THE. 
GAME or JU-JITSU 

For the Use of Schools and Colleges 

TARO MIYAKE and YUKIO TANI 
THE INSTRUCTORS OF THE JAPANESE SCHOOL OF JU-JITSU 

91 ILLUSTRATIONS 
DRAWINGS BY GEORGE MORROW 

EDITED BY 

L. F. GIBLIN AND M. A. GRAINGER 

SECOND EDITION 

PUBLISHED FOR THE JAPANESE SCHOOL, 305, OXFORD STREET, LONDON 

BY HAZELL, WATSON AND VINEY, LD. 
52, LONG ACRE, LONDON, W.C. 

[AL rights reserved] 

t 

Campbell-Gray, London.) THE JAPANESE SCHOOL OF JU-JITSU, 

P 

FRINTED AND BOUND BY 
HAZELL, WATSON AND VINEY, LD., 

LONDON AND AYLESBURY, 

Dedicated 
IN PARTICULAR 
TO THOSE WHO “HAVE NO TIME FOR GAMES” 
TO THOSE WHO LIVE ON SHIPBOARD 
AND 

TO THOSE WHO HAVE NEED OF SELF-PROTECTION 

PREFACE 

IT is the aim of this book to show how two or three keen people can get 
most of the exercise and all the fun of Ju-jitsu without the aid of school 
or instructor. Their progress may be slower and their methods not strictly 
correct but the game песа be none the worse nor its benefits lessened. 

Many people may be attracted to a game such as this for particular 
reasons of their own. Some, whose business may lie in uncivilised countries, Selfmay merely require a practical means of self-defence. Some may be seeking detence; 
health—not the timid health that is content to avoid sickness, but the Health. 
health that is alive and rampant, a benediction in itself. 

Others may desire the postponement of old age; nature does not demand Postponethat a man. should be a mass of fat and atrophied muscle at fifty. (Take woes 9t ola 
the outskirts of new countries, where men do varicd athletic work with the 
fire of the footballer, a score of years after their London brothers havc 
begun to hesitate over stepping off a bus in motion.) 

Others may have in view the increased cfficiency of work, the saving over 
sickness, the help to national defence. 

But, in general, the case for this, as for any game, rests on the natural Fitness 
desire every one has for fitness of body and ability to use it to best advantage >°4Yin every circumstance, from hanging to a strap in a train to climbing 
the Matterhorn, and on the keen pleasure that comes from making and 
keeping it. 

In modern life the games that are wanted must fill many conditions. What 
They must be quick games, so that much may be done in half an hour Stet be. 
they must demand little space and no complicated apparatus; they must be 
possible in the middle of a town, indoors or out, by gaslight or daylight. 

Above all (unless the doctor and the schoolmaster are to drive people to 
them), they must have a natural attraction. 

Hitherto there have been several games more or less of this nature Where our 
Take boxing as an example. It may have faults; it may depend too much cymes Sar. 
on natural physical advantages; it may be dull at the beginning, and men 
may feel a touch of shame at taking it up as novices after boyhood—yet 
few will be found to deny that it is an admirable pastime. Nevertheless, 

ya 

Reasons 
why Jujitsu may 
succeed. 

Contest in 
exercise 
without 
damage. 

Ju-jitsu a 
training 
for other 
games. 

8 Preface 

boxing is seen to have the great defect—// does not attract the general 
public. lt holds a certain number of enthusiasts; the rest make professions, 
dabble a little, find it strangely difficult to spare time—and drop it. Only 
one who has been concerned with the promotion and running of boxing 
clubs can tell how difficult it is to keep up their membership. Boxing has 
been fairly tried as a popular game, and (sad it is to say the thing!) 
found wanting. 

Cricket and football, rowing, and the rcst have made their place, have 
gaincd their hold upon our affections, and this fact would outweigh a 
thousand technical defects. But the boy who plays them comes sooner or 
later to town, and this dear half of his life must die. The town-bred boy— 
and this in town life is the bitterest thing cf all—never gets this natural 
inheritance. And so these games fail--for lack of opportunity—and men 
decay. 

At this crisis Ju-jitsu enters. ‘Technically it has all the virtues. It fills 
all the necessary conditions for a town game admirably. As physical 
training it has been particularly blessed by the most eminent medical 
authority for the all-round development that it aims at. Compared to 
boxing, progress is more immediate and continuous, and the interest is 
richer in this respect it stands to boxing as chess to draughts. It supplies 
in very exact measure thc clement of contest, of intimate struggle, of fightto-a-finish, that good exercise requires. This is particularly where boxing 
fails. The artificial restriction of gloves is not enough—the boxer may still 
get more knocked about and damaged than he likes; and one might as 
well agree not to run too fast in a race as to introduce a convention against 
hard hitting. 

In Ju-jitsu practically no restriction is necessary. Man to man as God 
made you (usually with the addition of a jacket) you may fight it out to 
an inevitable finish; defeat when it comes is absolute, and the beaten man 
rises without strain or bruise ready to try again. This is the peculiar glory 
of it. 

In general, perfect fitness for one game does not carry with it fitness 
for another. Half an hour' high-jumping may mean a couple of days of 
soreness and stiffness for the man who can row half the day without fear 
of discomfort to follow. Every new game finds new muscles to excrcise, 
new forms that the body must take. Only Ju-jitsu includes them all. It 
sets out to find the limit of movement in every direction, and those limits, 
as we shall see, are the locks which end Ju-jitsu contests. Because there 
is no continuous call on one set of muscles to cause over-development, 
deformity, and slowness; because quickness, quickness of movement and 
quickness of thought, is the persistent aim of the player; because perfect 
suppleness must be a conscious ideal with the beginner until it has become 

Ргеїасе 9 

а second nature—therefore it is that Ju-jitsu helps all other forms of bodily 
activity and hinders none, and in Ju-jitsu we may seek and find the common 
basis of all athletic excellence. 

With all this glory-garland of essential merit, Ju-jitsu—in England— Will Jumust undergo the supreme test. Will it attract and please? Will it Бе aN а 
found good fun? There are all the reasons why English people should play AM 
the game, би will they really do so? 

So far (in the past year) some thousands of people have shown keen 
interest, as spectators, in the demonstrations given by the Japanese; some 
hundreds have begun the game themselves, and more are beginning. To 
an enthusiast the outlook would seem full of hope. But such tests are not 
enough: years must pass by before our questions can receive their answer. 
Meanwhile, Ju-jitsu zs on its trial as an English game. 

THE EDITORS. 

NOTE.—We hope that readers of this book will write and tell us when 
they find the descriptions wanting in clearness. We shall be very happy 
to answer questions and to receive suggestions. The subject has been a 
difficult one to put on paper, and we are much indebted to our colleagues, 
Messrs. J. Hirano, S. K. Eida, and Shozo Kanaya for help in this task. 

TARO MIYAKE, 
YUKIO TANI. 

THE JAPANESE SCHOOL OF JU-JITSU, 
305, OXFORD STREET, W. 

IN the four months that have elapsed since the publication of the first edition, Ju-jitsu 
has made visible progress in popularity. Cambridge has, naturally, taken the lead in the 
recognition of a new and valuable game the enthusiasm of the University Ju-jitsu Club 
has been most gratifying. Charterhouse School, and the Royal Military Academy at 
Woolwich have both been undergoing instruction, and here and there (at such places as 
the Staff College and Oxford) and classes have been formed. 

Last winter, in writing the Preface to this book, we deleted, at the last moment, various 
paragraphs dealing with the Ju-jitsu game for women—under the impression that feminine 
ideas were not yet sufficiently advanced to permit interest in any woman's game involving 
real physical exertion. We have been agreeably surprised to find that Newnham College 
has taken keenly to Ju-jitsu, and that Girton (as we understand) is on the point of forming 
a class for its study. 

The Admiralty having made a grant for the purpose, the instruction of the Navy in 
Ju-jitsu began (October 1st) both at the School of Physical Training at Portsmouth and at 

Whale Island. 
THE EDITORS. 

CONTENTS 

PAGE 
PRACTICAL COURSE. à š š а 2 s 3 1s 
CHAPTER I. PRELIMINARY NOTIONS $ ç š š Я 5 17 
£ V. FALLING AND STOMACH-THROW s 284 
 VI. INTRODUCTION TO GROUND-WORK š í 40 
 VII. GROUND-WORK j А x A š š š 44 
 VIII, THE HOLD-DOWN Я i x S 
 IX. INTRODUCTION TO fidis NECK-LOCKS š с ЖУ 
 XI ARM-LOCKS š š У i z š І 67 
 Xll. ADVANCED THROWS. i A 76 
 XIV. THE JAPANESE SCHOOL OF JU-JITSU š 84 

m z 

TARO MIYAKE, YUKIO TANI. 

ADMIRAL KAMIMURA ON 
JU-JITSU 

“ However expert a man may be in the technical 
points of a Naval education, his service counts very 
little in time of war if he lacks presence of mind. 
The training in Ju-jitsu not only develops a man’s 
physical power and agility, but it also tends to make 
him resourceful in meeting all kinds of emergencies 
and surprises. When I took the cadets abroad 
on a navigation cruise I found those who were 
experts). ......\were the most efficient and capable. 
Their physical development and their mental activity 
make them able to stand hardships much better 
than ordinary men. My impression has been further 
strengthened by the present war. 1 would recommend not only naval men, but all young men to 
devote some hours of their time to learning. The 

indirect benefit will be great in all walks of life." 

Students of this Text-Book may at any timc 
witness the teaching‘of thc Japanese School 
of Ju-jitsu, 305, Oxford Street (Oxford Circus). 
At the School instruction is given in the 
mcthods outlined in this book, and also in 
the Kata (Self-Defence Tricks) Visitors may 
come at any hour from 9 a.m. to 9 pm. 

PRACTICAL. COURSE 

WE will now offer advice for the guidance of those who begin Ju-jitsu 
without an instructor. 

There must be at least two pupils, but more are an advantage, that 
there may be some one to watch and criticise. 

With the help of Chapter XIII. on Apparatus, get ready to begin. 
Read Chapters I. IL, HI, and IV. to the end of Throw I. 

Then practise the falling exercises you have read. Practise Throw 1 
first roughly as a falling exercise, and then carefully for its own sake. 
Let each man in turn allow himself to be thrown. This will require two 
or three practices. 

The next two practices should be given to lcarning Throws 2 and 3; 
do them first slowly, with great care to get the style correct. 

Then mix the first three throws in a continuous practice, moving slowly 
about, each of you trying to give opportunities, not to avoid them. Continue 
this till you have a clear picture of thc opportunity for each throw, and 
can do it without much thinking about it. 

You are now ready for free practice. 

The hints on page 25 will tell you how you ought to move—what to 
do and what to avoid doing with your legs. 

Bearing these in mind, practise the first thrce throws freely. 

Do this always for a few minutes before cach practice. 

Аз soon as you begin free practice with the three throws you have 
learnt, your mind is at liberty to tackle ground-work. 

Read the Introduction to Ground-work, page до. 

Then begin the chapters on Locks; read the general remarks, and the 
description of Neck-lock 1, then practise it. 

Then have a free struggle on the ground, starting from a fall, trying 
for the neck-lock you have learnt, and guiding your attempts by the 
general remarks in the Introduction to Ground-work. 

That makes one lesson in ground-work. 

In succeeding practices, add the other neck-locks, one by one, and 
then the leg-locks; you will see which are the most important. 

When you have mastered some or all of these, begin the arm-locks. 

These require a good deal more formal practice before you can use 
them effectively in a contest. 

When you have been through the locks in this way, and learnt to use 
16 Practical Course 

some at least of them practically, you should begin to put some system 
into your ground-work. 

Turn to Chapters VII. and VIII. on the Standard and Hold-down 
Positions. Work through these positions carefully, trying the various 
devices of attack, defence, and escape there described test them thoroughly, 
critically, believing nothing until you have tried it well. Try also any other 
devices you can think of, and test them thoroughly. Meanwhile continue 
to practise the locks until you have a practical command of all of them. 

At any time you like after beginning ground-work read Chapter V. 
on the stomach-throw; practise the falling exercises a little every day; 
and when you can do the complete break-fall exercise properly, try the 
stomach-throw. Add it, when it is mastered, to your free practice throws. 

At a later stage you can try the more advanced throws. These you will 
find a good deal harder, and you need not be surprised if it is a long 
time before you bring oft one of them practically in free practice. 

А complete practice, after the prcliminary stages, will therefore be made 
up of these parts: 

(1) Free practice standing-work, using familiar throws. 
(2) Free practice ground-work, using familiar locks. 
(3) Working out of standard positions with experiments. 
(4) Formal practice of unfamiliar locks. 
(5) Formal practice of unfamiliar throws. 
(6) Formal right-handed practice of things that come more easily 
left-handed, and vice versa. 
Every practice should include (1) and (2), and at least one of the others. 

Miyake's Throw. The man's legs are pushed 
up into the air, and then his body is 
rolled off the thrower's thigh. 

PRELIMINARY NOTIONS 

YOU are going to play Ju-jitsu. 

You are clad in (at least) a jacket, and stand facing an opponent, who 
wears a similar garment (see Chapter XIII. on Apparatus) Your object is си. 
to manceuvre him, without using your strength, into such a position that 
he is helpless and must give in. 

Consider this phrase “without using strength.” It is not exact, because Liu s ina 
some strength must be used; it means practically “ with as little strength FECE 
as possible" If you use more strength than the weakest has at command, 
it is bad Ju-jitsu. 

Аз a beginner you will find that you can overpower another beginner 
by using more strength than he does; but until you learn not to do so 
you are preventing yourself from learning to use more scientific methods. 

You must practise each particular throw or lock until you can do it without 
using your strength." 

In general, your first object will be to put your opponent on the ground 
then you will continue the struggle there until one of you is compelled to 
give in. 

It is convenient, then, to divide up the game into Standing-work and tne subject 
Ground-work, and to begin by learning a little of the first before attempting forteaching 
the other. There is in this way less burden on the beginner's memory. ptirposes. 

Bear in mind, however, that the division is arbitrary. In practice, 
ground-work follows a throw instantaneously. When you throw, you want 
to put the man to the ground against his will in such a way that you 
have an advantage in continuing the contest. It would be quite permissible 
for him to go to the ground voluntarily in such a way that he would gain 
the advantage in the next stage of the struggle. Being first to the ground 
is not of necessity a point against you. 

When you are thrown, you must again remember that ground-work 
ought to follow; and therefore, even when practising throws alone, you 
should get the habit of gathering yourself at once into a good defensive 
position—on your back, with knees bent up, feet in the air, facing the 
enemy (see Fig. 32). 

