When you say Big Go Dictionary, it sounds perhaps like a dictionary of words, but it refers to the many and various patterns that appear in actual games. Not only are these patterns systematically classified and brief explanations added, but they are conveniently index by means of diagrams. In other words, in the same way that people who write articles require a dictionary of words, this dictionary is indispensable for those who share an interest in go, and the fact that it has not already been produced before now seems somewhat surprising.

This book was not created overnight. I, the author, conceived this project some ten years ago, and, whenever the occasion arose, diligently collected patterns and further studied those patterns. However, because it was major enterprise that far exceeded my expectations, I was about to abandon the project more than once, but each time I spurred himself on and finally, last year, for the first time, eventually completed the overall skeleton for both handicap and even games. And so, after that, working day and night, I determined the relative values and merits of these patterns and then, so as to make indexing convenient, sorted the patterns and added general explanations to each, finally reaching the position where I could issue here the first volume (the Handicap Games part, in other words the study of the star-point openings).

Finally, I would like to express my deep gratitude for their encouragement to those who shared my interest, not least Mr. Kohara Shiun, and to Mr. Ogawa Kikumatsu, head of Seibundo, for his support in publishing this book.

The Big Go Dictionary systematically classifies the various patterns that appear in actual play, and indexes them by means of diagrams, and so, in the same way that people who write articles require a dictionary of Japanese, this dictionary is indispensable for those who share an interest in go.

This book was not created overnight. The late Suzuki Tamejiro conceived this project 50 years ago, and, whenever the occasion arose, diligently collected patterns. After further research on these patterns he published the book for the first time in 1933.

However, because of the war later, it was all reduced to complete destruction and so, some ten years after the war, having obtained the support of Ogawa Kikumatsu, then Chairman of Seibundo Shinkosha, Suzuki decided to proceed with publication, after more than 32 years, of a revised edition to which he had added fresh text.

On 3 November 1960, when he had completed all three volumes of this new edition, Master Suzuki received the Medal with Purple Ribbon because of his meritorious service in which he had devoted himself to the development of the go world over many years. But on the 19th of the same month, he unexpectedly collapsed while chatting with the group of our editorial team attending the celeberation of his award. He died suddenly the following day, the 20th.

In the autumn of last year, on the 17th anniversary of his death, those involved got together and decided to make further revisions and additions and to issue a new edition in order to preserve forever this book which was the largest go work in the Showa era.

Our profound thanks go to the Chairman of Seibundo Shinkosha, Ogawa Shigeo, who kindly undertook such a large publication.

If this Igo Daijiten is able to contribute, in whatever small measure it may be, to the spread of go and to an improvement in the reader's go strength, there will be no greater pleasure than this for us.

(1) This book should be perused as and when necessary in relation to actual games. The principle is the same as when, say, opening a dictionary as needing when reading a book or writing some text. Also, I believe that if you study in sequence from the beginning, you may well expect to improve.

(2) In the compilation of diagrams the focus was exclusively on giving an index of all the various lines in handicap games (and by extension in star-point openings in even games), and on usefulness in actual games. As a consequence, there are more than a few examples extracted from games by famous players.

To mention some of these famous players, by way of example:

In olden times, Honinbo Dosaku of the Enpo and Genroku eras who exhibited unparalleled genius and matchless strategies. Honinbo Satsugen who occupied the throne in the go world of the Meiwa and Tenmei eras. Honinbo Genjo, from the Tenmei and through the Bunsei eras, and alongside him Yasui Chitoku, who left for posterity some 72 games between them. Coming down to the Kaei and Bunkyu eras, the Honinbo heir, Shusaku, who is regarded as the Later Sage of the go world paired with the Former Sage Dosaku. In the Tenpo era, the Warring Kingdoms period of the go world when it was as if go heroes arose from all directions, there was Ota Yuzo, said to be the first among the Tenpo Four; and so on, and so forth.

Coming to recent times, for example Iwasaki Kenzo, Nakagawa Kamesaburo, Nozawa Chikucho, Honinbo Shusai, Iwasa Kei, Segoe Kensaku, Kato Shin, Kubomatsu Katsukiyo, Onoda Chiyotaro, Hayashi Yutaro, Miyasaka Shinji, Mitsuhara Itaro, Iwamoto Kaoru, Fukuda Masayoshi, Murashima Yoshinori, Maeda Nobuaki, Hasegawa Akira, Shinohara Masami, Kitani Minoru, Go Seigen, Hashimoto Utaro, et cetera, et cetera. And apart from these, the author has made extracts from his own games.

In addition, I have sampled, from the Chinese go world, Wang Ziyan, Wang Hannian, Sheng Dayou, Zhou Yuanfu, Wu Xianglin and Pan Langdong, while from the amateur go world I have used the game records of the venerable Toyama Mitsuru, the late Aoki Tetsuji, F. Dueball (the German Honinbo) and so on.

