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. K 6, J 6, L 6, J 8, F 4.