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diff --git a/old/12135-h.zip b/old/12135-h.zip Binary files differnew file mode 100644 index 0000000..ffa0f3a --- /dev/null +++ b/old/12135-h.zip diff --git a/old/12135-h/12135-h.htm b/old/12135-h/12135-h.htm new file mode 100644 index 0000000..f3ecb5a --- /dev/null +++ b/old/12135-h/12135-h.htm @@ -0,0 +1,3589 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> + <head> + <meta http-equiv="Content-Type" content= + "text/html; charset=iso-8859-1"> + <title> + The Project Gutenberg eBook of The Art Of Fencing, by Monsieur L'Abbat. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + text-indent: 1em; + } + H1,H2,H3,H4,H5,H6 { + text-align: center; /* all headings centered */ + } + HR { width: 33%; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + LI{margin-bottom: 1em;} + .note {margin-left: 2em; margin-right: 2em; margin-bottom: 1em;} /* footnote */ + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right;} /* page numbers */ + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Art of Fencing, by Monsieur L'Abbat + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Art of Fencing + The Use of the Small Sword + +Author: Monsieur L'Abbat + +Release Date: April 24, 2004 [EBook #12135] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF FENCING *** + + + + +Produced by Steve Schulze and PG Distributed Proofreaders. Produced +from page images provided by the Digital & Multimedia Center, Michigan +State University Libraries + + + + + + +</pre> + + + + +<br /><br /> + +<h2>The ART of</h2> + +<h1>FENCING,</h1> + +<h2>or, the USE of the</h2> + +<h1><i>Small SWORD</i>.</h1> +<br /> + +<p style="text-align: center;">Translated from the FRENCH of the late celebrated</p> + +<h3>Monsieur L'ABBAT;</h3> + +<p style="text-align: center;">Master of that ART at the Academy of TOULOUSE.</p> + +<hr style="width: 45%;" /> + +<p style="text-align: center;">By ANDREW MAHON, Professor of the SMALL SWORD in DUBLIN.</p> +<br /> + +<p style="text-align: center;"><i>DUBLIN</i>:</p> + +<p style="text-align: center;">Printed by JAMES HORT, at the Sign of <i>Mercury</i> in <i>Skinner-Row</i>, 1734.</p> + +<hr style="width:65%;" /> + +<a href="#DEDICATION"><b>DEDICATION.</b></a><br /> +<a href="#PREFACE"><b>PREFACE.</b></a><br /> +<a href="#CHAP_I"><b>CHAP. I.</b> <i>Of chusing and mounting a</i> Blade.</a><br /> +<a href="#CHAP_II"><b>CHAP. II.</b> <i>Of Guard.</i></a><br /> +<a href="#CHAP_III"><b>CHAP. III.</b> <i>Of Pushing Quart.</i></a><br /> +<a href="#CHAP_IV"><b>CHAP. IV.</b> <i>Of the Parade of Quart.</i></a><br /> +<a href="#CHAP_V"><b>CHAP. V.</b> O<i>f pushing</i> Tierce <i>without, or on the Outside of the Sword.</i></a><br /> +<a href="#CHAP_VI"><b>CHAP. VI.</b> <i>Of pushing</i> Seconde.</a><br /> +<a href="#CHAP_VII"><b>CHAP. VII.</b> <i>The Parades of</i> Seconde.</a><br /> +<a href="#CHAP_VIII"><b>CHAP. VIII.</b> <i>Of</i> Quart <i>under the Wrist.</i></a><br /> +<a href="#CHAP_IX"><b>CHAP. IX.</b> <i>Of</i> Flanconnade.</a><br /> +<a href="#CHAP_X"><b>CHAP. X.</b> <i>Of</i> Parades.</a><br /> +<a href="#CHAP_XI"><b>CHAP. XI.</b> <i>Of the</i> demarches, <i>or manner of advancing and retiring.</i></a><br /> +<a href="#CHAP_XII"><b>CHAP. XII.</b> <i>Of</i> Disengagements.</a><br /> +<a href="#CHAP_XIII"><b>CHAP. XIII.</b> <i>Of</i> Feints.</a><br /> +<a href="#CHAP_XIV"><b>CHAP. XIV.</b> <i>Of cutting over the Point of the</i> Sword.</a><br /> +<a href="#CHAP_XV"><b>CHAP. XV.</b> <i>Of the</i> Reprise, <i>or redoubled Thrust.</i></a><br /> +<a href="#CHAP_XVI"><b>CHAP. XVI.</b> <i>Of passing</i> Quarte <i>within the Sword.</i></a><br /> +<a href="#CHAP_XVII"><b>CHAP. XVII.</b><i> Of passing</i> Quarte <i>within the Sword.</i></a><br /> +<a href="#CHAP_XVIII"><b>CHAP. XVIII.</b> <i>Of Joining or seizing the</i> Sword.</a><br /> +<a href="#CHAP_XIX"><b>CHAP. XIX.</b> <i>Of engaging in</i> Quarte <i>in a midling Guard.</i></a><br /> +<a href="#CHAP_XX"><b>CHAP. XX.</b> <i>Of engaging in</i> Tierce <i>in the Midling Guard.</i></a><br /> +<a href="#CHAP_XXI"><b>CHAP. XXI.</b> Of several Guards, and the Manner of attacking them.</a><br /> +<a href="#CHAP_XXII"><b>CHAP. XXII.</b> <i>Of Left-handed Men.</i></a><br /> +<a href="#CHAP_XXIII"><b>CHAP. XXIII.</b> <i>Of the Parade of the Hand.</i></a><br /> +<a href="#CHAP_XXIV"><b>CHAP. XXIV.</b> <i>Of the beat of the Foot, in closing the measure, or in the same place.</i></a><br /> +<a href="#CHAP_XXV"><b>CHAP. XXV.</b> <i>Of the Good Effects of a nice Discernment of the Eye.</i></a><br /> +<a href="#CHAP_XXVI"><b>CHAP. XXVI.</b> <i>Of Time.</i></a><br /> +<a href="#CHAP_XXVII"><b>CHAP. XXVII.</b> <i>Of Swiftness.</i></a><br /> +<a href="#CHAP_XXVIII"><b>CHAP. XXVIII.</b> <i>Of Measure.</i></a><br /> +<a href="#CHAP_XXIX"><b>CHAP. XXIX.</b> <i>Of the Necessity of some Qualities in a Master.</i></a><br /> +<a href="#CHAP_XXX"><b>CHAP. XXX.</b> <i>Rules for pushing and parrying at the Wall, and for making an Assault.</i></a><br /> +<a href="#CHAP_XXXI"><b>CHAP. XXXI.</b> <i>Against several erroneous Opinions.</i></a><br /> +<a href="#Thrusts_of_Emulation_for_Prizes_Wagers_c"><b><i>Thrusts of Emulation for Prizes, Wagers &c.</i></b></a><br /> +<a href="#FOOTNOTES"><b>FOOTNOTES</b></a> + +<hr style="width: 65%;" /> +<a name="DEDICATION"></a><br /><h2>DEDICATION.</h2> + +<p>[Transcribers note: First page of dedication missing.]</p> + +<p>sue for. I shall omit saying any Thing, My Lord, of the shining +Qualities, which seem Hereditary in Your Lordship's Family, as well as +of the Dignity and Importance of the Charge with which His Majesty has +been pleased to entrust Your Lordship's Most Noble Father. Neither will +I presume to trouble Your Lordship with those Encomiums, which are most +deservedly due to the Vertues, whereby Your Lordship has gained the +Admiration and Esteem of the Polite and Ingenious Persons of this +Nation. Be pleased then, My Lord, to permit me to have the Honour of +subscribing myself,</p> + +<p>My Lord,</p> + +<p>Your Lordship's</p> + +<p>Most devoted, and</p> + +<p>Most humble</p> + +<p>Servant,</p> + +<p><i>Andrew Mahon</i>.</p> + + + +<hr style="width: 65%;" /> +<a name="PREFACE"></a><br /><h2>PREFACE.</h2> +<br /> + +<p>I thought it very suitable to my Business, when I met with so good an +Author as Monsieur <i>L'Abbat</i>, on the Art of Fencing, to publish his +Rules, which in general, will I believe be very useful, not only as they +may contribute to the Satisfaction of such Gentlemen as are already +Proficients in the Art, and to the better Discipline of those who intend +to become so, but also in regard that the Nicety and Exactness of his +Rules, for the most Part, and their great Consistency with Reason, may, +and will in all Probability, lay a regular and good Foundation for +future Masters, who tho' accustom'd to any particular Method formerly +practised, may rather chuse to proceed upon the Authority of an +excellent Master, than upon a vain and mistaken Confidence of their own +Perfection, or upon an obstinate Refusal to submit to Rules founded on, +and demonstrated by Reason.</p> + +<p>For my Part, though I had my Instructions from the late Mr. <i>Hillary +Tully</i> of <i>London</i>, who was (and I think with great Reason) esteemed a +most eminent Master in his Time, I thought I could not make too nice a +Scrutiny into my Profession, by comparing Notes with Monsieur <i>L'Abbat</i>, +which improved me in some Points, and confirmed me and others, to my no +small Satisfaction, being well persuaded, that, as a Professor of this +Science, it would have been an unpardonable Fault in me to deprive our +Nations of such an Improvement, either through Prejudice to his, or +Partiality to my own Opinion.</p> + +<p>Though I have already said that Mr. <i>L'Abbat's</i> Rules are nice, +reasonable, and demonstrative, yet I would not have it inferred from +thence, that he approves of them all, as really essential to the Art of +Fencing; there being some which he does not approve of, and which he +would not have mentioned, had they not interfered with his profession, +by the Practice and Recommendation of some Masters, who being more +capricious than knowing, were fonder of the shewy or superficial, than +of the solid Part of the Science.</p> + +<p>Volting, Passing, and Lowering the Body, are three things which Mr. +<i>L'Abbat</i> disapproves of, in which Opinion I join; because the Sword +being the Instrument of Defence, there can be no Safety when the proper +Opposition of the Blade is wanting, as it is in volting and lowering the +Body, and in passing, by reason of the Weakness of the Situation, which +cannot produce a vigorous Action.</p> + +<p>Notwithstanding which, there is a modern Master, who as soon as he had +seen this Book, and the Attitudes representing volting, passing and +lowering the Body, began and still continues teaching them to his +Scholars, without considering how unsafe and dangerous they are, for +want of the proper Opposition of the Sword when within Measure.</p> + +<p>Of all Professions, that of Arms has in all Ages, since their Invention, +been esteemed the noblest and most necessary; it being by them that the +Laws preserve their Force, that our Dominions are defended from the +Encroachments of our Enemies, and ill designing People kept in the +Subjection due to their Sovereigns; and of all Arms, the Sword is +probably the most ancient: It is honourable and useful, and upon +Occasion, causes a greater Acquisition of Glory than any other: It is +likewise worn by Kings and Princes, as an Ornament to Majesty and +Grandeur, and a Mark of their Courage, and distinguishes the Nobility +from the lower Rank of Men.</p> + +<p>It is the most useful, having the Advantage of Fire Arms, in that it is +as well defensive as offensive, whereas they carry no Defence with them; +and it is far preferable to Pikes and other long Weapons, not only +because it is more weildy and easy of Carriage, but also by reason of +the Perfection to which Art has brought the Use of the Small Sword; +there being no Exercise that conduces so much as Fencing, to strengthen +and supple the Parts, and to give the Body an easy and graceful +Appearance.</p> + +<p>The Sword, since it's first Invention, has been used in different +Manners: First, with a Shield or Buckler; Secondly, with a Helmet, and +Thirdly, with a Dagger, which is still used in <i>Spain</i> and <i>Italy</i>. Mr. +<i>Patinotris</i>, who taught at <i>Rome</i>, introduced, and laid down Rules for +the Use of the Small Sword alone, which has since been much improved by +the <i>French</i> and our Nations.</p> + +<p>As the Art of Fencing consists in attacking and defending with the +Sword, it is necessary that every Motion and Situation tend to these two +principal Points, <i>viz.</i> In offending to be defended, and in defending +to be in an immediate Condition to offend.</p> + +<p>There is no Guard but has it's Thrust, and no Thrust without it's +Parade, no Parade without it's Feint, no Feint without it's opposite +Time or Motion, no opposite Time or Motion but has it's Counter, and +there is even a Counter to that Counter.</p> + +<p>Some injudicious Persons have objected to Mr. <i>L'abbat's</i> Manner of +Fencing, that it is too beautiful and nice, without observing that if it +be beautiful, it cannot be dangerous, Beauty consisting in Rule, and +Rule in the Safety of attacking and defending.</p> + +<p>In Fencing, there are five Figures of the Wrist, <i>viz.</i> <i>Prime</i>, +<i>Seconde</i>, <i>Tierce</i>, <i>Quart</i>, and <i>Quinte</i>. The first is of very little +Use, and the last of none at all.</p> + +<p>Prime is the Figure that the Wrist is in, in drawing the Sword. +<i>Seconde</i> and <i>Tierce</i> require one and the same Figure of the Wrist, +with this Difference only, that in <i>Seconde</i>, the Wrist must be raised +higher, in order to oppose the Adversary's Sword; but in both these +Thrusts the Thumb Nail must be turned directly down, and the Edges of +the Blade of the Foil of an equal Height.</p> + +<p>Quart is the handsomest Figure in Fencing, the Thumb Nail and the Flat +of the Foil being directly up, and the Wrist supported so as to cover +the Body below as well as above. In <i>Quinte</i>, the Wrist is more turned +and raised that in <i>Quart</i>, which uncovers the Body, and weakens the +Point, and therefore is not used by the skilful.</p> + +<p>Some Masters divide the Blade into three Parts, <i>viz.</i> the Fort, the +Feeble, and the Middle. Others divide it into Four, <i>viz.</i> the Fort, the +Half Fort, the Feeble, and the Half Feeble; but to avoid Perplexity, I +divide it only into Fort and Feeble; tho' it may be divided into as many +Parts as there are Degrees of Fort and Feeble to be found on the Blade.</p> + +<p>The Attitudes which are in the Book, are copied exactly from the +Originals; tho' I might perhaps have made some Alterations, in my +Opinion, for the better, yet I chose rather to leave them as they are, +than to run the Hazard of spoiling any of them: I have therefore left +the same Bend in the Foils as Mr. <i>L'Abbat</i> recommends, <i>and for which +he makes an Apology in his Preface</i>.</p> + +<p>Nor have I, in any of the Attitudes, represented a Left-handed Figure, +because by looking thro' the Paper on the blank Side, they will appear +reversed, and consequently Left-handed.</p> + +<p>Monsieur <i>L'Abbat</i> recommends the turning on the Edge of the Left-foot +in a Lunge, as may be seen by the Attitudes. This Method indeed was +formerly practised by all Masters, and would be very good, if their +Scholars had not naturally run into an Error, by turning the Foot so +much as to bring the Ancle to the Ground, whereby the Foot became so +weak as to make the Recovery difficult, for want of a sufficient Support +from the Left-foot, which, in recovering, bears the whole Weight of the +Body: Therefore I would not advise the turning on the Edge of the Foot +to any but such as, by long Practice on the Flat, are able to judge of +the Strength of their Situation, and consequently, will not turn the +Foot more than is consistent therewith.</p> + +<p>It may sometimes be necessary to turn on the Edge, on such Ground +whereon the Flat would slip, and the Edge would not, if it were properly +turned; but even in this Case, by turning it too much it would have no +Hold of the Terrace, and therefore would be as dangerous as keeping it +on the Flat.</p> + +<p>The chief Reason for turning on the Edge, is that the Length of the +Lunge is greater by about three Inches, which a Man who is a Judge of +Measure need never have recourse to, because he will not push but when +he knows he is within Reach.</p> + +<p>Some of the Subscribing Gentlemen will, perhaps, be surprized, when they +find this Book published in my Name, after having taken Receipts, for +the first Moiety of their Subscription Money, in the Name of Mr. +<i>Campbell</i>, to whom I am obliged for his Assistance in the Translation, +he being a better Master of the <i>French</i> Tongue than I am. Indeed to the +chief Reasons why they were not signed in my Name, are, First, because I +was, at the Time of their being signed, a Stranger in this city, being +then lately come from <i>England</i>. And secondly, lest I should meet with +such Opposition as might perhaps have frustrated my Design of publishing +this book, I thought proper to conceal my being concerned in it, 'till +Mr. <i>Campbell</i> had shown the Translation to all the principal Masters in +Town, and gained their Approbation much in Favour of it.</p> + + + +<hr style="width: 65%;" /> +<br /><br /> +<center> +<img src="images/001.jpg" width="400" height="153" alt="" title=""> +</center> + +<h3>THE</h3> + +<h1>ART of FENCING;</h1> + +<h3>OR THE</h3> + +<h2>USE of the SMALL-SWORD.</h2> + + +<br /><br /> +<hr style="width: 65%;" /> +<a name="CHAP_I"></a><br /><h2>CHAP. I.</h2> + +<h3><i>Of chusing and mounting a</i> Blade.</h3> + +<p>Courage and Skill being often of little Use without a good Weapon, I +think it necessary, before I lay down Rules for using it, to shew how to +chuse a good Blade, and how it ought to be mounted.</p> + +<p>The Length of the Blade ought to be proportionable to the Stature of the +Person who is to use it: The longest Sword, from <!-- Page 2 -->Point to Pommel, +should reach perpendicularly from the Ground to the Navel, and the +shortest, to the Waste; being large in Proportion to its Length, and not +extremely large, nor very small, as some People wear them; the over +large Blades being unweildy, unless very hollow, which makes them weak, +and the narrow ones being not sufficient to cover the Body enough.</p> + +<p>In Order to chuse a good Blade, three Things are to be observed: First, +that the Blade have no Flaw in it, especially across, it being more +dangerous so than Length-way. Secondly, That it be well tempered, which +you'll know by bending it against a Wall or other Place; if it bend only +towards the Point, 'tis faulty, but if it bend in a semicircular Manner, +and the Blade spring back to its Straitness, 'tis a good Sign; If it +remains bent it is a Fault, tho' not so great as if it did not bend at +all; for a Blade that bends being of a soft Temper, seldom breaks; but a +stiff One being hard tempered is easily broke. The third Observation is +to be made by breaking the Point, and if the Part broken be of a grey +Colour, the Steel is good; if it be white 'tis not: Or you may strike +the Blade with a Key or other Piece of <!-- Page 3 -->Iron, and if he gives a clear +Sound, there is no hidden Fault in it. In bending a Blade you must not +force it, what I have said being sufficient to know it by, and besides +by forcing it, it may be so weakened in some Part as to break when it +comes to be used.</p> + +<p>It would not be amiss for a Man to see his Sword mounted, because the +Cutlers, to save themselves the Trouble of filing the inside of the +hilts and pommel, to make the Holes wider, often file the Tongue<a name="FNanchor_1_1"></a><a href="#Footnote_1_1"><sup>[1]</sup></a> of +the Blade too much, and fill up the Vacancies with Bits of Wood, by +which Means the Sword is not firm in the Hand, and the tongue being thin +and weak, is apt to break in Parrying or on a dry Beat, as has been +unhappily experienced. Care should also be taken that the End of the +Tongue be well riveted to the Extremity of the Pommel, lest the Grip +should fly off, which would be of very dangerous Consequence.</p> + +<p>Some Men chuse strait Blades, others will have them bending a little +upwards or downwards; some like them to bend a <!-- Page 4 -->little in the Fort, and +others in the Feeble, which is commonly called <i>le Tour de Breteur</i>, or +the Bullie's Blade. The Shell should be proportionable in Bigness to the +Blade, and of a Metal that will resist a Point, and the Handle fitted to +the Hand.</p> + +<p>Some like square Handles, and others chuse round Ones; the square are +better and firmer in the Hand, but as this Difference depends on Fancy, +as does also the Bow, which in some Cases may preserve the Hand, but may +be a Hindrance in inclosing, I shall leave it to the Decision of the +Fashions.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_II"></a><br /><h2>CHAP. II.</h2> + +<h3><i>Of Guard.</i></h3> + +<p>By Guard, is meant such a Situation of all the Parts of the Body as +enables them to give their mutual Assistance to defend or attack. A +Guard cannot be perfect without a good and graceful Disposition, +proceeding from a natural Proportion of the Parts of the Body, and an +easy and vigorous Motion, which is to be acquired by Practice, and the +Instruction of a good Master.</p> + +<center><h2>1st. Plate</h2> +<img src="images/004a.jpg" width="400" height="213" alt="Plate 1. The middling Guard." title=""> +</center> +<h4><i>The middling Guard.</i></h4> +<center> +<img src="images/004b.jpg" width="400" height="214" alt="The straight Guard or flat Sword." title=""> +</center> +<h4><i>The straight Guard or flat Sword.</i></h4> + +<p><!-- Page 5 -->As In all bodily Excercises, a good Air, Freedom, Vigour, and a just +Disposition of the Body and Limbs are necessary, so are they more +especially in Fencing, the least Disorder in this Case being of the +worst Consequence; and the Guard being the Center whence all the Vigour +should proceed, and which should communicate Strength and Agility to +every Part of the Body, if there be the least Irregularity in any one +Part, there cannot be that Agreeableness, Power of Defence, Justness, or +Swiftness that is requisite.</p> + +<p>In order to be well in Guard, it is absolutely necessary that the Feet, +as the Foundation that conduces chiefly to communicate Freedom and +Strength to the other Parts, be placed at such a Distance from each +other, and in such a lineal Manner as may be advantageous: The Distance +must be about two Foot from one Heel to the other; for if it were +greater, the Adversary, tho' of the same Stature, and with a Sword of +equal Length, would be within Measure when you would not, which would be +a very considerable Fault, Measure being one of the principal Parts of +Fencing, and if the Feet were nearer together, you would want Strength, +<!-- Page 6 -->which is also a great Fault, because a feeble Situation cannot produce +a vigorous Action.</p> + +<p>The Line must be taken from the hindmost Part of the Right Heel to the +Left Heel near the Ancle. The Point of the Right Foot must be opposite +to the Adversary's, turning out the Point of the Left Foot, and bending +the Left Knee over the Point of the same Foot, keeping the Right Knee a +little bent, that it may have a Freedom of Motion.</p> + +<p>The Body must be upright, which gives it a better Air, greater Strength, +and more Liberty to advance and retire, being supported almost equally +by the two Feet. Some Masters teach to keep the Body back in Favour of +Measure, which cannot be broke by the Body when 'tis already drawn back, +tho' it is often necessary, not only to avoid a Surprize, but also to +deceive a Man of superior Swiftness who pushes a just Length: Therefore +'tis much better to have the Liberty of retiring to avoid the Thrusts of +the Adversary, or of extricating yourself by advancing towards him and +pushing (as I shall observe in its proper Place) than to keep the Body +in one Situation at a Distance, which being fixed, cannot deceive a +Person who knows any<!-- Page 7 --> thing of Measure; moreover, such a Retention of +the Body does not only hinder the breaking Measure with the Body, but +also the Left Leg is so oppressed with its whole Weight, that it would +find it difficult to retire upon Occasion.</p> + +<p>The Elbows must be almost on a Line, and of an equal Height, that one +Shoulder may not be higher than the other, and that they may be both +turn'd alike; the Left Hand must be over against the Top of the Ear, the +Hilt of the Sword a little above the Hip, turning towards Half <i>Quart</i>, +the Thumb extended, pressing the Middle of the Eye of the Hilt, keeping +the Fingers pretty close to the Handle, especially the little one, in +order to feel the Sword firmer and freer in the Hand.</p> + +<p>By feeling the Sword, is meant commanding the Fort and Feeble equally +with the Hand, in order to communicate to the more distant Part of the +Blade, as well as to that which is nearer, the Motion and Action that is +requisite.</p> + +<p>The Hilt should be situated in the Center, that is to say, between the +upper and lower Parts, and the Inside and Outside of the Body, in order +to be in a better Condition to defend whatever Part may <!-- Page 8 -->be attacked. +The Arm must not be strait nor too much bent, to preserve its Liberty +and be cover'd. The Parts being thus placed, the Wrist and the Point of +the Right Foot will be on a perpendicular Line.</p> + +<p>The Point of the Sword ought to be about the Height of, and on a Line +with the Adversary's Shoulder, that is, it must be more or less raised, +according as he is taller or shorter: Some Masters raise it to one fixed +Height, which would be very well if all Men were of the same Stature; +but if we consider the difference in Height of Persons, we shall find it +evidently bad. 'Tis to be observed, that according to the Length or +Shortness of the Blade, the Line from the Shell to the Point is higher +or lower, when the Height of the Point is fix'd.</p> + +<p>The Shoulder, the Bend of the Arm, the Hilt, the Point of the Sword, the +Hip, the Right Knee and the Point of the Right Foot must be on a Line.</p> + +<p>The Head should be upright and free without Stiffness or Affectation, +the Face turned between full and profile, and not altogether full, as +many Masters will have it, that being a constrained and disagreeable +Figure.</p> + +<center><h2>2d Plate.</h2> +<img src="images/008a.jpg" width="400" height="249" alt="A Lunge in Quart." title=""> +</center> +<h4><i>A Lunge in Quart.</i></h4> + +<center> +<img src="images/008b.jpg" width="400" height="234" alt="A Thrust in Quart." title=""> +</center> +<h4><i>A Thrust in Quart.</i></h4> + +<p><!-- Page 9 -->The Sight should be fixed on the Adversary's, not only to observe his +Motions, but also to discover his Design, it being possible to guess at +the interior Design, by the exterior Action.</p> + +<p>It is necessary to appear animated with a brave Boldness, for nothing +requires a Man to exert himself more than Sword in Hand; and it is as +difficult to attain such an Air of Intrepidity without much Excercise, +as it is to become perfectly expert.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_III"></a><br /><h2>CHAP. III.</h2> + +<h3><i>Of Pushing Quart.</i></h3> + +<p>To push <i>Quart</i> within, besides the Precautions of placing yourself to +Advantage, and of pushing properly and swiftly, which is to be acquired +by Practice and nice Speculation, It is necessary that the Parts, in +order to assist each other in making the Thrust, should be so disposed +and situated, as that the Wrist should draw with it the Bend of the Arm, +the Shoulder, and the upper Part of the Fore-Part of the Body, at the +same time that the Left Hand and Arm should display or stretch +themselves out smartly, bending <!-- Page 10 -->one of the Knees and extending the +other, which gives more Vigour and Swiftness to the Thrust; and the Body +finding itself drawn forward by the swift Motion of the Wrist and other +Parts, obliges the Right Foot to go forward in order to support it, and +to give the Thrust a greater Length; the Left Foot should, at the same +Instant, turn on the Edge, without stirring from its Place; whilst the +Right Foot coming smartly to the Ground, finishes the Figure, Extension +and Action of the Lunge. This is the Order and Disposition of the Parts +in making the Thrust, which see in the second Plate. At the Instant when +the Wrist moves forward, it must do three things, turn, support and +oppose.</p> + +<p>To turn the Wrist in <i>Quart</i>, the Thumb Nail must be up, and the inside +Edge equal in Height with the other, for if it were not so high, the +Thrust would not be so swift, for want of Motion enough, neither would +the Body be so well covered, because the Edge, instead of being directly +opposite to the Adversary's Sword, would fall off with a Slant; and if +it were higher, it would make a Quint Figure, which, by the excessive +Turn of the Wrist, would weaken the Thrust, and by the unequal Turn of +the Edges would uncover the Body.</p> + +<p><!-- Page 11 -->The Wrist ought to be of a Height sufficient to cover the Body without +contracting the Arm, which cannot be fixed to a particular Height; for a +short Man against a tall one, should raise it as high as the Head, which +People of equal; Stature, or a tall Man against a short one, ought not +to do.</p> + +<p>When the Opposition is accompanied with such a Turn and Support of the +Wrist as will cover the Body, it is good, but if the Wrist be carried +too far in, you not only lose Part of the Length of the Thrust, but also +uncover the Outside of the Body, which are two very great Faults.</p> + +<p>The Thrust must be made on the Inside of the Right Shoulder, in order to +take the Feeble with your Fort, and that you may be covered, bearing on +the Adversary's Sword, by which Means, the Thrust will be well planted, +and you less liable to receive one, which Advantages you lose by pushing +otherwise.</p> + +<p>In order to make the Thrust perfect, it must have its proper Strength +and Support when planted: The Strength, is the Vigour with which the +Thrust is made, and the Support is the Consequence of the Mo<!-- Page 12 -->tion of the +Wrist, turning and bearing upwards, which makes the Foil to bend +accordingly, fixing itself 'till you retire.</p> + +<p>The Foil may bend upwards in two Manners; the best Way for it to bend, +is from the Middle towards the Button; the other Way is, when almost all +the Blade makes a Semi-circle. The first has a better Effect, the Feeble +being stronger, the other makes a greater Show; but the Point being +feeble, there is not the same Advantage in the Thrust.</p> + +<p>In all Thrusts, the Button should hit before the Right Foot comes to the +Ground, and the Left Hand and Arm be stretched out smartly, to help the +Body forward, and give more Swiftness to the Thrust: The Left Hand +should always be conformable to the Right, turning to <i>Quart</i> or +<i>Tierce</i>, according to the Thrust. The Left Hand and Arm should be on a +Line with the Thigh, and their Height a little lower than the Shoulder.</p> + +<p>The Body must lean a little forward before, to give the Thrust a greater +Length; the Hips must not be so much bent as other Times; which weakens +and shortens the Thrust, by the Distance which the lowering the Body +causes from the Height of <!-- Page 13 -->the Line which must come from the Shoulder; +besides 'tis harder to recover, and you, by that Means, give the +Adversary an Opportunity of taking your Feeble with his Fort, your +Situation being very low. The Front of the Body should be hid by turning +the two Shoulders equally on a Line.</p> + +<p>The Foot should go out strait; in order to preserve the Strength and +Swiftness of the Thrust, it must have its proper Line and Distance. The +Line must be taken from the Inside of the Left Heel to the Point of the +Adversary's Right Foot; If it turn inward or outward, the Button will +not go so far, the strait Line being the shortest; besides the Body would +be uncovered, for by carrying the Foot inwards, the Flank is exposed, +and by carrying it outwards the Front of the Body, and the Body is +thereby weakened; the Prop and the Body being obliged to form an Angle +instead of a strait Line, from the Heel of the Left Foot to the Point or +Button of the Foil.</p> + +<p>In order to know the Distance of the Lunge, the Right Knee being bent, +must form a perpendicular Line with the Point of the Foot; if the Foot +were not so forward, the Heel would be off the Ground, <!-- Page 14 -->and the Body +would have less Strength, and if it were carried farther the Body could +not easily bend it self, and consequently could not extend so far; +moreover, it would want Strength, being at too great a Distance from the +perpendicular Line of the Foot and Leg, which are its Support, and its +Recovery would be more difficult.</p> + +<p>The Foot should fall firm without lifting it too high, that the Soal of +the Sandal, or Pump, may give a smart Sound, which not only looks better +and animates more, but also makes the Foot firm, and in a Condition to +answer the Swiftness of the Wrist.</p> + +<p>Care must be taken not to carry the Point of the Foot inward or outward, +because the Knee bending accordingly, as part of the Thigh, goes out of +the Line of the Sword, and consequently, of the Line of Defence, besides +'tis very disagreeable to the Sight.</p> + +<p>The Feet sometimes slip in the Lunge, the Right Foot sliding forward, or +the Left backward; the first is occasioned by carrying out the Foot +before the Knee is bent, whereas when the Knee brings it forward, it +must fall flat and firm; the other pro<!-- Page 15 -->ceeds from the Want of a +sufficient Support on the Left Foot.</p> + +<p>The Head should follow the Figure of the Body; when this is upright, +that should be so to; when the Body leans, the Head must lean; when you +push within, you must look at your Adversary on the Outside of your Arm, +which is done without turning the Head, by the Opposition of the Hand +only.</p> + +<p>That every Thrust may carry with it it's due Extent and Strength, the +Opposition of the Sword, the true placing of the Body, and a Facility of +recovering; you are to observe that the two first are for Offence, and +the others for Defence.</p> + +<p>Every Thrust must have it's just Length, and carry with it a good Air, a +regular Situation, Vigour, and a due Extension; <i>See the 2d. plate</i>.</p> + +<h3><i>Of recovering in</i> Guard.</h3> + +<p>As soon as the Thrust is made, you must recover in <i>Guard</i>, which is +done either by retiring out of Measure, or only to the Place from whence +you, pushed; if out of Measure, 'tis done by springing <!-- Page 16 -->back, or by +bringing the Right Foot back behind the Left, and the Left behind the +Right; and if to the Place from whence you pushed, you must parry if +there's a Thrust made; and if not, you must command the Feeble of the +Adversary's Sword, in order to cover the Side on which it is, without +giving an Open on the other Side, which is done as you recover, by +drawing back the Body on the Left Foot; which should bring with it the +Right Knee, drawing the Foot, with the Heel a little raised from the +Ground, to prevent any Accident that may happen by the Badness of the +Terrace.</p> + +<p>By this Recovery, commanding the Adversary's Sword, you either get Light +if he not stir, or Time if he does, which instead of being dangerous, as +has formerly been thought, it is, by the Help of Art, become +advantageous.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_IV"></a><br /><h2>CHAP. IV.</h2> + +<h3><i>Of the Parade of Quart.</i></h3> + +<p>To parry, signifies, in our Art, to cover when the Adversary pushes, +that Part which he endeavors to offend; which is done it either by the +Opposition of the <!-- Page 17 -->Sword or of the Left Hand; but as I am now speaking +of the Sword only, I must observe; that in order to parry well with it, +you are to take notice of the Manner and Swiftness of your Adversary: By +the Manner, is meant whether in <i>Quart</i> or <i>Tierce</i>; with his Fort to +your Feeble, or with his Feeble to your Fort; and you are to observe the +Swiftness of his Thrust, that you may regulate your Parade accordingly.</p> + +<center><h2>3rd Plate.</h2> +<img src="images/016a.jpg" width="400" height="250" alt="3rd. Plate. Parade of Quart." title=""> +</center> +<h4><i>Parade of Quart.</i></h4> +<center> +<img src="images/016b.jpg" width="400" height="200" alt="Parade of Quart opposing with the Hand." title=""> +</center> +<h4><i>Parade of Quart opposing with the Hand.</i></h4> + +<p>When a Thrust is made with the Fort to your Feeble, which is the best +way; you must, by raising and turning the Hand a little in <i>Quart</i>, +raise the Point, which brings it nearer to you, and hinders the +Adversary from gaining your Feeble, which being raised up is too far +from him, and makes it easy for you to seize his Feeble. (Refer to the +3d. Plate.)</p> + +<p>If the Thrust be made on the Fort or Middle of your Sword, you need only +turn the Hand a little in <i>Quart</i>.</p> + +<p>If after the Adversary has pushed <i>Quart</i>, he pushes <i>Seconde</i>; you must +parry with the Fort, bringing it nearer to you, and for the greater +Safety, or to avoid other Thrusts, or the taking Time on your return, +you must oppose with the left Hand, which hinders him from hitting you +as he meets your <!-- Page 18 -->Thrust, and from parrying it, for want of having his +Sword at Liberty. (Refer to the 7th Plate.)</p> + +<p>The same Opposition may be made on a Lunge in <i>Quart</i>, and to be more +safe in returning Thrust or Thrusts, you must close the Measure in +parrying, which confounds the Enemy, who finds himself too near to have +the Use of his Sword: Your Sword, in parrying, must carry it's Point +lower and more inward than in the other Parades.</p> + +<p>If the Adversary makes a Thrust, with shortning or drawing back his +Arm, or leaving his Body open; you must defend with the Left Hand, and +lunge strait on him, unless you had rather parry with the Sword, making +use of the Opposition of the Hand, and closing the Measure, as I just +now observed.</p> + +<p>You may also parry in disengaging,<a name="FNanchor_2_2"></a><a href="#Footnote_2_2"><sup>[2]</sup></a> drawing back the Body to the Left, +in order to give the Hand Time and Facility to make the Parade.</p> + +<p>There are several other Parades, of which I shall treat in their proper +Places, confining myself now to the most essential.</p> + +<center><h2>4th. Plate.</h2> +<img src="images/018a.jpg" width="400" height="238" alt="4th. Plate. A Lunge in Tierce." title=""> +</center> +<h4><i>A Lunge in Tierce.</i></h4> +<center> +<img src="images/018b.jpg" width="400" height="206" alt="Tierce Parryed." title=""> +</center> +<h4><i>Tierce Parryed.</i></h4> +<!-- Page 19 --> + + + +<hr style="width: 65%;" /> +<a name="CHAP_V"></a><br /><h2>CHAP. V.</h2> + +<h3><i>Of pushing</i> Tierce <i>without</i>, or <i>on the Outside of the Sword</i>.</h3> + +<p>In order to push <i>Tierce</i> well, the Hand being gone first, taking the +Feeble with the Fort, turning down the Nails, and the Wrist a little +outwards, not too high or low; in order not to give Light above or +below, the Body must bend more forward and inward than in <i>Quart</i>; the +Left Hand should extend itself in <i>Tierce</i>, because it ought, in all +Cases, to be conformable with the Right, except that it is lower. When +you push <i>Tierce</i>, you should look within your Sword: As to the Feet, +they must be, in every Lunge, on the same Line, and at the same +Distance.</p> + +<p>The Rules I have laid down for recovering in <i>Quart</i>, will serve also in +<i>Tierce</i>, but of the contrary Side.</p> + +<h3><!-- Page 20 --><i>Parade</i> of Tierce.</h3> + +<p>To parry a Thrust made with the Fort to the Feeble, you must turn the +whole Hand, carrying it a little outwards, raising the Point, in order +to avoid the Adversary's taking your Feeble, and at the same time take +His. <i>See the 4th</i> Plate.</p> + +<p>If a Thrust be made on the Middle, or Fort of your Sword, you need only +turn the Hand, carrying all the Blade equally outwards. Some Masters +teach to parry this Thrust with the Hand in <i>Quart</i>, which is very +dangerous if the Enemy pushes <i>Quart</i> over the Arm in the Fort, or +<i>Quart</i> within, in the Feeble, there being an Opening in one, as well as +the other Case; besides the Point is too far from the Line, to make a +quick Return.</p> + +<p>To avoid the Return of a Thrust when you have pushed <i>Tierce</i>, and that +the Adversary, in parrying, has gained to your Feeble; you must, by +raising and opposing with the Fort, bring the Pommel of your Sword on +high; so that the Point be downwards; whereby his Point will be near +<!-- Page 21 -->your Left Shoulder, and you, not only avoid being hit, but you may make +a Thrust at the same time, by opposing with the Left Hand, and for the +greater Safety, you must return on the Blade, and push strait, without +quitting it. <i>See the 5th</i> Plate.</p> + +<center><h2>5th. Plate.</h2> +<img src="images/020a.jpg" width="400" height="229" alt="5th Plate. Parade of Tierce yeilding the Feeble." title=""> +</center> +<h4><i>Parade of Tierce yeilding the Feeble.</i></h4> +<center> +<img src="images/020b.jpg" width="400" height="202" alt="The same parade & opposition of the Hand." title=""> +</center> +<h4><i>The same parade & opposition of the Hand.