Billiards

by William Broadfoot

Rules may be good enough in themselves, but if there be a grave difference between them and our former method there will always be a difficulty about their immediate application. There is no authority for the opinion that the world was made in a day, and even at games time must be allowed to bring about the desired result. Too great insistence upon the observance of several rules at the same time distresses and discourages the player. But if he will get, more especially in the intervals of play, a clear mental recognition of the rules which he believes to be specially applicable to himself, he will find that they will presently begin to work out in practice. This is not only a more pleasant but a better way. Without any conscious effort, the player finds that the mind is beginning to direct and control the bodily movements. The result thus arrives in an apparently natural way, and when it so comes it comes to stay. That this is the best use to which advice can be put is an opinion derived from an experience more or less intimate with a variety of games.

No exact formula can be laid down with regard to position. This is precisely one of those cases in which some latitude must be allowed for a man’s make and shape. Two points, however, should be borne in mind. To state them in their natural order they are, first, that the player should always, so far as circumstances permit, assume the same relative position as between himself, his own ball, and the line of direction. A useful general rule is the following. When the player takes his position opposite his own ball with his left leg advanced as is the usual manner, the line of direction if prolonged backwards through the centre of his ball would pass through the centre of his body. As he settles to his stroke, the body naturally sways a little to the left, leaving the right arm free to swing in the proper direction. Secondly, the position should be a firm one. The advantage of this will be more particularly felt in any game in which nerves play a part. If there be any tendency to unsteadiness in the player’s position, it will then be emphasised. The body should be kept as motionless as possible, the feet being firmly placed and the right leg straight.

It is not easy to recognise the true natural angle[^[13]] under all its different phases, and the frequent failure of even the best players at long losing hazards shows this. Constant practice is the only teacher, and the plan of having for private play two strips of wood joined together at the proper angle—and which was, I believe, first introduced by Joseph Bennett—is very useful. The angle is more sharply defined, and therefore easier of recognition, if taken through some fixed point, and this point should be the centre of the player’s ball. The angle should be taken to the centre of the pocket.

It is almost a rarity to find a really good baulk-line player, and in some cases it is quite the weakest point in a man’s game. That this should be so seems strange, seeing that the player has such a wide range within which to place his own ball. It is, I think, often this very option of choice of position that causes the stroke to be missed. The player places his ball, perhaps, quite correctly for the first long loser he has, but misses it through hitting his own ball falsely. He does not attribute his failure to its proper cause, but thinks he has placed his own ball wrongly. Next time he puts it a little wider or narrower as the case may be, and if he happen to put on by accident the proper amount of side and does the stroke, he is almost worse off than ever, for the first time he does hit his own ball truly he comes to grief. By this time he has got an entirely wrong estimate of what the true natural angle is, and it may be a matter of several days before he can do the stroke with any certainty. Another point may be remarked. If the player use only his left eye in play, he should judge the angle only with his left eye; if he use both eyes, then judge with both eyes; but if he uses the right eye to take the angle and the left eye to play, when he settles to his stroke the angle will often appear wrong, and he will become confused as to what the correct natural angle really is. This probably arises from the fact that with most people the focus of the two eyes is not identical.

Whether the cue should be held only by the fingers, or in the hollow of the hand, may be matter of opinion, but there is no doubt it should be held lightly, not gripped. Any rigidity of the muscles tends to impair the easy pendulum swing so essential to accurate play. Some people seem to think it necessary to grip the cue when making a screw. The point is easily susceptible of practical demonstration if they will only condescend to hit the ball in the proper place.

With many players, again, the position of the left hand appears to be a matter of supreme indifference. They place it on the table anyhow, and almost without taking a glance at the stroke. Now it is all very well to say ‘Look at John Roberts. He doesn’t worry about these things,’ but we are not, most of us at least, of the calibre of John Roberts. His easy and graceful style is deceptive. If anyone will take the trouble to contrast the face of the man with his manner of play, it will be apparent how thoroughly concentrated is his mind on the game. He is the consummate artist who conceals the difficulty of the stroke under the ease of its execution. For most players, and all beginners, it is advisable to pay some little attention to the position of the left hand. Obviously it is of importance. If it has to be moved, however slightly, after the player has settled to his stroke, the result will be a loss of accuracy. It should be advanced with care, by which I do not mean with wearisome laboriousness, to the player’s ball, the eye being steadily kept on the line of direction, or, better still, on the exact spot on the object ball it is desired to hit.

The cue from tip to butt should be in one straight line with the line of direction. It may be thought that this is always the case, but a close observation will show that very frequently the cue along its length is by no means in a straight line with the point aimed at. I have found it most useful to bear this rule in mind, especially when beginning practice after a long absence from the billiard-table.

The player should not hurry up from the table after delivering his stroke. The fault indicated may easily become a habit, and a very bad one. It may be often observed among the more impatient class of players. It may cause the body to move at the very moment when it is most essential it should be quite steady, viz. at the moment of the cue’s contact with the ball.

A few more hints may be useful to some. Much of billiards is played before settling to the stroke. This may at first sight appear an absurd statement, but it contains an important truth. If the player have a clearly defined idea not only of what stroke he is going for, but how it is to be made, much of the difficulty is already overcome; but if he go down to his stroke, and then have an elaborate consultation with himself as to what is to be done, the process is not only harassing to his opponent but detrimental to himself. Once having decided on the stroke, he should go for it unhesitatingly, and as though no other stroke were possible. To play one game, at the same time having a lingering partiality for another, is not usually attended with success.

The height of the player and the length of his arms will to a considerable extent determine where he should hold the cue so that he may combine sufficient power with the greatest attainable accuracy. It must not, therefore, be held too far back. This may cause a slight loss of power, but that is of very small importance. The bad play so often seen in amateur billiards is not usually to be attributed to any want of power of execution.