The Art of Poker, Part 5, "Draws"
T. Pascal
terms. Follow the links below for parts 1-4. This section deals with
draws, but I found some of the sections more lyrical than tactical.
None-the-less, there are some excellent tips on draws and tells,
especially
V.11: "The made, drawing and bluffing hands lead on to each other in
turn. It is like moving in a circle -- you never come to an end. Who
can exhaust the possibilities of their combination?"
And several thousand years before Caro turned tells into a science, we
have:
V.17: "Simulated disorder postulates perfect discipline, simulated
fear postulates courage; simulated weakness postulates strength."
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Parts 1, 2, 3, and 4:
http://groups.google.com/groups?hl=en&lr=&ie=UTF-8&oe=UTF-8&selm=2611b663.0309220926.7b841b39%40posting.google.com
http://groups.google.com/groups?hl=en&lr=&ie=UTF-8&oe=UTF-8&selm=2611b663.0310010809.4a04195c%40posting.google.com
http://groups.google.com/groups?hl=en&lr=&ie=UTF-8&oe=UTF-8&selm=2611b663.0310080724.6165883%40posting.google.com
http://groups.google.com/groups?hl=en&lr=&ie=UTF-8&oe=UTF-8&selm=2611b663.0310150732.45fcd3a7%40posting.google.com
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The Art of Poker
by Sun Tzu
Translated by T. "Horace" Pascal
V. Draws
1. Sun Tzu said: The control of a large stack is the same pricinpal
of control of a small stack: it is merely a question of dividing up
their numbers.
2. Playing with a large stack on the table is nowise different from
playing with a small one: it is merely a question of instituting
discipline. [1]
3. To ensure that your whole stack may withstand the brunt of the
enemies' bad beats and remain unshaken -- this is effected by made,
drawing and bluffing hands.
4. That the impact of your play may be like a grindstone dashed
against and egg -- this is effected by the science of weak hands and
strong hands.
5. In all playing, the made hand method may be used for taking a pot,
but drawing and bluffing hand methods will be needed in order to
secure profits.
6. Drawing hand tactics, efficiently applied, are inexhaustible as
Heaven and Earth, enending as the flow of rivers and streams; like the
sun and moon, they end but to begin anew; like the four seasons, they
pass away to return once more.
[2] 7. There are not more than five musical notes, yet the
combinations of these five give rise to more melodies than can ever be
heard.
8. There are not more than five primary colors (blue, yellow, red,
white, and black), yet in combination they produce more hues than can
ever been seen.
9. There are not more than five cardinal tastes (sour, acrid, salt,
sweet, bitter), yet combinations of them yield more flavors than can
ever be tasted.
10. In play, there are not more than three methods of winning, the
made hand, drawing hand, and the bluff; yet these three in combination
give rise to an endless series of maneuvers.
11. The made, drawing and bluffing hands lead on to each other in
turn. It is like moving in a circle -- you never come to an end. Who
can exhaust the possibilities of their combination?
12. The pushing of chips is like the rush of a torrent which will
even roll rocks along in its course.
13. The quality of decision is like the well-timed swoop of a falcon
which enables it to strike and destroy its victim.
14. Therefore, the good player will be feared in his raises and
prompt in his decision.
15. Draws may be likened to the bending of a crossbow; making the
hand, to the releasing of a trigger.
16. Amid the turmoil and tumult of the table, there may be seeming
disorder and yet no real disorder at all; amid the confusion and
chaos, your cards may be leading or chasing, yet the EV will be proof
against losses.
17. Simulated disorder postulates perfect discipline, simulated fear
postulates courage; simulated weakness postulates strength.
18. Hiding a full house beneath the cloak of two pair is simply a
question of diversion; concealing a raise under a show of timidity
presupposes a fund of latent power; masking strength with weakness is
to be effected by tactical dispositions.
19. Thus one who is skillful at keeping the opponents on the move
maintains deceitful appearances, according to which the opponent will
act. He sacrifices something, that the opponent will move his chips
in.
20. By holding out baits, he keeps him on the chase; then with a good
hand, he lies in wait for him.
21. The clever player looks to the effect of combined draws, and does
not require too much from individual cards. Hence his ability to pick
out the right hands and utilise combined draws.
22. When he utilises combined draws, his chasing cards become as it
were like unto rolling logs or rocks. For it is the nature of a log
or rock to remain motionless on level ground, and to move on a slope;
if four cornered, to come to a standstill, but if round-shaped, to go
rolling down.
23. Thus the draw developed by good poker players is as the momentum
of a round rock rolled down a mountain thousands of feet in height.
So much for the subject of draws. [3]
[1] Poor players tend to steam, tilt, or play more loosely with a
small (having lost) stack. Many play to the felt on purpose. There
is no reason to do so.
[2] Stanzas 7-9 are lyrical literary devices that are an artifact of
ancient chinese culture. While not directly related to poker, they
are an interesting diversion.
[3] Yes, Sun Tzu really wrote that and ends this chapter abruptly.