As for the attitude in which a lady should stand while playing billiards, no instruction is needed; perfect ease is perfect grace, and perfect ease of position is the grand DESIDERATUM for the billiard-player. As the ladies are always graceful, they will naturally observe that ease of attitude which it is only necessary to enforce upon the ruder and more awkward sex.
The male novice should avoid all stiffness and parade—all affected dignity. Let the dress and attitude be such as to afford the body a perfect mastery of its own movements. A practised eye can discriminate at the first glance, on entering a billiard-room, which is the really skillful player, and which the pretentious bungler, by merely noting the contrast which the good player’s easy grace presents to the rigid formalism of the other. Paganini, in his younger days, when he taught the violin, used to give his pupils six months time in which to practise how to hold the instrument and bow. When they understood that thoroughly, he could teach them, he said, the remainder of the art in a few weeks.
Now, without requiring so long an apprenticeship—without, in fact, requiring any at all—if the student will only allow himself to stand in his natural position, the first essential feature of the game will have been accomplished.
The left foot should be pushed slightly forward, pointing straight ahead, while the right is withdrawn, and turned outward, at whatever angle is habitual and most convenient to the player. The body should be fairly balanced, for, without this equilibrium, we can neither have grace nor ease. The left arm, when necessary, should be advanced and rested on the table—the left hand being extended, as in the cut, to form a “bridge.” (See page [36].)
SELECTION OF A CUE.
Select a cue in harmony with the physical powers, and become accustomed so much as possible to play with cues of similar weight. From fifteen to nineteen ounces are fair weights, according to the balls now used in play. A cue, if too heavy, will paralyze the nerves of the arm and render them unable to estimate correctly the amount of force employed; if too light, on the other hand, it will call for an amount of force so great as to be incompatible with a steady and deliberate aim. Without some sensation communicated to the hand through the cue, when it contacts with the ball, it would be impossible for experts to accomplish the great runs so often made.
The heavier the cue the less is the influence of the stroke on the ball felt, and it is carried beyond or falls short of the point desired. The delicate touch for nursing should be as apparent as the stronger stroke.
Finally, let the cue be straight, for any crookedness in this instrument distracts the eye, and may seriously interfere with the manual correctness.
CUE-LEATHERS.
The leather is an important feature of the cue—in fact, an all-important one to any player who deals much in the strokes which are technically described as “forcing,” “twisting,” and “following.” With an inferior leather, his play will be paralyzed by miscues. In selecting the cue-leather, choose such as possess the finest fibre, and are at the same time solid, pliable, and elastic; and see to it that they have a good, solid under-leather, as that will save the point of the cue from breaking away, and will last longer than a thin one. Before being fitted on to the cue, they should be thoroughly well beaten out on a lapstone, so as to prevent them from spreading in the course of play; but that side of them which is next the cue should be roughened with a file or sandpaper, as also the cue itself, in order that the adhesive wax may be able to take good hold. The leather should be rounded, not flat, yet each must decide for himself the exact degree of convexity which will best suit his play. When the point of the leather becomes glazed from excessive play, a little sandpaper should be used to roughen it, so that the chalk may stick.