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The Art Of INFIGHTING By FRANK KLAUS

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  • #11
    Originally posted by diallo View Post
    OH Ok, you're actually linkin the wrong one, You're linking the one to purchase. But i searched for it and found it thanks!
    I'm glad mate, it took me ages to work things out, and I still don't know how to separate paragraphs. Have a good read of it, I think there's stuff in here that you don't hear about much, and I can say with all truth, I'd hate to fight Klaus,.... I'd be jelly in short time.

    Comment


    • #12
      THE ART OF
      IN-FIGHTING
      BY
      FRANK KLAUS
      EX-MIDDLE-WEIGHT CHAMPION OF THE WORLD
      Published at the offices of
      “BOXING,”
      ATHLETIC PUBLICATIONS LTD.,
      Link House, 54 & 55, Fetter Lane, & 151, Fleet-st.,
      London, E C. 4

      Comment


      • #13
        Originally posted by McGoorty View Post
        THE ART OF
        IN-FIGHTING
        BY
        FRANK KLAUS
        EX-MIDDLE-WEIGHT CHAMPION OF THE WORLD
        Published at the offices of
        “BOXING,”
        ATHLETIC PUBLICATIONS LTD.,
        Link House, 54 & 55, Fetter Lane, & 151, Fleet-st.,
        London, E C. 4
        CONTENTS.
        PAGE
        I N T R O D U C T I O N — W H A T I S I N - F I G H T I N G ? . 13—14
        G E T T I N G I N T O C L O S E Q U A R T E R S . . . 26
        S T O P P I N G L E F T L E A D A N D G E T T I N G I N T O P U N C H
        T H E R I B S . . . . . . . 30
        S I D E - S T E P P I N G L E F T , A N D G E T T I N G H O M E W I T H
        L E F T O N T H E H E A R T . . . . 31
        G U A R D I N G A G A I N S T D A N G E R W H E N A T T A C K I N G—
        L E F T J O L T T O P L A C E T H E D E A D L Y R I G H T . 32
        I N - F I G H T E R ’ S MO S T D E A D L Y P U N C H . . 34
        A V O I D I N G A D R I V I N G R I G H T , B L O C K I N G T H E
        L E F T , A N D P U N C H I N G S T O M A C H . . 35
        F O R C I N G A N O P P O N E N T T O T H E R O P E S . . 36
        T H E L I V E R P U N C H . . . . . 38
        WA T C H I N G A N O P P O N E N T ’ S L E G S W H E N H U G -
        G I N G . . . . . . . 40
        F E I G N I N G “ G R O G G I N E S S ” . . . . 44
        T H E E Y E S A N D T H E B R A I N . . . . 44
        R I G H T H O O K T O T H E J A W—A R E M E D Y F O R T H E
        P U S H I N G B O X E R . . . . . 48
        WH E N A P U N C H L O O K S E A S Y . . . . 50
        P R E C O N C E I V E D A T T A C K S . . . . 50
        R E C O N N O I T R I N G W H E N A T C L O S E Q U A R T E R S . 54vi CONTENTS.
        PAGE
        P L A C I N G T H E R I G H T - A R M J O L T . . . 54
        T H E J A B . . . . . . . 56
        B E A T I N G A N O P P O N E N T B Y P U N C H I N G H I S G L O V E D
        H A N D S O R A R M S . . . . . 58
        B R E A K I N G A P A R T A N O P P O N E N T ’ S A R M S T O
        F A C I L I T A T E A N A T T A C K . . . . 64
        I N - F I G H T I N G P H A S E S I N A C T U A L C O N T E S T S . 64
        P U N C H I N G T H E O P P O N E N T W H O H O L D S . . 65
        WH E N T O H O L D A N O P P O N E N T . . . 66
        H O O K I N G T H E R I G H T W H I L E T H E L E F T I S B E I N G
        H E L D . . . . . . . 66
        B R E A K I N G A WA Y S A F E L Y . . . . 70
        H O L D I N G A N A R M I N C H A N C E R Y . . . 72
        T R A I N I N G . . . . . . . 73 ILLUSTRATIONS.
        THE AUTHOR IN PRIVATE LIFE . . FRONTISPIECE
        PAGE
        F R A N K K L A U S , E X - MI D D L E - WE I G H T C H A M P I O N
        O F T H E WO R L D . . . . . . 15
        F R A N K K L A U S A N D H I S S P A R R I N G P A R T N E R ,
        F R A N K MA D O L E . . . . . 17
        A N O B V I O U S O P E N I N G F O R T H E I N - F I G H T E R . 19
        P U S H I N G T H E L E F T L E A D A S I D E , A N D G E T T I N G
        I N O N T H E R I B S , L I V E R O R H E A R T . . 21
        A D E V A S T A T I N G P U N C H T O T H E H E A R T , F O L -
        L O W E D B Y R I G H T T O T H E R I B S . . 23
        T H E I N - F I G H T E R ’ S M O S T D E A D L Y P U N C H : T H E
        R I G H T D R I V E T O T H E P I T O F T H E S T O M A C H 25
        A S M A R T T R I P L E MO V E M E N T : S I D E - S T E P P I N G
        R I G H T , S T O P P I N G L E F T , A N D G E T T I N G H O M E
        O N S T O M A C H . . . . . 27
        R U S H I N G A N O P P O N E N T T O T H E R O P E S . . 29
        T H E L I V E R P U N C H , A F T E R C A T C H I N G O P P O -
        N E N T ’ S R I G H T O N T H E N E C K . . . 33
        WA T C H I N G Y O U R O P P O N E N T ’ S L E G MO V E M E N T S 37
        T H E R I G H T U P P E R - C U T T O T H E J A W , A F T E R
        D U C K I N G Y O U R O P P O N E N T ’ S R I G H T . . 39viii ILLUSTRATIONS.
        PAGE
        T H E R I G H T H O O K T O T H E J A W . . . 41
        T H E P U N C H T O T H E H E A R T . T H E R E S U L T O F
        A P R E C O N C E I V E D D E L I V E R Y . . . 43
        L O O K I N G U P F O R A N O P E N I N G T O T H E J A W . 45
        G E T T I N G H O M E W I T H T H E R I G H T - A R M J O L T . 47
        P A R A L Y S I N G A N O P P O N E N T ’ S A R M B Y P U N C H I N G
        H I S B I C E P S . . . . . . 49
