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Boxing and Self Defense
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taught by the

Marshall Stillman Principle

Copyright 1919

Marshall Stillman Association

461 Fourth Avenue, New York

A
©CI.A53615S
 This volume contains
Page

1. Five Sub-Conscious Lessons in Boxing 4

1. The Hit
2. The Guard
3. The Duck
4. Footwork
5. Feiating and clinching

2. One lesson for daily exercises 32

3. Three rounds of shadow boxing 42

4. Eight bone-breaking holds and re-

leases, (
Jiu Jitsu ) 70
for use against violent attack.

5. Eight holds in standing wrestling. ... 82

for use against violent attack.

There is included with this course a separ-

ate complimentary volume of Mike Don-
ovan's famous book, "Science of Boxing" spe-
cially bound for home study, including the
rules and articles on training, generalship in
the ring, and every good blow and guard
known in boxing.
MARSHALL STILLMAN has been a student
boxing
of more than for thirty years. He was
a pupil and intimate friend of Professor 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 Mar-
shall Stillman and the "Shorthand" or "Sub-Con-
scious" Method of teaching Boxing that he heartily
endorsed both, and posed for the illustrations in this
book. This is Donovan's system of boxing taught by
Marshall Stillman's principle of instruction.
Marshall Stillman's interest in boxing and self-
defense for the last ten years has been devoted largely
to the development of this simplified system of in-
struction. Anybody, young or old, can learn the rudi-
ments 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
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 par-
ries, ducking scientifically, etc.
You learn these fundamentals right in front of
your own mirror, before you put on the gloves with
anyone else. After you have learned the principles,
you are then ready to put on the gloves with some-
one else, and profit by your study.
You can readily understand why it is difficult
under the old method to learn boxing. Your op-
ponent 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
learn.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
2
and interesting, but nevertheless important letters we
get week after week, from men and boys, who say
"Last week I licked or out-boxed a fellow that I had
just been dying to get at for a year." Sailors in the
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
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
are, 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
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 box — to hold your own with
somebody bigger if necessary — certainly make
does
you 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.
Fig. 1. Turning: Allow the arms to swing out loosely in the air. Do
not sway the body either forward or backward. Turn the shoulders first
to the right and then to the left.

Fig. 2.Turning (Cont'd): This is the other half of the movement in

Fig. There is no change in the position of the feet or head. The arms
1.

and shoulders have simply swung around, as you can see.

 —
First Lesson The Hit
Stand before your looking-glass with your
feet squarely on the floor, toes pointing
straight forward and arms loosely hanging at

your sides. Feet about 12 to 18 inches apart,

and toeing a line.

Imagine a rod run through the top of the

head down the spine and into the floor, and on
this rod you are to turn, not swaying either
forward, backward or sideways. Now turn on
this rod, allowing your arms to swing out
loosely in the air (as in Figs. 1 and 2).
Watch yourself carefully in the mirror that
you do not permit your body to sway.

After you have continued this exercise a

sufficient length of time so as to get the turn

Continued on Page 6
Fig. 3. 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.

well in your mind, then bring your arms to

your sides bent at the elbow with your hands
open, continuing to turn. Elbows in close to
the sides (as in Fig. 3).

Now as you turn, reach out straight in front

of you. Right straight toward your hand that
is reflected in the mirror with the palm of your
hand up as if you were to receive a coin
dropped in your hand. Be sure that you have
your elbows in close to your sides and that
your hands go directly for the mirror in a per-
fectly straight line, (as in Figs. 4 and 5) con-
tinuing to turn on this rod supposed to be
driven through the body from the top of the
head into the floor. Continue this exercise un-
til you have it 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

hands. 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
to the sides. Continue this motion as vigor-
ously as you please. You will find it a most
excellent exercise for the vital organs and it

will also get you in the way of delivering a

very powerful blow.
Fig. 4. Turn well around and reach far out directly towards your mirror
with the left hand just as though you were reaching for a coin. Then bend
the arm back to the position in Fig. 3.

Fig. 5. 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.

7
Fig. 6. Clench the fists. Now strike. As you turn give a snappy twist to
the body. Don't shove or sway forward, just twist.

The way to make a Fist

Double the fingers in the palm of the hand, not squeezing them
tightly into the palm, and especially do not draw down the little
finger; in placing yourfist 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.
9
 Change of Position

Left foot flat on the ground with the heel

down. Right foot with the heel raised and toe

pointed at the looking-glass. Right foot in the
rear with space enough to retain the balance
of the body. Toes pointed toward the looking-
glass. Weight of the body directly over the
left foot. Imagine a rod passing through the
left leg, through the body, and on that rod you
must turn. The right foot should rest upon
its ball with the heel about two inches from the
ground. Now continue the straight blow
which has just been described, turning on this

imaginary rod obtaining the propulsion from

the waist and the push of the right foot (as in
Figs. 7 and 8).

Continue this exercise until thoroughly sat-

isfied that you understand it. You will find

that you are enabled through this method of
blow from the turn of
getting the force of the
the body and delivering a left hand blow
scientifically and easily, which is, for a right-
hand man, a very 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
Fig. 7. Change Left foot flat on
of position. the ground with heel down.
Right foot heel raised and toe pointed
ivith at the looking glass. Right
foot in rear with space enough to retain the balance of the body. Toes
pointed toward the looking glass. Weight of body directly over the left
foot.

