Dr. Max Euwe and David HooperDOVER BOOKS ON CHESS Tak ART oF THE Mippte Game, Paul Keres and Alexander Kotov. (261854-9) $6.95 Tue Game or Cress, Siegbert Tarraech. (25447-R) $9.95 How Goon Is Your Cxess?, Leonard Barden. (23294-8) Ax Inrroouction To CHess Moves anbD Tories SIMPLY EXPLAINED, Leonard Barden. (Available in United States only}. (21210-6) $3.95 Capanianca’s Best CHess Exoinas, Irving Chernev. (24249-8) $6.95 Compinations: THE Heart or CuEss, Irving Chernev. (21744-2) $5.95 Practical CHess Enoias, brving Chernev. (22208-K) $6.95 ae Logical AppRoacH to Cuess, Dr, Max Euwe, et al. (24953-2) $5.95 A Gute to Cuess Enpincs, Dr. Max Euwe and David Hooper. (23892-4) $5.95 Crassic Cyess Propuzms, Kenneth S. Howard. (22522-4) $3.95 How to Sotve Cuess Propizms, Kenneth 8. Howard. (20748-X} $5.95 SpecrscuLar Caess PROBLEMS, Kenneth §. Howard. (21477-X) 38.50 Cyess FoR Fun anp Crgss ror BLoop, Edward Lasker. (20146-5) $5.95 Cuess StraTecy, Bdward Lasker. (20528-2) $6.95 ComMON SENSE In Cuzss, Dr. Emanuei Lasker. (2144G-0) $4.95 Lasken’s MANuAL oF Cress, Dr. Emanuel Lasker. (20640-8) $7.95 Tye Apr or CHess, James Mason. (20463-4) $8.95 Mopsrn Cuess Stratesy, Ludek Pachman. (20290-9) $6.95 COMPLETE Boor oF Cress STRATAGEMS, Fred Reinfeld, (20690-4} $5.05 How vo Force Cusexmare, Fred Reinfeld. (20439-1) $3.50 Win at Cuess, Fred Reinfeld. (20438-3) $3.50 Yue Arr oF THe CHECKMaTE, Georges Renaud and Victor Kahn. (20106-6) $4.95 A Picrurs History or Cress, Fred Wilson. (23856-3} $12.95 Tue Art or Cess COMBINATION, Bugene Znosko-Horovaky. (20583-5) $4.95 How Noro PLay Cress, Eugene Znoske-Boroveky, (20920-2) $3.95 How ro Piay Cxess Expines, Eugene Znoske-Boroveky. (21170-3) $5.95 How To Piay THE Cass Opmxinas, Eugene Znosko- Borovsky. (22795-2} $4.96 ‘Tus Mippee Game in Cuess, Eugene A. Znoske-Borovsky. (23631-4) $5.95 A GUIDE TO CHESS ENDINGS Dr. MAX EUWE World Champion [935-1937 and DAVID HOOPER DOVER PUBLICATIONS, INC. New YorkCopyright © 176 by Dover Publications, Luc. Copyright © 1959 by Dr. Max Fuwe and David Hooper. Ali rights reservedl under Pan American ant! International Copyright Conventions. Published in Canada by General Publishing Gom- pany, Lid., 36 Lesmill Read, Don Mills, Toronto, Ontarig, Published in the United Kingdom by Constable and Company, Ld. ‘This Dover editien, first published in 1976, is an unabridged and corrected republication of the werk Hirst pablished by David McKay Company, Inc., New York, in 1960, international Standard Book Number: 0-486-23332.4 Library of Congress Catalog Card Number: 75-41882 Manufactured in the United States of America Dover Pubhecations, Ene. BQ Varick Street mew York, NOY. EHH CONTENTS INTRODUCTION CHarten 1. PAWN ENINNUGS i The Opposition 2K+PyK 3 K+2P ye K 4K+PyK4P 5 K+2P¥K+P 6 More Pawns: Material Advantage 7 More Pawns: Positional Advantage CHAPTER IL, MINOR PIECK ENDINGS i Key, PB 2 Bor Kt)». 2P F Bior Kt) y, 3P 4 Bior KU+P vy. K J Bor KO+P v. P 6 B (or KO+P v. 2P 7 Bor KO)+P v. 3P 8 B (or KD+-Pawns v. Pawns 9 Bor KO+P ». Bor Ky 10 B tor K)+2P +, B for Ke) df Bor K+2P v, Bor KN4+P 12 More Pawns: Material Advantage £3 More Pawns: Positional Advantage 14 Bi2P vy. B of opposite colour £3 Bishops of opposite colour: more pawns £6 Two Minor Pieces v. Fwo Minor Pieces CHAPTER HI. ROOK ENDINGS PRyeP aR y. 2P 3 Ry. 4p 4R+Py Rk SR+IWPYR Examples Page 1-9 i0.i4 33-19 20-23 24-79 71-78 79-89 90-93 94-96 97-98 99.200 16]-104 105-240 i14-115 116-119 120.134 133-139 146-149 13-160 161-173 174-182 183-188 189-193 194-203 204-253 2340255 216-24 242-252 VH id i2 14 42 48 38 59 6] 62 63 63 69 73 76 B4 &8 96 106 1:8 122 126 32 136 144 146 165CONTENTS 6 RiP» R+P 7 R+2P vp. REP & More Pawns: Material Advantage # More Pawns: Positional Advantage Charter iV, QUEEN ENDINGS PawpPe 2 Gv. More Pawns 3 QO+Pr.G 4Q42P ¥. Q+P § More Pawns: Material Advantage 6 More Pawns: Positional Advantage INDEX OF PLAYERS Inpex of COMPOSERS AND