        M A K I N G A N O P E N I N G B Y B R E A K I N G O P P O N E N T ’ S
        A R M S A P A R T . . . . . 51
        U S I N G L E F T O N T H E O P P O N E N T W H O H O L D S . 53
        B R I N G I N G A B O U T A D O U B L E C L I N C H F O R T H E
        R E F E R E E ’ S I N T E R V E N T I O N . . . 55
        H O O K I N G T H E M A N W H O H O L D S . . . 57
        H O O K I N G R I G H T O N F I N D I N G T H E L E F T S T O P P E D 59
        T H E S A F E “ B R E A K ” . . . . . 61
        T H E L E F T A R M I N C H A N C E R Y . . . . 63
        P U N C H I N G B O D Y W I T H T H E R I G H T , W H I L E L E F T
        I S B E I N G H E L D . . . . . 67
        A P E C U L I A R I N C I D E N T : P A P K E F A L L I N G O N T O
        A P U N C H . . . . . . 69
        G E O R G E E N G L E , MA N A G E R T O F R A N K K L A U S . 71PREFACE.
        IN writing this book I hope to supply a want.
        By that I mean the bringing to light of a far too
        little known science, which seems to have been but
        elementarily studied by the modern-day boxer.
        And how all-important! How many pugilistic
        battles have been lost owing to an altogether
        inadequate knowledge of the most vital principle of
        boxing! The old-fashioned hit, stop and get-away
        system, although still the predominant note in the
        noble art, has been sensibly strengthened, yet it is
        remarkable to realise how few boxers are aware of
        this fact.
        Without wishing to claim any particular beauty
        for in-fighting, years of practical experience have
        convinced me that it is, perhaps, the most-effective
        weapon in the hands of the boxer to-day. Conservatism is as fatal to boxing as it is when applied
        to any other form of sport.
        I am sorry to say that in England this sentiment,
        as applied to the art of boxing and contemporary
        pastimes, is rampant. The last Olympic Games
        were a potential testimony to this particular state of
        things.
        In France there appears to exist a greater tendency to “move with the times.” Such boxers as
        Georges Carpentier succeed where others fail, owing
        to this desire to -delve into the “up to date” in
        things athletic.x PREFACE.
        Without being of very recent origin, in-fighting
        has never been practised with such devastating
        effects as at the present day.
        The all-dominating feature of a contest surely
        lies in the beating of an opponent. How can this
        be done with any degree of confidence, if one enters
        upon a battle inadequately armed?
        Taking all other things as equal, such as weight,
        endurance, training and skill, the man with the
        better idea of in-fighting must “come out on top.”
        This is but a logical deduction, one that should
        appeal to the young boxer just launching on a
        pugilistic career. Such defeats as those sustained
        by Bombardier Billy Wells are generally the result
        of an incomplete fistic education, that is to say, of a
        lack of in-fighting experience. The old notion that
        the straight left will beat any man is distinctly out
        of gear in these times, especially when we have
        such examples as those afforded us by Palzer and
        Gunboat Smith when they defeated the Bombardier.
        Victory in each of these instances appears to have
        favoured the man who knew just the moment to get
        to close quarters, and annul all the work done by
        the more stylish boxer. If, as must be generally
        admitted, only victory counts in a boxing contest,
        then it is for us to find the best means to secure this
        desirable end.
        From a spectacular point of view, in-fighting
        seems to lose in comparison with the stand-up longrange methods. This brings me to the point as to
        whether it is better to be what is known as a “pretty
        boxer” and remain a mediocrity or study furtherPREFACE. xi
        and more effectual principles and thus become a
        champion.
        In-fighting is very like an olive; one wants
        educating up to its taste, so to speak. The reason
        that close-range boxing is not popular must be that
        it is not understood. To dislike a thing is to condemn it, in spite of its intrinsic merits.
        There is really just as much beauty in in-fighting
        as there is in all the more familiar phases of the
        noble art; the fault mostly lies in the fact that the
        public refuse to see it.
        It is my earnest desire to delineate in this little
        volume not only the hidden secrets and artistic
        merits of in-fighting, but to show its imperative
        utility to all.
        Having perused, studied, inwardly digested and
        thoroughly mastered its subtleties, I trust that
        readers may have found a new force in its relation
        to the noble art of self-defence.
        I should also like to take this opportunity of
        thanking my excellent manager, George Engel, my
        sparring partner, Frank Madole, and my friend,
        F. H. Hurdman Lucas (of “Boxing”), for the
        valuable assistance they have given me in producing
        this little work.
        THE AUTHOR

