence (closure of line a4- e4). 1 ... Bd6 allows 2 Sc5, w1th
a threat of mate from the other Knight, now the remaining
piece on the battery-line. 2 ... Rd8? cannot now be played as a
defence, because of the closure of d8-d5. The parallel variation
is 1 ... Bc5; 2 Sd6-and 2 Ra5 is no defence (closure of line
a5-d5). Finally there is a fifth valve, 1 ... Ba3, which permits
2 Rfl (>3 Se1), and Black is unable to defend with 2 ... Ra1?
It is interesting to notice that this problem, composed as long
ago as 1950, is an illustration of the Half-battery theme, which
came into prominence as a two-move strategic device several
years later.
Wurzburg-Plachutta
The Wurzburg-Plachutta consists of a pair of Holzhausen inter-
ferences, i.e. interferences in a three-mover or longer problem
between like-moving pieces (e.g. Rook .+
Rook, or Bishop +
Queen) standing on different lines. (See Anti-Bristol for interfer-
ences bet\veen like-moving pieces standing on the same line.)
The key ofNo. 261,1 Bd2, threatens 2 Qxc5+; if2 ... Rxc5;
WURZBURG-PLACHUTTA
261
J. HARTONG
First Prize, Tijdschrift v.d. Nederlandse
Schaakbond, 1943
Mate in three
Key
1 Bd2 ( > 2 Q X c5 +, R X c5;
3 Bxd3
Sxc5;
3 Sb2)
aRd6; 2 Q X d7, R X d7; 3 Sb6
dRd6; 2 Qf6, Rx f6, 3 B x d3
3 B x d3; and if 2 ... S x c5; 3 Sb2. The thematic interferences

occur on d6: 1 ... aRd6; 2 Q X d7, R X d7; 3 Sb6; and 1 ... dRd6;
259
Tlle1nes and Tenns
2 Qf6, R x f6; 3 B x d3. Each Rook becon1es overloaded in turn :
in playing to d6, each is expected to do duty for the other in the
matter of guarding squares on which White can check or mate.
The very ingenious No. 262 shows the Wurzburg-Plachutta
\VURZBURG-PLACHUTTA
V. TcHEPIZHNI
262
First Prize, ex aequo, 40th Anniversary
Tourney, Shaklzmaty v. SSS R, 1966
Mate in three
Set Bc3; 2 Rb4+
Qc3; 2 Rd4+
Try 1 Kb6? ( > 2 Qc8)
Bc3; 2 Rb4+
Qc3; 2 Se5+
Sxc2!
Key 1 Kd6! ( > 2 Qc8)
Bc3; 2 Sa5+
Qc3; 2 Rd4+
Sxc2; 2 Sa5+
with changed play. The set replies to 1 ... Bc3 and 1 ... Qc3
(respectively 2 Rb4+ and 2 Rd4+) are emphasised by the try
1 Qc8? A second try 1 Kb6? (> 2 Qc8) retains one of the set
continuations but changes the other: 1 ... Bc3; 2 Rb4+; 1 ...
Qc3; 2 Se5 +. This try fails, however, to 1 ... S x c2! The key
1 Kd6! re-introduces the set continuation after 1 ... Qc3
(2 Rd4 + ), but changes the reply to 1 ... Bc3: 2 Sa5 +. The
position of the white King is crucial in the schem·e of changed
play, for White must avoid allowing checks.
Zagoruyko
The Zagoruyko is not so much a theme as a frame\vork . In its
simplest form a Zagoruyko has the following play: two black
defences are followed by different mates (in the two-mover) or
continuations (in the three-mover) in three separate phases of the
solution. This scheme may well be extended so that there are
more than two defences with changed mates, or more than
three phases altogether.
260
Zagoruyko
No. 263 is a typical interference-Zagoruyko in three phas~s.
The set play is 1 ... Pg6; 2 dSe6; and 1 ... Bb2; 2 Sb3. Wh1te
tries 1 Sf5? to threaten 2 Qd4. The same black defences are now
ZAGORUYKO:
BLACK INTERFERENCE
263
0. STOCCHI
Schach~Magazin, 1949
Mate in two
Set 1 ...Pg6; 2 dSe6
Bb2; 2 Sb3
Try 1 Sf5? (2 Qd4)
Pg6; 2 Bd6
Bb2; 2 Bb6
Rb4!
Key 1 Sc2! (2 Qd4)
Pg6; 2 Qxc6
Bb2; 2 Qb4
followed by 2 Bd6 and 2 Bb6 respectively. The try is defeated by

1 ... Rb4! The key 1 Sc2! (same threat) brings in a third pair of
mates after the interferences: 1 ... Pg6; 2 Q x c6; and 1 ... Bb2;
2 Qb4.
ZAGORUYKO
L. SZWEDOWSKI
First Prize, II Due Mosse, 1960
264
Mate in two
Try 1 Sd6? (2 Qd4)
Se6; 2 Qxf5
Se2; 2 Qf3
Pxg4; 2 Qe4
Pc5!
Try 1 S X f6? (2 Qd4)
Se6; 2 Sh5
Se2; 2 Rf2
Pxg4; 2 Rxg4
Sf3!
Key 1 Sg5! (2 Qd4)
Se6; 2 Sxe6
Se2; 2 Sh3
Pxg4; 2 Re4
261
t
Then1es and Tenns
The basic Zagoruyko schen1e is extended in No. 26~ to
include three changes in each phase. Whereas in the prev1ous
exan1ple the phases were set, virtual and post-key play,
Szwedowski's problem has two virtual and one post-key phase.
Try 1 Sd6? (the threat throughout is 2 Qd4). 1... Se6 leads to
2 Q x f5, 1 ... Se2 to 2 Qf3, and 1... P x g4 to 2 Qe4. But
1 ... PeS! defeats. So try 1 S x f6, and the same three defences
now yield the tnates 2 Sh5, 2 Rf2 and 2 R x g4. But now 1 ... Sf3!
defeats. The key is 1 Sg5 !, with the play 1 ... Se6; 2 S X e6;
1 ... Se2; 2 Sh3; and 1 ... P x g4; 2 Re4. Despite the extra
change in each phase, this problem may well be regarded as
inferior to Stocchi's, since the errors committed by Black
allowing the white mates are much less interesting, consisting
mainly of simple unguards and lacking the unity of the interfer-
ence errors of No. 263.
No such criticism can be levelled against No. 265, which also
ZAGORUYKO: SELF-BLOCKS
v. F. RUDENKO
First Prize, Dutch Ring Tourney, 1962
265 Mate in two
Set 1 ... R X d5; 2 Qc2
Sxd5; 2 Bxf5
Try 1 Se6? ( > 2 Rd4)
Rx d5; 2 eSg5
Sxd5; 2 Sxc5
Pf4!
Try 1 Sxf5? (> 2 Rd4)
Rxd5; 2 Qxe3
S X d5; 2 Sd6
Sd7!
Key 1 Sc6! ( > 2 Rd4)
Rxd5; 2 fSg5
Sxd5; 2 Sd2
Kxd5; 2 Qd3
Rc4; 2 Re5
demonstrates an extension of the basic Zagoruyko scheme.

This time two defences have changed mates in four phases, the
set play, the first virtual phase introduced by the try 1 Se6 ?,
the second virtual phase (try 1 S x f5 ?) and finally the phase
262
Zagoruyko
following the key 1 Sc6! In this problem the fundamental error
of Black's two thematic defences, 1 ... R x d5 and 1 ... S X d5,
remains the same throughout, namely self-block on a flight-
square. Valentin Rudenko, the composer of this very elegant
work, is one of the outstanding probletnists of the present
generation, and is likely to find a place in history as one of the
most brilliant and versatile composers of all time.
As a constructional work of art, No. 266 is undoubtedly much
ZAGORUYKO PIONEER
266 F. BERHAUSEN
First Prize, Essener Anzeiger, 1927
Mate in two
(a) diagram
(b) after key of (a)
(a) Set 1 ... Pd2; 2 Rx d2
Sg2; 2 S X f3
Key 1 2Rxf3, Zugzwang
Pd2; 2 Se2
Sg2; 2 Rx d3
(b) Key 1 Se3, Zugzwang
Pd2; 2 Sc2
Sg2; 2 S X f5
inferior to the examples of the Zagoruyko which we have studied

so far. Its principal interest lies in the date of its composition,
for it is one of the pioneers of the idea. (It also exemplifies a
curious form of twinning, comparable with that of Schiffmann's
mutate No. 252, under the heading Twin.) In the diagram
position the defences 1 ... Pd2 and 1 ... Sg2 have the set mates
2 R x d2 and 2 S x f3. The key 1 2R x f3 changes these replies
to 2 Se2 and 2 R x d3. Position (b), a second block position
after the key of (a), is solved by 1 Se3, and there is now a third
pair of replies to the thematic defences: 1 ... Pd2; 2 Sc2; and
1 ... Sg2; 2 S x f5. Notice that position (b) cannot be solved by
a return to position (a), since the key of (a) is a self-pin which
cannot be "unplayed".
A special type of Zagoruyko has been called by Michael
Lipton the Reduced Zagoruyko. Such problems fit the basic
263
Themes and Terms
Zagoruyko requirements, but the total number of white ~ating
moves is reduced, by means of mate transference or rec1proc~l
change, from the normal minimum of six to four, or even {tn
examples of cyclic change) to three. No. 267 is a reduced
REDUCED ZAGORUYKO
267 S. SHEDEY
First Prize, ex aequo, Sahs, 1963
Mate in two
Set 1 ... Ke3; 2 Se2
Kg3; 2 Sd5
Try ! Qxc6? (> 2 Sd5)
J(e3; 2 Qe4
Kg3; 2 Qf3
Rb3!
Key 1 Qg7! (> 2 Qe5)
Ke3; 2 Sd5
Kg3; 2 Se2 .
Zagoruyko with four mating moves, those of the set play re-
appearing after the key but reciprocally changed. Set: 1 ... Ke3;
2 Se2; 1 ... Kg3; 2 Sd5. Try 1 Qxc6? (>2 Sd5). If 1 ... Ke3;
2 Qe4; and if 1 ... Kg3; 2 Qf3. But 1 ... Rb3! defeats. The key
is 1 Qg7 !, and by means of a subtle alteration of the guards on
squares in the black King's extended field the original mates
are re-introduced, but reversed: 1 ... Ke3; 2 Sd5; and 1 ... Kg3;
2 Se2. The reduction of mating moves in a Zagoruyko to
three only is discussed under the heading Cyclic Play.
Zepler-Doubling
Zepler-Doubling is related to the Turton, but differs frotn it in
that a white line-piece moves towards the black King so that a
second line-piece can move on to the same line behind it to give
support in the mate. The manoeuvre is seen in No. 268. The key
1 Re4 prepares for the threatened continuation 2 dRd4,
followed by 3 Rf4. The variations are: 1 ... Kxe4; 2 Rd4+,
Kf5; 3 Bb1; and 1 ... Bc6; 2 Be6+, Kxe4; 3 Rd4. The point
of the key is emphasised by the try 1 dRd4?, with the threat of
264
Zepler-Douh/ing
268 ZEPL R-DOUBLIN
B. SoMMER
First Prize, Die Sclzwa/be, J 955/H
Mate in three
Try
1 dRd4 ?, R X d8! (2 Rb4 ?, B~!)
Key
1 Re4! ( > 2 dRd4, ~; 3 Rf4)
Kxe4; 2 Rd4+, Kf5; 3 Bbl
Bc6; 2 Be6+, Kxe4; 3 Rd4
immediate mate by 2 Rf4. The Rooks are now in the wrong

order, for Black defeats the try with 1 ... R x d8! (if 2 Rb4 ?,
Bishop moves!) It is essential that White should open the line
a2-e6 before he makes his threat, rather than leaving it until
later.
265
SECTION III
Composing and Solving
(a) COMPOSING
It is quite impossible to teach anyone how to compose. The
majority of chess problemists learn their art by studying the
works of others, though bad habits can easily be picked up if
inferior works are used as models. I have tried in this book to
present well constructed examples of the themes and strategy
discussed, in the hope that readers who are not already expert
composers may see the standards that can be attained. Comins
Mansfield, in his book "Adventures in Composition", has
given a fascinating insight into his composing methods, and the
aspiring proble1nist can do no better than to study this work,
for he will thereby learn a great deal about the composer's
technique, and be entertained at the same time. In this chapter
I shall not attempt to teach composition (this being, as stated,
an impossibility); rather I shall examine the construction of a
number of two-movers, with a view to suggesting how the
composer works and offering some advice and hints on the way.
Since Mansfield is one of the world's outstanding composers,
it seems logical to study one of his works first of all. No. 269(a)
269(a) C. MANSFIELD
Fourth Prize, The Problemist 1953
Mate in two
Key 1 Be4 (> 2 Qxf5)
Se3; 2 Sd3
Be5; 2 Sd5
Bxe4; 2 Qxb8
Pxe4; 2 Qg5
Kxe4; 2 Sa2
266
I
I
J
- ... --
C01nposing and Solving

shows an attractive combination of two self-blocks leading to
white interference mates, with the mating piece (the Sb4)
opening a white line of guard to the flight e4, and two ~elf
blocks on the flight, plus a fifth variation after the black Ktn~
move, the \Vhole mechanism being introduced by a thematic
flight-giving key. Let us try to imagine how the composer
started this proble1n. The initial position will probably have
been something like that shown in No. 269(b): the key is made,
269(b)
Black's flights are presu1ned to be guarded, except for d4. The

threat is 2 Qe3, and the thematic defences 1 ... Sc4 and 1 ... Be4.
Not enough yet to make an interesting problem, even when the
business of guarding the black King's flights is attended to.
At such a point in the construction of a proble1n the budding
composer n1ust take great care; for it is all too easy to add
fringe variations to a promising position like this one, in other
words, variations which have no relation whatever to the theme
of the problem. Since the two thematic lines are self-blocks,
it would be logical and appropriate to arrange two further self-
blocks, possibly on the flight-square. Furthennore, it would be
sensible to give the white Queen more work to do, since she might
otherwise be uneconotnically used. Best of all would be two
captures of the Bd4leading to Queen-mates. It is now a question
of deciding which squares would be appropriate for the Queen
to mate on. e2 suggests itself immediately, and this can be
managed if the whole position is given a quarter-turn to the left
and a black Pawn is added on the new f5: 1 ... P x e4; 2 Qg5.
Turning the board like this is a very useful procedure in the
267
early stages of composing a problem. Where else could the
Queen mate? On the diagonal c7-f4? But there's a black
Bishop guarding that. Put the Bishop on c7 so that the Queen
could capture it? No, because 1 ... B x a5 would be a very
strong defence-so strong as to be -impossible to provide a
mate for! The way to do it is to place the Queen on b5, so that
2 Q x b8 is the mate.
At this point the composer may well start thinking about the
key his problem is to have. When there are flight-squares, it is
a good thing if at least one of them can be granted by the key,
since a flight-giving key offers Black some advantage. In this
case the Be4 could make the key, but where should it start
from? The corner-squares a8 or h1 suggest themselves first. But
if hl, then what piece is going to create the second self-block on
e4, the one that will lead to 2 Q x b8? This piece can only be
the other black Bishop, and this Bishop cannot be on b 1,
because of 1 ... Bd3 !, a threat-defeating move for which it
would be very difficult to arrange a reply. Nor can it be on a8,
because of 1 .. . Bd5 !, another unwanted defence. So this black
Bishop must be to the south-east of e4, which means that the
white key-Bishop will have to stand to the north-west of this
square. a8 seems all right. (Diagram 269(c): the key will be
269(c)
1 Be4 ; squares in the black King's field are presumed to be

guarded.)
Suddenly the composer realises he has a mate in one on his
hands, by 1 Q x b8! Luckily this is easily dealt with: the key-
Bishop must stand on b7. So much for all the discussion about
268
where it should start! There is also another unwanted defence
which must be prevented, namely 1 ... Sc3. It is a sitnple
tnatter to shift this Knight to fl, but then another defence
arises, 1 ... Sg3. One way of dealing with this is to "plug" g3
with a black Pawn. Then one can add a further black Pg4 to
continue the guarding of the black l(ing's field. This second
black Pawn is 1nore economical than a white Ph3. (Some
con1posers try to avoid white Pawns altogether. One or two
(not Mansfield!) take this principle to absurd extremes, pre-
ferring a whole white piece where a Pawn would do just as well.
There is no special merit in problems without white Pawns. I
learnt my own lesson in this respect at the age of sixteen: I
submitted to a well-known magazine, whose problem editor was
one of the "no-white-pawns" brigade, a two-mover in which I
had used a white Bishop in order to achieve a pawnless setting,
although a Pawn would have been sufficient. It served me
right: the setting was cooked, but it wouldn't have been if I had
settled for a Pawn in the first place!)
Returning to the construction of the problem under dis-
cussion, we suddenly realise that we have so far done nothing to
provide a mate for a defence which is inherent in the scheme
and simply cannot be avoided, 1 ... K x e4. By a piece of good
fortune, this move actually allows four mates in the position as
we have reconstructed it so far: 2 Sa6JSc6JSa2JSc2. This is most
satisfactory, because these can be reduced to a single mate by
the addition of a black Ral, provided that the white Rook a3
is moved to b3 o'r c3 (it doesn't really matter which, though
1v1ansfield probably chose c3 so as to avoid having too many
pieces on one file-the question of the appearance of the
problem must be considered). This new variation 1 ... K x e4;
2 Sa2 blends harmoniously with the rest of the play, because the
Rook + Knight battery, which remains masked in the mates by
the Knight, now becomes unmasked so that 1nate can be given
by the Rook when the Knight moves away to shut off the black
Rook.
Now all that ren1ains to be done is to arrange a guard for g5,
and to make sure there are no cooks. The white King has not
yet been put on the board, and since he has got to be there
somewhere, he might as well do guard duty by standing on h6
269
Con1posing and Solving
(not h5, because g4 would then be both blocked and guarded,
an undesirable breach of the principle of Economy). It is
curious how often the white King can be used in this way: a
glance through the problems in this book will show some of the
methods by which economies of this sort can be achieved.
What about cooks? 1 Qe2 looks rather serious, with its threats
of 2 Sd3 and 2 Sd5. Mansfield decided to prevent this cook by
adding a black Rf2, shifting the Bh1 to g2 to stop 1 ... Rh2+.
Another nasty-looking cook is 1 Bc8, which has the same
effect as the intended key. A black Sf8 will prevent this. And
now the problem is finished. Not quite a first-class problem,
perhaps, since some of the strategy is on fairly simple lines (self-
blocks on flights are among the most straightforwa.rd of black
errors), but good enough for publication, and, as it turned out,
good enough to win a prize.
It is not surprising that Mansfield, with his great love of
battery-play, seized on the Half-battery when it became popular
in the early 1960s. Nor is it surprising that a number of Mans-
field's half-battery problems should feature self-blocks and
white-interference mates, the principal elements of the work we
have just discussed. What is, perhaps, surprising is the large
number of distinct problems that Mansfield has made showing
a half-battery with self-blocks and white-interference mates. In
casting around for new ideas to present, a composer will often
take an earlier problem of his own as a starting-point, and then
see if the same or a related idea can be set in a different form,
e.g. with a diagonal instead of an orthogonal matrix (in other
words, with a battery or half-battery set on a diagonal rather
than on a rank or file), or, in the case of the half-battery, with
different thematic white pieces. Mansfield has described this
composing technique in his book, calling it "The Adventure of
the Stepping Stones". Nos. 270 to 274 show how a single idea
can be presented by one composer in five different ways, and
then come two settings of the theme which .this composer might
have produced. The reader is invited to study the solutions
given alongside the diagrams, and then to compare the seven
problems, noting their points of similarity and difference. Can
you tell that the last two of the series are not by Mansfield?
An altogether different way of producing related problems is
270
COJnposing and Solving
270 C. MANSFIELD
Second Prize, Sclzakend Nederland, 1964
Mate in two
Try 1 dSf5?
Sc7; 2 eSc2
Rxb7; 2Sd5
Ra6!
Key 1 eSf5!, Zugzwang
Sc7; 2 dSc2
Rx b7; 2 Sf3
Ra6; 2 Se2
C. MANSFIELD
271 Third Hon. mention, Europe Echecs,
1964
Mate in two
Try 1 Kb7?
Bb2; 2 cSb3
Bxd2; 2 Sd3
Rf7!
Key 1 Sb7!, Zugzwang
Bb2; 2 Kb5
Bx d2; 2 Kd5
fR,_,; 2 Q X e5
aR,_,; 2 Rb3
S,_,; 2 Rd3
C. MANSFIELD
272
Problem, 1965
Mate in two
Try 1 Bb7?
Rx f6; 2 Se6
Rf4; 2 Se4
Rxf3!
Key 1 Sb7 !, Zugzwang
Rx f6; 2 Be6
Rf4; 2 Be4
Sxf6; 2 Bd6
Sf4; 2 Pd4
Rxf3; 2 Bxf3
271
C. MANSFIELD
273 The Prob/emist, 1967

