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-The Project Gutenberg EBook of A New System of Sword Exercise for Infantry, by 

-Richard Francis Burton

-

-This eBook is for the use of anyone anywhere at no cost and with

-almost no restrictions whatsoever.  You may copy it, give it away or

-re-use it under the terms of the Project Gutenberg License included

-with this eBook or online at www.gutenberg.org/license

-

-

-Title: A New System of Sword Exercise for Infantry

-

-Author: Richard Francis Burton

-

-Release Date: April 21, 2019 [EBook #59336]

-

-Language: English

-

-Character set encoding: UTF-8

-

-*** START OF THIS PROJECT GUTENBERG EBOOK A NEW SYSTEM OF SWORD ***

-

-

-

-

-Produced by Tim Lindell, Charlie Howard, and the Online

-Distributed Proofreading Team at http://www.pgdp.net (This

-file was produced from images generously made available

-by The Internet Archive)

-

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-

-[Illustration:

-

-  NEW SYSTEM

-  OF SWORD

-  EXERCISE

-]

-

-

-

-

-  A NEW SYSTEM

-  OF

-  SWORD EXERCISE FOR INFANTRY.

-

-

-  BY

-  RICHARD F. BURTON,

-

-  AUTHOR OF ‘A SYSTEM OF BAYONET EXERCISE’ (1853).

-

-

-  LONDON:

-  PRINTED AND PUBLISHED BY

-  WILLIAM CLOWES AND SONS, 13, CHARING CROSS.

-  1876.

-

-

-

-

-  THESE PAGES

-  ARE DEDICATED (WITH PERMISSION)

-  TO

-  His Royal Highness Field-Marshal the Duke of Cambridge,

-  COMMANDER-IN-CHIEF OF THE ARMY,

-  ETC., ETC., ETC.,

-  WHO HAS GRACIOUSLY ENCOURAGED THIS ATTEMPT TO EXTEND

-  THE ‘INFANTRY SWORD EXERCISE,’

-  BY

-  HIS ROYAL HIGHNESS’S

-  MOST HUMBLE AND DEVOTED SERVANT,

-

-  THE AUTHOR.

-

-

-

-

-CONTENTS.

-

-

-                                                        PAGE

-  Introductory Remarks                                    11

-

-  Sect. I. Preparatory Instruction without the Sword      20

-

-       II. Preparatory Instruction with the Sword         26

-

-      III. The Manchette, or Fore-arm Play                45

-

-  Conclusion                                              56

-

-  Appendix (Note on Sabre handles)                        57

-

-[Illustration]

-

-

-

-

-A NEW SWORD EXERCISE FOR INFANTRY.

-

-

-

-

-INTRODUCTORY REMARKS.

-

-

-Before proceeding to develop my New Sword Exercise for Infantry, I

-would offer a few remarks upon the changes proposed in these pages.

-Whilst the last half century has witnessed an immense improvement in

-the projectile weapons of the civilized world, the theory and practice

-of the sabre or cutting arm have remained _in statu quo ante_; indeed,

-if there has been any change it is for the worse. The two systems

-authorized in the British army are completely behind their time. First

-and senior is the ‘Infantry Sword Exercise’ (with plates): Revised

-Edition, Adjutant-General’s Office, Horse Guards. London: Printed under

-the superintendence of H.M. Stationery Office: 1874. The second is

-the ‘Instructions for the Sword, &c. (without plates), for the use of

-Cavalry.’ Adjutant-General’s Office, Horse Guards. June, 1871.

-

-The latter can be despatched very briefly. Despite the late date,

-it is as obsolete as the older system; it is, in fact, only the

-‘Infantry Exercise’ with the addition of “pursuing practice,” and

-“post practice”--the latter upon a sort of modern Quintain not made

-to revolve. So far, so good. The practised swordsman has little to

-learn when mounted, except the few modifications which he can teach

-himself. His real study is on foot. But some of the remarks appear not

-to have been written by a practical hand. For instance, we read (p.

-27): “In delivering a forward thrust, very little force is necessary

-when the horse is in quick motion, as the extension of the arm, with

-a good direction of the point, will be fully sufficient.” “Fully

-sufficient”--I should think so! The recruit must be carefully and

-sedulously taught when meeting the enemy, even at a trot or canter,

-to use no force whatever, otherwise his sword will bury itself to the

-hilt, and the swordsman will either be dragged from his horse, or will

-be compelled to drop his weapon--if he can. Upon this point I may quote

-my own ‘System of Bayonet Exercise’ (p. 27):--

-

-“The instructor must spare no pains in preventing the soldier from

-using force, especially with the left or guiding arm, as too much

-exertion generally causes the thrust to miss. A trifling body-stab

-with the bayonet (I may add with the sword) is sufficient to disable

-a man; and many a promising young soldier has lost his life by

-burying his weapon so deep in the enemy’s breast that it could not

-be withdrawn quickly enough to be used against a second assailant.

-To prevent this happening, the point must be delivered smartly, with

-but little exertion of force, more like a dart than a thrust, and

-instantly afterwards the bayonet must be as smartly withdrawn.” In

-fact the thrust should consist of two movements executed as nearly

-simultaneously as possible; and it requires long habit, as the natural

-man, especially the Englishman, is apt to push home, and to dwell upon

-his slouching push.

-

-The ‘Infantry Sword Exercise’ is nought but a snare and a delusion.

