Movement
| a | b | c | d | e | f | g | h | ||
| 8 | 8 | ||||||||
| 7 | 7 | ||||||||
| 6 | 6 | ||||||||
| 5 | 5 | ||||||||
| 4 | 4 | ||||||||
| 3 | 3 | ||||||||
| 2 | 2 | ||||||||
| 1 | 1 | ||||||||
| a | b | c | d | e | f | g | h |
| a | b | c | d | e | f | g | h | ||
| 8 | 8 | ||||||||
| 7 | 7 | ||||||||
| 6 | 6 | ||||||||
| 5 | 5 | ||||||||
| 4 | 4 | ||||||||
| 3 | 3 | ||||||||
| 2 | 2 | ||||||||
| 1 | 1 | ||||||||
| a | b | c | d | e | f | g | h |
| King | |
| Queen | |
| Rook | |
| Bishop | |
| Knight | |
| Pawn |
Pawns are unusual in how they move. Unlike the other pieces, pawns may not move backwards. Normally a pawn moves by advancing a single square, but the first time a pawn is moved, it has the option of advancing two squares. Pawns may not use the initial two-square advance to jump over an occupied square, or to capture. Any piece directly in front of a pawn, friend or foe, blocks its advance. In the diagram at right, the pawn on c4 may move to c5, while the pawn on e2 may move to either e3 or e4.
Read more about this topic: Pawn (chess)
Famous quotes containing the word movement:
“Reporters for tabloid newspapers beat a path to the park entrance each summer when the national convention of nudists is held, but the cult’s requirement that visitors disrobe is an obstacle to complete coverage of nudist news. Local residents interested in the nudist movement but as yet unwilling to affiliate make observations from rowboats in Great Egg Harbor River.”
—For the State of New Jersey, U.S. public relief program (1935-1943)
“An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.”
—Eleanor Robson Belmont (1878–1979)
“The director is simply the audience. So the terrible burden of the director is to take the place of that yawning vacuum, to be the audience and to select from what happens during the day which movement shall be a disaster and which a gala night. His job is to preside over accidents.”
—Orson Welles (1915–1984)