Those who are good at winning, don't usually fight.
zhang, 1078 AD
Those who are good at making shape don't usually fight.
zhang, 1078 AD
Never be too sure about your plan, and always doubt your ability to kill your opponent's stones.
zhong-pu liu, 1078 AD
Fighting must not be the key to go, it should be reserved as your last resource.
zhong-pu liu, 1078 AD
If you cannot succeed, then die gloriously
Go is essentially a form of harmony. Go in the 21st century will have to be go of the 'harmony of the six points - the four quarters, the above and the below.' As in life we will need to view the whole rather than the part. Japanese go has focused too heavily on the local (joseki) rather than the whole for 300 years. The reason the Chinese and Koreans are overtaking the Japanese is that they are closer to achieving this whole-board view.
Go Seigen, 9p, 1994
When your opponent is thick, you must also become thick.
Otake Hideo, 9p
In opponents' sphere of influence, avoid sharp conflict, don't move too deep
Otake Hideo, 9p
5 lines for extension in front of shimari
Yang Yilun, 7p
To invade, need 20 points in open area; otherwise, keshi is best.
Yang Yilun, 7p
Go is a game of chance where the strong player is he who renders circumstances favorable with tricks.
Everything happens on a grid-engraved board with black and white pieces, but if that's all you see then you don't know Go.
The game plays itself, the players don't control it.
There are possible things, impossible things, and things that happen. Sometimes things happen that were impossible.
The possibility or impossibility of an event results logically from the rules.
From the way the players perceive what can happen and what shouldn't happen springs what happens.
The nature of a game comes from what is played, but it's the sensitivity to the possible and the impossible that gives it value.
(A shicho works or doesn't work, but sometimes you don't see it, you don't play it). The possible and the impossible are visible and invisible. What happens is always what you see, what is played.
Territory really exists only in the end.
There are lines, like roots, that plunge into the stone and shatter it.
The intersection is rarely neutral.
The stone in the bowl is idiotic.
There are players who clack down ridiculous moves. Certain others place their moves with crisp, dry contact, like bones cracking. Still others drop their stones with a soft sound.
In the sound of the stone your can hear its purpose.
To emphasize the lack of determination in his moves, one speaks of chance.
One is never aware enough of the violence in go.
You have to like to win, and to learn to recognize the errors that gave you the victory.
Sometimes an idiotic stone loafs about the goban.
Does white await black's errors? Certainly, in two ways: either he makes clean, clear, dangerous moves; or he makes confusing, twisted moves that are just as dangerous. The adequate answers are always difficult to find.
If black doesn't pile up enough errors to lose, then it will soon be time to lower the handicap.
Very few good moves are played.
There is a time and a space which are the same in all go games: the alternating of black and white, and the intersections.
This time and this space have certain properties, and for a long time, to progress means to become familiar with them.
You must incessantly question yourself about this time and this space.
The ax's handle rots while the mind lives to the rhythm of the stones.
Territory is a closed space where time no longer exists. The transformation around it slowly alter it, and sometimes it cracks open like a rotten egg at the least shock.
Beginner's games are surprising, often incoherent and incomprehensible. When you improve, your game gains in consistency but flirts with stupidity: you become satisfied with truisms and mechanical movements, you try to obtain a feeling for clearness and style the easy way.
You can hide nothing on the goban.
Everything would seem to be possible in go. Like pulling a rabbit, by a magical move, out of a hat.
(Any move that follows the rules is legal). Possibilities differ according to strength.
Josekis are not fixed, definitive things. They indicate the moments when everything can change.
Learning josekis by heart is useless if you don't try departing from them.
Go is not a blocking game, it's a game of action.
Every move brings change.
There are players who don't accept exchanges: they play many moves that perpetuate a previous state of the game.
Error is one of the sources of transformation.
There is a time for doing things.
You must always consider the circumstances. Nothing is identical, yet things repeat.
Nothing requires doing this or that, but necessity exists.
To do or not to do something is not determined by what is done in general, any more than by what is necessary. Doing or not doing something is determined by what you want, and to want in go is to want to win.
Contesting, destabilizing, and threatening are sources of transformation.
Balance is not what players strive for, and if it does arise, it is in spite of them.
It is difficult to know exactly what you are doing.
More haste less speed.
If White takes all four corners, Black should resign; if Black takes all four corners, Black should also resign.
Make a fist before striking
Kim, Jay H.
Proverbs do not apply to White.
Grab the 4th point of the bamboo joint.
A knight's move near the edge of the board cannot be cut.
When in doubt, remove the enemy stones from the board.
Turn, turn, turn!
Don't reduce your own liberties.
The weak player fears ko, the strong player seeks it.
Don't defend - extend!
Keep your own stones connected, and your opponent's apart.
Always remember, keep the balance (between territory and influence)
In an unreasonable situation, an unreasonable move is reasonable
A basic: Don't push too hard.
In the opening, when you don't know what to play, make a shimari.
There is a thin line between thick and slow.