        Comment


        • #14
          INTRODUCTION.
          What is In-Fighting?
          To this question I might easily reply, that in-fighting is out-fighting’s greatest ally. The one can
          strike more effectually with the help of the other,
          and yet it is a remarkable fact that but few boxers
          realise this truism.
          Two forces are always better than one. Although
          the knock-out frequently occurs as the result of a
          long-range punch, a boxer is necessarily heavily
          handicapped when opposed to another who is equally
          capable of inflicting decisive defeat at close quarters.
          The inference here is obvious: arm yourself with
          every available means of victory, thus reducing the
          elements of bad luck to a minimum, and by that I
          mean that a boxer equipped with all the necessary
          knowledge of in-fighting and its attendant forces
          reduces his chances of defeat.
          How often do we hear of the “lucky punch”
          being responsible for a boxer’s defeat! Without for
          a moment wishing to deny that the element of luck
          plays some part in boxing contests, victory is
          generally acquired by the more skilful; by the14 THE ART OF IN-FIGHTING
          boxer who, possessed of a more profound knowledge
          of the game, imposes it on an opponent.
          To sum up, in-lighting is an all too-neglected art,
          one that at any moment during a contest is capable
          of turning defeat into victory. It is the artillery of
          pugilism; the besieging force that, by its continual
          pounding at the outer walls of an opposing element,
          finally reduces it to capitulation. Of course, strategy,
          must play an important part in this particular form
          of boxing, as it must in every other.
          Strategy: Good and Bad.
          How often has superior? strategy won the day
          when applied even to superior forces?
          This very important part of a boxer’s in-fighting
          education cannot be imparted: it should develop
          with experience.
          Seldom is it that two boxers follow exactly the
          same style. It therefore remains for the one or
          the other to formulate his plan of attack and defence
          according to the particular idiosyncrasies of his
          opponent.
          Some there are whose peculiarity is to protect the
          jaw with an almost motherly care.
          This very action is an indication of weakness on
          that man’s part, his protective spirit but acting as a
          clue for the locating of the vulnerable spot in his
          composition.
          Others will at once expose their weakest part by
          the slightest gesture. A feint at the stonmach, for
          instance, will sometimes make an opponent gasp in
          expectation of the punch that he thinks is coming.Fig. 2—Frank Klaus, Ex-Middle-Weight Champion of the World.16 THE ART OF IN-FIGHTING
          Such a one should prove an easy prey for the the it
          fighter, for by judicious manœuvring it is possible
          to so demoralise the boxer with the frail body as to
          finally beat him.
          The strategy of making an opponent either drop
          or bring his hands up, therby compelling him to
          expose a vital spot, is as old as the hills as regards
          long-range boxing. Successive feints will often
          accomplish the purpose, but with in-fighting the
          modus operandi is totally difierent.
          Feinting while at Close Quarters.
          Whereas ordinary feinting is but the implied
          delivery of a punch, meant to disconcert an opponent
          or put him off his guard, for the purpose of finding
          the necessary opening for a preconceived delivery,
          no such strategy is possible in in-fighting.
          When close up to an opponent, punching becomes
          a matter of intuition. One can neither properly
          see what an opponent is going to do, nor is it often
          possible to be guided by our eyesight as to the most by
          exposed or attackable parts of his body.
          At close range boxing becomes instinctive, that
          is, we must rely mostly upon the sense of touch to
          know exactly where and when to place a punch.
          This particular development of the in-fighting art
          may be acquired through following the instructions
          given in this volume, and practising them often with
          as many sparring partners as it is possible to find.
          To always box with the same man is but to fall
          into a single groove, from which it is extremely a
          difficult to extricate oneself. Although there areFig. 3—Frank Klaus and his Sparring Partner, Frank Madole.18 THE ART OF IN-FIGHTING
          but few variants of the straight left and right crosscounter, in-fighting offers new fields for the exploiting of, and coming into contact with, unsuspected
          elements of the pugilistic art. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------The Infinite Possibilites in Boxing.
          Although apparently simple, and to all appearances composed of but a few essentialities, the noble
          art, like the violin, is never thoroughly mastered,
          This assertion may seem strange to those who in
          boxing see but the giving of a blow with either left
          or right fist, the blocking of same, stepping back, or
          ducking. But like the instrument just referred to,
          and although with practically but as few strings to
          work upon, boxing is ever full of variations. This
          theory is based on the possibility of the almost
          infinite transposal of, say, the numbers one to
          twenty. As is well known, these may be placed in
          thousands of ways, each one showing a different
          total. So is it with boxing, for, although but made
          up of an apparently limited gamut, its range of
          possibilities is well-nigh without end.
          This is especially noticeable with in-fighting,
          wherein one must not only depend upon punching an
          opponent, but so negative his counter attacks as to
          always have the better of him. In-fighting (the
          same rule applies to boxing generally) is not wholly
          the inflicting of punishment, but the neutralising of
          an adversary’s efforts.
          A good defence is as necessary as a perfect attack,
          and although some men can take more punishment
          than others, a boxer has often but himself to blameB 2
          Fig. 4—An Obvious Opening for the In-Fighter (see page 28).20 THE ART OF IN-FIGHTING
          for boxing without the slightest regard for his
          individual qualities.
          A good in-fighter, for instance, would be courting
          disaster in seeking to beat can opponent by longrange punching and vice versa. Boxers are often
          led to such imprudences either by losing their temper
          or being led into them by their opponent’s wiles.
          Generalship in In-Fighting.
          This brings us to ringcraft or generalship. As I
          said, feinting, as generally understood, is next to
          impossible in close quarters, for the simple reason
          that the two boxers depend entirely upon the sense
          of touch. Instead of feinting, therefore, it would
          perhaps be better to substitute the word cunning or
          craft, when applied to in-fighting, or, better still,
          generalship. The aim of a general, we all know, is
          to deceive the enemy, but whereas there are many
          ways of doing this at long-range boxing, the field for
          such strategy is narrowed up while in-fighting.