</i></h4> + +<p>When a Thrust is made in <i>Tierce</i> upon the Blade on the Feeble, or by +disengaging; tho' the first is more easily parryed, you must yeild the +Feeble, opposing with the Fort, in order to guide the Adversary's Sword +to the Place the most convenient for the Opposition of the Left Hand, +and closing the Measure at the same time, you have an Opportunity, +before he can recover, to hit him several times; which must be done by +advancing on him, as fast as he retires. <i>See the 5th</i> Plate.</p> + +<p>You may also parry by disengaging, drawing the Body back. The Return is +easy, by pushing <i>Quart</i>; and to avoid a second Thrust from the Enemy at +the Time of your Return, you must oppose with the Left Hand. <i>See the +5th</i> Plate.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_VI"></a><br /><h2><!-- Page 22 -->CHAP. VI.</h2> + +<h3><i>Of pushing</i> Seconde.</h3> + +<p>In pushing under, the Hand must be turned in <i>Seconde</i>, as high as in +<i>Quart</i>, and more within than in <i>Tierce</i>; the Body should be more bent, +lower, and more forward than in thrusting <i>Tierce</i>, and the Left Hand +lower. <i>See the 6th</i> Plate.</p> + +<p>Seconde ought not be pushed, but on the following Occasions: First, when +an Engagement, <i>Feint</i> or <i>Half-Thrust</i>, is made without, that the +Adversary at one of these Times parrys high. Secondly, when your +Adversary engages your Sword on the Outside, with his Hand raised high; +or on the Inside, with his Feeble only; and thirdly, upon a Thrust or +Pass, within or without.</p> + +<p>The Recovery in Guard, should be in <i>Quart</i> within the Arm, though most +Masters teach to recover on the Outside, which takes much more Time, and +though the <i>Seconde</i> is independent on the Side, it is nearer to the +Inside than to the Outside; because the Adversary carries his Wrist to +<!-- Page 23 -->the Outside, when he gives an Opportunity of making this Thrust; +therefore you ought to return to his Sword in the shortest Time, in +order to be sooner on your Guard. If you examine this Parade, you will +find it is the only Means of recovering with Safety.</p> + +<p>What introduced the Manner of returning to the Sword on the Outside, was +the false Method formerly used in parrying the <i>Seconde</i> by beating on +the Blade; in <i>Tierce</i>, with the Point downwards; so that the Adversary +not being able to return but above, there was a Necessity for returning +to the Sword on the Outside in order to defend; but the Parade and +Return being no longer the same, the Manner of returning to the Sword +must also be different.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_VII"></a><br /><h2>CHAP. VII.</h2> + +<h3><i>The Parades of</i> Seconde.</h3> + +<p><i>Seconde</i> may be parried three Ways. First, according to the ancient +Manner I just described, which is done by a Semi-circle on the Inside, +with the Hand in <i>Tierce</i>, the Point low, almost on a Line with the +Wrist; but the Greatness of the <!-- Page 24 -->Motion does not only render it +difficult to parry the Thrust but still harder to parry the Feint of the +Thrust and come up again; besides the <i>Rispost</i> is dangerous; because it +requires a long Time to raise the Point, which is almost as low as the +Ground, to the Body; in which Time, the Adversary has not only an +Opportunity of parrying the Thrust, but also of hitting you whilst you +are bringing up your Point.</p> + +<p>Secondly, <i>Seconde</i> may be parryed by making a Half-circle on the +Outside, the Wrist in <i>Quart</i>, as high as the Shoulder, the Arm +extended, and the Point very low. <i>See the 7th</i> Plate. It is less +dangerous, and more easy for the <i>Rispost</i> than the former, which must +be made as soon as you have parryed, by pushing strait in <i>Quart</i> which +the Adversary having pushed under, can hardly avoid, but by yeilding, +and battering the Sword. <i>See the 7th</i> Plate.</p> + +<p>To this Manner of parrying <i>Seconde</i>, there is but one Opposite, which +is done by <i>feinting</i> below, and as the Adversary is going to cross your +Sword, in order to parry, you must disengage by a little Circle, with +the Hand in <i>Seconde</i>, which preventing the Enemy's Sword, gives an +Opportunity of hitting him above, if the Wrist is lower than I have +observed, or in <i>Flanconnade</i>, if the <!-- Page 25 -->Wrist is high. A Man that parrys +below, in order to avoid this <i>Feint</i>, must redouble his Circle to meet +the Blade. This Parade is best in recovering, after having pushed, not +only to avoid the strait or low <i>Rispost</i>, but also any Feint or Thrust.</p> + +<p>The third and best Parade, is made with your Fort to the Middle of the +Adversary's Sword, the Wrist turned in <i>Quart</i>, but a little lower: The +<i>Rispost</i> of this Parade is very good, when you know how to bind the +Sword upon the <i>Rispost</i>; and it cannot be parryed without returning to +the Parade that I have here, before, described and which, I believe, is +peculiar to myself.</p> + +<p>This Parade is by so much the more adventageous, as the <i>Rispost</i> is +easy the Sword being near the Adversary's Body, which makes it, more +difficult for him to avoid you; besides, by this Parade, you are in +better Condition to parry, not only a Thrust below, but also any other +Thrusts and Feints, the Sword being near the Situation of Guard.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_VIII"></a><br /><h2><!-- Page 26 -->CHAP. VIII.</h2> + +<h3><i>Of</i> Quart <i>under the Wrist</i>.</h3> + +<p>This Thrust should not be made but instead of <i>Seconde</i>, that is to say, +on an Engagement, Parade, or Lunge of the Adversary in <i>Quart</i>.</p> + +<p>The Wrist must not be so much turned up, nor so high as in <i>Quart</i> +within; the Body should be more inward, and bending more forward. (Refer +to the 7th Plate.)</p> + +<p>In case the Adversary pushes <i>Quart</i>, in order to take the Time, you +must lunge the Foot strong inward, to throw the Body farther from the +Line of the Adversary's Sword.</p> + +<p>In recovering from this Thrust, the Wrist must be in <i>Tierce</i>, and the +Sword without the Enemy's whilst the other Parts take their Situation.</p> + +<p>The Parade of this Thrust is made by a Half-circle of the Sword within, +the Wrist raised in <i>Quart</i>, and the Point low. <i>See the 7th Plate</i>.</p> + +<center><h2>7th. Plate.</h2> +<img src="images/026a.jpg" width="400" height="232" alt="7th Plate. Thrust under the Wrist." title=""> +</center> +<h4><i>Thrust under the Wrist.</i></h4> +<center> +<img src="images/026b.jpg" width="400" height="195" alt="It's Parade." title=""> +</center> +<h4><i>It's Parade.</i></h4> + + + + +<hr style="width: 65%;" /> +<a name="CHAP_IX"></a><br /><h2><!-- Page 27 -->CHAP. IX.</h2> + +<h3><i>Of</i> Flanconnade.</h3> + +<p>This Thrust is to be made only in engaging or <i>risposting</i> when the +Adversary carries his Wrist too far inward, or drops the Feeble of his +Sword, then you must press a little within, and with your Feeble on his, +in order to lower it, and by that means get an Opening in his Flank.</p> + +<p>The Body, in this Thrust, is not so strait as in <i>Quart</i> within, tho' +the Arms are. <i>See the 8th</i> Plate.</p> + +<p>It is necessary to oppose with the Left Hand, in order to avoid a low +Thrust on your engaging, pushing or <i>risposting</i>. This is the last +Thrust of the Five which are to be made in our Art. The first us <i>Quart</i> +within the Sword, the second <i>Tierce</i> without the Sword, the third +<i>Seconde</i> under the Sword, the fourth <i>Quart</i> under the Sword, and the +fifth, <i>Flanconnade</i>; and there is not any Attack, Thrust, Feint, Time +or Rispost in this extensive Art, but what depends on one of these.</p> + +<p><!-- Page 28 -->The Recovery from <i>Flanconnade</i>, should be the same as from <i>Quart</i> +within the Sword.</p> + +<p>Flanconnade is generally avoided by taking the Time in <i>Seconde</i> with +the Body low; the Hand must oppose to shun the Thrust, and hit the +Adversary at the same time. Instead of pushing at the Flank, you should +push within the Body. <i>See the 8th</i> Plate.</p> + +<p>Besides the taking Time in <i>Seconde</i>, there is another very good Parade, +very little practised in Schools; either because few Masters know it, or +because it is more difficult to execute it justly. This Parade is made +by lowering the Adversary's Sword, bringing it under your's to the +Inside, and parrying a little lower on the Feeble of his Sword, you make +your <i>Rispost</i> where he intended his Thrust, that is to say in the +Flank.</p> + +<center><h2>8th. Plate.</h2> +<img src="images/026c.jpg" width="400" height="250" alt="8th. Plate. Flannconade." title=""> +</center> +<h4><i>Flannconade.</i></h4> +<center> +<img src="images/026d.jpg" width="400" height="171" alt="The Opposition of the Hand to the lowering the body." title=""> +</center> +<h4><i>The Opposition of the Hand to the lowering the body.</i></h4> + +<hr style="width: 65%;" /> +<a name="CHAP_X"></a><h2><!-- Page 29 -->CHAP. X.</h2> + +<h3><i>Of Parades</i>.</h3> + +<p>There are two Sorts of Parades, the one by binding the Blade, the other +by a dry beat. The binding Parade is to be used when you are to +<i>rispost</i> in <i>Quart</i> within, in <i>Tierce</i> without, in <i>Seconde</i> under, in +<i>Flanconnade</i>, and in all <i>Feints</i>: And the Beat, giving a favourable +Opportunity of <i>risposting</i>, is to be used when you <i>rispost</i> to a +Thrust in <i>Seconde</i>; or when after having parryed a Thrust in <i>Quart</i> +within, you see an Opening under the Wrist. To these two Thrusts, you +must <i>rispost</i> almost as soon as the adversary pushes, quitting his +Blade for that Purpose, which is to be done only by a smart Motion, +joining again immediately, in order to be in Defence if the Adversary +should thrust.</p> + +<p>There are three Things more to be observed in parrying. First, that you +are to parry all Thrusts with the inmost Edge, except in yeilding +Parades, which are made with the Flat. Secondly, that your Fort be to +the Middle, and your <!-- Page 30 -->Middle to the Feeble of the Adversary's Sword.</p> + +<p>And thirdly, that your situation be as rear to the guard as possible, as +to favour your riposte.</p> + +<h3>The ripostes.</h3> + +<p>In order to riposte well, you must observe the Adversary's Time and +Recovery in Guard. The Time is to be taken in the Thrusts of opposition +when he is recovering, and the other as soon as you have parryed. There +are three ways of riposting on the Adversary's Recovery in Guard: when +he does not come enough to the Sword, or not at all: the second, when he +comes too much, and the third, when his Recovery and Parade are just. To +the first, you must riposte strait; to the second by disengaging, or +cutting over or under, according as you see light; and to the last, by +making a strait Feint or Half-thrust, to oblige the Adversary to come to +the Parade, and then pushing where there is an opening, which is called +baulking the parade.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XI"></a><br /><h2><!-- Page 31 -->CHAP. XI.</h2> + +<h3><i>Of the demarches, or manner of advancing and retiring.</i></h3> + +<p>Most of the faults committed in making thrusts when the measure is to be +closed, proceed from the disorder of the body, occasioned by that of the +feet, so that for want of moving well, you are not only in danger of +being taken on your time, but likewise you cannot execute your thrusts +neatly, justly, nor swiftly; the body being disordered and weak. There +are ten demarches in fencing; four in advancing, five in retiring, and +one to turn your adversary, or hinder him from turning you. The first +demarche in advancing, is made by lifting and carrying your Left-foot +the length of your shoe before the right, keeping it turned as in guard, +with the knee bent, lifting up the heel of the Right-foot, leaning the +body forward, which, on this occasion, gives it more strength and a +better air; then carrying the Right-foot about two foot before the left, +in order <!-- Page 32 -->to be in Guard, which is done by a smart Beat of the +Right-foot.</p> + +<p>The same <i>Demarche</i> in retiring, is made by lifting and carrying the +Right foot the Length of the Shoe behind the Left, with the Knee a +little bent, then carrying the Left-foot on the Line, and to the +Distance of Guard.</p> + +<p>The second <i>Demarche</i> is called closing the Measure; which is done by +lifting and advancing the Right-foot a bout a Foot with a Beat, drawing +the Left the same Length; because by drawing it more or less you would +lose your Strength or your Measure, which few People have observed.</p> + +<p>There is such a <i>Demarche</i> backward, which is called breaking Measure; +which is done by lifting and carrying the Left-foot a Foot back, drawing +or bringing back the Right in Proportion according as the Ground will +permit.</p> + +<p>If the Ground be uneven, or that you have a mind to surprize an +unskilful Man by gaining Measure unperceived, or to oblige one, a little +expert, to push at the time you advance your Body; you must, I say, if +your Adversary is unskilful, bring the Left-foot more or less near the +Right, as you <!-- Page 33 -->are more or less out of Measure, which gains more Ground, +and less visibly than the foregoing <i>Demarche</i>, and is more favourable +to your Thrust: If your Adversary is a little expert, and pushes on this +your advancing you must bring back the Left-foot to it's Place, and he +will be out of Measure, tho' by Means of his Lunge you will be well in +Measure, which is a great Advantage.</p> + +<p>The same <i>Demarche</i> may be made in retiring, where the Ground is uneven, +lifting the Right-foot, bringing it near the Left, and putting back the +Left in Guard.</p> + +<p>To make a Thrust in three Motions, being out of Measure, you must make a +double Beat, which is done by a small Beat of the Right-foot in the same +Place, beginning immediately with the same Foot to close the Measure.</p> + +<p>The three Ways of retiring which I have shewn, are done from the +Situation in Guard. The two which are done after a Lunge are, first by +lifting and bringing the Right-foot back from the Place of the Lunge +behind the Left, and then carrying the Left behind the Right, in order +to be in Guard.</p> + +<p><!-- Page 34 -->The late Monsieur De Latouche, and Monsieur De Liancour, found this +demarche better than the following one, tho' it is not so generally +used.</p> + +<p>The second Retreat after having pushed, is made by drawing back the +Right-foot about the length of the Shoe, bending the Knees, in order to +be in a condition to chace or drive back the Left-foot with the Right, +keeping the Hams very supple, the Body free, and the Sword before you; +not only that you may spring the farther, but also to be in a better +Posture of defence. The Point of the Right-foot should come down first, +leaning immediately after on the Heel; the Left-foot must fall on the +Line at the distance, and in the Situation in Guard, as I before +observed, in order to be ready to take the Time, or to make a Riposte.</p> + +<p>The two Masters that I have quoted, condemned this Retreat very much, +especially Monsieur De Latouche, who says in springing back, three +motions are necessary; first to draw back the Right-foot in guard, +secondly to bend the Knee, and thirdly to chace or fly back. Any Master, +will find that there should be but two motions, it being easy to bend +the Knees and draw back the Right-foot at the same Time.</p> + +<p>Besides, his rule for springing back is false; for by drawing the +Right-foot back so far as in guard; you lose Time, <!-- Page 35 -->the first Motion +being too long, and the Feet being so close together, the Body has not +sufficient Strength, and consequently cannot go far. From this it is +plain that three Motions are not necessary for springing back, there +being but two in all. He likewise says that the leaping back, requires +such an effort, that you have not Power to parry; but Experience +sufficiently shows that you may easily parry and spring back. Indeed on +a moving Sand, or slippery Ground, it is very difficult to leap back; +and if we consider things rightly, we cannot find our purpose answered +at all times and places; and tho' the first Retreat that I recommended, +and which these Gentlemen esteemed, is very good, yet if you are +followed closely in retreating thus, as the two Steps do not place you +at so great a Distance, by much, as the springing back, you may be put +to a Nonplus by a redouble.</p> + +<p>When you know the just Length of your Adversary's Thrust, you may break +or steal out of measure, by leaning back the Body, without stirring the +Foot.</p> + +<p><!-- Page 36 -->If in the Field, you have the Disadvantage of the Ground, the Wind, or +the Sun, or that in a School, you are exposed to too much Light, or, +pushing with an awkard Man; in order to obviate these Inconveniencies, +you must go round him, which may be done within or without according as +you have Room.</p> + +<p>The Turning must be done out of Measure, and with great Caution: When +'tis within your Sword, you must begin with your Left-foot, carrying it +to that Side, and then bring the Right-foot to it's proper Line and +Distance; and if your Adversary turns on the Outside, you must carry the +Right-foot to that Side, and the Left in Guard, as well to avoid his +Thrusts, as to lay hold on every favourable Opportunity, in case he +should persist in his <i>Demarche</i>.</p> + +<p>You should never give Measure but to your Inferior: Giving Measure, is +when the Body and Feet advance too much, or in Disorder; or advancing +before you are well situated, although corrected in the <i>Demarche</i>, or +advancing when you are near enough, except you be much superior to the +Enemy.</p> + +<p><!-- Page 37 -->The Measure should be given to oblige the Adversary to push; in order +to get an Opportunity of taking the Time, or of <i>risposting</i>.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XII"></a><br /><h2>CHAP. XII.</h2> + +<h3><i>Of</i> Disengagements.</h3> + +<p>There is nothing more nice, or more necessary in Fencing, than +Disengagements; the nicest Motion, being the smoothest and finest, and +the most necessary, there being but few Thrusts where you ought not to +disengage, and to several more than once; and there is no better Means +of avoiding the Advantage that a strong Man has when he presses on your +Sword.</p> + +<p>If we confine ourselves, strictly, to the Meaning of Disengagements, we +shall find it to be of three Sorts; which are, upon the Blade, over the +Point, and under the Wrist: But as this might be too intricate in +Lessons, and a Learner mistake one for another; none should be called a +Disengagement, but that which is made on the Blade; and though the +others are, in effect, Disengagements, especially that over the <!-- Page 38 -->Point, +which is done closer than those under the Wrist, yet they are +distinguished from Disengagements, by calling them Cuts over the Point, +and under the Wrist, according as they are used.</p> + +<p>In order to disengage and push from the Outside to the Inside, being in +Guard towards half <i>Quart</i>; the Wrist must be raised a little at the +Time that you lower the Point and raise it again, which should be done +as close as possible, by a smooth and quick Motion, that you may be +covered and lose no Time, and be able to push with your Fort to the +Adversary's Feeble.</p> + +<p>Some People, in pushing <i>Quart</i> and <i>Tierce</i>, keep the Wrist in +<i>Tierce</i>, in order to push <i>Quart</i> the swifter, which is a Fault; +because they accustom themselves to a Situation, which, when they come +to assault, is unsafe and dangerous, for want of being in the Guard of +Defence.</p> + +<p>In disengaging from the Inside to the Outside, the Wrist should turn a +little more towards <i>Quart</i>, than in the Guard which I have recommended: +The Point should fall and rise and the same Instant, and the Hand should +turn insensibly in <i>Tierce</i>, as the Thrust goes forward.</p> + +<p><!-- Page 39 -->Some Masters teach to hold the Sword in Guard between <i>Quart</i> and +<i>Tierce</i>, and to disengage in that Situation; whereby the three +Advantages which the Disengagement in <i>Half-Quart</i> gives you, are lost; +that is to say, first, a good Air, secondly, the being covered with the +Fort of the Sword, and thirdly, the Swiftness of the Thrust; because the +Hand has not a sufficient Freedom of Motion.</p> + +<p>The knowing how to disengage barely is not sufficient; it is necessary +that you be acquainted with the Time, and with your Adversary's Play, in +order to disengage to Advantage. The Time is when the Adversary comes to +your Sword; and when your Adversary, depending on his Strength, comes to +your Blade, in order to guide his Thrust to your Body, is what is meant +by his Play or Manner. You may indeed disengage without taking the Time, +but with less Success.</p> + +<p>When the Adversary engages swift, 'tis good to keep your Point a little +low, or distant from his; by which Means he requires more Time to engage +you, and gives you more to prevent him, unless you suffer him to touch +your Sword; which would not only make you lose the Time <!-- Page 40 -->of hitting him, +but would also expose you to receive a Thrust, it being certain that +when you go to the Blade on one Side, you cannot defend the Other; for +you cannot do two opposite Actions at one and the same Time; and by the +same Rule, if you miss the Time of disengaging, and disengage too late, +you expose yourself to his Thrust; for you cannot, at the same time, +quit his Blade and parry.</p> + +<p>Though it is necessary that every Fencer should understand the +Disengagements, it is more especially so to tall and weak Men. To the +first, that they may keep their Adversary at a Distance; which by Reason +of their Height, is an Advantage to them; and to the others in order to +prevent closing; in which Case, their Weakness would be a Disadvantage +to them.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XIII"></a><br /><h2>CHAP. XIII.</h2> + +<h3><i>Of</i> Feints.</h3> + +<p>Feints are much used in <i>Fencing</i>, whether it be by reason of their +Number, their Ease, or the Success that attends them, gaining more Time +and Light than <!-- Page 41 -->is to be got in plain Thrusts, there being no Thrust to +be given so well as after a Feint.</p> + +<p>The Number of Feints is so great, by reason of the many Guards and +Parades, that I should find it as difficult to describe them, as the +Reader would to comprehend them without Experience; so that I shall +confine myself to those from which the rest derive, which are, strait +Feint, Feint, and double Feint.</p> + +<p>By strait feint, is meant a Motion or Feint to Thrust on the Side on +which your Sword is, which is to be done on the Inside, the Wrist in +<i>Quart</i>, a little higher than the Point which must be near the +Adversary's Sword, that you may be covered, whilst you endeavour to get +an Opening. This Motion should be attended with a little Beat of the +Right-foot, keeping back the Body. If, at the Time you feint, your +Adversary does not stir, you must push <i>Quart</i>: if he parrys with his +Feeble, you must immediately disengage to <i>Tierce</i>; and if he parrys +high you must cut in <i>Quart</i> under the Wrist.</p> + +<p>The Feint, to which I give no other Name, it being the most used, and to +dis<!-- Page 42 -->tinguish it from the others, is done by feinting from <i>Quart</i> to +<i>Tierce</i>, with a little Beat of the Foot, keeping the Body back: the +Wrist must be raised in <i>Quart</i>, and the Button a little lower than the +Pommel, near the adversary's blade; by which means you are covered, and +can make your thrust swifter. If the Adversary does not stir at the +feint, you must go on strait with the <i>Tierce</i>: if he parrys with his +Feeble, you must Disengage and thrust <i>Quart</i>, and if he parrys with his +Fort, you must push <i>Seconde</i>.</p> + +<p>Several masters teach to make this feint from the inside to the outside, +with the Wrist turned in <i>Tierce</i>; and indeed they are seemingly in the +right; a feint being a likeness of the beginning of a Thrust; and that +likeness cannot be better shown than in the Figure of the Thrust: but +the smart motion of the Point, causes the Adversary to stir, the Figure +of the Hand no way contributing thereto. You are to consider which is +the most proper, not only to make the Adversary answer you, but<!-- Page 43 --> also to +make the Motion quicker. Monsieur De Latouche says, that from <i>Quart</i> to +<i>Quart</i> there is no Motion; but we have two instances to the contrary. +First, that a Man of experience has his Wrist and the bend of his Arm +free, so as to thrust strait in <i>Quart</i>, tho' in the same Figure; and +secondly, if there be a Motion preceding the Thrust, as in a +Disengagement, or a Cut under; this Motion is sufficient to help the +swiftness of the Feint, and of the Thrust: in short, the Motion from +<i>Quart</i> to <i>Quart</i>, being quicker than feinting from <i>Quart</i> to +<i>Tierce</i>, and returning in <i>Quart</i>; it ought to have the preference, +swiftness being the Line of Fencing. The only Feints that should be made +in <i>Tierce</i>, are those that are marked from below above to return below, +and from above below to return above.</p> + +<p>The double feint is in two Motions, so that in order to push within the +Sword, you must be without; and making a little Motion in <i>Quart</i> +within, with a little Beat of the Foot, you feint again without closing +the Measure, keeping back the Body in order to be out of the Adversary's +Reach: if he parrys with his Fort, you must cut under in <i>Seconde</i>, and +if he parrys with his Feeble, disengage to <i>Quart</i> within.</p> + +<p>As there are in this Thrust three motions of the Sword, <i>viz.</i> the two +Feints and the Thrust; the Foot must make as many, in order to answer +the Motions of the Hand.</p> + +<p><!-- Page 44 -->Some Masters teach to make the double Feint without stirring the Foot; +and others teach to advance on the first Motion. In the first Case, +being in the Adversary's Measure, you lose too much Time, which is very +dangerous: And advancing on the first motion, is almost as dangerous as +keeping the Foot firm, by putting yourself within the Adversary's Reach; +besides the Manner is not so graceful as that which I recommend, in +which you are not within his Reach 'till the second Motion; and this is +attended with another Advantage; for by bearing with the Right-foot, the +Body must of necessity be kept back, and consequently, farther from the +Sword of the Adversary, and in a better Condition to act.</p> + +<p>There are two other Ways of making these Thrusts: The one by an Interval +between the first and second Motions, joining or uniting the other two; +and the latter between the second and third Motions, joining the two +first. Though both these Methods are good, I prefer the latter, which +puts you in a better Condition, not only to avoid your Adversary's +Thrust, but also to chuse your own; the Interval giving you a favourable +Opportunity of doing both.</p> + +<p><!-- Page 45 -->There has been so much said of the Feints which I have described, with +their Opposites, that I shall say no more of them, nor will I speak of +an infinite Number of other Feints, strait, single, and double, within, +without, and under, in disengaging, or cutting over the Point, or under +the Wrist, in risposting, or redoubling Thrusts; all which, depend on +the three which I have described; in which, as in all Thrusts, the Body +must be kept back, and the Fort of the Sword before you; by which Means, +you are more out of Danger, and the Wrist is better prepared. Some Men +mark Feints with the Head and Body, which is a very disagreeable Sight, +and dangerous with Regard to Time.</p> + +<p>A Feint is the Likeness of the Beginning of a Thrust: It is made to put +the Adversary off his Guard, and to gain an Opening. In order to take +Advantage of the Time and Light which you get by your Feint, you must +take care to avoid an Inconveniency into which many People fall, by +uncovering themselves in endeavouring to uncover the Adversary.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XIV"></a><br /><h2><!-- Page 46 -->CHAP. XIV.</h2> + +<h3><i>Of cutting over the Point of the</i> Sword.</h3> + +<p>In order to cut over the Point, within from without, the Wrist must be +turned towards <i>Tierce</i>, which gives it a swifter Motion. When your +Point is over your Adversary's, you must turn the Wrist in <i>Quart</i>, +pushing with your Fort to his Feeble: Though this is a regular Way of +cutting, what is most essential to perfect the Thrust is wanting, that +is to say, the Motion that should precede it, which is commonly a +Half-thrust or Feint, by which, two Advantages are gained: First you +discompose your Adversary, and secondly, your Thrust is swifter, being +by so much the more vigorous, as the Motion previous thereto is so. At +the Time you make a Half-thrust or Feint, you must make a little Beat +with the Foot, bearing back the Body to break your Adversary's Measure.</p> + +<p>The Cut from the Inside to the Outside, has commonly more Success than +that from the Outside to the Inside, the Adversary going more readily to +his Parade on this Side <!-- Page 47 -->than on the other. The Manner of cutting on the +Outside, is by placing your Sword within, making a little Motion or +strait Feint, the Wrist in <i>Quart</i>, the Fort of the Sword before you, in +order to be covered, and your Point very near the Adversary's Sword; you +must beat a little with the Foot, bending the Body back a little, and as +the Adversary is going to parry with the Feeble, you must pass your +Point quickly over his, pushing in <i>Tierce</i>, with your Fort to his +Feeble.</p> + +<p>Though all Thrusts have the same following Ones; the Cut has them more +easy; it's Motion from above to below, disposing it better than the +Disengagements, if the Thrust be from the Outside to the Inside, and +that the Adversary parrys with his Fort to your Feeble: Besides the +Recovery in Guard, which is common after all Thrusts, you must, upon a +Parade with the Fort, if it be without stirring the Foot, or in +advancing, join: And if the Adversary makes this Parade in retiring, he +gives you an Opportunity of cutting in <i>Quart</i> under the Wrist, and on +his parrying with the Feeble, you must return in <i>Seconde</i>, bringing +forward the Left-foot a little, in order to procure a Reprise or second +Lunge.</p> + +<p><!-- Page 48 -->These two Reprises are to be made before you are acquainted with your +Adversary's Manner of parrying; but when you have discovered it, if it +be with his Fort, you must cut over and under the Wrist in <i>Quart</i>, and +if with his Feeble, return in <i>Tierce</i>, that is to say, make an entire +Circle. These Cuts are to be made in one or two Motions; in the first +you are not to stop, but in the other, you make a short Interval by a +little Beat with the Foot.</p> + +<p>The Thrusts following the Cut from the Inside to the Outside, before you +know your Adversary's Parade, are made thus: If 'tis with the Fort, you +must return with a Cut in <i>Seconde</i>, under the Sword, advancing the +Left-foot a little; If he parrys with the Feeble, you must return by +disengaging to <i>Quart</i> within, advancing the Left-foot, as before: Some +People return a Cut in <i>Tierce</i>, in <i>Quart</i>, by another Cut over the +Point, of <i>Quart</i> in <i>Tierce</i>, and so on the contrary Side.</p> + +<p>When you foresee the Parade, you may at once cut from the Inside to the +Outside, and under in <i>Seconde</i>; or return within, according as the +Parade is made with the Fort or Feeble. You may also make these +Redoubles by a little Interval over the Sword, beating with the Foot.</p> + +<p><!-- Page 49 -->There are other Redoubles which are made by drawing back the Body +without stirring the Feet.</p> + +<p>See the Chapter of Reprises.</p> + +<p>The Cut may be made not only after a Half-thrust, or strait Feint, as I +have said, but also after an Engagement, Lunge, or Pass, and in +Risposting, which is the best and most used; because that is to be done +only in recovering to Guard, or by bringing one Foot behind the other, +or springing back; To the first you must Rispost with the Foot firm, and +to the other by closing the Measure.</p> + +<center> +<img src="images/049.jpg" width="215" height="152" alt="" title=""> +</center> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XV"></a><br /><h2><!-- Page 50 -->CHAP. XV.</h2> + +<h3><i>Of the</i> Reprise, <i>or redoubled Thrust</i>.</h3> + +<p>The Term <i>Reprise</i> signifies a succession of Thrusts without Interval, +or with very little. It may be done in three Manners; First after having +pushed without recovering, Secondly, in recovering or being recovered; +and Thirdly, when the Enemy steals Measure.</p> + +<p>The first and last of these three Reprises may be called Redoubles.</p> + +<p>The first Reprise is made after having pushed <i>Quart</i>, the Enemy having +parryed with his Feeble, you must return in <i>Seconde</i>, advancing the +left Foot a little to make the Action easier to the right Foot, and tho' +it be not necessary to advance it unless the Enemy retires, it serves +for an Ornament, and to give more Vigour to the Thrust: But if as soon +as the Enemy has parryed he Risposts, you must only redouble with the +Hand, the Body low without stirring the Feet, and join. If he Risposts +under the Wrist in the Flank, you must either parry crossing his Sword +as you recover, opposing <!-- Page 51 -->with the left Hand, or return, as I said, with +the Hand in <i>Seconde</i>.</p> + +<p>Upon the Rispost of the Enemy, you may also redouble, volting strait, or +cutting in the Flank according as he raises his Hand more or less in his +Rispost, in order to facilitate your Volt; you must immediately after +your Lunge follow a little with the left Foot.</p> + +<p>The second Reprise is made, after having pushed <i>Quarte</i>, when in +recovering to Guard the Enemy advances, without being covered, or that +suffering the Superiority of your Sword, he gives you room to thrust in +<i>Quarte</i>, if he disengages, you must go off in <i>Tierce</i>, if he forces +your Sword with his Feeble, you must disengage to <i>Tierce</i>, and if with +his Fort cut <i>Quarte</i> under the Wrist.</p> + +<p>In order to get time for this Redouble, you must make a half Thrust, +immediately getting out of Measure, either with the Body Simply, or by +the first Demarche backwards, or by leaping a little back; if the Enemy +advances it will be either strait or making a Feint, or on your Sword; +to the two first you must push strait <i>Quarte</i>, or <i>Seconde</i>, lowering +the Body or volting, and <!-- Page 52 -->if he comes on your Sword you must disengage +and push over in <i>Tierce</i>.</p> + +<p>The third Reprise is made when the Enemy upon your pushing <i>Quarte</i> +breaks Measure without or with parrying; to the one you must redouble in +<i>Quarte</i>, with your Fort to his Feeble, which is done after a strait +Thrust, Feint, Engagement, or Rispost; and if the Enemy parrys, you must +likewise redouble forwards by a Disengagement, or a Cut under or over +according to his Parade, or as Opportunity offers. To redouble forward, +or make several Reprises following with ease, you must as often as you +thrust follow with the left Foot.</p> + +<h3><i>The</i> Reprises <i>on the</i> Outside.</h3> + +<p>If you push in <i>Tierce</i> and your Adversary parrys with the Fort, you +must redouble in <i>Seconde</i>, and if he parrys with the Feeble disengage +to <i>Quarte</i>, advancing a little the left Foot that the Right may have +the Liberty of a second Motion.</p> + +<p>If the Enemy after parrying <i>Tierce</i> shou'd Rispost strait or under, to +the first you may disengage and volt, and to the other volt strait, +advancing the left Foot a little in Lunging, in order to have the +Liberty of <!-- Page 53 -->Volting, because you cannot easily do it when you are +extended: It is more easy to take the Time opposing with the left Hand; +and 'tis best of all to parry and thrust strait in <i>Quarte</i>; if after +having pushed <i>Tierce</i>, on your Recovery to Guard, you find you have the +Command of the Enemy's Sword, or that he advances uncovered, you, must +in these Cases push strait in <i>Tierce</i> if he disengage you must take the +time and push <i>Quarte</i>, if he comes to your Sword with his Fort, you +must cut under in <i>Seconde</i>, if with his Feeble, disengage in <i>Quarte</i>, +it is also good after having pushed <i>Tierce</i> to recover with your Sword +high, giving Light under, and if the Enemy pushes there, you must take +the Time opposing with the left Hand, or Parry and Rispost.</p> + +<p>It is good likewise for a Decoy to make a half Thrust and recover with +the Sword quite distant from you Body, and if the Enemy comes to your +Sword, you must disengage and thrust at his Open, and if he makes at +your Body, you must volt or oppose with the Hand and thrust where you +have Light.</p> + +<p>The Reprises or Redoubles in advancing are made in <i>Tierce</i> by the same +Rules as those within are. That is to say, either strait, or by +disengaging or cutting over or under, <!-- Page 54 -->according as the Enemy either +lets you make your Thrust, or goes to his Parade.</p> + +<p>All these Redoubles may be made on a Rispost as well as on other Lunges.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XVI"></a><br /><h2>CHAP. XVI.</h2> + +<h3><i>Of passing</i> Quarte <i>within the Sword.</i></h3> + +<p>A Pass is contrary to a Volt as well in Figure as in it's Occasion, the +left Leg in the Figure passing foremost, and in a Volt behind, to help +the Body to turn, and in it's occasion, the Pass being to be made as in +a Lunge, taking the Time, or his Time, whereas the Volt cannot be made +without a great deal of Time; yet the Pass is different from a Lunge, +the one being made with the foremost Foot, and the Pass with the +hindmost, which gives the Thrust a greater Length, more Strength and +Swiftness, and a greater Facility of taking the Feeble with your Fort, +the Body goes further, because the Center from which it departs in a +Lunge is in the left Foot, and in a Pass in the right Foot which is more +advanced, and also because in passing you advance the Left Foot more +than you do the Right in Lunging, <!-- Page 55 -->and the Parts being higher on a Pass +than in a Lunge there is a greater Facility of taking the Feeble with +your Fort.</p> + +<center><h2>9th. Plate.</h2> +<img src="images/054a.jpg" width="400" height="251" alt="9th Plate. A Pass in Quart." title=""> +</center> +<h4><i>A Pass in Quart.</i></h4> +<center> +<img src="images/054b.jpg" width="400" height="196" alt="The Lowering the Body on the Pass." title=""> +</center> +<h4><i>The Lowering the Body on the Pass.</i></h4> +<p>In a Pass in <i>Quarte</i>, the Hands and Arms must be displayed as in a +Lunge, not only in their Figure, but in the same Order, that is to say, +the Hand must move first to bring on the Shoulder and the Body; which +should lean more forward than in Lunging, at the Time that carrying the +left Foot about two Foot and an half, you find your Pass at it's full +Extention. As your Body is too much abandoned forward to recover itself +easily, you must rush on your Enemy, seize the Guard of his Sword, and +present him your Point, which is done by advancing the right Foot to +such a Distance as to be out of the reach of his Leg whilst you advance, +which otherwise might give him an Opportunity, by Tripping to throw you +down. As you advance the right Foot you must seize the Guard of his +Sword, at the same time drawing back your Sword, keeping it high. Then +you must carry your right Foot behind the Left to almost the Distance of +a Lunge, in Order to be strong, as well to avoid his pulling you +forward, as to draw him to you.