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Do this with the minimum movement and the minimum pain and you will be able to make him quit whenever you wish without hurting him.


GROWTH OF SELF-CONFIDENCE
After holding a man helpless with the Little Finger grip you will experience a sudden rise in your morale. This is the psychological result of the discovery of physical powers you did not know you possessed.
This is merely a foretaste of greater powers yet to come, and a still greater growth of confidence in yourself, which is a valuable factor in fighting the battle of life.


THE MAJOR OPERATION
Take the position of fig. 9, relax the pressure of your grip until he feels no pain.
This can be done with a hardly perceptible movement. Anyone watching your hand and your opponent's hand would see no change of position.
After a little practice you will be able to grasp opponent and instantly secure the grip up to the point where you have "got" him but without his feeling any pain, as yet.


THE MINOR OPERATION
Tell opponent to raise his right hand slowly and attempt to tickle your nose.
As he raises it, slowly apply the pressure and you will check his attempted move.
Do not apply more pressure than is necessary to check him.


MASTERING THE COURSE WITHOUT AN INSTRUCTOR
Two absolutely inexperienced men or women can easily master the entire course without a teacher if they will observe the following rule:
Alternately take the role of victim and unresistingly allow each trick to be practised on you, and in turn practise it on your partner until you have mastered both the Major and Minor Operations.
This will safeguard you against injuries and will reduce the time necessary for each trick.
In more advanced practice you may execute the Major operation with full speed and strength but the Minor operation is always performed gently and with the minimum of movement.
It may be suggested that you go thru the entire course once before you try any practise for speed.


THE MORE HASTE THE LESS SPEED
In jujitsu demonstrations I have frequently allowed a man to attack my throat with his thumbs on my windpipe and to do his utmost to choke me and have instantly secured a lock on his arm and held him powerless, but without hurting him. Frequently some enthusiastic member of the audience will try a similar grip on the arm of a friend but will nearly break his arm, with the result that his friend will absolutely refuse to practise any more.
Now, if these young men had waited until they were shown what part of the trick to take swiftly and what part to do slowly, they would have been able to practise with a great deal of profit and pleasure. They would have been able to continue that practice until they were really efficient without any danger to their limbs.
So you must analyze every trick into its two operations -- Major and Minor, and while you take the first one quickly, take the second one slowly.
Altho you divide them mentally there will be no pause between them; they will both appear to be one swift movement.
You must try each trick very gently to find out where the Major operation ends and the Minor operation begins.


THE ESCAPE FROM LITTLE FINGER "COME-ALONG"
If assailant omits to imprison your forearm tightly between his hands and his Stahara and merely holds you with the strength of his hands --

Swing right shoulder and elbow upwards, making the effort from the Stahara, dropping our left shoulder and if necessary striking him in pit of stomach with left fist.
This method of escape evades the pain of the grip.



If he holds you tightly against his Stahara and keeps the pressure on your fingers there is no escape.
In actual combat it might be necessary to break an enemy's finger, but this ability to "treat 'em rough" is best acquired by careful practice in which you avoid injuring one another.


LESSON 4
This lesson gives you an example of maneuvering opponent's hand to such a position that it becomes relatively weak.
You are then taught the principle it embodies. You will apply this principle to every hold you practise.


KNOWLEDGE CONQUERS STRENGTH
The underlying principle in this lesson is:
In each trick get your opponent so that he can resist you with only 20 percent of his strength
And conversely
Use your body so that you are exerting 100 percent of your strength at the point where he is opposing only 20 percent of his.
A little practice of this experiment will teach you to act automatically on this principle in all tricks. In order not to hurt one another's wrists do this practice slowly but firmly.
The value of this exercise lies not in the intrinsic merit of the wrist-twist as a fighting trick but in enabling you to apply this principle in your future practice, automatically, without having to try to remember it.


NULLIFYING OPPONENT'S STRENGTH
Take the Wrist-twist grip. Let your opponent relax his arm. Pull your elbows close to your sides, thus straightening his arm.