ANALYSTS ¥i Fxuamples Page 253 254-268 269-288 289-302 303-307 308-322 343-318 319-320 321-327 328-33] 173 ii4 184 200 215 ais 221 228 229 234 243 247 INTRODUCTION Topay many more tournament games are being played, and club and match games brought more frequently to a finish, so that the ending is not left to the adjudicator but is becoming of increasing importance to the ordinary player. For the expert it has long been an outstanding characteristic of his play, and # is not accidental that the greatest masters of chess have also been the greatest masters of the end-game. In the end-game, unlike the opening, proficiency does not depend on the memory, but upon methodical study, and it is not difficult io acquire a skill that will add its quota of points and half-points to the score table. Endings are predominantly positional in character, akhough com- binative and tactical manceuvring often enlivens the play. The best endings have their own appeal, one of accurate timing and precision. But the compelling reason for study is surely the practical one: after a long strugele how heart-breaking it is not to reap one’s full reward because of poor end-play! In more than sixty examples from play in this book decisive mistakes were made, often by the greatest masters. in many ways the ending is a different kind of game: the importance of the pawn centre diminishes; the king becomes active; there is the possibility of stalemate; and the pawns, no longer a skeleton ciothed by pieces, become powerful in themselves. When the number of pawns is reduced then values change, so that a piece may be worth no more than a pawn. Rather than a sketchy outline of the whole field, we have made a farly thorough study of those endings most likely to occur in play, especially these with rooks. The book is best worked through as a course of study, so that the underlying ideas are absorbed, and a sound positional judgment acquired. 1 is not at first necessary to understand every nuance, far less to try to remember the more difficult and complex variations; indeed, one might well pass over the sub-variations at a first reading. Some of the examples, noticeably in the later chapters, are harder than others. Although considered a suitable textbook for the jess skilied player, some more complicated studies, and some recent theoretical discoveries such as the analyses of R+BP+RP v. R, and Q+K:P y. Q, are included. Endings at first difficult yield to further study; the weaker player need never be discouraged, for im time the ideas become clearer, and a logical pattern is revealed. ‘Fhe examples are for the most part classified according to the kind ViINTRODUCTION of pawn-formation, and 4 dozen or more series of comparative studies, e.g, Examples 223-225, are intended to show the importance of this. Most of the usual conventions are followed. In the diagrams White moves up the board. The player with the advantage, the ‘stronger party’, is often called White. However, a question mark is used only to indicate a decisive error that changes the course of the game, and is not otherwise used, The first named player is usually the player of the White pieces, although the colours may be reversed for clearer presentation. Cor the same reason the em-—~dash is omitted from the moves of sub variations, e.g. P—K4 becomes PK4. Acknowledgments are especially given to Cheron’s three volume masterpiece Lehr- und Handbuch der Endspiele, Berlin, 1955-57; Reok against Pawns, by Maizelis, Moscow, 1956: Chess Endings-—Pawns, Bishops, and Knights, by Maizelis, Averbach, and Chekover, Moscow, 1956; Koncowa Gra Szachowa, Vol. 2, 1954, and Vol. 3, £957, Warsaw, an extensive collection of end-games with pieces, by Gawlikowski. We should also like to acknowledge the generous help given by Mr. F. W. Allen, who assiduously checked the proofs; by Mr. van den Berg, who assisted with analysis and in various other ways; and by