hand that it must be sedulously watched. Nor can it always be watched right on to the bat; exactly how far it can be watched is a much disputed point. Certainly few batsmen can carry out the golden rule of Golf. I believe that most of them—I speak from my own Tennis and Racquet experience—take their eyes off the cricket-ball too soon. Few err by looking at it too long. In my games, almost without exception, the longer I look at the ball the better my stroke is.
The second law is correct timing. There are several kinds of good sight; I doubt if any one of them by itself brings with it that desirable faculty, “the good eye.” Ranjitsinhji and others rightly include, under the timing, the judgment as to the flight (direction, pace, etc.), the decision as to what is or is not to be done, the command that the best things shall be done, the correct combination and co-operation of the requisite parts at just the very moment.[3] I believe that the good eye, where it is not already a natural or acquired habit, means a splendidly accurate and therefore healthy working of a vast number of more or less separate nerve centres and nerves; but that what is often called “a good eye” is nothing of the sort—it is a mastery of certain correct mechanisms, which, if a man possesses them for his own, can produce an even better effect than the most superb eyesight without such mechanism. I may have a far better sight and eye for games than a fairly well-taught golfer who knows what muscles to use, and has these as half-automatic habits; but put me against him, and ask any spectators which of us has the better eye, and they will very likely point to my opponent.
If this be so, then the third rule will be to have already secured the best possible mechanisms, and to have made them easy and sub-conscious; at first perhaps they may be conquered one by one; in the end, however, they must be not independent units, but co-operating parts of a unit—members combining and working together in harmony, as in some businesses, adding power each to each, relieving one another. These mechanisms include, for many strokes, and especially the forward strokes, the “straight bat,” i.e., the bat held straight and not sideways as it meets the ball; with its handle nearer to the bowler than its blade is; with the end of its blade just to the side of the left foot; the bat moving as straight as may be towards the approaching ball from start to finish (the finish being a follow-through after the ball has been struck); quickness of foot and leg to start and to move, the right leg being the base and pivot; the power to get right to the pitch of the ball or else to wait for it as far back as possible; straight and fast and full extensions of various limbs in various directions; a control of many different strokes, and especially, in these days of fast plumb-wickets, a control of the forward stroke. The reader will best realise the number of these mechanisms if we mention (and if he meanwhile realises by trial) some of those which are parts of the ordinary forward stroke:—the right leg straight and unbent, the right foot firm, the left foot and leg sent out towards the ball (a little to the left of the line of flight), the left elbow and wrist shot well forward at full stretch (in order to keep the ball down), the right shoulder forward and down, the bat moved straight down and towards the approaching ball and beyond it (not necessarily straight along the line between the wickets), the weight brought forward with the head of the bat, the recovery of balance and position, and the readiness to run directly after the ball has been struck or missed. If one has run out first, then the right foot will still have to serve as a firm pivot for the whole stroke, which must be a single movement. This will give some idea of what the correct mechanisms are, quite apart from individual peculiarities in the use of them. Such correct mechanisms may be acquired separately as I acquired my Tennis mechanisms, and as fencers acquire their fencing—mechanisms of lunge, wrist-play, etc.; but it is part of the A B C of correct play to have already acquired them as correct members of a correct whole before the game begins. Add to these the mechanisms and the combination of mechanisms for other strokes, such as back-play, cut, pull, etc., and the reader will agree that the A B C of batting is no light work for anyone, except the born player who apparently has not had to learn it letter by letter.
Out of the list of useful mechanisms a few will now be suggested. It is for the reader to judge how far they actually are used in the strokes of leading experts. Each example must be compared with the positions and movements of the best models, as shown in photographs like these, or in actual games or practice.
SOME SAMPLE EXERCISES.
Before attempting these exercises, the reader should find out the principles of correct practice, some of which are suggested in Chapter VIII. One or two of the most vital may be selected here.
(1.) Decide whether it is worth while to play Cricket at all; if so, whether it is worth while to improve your standard of skill; if so, whether these and your own exercises are likely to be of appreciable help. (The exercises are not meant to take the place of net-practice and games, which are indispensable, but to make them more pleasant and useful.)
(2.) During the exercises, concentrate your whole attention either upon the muscles at work, or upon their reflection in a looking-glass.
(3.) Aim at correctness, and therefore begin slowly and carefully before you repeat any given movement. Freedom, pace, endurance, strength will then increase almost of their own accord. Freedom and pace may best be acquired by movements done at first without implements, afterwards with light implements. I found these two preliminary stages invaluable in the preparation for my games, perhaps especially for the sharp movements of Racquets. The worst possible beginning is any “exerciser” that requires a tense grip.
(4.) In case of a fault (discovered by yourself or pointed out by others), seek to exaggerate the opposite fault.
Among the most useful exercises for batting, as for bowling and fielding, are the fast and full and straight extensions of various muscles and muscle-combinations, with economy of the unused parts, and without loss of, or with immediate recovery of, the body’s balance, and readiness to be directed elsewhither. It is likely that these pages contain errors, but I think that if one were to ask a good player where he ached most of all after his first practice or game in the season, one would find that the aches were mainly due to these extension movements (of the latissimus dorsi, below and behind the arm-pit, etc.).
For the feet and legs, (i.) Lunge far forward (but not so far as to strain yourself) with the left foot and leg in a direct line (not a curve) in various directions (perhaps along various chalk lines upon the floor) with full weight—the head should come almost over the left foot—but with rapid recovery of balance.
(ii.) Start to run in the forward direction afterwards.
(iii.) Practise the position and movement for backing up and a quick start to run.
(iv.) Practise the movement for turning at the crease, as shown in the photograph of Shrewsbury.
For the neck. Move the head round, at first slowly and carefully, from side to side, then up and down, and so on; but do not strain.
For the trunk: the body’s force is great, as—to use an old illustration—one can see when one bumps against a wall in the dark. (i.) The body-swing from the hips is a most useful movement. Keeping the legs as stiff as possible, and the head as still as possible, twist round the shoulders, first to the right, then to the left. (ii.) Bend the trunk forwards, and then sideways, from the hips.
For the shoulders, arm, and forearm. (i.) To the lunge of the left foot add an equally full and direct and fast lunge of the left shoulder, elbow, and wrist. Your head should come forward also, above your left foot. Imagine yourself to be aiming at a ball, and see that your left wrist is in a line between your eyes and some object, say a chair’s leg in the bedroom. (ii.) Jerk the forearm (and wrist) as if you were whipping a peg-top or shaking out a clogged stylographic pen.
For
