Fig. 2
With balls 2 and 3 so left that there are plain losing hazards into the middle pockets whilst at the same time, ball 1 being in hand, a cannon is as easy or easier than either hazard, there is some difference of opinion as to which stroke a moderate performer should play. In case of being within two points of game the cannon may be chosen as rather the easiest, but except in that case we recommend playing the losing hazards. For at the worst there are two easy strokes on the table against one if the cannon were played, totalling five against two. If, however, the balls were so placed that one of them was too far up the table for a plain hazard, then it is possible that the cannon might pay better.
Fig. 3
For the class of players to whom these few hints are specially offered it is, we believe, sound advice to say—do not vary your strength of play greatly, accustom yourself to a free No. 1 or No. 2, and do not ordinarily depart from it; avoid extremes of strength and the use of side, specially with winning hazards; master the plain half-ball stroke, and many other things shall be added to your score. Do not concern yourself more than you can help about your adversary’s good or your own bad luck, and do not think it incumbent to explain for the instruction of spectators (some of whom at any rate presumably know more of the game and understand it better than yourself) the reasons of your failures.
Now in addition to the players just referred to—and they form the great majority—there are those who can devote considerable time and attention to the game, who can play the spot stroke in the sense of knowing how each position should be treated, and can usually make from five to ten spots, besides having a fair general notion of the game. Such persons represent the better class of club play, and from among them at rare intervals a few appear whose form approaches that of the professional. For their special behoof little need be said; they have acquired and practise unconsciously the principles already recommended; in order to improve in the matter of breaks they must work on professional lines, and may, within the limits which their powers prescribe, follow professional play. That is to say, it is not desirable to try to prescribe a separate style of break for persons who are fairly grounded in the grammar of the game, even though they may never attain great excellence. As a rule, they owe the length of their scores, which are often considerable, to small genuine breaks connected together by providential bounty; every now and then in a score they are obliged to give sole attention to making the stroke, and what is left is therefore due to luck, which may be good or bad. The truth of this becomes apparent if they are set to a break which must be thought out and which does not often admit of adventitious aid, such as the spot stroke or a nursery of cannons. They will rarely make more than ten or twenty consecutive strokes, and how often not more than five. Nevertheless, their profit will lie in trying to follow the lead of the masters, modified, as may be required, by personal proficiency.
Preparing to play behind the back: the right way
And here, lest it may be justly said that the interests of the vast majority of billiard-players and of our readers are in danger of being somewhat neglected in favour of a small minority who alone may reasonably aspire to professional form, we have much pleasure in introducing a paper by Mr. A. H. Boyd, who is well qualified to deal with the subject, on ‘Every-day Billiards.’ From his paper, which is commended to the careful attention of readers, it may be gathered that he has successfully passed through many of the sorrows of the self-taught student of the game, and is now enabled to attain to a measure of his legitimate aspirations.