(1919) Boxing and Self Defense- Marshall Stillman Principle.pdf

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Boxing and

Self i

i

Defense

i

taught by the

£o&

Marshall Stillman Principle

Copyright 1919

Marshall Stillman Association 461 Fourth Avenue, New York

A

©CI.A53615S

This volume contains Page

Five Sub-Conscious Lessons in Boxing

1.

3.

The Hit The Guard The Duck

4.

Footwork

5.

Feiating and clinching

1.

2.

2.

One

3.

Three rounds of shadow boxing

4.

Eight bone-breaking

32

lesson for daily exercises

leases,

(

Jiu Jitsu

for

use

holds

and

for

There ate

is

use

42 re-

70

)

against violent attack.

Eight holds in standing wrestling.

5.

4

...

82

against violent attack.

included with

this

course a separ-

complimentary volume of Mike

Don-

ovan's famous book, "Science of Boxing" spe-

bound

cially

rules

the

and

ring,

known

for

articles

home

study, including the

on training, generalship

in

and every good blow and guard

in boxing.

STILLMAN MARSHALL boxing more than of

a pupil

has been a student

and

He

thirty years. intimate friend of Professor

for

was

Mike

Donovan who retired undefeated middleweight champion of the world and who taught boxing at the New York Athletic Club for thirty years. Professor Mike Donovan thought so much of Marshall Stillman and the "Shorthand" or "Sub-Conscious" Method of teaching Boxing that he heartily endorsed both, and posed for the illustrations in this This is Donovan's system of boxing taught by Marshall Stillman's principle of instruction. Marshall Stillman's interest in boxing and selfdefense for the last ten years has been devoted largely to the development of this simplified system of instruction. Anybody, young or old, can learn the rudiments of boxing and how to guard against attack, from this course. Boys of 12 and 15, have learned; men of 40 and 60 have learned, and what is more, they have benefited physically as a result. Marshall Stillman begins with the things you know, such as holding out your hand for a coin, the book.

breast stroke in swimming, butting like a goat, etc., and the first thing you know, he has led you into striking correct blows, using proper guards, and parries,

ducking

scientifically, etc.

You learn these fundamentals right your own mirror, before you put on the

in front of gloves with

anyone else. After you have learned the principles, you are then ready to put on the gloves with someone else, and profit by your study. You can readily understand why it is difficult under the old method to learn boxing. Your opponent usually knows far more than you, and instead of helping you, he hinders you, because his superior

knowledge confuses you and makes it difficult to By the Marshall Stillman method, you learn the principles and rudiments and when you face your first opponent, you know what to expect and how to guard against it. And you know how to hit him effectively. After all the "proof of the pudding" is the amusing

learn.

2

and interesting, but nevertheless important letters we week after week, from men and boys, who say "Last week I licked or out-boxed a fellow that I had Sailors in the just been dying to get at for a year." Navy and soldiers in the Army have taken the course by the hundreds so that they could hold their own. Others have taken the course just for the Jiu Jitsu and standing wrestling holds, so as to be prepared get

—

against violent attack. Anyone of a dozen things in this course may be worth $50 or $100 in a crisis, because after all, when unexpected attacks come, it isn't just a question of how brave you are, nor a question of how strong you

but rather, do you know how to box? do you know how to defend yourself against a kick for the stomach, how to break a hold on the throat, how to disarm an opponent? You cannot get all the good out of the lessons by doing them once. Go over them repeatedly. The benefit physically alone justifies repetition, but aside from that, you will learn something every time you do one of these lessons, and you will keep yourself from forming bad habits twisting the fist the wrong way, using the body weight the wrong way, striking the wrong kind of blow, or departing from the right are,

—

guard

—

so do them repeatedly. Incidentally, the course will help you mentally. It will give you confidence, courage, self reliance in "competition", not only in boxing, but in contact with big men. Everybody likes a man who is sure of him-

self,

and the

ability to

somebody bigger you

if

box

—

to

necessary

hold your

— certainly

own with make

does

feel sure of yourself.

Stand the course right up in front of you on your bureau. The type is big enough to read at a distance of several feet, and the pictures are as plain and clear as can be made Mike Donovan posed for those in the Sub-Conscious Lessons, and for those in his own book, of course and the world has never known a greater teacher of boxing and self-defense than Pro-

— —

fessor

Mike Donovan.

1. Turning: Allow the arms to swing out loosely in the air. not sway the body either forward or backward. Turn the shoulders to the right and then to the left.

Fig.

Do first

This is the other half of the movement in Turning (Cont'd): There is no change in the position of the feet or head. The arms and shoulders have simply swung around, as you can see.

Fig. Fig.

2.

1.

— Lesson

First

The Hit

Stand before your looking-glass with your feet

squarely

on

straight forward

your

sides.

and toeing a

the

toes

floor,

pointing

and arms loosely hanging

at

Feet about 12 to 18 inches apart, line.

Imagine a rod run through the top of the head down the spine and into the this

floor,

and on

rod you are to turn, not swaying either

Now turn on

forward, backward or sideways. this rod,

allowing your arms

loosely in the air (as in Figs.

Watch

1

to

and

swing out 2).

yourself carefully in the mirror that

you do not permit your body

After you have continued

to

sway.

this exercise

a

sufficient length of time so as to get the turn

Continued on Page 6

While twisting the shoulders first one direction and then the other, but without swaying the body, bring the arms to this position so that the elbows are against the ribs, the hands out with palms up. Keep turning. Fig. 3.

well in your mind, then bring your arms to

your sides bent

at the

elbow with your hands

Elbows

open, continuing to turn.

in close to

the sides (as in Fig. 3).

Now as you of you. is

turn, reach out straight in front

Right straight toward your hand that

reflected in the mirror with the

hand up dropped

as

in

if

you were

receive a coin

Be sure

your hand.

your elbows in close

to

to

your

palm of your that

sides

you have

and

that

your hands go directly for the mirror in a per-

and 5) conrod supposed to be

fectly straight line, (as in Figs. 4

tinuing to turn on this

driven through the body from the top of the

head into the til

you have

floor.

it

Continue

this exercise

un-

well fixed in your mind.

Now clench

your

fist.

Be sure

that the pro-

pulsion of the blow comes from a twist of the

body.

If

you have followed the directions

carefully you will find that you are

now

deliv-

ering a perfectly scientific blow with both

The propulsion comes from a twist of the body. Back of the hand is toward the floor. Be careful that the elbows come back closely hands.

to the sides.

