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If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Game of Go - The National Game of Japan - -Author: Arthur Smith - -Release Date: October 30, 2021 [eBook #66632] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Jeroen Hellingman and the Online Distributed Proofreading - Team at https://www.pgdp.net/ for Project Gutenberg (This file - was produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK THE GAME OF GO *** - - - - THE GAME OF GO - - THE NATIONAL GAME OF JAPAN - - - BY - ARTHUR SMITH - - 圍碁 - - NEW YORK - MOFFAT, YARD & COMPANY - 1908 - - - - - - - - -PREFACE - - -This book is intended as a practical guide to the game of Go. It is -especially designed to assist students of the game who have acquired a -smattering of it in some way and who wish to investigate it further at -their leisure. - -As far as I know there is no work in the English language on the game -of Go as played in Japan. There is an article on the Chinese game by Z. -Volpicelli, in Vol. XXVI of the “Journal of the China Branch of the -Royal Asiatic Society.” This article I have not consulted. There is -also a short description of the Japanese game in a work on “Korean -Games with Notes on the Corresponding Games of China and Japan,” by -Stewart Culin, but this description would be of little practical use in -learning to play the game. - -There is, however, an exhaustive treatise on the game in German by O. -Korschelt. This can be found in Parts 21–24 of the “Mittheilungen der -deutschen Gesellschaft für Natur- und Völkerkunde Ostasiens.” The -student could readily learn the game from Herr Korschelt’s article if -it were available, but his work has not been translated, and it is -obtainable only in a few libraries in this country. In the preparation -of this book I have borrowed freely from Herr Korschelt’s work, -especially in the chapter devoted to the history of the game, and I -have also adopted many of his illustrative games and problems. - -Herr Korschelt was an excellent player, and acquired his knowledge of -the game from Murase Shuho, who was the best player in Japan at the -time his article was written (about 1880). - -My acquaintance with the game has been acquired from Mr. Mokichi -Nakamura, a Japanese resident of this country, who is an excellent -player, and whose enthusiasm for the game led me to attempt this book. -Mr. Nakamura has also supplied much of the material which I have used -in it. Toward the end I have had the expert assistance of Mr. Jihei -Hashiguchi, with whom readers of the New York Sun are already -acquainted. - -Wherever possible I have given the Japanese words and phrases which are -used in playing the game, and for those who are not familiar with the -system of writing Japanese with Roman characters, I may say that the -consonants have the sounds used in English, and the vowels the sounds -that are used in Italian, all the final vowels being sounded. Thus, -“dame” is pronounced as though spelled “dahmay.” - - - New York, April, 1908. - - - - - - - - -INTRODUCTION - - -The game of Go belongs to the class of games of which our Chess, though -very dissimilar, is an example. It is played on a board, and is a game -of pure skill, into which the element of chance does not enter; -moreover, it is an exceedingly difficult game to learn, and no one can -expect to acquire the most superficial knowledge of it without many -hours of hard work. It is said in Japan that a player with ordinary -aptitude for the game would have to play ten thousand games in order to -attain professional rank of the lowest degree. When we think that it -would take twenty-seven years to play ten thousand games at the rate of -one game per day, we can get some idea of the Japanese estimate of its -difficulty. The difficulty of the game and the remarkable amount of -time and labor which it is necessary to expend in order to become even -a moderately good player, are the reasons why Go has not spread to -other countries since Japan has been opened to foreign intercourse. For -the same reasons few foreigners who live there have become familiar -with it. - -On the other hand, its intense interest is attested by the following -saying of the Japanese: “Go uchi wa oya no shini me ni mo awanu,” which -means that a man playing the game would not leave off even to be -present at the death-bed of a parent. I have found that beginners in -this country to whom I have shown the game always seem to find it -interesting, although so far I have known no one who has progressed -beyond the novice stage. The more it is played the more its beauties -and opportunities for skill become apparent, and it may be -unhesitatingly recommended to that part of the community, however small -it may be, for whom games requiring skill and patience have an -attraction. - -It is natural to compare it with our Chess, and it may safely be said -that Go has nothing to fear from the comparison. Indeed, it is not too -much to say that it presents even greater opportunities for foresight -and keen analysis. - -The Japanese also play Chess, which they call “Shogi,” but it is -slightly different from our Chess, and their game has not been so well -developed. - -Go, on the other hand, has been zealously played and scientifically -developed for centuries, and as will appear more at length in the -chapter on the History of the Game, it has, during part of this time, -been recognized and fostered by the government. Until recently a -systematic treatment of the game, such as we are accustomed to in our -books on Chess, has been lacking in Japan. A copious literature had -been produced, but it consisted mostly of collections of illustrative -and annotated games, and the Go masters seem to have had a desire to -make their marginal annotations as brief as possible, in order to -compel the beginner to go to the master for instruction and to learn -the game only by hard practice. - -Chess and Go are both in a sense military games, but the military -tactics that are represented in Chess are of a past age, in which the -king himself entered the conflict—his fall generally meaning the loss -of the battle—and in which the victory or defeat was brought about by -the courage of single noblemen rather than through the fighting of the -common soldiers. - -Go, on the other hand, is not merely a picture of a single battle like -Chess, but of a whole campaign of a modern kind, in which the -strategical movements of the masses in the end decide the victory. -Battles occur in various parts of the board, and sometimes several are -going on at the same time. Strong positions are besieged and captured, -and whole armies are cut off from their line of communications and are -taken prisoners unless they can fortify themselves in impregnable -positions, and a far-reaching strategy alone assures the victory. - -It is difficult to say which of the two games gives more pleasure. The -combinations in Go suffer in comparison with those of Chess by reason -of a certain monotony, because there are no pieces having different -movements, and because the stones are not moved again after once being -placed on the board. Also to a beginner the play, especially in the -beginning of the game, seems vague; there are so many points on which -the stones may be played, and the amount of territory obtainable by one -move or the other seems hopelessly indefinite. This objection is more -apparent than real, and as one’s knowledge of the game grows, it -becomes apparent that the first stones must be played with great care, -and that there are certain definite, advantageous positions, which -limit the player in his choice of moves, just as the recognized Chess -openings guide our play in that game. Stones so played in the opening -are called “Joseki” by the Japanese. Nevertheless, I think that in the -early part of the game the play is somewhat indefinite for any player -of ordinary skill. On the other hand, these considerations are balanced -by the greater number of combinations and by the greater number of -places on the board where conflicts take place. As a rule it may be -said that two average players of about equal strength will find more -pleasure in Go than in Chess, for in Chess it is almost certain that -the first of two such players who loses a piece will lose the game, and -further play is mostly an unsuccessful struggle against certain defeat. -In Go, on the other hand, a severe loss does not by any means entail -the loss of the game, for the player temporarily worsted can betake -himself to another portion of the field where, for the most part -unaffected by the reverse already suffered, he may gain a compensating -advantage. - -A peculiar charm of Go lies in the fact that through the so-called “Ko” -an apparently severe loss may often be made a means of securing a -decisive advantage in another portion of the board. A game is so much -the more interesting the oftener the opportunities for victory or -defeat change, and in Chess these chances do not change often, seldom -more than twice. In Go, on the other hand, they change much more -frequently, and sometimes just at the end of the game, perhaps in the -last moments, an almost certain defeat may by some clever move be -changed into a victory. - -There is another respect in which Go is distinctly superior to Chess. -That is in the system of handicapping. When handicaps are given in -Chess, the whole opening is more or less spoiled, and the scale of -handicaps, from the Bishop’s Pawn to Queen’s Rook, is not very -accurate; and in one variation of the Muzio gambit, so far from being a -handicap, it is really an advantage to the first player to give up the -Queen’s Knight. In Go, on the other hand, the handicaps are in a -progressive scale of great accuracy, they have been given from the -earliest times, and the openings with handicaps have been studied quite -as much as those without handicaps. - -In regard to the time required to play a game of Go, it may be said -that ordinary players finish a game in an hour or two, but as in Chess, -a championship game may be continued through several sittings, and may -last eight or ten hours. There is on record, however, an authentic -account of a game that was played for the championship at Yeddo during -the Shogunate, which lasted continuously nine days and one night. - -Before taking up a description of the board and stones and the rules of -play, we will first outline a history of the game. - - - - - - - - -CONTENTS - - - PAGE - Introduction vii - - CHAPTER I - History of the Game 1 - - CHAPTER II - Description of the Board and Stones 18 - - CHAPTER III - Rules of Play 26 - - CHAPTER IV - General Methods of Play and Terminology of the Game 57 - - CHAPTER V - Illustrative Games 68 - - CHAPTER VI - “Joseki” and Openings 119 - - CHAPTER VII - The End Game 186 - - CHAPTER VIII - Problems 201 - - - - - - - - -ILLUSTRATIONS - - - PAGE - Sato Tadanobu, a Samurai of the Twelfth Century, - defending himself with a “goban,” when attacked - by his enemies Frontispiece - Playing Go 22 - - - - - - - - -I - -HISTORY OF THE GAME - - -The game of Go is probably the oldest of all known games. It was played -by the Chinese from earliest antiquity, and has been played in its -present form by the Japanese for over eleven centuries, but while the -game originated in China, the Japanese have far surpassed the Chinese -in skill at the game, and it has come to be regarded in Japan as their -national game. - -In the old Chinese works three persons are named as the originators of -the game, but in Japan its invention is commonly attributed to only one -of these. This man is the Chinese emperor Shun, who reigned from 2255 -to 2206 B.C. It is said that this emperor invented the game in order to -strengthen the weak mind of his son Shang Kiun. By others the invention -of the game is attributed to the predecessor of Shun, the emperor Yao, -who reigned from 2357 to 2256 B.C. If this theory is correct it would -make the game about forty-two hundred years old. The third theory is -that Wu, a vassal of the Chinese emperor Kieh Kwei (1818–1767 B.C.) -invented the game of Go. To the same man is often attributed the -invention of games of cards. It would seem that this last theory is the -most credible, because it would make the invention more recent, and -because the inventor is said to have been a vassal and not an emperor. - -Whatever may be the truth in regard to the origin of the game, it is -perfectly certain that Go was already known in China in early -antiquity. In old Chinese works, of which the oldest is dated about a -thousand years before Christ, a game which can be easily recognized as -Go is mentioned casually, so that at that time it must have been well -known. - -We are told also that in China somewhere about 200 B.C., poetry and Go -went hand in hand, and were in high favor, and a poet, Bayu, who lived -about the year 240 A.D., made himself famous through poems in which he -sang the praises of the game. - -It is remarkable that in the old books it is stated that in the year -300 A.D. a man by the name of Osan was so skilled in Go that he could -take all the stones from the board after the game had been finished and -then play it over from memory. This is of interest also as showing that -in the course of time playing the game has had the effect of -strengthening the memory of Go players, because there are now hundreds -of players in Japan who can replace a game move for move after it has -been disarranged. It is in fact the customary thing for a teacher of -the game to play the game over in that way in order to criticise the -moves made by the student. - -Anecdotes have come down to us from the old Chinese times in regard to -the game, of which we will mention only one, which shows how highly it -was esteemed. - -Sha An, a man who lived in the time of the Tsin Dynasty (265–419 A.D.), -carried on a war with his nephew Sha Gen. Growing tired of taking life, -they left the victory to be decided by a game of Go, which they played -against each other. - -The esteem in which players were held in the old Chinese times is also -shown by the titles with which they were honored; to wit, “Kisei” or -“Ki Shing,” from “Ki,” meaning Go, and “Sei,” a holy man, and “Shing,” -magician or sage. - -In the time of the Tang Dynasty (618–906 A.D.), and again during the -Sung Dynasty (960–1126 A.D.), the first books about Go were written. -The game then flourished in China, and there were then many -distinguished players in that country. - -According to the Japanese reckoning of time, Go was introduced into -Japan in the period Tem pyo, during the reign of the emperor Shomu, -which according to the Chinese records was the thirteenth year of the -period Tien Tao, and during the reign of the emperor Huan Tsung. -According to our calendar this would be about the year 735 A.D. - -A man otherwise well known in the history of Japan, Kibi Daijin, was -sent as an envoy to China in that year, and it is said that he brought -the game back with him to Japan. - -Go may have been known in Japan before that date, but at any rate it -must have been known about this time, for in the seventh month of the -tenth year of the period Tem pyo (A.D. 738), we are told that a -Japanese nobleman named Kumoshi was playing Go with another nobleman -named Adzumabito, and that in a quarrel resulting from the game Kumoshi -killed Adzumabito with his sword. - -On its introduction into Japan a new era opened in the development of -the game, but at first it spread very slowly, and it is mentioned a -hundred years later that the number of Go players among the nobility -(and to them the knowledge of the game was entirely confined) was very -small indeed. - -In the period called Kasho (848–851 A.D.), and in Nin Ju (851–854 -A.D.), a Japanese prince dwelt in China, and was there taught the game -by the best player in China. The following anecdote is told in regard -to this prince: that in order to do him honor the Chinese allowed him -to meet the best players, and in order to cope with them he hit upon -the idea of placing his stones exactly in the same way as those of his -opponent; that is to say, when his opponent placed a stone at any -point, he would place his stone on a point symmetrically opposite, and -in that way he is said to have won. In regard to this anecdote it may -be said that the Chinese must have been very weak players, or they -would speedily have found means of overcoming this method of defense. - -We next hear that in the year 850 a Japanese named Wakino became famous -as a great devotee of the game. He played continuously day and night, -and became so engrossed in the game that he forgot everything else -absolutely. - -In the next two centuries the knowledge of the game did not extend -beyond the court at Kioto. Indeed, it appears that it was forbidden to -play Go anywhere else than at court. At all events we are told that in -the period called Otoku (1084–1087 A.D.) the Prince of Dewa, whose name -was Kiowara no Mahira, secretly introduced the game into the province -of Oshu, and played there with his vassals. From that time not only the -number of the nobility who played the game increased rapidly, but the -common people as well began to take it up. - -Our frontispiece illustrates an incident which is said to have occurred -about this time in the city of Kamakura. A samurai named Sato Tadanobu, -who was a vassal of Yoshitsune, a brother of Yoritomo, the first Shogun -of Japan, was playing Go in his house when he was suddenly attacked by -his enemies, and he is depicted using the “Goban” as a weapon wherewith -to defend himself. The print is by Kuniyoshi, and is one of a series -the title of which might be translated as “Our Favorite Hero Series.” -The “Go ban,” “Go ishi,” and “Go tsubo” look precisely like those which -are at present in use, but Kuniyoshi probably represented the type in -use in his day and not in the time of Yoritomo, as it is pretty well -settled that in the early times the board was smaller. - -There is also a story which comes down from the Kamakura period in -regard to Hojo Yoshitoki. He is said to have been playing Go with a -guest at the moment that news arrived of the uprising of Wada -Yoshimori. Yoshitoki is said to have first finished the game in perfect -calmness before he thought of his measures for subduing the revolution. -This was in the first year of Kempo, or 1213 A.D. - -In the beginning of the thirteenth century we find that Go was widely -known in the samurai class, and was played with zeal. At that time -everybody who went to war, from the most famous general down to the -meanest soldier, played the game. The board and stones were carried -with them to the field of battle, and as soon as the battle was over, -they were brought out, and the friendly strife began. Many of the monks -and poets of that period also had a taste for Go, and several of them -are mentioned as celebrated Go players. - -All three of the great Japanese generals, Nobunaga, Hideyoshi, and -Iyeyasu, were devotees of the game. It is related that Nobunaga came to -Kioto in the tenth year of Ten Sho, 1582 A.D., and lived in the Honnoji -Temple. One night the celebrated Go player, Sansha, of whom more -hereafter, came and played with him until midnight. Sansha had scarcely -taken his departure when the uprising of Akechi Mitsuhide broke out. - -In the periods Genki (1570–1572), Ten Sho (1573–1591) until Keicho -(1596–1614), and Gen Wa (1615–1623), there were many celebrated players -among the monks, poets, farmers and tradespeople. They were called to -the courts of the daimios and to the halls of the nobles, either in -order that the nobility might play with them, or more frequently merely -to exhibit their skill at the game. This custom existed up to the time -of the fall of the Shogunate. - -That the Japanese could find pleasure in merely watching a game that is -so abstract in its nature and so difficult to understand is evidence of -the fact that they were then a highly cultivated people intellectually. -We find nothing like it in this country except in the narrowest Chess -circles. - -In the beginning of the seventeenth century Go attained such a high -development that there appeared a series of expert players who far -surpassed anything known before. Of these the most famous were Honinbo -Sansha Hoin, Nakamura Doseki, Hayashi Rigen, Inouye Inseki, and Yasui -Santetsu. - -Sansha was the son of a merchant of Kioto. When he was nine years old -he shaved his head, named himself Nikkai, and became a Buddhist monk in -the Temple of Shokokuji, which was one of the principal temples of the -Nichi Ren sect in Kioto. From his early life Sansha was very skilful at -the game, and upon giving up his profession as a monk, he obtained -permission to institute a school of Go players, and he then took the -name of Honinbo Sansha. He was on terms of familiar intercourse with -Nobunaga, Hideyoshi and Iyeyasu, often accompanied them on their -travels and campaigns, and was present at many of the battles of that -troublous epoch. - -The school of Go which Honinbo opened, however, was merely a private -undertaking. The first State institution in which Go was taught was -founded by Hideyoshi in the period Ten Sho (1573–1591), but it seems to -have had a short existence, and the permanent institution which lasted -until the fall of the Shogunate was founded by the successor of -Hideyoshi, Iyeyasu. Iyeyasu became Shogun in the year 1603, and the -foundation of the Go Academy or “Go In,” as the Japanese call it, must -have occurred soon after he ascended the throne. Honinbo Sansha, who -was still the best Go player in Japan, was named as the head of the -institution. The other most skilful masters were installed as -professors with good salaries. To Honinbo Sansha, the director, was -given 350 tsubo of land (a tsubo is as big as two Japanese mats or -tatami, and is therefore six feet square), and an annual revenue of 200 -koku of rice (a koku is a little more than five bushels). Men of the -best intelligence could now dedicate themselves to the education of -students and the further development of the game, freed from the cares -of earning a livelihood. In both respects the institute was eminently -successful. Its graduates were much more skilful than the previous -generation of Go players living in the land. They devoted themselves -entirely to the game, and either found positions as players at the -court of a daimio, or traveled through the country (like the poets and -swordsmen of that period), playing the game and giving instruction in -its mysteries as they found opportunity. If they came to a place which -pleased them, they often let their years of wandering come to an end -and remained there, making their living as teachers of the game. - -At the time of the founding of the Academy, besides Honinbo, the -previously mentioned masters, Hayashi, Inouye, and Yasui, were -installed as professors. For some reason, Nakamura, who is mentioned -above as one of the contemporaries of Honinbo, did not appear at the -Academy. Each of the four masters above named founded his school or -method of play independently of the others, and the custom existed that -each teacher adopted his best pupil as a son, and thus had a successor -at his death; so the teachers in the Academy were always named Honinbo, -Inouye, Hayashi, and Yasui. (Lovers of Japanese prints are already -familiar with this continued similarity of names.) - -The best players of the Academy had to appear every year before the -Shogun and play for his amusement. This ceremony was called “Go zen -Go,” which means “playing the game in the august presence,” or “O shiro -Go,” “Shiro” meaning “the honorable palace,” and the masters of the -game entered these contests with the same determination that was -displayed by the samurai on the field of battle. - -An anecdote has come down to us from the reign of the third Shogun, -Tokugawa Iyemitsu, showing how highly the Go masters regarded their -art. At that time Yasui Sanchi was “Meijin,” which, as we shall see in -a moment, meant the highest rank in the Go world, while Honinbo -Sanyetsu held the rank of “Jo zu,” which was almost as high, but which, -according to the rules, would entitle him to a handicap of one stone -from his expert adversary; and these two men, being the best players, -were selected to play in the Shogun’s presence. Honinbo, feeling -conscious of his skill, disdained to accept the handicap, and met his -adversary on even terms. The game was proceeding in the presence of the -court nobles before the Shogun had appeared, and among the spectators -was Matsudaira Higo no Kami, one of the most powerful noblemen of that -epoch. Yasui Sanchi was a favorite of Matsudaira and as he watched the -play he remarked audibly that Honinbo would surely be defeated. Honinbo -Sanyetsu heard the remark, and pausing in his play, he allowed the -stone which he was about to place on the board to fall back into the -“Go tsubo” or wooden jar that holds the Go stones, gently covered the -“Go tsubo,” and drawing himself up with great dignity, said: “I am -serving the Shogun with the art of Go, and when we Go masters enter a -contest, it is in the same spirit as warriors go upon the field of -battle, staking our life, if necessary, to decide the contest. While we -are doing this we do not allow interference or comments from any one, -no matter how high may be his rank. Although I am not the greatest -master of the game, I hold the degree of ‘Jo zu,’ and, therefore, there -are few players in Japan who are able to appreciate my plans, tactics, -or strategy. Nevertheless, the Prince of Higo has unwarrantedly -prophesied my defeat. I do not understand why he has done this, but if -such a comment were allowed to become a precedent, and onlookers were -permitted to make whatever comments on the game they saw fit, it would -be better that the custom of the ‘O shiro Go’ should cease.” Having -said this, he raised himself from his seat. At this moment the court -officers announced the coming of the Shogun, and the noblemen who had -assembled to see the contest, surprised and confused by the turn -affairs had taken, earnestly persuaded Honinbo to reseat himself and -continue the game. This he obstinately refused to do, and endeavored to -leave the imperial chamber. Prince Matsudaira, taken aback, scarcely -knew what to do. However, he kotowed to Honinbo and, profusely -apologizing, besought the offended master to finish the contest. -Honinbo Sanyetsu was appeased, and resumed his seat at the board, and -both players, aroused by the incident, exerted every effort to achieve -victory. Honinbo Sanyetsu won, whereupon the Prince of Higo was greatly -humiliated. Since then the name of Sanyetsu has always been revered as -one of the greatest of the Honinbo family. - -In the degenerate days toward the end of the Tokugawa Dynasty the “Go -zen Go” became a mere farce, and the games were all played through and -studied out beforehand, in order that the ceremony in court might not -last too long. The custom was, however, maintained until the fall of -the Shogunate in 1868. - -Honinbo Sansha established at the time of the foundation of the Academy -a method of classifying the players by giving them degrees, which still -exists, although no longer under the authority of the State. When a man -attained to a certain measure of skill in the game he received the -title “Shodan,” or, of the first degree. The still stronger players -were arranged as “Nidan,” “Sandan,” “Yodan,” etc., or of the second, -third, and fourth degrees. The highest degree in the series was -“Kudan,” or the ninth degree. In order to attain the first degree, or -“Shodan,” the candidate must be an excellent player, so good in fact -that he could follow the game as a profession. In other games such a -graduated system of classifying players would be scarcely possible, but -among good Go players it is feasible, because the better player almost -invariably wins, even if he be but slightly superior. If the difference -in skill could not be equalized in some way the game would become -tiresome, as the weaker player would almost always be able to foresee -his defeat. The stronger player, therefore, allows his