Mate in two
(a) diagran1
(b) R h3 to h2
(a) Try 1 Sel? R x e3!
Key 1 Ba2! ( > 2 Sel)
Qb6; 2 Sb4
Qxd6; 2 Sd4
Qa5; 2 Qb7
Sb5; 2 Qxb5
(b) Try 1 Ba2 ? R X e2!
Key 1 Sel ! (> 2 Ba2)
Qb6; . 2 Bb5
Qxd6; 2 Bd5
274
C. MANSFIELD
Version, The Problemist, 196'8
Mate in two
Try I Kc2?
Pb6; 2 Rc5
PaS; 2 Rc3
Sc6; 2 Ra4
Pa2!
Key 1 Rei!, Zugzwang
Pb6; 2 Ke3
Pa5; 2 Kd2
Sc6; 2 Kc2
Pa2; 2 Qb2
A. ELLERMAN
275 Second Hon. mention, Ceskoslovensky
Sah, 1963
Mate in two
Try 1 Sb7? (> 2 Sa8)
Re3; 2 Se6
Rg5; 2 Sd5
Rxc4!
(Try 1 Sf5? Rx f3 !)
(Try 1 Se4? Ke3!)
Key 1 Sa8! ( > 2 Sb7)
Re3; 2 Se4
Rg5; 2 Sf5
Rxc4; 2 Sxc4
272
Touw HIAN BwEE
276
Europe Echecs, 1967
Mate in two
Try 1 Rf5? ( > 2 Sh6)
Sb4; 2 Sd6
Sc3; 2 Se5
S X g5; 2 S X g5
Pd2!
Key 1 Sh6! ( > 2 Rf5)
Sb4; 2 Rc5
Sc3; 2 Rd4
Sxg5; 2 Rxg5
illustrated by Nos. 277 and 278. Their composer, Nils van Dijk,
is a very talented and versatile problemist, one of the leading
composers of the present day. His successes in composing
tourneys have been quite remarkable, and a number of his
prizewinning works are quoted in this book. No. 277 is a two-
mover built in the style of the 1960s: multiple settings with
different key and play in each. The star-flights of the black
King lead to distinct mates in each of six settings, which means
that there are no fewer than twenty-four mates altogether. The

Special Prize, Probleemblad, 1965
Mate in two
(a) diagram
(b) Pe7 to g7 and Pg6 to g2
(c) Pg2 to f5 and Qhl to el in (b)
(d) Sh3 to h2 and Qel to hl in (c)
(e) PbS to a4 and Sh2 to h3 in (d)
(/) Pf7 to a7 and Pa7 to f7 in (e)
(a) (b) (c) (d) (e) (j)

1 Sf5+ 1 S x f7 + 1 Sb7 + 1 Sc8 + 1 Se8 + 1 Sb5+
1 ... Kc6 2 Pe8 = Q 2 Bf3 2 Sb4 2 Se7 2 Rb6 2 Sxa7
1 ... Ke6 2 Sg7 2 Bg4 2 B X b3 2 Qe7 2 Qf6 2 Pf8 = S
1 ... Ke4 2 Sg3 2 Qh7 2 Pf3 2 Q x f4 2 Sf6 2 Sc3
1 ... Kc4 2 Se3 2 Se5 2 Sb2 2 Sb6 2 Rb4 2 Sa3
273
construction of this extraordinary achieven1ent is highly
ingenious, even if the co1n poser did have to resort to the slightly
unsatisfactory expedient of shifting two pieces rather than one,
for each new setting (a procedure known as "approximate
twinning" ). But having produced one problem using this
schen1e, a composer has difficulty in extending his idea by
means of the "stepping-stones" technique. The key-Knight
must be on a square of a different colour from the black King,
so that it can deliver mates after the King has moved to his star-
flights. So it is no good trying to set the same scheme with a
diagonal Bishop + Knight battery, as the Knight would then
be on a square of the same colour as the King.
278 N. G. G. VAN DuK

First Prize, De Waarheid, 1966
Mate in three
Key
1 Qxa5 ( > 2 Sxb5+, Kc6; 3 Sa7
Ke6; 3 Sc7
Ke4; 3 Sc3
Kc4; 3 Sxa3
Ret; 2 Sxf5+
Pb6; 2 Sc8+
Pxg4; 2 Sxf7+
Bxg4; 2 Sc4+
Van Dijk's method of extending his idea is shown in No. 278.

He has converted the checking keys of his multiple-setting two-
mover into second-move continuations of a three-mover! And
in fact the idea finds even better expression in three-move form.
As in the two-move version, most of the mates are given by the
Knight, but the other white pieces have their own part to play,
either doing guard-duty or else delivering mate as the black
King moves to his star-flights. Three-movers are, of course,
much more difficult to compose than two-movers, but the
chances of achieving something original are much greater. It is
very unlikely that there are any simple two-move ideas still
unexplored, and the strategic possibilities of the well-known
themes were exhausted long ago. The two-mover is by no means
274
Con~posing and Solving
as dead as some eminent theoreticians have claimed- the
opportunities afforded by twinning mechanisms, for example,
have only recently begun to be explored in detail, and there are
still a number of task records to be broken. But very much more
remains to be done in the three- and more-move field. Beginners
are generally content to concentrate on two-movers, thereby
depriving themselves of the considerable enjoyment to be
derived fro1n longer problems. Perhaps a study of van Dijk's
pair of prizewinners may inspire some other two-move devotees
to attempt this sort of "stepping-stones" adventure.
It will be seen that No. 277 won a "Special prize", whereas
No. 278 gained a first prize. Why the difference? The majority ·
of tourney judges are of the opinion that twin-settings should
not be judged on equal terms with single-setting problems, and
therefore give special awards when such problems are entered
for a tourney. Composing tourneys are of two kinds. Problems
published in most chess magazines and in all magazines
devoted exclusively to problems compete in Informal Tourneys:
the entries are seen and solved by the, magazine's readers, and
all those published within a specified period, usua11y a year, are
arranged in order of merit by a judge whose name should be
made known to likely contributors before the beginning of the
period in question. The judge, who should certainly be a
problemist of international standing, with an expert knowledge
and experience of the type of problem he is called upon to
assess, rnay well be himself a reader of the magazine, so that the
names of the problems' composers will be known to him when
the time comes for him to draw up his award. In a Formal
Tourney, however, the problems are not published before the
judge makes his award, nor is the judge informed of the
composers' names. Theme Tourneys are held now and again:
composers are invited to submit problems illustrating a set
theme. Such tourneys are usually formal.
A tourney-judge will normally award a number of prizes, and
then single out a further selection of entries for Honourable
Mention, and for Commendation. One of the most difficult
aspects of tourney-judging is the question of the originality of
the entries (some notes on this subject will be found under the
heading Anticipation in Section II). Writing in the Yugoslav
275
magazine Problem in January 1959, Hermann Albrecht, the
distinguished collector and critic and formerly editor of the
two-move section of Die Schwalbe, suggested a few guiding
principles for judges. In his view the most original entry in the
tourney should not necessarily receive the first prize. A prize-
\Vinning problem ought to display formal perfection, and the
combination of such perfection with great originality is extreme-
ly rare. Originality plus convincing form = prize; originality
with formal weaknesses = honourable mention; attractiveness
without particular originality= commendation. Not all judges
will necessarily agree with Albrecht's views, but there can be no
denying that those called upon to assess the works of others
should at least base their assessment on some principles of this
kind.
An invitation is now extended to the beginner to accompany
the author in the construction of a. couple of two-movers, one
in the traditional style and one with a modern theme. Goethart
unpins are defined and exemplified in Section II, and in that
article a challenge is issued to ambitious composers to attempt
to achieve three Goethart unpins in a single phase. Let us
start by setting up a possible-looking scheme in which there
will certainly be two such unpins, and then see if there is any
chance at all of working in a third (No. 279(a)). 1 ... PeS and
279(a)
1 ... Pf5 will both defeat the threat, whatever that may be, and
will lead respectively to 2 Sf6 and 2 Se7. A threat involving the
move of this Knight to another square would be very much in
keeping with the strategy of these variations. We are going to
276
have to deal with two awkward defences at some stage, viz.
1 ... P x d5 and 1 ... Pf6, so we might as well think about them
now to save possible trouble later. We can add th~ other white
Rook at e1 (uneconomical, but maybe we shall thtnk of some-
thing better), and the other white Knight at c7. Now 1 ... P X d5
can lead to 2 Re8, and 1 ... Pf6 to 2 S x e6-an interference
with the black Queen.
How about the third Goethart unpin? We shall need the
diagonal a5-d8 for this, so the Knight we have placed on c7
must be moved to f8. e8 will have to be guarded by another
piece anyway: it is pointless to think we can economise in this
respect. Let us add a black Bb6, pinned by the white Qa5, and
a black Pc6. (Diagram 279(b).)
279(b)
The expert is usually quicker than the beginner to realise

when he is working on something that cannot possibly turn out.
But even the beginner will readily appreciate that we are now
heading up a blind alley. In the first place, the intended varia-
tion 1 ... PeS; 2 Sc7 is not mate, because of 2 P x d4, and if we
shift the white Rook further down the d-file, how will 1 ... PeS
defeat our intended threat? Possibly we could abandon the idea
of a threat by the Rook + Knight battery, replacing it with
2 Q(b4)- d6. But what can we then use to pin the Bb6? We are
running out of pieces. Secondly, the defence 1 ... cP x d5 is
more than merely awkward: we have no more white Rooks to
add on cl. So we must, for the time being, give up the idea of a
third Goethart unpin in this setting, as other composers have
277
Cmnposing and Solving
no doubt done before us. We tnust therefore ren1ove the three
pieces on the left of the board, and revert to our original. i~~a,
if we want to salvage a \Vorthwhile problem from the tnttial
scheme.
At this point it occurs to us that we might have enough white
pieces available to plug some of the squares to which the Sd5
n1ight move in discovering mate. For a start, let's move the
Re 1 to e3, and the Sf8 to f4, and add the white Queen at b4, a
white Pc3 and a black Pc7. The threat is now 2 Sb6, and we
have the four defences we arranged previously: the two thematic
unpins and the by-play after the other moves of the black
Pawns. (Such by-play-cannot be regarded as "fringe" variations,
since the Pawn-moves are unavoidable in this matrix.) (Diagram
279(c).)
279(c)
Our next job is to think of something else for the white

Queen to do, for otherwise she will be very lazy. She can, at
least, make the key, which might perhaps be 1 Q( a5)- b4. And
she might be able to mate on e7 or f8 or even both. Add a
black Sh7: then 1 ... Sf8; 2 Q x f8- not a very interesting mate,
but better than preventing 2 Qf8 altogether. But what if Black
plays 1 .. ·. Sf6? This corrects against the random error of
unguard of f8: if 2 Qf8?, Se8! Now an interesting idea strikes
us. Supposing the black Queen and Rg5 are interchanged?
Then 1 ... Sf6 can be followed by 2 Qe7-a variation of some
strategic interest, since it is a correction by the Knight leading
to exploitation of interference. We should, in any case, have
278
Cmnposing and Solving
had to put the black Queen elsewhere, because of moves like
1 ... Qe4 and 1 ... Qd3 . Now the problem can, we hope, be
completed with the addition of the white Kb8, the other black
Sa8 (to prevent 1 Q x c7), and a black Pb5 to force 1 Qb4 as the
key, rather than 1 Qc5. (Diagram 279(d).)
279(d)
Unfortunately this setting is unsound in two respects. Firstly,

there is a cook, 1 Q x a8, threatening 2 Ka7fb7. This could be
prevented by the addition of a black Pa7 or a6. The second
unsoundness is more serious: we have a double threat, 2 Sb6
or 2 S x c7, the latter move being possible because the white
King guards c7 as well as c8. Reluctantly we are forced to give
up the idea of using the white King to guard c8, which means
that this duty must be undertaken by a white Pawn. That in
turn compels us to add a black Bb8, so that 1 Pb8 = Q mate
cannot be played. Luckily there is a use for the white King,
since we must prevent the cook 1 Qa8. The black Knight
previously on a8 is no longer needed, because 1 Q x c7 mate is
now prevented by the Bb8. So the white King goes on a8, and
the problem is complete. While it is still set up on our board (a
pocket set is used by most problemists for composing and
solving), and before we stamp out our new problem on a
diagram, we count the number of pieces on black squares. If
this is more than half the total number of pieces on the board,
we reflect the position so that more pieces are on white squares.
This is because chess pieces, especially white ones, are clearer
when printed on white squares in newspapers or magazines. Of
279
Cotnposing and Solving
course, the position cannot be reflected if castling is involved.
The finished problem is shown in diagram No. 279(e). The Re2
J. M. RICE
Mate in two
Key 1 Qg4 ( > 2 Sg6)
.Pc5; 2 Sd7
Pd5; 2 Sc6
Pc6; 2 S X d6
Pxe5; 2 Rd8
Sc8; 2 Qxc8
Sc6; 2 Qd7
has been moved fron1 e4 to improve the appearance of the

setting.
The question to be answered now is whether the problem is
worth publishing or not. There can be little doubt that the basic
scheme will have been shown before, but possibly the setting
has sufficient points of originality to warrant publication. As
has been said elsewhere, a composer uncertain of the originality
of his problem is advised to consult an expert. If the expert
cannot help, then it is probably best to publish, in the hope that
the judge of the informal tourney, or someone reading the
magazine or newspaper in which the work appears, will be able
to turn up an anticipation, if one exists. This particular problem
was given to Barry Barnes for his section in The Problemist.
When submitting a problem for publication, a composer should
lI always take the trouble to stamp or draw the pieces on a dia-
I' gram. A busy problem editor, receiving perhaps twenty prob-
li lems a week, should be spared the task of setting up on a
I board a contribution subn1itted in notation.
Not long after tills problem appeared in The Problemist in
I November 1967, I received a letter from my friend Edgar
I Holladay, currently one of the leading problen1ists in the
United States. Like most chess problemists, he is a correspon-
dence friend, a pen-pal: composers of different countries have
little opportunity to meet one another. With his letter he
enclosed two positions, reproduced here as Nos. 280 and 281.
280
280 E. HOLLADAY
Mate in two
Key 1 Qh3 (> 2 Sf7)
Pc5; 2 Sd7
Pd5; 2 Sc6
Pc6· 2 Sxd6
' 2 Qh5
Pxe5;
Sc8; 2 Qxc8
Sc6; 2 Qd7
J. J.P. A. SEILBERGER
281
Western Morning News, 1923
(Position reflected)
Mate in two
Key 1 Qg4 (> 2 Qe6)
Pc5; 2 Sd7
Pd5; 2 Sc6
Pc6; 2 Sxd6
Pxe5; 2 Rd8
Qc8 ·; 2 Qxc8
Sc6; 2 Qd7
Bxf7; 2 Pxf7
Both are anticipations of our Goethart-unpin problem, and

