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." This is the
most usual move for attacking the corner. The purpose of White's first
move is to lay a basis for future aggression; he cannot, of course,
play in the corner immediately, neither can he play nearer the black
stone with advantage.
|
2. N 17. This move supports the
handicap stone and also gains as much ground as possible for Black.
Beginners would generally find O 17 more safe and conservative.
|
|
3. R 17. This is a direct attack on
the corner. White can either connect with his first stone or form a
living group in the corner.
|
4. R 16. Black plays to prevent the
connection of the white stones.
|
|
5. S 16. White threatens to connect.
|
6. S 15. Black breaks the connection
by this move.
|
|
7. S 17. White cannot play at
R 15 at this time because he would lose the stone at S 16.
|
8. R 15. Black also must connect.
Beginners are prone to neglect these necessary connecting moves.
|
|
9. P 18. Since White cannot connect,
he must play to form two "Me" in the corner.
|
10. P 17. Black plays to connect his
stones, and at the same time confines White to the corner.
|
|
11. Q 17. White makes his corner as
large as possible. This move is also "Sente," because it threatens to
break through Black's line.
|
12. O 17. Black must connect to prevent
White's escape.
|
|
13. S 14. White threatens "Watari," and
again Black must reply at once. ("Sente.")
|
14. T 14. Prevents "Watari."
|
|
15. Q 14. To confine Black's group and
prepare for territory on the right side of the board.
|
16. P 15. An important defensive move,
Otherwise White could almost envelope the black stones.
|
Even game. White has a
small territory in the
corner, but black has greater possibility of expansion.
Plate 19
II
Handicap
|
White
|
Black
|
|
1. R 14.
|
2. N 17.
|
|
3. R 17.
|
4. R 16.
|
|
5. Q 17. In place of trying to connect
as before, White threatens to extend in the other direction.
|
6. P 16. Black prevents White from
getting out.
|
|
7. S 16. Threatens to connect again.
|
8. S 15. Black stops it again.
|
|
9. S 17.
|
10. R 15.
|
|
11. O 18. White again must form "Me" in
the corner.
|
12. O 17.
|
|
13. N 18. White extends as far as
possible.
|
14. M 18. Black stops the advance.
|
|
15. P 17. White must look out for the
safety of the stones at N and O 18.
|
16. M 17. Black must connect.
|
|
17. P 14. To prevent Black's extension
and form a basis for territory on right side.
|
18. O 14. Black extends as far as he can.
|
|
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 called "Kiri
Kaeshi." This move does not attack the cornet so aggressively as the
preceding examples.
|
4. R 3.
|
|
5. R 4. This is the characteristic
move of this variation.
|
6. Q 5. This is an important move for
Black; if he plays elsewhere, he will get a bad position.
|
|
7. R 2. White threatens the black stone. If
Black defends White can divide the corner.
|
8. S 3.
|
|
9. P 2. "Kake tsugu." If White does
not make this move, Black will get the "Sente" with a superior
position.
|
10. S 2. Formerly S 4 was given as Black's
move, but it is not so good, because White replies at R 8 with a fine
attack.
|
|
11. S 1. White cannot neglect this
move. If Black were allowed to play at R 1, he would get the
better game.
|
12. R5.
|
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 Kaeshi"
on the other side of handicap stone.
|
4. R 11. Called "Tenuki." Not necessarily
played at R 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 effect of
this move is generally to divide the territory.
|
8. R 17.
|
|
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 Black's
advances.
|
4. C 11. Black prepares to get territory on
left side of the board.
|
|
5. B 16. White plays to take the
corner.
|
6. D 14.
|
|
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:
|
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 towards the
middle of the board.
|
4. L 3. "Tenuki"; that is, it has nothing
to do with the 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 handicap
stone.
|
6. D 2. This is an important 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 also.
|
12. C 7.
|
|
13. B 4.
|
14. D 5.
|
|
15. C 4.
|
16. C 3.
|
|
17. B 7.
|
18. C 8.
|
|
19. E 6. White must support stone at
D 6.