adversary to -place enough stones on the board as a handicap to make the adversaries -approximately equal. - -According to the rules of the Academy, if the difference between the -skill of the players was only one degree, the weaker player would be -allowed the first move. If the difference was two degrees, the weaker -player would be allowed to place a stone on the board, and the stronger -player would have the first move, and so on; in other words, the -difference between each degree might be called half a stone. Thus, a -player of the fourth degree would allow a player of the first degree to -place two stones on the board as a handicap, but would have the first -move. A player of the seventh degree would allow a player of the first -degree three stones, and a player of the ninth degree would allow a -player of the first degree four stones. Four was the highest handicap -allowed among the players holding degrees, but, as we shall see later, -among players of less skill greater handicaps are frequently given. - -A player of the seventh degree also received the honorary title “Jo -zu,” or the higher hand. Those of the eighth rank were called “Kan -shu,” or the half-way step, and those of the ninth degree were called -“Mei shu,” the clear, bright hand, or “Mei jin,” literally “celebrated -man.” It is related that this last appellation arose in the time of -Nobunaga, who was a spectator of a game played by Honinbo Sansha with -some contemporary, and who expressed his admiration of the skill of -Honinbo by exclaiming “Mei jin!” which thus became the title applied to -players of the highest skill. - -Since the institution of this method of classifying Go players over -three hundred years ago, there have been only nine players who have -attained the ninth degree, and only fourteen players who have attained -the eighth degree. On the other hand, there have been many more of the -seventh, and many more still of each of the lower degrees. In 1880, at -the time Korschelt wrote the article previously referred to, there was -only one player in Japan holding the seventh degree, and that was the -celebrated Murase Shuho. At present there is one player who holds the -ninth degree. His name is Honinbo Shuyei, and he is the only player who -has attained the ninth degree during the period called the “Meiji,” or -since the fall of the Shogunate forty years ago. - -This arrangement of the players in degrees is unknown in China and -Korea. On the other hand, it is in use in the Ryukyu or Loochoo -Islands. - -The Japanese seem to have regarded the classification in degrees as an -absolute standard of measurement. Nevertheless, it must necessarily -have varied from time to time, and in the course of centuries the -standard must gradually have risen. - -Players of high rank who are challenged by the improving players of the -lower grades will instinctively desire to make it more difficult for -the new players to attain the higher degree, because their own fame, -which is their highest possession, depends upon the result of the game; -and assuming that all trial games could be conducted in an impartial -and judicial spirit, nevertheless, all the players would become more -expert from the hard practice, even if their skill in relation to each -other remained the same. - -Thus a seventh degree player of to-day would be better in a year -although he still remained in the seventh degree, and this constant -raising of the standard must lead us to suppose that a player of the -seventh degree now is quite equal or perhaps superior to an eighth or -ninth degree player of a hundred or two hundred years ago. As an -illustration of this increase in skill, we only have to compare the -standard set in the Ryukyu Islands. They also established the -classification in degrees soon after the foundation of the Academy in -Japan, and then the two institutions seem to have lost touch. Korschelt -relates that for the first time about the year 1880 a Go player of the -second degree from the Satsuma province visited those Islands and tried -his skill with their best players, and found that he could easily -defeat the players there classified as of the fifth degree. - -The position as head of the Academy was much coveted by Go players, but -it was generally held by the Honinbo family. One of the last incidents -in relation to the Academy tells of an attempt on the part of Inouye -Inseki, the eleventh of that line, to obtain the headship of the -Academy when Honinbo Jowa, who was the twelfth Honinbo, retired. Inseki -was afraid he could not obtain the coveted position by a contest, and -therefore strove to obtain it by intrigue from the Shogun’s officer -intrusted with the business of the Academy. When Jowa retired he was -not unaware of the desires of Inseki, but it did not trouble him much, -as he felt confident that the fourteenth Honinbo, whose name was Shuwa, -could successfully defend his title. However, at last matters came to -such a point that Jowa ordered Shuwa to present a petition to the -Shogun requesting that the title be settled by contest, but the -Shogun’s officer, who was in league with Inseki, returned the petition, -whereupon all of the Honinbo house rose and insisted on their rights in -accordance with custom and precedent, and at last their petition was -granted. It was fixed that the title was to be decided by ten games, -and the first game began at the residence of the Shogun’s officer, -Inaba Tango no Kami, on the 29th of November, in the eleventh year of -Tempo (about sixty-six years ago), and it ended the same year on the -13th of December. There was an adjournment of four days, and on one -occasion the contest lasted all night. Therefore in all it took nine -days and one night to finish the game. - -It is unnecessary to say that both players put forth all their efforts -in this life and death struggle, and it is said that Inseki’s -excitement was so intense as to cause blood to gush from his mouth, but -he finally lost by four stones, and the other nine games were not -played. Inseki, however, mortified by his defeat, again challenged -Shuwa. This game began on the 16th of May in the thirteenth year of -Tempo, and lasted two days. Inseki again lost by six stones. On -November 17th of the same year a third contest took place between Shuwa -and Inseki in the presence of the Shogun in his palace at Tokio. Inseki -again lost by four stones. In all these contests Inseki as the -challenger had the first move, and he finally became convinced of his -inability to win from the scion of the Honinbo family, and abandoned -his life-long desire, and it is related that thereupon the houses of -Honinbo and Inouye became more friendly than ever. - -In the first half of the nineteenth century Go had a period of great -development. This occurred according to the Japanese calendar in the -periods called Bun Kwa (1804–1818), Bun Sei (1818–1829), and Tempo -(1830–1844). The collection of specimen games of that time are to-day -regarded as models, and the methods of play and of opening the game -then in use are still studied, although they have been somewhat -superseded. The best games were played by the Honinbos Dosaku and Jowa -and Yasui Sanchi. - -On the fall of the Shogunate in the year 1868 the Go Academy came to an -end, and with it the regulation of the game by the State. A few years -later the daimios were dispossessed, and they did not feel an -obligation as private individuals to retain the services of the Go -players who had been in attendance at their courts. Thereupon ensued a -sad time for the masters of the game, who had theretofore for the most -part lived by the practice of their art, and to make things still -worse, the Japanese people lost their interest in Go. Upon the opening -of the country the people turned with enthusiasm to the foreigners. -Foreign things were more prized than native things, and among the -things of native origin the game of Go was neglected. - -About the year 1880, however, a reaction set in; interest in the old -national game was revived, and at the present day it is fostered with -as much zeal as in the olden times. - -Most of the higher officials of the government, and also the officers -in the army and navy, are skilled players. The great daily newspapers -of the capitals have a Go department, just as some of our periodicals -have a department devoted to Chess, and the game is very much played at -the hot springs and health resorts, and clubs, and teachers of the art -are found in all of the larger cities. Go has always retained something -of its early aristocratic character, and in fact, it is still regarded -as necessary for a man of refinement to possess a certain skill at the -game. - -During the recent Russo-Japanese War the strategy employed by the -Japanese commanders certainly suggested the methods of play used in the -game of Go. Whether this was an accidental resemblance or not I cannot -say. At Liao Yang it seemed as if Marshal Oyama had got three of the -necessary stones advantageously placed, but the Russians escaped before -the fourth could be moved into position. At the final battle of Mukden -the enveloping strategy characteristic of the game was carried out with -still greater success. - -At the present time the division into the four schools of Honinbo, -Inouye, Hayashi, and Yasui, no longer exists, and Go players are -divided into the schools of Honinbo and Hoyensha. This latter school -was established about the year 1880 by Murase Shuho, to whom reference -has already been made. - -The Honinbo school is the successor of the old Academy, while the new -school has made one or two innovations, one of the most fortunate being -a rule that no game shall last longer than twenty-four hours without -interruption. The Hoyensha school also recognized the degree “Inaka -Shodan,” which means the “first degree in the country,” and is allowed -to a class of players who are regarded as entitled to the first degree -in their native town, but who are generally undeceived when they meet -the recognized “Shodan” players of the metropolis. - -While in Japan Go has attained such a high development, largely through -the help of the government, as has been shown, it seems to be decadent -in its motherland of China. The Japanese players assure us that there -is no player in China equal to a Japanese player of the first degree. -In Korea also the game is played, but the skill there attained is also -immensely below the Japanese standard. - -Having now given an idea of the importance of the game in the eyes of -the Japanese, and the length of time it has been played, we will -proceed to a description of the board and stones, and then take up the -details of the play. - - - - - - - - -II - -DESCRIPTION OF THE BOARD AND STONES - - -The board, or “Go Ban” as it is called in Japanese, is a solid block of -wood, about seventeen and a half inches long, sixteen inches broad, and -generally about four or five inches thick. It has four detachable feet -or legs so that as it stands on the floor it is about eight inches -high. The board and feet are always stained yellow. - -The best boards in Japan are made of a wood called “Kaya” (Torreya -Nucifera) a species of yew. They are also made of a wood called “Icho” -or Gingko (Salisburia adiantifolia) and of “Hinoki” (Thuya Obtusa) a -kind of cedar. At all events they must be of hard wood, and yet not so -hard as to be unpleasant to the touch when the stone is placed on the -board, and the wood must further have the quality of resonance, because -the Japanese enjoy hearing the sound made by the stone as it is played, -and they always place it on the board with considerable force when -space will permit. The Japanese expression for playing Go, to wit, “Go -wo utsu,” literally means to “strike” Go, referring to the impact of -the stone. In Korea this feature is carried to such an extreme that -wires are stretched beneath the board, so that as a stone is played a -distinct musical sound is produced. The best boards should, of course, -be free from knots, and the grain should run diagonally across them. - -In the back of the board there is cut a square depression. The purpose -of this is probably to make the block more resonant, although the old -Japanese stories say that this depression was put there originally to -receive the blood of the vanquished in case the excitement of the game -led to a sanguinary conflict. - -The legs of the board are said to be shaped to resemble the fruit of -the plant called “Kuchinashi” or Cape Jessamine (Gardenia floribunda), -the name of which plant by accident also means “without a mouth,” and -this is supposed to suggest to onlookers that they refrain from making -comments on the game (a suggestion which all Chess players will -appreciate). - -On the board, parallel with each edge, are nineteen thin, lacquered -black lines. These lines are about four one-hundredths of an inch wide. -It has been seen from the dimensions given that the board is not -exactly square, and the field therefore is a “parallelogram, the sides -of which are sixteen and a half and fifteen inches long respectively, -and the lines in one direction are a little bit farther apart than in -the other. These lines, by their crossing, produce three hundred and -sixty-one points of intersection, including the corners and the points -along the edge of the field. - -The stones are placed on these points of intersection, and not in the -spaces as the pieces are in Chess or Checkers. These intersections are -called “Me” or “Moku” in Japanese, which really means “an eye.” -Inasmuch as the word as used in this connection is untranslatable, I -shall hereafter refer to these points of intersection by their Japanese -name. - -On the board, as shown in the diagram (Plate 1), are nine little -circles. It is on these circles that the handicap stones when given are -placed. They have no other function in the game, but they are supposed -also to have some sort of symbolical meaning. Chamberlain states that -these spots or “Seimoku” are supposed to represent the chief celestial -bodies, and that the central one is called “Taikyoku”; that is, the -primordial principle of the universe. In the work of Stewart Culin -referred to in the preface it is stated that they correspond to the -nine lights of heaven—the sun, moon and the seven stars of the -constellation “Tau” (Ursa Major). Indeed the whole arrangement of the -board is said to have some symbolical significance, the number of -crosses (exclusive of the central one) representing the three hundred -and sixty degrees of latitude, and the number of white and black stones -corresponding to the number of days of the year; but nowadays the -Japanese do not make much of a point of the astronomical significance -of the board or of the “Seimoku.” - -The stones or “Ishi” with which the game is played are three hundred -and sixty-one in number, corresponding to the number of “Me” or points -of intersection on the board. One hundred and eighty of these stones -are white and the remaining one hundred and eighty-one are black. As -the weaker player has the black stones and the first move, obviously -the extra stone must be black. In practice the entire number of stones -is never used, as at the end of the game there are always vacant spaces -on the board. The Japanese generally keep these stones in gracefully -shaped, lacquered boxes or “Go tsubo.” - -The white stones are made of a kind of white shell; they are highly -polished, and are exceedingly pleasant to the touch. The best come from -the provinces of Hitachi and Mikawa. The black are made of stone, -generally a kind of slate that comes from the Nachi cataract in Kishiu. -As they are used they become almost jet-black, and they are also -pleasant to the touch, but not so much so as the white. A good set is -quite dear, and cannot be purchased under several yen. The ideograph -formerly used for “Go ishi” indicates that originally they were made of -wood, and not of stone, and the old Chinese ideograph shows that in -that country they were wooden pieces painted black and white. The use -of polished shell for the white stones was first introduced in the -Ashikaga period. - -In form the stones are disk-shaped, but not always exactly round, and -are convex on both surfaces, so that they tremble slightly when placed -on the board. They are about three-quarters of an inch in diameter, and -about one-eighth of an inch in thickness. The white stones are -generally a trifle larger than the black ones; for some strange reason -those of both colors are a little bit wider than they should be in -order to fit the board. Korschelt carefully measured the stones which -he used, and found that the black were seventeen-sixteenths of the -distance between the vertical lines on his board, and about -eighteen-nineteenths of the distance between the horizontal lines, -while the white stones were thirteen-twelfths of the distance between -the vertical lines and thirty-six thirty-sevenths of the distance -between the horizontal lines. I found about the same relation of size -in the board and stones which I use. - -The result of this is that the stones do not have quite room enough and -lap over each other, and when the board is very full, they push each -other out of place. To make matters still worse the Japanese are not -very careful to put the stones exactly on the points of intersection, -but place them carelessly, so that the board has an irregular -appearance. It is probable that the unsymmetrical shape of the board -and the irregularity of the size of the stones arise from the antipathy -that the Japanese have to exact symmetry. At any rate, it is all -calculated to break up the monotonous appearance which the board would -have if the spaces were exactly square, and the stones were exactly -round and fitted properly in their places. - -In Japan the board is placed on the floor, and the players sit on the -floor also, facing each other, as shown in the illustration, and -generally the narrower side of the board is placed so as to face the -players. Since the introduction of tables in Japan Go boards are also -made thinner and without feet, but the game seems to lose some of its -charm when the customs of the old Japan are departed from. - -The Japanese always take the stone between the middle and index -fingers, and not between the thumb and index finger as we are likely to -do, and they place it on the board smartly and with great skill, so -that it gives a cheerful sound, as before stated. - -For use in this country the board need not be so thick, and need not, -of course, have feet, but if it is attempted to play the game on -cardboard, which has a dead sound as the stones are played, it is -surprising how much the pleasure of the game is diminished. The author -has found that Casino chips are the best substitute for the Japanese -stones. - -Originally the board used for the game of Go was not so large, and the -intersecting lines in each direction were only seventeen in number. At -the time of the foundation of the Go Academy this was the size of board -in use. As the game developed the present number of lines became fixed -after trial and comparison with other possible sizes. Korschelt made -certain experiments with the next possible larger size in which the -number of lines in each direction was twenty-one, and it seemed that -the game could still be played, although it made necessary the -intellect of a past master to grasp the resulting combinations. If more -than twenty-one lines are used Korschelt states that the combinations -are beyond the reach of the human mind. - -In closing the description of the board it may be interesting to point -out that the game which we call “Go Bang” or “Five in a Row,” is played -on what is really a Japanese Go board, and the word “Go Bang” is merely -another phonetic imitation of the words by which the Japanese designate -their board. I have found, however, that the “Go Bang” boards sold in -the stores in this country are an imitation of the original Japanese -“Go ban,” and have only seventeen lines, and are therefore a little too -small for the game as now played. The game which we call “Go Bang” also -originated in Japan, and is well known and still played there. They -call it “Go Moku Narabe,” which means to arrange five “Me,” the word -“Go” in this case meaning “five,” and “Moku” being the alternative way -of pronouncing the ideograph for eye. “Go Moku Narabe” is often played -by good Go players, generally for relaxation, as it is a vastly simpler -game than Go, and can be finished much more rapidly. It is not, -however, to be despised, as when played by good players there is -considerable chance for analysis, and the play often covers the entire -board. - - - - - - - - -III - -RULES OF PLAY - - -The players play alternately, and the weaker player has the black -stones and plays first, unless a handicap has been given, in which case -the player using the white stones has the first move. (In the olden -times this was just reversed.) They place the stones on the vacant -points of intersection on the board, or “Me,” and they may place them -wherever they please, with the single exception of the case called -“Ko,” which will be hereafter explained. When the stones are once -played they are never moved again. - -The object of the game of Go is to secure territory. Just as the object -of the game of Chess is not to capture pieces, but to checkmate the -adverse King, so in Go the ultimate object is not to capture the -adversary’s stones, but to so arrange matters that at the end of the -game a player’s stones will surround as much vacant space as possible. -At the end of the game, however, before the amount of vacant space is -calculated, the stones that have been taken are used to fill up the -vacant spaces claimed by the adversary; that is to say, the captured -black stones are used to fill up the spaces surrounded by the player -having the white pieces, and vice versa, and the player who has the -greatest amount of territory after the captured stones are used in this -way, is the winner of the game. However, if the players, fearing each -other, merely fence in parts of the board without regard to each -other’s play, a most uninteresting game results, and the Japanese call -this by the contemptuous epithet “Ji dori go,” or “ground taking Go.” I -have noticed that beginners in this country sometimes start to play in -this way, and it is one of the many ways by which the play of a mere -novice may be recognized. The best games arise when the players in -their efforts to secure territory attack each other’s stones or groups -of stones, and we therefore must know how a stone can be taken. - -A stone is taken when it is surrounded on four opposite sides as shown -in Plate 2, Diagram I. When it is taken it is removed from the board. -It is not necessary that a stone should also be surrounded diagonally, -which would make eight stones necessary in order to take one; neither -do four stones placed on the adjacent diagonal intersections cause a -stone to be taken: they do not directly attack the stone in the center -at all. Plate 2, Diagram IV, shows this situation. - -A stone which is placed on the edge of the board may be surrounded and -captured by three stones, as shown in Plate 2, Diagram II, and if a -stone is placed in the extreme corner of the board, it may be -surrounded and taken by two stones, as shown in Plate 2, Diagram III. - -In actual practice it seldom or never happens that a stone or group of -stones is surrounded by the minimum number requisite under the rule, -for in that case the player whose stones were threatened could -generally manage to break through his adversary’s line. It is almost -always necessary to add helping stones to those that are strictly -necessary in completing the capture. Plate 2, Diagram V, shows four -stones which are surrounded with the minimum number of stones. Plate 2, -Diagram VI, shows the same group with a couple of helping stones added, -which would probably be found necessary in actual play. - -It follows from this rule that stones which are on the same line -parallel with the edges of the board are connected, and support each -other, Plate 2, Diagram VII, while stones which are on the same -diagonal line are not connected, and do not support each other, Plate -2, Diagram VIII. In order to surround stones which are on the same -line, and therefore connected, it is necessary to surround them all in -order to take them, while stones which are arranged on a diagonal line, -and therefore unconnected, may be taken one at a time. On Plate 2, -Diagram III, if there were a stone placed at S 18, it would not be -connected with the stone in the corner, and would not help it in any -way. On the other hand, as has been said, it is not necessary to place -a white stone on that point in order to complete the capture of the -stone in the corner. - -In order to capture a group or chain of stones containing vacant space, -it must be completely surrounded inside and out; for instance, the -black group shown on Plate 2, Diagram IX, while it has no hope of life -if it is White’s play is nevertheless not completely surrounded. In -order to surround it, it is necessary to play on the three vacant -intersections at M 11, N 11, and O 11. The same group of stones is -shown in Diagram X completely surrounded. (It may be said in passing -that White must play at N 11 first or the black stones can defend -themselves; we shall understand this better in a moment.) - -In practice it often happens that a stone or group of stones is -regarded as dead before it is completely surrounded, because when the -situation is observed to be hopeless the losing player abandons it, and -addresses his energies to some other part of the board. It is -advantageous for the losing player to abandon such a group as soon as -possible, for, if he continues to add to the group, he loses not only -the territory but the added stones also. If the circumstances are such -that his opponent has to reply to his moves in the hopeless territory, -the loss is not so great, as the opponent is meanwhile filling up -spaces which would otherwise be vacant, and against an inferior player -there is a chance of the adversary making a slip and allowing the -threatened stones to save themselves. If, however, the situation is so -clearly hopeless that the adversary is not replying move for move, then -every stone added to such a group means a loss of two points. - -At the end of the game such abandoned groups of stones are removed from -the board just as if they had been completely surrounded and killed, -and it is not necessary for the player having the advantage actually to -surround and kill such a group. It is enough if they obviously can be -killed. The theory on which this rule proceeds is that if the players -play alternately, no advantage would be gained by either side in the -process of actually surrounding such a group, and its completion would -only be a waste of time. But let us suppose that a black group at the -end of the game is found to be hopeless and also completely surrounded -with the exception of one point. The question arises, can the Black -player demand that his adversary play on the vacant space in order to -kill this group, for, if he could, it is obvious he would gain one “Me” -by so doing. The answer is, he cannot so demand, and his adversary is -not bound to play on this point, and the hopeless or abandoned stones -are removed without further play. We might call such groups “dead.” -They may be distinguished from stones that are “taken,” because these -latter are removed at once, whereas “dead” stones are removed only at -the end of the game. - -As a corollary to the rule for surrounding and taking stones, it -follows that a group of stones containing two disconnected vacant -intersections or “Me” cannot be taken. This is not a separate rule. It -follows necessarily from the method by which stones are taken. -Nevertheless in practice it is the most important principle in the -game. - -In order to understand the rule or principle of the two “Me,” we must -first look at the situation shown in Plate 3, Diagram I. There, if a -black stone is played at F 15, although it is played