Hand-book of calisthenics and gymnastics : a complete drill-book for schools, families, and gymnasiums : with music to accompany the exercises

Front matter

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Preface

THANKS to the noble efforts of modern educators and philanthropists, the community is waking up to the importance of special physical culture, and earnestly asking how it may best be secured. The purpose of the present volume is to solve this problem, by presenting, in a simple and well-defined form, the means of rendering physical training easy and certain to the rich and the poor, to persons of all ages, either individually or in classes, — thus serving as a companion-book to the many excellent works on mental and moral culture, and affording the necessary additional facilities for the acquisition of a symmetrical education, with its attendant blessings.

Believing that physical culture may be secured more expeditiously and profitably in its entirety than in " shreds and patches," the author has aimed to make this a complete gymnastic drill-book, with words of command and classes of movements systematically arranged, embracing all necessary exercises for the lungs, the voice, the organs of speech, the joints, the sinews, and the muscles.

Part First, under the head of Vocal Gymnastics, is a thorough, comprehensive, and practical Treatise on Respiration, Phonetics, and Elocution, in which the principles and rules are stated in a succinct and lucid manner, accompanied by examples and exercises of sufficient number and extent to enable the student to master each point as presented, and acquire a distinct comprehension of the parts as a whole. It gives some of the choicest gems of English verse, with the design of combining Poetic Recitation with Calisthenics and Gymnastics, thus rendering this a sufficient work for advanced classes in Reading and Oratory.

Part Second, under the head of Calisthenics, exhibits the most extended and varied course of exercises, without the aid of apparatus, ever published. It also embraces all needful directions, rules, and explanations for instructors and students ; and all varieties of marking time, while executing the movements, by counting, Phonetics,

4 PREFACE.

Recitations, and Music. Nineteen pieces of appropriate Piano-forte Music are introduced in their proper connections. Those not composed expressly for this work are selected and arranged from the choicest productions of the ablest masters. To G. F. Bristow and H. B. Dodworth, gentlemen whose merits as musicians and composers are generally recognized, the author is greatly indebted for valuable assistance, freely and generously afforded, in this department of his work. He is also happy to acknowledge himself under equal obligations to Miss C. Hutchings, of New York, for corresponding aid.

Part Third, under the head of Gymnastics, presents more exercises for Wands, Dumb-bells, Indian Clubs, and Hand-rings, than all other books. While the single exercises, for each piece of apparatus, are sufficiently numerous and varied to secure the requisite simultaneous activity of the mental and the physical powers, and call into play all the muscles of the body, then- classification is so perfect, that, instead of interfering with, they mutually support and recommend each other. The more beautiful and effective combined exercises are inexhaustible. To Professor John Wood, the proprietor of Wood's Gymnasium, Twenty-eighth Street, New York, one of the finest gymnasts in this country, the author's best acknowledgments are due for his kind and patient explanations of certain parts of his system ; and more especially for a portion of the Indian club exercises that appear in this work.

All the exercises are arranged in accordance with well-known principles of Anatomy, Physiology, and Hygiene. They have been thoroughly and repeatedly tested, in gymnasiums and schools, invariably securing the happiest results.

In order to present successfully a new System of Calisthenics and Gymnastics, a series of Illustrations from original designs is indispensable. The Cuts that accompany these exercises were prepared expressly for this work, illustrating positions actually taken and movements executed by the author. They were drawn on wood by Geo. G. White and E. Tedder, and engraved by N. Orr & Co.

As a hand-book for individuals and families, and a text-book for Schools and Gymnasiums, the author believes that this work will aid in promoting the welfare of mankind.

New York, November, 1863.