Fig. 8. Continue the straight blow, obtaining the propulsion from the
waist and the push of the right foot.

11
 —

Fig. 9. Swinging —
Blow Assume the original position of feet about 12 to
18 inches apart. Elbows bent and at the sides —PALMS OF THE
HANDS DOWN; 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.

Swinging Blows and Corkscrew Blows

Assume the original position of feet about 12
to 18 inches apart. Elbows bent and at the

sides palms of the hands down; 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 (see Fig. 9).

This is the swinging blow. In thai blow yon

dispense with the idea of the rod running
through the body, as each blow with the left

and with the right hand is done with a swaying

12
motion. This is a very good exercise for the

waist and will give great elasticity and strength

to that portion of the body.

Continue this exercise until you desire to

cease.

The Corkscrew blow is delivered with the

left hand well out with the back of the hand
almost parallel with the floor. A straight blow
delivered with this arm with a sudden twist of
the hand so that the first two knuckles reach
the point of contact with a snap has a cork-
screw effect, and if landed on the point of the
jaw is a serious blow.

13
 —

Fig. 10. Bring the hands well up to the chin, throwing them out in front
of you as in the breast stroke.

Second lesson The Quard

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 feet

parallel with each other. Make 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 you get the idea
perfectly in your mind. Be sure that your
hands at the outward stroke go a little above
the head. This is an exaggeration of Prof.
Donovan's famous leverage guard.
14
Fig. 11. Be sure the hands run up above the head as they are extended.

Fig. 12. Sweep the arms to the sidesas in the breast stroke in swimming
15
 Both toes
Fie 13 Second position. Left foot forward, right foot back.
pointed toward the mirror. Continue the breast stroke, not with the
forward.
hands in unison, but with the hands going alternately

Now assume the second position, which is

with the left foot forward and the right back.
Both toes pointing toward the mirror. Con-
tinue the breast stroke as in swimming, but not
with the hands in unison, but the hands alter-

nately going forward (Fig. 13). Be sure that

the hands run up above the head as they are

extended. You will find that your hands are
performing a sort of a circle or an ellipse as

the shape of an egg.

Keep the hands open, running them well
out in front, bearing in mind always the breast

stroke in swimming, which is performed iden-

tically as the leverage guard only not so exag-
16
Fig. 14. With left elbow to side, and left fist prepared to strike, twist the
body sending the fist toward the looking glass.

gerated, and there you will have the celebrated

Donovan leverage guard.
Now with the left elbow to the side and left

fist prepared to strike (Fig. 14), twist the body,

sending the left fist towards the looking-glass.
Be sure that the propulsion comes from the
twist of the body, right hand alternately per-
forming the guard with hand open, palm
down. There you will have an exercise which
Prof. Donovan gave his pupils which is called
the lead, guard; lead, guard; lead, guard; lead,
guard; lead, guard.

17
 ;

Fig. 15. Blocking. a swing, just move the arm to the right or
To block
left arm with the hand open, palm toward the looking glass;
to the left,
forearm almost straight up in the air being parallel with the body.
Elbows 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
parallel with the body. To block a swing, just
move arm to the right or the left arm to the
the
left with the hand open, palm toward the look-

ing-glass; forearm almost straight up in the

airbeing parallel with the body. Elbows
down (see Fig. 15). This is the block and is
easily performed.
Always guard a blow with the hand open,
as the length of the fingers give so much more
opportunity to guard the blow.
IS
Fig. 16. Stomach Guard. Swing the left forearm over the pit of the stom-
ach 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 the Stomach

Assume the position of a boxer, which is

with the left hand prepared to strike; the right

hand open and in front of the face; eyes just

looking over the top of the glove or hand.
Now swing the left forearm over the pit of the
stomach at the same time crossing the right
hand over near the face (as in Fig. 16) so as
to prevent or guard against a right hand swing
for the jaw.

You will find that you can swing this left

forearm over the pit of the stomach very quick-
ly and it is the best guard for the stomach and
19
prevents much severe punishment. Learn this

guard faithfully, as it will save you many a sad

moment if you have an opponent who is a body
puncher. You will find it will be very difficult

for him to reach the body with this guard.

A 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
left lead as it approaches the point of contact. This will often
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

position with feet from 12 to 18 inches apart

parallel pointing toward the mirror, hands at
the side slowly draw the chin down toward
the right collarbone, presenting the side of the
frontal bone of the head to the mirror (as in
Fig. 17). Be sure that the head is not turned
too much to one side, leaving the ear exposed.
That is a dangerous procedure, as ablow 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
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
part of the headwhere the horns of the goat
would naturally be is presented toward the
mirror.
Be careful not to present the top of the head
to the mirror. The blow, if it reaches the
head, will glance off, but as a rule the blow will
slip by without touching the head, because the
least change of the head will cause it to evade
the blow. In other words, the attitude is of a
goat preparing to butt.
22
 Draw the chin down to one side. This protects the jaw and
Fig. 19.
saves the nose, too.