|
20. A 5. This is a very well 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 example
of "Semeai"; the question is which side can kill the other first.
|
26. B 2.
|
|
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 the other
side also.
|
6. R 15,
|
|
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 the other
side as before.
|
6. O 16. Black responds from 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.
Plate 20
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 right-hand
corner from both sides.
|
4. Q 6.
|
|
5. Q 7.
|
6. P 6.
|
|
7. R 3. This is a direct attack on the
corner.
|
8. R 5. Black must play here 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
boundaries or his stones will die.
|
16. K 5. Black plays to shut in White
as much as 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." This is
another method of commencing the attack; it does not attack the corner
so directly, but it gives White a better chance on the sides or center.
|
2. C 15. This is to prevent White from
playing at B 16.
|
|
3. G 17. White attacks from the other
side in the same way.
|
4. E 17. Preventing White from
entering at D 18; this secures the corner for Black.
|
|
5. C 17. This is a "Sute ishi" or
sacrificed stone. White threatens to connect it with one side or the
other.
|
6. B 16.
|
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 other side
with "Kogeima."
|
4. S 15. Very important move 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." This is
another method of attacking from the other side.
|
4. E 2. A very important move; if
Black plays "Tenuki," White can at 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 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 method of
attack, called "Ikken taka kakari"; it does not give White a base for
attacking the corner immediately.
|
4. O 15. Black plays to get out toward
the center, as White's third move does not menace the corner.
|
|
5. N 15. White also plays out toward
the center, otherwise Black would shut him in at M 16.
|
6. N 14.
|
|
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 at
Q 12; this is always bad play.
|
12. M 14.
|
|
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 so much
used as the other attacks.
|
2. O 17. Black defends the corner from that
side.
|
|
3. R 14. "Kogeima." White attacks from
the other side.
|
4. S 16. Black again prevents the advance
into the corner.
|
|
5. P 16. White threatens the
connection between the handicap stone, and No. 2, otherwise Black would
play at R 12, with the advantage.
|
6. P 15. P 17 looks like the obvious
defense, but this would shut Black in the corner and give White the
better game.
|
|
7. P 17.
|
8. Q 17.
|
|
9. O 16.
|
10. P 18.
|
|
11. O 18.
|
12. O 15.
|
|
13. N 16. Much better than immediately
taking the single black stone.
|
14. Q 13. This attacks the white stone at R
14; it also defends the connection at Q 15.
|
|
15. R 12. Much better than R 13;
in that case White would lose both stones.
|
16. R 13.
|
|
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.
Plate 21
XVIII
Handicap
|
White
|
Black
|
|
1. C 8.
|
2. C 6.
|
|
3. E 2. This is another method of
trying to get in the corner
|
4. D 2.
|
|
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." This is
the fourth method of commencing the attack.
|
2. Q 6. This is Black's best answer.
|
|
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 side.
|
6. M 3.
|
|
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 best
move; it is done to confuse Black, and will win if Black does not know
how to reply.
|
4. D 15.
|
|
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 only point
to save the corner.
|
24. F 15.
|
|
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 ka-kari"; this is the
fifth method of opening the attack.
|
2. F 16. Black has a variety of moves
at his command; the text move is probably 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 for his
three stones. B 1 would be a bad move.
|
14. C 10.
|
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 variation is
to show that White can strike in on this move and yet live.
|
6. D 5.
|
|
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 the
outside.
|
16. C 4.
|
|
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 the
corner, White attacks from both sides.
|
6. G 5. Black tries to get out toward
the center; 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 the most
aggressive of the three methods of opening.
|
2. D 3. This is White's best answer.
E 3 is also good. C 3 is bad.
|
|
3. C 3. Black plays to get territory
on the left; he attacks from inside.
|
4. C 2. Best; if he attempts to cut
off at C 4 he gets 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 on left
side.
|
8. G 4. White takes space to the
right.
|
Even
game.
