DIAGRAM OF STROKES.
PLATE I.
EXPLANATION OF STRENGTH OF STROKE.
Stroke 1.—A one-cushion stroke, denominated SLOW.
Stroke 2.—A two-cushion stroke, denominated MEDIUM.
Stroke 3.—A three-cushion stroke, denominated ORDINARY.
Stroke 4.—A four-cushion stroke, denominated HARD.
Stroke 5.—A five-cushion stroke, denominated VERY HARD.
The fractional parts of the table are indicated by the figures ¼, ½ or ¾, and when employed are to be understood as directing that such force shall be imparted to the cue-ball as to carry it the distance denoted, either in excess or below the space traversed by the ball when struck with either of the five degrees of strength; thus ½ in excess of slow instructs the player to use such force as shall return the ball one-half the length of the table after contacting with the cushion.
PLATE II.
CAROMS ILLUSTRATED.
Illustrating different lineal directions of the cue-ball, with strength of stroke, “Ordinary” to “Hard” (see Plate I. for strength of stroke).
Diagram 1.—Cue-ball ½ above, object-ball ¾ right; strength, “ordinary” to “hard.” The cue-ball, partaking of the “follow” quality, and having its direction changed by contact with the object-ball, rebounds slightly with the concussion, and in its efforts to regain its natural course—that of the “follow”—describes a convex curve, and effects carom in corner.
Diagram 2.—Illustrating the concave curve. Cue-ball ½ below, object ball ¾ right; strength of stroke, “ordinary” to “hard.” The retrograde tendency given the cue-ball by the “draw” overcomes the impelling power after its contact with the object-ball, and causes it to make the curve shown.
Diagram 3.—Straight line carom. Cue-ball centre, object-ball ¾ right; strength of stroke, “ordinary.” The cue-ball being struck in the centre has neither rotary motion forward nor back, but slides over the bed of the table a certain distance, when the natural condition of a moving sphere overcomes the propelling power, and it takes a rolling movement. Plate IV. fully explains this centre delivery.
PLATE III.
PLAIN CAROMS WITH DIFFERENT DEGREES OF STRENGTH.
Illustrating the control of cue-ball by application of different forces, and being struck ¼ below at each stroke, the object-ball ⅞ right.
To carom on ball 1.—Strength of stroke, MEDIUM.
To carom on ball 2.—Strength of stroke, ORDINARY.
To carom on ball 3.—Strength of stroke, HARD.
To carom on ball 4.—Strength of stroke, VERY HARD.
Constant practice is necessary to properly gauge the strength required. The force of the delivery controls the several caroms. Familiarize the eye with the angle of departure from the object to the carom-ball, noting the width of space between them. When like positions are brought about in the progress of a game, the player will recognize the similarity to those shown here, and will understand how to play.
PLATE IV.
DIAGRAM OF CAROMS SHOWING PLAYER’S CONTROL OF CUE-BALL.
This plate shows a most useful series of diagrams for general instruction in striking the cue-ball. It is made to carom upon each of the ten numbered balls, playing full each time upon the object-ball a, simply by changing the position of the cue at, below, and above the centre of the cue-ball.
To carom on ball 1.—Cue-ball ¼ below, object-ball ⅞ left; strength of stroke, “medium.” This gives the slow movement to the cue-ball and speed to the object-ball, and is used in the game to drive the object-ball for a gathering stroke.
To carom on ball 2.—Cue-ball “centre,” object-ball ⅞ left; strength of stroke “medium.” The stroke can also be played with any strength desired.
To carom on ball 3.—Cue-ball ½ above, object-ball ⅞ left; strength of stroke, “medium.”
To carom on ball 4.-Cue-ball ½ above, object-ball ⅞ right; stroke, “medium.”
To carom on ball 5.—Cue-ball centre, object-ball ⅞ right; stroke, “medium.”
To carom on ball 6.—Cue-ball ¼ below, object-ball ⅞ right; stroke, “medium.” By playing the cue-ball ¼ below, and full on the object-ball, the cue-ball stops and rests at the point where it comes in contact with the object-ball.
To carom on ball 7.—Cue-ball ½ below, object-ball ¾ right; stroke, “medium.”
To carom on ball 8.—Cue-ball ⅝ below, object-ball ⅞ right; stroke, “medium.”