When you study joseki, you lose two stones in strength -- anonymous
Don't try to enclose an open skirt -- anonymous
Play slow, win slow; play fast, lose fast -- anonymous
Do not make moves that strengthen your opponent! -- anonymous
Keep sente in the opening. A premature attack loses sente -- anonymous
Keshi is worth as much as an invasion! -- anonymous
Only amateurs try to come up with fancy moves -- anonymous
Don't count territory held by only one eye! -- anonymous
Grab the border point between two moyos -- anonymous
Defend weak groups, not strong groups -- anonymous
Don't get surrounded! Ever! -- anonymous
The simplest move is the best move -- anonymous
Hane? Extend! Make it a habit -- anonymous
White is always trying to kill a bigger group than black is trying to save -- anonymous
Grab the shape points as kikashi -- anonymous
Five liberties for tactical stability -- anonymous
Don't play on dame points, but guarantee connections -- anonymous
Be a little patient. Keshi works! -- anonymous
Conservative and slow will win. Believe it! -- anonymous
Thickness? Ladders always work! [or don't work if it belongs to your opponent!] -- anonymous
Dead group? Always win ko fights! -- anonymous
Make your own groups strong first, then attack -- anonymous
The book says don't fight (The pen is mightier than the sword). But what else can be expected from a book (written by a pen)? -- anonymous
On the second line six die, eight live -- anonymous
On the third line, four die, six live -- anonymous
In the corner, five stones in a row on the third line are alive -- anonymous
Six eyes in a rectangle are alive -- anonymous
For rectangular six in the corner, dame is necessary -- anonymous
If one player chooses influence, the other player may choose territory, and vice versa -- anonymous
The comb formation is alive -- anonymous
For the comb formation in the corner, dame is necessary -- anonymous
The carpenter's square becomes ko -- anonymous
If there is no stone on the handicap point, the carpenter's square is dead -- anonymous
There is death in the hane -- anonymous
Strange things happen at the one-two points -- anonymous
If a formation is symmetrical, play at the center -- anonymous
Against three in a row, play right in the center -- anonymous
The semeai where only one player has an eye is a fight over nothing -- anonymous
There are times when even a fight over nothing means something -- anonymous
If there is a ko inside a semeai, capture it on the final play -- anonymous
Learn the eye-stealing tesuji -- anonymous
Don't make empty triangles -- anonymous
Don't make compact groups of stones -- anonymous
At the head of two stones in a row, play hane -- anonymous
At the head of three stones in a row, play hane -- anonymous
Shoulder connections, hanging connections, and knight's move connections -- anonymous
If your stone is capped, play the knight's move -- anonymous
Beware of the clumsy double contact -- anonymous
Don't play in direct contact with the opponent's stone caught in your squeeze-play -- anonymous
Don't make a play adjacent to a cutting-point -- anonymous
Capture what you cut off -- anonymous
Never try to cut bamboo joints -- anonymous
If you have one stone on the third line, add another, then abandon both of them -- anonymous
Answer the keima with a kosumi -- anonymous
Beware of going back to patch up your plays -- anonymous
The monkey jump is worth eight points -- anonymous
The poor player plays the opponent's game for him -- anonymous
If you have lost four corners, resign -- anonymous
If you have won four corners, resign -- anonymous
Pon-nuki is worth thirty points -- anonymous
One point in the center is worth ten in the corner -- anonymous
To reduce an opponent's large prospective territory, strike at the shoulder -- anonymous
If you plan to live inside enemy territory, play directly against his stones -- anonymous
Knight's moves win running battles -- anonymous
When your opponent has two weak groups, attack them both at once -- anonymous
The enemy's vital point is your own -- anonymous
Add one stone, then sacrifice both -- anonymous
The saki bottle shape is negative -- anonymous
There is no territory in the centre -- anonymous
2-1 is the vital point in the corner -- anonymous
Fill in a semiai from the outside -- anonymous
Groups mustn't float -- anonymous
The strong player plays straight, the weak diagonally -- anonymous
If you lose by one point, take a rest -- anonymous
Win the early ko to win the game -- anonymous
Attach to the strongest stone in a pincer -- anonymous
Keep away from thickness -- anonymous
Five groups might live but the sixth will die -- anonymous
Win the stones, lose the game -- anonymous
Don't make territory near thickness -- anonymous
Sacrifice small to take large -- anonymous
Corner, side, centre -- anonymous
Extend one hand from the cross-cut -- anonymous
Good moves and bad moves are bedfellows -- anonymous
Don't peep at cutting points -- anonymous
Take the cutting stone on the second line -- anonymous
The second line is the line of defeat, the third line is the line of territory, and the fourth line is the line of influence -- anonymous
The rectangular six is normally alive -- anonymous
Stop on second, extend on third -- anonymous
If you don't know ladders, don't play go -- anonymous
Strike at the waist of the knight's move -- anonymous
Sacrifice and squeeze -- anonymous
Empty triangles are bad -- anonymous
Atari, atari is vulgar play -- anonymous
Keep inessential ataris till the end -- anonymous
Avoid the plate connection -- anonymous
A meijin needs no joseki -- anonymous
Big groups never die -- anonymous
Ikken tobi is never wrong -- anonymous
Strange things happen at the one-two points -- anonymous
The L-group is dead -- anonymous
Don't overlook the edge of the board -- anonymous
There is damezumari at the bamboo joint -- anonymous
Learn to play under the stones -- anonymous
Eyes win semiais -- anonymous
Don't make dango's -- anonymous
Know the eye-stealing tesuji -- anonymous
Connect with good shape -- anonymous
Don't disturb symmetry -- anonymous
From a cross-cut, extend -- anonymous
Use the Knight's move to attack, the 1-point jump to defend -- anonymous
Attack two weak groups simultaneously -- anonymous
Sacrifice for shape -- anonymous
With only one group, you will win -- anonymous
Each step in a ladder is worth 7 points -- anonymous
With less than 15 stones in danger, tenuki -- anonymous
Do not fear furikawari -- anonymous
One big eye kills one small eye -- anonymous
Seek small gains but incur big losses -- anonymous
Don't be greedy! -- anonymous
When in a winning position, keep the game simple; Make it complex only when losing -- anonymous
Use a wall to attack, not to make territory -- anonymous