on an intersection -entirely surrounded by white stones, it nevertheless lives because the -moment it is played it has the effect of killing the entire white -group; that is to say, a stone may be played on an intersection where -it is completely surrounded if as it is played it has the effect of -completely surrounding the adversary’s stones already on the board. If, -on the other hand, we have a situation as shown in Plate 3, Diagram II, -a black stone may indeed be played on one of the vacant intersections, -but when it is so played the white group is not completely surrounded, -because there still remains one space yet to be filled, and the black -stone itself is dead as soon as it touches the board, and hence it -would be impossible to surround this group of white stones unless two -stones were played at once. The white stones, therefore, can never be -surrounded, and form an impregnable position. - -This is the principle of the two “Me,” and when a player’s group of -stones is hard pressed, and his adversary is trying to surround them, -if he can so place the stones that two disconnected complete “Me” are -left, they are safe forever. It makes no difference whether the vacant -“Me” are on the edges or in the corners of the board, or how far from -each other they may be. - -Plate 3, Diagram VI, shows a group of stones containing two vacant “Me” -on the edge of the board. This group is perfectly safe against attack. -A beginner might ask why the white group shown on Plate 3, Diagram V, -is not safe. The difficulty with that group is, that when Black has -played at S 9, there are no “Me” in it at all as the word is used in -this connection, not even a “Kageme” as shown in Plate 3, Diagram III, -because a “Me,” in order to be available for the purpose of defense, -must be a vacant intersection that is surrounded on four sides, just as -a captured stone must be surrounded, and therefore on the sides of the -board it can be made by three stones, and in the corner of the board by -two stones, but it is absolutely necessary, in addition to the minimum -number of surrounding stones, to have helping stones to guard the -surrounding stones against attack. This brings us to what the Japanese -call “Kageme.” - -In actual play there are many groups of stones that at first glance -seem to have two vacant “Me” in them, but which on analysis, will be -found vulnerable to attack. A “Me” that looks somewhat as if it were -complete, but is, nevertheless, destructible is called “Kageme.” “Kage” -means “chipped” or “incomplete.” Plate 3, Diagram III, is an -illustration of this. A beginner might think that the white group was -safe, but Black can kill the upper six white stones by playing at E 3, -and then on the next move can kill the remainder by playing at G 2. -Therefore, E 3 is not a perfect “Me,” but is “Kageme.” G 2 is a perfect -“Me,” but one is not enough to save the group. In this group if the -stone at F 4 or D 2 were white, there would be two perfect “Me,” and -the group would be safe. In a close game beginners often find it -difficult to distinguish between a perfect “Me” and “Kageme.” - -Groups of stones which contain vacant spaces, can be lost or saved -according as two disconnected “Me” can or cannot be formed in those -spaces, and the most interesting play in the game occurs along the -sides and especially in the corners of the board in attempting to form -or attempting to prevent the formation of these “Me.” The attacking -player often plays into the vacant space and sacrifices several stones -with the ultimate object of reducing the space to one “Me”; and, on the -other hand, the defending player by selecting a fortunate intersection -may make it impossible for the stones to be killed. There is -opportunity for marvelous ingenuity in the attack and defense of these -positions. A simple example of defense is shown in Plate 3, Diagram IV, -where, if it is White’s turn, and he plays in the corner of the board -at T 19, he can save his stones. If, on the other hand, he plays -anywhere else, the two “Me” can never be formed. The beginner would do -well to work out this situation for himself. - -The series of diagrams commencing at Plate 3, Diagram V, show the -theoretical method of reducing vacant spaces by the sacrifice of -stones. This series is taken from Korschelt, and the position as it -arose in actual play is shown on Plate 10, depicting a complete game. -In Plate 3, Diagram V, the white group is shown externally surrounded, -and the black stone has just been played at S 9, rendering the group -hopeless. The same group is shown on the opposite side of the board at -Plate 4, Diagram I, but Black has added three more stones and could -kill the white group on the next move. Therefore, White plays at A 12, -and the situation shown in Plate 4, Diagram II, arises, where the same -group is shown on the lower edge of the board. Now, if it were White’s -move, he could save his group by playing at J 2, and the situation -which would then arise is shown on Plate 4, Diagram III, where White -has three perfect “Me,” one more than enough. However, it is not -White’s move, and Black plays on the coveted intersection, and then -adds two more stones until the situation shown in Plate 4, Diagram IV, -arises. Then White must again play at S 8 in order to save his stones -from immediate capture, and the situation shown at Plate 5, Diagram I, -comes about. Black again plays at J 18, adds one more stone, and we -have the situation shown in Plate 5, Diagram II, where it is obvious -that White must play at C 11 in order to save his group from immediate -capture, thus leaving only two vacant spaces. It is unnecessary to -continue the analysis further, but at the risk of explaining what is -apparent, it might be pointed out that Black would play on one of these -vacant spaces, and if White killed the stone (which it would not pay -White to do) Black would play again on the space thus made vacant, and -completely surround and kill the entire white group. - -A group with five vacant “Me,” as shown in the preceding diagrams, is a -situation well known to the Japanese, so much so that they have a -special phrase or saying that applies to it, to wit, “Go moku naka de -wa ju san te,” which means that it takes thirteen turns to reduce a -group having five such “Me” in the center. - -As we have previously seen, in actual play this white group would be -regarded as “dead” as distinguished from “taken,” and this series of -moves would not be played out. White obviously would not play in the -space, and he could not demand that Black play therein in order to -complete the actual surrounding of the stones, and the only purpose of -giving this series of diagrams is to show theoretically how the white -stones can be killed. However, the killing of these stones would be -necessary if the surrounding black line were in turn attacked -(“Semeai”), in which case it might be a race to see whether the -internal white stones could be completely surrounded and killed before -the external white group could get in complete contact with the black -line. - -Stones which are sacrificed in order to kill a larger group are called -“Sute ishi” by the Japanese, from “Suteru,” meaning “to cast or throw -away,” and “Ishi,” a “stone.” - -It may be noted that if a group contains four connected vacant -intersections in a line it is safe, because if the adversary attempts -to reduce it, two disconnected “Me” can be formed in the space by -simply playing a stone adjacent to the adversary’s stone, as shown in -Plate 5, Diagram III, where, if Black plays for instance at K 11, White -replies at L 11, and secures the two “Me.” Even if these four connected -vacant intersections are not in a straight line, they are nevertheless -sufficient for the purpose, provided the fourth “Me” is connected at -the end of the three, and the Japanese express this by their saying -“Magari shimoku wa me,” or four “Me” turning a corner. Neither does it -make any difference whether the four connected “Me” are in the center -of the board or along the edge. On Plate 5, Diagrams IV and V, are -examples of “Magari shimoku wa me,” and they both are safe. It is -interesting, however, to compare these situations with that shown at -Plate 4, Diagram II, where the fourth intersection is not connected at -the end of the line, and which group Black can kill if it is his move, -as we already have seen. - -If, however, such a group contains only three connected vacant -intersections, and it is the adversary’s move, it can be killed, -because the adversary by playing on the middle intersection can prevent -the formation of two disconnected “Me.” We saw a group of this kind on -Plate 2, Diagram IX, which can be killed by playing at N 11. Obviously, -if it is Black’s move in this case, the group can be saved by playing -at N 11; obviously, also, if White, being a mere novice, plays -elsewhere than at N 11, Black saves the stones by playing there and -killing the white stone. Plate 5, Diagram VI, shows another group -containing only three vacant intersections. These can be killed if it -is Black’s move by playing at A 1. On the other hand, if it is White’s -move, he can save them by playing on the same point. - -Of course, if a group of stones contains a large number of vacant -intersections, it is perfectly safe unless the vacant space is so large -that the adversary can have a chance of forming an entire new living -group of stones therein. - -We now come to the one exception to the rule that the players may place -their stones at will on any vacant intersection on the board. This rule -is called the rule of “Ko,” and is shown on Plate 6, Diagram I. -Assuming that it is White’s turn to play, he can play at D 17 and take -the black stone at C 17 which is already surrounded on three sides, and -the position shown in Plate 6, Diagram II, would then arise. It is now -White’s turn to play, and if he plays at C 13, the white stone which -has just been put down will be likewise surrounded and could be at once -taken from the board. Black, however, is not permitted to do this -immediately, but must first play somewhere else, and this gives White -the choice of filling up this space (C 13) and defending his stone, or -of following his adversary to some other portion of the board. The -reason for this rule in regard to “Ko” is very clear. If the players -were permitted to take and retake the stones as shown in the diagram, -the series of moves would be endless, and the game could never be -finished. It is something like perpetual check in Chess, but the -Japanese, in place of calling the game a draw, compel the second player -to move elsewhere and thus allow the game to continue. In an actual -game when a player is prevented from retaking a stone by the rule of -“Ko,” he always tries to play in some other portion of the board where -he threatens a larger group of stones than is involved in the situation -where “Ko” occurs, and thus often he can compel his adversary to follow -him to this other part of the field, and then return to retake in “Ko.” -His adversary then will play in some part of the field, if possible, -where another group can be threatened, and so on. Sometimes in a hotly -contested game the battle will rage around a place where “Ko” occurs -and the space will be taken and retaken several times. - -Korschelt states that the ideograph for “Ko” means “talent” or -“skilfulness,” in which he is very likely wrong, as it is more -accurately translated by our word “threat”; but be this as it may, it -is certainly true that the rule in regard to “Ko” gives opportunity for -a great display of skill, and as the better players take advantage of -this rule with much greater ingenuity, it is a good idea for the weaker -player as far as possible to avoid situations where its application -arises. - -There is a situation which sometimes arises and which might be mistaken -for “Ko.” It is where a player takes more than one stone and the -attacking stone is threatened on three sides, or where only one stone -is taken, but the adversary in replying can take not only the last -stone played, but others also. In these cases the opponent can retake -immediately, because it will at once be seen that an endless exchange -of moves (which makes necessary the rule of “Ko”) would not occur. A -situation of this kind is shown on Plate 6, Diagrams III, IV, and V, -where White by playing at C 8 (Diagram III) takes the three black -stones, producing the situation shown in Diagram IV, and Black is -permitted immediately to retake the white stone, producing the state of -affairs shown in Diagram V. The Japanese call such a situation “Ute -kaeshi,” which means “returning a blow.” It forms no exception to the -ordinary rules of the game, and only needs to be pointed out because a -beginner might think that the rule of “Ko” applied to it. - -We will now take up the situation called “Seki.” “Seki” means a -“barrier” or “impasse”—it is a different word from the “Seki” in the -phrase “Jo seki.” “Seki” also is somewhat analogous to perpetual check. -It arises when a vacant space is surrounded partly by white and partly -by black stones in such a way that, if either player places a stone -therein, his adversary can thereupon capture the entire group. Under -these circumstances, of course, neither player desires to place a stone -on that portion of the board, and the rules of the game do not compel -him to do so. That portion of the board is regarded as neutral -territory, and at the end of the game the vacant “Me” are not counted -in favor of either player. Plate 6, Diagram VI, gives an illustration -of “Seki,” where it will be seen that if Black plays at either S 16 or -T 16 White can kill the black stones in the corner by playing on the -other point, and if White plays on either point Black can kill the -white stones by filling the remaining vacancy. Directly below, on -Diagram VII, is shown the same group, but the corner black stone has -been taken out. The position is now no longer “Seki,” but is called by -the Japanese “Me ari me nashi,” or literally “having ‘Me,’ not having -‘Me.’” Here the white stones are dead, because if Black plays, for -instance, at T 4 White cannot kill the black stones by playing at S 4, -for the reason that the vacant “Me” at T 1 still remains. The beginner -might confuse “Seki” with “Me ari me nashi,” and while a good player -has no trouble in recognizing the difference when the situation arises, -it takes considerable foresight sometimes so to play as to produce one -situation or the other. - -Plate 6, Diagram VIII, shows another group which might be mistaken for -“Seki,” but here, if White plays at J 19, the black stones can be -killed, further proceedings being somewhat similar to those we saw in -the illustration of “Go moku naka de wa ju san te.” Plate 7 shows a -large group of stones from which inevitably “Seki” will result. It -would be well for the student to work this out for himself. “Seki” very -seldom or never occurs in games between good players, and it rarely -occurs in any game. - -It is a rule of the game to give warning when a stone or group of -stones is about to be completely surrounded. For this purpose the -Japanese use the word “Atari” (from “ataru,” to touch lightly), which -corresponds quite closely to the expression “gardez” in Chess. If this -warning were omitted, the player whose stones were about to be taken -should have the right to take his last move over and save the imperiled -position if he could. This rule is not so strictly observed as -formerly; it belongs more to the etiquette of the old Japan. - -The game comes to an end when the frontiers of the opposing groups are -in contact. This does not mean that the board is entirely covered, for -the obvious reason that the space inside the groups or chains of stones -is purposely left vacant, for that is the only part of the board which -counts; but so long as there is any vacant space lying between the -opposing groups that must be disposed of in some way, and when it is so -disposed of it will be found that the white and black groups are in -complete contact. - -Just at the end of the game there will be found isolated vacant -intersections or “Me” on the frontier lines, and it does not make any -difference which player fills these up. They are called by the Japanese -“Dame,” which means “useless.” (The word “Dame” is likely to be -confusing when it is first heard, because the beginner jumps to the -conclusion that it is some new kind of a “Me.” This arises from a -coincidence only. Anything that is useless or profitless is called -“Dame” in Japanese, but etymologically the word really means “horse’s -eye,” as the Japanese, not being admirers of the vacant stare of that -noble animal, have used this word as a synonym for all that is useless. -Therefore the syllable “Me” does mean an eye, and is the same word that -is used to designate the intersections, but its recurrence in this -connection is merely an accident.) - -It is difficult for the beginner at first to understand why the filling -of these “Dame” results in no advantage to either player, and beginners -often fill up such spaces even before the end of the game, feeling that -they are gaining ground slowly but surely; and the Japanese have a -saying, “Heta go ni dame nashi,” which means that there are no “Dame” -in beginners’ Go, as beginners do not recognize their uselessness. On -the other hand, a necessary move will sometimes look like “Dame.” The -moves that are likely to be so confused are the final connecting moves -or “Tsugu,” where a potential connection has been made early in the -game, but which need to be filled up to complete the chain. In the -Illustrative Game, Number I, the “Dame” are all given, but a little -practice is necessary before they can always be recognized. - -When the “Dame” have been filled, and the dead stones have been removed -from the board, there is no reason why the players should not at once -proceed to counting up which of them has the greatest amount of vacant -space, less, of course, the number of stones they have lost, and thus -determine who is the victor. As a matter of practice, however, the -Japanese do not do this immediately, but, purely for the purpose of -facilitating the count, the player having the white pieces would fill -up his adversary’s territory with the black stones he had captured as -far as they would go, and the player having the black stones would fill -up his adversary’s territory with the white stones that he had -captured; and thereupon the entire board is reconstructed, so that the -vacant spaces come into rows of fives and tens, so that they are easier -to count. This has really nothing to do with the game, and it is merely -a device to make the counting of the spaces easier, but it seems like a -mysterious process to a novice, and adds not a little to the general -mystery with which the end of the game seems to be surrounded when an -Occidental sees it played for the first time. This process of -arrangement is called “Me wo tsukuru.” It may be added that if any part -of the board contains the situation called “Seki,” that portion is left -alone, and is not reconstructed like the rest of the board. - -Plate 8 shows a completed game in which the “Dame” have all been -filled, but the dead stones have not yet been removed from the board. -Let us first see which of the stones are dead. It is easy to see that -the white stone at N 11 is hopeless, as it is cut off in every -direction. The same is true of the white stone at B 18. It is not so -easy to see that the black stones at L and M 18, N, O, P, Q and R 17, N -16, and M and N 15 are dead, but against a good player they would have -no hope of forming the necessary two “Me,” and they are therefore -conceded to be dead; but a good player could probably manage to defend -them against a novice. It is still more difficult to see why the -irregular white group of eighteen stones on the left-hand side of the -board has been abandoned, but there also White has no chance of making -the necessary two “Me.” At the risk of repetition I will again point -out that these groups of dead stones can be taken from the board -without further play. - -Plate 9 shows the same game after the dead stones have been removed and -used to fill up the respective territories, and after the board has -been reconstructed in accordance with the Japanese method, and it will -be seen that in this case Black has won by one stone. This result can -be arrived at equally well by counting up the spaces on Plate 8, but -they are easier to count on Plate 9, after the “Me wo tsukuru” has been -done. - -Plate 10 shows another completed game. This plate is from Korschelt, -and is interesting because it contains an instructive error. The game -is supposed to be completed, and the black stone at C 18 is said to be -dead. This is not true, because Black by playing at C 17 could not only -save his stone, but kill the four white stones at the left-hand side. -Therefore, before this game is completed, White must play at C 17 to -defend himself. This is called “Tsugu.” On the left-hand side of the -board is shown a white group which is dead, and the method of reduction -of which we have already studied in detail. On the right side of the -board are a few scattering black stones which are dead, because they -have no chance of forming a group with the necessary two “Me.” The -question may be asked whether it is necessary for White to play at C 1 -or E 1 in order to complete the connection of the group in the corner, -but he is not obliged so to do unless Black chooses to play at B 1 or F -1, which, of course, Black would not do. - -On Plate 11, this game also is shown as reconstructed for counting, and -it will be seen that White has won by two stones. Really this is an -error of one stone, as White should have played at C 17, as we have -previously pointed out. - -Sometimes at the end of the game players of moderate skill may differ -as to whether there is anything left to be done, and when one thinks -there is no longer any advantage to be gained by either side, he says, -“Mo arimasen, aru naraba o yuki nasai,” that is to say, “I think there -is nothing more to be done; if you think you can gain anything, you may -play,” and sometimes he will allow his adversary to play two or three -times in succession, reserving the right to step in if he thinks there -is a chance of his adversary reviving a group that is apparently dead. - -No part of the rules of the game has been more difficult for me to -understand than the methods employed at the end, and especially the -rule in regard to the removal of dead stones without actually -surrounding them, but I trust in the foregoing examples I have made -this rule sufficiently clear. Moreover, it is not always easy to tell -whether stones are dead or alive. There is a little poem or “Hokku” in -Japanese, which runs as follows: - - - “Iki shini wo - Shiranu nonki no - Go uchi kana,” - - -which might be translated as “Oh! what kind of a Go player is he who -does not know whether his stones are alive or dead!” But while the -Japanese author of this “Hokku” may have regarded it as a simple thing, -the Occidental student of the game would not be likely to share his -views. An instance of this is shown by the possibilities of the -supposedly dead black stone on Plate 10, and I think it would be fairer -to state that the skill of a good Go player is most clearly shown by -his ability to recognize immediately whether a group is dead or can be -saved; the study of our chapter on Problems will give further -illustrations of the difficulty and nicety of such decisions. - -We now come to the question of handicaps. Handicaps are given by the -stronger player allowing the weaker player to place a certain number of -stones on the board before the game begins, and we have seen in the -chapter on the Description of the Board that these stones are placed on -the nine dotted intersections. If one stone is given, it is usual to -place it in the upper right-hand corner. If a second stone is given, it -is placed in the lower left-hand corner. If a third stone is given, it -is placed in the lower right-hand corner. The fourth is placed in the -upper left-hand corner. The fifth is placed at the center or “Ten gen.” -When six are given, the center one is removed, and the fifth and sixth -are placed at the left and right-hand edges of the board on line 10. If -seven are given, these stones remain, and the seventh stone is placed -in the center. If eight are given, the center stone is again removed, -and the seventh and eighth stones are placed on the “Seimoku” on line -K. If the ninth is given, it is again placed in the center of the -board. - -Between players of reasonable skill more than nine stones are never -given, but when the disparity between the players is too great, four -other stones are sometimes given. They are placed just outside the -corner “Seimoku,” as shown on the diagram (Plate 12), and these extra -stones are called “Furin” handicaps. “Furin” means “a small bell,” as -these stones suggest to the Japanese the bells which hang from the -eaves at the corners of a Japanese temple. When the disparity between -the players is very great indeed, sometimes four more stones are given, -and when given they are placed on the diagonal halfway between the -corner “Seimoku” and the center. These four stones are called “Naka -yotsu,” or “the four middle stones,” but such a handicap could only be -given to the merest novice. - -We have now completed a survey of all the actual rules of the game, and -it may be well to summarize them in order that their real simplicity -may be clearly seen; briefly, they are as follows: - -1. The object of the game is to obtain vacant territory. - -2. The stones are placed on the intersections and on any vacant -intersection the player chooses (except in the case of “Ko”). After -they are played they are not moved again. - -3. (a) One or more stones which are compactly surrounded by the stones -of the other side are said to be taken and are at once removed from the -board. - -(b) Stones which, while not actually surrounded can inevitably be -surrounded, are dead, and can be taken from the board at the end of the -game without further play. - -(c) Taken or dead stones are used to fill up the adversary’s territory. - -4. The game is at an end when the opposing groups of stones are in -absolute contact (the case of “Seki” being the single exception). - -It is not possible to imagine a game with simpler rules, or the -elements of which are easier to acquire. - -We will now turn our attention to a few considerations as to the best -methods of play, and of certain moves and formations which occur in -every game, and also to the names which in Japanese are used to -designate these things. - - - - - - - - -IV - -GENERAL METHODS OF PLAY AND TERMINOLOGY OF THE GAME - - -As will be shown more in detail in the chapter on Openings or “Joseki,” -the game is commenced by playing in the corners of the board, and -generally on one of the squares adjacent to the handicap point. The -reason for this is that the corners of the board are natural -fortresses, and can be more readily defended against attack. It is also -easier to form territory in the corners of the board. Next to the -corners of the board the sides of the board are easiest to defend, and -territory is more easily formed along the sides than in the center, and -in an ordinary game the play generally proceeds from the corners and -edges to the center. The importance which the Japanese attach to the -corners is shown by their saying “Yo sumi torarete go wo utsu na,” or, -“if the four corners are taken, cease playing.” Against a good player -it is next to impossible to form territory in the center of the board, -unless it is based on one of the sides or corners. - -There is, however, an old rule of etiquette which is not consistent -with this theory of the opening; it used to be regarded as exceedingly -impolite and insulting to play the first stone on the handicap point in -the center of the board, called “Ten gen.” It has been explained to me -that the reason for this rule is that such a move was supposed to -assure the