Continue

ously as you please.

this

You

motion

will find

as vigorit

excellent exercise for the vital organs will also get

a

most

and

it

you in the way of delivering a

very powerful blow.

Fig.

4.

with the the

Turn well around and reach far out directly towards your mirror left hand just as though you were reaching for a coin. Then bend

arm back

to the position in Fig. 3.

The same movement as in Fig. 4, but with the right hand. Keep turning without swaying, reaching out first with the left and then with the right, returning first one and then the other arm to the position in Fig. 3.

Fig. 5.

7

Now

Fig. 6. Clench the fists. the body. Don't shove or

strike.

The way Double the

As you

sway forward,

make

to

turn give a snappy twist to

just twist.

a Fist

palm of the hand, not squeezing them and especially do not draw down the little fist on a bureau as you stand by it, with the arm hanging at the side, the big knuckles of the hand should be the only point of contact. This you will see will describe a straight line from the big knuckle up the wrist, up the forearm, to the elbow. This is the correct way of making a fist. Any other way is wrong and liable to cause a fracture of the wrist if the blow should be delivered with too much force. The thumb should always be wrapped over the second joint of the fingers. fingers in the

tightly into the palm, finger; in placing your

9

Change Left foot

of Position

on the ground with the

flat

heel

down.

Right foot with the heel raised and toe

pointed

at the looking-glass.

rear with space

Weight

ball

body directly over the

of the

through the body, and on that rod you

The

must turn. its

balance

Imagine a rod passing through the

left foot. left leg,

to retain the

Toes pointed toward the looking-

of the body. glass.

enough

Right foot in the

right foot should rest

upon

with the heel about two inches from the

Now

ground.

which has

just

continue

the

straight

blow

been described, turning on

this

imaginary rod obtaining the propulsion from the waist

Figs. 7

and the push of the right foot

and

8).

Continue isfied that

that

(as in

this exercise until

you understand

thoroughly

it.

you are enabled through

You this

sat-

will find

method of

blow from the turn of the body and delivering a left hand blow getting the force of the

scientifically

and

hand man, a very

easily,

which

is,

for a right-

difficult trick to acquire.

—

Note These blows with the left hand and with the right hand, which have just been described, are known as the straight blows, and the only proper method of delivering a straight blow is with the elbow in close to the side and the back of the hand parallel with the floor. Never permit the elbow to be raised in the air when

delivering a straight blow. 10

Change

Left foot flat on heel raised and toe pointed foot in rear with space enough to retain the pointed toward the looking glass. Weight of Fig.

7.

Right foot

of position.

ivith

the ground with heel down.

Right balance of the body. Toes body directly over the left

at the looking glass.

foot.

Continue the straight blow, obtaining the propulsion from waist and the push of the right foot.

Fig. 8.

11

the

—

Fig. 9. Swinging 18 inches apart.

—

Blow Assume the Elbows bent and

original position of feet about 12 to at the sides fist clenched; blow to be delivered with the index knuckle or the first two knuckles, swinging the body and hitting with a sort of a rotary motion of the arms.

—PALMS

HANDS DOWN;

OF THE

Swinging Blows and Corkscrew Blows

Assume the original to 18 inches apart.

to

or the

first

arms

This

is

at the

clenched;

fist

be delivered with the index knuckle

two knuckles, swinging the body

and hitting with the

Elbows bent and

palms of the hands down;

sides

blow

position of feet about 12

a sort of a rotary

motion of

(see Fig. 9).

the

swinging blow. In

thai

blow yon

dispense with the idea of the rod running

through the body, as each blow with the

and with

the right

hand

is 12

left

done with a swaying

motion.

This

is

a very

good exercise

for the

waist and will give great elasticity and strength

body.

to that portion of the

Continue

this exercise until

you desire

to

cease.

The Corkscrew blow left

hand well out with

is

delivered with the

the

back of the hand

A straight blow

almost parallel with the floor. delivered with this the

hand

arm with

so that the

first

a

sudden twist of

two knuckles reach

the point of contact with a snap has a cork-

and

landed on the point of the

screw

effect,

jaw

a serious blow.

is

if

13

—

Fig. 10. of

Bring the hands well up

you as

in the

to the chin,

throwing them out

in front

breast stroke.

The Quard

Second lesson Take the first position

as described in the

Hit

in front of the mirror with feet 12 to 18 inches apart, toes pointed

toward the mirror and

parallel with each other.

Make

feet

the motions

of the breast stroke in

swimming, bringing

your hand open well up

to the

chin (Fig.

10"),

throwing them out in front of you (Fig. 11) then sweeping them to your side (Fig. 12).

Continue

this

motion

until

perfectly in your mind.

hands

at the

the head.

you get the idea

Be sure

outward stroke go a

This

is

that

little

your above

an exaggeration of Prof.

Donovan's famous leverage guard. 14

Fig. 11.

Fig. 12.

Be sure

Sweep

the hands run up above the head as they are extended.

the

arms

to the

sidesas in the breast stroke in

15

swimming

Both toes Second position. Left foot forward, right foot back. Fie 13 Continue the breast stroke, not with the pointed toward the mirror. forward. hands in unison, but with the hands going alternately

assume the second position, which is with the left foot forward and the right back. Both toes pointing toward the mirror. Con-

Now

tinue the breast stroke as in

swimming, but not

with the hands in unison, but the hands nately going forward (Fig. 13).

alter-

Be sure

that

hands run up above the head as they are extended. You will find that your hands are

the

performing a

sort of a circle or

an

ellipse as

the shape of an egg.

Keep

the hands open,

out in front, bearing in

mind always

the breast

swimming, which is performed idenas the leverage guard only not so exag-

stroke in tically

running them well

16

With left elbow to side, and left fist prepared Fig. 14. body sending the fist toward the looking glass.

gerated,

and there you

Donovan

Now fist

will have the celebrated

leverage guard.

with the

prepared

sending the

Be sure

to strike, twist the

left

elbow

to the side

and

to strike (Fig. 14), twist the left fist

left

body,

towards the looking-glass.

that the propulsion

twist of the body, right

comes from the

hand

alternately per-

forming the guard with hand open, palm

down.

There you

Prof.

Donovan gave

will

have an exercise which

his pupils

which

is

called

the lead, guard; lead, guard; lead, guard; lead,

guard; lead, guard.

17

;

a swing, just move the arm to the right or with the hand open, palm toward the looking glass; forearm almost straight up in the air being parallel with the body.

Blocking.

Fig. 15. left

arm

Elbows

To block

to the left,

dozen.

