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Boxing and Wrestling Ed James 1878
Boxing and Wrestling Ed James 1878
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SPECIAL THANKS
BOXING
AND
WRESTLING;
WITH
By
ED. JAMES
AUTHOR OF “THE DUMB-BELL AND INDIAN CLUB,” “HEALTH, STRENGTH
AND MUSCLE,” “PRACTICAL TRAINING,” “MANUAL OF SPORTING
RULES,” “THE GAME COCK,” “TERRIER DOGS,” ETC., ETC.
NEW YORK:
PUBLISHED BY ED. JAMES 88 AND 90 CENTRE STREET,
THE NEW YORK CLIPPER BUILDING
——
1878.
Price Fifty Cents.
THE SCIENCE
OF
BOXING.
INTRODUCTION
——
No one is capable of imparting to others a knowledge of
that which he is not thoroughly familiar with by practical
experience; and those who may out of jealousy or from
inquisitiveness want to be informed as to “What we know
about sparring and wrestling,” we will so far gratify as
to say that twenty years or more ago our preceptor was
the renowned Yankee Sullivan, and that later on a regular
course of lessons was had from William Hastings, con-
queror of Orville Gardner and others; Sam Freeman, the
best teacher of his day, and James Hunter, of Brooklyn,
who received his tuition from Johnny Walker and Yankee
Sullivan. For a few years we tried to impart all we knew
to a host of others by sparring with them, and while con-
fessing to have received many a sprained thumb, black and
blue arms, and a black eye or two, sprinkled with a few
bloody noses, during our course of sprouts, non of these an-
noyances occurred when possessed of the proper knowledge,
backed up by plenty of practice. Few have witnessed
more glove contests, or oftener acted as referee in matches
with and without the gloves and had not our sight become
impaired, there is no telling where we should have stopped—
7
8 THE SCIENCE OF BOXING
GENERAL OBSERVATIONS.
———
UNTIL you have learned to protect your thumb and got
used to guarding, and occasional sprain may be the result,
although this need never happen when the hands are
properly closed. The right forearm may become more or
less bruised, which can be cured by applying branding and
water to the part a few times. In striking, throw the
weight of the body on the left leg, bending the knee slightly
and extending the right leg as much as possible. In stop-
THE SCIENCE OF BOXING 11
ping blows, throw your weight on the right leg and always
set the muscles of the arm firm, for it kept otherwise, the
blow is apt to be the means of making your own arm
hurt yourself.
The proper time to strike is when your partner lifts his
left foot, or projects his left arm, or shuts his eyes, taking
care that he does not initiate by catching you in the same
way.
An impetuous sparrer may be very much bothered and
annoyed by your simply holding the left arm straight out
in front, as he runs at you, receiving its full force in the
face, after which he will soon stop to consider and dis-
continue his rushing tactics.
Straight blows, from the shorter distance they have to
travel, compared to round ones, are always the best. We
should advise that twenty minutes be the maximum for
sparring at one time, as every faculty of the mind and body
are actively employed during the set-to, and suggest the
propriety of being rubbed dry with a coarse towel at the con-
colusion. The most dangerous, although not necessarily the
most exposed points of attack are the temples, throat, butt
of ear, eyes, nose, jawbone, mark (or pit of stomach), loins,
rubs and heart.
It is always best to avoid exercise with the gloves on a
full stomach; at least two hours should elapse between
eating and sparring, and where possible the set-to should
be practiced in a well-ventilated room, or, better still, on
the turf in pleasant weather. The costume should be: a
short-sleeved undershirt, pantaloons or knee tights, long,
white stockings, and high, laced-up shoes with low heels;
a handkerchief or web belt tied around the waist, to keep
the garments snug, will be found useful. The padding of
the glvoes should project well over the tips of the fingers,
and avoid what is known as “palming” (striking with
the heel of the hand), it would be well to have the
gloves heel-padded, with strings to tighten, in order
to hold them more firmly on the hand. Medium-sized
gloves are the best; those made small and hard are
pretty nearly as bad as having none on at all, while the
other extreme is to be condemned, it being impossible
to make a good display with four pillows between
yoru faces. Gloves when soiled may be cleaned with
benzine. As every one, whether with or without lookers-
on, naturally wants to appear to the best advantage, it may
12 THE SCIENCE OF BOXING
FIRST LESSON.
———
LEADING WITH LEFT AND STOPPING WITH RIGHT.