Throughout this book, for the sake of clearness, we shall generally say No rules for 
very definitely, “Do this or that, put one hand here and one leg there," experts: 
and so on. These directions are not to be taken as arbitrary rules. They 
are descriptions of one way in which the thing aimed at may be done. 

Every good player will have his own way of doing them, and these ways 

Best 
methods 
not most 
useful to 
the beginner. 

The doctors 
isagree. 

Peculiarities of build 
useful. 

The lazy 
man. 

Handicaps. 

Righthanded 
and lefthanded. 

will vary a good deal. Nor is it of necessity the best way that we have 
described. The best way often requires a suppleness or agility which is 
not common. We have tried to choose the most useful method for Englishmen of ordinary activity who are giving to Ju-jitsu the time and thought 
proper to a good game—not to a profession. Some difference of opinion 
is to be expected. Competent critics may say, *I don't do it that way 
I prefer such-and-such a way." The point cannot be decided finally as 
yet; we have not played the game long enough in England. 

Our directions are, then, to be taken as suggestions; they describe 
possible methods. From their study and practice the pupil may get a 
practical and useful knowledge of the principles which should guide his 
movements. Then let him vary them as much as he pleases, and find out 
the methods most suitable to his own build and activity. Every man has 
some particular physical advantage, some joint that he can bend more 
freely than others, some movement he can make more quickly, some abnormal 
length or shortness of a limb. These personal characteristics he must find 
out and use. It is this building up of one's own personal system of Ju-jitsu 
which makes the special and lasting charm of the game. 

These remarks hold true of all Ju-jitsu; they are particularly applicable 
to ground-work. There is no great room for differences of method in the 
simple throws; but ground-work has infinite variety, and always offers a 
fruitful field for experiment to the enterprising student. 

The pupil will ultimately choose those methods which suit him best. 
But he must not be in a hurry he must give them all a fair trial. 

It often happens that he learns to do a few movements easily and 
without thought; and then in the stress of contest, particularly in groundwork, he relies on them entirely, and uses no others. This, of course, is 
wrong; he must be able to use a number before he is in'a position to select. 
Therefore he must practise as simple exercises those which he finds difficult 
until they become easy and when he finds he is very apt in contests to 
use one particular lock, let him for a while bar out this lock, so that he 
is forced to use others. Notice, by the way, that this barring out of particular locks is a very useful handicap to enable players of different skill to 
meet on level terms, whereby that great attraction of the game is not lost— 
the demand on both sides for the last ounce of endurance, activity, and skill. 

Every throw and lock and movement in ground-work can be done in 
two ways—according as you begin the movement with the right foot or the 
left foot, the right hand or the left hand, and so on. We describe one way 
without mention of the other. The description can, of course, be altered 
for the other case by reading left for right and right for left throughout, 
Both ways must be practised; they are of equal importance. The pupil 
will lose a great deal by being tied down to one side; it takes away half 
of his opportunities, and it is very apt to happen on account of his eagerness 
to pass on to new things. 

The way actually described and figured below is generally the one which 
comes rather more easily to a right-handed man; but often the choice is 
quite arbitrary. 

FALLING 

BEFORE you are thrown you must learn how to fall. Li PARA 

Consider for a moment the strange dislike that people have to falling рон 
down. Probably you have that dislike yourself. You think it undignified 
and dirty, On Ju-jitsu mats these reasons vanish, but you still object to 
falling. It is now because you think you 222052 fall on some projecting 
joint, and hurt it and get shaken up inside as well. Mere delusions! But 
while you nurse these delusions you will shrink from falling every part of 
you will try to keep off the ground as long as possible, and the unhappy Seer cian 
part (almost of necessity a joint) which hits the ground first gets the whole sequences. 
‘concentrated blow, and an internal shock is nearly certain to follow. 

The reasonable course is obvious. Instead of avoiding the ground, Ысулы Mes 
try to hit it with as many square inches of surface as possible, all at ot falling. 
the same time; turn your body and limbs suitably, so that the parts that 
hit the ground are not the bony parts, but the fleshy parts—of which the 
most useful are the palm of the hand, the sole of the foot, and the 
muscle-pads of the arms and legs. Try to sleep on a hard floor, and 
you will\soon see how it is possible to vest your body, from head to 
foot, on muscle-pads. We will now show you how to /a// on muscle-pads. The breaks 

The muscle-pads that will stand (with comfort) the greatest shock are fall. 
those of the palm and forearm. Use these as much as possible, and strike 
the ground hard with palm and forearm at the very moment that the rest 
of your body strikes the mats. 

At this same instant there should be a sudden stiffening of all the 
muscles, so that the arm becomes of one piece with the body, and takes 
on its pads a large part of the shock of falling. This is the simplest 
and most effective way of breaking fall. 

Now for the best way to learn Лото to use the muscle-pads, so as to 
make falling as easy and as comfortable as sitting on a chair. (The 
principle is the same in both cases.) 

Take these exercises in the following order: ран 

Position 1.—Lie on your back, head raised, knees bent, feet flat on the Зуи т. 

mats, arms stretched out not quite close to the side, but making a small NE 
angle with the body. 3 

Position 2.—Raise the left arm, loosely bent over your body, so that 
the hand, palm upward, is toward the right shoulder; at the same time 
lift the right foot well into the air, so that the leg is nearly straight. 
Falling 
exercises. 

You are now in the position of Fig. 1. Bring the left arm back to 
the first position with a smack (slap the mats crisply with palm and 
forearm as hard as you can, and don't stiffen the muscles till the moment 
of striking); at the same time hit the mats with the flat of your right foot 
The dotted lines show where the arm and leg 

Fig. 1.—“ Beating Mats." 
strike the ground. 

(do not pound on the heel) the knee, being well bent and the muscles 

suddenly stiffened at the moment of striking. 
Repeat this till you can do it well, hitting hard and all together. Then 

practise the same with right arm and left foot. 

You have raised yourself by pulling on the rope. 

Fig. 2.—Falling Exercise 2. 

Then make these movements alternately, raising the right arm and left 
foot the very moment the left arm and right foot hit the ground. 

Judge by the crisp, loud noise: bang, bang, bang, bang, bang. When 
vou are in good tight condition and do this well, a quiver runs right 

Falling 21 

through the body from the strokes, and the body even lifts a little off the 
ground. 

Tie а rope to a wall (or, better, a post or pillar) strong enough to support Falling 
your weight, so that you can hold on to it at any height from two to four Exercise 2. 
feet above the mats. 

Lie on the mats (as in position 1 of the first exercise) with your left 
shoulder nearly under this rope; reach up and catch hold of the rope with 
your left hand and raise yourself on your right leg by it, lifting your left 
leg and right arm in readiness to strike the ground as in Exercise 1. Fig. 2 
gives your position at this stage. Let yourself go, turning towards your 
right side as you fall, and “breaking fall" with right arm. You come down 
as in Fig. 3. 

When first attempting this exercise, raise yourself only a few inches; 

Fig. 3.—Falling Exercise. The arm breaking fall. 

as you improve, keep on increasing the height (as far as you can comfortably), and so you are led to the next exercise. 

Stand beside the rope, holding it in your left hand at about four feet Fallin 
from the ground. Аз in Fig. 4, throw the left leg forward in the air, let Exercise 3 
the right knee collapse, and fall backwards (using the pull on the rope to 
turn your body so as to fall almost on your side), breaking fall hard with 
your right arm, as in Fig. 3. 

You will find it not very easy to fall nicely in this way. It is not 
necessary to be able to do so before attempting the throws in the next 
chapter. But it is useful to try it a few times first and then to practise 
it in the intervals of trying the throws. 

The best way to improve your falling, when you have some one to practise 
with, is to treat Throw 1 in the next chapter as a falling exercise. Let one 
man try to throw and the other try to be thrown, not minding whether 

the motions of the throw are correct ог not, 

Fig. 4.—Falling Exercise 3. Throwing yourself to the ground. 

but concentrating attentior 
on the fall Do this repeatedly from a standing 
position until you have 
learned to fall properly 
without thinking about 
it Be careful always to 
let go, early in the fall, 
with the hand that is 
going to be used to 
"break fall" There is a 
second reason for this— 
namely, that you do not 
want to bring down the 
other man heavily on top 
of you. 

Fig. 5 shows you most 
of the possible faults in 
falling no muscle-pads used, 
no breaking fall with arms 
or legs, doth arms clinging 
to the other man, and, worst 
of all, the whole shock 
coming on one unhappy 
point of the body. Some 
throws require different 

methods of breaking fall; these we shall postpone until they are needed. 

Fig. 5.—Wrong way of Falling. 

STANDING-WORK 

THERE are a great many different ways of upsetting a man by Ju-jitsu, Thethrows. 

and most of them are much too complicated to learn from a book. But 
those which are used most frequently are comparatively few and fairly 
simple. These few “throws” (they ought to be called upsets) we shall 
explain with very great detail. 

The few throws with which we shall deal form only a small part of 
the resources of the expert Ju-jitsu man; but they are quite enough for 
the ordinary person, even if he devotes the whole of his time for exercise 
to the game. For a good many years, certainly, a man will more profitably 
and pleasantly spend his time in exhausting all the possibilities of skill 
and quickness in respect to these simple methods than in learning complicated and more artificial new ones. Skill and quickness in seizing 
the opportunities for these simple throws and in escaping from your 
opponent's attempts can be developed almost without end. It should be 
some consolation to the ambitious to know that some of the best Japanese 
experts in Ju-jitsu, though familiar with a large number of complicated 
tricks, practically in serious contest depend on special skill and quickness 
in no more than three or four of the seven throws described in this book. 

Moreover, with this material a keen man will naturally invent for himself 
combinations and developments which, while perhaps not so ingenious as 
the standard Ju-jitsu ways, may be just as useful to himself; for it must 
be remembered that Japanese methods have been invented for the typical 
Japanese build, and the methods most suitable for a heavy, long-legged 
Englishman have yet to be found out. This problem we leave almost as 
a duty to those of you whose ingenuity (unfettered by Japanese instructions) 
has no other assistance than our own inspiring words. 

Learn a 
few throws 
well. 

Suppose that you are walking along and come to an unexpected step The throw 

down, without noticing it. The chances are that you fall; at any rate, 
you come down on your foot so shaken and unsteady that the least thing 
will upset you. That is the chance the Ju-jitsu man is looking for. You 
take a step forward he can't cut away the floor under your feet to make 
a step down but just as your forward foot is touching the ground, he can 
tip it up with a very quick movement of his own leg. You are bound 
to go forward, it is too late to draw back, and there is, for the moment, 
no foot to come forward on to (because it has been kicked into the air). 
For the moment you are unsteady, and the least pull sideways may upset 
in general 

To begin 
the game. 

The grip. 

24 The Game of Ju-iitsu 

you before you have time to get the kicked-away foot back to support 
you. Now you have had a real Ju-jitsu throw: the man has not used any 
force he has merely caught you in a position where it was easy to upset 
your balance, and taken advantage of it. 

This is very easy to talk about; but of course it wants a quick eye 
to see the chance and quick limbs to take it; and when you are on the 
look-out, the other man must have eye and limbs very quick indeed in 
order to be able to throw you that way. 

Here we have had one very simple way in which a Ju-jitsu man throws 
another. There are a great many positions in which a man is unsteady, 
and the Ju-jitsu man learns them and how to take advantage of them 
in another, and how to avoid them as much as possible himself. Апа 
besides those that he learns he 
probably thinks out some more 
for himself. Of those he learns 
some do not suit his build, and 
he ‘does not bother much about 
them; and others do suit his build, 
and these he practises a good 
deal, and is particularly on the 
watch for them. For some throws 
it is good to have long legs, and 
for some it is good to have short 
ones, and so on. 

You have already learned to 
fall well enough to make the 
practice of the first few throws 
enjoyable. 

You are on the mats with 
your instructor X. 

We are going to suppose all 

Fig. 6.—How to Hold. through that you are playing with 

There must be no stiff, contracted grip. X, a man who knows Ju-jitsu, 

because it makes description 

casier. If you are both new to the game, you will each in turn play at 
being X. 

The first problem is how to engage. 

You will find that X takes hold of you with a light, firm grip with 
the fingers of both hands. He holds you at points a little below the level 
of his shoulders, because that gives him the strongest pull. (Compare the 
almost level arms in rowing.) 

He chooses points as far apart as possible, because that gives him the 
greatest leverage when he wants to turn you round. 

He likes to have at least one hand in contact with your body (not 
your arm), because he may want to get a firm purchase on your body 
(and your arm would give from the shoulder.) 

To satisfy all these wants, he will probably take your right-hand collar 

ў 

MI 

чщ 

Standing-work 25 

with one hand and the sleeve of your left arm (just above the elbow) with 
the other, as in Fig. 6. 

This is not a fixed rule; he may alter his hold to one more suitable 
for some particular purpose; but this arrangement is the one most 
gencrally useful. You had better take hold of X in the same way. 

If you have seen two Ju-jitsu men at practice, you will have noticed 
that they start off at once skipping up and down the room, holding 
one another. You may have wondered why they do so. It comes about 
in this way. When X takes hold of you, he throws his weight in such a 
way as to pull on you in some direction without putting his balance in 
danger. Now two things are open to you: to hold back and resist, or to give 
to the pull and move in that direction. If you do the first, you find that 
you cannot resist much without putting your own balance in danger; 
so that if X were suddenly to cease to pull your own force of 
resistance (thus left unbalanced) might unsettle your equilibrium, and X 
could easily upset you. It does not pay to play the resistance game with 
X, because he knows how to put on more pressure than you without 
endangering his balance. The safer course, then, is to give to his pull 
and to move with him, and so preserve your own balance. In fact it 
always come to this—that the better man can lead the other about if he 
wants to, and that the best thing the other can do is to give way to the 
motion and wait for a chance. 

Nothing, then, is to be gained by trying to stand still, so players 
usually start off moving at once, sometimes one directing the. motion, 
sometimes the other. What they do and don't do with their feet. you will 
learn gradually. 

Meanwhile, this advice may help you: 

(1) Keep the body upright on the hips—this is the first principle of General 
good balance; avoid like the devil the bent position of Fig. 12 (p. 29). eee 

(2) Keep the arms supple and a little bent; you will find that straight ment. 
arms lay you open to horrible catastrophes. 

(3) Keep the legs straight but not stiff; don't prance up and down on 
bent knees; glide your feet avoid high-stepping. 

(4) Never cross your legs; good players do so with inferior ones, but 
they take liberties. Keep your feet well apart; never let them stay near 
to onc another. 

