Checkers (chess)
|
|
| Chess pieces | |
|---|---|
|
king |
|
lady |
|
tower |
|
runner |
|
Jumper |
|
Farmer |
The lady ( Unicode : ♕ U + 2655 ♛ U + 265B) is the strongest figure in chess . Together with the tower , it is one of the heaviest figures . At the beginning of the game each player has a queen. In the basic position it stands directly next to the king and is more or less similar to him in most of the figure sets.
Moving opportunities and value
The queen is allowed to move to any free space of the same line, row or diagonal without jumping over other pieces and thus combines the effect of a tower and a bishop. This makes the lady the most agile of all figures.
The exchange value of a queen is equal to nine pawn units and is therefore worth a little less than two rooks (each with five pawn units), but a little more than a rook and a bishop or knight (the latter with around three pawn units each). However, this also depends on the current game situation. The value of two towers is assessed more strongly because they can cover and support one another. For example, two rooks can checkmate an opposing king on the edge of the board. A queen needs the support of her own king for this.
history
_Wohlfahrtsmarke_1972_40_Pf.jpg)
In the Urschach, the Chaturanga , the mantrine took the place of today's lady. This advisor or minister was the weakest piece on the board, their move was limited to one space on the diagonal. The Persians called the chess lady farzin, a word that is also a synonym for wazir , meaning 'minister'. In Arabic this chess piece is called firz . With the introduction of the game to Europe, it became Ferz or Fers . Due to the similar pronunciation of Fers to the French vierge (virgin) as well as the spatial proximity to the figure of the king, the term lady or queen became common.
Around 1490, the current way of moving this figure prevailed. Reasons for the reinforcement of the figure were possibly the outstanding role of some medieval queens (this is how one of the earliest sources for the modern mode of migration came about under the reign of Isabella I of Castile ) and the veneration of Mary , which is known in poems as "Fierce Dieu" (' Ferz Gottes').
The queen in the three game phases
In the opening
As a rule, the checkers should not be played too early, as fending off opposing attacks only costs unnecessary speed and gives the opponent the opportunity to develop his pieces. As a rule, it is therefore more useful in the opening first the minor pieces to develop so knights and bishops, and castle . An important exception to this rule is the Scandinavian Defense , in which the queen in the main variant is already played in the second move.
In the middle game
In the middle game , the queen should be centered in order to develop her strength. Above all, the occupation of open lines and diagonals is to be aimed for, as this is where it can show its great strength, the range. It is not infrequently the lady herself who carries out the attacks of the player after the necessary conditions have been created by the other pieces. A motif that is very popular in literature, albeit rarely found in practice, is the lady sacrifice . Here the queen is sacrificed against significantly weaker pieces in order to gain a decisive advantage in the game, for example a direct mate attack in the ideal case.
In the endgame
The queen and king versus king endgame is easy to win. Checkmating is similar to the rook, in that the opposing king is pushed to the edge. Inexperienced players occasionally find themselves patted the opposing king in the corner of the board before he is mated.
If both players still have pawns on the board and a queen each, the outcome is often unclear. Due to the great mobility of the piece, surprising twists and turns can arise more than is the case in rook endings.
In endgames against two rooks, the queen is usually at a disadvantage because the rooks can cover and support each other.
Female catch
| a | b | c | d | e | f | G | H | ||
| 8th |  |
 |
 |
 |
 |
|
|
|
8th |
| 7th |  |
|
|
|
|
|
|
|
7th |
| 6th | |
|
|
|
|
|
|
|
6th |
| 5 | |
|
|
|
 |
 |
|
|
5 |
| 4th | |
|
|
|
|
|
|
|
4th |
| 3 | |
|
|
 |
|
|
|
|
3 |
| 2 | |
|
|
|
|
|
|
|
2 |
| 1 |  |
 |
|
 |
 |
|
|
|
1 |
| a | b | c | d | e | f | G | H |
Diagram 1 : An early queen catch: position after 4. Bf1 – d3
| a | b | c | d | e | f | G | H | ||
| 8th | |
|
|
|
|
|
|
|
8th |
| 7th | |
|
|
|
|
|
|
|
7th |
| 6th | |
|
|
|
|
|
|
|
6th |
| 5 | |
|
|
|
|
|
|
|
5 |
| 4th | |
|
|
|
|
|
|
|
4th |
| 3 | |
|
|
|
|
|
|
|
3 |
| 2 | |
|
|
|
|
|
|
|
2 |
| 1 | |
|
|
|
|
|
|
|
1 |
| a | b | c | d | e | f | G | H |
Diagram 2 : Queen's catch after 4.… Ng4 – e3
Due to the possibility of moving and the long range, the so-called queen's catch is a specially named and relatively rare chess motif : The queen is attacked by an opposing piece without having any retreat or evasion spaces. Often your own pieces are placed unfavorably or the pieces of the opposing party cover the remaining fields. The first example diagram shows an early female catch, which the black favored by hastily pulling the queen. According to the sequence of moves ( see also : chess notation ): 1. e4 e6 2. d4 Qf6? 3. e5 Qf5 ?? 4. Bd3 the queen can no longer evade. Such a heavy loss of material is usually decisive for the game.
Another early queen catch in the opening phase can be after the moves 1. d4 Nf6 2. Nd2 e5 3. dxe5 Ng4 4. h3 ?? Ne3 arise ( diagram 2 ). The knight cannot be taken because of the queen's loss after h4 with subsequent mate (6.g3 Qxg3 #), the white queen is caught analogously to the king's “ stickmatt ”.
Gardez
A rule that was no longer applied was to refer to the attack on the lady by saying " Gardez ".
See also
literature
- Joachim Petzold: The royal game. The cultural history of chess. Kohlhammer, Stuttgart 1987. ISBN 3-17-009405-X .
- Renate Syed: Kanauj, the Maukharis and the Caturanga. Förderkreis Schach-Geschichtsforschung e. V., Kelkheim / Ts. 2001, ISBN 3-934474-09-8 .
Web links
Individual evidence
- ↑ Saeid Rezvani: Modern Persian Poetry: An Analytical Inquiry. Harrassowitz, Wiesbaden 2007, ISBN 3-447-05542-1 , Chapter 3: Mehdi Ahawan Talet. → Section 3.2.5: The content of Ahawan's poetry ; P. 115: Note 251 ( on Google books )
- ^ Marilyn Yalom: Birth of the Chess Queen: A History. 2nd Edition. Perennial, 2004. ISBN 0-06-009065-0 , pp. 77, 112-114, 195.