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 shoulders or even at his waist-line,

and you will be perfectly able to note the direc-

tion of his blows. Some expert boxers even

look at the floor to the right, which is their

opponent's left side (as in Fig. 19). 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 if you get yourself
accustomed to this direction of your gaze, you
23
will be able to note the manner and speed of
your opponent's blows as easily as if you were
looking in his eyes.
We wish to again caution you with regard
to always keeping the chin down. It would be
exceedingly difficult to knock a man insensible
with his chin down, whereas if he holds his
chin up a forceful blow on the jaw would re-

sult in a knockout and this can be easily avoid-

ed by keeping the chin down and well drawn
into the neck.

Always hold chin down and head in posi-

tion of butting goat on delivering every blow.
This prevents receiving blow on the nose.

Note. —The duck seems to be a lost art among boxers. Few

of the experts are masters of this fundamental. It is laughable to
sit and notice the amateurs and professionals who box
at a ring-side
for prizesand money stand up and take all the blows that are
coming their way; on the nose or in the face, seemingly never
thinking of ducking. Cauliflower ears, broken noses, blackened
eyes, scarred faces, a generally battered-up condition of the physiog-
nomy is the result. These marks of a boxer are seldom seen on
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
 —

Fig. 20. Perform a sort of clog dance, throwing the weight of the body
first on theleft foot and then on the right, bearing in mind the looseness
of the clog dancer.

Fourth lesson Footwork^

Assume an easy attitude before the mirror,
with the hands loosely at the side, and perform
a sort of clog- dance throwing the weight of
the body first on the left foot and then on the
right, (as in Figs. 20 and 21). Perform this

motion for an agreeable length of time. Re-

member the body must be absolutely lax in
every muscle, just like a wet rag.
Footwork is the fourth fundamental of Box-
ing, and one which is but little understood.
Only the top-notchers are experts in this de-
partment of the manly art, and even some of
25
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 a

Boxer, is that of a Clog Dancer or Marionette.

Discontinue the motion of the clog dancing,

and stand before the mirror; place your left

foot, the toe pointing toward the mirror, flat

on the ground, heel down, right foot conveni-

ently placed to the rear, resting on the ball of

—
Note The Boxer must be perfectly loose in his joints. Box-
ing 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 con-
stricted manner.
26
Fig. 22. Assume the attitude of a boxer. Move in a sort of gliding mo-
tion,with the right foot always behind the left, the left foot always flat
on the ground.

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; now move

around the room in a sort of gliding motion
with the right foot always behind the left, the
left foot always flat on the ground. You need
never be on the toe of the left foot unless a blow
is being delivered. This will never weary one,
and if the propulsion comes from the ball of
the right foot, and the twist of the waist, you
will find that a blow is very swiftly and power-
fully delivered and can also be gauged as to its

intensity with great accuracy.

27
Fig. 23. Feinting. A little quick bend of the left knee, and possibly
accompanied with a bend of the right knee at the same time.

Feinting —The most effective and least tir-

ing way of feinting is with a movement of the

left knee; just a little quick bend of the left knee
and possibly accompanied with a bend of the
right knee at the same time. Both being very
slight, but very quickly executed, immediately
ties an opponent up in a knot, as he will expect
to receive an assault.

This style of feinting does not tire one in the

least, and if done occasionally, or as often as
the boxer wishes, will tire in a marked degree
the opponent, especially if he be not in good
condition.
28
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 —This is a department of the

sport which should be done scientifically and
as a method of protection. If it be not neces-
sary to protect yourself by clinching, it is by
all means advisable not to clinch, but permit
your antagonist to clinch you if possible
around the neck (as in Fig. 24), leaving your
arms free, and then you with uppercuts, devote
all your attention to his body. Both hands
free. This attitude is according to the rules of
Boxing, perfectly fair and square.
A great deal of damage can be done the op-
ponent by permitting him to clinch you around
29
the neck, and you to devote both arms to de-
livering punches in the stomach.

If to protect yourself from the assaults of a

stronger or more careful scientific opponent,
you should find it necessary to clinch, try to
grasp the arms and not your opponent's body,
include his arms if you possibly can as you
clinch. You can easily find his 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 from acting. Those hands can
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 bicep with your right hand and
his right bicep with your left hand, and when

30
Fig. 25. // you find it necessary to clinch, grasp the arms of your opponent.

he attempts to strike, just pushing them back,

(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 con-
verted into an upper-cut, making it a very ef-
fective punch.

31
 —
Sixth lesson T^aily Exercise
The Sixth Lesson winds up the preliminary
course of boxing instructions as given by this

Association, and is devoted to a method of ex-

ercising consume only five minutes
which will

of your time each morning, and which if con-

scientiously and faithfully performed will
keep one as strong as a trained gymnast or
athlete for the remainder of his days, if he live

to 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. If the lungs be
over-developed in a man of sedentary habits,
it does not conduce to good health, as there is

a certain amount of dead tissue in the lungs

that the respiration cannot take care of if those
organs be over-developed.

One of the safe rules of life with regard to

health is to be normal ; use common sense ; be
moderate and temperate, with regard to every-
thing — including exercise and other pastimes.
Note —The
pupil may consider when first reading these exer-
they might be too strenuous or consume too long a time.
cises that
They will take only five minutes actual timing, if the chinning be
done 8 times; back and front bridging done 50 times; the dipping
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 regu-
lated according to the strength of the person employing this method.

