go monthly review 1963-06

8/3/2019 Go Monthly Review 1963-06

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CITIZENserves the World

CITIZEN WATCH CO., LTD.O k a c h i m a c h i , T a i t o - k u , T o k y o , J a p a n C a b l e A d d r e s s : " C I T I Z E N " T o k y o

P R E C I S I O NB E A U T YA N DK N O W - H O WF R O M J A P A N ' SP A L A C EO F W A T C H E S


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Fo re ig nEnthusiasts

Mr. H. D. Mii l ler ( le ft ), the Go stude nt from Vien na, andDr. D.H. Lawrence (r ight) , professor of Stanford Universi tyin U.S .A. , ar e se e n taking l e ssons f r om pr ofe ss iona l p laye r s .

Miss Emiko Y anag iuc hi ,ne w t i tle holder of the5th Al l Japan Amate urW o m e n ' s C h a m p i o n s h i p ,i s playing the f inal match.She he ld the se c ond p lac ein the last tournament.

N e wLady-C h a m p i o n


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MONTHLYREVIEW Vo l . 3

Black Leading From Start To FinishChief of the Police Board Challenges

Veteran PlayerPrimary Class-RoomJottings on Go HistoryMiss Oyama's Last Game In

The StatesTrifles That MatterFundamentals of the Opening StageGo Maxims and TermsLoss or Gain ?Ten Questions

3

193541

455058667281

Published M o nthly byN I H O N iC 1-1 N

(Japan Go Associat ion)T e h ( 2 3 1 ) 0 9 1 5 - 75th Floor, Kokujal-Kanko Bui lding

N O . I . l - e h o m e , M o r u n o u e h i , C h l y o d u - k u ,Tokyo, Japan(All Rights Reserved)

Board Chairman Shiro M o tegiEditor-in-Chief M asaki KurumiBusiness M ana ger Isamu Ko jimaArt Di rector M o riyoshi Dohi

Printed byr O P P A N P R I N T I N G C O . , L TD .

61 3

CONTENTS


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A D V E R T I S E R S L I S TA m a g a s a k i I r o n & Stee l Mfg . Co . , L td .C h o r i C o m p a n y , L t d .C h u g o k u E l e c t r i c P o w e r C o . , L t d .C i t i z e n W a t c h C o . , L t d .E b a r a M a n u f a c t u r i n g C o . , L t d . T h eFuj i Bank, Ltd . TheH a z a m a - g u m i , L t d .Hi t ach i , L td .H o k k a i d o E l e c t r i c P o w e r C o . , I n c .Honda Moto r Co . , L td .Indus t r i a l Bank o f Japan , L td . TheIsuzu Motors Ltd .Kawasak i Ki sen Ka i sha , L td .K a w a s a k i S t e e l C o r p o r a t i o nKokusa i E lec t r i c Co . , L td .Mitsubishi Shoj i Kaisha, Ltd .Mitsui Bank, Ltd . TheN i p p o n K o g a k u K . K .N i p p o n R a y o n C o . , L t d .N o m u r a S e c u r i t i e s C o . , L t d .O d a k y u E l e c t r i c R a i l w a y C o .O l y m p u s O p t i c a l C o . , L t d .Sankyo Co . , L td .S o n y C o r p o r a t i o nSumi tomo Sho j i Ka i sha , L td .Ta i se i Cons t ruc t ion Co . , L td .Toyo Menka Ka i sha , L td .Toyo ta Moto r o f JapanY a m a i c h i S e c u r i t i e s C o . , L t d .Y a s u d a F i r e & M a r i n e I n s u r a n c e C o . , L t d .Yawata I ron & Stee l Co . , L td .Japan Na t iona l Tour i s t Assoc ia t ionO O P E R A T I V E O V E R S E A S G O A S S O C I A T I O N S :M ltlII11inilltlM ll1IIIOIIIIIMiiltt


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BL A CK L E A D I N GF R O M S T A R TTO FINISH

As White Failed To MakeU se Of "Thickness"BlackNobuzo Yazaki (Captain, Tokyo Univ.)Sadayuki Shinkai (Captain, Nagoya Univ.)

This is one of the finals between the two universitiesthat emulated each other furiously for championship in the6th All Japan Students Collective Series.

Comment by Mr. Y. Murashima (7-dan)Figure 1 (115)

White , through the sequence 8 to 14, displayed "thickness" in exchangefor sizable domain on the part of Black. Co nsidering , how ever, that thevery thickness has been spoiled to a degree by Black 15, he had better havefollowed the simple jo-se-ki as shown in Dia. 1.

< 1>

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(Fig. 1)And yet, it was just and proper for Black to hold back his 15 one-pointbelow, because it is not only unreasonable but even dangerous to get near the

opp one nt's powe r. Black has every reason, here and now , to be contentedwith being moderate in extending along the left-side so as to impair or offsetthe merit of White's thickness.

Figu re 2 (1530)White 16 and the rest, however, have merely helped Black cover the

"thin nes s" or weakness between 1 and 15 by simply answ ering at 17 and15too good for Black whose 15 was played, as already pointed out, too nearthe White's influence above.

Dia . 2 : W hi te 1 here replaces his 16 in the figure an d watches B lack'sm ove m ent. If Black, with an eye to the lower-side, extends, for instance, at2, then White resolutely marches into Black's area, say, at 3, to give a challengeto Black and m ak e the mo st of his thickness above. If, on the contrary,Black directs his 2 to the left-side to provide against White's intrusion, Whitewill be only too pleased to occupy the vantage point of 2.

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(Fi& 2)

2

To Black 21, W hite attaches his 22 from "above", apparently turn ing

his attention to the lower-side.Dia. 3: W hit e 1 to replace his 22 in the figure and th e sequence to

follow up to Black 6 are among the joseki most commonly used and wellknown to you.

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Dia . 4: Black's reaction at 2 and 4, howev er, involves a nu m ber ofvariations as White's next move is divided into the four points of "a", "b","c" and "d", each of which attended with troublesome questions.

Dia. 5: W hi te 1 here instead of his 26 in the figure is rather norm alcy.Dia . 6: W hi te may also follow the sequence as shown he re, providedhis 3 is not captured by Black's "shi-cho" tactics.

< 4> < 5>W hite 28, simply absurd. No t only his 26 has been throw n away, buthis formation presents weakness of defence around the corner.

Dia. 7: W hite 1 here to follow Black 27 in the figure is a m ust. Oth erwise, he could not choose but to follow either of the last two diagrams.Where do you think is Black to p'ay, next to White 3? (Extension alongthe right-side)

< 7 > < 9>Dia. 8: Black 2 in place of the same in the last diagra m leads, as given

in the next two diagrams, to a bulky pattern handed down from of old, thesequence of which regarded almost inevitable.

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8

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Dia. 10: T he outcom e is the contrast between B lack's outward influenceand White's actual gain.Figu re 3 (3143)

The sequence from Black 31 up to White 40 constitutes one of josekisemployed in general in both handicap and non-handicap games.

(Fig. 3)Dia. 1 1: Black's meek answers at 1 and 3 have something to be desired

as W hi te is certain to extend , after 2, at 4 so to ma ke ineffectual the Black'sthickness near the lower-right-corner.

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D ia. 12: Black 3 her e in place of his 3 in the last dia gr am is offered as

an al ternativ e no less posi t ive tha n his 31 in the f igure. N ex t to W hi te 4,the sequence Black "a" , Whi te "b" and Black "c" i s a lmost sure to p leaseBlack with sphere of influence across the r ight-side no less enormous thanin th e figure.

D ia. 13: W hi te has replaced his 32 in the f igure w ith 1 here . Blackhas no reason to be dissat isf ied with simply answering at 2 and 4, becauseh is 31 in the f igure has done wel l in p reve nt ing W hi t e f rom ex ten ding alongthe r ight-side as in D ia. 11. If, nex t to Black 4, W hi te pu ts pressure at "a" ,Black should no t be displeased to answ er at "b ". By the wa y, if W hi tereplaces his 4 in the last dia gra m w ith 1 here , Black has o nly to reply at 4 ,the format ion coming to one and the same wi th the presen t d iagram.