(5) Finally, keep your body soft all over; every muscle supple and 
expectant. 

Throws. 

FIRST 

The throw. 

Two people play—you and X (a Japanese). 
In all throws it is most important to seize the exact opportunity for 
bringing off the throw with the least effort and the greatest effect. 
This we shall simply call opportunity. 

You are learning: X will throw you several times, and then you will 
try to throw .X. ‘ 

The opportunity for X to upset you comes as you are making a step 
towards him, just at the moment your left foot (say) is reaching the ground 
and your weight is coming on to it (Fig. 8). 

Now X shoots out his right leg (stiff from the hip-joint down, with the 
toes stretched as far as they will go), and with a sharp side movement of 
the whole leg brings the under-part of his instep against the side. of your 
leg (just above the ankle) with a kind of pushing blow (Fig. 8), which 
lifts your leg well into the air. 

Your weight was just coming on to this leg, you miss the support you 
expected, and at the same moment pulling in with his arms X sends your 
body to his right with a twist of his hips and shoulders. 

We hope you fall according to the instructions you have received on 
page 21—-that is to say, you let go with the right hand, keep hold with 
the left long enough to turn your body, and fall almost on your side with 
а hard smack of right hand and forearm as your body touches the mats 

Now X asks you to throw him; he offers you a leg in just the right 
position, and pauses to give you plenty of time. 

You try to kick his leg away, and very probably his balance remains 
undisturbed. 

Perhaps уси kicked with a bent leg, and so there was no pushing 
strength in the blow (Fig. 11). 

Perhaps you put your leg in too deep and struck with your calf. 

Perhaps your blow was too slow—all push; or too sharp—a mere 
knock with no push (that only affects X's temper). 

Perhaps the leg-blow was correct, but you bent forward from the hips. 

You were stooping and bunched up and off your balance, and almost 
Fig. 7.—From this safe position you step Fig. 8.—The Leg-blow, just as your foot reaches 
forward. the ground. 

Fig. 9.—The Side-pull upsetting you. Fig. 10.—Your Fall, 

Final 

fell over yourself (Fig. 12) This \bending forward is the Fatal Error 
in Ju-Jitsu. 

Next, perhaps, you get the leg-blow right, and the body a trifle sloped 
back to get a steady balance—and still X does not upset. 

Your pull is wrong; you are pulling with the right arm and pushing 
with the left. That merely twists X round without disturbing his balance. 
You want to move his body so tbat it is no longer right above the solitary 
leg that supports it. To do this you must pull in with the arms and swing 
the shoulders bard round to the right from the hips. Everything depends 
on this swing of the upper part of the body. 

If you fail now it is because 
your leg-blow and arm-pull are not 
at the same time. The pull is 
probably too late; X has already 
disengaged his leg when you pull. 

When at last, having corrected 
all these faults, you make another 
attempt, you will be vastly relieved 
to hear X fall with a Joud smack. 
(He makes the smack for his own 
benefit, but it is cheering to the 
vanity of the beginner.) 

These, therefore, are the things 
to remember: 

(1) Body must be straight—at 
moment of throw must be leaning 
a little back on the hips. It will 
continue naturally to lean yet further 
back as the leg-blow is made. 

(2) Leg must move in one piece 
from the hip, straightened out to 
the farthest toe as if trying to reach 
as far as possible. 

Fig. r1.—Fault: leg bent. (3) Under part of instep must 

hook X low down on his leg to 

get maximum blow from you and maximum leverage on him. (His 
leg is the lever on his body.) 

(4) Pulling with one arm and pushing with the other is useless. Both 
arms must pull the same way, rather to the right; the elbows tucked in 
close to the body and the pull as little down as possible. 

The arm-pull must be accompanied by a strong twist of the shoulders 
as far round as they will go. 

You can now do the first throw correctly next you must learn to do 
it quickly. 

In actual practice X would make his leg “soft” as soon as he saw 
you were trying to use this throw, and his leg, when you kicked it up, 

would be no stiff lever (to help in upsetting him), but a limp limb which 
slipped away over your instep and was back to support him before his 
balance had been seriously disturbed. But every man must make his leg 
stiff for a moment just as he is putting his weight on it (and before his 
foot is quite firmly planted on the ground) This is the best opportunity, 
this is the moment you must try to seize (as you improve) with lightning 
rapidity. Апа another moment comes when the man is moving back just 
as he is about to withdraw the foot nearest to you. You must try to 
seize these moments without 
giving warning of your intention. 

Now X upsets you again. 

X was on your left front. 
He placed his right foot a 
few inches outside your left 
and level with it (rather 
nearer than in Fig. 13). 
He swung his hips and left 
leg to his right (Fig. 14), 
then with a return swing of 
hips and leg he kicked away 
your left leg from behind. 
The blow was delivered with 
a leg quite stiff from the hip 
(Fig. 15) It caught your 
leg a sharp blow from behind about the back of your 
knee. The tendons of your 
leg collapsed; your weakened 
leg was carried away into 
the air (Fig. 16). At the 
very moment your leg went, 
X pulled your body in with Also the arms are’ stiff. 
his arms and carried on the 
motion with a long swing round of his shoulders to the right. Then you 
fell far round to his right side. 

Now you try to throw X. 

At the first attempt you upset yourself. You were not close enough Fault r. 
no power at a distance (Fig. 17). 

Next you hooked X's leg with your own leg bent. No effective blow Fault 2. 
and you nearly upset. 

You merely tried to push X’s leg away. Fault 3. 

This time you kicked with the side of your leg on the side of his—and Fault 4. 
his leg could not collapse from the side. 

This time you did not swing your hips round so as to get position for Fault 5. 
the return swing. You tried to knock his leg away only using your leg. 

SECOND 

The throw. 

Fig. 13.—Opportunity for Second Throw. 

Fig. 15.—Return Swing and Kick. Fig. 16, —Side-pull upsetting you. 

This time the leg-kick was correct, but your pull was a mere jerk with Fault 6. 
the arms. You did not swing him round with your shoulders. 

In trying to pull you bent forward and merely pushed X with vour Fault 7. 
weight. The FATAL ERROR again. 

Now at last pull and kick come together, and X upsets smack. 

Remember, therefore 

(1) Foot on which you stand must be not far from side of X's foot with 
toe pointing out, and so 

(2) Hip must pass close to his hip. 

(3) Kicking leg must be stiff (feel your big toe stretched stiff). 

(4) Kick must catch him from behind. 

(5) Elbows, as you pull in, 
come close to sides; swing round 
of shoulders must be as long as 
possible. 

(6) Avoid the FATAL ERROR. 

(7) Kick-back must have the 
swing of the hips behind it. 

Note.—This throw is most 
effective when Х is deep at your 
side. Your hip and leg are then 
already in position for the kickback. 

For example, you are moving 
backwards, and X is following 
you with the same direction of 
motion, but a little to your left 
front. You put down your right 
foot and pause a moment on it, 
before bringing back your left. 
As you do so, X may advance 
his left foot past your left, so 
that (owing to your pause) he 
comes up to your side. The step 
чыр ДЕ БГ x Macar Fig. 17.—Wrong way of trying Second Throw 
you һауе delayed for an instant, = ш too za in front’ of x and you have 
you now convert into the kick- not swung your hip round, 
back of this throw, and, with the 
proper arm-pull and shoulder-swing, X goes down. Here your hip and 
leg are already in position, so that the throw comes about instantaneously, 
without preparation. And X's motion helps the arm-pull. 

Again, if you are at rest, X must be a little leaning forward on his left 
foot for the throw to come off easily. The arm-pull therefore comes, if 
anything, a little before the kick. 

X upsets you by this throw. In Figures 18, 19, 20, you are the man THIRD 
in black socks. THROW. 

Fig. 18.—Opportunity. Fig. 19.—Your left leg prevented from moving. 

Fig. 20.—You topple over. X's Arm-pull is not shown well Fig. 21.—Escape from Third Throw, bringing the b. 
he could not keep in position before the camera. well in, and swinging the leg round over the foot. 

You and X were revolving round one another. X came suddenly to Opporrest; you wcre moving to your left (Fig. 18). tanaty: 

X leaned back; you wanted to move left leg to left front to support The throw. 

yourself. But before you could do so, X shot out his right leg as in Fig. 19, 
and held the ball of his foot firmly against your leg just over the knee-cap. 
He leaned further back, pulled in with his right arm, lifted with his left, 
and you toppled over his foot as in Fig. 20. You held on with your left 
hand, turned right over in falling, and came down with a right-hand 
break-fall. 

Now you try to throw X this way: X wears the black socks. 

Your left foot is in the wrong place. Its position is very important. Fault 1. 
Notice that, as in Fig. 19, it must be outside of X's right foot. Evidently 
it must be such a distance away that the ball of your foot will just reach 
X's left knee. To judge correctly the position of the left foot is the most 
important thing in this throw. 

Your left toe is pointing as in Fig. r9. This is corrcct for the expert. Fault 2. 
You, as a beginner, had better plant your left foot with the toes turned in 
(almost at right angles to the correct position), because you can thus moie 
easily turn your body, 

The position of your right foot is wrong. It is in front of X's leg, and Fault 3. 
does not trip him or it is too low, so that he can lift his leg over it; or 
it is too high, and stops X from toppling over. 

Your pull is wrong: you do not lift with your left arm. Try to shift Fault 4. 
your hand and lift under X's armpit. 

You are not leaning back enough. At the last moment of Fig. 20 Fault s. 
you must lean well back—further than the photograph shows. Do not 
mind about your balance; you are bound to be unsteady after bringing 
off the throw. Fix your attention on upsetting X. 

Remember these points 

(1) Left foot to go well to your left, so that you can just reach X's 
right knee. 

(2) Left toe turned to the right. 

(3) Ball of foot over, and just over, X's knee. 

(4) Right arm pulls in and down left arm lifts. 

(5) Body leans back avoid the FATAL ERROR. 

Escape from this throw either by swinging the leg round X's foot Escare. 
(Fig. 21) or by sending your body close in against X. 

This throw is difficult when you try it, from the proper position, without Remarks. 
being in motion. The pull and lift with the arms is awkward. But if X 
has a circular motion round you, the difficulty goes. X's own momentum 
topples him over with very little help from your arms. The faster the 
motion the less the arm work. 

Since this throw depends particularly on motion, do not try much from 
a stationary position. Practise it a great deal when you are both moving, 
remembering that everything depends on a correct position for the left foot. 

It is only by practice that you can learn to see, or lcarn to make, your 
opportunities for any throw— but more especially for this one. 
FALLING AND STOMACH-THROW 

Exercise т YOU must now learn to break fall when you pitch forward heels over head. 
Lie flat on your back. 
Raise your legs and arms into the position of Fig. 22, rolling well up 
on to the shoulders with a 
swing. 

Swing back the legs, shooting them straight out. As you 
come over, arch the back and 
bend the knees a little, so that 
you come down as in Fig. 23, 
breaking fall smartly with flat 
feet and with both arms. 

Your chief object is to let 
the feet and arms hit the mats 
exactly together, and take the 
shock instead of the bottom of 

Fig. 22.—Break-fall exercise. vour spine. This latter is very 

apt to hit the ground first with 

an unpleasant jar, so you must suddenly arch the back just before striking. 
Bend the knees smartly to get a good slap with the soles of the feet. 

Fig. 23.—The blow on the ground, Notice the back is arched. 

Remember 

(1) Let arms and feet strike together, so that only one noise is heard. 
(2) Arch your back at the last moment. 

(3) Slap with the soles of your feet smartly do not pound on the 

heels. 
Falling апа Stomach-throw 35 

This break-fall can only be used in special circumstances. The sideways 
break-fall that we shall now describe may nearly always be used when you 
are pitching forward on to your head. It is most important for you to 
practise it carefully, and you will find it not so difficult as you at first 
suppose. 
Settle in your mind that you are going to fall straight in front, out Exercise 2. 

along a line drawn on the mats. Breet ten 
Kneel down, and place your left forearm (palm upwards) flat on the from a 
mats, and straight across the line. kneeling 

R A Š position. 
Rest your head lightly on the mats in front of the arm; let it be well 

tucked in, with the face turned to the right. 

Fig. 24.—Break-fall exercise. Pushing up from a kneeling position, 

Rise on your feet into position of Fig. 24. 

Push off with the legs and go over, your left shoulder well rounded and 
tucked in. You scarcely come on it at all; you come over on to the part 
of the back just below it, where the dotted line begins. 

At this moment the feet are straight in the air (Fig. 25), the head 
hardly touching the ground, the body and legs screwed a little to the 
right. 

In going over (always in the direction of the line) the body is screwed 
a little more to the right. You come over on to your right hip, lying a little 
on your right side almost along the line. 

You strike the mats as in Fig. 26, breaking fall with right hand and 
both legs. 

Remarks. Notice that in Fig. 26: 

(1) The right leg is straight out, and strikes on the muscle-pads of calf 
and thigh and instep. The sole of the foot is turned to look upwards. 

(2) The left foot comes flat on the sole, and is turned so that the knee 
may be bent as little as possible. 

(3) The strokes of the flat left foot, the muscle-pads of the right leg 
and right arm must all be sharp, hard, and exactly at the same time. 
Judge by the noise. 

You may find this exercise hard to do correctly, because when you are 
in motion upside-down it is not easy to think of which way you ought to 
turn. You may get some help by lying down in the final position and 
trying to work yourself slowly back from there to the original position. 

Thus from the position of Fig. 26 
you lift your legs over your head, 
keeping the head off the ground with 
rounded back. Roll back slowly, and 
notice as you go the points of your 
back where your weight rests. These 
points should start from the right 
buttock, cross the back slanting, pass 
the backbone about the middle, and 
finish up on the left shoulder-blade 
(see dotted line in Fig. 24) Stop 
when you have got back as far as 
this, reverse the motion, and breakfall again as in Fig. 26. 

Try again and again until you 
can do this quickly without thinking; you are thus learning the turn 
of the body and the break-fall with 
legs and arm. 

Then roll up with a little more 
= m force and go right over, coming 
Fig. 25.—Going over. The pressure will more or less back into the position 

come along the dotted line. of Fig. 24. 

Finally, practise the whole movement backwards and forwards. This 
teaches you the break-fall, but only from a kneeling position. 
Now you are ready for the complete exercise. 
Exercise 3. Stand up, dive forward on to the mats, throw your legs over your head, 
Com lete, апа come down in the position of Fig. 26. 
 The motions are exactly the same as in the previous exercise, except 
that you start standing up and Zirow yourself forward. 
Notice that 
Things to (1) You stand with left foot forward, left shoulder dropped a little 
be noticed. 
forward, and left arm ready bent. 
(2) You aim for a point on the ground two or three feet in front of 
you. That is where your forearm is to come. 

