ix We often hear the terms "positional" and "tactical" used as opposites. But this is as wrong as to consider a painting's composition unrelated to its subject. Just as there is no such thing as "artistic" art, so there is no such thing as "positional" chess.

 The business of the chess player is to conceive practical objectives and to plan and carry out the maneuvers necessary to achieve them; the objectives, the plans, the maneuvers - all must be based on the possibilities inherent in actual positions. Thus chess is by definition positional.

p.1 What is a weak pawn? A pawn that is exposed to attack and also difficult to defend is weak. There are several varieties: isolated, doubled, too advanced, retarded. An isolated pawn, because it is separated from the neighboring pawns and cannot be supported by them, requires defense by pieces. These pieces are called passive since they must function below their full potential. A doubled pawn is limited in mobility; its weakness is usually felt in the endgame because a group of pawns that includes a doubled pawn is less likely than a healthy group to produce a passed pawn. (However, not all doubled pawns are weak.) A pawn that is advanced too far runs the risk of being cut off from the rest of the army and becoming isolated. A pawn not advanced far enough (or not at all) can get in the way of the other pieces and may become backward and vulnerable.

p.112 Undeveloped pieces are not working pieces. To paraphrase a popular expression: if they're not part of the solution, they're part of the problem.

p.114 A doubled pawn is usually a disadvantage, but there are exceptions. This game [being discussed, Reshevsky-Lombardy, New York 1972 ] is one of them... On my 11th turn, I allow him [Lombardy] to double my pawns, apparently accepting a weakness. But it is one of those very pawns that allows me to obtain a bind in the center, which gives my pieces more maneuverability while it restricts the activity of my opponent's pieces.

p.206 The only good piece is a working piece. A piece that is undeveloped, out of play, passive or hampered by pawns is not a good piece.

 Obviously, if you entertain hopes of defeating a majority of your opponents, you must play with full force; that is, with all your pieces working. This means that in your planning at every stage of the game you must pay careful attention to the effectiveness of your pieces compared with those of your opponent.

One of the errors inexperienced players are often guilty of - even grandmasters do it once in a while - is to attack prematurely by thrusting a few pieces and pawns in the general direction of the enemy king without regard for the situation of the other pieces.

The punishment for this unwarranted aggression is backward development, resulting from exchange or elimination of the small attacking force, leaving the other pieces uncoordinated or undeveloped.

Pieces are tools with which each player tries to effectuate his own plans while hindering those of his opponent.

It often happens during the course of the struggle that a piece may find itself far from its most effective post because the scene of battle has shifted. Plans do change. You must be alert to the opportunities such situations offer, and you must never fail to consider your opponent's opportunities in this respect.

Sometimes a sharp move in an unsuspected corner can prove embarrassing for the opponent whose forces are massed for some purpose elsewhere. Those pieces will then be unable to adapt readily to the requirements of the new situation.

p.206-207 The trouble with weak pawns and weak squares is that they have to be watched over by pieces, which are then not free to participate in more fruitful endeavors. Such passive pieces usually cannot meet two distinct simultaneous threats.

In a game of attack and defence like chess, when neither side is able to gain an advantage a balanced state of inactivity is reached. But usually an enterprising player will find an unexpected move, even a sacrifice, to upset the balance and create winning chances.

p.207 Every amateur is familiar with the power of the two bishops working together. Their strength lies in their mobility; as a team they rake the board in four directions and at great distances.

But bishops are not always good. The rule that applies to all other pieces applies as well to them; a good bishop is a working bishop.

Pawn structure has a lot to do with whether a piece is to be considered good or bad. If your only bishop and your opponent's pawn are on squares of the same colour, your bishop is probably very good - unless your own pawns are on the same colour too, which can be bad. The point is that a bishop, otherwise very effective, cannot attack anything that is not on the same color square. When your pawns and your bishop are on the same color, the bishop's mobility, and hence its strength, is seriously reduced.

Bishops are most often favored over knights because of the great difference in mobility. There are times, however, when the pawns and other pieces limit the activity of the bishop; in such cases the short-stepping knight can be superior.