victory to the first player, and it is related that when on -one occasion Murase Shuho had defeated a rival many times in -succession, the latter, becoming desperate, apologized for his rudeness -and placed his stone on this spot, and Murase, nevertheless, succeeded -in winning the game, which was regarded as evidence of his great skill. -It has, however, been shown by Honinbo Dosaku that this move gives the -first player no decisive advantage, and I have been also told by some -Japanese that the reason that this move is regarded as impolite is -because it is a wasted move, and implies a disrespect for the -adversary’s skill, and from what experience I have had in the game I -think the latter explanation is more plausible. At all events, such a -move is most unusual and can only be utilized by a player of the -highest skill. - -When good players commence the game, from the first they have in mind -the entire board, and they generally play a stone in each of the four -corners and one or two around the edges of the board, sketching out, as -it were, the territory which they ultimately hope to obtain. They do -not at once attack each other’s stones, and it is not until the game is -well advanced that anything like a hand to hand conflict occurs. -Beginners are likely to engage at once in a close conflict. Their minds -seem to be occupied with an intense desire to surround and capture the -first stones the adversary places on the board, and often their -opposing groups of stones, starting in one corner, will spread out in a -struggling mass from that point all over the board. There is no surer -indication of the play of a novice than this. It is just as if a battle -were to commence without the guidance of a commanding officer, by -indiscriminate fisticuffs among the common soldiers. Of the other -extreme, or “Ji dori Go,” we have already spoken. Another way in which -the play of experts may be recognized is that all the stones of a good -player are likely to be connected in one or at most two groups, while -poorer players find their stones divided up into small groups each of -which has to struggle to form the necessary two “Me” in order to insure -survival. - -Assuming that we have advanced far enough to avoid premature encounters -or “Ji dori Go,” and are placing our stones in advantageous positions, -decently and in order, the question arises, how many spaces can be -safely skipped from stone to stone in advancing our frontiers; that is -to say, how far can stones be separated and yet be potentially -connected, and therefore safe against attack? The answer is, that two -spaces can safely be left if there are no adversary’s stones in the -immediate vicinity. To demonstrate this, let us suppose that Black has -stones at R 13 and R 16, and White tries to cut them off from each -other. White’s best line of attack would be as follows: - - - WHITE BLACK - R 14 S 14 - R 15 S 15 - Q 16 R 17 - Q 13 R 12 - Q 12 - - -and Black has made good his connection, or Black at his fourth move -could play at Q 14, then - - - W B - Q 15 R 12 - P 14 takes. - - -There are other continuations, but they are still worse for White. If, -however, the adversary’s stones are already posted on the line of -advance sometimes it is only safe to skip one point, and of course in -close positions the stones must be played so that they are actually -connected. The Japanese call this skipping of “Me” by the terms “Ikken -tobi,” “Nikken tobi,” “Sangen tobi,” etc., which literally means “to -fly one, two, or three spaces.” Although this is plain enough, these -relations are nevertheless shown on Plate 13, Diagrams I, II, and III. -When stones of opposite colors on the same line are separated by vacant -space in a similar way (Diagram IV), then the terms “Ikken kakari,” -“Nikken kakari,” etc., are used. “Kakari” really means “to hang” or “to -be related,” but as used in this sense it might be translated “to -attack.” - -Sometimes the stones are placed in relation to each other like the -Knight’s move in Chess. The Knight in Japanese is called “Keima,” or -“the honorable horse,” and if the stones are of the same color the -relation is called “Keima” or “Kogeima,” “Ko” being the diminutive. If -the stones are of opposite colors, then the phrase “Keima” or “Kogeima -kakari” is used as in the previous case. The Japanese also designate a -relation similar to the Knight’s move, but farther apart, by special -words; thus, if the stones are one space farther apart, it is called -“Ogeima,” or “the Great Knight’s move,” and if the stone is advanced -one step still farther, it is called “Daidaigeima,” or “the Great Great -Knight’s move.” On Plate 13, Diagrams V, VI, and VII, are shown -“Kogeima,” “Ogeima,” and “Daidaigeima.” - -The next question that will trouble the beginner is where to place his -stones when his adversary is advancing into his territory, and -beginners are likely to play their stones directly in contact with the -advancing forces. This merely results in their being engulfed by the -attacking line, and the stones and territory are both lost. If you wish -to stop your adversary’s advance, play your stones a space or two apart -from his, so that you have a chance to strengthen your line before his -attack is upon you. - -The next thing we will speak of is what the Japanese call the “Sente.” -This word means literally “the leading hand,” but is best translated by -our words “having the offensive.” It corresponds quite closely to the -word “attack,” as it is used in Chess, but in describing a game of Go -it is better to reserve the word “attack” for a stronger demonstration -than is indicated by the word “Sente.” The “Sente” merely means that -the player having it can compel his adversary to answer his moves or -else sustain worse damage, and sometimes one player will have the -“Sente” in one portion of the board, and his adversary may disregard -the attack and by playing in some other quarter take the “Sente” there. -Sometimes the defending player by his ingenious moves may turn the -tables on his adversary and wrest the “Sente” from him. At all events, -holding the “Sente” is an advantage, and the annotations on -illustrative games abound with references to it, and conservative -authors on the game advise abandoning a stone or two for the purpose of -taking the “Sente.” - -Sometimes a player has three stones surrounding a vacant space, as -shown in Plate 13, Diagram VIII, and the question arises how to attack -this group. This is done by playing on the fourth intersection. The -Japanese call this “Nozoku,” or “peeping into,” and when a stone is -played in this way it generally forces the adversary to fill up that -“Me.” It may be mentioned here also that when your adversary is trying -to form “Me” in a disputed territory, the way to circumvent him is to -play your stones on one of the four points he will obviously need to -complete his “Me,” and sometimes this is done before he has three of -the necessary stones on the board. The term “Nozoku” is also applied to -any stone which is played as a preliminary move in cutting the -connection between two of the adversary’s stones or groups of stones. - -Sometimes a situation occurs as shown in Plate 13, Diagram IX. Here it -is supposed to be White’s move, and he must, of course, play at K 8, -whereupon Black would play at K 7 (“Osaeru”), and White would have to -play at L 8 (“Nobiru”), and so on until, if these moves were persisted -in, the formation would stretch in a zigzag line to the edge of the -board. This situation is called “Shicho,” which really means “a running -attack.” It results in the capture of the white stones when the edge of -the board is reached, unless they happen to find a comrade posted on -the line of retreat, for instance, at P 4, in which case they can be -saved. Of course, between good players “Shicho” is never played out to -the end, for they can at once see whether or not the stones will live, -and often a stone placed seemingly at random in a distant part of the -board is played partly with the object of supporting a retreating line -should “Shicho” occur. - -Plate 13, Diagram X, shows a situation that often arises, in which the -White player, by putting his stone at M 1 on the edge of the board, can -join his two groups of stones. This is so because if Black plays at L 1 -or N 1, White can immediately kill the stone. This joining on the edge -of the board is called by the special term “Watari,” which means “to -cross over,” Sometimes we find the word “Watari” used when the -connection between two groups is made in a similar way, although not at -the extreme edge of the board. - -A much more frequent situation is shown at Plate 13, Diagram XI. It is -not worthy of special notice except because a special word is applied -to it. If Black plays at S 1, it is called “Haneru,” which really means -the flourish which is made in finishing an ideograph. - -We will now take up a few of the other words that are used by the -Japanese as they play the game. By far the most frequent of these are -“Tsugu,” “Kiru,” “Nobiru,” and “Osaeru.” “Tsugu” means “to connect,” -and when two stones are adjacent but on the diagonal, as shown in Plate -13, Diagram XII, it is necessary to connect them if an attack is -threatened. This may be done by playing on either side; that is to say, -at Q 17 or R 16. If, on the other hand, Black should play on both these -points, the white stones would be forever separated, and this cutting -off is called “Kiru,” although, as a rule, when such a situation is -worthy of comment, one of the intersections has already been filled by -the attacking player. Plate 13, Diagram XIII, illustrates “Kiru,” -where, if a black stone is played at Q 12, the white stones are -separated. “Kiru” means “to cut,” and is recognizable as one of the -component parts of that much abused and mispronounced word “Harakiri.” -“Nobiru” means “to extend,” and when there is a line of stones it means -the adding of another one at the end, not skipping a space as in the -case of “Ikken tobi,” but extending with the stones absolutely -connected. In Plate 13, Diagram XIV, if Black plays at Q 9 it would be -called “Nobiru.” “Osaeru” means “to press down,” and this is what we do -when we desire to prevent our adversary from extending his line, as -seen in the preceding diagram. It is done by playing directly at the -end of the adversary’s line, as shown in Diagram XV, where Black is -supposed to play at Q 6. Here White must play on one side of the black -stone, but it must be pointed out that unless there is support in the -neighborhood for the stone used in “Osaeru,” the stone thus played runs -the risk of capture. In Diagram IX, explaining “Shicho,” we also had an -illustration of “Nobiru” and “Osaeru.” - -If a stone is played on the intersection diagonally adjacent to another -stone, it is called “Kosumu,” but this word is not nearly so much used -as the other four. Sometimes, also, when it is necessary to connect two -groups of stones instead of placing the stone so as actually to connect -them, as in the case of “Tsugu,” the stone is played so as to -effectively guard the point of connection and thus prevent the -adversary’s stone from separating the two groups. This play is called -“Kake tsugu,” or “a hanging connection”; e.g., in Diagram XIII, if a -white stone were played at Q 11 it would be an instance of “Kake tsugu” -and would have prevented the black stone from cutting off the White -connection at Q 12, for, if the black stone were played there after a -white stone had been placed at Q 11, White could capture it on the next -move. - -Passing from these words which describe the commonest moves in the -game, we will mention the expression “Te okure”—literally “a slow hand” -or “a slow move,” which means an unnecessary or wasted move. Many of -the moves of a beginner are of this character, especially when he has a -territory pretty well fenced in and cannot make up his mind whether or -not it is necessary to strengthen the group before proceeding to -another field of battle. In annotating the best games, also, it is used -to mean a move that is not the best possible move, and we frequently -hear it used by Japanese in criticising the play. - -“Semeai” is another word with which we must be familiar. It means -“mutually attacking,” from “Semeru,” “to attack,” and “Au,” “to -encounter,” that is to say, if the White player attacks a group of -black stones, the Black player answers by endeavoring to surround the -surrounding stones, and so on. In our Illustrative Game, Number I, the -play in the upper right-hand corner of the board is an example of -“Semeai.” It is in positions of this kind that the condition of affairs -called “Seki” often comes about. - -Plate 13, Diagram XVI, shows a position which is illustrated only -because a special name is applied to it. The Japanese call such a -relation of stones “Cho tsugai,” literally, “the hinge of a door.” - -The last expression which we will give is “Naka oshi gatchi,” which is -the term applied to a victory by a large margin in the early part of -the game. These Japanese words mean “to conquer by pushing the center.” -Beginners are generally desirous of achieving a victory in this way, -and are not content to allow their adversary any portion of the board. -It is one of the first things to be remembered, that, no matter how -skilful a player may be, his adversary will always be able to acquire -some territory, and one of the maxims of the game is not to attempt to -achieve too great a victory. - -Before proceeding with the technical chapters on the Illustrative -Games, Openings, etc., it may be well to say a word in regard to the -method adopted for keeping a record of the game. The Japanese do this -by simply showing a picture of the finished game, on which each stone -is numbered as it was played. If a stone is taken and another stone is -put in its place, an annotation is made over the diagram of the board -with a reference to that intersection, stating that such a stone has -been taken in “Ko.” Such a method with the necessary marginal -annotation is good enough, but it is very hard to follow, as there is -no means of telling where any stone is without searching all over the -board for it; and while the Japanese are very clever at this, -Occidental students of the game do not find it so easy. Therefore, I -have adopted the method suggested by Korschelt, which in turn is -founded on the custom of Chess annotation in use all over the world. -The lines at the bottom of the board are lettered from A to T, the -letter I being omitted, and at the sides of the board they are numbered -up from 1 to 19. Thus it is always easy to locate any given stone. In -the last few years the Japanese have commenced to adopt an analogous -method of notation. - - - - - - - - -V - -ILLUSTRATIVE GAMES - - -I - -Plate 14 - - -White.—Iwasa Kei, fifth degree. - -Black.—Madame Tsutsuki Yoneko, second degree. - -Black has a handicap of two stones. - -Played about October, 1906. The record is from the “Tokio Nichi Nichi.” -Played about October, 1906. The record is from the “Tokio Nichi Nichi.” -This game is selected because it is very thoroughly played out. The -notes are intended for beginners, and much is stated which is obvious -to a player of any skill; supplementing the explanations made in the -preceding chapter the Japanese names of the various moves are given. - - WHITE BLACK - -1. C 15. A rather unusual 2. R 4. Called “Komoku,” the - move called “Moku most usual and most - hadzushi.” As will be seen conservative method of - in the chapter on commencing the corner - “Joseki,” it is the least play. - conservative of the three - usual openings. -3. P 3. 4. Q 5. Intended to attack - No. 3, and also it - commences to make - territory on the right - side of the board. -5. D 17. This move secures 6. O 4. Continues the attack - this corner for White. on No. 3. -7. N 3. (“Ikken tobi”) M 3 8. R 10. Black tries to make - would be too far. territory on the right - side. -9. F 3. (“Kogeima.”) This is 10. C 7. (“Ogeima.”) This is - the usual move. the usual reply. See the - chapter on “Joseki.” -11. C 3. 12. D 3. Cutting off No. 11. -13. C 4. (“Nobiru.”) Giving 14. D 5. - aid to No. 11. -15. C 5. 16. C 6. (“Osaeru.”) Black - could not do this before. -17. D 2. 18. E 2. -19. C 2. (“Tsugu.”) This move 20. E 3. (“Tsugu.”) White now - is necessary. has the corner, but Black - has possibilities of - expansion. -21. F 4. Supporting No. 9. 22. E 6. Connecting and at the - “Ikken tobi” would be same time attacking White. - dangerous. -23. G 6. 24. C 11. Making territory on - the left side of the - board. -25. K 17. Aiming to make 26. L 3. Precipitate. - territory at the top of - the board. Comment by Honinbo Shuye: - - “Black’s twenty-sixth move - is premature, and it has - the effect of - precipitating the contest - too early in the game. The - territory around that - point is dangerous ground - for Black. N 17 would have - been better.” -27. N 4. This is necessary to 28. L 5. Leading out toward - lead out the stone at N 3. the center. (“Ikken taka - “Ikken tobi” would be tobi.”) - dangerous. - Comment by Honinbo Shuye: - - “Black should have played - at H 4. White would then - play at F 2, and Black - would reply at E 1.” -29. O 5. 30. H 3. Taking territory. - - Comment by Honinbo Shuye: - - “Black should still play - at H 4.” -31. F 2. Preventing the 32. F 1. (“Haneru.”) - connection of the two - Black groups. -33. G 1. 34. E 1. (“Tsugu.”) This - series of moves is - necessary and often occurs - in the game. -35. H 2. Protecting the 36. J 3. Black must connect, - connection at G 2. otherwise the stone at H 3 - is lost. -37. F 6. 38. F 8. Aiming to make - territory. - - Comment by Honinbo Shuye: - - “This move does not hit - the spot. It should have - been played at L 7.” -39. G 8. This move prevents 40. G 9. - White from being shut in. -41. H 8. (“Nobiru.”) 42. F 7. Black completes his - frontier. -43. G 7. Necessary to connect. 44. F 10. This secures the - connection at F 9, and at - the same time extends. -45. K 4. White threatens to 46. L 4. - break through in two - places. -47. H 9. 48. L 7. Leading out the - stones on line L, which - are now threatened. -49. G 11. This connects 50. Q 3. - White’s groups and - prevents Black from - extending. -51. P 4. 52. Q 7. Making territory on - the right and at the same - time attacking White’s - five stones. -53. M 6. This move gives White 54. L 6. Black must connect. - the “Sente.” -55. P 7. Leading out the small 56. N 8. A dangerous move. - White group. - Comment by Honinbo Shuye: - - “This move may be called a - little dangerous. P 6 - would have been - preferable, and if White - responds at O 8 or O 7, - Black could reply at L 9.” -57. P 8. 58. P 6. -59. O 6. 60. O 7. (“Kiru.”) Cutting off - connection of the white - groups. -61. M 2. Since White is cut 62. K 9. Black sees that White - off at O 7, he must form can form the necessary two - “Me” in this group. “Me,” and therefore does - not press the attack. -63. Q 8. 64. R 7. Black must extend in - this way. -65. R 8. 66. S 8. (“Osaeru.”) -67. S 9. 68. S 7. (“Tsugu.”) The usual - series of moves. -69. P 5. (“Atari.”) 70. Q 6. -71. Q 10. 72. Q 11. -73. R 9. 74. P 10. (“Sente.”) -75. O 10. White must sacrifice 76. S 10. - No. 71 in order to escape. -77. N 9. 78. M 8. -79. P 9. 80. Q 9. Takes. This is “Ko.” -81. T 10. (“Haneru.”) 82. T 11. (“Osaeru.”) -83. Q 10. Taking in “Ko.” 84. P 11. (“Tsugu.”) Black - must play here to save the - frontier. -85. T 9. Saving the stone at T 86. R 11. Black cannot neglect - 10. to play here. -87. O 11. 88. L 11. -89. L 10. 90. K 10. -91. Q 3. White must break up 92. P 12. - Black’s territory in the - upper right-hand corner. -93. M 11. White retreats. 94. M 10. -95. L 12. 96. L 9. Takes. White has - escaped by means of - sacrificing one stone. -97. P 13. 98. O 12. -99. N 12. 100. O 13. -101. S 12. (“Nozoku.”) 102. K 12. -103. O 14. 104. N 13. (“Shicho.”) -105. L 13. 106. P 14. Cuts White off. -107. P 15. 108. Q 14. -109. Q 15. 110. R 14. -111. R 15. 112. S 14. All these last moves - are obviously necessary. -113. O 15. Connecting. 114. S 15. -115. R 16. 116. M 14. - - Comment by Honinbo Shuye: - - “This move is a mistake; - it should have been played - at M 15.” -117. K 14. White’s stones in 118. M 16. - the upper left-hand corner - are now connected. -119. G 10. A defensive move. 120. F 9. (“Tsugu.”) - White attempts to get all - his stones in one group. -121. J 12. Protects the 122. J 11. - connection at H 10. -123. J 13. 124. N 10. Protecting the “Me” - at L 10. K 11 is “Kageme.” -125. N 11. 126. O 17. -127. L 15. 128. M 15. White’s situation in - the upper right-hand - corner looks very bad at - this point. -129. Q 17. 130. R 18. A better move than Q - 16. -131. N 17. 132. N 18. -133. Q 18. 134. S 17. -135. M 17. 136. N 16. White is prevented - from connecting. -137. M 18. 138. M 13. Threatening White’s - other connection. -139. M 12. White must connect. 140. P 18. To an inexpert eye - White’s group in the upper - right-hand corner now - looks hopeless. -141. Q 19. This is to prevent 142. O 16. Black must play here - “Watari.” to protect his four - stones. -143. S 16. 144. T 16. (“Watari.”) -145. T 15. A sacrifice to 146. T 14. Black must take the - prevent Black from forming stone. - “Me.” -147. R 13. The condition in 148. S 13. - this corner of the board - is now a fine example of - “Semeai.” -149. S 18. 150. T 18. -151. S 19. The situation is now 152. R 12. White’s sacrifice at - highly interesting. T 15 is now bearing fruit. -153. R 17. 154. T 17. Neither side can - play at T 19 without loss. -155. P 16. Takes. Forming a 156. C 13. Increasing Black’s - perfect “Me,” the other territory. - being at R 18. The play in - this corner is now - complete. -157. B 5. Protecting the 158. G 13. - corner. -159. H 11. 160. L 16. -161. K 16. 162. F 15. Extending Black’s - frontiers. -163. F 17. 164. J 15. - - Comment by Honinbo Shuye: - - “Black’s moves 164 and 166 - are both useless. At move - 164 Black should have - played at D 15.” -165. H 16. 166. G 16. -167. H 15. 168. D 15. -169. D 16. 170. D 14. -171. G 15. 172. B 15. -173. B 16. 174. C 14. Completing the - frontier. -175. P 2. 176. Q 2. -177. Q 1. 178. R 1. -179. P 1. 180. R 2. The usual series of - moves in such a situation. -181. C 16. We might say that 182. J 2. - the end game commences at - about this point. -183. L 2. 184. K 3. -185. A 7. 186. F 16. -187. G 17. 188. F 13. The stone at G 13 - needs support. -189. H 13. A very good move to 190. A 8. Stopping White’s - protect White’s group. invasion. -191. B 6. 192. B 7. -193. A 6. 194. B 8. The usual moves. -195. B 14. 196. B 13. -197. A 15. Takes. 198. L 17. -199. L 18. Completing the 200. M 19. - frontier. -201. K 18. 202. J 6. All the rest of the - board is practically - finished. -203. F 11. 204. E 11. -205. E 16. 206. E 15. -207. H 14. 208. G 14. -209. E 5. 210. E 12. -211. H 5. 212. J 5. -213. H 4. 214. J 4. -215. G 3. 216. J 9. - - Comment by Honinbo Shuye: - - “This move is - unprofitable. Had Black - played at J 8, a very good - profit would have been - secured.” -217. J 8. 218. E 4. -219. F 5. 220. D 1. -221. C 1. 222. D 6. Black must connect. -223. O 9. 224. M 9. -225. K 13. 226. K 11. -227. J 7. 228. H 6. -229. H 10. 230. G 12. -231. H 12. 232. K 7. -233. N 7. 234. O 8. -235. S 5. By sacrificing one 236. Q 4. - stone White forces Black - to fill two spaces. -237. T 8. 238. T 7. -239. J 1. 240. K 2. -241. K 1. 242. A 13. -243. L 19. 244. N 19. -245. P 19. 246. O 18. -247. A 14. 248. L 14. -249. K 15. 250. M 5. -251. N 5. 252. K 8. -253. Q 9. (“Ko tsugu.”) - -Here the game is left as finished in the published report, but the -remaining moves are not all strictly speaking “Dame.” There are quite a -number of moves to be made before we can proceed to the count. The -first question is, naturally, what stones are dead, and we find that -White has three dead stones at S 12, S 5, and K 4. Black has three dead -stones at J 15, O 4, and R 18. The white stones at P, Q, and R 13, are -not dead yet. They have aggressive possibilities, and must be actually -surrounded. As near as we can judge the game would proceed as follows: - -First: Necessary although obvious moves which are not strictly “Dame.” - - WHITE BLACK - - 254. Q 12. The three white - stones must be taken - before Black is safe. -255. R 19. White must take this 256. T 15. A necessary - before filling T 19. connection. -257. N 6. Necessary to form - connection. - - -Second: The following moves which are strictly “Dame.” It makes no -difference which side fills these intersections, but it would generally -be done as follows: - - WHITE BLACK - - 258. T 19. -259. O 19. 260. P 17. -261. N 15. 262. N 14. -263. F 12. 264. J 10. -265. H 7. 266. M 7. -267. M 4. 268. M 3. - -The frontiers are now absolutely in contact, and the count can be made, -and it will be seen that after filling up the vacant territory with the -captured stones as far as they will go, Black has won by three points. -The Japanese would rearrange the board in order to make the counting of -the spaces more easy (“Me wo tsukuru”), but for the first game or two -the beginner might find it less confusing to omit this process. - -Honinbo Shuye comments on this game as follows: - -“In spite of so many errors, Black wins showing how great is the -advantage resulting from a handicap.” - - - - - -II - -Plate 15 - -White.—Murase Shuho, seventh degree. - -Black.—Uchigaki Sutekichi, fifth degree. - -This game is taken from Korschelt, and the notes are his. In some of -these notes will be found mere repetitions of matter that I have -inserted in the preceding chapters, or which will be hereafter found in -the chapter on “Joseki.” These notes are, however, very full and -valuable, and a little repetition may have the effect of aiding the -memory of the student, and will do no harm. Contrary to the custom, -this game was played without handicaps. - - BLACK WHITE - -1. R 16. In the beginning of 2. D 17. - the game the corners and - margins are first - occupied, because it is - there that positions can - most easily be taken which - cannot be killed, and - which also contain - territory. From the edges - and corners the player - makes toward the center. - This process is repeated - in every game. -3. Q 3. In taking a corner 4. P 17. The attack could - that is still vacant there also be commenced at P 16. - is a choice among seven - points; e.g., in the - corner designated as D 4, - these points are D 3, D 4, - D 5, C 4, C 5, E 3, and E - 4. On the other hand, C 3 - and E 5 are bad, because - the territory which is - obtained by C 3 is too - small, and the adversary - would reply to E 5 with D - 4, by means of which E 5 - would be cut off from the - margin. Of moves that are - good D 3-C 4 are the - surest, and most - frequently used. E 4-D 5 - formerly were the favorite - moves, but the preceding - moves are now preferred to - them. E 3-C 5 are seldom - used. All of this, of - course, applies to the - corresponding points in - the other three corners. -5. C 4. 6. Q 6. Corresponding to No. - 4, this move should have - been played at R 5 or Q 5, - but White plays on Q 6, - because if he played on Q - 5, Black would have - replied at R 10 or R 9, - and later White P 5 and - Black O 4 would have - followed, with the result - that White has nothing, - while Black has obtained - two positions, one on O-Q - and the other on R. -7. O 4. Beginners would have 8. D 15. The position D 15–D - replied to Q 6 with Q 5 or 17 is very strong, and - R 5. They attack their players like to take it. - opponent at close quarters This applies, of course, - from the beginning, to the corresponding - because they cannot take positions in other parts - in the whole field at a of the board, of which - glance. Their entire there are seven; i.e., C - effort is to absorb the 16–E 16, Q 3–Q 5, etc. As - last stone that their soon as one player gets a - opponent has played. When position of the kind his - two beginners play opponent often takes a - together the battle moves similar position on the - slowly from a corner out next move in order to - over the board, and one balance the advantage - side of the board is gained by his adversary; - entirely filled with this is something like - stones, while the other is castling in Chess. - completely empty. This is - a sure sign of bad play. - In the beginning the good - players spread their - stones over the board as - much as possible, and - avoid close conflicts. -9. E 4. 