Blocking Blocking a blow

is

done with the right elbow

close to the side, naturally, not constrictedly

hand open, and palm forward; forearm almost

To

parallel with the body.

block a swing, just

arm to the right or the left arm to the left with the hand open, palm toward the looking-glass; forearm almost straight up in the

move

the

Elbows being parallel with the body. down (see Fig. 15). This is the block and is

air

easily

performed.

Always guard

a

blow with the hand open,

as the length of the fingers give so

opportunity to guard the blow. IS

much more

Fig. 16. Stomach Guard. Swing the left forearm over the pit of the stomach at the same time crossing the right hand over near the face so as to prevent or guard against a right hand swing for the jaw.

Guard

Assume with the

the

Stomach

the position of a boxer,

left

hand prepared

hand open and

which

is

to strike; the right

in front of the face; eyes just

looking over the top of the glove or hand.

Now swing the left stomach

at the

forearm over the

same time crossing the right

hand over near the face to

pit of the

(as in Fig. 16) so as

prevent or guard against a right hand swing

for the jaw.

You

will find that

forearm over the ly

and

it is

you can swing

pit of the

the best

this left

stomach very quick-

guard for the stomach and 19

much severe

prevents

guard

faithfully, as

moment

if

puncher. for

him

it

punishment. will save

Learn

you many a sad

you have an opponent who

You

will find

to reach the

A

it

this

is

a

body

will be very difficult

body with

this

guard.

Fancy Guard

Catch the left lead of the opponent with the left hand open, pushing it across your face to the right, catching the opponent's This will often left lead as it approaches the point of contact. throw the opponent off his balance and leave him open to attack. The same can be done with the right hand on the left lead, also catching the left lead as it approaches the face and throwing it with the right hand across the face and pushing it toward your left side.

20

Fig. 17. Assume the attitude of a goat bucking, and you will get the correct position for the duck.

Third lesson— The

"Ttuch^

Standing in front of the mirror in the

first

from 12 to 18 inches apart pointing toward the mirror, hands at slowly draw the chin down toward

position with feet parallel

the side

the right collarbone, presenting the side of the frontal

bone of the head

Fig. 17).

too

much

That

Be sure to

one

to the

that the

side,

head

mirror (as in is

not turned

leaving the ear exposed.

a dangerous procedure, as a

blow on the ear is even more disastrous than a blow on the nose, but if you will bear in mind to assume the attitude of a goat butting you will get the is

correct position of the duck. 21

Fig. 18.

Be

sure the head

is

not turned too

much

to

one

side, leaving the

ear exposed.

Now

looking

at yourself in the

mirror draw

your chin slowly down

to the left collarbone,

(as in Fig. 18) again

being certain that the

right ear

is

not too

much

exposed, but that the

where the horns of the goat would naturally be is presented toward the part of the head

mirror.

Be careful not

to present the top of the

to the mirror.

The blow,

head, will glance

off,

slip

if

it

head

reaches the

but as a rule the blow will

by without touching the head, because the

least

change of the head

will cause

it

to

the blow. In other words, the attitude

goat preparing

to butt. 22

evade

is

of a

Draw the chin saves the nose, too. Fig. 19.

down

to

one

This protects the jaw and

side.

Remember always to keep the chin down. Even when facing the mirror or opponent, keep the chin down, and if you cannot look your opponent in the eye with your chin down, look

at his

and you

shoulders or even

will be perfectly able to note the direc-

tion of his blows.

look

at his waist-line,

Some

expert boxers even

at the floor to the right,

opponent's

left side (as

which

in Fig. 19).

is

their

This

is

often disconcerting to the opponent, should he

be used to looking in the eyes of the

man

with

whom he is boxing, it upsets him not to be able to

look in the eyes, and yet

accustomed

if

you get yourself

to this direction of 23

your gaze, you

will be able to note the

your opponent's blows

manner and speed

as easily as

if

of

you were

looking in his eyes.

We to

wish to again caution you with regard

always keeping the chin down.

exceedingly

knock

difficult to

a

with his chin down, whereas

It

would be

man insensible if

he holds his

chin up a forceful blow on the jaw would sult in a

knockout and

this

ed by keeping the chin

re-

can be easily avoid-

down and

well

drawn

into the neck.

Always hold chin down and head in position of butting goat on delivering every blow. This prevents receiving blow on the nose.

Note.

—The

duck seems

to be a lost art

among

of the experts are masters of this fundamental.

It

boxers. is

Few

laughable to

and notice the amateurs and professionals who box and money stand up and take all the blows that are coming their way; on the nose or in the face, seemingly never sit

at a ring-side

for prizes

thinking of ducking.

Cauliflower ears, broken noses, blackened

eyes, scarred faces, a generally battered-up condition of the physiog-

nomy

These marks of a boxer are seldom seen on is the result. the faces of the experts. The early fighters with bare knuckles

often carried scars on their faces, especially their foreheads, where they endeavored to break the knuckles of the opponent by the hard frontal bone of the head. Cauliflower ears and broken noses do not speak well for a boxer, as it generally indicates lack of science. There is only one scientific way of ducking. There are several ways that are decidedly unscientific. To those ways we will not call attention, but will dwell upon the proper method of ducking. 24

—

Perform a sort of clog dance, throwing the weight of the body left foot and then on the right, bearing in mind the looseness

Fig. 20.

on the

first

of the clog dancer.

Fourth lesson Assume an

easy attitude before the mirror,

with the hands loosely

body

first

at the side,

and perform

dance throwing the weight of

a sort of clog-

the

Footwork^

on the

right, (as in Figs.

left

foot

and then on the

20 and 21).

Perform

motion for an agreeable length of time.

member

the

body must be absolutely

this

Re-

lax in

every muscle, just like a wet rag.

Footwork ing,

Only

is

the fourth fundamental of Box-

and one which

is

but

little

understood.

the top-notchers are experts in this de-

partment of the manly 25

art,

and even some of

Fig. 21.

The body must be absolutely

lax in every muscle.

the experts are deficient in the scientific

method

which should be pursued. The mental picture which

is

an exaggeration of the attitude of

Boxer,

is

that of a

a

Clog Dancer or Marionette.

Discontinue the motion of the clog dancing,

and stand before the mirror; place your

left

pointing toward the mirror,

flat

foot, the toe

on the ground, heel down, right foot conveniently placed to the rear, resting

—

on the

ball of

Note The Boxer must be perfectly loose in his joints. Boxing should be done literally by foot work, and not by leg work. Most boxers use leg work and not foot work, often throwing most of the weight of the body upon the right leg, which strains it badly, and as the contest progresses makes the boxer very slow in his movements, as it tightens the muscles of the right leg in a constricted

manner. 26

Assume the attitude of a boxer. Move in a sort of gliding mowith the right foot always behind the left, the left foot always flat on the ground. Fig. 22. tion,

the foot with the heel slightly raised from the ground, weight well forward on the left foot. (as in Fig. 22).