(3) When, as necessary, to investigate in this book something you do not know, it has been devised so that:

First you consult the Basic Index, and then when you go to the Main Index you will be able to find a readily understandable answer. The ease of doing this will be like finding a sharp awl in a sack.

(4) The Joseki Index is also convenient and useful. I hope it may serve to add a further dimension.

(5) Apart from the Basic Preliminary Diagrams, each generally item has not only a Basic Source Diagram and Basic Diagrams, but also a clear summary of the main points. Sometimes, when this summary of the main points is lacking, sufficient detail about the principles will have been given in the preceding items.

(6) Where a star is added in front of a number in the Basic Index, it is an example deemed important by the author in actual play.

(7) In the fine classification of the patterns in the Basic Diagrams, they are in the first instance divided into A, B, C and so on, and then as A1, B1, C1 and so on. Where necessary, they may be further subdivided as Variation 1, Variation 2 and so on. The graphics of the Basic Diagrams accompanying these themselves vary for ease of viewing.

(8) For the convenience of the readers, a special appendixes have been added on the board notation and technical terms used in this book.

Teihou 定法
Refers to the initial correct way to play in or approach a corner, or the correct ways to respond. Teikei 定形 or 定型 is also used but is more or less the same. In general, teihou and jouseki are used interchangeably but in this book we classify them separately.

Jouseki 定石
Having obtained the correct result by correct play in a corner variation. In other words, it refers to a basic pattern that is used in actual play. [Joseki]

Jouyou 常用 A generally used pattern. In this book also referred to as joukei 常形. In other words, although it may not be the case that there is no profit or loss in the result, it can be regarded as a correct way of playing next in line after a joseki.

Gokaku 互角
Indicates a result that is not a profit nor a loss, that is neither unfavourable nor favourable, even though it is not jouseki. [Even]

Baai ni yoru 場合による
Means the profit or loss depends on the situation. In other words, depending on the position elsewhere outside this position, it may be a good result or a bad result at different times. [Depends on the situation]

Kofuu 古風
A pattern often seen in old games but not used much in recent times. [Old style]

Konomazu 好まず
The result is bad: the aji is bad or it is not good shape. [Unfavourable shape and aji]

Sugureri 優れり
This indicates a better overall position 勢. However, it goes without saying that the term is connected with loss and gain. For example, it refers to occasions where outside influence is compared with a loss made in the corner and the outside influence is deemed superior. [Stands better]

Yuuri 有利
Comparing territories, the one that has more is referred to as yuuri and the one with less as furi 不利. [Territorially advantageous; territorially disadvantageous]

Yoshi 好し
The result is good and aji is all right, and the shape is also good. [Good in terms of aji and/or shape]

Yoshi 善し
Refers to when the result is favourable in terms of profit and loss and of shape. For example, if White makes good shape and Black has ordinary shape, this would be referred to as Shiro yoshi. [Good in terms of profit and shape]

Warushi 惡し
Refers to when the result is unfavourable in terms of profit and loss and of shape. [Bad]

Tsubure 潰れ
A pattern that exhibits various kinds of bad shape and the result would be unlikely ever to be reproduced. [Crushed]

Make 敗け
When stones are captured in a life and death situation or a capturing race. [Loss of stones, material loss]

Oomake 大敗
Not only are stones captured but the shape is bad and overall this is a position that is enough to decide the outcome of the game. [Major loss]

Omoshiroshi 面白し
Profit and loss or advantage and disadvantage are not clear, but it somehow creates a nice feeling. [Appealing; attractive]

Warushikarazu 惡しからず
Although it cannot be deemed good, nevertheless it is not even. In other words, what should have ended in a poor result has had an unexpectedly good result. Or somehow it seems there is a shading one way or the other but it is difficult to express in words. [Not good but acceptable]

Ishi wo sutete toku wo nasu 石を捨てゝ得をなす
[Also shi 子 in place of ishi] A pattern where stones are captured, but a profit greater than that is made. [Profitable sacrifice]

Hamete ni kakaru 嵌手にかゝる
A hamete [trick play] is not a correct move; it is an irregular or an unreasonable move. Kakaru means spoiling one's position appreciably by being fooled by it. [Falls into a trap]

Koudate no tashou ni yoru 劫抛の多少による
[Also kouzaikoudate] A ko fight arises in a corner variation, and the assessment of the result will be determined by the outcome of the ko, in other words by what can be obtained elsewhere and so by the size of the ko threats. [Depends on the size of ko threats]

Shichou no ikaga ni yoru 征の如何による
Depending on the existence and position of each player's stones in the opposite corner, a ladder may or may not work. The assessment of the result in the corner is determined by what happens to the ladder. [Depends on a ladder]

It seems worth adding that 可 is also used and is also read yoshi, but it is not defined. We suggest the rendering "satisfactory."