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diff --git a/42106-0.txt b/42106-0.txt new file mode 100644 index 0000000..c1fc2e3 --- /dev/null +++ b/42106-0.txt @@ -0,0 +1,1961 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 42106 *** + + HOW TO FENCE. + + CONTAINING + + FULL INSTRUCTION + + FOR + + FENCING + + AND THE + + USE OF THE BROADSWORD; + + ALSO + + INSTRUCTION IN ARCHERY, + + DESCRIBED WITH + + TWENTY-ONE PRACTICAL + + ILLUSTRATIONS. + + + A COMPLETE BOOK. + + + NEW YORK: + + FRANK TOUSEY, Publisher, + + 34 AND 36 NORTH MOORE STREET. + + + + + Entered according to Act of Congress, in the year 1884, by + + FRANK TOUSEY, + + In the Office of the Librarian of Congress at Washington, D. C. + + + + +TABLE OF CONTENTS + + + How to Fence + Broadsword Exercise + Archery + Hurdle Racing + Vaulting with Pole, or Pole-Leaping + Throwing the Hammer + Putting the Shot + + + + +[Illustration] + + + + +HOW TO FENCE. + + +Fencing is the art of using the small-sword, or rapier. The small-sword +has a straight blade, about thirty-two inches in length outside the +guard, and is fashioned for _thrusting_ only. Although it is an art of +the greatest antiquity, very great improvements have been made in it +during the last half-century, chiefly by French masters, who excel those +of all other countries. This has been attributed to various causes; by +some to the agility and acknowledged power of rapid physical action +possessed by this nation; by others, to their natural vivacity and +mental quickness. In my opinion, however, a more direct and powerful +cause may be traced in the great encouragement and universal patronage +which it has ever received from every grade of a chivalrous and military +people. Every regiment has its _maitre d'armes_, and every barrack its +fencing-school. Indeed, in so important a light was the proper teaching +of this art held, that one of the French kings (Louis XIV.) granted +letters-patent to twenty eminent masters, who alone were permitted to +teach in Paris. When a vacancy occurred, no interest and no favor could +enable a candidate to obtain this privilege: he had to fence in public +with six of these chosen masters, and if by any of them he was beaten by +two distinct hits, he was considered unqualified to teach in the +capital. + +Independent of its value as the scientific use of the sword--the +gentleman's weapon of defense, _par excellence_--fencing stands +unrivaled as an _exercise_; and it is in this sense that it will now be +treated. The most eminent physicians which this country have produced, +have all, in the most earnest manner, recommended it to the attention of +the young. Thus, Dr. Clive says: + +"Muscular exertion is essential in perfecting the form of the body, and +those exercises which require the exercise of the greatest number of +muscles are the most conducive to this end. Fencing causes more muscles +to act at the same time than most other exercises. It promotes the +expansion of the chest, and improves respiration, whereby the functions +of the most important organs of the body are more perfectly performed." + +Sir Anthony Carlisle uses similar language: + +"According to my judgment, the exercise of fencing tends to promote +bodily health, and the development of athletic powers. It is likewise +apparent that the attitudes and exertions of fencing are conducive to +the manly forms and muscular energies of the human figure." + +Again, Sir Everard Home, in still stronger terms: + +"Of all the different modes in which the body can be exercised, there is +none, in my judgment, that is capable of giving strength and velocity, +as well as precision, to the action of all the voluntary muscles of the +body in an equal degree as the practice of fencing, and none more +conducive to bodily health." + +I shall give one more extract from another physician of equal eminence, +Dr. Babbington: + +"I am of opinion that, in addition to the amusement which this exercise +(fencing) affords, it is particularly calculated to excite in young +persons a greater degree of energy and circumspection than they might +otherwise possess; and it is obvious that, in respect of health, that +mode of exertion is _superior to all others_, which, while it gives +motion and activity to every part of the body, produces at the same time +corresponding interest in the mind." + +Sir John Sinclair, Dr. Pemberton, &c., speak in terms equally +recommendatory. + +To avoid all danger in the lessons and practice, foils are substituted +for real swords. Strong wire masks are worn on the face, a well-padded +glove on the hand; and the upper part of the body, at which alone the +thrusts are aimed, is protected by a strong jacket, the right side and +collar of which should be of leather. + +The first movement a beginner has to learn, is the manner of placing +himself in the position called + + +THE GUARD. + +It is from this position that all movements are made, whether offensive +or defensive. Let the beginner be placed with his knees straight, his +feet at right angles, heel to heel; the right foot, right side, and face +directed to the master. The body must be held upright and firm, the arms +hanging down by the side, but easily and without constraint, the left +hand holding the foil a few inches beneath its guard. Next, let him +bring the right hand across the body, and seize the foil-handle; by a +second movement, bring the foil above the head, the hands separating as +they ascend, until both arms be nearly extended upwards and outwards. +Here pause. This may be called the _first position_ of the Guard. + +These movements should be frequently practiced, as they accustom the +arms to move independently of the body, flatten the joints of the +shoulders, and give prominence to the chest. + +To arrive at the _second position_ of the Guard, the right arm, with the +foil, is brought down to the front, until the right elbow is a little +above and in advance of the waist; the fore-arm and foil sloping +upwards; the point of the foil being the height of the upper part of the +face; then, by a second movement, the learner must sink down, separating +the knees, and stepping forward with the right foot fourteen or sixteen +inches; for, of course, the guard of a tall man will be wider than that +of a short one. However, his own comfort in the position will direct him +as to the distance; and the general rule is, that the knee of the left +leg will jut over the toes of the left foot, and the right leg from +ankle to knee be perpendicular. It is in this position that he will +receive all attacks from an adversary, and from this position will all +his own attacks be made. Also in this position will he + +[Illustration] + + +ADVANCE + +upon an adversary, when beyond hitting distance. The step in the advance +is usually about that of the width of the Guard, although of course this +would vary with circumstances. The step is made by advancing the right +foot the distance I have named; and on its reaching the ground, the left +foot is brought up, and takes its place. To + + +RETREAT, + +the reverse of the above movement is made. The left foot takes the lead, +stepping to the rear about as far as the right had stepped to the front; +the right occupying its place on its taking up its new position. The +next movement, + + +THE LONGE, + +[Illustration] + +is a very important movement, and is rather difficult to make properly, +and fatiguing to practice. Indeed, the first movements in fencing are +the most trying to the learner; and he must not be discouraged if he +fails to do them correctly at first--practice only will give him this +power. The Longe is that extension of body which accompanies every +attack, and is thus made:--The right arm is extended straight from the +shoulder, the arm and blade being on the same level; by a second +movement, the right foot is raised from the ground, and a step made +forward, about eighteen inches in length, while the left remains firmly +planted in its place. At the instant that this step is made, the left +hand is allowed to fall within a few inches of the left thigh, and the +left knee is stiffened back until the leg is perfectly straight. + +The thigh of the right leg will now be in a position nearly horizontal; +from the knee downwards perpendicular. Having executed the Longe, the +next movement to be made is + + +THE RECOVER; + +that is, to return from the position of the Longe to that of the Guard, +and is thus effected:--The left arm is nimbly thrown up to its place, +the right arm drawn in, and the left knee re-bent. These movements must +be made at the same time, as it is their _united_ action that enables a +person to recover from so extended a position as the Longe quick enough +to avoid a thrust if his own attack has failed. + +These movements must be frequently practiced before any others are +attempted--the Guard, the Advance, the Retreat, the Longe, and the +Recover; and when the learner has attained some proficiency in them, he +may begin the more delicate movements of attack and defense. Of these I +will now speak. + + +THE ENGAGE. + +It is customary for adversaries, on coming to the Guard, to _Engage_, +or to join blades, on what is called the _inside_, that is, the _right_ +side; although there are occasions on which it is advisable to engage on +the _outside_, or on the left; otherwise called the _Quarte_ or _Tierce_ +sides. + +[Illustration] + +Two men thus opposed to each other will at once perceive that there are +two lines of attack open to them, _i. e._ the line inside and the line +outside the blade--these, and no more. But these may be, and in fencing +are, subdivided into inside above the hand, and inside under the hand, +and the same subdivision for outside. This gives four lines of +attack--or, to speak more simply, gives four openings through which an +adversary may be assailed. Now, to protect each of these assailable +points, are four defensive movements, called + + +PARADES. + +Each opening has its own parade or defense, and each parade will guard +its own opening, and, strictly speaking, no other. The opening inside +above the hand is defended by two parades. + +As its name imports, the first and most natural parade is that of +_Prime_. The action of drawing the sword from its sheath is almost +exactly the movement made use of in the parade of Prime. + +In this parade the hand is raised as high as the forehead, so that the +fencer can see his opponent's face under his wrist. The blade of the +foil is almost horizontal, but the point is rather lowered towards the +ground. As this parade will throw the right side of the body open to the +adversary's sword, it is good play to disengage from left to right, and +deliver a rapid thrust at the adversary, in order to anticipate him +before he can bring his own sword round for another thrust. His point +will be thrown far out of line, so that he is behind-hand in point of +time. + +This is a very useful parade for fencers of short stature, as they can +sometimes get in their blade under their adversary's arm, after they +have parried his thrust. + +The other parade is that of + + +QUARTE. + +It is thus formed. On the approach of the point of an adversary's blade +(and how these approaches are made I will presently explain), the right +hand is moved a few inches--three or four will be enough--across the +body on the inside, the hand being neither depressed nor raised, and the +foil being kept on the same slope as in the Guard. This guards the body +on the inside above the hand, but (and here comes an important law in +fencing) the very movement which has guarded the body on one side has +exposed it on the other; this is the case with all the simple parades. + +[Illustration] + +[Illustration] + +Suppose, now, that the exposed part _outside above_ the hand were +assailed, then the defense for it is the parade of + + +TIERCE. + +It is formed by turning the hand with the nails downwards, and crossing +to the opposite side some six or eight inches, the hand and point at the +same elevation as before; this will guard this opening. If, however, the +attack has been made _under_ instead of over the hand, then the proper +parade would have been _seconde_. + +[Illustration] + +[Illustration] + +There is another method of parade called _quarte_ over the arm--which is +executed by making about the same parade as in Tierce, with this +exception--first, the hand is retained in its original position, with +the nails upwards, and secondly, the point is not raised over the eye of +the adversary. + +[Illustration] + +It is rather more delicate than Tierce, but wants its power and energy. +The ripostes, or reply thrusts, are made as they would have been had the +parade been that of Tierce. + + +SECONDE + +is formed by turning the hand in the same position in which it was +turned for tierce, but the point of the foil slopes as much downwards as +in tierce it did upwards; the direction and distance for the hand to +traverse being the same. Again, had the attack been delivered at none of +these, but at the _inside under_ the hand, then the proper parade would +have been + + +DEMI-CERCLE, + +which, as its name expresses, is a half-circle, described by a sweep of +the blade traversing the _under_ line. Next comes the parade of + + +OCTAVE. + +In this parade the hand is held as in Quarte; the hilt of the foil is +kept lower than that of the opponent: the blade is almost horizontal, +the point being only slightly lower than the hilt, and directed towards +the body of the adversary. + +[Illustration] + +Octave is extremely useful when the fencer misses his parade of +Demi-cercle, as there is but a short distance for the point to traverse, +and it generally meets the blade of the adversary before the point can +be properly fixed. Moreover, it brings the point so near the adversary's +body, that he will not venture to make another thrust until he has +removed the foil. + +Thus I have enumerated, and partly explained, the forms and uses of +these four parades: they are called Simple Parades, to distinguish them +from another set of defensive movements, called + + +CONTRE-PARADES. + +I have said and shown that a man standing foil in hand, in the position +of the guard, is exposed in four distinct places to thrusts from an +adversary within longeing distance. I have also shown that he has a +defense for each of these exposed places; but if a man has but _one_ +defense for each assailable part, then his adversary, knowing beforehand +what the defense must be, would be prepared beforehand to deceive him. +But if he has a reserve--if he has a _second_ defense for each +part--then the adversary cannot tell what the defense will be, until his +attack, false or real, is begun. + +To meet this contingency, a second series of defenses have been devised, +which are of an entirely different nature from the _Simple_ Parades. + +Again, as each of the simple parades is framed to guard only one +opening, it was found desirable that the contre-parades should be of a +more comprehensive character. They are therefore devised so that each is +capable of protecting the entire front. It is evident that this object +could not be attained without the sacrifice of quickness, because a +larger space must be traversed, and therefore more time is occupied with +a contre than a simple parade. + +To know one contre-parade is virtually to know all, as they are all +formed on the same plan. They are all full circles in the position of +hand and direction of foil of the different simple parades; or more +clearly speaking, each simple parade has a contre-parade; there are, +therefore, four simple and four contre-parades, which may be thus +arranged: + + Quarte Contre de Quarte. + + Tierce Contre de Tierce. + + Seconde Contre de Seconde. + + Demi-cercle Contre de Cercle. + +I have said that a contre-parade is a full circle in the position of +hand and direction of blade of its simple; thus, contre de quarte is +made by retaining the hand in the position of quarte, while the foil +describes a circle descending on the inside, and returning by the +outside to the place of its departure. So with all the others, the foil +_following the direction of the simple_ parade, of which it is the +contre. These complete the entire system of defenses. + +I now come to the movements of an opposite nature, namely, the + + +ATTACKS, + +and shall begin with the most simple of them. I will again suppose two +adversaries standing _en guard_, within longeing distance of each other: +now the most simple movement that the attacking party could make would +be + + +THE STRAIGHT THRUST + +to the outside or inside, according to his line of engagement. I have, +in describing the longe, in effect described the straight thrust; it is +but a longe in a straight line, taking care, however, to feel firmly the +adversary's blade, but taking care also not to press or lean on it +during the delivering of the thrust. + +Next in character comes + + +THE DISENGAGEMENT. + +This attack is made by dropping the point of the foil beneath the +adversary's blade, and raising it on the opposite side, at the same +time, rising with the arm fully extended; on the completion of the +extension the longe is made and the thrust delivered. + + +THE ONE-TWO + +is but a double disengagement, the first being but a feint or false +attack, to induce the adversary to form a parade to cover the part +threatened, for the covering of one part of the body exposes the +opposite; the second disengagement is made to take advantage of this +exposure. The arm is extended half-way on the first, and then wholly on +the second, to be immediately followed by the longe. + + +THE BEAT AND THRUST. + +This is another variety of attack. Supposing the adversary's blade to be +firmly joined to yours, when you wished to deliver a _straight thrust_, +there would then be danger of your falling upon his point. This danger +is avoided by giving a slight beat on his blade the instant preceding +your extension of arm, of course to be followed _en suite_ by the longe. + +The companion attack to this one is + + +THE BEAT AND DISENGAGEMENT. + +The _beat_ here takes the character of the first disengagement in +_one-two_, _i. e._ becomes a _feint_, and is intended to induce the +adversary to return to the place he occupied when the beat was made. You +then immediately pass to the opposite side of his blade in the manner +described in the _disengagement_. + +It will be seen that all