32
 First Exercise

Have a carpenter put a bar in the doorway

of your closet where you can reach it. It will

be inexpensive. You can put 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 to

your hands which are grasping the bar as high

as they can reach. Continue this exercise a

convenient number of times. If not at first

used to it, be careful about straining. If you

find that 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 with-
out overstraining. Again resting on the floor,

continue this motion as long as you like each

morning.

This exercise strengthens the biceps; mus-

cles in the back, and in the waist, and is ex-

ceedingly good for what is known as a corpor-

ation or an extended stomach. It strengthens
the walls of the abdomen and aids the pupil to
hold himself as a man should, with chest out
and stomach in. Chinning should never be
done more than eight times at a time, unless a
man be very expert, but even then he should
not over extend himself.
33
Fig. 26. Bridging. Lie flat on your back. Raise weight of body by
throwing the chin up in the air.

Fig. 27. Lower body again till the shoulders touch the floor; then raise
it again.

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 on your back. Raise the
weight of your body from the bed or floor by
means of throwing the chin up in the air, (as

in Figs. 26 and 27) . The hands can be placed

either at the waist or on both sides of the jaw.

Lower your body again so that the shoulders

touch the bed or floor and then raise it again.

This is called bridging and known to wrest-
is

lers. You will find that when the weight of

your body is raised from the bed or floor that

the only points of contact will be the back of

your head and your heels or the 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 exer-
cise very gradually, working up to a convenient number of times
with the utmost caution, as these muscles are seldom used by any-
one 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
Fig. 28. Front Bridging. Turn on the stomach. Place forehead on the
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 floor, then raise again.
36
 Front Bridging
Turn on the stomach, place your forehead
on the pillow or mattress with your toes up
against the bottom of the bed or the wall (if per-

forming this exercise on the floor), (as in Fig.

28). Raise the weight of your body from the

floor or the bed allowing only the point of con-
tact of your forehead and your toes to support
your body (as in Fig. 29). Permit the weight
of your body to be lowered until the stomach
touches the bed or the floor and then raise it

again in manner described. Hands behind the

back. This will cause the front muscles of the
neck and the front part of the body to be well
tensioned, and will strengthen the muscles of
the abdomen and neck wonderfully.

Note —We believe this to be one of the most beneficial exercises

for reducing fat around the stomach. Execute this exercise a suffi-
cientnumber of times. It can be performed as many as 50 times
when one becomes fairly expert.

37
Fig. 30. Dipping. Raise feet from the floor and lower the weight of the
body by means of bending the arms until knees touch the floor.

Fig. 31. Then raise your body until your arms are extended fully,
draw-
ing knees up as high as possible. Continue motion.
38
 Dipping
Take a stout chair, and a bureau or the foot-

board of a bed and a chair or a bureau. Bring

them together so that you can stand comfort-
ably between them with your hands at your
sides, touching the chair and the bureau. Now,
place your hands upon them, raise your feet

from the floor (as in Fig. 30), and lower the

weight of the body by means of bending the
arms until your knees touch the floor (as in

Fig- 31). Then raise your body until your

arms are extended fully, drawing your knees
up as high as you can. Continue this motion,
but not more than eight times at a period.

If a pupil be not able to perform this act of

dipping at first as it is a difficult thing to do,
let him retain his feet on the ground, permit-
ting as much weight of the body to go on the
arms as 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 from the floor and will easily per-
form the full act of 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. This
strengthens the insteps.

Foot Exercise
Stand erect, feet together, raising the body
on the toes (as in Fig. 32), and permitting it

to come down gently on the outside of the feet

giving a sort of a rolling motion of the feet.

This exercise can be done 50 times or 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 weak-
ened insteps especially they who have to walk a considerable dis-
tance on the hard pavements of the city.
40
Fig. 33. Leg exercise. Twenty-five times for each leg. You can use one
hand against wall or bath tub.

Leg Exercise
Standing between two chairs or a chair and
the bed with the fingers extended on the chair
and on the bed in order to maintain the bal-
ance, raise the right foot from the floor and
bending the knee of the left foot, lower the
body as far as possible (as in Fig. 33), and
then raise the body by the straightening of the
left leg, a convenient number of times. Now
alternate. We would suggest 25 times for each
leg.

The results of this exercise if faithfully per-

formed every morning will be very noticeable.

It makes one exceedingly quick on his feet.
41
 ; :

Shadow Boxing
Take your stand before a mirror in the posi-

tion of boxer; left foot forward; left hand for-

ward with right hand 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 is best to hold the right

guard high and a trifle away from the body,

so that you will be in a position to stop a quick
left hand jab or left half swing. Keep your
elbows in close to your sides. See that your
weight is principally upon the left foot; the
right foot resting upon its ball, and comfort-
ably placed to the rear of the left foot, so that
you may easily maintain your balance. Keep
your chin drawn in. Watch yourself very
carefully in the mirror and go through the
following movements:

The first round consists of five blows

Left for nose ;

Left for stomach

Left for jaw;
Left for ribs (uppercut) ;

Straight counter and corresponding guards.

42
 Fig. 34. Left for Nose Fig. 35. Left for Stomach

Entirely With Left Hand

After feinting a few times, lead out with a
few quick left hand jabs for the face of the
opponent at about the same height of your
face as reflected in the mirror. Repeat this

movement a number of times till you are satis-

fied that you are performing the movements

43
 Fig. 36. Left for Jaiv

scientifically. You will know this by the fol-

lowing:
Is your left elbow near your body?
Is the palm of your left hand turned up so that the knuckles are
on the diagonal ?

