The effect of the twist may be marked by placing the cue-ball upon its spot, and playing the cue-ball, hit in its centre, at the left side cushion, at an angle of 45°. The ball in its rebound taking a natural angle, traverses a line corresponding to its original line of departure from the cue. Impart right-hand English and the angle grows obtuse; increase the twist and the angle widens accordingly, and it grows until the extreme angle is reached through application of excessive twist.
Players frequently are at a loss to know upon which side to apply twist to accomplish certain desired results, and but few give sufficient thought to the matter to understand the theory of the “English.” A cue-ball struck upon its right side and contacting with the left cushion at an angle of 45°, the cue-ball touching cushion at point l on ball (see p. [44]), will describe an obtuse or wide angle, which is nearer parallel to the cushion than the natural angle, for the reason that the circular spinning motion, imparted by the cue to the ball, is moving on that side of the ball contacting with cushion in an opposite direction to the impelling force (as shown in arrows b and l); hence, when it contacts with the cushion, it spins against it in a direction which acts as a blow from the ball on the cushion, and this carries it farther forward. When the reverse or left English is imparted the revolution of the ball is exactly opposite to that already shown, and its tendency is to leave the cushion toward an acute angle, the direction of the spin on the side contacting being that in which the ball is moving; so, when it meets the cushion, in place of gliding along it strikes it in such a manner as to receive a check to further onward progress and describes a line inclined toward a right angle from the point of contact.
When delivered directly upon a cushion the cue-ball should be struck upon that side toward which it is expected to roll. In compound angles the twist is so consumed after leaving the second cushion that the response from a third cushion approximates a natural angle. Many players are deluded with the idea that it is necessary to turn, jerk, or twist the arm when making an “English” stroke, and some suppose the ball should be rubbed by the cue in delivery; in reality no such thing is required. After the aim is secured, and the point for striking is determined upon, let the player make the stroke naturally and easily, and leave everything else to take care of itself. After the blow has been given, no amount of intelligence and no wonderful contortions can alter its effects. In all deliveries imparting twist up to and including “ordinary” strength of stroke, the wrist only is to be used. Every blow delivered with the cue converges to the centre of motion at e in the cue-ball (as shown in arrow c, c,), and every grain of weight in the ball is imparted through the cue to the hand; therefore with the expert the weight and density of the ball is calculated to a nicety at each delivery, whether it be at centre or at ⅝ right or left, else all strengths could not be so cleverly estimated in gathering and holding the balls for a long run.
The Massé.
Bringing the letter D beneath the illustration the massé stroke is shown.
This is the most difficult of all strokes to describe and instruct with the pen. The cue is delivered in the diagram at the ½ ball surface-point h; the cue is held slanting at an angle of 78¾ degrees, shown by dotted line d. The butt of the cue is held as near the eye as is possible, not interfering with the sight, that the eye may run down the cue covering the spot on the ball to be hit; the cue is held between the thumb and three fingers, the thumb being on that side toward the face, and when the point of the cue rests on the ball the thumb of this cue-hand should be about three inches above the horizontal line of the elbow of that arm; this will show the spot on the cue-ball which is to be struck. Permit the cue to play freely and without diverging from a straight line in its movement up and down, to and from the ball, until the aim is secured.
The bridge is formed by resting the ends of the fingers of the bridge-hand on the table with a slight pressure, the back of the hand being turned outward nearly parallel with the side of the body, with the fingers slightly spread to resist vibration from the play of the cue, with the thumb separated from the hand, with its end resting about an inch and a half from the forefinger. The spot upon the ball for delivery of the cue must be found by looking between the thumb and forefinger, immediately over the outer edge of the cue-tip. Practise this position as instructed, and when it is acquired more than half the difficulties of the stroke will be overcome. It is this correct attitude that goes far toward insuring a proper delivery of the cue-tip on the cue-ball. For deliveries in excess of “medium” the cue may be held at the butt, the same as heretofore instructed for the regular massé, with the exception that the left forearm must rest upon the hip, the forefinger hooked about the cue a foot more or less from the tip. In this way unlimited strength may be used. In the close massé the weight of the cue, guided by the wrist only, is sufficient to accomplish the stroke. The forearm is used in addition to the wrist when the balls lie farther apart, judgment, of course, being exercised in imparting the force in accordance with the distance between cue- and object-ball. When the delivery is perfect, the bite or grasp of the cue-tip on the ball will be felt in the hand by the player through a sensitive, keen vibration of the cue. The retrograde movement imparted to the cue-ball is that denoted by arrow b, and the slant given the cue, indicated by dotted line d, imparts the impelling force and the ball moves in accordance with the calculation. The cue-ball slides upon the cloth at point a, the same as explained in the draw-stroke.
Taking Aim.—The Ordinary Massé.