STROKES IN CRICKET.

New Zealand Herald, Volume LXVIII, Issue 20768, 10 January 1931, Page 7

STROKES IN CRICKET.

METHOD OF CUTTING.

SELECTING THE RIGHT BALL.

FOOTWORK AND WRIST ACTION.

BY E. HENDREN.

There are some strokes a batsman clave not use when the ball is playing tricks. The bowler knows this and places the field to stop the other strokes. A batsman like Don Bradman may overcome this disadvantage, but your batsman who isv not so certain of his timing has to choose the ball to hit very carefully. The square cut ill a favourite, but perhaps tho most useful cut of all for the batsman who wants to score quickly is tho very fine cut. This is a difficult shot to play, and it may not, in itself, produce many runs, but the batsman_ who can play it compels the bowler to keep a full quota of fieldsmen behind the wicket, and this helps him to get the ball away in other directions.

It is a fact that the more shots you can play, the easier every shot becomes — simply because the field is spread out. I should recommend the batsman to try his hand first on tho square cut. J. T. Tyldeslcy, I should say, will always be mentioned as a remarkable exponent of this shot.

ITe was not a tall man, which fact should encourage those who believe that you need inches in order to produce cut strokes. Timing was Tyldesley's secret. He got the ball away with such force when he essayed this shot that many bowlers dispensed with the usual -third man, and posted him on 4he boundary to intercept these lightning flashes to the rails. Risk in Cutting. As far as the batsman was concerned, nothing could be better than this. Tho chief risk in cutting is that you will sky „ tho ball that kicks unexpectedly, and put up a catch to third man. With no third man, you need not be so critical of tho ball you choose. What many players do not realise is that there is a big difference in method between the square cut and the late cut.

That is why you must make up your mind before you start about which of the two shots you intend to play, and if you decide half-way through that you cannot piny the one you intended, you must leave the ball alone. If you shape for a late cut, you can sometimes play a square cut, but you can very seldom play a lato cut, having shaped for a square cut. My own method is to move the right foot across the wicket for the late cut. I choose a ball that is just nicely outside the off-stump—something between a couple of inches and a couple of feet—and a bit on the short side. I pick the bat up early, and if the ball bumps more than I expected, I leave it alone. I? the ball rises as anticipated, however, I hit down at it from the shoulder, taking the utmost care to keep my weight well over it. "Reaching" for the ball is fatal in cutting. You must be over it. Using the "Wrists. Some peoplo say you need a great deal of wristwork. Personally, I find that the natural turn of the forearm is enough. Wristwork is all very well, but you must feel.that you have hit the ball before you start using your wrists. A square cut can sometimes be played in the same way —with the right foot over to the offstump. For a really fast square cut, though, one that sends the ball to the rails while the fieldsmen watch it, there is only one method, and that is different from the late cut. The secret is to jump into the ball by throwing the left leg across, instead of the right. You still hit from the shoulder downwards.

The thing to avoid is getting under tho ball, and you are less likely to do this if you choose a ball- that is short enough for this firm treatment. I urge you to lift your bat quickly, and take it shoulder high. You are then well prepared to leave the ball alone if it kicks. Whether you move your right leg or Jjjour left leg across the wicket must depend on . how short the ball is. Moving the right leg across makes the shortish ball shorter. The left leg shot is better suited to a ball that is already definitely short.