Assume

the attitude of a boxer;

around the room

now move

in a sort of gliding

with the right foot always behind the left

on the ground.

foot always flat

never be on the toe of the is

being delivered.

and

if

left

motion left,

the

You need

foot unless a

blow

This will never weary one,

the propulsion

comes from the

the right foot,

and

will find that a

blow

fully delivered

and can

ball of

the twist of the waist, is

you

very swiftly and poweralso be

intensity with great accuracy. 27

gauged

as to

its

Feinting.

Fig. 23.

A

little

accompanied with a bend

Feinting

—The most

ing way of feinting left

knee; just a

left knee, and possibly knee at the same time.

quick bend of the

of the right

little

effective

slight, ties

quick bend of the

same

to receive

least,

time.

a

left

knee

bend of the

Both being very

but very quickly executed, immediately

an opponent up in

This

least tir-

with a movement of the

is

and possibly accompanied with right knee at the

and

an

a knot, as

assault.

style of feinting

and

if

he will expect

does not

tire

done occasionally, or

condition. 28

if

as often as

marked degree he be not in good

the boxer wishes, will tire in a the opponent, especially

one in the

Fig. 24. Permit your antagonist to clinch you around your neck, leaving your arms free, and then with your arms devote all your attention to his

body.

Clinching sport as a

—This

department of the

a

is

which should be done

method of

protection.

scientifically If

it

be not neces-

sary to protect yourself by clinching, all

means advisable not

your antagonist

around the neck arms all

free,

to

you

if

by

permit

possible

(as in Fig. 24), leaving

your

and then you with uppercuts, devote

your attention

free.

it is

to clinch, but

clinch

and

This attitude

Boxing, perfectly

to his body.

Both hands

according

to the rules of

is

fair

and square.

A great deal of damage can be done the opponent by permitting him 29

to clinch

you around

the neck,

livering

and you

to devote

both arms to de-

punches in the stomach.

If to protect yourself

more

stronger or

you should find

from the

assaults of a

careful scientific opponent,

it

necessary to clinch, try to

grasp the arms and not your opponent's body, include his arms clinch.

You can

if

you possibly can

easily find his

as

you

arms by run-

ning your hands from the shoulders down the sides quickly

grasping his arms with his body,

or his arms alone together as his hands are the

weapons of offence and no other part of his body is permitted to be used in boxing as we know. So, bear in mind that it is essential to stop his hands

Those hands can

from acting.

only be stopped by pinning his arms or hands to

your opponent's

sides.

That

is

a very valu-

able point on clinching.

Another method of clinching, one which

was employed by Johnson when he fought Jeffries

was

to grasp the

opponent's biceps,

holding both biceps in both of his hands; the opponent's

left

his right bicep

bicep with your right hand and

with your

30

left

hand, and

when

Fig. 25. //

you find

it

to clinch,

grasp the arms of your opponent.

strike, just

pushing them back,

necessary

he attempts to

(as in Fig. 25).

If the rule of the contest per-

mits hitting in the break-away, as the opponent

breaks away, either hand can be easily converted into an upper-cut, fective

punch.

31

making

it

a very ef-

— Sixth lesson The

T^aily Exercise up

Sixth Lesson winds

the preliminary

course of boxing instructions as given by Association, and

this

devoted to a method of ex-

is

consume only five minutes of your time each morning, and which if conscientiously and faithfully performed will ercising

which

will

keep one as strong as a trained gymnast or athlete for the to

remainder of

his days, if

he

live

be a hundred years old. Not straining any

muscle of the body, overtaxing the heart or

any of the

vital

organs of the body, or either

over-developing the lungs. over-developed in a it

man

If the

lungs be

of sedentary habits,

does not conduce to good health, as there

amount

a certain

is

of dead tissue in the lungs

that the respiration

cannot take care of

if

those

organs be over-developed.

One health

of the safe rules of is

to

be normal

;

use

life

with regard to

common

moderate and temperate, with regard thing

sense

;

be

to every-

— including exercise and other pastimes.

Note

—The

pupil may consider when first reading these exerthey might be too strenuous or consume too long a time. They will take only five minutes actual timing, if the chinning be done 8 times; back and front bridging done 50 times; the dipping cises that

done 8 times; the foot work 50 times, leg work 25 times by each leg, and with regard to it being too strenuous, that can be regulated according to the strength of the person employing this method. 32

First Exercise

Have

a carpenter put a bar in the

of your closet where you can reach

You can

be inexpensive.

put

it

doorway It will

it.

there yourself.

With the idea of chinning yourself, that is drawing the weight of your body from the floor with

your arms, bringing your chin up

your hands which are grasping the bar as they

Continue

can reach.

convenient number of times.

used to

it,

find that

to

high

as

this exercise a

not at

If

be careful about straining.

first

you

If

you can not even chin yourself once,

merely take hold of the bar and draw your weight from the floor as far as you can without overstraining.

continue

this

Again

motion

resting

on the

long as you

as

floor,

like

each

morning. This exercise strengthens the biceps; muscles in the back,

and

in the waist,

ceedingly good for what

is

known

ation or an extended stomach. the walls of the

abdomen and

It

and

is

ex-

as a corpor-

strengthens

aids the pupil to

hold himself as a

man

and stomach

Chinning should never be

in.

should, with chest out

done more than eight times

man

at a time, unless a

be very expert, but even then he should

not over extend himself. 33

Fig. 26.

Bridging.

throwing the chin up

Fig. 27. it again.

Lower body

Lie

flat

on your back.

Raise weight of body by

in the air.

again

till

the shoulders touch the floor; then raise

34

Bridging' Select a

bed with a

fairly

hard mattress or a

lounge or a couch, or a pillow could be placed on the floor giving a comfortable place for the

head

to rest.

Lie

flat

Raise the

on your back.

weight of your body from the bed or floor by

means of throwing in Figs. 26 and 27)

the chin

up

in the air, (as

The hands can be placed

.

either at the waist or

on both

Lower your body again

sides of the jaw.

so that the shoulders

touch the bed or floor and then raise This lers.

is

called bridging

You

your body

is

raised

again.

known to wrestwhen the weight of

and

will find that

it

is

from the bed or

floor that

the only points of contact will be the

your head and your heels or the

back of

sides of

your

feet.

