M.

de Saint Martin
Senior Officer of Cavalry,
and
Imperial Master-of-Arms, Vienna 1804
The Art of Fencing Reduced
to True Principles
containing every necessary principle for this art,
all which are explained in a clear and intelligible manner.
This work is composed for young nobles and those persons destined for a
career in war, and for those who carry a sword.
Wherein one will find the true principles of this art, useful and necessary for
the military, in which they are explained in an easy manner to which is
added some truly new findings.
Dedicated to S.A.R. Monsieur
Archduke Charles
By
M.J. de St Martin,
Imperial Master of Arms of the Theresian Academy,
and Senior Officer of the Cavalry.
Enriched with images to aid in understanding the work.
To Vienna
Printed by Janne Schramble
1804
Translated from the French by P. T. Crawley
Images and Editing by V.S. Markland
2013
Preliminary Discourse
There are many published works on military tactics, I have even written on
the subject, but there are few authors who have done anything passable on
fencing; one sees very little that is correct in these works, that for many has
been a progression; these days they attach more to old routines than theory,
which is in fact the foundation, because in teaching a certain art, one must
make it known to ones pupils the reasons why one works one method more
than another, and they are not a master who does not employ practice, let
alone new findings, nor allow his own pupils to ask questions.
Those who cite Girard, dAngelo, Danet &c. are far from complete, and none
of them make mention of the spadroon.
I, myself, was a pupil of Danet, the first master of Paris, and I never
intended to speak of this canon, which is the most essential in the wielding
of weapons.
My taste for the military arts, and my zeal for the advantage of service in the
Imperial army, my lively seeking of the bounty of the Grand Monarch whom
I have had the honour of serving for seven years who deigned to give me a
place as imperial professor of the Theresian Academy for fencing,
determined that I publish and make public this work; to communicate my
findings, which I must do as a homage to him, and if I am lucky enough that
this will be of use I will have achieved my aim.
These are the fruits of thirty years of experience, and a reflective study on
the lessons of the great masters, and of the most renowned assaults in the
salle, and upon the manoeuvres and various actions in which I found myself
in the last war.
Compelled by an irresistible force which I hardly dare qualify in the name of
taste, I tried to reform the old uses, and go further along the route from
which others openly steal without going so far as to do the same as them in
order to ask questions on a subject of this importance. I pay homage to
these luminaries, I confess to have profited well from them; I have no doubt
that another can take greater advantage of it than me; however I hope that
they will find in this work many things that they wont find in others.
My aim is to fill this if I manage it is to facilitate the nobility and all those
who embrace a career in arms with the means to benefit from these findings,
that cost me my work and infinite cares, which I shall reveal in this little
work, given a new plan and detailed principles, with all the clarity I can put
in them, so as not to be useful only to other masters, who are willing to put
in the effort in practice.
It is not for me to say that the art of fencing is one of the elements that
make up the military arts, and that public order relies upon it; one must
also recall that in its nature it has the principle of true valour, and the glory
of heroes; there is no one who, in an altercation, would not wish to possess
the art of fencing to parry a mortal blow, or to defend the weak from danger.
There is no other art which of more use to youth it develops constitution;
gives them poise; promotes health; clears the passages, develops
temperament; corrects youth with poor posture; of this I have seen much
proof during my lessons. It also gives a superior agility, it gives precision to
the movement of the limbs, it teaches how to hold oneself, to salute and
walk with grace, it gives a noble bearing, it inspires a desire to gain glory,
and since glory cannot work without honour, and there is no honour
without virtue, this part of the education seems to achieve all that is
proposed, when one works to develop the young.
The order established in the exercise salles promotes honesty, politeness,
respect for religion, and for sovereign authority; it guards against all and
indecent actions; politeness towards strangers, and those people who
present at the fencing salle, is strictly enforced. I display well-ordered rules
of the salle so that they bring about good learning, and give rise to good
practices, good humour and order in the state.
Possessing the art of fencing is not the work of a single day, of all the
masters today have gained their great ability and great ease by regular
application of the principles.
The gladiators of Rome proved to us that the art of fencing has progressed in
the 490 years since the foundation of Rome, in the consulship of Appius
Claudius and Marcus Fulvius, who did not compete unless they had trained
for a long time, and even at the same time they sword fought with a sword, a
dagger and a cutlass; others sword fought with two cutlasses, two swords
and two daggers.
There is no place where fencing is more esteemed than the West Indies;
there is even an exercise reserved for nobles, who carry on their weapons a
distinctive mark, that the King has given them with great ceremony. History
teaches us that the use of the sword precedes the first Monarchy, but in
those ancient times brute force always won out.
In the last two centuries the art made more progress than could be found
during the last five thousand years.
But it has especially the grand advantage of the protection of several
monarchs, who are believed to have erected the academies of fence, and
given the statutes and regulations, to promote emulation, and add honour
to the usefulness of this art than has any right to pretend otherwise.
In 1656 Louis XIV issued proclamations, by which he accorded six of the
most senior masters of the Paris Academy, after twenty years of practice,
hereditary letters of Nobility.
The good choice of blade, how to mount it, how best to hold your arm so as
to not tire it, and so it does not allow one to be disarmed, body position,
precision in parries, ripostes and all actions, are here essential rules, and
given exact observation will be at first seen as minutiae to an impatient
youth, who will regard them as useless, yet the latter are necessary to
achieve perfection.
I shall uncover everything and develop by degrees all the principles of the
art, while demonstrating what must be observed in attacks, defences, feints,
and all other matters.
But now I speak of the spadroon, this important article which I propose to
detail with the greatest clarity and with as much precision as I am able.
As for the spadroon, I do not find it named by certain authors but I do not
see that this is related.
I have gained all the knowledge I have, such as the theory that I have
created myself, after a practice which I have had the opportunity to put into
practice in several combats and other particular affairs that I found myself
engaged in.
I will show in the course of this work how a cavalier can alone combat
several aggressors, and this will be proven by reason and experience, that a
single person can bring about against a great number of enemies, by means
of a simple moulinet, in two or four directions.
It will also be demonstrated with evidence, that, in an attack of cavalry
against cavalry, the simple and double moulinet are the only thing to use, as
it is the most certain; because by this method one can make a coup de
Jarnac, which the enemy will only be able to parry with great risk.
The use of a moulinet in all four directions, if required by an isolated
cavalier, is indispensible to all officers, who finds himself attacked
individually by several cavaliers, by this means he will be freed from danger.
There will be a great utility to learn this new manoeuvre for the cavalry, the
cavalier will have the reassurance of not fearing the enemys point, finding a
means by which he can almost escape, if he is carried too far away by his
horse, or that, guided by a purely instinctive courage, or by a desire to
distinguish them, they must be made to the front.
If he can find himself on some occasion (which will be a rare chance) that
the cavalry wants to rout a corps of infantry, in this case military tactics
requires that the infantry present bayonet above the chest of the horse; but
by the method I teach, the cavalry will be prevented by the greatest ease of
the bayonet to be able to pierce the chest of his horse, and not be toppled. It
will facilitate more the method of charging into infantry with the spadroon.
I do not allow the use of the point with the baton in practicing the spadroon,
because it will be clearly palpable that is being used in these exercises, the
cavalier will find himself in one action, believing himself able to wield a
sabre in the same way as a baton; but the sabre is more cumbersome, not
as wieldy nor having the same agility, nor the same surety of grip, and he
will be more tiring than if they had done the exercises with the sabre.
I limit myself to great brevity, so as to not tire the reader, without leaving
out the essentials. A pupil of some intelligence, if the lessons are directed by
a good master, will gain ability of a greater precision than I am able to
define.
