MISCELLANEOUS STROKES
Under the above heading it is proposed to describe a variety of strokes
many of which may be played in different ways, according to the position
which it is desired to leave. Some of these are genuine strokes, whether
plain or whether rotation is applied; others partake rather of the
nature of tricks, but as they do not contravene existing rules they must
be treated as legitimate, and their effect on the game is so important
that they must not be neglected in any manual. Following strokes belong
to the former class, and are of much importance to the game; the
principle involved in playing them was explained in the last chapter.
The number of such strokes which may be set up on the table is infinite,
whilst the examples here given are necessarily few. They have, as in
other cases, been selected after much thought, and being in some
instances strokes commonly met with in a game, similar diagrams will be
found in other books on billiards. Yet this does not involve plagiarism,
for in many instances repetition cannot be avoided, as will be apparent
when the spot stroke is described.
Endeavour has been made to give examples which may readily be varied at
the will of the player, and so that slavish adherence to the
measurements given may be unnecessary. This is important, for not only
do tables vary slightly in make, but persons vary the manner of
measuring. The diagrams, as before, must simply be considered
approximate, but are, it is hoped, sufficiently correct and intelligible
to enable a careful reader to set up the strokes when disposed for
practice.
Diagram I., stroke A.
Ball 1: 34 in. from cushion 2; 23 in. from cushion 1.
Ball 2: 30½ in. from cushion 2; 37 in. from cushion 1.
Ball 3: 24½ in. from cushion 2; 50 in. from cushion 1.
Strike ball 1 one-half above the centre, a free No. 1 strength, play
nearly full (between three-quarters left and full) on ball 2, and cannon
gently on ball 3; ball 2 will follow the course indicated or some
modification thereof, and after contact with two cushions rest near the
middle pocket; ball 3 will also be driven gently in that direction, and
the situation of the three balls after the stroke may be as indicated by
the figures 1′, 2′, and 3′, leaving, as is evident, an excellent
opportunity for further play. Played fifty times, this stroke may never
result twice precisely alike; yet it is scarcely possible to make the
cannon and fail to leave a good opening. That is one beauty of the
stroke. Even if, as will happen occasionally, ball 1 cannons fine on
ball 3 (which it may easily do in a slight variation in the stroke) and
runs into the pocket, ball 2 comes up from the bottom cushion and there
is a fair chance of scoring from baulk. There may, of course, sometimes
be an unlucky leave, but if the stroke be played with freedom this will
rarely happen. The general fault made in all following strokes is to
play too fine on ball 2, specially when some strength is used; hence it
is prudent to play what seems to be rather too full. This should never
be forgotten; ten strokes are missed because they are played too fine
for one that fails because it was played too full.
Another set of measurements which may be substituted for those given,
and which will exhibit a somewhat similar stroke, are here appended.
They are taken from the same cushions, which are not therefore again
indicated.
Ball 1, 33 × 27½ in.; ball 2, 31 × 36 in.; ball 3, 20 × 52½ in. This
stroke and many variations of the same type will suggest themselves to
the player, and may with much advantage be practised. At first sight
position A might seem to an amateur a rather unfortunate conjunction of
the balls; yet see what an excellent opening may be left in one stroke!
It is the power to recognise such situations and to profit by them which
makes the great difference between players.
[Illustration:
Diagram I.
]
Diagram I., stroke B.
No measurements are needed. Ball 2 is on the spot, and balls 1 and 3 as
indicated. Ball 1, struck slightly above the centre, aimed at ball 2
about ¾ right, medium No. 1 strength, will cannon on ball 3 and scarcely
disturb it, whilst ball 2 will return from the side cushion and the
balls will be gathered about ball 3. This is a very common position from
which endeavour is made to start a series of nursery cannons; but if
this is not desired, and if ball 2 be the red, then a winning hazard to
the left top pocket will leave a good opening for continuing play at the
top of the table.
When balls 2 and 3 are touching the cushion, as shown in Example C, ball
1 being in hand or suitably placed on the table, the cannon can best be
made as a simple following stroke, because aim is easier when no side is
used.
Play thus: Ball 1, ½ to ¾ high, No. 2 strength full on ball 2, which
will escape in the direction shown by the dotted line, whilst the follow
will cause ball 1 to run up the cushion and make the cannon. The stroke
may be played with left side and slower, with the advantage that the
position of the balls afterwards may be roughly foreseen, and that if
the cannon be missed direct it may be got off the top cushion. If the
losing hazard into the left top pocket be desired, then left side must
be used, for the pocket is as blind as possible, and the side is
necessary not so much to keep ball 1 close to the cushion on its way to
the pocket, as to cause it to enter the pocket after contact with the
shoulder of the top cushion. For the cannon, the further ball 1 is from
ball 2 the safer is it to dispense with side and trust to follow.
Diagram II. shows types of losing hazards made by use of follow. Example
A may be set up by eye, measurements not being required. Play ball 1,
striking it about one-half left and over rather than under the height of
its centre; impact with ball 2 should be about three-quarters left or
fuller, and the latter ball will take a course somewhat as indicated by
the dotted line, on which it is evident that once out of baulk there is
a considerable margin as regards strength within which the ball is left
in play. If there is a heavy nap on the cloth, and if for some reason it
may be desired to play this stroke very gently, the reverse side may be
used, ball 1 being struck one-quarter right. The side acting against the
nap and outliving or predominating the forward motion (translation) will
powerfully draw the ball into the pocket. It is understood, of course,
that the reverse side is only used when playing against the nap of the
cloth.
Example B,—Ball 1: 30 in. from cushion 5, 15 in. from cushion 4. Ball 2:
12 in. from cushion 5, 3 in. from cushion 4. This is a useful stroke for
practice, and may be played in many ways, either without side or with
it, either gently or with considerable freedom, according to the
position in which it is desired to leave ball 2.
For a plain stroke deliver the cue medium No. 1 strength on ball 1
rather over centre than under, striking ball 2 three-quarters right or
fuller; ball 2 will rebound off two cushions towards the centre of the
table, leaving the path of ball 1 to the pocket clear. This stroke may
be varied by advancing ball 1 on the line 1, 2; but as the distance
between the balls decreases strength should be reduced and follow
increased, the reason being that there is less space within which ball 1
can develop rotation, which, therefore, must be artificially supplied.
Ball 1 may be retired on the same line, in which case the stroke is
plain—_i.e._ the cue is delivered on the centre of ball 1.
It may also be played with side, which has two effects, both beneficial.
If ball 1 be struck one-half left on ball 2, as before, nearly full, the
side used tends to prevent the common error of playing too fine on that
ball, and further it enlarges the pocket, or, in other words, will cause
ball 1 to drop into the pocket even if it may have touched the dangerous
shoulder, as that corner of the cushion is called which partly blinds
the pocket.