D ia. 14: Black 1 replaces his 33 in the f igure. D on 't you thi nk the

regular sequence up to Black 5 leaves much to be desired on his part as hehas no backing on the upper-side to make the best of the outward influence.

W hi t e was too weak-hear ted in answ er ing Black 41 at 42 , tho ugh theexcha nge it se lf is considered norm al in general . W hi t e , a t th is junc ture , was

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bound to play 1 as shown in D ia. 15 wh ere he has only to content himselfwith meekly answering Black 2 at 3.

Now, Black on his part went too far in directly intruding in the lower-side at 43 in the next figure.

Dia. 16: It is strange tha t Black has failed to take notice of 1 here w hichgoes a long way toward enlarging his sphere of influence extending from theright-side to the center, while bringing pressure to bear upon White on thelower-side.

Figu re 4 (4353)When White played 44 to see how Black would react, Black's answer

at 45 was somewhat questionable.Dia. 17: Black had better connect at 1 instead. T o W hit e 2 wh ich

doubtless is not expected to follow immediately, Black has but to answer asthe sequence indicates.

18

Now, White must be said too conservative in strengthening his group

at 48. If he had taken the offensive as shown in Dia. 18, no one kn ows

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(Fig. 4)what had become of Black's sphere of influence across the right-side.

The exchange of Black 49 for White 50 aside, Black is best advised toreplace his 51 with 53 even in this instance.Dia. 19: Ne xt to Wh ite 2, Black m ay direct his 3 anyw here so to expand

his sphere of influence all the same.W hit e 52, the chance for him to make a counterattack at 1 in D ia. 20.

Dia. 20: T ho ug h W hite 1 itself presents the undesirable shape of "vacant

triangle", he is in a position to force Black to follow the sequence up to 8in the next diagram.

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(Fig. 5)

Black 65, a substantial play, to be sure. It had better be replaced, however, by 73 so to make provision against White's desperate intrusion into theleft-side.

All the moves of White 64 and the rest were superfluous and unwanted,merely striking off the "after-taste" in many ways and helping Black feelreassured.

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Dia. 25: Th is is only for your inform ation. If Black, in a flurry, answersWhite 1 which replaces 68 in the figure with 2, White 3 works just well tosever the connection between the two Black groups.

Dia. 26: W hite , how ever, will be found disappointed in his expectations

by Black 2, the very move wanted in this case.Dia. 27: Th is is to indicate how the exchange of W hite 66 for Black

67 has brough t about no thing to Wh ite. W hite 1 here in place of 66 was lessobjectionable.

W hit e 72, definitely inactive and easygoing as well. W hite was boun d,before everything else, to put on a spurt to make a raid on the right-sidethe last opportunity for him to make use of the thickness above.

Dia. 28: Th is is given by way of precaution on Black's part. Should

he be so poorspirited as to be pleased with the connection maintained bythe sequence up to his 8 in the next diagram, no one can tell what the finalissue will be.

Dia . 29: Sup posing the sequence to follow Black 8, is he sure to save thesituation ? Black 1 in the last diagram oug ht to be switched to the one-pointjump at one-point-right above 5 in Dia. 28.

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T he t hin g has nearly been settled as Black played 73. Please m ake sureagain of how White's thick "wall" above has been made ineffective byBlack 73.

Figu re 6 (73100)The sphere of influence White tried to build up has been neatly nullified

by Black 81.

(Fig. 6)Black 83 and 85 were rather "vulgar" and had better be replaced by

simple 1 as shown in Dia. 30. 14

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Black 87 and 89 were both prem ature and untim ely. He should havedeferred them to later on.

(Fig. 7)Black could advance his 3 to 1 in Dia. 31. W ha t the sequence to follow

in the next diagram means you ought to make out for yourself.W hite 4, how faint-hearted! W hat has made him hesitate to play one-

point above instead is just mysterious.W hi te lost courage once again as he answered at 6 and 8. H e must

needs proceed to the lower-right corner and play 1 and 3 as shown in Dia. 33.

15

Figu re 7 (101155)

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Dia. 34: After the last diag ram , how the sequence show n here will do

W hite good you are bound to mak e sure with ease. Even aside from theresult of the ko-battle, please compare the present diagram with the nextwhere the sequence shown is promised to Black 9 and 11.

The difference in substance between the two diagrams is roughly

estimated at no less than fifteen points.Black 9 and 11, the m ost profitable m oves at this stage, have p ut a n end

to the game.Black wins by nine points and half.

White 156 and the rest cut out

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Chief of the Pol ice BoardCha l l enges Ve te ran P layer

A k i r a H a s e g a w a ( 7 -d a n )Fout'Stone T o s h i o E g u c h i

Comment by Mr. Hasegawa Am plified by Shimpe i Ao\i

Figure 1 (1-14)B l a c k M a k e s A G o o d S t a rt

Black's pincers at 8 was an unsparing counter-attack in this formation.

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Dia. 1: If he answers at 1 instead, simply an d easily, he will havedifficulty in seeking extension along the upper-side suitable to the presentdisposition. Black 3 here next to W hit e 2 leaves behind some anxiety aboutsuffering White's intrusion at "a" any time.

2

< 3 >White 9 was a must in this instance.Dia. 4: W hit e 1 to replace his 9 in the figure is certain to lead to the

"joseki" up to Black 8 as shown here . Black's sphere of influence acrossthe upper-side backed by the thickness up to 8 is quite satisfactory comparedwith Diagrams 1 and 2.

Dia.< 4 > < 5 >

5: If White, next to Black 4 in the last diagram, connects at 5, 20

Dia. 2: Black's extension at 3 here is also vulnerable to W hite's invasionat "a". If Black, after fully th ink ing over the situation, adopted the sudd enand clever piece of tactics of 8, he is worthy of esteem.

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Black has only to answer at 6.Dia. 6: W hite 1 to replace his 5 in the preceding diagrams is a move

scorned in general as "vulgar", which merely helps Black's thickness orouter influence enlarge. Please m ake sure of the fact in the next twodiagrams.

< 7>Dia . 8: After W hi te has taken Black 4, Black has to connect, needlessto say, at the right of 6.

Black 10, an im po rtan t poin t wh ich affects the basis or foundation ofboth, to say nothing of a large profit obtained.

< 9 >Dia. 9: W hite 1 to replace his 11 in the figure presses directly upon

Black's single stone. Black, how ever, has no trouble in answe ring with 2.Black is in good shape any way as he, after provoking White to answer

his 12 with 13, has laid out a large prospective territory across the upper-side.

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Figure 2 (15-40)Slack Move For The First Time

White could not move his 15 one-point to its left:

(F ig . 2Dia. 10: W hite w ill be troubled by Black 2 wh ich w orks good in thisnstance.

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Black 16, a light and easy way of dealing with the situation, whilethere is nothing worth mentioning in particular through the sequence Black18 to White 25, each move following a natural course.

It is just mysterious, however, that Black has abruptly retreated fromthe battle-front and turned to the upper-side, and that to assume such a lowposture as 26 on purpose.

Dia. 1 1: If Black ever has an eye to the upper-side, why has he notadvanced to 1 here, instead of low ering himself and giving in at 26 in thefigure of his own accord ? Black 1 takes an aim also at "a" to cut the W hitegroup in two.

White, availing himself of Black's retreat and poor courage, has daredto play 27 to sound out how Black will react.

12

Black, with out self-confidence in an swe ring at 1 both in D ia. 12 and 13,has been forced to subm it tamely again at 28. Please m ake sure that W hite27 in exchange for Black 28 works well to dodge Black's aim at "a" as givenin Dia. 11.

Black's reaction at 32 was no poor play! Fo r, should he fall back at 1in Dia. 14 instead, White is certain to surround the Black group at 2.