Mr. K. Whyid, whose research was invaluable. Dr. M. Evwe, Amsterdam. Davip Hooper, Reigate, England. September, 1958. viii CHAPTER I PAWN ENDINGS *,. the Fawns: They are the very Life of this Game. They alone form the Attack and the Defence: on their good or bad Situation depends the Gain or Loss of the Party." i. THE OPPOSITION Bringing the king into play is the first thing te do in most cases; for in contrast ic the earlier phases of the garne it is in the ending that the king, instead of hiding himself or playing into safety, becomes an attacking piece. its freedom of action as it approaches its rival is controlled by a relationship between their respective positions, which is known as the opposition. I The kings stand opposite one another, Le. in opposition, White, having io move, can never ferce his way forward: FI. KQ2 KQ5 2. KK? KKi—the is directly opposed. Conversely, if Black moves first then he in turn cannot get to his sixth rank: 1. KOS 2 KOI KREKS 3. KR2. ‘The player with the move cannot force the advance of his king: but this is not ail, fer be cannot prevent his opponent's advance, We shall suppose it te be Black’s move: I... Kem OS After which White’s forward path is obstructed only on two squares (Q3, OB3); but if i... KKiS then White outflanks by 2. KG3. 2 K—Kt3 KK B4 3 K--R4 K.--Kt3 4 K.—Kt4 White’s further advance, or out- flanking, is restricted by the edge of the board, so he retakes the opposition, and Black, having to move, must again give way. a LASS RRRRRR RIA et HINO COCO ORE cn_Luenn saan nape 00 EBERLE EEL EE EE 0b 0 Pritimor, 1749. 4... K-—B} 3 K—RS K--Kiz 6 Ke-K5 Kew BE 7 Koo RG K—Kil § K—Kt6. Black may defend his corner square, 8... KRi & KB? KR2Z 10, BS, or his bishop’s square, 8... RB] 9. KR7 KR2 10. KER: but he is powerless to prevent White forcing his way through to the back rank. eee ee Fe Direct opposition White might as easily have reached ihe back rank on the king's side. To force this he must first move along the rank, holding the opposition: 1... KQS 2. KO? (After the immediate outfanking 2. KKt3 KO6, White at best gets to OK«8 or ORS.) 2... KK53. KK2KBS 4. KB2 Kkt5 5. KKt2 and now White outflanks by 5... KB4S 6 ER3, or 5... KRS 6. EBS, then working his way up the files, as before. White, then, can force his way to anyI PAWN ENDINGS part of the board, but mot to any par- ticular square. He must be careful not to lose the opposition until his objective is in sight. If, for instance, Black com- menced by playing [... KB4, ceding ail three squares in front of White’s king, then White must reply 2. K.B3 retaining the opposition, for either 2. KKta RK or 2. KQ3 4.04 loses it. Conversely, similar powers accrue to Black if White moves first. When the kings are thus opposed on the fle one square apart it 18 termed vertical direct opposition. Ht is usual to say that the player who hasn't the move has the opposition, ¢.¢. White has the opposition if # is Black’s move. Whoever moves first must give ground; or to pul it another way: H you | have the opposition you can oulflank your opponent, and moreover you can | choose your moment for doing so. The player having the vertical opposi- tion may force his way to the farther+ most rank. Also, a player having the horizental direct opposition may get io the farthermost file, eg. White K at QKté, Black K at his @3, which i sunply Example i turned ninety degrees. The direct opposition {kings ane Square apart on the same Ale or rank} is the most fundamental of all chess manceuvres; and is of consequence in most of the pawn endings in this book. 2. The opposition is here the decisive factor, for it enables White to control the queening square. 