As a variation of this stroke, place ball 1 30 in. by 13 in., and ball 2
12 in. from cushion 5, and touching the bottom cushion—_i.e._ ball 1 is
moved 2 in. nearer the bottom cushion and ball 2 is set touching it, the
other measurements being unchanged. Play with strong left side, striking
ball 1 above the centre; impact with ball 2 as before. The stroke may be
played with almost any strength desired, and the distance between the
balls may be varied; the usual error is to play too fine on ball 2,
probably from forgetting to allow for the difference between the points
of impact and of aim. As certainty is acquired ball 2 may be placed
further from the pocket, when the stroke, though otherwise similar,
requires greater accuracy.
Example C is not of uncommon occurrence in a game, and is specially
useful when 2 happens to be the adversary’s ball which would be lost for
play if dropped into the pocket. By playing a free stroke with strong
left side full on ball 2, the latter is driven along the cushion,
catches in the shoulders of the pocket, and travels down the table,
leaving an open path for ball 1 to the pocket. Ball 1 should be struck
above the centre to secure follow, and with plenty of side, to cause it
to cling to the cushion. The stroke is an easy one, soon acquired; but
the same can scarcely be said respecting Example D, which, though merely
a variation, yet requires more judgment and accuracy. The difficulty, of
course, is how to give ball 2 time to take the corners of the pocket and
get out of the way. Solution is simple, and might be correctly arrived
at by a careful student who has read thus far; but the stroke requires
some neatness, and time and temper will be saved by watching an expert
and by playing before him. It is far from easy to describe such a stroke
so as to make its execution by another person certain; all that will be
said here is that, to give ball 2 the required time, ball 1 must after
impact travel very slowly, whilst ball 2 has considerable velocity, and
this is effected by delivering the cue slightly under the centre. If it
be struck too low or too sharply, it will stop altogether; and if struck
true centre or above, it will follow too soon and again collide with
ball 2, the result in both cases being failure.
[Illustration:
Diagram II.
]
Diagram III.—Measurements are not required, as the balls can be placed
from the diagram with sufficient accuracy. From position 1″ the stroke
can be made by a well-executed screw either direct or off the top
cushion, but it is easier and more certain if played as a following
stroke; but from positions 1 and 1′ the screw is all but impossible,
whereas the high follow offers a reasonable prospect of scoring. Let the
cue be well aligned and let the player stand carefully, so as to ensure
free delivery. Get well down to the stroke; play ball 1 a free No. 2
strength, three-quarters high, nearly full on ball 2; after impact ball
1 will follow a path somewhat as indicated, the curve being usually very
pronounced. The first and sharper curve is apparently due to the rebound
after impact modified by the strong follow, whilst the second and more
gentle curve is the result of impact with the cushion. The tendency of
the latter is, of course, to reverse the follow and send the ball down
the table; but the strong follow appears to fight with this, and to
prevail so far as to maintain its bias for the cushion and its
disposition to return towards it. Ball 1 may almost be placed anywhere
towards the left side of the table, and the stroke remains much the
same. As the distance between balls 1 and 2 increases, follow becomes
less necessary, its place being supplied by naturally developed
rotation.
The variety of strokes which may be played on this principle is very
great. Too much force should not be employed, or that will in the final
conflict defeat the follow, of which it is ordinarily impossible to give
too much.
Fine strokes should rarely be attempted unless ball 1 is near ball 2;
they are, then, however, often of great value, because, being played
gently, the positions of the balls after the stroke can be foreseen with
tolerable accuracy. The great secret of success is to stand properly, so
that the edge of ball 2 may be clearly seen. A few examples are shown on
Diagram IV. They can be set up without measurement.
[Illustration:
Diagram III.
]
Example A.—A fine stroke on ball 2 will make the losing hazard and leave
that ball about 2′ .
Example B.—Ball 1 played fine on ball 2 will make the losing hazard and
leave an opening from baulk.
Example C.—A very useful stroke. Ball 1 played fine on ball 2 will
cannon rather full on ball 3, which it will drive as shown by the
dot-and-dash line; ball 1 will stop between the other two, and a winning
or losing hazard will almost certainly be left in either top pocket.
In playing nursery cannons fine strokes are often useful; indeed, a
player who possesses great delicacy of touch may make a series of
strokes yet scarcely move balls 2 or 3. These cannons will be considered
hereafter, and, therefore, are not at present further noticed.
Fine strokes have the following drawbacks: they must usually be played
so softly that the least obstacle or untrueness of ball will cause
deflection from the proper path; the target presented by ball 2 is
small, sometimes merely an edge; and an error so slight as to be
imperceptible in the division of ball 2 may result in leaving the balls
safe.
[Illustration:
A Push Stroke
]
The next variety of strokes to be considered are those in which the ball
is pushed rather than struck; they are usually subdivided into _push_
and _half-push_ strokes. Great difference of opinion exists as to
whether push strokes should be lawful in the game, but at present we are
not concerned with what should be, but with what is allowed. The
question whether, in the interest of billiards, the stroke should or
should not be foul will hereafter be considered; at present, it is
permitted by the rules, and without it much delicate play and many long
breaks would be sacrificed, consequently a few examples are introduced.
In learning this stroke, instruction from an expert is indispensable:
there are various ways of playing it, some grasping the cue tightly with
both hands to secure rigidity and sliding the bridge, which is
_bouclée_, the forefinger being hooked round the cue and the other
fingers shut on the cloth; others somewhat shorten the cue, or hold it
further from its butt and play over a bridge in the usual way; but in
any case the cue-tip should be brought as close as possible to ball 1,
short, of course, of touching it, and not withdrawn before the stroke,
but pushed gently and steadily forward. Contact between cue-tip and ball
1 must be preserved till the position occupied by ball 2 is passed, and
ordinarily no more strength should be employed than is necessary to
carry ball 1 either to ball 3 or to the pocket. The idea of the stroke
is that, by dint of steady pushing, ball 2 is removed from the path of
ball 1, which is more nearly unaltered on impact the more perfectly the
stroke is made. In practice, if the distance between ball 2 and the
pocket or ball 3 is considerable, some allowance must be made, and the
player cannot safely ignore ball 2; he must not push exactly for the
part of ball 3 he desires to hit, or straight for the pocket, but
compensate for the throw-off from ball 2 by aiming somewhat fuller than
would be necessary were it removed. The more perfect the performer, the
more may ball 2 be neglected, and the less compensating allowance is
necessary. For example, if the cue-tip were stuck to ball 1, so that
interruption to contact was impossible, ball 2 might be wholly
neglected; ball 1 could be pushed through a pyramid of balls and made to
enter a pocket, or cannon simply by aligning correctly and pushing
straight for the object. By common consent, however, long push
strokes—_i.e._ when ball 1 is far from ball 2—are avoided; it is very
difficult, if not impossible, to make them without interruption to the
contact between cue-tip and ball, and consequently they either fail if
the cue be withdrawn, or are foul if it be reapplied.
