39.—"What is the origin of the terms 'winning' and 'losing' hazard?"
At one time pot shots counted for, and in-offs against, the striker. Hence the terms to which you refer.
40.—"Is there any stroke left in billiards to be specialized upon now that we know something about the spot stroke, top-of-the-table play, close cannons, and middle pocket losing hazards?"
Yes. There is the two-pot and one cannon game at the top of the table, which has never been specialized upon in the way in which George Gray understands, and Peall understood, specialization. Stevenson, in his book on the top-of-the-table game, says that the man has not been born who can keep up for any length of time the two-pot and one cannon game.
But in our opinion the player will yet arise—and perhaps it may be Gray—who will introduce far more red winners into a top-of-the-table break than has yet been done or attempted.
41.—"How is it that I never seem to get a decent leave in billiards, whereas, when I break down, the balls are usually nicely placed for my opponent? This is no grumble; it is simply and solely what happens; and I cannot understand it."
The best leaves always come to the confident and winning player, who also leaves little when he breaks down. The reason is difficult to explain, but the fact remains. One explanation may be hazarded, and it is that the losing and less confident player often plays with uncertainty and by almost—instead of quite—bringing off strokes leaves for his opponent the positioning that he had intended for himself. When a spell of bad luck seems to be setting in a little lashing at the balls or safety play sometimes suffices to alter the complexion of affairs. But above all good temper and the determination to win must be maintained.
42.—"How would you recommend an entire novice to commence to play the game of billiards?"
By taking lessons from a capable instructor. Failing this by adopting first of all the right attitude and cue swing, which may be usefully done with the cue alone along the rail of the table at the part where the back of the cushion meets the rail. A mark should be made at a point 29 inches along the rail to represent the ball and the bridge made seven or eight inches behind this mark. The cue must then be swung so that it traverses an equal distance in front of, and beyond, the mark and remains parallel with the rail and in alignment with the centre line of the rail. Meanwhile, the right foot, the elbow, and the chin will be in the same alignment and the cue will be lightly held at such a point that, when its tip is over the mark representing the ball, the forearm will be exactly vertical and the upper part of the arm horizontal.
The nearer the chin is to the cue, within reason, the better. Perfect stance and cue action may be acquired in this way, and when the learner both does what we have described, and feels comfortable in doing it, he can try to strike a ball up and down the table over the centre spots.
43.—"Some players take aim above the centre of the ball and depress the cue point whilst others take aim below the centre and raise the cue point. Which method is preferable?"
Both should be avoided, but there is less danger of "stunning" the ball by raising the cue point than by depressing it, as the butt end goes down in the former case, and this is a good thing.
44.—"Does anyone know how the practice of playing billiards in shirt sleeves originated and is this, all things considered, the most convenient and desirable form of billiard dress? Are not players liable to take cold, when playing, under varying conditions of temperature, without a coat, and may not the custom be partly responsible for the many influenza victims that are to be found amongst professional billiard players?"
Undoubtedly the practice of playing billiards without the coat originated casually and came to be generally adopted. The coat was naturally thrown off for greater ease and freedom, as it would be in any other game or pursuit requiring free arm action. We do not, however, see why some suitable light jacket might not be devised for the game and this, if professionals did not care to adopt it, might in time become a sort of distinguishing mark when amateurs met professionals. In county cricket we remember to have seen gentlemen players at the wickets in flannel jackets on several occasions.
45.—"Do I understand that, in your opinion, a player should never go out for a showy, but uncertain, stroke, and should confine himself absolutely to the position or safety game?"
We would hardly go so far as to say that. Sometimes it does the player himself good to stir the balls up a little, and when the balls are running with persistent awkwardness the greatest players occasionally adopt this course. As a rule, however, a gentle two-cushion cannon is greatly to be preferred to a very uncertain forcing or other spectacular stroke.
46.—"Is it to be understood that the real and sole reason why the Gray-Diggle match was not played at Leicester Square is that Gray or his father objected to the use of bonzoline balls?"
We do not think so. Gray played very well with bonzoline at Hull, and if the change from crystalates to bonzolines cannot be effected in a fortnight's continuous play it cannot be achieved in a lifetime. There is a fixed slight difference in throw-off between the two balls and the necessary adjustment of contact and strength should become a habit after a few sessions' play. The difference between ivory and crystalate is the same as between crystalate and bonzoline, and when Stevenson, after making 1,000 breaks of more than 100 each with ivories, went on his world-tour two years ago, he made at Sydney, with crystalates, consecutive breaks of 495, 371, and 580—the last the then Australian record.
Travelling on to Calcutta during the same trip, he established a new Indian record with a break of 603—again with crystalate balls. Later, at the United Service Club, Lucknow, in a game of 1,000 up, he made consecutive breaks of 297 and 180 off the red ball, still with crystalates.