10. C 10. If White did not - occupy this point, we - might have the following - continuation: - - B. C 10 W. C 7 - B. C 13 W. E 7 - - and Black has the - advantage, because White’s - stones at C 7-E 7 can only - get one “Me” on the edge - of the board, and later on - must seek a connection - with some other group. By - constantly harassing such - endangered groups - territory is often - obtained. -11. R 13. In place of taking 12. C 5. White sees that Black - this secure position on plays too carefully, and - line R, Black should have therefore challenges him - attacked the white stone with a bold but premature - on P 17 with L 17, and in attack that gives the - this way Black would have whole game its character. - obtained positions on both - line 17 and on line R. -13. D 5. 14. C 6. -15. B 4. 16. D 6. -17. E 6. 18. E 7. -19. F 6. 20. H 3. As soon as Black - answers this move, White - will take territory on the - right or left of H 3. -21. G 2. Is played very 22. M 3. Two stones which - carefully. K 3 would mutually support each - probably have been better. other on the margin of the - In that case White would board and form a position - either have played H 5 in cannot be separated by - order to save H 3, more than two spaces; for - whereupon instance, R 13–R 16. In - that case the adversary - B. F 7 W. E 8 cannot cut one off from - B. K 5 the other. (Korschelt here - inserts continuations - would have followed, or similar to what we have - White would have answered shown in a preceding - at K 4. chapter.) Therefore, - White’s twentieth and - twenty-second moves are - merely intended to fill - territory that would - otherwise fall to Black, - and are not intended to - form a new group. -23. H 2. The only correct 24. M 5. White seeks to form a - answer would have been K connection with No. 6, - 3, which would have which Black frustrates by - separated White’s his twenty-fifth move. It - twentieth and is of the greatest - twenty-second stones. importance to prevent the - union of groups which the - adversary has formed on - the margin, in order that - they may remain weak, and - require continuous - defense. - - The player who has the - “Sente” most of the time - will generally be the - victor. -25. O 6. 26. Q 9. Is very necessary in - order not to surrender the - entire right side to - Black. -27. K 17. All good players 28. H 17. This move has the - agree that 27 should not effect of abandoning stone - have been played at K 17, No. 4 at P 17. After - but at L 17. This is Black’s twenty-ninth move - difficult to understand at N 17, No. 4 could still - because K 17 can be escape by means of P 15, - supported from both sides but giving it up brings - at G 17 and N 17, but L 17 more territory elsewhere - is better because Black than is there lost. It is - should be occupied not a favorite device of - merely with taking a strong players to - position, but more apparently abandon a - particularly with killing position to their - White’s fourth stone. In adversary after first - the sequel K 17 is preparing it so that - actually taken by White. eventually it may live, or - so that it may afterward - aid in surrounding one of - the adversary’s groups. - The abandoned position - often reawakens to life if - the weaker adversary - allows his surrounding - group to be itself - surrounded and taken - before the capture of the - abandoned position has - been completed. -29. N 17. 30. F 7. -31. G 7. 32. K 3. It might have been - better to have played at G - 8. Then if Black replied - at H 7, White could play - at C 10, and the white - territory in the - neighborhood of line D - would be very large. - Certainly in that case H 3 - would have been abandoned, - but not M 3-M 5. Since 32 - K 3 is purely defensive, - Black gets the attack, and - appreciably reduces the - white territory in the - neighborhood of line D. -33. D 8. 34. D 7. -35. D 11. 36. C 11. -37. D 12. 38. C 12. -39. D 13. 40. C 13. -41. G 9. 42. G 6. If this move had not - divided the black groups, - Black would have become - too powerful. -43. H 7. 44. E 9. This connects the two - parts of the White - position, which connection - was threatened by Black’s - thirty-third stone. - Moreover, the “Sente” - remains with White, - because Black cannot allow - his position to be broken - into through F 10. -45. G 12. 46. Q 14. -47. R 14. 48. R 17. -49. S 17. 50. Q 16. -51. R 15. 52. R 11. The beginner will - wonder that 52 Q 15 did - not follow 51 R 15. This - is because 53 R 10–54 R 9 - would result, and White - would be at a - disadvantage. The moves - 46–52 are part of a deeply - thought-out plan on the - part of White. Black could - afford to ignore No. 4 as - long as it stood alone. - Thereupon White increases - it by Nos. 48 and 50, and - Black must accept the - sacrifice, because - otherwise Nos. 27–29 are - threatened. By this - sacrifice White gets the - territory around No. 27, - and also has an - opportunity of increasing - his position on line Q by - his fifty-second move. -53. O 16. 54. M 16. On the fifty-third - move Black proceeds with - the capture of Nos. 4, 48, - and 50, while White on his - fifty-fourth move hems in - No. 27. -55. H 16. This move is ignored 56. M 17. - by White because Black - must reply to his - fifty-sixth and - fifty-eighth moves in - order to save Nos. 29 and - 53. -57. N 18. 58. M 18. -59. Q 15. 60. J 17. -61. J 16. 62. K 18. -63. E 16. 64. D 16. -65. G 17. 66. K 16. -67. P 16. This is necessary to 68. K 15. - avoid the following - continuation: - - W. P 16, O 15, N 16, O 14 - B. P 15, N 15, O 17, P 18 - - and White has the - advantage. -69. D 14. 70. C 14. -71. R 5. 72. R 6. -73. E 15. It is of the utmost 74. Q 5. Murase Shuho thought - importance to Black to that 74 was a bad move and - occupy this point, for that S 5 would have been - otherwise White would better. The game would - press far into his then have continued as - territory through this follows: - opening. He goes first, - however, on his B. 73. E 15, R 4 - seventy-first move to R 5, W. S 5, S 4 - because White must follow, - and then to 73, because on He also thought that - this move he loses the White’s moves from 76–82 - “Sente.” Black could also were bad, because nothing - have occupied S 5, to in particular was - which White would have accomplished by separating - replied with S 6, because O 4 from O 6, since it was - otherwise the following impossible to kill them. - continuation would have - occurred: - - B. S 5, S 6, S 8, R 8, Q 8 - W. E 15, S 7, T 7, R 7 - - and the White position is - broken up. It is because - Black played at E 15 too - hastily and without first - occupying S 5 that White - can break up the Black - position by the series of - moves Nos. 74–82. -75. S 5. 76. Q 4. -77. R 3. 78. P 3. -79. P 2. 80. O 3. -81. O 2. 82. P 4. -83. N 8. 84. L 8. -85. O 10. 86. F 3. -87. G 3. 88. F 4. -89. E 3. 90. G 5. -91. E 5. Black has played on 92. J 6. - this point because - otherwise E 6–F 6 will - die; thus, - - W. E 5, B. F 5 takes - W. E 5 retakes - -93. G 4. This is intended to 94. H 14. From this point on, - secure H 2, G 2 and G 3. the territory in the - The simplest way of doing center is filled up. Black - this would be to play at F and White seem to get it - 2, but G 4 gains six more in about equal parts. - “Me” because F 3–F 4 may - be regarded as taken. -95. L 10. 96. J 11. -97. H 11. 98. F 14. -99. E 14. 100. H 10. -101. G 10. 102. H 12. -103. G 11. 104. O 8. -105. Q 10. 106. R 10. -107. P 8. 108. P 9. -109. O 9. 110. O 7. -111. P 10. 112. R 8. -113. N 7. 114. P 7. -115. L 9. 116. K 8. -117. J 9. 118. K 12. -119. J 10. 120. N 6. -121. A 7. This move is worthy 122. B 7. - of study. -123. N 2. 124. J 5. -125. E 18. 126. D 18. -127. G 18. 128. G 13. -129. M 12. 130. F 12. -131. F 11. 132. E 10. -133. E 11. 134. S 12. -135. S 13. 136. N 14. -137. L 12. 138. L 13. -139. M 13. 140. L 14. -141. K 11. 142. J 12. -143. A 6. 144. A 8. -145. B 5. 146. B 6. -147. A 5. 148. B 8. -149. S 6. 150. S 7. -151. M 8. 152. M 6. Not at M 7, because - that would lead to the - loss of K 8–L 8. -153. D 19. 154. C 19. -155. E 19. 156. C 18. -157. N 3. 158. N 4. -159. L 2. 160. L 3. -161. K 2. 162. F 5. -163. F 2. 164. E 17. -165. F 17. 166. H 19. -167. H 18. 168. J 18. -169. G 19. 170. P 14. -171. P 15. 172. N 19. -173. O 19. 174. M 19. -175. O 17. 176. R 4. -177. S 4. 178. T 6. -179. R 12. 180. S 11. -181. O 13. 182. O 14. -183. P 13. - -This is as far as the game is recorded in the Go magazine, published by -Murase Shuho. A good player can now foresee the result at the cost of a -little trouble. Black has won by five points. - -According to Korschelt’s view, the play would have proceeded as -follows: - - BLACK WHITE - - 184. T 5. -185. T 4. 186. T 7. -187. S 3. 188. G 15. -189. G 16. 190. J 8. -191. H 8. 192. N 13. -193. N 12. 194. M 14. -195. J 7. 196. K 7. -197. F 8. 198. E 8. -199. D 10. 200. D 9. -201. J 15. 202. J 14. -203. J 19. Takes. 204. K 19. -205. Q 11. 206. F 15. -207. F 16. 208. J 2. -209. J 1. 210. J 3. -211. M 7. 212. L 7. -213. H 4. 214. J 4. -215. N 15. 216. K 9. -217. K 10. 218. M 2. -219. M 1. 220. Q 13. -221. M 15. 222. L 15. -223. F 9. 224. Q 12. -225. P 12. 226. T 13. -227. T 14. 228. T 12. -229. H 19. - -The stones that are still to be played are “Dame.” By playing these no -“Me” can be either won or lost, and for the most part it makes no -difference whether they are filled up by Black or White. These are as -follows: - -O 15, N 16, H 5, H 6, F 13, E 13, H 5, H 15, F 10, E 13 E 12, H 15, F -10. - -Black has sixty-four “Me” and White fifty-seven “Me.” - - - - - -III - -Black.—Ito Kotaro, fifth degree. - -White.—Karigane Junichi, sixth degree. - -This game was played in Tokio about January, 1907, and is a fine -illustration of the rule of “Ko.” No handicaps were given. - - BLACK WHITE - -1. C 4. (“Komoku.”) Black 2. Q 3. - being the weaker player, - adopts a conservative - opening. -3. D 17. 4. C 15. -5. E 3. The opening is 6. C 9. This is an unusual - conventional so far. move. -7. F 16. 8. C 17. -9. C 18. 10. D 16. -11. E 17. 12. Q 17. -13. R 15. 14. R 6. -15. R 11. 16. K 3. -17. N 17. 18. D 12. Not the best move. P - 16 would have been better. - This part of the game is - generally devoted to the - general distribution of - stones. -19. P 16. White’s stone at Q 20. P 17. - 17 is now shut in. If the - black stone at N 17 were - at M 17, White could have - escaped. -21. O 17. 22. S 16. -23. R 16. 24. R 17. -25. S 15. 26. S 17. -27. P 18. 28. Q 18. -29. O 19. Probably not the 30. S 19. The corner is a - best. O 15 would have had typical Go problem. White - greater possibilities. had to place this stone - very carefully in order to - provide for the necessary - two “Me.” -31. J 16. Not the best. O 15 32. Q 16. - would have been better. -33. Q 15. 34. P 15. Cutting Black’s - connection. The necessity - for a black stone at O 15 - is now apparent. -35. O 16. 36. P 14. -37. R 13. 38. Q 12. -39. Q 11. 40. P 12. -41. P 11. 42. M 13. -43. R 8. Not the best move. N 44. K 16. White now commences - 11 would have been more a series of moves to break - aggressive. up Black’s territory at - the top of the board. -45. K 17. 46. L 17. -47. L 16. 48. K 15. -49. L 15. 50. J 17. -51. K 18. 52. H 17. -53. L 18. 54. J 15. -55. H 16. 56. G 16. -57. H 15. 58. G 15. -59. H 14. 60. G 17. -61. J 13. 62. O 11. -63. O 10. 64. N 11. -65. N 10. 66. M 11. -67. K 12. An ineffective move; 68. B 17. - B 17 would have been - better. -69. B 18. 70. F 15. -71. F 18. Black must defend 72. A 18. - his corner, which is - already much reduced in - size. -73. G 19. 74. L 14. -75. K 14. The three white 76. M 15. - stones, J 15, K 15, and K - 16 are dead. They were - sacrificed in order to - break up Black’s territory - at the top of the board. -77. M 16. 78. Q 8. -79. Q 7. 80. R 7. -81. P 8. 82. S 8. -83. Q 9. Takes. 84. R 9. -85. O 13. An effort to deprive 86. O 14. - the white group of the - necessary “Me” and to - envelop them. -87. N 13. 88. N 14. -89. L 10. 90. L 11. -91. K 10. K 11 would not do; 92. R 12. - White could break through - in that case. -93. S 12. 94. Q 13. -95. S 10. 96. R 14. -97. S 14. 98. S 13. Takes. -99. T 13. “Watari.” 100. L 12. -101. N 12. 102. M 10. -103. M 9. 104. K 11. -105. J 11. White is now shut 106. O 12. White saves his - in. group in this way because - he can get the position - called “Magari shimoku wa - me” no matter what Black - does. -107. R 4. 108. Q 4. -109. R 3. 110. R 2. -111. S 2. 112. Q 2. -113. S 5. 114. Q 6. -115. S 1. Black’s corner is 116. Q 8. Takes. “Ko.” - small, but it will surely - live. -117. P 7. 118. P 9. -119. R 8. “Ko.” 120. T 3. An effort to destroy - the corner. -121. S 3. 122. Q 8. “Ko.” -123. P 10. 124. N 4. White eventually wins - the game by means of the - territory he now maps out. -125. E 16. 126. E 15. -127. D 14. “Nozoku.” 128. D 15. -129. C 7. 130. J 10. -131. L 8. 132. H 11. -133. J 12. 134. J 9. -135. G 11. Not very good. Black 136. N 8. - should have played at K 8. -137. N 9. 138. K 8. -139. L 9. Black must play here 140. B 4. - to protect his two stones. -141. B 3. 142. D 4. -143. C 3. 144. C 5. -145. C 6. An unusual way of 146. N 6. - playing the corner. -147. L 6. 148. K 5. -149. K 6. 150. J 5. -151. J 6. 152. H 6. -153. H 7. 154. G 10. -155. F 11. 156. G 7. -157. G 6. 158. H 5. -159. G 8. 160. F 7. -161. F 8. 162. H 8. -163. J 7. Note how the center 164. F 10. - fills up without either - side getting territory - there. -165. E 8. 166. E 7. -167. E 11. 168. E 10. -169. D 11. 170. D 8. -171. D 7. 172. F 5. -173. E 5. 174. F 6. -175. C 14. 176. M 7. -177. R 8. “Ko.” A weak move. 178. B 14. White’s group is now - White’s position is safe. - already better, and Black - should play at B 14, where - he might have a chance to - kill White’s group, in the - upper left-hand corner. -179. B 13. 180. A 14. -181. C 12. 182. B 16. This is an - interesting problem. If - White plays at B 15, Black - could kill the group. -183. L 7. 184. D 5. -185. C 8. 186. D 9. -187. B 5. 188. B 6. -189. A 4. Takes. 190. D 6. -191. B 7. 192. B 8. -193. A 6. Takes. 194. F 2. Defending his large - territory on the lower - edge of the board. -195. E 4. 196. Q 8. “Ko.” Attacking - Black’s group which has - still to form the - necessary two “Me.” -197. J 8. 198. H 9. White cannot afford - to fill the “Ko” at R 8. -199. R 8. “Ko.” 200. G 18. -201. H 19. 202. Q 8. “Ko.” Returning to - the attack. -203. O 9. Takes. 204. E 6. A necessary - connection. -205. G 4. Invading White’s 206. G 5. Takes. White must do - territory. this or lose ten stones. -207. E 2. 208. G 3. -209. P 6. 210. P 5. -211. M 5. 212. N 5. -213. M 4. 214. M 3. This ends Black’s - invasion. -215. F 4. 216. Q 14. -217. R 13. “Ko.” 218. B 19. “Sente.” -219. D 18. Black must connect. 220. S 13. “Ko.” -221. R 5. 222. Q 5. -223. R 13. “Ko.” Black must win 224. J 18. - this “Ko” or lose five - stones. -225. J 19. 226. S 13. “Ko.” -227. L 4. “Sente.” 228. L 3. -229. R 13. “Ko.” Black’s group 230. H 12. - is now safe. -231. S 13. “Ko tsugu.” 232. E 13. -233. B 10. 234. B 9. -235. F 13. 236. E 14. -237. G 14. 238. H 3. -239. S 6. 240. D 3. -241. D 2. 242. C 10. -243. C 11. 244. B 11. -245. R 8. “Ko.” 246. M 6. -247. L 5. 248. Q 8. “Ko.” -249. R 1. 250. Q 1. -251. R 8. “Ko.” 252. S 7. -253. S 9. 254. Q 8. “Ko.” -255. E 12. 256. D 13. -257. R 8. “Ko.” 258. G 12. “Sente.” -259. F 12. 260. Q 8. “Ko.” -261. F 3. 262. G 2. -263. R 8. “Ko.” 264. T 4. -265. T 2. Black must defend his 266. Q 8. “Ko.” - group. -267. T 16. 268. T 17. -269. R 8. “Ko.” 270. T 6. -271. T 5. Black must stop the 272. Q 8. “Ko.” - White advance. -273. Q 19. 274. R 19. -275. R 8. “Ko.” 276. P 19. “Ko.” -277. O 18. 278. Q 8. “Ko.” -279. S 18. If Black can also 280. T 18. - play at T 19, White’s - corner is dead. -281. R 8. “Ko.” 282. N 15. -283. L 13. Purposely starting 284. K 13. “Ko.” - another “Ko.” -285. B 12. 286. L 13. “Ko tsugu.” -287. A 11. Takes. 288. Q 8. “Ko.” -289. C 13. 290. R 8. “Ko tsugu.” -291. K 9. Black must form 292. O 6. - another “Me” for this - group at once. -293. J 4. 294. H 4. -295. K 4. 296. C 2. -297. B 2. 298. E 1. -299. C 1. Takes. 300. J 3. -301. T 9. The game is 302. N 16. - practically over at this - point. -303. J 14. Taking three stones. 304. O 8. -305. T 19. Takes. 306. O 7. -307. P 9. Connecting. 308. T 15. Takes. -309. T 8. 310. C 19. -311. F 17. 312. A 13. -313. A 12. 314. A 17. -315. D 19. 316. A 19. -317. R 10. 318. A 9. -319. A 10. 320. Q 19. “Ko tsugu.” -321. A 7. - -The game as published ends at this point, but there still remain moves -to be made that are not strictly “Dame.” White must kill the three -black stones at E 8, F 8, and G 8, as that portion of the board is not -quite disposed of, and “Seki” might easily occur if White plays badly. -The game might continue as follows: - - BLACK WHITE - - 322. F 1. -323. G 13. 324. E 9. -325. H 13. 326. H 10. White must connect. -327. A 8. 328. F 9. -329. D 10. 330. G 9. White must take the - three stones. -331. D 1. Stopping White’s 332. T 16. “Tsugu.” - advance. - -The following moves are strictly “Dame”: F 14, H 18, M 8, O 15, T 14. -Either side can fill these “Me.” - -The following stones are dead and can now be removed: - -White.—K 8, L 17, T 3, T 4. Black.—N 12, N 13, O 13, S 18. - -White wins by four stones. After the dead stones are used to fill up -the vacant spaces, and the board is rearranged, it will be found that -White has fourteen “Me” and Black ten “Me.” - -More than the usual number of moves were made in this game. - - - - - -IV - -Plate 16 - -White.—Hirose Heijiro, fifth degree. - -Black.—Nagano Keijiro, fourth degree. - -Black has a handicap of two stones. (D 4 and Q 16.) - -Played March, 1907, in Tokio. Both players were of the Hoyensha School. - -When this game was published, it was annotated by Mr. Iwasaki Kenzo, -and I have translated his annotations; these are indicated by the -initials “I. K.” - - WHITE BLACK - -1. R 4. 2. C 16. -3. E 17. 4. D 15. -5. C 11. To prevent Black 6. C 7. P 3 would have been - forming territory on the better. (Iwasaki Kenzo.) - left side. -7. O 3. 8. R 10. This move is called - “Moku Shita.” It is one of - Murase Shuho’s inventions. -9. R 14. White breaks into 10. R 6. - Black’s territory at once. -11. O 17. 12. O 16. These moves will be - found in the chapter on - “Joseki.” -13. N 16. 14. O 15. -15. P 17. 16. Q 17. -17. Q 13. White must look out 18. R 15. This move secures - for the stone at R 14. the corner, and at the - same time protects the - connection of Black’s - stones on lines O and Q. - “Ikkyo ryo toku.” -19. O 13. 20. N 14. -21. L 17. Replies to Black’s 22. Q 14. - last move. -23. S 14. 24. F 16. -25. G 17. 26. S 15. Secures the corner. -27. P 10. 28. Q 8. P 6 would have been - better. (I. K.) -29. C 14. 30. D 14. -31. C 13. 32. D 12. Not the best move. M - 3 would have been better. - (I. K.) -33. D 11. 34. E 12. -35. E 11. 36. F 11. -37. F 12. White cuts off. This 38. F 13. G 14 would have been - is an aggressive move. better. (I. K.) -39. G 12. 40. F 10. -41. G 13. 42. F 14. -43. D 8. White provides an 44. H 15. H 14 was better, as - escape for stones on line White dare not cut off at - 11. G 14. (I. K.) -45. H 10. 46. F 8. -47. D 7. 48. C 6. -49. D 6. 50. D 5. -51. F 6. 52. H 9. Black must provide an - exit for his stones on - line E. -53. J 10. White cannot risk 54. H 8. - jumping farther. -55. H 17. Not good. K 8 would 56. K 8. Black promptly - have been better. (I. K.) escapes. -57. C 8. Good, but not the 58. L 10. Black commences an - best. M 12 would have attack on White’s five - helped the white stones stones. - near the center. -59. J 14. White retreats. 60. J 15. -61. L 14. 62. L 15. -63. L 12. 64. J 12. This is a “Sute - ishi,” but it greatly aids - Black’s attack. -65. K 12. Not a good move. By 66. K 15. - reason of this Black’s - sixty-eighth move is made - possible. (I. K.) -67. J 13. Another move which 68. K 17. Attacks White’s - arrests the development of stones at the top of the - the game. (I. K.) board. -69. K 18. 70. L 18. -71. J 17. 72. M 17. -73. K 16. Takes. 74. L 16. Black’s attack on - the upper right-hand - corner is now well - developed. -75. P 8. White abandons the 76. P 7. - field and plays elsewhere. -77. O 8. 78. H 5. -79. F 4. 80. H 3. -81. F 2. 82. D 2. -83. F 7. White perfects his 84. M 3. - connection. -85. Q 9. 86. R 9. -87. Q 7. 88. R 8. -89. P 6. 90. M 5. Black enlarges his - territory at the bottom of - the board. -91. O 7. Takes. 92. S 5. Forming “Me” for the - side group. -93. C 18. Stronger than C 17. 94. K 17. Takes in “Ko.” -95. S 4. 96. R 12. -97. P 14. 98. Q 15. -99. R 13. 100. T 4. -101. L 17. Takes in “Ko.” 102. M 18. -103. K 3. Invading Black’s 104. L 4. - territory. White can - connect on either side. -105. H 2. 106. G 3. -107. J 3. 108. J 4. -109. G 2. 110. M 7. -111. E 2. 112. C 3. If Black plays at D - 3, White could reply at D - 1 with the “Sente.” -113. L 8. Threatening Black’s 114. K 9. - territory. If Black - defends, White can connect - somewhere. -115. J 6. 116. H 6. -117. L 6. White’s attack on 118. L 7. - this territory is very - fine. -119. K 4. 120. K 5. -121. J 5. 122. K 6. -123. H 4. Takes. 124. S 3. -125. R 3. 126. S 2. -127. J 7. 128. M 9. Black cannot neglect - this—the whole center of - the board might be lost. -129. R 2. 130. H 7. -131. T 15. 132. S 17. Better than T 16, as - it provides for “Me” in - the corner. -133. S 12. 134. S 11. -135. L 19. 136. K 17. Takes in “Ko.” -137. N 9. 138. N 8. -139. L 17. Takes in “Ko.” 140. M 16. -141. N 7. 142. M 8. -143. B 17. 144. B 16. -145. B 8. 146. M 12. Threatening to - surround the ten white - stones in the center. -147. E 9. 148. F 9. -149. K 14. Forming “Me” for 150. G 11. - group in center. -151. H 11. 152. H 14. -153. M 11. 154. H 13. -155. H 12. 156. M 13. -157. L 11. 158. S 1. This move is worth - five or six points. -159. B 6. B 5 might have been 160. B 5. - more aggressive. -161. B 7. 162. C 5. -163. N 5. 164. N 6. -165. N 4. 166. L 2. -167. N 2. 168. M 2. Otherwise White would - play at L 3. -169. G 5. 170. A 13. This stone is - connected with stone at B - 16. This move often - occurs. -171. B 12. 172. D 17. -173. E 18. 174. Q 12. -175. P 12. 176. T 16. -177. E 16. 178. E 15. -179. R 5. 180. S 7. -181. R 1. 182. Q 6. -183. Q 5. This part of the 184. M 19. - board is now completed. -185. A 5. 186. A 4. -187. A 6. 188. B 4. -189. M 4. 190. L 3. -191. K 2. 192. K 19. Takes. -193. J 19. 194. K 17. Takes in “Ko.” -195. L 19. Takes in “Ko.” 196. F 17. -197. F 18. 198. D 18. -199. C 17. 200. D 16. -201. D 19. “Watari.” 202. E 10. -203. D 10. 204. E 8. -205. M 10. 206. Q 10. -207. K 10. 208. L 9. Takes. -209. P 9. 210. L 13. -211. K 13. 212. N 12. -213. M 14. 214. N 13. -215. N 11. 216. O 12. -217. O 11. 218. O 14. -219. P 13. 220. D 9. Takes. -221. C 9. 222. Q 11. -223. P 11. 224. J 16. Takes. -225. G 16. 226. F 15. -227. N 3. 228. M 6. -229. T 14. 230. T 12. -231. T 13. 232. S 13. Takes. -233. P 15. 234. P 16. -235. S 12. Takes in “Ko.” 236. T 11. -237. E 3. 238. O 6. -239. O 5. 240. A 17. -241. A 18. 242. A 16. -243. A 12. 244. B 14. -245. B 13. 246. A 14. -247. D 3. 248. C 2. -249. M 15. 250. N 15. - -Black wins, the report says, by “Ichi ban,” which means anything up to -ten “Me.” According to my continuation, Black won by seven “Me.” - - - - - -V - -Plate 17 - -This is a game between a Japanese player and a beginner. It is inserted -solely to show the character of the mistakes which beginners are likely -to make. Such errors never occur in games between good players, and -therefore this game may be more useful to a novice than the games -contested between players of greater skill. - -Played May 7, 1907. - -Black has a handicap of five stones. - - WHITE BLACK - -1. C 14. 2. E 3. Bad; too close to the - handicap stone. Besides it - is better to respond to - White’s attack in the same - part of the board. -3. O 3. 4. C 15. This would be too - conservative if the - players were anything like - equal. -5. R 14. 6. D 6. Much better to play - in one of the right-hand - corners. C 6 would be - better also. -7. F 17. 8. P 3. O 4 is much better. -9. R 6. 10. Q 14. -11. S 16. This would not be 12. O 4. Black should reply to - played against a good White’s last move. - player. -13. N 3. 14. D 8. Unnecessary; much - better to play in one of - the threatened corners. -15. C 3. 16. C 4. B 4 would be better. -17. B 3. 18. D 2. -19. D 3. 20. E 2. -21. B 5. 22. B 4. -23. A 4. 24. C 2. -25. B 8. 26. D 5. Over cautious. -27. C 7. 28. D 7. Unnecessary; Black - could gain a decisive - advantage at B 6. -29. B 6. 30. C 8. Too near the White - line, a common mistake of - beginners. -31. B 9. 32. B 2. -33. A 3. 34. C 9. Too near; Black can - jump one or two spaces - with much better effect. -35. C 10. 36. D 10. -37. C 11. 38. D 14. -39. C 13. 40. D 12. At this point - Black’s position is good - enough, as his line on D - is very strong. -41. C 17. 42. B 14. -43. B 13. 44. C 12. Black gains very - little by this. -45. B 12. 46. B 15. -47. D 17. 48. B 16. Very bad; Black has - the whole board to gain - ground in elsewhere. -49. E 16. 50. D 15. If Black feels he - must play here, D 13 is - better. -51. D 13. 52. E 13. -53. E 12. 54. D 11. -55. F 13. 56. E 14. -57. G 12. 58. E 11. -59. F 12. 60. F 11. If Black hopes to - save his group in the - upper left-hand corner, he - must escape toward the - center at this point. -61. F 14. Black’s group is now 62. A 14. Black cannot - hopeless. possibly form “Me”; this - move is merely wasted. -63. J 3. 64. E 9. Too cautious. -65. G 3. 66. H 11. -67. G 11. 68. F 10. Black forms “Me” in - this group long before it - is threatened, while he - might gain ground - elsewhere. -69. G 10. 70. A 16. Another lost move. -71. F 4. 72. E 4. -73. G 8. 74. G 9. -75. H 9. 76. F 9. -77. H 10. 78. F 8. -79. G 7. 80. F 6. -81. G 6. 82. G 5. Should have been - played at F 5. -83. F 5. 84. J 10. Black should play - nearer the edge of the - board. J 10 is radically - wrong. -85. K 8. 86. H 13. Black tries to form - a living group in the - center without support; - this can seldom be done. -87. H 12. 88. J 11. -89. J 13. 90. H 8. -91. J 8. 92. H 7. These stones are - hopeless from the start. - Black should play in the - right-hand corners. -93. H 6. 94. J 7. -95. L 7. 96. J 6. -97. H 5. 98. J 5. -99. G 4. Takes. 100. J 9. -101. M 6. 102. N 5. M 5 would be much - better. -103. M 5. 104. K 4. Black adds more - stones to his already - hopeless group. This is - one of the commonest - mistakes. -105. M 4. 106. J 12. Black should jump to - the right, say at M 11. -107. K 13. 108. G 14. F 15 might have - helped Black. -109. F 15. 110. H 4. -111. J 4. 112. F 7. -113. H 3. Takes. 114. E 6. Unnecessary. Black - should play somewhere in - the unoccupied portion of - the board. -115. M 12. 116. A 13. Wholly wasted unless - Black were an expert. -117. B 11. 118. B 17. -119. B 18. 120. C 18. -121. D 18. 122. A 18. -123. C 19. Takes. 124. C 6. -125. B 7. 126. K 12. Like all beginners, - Black keeps his stones too - close together. M 10 would - be better. -127. L 13. 128. L 12. -129. M 10. 130. M 11. -131. N 11. 132. L 11. -133. N 13. 134. L 10. Black again adds - stones to a dead group. -135. M 9. 136. L 8. -137. M 8. 138. L 9. -139. K 7. 140. O 6. -141. P 5. 142. O 2. S 4 would have been - much better. -143. N 2. 144. N 1. Black overlooks that - he must connect at P 2. - This is a common error of - novices. -145. P 2. 146. J 14. -147. K 16. 148. J 16. -149. K 17. 150. K 15. Black tries to form - another living group. His - only chance was near Q - 14–Q 16. -151. L 15. 152. L 14. -153. M 14. 154. K 14. -155. M 13. 156. M 15. -157. L 16. 158. G 16. Black again adds to - a hopeless position. -159. G 17. 160. H 17. -161. G 15. 162. H 15. Black thinks he has - the necessary “Me.” Two of - them, however, are - “Kageme.” -163. H 18. 164. J 18. -165. J 17. 166. G 18. -167. H 16. Takes, “Ko.” 168. A 2. Black plays this - correctly. -169. A 5. 170. H 17. Takes, “Ko.” -171. H 19. 172. K 18. -173. H 16. Takes, “Ko.” 174. L 18. -175. H 17. “Ko tsugu.” 176. M 17. Black has a chance - to make some territory in - this part of the board. -177. O 17. 