Part 51
And White is better developed, for the p.a.w.n _minus_. Still Black has a tangible advantage.
THE CENTRE GAMBIT.
{392}
WHITE. BLACK.
1. P to K 4. 1. P to K 4 2. P to Q 4 2. P takes P 3. Q takes P 3. Kt to Q B 3 4. Q to K 3 ...
Formerly the continuation was 4. Q to Q sq., Kt to B 3; 5. B to Q 3, P to Q 4, &c., but the text-move is now considered superior to the retreat of a developed piece, especially as from K 3 the range of the Queen's action on both sides should prove more advantageous to White.
... 4. Kt to B 3 5. Kt to Q B 3 5. B to Kt 5
If 5. P to K 5, Black's best reply is 5. ... Kt to K Kt 5; 6. Q to K 4, P to Q 4; 7. P takes P _e.p._: ch., B to K 3; 8. P takes P, Q to Q 8: ch., followed by 9. ... Kt takes P: ch. and 10. ... Kt takes Q, with the better game.
PETROFF'S DEFENCE.
Here, after 1. P to K 4, P to K 4; 2. Kt to K B 3, Black, instead of defending the K P with 2. ... Kt to Q B 3, plays Kt to K B 3, attacking the opponent's K P. This mode of defence is sometimes adopted if the second player wishes to avoid the Ruy Lopez, Scotch Opening, or Evans Gambit. On the whole it yields a safe defence, although somewhat tame in the majority of variations.
THE KING'S GAMBITS.
The reader has already had several examples of Gambits, but others still remain to be described. A p.a.w.n is sacrificed in order to get a compensating advantage in a rapid development of the pieces, and an immediate attack.
Formerly the Gambits were played very frequently, but more perfect knowledge of the possible defences has caused the less speculative Openings to be resorted to in preference--a {393} tacit admission that the Gambits are for the most part hazardous for the first player, though they give rise to ingenious combinations and interesting positions.
The princ.i.p.al Gambits (apart from the "Evans") are the King's Knight's and King's Bishop's Gambits. From the former spring other well-known Gambits, such as the Kieseritzky, Allgaier, Muzio, &c.
THE KING'S KNIGHT'S GAMBIT.
WHITE. BLACK.
1. P to K 4 1. P to K 4 2. P to K B 4 2. P takes P 3. Kt to K B 3 ...
This move completes the Gambit.
... 3. P to K Kt 4
This move has a double object. First, it protects the Gambit p.a.w.n, which would be attacked after White's necessary P to Q 4, and then it enables Black to post his B at Kt 2, which is essential, as in some variations White might play P to K R 4, when without the B at Kt 2, Black could not reply P to K R 3, because his Rook would not then be protected, and his p.a.w.ns on the King's side would be broken up.
4. B to B 4 4. B to Kt 2 5. P to Q 4 5. P to Q 3 6. P to K R 4 6. P to K R 3
See previous remark. Of course, were Black now to advance the attacked p.a.w.n, he would weaken the Gambit p.a.w.n. {394}
7. P takes P 7. P takes P 8. R takes R 8. B takes R 9. Q to Q 3 ...
The intention being to play P to K 5 and Q to R 7, attacking two pieces, and threatening mate. Black prevents this by--
... 9. Kt to K R 3
White has not as yet gained any marked advantage to compensate for the sacrificed p.a.w.n.
Black's best defence in the King's Knight's Gambit is to play 4. ... P to Kt 5, thereby forcing White to adopt either the Muzio or the Salvio attack, in either of which cases Black should get the best of the game, as we proceed to show.
THE MUZIO GAMBIT.
WHITE. BLACK.
1. P to K 4 1. P to K 4 2. P to K B 4 2. P takes P 3. Kt to K B 3 3. P to K Kt 4 4. B to B 4 4. P to Kt 5 5. Castles ...
The Knight cannot go back to Kt sq., consequently White must either give it up or play Kt to K 5, which will be treated in the Salvio Gambit. Leaving the Knight _en prise_ const.i.tutes the Muzio Gambit.
... 5. P takes Kt
The position is now as represented in Fig. 12.
Black.
+---------------------------------------+
#R
#Kt
#B
#Q
#K
#B
#Kt
#R
---------------------------------------
#P
#P
#P
#P
#P
#P
---------------------------------------
---------------------------------------
---------------------------------------
^B
^P
#P
---------------------------------------
#P
---------------------------------------
^P
^P
^P
^P
^P
^P
---------------------------------------
^R
^Kt
^B
^Q
^R
^K
+---------------------------------------+ White.
FIG. 12.
[POSITION AFTER BLACK'S 5TH MOVE.]
6. Q takes P 6. Q to B 3 7. P to K 5 ...
{395}
This further sacrifice may be regarded as compulsory. White gains time to develop his pieces, as Black has, after the capture of the K P, both King and Queen in an exposed position.
... 7. Q takes P 8. P to Q 3 8. B to R 3 9. B to Q 2 ...
{396}
Threatening 10. R to K sq.; or if Black plays 9. ... Q takes P; 10. B to B 3, &c. White has gained no material advantage.
SECOND VARIATION.
Reverting to the position after Black's 5th move (Fig. 12), instead of, as in the preceding variation, 6. Q takes P, let White play--
6. P to Q 4 ...
This attack, if not properly met, is extremely embarra.s.sing for Black; but, against the correct play, it is inferior to the one already given.
... 6. P to Q 4 (best) 7. B takes P 7. Q B to Kt 5 8. R to B 2 8. P to Q B 3 9. B to B 4 9. B to Kt 2 10. P to B 3 10. B to R 3 11. Kt to Q 2 11. Kt to K 2 12. Kt takes P 12. Kt to Kt 3
And Black even without Castling may a.s.sume the counter-attack with R to Kt sq., bringing the Queen into play as soon as feasible.
THE SALVIO GAMBIT.
WHITE. BLACK.
1. P to K 4 1. P to K 4 2. P to K B 4 2. P takes P 3. Kt to K B 3 3. P to K Kt 4 4. B to B 4 4. P to Kt 5 5. Kt to K 5 ...
This move const.i.tutes the Salvio attack. White {397} attacks Black's K B P, intending to obtain a compensating advantage for being compelled to move his King without castling.
