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226 NIMZOWITSCHDEFENCE<br />
tw<br />
ffi<br />
"&<br />
%,<br />
19NxflKxr 20 Nxn5? Bn4+ (Wirh this zws.HENzu{,<br />
Black *ins rhc ganc.) 21Kc2Nxhs 22 896+ Ke7 23<br />
Bxhr-Kd7 24Qe7+ Be7 25BflRh2+ 26Kd1Kc7 27<br />
Bra Rxb2 23Qh7KM z9Rs3O.7 30Qh3Nff 31n96<br />
Itg2 32 Oh1 Rig6 13 Rx36 h,l l4 Rg7 Qca, 15 Oha<br />
Qa4+ 16 Kel Nc6 37 axcs Bha+ 38 Bsr3 L197 39<br />
Bxh4 Qc2 408d8+Nxd8 4lOb3+Nb? \thncrcsiSns<br />
NIMZO\!r'|SCH DEFENCE, 307. Known since<br />
the 16rh c€lrury, used regulaily b, the Gernan<br />
pixyer Ed!ard Fischer (1831-97), thh opcningNas<br />
reintroduced <strong>by</strong> NdzowrrscH. Alter 2 d4 he<br />
favoured the continuation 2 . . . d5 as played <strong>by</strong><br />
him.aainst DURAS ar Oslcnd 190?.<br />
NIMZOI{IISCH OPENING. 632 Alter I Nn<br />
Whileplays 2 b3 nrcsrc.tive olBlack\ liBt move<br />
(unlesshewere<strong>to</strong>.eplyl ..e5). lhcopeninghad<br />
been reconnended <strong>by</strong> .srco{N, bur h riehdy<br />
named oD accounr otils successful use <strong>by</strong> NrMzo-<br />
NIMZOWTTSCH QUEEN'S PAWN DEFENCE,<br />
23 Black tempts White 1o advancehiscentre paNn<br />
(2 d5), ao idea ilfibured <strong>to</strong> BocouuBow and<br />
derivcd lrom an analogous larialion, 295, ol the<br />
sr.'Lr^N DrtsrNC. nrtroduced <strong>by</strong> NrirzowrEcl in<br />
1911. (Conpare NrMzowns.E DErtN.r.)<br />
NIMZOWITSCIMXIATION. 166 in the<br />
our.Nis rNDraN DETENCE as in the gane Grnnield<br />
Ninzowilsch, Brcsla! 1915i 241 . a dubious line jn<br />
tbe srcrLAN DEFrN.ri455, ih<br />
oI the Foun Nicm opFNrNc: 56ll rnd 561 in ihe<br />
the nrs1 given <strong>by</strong><br />
cRt.o, the second rccommcrdcd <strong>by</strong>srAUNroN and<br />
Pracrised <strong>by</strong> BtRDi628, tbe wrN^wrx vaxraroN of<br />
tne REN.H DFFFN.F: 653 ,ko in (he F.en.h<br />
Dclcncc. somctnnes called lhe Adv,..e v,ri,<br />
lion, given <strong>by</strong> D.RtrN, play.d <strong>by</strong> srAU\roN h hh<br />
seand natch gane ag.inst Poperl in 1840and b,<br />
L. paur.s.n, and successlnllt rehabiln.led bl<br />
NrMzow'rs.H. (se r.(ntrMM mms.)<br />
Also 295 sonrerlme\ .rlled rhe Rnhindein<br />
Varialion or De1ene. TIis line- precursor oI the<br />
661. was inroduced in lhe<br />
Same Spielmann Nimzowitsch, San Scbastian<br />
1911.<br />
NN, an ahbrevialion ollhc Lalin roa,ad (nane,<br />
usedwhen the namesofplayers are nor knosni thc<br />
ches player's counterpa.r oI tbe poet Anon. <strong>The</strong><br />
nost plausible altcrnative explanation is that the<br />
lettem should be p.itlen N. N. <strong>to</strong>t n6.io namen. a<br />
Latin phrase meaning nane unknown.<br />
NOAH'S ARX TRAP, spe.ilicallt 362 in ihe<br />
spANrsnoFtsNrN.i generallyanyvanationinwhich<br />
a white bishop on b3 is trapped <strong>by</strong> black pawns.<br />
White s eror in 362 is 8 Oxd4.ln the boo* ol lhc<br />
New York lournamcnl 1924, aLE$rNr carelessly<br />
rccommcndcd thh variation as a means olobtain<br />
ing a quick drawr his adlice wls tbl<strong>to</strong>wed <strong>by</strong> E.<br />
srErNERwho, playing cAPAuraNcA in the BudaPen<br />
lournanent l99.leu in<strong>to</strong> rhis ancienl lraP. Sone<br />
sugecst that rhe black paNns on a6, b5, c5. and d6<br />
resemblerhe shape olan ark, othe6 thattnc trap is<br />
NOA VARIAIION. 152 in the NrMzo TNDTAN<br />
DETENCE, also knosn as the Kmoch Variationi i<br />
wls played regularly <strong>by</strong> the Hungadan Josel Noa<br />
(185G1903), who, bowever, reached this posnion<br />
aier 1 d4 d5 2 c4 e6 3 Nc3 Bb4 4 Oc2 Nf6.<br />
NORM, a percent.ge score relelan1 ro a spccifi.<br />
IoUNAMEM cAEcoRY. For cxanple, nr a single<br />
round Ar.r.+'Ay-ALr <strong>to</strong>urnanent ol i6 playe^ .<br />
sco'e oI70S. (10; out ol15) rould be a GM rorm<br />
in a calegory 9<br />
IM norn in a<br />
category 3 <strong>to</strong>urna,ncnt. In <strong>to</strong>urnamenis conducted<br />
according <strong>to</strong> regulations laid down b! FIDE a<br />
player sonne a sulncicnt numbcr ol norms<br />
qu.lilies for a rID. rlrr-E.<br />
NORMAL POSITION. 61 in the rARtuscts DE<br />
FENCE <strong>to</strong> $e aUEEN's GANrir l)eclincdilro,n hcr.<br />
4he analysls begin thcnvariationswithrhe implicarion<br />
tnar rhc precedins noles (aier3. . . d)are<br />
thc best lor botb sides. Also 468 in the EvANs<br />
GruBrr, tbe s tarting poinr lor innur erabl e a n alyscs<br />
NOTATION, a convention lor recording lhe noves<br />
ota ganer a way ol recording a position,lorshich<br />
and FoRsE! Nor4r0N.<br />
Nothing has conldbuied more ro lhe advancenenl<br />
of <strong>chess</strong> knowledge rhan aceptable notations ior<br />
desoibins noles. <strong>The</strong>y do lor <strong>chess</strong> what thc<br />
wriling of notcs docs lor music and both sriiteo<br />
ve$ions are called scores. Four main onPonenls<br />
.re ootually used Ior rhe descriplion ot movcs.<br />
FiBlly, thc numbcring ofmovcs, which has long<br />
been standardized Move I is the 6rst move oI<br />
Whne and also IbeftstnoleoiBlick. andsoon.11<br />
whiteqere ro gilc ma1. on his twcnticlh movc lhis<br />
would be numbe.ed 20 although Black makes no<br />
replj/. Often a move number precedes lhe word<br />
'resigni Nben Whiie concedes deleat airer a black<br />
no!e; resignidon is not a move, but the nunber
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