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<pre>
The Project Gutenberg EBook of Swimming Scientifically Taught, by
Frank Eugen Dalton and Louis C. Dalton
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: Swimming Scientifically Taught
A Practical Manual for Young and Old
Author: Frank Eugen Dalton and Louis C. Dalton
Release Date: August 16, 2006 [EBook #19065]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK SWIMMING SCIENTIFICALLY TAUGHT ***
Produced by Suzanne Lybarger, Brian Janes, Melissa Er-Raqabi
and the Online Distributed Proofreading Team at
http://www.pgdp.net
</pre>
<p><span class='pagenum'><a name="Page_1" id="Page_1">[p. 1]</a></span></p>
<h1>SWIMMING</h1>
<h1>SCIENTIFICALLY TAUGHT</h1>
<p><a name="illus002" id="illus002"></a></p>
<div class="figcenter">
<img src="images/illus002.jpg"
alt="FRANK EUGEN DALTON" title="FRANK EUGEN DALTON" />
<br /><span class="caption">FRANK EUGEN DALTON</span>
<br /><br /><br /></div>
<h1>SWIMMING<br />
SCIENTIFICALLY<br />
TAUGHT</h1>
<h2>A PRACTICAL MANUAL FOR<br />
YOUNG AND OLD</h2>
<h4><span class="smcap">By</span></h4>
<h3>PROF. FRANK EUGEN DALTON, P.S.A.</h3>
<h4><i>Instructor in Scientific Swimming at the Dalton Swimming<br />
School, and Originator of the Dalton Method</i></h4>
<h4><span class="smcap">and</span></h4>
<h4><span class="smcap">A Chapter on Advanced Strokes</span></h4>
<h4><span class="smcap">By</span><br />
LOUIS C. DALTON<br />
<i><small>Of the Dalton Swimming School</small></i></h4>
<h4><i>WITH NUMEROUS ILLUSTRATIONS</i></h4>
<h4>FIFTH EDITION</h4>
<div class="figcenter">
<img src="images/publisher.png" class="borderless"
alt="publishers mark" title="publisher's mark" />
</div>
<h3>FUNK & WAGNALLS COMPANY</h3>
<h4>NEW YORK AND LONDON</h4>
<p><span class='pagenum'><a name="Page_4" id="Page_4">[p. 4]</a></span></p>
<p><br /><br /><br /></p>
<p class="center"><span class="smcap">Copyright, 1912 and 1918, by</span><br />
FUNK & WAGNALLS COMPANY<br />
(<i>Printed in the United States of America</i>)<br />
Revised Edition, Published May, 1918</p>
<p class="center">Copyright under the Articles of the Copyright Convention of the<br />
<span class='pagenum'><a name="Page_5" id="Page_5">[p. 5]</a></span>
Pan-American Republics and the United States, August 11, 1910</p>
<p><br /><br /><br /></p>
<h3>TO MY FATHER</h3>
<h4><span class="smcap">The Late Capt. Davis Dalton</span></h4>
<div class="blockquot"><p>who swam the English Channel from Cape Grisnez near
Boulogne, France, to Folkestone, England, August 16-17, 1890;
whose enthusiasm and unflagging interest in all matters pertaining
to swimming and life-saving have been excelled by none,
and who was a faithful practitioner of the methods herein set
forth, this book is affectionately dedicated by his son,</p>
<p class="right">
THE AUTHOR<span class='pagenum'><a name="Page_6" id="Page_6">[p. 6]</a></span><br />
<span class='pagenum'><a name="Page_7" id="Page_7">[p. 7]</a></span>
</p></div>
<p><br /><br /><br /></p>
<div class="tnote">
<h4>Transcriber's Note:</h4>
The following anomalies have been left as found in the original page images:
<br /><br />
Spelling:<br />
<ul><li>both 'sangatte' and 'sangette'</li>
<li>both 'armpit' and 'arm pit'</li>
<li>chilled; always swim around and 'excercise'</li>
<li>journalists who 'acompanied'</li></ul>
Punctuation:<br />
<ul><li>water; at the same time double the body up.[,]</li>
<li>championship for many years by following his teachings[.]</li>
<li>can[,] throw your arm around his neck</li>
<li>Thirdly.[,] Continue</li></ul>
</div>
<p><br /><br /><br /></p>
<div class='center'>
<table border="0" cellpadding="2" cellspacing="0" summary="Table of Contents">
<tr><td colspan='2'><span class="smcap">Part I—Introduction</span></td></tr>
<tr><td align='left'></td><td align='right'><span class="smcap">page</span></td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_15">The Importance of Swimming</a></span></td><td align='right'>15</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_22">Learning by the Book</a></span></td><td align='right'>22</td></tr>
<tr><td colspan='2'><span class="smcap">Part II—Various Kinds of Strokes</span></td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_27">The Back Stroke</a></span></td><td align='right'>27</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_37">The Dalton Stroke</a></span></td><td align='right'>37</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_39">The Back and Dalton Stroke</a></span></td><td align='right'>39</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_41">The Breast Stroke</a></span></td><td align='right'>41</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_41">Changing from Back to Breast Stroke</a></span></td><td align='right'>53</td></tr>
<tr><td colspan='2'><span class="smcap">New Part II—Advanced Strokes</span></td></tr>
<tr><td colspan='2'>By Louis C. Dalton</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_56">The Side Strokes</a></span></td><td align='right'>56</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_60">The Trudgeon Stroke</a></span></td><td align='right'>60</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_62">The Single Over-Arm Strokes</a></span></td><td align='right'>62</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_66">The English Racing Stroke</a></span></td><td align='right'>66</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_68">The Double Over-Arm Stroke</a></span></td><td align='right'>68</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_70">The Crawl Stroke</a></span></td><td align='right'>70</td></tr>
<tr><td colspan='2'><span class="smcap">Part III—Floating, Diving and Scientific Swimming</span></td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_81">Treading Water</a></span></td><td align='right'>81<span class='pagenum'><a name="Page_8" id="Page_8">[p. 8]</a></span></td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_84">Floating</a></span></td><td align='right'>84</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_89">Diving</a></span></td><td align='right'>89</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_106">Swimming Like a Dog</a></span></td><td align='right'>106</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_107">Plunging</a></span></td><td align='right'>107</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_109">Sculling</a></span></td><td align='right'>109</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_110">Swimming Backward on the Chest</a></span></td><td align='right'>110</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_112">The Washing Tub</a></span></td><td align='right'>112</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_113">The Propeller</a></span></td><td align='right'>113</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_115">The Torpedo</a></span></td><td align='right'>115</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_117">The Catherine Wheel</a></span></td><td align='right'>117</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_119">Rolling</a></span></td><td align='right'>119</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_121">Swimming Like a Porpoise</a></span></td><td align='right'>121</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_124">The Pendulum</a></span></td><td align='right'>124</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_127">Somersaults</a></span></td><td align='right'>127</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_129">Double Somersaults</a></span></td><td align='right'>129</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_131">With One Leg Out of Water</a></span></td><td align='right'>131</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_132">Swimming With Clothes On</a></span></td><td align='right'>132</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_134">With Hands and Feet Tied</a></span></td><td align='right'>134</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_136">Over and Under</a></span></td><td align='right'>136</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_139">Swimming Under Water</a></span></td><td align='right'>139</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_142">Monte Cristo Sack Trick</a></span></td><td align='right'>142</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_144">Notable Feats by Celebrated Swimmers</a></span></td><td align='right'>144</td></tr>
<tr><td colspan='2'><span class="smcap">Part IV—Water Polo</span></td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_153">Water Polo</a></span></td><td align='right'>153</td></tr>
<tr><td colspan='2'><span class="smcap"> Part V—Cramps, How to Save Life, Resuscitation, Etc. </span></td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_181">Cramps</a></span></td><td align='right'>181</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_182">How to Save Life</a></span></td><td align='right'>182</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_187">Resuscitation After Rescue</a></span></td><td align='right'>187</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_189">Hall's Method of Resuscitation</a></span></td><td align='right'>189</td></tr>
<tr><td align='left'><span class="smcap"><a href="#Page_191">Sylvester's Method</a></span></td><td align='right'>191</td></tr>
<tr><td align='left'><span class='pagenum'><a name="Page_9" id="Page_9">[p. 9]</a></span></td></tr>
</table></div>
<h2>ILLUSTRATIONS</h2>
<div class='center'>
<table border="0" cellpadding="2" cellspacing="0" summary="List of Illustrations">
<tr><td align='left'></td><td align='right'><span class="smcap">page</span></td></tr>
<tr><td align='left'><a href="#illus002">Frank Eugen Dalton</a></td><td align='right'><i>Frontispiece</i></td></tr>
<tr><td align='left'><a href="#illus029">Fig. 1. The Back Stroke—First Arm Movement</a></td><td align='right'>29</td></tr>
<tr><td align='left'><a href="#illus030">Fig. 2. The Back Stroke—Second Arm Movement</a></td><td align='right'>30</td></tr>
<tr><td align='left'><a href="#illus031">Fig. 3. The Back Stroke—Third Arm Movement</a></td><td align='right'>31</td></tr>
<tr><td align='left'><a href="#illus032">Fig. 4. The Back Stroke—First Leg Movement</a></td><td align='right'>32</td></tr>
<tr><td align='left'><a href="#illus033">Fig. 5. The Back Stroke—Second Leg Movement</a></td><td align='right'>33</td></tr>
<tr><td align='left'><a href="#illus034">Fig. 6. The Back Stroke—Third Leg Movement</a></td><td align='right'>34</td></tr>
<tr><td align='left'><a href="#illus035">Fig. 7. Floating Position</a></td><td align='right'>35</td></tr>
<tr><td align='left'><a href="#illus037">Fig. 8. The Dalton Stroke</a></td><td align='right'>37</td></tr>
<tr><td align='left'><a href="#illus041">Fig. 9. The Breast Stroke—First Arm Movement</a></td><td align='right'>41</td></tr>
<tr><td align='left'><a href="#illus042">Fig. 10. The Breast Stroke—Second Arm Movement</a></td><td align='right'>42</td></tr>
<tr><td align='left'><a href="#illus043">Fig. 11. The Breast Stroke—Third Arm Movement</a></td><td align='right'>43</td></tr>
<tr><td align='left'><a href="#illus044">Fig. 12. The Breast Stroke—The Leg Movement Exemplified Out of the Water</a></td><td align='right'>44</td></tr>
<tr><td align='left'><a href="#illus047">The Breast Stroke—Teaching with Trolley and Instructor</a></td><td align='right'>47</td></tr>
<tr><td align='left'><a href="#illus048">Fig. 13. The Breast Stroke—The Leg Movement</a></td><td align='right'>49</td></tr>
<tr><td align='left'><span class='pagenum'><a name="Page_10" id="Page_10">[p. 10]</a></span><a href="#illus049">Fig. 14. The Breast Stroke—The Start</a></td><td align='right'>48</td></tr>
<tr><td align='left'><a href="#illus050">Fig. 15. The Breast Stroke—Second Position</a></td><td align='right'>50</td></tr>
<tr><td align='left'><a href="#illus051">Fig. 16. The Breast Stroke—Third Position</a></td><td align='right'>51</td></tr>
<tr><td align='left'><a href="#illus054">Louis C. Dalton</a></td><td align='right'>54</td></tr>
<tr><td align='left'><a href="#illus057">Fig. 17. The Side Stroke—First Position</a></td><td align='right'>57</td></tr>
<tr><td align='left'><a href="#illus058">Fig. 18. The Side Stroke—Second Position</a></td><td align='right'>58</td></tr>
<tr><td align='left'><a href="#illus059">Fig. 19. The Side Stroke—Third Position</a></td><td align='right'>59</td></tr>
<tr><td align='left'><a href="#illus060">Fig. 20. The Trudgeon Stroke—First Position</a></td><td align='right'>60</td></tr>
<tr><td align='left'><a href="#illus061">Fig. 21. The Trudgeon Stroke—Second Position</a></td><td align='right'>61</td></tr>
<tr><td align='left'><a href="#illus063">Fig. 22. The Single Over-Arm Stroke—Second Position</a></td><td align='right'>63</td></tr>
<tr><td align='left'><a href="#illus064">Fig. 23. The Single Over-Arm Stroke—Third Position</a></td><td align='right'>64</td></tr>
<tr><td align='left'><a href="#illus066">Fig. 24. The English Racing Stroke</a></td><td align='right'>66</td></tr>
<tr><td align='left'><a href="#illus069">Fig. 25. The Double Over-Arm Stroke</a></td><td align='right'>69</td></tr>
<tr><td align='left'><a href="#illus071">Fig. 26. The Crawl Stroke</a></td><td align='right'>71</td></tr>
<tr><td align='left'><a href="#illus073">Fig. 27. The Crawl Stroke—Bent Knee Position</a></td><td align='right'>73</td></tr>
<tr><td align='left'><a href="#illus075">Fig. 28. The Crawl Stroke—Legs First Position</a></td><td align='right'>75</td></tr>
<tr><td align='left'><a href="#illus076">Fig. 29. The Crawl Stroke—Legs Second Position</a></td><td align='right'>76</td></tr>
<tr><td align='left'><a href="#illus077">Fig. 30. The Crawl Stroke—Breathing Position</a></td><td align='right'>77</td></tr>
<tr><td align='left'><a href="#illus083">Treading Water</a></td><td align='right'>83</td></tr>
<tr><td align='left'><a href="#illus085">Floating Position</a></td><td align='right'>85</td></tr>
<tr><td align='left'><a href="#illus086">Incorrect Floating Position</a></td><td align='right'>86</td></tr>
<tr><td align='left'><a href="#illus087">Easy Floating Position</a></td><td align='right'>87</td></tr>
<tr><td align='left'><a href="#illus091">Teaching Diving to a Beginner</a></td><td align='right'>91</td></tr>
<tr><td align='left'><a href="#illus093">A Bad Dive</a></td><td align='right'>93</td></tr>
<tr><td align='left'><a href="#illus094">Correct Position in Mid Air</a></td><td align='right'>94</td></tr>
<tr><td align='left'><a href="#illus095">Correct Position on Entering the Water</a></td><td align='right'>95</td></tr>
<tr><td align='left'><a href="#illus097">Mrs. Frank Eugen Dalton—Position for a Dive</a></td><td align='right'>97</td></tr>
<tr><td align='left'><span class='pagenum'><a name="Page_11" id="Page_11">[p. 11]</a></span><a href="#illus098">The Standing-Sitting Dive</a></td><td align='right'>98</td></tr>
<tr><td align='left'><a href="#illus099">The Back Dive</a></td><td align='right'>99</td></tr>
<tr><td align='left'><a href="#illus101">The Dolphin Dive</a></td><td align='right'>101</td></tr>
<tr><td align='left'><a href="#illus102">The Australian Splash</a></td><td align='right'>102</td></tr>
<tr><td align='left'><a href="#illus104">The Neck Dive</a></td><td align='right'>104</td></tr>
<tr><td align='left'><a href="#illus106">Swimming Like a Dog</a></td><td align='right'>106</td></tr>
<tr><td align='left'><a href="#illus108">Correct Position for Long Plunge in Water</a></td><td align='right'>108</td></tr>
<tr><td align='left'><a href="#illus110">Swimming Backward on Chest</a></td><td align='right'>110</td></tr>
<tr><td align='left'><a href="#illus112">The Washing Tub</a></td><td align='right'>112</td></tr>
<tr><td align='left'><a href="#illus113">The Propeller</a></td><td align='right'>113</td></tr>
<tr><td align='left'><a href="#illus115">The Torpedo</a></td><td align='right'>115</td></tr>
<tr><td align='left'><a href="#illus117">The Catherine Wheel</a></td><td align='right'>117</td></tr>
<tr><td align='left'><a href="#illus119">Rolling</a></td><td align='right'>119</td></tr>
<tr><td align='left'><a href="#illus122">Swimming Like a Porpoise</a></td><td align='right'>122</td></tr>
<tr><td align='left'><a href="#illus125">The Pendulum</a></td><td align='right'>125</td></tr>
<tr><td align='left'><a href="#illus127">Forward Somersault</a></td><td align='right'>127</td></tr>
<tr><td align='left'><a href="#illus130">Double Somersault</a></td><td align='right'>130</td></tr>
<tr><td align='left'><a href="#illus131">One Leg Out of Water</a></td><td align='right'>131</td></tr>
<tr><td align='left'><a href="#illus137">Over and Under</a></td><td align='right'>137</td></tr>
<tr><td align='left'><a href="#illus142">Monte Cristo Sack Trick</a></td><td align='right'>142</td></tr>
<tr><td align='left'><a href="#illus161">Water Polo</a></td><td align='right'>161</td></tr>
<tr><td align='left'><a href="#illus177">Water Polo—Diagram</a></td><td align='right'>177</td></tr>
<tr><td align='left'><a href="#illus184">The Best Method of Saving Life</a></td><td align='right'>184</td></tr>
<tr><td align='left'><a href="#illus191">Sylvester's Method—Figure 1</a></td><td align='right'>191</td></tr>
<tr><td align='left'><a href="#illus192">Sylvester's Method—Figure 2</a></td><td align='right'>192</td></tr>
<tr><td align='left'><a href="#illus193">Sylvester's Method—Figure 3</a></td><td align='right'>193</td></tr>
<tr><td align='left'><a href="#illus195">Tail-piece</a></td><td align='right'>195<span class='pagenum'><a name="Page_12" id="Page_12">[p. 12]</a></span>
<span class='pagenum'><a name="Page_13" id="Page_13">[p. 13]</a></span>
</td></tr>
</table></div>
<hr style="width: 60%;" />
<h2>PART I</h2>
<hr style="width: 50%;" />
<h2>INTRODUCTION</h2>
<p><span class='pagenum'><a name="Page_14" id="Page_14">[p. 14]</a></span></p>
<p><span class='pagenum'><a name="Page_15" id="Page_15">[p. 15]</a></span></p>
<hr style="width: 40%;" />
<h3>THE IMPORTANCE OF SWIMMING</h3>
<p>That all persons ought to know how to
safeguard themselves when in deep water is
becoming more and more recognized as time
passes. While swimming is probably the oldest
pastime known to man, and has had, and
still has, its votaries in every country, civilized
or uncivilized, it is curious that this most useful
science should have been so much neglected.</p>
<p>For an adult person to be unable to swim
points to something like criminal negligence;
every man, woman and child should learn. A
person who can not swim may not only become
a danger to himself, but to some one, and perhaps
to several, of his fellow beings. Children
as early as the age of four may acquire the
art; none are too young, none too old. Doctors
recommend swimming as the best all-around
exercise. It is especially beneficial to
nervous people. Swimming reduces corpu<span class='pagenum'><a name="Page_16" id="Page_16">[p. 16]</a></span>lency,
improves the figure, expands the lungs,
improves the circulation of the blood, builds
up general health, increases vitality, gives self-confidence
in case of danger, and exercises all
the muscles in the body at one time. As an
aid to development of the muscular system, it
excels other sports. Every muscle is brought
into play.</p>
<p>In other important ways it is a useful, and
even a necessary accomplishment; no one
knows when he may be called upon for a practical
test of its merits. The <i>Slocum</i> steamboat
catastrophe in the East River, New York, several
years ago, gave a melancholy example of
what better knowledge of swimming might
have done to save the lives of passengers. That
awful tragedy, which plunged an entire city
into mourning, was too appalling to have its
details revived here, but, regardless of the fact
that the life-preservers on board were found
unfit for use, the loss of life would have been
made much smaller had the unfortunate passengers
known how to keep their heads above
water until help arrived. Millions of people
are transported yearly by river craft, and just
for lack of knowledge of how to swim a repeti<span class='pagenum'><a name="Page_17" id="Page_17">[p. 17]</a></span>tion
of the <i>Slocum</i> disaster might occur any
summer.</p>
<p>Only about 20 per cent. of the entire population
of the United States know how to swim.