I also hope that you will pardon me by default for any mistakes I make
which I miss or escape me, as proven I am a military man who studied the
military arts, more than literature and eloquence.
It is desirable to employ a good master for the instruction of youths,
preferably one of the more profound masters of this art, one will see as a
result the pupils will learn the weapons with more nobility, present
themselves and walk with more grace, and in the assault they will not have
a gauche air, by which they will be distinguishable easily from those who
have taken lessons from masters, though more versed in the art, are less
capable of teaching good and true principles.
The result of all this, is that those who follow a master who has only
experience and technique have all the pain of the world to undo the bad
methods of their fencing, and makes learning the good method more difficult
to do, than if they had never held a foil.
Editors note
Rules which Must be Observed in the Salle dArmes
1.
Do not take the name of God in vain
2.
Noone shall speak ill of the Sovereign
3.
One should abstain from speaking ill of anyone, present or absent
4.
Do make false promises
5.
Do not gossip, for falsehoods often follow
6.
Do not mock anyone while fencing
7.
Do not throw a sword in the salle
8.
Do not trail your sword on the ground
9.
Do not bother those who are fencing
10.
Smoking and drinking are not allowed in the salle
11.
Be polite to all presentable people, who come to the salle; offer them foils,
with the masters permission
12.
Broken foils are the property of students when they are presented to visitors
in an assault
13.
Foils which are broken in the same salle by students, are to be paid for by
the one who holds the broken remains.
14.
If while fencing one causes the adversarys foil to fall, then gather it up
quickly and hand it to him politely
15.
If by accident while fencing one strikes the adversary in the face one is
encouraged to make an apology
16.
If it happens that you step on someones foot then offer an apology
17.
It is poor manners to blow ones nose too loudly
18.
If someone has an unfortunate cough, he must abstain from playing in
grand assaults
19.
A student must take lessons without interruption, as without this they will
not make progress
20.
They must also pay for foils broken when they practice against the Master
or Provost of the salle.
General Principals
Of the Faculties Required to Learn Fencing
The sentiment depee is made known by the joining of swords. The position
where one finds oneself, with relation to the adversary is made
distinguishable by contact, joining with my sword with that of the enemy,
engaged inside or outside the arm; this contact warns us of a croisement, or
a coul with the sword, and by it I can sense if he disengages or makes false
attacks.
Speed-of-eye allows us to promptly distinguish his plans; ones sight must
be lively, neat and precise, because the aliveness of the speed-of-eye is often
decisive and a great aid.
Judgement allows you to quickly determine the offensive actions of the
adversary, and the defensive actions that you must use to oppose him.
The canon of fencing judgement contains speculation, which is the
experience that one learns through theory and practice. With speculation
and sound judgement speed-of-eye overcomes the causes and results of
these actions.
From experience, judgement serves to expose, by the actions of our
adversary, their intentions so that they can be avoided and prevented. I have
demonstrated this on the field.
Method for Mounting a Sword
When one wishes to mount a sword do not file the tang of the blade, unless
it is too big to fit through the grip. If it is of a suitable size then you need not
do anything else to adjust it, for fear of weakening it, and if the inside of the
body of the guard is not open enough then you can file it; you will then use
little wooden shims, which you will fit into place with a small wooden mallet,
so as to fill the void that you found there, and by this means all will become
firm, having paid attention that it is all true; one must also be assured that
the small end of the tang is well riveted to the tip of the guard, which must
be placed right up to the dish of the strong of the blade.
Observe that it is better that the grip is too long than too short, because this
allows it to be wielded with greater ease.
A fullered blade is more useful than a flat one intended for specific combats
due to its slenderness. The flat one is only useful to the army, either on foot
or on horse, as it is always too heavy at the tip.
In order to have a point of the correct proportion, it must be, from the guard
to the tip, two and a half French feet in length, because a too long blade is
dangerous, as it obliges one to withdraw the arm in order to use the point,
which gives the adversary the advantage of using tempo against one.
Method for Holding the Sword
To best hold the sword the grip must be between the ring finger and the
little finger, in such a way that the butt of the grip is placed in the crease at
the top of the hand, while aligning the thumb and other two fingers with the
guard, and at the same time the index finger is placed underneath the grip,
fairly near the guard, observing that the hand does not seize the grip until
the moment that you thrust or parry, in both cases so that the hand is not
numbed by contracting the muscles too long.
Although the ring finger and little finger are the principal supports of the
sword, it is however sometimes necessary to let go with them to facilitate
certain blows. The master must on these occasions warn his students.
The first two positions
First Position
While facing the adversary, with the heels placed on the same line, and
bringing them together, the toe of the foot a little less than at right-angles,
the ankles bent without stiffness, arms hanging naturally; one then make a
quarter-turn to the left while raising the toe a little, turning upon the heels,
and holding the sword scabbard in the left hand, then extend the right hand
gracefully in a semi-circle, carrying the hand to the grip of your sword, while
extending it in such a way that the thumb finds itself two fingers away from
the guard, such that the sword pommel is placed at the start of the hand,
while gripping it as said previously. One must have the body well-turned,
head a little to the rear, right hand well clear of the neck-tie.
Second Position
Draw your sword from its scabbard while equally extending both arms,
holding your sword in such a way that the tip is a little higher than the
guard, which must be at breast height. One must also ensure that the left
arm is raised in a semi-circle, a little extended and fully clear in such a way
that the hand is raised to the height of the temple, with the fingers bent a
little, the elbow bent a little to the outside; the right arm must be flexible
and barely held away from the body, and the elbow a little to the inside.
Then bend both knees while shifting the bodyweight to the left side; carry
the right foot a little to the fore by a distance of twenty inches, and parallel
with the tip of the sword.
Step Forward
To step forward firstly advance the right foot the length of one foot, next the
left without changing their direction, the body and head must also stay in
position.
This step, whether forwards or backwards, must be made with such
precision and subtlety such that the feet do not go at the same time, but as
two actions.
One can make (depending upon the situation) large or small steps, always in
the same way that has been shown, but it is always preferable to make
small steps.
Regular Step
Hold the sword to the fore, with the point in the direction of attack, place the
right foot to the fore by about twenty inches, making sure that the heel is
opposite to the ankle of the left foot, and it must have the toes pointed a
little to the outside; bend the left knee in such a way that it will be placed
perpendicular over the toes of the foot.
The Retreat
To make a retreat is to do the opposite of the step, that is to say,
withdrawing a step in order to avoid being found defenceless, when the
adversary reaches out to touch you.
Carry the left foot to the rear by about the length of one foot, and follow up
by the same amount with the right foot, in such a way that they each is
found to be in the same direction.
Method for Coming On Guard
To be in a well-formed guard, one must be in an easy, amenable and
graceful posture.
I shall profess a suitable and common guard suitable for all.
I have given a good method for holding a sword, observing that the edge
must be raised a little, and that the sword point is at the shoulder height.
Place the body in such a way that it is in profile; making sure that also the
feet, haunches, shoulders and arms are all in alignment, as, due to this, one
can carry oneself more easily to the fore.
Place the right foot in such a way that the left has the heel a little in front of
the right heel, which is placed in such a way that it will not hinder the right
foot; the left arm must form a slightly extended semi-circle, well detached,
with the hand raised at the height of the temple, the fingers slightly bent
and the elbow to the outside, and the right is flexible, barely bent, with the
elbow a little to the inside; and the left knee, bent to the outside, is over the
tip of the foot on which it leans; one must have the head straight, upright,
gaze fixed upon the adversary, body straight, well balanced upon the thighs
and leaning over the left foot.