—

Note This exercise increases the strength of the neck and the muscles of the back tremendously. It is most essential for a man to have a strong neck. The writer performs this exercise 50 times every morning and finds it most beneficial. He would suggest commencing this exercise very gradually, working up to a convenient number of times with the utmost caution, as these muscles are seldom used by anyone except wrestlers, and are consequently not strong and easily strained which will render them very sore. So be careful about over exercising in this manner. 35

Front Bridging. Turn on the stomach. Place forehead on the Fig. 28. pillow or mattress with toes up against the wall. Raise weight of body, allowing only the point of contact of your forehead and toes to support weight.

Fig. 29.

Lower body

until

stomach touches 36

floor,

then raise again.

Front Bridging

Turn on

the stomach, place your forehead

on the pillow or mattress with your against the bottom of the bed or the wall

forming 28).

this exercise

on the

toes

up

(if per-

floor), (as in Fig.

Raise the weight of your body from the

floor or the tact of

bed allowing only the point of con-

your forehead and your toes

your body (as in Fig. 29). of your

body

to

to

support

Permit the weight

be lowered until the stomach

touches the bed or the floor and then raise

again in manner described. back.

Hands behind

the

This will cause the front muscles of the

neck and the front part of the body tensioned, the

it

and

to

be well

will strengthen the muscles of

abdomen and neck wonderfully.

—We

Note believe this to be one of the most beneficial exercises for reducing fat around the stomach. Execute this exercise a suffinumber of times. when one becomes fairly cient

It

can be performed as

expert. 37

many

as

50 times

Fig. 30.

Dipping.

body by means

of

Raise feet from the floor and lower the weight of the bending the arms until knees touch the floor.

drawFig. 31. Then raise your body until your arms are extended fully, Continue motion. ing knees up as high as possible. 38

Dipping

Take

a stout chair,

and

a

bureau or the

board of a bed and a chair or a bureau.

them together

foot-

Bring

you can stand comfort-

so that

ably between them with your hands at your sides,

touching the chair and the bureau. Now,

upon them,

place your hands

from the

raise

floor (as in Fig. 30),

your

feet

and lower the

weight of the body by means of bending the

arms

until

Fig- 31).

your knees touch the floor (as

Then

up

as

your body until your

raise

arms are extended

fully,

drawing your knees

Continue

high as you can.

but not more than eight times If a

him

at first as

motion,

at a period.

much weight

as

a difficult thing to do,

it is

retain his feet

ting as

arms

this

pupil be not able to perform this act of

dipping let

in

on the ground, permit-

of the body to go on the

he wishes and after having done

this

moderated dipping for a certain length of time, he will find eventually that he will be able to raise his feet

form the

from the

full act of

floor

and

will easily per-

dipping.

—

Note Dipping strengthens the tri-ceps, the breast muscles and the shoulder muscles in a wonderful manner, and increases the power of hitting very markedly. 39

Fig. 32. Come down on the outside of the foot in a rolling motion. strengthens the insteps.

This

Foot Exercise Stand

on the to

body

erect, feet together, raising the

toes (as in Fig. 32),

come down

and permitting

it

gently on the outside of the feet

giving a sort of a rolling motion of the

This exercise can be done 50 times or

feet.

less if

found too strenuous.

—

Note This will markably increase the strength of the instep and will be a great aid to prevent falling arches. This exercise should never be neglected as many people are afflicted with weakened insteps especially they who have to walk a considerable distance on the hard pavements of the city. 40

Fig. 33. Leg exercise. Twenty-five times for each leg. hand against wall or bath tub.

You can use one

Leg Exercise Standing between two chairs or a chair and the bed with the fingers extended

and on the bed

on the chair

in order to maintain the bal-

ance, raise the right foot from the floor and

bending the knee of the

body

left

foot,

lower the

as far as possible (as in Fig. 33),

and

then raise the body by the straightening of the left leg, a

alternate.

convenient number of times.

Now

We would suggest 25 times for each

leg.

The

results of this exercise if faithfully per-

formed every morning It

will be very noticeable.

makes one exceedingly quick on 41

his feet.

:

;

Shadow Boxing Take your stand before

a mirror in the posi-

tion of boxer; left foot forward; left

ward with

right

hand

hand

for-

in the position of guard-

ing (always open, and in position so that you will just look over the top of the fingers).

(See Fig. 34).

It

guard high and a so that left

you

elbows in close is

trifle

away from

left

half swing.

your

to

sides.

quick

Keep your

See that your

upon the left foot; the upon its ball, and comfort-

principally

right foot resting

ably placed to the rear of the

you may

the body,

will be in a position to stop a

hand jab or

weight

best to hold the right

is

easily

left foot,

so that

maintain your balance.

Keep

your chin drawn

Watch

in.

yourself very

carefully in the mirror and go through the

following movements:

The

first

Left for nose

round consists of

five

;

Left for stomach

Left for jaw; Left for ribs (uppercut)

;

Straight counter and corresponding guards.

42

blows

Fig. 34.

Left for Nose

Entirely

Fig. 35.

With Left

Left for Stomach

Hand

After feinting a few times, lead out with a

few quick

opponent

left

at

hand

jabs for the face of the

about the same height of your

face as reflected in the mirror.

movement fied that

a

number

of times

till

Repeat

you are

this

satis-

you are performing the movements

43

Fig. 36.

Left for Jaiv

scientifically.

You

will

know

this

by the

fol-

lowing: Is

your

Is the

left

palm

elbow near your body? of

on the diagonal

Are you first

your

left

hand turned up

so that the knuckles are

?

hitting with a twist of the waist as described in the

lesson of our course?

//

you do

entifically.

You can

all of these

Do

you

will be hitting sci-

them!

substitute

one of the other

lefts,

for

stomach (Fig. 35), left for jaw (Fig. 36), and left for ribs (Fig. 37). instance, left for

44

Second Movement

As you

with

hit

the left hand,

guard

with the right at the same time (as in This is Fig. 38). straight

the

called

counter and

the

is

can be given in boxing;

blow

safest

that

for the reason that

you are guarding at the same time you are hitting. See that

you guard

scientif-

You

ically.

will

know this by the

fol-

lowing: Fig. 38.

Is

your right hand open

Is the right

elbow

Counter

Straight

?

in ?

Does your

right hand get out in front quickly, so that you are? guarding with the hand and not so much with the fore-arm?

really Is

your right hand up, so that

in

guarding

it

reaches a higher

level than the face? Is the

//

palm of your right hand toward opponent?

you do

all of these

scientifically.

