Diagram V.
When balls 1 and 2 are very near each other, their surfaces being not much more than an inch apart, and ball 3 is so placed that the cannon would ordinarily be made by use of follow, but so far away that sufficient follow cannot be communicated to ball 1, the stroke may be made by the half-push. C is a favourable example. Ball 1 is on the right corner of the Ｄ; ball 2 immediately in front of it, slightly nearer cushion 3; ball 3 is placed, say, 30 in. from the top cushion, and so near cushion 2 that a ball cannot pass between them. Imagine a straight line through the centres of 1 and 2 prolonged to P, a point equally distant from 2 with ball 3. Halve the space between P and ball 3, and let Q be that point. Strike ball 1 in the centre about No. 3 strength, aiming at Q, or slightly nearer ball 3, as a precaution, because there is a large margin for error on the right of that ball; it will deflect sufficiently to make the cannon. Similarly, it is evident losing hazards can be made by the half-push, the pocket being substituted for ball 3, but they are seldom useful and will not be further considered.
In making push strokes, good players often apply the cue to the side instead of to the centre of ball 1, with the view of supporting it and of modifying its escape on that side. This precaution is often required in order to obtain position.
Kiss Strokes.—In the English game the term kiss is used rather vaguely, so that precise definition is difficult if not impossible. It includes the strokes which the French call coups durs, in which ball 2 is touching a cushion and cannot give way as usual, but throws off ball 1 with the recoil of balls and cushion combined, as well as those termed rencontres, or the meeting of balls 1 and 3, the former having been put in motion by the cue and the latter by collision with ball 2.
Of the former kind examples are shown in Diagrams VII. and VIII. In playing these strokes recollect that screw or retrograde rotation augments the velocity of ball 1 after impact, whereas follow has the opposite effect.
Diagram VI.
A Push (bouclée)