178. N 16. -179. Q 17. 180. O 15. -181. P 16. 182. Q 15. -183. P 15. 184. R 17. -185. R 16. 186. Q 18. -187. P 17. 188. R 15. -189. S 17. 190. R 13. -191. S 14. 192. P 14. -193. S 15. 194. O 13. Black should live, - although he has gained - little space. -195. N 14. 196. P 12. Black should have - occupied O 14. -197. O 14. Black’s groups are 198. N 18. - now separated. -199. O 18. 200. P 18. -201. R 18. Takes. 202. O 12. -203. N 12. 204. E 15. This is pure waste. -205. M 19. If Black had played 206. E 17. - here his group would have - lived. -207. E 18. Takes. 208. A 12. -209. A 11. 210. O 16. Too late; this group - is hopeless now. -211. Q 11. 212. Q 12. -213. R 11. 214. O 11. -215. O 10. 216. Q 2. -217. O 1. Takes. 218. M 1. This is nonsense; - Black might still save the - corner by correct play. -219. P 4. 220. Q 3. -221. Q 5. 222. M 2. If Black played at S - 5 he would still have a - chance. -223. R 4. 224. O 5. -225. P 10. 226. R 12. -227. F 2. 228. F 1. -229. G 1. 230. E 1. -231. F 3. 232. C 1. Black wastes one of - his few vacant spaces. -233. R 3. 234. N 19. - White permits Black to 235. L 17. - play again. - White permits Black to 236. J 19. - play again. -237. L 19. 238. M 18. - White permits Black to 239. P 19. - play again. - White permits Black to 240. N 17. - play again. - White permits Black to 241. R 19. - play again. -242. S 19. 243. O 19. -244. R 17. - -“Dame”—E 5 and C 5. White wins by one hundred and ninety-seven spaces -and eighty-eight stones. - - - - - -VI - -Plate 18 - -White.—Inouye Inseki. - -Black.—Yasui Shintetsu. - -Played December, 1835. No handicaps were given. This game is from a -Japanese work called “Kachi Sei Kioku.” The notes are taken from -Korschelt, and as in the previous instance involve the repetition of -some things that have been touched on in the preceding chapters. - - BLACK WHITE - -1. R 16. 2. D 17. -3. Q 3. 4. P 17. -5. C 4. 6. C 14. Just as good as D - 15, which we already know. -7. Q 5. This may be the best 8. Q 14. - play under the - circumstances. The secure - position Q 3-Q 5 supports - the advance posts at C 4 - and R 16 in equal measure. -9. P 16. 10. Q 16. -11. Q 15. 12. Q 17. -13. P 15. 14. R 15. -15. R 14. 16. S 15. -17. Q 13. 18. N 17. The eighth stone - played at Q 14 cannot be - saved. If White attempts - to save it, the following - would be the continuation: - - B. W. - P 14 - O 14 P 13 - P 12 O 13 - N 13 O 12. - O 11 etc. - - If White had had an - opportunity of placing a - stone on the line of - retreat at say E 3, then - White could have saved No. - 8. (This has already been - explained in defining the - Japanese expression - “Shicho.”) -19. P 14. Takes. S 14 probably 20. S 16. - would have been better, - because it would have - retained the “Sente” for - Black; that is to say, a - play which the opponent is - compelled to answer, or - otherwise sustain too - great a loss. Had Black - played at S 14, White must - have answered at S 16, in - order not to lose the - stones at R 15-S 15, and - also the corner, which is - worth about fourteen “Me.” - To White’s play at S 16 - Black would probably have - answered at R 12 and thus - obtained a secure - position. -21. R 9. 22. E 3. -23. J 3. 24. D 5. This is analogous to - No. 8, but it is not - advanced so far because - Black has already occupied - J 3. -25. C 5. 26. D 6. -27. C 6. 28. D 7. -29. C 7. 30. D 8. -31. C 9. 32. L 3. White has established - the long line on D and - allowed Black a large - territory in order to be - able to occupy L 3. If he - had played there - immediately in answer to - Black’s twenty-third move, - then either L 3 or E 3 - would have been in great - danger. -33. D 3. 34. D 2. -35. C 2. 36. D 4. -37. C 3. 38. L 5. -39. F 3. 40. F 2. -41. E 4. Black compels White 42. E 2. - to take 41, in order to - make good his escape. -43. G 3. 44. F 4. -45. G 4. 46. F 5. -47. G 5. 48. K 2. -49. F 6. “Sente.” 50. E 5. Takes. -51. J 2. 52. H 7. -53. H 6. 54. G 7. -55. J 7. 56. P 3. -57. P 4. 58. O 3. -59. Q 2. 60. O 4. -61. O 5. 62. N 5. -63. O 6. 64. K 7. An interesting attack - that determines the course - of the game for a long - time. 65, J 8, would mean - abandoning the position on - G–J (26 “Me”), but it - would give an opportunity - for a bold attack. If - Black played 65, J 6, his - stones would scarcely - survive. -65. K 3. “Sente.” White must 66. L 2. - reply to it, or he would - find himself without the - necessary “Me” in that - group. -67. K 6. 68. J 8. -69. L 6. 70. J 6. Takes. -71. K 5. Avoids “Ko” and 72. N 6. - nevertheless assures a - connection. -73. L 7. 74. K 4. Is played for the - same reason as No. 66. -75. J 5. 76. N 7. -77. K 8. 78. J 7. -79. O 7. 80. N 8. -81. L 9. 82. J 10. -83. O 8. 84. N 10. -85. K 11. 86. R 10. Now the effect of - the mistake at move 19 - begins to be apparent. -87. Q 10. 88. Q 11. -89. R 11. 90. R 12. -91. S 10. Takes. 92. S 11. -93. R 10. Q 12 would probably 94. M 11. This move separates - have been better; at all P 14 from K 11, and is at - events it would have been the same time “Sente” as - surer, because it assures regards the black stones - the connection by way of P near K, because if Black - 11 after White has taken. does not answer, these - If White does not take, stones would be cut off by - but plays at P 11, his W-K 10. Moves Nos. 98, - stones on the edge of the 100, and 102 isolate the - board will die. black stones in the - neighborhood of P 14. -95. L 11. 96. Q 12. -97. L 14. 98. L 13. -99. K 13. 100. M 13. -101. K 14. 102. M 14. -103. S 14. 104. S 13. -105. T 15. 106. N 15. -107. O 11. It is certain that 108. O 12. - either the eight black - stones or the five white - stones must die, and on - this depends the result of - the game, because it would - make a difference of about - 40 “Me.” -109. P 12. 110. P 11. -111. O 13. 112. N 12. -113. O 10. 114. P 13. Takes, “Ko.” -115. M 16. 116. T 16. -117. T 14. 118. O 16. -119. P 12. “Ko.” 120. J 12. -121. K 12. 122. P 13. “Ko.” -123. R 17. 124. S 17. -125. P 12. “Ko.” 126. R 13. -127. P 10. 128. P 13. “Ko.” -129. D 16. 130. C 16. -131. P 12. “Ko.” 132. T 13. -133. Q 14. Connecting. 134. P 13. “Ko.” -135. S 18. 136. R 18. Takes. -137. P 12. “Ko.” 138. K 9. -139. L 8. 140. P 13. “Ko.” -141. E 17. 142. P 12. Connecting. White - would have had another - “Ko” at M 10. -143. C 17. 144. D 18. -145. C 15. 146. B 16. -147. E 18. 148. C 18. -149. B 15. 150. D 15. -151. E 16. 152. B 17. Takes. The series of - moves from 143 to 152 - should be carefully noted, - as they frequently occur. -153. B 14. 154. C 13. -155. B 13. 156. C 12. -157. B 12. 158. C 11. -159. F 14. “Sente.” 160. D 14. -161. B 11. 162. C 10. -163. B 9. Is not played at B 10 164. D 9. It would have been - in order to retain the better to play at K 17. - “Sente” without conceding - too great an advantage. -165. K 17. 166. H 14. -167. G 13. 168. H 13. -169. G 11. 170. G 14. -171. F 15. 172. J 11. -173. E 11. 174. F 12. -175. G 12. 176. E 12. -177. F 11. 178. E 10. -179. D 11. 180. D 10. -181. D 12. 182. H 16. -183. H 17. 184. G 17. -185. J 17. 186. E 13. -187. F 13. 188. G 16. -189. G 18. 190. G 6. -191. M 17. 192. P 2. -193. P 1. 194. O 1. -195. Q 1. 196. L 4. -197. N 18. 198. G 2. “Sente.” It threatens - the three black stones on - J and K. -199. H 5. 200. O 18. -201. M 18. 202. B 10. -203. A 10. 204. C 1. -205. B 1. 206. D 1. -207. B 2. 208. F 10. C 8 ought to have - been occupied first. -209. G 10. 210. G 9. -211. T 11. 212. T 12. -213. S 12. Takes. 214. C 8. -215. B 8. 216. S 11. “Ko.” -217. T 10. 218. E 19. -219. F 19. 220. F 17. -221. F 18. 222. M 15. -223. L 15. 224. J 15. -225. N 16. 226. O 17. -227. H 10. 228. H 9. -229. K 10. 230. J 9. -231. M 6. 232. O 9. -233. P 9. 234. N 9. -235. M 5. 236. M 4. -237. O 19. 238. P 19. -239. N 19. 240. A 15. -241. A 14. 242. A 16. -243. H 2. 244. J 4. -245. L 12. 246. M 12. -247. G 1. 248. F 1. -249. H 1. 250. K 16. -251. L 16. 252. K 1. -253. S 12. “Ko.” 254. C 19. -255. S 11. Connecting. 256. D 19. - -White wins by seven stones. - - - - - - - - -VI - -“JOSEKI” AND OPENINGS - - -From the earliest times the Japanese have studied the opening of the -game. Especially since the foundation of the Go Academy there have been -systematic treatises on this subject, and for keen and thorough -analysis, these treatises have nothing to fear from a comparison with -the analogous works on Chess openings. There is, however, a difference -between the opening of the game in Chess and the opening in Go, because -in the latter case the play can commence in each of the four corners -successively, and therefore, instead of having one opening, it might be -said that there are four. - -The Japanese masters usually overcome this difficulty by treating a -corner separately, as if it were uninfluenced by the position or the -possibility of playing in the adjacent corners, and in their treatises -they have indicated where the first stones in such an isolated corner -can advantageously be played. These stones are called “Joseki.” As a -matter of fact, these separate analyses or “Joseki” differ slightly -from the opening of the game as actually played, because it is -customary in opening the game to skip from one corner to another, and -the moment a few stones are played in any corner the situation in the -adjacent corners is thereby influenced. It is due to this fact also -that in their treatises on the “Joseki” the Japanese writers do not -continue the analysis as far as we are accustomed to in our works on -Chess. While this method of studying the openings persists to the -present time, one of the greatest of the Japanese masters, Murase -Shuho, compiled a series of openings which correspond more closely to -our Chess openings; that is to say, the game is commenced, as in actual -play, all over the board, and is not confined to the study of one -corner as in the case of the conventional “Joseki.” Korschelt, in his -work on the game, inserts about fifty of these openings by Murase -Shuho, with notes that were prepared by the Japanese master especially -for the use of foreigners, and I have selected a few of these in -addition to the collection of “Joseki” which we will first consider. - -The work from which my “Joseki” have been selected was compiled by -Inouye Hoshin, and published in November, 1905. It was originally -written for the “Nippon Shimbun,” a newspaper published in Tokio. Of -course, the annotations accompanying these “Joseki” are not the -original ones from the Japanese text. Many of the things which I point -out would be regarded as trite and obvious to a good player, and my -annotations are intended solely to aid beginners in understanding some -of the reasons for the moves given. It must also be understood that the -series of “Joseki” which I have inserted falls far short of -completeness. In a Japanese work on the game there would be at least -five times as many. - -Although the “Joseki” have been studied by the Japanese masters from -the earliest times, it does not mean that the ordinary player in Japan -is familiar with them; just as in this country we find a majority of -Chess players have a very limited acquaintance with the Chess openings, -so in Japan many players attain a fair degree of skill without a -thorough acquaintance with the “Joseki.” It would certainly very -greatly aid the beginner in attaining proficiency if he were to study -these examples, and follow them as nearly as possible in actual play. - -It would seem to us that in compiling a work on “Joseki,” or openings, -we would commence with the openings where no handicap is given, and -later study those where there were handicaps; it is another instance of -the divergent way in which the Japanese do things that they do just the -opposite, and commence their treatises with the study of openings where -handicaps are given. Inasmuch as this is a book on a Japanese subject, -I shall follow their example and shall commence the study of “Joseki” -in games where Black has a handicap. - -As we have already seen, the handicap stone is always placed on a -certain fixed point, which is the fourth intersection from the edge of -the board in each direction, and White has five recognized methods of -playing his first stone in relation to such handicap stone. These are -called “Kogeima kakari,” “Ogeima kakari,” “Daidaigeima kakari,” “Ikken -taka kakari,” “Nikken taka kakari.” We shall take up examples of these -in their order. - - - - - -I - -Handicap - -Plate 19 (A) - - WHITE BLACK - -1. R 14. “Kogeima kakari.” 2. N 17. This move supports - This is the most usual the handicap stone and - move for attacking the also gains as much ground - corner. The purpose of as possible for Black. - White’s first move is to Beginners would generally - lay a basis for future find O 17 more safe and - aggression; he cannot, of conservative. - course, play in the corner - immediately, neither can - he play nearer the black - stone with advantage. -3. R 17. This is a direct 4. R 16. Black plays to - attack on the corner. prevent the connection of - White can either connect the white stones. - with his first stone or - form a living group in the - corner. -5. S 16. White threatens to 6. S 15. Black breaks the - connect. connection by this move. -7. S 17. White cannot play at 8. R 15. Black also must - R 15 at this time because connect. Beginners are - he would lose the stone at prone to neglect these - S 16. necessary connecting - moves. -9. P 18. Since White cannot 10. P 17. Black plays to - connect, he must play to connect his stones, and at - form two “Me” in the the same time confines - corner. White to the corner. -11. Q.17. White makes his 12. O 17. Black must connect - corner as large as to prevent White’s escape. - possible. This move is - also “Sente,” because it - threatens to break through - Black’s line. -13. S 14. White threatens 14. T 14. Prevents “Watari.” - “Watari,” and again Black - must reply at once. - (“Sente.”) -15. Q 14. To confine Black’s 16. P 15. An important - group and prepare for defensive move. Otherwise - territory on the right White could almost envelop - side of the board. the black stones. - -Even game. White has a small territory in the corner, but Black has -greater possibility of expansion. - - - - - -II - -Handicap - - WHITE BLACK - -1. R 14. 2. N 17. -3. R 17. 4. R 16. -5. Q 17. In place of trying 6. P 16. Black prevents White - to connect as before, from getting out. - White threatens to extend - in the other direction. -7. S 16. Threatens to connect 8. S 15. Black stops it - again. again. -9. S 17. 10. R 15. -11. O 18. White again must 12. O 17. - form “Me” in the corner. -13. N 18. White extends as far 14. M 18. Black stops the - as possible. advance. -15. P 17. White must look out 16. M 17. Black must connect. - for the safety of the - stones at N and O 18. -17. P 14. To prevent Black’s 18. O 14. Black extends as far - extension and form a basis as he can. - for territory on right - side. -19. O 13. 20. N 14. - -Again White has the corner and Black has better opportunities for -expansion. - - - - - -III - -Handicap - -Plate 19 (B) - - WHITE BLACK - -1. O 3. 2. R 7. -3. Q 3. This variation is 4. R 3. - called “Kiri Kaeshi.” This - move does not attack the - corner so aggressively as - the preceding examples. -5. R 4. This is the 6. Q 5. This is an important - characteristic move of move for Black; if he - this variation. plays elsewhere, he will - get a bad position. -7. R 2. White threatens the 8. S 3. - black stone. If Black - defends White can divide - the corner. -9. P 2. “Kake tsugu.” If 10. S 2. Formerly S 4 was - White does not make this given as Black’s move, but - move, Black will get the it is not so good, because - “Sente” with a superior White replies at R 8 with - position. a fine attack. -11. S 1. White cannot neglect 12. R 5. - this move. If Black were - allowed to play at R 1, he - would get the better game. - -In this opening the corner is about evenly divided. - - - - - -IV - -Handicap - - WHITE BLACK - -1. R 14. 2. N 17. -3. P 14. Preparing for “Kiri 4. R 11. Called “Tenuki.” Not - Kaeshi” on the other side necessarily played at R - of handicap stone. 11. The word means that - Black “draws out” and - plays in another part of - the board. -5. P 16. 6. P 17. -7. Q 17. “Kiri Kaeshi.” The 8. R 17. - effect of this move is - generally to divide the - territory. -9. Q 18. 10. R 18. -11. P 18. 12. O 17. -13. R 16. 14. Q 15. -15. S 18. 16. R 15. -17. S 16. 18. S 15. -19. S 17. 20. P 15. - -White has the corner, but Black has better chances to make territory -later. - - - -V - -Handicap - -Black is supposed to have another handicap stone at D 4. - -Plate 19 (C) - - WHITE BLACK - -1. C 14. “Kogeima.” 2. F 16. “Ikken taka hiraki.” - This “Joseki” was an - invention of Murase Shuho. -3. H 17. White confines 4. C 11. Black prepares to - Black’s advances. get territory on left side - of the board. -5. B 16. White plays to take 6. D 14. - the corner. -7. C 15. 8. D 13. Better than D 15, as - it confines White more - effectively. -9. C 17. 10. D 17. -11. H 15. 12. C 16. -13. B 18. 14. C 18. -15. B 17. 16. C 13. A very good move; it - shuts White in the corner - and assures Black a large - territory on the left side - of the board. - -This opening might be continued as follows: - - WHITE BLACK - -17. D 18. 18. E 18. -19. C 19. Takes. 20. D 7. - -or - -17. C 6. 18. D 18. -19. B 13. 20. B 12. -21. B 14. 22. C 8. - - - - - -VI - -Handicap - -Black is supposed to have stones at O 4 and Q 4 also; these are called -“Shiki ishi.” - - WHITE BLACK - -1. F 3. “Kogeima.” 2. H 3. By this move Black at - once attacks the white - stone and also prepares to - connect with the stone at - O 4. -3. F 5. White must get out 4. L 3. “Tenuki”; that is, it - towards the middle of the has nothing to do with the - board. corner in dispute; Black - feels he has an - opportunity to take - territory. It is - interesting to note that - if the “Shiki ishi” at O 4 - were at N 3, then Black - would play No. 4 at H 5. -5. D 6. White attacks the 6. D 2. This is an important - handicap stone. defensive move. -7. E 2. 8. B 5. Black tries to - escape. -9. B 6. 10. C 6. -11. C 5. C 7 would be good 12. C 7. - also. -13. B 4. 14. D 5. -15. C 4. 16. C 3. -17. B 7. 18. C 8. -19. E 6. White must support 20. A 5. This is a very well - stone at D 6. considered move for Black. -21. A 4. 22. B 3. -23. A 6. Takes two. 24. B 8. -25. A 3. The corner is now an 26. B 2. - example of “Semeai”; the - question is which side can - kill the other first. -27. A 2. 28. B 1. -29. D 1. 30. A 8. If Black plays at C - 1, the corner will become - “Seki,” as it is, the - white group is dead. - -Black has much the best of this variation. - - - - - -VII - -Handicap - -Black is supposed to have a handicap stone at Q 4 also. - -Plate 19 (D) - - WHITE BLACK - -1. F 3. 2. F 4. “Tsuke te.” Again - Black takes the aggressive - from the start. -3. G 4. 4. F 5. -5. E 3. 6. D 3. -7. G 5. 8. G 6. -9. J 5. White’s best move. 10. D 6. - -Black has the better position. - - - - - -VIII - -Handicap - -Plate 20 (A) - - WHITE BLACK - -1. O 17. “Kogeima.” 2. O 16. “Tsuke te.” -3. N 16. 4. O 15. -5. Q 17. 6. P 17. -7. P 18. 8. P 16. -9. N 18. 10. R 17. -11. Q 18. 12. N 15. -13. M 16. 14. R 10. Black abandons stone - at R 17 in order to get - territory; an amateur - might be tempted to play - No. 14 at R 18, but in - that case White could - spoil Black’s chance to - get space on the right - side of the board. -15. R 16. 16. R 15. -17. S 16. 18. S 15. -19. S 17. 20. P 10. - -White has the corner, but Black has practically secured a large -territory on the right. - - - - - -IX - -Handicap - - WHITE BLACK - -1. R 14. 2. Q 14. “Tsuke te.” -3. Q 13. 4. P 14. -5. O 17. White attacks from 6. R 15. - the other side also. -7. R 13. 8. P 18. -9. N 16. 10. S 14. - -Black has the corner. White has a chance on both sides. - - - - - -X - -Handicap - - WHITE BLACK - -1. R 14. “Kogeima.” 2. Q 14. “Tsuke te.” -3. Q 13. 4. P 14. -5. O 17. White attacks from 6. O 16. Black responds from - the other side as before. the outside as in the case - of move No. 2. -7. P 17. 8. Q 17. -9. P 16. 10. R 13. -11. R 15. 12. Q 15. -13. R 12. 14. S 13. -15. S 12. 16. N 17. -17. N 16. 18. O 15. -19. M 17. 20. N 18. -21. M 18. 22. N 13. -23. M 16. 24. T 13. -25. Q 12. 26. S 15. - -Black has the corner and also an outlet to the center. White has a -chance to form territory on both sides. Black’s position is preferable. - - - - - -XI - -Handicap - -Black is supposed to have a stone at D 4 also. - -Plate 20 (B) - - WHITE BLACK - -1. R 6. 2. K 3. This move is an - invention of Murase Shuho; - it would not be played - unless Black had a stone - at D 4. Black’s intention - is to develop territory in - either corner depending on - the nature of White’s - attack. -3. O 3. White attacks the 4. Q 6. - right-hand corner from - both sides. -5. Q 7. 6. P 6. -7. R 3. This is a direct 8. R 5. Black must play here - attack on the corner. before playing at Q 3. It - also gives Black the - “Sente.” -9. R 7. White must connect. 10. Q 3. -11. Q 2. 12. S 2. This is a clever - move. Amateurs would be - tempted to play at P 2, - which would be very bad - for Black, as White would - then get the entire right - side. -13. R 2. 14. S 3. Secures Black’s - connection with R 5. -15. M 3. White must extend his 16. K 5. Black plays to shut - boundaries or his stones in White as much as - will die. possible; he also supports - his stone at D 4. - -Black has the better game. - - - - - -XII - -Handicap - -Plate 20 (C) - - WHITE BLACK - -1. C 13. “Ogeima Kakari.” 2. C 15. This is to prevent - This is another method of White from playing at B - commencing the attack; it 16. - does not attack the corner - so directly, but it gives - White a better chance on - the sides or center. -3. G 17. White attacks from 4. E 17. Preventing White - the other side in the same from entering at D 18; - way. this secures the corner - for Black. -5. C 17. This is a “Sute 6. B 16. - ishi” or sacrificed stone. - White threatens to connect - it with one side or the - other. - -The game is about even; if White does not play at C 17 on the fifth -move, Black gets much the better of it. - - - - - -XIII - -Handicap - - WHITE BLACK - -1. N 17. “Ogeima Kakari.” 2. P 17. Preventing the entry - at Q 18. -3. R 14. White attacks the 4. S 15. Very important move - other side with “Kogeima.” for Black; if Black makes - a move elsewhere at this - point (“Tenuki,”) White - gets much the better of - it. - - - - - -XIV - -Handicap - -Plate 20 (D) - - WHITE BLACK - -1. C 7. 2. C 5. -3. G 4. “Nikken taka kakari.” 4. E 2. A very important - This is another method of move; if Black plays - attacking from the other “Tenuki,” White can at - side. once enter the corner. - -Suppose Black does not play No. 4, E 2, but plays elsewhere, then the -following continuation might occur: - - WHITE BLACK - - 4. “Tenuki.” -5. D 2. 6. E 3. -7. E 2. 8. F 3. -9. G 3. 10. F 2. -11. G 2. 12. G 1. -13. C 3. 14. B 4. -15. B 3. 16. D 6. Black must get out - toward the center. -17. B 6. Threatening “Watari.” 18. B 5. -19. H 1. 20. F 1. -21. B 1. By means of this move - the white stones in the - corner live. - -White has the better of it. - - - - - -XV - -Handicap - - WHITE BLACK - -1. N 17. 2. P 17. -3. Q 14. This is another 4. O 15. Black plays to get - method of attack, called out toward the center, as - “Ikken taka kakari”; it White’s third move does - does not give White a base not menace the corner. - for attacking the corner - immediately. -5. N 15. White also plays out 6. N 14. - toward the center, - otherwise Black would shut - him in at M 16. -7. M 15. 8. P 13. Amateurs might play - at O 14; the text move - protects the connection - and extends also. -9. Q 13. 10. P 12. -11. R 11. Beginners might play 12. M 14. - at Q 12; this is always - bad play. -13. L 15. 14. S 15. Protecting the - corner against the white - stone at Q 13. - -Even game. - - - - - -XVI - -Handicap - -Plate 21 (A) - - WHITE BLACK - -1. M 17. “Daidaigeima”; not 2. O 17. Black defends the - so much used as the other corner from that side. - attacks. -3. R 14. “Kogeima.” White 4. S 16. Black again prevents - attacks from the other the advance into the - side. corner. -5. P 16. White threatens the 6. P 15. P 17 looks like the - connection between the obvious defense, but this - handicap stone and No. 2, would shut Black in the - otherwise Black would play corner and give White the - at R 12, with the better game. - advantage. -7. P 17. 8. Q 17. -9. O 16. 10. P 18. -11. O 18. 12. O 15. -13. N 16. Much better than 14. Q 13. This attacks the - immediately taking the white stone at R 14; it - single black stone. also defends the - connection at Q 15. -15. R 12. Much better than R 16. R 13. - 13; in that case White - would lose both stones. -17. S 13. 18. Q 14. - -Black has the better of it. - - - - - -XVII - -Handicap - - WHITE BLACK - -1. H 3. 2. F 3. -3. C 6. 4. C 5. This is an - alternative method of - defending the corner. -5. D 6. 6. F 5. Black plays to avoid - being shut in the corner, - also it can be - demonstrated if he - neglects this move his - stones will be killed. -7. F 6. 8. H 4. -9. J 4. 10. H 5. -11. G 3. 12. F 2. This is a good move. - F 4 would be weak. The - text move defends and at - the same time threatens - White’s stones on line 3. - F 4 would give White a - chance to play elsewhere - (“Tenuki”) which is a - great advantage. -13. J 3. 14. E 5. Black cannot neglect - this move, or White can - break in with a winning - attack. - -Again Black has the better of it. He has a chance to play at J 1 on the -next move. The relation of this stone to the stone at F 2 when at the -edge of the board is called “Ozaru,” or the “great monkey,” and it -generally gains about eight spaces. This is also shown among the -examples of end positions. - - - - - -XVIII - -Handicap - - WHITE BLACK - -1. C 8. 2. C 6. -3. E 2. This is another 4. D 2. - method of trying to get in - the corner. -5. D 3. 6. E 3. This is the crucial - move of this variation; if - Black plays No. 6 at C 3, - he gets the corner, but - White gets the better - game. -7. C 3. 8. C 2. -9. C 4. 10. D 5. -11. F 2. 12. B 3. -13. B 4. 14. B 2. -15. G 4. 16. E 4. - -Black has the better of it. - - - - - -XIX - -Handicap - -Plate 21 (B) - - WHITE BLACK - -1. O 4. “Ikken taka kakari.” 2. Q 6. This is Black’s best - This is the fourth method answer. - of commencing the attack. -3. R 8. 4. P 7. Black intends to - follow up this move on one - side or the other, the two - points being Q 9 and M 3. - This is called “Hibiku,” - or “to echo.” -5. Q 10. White defends on one 6. M 3. - side. -7. N 5. White must get out. 8. M 5. -9. M 6. 10. M 4. -11. P 3. 12. Q 3. -13. O 8. 14. L 6. -15. S 6. 16. S 5. -17. R 5. 18. S 4. -19. R 6. 20. P 4. -21. O 3. 22. S 2. Black prepares to - form “Me” in the corner. - -White must now play at O 6 to save his stones on the left side. - -This “Joseki” is very much spread out; it is difficult to say who has -the better of it. - - - - - -XX - -Handicap - - WHITE BLACK - -1. D 14. 2. C 14. Not so good as F 16. -3. C 15. This is not White’s 4. D 15. - best move; it is done to - confuse Black, and will - win if Black does not know - how to reply. -5. C 13. 6. B 14. -7. B 15. 8. B 13. D 13 would be bad. -9. C 17. 10. D 17. -11. C 18. 12. C 12. -13. D 13. 14. D 18. -15. D 19. 16. C 16. -17. B 16. 18. A 15. -19. A 17. A 16 would not do. 20. E 19. -21. C 19. 22. F 18. “Kake tsugu.” Black - must protect his - connection; this situation - arises frequently. -23. B 18. White plays on the 24. F 15. - only point to save the - corner. -25. D 12. 26. C 11. -27. D 11. 28. C 10. - -Black has the better game. - - - - - -XXI - -Handicap - -Plate 21 (C) - - WHITE BLACK - -1. D 13. “Nikken taka 2. F 16. Black has a variety - kakari”; this is the fifth of moves at his command; - method of opening the the text move is probably - attack. best. -3. H 17. 4. C 10. Really “Tenuki.” - Black can play equally - well at C 7. -5. B 16. 6. C 16. -7. B 14. 8. B 17. - -Black has the corner and White has commenced to envelop his stones. The -following continuation might occur: - - WHITE BLACK - -5. F 18. 6. D 18. -7. E 17. 8. C 15. - -Black’s last move in this continuation is interesting, because it will -make “Kake tsugu” no matter which way White tries to break through. If -he should play at D 17, White could get through at E 16. - - - - - -XXII - -Handicap - - WHITE BLACK - -1. N 16. 