Twist his wrist slowly, not by hand pressure alone, but by turning your body also.
He is powerless to prevent you as he can only oppose the strength of his wrist against the strength of your whole body.


YOUR OWN STRENGTH NULLIFIED
Relax your arms. Let your opponent slowly pull his elbow close to his side, clenching his fist, with strength and balance in his Stahara.
(Do not move your feet in this experiment.)

You will now find it impossible to twist his wrist.
This is because you are exerting the strength of your wrist only against the strength of his whole body.


A class of West Pointers (1920) at The Infantry School
Camp Benning, Columbus, Ga., February 1919
The DEATHLOCK -- See Book Seven.


LESSON 5
This lesson shows clearly by means of two photographs the secret of Stahara Control, and teaches you how to apply it.

Fig 14: CENTER OF GRAVITY TOO HIGH -- INCORRECT
NO STRENGTH IN THE STAHARA -- THE ABDOMINAL REGION
Body weak -- easily unbalanced.
Connection between arms and legs absent.
Body cannot move quickly.



Fig 15: CENTER OF GRAVITY LOW -- CORRECT
THE STAHARA -- ABDOMINAL REGION -- FULL OF STRENGTH
Body strong -- well balanced.
Proper connection between arms and legs.
Body able to move quickly.


STAHARA CONTROL
Standing in position of fig. 15 force your stomach, abdomen and diaphragm down as if you were trying to force your abdomen outward against your belt, to make your belt feel tight, as it were.
Check this outward movement by the stomach muscles. Hold your breath hard for a few seconds.
Do not strain yourself in any way. Just keep practising it gently thruout the day whenever you happen to think of it.
Practise it for a few minutes before a mirror keeping your face impassive and preventing any trace of effort showing. You will soon be able to do this without holding your breath.
Keep your head up and shoulders back but have all your muscles relaxed.


STAHARA CONTROL HELPS QUICK MOVEMENT
Dance around the room imitating the movements of a boxer -- this is called "shadow boxing." First raise your ribs as high as you can, as in fig. 14.
Next dance around with Stahara control, as in fig. 15. Note how much more under control your movements are, the connection between your arms and legs is much better; you can put more punch into your arm movements.
Stahara control teaches you to keep limber all over, even your Stahara is not tensed, and it enables you to concentrate all your effort in the proper muscles at the proper time.


AN EASY EXPERIMENT

TRY THIS
Stand at attention, head up, shoulders back. Throw your chest out, raising the ribs thus showing what physical culturists call "The Grecian Arch," as shown in fig. 14.
In this position let a friend seize your coat at the shoulders with finger and thumb of each hand, and slowly pull until you lose your balance and fall forward.
It takes but a small effort on his part as your center of balance is too high and your waistline is weak.
Again stand at attention, but do not raise your Grecian Arch. Tense your abdominal muscles, as shown in fig. 15 but without drawing the stomach in. Press the stomach out and against your belt.
Have your friend pull you forward as before. Stand still, do not move the feet. Note how much better you keep your balance.
He will note how much heavier you feel, and, using the same amount of strength as before he will be unable to pull you forward.
Try these two experiments on your friend. In number 1, use the minimum effort to unbalance him. In number 2, use the same amount of strength, and note how much heavier and stronger he is.
A man who has trained himself to stand and pose with the Grecian Arch showing will be at a disadvantage when he first begins to wrestle or box for when making an effort he will instinctively raise his chest walls.
This raises his center of balance too high and weakens his Stahara -- the connecting link between his arms and legs.
In the first experiment with no control of the Stahara the body is like a ship, made of good material, but in which the rivets are loose.
In the second, the ship is tight and trim, every rivet in its place and holding. Your body is like one solid beam, a trustworthy support for a weighty structure, rather than a pillar made of several timbers loosely bolted together and consequently weak.
Practise this experiment until your face shows no trace of effort and until you can do it easily, tensing only when he pulls and relaxing when he relaxes.
The awkwardness of many men can be traced to their unconsciously raising their Grecian Arch whenever they do anything requiring and effort.
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