CONTENTS,

I. VOCAL GYMNASTICS.

I. RESPIRATION. PAGK

Function of Breathing , . . . . 13

Attitude of the Body = 15

Exercises in Breathing " 15

Sighing. Sobbing 16

Gasping. Panting 17

II. ORTHOEPY.

Articulation 17

Definitions .... 17

Oral Elements 19

Table of Oral Elements 20

Cognates 21

Alphabetic Equivalents 22

Tonic and Subtonic Combinations 23

Tonic and Atonic Combinations 25

Phonetic Laughter 26

Errors in Articulation 26

Analysis of English Words 27

Special. Rules 29

Exercises in Articulation 29

Syllabication 31

Formation of Syllables. . 31

Rules for the Formation of Syllables 32

Accent 34

Words distinguished by Accent 35

Accent changed by Contrast 36

III. EXPRESSION.

Emphasis 37

Rules for the Use of Emphasis. '. 38

Slur 40

6 CONTENTS.

l'AGE

Inflections 43

Rules for the Use of Inflections 45

Modulation 49

Pitch 49

Force 52

Quality 54

Rate 58

Monotone 60

Personation 62

Pauses 63

Rules for the Use of Pauses 64

Suspensive Quantity 65

Measure and Rhythm of Verse 68

IV. RECITATIONS IN VERSE.

The Clime of the East Byron. 71

The Voice of Spring Mrs. Hemans. 72

Song of the Stars W. G. Bryant. 73

The Sailor's Song ■ . , . B.W. Procter. 75

Life in the West George P. Morris. 76

A Psalm of Life H.W. Longfellow. 77

"What might be Done Charles Mackay. 78

The Norman Baron H.W. Longfellow. 79

Those Evening Bells Thomas Moore. 81

The Blissful Day Robert Burns. 81

When shall We Three Meet Again ? Anonymous. 82

The Wonderful " One-Hoss Shay" O.W. Holmes. 83

The Swan's Nest Elizabeth Barrett Browning. 93

She Walks in Beauty Byron. 96

Lady Clare Alfred Tennyson. 97

Maud Muller .' John Greenleaf Whittier. 100

The Rose and the Gauntlet John Sterling. 103

The Bridge of Sighs Thomas Hood. 104

The Influence of Fame Joanna Baillie. 106

I give my Soldier-Boy a Blade William McGinn. 106

The Lyre and Sword. George Lunt. 107

Life without Freedom Thomas Moore. 108

How Sleep the Brave William Collins. 109

The Charge of the Light Brigade Alfred Tennyson. 109

Bingen on the Rhine Caroline Norton. 110

The Widow and Child Alfred Tennyson. 112

CONTENTS. 7

PAGE

Barbara Frietcbie John Greerdeaf Whittier. 113

The Star-spangled Banner Francis Scott Key. 115

The Flower of Liberty 0. W. Holmes. 116

Union and Liberty 0. W. Holmes. 117

II. CALISTHENICS.

I. INTRODUCTION.

Instruction of Assistants 119

Commands 120

Position of the Student 120

Time and Rhy thmus 122

Vocal Exercises with Calisthenics 124

Music with Calisthenics .... 124

Formation of the Class „ 125

Instruction of the Class 128

Instruction of the School 129

Calisthenic Hall 130

Costume 132

General Divisions 135

II. GENERAL EXERCISES.

Vocal Exercises 143

Counting 143

Phonetics 144

Recitations 145

Vocal Music 146

Instrumental Music 147

Music for Chest Exercise 150

Music for Shoulder Exercise 152

Music for Elbow Exercise ' 158

Music for Arm and Hand Exercise 160

Music for Head and Neck Exercise 187

Music for Trunk and Waist Exercise 188

Music for Knee Exercise * 189

Music for Leg and Foot Exercise 206

<5 CONTENTS.

III. GYMNASTICS.

I. INTRODUCTION.

PAGE

Apparatus 252

Wands 253

Dumb-bells 254

Indian Clubs 256

Rings 260

Classes of Movements 261

II. WAND EXERCISES.

III. DUMB-BELL EXERCISES.

Slngle Bell Exercise 345

IV. INDIAN CLUB EXERCISES.

Comblned Exercises 374

The Indian Club Race 384

V. RING EXERCISES.

Miscellaneous Exercises 387

VOCAL GYMNASTICS.