Some cases when the push stroke is specially useful are shown in Diagram
V. A is an example of the commonest and simplest type. Ball 1 pushed on
the alignment shown will move ball 2 slightly to the left (thereby
opening the losing hazard from baulk), and cannon full on ball 3,
leaving a losing hazard in the middle pocket.
B. Ball 1 pushed gently through ball 2 on the alignment shown, will
enter the pocket and leave a losing hazard from baulk.
C is a _bricole_ push, a useful and very pretty stroke. The three balls
are so nearly in a straight line, so near each other and so near the top
cushion—which, however, they do not touch—that a score by an ordinary
push or stroke is impossible. If, however, the cue be aligned as shown,
and ball 1 be pushed without touching ball 2 on to the cushion, it will
escape between the cue-tip and cushion in the direction of ball 2, and,
entering between it and the cushion, will push it out of the way and
make the cannon.
This stroke is made easier and more certain if the cue is applied to the
left side of ball 1; if by chance it was applied to the right of the
centre, there would be much probability of the ball becoming jammed
between cue and cushion.
D is another ingenious adaptation of the push stroke. Ball 1 pushed
gently on ball 2, which touches the cushion, is slightly kissed and
travels quietly to ball 3, whilst ball 2 squeezed between ball 1 and the
cushion indents the latter slightly and escapes to rejoin the group at
ball 3. Some players, perhaps Mitchell specially, use this stroke with
great effect in nursery cannons.
[Illustration:
Diagram IV.
]
In Example E the situation is shown when assistance cannot be got from a
cushion. The balls are too nearly in a straight line for the ordinary
push, it being impossible to get 2 out of the way before 3 is reached;
if, however, the cue be carefully aligned on the right edge of ball 3, a
steady push will result in 2 striking 3 on the left, causing it to
travel to the right, where it meets ball 1, which has been slightly
deflected in the same direction. This is a pretty example of a class of
strokes which requires great accuracy of eye and a wonderfully just
judgment to invent or to modify in a game; of course, when a situation
somewhat similar to that now shown occurs, and a player profits by the
advice given here, he may not necessarily possess these qualities in an
eminent degree, but his recognition of the stroke and its successful
execution will encourage him to try modification, and may elicit the
sound judgment which is so greatly to be desired.
On Diagram VI. A is an example of as easy a push hazard as can be found
on the table. Ball 1 is very close to or touching the top cushion, ball
2 partly masks the pocket. Align the cue parallel to the cushion, and
push ball 1 along its edge past ball 2, which may be wholly neglected.
The cushion forms a guide to both cue and ball, and the stroke can
scarcely be missed.
B is a modification of the cannon already explained (Diagram V., Example
C). In this case, ball 2 is too immediately in front of the pocket and
too nearly equidistant from the top cushion with ball 1 to permit of the
treatment just recommended for A. It is necessary to align the cue as
shown, and to push ball 1 on its right side to the cushion. The squeeze
between cue and cushion will cause that ball to remove ball 2 and enter
the pocket.
The half-push is quite a different stroke from the push; it has always
been considered a fair stroke, whilst some years ago the push stroke was
held to be foul; but both are open to the same objection.
[Illustration:
Diagram V.
]
When balls 1 and 2 are very near each other, their surfaces being not
much more than an inch apart, and ball 3 is so placed that the cannon
would ordinarily be made by use of follow, but so far away that
sufficient follow cannot be communicated to ball 1, the stroke may be
made by the half-push. C is a favourable example. Ball 1 is on the right
corner of the =Ｄ=; ball 2 immediately in front of it, slightly nearer
cushion 3; ball 3 is placed, say, 30 in. from the top cushion, and so
near cushion 2 that a ball cannot pass between them. Imagine a straight
line through the centres of 1 and 2 prolonged to P, a point equally
distant from 2 with ball 3. Halve the space between P and ball 3, and
let Q be that point. Strike ball 1 in the centre about No. 3 strength,
aiming at Q, or slightly nearer ball 3, as a precaution, because there
is a large margin for error on the right of that ball; it will deflect
sufficiently to make the cannon. Similarly, it is evident losing hazards
can be made by the half-push, the pocket being substituted for ball 3,
but they are seldom useful and will not be further considered.
In making push strokes, good players often apply the cue to the side
instead of to the centre of ball 1, with the view of supporting it and
of modifying its escape on that side. This precaution is often required
in order to obtain position.
_Kiss Strokes._—In the English game the term kiss is used rather
vaguely, so that precise definition is difficult if not impossible. It
includes the strokes which the French call _coups durs_, in which ball 2
is touching a cushion and cannot give way as usual, but throws off ball
1 with the recoil of balls and cushion combined, as well as those termed
_rencontres_, or the meeting of balls 1 and 3, the former having been
put in motion by the cue and the latter by collision with ball 2.
Of the former kind examples are shown in Diagrams VII. and VIII. In
playing these strokes recollect that screw or retrograde rotation
augments the velocity of ball 1 after impact, whereas follow has the
opposite effect.
[Illustration:
Diagram VI.
]
[Illustration:
A Push (_bouclée_)
]
[Illustration:
Diagram VII.
]
Example A, Diagram VII., is the simplest form of the stroke, the three
balls being in one line—ball 2 against the cushion, and ball 1 between 2
and 3; a stroke full on ball 2 will result in a cannon. B is a
modification, for ball 3 is out of the straight line; the cannon is made
by a slight division of ball 2, say ¾ right; if ball 1 be played on that
spot it will cannon on ball 3. The student can set up examples for
himself, and by careful division of ball 2 make many cannons. The
greater the distance ball 1 has to travel, the lower and harder must it
be struck. A very excellent practice to train the eye to the angles and
the hand to control strength is afforded by Example C, which is
otherwise not of much use in a game. Mark the positions of balls 1 and 2
slightly with pipeclay, and try to make losing hazards into every pocket
on the table. After each stroke the balls are replaced, and the number
of strokes taken to make the six losing hazards is the measure of
accuracy in play. The first stroke into the right bottom pocket is easy;
it will soon be made in one trial, for it is almost a plain half-ball
stroke. The second into the left bottom pocket is perhaps the most
difficult of all, for not merely has ball 2 to be correctly divided but
strong left side is used; the left middle and top pockets are made
direct, accuracy depending solely on the correct division of ball 2,
finer for the former, fuller for the latter pocket. The right top and
right side pockets are made off the cushion, and in the last-named side
is used. This hazard may be made without a kiss; ball 1, played a free
No. 1 strength half-ball on ball 2, will touch bottom and side cushions
and travel towards right middle pocket. It is needless to enter into
further detail, for the advantage of the stroke is to accustom the eye
to the angles at which ball 1 comes off the various divisions of ball 2,
and that is learnt solely by practice. To try for the pockets merely
gives an object or interest to the stroke, and, if further incentive be
required, back yourself to complete the hazards in fewer strokes than
another person may require. The practical application of the knowledge
thus obtained is that, should ball 3 happen to be on the lines 2P, 2P′,
2P″, or 2P‴, the cannon may be played with some confidence, and if it be
anywhere else on the table, a reasonable attempt to score may, if
needful, be made, and a game _in extremis_ may thus be saved.