          Comment


          • #15
            The Waiting Game.
            If, by his style of boxing, your opponent should
            have practically intimated the fact that he has a
            weak stomach, it is bad generalship to immediately,
            attack that particular spot. Let the in-fighter
            direct his attention to the ribs and liver, with an
            occasional visit “higher up.” The chances are that
            he will sooner or later find the opening that he has
            patiently waited for. The same strategy applies to
            the jaw. A boxer with a “glass” chin invariably believes himself safe when at close quarters,
            and, although perhaps an indifferent in-fighter, he
            will seek that which he fondly believes should prove
            immunity from danger, in continual hugs.
            Although it will be next to impossible to reach that
            man’s jaw at such times, it remains. for the into fighter to so weaken his opponent by body punches
            as to eventually find little or no difficulty in catching
            him on the vulnerable “point” after the break.
            The in-fighter’s most deadly work is effected on
            the body (see Fig. 10, p. 33), although the jolt
            (Fig. 16, p. 47) and half-arm hooks (see Fig. 13,
            p. 41) to the chin, eyes, nose, and mouth play no
            small part in helping an opponent to eventual
            defeat.
            Acquiring the Intuitive Instinct.
            Generalship (or craft) in in-fighting is mostly a
            gift. It is the intuitive appreciation of things at the
            psychological moment, the knowing by his smallest
            and apparently insignificant gesture or movement
            what an opponent is about to do. This gift may
            be sensibly developed by the observant boxer if he
            will follow previous counsel, and find as many
            sparring partners as he can with varying styles.
            Having done this and furthermore, conscientiously practised all the moves set forth in this
            volume, there is every reason to hope that the
            subject, be he professional or amateur, will have
            armed himself with yet one more essentiality
            for his complete pugilistic education—as complete as
            such a curriculum can be, for in boxing there seems
            to be always something new to learn. Conclusion.
            In-fighting is one of these new things, for in
            recommending it to my readers it is with the belief
            and hope that they are already proficient in the art
            of long-range boxing.
            As I Said. at the commencement of this little work,
            the one cannot be complete without the other,
            whereas the two must perforce make for a perfect
            whole.
            Although I have made pa special study of if infighting and gained most of my contests by its aid,
            out-fighting has been an equally important factor in
            my successes. Many books have been writen on
            boxing generally, but the art of in-fighting has
            always played a very subordinate part therein.
            Seeing the really great importance of this all tooneglected department of the noble art, the idea
            occurred to me to specialise it in this book. I
            trust that it may be the means of turning out more
            A complete boxers than has hitherto been the case.

            Comment


            • #16
              The Waiting Game.
              If, by his style of boxing, your opponent should
              have practically intimated the fact that he has a
              weak stomach, it is bad generalship to immediately,
              attack that particular spot. Let the in-fighter
              direct his attention to the ribs and liver, with an
              occasional visit “higher up.” The chances are that
              he will sooner or later find the opening that he has
              patiently waited for. The same strategy applies to
              the jaw. A boxer with a “glass” chin invariably believes himself safe when at close quarters,
              and, although perhaps an indifferent in-fighter, he
              will seek that which he fondly believes should prove
              immunity from danger, in continual hugs.
              Although it will be next to impossible to reach that
              man’s jaw at such times, it remains. for the into fighter to so weaken his opponent by body punches
              as to eventually find little or no difficulty in catching
              him on the vulnerable “point” after the break.
              The in-fighter’s most deadly work is effected on
              the body (see Fig. 10, p. 33), although the jolt
              (Fig. 16, p. 47) and half-arm hooks (see Fig. 13,
              p. 41) to the chin, eyes, nose, and mouth play no
              small part in helping an opponent to eventual
              defeat.
              Acquiring the Intuitive Instinct.
              Generalship (or craft) in in-fighting is mostly a
              gift. It is the intuitive appreciation of things at the
              psychological moment, the knowing by his smallest
              and apparently insignificant gesture or movement
              what an opponent is about to do. This gift may
              be sensibly developed by the observant boxer if he
              will follow previous counsel, and find as many
              sparring partners as he can with varying styles.
              Having done this and furthermore, conscientiously practised all the moves set forth in this
              volume, there is every reason to hope that the
              subject, be he professional or amateur, will have
              armed himself with yet one more essentiality
              for his complete pugilistic education—as complete as
              such a curriculum can be, for in boxing there seems
              to be always something new to learn. Conclusion.
              In-fighting is one of these new things, for in
              recommending it to my readers it is with the belief
              and hope that they are already proficient in the art
              of long-range boxing.
              As I Said. at the commencement of this little work,
              the one cannot be complete without the other,
              whereas the two must perforce make for a perfect
              whole.
              Although I have made pa special study of if infighting and gained most of my contests by its aid,
              out-fighting has been an equally important factor in
              my successes. Many books have been writen on
              boxing generally, but the art of in-fighting has
              always played a very subordinate part therein.
              Seeing the really great importance of this all tooneglected department of the noble art, the idea
              occurred to me to specialise it in this book. I
              trust that it may be the means of turning out more
              A complete boxers than has hitherto been the case.