</p> + +<p>If the Enemy parrys the Pass with his Fort, you must only join, +commanding his Sword with your Fort, 'till you have seiz<!-- Page 56 -->ed his Guard +with the left Hand, which must be done at the Time that you advance the +right Foot, carrying your Sword from the Inside to the Out, then you +must bring the left Foot to the side of the right, and bring back the +right presenting the Sword to the Enemy.</p> + +<p>If he parrys with his Feeble, you must, without stopping, either cut +over his Point from within to without, or turn the Wrist in <i>Seconde</i>, +lowering your Body, and bringing up the right Foot seize his Guard, then +carrying your Sword from within to without, you advance the left Foot to +the side of the right, and drawing back the right present your Sword.</p> + +<p>The easiest means to avoid and hit a Man who passes in <i>Quart</i> within +are to parry dry and Rispost swiftly in the Flank, and if the Pass is +made straight along the Blade with the Fort to your Feeble, you must by +lowering your Feeble, turn your Wrist in <i>Quarte</i> carrying the Point +perpendicularly down, supporting the Wrist, without, and bringing your +Sword round by the Outside of the Adversary's Shoulder, you find your +Sword above his, with your Point to his Body. You may also upon the same +Pass lower the Body and push <i>Seconde</i>.</p> + +<center><h2>10th. Plate.</h2> +<img src="images/056a.jpg" width="400" height="201" alt="10th Plate. The Turning the Body on a Pass in Tierce." title=""> +</center> +<h4><i>The Turning the Body on a Pass in Tierce.</i></h4> +<center> +<img src="images/056b.jpg" width="400" height="201" alt="Pass in Seconde Volting the Body." title=""> +</center> +<h4><i>Pass in Seconde Volting the Body.</i></h4> + + +<h3><!-- Page 57 --><i>To Pass in</i> Tierce.</h3> + +<p>In passing <i>Tierce</i>, as in a Lunge, the Wrist must draw the Shoulder and +Body forward, bringing, as in a Pass in <i>Quarte</i>, the Left-foot about +two Feet and an Half before the Right, then advancing the Right foremost +and out of the Reach of the Enemy's; you must seize the Guard of his +Sword, and again advancing the Left-foot near the Right, you draw back +the Right and present the Point.</p> + +<p>The Counters or Opposites to this Pass, are the strait Rispost, or the +Rispost under, the taking Time, cutting <i>Seconde</i> under, disengaging, or +counter disengaging and volting, but the surest is to loosen the +Right-foot turning the Body half round to the right, opposing with the +Sword and presenting the Point to the Enemy, which hindering him from +hurting you, throws him on your Point if he abandons himself, and at the +same time you seize the Guard of his Sword. <i>See the 10th</i> Plate.</p> + +<h3><!-- Page 58 --><i>To Pass in</i> Seconde.</h3> + +<p>In passing <i>Seconde</i>, there must, as in a Lunge, be a preparatory +Motion, which is made by a Feint, or by an Engagement on the Blade to +oblige the Enemy to parry high, in order to take that Time to pass +under, which is done by advancing the Left-foot very much, with the Body +lower and more forward than in other Passes, and advancing the +Right-foot, you seize the Enemy's Sword, bringing yours from under over, +and advancing the Left-foot to the Side of the Right, you draw back the +Right presenting the Point. You must take notice, that in a Pass in +<i>Quarte</i> with it's Joining, there are but three Steps, and that in the +Passes in <i>Tierce</i> and <i>Seconde</i> there are four. The first, passing the +Left-foot before the Right; the second, advancing the Right to seize the +Sword; the third, bringing up the Left-foot a little, and the fourth, +bringing back the Right, presenting the Point.</p> + +<p>In order to avoid, and to hit the Enemy on his Pass, besides parrying +and pushing strait, as in the Thrust lunged in <i>Seconde</i>, in the 6th +Plate, you may also make <!-- Page 59 -->a strait Thrust, opposing with the Left-hand, +or by volting, as is shewn in the Cut of the 10th Plate.</p> + +<p>Tho' a Pass carries along with it, as I have observed, a greater +Extension and Swiftness than a Lunge, yet as you cannot recover from it, +it should be seldom practised, especially if you are not the strongest, +or able in three attacks to hit twice, there being nothing more +disagreeable to the Sight than to see several Passes made without +hitting. But it is otherwise in Lunges, by reason of the Liberty of +recovering and parrying.</p> + +<p>Passes were more used formerly than they are now, whether it was to +endeavour to bring them to Perfection, or because it has been found that +this Sort of Play was not so sure.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XVII"></a><br /><h2>CHAP. XVII.</h2> + +<h3><i>Of volting the Body.</i></h3> + +<p>The Volting of the Body, which many People call <i>Quarting</i>, shou'd never +be done but at times when you are abandoned, as in Case of Lunges or on +an Engage<!-- Page 60 -->ment of Feint in Disorder, of when finding yourself so +disordered as not being able to parry, you must of necessity have +recourse to volting in order to avoid the Thrust; but to do it at an +improper time, as some do, is very dangerous, by reason of the Facility +of parrying it, it being a Figure in Fencing which gives the least +Strength, Extention, of Swiftness to a Thrust; besides that presenting +the Flank and Small of the Back, the Adversary, in order to hit these +Parts, has nothing to do but parry with his point a little within and +low.</p> + +<p>In volting you must begin with the Arms and Left-foot, by whose +Assistance you turn the body; the Hands shou'd turn in <i>Quarte</i>, the +Right as in a Lunge or Pass, and the Left more without; you must at the +same time turn upon the Point of the Right-foot, bringing the Heel +outwards, and the Left-foot behind the Right, a little farther outwards, +which gives the Body almost the Figure of a Left-handed Man; having +turned about a Quarter round, the Body in this Posture must necessarily +be in Disorder. <i>See the 10th Plate</i>.</p> + +<p>Having finished these Motions, if you find, for want of the Enemy's +having suficiently abandoned himself, that you have not an Opportunity +of Joining, you must <!-- Page 61 -->without stirring the Body or Left-foot, return +with your Sword on the Enemy's, and from his Sword to his Body, and from +the Body to the Sword, as often as you shall see proper, which may be +easily done, your Thrusts being but of small Extension, as well by +reason of the Action of the Enemy coming to you, as by the Advancement +of the Volt; you should, at the same time, oppose with the Left-hand, to +avoid the Thrusts that the Enemy might make upon the Time of yours; by +this means you may easily come to Guard again, or if he retires you may +push at him, the Left-foot by it's Advancement having given a great +Advantage to your Thrust, and if instead of retiring, he has a mind to +join, you must prevent him by seizing the Guard of his Sword, presenting +your Point to him.</p> + +<p>If in an Assault the Foil be entangled in the Shirt or elsewhere, or +that in Battle the Sword be too far entered, or that the Enemy lay hold +on the Blade; in these Cases you must shift your Sword to the other +Hand, which is done after the Volt, advancing your Right-foot, taking +hold of your Blade with the Left-hand about four inches from the Guard, +whilst with the Right you seize his Guard, and drawing back your Sword +you present him the Point.</p> + +<p><!-- Page 62 -->Tho' Volting is not best in Combat, yet it may on some Occasions be +necessary, besides it is my Business to speak of them, at the same time +advising that 'tis much better to make use of Parades and Risposts, than +of Time of what Sort soever.</p> + +<p>The Joining on a Volt is the same as on passing in <i>Quarte</i>.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XVIII"></a><br /><h2>CHAP. XVIII.</h2> + +<h3><i>Of Joining or seizing the</i> Sword.</h3> + +<p>You may join after having parryed any Thrust or Pass whatever, as also +after having pushed, passed, or volted in whatever Figure, or on +whatever Side it may be, especially when the Enemy abandons himself, or +you abandon yourself: If the Enemy abandons himself by a Lunge or Pass; +in case of the first, you must close the Measure in parrying, seizing at +the same time the Guard of his Sword with your Left-hand and carrying +the Right-foot back present him the Point; and in case of a Pass, you +must parry with your Feet firm, and seize his Guard, drawing back the +Right-foot and presenting your Point in like Manner.</p> + +<center><h2>11th. Plate.</h2> +<img src="images/062a.jpg" width="400" height="214" alt="11th Plate. The Seizing and presenting the Sword." title=""> +</center> +<h4><i>The Seizing and presenting the Sword.</i></h4> +<center> +<img src="images/062b.jpg" width="400" height="223" alt="Parrying and Disarming." title=""> +</center> +<h4><i>Parrying and Disarming.</i></h4> + +<p><!-- Page 63 -->If you have pushed being too near, that your Right-foot slipped, or +that the Enemy in parrying closed Measure; if he parryed with his Feeble +you must redouble in <i>Seconde</i> and join, and if with his Fort, you must +oppose his Sword with your's 'till with your Left-hand you have seized +the Guard, advancing the Left-foot; this Motion being done, you pass +your Sword over the Enemy's from within to without; and loosing the +Right-foot present him your Point.</p> + +<p>Upon the Parade of <i>Tierce</i> with the Fort, being near you must join, +seizing the Guard, advancing the Left Leg, and drawing back the Right, +and present the Point; or you may, before you join, cut under in +<i>Seconde</i>; the first is surer at the Sword, and the other more beautiful +in an Assault where a Thrust is more esteemed, than joining.</p> + +<p>If on a Pass or Lunge the Enemy shou'd attempt to join or seize your +Sword, you must, in order to prevent him, change it from the Right-hand +to the Left, four Inches from the Guard, as I have already observed, +seizing his with the Right-hand, and presenting him the Point, holding +it at <!-- Page 64 -->such a Length as to hit him whilst he is unable to come near you.</p> + +<p>In Joining, if you cannot seize the Guard, you must the Blade, helping +with your Elbow, turning the Hand to break the Blade, or take away the +sword, which may be done if you are cunning and nervous, especially if +the Enemy's Wrist is in <i>Quarte</i>, in which there is no Danger of hurting +yourself, because the Sword cannot slip thro', and consequently, can't +cut your Fingers, as has happened to some by their Imprudence; by this +Means, you have time not only to secure yourself, but also to hit your +Enemy. Some People seize the Arm, but that is of no use, because the +Enemy may change Hands and hit you.</p> + +<p>You may throw a Man down after having pushed, either upon the Pass of +<i>Quarte</i> or <i>Tierce</i>; if in <i>Quarte</i>, it is done after advancing the +Left-foot, crossing the Enemy's Sword with your Fort, and carrying your +Right-Leg without his, at the same time pushing the Sword up from the +Inside to the Out, and carrying the Right Arm to his Neck, and the Left +to the Small of his Back: These three Actions must be done at the same +time. There has been so much said on this Head, with the Joining +without, that I shall say no more of it.</p> + +<p><!-- Page 65 -->The Joining in Passes within, without, and under, is the same as in +their Lunges.</p> + +<p>In whatever Manner you join you must present the Sword at a Distance, in +order to hinder the Enemy from seizing it, or putting it off with his +Left Hand to throw himself in upon you: If the Enemy shou'd make a +Difficulty of yeilding up his Sword, you must, in order to frustrate his +Hopes of closing you, and to make him follow you, draw back the +Left-foot behind the Right, and the Right behind the Left, at such a +Distance as to be strong, at the same time moving the Point of your +Sword circularly; by this Means, you are in a Condition either of giving +or taking his Life, which you would not be if he could close you, by +which you would be oblig'd to kill him, or render the Advantage doubtful +by struggling.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XIX"></a><br /><h2><!-- Page 66 -->CHAP. XIX.</h2> + +<h3><i>Of engaging in</i> Quarte <i>in a midling Guard.</i></h3> + +<p>I Have hitherto treated of the Means whereby to make Thrusts, and in +this and the following Chapters, I will shew on what Occasion they are +to be made use of. Tho' there is an infinite Number of Figures or +Postures, and that every Posture may be in Guard, whether within, or +without, <i>Prime</i>, <i>Seconde</i>, <i>Tierce</i>, or <i>Quarte</i>, they proceed from +the Midling Guard, the Strait, the High, or the Low Guard, each of which +may be attacked and defended within or without.</p> + +<p>Though there are many Means to disorder the Enemy by putting him out of +Guard in order to hit him on that Occasion, they all depend either upon +a Feint by the Side of his Sword to draw him on, or on a Motion of your +Sword on his, to uncover him, taking his Sword from the Line of your +Body, and placing yours on a Line with his, which is called engaging. +And there are several other Ways <!-- Page 67 -->of coming to the Sword, which are the +Beats, Crossings, Bindings, and Lashings; the Occasions of which, and +the Manners of using them, I shall shew in their proper Places. I begin +with engaging in the midling Guard, as the neatest, the most used, and +the best.</p> + +<p>To engage this Guard within, it must be done with the Edge on the same +Side, without going wide, in order to keep your Fort before you, and +your Point before the Enemy, carrying both Parts alike; the Engagement +must be made Feeble to Feeble, a little more to your Enemy's than your +own, because if it were with the Feeble to the Fort, the Enemy's Sword +would not be displaced, besides if he should push, you could not parry, +being unable with your Feeble to resist his Fort; and if it were with +the Fort to the Feeble, you wou'd be in Danger of being hit under, where +there would be an Opening; besides you would be oblig'd to advance much, +which would be dangerous.</p> + +<p>On your Engagement, the Enemy may do Three things, either of which, +produces several others. First, either he will let you engage, or +secondly, he will disengage, or thirdly, he will come to your Blade.</p> + +<p><!-- Page 68 -->If he lets you engage, you must push <i>Quarte</i>, or, by way of +Precaution, make a Half-thrust, in order to see if he stirs, to retire, +or to have recourse to his Parade, or to Time.</p> + +<p>If he does not stir, you must, as I said, push <i>Quarte</i>; if he retires, +redouble your Thrust; if he parrys with his Fort cut <i>Quarte</i> under the +Wrist; if with the Feeble, disengage, or cut over the Point in <i>Tierce</i>; +and if upon the Half-thrust he takes the Time pushing strait, you must +parry and risposte, or take the Time in <i>Seconde</i>, with your Body low; +if he takes the Time lowering his Body, you must parry and oppose with +the Left-hand, risposting in <i>Quarte</i>; if he takes the Time cutting +under the Wrist, you must parry crossing the Sword in <i>Quarte</i>, opposing +with the Hand, in order to make your Rispost more safely; and if he +volts upon the Half-thrust, you must parry and risposte in +<i>Flanconnade</i>, or take the Time, with, your Body low.</p> + +<p>If when you engage he disengages, it will be either, 1st, without +Design, or 2dly, to disengage and push <i>Tierce</i> over, or 3dly, disengage +breaking Measure, or 4thly, disengage, and come to your Blade <!-- Page 69 -->without, +or 5thly disengage making a Feint, and pushing <i>Quarte</i> or 6thly, +disengage to take a Counter to your Time.</p> + +<ul> +<li>1st. If he disengages with a Design only to disengage, you must on the +Time push <i>Tierce</i>.</li> + +<li>2dly. If he disengages breaking Measure, you must redouble in <i>Tierce</i>, +advancing.</li> + +<li>3dly. If he disengages and pushes without, you must parry and risposte +quick where you have Light, or take Time against him, disengaging and +volting, or lowering the Body.</li> + +<li>4thly. If he disengages and comes to your Blade without; if 'tis with +his Fort, you must cut under in <i>Seconde</i>; and if with the Feeble, you +must Counter-disengage from without to within.</li> + +<li>5thly. If on the Engagement, he feint <i>Tierce</i> in order to push +<i>Quarte</i>, you must push or take the Time strait upon the Feint, or by +lowering the Body on the Thrust.</li> + +<li>6thly. If he disengages giving Light, to take a Counter to your Thrust, +whether <!-- Page 70 -->by a Rispost or Time, you must make a False-time or +Half-thrust, and if he parrys, or takes the Time, in Case of the first, +you must baulk his Parade; and if he takes the Time, you must take +another upon him.</li></ul> + +<p>If, upon the Engagement, he goes to your Blade with his Fort, you must +cut under his Wrist, and if with his Feeble, disengage and push without +in <i>Tierce</i>.</p> + +<p>Though an Engagement may be made Blade to Blade, without Disengaging, +that is Inside to Inside; better and more common to make it by +disengaging from the Outside to the Inside.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XX"></a><br /><h2>CHAP. XX.</h2> + +<h3><i>Of engaging in</i> Tierce <i>in the Midling Guard</i>.</h3> + +<p>The Engagement without shou'd be made from your being placed within, +Feeble to Feeble, for the same Reason as in <i>Quarte</i>, the Wrist shou'd +be turned in <i>Tierce</i>; in this Engagement as in <i>Quarte</i>, <!-- Page 71 -->the +Antagonist may do three things. 1st, let you engage him, 2d. or +disengage, 3d. or come to your Blade.</p> + +<p>If he lets you engage him, you must carry on your Thrust in <i>Tierce</i>, or +make a Half-Thrust, to see if he does not stir, if he retires, if he +parrys, or if he takes the Time.</p> + +<p>If upon your Half-thrust he does not stir, you must thrust strait, if he +retires, advance and redouble.</p> + +<p>If he parrys with his Fort, cut <i>Seconde</i> under, if with his Feeble, you +must disengage or cut over the Point from <i>Tierce</i> to <i>Quarte</i>, and if +upon the Half-thrust he takes the Time pushing strait, you must either +parry and risposte, or make him Time, volting or lowering the Body.</p> + +<p>If he takes the Time in <i>Seconde</i>, lowering his Body, you must either +parry him and thrust <i>Quarte</i>, or pushing <i>Quarte</i>, oppose with the Left +hand, or volt.</p> + +<p>If on your Engagement he disengages, 'tis as in <i>Quarte</i>, 1st either +without Design, 2d. or to retire, 3d. or to take the Time pushing +<i>Quarte</i> or volting, 4th. or to come <!-- Page 72 -->to your Blade, 5th. or to make a +Feint; 6th. or to take a Counter to your Thrust.</p> + +<ul> +<li>1st. If he disengage without Design, you must push strait in <i>Quarte</i>, +or make a Half-thrust, and go on with the same.</li> + +<li>2d. If he disengages breaking Measure, you must come forward redoubling +in <i>Quarte</i>.</li> + +<li>3d. If he disengages and pushes <i>Quarte</i>, which, on this Occasion, is +called Counter-disengaging, you must either parry and risposte, or take +the Time lowering the Body, or volting.</li> + +<li>4th. If he disengages and comes to your Sword within, with his Fort, you +must cut <i>Quarte</i> under the Wrist, and if with his Feeble, you must +Counter-disengage from the Inside to the Outside.</li> + +<li>5th. If he makes a Feint in order to return in <i>Tierce</i>, you must either +parry or take the Time as I have said.</li> + +<li>6th. If he disengages giving Light, to take a Counter on your Thrust, +whether by Rispost or Time, you must make a Feint, and if he parrys with +his Fort you <!-- Page 73 -->must cut under in <i>Seconde</i>, if with his Feeble, you must +disengage and push <i>Quarte</i>, if he takes the Time strait, you must lower +the body, if he takes Time lowering his body, you must parry and push +strait in <i>Quarte</i>, if he cuts in <i>Flank</i>, you must parry crossing the +Sword in <i>Quarte</i>, and if he volts, you must parry and risposte in +<i>Flanconnade</i>.</li></ul> + +<p>If on the Engagement without, he comes to your Sword with his Fort, you +must cut under in <i>Seconde</i>, if with his Feeble, disengage or cut over +the Point in <i>Quarte</i>.</p> + +<h3><i>When you are engaged within the</i> Sword.</h3> + +<p>If the Enemy engage you within with his Fort, you must cut under the +Wrist, and if with his Feeble, disengage from within to without, of if +you don't care to do that, make a Feint without; if on this Feint he +goes to the Parade with his Fort, you must push <i>Seconde</i> under, and if +with his Feeble, disengage in <i>Quarte</i>.</p> + +<p>When the Enemy engages to make you push, in order to parry and rispost, +you must, as I have said, make a Half-thrust <!-- Page 74 -->and retire giving Light, +in order to take him by a Counter to his thrust, by a Parade, or by +Time.</p> + +<p>You may on the same Engagement, remain engaged on purpose, in order to +make the Adversary path strait; and in this Case, you must parry and +risposte where he is uncovered, or take Time lowering the Body.</p> + +<p>If after having engaged you he shou'd make a Feint, you must, by going +to the Parade, give Light on purpose, and if he pushes, take him by a +Contrary.</p> + +<p>If he engages to make you disengage, in order to take the Time on your +Disengagement, you must disengage and give him a little Light, and if he +pushes at it, take him by a Rispost, or a Time opposite to his.</p> + +<p>If you are engaged in <i>Tierce</i> with the Fort, you must cut under the +Wrist in <i>Seconde</i>, and if with the Feeble, and the Hand in <i>Quarte</i>, +disengage to <i>Quarte</i> within, or, by Way of Caution, make a Half-thrust; +if the Adversary goes to the Parade, you must push where you have Light, +and if he takes the Time, parry and risposte, or take a Time to his.</p> + +<p><!-- Page 75 -->You may also upon an Engagement in <i>Tierce</i>, make a Feint below, and if +he takes the Time, parry above and risposte below. This Thrust is very +good against a Man that's disorder'd, who coming to the Parade above, +gives room to hit him below.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXI"></a><br /><h2>CHAP. XXI.</h2> + +<h3><i>Of several Guards, and the Manner of attacking them</i>.</h3> + +<p>Tho' all the Guards are Good when well defended, yet they are not +equally good; because we ought not to look upon any thing as good, that +does not procure us some Advantage, and an ill placed Guard, instead of +being favourable, requires a great deal of Skill to be of any Use at +all, being farther from a Posture of Defence, the midling Guard only +carrying with it such a Disposition of the Point and Wrist as is +sufficient to defend the Inside, the Outside, the Upper and Lower Parts +of the Body with the Sword: For as to the other Guards, whether Flat, +High, or Low, or holding the <!-- Page 76 -->Sword with both Hands, they leave some +Part uncovered, either by reason of their Height, or their Line.</p> + +<h3><i>To attack a strait Guard.</i></h3> + +<p>No Man of Skill or Reason will give a considerable Open without a +Design, and as the People who hold such a Guard as I am going to +describe, have their several Designs, you must be cautious of them, in +order not only to make them useless to them, but advantageous to +yourself.</p> + +<p>Some Men hold their Swords strait or flat,<a name="FNanchor_3_3"></a><a href="#Footnote_3_3"><sup>[3]</sup></a> whether 'tis because they +are more used to Disengagements than Parades, or to take Advantage of +the Superiority of their Stature, or of the Length of their Sword, to +avoid the Attacks and Engagements to which the other Guards are more +exposed; for you can hardly engage or feint on this Guard, the Point +being too low; so that to attack him, you must bind the Sword, which you +must do after placing yourself within his Sword, binding his Blade under +yours, when he is out of Measure, to take, with more Ease, the Feeble of +his Sword, crossing <!-- Page 77 -->it with yours, raising your Hand in <i>Seconde</i>, and +carrying the Point low, whilst gaining Measure, you form a little Circle +with the two Points, and raising them up again, you push <i>Seconde</i> +within, with the Body low.</p> + +<p>Tho' it be almost impossible for the Enemy to disengage, when you have +bound his Sword as I have described, it may happen that if some of the +Circumstances were wanting, he might disengage and push, which ought not +to hinder you from making your Thrust; because your Sword may very well +hit him, passing under his, which cannot hurt you, because of the +Lowness of your Body.</p> + +<p>The Binding is easy to be parryed, by reason of the natural Tendency to +follow the Sword, which is done by raising and bringing your Fort +nearer. These following have commonly more Success.</p> + +<p>The first is made after having bound the Sword, instead of pushing +<i>Seconde</i> within, you must, upon the Parade, disengage and push <i>Tierce</i> +over: If the Adversary is quick enough in his Parade to shun this double +Motion, you must have recourse to the third, binding the Sword in the +like Manner, and feinting above, return below.</p> + +<p><!-- Page 78 -->Tho' the Sword is seldom bound on the Outside, upon some Occasions and +to some People it would not be amiss; it must be done with your Feeble +to the Enemy's, with the Precautions necessary in binding within, by a +little Circle without, the Hand in <i>Quarte</i>, and if he does not stir, or +if he disengages, you must push without, the Hand in <i>Quarte</i>. These +following are according to the Parade with the Fort or with the Feeble, +pushing <i>Seconde</i> under, or <i>Quarte</i> within.</p> + +<p>As in all Thrusts the Hand must be easy and uniform, it must be more so +in this than in the others, because the Binding cannot be made without a +very close and smooth Motion.</p> + +<p>Though several Masters teach to disengage in order to bind the Sword, I +would not have it done so for two Reasons: First, because the +disengaging gives Time to the Opponent, not only to thrust strait, but +also to disengage; and Secondly, because you cannot so easily bind the +Sword as when you are on the same Side.</p> + +<p>In binding the Blade, you must close the Measure; because a Man who is +superior to you, in Height, by the Length of his Sword, or by his +Situation, won't let his Inferior into Measure; in one or the other +Case, being at a proper Distance, you bind more easily on the Feeble.</p> + +<center><h2>12th. Plate.</h2> +<img src="images/078a.jpg" width="400" height="228" alt="12th Plate. Attack in the high Guard." title=""> +</center> +<h4><i>Attack in the high Guard.</i></h4> +<center> +<img src="images/078b.jpg" width="400" height="224" alt="Attack in the low Guard." title=""> +</center> +<h4><i>Attack in the low Guard.</i></h4> + +<h3><!-- Page 79 --><i>To attack the high Guard.</i></h3> + +<p>In this Guard, you must place yourself under, with the Hand in +<i>Seconde</i>, covering the upper Part, in order to oblige the Enemy to go +under; which being the most distant Place from his Sword, procures you +more Time to avoid him. He may, on this Occasion, do three things: Let +you engage him, go under, or force your Sword.</p> + +<p>If he lets you engage him, 'tis either with a Design to parry, or to +take the Time; wherefore, before you push, you must make a Half-thrust +under: If he parrys, it will be in one of the three Ways that I have +shewn in the Parade of <i>Seconde</i>, Chap. 8, where you may see all their +Counters.</p> + +<p>If upon the Half-thrust he takes the Time, you must parry and risposte +below, <!-- Page 80 -->or push strait, opposing with the Hand; you may also volt on +this Occasion, but it is better to parry.</p> + +<p>If he opposes with his Hand upon your Half-thrust, you must parry with +your Left-hand, and, pushing near his Left Shoulder, baulk his Hand.</p> + +<p>And if he volts on your Half-thrust, you must parry and risposte in the +Flank.</p> + +<p>If on the Engagement he thrust under, you must parry and thrust strait, +or take the Time, opposing with your Hand, and if instead of going +under, he only feints there in order to return above; you must either +parry the Feint and risposte under, or push on the time, as I have said +before.</p> + +<p>If he makes use of the same Thrust, pushing at the Time of your going +under, you must make believe to push there, returning quickly to the +Parade above, and risposte under.</p> + +<p>And if he would draw you on in order to make this Rispost on you, you +must make a Half-thrust, keeping on your Parade below, to risposte +strait in <i>Quarte</i>.</p> + +<p><!-- Page 81 -->If upon your Engagement he forces your Sword, you must yeild the +Feeble, opposing with the Fort and the Left-hand. <i>See the 5th</i> Plate.</p> + +<p>To keep the Enemy from forcing your Sword, you must cross his Blade with +your Fort to his Feeble.</p> + +<h3><i>To attack the low Guard.</i></h3> + +<p>Those who hold a low Guard have a Design either to parry with the Sword +or with the Hand, to lower the Body or to volt; therefore as in the +other Guards you must make a false Time, or half Thrust, and if he +parrys with the Sword, thrust where you see Light, if he parry with the +Hand, you must feign a strait Thrust in order to bring his Left-hand to +the Parade, at the same time raising your Point with a little Circle, +pushing at the left Side with the Hand in <i>Seconde</i>, the Body low, +whereby you baulk his Left-hand, and for the greater Safety, you must +oppose his Thrust with your Hand, endeavouring in your Risposts, to +deceive his Sword and his Hand.</p> + +<p><!-- Page 82 -->If he waits for your Thrust in order to lower the Body or to volt, you +must make a Half-thrust to draw him on, and take one of the Counters +which I have spoken of before.</p> + +<p>If the low Guard is within your Sword, you must attack it making a +Semi-circle with the Point of the Sword down, lashing and crossing his, +the Hand in <i>Quarte</i>, and to push without Danger, you must oppose with +the Left-hand: This Thrust is good against a Man that pushes at the same +Time.</p> + +<p>If the low Guard is without your Sword, you must lash in <i>Tierce</i>, +crossing the Sword and push without.</p> + +<p>If the low Guard is neither within nor without, you must lash smartly in +<i>Tierce</i> and in <i>Quarte</i>, that is to say on his Outside and Inside, +pushing <i>Quarte</i> afterwards, opposing with the Left-hand: This Thrust +puzzles a Man who disengages quick, which in this Case is of no use.</p> + +<p>You may also engage this Guard placing yourself within, the Wrist in +<i>Tierce</i>, and the Point low<a name="FNanchor_4_4"></a><a href="#Footnote_4_4"><sup>[4]</sup></a> closing the Enemy <!-- Page 83 -->pretty near to oblige +him to push above, and if he pushes there, you must parry and risposte +above, or under, according as you have Light.</p> + +<p>If instead of making a Thrust above, he makes a Feint there and pushes +within, or under, you must push <i>Quarte</i>, opposing with the Left-hand, +or else going to the Parade with the Sword to all Thrusts and Feints +without, leave to the Left-hand the Defense of the Inside, and of the +under Part.</p> + +<p>And if instead of pushing, he waits for your Thrust to take the Time +upon it, you must press close upon him and push strait in <i>Quarte</i>, with +the Point low, opposing with the Left hand, in order to throw off his +Sword, or push at his Arm, of which you are in Reach, though he is not +in Measure of your Body.</p> + +<p>These Sorts of Guards are not so much practised, with Sword in Hand, as +the middling Guard, People being more careful of parrying with the +Sword, and a Man is in much better Condition to parry from the middling +Guard than from any other.</p> + +<h3><!-- Page 84 --><i>To attack the Guard where the Sword is held in both Hands.</i></h3> + +<p>Those who hold the Sword in both Hands, that is to say, the Handle in +the Right-hand, and the Blade about four Fingers Breadth in the Left, +will either engage, or beat on your Sword, with great Force, or stick to +a strong Parade, in order to uncover you the more, in Favour of their +Thrust.</p> + +<p>But as they cannot keep this Situation without exposing their Body very +much, which is often dangerous, as also a very unseemly Posture, this +Guard is therefore, with good Reason, condemned by most, if not all, +experience'd Masters.</p> + +<p>If you have to do with one that holds this Guard, you must keep your +Point a little low, and be always ready to change, in order to render +the Strength which the Left-hand gives to the Right, useless, in his +engaging or beating.</p> + +<p>If he will not attack you, but waits for your Thrust in order to parry +and risposte, you must make a Half-thrust, and re<!-- Page 85 -->cover quickly to your +Parade, to avoid his Rispost; wherein, throwing back his Left-hand, and +abandoning himself extremely, he is not in a Condition to avoid your +Thrust after you have parryed his.</p> + +<p>You may also make a Home-thrust on him, by a single or double Feint, +because these require two or three Parades; so that your Adversary being +unable to parry without throwing his Point a great way off, he cannot +bring it back in time if you disorder him by a Feint.</p> + +<p>You may likewise catch him, by placing your Sword along his, with your +Point a little raised, and sliding on a Defence along his Sword, push at +his Left-hand or Arm, for he cannot, tho' he goes to his Parade, hinder +your Blade from sliding so as to hit him there, without running any +Risque, you being in Measure of his Hand and Arm, when he is out of +Reach of your Body.</p> + +<p>You are to observe, that in all Guards with Sword in Hand, you must push +at the nearest and most uncovered Part; which in the Guards that I have +described is the Arm; therefore you must not abandon yourself to <!-- Page 86 -->hit +the Body, but in risposting, or after having disordered, or engaged the +Enemy as aforesaid.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXII"></a><br /><h2>CHAP. XXII.</h2> + +<h3><i>Of Left-handed Men.</i></h3> + +<p>Most People imagine that a Left-handed Man has, by Nature, the Advantage +of a Right-handed Man in Fencing, whereas he has it only by Habit, +exercising oftener with Right-handed Men than a Right-handed Man with +him, as well in Lessons as in Assaults, most Masters being Right-handed, +as well as most of the Scholars, taking Lessons from the Right-hand, and +practising seldom with Left-handed Men, find themselves puzzled, nothing +surprizing more than what one is not used to, which is so true, that to +embarrass a Left-handed Man, who has not fenced much, you must put +another against him; I say one that has not fenced much, because Right +or Left-handed Men who go to the School of a perfect Master, will be +<!-- Page 87 -->taught to use both Hands, by which Means, they will not be so much +surprized when they meet with a Left-handed Man, as they would otherwise +be.</p> + +<p>When a Right and a Left-handed Man fence together, the Right handed Man +should push but seldom within, that being the Antagonist's strongest +Part; and his weakest and outward, which should be kept covered, or in a +defensive Condition, as the most liable to be attacked; the best Way is +to push <i>Quarte</i> without, Engagements, Feints under, and Thrusts above, +and double Feints, finished above or under the Wrist in <i>Quarte</i>, Cuts +over the Point without, and upon the Parade, with the Fort, or with the +Feeble, redoubling <i>Quarte</i> under the Wrist, or <i>Seconde</i> over: These +are chiefly the Thrusts which a Right-handed and a Left-handed Man may +make against each other, whether on an Attack, or in Defence, by Time or +Risposts.</p> + +<p>Several Masters puzzle their Scholars by telling them that with a +Left-handed Man they must act quite contrary to what they do with a +Right-handed, which appears to be false; because to a Right or +Left-handed Man you must push, opposing with the Sword, which is to be +done by pushing <!-- Page 88 --><i>Quarte</i>, when the Enemy is within your Sword, and +<i>Tierce</i>, when he is without. All the Difference between a Right and a +Left-handed Man is, that two Right, or two Left-handed Men, are both +within or without, whereas a Right with a Left-handed Man, the one is +within when the other is without, the one in <i>Quarte</i>, the other in +<i>Tierce</i>.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXIII"></a><br /><h2>CHAP. XXIII.</h2> + +<h3><i>Of the Parade of the Hand.</i></h3> + +<p>There are, in Fencing, three Parades with the Left-hand: The first, like +the Opposition that is from the Top to the Bottom; the second, with the +Palm of the Hand without, towards the Right Shoulder, and the third, +from the Bottom to the Top, with the Outside of the Hand: Of these three +Parades, the first is the easiest, the most used, and the least +dangerous: They are condemned by able Men, as weakening those of the +Sword; wherefore it is wrong in a Master to shew them to a Scholar, +before he has practised those of the Blade a good while, which being +longer, can return <!-- Page 89 -->to all feints, which the Left-hand cannot, it being +impossible to parry with it except you be near, which is very dangerous, +as well by reason of the Difficulty of meeting properly with the Sword, +as of the Facility of deceiving the Hand, which in this Case has not +Time to come to the Parade, because of it's small Distance; and besides +the Facility of deceiving it, you need only push at the Arm, Sword in +Hand, in order to make it useless.</p> + +<h3><i>Of the Opposition of the Hand.</i></h3> + +<p>Many People make no Distinction between the Parade and Opposition of the +Hand, tho' there is a very great Difference, the Parade being made only +against the Adversary's Thrust, and the Opposition to prevent a +following Thrust after having parryed with the Sword, which is very +necessary in most Thrusts, especially in the Risposts which may be made +to your Thrust in <i>Seconde</i>.</p> + +<p>Besides the Opposition of the Hand, after having parryed with the Sword, +you may oppose with it, taking the Time, that is to say, when the Enemy +pushes from a<!-- Page 90 -->bove to below, as the motion of his sword is greater than +your's, having only a strait line to push <i>Quarte</i> on, whereas his from +above to below, is crooked, so that pushing upon his time, he cannot +avoid the thrust, and you may easily oppose his with the Left-hand, +which is very different from the parade with the Hand, to which you do +not push 'till after you have parryed.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXIV"></a><br /><h2>CHAP. XXIV.</h2> + +<h3><i>Of the beat of the Foot, in closing the measure, or in the same place.</i></h3> + +<p>Though it may seem to many people, that the beat of the Foot, in gaining +measure, making appels, or alurements, engagements, or other Thrusts, is +rather ornamental than necessary; nevertheless, there is nothing puts +the Foot in a better condition to follow the swiftness of the Wrist, in +most of the actions of the Sword; nor can any thing contribute more to +the equal situation, and to the retention of the Body, qualities, which +keeping you covered from the time of your combatant, procures you the +means, not only of taking advantage<!