A visit to any of the beaches along the Atlantic
coast will convince any one of this fact. There
is no excuse for this ignorance, especially in a
city like New York, with miles of water front
and fine beaches at its very door; nor is there
excuse in other places where an ocean, lakes
and rivers afford opportunities for swimming.</p>
<p>Swimming is a tonic alike for muscle and
brain. The smallest child and the weakest
woman can enjoy it equally with the strongest
man. When slaves of the desk and counting-house
are looking forward for an all too brief
vacation and seek the mountains or seashore
to store up energy for another year's work,
they should know how to swim. Poor, indeed,
is the region which can not boast of a piece
of water in which to take an invigorating
plunge.</p>
<p>The importance of being able to swim was
very generally recognized in ancient times,
notably by the Romans. Roman youth, as early
as the Republican era, when trained to bear<span class='pagenum'><a name="Page_18" id="Page_18">[p. 18]</a></span>
arms, were made to include in their exercises
bathing and swimming in the Tiber, where
competitions were frequent. Cassius in his
youth became renowned as a swimmer. Shakespeare,
in a familiar passage, describes a race
between him and Julius Cæsar, Cassius being
made the speaker:</p>
<div class="poem"><div class="stanza">
<span class="i0">"I was born free as Cæsar; so were you:<br /></span>
<span class="i0">We both have fed as well, and we can both<br /></span>
<span class="i0">Endure the winter's cold as well as he.<br /></span>
<span class="i0">For once, upon a raw and gusty day,<br /></span>
<span class="i0">The troubled Tiber chafing with her shores,<br /></span>
<span class="i0">Cæsar said to me, 'Dar'st thou, Cassius, now,<br /></span>
<span class="i0">Leap in with me into this angry flood<br /></span>
<span class="i0">And swim to yonder point?' Upon the word,<br /></span>
<span class="i0">Accoutred as I was, I plunged in,<br /></span>
<span class="i0">And bade him follow; so, indeed he did.<br /></span>
<span class="i0">The torrent roared; and we did buffet it<br /></span>
<span class="i0">With lusty sinews; throwing it aside<br /></span>
<span class="i0">And stemming it with hearts of controversy;<br /></span>
<span class="i0">But ere we could arrive the point propos'd,<br /></span>
<span class="i0">Cæsar cried, 'Help me, Cassius, or I sink.'<br /></span>
<span class="i0">I, as Æneas, our great ancestor,<br /></span>
<span class="i0">Did from the flames of Troy upon his shoulder<br /></span>
<span class="i0">The old Anchises bear, so, from the waves of Tiber<br /></span>
<span class="i0">Did I the tired Cæsar: And this man<br /></span>
<span class="i0">Is now become a god."<br /></span></div></div>
<p><span class='pagenum'><a name="Page_19" id="Page_19">[p. 19]</a></span></p>
<p>Macaulay, in one of his "Lays of Ancient
Rome," describes the scene which followed after
Horatius had been left alone to face the
troops of Lars Porsena, his codefenders having
escaped across the bridge:</p>
<div class="poem"><div class="stanza">
<span class="i0">"Never, I ween, did swimmer,<br /></span>
<span class="i2">In such an evil case,<br /></span>
<span class="i0">Struggle through such a raging flood<br /></span>
<span class="i2">Safe to the landing place,<br /></span>
<span class="i0">But his limbs were borne up bravely,<br /></span>
<span class="i2">By the brave heart within,<br /></span>
<span class="i0">And our good father Tiber<br /></span>
<span class="i2">Bore bravely up his chin."<br /></span>
</div></div>
<p>It was not until the nineteenth century
that swimming really became a science. In
fact, it was only within the last half-century
that a real awakening to its importance occurred.
At the present day swimming has
come to be regarded as an indispensable
adjunct to the education of the young. In
many parts of Europe it forms part of the
school curriculum. Of such paramount importance
is it there held to be that, on entering
the army, the first thing taught a young recruit
is swimming. On this side of the Atlantic
its importance is becoming more evident daily.
<span class='pagenum'><a name="Page_20" id="Page_20">[p. 20]</a></span>
That the benefits to be derived from it have
manifested themselves to municipalities is evidenced
by the fact that, in addition to free
swimming baths on the water front of New
York in summer, there have been established
several indoor bathing pavilions which are
open and accessible all the year round.</p>
<p>Swimming, aside from its importance as a
possible means to self-preservation in case of
shipwreck, the upsetting of pleasure-boats, or
any of the numerous accidents that so frequently
happen on the water, and also, on occasion,
as a means of saving life, is not only
one of the best physical exercises known, but
when one swims for exercise he is also
conscious of receiving great pleasure. Most
other forms of exercise, after they have been
participated in for some time, are apt to become
something like efforts, or even hardships.
Swimming, on the other hand, continues to be
exhilarating.</p>
<p>Unfortunately, those who have been best able
to teach the science of swimming, because of
having technical knowledge and proficiency,
have not made systematic attempts to disseminate
knowledge through scientific methods.
<span class='pagenum'><a name="Page_21" id="Page_21">[p. 21]</a></span>
In this respect the author claims to differ with
most other instructors. He has endeavored,
in this work, to treat the subject scientifically
and to use simple and concise language. His
success as a teacher is attested by thousands of
pupils who have acquired the principles of a
system long known as the Dalton system
<span class='pagenum'><a name="Page_22" id="Page_22">[p. 22]</a></span>
</p>
<h3>LEARNING BY THE BOOK</h3>
<p>The question is often asked whether it is
possible for a person to learn to swim by studying
a book or a series of articles. Much depends
on the person. In the case of a very
nervous person, it is improbable that this may
be satisfactorily accomplished, for it is then
absolutely necessary that a pupil must have an
instructor, in order, at the start, to obviate
dread of the water.</p>
<p>Where this dread of water or nervousness
does not exist in any marked degree, study of
a work such as this may be of unlimited advantage.
By carefully following its instructions
it will be possible to become a very fair
swimmer without the aid of an instructor or
any second person.</p>
<p>Naturally, it is not claimed that a majority
of such self-taught swimmers will ever become
experts at the art, altho even this is possible in
a great many cases; but there is a moral certainty
that, with the exception of the aforementioned
nervous beginners, a fair knowledge of
the science of swimming may be attained in
this manner. Numbers of very good swim<span class='pagenum'><a name="Page_23" id="Page_23">[p. 23]</a></span>mers
have had no other tuition than which came
from study of a book. Especially is this true
when following the directions outlined in this
book in the matter, first, of practising keeping
the eyes and mouth open under water,
which will eliminate all nervousness; and, second,
in practising the movements used in the
breast and back strokes, which are of inestimable
aid when actually taking to the water.</p>
<p>Of course, where the swimmer desires to attain
true scientific knowledge of the art, the
beginner needs the aid of an instructor who
may watch for and correct any faults noticeable,
for the simple reason that bad habits
once contracted are more difficult to eliminate
later on.</p>
<p>If the lessons herein set forth are carefully
followed, there is no reason why, with the exceptions
before mentioned, one should not become
a good swimmer.
<span class='pagenum'><a name="Page_24" id="Page_24">[p. 24]</a></span>
<span class='pagenum'><a name="Page_25" id="Page_25">[p. 25]</a></span>
</p>
<hr style="width: 60%;" />
<h2>PART II</h2>
<hr style="width: 50%;" />
<p><span class='pagenum'><a name="Page_26" id="Page_26">[p. 26]</a></span><br />
<span class='pagenum'><a name="Page_27" id="Page_27">[p. 27]</a></span></p>
<h2>VARIOUS KINDS OF STROKES</h2>
<hr style="width: 40%;" />
<h3>THE BACK STROKE</h3>
<p>It may seem odd to the beginner (and to a
great many proficient swimmers, for that matter)
that in teaching swimming by the Dalton
system, I always begin by having pupils swim
first on the back. Most instructors do just the
reverse; but during nineteen years of a successful
career in teaching, the proficiency of
the graduated pupil has justified the method.
There are a number of very good reasons why
learners should begin by first swimming on
the back. More especially is this true of nervous
or timid pupils.</p>
<p>In the first place, the body floats more naturally
and much easier on the back. In the
breast stroke, which is the first one taught by
most instructors, the head has to be kept out
of the water and must be supported as dead
weight by the rest of the body, as explained
later on. On the contrary, in the back stroke,
or swimming on the back, the head rests on<span class='pagenum'><a name="Page_28" id="Page_28">[p. 28]</a></span>
the water and needs no support from any
other member of the body.</p>
<p>For the same reason the face, being up and
away from the water, the beginner encounters
no difficulty in breathing, and there is no danger
of the water entering the mouth, which is often
the cause of much annoyance to new pupils.</p>
<p>Then, again, while on the back, as the face
is turned upward, the beginner, especially in
the case of a nervous person, gains confidence
from the very fact that he is not constantly
looking into the water. And also, in contradistinction
to all other strokes in swimming,
the arms and legs move together—both arms
and legs performing practically the same movements
at the same time.</p>
<p>Thus the pupil, realizing the comparative
easiness and the absence of any difficulty in,
having mastered this stroke, is imbued with
such confidence that it becomes simply a matter
of time and practise to acquire all other forms
of swimming that he may wish to learn.</p>
<hr style='width: 45%;' />
<p><a name="illus029" id="illus029"></a></p>
<div class="figcenter">
<img src="images/illus029.jpg"
alt="FIGURE 1" title="FIGURE 1" /><br />
<span class="caption">FIGURE 1</span><br /><br />
</div>
<p>The first thing I do with a beginner, after he
or she has donned a bathing suit (a suit in
one piece is preferable, as it will not interfere<span class='pagenum'><a name="Page_29" id="Page_29">[p. 29]</a></span>
with breathing) is to get the pupil to lie on
the back, at full length on the marble, with the
heels together, the toes out, the hands at the
side of the body. Placing myself back of the
pupil's head, the hands are drawn, with the
fingers bent, up along the body till they touch
the shoulders (Fig. 1), the elbows being well
turned out. Then the arms are straightened
out horizontally from the shoulder, the palms
of the hand down (Fig. 2). Then the arms,
being rigid, are brought down sharply to the
side of the body (Fig. 3). These movements<span class='pagenum'><a name="Page_30" id="Page_30">[p. 30]</a></span>
should be repeated several times until the pupil
gets accustomed to them.</p>
<p><a name="illus030" id="illus030"></a></p>
<div class="figcenter">
<img src="images/illus030.jpg"
alt="FIGURE 2" title="FIGURE 2" />
<br /><span class="caption">FIGURE 2</span><br /><br />
</div>
<p>Next the leg movements are shown. The
heels are drawn up toward the body as far as
possible with the knees well turned out (Fig.
4); the pupil then kicks the legs apart as far
as possible, the toes being pointed out straight
(Fig. 5). Next the pupil brings the legs
sharply together until the heels touch, the toes
being turned out (Fig. 6). After these movements
have been repeated several times the
pupil can try the arm and leg movements together.
The arms and legs are drawn up to<span class='pagenum'><a name="Page_31" id="Page_31">[p. 31]</a></span>gether
as in Figs. 1 and 4, then the pupil
straightens out the arms and legs, as in Figs.
2 and 5, finishing the stroke by bringing the
arms and legs sharply together, as in Figs.
3 and 6.</p>
<p><a name="illus031" id="illus031"></a></p>
<div class="figcenter">
<img src="images/illus031.jpg"
alt="FIGURE 3" title="FIGURE 3" />
<br /><span class="caption">FIGURE 3</span><br /><br />
</div>
<p>When these movements have been mastered
by the pupil, I take him or her into the water,
waist deep, putting one hand under the back,
the other under the chin, forcing the pupil
backward until the ears are under the water,
then bringing the pupil's hands to the sides,
and slowly starting the movements. After the
arm movements are mastered, I take up the<span class='pagenum'><a name="Page_32" id="Page_32">[p. 32]</a></span>
leg movements, care being taken that the
knees do not come out of the water.</p>
<p><a name="illus032" id="illus032"></a></p>
<div class="figcenter">
<img src="images/illus032.jpg"
alt="FIGURE 4" title="FIGURE 4" />
<br /><span class="caption">FIGURE 4</span><br /><br />
</div>
<p>To teach pupils how to regain their feet, I
show them how to bend forward from the
waist until the face is under water, then the
pupil will find his or her feet slowly sinking;
when the toes touch the bottom the head can
be raised out of the water.</p>
<p>To accustom pupils to the water I teach them
to open the eyes and mouth under water.
This is much simpler than non-swimmers
imagine. Care is taken not to open the eyes
too wide. At the first few attempts the pupil<span class='pagenum'><a name="Page_33" id="Page_33">[p. 33]</a></span>
will feel amazed, on opening the eyes the first
time, at the distance of the vision under water.
This is a very good thing to know, and helps
beginners to overcome fear of water.</p>
<p><a name="illus033" id="illus033"></a></p>
<div class="figcenter">
<img src="images/illus033.jpg"
alt="FIGURE 5" title="FIGURE 5" />
<br /><span class="caption">FIGURE 5</span><br /><br />
</div>
<p>To teach pupils to open the mouth under
water I place a rubber ring six inches from the
surface and have the pupil bring it to the surface
with the teeth. By being careful not to
attempt to breathe while under water, the
mouth may be opened to any extent without
the least danger of swallowing water.</p>
<p>It is wonderful the amount of confidence instilled
in a novice on realizing his ability to<span class='pagenum'><a name="Page_34" id="Page_34">[p. 34]</a></span>
open the eyes and keep the mouth open under
water.</p>
<p><a name="illus034" id="illus034"></a></p>
<div class="figcenter">
<img src="images/illus034.jpg"
alt="FIGURE 6" title="FIGURE 6" />
<br /><span class="caption">FIGURE 6</span><br /><br />
</div>
<p>A preserver tied around the waist obviates
the necessity of an instructor holding the pupil,
and he can, therefore, better direct the movements,
so that the pupil, while being held up by
a preserver, makes headway, care being taken
to do the movements slowly and together.
Then the pupil is shown how to turn around.
The knees should be drawn up, as in Fig. 4,
and then to turn to the left, use the right arm
only, the left arm should be held in a straight
line with the shoulder; then continue to use the<span class='pagenum'><a name="Page_35" id="Page_35">[p. 35]</a></span>
three arm movements with the left arm, until
one has turned completely around in the water.
To turn the other way, use the other arm.</p>
<p><a name="illus035" id="illus035"></a></p>
<div class="figcenter">
<img src="images/illus035.jpg"
alt="FIGURE 7" title="FIGURE 7" />
<br /><span class="caption">FIGURE 7</span><br /><br />
</div>
<p>Next the pupil is shown how to float. The
knees are drawn up and turned out, the
arms extended back beyond the head, as
in Fig. 7; the hands, about six inches apart,
are kept under water. Deep breaths should be
drawn through the mouth and forced into the
lungs. The pupil will notice that, at each inflation
of the lungs, the body will rise in the
water, and sink correspondingly when the air
is expelled. This practise shows how buoy<span class='pagenum'><a name="Page_36" id="Page_36">[p. 36]</a></span>ant
the body is. The more limp one lies, the
more buoyant the body becomes.</p>
<p>Since I started the Dalton Swimming School
twelve years ago, at 23 West 44th Street, New
York City, I have always shown my method of
teaching swimming scientifically, which is exactly
the reverse of the methods of other instructors;
that is, teaching pupils how to swim
on their backs first, before teaching them the
breast stroke, which I contend is the hardest
stroke of all, when done correctly. Another
innovation of mine is the use of the Dalton
nose-clip, a clip that pinches the nostrils tightly
together, keeping the water out of the nose
and forcing the pupil to breathe through the
mouth, which is the correct way of breathing
while swimming. The more air one gets into
the lungs the lighter one is in the water, making
swimming easier. That is the reason so
many would-be swimmers, simply because they
try to breathe through the nose, get winded
very quickly. The main thing about breathing
in all the strokes is to keep the mouth open all
the time. With the mouth open, air can come
in and out of its own accord and the pupil
does not have to worry about the breathing.
<span class='pagenum'><a name="Page_37" id="Page_37">[p. 37]</a></span>
</p>
<h3>THE DALTON STROKE</h3>
<p><a name="illus037" id="illus037"></a></p>
<div class="figcenter">
<img src="images/illus037.jpg"
alt="FIGURE 8" title="FIGURE 8" />
<br /><span class="caption">FIGURE 8</span><br /><br />
</div>
<p>In my next lessons I teach pupils my own
stroke—that is, the Dalton stroke. This is employed
when on the back, only instead of going
head-first through the water, as in the back
stroke, the pupil goes feet first. The legs are
held out, perfectly straight, then one leg is
dropt down in the water, the upper half of
leg from knee to thigh remaining stationary
(Fig. 8). Then, as that leg is drawn back to
its original position, the other leg is brought
down in precisely the same manner, the drop<span class='pagenum'><a name="Page_38" id="Page_38">[p. 38]</a></span>ping
of both legs alternately in much the same
way as when walking. To do this effectively,
pressure must be applied to the positive stroke;
that is to say, while the foot is being drawn
down. The reverse movement, or straightening
of the leg, must be made gently. The
knees should be brought to the surface of the
water each time; this is in a slow but restful
movement. The arm movements consist of having
arms straight alongside the body, the palms
of the hands being turned out, the thumbs down,
making small circles with the hands and wrists,
as in Fig. 8, propelling one's self ahead with
small scoops. It is hard at first to combine the
two arm and leg movements, but practise
makes perfect; and after the movements are
accomplished in unison the pupil will find this
a very easy and restful stroke.
<span class='pagenum'><a name="Page_39" id="Page_39">[p. 39]</a></span>
</p>
<h3>THE BACK AND DALTON STROKE</h3>
<p>In teaching this stroke I revise both the
back and the Dalton stroke with the life-preserver
on. After the pupil has covered a distance
with the back stroke, instead of making
a turn to retrace, I show the pupil how to revert
to the Dalton stroke, thus avoiding the
necessity of turning around. When changing
from the back stroke to the Dalton stroke the
legs should be brought together and the hands
put straight to the sides of the body; then
either stroke can be continued. The next
move is to let a little air out of the life-preserver.
The pupil then begins again on the same
strokes. After several trips up and down the
pool more air is let out, with more trips up and
down the pool, and so on until there is no air
left in the preserver.</p>
<p>So slight will be the difference that the pupil
will hardly notice it. As long as the back is
well hollowed, the upper part of the body will
float, but directly the body is doubled up the
head and feet begin to sink, so that the teacher
must follow close after the pupil to make the
pupil keep the back well hollowed and the chest<span class='pagenum'><a name="Page_40" id="Page_40">[p. 40]</a></span>
expanded. Beginners will be surprized at the
ease with which back strokes propel the body
through the water without any undue effort.
To one who has never been used to swimming
without support it gives a wonderful feeling of
exhilaration to propel one's self through the
water and then, when tired, to slowly bring
the arms back under water until the thumbs
come together behind the head and the knees
are drawn up to the floating position, while
the pupil inhales deep breaths through the
mouth, thereby sustaining the body well up
in the water.