2. O 17. This is an - alternative defense. -3. N 17. 4. O 16. -5. O 15. 6. N 18. This is Black’s best - move. If he plays at P 15, - White replies at O 18 with - a good attack. -7. M 18. 8. O 18. -9. M 15. 10. N 14. This stone will be - sacrificed, but while - White is killing it Black - gets advantage elsewhere. -11. N 15. White must connect. 12. Q 14. - -Black has the better of it. - - - - - -XXIII - -Handicap - - WHITE BLACK - -1. G 4. 2. D 7. This is another - defensive move. -3. D 3. 4. E 3. This is better than C - 3; in that case Black gets - the worst of it. -5. E 4. 6. C 3. -7. D 2. 8. E 5. -9. F 4. 10. C 4. C 2 is not so good. -11. C 2. 12. B 2. -13. E 2. White must look out 14. C 10. - for his three stones. B 1 - would be a bad move. - -The corner is divided, but Black has better prospects. - - - - - -XXIV - -Handicap - - WHITE BLACK - -1. F 3. 2. C 7. -3. C 9. 4. D 3. Black’s three stones - are now called “Ogeima - shimari”; they are - supposed to be a strong - formation protecting the - corner. -5. C 5. The point of this 6. D 5. - variation is to show that - White can strike in on - this move and yet live. -7. C 6. 8. D 7. -9. B 7. 10. B 8. -11. B 6. 12. C 8. -13. D 6. 14. E 6. -15. E 7. White threatens from 16. C 4. - the outside. -17. B 9. 18. E 8. Black cannot venture - A 8, as his four stones - would then die. -19. A 8. “Watari.” 20. F 7. Takes. - -White has entered the corner and still his stones will live. - - - - - -XXV - -Handicap - -Plate 21 (D) - - WHITE BLACK - -1. C 6. 2. G 3. -3. J 3. 4. C 4. -5. E 6. Instead of entering 6. G 5. Black tries to get - the corner, White attacks out toward the center; - from both sides. this move also prevents - White from playing at E 3. -7. J 5. 8. G 7. -9. F 8. 10. H 2. - -Black has a good game. - - - - - -We now come to the “Joseki” where no handicaps are given. In such -cases, of course, Black has the first move. The first stone is -generally played on an intersection adjacent to the point on which the -handicap stone is placed when given. There are, therefore, eight -intersections on which the first stone might be played. In the lower -left-hand corner, for instance, these would be C 3, C 4, C 5, D 3, D 5, -E 3, E 4, E 5. By common consent C 3 has been rejected as -disadvantageous for the first player, because the territory obtained -thereby is too small. E 5 has been rejected because it allows the -adversary to play behind it and take the corner. D 4, or the handicap -point, is also not used. The other six points may be divided into -duplicate sets of three each, and, therefore, there are only three -well-recognized methods of playing the first stone. These are: in the -lower left-hand corner, C 4 or D 3, the most usual and conservative, -which is called “Komoku,” or the “little ‘Me’”; E 4 or D 5 which is -bolder, called “Takamoku,” or the “high ‘Me’”; and E 3 or C 5 which is -not so much used as either of the others, called “Moku hadzushi,” or -the “detached ‘Me.’” We shall give about an equal number of examples of -each of these methods of opening the game, commencing, as is customary -in the Japanese works, with “Takamoku.” - - - - - -I - -No Handicap - -Plate 22 (D) - - BLACK WHITE - -1. D 5. “Takamoku.” This is 2. D 3. This is White’s best - the most aggressive of the answer. E 3 is also good. - three methods of opening. C 3 is bad. -3. C 3. Black plays to get 4. C 2. Best; if he attempts - territory on the left; he to cut off at C 4 he gets - attacks from inside. a bad game. -5. C 4. Black extends. 6. E 2. Necessary to secure - the connection at D 2. -7. C 9. Black takes territory 8. G 4. White takes space to - on left side. the right. - -Even game. - - - - - -II - -No Handicap - - BLACK WHITE - -1. Q 15. “Takamoku.” 2. Q 17. -3. P 17. Black attacks from 4. P 18. - the outside. -5. P 16. 6. O 17. White plays to get - territory on one side or - the other; he will - sacrifice one of his - stones on line 17. -7. O 18. This stone is 8. N 18. White plays to - intended as a sacrifice to secure the left-hand side. - aid Black in getting the - corner. It is better than - Q 18. -9. Q 18. Black now secures 10. O 19. Takes. - the corner. -11. R 17. 12. O 16. An important stone; - it is played to secure - White territory on the - left, also to aid in an - attack on the right-hand - side. -13. P 14. This is also 14. K 16. White returns to his - important as it extends original plan and secures - Black’s territory; he territory to the left. - cannot neglect it. - -Even game. - -Suppose Black neglects P 14 on his thirteenth move, we would then have -the following continuation: - - BLACK WHITE - -13. “Tenuki.” 14. P 14. -15. Q 14. 16. Q 13. -17. R 13. 18. R 12. -19. Q 12. 20. P 13. -21. R 11. 22. S 12. -23. S 11. 24. S 13. -25. R 14. 26. Q 11. -27. P 12. 28. S 10. -29. R 10. 30. Q 10. -31. R 9. - -White has the better of it. - - - - - -III - -No Handicap - -Plate 22 (A) - - BLACK WHITE - -1. P 16. “Takamoku.” 2. R 16. -3. Q 14. The purpose of this 4. P 17. White tries to get - move is to confine White out on the left. - to the corner. -5. O 17. Black prevents this. 6. Q 17. -7. O 16. 8. R 14. White tries the - other side. -9. R 13. Black stops him. 10. S 14. -11. Q.16. If Black wishes 12. R 17. - “Tenuki,” this is good, - otherwise S 13 would be - better. -13. E 17. “Tenuki,” but, - nevertheless, played with - reference to the stones on - line O. - -Even game. White has the corner, but Black has better possibilities. - - - - - -IV - -No Handicap - - BLACK WHITE - -1. E 16. “Takamoku.” 2. C 16. -3. D 14. 4. E 17. -5. D 16. Black threatens to 6. D 17. - break into the corner. -7. C 17. Black repeats his 8. B 17. - threat; in reality it is a - sacrificed stone. -9. C 18. This stone may be 10. B 18. White must play here - lost, but it aids Black in to save his stones. - attacking from the - outside. -11. C 15. 12. B 16. -13. F 17. 14. D 18. -15. E 18. 16. C 19. Takes two. -17. G 16. - -This is an old “Joseki” which used to be popular; it fell into disuse -and was revived by Murase Shuho. It is good enough for White if he has -an outlying stone or two in the neighborhood, otherwise it is bad play -for White. - - - - - -V - -No Handicap - -The following stones are supposed to be on the board: Black, Q 13, R -13, R 15; White, Q 14, P 16, Q 17. - - BLACK WHITE - -1. Q 5. Black plays 2. R 3. White plans to - “Takamoku,” thinking to prevent Black’s connection - connect with stones on and reduce the Black - line 13. territory. -3. P 3. This is an error; if 4. Q 4. - Black wishes to frustrate - White’s plan, R 4 is the - correct play. -5. P 4. 6. R 5. -7. R 6. 8. S 6. -9. R 7. 10. S 7. -11. R 8. 12. S 8. White has now made a - formidable attack on the - Black territory. -13. R 9. 14. P 5. If Black gets this - point, his line would be - too strong. -15. Q 6. 16. Q 2. Important; not merely - to attack Black on line P, - but it prevents Black from - coming to R 2, which would - mean 10 “Me”; it also - prepares for O 2. - -White has the better of it. - -Variation commencing at White’s sixteenth move: - - BLACK WHITE - - 16. O 5. Not so good as No. - 16, Q 2. -17. R 2. 18. S 2. -19. Q 2. 20. S 4. White secures the - necessary two “Me.” -21. M 3. - -Black now has secured territory at the bottom of the board and confined -White to the corner with the better game. - - - - - -VI - -No Handicap - -Plate 22 (B) - - BLACK WHITE - -1. Q 5. 2. Q 3. -3. O 4. 4. R 5. -5. R 6. 6. R 4. -7. S 6. 8. O 2. -9. “Tenuki” at Q 15. - -White has the corner; Black can afford “Tenuki” at move nine because if -White cuts at Q 6 Black can still get a good game. In fact Q 15 -indirectly defends the connection at Q 6. - - - - - -VII - -No Handicap - -Plate 22 (C) - - BLACK WHITE - -1. D 15. 2. D 17. -3. G 16. Old “Joseki,” 4. C 15. - originated by Konno Genko - in the Middle Ages. -5. C 16. 6. D 16. -7. C 17. 8. C 18. -9. B 18. 10. D 18. -11. B 15. 12. C 14. -13. B 14. 14. C 13. -15. E 15. 16. B 19. -17. B 17. 18. B 13. -19. A 16. This gives Black two 20. G 18. - “Me.” -21. H 18. 22. G 17. -23. H 17. 24. F 16. -25. F 15. 26. E 16. -27. G 15. 28. F 18. Important move for - defense. -29. C 10. - -Black has the better of it. - - - - - -VIII - -No Handicap - -Plate 23 (A) - - BLACK WHITE - -1. P 17. “Moku hadzushi”; not 2. Q 15. This is called - so much used as the other “Takamoku kakari”; it is - two openings. It is more one of the two general - conservative than methods of replying to - “Takamoku.” “Moku hadzushi.” -3. R 16. Black plays to 4. R 15. - secure the corner. -5. S 16. The corner is now 6. R 11. S 15 would be good - safe. also. - -Even game. - - - - - -IX - -No Handicap - - BLACK WHITE - -1. R 15. “Moku hadzushi.” 2. P 16. -3. P 15. Black plays to 4. O 15. - confine White. -5. P 14. Necessary to prevent 6. Q 16. White plays to get - White breaking in. the corner. -7. R 16. 8. N 16. Very important; if - neglected, Black gets the - corner, and also destroys - White’s adjacent - territory. -9. R 10. 10. R 17. -11. S 17. 12. S 18. -13. R 18. 14. Q 17. -15. S 16. 16. K 17. - -The corner is evenly divided, and neither side has an advantage. - - - - - -X - -No Handicap - - BLACK WHITE - -1. P 17. 2. Q 15. “Takamoku kakari.” -3. P 15. 4. P 16. This is an invention - of Murase Shuho. -5. O 16. Black cannot play at 6. Q 16. - Q 16 without getting a - very bad position. -7. Q 17. 8. R 17. -9. R 18. 10. S 16. -11. S 18. 12. O 17. -13. N 17. 14. O 18. -15. P 18. 16. N 18. This and the two - preceding stones are - sacrificed; Black - naturally expects White to - cut at O 15. The text move - is a brilliant invention - of Murase Shuho. -17. M 17. Black cannot neglect 18. O 15. - this move. -19. N 16. 20. P 14. Takes. -21. K 17. Defensive; Black 22. R 10. - loses the “Sente.” - -White has much the better game. - - - - - -XI - -No Handicap - -Plate 23 (B) - - BLACK WHITE - -1. P 3. “Moku hadzushi.” 2. Q 5. “Takamoku kakari.” -3. P 5. 4. P 4. -5. Q 4. This is not a good 6. O 4. - move for Black and will - result in his getting a - confined position. -7. R 5. 8. Q 6. -9. R 4. 10. O 3. -11. P 2. 12. O 2. -13. R 6. 14. Q 7. -15. S 8. Black cannot play at 16. E 3. - R 8, as White would cut at - R 7. - -White has the better position. - - - - - -XII - -No Handicap - -Plate 23 (C) - - BLACK WHITE - -1. C 15. 2. D 17. “Komoku kakari.” - This is the alternative - method of defense to this - opening. -3. F 17. Black attacks from 4. E 17. This is the crucial - both sides. move. White plays thus - first to get a strong - position on line 17, also - to prepare for getting out - at D 15. Two connected - stones always form a - strong base. -5. G 16. 6. D 15. -7. D 14. 8. E 15. -9. B 16. Black now invades 10. B 17. - the corner; he wishes to - occupy C 17, an important - point. -11. C 17. 12. C 18. -13. C 16. 14. B 18. -15. E 18. 16. D 18. -17. G 14. 18. F 14. -19. D 13. Guarding the 20. G 13. - connection at C 14. -21. H 14. 22. F 12. - -Black has the better position. This is an old “Joseki.” It is not much -liked at the present time. - - - - - -XIII - -No Handicap - - BLACK WHITE - -1. C 15. 2. D 17. -3. F 16. This is a variation; 4. E 17. - the intention is to - confine White to the - margin. -5. E 15. This is to prevent 6. G 17. - White from coming to D 15. -7. H 16. 8. H 18. This is a correct - move. H 17 would be - inferior. -9. G 16. 10. K 17. - -Even game. - - - - - -XIV - -No Handicap - -Plate 23 (D) - - BLACK WHITE - -1. C 5. 2. D 3. -3. F 4. 4. E 3. -5. C 3. This is unusual; E 5 6. C 2. - is the customary move. -7. C 4. 8. G 3. -9. B 2. 10. G 4. -11. E 5. 12. D 2. -13. G 5. 14. J 4. - -Even game; the corner is divided. - - - - - -XV - -No Handicap - -Plate 24 (A) - - BLACK WHITE - -1. R 16. This move, called 2. P 17. White’s best reply. - “Komoku,” is the most - frequently used opening - when there are no - handicaps; it is also the - safest for the weaker - player. -3. N 17. This move is called 4. R 17. White plays to get - “Ikken basami”; this is the corner. - the most usual way of - continuing: it gives Black - an attack at once. -5. S 17. 6. Q 16. -7. R 15. Black must extend; R 8. R 18. White must do the - 18 would be bad. same; he cannot play at S - 18. -9. Q 13. 10. S 18. White cannot neglect - this move after Black - plays at Q 13; if Black - had played at R 12, White - could have played - elsewhere. - -Black has the better position. - - - - - -XVI - -No Handicap - - BLACK WHITE - -1. Q 17. “Komoku.” 2. R 15. -3. R 13. “Ikken basami.” 4. Q 13. This time White does - not try for the corner, - but attacks the black - stone at R 13. -5. Q 12. 6. Q 14. -7. N 17. Black abandons the 8. R 12. - stone at R 13 in order to - get greater territory; if - he defends it at R 11, - White plays at N 17 with a - better game. -9. R 11. 10. S 12. -11. Q 11. S 11 would be bad. 12. S 13. -13. R 16. 14. S 15. - -Black has the better position. - - - - - -XVII - -No Handicap - - BLACK WHITE - -1. D 3. “Komoku.” 2. C 5. -3. C 7. 4. H 3. White in turn attacks - the black stone at D 3; G - 3 would be too near. -5. D 5. Black connects his 6. D 4. - stones and shuts White in. -7. E 4. 8. C 4. -9. D 6. 10. C 3. -11. E 2. 12. D 2. -13. E 3. 14. L 3. White can afford to - play for a greater space, - as his stones in the - corner will live even if - he loses the stone at D 2. -15. B 6. 16. B 5. -17. C 2. 18. B 2. -19. D 1. Takes. 20. B 1. - -Even game. - - - - - -XVIII - -No Handicap - -Plate 24 (B) - - BLACK WHITE - -1. R 4. “Komoku.” 2. P 3. -3. M 3. “Nikken basami.” This 4. Q 5. White plays to get - is the second variation in out toward the center. - this opening. -5. R 5. 6. Q 6. -7. R 7. 8. R 6. -9. S 6. 10. S 7. “Sute ishi.” -11. S 8. 12. Q 7. -13. R 8. It would be bad play 14. S 5. - to take immediately. -15. T 7. Takes. 16. R 3. -17. S 4. 18. S 3. This move is made to - secure “Me” in the corner. -19. Q 4. 20. P 4. - -The game is about even. - - - - - -XIX - -No Handicap - - BLACK WHITE - -1. C 4. “Komoku.” 2. E 3. -3. H 3. “Nikken basami.” 4. D 5. White attacks the - stone at C 4. -5. D 4. 6. E 4. -7. E 5. This is a bad move if 8. D 6. - White replies correctly, - otherwise Black gets the - better of it. -9. F 5. 10. D 2. This is an important - move; it attacks the black - stones on line 4 and also - prepares for White to - extend at G 4. C 2 would - be bad, as Black would - play at F 4. -11. B 6. Black defends his 12. G 4. - threatened position. -13. F 7. 14. D 8. White must extend. -15. B 2. 16. H 4. - -Black’s third stone at H 3 is now called “Uke ishi,” or a “floating -stone.” White has the better position. - - - - - -XX - -No Handicap - -Plate 24 (C) - - BLACK WHITE - -1. D 17. “Komoku.” 2. C 15. -3. C 12. “Nikken basami.” 4. D 12. White attacks the - stone at C 12 in this - variation. -5. D 11. 6. C 13. -7. C 11. 8. G 17. White attacks the - other black stone. -9. E 16. 10. F 15. -11. C 16. The old book move 12. E 15. - was E 15, but this gave - “Tenuki” to White. - -Even game. - - - - - -XXI - -No Handicap - - BLACK WHITE - -1. C 4. “Komoku.” 2. E 3. -3. J 3. “Sangen basami.” This 4. R 4. White takes advantage - move attacks the white of his opportunity and - stone but not so directly plays in another corner. - as the preceding - variation. It is the - invention of Honinbo - Dosaku. -5. D 3. 6. E 4. -7. B 6. 8. J 5. -9. M 3. It will be seen in 10. H 3. - this variation that the - stones are played farther - apart than in the - preceding “Joseki.” -11. H 2. 12. H 4. -13. D 8. This is an important 14. O 3. - move for Black. -15. M 5. 16. L 4. “Nozoku.” It - threatens Black’s - connection on lines M and - 3. -17. L 3. If Black defends at M 18. G 2. - 4, White replies at K 2. -19. J 2. 20. L 5. -21. M 4. 22. P 5. - -This “Joseki” really deals with two corners. - - - - - -XXII - -No Handicap - -Plate 24 (D) - - BLACK WHITE - -1. D 3. “Komoku.” 2. C 5. -3. C 9. “Sangen basami.” 4. C 3. -5. C 2. 6. D 4. -7. E 3. 8. B 3. -9. E 4. Preparatory to 11 at 10. D 6. A good move. E 5 - C 15; generally No. 9 is would be bad, because - played at H 3. Black would reply at D 6 - with a better game. -11. C 15. (Not in diagram.) - - - - - -We will now insert ten examples of openings, as distinguished from -“Joseki.” As already stated, these are by Murase Shuho. In these -examples Black is supposed to make the best possible moves, and -therefore White always finds himself at a disadvantage. - - - - - -I - -Plate 25 - -Black has a handicap of four stones. - - WHITE BLACK - -1. R 14. 2. Q 14. -3. Q 13. 4. P 14. -5. R 15. 6. R 16. -7. O 3. 8. R 10. Formerly in such a - case as this Black played - at R 7. This move replied - to White’s move at O 3 and - at the same time from a - distance attacked White’s - stones at R 14 and R 15. - It is better to confine - the last two stones by the - text move. -9. P 13. 10. R 12. -11. Q 15. 12. P 15. -13. R 13. 14. P 16. -15. N 13. 16. P 10. This move is better - than R 7. -17. R 3. 18. R 4. This move is better - than Q 3, which although - it cuts off O 3 and R 3 - would leave Black’s stone - at R 10 weak. -19. Q 3. 20. P 4. -21. P 3. 22. N 5. -23. L 17. 24. G 17. -25. O 17. 26. N 16. -27. P 18. 28. Q 18. Black is quite - satisfied to have merely - the necessary two “Me” in - this corner, because he - has a much larger - territory to the left. -29. J 17. 30. C 10. -31. Q 6. 32. O 4. -33. M 4. This move is better 34. O 8. - than O 7 because Black - could follow at N 3 in - that case. Q 6 is a “Sute - ishi” or sacrificed stone. - It has the effect of - forcing Black to play 34 O - 8, and later on will help - still further to narrow - down Black’s territory. At - the same time every attack - on the Black position from - the outside would be made - more effective by the - presence of this stone. - Possibly it could also be - used later in “Ko.” Black - makes his 36th, 38th and - 40th moves in order to - secure his position which - is weakened by the - presence of the white - stone at Q 6. -35. F 3. 36. M 5. -37. L 4. 38. L 5. -39. K 5. 40. K 6. -41. J 5. 42. F 4. -43. G 4. 44. E 3. -45. F 5. 46. E 4. -47. G 3. 48. D 7. -49. R 18. Beginners would play 50. P 17. - at S 16 or Q 17. -51. O 18. 52. Q 19. - - - - - -II - -Plate 26 - -Black has a handicap of four stones. - - WHITE BLACK - -1. R 14. 2. Q 14. -3. Q 13. 4. P 14. -5. R 15. 6. R 16. -7. R 10. 8. K 17. -9. O 3. 10. G 3. -11. H 17. 12. F 17. -13. M 17. 14. O 17. -15. O 18. 16. P 17. -17. K 18. 18. L 18. -19. L 17. 20. J 18. -21. K 16. 22. J 17. -23. J 16. 24. H 18. -25. M 18. 26. P 3. -27. O 4. 28. Q 6. This move has the - same effect as R 6. -29. J 3. 30. C 10. -31. C 6. 32. C 4. -33. C 8. 34. E 10. -35. F 7. 36. G 5. -37. C 12. 38. D 7. -39. D 8. 40. C 11. This move is very - important because it - prevents the stone at C 12 - from making a connection - with that at C 8. -41. E 12. 42. F 9. -43. F 8. 44. H 9. -45. H 7. 46. H 12. -47. C 14. 48. K 19. -49. M 15. 50. J 5. -51. K 7. 52. K 9. -53. L 3. 54. R 8. - - - - - -III - -Plate 27 - -Black has a handicap of three stones. - - WHITE BLACK - -1. R 4. 2. P 3. -3. L 3. 4. G 3. -5. Q 3. 6. P 4. -7. Q 6. 8. M 5. The following is also - good. - - B. L 5, M 3, M 4 - W. J 3, M 2, Q 8 - - White playing at Q 8 in - order to prevent Black - from playing at R 5. -9. K 4. 10. K 6. -11. H 4. 12. G 4. -13. J 6. 14. K 7. -15. G 6. 16. R 11. Black cannot play at - R 5 without seeing P 3 and - 4 cut off. -17. R 9. 18. Q 14. -19. C 6. 20. C 4. -21. C 14. 22. G 17. -23. C 17. 24. C 16. -25. D 17. 26. E 16. -27. B 16. 28. B 15. -29. B 17. 30. C 15. -31. E 17. 32. F 17. -33. D 14. 34. F 15. -35. M 17. 36. C 8. -37. E 6. 38. D 11. -39. B 14. The ordinary answer 40. E 8. - to this is A 14, but this - time Black cannot play in - this way since White would - follow at B 12 and thus - threaten the black stones - at C 8 and D 11. -41. J 7. 42. K 8. -43. H 9. 44. G 11. -45. A 15. Black could not 46. J 10. - occupy A 14 on his 42d and - 44th moves. -47. H 3. 48. O 17. -49. J 17. 50. G 2. This move is - necessary for the security - of the Black position, and - at the same time Black - does not lose the “Sente” - by this move. - - - - - -IV - -Plate 28 - -Black has a handicap of three stones. - - WHITE BLACK - -1. R 14. 2. R 5. -3. P 4. 4. Q 3. -5. P 3. 6. Q 2. -7. R 7. Formerly in this case 8. R 6. - White played at L 3 and - Black replied at Q 6. -9. Q 7. 10. P 5. -11. O 17. 12. Q 14. -13. Q 13. 14. P 14. -15. R 15. 16. R 16. -17. P 13. 18. O 16. -19. N 16. 20. P 17. -21. O 18. 22. O 13. -23. O 12. 24. O 14. -25. K 17. 26. L 3. -27. C 14. At this move White 28. L 5. - abandons P 3 and 4. If he - replied to Black L 3, then - there would follow: - - B. L 3, L 4, L 5, L 6, G 4 - W. M 4, M 5, M 6, M 7 - - and Black has a decisive - advantage. -29. C 8. 30. C 6. -31. E 14. 32. C 15. -33. B 14. 34. F 16. -35. E 2. 36. D 2. -37. D 3. 38. C 3. -39. E 3. 40. C 2. -41. J 3. 42. E 4. -43. G 3. 44. K 2. The importance of - this move, when a - territory merely has the - protection of L 3-L 5, has - been commented on before. -45. J 5. 46. P 6. -47. O 8. 48. N 12. -49. O 11. 50. H 17. - - - - - -V - -Plate 29 - -Black has a handicap of two stones. - - WHITE BLACK - -1. R 4. 2. D 15. -3. D 17. 4. F 16. -5. C 15. 6. C 14. -7. C 16. 8. D 14. -9. C 8. F 17 is just as good. 10. E 18. - Then would follow: - - B. G 17 - W. F 18 -11. D 18. 12. P 3. -13. L 3. 14. P 6. -15. R 7. 16. J 3. -17. L 5. 18. J 5. -19. L 7. 20. R 3. -21. S 3. 22. Q 4. This move and 24-R 2 - are necessary because of - the white stones on line - L. -23. R 5. 24. R 2. -25. O 17. 26. C 6. -27. D 11. 28. F 12. This move is very - good, otherwise White - plays at E 16 and breaks - into the Black position. -29. F 9. 30. Q 14. -31. K 16. 32. R 9. -33. S 2. If Black plays at R 34. P 9. - 9, this move is necessary - for the security of the - white group. -35. C 12. 36. E 17. -37. D 16. 38. F 14. -39. G 15. 40. F 15. -41. H 17. 42. J 7. -43. O 4. 44. Q 5. -45. R 8. 46. M 6. -47. L 6. 48. Q 9. -49. F 3. 50. E 3. -51. G 2. This is a fine move. 52. K 2. - By means of it Black is - compelled to play at K 2 - and White can occupy F 5 - on his 53d move and thus - escape, whereas without G - 2 White could only have - played at F 4, whereupon - Black could have cut off - the retreat at F 6. - - - - - -VI - -Plate 30 - -Black has a handicap of two stones. - - WHITE BLACK - -1. Q 3. 2. D 17. -3. C 15. 4. C 13. -5. J 17. 6. D 15. -7. D 16. 8. E 16. -9. C 16. 10. D 14. -11. C 17. 12. E 18. -13. C 18. 14. L 17. Black could prevent - White’s next move of E 15 - by playing 14–G 15. -15. E 15. 16. F 16. -17. E 13. 18. E 14. -19. F 15. “Shicho” is 20. H 16. This move makes the - impossible because White Black position secure. - already occupies Q 3. -21. F 14. 22. C 11. -23. L 16. 24. M 17. -25. J 16. 26. H 15. -27. G 13. 28. J 14. -29. M 16. 30. N 16. -31. N 15. 32. O 16. -33. L 14. 34. J 12. -35. G 11. 36. D 9. -37. H 10. 38. J 10. -39. J 9. 40. K 10. -41. G 8. 42. D 6. -43. K 9. 44. L 10. -45. M 8. 46. N 10. -47. J 15. 48. H 14. -49. N 13. 50. J 3. White could not - occupy this point without - endangering the upper - position. -51. L 3. 52. J 5. -53. P 8. 54. P 10. -55. Q 13. 56. L 5. Black does not need - to further defend his - position E 17-P 10, - because it surely has two - “Me.” - - - - - -VII - -No Handicap - -Plate 31 - - BLACK WHITE - -1. C 4. 2. Q 3. -3. D 17. 4. E 3. -5. D 5. 6. R 16. -7. R 5. 8. O 17. -9. F 4. 10. G 3. -11. O 4. 12. O 3. From here the game - might continue as follows: - - B. W. - N 3 P 4 - O 2 P 3 - N 4 Q 6 - R 7 K 3 - - but this is bad for Black. -13. P 4. 14. P 3. -15. N 4. M 3 would be just as 16. R 4. - good. -17. N 3. 18. S 5. -19. J 3. 20. C 11. White abandons the - stones at E 3 and G 3. If - he were to play at G 4, - Black would reply at C 11 - with too great an - advantage. -21. C 14. 22. C 8. -23. D 3. 24. J 17. -25. G 17. 26. J 15. -27. J 5. Now the two white 28. Q 12. - stones are cut off. -29. L 15. Black cannot venture 30. L 17. - any farther in. -31. P 16. 32. P 17. -33. Q 16. 34. Q 17. -35. R 15. 36. S 16. -37. P 13. 38. P 12. -39. N 13. 40. O 13. -41. O 14. 42. O 12. -43. L 13. 44. R 6. -45. D 7. - - - - - -VIII - -No Handicap - -Plate 32 - - BLACK WHITE - -1. C 4. 2. C 16. -3. Q 3. 4. R 5. -5. R 9. 6. O 5. -7. N 3. 8. R 12. -9. P 9. 10. Q 16. -11. R 4. 12. Q 5. -13. P 4. 14. P 5. -15. M 4. 16. M 7. -17. O 17. 18. E 16. -19. C 10. 20. E 3. -21. D 5. 22. K 17. -23. R 17. 24. Q 17. -25. R 16. 26. Q 15. -27. Q 18. 28. P 18. -29. R 18. 30. P 17. -31. R 14. 32. Q 14. -33. R 13. 34. Q 13. -35. S 12. 36. K 15. -37. C 13. 38. E 13. -39. Q 12. 40. R 15. -41. S 15. 42. S 16. -43. S 14. 44. P 12. -45. R 11. Takes. 46. M 5. This move is - necessary because Black’s - position above it has - become strong. -47. O 13. The continuation - would now be either 48 P - 13, 49 O 15, or 48 O 15, - 49 P 13. - - - - - -IX - -No Handicap - -Plate 33 - - BLACK WHITE - -1. C 4. 2. Q 3. -3. D 17. 4. E 3. -5. R 16. 6. C 15. -7. D 5. 8. P 17. -9. F 4. 10. C 11. White cannot play 10 - at G 3 because Black would - then occupy C 11. -11. F 3. 12. K 3. -13. R 5. 14. O 4. -15. F 16. 16. H 17. -17. C 13. 18. C 8. Abandoning the stone - at C 15. -19. C 16. 20. R 13. -21. Q 15. 22. N 16. -23. Q 17. 24. P 18. -25. R 9. If 25 were played at 26. P 14. - Q 8, 26 R 8 would be the - result. -27. O 16. 28. O 15. -29. P 16. 30. N 17. -31. Q 18. 32. R 7. -33. S 7. This move insures a 34. E 4. This move rescues No. - connection between the 4. - stones at R 5 and R 9. -35. E 2. 36. D 2. -37. G 2. 38. E 5. -39. D 3. 40. D 6. -41. C 3. 42. H 15. -43. Q 7. 44. N 13. This prevents Black - from cutting at N 15 and Q - 13. -45. F 14. 46. C 6. -47. G 13. - - - - - -X - -No Handicap - -Plate 34 - - BLACK WHITE - -1. C 4. 2. Q 3. -3. D 17. 4. E 3. -5. R 16. 6. C 15. -7. D 5. 8. F 16. -9. D 15. 10. D 16. -11. E 16. 12. C 16. -13. E 17. 14. E 15. -15. D 14. 16. C 17. -17. F 17. 18. G 16. -19. H 18. This move is much 20. C 14. - better than G 17. -21. E 14. 22. F 15. -23. F 14. 24. H 16. -25. J 17. 26. G 18. -27. F 18. 28. G 14. -29. E 12. 30. C 11. -31. G 13. 32. H 13. -33. G 12. H 14 would be bad. 34. J 14. -35. M 17. 36. J 11 -37. G 10. 38. Q 5. -39. R 10. 40. R 8. -41. P 16. 42. J 3. -43. P 10. 44. P 12. -45. R 12. 46. R 17. A sacrifice. -47. Q 17. 48. D 8. -49. H 9. 