Are you hitting with a twist of the waist as described in the

first lesson of our course?

// you do all of these you will be hitting sci-

entifically. Do them!

You can substitute one of the other lefts, for

instance, left forstomach (Fig. 35), left for
jaw (Fig. 36), and left for ribs (Fig. 37).
44
 Second Movement

As you hit with

the left hand, guard
with the right at the
same time (as in
Fig. 38). This is
called the straight
counter and is the
safest can
blow that
be given in boxing;
for the reason that
you are guarding at
the same time you
are hitting. See that
you guard scientif-
ically. You will
know this by the fol-

lowing:
Fig. 38. Straight Counter

Is your right hand open ?

Is the right elbow in ?

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

scientifically. Do them.

Repeat this with one of first movements for

a number 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
guard 39 and 40). Keep your right
(as in Figs.
guard going quite frequently, so that you will
become used to the scientific motion and also
hit out with the left hand so that the muscles
of the arm will be exercised in the quick motion
which is necessary for a good left hand hitter.

46
 ~

W1F' :

v. . .
•• , .

t *2&i
L^*,

Fig. 41. Stomach Guard Fig. 42. Ribs Guard

Fourth Movement
Practice the stomach guard (Fig. 41) which
will be found one of the most necessary guards
of boxing. There are a number of ways to
guard the stomach. The easiest and the best
manner is to swing the left fore-arm over the
pit of the stomach (as in Fig. 41). See that
you do this guard properly. It is easy and it

is most effective and quick.

47
 ; ;

'ms&ttr;** :"-•'
*&&
HH

F^. 43. Right Block Fig. 44. Left Block

and Sixth Movements

Fifth
Block alternately with right and left as in

Figs. 43 and 44.

Follow with right and left cuffs, as in Figs.

45 and 46.

Combination Movements
Go at this exercise vigorously and quickly
after you are thoroughly satisfied that you are
performing the movements scientifically.
Left lead ;

Right guard
Guard for the stomach
48
 ; !

Fig. 45. Right Cuff Fig. 46. Left Cuff

Combination Movements— Continued

Left swing;
Left jab;
Left for the stomach ;

Left 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 and to one
side (never expose left ear by turning
head too far).

Continue the exercise vigorously for two

minutes. Go at it slowly at first to be certain
you are making all movements scientifically.
Then quicken the pace. Time

49
 ; ; ; ! :

Second Round
This round is to develop the right hand
blows; use the straight counter with the left,

however, as this is the most useful blow in

boxing and the safest.

Use Right Hand

The second round consists of seven blows
Right for nose;
Right for stomach
Right for jaw;
Right for ribs
Straight-counter
Cross-counter ;

Cross-parry.

Use all the guards, feints and foot-work as

taught by us — follow the illustrations.

Remember it is foot-work; foot-work; not

leg- work.

Don't let your feet get too far apart. Keep

greater part of weight on left foot or equally
divide weight between left and right foot.

Move head and body in gliding motion,

changing position of head and body very
often. See your opponent in your imagina-
tion —visualize him. It is not necessary to ex-
ecute the blows in sequence —use your own
judgment.
Go at this round with vim, as shown by the
illustrations.

Do your best. Time !

50
Fig. 47. Right for Nose Fig. 48. Right for Stomach

Elbows always in. Hands always open when

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

51
 ,', • .7 "\it\fSK* Ci

''•
t$$-

Fig. 49. Right for Jaw Fig. 50. Right for Ribs

Don't neglect shadow boxing — do three

rounds every morning.
Fig. 51. Cross-Counter for Jaw Fig. 52. Cross-Parry for Stomach

Keep chin down. Keep elbows in. Keep

knuckles on diagonal. Hit with twist of waist.

53
 Third Round
This round consists of all the blows, guards
and feints explained in the previous rounds,

in company with eight combination blows

used by prominent boxers and upon which
they generally depended for victory.
First combination.— Stanley Ketchel One-Two Blow.
Second combination. — Eddie Nugent Cuff and Upper-cut with
Left.
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 Shift.
Eighth combination. —Jack Dempsey Triple Blow.

Work all of these combination blows and

wind up with a vigorous half minute or even
minute of in-fighting. When in-fighting al-
ways bring the right foot parallel with the
left, obtaining a firm stance —knees slightly

bent. Then hit out straight for nose, first with

left and then with right as rapidly as possible
(for a number of times). Change attack to
stomach; then swing for jaw alternately with
left and right and finish up with repeated
upper-cuts, first left, then with right as quickly
as possible. Time!!!
Now you ought to be in fine fettle for your
bath.

54
Fig. 53. "The Stanley Ketchel" Fig. 54. "The Stanley Ketchel'
One-Two Blow (First Part) One-Two Blow (Second Part)

The "Stanley Ketchel"- -A left jab followed

quickly by a hard straight right for the jaw.

55
Fig. 55. "Eddie Nugent" Fig. 56. "Eddie Nugent"
Cuff and Left Upper-Cut Cuff and Right Upper-Cut

"Eddie Nugent" — Cuff left lead of oppo-

nent with right hand and uppercut with left.