<span class='pagenum'><a name="Page_41" id="Page_41">[p. 41]</a></span>
</p>
<h3>THE BREAST STROKE</h3>
<p><a name="illus041" id="illus041"></a></p>
<div class="figcenter">
<img src="images/illus041.jpg"
alt="FIGURE 9" title="FIGURE 9" />
<br /><span class="caption">FIGURE 9</span><br /><br />
</div>
<p>The breast stroke has been handed down
from an early Roman period. It is the oldest
of all strokes, but it is the hardest to learn
properly, as the head has to be supported clear
of the water. Any part of the body when held
above water is dead weight, and as the head<span class='pagenum'><a name="Page_42" id="Page_42">[p. 42]</a></span>
is all bone, muscle and brains, it is the heaviest
part. This is why, in using the breast stroke,
it is much harder to keep the mouth and nostrils
above water. The breast stroke is so
universally identified with swimming that
every beginner wants to learn it. It is only on
this account that I teach the breast stroke.</p>
<p><a name="illus042" id="illus042"></a></p>
<div class="figcenter">
<img src="images/illus042.jpg"
alt="FIGURE 10" title="FIGURE 10" />
<br /><span class="caption">FIGURE 10</span><br /><br />
</div><p><span class='pagenum'><a name="Page_43" id="Page_43">[p. 43]</a></span>
</p>
<p><a name="illus043" id="illus043"></a></p>
<div class="figcenter">
<img src="images/illus043.jpg"
alt="FIGURE 11" title="FIGURE 11" />
<br /><span class="caption">FIGURE 11</span><br /><br />
</div>
<p>In order to make this stroke clear to beginners
I have divided it into four movements
each, for the arms and legs. It is a good plan
to practise these movements first out of the
water. Get the pupil to stand behind, or by
the side of, the instructor, and so follow the<span class='pagenum'><a name="Page_44" id="Page_44">[p. 44]</a></span>
arm movements. Let him start by having the
palms of the hands together, just below the
chin, the elbows dropt down and within a
few inches of each other, as in Fig. 9. In
the first movement shoot the arms straight
ahead, holding the hands together, as in Fig.
10. In the next movement turn the hands till
the palms are turned slightly out, with the<span class='pagenum'><a name="Page_45" id="Page_45">[p. 45]</a></span>
thumbs touching and pointed downward. In
the third movement bring the straightened out
arms around in line with the shoulders, as in
Fig. 11. In the fourth movement bring the
hands together till the palms touch, the elbows
being dropt, and the wrists touching the
chest, as in Fig. 9.</p>
<p><a name="illus044" id="illus044"></a></p>
<div class="figcenter">
<img src="images/illus044.jpg"
alt="FIGURE 12" title="FIGURE 12" />
<br /><span class="caption">FIGURE 12</span><br /><br />
</div>
<p>When the pupil has become accustomed to
using the arms, the leg movements are taught,
each leg separately. The heels are brought
together and the toes turned out. Then the
left leg is drawn up to the body, the knee
turned out, as in Fig. 9. This leg movement
is simultaneous with the arm movement,
as in Fig. 9. Then the leg is kicked straight
out sideways from the body and brought
smartly back alongside the other leg, as in
Fig. 12. These two movements of the leg are
performed while making the one movement
of the arm, as in Fig. 10. The arm movements
from Fig. 10 to Fig. 11 are accomplished
while the legs are stationary, as in Fig. 11.
Then the left knee is drawn up, as in Fig. 9,
while the hands are brought back to the chest,
as in the same figure.</p>
<p>After a little practise with the left leg, the<span class='pagenum'><a name="Page_46" id="Page_46">[p. 46]</a></span>
same movements are practised with the other
leg and arms. It is hard to practise the arms
and both legs together out of water, as in
order to do so one has to lie on a piano stool
or bench. I discourage this method because
the pressure on the abdomen is injurious.
After some practise of these movements out
of water, we then take the pupil into the water.
When the beginner enters the water, it is best
for him to be held in a horizontal position by
an overhead trolley attached to a belt strapped
around the waist, or else held up in the water
by the instructor, as per illustration. The four
arm movements are tried first, care being taken
that the hands do not come out of the water.
At the same time they should be kept as near
the surface as possible without splashing, care
being taken that, on the last movement, the
elbows are dropt and the hands kept up in the
water. This movement keeps the head up in
the water. Should the hands be dropt, the head
will sink. The pupil should keep his mouth
open all the time, not worrying whether the
water enters or not. By this means breathing
becomes natural.</p>
<p><a name="illus047" id="illus047"></a></p>
<div class="figcenter">
<img src="images/illus047.jpg"
alt="THE BREAST STROKE—TEACHING WITH TROLLEY AND INSTRUCTOR" title="THE BREAST STROKE—TEACHING WITH TROLLEY AND INSTRUCTOR" />
<br /><span class="caption">THE BREAST STROKE—TEACHING WITH TROLLEY AND INSTRUCTOR</span><br /><br />
</div>
<p><span class='pagenum'><a name="Page_47" id="Page_47">[p. 47]</a></span></p>
<p><span class='pagenum'><a name="Page_48" id="Page_48">[p. 48]</a></span></p>
<p>The leg movements are then taken up. The
best way is for the pupil, with the left hand,
to hold onto the rail that lines the pool and
to use the palm of the right hand lower down
in the water, against the side of the pool, as in
Fig. 13, thereby holding the body and legs up
in the water, if the back is arched. The legs
should be drawn up, the knees and toes well
turned out, and the legs then kicked straight
out and brought smartly together. This
combined movement forces a wedge of water
to be shot behind the legs, forcing the body
ahead. The legs are kept stationary for a
moment and then drawn up to the starting
position.</p>
<p><a name="illus048" id="illus048"></a></p>
<div class="figcenter">
<img src="images/illus048.jpg"
alt="FIGURE 14" title="FIGURE 14" />
<br /><span class="caption">FIGURE 14</span><br /><br />
</div><p><span class='pagenum'><a name="Page_49" id="Page_49">[p. 49]</a></span>
</p>
<p><a name="illus049" id="illus049"></a></p>
<div class="figcenter">
<img src="images/illus049.jpg"
alt="FIGURE 13—THE LEG MOVEMENT" title="FIGURE 13—THE LEG MOVEMENT" />
<br /><span class="caption">FIGURE 13—THE LEG MOVEMENT</span><br /><br />
</div><p>
<span class='pagenum'><a name="Page_50" id="Page_50">[p. 50]</a></span>
</p>
<p><a name="illus050" id="illus050"></a></p>
<div class="figcenter">
<img src="images/illus050.jpg"
alt="FIGURE 15" title="FIGURE 15" />
<br /><span class="caption">FIGURE 15</span><br /><br />
</div>
<p>After practising these movements it is a
good plan for the pupil to throw himself
gently on the water with his face submerged,
and so do the leg movements alone, the arms
being held straight in front a couple of inches
below the surface. As long as the head is
under water the legs will not sink. It is
surprizing the confidence one gets in doing
these leg movements with the face under
water. It takes away all fear, especially if
the eyes are kept open. When the pupil's
breath gives out, he or she should bend backward
by hollowing the back, bringing the arms
around in line with the shoulders, when the<span class='pagenum'><a name="Page_51" id="Page_51">[p. 51]</a></span>
feet will slowly sink and the pupil can easily
regain a standing position.</p>
<p><a name="illus051" id="illus051"></a></p>
<div class="figcenter">
<img src="images/illus051.jpg"
alt="FIGURE 16" title="FIGURE 16" />
<br /><span class="caption">FIGURE 16</span><br /><br />
</div>
<p>When the arm and leg movements are to
be done together, the pupil has to concentrate
his mind on the four movements. To
start, one must have the legs straight behind,
keeping them motionless till the pupil gets to
fourth movement of the arm stroke, when the
arms and legs should be the same as in Fig. 14.
On the first and the second movements, which
form a continuous movement for the legs,
shoot the arms straight out and hold them
there until the straightened out legs come<span class='pagenum'><a name="Page_52" id="Page_52">[p. 52]</a></span>
together, as in Fig. 15. Then the legs should
be kept rigid, while the hands are turned
and the arms brought around in a straight
line with the shoulders, as in Fig. 16. Finish
the stroke by drawing the legs up and the
hands in to the starting position, as in Fig. 14.
These combined movements will be difficult at
first, as the movements do not go together,
as in the back stroke.</p>
<p>When the rhythm begins to assert itself, the
best way to practise is with the head under
water. Then the pupil can think of his arm
and leg movements without the bother and
exertion of holding his head above water.<span class='pagenum'><a name="Page_53" id="Page_53">[p. 53]</a></span>
</p>
<h3>CHANGING FROM BACK TO BREAST
STROKE</h3>
<p>The change from back to breast or <i>vice versa</i>
is simple if done slowly. Let us assume the
pupil while swimming is using the breast stroke
and wishes to turn over. When in position as
in Fig. 15, the pupil should roll over on the left
side, lifting the right arm out of the water; he
will then be in the second back stroke position,
ready to continue.</p>
<p>To turn from the back to the breast the movement
is a little quicker, to prevent the legs sinking
too low. From position on the back as in
Fig. 5, roll over on the right side, lifting the
left arm out of the water so that the hands meet
straight in front. Then quickly snap the legs
straight together and bring the arms around in
line with the shoulders and resume your regular
breast stroke.</p>
<p>These turns should be practised by rolling on
either side. The pupil may also bend forward
when on the back, as in standing up, and continue
with the breast stroke.<span class='pagenum'><a name="Page_54" id="Page_54">[p. 54]</a></span>
</p>
<hr style="width: 60%;" />
<p><a name="illus054" id="illus054"></a></p>
<div class="figcenter">
<img src="images/illus054.jpg"
alt="LOUIS C. DALTON" title="LOUIS C. DALTON" />
<br /><span class="caption">LOUIS C. DALTON</span><br /><br />
</div>
<p><span class='pagenum'><a name="Page_55" id="Page_55">[p. 55]</a></span>
</p>
<h2>NEW PART II</h2>
<hr style="width: 50%;" />
<h2>ADVANCED STROKES</h2>
<hr style="width: 40%;" />
<p class="center">By<br />
<span class="smcap">Louis C. Dalton</span><span class='pagenum'><a name="Page_56" id="Page_56">[p. 56]</a></span></p>
<h3>THE SIDE STROKES</h3>
<p>The side stroke is used for long distance
swimming and is easy to learn on either side.
The pupil should count the movements and be
deliberate while doing the strokes. Splashing
and fast strokes always denote an indifferent
swimmer. Easy and graceful swimming can
only be acquired by taking slow strokes and
keeping the hands under the surface, thereby
obviating all tendency of pushing the arms
through the air instead of the water. While
practising these movements the head must be
kept down so as to be supported by the water.</p>
<p><i>Right Side.</i>—Practise these movements on the
floor. <i>Arm Strokes.</i>—The beginner extends the
right arm until it straightens in front, keeping
it in this position, thus making it easier to acquire
balance. Place the left hand at the left
side. Movement I.—Draw the left arm slowly
up to the chest, palm out. Movement II.—Extend
the left arm as far forward as possible.</p>
<p>Movement III.—Draw the left arm down to
the side of the upper (left) leg, being careful
not to bend the elbow. <i>Leg Strokes.</i> Movement
I.—Bend both legs back together from the
knees down. Movement II.—Extend the left
leg backward from the hip as far as possible,<span class='pagenum'><a name="Page_57" id="Page_57">[p. 57]</a></span>
and the right leg forward from the hip as far
as possible.</p>
<p><a name="illus057" id="illus057"></a></p>
<div class="figcenter" >
<img src="images/illus057.jpg" alt="FIGURE 17" title="FIGURE 17" />
<br /><span class="caption">FIGURE 17</span><br /><br />
</div>
<p>Movement III.—Snap the legs, which should
then be perfectly straight, together. Now combine
both Movements I. as in Fig. 17, then
Movements II. as in Fig. 18, and Movements
III. as in Fig. 19. After the pupil is more advanced
he may use his right arm by extending it
out from and bringing it back to the right side
of the body.</p>
<p><i>Breathing.</i>—Inhale as the left arm is swept
alongside the body. Exhale when left arm is
extended forward.</p>
<p><i>Left Side.</i>—The same procedure as for the
right side may be followed lying on the left side.<span class='pagenum'><a name="Page_58" id="Page_58">[p. 58]</a></span>
This is important to learn as the pupil should
swim equally well on either side. It will also
help him to acquire good form. <i>Arm Strokes.</i>
Movement I.—Draw the right arm forward
close to the chest, palm out, elbow at the side.
Movement II.—Extend the right arm forward
as far as possible, keeping the hand about six
inches below the surface. Movement III.—Sweep
the right arm sharply down to the right
side, then rest. The left arm is not used, but
held straight in front to help balance the body.
When the pupil is proficient the left arm may be
extended out and brought back as on the right
side.</p>
<p><a name="illus058" id="illus058"></a></p>
<div class="figcenter">
<img src="images/illus058.jpg" alt="FIGURE 18" title="FIGURE 18" />
<br /><span class="caption">FIGURE 18</span><br /><br />
</div><p><span class='pagenum'><a name="Page_59" id="Page_59">[p. 59]</a></span>
</p>
<p><a name="illus059" id="illus059"></a></p>
<div class="figcenter">
<img src="images/illus059.jpg" alt="FIGURE 19" title="FIGURE 19" />
<br /><span class="caption">FIGURE 19</span><br /><br />
</div>
<p><i>Leg Strokes.</i> Movement I.—Bend both legs
back, from the knees down. Movement II.—Spread
the legs as wide apart as possible, the
right back from the hip and the left forward
from the hip. Movement III.—Snap the
straightened out legs together. <i>Combine the
Arm Movements with the Leg Movements.</i>
Movement I.—Draw the right arm close to the
chest, palm out; bend both legs back, from the
knees down. Movement II.—Extend the right
arm forward and spread the legs wide apart.
Movement III.—Sweep the right arm down to
right side and snap the legs together, then rest
while your body is being propelled through the
water. Hold the head so the mouth is above the
surface, and breathe as on the right side.<span class='pagenum'><a name="Page_60" id="Page_60">[p. 60]</a></span>
</p>
<h3>THE TRUDGEON STROKE</h3>
<p><a name="illus060" id="illus060"></a></p>
<div class="figcenter" >
<img src="images/illus060.jpg" alt="FIGURE 20" title="FIGURE 20" />
<br /><span class="caption">FIGURE 20</span><br /><br />
</div>
<p>This was one of the racing strokes before the
advent of the Crawl, and was considered by
some swimmers the fastest stroke. It is quite
tiring and should only be used for short distances.
A great many swimmers modify this
stroke to suit themselves, but there is only one
scientific way. The arms are held perfectly
stiff, and lifted well above the water on every
stroke. First practise with the arms alone. Lie
on right side with the right arm extended forward
at full length, left arm perfectly rigid at
left side. Draw the right arm sharply down<span class='pagenum'><a name="Page_61" id="Page_61">[p. 61]</a></span>
through the water to the right side, turning the
body at the same time, lifting the left arm out
of the water and extending it straight in front.</p>
<p>The legs should be drawn up, heels together,
knees spread as the right arm starts to come
forward (Fig. 20). Then spread the legs apart
as the right arm is extended forward. Snap the
legs together as the right arm is swept below
the surface to the right thigh. These three leg
movements must be done very quickly. The
head rests on the water, the mouth just above
the surface for breathing.</p>
<p><a name="illus061" id="illus061"></a></p>
<div class="figcenter">
<img src="images/illus061.jpg" alt="FIGURE 21" title="FIGURE 21" />
<br /><span class="caption">FIGURE 21</span><br /><br />
</div>
<p>When the left arm is brought forward and
later down to the side, the legs remain motionless
(Fig. 21). For racing purposes, the arms
may be bent at the elbows.<span class='pagenum'><a name="Page_62" id="Page_62">[p. 62]</a></span>
</p>
<h3>THE SINGLE OVER-ARM STROKES</h3>
<p>Pupils after mastering the side and trudgeon
strokes take to this stroke very quickly, because
in reality it is a combination of both.</p>
<p><i>Right Single Over-Arm Stroke. Arm
Strokes.</i> Movement I.—Lie on the right side,
right arm drawn in toward the body, hand
pointing forward, left arm resting at the left
side of body, palm out. Movement II.—Lift
the left arm out of the water and extend forward,
but at arm's length, away from the head,
the right arm motionless. Movement III.—Sweep
the left arm sharply down to the side and
extend the right arm straight ahead. <i>Leg
Strokes.</i> Movement I.—Bend both legs back
from the knees down, keeping the knees and
ankles together. Movement II.—Place the
right leg back from the hip, and the left leg forward
from the hip. Be sure the legs are perfectly
rigid.</p>
<p>Movement III.—Snap both straightened out
legs sharply together, then rest.</p>
<p><i>Combine with the Arms.</i> Lie on right side.
Movement I.—Hold the left arm down to the
side, palm out, right arm drawn in toward the
body, hand pointed forward, legs bent back
from the knees down.<span class='pagenum'><a name="Page_63" id="Page_63">[p. 63]</a></span>
</p>
<p>Movement II.—Lift the left arm out of the
water, at the same time spreading the legs
apart, keeping the right arm motionless (Fig.
22). Movement III.—This movement must be
done sharply. Draw the left arm down to the
side, extending the right arm straight ahead,
while snapping the legs straight together as in
Fig. 23.</p>
<p><a name="illus063" id="illus063"></a></p>
<div class="figcenter">
<img src="images/illus063.jpg" alt="FIGURE 22" title="FIGURE 22" />
<br /><span class="caption">FIGURE 22</span><br /><br />
</div>
<p><i>Left Single Over-Arm Stroke. Arm Strokes.</i>—Lie
on left side. Movement I.—Place the
right arm at right side of body, palm out, the
left arm held close to the side. Movement II.—Lift
the right arm out of the water, being careful
to hold it as far away as possible to avoid
splashing, the left arm motionless.</p>
<p><span class='pagenum'><a name="Page_64" id="Page_64">[p. 64]</a></span></p>
<p>Movement III.—Sweep the right arm
sharply down to the right side, and extend the
left arm straight ahead. <i>Leg Strokes.</i> Movement
I.—Bend the legs back from the knees
down, knees and ankles together. Movement
II.—Bring the right leg back from the hip, and
extend the left forward from the hip. Movement
III.—Snap the straightened out legs
sharply together.</p>
<p><a name="illus064" id="illus064"></a></p>
<div class="figcenter">
<img src="images/illus064.jpg" alt="FIGURE 23" title="FIGURE 23" />
<br /><span class="caption">FIGURE 23</span><br /><br />
</div>
<p><i>Combine the Arms and Legs.</i> Movement I.—Hold
the right arm at full length to right
side, palm out; the left hand should be held well
in toward the body, pointing forward; bend both
legs back from the knees down, knees and ankles
together. Movement II.—Lift the right arm
out of the water and spread the legs apart;<span class='pagenum'><a name="Page_65" id="Page_65">[p. 65]</a></span>
while doing this movement the left arm is motionless.
