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Introduction

Most of these proverbs were collected by S.Coffin and he kindly gave me permission to publish the list. Some of these proverbs were merged into the Internet Go Dictionary.

The aphorisms by Pierre Audouard appeared between 1994 and 1995 in the French Go Review under the title "Some words about Go", and signed by Jean de Laveline (pseudonym of Pierre Audouard) and were translated by Tom Keel.

By default the proverbs are shown in a predefined order Alternatively, you can have them shuffled (the order is randomized) or ordered by author.

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

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