Diagram VIII.
Diagram IX.
There are, of course, numerous other positions whence a double baulk may be played, either with or without the help of a cushion; but the examples given will, it is hoped, be sufficient to show how in positions where the mode of play is not self-evident the strokes should be attempted. As a general rule, endeavour should be made to leave the player’s ball and the red some distance apart, in order that the adversary may find it difficult to score from a cushion, or to disturb a comfortable arrangement. A useful set of strokes for such score or disturbance is shown in Diagram IX. The three variations should be practised, and then if in a game some intermediate stroke may be required, the player will be able to judge where to place his ball. The angle of return can also be controlled by the strength.
Let balls 2 and 3 be in baulk as shown, and ball 1 be in hand. It is desired to disturb balls 2 and 3 with the chance of scoring. Play ball 1 from the right corner of the Ｄ, centre on a point P about seven inches from the right top pocket, No. 2 strength; it will rebound from cushions 1 and 2, and following a path similar to that shown have a very fair chance of cannoning from ball 2 to ball 3. Again, place ball 1 on the centre spot of the Ｄ marked 1′; play as before on P a free No. 2, and it will arrive at a point about 2′.
And, lastly, place ball 1 on the left corner of the Ｄ marked 1″; play No. 3 strength on P, and it will return to 2″ and have a chance of cannoning on 3″. If these strokes are mastered they give a wide scope for the disturbance of certainties left in baulk, for they can be played from either end of cushion 1, and if balls 2 and 3 are missed, ball 1 has generally sufficient strength to carry it some distance up the table.
CHAPTER X
BREAKS
In Chapter III. the term break was explained as a continuous score, or one made in unbroken succession, and the definition is in a general sense accurate; nevertheless, it has amongst the better class of players a higher signification. With them it means a succession of strokes each of which has been played for, and so played that the next has been foreseen, calculated, and left as desired by the player. That is to say, a break to be perfect includes not merely making a stroke, but the preparation for another to follow. Hence the difficulty of making any given stroke is enhanced by the need of thought and of modification in play, in order that the balls may be favourably placed for the next attempt; but, on the other hand, making the next stroke, that is, continuing the break, is so much more certain after reasonable preparation, as in the hands of even a moderate performer to more than counterbalance the drawback. Indeed, in many cases it is as easy to play the stroke in the right way as in the wrong, and the eye once educated selects the proper method without conscious effort, so that the difficulty referred to is reduced to a minimum, and the advantage correspondingly preponderates.