INTKODUOTOKY to the general exercises in Calisthenics and Gymnastics, and as an indispensable accompaniment, in order to insure strength, tone, purity, and flexibility to the voice, and as conducive to general health, — ■ the instructor will make it an imperative school duty for the student to acquire a thorough and practical knowledge of Yocal Gymnastics.

While a combination of Yocal Exercises with Calisthenics and Gymnastics is valuable to all classes and conditions of men, it is absolutely indispensable in the early training of public singers, readers, and orators. The full recognition of this fact by Demosthenes, in his youth, gave him the command of that admirable and masterly force of masculine eloquence, which, as it overpowered all who heard it, can not, at this day, be read without emotion. Colton says of him :

" His studies, though embracing a liberal and wide range of letters, philoso}3hy, and science, are not confined to the academy or the public grove. We see him daily ascending the Acropolis, and panting for breath as he gains the summit. Again he is seen laboriously climbing Olympus, the Hymettus, and every eminence where .genius or the muses have breathed their inspiration.

" His object, which he pursues with an ardor that never flags, and a diligence that never tires, is twofold, viz. : to drink in the free and fresh inspirations of nature and art ; and, by unremitting daily exercise, to give expansion to his chest, and strength and freedom of play to his lungs.

" We see him again, when the tempest comes on, hurrying to the least-frequented parts of the Piraeus or Phalerus ; and while the deafening thunders roar around him, and the deep and stirring eloquence of many waters expands and fills his soul, lifting his feeble and stammering voice, and essaying to give it compass, and flexibility, and power, while he ' talks with the thunder as friend to friend, and weaves his garland of the lightning's wing.' "

" Reading aloud and recitation," says Andrew Combe, " are more useful and invigorating muscular exercises than is generally imagined ; at least, when managed with due regard to the natural powers of the individual, so as to avoid effort and fatigue. Both require the varied activity of most of the muscles of the trunk to a degree of which few are conscious till their attention is turned to it. In forming and undulating the voice, not only the chest, but also the diaphragm and abdominal muscles, are in constant action, and communicate to the stomach and bowels a healthy and agreeable stimulus."

ELOCUTION.

ELOCUTION is the delivery of extemporaneous or written composition. We say of elocution, it is good or bad ; clear, fluent, or melodious ; though it is often used as nearly synonymous with eloquence, the act of expressing thoughts with elegance and beauty.

We purpose, in this Treatise, to present all necessary directions, rules, and exercises, under the four general divisions : Respiration, Orthoepy, Expression, and Recitations

IN YERSE.

RESPIRATION. 13

I. Kespiration

A SKILLFUL management of the breath in utterance is the first essential to good reading and speaking. To avoid marring sentences, and losing the force of the leading ideas, the breath must be drawn or gathered at intervals of the period when the voice is only suspended for a moment. By this management the lungs may always have a sufficient stock of air for carrying on the longest sentence, without improper interruptions.

It is a good practice for the student, after inhaling a full breath, to repeat the cardinal numbers rapidly, up to eight, a number of times. By practice, he may soon make his breath hold out till he has counted eight, twelve times. Another valuable exercise is, after a fall inhalation, to trill r continuously, as long as possible, on the same key ; up and down the musical scale a number of times, observing the regular intervals ; and through several passages of music.

We quote the following remarks and directions from an excellent Manual by Bussell and Murdock :

" Function of Breathing.— The organs of voice, in common with all other parts of the bodily frame, require the vigor and pliancy of muscle, and the elasticity and animation of nerve, which result from good health, in order to perform their appropriate functions with energy and effect. But these indispensable conditions to the exercise of the vocal organs, are, in the case of most learners, very imperfectly supplied. A sedentary mode of life, the want of invigorating exercise, close and long-continued application of mind, and, perhaps, an impaired state of health, or a feeble constitution, prevent, in many instances, the free and forcible use of those muscles on which voice is dependent. Hence arises the necessity of students of elocution practicing physical exercises, adapted to promote general muscular vigor, as a means of attaining energy in vocal functions ; the power of any class of muscles being dependent on the tone of the whole system.

