First, it is necessary to define our young player before proceeding to lay down hints for his billiard edification. Here, let me explain, that by a "young" player I do not always mean one who is youthful in point of years. Nor does my definition of a "young" player apply solely to those who have only just taken up billiards. True, these two classes comprise the majority of "young" players, but there remains a by no means insignificant body of cuemen who are "young" in the sense that their billiards is in a state of perpetual infancy and, incidentally, ineptitude. In every case, however, the "young" player will, I trust, derive interest and profit from the following hints.
More dogmatic nonsense has been written about the correct method of .standing at a billiard table than on any other point connected with the game, and that is indeed saying a very great deal. The plain fact is that no absolutely hard and fast rule can be laid down, the most one can do is to lay down general principles which can be adapted to individual requirements. This is proved by the inexorable logic of facts. A billiard table is a scientific proposition, its proportions are not varied to conform to the physique of anybody. Tall or short, stout or thin, long-bodied, long-armed, long-legged, or the reverse, all should play on a table which in height and breadth does not vary a fractional part of an inch. How, then, in the name of commonsense, is it possible to tell people that they must adopt a fixed attitude at the table?
But, as I have already observed, there are general laws which must be observed by all, and the first of these demands that the feet should be placed so that the player can bring his body right behind the ball and get a straight sight of it. The pose of the body is the next point to be considered, arid here again a great deal depends on the shape and make of the player. Some people can manage to bring their body down so that their chin almost rests on the cue, and excellent players, both amateur and professional, could be named who exploit this body pose with the utmost advantage. But there are others, many others, who are not built that way, and who must adopt a more upright position if they are to play at all well, elegantly, or comfortably. Here, again, the personal factor is the dominating influence, and it is safe to assert that any. body position which tends to swaying or unsteadiness shoiild be avoided, even if it' is the exact counterpart of an attitude which enables another player to score big breaks.
Next, the position of the arms "must be discussed. The left arm should be kept as straight as possible without an excess of effort both tiring and needless. The right arm must be kept in (alignment with the cue, the tendency to turn the elbow outwards so noticeable in the tyro must be shunned for the billiard heresy it undoubtedly is. The right arm must be bent in such a way that the right hand is brought close to the player's side, and the fact must be borne in mind that in billiards almost everything is done by the swing of the forearm. This gives the propulsionary power required for .almost every class of stroke. It is, so to speak, the motor which gives the power utilised by the sight, touch, and judgment. I do not say the upper arm is never called into requisition, because in forcing strokes the whole of the right arm must swing into the stroke. But this is what may be called the "forced draught" of the billiard player, and for the great majority of strokes it will be found that the pendulum-like, swing of the forearm will give all the power wanted.
I want my readers to note with particular care the reference to the "pendulum-like swing" of the forearm, and, I may add, of the tipper arm. as well when occasion demands the utilisation of this reserve power. The whole secret of success is embodied in the swing;, anything in the nature of a stiff, jerky movement simply spells disaster. If this fault is committed., quite the wrong kind of motive power is transmitted to the cue and from it to the ball. The result is a lifeless sort of stroke more often than not woefully erratic and inaccurate. Everyone who has seen good billiards knows that a first-class cueman seems to endow the balls with life, but few are aware that the secret of this vitality lies in a perfectly natural, unchecked, flowing swing of the cue-arm. Do not regard this movement of the right arm as a refinement which can be mastered after you have learned a few strokes. Master it to the best of your ability, and " do it now/' or you will never play billiards worthy of the name.