Dia . 14: Tru e, Black may no t have mu ch difficulty in finding safetyitself of his gro up . An d yet, how pow erful W hite's outer influence will be!

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Black could replace his 34 with 1 in Dia. 15, and his 3 next to White 2will be found to make a daring challenge.

W hite's reaction at 37 and 39 was inevitable. If Black though tlesslyconnects his 16

Dia. 16: W hite 2 and 4 to follow are sure to reduce Black to extrem ity.

If Black connects on the right of 3? W hy , W hite has but to stick out at"a" to threaten Black's two stones (30 and 36 in the figure) to add to his

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miseries.Dia. 17: Black 1 here to replace his 40 in the figure forces W hite to

take Black's one stone, leading to the result up to Black 5, far more dependable and steadier than in the figure.Figure 3 (41-78)

Black Sti l l In Good Shape, LocalMinor Mistakes AsideBlack 42 and 44, a last expedien t, inevitable as well as undesirable. It

has helped White to display no small influence around the center and madeBlack move about in confusion as the sequence to follow indicates.

(Fig. 3)Black 48 and 50, both just unreasonable. He should have simply answered

at 1 as shown in Dia. 18.Dia. 19: Black 1 here next to W hit e 49 in the figure is a sheer th oug ht

lessness. If Black, after W hi te 4, plays on the left of 3 to captu re th e singleWhite stone, White most certainly will play one-point to 4's right-aboveand no one can tell where this will lead us.

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18 19

Black had better simply follow the sequence 60 to 63, without exchanging his 58 for W hite 59. H e could lie hard o n W hite as shown in D ia. 20.

20

Dia. 20: W hite 6, both unreasonable and unw ary. Th e sequence upto Black 13 has totally destroyed the W hite group s across the lower-side.

Black cannot replace his 66 simply with 68. If h e does so rashly, hewill be involved in a scrape by White 2 in Dia. 21.

21 22

In con trast, Black 1 goes righ t in D ia. 22 where the exchange of Black64 for Wh ite 65 has been dispensed with . See the next diag ram .

Dia. 23: Black 7 will be found to deal the last blow on the six-stoneW hite gr ou p. W ell, you must always see to it that you do not paly, ifpossible, unwanted moves like Black 64 in the figure.

Black showed presence of mind as he played 72 to defend the corner.

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Please note how White's thickness has been made powerful aroundthe center, while Black struggled to find safety for his large group.

Black 78, howev er, was a nice mo ve. It not only detracts from themerits of White's thickness but secured safety of the Black group, aimingfurthermore at intrusion into the right-side.

Figure 4 (79-100)Black 84 , 86 Co ntrad ictory T o Each O ther

(Fig. 4) 27

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Black has forestalled White in pressing upon the right-side at 82 to checkthe expansion of the latter's sphere of influence extending over the centerand the right-side.

Dia . 24: If Black meekly answers at 1 here instead of m arch ing onw ardat 82 in the figure, White may play either 2 or "a" so to come by a sizableterritory, though Black has nothing to worry about in fact in respect of territory put together on the whole board.

B!ack 86, evidently inconsistent with his last move of 84 which valiantly

plunged into the White's apparent sphere of influence along the right-side.Dia. 25: It was urg ent necessity for Black to attach his 1 to W hite's

single stone so to exert pressure on it and lower White's posture along theright-side.

At the close of this figure, however, it cannot be denied that Black isfar in the lead according to a rough estimation of both territories.

Figure 5 (101-134)E nte r in g Final Stage Of " Yo-se "

White was hard hit by Black 14 which was so well-timed that it justdecided the issue.

Dia. 26: If W hite simply attaches at 1 here, withou t exchang ing his 9for Black 10 in the figure? Th e relative merits of the results up to Black 12

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( F ig . 5 ) # 2 2 f i l l s in a t 15in Dia. 28 and to Black 10 in Dia. 30 are left to your judgment.

Dia. 31 is to be compared with the sequence Black 14 to White 23 inthe figure. W hite 1 here takes into account the sequence as show n in thenext diagram, the difference from the result in the figure coming to someeight points.

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Black 26 should have been replaced by 1 in Dia. 33. Hi s large grou p is

completely safe without 26.Figure 6 (135-158)

Las t Prob lem Worth Cons idera t ionIn Low er-Left C orner

(Fig. 6)30 -


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Dia . 34: W hi te 1 in place of his 35 in the figure could give rise to variousquestions.

Dia. 35 : If Black answers at 2, the sequence u p to Black 12 in D ia. 36may hit most of you.

Dia. 37: Black 10 here bring s him p rofit of one poin t, you see.Dia. 38: After Black 14, and w hen th e liberties of "a" and " b " have

been filled in, White must connect at "c".

Dia. 39: If Black replies at 2, the sequence up to his 8 in the nextdiagram is natu ral, coming to the same formation as in Dia. 36. Pleaseremember Black 10 in Dia. 37 which works good here also.

31

36

38 39

37

34 35


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Dia. 41 : Black has shifted his answer to wh at is shown he re. Th esequence up to Black 12 in Dia. 43 will be found proper for both (see Dia.45). White may turn his 9 here to the point of 10, and Black then cannotbut take the two White stones, the result as shown in Dia. 44.

Dia. 45: Black 1 to replace his 8 in Dia. 43 is just thou ghtless, becauseit courts unconditional death as indicated here.

Lastly, Black 44 and 46 were not only uncalled-for but harmful movesas they merely detracted the value of his 58.

Dia . 46: Black, after exch angin g his 1 for W hite 2 first, plays 3. If

W hite cuts one-point above 1, Black's "te-su-ji" of. "a" will be found to w orkwell.

(158 movesthe rest omitted)Black wins by eight points.

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J apanes e L ands cape GardensThe Japanese are great lovers of nature, and it is no wonder that Japaneselandscap e garden ing is very closely con nected with the art and life of thepeople. The important characteristic of Japanese gardens is their expressionof the essence, rather than a mere representation, of nature.The size of the gardens is diverse, ranging from thousands of acres to thoseonly a few square feet in area or less. In the crowded tenements they maybe nothing more than wooden shelves on which flower pots and " bonsai" ordwarfed trees are arranged. But no matter how small the space, utmost care

and attention are paid to them revealing in many ways the skill of the peoplein bringing the beauties of nature clos er to their everyday lives.The gardens of Japan have long been classified into two general types,the hill garden and the flat garden, the former featuring hills and ponds andthe latter a flat area. For many centuries the main garden on the south sideof a man sion was invariably in the hill style, the flat style being only usedfor smaller gardens situated in cramped places. The two styles thus developedside by side, but with the introduction of the tea ceremony and the creationof tea ceremony rooms, the flat style made great progress.In a flat garden , stones, trees, ston e lanterns, water basins and wells formthe impor tant d ecorative elements. It is believed that the scenic features ofthe sea, the lake, or the pond are taken as the model. The most famousexample of flat gardens is at the Ryoanji Temple, Kyoto, where, enclosedby a low wall on three sides, fifteen rocks of varying sizes are grouped ona flat piece of ground covered with white sand. There is not a single treeor shrub, but the trees outside the walls and the distant view beyond serveas a background. On the other hand, there are hill gardens which consistprincipally of water in the shape of a lake or lagoon. The garden at theformer Shiba Detached Palace, now known as Rikugien and the property ofTokyo M etropolis, is an example of a garden formed round a lagoon.Korakuen Garden, 2.5 kilometers east of Okayama Station in the Chugokudistrict, is situated on the eas t bank of the Asahi R iver. It is one of thethree m ost celebrated parks in Japan, along with the Kenrokuen at Kanazawaand the Kairakuen at Mito. The garden, which covers about 115,000 squaremeters, was laid out in 1786 by Lord Ikeda, the daimyo of the province,and has pavilions, ponds, cascades, magnificent trees and graceful contours.Maple-trees, cherry and Japanese apricot groves afford beautiful contrastsin their respective seasons .