To carom on ball 9.—Cue-ball ⅝ below, object-ball ⅞ left; stroke, “medium.”
To carom on ball 10.—Cue-ball ½ below, object-ball ¾ left; stroke, “medium.” The dotted lines 1 and 4 show course of object-ball from a ¾ delivery, and lines 2 and 3 the course from a ⅞ delivery, and show also how the object-ball may be thrown in position, as explained hereafter in Part II.
The player should thoroughly understand what motion each stroke imparts to the cue-ball, and what positive direction the latter gives to the object-balls.
In all draw-shots allowance should be made for the curve of the cue-ball when it leaves the object-ball, and direction thereafter should be calculated with the curve considered, its extent being governed by the strength and proximity to the centre of the object-ball—nearer the centre the less marked is the divergence from a straight line.
PLATE V.
Illustrating the various angles resulting from the application of different degrees of strength when played at the same point on the cushion.
Having explained the methods of the direct caroms, the cushion play is illustrated:
To perform the angle a to b strike the centre of the cue-ball, the line of aim being at the point a. The natural angle from the cushion through a medium stroke is that of line from a to b, b, bearing in mind that with the medium strength the angle of reflection is always equal to the angle of incidence—that is to say, the line of angle from a to b is the exact counterpart of the original direction of the cue-ball to point a.
An “ordinary” stroke will effect angle from a to c, and the “hard” stroke will produce the angle a to d.
As the strength of stroke is increased the ball necessarily imbeds itself more firmly in the cushion, and the sudden rebound, together with the resistance from the rubber through indentation, throws it off with greater velocity and produces a more acute angle.
PLATE VI.
DIVISION OF ANGLES.
Diagram 1.—The angle from c, a, to ball 2 represents the angles of incidence and reflection, and it is drawn mentally before considering the ball 1. If a ball is banked from c at the centre diamond at b on the end cushion, it will take its angle of reflection directly on ball 2. Therefore, with ball 1 placed as per diagram, with its edge surface at the line running from c to a, and the centre stroke on cue-ball on ½ right of ball 1, with strength of stroke “slow,” the cue-ball will follow same angle found in the bank and will carom on ball 2.
Regarding diagrams 2, 3, 4, and 5, follow the same directions as in diagram 1, excepting, of course, in the necessary change of impingement, owing to the difference in position toward the diamond sight b, increasing the strength of stroke to cover the lines of the diagram.
Play to be made from ball 3 to 4, 5 to 6, etc., etc.
PLATE VII.
PHILOSOPHY OF THE ENGLISH OR TWIST STROKE.
When “English” or “twist” is applied to the cue-ball in its course, it is forced from a straight line and diverges to an extent that it will pass around a ball placed in a direct line before it. The line of aim in the diagram is a ½ ball right on the object-ball, cue-ball ⅝ left and ⅝ below; stroke, “medium.” This stroke is the application of the extreme English and extreme draw, and is of such force as permits the combined motions—impelling, rotating, retrograde, and diagonal—applied to the cue-ball to act upon it. The distance from the starting-point of the greatest point of divergence of a cue-ball is, of course, governed by the strength of stroke applied.
The point e is the natural destination of the cue-ball struck at centre, upon ½ object-ball, and the difference in space between points e and f may be made by striking the ball, as shown in the diagram, for the reason that the cue-ball, diverging as it does from a straight line, takes from the point e a new direction, effecting a ½ stroke upon the object-ball and rolling, as we have said, to point f.
The dotted line d shows the direction in which the ball is forced by being struck on the side, but the ball rotating in the opposite direction to that which it is impelled, in consequence of the twist and draw imparted, aided by the resistance through friction of the nap of the cloth, serves to bring it back to the original point of aim, as shown by the curved loop-line, b, which denotes twist.
PLATE VIII.
ILLUSTRATING CUSHION TWISTS.
This diagram illustrates the three principal strokes of the cue-ball on the cushion, showing the effect of twist after contact of ball with the cushion:
If the cue-ball be struck in the centre from point shown in the diagram, upon the cushion at a, its natural course will be the line from a to b—stroke, “medium.” If ⅝ right and ⅝ below at a, it will take the extreme angle indicated by the line a to d—stroke, “medium.” If ⅝ left and ⅝ below at a, stroke, “ordinary,” it will effect the angle from a to c.