Next the extension, the left foot must be flat and firm, with the thigh well
steadied, so that it is found to be in a state able to recover with ease, the
right leg carried to the front, must be flexed at the knee, well-balanced and
placed with regard to the ankle.
Having made the attack, one must, while recovering, bend the left knee a
little, and the right is supple and flexible; one must also make sure the
head, a little to the rear, is straight, and turned to the adversarys side while
gazing at him, and the grip placed in such a way as to be able to protect
you.
If a person has one leg shorter than another, or some other physical
deformity, then have him make an appel by striking two taps quickly with
the right foot, in order to make him carry his weight to his left side, his knee
bent. By this manoeuvre he will take up a position amenable to him.
The two positions of the salute
The Salute of Arms
The salute is required because practice demands politeness; one never
commences an exercise without having saluted.
To make a salute with good grace one must make all the moves in perfect
unison.
While thrusting the sword one must form a circle with the wrist and the
point of the blade to the inside, and on guard.
Next make an appel by tapping twice with the right foot; raise your left hand
up to your hat and doff it with grace, without haste, without moving the
head and while gazing at the adversary; such that the one horn of your hat
is raised up high and the other low, and such that the right foot is brought
back to the left foot.
Raise the right wrist to eye height with the nails on top, while extending the
arm.
Lower the left arm at the same time as you pass the right foot behind the left
next to the ankle, where it will form a right-angle.
Hold the thighs apart in this position, the body upright, solid, well-turned,
your arm forming a transverse line, with the left wrist to the outside.
Finish the presentation in the salute of arms with a wrist movement to
shoulder height, one to quarte, the other to tierce with ease.
Recover the left foot by one and a half feet and return to guard.
Then pass the sword close to the body, making a circle while presenting the
point at the adversarys body, and while you make a circle with the sword,
make a semi-circle with the left arm, returning it to where it came from,
then recover the left foot in order to return it to its first position. Then tap
the right foot twice quickly, and salute again to the left and right, replacing
the hat on ones head with grace, and return to guard.
Note that the first salute is done to your adversary, and then to anyone
especially notable present.
Third Position of the Salute
Engagements
To make an engagement is to connect the weak of ones sword with the weak
of that of his adversary, without turning the wrist. When in measure the
sword will be connected by the strong to the adversarys weak when one
finds oneself reaching out to hit.
To form engagements in quarte and tierce, balance the body over the left
thigh, which must be straight, firm and unbent, in order to have greater
freedom to perform the hand actions.
Engagements while Standing Still
Place yourself in a guard of tierce, connecting with your adversarys blade,
while ensuring at the same time that it is done without force. If you lead the
exercise, disengage and thrust quarte along his blade, while opposing the
strong of your blade with the weak of his, and return to guard. If your
adversary closes measure upon you then pay attention while retreating to
disengage at the same time.
Engagements while Stepping
If the adversary breaks measure one must regain it by advancing with small
steps and retake the advantage with a new engagement in quarte with the
strong of your sword against the weak of his, by whatever means possible.
All while lowering the point of your sword, in order to pass skilfully over the
adversarys blade, without exposing oneself, and ensuring that the
movement of the weapon arm, and the step with the right foot and that of
the left foot are done as one.
One must become accustomed to promptly returning to guard every time
one thrusts, while holding the sword in front of you, preferably in quarte.
First Part
Simple Parries
The disengage and parry are done as one, or parry, keeping apart with a dry
blow with the point, the adversarys sword when he makes his blow, with a
little movement of the wrist to the inside or outside of the weapon, then a
large advance is made with the riposte.
The parry ensures the defensive, and must be considered as the most
essential part of the fencing canon; also, as you can comprehend its
importance, it must not be neglected, as can happen at times,
If it is useful to know how to thrust with accuracy and speed, it is of greater
advantage to know how to avoid the blows of ones adversary, because once
one has acquired a certainty of the parry we do not become tired by them,
and soon they offer more than one occasion to riposte at an adversary with
certainty.
All parries are made with the strong, or the cutting edge of the blade upon
the weak of that of the adversary, by a movement of the wrist, which one
lowers, either inside or outside, to form a parry.
As soon as you have parried return to guard with speed, while holding the
tip of your sword at shoulder height, pay attention to your adversary, for
greater protection and to be better ready to riposte at him with greater
speed.
The dry parry is the action of striking the adversarys sword with a firm
and sharp movement in order to set it aside but without following it, that is
to say, the wrist stopped upon the contact, so that there is a spring which
lets it stay at the end of his release.
I have seen from daily experience that those fencers who are negligent in
learning to parry with precision, or who are not secure in all their actions in
the thrust, are those who on frequent occasions make double-hits in the
assault, or who do not give sufficient respect to the button of the foil which
they often find opposite them, they make, while riposting hastily, violent
attacks, such that the foil often breaks, such that one can consider what a
danger they will be while thrusting with the sword.
Ordinary Parries
Disengage the sword in tierce, parry quarte while making the fore-arm
always move first, with the point of the sword a little low, the body well-
supported by the thighs and the head well-raised.
While you recover with a parry of counter-quarte upon my disengagement,
disengage the sword to quarte, parry tierce and return quarte over the
sword. As I disengage under the weapon, parry demi-circle, and return
direct, replace quickly over the weapon then disengage the sword to tierce,
parry your demi-circle, and riposte with speed, while you recover upon his
change of the sword, and parry tierce and riposte quarte over the arm;
disengage the sword to quarte and parry octave.
The parry of octave is made with the strong of the sword with the hand at
eye-height, while bending the wrist a little; upon his attack in quarte inside
the arm recover and riposte direct, disengage your sword to quarte upon his
disengagement, and parry counter-quarte, and riposte quarte over the arm.
Disengage the sword upon my disengagement of quarte over the arm; parry
counter-tierce and riposte quarte over the arm, while recovering.
Upon my change of the sword, parry your demi-circle, riposte direct and
return to guard.
Disengage the sword in quarte, and upon my disengagement of quarte, parry
counter-quarte and demi-circle, while binding well both parries with the
wrist; this must be done as a single movement, which must be done as
finely as possible, while observing that the parry of demi-circle is made with
the wrist at eye-height, nails high.
Parry of Circle in Quarte
Observation
I belief it is more necessary to begin by instructing the pupil to parry and
riposte, than for him to thrust direct or feint before he knows how to parry
and riposte; because one is infinitely more certain of an attack well-parried
and of the riposte than of an attack, because practising an attack by itself
will impress the pupils into wanting to attack
Method for parrying and riposting for the simple parries
This exercise of six parries, and the different positions, of the arm, the wrist
and the legs is more or less offensive and defensive.
The six parries are: quarte, tierce, demi-circle, octave, quinte and prime.
One must assign good form to all these parries, and make good simple
parries before assigning to doubles, which give a great suppleness to the
wrist, and speed to the fore-arm.
Each of these parries has a counter, which is why someone who is weaker
than his adversary must always gather up the sword with doubles in order
to return with simples, which will tire his enemy and prevent him from
making a feint.
And, as a result of what of what I have said, a good parry is one of the most
essential parts of the art (because an attack in itself requires a joining of
theory to practice); everyone must know how to fence well, having parried
well, so that the riposte is more certain than the attack.
Each parry has two very short tempi. The first is made while launching
upon the adversary (well extended but within the reach of the fencer, to give
him greater ease in his retreat) upon the adversary, and for him to throw the
blow. The second is the recovery and return to guard.