Color Photo : Korakuen Gardenin Okayama City, West Japan

Japan National Tourist Association


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Pr imary Class -RoomLife and Death

Basic Type No. 7Dead, If White Is To Play.

Dia. 1: Let us begin with failures.To W hite 1 here, Black answers at 2 without question.

< 1 > Dia. 2: Should he respond at 2 here, the sequence to follow up to

White 7 in Dia. 4 will be seen to finish off the Black group clear.Dia. 4: Black "a" to follow W hite 7 does no good .

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Di a. 5: W hit e, after D ia. 1, cuts at 3. T he sequence to follow u p toWhite 9 in Dia. 8 is just self-explanatory.

< 5 > < 6 > < 7 > < 8 >Dia. 9: W hite 7 next to Black 6 in Dia. 6 is a blunder which merely

helps Black 8 work good, unlike in the last diagram.

< 9 > Dia. 10: A ko-struggle has resulted. Life or death of the Black group

hinges on the outcome of the struggle. No w, Wh ite fills in the ko, whenhe has won the strugg le. Th en , if Black captures the five W hite stones?

Dia. 11: W here W hite is to play his finishing move you are bound to

mak e sure of w ithou t difficulty. Five poin ts in this form ation is of no usefor making two eyes.

Dia. 12: Black 8 to replace the same m ove in Dia. 9 is just suicidal as

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White is certain to play 9.Dia. 13: Black 6, a correct answer to Wh ite 5 in D ia. 6 as it leads to

an inevitable ko-fight whether Black next plays below 7 or two-point to theleft of 7.

Dia. 14: H ow about this sequence from Black 6 to W hite 9 in Dia. 16?It is more disadvantageous to Black as the fight, unlike Dia. 13, is not

a direct one.

Dia. 17 : W hite fills in at 11, needless to say, to settle the ko-fight.Dia. 18: Black 8 is just suicidal, because the vacant point of " a" canno t

work good to lead to a "se-ki" (stalemate) situation.Dia. 19: W hite 1, apparen tly a "te-su-ji". T he sequence, however, up

to Black 6 in Dia. 21 has come to the situation little different from Dia. 13,

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that is, a ko-battle advantageous to Black.

Dia. 22: T h e same as Dia . 16.Dia. 23 : W hite 1 is the correct answer, the "one-two" point in thecorner often referred to already.Dia. 24: Th e same as Dia. 2.

Dia. 25: T he sequence from Black 2 here up to W hite 7 in the next

diagram is just self-evident.Dia. 27: If Black played 4 next to Dia. 25? W hy , W hit e has only to

follow the sequence as shown in the next diagram.

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Dia. 29: Black 4 to follow W hite 3 in Dia. 25 is a move somewhatdelicate, White's proper answer thereto left to your study.

Dia. 30: W hite 5 next to the last diagram is a reckless move w hichmerely helps Black jump for joy as White 7 in the next diagram is simply

nonsense.

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9)aAaJLu, tfie "&a Saint" (*)In the long list of master Go players in the long history of the game of

Go in Japan, few or none excels Dosaku, Hon-In-Bo the Fourth, in respectof reputatio n and skill. Dosak u has been respectfully called by the nam e of"Go saint".

The First Hon-In-Bo was great in that he laid the foundation to theprosperity which the Go circles in Japan subsequently enjoyed, by causingthe birth of "Go-dokoro", and a Government subsidized institution whichhelped the Go players, among others, with material support in the form ofannual allowance.

Dosaku, however, may be said great in that he actually contributed tothe develop men t of mod ern techniq ue in Go . It is Dosak u himself thatdeveloped board-wide technique, now called the "Dosaku school", while priorto Do saku the Go techniqu e concerned only to local warfa re. Such as"sangen" or "three-point pincer-attack" is attributed to Dosaku. W ith theadvent of Dosaku the game of Go made a revolutionary change and the skillof the subsequent players made a great stride.

Dosaku was born in 1645 in the western Japan. His ancestry dates backto Lord Matsuura who later adopted at the family name "Yamazaki", thenam e of the place to wh ich he retired. Dosaku was born as the second sonof Zen-e-mon Yam azaki who had three sons and two daughters. Dosaku'syounger brother was also good at this game and later inherited the Houseof Yasui, one of the four houses of master Go players, and called himself"Inseki the Third".

In his boyhood Dosaku was called Sanjiro and he was really a very brightboy. At the age of seven he learned ho w to play Go , and as he grew olderwent up to Edo (the present Tokyo) to study Go under Doetsu, Hon-In-Bothe Th ird . At this time the Hou se of Yasui was the most prosperous of theGo houses and the master of that house, Sanchi, was the most popular of Goplayers. Dosa ku w as advised to join the Yasuis, but he preferred Doetsu ashis teacher because he believed that the House of Hon-In-Bo was the headof all Go houses.

Doetsu instantly perceived a great genius in this unusual youngster.Rapidly Dosaku made great stride in his skill and his teacher entreated

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Do saku's father to give his son into the house of Ho n-In-B o. At last his skillsurpassed even his teacher.

When Doetsu emerged victorious in the twenty serial games foughtagainst Sanchi Yasui, it was rumoured that Dosaku's back-up was the causeof victory. Th e House of Yasui, the oppo nent in the game , appears to havebeen responsible for the rumour, but the rumour is not likely to be entirelyunfounded, since when such important games were fought in those days itwas customary that each party mobilize his disciples to study and find outthe best possible moves, as such was possible because games used to becontinued for days without the time limits.

When Doetsu resolved to retire from active life, he wished to makeDosaku the Fo urth H on-In-B o. Doetsu formally appealed to the authoritiesthat Dosaku would be made "meijin" and be appointed the "Go-dokoro".Whereupon the Jisha Bugyo who was in charge of this kind of businesssummoned all the master Go players for consultation and in the presence ofall but Sanchi who did not appear on the pretext of illness, it was announcedthat Dosaku w ould be appointed the "Go-dok oro". T o this gathering SokeiOhashi was also invited to be the witness in the capacity of Shogi-dokoro, adistinguished position in the Shogi (Japanese chess) circles equivalent to Go-dokoro.

T o this app oin tm ent n obody objected. Th is is a very rare case, since itwas usual that Go players vie each other for the position of "Go-dokoro",even at the risk of their health and life, as we will describe in the later issuesof this article.

JjQAamA,\ pom e wtivi ^uaacna xsvwumhlcm,After he became Go-dokoro (1678) Dosaku swayed the whole Go circles

in Japan with his unprecedented talent and his unrivalled virtue and wholesome character. Go techniqu e m ade a great progress und er him . T he newGo technique he developed is called the "Dosaku school" as stated before.The model formulas he invented are now established as "joseki" or formulasof Go techn ique. His fame flew even beyond the sea. In 1682, the ruler ofLoochoo let the top Go player in Loochoo, Peichin-Hamahika, accompanythe envoy to Japan who was to visit Japan to present the tributary gifts.Through Lord Shimazu an appeal was made to let Hamahika play withDosaku. W ith the permission specially granted by the Shogunate Government the game was played at a handicap of four stones for H am ahik a. But

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the gam e ended in an easy victory for Dosak u. Th is was the second timethat a foreign player played Go with the top Japanese player, the first one wasplayed with Sansha, the First Ho n-In-B o. In the case of the gam e withDosaku the player insisted to play with three handicap stones, because hispredecessor played with Sansha with three stones, but Dosaku rejected therequest for the reason that the skill of the Go players in Japan was now faradvanced as compared with the players of Sansha's days.F i g u r e 1

@ t a k e s , @ c o n n e c t sF igure 2

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NikonThe many eyes of NikonT h e N I K O N f a m i l y o f f i n e c a m e r a s a n d s p e c i a l iz e d t e c h n i c a l l en s e q u i p m e n t is f a m o u s t h e w o r l d o v e r f o r s u p e r io r q u a l i t y d e v e l o p e d u n d e r h i g hN I K O N s t an d a rd s .