" The art of cultivating the voice, however, has, in addition to the various forms of corporeal exercise practiced for the general purpose of promoting health, its own specific prescriptions for securing the vigor of the vocal organs, and modes of exercise adapted to the training of each class of organs separately.

" The results of such practice are of indefinite extent ; they are limited only by the energy and perseverance of the student, excepting, perhaps, in some instances of imperfect organization. A few weeks of diligent cultivation are usually sufficient to produce such an effect on the vocal organs, that persons who commence practice with a feeble and ineffective utterance, attain, in that short period, the full command of clear, forcible, and varied tone.

" Gymnastic and calisthenic exercises are invaluable aids to the culture and development of the voice, and should be sedulously practiced when opportunity renders them accessible. But even a slight degree of physical exercise, in any form adapted to the expansion of the chest, and to the freedom and force of the circulation, will serve to impart energy and glow to the muscular apparatus of voice, and clearness to its sound.

" There is, therefore, a great advantage in always practicing some preliminary muscular actions, as an immediate preparation for vocal exercise. These actions may be selected from the system of preparatory movements taught at gymnastic establishments ; or they may be made to consist in regulated walking, with a view to the acquisition of a firm, easy, and graceful carriage of the body, with appropriate motion of the arms and limbs ; in the systematic practice of gesture, in its various forms, for the purpose of obtaining a free, forcible, and effective use of the arm, as a natural accompaniment to speech ; or in the practice of

RESPIRATION.

attitude and action combined, in the most vivid style of lyric and dramatic recitation, so as to attain a perfect control over the whole corporeal frame, for the purposes of .visible expression.

" Some preliminary exercises, such as the preceding, having been performed, and a sufficient period for rest and tranquil breathing having elapsed, the next stage of preparatory action may be as in the following directions :

" 1. Attitude of the Body, and Position of the Organs. — Place yourself in a perfectly erect, but easy posture ; the weight of the body resting on one foot ; the feet at a moderate distance, the one in advance of the other ;* the arms akimbo ; the fingers pressing on the abdominal muscles, in front, and the thumbs on the dorsal muscles, on each side of the spine ; the chest freely expanded and fully projected; the shoulders held backward and downward ; the head perfectly vertical.

" 2. Exercises in Deep Breathing.

— Having thus complied with the preliminary conditions of a free and unembarrassed action of the organs, " draw in and give out the breath very fully, and very slowly, about a dozen times in succession. Let the breathing be deep and tranquil, but such as to cause the chest to rise fully, and fall freely, at every effort.

1 Position. — The object in > view, in this apparently minute direction, is to secure perfect freedom and repose of body. A constrained or a lounging posture is utterly at variance with a free, unembarrassed use of the voice, or the production of a clear and full sound. While the position of the above figure differs from the description here given, having all of the advantages and being one of the leading positions in Calisthenics, it is recommended, as preferable.

" 3. Exercise in ''Effusive] or Tranquil Breathing. — Draw in a very full breath, and send it forth in a prolonged sound of the letter h. In the act of inspiration, take in as much breath as you can contain. In that of expiration, retain all you can, and give out as little as possible, merely sufficient to keep the sound of h audible. But keep it going on, as long as you can sustain it. In this style of respiration, the breath merely effuses itself into the surrounding air.

" The strength of the individual must be left to regulate the frequency with which this exercise should be performed, in succession ; half a dozen times will suffice at first.

" 4. Exercise in ' Expulsive] or Forcible Breathing. — Draw in a very full breath, as before, and emit it with a lively, expulsive force, in the sound of A, but little prolonged ; in the style of a moderate whispered cough. The breath, in this style of expiration, is projected into the air. Repeat this exercise, as directed in the statement preceding.

" 5. Exercise in 'Explosive? or Abrupt Breathing. — Draw in the breath, as already directed, and emit it with a sudden and violent explosion, in a very brief sound of the letter k, in the style of an abrupt and forcible, but whispered cough. The breath is, in this mode of expiration, thrown out with abrupt violence. Repeat this exercise, as before directed.