Movement III.—Bring the right arm
sharply down to the right side, extending the
left arm forward, and snapping the legs quickly
together.</p>
<p><i>Breathing.</i>—Inhale through the mouth, at
the moment when each arm is performing the
downward stroke on either side, as the mouth
will then be clear of the water. Exhale immediately
the arm is extended forward. </p>
<p>Anybody who is ambidexterous will find it
easier to learn the left single over-arm stroke
before the right.<span class='pagenum'><a name="Page_66" id="Page_66">[p. 66]</a></span>
</p>
<h3>THE ENGLISH RACING STROKE</h3>
<p><a name="illus066" id="illus066"></a></p>
<div class="figcenter" >
<img src="images/illus066.jpg" alt="FIGURE 24" title="FIGURE 24" />
<br /><span class="caption">FIGURE 24</span><br /><br />
</div>
<p>The English Racing Stroke is a great deal
more difficult to learn than any of the advanced
strokes that we have reached so far, but once the
student is proficient, it is one of the prettiest
strokes. My brother, Prof. F.E. Dalton, swims
this stroke faster than some swimmers do the
crawl, and in action he does it most gracefully
(Fig. 24). <i>The Arm Movements</i> should first
be learned. Lie on the right side (but if the
pupil prefers it can be done equally as well on
the left). Hold the left arm at the left side.
Then raise it out of the water, bending the
elbow; the hand should enter palm out, and<span class='pagenum'><a name="Page_67" id="Page_67">[p. 67]</a></span>
about six inches below the surface, then extending
it as far forward as possible. Next sweep
the left arm down to the side sharply. Extend
the right arm straight ahead, drawing it in
toward the body with a semi-circular scoop.</p>
<p>The leg movements are very difficult and a
great deal of practise is necessary before the
pupil will be ready to combine with the arms.</p>
<p>The legs are spread apart and snapped together
as in the side stroke, but instead of stopping
with this scissors kick make an extra small
circle kick.</p>
<p><i>Breathing.</i>—Inhale by turning the head as
the left arm is swept down to the left side; exhale
under water when the left arm is extended
forward. Pay great attention to breathing on
each stroke, as this is a great deal more essential
than acquiring a little speed, if you wish to swim
any distance. Because of improper breathing
people who can not swim very well complain
more about getting winded quickly, than they
do of anything else.<span class='pagenum'><a name="Page_68" id="Page_68">[p. 68]</a></span>
</p>
<h3>THE DOUBLE OVER-ARM STROKE</h3>
<p>The Double Over-Arm Stroke, while difficult
to master, will not prove so for the student who
has learned the English racing stroke. Learn
the double over-arm to acquire form. For racing
the Crawl will answer.</p>
<p><i>Arm Strokes.</i>—Place the left arm at the left
side, then lift it out of the water, bending the
elbow and stretching it as far forward as possible;
now draw the hand down through the water
so it is swept to the side. The right arm should
be at the right side in position to come forward
perfectly rigid at third movement of left arm.
There must be enough roll of the body to allow
the right arm to come out of the water to insure
proper breathing. Sweep the right arm down
through the water as the left arm is raised out
of the water.</p>
<p>Hold the face under the water excepting
when you inhale after the left arm has passed
the mouth; exhale when under as the right arm
comes forward.</p>
<p><i>Leg Strokes.</i>—The legs perform the regular
scissors kick at the same time with left arm
action, then cross them over and make a smaller
scissors kick in conjunction with right arm action
while the body is rolling, as in Fig. 25. The
arms and legs should be relaxed except when<span class='pagenum'><a name="Page_69" id="Page_69">[p. 69]</a></span>
the arms are making their sweep and the legs
are snapping together, otherwise the pupil will
be under a constant strain which is not conducive
to good form in swimming. The pupil may
find it very difficult at the start to time this
stroke.</p>
<p><a name="illus069" id="illus069"></a></p>
<div class="figcenter" >
<img src="images/illus069.jpg" alt="FIGURE 25" title="FIGURE 25" />
<br /><span class="caption">FIGURE 25</span><br /><br />
</div><p><span class='pagenum'><a name="Page_70" id="Page_70">[p. 70]</a></span>
</p>
<h3>THE CRAWL STROKE</h3>
<p>The Crawl and Trudgeon Crawl are by all
means the fastest strokes for propelling the
human body through the water up to date. The
crawl stroke as originally introduced was a
combination of the trudgeon arm stroke with a
leg drive used by the natives of the South Sea
Islands. This stroke has since been so changed
by leading swimmers, it is probably entirely different
from that originally introduced. A great
many amateur and professional coaches advocate
the teaching of the crawl to beginners. I
would have the pupil note the difference between
a Coach and Swimming Instructor. The
Coach's pupil knows how to swim, but the Instructor
must first teach his pupil. The coaches
are so much in favor of the crawl they advocate
everybody being taught it when first learning.
On the other hand, the Instructor knows that it
would take twice as long to teach the crawl to a
nervous beginner.</p>
<p><a name="illus071" id="illus071"></a></p>
<div class="figcenter">
<img src="images/illus071.jpg" alt="FIGURE 26" title="FIGURE 26" />
<br /><span class="caption">FIGURE 26</span><br /><br />
</div>
<p><span class='pagenum'><a name="Page_71" id="Page_71">[p. 71]</a></span></p>
<p>I have had, in consequence, a deluge of requests
from novices that they be taught the
crawl, so I wish to spread broadcast the fact
that it is <i>absolutely</i> essential for pupils to acquire
confidence by first learning the simple
Back and Dalton strokes. The principal reason
for this is the fact that beginners, 85% of
whom are nervous, extremely so, will naturally
not immerse their faces, and as this stroke
must be swum with the face under water it will
readily be seen why I differ with the coaches
referred to. The crawl, like all other strokes in
swimming, must be done slowly to attain speed,
and the body relaxed.</p>
<p><span class='pagenum'><a name="Page_72" id="Page_72">[p. 72]</a></span></p>
<p>Bend all your efforts to acquiring form; speed
will come later with constant practise, patience
and perseverance. The crawl may be done correctly
with varying details, depending on the
physique of the swimmer, and ability of the
coach to apply the proper methods to his pupil.
I have swum the crawl in all its various details,
and will explain the method I have found fastest
and easiest for the pupil. The crawl, except for
short distances, is not the stroke used for racing.
The trudgeon crawl is the stroke par excellence
for racing purposes.</p>
<p><i>Leg Strokes.</i>—Extend the arms at full length
in front of the head with face under water, while
practising with the legs. While doing this hold
the breath, but not after you have learned the
completed stroke. When practising these movements
you must kick the legs a trifle faster than
will be necessary when combining with the arm
movements.</p>
<p>The legs must be relaxed, especially at the
hips, kicking them up and down alternately; in
doing this do not open them more than from<span class='pagenum'><a name="Page_73" id="Page_73">[p. 73]</a></span>
about ten to fifteen inches as in Fig. 29. This
will depend a great deal on the physique and
buoyancy of the swimmer. The toes should be
pointed behind and the feet turned inward. Be
careful that you do not make the mistake of
kicking them too high or opening them too
much, also that they do not come out of the
water. In doing this thrash stroke you will
readily know if you are making these mistakes,
because the legs will become tired and cramped
very quickly. Some fast swimmers bend their
legs at the knees as illustrated in Fig. 27, others
take a sort of pedalling motion by bending the
ankles back and forth.</p>
<p><a name="illus073" id="illus073"></a></p>
<div class="figcenter" >
<img src="images/illus073.jpg" alt="FIGURE 27" title="FIGURE 27" />
<br /><span class="caption">FIGURE 27</span><br /><br />
</div>
<p>This is done by bringing the toes up as the
leg rises, and pointing them down as the leg<span class='pagenum'><a name="Page_74" id="Page_74">[p. 74]</a></span>
snaps back. At the present time the fastest
sprinters swim without the great bend in the
knee; some bend them slightly to help relax the
legs.</p>
<p>The trudgeon crawl kick is a combination of
the crawl and the trudgeon, and the reason it is
used for sprinting in preference to the crawl is
because it is less tiring, thus affording greater
speed for long distances. This may be swum in
either two, four, six, or eight beats. The eight-beat
is not used very often. The six-beat is used
by most of the fastest swimmers, but the four-beat
is the easiest for pupils to learn and time; it
also is very speedy. The legs should be kept
close together at all times and after taking two,
four, six or eight beats, whichever the case may
be, the kick should be formed that the first and
fourth kicks amount to narrow scissors kicks,
then follow with the regular thrash kick, which
is straight up and down, as illustrated in Fig.
28. Point the legs and turn the feet in slightly.</p>
<p>Quite a few swimmers believe their legs are
of little assistance, but you will find, if you practise
the movements alone the way I suggest, the
legs will play a very prominent part in your
stroke.</p>
<p>You will be able to make good speed without
using the arms. When these movements are
thoroughly mastered, after trying all the different
variations to discover which suits your<span class='pagenum'><a name="Page_75" id="Page_75">[p. 75]</a></span>
particular need, you may then turn your attention
to learning the arm stroke.</p>
<p><a name="illus075" id="illus075"></a></p>
<div class="figcenter">
<img src="images/illus075.jpg" alt="FIGURE 28" title="FIGURE 28" />
<br /><span class="caption">FIGURE 28</span><br /><br />
</div>
<p><i>The Arm Strokes.</i>—The arms should be
practised with the face under water, moving the
legs only sufficiently to prevent them sinking
too low, and also so you can obtain the correct
position in the water. The arms should be bent
at the elbows after they are brought out of the
water. The reach should be straight out from
the shoulders, placing the hands as far forward
as possible before entering the water; by so doing
you will conserve your energy. Hold the
hands like a scoop; they should be about six
inches below the surface before taking the
sweep. While doing this the elbows must be
perfectly stiff, sweeping the arms with consid<span class='pagenum'><a name="Page_76" id="Page_76">[p. 76]</a></span>erable
force under the surface as far back as
the thighs, the body being propelled forward by
the powerful force. Swing the arms from the
shoulders and just lift them enough so they
clear the water. Relax the arms at all times
excepting when they take the sweep through
the water.</p>
<p><a name="illus076" id="illus076"></a></p>
<div class="figcenter" >
<img src="images/illus076.jpg" alt="FIGURE 29" title="FIGURE 28" />
<br /><span class="caption">FIGURE 29</span><br /><br />
</div>
<p>Some swimmers draw the arms under the
stomach, others use the arms entirely straight,
a few place the arms in close to the head and
extend to full length under water. As in the
leg stroke, if the pupil tries the different
methods he will find which stroke is the easiest
to accomplish. Having mastered the arms,
combine with the legs before attempting to
breathe, as this in itself is quite difficult.<span class='pagenum'><a name="Page_77" id="Page_77">[p. 77]</a></span>
</p>
<p><i>Breathing.</i>—The breathing must be done entirely
through the mouth. On the crawl the
head and not the body must be turned, and just
sufficiently to allow the mouth coming above the
water as the left arm passes the head, and a deep
breath can then be taken. When the left arm
comes forward, turn the face under the water
and exhale; repeat on every stroke.</p>
<p><a name="illus077" id="illus077"></a></p>
<div class="figcenter" >
<img src="images/illus077.jpg" alt="FIGURE 30" title="FIGURE 30" />
<br /><span class="caption">FIGURE 30</span><br /><br />
</div>
<p>Do not raise your head when breathing or
hold your breath for a consecutive number of
strokes. Constant practise will loosen the muscles
of the neck, when you will find it much
easier. In the trudgeon crawl there is a greater
roll to the body, and you breathe when rolling
toward the right side, as in Fig. 30.<span class='pagenum'><a name="Page_78" id="Page_78">[p. 78]</a></span>
</p>
<p>Having learned the arm and leg movements
with the breathing, it is now essential that the
position of the body be correct (see Fig. 26).
Do not make the mistake of burying your head
too deep or the legs, either; hollow the back so
as to present a slight slant to the water. If the
legs and back come too high raise the head a
trifle.<span class='pagenum'><a name="Page_79" id="Page_79">[p. 79]</a></span>
</p>
<hr style="width: 60%;" />
<h2>PART III</h2>
<hr style="width: 50%;" />
<h2>FLOATING, DIVING AND SCIENTIFIC
SWIMMING<span class='pagenum'><a name="Page_81" id="Page_81">[p. 81]</a></span><br /><span class='pagenum'><a name="Page_80" id="Page_80">[p. 80]</a></span>
</h2>
<hr style="width: 40%;" />
<h3>TREADING WATER</h3>
<p>Treading water is a very useful and necessary
adjunct to swimming, especially so to
the person who either falls overboard or goes
to the rescue of a drowning person, or when
trying to remove one's clothes. In the game
of water polo, also, this method of swimming
is practised a great deal.</p>
<p>To tread water is like running up-stairs
rapidly; the legs have to be brought up and
down all the time; the hands should be kept
on the surface of the water, the palms continually
pressing against the water, and thereby
helping the legs to hold the body up.</p>
<p>It is possible to stand perfectly still in deep
water, it being merely a question of balance.</p>
<p>Stand perfectly still, with the arms in line
with the shoulders and the head kept well
back in the water. The head will sink below<span class='pagenum'><a name="Page_82" id="Page_82">[p. 82]</a></span>
the surface once or twice until the proper
balance is reached. When this is attained try
breathing through the mouth. The swimmer
can stand still for an indefinite period.<span class='pagenum'><a name="Page_83" id="Page_83">[p. 83]</a></span>
</p>
<p><a name="illus083" id="illus083"></a></p>
<div class="figcenter" >
<img src="images/illus083.jpg" alt="TREADING WATER" title="TREADING WATER" />
<br /><span class="caption">TREADING WATER</span><br /><br />
</div><p><span class='pagenum'><a name="Page_84" id="Page_84">[p. 84]</a></span>
</p>
<h3>FLOATING</h3>
<p>Floating on the surface of the water is enjoyed
immensely by all good swimmers. This
feat may seem quite simple, but it is not very
easily accomplished. There are many persons
who are fairly good swimmers, and yet
are unable to float properly. The best of
swimmers have often attained this feat only
after long and persistent practise. It is possible
to learn to float without being able to
swim, but in that case only by persons not
subject to the least nervousness. As a means
of securing rest during exercises in the water,
floating gives an ideal position. Without the
ability to float one lacks the absolute self-confidence
in the water so necessary in order to
perform numerous aquatic feats.</p>
<p>As a rule, women learn to float more
quickly than men, because their bones are
lighter. Oftentimes women are able to float
the first time they enter the water. Strange
as it may seem, while this accomplishment is
a very difficult matter for some men to master,
with women it is almost natural. Nothing is
more enjoyable to a good swimmer than float<span class='pagenum'><a name="Page_85" id="Page_85">[p. 85]</a></span>ing.
Especially is this true while bathing at
the seashore, when the sea is often rough and
the breakers high.</p>
<p><a name="illus085" id="illus085"></a></p>
<div class="figcenter">
<img src="images/illus085.jpg" alt="FLOATING POSITION" title="FLOATING POSITION" />
<br /><span class="caption">FLOATING POSITION</span><br /><br />
</div>
<p>The positions for floating or for swimming
on the back is practically the same, the only
difference being that in floating the body lies
perfectly motionless, while in swimming on
the back the limbs are constantly in motion.
There is no position more comfortable to a
swimmer than floating; it is the position of
rest, and no bed is so soft as the ocean. To
be able to lie perfectly at ease with only the
toes and the lower part of the feet peeping<span class='pagenum'><a name="Page_86" id="Page_86">[p. 86]</a></span>
above the water is one of many pretty accomplishments
in swimming. Yet it requires
considerable practise to become perfect in the
art.</p>
<p><a name="illus086" id="illus086"></a></p>
<div class="figcenter" >
<img src="images/illus086.jpg" alt="INCORRECT FLOATING POSITION" title="INCORRECT FLOATING POSITION" />
<br /><span class="caption">INCORRECT FLOATING POSITION</span><br /><br />
</div>
<p>After the novice has mastered the back
stroke, it is essential that he should learn how
to float in different positions. Begin then by
extending the arms above the head, thumbs
locked, and back hollowed; then bend slowly
backward until the back of the hands and head
rest in the water, when, by giving the feet
a slight push forward, the legs will rise slowly
to the surface. Keep the mouth open and
breathe deeply, as the more air injected into
the lungs the higher the body will float. The<span class='pagenum'><a name="Page_87" id="Page_87">[p. 87]</a></span>
head, being the heaviest part of the body in
the water, should therefore be kept well back.
Should the legs show a tendency to sink, extend
the straightened out arms under the surface
in line with the body above the head;
this will counterbalance the legs.</p>
<p><a name="illus087" id="illus087"></a></p>
<div class="figcenter" >
<img src="images/illus087.jpg" alt="EASY FLOATING POSITION" title="EASY FLOATING POSITION" />
<br /><span class="caption">EASY FLOATING POSITION</span><br /><br />
</div>
<p>Another method is to draw the heels up
close to the body, spreading the knees wide
apart so that the heels will touch each other.
Should the body roll from side to side, spread
the arms until the body is steadied; sometimes
a slight stroke from the side which is rolling
is sufficient to maintain the balance. As women
float much easier than men on account of the
smallness of their bones, stout persons are<span class='pagenum'><a name="Page_88" id="Page_88">[p. 88]</a></span>
more buoyant in floating than slim ones.
Floating in fresh water is more difficult than
in salt water. Few male swimmers can float
in fresh water at all.</p>
<p>To regain the feet in floating seems to be
a difficult thing for beginners, and yet it can
be done with comparative ease and little
splashing if the arms are brought in front,
using the hands as a scoop while pulling the
body forward from the waist up. By bringing
the body and the head forward until immersed,
the legs will be forced to the bottom.
One thing beginners should always remember
is to keep the lungs well inflated and the
head well back in the water; in fact, everything
should be kept under water with the
exception of the mouth and the nose.</p>
<p>Another important thing to remember in
floating is to keep the body limp, and breathe
naturally and regularly.<span class='pagenum'><a name="Page_89" id="Page_89">[p. 89]</a></span>
</p>
<h3>DIVING</h3>
<p>After a person has mastered the first rudiments
of swimming, such as the back, breast,
and floating strokes, he is naturally anxious to
learn to dive. There is nothing more fascinating
to a swimmer than a sharp, clean plunge
into cool water.</p>
<p>The whole secret of diving is the possession
of plenty of pluck and self-confidence. One
need not be an expert swimmer to be a good
diver. In fact, some persons can dive very
well and at the same time are mediocre
swimmers. As in other branches, practise
makes perfect.</p>
<p>While in ordinary swimming diving is
indulged in merely for the pleasure derived
therefrom, in racing diving is a very important
factor. Frequently races are won mainly
from the ability of the contender to dive properly;
in other words, to get away with a skimming
plunge, thus securing a good start and
getting into a stride that carries him to victory.</p>
<p>This form of swimming is also of the utmost
importance in the matter of life-saving.<span class='pagenum'><a name="Page_90" id="Page_90">[p. 90]</a></span>
As a luxury in sea-water bathing nothing
equals a plunge from a good height.</p>
<p>I advise beginners to practise from a float
or springboard, the latter being preferable, as
the spring naturally throws the legs up into
the air, thereby preventing the diver from
landing flat on his stomach, as most beginners
usually do. The essential points to be considered
in diving are to keep the head well
tucked in between the extended arms, the
thumbs locked, the arms forming an arch above
the head. In standing, preparatory to the dive,
the knees should be slightly bent, so that the
spring comes from the bended knees and
toes.</p>
<p><a name="illus091" id="illus091"></a></p>
<div class="figcenter" >
<img src="images/illus091.jpg" alt="TEACHING DIVING TO A BEGINNER" title="TEACHING DIVING TO A BEGINNER" />
<br /><span class="caption">TEACHING DIVING TO A BEGINNER</span><br /><br />
</div>
<p>In teaching diving to a nervous pupil, at
first I generally hold up the left leg as he is
bending over to dive. The farther over he
bends, the higher I raise the leg, as per illustration.