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Miss Oyama's LastGame In The States

Black Fights Wel lFrom Star t To End

T o s h i k o O y a m a ( 3 - d a n )4-stone H u g h T h o m p s o n

Comment by K. Sato (5-dan)

F i g u r e 1This game w as played at Nippon Club in New York,,

April 6, 1963.Mr. H. Thompson who took lessons from M iss Oyam a

has made a remarkable progress.- 45 -


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He has advanced from 6-stone to 4-stone handicapduring her stay in New Yor\.

F IG U R E 1Black 10: Advisable to be replaced with 1 in Dia. 1. It is "well-balanced" with Black 6 in the figure, with an eye on "a".

Black 14: Rathe r unfavorable, because it brings about Wh ite's invasionat 15. H ad better be replaced by 1 as shown in Dias. 2 and 3. Both of the mare advisable "Toseki" in this case.

Dia. 1

Dia. 3

Dia. 4Black 22: T he sequence up to Black 28, tho ug h safe and secure, has

resulted in a rather unsatisfactory fo rmation for Black. He re, an alternative,more positive and offensive, is offered in Dia. 4.

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Dia. 2


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Dia. 6D i a . 5 c o n n e c t sDia. 5: W hite's reaction at 4 gives no troub le to Black.W hite 3 1: Ha d better be replaced by 1 in Dia. 6, with an aim at "a".Dia. 6: W hite 1 here works so that his "a" may not be captured by the

"shicho". Th e four Black stones marked with will be found threatenedwith unrest.

Dia. 8W hite 35: Th ou gh W hite got no small gain by capturing two stones,

he had to be troubled much by Black 36. 47

Dia. 7


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D ia. 7: W hi te 1 in place of her 35 in the f igure w il l be seen goin g along way toward preventing the expansion of Black 's sphere of influenceacross the upper-s ide, whi 'e sav ing h is two-s tone group f rom hardsh ips .

Black 40 : N ow is the t ime for m arc h in g upon the W hi t e g roup at 1in Dia . 8 . Black wi l l be ab le to gain an advan tage wi th ease th r ou gh thesequence f rom h is 1 to 7 in the d iag ram . (C om m ent ary on the developm entin Figu re 2 and 3 given up for wa nt of space.)

F i g u r e 2I n t a k e s ko, d i t t o , ^ c o n n e c t s ko

F i g u r e 3- 43 -


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F A C E T S O F G O T H E O R Y ( 9 )

Trifles That MatterBY TO SH IRO Y A MA BE

8-danWhen humming a charming tune or hearing a song with a pleasing

rhythm sung, you often beat time with your hand before you are aware ofit. Th is involu ntary action is expressed in Japanese wi th the wo rd "tebyo shi"."Teby oshi" is also often the case w ith an actual game of Go . You will asoften as not make a careless move on the spur of the moment, which provesthe first check in the development of the game and you will shed tears ofchagrin at the final loss.

There may also be cases when you go on keeping time to a song in spiteof yourself, though for a short while, even after it comes to an abrupt break.Similarly, you are apt to play quite unintentionally, spurred on by youropp onen t's moves. Th is is a case of w hat you may call "tebyoshi" in a Gogam e. So, there will be no case of "tebyosh i" wh en you are fighting adesperate battle. On th e contrary, "tebyoshi" comes out wh en the tide ofwar is turning in your favor or when your plays are smoothly made according to your plan of operations. He re also does the old Japanese saying"Katte kabuto no o o shimeyo (Tighten the helmet-strings when in victory)"hold true. Keep this in mind even wh en you play Go .

Tedius arguments aside, what you need is "close attention throughoutthe gam e". Always try to be careful and th ink o ut the best move, and youwill be proficient in the art. Victory will always be yours.Figure-I

Of course, Black is first to play. Black is doom ed to death w hen leftalone, so you mu st play so tha t you can get a life. But h ow ?Dia . 1: Gre at pains seem to have been taken over this form ation ofBlack's whic h is almost alive. Th ere is now a fair prospect of life in it.You have thought and thought till you finally get this shape and once youare almost safe, you will feel greatly relieved and be off your gu ard . Black1 is a natura l move wh en you are in such a moo d. Your intention is justto have two "eyes" with ease and in safety. Th en W hite 2 and Black 3.Sure, you have now got a life. But, please note Black 1 is a play of "tebyo-

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shi", never a correct one.

F ig ur e 1 Dia . 1Dia. 2: Black 1 is the best mov e to secure "life". You will no longer

have to answer Wh ite 2. You are now quite safe, so W hite m ay not playit immediately.

Dia. 2 Dia. 3 Dia. 4Dia. 3: If W hite rem ains idle, then Black can creep out to 1 and u pon

White's defense move of 2, make a jump at 3 to eliminate the latter's territoryby "sen-te". You will now see w ha t you have thus gained is far greater t hantha t in Dia. 1. By the way, Wh ite 2 is the best response.

Dia. 4: Th is diag ram is show n here just for your reference. Black 1is rather an avaricious play, for the whole formation will be killed by White'scounter-moves of 2 and 4.Figure-II

H ere , too, Black is first to play. Ho wev er, Wh ite will not be killed byany mo ve of Black. T he qu estion is how to cover up the gap at "a".

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F i g u r e 2 Dia. 1Dia. 1: First let us see how thing s will go if Black remains idle. Th esequence from White 1 to Black 6 shows White's "sen-te yose", which Black

wants to hinder.Dia. 2: T he tactless move of Black 1 is a bad play made by "teby oshi".

White 2 is good, as White can play elsewhere at Black's next move of 3.Later when Black plays at "a", White has only to answer it with "b" andBlack is obliged to play "go-te". If Black 3 is skipped, the results will bea s i n Type - I . . .

Dia. 2 Di a. 3Dia. 3 : W hite will gain great profit by the sequence from W hite 1

to 7. W ell, then, how should black play?Dia. 4: Black should play at 1. Th is is the best mo ve. Just try to tell

the reason before you proceed to the next diagr am . Also check how effectiveBlack 1 is.

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Dia. 4 Dia. 5Dia. 5: Th ere is no better play for W hite to ma ke than W hite 2.

Suppose Black plays at 2, the whole White group will be exposed to thedan ger of being cap tured. T he sequence from W hit e 2 to 6 is a series ofabsolute moves and strange enough, Black seized the initiative with his playat 5. Co m pare this diagra m w ith Dia. 2, and you will see the differenceby full one move (or the difference between "sen-te" and "g o-te "). Th istricky play came from Black 1 in Dia. 4. If you could play "sen-te" wh enotherwise you would be compelled to play "go-te", it would mean, in acertain way, that you could make two consecutive moves.Figure- I l l

Black is to play first. If W hi te plays at "a" instead, the two grou ps ofW hite will be connected with each other. H ow should Black prevent theirconnection ?

Figure 3Dia . 1: If this configuration appears in an actual gam e, not in such a

question form as this, nine out of ten of you will not fail to play at Black 1,by wh ich you will force W hite to take Black's two stones wit h his 2. T he n

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you will pounce upon the lower Wh ite formation w ith 3 or "a". This process,however, cannot be said the best, for there are such counter-measures as inthe next diagram yet to be devised by White.

Dia. 1 Dia. 2Dia. 2: W hite plays at 1 and answers Black 2 with his cutting move of

3. It needs no explanation that the sequence will lead to a "ko" struggle.It is true White will have a tough game, but this chance of having a "ko"battle will serve White as a powerful relief.

Dia. 3: Th en how about Black 1 ? There will be no "ko" fight, butW hit e will m ake an escape at 2. Th is is the worst play.

Dia. 3 Dia. 4 Dia. 5Dia. 4: Black should play at 1. If W hite tries to get out with his 2,

Black can annihilate the whole enemy group in the corner.Dia. 5: Con sequently, if Black plays at 1, W hite m ust take the two

Black stones away with his 2, thereby hindering the possible connection ofBlack groups completely and then starting his further attack on the lowergro up . By this process Black will be able to force Wh ite into a har d fightand maintain a far superior position.