Diagram VIII.—Example A is an easy and useful stroke. Ball 1 is 30 in.
from cushion 3, 15 in. from bottom cushion; ball 2 on the baulk-line
touching cushion 3; ball 3 is as shown in the neighbourhood, say 18 in.
from the right top pocket and within 2 in. of cushion 2. Play ball 1
with high right side half-ball or slightly fuller on ball 2, free No. 1
strength.
Example B is, in its way, a curiosity, but the stroke is by no means
devoid of use. First, suppose ball 2 on the baulk-line touching the
cushion at its left extremity. Place ball 1 for a half-ball kiss hazard
into the right top pocket. This is squarer than an ordinary half-ball
angle, because ball 2, being against the cushion, cannot give way; but
the difference is not as great as might be imagined, and the stroke is
not very difficult. What is curious, however, is that, if ball 2 be
moved a certain distance up the cushion to positions 2′, 2″, &c., a
half-ball cannon will be made on balls placed 3′, 3″, &c., at exactly
the same distance along the top cushion. That is, if ball 3 be placed at
the centre of the fall of the pocket, the distances between 3 and 3′,
and 3′ and 3″, shall exactly equal those between 2 and 2′, and 2′ and
2″.
[Illustration:
Diagram VIII.
]
The other class of kiss strokes is illustrated in Diagram IX., from
which it is seen that ball 2 is in no case touching the cushion, but
that (except in case E) it is used to kiss or plant ball 3 in such a
direction that it advances to meet ball 1, and the cannon is thus
effected. In case E the course of ball 1 is modified by a second impact
with ball 2.
Example A. The three balls are in a straight line perpendicular to the
cushion. If ball 1 be played absolutely full on 2, that ball will strike
3 full also, and no score will be made; but if ball 2 be struck slightly
out of the centre—that is, between centre and ¾—a cannon will result.
Play ball 1 a soft No. 1 strength slightly to the right of the centre of
ball 2, which will travel proportionately to the left and strike ball 3
to the left of its centre. Ball 3 will strike the cushion slightly to
the right of the perpendicular line, and, returning therefrom, will meet
ball 1 when the cannon is complete. Ball 2 may be struck similarly on
the left of its centre, and the stroke be made on the same principle as
before.
Example B. Balls 2 and 3 touch, and the line through their centres is
slightly inclined to the cushion. Ball 1 is so placed that the fine
cannon is either impossible or dangerous. Play a gentle No. 1 centre
stroke on ball 2 about three-quarters left; ball 3 will be planted on to
the cushion, and, returning, will meet ball 1. The general fault is to
play too fine on ball 2, but the stroke is easy.
Example C. Place the balls as shown; do not attempt the fine stroke, but
play half-ball on ball 2; the cannon is inevitable.
[Illustration:
Diagram IX.
]
Example D partakes more of the nature of a fancy stroke than of one
useful in games; nevertheless, it illustrates in a striking way what may
be done by means of the kiss or plant. Set up the balls as shown in a
straight line. Balls 2 and 3 should touch, and ball 1 should be a little
apart, to permit of a stroke on ball 2. The balls should touch or be
very near the side cushion. Play ball 1 one-quarter right, No. 2
strength on ball 2, so as to impinge on the side cushion above the right
middle pocket. Ball 2, being thus struck rather fine, causes ball 3 to
travel at a moderate pace down the table towards baulk, whilst ball 1,
travelling faster, comes off cushion 2 and meets or catches ball 3
generally in baulk. A similar and easier stroke may be from positions
1′, 2′, 3′, near cushion 5, ball 1 being played on ball 2 to strike
cushion 3.
Example E is a very pretty little stroke, which may be thus placed.
Ball 1: 6½ in. from cushion 6, 7 in. from top cushion.
Ball 2: 11½ in. „ 6, 2½ in. „
Ball 3: 19½ in. „ 6, 7½ in. „
It will be observed that there is no direct stroke whereby ball 2 may be
kept at the top of the table, nor is the fine side stroke (ball 1 with
strong right side played fine on the left of ball 2) possible; in fact,
the position seems far from being desirable. Yet, if the directions for
playing this stroke be followed, the cannon will be found almost a
certainty, and the balls will generally be well left for further play.
The stroke is made thus: play ball 1 centre, a soft No. 1 on ball 2,
three-quarters right, which will return from the cushion, kiss ball 1 on
to ball 3, and often remain between ball 1 and the pocket. Hence, if
ball 2 be the red, a better opening for a break could scarcely be
desired. The stroke should first be practised from the positions
indicated until fair certainty is acquired, then the positions may be
slightly varied, and it may with advantage be set up without
measurement, so that the eye may become trained and able to recognise
the situation should it occur in a game.
Example F happens occasionally, and, therefore, it is well to be
prepared. The three balls are in one straight line, and the situation
generally comes about thus: the red ball being on the spot, the
adversary’s ball happens to stop directly above it, between the red and
the top cushion, ball 1 being in hand. The easiest way to score is to
place ball 1 in line with balls 2 and 3, in this case on the centre spot
of the =Ｄ=, and play full on ball 2. Personal inaccuracy will in this
case insure the score, for ball 2 will rarely be struck so full as to
impinge on the centre of ball 3; it will strike it on one side or the
other, and a cannon will result on the same principle as that explained
under Example A.
The general warning as to kiss strokes should be remembered. Avoid
attempting doubtful strokes, specially when the balls are not close
together.
_Jennies._—In Chapter V. p. 160, an example of the plain half-ball
stroke was described, and whenever the pocket is fairly open these
strokes can be best made without side; but when the pocket is very
blind, the losing hazard cannot be thus made, and side, which takes ball
1 into the pocket after touching the farther shoulder, must be employed.
The nearer ball 2 is to the side cushion the more difficult is the
stroke and the more side is required. The general fault in playing these
strokes is that ball 2 is struck too full, a natural result of the use
of reverse side, of which it is impossible to put on too much, specially
for long jennies.
Diagram X.—Example A.
Ball 1: about 1 in. behind and right of the centre spot of the =Ｄ=.
Ball 2: 22¼ in. below the left middle pocket, 6¼ in. from the side
cushion.
Play ball 1 one-quarter left medium No. 1 strength on ball 2, half-ball
or rather finer; the hazard will be made off the far shoulder of the
pocket, and ball 2 will rebound nearly perpendicular to the side cushion
towards the centre of the table.