In practicing the first movement, the contestants should,
in the attitude previously explained, stand near enough
for the left-handed straight blow to reach the face, but not
so close as to touch each other’s feet, and then strike
quickly and with full force a straight blow with the left
hand at the nose, eye or mouth of each other, always hav-
ing a point to hit at, and that a vulnerable one, for the
forehead or cheek-bone is as much apt to hurt the one
striking as the one struck. When one loads, which should
be done alternately, the other should stop by either catch-
ing the blow on the right forearm, or turning it aside by
raising the right arm and throwing the blow one side up-
wards, but not throwing the hand to the right beyond the
line of the shoulder. After the lead, which let go with full
force, draw left arm quickly back to the side. Practice
this lesson till both can stop and lead well, and without
awkwardness or embarrassment.
16 THE SCIENCE OF BOXING
SECOND LESSON.
———
LEFT-HANDED COUNTERING.
In the first lesson instruction was given about leading
and stopping; this lesson is on leading and stopping at
the same instant. No change is necessary in position, but
simultaneously each one must dash out his left hand at his
opponent’s face (always aiming for a special mark), and at
the same time raise the right arm, catching the blow as
before stated, drawing left back, and repeating the lesson
ten or fifteen minutes at a time. When thorough in this
movement, but not till then, the back-handed chopping
blow, and a very severe one it is, may be used after stop-
ping the left lead, by quickly striking downwards with your
right at an opponents nose before he can recover his pro-
per guard.
THIRD LESSON.
———
LEADING AND STOPPING LEFT AND RIGHT.
The learners will, in same posture as previously, take it
in turns, striking the left at face and right at butt of left
ear and stopping these blows. The left must be aimed at
the head, a straight hit, followed immediately by the right
sent slanting across, the spot in view being the butt of the
ear. The manner of stopping these left and right handers
is by elevating the right forearm, so that the elbow points
upwards, while the right open hand is held over the left
ear, leaving room to see over the guard—the first, or left-
handed blow, aimed at the head, is thus caught on the
right elbow, and the slanting right-hander is stopped by
the palm of the otl1er’s right. In stopping these blows,
the left is held in reserve during friendly practice.
FOURTH LESSON.
———
STOPPING AND DELIVERING BODY-BLOWS.
No change in figure from other lessons, but instead of
lending with left at the face and following with right on ear,
the left is directed in a straight line at the pit of the
stomach, and the right aslant at the small ribs on the left
side. The first, or stomach left-hander, is stopped by
knocking the blow downwards with your right, and the
THE SCIENCE OF BOXING 19
second, or blow at the ribs, must be rendered futile by
drawing the left arm over them and close to your side.
The stomach-blow is also stopped by keeping the right
forearm across it, as in the original guard, which is per-
haps the best, as if, in attempting to knock the blow down-
wards, the movement is made too quick or too slow, you
are more apt to be hit than when keeping the arm steady
across the body. The pupils can practice delivering the
right at the “mark” and the left at the right ribs, which
must be stopped by holding the right arm close to the
side and knocking downwards with the left. When a blow
is aimed at the “mark,” and by any mishap it cannot be
stopped, drawing in and holding the breath will neutralize
the pain otherwise sure to follow.
FIFTH LESSON.
———
DELIVERING AND AVOIDING CROSS-COUNTERS.
The right-handed cross-counter is only used when the
left of your antagonist is on its way to strike and his body
thrown somewhat forward by the movement. When his
left face-hit is sent out, throw your head slightly to the
right, bring the right shoulder forward, and with the
right hand aim a slanting blow at his left ear. This cross-
counter may be stopped by quickly covering the point of
attack with the right hand palm towards your adversary,
the same as explained in the third lesson. If you should
happen to spar with a man standing right hand and right
foot foremost, it will be well to become accustomed to
changing your attitude in the same way—the cross-
counter then would come from your left sent in over his
right lead.
SIXTH LESSON.
———
UPPER-CUTS
When an opponent has a habit of ducking his head and
thereby avoiding blows without resorting to stopping, it is
apt to confuse; but, on a few repetitions, his caper will be
made known by certain signs beforehand, which, when
properly understood, will give the opportunity to adminis-
ter that severe blow, the upper-cut, delivered the instant
your opponent ducks his head down, by describing a half-
20 THE SCIENCE OF BOXING
SEVENTH LESSON.
———
DUCKING AND DODGING.
This should only be indulged in when blows are sent in
too rapid to stop, as in half-arm hitting, and requires
great activity and long practice to adopt with safety. It
may be practiced by each one in turn in close quarters,
when in a regular set-to, each on his merits, as also dodg-
ing the head from side to side. It is fair, and adds much
to the interest when all the points are made in a set-to,
always looking out and being on the alert for upper-cuts.
Dropping on one knee is sometimes resorted to, to avoid a
wicked blow when it cannot be stopped or dodged.
EIGHTH LESSON.
———
HALF-ARM HITTING.