Falling and Stomach-throw 37 

(3) Head is turned a little to the right and rather tucked in. 

(4) Heels must be thrown well up and left shoulder must be kept well 
rounded, so that the first part of your body to touch the ground is about 
the top of the shoulder-blade. 

(5) Forearm takes very little weight head none at all. 

(6) You must come down on the line you have drawn on the mats. 
Your body and legs must always keep the true direction when moving, in 
spite of the fact that your head and shoulders are turned towards the right. 

Do not be alarmed about your head. It is because they funk the forward 
dive that beginners come over in a hunched-up position and sometimes 
jar themselves. Аз you gain confidence, try to dive farther and farther Dive well 
out. Then you may get a friend to lie under you and stomach-throw you forward. 
again and again. Finally, let your friend lie on the ground with his foot 
up as in the stomach-throw, and take a running dive right over him. 

At first you will find that your body tried to come up into a sitting 

Fig. 26.—Final position of Break-fall. Notice the sole of right foot is turned upwards. 

position at the moment of breaking fall Resist this; put a sudden little 
stiffness into your body, so that instead of coming up it shoots several 
inches along the mats after the break-fall. It is worth your while to 
practise this exercise a good deal before making the least attempt at 
Exercise 4, otherwise you will get a very slovenly style. 
Тһе same as Exercise 3, except that instead of wasting the rebound Exercise 4. 

from the break-fall, you allow it to carry you up on to your feet again. Take 
our advice, and leave this exercise alone until you can break fall properly. 

You have now learnt to come down comfortably when you pitch forward FOURTH 

on to your head. X can therefore upset you by the stomach-throw ренин 

You were leaning forward, or pushing forward, or moving guickly forward, Oppor- 
ог holding X stiffly at агт” length. tunity. 

X stepped in between your legs with his left foot leaned back with all his The throw. 
weight hung on you (so that your body went more forward); put the sole of 

 
 
os 

his right foot against your navel, with his knee tucked well up close to his 

body (more so than 
in Fig. 27), and 
fell backward on 
the mats. He bent 
the knee of his 
left leg sharply as 
he fell, so that his 
body came down 
close against the 
heel and well under you. Poised 
on his foot with 
your weight well 
forward towards 
his head, you 
pitched over in 
that direction (as 
kept his right leg 
well bent as you 
pivoted over it, 
and finally flung 
you off by suddenly straightening it 

Fig. 27.—First movement of the Stomach-throw. 
leg must not push. 

The raised 

Until you get accustomed to this throw X will be very careful to keep 

Fig. 28.—Just going over. 
pushing with his leg. 

Notice that the man underneath 25 noć 

hold of you, and 
thus let you come 
down comfortably 
(f you arch your 
back) into the 
break-fall position 

Afterwards he 
will let you pitch 
clear, and you must 
try the expert 
method of falling: 
shown in Figs. 25 

Now you try 
this throw on X. 

(1) Your left 
foot is too faraway; 
X can stop his forward motion. 

Falling апа Stomach-throw 39 

(2) You have not bent your right leg sufficiently. 

(3) You have not fallen close to your own heel, you are not under X 
enough. 

In all these cases you only manage to push X away with your foot 
he does not get fairly on top of it. 

(4) You give the little push with your right leg too soon. X is stopped 
in his forward motion and may roll off sideways. 

(5) Your foot is too soon; X parries by lowering his body. 

Fig. 29.— The final push with the leg. If the leg pushes before 
this moment, the throw will probably fail. 

(6) Your foot is too late; X merely falls on top of you. 

Remember, then 

(1) Knee of the leg that supports X must be well tucked in against 
your own chest. You must not push with this leg until the last. 

(2) Body falls close up to the foot you were standing on. 

(3) Body must fall and foot come up to X's stomach both at the same 
time. 

This throw is the sure penalty for the Fatal Error and for Straight Important 
Arms Pushing Forward. 

Introductory 

Locks. 

After a 

Certain 

positions 

aimed at. 

General 
principles, 
etc. 

INTRODUCTION TO GROUND-WORK 

WE have now considered the most useful simple throws. We go on to 
discuss the continuation of the contest on the ground. It has been already 
explained that this goes on until one man surrenders because he cannot 
go on struggling nor even lie still without the certainty of a broken 
joint, unconsciousness, or some other equally unpleasant penalty. These 
positions which end the struggle are called “Locks”; the most important 
ones will be found below, page 57, fully described and illustrated. 

What happens between the throw and the lock? At first sight, only 
a confused, aimless struggle; a welter of arms and legs whirling rapidly in 
strange contortions, with little respect for the injunction “ Don't use your 
strength." 

After a while you begin to see some reason; you notice that certain 
positions are constantly being aimed at which give particular advantages 
for attack or defence; you find that certain movements are carefully 
avoided and certain others are used freely you find that strength is chiefly 
used to remedy defects in knowledge or skill. 

At the best, ground-work cannot be described as systematically as 
standing work. There are too many possible positions; and the best 
players do the same thing often in different ways. What we can do 
is this 

(1) Collect a number of principles, to be constantly remembered, and 
a number of hints and general remarks of frequent application. 

(2) Describe the standard positions above mentioned, showing some ways 
of reaching them, and some of the ndr possibilities of attack and defence 
which these positions involve. 

(3) Describe the principal locks very fully, and indicate the most usual 
positions from which these locks follow. 

Men are so accustomed to use their legs for nothing but standing, 
walking, and running, that when they are struggling upon the ground 
they only think of attack or defence with their arms. Now, the legs have 
much more strength than the arms, and use should be made of them. 

It may be roughly said, Ju-jitsu ground-work is merely the proper 
use of the legs. Success depends on the activity and agility of the legs: 
the temptation to use the arms for everything must be fought against 
and conquered. Keep your bent legs between yourself and your opponent— 
and he can do you no harm. Wrap your legs around his body—and 
Introduction to Ground-work 41 

you have a master position for several locks. Clasp them round his neck-— 
and he may surrender. Bring up a leg and push the man's head away; 
use a leg whenever you can. 

The use of the muscles of the body must be encouraged; the body 
must lose all rigidity it must be a limb. The hips must swing freely 
when the shoulders are held fast, the backbone must bend at every joint. 
You must be a wriggler, an eel, impossible to hold. Learn to wriggle 
by practising the writhing exercise given in Chapter VIII. Strength 
counts for more in ground-work than in standing-work. A great difference 
in strength makes some locks fail for the weaker тап; and it is not so 
easy to turn a man's strength against himself. Even so, strength counts 
for much less than quickness, skill, or intelligence; and it remains equally 
true that it is only in so far as you avoid using strength that you have 
any chance of improvement. 

Remember these general rules: 

(1) Never turn your back. 

(2) Use your arms as little as possible and your legs as much as 
possible. 

(3) Avoid using strength. 

(4) Use your head as a limb, and be ready to tuck it in tightly at any 
attack on your neck. And above all— 

(5) Get your knees between yourself and the other man, or get 
your legs round him. 

(6) Conversely, avoid his doing the same to you. 

Consider now the different positions of the man who throws and the 
man who is thrown. 

The man who is Down, who is below the other, shall be D. 

The man who is Up, who is above the other, shall be U. 

What is U to do after he has thrown D? 

(1) 1f D holds on to his jacket with one hand, U has a chance of winning What to 
at once by Arm-lock 1, which is described fully in the section on Locks, RUNE 
Chapter XI. a man. 

(2) Otherwise, U throws himself on to D's body, as in Fig. 30, and tries 
either— 

(a) To straddle across him on his knees in a position of great advantage 
for attack, which we call Standard Position L, and discuss fully below, p. 44; or 

(6) To lie across D in a position which is not particularly good for attack 
but keeps D down such positions we call Hold-down Positions, and describe 
fully in Chapter VIII. 

What is D to do when he has been thrown ? 

(1) D will let go his hold of U's coat the moment before his body hits What to 
the mat. go atter 

 А а. SSS ° being 

(2) He will bring his legs up, as in Fig. 32, and try to spin round in thrown. 
the same motion, so as to get his knees between himself and U, and 
so prevent U from getting into the straddle position or to a hold-down 

If D succeeds in doing this, he takes away the advantage that U has 
gained from the throw. 

Fig. 30.—After a Throw. 

Then will follow a contest in agility and quickness between U and D, 

Fig. 31.—After a Throw. The thrower has come down into the 
Straddle Position, 

which will end in one of them gaining a distinct advantage. Either—- 

Fig. 32.— The man thrown must spin round into this position. 

Introduction to Ground-work 

(i) U will get past D's legs to the straddle or to a hold-down; or 
(ii) D will get a hold of U's jacket with his feet still between himself 
and U, а position we shall call Standard Position II, (р. 46); ог 

(iii) D will get his legs linked round U's body; this we shall call 
Standard Position III. (p. 49). 

Fig. 33.— Standard Position IL, one of the best positions for D. 

D is on his back with a hold of U's coat, and his knees between himself Standard 
and U. 

This is what we mean by Standard Position II. 

This definition includes a good many slight variations of position. 
When D has one knee in, he can generally get two. 

When he has his knecs in, he can also get his feet up against U's hips. 

Fig. 34.—Standard Position IIL, one of the best positions for D. 

He can also slip his legs on either side of U, though he cannot of necessity 
link them behind U. 

АП these possible variations we group together as Standard Position II., 
because it is generally possible to pass from one to the other. 

When D can link his legs round U, we get a new position, not included 
in IL, which we deal with separately as Standard Position III. 

Standard Position L, from which U should win. 

The U, kneeling on the mats, grips D's sides just above the hips with his 
ише legs. He keeps control of his own weight, not letting it rest idly on D, 
lest the latter should bunt 
him up suddenly with his 
hips. When D tries this 
sudden bunt-up, U grips 
tighter with his knees and 
clasps with his feet under 
U's thighs. 
27 On first coming into: 
Z= the position, U with his 
WA ү, == right hand gets a deep 
eee hold of D's right collar. 
Fig. 35.—Standard Poslilen L, from which U should win. This is generally possible. 
Notice the fine opportunity for an Arm-lock. Fig. 35 gives the correct 
position. But if U has 
short legs, he will perhaps prefer the position of Fig. 36. In this he has 
thrown his weight on to the left knee, come up on the right leg, and 
secured a very deep hold 
almost at the back of D's neck 
with the right hand. 
The advantages of this аге: 
(1) U hasa steadier balance. 
(2) He is more in position 
for the swing round to lock D's 
right arm. 
The disadvantage is: 
He leaves more space between himself and D's body 
through which D may wriggle 
a knee or slip an arm. 
U'sattack— = Attack 1.— The main attack 
dies is against the neck (see Neck- Fig. 36.—Some people prefer this form of Standard 

locks 1 and 2). Position II. 

Defence.—D may guard this by putting both hands to his jaw (see Necklock Defence); but if he does so he can make no progress towards escape, 

and he also exposes himself to the forced arm-lock. But still he may 
parry U's attempts for a while with his hands. 

Attack 2.—The attack against the neck may be a feint to provoke D against 
to expose his arm. Under cover of this attack U works his left knee the arm; 
forward under D's right shoulder, keeps D's upper arm away from D's 
side with his thigh, and steals his right foot out to the ground (it is 
already there in Fig. 36). Then suddenly clasping D's arm, U sways his 
weight across on to the right foot. At this moment his left leg hoists 
itself from the ground, he returns his weight with a sharp push off the 
right foot, and the left leg sweeps round over D's head as U falls on his 
back in the position of Arm-lock 2. 

So much careful preparation may be unnecessary if only D éxposes his 
arm enough. U may then simply clasp it, yank it more up by the sleeve, 
and swing round into the lock. 

Without much hope, D may try to guard by keeping his right shoulder 
resolutely to the ground and the elbow-joint close to the side. Of course he 
must be careful not to expose his arm by pushing at the upper part of 
U's body. 

Attack 3.—1f D clasps his hands to prevent the arm-lock, U may get 
his leg across more leisurely, pass his right forearm through the crook of 
D's arm, and lean back to force the arm-lock (see Arm-lock 3). 

Attack 4.—1f D keeps his knees bent, U can twine his legs under and against 
round them, pitch his body a little forward, and secure Leg-lock 3 (the thetoga: 
“ splits”) U cannot do this quickly, and at the first feel of U's legs D 
should shoot out his own legs straight. He will be quite safe from this 
lock if he never allows his legs to remain idly bent behind U's back. 

Attack 5.—U may attempt a bent arm-lock (see Arm-lock 6). 

The defence already described will not help D for long. Не is in a Escape 
desperate situation, and must make active attempts to escape. for D. 

'The most favourable moment for escape is when U inserts his second 
hand for the neck-lock. U has then an unsteady balance and can be easily Opporupset. But D must not leave his neck exposed a moment too long. He “= нш 
must parry vigorously (without giving chances for ап arm-lock), and then, 

 when U has almost worked in his second hand, suddenly leave his neck 
exposed and upset U at once. 

D may push with his hands at various parts of U's body this makes 
the only difference between one way of upsetting and another. The student 
should make experiments perhaps he will find the following way the best. 

Escape 1.—When U's right arm is uppermost, D will upset U to his 
own right side. It will be found that the choice of this side makes it easier 
for D to unwind himself from the neck-hold after upsetting U. 

By pressing with his right hand into the crook of U's left arm (or by 
pulling down on U's left sleeve), D will draw down U's left shoulder while 
he pushes up on U's hip (or shoulder) with the other hand. Не gives a hoist 
at the same moment with his left hip, and U goes over. i 

If D is not careful, or if he tries to roll over on top of U, he will 
probably roll between U’s legs, and he is in no better position than 

before, since U can go on locking the neck without interruption (see Standard 
Position III.). 

After up- Therefore D must take advantage of the moment of upset (when U's 

[pem une legs will be loose) to jerk his body back to the left away from U's legs, and 

wind the then to scramble round (face downwards) until he gets opposite U's head. 

neck-hold. U may have kept his grip on D's collar, but his hands are no longer crossed 
and D has unwound the neck-lock. D has now the advantage, and may 
secure Hold-down 4 with possible arm-lock to follow he has also a chance 
of getting Hold-downs 1, 2, or 3, or he may possibly get into the straddle 

U may save U may prevent this escape by getting his weight down very smartly 

himself on the neck-lock as soon as his second hand gets hold. It is a contest in 

from К 5 
upsetting. guickness between the two, with the advantage оп the side of U. 

