The Breast Stroke
The breast stroke has been handed down from an early Roman period. It is the oldest of all strokes, but it is the hardest to learn properly, as the head has to be supported clear of the water. Any part of the body when held above water is dead weight, and as the head is all bone, muscle and brains, it is the heaviest part. This is why, in using the breast stroke, it is much harder to keep the mouth and nostrils above water. The breast stroke is so universally identified with swimming that every beginner wants to learn it. It is only on this account that I teach the breast stroke.
In order to make this stroke clear to beginners I have divided it into four movements each, for the arms and legs. It is a good plan to practise these movements first out of the water. Get the pupil to stand behind, or by the side of, the instructor, and so follow the arm movements. Let him start by having the palms of the hands together, just below the chin, the elbows dropt down and within a few inches of each other, as in Fig. 9. In the first movement shoot the arms straight ahead, holding the hands together, as in Fig. 10. In the next movement turn the hands till the palms are turned slightly out, with the thumbs touching and pointed downward. In the third movement bring the straightened out arms around in line with the shoulders, as in Fig. 11. In the fourth movement bring the hands together till the palms touch, the elbows being dropt, and the wrists touching the chest, as in Fig. 9.
When the pupil has become accustomed to using the arms, the leg movements are taught, each leg separately. The heels are brought together and the toes turned out. Then the left leg is drawn up to the body, the knee turned out, as in Fig. 9. This leg movement is simultaneous with the arm movement, as in Fig. 9. Then the leg is kicked straight out sideways from the body and brought smartly back alongside the other leg, as in Fig. 12. These two movements of the leg are performed while making the one movement of the arm, as in Fig. 10. The arm movements from Fig. 10 to Fig. 11 are accomplished while the legs are stationary, as in Fig. 11. Then the left knee is drawn up, as in Fig. 9, while the hands are brought back to the chest, as in the same figure.
After a little practise with the left leg, the same movements are practised with the other leg and arms. It is hard to practise the arms and both legs together out of water, as in order to do so one has to lie on a piano stool or bench. I discourage this method because the pressure on the abdomen is injurious. After some practise of these movements out of water, we then take the pupil into the water. When the beginner enters the water, it is best for him to be held in a horizontal position by an overhead trolley attached to a belt strapped around the waist, or else held up in the water by the instructor, as per illustration. The four arm movements are tried first, care being taken that the hands do not come out of the water. At the same time they should be kept as near the surface as possible without splashing, care being taken that, on the last movement, the elbows are dropt and the hands kept up in the water. This movement keeps the head up in the water. Should the hands be dropt, the head will sink. The pupil should keep his mouth open all the time, not worrying whether the water enters or not. By this means breathing becomes natural.
The leg movements are then taken up. The best way is for the pupil, with the left hand, to hold onto the rail that lines the pool and to use the palm of the right hand lower down in the water, against the side of the pool, as in Fig. 13, thereby holding the body and legs up in the water, if the back is arched. The legs should be drawn up, the knees and toes well turned out, and the legs then kicked straight out and brought smartly together. This combined movement forces a wedge of water to be shot behind the legs, forcing the body ahead. The legs are kept stationary for a moment and then drawn up to the starting position.
After practising these movements it is a good plan for the pupil to throw himself gently on the water with his face submerged, and so do the leg movements alone, the arms being held straight in front a couple of inches below the surface. As long as the head is under water the legs will not sink. It is surprizing the confidence one gets in doing these leg movements with the face under water. It takes away all fear, especially if the eyes are kept open. When the pupil’s breath gives out, he or she should bend backward by hollowing the back, bringing the arms around in line with the shoulders, when the feet will slowly sink and the pupil can easily regain a standing position.
When the arm and leg movements are to be done together, the pupil has to concentrate his mind on the four movements. To start, one must have the legs straight behind, keeping them motionless till the pupil gets to fourth movement of the arm stroke, when the arms and legs should be the same as in Fig. 14. On the first and the second movements, which form a continuous movement for the legs, shoot the arms straight out and hold them there until the straightened out legs come together, as in Fig. 15. Then the legs should be kept rigid, while the hands are turned and the arms brought around in a straight line with the shoulders, as in Fig. 16. Finish the stroke by drawing the legs up and the hands in to the starting position, as in Fig. 14. These combined movements will be difficult at first, as the movements do not go together, as in the back stroke.
When the rhythm begins to assert itself, the best way to practise is with the head under water. Then the pupil can think of his arm and leg movements without the bother and exertion of holding his head above water.