Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-01-23

ment Of correct style both as to atti-
| tude, stroke and execution. To be sure a
| player must have as ground work keen
eye. plenty Of nervous force, pliable
muscles. control of temper and enthusi-
asm. II player possesses these quail
| ties and then in addition has coura ge
| and correct methods, there is no reason
why he should not achieve marked sue
cess. 1t Is important that a proper style
should be learned early in the player s
career, because it is difficult if not i'm
possible. to eradicate peculiarites and
| mannerisms that once become fastened
| on a player.
| The first thing that a PLAYER tyoung)
! should be taught is how to bridge cor
rectly, as faulty manner of holding
| the cue is calculated to render ineffective
the efforts of man who would other
wise perform very creditably. In my
| opinion, the natural method is the best
| Lay the left hand on the table bed, with
| the knuckles slightly raised. so as to form
| an arch and give steadiness. Then raise
the thumb. making a crotch between 1t
! ana the first finger, in which the cue is
rested. Take the butt Of the cue lightly
| In the fingers, but do not close the hand
| tightly on 1t. In preparing for the stroke,
move the cue back and forward a few
| tiiiies " Hldht sure Indt IHere Is a Tree
| movement. There should be a supple
movement OF the wrist, as any rightly
| or the wrist or forearm is sure to inter-
fere with the stroke and destroy its ac-
! curacy.
/ AS to stroke. every PLAYER must use his
natural one. 1t is a serious error to copy
the stroke of another player because the
| muscular and nervous makeup of one
player Is dissimilar to that of any other,
| and their strokes must necessarily differ
| a nlaVor SfnnII fbaroforo tho l,,n
| with just the amount of force that he
feels is necessary to send it to the proper
| distance.
! A large muscular man will necessarily
| have to tone down his stroke, while q
player of less strength will use more
| force. But in all cases the player will
| graduate his stroke to suit the play and
| Imitation of another's stroke will surely
eomplicate the style and retard the prog
ress of the beginner
Another essential to successful plav Is
| the selection OF a proper cue Some
| players find out what size and weight
OF cue is used by a leading player and
select one like it, That is mistake.
| Only on the basis of two players being
equal in all physical respects could they
use the same weight cue or the same
size Zip. A player must pick out cue
that seems to him to be the proper
| instinctiTely whether the cue is too heavy
or too light, and whether the butt has
the proper handle. A player should keep
experimenting till he gets cue that COM
pletely fills all his requirements, and then
stick to it,
Constant changing of cues is an indica-
| ton that the player is out of form. II n
| player constantly papers his tip and
| looks searchingiy at the cue every time
he misses. depend on it there is some
| thing the matter with his stroke and
| style rather than with the cue. If a
! man has a correct method of play and
other qualifications. depend on it he will
not have much trobule in selecting a cue
! TO do the work with.
/ Attitude at the table is point that
must be taken into consideration by the
player who expects to become proficient
| in the great game. Every player can
| rot be graceful while playing. but any
one can avoid the error of stiff or rigid
positions while in the act OF shooting.
Naturally, while bending over the table
| to reach the cue ball in 4 difficult posi-
tion, a player is at disadvantage. FOR
| it puts a strain on certain muscles, tend
ing to render the attitude unsteady.
But in the majority Of shots. where
| the cue ball Is within easy reach, there
| not assume an easy. graceful position,
| calculated to give him the free use OF
AL his arm and back muscles. and en-
able him to hit the ball with the re-
/
| Men like Vignaux, Schaefer and Ives
wcre noted for the easy grace of their
attitudes at the table and the freedom.
accuracy and delicate precision of their
become proficient who has strained.
| rigid and uncomfortable position at the
| table Such an attitude will assuredly
| interfere with the accuracy of the stroke.
result in miscues and generally demora-
lie a player. The Importance therefore
of the correct position at the table can
| readily be appreciated
| No PLAYER should use too long a bridge,
| for that puts an additional strain on the
| eve and is apt to result in inaccuracy of
! aim The bridge should be measured ac-
| cording to the vision OF the player, and
any one should be able to judge just
| how far from the cue ball to make the
| bridge.
| 1t is just as big mistake to make too
| short a bridge, for in that case the stroke
| is restricted and the proper force cannot
| 10 impaired to the ball.
| The stroke should be clean and go
straight through, and this applies to any
| kind OF a shot. draw or Follow by
clean stroke / mean one In which the cue
| follows the ball without any restrictive
| o. stroke that will bring ultimate success.
| Another error Of execution is too much
| fidding with the cue previous to striking
! the ball This IL not only an annoyance
| to the onlOokers, Dut IL Is al Llpc1iiIcHl
! to the player.
! The best way to avoid tiresome fiddlin
| is 10 have the shot studied out before the
| bridge is formed. II the situation is COM
| p.icated 1t is better to study it out while
| standing erect and before making the
| bridge The cue should not be drawn
back and forth more than few times,
/ aid this only for the purpose of assuring
| freedom OF movement and accuracy of
aim.
/
Maintenance of an even temper is an
| absolute essential to successful play. That
! Is true of almost any branch of sport.
but applies with the greatest force 10
/ billiards. The player who loses his tenn
| per is lost.
i II a player permits any incident or dis
concerting act by an opponent to irritate
him his play suffers at once. and the
| chances for his defeat are excellent
| 1t is bad plan to play too many styles
of billiards A player should stick TO
one style or game, for by scattering his
efforts he gains proficiency in no style.
A professional practicing for an 1872 con-
| test will play only that game, as even
1871 Is SO different ii would tend to dis
for baik line match would not think
OF playing three cushions
l 4 billiard player should avoid violent
exercise Or anything calculated to harden
his muscles Plable, flexible muscles are
/ what the biliardist requires, and his ex-
| ercise should be of the lightest. with
plenty of fresh air, pedestrianism and
sleep.
BY purchasing Doc Marshall from
| Brooklyn Manager John McCloskey now