Escape by Escape 2.—1f U is in the position of Fig. 36, the following escape is 
аб, to be preferred. 

under U's At the moment of the neck-lock D inserts an arm under U's stretchedlegs. out leg, draws it to him, and hoists it round over his own head. As the 

leg swings on to U's arms its weight breaks away the neck-lock grip of 
U's hands, and D is free. 

This also is a contest in quickness—w Беше U сап tighten the lock or 
D throw him off first. 

It is important to notice that neither this nor the preceding escape can 
be hopefully attempted until U has got both hands in for the.neck-lock 
grip; yet U must not be allowed actually to get the grip. The upset 
must therefore be very carefully timed. 

Wriggling Escape 3.—D may heave up with his hips—getting a thrust off his legs, 

а knee and at the same time push U's hips away and up with straight arms. If 

between U's grip with the knees is weak, D may work a gap between himself and 

U'sle£$- U through which he may bring a knee, and so wriggle into a position of 
advantage. 

This may *take some doing": it may require a quick rush of desperate 
attempts with pretended attacks on other parts, before U is caught in a 
moment of weakness. 

Standard Position IL, from which D should win. 

D's attack. Notice first the chances which U, by carelessness, may give to D. 
The knee- Chance 1.—Should U's left hand rest on the mats by D's side, D can 
id NR pin it between his arm and side, and by pressing over with the right knee 

effective on U's elbow secure an arm-lock. D will find that a switch of the hips 
lock. to the right gives him a better position for pressing with the knee. 
Again, if U's hand comes anywhere on the upper part of D's body, 
D can pin it with one hand and bring on the knee-pressure. This may 
sometimes cause sufficient discomfort to amount to a lock. 
Defence.—U's defence is simply to keep his arms away from these 
dangerous positions. 
Chance 2.—1{ U is foolish enough to try to lock D's neck in this 
position, he may forget himself and press forward. D can then throw 

him over his head by a sort of stomach-throw, and possibly come over 
himself as well into the straddle Position on top cf U. 

Defence.—U can put out an агт and prop himself He should be 
always ready to let go a neck-hold suddenly. 

Chance 3.—1f U tries to stand upright (perhaps with the intention 
of bumping D on the mats) D can let go, catch hold of both U's ankles, 
pull them towards him, and push at U's hips with both legs. U will go 
down on his back. 

If D pulls the ankles well in, he may secure a double leg-lock at once, 
or possibly come over into Standard Position I. But if U is active, he 
may escape altogether, and D will merely have lost his advantage. 

Defence.—U's best plan, after faling, is to break D's weak grip of 
his ankles, and to whip his legs up over himself out of harm's way. 

Now, Attack 1 will only succeed when U is very unwary. Attacks 2 
and 3 do not lead to 
much as a rule. D's 
serious attack is as 
follows: 

Attack д. —– For 
arm-lock or neck-lock 
D wants U's body 
to come ncarer. He 
therefore pushes away 
U's left knee with his 
right foot, so that 
U comes lower and 
perhaps even falls on 
the other knee. 

(a) First D tries 
the neck-lock, getting 
his hands deep in 
while he is pushing the leg away. With a purchase from his left leg on 
U's hip he can force U's body close to his own. U either gets necklocked or else pushes at the upper part of D's body. 

(^) If U pushes with an arm (suppose the right) at the upper part of 
D's body, or if he tries to neck-lock, then D has an opportunity for the 
one-leg arm-lock (see Arm-lock 4). Fig. 38 shows the opportunity. D 
pins the right wrist, swings his left leg over across U's throat or face, 
straightens his leg, and arches the back a little so that his hips come up 
against the elbow. 

Notice that this lock comes most easily when U's hand is well in at D's 
neck. In other cases D may nced to yank the arm forward by the sleeve. 

Defence. —U must leave the upper part of D's body alone. 

Attack 5.—We see that either (a) or (6) of the last section should prove 
effective. But D has another useful resource. 

When D has pushed U's left knee away, as in 4, he lets his right foot 
pass between U's legs and over U's left calf in order to keep that leg down. 

Fig. 37.—Standard Position IL, from which D should win. 

Then a push of the foot on U's right hip, helped by the natural pull and 
push of the arms, will send U over sideways and D may come over on 
top and gain Standard Position I. Fig. 38a shows another upset. 

Defence.—U is bound to go over, but he must try to seize the moment 
of falling to wriggle in a knee between himself and D. 

U's escape. We see that there is no effective defence against D's possible attacks, 
and no important 
counter-attack. U is 
in a thoroughly bad 
position, and his main 
thought must be to 
escape from it as 
quickly as possible. 
U must not be so 
foolish as to try to 
neck-lock D. He 

U mustnot would be pushed 

touch the 
"t part “way into the harmof D's body. less position of Fig. 

38, and would risk Fig. 38.—A fine opportunity for locking U's right arm, 
the one-leg arm-lock. 
He must at all costs remember to keep his hands from the upper part of 
D's body; he may push at D's stomach or hips, or, with more safety, 
at D's knees. He had better give all his attention to one of the following 
methods of escape. 

Escape 1.—U, by pressing hard and suddenly at D's knees, might 
break away D's grip of his jacket, and then be free to attack on level terms. 

Fig. 38a.— The Turn-over. From Standard Position II. D has passed one foot 
between U's legs. In the fig. D is hoisting U's left leg with the top of his 
instep, while he pushes down U's right knee. The natural push and pull of 
the arms helps to turn U over. 

He cannot do this if D has pushed his legs away in any case he exposes 

his neck. 
Escape 2.—U (тау push on D's knees, suddenly ease the pressure of 

D's feet by shrinking back with his hips, dash both of D's legs aside, 
and come into a hold-down position. 

Or, better: 

U may move his left leg back so that D's right foot slips down from 
the hip, then, dashing D's left leg away as in Fig. 39, he may come in 
to D's left side in a hold-down position. 

When D finds his legs thus dashed to the right, he may twist back 
on to his left side and whip over his right knee to fend off U. U may 
counter by pressing this knee down and jumping right over into a holddown on the other side. m 

If U can only dash away one of D's legs, he may still with luck 
manage to rol in round the other leg and secure a hold-down. 

AVote.—lt is understood that D keeps a grip of U's jacket in all these 
manceuvres. Otherwise U may tuck one of D's fect under his arm, step 
through, and secure a 
standing leg-lock (see 
Leg-lock 1). 

Escape 3.—U may 
get his arms betwcen 
and under D's legs, 
and drop his body 
between D's legs. 
There are three things 
he may then do. 

(a) He may clasp 

hands over D’s E id 
stomach (or grip D's Z J) 
belt as far in front Z, 

as possible) and hoist 
until D is stood on 
the back of his head. 
The weight of D's body drives his chin into his chest: a little additional 
pressure makes this a neck-lock. 

(^) He may turn D on his side, one leg in the air. By hoisting the 
lifted leg overhead with one arm he may break away D's hand-grip and 
can then slip up to D's side for a hold-down. 

(c) He may nuzzle his head under one of D's legs and wriggle through 
to the side, breaking away D's hand-grip as before. 

In all these cases U must tuck his head well down and be quick. U must be 

Otherwise D will snap his head into the leg-squeeze neck-lock (see pir Ay ale 
Neck-lock 5). 

Fig. 39.—U escaping from Standard Position IL, and dashing 
in for a Hold-down. 

Standard Position IIL, from which D should win. 

D has not only got his legs round U, but has also managed to clasp 
his feet together behind U (Fig. 40). This is a very fine position indeed. 
Read again what we have said about the Standard Position IL, and you 
will see that most of it holds good for this position with the difference 

that many things are now much easier for D and much harder for U. 
Notice that D does not have to push U's legs away, because he is already 
in a very good position for the main attacks against neck and arm while 
U can make but a poor defence, and his methods of escape from Standard 
Position II. are no longer possible. 

Escape 1—U might force D's legs apart by pressing out at the knees. 

Fig. 40.—Standard Position IlI.: D's legs clasped together round U. 

Escape 2.—U might manage to rise to his feet (lifting D with him), 
and then either force D's legs down or make D leave go by bumping 
him on the mats. j 

In cither of these escapes U must first expose his neck to a lock. 
D will try to finish the lock before his legs are pushed away; U will 
try to escape from the legs so that he can circle round and “unwind” 
the neck-hold before it is too late. 

A blow has been parried, the 
striking arm seized and twisted, 
and the man is being thrown 
by a Kick-back. 

THE HOLD-DOWN 

D is on the ground; U is holding him with little effort in such a way Whatisa 
that he cannot get UP or even change into a new position as long as о 005. 
is sufficiently on the alert. But D is not particularly uncomfortable, and 

is not obliged to surrender. This is therefore not a lock: it is a “holddown." 

The hold-down is useful for several reasons 

(1) It gives U a rest, while D may exhaust himself in struggling to 
escape. 

(2) U is free to move into other positions D is not. 

(3) U can wait till D, in struggling, exposes himself to a lock. 

(4) Sometimes а hold-down leads directly to some particular lock. 

A hold-down is most frequently used when U has just thrown D, or Opporhas got past D's leg defence and come in to his side. U must then have tunity. 
something he can do quickly before D’s legs whip round between them: 
he generally begins with the hold-down of Fig. 41. 

HOLD- 

First 

across D’s body (Fig. 41). 
(1) Left hand on the ground with arm hard against D's right hip. 
(2) Right hand on the mats above D’s shoulder, and forearm exerting 

a disconcerting pressure against D’s jaw (some people say the fingers 
should grip D's clothing). 
a aren 
0 chan 
his zi 

(3) Knees extended wide, one hard into the arm-pit, the other against 
the hip. (Notice that U's weight is not on D's body, but on his own 
hands and knees.) 

This is not in itself a secure hold-down. If D writhes his hips with 
persistent vigour, U's position will be disturbed. But U can at any 
moment fall from this into a new position, lying on his side with his 
weight оп D's body, one knee tucked up against D's body, the other leg 
straight out at right angles. 

Therc are a number of such useful positions, U using his arms in 
different ways and lying either on his right or left side. When D in his 
struggles gets near an escape, U must change from one of these positions 
to another, rolling from right to left or left to right as occasion requires, 
and throwing his weight now on D's hip, now on his shoulder. 

Fig. 42.— Second Position of Hold-down í. Notice the elbow is on the ground. 

A few such simple movements will keep under control the most frenzied 
efforts of D, but they must be well timed and well directed. Success, as 
always in Ju-jitsu, depends on quickness and judgment. U must also try 
to keep his body soft, to avoid being thrown over by D's strength. He’ 
must be a limp dragging deadweight at D's side. D may clasp his chest 
and give a tremendous heave; but if U's body comes limply the heave 
is all lost before it reaches his legs, and they do not fly over. Whereas 
if U had stiffened himself, D might have thrown him right over like a 
stick held at one end. Convince yourself by a trial. 

There is one more caution for U: let him keep one leg straight out 
and always at right angles to D's body. 

Here are the two principal variations of Hold-down 1 (Figs. 42 and 43). 
Remember that the details will vary according to what D does with his arms 
and hips. 

The Hold-down 53 

From the position of Fig. 41, U may turn on to his right side and lie as 

(1) Right thigh and knee hard against D's side (closer than in the figure). Second 

(2) Left leg stretched out at right angles to D's body (or a little round 
towards the head, as in Fig. 42). 

(3) Right elbow and forearm on the mats, hand gripping D's belt; or 
round D's right shoulder, gripping just below arm-pit, as in the figure. 

(4) Left hand gripping D's belt (or pressing on left hip). 

(5) Head well tucked in, so that D cannot press up the chin or snap 
the head away with his leg. 

(6) Weight against D's chest and chin. 

Or, again, from the position of Fig. 41 U may turn on to his left sidc 
and lie as in Fig. 43. 

Fig. 43.— Third Position of Hold-down 1. Notice the elbow is on the ground. 

(1) Left thigh and knee hard against D's side. Third 

(2) Right leg straight out. nds 

(3) Right hand gripping D's right coat-collar (possible one-handed 
neck-lock). 

(4) Left forearm flat on mats. 

(5) Head well tucked in. 

HOLD- 

Advan. 
tages. 

Defence. 

Fig. 44. — Hold-down 2. Three locks possible from this position. 

This is not a very secure hold if D is strong and U is light, but it 
gives particularly good chances for Z/ree locks. 

In the position of Fig. 44, notice that U can very easily get these 
from the position of Fig. 43 by shifting his whole body along towards 
D's head. I 

(1) U's left thigh is well under D's left upper arm—as much under 
the shoulder as possible; knee projecting above the shoulder. 

(2) Left arm round D's neck as far as possible. 

(3) Right hand holding D's jacket to prevent the shoulder from working 
away. 

If U can bring D's straight arm, palm up, down across his thigh, he 
can clap his right Zee/ over the wrist and secure Arm-lock 5. 

If D resists the straightening, U can suddenly give to the resistance 
and catch the arm for the Bent Arm-lock 6. This is not a very good 
lock. 

If D in struggling manages to throw his right leg round over U (in 
the hope of getting a purchase) U can hook the leg with his right arm, 
pass the hand on under to grip his own ZA, catch his left hand also 
on to his other thigh, and bend D round his back in the cradle-lock 
(see Neck-lock 6). 

D must struggle and wriggle with cautious energy. Perhaps he may 
be able to clasp his arms round U and hoist him over. 

The Hold-down 55 

HOLD- 

Fig. 45.—Hold-down 3. U’s head ought to be lower. 

This is very secure, and may sometimes amount to a lock. It might 
occasionally follow on from Hold-down 2. 

(1) Left arm round D's neck with elbow on ground. Аз in many 
positions on the ground, the elbow on the ground has a very important 
effect in making the balance secure. 

(2) Hands clasped and arms squeezing tight round D's neck and 
shoulder. 

(3) Head snuggled well down, pressing D's upper arm against his jaw. 

(4) Body out at right angles from D's body. 

(5) Legs somewhat spread. 

HOLD- 

Fig. 46.—Hold-down 4. U might clasp his hands together on D's chest. 

U secures this from behind D's head; the opportunity for securing it 
does not come very often. 

(1) Arms under D's arms and gripping his belt, or they might be 
clasped together on D's chest. 

(2) Legs well spread out. 

(3) Weight well down on D when he struggles. 

(4) Head well tucked down. 

When D puts his arms round U's neck—a very natural thing for him Advanto do—he exposes himself to a forced arm-lock (see Arm-lock 3). tage. 

Writhing 
exercise. 

Fig. 47.—Writhing exercise. Shoulders must be kept on the ground. 

