The Cricket of Abel, Hirst, and Shrewsbury. Various

for the ball, with the weight balanced almost evenly upon the two feet (which are near together), but rather on the right foot.

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      with the legs (or only the left leg) very slightly bent, and ready to move backwards or forwards. One should not be stiff, but should be inclined to looseness, until one knows which ball is coming; till then one should be ready to run or jump out if it should be desirable. The feet should probably be quite near to one another, the right being near the crease and parallel to the wicket, the left outside the crease and pointing more towards the bowler. Probably both should be resting on their balls, and rather—so Mr. Fry advises—on the insides of their balls.

      The weight of most batsmen should be upon the right foot, the batsman’s basis. Abel stands on the ball of his right foot; that is good if one be quick-footed. Ranjitsinhji explains some of the reasons why the weight should rest on the right foot—he instances several forms of exercise, such as boxing; for Tennis and Racquets I have spent hours in practising quick movements in all directions with the stiff right leg as my pivot. The left foot may be slightly up and prepared to move out along some forward line. In case of a late cut one has time to shift the weight on to it and make it the pivot.

      The bat is usually held with one hand near the top of the handle and the other hand near the middle of the handle; if one holds the right hand lower down one gets more control, but may lose some pace; one is more apt to stoop, and to lift the ball. But for some strokes, as for certain late cuts, the shifted grip is often preferable; one should be able to slip the right hand down the handle towards the blade, near to which so many of the stone-wallers love to keep it. As the right foot and leg hold the ground more firmly, so does the right hand and wrist hold the bat more firmly, though there should be no tight and tense grip till the stroke is being made. One can—as Abel and Shrewsbury put it—“feel the nip” of the bat without any unnecessary tension. Not a few players have the grip of the two hands almost equal.

      The left elbow should be well up, so as to keep the handle of the bat nearer to the bowler and thus to prevent a chance of catches. And the whole body and head should be well up as the bowler begins to bowl, so that the best possible view may be given.

      One must watch the fingers and wrist and arm of the bowler; a change in his fingers

      II.—Forward play: the bat has been drawn straight up and back (not in a curve) before the stroke.

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      will mean a change of the ball he will bowl. Thus Hirst’s balls will differ according to the way in which his fingers are arranged (see the photographs). Abel generally watches the wrist rather than the fingers.

      While the bowler is bowling, one should usually draw the bat up and back, without flourish, in the line opposite to the line of the approaching ball. The photograph of Shrewsbury (II.) shows the bat lifted for a straight ball which he is going to play (not drive) straight forward. By lifting the bat one gets more impetus and can use one’s height and weight better.

      Attention and alertness—these are to be maintained. “This one thing I do now,” “On this depends everything”; such are samples of the suggestions which I often make to myself at my own games. Yet I try to economise energy and not to waste any of it; attention without tension, alertness without fidgetiness—these are right.

BACK-PLAY; THE GLIDE; THE HALF-COCK.

       Table of Contents

      “Timing the ball is the secret,” says Giffen. It is a secret, not the secret. Nor is it a simple rule; timing is (see page 7) a concoction of many good things.

      A simpler general rule is not to leave a large space between the bat and the legs, lest one should be bowled off one’s pads. The photograph of Abel shows no intervening space at all.

      Another simple general (but not universal) rule is to end up—as in forward play—with the handle held by the first finger and thumb of the right hand and of the left; the other three fingers scarcely have any influence here. The nails of all four fingers—as in the photograph—should face the bowler (or yourself if you were opposite a mirror). The bat must not be tilted upwards nor drawn back behind the line of the right foot, which is firmly on the ground, and is certainly not drawn away to the leg-side.

      About the “fixed right foot” there is—as we shall see—a great fallacy; theory has been allowed to controvert the practice of the leading experts. Shrewsbury in the photograh (III.) has his right foot firm indeed, and not shifted to the leg-side, but back almost to the wicket itself. W. G., in a photograph in Ranjitsinhji’s book, has his right foot back, though not nearly so far back. I scarcely ever see a player whose regular habit is not to shift back his right foot somewhat

      III.—Playing back: the right foot has retired nearer the wicket, so as to give longer time for seeing the ball.

      Note.—The bat should be held straight. This photograph was taken before Shrewsbury was in practice.

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      in back play. Shrewsbury will tell one to get back far enough, moving back with the ball. This obviously gives one more time to see the ball and its break, turning a ball that is just a trifle short into a ball that is nearly a long hop; if the legs be—as they often are—in front of the wicket, so as to give a still better sight of the ball and also to save a play-on, then the retreat of the right foot is obviously useful. Others, however, do not move it in front of the wicket. But nearly all back-play is actually practised with the retirement of the right foot. Murdoch’s words are worth quoting at some length:—

      “In the majority of cases, my experience has been that, by moving the right foot as much or as little as judgment dictates, the stroke is made with far more ease than by having your right foot a fixture. If you will take the trouble to notice all players, you will see for yourself that in almost every case when they are playing back the right foot is always moved. And, again, you will find you have far more command and power over the ball, and especially so over a rising one, and you can finish your stroke in a far safer way. … My advice to you is to move the right foot when, in your judgment, it requires it; if you find you can play the ball with ease by not moving it, well and good; but should you at any time think you could play the ball better by getting back a little, why do so, and you will find it will give you a particle more time and enable you to make things very much easier.

      “I think the art of boxing very applicable to forward and back play of cricket, for whilst boxing is nearly all forward strokes, there are many times when a boxer has to get back, and he generally finds what a great difference there is in receiving a hit whilst standing principally on his right foot, and when he has moved it a few inches in getting back. So it is with your back-play at cricket, the velocity of the ball is not so great two feet back from your crease as it is right on it. The advantage of time is no doubt momentary, but still it is an advantage, and one that I have proved and seen to be very beneficial.”

      One kind of glide-stroke forms a special branch of back-play: it is to be seen in the photograph of Abel (IV.). Ranjitsinhji is the master of this most useful stroke; he plays it for balls on the wicket as well as for balls to leg. Others use it chiefly or solely for balls off the wicket. For this stroke I believe every player has the right foot back. The bat’s face is held not flat towards the bowler, but slanting in one of many directions on the leg-side, according to the spot to which one wishes to place the ball.

      The “half-cock” stroke is Grace’s favourite