-- Page 91 --> of his, but also of possessing +firmness, freedom, justness and swiftness. You are to observe two sorts +of beating, the one with the Foot firm in the same place, the other +gaining measure; the Beat with the Foot firm, is done in two ways, the +one in appels, or alurements on the Blade, and the other in engagements +or Feints. That upon the allurement on the Blade, may be made by a +single beat of the Foot, but those who are pretty well advanced, make +two without lifting the Foot but once, the first with the Point, and the +other with the whole Foot: that on engagements or single Feints, shou'd +have but one beat, the thrust being to be made on the second motion. The +beat of the Foot in marching or advancing, is also divided into two +sorts, the one in Engagements or single Feints, and the other in +Engagements and Feints following, or in double Feints; the manner of +engaging must be with a single beat gaining measure, and that of +engaging with a double Feint, must be done with a double beat, in order +to agree with the motion of the Wrist; and as in all, including the +lunge, there must be three beats; <!-- Page 92 -->you must, on the First Time or Feint, +beat with the whole Foot in the same Place, at the second Motion of the +Wrist beat again with the foot getting Measure, and at the third Motion +push.</p> + +<p>You must observe, that between the first and second Motion, there is no +Interval, but between the second and third there is, in order to see +where the Enemy gives Light: This Interval must be shorter or longer +according as your Disposition or Practice is more or less.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXV"></a><br /><h2>CHAP. XXV.</h2> + +<h3><i>Of the Good Effects of a nice Discernment of the Eye.</i></h3> + +<p>In Fencing, there is the Foreseen, and the Unforeseen; the Foreseen is +the Effect of the Understanding and of the Will, and the Unforeseen is +the Effect of the Discernment of the Eye, and of Custom; which being +upheld by this Quality, <!-- Page 93 -->has no sooner discerned an Action or Opening of +the Enemy, than all the Parts which are to act, display themselves to +oppose or attack him, as if they depended on the Eye. To be convinced of +this Truth, you may reflect on READING, wherein, as soon as the Eye has +discerned the Words, the pronouncing them follows as quick as in a +studied Discourse; the Eye and Tongue being so disposed by Custom, as to +do it without immediately reflecting. Indeed before they cou'd arrive to +this, the Understanding and the Will were necessary, which having been +united for a certain Time, have communicated such a Habit to these +Parts, as to make them act as it were of themselves.</p> + +<p>In order to acquire this Quality in Fencing, it is necessary that the +Master, in his Lessons, shou'd shew what Opportunities are to be +favourably laid hold of, two opposite Actions at one and the same Time, +That whilst he is uncovering some Part of his Body, he cannot, at the +same Instant, parry, because by the Parade, it must be covered; so that +by making them make their Thrusts, and other Motions, by the Discernment +of the Eye, they find themselves by Practice ready to oppose all the +<!-- Page 94 -->Motions of the Antagonist without the Assistance of the Will. This +Method is indeed a little more tedious in the Beginning, but it +afterwards becomes shorter and more certain.</p> + +<p>If you have not had Practice enough to make the Discernment of the Eye +thus habitual, you must observe what Motions your Action causes in the +Adversary, by making a Half, or Home-thrust, in order to discover +whether the Enemy has recourse to the Parade, or to the Time: If he goes +to parry, you must observe his Manner, in order to make a Feint +resembling the same Thrust, and to push at the Part where you observed +him to give the Light; and if he goes to the Time, you also make a +Feint, preparing yourself for the parade and Rispost, or to take a Time +contrary to his.</p> + + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXVI"></a><br /><h2><!-- Page 95 -->CHAP. XXVI.</h2> + +<h3><i>Of Time</i>.</h3> + +<p>If we were to follow the exact Term of Time, every Thing that is done in +Fencing might be called so; for you shou'd never thrust but when you +have a favourable Opportunity of hitting, nor parry, but at the Time +that favours you to oppose the Enemy's Sword, not make an Engagement, +nor a Feint, but to take the Time upon the Motion that your Action +occasions in the Adversary.</p> + +<p>Time is the Duration of any Motion: It is called Time because it is the +most favourable Opportunity of pushing, the Enemy being unable during +one Action to do a contrary one.</p> + +<p>It is divided into several Manners and Terms: The first is called the +Time, the second, taking his Time, the third, Time to Time, the fourth, +the same Time, and the fifth, false Time.</p> + +<!-- Page 96 --><ol><li>Taking the Time, is making your Thrust by a judicious Discernment on +the Motion of the Enemy, taking him by a contrary one: You are to know +that every Motion, of whatever Part it be, is called Time; for which +Reason, I shall say nothing of Feints, Engagements, and Disengagements, +upon which it may be taken; and that in three Manners, <i>viz.</i> strait, +lowering the Body, or volting it, which you must know how to apply. In a +strait Thrust the Time shou'd be taken by lowering and volting the Body, +because the Thrust coming strait, if you were to push the same Way, you +would, by supporting the Wrist, make a <i>Contrast</i>; and by pushing +crooked, you would make a <i>Coup Fourrés</i>, or an interchanged Thrust; but +if the Thrust be in Two Times, or Motions, you may push on the first; If +it be in three Motions, on the second. As to the volting and lowering +the Body, they may be used on all Motions, provided they be abandoned, +and that the Enemy does not keep back his Body to draw you on.</li> + +<li>Taking his Time, is the most subtle Thing in Fencing, depending +principally on the Mind: The Manner of taking it proceeds from your +Place or Situation,<!-- Page 97 --> which gives you an opportunity of knowing the fort +and the feeble of the enemy, so that feeling his blade with your's, you +may by a judicious custom, push at a proper instant, according as you +find the weakness of his sword; and though it may seem that the enemy, +in the same guard, and at the same distance, can as easily parry; that +does not happen because of his different design to push, disengage, or +make a feint, by reason of the several operations of the mind which +follow the will.</li> + +<li>The Time to Time, or the Counter to Time, is by several people, +called Counter-time: this cannot in effect alter this necessary part of +the art; it being but an impropriety in terms; when they say that making +a motion to bring the Enemy on, and when he is going to make a Thrust, +the making a Counter; this is by consequence a Counter Time, like a +Counter-disengagement, without observing that a Counter-time is nothing +but an ill timed Motion, which should upon all occasions be avoided: and +if that argument were to take place, it might be said that there is no +such thing in fencing as taking the Time, because it is to be done only +by taking a <!-- Page 98 -->Time contrary to that which is intended to be taken of you, +which according to their Argument would be a Counter-time; whereas the +Term Time to Time, or counter to Time, sufficiently shews, that it +requires three Motions; since the taking the Time requires two, and the +taking it at the Time that he takes it, must require a third. Of these +three Motions you are to make two: The first, in order to get one from +the Enemy, that you may have an Advantage by your second, which is the +third Time; so that when he thinks to take the Time upon you, you take +it upon him, which, far from being a Counter-time, is a Time to his, or +Counter to his Time.</li> + +<li><p>The same Time, depends on three Things: First, that both having a +Design to push, you both push by chance at once, without expecting it +from each other: Secondly: That full of the Design to take the Time, and +not knowing it, you push upon the Enemy's Thrust, without foreseeing how +to avoid it; and thirdly, when an Inferior or desperate Man, unable to +defend himself, had rather run on your Thrust in endeavouring to hit +you, than strive in vain to avoid it. These are not only the Occasions +of the same Time, but also of the <i>Coups Fourrés</i>.</p> + +<p><!-- Page 99 -->It is to be observed, that Time, and the same Time, differ only in +their Figure, and not in their Occasion, as Monsieur <i>De la Touche</i> +says, for to take the Time upon a Thrust, you must go off upon the +Lunge, as if it were on the same Time, except that the Figure of the +Body shuns the Thrust, which in that of the same Time it does not do.</p></li> + +<li>False Time, is a Motion made by the Enemy to draw you on, in order to +take a Time upon your's; therefore he that would take the Time, shou'd +distinguish whether the Motion made, is to disorder him, and take the +Advantage of his Parade, or to make him thrust, and take the Advantage +of his Lunge; In Case of the first, it would be a Fault not to push; and +in Case of the other, it would be amiss to push. Some Masters call the +false Time, Half Time, which is wrong, every Motion being a Time, and as +it is impossible to make a Half Motion, so 'tis impossible to make a +Half Time.</li></ol> + +<p>The Difference of Time between the dexterous and awkard is, that the +dexterous present and take the Time, and the others, give and lose it.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXVII"></a><br /><h2><!-- Page 100 -->CHAP. XXVII.</h2> + +<h3><i>Of Swiftness</i>.</h3> + +<p>Swiftness is the Shortness of Time between the Beginning and End of a +Motion: It proceeds from a regular and frequent Exercise, joined with a +good Disposition; that is to say, Vigour and Suppleness, which form +Agility.</p> + +<p>A great Swiftness cannot be acquired without long Practice and a good +Disposition, the one not being sufficient, without the other, to give +it: For the best natural Parts, without Practice, will be of very little +Service to those who have the best Disposition; and the most regular +Practice without the Assistance of Nature, will never make a Man +perfectly Swift.</p> + +<p>Swiftness in Fencing, is so necessary, that without this Quality, it is +very difficult to defend, and impossible to of<!-- Page 101 -->fend: This Truth is so +well known, that every one is earnestly desirous of it, tho' most People +are ignorant of the Means necessary to acquire it.</p> + +<p>What contributes most to the becoming swift, besides, frequent Exercise +and a fine Disposition, is a perfect Situation of the Parts, the +Retention of the Body, and the regular Motion of the Wrist: The +Situation requires this advantageous Point of all the Parts, to +communicate Freedom and Vigour to the Action, that they may act with +Quickness. In order to retain the Body, it is necessary that it be +always in it's perfect Situation, during the Motions previous to the +Thrust; and if the Thrust consist of one Time only, the Wrist must +begin.</p> + +<p>As to the Motion of the Hand, it must not only be animated, but also the +Action must not be wide, whether in Disengagements, Engagements, Feints, +or Risposts; because if you would be soon at your Mark, it is not +sufficient to go quick, but it is also necessary that the Action be +close.</p> + +<p>Many People have confounded the Swiftness of pushing with precipitate or +consecutive Thrusts, without considering that <!-- Page 102 -->Precipitation is either +when the Body moves before the Hand, or when an improper Motion is made; +and the consecutive Thrusts, the pushing several Times without Interval, +or when there is no Occasion; which may be done by one who is not swift; +for Swiftness is only the Shortness of Time between the Beginning and +End of an Action, as I have already said.</p> + +<p>Swiftness and Time are very justly called the Soul of Fencing, and all +Thrusts owe their Success to these Qualities; for you cannot hit but by +Surprize, nor surprize but by Swiftness.</p> + +<p>There are three Ways of surprizing in Fencing: The first is the +Situation of the Guard, taking his Time: The second, is doing an Action +to disorder the Enemy, in order to hit him, at that Time, where he is +open; and the third is when the Opponent attacks you, either by Feints, +Engagements, or Lunges, you take him upon the Time. Tho' these three +Sorts of Surprize require a certain Point of Swiftness, the first needs +the most, having no other Support; but the two others have the Advantage +of having disorder'd the Enemy.</p> + +<p><!-- Page 103 -->Although Time, Swiftness, and the other Qualities are absolutely +necessary in Fencing, without their just Concurrence they are useless. +In order to acquire which, the Wrist must be easy by Practice, that you +may hit where you see Light.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXVIII"></a><br /><h2>CHAP. XXVIII.</h2> + +<h3><i>Of Measure</i>.</h3> + +<p>Time, Swiftness, and Justness, without the Knowledge of Measure, would +be in vain, Thrusts from afar being of no Use, and from near, dangerous; +and the other Motions shou'd also be at a certain Distance, in order not +only to be ready for the Time, but also to take Advantage of the +Disorder of the Enemy. The Measure is taken from you to the Enemy, and +from the Enemy to you: The first is easier known, as well because it is +naturally so, as by the Custom of your Lunge, which being, in regard of +yourself, always the same, makes it easier by Practice: The Measure from +the Enemy <!-- Page 104 -->to you is difficult, from the Difference in Persons whose +Stature, Activity, or Swords, are not always alike; and tho' the Height +shou'd be the same, the Arms, Thighs and Legs are not proportionable; +besides there are big Men that have short Arms, and little Men that have +long Arms. It is likewise so in regard to the Clift; some being longer +in the Fork than others; and though two Men shou'd in that Particular be +alike, if one of them has shorter Legs than the other, he will reach +farther, because his Thighs are longer, and in the Lunge, only one of +the Legs contributes to it's Length, the other making a Line almost +perpendicular, whereas the two Thighs making a strait Line, contribute +equally to the Extention.</p> + +<p>The Difference in Suppleness, also makes a Difference in the Extention; +a Man who has the Freedom of his Shoulders and Hips, going farther than +one that has them constrain'd. It may also happen that two Men of like +Proportion and Freedom of Parts, may not have an equal Extention, by +their being taught differently; some Masters teaching to keep the Body +upright, the Wrist raised, or too much on one Side, and the Left-foot +first; whereas the Body shou'd lean a little forward, without raising +<!-- Page 105 -->or carrying the Hand to one Side, farther than to keep the Body +covered, and the Left-foot shou'd lye down on the Edge; this Situation +gives a greater Length than the other.</p> + +<p>The different Lengths of Swords sometimes make it difficult to know the +Measure, and makes it impossible to fix it by Rule, as several Masters +have pretended: Some of them say that the Measure is just, when the +Points cross each other a Foot; others, with as little Reason, wou'd +have the Middle of your Blade touch the Point of the Adversary's; but +what gives a true Knowledge of the Measure is frequent Exercise, +accompanied with a good Judgment, pushing often <i>Quart</i> and <i>Tierce</i> +with different Foils, and being pushed at by different Persons.</p> + +<p>The Extention is taken from the Left-foot, which is the Centre, to the +Button of the Foil.</p> + +<p>I did design, in this Place, to treat of Time, and of a regular Way of +pushing in Lessons, from the Beginning to the End of one Year, according +to the Disposition of Scholars; but after I had finished it, I thought +that my Fellow-Brethren would perhaps take it ill that I should +prescribe <!-- Page 106 -->Lessons to their Scholars, by which, instead of gaining their +good Opinion, I might incur the Accusation of being more busy than +knowing.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXIX"></a><br /><h2>CHAP. XXIX.</h2> + +<h3><i>Of the Necessity of some Qualities in a Master</i>.</h3> + +<p>In order to teach well, it's necessary to have a perfect Idea of the +Means which conduce from the Beginning to the End of the Matter +proposed, I mean to it's Perfection, or to what comes nearest it, if our +Age has not as yet arrived to it.</p> + +<p>In Fencing, as well as in other Exercises, there should be Judgment and +Knowledge how to act and how to Teach: The first is the Effect of a long +and good Theory; the second, of a good Theory, long Practice, and a good +Disposition; and the third, besides the Theory and Practice, is the +Effect of a good Genius, or of a particular Talent.</p> + +<p><!-- Page 107 -->Qualities which shou'd be always united; so that the Genius may be +capable of teaching properly to different Persons, the Application of +the Rules which are acquired by Experience.</p> + +<p>It is as necessary in this Art that a Master's Motions shou'd be +regular, and that he shou'd hold the Foil properly in his Hand, as it is +for a Writing Master to draw the Example well that he would have copied; +so that the Scholar of the one, or of the other, may learn a better +Motion, or a finer Character. It is also proper that when a Scholar +commits a Fault, the Master shou'd shame him by imitating it, the seeing +the Fault making a greater Impression than the hearing of it.</p> + +<p>A Master in his Lesson shou'd give a Time to the Scholar to make him +push, in order to teach him to take the Enemy's Time. He shou'd likewise +sometimes beat back his Body, and parry him from time to time, that he +may accustom him to be firm on his Legs, to oppose his Sword well, and +to recover well: It is good sometimes to let him make several Thrusts +following, and then remaining firm all of a sudden, to shew him, that he +shou'd always be ready to thrust <!-- Page 108 -->when an Opportunity offers, and to +retain himself when it does not offer.</p> + +<p>In order to make him take the Time well, and to form his Parade and +Rispost properly, the Time that the Master gives must have a Regard to +Rule, and sometimes to the Disorder of an unskilful Enemy, that he may +be equally fortifyed for both; and to form his Parade and Rispost the +Master must push in the Manner the most like to an Assault.</p> + +<p>Though most Masters give Lessons with shorter and stiffer Foils than are +used in assaulting or playing loose, I esteem it better always to use +the same Foils that they may not be deceived in an Assault.</p> + +<p>A Master's Play shou'd be neat, subtle agreeable, and useful, as fit for +Combat as for the School.</p> + +<p>The Art of Fencing being to make the most of a good or bad Disposition, +when 'tis good 'tis capable of being made perfectly dexterous, and when +bad, the Defect of Nature is to be repaired by Art.</p> + +<p>By saying that 'tis no hard Matter to perfect such Men as are naturally +of a very <!-- Page 109 -->good Disposition, is meant the bringing them to a certain +Point which they could almost arrive to of themselves, by Practice and +Speculation; but it is well known that it is the Business of a good +Master to make his Scholar perfectly dexterous, and tho' he may have a +good Disposition and long Exercise, if he is not well instructed, he +cannot become dexterous, even tho' he shou'd execute with Agility, being +incapable of acquiring a Good without knowing and practising it.</p> + +<p>A good Disposition is seldom to be met with, for there is generally a +Mixture of bad Parts with the good. Some have a supple, light and +vigorous Body, and with these Qualities a heavy or ill adjusted Hand; +and others that have as good a Disposition as is desirable, have a +narrow Genius, fearing to undertake any thing, or are hot and +inconsiderate, which shews that it is only be a perfect Accord of the +Parts and Understanding that a Man can be perfectly dexterous.</p> + +<p>In short an able Master does not only shew the Fault, and whence it +proceeds, but also the Danger to which it exposes, and the Means to +leave it. A Master whose Play is regular, or who has the best +Foundation, may properly be said to be a good Master.</p> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXX"></a><br /><h2><!-- Page 110 -->CHAP. XXX.</h2> + +<h3><i>Rules for pushing and parrying at the Wall, and for making an Assault.</i></h3> + +<p>Though 'tis absolutely necessary to begin by way of Lesson, and to +continue in it a long Time, in order that Practice growing to a Habit, +may give Liberty to the Parts to form themselves: nevertheless however +well you may take your Lessons, some other Means are necessary to make +an Assault well, than those which the Master gives at his <i>Plastron</i>: +This Rule must be supported by pushing and parrying at the Wall, and in +the Manner I am going to lay down.</p> + +<p>When you have laboured a certain Time at Lessons, you must push at a +Cushion which is fixed against the Wall for that Purpose, observing the +Guard, and the Measure or Extention of the Thrust; and that the Hand +display itself in <i>Quart</i>, not only according to the Rule, but first, +adjusting <!-- Page 111 -->and supporting the Thrust, and that all the Parts be placed +in the most advantageous Situation for the Thrust and Recovery, which +shou'd be very regularly observed.</p> + +<p>After having lunged for some Days on the Cushion, to fix the Wrist and +Body a little, you must push at a Scholar, who Being placed at the Wall +will parry your Thrusts; you shou'd be in Measure, and to see if it be +just, you must lunge in <i>Quart</i>, placing the Button softly on the Body, +at the same time taking off your Hat, having taken the Measure you must +recover in Guard, and place yourself on the Outside of his Sword in +order to disengage and push <i>Quart</i>, being more careful of pushing +justly than hitting; he that parrys shou'd from time to time drop his +Foil, which will shew whether he that pushes follows the Blade or the +Line of the Body; having remain'd some Time upon the Lunge to form the +Support of the Wrist and the Posture of the Body you recover to Guard. +When you lunge pretty well in <i>Quart</i>, you may disengage and push +<i>Tierce</i>, and when the Thrust is pushed and parryed, you may recover and +push <i>Seconde</i> under.</p> + +<p>When you have pushed for some Time in this Manner, you may practise to +parry, <!-- Page 112 -->putting yourself for that Purpose to the Wall, which furnishes a +better Parade than at large, where you are used to draw back the Body +which weakens it, whereas here you cannot, which makes the Parade +stronger, having no Dependence but on the Foil; you shou'd chuse a +Scholar that pushes the most regularly, it being difficult without that, +that a Beginner shou'd learn to parry justly.</p> + +<p>Most young Beginners endeavour to hit at any Rate, instead of practising +what would be beneficial to them, but instead of deceiving others they +deceive themselves, by practising less how to form themselves and push +according to Rule, than how to spoil their Bodies, and destroy the +Solidity of the Principles: Some use themselves to push with the Wrist +only, without the Foot, which is dangerous, by reason of the too great +Measure; others with as little Reason, and as much Danger, place +themselves without binding the Blade, and thrust under the Wrist; in the +one the Situation of the Guard is good for nothing, and in the other +there is no Defence if the Adversary thrusts at that time: Others +deceive by making a Time or Motion when they are placed, but the pushing +at the Wall requires only the Justness and Swiftness of the Thrust; +others <!-- Page 113 -->put themselves very near baulking the Measure, which may be done +four Ways, tho' the Left-foot may be in it's proper Place, and kept firm +in the Thrust; the first is done by marking or bringing forward the +Point of the Left-foot, keeping it a little in, then advancing the Heel, +which gives more Measure; secondly, by keeping back the Body on a Lunge, +you deceive the Measure and hit by abandoning it forward, which gives it +a greater Extention, thirdly, by raising or carrying the Wrist too high, +or too much to one Side, which shortning the Thrust, makes it believed +that you are out of Reach, but according to the Rule and Line you are +too much in Reach; fourthly, some take Measure by holding the Thumb on +the Body of the Guard, and when they have a mind to hit they hold it on +the Middle of the Handle, with the Pommel in the Hand, which also gives +a greater Length.</p> + +<p>When you have for some time used yourself to push and parry at the Wall, +according to the Rules that I have laid down, you must, (tho' 'tis not +the Rule of Schools, especially when you push with Strangers,) you must +I say, when you push with a Scholar of your own Master, push and parry a +Thrust alternately, disengaging, and then do the same Feinting, and +sometime after<!-- Page 114 --> you shou'd make the other Thrusts, telling one another +your design, which makes you execute and parry them by Rule, especially +if you reflect on the Motions and Postures of the Lunges and Parades. +Being a little formed to this method, you may, being warned of the +Thrust, parry it, telling the Adversary where you intend your Riposte, +which puts him in a condition to avoid it, and gives him room to +redouble after his Parade, either strait or by a Feint, at which you are +not surprised, expecting by being forewarned the Thrust he is to make, +which puts you easily on your Defence and Offence: by this manner of +Exercise, you may not only improve faster, but with more art, the Eye +and Parts being insensibly disposed to follow the Rule, whereas without +this Method, the difference that there is between a lesson of assaulting +a Man who forewarns you, helps you, and lets you hit him, and another +who endeavours to defend himself and hit you, is, that except the +Practice of Lessons be very well taught by long exercise, you fall into +a Disorder which is often owing to the want of Art more than to any +Defect in Nature. The taking a Lesson well, and the Manner of Pushing +and Parrying which I have just described, may be attained to by Practice +only, but some other things <!-- Page 115 -->are necessary to make an Assault well; for +besides the Turn of the Body, the Lightness, Suppleness and Vigour which +compose the exteriour Part, you must be stout and prudent, qualities so +essential, that without them you cannot act with a good Grace, nor to +the purpose. If you are apprehensive, besides, that you don't push home, +or justly, fear making you keep back your Thrust, or follow the Blade, +the least Motion of the Enemy disorders you, and puts you out of a +Condition to hit him, and to avoid his Thrusts. Without Prudence, you +cannot take the advantage of the situation, motions designs of the +enemy, which changing very often, according to his Capacity and to the +Measure, demonstrates that an ill concerted Enterprise exposes more to +Danger than it procures Advantage: in order to turn this Quality to an +advantage, you are to observe the Enemy's <i>fort</i> and <i>feeble</i>, whether +he attack or defend; if he attack it will be either by plain Thrusts +strait, or disengaged, or by Feints or Engagements, which may be opposed +by Time, or Ripostes: if he keeps on his Defence, it is either to take +the Time or to Riposte. In case of the first; you shou'd, by half +Thrusts, oblige him to push in order to take a Counter to his Time, and +if he sticks to his Parade you must serve <!-- Page 116 -->in what Manner, in order to +disorder him by Feints, and push where he gives Light.</p> + +<p>It would fill a whole Volume to describe the Thrusts that may be made, +according to the Difference of Persons, as well to surprise as to avoid +being surprised; besides the many Repetitions wou'd be extremely +puzzling, for which Reason, I have, instead of them, laid down the +following Advices, which contain chiefly, what I cou'd not otherwise +have communicated without a long Treatise.</p> + +<ul><li>Don't put yourself in Guard within the Reach of the Enemy.</li> + +<li>Make no wry Faces, or Motions that are disagreeable to the Sight.</li> + +<li>Be not affected, negligent, nor stiff.</li> + +<li>Don't flatter yourself in your Lessons, and still less in Assaults.</li> + +<li>Be not angry at receiving a Thrust, but take care to avoid it.</li> + +<li>Be not vain at the Thrusts you give, nor shew Contempt when you receive +them.</li> + +<li>Do not endeavour to give many Thrusts, running the Risque of receiving +one.</li> + +<li>Don't think yourself expert, but that you may become so.</li> + +<li>When you present the Foils, give the Choice without pressing.</li> + +<li>If you are much inferiour, make no long Assaults.</li> + +<li>Do nothing that's useless, every Action shou'd tend to your Advantage.</li> + +<li>Lessons and Assaults are only valuable when the Application and Genius +make them so.</li> + +<li>Too good an Opinion spoils many People, and too bad a one still more.</li> + +<li>A natural Disposition and Practice are necessary in Lessons, but in +Assaults there must be a Genius besides.</li> + +<li>The Goodness of Lessons and of Assaults does not consist so much in the +Length as in the Manner of them.</li> + +<li>When you have to do with one that's bold and forward, it is necessary +to seem apprehensive in order to get a favourable Opportunity.</li> + +<li>If you act against one that's fearful, attack him briskly to put him in +Disorder.</li> + +<li>Before you applaud a Thrust given, examine if Chance had no Hand in it.</li> + +<li>Thrusts of Experience, and those of Chance are different, the first come +often, the others seldom or never happen, you may depend on one, but not +on the other.</li> + +<li>In Battle let Valour and Prudence go together, the Lyon's Courage with +the Fox's Craft.</li> + +<li>To be in Possession of what you know, you must be in Possession of +yourself.</li> + +<li>Undertake nothing but what your Strength and the Capacity of the Enemy +will admit of in the Execution.</li> + +<li>The Beauty of an Assault appears in the Execution of the Design.</li> + +<li>Make no Thrust without considering the Advantage and the Danger of it.</li> + +<li>If the Eye and Wrist precede the Body, the Execution will be good.</li> + +<li>Be always cautious, Time lost cannot be regained.</li> + +<li>If you can hit without a Feint, make none, two Motions are more +dangerous than one.</li> + +<li>To know what you risque, you must know what you are worth.</li> + +<li>If you would do well, acquire the agreeable and useful.</li> + +<li>Twenty good Qualities will not make you perfect, and one bad one will +hinder your being so.</li> + +<li>Judge of a Thrust, rather by Reason than by it's Success; the one may +fail, but the other cannot.</li> + +<li>To parry well is much, but it is nothing when you can do more.</li> + +<li>Let your Guard, and your Play be always directly opposite to the Enemy.</li> + +<li>Practice is either a Good or an Evil; all consists in the Choice of it.</li> + +<li>When you think yourself skilful and dexterous, 'tis then you are not so.</li> + +<li>'Tis not enough that your Parts agree, they must also answer the Enemy's +Motions.</li> + +<li>The knowing a Good without practising it, turns to an Evil.</li> + +<li>Two skilful Men acting together, fight more with their Heads than with +their Hands.</li> + +<li>If you are superiour to your Enemy, press him close, and if you are +inferiour, break Measure to keep him moving.</li> + +<li>Endeavour both to discover the Enemy's Design, and to conceal your own.</li> + +<li>When the Eye and the Hand agree in the same instant, you are perfectly +right.</li> + +<li>Draw not your Sword, but to serve the King, preserve your Honour, or +defend your Life.</li></ul> + + + +<hr style="width: 65%;" /> +<a name="CHAP_XXXI"></a><br /><h2>CHAP. XXXI.</h2> + +<h3><i>Against several erroneous Opinions.</i></h3> + +<p>Though there are People of a bad Taste in every Art or Science, there +are more in that of Fencing than in others, as well by Reason of the +little Understanding of some Teachers, as of the little Practice of some +Learners, who are not acting upon a good Foundation, or long enough, to +have a good idea of it, argue so weakly on this Exercise, that I thought +it as much my Business to observe their Errors, as it is my Duty to +instruct those that I have the Honour to teach in the Theory of it: By +this Means, I may furnish the One with jus<!-- Page 122 -->ter Sentiments, and the +Others with the Means of preserving their Honour and Lives.</p> + +<p>I begin with those, who defer letting their Children learn 'till they +have attained a certain Age, Growth and Strength. If these three +Qualities would enable them to put this Art in Execution immediately, I +acknowledge that they ought not to begin 'till they possessed them; but +it is by long Experience and Practice only, that they can become +perfect; so that except they begin young, the Employments for which they +are designed, may not give them Time to arrive to it; besides, by +beginning in a tender Age, the Body is more easily brought to a good +Air, and an easy Disengagement; being more at Liberty, and less used to +Faults, which it would naturally fall into for want of being cultivated.</p> + +<p>Others say that it is needless to learn when the Disposition is wanting, +which is an Error; for a Body that is well disposed by Nature, can +better dispense with the Want of Improvement, than those that she has +taken less care of; these requiring a constant Labour, to acquire what +the others have almost of themselves; and tho' they cannot arrive to a +perfect Agility, yet their <!-- Page 123 -->Bodies will be better disposed to act, and +their Lives not so much in Danger.</p> + +<p>Some assure you that the knowing how to Fence, makes a Man quarrelsome, +and thereby exposes him to dangerous Consequences, without considering +it is a natural Brutality, Honour, or Danger, which obliges him to +attack another, or defend himself, which he would do without having +learned, with this Difference; that though he have the same Brutality or +Courage, the Issue of the Battle is not the same; and if he have +Occasion to defend himself, would it not be better for him to be able to +do it, than to leave his Life to an uncertain and dangerous Hazard.</p> + +<p>Others say that it is enough to learn one Exercise at a time; that a +Plurality of different Lessons fatigues the Mind and the Body: But as +one Science disposes the Mind for the others, they having a Sort of a +Correspondence one with another, so Exercises favour one another as well +in regard to the Posture of the Body, as to the Freedom of Motion; +besides, that learning them one after another, as each Particular would +take up as much Time as all in general, this Length of Time would be too +great for any one almost to succed in them.</p> + +<p><!-- Page 124 -->Many People say that with Sword in Hand the Rules of the School are not +observed, and that 'tis sufficient to have a good Heart: It is certain +that People who are subject to this Error, are not capable of following +the Rules which are to be acquired only by putting a good Theory in +Practice; which by frequent Use, disposes the Eye and the Part of +Executing so well, that it is almost impossible to act otherwise: And as +to the Practice of Schools and of the Sword, 'tis the same; for no one +ought to do any thing with the Foil, but what he knows by Experience to +be without Risque, according to his Rules. In some Cases, it is true, +what is esteemed good in one, is not in the other. For Example: Thrusts +with the Foil are good only on the Body, and with the Sword they are +good every where; and that in an Assault with the Foil, the joining is +reckoned as nothing, whereas in Battle 'tis the Seal of the Victory; but +except in that, it should be alike in every Thing.</p> + +<p>Others say that if they had to do with experienced Men, they would not +give them Time to put themselves in Guard; as if a Man who is expert +were not always on his Guard, being more knowing, and bet<!-- Page 125 -->ter disposed, +not only to place himself at once, by the Habit that all his Parts have +contrasted, but also to surprise, and to avoid being surprised, by the +Knowledge he has of Time and Measure: On the contrary, an unskilful +Person being ignorant of both, is easily catch'd; besides, that his +Parts being unaccustomed to place themselves regularly, or at once, must +always be in a continual Motion, vainly seeking their Place, by which +they give the Time, and would lose it if it were given to them.</p> + +<p>Some, in Opposition to these, say that if they know how to keep +themselves in Guard 'tis sufficient. They are in the right if the Guard +be perfect, which is not to be acquired but by a Practice as long as is +necessary to make them perfectly dexterous, which is not their Meaning; +they thinking that it is only the placing of the Parts, which is +useless, without Freedom and Vigour to manage them. These are Qualities +which when accompanied with a certain regular Air, and a good Grace, +shew, as soon as a Man takes a Sword or Foil in his Hand, to what Pitch +of Dexterity he is arrived.</p> + +<p>Some Men will tell you that they know enough to serve their Turn: Those +<!-- Page 126 -->who use this Expression, as well as those I have spoken of before, +sufficiently shew that they have learnt but little or nothing. In Effect +it is no hard Matter to judge of the different Degrees of Ability; so +that when a Man finds himself inferiour, he cannot properly say that he +knows enough to serve his Turn; and a Man who is superiour, knows very +well that he is not perfect, and that if his good Disposition together +with his long Practice, has brought him very forward in the Art, others +may know as much as he, and that therefore he is not so perfect as an +unskilful Person may imagine.</p> + +<p>I have heard several People say that they did not care to be dexterous, +nor to know the five Rules, provided they knew how to defend themselves, +and to push and parry well; and really they are in the right, supposing +they could do that without practising what the most able Men have +invented upon this Occasion.</p> + +<p>There are People that say, that with Sword in Hand, against an able Man, +there is nothing to be done but push vigorously, to disorder him: I am +apt to believe that this may succeed against a Man who is not well +form'd, or has not the Courage and <!-- Page 127 -->Resolution that is necessary; but if +he has enough to keep up his Spirit, this Attack will be advantageous to +him; because it cannot be done without giving him an Opportunity of +getting the better; and besides, I have Reason to believe that the +greatest Part of those who talk in this Manner, would hardly attempt an +able Man.</p> + +<p>It may be said that People have then fought in this Manner with Success; +but as there is Difference in Persons, what succeeded with them against +unskilful People or Cowards, would have been dangerous against other +Men.</p> + +<p>I have met with People who were weak enough to believe that Knowledge in +Fencing takes away the Heart, saying, that seeing the Counters to every +Thrust they form, by Means of that Knowledge, an Idea of evident Danger, +which dissipating the Courage, and causing an Apprehension, hinders them +from their Enterprise; when an unskilful Person blindly undertakes every +thing. It is true that there is great Blindness in this Way of pushing, +as they say, and still more in their Understanding, to think that an +able Man dares not undertake or venture when the Appearance of Success +leads him to it; and that an ignorant Man shall venture when <!-- Page 128 -->his Loss +is almost certain. Is it reasonable to suppose, that a Man of natural +Courage shou'd lose it, because he is assured that he is more expert +than his Enemy, over whom, or perhaps his Equals, he always had the +Better in Assaults, by the Help of his Knowledge and Dexterity? This, +far from intimidating him, seems to assure him of Success, which is due +to his habitual Practice. On the contrary, an awkard Man having seen, by +his Disadvantage in School Assaults, that he has no Room to hope in +Combat, the dexterous Man possessing the Qualities which procure +Success, and one who had never handled a Foil, will be as much puzzled, +as if he had experience'd the Disadvantage of it.