these movements pass _under_ the adversary's +blade. However, there are certain situations in the _assault_, as a +fencing about is called, when an adversary is more assailable _over the +point_ than under the blade; for this purpose there is what the French +call the _coupe sur peint_, or + + +CUT OVER THE POINT. + +It is thus made:--By the action of the hand, and without drawing it back +at all, the foil is raised and brought down on the opposite side of the +adversary's blade, the arm being extended during its fall to the +horizontal position, on attaining which the longe is delivered. + + +CUT OVER AND DISENGAGEMENT + +is on the same principal as the _one-two_ and the _beat and +disengagement_. On the adversary opposing the first movement (the cut) +with a parade, the second movement (the disengagement) is made to the +opposite side, to be followed, of course, by the longe, the extension of +the arm being divided between the two movements. + +These attacks are called simple attacks, because they may be parried by +one or more simple parades, according to the number of movements in the +attack. In fact, every attack can be parried, and every parade can be +deceived; it is the _additional_ movement last made which hits or +guards. + +Thus, you threaten by a disengagement to the outside; your adversary +bars your way effectually by the parade of _tierce_; you make a second +disengagement to the inside, which is now exposed from the very fact of +the outside being guarded (for both lines of attack cannot be guarded at +the same time), thus converting your attack into _one-two_; but if your +adversary parries quarte on your _second_ movement, your attack would be +warded off. This can be carried much further, but the above will, I +think, be sufficient to explain the nature of simple parades and +attacks. + +To deceive a _contre_-parade, a separate movement, called a + + +DOUBLE, + +has been invented; it is very simple in principle, and admirably answers +the purpose. For instance if you were to threaten your adversary by a +disengagement to the outside, and if, instead of tierce, he parried +_contra de quarte_, the double is then made by your making a _second_ +disengagement _to the same side as the first_, for it will be found that +his _contra de quarte_ has replaced the blade in the positions they +occupied previous to your disengagement. You will then have an opening, +and may finish the attack by the longe. + +As all the contra-parades are on the same plan and principle, so are all +the doubles. Of course, it is understood that you will make all the +movements of the double _en suite_, and without allowing your +adversary's blade to overtake yours. + + +ALL FEINTS. + +The foregoing movements having been well practiced in the lesson, the +next step is that of _all feints_ and _all parades_, and may be +practiced either with a master or fellow-pupil. The practice consists of +one pupil standing on the defensive _entirely_, while another assumes +the offensive, and attacks him with _all_ the _feints_ of which he is +master, the other, of course, defending with all his parades. It is +excellent practice, as it accustoms the pupil to think for himself +gradually, he having thus but one set of movements to think about. He is +therefore enabled to make them boldly, without having to encounter +unknown movements from his adversary. + +It also enables him to see the extent of his resources, both for attack +and defense. When he can both attack and defend with some presence of +mind, he may then begin + + +THE ASSAULT; + +that is, he may encounter an adversary, to attack or defend as occasion +presents. He is then left to his own resources entirely. The following + + +GENERAL ADVICE, + +given by a very eminent fencer and excellent teacher, cannot fail to be +of use: + +"Do not put yourself on the position of the guard within the reach of +your adversary's thrusts, especially at the time of drawing your sword. + +"If you are much inferior, make no long assaults. + +"Do nothing that is useless; every movement should tend to your +advantage. + +"Let your movements be made as much within the line of your adversary's +body as possible. + +"Endeavor both to discover your adversary's designs and to conceal your +own. + +"Two skillful men, acting together, fight more with their heads than +their hands. + +"The smaller you can make the movements with your foil, the quicker will +your point arrive at your adversary's body. + +"Do not endeavor to give many thrusts on the longe, thus running the +risk of receiving one in the interim. + +"If your adversary drops his foil by accident, or in consequence of a +smart parade of yours, you should immediately pick it up, and present it +to him politely. + +"Always join blades (if possible) previously to another attack, after a +hit is given." + + + + +BROADSWORD EXERCISE. + + +The principal distinction between the broadsword and the rapier is, that +the latter is formed only for thrusting, while the former is adapted for +cutting also. Indeed, those who use the broadsword are, in my opinion, +too apt to neglect the use of the point, and to give their attention +almost exclusively to the cuts. + +The first lesson in the sword exercise is necessarily to know how to +stand. The learner should be instructed to perform the different +movements by word of command, remembering to consider the first parts of +the word as a caution, and not to stir until the _last_ syllable is +uttered. At the last syllable, the movement should be performed smartly. +In giving the word, the instructor always makes a slight pause, in order +to give his pupils time to remember what they must do. For example, the +words Draw Swords is given thus, Draw ... Swords--the word swords being +spoken smartly, in order that the movement may correspond. + + +POSITIONS. + +First Position.--Make the target [Footnote: For target, see page 26.] +about fourteen inches in diameter, and place it on the wall, having its +center about four feet from the ground. Draw a perpendicular line from +the spot at the bottom of the target to the ground, and continue it on +the floor, in order to insure the proper position of the heels. The +learner stands perfectly upright opposite the target, with his right +side towards it, his heels close together, his right toe pointing to the +target, and his left foot at right angles with the left. His arms must +be clasped behind his back, his right palm supporting the left elbow, +and his left hand grasping the right arm just above the elbow. In this +position, he must bend both knees and sink down as far as possible. This +will not be very far at first, but he will soon sink down quite easily. + +Second Position.--This is accomplished by placing the right foot smartly +in front, about sixteen or fourteen inches before the left. (See fig. +1.) He must accustom himself to balance himself so perfectly on his left +foot that he can place the right either before or behind it, without +losing his balance. + +[Illustration: _Fig. 1._] + +Third Position.--The third position must then be learned. This consists +of stepping well forward with the right foot, until the left knee is +quite straight, and the right knee exactly perpendicularly placed over +the right foot. Great care must be taken to keep the heels exactly in +the same line and the body perfectly upright. (See fig. 2.) + +These preliminaries having been settled, the learner stands upright +before the target. A sword is then put into his hand, and the target is +explained as follows:-- + +[Illustration: _Fig. 2._] + + +TARGET. + +The interior lines represent the cuts. Cut one being directed from No. 1 +diagonally through the target, coming out at 4. Cut two is the same, +only from left to right. Three is made upwards diagonally, and four is +the same, only in the opposite direction. Cut five is horizontally +through the target from right to left, and six from left to right. Cut +seven is perpendicularly downwards. Care must be taken that the cuts are +fairly given with the edge. + +The swords drawn on the target represent the guards. The seventh guard +ought, however, not to be made directly across, but must have the point +directly rather forwards and downwards, as a cut 7 glides off the blade, +and can be instantly answered either by a thrust or by cut 1. + +The two dark circles represent the places where the thrusts take effect. + +[Illustration] + +The learner begins by taking the sword in his right hand, having its +edge toward the target and its back resting on his shoulder. His right +arm is bent at right angles, and the elbow against his side. The left +hand must rest upon the hip, the thumb being to the rear. At the word-- + + +CUTS AND GUARDS. + + +CUTS. + +_Cut_ 1.--The young swordsman extends his right arm, and makes the cut +clear through the target. When the point has cleared the target, +continue the sweep of the sword, and by the turn of the wrist bring it +with its back on the left shoulder, its edge towards the left. The arm +is then ready for + +_Cut_ 2.--Bring the sword from 2 to 3, continue the movement of the +sword, and turn the wrist so that the point is below the right hip and +the edge towards the ground. + +[Illustration] + +_Cut_ 3.