Throw the somerset as before, only do not let go the hands. You will now be standing with your back to the horse, the spine considerably bent, and your arms thrown over your head. Wait so for a few seconds, and then with a powerful effort throw yourself back again, so as to come on the ground on the same side of the horse from which you started. This is really difficult, as it requires practice, strength, and confidence, but it looks so well that it is worth learning. The writer of these few instructions has often astonished the natives with it, and has lately repeated it after two years' absence from any gymnasium.

THE SWING.

Let no one despise this exercise. It is worth learning, if only as a preservation against sea sickness. If any one can stand a twenty-feet swing for half-an-hour, the sea may toss its worst, for he will come off unscathed. Now, I do not mean to say that merely sitting on a board and getting swung by some one else is any great object: far from it. But there are some very graceful exercises to be managed on the swing. Here are some:--

1. The way to get into the swing is as follows:--Take one rope in each hand, just above the seat; walk backwards until the ropes are freely stretched. Now run sharply forwards, letting the hands glide up the ropes as far as possible, and the instant that you feel a check, grasp the rope tightly, and spring into the seat standing. When there, work easily up by alternately bending and straightening the knees. (See 1.)

[Ill.u.s.tration: _Fig. 1._]

2. When in good swing, slip the feet off the seat (which should not be more than four inches wide); let the hands slide down the ropes, and come down sitting. To recover the standing position, reach upwards with the hands as high as possible, and draw yourself upwards as the swing is going forwards, when the seat will place itself exactly under your feet.

3. Now for some feats.

Let the swing go very gently. Place both hands at the level of the shoulders, and suddenly extend them, keeping the arms straight. Take care, as there will be a violent vibration, and you will be shot out of the swing before you know where you are. Practise it first while the swing is still, but do not be satisfied until you can do it while in strong swing, and without closing the hands, merely letting the palms rest against the ropes. (See 2.)

[Ill.u.s.tration: _Fig. 2._]

Swing still. Stand up on the seat, and grasp the rope with the hands as low as possible, without bending the body or the knees. Now lean forward, making your hands the pivot, and do not be astonished at finding your heels in the air, and your head downward. To recover yourself, the body must be bent a little. (See 3.)

[Ill.u.s.tration: _Fig. 3._]

Stand sideways on the seat, grasp one rope with both hands leaning your back against the other, taking care to have the rope well between the shoulder blades. Put the inner centre of the left foot against the opposite rope, and fix the right foot in the same manner against the left heel. Now let go both hands, and lean well backwards, when you will be exactly balanced. When you are secure with a quiet swing, practise it while the swing is moving, until you can lie securely against the rope while you are moving freely. The balance is entirely kept by the shoulder blades against the rope, and the arms must be folded in order to throw the shoulder blades well back. If the gymnast gets alarmed, and puts his hands out to save himself, the rope slips off his back, and out he goes. (See 4.)

[Ill.u.s.tration: _Fig. 4._]

While the swing is working, suddenly hang out at one side, supporting yourself by one hand on the rope, and one foot on the seat. Practise this on both sides. (See 5.)

[Ill.u.s.tration: _Fig. 5._]

Seize the left rope with both hands, press the feet firmly against the ropes where they join the seat, and fall out forwards. The ropes will now cross, and when the swing is in full operation, the curves described are most elegant. To recover the ordinary position, wait until the swing is going backwards, and a powerful twist of the body will uncross the ropes, when the right hand should take hold of the right rope and steady the swing. (See 6.)

[Ill.u.s.tration: _Fig. 6._]

When the swing is in motion, grasp the ropes as tight as possible, and raise the feet until they are high in air between the ropes. Take care of the balance in the back swing, as, if the body is suffered to bend backwards, the hands will hardly bear the strain. Now slide slowly and carefully down the ropes until the head rests on the footboard.

To make a telling exit from the swing, two ways may be adopted. First way:--Get the swing into a firm, steady movement, sit down, and bring both hands inside the ropes; and just as the swing has pa.s.sed its centre, strike the seat away with the hands and you will shoot forward several yards. Take care to come down on the toes, and to lean well backwards as you leave the swing, as the impetus will bring you upright as you touch the ground. (See 7.)

[Ill.u.s.tration: _Fig. 7._]

The second method is, to seat yourself in the same manner, and as the swing crosses its centre backwards, lean well forwards and strike away the seat. You will then be hurled backwards, and if your balance is good, will come to the ground in a very elegant att.i.tude. Be sure to lean well forward, cross the feet, clasp the hands, and come down on the toes. (See 8.)

