ChapterThree:AestheticsofCombinations.GeneralIdeas Chapter Four: Ideas and Technique in Combinations

Chapter Three Aesthetics ofCombinations. General Ideas.

Any higher expression of harmony makes a deep aesthetic impression. It excites, creates ideas about the beautiful.

Combinations in chess art represent a higher expression of harmony of chess forces. Even combinations simple in structure are in themselves aesthetically already one in that all the initiator's pieces operating in them pour out their strength together, harmoniously conducting a combinative theme.

The aesthetics of combinations are expressed also in methods of operation. Here, first and foremost, is advanced the concept of sacrifices. In what lies the aesthetics of sacrifices? As is well known, from the very first steps we teach the beginner-enthusiast to have a careful regard for material. We give, as an instructive example, the case when, after losing a minor piece, the master resigns the game, considering further resistance to be fruitless. Even an extra pawn, just one pawn, frequently gives the possessor of it an easy victory. Therefore a voluntary giving up of a pawn or piece, or an exchange of a stronger piece for one less strong, for example queen for rook or rook for knight etc. -is an event which contrasts with the strict background of a careful regard even for the weakest chess unit. And if several pieces or a strong piece (for example, the queen, rook) are sacrificed, then the contrast is redoubled.

Seemingly absurd, reckless moves suddenly turn out to be strong ideas, instruments of triumph, victory. The outwardly weak -thanks to hidden meaning, triumphs over strength.

Adroitness, ingenuity, imagination, comes forth from the winner in a struggle against an opponent's more powerful armaments. In this lies the individual beauty of the sacrifice. The sacrifice will often be surprising, and this suddenness upsets the usual humdrum ideas about the course of the stuggle and likewise takes the spectator into a world of magic adventure. There is even an extensive, separate terminology, characterising the aesthetics of chess combination. There arise the concepts of refined and even graceful combinations, productions of rare beauty, immortal ideas, smooth mates, elegant finishes, etc. As far back as the last century special prizes for beautiful games were awarded in tournaments.

In chess literature there are a

number of articles and special works, showing aesthetic chess combinations. We point to the work of professor of literature. A. A. Smirnov, "Beauty in the Chess Game", the book by V. I. Volkenstein, dramatist-theoretician, "Experience of Contemporary Aesthetics", where we find a special chapter showing chess play. In the handbook of Emanuel Lasker, world champion for many years, there is a special chapter under the heading "Aesthetics of Chess Play".

We give a few examples of beauty in chess combinations. We begin with an illustration from the endgame, where the simplicity and normality of the situation will contrast particularly boldly with the surpnsmg incursion into the struggle of combinations. This circumstance must undoubtedly make a great aesthetic impression upon us. It seems, in a simple position, highly artistic ideas suddenly spring up before us. Here is a position from the game PiIlsbury .. Gunsberg (International tournament at Hastings 1895) Let us see how originally and interestingly a combination developed in it: 28Nb4

Already this move obliges Black to be careful. You see, after the text move, Black could reply 28 ... as and White's knight has to retreat. In addition to this, does Black have anything else at his disposal? On 28 ... exf5 follows 29 gxf5 and then 30 Nxd5+. On 28 ... Kd7, simplest is 29 fxe6+ Kxe6 30 c6 Kd6 31 c7 Kxc7 32 Nxd5+ and Nxf6. Thus Black has no choice. 28 ••• a5 29 c6!!

The beginning of a long combination, in which as the main theme serves the double threat of the pawn -an original aspect of double attack. 29 ... Kd6

But right now it seems the knight must step back. 30 fxe6!

A nail, which is the basis of a combinational idea. 30 ••• Nxc6

Black has nothing else, a situation that often occurs during the course of a brilliant and unusual combination. Even two moves ago it looked like a quiet knight ending with some positional advantage for White. Now, however, the two White pawns burst into the 6th rank, while the knight -his last piece -White offers for sacrifice. For what and why does Black decline to accept the sacrifice? The reply to this is given by the follow-

ing possible continuation: 30 ... axb4 31 e7 Kxe7 32 c7 and the White pawn goes on to queen, since Black has no defence against the two threats cxb7 or c8(Q). An original aspect of the double attack of a pawn! 31 Nxc6 Kxc6 32 e4! dxe4 33 d5+

If the first theme in all the combinations is the "double" attack with the pawn, then the second is the formation of two connected passed pawns, which have already crossed the frontier. 33 000 Kd6 34 Ke3 b4 35 Kxe4 a4 36 Kd4

White hurries to hold up the Black pawn and this also decides the outcome of the struggle. His contemporaries considered this combinational miniature of Pillsbury to be one of the most refined, in fact the most refined production of the Hastings tournament. And indeed so it is. A combination refined in its suddeness, originality of theme, rarely met in practice, simplicity of material taking part in it, a beautiful sacrifice of a single piece and the overall beauty of all the ideas. Two pawns, standing almost side by side, without piece support, putting up resistance to the king and knight, i. e. pieces which are considerably stronger.

In the next diagram we see a study by Reti. White to play and draw. At first sight, the study looks like nonsense.

The White pawn on f6 is neutralised, whereas no way can the Black pawn be overtaken by the White king. Such an obvious state of affairs. But in the present case the obvious is not the truth. As a matter of fact, White carries out a combination with two themes. One of them illustrates the successful pursuit of the Black pawn by the White king, and the other the queening of his own pawn, despite the reliable guarding role of the Black king. The combination develops like this: 1 Kb7 a4 2 Kc6

Now if 2 ... a3, then 3 Kd6 a2 4 f7 Kg7 5 Ke7 and White also queens. 2 000 Kg6 3 Kd5!!

A move with two threats! The king enters into the square of the a-pawn and defends his own passed pawn. 3 000 a3 4 Ke6 a2 5 f7 draw

The never-to-be-forgotten A. A. Troitsky composed many combinational classic endgame studies. We give one of these, which makes a most aesthetic impression.

The combination leading to the win is constructed on the sixfold repetition of the theme of double attack, but this is not all.

The beauty of the study lies in the extremely sparing movements of the rook from the start and then on its return journey along the same path, and that this "sloth", stingy in its movements, has at the same time a crushing effect: 1 Rb4! Qc8 2 Rb8 Qh3 3 Rh8 Nh4 4 Rxh4 Qc8 5 Rh8 Qb7 6 Rb8, and Black finally loses the stubbornly escaping queen. Also artistic is the construction of the rook manoeuvre: 1 Rb8-h8xh4-h8-b8.

Looking at the influence of creative moves in the chess game for the spectator, Em. Lasker said, "The spectator takes pleasure not only in the outward side of the chess game but also in its story, its drama. It does not matter that the chessboard serves as the scene, and the actors are represented by chess pieces. If it were a drama of chessplayers unfolding on the scene of a theatre, it might not produce a very deep impression, but with the indispensable conditions that exist on the board, the spectator feels interested and understands it."

Not all combinations produce an equal aesthetic impression. Combinations can be more beautiful and less beautiful. A rough outward cover (form) might not be in accord with a fine idea (content). At the basis of a combination are always combined two important creative methods -dynamic and harmonious. This united action leads to the production of creative forms, the artistic content of which also makes up, in the main, an aesthetic combination.