There are three wrist positions to execute these moves, known as supination
(which is to have the wrist with the nails on top), pronation (this is to have
the wrist and the nails turned towards the ground) and the medium position
(with the wrist and nails to the inside) one must place the thumb on top of
the bent fingers; the parry of prime has the wrist at temple-height, fingers to
the outside, thumb underneath and the sword hanging down, presented
directly at the adversarys flanks.
A parry which will deflect all blows to the forearm; it is also used to parry
direct blows forced through over the weapon.
The fifth parry is quinte, used in the past, which is used at the lowest line.
Several authors name it low quarte, and others quarte- coup; this is
because they had not made a distinction.
Those who teach it as low-quarte go against the true principles; Angelo in
his treatise composed to the highest level, calls it quinte.
Upon a blow from quinte one must use the parry of octave and riposte in the
same way, because with a riposte of octave I cover myself and put myself out
of danger, and make my riposte certain.
If I advise the parry of quinte its because I see that one can sometimes be
put into use to deceive ones enemy, and see to it that one does not put
ones point into a trap by risking a seizure of the sword, which is made by
turning on the sole of the right foot and lunging with the left foot; the left
hand can thus seize his sword by the wrist, but with quinte one can render
this useless in order to riposte with my attack.
Charles Besnard, master-of-arms from Rennes, in his theory on the practice
of the sword, dedicated in 1633 to the Seniors of the state of Brittany, shows
a little use of prime, but no mention of quinte.
There are many references to prime and quinte together with the parries but
far from the degree of their usefulness, nor the occasions where one must
make use of them; on the contrary, they are most often disparaged as
inconvenient. But I think that, as I have just proposed, one will know that
this is their true use, and usefulness when fencing.
These days the art of fencing is well perfected, so one must adopt the game
of the higher line as it gives the greatest assurance and more certainty.
Parry of Circle in Prime
Disengages
I shall name disengagements, the action of transporting the adversarys epee
from one side to another by going under or over that of his adversary, from
quarte to tierce or tierce to quarte.
The disengage is performed by describing a semi-circle with the tip of the
sword by going over or under the adversarys sword, by using a skilful
movement of the thumb and fingers.
For the disengage to end, it must be made by the shortest path, and always
after the adversary has done some movement; but while finishing the
disengage one must seek to acquire the weak of the sword with the strong of
his own.
I include two types of disengagement, known as the willing and the forced.
Willing ones are those done by intention, without being constrained by the
adversarys blade.
To perform them one must skilfully pass the point of the sword near to the
guard of his sword, either under or over, so that the wrist is raised to
shoulder height.
A forced disengage is one of those where the enemy dominates the weak of
yours with the strong of his in order to depart from your point in order to
touch you.
This disengage is done in two ways; the first is done in the instant that he
forces your blade, by passing your point strongly near to the guard of his
sword, while raising and turning the wrist, just as one does to parry tierce
or quarte.
The second is made upon the first movement when he makes to strike your
blade in order to make it lower or raise up.
Upon this movement disengage immediately, because he will quit the blade
with his beat. Observe that all beats made while quitting the blade oblige
you to thrust direct, because it is contrary to all the principles of fencing to
quit the blade in order to make a beat.
Counter-Disengagements
If you:
Disengage in quarte, I thrust tierce upon your disengagement; parry tierce
and riposte tierce.
Disengage in tierce, I thrust quarte upon your disengagement; parry quarte,
riposte quarte.
Disengage quarte, I thrust quarte over the arm, upon your disengagement,
parry tierce and riposte seconde.
Disengage tierce, I thrust seconde upon your disengagement, parry demi-
circle and riposte quarte.
Disengage tierce, I thrust quarte upon your disengagement, parry quarte
and riposte quinte.
Alternatively this disengage can be done when the adversary is not secure in
his parry and simple riposte. One can also perform this when he breaks
measure, for fear that he will secure your sword with a beat.
So then, while thrusting quarte, you parry quarte and riposte quarte, and I
in turn will equally parry your riposte, you must thus deceive my parry with
a second blow.
Example: I thrust at you in quarte, parry quarte, and as I recover, disengage
and thrust tierce.
I thrust at you in tierce, parry tierce; and as I recover, disengage and thrust
quarte.
I thrust at you in quarte, parry quarte; and as I recover, disengage and
thrust quarte over the arm.
Direct attack thrust inside the arm
Second Part
Direct Attacks Inside the Weapon
Theory shows us that each sword attack has its feint. To thrust direct inside
the weapon one must profit a little from the play that our adversary can give
you.
The direct attack is thrust while lowering the point of the sword a little, the
wrist well raised, while leading first with the forearm, while launching
oneself quickly, the left side well held, body balanced upon the thighs, the
wrist and nails turned up high, head upright, a little, however, tilted to the
rear.
Direct Attack Over the Weapon
This blow is thrust in the preceding positions.
The parry for the direct attack over the weapon is tierce, and the riposte is
quarte over the arm. One can again riposte it with a same parry of tierce,
and while thrusting in seconde, the hand well raised but below the head,
while turning on the sole of the right foot, and while lunging with the left leg;
the body weight must be carried on the left side.
Direct attack thrust over the Arm
Feints with a direct attack,
to make the adversary parry in 4
th
Feints with a Direct Attack to make the Adversary Parry in Quarte
One must have the sword engaged in quarte the point raised up to shoulder
height, nails turned in such a way that they are on top, bodyweight over the
left thigh, left hand part exposed and placed at head height. And then
advance the forearm, in order to make a feint of a direct thrust; this will
oblige the adversary to make a parry of quarte, then I will disengage and
thrust quarte over the arm, I then deceive his riposte thus; he must parry
tierce, for which the riposte is a thrust in seconde downwards towards the
forearm, without lunging.
The same feint is made is also made over the weapon to thrust quarte inside
the arm, which is parried with demi-circle or octave, and the riposte is the
same without changing position, and while staying on guard.
The riposte to this direct thrust inside the weapon, it is parried quarte inside
the arm with the strong of the sword.
The feint with a direct attack deceived,
while thrusting in quarte over the arm
Riposte with a direct attack inside the arm
Remise upon Direct Attacks Parried
Upon the thrust direct inside the weapon parried, I deceive my adversary
with a half-withdrawal, and I re-enter direct with a remise and I thrust
direct over the weapon.
The parry to this attack is thrust direct over the weapon in tierce; when he
wishes to riposte quarte over the arm, I make a half-retreat of the body and I
stop-hit with an attack in seconde; and return to guard.
Upon a parry of tierce that the adversary makes upon a direct thrust over
the weapon, I riposte with a quarte thrust over the weapon; and return to
guard.
Observation
One must take care that all attacks underneath or quarte cutovers, inside or
outside the weapon, must be parried with a demi-circle or octave.
To parry octave one must bend the wrist so as to make a good cross with the
sword.
To parry demi-circle one must raise the hand as high as possible, with the
nails high, and parry with the strong of the sword.
Here, according to my advice, is the most certain method to parry all attacks
underneath.
Riposte with a direct attack thrust inside the arm
Sliding the sword over the arm,
while passing with ones left leg to thrust seconde
Sliding the Sword over the Arm while Passing with ones Left Leg
to Thrust Seconde
A slide is, when one finds oneself in measure with the adversary, to glide
upon the weak of his blade with a fast pressuring sensation, and in the
tempo that he opposes in order to parry, disengage skilfully and thrust
direct at him.
The slide is one of the more certain attacks; in that it will force the
adversary to make a parry.
Observation
One slides while standing rather than while stepping, with a disengage and
without a disengage.
To make a slide one must have the body well-turned and set upon the left
thigh, holding the sword directly in front of oneself, gain and slide upon the
adversarys sword, making certain by using the strong.