[Ill.u.s.tration: _Fig. 8._]

Great care must be taken to lean well backwards if you shoot out forwards, and well forwards as you shoot backwards, or in the one case you will come with your nose on the ground, and in the other you will find the back of your head rather damaged. So practise with gentle swings at first, and then increase. I have often done it with the swing at full speed, and in one instance in a public gymnasium, I shot so far forward that the spot was marked by a row of iron nails driven into the floor.

In a volume of this nature, it is impossible to give more than a comparatively slight sketch of any subject. I am sure, however, that if the reader will master even these short instructions in gymnastic exercises, he will be able to realize that great blessing, the sound body, in which only a sound mind can reside. His trained eye will be accustomed to measure instinctively any obstacle in his way, and the training of his body will enable him to put forth the full power of his muscles to overcome the obstacle. Danger will lose half its perils to him who thus knows how to meet it. A strong rope will be as safe as a staircase to him; it will be perfectly indifferent to him whether his head or his heels be uppermost, and he will be enabled by the presence of mind which such studies engender to think out calmly modes of escape from danger which would instantly overwhelm those whose bodies are uninstructed.

But even to pa.s.s by the question of utility, it is a duty of man to preserve his body in health, and to develop its powers. Every man would think himself wrong to neglect the mind; surely then, every man ought no less to think it wrong to neglect the body, which is made by the same mighty Hand that implanted the mind within it. Indeed, the neglected body is sure to injure the mind, and therefore those who improve their bodies are at the same time improving their minds.

I know one young man, who owes all his health, and probably his life, to gymnastic exercise. From his earliest childhood he was always ailing, and through the whole of his childhood was never suffered to sleep unwatched. When he entered upon manhood, the childish illness changed into annual fevers, which held their sway until he had been for some time at one of the Universities.

His medical attendant advised him to take regular exercise, and recommended the study of gymnastics. He rapidly improved in health and strength, his fever has not attacked him for eight or nine years, and he actually led the gymnasium for a whole year.

Were I to have the charge of a school, I should consider the gymnasium as part of the regular school discipline, and take care that the boys were exercised as carefully in their bodily as their mental powers.

THROWING THE JAVELIN.

[Ill.u.s.tration]

This play is very interesting, and gives strength to the arm, and exactness to the eye. In playing it, a square target must be procured, made of thick wood, about four feet in diameter, and on which should be marked concentral circles, the same as those of a target in archery.

This should be well supported behind by two stout back pieces, resting in the ground, so as to prevent the target from being easily overturned.

The circles may be several in number; the centre should be black, and about six inches in diameter, and count ten; the second circle should be red, and should count five; and the third should be light blue, and count three. The other parts of the target to count as may be agreed.

The javelins should consist of poles of ash or fir, about an inch and half in diameter, and should be five feet six inches in length. They should have a spike in one end, which should be surrounded with a rim of iron; the spike should be about two inches long, thick, and strong, so as to enable it to become fixed in the target without splitting it. The game may be played by any number of boys, and is commenced as follows:--

One player takes a javelin in his right hand, and walking to a distance from the target, previously agreed upon by the players, he poises his javelin, by holding it in the hollow of his hand, between the ball of the thumb and the fleshy part at the side, and his elbow is at the same time bent, and his arm elevated so that his hand is a little above his ear, the javelin being at the same time nicely balanced with the smaller fingers, touching it so as to direct its course; it is then launched forward at the target, and, if properly poised, directed and thrown, will go to it in a direct line. The point at which it strikes the target is then marked, and then the other players follow in the same way for twelve times in succession: the person who scores the most marks being the victor.

[Ill.u.s.tration]

The javelin will fly better and straighter if a rotatory movement is communicated to it by a slight pull of the little finger as it leaves the hand. When some skill has been obtained in darting, blunt javelins with padded ends should be procured, and the players should accustom themselves to avoid, parry, or catch a javelin thrown at them. When they can do so with certainty, they may storm a fort. The best fort is a hedge with gaps. The players divide into two parties, one defending and the other attacking. Each player should be furnished with three javelins at least, well padded and nicely balanced. The art of catching and returning a javelin is exceedingly useful in this game. We well remember an occasion when, on storming a fort, one of our opponents, whose frame was larger than his soul, had prudently retired into the background until all our spears were exhausted, but, on seeing us weaponless, he with great courage ran up to the hedge and hurled his spear, as we were running forward to pick up a fallen lance. The moment he had thrown the javelin he ran away as fast as he could, but was overtaken by his own weapon, which took him in the rear, and toppled him over in beautiful style. We have only known one accident at this game, and that was caused by the impetuosity of one of the garrison, who on seeing an enemy crawling up through the gap, and finding himself without a spear, s.n.a.t.c.hed up a _bow_ that was lying near, and made a thrust at him, which sent the sharp horn tip of the bow through his under lip.

