Perhaps the paragraphs given below are not really more"comic"than some of the avowedly serious guides to billiards, which contain so many contradictory injunctions, when compared with each other, that a student is soon left wondering where he is.
The extracts are taken from a very clever book, recently published, entitled:"Billiards in Mufti"(2s.) by Mr. F. L. Billington-Greig, who, besides being a billiards lover, has contributed many humourous articles (over the pseudonym of"Laurence Kirk") to Punch and other periodicals, and a section of these is now collected in"Billiards in Mufti," which is published at The Billiard House, 234, Sauchiehall Street, Glasgow:— Attitude.
For ordinary strokes it will be found by practical experience that the best results are produced by placing the feet on the floor— not on the table—in an easy, natural manner.
It this is done calmly and without premeditation the feet will spontaneously adopt an angle of 45 degrees to each other. This angle is called the"natural angle,"a thorough knowledge of which is the basis of all good billiards It is essential that the feet should be, as nearly as possible, a pair.
The weight of the body is now taken off the cushion rail, upon which it has hitherto been resting, and placed upon the legs. The body is then gently inclined towards the table, care being taken that the chin is not allowed to rest upon the bed.
While the stroke is being made the feet must be planted firmly on the floor. Should they show signs of mobilization it is advisable to place a heavy weight upon them until the stroke is played. In clubs and public rooms the marker will be delighted to sit on the player's feet if necessary.
In making an ordinary stroke the cue should never be held by more than one person at a time. Some players hold the cue loosely in the hand, a few inches from the butt-end.
Others grasp it firmly at a point a few inches from the middle. The former arrangement is better suited to the Spring-Tip cue, which is rapidly ousting the old-fashioned article. The cue-arm is generally bent at the elbow, but splendid results in all-round cannons have been achieved with swinging shoulder shots.
The bridge is built about nine inches from the ball to be played, and may be constructed in the old Roman style or on the cantilever principle. For people with long thumbs the latter is perhaps more suitable. Nervous players should not make bridges. They are advised to lay a piece of billiard chalk on the cloth about a foot from the ball, place the Spring-Tip cue across it, take aim, and fire.
In addressing the ball the point is to make your remarks about your opponent's style of play and the position he has left for you as sarcastic and cutting as you can. During the address, if you happen to touch the ball with your cue, it counts one to your opponent.
When tipping a cue the marker invariably leaves parts of the tip ragged and untrimmed. This is to assure correct alignment for the player when he looks along the cue—the untrimmed part of the tip forming the front sight, and the bridge providing the back sight. When taking aim it is not necessary for the beginner to know where the balls will ultimately settle, if he should succeed in striking them; this knowledge comes in the fulness of time.
This is the most important feature of the whole game. Indeed, some authorities hold that if the balls were not struck now and again it would be almost impossible to play billiards.
What more than anything else distinguishes a good player is the correct contact of his cue tip with the ball. That contact which emits a crisp, clicking noise as the tip touches the ball is correct. And this crisp noise may be produced by slightly toasting the tip before fixing it to the cue. Players of a"soft" game use buttered tips, but plain toasted tips, when brought into contact with nicely warmed balls, produce the crispest noise.
Never give your ball a hint of the exact spot upon which you intend to strike it. Make a few feints before you hit out—so as to put it off. If, for instance, you wish to screw back, you must pretend you are really trying for a follow through; aim to hit your ball on the scalp, and then, before he has time to recover his guard, jab him hard in the belt. Always act quickly. Ivory balls are very tricky and suspicious. Touch and Tone.
A good ear can be cultivated only with the aid of ivory balls."I tried for a B-flat cannon, and got a losing hazard in G-sharp,"is a common wail of those who play with composition.