Feint Seconde to Thrust Seconde
This feint is done while still rather than while stepping. When out of
measure, one must have the body weighted over the left side, while gazing
hard at the adversary; make a movement of the forearm with the tip of the
sword a little raised, so that the wrist and nails are turned down low; make
this move in two tempi, turning them skilfully in order to make the
adversary go to parry in tierce, which you will deceive by thrusting seconde.
Feint seconde to thrust seconde
Feint second accomplished and parried with Counter-quarte and riposted
Feint Seconde Accomplished and Parried with Counter-Quarte
and Riposted
The simple feint of seconde is done in two actions, while moderately
extending the forearm, the wrist turned, with the nails downwards, and with
the sword tip a little downwards, to oblige the adversary to make a parry of
octave; next turning the hand thrust quarte over the arm quickly.
The parry to this attack is that of counter-quarte, for which the riposte is an
attack in quarte inside the arm.
Time Taken upon a Coul Along the Blade
You gain and slide in quarte, if upon your action I disengage and thrust
tierce, you parry and riposte tierce; and return to guard.
You gain and slide in tierce, if upon this action I disengage and thrust
quarte, you parry quarte and riposte quarte, and return to guard.
You gain and slide in quarte; if upon your action I disengage and thrust
quarte over the arm, you parry tierce and riposte seconde.
Slides with the sword are deceiveed by One-Two feints, while making a slide
with the blade; if my adversary lets go his sword at the body I neither
disengage with the point nor feint, but make a good bind in seconde, which
is done strong to weak on the sword, the nails turned, and then I thrust
quarte.
Most often, a good bind of seconde will disarm his adversary.
Strong Engagements
Engage forcibly, that is in such a way to set aside the weak of the
adversarys sword, but not so as to push too hard and expose oneself to
being hit first.
The engagement must be strong, when one is engaged inside or outside the
weapon, you push quickly upon the weak of the adversarys sword, so that
you oblige him to cede, by passing his point either over or under your sword;
but for greater certainty, make this engagement outside of the enemys
reach, who, without this precaution, can instantly prevent your intention,
and touch you at any time that you would force him.
Thus if you lose the advantage that one wishes to gainwhile forcing him,
whether inside or outside, above or below the weapon, one must then,
therefore, disengage the opposite way.
For example;
1
st
I disengage my sword to quarte while forcing the weak of your sword
against the strong of mine; then cede your point with a disengage in tierce;
and return to guard.
2
nd
I engage equally in tierce while forcing upon your sword; disengage in
quarte, make a feint in tierce and thrust quarte inside the arm.
I parry your attack of quarte inside the arm, and on the retreat I force an
attack; and return to guard.
3
rd
I engage in quarte over the arm while forcing, disengage immediately and
thrust seconde.
These forcings are deceiveed by a feint One-Two.
Attack in quarte parried inside the arm and riposted,
with an attack upon the retreat inside the arm
Third Part
Simple Feints of One Two, In and Over the Arm
To make a feint, is to make an intention to thrust at one side and to perform
the attack in another.
The simple One-Two feint is made while extending the forearm a little, while
at the same time making the first disengagement while inclining the body to
the fore a little, to oblige the adversary to make a movement to tierce which
you give with ease to your thrust of seconde. Feint with speed on the
principle that you will avoid a time-hit.
Sometimes when these are made on the fly, the adversary taking the tempo,
you become susceptible to mutual injury.
Time Hit Inside the Weapon Upon a Feint,
When not Covered by the Point
This stop-hit is done with a raised foot, while first making the forearm go
forth quickly, it must be well-raised, with the nails and wrist on high, while
opposing with the left hand, do avoid a double-hit.
But I think to avoid this double-hit it is convenient to, in order to have the
greatest assurance, to quit the line to the right, while launching the sword
at the adversarys body.
One-Two-Three Feint,
from an Engagement of Quarte Inside theArm
One-two-three feints are done while going forth with the forearm and leaning
the body a little toward the adversary so as to confuse him with a simple
feint to oblige the adversary to parry quarte; then I thrust my third
disengage in quarte over the arm with the greatest of speed.
The parry to this feint is tierce, from which the riposte is quarte over the
arm; and return to guard.
Time hit inside the arm upon a feint,
when not covered by the point
One-Two-Three Feint from an Engagement of Quarte over the Arm
This feint is done, as before, while changing the tempo.
The parry to this feint is that of quarte over the arm.
Upon my One-Two-Three feint, if my adversary takes up counter-quarte or
counter-tierce over the weapon I must deceive this counter by making one
and a half circles, as adroitly as possible, and then return to guard.
Feint One-Two Three to Deceive the Counter
If my adversary takes a counter-quarte or tierce, I must counter this counter
by making one and a half turns with the sword, to foil the counter and
thrust quarte, inside or over the weapon, with great speed; and return to
guard.
Feint One-Two Under the Hand Parried with a Demi-Circle,
while Opposing with the Left Hand
This one-two under the hand is thrust when the adversary raises his left
hand a little, the hilt of the sword is very low, and the wrist is very high.
The parry to this feint is that of demi-circle; and return to guard.
Feint One-Two to Deceive the Circle
One-Two feints to deceive circle are done while standing still.
Intend your feint well, while lowering the sword point with the wrist well
raised, to oblige your adversary to make a parry of demi-circle.
I deceive the demi-circle while passing over his sword, and thrust quarte
outside the arm, and return to guard.
Feint one-two under the hand parried with a semi-circle,
while opposing with the left hand
Position for binding seconde
Bind in Seconde
Set-asides in seconde are done when the adversary holds his sword at your
body; they are done with the strong against the weak of the sword, while
turning the nails underneath, done with a forceful wrist-turn in an attempt
to disarm the enemy, then you must return quickly to quarte, and thrust
quarte inside the arm; and return to guard.
Bind in Seconde to Thrust Quarte Inside the Arm
This bind is provoked by a sword-slide while turning the wrist with a little
force, nails low, in order to master the enemys sword, then you thrust
quarte inside the arm with great speed, while raising the hand to quarte in
order to provide cover.
The parry to this attack is that of quarte inside the arm, and riposte quarte;
returning to guard.
Bind in seconde to thrust quarte inside the arm
Parry of Prime upon a direct attack forced over the arm.
The riposte is an attack in front of the arm as is
indicated by the dashes
Direct Attack Forced Over the Arm to Parry Prime
This attack is thrust with speed and accuracy.
It is parried with high prime, and its riposte is an attack from the forearm in
seconde without lunging; returning the hand quickly to quarte and
thrusting, as you recover, quarte inside the arm.
Upon which I disengage quarte over the arm; you parry and disengage
counter-quarte; at my riposte make a cutover and thrust over the weapon.
A cutover is made by bending the arm a little at the elbow, and plunging the
sword point downwards, raise the arm to head height, thrust with speed,
and return to guard.
Observation
Simple cutovers and disengages must never be made as an attack, because
this is too dangerous and can be stopped by a time-hit, but they can be
thrust upon the adversarys retreat without danger.
Do not thrust them at those times when you are not in a position to recover
and always act quickly with the sword point.
Feint of One Two to Thrust Low Quarte
When my adversary is on guard, with the wrist turned, sword point raised, I
give him a feint one-two on high to make him raise his wrist and go into a
parry of quarte; I pass narrowly my sword under the arm and I thrust him
in low quarte with my wrist high, fingers low and the sword point
descending towards the flank, holding the strong of my sword well-pressed
upon his arm, to prevent him from making any movement.