Repeat a

number

this

Do

you

will be

guarding

them.

with one of

first

movements

for

of times, watching carefully your

form in the mirror. 45

4

Fig. 39.

Right Guard

Fig. 40.

Left Guard

Third Movement Alternate with the

left

lead

and the right

39 and 40). Keep your right guard going quite frequently, so that you will

guard

(as in Figs.

become used hit

to the scientific

out with the

of the

arm

which

is

left

hand

motion and also

so that the muscles

will be exercised in the

necessary for a good

46

quick motion

left

hand

hitter.

W1F'

~

:

v.

•• .

.

,

.

t *2&i L^*, Fig. 41.

Stomach Guard

Ribs Guard

Fig. 42.

Fourth Movement Practice the stomach guard (Fig. 41) which will be

found one of the most necessary guards

There are

of boxing.

guard the stomach.

manner

is

pit of the

you do is

most

to

this

The

swing the

stomach

a

number easiest

left

and the

and quick.

47

best

fore-arm over the

(as in Fig. 41).

guard properly.

effective

of ways to

It is

See that

easy and

it

;

;

'ms&ttr;**

F^.

Right Block

43.

Fig. 44.

:"-•'

*&& HH

Left Block

and Sixth Movements Block alternately with right and left Fifth

and

Figs. 43

as in

44.

Follow with right and

left cuffs, as

in Figs.

45 and 46.

Combination Movements

Go after

at this exercise

vigorously and quickly

you are thoroughly

satisfied that

performing the movements Left lead

;

Right guard

Guard

for the

stomach 48

you are

scientifically.

!

;

Fig. 45.

Right Cuff

Fig. 46.

Combination Left Left Left Left

Left Cuff

Movements— Continued

swing; jab;

for the stomach upper cut; Block (guard for swing) Cuff with left and right; Feint (with knees) ;

;

;

Side-step

Move

head from side to side— chin always drawn in side (never expose left ear by turning head too far).

and

to

one

Continue the exercise vigorously for two minutes.

Go

at

you are making

Then quicken

it

slowly at

all

first to

movements

the pace. 49

Time

be certain

scientifically.

!

;

;

;

:

Second Round This round

to

is

develop the right hand

blows; use the straight counter with the

however, as

most useful blow in

this is the

boxing and the

left,

safest.

Use Right Hand The second round consists of seven blows Right Right Right Right

for nose; for for

stomach jaw;

for ribs

Straight-counter Cross-counter ;

Cross-parry.

Use

all

the guards, feints

taught by us

— follow the

Remember

it

is

and foot-work

as

illustrations.

foot-work; foot-work; not

leg- work.

Don't

let

your

feet get too far apart.

greater part of weight on divide weight between

left

left

Move head and body

Keep

foot or equally

and right

foot.

in gliding motion,

changing position of head and body very often.

tion

See your opponent in your imagina-

—visualize him.

It is

not necessary to ex-

ecute the blows in sequence

—use

your

own

judgment.

Go

at this

round with vim,

illustrations.

Do

your

best.

Time

!

50

as

shown by

the

Fig. 47.

Right for Nose

Elbows always

Fig. 48.

in.

Hands always open when

Blows always given with twist of Weight forward on left foot. Chin in.

guarding. waist.

Right for Stomach

51

,',

•

.7

"\it\fSK* Ci

t$$-

Fig. 49.

Right for Jaw

Don't neglect shadow rounds every morning.

Fig. 50.

boxing

''•

Right for Ribs

— do

three

Fig. 51.

Cross-Counter for Jaw

Keep

chin down.

Fig. 52.

Cross-Parry for Stomach

Keep elbows

in.

Keep

knuckles on diagonal. Hit with twist of waist.

53

Third Round This round consists of

and

the blows, guards

feints explained in the previous rounds,

company with

in

all

eight combination blows

used by prominent boxers and upon which they generally depended for victory.

— Stanley Ketchel One-Two Blow. — Eddie Nugent Cuff and Upper-cut Third combination. — Cuff and Upper-cut with Right. Fourth Combination. — Bennie Leonard Triple Blow. Fifth combination. — Mike Donovan Double Blow. Sixth combination. — Miske Twist. Seventh combination. — Fitzsimmons Eighth combination. —Jack Dempsey Triple Blow.

First combination.

Second combination.

with

Left.

Shift.

Work

all

of these combination blows and

wind up with

a vigorous half

minute of in-fighting.

ways bring the bent.

Then

hit

number

—knees

out straight for nose,

and then with right

(for a

in-fighting al-

right foot parallel with the

obtaining a firm stance

left,

left

When

minute or even

slightly

first

with

as rapidly as possible

of times).

Change

attack to

stomach; then swing for jaw alternately with left

and right and

upper-cuts, as possible.

Now

first left,

finish

up with repeated

then with right as quickly

Time!!!

you ought

to be in fine fettle for

bath.

54

your

Fig. 53.

"The Stanley Ketchel"

One-Two Blow

Fig. 54.

"The Stanley Ketchel'

One-Two Blow (Second

(First Part)

The "Stanley Ketchel"-

-A left jab

Part)

followed

quickly by a hard straight right for the jaw.

55

Fig. 55.

"Eddie Nugent"

Fig. 56.

Cuff and Left Upper-Cut

"Eddie Nugent"

"Eddie Nugent"

Cuff and Right Upper-Cut

— Cuff

left

lead of oppo-

nent with right hand and uppercut with

56

left.

Fig. 57.

"Bennie Leonard" Triple Blow

Fig. 58.

{First Part)

Bennie Leonard Triple.

"Bennie Leonard" Triple Blou {Second Part)

—After

jumping

moving quickly, suddenly stop and walking up to opponent jab him a number of times in face with your left, followaround on

toes, or

ing quickly with hard right for jaw.

57

Fig. 59.

"Mike Donovan" Double Blow (First Part)

Mike Donovan Double. with

left;

— Lead for stomach

immediately run your extended

up opponent's body

to

chin,

left

holding chin

raised; then bring over a quick straight right for point of jaw.

A

knock-out blow.

5S

60.

"Mike Donovan" Double Blow [Second Part)

Fig. 61.

"Mike Donovan" Double Blow {Third Part)

59

M'iske Twist.

— Frequently one will become

twisted around sideways to opponent. left

hand open across

Throw-

the face, following im-

mediately with straight right for jaw.

60

f.