              Comment


              • #17
                THE MOST IMPORTANT IN-FIGHTING PHASES
                DESCRIBED AND ILLUSTRATED.
                Getting in to Close Quarters.
                Never be careless, even while practising. There
                is a psychological moment for all things in this life,
                but none is so important as to know the right one
                to get. to close quarters with an opponent. This
                again, It might say, is mostly a matter of intuitive
                appreciation, for all movements in boxing are but
                momentary. To let the proper chance slip by is,
                perhaps, to lose a contest. M By practice the eye
                becomes easily trained to this sort of telepathic
                communication from an opponent. Some boxers do
                not worry at all about anything when in the “gym”
                save the ordinary rudiments of boxing. They are
                pleased to just punch a sparring partner all the
                while. Knowing perfectly well that there is but
                little danger of being damaged themselves, this
                breeds acute carelessness that deteriorates a man’s
                science and lessens his mental vitality. A boxer
                should be just as alert in the “gym” as he is any
                a ring, and always on the qui vive for new things, of
                which the game is full.
                Thus it is that the choosing of just the right time
                to bore in to an opponent for in-fighting purposes is
                mostly a matter of acuteness of minute observation.
                In spite of that, there are moments when such openings are so obvious that a good in-fighter instantly.
                sees the opportunity for the carrying out of his deadly work (see Fig. 4, p. 19). In this instance it
                will be observed that tho opponent is backing away
                from a punch that has apparently stung him, the
                while ho subconsciously covers his jaw.
                A man on the retreat becomes the prey of the
                in-fighter, for to recover his backward impetus he
                must perforce come to a standstill before resuming
                any forward tendency. That is the time to rush
                him (before ho can recover an aggressive advance),
                force him to the ropes (see Fig. 9, p. 29), and there
                have things all one’s own way.
                A man leaning with his back to the ropes is at the
                greatest disadvantage possible, for apart from the
                natural anxiety of finding himself so penned in, he
                can but use his defensive qualities to extricate himself from so perilous a position. I worked this out
                with much success during my contest with Papke,
                for most of the time I had him pinned on the cords
                practically helpless (see Fig. 23, p. 61). This was
                my plan of campaign, for being himself a wonderful
                in-fighter, I had to use this stratagem to out-general
                his generalship.
                Opposed to a good out-fighter, so much “ropefighting is not necessary, for the while he is sending out straight lefts and long-range rights, the
                opportunities for closing in are manifold.
                The most difficult man for the in-fighter to deal
                with is he whose footwork keeps him constantly on
                the move. Such a boxer wants watching as a cat
                watches a mouse, for, unless tho in-fighter be very
                sure of his attack, a fast-footed opponent will often
                side-stop a rush and make the former look foolish. Too much of this is necessarily detrimental, not
                only to the in-fighter’s stamina, but also from the
                fact that it influences the referee or judges to be
                highly impressed with his adversary’s cleverness.
                In-fighting and footwork are alienated. This is
                obvious, seeing that the most effectual work of the
                in-fighter’s is accomplished when mobility is impossible. Therefore, I repeat, to continually seek
                close fighting with such an opponent is but to create
                an unfavourable impression. Therefore, when
                meeting a “ring scorcher,” let him come to you.
                He must clinch at some time or another, then bring
                your in-fighting batteries into action. That he may
                not be able to break away before you have punished
                him some, it is advisable, the while you are doing
                this, to bring all the necessary “pushing” power
                into your blows, and thus force your man! to the
                ropes. Once there, the punching should become
                crisp and sharp. Checking the Boxer with a Good Left.
                Stopping Left Lead and getting into Punch the Ribs.
                A boxer with a good left will naturally make
                ample use of that particular member during the
                whole of a contest. It therefore wants watching
                and stopping. The out-fighter will invariably block
                the punch with his right, cross-counter it with right
                to the jaw, or counter with left. While sometimes
                carrying out these excellent maxims, the in-fighter
                has yet other means by which he may not only
                effectually nullify the left lead, but thus make an
                opening for close-range punches to the ribs, liver and heart. Of course, it may not succeed every
                time, but the devastation wrought on an opponent’s
                body during these periodical attacks soon begins
                to tell its tale. As will be seen in the illustration
                (Fig. 5, p. 21), the getting outside of a left lead, and
                pushing same aside with the right, tends to overbalance the opponent and nullify his possible punch
                with the right. This leaves the body exposed for
                the in-fighter’s left on any vulnerable part of the
                body.
                This particular movement requires a deal of practice, the necessary assurance being acquired only
                after long acquaintance with its intricacies. It looks
                simple, but as the parry must be effected as shown,
                namely, above the opponent’s elbow, I should advise
                plenty or trials in the “gym” before trying it in a
                ring. It will then become almost an instinct, but
                as I said above, this particular move must be varied
                with the out-fighting method of counteracting the
                left lead to face. It is always bad policy to keep on
                doing the same thing during a contest. The better
                boxer is often he, who, by his craft, baffles his
                opponent all through a bout.

