Hi there.
There are some interesting and potentially instructive quotations, and if we look at this course,
we logically divided this course into the opening mental game, an end game.
So let's have a look at opening related quotations first, some of the more famous ones.
Tancer COHA is one of my favorite players for quotations.
He had some very witty, very funny and very insightful quotations.
So he said a game of chess has three phases.
The opening we hope to stand better, the mental game where you think you stand better and the end game
where you know you stand to lose.
So, yeah, he's funny guy.
So he also said as long as the opening is reputed to be weak, it can be played.
I do stick with that.
I try and play off big openings so other people don't study those openings as much, so they have to
improvise.
So there's a grain of truth there that you don't really want a super popular opening, which people
are studying too much, he says, talking about one Afri, the rati opening.
So this was named after Richard Ratti, one of the leading modernists.
You know, he said basically an opening of the past, which became towards 1923, the opening of the
future.
So Reti started to be, you know, some major players with with my feet, including Capablanca.
So it became a very, very interesting modern opening where you don't even commit a pawn in the they'll
have more than this.
They found the useful exceptions to establish theory.
And this is a very, very concrete example straight in the opening, the very first move, not committing
a pawn to the center.
So offbeat, but kind of modern in concept.
So we have another quotation here.
Play the opening like a book, the middle game like a magician and the end game like a machine.
Yeah, that kind of makes sense.
The middle game is is where a lot of the magic in chess is, especially for me, the tactics is like
the magic of chess.
It's like a passion within a passion for me.
Middle game tactics, you know, in games, you know, the computers themselves using, you know, table
base, they even sometimes don't even need to think they have these huge installed table bases, you
know, terabytes of data, and they can actually refer to certain games that just play out, I guess.
Yeah, it's more sort of you need to study your own games.
Yeah.
So it is like more like less creative than the middle game in my view.
And and you know, same with with the opening of the books will help you have openings, but you really
want openings which suit your style of play as well.
So the magic is going to happen the more I think closely align the opening is to what you need and enjoy.
Here's another quote.
After a bad opening, there's hope for the little game.
Yes, after a bad game is hopefully the end game.
But once you're in the endgame, the moment of truth has arrived at.
Barmedman said that he was one of the famous U.S. grandmasters, which Bobby Fischer played quite a
few times.
The most important feature of the chess position is the activity of the pieces.
This is the absolutely fundamental in all phases of the game opening mental game and especially in game.
The primary constraints, primary constraints on a piece of activity is the power structure.
So Michael Steen said that in simple chess, which I do recommend you check out, it's also downloadable.
It's pretty cheap.
Michael Feinstein did address quite important fundamentals of pawn structure and.
Yeah, but it's also pieces that can get in the way as well.
When you when you actually calculate variations, make sure you see all those liberacion or effects
the effect clause and use the power structure effectively to create harmony between your pieces of horns
and activity will generate you great opportunities for creating tactics and combinations later.
They are like the constraints fundamentally.
So this is by Stefan Jarda, which openings teach you openings and games teach you chess.
Capablanca also had this view that you learn a great deal from actually in reverse, you know, studying
in games first, then middle game, then opening.
And that was actually a quandary for those course.
Should I actually do it in that order?
But I thought it's actually kind of logical, just straightforward, just opening the whole game in
and game.
As long as it's sectioned in beginner, you know, its introduction sections, beginner and intermediate,
you can get an overall inner circle, the concentric circles model by following the instructions, for
example.
And then you might want to check out the beginner sections.
You can do it in that order so you get a balance in all three.
So that was it's interesting, though.
Yeah, the end games are very, very important.
You can see how pieces combine greatly and get some beautiful secrets of chess from games as well.
It's not just a case of knowing in games.
You actually get a great understanding how the pieces interact as a team.
There's someone you know.
Many chess players were surprised when after the game, Fisher quietly explained, I'd already analyzed
this possibility.
So this is a position which tell me how the great country in the world, Shashemene thought was not
possible to foresee from the opening.
So, you know, Bobby Fischer had really been studying so much, so intently his own.
He knew a lot of the middle game positions.
He'd already analyzed a lot of the middle game positions.
But, you know, he's really devoted his entire life to jazz.
So, yeah, phishers worked super hard as well as being super intelligent.
He's worked super, super hard to get to that level, quote.
I have never in my life played the French defense, which is the dullest of all openings.
So William Steinitz said that I think the French defense definitely is a more professionally acquired
taste, but it does teach you about -- chains, you know, undermining in advance and especially,
you know, how to handle the bad.
Beshir, which is sometimes good, adds solidity to the positions.
It's an acquired taste and it can serve you well in particular circumstances.
For example, if you're playing a super tactical play, you might want to make it more positional.
The downside for me is the exchange variation.
It creates a lack of dynamic play for black.
So you've got to be able to sort of sometimes just accept the draw sometimes if if they play the particularly
dull, in my view, exchange variation, which can be annoying, though it does have a potentially dangerous
initiative to handle still, even though it's a symmetrical structure.
So, yes, some interesting quotations for the openings.
I thought we'd go over here, OK, I hope for some things to think about.
And when you think about openings, maybe some of these are useful.
OK, that's much.