II
No
Handicap
|
Black
|
White
|
|
1. Q 15. "Takamoku."
|
2. Q 17.
|
|
3. P 17. Black attacks from the
outside.
|
4. P 18.
|
|
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 intended as a
sacrifice to aid Black in getting the corner. It is better than
Q 18.
|
8. N 18. White plays to secure the
left-hand side.
|
|
9. Q 18. Black now secures the corner.
|
10. O 19. Takes.
|
|
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 important as it
extends Black's territory; he cannot neglect it.
|
14. K 16. White returns to his original
plan and secures territory to the left.
|
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 move is
to confine White to the corner.
|
4. P 17. White tries to get out on the
left.
|
|
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 "Tenuki,"
this is good, otherwise S 13 would be better.
|
12. R 17.
|
|
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 break into the
corner.
|
6. D 17.
|
|
7. C 17 Black repeats his threat; in reality
it is a sacrificed stone.
|
8. B 17.
|
Plate 22
|
9. C 18. This stone may be lost, but it
aids Black in attacking from the outside.
|
10. B 18. White must play here to save his
stones.
|
|
11. C15.
|
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 "Takamoku,"
thinking to connect with stones on line 13.
|
2. R 3. White plans to prevent Black's
connection and reduce the Black territory.
|
|
3. P 3. This is an error; if Black
wishes to frustrate White's plan, R 4 is the correct play.
|
4. Q 4.
|
|
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," originated by
Konno Genkoin the Middle Ages.
|
4. C 15.
|
|
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 "Me."
|
20. G 18.
|
|
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 so much
used as the other two openings. It is more conservative than
"Takamoku."
|
2. Q 15. This is called "Takamoku
kakari"; it is one of the two general methods of replying to "Moku
hadzushi."
|
|
3. R 16. Black plays to secure the
corner.
|
4. R 15.
|
|
5. S 16. The corner is now safe.
|
6. R 11. S 15 would be good also.
|
Even game.
Plate 23
IX
No
Handicap
|
Black
|
White
|
|
1. R 15. "Moku hadzushi."
|
2. P 16.
|
|
3. P 15. Black plays to confine White.
|
4. O 15.
|
|
5. P 14. Necessary to prevent White
breaking in.
|
6. Q 16. White plays to get 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
Q 16 without getting a very bad position.
|
6. Q 16.
|
|
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 this
move.
|
18. O 15.
|
|
19. N 16.
|
20. P 14. Takes.
|
|
21. K 17. Defensive; Black loses the
"Sente."
|
22. R 10.
|
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 move for
Black and will result in his getting a confined position.
|
6. O 4.
|
|
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 R 8,
as White would cut at R 7.
|
16. E 3.
|
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 both
sides.
|
4. E 17. This is the crucial 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 the corner;
he wishes to occupy C 17, an important point.
|
10. B 17.
|
|
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 connection at
C 14.
|
20. G 13.
|
|
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; the
intention is to confine White to the margin.
|
4. E 17.
|
|
5. E 15. This is to prevent White from
coming to D 15.
|
6. G 17.
|
|
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 is
the customary move.
|
6. C 2
|
|
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 "Komoku" is
the most frequently used opening when there are no handicaps; it is
also the safest for the weaker player.
|
2. P 17. White's best reply.
|
|
3. N 17. This move is called "Ikken
basami"; this is the most usual way of continuing: it gives Black an
attack at once.
|
4. R 17. White plays to get the
corner.
|
|
5. S 17.
|
6. Q 16.
|
|
7. R 15. Black must extend; R 18
would be bad.
|
8. R 18. White must do the 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.
Plate 24
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 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.
|
8. R 12.
|
|
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 stones and
shuts White in.
|
6. D 4.
|
|
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 is the
second variation in this opening.
|
4. Q 5. White plays to get out toward
the center.
|
|
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 to take
immediately.
|
14. S 5.
|
|
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 White
replies correctly, otherwise Black gets the better of it.
|
8. D 6.
|
|
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 threatened
position.
|
12. G 4.
|
|
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. D17. "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 was
E 15, but this gave "Tenuki" to White.
|
12. E 15.
|
Even game.