It is so very important for the beginner to get his body-muscles into 
good working (order, fand to get in the habit of making proper use of 
them, that we will describe herc a writhing exercise that will help a 
good deal. 

X lies flat ‚оп his back, with his legs slightly bent at the knees. He 
then passes his right foot-overtso that it comes to the ground as far to 
the left as is convenient, {while both shoulders remain on the ground 

Next, without lifting the right leg, he draws the left leg sharply through 
under it. The moment the left leg has come through he throws it over 
(with a sharp screw of the hips) well to the right. It comes down in 
the same sort of position that the right leg had in Fig. 47. The moment 
the foot touches the mats the right leg is drawn through and thrown over, 
and so the exercise continues. The shoulders all this time are kept on 
the ground, апа ай the work of twitching the hips from side to side comes 
on the muscles of the lower part of the body. 

INTRODUCTION TO LOCKS 

IT has been already explained that a lock is the end of a Ju-jitsu contest 
a position for one man in which no course is open to him but surrender. 

The most useful locks are described below under the thrce headings of 
Neck-locks, Arm-locks, and Leg-locks, according to the part attacked. 

These locks must be practised by themselves as exercises—both to get 
case in using them in contest, and to get experience in the amount of 
strain which can be safely applied. 

This point requires a little care; some locks applied with a rough jerk 
might injure a limb before the signal of surrender could be made. 

(The signal of surrender is a double tap made with hand or foot on 
the mats or on the body of either combatant.) 

The locks that require care are the arm-locks; in all of them the 
pressure must be applied gradually. The preliminary movements may 
be done as rapidly as possible, but the bending of the forearm beyond 
its natural play must be done slowly and carefully. 

To snap back the arm with a jerk amounts to Foul Play. 

On the other hand, the man locked must also take a little trouble. General 
He must not resist the straightening of the arm to the last moment, because remarks. 
the power of resistance diminishes so rapidly, as the arm is straightened, Lege den 
that the arm will go suddenly with a jerk. Once the arm has begun to сж ix is 
give, he had better let it go easily, and try to escape by wriggling ө MON. 
his body. 

Again, when he has once been thoroughly convinced by experience that 
he cannot long resist the pressure, there is no use in holding out to the 
last moment on every subsequent occasion; he will soon learn to recognise 
when the lock is properly applied, and should then tap the mats at once. 

These cautions are particularly to be remembered in arm-locks. 

In neck-locks there is no danger; and it is often necessary that the 
actual pressure should be sharply applied; but violence is unnecessary. 

In general, if pupils will go slowly at first, try the locks carefully a few 
times, and afterwards use common sense, there is little danger of accident 
of any kind. 

If a hard knob is pressed into the side of a man's neck directly below 
the ear, it causes no acute discomfort; but a feeling of helplessness comes 
over his mind, which ends in unconsciousness, if the pressure be continued. 

Again, if a hard edge be pressed against the front of the throat— 
against the Adam's apple—it causes a choking feeling with rather acute 
discomfort, which will also end in unconsciousness. The aim of a necklock is to exert one of these two pressures. Since neither of them is 
MM instantaneously effective, the man must be prevented from changing his 
foralock. position, so as to cscape the pressure; there are, therefore, two things to 

do—one to get a secure hold, the other to exert an effective pressure. 
In accordance with the general principles of Ju-jitsu, ways of doing both 
these things must be found which do not require the exertion of any 
great strength. 
We will describe six of the most useful methods of neck-lock. For 
convenience, we will call the man who locks, the Victor, V, and the man 
VandL. who is locked, the Loser, L. 

NECK- Fig. 48 shows a common application of the lock. 

it er s: V is in the straddle position (Fig. 35) on top of L With arms crossed, 
рот he takes hold of 
neck-lock. 

L's collar as deep 
as possible, almost at the back 
of the neck the 
hands should be 
not more than 
four inches apart, 
palms cutwards. 

He pulls on 

Hold as З I 
deep as his hands, forcing 
possible, the elbows out 

until the forearms almost come 
Fig. 48.—Double-handed Neck-lock. into line; to do 
this, his body 
must .come down with all its weight till it is close to L’s, breast to 
breast. 
At the ‘same time, he turns his palms upwards with a screw of each 
forearm so as to drive the bony {edges on the thumb-side of the forearm 

Pressure (Particularly the knob at the wrist) into the sides of L's neck. L cannot 

againstside move or twist to escape the pressure because he is held between V's legs. 

of neck. This, then, is a lock. 

The theory. V used no great strength. By getting his hands in deep, he was able 
to use the forearms as levers (as a nut-cracker would act if its handles 
could cross) merely by letting his body-weight force down the elbows. It 
is necessary, therefore, that V should be able to move his body down 
close to L's, chest to chest. If anything stops that, the lock cannot be 
made. 

These are the essential points 

(1) Hands deep. 

(2) Thumb-sides of arms against L's neck. 

(3) Bodies together, breast to breast, at the finish. 

(4) L's body unable to move without taking V's with it, still breast to 
breast. 

There are other positions besides “the straddle” in which these points General 
can be observed, and the lock consequently obtained. For example, V remarks. 
may be underneath in Standard Position II. or III. 

In practice, V gets hold with one hand first, say, the right. It is 
generally possible to get this in very deep. Then he passes the left 
hand under the right arm, and tries to work that in also. He may not 
get it in as deep as he would like, but the extra depth of the other hand 
may make up for this, and the lock, if not so neat, be fairly effective. 

(Notice that one hand, in this case the right, may be described as 
nearest to L's chin; we shall want to speak of it presently.) 

According to the exactness with which the above conditions are satisfied, 
the lock will vary from one that produces almost instant surrender to 
one that a strong-necked man can endure for any time without great 
discomfort—one which is therefore no lock at all L. must be careful, 
then, not to be bluffed into surrender. 

L may make direct opposition to the neck-lock in several ways. He Defence 
may try to stop V from getting a hold or from getting his elbows down to against. 
the lock (1) by holding his own chin, (2) by pushing away V's hands, or 
(3) by pushing upon V's elbows. Nothing of this sort is of. much use 
it only serves for a time. Of course, L must not push at the upper part 
of V's body, because that exposes him to an arm-lock (see Arm-lock 2). 

There is only one sound defence for L. 

He must free his body from V's hold, seizing the moment when both 
of V's hands are busy getting a deep hold on his collar. The most useful 
methods of doing this are shown in the escapes from Standard Position I. 

Suppose now that L has freed his body from V’s legs, but is still 
held in the neck-lock grip by V’s crossed arms. He cannot push V away 
without risk of an arm-lock. He must make V uncross his arms; he 
must “unwind” the neck-lock by circling round V’s shoulders with his 
body and legs. I 

If he circles one way, he loosens V's grip if he circles the other way 
he tightens it; and in a contest he has no time for mistakes He must 
therefore find out by practice which way he should move. 

This rule may help him. If V's right hand is nearest his chin, he must Unwinding 
circle to his right if V's left hand is nearest, he must circle to his left, үне necks 
until the pressure is released. 

This generally means half a circle. 

When V straddles L in the position of Fig. 36, the lock may be con- Special 
veniently varied in this way. стве, 

У gets his right hand іп deeper than usual оп account of his position 
he inserts his left as before under the right, but is content to get hold 
of the front of L’s collar. 

Not much 

NECK- 
LOCK 2. 
Singlehanded 

neck-lock. 

Description. 

Theory. 

Jaw-screw. 

NECK- 
LOCK 3. 

V puts on the lock as before; but it is now practically a singlehanded lock. The pressure comes from the edge of the right arm across 
the front of the neck; V only pulls with the left arm to get a purchase 
off it. 

V may be upset at any moment, and as he can obtain the necessary 
pressure for this form of the lock only when he is above L, it is therefore 
much less useful than the general form of the lock. 

When L is on his back and V over him in the straddle position, L’s 
neck can be locked with one arm. 

Fig. 49 shows the method of the lock. 

V puts his right hand in deep as before, and with his left pins L’s right 
arm out on the mats, He brings the bony edge of his right forearm across 
the throat, and bears down with his wcight on it. He pushes with his left 
arm off L's wrist, so as to bring the weight of his body fairly above his 
rightelbow. At 
the end of the 
lock V is more 
forward, more to 
his right, and 
closer to L than 
is shown in the 
figure. 

Notice that 
the pressure falls 
on the front of 
the throat, the 
Adam's apple, 
and is acutely 

Fig. 49.—Single-handed Neck-lock. L is prevented from turning by the uncomfortable 
purchase on his arm. with choking 
sensation. 

A very small twist of L's body would take the strain off a one-handed 
ncck-lock therefore L's body must be securely held down. In the twohanded lock simple twisting of the body does not loosen the lock. It 
makes one hand tighter as it loosens the other. 

This position with one arm pinned out on the mats is the only one 
which holds L rigidly enough for the single-handed lock to be effective. 
At the same time, the thrust off the wrist is of great value in increasing 
the pressure which it is possible with one arm to bring on the throat. 

Notice that sometimes when L has left no gap at his throat for the 
insertion of the forearm edge V may compel surrender by screwing over 
L's jaw. 

This lock is so easy and effective that any man who turns his back 
to the enemy in Ju-jitsu may almost consider himself beaten. 
In this lock the bony edge of the forearm is pressed firmly against 

the throat, while L's head is driven forward over it by pressure from The neckbehind. MX trom 
behind. 

As in the last lock, а twist of the body would release the pressure, 
and it is therefore cssential that L should be held so that he cannot turn 
out of the lock. 

Ву using different forms of this lock, it can be applied to L in a 
number of positions—standing, sitting, kneeling, flat on his face, or lying 
on his back with V zzder him; the only condition is that he should have 
his back turned to V. 

The most complete form of the lock is shown in Fig. 50. V has his Standard 
right arm round L's neck, gripping the collar as far round as possible, method. 
the bony edge of the forearm against L's throat. He passes his left arm 
under L's left and brings the forearm 
over so that the palm of the hand 
rests on the back of L's head. A 
firm contraction of the right arm and 
a pressure on the back of the head 
with the left drives in the forearm 
edge and closes L's throat. 

The position of V's left arm keeps 
L exactly in his place; he cannot 
turn without taking V along with 
him. It is not, however, possible, as 
a rule, for V to get his left arm into 
that position. 

(a) V puts his left hand over L's 
left shoulder and grasps his own 
right hand (in the usual cup-and-ball 
manner) Не does not now need a 
collar-hold. A contraction of the 
arms will drive the right forearm into 
L's throat if the back of the head 
is pushed forward with the right Fig. 50.—Neck-lock from behind: ideal way. 
shoulder. In order to do this, V 
must be able to get his shoulder on a level with L's head. This position 
gives a fairly firm hold of L, but not so firm as the standard one. It has 
this advantage, that no hold of the collar is required. 

(^) The method commonly employed is that of Fig. 51. Here the 
hold is given by the legs; V has them linked round L. The collar-hold 
and the right arm are exactly as in the standard method the left hand 
is pushed directly against the back of L's head. In this position the left 
hand may be pushed away by L; V may avoid this by using the elbow 
of his bent arm instead of the hand. 

Why V 
cannot 
escape. 

Other 
methods. 

This Lock is shown in Fig. 52. NECK- 
V has his right fist clenched in the hollow of his left hand (cup-and-ball LOCK 4. 
 hold, shown clearly in Fig. 57), and the bony edge of his arm against L's Chancery 

NECK- 
LOCK 5. 
The legsqueeze. 

throat V makes sure that his hands are firmly joined, forces back his 
right shoulder, and arches his back strongly. The forearm comes against 
the front of L's throat as in Neck-lock 3. (V is not likely to be allowed 
to pass his arm round L's neck: he should try rather to raise his elbow 

Fig. 51.—Neck-lock from behind: usual way. 

and to let L's head slip under it.) If L's body can follow his head freely 
as V arches his back, the lock will fail. Therefore, for an effective lock, 
V must keep L's body down; that is, in general, he müst have his legs 
linked round L. 

Fig. 52.—Chancery Neck-lock. Action on the neck just the same as in the 
Neck-lock from behind. 

If V can get his legs linked round L's neck, he has L in a very awkward 
position (Fig. 53). The hard bones of V's knees press into L's neck. By 
straightening the legs V can make the pressure very severe. It is not 
easy to direct the pressure to particular points of L's neck, but wherever 
it comes, it is effective enough to produce a lock. The expert is perhaps 
inclined to regard it as a little crude, but its effectiveness is certain; the 

beginner should get a good deal of pleasure and profit from its use (on 
another). Ty 

The opportunities for it are too varied for detailed mention. Whenever Oppor- 
L's head sticks out with a clear neck thcre is an г Opportunity. mhe Mies 

Fig. 53.—The Leg-squeeze. У will leave go of the jacket and straighten his back 
when giving the final squeeze. 

defence for L is simply to cultivate the habit of keeping his head tucked 
in, when he is within reach of V's legs. 

From Hold-down 2 or 
from a failure to secure the 
thigh-and-foot arm-lock, V 
may have a chance of 
getting the — cradle-lock 

NECK- 
LOCK 6. 
'The cradle. 

His ieft arm is round 
L's neck: he must catch 
hold of his own left thigh. 
Then, at a moment when 
L, in struggling to escape, 
brings his left leg near to 
him, V must tuck it under 
his right arm, and pass his 6 
right hand оп to grip his Fig. 54.—The Cradle. V puts on the strain by closing his legs. 
own right thigh. 

Now V begins to bring his knees together, and L gets stretched round 
his back until the strain on the neck compels surrender. 

It is guite useless to try to do this lock by the strength of the arms. Fault. 
The hands must hold the thighs, and it is the strength of these latter that 
stretches L round. 

LEG-LOCKS 

LEG- THE attack is directed against the very tender spot at the base of the calf. 
коок; When L is on his back keeping off V by his leg defence, V may find 
Standing an opportunity to seize L's left leg, and to tuck it under his right arm, 
leg-lock. with the bony edge 
of the forearm 
against the base of 
the calf. Before 
L can thrust him 
away with the 
other leg, V must 
step through between L's legs, 
bringing his left 
foot over to L's 
left side (and so 
turning his back to 
the battering of 
L's free leg). Now 
V may place his 
other hand on the 
captured leg, clasp 
his right hand on 
to his own arm, 
arch his back, and 
so drive his forearm into the base 
of L's calf. This 
will cause instant 
surrender. Fig. 55 
shows the position 
before V has begun 
to arch his back. 