--Cut through the target diagonally, bringing the sword from No. +3 to No. 2, and bring the sword onwards, so that it rests with the edge +downwards, and point below the left hip. At + +[Illustration: _First Point._] + +_Cut_ 4.--Cut from 4 to 1, and bring the sword round until its point is +over the right shoulder, and its edge well to the right. + +_Cut_ 5.--At the word Five, make a horizontal cut from 5 to 6, and sweep +the sword round until it rests on the left shoulder, with its edge to +the left, and its point well over the shoulder. + +_Cut_ 6.--Cut horizontally through the target from 6 to 5, and bring the +sword over the head with the edge upwards, and its point hanging over +the back. From this position,-- + +_Cut_ 7.--Make a downward stroke until the sword reaches the center of +the target. Arrest it there, and remain with the arm extended, waiting +for the word. + + +POINTS. + +First Point.--Draw back the sword, until the right wrist is against the +right temple, the edge of the sword being upwards. Make a slight pause, +and then thrust smartly forward toward the center of the target, raising +the right wrist as high as No. 1, and pressing the left shoulder well +back. + +Second Point.--Turn the wrist round to the left, so that the edge comes +upwards, draw the hand back until it rests on the breast, and give the +point forwards, to the center of the target, raising the hand as before. + +Third Point.--Give the handle of the sword a slight twist in the hand to +the right, so that the edge again comes uppermost, and the guard rests +against the back of the hand. Draw back the hand until it rests against +the right hip, and deliver it forward towards the spot at the bottom of +the target, raising the wrist as high as the spot in the center. The +object in raising the wrist is to deceive the eye of the opponent, who +will be more likely to notice the position of your wrist than of your +point. In all the thrusts, the left shoulder should be rather brought +forward before the point is given, and pressed well back while it is +being delivered. + +[Illustration: _Second Point._] + + +GUARDS. + +Wait after the third point has been delivered for the word, + +DEFEND.--At this word draw up the hand smartly, and form the first +guard. Make the other guards in succession as they are named, while the +instructor proves their accuracy by giving the corresponding cuts. The +guards must be learned from the target, by placing the sword in exactly +the same position as those delineated. The guards are these: + +[Illustration: _Third Point._] + + A First guard. E Fifth. + B Second. F Sixth. + C Third. G Seventh. + D Fourth. + +The two spots H and I mark the places towards which the points are made, +H for the first and second point, I for the third. + + +PARRY. + +The parry or parade of a thrust is executed with the back of the sword. +The firmest way of parrying is to hold the sword perpendicular, with its +edge to the right and its hilt about the height of and close to the +right shoulder; then, by sweeping the sword round from left to right, +any thrust within its sweep is thrown wide of the body. + +The parry is executed with the wrist, and not with the arm, which must +not move. + + +HANGING GUARD. + +When the pupil is acquainted with both cuts and guards, he should learn +the hanging guard, a most useful position, as it keeps the body well +hidden under the sword, and at the same time leaves the sword in a good +position to strike or thrust. + +It is accomplished in the following way:--Step out to the second +position, raise the arm until the hand is just over the right foot, and +as high as the head. The edge of the sword is upwards, and the point is +directed downwards and towards the left. The left shoulder is pressed +rather forward, and the neck and chest drawn inward. + +[Illustration] + +In this position, the swordsman is in a position to receive or make an +attack as he may think fit. It is rather fatiguing at first, owing to +the unaccustomed position of the arm and head, but the fatigue is soon +overcome, and then it will be found that there is no attitude which +gives equal advantages. + +There are two other modes of standing on guard, each possessing their +peculiar advantages. These are, the inside and outside guard. The inside +guard is made as follows: + + +INSIDE GUARD. + +Stand in the second position, having the wrist of the right hand nearly +as low as the waist, the hand being exactly over the right foot. The +point of the sword is raised as high as the eyes, and the edge is turned +inwards. + + +OUTSIDE GUARD. + +The outside guard is formed in the same manner as the inside, with the +exception that the edge of the sword is turned well outwards. + +To get to the hanging guard, the words are given as follows:--Inside +guard--outside guard--guard. + + +ATTACK AND DEFENSE. + +The swordsman having learned thus far, is taught to combine the three +movements of striking, thrusting, and guarding, by the following +exercise:-- + +1. Inside Guard. + +2. Outside Guard. + +3. Guard. + +4. Cut One. + +5. First Guard. + +6. Cut Two. + +7. Second Guard. + +8. Cut Three. + +9. Third Guard. + +10. Cut Four. + +11. Fourth Guard. + +12. Cut Five. + +13. Fifth Guard. + +14. Cut Six. + +15. Sixth Guard. + +16. Cut Seven. + +17. Seventh Guard. + +18. First Point. [Prepare for the point in First Position.] Two. [Thrust +in Third Position.] + +19. Second Point. [Prepare for it in First Position.] Two. [Thrust in +Third Position.] + +20. Third Point. [Prepare.] Two. [Thrust.] + +21. Parry. [Prepare to parry in First Position.] Two. [Parry.] + +22. Guard. + +The young swordsman must remember that in this, as in all the exercises, +the cuts and points must be given in the third position, as in the +accompanying illustration, which shows the swordsman just as he has +delivered the seventh cut, and is waiting for the next word before he +resumes the first position. + +The guards, on the contrary, are given in the first position, as is seen +in the figure on p. 35, which illustrates the seventh guard. + +These exercises are always learned with the single-stick, or +basket-hilted cudgel, in order to avoid the dangers which would be +inevitable if the sword were used. But as the single-stick is only an +imitation of the sword, I will give the method of getting the sword out +of the sheath into any position required. + + +DRAW SWORDS. + +The first word of command is _draw swords_. At the word _draw_, seize +the sheath just below the hilt, with the left hand, and raise the hilt +as high as the hip, at the same time grasping the hilt with the right +hand, turning the edge of the sword to the rear, and drawing it +partially from the sheath, to insure its easy removal. + +[Illustration: _Seventh Cut._] + +At the word _swords_, draw the blade smartly out of the scabbard, +throwing the point upwards, at the full extent of the arm, the edge +being still to the rear. + + +RECOVER SWORDS. + +The wrist is now smartly lowered until it is level with the chin, the +blade upright, and the edge to the left. This is the position of recover +swords. The elbow must be kept close to the body as in the cut. + +[Illustration: _Seventh Guard._] + + +CARRY SWORDS. + +The wrist is now sharply lowered until the arm hangs at its full length, +the wrist being in the line with the hip, the edge of the sword to the +front, and its back resting in the hollow of the shoulder, the fingers +lightly holding the hilt. The left hand hangs at the side until the word +_inside guard_, when it is placed on the left hip. + + +SLOPE SWORDS. + +At the word _swords_, raise the right hand smartly, until it forms a +right angle at the elbow. + + +RETURN SWORDS. + +At the word, raise the blade until it is perpendicular, move the hilt to +the hollow of the left shoulder, drop the point of the sword into the +scabbard (which has been grasped by the left hand and slightly raised), +at the same time turning the edge to the rear. Pause an instant, and +send the sword smartly into the sheath, removing both hands as the hilt +strikes against the mouth of the scabbard; drop them to the side, with +the palms outwards, and in the first position. + +[Illustration: _Recover Swords._] + + +PRACTICES. + +There are many exercises with the broadsword, called _practices_. I have +given one of them, which is to be practiced alone; but when the pupil +has attained some confidence in the use of his weapon, he must be placed +opposite another pupil, and they must go through them, each taking the +attack and defense in turn. + +The young swordsman must be provided with a very stout wire mask, which +defends the face and part of the neck, and which should be worked in a +kind of helmet above, to guard against the disastrous consequences of +receiving the seventh guard. No practices, loose or otherwise, should be +permitted without the masks, as neither party would be able to cut or +thrust with proper confidence. + + +SECOND PRACTICE. + +This is very useful in teaching the point and parry, as well as giving +steadiness on the feet. Two boys are placed opposite each other, at just +such a distance, that when perfectly erect they can touch the hilt of +their adversary's sword with the point of their