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+*** START OF THE PROJECT GUTENBERG EBOOK 12135 ***
+
+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 THE PROJECT GUTENBERG EBOOK 12135 ***