This is closely related to the fact that problems are organised to exhibit clear ideas in as economical a manner as possible. Problems are experienced not only as puzzles but as objects of beauty. The problem exhibits economy in its construction: no greater force is employed than that required to render the problem sound (that is, to guarantee that the problem's intended solution is indeed a solution and that it is the problem's only solution).There is a theme (or combination of themes) that the problem has been composed to illustrate: chess problems typically instantiate particular ideas.There is a specific stipulation, that is, a goal to be achieved for example, to checkmate Black within a specified number of moves.Although a constraint on orthodox chess problems is that the original position be reachable via a series of legal moves from the starting position, most problem positions would not arise in over-the-board play. The position is composed – that is, it has not been taken from an actual game, but has been invented for the specific purpose of providing a problem.Not every chess problem has every one of these features, but most have several: There are common characteristics shared by compositions in the problem section of chess magazines, in specialist chess problem magazines, and in collections of chess problems in book form. In practice, however, the distinction is very clear. The term "chess problem" is not sharply defined: there is no clear demarcation between chess compositions on the one hand and puzzles or tactical exercises on the other.
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