                Comment


                • #18
                  Side-stepping Left, and getting Home with Left on
                  the Heart.
                  This movement resembles the last in many
                  respects, but instead of pushing aside the left as
                  before, the in-fighter must side-step it, thus leaving
                  the opponent’s heart exposed for a left hook.
                  Having delivered this punch, the rightis able to
                  follow up with a “dig” to the ribs. As will be seen, is almost impossible for an
                  opponent to retaliate in time, for his own left acts
                  as a guard for one’s head, thus rendering his right
                  harmless. His only hope in such a case is to clinch,
                  but as the two before-mentioned punches have presumably done some damage, this getting to close
                  quarters by the opponent is but playing into, the infighter’s hands. Should the former see fit to step
                  back instead of clinching, that is the moment to
                  force close quarters by rushing him to the ropes and
                  there continuing the body work until the referee
                  breaks. As will be seen from the illustration, a
                  certain amount of risk must be taken in getting one’s
                  head outside the left lead, but having successfully
                  accomplished the side-stepping movement, all is
                  plain sailing. It is here necessary for me to
                  explain that, next to the punch to the pit of the
                  stomach, a blow under or near the heart is perhaps
                  the most devastating anywhere on the body. In
                  either instance the man so punished is liable to take
                  an excursion to the boards for any count, up to the
                  “out.”
                  Guarding against Danger when Attacking.
                  A Left Jolt to Place the Deadly Right.
                  This is one of the most important factors in infighting, as it is, by the way, at long-range work.
                  In the former case, however, its virtues are all the
                  more salient, seeing that the in-fighter, if not very
                  skilled, courts a, deal of danger. It is therefore incumbent upon him, when about to get to close
                  quarters, to think as much of the possibilities of
                  receiving a nasty blow as of giving same. Some boxers there are who will attack an opponent
                  with but one set object, namely, to deliver a certain
                  fancied punch. Irrespective of a possibly dangerous
                  counter attack, these men will wade into an opponent
                  for the sole purpose of accomplishing that which
                  is in their mind.
                  The in-fighter’s thoughts should rest one the two
                  possibilities, and thus proceed on the necessary
                  caution and generalship. As will be seen in Fig. 7‘
                  my object was to get the right home to the pit of
                  the stomach.
                  The In-Fighter’s most Deadly Punch.
                  This is undoubtedly the most deadly in-fighting
                  punch possible, and means decisive victory if properly administered. In trying for this, however, it
                  must be remembered that a right may come along
                  and upset our plan. Therefore the left is brought
                  up to the opponent’s chin almost simultaneously
                  with the right drive to the mark. If successful the
                  left jolt should send your man’s head back, a movement which causes the muscles of his stomach to
                  relax. As will be seen in the illustration, the infighter leaves his face open somewhat for his opponent’s left. But admitting that the former has not
                  been successful with the said attack, the left may be
                  quickly brought round to cover or the head lowered
                  into the right shoulder, thus protecting the jaw.
                  This last movement would naturally cause the opponent’s left to land on the head and not the chin. Avoiding a Driving Right, Blocking the Left, and
                  Punching Stomach.
                  The opponent in this picture has lashed out with
                  the right, but the quick-witted in-fighter’s move is to
                  at once wade into his man and make the punch noneffectual, that is, presuming the said right hand
                  punch has been a straight drive to the chin, not a
                  hook or swing. The dodging of this delivery, by
                  quickly stepping in with the head slightly on one
                  side, has the effect of carrying your opponent’s right
                  clean out of its straight course, so to speak, and
                  making it shoot over the shoulder. The impetus
                  created by the sending forth of the said punch, and
                  the missing of same, is such that you are well into
                  close quarters before your man can regain his proper
                  striking equilibrium. Seeing himself thus forcibly
                  brought into close contact with the in-fighter, the
                  opponent will try to do a bit of short-range work
                  himself, and his right arm being momentarily out of
                  action, the possibilities are that he will attempt a
                  half-arm left hook to your now exposed
                  chin. You must watch this, and catch the
                  punch in the palm of your right hand, at the same
                  time driving the left to the stomach. The result of
                  this will invariably be to compel your opponent to
                  bring his right back to protect the body, in which
                  case the in-fighter’s left must get outside it in an
                  upward hook to the chin. This may lead to an
                  exchange at close quarters, during which the experienced in-fighter should again have things a good deal
                  his own way. Of course, there is no knowing
                  exactly what an opponent will do; but as I have
                  C 2 written elsewhere, the thorough digesting of this
                  work, followed by plenty of practice, should breed
                  the in-fighting instinct in most of my readers
                  enthusiastically bent upon acquiring same. Forcing an Opponent to the Ropes.
                  As I have said elsewhere, the most deadly infighting is served out to an opponent when he is on
                  the ropes. The point, therefore, is to get him there
                  as often as possible. Rugged boxers want a deal of
                  hustling, while those who depend mostly on
                  mobility, or fast footwork, are difficult to catch.
                  But even these must at some time or another find
                  themselves off their balance, or should I say that it
                  should be the in-fighter’s object to effect this
                  unsteadiness of foot? The hit, stand, and get-away
                  boxer may never bring about this desirable state of
                  affairs himself, for having scored with a punch, he
                  usually skips back to contemplate the effect of his
                  shot. This allows the opponent to regain any slight
                  overbalancing that the blow may have caused.
                  The in-fighter, on the contrary, must at once
                  follow up a hard punch, and by so doing create a
                  further unsteadiness in his opponent’s equipoise.
                  That is the moment to rush him, thus compelling
                  the retreating boxer to lose his left foothold and fall
                  back on the right. In the illustration, Fig. 9,
                  Madole’s full weight at that moment is on one leg, so
                  that he is forced to step back to avoid falling altogether. The in-fighter must not relax his forward
                  movement until he has his man well up against the
                  ropes. The impact thus created will force most boxers to bend their backs over the top cord, this
                  movement causing them, to leave their stomachs
                  open for the in-fighter’s demolishing work.
                  As in all other moves of the boxing game, the infighter must choose the psychological moment to
                  rush his opponent. If this does not present itself,
                  then he must use all his in-fighting strategy to make
                  it. For it must be remembered that one of the
                  greatest arts in boxing is creating favourable opportunities for oneself; that is to say, fusing every
                  honest means to compel an opponent to do just the
                  very thing that he himself would avoid. That is
                  where generalship comes in, that ever necessary
                  element in as all engagements wherein the “fortunes
                  of war” play an important part.

