P-Q4         1.  d4         d5 
        2.  P-QB4      P-K3         2.  c4         e6 
        3.  Kt-QB3     P-QB4        3.  Ktc3       c5
4.  PxQP       KPxP         4.  cd:        ed: 
        5.  P-K4       QPxP         5.  e4         de: 
        6.  P-Q5       Kt-KB3       6.  d5         Ktf6 
        7.  B--KKt5    B-K2         7.  Bg5        Be7 
        8. K Kt-K2    Castles      8. Ktge2      O--O 
     
   
  
In most books in which the algebraic notation is used, both squares of a 
move are written out for the benefit of the student. The moves above 
would then look like this: 
              1.  d2-d4          d7-d5 
              2.  c2-c4          e7-e6 
              3.  Ktb1-c3        c7-c5 
              4.  C4  x  d5        e6xd5 
              5.  e2-e4          d5xe4 
              6.  d4-d5          Ktg8-f6 
              7.  Bc1-g5         Bf8-e  7 
              8.  Ktg1-e2        O--O 
     
   
  
To conclude: I will give the denomination of the pieces in various 
languages: 
English .............. K Q R B Kt P Castles
French .............. R D T F C P 
Roq
Spanish .............. R D T A C P Enrog
German and Austrian .. 
K D T L S O-O (O)
Italian .............. R D T A C O-O (O)
Russian .............. KP F L C K O-O (O)
Dutch ................ K D T L P 
O-O (O)
Scandinavian ......... K D T L S O-O (O)
Bohemian ............. K D V S J O-O (O)
Hungarian ............ K V B F H 
O-O (O)
CHAPTER II 
HINTS FOR BEGINNERS--ELEMENTARY COMBINATIONS 
 
THE mental development of the chess player is a gradual struggle from 
a state of chaos to a clear conception of the game. The period required 
for such development largely depends upon the special gifts the learner 
may possess, but in the main the question of methods predominates. 
Most beginners do not trouble very much about any particular plan in 
their study of chess, but as soon as they have learnt the moves, rush 
into the turmoil of practical play. It is self-evident that their prospects 
under such conditions cannot be very bright. The play of a beginner is 
planless, because he has too many plans, and the capacity for 
subordinating all his combinations to one leading idea is non- existent. 
Yet it cannot be denied upon investigation that a certain kind of method 
is to be found in the play of all beginners, and seems to come to them 
quite naturally. At first the pawns are pushed forward frantically, 
because there is no appreciation of the power and value of the pieces. 
Conscious    
    
		
	
	
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