indeed one of them is an anticipation of the other. Holladay
composed his version of the idea in 1945, without knowledge of
Seilberger's already twenty-two-year-old setting. What is
interesting is the way in which each composer has approached
and surmounted the difficulties we encountered in constructing
our version. Holladay adds a flight-square d8, making the
threat 2 Sf7, and the mate following 1 ... P x e5 is 2 Qh5
rather than 2 Rd8. The white King is used to guard two squares
in the black King's field, and the whole setting is four pieces
lighter than ours. We note with interest that Holladay, too,
found the device with the black Sa7 which produces two by-
play variations. His key is perhaps slightly weaker than ours,
but in other respects his version is superior. The flight-square
makes it unnecessary to plug the other squares to which the
Se5 might have access in discovering mate.
281
Seilberger uses the ingenious device of a pin-line on the fi~th
rank, so that the two thematic defences are unpins of the whtte
Knight. Consequently the threat cannot be a move of t~e
Knight discovering mate from the Rel. Instead the threat IS
2 Qe6, introduced by an obvious, and therefore poor, key. In
several respects the construction is similar to that of the other
versions, except that the mates 2 Qc8 and 2 Qd7 are forced in a
rather different fashion. No doubt Seilberger considered the
arrangement which we and Holladay used, but rejected it
because of the multiple mates which would have arisen after
moves by the pinned black Queen (the Se5, being unpinned,
might have had a choice of four mates).
So our problem was completely anticipated, by superior
settings, and thus became ineligible for honours in the informal
two-move tourney of The Proble1nist. Let us finally trace the
stages in the construction of a modern-style two-mover which
fared better in the same tourney, gaining Second Honourable
Mention. There is no denying that two-movers in the modern
style stand a much better chance of tourney honours nowadays,
but even in this field the scope for originality is diminishing. In
his fine book "Mate in Two Moves" (1931), Brian Harley, for
many years the distinguished editor of a flourishing problem
column in "The Observer", wrote: "To make a first-rate
original problem, you must have an adequate technique, a
knowledge of what has already been achieved, ideas, and . . .
luck". The technique can be learnt partly from studying other
composers' works and partly by trial and error. The knowledge
of what has been achieved is acquired from reading problem
books and magazines (see the Bibliography on page 336), and
from keeping abreast of new trends and developments. Luck
is something some of us have some of the time. But the ideas
come most readily to the most fertile and inventive minds, and
such minds are possessed only by the very few great problem-
ists. Those of us who fall short of that category must necessarily
take well-known ideas, and endeavour to recast them in an
original fonn. And that is exactly what we are about to do.
No. 282(a) presents a matrix which could be used as the
basis of a Rukhlis, i.e. a two-mover showing the transference of
a pair of set mates to different post-key defences, with changed
282
Co1nposing and Solving
282(a)
-.
~ . ~- @ ~-~ ~~~;:
~~~~~~
1 ~~
~ ~
~~ B·B
~
••••
.. B.®B. %~'-~('•
- - - t~ •
- 8} -
~~ B' • •
i.~ -
• •
• -
®-- - ~ • ttJ L~s
~...J ~· ....~
-~·
mates following the set defences. The set play will be a Grim-
shaw on d4: 1 ... Bd4; 2 Sf4; and 1 ... Rd4; .2 Se3. The key
1 Pd4 will render these variations impossible by pinning the
Sg2, but the set mates will now reappear after the withdrawal
unpins 1 ... Rh3 (2 Sf4). and 1 ... Rh4 (2 Se3). 1 ... Bd4 and
1 ... Rd4 will become self-pins, with pin-mates given on,
respectively, the line a5-d5 and the diagonal b3-d5. The first
difficulty to be overcome in turning this sketch into a worth-
while problem will be that of arranging a threat. Fortunately
the white Queen is not used in this sketch; could she be so
placed as to guard e5 (and maybe d4 as well) in the pre-key
position, and then give n1ate by playing to f3, to enable the
Rook-unpins to defeat? f6 is the obvious place for her, and it is
just possible that the threat of 2 Qf3 may be rather hard for the
solver to see. Next difficulty: to find a reply to 1 ... R x g2+.
White Bfl seems the natural answer, and perhaps this Bishop
could give the mate on c4 after 1 ... R x d4 in the post-key play.
What will mate after the self-pin 1 ... B x d4? White Rook
playing frorn c6? This Rook would also provide a second
necessary guard for d6 and e6, since the Queen has to mate on
f3. So far so good. (Diagram 282(b).)
Third difficulty: how do we guard e4? And, come to think of
it, how do we add an· extra guard on c5, needed to support the
white Rook in the variation 1 ... B X d4; 2 Rc5? We can't use a
white Pawn to hold either of these squares; we must therefore
make use of the two white pieces that are not yet on the board.
Put the white Knight on g5 (its only possible square), and the
white Bishop on e7 or f8 (settle for f8, though this is a decision
283
l82(b)
we shall regret in time). Now we see that the Rc6 is not doing
as much good as we had hoped, since d6 and e6 are now triply
guarded. In order to justify the use of the pieces we have just
added, it would be better to shift this Rook to c8, or even to cl,
enabling both the Bf8 and the Sg5 to exercise crucial guard over
two squares each, not just one. c8 or cl? cl would be better,
because we shall need some black units in the top part of the
board to guard the squares c6, d6, d8, e6, f7, e5 and f5, on
which the white Queen could otherwise give mate. So we reach
the position shown in diagram 282(c).
282(c)
Shall we simply prevent the white Queen from reaching any

of these squares? Would it not be better to guard perhaps two
of them with pieces which could move away to defeat the
threat, thereby providing us with a bit of non-thematic by-play?
It would indeed, and furthermore it would be advisable to
restrict the black force used for this purpose to the absolute
284
minimum, in order to preserve the lightness of the setting. Let
us try putting the black Queen on d7. 'fhis looks very promising:
1 ... Qe7 will allow 2 Qc6, while 1 ... Qe6 can lead to 2 Q X e6.
At present 1 ... Qd6, 1 ... Qf7, 1 ... Qf5 and 1 ... Qd8 lead to
duals, and 2 Qe5 can still be played at any time. We shall be
strict with ourselves at this stage: we will add one more black
piece, ·a nd one only, before abandoning the idea of using the
black Queen, promising as it seemed. Otherwise our setting will
begin to take on that heavy appearance typical of the careless
composer: economy of force is all-important. By an amazing
piece of luck, a black Sf7 does the trick (luck is on our side for
once!). All the duals are removed (except the very unimportant
choice between the threat and 2 Q x f7 after 1 ... Qd8 or
1 ... Qb5-not worth bothering about that), and we have a
third by-play variation: 1 ... Sxg5; 2 Qe5.
So delighted was the author with this light, open and economi-
cal setting that it was rushed into print straightaway. Alas! the
defence 1 ... Qe8, defeating the threat and yet holding both c6
and e6, had been entirely overlooked. So the problem was
unsound by reason of No Solution, through sheer carelessness.
For if the white Bf8 had been placed on e7, all would have been
well. Luckily the problem was entered in an infqrmal tourney,
rather than a formal one, which meant that the judge received
the corrected version, diagram 282(d).
J. M. RICE
Second Hon. mention, The Problemist.
282(d)
1967
Mate in two
Set 1 ... Bd4; 2 Sf4
Rd4; 2 Se3
Key 1 Pd4 ( > 2 Qf3)
B X d4; 2 ReS
Rxd4; 2 Bc4
Rh3; 2Sf4
Rh4; 2 Se3
Rxg2+; 2Bxg2
Sxg5; 2 Qe5
Qxe7; 2 Qc6
Qe6; 2 Qxe6
285
As a postscript I append another Rukhlis on the same li~ es ,
ardved at fron1 the previous problem by means of the " stepping-
stones" technique. The construction is much more laboured
than that of No. 282(d), and the pieces are, in the main, less
economically employed. Luck was not with me on this occasion.
J. M. RICE
283 Die Schwalbe, 1967
Mate in two
Set 1 ... Bd4; 2 Qe4
I Rd4; 2 Qe5
· Key 1 Pd4 ( > 2 Be4)
Bxd4; 2 Sc3
Rx d4; 2 Sb4
Rf5; 2 Qe4
Rf4; 2 Qe5
R X e3 + ; 2 S X e3
Qxd4; 2 Sc7
Pe5; 2 Bg8
Sf5; 2 Q X f3
(b) SOLVING
The best composers are not usually the best solvers. Most
composers don't take the solving business seriously, .and look
in detail at only some of the problems they see in print, to keep
in touch with what other composers are doing. The serious
solvers are those who send in regular sets of solutions to a
magazine's originals, and whose names appear in the solving
ladder. If you are going to take solving seriously, then you have
to be prepared to spend time hunting for cooks, even long after
you have found a problem's key. Until every problem editor has
his own computer for testing the soundness of the contributions
he receives, cooked problems will continue to appear, far too
frequently for most problemists' tastes. A large number of
composers, including the author of this book, are much too
careless about testing their own problems before sending them
off for publication. Having spent hours, or more usu~lly
weeks or months, working on a difficult setting, one feels
reluctant to spend further time on the boring job of testing the
problem for soundness. Moreover, it is all too easy to overlook
286
in1perfections in one's own work, as one is really hoping there
won't be any. All the satne, it is a job that n1ust be tackled, and
more thoroughly tackled by sotne composers of the present day.
This is particularly true where helpn1ates are concerned, for
this type of proble1n is notoriously difficult to get sound.
Problem editors have no time to do a composer's job for him,
and should not be expected to. Occasionally, however, in a
colu1nn with a regular solving competition, an editor will
deliberately set an unsound problem, or at any rate will not be
too careful to test a contribution about whose soundness he has
doubts. His motive in doing this will simply be to separate the
really careful solvers from the rest, the very good from the good.
·If every solver in the contest got every problem right, the editor
would run out of prizes to award. For several years I have run
a solving contest in the December issue of the British Chess
Magazine. The problems set have nearly all been fairies of
one kind or another, with all sorts of comic and curious things
mixed up with a number of straightforward helpmates and self-
mates. Nearly all the problems are thoroughly tested before
they are published, but a few are printed untested, to catch the
unwary solver. I should add, in case there is an outcry from my
readers, that unsound problems are not set intentionally in the
B.C.M. There are quite enough unintentional unsoundnesses,
amongst both the tested and the untested contributions, to do
the job of separating leading solvers' scores perfectly adequately.
Solving can be great fun, and also very rewarding. Probably
more-movers are the most satisfying to solve, because the
length enables the composer to present an interesting idea
in a single variation, and this helps him to achieve that some-
times elusive element of unity which is. likely to appeal most of
all to the solver. Some people solve a chess problem by trial and
error. A leading solver in one of the world's foremost problem
magazines reported recently that his method was to examine and,
if necessary, write down every single white move on the board,
so that he would be sure of finding not only the key but also
every cook the position might contain. Well, he has a solving
trophy to show for his labours, but it 1nust have bored hin1 to
tears. The trial-and-error method need not be as exhaustive as
this. It is possible to find the key to a large number of problems
287
by applying a few basic principles: look for a way of arranging a
reply to a strong, unprovided black def~nce, .such as t.he capture
of a piece guarding potential black Ktng-flights; ?nng out-of-
play pieces (pieces out of range of the black Ktng) to J?ore
promising-looking squares; decide whether the problem will be
a block, with Black in Zugzwang after the key, or whether the
key must introduce a threat. But by far the most satisfying
method of solving chess problems, the method used by practic-
ally all composer-solvers, is that of "theme-spotting". The
layout of the principal black and white pieces on the board will
suggest the theme of the problem to the experienced solver, and
the knowledge of what the problem is likely to be all about
should lead him to the key in due course, even if he does fall for
a few tries on the way.
At this point it should be emphasised that the discovery of the
key is only part of the solver's task, and with some problems
only a small part at that. Chess problems are to be appreciated
as works of art, not merely cracked as puzzles. If you find what
you take to be the key after only a few seconds' search, don't
stop there. Consider every variation, in itself and in its relation-
ship to other variations. You might, after all, be dealing with an
example of reciprocal or cyclic play, where the pattern of
defences or mates or both is all-important. Or you might even
have been deceived by a try. Ideally, a try should be defeated by
as obscure a move as possible. But often a composer is forced
to accept an obvious refutation simply because the move is
inherent in the position as he has composed it. A try which
introduces new play different from that found after the key
should·not be dismissed merely because it is obviously refuted.
That try may well be an integral part of the composer's idea-
half the problem, even. The solution to a problem is not just
White's first move, but that and the variations it introduces,
together with any tries the position may contain and the play
which they, in turn, introduce. The composer hopes you will
see his try or tries first, and not stumble upon the key until
later, but this may not always be the case. Of course, not all
problems have tries. Tries in the three-mover are still fairly rare.
But it is true to say that the majority of good two-movers
published nowadays rely for their effect on set play or play
288
following tries (virtual play), together with the key and the
variations it introduces.
You cannot teach a person how to compose, and you cannot
teach him how to solve. But it is not impossible to suggest to
the would-be solver some of the techniques which will help him
to become proficient in the art of theme-spotting. The reader
who fancies he has already learnt enough to enable him to solve
everything may like to turn straightaway to Section IV, where
a number of simple and difficult problems of all kinds have
been assembled together to test his powers. For those who have
not yet reached that stage, eight problems-six two-n1overs, one
three-mover and a helpmate-will now be examined, and
assessed, from the solver's point of view.
No. 284 is a light setting by a brilliant and versatile Russian.
284 L.ZAGORUYKO
Third Prize, British Chess Magazine,
1956
Mate in two
(To the experienced solver, the name of the composer is often

a clue to the type of problem he is dealing with. The n1ost
difficult solving tourneys are those where composers' names are
withheld until the publication of the solutions.) The following
points strike us immediately: (i) the white Queen is pinned, and
may be unpinned by any one of three pieces; (ii) the black
King has no flights, and it would be difficult to give him any,
since all the squares round him, except e5, are either doubly
guarded by White or else blocked by Black, or both; (iii) 1 ...
Rh5 is a strong defence obtaining a flight g5, but is set with a
mate by 2 Q X g4; (iv) 1 ... Bh7 and 1 ... Bh5 are both strong
defences obtaining a flight g6, and no mate is set for these
289
moves; that suggests a threat of either 2 Qe4 or 2 Se7, and the
former is out of the question because e4 is guarded by the Sd6;
(v) e6 is blocked by a black Knight and doubly guar~ed by
White, a very uneconomical arrangement; surely the wh1te Sd8
or Re8 must move away? Clearly, in view of points (iv) and (v),
the key must be 1 Sc6, threat 2 Se7. This assumption is endorsed
by the fact that the Bc5 will guard e7 after moves by the Sd?,
which must be one of the thematic defenders. The Se6 w1ll
undoubtedly be another, since it, too, defeats the threat by
moving away. 1 ... dS~; 2 Qe4; 1 ... Sc4 (correction); 2 Qbl-
the random move leads to mate by the line-pinned Queen, and
the correction effects an unpin. Presumably the same will
happen with the other Knight: 1 ... eS~; 2 Qf4; 1 ... Sd4
(correction); 2 Q x c5. By-play? Only 1 ... Rh5; 2 Q x g4. We
now notice, as we might well have noticed before, that all four
variations can be seen in the diagram position: the key does not
introduce any of the play. A pointer to one of the mates is the
white Sd2. A 'white Pd3 would have performed more economic-
ally the task of guarding e4, but the diagonal b 1-f5 must be
kept clear. An attractiv.e problem, with rather an obvious key
and no close tries, but some elegant variation-play. Perhaps
rather lucky to win a third prize, but maybe the B.C.M.
tourney was not very strong that year.
No. 285 is by another versatile Russian, and was published
285 R. M. KOFMAN
First Prize, Deutscher Arbeiter Schach-
bund, 1932
Mate in two
at a time when the Russians, under the influence of M. Barulin,

L. Isaev and others, were experimenting with white line-themes
and dual-avoidance ideas. There are plenty of white line-pieces
290
on the board in this problem, and three of them, the Bh4, the
Rf1 and the Ba2 are ambushed behind black units. Let us look
'
more closely at this Ba2, for its line of influence is blocked by ~
white piece as well as a black piece: how can it possibly be used
in the play? If the Sb3 were to move away, 2 Rc5 would be mate
if the black Pd6 were removed. But there is no way for this
Pawn to be captured. So that line of reasoning looks un-
promising. What about the black Sf2? Any set mate after
1 ... fS~? No, but 2 Qf6 would be mate if White's key were
1 Rd4, putting a second guard on d5. Unfortunately 1 Rd4?
carries no threat, and there must obviously be a threat, since
Black has neutral moves at his disposal, like 1 ... Bg3, to which
White cannot reasonably arrange a special reply. Any set mate
after 1 ... R~? No again, though once more 2 Qf6 would be
mate if there were a second guard on d5. We are not making
much headway with this problem.
Suddenly light dawns. Supposing the white pieces ambushed
behind the black units are there so that these pieces will be
pinned if the black King is allowed ·flight-squares? Look again
at the Ba2, Sb3 and Rc4: 2 Rc5 is n1ate if the black King is on
d5 and the Pd6 is also pinned. It would, in fact, be a double
pin-mate. This cannot be accidental, so let's try 1 Qd7 as the
key, noticing, as we do so, that it threatens 2 Q x d6, on which
square the Queen re-guards the three flights which the key
grants, viz. d5, f4 and f6. 1 ... Kd5; 2 R x c5. If 1 ... Kf4, then
2 Sd3-not only is the Sf2 pinned, but so too is the Be4-we
never suspected this! And 1 ... Kf6 leads to a third double pin-
mate, 2 Sg4, with the Sf2 and Rg5 pinned. No other variations,
but wonderfully rich strategy in the three King-flight lines, and
a superb key-move granting all three flights. Perhaps we were a
little slow in realising the possibilities of the position, for we
should have looked, at an early stage in the solving process, at
the white Pb4-a Pawn which W. Stead, one of the country's
leading solvers, would call an "outlier". Its only purpose is to
guard c5 in the variation 1 ... Kd5; 2 R x c5, and we should
have thought of this long ago. This "outlier" is a minute
blemish in an otherwise superbly constructed and very satisfying
problem. No question about this one's being worth a first
prize!
291
Ottavio Stocchi was one of the finest two-move composers of
all time, so we can reasonably expect something good !~om No.
286. It is another heavy position, a fact which may facilitate the
0. STOCCHI
Second Prize, Prob/eemblad, 1953
Mate in two
solving process. Beginners often find Merediths and Miniatures

easiest to solve, whereas to the experienced eye each additional
piece on the board is an additional pointer to the composer's
intentions (though not always to the key, as we found with the
last example). No. 286 looks suspiciously like a block position.
Yes, every single black . move is provided with a mate. Now
Stocchi would never have won second prize in one of the
world's leading magazines in 1953 with a waiting-move prob-
lem, so it is reasonable to assume there will be changed play.
The position will therefore be either a Mutate or a Block-
threat, probably the former, since Block-threats were out of
fashion in 1953. As a matter of interest, what was fashionable
around then? Well, mate transference was, for a start. And
Stocchi was quite keen on it, too. Could there be mate transfer-
ence here? Let's look again at some of the set mates. 1 ... Pc5;
2 Sb5. 1 ... Pe5; 2 Sf5. 1 ... R~; 2 Sxc6. Suppose the key
were 1 B x d5, offering Black a flight. Then the three set mates
just mentioned would follow the capture of the Bishop by the
same black pieces. That's just the sort of mate transference that
composers like Stocchi, and the Argentinian expert Arnoldo
Ellerman, were working on in the early 1950s. But 1 B x d5
gives up a number of White's set mates, such as 2 Rd3 after
1 ... eS~, and 2 B x b2 after 1 ... Bb2. Can this possibly be the
key? Suddenly we realise that 1 B x d5 carries a threat, namely
2 Q x c4, which occurs after every black move except the three
292
captures of the key-Bishop. Three captures? No, five captures!
We have overlooked 1 ... B x d5, leading to another trans-
ferred mate, and quite forgotten that d5 is now a flight, so that
I ... K x d5 can be played. And the mate that follows this
defence is 2 Q x d6, which occurred after 1 ... P x e4 in the set
play-a fifth transference. This fine problem, therefore, con-
trary to our expectations, turns out to be a Block-threat, with
five transferred mates, a most unusual combination. Hitting on
the key of this one was a matter of chance, combined with a spot
of deduction concerning the possible theme. A quick look now
for waiting-move tries (though we dismissed the idea of a waiting
key at an early stage). The Be4 looks the most likely piece for
tries: I Bbi? Sc2! (2 Re3 ?). 1 Bf5? Pe5! (2 Sf5 ?). The Pg6
clearly stops 1 Bg6 and 1 Bh7, which would cook. So would
1 Pg7 without the black Pawn to prevent the white one from
advancing. Every other white piece is tied up and unable to
move without abandoning at least one mate and offering nothing
new to compensate. One can seldom fault Stocchi's construc-
tion, and there are certainly no improvements we can suggest
here.
The Indian composer of No. 287 was a novice only a few
287 ~. PARTHASARATHY
Third Prize, The Problemist, 1967
~ate in two
years before this problem was published, but he is one of those

rare people who started composing first-rate problems almost
straightaway. The modern idiom appeals to him most of all,
though one can frequently detect in his work the influence of
the popular themes of the past. In other words, this example is
293
quite likely to be a well-known traditional then1e in modern
dress. We note first- and adtnire- the white economy. We also
note the strategic position of the black Se4: any move by this
piece would open two black lines and one white one. Not that
the opening of the white line is going to be much use, since the
Bf5 has a black Bishop behind it. But if the Sd5 were to move,
we should have 2 Q x d3 after 1 ... eS~. And 1 ... Sd6 and
1 ... Sc5 would be corrections, and 1 ... Sf2? would be one as
well if that square were not plugged, which accounts for one of
the seven black Pawns on the board. But stay! Our thoughts
are running away with us. There is some set play here. 1 ... eS,_,
allows 2 R x c3 in the diagram position-changed, we now
observe, to 2 Q x d3 after the white Knight leaves d5. We must
be on the right track here. What about those two corrections we
have glanced at briefly already? 1 ... Sc5 prevents 2 R X c3 in
the set play by interfering with the white Ba7. It also interferes
with the black Be7, which means that 2 _Rb4 can be played in
reply. 1 ... Sd6 is a further interference with the black Bishop,
and so should allow 2 Rb4 as well. But it doesn't, because the
white Queen's guard of d5 has qeen cut. However, 1 ... Sd6
cuts the line h6-c6, with the result that 2 Qc6 now mates. We
are dealing, therefore, with tertiary play: Black's two corrections
consist of a random arrival on a black line and a correction of
that arrival. Perhaps the tertiary play will be seen again in the
post-key variations, with all three mates changed. Question:
where shall we put the Sd5? Answer: leave it in the air for the
n1oment, assuming that it is guarding d5, and try to work out
from the thematic variations where it must go. 1 dS,_, threatens
two mates, 2 Qd5 and 2 Qd4, both of them defeated by moves
of the black eS, by line-opening. 1 ... Bd6 looks a very strong
defence, even if a non-thematic one, and there is at present no
reply to this. But if the Key-Knight plays to f6, then 2 Q x f7
will mate. So let's put this Knight on f6 and see what happens
when the Se4 defends. 1 ... eS~ leads to 2 Q x d3, as we saw
II long ago. 1 ... Sc5 and 1 ... Sd6 both correct, and, as in the set
play, both moves cut the line e7-b4. Since d5 is now guarded,
2 Qa4 can be played, but only after 1 ... Sd6. This must there-
fore be· the random arrival on this line; corrected by 1 ... Sc5
(the tertiary defence), which allows 2 Sb6-self-block with
294
white interference. The secondary and tertiary defences of the
set play are reversed in the post-key variations-a sli~ht pity,
for it would have been more satisfying if they had remained the
same. But even so the problem presents a considerable construc-
tional achievement, typical of this composer. Is the doub~e
threat really necessary? With so many black defenders, especi-
ally line-pieces, on the board, it is doubtful whether a single
threat, such as 2 Qd4, could have been arranged. The composer
would have had to devise an ingenious method of dealing with
unwanted defences like 1 ... Bc5 and 1 ... B X f6, and the
position would very likely have become even heavier. As it is,
the economy of white force is commendable, and the double
threat quite tolerable.
Like Parthasarathy, Barry Barnes specialises in two-movers of
the modern style, though he has to his credit a number of
attractive settings of traditional themes. The positions of the
black Rook and Bishop in No. 288 lead the experienced solver
288 B. P. BARNES
Second Prize, Europe Echecs, 1965
Mate in two
to suspect a Nowotny-sacrifice on e5 as the key. Since there are

two pieces which can be sacrificed on this square, the Sd3 and
the Rei, it is probable that there will be a try and key, with
changed play. We are bound to try 1 Re5? first, since this Rook
is not exercising any crucial guard over black King-flights,
whereas the Sd3 holds cl and el. 1 Re5 carries the double
threat 2 Ba5 and 2 Be3, but, as is usual with Nowotnys, only
one of these can be played after the sacrificed white piece is
captured: 1 .. . R x e5; 2 BaS only; and 1 ... B x e5; 2 Be3 only.
295
Are there any defences preventing both threats? Yes, 1 ... Bc2,
which is answered by the simple capture 2 Q X c2. And, we now
note, 1 ... B x d3 !, to which there is apparently no reply. We
have therefore tried the try first, which is as it should be. 1 Se5!
n1ust be the key, with the threats 2 Qc3 and 2 Qe3, both of
which moves re-guard the two flights which the key grants.
1 ... R x e5 forces 2 Qc3, while only 2 Qe3 follo\VS 1 ... B X e5.
What happens if the black King tnoves to his flights? It is
with a sense of pleasure that we find that 1 ... I( x el leads to
2 BaS, and 1 ... Kcl to 2 Be3, the two mates which were
threatened by the try. The reappearance after different defences
in the post-key play of two or more mates from the virtual play,
with new mates for the virtual-play defences, constitutes the
Rukhlis thetne, here presented in lightweight form ·with threat-
separation in both phases. The problem is reminiscent of,
though very different from, another Barnes prizewinner from
the same year, No. 289. In this version of the theme, the virtual-
B. P. BARNES
First Prize, L' It alia Scacchistica, 1965
Mate in two
I' Try 1 Rd5? ( > 2 Se5/Qg2)
Hxd5; 2 Se5
Rxd5; 2 Qg2
Rxg6!
Key 1 Sd5! ( > 2 Rg5/Qf3)
Bxd5; 2 Rg5
Rx d5; 2 Qf3
Sxf5; 2 Se5
Rx f5; 2 Qg2
play threats reappear in the post-key play after self-blocking

captures of the Rf5.
Our last two-mover is by a successful Yugoslav expert. The
solver is itnmediately struck by the half-battery set-up: Bh5,
Rg4, Se2, Kdl. It is fairly clear that the difficulty here will be to
decide whether the Rg4 or the Se2 should make the key, and
which square it should go to. In all probability the post-key
play will be relatively unimportant in comparison with the try-
296
play. Since the Knight is nearer the black King, we'll try the
Rook first. A random departure of the Rook (Hup in the air",
cotning down on no particular square) allows the Knight to deal
290 V. BARTOLOVIC
First Prize, J. Hannelius Jubilee Tourney,
1966-7
Mate in two
successfully with such defences as 1 ... Sd4, 1 ... either Sf4, and
1 ... Sg1 with 2 S x S, but either Sg5 defeats because g5 is out
of range of the white Knight. 1 gRd4? seems better, because
1 ... eSg5 is now met by 2 P x c4. But 1 ... hSg5! is still un-
answerable. Similarly 1 Rg1 ? deals with 1 ... hSg5 (2 K X f2),
but 1 ... eSg5! has no reply. So we must turn our attention to
the white Knight as the likely key-piece, since the Rook has no
more useful moves. 1 Sc 1 ? fails to 1 ... P x c 1 = S !-not a very
subtle refutation, so presumably not one of the composer's
intended tries. 1 Sd4 looks more promising: all defences by the
Knights bring these pieces within range of the white Rook (e.g.
1 ... S x d4; 2 R x d4), except for 1 ... Sg7-and we now see
that the mate set for this defence, namely 2 P x c4, cannot now
be played because the white Knight has blocked the d-file. So
we must try something else. 1 Sf4 avoids interfering with the
Rd7, but 1 ... Sd4 is now without a reply, because the white
Knight has obstructed the Rg5, preventing it from reaching d4.
Exactly the same thing happens with 1 Sg3 ?, because the Rook
cannot now reach g1: 1 ... Sg1 therefore defeats. The only
possible key, and a good one at that, is 1 Sg1 !-a good key
because it allows the check 1 ... P x g1 = Q+ (answered by
2 R x gl). As we suggested before, the post-key play is not of
great importance: defences by the black Knights are met by
capture by the white Rook, except 1 ... Sg7, which allows
297
2 P x c4. The old-fashioned purist would be appall~d at the
number of duals: 1 ... P x d3, for instance, allows ten discovered
mates by withdrawal of the Rg5, plus 2 R X d3, only three of
these mates being separately forced by other defences. But t~e
interest of the probletn lies in the tries and the way each IS
defeated.
Solving three-movers is a very much more difficult matter as
a rule. In the first place, the theme is rarely as evident as in a
two-mover. Strategy of the Roman or -Dresden type, for
example, is a good deal more complex than straightforward
interference- or unpinning-play. Secondly, the extra move gives
the pieces much more scope, so that it is often necessary to set
the position up on a board rather than try to solve from the
diagram, as is normally possible with two-movers. A "twin"
pocket-board is recommended for three-move solving. The
diagram position can be kept permanently set on one board,
while the other is used to study variations arising from possible
keys. If the "theme-spotting" technique fails, then it is suggested
that the solver should apply some of the principles mentioned
earlier in this chapter, such as bringing out-of-play units nearer
the black King, making provision for strong black defences
(bearing in mind that Black will have two moves to play), and
so on. Only as a last resort should the trial-and-error method
be adopted: you will probably find the key in the end, but you
will very likely spend precious hours of your time in the process.
Robin Matthews, Professor of Economics in the University of
Oxford, is the country's most brilliant three-move composer and
291 R. C. 0. MATTHEWS
Mate in three
298
Conzposing and Solving
one of the world's foretnost specialists in this field. He rarely
produces a light position, most of his problems bcin~ of the
strategic type, with cotnplex interplay between the pteces. A
first glance at No. 291 reveals two half-pin lines, on the fourth
rank and the d-file and it is reasonable to assume that the
'
play tnay centre round the pieces involved in these lines. If the
black Queen leaves the fourth rank, there is a set pin-mate
2 Q x c5. And if the Pd7 could be induced to leave the d-file,
2 Pe3 would mate. At the tnotnent, of course, this Pawn's only
n1ove is to d6. The check 1 ... Pb4+ is set with the reply
2 Q x b4+ (2 ... S x b4; 3 Pe3). The trial-and-error solver will
look at openings like 1 Bb8? and 1 Qa5 ?, but should soon see
that the former threatens nothing, while the latter is refuted by
1 ... Pb6 !, which unpins the ReS. The "theme-spotting" method
has suggested to us so far that the Pd7 should be induced to
leave the d-file. Supposing it were to capture one of the white
Knights, checking on e6? Those Knights look suspicious
anyway: neither is en prise, yet both guard e5. This looks like
a duplication of labour. How can we threaten 2 Se6+? Three
possibilities emerge: 1 Sg5, 1 Sf4 and 1 Sf8. The first clearly
fails to 1 ... P X g5, while the second blocks one of the thematic
half-pin lines. So we'll try 1 Sf8, threat 2 Se6 +. If 2 ... Q X e6;
3 Q x c5 (exploiting pin of Se4); and if 2 ... P x e6; 3 Pe3 (Sd5
is pinned). ·what happens if Black defends by guarding one of
the eventual mating squares c5 and e3? This can only be done
with the two pieces which capture the Se6 in the threat line.
If 1 ... Pd6, 2 Se6+? fails to 2 ... Q x e6. But 2 Q x c5+ is now
playable, and this also leads to pin-mates: 2 ... P x c5; 3 Pe3;
and 2 ... S x c5; 3 Se6. As we have seen, any n1ove by the
black Queen off the half-pin line leads directly to 2 Q x c5.
But 1 ... Qf4 retains the guard of the Se4 on c5, and at the same
time sets up a second guard on e3, thereby defeating the threat
(2 Se6+ ?, P X e6!; 3 Pe3 ?). The reply to 1 ... Qf4 is soon
seen to be 2 Pe3 +, and the continuations 2 ... S x e3 and
2 Q x e3 once more lead to pin-mates: 3 Se6 and 3 Q x c5
respectively.
Having found the key and appreciated the variation-play, the
solver may now realise that the three moves Se6, Q x c5 and Pe3
recur frequently in the course of the solution. Could there be
299
I
I
some pattern behind all this? Some relati~nship between. the~c
moves which may not become eviden~ unt.•l the .full solution ts
written out ? Let us tabulate the solutton hke thts :
Key 1 Sf8, threat 2 Se6+, Q X e6; 3 Q X c5
Pxe6; 3 Pe3
If 1 .. . Pd6; 2 Qxc5+, Pxc5; 3 Pe3
S x c5; 3 Se6
and if 1 . .. Qf4; 2 Pe3 +, S X e3; 3 Se6
Q xe3; 3 Q x c5
If we use the letters A, B and C for the moves Se6, Q X c5 and
Pe3, we get:
I Sf8, threat 2 A, Q x e6; 3 B
Pxe6; 3C
I ... Pd6; 2 B, Pxc5; 3C
Sxc5; 3A
I ... Qf4; 2 C, Sxe3; 3A
Qxe3; 3B
White's second and third moves show a clear cyclic pattern:
A - BJC; B- CJA; C- AJB. This fine problen1, therefore, consists
of a brilliant combination of a traditional half-pin theme and a
modern cyclic pattern, with pin-mates throughout.
Finally we move on to a different sort of problem altogether.
The helpmate demands a special solving technique: the trick
is to visualise the eventual mating position, and then discover
the sequence of moves which will lead to it. Helpmates do not
really have keys: all the moves must be found, beginning with
Black's initial move and ending with White's mate. The most
difficult helpmates are those in which the black King has great
freedom, for if he is allowed to stray far from his starting
square, the eyentual mating position may well be all the harder
to spot.
Dr. Gyorgy Paros, of Budapest, is perhaps the world's
greatest helpmate composer. His compositions combine
ingenious strategic play with superb construction and economy.
He has a great fondness for dual-avoidance themes, a fact
which we should bear in mind as we examine No. 292. We see
that the Sh5 might ultimately mate on g7 or f4 or both, provided
300
292 G. PAROS
First Prize, Problem, 1954
Fielptnate in two
Two solutions
it can be unpinned and Black's guards of these squares can be

somehow removed. We have to find two solutions, which are
certain to be thematically related. Thematic relationship be-
tween solutions is a feature of this composer's work, and indeed
is a desirable element in all multi-solution helpmates. There are
several squares in the black King's field to be guarded or
blocked. A black move such as 1 Sf6 looks promising, since it
not only blocks f6, thereby allowing the Sh5 to relinquish its
control of this square in due course, but also opens the white
Rook's line to guard e7 and f7. Furthermore this move is a
double interference: it cuts the line f8-f4 and the line b2-g7, so
that the squares we have earmarked as mating squares are no
longer guarded by Black. Which interference White will
exploit will no doubt be dictated by the intervening moves:
presumably a different interference i~ each solution. What is
the purpose of the Bb8? It must be there to guard e5, which
suggests that Pd5 will be Black's other move. But then what
can unpin the Sh5? The conclusion is inevitable: since the
white King cannot move, the unpin must be effected by a white
piece rather than by a black one. The first of our two solutions
therefore becomes clear: 1 Sf6, Rh7; 2 Pd5, Sf4. The white
Knight must avoid playing 2 ... Sg7, because the white Rook
has crossed this critical square. So here is the dual-avoidance
element we predicted. As we look again at the position, the
second solution leaps to the eye: 1 Pd5, Bh2; 2 Sf6, Sg7. This
time 2 ... Sf4? is avoided, because the white Bishop has crossed
this square. What a wealth of related strategy these two solutions
301
C01nposing and olving
display! Black's first n1ovc in each case opens a line to aJi ow a
\Vhite piece to come through and unpin the white Kni ght. Th en
Black's second move opens the other white line, and finally th e
white Knight delivers n1ate, being careful about its choice of
square. Black's n1ove Sf6, played first in one solution and
second in the other (reciprocal change of Black's moves), is a
Herpai-type interference, cutting t\vo black lines simultaneously:
White's n1ethod of exploiting the double interference differs
between the two soiutions. Altogether a beautiful helpmate,
thoroughly typical and worthy of its composer.
I J
••
·•
302 I
, --
SECTION IV
Problems for Solving
F. ABDURAHMANOVIC
First Prize,
••••
Yugoslav Tourney, 1959-60 293
B B B Bft
- -
- .~-j ftWJ
- ~--· -
•~~ - ft - Oft
-.-
B Bft Bft B ~ ... /.
-
-••••
- ~
- 1~
----
,.- -® Helpmate in two
~~~
~:.:.
(a) diagram; (b) after key of (a);
(c) after key of (b); (d) after key of
(c).
303
Proble11zs for Solving
M ate in eight Mate in two