                  Comment


                  • #19
                    Side-stepping Left, and getting Home with Left on
                    the Heart.
                    This movement resembles the last in many
                    respects, but instead of pushing aside the left as
                    before, the in-fighter must side-step it, thus leaving
                    the opponent’s heart exposed for a left hook.
                    Having delivered this punch, the rightis able to
                    follow up with a “dig” to the ribs. As will be seen, is almost impossible for an
                    opponent to retaliate in time, for his own left acts
                    as a guard for one’s head, thus rendering his right
                    harmless. His only hope in such a case is to clinch,
                    but as the two before-mentioned punches have presumably done some damage, this getting to close
                    quarters by the opponent is but playing into, the infighter’s hands. Should the former see fit to step
                    back instead of clinching, that is the moment to
                    force close quarters by rushing him to the ropes and
                    there continuing the body work until the referee
                    breaks. As will be seen from the illustration, a
                    certain amount of risk must be taken in getting one’s
                    head outside the left lead, but having successfully
                    accomplished the side-stepping movement, all is
                    plain sailing. It is here necessary for me to
                    explain that, next to the punch to the pit of the
                    stomach, a blow under or near the heart is perhaps
                    the most devastating anywhere on the body. In
                    either instance the man so punished is liable to take
                    an excursion to the boards for any count, up to the
                    “out.”
                    Guarding against Danger when Attacking.
                    A Left Jolt to Place the Deadly Right.
                    This is one of the most important factors in infighting, as it is, by the way, at long-range work.
                    In the former case, however, its virtues are all the
                    more salient, seeing that the in-fighter, if not very
                    skilled, courts a, deal of danger. It is therefore incumbent upon him, when about to get to close
                    quarters, to think as much of the possibilities of
                    receiving a nasty blow as of giving same. Some boxers there are who will attack an opponent
                    with but one set object, namely, to deliver a certain
                    fancied punch. Irrespective of a possibly dangerous
                    counter attack, these men will wade into an opponent
                    for the sole purpose of accomplishing that which
                    is in their mind.
                    The in-fighter’s thoughts should rest one the two
                    possibilities, and thus proceed on the necessary
                    caution and generalship. As will be seen in Fig. 7‘
                    my object was to get the right home to the pit of
                    the stomach.
                    The In-Fighter’s most Deadly Punch.
                    This is undoubtedly the most deadly in-fighting
                    punch possible, and means decisive victory if properly administered. In trying for this, however, it
                    must be remembered that a right may come along
                    and upset our plan. Therefore the left is brought
                    up to the opponent’s chin almost simultaneously
                    with the right drive to the mark. If successful the
                    left jolt should send your man’s head back, a movement which causes the muscles of his stomach to
                    relax. As will be seen in the illustration, the infighter leaves his face open somewhat for his opponent’s left. But admitting that the former has not
                    been successful with the said attack, the left may be
                    quickly brought round to cover or the head lowered
                    into the right shoulder, thus protecting the jaw.
                    This last movement would naturally cause the opponent’s left to land on the head and not the chin. Avoiding a Driving Right, Blocking the Left, and
                    Punching Stomach.
                    The opponent in this picture has lashed out with
                    the right, but the quick-witted in-fighter’s move is to
                    at once wade into his man and make the punch noneffectual, that is, presuming the said right hand
                    punch has been a straight drive to the chin, not a
                    hook or swing. The dodging of this delivery, by
                    quickly stepping in with the head slightly on one
                    side, has the effect of carrying your opponent’s right
                    clean out of its straight course, so to speak, and
                    making it shoot over the shoulder. The impetus
                    created by the sending forth of the said punch, and
                    the missing of same, is such that you are well into
                    close quarters before your man can regain his proper
                    striking equilibrium. Seeing himself thus forcibly
                    brought into close contact with the in-fighter, the
                    opponent will try to do a bit of short-range work
                    himself, and his right arm being momentarily out of
                    action, the possibilities are that he will attempt a
                    half-arm left hook to your now exposed
                    chin. You must watch this, and catch the
                    punch in the palm of your right hand, at the same
                    time driving the left to the stomach. The result of
                    this will invariably be to compel your opponent to
                    bring his right back to protect the body, in which
                    case the in-fighter’s left must get outside it in an
                    upward hook to the chin. This may lead to an
                    exchange at close quarters, during which the experienced in-fighter should again have things a good deal
                    his own way. Of course, there is no knowing
                    exactly what an opponent will do; but as I have
                    C 2 written elsewhere, the thorough digesting of this
                    work, followed by plenty of practice, should breed
                    the in-fighting instinct in most of my readers
                    enthusiastically bent upon acquiring same. Forcing an Opponent to the Ropes.
                    As I have said elsewhere, the most deadly infighting is served out to an opponent when he is on
                    the ropes. The point, therefore, is to get him there
                    as often as possible. Rugged boxers want a deal of
                    hustling, while those who depend mostly on
                    mobility, or fast footwork, are difficult to catch.
                    But even these must at some time or another find
                    themselves off their balance, or should I say that it
                    should be the in-fighter’s object to effect this
                    unsteadiness of foot? The hit, stand, and get-away
                    boxer may never bring about this desirable state of
                    affairs himself, for having scored with a punch, he
                    usually skips back to contemplate the effect of his
                    shot. This allows the opponent to regain any slight
                    overbalancing that the blow may have caused.
                    The in-fighter, on the contrary, must at once
                    follow up a hard punch, and by so doing create a
                    further unsteadiness in his opponent’s equipoise.
                    That is the moment to rush him, thus compelling
                    the retreating boxer to lose his left foothold and fall
                    back on the right. In the illustration, Fig. 9,
                    Madole’s full weight at that moment is on one leg, so
                    that he is forced to step back to avoid falling altogether. The in-fighter must not relax his forward
                    movement until he has his man well up against the
                    ropes. The impact thus created will force most boxers to bend their backs over the top cord, this
                    movement causing them, to leave their stomachs
                    open for the in-fighter’s demolishing work.
                    As in all other moves of the boxing game, the infighter must choose the psychological moment to
                    rush his opponent. If this does not present itself,
                    then he must use all his in-fighting strategy to make
                    it. For it must be remembered that one of the
                    greatest arts in boxing is creating favourable opportunities for oneself; that is to say, fusing every
                    honest means to compel an opponent to do just the
                    very thing that he himself would avoid. That is
                    where generalship comes in, that ever necessary
                    element in as all engagements wherein the “fortunes
                    of war” play an important part.