56
Fig. 57. "Bennie Leonard" Triple Blow Fig. 58. "Bennie Leonard" Triple Blou
{First Part) {Second Part)

Bennie Leonard Triple. —After jumping

around on moving quickly, suddenly
toes, or

stop and walking up to opponent jab him a

number of times in face with your left, follow-
ing quickly with hard right for jaw.

57
 Fig. 59. "Mike Donovan" Double Blow
(First Part)

Mike Donovan Double. — Lead for stomach

with left; immediately run your extended left

up opponent's body to chin, 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. Throw-
left hand open across the face, following im-
mediately with straight right for jaw.

60
f. 62 "Miske Twist" (First Part)

Fig. 63. "Miske Twist" [Second Part)

61
 Fig. 64. "Fitzsimmons" Shift (First Part)

Fitzsimmons Shift. — Make strong fake lead

with left 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 ( fake ) left lead and
his left raised to guard your fake right blow,
immediately force your left into his stomach
with crushing effect. This blow defeated
Corbett.

62
 \
j

p ig. 65. "Fitssitnmons" Shift

(Second Part)

Fig. 66. "Fitzsimmons" Shift

(Third Part)
63
 Fig. 67. "Jack Dempsey" Triple 'Blow
(First Part)

Jack Dempsey Triple. — As opponent leads

left, slip head inside, sending your right to
his stomach, then swinging your head under
his extended left, whip your left to his stomach
and immediately follow this up with hard right
to jaw brought over his extended left.

Wind up this round with 25 Straight Rights

and Lefts for Nose 25 for Stomach 25 Swings
; ;

for Jaw and 25 Upper-cuts.

64
58. "Jack Dempsey" Triple 'B/o-xv
{Second Part)

Fig. 69. "Jack Dempsey" Triple "Bloiv

{Third Part)
65
 Remarks on Third 'Round
A great set of blows when well delivered.
Practice these blows before a mirror every
morning. You will find they will be deliv-

ered automatically in a very short time. Keep

at Shadow boxing should be done by
them.
men and women of all ages. Not only for the
wonderful exercise but for personal prepared-
ness. We cannot tell when the knowledge
of the manly art of self-defense may save us
and others from serious danger. Soldiers con-
sider it essential to their training. In trench
fighting the fists, our primitive weapons, are
often the last resort. Be prepared.
Note — Shadow boxing can be made the most healthful, inter-
esting and useful of all exercises. It will give muscle that acts
quickly to the command of the brain. Cat-like muscles, not hard,
bunchy, knotty muscles are the best.

Quick co-ordination of brain and muscle, which is most neces-

sary, not only for the boxer and athlete, but also for every man.
Many a life has been saved by the ability of a man or woman to

act quickly under dangerous conditions, and, on the other hand, |

many a life has been lost by the lack of orientation of the muscular
system.
Boxing has been shown to be identical with bayonet work. Box-
ing is really the fundamental of all physical motion. A good boxer
has a great advantage at any sport or activity. To have a solid
defense and a crushing offense with the weapons nature gave us
is to have a great advantage. It gives confidence and power.
Alike Gibbons. — He depends greatly upon his foot work. He
is very shifty with his feet, moving around almost flat-footed, but:

in such a gliding motion and at the same time shifting his body
from one side to the other, that it is very deceptive. He is called

the Phantom in consequence of this trait. He has a wonderfully p

66
powerful left-hand jab and also swing. He, in addition, hits a
sevy powerful blow with the right. He is exceedingly quick
with both hands, nearly always starting his blows from where
he fists are placed. In other words, he does not draw back and
o telegraph his opponent that he is about to hit. He delivers his
)low with a powerful follow-thru. This effect can be obtained
f the boxer will turn around with his waist.
Bennie Leonard. — He is probably the keenest thinker in the
ing. He is figuring all the time he is facing an opponent how
o meet his style. His characteristics are his foot-work and his

ouble blows. He employs a number of double blows which are

uzzling. His foot-work is clever and can be imitated with
rofit. He bounces up and down on his toes with stretched-out
gs. The legs seem to be held stiff, and he goes bouncing around
he ring dancing on his toes. This will be found to be tiresome

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

rim it can be continued for some time. Even for a heavy man
his motion of the foot-work will be found to be quite deceiving

or the opponent. One can dance in and out, and can jab his left
and into the face of the opponent a number of times without
eceiving a return blow. When Leonard has his opponent
onfused with his active left landing in his face, he will suddenly
hip over his right with great force.

The left upper-cut for the stomach is a favorite blow with

,eonard. This is a very effective blow, and can easily be developed.
Jack Dempsey.- —The distinguishing feature of Dempsey's work
his pile-driver hitting ability. He can hit with either hand,
nywhere, and do it without showing what's coming. He makes
)lendid use of the duck and rolls his head well with opponent's
lows to his face. He is one of the hardest fighters the ring has
nown —he wastes no time in getting into action. It's a pleasure
) see him fight. He is not as skilful as Corbett, Fitzsimmons
id McCoy, but he doesn't have to be.
Jim Corbett. —The principal blow Corbett has depended upon
his left half-swing. He was the first one to introduce this blow
the East. McCoy afterwards modified this left half-swing
ito what has been called the Corkscrew blow. It is a very ef-
ictive blow, and when properly delivered will land on the nose
•
jaw of the opponent with considerable force. Corbett com-
etely wore out Sullivan at New Orleans, in their championship
?ht, with this blow. Corbett holds his head in the most perfect
67
manner. He is the kingpin of the duck. Chin always in, he is

ready to pull down the side of the head so that the approaching
hlow will never land on his nose. He has never received a broken
nose or a cauliflower ear. In fact, about all the top-notchers are
free from those beauty spots.

