What They Said: Quotes From Over Two Thousand Years of Go History
What They Said: Quotes From Over Two Thousand Years of Go History
What They Said: Quotes From Over Two Thousand Years of Go History
Teng Yuan Sui wrote about two 18th century Chinese masters who
played the legendary “10 Games of the West Lake.”
Only Shi could match Fan, but the sun could set over Shi‟s moves of
defense while Fan, smiling and lighthearted, could exchange jokes with his
friends, or go to sleep between the moves of his opponent.
Fan Si-pin‟s style is wonderful and lofty, like the divine dragon
shifting shape—its head and tail are indistinguishable. His
opponent, Shi Ting-an, is accurate and strict as an old horse
galloping along without a misstep.
Shi was like the ocean in great flood, containing much that is
profound. Fan was like the high mountains, with aspirations that were lofty
and marvelous.
1
Su Shi, an 11th century poet and politician began a poem about being
in exile on S. China‟s heat-drenched Hainan Island. While watching his son
play the local magistrate-overseer, he remembers better times.
There are on the Go board 360 intersections plus one. The number
one is supreme and gives rise to the other numbers because it occupies
the ultimate position and governs the four quarters. 360 represents the
number of days in the [lunar] year. The division of the Go board into four
quarters symbolizes the four seasons. The 72 points on the circumference
represent the [five-day] weeks of the [Chinese lunar] calendar. The balance
of Yin and Yang is the model for the equal division of the 360 stones into
black and white.
2
The 17th century Catholic missionary Mateo Ricci wrote one of the
first descriptions of go playing to reach the West:
Limits are so exceeded that some even bet their clothes and personal
objects . . . [as a go game progresses] tempers change, honesty and
correctness are abandoned and expressions become not only choleric but
even violent . . . the game is not included in the [Confucian] Six Arts . . .
Adopting inconsistency and fraud as methods of play is a demonstration of
the use of incorrect and disloyal principles, employing technical terms like
jie [„invasion‟] and sha [„killing‟] means being devoid of ren [humanity].
Lastly, spending the day deserting one‟s occupation brings no advantages
and so we may wonder if there is any difference between placing stones on
a game-board and simply throwing stones . . . where can we find on the
[wei qi] board any relation with a prefecture? And the three hundred pieces
with an army of a thousand soldiers? Imperial robes, bells and musical
stones are much more important than pieces and game-boards: who would
exchange one for the other?
3
The stirring second act of The Battles of Coxinga, a Japanese Kabuki
play by Chikamatsu, begins with some Immortals visiting China from their
home on the moon. Seated atop their sacred mountain, they are playing a
game of go. My comments follow one of theirs.
A young boy‟s father had been murdered and the boy and his mother
wanted revenge as quickly as possible. At last, when she felt he had grown
old enough to take action, she took out a go set to see whether the moment
was propitious. As he played out a game with himself, his right hand taking
White, his left playing Black, at crucial moments the mother shouted Bon
power-mantras at him, and the boy‟s guardian-spirit sat on his right
shoulder offering timely advice. Finally, White (that is, he) won, indicating
the time was auspicious for finding and killing the man, which he promptly
did.
The mother and son were not fortune-telling, nor seeking omens or
trying to read the future in our sense of it. They were ascertaining the state
of the universe at that moment: was the time auspicious or ill? Who was
playing the black stones? Who was playing White? No one. It was the
stones that were „playing‟ the boy, just as a shaman might be „danced‟ by
powers greater than him- or herself.
4
From Appendix V of Speculations About the Origins of Go:
In the early 3rd century BC Zuo Zhuan, with translator James Legge‟s
spelling, T’ae-shuh Wan-tsze, an outraged minister is said to have spoken
out about his erring cousin around 543 BC:
From Combinatorics:
5
Some additional quotes from the homepage of Kiseido (www.kiseido.com):
The board has to be square, for it signifies the Earth, and its right
angles signify uprightness. The pieces of the two sides are yellow and
black; this difference signifies the Yin and the Yang -- scattered in groups
all over the board, they represent the heavenly bodies. These significances
being manifest, it is up to the players to make the moves, and this is
connected with kingship. Following what the rules permit, both opponents
are subject to them -- this is the rigor of the Tao.
That play of black upon white, white upon black, has the intent and
takes the form of creative art. It has in it a flow of the spirit and a harmony
of music. Everything is lost when suddenly a false note is struck, or one
party in a duet suddenly launches forth on an eccentric flight of his own. A
masterpiece of a game can be ruined by insensitivity to the feelings of an
adversary.
The board is a mirror of the mind of the players as the moments pass.
When a master studies the record of a game he can tell at what point greed
overtook the pupil, when he became tired, when he fell into stupidity, and
when the maid came by with tea.