</p> + +<p>Others, with as little Reason, leave all to Chance, but the very Name is +sufficient to shew that it is not to be relye'd on.</p> + +<p>Some again say to what Purpose shall we learn to Fence, the KING had +forbid Duels: It is true that this great Prince, as august for his Piety +as for his Victories, was willing thereby to preserve the Blood of his +bravest Subjects, who expose'd it every Day to be shed through a false +Notion of Honour.</p> + +<p><!-- Page 129 -->But tho' he forbid Duels, he was so far from hindering the Practice of +the Sword, that he has established several Academies for the perfect Use +of it, not only for Defence, but also to qualify his Subjects to put the +Justice of his Measures in Execution: And it must at last be agreed to, +that a Man who wears a Sword, without knowing how to use it, runs as +great a Hazard, and is full as ridiculous, as a Man who carries Books +about him without knowing how to read.</p> + +<p>Many Men are of Opinion that a Man may naturally know enough to attack +or defend himself, without the Assistance of Art: Man, tho' the only +reasonable Creature, finds himself deprived of what irrational Creatures +naturally possess; and he requires for his Improvement the Assistance +and Practice of others; the grand Art of War, and that of using the +Sword, which has been practised thro' so many Ages, still find new +Inventions; and it may be said, that as there is no Place, in whatever +Situation by Nature, but requires Art to secure it's Defence; so +likewise, whatever Disposition a Man possesses, he cannot be perfect +without the Assistance of Rules and Practice.</p> + +<p><!-- Page 130 -->Some Men acknowledge that Skill is necessary in single Combat, but that +in a Crowd or Battle it is altogether useless: I own that on these +Occasions, it is less useful than in single Battle, by reason of the +different Accidents, as of Cannon, Musquets, and of other Arms; besides, +a Man may be attacked by several at once: But if a Man cannot avoid +being hit with a Ball, and sometimes with a Sword, he may, nevertheless, +by the Disposition and Agility of the Parts, more easily defend and +return a Thrust: Besides, being more able to hit with the Edge or Point, +he may put more Enemies to flight, or keep them at a greater Distance. +If the French Troops have always been victorious, Sword in Hand, a Part +of the Glory is owing to the Skill of several Officers; and I'll venture +to say, that if they had all been as expert as they should have been, +you might see, as well on Foot as on Horseback, in Battle as on a +Breach, Actions that would be not only uncommon but prodigious. It may +perhaps be said, that our Enemies have some expert Officers among them; +besides, that their Number is commonly less than in <i>France</i>, there is +as great a Difference between their Dexterity and that of the <i>French</i>, +as between their Masters <!-- Page 131 -->and our's, from whom very few would have +learned if the War had no suspended our Academies.<a name="FNanchor_5_5"></a><a href="#Footnote_5_5"><sup>[5]</sup></a></p> + +<p>I think it proper to finish this Chapter by confuting an Error as +common, and more ridiculous, than the others; which is, of an infallible +Thrust, which a great many People think that Masters reserve for +dangerous Occasions, or to sell it at a dear Rate. This wonderful Thing, +is called the secret Thrust. I don't know whether this Error proceeded +from those who have not learned, or from the Chimera of some +self-conceited Masters, who have sold to ignorant Scholars, some Thrusts +as infallible, of their own Contrivance, as ridiculous and dangerous as +the Simplicity of the Scholar and the Knavery of the Master are great.</p> + +<p>To discover the Error of this Opinion you must observe two Things: +First, that in Fencing there are no more than five Thrusts or Places, +which I have described <!-- Page 132 -->in Page 27, shewing the Parade of each of them; +and secondly, that there is no Motion without it's Opposite; so that as +you cannot push without a Motion, there is no Thrust without it's +Counter, and even several; for besides the different Positions of the +Body, there is not only the Time to take, but also several Parades to +favour the Risposts, which plainly shews, that doing one of these Things +properly, this imaginary infallible Thrust, far from succeeding will +expose him that would make it.</p> + +<p>All the Secrets in the Thrusts that are given by an able Man, far from +being an Effect of the Thrust, is only an Effect of the Occasion, and +the Swiftness; or rather of the judgment and Practice: By Means of these +Qualities all Thrusts are secret ones, or they wou'd be worth nothing.</p> + +<p>All the Thrusts in Fencing are equally good, when they are made +according to Rule, with Swiftness, and on the Occasions proper to them; +wherefore they ought not to be neglected whilst the Time of learning +them offers; not but you may stick closer to some Thrusts than to +others, either because you may be better disposed for them, or because +you are more used to them.</p> + +<p><!-- Page 133 -->I thought that after I had exposed the Errors of several Persons, I +might tell them, that it is contrary to the Rules of good Breeding, to +talk of Things they do not understand; that oftentimes People, by their +first Appearance, have been thought to possess the Qualities of knowing +Men, but have afterwards forfeited the good Opinion which they had at +first imposed on others.</p> + +<h3>FINIS.</h3> + + + +<hr style="width: 65%;" /> +<a name="Thrusts_of_Emulation_for_Prizes_Wagers_c"></a><br /><h2><!-- Page 134 --><i>Thrusts of Emulation for Prizes, Wagers &c.</i></h2> +<br /> + +<p>All Thrusts from the Neckband to the Wastband are counted good.</p> + +<p><i>Coup Fourrés</i> or interchanged Thrusts are not counted on either side, +except one of the Competitors has Recourse to it in order to make the +Thrusts equal, then the Thrust of the other is good, and not his.</p> + +<p>If one hits the Body and the other the Face or below the Wast at the +same Time; the Thrust on the Body is counted, but not the other.</p> + +<p>If a Man parrys with his Hand, and afterwards hit, his Thrust is not +good, because by parrying with the Hand, his Antagonist's Foil is less +at Liberty than if he had parryed with the Blade, and might be a Reason +why he could not parry and risposte.</p> + +<p>If a Man takes the Time, opposing with the Left-hand, and hits without +receiving, his Thrust is not good, because if he had <!-- Page 135 -->not Opposed with +the Hand, both would have hit, the Opposition of the Hand serving only +to avoid, but no way contributing to the Success of the Thrust.</p> + +<p>If in parrying, binding, or lashing the Foil, it Falls, and that the +Thrust is made without Interval, it is Good.</p> + +<p>Thrusts made with the Sword in both hands, or shifting from one Hand to +the other are not good.</p> + +<p>A Master is not to give judgment for his own Scholar.</p> + +<center> +<img src="images/135.jpg" width="250" height="161" alt="" title=""> +</center> + +<br /> + +<a name="FOOTNOTES"></a><h2>FOOTNOTES:</h2> + +<a name="Footnote_1_1"></a><a href="#FNanchor_1_1">[1]</a><div class="note"><p> The Iron at the End of the Blade that runs into the +Handle.</p></div> + +<a name="Footnote_2_2"></a><a href="#FNanchor_2_2">[2]</a><div class="note"><p> I am not of Opinion that the Body should be drawn back, +except it be impossible to avoid the Thrust without doing it; all +Parades being best when the body is not disorder'd.</p></div> + +<a name="Footnote_3_3"></a><a href="#FNanchor_3_3">[3]</a><div class="note"><p> See the 8th. Plate.</p></div> + +<a name="Footnote_4_4"></a><a href="#FNanchor_4_4">[4]</a><div class="note"><p> See the 12th Plate.</p></div> + +<a name="Footnote_5_5"></a><a href="#FNanchor_5_5">[5]</a><div class="note"><p> As in this Paragraph, Monsieur L'Abbat rather introduces an +Encomium on his Country-men, than any thing essential to the Art of +Fencing. I leave the Reader to his own Opinion thereon.</p></div> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Art of Fencing, by Monsieur L'Abbat + +*** END OF THIS PROJECT GUTENBERG EBOOK THE ART OF FENCING *** + +***** This file should be named 12135-h.htm or 12135-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/2/1/3/12135/ + +Produced by Steve Schulze and PG Distributed Proofreaders. 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b/old/12135.txt @@ -0,0 +1,3462 @@ +The Project Gutenberg EBook of The Art of Fencing, by Monsieur L'Abbat + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Art of Fencing + The Use of the Small Sword + +Author: Monsieur L'Abbat + +Release Date: April 24, 2004 [EBook #12135] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF FENCING *** + + + + +Produced by Steve Schulze and PG Distributed Proofreaders. Produced +from page images provided by the Digital & Multimedia Center, Michigan +State University Libraries + + + + + + + +The ART of + +FENCING, + +or, the USE of the + +_Small SWORD_. + + +Translated from the FRENCH of the late celebrated + +Monsieur L'ABBAT; + +Master of that ART at the Academy of TOULOUSE. + + * * * * * + +By ANDREW MAHON, Professor of the SMALL SWORD in DUBLIN. + + +_DUBLIN_: + +Printed by JAMES HORT, at the Sign of _Mercury_ in _Skinner-Row_, 1734. + + + + +DEDICATION. + +[Transcribers note: First page of dedication missing.] + +sue for. I shall omit saying any Thing, My Lord, of the shining +Qualities, which seem Hereditary in Your Lordship's Family, as well as +of the Dignity and Importance of the Charge with which His Majesty has +been pleased to entrust Your Lordship's Most Noble Father. Neither will +I presume to trouble Your Lordship with those Encomiums, which are most +deservedly due to the Vertues, whereby Your Lordship has gained the +Admiration and Esteem of the Polite and Ingenious Persons of this +Nation. Be pleased then, My Lord, to permit me to have the Honour of +subscribing myself, + +My Lord, + +Your Lordship's + +Most devoted, and + +Most humble + +Servant, + +_Andrew Mahon_. + + + + +PREFACE. + + +I thought it very suitable to my Business, when I met with so good an +Author as Monsieur _L'Abbat_, on the Art of Fencing, to publish his +Rules, which in general, will I believe be very useful, not only as they +may contribute to the Satisfaction of such Gentlemen as are already +Proficients in the Art, and to the better Discipline of those who intend +to become so, but also in regard that the Nicety and Exactness of his +Rules, for the most Part, and their great Consistency with Reason, may, +and will in all Probability, lay a regular and good Foundation for +future Masters, who tho' accustom'd to any particular Method formerly +practised, may rather chuse to proceed upon the Authority of an +excellent Master, than upon a vain and mistaken Confidence of their own +Perfection, or upon an obstinate Refusal to submit to Rules founded on, +and demonstrated by Reason. + +For my Part, though I had my Instructions from the late Mr. _Hillary +Tully_ of _London_, who was (and I think with great Reason) esteemed a +most eminent Master in his Time, I thought I could not make too nice a +Scrutiny into my Profession, by comparing Notes with Monsieur _L'Abbat_, +which improved me in some Points, and confirmed me and others, to my no +small Satisfaction, being well persuaded, that, as a Professor of this +Science, it would have been an unpardonable Fault in me to deprive our +Nations of such an Improvement, either through Prejudice to his, or +Partiality to my own Opinion. + +Though I have already said that Mr. _L'Abbat's_ Rules are nice, +reasonable, and demonstrative, yet I would not have it inferred from +thence, that he approves of them all, as really essential to the Art of +Fencing; there being some which he does not approve of, and which he +would not have mentioned, had they not interfered with his profession, +by the Practice and Recommendation of some Masters, who being more +capricious than knowing, were fonder of the shewy or superficial, than +of the solid Part of the Science. + +Volting, Passing, and Lowering the Body, are three things which Mr. +_L'Abbat_ disapproves of, in which Opinion I join; because the Sword +being the Instrument of Defence, there can be no Safety when the proper +Opposition of the Blade is wanting, as it is in volting and lowering the +Body, and in passing, by reason of the Weakness of the Situation, which +cannot produce a vigorous Action. + +Notwithstanding which, there is a modern Master, who as soon as he had +seen this Book, and the Attitudes representing volting, passing and +lowering the Body, began and still continues teaching them to his +Scholars, without considering how unsafe and dangerous they are, for +want of the proper Opposition of the Sword when within Measure. + +Of all Professions, that of Arms has in all Ages, since their Invention, +been esteemed the noblest and most necessary; it being by them that the +Laws preserve their Force, that our Dominions are defended from the +Encroachments of our Enemies, and ill designing People kept in the +Subjection due to their Sovereigns; and of all Arms, the Sword is +probably the most ancient: It is honourable and useful, and upon +Occasion, causes a greater Acquisition of Glory than any other: It is +likewise worn by Kings and Princes, as an Ornament to Majesty and +Grandeur, and a Mark of their Courage, and distinguishes the Nobility +from the lower Rank of Men. + +It is the most useful, having the Advantage of Fire Arms, in that it is +as well defensive as offensive, whereas they carry no Defence with them; +and it is far preferable to Pikes and other long Weapons, not only +because it is more weildy and easy of Carriage, but also by reason of +the Perfection to which Art has brought the Use of the Small Sword; +there being no Exercise that conduces so much as Fencing, to strengthen +and supple the Parts, and to give the Body an easy and graceful +Appearance. + +The Sword, since it's first Invention, has been used in different +Manners: First, with a Shield or Buckler; Secondly, with a Helmet, and +Thirdly, with a Dagger, which is still used in _Spain_ and _Italy_. Mr. +_Patinotris_, who taught at _Rome_, introduced, and laid down Rules for +the Use of the Small Sword alone, which has since been much improved by +the _French_ and our Nations. + +As the Art of Fencing consists in attacking and defending with the +Sword, it is necessary that every Motion and Situation tend to these two +principal Points, _viz._ In offending to be defended, and in defending +to be in an immediate Condition to offend. + +There is no Guard but has it's Thrust, and no Thrust without it's +Parade, no Parade without it's Feint, no Feint without it's opposite +Time or Motion, no opposite Time or Motion but has it's Counter, and +there is even a Counter to that Counter. + +Some injudicious Persons have objected to Mr. _L'abbat's_ Manner of +Fencing, that it is too beautiful and nice, without observing that if it +be beautiful, it cannot be dangerous, Beauty consisting in Rule, and +Rule in the Safety of attacking and defending. + +In Fencing, there are five Figures of the Wrist, _viz._ _Prime_, +_Seconde_, _Tierce_, _Quart_, and _Quinte_. The first is of very little +Use, and the last of none at all. + +Prime is the Figure that the Wrist is in, in drawing the Sword. +_Seconde_ and _Tierce_ require one and the same Figure of the Wrist, +with this Difference only, that in _Seconde_, the Wrist must be raised +higher, in order to oppose the Adversary's Sword; but in both these +Thrusts the Thumb Nail must be turned directly down, and the Edges of +the Blade of the Foil of an equal Height. + +Quart is the handsomest Figure in Fencing, the Thumb Nail and the Flat +of the Foil being directly up, and the Wrist supported so as to cover +the Body below as well as above. In _Quinte_, the Wrist is more turned +and raised that in _Quart_, which uncovers the Body, and weakens the +Point, and therefore is not used by the skilful. + +Some Masters divide the Blade into three Parts, _viz._ the Fort, the +Feeble, and the Middle. Others divide it into Four, _viz._ the Fort, the +Half Fort, the Feeble, and the Half Feeble; but to avoid Perplexity, I +divide it only into Fort and Feeble; tho' it may be divided into as many +Parts as there are Degrees of Fort and Feeble to be found on the Blade. + +The Attitudes which are in the Book, are copied exactly from the +Originals; tho' I might perhaps have made some Alterations, in my +Opinion, for the better, yet I chose rather to leave them as they are, +than to run the Hazard of spoiling any of them: I have therefore left +the same Bend in the Foils as Mr. _L'Abbat_ recommends, _and for which +he makes an Apology in his Preface_. + +Nor have I, in any of the Attitudes, represented a Left-handed Figure, +because by looking thro' the Paper on the blank Side, they will appear +reversed, and consequently Left-handed. + +Monsieur _L'Abbat_ recommends the turning on the Edge of the Left-foot +in a Lunge, as may be seen by the Attitudes. This Method indeed was +formerly practised by all Masters, and would be very good, if their +Scholars had not naturally run into an Error, by turning the Foot so +much as to bring the Ancle to the Ground, whereby the Foot became so +weak as to make the Recovery difficult, for want of a sufficient Support +from the Left-foot, which, in recovering, bears the whole Weight of the +Body: Therefore I would not advise the turning on the Edge of the Foot +to any but such as, by long Practice on the Flat, are able to judge of +the Strength of their Situation, and consequently, will not turn the +Foot more than is consistent therewith. + +It may sometimes be necessary to turn on the Edge, on such Ground +whereon the Flat would slip, and the Edge would not, if it were properly +turned; but even in this Case, by turning it too much it would have no +Hold of the Terrace, and therefore would be as dangerous as keeping it +on the Flat. + +The chief Reason for turning on the Edge, is that the Length of the +Lunge is greater by about three Inches, which a Man who is a Judge of +Measure need never have recourse to, because he will not push but when +he knows he is within Reach. + +Some of the Subscribing Gentlemen will, perhaps, be surprized, when they +find this Book published in my Name, after having taken Receipts, for +the first Moiety of their Subscription Money, in the Name of Mr. +_Campbell_, to whom I am obliged for his Assistance in the Translation, +he being a better Master of the _French_ Tongue than I am. Indeed to the +chief Reasons why they were not signed in my Name, are, First, because I +was, at the Time of their being signed, a Stranger in this city, being +then lately come from _England_. And secondly, lest I should meet with +such Opposition as might perhaps have frustrated my Design of publishing +this book, I thought proper to conceal my being concerned in it, 'till +Mr. _Campbell_ had shown the Translation to all the principal Masters in +Town, and gained their Approbation much in Favour of it. + + + +THE + +ART of FENCING; + +OR THE + +USE of the SMALL-SWORD. + + + + +CHAP. I. + +_Of chusing and mounting a_ Blade. + + +Courage and Skill being often of little Use without a good Weapon, I +think it necessary, before I lay down Rules for using it, to shew how to +chuse a good Blade, and how it ought to be mounted. + +The Length of the Blade ought to be proportionable to the Stature of the +Person who is to use it: The longest Sword, from Point to Pommel, +should reach perpendicularly from the Ground to the Navel, and the +shortest, to the Waste; being large in Proportion to its Length, and not +extremely large, nor very small, as some People wear them; the over +large Blades being unweildy, unless very hollow, which makes them weak, +and the narrow ones being not sufficient to cover the Body enough. + +In Order to chuse a good Blade, three Things are to be observed: First, +that the Blade have no Flaw in it, especially across, it being more +dangerous so than Length-way. Secondly, That it be well tempered, which +you'll know by bending it against a Wall or other Place; if it bend only +towards the Point, 'tis faulty, but if it bend in a semicircular Manner, +and the Blade spring back to its Straitness, 'tis a good Sign; If it +remains bent it is a Fault, tho' not so great as if it did not bend at +all; for a Blade that bends being of a soft Temper, seldom breaks; but a +stiff One being hard tempered is easily broke. The third Observation is +to be made by breaking the Point, and if the Part broken be of a grey +Colour, the Steel is good; if it be white 'tis not: Or you may strike +the Blade with a Key or other Piece of Iron, and if he gives a clear +Sound, there is no hidden Fault in it. In bending a Blade you must not +force it, what I have said being sufficient to know it by, and besides +by forcing it, it may be so weakened in some Part as to break when it +comes to be used. + +It would not be amiss for a Man to see his Sword mounted, because the +Cutlers, to save themselves the Trouble of filing the inside of the +hilts and pommel, to make the Holes wider, often file the Tongue[1] of +the Blade too much, and fill up the Vacancies with Bits of Wood, by +which Means the Sword is not firm in the Hand, and the tongue being thin +and weak, is apt to break in Parrying or on a dry Beat, as has been +unhappily experienced. Care should also be taken that the End of the +Tongue be well riveted to the Extremity of the Pommel, lest the Grip +should fly off, which would be of very dangerous Consequence. + +Some Men chuse strait Blades, others will have them bending a little +upwards or downwards; some like them to bend a little in the Fort, and +others in the Feeble, which is commonly called _le Tour de Breteur_, or +the Bullie's Blade. The Shell should be proportionable in Bigness to the +Blade, and of a Metal that will resist a Point, and the Handle fitted to +the Hand. + +Some like square Handles, and others chuse round Ones; the square are +better and firmer in the Hand, but as this Difference depends on Fancy, +as does also the Bow, which in some Cases may preserve the Hand, but may +be a Hindrance in inclosing, I shall leave it to the Decision of the +Fashions. + + + + +CHAP. II. + +_Of Guard._ + + +By Guard, is meant such a Situation of all the Parts of the Body as +enables them to give their mutual Assistance to defend or attack. A +Guard cannot be perfect without a good and graceful Disposition, +proceeding from a natural Proportion of the Parts of the Body, and an +easy and vigorous Motion, which is to be acquired by Practice, and the +Instruction of a good Master. + +[Illustration: Plate 1. The middling Guard.] + +[Illustration: The straight Guard or flat Sword.] + +As In all bodily Excercises, a good Air, Freedom, Vigour, and a just +Disposition of the Body and Limbs are necessary, so are they more +especially in Fencing, the least Disorder in this Case being of the +worst Consequence; and the Guard being the Center whence all the Vigour +should proceed, and which should communicate Strength and Agility to +every Part of the Body, if there be the least Irregularity in any one +Part, there cannot be that Agreeableness, Power of Defence, Justness, or +Swiftness that is requisite. + +In order to be well in Guard, it is absolutely necessary that the Feet, +as the Foundation that conduces chiefly to communicate Freedom and +Strength to the other Parts, be placed at such a Distance from each +other, and in such a lineal Manner as may be advantageous: The Distance +must be about two Foot from one Heel to the other; for if it were +greater, the Adversary, tho' of the same Stature, and with a Sword of +equal Length, would be within Measure when you would not, which would be +a very considerable Fault, Measure being one of the principal Parts of +Fencing, and if the Feet were nearer together, you would want Strength, +which is also a great Fault, because a feeble Situation cannot produce +a vigorous Action. + +The Line must be taken from the hindmost Part of the Right Heel to the +Left Heel near the Ancle. The Point of the Right Foot must be opposite +to the Adversary's, turning out the Point of the Left Foot, and bending +the Left Knee over the Point of the same Foot, keeping the Right Knee a +little bent, that it may have a Freedom of Motion. + +The Body must be upright, which gives it a better Air, greater Strength, +and more Liberty to advance and retire, being supported almost equally +by the two Feet. Some Masters teach to keep the Body back in Favour of +Measure, which cannot be broke by the Body when 'tis already drawn back, +tho' it is often necessary, not only to avoid a Surprize, but also to +deceive a Man of superior Swiftness who pushes a just Length: Therefore +'tis much better to have the Liberty of retiring to avoid the Thrusts of +the Adversary, or of extricating yourself by advancing towards him and +pushing (as I shall observe in its proper Place) than to keep the Body +in one Situation at a Distance, which being fixed, cannot deceive a +Person who knows any thing of Measure; moreover, such a Retention of +the Body does not only hinder the breaking Measure with the Body, but +also the Left Leg is so oppressed with its whole Weight, that it would +find it difficult to retire upon Occasion. + +The Elbows must be almost on a Line, and of an equal Height, that one +Shoulder may not be higher than the other, and that they may be both +turn'd alike; the Left Hand must be over against the Top of the Ear, the +Hilt of the Sword a little above the Hip, turning towards Half _Quart_, +the Thumb extended, pressing the Middle of the Eye of the Hilt, keeping +the Fingers pretty close to the Handle, especially the little one, in +order to feel the Sword firmer and freer in the Hand. + +By feeling the Sword, is meant commanding the Fort and Feeble equally +with the Hand, in order to communicate to the more distant Part of the +Blade, as well as to that which is nearer, the Motion and Action that is +requisite. + +The Hilt should be situated in the Center, that is to say, between the +upper and lower Parts, and the Inside and Outside of the Body, in order +to be in a better Condition to defend whatever Part may be attacked. +The Arm must not be strait nor too much bent, to preserve its Liberty +and be cover'd. The Parts being thus placed, the Wrist and the Point of +the Right Foot will be on a perpendicular Line. + +The Point of the Sword ought to be about the Height of, and on a Line +with the Adversary's Shoulder, that is, it must be more or less raised, +according as he is taller or shorter: Some Masters raise it to one fixed +Height, which would be very well if all Men were of the same Stature; +but if we consider the difference in Height of Persons, we shall find it +evidently bad. 'Tis to be observed, that according to the Length or +Shortness of the Blade, the Line from the Shell to the Point is higher +or lower, when the Height of the Point is fix'd. + +The Shoulder, the Bend of the Arm, the Hilt, the Point of the Sword, the +Hip, the Right Knee and the Point of the Right Foot must be on a Line. + +The Head should be upright and free without Stiffness or Affectation, +the Face turned between full and profile, and not altogether full, as +many Masters will have it, that being a constrained and disagreeable +Figure. + +[Illustration: 2d Plate. A Lunge in Quart.] + +[Illustration: A Thrust in Quart.] + +The Sight should be fixed on the Adversary's, not only to observe his +Motions, but also to discover his Design, it being possible to guess at +the interior Design, by the exterior Action. + +It is necessary to appear animated with a brave Boldness, for nothing +requires a Man to exert himself more than Sword in Hand; and it is as +difficult to attain such an Air of Intrepidity without much Excercise, +as it is to become perfectly expert. + + + + +CHAP. III. + +_Of Pushing Quart._ + + +To push _Quart_ within, besides the Precautions of placing yourself to +Advantage, and of pushing properly and swiftly, which is to be acquired +by Practice and nice Speculation, It is necessary that the Parts, in +order to assist each other in making the Thrust, should be so disposed +and situated, as that the Wrist should draw with it the Bend of the Arm, +the Shoulder, and the upper Part of the Fore-Part of the Body, at the +same time that the Left Hand and Arm should display or stretch +themselves out smartly, bending one of the Knees and extending the +other, which gives more Vigour and Swiftness to the Thrust; and the Body +finding itself drawn forward by the swift Motion of the Wrist and other +Parts, obliges the Right Foot to go forward in order to support it, and +to give the Thrust a greater Length; the Left Foot should, at the same +Instant, turn on the Edge, without stirring from its Place; whilst the +Right Foot coming smartly to the Ground, finishes the Figure, Extension +and Action of the Lunge. This is the Order and Disposition of the Parts +in making the Thrust, which see in the second Plate. At the Instant when +the Wrist moves forward, it must do three things, turn, support and +oppose. + +To turn the Wrist in _Quart_, the Thumb Nail must be up, and the inside +Edge equal in Height with the other, for if it were not so high, the +Thrust would not be so swift, for want of Motion enough, neither would +the Body be so well covered, because the Edge, instead of being directly +opposite to the Adversary's Sword, would fall off with a Slant; and if +it were higher, it would make a Quint Figure, which, by the excessive +Turn of the Wrist, would weaken the Thrust, and by the unequal Turn of +the Edges would uncover the Body. + +The Wrist ought to be of a Height sufficient to cover the Body without +contracting the Arm, which cannot be fixed to a particular Height; for a +short Man against a tall one, should raise it as high as the Head, which +People of equal; Stature, or a tall Man against a short one, ought not +to do. + +When the Opposition is accompanied with such a Turn and Support of the +Wrist as will cover the Body, it is good, but if the Wrist be carried +too far in, you not only lose Part of the Length of the Thrust, but also +uncover the Outside of the Body, which are two very great Faults. + +The Thrust must be made on the Inside of the Right Shoulder, in order to +take the Feeble with your Fort, and that you may be covered, bearing on +the Adversary's Sword, by which Means, the Thrust will be well planted, +and you less liable to receive one, which Advantages you lose by pushing +otherwise. + +In order to make the Thrust perfect, it must have its proper Strength +and Support when planted: The Strength, is the Vigour with which the +Thrust is made, and the Support is the Consequence of the Motion of the +Wrist, turning and bearing upwards, which makes the Foil to bend +accordingly, fixing itself 'till you retire. + +The Foil may bend upwards in two Manners; the best Way for it to bend, +is from the Middle towards the Button; the other Way is, when almost all +the Blade makes a Semi-circle. The first has a better Effect, the Feeble +being stronger, the other makes a greater Show; but the Point being +feeble, there is not the same Advantage in the Thrust. + +In all Thrusts, the Button should hit before the Right Foot comes to the +Ground, and the Left Hand and Arm be stretched out smartly, to help the +Body forward, and give more Swiftness to the Thrust: The Left Hand +should always be conformable to the Right, turning to _Quart_ or +_Tierce_, according to the Thrust. The Left Hand and Arm should be on a +Line with the Thigh, and their Height a little lower than the Shoulder. + +The Body must lean a little forward before, to give the Thrust a greater +Length; the Hips must not be so much bent as other Times; which weakens +and shortens the Thrust, by the Distance which the lowering the Body +causes from the Height of the Line which must come from the Shoulder; +besides 'tis harder to recover, and you, by that Means, give the +Adversary an Opportunity of taking your Feeble with his Fort, your +Situation being very low. The Front of the Body should be hid by turning +the two Shoulders equally on a Line. + +The Foot should go out strait; in order to preserve the Strength and +Swiftness of the Thrust, it must have its proper Line and Distance. The +Line must be taken from the Inside of the Left Heel to the Point of the +Adversary's Right Foot; If it turn inward or outward, the Button will +not go so far, the strait Line being the shortest; besides the Body would +be uncovered, for by carrying the Foot inwards, the Flank is exposed, +and by carrying it outwards the Front of the Body, and the Body is +thereby weakened; the Prop and the Body being obliged to form an Angle +instead of a strait Line, from the Heel of the Left Foot to the Point or +Button of the Foil. + +In order to know the Distance of the Lunge, the Right Knee being bent, +must form a perpendicular Line with the Point of the Foot; if the Foot +were not so forward, the Heel would be off the Ground, and the Body +would have less Strength, and if it were carried farther the Body could +not easily bend it self, and consequently could not extend so far; +moreover, it would want Strength, being at too great a Distance from the +perpendicular Line of the Foot and Leg, which are its Support, and its +Recovery would be more difficult. + +The Foot should fall firm without lifting it too high, that the Soal of +the Sandal, or Pump, may give a smart Sound, which not only looks better +and animates more, but also makes the Foot firm, and in a Condition to +answer the Swiftness of the Wrist. + +Care must be taken not to carry the Point of the Foot inward or outward, +because the Knee bending accordingly, as part of the Thigh, goes out of +the Line of the Sword, and consequently, of the Line of Defence, besides +'tis very disagreeable to the Sight. + +The Feet sometimes slip in the Lunge, the Right Foot sliding forward, or +the Left backward; the first is occasioned by carrying out the Foot +before the Knee is bent, whereas when the Knee brings it forward, it +must fall flat and firm; the other proceeds from the Want of a +sufficient Support on the Left Foot. + +The Head should follow the Figure of the Body; when this is upright, +that should be so to; when the Body leans, the Head must lean; when you +push within, you must look at your Adversary on the Outside of your Arm, +which is done without turning the Head, by the Opposition of the Hand +only. + +That every Thrust may carry with it it's due Extent and Strength, the +Opposition of the Sword, the true placing of the Body, and a Facility of +recovering; you are to observe that the two first are for Offence, and +the others for Defence. + +Every Thrust must have it's just Length, and carry with it a good Air, a +regular Situation, Vigour, and a due Extension; _See the 2d. plate_. + + +_Of recovering in_ Guard. + +As soon as the Thrust is made, you must recover in _Guard_, which is +done either by retiring out of Measure, or only to the Place from whence +you, pushed; if out of Measure, 'tis done by springing back, or by +bringing the Right Foot back behind the Left, and the Left behind the +Right; and if to the Place from whence you pushed, you must parry if +there's a Thrust made; and if not, you must command the Feeble of the +Adversary's Sword, in order to cover the Side on which it is, without +giving an Open on the other Side, which is done as you recover, by +drawing back the Body on the Left Foot; which should bring with it the +Right Knee, drawing the Foot, with the Heel a little raised from the +Ground, to prevent any Accident that may happen by the Badness of the +Terrace. + +By this Recovery, commanding the Adversary's Sword, you either get Light +if he not stir, or Time if he does, which instead of being dangerous, as +has formerly been thought, it is, by the Help of Art, become +advantageous. + + + + +CHAP. IV. + +_Of the Parade of Quart._ + + +To parry, signifies, in our Art, to cover when the Adversary pushes, +that Part which he endeavors to offend; which is done it either by the +Opposition of the Sword or of the Left Hand; but as I am now speaking +of the Sword only, I must observe; that in order to parry well with it, +you are to take notice of the Manner and Swiftness of your Adversary: By +the Manner, is meant whether in _Quart_ or _Tierce_; with his Fort to +your Feeble, or with his Feeble to your Fort; and you are to observe the +Swiftness of his Thrust, that you may regulate your Parade accordingly. + +[Illustration: 3rd. Plate. Parade of Quart.] + +[Illustration: Parade of Quart opposing with the hand.] + +When a Thrust is made with the Fort to your Feeble, which is the best +way; you must, by raising and turning the Hand a little in _Quart_, +raise the Point, which brings it nearer to you, and hinders the +Adversary from gaining your Feeble, which being raised up is too far +from him, and makes it easy for you to seize his Feeble. (Refer to the +3d. Plate.) + +If the Thrust be made on the Fort or Middle of your Sword, you need only +turn the Hand a little in _Quart_. + +If after the Adversary has pushed _Quart_, he pushes _Seconde_; you must +parry with the Fort, bringing it nearer to you, and for the greater +Safety, or to avoid other Thrusts, or the taking Time on your return, +you must oppose with the left hand, which hinders him from hitting you +as he meets your Thrust, and from parrying it, for want of having his +Sword at Liberty. (Refer to the 7th Plate.) + +The same Opposition may be made on a Lunge in _Quart_, and to be more +safe in returning Thrust or Thrusts, you must close the Measure in +parrying, which confounds the Enemy, who finds himself too near to have +the Use of his Sword: Your Sword, in parrying, must carry it's Point +lower and more inward than in the other Parades. + +If the Adversary makes a Thrust, with shortning or drawing back his +Arm, or leaving his Body open; you must defend with the Left Hand, and +lunge strait on him, unless you had rather parry with the Sword, making +use of the Opposition of the Hand, and closing the Measure, as I just +now observed. + +You may also parry in disengaging,[2] drawing back the Body to the Left, +in order to give the Hand Time and Facility to make the Parade. + +There are several other Parades, of which I shall treat in their proper +Places, confining myself now to the most essential. + +[Illustration: 4th. Plate. A Lunge in Tierce.] + +[Illustration: Tierce Parryed.] + + + + +CHAP. V. + +_Of pushing_ Tierce _without_, or _on the Outside of the Sword_. + + +In order to push _Tierce_ well, the Hand being gone first, taking the +Feeble with the Fort, turning down the Nails, and the Wrist a little +outwards, not too high or low; in order not to give Light above or +below, the Body must bend more forward and inward than in _Quart_; the +Left Hand should extend itself in _Tierce_, because it ought, in all +Cases, to be conformable with the Right, except that it is lower. When +you push _Tierce_, you should look within your Sword: As to the Feet, +they must be, in every Lunge, on the same Line, and at the same +Distance. + +The Rules I have laid down for recovering in _Quart_, will serve also in +_Tierce_, but of the contrary Side. + +_Parade_ of Tierce. + + +To parry a Thrust made with the Fort to the Feeble, you must turn the +whole Hand, carrying it a little outwards, raising the Point, in order +to avoid the Adversary's taking your Feeble, and at the same time take +His. _See the 4th_ Plate. + +If a Thrust be made on the Middle, or Fort of your Sword, you need only +turn