" 6. Sighing. — Sighing, as a natural effort, designed to relieve the lungs and accelerate the circulation, when depressing emotions or organic impediments cause a feeling as if the breath were pent up, consists in a sudden and large inspiration, and a full, strong, effusive expiration. In vocal training, it becomes a most efficacious means of free, unembarrassed respiration, and, consequently, of organic energy and of full voice. It should be repeated as the other exercises, and practiced both through the nostrils and the mouth ; the former being its gentler, the latter its more forcible form. It should be practiced, also, in the tremulous style of inspiration, in which the sigh resembles a series of prolonged and subdued sobs.

" 7. Sobbing. — Sobbing, as an instinctive act, consists in a

ORTHOEPY. 17

slightly convulsive, subdued, and Avhispering gasp, by which an instantaneous supply of breath is obtained, when the stricture caused by the suffocating effect of grief would otherwise obstruct or suspend too long the function of inspiration. The practice of the sob facilitates the habit of easy and rapid inspiration, and the expression of pathetic emotion.

u 8. Gasping. — Gasping is an organic act, corresponding somewhat to sobbing, but much more violent, as belonging to the expression of tierce emotions. Its effects, as an exercise in disciplining the organs, are very powerful, and its use in vehement expression, in dramatic passages, highly effective, and, indeed, indispensable to natural effect.

" 9. Panting. — Panting, as a natural act, in a highly excited state of the circulation, whether caused by extreme muscular exertion or by intense emotion, consists in sudden and violent inspiration and expiration, the latter process predominating in force and sound. It is the only form of respiration practicable in high organic excitement. The practice of panting, as an exercise, imparts energy to the function of respiration, and vigor to the organs. Its effect is inseparable from the expression of ardor and intense earnestness in emotion." -

II. Orthoepy

RTHOEPY is the art of correct pronunciation. It embraces Articulation, Syllabication, and Accent.

I. ARTICULATION.

Definitions.

ARTICULATION is the distinct utterance of the Oral Elements in syllables and words. 2. Oral Elements are the sounds that, uttered separately or in combination, form syllables and words.

3. Oral Elements ark produced by different positions of the organs of speech, in connection with the voice and the breath.

4. The principal Organs of Speech are the lips, the teeth, the tongue, and the palate.

5. Voice is produced by the action of the breath upon the larynx.1

6. Oral Elements are dividkd into three classes : eighteen tonics, fifteen subtonics, and ten atonics.

7. Tonics are pure tones produced by the voice, with but slight use of the organs of speech.

8. Subtonics are tones produced by the voice, modified by the organs of speech.

9. Atonics are mere breathings, modified by the organs of speech.

* 10. Letters are characters that are used to represent or modify the oral elements.

11. The Alphabet is divided into vowels and consonants.

12. Vowels are the letters that usually represent the tonic elements. They are a, e, i, o, u, and sometimes y.2

13. A Diphthong- is the union of two vowels in one syllable ; as, ou in our.

14. A Digraph, or Improper Diphthong, is the union of two vowels in a syllable, one of which is silent ; as, oa in loaf, ou in court.

15. A Triphthong is the union of three vowels in one syllable; as, eau in heau, ieu in adieu.

16. Consonants3 are the letters that usually represent either subtonic or atonic elements. Thev are of two kinds,

1 Larynx. — The upper part of the riant, literally meaning, sounding trachea, or windpipe. with, is applied to these letters and

2 W not a vowel. — As w, stand- combinations because they are rarely ing alone, does not represent a pure used in words without having a vowel or unmodified tone in the English connected with them in the same language, it is not here classified syllable, although their oral elements with the vowels. may be uttered separately, and with-

3 Consonant. — The term conso- out the aid of a vowel.

ORAL ELEMENTS. 19

single letters and combined, including all the letters of the alphabet, except the vowels, and the combinations ch, sh, wh, ng ; £h subtonic, and th atonic.

