CRICKET AND MUSIC.

Taranaki Central Press, Volume IV, Issue 330, 11 January 1937, Page 7

CRICKET AND MUSIC.

F AMOUS ENGLISH.WRITER Career Of Mr. Neville Cardus Mr Neville Cardus, th? eminent British journalist now in Australia, became a cricket writer by accident, or, to use his own words, “by the merest fluke.” “If 1 had not had a. breakdown in health in 1918 1 would probably nev- r have become a cricket writer,” Mr Cardus explains. “It was only by the merest fluke that 1 ever started to write about he game.” The breakdown occurred when Cardus was working on the “Manchester Guardian,” the only newspaper on which he has worked throughout his career in journalism. It was suggested to him that he should sit in the sun to hasten complete recovery. He did so, and while sitting, he wrote reports of cricket matches. First Effort. Then a great pi’s yer. took nine wickets and won a County match he was watching. Cardus went off nis head and wrote two columns a.iwut the game. His paper published it; the public liked it, and wanted more of it; and the name Neville Cardus took its now .accustomed place at the top of the column—in fact, two columns —for he is one of England’s leading music critics. He played cricket like all English schoolboys do, and always wanted to write, but his ambition in that direction was connected with music. At about 16 years of age he wanted to become a cricket professional like all Engl.sh boys do, and at 21 h e was assistant cricket coach at Shrewsbury College, his immediate superior being Wainwright, the English T.st ph.yer, who came to Australia with Stoddart’s team. From him Cardus learnt much of the technique of the game. After five years of coaching, the ennbyro music c.rijtic-crick t professional 1 joined the staff of the “Manchester Guardian.” Early Training.

His aim was to become a music critic, and to that end h e studied on the “Guardian.” In tlie years that followed he equipp d himself completely as a journalist, working in each section of the reporting and literary department, except the trade and finance section. Mr Samuel Langford was music critic, a: d Cardus, after acting as his deputy for 10 years, succeeeded him on his death. Mr Cardus is a writer of great charm and artistry, but his views on the, game and on writing about it contain nothing of the colourless unsubstantial quality which is someLinis associated with the word “artistic.” “1 have no use for literary trimmings about cricket,” he says. “That is, I have no patience with literature in cricket writing unless it is b. st d upon a thorough technical knowledge of ths game. A lot of fancy writing is useless unless the story is a cricket story first, last and airways. Cricket Criticism. “You have to get down to brass tacks. By that I moan the person who writes on cricket should tell the reader about cricket —how a batsmen gets out, whether a man makes a poor stroke, and what sort of a poor stroke it is. j “Criticism of a player based purely on technicalities of play is often not true criticism. 1 would not necessarily criticise Bradman for using a cross bat, because Bradman probably uses a cross bat to very good purpose in several instances. What one could criticise him for w'ould be for making a stroke which was not. a true Bradman stroke. ■“Cricket is a form of art, and players therefore should be criticised when they are unfaithful to their own artistry.”