If V had found 
it more convenient to tuck the leg under his left arm, he might have 
stepped over into the position of Fig. 56. Should L escape the lock in 
this position by turning over on his face, V should still keep bis grip on 
the leg, and secure the lock in the new- position. 
Fig. 55.— Standing Leg-lock. Pressure against the base of the calf— 

a very tender spot. 
Another 

way. 

Leg-locks 65 

V finds it convenient to catch L's left leg under his left arm and to LEG- 

lie down to the lock. LOCK 2. 
He has passed the edge of his arm round under the base of L's calf, First 
movement. 

Fig. 56.— Another position for the Standing Leg-lock. 

brought it up tight and caught the ball of his fist in the cup of his 
 right hand. 

Fig. 57. —The Leg-lock lying down. Notice that L is held down by V's legs. 

He now sinks down with left knee well bent (so that his body comes Second 
close to the heel) and while doing this throws his right leg over L’s movement. 
thigh. The moment his body réaches the ground he throws his left leg 
Paralysing 
the leg. 

LEG- 
LOCK 3. 
The splits. 

over to clasp the right; then arches his back and compels surrender. 
L cannot bring his body up to relieve the pressure on the tender spot 
because V's legs keep him down. 

If V wants to be nasty he can saw at the tender spot of L's leg with 
the edge of the forearm. L will find walking rather difficult for some 
hours after. 

(r) Beginners clasp the leg too high up or too low down. It must 
be clasped just at the base of the calf. 

(2) Beginners arch back without first getting a tight clasp of the leg; 
and their arm-edge slips away from the tender spot. 

(3) Beginners forget to keep the edge of the arm against the leg. 
They press with the flat of the arm. 

(4) Beginners do not get the proper cup-and-ball clasp of the hands. 
This clasp helps to give the right action on the leg. 

When V is in the straddle position on top of L it may happen that 
L allows his legs to remain idle for a moment with the knees bent close 
behind V's back. V by a pretended attack on the neck may keep L's 

Fig. 58.—The Splits. 

attention occupied while his legs twine themselves into L's legs. Then by 
pitching his body well forward and straightening his legs he can spread 
L's knees apart until the strain on the hip-joints compels surrender. 

THE object of attack is the elbow-joint. The human forearm cannot move 
freely in every direction about the elbow-joint. When pressure is put on 
the forearm to bend it out of its usual course, the elbow feels it acutely. 

When V is in such a position that he can increase the pressure, if Definition. 
necessary, to breaking-point, without L being able to move, then we say 
that L’s arm is locked. The elbow-joint is particularly sensitive, and a 
very slight pressure applied with discretion soon becomes unbearable to 
L; while a sharper pressure will affect L almost instantaneously. 

In the principal arm-locks L’s upper arm is held firmly in position while 
the lower arm is being bent back beyond the straight. At the same time 
L’s body is prevented from turning to ease the strain. 

This lock is shown in four movements in Figs. 59-62. ARM- 

If L while falling keeps hold of V’s jacket with his left hand too long, LOCK 1. 
V may seize the sleeve, pull L’s arm well up to him, and, as he pulls, taney. 
advance his left foot close in to L’s armpit (Fig. 59). 

V now falls back—his weight pulling always on the sleeve—clasps 
L’s wrist and (in the very act of falling) swings his right leg round 
‘over L's head. V is careful to bend his knee sharply in falling, so that ы 
his body reaches the mats right ир against his left heel. His right leg 
at that moment has settled itself down across L's throat, and his legs 
squeeze L's arm between them. V is then lying at right angles to L's 
body (Figs. бї and 62). V seeks to turn L’s wrist so that the thumb 
comes uppermost. He then presses the arm gently down, arches his back 
gradually, and so gains the power of curving L's arm a good deal beyond 
the straight. V must be very careful not to do this with a jerk and he 
must be on the look-out for L's surrender. 

The lock may be effective without keeping exactly to some of these Pressure in 
details. V's body may not be exactly at right angles to L's: it may slope direction 

a little either way. But this gives L a better chance to wriggle out in the thumb. 
time. Again, L's hand may not be turned thumb-up, but, if it is not, V 
can mercly put on the pressure in the direction away from the thumb. 

One thing is absolutely essential—L’s arm must come well through 
between V's thighs. Therefore V's body must lie as near L's shoulder 
as possible. 

This is difficult for a long-legged Englishman; his knee-joint is apt 
Fig. 59 —V has caught the arm while L was falling. Fig. 60.—In reality V's leg would not have 

swung round until he had fallen nearly 
to the ground. 

Fig. 61.—V at the moment he reaches the ground. He does not pause 
in this position, but falls back at once. 

 А 

Fig. 62.—V about to arch his back and strain the elbow-joint. 

to be stiff and difficult to bend enough. He should help himself by getting 
his left foot well in, the toe under L's shoulder-blade and by a good pull 
on L's sleeve force the knee to bend sharply and keep his body from 
falling away from L's side. There must be no gap. 

Remember, then, these points 

(1) Bring the body down against your own heel at Ls side: pulling 
in on the sleeve if necessary. 

(2) Press the left leg against L's arm so as to nip it tight. 

(3) Press with the left hand in the direction away from the thumb. 

(4) Arch your back so that your weight comes partly on L's throat 
for the final lock. 

L may escape when the lock is not done thoroughly. Escape. 

(1) If V's thighs do not pinch tightly, L may jerk his elbow-joint 
through. 

(2) If V's right leg does not hold him down well, he may throw it off 
or turn over. 

(3) L should always be ready to roll quickly towards V the moment 
he suspects the lock is coming; and thus to withdraw his elbow from 
danger. 

This arm-lock is more generally useful than the last and easier to do ARMcorrectly. The final position is shown in Fig. 63, which gives the lock BARON Sa 
for L's right arm. The lock is exactly the same as Arm-lock 1 except 
for this: 

That the leg which was before bent at the knee is now straight out 
across L's body and clasped to the other leg. 

Fig. 63.—V can let go the jacket and use both hands at L’s wrist. Sometimes V will 
clasp the wrist with his arm instead of gripping it. 

In this position V's legs can clasp the arm near the shoulder so that 
the elbow-joint comes well through; V's body can come well up against 
L; and when V straightens his clasped legs a little, the arm is very 
tightly nipped. 

With the thumb up (or failing that, in the direction away from the 

thumb), pressure may be applied by arching the back slowly and carefully 
as before. 

Preparation. 

Movement. 

7o The Game of Ju-iitsu 

Various chances for this lock occur in ground-work. The lock comes 
best when L's arm is straight, but this is not absolutely necessary. It 
may be enough if L's upper arm is well away from his body, particularly 
if he is pushing with it so that it tends to straighten out when the resistance 
is removed. 

A favourite position for trying this lock is from the straddle position 
on page 44. 

V is in the modified straddle position of Fig. 64, or he comes to it 
from the standard straddle. L's right arm is pushing at V's throat. 

V works his left knee forward close under L's shoulder; his thigh then 
keeps L's upper arm out from the body. 

V suddenly brings his right foot nearer to L and throws his weight 
over on to it. His left leg can then lift from the ground (thigh coming 
against L's upper arm) and circle round over L's head (keeping always a 
pressure оп 1/5 upper arm), 
as, with a push off the right 
leg, he returns his weight to 
the left and falls round at 
right angles to L into the 
position of Fig. 63. 

During the swing round V 
has pinned L's wrist, either 
gripping it with his left hand 
or hugging it with his left 
arm. 

At the moment he reaches 
the position of Fig. 63 V 
clasps his feet together; by 
straightening the legs he gets 
a very tight grip on L's arm. 
He can now, almost at leisure, 
press down L's arm in the direction opposite to the thumb, arch his back, 
and compel surrender. 

This rather complicated movement is made in one piece, and in a very 
short interval of time. It is so important that it should be treated as 
an exercise and practised repeatedly until it can be done rapidly and 
effectively. Make a dummy figure with an arm to practise upon if your 
friends are unwilling. Notice that this arm-lock may be brought off from 
Hold-down 4, although if L keeps his hands clasped together it becomes 
the forced arm-lock (3). 

(1) The leg has to be swung round while the body is let fall backwards, 
and beginners find it hard to do the two things together. They are not 
able to swing the leg round in one sweep because their balance is bad, and 
so they change the swing round into two awkward steps, the first of which 
gives warning to the man attacked. 

(2) Then, when they can swing the leg right round, beginners allow both 
legs to come up in the air at the finish of the sweep round, and so fail 

Fig. 64.—An opportunity for Arm-lock 2. 

to grip the opponent's arm near enough to the shoulder. The important 
thing in arm-locks is to get the elbow-joint well through. 

ARM- 
LOCK 3. 

The forced 
arm-lock. 

When L tries to prevent 
an arm-lock by clasping 
his hands together, the lock 
can be forced in this way. 

V brings his legs round 
as before, one on cach side 
of L's right arm. Аз in 
Fig. 65, he passes an arm 
through L’s bent elbow and 
takes the ball of his fist in 
the cup of his other hand. 
He leans back with all his 
weight—driving the bony 
edge of his forearm into 
L's biceps or into L's bent 
wrist, as the case may be. 
He gets a purchase by 
placing a foot on L’s left 
upper arm and pushing 
with the leg. 

It is impossible for L 
to resist this for very long 
the dead weight of V's 
body and the easy thrust 
with the leg soon tire out 
1/5 fingers. L's hands Fig. 65.— The Forced Arm-lock. 
come apart; V falls back 
on the mats, shifting his right hand to L's wrist and his left either to 
wrist or sleeve. -V’s body is already well up against L: he has only to 
link his legs and finish 
the lock. 

A fine chance for Oppor 
forcing an arm-lock comes tunity. 
when V is in the straddle 
position, if L rolls on one 
side. There is then more 
weight behind V's fall, and 
a better purchase for V's 
leg-thrust on theupper arm. 

Fig. 66.— Opportunity for V to catch L's right arm in a 
One-leg Arm-lock. 

The previous locks re- ARM- 

quire that L shall be lying mE "x 

on his back the present one meets the occasion when L is facing downwards. arm-lock. 
He may be up on his hands and knees, or even half on his feet and over 

Оррог- 

Movement. 

72 The Game of Ju-iitsu 

V, when the lock is put on him. Evidently then, this lock covers a quite 
new field of possible positions. 

The conditions for the lock will be seen by considering an important 
example. 

V is on his back in Standard Position II. with his feet on L's hips; 
L is either feeling for a neck-hold with his right hand or pushing at V's 
throat. V brings L's body lower, as in position (6), Attack 4, page 47, 
and proceeds to the attack. 

First he pins L's right wrist (either by a grip or by hugging it with 
his arm), hitches his hips to the left, lifts his left leg over L's head, and 
brings it across L's right arm and back against L's throat or face. Then 
turning on to his right hip he straightens the leg, arching his back at the 
same time. L collapses lower, and his arm is locked (Fig. 67). 

Notice that this is the same bend-back motion of the elbow-joint that 
is used in the first three arm-locks here the straightening of the leg and 

Fig. 67.—The One-leg Arm-lock. 

the consequent forward thrust of the hip as the back is arched stretches 
the imprisoned arm at the elbow. 

V must be careful to hold L's hand high up on his chest. If it slips 
down, it may sometimes be pulled up again by the wrist and sleeve before 
the leg is thrown across. Otherwise the lock is apt to fail. 

V must, then, remember 

(1) To keep L's wrist high up on his chest. 

(2) To hitch his hips strongly to the left. 

(3) To straighten his leg and arch his back for the final lock. 

Here is an interesting example of this lock. 

An ordinary wrestler often gets in the position of Fig. 68 to avoid 
being turned on his back. Besides the neck-lock he is then exposed to 
a onc-leg arm-lock. 

For this V slides down to the ground on to his shoulder. While falling 
thus, he curls his right arm under L's forearm. As his shoulder meets 
the ground, he hugs the forearm to his chest, throws his left leg over the 
arm, and (Fig. 69) brings it back against L's face in the manner already 
described. 

V may find it necessary to drop L nearer to the ground by pushing 

m 

away L's left arm with the unemployed foot. And also he may sometimes 
have to pull the arm to 
him by the sleeve. 

In general we may 
say that whenever V 
sees a straight arm he 
should try to lock it, if 
he has a leg free to be 
thrown across L's face. 
The success of the lock 
depends usually on the 
active hitching sideways 
of the hips that gives the 
body the right position. 

ARM- 
LOCK 5. 
Thigh-andfoot armlock. 

In this lock L’s arm 
is not brought up to V’s 
body, as in all the preceding arm-locks. It is 
caught over the thigh 
and under the foot, and 
is possible from only one 
particular position—that 
of Fig. 70. The position 
for it is described as 
Hold-down 2,which may 
be reached without difficulty from Hold-down 1. 

In Fig. 71 V is lying across L with his left thigh pressed close up under 
L’s shoulder and his right 
leg nearly straight out. 
V has managed to catch 
L’s wrist with his right 
hand, and to straighten 
out the arm over his 
thigh. By slipping his 
left foot over the wrist he 
securely holds the arm 
down. V then lays his 
right leg on top of his 
right (as in Fig. 72), draws 

Fig. 68.—A wrestling position that gives an opportunity for 
the One-leg Arm-lock. 

Fig. 69.—V can lower L's body by shoving away the supporting 
arm. In finishing the lock, V straightens his left leg and 
arches his back. à both legs (and L's arm 

with them) somewhat 
backwards, and hoists a little with his left thigh. This makes the lock, 
It is often not necessary to use the second leg. 
The important thing in this lock is the position of V's left thigh. It Remarks. 

74 The Game of Ju-iitsu 

must be well under the shoulder, the knee projecting beyond the shoulder. 
Fig. 71 shows the correct position of the thigh. L’s arm must be 
brought across the thigh, well up near the hips, not near the knee. The 
arm is thus well raised in the air and prevented from sliding sideways 

Fig. 70.—Opportunity for Thigh-and-foot Arm-lock. 

when V draws it with his legs. It can be easily strained to breaking-point 
provided L's body be kept down. Therefore V must be careful to let 
plenty of weight rest on L's body. 

This lock depends on getting L's arm out straight. There is a good 

Fig. 71.—Thigh-and-foot Arm-lock; one way. V raises his left thigh to strain 
the arm, 

chance of doing so, because L is afraid of keeping his arm too much bent 
on account of Arm-lock 6, the bent arm-lock that we shall now consider. 

L must be lying on his back. 
ARM- А Е 
LOCK 6. There are several opportunities for this lock. For example, V may 

“I 
on 

The bent 
arm-lock. 

secure it from Holddown I. Fig. 73 shows 
how he seizes L’s left 
wrist, palm upwards, 
with his left hand at a 
moment when L is bending the arm. He then 
slips his right hand 
under L’s upper arm 
and clasps his own left 
wrist. 