own. + +The one who gives the first point is called Front Rank (there may be a +dozen in each rank, each having tried the distance to his right by +extending his sword), and the one who gives first parry is called Rear +Rank. + + Word of Command. Front Rank. Rear Rank. + + Guard Hanging guard Hanging guard + + Third point Prepare to give Prepare to parry + third point + + Point { Give third point, } Parry third point, + { and when parried } and prepare to + { spring back to the } give third point + { first position, + { and prepare to + { parry + + { Parry third point, } Give third point, + Point { and prepare for } and prepare to + { third point } parry + + Point, &c. &c. + +This should be continued until both are weary. + +Both swordsmen should learn to do it more rapidly every time they +practice. Next time of going through it, front rank and rear rank change +places, as they must do in all the practices. + + +THIRD PRACTICE. + + Word of Command. Front Rank. Rear Rank. + + Guard Hanging guard Hanging guard + Leg Cut four Cut seven + Inside guard Inside guard Inside guard + Leg Cut six [at leg] Cut six [at neck] + Outside guard Outside guard Outside guard + Leg Cut five [at leg] Cut five [at neck] + Guard Hanging guard Hanging guard + Slope Swords Slope swords Slope swords + +In this and the other practices the cuts must be delivered in the third +position, and the guards in the first. In the third and fourth practices +the cuts must be given lightly, as many of them are not intended to be +guarded, but merely to show the powers of the sword in various +positions. + + +FOURTH PRACTICE. + + Word of Command. Front Rank. Rear Rank. + + Guard Hanging guard Hanging guard + Head Seventh cut Seventh guard + Head Seventh guard Cut seven + Leg Fourth cut Seventh guard + Leg Seventh guard Fourth cut + Head Seventh cut Seventh guard + Head Seventh guard Seventh cut + Guard Hanging guard Hanging guard + Slope swords Slope swords Slope swords + +In this and the preceding exercise, the power of shifting the leg is +shown. If two swordsmen attack each other, and No. 1 strikes at the leg +of No. 2, it will be better for No. 2 not to oppose the cut by the third +or fourth guard, but to draw back the leg smartly, and cut six or seven +at the adversary's head or neck. + +In loose play, as it is called, _i. e._, when two parties engage with +swords without following any word of command, but strike and guard as +they can, both players stand in the second position, because they can +either advance or retreat as they choose, and can longe out to the third +position for a thrust or a cut, or spring up to the first position for a +guard with equal ease. + +It is often a kind of trap, to put the right leg more forward than +usual, in order to induce the adversary to make a cut at it. When he +does so, the leg is drawn back, the stroke passes harmless, and the +deceived striker gets the stick of his opponent on his head or +shoulders. + +We now come to a very complicated exercise, called the + + +FIFTH PRACTICE. + + Word of Command. Front Rank. Rear Rank. + + Draw swords Draw swords Draw swords + Inside guard Inside guard Inside guard + Outside guard Outside guard Outside guard + Guard Hanging guard Hanging guard + Head Seventh cut Seventh guard + Head Seventh guard Seventh cut + Arm Second cut [at arm] Second guard + Head Seventh guard Seventh cut + Head Seventh cut Seventh guard + Arm Second guard Second cut [at arm] + Head Seventh cut Seventh guard + Head Seventh guard Seventh cut + Right side Sixth cut Sixth guard + Head Seventh guard Seventh cut + Head Seventh cut Seventh guard + Right side Sixth guard Sixth cut + Guard Hanging guard Hanging guard + +This practice is capital exercise, and looks very imposing. All these +practices ought to be so familiar that the words of command are not +needed, the only word required being First, Second, or Third practices, +as the case may be. + +I can remember once, that two of my pupils had attained such a mastery +of their weapons that we used often to go through the practice with real +swords. On one occasion, we were acting a charade, and my eldest pupil +and myself were enacting the part of two distinguished foreigners +(country unknown) who were to get up a fight. So we began by a little +quarrel, and finally drew our swords and set hard to work at the fifth +practice, which we could do with extreme rapidity, and without the use +of words of command. The spectators were horrified, and the ladies +greatly alarmed; for there seems to be no particular order in that +practice, and an inexperienced eye would certainly fancy that the +combatants were in earnest. + + +FORT AND FEEBLE. + +The half of the sword-blade next the hilt is called the "fort," because +it is the strongest place on which the cut of an adversary can be +received. Always parry and guard with the fort of your sword, as, if you +try to guard a cut with the "feeble," which is the remaining half of the +blade, your guard will be forced, and the cut take effect. + + +DRAWING CUT. + +The drawing cut is made best with a curved sword, and is executed by +placing the edge of the sword on the object, and drawing it over it +until it is severed. A good large mangel-wurzel is capital practice. +Place the root loose on a table, stand at arm's-length from it, lay the +edge of the sword lightly on it, and slice the root by repeatedly +drawing the sword over it. This is very difficult, although it looks +easy enough, and is sure to jar the arm from the wrist to the shoulder +the first time or two, while the sword glides off as if the root were +cased in polished steel. However, a little practice will soon overcome +the difficulty. This cut is much in use among the Sikhs. + + +GENERAL ADVICE. + +Never look at your own sword, but watch the eye and sword-wrist of your +opponent. + +Remember that the great point in this exercise, as in fencing, is to +gain time. Endeavor, therefore, to advance your point nearer your +adversary than his is to you. + +Begin the assault out of distance, so that neither party can complain of +being taken by surprise. + +If the two parties exchange a cut or a thrust at the same moment, the +one who gave his cut or thrust in the third position is victorious. + +When a cut or thrust is made, the one who receives it passes his sword, +_i. e._, stick, into his left hand, and his opponent comes to inside +guard. + +Always spring back to the second position after delivering a cut or +thrust. + +Keep the line of direction carefully, or you will leave an open space +for the adversary to get his sword into. + +Last and most important,--Don't lose your temper! + + + + +ARCHERY. + + +IMPLEMENTS OF THE CRAFT. + +For the Purposes of the Archer the following implements are required, +which may be obtained at any of the principal makers in New York or +Boston--first, the bow; secondly, the arrow; thirdly, a quiver, pouch, +and belt; fourthly, a tassel and grease-pot; fifthly, an arm-guard or +brace, and a shooting glove; sixthly, a target or targets; and +seventhly, a scoring card. + +THE BOW is the most important article in archery, and also the most +expensive. It is usually from five to six feet in length, made of a +single piece of yew, or of lancewood and hickory glued together back to +back. The former suits gentlemen the best, and the latter being more +lively is better adapted for the short, sharp pull of the ladies. The +wood is gradually tapered, and at each end is a tip of horn, the one +from the upper end being longer than the other or lower one. The +strength of bows is marked in pounds, varying from 25 to 80 lbs. Ladies' +bows are from 25 to 40 lbs. in strength, and those of gentlemen from 50 +to 80 lbs. One side of the bow is flat, called its "back;" the other +rounded, is called the "belly;" and nearly in the middle, where the hand +should take the hold, it is lapped round with velvet, and that part is +called the "handle." In each of the tips of horn is a notch for the +string called "the nock." + +BOWSTRINGS are made of hemp or flax, the former being the better +material; for though at first they stretch more, yet they wear longer, +and stand a harder pull as well as being more elastic in the shooting. +In applying a fresh string to a bow, be careful in opening it not to +break the composition that is on it; cut the tie, take hold of the eye, +which will be found ready-worked at one end, let the other part hang +down, and pass the eye over the upper end of the bow. If for a lady, it +may be held from 2 to 2-1/2 inches below the nock; if for a gentleman, +half an inch lower, varying it according to the length and strength of +the bow; then run your hand along the side of the bow and string to the +bottom nock, turn it round that and fix it by the noose, called the +"timber noose," taking care not to untwist the string in making it. This +noose is merely a simple turn back and twist without a knot, but it is +better seen than described. When strung, a lady's bow will have the +string about 5 or 5-1/2 inches from the belly; and a gentleman's about +half an inch more. The part opposite the handle, is bound round with +waxed silk, in order to prevent its being frayed by the arrow. As soon +as a string becomes too soft and