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FundamentalsOf the Opening StageNo . 13

B Y K E N S A K U S E G O EHonorary 9-Dan

1 . H O W T O REDUCE A LARGE FRAMEWO RK

Dia. 1Dia. 1: Black has built up a sizable fram ewo rk between his upp ersolid form ation and lower two-space extension. It is only natu ral th at he

should gain m ore or less real territory from this fram ewo rk. T he pro blemis how White can minimize such an otherwise tremendous enemy territoryin a most efficient way in connection with the wh ole situation. Any way inthis overwhelming enemy sphere of influence, White must be satisfied withpreventing Black from constructing a bulky territoryit is never favorablefor White to intrude deep into Black's such domain only to suffer his severeattack and affect the whole situation. No w, Wh ite's mild, proper way of

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redu cing from 1 to 5 ( or "a ") constitutes a form ula in a situation like thishe is already free from Black's pressure or envelop me nt. Should W hit e beinstead so greedy as to invade "b," it will be most difficult for him to handlethe situation w hen Black presses at the poin t "c ," 1 or 3. In ad dition, Blackis warned not to play "d" in the place of 2 because his lower extension fallsinto a sort of "overconcentration" going against the principle "three-spaceextension from two-stone vertical."

Dia. 2 Dia. 3Dia. 2: If Black covers his gigantic framework with the point 5, the

fram ewo rk will have turn ed into a large real territory. N ow is, therefore,the high time for Wh ite to start reduction. His strike 1 at the shoulder ofthe Black form ation is applicable to this case as well. W hite 1 to 7 formsanother formula of reductionthe moves also help him make his outside"th ick ." As for Black 2, refer to the last sentence in Dia. 1.

Dia. 3 : A variation of this sort.

Dia. 4 59


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Dia. 4: One more example. W hite should play 1 to 5 before Blackcovers himself with "a" (which will reject White's such cunning reductionup to 5) or jumps to "b" (which will threaten White's possible 1 by pressingat "a" or thereabou ts). W hite 5 is to place this upper arena to a pause forthe time being, but if Black long neglects the arena the chances are that theformer will sever and attack the latter by hooking to "c."

TV K D i a - 6Dia. 5Dia. 5 : In this situation, W hit e may also invad e "a" since Black's upp erformation is "th in" as compared with those in the preceding diagrams. Butin general it is safer and more favorable for White to take his usual coursefrom 1 to 7. If Black mak es no answer to W hit e 7, he is advised to play"b" at an appropriate time for further reduction or attack.

Dia. 6: An othe r case of the preced ing diagram W hite's last play 9may be turned elsewhere according to circumstances.{To Be Continued)

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. . ^ O " M a x i m s a n d T e r m s(No. 5>

A . "N E S T I N G C R A N E "Dia. 1: W hite's three stones m ark ed A can find no escape from Black's

grip. W hite has jum ped to 1 in vain to become a "nesting crane" a w hitecrane is lying within a black nest.

D ia 1 Dia . 2Dia. 2: Black has caught Wh ite on the hip from 2 to 6. Th e crane

is called the most auspicious birdin this case, the bird smiles on Black.B. EM P T Y T R I A N G L E

Dia. 3: Black has hooked to 1 only to make a typical awkw ard formation or a triangle empty of an enemy stone at "a." H e should have jum pedto "b" instead of 1.

Dia. 3 Dia. 4Dia. 5

Dia. 4: Black may also play like this according to circumstances.Dia. 5: Th is process often appears in the han dicap ga me . Black 2

and 4 force White into an "empty triangle."Dia. 6: Black 1 here is a very good play com bining attack w ith de

fensepay attention to White A.

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Dia. 6 Dia. 7Dia. 7: Th is "empty trian gle" (B lack 1, 3 and 5) exceptionally makes

a good formation to break through White.C . L IFE HINGES O N A L IBERTY

Th e value of a liberty touches the heart of any player. A liberty filled,a life lost.Dia. 8: W hit e has made a rash move 1 to lose a single but m ost valuable

liberty and be deprive d of his four stones includ ing 1 and 3.Ref. Dia. 1: W hit e can simply capture Black's three stones by 1 and

3 thanks to one liberty "a."

Dia. 9Dia. 8 Ref. Dia. 1Dia . 9: Should B lack play elsewhere after this 1-2 exchang e, it is fatalto his three left stonesthe order of White "a", Black "b" and White "c"is in store for Black.

Dia. 10: On e more case show ing us the dreadfulness of a liberty.Black is often seen playing 1 to be followed by White 2.

Di a. 10 Dia. 11Dia . 11: But Black's otherwise completely secure corner is now destined

for a fatal "Ko" from White 1 to Black 4unless he makes any defensive

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move in "Gote."D. A P O O R G A M E H A S N O L IBERT Y

This proverb stresses a beginner's tendency to like filling liberties.Dia. 12: Th is is just the case in pointB lack 1 and 3 have only helpedWhite secure himself.

Dia. 12 R ef. D ia . 2Ref. Dia. 2: Black 1 here severely flanks W hit e to pinp oint "a."

E. "U N D ER -T H E -S T O N E " T A C T I C SThis is one of masterpieces in local tacticsespecially in life-or-death

engagements.Dia. 13: W hite could surely capture Black's three stones (m ark ed A )

as seen here up to 3.Dia. 14: But this time W hite's three upper stones (m arked A ) aredram atically destined for captu re by Black 1 here un der one of his three onesmarked in the preceding d iagram.

Dia. 15Dia. 14

on Dia. 15: An oth er case of the "und er-the-s tone" tactics. In this diagram ,

the tactics is Black's only means to get a life against White's cut 1.

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Ref. Dia . 3 : Show s Black's failure.Ref. Dia. 3 Dia. 16

o n , o n o n Dia. 16: On e m ore example. W hite's several upper stones are doom ed-to capture by Black's last play 7 under his original 3.F. O NE EYE VERSU S BL INDNESS

It is clear that even one eye is far b etter tha n blind ness. It is also thecase with "Go."

Dia . 17: Th is is a life-or-death engag em ent in the corner. For ma llyspeaking, Black and White have three and four liberties, respectively; thatis, the latter must be one tempo ahead of the former in this engagement.But in fact, "eyeless" White to play first and lose the battle because of "oneeye" on Black's side.

Dia. 17Dia. 18

Dia. 18: An oth er case of one eye's decisive victory. W he n Black plays"a" to have one eye like W hite , this corner leads to a stalemate. But ifWhite preoccupies "a" to make Black eyeless, the latter's corner stones willonly meet their death calmly.

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Re f . D ia . 4Ref. Dia . 4: How ever, this principle depend s on circumstances. In

this diagram, for instance, "eyeless" Black outplays "one-eyed" White in casethe former is blessed with enough liberties.G . " C O M B "

Dia. 19: Black has descended to 1 to m ake a "co m b" as his onlyformation to reach a life in this caseWhite "a" is of no use before Black"b." The technical word "comb" applies only to such a formation alongthe side.

{To Be Continued)

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LOSS OR GAIN?When a game has reached the final "Yose" stage, we often hear either

player (B lack or W hi te) say that he has lost or gained certain points. Butthis is just to refer to the calculation of loss or gain in a certain local placein the "Yose" stage. There fore such calculation will help form the basicmaterial for proceeding with the "Yose" stage in good order.

Today, thanks to the untiring effort of the past fifty or sixty years' study,we can make accurate account of losing or gaining points in the "Yose" stage.

According to a Go expert, in the old days it was a long cherished dreamof Go-players:"How nice it would be if we could play "Yose" moves witha comp lete kno wled ge of loss and gain calculation!" No w at present, thestudy of how to play "Y ose" moves may be said to have almost successfullyattained its aims.

Considering that the study of loss and gain calcu'ation is just confinedto the "Yose" stage at present, I am sure that the study will be directed, inthe near future, towards the opening and middle stage moves.

Here I take one example and explain how you will be benefited bystudying the loss and gain calculation method.