Now V levers up with his right arm, pressing against L's upper arm 
from the purchase on his own left wrist. His left arm is pressing L's 
wrist towards the ground, and the effect of the right-arm leverage is to 
draw L's wrist round under the shoulder. This is the lock. 

The same lock may be done from the straddle position. V passes his 
left arm under L's neck, and clasps the wrist as before. This is not 
much good. 

Note.—It is important that V should turn the palm upwards when he 
first seizes the wrist. 

Fig. 72. —Thigh-and-foot Arm-lock, V draws his legs back for 
the final strain. 

Fig. 73.— The Bent Arm-lock. Notice that L's palm must be 
turned upwards, 

HIP- 

ADVANCED THROWS 

X throws you. 

You were coming forward. X stepped his right foot (toe out) as near 
as possible right in front of you; at the same time he began to slip 
his arm round your waist (Fig. 74) His arm came well round your 
waist as he brought forward his left foot, followed by the whole left 
side of his body. So, bringing forward his left side, he passed «it 
through between his right leg (knee well bent) and your body (see 
Fig. 75), pivoting with his weight on’ the toes of the right foot, until 
his left foot came to the ground near his right, and both feet were 
pointing straight away from you. His right hip was then right under 
you: his knees were well bent, as in Fig. 76. All this while he 
kept a firm pull on your left sleeve. Now straightening from the knees, 
he hoisted you in the air and let the sleeve-pull tilt you over his back 
to the floor (Fig. 77). 

When you try, your action is faulty. 

(1) Your arm goes too high on his back. 1% goes in easier thus, but is 
no use for hoisting X's body in the latter part of the throw. 

(2) You do not get close enough under X. There must be no 
gap between your bodies, or else X will merely slip down when you 
hoist. 

(3) You must not plant your feet apart, because then you cannot twist 
the hips well. 

(4) Even when your feet are near one another, you do not twist 
your hips through enough, and so your back is not well under Х. 

 

It is necessary 

(1) To step in with toes pointing out, ready to pivot; weight on 
the toes. 

(2) To place the feet close together; they must point, at the end, 
straight away from X. 

(3) To keep well sunk down on bent knees until the final hoist. 

(4) To thrust the hips well through. 
Fig. 75.—This is really а picture for 
another kind of throw; but it 

shows very well how X passes 
Fig. 74.—Stepping in for Hip-throw. his hip through. 

Fig. 76.—X has his body well under you. Fig. 77.—You fall over X's back 
when he straightens his legs. 
SIDE- 

Х throws you. 

X had been pulling you to his left. Then he suddenly began pulling 
you to his right and you planted your left foot rather firmly to resist 
this side-pull (Fig. 78). Immediately he put his left foot across in front 
of yours, twisted himself so as to face to your left (Fig. 79), and got a 
more forward downward pull on you in a direction in which you were 
not braced to resist (you had braced yourself against the original pull). 
So your body came down and forward a little and your leg tilted up 

Fig. 78.—Opportunity for Side-throw, Fig. 79.— First move for Side-throw. 

(Fig. 80) and X threw you over his leg by an easy screw of his 
shoulders. 

(1) You try from too far away. Your own pull bends you backwards 
into a very awkward position, and, besides, X has plenty of room to step 
over your leg. à 

(2) You get in the same awkward position because your left arm remained stiff with the elbow up, and of itself kept your body from coming 
close to X. 

(3) Your position for the throw is too much in front of X. You 
should be more off to his side. X must trip over your lower leg; if 
you try to throw him over your hip, he will not upset over so high an 
obstacle. 

Advanced Throws 79 

(4) Your right knee remains turned in, and therefore you could not give 
the final screw with the body. 

Remember, then: 

(1) As your body approaches X for the throw, your left elbow 

must come right in to your side and the palm of the hand must turn 
upwards. 

(2) Weight must remain well over your right foot, and right knee must 
be well bent. 

(3) Right foot must point well out, and so must the knee in order to 
allow the body to screw at the end of the throw. 

Fig. 80.—X ought not to be leaning forward like this. Не could not 
keep steady for the photograph in the proper position. 

(4) Left leg must be kept straight. 

(5) Body must be kept straight. It must not lean forward, as in 
Fig. 80. (The man is leaning forward in that picture because he couldn't 

manage to keep his balance otherwise while the photographer was 
messing about.) 

This is a fascinating throw, but horribly hard to do in the hurry 

of contest, unless (by some happy accident) you get the time just 
right. 

INSIDE X throws you, as in Figs. 81 and 82. 

Fere; X was pulling you forward and you came rather too close to him 
Oppor- letting your weight come rather heavily on your left foot by way of 
tunity. bracing yourself against his pull. Just as your foot touched the ground 

X gave a sort of kick-and-lift blow behind your knee (Fig. 81) that for 

Fig. 81.— The Kick-back from inside. Fig. 82.—X hoisting your leg and pushing 
over your body. 

a moment weakened the leg and then drove it forward into the air. 
Your weight kept on coming on to the hoisted leg, you wanted to bring 
it down—making a long stride; but X (getting some purchase from his 
blow on your leg) pushed your shoulders back with all his weight (Fig. 81), 
and you collapsed over your supporting knee, and fell. 
Does not It is very seldom that a proper opportunity for this throw will occur. 
URRAIS. You will often try the kick-and-lift blow, only to find that X had not 
really got his weight on the leg you kick, and that he easily lifts his 
leg back. 
Then, again, you will often try too late, when X has already got his 
foot solidly planted on the floor, and the leg refuses to be kicked up. 

APPARATUS 

IN theory there is no limit to a Ju-jitsu ring; a contest might be fought Space 
out all over a ten-acre field with good results, and the field necd not of fequi. 
necessity be flat. For practical purposes a contest has generally to be 
confined to smaller spaces; and for ordinary Ju-jitsu the space should be 
level. Hillside Ju-jitsu would need separate study. 

Choose a space as large as possible; it is better not to have to 
make use of the walls. Confined-space Ju-jitsu is again a special art. 

For a satisfactory Ju-jitsu contest a space twenty feet square is requircd. 
With good will, a fair game may be had in a space fifteen fect square 
and much ground-work can be done in a room of half that size. 

There is considerable saving in the amount of space required when Space. 
several couples are practising together. It is only occasionally that a 
couple wants much room. Thus, while one couple wants twenty feet square, 
two couples could do almost as well in the same space; for four couples 
or more, about 160 square feet of space per couple is enough. Each couple 
does not keep to its own little plot, but moves about frcely as thc contest 
requires, avoiding collision with the other couples just as it would avoid 
a pillar or wall. To make the most of the space in this way, there should 
always be some couples at ground-work, to give as much freedom as possible 
to those standing. 

Тһе ground-surface should be smooth, firm, and not too hard. The Mats. 
proper Ju-jitsu mats are about 23 inches thick of platted straw covered 
with matting, hard of surface, but springy. These mats are 6 feet by 3 feet, 
and are simply laid down side by side. Their weight keeps them in place. 

At present they have to be imported from Japan and are expensive, costing 
145. each, landed in London. A space 18 fect square would cost £13 
to furnish in this way. j 

Mats can be made in England of canvas stuffed with coco-nut fibre, 
which serve very well. They should be bigger than the Japanese mats, 
that there may be fewer joints. They must be quilted, to keep the edges 
full and square. They аге softer than the Japanese mats—too soft and 
slow—and they get out of order. They are also expensive, costing from 
Is. to Is. 4d. per square foot. 

We have known Ju-jitsu practised in a back yard on ordinary straw 
palliasses. If the game be played out of doors, nothing is better than 

Clothes. 

thick turf, clear of stones. Canvas or a carpet may be spread over the 
grass to save wear, 

A sandy beach will do very fairly, though it is not perfect. Sand is 
rather dead there is no spring off it. 

Taking thick grass turf as a standard, some tolerable makeshift can 
generally be devised for indoor work, and it is not necessary that everything should be perfect. There is as much fun in village cricket as in a 
match at Lord's. And Ju-jitsu, by its nature, should be adaptable to all 
circumstances. 

The simple carpeted floor may be used by those with some skill in 
falling, but it is rather hard for the beginner. Very little is wanted to 
moderate the hardness—some thicknesses of matting, old blankets, straw, 
etc.--using always a canvas or carpet over all to give a smooth surface. 

Fig. 83.— A Ju-jitsu jacket. 

We know of a very successful practice-room where an old carpet has been 
strained taut by ropes going to rings inserted in the wainscoting, and pads 
of cheap sea-grass (varécgue) laid beneath. 

The ordinary Ju-jitsu apparel consists of a pair of light shorts (no 
buckles), a light under-vest, or zephyr, and a jacket. The jacket, which 
alone calls for notice, is made with short sleeves and a padded collar. 
(Ihe padding makes it more pleasant to grip.) Fig. 83 will make its 
construction clear enough. 

A jacket should cost, at any tailor's, about 125. 

The game is usually played with bare feet, or an ordinary sock may 
be worn; or, better, if covering is really wanted on the feet, a sock made 
of some soft leather like a glove—a deerskin moccasin is excellent. 

Footwear is only advisable when the surface is not perfectly smooth, 

Apparatus 83 

and the toes liable to catch in the mats. The material must be decently 
smooth and soft, or the legs of the other man will suffer. 

The jacket should be of the very strongest Irish linen duck, cut to thc The jacket. 
shape of Fig. 83. It is tied in with any kind of soft sash, preferably one 
3 yards long of white sateen. 

Special care must be taken to have the front edges of the jacket very 
firm, and the join of the sleeve must be strong and extremely well stitched. 

The best sort of knickers are those made of strong cotton material, 
pulled in with broad tapes at the waist and below the knce. 

Any kind of shorts or bathing-drawers will serve. 

A long-sleeved vest should perhaps be worn beneath the jacket to 
prevent the galling of the neck and the skinning of the elbows on the mats. 

For the guidance of the tailor, these measurements should be given: 

(1) Length down the back (about 4 inches longer than for an ordinary 
coat). 

(2) Size round the chest. 

(3) Length from waist to just below knee. 

(4) Length from fork to just below knee. 

Just about to lock the arm. 
A fine opportunity for Arm-lock 

THE JAPANESE SCHOOL OF JU-JITSU 
305, OXFORD STREET, W. 

Chief Instructors: Mr. MIYAKE, Mr. TANI, and Mr. HIRANO 
Instructors: Mr. EIDA and Mr. KANAYA 
Assistant Instructors: Messrs. COLLINGRIDGE, MCDONNELL, and HOBDAY 
Instructor for Ladies: Miss ROBERTS 

Time table. IN general, it may be taken that the School is open for lessons from 

According to the hour of the day there are two or three or four 
instructors at work. 

On the days when the School is undertaking demonstrations, some of 
the instructors may be withdrawn from teaching. Due notice of such 
temporary withdrawal is posted to pupils. 

Advantages Apart from all question of the value and interest of the subject that 

ааа it teaches, the School has set itself to supply a definite want. The School 
will be a place to which a man may go on any day and at any time that 
he feels the desire for exercise. He is tied down to no class hours, hc 

Only need make no appointment. His course of lessons is subject to but 

г а single condition, that it should be completed within a certain number 
of months. 

Quick А Тһе busy person, the тап with thrce-guarters of ап hour to spare, the 
bay se fF man who could just get in a lesson on his way to business or before catching 
people. ап evening train—all these have but to ring up the School to secure in 

advance the lesson period they desire. And at the school they can change, 
have their fill of hard exercise, bathe, and depart within the short period 
of forty-five minutes. 

Wies я There аге тапу people who groan that they сап по longer spare time 
ootball' 

and rowing for the sports of their youth. Rowing, football, and open-air games mean 
mustbe a railway journey and the loss of an afternoon. Such people should do 

given ир. the next best thing and learn Ju-jitsu. 
“Aml No. But after forty one must expect to learn more slowly than at 
too old to = 

learn?" twenty-five. 
Ju-jitsu can be made just as strenuous as one may desire, and pupils 
over seventy may well bear this in mind. 

Ju-jitsu for For many parents Ju-jitsu has come a generation too late. They have 
children. 84 

The Japanese School of Ju-iitsu 85 

the consolation, however, that thcy may play the game vicariously in the 
persons of their children, and parents who perceive the strong tendency 
that exists in the rising generations to be overtall, to run to mere stalk, 
length without brcadth, to be awkward and angular, should consider heavily 
(especially after reading this book) before they economise in the 
opportunities for their children's bodily development. 

be taken. 

The lessons of any course may be taken on any days and at any time How and 
that the School is open. А pupil need give no previous notice of his odo 

may be 
3 taken. 

Mn. COLLINGRIDGE, Mn. Hirano. Ma. MCDONNELL. Mn. Honpav. 
Miss ROBERTS. 
Mn. КАХАҮА, Mn. Ера. 

intention to take a lesson. It is understood, naturally, that a pupil who 
arrives at the School without having secured a lesson period in advance 
takes the risk of having to wait until the instructors are disengaged. 

Pupils may take two lessons a day if they so desire, or they may take 
two lessons running but they will find the latter rather hard work. 

DEMONSTRATIONS OF JU-JITSU Many 

° 5 š demon= 
The School has already given a number of private demonstrations at strations 

such places as the Royal Military Academy, Woolwich, Eton College, и" 

Charterhousc, Chelsea Barracks, and at various club reunions, at various 
social festivities known as “at homes,” and in the open air аї garden 
parties in various parts of the country. 
Head- We would draw the attention of headmasters and of secretaries of clubs 
pee ped and of military and athletic associations to the fact that a demonstration of 
secretaries. Ju-jitsu is not only interesting, effective, and highly genteel, but that it can 
also be counted upon to arouse a certain enthusiasm among spectators. 
It forms in effect a striking novelty in entertainment. 
A pamphlet is published by the School giving the demonstration 
programme with full explanatory notes. 
A full demonstration will occupy from one hour to an hour and 
twenty minutes. 
А floor space of 20 feet by 20 feet is required for the mats, 
A postcard to the Secretary will procure notice of public demonstrations 
given by the School. 

Having beaten down the Leg Defence, the man (U) is 
getting hold for a Neck-lock. 

Printed and bound by Hazell, Watson & Viney, Ld., London and Aylesbury. 

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Costumes (to order only). Jackets, 9s. 6d. Knickers, 1s. 6d. Shoes, white canvas, rubber soles (English 
make), 1з. 114. Grey canvas, co ted rubber, 2s. 34. Whole golosh, stout stout rubber, stitched soles, 2s. 34. 
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