Example B.
Ball 1: on baulk-line, 8 in. to the right of centre.
Ball 2: 10½ in. below the right middle pocket, 4 in. from cushion 3.
Play ball 1 one-quarter right free No. 1 on ball 2 half-ball or finer.
The more side the stroke is played with the better; it will often
compensate for inaccuracy of aim.
Example C.
Ball 1: as in last example.
Ball 2: 9 in. above the left middle pocket, 4 in. from cushion 6.
Play ball 1 one-quarter left No. 1 strength on ball 2 from half-ball to
quarter-ball.
Jennies are not nearly so difficult as they seem at first sight. The
general rules for playing them are, for middle pockets, plain wherever
possible, ball 1 being struck rather below than above the centre. But
when ball 2 is so near the side cushion that the hazard cannot be made
by a plain stroke, and for long jennies, use as much side as possible
and endeavour to aim on ball 2 finer than half-ball.
In Diagram XI. a few examples will be found of _bricole_ strokes, or
those in which ball 1 strikes a cushion before impact with ball 2, side
being used. Plain strokes of the sort have been mentioned in Chapter VI.
Example A.
Ball 1: on baulk-line a little to the right of centre.
Ball 2: over the left bottom pocket as shown.
Play ball 1 one-quarter right, aiming just out of baulk, No. 1 strength;
the side, if correctly judged, will bring the ball back as indicated,
and the losing hazard may be made.
Example B.
Ball 1: on the centre spot.
Ball 2: on the centre transverse line of the table overhanging the
pocket, with just room on either side for ball 1 to pass without
touching it.
[Illustration:
Diagram X.
]
The losing hazard may be easily made as shown from either side of ball
2. Take first that from the left side. Play ball 1 one-quarter right,
medium No. 1 strength, so as just to pass ball 2 to the left without
touching; ball 1 will return from within the shoulder, strike ball 2,
and fall into the pocket. For the hazard from the right of ball 2, ball
1 is played one-quarter left, to pass the right of ball 2.
Example C is precisely the same stroke into a corner pocket.
Example D may occasionally be of use, though generally a miss would be
the proper game under the circumstances. Ball 1 is supposed to be in
hand, ball 3 having stopped near ball 2 on the spot, but not
sufficiently straight above it to warrant playing for the kiss cannon.
In this case the knowledge acquired by playing an old fancy stroke—to
make the losing hazard off ball 2 from baulk by playing _bricole_—is
utilised. In that stroke an approximate guide as to the point of aim on
the side cushion was obtained by aligning the cue so as to pass over the
left bottom pocket, and the left corner of the =Ｄ=: the prolongation of
that line indicated the point. Hence, by aiming a little above the point
thus found, ball 2 is struck on the right side, and the cannon is
possible. Place ball 1 on the left corner of the =Ｄ=, play a free No. 1
strength at the side cushion, aiming as directed. One or two trials will
determine the correct point of aim with a given strength; if the
strength is altered, the angle of reflexion will also alter.
Example E, on the other hand, is perfectly simple and most useful.
Measurements are unnecessary. Play ball 1 to the cushion with slight
right side; ball 2 will be pocketed, and ball 1 will rest in a good
position for a losing hazard from spot into the right top pocket.
Example F.—Ball 1 in hand, balls 2 and 3 as shown about the diameter of
a ball or a little more from the side cushion, so placed that the fine
cannon from 2 to 3 would be very difficult. By placing ball 1 on the
baulk-line as shown, and by playing with a little right side behind ball
2, ball 1 will, after impact, run down the cushion and make the cannon.
When the eye is trained, ball 2 may be a considerable distance—say six
or eight inches—from the cushion, and the stroke may be made with a
reasonable chance of success, whereas played in any other way the result
would almost certainly be failure.
[Illustration:
Diagram XI.
]
_Plants_ (see definition in Chapter III.) are perhaps more connected
with pyramids and pool than with billiards; nevertheless, they may be
occasionally used, and, therefore, must be briefly considered. The
simplest form is when the centres of balls 2 and 3 are on a straight
line which leads to the centre of a pocket. (See Diagram XII.)
Example A.—Balls 2 and 3 are on the line P Q and touch each other. Ball
1 may be on any part of the table from which ball 2 may be struck save
the small corner cut off by the line R S perpendicular to Q P, and if
played on ball 2 with sufficient strength ball 3 will run into the left
bottom pocket. It is hardly possible to miss the winning hazard, and
hence, whenever two balls touch and are so aligned, a very easy stroke
is presented if ball 1 be suitably placed; for, no matter how badly it
may be played on ball 2, ball 3 must of necessity travel to the pocket.
So far the matter is simple enough; but the next example, B, at once
introduces difficulties which it is proposed to observe and notice
rather than attempt to explain. A glance at the diagram will show that
in this case G H, the alignment through the centres of balls 2 and 3,
does not terminate in the pocket, but falls slightly without; hence, if
the plant were played in the ordinary way, ball 3 would impinge near the
shoulder at H. In the first place, let ball 1 be removed from the table,
and let the problem be to play ball 2 with the cue so as to put ball 3
into the pocket. If this stroke be presented without explanation, nine
men out of ten or more will attack ball 2 from the baulk side, playing
towards the top of the table. The more they do this the further up the
table will ball 3 strike the cushion; but let the player go round and
place his cue on the alignment shown so as to strike ball 2 on its side
towards the top of the table—that is with right side—a medium No. 1
stroke, when, wonderful to relate, ball 3 will travel to the pocket in
the most docile manner. That having been established to the satisfaction
of the player, let him replace ball 1 on the table anywhere as
shown—that is, in any of the positions marked 1 or in any intermediate
position. For the stroke as now set up, play ball 1 one-half left, No. 1
strength, on ball 2 half-ball or fuller to the right; again ball 3 will
roll obediently to the pocket. If by an error of judgment ball 2 be
played on to the left, ball 3 will strike the cushion above the point H.
[Illustration:
Diagram XII.
]
Example C is merely an amplification of the same stroke. Ball 2 is
conveniently placed in front of the pocket, and ball 3 is placed
touching it first on the line P R, when the straight plant is to the
left of the pocket, and next on the line P S, when it is to the right;
ball 1 being somewhere as shown, an exact position for it being of no
consequence. Now, when ball 3 is on the line P R, to the left of the
pocket, play ball 1 on the left side of ball 2; when it is on the line P
S, to the right of the pocket, play to the right of ball 2; in both
cases the winning hazard will be triumphantly made.
These strokes are capable of ready demonstration on a table, but the
laws which govern them are not certainly known. The results seem to
point partly to transmitted side, but that is scarcely sufficient to
account for so considerable a deviation from the straight plant,
specially if it be considered that such side can hardly be detected by
the unassisted human eye. Very likely, when once it is understood, the
explanation will seem simple enough; at present, so far as is known, the
result has not been accounted for in a satisfactory manner.