THE TRAPEZE: SINGLE AND DOUBLE.

Should the intending gymnast possess a strongly-built barn or outhouse, which is large enough to permit the trapeze to have fair play, and strong enough to endure the stress of the swinging weight, the ropes can be suspended from a beam, either belonging to the building or inserted for the express purpose, and resting at each end on strong brackets. But as such buildings are very seldom to be obtained, we here give a sketch of a plan invented, we believe, by Messrs. Snoxell, the well-known furnishers of gymnasia. Although its structure may appear to be light and flimsy, it is in reality possessed of strength which renders a fracture impossible, and is indeed far more fitted to resist the enormous strain which is laid upon it, than if it were made of ma.s.sive beams morticed.

[Ill.u.s.tration]

In the first place the upright poles (_a_) do not pa.s.s into the ground, but are supported upon stone slabs, so there is no fear of that terrible enemy of the gymnasium--rotting wood, which silently decays and suddenly snaps off level with the surface of the ground. The cross piece (_b_) is affixed to the uprights by a simple cap, bent at right angles, as is seen at _f_. The cross piece is permanently secured into the cap, but the uprights can be slipped in and out without difficulty. At _c_ may be seen four slender wire ropes, the upper ends of which are fastened to the uprights, and the lower ends are furnished with hooks. These hooks are intended to be slipped into the staples (_e_), which are firmly secured into the ground, just as the old bull-rings were fixed. At _d_ are seen the tightening screws, which are simply turned by hand, and shorten the wire ropes just as the connecting screws of a railway train draw the carriages together.

The apparatus is so perfectly simple that it can be set up or taken down by two boys in five minutes, or by one boy in rather a longer period.

The process is as follows:--

The uprights are slipped into the caps, and the hooks at the ends of the wire ropes or stays are hitched into the staples of one side, say at _e_. The uprights are then reared, and their bases set on the stones.

The hooks of the opposite stays are then hitched into the staples at _e e_, and the screws at _d_ turned until the stays are quite tight and the uprights are perfectly perpendicular.

It seems rather a complicated process to read about, but it is remarkably simple when reduced to action. We have mounted and dismounted one of these ingenious contrivances in a wonderfully short s.p.a.ce of time, and without any a.s.sistance.

For practising the feat of pa.s.sing through the air from one trapeze to another a double set of apparatus is required; but for most useful purposes one set is sufficient. The ropes by which the bar is suspended must be thoroughly stretched before they are attached to the bar, or there will be no certainty in the swing. Few persons who have not had practical experience on this subject would imagine how greatly the length of a rope is increased by the process of stretching, and how absolutely necessary is this precaution.

The ropes are pa.s.sed at each end over an iron eye, the upper one of which is. .h.i.tched over a hook on the cross bar, and the other receives the hook which suspends the bar. On looking at the ill.u.s.tration the reader will notice these hooks just above the bar. They are useful, because, when needed, a pair of rings can be subst.i.tuted for the bar, and permit certain variations in the performances, Still, their presence or absence is quite optional, and the only remark that need be made is, that they should be furnished with springs like the fastening of a breguet chain, so as to guard against the possibility of slipping. The bar itself must be very heavy, or otherwise it will not have sufficient weight to keep the cords at full stretch, and in consequence will not swing truly. Those which were employed by Leotard were iron, with a mere sh.e.l.l of wood, so as to give a pleasant hold for the hands, and we have seen them made of iron, coated with leather. The last point that needs notice is the perch or stand from which the performer launches himself.

This may be fixed at any convenient elevation, and its centre should exactly coincide with the centre of the bar. Having now the apparatus ready, let us commence the performance.

Set the bar swinging boldly; ascend the perch quickly, and seize the bar in both hands. Wait for a moment, until the ropes are fully stretched, and then launch yourself for a swing. Now there are two ways of doing everything--a right and a wrong way; and the present instance affords no exception to the rule. The wrong way--and the usual way--is to fall forwards from the perch. Now this is quite wrong; and if you act in such a manner you will bungle your sway, and will not retain sufficient impetus to enable you to return to the perch.

The right mode of starting is as follows: Stand as seen in the accompanying ill.u.s.tration--the spine well bent backwards, the body tolerably stiff, and leaning well against the heavy bar. Now draw yourself up gently by the arms, as if you were trying to lift your chin above the bar, and you will find yourself started without any trouble.

Keep the back still bent, and as you descend allow the arms gradually to a.s.sume a perfectly straight position. You will then swing out fairly and boldly, and by the least possible sway at the end of the swing will retain sufficient impetus to enable you to resume your stand on the perch.