PLATE IX.
CUSHION CAROMS BY CENTRE STROKE, ENGLISH OR TWIST, FROM ONE POSITION.
This plate gives simple examples of the cushion angles shown in previous diagrams.
To carom on balls 7 or 8.—Cue-ball centre, object-ball ¼ right; stroke, “medium.” This is the natural or reflected angle.
To carom on balls 2 or 4.—Cue-ball ½ right, ⅛ above, object-ball ¼ right; stroke, “medium.”
To carom on balls 3 or 5.—Cue-ball ⅝ right, ⅛ above, object-ball ¼ right; stroke, “medium.”
To carom on balls 6 or 9.—Cue-ball ⅝ left—a reverse English—object-ball ¼ right; stroke, “medium.”
PLATE X.
COMPOUND ANGLES.
Illustrating the manner of effecting a 1, 2, 3, 4, or 5 cushion carom.
Ball a, a is introduced as an imaginary one from which the player may make the mental calculation of the angles necessary to secure the carom, as shown before in Plate VII.
After finding the angles place the ball 1 as in diagram, strike cue-ball (2) ½ right, ¼ below, object-ball ½ right; stroke, “ordinary.” Cue-ball cushions at a, b, c, d, and e, caroming on ball 3.
Should a ball be located at either of the points indicated as those where the cue-ball contacts with the cushion, of course a carom would be effected there as well.
PLATE XI.
THE CUSHION KISS.
Illustrating the four kiss strokes possible by making stroke on different points of the cue-ball and the object-ball ⅞ right.
To kiss to cushion at c.—Where a ball may rest: cue-ball ½ above, object-ball ⅞ right; stroke, “ordinary.” The cue-ball will describe the curve line from ball 1 to c. Should player desire to reach any point between c and e the ball 1 should be hit from ⅞ to ¾ right. Judgment must be exercised as to the precise fractional part and also the strength of stroke.
To kiss to b.—Cue-ball ⅛ below centre, object-ball ⅞ right; stroke, “ordinary.”
To kiss to d, the natural angle of reflection, cue-ball ½ below, object-ball ⅞ right; stroke, “ordinary.”
To a, the acute angle, cue-ball ⅝ below, object-ball ⅞ right; stroke, “hard.” The “draw” imparted to the cue-ball, together with the kiss and the extreme velocity obtained from the cushion resulting from the hard stroke, tends to rebound the cue-ball in a direct line across the table.
PLATE XII.
PRACTICAL ILLUSTRATION OF THE MASSÉ STROKE.
Illustrating the most difficult stroke that may be made without the personal aid of a teacher.
Diagram 1.—Cue-ball ⅝ aft of perpendicular centre, the line of aim being direct at ball 1, the elevation of cue being at an angle of 78¾°; stroke, “medium.” This is a simple initial massé, the cue-ball resting at b. It must be practised constantly to secure proper hold on the cue-ball. The backward whirl given it by the stroke acts instantly upon its contact with the object-ball, because the impelling force is taken from the cue-ball and imparted to the object-ball. Strength of stroke must be slight, the weight of cue is almost sufficient. The fingers of the bridge-hand, in the instance shown, must rest on the rail, with the palm turned toward the cue-ball diagonally.
Diagram 2.—Cue-ball, ⅝ aft of perpendicular centre, ¼ forward toward the object-ball; stroke, ½ less than “slow;” the line of aim, along dotted line a, from edge of cue-ball just off edge of ball 1. The weight of cue, through the gentle motion of the wrist, is sufficient to effect the stroke.
Diagram 3.—The balls here are at a distance from each other. Cue-ball ⅝ left, ¼ forward perpendicular centre; object-ball, “fine;” stroke; “slow;” line of aim on dotted line a.
Diagram 4.—The distance here is further increased. Cue-ball, ⅝ right, ¼ forward perpendicular centre; stroke, “medium;” the line of aim along dotted line a, from edge to edge, on account of greater strength.
Diagram 5.—Cue-ball ½ left, ¼ forward perpendicular centre; stroke, “medium;” line of aim along line a; object-ball, “fine,” taking direction of line b, and cue-ball cushions at point c, effecting carom on ball 2.