Then it is impossible for the swimmer
to fall flat on the water; the upraised
leg prevents that. This is the way that I advise
all would-be divers to make their first
attempt. After a while the diver will throw
up both legs in the air behind him. To obviate
entering the water with the knees doubled<span class='pagenum'><a name="Page_92" id="Page_92">[p. 92]</a></span><br /><span class='pagenum'><a name="Page_91" id="Page_91">[p. 91]</a></span>
up, as so many do (see illustration), the toes
must be pointed straight up, back arched.
Pointing the toes tends to straighten the legs
out (see page 94). Another method I
use in teaching a diver to spring well out is to
hold a long stick across the water, about four
feet away and three feet above the diving-board.
This makes the diver spring well out
and throw his legs up behind him. It is well
to impress the diver always to keep his thumbs
interlocked. Otherwise, if he should be diving
in a shallow place, the hands would spread and
the head would strike bottom; locking the
thumbs prevents this.</p>
<p>After deep and shallow dives have been
mastered, the pupil can take up various fancy
dives, such as the "side dive," "standing-sitting
dives," "standing, sitting-standing
dive," "back dive," "jack-knife dive," "front-back
dive," "back somersault," "front somersault,"
"sitting jump," and numerous others.</p>
<p><a name="illus093" id="illus093"></a></p>
<div class="figcenter">
<img src="images/illus093.jpg" alt="A BAD DIVE" title="A BAD DIVE" />
<br /><span class="caption">A BAD DIVE</span><br /><br />
</div>
<p><a name="illus094" id="illus094"></a></p>
<div class="figcenter">
<img src="images/illus094.jpg" alt="CORRECT POSITION IN MIDAIR" title="CORRECT POSITION IN MIDAIR" />
<br /><span class="caption">CORRECT POSITION IN MIDAIR</span><br /><br />
</div>
<p><a name="illus095" id="illus095"></a></p>
<div class="figcenter">
<img src="images/illus095.jpg" alt="CORRECT POSITION ON ENTERING THE WATER" title="CORRECT POSITION ON ENTERING THE WATER" />
<br /><span class="caption">CORRECT POSITION ON ENTERING THE WATER</span><br /><br />
</div>
<p><span class='pagenum'><a name="Page_93" id="Page_93">[p. 93]</a></span></p>
<p><span class='pagenum'><a name="Page_94" id="Page_94">[p. 94]</a></span></p>
<p><span class='pagenum'><a name="Page_95" id="Page_95">[p. 95]</a></span></p>
<p><span class='pagenum'><a name="Page_96" id="Page_96">[p. 96]</a></span></p>
<p>The side dive is made by standing sideways
on the diving-board, the forward foot turned
so that the toes grip the edge of board. When
springing out, the back should be well hollowed
and the face turned up, the head well
tucked in between the arms.</p>
<p>The "standing-sitting dive" must be made
from a good springboard. The diver stands
at the edge of the springboard, the arms
straight down, with the hands at right
angles with the arms, the palms downward.
With a slight spring the pupil drops to a
sitting position, the palms flat on the springboard,
and the legs straightened out rigidly
in front. Thus the impact, assisted by a
push-off with the hands, will jerk the diver
head foremost into space. The diver then
turns over, straightening the body and entering
the water as in an ordinary dive.</p>
<p>In the "standing-sitting-standing" dive from
a standing position the diver assumes a sitting
position as in a "sitting" dive, drawing the
knees under to regain the feet again and
pushing off for the dive.</p>
<p><a name="illus097" id="illus097"></a></p>
<div class="figcenter">
<img src="images/illus097.jpg" alt="MRS. FRANK EUGEN DALTON POSITION FOR A DIVE" title="MRS. FRANK EUGEN DALTON POSITION FOR A DIVE" />
<br /><span class="caption">MRS. FRANK EUGEN DALTON POSITION FOR A DIVE</span><br /><br />
</div>
<p><a name="illus098" id="illus098"></a></p>
<div class="figcenter">
<img src="images/illus098.jpg" alt="THE STANDING-SITTING DIVE" title="THE STANDING-SITTING DIVE" />
<br /><span class="caption">THE STANDING-SITTING DIVE</span><br /><br />
</div>
<p><a name="illus099" id="illus099"></a></p>
<div class="figcenter">
<img src="images/illus099.jpg" alt="THE BACK DIVE" title="THE BACK DIVE" />
<br /><span class="caption">THE BACK DIVE</span><br /><br />
</div>
<p><span class='pagenum'><a name="Page_97" id="Page_97">[p. 97]</a></span></p>
<p><span class='pagenum'><a name="Page_98" id="Page_98">[p. 98]</a></span></p>
<p><span class='pagenum'><a name="Page_99" id="Page_99">[p. 99]</a></span></p>
<p><span class='pagenum'><a name="Page_100" id="Page_100">[p. 100]</a></span></p>
<p>The back dive requires a depth of at least
five to six feet. The toes should be well up
to the edge of the pool and the back well
hollowed. This is the main essential; one
also must point the toes out well. This is a
very difficult dive and requires plenty of nerve
and practise.</p>
<p>The "jack-knife dive" is made from the back-diving
position by springing up in the air,
doubling the body up from the waist, and
throwing the legs up behind, trying to enter
the water as clean as possible facing the
springboard.</p>
<p>The "dolphin dive" is the straight front dive,
only the body must be turned sharply in the
air from front to back. The easiest way is to
practise this from a springboard about six feet
above water.</p>
<p>The back somersault from the springboard
requires the swimmer to double up while in
the air; the arms should be lowered from the
shoulder and bent up from the elbow, and the
knees drawn up, so as to make the body ball-shaped,
when the turn-over can be made
easier.</p>
<p>The front somersault is exactly the same,
only with the face forward instead of backward.</p>
<p><a name="illus101" id="illus101"></a></p>
<div class="figcenter">
<img src="images/illus101.jpg" alt="THE DOLPHIN DIVE" title="THE DOLPHIN DIVE" />
<br /><span class="caption">THE DOLPHIN DIVE</span><br /><br />
</div>
<p><span class='pagenum'><a name="Page_101" id="Page_101">[p. 101]</a></span></p>
<p>For the Australian splash one stands in
the regular diving position, springing well out
and doubling the body in the air, with the
hands clasping the knees. One must keep
the head well forward with the toes pointing
down.</p>
<p><span class='pagenum'><a name="Page_102" id="Page_102">[p. 102]</a></span></p>
<p><a name="illus102" id="illus102"></a></p>
<div class="figcenter">
<img src="images/illus102.jpg" alt="THE AUSTRALIAN SPLASH" title="THE AUSTRALIAN SPLASH" />
<br /><span class="caption">THE AUSTRALIAN SPLASH</span><br /><br />
</div>
<p>The "neck dive" must be done from a springboard
well above the water. Grip the front
of the board with the hands, with the head
well over the edge, throwing the legs in the<span class='pagenum'><a name="Page_103" id="Page_103">[p. 103]</a></span>
air, turning the body over, and back somersaulting
into the water, feet first.</p>
<p>When a swimmer has improved and added
speed to his racing stroke, he should practise
shallow racing dives and how to turn sharply
in a tank. This is very important, as many
a race has been lost through the inability of
the racer to turn sharply when reaching the
end of a tank. To practise this, swim slowly
to the end of the tank, gage your strokes, so
that the right hand grasps the bar which is
usually placed around the tank a little above
the water. Throw the left arm over the right
arm against the marble side of the bath under
water; at the same time double the body up,
switch around, gathering yourself well together,
and shoot forward with the arms extended.
Ten to twenty feet can be covered on
a good push-off. The method usually followed
by swimmers in America is to double
up and turn to the left when they are within
a foot of the end of the bath without touching
with the hands, but pushing off with the
feet. In races in England this turn is not
allowed, as the racer must touch the end of
the bath with his hands.<span class='pagenum'><a name="Page_104" id="Page_104">[p. 104]</a></span>
</p>
<p><a name="illus104" id="illus104"></a></p>
<div class="figcenter">
<img src="images/illus104.jpg" alt="THE NECK DIVE" title="THE NECK DIVE" />
<br /><span class="caption">THE NECK DIVE</span><br /><br />
</div><p><span class='pagenum'><a name="Page_105" id="Page_105">[p. 105]</a></span>
</p>
<p>A racing dive is a very shallow dive. The
quicker the swimmer gets to the surface the
less time is wasted in getting into his stroke.
Both these things are very important and
should be well practised. When training in
a tank, the racer should never go the full
distance, but reserve his speed for the day
of the race. In a tank it is a good plan to
count the number of strokes required to do
the length, so that you know just when the
end of the bath is reached without turning
the head. A straight course is always advisable.
This can be kept by swimming parallel
with the side of the bath. It is good practise
to get a friend to time your lengths, and
get used to diving at the word "go." The
best position for a racing dive is with the
hands in front of the body, the knees bent,
and the mouth open, so that you get all the
air possible before striking the water. Always
spring out as far as you can. Never
mind if it is a flat dive. This is much better
than a deep, clean dive, and less time is lost.<span class='pagenum'><a name="Page_106" id="Page_106">[p. 106]</a></span>
</p>
<h3>SWIMMING LIKE A DOG</h3>
<p>Children generally manage to swim like a
dog in their initial attempts. This is a very
easy and simple method of propulsion, mainly
for the reason that the arms and legs are
never lifted above water.</p>
<p><a name="illus106" id="illus106"></a></p>
<div class="figcenter" >
<img src="images/illus106.jpg" alt="SWIMMING LIKE A DOG" title="SWIMMING LIKE A DOG" />
<br /><span class="caption">SWIMMING LIKE A DOG</span><br /><br />
</div>
<p>Legs are kicked out straight to the rear, sole
of each foot striking the water squarely and
alternately, instead of working together.
Hands are placed in front of the body, with
palms down, and are successively brought
down under the body and up again.<span class='pagenum'><a name="Page_107" id="Page_107">[p. 107]</a></span>
</p>
<h3>PLUNGING</h3>
<p>To become a good plunger the swimmer,
first of all, has to have good lungs. He must
be able to hold his breath for at least one
minute under water. Ability to float face
down, as in the dead man's float, is also essential.
Many would-be plungers find that
their feet sink after having gone about 25
feet, the reason being lack of practise in
floating.</p>
<p>When practising for plunging the take-off
should be about three feet above the water.
The thumbs should be locked, the knees slightly
bent, and the edge of the diving-board
gript well with the toes. Empty the lungs
by exhaling, then fill again with a long, deep
breath, and at the last inhalation spring forward,
with all the force possible, taking care
not to go deep in the water; about two feet
down is sufficient. Keep the head well down
and the toes pointing up. The back should be
arched and the legs bent up from the knees;
this will counteract the tendency of the legs
to sink. Unless one makes a straight dive by
pushing off equally strong with both legs,<span class='pagenum'><a name="Page_108" id="Page_108">[p. 108]</a></span>
the body will go sideways to the side of the
pool. Floating on the back and chest is
mainly a question of balance, and comes only
after considerable practise.</p>
<p><a name="illus108" id="illus108"></a></p>
<div class="figcenter" >
<img src="images/illus108.jpg" alt="CORRECT POSITION FOR LONG PLUNGE" title="CORRECT POSITION FOR LONG PLUNGE" />
<br /><span class="caption">CORRECT POSITION FOR LONG PLUNGE</span><br /><br />
</div>
<p>The time limit allowed in a plunge is 60
seconds without raising the face out of the
water. The record is over 81 feet, 5 inches,
and was made in England by H.W. Allason.<span class='pagenum'><a name="Page_109" id="Page_109">[p. 109]</a></span>
</p>
<h3>SCULLING</h3>
<p>This is one of the simplest methods of
swimming on the back, the forearms and
hands alone being in motion during the performance.
The swimmer turns on the back
with the legs straight out and together, or
crossed, the arms being flexible and near the
body. The hands, with palms downward,
must be in line with the thighs, with the fingers
slightly raised. The hands are worked
from the wrists, from right to left, in addition
to a slight movement (right to left) of the
forearm. This forces the body, head first,
very gracefully through the water.<span class='pagenum'><a name="Page_110" id="Page_110">[p. 110]</a></span>
</p>
<h3>SWIMMING BACKWARD ON THE CHEST</h3>
<p><a name="illus110" id="illus110"></a></p>
<div class="figcenter" >
<img src="images/illus110.jpg" alt="SWIMMING BACKWARD ON CHEST" title="SWIMMING BACKWARD ON CHEST" />
<br /><span class="caption">SWIMMING BACKWARD ON CHEST</span><br /><br />
</div>
<p>In performing this trick of backward on
the chest, the body is placed in position as
in the breast stroke, the legs and arms together,
outstretched in line with the body.
The feet must be moved slowly from the
knees, each leg separately. The feet are
alternately pushed backward and the toes
extended to the rear. The feet must not come
above the water. The action of the hands is
performed with the palms facing outward,
each hand being pushed alternately forward.<span class='pagenum'><a name="Page_111" id="Page_111">[p. 111]</a></span>
</p>
<p>Another method of using the hands is the
reverse of the breast-stroke movement; in
other words, the breast stroke movement is
done backward.</p>
<p>Begin with the arms out straight in front,
the palms together, and then draw the arms
backward until the wrists touch the chest.
Next throw out the arms horizontally in line
with the shoulders, the palms turned out, thus
sending the body backward by bringing the
outstretched arms straight together until the
palms touch. If the performer be an expert
swimmer he can, by using this arm movement,
dispense with the leg movements. This is a
"stunt" well worth practising, as it looks very
effective in the water.<span class='pagenum'><a name="Page_112" id="Page_112">[p. 112]</a></span>
</p>
<h3>THE WASHING TUB</h3>
<p><a name="illus112" id="illus112"></a></p>
<div class="figcenter" >
<img src="images/illus112.jpg" alt="THE WASHING TUB" title="THE WASHING TUB" />
<br /><span class="caption">THE WASHING TUB</span><br /><br />
</div>
<p>This is a very simple performance and requires
little practise. The swimmer turns on
his back, doubles the body by bringing the
knees up to the chin, with the legs crossed.
The body is kept in position by working the
hands the same as in sculling. As soon as
the swimmer has obtained his balance, he
pushes the water away from his body with
the right hand and uses the left hand in the
opposite manner, or, as it were, pulls the water
toward the body with the left hand.<span class='pagenum'><a name="Page_113" id="Page_113">[p. 113]</a></span>
</p>
<h3>THE PROPELLER</h3>
<p>This is a very graceful movement and never
fails to excite admiration in onlookers. To do
it properly requires considerable practise. One
must be able to float well. There is always a
tendency to raise the head above the proper
level, which in turn causes the feet to sink.</p>
<p><a name="illus113" id="illus113"></a></p>
<div class="figcenter" >
<img src="images/illus113.jpg" alt="THE PROPELLER" title="THE PROPELLER" />
<br /><span class="caption">THE PROPELLER</span><br /><br />
</div>
<p>To begin, the swimmer should turn on the
back, placing the hands at the side of the body,
keeping the head back and the feet together.
Slight movements of the hands from the wrists
will keep the body floating. Then make a<span class='pagenum'><a name="Page_114" id="Page_114">[p. 114]</a></span>
long sweep of the arms from the body, under
the surface of the water, until they are at full
length beyond the head. Thus the body will
be propelled with the feet foremost. As soon
as the body is in motion, the hands should
be moved by the wrists and forearms only, in
a scoop-like manner, with the palms turned
outward. The body may be turned round by
lessening the movement of one hand and increasing
that of the other, the body turning
to the side on which the lesser movement is
taking place. Bringing the arms to the side
again as in the original position will bring
the body to a standstill. This trick, seemingly
very simple, is somewhat difficult of accomplishment,
and requires considerable practise.<span class='pagenum'><a name="Page_115" id="Page_115">[p. 115]</a></span>
</p>
<h3>THE TORPEDO</h3>
<p>This is a rather difficult performance. It
requires a great deal of practise. The movements
are almost identical with those in the
"propeller," the main difference being that in
this trick the head is kept under water.</p>
<p><a name="illus115" id="illus115"></a></p>
<div class="figcenter" >
<img src="images/illus115.jpg" alt="THE TORPEDO" title="THE TORPEDO" />
<br /><span class="caption">THE TORPEDO</span><br /><br />
</div>
<p>To begin, the performer should lie flat in
the water on his back, with his arms stretched
out beyond his head. The palms should be
turned upward. Then the legs should be
raised from the hips, and kept rigid. This<span class='pagenum'><a name="Page_116" id="Page_116">[p. 116]</a></span>
will cause the body to become submerged, all
but the ankles and feet. One then must work
the hands the same as in "propeller," but at
the end of each stroke make a slight upward
pressure with the palms, so that the body may
retain its position below the water.</p>
<p>The movement of the hands will cause the
body to move forward, feet first. The swimmer
should at all times keep his eyes open
in order to guide himself in a straight line.<span class='pagenum'><a name="Page_117" id="Page_117">[p. 117]</a></span>
</p>
<h3>THE CATHERINE WHEEL</h3>
<p><a name="illus117" id="illus117"></a></p>
<div class="figcenter">
<img src="images/illus117.jpg" alt="THE CATHERINE WHEEL" title="THE CATHERINE WHEEL" />
<br /><span class="caption">THE CATHERINE WHEEL</span><br /><br />
</div>
<p><span class='pagenum'><a name="Page_118" id="Page_118">[p. 118]</a></span></p>
<p>This is a very effective "stunt." After assuming
the floating position, turn on the right
side, with the arms at full length, the hands
close to the body, and the knees drawn up.
Begin by moving the legs sideways; that is,
bring each knee up alternately, straightening
out the legs and making a wide sweep with
each leg before bringing it up again. The
legs are used the same as paddles on a side-wheeler,
as in the illustration. This should
be practised on both sides. One hand is made
to scoop the water toward the body in front,
while the other is manipulated the same way
at the back. With a little practise one thus
may simulate a Catherine wheel—at least
when the act is done rapidly and efficiently.
<span class='pagenum'><a name="Page_119" id="Page_119">[p. 119]</a></span>
</p>
<h3>ROLLING</h3>
<p>To roll in the water one has to be able to
float well; to roll easily the body must float as
high in the water as possible. No movements
of arms or legs are required at all, the balancing
being done with the head.</p>
<p><a name="illus119" id="illus119"></a></p>
<div class="figcenter" >
<img src="images/illus119.jpg" alt="ROLLING" title="ROLLING" />
<br /><span class="caption">ROLLING</span><br /><br />
</div>
<p>First get into a floating position, the arms
extended beyond the head, the ankles crossed
as in the illustration. Then fill the lungs
well with air, and gently rock the body from
side to side, increasing the motion until the
body rolls nearly over on its side. Having
reached this position, turn the face well over
<span class='pagenum'><a name="Page_120" id="Page_120">[p. 120]</a></span>
on the right side, and the body will roll over
and turn up again on the other side. After
the first complete roll, once momentum is
started, the second becomes easier. Several
rolls can be made before stopping, provided
the breath holds out. Always finish in the
floating position. When one has learned how
to roll over on the right side, rolling on the
left side should be practised, until that movement
becomes as easy as the other one. After
practise the rolls can be made very easily and
gracefully, without splashing. The legs must
always be kept crossed and together, never
letting the hands come out of the water.