A cauliflower ear and a broken nose are not the sign of a good
fighter; they are evidence that he is not a good fighter. If he had
been a good fighter he would not have been so careless.

The left half-swing is delivered so that the index knuckle of the

left hand lands on the jaw or the nose of the opponent. The left

hand is turned when the blow is being delivered so that the palm
is down and the knuckle of the index or first finger strikes the
opponent.
When you find that your opponent is very quick, especially with
the left-hand jab, crouch 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. Always swing your left, or,
holding your left to guard his right, hit him with your right hand.
If you will confine your attack to these two movements you will
have him completely at your mercy.
Watch yourself very carefully in the mirror. Sec that you are
getting the correct form. Proper style is the necessary thing- to
have. It means power with the least effort expended.

68
 The "Blows
There are only eight blows: Four with the left hand and four
with the right. Nose, stomach, jaw and ribs (or upper-cut) with
the left hand, and the same with the right. Every blow in sparring

is either one of these blows or a modification of them. Nose:

straight left-hand lead. Stomach: straight left lead for the stom-
ach. Jaw: a swinging blow with the left hand for the point of
the jaw. Ribs: an upper-cut with the left hand for the ribs. Those
are the four blows with the left hand and the same with the right.

The Guards
There are only eight guards: four with the left hand and four
with the right. Left guard, stomach guard (with the left), left

block, left cuff. Right guard, ribs guard (with the right), right
block, right cuff.

The guard for the ribs is executed by bringing the right fore-
arm down quickly, covering the ribs on the right side. It will

be found best to perform this guard with the right forearm

almost parallel with the body. It must not be done like the guard
for the stomach, with the forearm swung across the body, for this
will leave the head exposed.

The cuff is executed by either hand being pushed in the opposite

direction across the body in front of the face, catching the blow
when very near 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 the right foot. Have it either*
evenly divided or mostly on the left foot. The left foot should' 1

be flat on the ground most of the time.

69
Eight bone-breaking holds and
releases (Jiu Jitsu)

Fig. 70. The Wrist-Release {First Part)

1st. When opponent grasps your wrist. —

Swing your arm in a circle, always against the
thumb. A woman can release the grip of a
man by this motion.

70
Fig. 71. The Wrist-Release {Second Part)

Fig. 72. The Wrist-Release (Third Part)

71
 2nd. When opponent grasps your throat. —
With two fingers of your left hand (should
your throat be gripped by the right hand) in-

serted, so that they grasp the little finger of the

opponent's right hand, you can bend back the
little finger (or any finger), and even break
the finger if you give it a sudden jerk and per-
sist up your advantage. Should
in following
an opponent have you on your back with his
hand on your throat you can force him to get
off and release his hold by persistently forcing
the captured finger back against the back of
his hand. Break his finger if necessary.

72
 Fig. 73. The Throat-Release {First Part)

Fig. 74. The Throat-Release (Second Part)

73
 3rd. When opponent presents a pistol to
shoots —At the instant his hand is extended
cuff it away with the hand on the side of his
pistol hand; if he draws the pistol with the
right hand cuff it away with your left. Cuff
it away and hold it as far out and away from
you as possible with your left hand, at the

same time bringing your other (right) hand

up and firmly grasping the opponent's hand
with both of yours; twist it away from you so
that he will release his hold on the pistol.

Should you wish to break the arm continue

to twist the hand. In twisting be sure you
do not turn the pistol toward you.
Another pistol release — Grasp opponent's
wrist with left hand and bend hand holding
pistol toward opponent's body until pain forces
him to release pistol.

74
 Fig. 75. Disarm (Pistol) — (First Part)

Fig. 76. Disarm (Pistol) — (Second Part)

7.S
 ;

\th. When opponent attempts to hit with

club or raises fist or dagger. —At the instant
his arm is raised grasp the wrist with your
hand which is on the same side and, forcing it

back, reach well up under the arm with your

free hand and grip the opponent's hand so that
you can force it and break the arm if necessary.
Be very careful when trying this with a friend
otheiwise you will break his arm before you
can realize it.

76
Fig. 77. Disarm [Dagger or Club) — (First Fart)

Fig. 78. Disarm (Dagger or Club)

[Second Part)

77
 Fig. 79. Guard from Kick (First Part)

Fig. 80. Guard from Kick (Second Part)

§th. IF hen opponent attempts to kick. —

At the instant he starts the kick cross your
arms in front of you and grasp his leg as it hits

against your arms.

78
Fig. 81. Release Neck Hold Fig. 82. Release Neck Hold
{First Part) {Second Part)

6th. To release hold of arms around neck

from the front. — Raise your arms behind your
opponent's back and placing them upon his
forehead force his head back. If done quickly
it will be very liable to break the neck of the
opponent. So be careful.