the Hand, carrying all the Blade equally outwards. Some Masters +teach to parry this Thrust with the Hand in _Quart_, which is very +dangerous if the Enemy pushes _Quart_ over the Arm in the Fort, or +_Quart_ within, in the Feeble, there being an Opening in one, as well as +the other Case; besides the Point is too far from the Line, to make a +quick Return. + +To avoid the Return of a Thrust when you have pushed _Tierce_, and that +the Adversary, in parrying, has gained to your Feeble; you must, by +raising and opposing with the Fort, bring the Pommel of your Sword on +high; so that the Point be downwards; whereby his Point will be near +your Left Shoulder, and you, not only avoid being hit, but you may make +a Thrust at the same time, by opposing with the Left Hand, and for the +greater Safety, you must return on the Blade, and push strait, without +quitting it. _See the 5th_ Plate. + +[Illustration: 5th Plate. Parade of Tierce yeilding the Feeble.] + +[Illustration: The same parade & opposition of the hand.] + +When a Thrust is made in _Tierce_ upon the Blade on the Feeble, or by +disengaging; tho' the first is more easily parryed, you must yeild the +Feeble, opposing with the Fort, in order to guide the Adversary's Sword +to the Place the most convenient for the Opposition of the Left Hand, +and closing the Measure at the same time, you have an Opportunity, +before he can recover, to hit him several times; which must be done by +advancing on him, as fast as he retires. _See the 5th_ Plate. + +You may also parry by disengaging, drawing the Body back. The Return is +easy, by pushing _Quart_; and to avoid a second Thrust from the Enemy at +the Time of your Return, you must oppose with the Left Hand. _See the +5th_ Plate. + + + + +CHAP. VI. + +_Of pushing_ Seconde. + + +In pushing under, the Hand must be turned in _Seconde_, as high as in +_Quart_, and more within than in _Tierce_; the Body should be more bent, +lower, and more forward than in thrusting _Tierce_, and the Left Hand +lower. _See the 6th_ Plate. + +Seconde ought not be pushed, but on the following Occasions: First, when +an Engagement, _Feint_ or _Half-Thrust_, is made without, that the +Adversary at one of these Times parrys high. Secondly, when your +Adversary engages your Sword on the Outside, with his Hand raised high; +or on the Inside, with his Feeble only; and thirdly, upon a Thrust or +Pass, within or without. + +The Recovery in Guard, should be in _Quart_ within the Arm, though most +Masters teach to recover on the Outside, which takes much more Time, and +though the _Seconde_ is independent on the Side, it is nearer to the +Inside than to the Outside; because the Adversary carries his Wrist to +the Outside, when he gives an Opportunity of making this Thrust; +therefore you ought to return to his Sword in the shortest Time, in +order to be sooner on your Guard. If you examine this Parade, you will +find it is the only Means of recovering with Safety. + +What introduced the Manner of returning to the Sword on the Outside, was +the false Method formerly used in parrying the _Seconde_ by beating on +the Blade; in _Tierce_, with the Point downwards; so that the Adversary +not being able to return but above, there was a Necessity for returning +to the Sword on the Outside in order to defend; but the Parade and +Return being no longer the same, the Manner of returning to the Sword +must also be different. + + + + +CHAP. VII. + +_The Parades of_ Seconde. + + +_Seconde_ may be parried three Ways. First, according to the ancient +Manner I just described, which is done by a Semi-circle on the Inside, +with the Hand in _Tierce_, the Point low, almost on a Line with the +Wrist; but the Greatness of the Motion does not only render it +difficult to parry the Thrust but still harder to parry the Feint of the +Thrust and come up again; besides the _Rispost_ is dangerous; because it +requires a long Time to raise the Point, which is almost as low as the +Ground, to the Body; in which Time, the Adversary has not only an +Opportunity of parrying the Thrust, but also of hitting you whilst you +are bringing up your Point. + +Secondly, _Seconde_ may be parryed by making a Half-circle on the +Outside, the Wrist in _Quart_, as high as the Shoulder, the Arm +extended, and the Point very low. _See the 7th_ Plate. It is less +dangerous, and more easy for the _Rispost_ than the former, which must +be made as soon as you have parryed, by pushing strait in _Quart_ which +the Adversary having pushed under, can hardly avoid, but by yeilding, +and battering the Sword. _See the 7th_ Plate. + +To this Manner of parrying _Seconde_, there is but one Opposite, which +is done by _feinting_ below, and as the Adversary is going to cross your +Sword, in order to parry, you must disengage by a little Circle, with +the Hand in _Seconde_, which preventing the Enemy's Sword, gives an +Opportunity of hitting him above, if the Wrist is lower than I have +observed, or in _Flanconnade_, if the Wrist is high. A Man that parrys +below, in order to avoid this _Feint_, must redouble his Circle to meet +the Blade. This Parade is best in recovering, after having pushed, not +only to avoid the strait or low _Rispost_, but also any Feint or Thrust. + +The third and best Parade, is made with your Fort to the Middle of the +Adversary's Sword, the Wrist turned in _Quart_, but a little lower: The +_Rispost_ of this Parade is very good, when you know how to bind the +Sword upon the _Rispost_; and it cannot be parryed without returning to +the Parade that I have here, before, described and which, I believe, is +peculiar to myself. + +This Parade is by so much the more adventageous, as the _Rispost_ is +easy the Sword being near the Adversary's Body, which makes it, more +difficult for him to avoid you; besides, by this Parade, you are in +better Condition to parry, not only a Thrust below, but also any other +Thrusts and Feints, the Sword being near the Situation of Guard. + + + + +CHAP. VIII. + +_Of_ Quart _under the Wrist_. + + +This Thrust should not be made but instead of _Seconde_, that is to say, +on an Engagement, Parade, or Lunge of the Adversary in _Quart_. + +The Wrist must not be so much turned up, nor so high as in _Quart_ +within; the Body should be more inward, and bending more forward. (Refer +to the 7th Plate.) + +In case the Adversary pushes _Quart_, in order to take the Time, you +must lunge the Foot strong inward, to throw the Body farther from the +Line of the Adversary's Sword. + +In recovering from this Thrust, the Wrist must be in _Tierce_, and the +Sword without the Enemy's whilst the other Parts take their Situation. + +The Parade of this Thrust is made by a Half-circle of the Sword within, +the Wrist raised in _Quart_, and the Point low. _See the 7th Plate_. + +[Illustration: _7th Plate. Thrust under the Wrist_.] + +[Illustration: _It's Parade_.] + +[Illustration: _8th. Plate. Flannconade.] + +[Illustration: The Opposition of the Hand to the lowering the body_.] + + + + +CHAP. IX. + +_Of_ Flanconnade. + + +This Thrust is to be made only in engaging or _risposting_ when the +Adversary carries his Wrist too far inward, or drops the Feeble of his +Sword, then you must press a little within, and with your Feeble on his, +in order to lower it, and by that means get an Opening in his Flank. + +The Body, in this Thrust, is not so strait as in _Quart_ within, tho' +the Arms are. _See the 8th_ Plate. + +It is necessary to oppose with the Left hand, in order to avoid a low +Thrust on your engaging, pushing or _risposting_. This is the last +Thrust of the Five which are to be made in our Art. The first us _Quart_ +within the Sword, the second _Tierce_ without the Sword, the third +_Seconde_ under the Sword, the fourth _Quart_ under the Sword, and the +fifth, _Flanconnade_; and there is not any Attack, Thrust, Feint, Time +or Rispost in this extensive Art, but what depends on one of these. + +The Recovery from _Flanconnade_, should be the same as from _Quart_ +within the Sword. + +Flanconnade is generally avoided by taking the Time in _Seconde_ with +the Body low; the Hand must oppose to shun the Thrust, and hit the +Adversary at the same time. Instead of pushing at the Flank, you should +push within the Body. _See the 8th_ Plate. + +Besides the taking Time in _Seconde_, there is another very good Parade, +very little practised in Schools; either because few Masters know it, or +because it is more difficult to execute it justly. This Parade is made +by lowering the Adversary's Sword, bringing it under your's to the +Inside, and parrying a little lower on the Feeble of his Sword, you make +your _Rispost_ where he intended his Thrust, that is to say in the +Flank. + + + + +CHAP. X. + +_Of Parades_. + + +There are two Sorts of Parades, the one by binding the Blade, the other +by a dry beat. The binding Parade is to be used when you are to +_rispost_ in _Quart_ within, in _Tierce_ without, in _Seconde_ under, in +_Flanconnade_, and in all _Feints_: And the Beat, giving a favourable +Opportunity of _risposting_, is to be used when you _rispost_ to a +Thrust in _Seconde_; or when after having parryed a Thrust in _Quart_ +within, you see an Opening under the Wrist. To these two Thrusts, you +must _rispost_ almost as soon as the adversary pushes, quitting his +Blade for that Purpose, which is to be done only by a smart Motion, +joining again immediately, in order to be in Defence if the Adversary +should thrust. + +There are three Things more to be observed in parrying. First, that you +are to parry all Thrusts with the inmost Edge, except in yeilding +Parades, which are made with the Flat. Secondly, that your Fort be to +the Middle, and your Middle to the Feeble of the Adversary's Sword. + + +And thirdly, that your situation be as rear to the guard as possible, as +to favour your riposte. + + +The ripostes. + +In order to riposte well, you must observe the adversary's time and +recovery in guard. The time is to be taken in the thrusts of opposition +when he is recovering, and the other as soon as you have parryed. There +are three ways of riposting on the adversary's recovery in guard: when +he does not come enough to the sword, or not at all: the second, when he +comes too much, and the third, when his recovery and parade are just. To +the first, you must riposte strait; to the second by disengaging, or +cutting over or under, according as you see light; and to the last, by +making a strait feint or Half-thrust, to oblige the adversary to come to +the parade, and then pushing where there is an opening, which is called +baulking the parade. + + + + +CHAP. XI. + +_Of the demarches, or manner of advancing and retiring._ + + +Most of the Faults committed in making Thrusts when the Measure is to be +closed, proceed from the Disorder of the Body, occasioned by that of the +Feet, so that for want of moving well, you are not only in danger of +being taken on your Time, but likewise you cannot execute your Thrusts +neatly, justly, nor swiftly; the Body being disordered and weak. There +are ten Demarches in Fencing; four in advancing, five in retiring, and +one to turn your Adversary, or hinder him from turning you. The first +Demarche in advancing, is made by lifting and carrying your Left-foot +the length of your Shoe before the right, keeping it turned as in guard, +with the Knee bent, lifting up the Heel of the Right-foot, leaning the +body forward, which, on this occasion, gives it more strength and a +better air; then carrying the Right-foot about two foot before the left, +in order to be in Guard, which is done by a smart Beat of the +Right-foot. + +The same _Demarche_ in retiring, is made by lifting and carrying the +Right foot the Length of the Shoe behind the Left, with the Knee a +little bent, then carrying the Left-foot on the Line, and to the +Distance of Guard. + +The second _Demarche_ is called closing the Measure; which is done by +lifting and advancing the Right-foot a bout a Foot with a Beat, drawing +the Left the same Length; because by drawing it more or less you would +lose your Strength or your Measure, which few People have observed. + +There is such a _Demarche_ backward, which is called breaking Measure; +which is done by lifting and carrying the Left-foot a Foot back, drawing +or bringing back the Right in Proportion according as the Ground will +permit. + +If the Ground be uneven, or that you have a mind to surprize an +unskilful Man by gaining Measure unperceived, or to oblige one, a little +expert, to push at the time you advance your Body; you must, I say, if +your Adversary is unskilful, bring the Left-foot more or less near the +Right, as you are more or less out of Measure, which gains more Ground, +and less visibly than the foregoing _Demarche_, and is more favourable +to your Thrust: If your Adversary is a little expert, and pushes on this +your advancing you must bring back the Left-foot to it's Place, and he +will be out of Measure, tho' by Means of his Lunge you will be well in +Measure, which is a great Advantage. + +The same _Demarche_ may be made in retiring, where the Ground is uneven, +lifting the Right-foot, bringing it near the Left, and putting back the +Left in Guard. + +To make a Thrust in three Motions, being out of Measure, you must make a +double Beat, which is done by a small Beat of the Right-foot in the same +Place, beginning immediately with the same Foot to close the Measure. + +The three Ways of retiring which I have shewn, are done from the +Situation in Guard. The two which are done after a Lunge are, first by +lifting and bringing the Right-foot back from the Place of the Lunge +behind the Left, and then carrying the Left behind the Right, in order +to be in Guard. + +The late Monsieur De Latouche, and Monsieur De Liancour, found this +demarche better than the following one, tho' it is not so generally +used. + +The second Retreat after having pushed, is made by drawing back the +Right-foot about the length of the Shoe, bending the Knees, in order to +be in a condition to chace or drive back the Left-foot with the Right, +keeping the Hams very supple, the Body free, and the Sword before you; +not only that you may spring the farther, but also to be in a better +Posture of defence. The Point of the Right-foot should come down first, +leaning immediately after on the Heel; the Left-foot must fall on the +Line at the distance, and in the Situation in Guard, as I before +observed, in order to be ready to take the Time, or to make a Riposte. + +The two Masters that I have quoted, condemned this Retreat very much, +especially Monsieur De Latouche, who says in springing back, three +motions are necessary; first to draw back the Right-foot in guard, +secondly to bend the Knee, and thirdly to chace or fly back. Any Master, +will find that there should be but two motions, it being easy to bend +the Knees and draw back the Right-foot at the same Time. + +Besides, his rule for springing back is false; for by drawing the +Right-foot back so far as in guard; you lose Time, the first Motion +being too long, and the Feet being so close together, the Body has not +sufficient Strength, and consequently cannot go far. From this it is +plain that three Motions are not necessary for springing back, there +being but two in all. He likewise says that the leaping back, requires +such an effort, that you have not Power to parry; but Experience +sufficiently shows that you may easily parry and spring back. Indeed on +a moving Sand, or slippery Ground, it is very difficult to leap back; +and if we consider things rightly, we cannot find our purpose answered +at all times and places; and tho' the first Retreat that I recommended, +and which these Gentlemen esteemed, is very good, yet if you are +followed closely in retreating thus, as the two Steps do not place you +at so great a Distance, by much, as the springing back, you may be put +to a Nonplus by a redouble. + +When you know the just Length of your Adversary's Thrust, you may break +or steal out of measure, by leaning back the Body, without stirring the +Foot. + +If in the Field, you have the Disadvantage of the Ground, the Wind, or +the Sun, or that in a School, you are exposed to too much Light, or, +pushing with an awkard Man; in order to obviate these Inconveniencies, +you must go round him, which may be done within or without according as +you have Room. + +The Turning must be done out of Measure, and with great Caution: When +'tis within your Sword, you must begin with your Left-foot, carrying it +to that Side, and then bring the Right-foot to it's proper Line and +Distance; and if your Adversary turns on the Outside, you must carry the +Right-foot to that Side, and the Left in Guard, as well to avoid his +Thrusts, as to lay hold on every favourable Opportunity, in case he +should persist in his _Demarche_. + +You should never give Measure but to your Inferior: Giving Measure, is +when the Body and Feet advance too much, or in Disorder; or advancing +before you are well situated, although corrected in the _Demarche_, or +advancing when you are near enough, except you be much superior to the +Enemy. + +The Measure should be given to oblige the Adversary to push; in order +to get an Opportunity of taking the Time, or of _risposting_. + + + + +CHAP. XII. + +_Of_ Disengagements. + + +There is nothing more nice, or more necessary in Fencing, than +Disengagements; the nicest Motion, being the smoothest and finest, and +the most necessary, there being but few Thrusts where you ought not to +disengage, and to several more than once; and there is no better Means +of avoiding the Advantage that a strong Man has when he presses on your +Sword. + +If we confine ourselves, strictly, to the Meaning of Disengagements, we +shall find it to be of three Sorts; which are, upon the Blade, over the +Point, and under the Wrist: But as this might be too intricate in +Lessons, and a Learner mistake one for another; none should be called a +Disengagement, but that which is made on the Blade; and though the +others are, in effect, Disengagements, especially that over the Point, +which is done closer than those under the Wrist, yet they are +distinguished from Disengagements, by calling them Cuts over the Point, +and under the Wrist, according as they are used. + +In order to disengage and push from the Outside to the Inside, being in +Guard towards half _Quart_; the Wrist must be raised a little at the +Time that you lower the Point and raise it again, which should be done +as close as possible, by a smooth and quick Motion, that you may be +covered and lose no Time, and be able to push with your Fort to the +Adversary's Feeble. + +Some People, in pushing _Quart_ and _Tierce_, keep the Wrist in +_Tierce_, in order to push _Quart_ the swifter, which is a Fault; +because they accustom themselves to a Situation, which, when they come +to assault, is unsafe and dangerous, for want of being in the Guard of +Defence. + +In disengaging from the Inside to the Outside, the Wrist should turn a +little more towards _Quart_, than in the Guard which I have recommended: +The Point should fall and rise and the same Instant, and the Hand should +turn insensibly in _Tierce_, as the Thrust goes forward. + +Some Masters teach to hold the Sword in Guard between _Quart_ and +_Tierce_, and to disengage in that Situation; whereby the three +Advantages which the Disengagement in _Half-Quart_ gives you, are lost; +that is to say, first, a good Air, secondly, the being covered with the +Fort of the Sword, and thirdly, the Swiftness of the Thrust; because the +Hand has not a sufficient Freedom of Motion. + +The knowing how to disengage barely is not sufficient; it is necessary +that you be acquainted with the Time, and with your Adversary's Play, in +order to disengage to Advantage. The Time is when the Adversary comes to +your Sword; and when your Adversary, depending on his Strength, comes to +your Blade, in order to guide his Thrust to your Body, is what is meant +by his Play or Manner. You may indeed disengage without taking the Time, +but with less Success. + +When the Adversary engages swift, 'tis good to keep your Point a little +low, or distant from his; by which Means he requires more Time to engage +you, and gives you more to prevent him, unless you suffer him to touch +your Sword; which would not only make you lose the Time of hitting him, +but would also expose you to receive a Thrust, it being certain that +when you go to the Blade on one Side, you cannot defend the Other; for +you cannot do two opposite Actions at one and the same Time; and by the +same Rule, if you miss the Time of disengaging, and disengage too late, +you expose yourself to his Thrust; for you cannot, at the same time, +quit his Blade and parry. + +Though it is necessary that every Fencer should understand the +Disengagements, it is more especially so to tall and weak Men. To the +first, that they may keep their Adversary at a Distance; which by Reason +of their Height, is an Advantage to them; and to the others in order to +prevent closing; in which Case, their Weakness would be a Disadvantage +to them. + + + + +CHAP. XIII. + +_Of_ Feints. + + +Feints are much used in _Fencing_, whether it be by reason of their +Number, their Ease, or the Success that attends them, gaining more Time +and Light than is to be got in plain Thrusts, there being no Thrust to +be given so well as after a Feint. + +The Number of Feints is so great, by reason of the many Guards and +Parades, that I should find it as difficult to describe them, as the +Reader would to comprehend them without Experience; so that I shall +confine myself to those from which the rest derive, which are, strait +Feint, Feint, and double Feint. + +By strait feint, is meant a Motion or Feint to Thrust on the Side on +which your Sword is, which is to be done on the Inside, the Wrist in +_Quart_, a little higher than the Point which must be near the +Adversary's Sword, that you may be covered, whilst you endeavour to get +an Opening. This Motion should be attended with a little Beat of the +Right-foot, keeping back the Body. If, at the Time you feint, your +Adversary does not stir, you must push _Quart_: if he parrys with his +Feeble, you must immediately disengage to _Tierce_; and if he parrys +high you must cut in _Quart_ under the Wrist. + +The Feint, to which I give no other Name, it being the most used, and to +distinguish it from the others, is done by feinting from _Quart_ to +_Tierce_, with a little beat of the Foot, keeping the Body back: the +Wrist must be raised in _Quart_, and the Button a little lower than the +Pommel, near the Adversary's Blade; by which means you are covered, and +can make your Thrust swifter. If the Adversary does not stir at the +Feint, you must go on strait with the _Tierce_: if he parrys with his +Feeble, you must disengage and thrust _Quart_, and if he parrys with his +Fort, you must push _Seconde_. + +Several masters teach to make this Feint from the inside to the outside, +with the Wrist turned in _Tierce_; and indeed they are seemingly in the +right; a Feint being a likeness of the beginning of a Thrust; and that +likeness cannot be better shown than in the figure of the thrust: but +the smart motion of the point, causes the adversary to stir, the figure +of the hand no way contributing thereto. You are to consider which is +the most proper, not only to make the adversary answer you, but also to +make the motion quicker. Monsieur De Latouche says, that from _Quart_ to +_Quart_ there is no motion; but we have two instances to the contrary. +First, that a Man of experience has his Wrist and the bend of his Arm +free, so as to thrust strait in _Quart_, tho' in the same figure; and +secondly, if there be a motion preceding the Thrust, as in a +Disengagement, or a cut under; this motion is sufficient to help the +swiftness of the Feint, and of the Thrust: in short, the motion from +_Quart_ to _Quart_, being quicker than feinting from _Quart_ to +_Tierce_, and returning in _Quart_; it ought to have the preference, +swiftness being the line of Fencing. The only Feints that should be made +in _Tierce_, are those that are marked from below above to return below, +and from above below to return above. + +The double Feint is in two motions, so that in order to push within the +Sword, you must be without; and making a little motion in _Quart_ +within, with a little beat of the Foot, you feint again without closing +the measure, keeping back the Body in order to be out of the adversary's +reach: if he parrys with his Fort, you must cut under in _Seconde_, and +if he parrys with his Feeble, disengage to _Quart_ within. + +As there are in this Thrust three motions of the Sword, _viz._ the two +Feints and the Thrust; the Foot must make as many, in order to answer +the motions of the Hand. + +Some Masters teach to make the double Feint without stirring the Foot; +and others teach to advance on the first Motion. In the first Case, +being in the Adversary's Measure, you lose too much Time, which is very +dangerous: And advancing on the first motion, is almost as dangerous as +keeping the Foot firm, by putting yourself within the Adversary's Reach; +besides the Manner is not so graceful as that which I recommend, in +which you are not within his Reach 'till the second Motion; and this is +attended with another Advantage; for by bearing with the Right-foot, the +Body must of necessity be kept back, and consequently, farther from the +Sword of the Adversary, and in a better Condition to act. + +There are two other Ways of making these Thrusts: The one by an Interval +between the first and second Motions, joining or uniting the other two; +and the latter between the second and third Motions, joining the two +first. Though both these Methods are good, I prefer the latter, which +puts you in a better Condition, not only to avoid your Adversary's +Thrust, but also to chuse your own; the Interval giving you a favourable +Opportunity of doing both. + +There has been so much said of the Feints which I have described, with +their Opposites, that I shall say no more of them, nor will I speak of +an infinite Number of other Feints, strait, single, and double, within, +without, and under, in disengaging, or cutting over the Point, or under +the Wrist, in risposting, or redoubling Thrusts; all which, depend on +the three which I have described; in which, as in all Thrusts, the Body +must be kept back, and the Fort of the Sword before you; by which Means, +you are more out of Danger, and the Wrist is better prepared. Some Men +mark Feints with the Head and Body, which is a very disagreeable Sight, +and dangerous with Regard to Time. + +A Feint is the Likeness of the Beginning of a Thrust: It is made to put +the Adversary off his Guard, and to gain an Opening. In order to take +Advantage of the Time and Light which you get by your Feint, you must +take care to avoid an Inconveniency into which many People fall, by +uncovering themselves in endeavouring to uncover the Adversary. + + + + +CHAP. XIV. + +_Of cutting over the Point of the_ Sword. + + +In order to cut over the Point, within from without, the Wrist must be +turned towards _Tierce_, which gives it a swifter Motion. When your +Point is over your Adversary's, you must turn the Wrist in _Quart_, +pushing with your Fort to his Feeble: Though this is a regular Way of +cutting, what is most essential to perfect the Thrust is wanting, that +is to say, the Motion that should precede it, which is commonly a +Half-thrust or Feint, by which, two Advantages are gained: First you +discompose your Adversary, and secondly, your Thrust is swifter, being +by so much the more vigorous, as the Motion previous thereto is so. At +the Time you make a Half-thrust or Feint, you must make a little Beat +with the Foot, bearing back the Body to break your Adversary's Measure. + +The Cut from the Inside to the Outside, has commonly more Success than +that from the Outside to the Inside, the Adversary going more readily to +his Parade on this Side than on the other. The Manner of cutting on the +Outside, is by placing your Sword within, making a little Motion or +strait Feint, the Wrist in _Quart_, the Fort of the Sword before you, in +order to be covered, and your Point very near the Adversary's Sword; you +must beat a little with the Foot, bending the Body back a little, and as +the Adversary is going to parry with the Feeble, you must pass your +Point quickly over his, pushing in _Tierce_, with your Fort to his +Feeble. + +Though all Thrusts have the same following Ones; the Cut has them more +easy; it's Motion from above to below, disposing it better than the +Disengagements, if the Thrust be from the Outside to the Inside, and +that the Adversary parrys with his Fort to your Feeble: Besides the +Recovery in Guard, which is common after all Thrusts, you must, upon a +Parade with the Fort, if it be without stirring the Foot, or in +advancing, join: And if the Adversary makes this Parade in retiring, he +gives you an Opportunity of cutting in _Quart_ under the Wrist, and on +his parrying with the Feeble, you must return in _Seconde_, bringing +forward the Left-foot a little, in order to procure a Reprise or second +Lunge. + +These two Reprises are to be made before you are acquainted with your +Adversary's Manner of parrying; but when you have discovered it, if it +be with his Fort, you must cut over and under the Wrist in _Quart_, and +if with his Feeble, return in _Tierce_, that is to say, make an entire +Circle. These Cuts are to be made in one or two Motions; in the first +you are not to stop, but in the other, you make a short Interval by a +little Beat with the Foot. + +The Thrusts following the Cut from the Inside to the Outside, before you +know your Adversary's Parade, are made thus: If 'tis with the Fort, you +must return with a Cut in _Seconde_, under the Sword, advancing the +Left-foot a little; If he parrys with the Feeble, you must return by +disengaging to _Quart_ within, advancing the Left-foot, as before: Some +People return a Cut in _Tierce_, in _Quart_, by another Cut over the +Point, of _Quart_ in _Tierce_, and so on the contrary Side. + +When you foresee the Parade, you may at once cut from the Inside to the +Outside, and under in _Seconde_; or return within, according as the +Parade is made with the Fort or Feeble. You may also make these +Redoubles by a little Interval over the Sword, beating with the Foot. + +There are other Redoubles which are made by drawing back the Body +without stirring the Feet. + +See the Chapter of Reprises. + +The Cut may be made not only after a Half-thrust, or strait Feint, as I +have said, but also after an Engagement, Lunge, or Pass, and in +Risposting, which is the best and most used; because that is to be done +only in recovering to Guard, or by bringing one Foot behind the other, +or springing back; To the first you must Rispost with the Foot firm, and +to the other by closing the Measure. + + + + +CHAP. XV. + +_Of the_ Reprise, _or redoubled Thrust_. + + +The Term _Reprise_ signifies a succession of Thrusts without Interval, +or with very little. It may be done in three Manners; First after having +pushed without recovering, Secondly, in recovering or being recovered; +and Thirdly, when the Enemy steals Measure. + +The first and last of these three Reprises may be called Redoubles. + +The first Reprise is made after having pushed _Quart_, the Enemy having +parryed with his Feeble, you must return in _Seconde_, advancing the +left Foot a little to make the Action easier to the right Foot, and tho' +it be not necessary to advance it unless the Enemy retires, it serves +for an Ornament, and to give more Vigour to the Thrust: But if as soon +as the Enemy has parryed he Risposts, you must only redouble with the +Hand, the Body low without stirring the Feet, and join. If he Risposts +under the Wrist in the Flank, you must either parry crossing his Sword +as you recover, opposing with the left Hand, or return, as I said, with +the Hand in _Seconde_. + +Upon the Rispost of the Enemy, you may also redouble, volting strait, or +cutting in the Flank according as he raises his Hand more or less in his +Rispost, in order to facilitate your Volt; you must immediately after +your Lunge follow a little with the left Foot. + +The second Reprise is made, after having pushed _Quarte_, when in +recovering to Guard the Enemy advances, without being covered, or that +suffering the Superiority of your Sword, he gives you room to thrust in +_Quarte_, if he disengages, you must go off in _Tierce_, if he forces +your Sword with his Feeble, you must disengage to _Tierce_, and if with +his Fort cut _Quarte_ under the Wrist. + +In order to get time for this Redouble, you must make a half Thrust, +immediately getting out of Measure, either with the Body Simply, or by +the first Demarche backwards, or by leaping a little back; if the Enemy +advances it will be either strait or making a Feint, or on your Sword; +to the two first you must push strait _Quarte_, or _Seconde_, lowering +the Body or volting, and if he comes on your Sword you must disengage +and push over in _Tierce_. + +The third Reprise is made when the Enemy upon your pushing _Quarte_ +breaks Measure without or with parrying; to the one you must redouble in +_Quarte_, with your Fort to his Feeble, which is done after a strait +Thrust, Feint, Engagement, or Rispost; and if the Enemy parrys, you must +likewise redouble forwards by a Disengagement, or a Cut under or over +according to his Parade, or as Opportunity offers. To redouble forward, +or make several Reprises following with ease, you must as often as you +thrust follow with the left Foot. + + +_The_ Reprises _on the_ Outside. + +If you push in _Tierce_ and your Adversary parrys with the Fort, you +must redouble in _Seconde_, and if he parrys with the Feeble disengage +to _Quarte_, advancing a little the left Foot that the Right may have +the Liberty of a second Motion. + +If the Enemy after parrying _Tierce_ shou'd Rispost strait or under, to +the first you may disengage and volt, and to the other volt strait, +advancing the left Foot a little in Lunging, in order to have the +Liberty of Volting, because you cannot easily do it when you are +extended: It is more easy to take the Time opposing with the left Hand; +and 'tis best of all to parry and thrust strait in _Quarte_; if after +having pushed _Tierce_, on your Recovery to Guard, you find you have the +Command of the Enemy's Sword, or that he advances uncovered, you, must +in these Cases push strait in _Tierce_ if he disengage you must take the +time and push _Quarte_, if he comes to your Sword with his Fort, you +must cut under in _Seconde_, if with his Feeble, disengage in _Quarte_, +it is also good after having pushed _Tierce_ to recover with your Sword +high, giving Light under, and if the Enemy pushes there, you must take +the Time opposing with the left Hand, or Parry and Rispost. + +It is good likewise for a Decoy to make a half Thrust and recover with +the Sword quite distant from you Body, and if the Enemy comes to your +Sword, you must disengage and thrust at his Open, and if he makes at +your Body, you must volt or oppose with the Hand and thrust where you +have Light. + +The Reprises or Redoubles in advancing are made in _Tierce_ by the same +Rules as those within are. That is to say, either strait, or by +disengaging or cutting over or under, according as the Enemy either +lets you make your Thrust, or goes to his Parade. + +All these Redoubles may be made on a Rispost as well as on other Lunges. + + + + +CHAP. XVI. + +_Of passing_ Quarte _within the Sword._ + + +A Pass is contrary to a Volt as well in Figure as in it's Occasion, the +left Leg in the Figure passing foremost, and in a Volt behind, to help +the Body to turn, and in it's occasion, the Pass being to be made as in +a Lunge, taking the Time, or his Time, whereas the Volt cannot be made +without a great deal of Time; yet the Pass is different from a Lunge, +the one being made with the foremost Foot, and the Pass with the +hindmost, which gives the Thrust a greater Length, more Strength and +Swiftness, and a greater Facility of taking the Feeble with your Fort, +the Body goes further, because the Center from which it departs in a +Lunge is in the left Foot, and in a Pass in the right Foot which is more +advanced, and also because in passing you advance the Left Foot more +than you do the Right in Lunging, and the Parts being higher on a Pass +than in a Lunge there is a greater Facility of taking the Feeble with +your Fort. + +[Illustration: 9th Plate. A Pass in Quart.] + +[Illustration: The Lowering the Body on the Pass.] + +In a Pass in _Quarte_, the Hands and Arms must be displayed as in a +Lunge, not only in their Figure, but in the same Order, that is to say, +the Hand must move first to bring on the Shoulder and the Body; which +should lean more forward than in Lunging, at the Time that carrying the +left Foot about two Foot and an half, you find your Pass at it's full +Extention. As your Body is too much abandoned forward to recover itself +easily, you must rush on your Enemy, seize the Guard of his Sword, and +present him your Point, which is done by advancing the right Foot to +such a Distance as to be out of the reach of his Leg whilst you advance, +which otherwise might give him an Opportunity, by Tripping to throw you +down. As you advance the right Foot you must seize the Guard of his +Sword, at the same time drawing back your Sword, keeping it high. Then +you must carry your right Foot behind the Left to almost the Distance of +a Lunge, in Order to be strong, as well to avoid his pulling you +forward, as to draw him to you. + +If the Enemy parrys the Pass with his Fort, you must only join, +commanding his Sword with your Fort, 'till you have seized his Guard +with the left Hand, which must be done at the Time that you advance the +right Foot, carrying your Sword from the Inside to the Out, then you +must bring the left Foot to the side of the right, and bring back the +right presenting the Sword to the Enemy. + +If he parrys with his Feeble, you must, without stopping, either cut +over his Point from within to without, or turn the Wrist in _Seconde_, +lowering your Body, and bringing up the right Foot seize his Guard, then +carrying your Sword from within to without, you advance the left Foot to +the side of the right, and drawing back the right present your Sword. + +The easiest means to avoid and hit a Man who passes in _Quart_ within +are to parry dry and Rispost swiftly in the Flank, and if the Pass is +made straight along the Blade with the Fort to your Feeble, you must by +lowering your Feeble, turn your Wrist in _Quarte_ carrying the Point +perpendicularly down, supporting the Wrist, without, and bringing your +Sword round by the Outside of the Adversary's Shoulder, you find your +Sword above his, with your Point to his Body. You may also upon the same +Pass lower the Body and push _Seconde_. + +[Illustration: 10th Plate. The Turning the Body on a Pass in Tierce.] + +[Illustration: Pass in Seconde Volting the Body.] + + +_To Pass in_ Tierce. + +In passing _Tierce_, as in a Lunge, the Wrist must draw the Shoulder and +Body forward, bringing, as in a Pass in _Quarte_, the Left-foot about +two Feet and an Half before the Right, then advancing the Right foremost +and out of the Reach of the Enemy's; you must seize the Guard of his +Sword, and again advancing the Left-foot near the Right, you draw back +the Right and present the Point. + +The Counters or Opposites to this Pass, are the strait Rispost, or the +Rispost under, the taking Time, cutting _Seconde_ under, disengaging, or +counter disengaging and volting, but the surest is to loosen the +Right-foot turning the Body half round to the right, opposing with the +Sword and presenting the Point to the Enemy, which hindering him from +hurting you, throws him on your Point if he abandons himself, and at the +same time you seize the Guard of his Sword. _See the 10th_ Plate. + +_To Pass in_ Seconde. + +In passing _Seconde_, there must, as in a Lunge, be a preparatory +Motion, which is made by a Feint, or by an Engagement on the Blade to +oblige the Enemy to parry high, in order to take that Time to pass +under, which is done by advancing the Left-foot very much, with the Body +lower and more forward than in other Passes, and advancing the +Right-foot, you seize the Enemy's Sword, bringing yours from under over, +and advancing the Left-foot to the Side of the Right, you draw back the +Right presenting the Point. You must take notice, that in a Pass in +_Quarte_ with it's Joining, there are but three Steps, and that in the +Passes in _Tierce_ and _Seconde_ there are four. The first, passing the +Left-foot before the Right; the second, advancing the Right to seize the +Sword; the third, bringing up the Left-foot a little, and the fourth, +bringing back the Right, presenting the Point. + +In order to avoid, and to hit the Enemy on his Pass, besides parrying +and pushing strait, as in the Thrust lunged in _Seconde_, in the 6th +Plate, you may also make a strait Thrust, opposing with the Left-hand, +or by volting, as is shewn in the Cut of the 10th Plate. + +Tho' a Pass carries along with it, as I have observed, a greater +Extension and Swiftness than a Lunge, yet as you cannot recover from it, +it should be seldom practised, especially if you are not the strongest, +or able in three attacks to hit twice, there being nothing more +disagreeable to the Sight than to see several Passes made without +hitting. But it is otherwise in Lunges, by reason of the Liberty of +recovering and parrying. + +Passes were more used formerly than they are now, whether it was to +endeavour to bring them to Perfection, or because it has been found that +this Sort of Play was not so sure. + + + + +CHAP. XVII. + +_Of volting the Body._ + + +The Volting of the Body, which many People call _Quarting_, shou'd never +be done but at times when you are abandoned, as in Case of Lunges or on +an Engagement of Feint in Disorder, of when finding yourself so +disordered as not being able to parry, you must of necessity have +recourse to volting in order to avoid the Thrust; but to do it at an +improper time, as some do, is very dangerous, by reason of the Facility +of parrying it, it being a Figure in Fencing which gives the least +Strength, Extention, of Swiftness to a Thrust; besides that presenting +the Flank and Small of the Back, the Adversary, in order to hit these +Parts, has nothing to do but parry with his point a little within and +low. + +In volting you must begin with the Arms and Left-foot, by whose +Assistance you turn the body; the Hands shou'd turn in _Quarte_, the +Right as in a Lunge or Pass, and the Left more without; you must at the +same time turn upon the Point of the Right-foot, bringing the Heel +outwards, and the Left-foot behind the Right, a little farther outwards, +which gives the Body almost the Figure of a Left-handed Man; having +turned about a Quarter round, the Body in this Posture must necessarily +be in Disorder. _See the 10th Plate_. + +Having finished these Motions, if you find, for want of the Enemy's +having suficiently abandoned himself, that you have not an Opportunity +of Joining, you must without stirring the Body or Left-foot, return +with your Sword on the Enemy's, and from his Sword to his Body, and from +the Body to the Sword, as often as you shall see proper, which may be +easily done, your Thrusts being but of small Extension, as well by +reason of the Action of the Enemy coming to you, as by the Advancement +of the Volt; you should, at the same time, oppose with the Left-hand, to +avoid the Thrusts that the Enemy might make upon the Time of yours; by +this means you may easily come to Guard again, or if he retires you may +push at him, the Left-foot by it's Advancement having given a great +Advantage to your Thrust, and if instead of retiring, he has a mind to +join, you must prevent him by seizing the Guard of his Sword, presenting +your Point to him. + +If in an Assault the Foil be entangled in the Shirt or elsewhere, or +that in Battle the Sword be too far entered, or that the Enemy lay hold +on the Blade; in these Cases you must shift your Sword to the other +Hand, which is done after the Volt, advancing your Right-foot, taking +hold of your Blade with the Left-hand about four inches from the Guard, +whilst with the Right you seize his Guard, and drawing back your Sword +you present him the Point. + +Tho' Volting is not best in Combat, yet it may on some Occasions be +necessary, besides it is my Business to speak of them, at the same time +advising that 'tis much better to make use of Parades and Risposts, than +of Time of what Sort soever. + +The Joining on a Volt is the same as on passing in _Quarte_. + + + + +CHAP. XVIII. + +_Of Joining or seizing the_ Sword. + + +You may join after having parryed any Thrust or Pass whatever, as also +after having pushed, passed, or volted in whatever Figure, or on +whatever Side it may be, especially when the Enemy abandons himself, or +you abandon yourself: If the Enemy abandons himself by a Lunge or Pass; +in case of the first, you must close the Measure in parrying, seizing at +the same time the Guard of his Sword with your Left-hand and carrying +the Right-foot back present him the Point; and in case of a Pass, you +must parry with your Feet firm, and seize his Guard, drawing back the +Right-foot and presenting your Point in like Manner. + +[Illustration: 11th Plate The Seizing and presenting the Sword.] + +[Illustration: Parrying and Disarming.] + +If you have pushed being too near, that your Right-foot slipped, or +that the Enemy in parrying closed Measure; if he parryed with his Feeble +you must redouble in _Seconde_ and join, and if with his Fort, you must +oppose his Sword with your's 'till with your Left-hand you have seized +the Guard, advancing the Left-foot; this Motion being done, you pass +your Sword over the Enemy's from within to without; and loosing the +Right-foot present him your Point. + +Upon the Parade of _Tierce_ with the Fort, being near you must join, +seizing the Guard, advancing the Left Leg, and drawing back the Right, +and present the Point; or you may, before you join, cut under in +_Seconde_; the first is surer at the Sword, and the other more beautiful +in an Assault where a Thrust is more esteemed, than joining. + +If on a Pass or Lunge the Enemy shou'd attempt to join or seize your +Sword, you must, in order to prevent him, change it from the Right-hand +to the Left, four Inches from the Guard, as I have already observed, +seizing his with the Right-hand, and presenting him the Point, holding +it at such a Length as to hit him whilst he is unable to come near you. + +In Joining, if you cannot seize the Guard, you must the Blade, helping +with your Elbow, turning the Hand to break the Blade, or take away the +sword, which may be done if you are cunning and nervous, especially if +the Enemy's Wrist is in _Quarte_, in which there is no Danger of hurting +yourself, because the Sword cannot slip thro', and consequently, can't +cut your Fingers, as has happened to some by their Imprudence; by this +Means, you have time not only to secure yourself, but also to hit your +Enemy. Some People seize the Arm, but that is of no use, because the +Enemy may change Hands and hit you. + +You may throw a Man down after having pushed, either upon the Pass of +_Quarte_ or _Tierce_; if in _Quarte_, it is done after advancing the +Left-foot, crossing the Enemy's Sword with your Fort, and carrying your +Right-leg without his, at the same time pushing the Sword up from the +Inside to the Out, and carrying the Right Arm to his Neck, and the Left +to the Small of his Back: These three Actions must be done at the same +time. There has been so much said on this Head, with the Joining +without, that I shall say no more of it. + +The Joining in Passes within, without, and under, is the same as in +their Lunges. + +In whatever Manner you join you must present the Sword at a Distance, in +order to hinder the Enemy from seizing it, or putting it off with his +Left Hand to throw himself in upon you: If the Enemy shou'd make a +Difficulty of yeilding up his Sword, you must, in order to frustrate his +Hopes of closing you, and to make him follow you, draw back the +Left-foot behind the Right, and the Right behind the Left, at such a +Distance as to be strong, at the same time moving the Point of your +Sword circularly; by this Means, you are in a Condition either of giving +or taking his Life, which you would not be if he could close you, by +which you would be oblig'd to kill him, or render the Advantage doubtful +by struggling. + + + + +CHAP. XIX. + +_Of engaging in_ Quarte _in a midling Guard._ + + +I Have hitherto treated of the Means whereby to make Thrusts, and in +this and the following Chapters, I will shew on what Occasion they are +to be made use of. Tho' there is an infinite Number of Figures or +Postures, and that every Posture may be in Guard, whether within, or +without, _Prime_, _Seconde_, _Tierce_, or _Quarte_, they proceed from +the Midling Guard, the Strait, the High, or the Low Guard, each of which +may be attacked and defended within or without. + +Though there are many Means to disorder the Enemy by putting him out of +Guard in order to hit him on that Occasion, they all depend either upon +a Feint by the Side of his Sword to draw him on, or on a Motion of your +Sword on his, to uncover him, taking his Sword from the Line of your +Body, and placing yours on a Line with his, which is called engaging. +And there are several other Ways of coming to the Sword, which are the +Beats, Crossings, Bindings, and Lashings; the Occasions of which, and +the Manners of using them, I shall shew in their proper Places. I begin +with engaging in the midling Guard, as the neatest, the most used, and +the best. + +To engage this Guard within, it must be done with the Edge on the same +Side, without going wide, in order to keep your Fort before you, and +your Point before the Enemy, carrying both Parts alike; the Engagement +must be made Feeble to Feeble, a little more to your Enemy's than your +own, because if it were with the Feeble to the Fort, the Enemy's Sword +would not be displaced, besides if he should push, you could not parry, +being unable with your Feeble to resist his Fort; and if it were with +the Fort to the Feeble, you wou'd be in Danger of being hit under, where +there would be an Opening; besides you would be oblig'd to advance much, +which would be dangerous. + +On your Engagement, the Enemy may do Three things, either of which, +produces several others. First, either he will let you engage, or +secondly, he will disengage, or thirdly, he will come to your Blade. + +If he lets you engage, you must push _Quarte_, or, by way of +Precaution, make a Half-thrust, in order to see if he stirs, to retire, +or to have recourse to his Parade, or to Time. + +If he does not stir, you must, as I said, push _Quarte_; if he retires, +redouble your Thrust; if he parrys with his Fort cut _Quarte_ under the +Wrist; if with the Feeble, disengage, or cut over the Point in _Tierce_; +and if upon the Half-thrust he takes the Time pushing strait, you must +parry and risposte, or take the Time in _Seconde_, with your Body low; +if he takes the Time lowering his Body, you must parry and oppose with +the Left-hand, risposting in _Quarte_; if he takes the Time cutting +under the Wrist, you must parry crossing the Sword in _Quarte_, opposing +with the Hand, in order to make your Rispost more safely; and if he +volts upon the Half-thrust, you must parry and risposte in +_Flanconnade_, or take the Time, with, your Body low. + +If when you engage he disengages, it will be either, 1st, without +Design, or 2dly, to disengage and push _Tierce_ over, or 3dly, disengage +breaking Measure, or 4thly, disengage, and come to your Blade without, +or 5thly disengage making a Feint, and pushing _Quarte_ or 6thly, +disengage to take a Counter to your Time. + +1st. If he disengages with a Design only to disengage, you must on the +Time push _Tierce_. + +2dly. If he disengages breaking Measure, you must redouble in _Tierce_, +advancing. + +3dly. If he disengages and pushes without, you must parry and risposte +quick where you have Light, or take Time against him, disengaging and +volting, or lowering the Body. + +4thly. If he disengages and comes to your Blade without; if 'tis with +his Fort, you must cut under in _Seconde_; and if with the Feeble, you +must Counter-disengage from without to within. + +5thly. If on the Engagement, he feint _Tierce_ in order to push +_Quarte_, you must push or take the Time strait upon the Feint, or by +lowering the Body on the Thrust. + +6thly. If he disengages giving Light, to take a Counter to your Thrust, +whether by a Rispost or Time, you must make a False-time or +Half-thrust, and if he parrys, or takes the Time, in Case of the first, +you must baulk his Parade; and if he takes the Time, you must take +another upon him. + +If, upon the Engagement, he goes to your Blade with his Fort, you must +cut under his Wrist, and if with his Feeble, disengage and push without +in _Tierce_. + +Though an Engagement may be made Blade to Blade, without Disengaging, +that is Inside to Inside; better and more common to make it by +disengaging from the Outside to the Inside. + + + + +CHAP. XX. + +_Of engaging in_ Tierce _in the Midling Guard_. + + +The Engagement without shou'd be made from your being placed within, +Feeble to Feeble, for the same Reason as in _Quarte_, the Wrist shou'd +be turned in _Tierce_; in this Engagement as in _Quarte_, the +Antagonist may do three things. 1st, let you engage him, 2d. or +disengage, 3d. or come to your Blade. + +If he lets you engage him, you must carry on your Thrust in _Tierce_, or +make a Half-Thrust, to see if he does not stir, if he retires, if he +parrys, or if he takes the Time. + +If upon your Half-thrust he does not stir, you must thrust strait, if he +retires, advance and redouble. + +If he parrys with his Fort, cut _Seconde_ under, if with his Feeble, you +must disengage or cut over the Point from _Tierce_ to _Quarte_, and if +upon the Half-thrust he takes the Time pushing strait, you must either +parry and risposte, or make him Time, volting or lowering the Body. + +If he takes the Time in _Seconde_, lowering his Body, you must either +parry him and thrust _Quarte_, or pushing _Quarte_, oppose with the Left +hand, or volt. + +If on your Engagement he disengages, 'tis as in _Quarte_, 1st either +without Design, 2d. or to retire, 3d. or to take the Time pushing +_Quarte_ or volting, 4th. or to come to your Blade, 5th. or to make a +Feint; 6th. or to take a Counter to your Thrust. + +1st. If he disengage without Design, you must push strait in _Quarte_, +or make a Half-thrust, and go on with the same. + +2d. If he disengages breaking Measure, you must come forward redoubling +in _Quarte_. + +3d. If he disengages and pushes _Quarte_, which, on this Occasion, is +called Counter-disengaging, you must either parry and risposte, or take +the Time lowering the Body, or volting. + +4th. If he disengages and comes to your Sword within, with his Fort, you +must cut _Quarte_ under the Wrist, and if with his Feeble, you must +Counter-disengage from the Inside to the Outside. + +5th. If he makes a Feint in order to return in _Tierce_, you must either +parry or take the Time as I have said. + +6th. If he disengages giving Light, to take a Counter on your Thrust, +whether by Rispost or Time, you must make a Feint, and if he parrys with +his Fort you must cut under in _Seconde_, if with his Feeble, you must +disengage and push _Quarte_, if he takes the Time strait, you must lower +the body, if he takes Time lowering his body, you must parry and push +strait in _Quarte_, if he cuts in _Flank_, you must parry crossing the +Sword in _Quarte_, and if he volts, you must parry and risposte in +_Flanconnade_. + +If on the Engagement without, he comes to your Sword with his Fort, you +must cut under in _Seconde_, if with his Feeble, disengage or cut over +the Point in _Quarte_. + + +_When you are engaged within the_ Sword. + +If the Enemy engage you within with his Fort, you must cut under the +Wrist, and if with his Feeble, disengage from within to without, of if +you don't care to do that, make a Feint without; if on this Feint he +goes to the Parade with his Fort, you must push _Seconde_ under, and if +with his Feeble, disengage in _Quarte_. + +When the Enemy engages to make you push, in order to parry and rispost, +you must, as I have said, make a Half-thrust and retire giving Light, +in order to take him by a Counter to his thrust, by a Parade, or by +Time. + +You may on the same Engagement, remain engaged on purpose, in order to +make the Adversary path strait; and in this Case, you must parry and +risposte where he is uncovered, or take Time lowering the Body. + +If after having engaged you he shou'd make a Feint, you must, by going +to the Parade, give Light on purpose, and if he pushes, take him by a +Contrary. + +If he engages to make you disengage, in order to take the Time on your +Disengagement, you must disengage and give him a little Light, and if he +pushes at it, take him by a Rispost, or a Time opposite to his. + +If you are engaged in _Tierce_ with the Fort, you must cut under the +Wrist in _Seconde_, and if with the Feeble, and the Hand in _Quarte_, +disengage to _Quarte_ within, or, by Way of Caution, make a Half-thrust; +if the Adversary goes to the Parade, you must push where you have Light, +and if he takes the Time, parry and risposte, or take a Time to his. + +You may also upon an Engagement in _Tierce_, make a Feint below, and if +he takes the Time, parry above and risposte below. This Thrust is very +good against a Man that's disorder'd, who coming to the Parade above, +gives room to hit him below. + + + + +CHAP. XXI. + +_Of several Guards, and the Manner of attacking them_. + + +Tho' all the Guards are Good when well defended, yet they are not +equally good; because we ought not to look upon any thing as good, that +does not procure us some Advantage, and an ill placed Guard, instead of +being favourable, requires a great deal of Skill to be of any Use at +all, being farther from a Posture of Defence, the midling Guard only +carrying with it such a Disposition of the Point and Wrist as is +sufficient to defend the Inside, the Outside, the Upper and Lower Parts +of the Body with the Sword: For as to the other Guards, whether Flat, +High, or Low, or holding the Sword with both Hands, they leave some +Part uncovered, either by reason of their Height, or their Line. + + +_To attack a strait Guard._ + +No Man of Skill or Reason will give a considerable Open without a +Design, and as the People who hold such a Guard as I am going to +describe, have their several Designs, you must be cautious of them, in +order not only to make them useless to them, but advantageous to +yourself. + +Some Men hold their Swords strait or flat,[3] whether 'tis because they +are more used to Disengagements than Parades, or to take Advantage of +the Superiority of their Stature, or of the Length of their Sword, to +avoid the Attacks and Engagements to which the other Guards are more +exposed; for you can hardly engage or feint on this Guard, the Point +being too low; so that to attack him, you must bind the Sword, which you +must do after placing yourself within his Sword, binding his Blade under +yours, when he is out of Measure, to take, with more Ease, the Feeble of +his Sword, crossing it with yours, raising your Hand in _Seconde_, and +carrying the Point low, whilst gaining Measure, you form a little Circle +with the two Points, and raising them up again, you push _Seconde_ +within, with the Body low. + +Tho' it be almost impossible for the Enemy to disengage, when you have +bound his Sword as I have described, it may happen that if some of the +Circumstances were wanting, he might disengage and push, which ought not +to hinder you from making your Thrust; because your Sword may very well +hit him, passing under his, which cannot hurt you, because of the +Lowness of your Body. + +The Binding is easy to be parryed, by reason of the natural Tendency to +follow the Sword, which is done by raising and bringing your Fort +nearer. These following have commonly more Success. + +The first is made after having bound the Sword, instead of pushing +_Seconde_ within, you must, upon the Parade, disengage and push _Tierce_ +over: If the Adversary is quick enough in his Parade to shun this double +Motion, you must have recourse to the third, binding the Sword in the +like Manner, and feinting above, return below. + +Tho' the Sword is seldom bound on the Outside, upon some Occasions and +to some People it would not be amiss; it must be done with your Feeble +to the Enemy's, with the Precautions necessary in binding within, by a +little Circle without, the Hand in _Quarte_, and if he does not stir, or +if he disengages, you must push without, the Hand in _Quarte_. These +following are according to the Parade with the Fort or with the Feeble, +pushing _Seconde_ under, or _Quarte_ within. + +As in all Thrusts the Hand must be easy and uniform, it must be more so +in this than in the others, because the Binding cannot be made without a +very close and smooth Motion. + +Though several Masters teach to disengage in order to bind the Sword, I +would not have it done so for two Reasons: First, because the +disengaging gives Time to the Opponent, not only to thrust strait, but +also to disengage; and Secondly, because you cannot so easily bind the +Sword as when you are on the same Side. + +In binding the Blade, you must close the Measure; because a Man who is +superior to you, in Height, by the Length of his Sword, or by his +Situation, won't let his Inferior into Measure; in one or the other +Case, being at a proper Distance, you bind more easily on the Feeble. + +[Illustration: 12th Plate. Attack in the high Guard.] + +[Illustration: Attack in the low Guard.] + + +_To attack the high Guard._ + +In this Guard, you must place yourself under, with the Hand in +_Seconde_, covering the upper Part, in order to oblige the Enemy to go +under; which being the most distant Place from his Sword, procures you +more Time to avoid him. He may, on this Occasion, do three things: Let +you engage him, go under, or force your Sword. + +If he lets you engage him, 'tis either with a Design to parry, or to +take the Time; wherefore, before you push, you must make a Half-thrust +under: If he parrys, it will be in one of the three Ways that I have +shewn in the Parade of _Seconde_, Chap. 8, where you may see all their +Counters. + +If upon the Half-thrust he takes the Time, you must parry and risposte +below, or push strait, opposing with the Hand; you may also volt on +this Occasion, but it is better to parry. + +If he opposes with his Hand upon your Half-thrust, you must parry with +your Left-hand, and, pushing near his Left Shoulder, baulk his Hand. + +And if he volts on your Half-thrust, you must parry and risposte in the +Flank. + +If on the Engagement he thrust under, you must parry and thrust strait, +or take the Time, opposing with your Hand, and if instead of going +under, he only feints there in order to return above; you must either +parry the Feint and risposte under, or push on the time, as I have said +before. + +If he makes use of the same Thrust, pushing at the Time of your going +under, you must make believe to push there, returning quickly to the +Parade above, and risposte under. + +And if he would draw you on in order to make this Rispost on you, you +must make a Half-thrust, keeping on your Parade below, to risposte +strait in _Quarte_. + +If upon your Engagement he forces your Sword, you must yeild the +Feeble, opposing with the Fort and the Left-hand. _See the 5th_ Plate. + +To keep the Enemy from forcing your Sword, you must cross his Blade with +your Fort to his Feeble. + + +_To attack the low Guard._ + +Those who hold a low Guard have a Design either to parry with the Sword +or with the Hand, to lower the Body or to volt; therefore as in the +other Guards you must make a false Time, or half Thrust, and if he +parrys with the Sword, thrust where you see Light, if he parry with the +Hand, you must feign a strait Thrust in order to bring his Left-hand to +the Parade, at the same time raising your Point with a little Circle, +pushing at the left Side with the Hand in _Seconde_, the Body low, +whereby you baulk his Left-hand, and for the greater Safety, you must +oppose his Thrust with your Hand, endeavouring in your Risposts, to +deceive his Sword and his Hand. + +If he waits for your Thrust in order to lower the Body or to volt, you +must make a Half-thrust to draw him on, and take one of the Counters +which I have spoken of before. + +If the low Guard is within your Sword, you must attack it making a +Semi-circle with the Point of the Sword down, lashing and crossing his, +the Hand in _Quarte_, and to push without Danger, you must oppose with +the Left-hand: This Thrust is good against a Man that pushes at the same +Time. + +If the low Guard is without your Sword, you must lash in _Tierce_, +crossing the Sword and push without. + +If the low Guard is neither within nor without, you must lash smartly in +_Tierce_ and in _Quarte_, that is to say on his Outside and Inside, +pushing _Quarte_ afterwards, opposing with the Left-hand: This Thrust +puzzles a Man who disengages quick, which in this Case is of no use. + +You may also engage this Guard placing yourself within, the Wrist in +_Tierce_, and the Point low[4] closing the Enemy pretty near to oblige +him to push above, and if he pushes there, you must parry and risposte +above, or under, according as you have Light. + +If instead of making a Thrust above, he makes a Feint there and pushes +within, or under, you must push _Quarte_, opposing with the Left-hand, +or else going to the Parade with the Sword to all Thrusts and Feints +without, leave to the Left-hand the Defense of the Inside, and of the +under Part. + +And if instead of pushing, he waits for your Thrust to take the Time +upon it, you must press close upon him and push strait in _Quarte_, with +the Point low, opposing with the Left hand, in order to throw off his +Sword, or push at his Arm, of which you are in Reach, though he is not +in Measure of your Body. + +These Sorts of Guards are not so much practised, with Sword in Hand, as +the middling Guard, People being more careful of parrying with the +Sword, and a Man is in much better Condition to parry from the middling +Guard than from any other. + +_To attack the Guard where the Sword is held in both Hands._ + +Those who hold the Sword in both Hands, that is to say, the Handle in +the Right-hand, and the Blade about four Fingers Breadth in the Left, +will either engage, or beat on your Sword, with great Force, or stick to +a strong Parade, in order to uncover you the more, in Favour of their +Thrust. + +But as they cannot keep this Situation without exposing their Body very +much, which is often dangerous, as also a very unseemly Posture, this +Guard is therefore, with good Reason, condemned by most, if not all, +experience'd Masters. + +If you have to do with one that holds this Guard, you must keep your +Point a little low, and be always ready to change, in order to render +the Strength which the Left-hand gives to the Right, useless, in his +engaging or beating. + +If he will not attack you, but waits for your Thrust in order to parry +and risposte, you must make a Half-thrust, and recover quickly to your +Parade, to avoid his Rispost; wherein, throwing back his Left-hand, and +abandoning himself extremely, he is not in a Condition to avoid your +Thrust after you have parryed his. + +You may also make a Home-thrust on him, by a single or double Feint, +because these require two or three Parades; so that your Adversary being +unable to parry without throwing his Point a great way off, he cannot +bring it back in time if you disorder him by a Feint. + +You may likewise catch him, by placing your Sword along his, with your +Point a little raised, and sliding on a Defence along his Sword, push at +his Left-hand or Arm, for he cannot, tho' he goes to his Parade, hinder +your Blade from sliding so as to hit him there, without running any +Risque, you being in Measure of his Hand and Arm, when he is out of +Reach of your Body. + +You are to observe, that in all Guards with Sword in Hand, you must push +at the nearest and most uncovered Part; which in the Guards that I have +described is the Arm; therefore you must not abandon yourself to hit +the Body, but in risposting, or after having disordered, or engaged the +Enemy as aforesaid. + + + + +CHAP. XXII. + +_Of Left-handed Men._ + + +Most People imagine that a Left-handed Man has, by Nature, the Advantage +of a Right-handed Man in Fencing, whereas he has it only by Habit, +exercising oftener with Right-handed Men than a Right-handed Man with +him, as well in Lessons as in Assaults, most Masters being Right-handed, +as well as most of the Scholars, taking Lessons from the Right-hand, and +practising seldom with Left-handed Men, find themselves puzzled, nothing +surprizing more than what one is not used to, which is so true, that to +embarrass a Left-handed Man, who has not fenced much, you must put +another against him; I say one that has not fenced much, because Right +or Left-handed Men who go to the School of a perfect Master, will be +taught to use both Hands, by which Means, they will not be so much +surprized when they meet with a Left-handed Man, as they would otherwise +be. + +When a Right and a Left-handed Man fence together, the Right handed Man +should push but seldom within, that being the Antagonist's strongest +Part; and his weakest and outward, which should be kept covered, or in a +defensive Condition, as the most liable to be attacked; the best Way is +to push _Quarte_ without, Engagements, Feints under, and Thrusts above, +and double Feints, finished above or under the Wrist in _Quarte_, Cuts +over the Point without, and upon the Parade, with the Fort, or with the +Feeble, redoubling _Quarte_ under the Wrist, or _Seconde_ over: These +are chiefly the Thrusts which a Right-handed and a Left-handed Man may +make against each other, whether on an Attack, or in Defence, by Time or +Risposts. + +Several Masters puzzle their Scholars by telling them that with a +Left-handed Man they must act quite contrary to what they do with a +Right-handed, which appears to be false; because to a Right or +Left-handed Man you must push, opposing with the Sword, which is to be +done by pushing _Quarte_, when the Enemy is within your Sword, and +_Tierce_, when he is without. All the Difference between a Right and a +Left-handed Man is, that two Right, or two Left-handed Men, are both +within or without, whereas a Right with a Left-handed Man, the one is +within when the other is without, the one in _Quarte_, the other in +_Tierce_. + + + + +CHAP. XXIII. + +_Of the Parade of the Hand._ + + +There are, in Fencing, three Parades with the Left-hand: The first, like +the Opposition that is from the Top to the Bottom; the second, with the +Palm of the Hand without, towards the Right Shoulder, and the third, +from the Bottom to the Top, with the Outside of the Hand: Of these three +Parades, the first is the easiest, the most used, and the least +dangerous: They are condemned by able Men, as weakening those of the +Sword; wherefore it is wrong in a Master to shew them to a Scholar, +before he has practised those of the Blade a good while, which being +longer, can return to all feints, which the Left-hand cannot, it being +impossible to parry with it except you be near, which is very dangerous, +as well by reason of the Difficulty of meeting properly with the Sword, +as of the Facility of deceiving the Hand, which in this Case has not +Time to come to the Parade, because of it's small Distance; and besides +the Facility of deceiving it, you need only push at the Arm, Sword in +Hand, in order to make it useless. + + +_Of the Opposition of the Hand._ + +Many People make no Distinction between the Parade and Opposition of the +Hand, tho' there is a very great Difference, the Parade being made only +against the Adversary's Thrust, and the Opposition to prevent a +following Thrust after having parryed with the Sword, which is very +necessary in most Thrusts, especially in the Risposts which may be made +to your Thrust in _Seconde_. + +Besides the Opposition of the Hand, after having parryed with the Sword, +you may oppose with it, taking the Time, that is to say, when the Enemy +pushes from above to below, as the motion of his sword is greater than +your's, having only a strait line to push _Quarte_ on, whereas his from +above to below, is crooked, so that pushing upon his time, he cannot +avoid the thrust, and you may easily oppose his with the Left-hand, +which is very different from the parade with the hand, to which you do +not push 'till after you have parryed. + + + + +CHAP. XXIV. + +_Of the beat of the Foot, in closing the measure, or in the same place._ + + +Though it may seem to many people, that the beat of the Foot, in gaining +measure, making appels, or alurements, engagements, or other Thrusts, is +rather ornamental than necessary; nevertheless, there is nothing puts +the Foot in a better condition to follow the swiftness of the Wrist, in +most of the actions of the Sword; nor can any thing contribute more to +the equal situation, and to the retention of the Body, qualities, which +keeping you covered from the time of your combatant, procures you the +means, not only of taking advantage of his, but also of possessing +firmness, freedom, justness and swiftness. You are to observe two sorts +of beating, the one with the Foot firm in the same place, the other +gaining measure; the Beat with the Foot firm, is done in two ways, the +one in appels, or alurements on the Blade, and the other in engagements +or Feints. That upon the allurement on the Blade, may be made by a +single beat of the Foot, but those who are pretty well advanced, make +two without lifting the Foot but once, the first with the Point, and the +other with the whole Foot: that on engagements or single Feints, shou'd +have but one beat, the thrust being to be made on the second motion. The +beat of the Foot in marching or advancing, is also divided into two +sorts, the one in Engagements or single Feints, and the other in +Engagements and Feints following, or in double Feints; the manner of +engaging must be with a single beat gaining measure, and that of +engaging with a double Feint, must be done with a double beat, in order +to agree with the motion of the Wrist; and as in all, including the +lunge, there must be three beats; you must, on the First Time or Feint, +beat with the whole Foot in the same Place, at the second Motion of the +Wrist beat again with the foot getting Measure, and at the third Motion +push. + +You must observe, that between the first and second Motion, there is no +Interval, but between the second and third there is, in order to see +where the Enemy gives Light: This Interval must be shorter or longer +according as your Disposition or Practice is more or less. + + + + +CHAP. XXV. + +_Of the Good Effects of a nice Discernment of the Eye._ + + +In Fencing, there is the Foreseen, and the Unforeseen; the Foreseen is +the Effect of the Understanding and of the Will, and the Unforeseen is +the Effect of the Discernment of the Eye, and of Custom; which being +upheld by this Quality, has no sooner discerned an Action or Opening of +the Enemy, than all the Parts which are to act, display themselves to +oppose or attack him, as if they depended on the Eye. To be convinced of +this Truth, you may reflect on READING, wherein, as soon as the Eye has +discerned the Words, the pronouncing them follows as quick as in a +studied Discourse; the Eye and Tongue being so disposed by Custom, as to +do it without immediately reflecting. Indeed before they cou'd arrive to +this, the Understanding and the Will were necessary, which having been +united for a certain Time, have communicated such a Habit to these +Parts, as to make them act as it were of themselves. + +In order to acquire this Quality in Fencing, it is necessary that the +Master, in his Lessons, shou'd shew what Opportunities are to be +favourably laid hold of, two opposite Actions at one and the same Time, +That whilst he is uncovering some Part of his Body, he cannot, at the +same Instant, parry, because by the Parade, it must be covered; so that +by making them make their Thrusts, and other Motions, by the Discernment +of the Eye, they find themselves by Practice ready to oppose all the +Motions of the Antagonist without the Assistance of the Will. This +Method is indeed a little more tedious in the Beginning, but it +afterwards becomes shorter and more certain. + +If you have not had Practice enough to make the Discernment of the Eye +thus habitual, you must observe what Motions your Action causes in the +Adversary, by making a Half, or Home-thrust, in order to discover +whether the Enemy has recourse to the Parade, or to the Time: If he goes +to parry, you must observe his Manner, in order to make a Feint +resembling the same Thrust, and to push at the Part where you observed +him to give the Light; and if he goes to the Time, you also make a +Feint, preparing yourself for the parade and Rispost, or to take a Time +contrary to his. + + + + +CHAP. XXVI. + +_Of Time_. + + +If we were to follow the exact Term of Time, every Thing that is done in +Fencing might be called so; for you shou'd never thrust but when you +have a favourable Opportunity of hitting, nor parry, but at the Time +that favours you to oppose the Enemy's Sword, not make an Engagement, +nor a Feint, but to take the Time upon the Motion that your Action +occasions in the Adversary. + +Time is the Duration of any Motion: It is called Time because it is the +most favourable Opportunity of pushing, the Enemy being unable during +one Action to do a contrary one. + +It is divided into several Manners and Terms: The first is called the +Time, the second, taking his Time, the third, Time to Time, the fourth, +the same Time, and the fifth, false Time. + +1. Taking the Time, is making your Thrust by a judicious Discernment on +the Motion of the Enemy, taking him by a contrary one: You are to know +that every Motion, of whatever Part it be, is called Time; for which +Reason, I shall say nothing of Feints, Engagements, and Disengagements, +upon which it may be taken; and that in three Manners, _viz._ strait, +lowering the Body, or volting it, which you must know how to apply. In a +strait Thrust the Time shou'd be taken by lowering and volting the Body, +because the Thrust coming strait, if you were to push the same Way, you +would, by supporting the Wrist, make a _Contrast_; and by pushing +crooked, you would make a _Coup Fourres_, or an interchanged Thrust; but +if the Thrust be in Two Times, or Motions, you may push on the first; If +it be in three Motions, on the second. As to the volting and lowering +the Body, they may be used on all Motions, provided they be abandoned, +and that the Enemy does not keep back his Body to draw you on. + +2. Taking his Time, is the most subtle Thing in Fencing, depending +principally on the Mind: The Manner of taking it proceeds from your +Place or Situation, which gives you an opportunity of knowing the fort +and the feeble of the enemy, so that feeling his blade with your's, you +may by a judicious custom, push at a proper instant, according as you +find the weakness of his sword; and though it may seem that the enemy, +in the same guard, and at the same distance, can as easily parry; that +does not happen because of his different design to push, disengage, or +make a feint, by reason of the several operations of the mind which +follow the will. + +3. The Time to Time, or the Counter to Time, is by several