the fibers too straight, rub it with +bees-wax, and give it a few turns in the proper direction, so as to +shorten it and twist its strands a little tighter; a spare string should +always be provided by the shooter. + +THE ARROWS are differently shaped by the various makers; some being of +uniform thickness throughout, while others are protuberant in the +middle; some, again, are larger at the point than at the feather end, +which I believe to be the best form for shooting; and others are quite +the reverse. They are now invariably made of white deal, with points of +iron or brass riveted on, but generally having a piece of heavy wood +spliced on to the deal between it and the point, by which their flight +is improved. At the other end a piece of horn is inserted, in which is a +notch for the string; and they are armed with three feathers glued on, +one of which is of a different color to the others, and is intended to +mark the proper position of the arrow when placed on the string--this +one always pointing from the bow. These feathers, properly applied, give +a rotary motion to the arrow which causes its flight to be straight. +They are generally from the wing of the turkey or goose. The length and +weight vary; the latter being marked in sterling silver coin, stamped on +the arrow in plain figures. It is usual to paint a crest, or a +distinguishing ring or rings, on the arrow just above the feathers, by +which they may be known in shooting at the target. + +THE QUIVER is merely a tin case painted green, and is intended for the +security of the arrows when not in use. The POUCH and BELT are worn +round the waist, and the latter contains those arrows which are actually +being shot. + +A POT TO HOLD GREASE FOR TOUCHING THE GLOVE AND STRING, AND A TASSEL to +wipe the arrows, are hung to the belt. The grease is composed of +deer-suet, or of beef-suet, and bees-wax melted together. Instead of a +leather belt, ladies use a cord and tassels round the waist, to which +the pouch, of a different shape to that adopted by gentlemen, is hooked; +and this, again, has the grease-pot suspended to it. + +THE ARM is protected from the blow of the string by the brace, a broad +guard of strong leather buckled on by two straps. A SHOOTING-GLOVE, also +of thin tubes of leather, is attached to the wrist by three flat pieces +ending in a circular strap buckled round it. This glove prevents that +soreness of the fingers which soon comes on after using the bow without +it. + +THE TARGET consists of a circular thick mat of straw covered with +canvas, painted in a series of circles. It is usually from three feet +six inches to four feet in diameter; the middle is about six or eight +inches in diameter, gilt, and called "the gold;" the next is called "the +red," after which comes the "inner white," then "the black," and +finally, "the outer white." These targets are mounted upon triangular +stands, at distances apart of from 50 to 100 yards; 60 being the usual +shooting distance. + +A SCORING-CARD is provided with columns for each color, which are marked +with a pin, as here indicated. The usual score for a gold hit, 9; the +red, 7; inner white, 6; black, 3, and outer white, 1. + + +THE USE OF THE BOW. + +TO BEND AND STRING THE BOW properly, the following directions will be +serviceable, and the young archer should pay particular attention to +them, since a neglect of these cautions will often lead to a fracture of +the bow by bending it the wrong way: + +Take the bow by the _handle_, in the _right_ hand. + +Place the bottom end upon the ground, resting against the hollow of the +inside of the right foot, keeping the flat side of the bow (called the +_back_) towards your person; the left foot should be advanced a little, +and the right placed so that the bow cannot slip sideways. + +Place the heel of the left hand upon the upper limb of the bow, below +the eye of the string. Now, while the fingers and thumb of the left hand +slide this eye towards the notch in the horn, and the heel _pushes_ the +limb away from the body, the right hand _pulls_ the handle towards the +person, and thus resists the action of the left, by which the bow is +bent, and at the same time the string is slipped into the "nock," as the +notch is termed. + +Take care to keep the three outer fingers free from the string, for if +the bow should slip from the hand, and the string catch them, they will +be severely pinched. If shooting in frosty weather, warm the bow before +a fire, or by friction with a woolen cloth. If the bow has been lying by +for a long time, it should be well rubbed with boiled linseed oil before +using. + +TO UNSTRING THE BOW, hold it as in stringing; then press down the upper +limb exactly as before, and as if you wished to place the eye of the +string in a higher notch; this will loosen the string and liberate the +eye, when it must be lifted out of the nock by the forefinger, and +suffered to slip down the limb. + +BEFORE USING THE BOW, hold it in a perpendicular direction, with the +string towards you, and see if the line of the string cuts the middle of +the bow; if not, shift the eye and noose of the string to either side, +so as to make the two lines coincide. This precaution prevents a very +common cause of defective shooting, which is the result of an uneven +string throwing the arrow on one side. + +AFTER USING IT, unstring it; and if a large party is shooting, after +every end it should be liberated from its state of tension; but in this +respect there is a great difference in different bows, some good ones +soon getting cast from their true shape, and others, though inferior +bows, bearing any ordinary amount of tension without damage. + +THE GENERAL MANAGEMENT OF THE BOW should be on the principle that damp +injures it, and that any loose floating ends interfere with its +shooting. + +It should, therefore, be kept well varnished, and in a water-proof case, +and it should be carefully dried after shooting in damp weather. If +there are any ends hanging from the string cut them off pretty close, +and see that the whipping in the middle of the string is close and +well-fitting. The case should be hung up against a dry internal wall, +not too near fire. + +IN SELECTING THE BOW, be careful that it is not too strong for your +power, and that you can draw the arrow to its head without any +trembling of the hand. If this cannot be done after a little practice, +the bow should be changed for a weaker one, for no arrow will go true if +it is discharged by a trembling hand. + +IN SELECTING ARROWS, be careful that they are not too long. For a bow of +5 feet 10 inches, the arrows should be about 2 feet 4 inches in length. +For a lady's bow of 4 feet 10 inches, the arrow should measure about 2 +feet. + +IN SHOOTING, keep the longer limb of the bow upwards, as the bow is +liable to be broken if used the other way, and the wrapping of the +string does not coincide with the upper part of the handle. Bows may be +broken either from the above circumstance, or by overdrawing them, or by +snapping the string without an arrow in it, or by the string breaking; +and if a bow stands all these trials, it is to be prized as a sound and +good bit of stuff. + +After an arrow has been shot into the target or the ground, be +particularly careful to withdraw it, by laying hold close to its head, +and by twisting it round as it is withdrawn in the direction of its +axis. Without this precaution it may be easily bent or broken. + +IN SHOOTING AT THE TARGET, the first thing to be done is TO NOCK THE +ARROW--that is, to place it properly on the string. In order to effect +this, take the bow in the left hand, with the string towards you, the +upper limb being towards the right. Hold it horizontally while you take +the arrow by the middle, pass it on the _under_ side of the string and +the _upper_ side of the bow, till the head reaches two or three inches +past the left hand; hold it there with the forefinger or thumb while you +remove the right hand down to the nock. Turn the arrow till the +cock-feather comes uppermost; then pass it down the bow, and fix it on +the nocking point of the string. In doing this, all contact with the +feathers should be avoided, unless they are rubbed out of place, when +they may be smoothed down by passing them through the hand from the +point towards the nock. + +THE ATTITUDE for shooting should be graceful as well as serviceable. The +body should be at right angles with the target; but the face must be +turned over the left shoulder, so as to be opposed to it. The feet are +to be flat on the ground, with the heels a little apart, the left foot +turned towards the mark; the head and chest inclined a _little_ forward, +so as to present a full bust, but not bent at all below the waist. + +IN DRAWING THE BOW, proceed as follows: + +_1st Method._--Take hold of the bow with the left hand, having the elbow +straight; then, having placed the arrow as directed in the last +paragraph, and having the finger-stalls or shooting-glove on, put a +finger on each side of the arrow on the string and the thumb on the +opposite side, so as to steady it; then raise all at the full length of +the arm till the right hand reaches nearly to the level of the +shoulder, and the left is opposite the target, when, by drawing the one +to the ear, and the other towards the target, the arrow is brought to a +direct line with the bull's-eye, and at that moment it is released. + +_2nd Method._--Draw the arrow as before, but pause when the arrow is +fully extended to the head, and take aim. This, however, requires a very +strong arm, and also a strong bow, or there will be a quivering of the +muscles, which is communicated to the arrow; beside the danger of +breaking the bow. The loosing must be quick, and the string must leave +the fingers smartly and steadily, the bow hand at that moment being held +as firm as a vise, upon which the goodness of the flight mainly depends. + +THE FOLLOWING DIRECTIONS should be attended to strictly, if good +shooting is to be attained:-- + +1.