62

"Miske Twist"

(First Part)

Fig. 63. 61

"Miske Twist" [Second Part)

Fig. 64.

"Fitzsimmons" Shift

Fitzsimmons with

left

Shift.

(First

Part)

— Make strong fake lead

for face followed instantly

by strong

fake right lead for head, at same time bring-

ing right foot forward from impetus of right

blow; you will find your opponent's right

hand

raised to guard your

his left raised to

(

fake

)

left

lead

and

guard your fake right blow,

immediately force your

left

with

This blow defeated

crushing

effect.

Corbett.

62

into his

stomach

p ig. 65.

\ j

"Fitssitnmons" Shift (Second Part)

Fig. 66.

63

"Fitzsimmons" Shift (Third Part)

"Jack Dempsey" Triple 'Blow

Fig. 67.

(First Part)

Jack Dempsey Triple. left,

his

slip

head

sending your right to

inside,

stomach, then swinging your head under

his extended left,

whip your

and immediately follow to

jaw brought over

Wind up and Lefts for

— As opponent leads

his

this

left to his

up with hard

extended

right

left.

round with 25 Straight Rights Nose 25 for Stomach 25 Swings

this

for

stomach

;

;

Jaw and 25 Upper-cuts. 64

58.

"Jack Dempsey" Triple

'B/o-xv

{Second Part)

Fig. 69.

"Jack Dempsey" Triple {Third Part)

65

"Bloiv

Remarks

A

Third 'Round

on

when

great set of blows

well delivered.

Practice these blows before a mirror every

You

morning.

will find they will be deliv-

Keep

ered automatically in a very short time.

Shadow boxing should be done by men and women of all ages. Not only for the them.

at

wonderful exercise but for personal preparedness.

We

of the

manly

cannot

when

tell

may

art of self-defense

and others from serious danger. sider

— Shadow

Be prepared.

boxing can be made the most healthful,

and useful of

quickly to the

all

command

Quick co-ordination sary, not only for the

of the brain.

inter-

give muscle that acts

Cat-like muscles, not hard,

best.

of brain

and muscle, which

most neces-

is

boxer and athlete, but also for every man.

a life has been saved by the ability of a

act quickly

many

It will

exercises.

bunchy, knotty muscles are the

Many

In trench

our primitive weapons, are

fists,

often the last resort. Note

save us

Soldiers con-

essential to their training.

it

fighting the

esting

knowledge

the

man

or

woman

to

under dangerous conditions, and, on the other hand,

a life has been lost

|

by the lack of orientation of the muscular

system.

Boxing has been shown ing

is

really the

to be identical

fundamental

Box-

with bayonet work.

A

of all physical motion.

has a great advantage at any sport or activity.

To

good boxer

have a solid

defense and a crushing offense with the weapons nature gave us is

to

have a great advantage.

Alike Gibbons. is

— He

very shifty with his

in

confidence and power.

feet,

his foot

moving around almost

work.

He

flat-footed, but:

such a gliding motion and at the same time shifting his body

from one the

It gives

depends greatly upon

side to the other, that

Phantom

in

consequence of

it

is

very deceptive.

this trait.

66

He

He

is

called

has a wonderfully

p

He,

powerful left-hand jab and also swing.

blow with the

sevy powerful

exceedingly quick

draw back and

In other words, he does not

are placed.

fists

addition, hits a

in

is

nearly always starting his blows from where

with both hands, he

He

right.

o telegraph his opponent that he

is

about to

This

)low with a powerful follow-thru.

He

hit.

delivers his

can be obtained

effect

the boxer will turn around with his waist.

f

Bennie Leonard.

He

ing.

— He

o meet his style.

He The

gs.

how

and

his

seem

and can be imitated with

clever

is

bounces up and

legs

his foot-work

the

in

facing an opponent

employs a number of double blows which are

His foot-work

uzzling.

is

His characteristics are

He

ouble blows.

rofit.

probably the keenest thinker

is

figuring all the time he

is

down on

to be held stiff,

with stretched-out

his toes

and he goes bouncing around

This will be found

he ring dancing on his toes.

to be tiresome

or a heavy man, but for a light-weight or a feather-weight in good

rim his

it

foot-work will be found

of the

One

or the opponent.

and

Even

can be continued for some time.

motion

man

opponent a number of times without

When

blow.

return

a

heavy

can dance in and out, and can jab his left

into the face of the

eceiving

for a

to be quite deceiving

onfused with his active

left

Leonard

has

his

opponent

landing in his face, he will suddenly

hip over his right with great force.

The

upper-cut for the stomach

left

,eonard.

This

is

Jack Dempsey.-

—The

a

favorite

blow with

distinguishing feature of Dempsey's

his pile-driver hitting

nywhere, and do

is

a very effective blow, and can easily be developed.

it

He

ability.

work

can hit with either hand,

without showing what's coming.

He makes

)lendid use of the duck and rolls his head well with opponent's

lows to his face.

nown )

him

see

fight.

McCoy,

id

He

He

one of the hardest fighters the ring has

is

in getting into action.

It's

a pleasure

not as skilful as Corbett, Fitzsimmons

but he doesn't have to be.

Jim Corbett.

—The

his left half-swing.

the

is

—he wastes no time

East.

McCoy

principal

He was

blow Corbett has depended upon the first one to introduce this

afterwards modified

this

left

blow

half-swing

what has been called the Corkscrew blow. It is a very efblow, and when properly delivered will land on the nose jaw of the opponent with considerable force. Corbett cometely wore out Sullivan at New Orleans, in their championship

ito

ictive •

?ht,

with

this

blow.

Corbett holds his head 67

in

the most perfect

He

manner.

is

hlow

the kingpin of the duck.

down

ready to pull

will never land

on

from those beauty

A

He

his nose.

in,

he

is

has never received a broken

In fact, about

nose or a cauliflower ear. free

Chin always

the side of the head so that the approaching

all

the top-notchers are

spots.

cauliflower ear and a broken nose are not the sign of a good

fighter; they are evidence that he

not a good fighter.

is

If

he had

been a good fighter he would not have been so careless.

The left

hand is

left

half-swing

delivered so that the index knuckle of the

is

hand lands on the jaw or the nose of the opponent. is

turned

down and

when

the

blow

is

The

left

being delivered so that the palm

the knuckle of the index or

first

finger strikes the

opponent.

When

you find that your opponent

the left-hand jab, crouch

is

very quick, especially with

over to the right, with the

left

hand

ready to do most of the work. As you time him for the lead, swing

your

left

hand for

his

jaw, keeping your right so that you can

guard any upper-cut either for your head or stomach.