G. BAUMGARTNER
B. P. BARNES Fourth Prize,
First Prize, Sch weizerisc!ze Schachzeitung, 1962
The Problemist, 1967 299 300
•g-•-t·
.• .A
~-ii~ .-~
-
~.:.~~~~
~
•---
• ·-··- ~ .... .
-•-•-.f-~t •
-
~
-
-
-
-
% . . •.. %
~ .... %
••••
I. BIRBRAGER
First Prize,
Mate in two
Na Smenu Theme Tourney, 1966

301
304
A. BorrACCHI J. BucHWALD
--
First Prize,
~
-••
II Problema, 1933
-& ~ ~
~.
303
First Prize,
Magyar Sakkvilag, 1947
- g ~ ~
~.
304
••••
M
~ -~~
~: .... ~ ~~
~d ~-.(0'
- ..- •
~*~~
B
U<i'B t ~~~
'~L:.~-. ~
~~ ~~
B
~. :~B ft B<i'B
···
B
~·
B t ~.- ~_
- - .•• •-Bttm-a
...... ~ ~ . .. ; : ... . ... ~
A-~ R
~ •~ ~
~ , .. .. ;'. t ~§
~
«1 ..... ;
~~~
~.t.:;$~ • • ~ ~ B
~ ~ • ....
~~~
r.~ - • ~~
~.:. ~
B § B B BA Mate in two Mate in three
-~-
A. CASA G. CRISTOFFANINI
Second Prize, Prize,
rJ§rJ -
Europe Echecs, 1966
--- -0
-R
-
-~-
.
305 Schackviirlden, 1931/I
~~
306
~~
-
t B---
~~}
~-
rJ rJ rJ
....•7.
• • -
~~
~..&.% -~ B
-
lr::il ··~ ~ ~·-~

- - - -
-~-~-
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rd - - t ~~
- ~:.:. ~
0 .. .. .. :
-
: • • • •.•• ~ ~•••• ~ %~ • • •• ~ ~•• •• ~
-~ :t ~ ~ t~ - ~®-
~
~- ~ -
~
~-
, .. .. .. ?-
••••
~
-
-
ft ~S ~ -~ H
it
-
- .... ; , •. . • 7- -
~
-- ..... ;
~m tt ~s
0. ..... : -
~]
• rJ='lrJ •
• •••
- : .... ... :
Mate in three
... •... .... z - • ••. 7-
Mate in two
: . ..... . : •·••·•·
305
N. G. G. VAN DIIK A. DoMBROVSKIS
First Commendation,
Prob/eemblad, 1959
~-
· · · · ·w~
~~ ~~
•.•·-• -. •
310
..
Bt & B ~~
~ ~
~~ ~t • - t
··· ~ ~. /~ 11 ~.-
~
m•
~~ m
.. ; - 7. .. . . . 7- •
~t r
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-~~ ...; -
A.
Mate in three
DOMBROVSKIS
--
g:---
J. E.
BA~i]ft B t B
?~ -Mate in two
DRIVER
Mate in three Mate in two

A. P. EERKES s. EKSTROM
306
Problen1s for Solving
Mute in tw Mate in three

307
. - . -
Mate in two Mate in three

J. HARTONG J. HARTONG
First Prize, Rotterdamsche Schaaknieuws, 1925
••••
Problemisten, 1956 323 324
·t·t·
·t·t· ••
•1-f•t • • ~tL_)- ~A~
~t;S~
.f t
~7. '~~
. • • -
.. .. . ~
>:. • ••••
-
-
-
L .. 7.
-
~-- --~
B
- "~ --
-- Mate in three
L.A. ISAEV
Skakhmatny Listok, 1930 326
Mate in two
308
W. J0RGENSEN W. J0RGENSEN
First Prize, First Prize,
Chess Correspondent, 1946 327 Die Schwalbe, 1952 328
..---=~-:
Mate in three Selfmate in three

M. KELLER P. KNIEST
First Prize, Prize,
Schweizerische Arbeiter- Zastrov Memorial Tourney, 1949
Schachzeitung, 1966 329 330
~-.
;}~~· ~-
- -
.
' '~·
~- - -~~ t - • ~;!~~
--a
B ~ -
-
~----~
~A ttme~A
R R4J1A t~~4J
tt ~A
fj L ..J
-
?.~
•
~ ~~~-~?.-~
~A ft~ •
L .. -~ - -
Mate in three
-
R. KOFMAN
First Prize,
Latvian Tourney, 1952 331
~~--
Mate in three
309
Prob/ents for Solving
K. A. L. KuBBEL
Mate in two
M. LIPTON
Second Hon. mention,
Israel Problemists' Assn. Tourney,
1955 338
®B®B B B
Pt•
.•
~- •
., -(-
•
B • A& B
•~.i;
~§
···~
~ ~
~...... ~ •
~
~
-••••
-
•••• - ~~~
....~
310
•••• Mate in three
Problenzs for Solving
•
E. LIVSHITS (version by S. Shedey)
Ceskoslovensky Sach, 1961 340
- ~ - ~-~
. •• ?.J._
~- ~
~-
-~-
•••-••
•. •®o m
-~9 -~·
-
•••
~... .~ ~.... ~
®. §9 • •
~
Mate in two
L. I. LOSHINSKI
First Prize,
La Marseillaise, 1946 342
-r-'t~~
@th',-
-- ---
BAB • B
-- ~%
~.: .~ -
-- • ~ ... ..
fL'-~~ ·- ~ ~,
-~
~-J~~~
:... ... .: • ... ,% -
Mate in two
- BB
~ ~ ~--~
BAB
~.. .. /:
~--
~ --
Mate in two
-~.
- i:i1
L. I. LOSHINSKI
First Prize,
Tchigorin Memorial Tourney, 1959
343
Mate in three
311
r