                    Comment


                    • #20
                      The Liver Punch.
                      After the stomach and heart, the liver is the most
                      vulnerable part of a boxer’s body, that is, now that
                      the kidney punch has been barred. This measure
                      meant the taking away of a valuable point of vanstage for the in-fighter, inasmuch as the kidneys were
                      the easiest part of a man to punch, while incurring
                      the minimum of risk. Nevertheless, it is perhaps
                      as well for the boxing game, and boxers generally,
                      that these delicate regions were ruled out and
                      declared forbidden ground. This action was extremely unfavourable to the close range expert, but
                      it was necessary, if only from the fact of the deterioration of a boxer’s health after having been severely
                      mauled by the kidney fiend. Personally never
                      made much use of the punch so that its exclusion
                      was but a small loss to me. In place I made a study of the liver punch,
                      which, although less painful, plays no small part in
                      an opponent’s undoing. As with all in-fighting
                      punches, it is best delivered when your man is on
                      the ropes, but that does not necessarily imply that
                      it cannot be tried at any other moment, and failing
                      being sable to reach his man, the in-fighter must
                      await a right swing, or hook, from his opponent,
                      catch same on the neck, and close in. When doing
                      this, always keep your eye on the left that may come
                      up unpleasantly near your chin. The right should
                      be ready to stop this while your left is driven to the
                      liver. The blow is clearly illustrated in Fig. 10.(p.
                      33), and with a little practice should add yet one
                      more weapon to a boxer’s arsenal. Should the opponent’s left be slow in coming, then there is a
                      splendid opportunity to smash your right home to
                      his spleen, and thus complete the full object of your
                      incursion to close quarters. Few boxers can take
                      many punches on the liver or spleen without weakening. Fitzsimmons knew this, and made an art of
                      this particular blow, as well as the shift-punch to
                      the stomach. As he was perhaps the greatest
                      middle-weight who ever lived, these specialities of
                      his need no further recommendation.
                      Watch an Opponent’s Legs, Knees, and Feet
                      when Hugging.
                      As it is mostly impossible, when at close quarters,
                      to watch an opponent’s eyes (it being advisable to
                      keep the head down), my advice is, watch his feet.
                      These are often indicative of a boxer’s intention, for the least forward movement means that he is himself
                      trying to get closer in for short-range work. If, on
                      the contrary, his feet show a tendancy to retreat,
                      if then you may rest assured that your opponent does
                      not fancy close exchanges. Should the position, as
                      shown in Fig. 11 (p. 37), be unfavourable to effectual
                      body pasting, then the in-fighter may either allow
                      his man to step away,or do so himself, in the hope
                      of securing a more suitable opening for his particular
                      talents.
                      Apart from that, it is always interesting to know
                      the exact effect of a punch on an opponent, and this
                      is possible by an glance at his legs and knees.
                      These parts seem to be in strange sympathy with
                      the upper part of a man’s body, and will at once by
                      their firmness, or relaxation, communicate to the
                      experienced eye the amount of damage done by a
                      blow. Thus it is that we hear of a boxer “going
                      groggy at the knees,” or that his “legs shook” after
                      a certain punch. If such an effect is produced by a
                      long-range delivery it is obvious to the giver, for the
                      receiver of the punch will insensibly “give himself
                      away.”
                      But in the case of a “knee-bending” punch at
                      close quarters, what indication can the in-fighter
                      have that the blow has been effectual, save by a
                      glance at his opponent’s legs? The first symptoms
                      will be, that a boxer so “plugged” brings his whole
                      weight to bear on you. Having gleaned so much,
                      and lowered yourself to allow the full weight of your
                      opponent’s body to fall on his legs, your su****ions
                      will be either verified or negatived. Feigning “Grogginess.”
                      There are boxers who will bring their histrionic
                      talents to bear on a contest and feign “grogginess,”
                      in the hope of drawing you into a trap. Now,
                      although this is more successful when practised while
                      out-fighting, such ruses are not infrequent at close
                      quarters. In the case of an opponent showing signs
                      of distress, either feigned or real, it is the in-fighter’s
                      duty to immediately break clear, quickly survey the
                      situation, and either keep away or drive the final
                      punches home at a long or short range, according
                      to his judgment.
                      Ducking an Opponent’s Right Swing, Stepping in with
                      Right Upper-cut, and Driving Left to the Stomach.
                      The Eyes and the-Brain
                      This is an exceedingly pretty part of the in-fighting art; one, however, that should be well mastered
                      before taking its possible risks. As the head has-to
                      play the master part of ducking the right swing, a
                      deal of practice is necessary to know exactly when
                      and how far the move is practicable. As in all
                      phases of the Noble Art, the eye must accustom itself
                      to possibilities, just as the brain must respond at
                      once to the visual appreciation of danger or of openings for attack. The eyes are the outposts of the
                      mind, so to speak, the transmission of its observations being carried with momentary rapidity to the
                      centre of action—or headquarters.
                      Quick-wittedness in boxing may be developed by
                      concentration during one's boxing, that is, a boxer
                      must not for a single instant during a contest let his imagination wander from his work. The same
                      recommendation applies to the boxer when in the
                      gymnasium, for the lack of interest in one’s practice
                      brings on laxity of mind at all times.
                      The beginner, especially, must realise that the
                      boxing game is fulls of traps and surprises, that the
                      eye must be trained to see these, and that the brain
                      must work conjunctively in surmounting difficulties.
                      It is necessary to impress these things firmly on
                      the minds of those about to attempt the movement
                      of Fig. 12. Having well reasoned out the possibilities of danger that an untimely or badly-executed
                      lowering of the head may mean, let the reader practise it as often as possible, until the ducking becomes
                      almost instinctive. Rome was not built in a day
                      and it may take some time before this phase, as all
                      others, by the way, is mastered sufficiently to be
                      tried with safety during a real contest.
                      Once acquired, it is as simple as it is effectual, and
                      means a big jump toward victory, if not the final
                      step to that desirable end.
                      The missing of a right swing by an opponent
                      usually means the slight losing of his equilibrium.
                      This fact prevents him from bringing his left into
                      motion in time to avoid the in-fighter’s close-quarter
                      upper-cut. Having ducked his right, the natural
                      overbalancing of his body brings his chin into a
                      direct upward line for the successful placing of your
                      punch, as shown in the illustration. Before he can
                      recover, the left may be easily driven to the stomach,
                      the whole of which will lead to your man clinching,
                      therefore the coming in for more short-range punish ment. As will be readily observed, the successful
                      issue of all this depends entirely upon the proper
                      ducking of your opponent’s right, swing at the
                      psychological moment. The long-range boxer often
                      ducks the same punch, but steps back in doing so
                      The in-fighter differs in that he must lower his head
                      in a forward movement, thus preparing himself for
                      the right upper-cut to the jaw and left body,
                      deliveries. A close study of the picture depicting
                      this phase will convince anybody of its efficacy.

                      Comment

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