I take care that in the position of that guard I will be able to thrust direct;
but like the greater art of those that take up this guard, who are always
certain of their parries, I thought about deceiveing them with this feint, to
thrust quarte low inside the arm.
The parry to this low quarte inside the arm is octave, for which the riposte is
quarte inside the arm, in the normal manner.
When I engage the sword in quarte over the arm, my adversary having taken
a low guard, I make a one-two feint at him over the weapon. To make him go
to tierce, I thrust seconde inside the arm to surprise him.
The parry to this is that of octave, and the riposte quarte inside the arm;
and return to guard.
Note that quarte is divided into several types, known as quarte inside the
arm, quarte over the arm and low quarte outside the arm.
Low quarte is done immediately following a direct thrust, to oblige the
adversary to raise the wrist, upon which one thrusts low quarte with speed.
Engagement of Quarte Inside the Arm to Thrust Low Quarte
I engage my sword in quarte inside the arm, I make a feint with the point
and slide along the length of my adversarys sword, I thrust low quarte in
the aforementioned position.
The parry to this attack is a parry of octave, and then a return promptly to
guard.
Low Quarte
Parry of octave to parry low quarte
Feint of Low Quarte
I make a feint with a slide along the length of my enemys sword, I lower the
power of my sword into a position as if I wanted to thrust low quarte, having
the nails low with the wrist well raised.
The adversary goes to parry octave but I deceive it while thrusting quarte
over the arm.
The parry of this attack is the parry of tierce, from which the riposte is an
attack of quarte over the arm, or an attack to the hand in seconde, while
descending the blow to the forearm with great speed.
False Attacks of a Feint of Low Quarte, with an Appel of the Foot
The false attack of a feint of low quarte is made while lowering the point of
the sword, and while raising the wrist to eye height, to oblige the adversary
to make a parry of octave. When he makes the parry of octave, I thrust
quarte over the arm, which is parried with tierce.
The riposte is quarte over the arm, and then a quick return to guard.
Feint of low quarte to make the adversary go to a parry of
octave to thrust quarte over the arm
Crois of octave made while standing still
False Attacks with a Feint of Seconde, with an Appel of the Foot
This false attack is done with a feint in seconde, to oblige the adversary to
make a parry of octave, and I thrust quarte over the arm.
The parry to this attack is that of quarte, from which the riposte is quarte
over the arm; and to guard.
But if the adversary takes up counter-quarte, where he counter-disengages
with a turn and a half, I must then parry counter-quarte and tierce, and
riposte with an attack of seconde; and to guard.
Crois of Octave
The crois of octave is made upon a man who has a raised guard. While
making a slide on the blade, and lowering the point of his sword over and
then underneath that of the adversary, and then raising the arm well and
the nails up high, then thrust a crois of octave very slowly, and without
pressing upon the sword of the adversary.
This attack is parried with octave, and the riposte is the same, and to guard.
Demi-Crois of Octave to Deceive the Crois
The half-crois of octave is made while advancing the forearm a little, with
the sword a little lowered while crossing over that of the adversary, and
making a small beat with the wrist against him, to thrust quarte over the
arm.
The parry to this attack is the parry of quarte, and one must riposte direct,
and return to guard.
Observation
Take care that, after thrusting all these attacks, one must return fully to
guard, and take care to always direct ones sword towards the adversary
while observing, with great care, in order to attempt to uncover his
intentions, thus to not be surprised, or taken unawares.
To do this with great ease, one must with the left arm, which lies about a
foot away from the left thigh, is placed very quickly up high with the hand
half-opened, and such that the body is found, at the same instant, pressed
on the left thigh, they must also ensure that the body and shoulders are
well-turned and the head upright, also a little to the rear, as is done in all
manners of attack.
Method for Thrusting at the Wall
It is called thrusting at the wall exercise when one trains the hand to adjust
in a straight line, and with speed, the thrusts upon the parts of the body
which one finds exposed.
This exercise is one of the base fundamentals of the art of fencing; it
produces four good effects, steadiness of body and legs, speed, correctness
and the knowledge of measure.
To better thrust at the wall one must be placed in a guard of tierce, then doff
ones hat with the left hand with ease, without turning or lowering the head;
then pass the point of his sword underneath he sword point of the
adversary, while extending in quarte, and while opposing the wrist strongly
extend the button of the foil near to him, without touching him, to ascertain
measure, and then return to guard.
Then one must disengage and thrust quarte over the arm, or tierce, without
moving the left foot, observing that one must make neat disengages, and
does not raise his foot off the floor, then to gain more speed and to hold the
wrist high while retiring, while then continuing to adjust quarte and tierce
alternately without lunging out of measure.
One must not make time-hits, attacks nor feints; one must not stay for any
monger than ordinary use allows. One must not, as certain fencers do, stay
in the engagement, waiting for a parry to go wrong, in order to be able to
take advantage of his actions.
The natural inclination of those youth who thrust at the wall is a grand
obstacle to their advancement because they do not acquire the necessary
quickness, make poor use of coordinating their forces, and thus hamper
their actions and render all their actions ungraceful.
Of Parrying at the Wall
To parry at the wall one must hold ones guard position, hold the body
steady and turn the shoulders well, the left foot fixed, the head upright, the
wrist a little lower than the usual guard, while giving a little play; and at the
same time as the thruster wants to come into measure against you, as you
have done to him, he must doff his hat and expose himself in quarte, and
then at the same time as the thruster, hold in the same position as the
guard but not with all ones weight on the thigh, while observing that he
adjust his thrust against you satisfactorily, checking that he thrusts
consistently, so as to help regulate his hand; but this need not happen
between pupils from the same academy.
This was the method for thrusting and parrying at the wall, as is generally
practiced in academies.
First position for attacking while standing still
Attacks
Attacking the sword of his adversary is done with one of several very slight
actions of the wrist to the fore to unsettle him, then to touch him while he is
disordered.
When the adversary holds his sword carelessly, and breaks measure, make
simple attacks at him, without telegraphing.
Enter an engagement while stepping, to find the sword of ones adversary
strong-to-weak without pressuring it, and while thrusting vigorously directly
in line either in quarte or tierce, or quarte over the arm.
Simple Attacks while Stepping
1
st
. Attack quarte and advance one step while sliding along the
adversarys sword blade without pressuring it, and if you emerge from
this action, thrust in quarte quickly.
2
nd
. Attack tierce in the same way and thrust tierce
Never step without first securing your adversarys sword, otherwise you risk
being hit upon your first action, and an attacking step must only be done
only as a small pace.
Your adversary may have the same intention to attack as you, and if you
make the same attack, he will show his intent, from which you must try to
benefit.
First position for attacking while stepping
Sword Beats
Sword beats are made in quarte and tierce, while striking with the strong of
your sword upon the weak of your adversarys sword, without quitting his
blade.
The beat of quarte is made while thrusting quarte inside the arm
Beat of Tierce to Thrust Quarte over the Arm
The beat of tierce to thrust quarte over the arm is made with the strong of
the sword, without quitting that of the adversary, to thrust quarte over the
arm.
Beat of Tierce to Thrust Seconde
Beats of tierce to thrust seconde are done while turning he hand from
quarte to tierce, nails under, while striking the flat of the sword weak-to-
strong, to raise the adversarys sword, and thrust second under the arm.
Pressure on the Sword Inside the Arm while Stepping
Pressuring the blade out of measure is made while pressuring the blade
weak-to-strong of the adversarys sword, while turning the hand to demi-
tierce, while stepping one measure with the body to the rear and carried
over the left side, while always stopping for an instant doing the step;
because all sword beats are susceptible to disengagements; to remain the
master of the adversarys blade, return the hand to quarte, to thrust quarte
inside the arm, with the hand well raised.