L. I. LOSHINSKI
Second Prize,
De Waarheid, 1966 345
Mate in three
312
R. C. 0. MATTHEWS
First Prize,
Christian Science Monitor, 1950
352
Mate in two
Mate in five
V. MELNICHENKO
First Prize,
U.S.S.R. Central Chess Club
Bulletin, 1967 356
R R R R
u
~~ ~ a
n w
~-rtf!
:::-. ...,z .:..... -
• R R R
R R R Rt
- ~r·-~~ ~- ~ -
-~; --
• R Rft R*
•
- -
~
~~
R R{JR
Mate in two
~~~~
.......
.313
Proble1ns for Solving
F. MICHEL, J. P. BOYER and
J . SAVOURNIN
First Prize, ex aequo, 2nd Th. Ty.
-- ••••
Le Probteme, 1962 357
®-
---
- ?f. -•
- §· !£)-
~
?JW'~
K.a¥
~-~
.. .... .
~ ~.+.f~
~ ....
.. ~ ..u.. ~... j
/.
-
~
-
z~
·
~-
: ... ... .:
-~-
~ ~
-
•
~ ~~
• m• •
.
L .. x ~ .. ... -
~§ -
0 ..... /. ~
-~-Mate inr.Ar.
two Mate in three
Mate in two
314
Problen'IS for Solving
P. 0VERKAMP
Mate in five
N. PETROVIC
First Prize,
A. • • •
8th Theme Tourney, Feenschach,
1953
•-.t... •
366
~
~-
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Helpmate in four
315
H.-P. R.EHM
First Prize,
Probleemblad, 1964 369
Mate in twelve
J. M. RicE V. RunENKO
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Second Prize, Third Prize,
The Problemist, 1966 371 Suomen Shakki, 1959 372
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V. RunENKO and E. LivsmTs

Second Prize,
F.I.D.E. Tourney, 1961 374
Mate in two
316
V. RUDENKO and S. SHEDEY 375 J. A. ScHIFFMANN
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Seventh Prize, U.S.S.R. Jubilee First Prize,
Tourney, 1968 Brisbane Sports Referee 1929/1376
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S. SCHNEIDER
Second Prize,
Schach, 1958
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Mate in - Mate in seven
H. SELB
L. SCOTTI Second Commend.,
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British Chess Magazine, 1967 379 Sao Paulo Chess Club, 1956 380
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317
J. Szoa HY
Fo urth Hon. mention ,
M agyar Sak lce/et , 1960 382
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L. SZWEDOWSKI L. SzwEDOWSKI
First Prize, Second Prize,
S chweizerisclre Schaclr zeitung, 1962
383
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Ring Tourney, 1960
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v. TCHEPJZHNI
Second Prize,
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Shakhmaty v. SSSR, 1966 3S5
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318
Prob/en1s for Solving
J. VALUSKA
Fifth Prize,
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The Prob/emist, 1967 389
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VISSERMAN
319
Y. G. VLADIMIROV Y. G. VLADIMIROV
First Prize, Second Prize,
Probleemblad, 1966 393 Probleemblad, 1964 394
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Y. G. VLADIMIRov and L. I. J. WARTON
LOSHINSKI Second Prize,
- - -
First Prize, British Chess Problem Society
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Ceskoslovensky Sach, 1965 395 Ring Tourney, 1966 396
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W. A. WHYATT and A. GoLDSTEIN
First Prize, ex aequo, 0. WIELGOS
- -
B.C.F. Tourney, 1967 First Hon. mention,
397 Ceskoslovensky Sach, 1963 398
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L .. -
Prob/e1ns for Solving
L. C. WtLLEMSENS (after J. E. A. WIRTANEN
Albarda, G. J. Bouma and J. J. First Prize,
Burbach) Leipzig Olympic Tourney, 1960
Prob/eemb/ad, 1967 399 400
Mate in two Selfmate in two
321
SOLUTIONS TO PROBLEMS FOR SOLVING
293. (a) 1 Kf4, Ph8 = S; 2 Ke5, Sg6. (b) 1 K X g5, Ph8 = B;

2 Kh6, Be3. (c) 1 K x f6, Ph8 = R; 2 Kg7, Bd4. (d) 1 Ke5,
Ph8 = Q; 2 K x e4, Qd4. Allumwandlung in a "progressive
twin."
294. Key 1 Bb6 (> 2 Rgl), Sc5; 2 Rf2 (Bg2?). 1 ... Sg3; 2
Bg2 (Rf2 ?). 1 ... Bd4; 2 Se3 (fSg3 ?). 1 ... Bg5; 2 fSg3
(Se3 ?). The Java theme in a brilliant doubling, presented with
fine economy.
295. Key 1 Se2 (>2 Pxb8 = Q+, Qd8; 3 Qxa7, Kf7). 1 ...
Pb6;2P X b8 = R+, Qd8; 3 R X b6.1 ... P X c6;2P X b8 = S,
P X b5; 3 Sa6 (if 2 . .. Kd8; 3 Sd7; and if 2 ... Kf8; 3 P X g7).
1 ... Qxb5; 2 Pxb8 = B (>3 Bxa7, 0-0-0), Kd8; 3
Bc7+. (I ... Qe3/Qxe2; 2 Bxg6+, Kf8; 3 Pxg7. 1 ...
S x c6; 2 Sd6 +, Kf8; 3 P x g7.) The four promotions once
agatn.
296. Key 1 Pd4 (>2 Pe3), Pg3; 2 Se3. 1 ... Pe3; 2 Bf5. 1 ...
ePxd4 e.p.; 2 Rxc4. 1 ... cPxd4 e.p.; 2 Bb3. 1 ... Pb3;
2 S x a3. Five interferences by black Pawns on a single line.
297. Key 1 Kc3, Se4+; 2 Kd3, Sf2+; 3 Ke3, S x g4+; 4 Kd3,
Sf2+; 5 Kc3, Se4+; 6 Kb4, Sd2; 7 Pg4! Pseudo-two-mover:
every black move is· set with a mate, but White cannot hold
the position. Seven moves are needed to gain a tempo.
298. Try I Qa6? Pb5! (2 P x b5 ?). Try 1 Qc5? Se5! (2 Pb5 ?).
Try 1 Qc3? Se3! (2 Bc4 ?). Key 1 Qc6! ( > 2 Sc4). Tries with
common error: the white Queen obstructs her own pieces in a
most unusual way.
299. Set: 1 ... R'""f; 2 Qg5. 1 ... S,._,; 2 R X h7. Key 1 Q x e6
( > 2Qxf5),R'"";2Qf7.1 ... Rg5;2Sf4.1 . . . s,_,;2Qg6.
1 . .. Kg6; 2 Qe8. 1 ... Kg4; 2 Qe2. A three-move doubling-
theme translated into two-move terms.
322
300. Try 1 Bb3?, Ba2; 2 Rdl. 1 ... Bc2; 2 Bc4. 1 ... S,.._,;
2 Q x g6. 1 ... Sf5! Key 1 Bf3! (> 2 Qb3), Ba2; 2 0 - 0 - 0!
1 ... Bc2; 2 Qa6. 1 ... Se2; 2 Be4. 1 ... Kc2; 2 Qc4. Not
easy to spot the castling variation.
301. Try 1 4Re6? (> 2 Qc6), Pc5; 3 Rd6. 1 ... Bc5; 2 Q X b3.
1 . . . bSc5; 2 Q x d4. 1 ... dSc5; 2 Re5. 1 ... Sb4! Key
1 Sa3! (>2 Qc4), Pc5; 3 Qd7. 1 ... Bc5; 2 Bxb3. 1 ...
bSc5; 2 R x d4. 1 . . . dSc5; 2 8Re5. Black defends in each
phase by closing a prospective white line of guard.
302. Key 1' Scl (>2 Qdl), Sxf4; 2 Se6. 1 ... Qxf4; 2 Pf7.
Combination of half-pin and Nietvelt defences, with double
pin-mates. Good by-play: 1 ... Sc4; 2 Sb3. 1 ... Se3; 2 Se2.
1 ... Q X f6+; 2 B X f6.
303. Key 1 Qf7 (>2 Qc7),Rf5; 2 Sxa4(Qb7?). 1 ... Re4;
2 Qb7 (S x a4 ?). 1 ... Rf2; 2 Sb7 (Qd7 ?). 1 ... Rg2; 2 Qd7
(Sb7 ?). Two fine pairs of dual-avoidance variations. Black's
defences defeat the threat and simultaneously restrict White's
choice of mate, · either . by pinning White or by unpinning
Black.
304. Key 1 Kg8 (>2 Bd4, ~; 3 Sd2). 1 ... Be5; 2 Rxe6,
S X e6; 3 Qb7. 1 ~ .. Bf4; 2 R X g4, P X g4; 3 Qhl. Gamage
unpins, with multiple line-vacation.
305. Key 1 Qf8 (>2 Se6). 1 ... Rxd4; 2 Sg3+, Ke3; 3 Sfl.
1 ... Bxd4; 2 Sh6+, Ke3; 3 Sg4. 1 ... Sxd4; 2 Sh4+,
Ke3; 3 Sg2. 1 ... cPxd4; 2 Sd6+, Ke3; 3 Sxc4. 1 ...
eP x d4; 2 Se7 +, Ke3; 3 Sd5. Self-blocks (here anticipatory)
with dual avoidance: the Stocchi theme. The white S f5 per-
forms Rossel-type man.oeuvres.
306. Key 1 Ra4 (> 2 Sc5), Ke3; 2Sxg7. 1 ... Ke5; 2Sxf4.
I ... gS X e6; 2 Sc2. 1 ... fS x e6; 2 Sf3. Battery-play and
pin-mates. Note the change after 1 ... Ke3 (set: 2 ReS).
307. Key 1 Pxf3 (> 2 Pxg3+, Sg2; 3 Qxg2). 1 ... R,.._,;
2Qe5(> 3·Rxc3).1 ... Rg5;2Qf4( > 3Qd2). 1 ... Rg6;
2Rxe1 (> 3 Bxd3). 1 ... Rg7; 2 Qc7 (> 3 Rxc3). Qua-
ternary correction: the moves by the black Rook up the g-file
prevent the black Queen from playing down the file to g5, g6
and g7 to defend against White's third-move threats.
308. Key 1 Bf5, Zugzwang. 1 ... Pb6; 2 hRd3, Qhl. 1 ... Qa7;
2 Se4, Qgl. 1 ... Qa6; 2 Pe4, Qfl. 1 ... Qa5; 2 Pd3, Qel.
323
Prob/enzs for Solving
1 ... Q x a4; 2 bRd3, Qdl. White five times cuts the line
f5-b1 to force Black to mate. The key is a critical move with
respect to all five variations.
309. Key 1 Qa4 (> 2 Pd4+, Bxd4; 3 Qxd4). 1 ... Bc4;
2 Sxc7+, Kd4; 3 Sb5 (2 ... Kf4; 3 Se6). 1 ... Rc4; 2 Sc5+,
Kf4; 3 Sd3 (2 ... Kd4; 3 Sxb3). 1 ... Bd3; 2 Sxg5+, Kf4;
3 Sh3. 1 ... Rd3; 2 Sd4+, Kf4; 3 Se2. Four-hands-round
(double Grimshaw with only two thematic black units)
combined with Rossel theme.
310. Try 1 Be4? (>2 Qf8), Bd3! Try 1 Bf5? (>2 Qd4), Be4!
Try 1 Bg6? (>2 Qf8), Bf5! Key 1 Bh7! (>2 Qd4/Qf8).
Tries with common error: the black Bishop follows the
white one up the diagonal.
311. Key 1 Qb6 (>2 Sf5, ,._,; 3 Qxd6). 1 ... Pxe6; 2 Kb3,
B x d5+; 3 Rc4. 1 ... Be4; 2 Kc1, Bf4+; 3 Rd2. 1 ... Bf4;
2 Kb1, Be4+; 3 Rd3. Battery-play with cross-checks. Note
the consecutive self-blocks.
312. Key 1 Qe3 (>2 Qxc3/Pd4), Sf3; 2 Sxg4. 1 ... Pf4;
2 Q x e4. 1 ... Bc5; 2 Rd5. 1 ... Sb5; 2 Qc5. Half-pin plus
interference in each variation.
313. Key 1 Pa6 (>2 Sa5+, K x d4; 3 S X c6). 1 ... Qg7; 2 Sc5+,
K X d4; 3 Se6. 1 ... Sd5; 2 S X d2+, K X d4; 3 S X f3. Anticipa-
tory half-pin plus Rossel theme. ·
314. Try 1 Sc5 ?, Be6; 2 Sb7. 1 ... Be4; 2 Sb3. 1 ... Bc4! Try
1 Se5 ?, Be6; 2 Sc6. 1 ... Be4; 2 Sc4. 1 ... Bb7! Key 1 Sd6!,
Zugzwang. 1 ... Be6; 2 Sb7. 1 ... Be4; 2 Sc4. Zagoruyko:
focal play.
315. Key 1 Bb1 (>2 Rd5), Bc6; 2 Qe7. 1 ... Be6; 2 Qg7.
1 ... Rd6; 2 Re4. 1 ... Re6; 2 Qf4. 1 ... Rf6; 2 Qd5. 1 ... Sb6;
2 B x c7. Elegant self-block and interference variations.
316. Set: 1 ... Bd5; 2 Sa6. 1 ... Sd5; 2 Sxd7. 1 ... Pd5; 2 Qe7.
Key 1 Qf4 (>2 Qd4), Bd5; 2 Qb4. 1 ... Sd5; 2 Rx c4. 1 ...
Pd5; 2 Qf8. 1 ... Kd5; 2 Qe5. Three changed self-blocks in an
ideally economical setting.
317. Key 1 Rb3 (>2 Rb4+, R x b4; 3 Sd2). 1 .. . Sf4; 2 Sg5+
(A), Q X g5; 3 Qe3 (B). 1 ... Sf3; 2 Qe3 + (B), Q x e3; 3 Sg3
(C). 1 ... Se5; 2 Sg3 + (C), Q X g3; 3 Qd4 (D). 1 ... Bd5;
2 Qd4+ (D), Q x d4; 3 Sg5 (A). The cyclic effect is produced
by means of anticipatory interferences.
324
318. Key 1 Se4 (>2 Sf4), Kxe4; 2 S xe3 (Se7?). 1 ... Kd4;
2 Se7 (Sf6 ?). 1 ... Ke2; 2 dSc3. Pin-mates and dual avoidance
in the first two variations.
319. Key 1 Bh2 (>2 Rc7), Bd5; 2 Qh8. 1 ... Bd6; 2 Qg4.
1 ... Sb5; 2 Rb8. Half-pin with interferenc~s. Not 1 Be5?
Bd5! Nor 1 Bf4? Bd6!
320. Key 1 Bc6 (>2 Re4, Rxe4; 3 Qxd3. 2 ... Bxe4; 3
Sxe3). 1 ... Qc5; 2 Sa3+, Qxa3; 3 Bxb5. l ... Qd5;
2 R x d4 +. 1 ... Qe5; 2 S x e3 +. 1 ... Qf5; 2 Q x·d3 +.
1 ... Qg5; 2 Be4! Holzhausen interferences in the first four
variations, and an unexpected Nowotny in the fifth. The
threat is also a Nowotny.
321. Key 1 Rd2 (>2 Sb4), cRd4; 2 Q X c5. 1... Bd4; 2 P X c4.
1 ... eRd4; 2 Qe5. 1 ... Qd4; 2 Pa8 = Q. 1 ... Kd4; 2 Qxe4.
Cyclic_ obstruction: Rc4 interferes with Bishop; Bishop
interferes with Re4; Re4 interferes with Queen; Queen
obstructs King (self-block); and finally King interferes with
Rc4. The function of the Bg1 is to prevent 1 ... Bd4 from
being a self-block, since that would spoil the cycle.
322. Try 1 Pg5+? B X b4! (2 Bg5?). Try 1 P x h5+? Bc4!
(2 Rxh5?). Try 1 Pxf5+ ?, Qxb4! (2 Sxf5?). Key 1 Kb1!
(>2 Bf4, ,_,; 3 B/Qxg3). 1 ... Qc5; 2 Pg5+, Qc4; 3 Sxf5.
1 ... Qd5; 2 P X h5 +, Qc4; 3 S X f5. 1 ... Qe5; 2 P X f5 +,
Qd4; 3 R x d4. Munich theme: White's tries fail because they
block squares required for mates after black defences. When
Black has deprived himself of the defences in question, the
tries work as second-move continuations.
323. Key 1 Bb2, Zugzwang. 1 ... Pb6; 2 Sd6 +, Kc5; 3 Sb7.
1 ... PbS; 2 Rd3+, Kxc4; 3 Rd4. 1 ... Pc5; 2 Rd3+,
Kxc4; 3 Sd6. 1 ... Pd6; 2 Sf6+, Ke5; 3 Rf3. 1 ... Pd5;
2 Rb3+, Kxc4; 3 Rb4. 1 ... Pe5; 2 Bel, ,_,; 3 Be3. Five
anticipatory self-block variations.
324. Key 1 Bf3, Zugzwang. Every black move leads to an
opening of the Bishop + Grasshopper battery-eighteen
variations in all!
325. Key 1 Qc3 (>2 Qe3), Sc4; 2 Sb5; 1 ... Sd5; 2 Sc6. 1 .. .
Sd6; 2 Se6. 1 ... Bf4; 2 Sf5. 1 ... Rxf3+; 2 Sxf3. 1 .. .
R X e2; 2 S X e2. 1 ... B X c2; 2 S X c2. 1 ... Q X b3; 2 S X b3.
325
(1 ... S x f6; 2 Bc7.) White Knight-tour, four of Black's
defences leading to white-interference mates.
326. Key 1 Qc3 ( > 2 dSc5), B x d4; 2 eSf4. 1 ... R X d4; 2 Sg7.
1 .. . K x e2+; 2 dSf4. 1 ... Ke4+; 2 Sg5. Two Schiffmann
defences followed by shut-offs, and two King-flights with
cross-check.
327. Key 1 Qd6, Zugzwang. 1 ... Sc2; 2 Sh4 (3 Sf5). 1 ... Bc2;
2 Bf4 (3 Bxe3). 1 . . . Se2; 2 Ba6 (3 Rxc4). 1 ... Be2; 2 Bel
(3 Bc3). 1 ... Sf3; 2 B x c6 (3 Q x d5). 1 ... Bf3; 2 Pe6 (3 Be5).
Three pairs of mutual obstruction-defences: in the first
variation the Sal prevents the Bishop from playing to c2; in
the second, the Sal cannot play to c2 because the Bishop has
already done so. The strategy is repeated on e2 and f3.
328. Key 1 Pe8 = B, Zugzwang. 1 ... P x a1 = Q; 2 P X c8 = S.
1 ... Pxa1 = R; 2 Pxc8 =B. 1 ... Pxa1 = B; 2 Pxc8 =
R. 1 . .. Pxa1 = S; 2 Pxc8 = Q. Double Allumwandlung:
in each variation the promoting black Pawn is grabbed on
White's third move.
329. Key 1 Qa3 (> 2 Sc5+, Bxc5; 3 Qd3). 1 ... Bxa3; 2
Bxc6+ (A), Qxc6; 2 Sg5 (B). 1 ... Rxa8; 2 Sg5+ (B),
Q X g5; 3 P X f3 (C). 1 ... R X h3; 2 P X f3 + (C), Q X f3;
3 B x c6 (A). As the Black Rooks and Bishop move away,
the black Queen becomes overloaded, with continuations ·in
a cyclic pattern.
330. Key 1 Qb1 (> 2 Qh1 + ). 1 ... Pf4; 2 Qd1 +, Ke4; 3 S x f6.
1 . . . Sf3; 2 Pe4 +, Kd4; 3 S X e6. The black l(ing moves from
one half-pin line, exploited on White's second move, on to
two others, exploited on the third move.
331. Key 1 Se6 ( > 2 Rb4+ ). 1 ... Bf4; 2 Re3 (3 Pc4). 1 .. . Rf4;
2 Rf3. 1 ... Qf4; 2 Rg3. 1 ... Sf4; 2 Rh3 . Fourfold interference
on f4. -
332. Try 1 Qf8 ?, Ka4; 2 Qb4. 1 ... Ka6; 2 Qfl. 1 ... K x c6 ;
2 Qc5. 1 ... Kc4! Key 1 Qh3!, Zugzwang. 1 ... Ka4; 2 Qb3.
1 ... Ka6; 2 Qd3. 1 ... Kxc6; 2 Qd7. 1 ... Kc4; 2 Qb3 .
Star-flights in miniature, with three changes.
333. Key 1 Qf2! ( > 2 Rxe4), Be5; 2 Rc6. 1 .. . Se5 ; 2 Rxd6.
1 . . . Re5; 2 Qxf7. 1 ... Rd5; 2 Qf6. 1 ... Pd5; 2 Sd4. Spec-
ta~ular key introduces five self-block variations. I ... Ke5;
2 Rc5!
326
334. Try 1 Rb6? Pb1 = Q! 1 Rd6? Bf3! 1 Re6? Pf3! 1 Rf6?
Bg4! Key 1 Rg6! (> 2 Rxg5), Rg4; 2 Rf6 ( > 3 Rf5), Sg3;
3 Re6 (> 4 Re5), Sf3; 4 Rd6 (> 5 Rd5), Bb3; 5 Rb6 (> 6
R x b5), Rb8; 6 Rc6. The white Rook skilfully manipulates
the black force so that the moves which defeat the tries are
ruled out in succession.
335. Key 1 Qa3 (> 2 Sb2), R x d3+; 2 Bd4. 1 ... B X d3; 2 Bd6.
1 ... cS x d3; 2 Sd6. 1 ... fS x d3; 2 Bd5. Black's four self-
blocks all lead to white-interference mates on the d-file.
336. Set: 1 ... cSxd4; 2 Bb5. 1 ... eSxd4; 2 Bf7. 1 ... Qxd4;
2 S X e3. Key 1 Q X e3 (> 2 S X d2), Q X b4; 2 Qe2. 1 ... Q X b2;
2 Qd3. 1 ... Qc3; 2 Qxc3. 1 ... Qc2; 2 Qxe6. 1 ... Qxd4;
2 Qb3. 1 ... Qc1; 2 Q x cl. Radical change: three set self-
pins replaced by five withdrawal unpins of the white Queen.
337. Set: 1 ... S,_,; 2 Rc6. 1 ... Sxc7; 2 Rxb6. 1 ... Sxf4;
2 Rd6. Key 1 Bd6, Zugzwang. 1 ... S,_,; 2 Re4. 1 ... S x c7;
2 ReS. 1 ... S x f4; 2 Re3. Changed mates after random and
correction moves of the Knight, all the mates being given
by the masked Bishop + Rook battery. Two further correc-
tions: 1 ... Se7 +; 2 R x e7; and 1 ... S x f6+; 2 R x f6.
338. Set: 1 ... Qc4 + ; 2 B X c4. 1 ... Qe6 + ; 2 B x e6. 1 ... Qc6 + ;
2 Bxc6. Try 1 Re8?, Qc4+; 2 Kd7+. 1 ... Qe6+; 2 Kc7+.
1 ... Qb6! Key 1 Rxb7!, Zugzwang. 1 ... Qc4+; 2 Rc7+.
1 ... Qe6+; 2 Rd7+. 1 ... Qc6+; 2 Rc7. The Zagoruyko
the1ne in three-move form. Grabs of the black Queen in the
set play, a royal battery after the try, and Brede cross-checks
in the post-key play. The try 1 Re4? changes the mates (but
not the continuations) after the set checks, but fails to
1 ... Qc4+! (2 Bxc4?, Pb6!; 3 Ra4?).
339. Key 1 Se6 (>2 Sd6+, Kxf6; 3 Pxg8 = S). 1 ... Ra8;
2 Kd6+, Kxe4; 3 Pxa8 = Q. 1 ... Rb8; 2 Sd4+, Kf4;
3 Pxb8 = Q. 1 ... Rc8; 2 Kd4+, Kxe6; 3 dPxc8 = Q.
1 ... Rd8; 2 Sd6+, Kxf6; 3 ePxd8 = Q. 1 ... Re8; 2
Rh5+, Kxg6; 3 fPxe8 = Q. 1 ... Rf8; 2 Kd4+, Kxe6;
3 P x f8 = S. A brilliant series of promotions.