Example D is worth mentioning and worthy of practice; like most other
strokes, it can be far more satisfactorily explained on the table by a
man who can play it than by the most careful description on paper; yet,
as in spot play and possibly in other circumstances it may be useful, an
attempt to convey an idea of the stroke will be made. Ball 2 is on the
spot; ball 1, too near it for any ordinary stroke with fair chance of
success, but not necessarily touching, is first on the line T U, the
straight plant being therefore on the point U. Now, if the cue be
aligned as shown on the right side of ball 1, pointing towards X, and a
medium No. 1 strength be delivered, ball 2 will be deflected into the
pocket. Conversely, when ball 1 is on the line V W, close to ball 2, the
cue must be aligned on a point Y below W, and a stroke on the left side
of ball 1 will, as before, result in sending ball 2 to the pocket. The
principle is apparently the same in all oblique plants, if those may be
so called whose path is not the prolongation of the straight line
through the centres of the two balls.
In Example C ball 3, and in Example D ball 1, are not drawn, in order to
avoid complicating the diagram; their positions are indicated by the
figures.
The subject of screw strokes was fully considered in last chapter, and
practice was recommended with the view of facilitating the acquirement
of the stroke rather than of illustrating its application to the game;
hence it is now appropriate to give some useful examples.
Diagram XIII. Example A.—Balls 1, 2, and 3 as shown. This stroke may be
played in many ways, depending on where it is desired to leave the
balls. If ball 2 is to be brought back, play ball 1 one-quarter low
about No. 2 strength nearly full on ball 2, which will travel to and
return from cushion 1; ball 1, having parted with its velocity, will
return slowly to ball 3, and the three balls should be left together. It
might be desirable to play the stroke in a totally different manner if,
for example, 2 were the adversary’s ball. In this case it would suffice
to send ball 2 up the table towards spot, and cannon on ball 3 so as to
leave a winning hazard in the left bottom pocket. To do this the
strength communicated to ball 2 must be diminished, and this may be
effected by playing finer on that ball and by using more screw in
compensation.
Example B is a good practice stroke, and may be played harder or softer
at will. It does not require to be laid down by measurement, and may be
set up wherever convenient. Play ball 1 about one-half low and left,
medium No. 1 strength on ball 2, about three-quarters right.
Example C, a screw back losing hazard, is often useful, ball 1 being
between ball 2 and the pocket; no instruction is required beyond that
given in last chapter for playing the stroke. It may be varied by moving
ball 2 round ball 1 as far as the cushions will permit; the stroke is
always possible, and in trying to make it some practical lessons in the
matter of compensation will be learnt.
Example D.—Place the balls as shown. Play ball 1 three-quarters low on
ball 2, half-ball or rather fuller, but avoid the kiss. Ball 1 will
travel up cushion 2 and make the cannon or hazard, whilst ball 2 will
escape towards the left middle pocket.
Example E is a screw off a fine ball, a stroke at which many amateurs
fail chiefly because they do not stand properly for it—do not usually
align their cue fine enough on ball 2. If played very slowly, very fine,
and with the maximum of screw, the stroke is perhaps more certain of
execution, but ball 2 will probably be left in baulk. To obviate this,
play rather fuller, with less screw, and with more strength. The stroke
is conveniently made from the spot, ball 1 being placed variously
between the angle at which a losing hazard with side can be made and the
vertical, or when the ball 1 is directly above the spot. The position
shown in the diagram is a fair one, the stroke being not very difficult;
it becomes more so as ball 1 approaches the position above the spot. It
may be thus played: Align the cue as shown for a fine stroke, play ball
1 one-half low No. 2 strength on ball 2, one-quarter right. It is
difficult in a stroke of this nature to give precise instructions for
making it, because it varies with every slight variation of the position
of ball 1 and with the power of each player to communicate screw; hence
it is advisable at first to get the assistance of a competent person,
and then to practise before minor details are forgotten.
Example F is well worth mastering; it is easier the nearer ball 2 is to
the pocket. Play ball 1 one-half low and right on ball 2 about
three-quarters left a free No. 1 strength. Ball 2 may thus be brought
out of baulk, whilst the reverse side carries ball 1 into the pocket. In
strokes of this kind care should be taken to avoid the kiss.
[Illustration:
Diagram XIII.
]
Close screws, when ball 1 is so near ball 2 that the stroke cannot be
made in the ordinary way, are worth mastering, but as some execution is
required, they should at first be played under professional supervision.
The chief point about them is to convey to ball 1 a maximum or nearly so
of screw and side; the cue has to be delivered with great freedom, and
ball 1 passes well beyond the position occupied by ball 2, then the
forward force (translation) having been chiefly transferred to ball 2,
the screw and side conquer the small balance left and ball 1 returns
more or less towards the player. A rather neat example of a close screw
is shown on Diagram XIV., and may be set up on the table without
measurements. Play ball 1 one-half low and one-half right, a free No. 2
strength on ball 2 between three-quarters left and centre, so as to
cause its return after impact with cushion 1; ball 1 should make the
cannon off cushion 4 and perhaps cushion 5 as well, and the three balls
should be gathered at the left bottom pocket. This kind of stroke is
useful for losing hazards also, but should not be practised until the
player has acquired much confidence in the delivery of his cue, lest
accidents should happen.
Another stroke which must be noticed, though it should be rarely
employed, is that known as the _leap_ or _jump_, whereby ball 1 leaves
the bed of the table during part of its course. It is made in two ways:
either by laying the cue on the table, aligning it as usual in the
direction desired for ball 1, and striking that ball so low that the tip
touches the cloth before it reaches the ball. This is practically
equivalent to putting the cue under the ball and throwing the latter
upwards; but there being at the same time a forward motion, the result
is a leap higher and longer in proportion to the strength of stroke.
Played in this way there is no danger of cutting a sound cloth, and the
ball may be made to jump higher with less strength, and to be better
under control than when the leap is otherwise effected.
[Illustration:
Diagram XIV.
]
Ball 1 may also be made to leap by striking it down towards the bed, the
cue being oblique, its butt elevated—in fact, by an exaggerated stab.
The ball is thus momentarily squeezed between cue-tip and bed, and leaps
as it escapes from the pressure. This stroke should be practised with
the greatest moderation; indeed, not at all until the player is well
experienced and confident in handling the cue, for it commonly results
in knocking the balls off the table and damaging them, and may further
cut the cloth. The stroke is sometimes of use, and, therefore, must not
be ignored; but it is safe to say that no one who valued his table or a
good set of balls would willingly see them used for this class of
practice.
[Illustration:
The leap or jump stroke
]
Diagram XV. shows a few instances in which the leap stroke is
legitimate, and as safe for the balls and table as is possible under the
circumstances.
