Chess
Kingdom of Genius
and Fantasy
The Duke of Brunswick, Karl II,
is building an enormous palace in Paris,
incorporating elements of both fantasy and
horror. Gold-plated spikes protrude from thick,
towering walls, sophisticated trap doors and
complex contraptions, masking four carabines
aimed to greet intruders, form a gruesome
welcoming committee. Undeterred by these impediments, the crowds, covetous of all that
glitters, continuously grow, amorous of their neighbor’s possessions. The interior of the fivetoned armored cabinet sequestered in the sleeping chamber of the eccentric inhabitant of
the palace represents the greatest challenge to safe crackers, concealing as it does the
largest collection of diamonds in the world, with the emerald Brunswick blue as the
crowning jewel. Arising from bed late in the afternoon, the Duke begins the long
preparations for the evening soiree or debauchery. The aroma of hot chocolate,
passionately drunk throughout the day, hangs in the air, permeating the halls. The barber
applies great amounts of paint and powder to his face, dies his beard daily, and chooses a
wig of the appropriate color. Later begins the ceremonial suit fitting, not even so fancy and
strange, but most of all interwoven with countless numbers of diamonds. Although close to
thirty years have passed since he was deposed, the Duke has repeatedly tried to recover the
throne in Brunswick, and is even prepared to sign a pact with the devil himself. The greatest
passion of the Duke is litigation. He would go to court even when the laundress, collecting a
mere seven franks, improperly washed his outfit. He could file a dozen lawsuits simply over
the repairing of one watch. In his final days the Duke hid himself in Geneva, cutting off the
sources of finance from his illegitimate daughter and her children. His offspring drive him to
distraction because they want to convert to Catholicism.
An aficionado of opera music, Karl II has his own private box situated almost right on the
stage, close enough, it has been said, to kiss the prima donna without any trouble. But above
all else the Duke relishes the Royal Game, and as a devotee of Caissa he has placed a
chessboard, a masterpiece of decorative art, in the center of his box -- a rosewood table
encrusted with pearl and silver, an inlaid chessboard with squares of mother of pearl upon
which stand guard hand-carved gold and silver figures on cornelian pedestals, reminiscent of
those donated to Karl the Great by the Kalif Harun ar-Raszida.
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When Morphy, the remarkable king from New Orleans, appears in Paris, the Duke
immediately takes him under his wing. The American, still quite young, a slight dark haired
individual, is a celebrated, invincible chess player, who demolishes with unusual ease every
obstacle on the chessboard. Unobtrusive, Morphy evinces an unusual modesty, wellmannered and cultured, possessing familiarity with etiquette. This charming youth is an
intriguing blend of Spanish, Irish and French lineage, topped with American bravado and
daring. And what is most invaluable? Morphy brought down proud Albion, winning
simultaneous exhibitions and doing it . . . blindfold. There remains only the ever elusive
Howard Staunton, cowering behind his work on Shakespeare. Supposedly the Englishman
has to constantly research the great dramatist, known for the maxim: “All the world’s a
stage, and all the men and women merely players. They have their exits and their entrances .
“It’s impossible for such a great master to be so young.”
Morphy has been capturing the admiration not only of the elite of the western world.
While lodging in the hotel with his associate Frederick M. Edge, an energetic knocking on the
door disturbs the peace of their siesta. An immense, imposing newcomer, dressed in fur with
a Siberian sable, fills their doorway. “I am Prince Serge Gregory Galitzin,” he announces,
“and I have come from distant Siberia to meet the greatest chess master the world has ever
known. That must be you, sir,” turning toward the elder gentleman.
“Please forgive me, ” responds the journalist from the New York Herald, “but Mr Morphy is
standing here,” indicating with a motion of his hand the slight young man.
This revelation provokes great astonishment in the weary wanderer.
“It’s impossible for such a great master to be so young!” exclaims the newcomer.
But when the “authenticity” of Morphy has been confirmed, the prince shows them a
copy of the German periodical Schachzeitung, wherein the editor Max Lange presents the
silhouette of a star which has appeared unexpectedly on the chess Olympus. Shockingly
beautiful games played by the American during the first chess congress in New York, a match
with Lowenthal, and lessons taught to the major English masters, all having persuaded the
Czar’s aristocrat to undertake the journey of close to eight thousand versts. The prince also
takes advantage of the occasion to invite the young master, in the name of Czar Alexander II,
to the imperial palace in Saint Petersburg, to meet the best chess players of Russia.
An Unusual Duel in the Duke’s Box
The Duke of Brunswick belongs to the circle of admirers of the talented Italian soprano
Madame Rosina Penco (for whom Verdi composed the part of Lenore in The Troubadour)
and he knows by heart every phrase sung by the diva. In the fall of 1858, on the stage of La
Comedie-Italienne, the beautiful Italian is wonderfully appearing in Norma by Vincenzo
Ballini, enchanting one and all with her passion and expression. Duke Karl has seen Madame
Penco’s performance countless times and could probably recite it from memory. Invited
today to the Duke’s box, Paul Morphy is expecting to experience an evening full of artistic
rapture. Unfortunately, he is to be greatly disappointed. The Duke, inviting Count Isouarda
de Vauvenaurges from Provence to join them, has no intention of getting distracted by
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musical delights. Today he has his heart set on playing chess and he has his victim in his
sights.