340. Try 1 Pd5?, Sxe3; 2 Se5 (A). 1 ... Sxd2; 2 Rxc3 (B).
1 ... Bb8! Try 1 Qdl? (> 2 Qfl), Sxe3; 2 Rxc3 (B). 1 ...
Sxd2; 2 Bxb5 (C). 1 ... Se5! Key 1 Qf3! (> 2 Qfl), Sxe3;
327
2 Bxb5 (C). 1 ... Sxd2; 2 Se5 (A). Zagoruyko: cyclic
change.
341. Key 1 Qc6 (>2 Bc5), cRd3; 2 Sxc2. 1 ... Bd3; 2 Sxf3.
1 ... fRd3; 2 S x f5. 1 ... Qd3; 2 P x c3. Double Grimshaw
on one square: the Rc3 and the Bishop interfere with one
another, and so do the Rf3 and the Queen.
342. Key 1 Qf3 (> 2 Qd5), Qf7; 2 Sd7 (A), not 2 Bd6? (B) or
2 Re6? (C). 1 ... Qe4; 2 Bd6 (B), not 2 Re6? (C) or 2 Sd7?
(A). 1 ... Q x b4; 2 Re6 (C), not 2 Sd7? (A) or 2 Bd6? (B).
Cyclic triple avoidance: in each variation Black rules out
one white reply by pinning and a second by direct guard or
line-closure. All three mates are white interferences exploiting
the line-openings.
343. Set: 1 ... Qb5+; 2 Sxb5. 1 ... Qf5+; 2 Sxf5. 1 ...
Q X d6+; 2 Q X d6. Try 1 Qf8? (>2 Q X g7), Qb5+; 2 R X b5.
1 ... Qf5+; 2 Qxf5. 1 ... Qxd6+; 2 Bxd6. 1 ... Qe4!
Try 1 Kc8? (>2 Sf7), Qa6+; 2 Sb7. 1 ... Qc3+; 2 Sc4.
1 ... Qf5+; 2 S xf5. 1 ... Pg6! Key 1 Kc6! (> 2 Sf7), Qb5+;
2 S x b5. 1 ... Qc3+; 2 Sc4. 1 ... Qf3+; 2 Se4. I ... Qd5+;
2 R x d5. Plenty of changed checking play, set with superb
economy.
344. Key 1 Qg4 (>2 Rd1+, Kxe2; 3 Pf4). 1 ... BaS; 2 Qe4+
(A), Sxe4; 3 Sxe5 (B). 1 ... Bh5; 2 Sxe5+ (B), Rxe5;
3 Qc4 (C). 1 ... Sc3; 2 Qc4+ (C), S X c4; 3 S X c5 (D).
I ... Sb2; 2 S x c5 + (D), R x c5; 3 Qe4 (A). Masked half-pin
with cyclic effects.
345. Key I Qa1 (>2 Rg5+, Kf4; 3 Qf1). 1 ... dR'""; 2 S xc4+
(A), Rxc4; 3 Pb8 = Q (B). 1 ... Rxc2; 2 Pb8 = Q+ (B),
Qxb8; 3 Rxd5 (C). 1 ... Qb1; 2 Rxd5+ (C), Rxd5;
3 S x c4 (A). Third-pin with cyclic effects.
346. Key 1 Bc6 (>2 Qc4+ (A), K X c4; 3 Pf5 (B).) 1 ... S x d6;
2 Pf5+ (B), Kxe5; 3 Bc3 (C). 1 ... Pd2; 2 Bc3+ (C),
K x c3; 3 Q X c5 (D). 1 ... Pc4; 2 Qc5 + (D), K X c5; 3 Se6
(E). 1 ... Rf5; 2 Se6+ (E), Kf4; 3 Qc4 (A). A brilliant five-
fold white-move cycle.
347. Key 1 Ba8, Pg5; 2 Qb7 (> 3 Qhl). 1 ... Pf4; 2 Qg6 (>3
Qg1). 1... Kfl; 2 Q x f5 +, Kel; 3 Qf2. A typical Loyd key:
the Bishop clears the long diagonal for the Queen to use in
the first variation.
328
348. Key 1 Qe7 ( > 2 R x e6), S x d4; 2 Rc4. 1 ... eSc5; 2
Rxc5. 1 ... Sc7; 2 Rxc7. l ... Sxf4; 2 Rc3. l ... Sxg7;
2 Rf6. 1 ... Kd5 +; 2 Rc2. 1 ... Rd5; 2 B x g5. A characteristic
Mansfield half-pin setting.
349. Set: 1 ... dS~+; 2 Sxd6. l ... Pe6+; 2 Rxf6. Key
1 Sf5 (> 2 Sxh6), dS""+; 2 fSxd6. 1 ... Pe6+; 2 Qxf6.
Half-pin in each phase, a flight-giving key changing the
replies to Black's checks.
350. Key 1 Rd8 (> 2 P X a5), Bb6; 2 P X c5 (2 Pb5 ?). 1 ...
B X d8; 2 Pb5 (2 P X c5 ?). 1 ... Qb6; 2 Sf5 (2 Sc3 ?). ( . .. Qd6;
2 Sc3 (2 Sf5 ?). Black unpins White and avoids duals by
unpinning Black.
351. Key 1 Sf6 (> 2 Bc3), Pd2; 2 Sd3. 1 ... Qc4; 2 2Se4. 1 ...
Sb4; 2 6Se4. 1 .. . Rd4; 2 Bd6. 1 ... Bc7; 2 Sd7. 1... Rc7;
2 Qb6. Two fine Anti-Goethart unpin-variations and plenty
of other interesting play.
352. Try 1 Be4? (> 2 Qf1 + ). 1 ... Bf4; 2 Se3+, B x e3; 3 Qc7.
1 ... Qf4; 2 Qc7+, Qxc7; 3 Se3. 1 ... Qd2! Key 1 eSf4!
(> 2 Rc5+). 1 ... Qe6; 2 Se3+, Qxe3; 3 Qc7. 1 ... Re6;
2 Qc7 +, Rc6; 3 Se3. Wurzburg-Plachutta in each phase, with
transferred continuations.
353. Key 1 Rg5 (>2 Sd6+, Rxd6; 3 Bb5). 1 ... Re5; 2 Se3+
(A), Pxe3; 3 Qxc3 (B). 1 ... Bd5; 2 Qxc3+ (B), Pxc3;
3 Pd3 (C). 1 ... Be5; 2 Pd3 + (C), P x d3; 3 Se3 (A). Cyclic
effects motivated by interferences.
354. Key 1 Be8 (>2 Qf2/g1 + ). 1 ... Rg3; 2 Sf3+, Kc4;
3 Pd3+, Bxd3; 4 Se5+, Kd4; 5 Sb3. 1 ... Bh7; 2 Sg6+,
Kc4; 3 Pd3 +, R X d3 ; 4 Se5 +, Kd4; 5 Sc2. With each first-
move defence Black plays across the critical square d3.
White then shuts off the defending piece, and on his third
move creates a Nowotny on the critical square, which is
subsequently exploited at the mate.
355. Key 1 Bd3, Zugzwang. 1 ... Kc7; 2 Se8 (A), not 2 Sb5?
(B). 1 ... Ke5; 2 Sb5 (B), not 2 cSe4? (C). 1 ... Kc5; 2 cSe4
(C), not 2 fSe4? (D). 1 ... Ke7; 2 fSe4 (D), not 2 Se8? (A).
Cyclic dual avoidance: White must avoid closing his own
lines of guard to squares in the black King's extended field.
356. Try 1 Rf4?, Bxf4; 2 Be6. 1 ... Rxf4; 2 Rh2. 1 ... Qa2!
Key 1 Pf4!, Bxf4; 2 Rh4. I ... Rxf4; 2 Rg3. I .. . Kxf4;
329
2 Be6. 1 ... P x f4; 2 Rh2. Rukhlis with threats, introduced by
Nowotny try and key: White's virtual-play threats reappear
after different defences in the post-key play. Beautifully
economical setting.
357. Try 1 Sd8? ( > 2 Sc6), dB""'+; 2 fSe6. 1 ... S""'+; 2 Se2.
l ... Pxf4! I<ey 1 Sxe5! ( > 2 Sc6), dB~+; 2 Sg6. 1 ...
S""'+; 2 Sd3. l ... Bxe5+; 2 Se6. l ... Sxe5+; 2 Se2.
Rukhlis again, this time with cross-checks.
358. Key 1 Pe7, Kf4; 2 Pxd8 = S, Se5; 3 Se6. 1 ... Kf6;
2 Pxd8 = Q+, Kg7; 3 Qxg5. 1 ... Kd6; 2 Pxd8 = R,
Kc7; 3 Rxd7. I ... Kxd4; 2 Pxd8 = B, '"""'; 3 Bf6/b6.
Black King star-flights leading to Allumwandlung on d8.
359. Key 1 Qe4, Zugzwang. I ... aS""'; 2 Ra8. I ... bB""';
2 Rb8. 1 ... cS~; 2 Rhl. I ... Pdl; 2 Rh2. I ... PeS; 2 Qa8.
1 ... Bxd6; 2 Bxg7. 1 ... B else; 2 Qe8. I ... Pf2; 2 Qhl.
1 ... P X e3; 2 Qh4. Nine line-opening variations, currently
the record (October I968).
360. (a) 1 Pe8 = S, PeS; 2 S x c7. (b) I Pe8 = B, PeS; 2 Bc2,
Pe4. (c) 1 Pe5, Pe8 = Q; 2 Pe4+, Q x e4. (d) 1 Pe5, Pe8 = R;
2 Pe4+, R x e4. The solutions display no very interesting
strategy, but the combination of the four stipulations with
Allumwandlung in a single problem is remarkable.
361. Try 1 Sd3? (> 2 QeS), BfS; 2 Qe3. I ... Pxd4; 2 Rei.
1 ... P X d6! Try 1 S X c4 ?, P X d4; 2 Sd2. 1 ... P X d6;
2 Sxd6. 1 ... BfS! Try I Sxd7?, Pxd6; 2 Rxe6. 1 ... BfS;
2 Bxc6. I ... Pxd4! Key 1 Sxc6! (>2 QeS), BfS; 2 Sb4.
1 ... P x d4; 2 R x d4. 1 ... P X d6; 2 QdS. Cyclic refutation,
with nine different mates altogether.
362. Key 1 Ba3 (>2 Sxe6+). I ... Qh5+; 2 Sf5+, Kd5;
3 S xe3. 1 ... ReS+; 2 Sb5+, Kd5; 3 S xc7. Brede cross-
checks and Rosse! theme combined with exploitation of an
indirect half-pin.
363. Set: 1 ... Pxf5; 2 Rel. 1 ... B xf5; 2 Bh2. 1 ... S xf5;
2 Re4. Key 1 QgS ( > 2 Sc4), P X dS; 2 Rel. 1 ... Q x d5;
2 Bh2. 1 ... S X d5; 2 Re4. (1 ... K X d5; 2 S X f3.) Mate
transference: Stocchi theme in each phase.
364. Key 1 Qel ( > 2 Sc3+, Ka3; 3 Qe7+, PeS; 4 Qxc5).
1 ... Pc5; 2 Qfl ( > 3 Sc3+, Ka3; 4 Qa6+ , Kb4; 5 Sd5).
330
2 ... Pc4; 3 Qel ( > 4 Sc3+, Ka3; 5 Qe7). Model mates,
Bohemian style.
365. Try 1 Qxf4? ( > 2 Q/Re5). 1 ... Sc4; 2 Rxb5. 1 ... Sd3;
2 Pe4. 1 ... Sg4; 2 Qd4. 1 ... Sf7; 2 Be6. 1 .. . Qe4! Key
1 Qe7! (> 2 Qe5). 1 ... Sc4; 2 Qc5. 1 ... Sd3; 2 Qe4. 1 . . .
Sg4; 2 S x f4. 1 ... Sf7; 2 Qe6. Four changed interferences, a
task not often achieved.
366. Set: 1 ... l(d5; 2 Pg1 = B, Kd6. Play: 1 ... Bgl, R x g2;
2 Bh2+, Rg3. Switchbacks, by White in the set play and by
both sides in the solution.
367. 1 Rc2, Sd6; 2 Be8, Sb7; 3 Kf7, Kb1; 4 Qg6, Sd8. Very
subtle play: 1 Rc2 is necessary to prevent 4 Qg6 from being
a check after White's waiting move 3 ... Kbl.
368. Try 1 dS"'"'? Sb8! (A). Try 1 Se5? (correction), P X f4! (B).
Try 1 fS"'"'? Pxf4! (B). Try 1 Se6? (correction), Pc6! (C) .
Try 1 B"'"'? Pc6! (C). Try 1 Bd7? (correction), Sb8! (A). Key
1 Ph4! Cyclic white correction, the only known example. In
cyclic black correction, it is the white mates which occur in
a cyclic pattern; here the cycle involves Black's refutations
to White's tries.
369. Key 1 Sd8 (> 2 Se6), Kc5; 2 Se6+, Kd6; 3 Sb6, Ke7;
4 Sc8+, Kf6; 5 Sf8, Kg5; 6 Pxg3, Bxg3; 7 Se6+, Kf6;
8 Sb6, l(e7; 9 Sd5+, J(d6; 10 Sd8, Kc5; 11 Sb7+, Kd4;
I2 Pc3. In order to mate on c3, White must decoy the Bel
away from the diagonal el- a5. This is done by forcing the
black King to g5 and back to escape checks or threats of
mate.
370. Set: I . . . cS X e4; 2 Qa7. 1 ... fS X e4; 2 Qgl. Key I S X d3
(> 2 Bxc5), cSxe4; 2 Sxf2. 1 ... fSxe4; 2 Sxc5. 1 ...
cSxd3; 2 Qa7. 1 ... fSxd3; 2 Qgl. (1 ... Qxe4 ; 2 Qxe5.
1 ... Sb3; 2 Qd7 .) Pioneer Rukhlis with self-pins.
371. Set: 1 ... Be4; 2 Q x e5. 1 ... Re4; 2 Qd5. Key 1 Se4
(> 2 Bxe5fBc6). 1 ... Bxe4; 2 Bxe5. 1 ... Rxe4; 2 Bc6.
1 ... Sf6; 2 Q x e5. 1 ... Pf6; 2 Qd5. Rukhlis: the Nowotny
key converts the set Grimshaw into a threat-separating
mechanisn1, and the set mates reappear after the unpins on f6.
Note the further unpin: 1 ... Qa5; 2 Qc4.
372. Set: 1 ... Bc3; 2 Bxc6. 1 ... Rc3; 2 Sd2. Try 1 Bd4?
( > 2 Qf5), Qxf4; 2 Sxf2. 1 ... Pxf4; 2 Sf6. 1 .. . ReS!
331
Key 1 Bc3! (>2 Qf5), Q xf4; 2 B x c6. 1 ... Pxf4; 2 Sd2.
(1 ... K x f4; 2 Qe5.) Extended Rukhlis: set/actual transfer-
ence, with virtual/actual change. The set Grimshaw gives
way to self-blocks on the flight-square f4.
373. Key 1 Rb2, Zugzwang. 1 ... Kc4; 2 Pf8 = Q +, Pd5;
3 Qa3, Ph2. 1 ... Ke4; 2 Pf8 = R, Pd5; 3 Rf3 (2 ... Ke3;
3 Bd5). 1 ... Ke6; 2 Pf8 = B +, Kf6; 3 Bd5. 1... K x c6;
2 Pf8 ·= S, Pd5; 3 Sf7. Star-flights with Allumwandlung, as
in No. 358, but this time in self-mate form.
374. Set: 1 ... Rxe4; 2 Sf3. 1 ... Pxe4; 2 Se6. Try 1 Sf2?
(>2 Rxd5), cS""; 2 Sf3. 1 ... Se5; 2 Se6. 1 ... Ke5! Try
1 Se1?, cS""; 2 eSf3. 1 ... Se5; 2 Sc2. 1 ... Be5! Key 1 Sf4!
(>2 Rxd5), S""; 2 Bxf6. 1 ... Se5; 2 fSe6. Zagoruyko,
with the embellishment of transference between the set play
and the first virtual-piay phase.
375. Try 1 Qa5? (> 2 B X a3), S X c5; 2 B X c5 (A). 1 ... S X c3;
2 Bxc3 (B). 1 ... Sd2! Try 1 Sa2? (>2 Bxa3), Sxc5;
2 Bc3 (B). 1 ... Sc3; 2 Qf6 ' (C). 1 ... Rei! Key 1 Sd7! (>2
BaS), Sc5; 2 Qf6 (C). 1 ... S x c3; 2 Bc5 (A). Zagoruyko with
cyclic change, one of several brilliant Russian examples.
376. Set: 1 ... Pb4; 2 cRd3. 1 ... Rg5; 2 eRd3. Key 1 Qd8
( > 2 Q x d5), Pb4; 2 Rc4. 1 ... Rg5; 2 R x e4. Changed mates
after the interference-unpins of the white Rooks, effected by
a pin-unpin. key.
377. Try 1 eS""?, Pxg5! Try 1 Sc3+?, Kc4/5; 2 Sd5+,
Kxd5; 3 Pe4. 1 ... Kc6! (2 Sd5+ ?, Kb7!). Key 1 Pg4!
(>2 Sf6+, K""+; 3 Sd5+, Kx d5; 4 Pe4). 1 ... Bb7;
2 Sc3+, Kc4/5/6+; 3 Sd5+, Kxd5; 4 Pe4. The Se4 must
be sacrificed before thee-Pawn can mate.
378. Try 1 Pc4? (>2 PeS), Sb3!. Try 1 Pb4? (>2 Bc5), P x b4
e.p.; 2 Pc4! (>3 Pc5). 1 ... Pg1 = Q! Key 1 Sh6! (>2 Sf7),
Ke5; 2 Bg5 (>3 Sf7), Kd6; 3 Pb4! (>4 Sf7), Pxb4 e.p.;
4 Be3, Ke5; 5 Sg4+, Kd6; 6 Pc4 (>7 PeS). Various "Vor-
plane" are necessary before White can execute his "Haupt-
plan" of Pc4.
379. Set: 1 ... B X h3; 2 Sf4, 0-0-0. Play: 1 Rf2, K x f2; 2 Ph2,
Bg2. White cannot castle in the actual play because King or
Rook must have just moved if it is Black's turn to play.
332
Prob/en1s for Solving
380. Key 1 Qd2 (> 2 Qd3), 7Sf6; 2 Q X g5 (A), not 2 B X e6?
(B). 1 ... 7Se5; 2 B x e6 (B), not 2 Sd6? (C). 1 ... 4Se5;
2 Sd6 (C), not 2 Se3? (D). 1 ... 4Sf6; 2 Se3 (D), not 2 Q X g5?
(A). Cyclic dual avoidance.
381. Key 1 Qc8 (> 2 Q x e6), eR""'; 2 Q x g4/Qf5/Sg5. 1 ... ReS;
2 Q x g4 only. 1 ... R x g6; 2 Qf5 only. 1 ... Rf6; 2 Sg5 only.
1 ... cR""'; 2 Bd3/Re1/Sd2. 1 ... Rxc2; 2 Bd3 only. 1 ... Rd4;
2 Re1 only. 1 ... Rc3; 2 Sd2 only. Double secondary Fleck:
each Rook accurately separates the three secondary threats
caused by its departure.
382. Key 1 Sc6 (>2 Qg1), Qa1+; 2 Ra2. 1 ... Qb2+; 2 Rxb2.
1 ... Qe1; 2 Re2. 1 ... Qh2; 2 Rgl. 1 ... Qd6; 2 Bf4. 1 ...
Qe7; 2 Bg5. 1 ... Qe3; 2 B x e3. 1 ... Qd4; 2 Bg7. The black
Queen surveys two batteries.
383. Try 1 Rf5 ?, Kb6; 2 Sd7. 1 ... Pb6; 2 Sd4. 1 ... B""';
2 Sd4. 1 ... Bd5! Try 1 Rb8 ?, Kb6; 2 Rx b7. 1 ... Pb6;
2 Qd3. 1 ... B~; 2 Qa6. 1 ... Be4! Key 1 fRa8!, Zugzwang.
1 ... Kb6; 2 Rb4. 1 ... Pb6; 2 Qd3. 1 ... B~; 2 Ra5. Zago-
ruyko, in a setting remarkable for its economy.
384. Set: 1 ... Rf2; 2 bRe5 (2 Sc3 ?). 1 ... S x f5; 2 Sc3 (2 Re5 ?).
Key 1 Sd5 (> 2 Rf4), Rf2; 2 Sf6 (2 dSc3?). 1 ... Sxf5;
2 dSc3 (2 Sf6?). (1 ... Kxd4; 2 Rb4. 1 ... Kxf5; 2 Bxd3.)
Mari theme in set and post-key play: White must avoid
closing the line Black has just opened.
385. Set: 1 ... Rd5; 2 Q X c4 +, K x e5; 3 Sd3. 1 ... Bd5; 2 Qc2 +,
Kxe5;3Sc4.Key 1Sb5(>2Qd4+,Rxd4; 3Sc3).1 ... Rd5;
2 Qc2+, Kxe5; 3 Sc4. 1 ... Bd5; 2 Qxc4+, Kxe5; 3 Sd3.
Reciprocal change of white continuations. The Grimshaw d5
is exploited on White's second move in the set play, and on
the third move after the key.
386. Set: 1 ... Q X c6; 2 Bc3 +, Q X c3; 3 R X d5. 1 ... R X c6;
2 Se6+, Rxe6; 3 Rxd5. Key 1 Ba6 (> 2 Rf4+ (A),
Qxf4; 3 Bc3 (B). 2 ... Rxf4; 3 Se6 (C).) 1 ... Rxc6;
2 Bc3+ (B), Rxc3; 3 Se6 (C). 2 ... Qxc3; 3 Rf4 (A).
1 ... Qxc6; 2 Se6+ (C), Rxe6; 3 Rf4 (A). 2 .. . Qxe6;
3 Bc3 (B). Cyclic effects in the post-key play, dependent on-
focal guards by the black Queen and Rook. That by itself
would be enough to make a fine problem, but there is also
333
Prob!en1s for Solving
reciprocal change between set and post-key play after the two
principal defences.
387. Key 1 Qe7 (>2 Qxd6), Sc7; 2 Sb7. 1 ... Rd8; 2 Sxa6.
1 ... Pd5; 2 cSb3. l ... Be5; 2 Se6. 1 ... Qh5; 2 Sc4. 1 ...
B x c6; 2 Sfl. 1 ... Bc4; 2 dSb3. 1 ... Se3; 2 Sf3. Eight
battery-mates, including four white-interference variations.
388. Set: 1 ... Gf3; 2 Ge5 (A). 1 ... Qb4; 2 eR X e4 (B). 1 ...
Qc5; 2 Pf5 (C). Key 1 Rd5 (>2 Qd4), Gf3; 2 eRxe4 (B).
1 ... Qb4; 2 Pf5 (C). 1 ... Qc5; 2 Ge5 (A). Cyclic shift, a
rare example with fairy pieces.
389. Set: 1 ... K x c4; 2 Q x e6 (A). 1 ... S~; 2 Qc5 (B). 1 ...
B,_,; 2 Sf6 (C). Key 1 Sd4, Zugzwang. 1 ... K X c4; 2 Qc5
(B). 1 ... S~; "2 Sf6 (C). 1 ... B~; 2 Q x e6 (A)~ (1 ... Ke4;
2 Sf6.) Cyclic shift again, but this time with orthodox force
only, in a mutate setting. -
390. Key 1 Qh4 (>2 Qg3+, Kc4; 3 Qd3). 1 ... Re8; 2 S_xd5+,
Kc4; 3 Se6 (2 ... PxdS; 3 Sb5). 1 ... Rg8; 2 Sb5+, Kc4;
3 Sg6 (2 ... PxbS; 3 SxdS). 1 ... Rfl; 2 fSxe2+, Kc4;
3 Sf3 (2 ... Bxe2; 3 dSxe2). 1 ... Rgl; 2 dSxe2+, Kc4;
3 Sg2 (2 ... B x e2; 3 fS X e2). Brilliant anticipatory half-
battery.
391. Key 1 BhS (>2 Rd8 .+ , Kg7; 3 SfS). 1 ... cRxd4; 2 KfS
(>3 Be5). 1 ... dRxd4; 2 Ke6. l ... bSxd4; 2 Ke4. 1 ...
cS x d4; 2 KdS. Black's self-obstructions on d4 lead to plus-
flights of the white King.
392. Try 1 Rd1? (>2 RdS), PdS! Try 1 Rh4? (> 2 Re4), Sf6!
Key I Kb2! (>2 Rel+, Kd4; 3 Re4). 1 ... PdS; 2 Rh4
(>3 Sd3), Pd4; 3 Re4. 1 ... Sf6; 2 Rdl (> 3 Bf4), S,_,;
3 Rd5. The Swiss theme: Black's defences have the effect of
changing the threat carried by White's tries when these are
played as second-move continuations. In this setting of the
theme, the original threat reappears after further black
defences. Compare the two-move strategy of threat-correction.
393. Key 1 Kb1 (> 2 Rb4+, KcS; 3 RbS+, Kc4; 4 ReS).
1 ... Sd7; 2 Rc3+ (A), Pxc3; 3 Se3+ (B), Pxe3; 4 Pd3 (C).
I ... ReS; 2 Se3+ (B), Pxe3; 3 Pd3+ (C), Pxd3; 4 Rc3 (A).
1 .. . Se6; 2 Pd3+ (C), Pxd3; 3 Rc3+ (A), Pxc3; 4 Se3
(B). A fine three-fold white-move cycle, based on play by the
334
third-pinned pieces on the fourth rank after Black's first-
n1ove interferences.
394. Set: 1 ... Qc6+; 2 Sd5+, Kxe5; 3 Bf4+, Kd4; 4 Pe3.
1 ... Bc6+; 2 Sg2+, Kxe5; 3 Bf4+, Kd4; 4 Qc4. Key
1 Qa7 (> 2 Sc4+/Sg4+ ). 1 ... Qc6+; 2 Sg2+, K x e5;
3 Bf4+, Kd5; 4 Se3 (3 ... Kf6; 4 Pg8 = S). 1... Bc6+;
2 Sd5+, I<. x e5; 3 Bc3+, K x d5; 4 Qd4 (3 ... Kd6; 4 Qc5).
Reciprocal change of replies to Black's checks, brought
about by an alteration of the guards on squares in the black
King's extended field.
395. Key 1 Kb5 ( > 2 Se6 +, K x d3; 3 Re3). 1 ... Rh6; 2 Pf3