When in close quarters, or to avoid being taken hold of,
or thrown, it is necessary to acquire the half-arm hits,
which are those from the elbow to the fist, only needed
when there does not admit of striking the full length of
arm blow. It will often happen, by accident or unavoid-
able causes, that you are rushed in upon before being
prepared, and that is the time to bring into play all the
half-arm hitting you are capable of, which, when an an-
tagonist is retreating, may enable you to literally fight
him down.
THE SCIENCE OF BOXING 23
NINTH LESSON.
———
FEINTS.
Almost any trick resorted to to throw an opponent off
his guard is a feint. Looking at one place and striking
at another is often done—this is not alone a source of per-
plexity to the amateur, it is almost as much so to the pro-
fessional till he has got the hang of it. When two are
sparring together, one may feint or make believe to aim at
the face and send in a stinging hit on the “mark,” or feint
at the body and with the same hand strike the nose. The
left is used almost exclusively in feinting. A steady guard,
coolness, and quickness will soon put a stopper on these
feints, by being ready to counter or cross-counter when
the real blow comes.
TENTH LESSON.
———
SHIFTING OR MANŒUVRING.
By the time the scholar will have learned this part of
the art he will be able to make a good display with a good
sparrer. The manœuvring consists of taking back steps
to avoid a rusher, or working forward to follow up a re-
treater, or stepping to the left or right and letting an
opponent pass by headlong, administering a cross-counter
as he passes, pretty sure to take effect and perhaps knock
him down. It is good for both to resort to this, as it will
learn to keep a proper balance, one of the great essen-
tials in a good boxer. When about to be cornered, or
expecting to be, a step back or wheeling around by throw
ing the right leg behind the left will enable the party to
see how the land lies behind him, so as to avoid a rusher
who may be his superior in strength.
ELEVENTH LESSON.
———
FIBBING.
After a number of exchanges have taken place on both
sides, and upon getting into too close quarters, seize your
opponent quickly with the left and encircle your arm
round his neck, and then fib away at his face with your
right. The recipient will reciprocate by fibbing you in
24 THE SCIENCE OF BOXING
return on the ribs with his right. The way of getting out
of the dilemma is to suddenly duck the head, which will
release his hold, and then spring buck and recover guard.
TWELFTH LESSON.
———
GETTING IN AND OUT OF CHANCERY.
As in fibbing, explained in the previous lesson, the ob-
ject is to seize your adversary around the neck with your
left arm, drawing his head close to your left side, then
putting on the hug by tightening the left arm about his
neck, and at the same time holding his left wrist with your
left, proceed to punish him about the face with your right
until you are tired. To extricate yourself from a similar
dangerous condition, if you should fail to induce him by a
vigorous use of your right from behind on his short ribs,
then force your right arm over his left shoulder against
his throat, pressing it backward with all your strength, or
make the best of your way by slipping through his arm
and dropping on your knees. Another method of getting
an opponent in chancery is when he attempts to dodge
under either arm, for the purpose of avoiding your lead
and to be able to use his fists on you from the rear, to
seize him around the neck as he stoops to pass by, and
then, holding his head tight, pay him off by a vigorous ap-
plication about his body, with an occasional rap on the
face from behind across your back.
ILLUSTRATIONS.
———
FRONTISPIECE - - - - - - JAMES MACE.
NO. 1. SPARRING FOR AN OPENING NO. 9. DELIVERING ONE ON THE
NO. 2. COUNTER HITTING MARK
NO. 3. THE BACK HEEL. NO. 11. LEADING WITH THE LEFT.
NO. 4. IN CHANCERY NO. 12. STOPPING LEFT AND DE-
LIVERING RIGHT ON THE
NO. 5. THE DROP GAME.
BODY.
NO. 6. THE KNOCK DOWN. NO. 13. MANNER OF STOPPING THE
NO. 7. THE CROSS BUTTOCK. LEFT LEAD.
NO. 8. THE UPPER-CUT.
THE ART
OF
WRESTLING.
GENERAL REMARKS
——
BOTH with regard. to security and agreeableness, a close
soil, covered with good green turf, is the most proper
ground for wrestling on, when care has been taken to re-
move all the hard bodies which might injure the wrestlers
in case of falls, or during the struggles which take place
on the ground. Too hard a soil presents but little resist-
ance to the feet, and it weakens the confidence of the
wrestlers, because they are afraid of slipping and of hurt-
ing themselves in falling, Ground covered with a deep
sand is very disagreeable, because in wrestling upon it the
body is almost always covered with and the eyes full of
sand. Neither boots with high heels, nor shoes with iron
about them, should ever be worn while wrestling. The
pockets should always be emptied of all things: that
might be injurious to the movements, or that might
do harm at the time of falling. The sleeves of the shirt
ought to be turned up above the elbows, the waistband of
the trowsers should not be very tight, and the shirt collar
should be open. It is expressly forbidden in wrestling for
one to take his antagonist by the throat, or by any other
improper part, to employ either the nails or the teeth, or
27
28 THE ART OF WRESTLING.
HEAD TO HEAD.