It is generally said that in case you take lessons from a professional bydeploying five or six handicap stones, you ought to be far in the lead, say, byabout twenty points superior, by the time a game has reached the "Yose"stage.

Provided you are equipped with some knowledge of the loss and gaincalculation method, you may be able to locate where you suffered a loss andwhere you gained a profit. In other words, you can unde rstand the reasonwhy you failed to m ainta in your superior position. For instance, you knowtwo point gain here against three-point plus four-point losses in other placeswill reduce your twenty-point advantage to fifteen-point advantage.

If it is that you lost a game unconsciously, you will never be able toimpro ve your skill. I th ink it is necessary to give a clear definition to thewords "Loss and Gain" which are vaguely used among "Go" players.

Now, here I give a brief remarks on the loss and gain definition byquoting a few examples.

(1) Th e Case in Whic h the Loss or Gain Problem ArisesWhen you lead your opponent by one point and maintain that superior

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position to clinch the game, you may say that you have gained one point.An d th e converse is also true. W ha t I wa nt to stress here is that you shouldnever use the words "Loss or Gain" except when an actual result came outeither favorable or unfavorable to you.

"You would have gained two points if you had shifted this move toso-and-so" is the remarks you may often come across when you played aso-called w ron g mov e. I hop e you never use such an expression for thefollowing two reasons.

Firstly, it is doubtful, from the point of an overall battle, whether youcould come out a winner of the game or not, due to the so-called two-pointbetter play. In other wo rds, such an advice du rin g a gam e may often leada player to an erroneous notion as if the result of the game came off twopoints in his favour.Secondly, a loss or a gain argument on a move which was not actuallyplayed may m ak e you feel as if there existed a gain or a loss in reality. Ithink, therefore, that such an argument should be confined to only a movewhich has actually been played.

(2) T o Miss a Proper Move Invites LossNow let us look into the study of what I investigated about the loss and

gain problem.It goes without saying that if you find a proper move that brings yougain in the course of a game, you ought not to miss the play.Therefore, it is as clear as day that you ought not to think you made an

extra gain w he n you played a prop er move in tim e. An inevitable retribution for your negligence of having failed to play a due move is a loss onyour part.

You should know that all other moves that are improper prove to beyour disadvantage.

Even if you played a proper "Yose" move that is not so familiar to youamateurs, you should not think you did quite nicely out of that move.

< 1>_ 73 _.


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Dia. 1: Black 4 here is a poor move as all of you readers are well aware,for it merely brings on White 3 and 5 as shown in the next diagram whichBlack cannot but answer with 6 and 8.

Dia. 2: Needless to say, W hit e has the sente.

< 2> < 3>Dia. 3: Black's answer at 4 is the only move to dodg e Wh ite's 5 and

7 as his sente, the difference in Black's territory from the last diagram comingto two points.

But, Black 4 in Dia. 3 is nothing other than a proper move and, therefore, you should never d eem it a gain even if you so played. In this examp leyour consideration is required to be given to the move of 4 that has actuallybeen played.

Do you know how to decide whether the move you played is a gain ornot ? A loss or gain decision can be made only when a really played move iscom pared with a correct move. A correct mov e is a move wh ich is playedas the very best. As I said before, playing a correct m ove tha t you can findis a matter of course and, therefore, it has nothing to do with a matter of lossor gain . So, you should not thi nk that B lack gained tw o points for his 4 inDia . 3. Since the answ er at 4 in D ia. 3 is the very best in this case, it canbe said that Black 4 in Dia. 1 inflicted him two-point loss. In other w ords,two-point loss to Black is at least a reality so far as this instance is concerned.

Dia. 4: W ha t do you think of Black 1 and 3 here?

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Dia. 5: Black simply plays 1 and w atches for a chance to play 1 and 3in the next diag ram . If Wh ite answers one-point below 1, Black, as a ma tterof fact, has the sente.

< 6> < 7>Dia. 6: Th e sequence up to White 4 has brou ght two-point gain toBlack. In other w ords, Dia. 4 will be found to prove to be two-point loss forBlack as compared with this diagram.

Dia. 8: T he correct way of playing here for Ba ck is 1 and 3.

< 8> < 9>Dia. 9: In due time after the last diagram , Black plays 1 to force W hitegive in as show n here . W hite can not answer B lack 1 directly at 3 withou tbeing exposed to the danger of a ko-battle which affects the life of his group.

No w, if B ack moves his 3 in D ia. 8 one-point above, then W hite willfeel at ease to press Black 1 at 2 as in Dia. 10, which means two-point lossfor Black.

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Dia. 11: W hen I was young, I remem ber I had played 1 and 3, followed

by W hite 2 and 4. T he sequence necessitated me to end up w ith m y connection at 5 thus causing me four-point loss when compared with Dia. 9.The loss to such as amount as four points will have not a few effect uponthe game itself as a whole.

(3) Neither Losing No t GainingNot a few people think that Go game has a character that both players

are doom ed to get either loss or gain. I thin k it is because that they do no thappen to hear the words "Not a loss but not a gain".

It is necessary to note that in Go game you are often placed in such asituation as you make n either a gain nor a loss. W e call such a situation as"Jigo' or a drawn game, and if it is the case in "Sumo" or Japanese traditionalwrestling we call it "Hik iw ake ". In Go gam e too, we have three cases,namely, a win, a defeat and a draw.

I believe we can not make an abrupt conclusion about which case ismost probable.

Th is means that in Go gam e we have so man y cases of a drawn gam e. Ihope you to remind what I said in section (2), namely, if you find a propermove that bring you gain, you ought not to miss the play. Th e best move(the correct way of "Yose") means a move which effects neither a loss nora gain. Th ere is ano ther no t a loss but no t a gain case that I should like tomention in the next section.

(To Be Continued)

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T e eN o. 6

QUESTION I :B'ack and White are pitted against each other, dominating the north

east sector and th e southwest segment respectively. Should B lack stre ngth enhis own gigantic framework or invade White's vast sphere of influence?

Qu est ion 1 (Black to play)Answer 1: Black's best answer is "a." Even if W hite invades either

the upper or right side, Black can severely attack the invader and hunt outit towards the center while naturally constructing a bulky, substantial territoryon the other side and paving the way for intrusion into White's large framewor k. Black's "Kog eima-jimari" (knight-play corner enclosure mark ed )is the solidest of all the corner enclosures but has a weakpoint at "a"; that is,the "Kogeima-jimari" is prevented by White "a" from developing towardsthe center. In a word , Black "a" can be said to be the pivot of his northeas tposition for its consummation.

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Answer 1QUESTION I I :

Black "a" is conceivable as his greatest "Ooba" (ideal extension to theside in the opening stage), but isn't there any more urgent "vantage point"to control the whole situation?

Qu est ion 2 (Black to play)

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An sw e rAnsw er 2: Black 1 here not only dominates the central arena but also

makes W hite's upper grou p thin or even precarious. Should the vital pointbe preoccupied by White, the control of the center will come to his handsat once.

Q U E S T I O N I I I :

Qu estion 3 (Blac k to play)

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To be sure Black "a" is the last, greatest "Ooba" left to him, but his eyesmust be focused on White's large, powerful framework swelling from theleft side towards the center.

A nsw e r 3Answ er 3: No w is the high time for Black to cap W hite with 1 and

reduce his large fram ewo rk. If Black first extends to "a" (to be followedby White "b") and then plays 1, the latter's counter-capping "c" will severelypress 1 in cooperation w ith "b .'Q UES TI O N I V :

Qu est ion 4 (W hite to play} 83


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T he situation is just enterin g the midd le-stage. W her e is W hite's poin tof vantage?

Answer 4-a: W hite 1 here expands his leftward framework while pavingthe way for the reduction or invasion of Black's upp er territory. If Blackpreoccupies the point 1, he has much possibility of overwhelmingly expanding his upper do main by playing "a." Moves from Black 2 to 6 show a mostlikely process after White 1.