<span class='pagenum'><a name="Page_121" id="Page_121">[p. 121]</a></span>
</p>
<h3>SWIMMING LIKE A PORPOISE</h3>
<p>This trick, very interesting and pretty, is
quite mirth-provoking to the onlooker, especially
if indulged in by a number of swimmers.
Unlike the vast majority of tricks performed
in the water, it does not call for ability to
float well, the only qualification being that one
must be a fairly good swimmer.</p>
<p><span class='pagenum'><a name="Page_122" id="Page_122">[p. 122]</a></span></p>
<p>Begin by lying flat on the water with the
face downward. Then take a deep inspiration
after having cleared the lungs. As the
chest begins to inflate, the body must be allowed
to sink under water. At the end of
the inspiration the head should go below the
surface. After a couple of breast strokes
under water, turn the head upward. By executing
a strong kick with the legs, the head
will rise out of the water. As the body rises,
make one stroke with the arms, and, as soon
as the head comes up, the arms should be
recovered to the first position of the breast
stroke and pushed together downward through
the water from its level to the side of the body.
Simultaneously, as the hands are moving toward
the body, the legs should be straightened
with a sharp kick. This will force the head
and shoulders out of the water.</p>
<p><span class='pagenum'><a name="Page_123" id="Page_123">[p. 123]</a></span></p>
<p><a name="illus122" id="illus122"></a></p>
<div class="figcenter" >
<img src="images/illus122.jpg" alt="SWIMMING LIKE A PORPOISE" title="SWIMMING LIKE A PORPOISE" />
<br /><span class="caption">SWIMMING LIKE A PORPOISE</span><br /><br />
</div>
<p>A sudden inclination of the head toward
the chest will assist the body in rolling over,
when the back and legs will become visible
after the head is again under water, the legs
being the last to sink. By carefully regulating
the breathing, this movement can be effected
a number of times.
<span class='pagenum'><a name="Page_124" id="Page_124">[p. 124]</a></span>
</p>
<h3>THE PENDULUM</h3>
<p>This is another very clever trick, requiring
considerable practise; the main essential is
ability to float. The "pendulum" is primarily
a balancing feat, a well-inflated chest being
the main requisite.</p>
<p>The body should first be allowed to float
on the water, with the arms stretched out
beyond the head and in line with the body.
The head must be thrown well back while
the body is kept perfectly still. Then take a
deep inhalation, bringing the head well forward,
as if to look at the feet. Simultaneously
with this movement draw hands toward the
head. These combined movements will cause
the body to sink, and thus assume a perpendicular
position in the water.</p>
<p>When the body has assumed a perpendicular
position, the arms must be brought
to the front of the body, stretched well out,
and at the same time the head must be sunk
between the arms until the face and arms lie
on the surface of the water. When the arms
and head are down, the feet will rise and the
body float on the surface with the face down.
<span class='pagenum'><a name="Page_125" id="Page_125">[p. 125]</a></span>
</p>
<p><a name="illus125" id="illus125"></a></p>
<div class="figcenter">
<img src="images/illus125.jpg" alt="THE PENDULUM" title="THE PENDULUM" />
<br /><span class="caption">THE PENDULUM</span><br /><br />
</div><p>
<span class='pagenum'><a name="Page_126" id="Page_126">[p. 126]</a></span>
</p>
<p>To come back to the first position, the head
must be tilted backward and the hands drawn
to the back of the head. Again the feet will
sink and the body be swung back to a perpendicular
position with the face above water.
One must then stretch the arms at full length
behind the head, with the palms upward,
gradually inclining the head backward until
the legs once more rise to the surface, and
the body floats face upward.</p>
<p>Repetition of these movements produce a
swinging similar to that of a pendulum. The
movements must be accomplished with regularity,
at all times keeping the legs straight
and together.
<span class='pagenum'><a name="Page_127" id="Page_127">[p. 127]</a></span>
</p>
<h3>SOMERSAULTS</h3>
<p>This is one of the easiest and simplest tricks.
With very little practise it can be mastered
by most ordinary swimmers. Of course, this
statement refers to the ordinary somersault,
either backward or forward, which is nothing
more than a turning over of the body while
in the water.</p>
<p><a name="illus127" id="illus127"></a></p>
<div class="figcenter" >
<img src="images/illus127.jpg" alt="FORWARD SOMERSAULT" title="FORWARD SOMERSAULT" />
<br /><span class="caption">FORWARD SOMERSAULT</span><br /><br />
</div>
<p>In the back somersault the head is tilted
back as far as possible, the legs well drawn
up, and the arms thrown out horizontally
<span class='pagenum'><a name="Page_128" id="Page_128">[p. 128]</a></span>
from the shoulders. Then the body is turned
on the back and a stroke taken with the arms
and hands. As the body is doubled up, this
action causes it to turn completely over, the
head going under first.</p>
<p>In the forward somersault, the head is
prest down upon the chest, the legs doubled
up, the same as in the back somersault, the
arms at right angles with the body, and the
palms downward. The stroke is made similar
to that in the back somersault, but the
movement is started in front.</p>
<p>If there are a number of these motions
to be made, the lungs should be well filled before
beginning, as there is no time for proper
breathing.
<span class='pagenum'><a name="Page_129" id="Page_129">[p. 129]</a></span>
</p>
<h3>DOUBLE SOMERSAULTS</h3>
<p>As this trick requires two swimmers, it
makes necessary a great deal more practise.
To begin, the swimmers stand on the bottom
of the pool, one in front of the other. The
forward swimmer throws out his arms at a
right angle with the body, even with the
shoulders, and spreads his legs until his feet
are about twelve inches apart. Then the
second swimmer, after taking a deep breath,
dives under water and places his head between
the legs of the other, bending his legs
backward until they come close to the head
of the forward swimmer, who in turn tilts
his head backward so that it may be grasped
by the legs of the other.</p>
<p>When in this position, the swimmers begin
to turn backward, using the arms the same
is in the backward (single) somersault. The
head of each swimmer should be tilted well
backward. As the head of the forward swimmer
disappears below the surface, the head of
the other should appear. After several turns
the grip of the legs may be released and the
swimmers rise to the surface in their original
positions.
<span class='pagenum'><a name="Page_130" id="Page_130">[p. 130]</a></span>
</p>
<p><a name="illus130" id="illus130"></a></p>
<div class="figcenter">
<img src="images/illus130.jpg" alt="DOUBLE SOMERSAULT" title="DOUBLE SOMERSAULT" />
<br /><span class="caption">DOUBLE SOMERSAULT</span><br /><br />
</div><p>
<span class='pagenum'><a name="Page_131" id="Page_131">[p. 131]</a></span>
</p>
<h3>WITH ONE LEG OUT OF WATER</h3>
<p>In this act the swimmer should lie on his
back, the same as in sculling, raise one leg
until it is at right angles with the body,
keeping the other leg straight and rigid. The
action of the hands will propel the body forward.</p>
<p><a name="illus131" id="illus131"></a></p>
<div class="figcenter" >
<img src="images/illus131.jpg" alt="ONE LEG OUT OF WATER" title="ONE LEG OUT OF WATER" />
<br /><span class="caption">ONE LEG OUT OF WATER</span><br /><br />
</div>
<p>When becoming proficient in this movement,
the swimmer can practise raising the
other leg. This requires considerable more
force in the working of the hands, so that
both legs may be kept in position. By performing
the motion of the hands directly under
the legs, less difficulty will be experienced.
<span class='pagenum'><a name="Page_132" id="Page_132">[p. 132]</a></span>
</p>
<h3>SWIMMING WITH CLOTHES ON</h3>
<p>This is an accomplishment that should be
learned by all swimmers. In addition to the
sense of security given in time of accident, it
is productive of great amusement at race
meets and exhibitions, and never fails to excite
admiration and wonder in the onlooker.
Of course, this can be practised with an old
or cast-off suit.</p>
<p>Practise first with a coat, then with a coat
and waistcoat; next add trousers, and last the
shoes and stockings. This will gradually
accustom the beginner to the extra weight of
the clothes.</p>
<p>In case of an immersion in clothes, with no
help in sight, the sooner the swimmer removes
his clothes the longer he can support himself.
The easiest way is to float on the back and
remove the coat, taking out one arm at a time,
using the legs as in the Dalton stroke; next
remove the vest, still lying on the back; then
unbutton the trousers and pull the right leg
down with the left hand. To remove the left
leg, use the left hand and kick out with the
right leg. To remove the shoes, lie on the
<span class='pagenum'><a name="Page_133" id="Page_133">[p. 133]</a></span>
back and draw up one leg at a time, crossed
over the other leg, and so try and undo the
laces. If a knife is handy, cut the laces and
kick the shoes off. This is one of the most
effective feats practised at exhibitions.
<span class='pagenum'><a name="Page_134" id="Page_134">[p. 134]</a></span>
</p>
<h3>WITH HANDS AND FEET TIED</h3>
<p>This trick is most frequently performed
with the wrists and ankles tied with a rope.
The performer should plunge into the water
as for a shallow dive and rise to the surface
without making a stroke. The legs are then
drawn up until the heels are quite close to
the back of the thighs, then the legs are
kicked out together. The arms are drawn
down through the water, in front of the body,
and then shot out. Care must be taken that
too much force be not employed, or much of
the beauty of this movement will be lost.
Naturally, the pace will be slow, but this does
not detract from its neatness, nor lessen the
admiration that this trick always calls forth.</p>
<p>This work is often performed by experts,
having their arms tied to their sides or behind
their backs. When performing in this
manner, one must swim on the back, and the
legs only can be used for propulsion. In
this instance better progress is made, as it is
much easier to swim on the back with the
hand and feet tied than it is to swim on the
<span class='pagenum'><a name="Page_135" id="Page_135">[p. 135]</a></span>
breast under the same conditions. One of
the main essentials in the performance of
this trick is ability to float. These performances,
also, are much easier in a tidal river
or stream than in still water, as the body is
carried forward with the motion of the water,
and less exertion is necessary to remain on
the surface.
<span class='pagenum'><a name="Page_136" id="Page_136">[p. 136]</a></span>
</p>
<h3>OVER AND UNDER</h3>
<p><a name="illus137" id="illus137"></a></p>
<div class="figcenter" >
<img src="images/illus137.jpg" alt="OVER AND UNDER" title="OVER AND UNDER" />
<br /><span class="caption">OVER AND UNDER</span><br /><br />
</div><p>
<span class='pagenum'><a name="Page_137" id="Page_137">[p. 137]</a></span></p>
<p>This is one of the prettiest exhibition tricks
that can be accomplished in the water. If
performed by a lady and gentleman it never
fails to elicit great applause. The swimmers
begin with floating alongside of each other.
Then one slowly paddles ahead of the other
with his hands until his toes are in line with
the shoulders of the other. When in that
position, the first grasps the neck of the other
with his toes. Then the other slowly brings
his or her arms back under water and catches
hold of the ankles of the first. After balancing
for a moment, the other dips his or her
head below the surface, at the same time giving
a strong pull at the ankles of the first,
which draws the first directly over him. The
first one allowing his arms to float straight
behind him. While the first is slowly sailing
over the other submerged, the latter watches
the former, and when the neck of the first
is in line with the feet of the other, the latter
raises his feet and grasps the neck of the
former, who allows his body to rise to the
surface. The performance is then repeated
<span class='pagenum'><a name="Page_138" id="Page_138">[p. 138]</a></span>
by the first grasping the ankles of the other,
and continuing as before.</p>
<p>These movements must be done slowly and
gracefully, each swimmer allowing the other
time to inflate the lungs before the next pullover
is made. After these movements have
been gone through about a dozen times, and
when in position for the final pull, the forward
one should loosen the grip on the neck and
propel himself ahead to the side of the other
swimmer, when both can bend forward in
unison, making a very neat and graceful
finale.
<span class='pagenum'><a name="Page_139" id="Page_139">[p. 139]</a></span>
</p>
<h3>SWIMMING UNDER WATER</h3>
<p>To be able to swim under water is quite
an accomplishment and often may be of very
valuable service, but as an achievement in
competition or for exhibition purpose it is
not to be encouraged because of the danger of
prolonged immersion, and the fact that many
competitors do not know when to desist.</p>
<p>Under-water swimming should be practised
by experts only, but care must be taken not to
prolong the immersion in order to reach a
definite point or to accomplish a certain distance
before rising to the surface. It often
happens that swimmers, in order to achieve a
certain distance, remain under water after
pains in the back of the neck give warning
of oncoming unconsciousness, in which case
they may lapse into a state of insensibility,
and there is grave danger of drowning.</p>
<p><span class='pagenum'><a name="Page_140" id="Page_140">[p. 140]</a></span>
When these contests take place in baths,
it is not a pleasant sight to watch a swimmer
struggling on, against odds, in the hope
of beating a rival for the coveted prize. The
action of the arms and legs become slower
and slower, until at last, from sheer exhaus
tion, the body rises toward the surface for a
short distance and then sinks to the bottom
motionless.</p>
<p>One of the advantages of being able to
swim under water is the ability it imparts to
the swimmer to reach the body of a drowning
person, or to bring the body of a drowned
person to the surface.</p>
<p>In swimming under water, the ordinary
breast stroke is the one used. To swim downward,
the head is prest down toward the
breast, and when wishing to rise the head is
deflected backward.</p>
<p>If swimming under water for a long distance,
the body should be kept near the surface,
for the reason that the pressure is greater
in the corresponding depth. Care should be
taken to fill the lungs before starting, and as
soon as the first symptoms of asphyxiation
are noticeable, the swimmer should rise to the
surface.</p>
<p>Among the notable feats accomplished under
water may be mentioned that of James
Finney, in England, in 1882, who accomplished
a distance of 340 feet. William Reilly,
of Salford, an amateur, swam 312 feet under
water.
<span class='pagenum'><a name="Page_141" id="Page_141">[p. 141]</a></span>
</p>
<p>The time limit for under-water swimming
is about a minute and a half. At the Crystal
Palace, London, England, in 1892, in a diver's
tank 15 feet deep, Prof. F.E. Dalton picked
up 74 plates in a single immersion.
<span class='pagenum'><a name="Page_142" id="Page_142">[p. 142]</a></span>
</p>
<h3>MONTE CRISTO SACK TRICK</h3>
<p>This is one of the most sensational performances
of the professional swimmer. From
a spectacular point of view it is very effective.
To do this trick one must be an adept at
under-water swimming; an assistant is necessary
in order to tie the knots properly.</p>
<p><a name="illus142" id="illus142"></a></p>
<div class="figcenter">
<img src="images/illus142.jpg" alt="MONTE CRISTO SACK TRICK" title="MONTE CRISTO SACK TRICK" />
<br /><span class="caption">MONTE CRISTO SACK TRICK</span><br /><br />
</div><p>
<span class='pagenum'><a name="Page_143" id="Page_143">[p. 143]</a></span>
</p>
<p>The sack to be used must be large enough
to allow plenty of room for the swimmer to
move about. At the bottom of the sack place
a number of heavy weights. A hole must
be cut at the top to allow the rope to be
passed through.</p>
<p>The swimmer gets into the sack, taking
firm hold of the loosened ends of the doubled
rope and that part of the sack close to it.
The assistant then takes hold of the ends of
the rope and ties them around the sack. The
knots must be made on the other side of the
sack from that on which the ends have been
passed through. After warning the swimmer,
so that he may inflate his lungs, he is thrown
into the water. The weights at the bottom
of the sack will cause him to sink feet first.</p>
<p>After remaining in the sack a few seconds
the performer releases the ends of the rope
held by him and pushes the sack open with
his hands, when he is free to rise to the surface.</p>
<p>This appears to be a very dangerous feat,
but in reality is a very simple one for a good
swimmer.
<span class='pagenum'><a name="Page_144" id="Page_144">[p. 144]</a></span>
</p>
<h3>NOTABLE FEATS BY CELEBRATED
SWIMMERS</h3>
<p>Considerable interest was aroused in the
early part of August, 1875, when the statement
was made that Captain Matthew Webb,
an Englishman who had served as second
mate on several ships in the Indian and North
Atlantic trade, intended to attempt the remarkable
feat of swimming across the English
Channel. His first attempt resulted in
failure. This took place on August 12, 1875.
After swimming for 6 hours 48 minutes and
30 seconds, during which period he covered
13½ miles, Webb was compelled to leave the
water owing to having drifted 9¾ miles to
the eastward of his course by a northeast
stream and stress of weather. Webb started
from Dover 2 hours 25 minutes before high
water on a tide rising 13 feet 7 inches
at that port. When he gave up no estimate
could be formed as to the probable distance he
would have gone west on the tide.</p>
<p>In his second and successful attempt, on
August 24 of the same year, Webb started
from Dover 3¼ hours before high water on
<span class='pagenum'><a name="Page_145" id="Page_145">[p. 145]</a></span>
a 15-foot 10-inch tide, which gave him one
hour and three-quarters of the southwest
stream. His point of landing was 21½ miles
from Dover, as the crow flies, but the actual
length of the swim was 39½ miles. Very
little rest was taken by Webb on the way.
When he did stop it was to take refreshment,
and then he was treading water. During the
whole time he had no recourse to artificial
aids. Of this there is indisputable proof. The
journalists who acompanied him across in a
boat were careful in their observations, and
were men whose accuracy could be depended
on. The temperature of the water was about
65 degrees. Webb never complained of cold.</p>
<p>For the first 15 hours the weather was fine.
The sea was as smooth as glass, the sun obscured
during the day by a haze, so that the
heat did not affect Webb's head, and in the
night a three-quartered moon lighted him on
his way. The worst time began at 3 A.M.
on August 25th, as drowsiness had to be overcome
and rough water was entered. At this
hour he was only some 4½ miles off Cape
Grisnez, France, and altho he was not then
strong enough to strike out a direct course
<span class='pagenum'><a name="Page_146" id="Page_146">[p. 146]</a></span>
athwart the new northeast stream for land,
he was fetching well in for Sangette, where
he would undoubtedly have landed between
7 and 8 A.M. had adverse weather not set in.
He finally landed on the Calais sands after
having been in the water 21 hours 45 minutes.
After performing this feat, Webb for some
years gave exhibitions of diving and swimming
at an aquarium in London and elsewhere.