2... K--Ki3 2 K-~-Ki4d K—33 3 K--B4 White holds the opposition until his king is in front of fon the same file as} his pawn. can K-03 4 KO4 K~-K3 if4...KB3 5. KKS. § Kem BS The right moment for the outflanking | movement, | : rr var re z 3... K-02 Trying to stop White's king, for if 5... Kk4 6 PO4 ch. KKI 7. KB6, and if S... KK2 6. KRG. 6 K--Q5 Retaking the opposition, not 6. PQ4? KB? losing it. 6... K—K2 7 K—B6 K—Q! § K—Q6 Again retaking the opposition. : K--Ki 4 P.O4 K—O1 10 F..Q4 K-—Ki 1i K—RB?. White's king controls Q8, and the pawn queens. White plays and draws Black plays and loses But without the opposition White cannot win. 1 K~Kid K-Kt3 2 K-54 K---B3 3 PH—O4 White must try this as he will make no headway with his king. 3... K—O3 4 P..Q5 Wiite cannot take the direct opposi- tion because his pawn occupies the relevant square. This always happens when the pawn is beside or ahead of ifs king. If White is to win he srust be able 1 THE GPPOSITION to manceuvre his king clear of obstruc- tion by his pawn, as in the first variation. 4... K-Q2 At this stage Black aiso draws after 4... KK2(B2) 5. RBS KQ2, for White's pawn again prevents his taking the opposition. 5 K—B5 K—-Bz Black fakes the cpposition when White's king advances round the side of his paw. 6 P96 ch. K--¥2 Instead, 6... K—-QI may be played at once, 7 K-Q5 K—@! Now that the pawn is on ihe sixth only this retreat draws. Hf 7... KK] (BI)? %. RK6 (96) KGI 9. POY. # K..Bé K—-Bi Hiack takes the opposition, and White's king is unable to command the qucening square, 9 PQ? ch. 10 K-Oé6 stalemate, K—-Q1 3 The kings are one square apart on the same diagenal, and are said to be jn diagonal opposition. The possession of any form of the Opposition means that one can force one’s way to any part of the board, if it 3 Black's move, then White has the opposition, and we may suppose he ee eect | | | i | | pater ern seenenes errr nmntend Rvbtnn PORTER ECR EEE BE EEE A ee AA penn wants fo get to a square near his KRE | corner, Hoi. KKtS 2. KKi2 White moves along ts KKi2 and then out- | flanks: orif i... KBG 2. KRiand White moves to ORT and outfanks. In both these cases the diagonal opposition, which is often transitory, immediately transposes to the direct opposition. Instead, Biack might play 1... KOS i 2 KK KRKS 3. KB? RAS 4. KO? KE 5. KR2 RRS 7, KB, etc. in practice the diagonal opposHion is usualiy seen as 2 defensive manceuvre, a means of preventing the opponent taking the direct opposition, as la Example 7. The direct and diagonal oppositions are the only forms of close opposition where the square or squares controlled by one king may also be commanded by the other, There are aiso long-range forms of the opposition, where the kings are three or five squares apart, The kings are defined as standing in opposition when (a} they are on squares ef the same colour, and (5) there is an odd number of squares between them by the most direct route or routes. 6, KB2 Kk4 ¢@ With three squares between them on the same file, the kings are in vertical distant opposition. The player whe has the opposition (we shall suppose it to be White) has the power ic get fo any part of the board, as in Exampie !. Le.. K--Q3 None of Biack's eight possible moves prevents the invasion of his ranks. Hf he advances, White takes the direct apposi- tion; if he retreats White pursues, main- taining the distant opposition; and if he moves sideways, as here, White outflanks by stepping io the other side, 2 K—Ki3 White outflanks at once. If he wishes instead fo penetrate the king's side, he must first play along the rank, 7. K--Q2. 2... K-~_B2 3 K—R4 There is often a choice, and eitherI PAWN ENDINGS 3, KB3 or 3. KR3 serves; but White must not cede the vertical opposition, 3. KKt4 KKi3. 3... K-Ktl H3.. RBS 4. KRS. 4 K—it4 Retaking the distant opposition. 