79
Release Waist Hold {First Part) Fig. 84. Release Waist Hold {Second Pi

7th. To release waist hold 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 com-
pelled to release his hold on your waist. Move-
ments must be quick and executed with force.
80
 Fig. 85. Throw Backwards Overhead

8th. Falling with foot in the pit of the stom-

ach of the opponent and throwing him over
your head. — The usefulness of this hold might
seldom occur. Grasp the opponent by the
lapels of the coat (or grasp both wrists) and
falling over backwards pull him with you un-
til you are about to hit the ground, then place
your foot in the pit of his stomach and throw
him over your head.

81
 Eight holds in

standing wrestling

\» m

Fig. 86. Head and Cross-Buttock Fig. 87. Head and Cross-Buttock
{First Part) (Second Part)

1st. Head and cross-buttock. — Grasp the

right wrist of the opponent with your left

hand, and pulling it close to your left side slip

your right arm around his neck, throwing your
right hip to the side of his right hip, and then
force him over your hip by turning around and
down well toward your left.

82
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i7 ^. >4rw a»</ Cross-Buttock Fig. 89. /4rm a«</ Cross-Buttock

(First Part) {Second Part)

2nd. Arm and cross-buttock. — Grasp the

right wrist of the opponent with your left hand
and pulling it close to your left side, place
your right hand under the arm pit of your
opponent's right arm, and hugging it closely
to your side turn well around and down to your
left, thereby forcing your opponent to fall over
your right hip, which must be behind his right
hip.

83
 3rd. Rolling with arm of opponent. —
Should the opponent place his hand upon
your shoulder, immediately hold it there with
the right hand, which is on the same side of

his hand (if his right hand, then hold with

your left) and turning very rapidly swing
your free arm over his head and keep on turn-
ing your body. Both of your hands should be
grasping the arm of the opponent. The arm
which you have thrown over the opponent's
head should lock the arm of the opponent
which you are grasping.

S4
 Fig. 90. Roll with Arm (First Part)

Fig. 91. Roll with Arm [Second Part)

85
 4-/A. Crotch hold with arm under chin. —
Grasp the opponent under the crotch from in

front and, placing the other arm across the

neck in front of the body, rest the hand on the
opposite shoulder, then pull up with the hand
which is under the crotch, at the same time
forcing backwards with the arm in front of
the neck.

86
Fig. 92. Crotch Hold with Arm Under
Chin (First Part)

Fig. 93. Crotch Hold with Arm Under

Chin [Second I'urt)
87
 Fig. 94. Head in Chancery and Bar
Hold (First Part)

§th. Head chancery and bar hold.

in —
Should the opponent lean forward with the
head somewhat down, place your right hand
on the back of the opponent's head and bring
him forward, forcing his head under your left
arm. Then slip your right under his left arm
and over his back. If possible get your right
shoulder under his left arm pit, and then force
him over. Should your opponent place his
right hand on your left knee, simply kneel
down with that knee, and continue to force
him over and down. Keep firm hold of head
with left arm. This is a remarkablv effective
hold.
88
Fig. 95. Head in Chancery and Bat-
Hold (Second Part, Side View)

Fig. %. Head in Chancery and Bar

Hold (Second Part, Hack View)
89
 6th. When in the position that wrestlers

generally assume, with right hand on back of

neck of opponent and left hand grasping his

right elbow with your head on his right collar-

bone and your right elbow planted firmly on
his breast. — Suddenly lift his right elbow so
that you can slide your head under and at the

same time slipping your right hand from his

neck to the back of his left arm and then reach-

ing down grasp his right leg about the knee
and then lift your opponent and turn him over
and fall upon him.
When holding an opponent down on his

back always bear as much weight forward on

his shoulders as possible. Do not rest your
weight on his chest or stomach.

90
97. Right hand on neck, left hand on
v. Slip under elbow and grasp near leg
and far arm. (First Part)

Fig. 98. Right hand on neck, left hand on

elbow. Slip under elbozv and grasp near leg
and far arm (Second Part)

91
Fig. 99. Throw Man Grasping From Fig. 100. Throw Man Grasping Front
Behind {First Part) Behind {Second Part)

jth. To throw an opponent grasping from

behind.— If you can not release the grip by

securing one of his fingers and bending it

backward (which is the proper way should a
person grasp you around the neck from be-
hind, either on the land or in the water), then
grasp the arms and holding them close to your
body twist your body to the left and down-
ward, forcing the opponent to the ground over
your head.
92
Fig. 101. Back Heel with Rig/it Foot and Grip Opponent's Right L(
{First Part)

Fig. 102. Back Heel with Right Foot and Grasp Opponent's Right Leg
(Second Part)

8th. Back heel and grip other leg. —This

hold is useful should you find your opponent
has come upon you unawares from above you.
Place your heel (right) behind his left heel,

and grasping his other leg about the knee

force him backwards by shoving your weight
93
with your right shoulder against his body.
Your head will be down at about his waist line.

These holds, as given by The Marshall Still-

man Association, are some of the most useful,

effective and simple holds known to experts.

Practice them carefully and frequently, and

you will find that you will be able to hold your
own against many experts. They will be in-
valuable if suddenly attacked and it should be
necessary to use them.

H32 75 541.
94
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