Gradually the buzz dies down, the lights are dimmed, the druids gather on stage in the
holy grove awaiting Norma, while in the central box the viewers there huddle round the
chess table. The young dark-haired player faces the two elegantly dressed and wigged
aristocrats, with his back to the stage. The gentlemen, completely absorbed in the struggle,
seem to have forgotten that they are in a sacred place, the kingdom of art. On a golden
platter, shining with fabulous colors and chess ornaments, diamond cufflinks for incredibly
fashionable poignette mousquetaire (musketeers cuffs), remind one of the stakes in this
royal duel.
AKT I Overture
1. e4 nihil novi sub sole Morphy always opens way, just as everyone before and after him
who is keen on quick development and an attack on the king. 1. … e5 A little mirror. 2. Nf3
Developing a piece and attacking the king pawn at the same time. Beginners don’t
understand this move because the knight blocks the queen’s path to h5, and so they cannot
give fool’s mate on f7. 2. … d6 The defence of Francois Philidor, the outstanding eighteenth
century musician and chess player, who, returning from England one hundred and eleven
years before Morphy, declared: veni, vidi, vici. He was referencing Caesar, and later Jan
Sobieski III, who, returning from Vienna, additionally included God (Deus vicit). Philidor
didn’t value putting the knight on c6 because it blocks the c-pawn. And yet pawns are the
soul of the game (as he claimed). 3. d4 Attacking the king pawn twice already: probably time
to start worrying. 3. … Bg4 Although there is some logic in developing the bishop this way,
there is one serious drawback. After the exchange of queens, the pin will no longer be there.
Philidor proposed here 3. … f5. 4. dxe5 Exactly. Taking the pawn on e5 leads to a queen
exchange which frees the steed to bite and kick. 4. … Bxf3 There doesn’t seem to be a
choice. It was only some time later that Adolf Albin proposed 4. … Nd7. 5. Qxf3 The sacred
principle advises against bringing out the queen too early, but there are exceptions. 5. …
dxe5 6. Bc4 (diagram) The threat is right before your eyes, a little late fool’s mate. Curious
where Black lost so many developing tempi. 6. … Nf6 This looks good enough, because how
do you jump over the knight? 7. Qb3 Switching to the other flank, the queen again threatens
mate (Bxf7+, Qe6#). 7. … Qe7 Protecting the weakness on f7 and at the same time creating
the option of skipping to b4 to trade queens. The minus is that it blocks the king bishop.
Placing the queen on d7 only apparently looks promising, but after 8. Qxb7 Black must give
up either the rook or queen (8. … Qc6 9. Bb5). 8. Nc3 We are not interested in some pawn
on b7. Development is the most important. 8. … c6 Trying to contain White’s pieces on this
part of the board. At the same time the queen watches over the seventh rank, from b to f. 9.
Bg5 White does not sit quietly but fights back. Morphy shows that he too knows how to pin.
Remember that Black’s maneuver on the third move didn’t work and Morphy plays with a
wide range of aspects of this common motif. It is important to remember that an
outstanding example of this so-called “apparent bind” is Legall’s mate. 9. … b5 (diagram)
This looks threatening. Black flexes his muscles and assumes that White will bow down and
retreat. Instead, this allows him to loosen the bridle.
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AKT II Aria di bravura
10. Nxb5! Once more into the breach. He who doesn’t advance, retreats. Morphy treats
pawns like extras, assigning them only a minor role, but now he even takes that away. 10. …
cxb5 The horse is eaten hooves and all. 11. Bxb5+ The knight is no more, but the bishop
flows into fresh pastures. 11. … Nbd7 Nothing to do but build walls. 12. 0-0-0 Castling
normally serves to safeguard the king. It’s a relatively young move. Until the end of the
sixteenth century reigned capriola, which allowed the king to move two squares in any
direction. Here Morphy thought more about joining both rooks to the game, so he took care
of the king, tucking him out of the way of the fighting. 12. … Rd8 All hands on deck. But
already there are no more reserves (diagram).
13. Rxd7!! Morphy emphasizes the strength of the pin. 13. … Rxd7 The aristocrats slip
the noose around their own necks. 14. Rd1 White needs now only to awaken the queen
who, after a long sleep, must play her role to the end. 14. …
Qe6 A desperate attempt to free himself. There is no rescue,
but the path chosen in the game permits a pleasing finale. 15.
Bxd7+ The bishop has played his part and makes his exit. 15.
… Nxd7 A ray of hope. White has almost nothing left, and the
bomb is ticking louder. The gentlemen are playing for high
stakes, and the prizes are diamond cufflinks, which the
American will receive, if he manages to mate the aristocrats
in this super-miniature, meaning before the twentieth move.
AKT III Grande finale
16. Qb8+!! (diagram) And with what is left, he still deals. But this sacrifice is the greatest.
The queen offers herself up on the altar. Only two figures remain, but they are enough. 16.
… Nxb8 17. Rd8 mate.
And only now can the great “slight American” focus on his second passion, and prima
donna Penco can finally present her art in the aria Casta Diva.
In the history of the Royal Game there have been many meaningful and unquestionably
worthy encounters, games which changed
the course of events, dethroned the
reigning gods, dazzled with a wealth of
ideas, unexpected shifts of action, unusual
magic of combinations. Opposite each
other sit two worthy rivals, whose
knowledge, ability and glimmering genius
can only be defeated by an equal, another
true child of Caissa. The result of these
momentous struggles become signposts
for posterity, marking out new directions.
And here is a game, at which sat three gentlemen, to . . . listen to music together.
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