Example A.—It is desired to play the winning hazard on ball 3 without
disturbing ball 2. Align the cue on the table in the direction required
for the hazard, see that the tip is on the cloth and kept there, and
play a medium No. 1 strength. Ball 1 will leap over ball 2 and make the
winning hazard.
[Illustration:
Diagram XV.
]
Example B.—The three balls as shown are in a straight line with no
reasonable chance of a score. The situation happened at a critical
moment in a match which the writer played many years ago, and a
successful leap cannon enabled him to win. Place the cue in alignment
with the three balls, and play the stroke as directed for the previous
example; ball 1 should jump on ball 2 and roll off to ball 3. The
difficulty, of course, is to control the strength used; the top of ball
2 must be cleared, and yet the ball must not be wholly missed. It is a
question of nerve and judgment tempered very considerably with good
luck. There is little or no danger to cloth or balls in practising this
stroke.
Example C is one which is not infrequently played in exhibition games.
Ball 2 is so placed that it cannot be got rid of by means of the
shoulders of the pocket, and there is not sufficient room for a cushion
or _bricole_ hazard. A delicate leap stroke played between ball and
cushion will make the losing hazard. It is not a desirable stroke for a
beginner to practise, for he will inevitably cause ball 1 to jump beyond
the pocket and roll away till brought up by some obstacle more or less
destructive.
Example D is of a class which occurs occasionally in actual play. Balls
1, 2, 3 are nearly in a straight line, ball 3 being about 2 in. from the
side cushion, so that a ball cannot pass between. An ordinary following
stroke is difficult and uncertain, so usually the best play would be to
give a miss; but the state of the game may render that impossible or
undesirable, in which case the best chance of scoring is to strike down
on ball 1, causing it to leap on to ball 2, which in turn bounds away,
leaving the course clear for ball 1 to reach ball 3 and make the cannon
either direct, off the side cushion, or even possibly from the top
cushion.
The effect of ball 1, so struck, causing ball 2 in turn to leap, is
prettily shown by placing the pool basket and balls as drawn in Example
E. A smart stroke down on ball 1 will cause ball 2 to jump into the
basket.
Many examples of fancy strokes made by means of the leap could be given,
but they are purposely withheld, as there is no wish to encourage
experiment as useless to the game as it is detrimental to the
implements.
[Illustration:
Fig. 1
]
_Piqué_ and _massé_ are not often used in English billiards; the latter,
indeed, seldom or never, whilst the former, when used, is miscalled
_massé_. They form in reality a continuation of the series of strokes
which, departing from the normal or horizontal, culminate in one
delivered vertically on the top of the ball. Thus, in fig. 1, Q, Q′,
&c., represent the axes of a cue presented at various angles to the ball
whose centre is C on the table T T. It has already been explained, but
may without harm be repeated, that, the strength of stroke being equal,
the maximum forward motion to the ball, or translation, is given by the
horizontal delivery of the cue on the line Q C. As the angle of delivery
increases, so does the forward impulse decrease until the limit 90°, or
a vertical stroke, is reached, when there is manifestly no forward
motion communicated to the ball, the entire force of the stroke being
counteracted by the rigidity of the table. Now, without any attempt at
fine distinction or any claim to precise accuracy, it may, in a rough
way, be said that plain strokes are delivered on the axis Q C; that
stabs lie between that and Q′ C, which is at an angle of 45° with Q C,
or half-way to the vertical; that _piqué_ commences at Q′ C and ends at
Q″ C, beyond which the strokes are termed _massé_. This is not exactly
correct, for there may be a _massé_ with less inclination than Q′ C, the
real distinction between _piqué_ and _massé_ being that in the former
the cue’s axis is directed to the centre of the ball, and therefore the
effect is to drive it straight with reverse or retrograde rotation; in
the latter, the cue’s axis is not directed through the centre, but on
one side or other of it, with the consequence that the path of the ball
is no longer a straight but a curved line. This is the case to such an
extent that the rotation round an oblique axis will often conquer the
small measure of translation or displacement conveyed by the stroke and
produce some beautiful curves.
Now, so long as the push stroke is allowed, _massé_ will not be much
attempted; it is difficult of execution at any time and in any position,
impossible on a large English table save when the balls are near a
cushion. It further has the great disadvantage, when played hard, of
causing a dent or pit in the cloth sufficient to deflect or arrest a
very slow ball, and therefore soon spoils a cloth near the cushions on
the very part most used for nursery cannons. It is also doubtful whether
with the most skilful manipulation effect can be got with small balls
and fine-pointed cues at all equal to that which is obtained in the
French game. Hence for many reasons we are indisposed to recommend the
study and practice of this undoubtedly beautiful stroke.
Quite otherwise, however, with _piqué_, which may often be used with
advantage in the English game and without harm to the table. The stroke
is indispensable when ball 1 is so near ball 2 that the screw back
cannot be made in the ordinary way, or when the cushion prevents the
application of the cue to the proper part of the ball. In Diagram XVI. a
few examples are shown. A learner should get some person who can make
them—and they are all very simple—to play the strokes before him once or
twice, when he will observe that no great strength is required: the
weight of the cue let drop on the right part of ball 1 will almost do
what is needed, and by restraint of force the danger of cutting the
cloth is greatly reduced. More harm is done by hitting the ball hard
vertically, for then the cloth is damaged in the same way, though not so
badly as when a careless or thoughtless person in spotting the red ball,
finding that it has a tendency to move on the spot, hammers it down with
force, thus in a very short time forming a cup sufficient to ruin all
delicate play from the spot, and with a hard stroke very likely to cause
the red ball to fly off the table. The practice is most reprehensible,
and persons doing it should invariably be remonstrated with, for they
are ruining the table for more intelligent players.
[Illustration:
Diagram XVI.
]
Example A. Balls as shown. Play ball 1 a gentle _piqué_, the cue at an
angle of about 60°, inside, _i.e._ to the left of the centre of ball 2;
ball 1 will return and cannon on ball 3; ball 2 will be left in the
neighbourhood of the left bottom pocket. If it be desired to move ball 2
very slightly, the stroke may be played _massé_, the cue being nearly
vertical, and ball 1 struck slightly to the right of the centre, nearer
ball 3 than the centre. This mode of play gives greater rotation but
less forward motion to ball 1.
Example B. Balls as shown. Play ball 1 _piqué_, cue from 50° to 60°
according to the distance it is desired to make ball 2 travel; aim at
ball 2 about three-quarters right, a clean gentle stroke, say equal to a
medium No. 1. Ball 1 will make the losing hazard.