XXI
No
Handicap
|
Black
|
White
|
|
1. C 4. "Komoku."
|
2. E 3.
|
|
3. J 3. "Sangen basami." This move
attacks the white stone but not so directly as the preceding variation.
It is the invention of Honinbo Dosaku.
|
4. R 4. White takes advantage of his
opportunity and plays in another corner.
|
|
5. D 3.
|
6. E 4.
|
|
7. B 6.
|
8. J 5.
|
|
9. M 3. It will be seen in this
variation that the stones are played farther apart than in the
preceding "Joseki."
|
10. H 3.
|
|
11. H 2.
|
12. H 4.
|
|
13. D 8. This is an important move for
Black.
|
14. O 3.
|
|
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 4,
White replies at K 2.
|
18. G 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
C 15; generally No. 9 is played at H 3.
|
10. D 6. A good move. E 5 would be
bad, because 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.
|
Black
|
White
|
|
1. R 14.
|
2. Q 14.
|
|
3. Q 13.
|
4. P 14.
|
Plate 25
|
White
|
Black
|
|
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 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.
|
34. O8.
|
|
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 at
S 16 or Q 17.
|
50. P 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.
|
Plate 26
Plate 27
|
White
|
Black
|
|
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. R9.
|
18. Q14.
|
|
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 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.
|
40. E 8.
|
|
41. J 7.
|
42. K 8.
|
|
43. H 9.
|
44. G 11.
|
|
45. A 15. Black could not occupy
A 14 on his 42d and 44th moves.
|
46. J 10.
|
|
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 White
played at L 3 and Black replied at Q6.
|
8. R 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 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.
|
28. L 5.
|
|
29. C 8.
|
30. C 6.
|
Plate 28
|
White
|
Black
|
|
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.
Then would follow:
B. G 17
W.
F 18
|
10. E 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.
|
Plate 29
|
White
|
Black
|
|
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 9,
this move is necessary for the security of the white group.
|
34. P 9.
|
|
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. 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.
|
52. K 2.
|
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.
|
Plate 30
|
White
|
Black
|
|
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 impossible
because White already occupies Q 3.
|
20. H 16. This move makes the Black
position secure.
|
|
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
good.
|
16. R 4.
|
|
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 stones are
cut off.
|
28. Q 12.
|
|
29. L 15. Black cannot venture any
farther in.
|
30. L 17.
|
|
31. P 16.
|
32. P 17.
|
|
33. Q 16.
|
34. Q 17.
|
Plate 31
|
Black
|
White
|
|
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.
|
Plate 32
|
Black
|
White
|
|
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 Q 8,
26 R 8 would be the result
|
26. P 14.
|
|
27. O 16.
|
28. O 15.
|
|
29. P 16.
|
30. N 17.
|
|
31. Q 18.
|
32. R 7.
|
Plate 33
|
Black
|
White
|
|
33. S 7. This move insures a connection
between the stones at R 5 and R 9.
|
34. E 4. This move rescues No. 4
|
|
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.
|
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13. E 17.
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14. E 15.
|
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15. D 14.
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16. C 17.
|
|
17. F 17.
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18. G 16.
|
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19. H 18. This move is much better than
G 17.
|
20. C 14.
|
|
21. E 14.
|
22. F 15.
|
|
23. F 14.
|
24. H 16.
|
|
25. J 17.
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26. G 18.
|
|
27. F 18.
|
28. G 14.
|
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29. E 12.
|
30. C 11.
|
Plate 34
|
Black
|
White
|
|
31. G 13.
|
32. H 13.
|
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33. G 12. H 14 would be bad.
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34. J 14.
|
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35. M 17.
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36. J 11
|
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37. G 10.
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38. Q 5.
|
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39. R 10.
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40. R 8.
|
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41. P 16.
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42. J 3.
|
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43. P 10.
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44. P 12.
|
|
45. R 12.
|
46. R 17. A sacrifice.
|
|
47. Q 17.
|
48. D 8.
|
|
49. H 9.
|
50. N 12.
|
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