50. N 12. - - - - - - - - -VII - -THE END GAME - - -A work on the game of Go would not be complete without a chapter -especially devoted to the subject of the end game. - -On the average a game of Go consists of about two hundred and fifty -moves, and we might say that about twenty of these moves belong to the -opening, about one hundred and fifty to the main part of the game, and -the remaining eighty to the end game. The moves which may be regarded -as belonging to the end game are those which connect the various groups -of stones with the margin, and which fill up the space between the -opposing groups of stones. Of course, there is no sharp distinction -between the main game and the end game. Long before the main game is -finished moves occur which bear the characteristics of end game play, -and as the game progresses moves of this kind become more and more -frequent, until at last all of the moves are strictly part of the end -game. - -Toward the end of the game it becomes possible to calculate the value -of a move with greater accuracy than in the middle of the game, and in -many cases the number of points which may be gained by a certain move -may be ascertained with absolute accuracy. Therefore, when the main -game is nearing completion, the players survey the board in order to -locate the most advantageous end plays; that is to say, positions where -they can gain the greatest number of “Me.” In calculating the value of -an end position, a player must carefully consider whether on its -completion he will retain or lose the “Sente.” It is an advantage to -retain the “Sente,” and it is generally good play to choose an end -position where the “Sente” is retained, in preference to an end -position where it is lost, even if the latter would gain a few more -“Me.” - -The player holding the “Sente” would, therefore, complete in rotation -those end positions which allowed him to retain it, commencing, of -course, with those involving the greatest number of “Me.” He would at -last come to a point, however, where it would be more advantageous to -play some end position which gained for him quite a number of points, -although on its completion the “Sente” would be lost. His adversary, -thereupon gaining the “Sente,” would, in turn, play his series of end -positions until it became advantageous for him to relinquish it. By -this process the value of the contested end positions would become -smaller and smaller, until at last there would remain only the filling -of isolated, vacant intersections between the opposing lines, the -occupation of which results in no advantage for either player. These -moves are called “Dame,” as we have already seen. - -This is the general scheme of an end game, but, of course, in actual -play there would be many departures therefrom. Sometimes an advantage -can be gained by making an unsound though dangerous move, in the hope -that the adversary may make some error in replying thereto. Then again, -in playing against a player who lacks initiative, it is not so -necessary to consider the certainty of retaining the “Sente” as when -opposed by a more aggressive adversary. Frequently also the players -differ in their estimate of the value of the various end positions, and -do not, therefore, respond to each other’s attacks. In this way the -possession of the “Sente” generally changes more frequently during the -end game than is logically necessary. - -The process of connecting the various groups with the edge of the board -gives rise to end positions in which there is more or less similarity -in all games, and most of the illustrations which are now given are -examples of this class. The end positions which occur in the middle of -the board may vary so much in every game that it is practically -impossible to give typical illustrations of them. - -Of course, in an introductory work of this character it is not -practicable to give a great many examples of end positions, and I have -prepared only twelve, which are selected from the work of Inouye -Hoshin, and which are annotated so that the reasons for the moves may -be understood by beginners. The number of “Me” gained in each case is -stated, and also whether the “Sente” is lost or retained. To these -twelve examples I have added eight positions from Korschelt’s work. - - - - - -I - -Plate 35 (A) - -The following stones are on the board: White, S 15, R 14, P 14, L 17; -Black, R 16, Q 16, N 15, N 17. - -If White has the “Sente,” he gains eight “Me,” counting together what -he wins and Black loses. - - WHITE BLACK - -1. S 17. This is White’s only 2. S 16. If Black had had the - good move; S 16 does not move or “Sente,” he could - take advantage of the have avoided White’s - opportunity, and he cannot invasion by playing here. - risk S 18. -3. T 16. An instance of 4. R 17. - “Watari.” -5. S 18. White cannot venture 6. R 18. If Black neglects - to play at R 18. this, White would jump to - Q 18. - -White retains the “Sente.” - - - - - -II - -Plate 35 (B) - -The following stones are on the board: White, R 9, O 5, O 3; Black, P -7, Q 3, Q 4, R 7. - -If White has the first move, it makes a difference of six “Me.” - - WHITE BLACK - -1. P 2. 2. Q 2. -3. Q 1. 4. R.1 -5. P 1. 6. S 2. Black cannot neglect - this move. - -White retains the “Sente.” - -If Black had had the first move, the play would have been as follows: - - BLACK WHITE - -1. P 2. 2. O 2. -3. O 1. 4. N 1. -5. P 1. 6. M 2. - -And Black has the “Sente.” - - - - - -III - -Plate 35 (C) - -The following stones are on the board: White, B 16, C 14, E 15; Black, -C 17, D 16, E 16, G 17. - -If White has the move, it makes a difference of seven “Me.” - - WHITE BLACK - -1. B 17. White dare not go to 2. B 18. - B 18 because he would be - cut off eventually at B - 15. -3. A 18. 4. C 18. - -White retains the “Sente.” - - - - - -IV - -Plate 35 (D) - -The following stones are on the board: White, B 8, C 7, C 8, D 6, E 2, -E 6, F 3, F 5; Black, B 6, B 7, C 6, D 2, 3, 4, 5. - -If White has the move, it makes a difference of four “Me.” - - WHITE BLACK - -1. B 4. This stone is 2. B 3. Black’s best move - sacrificed, but there is because it defends the - no loss because it is so connection at C 5, and - threatening that Black also prevents White from - must play twice in order trying to connect at D 1. - to make his position - secure, meanwhile White - advances on line A. -3. A 7. White gains one “Me” 4. A 6. - by this move. -5. A 8. 6. C 4. Necessary because the - connection at C 5 is now - in immediate danger, but - Black thereby fills up - another of his “Me,” and - White retains the “Sente.” - - - - - -V - -Plate 36 (A) - -The following stones are on the board: White, M 16, M 17, M 18, N 16, O -15, P 14, R 14; Black, N 17, N 18, O 16, P 16, Q 16, R 16. - -If White has the “Sente,” it makes a difference of six “Me.” - - WHITE BLACK - -1. N 19. 2. O 18. Black cannot stop - the invasion at O 19, as - White would then play at O - 18 and kill the black - stones on line N. -3. O 19. White pushes his 4. P 19. Black can now arrest - invasion farther. the advance. -5. M 19. 6. P 18. - -White retains the “Sente.” - - - - - -VI - -Plate 36 (B) - -The following stones are on the board: Black, M 2, M 3, N 3, N 4, O 4, -Q 4, R 4, S 4; White, L 3, N 2, O 2, O 3, P 3, R 2, S 3, R 6. - -Black has the “Sente” and gains nine “Me.” - - BLACK WHITE - -1. T 3. 2. Q 2. The obvious answer is - at T 2, but if White plays - there, Black replies at Q - 2 and White loses all his - stones unless he can win - by “Ko.” He plays at Q 2 - in order to form the - necessary two “Me.” -3. S 2. Black proceeds with 4. P 1. If White tries to - his invasion. save his stone by playing - at R 3, Black replies at P - 1, and the white group is - dead. - -Black retains the “Sente.” - - - - - -VII - -Plate 36 (C) - -The following stones are on the board: Black, B 17, C 17, D 16, G 17; -White, B 16, C 13. - - BLACK WHITE - -1. B 14. This move is really 2. C 14. C 15 is not so good. - “Go te”; that is to say, - White is not forced to - reply to it, but it is - very advantageous for - Black, as it effectively - separates White’s two - stones. -3. B 15. The white stone at B - 16 is now hopeless. - -Black has given up the “Sente,” but has gained considerable ground. - - - - - -VIII - -Plate 36 (D) - -The following stones are on the board: Black, C 4, D 4, E 4, C 7; -White, C 3, D 3, E 3, F 3. - -Black has the move. - - BLACK WHITE - -1. B 3. 2. B 2. -3. B 4. - -These moves seem obvious, but the importance of Black’s opportunity is -likely to be underestimated; Black gains about eleven “Me” by this -play. If the opposing lines extend one space nearer the edge of the -board, the territory gained by a similar attack is not nearly so great. - - - - - -IX - -Plate 37 (A) - -The following stones are on the board: White, M 16, N 16, N 18, O 17, P -18, Q 17, 18; Black, N 15, O 15, 16, P 16, 17, Q 16, R 12, R 17. - -White has the move. - - WHITE BLACK - -1. S 17. 2. S 16. -3. R 18. 4. R 16. -5. T 18. - -White has given up the “Sente,” but these moves make a difference in -his favor of about fourteen “Me.” - - - - - -X - -Plate 37 (B) - -The following stones are on the board: White, M 3, O 3, P 2, Q 3, R 2; -Black, N 4, O 4, Q 5, R 3, R 4. - -White has the move. - - WHITE BLACK - -1. S 2. - -This move is really “Go te,” but if Black neglects to answer it, White -can then jump to T 5. This jump is called by a special name “O zaru,” -or the “big monkey,” and would gain about eight “Me” for White. - - - - - -XI - -Plate 37 (C) - -The following stones are on the board: White, C 15, D 15, E 15, 16; -Black, C 16, D 16, E 17, 18, F 16, G 17. - -White has the move. - - WHITE BLACK - -1. B 16. 2. B 17. -3. B 15. - -White has given up the “Sente” and has gained somewhat, but if Black -now neglects to defend and plays elsewhere, White can jump to B 18, and -gain about seventeen “Me” altogether. - - - - - -XII - -Plate 37 (D) - -The following stones are on the board: White, B 8, C 7, 11, D 5, 6, 7, -E 6; Black, B 7, C 5, 6, D 3, 4, E 4, 5. - -White has the move. - - WHITE BLACK - -1. B 6. 2. B 5. -3. A 7. Takes. - -White has given up the “Sente,” but this method of play gains about -fourteen “Me,” as it is now no longer necessary to protect the -connection at C 8. - - - - - -We will now insert two plates from Korschelt’s book. The notes at the -foot of the illustrations are his. - - - - - - - - -VIII - -PROBLEMS - - -After the student has become familiar with the rules and the methods of -play, and perhaps has played a few games either with another beginner -or with a Japanese master, the impression left on the mind is likely to -be that the game is too vague, and that there is too wide a latitude of -choice of positions where stones may be placed. This impression might -be corrected by the study of illustrative games, or of “Joseki” and end -positions, but such a course is rather dry and uninteresting, and, in -the opinion of the author, by far the best way of attaining a correct -idea of the game is by means of problems. - -Many of us are familiar with Chess problems, and I think Chess players -will agree that they benefit the student of Chess very little, because -the assumed positions are not such as arise frequently in actual play. -The opposite is the case in regard to Go problems. These are for the -most part taken from actual games, and the typical problem is a -situation that is quite likely to arise in actual play, and some of -them are positions that occur again and again. - -If the student of the game will set up these positions from the text -and attempt to solve them, preferably with the aid and encouragement of -some friend, he will find that the task is an interesting one, and he -will be impressed by the great accuracy which is necessary in attacking -and defending difficult positions. - -With the knowledge obtained in this way, he will be able to judge with -far greater skill what to do when a position is threatened in actual -play. He will be able to distinguish whether the danger is real, and -whether it is, therefore, necessary to reply to his adversary’s attack, -or whether he can afford to ignore it and assume the “Sente” in some -other part of the board. He will also be able to perceive when an -adversary’s group is vulnerable so that it will be profitable to attack -it. - -The collection of problems which I have given in this book are -rearranged from Korschelt’s work, and they were in turn taken by him -from a Japanese treatise called “Go Kiyo Shiyu Miyo.” Necessarily the -collection here given is a very small one, but if any reader of this -book becomes so much interested in the game that he desires to study -other examples, he will doubtless find some Japanese acquaintance who -can supply him with further material, as the Japanese literature of the -game contains large collections. - -The most important kind of problems are those in which the question is -how to kill an adversary’s group, or how to save one’s own group when -threatened. It is also often very important to know how a connection -between two groups can be forced. - -For greater clearness these problems are arranged under seven heads; to -wit, - -1. Saving Threatened Groups. - -2. Killing Groups. - -3. Playing for “Ko.” - - The advantage gained by this operation is not apparent in the group - itself, but depends upon which player has the larger threatened - group elsewhere. - -4. Reciprocal Attacks or “Semeai.” - - This is a combination of the first two kinds of problems, and it - only differs from them in that both players have comparatively - strong groups which are so intertwined that both cannot live, and - the question is, which can kill the other first. - -5. Connecting Groups. - - The problem here is to force a connection between a small group - having insufficient “Me” and some larger group. - -6. “Oi otoshi.” - - This really means a “robber’s attack.” It arises where a group is - apparently engulfed by the opponent, and when, by adding further - stones to it which the opponent must take, the threatened player - can force his opponent to abandon a part of his surrounding chain - in order not to sustain greater losses. The attack is so sudden and - unexpected that the Japanese compare it to the methods of a - highwayman. It is an example of the finest play in the game. - -7. Cutting. - - This is another method of escape, and the problem is to cut off and - kill part of the adversary’s surrounding chain. - - - -In the following examples the side having the first move is given in -italics. - - - - - -I. SAVING THREATENED GROUPS - -1. (Plate 40, A) White, Q 18, R 18, S 16, 17, 18. - Black, O 17, P 18, Q 17, R 15, 17, S 15. - -2. (Plate 40, B) White, O 3, Q 3, 4, R 3, 5, S 5. - Black, R 2, 4, S 3, 4. - -3. (Plate 40, C) White, A 14, B 11, 13, C 13, 14, 15, 17, D 17, 18, - E 16, F 17. - Black, A 13, B 14, 15, 17, 18, C 16, 18. - -4. (Plate 40, D) White, B 3, C 3, D 2, E 2. - Black, B 4, C 4, D 3, E 3, F 2, G 3. - -5. White, B 5, C 4, D 5, E 2, 3, 4, G 2. - Black, B 3, 4, D 2, 3, E 1. - -6. White, B 12, 13, 15, 16, C 13, 15, D 13, 14. - Black, A 16, B 11, 17, C 10, 12, 16, D 12, 15, 16, E 13, 14. - -7. White, M 16, 17, N 16, O 15, 17, P 14, 17, Q 18, R 14, S 15. - Black, N 17, O 16, P 16, Q 16, R 16, S 16, 18. - -8. White, O 1, P 2, Q 2, 3, R 3, S 3, 4. - Black, N 2, O 2, P 1, 3, 4, Q 4, R 4, 6, S 5, T 4. - -9. White, A 4, B 5, 6, C 4, D 5, E 2, 3, 4. - Black, A 5, B 3, 4, C 3, D 2, 3. - -10. White, B 15, 16, C 17, 18, D 18. - Black, A 15, B 14, C 14, 15, 16, D 17, E 17, 18. - -11. White, L 18, M 16, 17, N 14, 18, O 13, 19, P 18, Q 12, 13, 17, 18, - R 12, 14, 18, S 14, 17, 19. - Black, N 17, O 15, 17, 18, P 14, 17, Q 14, 15, 16, R 13, 16, 17, - S 13, 18. - -12. White, Q 3, R 2, 3, S 3. - Black, P 2, 3, 5, Q 2, 4, R 5, 7. - -13. White, B 2, C 3, D 1, 3, E 2. - Black, B 4, C 5, D 4, E 3, 4, F 1, 2, G 3. - -14. White, A 16, B 15, C 15, 16, D 17, E 17, F 18, G 18. - Black, B 16, 17, C 17, D 18, E 18, F 19. - -15. White, Q 15, R 14, 15, 16, S 17. - Black, P 15, 17, Q 13, 14, 16, R 11, 12, 17, 18. - -16. White, R 3, 4, 5, S 2. - Black, O 3, P 3, Q 4, 6, R 6, S 6, T 3. - -17. White, B 4, C 3, 4, 5, E 4, F 2, 3, H 2. - Black, B 3, C 2, D 3, E 2, F 1. - -18. White, C 13, 15, 16, 17, E 14, 15, 16. - Black, B 14, 15, C 12, 14, D 13, 17, E 12, 17, F 15, 16, G 13. - -19. White, M 17, N 18, O 17, 19, P 15, 17, R 14, 16, S 16. - Black, O 18, P 18, Q 16, 17, R 17, S 17. - -20. White, P 2, 3, 6, Q 2, 4, R 2, 4, 6, 7. - Black, Q 3, R 1, 3, 9, S 2, 4, 5. - -21. White, B 13, 14, 16, C 13, D 13, 14, 15, 18, E 16, 17. - Black, B 15, C 14, 15, 17, 18, D 16. - -22. White, C 7, D 3, 5, 6, E 2, 3, 7, F 5. - Black, C 2, 4, 5, 6, 9, 10, D 2, E 8, F 2, 8, G 3, 5, 6, J 3. - -23. White, O 2, 3, 4, 6, Q 4, R 4, 6, S 5, T 4. - Black, P 2, 3, R 3, S 3, 4. - -24. White, Q 17, R 16, 17, S 18. - Black, N 17, O 17, P 16, Q 16, R 15, S 16, 17. - - - - - -II. KILLING GROUPS - -1. (Plate 41, A) White, O 17, P 18, Q 14, 15, 16, 17, R 13, S 13, - 14, 15. - Black, Q 18, R 14, 15, 16, 17, 18, S 16, T 15. - -2. (Plate 41, B) White, P 5, Q 3, R 2, 5, S 5, 6. - Black, O 2, P 3, 4, 6, Q 2, 5, R 6, 7, S 8. - -3. (Plate 41, C) White, B 15, 18, C 16, 17. - Black, B 14, C 14, D 15, 16, 17, 18. - -4. (Plate 41, D) White, B 4, C 3, 4, E 1, 3, F 2, 4, G 2. - Black, A 3, B 2, 3, C 2, D 2, E 2, F 1. - -5. White, B 4, C 4, D 3, E 3, F 2, G 3. - Black, A 3, B 3, C 2, D 2, E 2. - -6. White, B 16, C 10, D 13, 15, 16, 17. - Black, B 14, C 12, 15, D 18, E 12, F 14, 15, 17, G 17. - -7. White, P 17, 18, Q 15, 16, R 13, 15. - Black, Q 17, 18, R 16, S 16. - -8. White, Q 1, R 2, 3, 5, S 5. - Black, O 2, Q 2, 3, 4, 5, 6, R 7, S 7. - -9. White, B 5, C 5, 8, D 5, E 2, 4, F 2, 3, 4. - Black, B 4, C 4, D 2, 3, E 3. - -10. White, B 15, C 15, 17, 18. - Black, B 14, C 12, 14, D 15, 16, 17, F 17. - -11. White, M 16, O 15, 16, 18, P 18, Q 14, R 12, 15, 18, S 16. - Black, L 16, P 16, 17, Q 16, 18, S 17, 18. - -12. White, Q 2, R 2, S 3, 4, 5. - Black, P 2, 3, Q 3, R 4, 5, 7, S 6. - -13. White, B 4, C 4, 6, D 4, E 3, F 3, G 2, H 3. - Black, B 3, C 3, D 3, E 2, F 2. - -14. White, C 17, 18, E 16, 17, F 15, G 16, H 16, 17, K 16. - Black, B 17, 18, C 16, D 14, 16, 17, E 13, 15, G 14, 15, 17, J 14, - 15, K 17, L 16. - -15. White, N 17, P 16, 17, 18, Q 15, R 13, 15, S 14. - Black, Q 16, 17, 18, R 16, S 15. - -16. White, P 2, Q 2, R 3. - Black, N 3, O 3, Q 3, 4, R 5. - -17. White, B 16, 17, C 17, D 18, 19. - Black, C 12, 14, 16, D 16, 17, E 18, F 17. - -18. White, H 3, K 3, 4, M 3, N 4, O 2, P 3, 4, Q 6, R 5, S 1, 4. - Black, P 1, 2, Q 3, R 2, 3, S 3. - -19. White, M 17, O 16, 17, P 15, R 13, 15, S 15, 16. - Black, P 16, Q 16, 18, R 16, S 17. - - - - - -III. PLAYING FOR “KO” - -1. (Plate 42, A) White, O 16, P 17, 18, Q 16, R 14, 16, S 15. - Black, Q 17, 18, R 17, S 16. - -2. (Plate 42, B) White, O 4, 5, P 2, 3, 6, R 2, 6, 7, S 3, 5. - Black, L 3, N 3, O 3, P 4, Q 4, R 4, 9, S 4, 7, T 4. - -3. (Plate 42, C) White, B 16, 17, C 18. - Black, C 13, 15, 16, 17, D 18, E 17. - -4. (Plate 42, D) White, B 4, C 4, D 4, E 3, 4, F 2, G 4. - Black, C 2, 3, D 3, E 2. - -5. White, B 4, C 4, D 3, E 3, F 2, 3. - Black, B 3, C 1, 3, D 2, E 2. - -6. White, C 15, 16, 17, D 18. - Black, B 14, C 12, 14, D 15, 16, 17, E 18, F 17. - -7. White, P 17, 18, Q 17, R 15, 16, S 15. - Black, Q 18, R 17, 19, S 16, 17. - -8. White, Q 3, R 3, S 4. - Black, O 3, P 3, Q 4, R 4, 6, S 5. - -9. White, B 5, C 4, 5, E 4, F 4, H 2, 4, 5, J 3. - Black, B 3, 4, D 3, E 3, F 3, G 3. - -10. White, B 15, 16, C 17, 18, D 19. - Black, B 14, 18, C 14, 15, D 16, 18, E 18, F 16. - -11. White, N 17, O 18, P 16, 17, Q 16, R 16, S 16. - Black, P 18, Q 17, R 17, S 17. - -12. White, P 2, Q 2, R 3, 4, S 2. - Black, M 3, O 3, P 3, Q 5, R 5, S 3, 4, T 2. - -13. White, A 2, B 3, 4, C 5, D 4, 5, F 4, G 2, 3. - Black, B 2, C 3, 4, D 3, E 3, F 2. - -14. White, C 15, 16, 17, D 16. - Black, C 14, D 14, 15, 17, 18, E 16, F 17. - -15. White, N 17, O 18, P 16, 17, Q 15, R 15, S 16. - Black, P 18, Q 16, 17, S 17. - -16. White, R 2, 4, S 3. - Black, O 3, P 4, Q 2, 4, R 5, 6, S 4. - - - - - -IV. RECIPROCAL ATTACKS (“SEMEAI”) - -1. (Plate 43, A) White, N 17, P 17, Q 17, R 17, S 18. - Black, Q 18, R 14, 16, 18, S 16, 17. - -2. (Plate 43, B) White, O 3, P 2, Q 2, R 3, S 3, 5. - Black, Q 3, 4, R 2, 6, S 2, 7. - -3. (Plate 43, C) White, B 15, 16, C 15, 17, 18, D 17, E 18. - Black, B 17, C 16, D 16, 18, E 16, 17, F 18. - -4. (Plate 43, D) White, B 2, 3, 4, C 5, D 3, 4, 6, F 3, G 2, 3. - Black, B 5, 6, C 2, 3, 4, 7, D 2, E 2, F 2. - -5. White, B 3, C 2, 3, 4, D 4, E 3, F 3, G 2, 3. - Black, A 3, 5, B 4, 6, C 5, D 2, 3, 5, E 2, 4, 5, F 2. - -6. White, B 14, 15, 16, 19, C 15, 17, 18, D 18, E 17, F 17. - Black, B 13, 17, 18, C 13, 14, 16, D 15, 16, 17, E 14. - -7. White, N 17, O 17, Q 16, 17, R 18, S 18. - Black, P 18, Q 15, 18, R 15, 17, S 17. - -8. White, P 2, 4, Q 2, 6, R 3, 7, S 3, 6. - Black, N 3, O 2, 3, P 3, Q 3, R 4, 5, S 4. - -9. White, A 4, B 5, C 5, 7, D 2, 3, 5, E 3, 4. - Black, B 3, 4, C 2, 4, D 4, 6, E 5, 6, F 2, 4, G 3. - -10. White, B 13, 14, 15, C 15, 18, D 16, 17, 18. - Black, B 12, 16, C 12, 13, 14, 16, 17, D 15, E 15. - -11. White, O 2, 4, P 2, 4, Q 2, 3, 5, R 5, 7, S 4. - Black, M 3, N 2, 3, O 3, P 3, Q 4, R 3, 4. - -12. White, Q 11, 12, 13, R 11, 14, 15, S 16, T 14. - Black, Q 14, 15, R 12, 13, 16, 17, 18, S 11, 13. - - - - - -V. CONNECTING GROUPS - -1. (Plate 44, A) White, K 14, 16, 18, L 18, M 13, N 13, 15, O 16, - P 14, 17. - Black, M 16, 18, N 14, 17, Q 14, 15, 16, R 17. - -2. (Plate 44, B) White, N 5, O 4, 6, P 4, Q 3, 8, R 3, 8, S 3, 4, 7, - 9. - Black, N 6, P 5, 6, 8, 9, R 4, 6, 7, 10, 11, S 5. - -3. (Plate 44, C) White, C 11, 12, 13, 14, 18, D 14, 17, E 18, G 17. - Black, B 10, C 9, 16, 17, D 10, 13, 15, E 11, 14, F 13, 16. - -4. (Plate 44, D) White, C 2, 3, 5, 6, E 7, G 3, 5, H 3, 5. - Black, D 3, 5, E 5, F 3, 6, G 6, J 4, 7, K 3, 6. - -5. White, A 2, B 2, 5, C 6, D 3, E 5, 7, F 5, G 2, 3. - Black, C 1, 2, 3, 4, D 4, G 5, H 2, 3, 4. - -6. White, B 13, 17, C 13, 17, D 13, 16, 17, E 17, F 17. - Black, B 15, C 10, 14, 16, D 11, E 14, 16, F 12, 14. - -7. White, M 2, 3, P 2, 3, R 2, 3, 4, S 5, 6. - Black, N 4, P 4, Q 2, 3, 4, 6, R 5, S 2, 3. - -8. White, M 13, 15, N 11, O 10, 15, P 13, Q 9, 14, R 10, 15, S 12, 16. - Black, O 12, 17, P 12, Q 16, R 11, 12, 13, 17, S 13, 17. - -9. White, B 2, 3, C 2, 4, D 6, F 4, 7, G 3, 5, H 3, 5, J 6, K 5, L 4. - Black, C 3, D 2, 3, E 3, 5, F 3, G 4, J 4, 5, K 4, L 3, M 3. - -10. White, C 12, 17, D 9, 14, 18, E 10, 12, 13, 17, F 17, G 15, H 12, - 14. - Black, C 8, 9, 14, 15, 16, D 10, E 15, 16, F 13, 14. - -11. White, H 17, J 17, K 17, N 15, O 15, 17, P 17. - Black, J 16, K 14, 16, M 14, 16, N 16, O 13, Q 14, 17, R 16. - -12. White, Q 8, 9, R 3, 4, 5, 10, 11, 12, S 2. - Black, P 3, 5, 7, 8, 9, Q 2, 5, 10, R 2, 7, S 1. - - - - - -VI. “OI OTOSHI” - -1. (Plate 45, A) White, P 18, Q 15, 16, 17, R 17, 18, S 17. - Black, O 17, 18, P 14, 16, Q 14, R 14, 16, S 16, 18, T 17. - -2. (Plate 45, B) White, N 5, O 4, P 3, 4, 6, Q 2, R 2, 7, S 3, 4, 6, - T 5. - Black, M 4, N 2, 4, O 3, P 1, 2, Q 3, 5, R 3, 5, S 5. - -3. (Plate 45, C) White, A 16, B 13, 15, 17, 18, C 14, 19, D 16, 17, - 18, E 13, 16, F 16, G 14, 15. - Black, B 16, C 15, 16, 17, 18, D 15, E 15, F 15, 17, G 16, 17. - -4. (Plate 45, D) White, B 3, C 1, 3, 4, 5, 6, D 2, E 3, F 2. - Black, A 3, B 2, 4, 5, 6, C 2, 7, D 7, E 4, 6, F 4, G 2, 3. - -5. White, A 3, B 4, C 4, D 3, 4, F 2, 3, 4. - Black, B 3, C 3, 5, 6, D 2, E 2, 6, F 1, G 2, 4, 5, H 3. - -6. White, A 18, B 15, 17, C 14, 18, D 14, 19, E 14, 18, F 15, 18, - G 19, H 16, 17, 18. - Black, A 16, B 16, 18, C 16, D 15, 17, 18, E 17, F 17, G 17, 18. - -7. White, P 5, 6, Q 3, 4, 9, R 3, 9, S 4, 5, 7, 8, T 6. - Black, N 4, P 2, 3, 4, Q 5, R 4, 5, 6, 7, 8, S 6. - -8. White, Q 16, 17, 18, R 13, 14, 15, 16, 18, S 16. - Black, O 17, P 12, 15, 18, Q 13, 15, R 12, 17, S 13, 14, 15, 17, - 18, T 16. - -9. White, A 3, 4, B 4, 6, C 2, 3, 5, D 1, 3, E 3, F 3, G 3, H 3, - J 2, 3. - Black, B 1, 2, 3, C 1, 4, D 2, 4, E 2, 4, F 2, 5, G 2, H 2, 5, - J 1, K 2, 3, 4. - -10. White, A 9, 12, B 8, 10, 11, 13, 14, 16, 17, C 8, 15, D 9, 15, - E 11, 13, 14. - Black, A 18, B 9, 12, 18, C 9, 10, 11, 12, 13, 14, 17, D 14, 17, - E 15, 16. - -11. White, H 17, J 15, 18, L 14, 15, M 14, N 15, 16, 17, O 17, 18, - P 17, Q 17. - Black, K 17, L 16, M 15, 16, 18, N 14, 18, O 14, 19, P 18, Q 15, - 18, R 16, 17. - -12. White, O 4, 6, P 2, 3, 8, Q 9, R 4, 5, 6, 9, S 3, 4, 7, 9, T 7, 8. - Black, Q 3, 4, 5, 6, 7, R 3, 7, 8, S 2, 6, 8, T 2. - - - - - -VII. CUTTING - -1. (Plate 46, A) White, C 15, D 17, 18, E 15, 17, G 18, H 18, J 13, - K 13, 14, 15, 16, 17, 18. - Black, E 18, F 12, 17, 18, G 13, 15, 17, H 12, J 11, 14, L 12, 16, - 18, M 14, 16, N 18. - -2. (Plate 46, B) White, J 3, K 5, 6, L 3, 4, 7, P 3, 5, 7, Q 2, 3, 9, - R 6. - Black, L 5, 8, M 3, 8, N 3, 5, 7, O 3, 8, P 2. - -3. White, C 15, D 18, E 13, 15, 16, 17, H 18, J 12, 15, 17, K 13, 14, - 15, 17. - Black, E 18, F 12, 13, 17, 18, G 15, 17, H 12, 13, J 11, 14, L 12, - 16, 17, M 14. - -4. White, H 5, 7, 9, 10, J 3, K 3, 5, 7, 9, L 2, 3, M 2, 9, O 4, 6, - 7, 8, Q 3, R 3. - Black, G 5, 6, 7, 9, H 3, 4, 8, J 2, M 3, 5, 7, N 2, 3, 5, 7, P 2, - Q 2. - - - - - -SOLUTIONS TO PROBLEMS - -I. SAVING THREATENED GROUPS - -1. T 19. - -2. T 2, S 1, T 4, Q 2, R 1. - -3. A 18, A 16, B 16. - -4. B 2, C 1, B 1, D 1, C 2. - -5. A 2, B 1, A 4 or A 2, A 4, B 1. - -6. C 17, C 18, D 17, E 17, B 18, D 18, A 18, B 19, A 12, A 14, B 14. - -7. O 18, N 18, Q 17, R 18, P 18, N 17, R 17, O 19, R 19, P 19, T 17 - or O 18, P 18, R 18, or O 18, R 18, P 18. - -8. S 2, R 1, S 1. - -9. B 1, A 2, B 2. - -10. A 17, B 19, B 18, A 14, C 19, A 16, A 19, B 17, B 16. - -11. T 16, T 18, T 14 or T 16, S 12, T 18. - -12. S 5, S 6, T 5. - -13. C 1. - -14. B 19. - -15. S 18, S 19, S 13, T 18, S 15, T 17, T 14 or S 18, S 13, T 16. - -16. S 5, T 5, T 4, S 4, T 2, T 6, Q 2, or S 5, T 5, T 4, S 4, T 2, Q 2, - S 3, T 4, T 6, T 4, T 5, S 1, S 8. - -17. A 3, B 1, B 2, E 3, A 1, A 2, C 1. - -18. F 17, G 17, F 18, G 18, D 18, E 18, D 19, E 19, D 16, F 19, B 19, A - 18, B 18, A 17, D 14, C 18, B 17, C 19, B 16, or F 17, G 17, F 18, - G 18, D 18, E 18, D 19, E 19, D 16, F 19, B 19, C 18, B 18. - -19. Q 15, Q 14, R 15, S 15, T 16, S 14, Q 19, T 17, S 18, N 19, R 19. - -20. T 3, S 6, T 5, S 3, R 3. - -21. A 16, A 17, A 15, B 18, B 19, B 17, A 18, A 19, C 19. - -22. C 3, B 3, B 2, B 1, A 2, A 3, B 6, B 5, A 5, A 1, D 4, B 4, B 8, - E 1, B 9. - -23. S 1, T 2, T 3, P 1, Q 1, Q 2, Q 3, R 1, R 2. - -24. T 17, S 15, R 19. - - - -II. KILLING GROUPS - -1. Q 19, S 18, T 17, T 16, R 19, S 19, T 18, P 19, Q 19. - -2. S 2, Q 4, O 5, R 3, R 1, S 1, T 1, S 3, T 4, T 3, S 4, or S 2, R 1, - R 4, R 3, Q 4, S 4, S 3. - -3. B 19, C 19, C 18, A 19, A 17. - -4. A 1, D 1, B 1. - -5. B 1, B 2, A 1, E 1, C 1. - -6. C 14, E 18, C 18, E 17, B 17, C 16, A 17, A 16, B 19 or C 14, C 18, - E 18, B 18, C 16, C 17, A 16, A 15, A 17, B 15, C 19, B 19, A 18 or - C 14, C 18, E 18, C 16, B 19, C 19, B 18, B 15, A 15. - -7. S 18, R 18, S 19, R 19, S 17, R 17, S 15. - -8. T 5, T 4, R 4, S 4, S 2, S 3, T 2. - -9. B 2, A 2, C 2, D 1, A 4, A 3, A 5, B 3, B 1, D 4, C 1 or B 2, B 3, - C 2, D 1, A 2, B 1, A 4, A 3, D 4. - -10. A 15, A 17, D 18, C 16, A 16, B 16, B 18 or A 15, B 16, D 18. - -11. R 19, P 14, O 13, O 17, N 18, R 17, P 19. - -12. T 2, T 5, T 3, Q 1, S 2, R 3, S 1, or T 2, T 5, T 3, S 2, Q 1, R 1, - T 1. - -13. F 1, D 1, A 3, A 2, B 1, C 1, G 1, B 2, D 2, C 2, E 1. - -14. L 18, G 18, H 19, D 18, E 19 or L 18, D 18, F 18, G 18, F 17, E 18, - H 18. - -15. S 17, S 16, S 19, R 18, S 18, T 18, T 17, T 16, Q 19, R 19, P 19. - -16. S 3, S 2, S 4, T 2, O 2, P 1, R 1, R 2, S 1. - -17. B 19, B 18, E 19, C 18, B 15. - -18. R 1, N 2, O 3, O 1, M 1, M 2, Q 1, L 2, N 1, L 1, N 1, M 1, T 3, - T 2, T 4. - -19. S 18, T 17, R 17, R 18, T 18, Q 17, T 16, R 17, P 18. - - - -III. PLAYING FOR “KO” - -1. S 18, T 16, T 17. - -2. P 1, O 2, T 2, T 3, Q 2, Q 3, R 3, S 2, R 1, T 1, N 2 or P 1, Q 1, - Q 3, Q 2, S 2, T 2, S 1, R 3, O 2 or P 1, S 2, O 2, Q 1, S 6, S 8, - R 5, R 8, Q 3, Q 2, T 3, T 2, S 1. - -3. A 18, C 19, B 19. - -4. D 1, B 2, B 3, A 3, A 2, A 1, B 1. - -5. A 2, B 2, A 3, E 1, B 1. - -6. B 18, D 19, C 19. - -7. T 18, S 18, P 19, T 19, Q 19. - -8. S 2, T 4, T 3. - -9. C 3, C 2, B 1, A 2, E 1, F 1, F 2, E 2, G 1, A 4, C 1, D 1. - -10. A 18, A 17, B 19. - -11. P 19, T 17, T 18, S 19, R 19, R 18, Q 18 or P 19, R 19, S 19, S 18, - T 19 or P 19, S 18, T 18, R 18, Q 18, R 19, S 19. - -12. R 1, S 3, T 1. - -13. C 1, D 2, A 1. - -14. B 14, B 13, B 18, A 14, A 17, C 18, A 15, B 15, B 16. - -15. R 18, R 16, S 19, T 18, T 17, P 19, Q 19. - -16. Q 3, P 2, S 5. - - - -IV. RECIPROCAL ATTACKS (“SEMEAI”) - -1. S 19. - -2. S 4, R 4, R 5, T 4, T 2, T 3, T 6. - -3. B 18, D 19, B 19, C 19, F 19. - -4. B 1. - -5. B 1, A 2, F 1. - -6. A 18. - -7. T 18, R 19, R 16, S 16, S 15, S 14, P 17. - -8. S 2, R 2, T 3. - -9. B 2, A 2, B 1, C 1, C 3, A 1, B 2, B 1, B 5. - -10. A 16, A 17, B 18. - -11. S 2, S 3, R 2, T 2, S 1. - -12. T 12, T 11, S 10. - - - -V. CONNECTING GROUPS - -1. O 15, N 16, M 15, O 14, O 17 or O 15, P 15, P 18, Q 18, P 16, O 17, - O 18, Q 17, O 14. - -2. T 5, T 6, S 6, T 4, Q 5, Q 6, P 7, O 7, O 5, Q 7, R 5, Q 4, R 5, - Q 5, T 3. - -3. E 15, E 16, B 17, B 16, D 16, C 15, A 16. - -4. F 5, E 6, E 2, F 2, E 4, D 4, E 3, D 2, D 1. - -5. F 4, E 4, F 3, E 3, F 2. - -6. A 15, A 16, B 16, A 14, C 15. - -7. Q 1, S 4, R 1, O 3, N 1, O 2, O 1. - -8. S 15, T 15, S 14, R 16, Q 15, R 14, P 14. - -9. J 2, H 2, H 1, J 3, K 3, H 4, G 1, F 2, F 1. - -10. F 12, F 11, D 11, E 11, B 17, B 18, B 11, B 12, A 12, B 13, B 14, - A 13, D 12. - -11. L 16, M 15, M 18, L 18, M 17, L 17, L 19. - -12. S 8, S 7, T 7, R 8, Q 7, S 9, R 9, R 6, T 8, Q 6, T 5 or S 8, S 7, - T 7, R 8, Q 7, R 9, S 9, T 6, Q 6. - - - -VI. “OI OTOSHI” - -1. T 18, T 19, R 19. - -2. S 2, S 1, T 2, T 3, Q 1, T 1, S 2. - -3. B 19, A 19, A 17, A 15, E 18. - -4. A 2, A 1, A 4, A 5, D 1. - -5. C 2, B 2, B 1, C 1, A 2. - -6. B 19, C 19, C 17, A 19, B 18, B 19, A 17. - -7. S 3, S 2, R 2, T 3, Q 2, S 3, T 5, Q 8, T 7, S 9, S 1, Q 7, T 2. - -8. T 15, T 14, T 18, S 19, T 17, T 19, T 17, T 18, R 19, S 11, T 17, - S 17. - -9. H 1, G 7, E 1, F 1, D 1. - -10. B 15, A 15, A 13, A 14, A 17. - -11. M 17, L 17, N 19, M 19, L 18, K 18, K 19, L 19, J 19. - -12. T 3, S 5, T 4. - - - -VII. CUTTING - -1. G 16, F 16, G 14, F 14, F 15. - -2. N 6, M 6, O 6, M 7, M 4. - -3. G 16, F 16, G 14, H 15, F 15. - -4. 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