Knights function best in the center, as do most pieces because that is where they achieve maximum range.

p.208 Rooks need open files.. Queens, too, need open lines, but because of their great power in all directions they can often function well even in closed positions, especially when tactical opportunities are present.

p.229 more space in the opening is translated into the initiative, which leads to better piece placement, which leads to enemy weaknesses, which results in attack or material gain, etc.

p.239 The qualities of good and bad, when speaking of bishops, always depend on the pawns.

p.244 The advantage of bishop over knight is mainly one of mobility. In an uncluttered position the bishop can accomplish several things at once while the knight, more limited in scope, has to be content with modest goals. In crowded positions, however, the situation is reversed: the bishop cannot flex its muscles and is often uselessly passive, whereas the knight can take its sweet time creating threats or snapping up loose pawns.

p.260 Bishops are not always superior to knights. In positions where a knight has good posts from which to influence the play it can be better than a bishop, even when the bishop is unrestrained by pawns.

p.286 The only good rook is a working rook!

p.295 Because of their great range and power, queens thrive on open lines... The situation [in the game being discussed] demonstrates the interdependence of the elements of chess, particularly the effect of pawn structure on the mobility of the pieces.

TEN-YEAR old Samuel Reshevsky at a simultaneous exhibition in San Francisco in 1921.

http://www.guardian.co.tt/archives/2006-10-28/SA-12.html

In the book of his Best Games, Reshevsky observes: "To a chess master, there is no such thing as an 'obvious' move. Experience has shown repeatedly that wins or draws are thrown away by thoughtless play. Careful planning is the essence of chess strategy. Every move must be scrutinized with care. Each must be analysed in light of the plan under consideration. Nowhere is waste of time more severely punished than in chess."

In the introduction to his book, the Art of Positional Play, Reshevsky says there is no such thing as 'positional' chess. He explains: "The business of the chess player is to conceive practical objectives and to plan and carry out the manoeuvres necessary to achieve them; the objectives, the plans, the manoeuvres - all must be based on the possibilities inherent in actual positions. Thus, chess is by definition positional."

Sammy's introduction to chapter seven, Pieces, Good and Bad, contains some essential principles. "The only good piece," he notes, "is a working piece. A piece that is undeveloped, out of play, passive or hampered by pawns is not a good piece.

"Obviously, if you entertain hopes of defeating a majority of your opponents, you must play with full force; that is, with all your pieces working. This means that in your planning at every stage of the game you must pay careful attention to the effectiveness of your pieces compared with those of your opponent.

"One of the errors inexperienced players are often guilty of - even grandmasters do it once in a while - is to attack prematurely by thrusting a few pieces and pawns in the general direction of the enemy king without regard for the situation of the other pieces.

"The punishment for this unwarranted aggression is backward development, resulting from exchange or elimination of the small attacking force, leaving the other pieces uncoordinated or undeveloped."

Pieces are tools with which each player tries to effectuate his own plans while hindering those of his opponent, Reshevsky points out. "It often happens during the course of the struggle," he adds, "that a piece may find itself far from its most effective post because the scene of battle has shifted. Plans do change. You must be alert to the opportunities such situations offer, and you must never fail to consider your opponent's opportunities in this respect.

"Sometimes a sharp move in an unsuspected corner can prove embarrassing for the opponent whose forces are massed for some purpose elsewhere. Those pieces will then be unable to adapt readily to the requirements of the new situation.

"The trouble with weak pawns and weak squares is that they have to be watched over by pieces which are then not free to participate in more fruitful endeavours. Such passive pieces usually cannot meet two distinct simultaneous threats.

"In a game of attack and defence like chess, when neither side is able to gain an advantage a balanced state of inactivity is reached. But usually an enterprising player will find an unexpected move, even a sacrifice, to upset the balance and create winning chances.

"Every amateur is familiar with the power of the two bishops working together. Their strength lies in their mobility; as a team they rake the board in four directions and at great distances. But bishops are not always good. The rule that applies to all other pieces applies as well to them; a good bishop is a working bishop.

"Pawn structure has a lot to do with whether a piece is to be considered good or bad. If your only bishop and your opponent's pawn are on squares of the same colour, your bishop is probably very good - unless your own pawns are on the same colour too, which can be bad. The point is that a bishop, otherwise very effective, cannot attack anything which is not on the same colour square. When your pawns and your bishop are on the same colour, the bishop's mobility, and hence its strength, is seriously reduced."

When pawns and other pieces limit the activity of the bishop, the short-stepping knight can be superior, Reshevsky notes. Knights function best in the center, as do most pieces because that is where they achieve maximum range.

"Rooks need open files," Reshevsky advises. "They usually come into active play only after the opening, when some pawns and pieces have been exchanged and the position indicates which files are likely to be opened.

"Queens, too, need open lines, but because of their great power in all directions they can often function well in closed positions, especially when tactical opportunities are present.

"As is the case with all pieces, control of crucial squares or groups of squares has a profound bearing on potential activity."