Should an

opponent stand with the right hand and the right foot fonvard, never use a straight left-hand lead. holding your If

left to

guard

Always swing your left, or, him with your right hand. these two movements you will

his right, hit

you will confine your attack

to

have him completely at your mercy.

Watch

yourself very carefully in the mirror.

getting the correct form. have. It

Proper

means power with the

style

is

least effort

68

the

Sec that you are necessary thing- to

expended.

The "Blows There

are only eight blows: Four with the

Nose, stomach, jaw and

with the right.

hand, and the same with the

the left is

blows or

either one of these

ach.

Ribs: an upper-cut with the

are the four blows with the left

with

in sparring

Nose:

modification of them.

a

Jaw: a swinging blow with the

the jaw.

Every blow

right.

Stomach: straight

straight left-hand lead.

hand and four

left

ribs (or upper-cut)

left

left lead for the

hand

hand for the

left

stom-

for the point of

Those

ribs.

hand and the same with the

right.

The Guards There with the

are only eight guards: four with the left hand and four

Left guard, stomach guard (with the left),

right.

Right guard,

block, left cuff.

ribs

left

guard (with the right), right

block, right cuff.

The guard arm down be

for the ribs

executed by bringing the right fore-

is

quickly, covering the ribs on the right side.

found best

to

perform

almost parallel with the body.

It will

guard with the right forearm

this

must not be done

It

for the stomach, with the forearm

swung

guard

like the

across the body, for this

will leave the head exposed.

The

cuff

is

executed by either hand being pushed

direction across the

when very near

body

in

in the opposite

blow

front of the face, catching the

the face.

Practice shadow sparring. It will make you fast and skillful, and will work wonders. Bennie Leonard is the most expert shadow

sparrer in the ring.

He

attributes his

consummate

skill

to

the

intense practicing of this exercise.

Never

let

your weight

rest on

evenly divided or mostly on the be flat on the

ground most

the right foot. left foot.

of the time.

69

The

Have left

it

either*

foot should'

1

Eight bone-breaking holds and releases (Jiu Jitsu)

Fig. 70.

1st.

The Wrist-Release

When opponent

Swing your arm thumb.

man by

grasps your wrist.

—

in a circle, always against the

A woman this

{First Part)

can release the grip of a

motion.

70

Fig. 71.

Fig. 72.

The Wrist-Release

{Second Part)

The Wrist-Release

(Third Part)

71

2nd.

When opponent

With two

grasps your throat.

fingers of your left

hand (should

your throat be gripped by the right hand) serted, so that they

grasp the

—

little

in-

finger of the

opponent's right hand, you can bend back the little

finger (or any finger),

the finger

if

you give

it

a

and even break

sudden jerk and per-

up your advantage. Should an opponent have you on your back with his hand on your throat you can force him to get sist

off

in following

and

release his hold by persistently forcing

the captured finger his hand.

Break

back against the back of

his finger if necessary.

72

Fig. 73.

Fig. 74.

The Throat-Release

{First Part)

The Throat-Release (Second Part)

73

3rd.

shoots cuff

right it

—At

it

pistol

When opponent

the instant his

away with hand;

hand

presents a pistol to

if

cuff

the

hand

hand on

the side of his

away with your

it

it

as far out

you as possible with your

up and firmly grasping with both of yours; twist

left

to

hand.

Cuff

hand,

at the

(right)

hand

the opponent's

hand

it

away from you

release his hold

Should you wish

left.

and away from

same time bringing your other

to twist the

extended

he draws the pistol with the

away and hold

that he will

is

on the

so

pistol.

break the arm continue In twisting be sure you

do not turn the pistol toward you.

Another

pistol release

him

opponent's

hand and bend hand holding toward opponent's body until pain forces

wrist with left pistol

— Grasp

to release pistol.

74

Fig. 75.

Fig. 76.

Disarm

Disarm

(Pistol)

(Pistol)

7.S

— (First

Part)

— (Second

Part)

;

\th.

When opponent

club or raises his

arm

is

hand which

fist

attempts to

or dagger.

raised grasp the wrist with your is

on the same

hand and grip

you can force

side and, forcing

it

and break the arm this

otheiwise you will break his it.

76

it

arm with your

the opponent's

Be very careful when trying can realize

with

—At the instant

back, reach well up under the free

hit

hand if

so that

necessary.

with a friend

arm before you

Fig. 77.

Disarm [Dagger or Club)

Fig. 78.

—

(First Fart)

Disarm (Dagger or Club) [Second Part)

77

Fig. 79.

Fig. 80.

§th.

At

Guard from Kick

(First Part)

Guard from Kick (Second Part)

IF hen opponent attempts

to

kick.

the instant he starts the kick cross

arms

in front of

you and grasp

against your arms.

78

his leg as

—

your it

hits

Fig.

81.

Release

Neck Hold

Fig. 82.

{First Part)

6th.

from

To

release hold of

the front.

Release Neck Hold {Second Part)

arms around neck

— Raise your arms behind your

opponent's back and placing them upon his forehead force his head back. it

If

done quickly

will be very liable to break the

opponent.

So be careful.

79

neck of the

Release Waist Hold

7th.

To

{First Part) Fig. 84.

release waist hold

Release Waist Hold {Second Pi

from the

front.

—

Should your opponent not only grasp you around the waist from the front, but also force his face down on to your shoulder, with your two thumbs placed in the socket of the eyes, just above the eyeballs, you can force your opponent's head up by pressing against a nerve which is located in that region. When you have his head sufficiently elevated, put one hand either under his chin or his nose and force his head back so that he will be compelled to release his hold on your waist. Movements must be quick and executed with force. 80

Fig. 85.

8th.

Throw Backwards Overhead

Falling with foot in the pit of the stom-

ach of the opponent and throwing him over

your head.

— The usefulness of

seldom occur.

this

hold might

Grasp the opponent by the

lapels of the coat (or grasp both wrists)

falling over til

and

backwards pull him with you un-

you are about

your foot in the

to hit the

ground, then place

pit of his

stomach and throw

him over your head.

81

Eight holds

in

standing wrestling \»

Fig. 86.

Head and Cross-Buttock

Fig. 87.

Head and

— Grasp

the

opponent with your

left

cross-buttock.

right wrist of the

hand, and pulling

Head and Cross-Buttock (Second Part)

{First Part)

1st.

it

close to your left side slip

your right arm around

his neck,

throwing your

right hip to the side of his right hip,

force

down

m

and then

him over your hip by turning around and well toward your 82

left.

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