(>3 Bf2). (Not 2 Pf4?, Rxh3!) 1 ... Bf6; 2 Bf5 (>3 Se6).
(Not 2 Bg6? Bxh3!) 1 ... Rxh3; 2 Bg6 (>3 Se6). (Not
2 Bf5? Rh6!) 1 ... Bxh3; 2 Pf4 (>3 Bf2). {Not 2 Pf3?
Bh6 !) White must be careful to select the correct continuation
after Black's self-obstructions.
396. Key 1 Pd7 (>2 Rd5+, Bxd5; 3 Qxb6. 2 ... Sxd5;
3 Se6). 1 ... Bg8; 2 Rc4+, Bxc4; 3 Qxb6 (2 ... Sxc4;
3 Sb3). 1 ... S x d7; 2 R x e5, S x e5; 2 Qb6 (2 ... K x e5;
3 Sc6). 1 ... Kxc5; 2 Qf8+, Kd4; 3 Qf2. Model mates
throughout.
397. Key 1 Pg3 (>2 Pxf4+, Kxf4; 3 Qg3). 1 ... Pf3; 2 cSd4
(>3 Sc6fSxf3). 1 ... Rb4; 2 Sc5 (>3 Sd7/Sd3). 1 ... Rb5;
2 bSd4 (>3 Sc6/Sf3). 1 ... Pe2; 2 Se1 (>3 Sd3/Sf3). Anticipa-
tory interference or obstruction: after his first-move defences,
Black can no longer move his Queen to a square from where
she will stop both of White's third-move threats.
398. Try: 1 Qa5?, Pxe5; 2 Qd8. 1 ... Pxd4; 2 Pxa6. 1 ...
Sxe4! Try 1 Qg3?, Pxd4; 2 Rxd4. 1 ... Sxe4; 2 Qg8.
1 ... P x e5! Try -1 Qh3 ?, S x e4; 2 Qe6. 1 ... P x e5; 2 Qd7.
1 ... Pxd4! Key 1 Qd3!, (>2 Sc3), Pxe5; 2 Pxc5. 1 ...
P x d4; 2 Q x d4. 1 ... S X e4; 2 Q x e4. Cyclic refutation, with
nine mates in all.
399. Set: 1 ... Bb4; 2 Bdl. 1 ... Rb4; 2 Ra3. Key 1 Re4+ !,
Bb4; 2 Ra3. 1 ... Rb4; 2 Bdl. Reciprocal change: Grimshaw
to self-pins.
400. Set: 1 ... Pf5; 2 Pf3, Pf4. 1 ... P x g5; 2 Pf4+, P x f4. Key
1 Q X h4, Pf5; 2 Q X h5, Pf4. 1 ... P X g5; 2 Qf4+, P X f4.
Quite a rarity: a selfmate n1utate.
335
I
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I·
~
BIBLIOGRAPHY
Lots of books have been written on chess problems, but very

few are still in print and readily obtainable. The following list
does not claim to be comprehensive, but offers some suggestions
for a basic collection. Some of the unobtainable books may
occasionally be had from public libraries, while others may be
borrowed by members from the library of the British Chess
Problem Society.
Those looking for anthologies of problems should investigate
the Albums published by the Federation Internationale des
Echecs, of which four have so far appeared. Volume I covers
the years 1956-8, volume II 1959-61 and volume III 1962-4,
while the first Retrospective Album deals with the years
1945-55. Each volume contains most (but unhappily not all!)
of the best problems of all types published during the years
it covers. Two further Albums are being prepared: volume IV
(1965-7), and the second Retrospective volume (1914-45).
Other outstanding collections of problems are: "The Good
Companion Two-Mover", by A. C. White and G. Hume,
containing the best from the Good Companion Folders;
"A Century of Two-Movers", with 100 of the m<;>st famous
two-move problems selected by A. C. White, C. Mansfield, F.
Gamage and V. L. Eaton; and "A Genius of the Two-Mover"-
Mansfield's finest early works. These three all appeared in
A. C. White's Christmas Series, which consisted of annual
publications which Alain White would send out as Christmas
presents to his many friends in the problem world.
Luckily you don't have to be a good linguist to enjoy the
problems in books from other countries. But if your German is
good you will appreciate the instructive commentaries to be
found in Herbert Grasemann's three collections of German and
336
Bibliography
other problems of all lengths, "Problemschach" volumes I and
II, and "Problemjuwelen". Equally illuminating are the
commentaries in "Problemkunst im 20. Jahrhundert" by A.
Kraemer and E. Zepler, and in "Zweizi.iger Miniaturen" by
W. Speckmann. "Das Logische Schachprobletn", also by
Speckmann, is a treatise on the theories of the new-German
school. More ambitious linguists might like to try E. Umnov's
three fine books, dealing respectively with problems of the
nineteenth century, the twentieth century up to 1944, and
the modern period: "Shakhmatnaya Zadacha XIX Veka",
"Shakhmatnaya Zadacha XX Veka", and "Sovremennaya
· Shakhmatnaya Zadacha". These are Russian publications, and
are extraordinarily cheap.
Now for some books .a bout problems, in English. I-I.
Weenink' s "The Chess Problem", translated from the Dutch
and published in a revised version in White's Christmas series
in 1926, is still the most comprehensive survey of the early
development of the chess problem. In his two books, "Mate in
Two Moves" (1931) and "Mate in Three Moves" (1943), Brian
Harley aimed at a wide audience, explaining problems and their
terminology simply and lucidly. A survey of more recent trends,
together with some historical background, may be found in
two Faber books, "Chess Problems: Introduction to an Art"
(1963), by Michael Lipton, R. C. 0. Matthews and John M.
Rice; and "The Two-Move Chess Problem: Tradition and
Development" (1966), by John M. Rice, Michael Lipton and
Barry P. Barnes. In the former stress is laid on the artistic side
of the chess problem, while the latter contains essays on
important two-move themes and a collection of its authors'
best works. Comins Mansfield's "Adventures in Composition",
mentioned in Section III, is all about the art of composing
seen from the point of view of the expert. Two further A. C.
White books deserve mention: "Simple Two-Move Themes"
(1924), by White and F. B. Feast; and "The Two-Move Chess
Problem in the Soviet Union", containing some outstanding
Russian work from the 1930s, the great era of Dual Avoidance
and white line-themes. Devotees of fairy chess will find much to
enjoy in T. R. Dawson's "Caissa's Wild Roses" (1935), and
"A Guide to Fairy Chess" (1967), by A. S. M. Dickins.
337
Biblio~raphy
Finally, a short li t of tnagazines. Those devoted cxclu ivc ly

to problen1s include uThc Problen1ist" (Engli sh), " Prob-
leemblad,' (Dutch), "Die Schwalbe,' (German), "Stella Polaris"
(Scandinavian languages), "Le Probleme" and "Then1es 64"
(French), Sinfonie Scacchistiche" (Italian), " Problemas'' (Span-
ish) and " Probletn" (multi-lingual, but published in Yugoslavia) .
All of these publish original problems and run cotnposing and
(usually) solving tourneys, except for "Le Probh!me", which
presents in each issue a valuable survey of chosen themes and
trends by leading problemists.
A number of chess tnagazines have problem sections, includ-
ing the "British Chess Magazine", "Deutsche Schachzeitung",
"Schakend Nederland", "Tidskrift for Schack", "Postsjakk",
"Europe Echecs", "L'Italia Scacchistica", "Magyar Sakkelet",
"Ceskoslovensky Sach" and "Shakhmaty v. SSSR".
il
338
General Index
Certain problem then1es and effects, such as Batteries, Black checks, Dual
avoidance, Line-opening etc., occur too frequently as incidental features
to warrant a comprehensive list in this index. Readers are therefore
referred only to problems where these themes or effects occur as the prin-
cipal feature.
Active dual avoidance, p. 104 Anti-critical play, pp. 72, 118; nos.
Actual play, p. 30 50, 94
Added mate, pp. 30, 183; no. 9 Antiform, pp. 43-44, 230, 234; nos.
Adventures in Composition (Mans- 18-19, 226
field), p. 266 Anti-Goethart, p. 44; nos. 19, 351
Aim, Purity of, p. 106 Approximate twin, p. 250; nos.
Albino, pp. 37-9, 203; nos. 13-15, 274,277
195 Arrival correction, p. 63; nos. 41-
Allumwandlung, pp. 140,208; nos. 42,47
75, 121' 201-2, 293, 295, 328,
358, 360, 373 Battery, pp. 44-49; nos. 20- 25
Ambush, pp. 31, 39-40, 98; nos. and passim
13, 16, 77 -mate, p. 21
Anchor-ringboard,pp.95-96; no.75 Bi-valve, pp. 121,257-8; nos. 98,259
Annihilation, p. 58; no. 36 Black checks, pp. 54-56; nos. 32-34
Anti-Bristol, pp. 40-41, 107, 156; and passim
no. 17 correction, pp. 29, 58, 81; ·nos.
Anticipation, pp. 41-42 8, 37-43, 61, and passim
Anticipatory interference, see Interference,
half-battery, no. 390 Black
half-pin, pp. 136, 142; nos. 116, Knight-wheel, pp. 20, 169-71 ;
123, 313 nos.4, 101,158-59
interference, pp. 94, 156, 168; Block problem, pp. 17, 49-51; nos.
nos. 73, 143, 156, 317, 397 26-28 and passim
obstruction, no. 397 -threat, pp. 29, 50, 292-93; nos.
self-block, pp. 180, 213, 229-30, 28, 286
236; nos. 170, 207, 226, 235, Bohemian School, pp. 51, 106; nos .
. 305, 323 29, 364
self-pin, no. 123 aille Chess Magazine, p. 154
339
General Index
Brede cross-check, pp. 52, 77- 78; Concurrent changes, p. 115 ; no. 90
nos. 57, 338, 362 Consecutive correction, p. 62; no.
square-vacation, p. 52 40
Bristol, pp. 41, 57; nos. 35- 36 Construcion task, p. 109
British Chess Magazine, pp. 109, Contingent threat, p. 58
110, 287, 290 Cook, pp. 17, 58
British Chess Problem Society, p. -try, p. 13 7, no. I 17
109 Correction, pp. 29, 58, 111 ; no. 8;
Ring Tourney, p. 190 and passim
Built-up two-mover, p. 107 Critical play, pp. 71-75, 149, 179,
By-play, pp. 24, 52, 107, 278; no. 5 200; nos. 49-53, 76, 135-36,
and passim 169, 308, 354
square, pp. 71, 131: 200; no. 109
Caissa's Wild Roses (Dawson), pp.
and passim
109-110
tries, pp. 73-74, 158; nos. 52-53,
Camouflage pieces, p. 108
146
Castling, pp. 53-54, 109, 216-18;
nos. 30-31, 211-12, 251-52, Cross-check, pp. 24, 75-78, 133,
300,379 nos. 5, 20, 30, 42, 54-57, 225
Chameleon echo, pp. 106, 179; and passim
nos. 84, 168 CycJicBlack correction, p.81; no. 61
Changed mates (=changes), p. 29 change ( = cyclic Zagoruyko),
Checking key, pp. 162-65; nos. pp. 88-89; nos. 68-69, 375
146, 150-53 dual avoidance, pp. 79-80, 174;
Checks by Black, pp. 54-56; nos. nos. 59, 163, 355, 380
32-34 and passim interference, p. 79; no. 58
Chess Problem, The (Weenink), mate-transference, p. 91 ; no. 70
p. 52 mating permutation, pp. 84-86;
Chess Problems: Introduction to an nos. 64-65
Art (Lipton, Matthews and Nowotny, p. 193; no. 186
Rice), p. 65 obstruction, pp. 92, 100, 325;
Clearance, pp. 57-58; nos. 35-36, nos. 71, 79, 321
347 overloads, pp. 92-95, 199; nos.
Combinative separation, p. 113; 72-74, 190, 329
no.89 play, pp. 78-95, 264, 300
Commendation, pp. 275-76 with anticipatory interference,
Common-aim tries, p. 247; nos. no. 317
45,245 with half-pin, nos. 114, 291, 344
Common-error tries, pp. 32,247-48; with interference, no. 353
nos. 11, 44, 246-47, 298, 310 with third-pin, nos. 345, 393
Compensation, pp. 102, 145 refutation, pp. 82-84; nos.6 2-63,
Complete anticipation, p. 41 361' 398
block, pp. 29, 126 shift, pp. 86- 87; nos. 66-67,
half-pin, pp. 30, 134; no. 9 and 388-89
passim (see Half-pin) triple avoidance, pp. 80-81; nos.
Composing, pp. 266-86 60, 342
tourneys, p. 275 White correction, p. 331; no. 368
340
General Index
Cylinder boards, pp. 95-96, 109; Finnish Nowotny, p. 193
no. 75 Fleck theme, pp. 110- 14; nos. 85-
89, 391
Decoy, pp. 19, 218; nos. 3, 369
Flight (-square), pp. 18, 114-16;
Defeat of try, p. 32
nos. 90-91 and passim
Defence, p. 18
-giving key, pp. 34, 268; no. 12,
Direct battery, pp. 21, 45; no. 4
and passim
and passim
-mate, pp. 17, 139 -taking key, p. 34
Focal effects, pp. 116-19, 257; nos.
Double Grimshaw, p. 244; nos.
104,106,243 92-95, 173, 259, 314
half-pin, p. 133 Form: antiform, pp. 43-44; nos.
18-19
task, p. 38; nos. 13-14
threat, p. 110 Formal Tourney, pp. 42, 275
Fourfold promotion, p. 208; see
Doubled theme, p. 26; no. 6 and
passim
under Allumwandlung
Four-hands-round, pp. 119-21;
Doubling, pp. 97-98, 200, 249; nos.
76-77,191,248,299 nos. 96-97, 309
Dresden, pp. 98-101, 139, 220-21, Four-way-play, p. 121; no. 98
298; nos. 78-79 Fringe variations, pp. 107, 122,
Dressing the board, p. 108 267, 278
Dual, pp. 22, 101, 108, 206 Gamage unpin, p. 122; nos. 7, 99,
Dualavoidance,pp.28, 77,79,101-5, 304
145,159,172-73,197,226,235, General error, pp. 29, 59
255; nos. 7, 8, 55, 59, 80-83, Give-and-take key, pp. 34, 47, 62;
161, 189, 220, 256, 303, and nos. 23, 150
passim Goethart unpin, pp. 44, 122-3, 157,
(in helpmate), p. 142; nos. 122, 276-82; nos. 19, 100, 279(e),
292 280-1
Duplex (helpmate twin), p. 143; Good Companion Chess Problem
no. 126 Club, p. 51n.
Grab, pp. 123-4; nos. 101, 338
Echo, pp. 26, 105-6, 200; nos. 6, Grasshopper, pp. 109, 124-5; nos.
84, 191 102, 324, 388
-models, p. 178; nos. 168-69 Grid board, pp. 109, 125; no. 103
Econorny,pp.20, 106-8,239 chess, pp. 125-6; no. 103
En passant capture, pp. 109, 161 , Grimshaw, pp. 107, 119, 126-9,
216,244; no. 149,244 151, 187, 206, 211, 244; nos.
Ending, p. 15; no. 2 6, 96, 97, 104-6, 180, 243, 341,
English Nowotny, p. 193; no. 186 371, 372, 385, 399
Extended Rukhlis, pp. 226-27; nos. Grimshaw, White, p. 188; no. 180
221, 372 Guard, p. 19
Fairy chess, pp. 109-10, 124, 185, Guide to Fairy Chess, A, (Dickins),
216 p. 110 .
Fairy Chess Correspondence Circle, Half-battery, pp. 129-32, 166, 211,
p. 110 270; nos. 44, 107-9, 155, 176,
Fairy Chess Review, p. 109 260,270-6,290,390
341
General Index
Half-pin, pp. 30, 132-38, 21 1, 240, International Master of Chess
255; nos. 9, 50, 96, 109-17, Problen1 Composition (title
133, 196, 291, 302, 312, 330, of), p. 215
348, 349
Hamburg, pp. 138-9, 220-1; no. Java, pp. 81, 158-60, 255-6, nos.
118 7, 60, 147, 2~6, 294
Harmless dual, p. 107
Hauptplan, p. 220 Key, pp. 17, 160-5, 300
Helpmate, pp. 109, 139-45, 250, Knight-tour, pp. 165-9, 248; nos.
287, 300-2; nos. 119- 29, 175, 154--7, 247, 325
292,293,360,366-7 -wheel, pp. 20, 169-71 ; nos. 4,
Helpstalemate, p. 144; no. 360 101, 158-9
Herpai, pp. 145-7, 302; nos. 8,
130-1 Legality of position, p. 15
Holzhausen, pp. 40, 107, 147-8, Line-closing, pp. 26, 171; nos. 6,
156,192, 206,259; nos.132, 160, and passim
185, 320 -opening, pp. 18, 146, 171-3,
Honourable mention, pp. 275-6 245; nos. 160-2, 359, and
Horizontal cylinder, pp. 95-6; no. passim
75 -piece, pp. 17, 185
Horseblock, p. 148; no. 133 -vacation, p. 58; no. 36
Ideal n1ate, pp. 143, 149; nos. 126, Major dual, p. 101
134 Mari, pp. 79, 173-4, 226; nos. 59,
Ideal-mate Chess Problems (Albert), 163,220,384
p. 143 Masked battery, pp. 23, 48, 76, 269;
Ideal Rukhlis, pp. 224-6; nos. 219- nos. 5, 25, 54
20 half-battery, p. 130
Illegal force, pp. 149, 196-7 Mate in three moves (Harley), p. 52
Incarceration; p. 199; see Paralysis Mate in two moves (Harley), p. 282
Incomplete block, pp. 29, 49; no. Mate transference, pp. 30, 174--6,
26 and passim 223, 243,264; nos. 10,164-6,
Indian, pp. 73, 97, 149-51; nos. 76, 352,363; in three phases, no.166
135-6 Maximum task, pp. 20, 238; no. 4
Indirect battery, pp. 24, 45; nos. 5, Maximummer, p. 232; no. 230
16, 91, and passim Meredith, pp. 177, 292
half-battery, p. 130 Miniature, pp. 165, 177, 292
Informal tourney, p. 275 Minin1al, p. 177
Interference: p. 18 Minor dual, p. 101
Black, pp. 151-6; nos. 137-43 Model mate, pp. 39, 51, 106. 149,
and passim 177-80; nos. 15, 29, 48, 134,
White, pp. 157- 9, 164-5, 267; 167-70, 364, 396
nos. 144-6, 153, 270-6, and Mousetrap, p. 132
passim Munich, pp. 180- 2; nos. 171-2,
Interference-cycle, p. 79; no. 58 322
-Roman, p. 219; nos. 214-5 Mutate, pp. 29, 50, 182; nos. 9, 13,
-unpin , p. 27; no. 7, and passim 173-4, 252
342
General Index
Neutral piece, pp. 183-4; no. 175 Plachutta, pp. 205- 6, 211; no. 198
Nietvelt defence, pp. 184-5, 194, Plus-flights, pp. 115, 162, 250; nos.
227; nos. 176, 187, 302 91, 150, 231, 249
Nightrider, pp. 109, 185- 6; nos. Post-key play, p. 30
177-8 Primary FJeck, p. 111; nos. 85-6
Notation, p. 11 threat, p. 58
Nowotny, pp. 128, 187- 94, 206, Prize, p. 276
247, 295; nos. 179- 86, 245, Prob/eemb/ad, pp. 213, 243
282-3, 288- 9, 320, 354, 356, Problem, p. 276