In July, 1883, he came to America for
the purpose of swimming the rapids and
whirlpool at Niagara, and in this attempt lost
his life.</p>
<p>On September 1, 1875, Miss Agnes Beckwith,
then only fourteen years of age, swam
from London Bridge to Greenwich, a distance
of five miles. Beginning her journey at eight
minutes to five, Miss Beckwith covered the
first mile and a half in 18 minutes. Limehouse
Church—a trifle over halfway—was
passed in 33 minutes, and Greenwich Pier was
reached in 1 hour 7 minutes 45 seconds.</p>
<p>On September 4, 1875, Miss Emily Parker,
who had previously undertaken to swim the
same distance as Miss Beckwith, not only
equalled but excelled the performance of Miss
<span class='pagenum'><a name="Page_147" id="Page_147">[p. 147]</a></span>
Beckwith. She went on to Blackwall, a distance
of seven miles, the time being 1 hour 37
minutes.</p>
<p>On December, 1899, Captain Davis Dalton
swam for 12 hours continuously at the Latchmere
Public Baths in London, England.</p>
<p>On August 17, 1890, Captain Dalton left
Folkestone for Boulogne with the intention of
swimming back across the Channel to Folkestone,
a distance of 27 miles. Dalton exprest
his conviction that he could perform the journey
in 20 hours, and if successful would beat
the time of Captain Webb. He entered the
water at four o'clock on Sunday afternoon,
and accomplished the journey, without any remarkable
incident, at half-past three the following
afternoon.</p>
<p>In July, 1891, Captain Dalton swam from
Blackwall to Gravesend in the River Thames,
London, covering the entire distance on his
back.</p>
<p>In December, 1891, Captain Dalton swam
for 16 hours continuously at the Dover Baths,
England.</p>
<p><span class='pagenum'><a name="Page_148" id="Page_148">[p. 148]</a></span>On August 27, 1902, after several brilliant
attempts, Montagu Holbein swam the English
Channel, but was compelled to desist
when only two miles from the finishing point,
after staying in the water for 22½ hours.</p>
<p>The following feats have been recorded as
accomplished during the year 1911:</p>
<p>William T. Burgess, of Yorkshire, England,
crossed the English Channel from South Foreland,
Dover, England, to La Chatelet, two
miles east of Cape Gris Nez, France. Burgess
started at 11.15 A.M., September 5,
and finished at 9.50 A.M., September 6.
Time, 22 hours 35 minutes. The distance is
40 miles. Burgess is said to have covered
nearly 60 miles, owing to changes in the tide
and currents.</p>
<p>On June 11th Martin M. Harris, in an attempt
to swim from Chester, Pa., to Market
Street, Philadelphia, Pa., a distance of 16½
miles, was forced to retire at Greenwich, after
covering 13½ miles in 4 hours 8 minutes.</p>
<p>On June 25th Charles Durburrow swam
from the Million Dollar Pier, Atlantic City,
N.J., to Ocean City, about 8 miles, in the
open sea in 5 hours 33 minutes.</p>
<p>On July 22d Jabez Wolffe, in an attempt
to cross the English Channel from Sangatte,
<span class='pagenum'><a name="Page_149" id="Page_149">[p. 149]</a></span>
France, had to retire when within a mile of
St. Margaret's Bay, England, owing to adverse
tides, after 15 hours' swimming.</p>
<p>On July 23d Charles Durburrow, in an attempt
to swim from the Battery, New York
City, to Sandy Hook, was forced to give up,
owing to adverse tides, when 1¼ miles from
Sandy Hook, after swimming about 20 miles
in 6 hours 43 minutes. About this time Joseph
O'Connor swam from Watertown, Mass., in
the Charles River, to Cambridge Bridge, Boston,
a distance of about 8 miles, in 6 hours
46 minutes.</p>
<p>On August 6th Samuel Richards swam
from Charlestown Bridge, Boston, to Boston
Light, a distance of about 10 miles, in 6 hours
15 minutes.</p>
<p>On August 13th Noah Marks swam from
Chester, Pa., in the Delaware River, to Walnut
Street, Philadelphia, Pa., a distance of
16¾ miles, in 5 hours 19 minutes. Miss Rose
Pitonoff swam from East Twenty-sixth Street,
New York City, to Steeplechase Park Pier,
Coney Island, a distance of about 20 miles, in
8 hours 17 minutes.</p>
<p>On August 20th Miss A. Akroyd swam
<span class='pagenum'><a name="Page_150" id="Page_150">[p. 150]</a></span>
from Charlestown Bridge, Boston, to Boston
Lightship in 7 hours 12 minutes 57 seconds.</p>
<p>On August 27th Miss Elaine Golding swam
from the Battery, New York City, to Steeplechase
Park Pier, Coney Island, a distance of
about 14 miles, in 6 hours 1 minute. Raymond
Frederickson finished first in a swim of
the U.S. Volunteer Life Saving Corps from
the Battery to Coney Island in 6 hours 2 minutes
30 seconds.</p>
<p>On September 3d Miss Adelaide Trapp
swam from North Beach to St. George, Staten
Island, New York, a distance of about 14
miles, in 5 hours 10 minutes. William D.
McAllister won a long-distance swim from L
Street bath, Boston, to Spectacle Island and
return in 4 hours 50 minutes.</p>
<p>All of these swims were made with aid from
tide or current.
<span class='pagenum'><a name="Page_151" id="Page_151">[p. 151]</a></span>
</p>
<hr style="width: 60%;" />
<h2>PART IV</h2>
<hr style="width: 50%;" />
<h2>WATER POLO</h2>
<p><span class='pagenum'><a name="Page_152" id="Page_152">[p. 152]</a></span></p>
<p><span class='pagenum'><a name="Page_153" id="Page_153">[p. 153]</a></span></p>
<hr style="width: 40%;" />
<h3>AS A PASTIME</h3>
<p>Water polo has become one of the most
popular and fascinating of all water sports.
It can be indulged in by very good swimmers
only. It affords abundant opportunity
for the exhibition of skill and endurance.</p>
<p>For the following account of water polo the
author is indebted to a volume from Spalding's
Athletic Library, entitled "Water
Polo," written by L. de B. Handley, permission
to use it having kindly been granted by
the publishers:</p>
<p>The value of an athletic game or contest is
determined by four things: Its physical-culture
merits; its utility; its attractiveness as a
pastime, and its spectacular features.</p>
<p>Water polo has few equals as a means of
developing the body. The swimming alone
in it would insure general and symmetrical
development, but the player wrestles besides,
during a game, and every part of the body is
<span class='pagenum'><a name="Page_154" id="Page_154">[p. 154]</a></span>
given its proportionate share of this gruelling
work, developing all muscles in a uniform
way.</p>
<p>As to its utility, it is self-evident. Swimming
has come to be looked upon as a necessity,
simply because it may be the means
of saving life, and in this water polo is the
most practical of teachers. A player is
coached on how to free himself from every
kind of a tackle, how to assist an exhausted
team-mate and how to apply the best methods
of resuscitation when any one is knocked out.
Then these teachings have to be practised frequently
while the team is at work, and one
becomes proficient insensibly and as a matter
of course. It is a revelation to see an expert
player handle a drowning person, and more
especially a frantic one. The rescue is performed
in such an easy, matter-of-fact way
as to lead one to wonder at the halo of heroism
that surrounds most cases of life-saving.
Hardly a player but has several rescues
to his credit, which he looks upon as a series
of trifling services rendered to a fellow mortal,
and no more.</p>
<p><span class='pagenum'><a name="Page_155" id="Page_155">[p. 155]</a></span>
As a pastime water polo is among the leaders.
Hard and exhausting it may be, but there
is an exhilaration in dashing about the pool,
fighting one's way to goal, that no other game
gives. And it has a feature that appeals
strongly to the man who has attained manhood
and its numerous responsibilities—the
rarity of accidents. Bruises and knockouts
one gets a-plenty, but those serious injuries
which mar football, hockey and lacrosse are
totally unknown.
<span class='pagenum'><a name="Page_156" id="Page_156">[p. 156]</a></span>
</p>
<h3>ITS EVOLUTION IN AMERICA</h3>
<p>There is a belief that a game similar to
water polo was played by the ancients, but
no actual proof of it has been found. Rules
were first formulated in England in 1870, and
we adopted them in America about 1890, but
our present game bears absolutely no resemblance
to the one that was then played. In
the latter, points were scored by throwing an
inflated rubber ball nine inches in diameter
through an open goal marked by uprights and
a cross-bar; and passing was the feature of
the game. Americans found it unsuited. The
few available tanks were so small that there
was no place for action, and the outdoor season
was too short to be satisfactory.</p>
<p>The idea was then conceived of changing
the goal into a solid surface, four feet by one
in size, and to oblige the scorer to touch the
ball to the goal while holding it, instead of
passing it.</p>
<p><span class='pagenum'><a name="Page_157" id="Page_157">[p. 157]</a></span>
The innovation met ready favor, but, as
may be imagined, transformed the game.
From an open passing one water polo became
one of close formations and fierce scrimmages.
These, at first, were disorderly scuffles,
where weight and brute strength reigned
supreme, but little by little strict rules were
formulated to eliminate rough tactics, and then
science became an important factor.</p>
<p>In 1897 a man entered the field who was
destined to revolutionize the system of play.</p>
<p>Harold H. Reeder, of the late Knickerbocker
Athletic A.C., besides being a good
leader and a brilliant individual player, knew
how to handle men. He realized that in a
growing sport new ideas would mean development,
and he made it possible for the members
of his squad to experiment with those
they had. The system he used is worth a
few words of explanation, because it was accountable
for the wonderful strides made
since 1897, and because every team will profit
by its adoption.</p>
<p>Reeder, well aided by Prof. Alex. Meffett,
began by teaching every candidate the rudiments
of the game; veterans and greenhorns
alike were put through the mill. Each was
schooled in the principles of swimming, diving,
catching, passing, scoring, interfering,
tackling and breaking, until these points had
<span class='pagenum'><a name="Page_158" id="Page_158">[p. 158]</a></span>
been thoroughly mastered, and only then did
the team practise begin. But again, no player
was allowed in unprepared. Reeder instituted
blackboard practise and saw that every one
attended it. Placing before his assembled
squad the possible formations, he made players
selected at random explain the duties of
every position in each formation. By this system
he obliged every player to use his brains,
and he found out the amount of water-polo
intelligence that each possest. He also imparted
to each the ideas of all the others, he
taught them how to fill every position and
he brought to light many new plays.</p>
<p>The progress which the innovation was responsible
for no one realized until the aggregation
of yearlings from the Knickerbocker
Athletic Club defeated the formidable array
of champions representing the New York
Athletic Club. Reeder abandoned the game
two years later, but his good work lived after
him, and some of his team-mates held the
championship for many years by following his
teachings.<span class='pagenum'><a name="Page_159" id="Page_159">[p. 159]</a></span></p>
<h3>HOW THE GAME IS NOW PLAYED</h3>
<p>Water polo as played to-day in America is
rather dangerous for outdoors, and indoor
pools are generally used. It is a contest between
two teams of six, having as object the
touching of the opponent's goalboard with an
inflated rubber ball seven inches in diameter,
which the referee throws into the water at
start of play.</p>
<p>In order to score, the ball has to be touched
to the goal while in the hand of a player; it
can not be thrown. The goals are spaces four
by one foot, situated at each short end of the
playing area, eighteen inches above the water
level. The size of the playing area is optional,
tho the recognized dimensions are 60 x 40 feet
or 25 x 75 feet, with a uniform depth of seven
feet of water. Imaginary lines are drawn
across the tank (see Fig. T), parallel to the
short ends, at four and fifteen feet from them.
The first, called four-foot line, serves as protection
to the goal-tenders and can not be
crossed until the ball is within; the other is
the foul line, and serves to mark the spot on
<span class='pagenum'><a name="Page_160" id="Page_160">[p. 160]</a></span>
which the forwards line up on being given
a free trial. The four-foot line also marks
the goal section, a space 4 x 8 feet, in which
indiscriminate tackling is allowed when the
ball is within.</p>
<p>Each team of six is divided into a forward
line (center, right forward and left forward)
whose duty it is to attack the opponent's goal;
and a backfield of three (half-back, right goal-tender
and left goal-tender), upon whom devolves
the defense of the home goal.</p>
<p>At the start of play the two teams line up
their respective ends, the referee places the
ball in the middle of the playing area and
then blows a whistle. At this signal the
twelve players dive in, the forwards to make
a dash for the ball, the backs to take up their
positions. The forward who first reaches the
ball tosses it back to the defense men, who
hold it until the line of attack is formed and
then pass it back. Immediately a fierce scrimmage
takes place and either a score is made or
the ball changes side and a scrimmage occurs
at the other end. After the score the teams
line up as at start of play.</p>
<p><a name="illus161" id="illus161"></a></p>
<div class="figcenter" >
<img src="images/illus161.jpg" alt="Courtesy of "Spaulding's Athletic Library." WATER POLO" title="Courtesy of "Spaulding's Athletic Library." WATER POLO" />
<br /><span class="caption">Courtesy of "Spaulding's Athletic Library."<br /> WATER POLO</span><br /><br />
</div>
<p><span class='pagenum'><a name="Page_161" id="Page_161">[p. 161]</a></span></p>
<p>Time of play is sixteen minutes, actual,
<span class='pagenum'><a name="Page_162" id="Page_162">[p. 162]</a></span>
divided into two halves of eight minutes
each, with an intermission of five minutes
between halves. Only two substitutes are
allowed, and they can only be used to replace
an injured or exhausted player.
<span class='pagenum'><a name="Page_163" id="Page_163">[p. 163]</a></span>
</p>
<h3>PREPARATORY WORK</h3>
<p>No man should attempt to play water polo
who is not in the best possible physical condition.
Before joining the squad, every candidate,
be he a novice coming to learn the game,
or a veteran resuming training, should prepare
himself for the hard work in sight. I
don't mean that he should be down to edge,
but in good ruddy health. As a matter of
fact, a man is far better off if he can start
the season with eight or ten pounds of extra
avoirdupois; and four or five pounds above
"pink of condition" may be carried throughout
the season with good results. They will
prevent one's getting cold while in the water
and keep one from going stale, a very easy
matter in water polo.</p>
<p>Preliminary exercise should be taken daily
for a week or two in anticipation of starting
practise. Long swims are advisable at this
early date, but should be abandoned while preparing
for a contest, as one sprints only in a
game.</p>
<p>The best system to follow is a very simple
one.
<span class='pagenum'><a name="Page_164" id="Page_164">[p. 164]</a></span>
</p>
<p>A few minutes in the steam-room (not more
than five) or some calisthenics to warm up the
blood, then a fast hundred. This done, rest
until you have regained your breath. Taking
the water-polo ball next, pass it to given
points of the tank to secure accuracy, and
sprint after it each time. Then get against
the side of the tank, and placing the ball ten
or twelve feet away, try to secure it with one
hand on a push-off. This, done half a dozen
times daily, will insure accurate passing,
catching and obviate fumbling.</p>
<p>Another excellent exercise is to place the
ball fifteen or twenty feet from you and then
swim after it under water, trying to get it
without coming to the surface. This has the
double object of getting you used to under-water
work and accustoms you to looking for
the ball while submerged in a scrimmage.</p>
<p>Gymnasium work is not advisable unless
one's physical condition is badly in need of
building up, and even then only the lightest
kind should be taken. It has too great a
tendency to harden the muscles; a swimmer's
should be soft and pliable.</p>
<p><span class='pagenum'><a name="Page_165" id="Page_165">[p. 165]</a></span>
Breathing exercises can be highly recommended;
there is nothing better for the wind.
A good system is to take it while walking in
the open air. By inhaling for the space of
six steps, and exhaling for six, the lungs are
properly worked. In cold weather breathe
through the nose.
<span class='pagenum'><a name="Page_166" id="Page_166">[p. 166]</a></span>
</p>
<h3>HOW TO DEVELOP THE NEW PLAYER</h3>
<p>The game of water polo is such a strenuous
one that even the best of men often tackle
it with misgivings. The new player should
on no account attempt to take part in a scrub
game until he has thoroughly mastered the
rudiments. The man who goes in against
an experienced tackler, ignorant of the means
of protecting himself, receives punishment so
severe as to give him a completely erroneous
idea of the game.</p>
<p>If the candidate has followed the suggestions
given above he will be physically able
to stand the gruelling, but more is needed; he
should be able to take care of himself. To
teach him how, he must be taken in hand
alone, and shown the various tackles and
breaks.</p>
<p>This is best done on <i>terra firma</i>; in the
water the man will be thinking of the ducking
in sight and his mind will not be in receptive
mood. It is also essential to make him
understand a hold thoroughly before proceeding
with another.</p>
<p>Once a man has the movements learned, he
<span class='pagenum'><a name="Page_167" id="Page_167">[p. 167]</a></span>
can be put in the water with a skilled player
and allowed to practise on the latter, who
should let him secure the holds without opposition
at first, but gradually increase the resistance
until he becomes proficient. If there
is no one to coach and no good player to
practise against, the new men should work
on each other.</p>
<p>Water-polo holds are a good deal a matter
of individuality; each man builds up a set of
his own, but one tackle and one break will
serve as a foundation for all.</p>
<p>To learn the tackle, give your coworker the
ball and let him come toward you. When he's
a couple of feet off, take a good, hard stroke,
lift yourself as high out of the water as you
can throw your arm around his neck, and
pulling his head down until it is jammed hard
against your chest, wind your legs around
his body. Then you have him at your mercy,
and you can proceed to take the ball away
from him. This tackle should be learned by
forwards and backs alike; all need it.</p>
<p>The best break known is the following: We
will suppose that you carry the ball in the
right hand. On approaching your opponent
<span class='pagenum'><a name="Page_168" id="Page_168">[p. 168]</a></span>
throw your left shoulder forward, presenting
a three-quarter view. To tackle you effectively
he must use his right arm, as you could
easily repel a left-handed one in your position.
As soon as his right arm goes up, place your
left hand squarely under his armpit and let
yourself sink, twisting around, face toward
him, as you pass under, and as soon as you
are on your back force his body over you.
Then plant both feet on him and shove off.
In most cases, if you succeed, you will find
yourself between your opponent and his goal,
where all you have to do is to touch the board
for a score.</p>
<p>To use the legs at every possible chance
should be a principle of the player. Once an
opponent is caught in a good leg-hold he is
rendered helpless. Incidentally, the wise
player ceases struggling when he recognizes
that he is caught beyond freeing. It is an
excellent rule also to avoid being tackled uselessly;
if a body encounter is liable to let you
out best, or will help your side, go into it
heart and soul, just as hard as you know how,
but never make a senseless sacrifice.</p>
<p><span class='pagenum'><a name="Page_169" id="Page_169">[p. 169]</a></span>
Passing and catching are all important factors
in water polo and should be practised
constantly. In passing it is well to bear in
mind that the object in view is to give the
ball securely to one's team-mate. Pass high
and carefully; a low throw may be intercepted
and a hard one fumbled. Specially
in close quarters high passing is essential.</p>
<p>To cover one's opponent when the other
side has the ball and get away from him when
one's own has it, should be the religion of
every player. In covering him, always stay
back of him, where you can watch him, and
tackle him just in the nick of time if the ball
is passed to him.</p>
<p>Many new men have an idea that one
knows intuitively how to score, but it is not
so. The various ways must be learned. One
only does in a game what one has become
used to in practise, for there is little time or
chance to think in the excitement of a keen
contest, and it is those things which have
been ground into one by dint of repetition that
stand by one. To get used to scoring, place
yourself three or four yards from goal and
then sink yourself, or let some one else put
you under, and try to come up and hit the
<span class='pagenum'><a name="Page_170" id="Page_170">[p. 170]</a></span>
board with eyes closed; you will soon find
what a difference practise makes. You must
also learn how to hurdle by letting some one
tread water between you and goal and score
by placing your free hand on his shoulder
and lifting yourself over.</p>
<p>A short course of the above, and you will
be ready to line up.