4... KB] 5 K—R3 K--Kit2 6 KK. White has the direct opposition. One cannot always convert the distant into the direct opposition, and in many positions where the digect opposition is decisive, the distant opposition is of no significance, Long-distant opposition (kings on the same fle or rank with five squares befween them} confers similar advan- tages, but the presence of pawns on the board usually interferes with such extended mancuvring, and examples are rare if practice. § White converts the jong-distant into the direct opposition. Black submits to this in preference to being outflanked on one wing of the other; but if this position were moved one or two files to the right making a king's side out- flanking impracticable, then the long- distant opposition would not be signi- ficant, and a draw would come about. 1 K—B2 | ‘Taking the opposition. The immediate outflanking |. KR2? permits 1... KB2Z 2. KR3 KB}, when 3. KR4? loses, and going to the QKt file cedes the opposi- tion, 3. KKt4 KK13, or 3. KKt3 RRi2, Pu... K--Q1 Black plays towards the centre, else Whie outfanks on the king’s side, 3... KKti 2 KO3 KKt2 3. KK3 KBI 4, &K4 KO2 & KB4 KK2 6 RKsS KA? 7. RRS. 2 Kamen K3 The correct moment for outflanking. 2... K—B2 Ht 2... KQ2 3. KKid, f 2... BB 3. K.B4 retaking the (distant} opposition, which also happens after the fext move. 3 K—B3 Ke 2 if 3... KKt2 4. KQ3 KB2 5. RR. 4 K—Kt4 Again outfianking. 4... K—-B3 § K-—-B4 ‘The direct opposition wins, and would do sa if the position now reached were moved one or two files to the right. Black plays and draws 5 yee K-~-Q2 75... KKt3 6. POSPXPch. 7. XP KB2 8. KK6 KQi 9, KB7, 6 K—Kt5 |] FHE OPPOSITION ‘The correct outflanking move. Not! 6. KBST KB2, when Black has the: opposition, and if 7. KR KKi2 | &. KR5 KB3, 6... K—B2 ? K—BS Rf F2 8 K—Ki6 KO} o K.Bé, i Soon Black's RP is lost. | With the move Black himself takes the | long-distant opposition, and H 80 happens he can maintain the vertical | opposition and thereby draw. | Ll... K-~Ki2 2 KK K—Kt3 3 K—Kt3 K—RKit2 The distant opposition. Black must not unwarily advance, 3... KKt4? for he loses the opposition after 4. KB3 RKG (4... RBS 4. KB4) 5. RRA. 4 KmB4 K-H3 5 K—Ki4 Ke 13 | Black loses the vertical opposition | after §... KQ4? 6 KBI KB] 7. KB, | 6 K-53 K—B2 7 Kd Kf? ‘The opposition is net relevant on the QO, K, or KB, files because of pawn- interference, although Black must keep on the same file as White to avoid being | ouffianked on one wing or the other. 7... KOL §&. KB4 KB alse draws after 9. KBS KBZ10. POS PxPiK XP KQ2. & K—K4 > K---B4 K~B28Y} 10 K—Ki4 K--Kil il KRS K—R2. K—K2(K3} | : On neither wing can White get the OPDOSHION. So far we have shown extended forms of the direct opposition with both kings on the same file or rank. Other Jong- range forms of the opposition can occur usually however in cormposed studics. & The kings are said to be in oblique | opposition, which is compounded of direct + diagonal opposition. The kings are three squares apart by the most direct routes, in accordance with our earlier definition. Another definitien also involves odd mumbers: visualize the smallest rectangle containing the wo kings: and if the sides are both odd numbered {as here 5x3 squares} the kings stand in opposition, foe ee ed Hee ws OE yy ys ayy es tenets api yinnes eae ie eae Ee eee 2° UNE UD TED : Loe Hee Hee ee we rm Yi, ae ee H Oblique opposition The squares marked by dots are those on which Black's king might also stand in opposition of one kind or another to White's king on QR2. Sixteen squares are in this way related, and there are four such sefs of squares on the chess- board, a$ Jettered on the supplementary diagram. if one player moves to a B square, the other retains the oppositien if he also moves to a H square, and so on, For instance, if White plays I, RKC) (a D square) Black may reply 3... KOG, 1... KB6, 1... KOA, or 1... KB (ait of which are 1 squares}, thus retaining theI PAWN 6A ‘This pattern might be termed ihe natural oppositional field. It may be (and usually i) disturbed locally by pawns, as already seen in Exampie 2". ? A player who has the opposition need sever lose it-—-unless pawns inter- fere. Here they do not, and Black draws an apparently hopeless position by maintaining