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Analysis of Game 1 of the 4th Annual Meijin Title Match

How to Read Japanese Go Analysis

From Kidō, October 1965


This is another challenging example and will probably take quite a while to comprehend entirely. An average Japanese reader who understands go would probably take fifteen minutes to read this page. But hang in there! Everything is broken down into its component parts and obviously hundreds of thousands of Japanese go players read material like this regularly. As always, the notes will explain in detail both the vocabulary and grammar, so that one can get a good grasp of the subject even without having studied Japanese previously. First, the vocabulary on the page above is given, then the rōmaji reading of the text, then grammatical notes, and finally the translation. The go analysis here is by Segoe Kensaku, Honorary 9 dan (1889-1972), Go Seigen 9 dan (1914~), Hayashi Yūtarō 9 dan (1900-1983) and Sakata Eio Meijin (1920-2010).


瀬越 Segoe  
打ったら Uttara If [something] played
Kuro Black
なるほど Naruhodo Indeed
うまい Umai Sweet; skillful
Te Move
調子 Chōshi Condition
ちなみに Chinami In passing
九段 Kudan 9 dan
師匠 Shishō Master
期せず Kisezu Cannot be expected
師弟 Shidai Master and disciples
三代 Sandai Three generations
一局 Ikkyoku One game
Go Go
没頭 Bottō Engrossed in
時代 Jidai Era
流れ Nagare Flow
まのあたり Manoatari Before one’s eyes
見る Miru To look
心地 Kokochi Feeling; mood
なかなか Nakanaka Completely
感慨深い Kangaibukai Deep emotion
光景 Kōkei Spectacle
説明 Setsumei Explanation; analysis
による Ni yoru According to
右下 Migishita Lower right
Katachi Shape
Mukashi Past
橋本宇太郎 Hashimoto Utarō (1907-1994)
八段 Hachidan 8 dan
Toki Time
Zu Diagram
ひらいた Hiraita Extended
Shiro White
切る Kiru To cut
進行 Shinkō Progression
感想 Kansō Impression
Saki First
右辺 Uhen Right side
回して Mawashite Turns to
掛け Kake Fence in
確かに Tashika ni Certainly
渡って Watatte Connects underneath
踊り出し Odori-dashi Dancing out
残る Nokoru Remains
つまらない Tsumaranai Trivial, i.e., no good
出切る Degiru Push through and cut
ぎゅうぎゅう Gyū-gyū Tightly
絞られて Shiborarete Get squeezed
Sumi Corner
Ji Territory
免れる Manukareru Avoid
左方 Sahō Left direction
模様 Moyō Territorial framework
Atama Head
出して Dashite Poke out
時間 Jikan Time
記録 Kiroku Record
合計 Gōkei Total


Segoe [Kō uttara dō ka ne]

Go [Hai, sore nara kuro wa kō yaru deshō]

Segoe [Naruhodo, umai ted a naa]

Go [Hai……]

To itta chōshi. Chinami ni Segoe kudan wa Go kudan no oshishō san ni atari, kisezu shite shidai sandai ga ikkyoku no go ni bottō suru koto ni natta wake. Jidai no nagare wo manoatari miru kokochi ga shite, nakanaka kangaibukai kōkei de wa atta. Sono Go kudan no setsumei ni yoru to migishita no katachi wa mukashi Hashimoto Utarō 8 dan to utta koto ga ari, sono toki wa (17) no te de Ichi zu kuro ichi to hiraita no de shiro 2 to kiru shinkō ni natta to iu.

(18) (Hayashi hachidan kansō) Kuro ga Ni zu ni ichi wo saki ni shita no dakara, shiro wa uhen e te wo mawashite 2 no kake wa dō dattta deshō?

(Sakata Meijin kansō) Sore wa kuro san kara kyū made tashika ni watatte ite, a no odori-dashi ga nokoru kara shiro tsumaran deshō.

(Hayashi) San zu Kuro ichi wo shiro ni kara degiru to, gyūgyū shiborarete sumi ga sokkuri kuro-ji ni natte shimau.

(Sakata) Yon zu Shiro 2•4 wo uteba shibori wa manukareru ga, kuro 5 ga sahō no shiro moyō e atama wo dashite iru kara, kore nara kuro ga yosasō desu.

[In box on left] Jikan Kiroku



The page shown here comes from part of the article that is offered as the Classic Kidō Game this month. It is from an analysis of Game 1 of the 4th Annual Meijin Title Match and the reader is urged to use that material for reference.

This is another old article: The paper is browning from age and if one looks closely one can see slight gaps in the center of every box on the board. That is because in the old days the go diagrams were set by hand using cast metal.

However, the text is standard Japanese and there is nothing that would sound strange if encountered in any go club in Japan today. In fact, there are practically no complex verbs used. “Uttara,” meaning “if (something) is played” and “shiborarete” or “get squeezed” are the only ones.

There are few really colloquial terms here, either. “Tsumaran,” where the “i” is dropped from “tsumaranai” (“trivial” or “no good”) is the only one.

In all, one can feel confident in learning the complete vocabulary and knowing that the words will come in handy.


Segoe: If it is played this way, how about it, you know?

Go: Right. In that case, Black will probably do it this way.

Segoe: Indeed. That’s a really skillful move, I must say.

Go: Right…

in that kind of manner. Incidentally, the relationship of Segoe 9 dan to Go 9 dan is that of master [to disciple], and unexpectedly, the fact is that three generations of masters and disciples are engrossed in one game of go. The feeling was that the passage of time was flowing before one’s eyes, a spectacle that was entirely and deeply moving. According to that same Go 9 dan’s explanation, the shape in the lower right came about in a game in the past with Hashimoto Utarō 8 dan. At that time, for the move of Black 17, the extension of Black 1 in Diagram 1 led to the progression with the cut of White 2.

White 18: (Hayashi 8 dan’s impression) Since Black first played 1 in Diagram 2, how would it be if White turned to the right side and made the fencing-in move of 2?

(Sakata Meijin’s impression) In that case, Black would make a certain connection underneath with 3 through 9, leaving the option of jumping out at “a,” so White is no good.

(Hayashi) In response to Black 1 in Diagram 3, if White pushes through with 2 and cuts with 4, the stones will be squeezed tightly and the corner will end up becoming Black’s territory completely.

(Sakata) If White plays 2 and 4 in Diagram 4, the squeeze can be avoided, but Black 5 sticks out into White’s territorial framework in the left area, so also in this case Black would seem to be better.

[In the box on the left] Recording of the time [taken per move] Total

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