people, +called Counter-time: this cannot in effect alter this necessary part of +the art; it being but an impropriety in terms; when they say that making +a motion to bring the Enemy on, and when he is going to make a Thrust, +the making a Counter; this is by consequence a Counter Time, like a +Counter-disengagement, without observing that a Counter-time is nothing +but an ill timed Motion, which should upon all occasions be avoided: and +if that argument were to take place, it might be said that there is no +such thing in fencing as taking the Time, because it is to be done only +by taking a Time contrary to that which is intended to be taken of you, +which according to their Argument would be a Counter-time; whereas the +Term Time to Time, or counter to Time, sufficiently shews, that it +requires three Motions; since the taking the Time requires two, and the +taking it at the Time that he takes it, must require a third. Of these +three Motions you are to make two: The first, in order to get one from +the Enemy, that you may have an Advantage by your second, which is the +third Time; so that when he thinks to take the Time upon you, you take +it upon him, which, far from being a Counter-time, is a Time to his, or +Counter to his Time. + +4. The same Time, depends on three Things: First, that both having a +Design to push, you both push by chance at once, without expecting it +from each other: Secondly: That full of the Design to take the Time, and +not knowing it, you push upon the Enemy's Thrust, without foreseeing how +to avoid it; and thirdly, when an Inferior or desperate Man, unable to +defend himself, had rather run on your Thrust in endeavouring to hit +you, than strive in vain to avoid it. These are not only the Occasions +of the same Time, but also of the _Coups Fourres_. + +It is to be observed, that Time, and the same Time, differ only in +their Figure, and not in their Occasion, as Monsieur _De la Touche_ +says, for to take the Time upon a Thrust, you must go off upon the +Lunge, as if it were on the same Time, except that the Figure of the +Body shuns the Thrust, which in that of the same Time it does not do. + +5. False Time, is a Motion made by the Enemy to draw you on, in order to +take a Time upon your's; therefore he that would take the Time, shou'd +distinguish whether the Motion made, is to disorder him, and take the +Advantage of his Parade, or to make him thrust, and take the Advantage +of his Lunge; In Case of the first, it would be a Fault not to push; and +in Case of the other, it would be amiss to push. Some Masters call the +false Time, Half Time, which is wrong, every Motion being a Time, and as +it is impossible to make a Half Motion, so 'tis impossible to make a +Half Time. + +The Difference of Time between the dexterous and awkard is, that the +dexterous present and take the Time, and the others, give and lose it. + + + + +CHAP. XXVII. + +_Of Swiftness_. + + +Swiftness is the Shortness of Time between the Beginning and End of a +Motion: It proceeds from a regular and frequent Exercise, joined with a +good Disposition; that is to say, Vigour and Suppleness, which form +Agility. + +A great Swiftness cannot be acquired without long Practice and a good +Disposition, the one not being sufficient, without the other, to give +it: For the best natural Parts, without Practice, will be of very little +Service to those who have the best Disposition; and the most regular +Practice without the Assistance of Nature, will never make a Man +perfectly Swift. + +Swiftness in Fencing, is so necessary, that without this Quality, it is +very difficult to defend, and impossible to offend: This Truth is so +well known, that every one is earnestly desirous of it, tho' most People +are ignorant of the Means necessary to acquire it. + +What contributes most to the becoming swift, besides, frequent Exercise +and a fine Disposition, is a perfect Situation of the Parts, the +Retention of the Body, and the regular Motion of the Wrist: The +Situation requires this advantageous Point of all the Parts, to +communicate Freedom and Vigour to the Action, that they may act with +Quickness. In order to retain the Body, it is necessary that it be +always in it's perfect Situation, during the Motions previous to the +Thrust; and if the Thrust consist of one Time only, the Wrist must +begin. + +As to the Motion of the Hand, it must not only be animated, but also the +Action must not be wide, whether in Disengagements, Engagements, Feints, +or Risposts; because if you would be soon at your Mark, it is not +sufficient to go quick, but it is also necessary that the Action be +close. + +Many People have confounded the Swiftness of pushing with precipitate or +consecutive Thrusts, without considering that Precipitation is either +when the Body moves before the Hand, or when an improper Motion is made; +and the consecutive Thrusts, the pushing several Times without Interval, +or when there is no Occasion; which may be done by one who is not swift; +for Swiftness is only the Shortness of Time between the Beginning and +End of an Action, as I have already said. + +Swiftness and Time are very justly called the Soul of Fencing, and all +Thrusts owe their Success to these Qualities; for you cannot hit but by +Surprize, nor surprize but by Swiftness. + +There are three Ways of surprizing in Fencing: The first is the +Situation of the Guard, taking his Time: The second, is doing an Action +to disorder the Enemy, in order to hit him, at that Time, where he is +open; and the third is when the Opponent attacks you, either by Feints, +Engagements, or Lunges, you take him upon the Time. Tho' these three +Sorts of Surprize require a certain Point of Swiftness, the first needs +the most, having no other Support; but the two others have the Advantage +of having disorder'd the Enemy. + +Although Time, Swiftness, and the other Qualities are absolutely +necessary in Fencing, without their just Concurrence they are useless. +In order to acquire which, the Wrist must be easy by Practice, that you +may hit where you see Light. + + + + +CHAP. XXVIII. + +_Of Measure_. + + +Time, Swiftness, and Justness, without the Knowledge of Measure, would +be in vain, Thrusts from afar being of no Use, and from near, dangerous; +and the other Motions shou'd also be at a certain Distance, in order not +only to be ready for the Time, but also to take Advantage of the +Disorder of the Enemy. The Measure is taken from you to the Enemy, and +from the Enemy to you: The first is easier known, as well because it is +naturally so, as by the Custom of your Lunge, which being, in regard of +yourself, always the same, makes it easier by Practice: The Measure from +the Enemy to you is difficult, from the Difference in Persons whose +Stature, Activity, or Swords, are not always alike; and tho' the Height +shou'd be the same, the Arms, Thighs and Legs are not proportionable; +besides there are big Men that have short Arms, and little Men that have +long Arms. It is likewise so in regard to the Clift; some being longer +in the Fork than others; and though two Men shou'd in that Particular be +alike, if one of them has shorter Legs than the other, he will reach +farther, because his Thighs are longer, and in the Lunge, only one of +the Legs contributes to it's Length, the other making a Line almost +perpendicular, whereas the two Thighs making a strait Line, contribute +equally to the Extention. + +The Difference in Suppleness, also makes a Difference in the Extention; +a Man who has the Freedom of his Shoulders and Hips, going farther than +one that has them constrain'd. It may also happen that two Men of like +Proportion and Freedom of Parts, may not have an equal Extention, by +their being taught differently; some Masters teaching to keep the Body +upright, the Wrist raised, or too much on one Side, and the Left-foot +first; whereas the Body shou'd lean a little forward, without raising +or carrying the Hand to one Side, farther than to keep the Body +covered, and the Left-foot shou'd lye down on the Edge; this Situation +gives a greater Length than the other. + +The different Lengths of Swords sometimes make it difficult to know the +Measure, and makes it impossible to fix it by Rule, as several Masters +have pretended: Some of them say that the Measure is just, when the +Points cross each other a Foot; others, with as little Reason, wou'd +have the Middle of your Blade touch the Point of the Adversary's; but +what gives a true Knowledge of the Measure is frequent Exercise, +accompanied with a good Judgment, pushing often _Quart_ and _Tierce_ +with different Foils, and being pushed at by different Persons. + +The Extention is taken from the Left-foot, which is the Centre, to the +Button of the Foil. + +I did design, in this Place, to treat of Time, and of a regular Way of +pushing in Lessons, from the Beginning to the End of one Year, according +to the Disposition of Scholars; but after I had finished it, I thought +that my Fellow-Brethren would perhaps take it ill that I should +prescribe Lessons to their Scholars, by which, instead of gaining their +good Opinion, I might incur the Accusation of being more busy than +knowing. + + + + +CHAP. XXIX. + +_Of the Necessity of some Qualities in a Master_. + + +In order to teach well, it's necessary to have a perfect Idea of the +Means which conduce from the Beginning to the End of the Matter +proposed, I mean to it's Perfection, or to what comes nearest it, if our +Age has not as yet arrived to it. + +In Fencing, as well as in other Exercises, there should be Judgment and +Knowledge how to act and how to Teach: The first is the Effect of a long +and good Theory; the second, of a good Theory, long Practice, and a good +Disposition; and the third, besides the Theory and Practice, is the +Effect of a good Genius, or of a particular Talent. + +Qualities which shou'd be always united; so that the Genius may be +capable of teaching properly to different Persons, the Application of +the Rules which are acquired by Experience. + +It is as necessary in this Art that a Master's Motions shou'd be +regular, and that he shou'd hold the Foil properly in his Hand, as it is +for a Writing Master to draw the Example well that he would have copied; +so that the Scholar of the one, or of the other, may learn a better +Motion, or a finer Character. It is also proper that when a Scholar +commits a Fault, the Master shou'd shame him by imitating it, the seeing +the Fault making a greater Impression than the hearing of it. + +A Master in his Lesson shou'd give a Time to the Scholar to make him +push, in order to teach him to take the Enemy's Time. He shou'd likewise +sometimes beat back his Body, and parry him from time to time, that he +may accustom him to be firm on his Legs, to oppose his Sword well, and +to recover well: It is good sometimes to let him make several Thrusts +following, and then remaining firm all of a sudden, to shew him, that he +shou'd always be ready to thrust when an Opportunity offers, and to +retain himself when it does not offer. + +In order to make him take the Time well, and to form his Parade and +Rispost properly, the Time that the Master gives must have a Regard to +Rule, and sometimes to the Disorder of an unskilful Enemy, that he may +be equally fortifyed for both; and to form his Parade and Rispost the +Master must push in the Manner the most like to an Assault. + +Though most Masters give Lessons with shorter and stiffer Foils than are +used in assaulting or playing loose, I esteem it better always to use +the same Foils that they may not be deceived in an Assault. + +A Master's Play shou'd be neat, subtle agreeable, and useful, as fit for +Combat as for the School. + +The Art of Fencing being to make the most of a good or bad Disposition, +when 'tis good 'tis capable of being made perfectly dexterous, and when +bad, the Defect of Nature is to be repaired by Art. + +By saying that 'tis no hard Matter to perfect such Men as are naturally +of a very good Disposition, is meant the bringing them to a certain +Point which they could almost arrive to of themselves, by Practice and +Speculation; but it is well known that it is the Business of a good +Master to make his Scholar perfectly dexterous, and tho' he may have a +good Disposition and long Exercise, if he is not well instructed, he +cannot become dexterous, even tho' he shou'd execute with Agility, being +incapable of acquiring a Good without knowing and practising it. + +A good Disposition is seldom to be met with, for there is generally a +Mixture of bad Parts with the good. Some have a supple, light and +vigorous Body, and with these Qualities a heavy or ill adjusted Hand; +and others that have as good a Disposition as is desirable, have a +narrow Genius, fearing to undertake any thing, or are hot and +inconsiderate, which shews that it is only be a perfect Accord of the +Parts and Understanding that a Man can be perfectly dexterous. + +In short an able Master does not only shew the Fault, and whence it +proceeds, but also the Danger to which it exposes, and the Means to +leave it. A Master whose Play is regular, or who has the best +Foundation, may properly be said to be a good Master. + + + + +CHAP. XXX. + +_Rules for pushing and parrying at the Wall, and for making an Assault._ + + +Though 'tis absolutely necessary to begin by way of Lesson, and to +continue in it a long Time, in order that Practice growing to a Habit, +may give Liberty to the Parts to form themselves: nevertheless however +well you may take your Lessons, some other Means are necessary to make +an Assault well, than those which the Master gives at his _Plastron_: +This Rule must be supported by pushing and parrying at the Wall, and in +the Manner I am going to lay down. + +When you have laboured a certain Time at Lessons, you must push at a +Cushion which is fixed against the Wall for that Purpose, observing the +Guard, and the Measure or Extention of the Thrust; and that the Hand +display itself in _Quart_, not only according to the Rule, but first, +adjusting and supporting the Thrust, and that all the Parts be placed +in the most advantageous Situation for the Thrust and Recovery, which +shou'd be very regularly observed. + +After having lunged for some Days on the Cushion, to fix the Wrist and +Body a little, you must push at a Scholar, who Being placed at the Wall +will parry your Thrusts; you shou'd be in Measure, and to see if it be +just, you must lunge in _Quart_, placing the Button softly on the Body, +at the same time taking off your Hat, having taken the Measure you must +recover in Guard, and place yourself on the Outside of his Sword in +order to disengage and push _Quart_, being more careful of pushing +justly than hitting; he that parrys shou'd from time to time drop his +Foil, which will shew whether he that pushes follows the Blade or the +Line of the Body; having remain'd some Time upon the Lunge to form the +Support of the Wrist and the Posture of the Body you recover to Guard. +When you lunge pretty well in _Quart_, you may disengage and push +_Tierce_, and when the Thrust is pushed and parryed, you may recover and +push _Seconde_ under. + +When you have pushed for some Time in this Manner, you may practise to +parry, putting yourself for that Purpose to the Wall, which furnishes a +better Parade than at large, where you are used to draw back the Body +which weakens it, whereas here you cannot, which makes the Parade +stronger, having no Dependence but on the Foil; you shou'd chuse a +Scholar that pushes the most regularly, it being difficult without that, +that a Beginner shou'd learn to parry justly. + +Most young Beginners endeavour to hit at any Rate, instead of practising +what would be beneficial to them, but instead of deceiving others they +deceive themselves, by practising less how to form themselves and push +according to Rule, than how to spoil their Bodies, and destroy the +Solidity of the Principles: Some use themselves to push with the Wrist +only, without the Foot, which is dangerous, by reason of the too great +Measure; others with as little Reason, and as much Danger, place +themselves without binding the Blade, and thrust under the Wrist; in the +one the Situation of the Guard is good for nothing, and in the other +there is no Defence if the Adversary thrusts at that time: Others +deceive by making a Time or Motion when they are placed, but the pushing +at the Wall requires only the Justness and Swiftness of the Thrust; +others put themselves very near baulking the Measure, which may be done +four Ways, tho' the Left-foot may be in it's proper Place, and kept firm +in the Thrust; the first is done by marking or bringing forward the +Point of the Left-foot, keeping it a little in, then advancing the Heel, +which gives more Measure; secondly, by keeping back the Body on a Lunge, +you deceive the Measure and hit by abandoning it forward, which gives it +a greater Extention, thirdly, by raising or carrying the Wrist too high, +or too much to one Side, which shortning the Thrust, makes it believed +that you are out of Reach, but according to the Rule and Line you are +too much in Reach; fourthly, some take Measure by holding the Thumb on +the Body of the Guard, and when they have a mind to hit they hold it on +the Middle of the Handle, with the Pommel in the Hand, which also gives +a greater Length. + +When you have for some time used yourself to push and parry at the Wall, +according to the Rules that I have laid down, you must, (tho' 'tis not +the Rule of Schools, especially when you push with Strangers,) you must +I say, when you push with a Scholar of your own Master, push and parry a +Thrust alternately, disengaging, and then do the same Feinting, and +sometime after you shou'd make the other Thrusts, telling one another +your design, which makes you execute and parry them by Rule, especially +if you reflect on the Motions and Postures of the Lunges and Parades. +Being a little formed to this method, you may, being warned of the +Thrust, parry it, telling the Adversary where you intend your Riposte, +which puts him in a condition to avoid it, and gives him room to +redouble after his Parade, either strait or by a Feint, at which you are +not surprised, expecting by being forewarned the Thrust he is to make, +which puts you easily on your Defence and Offence: by this manner of +Exercise, you may not only improve faster, but with more art, the Eye +and Parts being insensibly disposed to follow the Rule, whereas without +this Method, the difference that there is between a lesson of assaulting +a Man who forewarns you, helps you, and lets you hit him, and another +who endeavours to defend himself and hit you, is, that except the +Practice of Lessons be very well taught by long exercise, you fall into +a Disorder which is often owing to the want of Art more than to any +Defect in Nature. The taking a Lesson well, and the Manner of Pushing +and Parrying which I have just described, may be attained to by Practice +only, but some other things are necessary to make an Assault well; for +besides the Turn of the Body, the Lightness, Suppleness and Vigour which +compose the exteriour Part, you must be stout and prudent, qualities so +essential, that without them you cannot act with a good Grace, nor to +the purpose. If you are apprehensive, besides, that you don't push home, +or justly, fear making you keep back your Thrust, or follow the Blade, +the least Motion of the Enemy disorders you, and puts you out of a +Condition to hit him, and to avoid his Thrusts. Without Prudence, you +cannot take the advantage of the situation, motions designs of the +enemy, which changing very often, according to his Capacity and to the +Measure, demonstrates that an ill concerted Enterprise exposes more to +Danger than it procures Advantage: in order to turn this Quality to an +advantage, you are to observe the Enemy's _fort_ and _feeble_, whether +he attack or defend; if he attack it will be either by plain Thrusts +strait, or disengaged, or by Feints or Engagements, which may be opposed +by Time, or Ripostes: if he keeps on his Defence, it is either to take +the Time or to Riposte. In case of the first; you shou'd, by half +Thrusts, oblige him to push in order to take a Counter to his Time, and +if he sticks to his Parade you must serve in what Manner, in order to +disorder him by Feints, and push where he gives Light. + +It would fill a whole Volume to describe the Thrusts that may be made, +according to the Difference of Persons, as well to surprise as to avoid +being surprised; besides the many Repetitions wou'd be extremely +puzzling, for which Reason, I have, instead of them, laid down the +following Advices, which contain chiefly, what I cou'd not otherwise +have communicated without a long Treatise. + +Don't put yourself in Guard within the Reach of the Enemy. + +Make no wry Faces, or Motions that are disagreeable to the Sight. + +Be not affected, negligent, nor stiff. + +Don't flatter yourself in your Lessons, and still less in Assaults. + +Be not angry at receiving a Thrust, but take care to avoid it. + +Be not vain at the Thrusts you give, nor shew Contempt when you receive +them. + +Do not endeavour to give many Thrusts, running the Risque of receiving +one. + +Don't think yourself expert, but that you may become so. + +When you present the Foils, give the Choice without pressing. + +If you are much inferiour, make no long Assaults. + +Do nothing that's useless, every Action shou'd tend to your Advantage. + +Lessons and Assaults are only valuable when the Application and Genius +make them so. + +Too good an Opinion spoils many People, and too bad a one still more. + +A natural Disposition and Practice are necessary in Lessons, but in +Assaults there must be a Genius besides. + +The Goodness of Lessons and of Assaults does not consist so much in the +Length as in the Manner of them. + +When you have to do with one that's bold and forward, it is necessary +to seem apprehensive in order to get a favourable Opportunity. + +If you act against one that's fearful, attack him briskly to put him in +Disorder. + +Before you applaud a Thrust given, examine if Chance had no Hand in it. + +Thrusts of Experience, and those of Chance are different, the first come +often, the others seldom or never happen, you may depend on one, but not +on the other. + +In Battle let Valour and Prudence go together, the Lyon's Courage with +the Fox's Craft. + +To be in Possession of what you know, you must be in Possession of +yourself. + +Undertake nothing but what your Strength and the Capacity of the Enemy +will admit of in the Execution. + +The Beauty of an Assault appears in the Execution of the Design. + +Make no Thrust without considering the Advantage and the Danger of it. + +If the Eye and Wrist precede the Body, the Execution will be good. + +Be always cautious, Time lost cannot be regained. + +If you can hit without a Feint, make none, two Motions are more +dangerous than one. + +To know what you risque, you must know what you are worth. + +If you would do well, acquire the agreeable and useful. + +Twenty good Qualities will not make you perfect, and one bad one will +hinder your being so. + +Judge of a Thrust, rather by Reason than by it's Success; the one may +fail, but the other cannot. + +To parry well is much, but it is nothing when you can do more. + +Let your Guard, and your Play be always directly opposite to the Enemy. + +Practice is either a Good or an Evil; all consists in the Choice of it. + +When you think yourself skilful and dexterous, 'tis then you are not so. + +'Tis not enough that your Parts agree, they must also answer the Enemy's +Motions. + +The knowing a Good without practising it, turns to an Evil. + +Two skilful Men acting together, fight more with their Heads than with +their Hands. + +If you are superiour to your Enemy, press him close, and if you are +inferiour, break Measure to keep him moving. + +Endeavour both to discover the Enemy's Design, and to conceal your own. + +When the Eye and the Hand agree in the same instant, you are perfectly +right. + +Draw not your Sword, but to serve the King, preserve your Honour, or +defend your Life. + + + + +CHAP. XXXI. + +_Against several erroneous Opinions._ + + +Though there are People of a bad Taste in every Art or Science, there +are more in that of Fencing than in others, as well by Reason of the +little Understanding of some Teachers, as of the little Practice of some +Learners, who are not acting upon a good Foundation, or long enough, to +have a good idea of it, argue so weakly on this Exercise, that I thought +it as much my Business to observe their Errors, as it is my Duty to +instruct those that I have the Honour to teach in the Theory of it: By +this Means, I may furnish the One with juster Sentiments, and the +Others with the Means of preserving their Honour and Lives. + +I begin with those, who defer letting their Children learn 'till they +have attained a certain Age, Growth and Strength. If these three +Qualities would enable them to put this Art in Execution immediately, I +acknowledge that they ought not to begin 'till they possessed them; but +it is by long Experience and Practice only, that they can become +perfect; so that except they begin young, the Employments for which they +are designed, may not give them Time to arrive to it; besides, by +beginning in a tender Age, the Body is more easily brought to a good +Air, and an easy Disengagement; being more at Liberty, and less used to +Faults, which it would naturally fall into for want of being cultivated. + +Others say that it is needless to learn when the Disposition is wanting, +which is an Error; for a Body that is well disposed by Nature, can +better dispense with the Want of Improvement, than those that she has +taken less care of; these requiring a constant Labour, to acquire what +the others have almost of themselves; and tho' they cannot arrive to a +perfect Agility, yet their Bodies will be better disposed to act, and +their Lives not so much in Danger. + +Some assure you that the knowing how to Fence, makes a Man quarrelsome, +and thereby exposes him to dangerous Consequences, without considering +it is a natural Brutality, Honour, or Danger, which obliges him to +attack another, or defend himself, which he would do without having +learned, with this Difference; that though he have the same Brutality or +Courage, the Issue of the Battle is not the same; and if he have +Occasion to defend himself, would it not be better for him to be able to +do it, than to leave his Life to an uncertain and dangerous Hazard. + +Others say that it is enough to learn one Exercise at a time; that a +Plurality of different Lessons fatigues the Mind and the Body: But as +one Science disposes the Mind for the others, they having a Sort of a +Correspondence one with another, so Exercises favour one another as well +in regard to the Posture of the Body, as to the Freedom of Motion; +besides, that learning them one after another, as each Particular would +take up as much Time as all in general, this Length of Time would be too +great for any one almost to succed in them. + +Many People say that with Sword in Hand the Rules of the School are not +observed, and that 'tis sufficient to have a good Heart: It is certain +that People who are subject to this Error, are not capable of following +the Rules which are to be acquired only by putting a good Theory in +Practice; which by frequent Use, disposes the Eye and the Part of +Executing so well, that it is almost impossible to act otherwise: And as +to the Practice of Schools and of the Sword, 'tis the same; for no one +ought to do any thing with the Foil, but what he knows by Experience to +be without Risque, according to his Rules. In some Cases, it is true, +what is esteemed good in one, is not in the other. For Example: Thrusts +with the Foil are good only on the Body, and with the Sword they are +good every where; and that in an Assault with the Foil, the joining is +reckoned as nothing, whereas in Battle 'tis the Seal of the Victory; but +except in that, it should be alike in every Thing. + +Others say that if they had to do with experienced Men, they would not +give them Time to put themselves in Guard; as if a Man who is expert +were not always on his Guard, being more knowing, and better disposed, +not only to place himself at once, by the Habit that all his Parts have +contrasted, but also to surprise, and to avoid being surprised, by the +Knowledge he has of Time and Measure: On the contrary, an unskilful +Person being ignorant of both, is easily catch'd; besides, that his +Parts being unaccustomed to place themselves regularly, or at once, must +always be in a continual Motion, vainly seeking their Place, by which +they give the Time, and would lose it if it were given to them. + +Some, in Opposition to these, say that if they know how to keep +themselves in Guard 'tis sufficient. They are in the right if the Guard +be perfect, which is not to be acquired but by a Practice as long as is +necessary to make them perfectly dexterous, which is not their Meaning; +they thinking that it is only the placing of the Parts, which is +useless, without Freedom and Vigour to manage them. These are Qualities +which when accompanied with a certain regular Air, and a good Grace, +shew, as soon as a Man takes a Sword or Foil in his Hand, to what Pitch +of Dexterity he is arrived. + +Some Men will tell you that they know enough to serve their Turn: Those +who use this Expression, as well as those I have spoken of before, +sufficiently shew that they have learnt but little or nothing. In Effect +it is no hard Matter to judge of the different Degrees of Ability; so +that when a Man finds himself inferiour, he cannot properly say that he +knows enough to serve his Turn; and a Man who is superiour, knows very +well that he is not perfect, and that if his good Disposition together +with his long Practice, has brought him very forward in the Art, others +may know as much as he, and that therefore he is not so perfect as an +unskilful Person may imagine. + +I have heard several People say that they did not care to be dexterous, +nor to know the five Rules, provided they knew how to defend themselves, +and to push and parry well; and really they are in the right, supposing +they could do that without practising what the most able Men have +invented upon this Occasion. + +There are People that say, that with Sword in Hand, against an able Man, +there is nothing to be done but push vigorously, to disorder him: I am +apt to believe that this may succeed against a Man who is not well +form'd, or has not the Courage and Resolution that is necessary; but if +he has enough to keep up his Spirit, this Attack will be advantageous to +him; because it cannot be done without giving him an Opportunity of +getting the better; and besides, I have Reason to believe that the +greatest Part of those who talk in this Manner, would hardly attempt an +able Man. + +It may be said that People have then fought in this Manner with Success; +but as there is Difference in Persons, what succeeded with them against +unskilful People or Cowards, would have been dangerous against other +Men. + +I have met with People who were weak enough to believe that Knowledge in +Fencing takes away the Heart, saying, that seeing the Counters to every +Thrust they form, by Means of that Knowledge, an Idea of evident Danger, +which dissipating the Courage, and causing an Apprehension, hinders them +from their Enterprise; when an unskilful Person blindly undertakes every +thing. It is true that there is great Blindness in this Way of pushing, +as they say, and still more in their Understanding, to think that an +able Man dares not undertake or venture when the Appearance of Success +leads him to it; and that an ignorant Man shall venture when his Loss +is almost certain. Is it reasonable to suppose, that a Man of natural +Courage shou'd lose it, because he is assured that he is more expert +than his Enemy, over whom, or perhaps his Equals, he always had the +Better in Assaults, by the Help of his Knowledge and Dexterity? This, +far from intimidating him, seems to assure him of Success, which is due +to his habitual Practice. On the contrary, an awkard Man having seen, by +his Disadvantage in School Assaults, that he has no Room to hope in +Combat, the dexterous Man possessing the Qualities which procure +Success, and one who had never handled a Foil, will be as much puzzled, +as if he had experience'd the Disadvantage of it. + +Others, with as little Reason, leave all to Chance, but the very Name is +sufficient to shew that it is not to be relye'd on. + +Some again say to what Purpose shall we learn to Fence, the KING had +forbid Duels: It is true that this great Prince, as august for his Piety +as for his Victories, was willing thereby to preserve the Blood of his +bravest Subjects, who expose'd it every Day to be shed through a false +Notion of Honour. + +But tho' he forbid Duels, he was so far from hindering the Practice of +the Sword, that he has established several Academies for the perfect Use +of it, not only for Defence, but also to qualify his Subjects to put the +Justice of his Measures in Execution: And it must at last be agreed to, +that a Man who wears a Sword, without knowing how to use it, runs as +great a Hazard, and is full as ridiculous, as a Man who carries Books +about him without knowing how to read. + +Many Men are of Opinion that a Man may naturally know enough to attack +or defend himself, without the Assistance of Art: Man, tho' the only +reasonable Creature, finds himself deprived of what irrational Creatures +naturally possess; and he requires for his Improvement the Assistance +and Practice of others; the grand Art of War, and that of using the +Sword, which has been practised thro' so many Ages, still find new +Inventions; and it may be said, that as there is no Place, in whatever +Situation by Nature, but requires Art to secure it's Defence; so +likewise, whatever Disposition a Man possesses, he cannot be perfect +without the Assistance of Rules and Practice. + +Some Men acknowledge that Skill is necessary in single Combat, but that +in a Crowd or Battle it is altogether useless: I own that on these +Occasions, it is less useful than in single Battle, by reason of the +different Accidents, as of Cannon, Musquets, and of other Arms; besides, +a Man may be attacked by several at once: But if a Man cannot avoid +being hit with a Ball, and sometimes with a Sword, he may, nevertheless, +by the Disposition and Agility of the Parts, more easily defend and +return a Thrust: Besides, being more able to hit with the Edge or Point, +he may put more Enemies to flight, or keep them at a greater Distance. +If the French Troops have always been victorious, Sword in Hand, a Part +of the Glory is owing to the Skill of several Officers; and I'll venture +to say, that if they had all been as expert as they should have been, +you might see, as well on Foot as on Horseback, in Battle as on a +Breach, Actions that would be not only uncommon but prodigious. It may +perhaps be said, that our Enemies have some expert Officers among them; +besides, that their Number is commonly less than in _France_, there is +as great a Difference between their Dexterity and that of the _French_, +as between their Masters and our's, from whom very few would have +learned if the War had no suspended our Academies.[5] + +I think it proper to finish this Chapter by confuting an Error as +common, and more ridiculous, than the others; which is, of an infallible +Thrust, which a great many People think that Masters reserve for +dangerous Occasions, or to sell it at a dear Rate. This wonderful Thing, +is called the secret Thrust. I don't know whether this Error proceeded +from those who have not learned, or from the Chimera of some +self-conceited Masters, who have sold to ignorant Scholars, some Thrusts +as infallible, of their own Contrivance, as ridiculous and dangerous as +the Simplicity of the Scholar and the Knavery of the Master are great. + +To discover the Error of this Opinion you must observe two Things: +First, that in Fencing there are no more than five Thrusts or Places, +which I have described in Page 27, shewing the Parade of each of them; +and secondly, that there is no Motion without it's Opposite; so that as +you cannot push without a Motion, there is no Thrust without it's +Counter, and even several; for besides the different Positions of the +Body, there is not only the Time to take, but also several Parades to +favour the Risposts, which plainly shews, that doing one of these Things +properly, this imaginary infallible Thrust, far from succeeding will +expose him that would make it. + +All the Secrets in the Thrusts that are given by an able Man, far from +being an Effect of the Thrust, is only an Effect of the Occasion, and +the Swiftness; or rather of the judgment and Practice: By Means of these +Qualities all Thrusts are secret ones, or they wou'd be worth nothing. + +All the Thrusts in Fencing are equally good, when they are made +according to Rule, with Swiftness, and on the Occasions proper to them; +wherefore they ought not to be neglected whilst the Time of learning +them offers; not but you may stick closer to some Thrusts than to +others, either because you may be better disposed for them, or because +you are more used to them. + +I thought that after I had exposed the Errors of several Persons, I +might tell them, that it is contrary to the Rules of good Breeding, to +talk of Things they do not understand; that oftentimes People, by their +first Appearance, have been thought to possess the Qualities of knowing +Men, but have afterwards forfeited the good Opinion which they had at +first imposed on others. + +FINIS. + + + + +_Thrusts of Emulation for Prizes, Wagers &c._ + + +All Thrusts from the Neckband to the Wastband are counted good. + +_Coup Fourres_ or interchanged Thrusts are not counted on either side, +except one of the Competitors has Recourse to it in order to make the +Thrusts equal, then the Thrust of the other is good, and not his. + +If one hits the Body and the other the Face or below the Wast at the +same Time; the Thrust on the Body is counted, but not the other. + +If a Man parrys with his Hand, and afterwards hit, his Thrust is not +good, because by parrying with the Hand, his Antagonist's Foil is less +at Liberty than if he had parryed with the Blade, and might be a Reason +why he could not parry and risposte. + +If a Man takes the Time, opposing with the Left-hand, and hits without +receiving, his Thrust is not good, because if he had not Opposed with +the Hand, both would have hit, the Opposition of the Hand serving only +to avoid, but no way contributing to the Success of the Thrust. + +If in parrying, binding, or lashing the Foil, it Falls, and that the +Thrust is made without Interval, it is Good. + +Thrusts made with the Sword in both hands, or shifting from one Hand to +the other are not good. + +A Master is not to give judgment for his own Scholar. + + + + +FOOTNOTES: + +[Footnote 1: The Iron at the End of the Blade that runs into the +Handle.] + +[Footnote 2: I am not of Opinion that the Body should be drawn back, +except it be impossible to avoid the Thrust without doing it; all +Parades being best when the body is not disorder'd.] + +[Footnote 3: See the 8th. Plate.] + +[Footnote 4: See the 12th Plate.] + +[Footnote 5: As in this Paragraph, Monsieur L'Abbat rather introduces an +Encomium on his Country-men, than any thing essential to the Art of +Fencing. I leave the Reader to his own Opinion thereon.] + + + + + + + + + + + +End of the Project Gutenberg EBook of The Art of Fencing, by Monsieur L'Abbat + +*** END OF THIS PROJECT GUTENBERG EBOOK THE ART OF FENCING *** + +***** This file should be named 12135.txt or 12135.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/2/1/3/12135/ + +Produced by Steve Schulze and PG Distributed Proofreaders. 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