the defensive opposition, The marked-off areas show the lower iwo ranks as White’s domain, and the queen’s sikle area as Black's. White always wins if his King gets into Black's domain—regardiess of the opposition. Te get there White must move through the transitional area (the 23 squares on the King’s side and back rank). If Black moves to the KB file or sixth rank, White advances the RP; and if Black captures White’s KiP, White queens the RP and wins against Black's KtP, Exarnple 303, When White's king is in the transi- tonal area, he wins with and draws without the opposition; when H is on the lower two ranks, the opposition is not significant. fou, K—Q5 Black stays on K5 and Q5 until White plays to the third rank {transitional area) after which Black must take the opposi- Hor 2 K--B2 jt is no use sacrificing the RP, 2. PRS KB4 3. KO3 KR 4. RO4 KRXP 5, KB4 for Black takes the opposition after 3... KR} 6. K xP KEK. 2.. K--KS After 2... KB6? 3. PRS White queens first. 3 K—KY Ko 4 Ke-R2 K-—K5 3 K--RI K-—O4. * Extensive disturbance may cause a whole group of squares in one par? ef the board to bear a unique relationship to a groups elsewhere. The Hritish composer Cc. BD Lacock pioneered such related square problems {1892}—-forumatety, perhaps, such things do net occur in play. ENDINGS ee Hae er zo ee Z Bee Sree fe Eee Beas epee EEE ep Pe ee wes meee The only move to draw, and probably the only instance of the oblique epposi- tion in a practical position: for this ending does occur in play, 2.g. Spielmann ¥, Makarezyk, Warsaw, 1934. Black draws only by maintaining the opposition as in the table below, which also indicates the square letters corres- ponding with diagram 6A. White K. Black K. A KKtd K5 KKi6 K& K3 KKB K1 K3 OBS OB3 ORS OR} B KR4 KB4 O5 KRS6 KBE QS O3 KRS KBE O1Q3 ORts OK KK KS RRS K4 KRU K2 BD KR3 KB3 O23 KBSKRS 4 KR? KBT O2 The defensive opposition here takes five forms: vertical direct, diagonal, horizontal direct, horizontal distant, and obdgque. & Triangulation is another frequently used king mancuvre, One king purpose- fully moves round a triangle of three squares whilst his rival, who is in some way restricted, must shuttle to and fro on two squares. (Ybviously, one ‘loses # move’ in this fashion, 1] THE OPPOSITION In practice a situation arises with, say, White to move, and # is desirable for him that the same position should be | brought about with Black to move. Having to move Black must submit to ; one of two threats: 3... KGL GRU | + K.O6 (taking the opposition) 2... KB: 4, PB? KK 4. KQ7 KR2 5. KOQ8 gueening the BP; or 1... KB2 2. KB5 KB 3. KKi6 wininng the RP. Triangulation is often the means by threats may be forced. White to play loses a tempo by moving round the triangle Q5-B4-04, whilst Black must move from Bl to Q1, or Bi to Kel, for .. E82 is always answered by KB5 winning the RP. i K--B4 2 K-—O4 K—B1 3 K—Q5. Triangulation cannot be demon- which one or other of two closely related strated with bare kings, for if is the j pawns which restrict the defender, Two separate threats are necessary, and with: | out the RPs this position would be drawn. 9 Quite a diferent mancuvre, the diagonal march, is peculiar to the Kings. In travelling frem one part of the board to another, the king may make a con- siderable detour from the straight path, without taking a greater number of moves, ) | K-—-Q1 CRL} ee 2 Be Dae aes ae EG ml ak a oo een. 5 ee White plays and wins Yn this position White may get to OQK17 in four moves by moving along the rank: he also takes four moves by travelling diagonally via Q3; but im the latter case Black's king is kept out. i K—K6é K-—B6 1... KO6 2. KQS KK6 3. KB6 KQS 4, KKt7 comes to the same thing, 2 K-—O3 A game, Schiage v. Abues, Berlin, #921, continued 2. KQ6?7 KQ5 3. E.B6 KK4 4. KKt? KQ3 3. KxP, with 4 draw because White's king is imprisoned after 5... KB2, a stock situation wilh the RP. The same thing would have hap- pened if White had commenced 1. RK? + 2 K—Kt5 3 K-~B6 Ke R4 4 Ke-Kt? K--Kt4 SKxP K—B3 @ K.