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 abandones 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
Plate 21
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 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."
Plate 23
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.
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.
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