--Fix the attention steadily upon the object, and disregard all +external objects, which are liable otherwise to distract the eye at the +moment of shooting. + +2.--In drawing the bow, in order to secure the arrow in its place, turn +the bow a little obliquely, so that the handle and your knuckles will +together form a groove for the arrow to run in. When it falls off, it is +from the string being held too far up by the fingers, which causes it to +twist in the drawing, and the arrow is thereby thrown off from resting +against the bow. The proper length is midway between the ends and the +first joint of the fingers. Three fingers may be used, but the arrow +should be between the first and second. + +3.--In taking aim, two points must be attended to, viz: the LATERAL +_direction_ and the _distance_, because there is no bow which will drive +an arrow many yards perfectly _point-blank_, and, consequently, a slight +elevation must in all cases be made, and for long distances, with weak +bows, a very considerable one. It requires great experience to manage +the elevation properly, and much must depend upon the exact strength of +the bow, and the distance of the shot. With regard to the lateral +direction, it is materially affected by the wind, and this must always +be allowed for if there is any stirring; and if it is in the line of the +targets, one end will require much less elevation than the other. + +4.--Fix the eyes on the mark, and not on the arrow. Avoid all such +expedients as putting a mark on the glove to aim by. Do not look from +the mark to the arrow and back again. The proper plan is to keep both +eyes open, and look steadily at the mark, while with the hands the bow +is raised or lowered in accordance with what the _mind thinks_ is the +proper direction. + +5.--If an arrow falls off the string, and the archer can reach it with +his bow, it is not shot: but if he cannot, it must be counted as such. + + +TARGET-SHOOTING. + +THE TARGETS are fixed exactly opposite each other, at 60 yards or +perhaps more apart. The stands, when properly placed, are each called +"an end." The proper number of arrows, as fixed by the rules, are then +shot from each end by all the party assembled, when all proceed to pick +up or extract their arrows, the marker scoring for each before drawing +them from the target, after which the party shoot back again to the +other end, and so on until the whole number of ends have been shot. + + +BUTT-SHOOTING. + +BUTTS are built of long sods of turf pressed together. The form of the +base is an oblong square, being about 8 or 9 feet on the front side, and +5 feet wide at the ends. The height is generally about 7 feet, and the +depth diminishes gradually from the bottom to the top. When more than +two are wanted they are ranged in sets; each set consists of four, +ranged at the distance of 30 yards apart, and forming a chain of lengths +of 30, 60, 90, and 120 yards; but so disposed as not to stand in the way +of the archers when shooting at any of the lengths. Against the front of +the butt is placed the mark, which is a circular piece of thin white +pasteboard, fastened by a peg through the middle. The size of this, for +30 yards, is four inches in diameter; for 60 yards, 8 inches; and so on +increasing in diameter in proportion to the distance. Shots in the butt +missing the mark are not scored; and he who makes the greatest number of +hits is the winner. If two are alike, the nearest to the central peg is +the successful one. + + +ROVING. + +This is so called because the archers rove from place to place, and have +no fixed target, but shoot at trees or any other object which presents +itself. The winner of the first shot chooses the next, and so on; the +distance being from 100 to 200 yards; and all arrows falling within five +bow-lengths scoring, if nearer to the mark than the adversary's arrow. + + +FLIGHT-SHOOTING. + +FLIGHT-SHOOTING is merely a trial of distance, and he who can shoot the +furthest is the winner of the trial. + + +CLOUT-SHOOTING. + +THE CLOUT is a small white target of pasteboard, about twelve inches in +diameter, which is slipped into a cleft stick, and this is stuck into +the ground obliquely, so as to bring the lower edge of the clout to the +ground. The distance is generally from 8 to 10 score-yards, and the same +rules apply as in roving. + + +CROSS-BOW SHOOTING. + +CROSS-BOWS are bows set in a frame which receives the arrow or bolt, and +they are set and discharged by a trigger after taking aim. They are, +however, now seldom used except for rook-shooting; and even there the +pea-rifle has almost entirely superseded them. + + +RULES OF ARCHERY MEETINGS. + +THE RULES by which archery meetings are governed are partly the same as +in all other similar societies, and partly peculiar to this craft. The +former consist of those which regulate the election of members, +providing for refreshments, &c., which vary according to circumstances, +and need not here be specified. The latter are generally as follows:-- + +1.--That a "lady paramount" be annually elected. + +2.--That there be -- meetings in each year, the gentleman at whose house +the meeting takes place to be president; and that every member intending +to shoot should be on the ground by -- o'clock. The shooting to commence +at -- and to terminate at --. + +3.--That all members intending to shoot shall appear in the uniform of +the club; and that a silver badge be worn by every member of the +society, or a forfeit will be enforced for such omission. + +4.--That the secretary do send out cards at least a month before each +day of meeting, acquainting the members with the day and place of +meeting. + +5.--That there shall be four prizes at each meeting, two for each sex; +the first for numbers, the second for hits, and that no person shall be +allowed to have both on the same day. The sum of ---- dollars to be +placed at the disposal of the "lady paramount" for prizes at each +meeting. + +6.--That the winner of a prize, or prizes, shall lose a ring for each +prize won. But that a ring be given back after any subsequent meeting at +which such member shall shoot without winning. + +7.--That in case of a tie for hits, numbers shall decide; and in case of +a tie for numbers, hits shall decide. + +8.--That the decision of the "lady paramount" shall be final. + +9.--Two prizes to be given at each meeting for strangers, of the value +of --. + +10.--That there be a challenge prize of the value of --, and that a +commemorative silver ornament be presented to winners of the challenge +prize, to which a clasp be added on future occasions. + +11.--That the distance for shooting be 60 and 100 yards, and that 4-feet +targets be used. + +12.--That each shooter be allowed to shoot -- arrows, distinctly marked +or colored. + + +DRESS. + +THE USUAL DRESS FOR LADIES peculiar to archery is in most cases a green +jacket worn over white; sometimes, however, the color is black. + +The gentlemen's costume is not generally fixed in archery clubs, but +sometimes a green suit is the club uniform. + + +EXPENSES. + +The expenses of archery are not usually great, though a good many +arrows will be lost or spoiled during a season's shooting, especially if +the grass is not kept mown very close. Bows and all the other +paraphernalia last a long while; and, with the exception of the arrows, +the first cost may be considered to be the only one, over and above the +subscription to the club, to which most archers like to belong, +competition being the essence of the sport. + + + + +HURDLE RACING. + +1. The usual distance, 120 yards, over ten hurdles, regulation height, +three feet six inches upright, not less than 12 or more than 20 feet +apart, first hurdle must be placed 15 yards from the scratch-mark. + +2. Hurdles must be cleared with a jump, touching the hands to the hurdle +will be declared foul, and the offender disqualified. + +3. Hurdle races may be arranged for any distance and any height of +hurdle. + +4. Each contestant must keep in his direct line of starting, or as near +so as circumstances will permit. Any deviation from such line will +subject the offender to disqualification. + +NOTE.