-H. White frees his King in time, and the pawn queens; the result of marching round two sides of a triangle (K--K6—~ Q5—B6--Kt7) instead of along the hypotenuse (K--K.7--Q?—B7-—Bt?). 2. KING AND PAWN ¥. KING The circumstances under which the pawn wins are shown in Example 2: White must af least obtain the opposition with his king in front of (clear of obstruction by} his pawn; only thus cani PAWN ENDINGS he eventually gain control of the queening square. IQ The kings are on the same side of the pawn, but White's is backward, When his king is one file nearer the pawn than Black's, he may be able to sain the Opposition by the stratagem of crossing over the queening file in front of his pawn. White plays and win Black plays and draws I K—B2 K—K3 2 K--K3 K~—B4 3 K~Q4 K-—K3 4 K-85 K--Q? 5 K—O5, Taking the direct opposition, Black to play draws by moving to the knight's 2, Fd It is possible to eross the queen- ing fille behind the pawn, for which White's king needs to be two files nearer than Biack’s. I K--Q2 K--B2 2 K—B3 K--K3 3 K--B4, Only this wins: and after 3. KQ3 4. KQ4, or 3... KOD 4, KQ5, White takes the opposition. Black draws with the move, by playing to the bishop's file, i... KB2, or 1... KB 2. KQ?2 KK2 3. KB3 KO?. In neither of these examples could White have obtained the direct Opposi- errriatt veut, tt perenne eerre White plays and wins Black plays and draws tion by moving up on the same side of the pawn. Uf here 1, KK2? KB? 2. KB3 White has the distant opposition but it does him no good, 2... KK2 3. KK3 KQ?2, and now if White advances to the fourth rank Black takes the opposition, Examples 2, 10 and li, show a pawn on G3; but the same rules apply to any pawn {except the RP) on its second, third or fourth rank. IZ A pawn on the fifth rank wins if the king is in front of it, whether or not White has the opposition, for in either case White gains contro] of the quesning square (except with RP). With the move, White plays I. K— Kt6 (taking the oppesition: if 1. PKt6? KB] 2. PKi7 ch. KKti 3. KKt6 stale- mate) 1.,.K—-RI 2. K-~-BY Ku? White wins @ KING AND PAWN y. KING 3. P--Kté ch, K—-RE, and White mates | in three. Biack does no better with the opposi- tion: 1... K—-R2 Setting a trap. instead, 1... KB, taking the opposition, is answered by 2. PRt6. 2 KF? KR] 3 K—Ki6 Net 3. PKt6? stalemate. 3... KKtl 4 K-26 Koo RE Biack has the opposition, and White cannet outfank, but at this stage a simple pawn advance squeezes Black out, 5 P—Kié K—Kti 6 PK? IZ A paws on the sixth wins if White obtains the vertical direct oppesi- tion with his king alongside his pawn {except with RP). K-31 i K.-BS 2 K—B6 Taking the opposition. 2. KK67 KKi 3. PQT ch. KQ1 4. KO6 stalemates. If White's king is not controlling the queening square, the pawn checking on | the seventh draws. 2... K—KI 3 K--K6 K—QI 4 P.-Q7, 9 14 > The heavy line shows ‘the square of the pawn’ and if Biack’s king canne? get into it, he cannot stop the pawn—a rule which, of course, applies to ail pawns. After i. P.-R4 Slack is unable io enter the square (which has diminished correspondingly} so the pawn runs through without let or hindrance. With the move Black gets into the square. dP... KR—B4 Threatening to stop the pawn, 2. PR4 KR3 3. KKid KQ2 4. KKtS KA? | 5. KR6 KKU and 6... KRE. In endings with RP the opposition doesn’t matter if Black's king gets in front of the pawn he always draws. ee Whe plays and wins Black plays and draws 1... KB5? enters the square, but Black’s retreat is then obstructed, é.KB4KK4 3. KB5 KK3 4. KB6 KK2 5. PR4 KQI 6. KKt?, and the pawn queens. 2 K—B4 K-—K3 3 K—B5 K--Q2 4 K—Ki6 K—Bi The key square in the ending with RP. 5 KR? White prevents Black from blocking the pawn only by blocking it himself, With the RP this draws, because the | crossover stratagem of Example [0 is not possible,