———
IN this style of wrestling the one endeavors to make the
other give way by pushing him strongly with his head and
his arms, one above and the other below. If the ground
is firm both have an equal advantage, which they will not
always preserve, for one will be able, either by strength or
address, to make his adversary recede; and, after he has
once been able to put him in motion, he will never give
him time to regain his footing.
THE BENDING.
———
IN this action, where perseverance may often procure the
victory, it is forbidden to touch one another with the
hands or to endeavor to make one let go by throwing him
down, or by wringing his fingers. The bending ought to
32 THE ART OF WRESTLING.
BENDING UPWARDS.
———
As soon as the engagement begins, he who makes the
attack lowers gently the right hand of his antagonist,
drawing it towards himself, and seizing the moment when
the elbow of the arm, which he lowers, is close to the him,
he vigorously moves it off with the right, lowers the left
hand of his adversary, making it pass before the body, and
bends his left arm on the right, by acting strongly with
the shoulder. The two arms are then joined together.
During these different actions, the knee, which is before,
ought to act in concert with the hands, in order that he
who is pulling the other towards himself may make him
lose his equilibrium. Here, the left knee being forward, it
is the right arm which lowers, and the left which moves off
THE ART OF WRESTLING 35
and bends. To execute this exercise with advantage re-
quires more suppleness than strength. It contributes
powerfully to the development of the breast and shoulders,
it fixes the upper part of the body on the hips, and pre-
pares the members for all the fine movements of wrestling.
SIDE-HOLD THROW.
———
THROW your right arm around your antagonists waist, be-
neath his left arm, seizing his right hand with your left in
front, then throw your right, leg to the farthest extent be-
hind and towards his right side. Lift him oft the ground
by means of the right arm andpress the thigh of your
'right leg against his left-hip,·raise your knee, and by a. sud-
den jerk throw him backwards. V When you do not wish
to struggle, either to avoid being thrown or to throw your
opponent, let your dead weight hang on him and swing
with his movements. By this means you can rest yourself
and tire him out.
BACK-HEEL THROW.
———
IN giving this fall twist your right heel back and round
your opponent’s 1eft heel, right arm across his throat, and
left thrown round his waist under the right arm, clasping
him around the waist. Push forward with your right arm,
draw his body towards you with the left, and by a quick
move of the right leg raise his left foot off the ground and
throw him on his back. To counteract this manœuvre, he
should remove his 1eg from before yours, thus placed to
entrap him, and place it behind, by which means he obliges
you to stand in the same dangerous situation.
CROSS-BUTTOCK THROW.
———
RUSH in and grasp tho opposite party round his neck with
your right arm, throwing your body across him in front,
44 THE ART OF WRESTLING.
seizing his right arm with your left. Get his body across
your hip, and by a, violent forward movement of your right
shoulder and right hip throw him forward on his head.
COLLAR-AND-ELBOW THROW.
———
IN the square hold, or collar-and-elbow throw, each man
shall take hold of the collar of his opponent with his right
hand, while with the left be must take hold of his elbow.
The men then make play with their legs and try to trip one
another by quick movements of their feet, and when either
one is off his balance seize the opportunity and twist him
over on his back.
JAPANESE THROW.
———
IT is common for the Japanese who desire to become very
expert to get their companions to bend back their limbs in
constrained attitudes, and thus leave the wrestler for hours
and hours together, and, indeed, in some instances, even
to dislocate and reset any particular limb. Bundles of
manilla tied up in lengths of about two feet each form
the ring, which is laid on the ground. If the wrestler is
thrown within the ring, or falls upon any portion of it, or
disturbs any part thereof with his foot, he is considered van-
quished. The wrestlers have to stand back to back, and the
appointed judge fastens a cord to the elbow of one and the
knee of the other; sundry evolutions are then ordered by
the judge, calculated to bring the greatest strain upon the
limbs of the wrestlers. If either of the wrestlers falter
under this exercise, frequently painful, he is excluded from
the ring and the other declared victor.
ILLUSTRATION.
———
FRONTISPIECE - - - - - - PROF. WM. MILLER.
NO. 1. COLLAR-AND-ELBOW WREST- NO. 5. FRENCH WRESTLING.
LING. NO. 6. SWISS WRESTLERS.
NO. 2. WESTMORELAND STYLE. NO. 7. JAPANESE STYLE.
NO. 3. THE SIDE HOLD. NO. 8. IRISH WRESTLING.
NO. 4. GRÆCO-ROMAN WRESTLING
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