371 Prob/emist, The, pp. 110, 153, 254,
280,282
Obstruction, pp. 92, 164-5, 194-6, Progressive separation, pp. 112-3;
199; nos. 153,187- 8,327,391, no. 88
395 twin, p. 322; no. 293
Obtrusive force, pp. 196-7 Promoted force in diagram, pp.
Open-gate, p. 171; nos. 160, 162, 196-7
359 Promotion, pp. 32, 206-9; nos. 12,
Opposition theme, p. 118; no. 95 199-202, and passim
Organ-pipes, pp. 197-8; no. 189 obstruction, no. 188
Originality, p. 41 , to fairy piece, p. 186; no. 178
Orthodox problem, pp. 109, 249 Prospective self-block, p. 47; no. 24
Outlier, p. 291 Provision key, no. 5
Overload, pp. 41, 148, 198-9, 205, Pseudo-two-mover, pp. 105, 118,
260; nos. 17, 132, 190, 261-2 209-10; nos. 84, 95, 203, 297
Paralysis, pp. 199-200; nos. 51, 191 Purity of aim ( = Zweckreinheit),
Partial analysis, pp. 217-8; no. 212 p. 106
anticipation, p. 42 . Quadruple, pp. 22, 101
dual avoidance, pp. · 104, 211 Quaternary play, p. 65; nos. 43,307
Fleck, p. 111
Passive dual avoidance, pp. 104-5, Radical change, pp. 130, 210-11;
173; nos. 83, 163 nos. 108, 204, 336
Pawn-Grimshaw, p. 127; no. 104 Random move~ pp. 29, 58
-promotion, pp. 206-9; nos. 199- Reciprocal change, pp. 115, 134,
202, and passim 211, 214-6, 264; nos. 90, 112,
Pericritical play, pp. 75,200-1, 219; 208-10,267,385,386, 394,399
nos. 192, 214 correction, pp. 211-4; nos. 205-7
Turton, p. 97; no. 76 play, pp. 78, 211-6; nos. 205-10
Phase, p. 30 Reduced Zagoruyko, pp. 263-4;
Pickaninny,pp.39, 190,201 - 3,208; no. 267; see also Cyclic
nos. 14, 183, 193- 5, 201 change
Pin, pp. 203- 5 Reflexmate, pp. 109, 232-4; nos.
-mate, pp. 20, 48; nos. 4, 9, 57, 231,295,308
68, 77, 196-7, and passim Refutation of try, p. 32
-model,pp.39, 180; nos.15, 170 Retrograde analysis, pp. 53, 92, 109,
-unpin-restoration, p. 204; no. 216- 8; nos. 211-12
197 Rider, p. 185
343
General Index
R01nan, pp. 100, 139, 218- 21, 248, Stalemate, p. l09
298; nos. 213- 5 Star-flights, pp. 115, 163, 209, 250,
Rossel , pp. 167- 8; nos. 156, 305, 273-4; nos. 90, 151 - 2, 202,
308, 313, 362 249, 277- 8, 332, 358, 373
Rosselsprung im Schachprob/em Stocchi, pp. 235- 7; nos. 234-5, 305,
(Siers), p. 167 363
Royal battery, pp. 38, 89, 222; nos. Strategy, p. 23
13, 69, 216 change of, p. 237; no. 236
Rukhlis, pp. 120, 223- 7, 282-6; Study, p. 15; no. 2
nos. 96, 217-20, 282(d), 283, Stufenbahnung, p. 58; no. 36
288- 9, 356, 357, 370, 371 Swiss then1e, p. 334; no. 392
Extended, pp. 226- 7; nos. 221, 372 Switchback, pp. 145, 237- 8, 254;
Ideal, pp. 224-6; nos. 219- 20 nos. 129,237,25~ 366
Sacrificial key, no. 148 Task, pp.20, 38,238- 9; nos.4, 13,
Schiffmann defence, pp. 166, 227; 238
nos. 154, 222, 326 Tertiary defence, p. 64; no. 42
Schwalbe, Die, p. 276 play, p. 294; nos. 42, 46, 287
Secondary defence, p. 59 Testing for soundness, pp. 286- 7
error, p. 59 Thematic key, p. 23; no. 5; and
Fleck, pp. 111-2; nos, 87, 381 · passim
threat, pp. 58, 112, 170 Theme, p. 23
Self-block, pp. 18, 194,228-31, 234; change of, p. 240; no. 239
nos. 18,223-7, 316, and passim tourney, p. 275
prospective, p. 47; no. 24 Third-pin; pp. 240-1 ; nos. 240,
-Roman, p. 219 345, 393
Selfmate, pp. 109, 231-2; nos. 228- Threat, p. 17
30,328,360,373,400 -correction, pp. 241-3, 384; nos.
Self-pin, pp. 20, 76; nos. 4, 5, 54, 241-2
and passim; by white, p. 255, -separation, p. 111
no.256 Three-Rider-Double, p. 244; no.
Semi-reflexmate, p. 233 243
Series-helpmate, pp. 96, 109, 145; Total change, pp. 130, 244-5; nos.
nos. 75, 129 107,244
Serious dual, p. 101 dual avoidance, p. 104; no. 82
Set mate, p. 25 Fleck, p. 111
play, p. 25; in helpmate, p. 140; Tourney (composing), p. 275 .
no. 121 Traditional two-mover, p. 245
Short mate, p. 40; no. 17 Transference: see Mate trans-
Shut-off, p. 40; no. 16, and passim ference
Sideboard model, p. 177; no. 167 Triple, pp. 22, 101
Solution, p. 19 half-pin, pp. 133-4; no. 111
Solving, pp. 286-302 threat, p. 110
Special prize, p. 275 Try, pp. 30, 32, 144, 245-8, 288;
Square-vacation, pp. 14, 62, 148, nos. 11, 245-7, and passim
226, 234-5, 245; nos. 18, 40, Turton, pp. 73, 97, 249, 264; nos.
132, 220, 232-3, and passim 76, 248
344
General Index
Twin, pp. 141- 2, 249- 52, 263, 275; Virtual play, pp. 33, 288; no. 12
nos. 122-4, 211, 249- 52, 266 and passim
Vorplan, p. 220
Unblock, pp. 18, 234; no. 18, and
passim W at'ter, pp. 29 , 50,· no. 27, and
Underpromotion, pp. 208-9; nos. passim
201- 2,210 White correction, pp. 66- 70, 241 ;
Unguard, p. 25; no. 5, and passim nos. 44-48, 63
Unpin, pp. 253- 6 half-pin, pp. 137-8; no. 117
of White by Black, pp. 27, 133; interference, p. 31; no. 10; see
nos. 7,41, 130,144,204,253- 6, Interference, White
350, 371 , and passim, Knight-tour, pp. 165-9, 248; nos.
of White by White, p. 256; no. 154-7, 247, 325
257 Withdrawal unpin, pp. 27, 157, 253
-Roman, p. 214; no. 213 Wurzburg-Plachutta, pp. 40, 107,
Unprovided check, pp. 123, 129, 147, 156, 206, 259-60; nos.
256-7; nos. 100, 106, 258 261-2, 352
flight, pp. 25, 123, 257; nos. 5,
100 Zagoruyko,pp.34,260-4; nos. 12,
32, 33, 39, 68, 69, 92, 105, 113,
Valve, pp. 121, 257-9; nos. 98,259- 142,200,238,263-6,314,338,
60 340, 374, 375, 383
Variation, p. 23 Zepler-doubling, pp. 264-5; no.
Version (of published problem), 26E
p. 42 Zugzwang, p. 17
Vertical cylinder, pp. 95-6; no. 75 Zweckreinheit, p. 106
345
Index of Names
Problem numbers in brackets indicate either that the named con1poser

is responsible only for the version, or that substantial changes have been
made in his original position.
Abdurahmanovic, F., nos. 202, 293 Bron, V., no. 24

Adabashev. M., no. 294 Bronstein, D., p. 13
Ahues, H., nos. 45, 53 Buchwald, J., nos. 82, 169, 304
Albarda, J., no. (399) Burbach, J. J., no. (399)
Albert, E., no. 126 Burger, R. , no. 257
Albrecht, H., p. 276
Casa, A., no. 305
Anderson, G. F., nos. 188, 295
Ceriani, L., no. 212
Copping, P. F., no. 307
Baev, G., nos. 138, 296
Cristoffanini, G., no. 306
Bakcsi, G., no. 107
Cross, W., p. 110
Bandelow, C., no. 297
Banni, D., no. 298 Dalfsen, P. B. van, nos. 175, 207
Barnes, B. P., pp. 214,215,280, 295; Dawson, T. R., pp. 109, 124, 145,
nos.44,46,64, 77,93,209,211, 185, 244; nos. 102, 129, 177
251,288,289,299 308
Bartolovic, V ., p. 239; nos. 141, Dennis, B. W., no. 216
(238), 290 Dickins, A. S. M., p. 110
Barulin, M., p. 290; no. 50 Dijk, N. G. G. van, pp. 167, 192,
Baumgartner, G., no. 300 273; nos. 18, 27, 96, 114, 148,
Beers, W. A., no. 158 150, 155, 156, 185, 193, 247,
Bekkelund, P., no. 234 277,278,309
Berhausen, F., no. 266 Dombrovskis, A., nos. 310, 311
Bernard, H. D'O., no. 13 Drese, G. H., nos. 195, 225
Birbrager, 1., no. 301 Driver, J. E., p. 153; no. 312
Bonivento, G., no. 40
Boros, S., no. 302 Easter, N., no. 254
Bottacchi, A., no. 303 Ebend, T., no. 8
Bouma, G . J., nos. 57, (399) Berkes, A. P., no. 313
Boyer, J. P., no. 357 Ekstrom, S., nos. 98, 314
Brehmer, S., nos. 42, 59, 118 Ellerman, A., p. 292; nos. 144, 200,
Breuer, J., no. 84 275
346
Index of Names
Fabel, K., p. 92; no. 71 Keller, M., no. 329
Fink, A. J., p. 228 Keres, P., p. 13
Fleck, F., nos. 130, 161, 315 Kerhuel, M., no. 358
Flood, C. R., no. 75 Kipping, C. S., nos. 34, 101
Froberg, H., no. 170 Kiss, J., nos. 90, 106
Funk, H. E. no. 99 Kniest, P., nos. 145, 330
Knuppert, H., nos. (99), 205
Garn, H., no. 171 Kockelkorn, C., no. 51
Giegold, F. E., no. 119 Kofman, R. M., nos. 60, 285, 331
Gill, J. J ., no. 249 Kohtz, J., p. 106; no. 51
Goldschmeding, C., p. 190; nos. Kopnin, A., no. 210
32, 65, 1E2, 217, 246, 316, 317 Kossolapov, N., no. 332
Goldstein, A., no. 397 Kozdon, B., no. 94
Golubev, G. P., ·110S. 50, 139, 318 Kraemer, A., no. 31
Grant, H. W., p. 154; no. 140 Kubbel, K. A. L., no. 333
Grasemann, H., no. 35 Kusnetzov, A., no. 210
Grin, A. P., no. 132
Grossman, I., nos. 112, 166 Lacny, L., no. 163
Gugel, L. N., no. 232 Larsen, K. A. K., nos. 9, 154
Guidelli, G., nos. 133, 319 Latzel, G., nos. 81, 157, (249)
Gulyaev, A. P., no. 50 Leites, S., no. 199
Guttmann, E. M. H., no. 95 Lepuschiitz, H., no. 334
Levman, S., nos. 41, 335
Hagemann, W., no. 230
Lipton, M., pp. 166, 188, 193, 239,
Hannelius, J., no. 320
263; nos. 30, 117, 146, 152,
Hannemann, K., nos. 17, 236, 321
181, 186, 204, (238), 241, 245,
Haring, J., no. 38
Harley, B., pp. 29, 52, 183, 282 336, 337' 338
Littlewood, N., nos. 183, 339
Hartong, J., p. 198; nos. 162, 187,
Livshits, E., nos. 68, 340, 374
189,215,261,322,323,324
Locker, M., no. 62
Havel, M., p._178; nos. 29, 167
Lopatinski, E., no. 22
Heathcote, G., p. 238; nos. 4, 15
Loshinski, L. I., nos. 20, 50, 79, 104,
Hebelt, W., no. 109
137, 138, 143, 172, 196, 218,
Heidrich, G., no. 325
226, 259, 296, 341, 342, 343,
Hermanson, H., no. 91
344, 345, 346, 395
Hirschenson, A., nos. 112, 166
Loyd, S., p. 197; no. 347
Holladay, E., pp. 280-1; nos. 229,
280 ~1ackenzie, A. F., no. 26
Hiifner, A., no. 36 Macleod, N. A., nos. 92, 128
Isaev, L.A., p. 290; no. 326 Malmstrom, B., p. 238; no. 111
Issler, W., nos. 108, 176 Manolescu, M., no. 105
Mansfield, C., pp. 266, 270; nos. 5,
Janet, F., p. 197 7,23,(32),54,83, 100,110,250,
Johandl, A., no. 227 253, 269(a), 270, 271, 272, 273,
Jonsson, G., p. 108; no. 238 274, 348
Jergenson, W., nos. 327, 328 Mari, A., p. 169; nos. 349, 350, 351
Joseph, D., no. 2 Maslar, Z., nos. 76, 120
347
Index of Names
Massmann, W., nos. 31, 203 Rice, J. M., nos, 70, 88, 89, 159,242,
Matthews, R. C. 0., pp. 65, 191, 279(e), 282(d), 283, 371
298; nos.43, 74,136,184,188, Rice, W. B., no. 28
257,260,291,352,353,354 Rietveld, J. J., no. 116
Mees, W. G. J., no. 355 Rudenko, V. F., p. 263; nos. 6, 25,
Melnichenko, V., no. 356 66,69,206,221,265, 372,373,
Meredith, W., p. 177 374, 375
Metzenauer, F., no. 235 Rukhlis, E., no. 21
Michel, F., no. 357
Millour, R. J., no. 358 Salazar, F., no. 237
Moller, J., no. 213 Sammelius, C. J. R., no. 73
Monreal, P., no. 178 Santiago, J. B., nos. 164, 367
Montgomerie, J., no. 115 Savournin, J., no. 357
Morra, J. C., no. 164 Schauer, B., no. 179
Morse, C.·J., pp. 153, 172, 254; nos. Scheel, J., no. 48
160,255,359 Schiff, V. 1., nos. 50, 226
Moseley, A., p. 224; no. 219 Schiffmann, J. A., p. 166; nos. 16,
Mostert, J., no. 49 243,252,376
Musante, H. L., nos. 142, 200 Schneider, M., no. 192
Mussuri, P. S., no. 222 Schneider, S., nos. 377, 378
Myllyniemi, M., nos. 80, 244, 360 Scotti, L., no. 379
·Seider, S., no. 233
Nair, E. P., no. 361 Seilberger, J. J. P. A., pp. 281-2;
Nanning, F. W., no. 362 no. 281
Niemeijer, M., nos. 11, 135, 201, Selb, H., no. 380
240 Shedey, S., nos. 267, (340), 375
Siapera, T., no. 223
Oudot, J., no. 178 Siers, T., p. 167
Overkamp, P., nos. 85, 363 Sommer, B., no. 268
Speckmann, W., pp. 165, 228; nos.
Pachman, V., no. 364 3, 153, 224, 248
Packer, G. F. H., no. 58 Stead, W., pp. 125, 291
Paros, G., p. 300; nos. 122, 256, Steudel, T., p. 140; no. 121
292 Stimson, J. F., p. 228
Parthasarathy, M., p. 293; nos. 63, Stocchi, 0., pp. 225, 291; nos. 12,
113, 287, 365 33, 87, 220, 239, 263, 28~ 381
Pauly, W., no. 134 Strerath, 0., nos. 10, 147
Peris, J., no. 197 Sutherland, R., no. 149
Petrovic, N., nos. 141, 228, 366, 367 Szoghy, J., no. 382
Popov, G., no. 165 Szwedowski, L., nos. 264, 383, 384
Reeves, A. C., p. 202; nos. 14, 46, Tchepizhni, V. 1., nos. 124,206,208,
47, 194, 368 262, 385
Rehm, H.-P., p. 233; nos. 123, 198, Tikkanen, T., no. 37
214, 231, 369 Timonin, V., no. 67
Restad, B., no. 370 Tjoa Giok Hing, nos. 97, 215, 386
Retter, J., no. 61 Touw Hian Bwee, nos. 276, 387
348
' '"""--
Index of Na1nes
Tura, W., nos. 180, 388 Weenink, H., pp. 52, 229
Tuxen, H. V., p. 154 Whyatt, W. A., no. 397
Wielgos, 0., no. 398
Umnov, E. I., nos. 19, 50, 259 Willemsens, L. C., no. 399
Wirtanen, E. A., no. 400
Valuska, J., no. 389 Wong Kong Weng, no. 125
Visserman, E., nos, 52, 72, 103, 127, Wurzburg, 0., nos. 168, 169
131, 190, 390, 391, 392
Vladimirov, Y. G., nos. 56, 174, ·Yaroslavtsev, A., no. 86
393, 394, 395
Volkmann, A., nos. 53, 55 Zagoruyko, L., nos. 191, 284
Zappas, B., nos. 39, (113)
Warton, J., no. 396 Zarur, A., no. 151
Watney, C. G., no. 258 Zepler, E., nos. 78, 173
349

Chess Problems Rice Ocr (1979) R

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Chess Problems Rice Ocr (1979) R

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JOHN M.

piece moves "at random" (i.e. to no square in particular),

l11troducing Chess Probletns

If you are a chess-player interested only in improving your game,

1 POSITION FROM ACTUAL PLAY

to being one than No. 1 is. It is a composed position, and so

problem, and a fine one at that. It is a direct-mate in four

comparison with Nos. 2 and 3, the board is crowded, but

introduces the problem's theme. The diagram position contains

7 UNPIN OF WHITE BY BLACK +

8 DUAL AVOIDANCE+ BLACK

those which exemplify the dual-avoidance scheme, are 1 ... Sd4

::«@/. 'G' ~»'#.

Introducing Chess Problems

two mates if the Pawn could remain on el unpromoted, but is

Themes and Terms

The technical terms to be found in this section may appear some-

ALBINO (+ROYAL BATTERY)

battery, with the Queen as firing-piece. In the diagram position

of the four white Pawn-tries is defeated by each of the four

ALBINO (FOUR PIN-MODELS)

moves occur as mates on White's third move, after self-pinning

but also allows Black a check: 1 ... Q x f3 +. This is answered

FORM : ANTIFORM (UNBLOCK

block, allowing 2 3Rd4. Why does it not also allow 2 Rc3?

A battery is found in a great many problems where it is a

DIRECT AND INDIRECT BATTERIES

kinds. The indirect battery consisting of Rei. + Be4 is aimed at

CHANGED BATTERY MATES

27 COMPLETE BLOCK: WAITING

the early "Good Companion"* era. Its composer was born in

CASTLING IN TRY AND KEY

key-move involves a choice between long and short castling.

White prevents castling by forcing the King to move, while in

threatens 2 Bf7+, Kbl; 3 B x g6. The white Queen clears the

First Prize, "BABY" Tourney, 1960

Zugzwang after 1 Qf8. There is therefore no primary threat,

both virtual and post-key play. 1 eS x d4? threatens 2 Q x c6,

allows 2 Q x a3, while the self-block correction 1 ... Sc5 leads

vacation threatening immediate mate by 2 Qb3. The Sf5 can

the black Bishop + Knight battery to function, by departure

threatens 2 Re3 +, P x e3; 3 Pd4. Obviously a random move by

(b) WHITE CORRECTION

WHITE TERTIARY ARRIVAL

represents a random arrival on e5, and threatens mate by the

critical play in two main variations. With 1 Rd2, White threatens

CRITICAL AND ANTI-

fan1ous example, in which anti-critical strategy is also featured,

a miniature five-mover, gives an indication why this is so. It is

53 H. AHUES and A. VoLKMANN

Second Prize, La Settimana Enigmistica,

key 1 Kf5 is entirely thematic in that it exposes the white King

Queen on b4 and h4 are answered in the set play by cross-

combined with pin-mates. The key 1 Kb8 (two threats, 2 Qe5 +

Black's three thematic defences are 1 ... R x c3, 1 ... B x d3 and

cyclic triple-a\'oidance: all three of White's thetnatic n1oves

CYCLIC BLACK CORRECTION

1 ... Bf2; 2 Pf8 = Q (C). Finally 1 ... R x d4, which looks as if

Cyclic Change or Cyclic Zagoruyko. Black has two defences,

appear in the post-key play because the black Knight cannot

CYCLIC MATE TRANSFERENCE

First Prize, Deutsche Sclzachzeitung,

of the three squares e4, dS and c4, on which the self-blocks