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.

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.

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.

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.

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.

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.

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.

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.