An sw er 4 a An swer 4 b

Answ er 4-b: W hit e 1 here (instead of "a ") is really substantial so faras the partial territory is concerned, but Black 2 to 6 will press White alongthe left side wh ile build ing up a powerful o utw ard infulence. (Black "b "is also possible in the place of his 2,)

Q U E S T I O N V :Black has extended to , neglecting the defense of his lower precariousgro up . W hi te should not hesitate in giving a vital thru st to Black's suchgroup.

Answ er 5-a: W hite 1 and 3 are his exquisite plays in this case. Th eBlack formation has been miserably broken into up to White 5.

Answ er 5-b: Shows W hite's failure. W ha t is worse, this process up to6 leaves him a serious crack at "a."

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Q u e s t i o n 5( W h i t e t o p l a y ) A n s w e r 5 a A n s w e r 5 b

Q u e s t i o n 6 ( B l a c k t op l a y )Black is requested to f ind some skilful tact ics making the most of his

A n s w e r 6 a A n s w e r 6 b- 85

Q U E S T I O N V I :


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A ns w er 6-a: Black shou ld play diag ona l to 1. In case W hi te defendsw i t h 2, his corner g roup wi l l have s imply passed away up to 5 .

A nsw er 6-b: If W hi te protects himself w ith 2 here , his four lowe r stonesare to be deprived of.QUESTION VII :

W hit e 1 is a ime d at h is advance to the cen ter and at tack on Black 's th reeup pe r stones at the same t ime . Black 's tact less answ er 2 ( to be fol lowed byW hit e 3 ) on ly helps W hi te 's such p la nni ng . H ow should Black 2 be?

Q u e s t i o n 7( B l a c k t o p i a y ) A n s w e r 7A n s w e r 7 :

1 to 7 here.See Black 's cunning "Ko" means to b lock up Whi te f rom

Q u e s t i o n 8( B l a c k t o p l a y }- 86

QUESTION VII I :


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Black 2 is a gross mistake as his answer to White 1 the latter is alreadyviable with 3 along the left side. H ow to play instead of Black 2?

mtEA nsw e r 8

Answ er 8: W hite's trick has been simply frustrated by Black's tacticsfrom 1 to 5 here.Q UES TI O N I X :

How should White intrude into this Black corner?

Ques t ion 9(White to play)Answ er 9-a: W hite's clumsy crawl 1 gives Black a 14-point territory

with 2.

An sw er 9 a An sw er 9 bAn swer 9-b: W hite's skilful intrusion from 1 to 5 succeeds in red ucin g

the Black territory to ten points.

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Q UES TI O N X :Should W hit e simply craw l to 1, his intrusion comes to a full stop before

Black 2. Recall tactics in the preceding question.

Quest ion 10(Whi te to p lay)An swe r 10: W hit e 1 he re is just the point in this casea point shorter

than the so-called "monkey's slide" in Answer 9-b.

Answer 10

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H e a d O f fi c e : I m a b as h i, H i g a sh i -k u , O s a k a C a b l e A d d r e ss : N I P P O N R A Y O N O S A K AT o k y o O f fi ce : Y a es u, C h u o- ku , T o k yo C a b le A d d re s s : N I P P O N R A Y O N T O K Y OP r in c ip a l P r o du c ts : N Y L O N , P O L Y E S T E R, R A Y O N a n d R e la te d P r od u ct s T h e re o f


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HAKONE NATIONALP A R KTake the super express" R o m a n c e " c a r f a s t es t , smoothest , mostcomf or t ab le connec t i onbe t ween T okyo (Sh in -juku) and Hakone

HA KO N E Ropeway servicelinking SounzanandTogendai viaOwakidani

O D A K Y UELECTRIC R AILWAY CO.


97/104

Kurobe No. 4 Arch Dam The d amsi t e i s in the Kurobe Va l ley in Japan ' s Nor the rnAl ps . This wo rld 's thi rd thigh est arch da m wil l be 186 m eters h igh with a stora gecapac i ty of 199 ,290 ,000 tons . The und ergro und p ower hous e , 10 km downst ream,i s cap able of genera t ing 258 ,000 kW.

Top-Most Bui lder in JapanM A IN BUSINESS LINES PO WER DEVELO P M ENT: Hydroelectr ic P ower P lant & Dam,

T hermal P ower P lant , Tranmission L ine.GENERAL C IVIL WO RKS : A ir f ie ld, H ighway, T unnel, Rai lroad,Bridge, Harbor, River Im provem ent, M ine Development, P neumaticCaisson Work.GENERAL ARCHITECTURAL WORK

G e n e r a l C o n t r a c t o r s , C i v i l E n g i n e e r s & A r c h i t e c t s

H A Z A M A - G U M I, LTD.P R E S I D E N T : M A N N O S U K E K A M B EH E A D O F F I C E : 1 - 1 , A o y a m a M i n a m i - c h o , M i n a t o - k u , T o k y o , J a pa nT e l . : T o ky o ( 4 0 8 ) 2 1 7 1 - 8 C AB LE A DD R E SS : H A Z A M A G U M I T O K Y OBR ANC HES : Senda i , Nag o ya , Osaka & Fukuoka

ESTABLISHED: 1889


98/104

T / f f T O U G H O N E H A S A L I G H T T O U C HToyopet Tiara is the tough one built to take it on any kind of road.Yet i t 's probably the easiest ,l ightest-handling car you ever drove.You could park it with one finger.The ratt l ing-est rough roads won'tshake up a Tiara because it has allthis: welded, uniframe construction;tight, tau t fit of every precision par t;torsion bar suspension to smoothaway bumps.

Pow er? The Tiara's 65 H P,1500 cc mo tor accelerates l ike ajack-rabbit , keeps you cruising at100 K PH all day long. Its fueleco nom y, even in he av y' traffic, ishard to believ e. (A special 2-barrelcarb ureto r is one reason for theremarkable mi leage. )Practical yes, but beautiful, too !

In its deep, rich finish, its line, itscareful appointments , Tiara provides

a luxury far beyon d its pric e. Andplenty of room for five adults andtheir luggage, too.Only Toyota, Japan's largest automaker , could make a car that givesso mu ch for so little mon ey . If you'rein the market, you owe it to yourselfto trial-drive Tiara. There's a dealernearby, ready today with your Tiaraand complete parts and service

always.I TOYOTA TO Y O TA M O TO R OF J AP AN


99/104

V"'RAND STEEL C O R P O R A T I O NM ain OHiee: 2035/1 Wakinohama-cho 3-chome, Fukio i-ku .KobeC o b le A d d re ss : " K A W A T E T S U KO B E ""R IVER STCO R P KO BE"Tokyo Branch: T okyo Bui ld ing, 3 M orunouchi 2-chome,C hiyoda-ku , TokyoCa b le A d dress: "R IVER STC O R P T O KY O "New York O Hiee: 26, Broadway, New Y ork 4 , N.Y . , U.S.A.T e l . Whitehal l (4) 3584C a ble Ad d re ss : "KA WA T ET S U NEW YO RK 'LO S ANGEL ES O FFIC E: 530 West 6th St. Los A ngeles 14,

Calif., U . S . A .

Steel is the key ti^mmWik \ i ' '


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A B S T R A C T C A L L I G R A P H I C R E N D IT I O N O F M T . F U J I

COMBINING LONG EXPERIENCEWITH A YOUTHFUL SPIRIT,

THE FU JI BANK BRINGS YOUEFFICIENT, PERSONALIZED BANKING SERVICES

DIRECT FROM IMPORTANT TRADE CENTERSTHROUGHOUT JAPAN.

J A P A N ' S L A R G E S T C O M M E R C I A L B A N K

TH E FU JI BA NK ^D.H e a d O f f i c e : T o k y o , J a p a n

Branch o f fi ces t h roug hou t Ja pa n : 191O v e r s e a s O f f ic e s : L o n d o n , N e w Y o r k a n d D u s s e l do r f

R e p r e s e n t a ti v e O f f i c e : C a l c u t t a

go monthly review 1963-06

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