Example C. Balls as shown. Play ball 1 _piqué_ 45° to 50° nearly full on
ball 2, which will cross the table and return or remain near the spot as
may be desired. The strength employed should be almost entirely
communicated to ball 2, whilst the rotation will make the cannon. If
ball 2 be the red, it may be as well to bring the balls together for the
next stroke; if it should be the adversary’s ball, it would be better
play to leave it near the spot and pocket the red next stroke.
Example D. Balls as shown. Ball 1 is too near the top cushion for a
screw in the ordinary way, whilst ball 3 is so placed that a ball cannot
pass between it and the cushion. Play ball 1 _piqué_ 55° to 65°, so as
to bring it well on the right or cushion side of ball 3, which is by its
situation what is termed in billiard language greatly enlarged. A few
remarks respecting this term will be found a little further on.
Respecting _massé_ proper, it is not proposed to write in detail. Those
who desire more information are referred to ‘Le Billard,’ by M.
Vignaux,[16] from which excellent work, though on the French game, much
may be learnt by players of the English game. Two of his remarks may be
quoted:—‘No stroke is more difficult. Good players hesitate to attempt
it, for the slightest inadvertence causes failure. The fault of amateurs
is always to play too hard, a stroke which requires the greatest
delicacy and the lightest possible touch.’
This chapter may be suitably closed with a few remarks on what are
called precautions and compensations. In certain situations we have
already frequently remarked that a pocket was blind—that is, was more or
less narrowed by one of its shoulders, and as a precaution, if a hazard
is desired the player has been warned to avoid the dangerous shoulder.
Sometimes it is sufficient to play inside the other shoulder; at other
times, when the pocket is more blind or less open, reverse side has to
be added in the case of losing hazards to induce the ball to enter the
pocket after contact with the far shoulder. The side so used is said to
enlarge the pocket, and the expression is appropriate, for if the ball
struck the part of the shoulder which is exposed and had no side it
would simply rebound and remain on the table; the side overcomes this
tendency and the hazard is made. Again, in case of cannons, a cushion or
two cushions, if judiciously made use of, similarly enlarge the size of
a ball. When ball 3 is near an angle of the table so placed that another
ball cannot pass between it and either cushion, a very large target is
presented, and there is room for much inaccuracy without imperilling
success. The thoughtful player will avail himself of this when it is of
paramount importance to make the stroke, as, for example, when it is the
game stroke, and so aim as to have the widest margin for error on either
side. This is an instance in which there are many chances whereby a
cannon may be made direct or off either cushion, so that ball 3 has for
practical purposes a size equal to three or four balls.
Similarly, when a ball is within a diameter of a cushion, it may be
enlarged by judicious precaution.
[Illustration:
Fig. 2
]
Thus, in fig. 2, C C is the cushion, 1, 2, 3 are the balls. If it were
the last stroke of the game, and therefore the cannon were of chief
importance, the stroke should be played to make ball 1 after impact with
ball 2 travel towards a point P between ball 3 and the cushion, and not
direct on that ball. If ball 1 should strike the cushion anywhere from
P′ to a point opposite the centre of ball 3, the cannon is certain;
hence, aiming at P, a convenient spot between P′ and ball 3, a margin
for error is left on either side.
The subject of compensation is very interesting, and its proper use is
one of the refinements of play. Certain elementary forms will be
described, but the application of the principle to the execution of
strokes must be left to the intelligence of the player; and this may
with safety and a clear conscience be done, for the less ambitious and
clever player will not concern himself with the question.
Perhaps the simplest form with which ordinary amateurs are familiar is
that whereby the angle between the paths of ball 1 before and after
impact with ball 2 is diminished or enlarged by side which compensates
for strength. Thus, taking plain losing hazards of the simplest type
(Diagram IV. p. 157), side may be substituted for strength, and the
angle of deviation altered so that with the strength prescribed for the
first hazard the second and even the third hazard may be made.
Similarly, reverse side will compensate for fine striking; it will, in
other words, decrease the angle of deviation.
These remarks of course apply equally to cannons, and with them also
compensation is used in order to control the movement of ball 2. Without
a knowledge of the motions which may be communicated to a ball by a cue,
and the skill to apportion them at will, no long break can be continued.
For the power to leave ball 2 in a certain position or direction is
often a necessity; hence, whilst the actual stroke is made, that ball
must be struck sometimes on one spot, sometimes on another, and
therefore compensation must be supplied for the variation of aim.
[Illustration:
Fig. 3
]
Consider a right-angle screw stroke.
In fig. 3 let 1, 2, 3 be the balls; if played half-ball, R will be the
point of impact between balls 1 and 2, therefore the path of ball 2 will
be in the direction R P. But suppose for some reason it is desired that
ball 2 should travel towards P′. Then impact must be at R′, and, this
being fuller than before, ball 2 will travel faster and ball 1 slower,
if the strength of the two strokes is the same. But as ball 2 is struck
fuller, less screw is required, and therefore ball 1 need not be hit so
low. Here the additional fulness on ball 2 is compensated for by a
diminution of screw, and the cannon is made; were the screw kept the
same as that necessary when impact was at R, ball 1 would return to some
such position as 1′, and the cannon would be missed.
Again, suppose that it is wished to send ball 2 towards P″; R″ must be
the point of impact, and that makes the stroke so fine that ball 2 will
travel much more slowly, and ball 1 as much faster; hence, to get the
cannon, ball 1 must be struck extremely low to compensate for the loss
of recoil occasioned by taking ball 2 so fine. So, if it be desired to
make ball 2 in this case travel as far as before, additional strength
must be used to compensate for the fineness of the stroke. This example
shows the principles involved; working them out and applying them
correctly to particular strokes is a matter of practice and experience,
without which theoretical knowledge is useless or nearly so for purposes
of play.
Another common illustration of the principle of compensation is the drag
stroke, which was explained at p. 197. As the ball is hit more and more
below the centre according to the length of the path to be travelled, so
must greater strength be used to compensate for the loss of naturally
developed rotation; and, conversely, when that rotation is too powerful,
or when there is special need for accuracy of path, or necessity for
diminishing the travel after impact with ball 2, compensation is given
in the form of retrograde rotation by striking ball 1 below the centre.
It is hardly necessary to give more examples, the great matter being to
direct attention to the general principles which govern the conversion
of strokes, and to make the player inquire why he attempts a stroke in a
certain way. When he begins to do this and can solve such questions
satisfactorily, the power will soon follow to realise at sight the
compensations which he must apply to each stroke as it occurs in order
to continue a successful break; and then, as in other matters affecting
us, the value of calm sound judgment becomes apparent.
In almost every stroke in a break some compensation or other is used in
order to control the paths of the balls. Strength is substituted for
side or _vice versâ_; screw is increased or diminished according to the
fineness or fulness of the stroke, which in turn involves variation in
strength, and so on; substitution of one element of a stroke for another
is constant, even though the player may scarcely appreciate the fact.
[Illustration:
When player’s ball is near a cushion
]