FullReads

I have made a special study of last-wicket men; they are divided into two classes, the deplorably nervous, or the outrageously confident. The nervous largely outnumber the confident. The launching of a last-wicket man, when there are ten to make to win, or five minutes left to make a draw of a losing game, is fully as impressive a ceremony as the launching of the latest battleship. An interested crowd harasses the poor victim as he is putting on his pads. ‘Feel in a funk?’ asks some tactless friend. ‘N-n-no, norrabit.’ ‘That’s right,’ says the captain encouragingly, ‘bowling’s as easy as anything.’

This cheers the wretch up a little, until he remembers suddenly that the captain himself was distinctly at sea with the despised trundling, and succumbed to his second ball, about which he obviously had no idea whatever. At this he breaks down utterly, and, if emotional, will sob into his batting glove. He is assisted down the Pavilion steps, and reaches the wickets in a state of collapse. Here, very probably, a reaction will set in. The sight of the crease often comes as a positive relief after the vague terrors experienced in the Pavilion.

The confident last-wicket man, on the other hand, goes forth to battle with a light quip upon his lips. The lot of a last-wicket batsman, with a good eye and a sense of humour, is a very enviable one. The incredulous disgust of the fast bowler, who thinks that at last he may safely try that slow head-ball of his, and finds it lifted genially over the leg-boundary, is well worth seeing. I remember in one school match, the last man, unfortunately on the opposite side, did this three times in one over, ultimately retiring to a fluky catch in the slips with forty-one to his name. Nervousness at cricket is a curious thing. As the author of Willow the King, himself a county cricketer, has said, it is not the fear of getting out that causes funk. It is a sort of intangible je ne sais quoi. I trust I make myself clear. Some batsmen are nervous all through a long innings. With others the feeling disappears with the first boundary.

A young lady–it is, of course, not polite to mention her age to the minute, but it ranged somewhere between eight and ten–was taken to see a cricket match once. After watching the game with interest for some time, she gave out this profound truth: ‘They all attend specially to one man.’ It would be difficult to sum up the causes of funk more lucidly and concisely. To be an object of interest is sometimes pleasant, but when ten fieldsmen, a bowler, two umpires, and countless spectators are eagerly watching your every movement, the thing becomes embarrassing.

That is why it is, on the whole, preferable to be a cricket spectator rather than a cricket player. No game affords the spectator such unique opportunities of exerting his critical talents. You may have noticed that it is always the reporter who knows most about the game. Everyone, moreover, is at heart a critic, whether he represent the majesty of the Press or not. From the lady of Hoxton, who crushes her friend’s latest confection with the words, ‘My, wot an ‘at!’ down to that lowest class of all, the persons who call your attention (in print) to the sinister meaning of everything Clytemnestra says in The Agamemnon, the whole world enjoys expressing an opinion of its own about something.

In football you are vouchsafed fewer chances. Practically all you can do is to shout ‘off-side’ whenever an opponent scores, which affords but meagre employment for a really critical mind. In cricket, however, nothing can escape you. Everything must be done in full sight of everybody. There the players stand, without refuge, simply inviting criticism.

It is best, however, not to make one’s remarks too loud. If you do, you call down upon yourself the attention of others, and are yourself criticized. I remember once, when I was of tender years, watching a school match, and one of the batsmen lifted a ball clean over the Pavilion. This was too much for my sensitive and critical young mind. ‘On the carpet, sir,’ I shouted sternly, well up in the treble clef, ‘keep ’em on the carpet.’ I will draw a veil. Suffice it to say that I became a sport and derision, and was careful for the future to criticize in a whisper. But the reverse by no means crushed me. Even now I take a melancholy pleasure in watching school matches, and saying So-and-So will make quite a fair school-boy bat in time, but he must get rid of that stroke of his on the off, and that shocking leg-hit, and a few of those awful strokes in the slips, but that on the whole, he is by no means lacking in promise. I find it refreshing. If, however, you feel compelled not merely to look on, but to play, as one often does at schools where cricket is compulsory, it is impossible to exaggerate the importance of white boots. The game you play before you get white boots is not cricket, but a weak imitation. The process of initiation is generally this. One plays in shoes for a few years with the most dire result, running away to square leg from fast balls, and so on, till despair seizes the soul. Then an angel in human form, in the very effective disguise of the man at the school boot-shop, hints that, for an absurdly small sum in cash, you may become the sole managing director of a pair of white buckskin boots with real spikes. You try them on. They fit, and the initiation is complete. You no longer run away from fast balls. You turn them neatly off to the boundary. In a word, you begin for the first time to play the game, the whole game, and nothing but the game.