Observe that the pressure on the sword is not thrust from out of measure.
The pressure on the sword is parried in quarte and riposted with quarte
inside the arm.
Pressure on the sword inside the arm while stepping
accomplished
Pressure on the sword over the arm
while stepping to thrust seconde
Pressure on the Sword Over the Arm
The pressure on the sword over the weapon is done while turning the hand
a little to tierce, and returning quarte over the arm.
If while pressuring the sword the adversary disengages quarte inside the
arm, you parry this disengagement with a parry of octave, and riposte
quarte under the arm.
He must observe that one can deceive all pressures on the sword (when the
adversary resists your pressurings) with a disengage or a feint one-two, or
with a bind in seconde, when it is inside the weapon.
Pressurings of the sword over the arm are deceiveed by a feint of seconde, to
thrust quarte over the arm, or seconde under the arm.
Pressures of the sword can be parried in prime or counter-quarte; seconde is
parried with octave, and riposted with quarte under the arm.
Feint with a pressure on the sword inside the arm
Pressure on the sword over the arm while stepping
accomplished
Another Pressure on the Sword while Stepping
This other pressure on the sword, while stepping, is done to oblige the
adversary to thrust quarte over the arm.
The parry to this attack is the parry of tierce, and return tierce over the arm
while you separate the left leg, with the wrist well raised and the nails
turned over.
Binding in Seconde inside the Arm while Stepping
The bind in seconde while stepping is made when one is out of measure,
while turning the hand to tierce, and stopping a little while stepping; having
mastered the adversarys blade, thrust quarte inside the arm, in the usual
way.
The parry to this attack is the parry of demi-circle, then riposte quarte
inside the arm, and return to guard.
He must observe that if the adversary disengages while making the bind of
seconde, on must immediately make a counter-quarte inside the arm.
Crois of Octave while Stepping
Make use of the crois of octave when the adversary holds the wrist raised
and is out of measure. While stepping, and sliding the sword blade along
his, while lowering ones point, the hand very soft and well raised, without
pushing on the adversarys blade, and thrust low quarte outside the arm.
The parry to this attack is the parry of octave, and riposte quarte
underneath the arm, and back to guard.
Binding in seconde inside the arm while stepping
accomplished
Observation
The crois of octave replaces in the canon that which the ancients called the
flanconade, though it is not quite the same thing. Using the flanconade
shows that you have taken the most dangerous course, and by choosing the
crois one takes charge of ones adversary, in a less dangerous way.
Feints of the Crois of Octave while Stepping
This feint of the crois of octave is made while stepping in the same position
as a crois of octave, to oblige the adversary to make a parry of octave; cross
his blade with a dry parry of octave, and thrust quarte over the arm; and go
to guard.
Of Stepping Forward
To step forward one must observe the rules given before, while sliding the
sword along the blade of your adversary, while making a feint with the point
at him, to oblige him to parry quarte, which I then deceive him with by
thrusting quarte over the arm.
The parry to this attack is the parry of tierce; to thrust seconde; and to
guard.
Parry of high quarte against high quarte inside the arm
Quarte coup outside the arm
Engagement of Quarte Over the Arm
This engagement is done as before, to oblige the adversary to go to a parry of
tierce, which I deceive while thrusting quarte inside the arm.
The parry to this attack is the parry of demi-circle; and to guard
Engagement of Quarte Inside the Arm, Out of Measure
The engagement of quarte inside the arm, out of measure, is done while
carrying the body weight over the left side, with the head upright, gazing at
the adversary, the left arm raised, the fingers turned to quarte at brow
height, the right arm flexed, sword point raised a little more than when in
guard; step with the right foot by raising it about an inch, while making the
left foot follow by the same amount; the body must be positioned more to the
rear than to the front, slide the sword along the length of the adversarys,
strong- to-weak, to oblige a parry of quarte.
I deceive this while thrusting quarte over the arm or a One-Two inside the
weapon.
The parry to these two attacks is one, tierce, and the other quarte inside the
arm.
If the adversary does not make a parry of quarte, or does not thrust quarte
over the arm, nor make a feint of One-Two, one is thus obliged to disorder
the sword which you hold at his body, with a bind in seconde, to thrust
quarte, to thrust quarte inside the arm, and to guard.
Engagement of Quarte Inside the Arm, Out of Measure while Stepping
Engagement of quarte over the arm while stepping, to make a feint of
seconde, is done while stepping with the bodyweight well over the left side,
in the same way as has been said in the preceding article.
The feint of seconde is done while turning the hand to tierce, while lowering
the sword point, nails turned over, to oblige the adversary to make a parry of
octave; return the hand to quarte and thrust quarte over the arm with
quickness.
The parry to this attack is the parry of tierce or prime, and the riposte is an
attack of quarte outside the arm; the riposte to prime is an attack of
seconde; and to guard.
Time-hit thrust over the arm with a covering action
Feint seconde, while stepping, over the arm
accomplished
Feint of Seconde while Stepping
This feint of seconde is done while observing that it is practiced as below.
The double feint of seconde is done in two measures; step while thrusting at
the second measure and when thrusting quickly, without quitting the
adversarys sword; thrust quarte over the arm, taking care that you cover
yourself well to avoid a stop hit.
Observation on Stepping
While on guard, out of measure from the adversary, sword in front, body
back and steady, gazing ahead, with the head upright, advance the right foot
while sliding it forward by the length of twelve inches, without moving the
left foot, which must stay firmly and flat on the ground; he must not
disengage the point either to the inside nor the outside, while stepping,
making sure that you have always gained the adversarys sword.
This is the method to use for thrusting with speed along the length of the
adversarys blade when advancing. One must lead with the hand so that the
attack will be well-made.
Here is the true means of being protected from a stop hit. Because you must
observe that if you step and disengage at the same time, inside or over the
arm, you will be susceptible to a stop hit.
Secondly, when on guard, sword to the fore and out of measure, one must
raise the right foot close to the ground, and advance in a straight line the
length of one and a half feet, the left foot must follow by the same amount;
make sure that the body is steady and to the rear, the thigh straight, bent,
and the shoulders back, to be in a state to thrust and parry.
Stophit over the arm while disengaging and stepping
Stophit made inside the arm on the adversary,
while disengaging and stepping together
False Times
Tempo is the time of one action, either of the sword or the foot, one can
make no other movement, whatever is tried, it will consist of one tempo,
whether a disengagement, advance, retreat &c. Or take a tempo with the
weapon, to take advantage of the moment when you feel that the adversary
seeks your sword, to thrust at your exposed body parts.
However, this is not a result of chance as a fencer can sometimes do this by
intent, that is to say, to touch the other without being touched. This is a
great outcome but is often the result of an absence or lack of precaution on
the adversarys part.
However when a fencer goes to make a certain action, upon an arm held too
short, or against a body part left exposed, he can sometimes make use of
this.
Observe that there is greater ease and less peril to make these touches
against an adversary with a raised foot, seeing as an adversary cannot step
and thrust in the same instant.
I must also prevent, that one must never risk making time-hits with the
sword at the hand, especially if your adversary has quickness, experience
and skill because although you have the element of surprise you risk being
surprised equally. It is more prudent to make use of simple parries, those of
counter, double counter, circle and demi-circle, which give certain ripostes.
To perform these uncertain tempi, one must be well pressed over the left
thigh, and have a straight knee so that the arm is very flexible.
True Times
To take a certain time is to take a moment where the adversary tries to
lunge, in order to thrust at the same time as him with an attack which one
will parry him while touching.