<span class='pagenum'><a name="Page_171" id="Page_171">[p. 171]</a></span>
</p>
<h3>A FEW POINTS</h3>
<p>On entering the tank for an important
game, every player should forget his individuality
and submit passively to the orders of
the captain. There must be only one head
for a team to succeed, and an order should be
executed without hesitation and without questioning;
right or wrong, the best results come
through blind obedience. The man giving the
orders often sees an opening that the other
does not.</p>
<p>Let no personal difference affect your game;
play to win, not to pay off an old score. It is
the goals made, not the men disabled, that
give one victory, and victory is what every
player should seek.</p>
<p>To the forward, discrimination is a valuable
asset. When caught in a tackle so far
away from goal that getting free will not help
you pass the ball at once, don't allow your
opponent to punish you. But if you are nailed
within easy reach of goal, fight as long as
there is breath of life in you. Never mind
how helpless the task may seem, a team-mate
<span class='pagenum'><a name="Page_172" id="Page_172">[p. 172]</a></span>
may come to the rescue at any moment, and
then you'll score.</p>
<p>The forward should always play the ball in
preference to the man and keep free as much
as possible. And above all—play fast and
hard.<span class='pagenum'><a name="Page_173" id="Page_173">[p. 173]</a></span>
</p>
<h3>AMERICAN RULES</h3>
<p>1. The ball shall be the regulation white
rubber association football not less than 7 nor
more than 8 inches in diameter.</p>
<p>2. The goals shall be spaces 4 feet long and
12 inches wide marked "Goal" in large letters.
One shall be placed at either end of the tank,
18 inches above the water-line equally distant
from either side.</p>
<p>3. To score a goal the goal must be touched
by the ball in the hand of an opposing player
and the greatest number of goals shall count
game.</p>
<p>4. The ball shall be kept on or as near the
surface of the water as possible, and shall
never intentionally be carried under water.
No goal shall be allowed when scored by an
under-water pass.</p>
<p>5. The contesting teams shall consist of six
a side, with two reserve men who can be substituted
at any time when the ball is not in
play. A player withdrawn can not return to
play. Only six prizes shall be given to the
winning team.<span class='pagenum'><a name="Page_174" id="Page_174">[p. 174]</a></span>
</p>
<p>6. Time of play shall be 16 minutes actual
time, divided in two halves of 8 minutes each
and 5 minutes rest between halves. Time
occupied by disputes, free trials for goal, repairing
suits, and lining up after a goal has
been scored shall not be reckoned as time of
play.</p>
<p>7. The captains shall be playing members
of teams they represent and shall toss for
choice of ends of tank. The ends shall be
changed at half time.</p>
<p>8. The referee shall throw the ball in the
center of the tank and the start for the ball
be made only at the sound of the whistle.</p>
<p>9. A ball going out of the tank shall be
returned to the place from which it was
thrown and given to the opposing team.</p>
<p>10. A mark shall be made four feet from
each goal on the side of the tank and an
imaginary line between these marks shall be
called the four-foot line. No man will be
allowed within this line until the ball is within
it. The goal-tenders, limited to two, of the
defending side are alone exempt from this
rule. When the ball is within the goal-line
the goal-tenders shall not be allowed any artificial
support other than the bottom of the
tank.
<span class='pagenum'><a name="Page_175" id="Page_175">[p. 175]</a></span></p>
<p>11. No player is allowed to interfere with
an opponent unless such an opponent is within
four feet of the ball, except when the ball is
within the goal section, when indiscriminate
tackling will be allowed in the goal section,
the goal section to be a space of four feet by
eight feet within the goal-line and between two
parallel lines drawn at right angles to the goal-line
and distant two feet from either end of
the goal.</p>
<p>12. Upon a goal being gained, the opposite
teams shall go to their own end of the tank,
and the ball shall be thrown by the referee
into the center and play started as at beginning
of game.</p>
<p>13. Each team shall have two judges, one at
each goal-line, who, upon a goal being made,
shall notify the referee and announce the same.</p>
<p>Only in case the judges disagree shall the
referee have power to decide whether a goal
be fairly made or not.</p>
<p>14. The referee shall decide all fouls, and
if in his opinion a player commits a foul he
shall caution the team for the first offense and
<span class='pagenum'><a name="Page_176" id="Page_176">[p. 176]</a></span>
give the opponents a free trial for goal at
each succeeding foul.</p>
<p>A free trial for goal will be given by lining
up three backs of the defending team within
the 4-foot line and giving three forwards of
the opposing team the ball on the 15-foot line,
when they may try for a goal until a goal is
scored or the ball goes outside the 15-foot line.
Only three men from each side will be allowed
within the 15-foot line, until the ball goes outside
that line or a goal is scored.</p>
<p><span class="smcap">Fouls.</span>—It shall be foul to tackle an opponent
if the ball is not within four feet of
him or to hold him by any part of his costume.
It shall be a foul to cross the 4-foot
line ahead of the ball, unless forced over by
an opponent, or to hang on to the sides of
the tank except for the purpose of resting.</p>
<p>Unnecessary rough work may, within the
discrimination of the referee, either be counted
a foul or the referee may put the offender out
of the tank until a goal is scored or the half
ends.<span class='pagenum'><a name="Page_177" id="Page_177">[p. 177]</a></span>
</p>
<p><a name="illus177" id="illus177"></a></p>
<div class="figcenter">
<img src="images/illus177.jpg" alt="Water Polo Playing Area" title="Water Polo Playing Area" />
<br />
</div>
<p><span class='pagenum'><a name="Page_178" id="Page_178">[p. 178]</a></span></p>
<p><span class='pagenum'><a name="Page_179" id="Page_179">[p. 179]</a></span></p>
<hr style="width: 60%;" />
<h2>PART V</h2>
<hr style="width: 50%;" />
<p><span class='pagenum'><a name="Page_180" id="Page_180">[p. 180]</a></span></p>
<p><span class='pagenum'><a name="Page_181" id="Page_181">[p. 181]</a></span></p>
<h2>CRAMPS, HOW TO SAVE LIFE, RESUSCITATION,
ETC. </h2>
<hr style="width: 40%;" />
<h3>CRAMPS</h3>
<p>To be suddenly seized with cramps is a
thing liable to happen to most expert swimmers;
it is caused by various reasons—staying
too long in the water and getting chilled,
going in after a heavy meal, stiffening the
legs too much, and varicose veins. Preventive:
Never remain in the water after feeling
chilled; always swim around and exercise
yourself; twenty minutes is long enough for
any one to remain in the water; always turn
over on the back when getting a cramp, and
float, at the same time working toward the
shore with the hands, and don't lose your
presence of mind.</p>
<p>Don't attempt to rescue a person from
drowning unless you are a good swimmer
yourself; remember that a drowning person is
generally insane for the time, and is liable to
drag you to your death unless you are capable
of swimming with a heavy load.
<span class='pagenum'><a name="Page_182" id="Page_182">[p. 182]</a></span>
</p>
<h3>HOW TO SAVE LIFE</h3>
<p>To the person who accidentally falls overboard,
or who is compelled to leap into deep
water, as was the case with many victims of
the <i>General Slocum</i>, the first essential is to
keep one's presence of mind. Do not feel
alarmed if your head should sink below the
surface once or twice—you are bound to come
to the surface, and will be able to sustain
yourself for a considerable time, even if you
are not a swimmer, if you will but keep your
hands under water. The reason so many people
drown is because directly they come to the
surface they raise their hands above their
head and shout for help. This is fatal. The
moment the hands are raised out of the water
the body will sink below the surface.</p>
<p>Another thing to remember is to keep the
mouth closed until the body attains the floating
position; then try and breathe naturally
through the mouth and help propel yourself
with your hands. Should you be able to swim,
try and take off your outer clothing, as the
latter, when water-soaked, tends to drag the
body down, besides retarding the movements
of the drowning person.
<span class='pagenum'><a name="Page_183" id="Page_183">[p. 183]</a></span>
</p>
<p>To risk one's life in order to save a fellow
being from drowning is one of the most heroic
acts that one may be called upon to perform,
yet how many of us have the presence of mind
and courage to act in such an emergency? To
rescue a person from drowning is no child's
play, even for the best swimmers; it requires
pluck, nerve and stamina. Of course, I allude
to rescues which take place some distance from
shore. Many a daring swimmer has been
clutched and dragged down to death simply
because he did not know the safest way to approach
a drowning person.</p>
<p>Of the many different ways of saving life,
the safest and best method is to swim as near
the person as possible, then dive under and
come up behind him; otherwise he is liable to
grab you around the neck with a death clutch,
from which it is extremely difficult to escape.
When swimming up behind the person, grab
his biceps and force him on his back; the more
he struggles the more he helps himself to keep
afloat.</p>
<p>To prevent being clutched by a drowning
person the following rules should be carefully
studied. Every action, however, must be<span class='pagenum'><a name="Page_184" id="Page_184">[p. 184]</a></span>
prompt and decisive, otherwise this method
will be of no avail.</p>
<p><a name="illus184" id="illus184"></a></p>
<div class="figcenter" >
<img src="images/illus184.jpg" alt="THE BEST METHOD OF SAVING LIFE" title="THE BEST METHOD OF SAVING LIFE" />
<br /><span class="caption">THE BEST METHOD OF SAVING LIFE</span><br /><br />
</div>
<p>1. If grasped by the wrists, turn both arms
simultaneously against the drowning person,
thumbs outward, and attempt to bring your
right arms at right angles to your own body.
This will dislocate the thumbs of the drowning
person and he must let go his hold.</p>
<p>2. If clutched around the neck, immediately
take a deep breath, lean well over your opponent,
place the left hand in the small part of<span class='pagenum'><a name="Page_185" id="Page_185">[p. 185]</a></span>
his back and draw your right arm in an
upward direction until in line with his shoulder,
and pass it at once over his arm. Then
with the thumb and forefinger catch his nose
and pinch the nostrils close, at the same time
place the palm of your hand on his chin and
push firmly outward. This will cause him to
open his mouth for breathing purposes, and
he, being under you, will swallow water.
Choking ensues, and not only is the rescuer
let go, but the other is left so helpless as to
be completely under control.</p>
<p>3. If clutched around the body and arms,
take a deep breath, lean well over your opponent
and throw the right arm in an upward
direction at right angles to the body, or draw
it up between your body and that of your
opponent. Then with the thumb and forefinger
catch the nose and pinch the nostrils
close, and at the same time place the palm
of the hand on the chin and bring the right
knee as high as possible up between the two
bodies, placing it, if possible, against the lower
part of your opponent's chest; then, by means
of a strong and somewhat sudden push, stretch
your arms and legs out straight, at the same<span class='pagenum'><a name="Page_186" id="Page_186">[p. 186]</a></span>
time throwing the whole weight of the body
backward. The sudden motion will press the
air out of the other's lungs, as well as push
him off, no matter how tightly he may be
holding.</p>
<p>Should the drowning person act sensibly
and not try to grab his rescuer, he can be
brought in by placing his hands on his rescuer's
shoulders and kicking out his legs behind
him while the rescuer swims in toward
shore. Another method is to pull the person
on his back by holding him under the right
arm-pit with your right hand and using
the left hand and legs to swim with. Should
the rescue be close to shore, swim behind the
person and help by pushing him in toward
shallow water. Should the drowning person
have sunk for the third time watch when the
air-bubbles rise to the surface. At once dive
down perpendicular to the bottom when the
air-bubbles show, seize the drowning person
and bring him to the surface by pushing off
from the bottom and using your legs to send
you upward to the surface. Before trying to
rescue any one get rid of as much clothing
as possible, if time will permit.
<span class='pagenum'><a name="Page_187" id="Page_187">[p. 187]</a></span>
</p>
<h3>RESUSCITATION AFTER RESCUE</h3>
<p>After bringing a drowning person ashore
your work is only half done; the main thing
is to bring him back to life should he be
unconscious. There are several methods for
resuscitating the apparently drowned. The
method adopted by the Royal Humane Society
of England is, to my knowledge, the simplest
of all. It is as follows:</p>
<p>Begin treatment in the open air as soon as
you have brought the unfortunate ashore.
Meanwhile send for medical assistance, blankets
and dry clothing. Expose the patient's
throat and chest to the wind, except in very
severe weather. Remove all tight clothing
from neck and chest. Take off suspenders.</p>
<p>The points to be aimed at are: First and
immediately the restoration of breathing, and,
secondly, after breathing is restored, the promotion
of warmth and circulation. The efforts
to restore breathing must be commenced
immediately and energetically, and persevered
in for one or two hours, or until a medical
man has pronounced that life is extinct.</p>
<p>Efforts to promote warmth and circulation<span class='pagenum'><a name="Page_188" id="Page_188">[p. 188]</a></span>
beyond removing the wet clothes and drying
the skin must not be made until the first appearance
of natural breathing, for if circulation
of the blood be induced before breathing
has recommenced the restoration of life will
be endangered.
<span class='pagenum'><a name="Page_189" id="Page_189">[p. 189]</a></span>
</p>
<h3>HALL'S METHOD IN RESUSCITATION</h3>
<p>To clear the throat, place the patient on
the floor or the ground with the face downward
and one of the arms under the forehead,
in which position all fluids will more
readily escape by the mouth, and the tongue
itself will fall forward, leaving the entrance
into the windpipe free. Assist this operation
by wiping and cleansing the mouth.</p>
<p>If satisfactory breathing begins, use the
treatment described below to promote warmth.
If there be only slight breathing, or no breathing,
or if the breathing fail, then, to excite
breathing, turn the patient well and instantly
on the side, supporting the head, and excite
the nostrils with snuff, hartshorn, and smelling-salts,
or tickle the throat with a feather,
etc., if they are at hand. Rub the chest and
face warm, and dash cold water, or cold and
hot water alternately, on them.</p>
<p>If there be no success, lose not a moment,
but instantly, to imitate breathing, replace the
patient on the face, raising and supporting the
chest well on a folded coat or other article of
dress. Turn the patient very gently on the<span class='pagenum'><a name="Page_190" id="Page_190">[p. 190]</a></span>
side and a little beyond, and then briskly on
the face, back again; repeating these measures
cautiously, efficiently and perseveringly
about fifteen times in the minute, or once every
four or five seconds, occasionally varying the
side. (By placing the patient on the chest, the
weight of the body forces the air out; when
turned on the side this pressure is removed,
and air enters the chest.)</p>
<p>On each occasion that the body is replaced
on the face make uniform but efficient pressure,
with brisk movement, on the back between
and below the shoulder-blades or bones
on each side, removing the pressure immediately
before turning the body on the side.
During the whole of the operations let one
person attend solely to the movements of the
head, and of the arm placed under it.</p>
<p>The result is respiration, or natural breathing,
and, if not too late, life.</p>
<p>While the above operations are being proceeded
with, dry the hands and feet, and as
soon as dry clothing or blankets can be procured,
strip the body and cover, or gradually
reclothe it, but take care not to interfere with
the efforts to restore breathing.
<span class='pagenum'><a name="Page_191" id="Page_191">[p. 191]</a></span>
</p>
<h3>SYLVESTER'S METHOD</h3>
<p>Rule 1. <i>To Adjust the Patient's Position.</i>—Place
the patient on his back on a flat surface,
inclined a little from the feet upward; raise
and support the head and shoulders on a small,
firm cushion or folded article of dress, placed
under the shoulder-blades. Remove all tight
clothing from about the neck and chest.</p>
<p><a name="illus191" id="illus191"></a></p>
<div class="figcenter" >
<img src="images/illus191.jpg" alt="SYLVESTER'S METHOD—FIGURE 1" title="SYLVESTER'S METHOD—FIGURE 1" />
<br /><span class="caption">SYLVESTER'S METHOD—FIGURE 1</span><br /><br />
</div>
<p>Rule 2. <i>To Maintain a Free Entrance of
Air Into the Windpipe.</i>—Cleanse the mouth
and nostrils; open the mouth; draw forward
the patient's tongue, and keep it forward; an
elastic band over the tongue and under the
chin will answer this purpose. (Fig. 1.)
<span class='pagenum'><a name="Page_192" id="Page_192">[p. 192]</a></span>
</p>
<p>Rule 3. <i>To Imitate the Movements of
Breathing.</i>—First, <i>Induce inspiration</i>. Place
yourself at the head of the patient, grasp his
arms (at the elbow-joints), raise them upward
by the sides of his head, stretch them steadily
but gently upward, for two seconds. By this
means fresh air is drawn into the lungs by
raising the ribs. (Fig. 2.)</p>
<p><a name="illus192" id="illus192"></a></p>
<div class="figcenter" >
<img src="images/illus192.jpg" alt="SYLVESTER'S METHOD—FIGURE 2" title="SYLVESTER'S METHOD—FIGURE 2" />
<br /><span class="caption">SYLVESTER'S METHOD—FIGURE 2</span><br /><br />
</div>
<p>Secondly, <i>Induce Expiration</i>.—Immediately
turn down the patient's arms, and press the
elbows firmly but gently downward against
the sides of the chest, for two seconds. By
this means foul air is expelled from the lungs
by depressing the ribs. (Fig. 3.)</p>
<p>Thirdly, <i>Continue These Movements</i>.—Repeat
these measures alternately, deliberately,
<span class='pagenum'><a name="Page_193" id="Page_193">[p. 193]</a></span>
and perseveringly fifteen times a minute,
until a spontaneous effort to respire be perceived.
By these means an exchange of air
is produced in the lungs similar to that effected
by natural respiration.</p>
<p><a name="illus193" id="illus193"></a></p>
<div class="figcenter" >
<img src="images/illus193.jpg" alt="SYLVESTER'S METHOD—FIGURE 3" title="SYLVESTER'S METHOD—FIGURE 3" />
<br /><span class="caption">SYLVESTER'S METHOD—FIGURE 3</span><br /><br />
</div>
<p>When a spontaneous effort to respire is perceived,
cease to imitate the movements of
breathing, and proceed to induce circulation
and warmth, as described on following page.</p>
<p>Rule 4. <i>To Excite Respiration.</i>—During
the employment of the above method, excite<span class='pagenum'><a name="Page_194" id="Page_194">[p. 194]</a></span>
the nostrils with snuff or smelling-salts, or
tickle the throat with a feather. Rub the
chest and face briskly, and dash cold and hot
water alternately on them. Friction of the
limbs and body with dry flannel or cloths
should be had recourse to. When there is
proof of returning respiration, the individual
may be placed in a warm bath, the movements
of the arms above described being continued
until respiration is fully restored. Raise the
body in twenty seconds to a sitting position,
dash cold water against the chest and face,
and pass ammonia under the nose. Should
a galvanic apparatus be at hand, apply the
sponges to the region of the diaphragm and
the heart.</p>
<p><i>To Induce Circulation and Warmth.</i>—Wrap
the patient in dry blankets, and rub the limbs
upward energetically. Promote the warmth of
the body with hot flannels, bottles or bladders
of hot water; heated bricks to the pit of the
stomach, the arm-pits, and to the soles of the
feet.</p>
<p>On the restoration of life, when the power
of swallowing has returned, a teaspoonful of
warm water, small quantities of wine, warm<span class='pagenum'><a name="Page_195" id="Page_195">[p. 195]</a></span>
brandy and water, or coffee should be given.
The patient should be kept in bed, and a
disposition to sleep encouraged. During reaction,
large mustard-plasters to the chest and
below the shoulders will greatly relieve the
distrest breathing.</p>
<p><span class="smcap">Note.</span>—In all cases of prolonged immersion
in cold water, when the breathing continues,
a warm bath should be employed to restore
the temperature.</p>
<p><a name="illus195" id="illus195"></a></p>
<div class="figcenter">
<img src="images/illus195.jpg" alt="(diving)" title="(diving)" />
</div>
<pre>
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