17. Labials are letters whose oral elements are chiefly formed by the lips. They are b, p, w, and wh. M may be regarded as a nasal labial, as its sound is affected by the nose, j^and v are labia-dentals.

18. Dentals are letters whose oral elements are chiefly formed by the teeth. They are^', s, 2, eh, and sh.

19. Lingtjals are letters whose oral elements are chiefly formed by the tongue. They are d, Z, r, and t. JV is a nasallingual ; y, a lingua-palatal, and th, a lingua-dental.

20. Palatals are letters whose oral elements are chiefly formed by the palate. They are g and h. NG is a nasalpalatal.

21. Cognates are letters whose oral elements are produced by the same organs, in a similar manner ; thus,/1 is a cognate of v / h of g, &c.

22. Alphabetic Equivalents are letters, or combinations of letters, that represent the same elements, or sounds ; thus, i is an equivalent of e, in pique.

Oral Elements.

In sounding the tonics, the organs should be fully opened, and the stream of sound from the throat should be thrown, as much as possible, directly upward against the roof of the mouth. These elements should open with an abrupt and explosive force, and then diminish gradually and equably to the end.

In producing the subtonic and atonic elements, it is important to press the organs upon each other with great firmness and tension ; to throw the breath upon them with force ; and to prolong the sound sufficiently to give it a full impression on the ear.

In addition to the observance of the above directions, pupils should be required to assume an erect posture, either

VOCAL GYMNASTICS.

standing or seated, and to keep a full supply of air in the lungs, while uttering the elemental sounds, as arranged in the following

Table of Oral Elements.1 i.

TONICS.

a

or as in

age,

ate.

e

or

e, as in

elk,

end.

a

or

a,

u

at,

land.

her,

verse.

a,

i.

art,

arm.

i i

or ice,

child.

a,

u

all,

ball.

2 1

or ink,

inch.

u

bare,

care.

or

6, "

old,

home.

a

ask,

glass.

or

6,6 "

on,

frost.

i e

or

e,

u

he,

these.

3 . /-

0, "

do,

prove.

1 Directions. — First require the students to pronounce a catch-word once, and then produce the oral element represented by the figured vowel, or italic consonant, four times — thus : age, a, a, a, a*; at, a, a, a, a, &c. Exercise the class upon the table till each student can utter consecutively all the oral elements.

2 Long and Short Vowels. — The attention of the class should be called to the fact that the first element, or sound, represented by each of the vowels, is usually indicated by a horizontal line placed over the letter, and the second sound by a curved line.

3 A Fifth. — The fifth element, or sound, represented by a, is its first or Alphabetic sound, modified or softened by r.~ In its production, the lips, placed nearly together, are held immovable while the student tries to say, a.

4 A Sixth. — The sixth element represented by a, is a sound intermediate between a, as heard in at, ash, and a, as in arm, art. It is produced by prolonging and slightly softening a.

5 E Third. — The third element represented by e, is e as heard in end, prolonged, and modified or softened by r. ■

G O modified. — The modified oral element of o, in this work, is represented by (6 or o) the same marks as its regular second power. This modified or medium element may be produced by uttering the sound of o in not, slightly softened, with twice its usual volume, or prolongation. It is usually given when short o is immediately followed by ff, ft, ss, st, or th, as in off, soft, cross, cost, broth; also in a number of words where short o is directly followed by n, or final ng, as in gone, bego?ie; long, along, -pro?ig, song, strong, thong, throng, -wrd)ig. Smakt says, To give the extreme short sound of o to such words is affectation ; to give them the full sound of broad a (a in all), is vulgar.

COGNATES.

u or u,1 as in cube, cure, u or u, " bud. hush.

a, m, n,

ng, as m babe, did,

g&g,

join, Zake, mild,

?iame, gang,

IT.

or on,

SUBTONICS.

n, as in full, push.

" our. house.

dim.

fh, "

9*9-

0, "

joint.

to, "

lane.

y,

mind.

nine.

sang.

as in rake,

bar.

this,

with.

fine,

i>ice.

wake,

wise.

yard,

yes.

sest,

gase.

azure,

glazier