Combatants may, though, thrust at one another at the same time, when not
done as a dirty trick, because they both set themselves up to do so at the
same time, as double hits are against the intent of fencers, and is not
observed sufficiently, thus to not leave together, and to not have riposted at
one part or another.
Although the true tempo actions are easily parried with simple actions they
are, however, the most difficult actions in fencing, and the most beautiful,
and when one is in a state of good-judgement, and making them with
precision, one can flatter oneself that you have achieved the highest degree
of the science of the art.
To impede the effect of double hits, I launch the sword at the body of the
adversary, I step with the left leg then the right leg, while quitting the line I
carry myself to the right, and thus I avoid the adversarys attack.
One can also make the same movements, either to the inside or outside of
the weapon.
The same manoeuvre is done with the right foot.
Volte upon an attack of quarte inside the arm.
The marks showing the place to depart from.
No 1 the right foot. No 2 the left foot
Attack of quarte thrust over the arm volted with a coup
to the outside - the dashes indicate the steps
Seizing the Sword and Disarms
Nothing is more dangerous than seizures and disarms. If a disarm, which
cannot be completely relied upon, is successful; if your disarmed adversary
does not wish to depart, as happens sometimes; one can however
assassinate the vanquished enemy, on the pretext that it is better to kill
than be killed, by a process as untrustworthy as it is blameworthy, you will
be deemed contemptible, as there is no glory in having attacked an unarmed
enemy.
On the other hand, there is the opinion that when return his sword you
required to recommence the combat, which is always questionable.
Of these you must judge well what is most prudent when trying a disarm.
However if by his own error he finds himself to make a full lunge, or both
combatants have entered into measure at the same time, or lastly if they
remain too long in their attack, having neglected to return to guard; here is
how to seize his sword inside the weapon.
If someone wishes to lunge at you in tierce, parry tierce; if the adversary
does not recover out of fear of a riposte, oppose strongly against his strong,
and seize the guard of his sword with the left hand, and while passing the
left foot to where the right foot was, lower the point of his sword towards the
ground, while presenting his outstretched at his body, to avoid any
surprises.
Where I attack my adversary over the weapon to make him attack quarte
within the weapon, I parry his attack of quarte with a parry of octave while I
lunge with my left leg, left hand seizing the guard of his sword, and by this
method I make his sword pass under my right arm, and clamp it fast to my
body. This is the most certain seizure.
Suppose that you have lunged in tierce, and opposed strong to strong, the
adversary goes to seize the guard of your sword, upon the action of his wrist;
quickly and at the same time reprise in seconde.
Seizing the sword
Seizing the sword during a parry of octave
Crois of Octave
Croiss of octave are done against a man who has a raised guard, while
making a slide on the sword, while lowering the point underneath the
adversarys sword while raising well the arm with the nails high, to attack
the flank.
This crois is parried with octave and the riposte is the same. Then return to
guard.
Demi-Crois of Octave to Deceive the Crois
The demi-crois of octave is done while advancing the forearm a little, while
lowering the sword point crossing that of the adversary, making a little beat
against him with the wrist to thrust quarte inside the arm.
The parry to this attack is a parry of quarte; riposte direct and return to
guard.
Crois of octave while stepping off line
Feint of crois of octave when stepping
On Attacks from Underneath
To perform these attacks from underneath one must direct the sword point
along that of your adversary by going underneath the wrist; when it is four
fingers from the body, raise the wrist to shoulder height, fingers above, to
make your opposition; plunge the point at the flanks, without however
lunging nor lowering the body too much, which often happens, so that the
head is covered by the opposition of the arm and wrist.
These attacks are parried with quarte, demi-circle or octave.
Crois and Binds of the Sword
Crois and bind the adversarys sword, it is engaged while sliding and
pressing strongly with the edge, and the strong to weak underneath his
wrist, to turn it.
The crois and bind of the sword is a type of disarm which, when done with
precision and quickness, must, if absolutely certain in its execution, is the
very least favourable, though is without danger; because if the adversarys
sword is not grabbed by the hand, he is always certain of breaking free
enough to hit you.
Example
If the adversary engages his sword in quarte, arm extended, point toward
you so that he opposes equally the strong of quarte to his weak, while
supporting the wrist a little higher than in an ordinary guard, the arm being
flexible, and having the body balanced over the left side; one turns the hand
quickly to seconde, while passing he point underneath his blade, nails
under, and while intending that the arm crosses his blade over the wrist,
binding it without quitting, , and chasing it briskly to the outside of the
weapon, since the strong is next to the weak, however without leaving the
direct line; one must also ensure that this action is done with the wrist;
when his sword point has dropped, one must riposte quarte over the arm.
Counter to the Crois and Bind of the Sword
When one wishes to avoid this attack, one must pay attention to the action
of his wrist, and cross his sword in quarte; he must also seize the tempo in
which he turns the wrist to seconde, disengage and thrust promptly in
quarte over the arm.
Or if he crosses your blade in quarte over the arm, he must thus seize the
tempo of demi-circle while outside the weapon, quickly turn the wrist to
prime, then make a reprise with the hand in prime and be in seconde while
returning to guard.
Observation on the Crois and Bind of the Sword
The crois and binds of the sword are susceptible to disengages when one
does not make them strong to weak of the sword with force and speed; one
must thus start with quickness to complete these attacks, and by this
means one Is not at risk from a disengagement.
Method for Perfecting ones Pupil for the Assault by Reciprocal Attack
To put this method into practice, I attack you in tierce, leaving from quarte
inside the arm, with speed.
I parry your attack of quarte, and I riposte quarte inside the arm; you
recover while parrying quarte inside the arm.
Make a feint of one-two inside the arm and return to guard.
Upon my attack of quarte inside the arm with an appel, disengage quarte
over the arm speedily, I parry quarte and I disengage quarte over the arm;
you recover quickly while parrying counter-quarte, and upon my retreat
riposte with an attack over the arm.
Upon my attack of tierce disengage quarte inside the arm; I parry your demi-
circle, and I return to quarte inside the arm.
Parry of demi-circle over a low quarte
I attack you with an attack of quarte inside the arm; leave with an attack of
quarte over the arm; I parry your attack of quarte over the arm ; riposte with
an attack of seconde, which must be parried octave and demi-circle; and to
guard.
I attack tierce to oblige him to thrust a feint one-two. Which is parried with
a parry of prime, then the riposte is an attack with the hand in seconde.
Upon my attack of quarte inside the arm thrust feint one-two, I parry it
quarte, riposte quarte inside the arm; and to guard.
Upon my attack of quarte inside the arm, leaving while thrusting low quarte,
with the point of the sword a little low, and the wrist well-raised.
The parry to this attack is that of octave, then a riposte is thrust in quarte
inside the arm, and to guard.
Upon my attack of tierce makes a feint of seconde over the arm.
The parry to this feint is a parry of tierce and this is riposted tierce over
tierce; and to guard.
Upon my attack of tierce leaving from an attack of seconde or of octave while
underneath the arm.
I parry your attack of seconde or octave, and I thrust quarte over the arm,
which you must parry counter-quarte; and the riposte is a cutover
disengaged while passing under the right arm, and to guard.
I attack with an attack of tierce; showing me a feint of one-two over the arm,
which I parry with a parry of tierce, to which I want to riposte quarte over
the arm, you stop me with an attack in seconde.
Observation
Ensure that the pupil faces the master with the same manoeuvres which
have been done with him, thus to know well the theory, and to perfect
practice, and to better fell the tic-tac of the sword, which must be thrust
with the greatest speed.
The End