of the Chesse, so was his name."In the early part of the seventeenth century, Thomas Middleton wrote a comedy styled "A Game at Chess," which was acted at the Globe (Shakspeare's) nine times successively. It seems to have been a severe tirade on the religious aspects of the times. The stage directions are significant: for example:—Act I., Scene 1. Enter severally, in order of the game, the White and Black houses. Act II., Scene 1. Enter severally White Queen's Pawnes and Black Queen's Pawnes. The Prologue is as follows:—
"What of the game called Chesse-play can be made
To make a stage-play shall this day be played.
First you shall see the men in order set,
States, and their Pawnes, when both the sides are met;
The houses well distinguished: in the game
Some men entrapt, and taken to their shame,
Bewarded by their play: and in the close
You shall see checque-mate given to Virtue's foes.
But the fair'st jewel that our hopes can decke
Is so to play our game t'avoid your checke."
The play excited indignation in the partisans of the Romish Church, and was not only suppressed by James I., but at the demand of the Queen its author was imprisoned, and was relieved only by a witty verse sent to the King.
The last which we have room to quote is anonymous, and of date near 1632. It may have been written by the celebrated divine, Thomas Jackson, of Corpus-Christi College, whose discourse comparing the visible world to a "Devil's Chess-board" evidently suggested the familiar etching in which Satan contends with a youth for his soul. The lines are entitled:
"A lowly one I saw,
With aim fist high:
Ne to the righte,
Ne to the lefte
Veering, he marchèd by his Lawe,
The crested Knyghte passed by,
And haughty surplice-vest,
As onward toward his heste
With patient step he prest,
Soothfaste his eye:
Now, lo! the last doore yieldeth,
His hand a sceptre wieldeth,
A crowne his forehead shieldeth!
"So 'mergeth the true-hearted,
With aim fixt high,
From place obscure and lowly:
Veereth he nought;
His work he wroughte.
How many loyall paths be trod,
Soe many royall Crownes hath God!"
It is very clear that the pawns in chess represent the common soldiers in battle. The Germans call them "peasants" (Bauern); the Hindoos call them Baul, or "powers" (in the sense of force); and that each of these, if he can pursue his file to its end, should win a crown has always given to this game a popular stamp. These pawns are doubtless, next to knights, the most interesting pieces on the board: Philidor called them "the soul of chess."
At an early period Asiatic chess was divided into two branches,—known amongst players as Chinese and Indian. They are different games in many respects, and yet enough alike to show that they were at some period the same. The Chinese game maintains its place in Eastern Asia, Japan, etc.; in the islands of the Archipelago, and, with very slight modifications, throughout the civilized world, the Indian game is played. Indeed, there is no difference between Indian and European chess, except that in the former the Bishop is called Elephant,—the Rooks, Boats,—the Queen, Minister: the movements of the pieces are the same.
Of Chinese chess some description will be more novel. Their chess-board, like ours, has sixty-four squares, which are not distinguished into alternate black and white squares. The pieces are not placed on the squares, but on the corners of the squares. The board is divided into two equal parts by an uncheckered space, which is called the River. There are nine points on each line, and forty-five on each half of the board. They have the same number of pieces with ourselves. Each player has a king, two guards, two elephants, two knights, two chariots, two cannon, and five pawns. Each player places nine pieces on the first line of the board,—the king in the centre, a guard on each side of him, two elephants next, two knights next, and then the two chariots upon the extremities of the board; the two cannons go in front of the two knights and the pawns on the fourth line.
The king moves only one square at a time, but not diagonally, and only in an enceinte, or court, of four squares,—to wit, his own, the queen's, queen's paw and king's pawn's. Castling is unknown. The two guards remain in the same limits, but can move only diagonally; thus we have in our king both the Chinese king and his guard. The elephants move diagonally, two squares at a time, and cannot pass the river. Their knight moves like ours, but must not pass over pieces; he can pass the river, which counts as one square. The chariots and cannon move like our castles, and can cross the river. The pawns always move one step, and may move sidewise as well as forward,—taking in the same line in which they move; they cross the river. The cannon alone can pass over any piece; indeed, a cannon can take only when there is a piece between it and the piece it takes,—which intervening piece may belong to either player. The king must not be opposite the other king without a piece between. All this certainly sounds very complex and awkward to the English or American player; and our game has the preferable tendency of increasing the power of the pieces, (as distinct from pawns,) rather than, with theirs, limiting their powers and multiplying their number. However, it is probable, whatever may be the respective merits of the two games, that neither of them will ever be altered; the Chinese, who can roast his pig only by burning the sty, because the first historic roast-pig was so roasted, will be likely to continue his chess as nearly as possible in the same form as the celestial Tia-hoang and the terrestrial Yin-hoang played it a million years ago. In Europe and America we have all complacently concluded, that, when David said he had seen an end of all perfection, it only indicated that he was unacquainted with chess as played in accordance with Staunton's Handbook.
But it is only the Indian game which has had a development equal to the development of the civilized arts. This has been chiefly through what are called by the Italian-French name of gambits. There is much prejudice, amongst a certain class of chess-players, against what is called "book-chess," but it rarely exists with players of the first rank. These gambits are as necessary to the first-rate player as are classifications to the naturalist. They are the venerable results of experience; and he who tries to excel without an acquaintance with them will find that it is much as if he should ignore the results of the past and put his hand into the fire to prove that fire would burn. If he should try every method of answering a special attack, he would be sure to find in the end that the method laid down in the gambit was the true one. An acquaintance, therefore, with these approved openings puts a player at an advanced starting-point in a game, inexhaustible enough in any case, and where he need not take time in doing what others have already done. Although we design in this article to refrain, as much as possible, from technical chess, it may be well enough to give a list of the usual openings, and their key-moves.
PHILIDOR'S DEFENCE. (Philidor, 1749.)
White. Black. 1. P. to K. 4th. 1. P. to K. 4th. 2. Kt. to K.B. 3d. 2. P. to Q. 3d.
GIUOCO PIANO. (Italian.)
1. P. to K. 4th 1. P. to K. 4th. 2. Kt. to K.B. 3d. 2. Kt. to Q.B. 3d. 3. B. to Q.B. 4th. 3. B. to Q.B. 4th. 4. P. to Q. 3d or Q.B. 3d.
RUY LOPEZ'S KNIGHT'S GAME. (Lopez, 1584.)
1. P. to K. 4th. 1. P. to K. 4th. 2. Kt. to K.B. 3d. 2. Kt. to Q.B. 3d.