--There are three requisites to make a good hurdler: Speed, spring, +and judgment; speed to cover the ground, spring to jump the hurdles, and +judgment to measure the steps between the hurdles. It is one of the many +healthful exercises in Athletics, but requires much practice and +experience; beginners should make their first effort at two feet six +inches. Great care must be taken not to touch the top bar, as it +virtually throws you out of the race and may cause injury. + + + + +VAULTING WITH POLE, OR POLE-LEAPING. + +1. The uprights should be nine feet apart, and the bar placed on pins +projecting two inches. + +2. The pole must fall so as not to touch the bar. + +3. A competitor touching the bar without causing it to fall shall be +considered to have cleared it. + +4. The height of bar at starting shall be determined by a majority of +the contestants. + +5. Competitors will be allowed three trials at each height. + +6. The bar shall be raised at the discretion of a majority of the +contestants, and so continued until only one competitor vaults over it, +who shall be declared the victor. + +7. When a competitor knocks the bar down, the rotation rule must be +enforced, as in the running high jump. + +8. Three balks shall be called "no vault," and must be recorded as one +of the three trials. + +NOTE.--This graceful and manly exercise has of late years been greatly +abused, not so much for want of rules, as it was and is to have these +rules enforced. We have seen two men, at three different meetings, claim +the right to the grounds and time of at least one of the judges for +from two to three hours, whereas, had the rules been strictly enforced, +one would have gained a victory or both been disqualified. Gentlemen +Judges, please remember these contestants appear before an audience (who +pay admission) to perform, not to practice, and when they insist upon +keeping the bar at a height that delays the games, they should be +disqualified under the rules. + + + + +THROWING THE HAMMER. + +1. The hammer-head shall be of solid iron, perfectly round, standard +weights, 16 and 12 pounds, exclusive of handle. Length of handle three +feet six inches over all. The handle should be made from split _white +hickory wood_. + +2. The competitor must stand at the scratch with one foot touching the +scratch-mark. He is at liberty to throw with one or both hands. + +3. Touching the ground, over the scratch-mark, with any portion of the +body before the hammer strikes, shall be declared "no throw," and must +be recorded as one of the three trials. + +4. Permitting the hammer to carry a competitor from his balance or +letting the hammer go out of time must stand as one of the three trials. + +5. When the head and handle strike the ground at the same time the head +or iron is the measuring mark, at the first break of the ground made by +it. Should the handle strike first, one length of the handle, in a +direct line with the throw, must be added. The measurement must be from +the scratch-mark, midway between the thrower's feet, to the first break, +in accordance with above rules. + +NOTE.--In soft or clay bottom there is no difficulty in getting accurate +measurement, but in quick or shifting sand close attention is required. + + + + +PUTTING THE SHOT. + +1. The shot must be of solid iron and perfectly round, standard weight +16 pounds. The shot must be put from the shoulder with one hand, not +thrown from the side or under swing. + +2. Competitors will take their position between two parallel lines, said +lines being seven feet apart. Passing the toe-mark, or touching the +ground outside of the mark, with any part of the body before the shot +strikes the ground, will be judged and recorded a foul, "no put," and +must stand as one of the three trials. + +3. Each competitor is entitled to three trials. The measurement shall be +from the scratch-line or mark opposite the toe-print to the first or +nearest break of the ground made by the shot. + +NOTE.--The object being to see how many feet and inches the competitors +can put, in accordance with the above rules, not how straight they can +put. + + +[THE END.] + + + + +THE YOUNG MEN OF AMERICA. + +THIS SPARKLING JOURNAL FOR YOUNG MEN + +Is Full of Interest from Beginning to End + +Its stories cannot be surpassed, and its authors have a reputation +seldom equaled. Read the following array of talent, who write +EXCLUSIVELY for this paper: + + ALEXANDER DOUGLAS (Scotland Yard Detective)--TOM TEASER--H K. + SHACKLEFORD--RALPH MORTON--ALLAN ARNOLD--J. T. 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The Boy Swordsman, by Percy B. St. John. + 23. Daddy Durge, the Old Man of the Dead-House, by Walter Fenton. + 24. Union Dick and the Guerrillas, by Philip Murdock. + 25. Cavalry Jack, by Col. Ralph Fenton. + +For sale by all newsdealers, or will be sent to your address, post-paid, +on receipt of price, 5 cents per copy. Address + +FRANK TOUSEY, Publisher, + +Box 2730. 34 and 36 NORTH MOORE ST., N. Y. + + + + +THE BOYS OF NEW YORK POCKET LIBRARY. + +Boys, this is just the Book you have needed for a long time + +We intend to make the stories contained in this Library the best ever +published from the pens of our most popular and interesting authors. +These Libraries contain thirty-two pages, and each number is complete in +itself and handsomely illustrated. + +The following is a list of the latest numbers published of the Boys of +New York Pocket Library: + + 75 AMONG THE THUGS; OR, TWO YANKEE BOYS IN INDIA + By Hal Standish + 76 LIFE AND DEATH OF JESSE JAMES By D. W. 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For sale by all news dealers, or +sent to your address, prepaid, on receipt of price, ten cents each. +Address + +FRANK TOUSEY, Publisher, + +Box 2730. 34 and 36 North Moore St., N. Y. + + +Frank Tousey's BY-THE-WAY SERIES, + +Containing five interesting and exciting works of fiction. Each book is +handsomely bound in a beautifully-illustrated cover, and contains +sixty-four pages of reading matter. Every book is a complete number. +Read the following titles: + + No. 1. VIOLA'S REVENGE Price 10c. + No. 2. A YEAR OUT OF MY LIFE Price 10c. + No. 3. A CAPTIVE'S CAPTIVE Price 10c. + No. 4. THE BROKEN SIXPENCE Price 10c. + No. 5. LADY INNOCENCE Price 10c. + +For sale by every newsdealer in the United States and Canada, or we will +send them to you, postage free, on receipt of the price. Address + +FRANK TOUSEY, Publisher, + +Box 2730. 34 and 36 North Moore St., N. Y. + + + + +OUR 10 CENT BOOKS + +_USEFUL, INSTRUCTIVE AND AMUSING._ + +Containing valuable information on almost every subject, such as +=Writing=, =Speaking=, =Dancing=, =Flirting=, =Cooking=; also, =Rules of +Etiquette=, =The Art of Ventriloquism=, =Gymnastic Exercise=, and =The +Science and Art of Self-Defense=. + + _Price_ + HOW TO DEBATE 10c + HOW TO WRITE LETTERS TO LADIES 10c + HOW TO WRITE LETTERS TO GENTLEMEN 10c + HOW TO RIDE A BICYCLE 10c + HOW TO RECITE AND BOOK OF RECITATIONS 10c + HOW TO FENCE 10c + HOW TO DO SECOND SIGHT 10c + HOW TO WRITE IN AN ALBUM 10c + HOW TO PLAY GAMES 10c + HOW TO BEHAVE 10c + HOW TO MAKE LOVE 10c + HOW TO WRITE LOVE LETTERS 10c + HOW TO DO TRICKS 10c + HOW TO BECOME A SPEAKER 10c + HOW TO TELL FORTUNES 10c + HOW TO ENTERTAIN AN EVENING PARTY 10c + HOW TO BECOME BEAUTIFUL 10c + HOW TO WRITE LETTERS 10c + HOW TO COOK 10c + HOW TO FLIRT 10c + HOW TO BECOME A VENTRILOQUIST 10c + HOW TO BECOME RICH 10c + HOW TO DANCE 10c + HOW TO BOX 10c + HOW TO EXPLAIN DREAMS 10c + HOW TO HUNT AND FISH 10c + HOW TO KEEP BIRDS 10c + HOW TO KEEP HOUSE 10c + HOW TO DO IT 10c + HOW TO BECOME AN ATHLETE 10c + HOW TO ROW, SAIL AND BUILD A BOAT 10c + HOW TO KEEP AND MANAGE PETS 10c + HOW TO PLAY CARDS 10c + HOW TO BECOME A SCIENTIST 10c + HOW TO BECOME AN INVENTOR 10c + HOW TO DRESS 10c + HOW TO BECOME A MAGICIAN 10c + HOW TO STUFF BIRDS AND ANIMALS 10c + HOW TO BECOME YOUR OWN DOCTOR 10c + HOW TO MAKE CANDY 10c + HOW TO SOLVE CONUNDRUMS 10c + THE BOYS OF NEW YORK MINSTREL GUIDE AND JOKE BOOK 10c + THE SHORTYS' SNAPS 10c + THE SHORTYS' JOKES 10c + THE LIFE OF POLICE CAPTAIN HOWARD 10c + THE LIFE OF PETER PAD 10c + THE LIFE OF TOM TEASER 10c + THE LIFE OF "ED" 10c + THE LIFE OF CORPORAL MORGAN RATTLER 10c + MULDOON'S JOKES 10c + IRELAND'S STRUGGLES FOR LIBERTY AND LAND 10c + FRANK TOUSEY'S UNITED STATES DISTANCE TABLES, + POCKET COMPANION AND GUIDE 10c + THE GEM COOK BOOK, No. 1 10c + THE GEM COOK BOOK, No. 2 10c + NAPOLEON'S ORACULUM AND DREAM BOOK 10c + +All the above books are for sale by newsdealers throughout the United +States and Canada: or they will be sent, postage paid, to your address, +on receipt of 10 cents each. + +FRANK TOUSEY, Publisher, + +Box 2730. 34 and 36 North Moore St., N. Y. + + + + +Transcriber's Notes: + + +In this text edition, _italics_ are represented by underscores and +=bold= is represented by equals signs. + +The original edition did not include a table of contents. + +Page 4, changed "occured" to "occurred" + +Page 5, added missing close quote after "the mind" + +Page 22, changed "betwen" to "between" + +Page 26, removed unnecessary period after "Cut" in "Cut. 2" + +Page 42, changed "there fore" to "therefore" + +Page 44, reformatted fractions (e.g. 2 1-2 becomes 2-1/2) + +Page 46, added missing comma after "red" + +Page 55, changed "al lowed" to "allowed" + +Page 56, added missing period after 10 + + + + + + +End of the Project Gutenberg EBook of How to Fence, by Aaron A. Warford + +*** END OF THE PROJECT GUTENBERG EBOOK 42106 *** |