-Except in pagination, it is the same as the “Revised Edition” of

-1845--the only difference or revision that I can detect is the omission

-of a short sentence in p. 26 of the older issue; it even retains

-the General Order of Lord Hill, 23rd April, 1842. Thus “Revision”

-is confined to the plates. In 1845 the figures wear the milk-pail

-shako widening at the top, the frock coat and the scales; the last

-edition, dated April, 1874, dons the tall modern chimney-pot, the

-tightly buttoned tunic with stiff collar and, like its predecessor, the

-sash and the scabbard. It is no wonder that the figures display an

-exceeding _gêne_, the stiffness of pokers, as the phrase is: here we

-might with profit borrow from the French or Italian artist.

-

-I am opposed to almost every page of this unhappy _brochure_,

-especially to the “Seven Cuts and Guards” of the target; to the shape

-of the target--I never yet saw a man absolutely circular; to the grip

-of the sword; to the position in guard; to the Guards or Parades,

-especially the inside engaging guard (Carte); to the Lunge; to the

-angle of the feet, and to the system of “loose practice.”

-

-The “Cuts” will be noticed in a future page. Of the grip I may remark

-that the one essential, the position of the thumb, both in attacks and

-parries is, as a rule, neglected by the ‘Sword Exercise.’[1] As early

-as 1828, Müller made his _point d’appui_ a grasp of the handle with

-the four fingers, the thumb being stretched along the back, in order

-to direct the edge, and to avoid the possibility of striking with

-the “flat.” The only exception to this universal law is when doing

-the “Moulinet” movements, which will be explained farther on. Some

-professors, both with broadsword and small-sword, would stretch the

-index, when pointing, along the right of the handle. I have objected to

-this practice in the rapier and the foil: except when done to change

-position for relief, it serves merely to fatigue the wrist. But the

-proper use of the thumb, “_le pouce allongé sur le dos de la poignée_,”

-which is troublesome at first, and which demands some study, especially

-from those who have acquired bad habits, is the base of all superior

-“counterpoint.”[2]

-

-The position on guard is a debated point. Many, indeed I may say

-most, of the moderns follow the rule of all the older swordsmen,

-namely, reposing two-thirds of the body-weight (as in p. 19 of the

-‘Exercise,’ which, however, is an exaggeration) upon the left leg. The

-reasons usually given are that in this position the person is not so

-much exposed; moreover, that the centre of gravity being thrown back

-adds spring and impetus to the Lunge. We may remember how Cordelois

-(1862) made a step towards change in his fencing-schools at Paris.

-My objection to the old style is that the farther you are from your

-opponent, the longer and slower will be your attack; moreover, I have

-ever found, in personal practice, that it is easier and more convenient

-to “sit on guard” with the weight equally distributed on both haunches

-and legs. In fact, that the backward position is not natural any pair

-of thighs can ascertain for itself after trying it for five minutes:

-whilst the muscles of the right or forward limb are relaxed as much

-as possible, those of the left are tight strung, so as to do double

-work and threaten cramp. This single objection is serious enough to

-counterbalance any other claims to superiority.

-

-[Illustration: First Guard. (Prime.)

-

-(“What to avoid.”)]

-

-Again, there is no excuse for the guards in the ‘Exercise.’ The

-“Hanging guard” (p. 18, in the older issue p. 21) is the worst that

-can be imagined--a painful spectacle, a lesson of “what to avoid.” The

-head ignobly cowers, and the eyes look up, in a forced and wearying

-position, when the former should be held upright, and the glance should

-be naturally fixed upon the opponent’s eye and blade-point; the body

-is bent so as to lose our national advantage of height and strength,

-and the right fore-arm in such a position is, and ever must be, clean

-uncovered. Let the recruit, however strong may be his haunches, stand

-a few minutes in this “Hanging guard,” and he will soon feel by his

-fatigue how strange, awkward, and strained it is. The Carte or inside

-Engaging Guard (pp. 19, 22), again, endangers the fore-arm. The

-Tierce or outside Engaging Guard (pp. 20, 23) holds the hand too low,

-and unduly shortens the arm, thus offering an undesirable amount of

-exposure; it is in fact not a Guard, but a bad parry in “low Tierce.”

-Worse still is the Lunge (pp. 14, 17): here the body is placed bolt

-upright, instead of being easily bent, without exaggeration, to

-the fore, prolonging, as every man instinctively would do at his

-first attempt, the line of the left leg. The former position is not

-only fatiguing and “against the grain;” also shortens the reach and

-carefully places the opponent safely out of measure. Many swordsmen

-still contend for the stiffly upright position in Lunge:[3] I am

-disposed to consider it a mere survival of the classical and artificial

-French school of arms, which aimed at opposing nature as sedulously

-as the Italian, who always leans to the fore, attempted to follow her

-dictates. Moreover, their arguments are founded upon the abuse, not

-the use, of the inclined pose which the body naturally assumes. In

-teaching the recruit it is well to see that he does not fall into the

-dangerous habit of throwing the chest forward (_poitriner_) to meet his

-opponent’s point; but the truth of muscular motion must be consulted.

-

-Finally, I would note the mistake of “loose practice” with the

-single-stick instead of the sabre; it probably arose from a mistaken

-economy in saving swords and paddings. Single-stick is a different

-weapon, a cane or light cudgel with a basket-hilt covering the back

-of the hand, like the imperfect guard of the Highland Clay-more; it

-is straight, not curved, and, as the rod has no edges, so in practice

-every blow equally represents a cut. Single-stick has merits of its

-own, but its practice is fatal to excellence with the broadsword, and

-even the ‘Exercise’ seems to recognize the fact, for the _guindés_

-figures are armed with officers’ Regulation swords.

-

-[Illustration: Inside Guard--(Carte).

-

-(Weight all thrown back.)]

-

-Both ‘Sword Exercises’ carefully avoid naming “Tierce” and “Carte;”

-preferring “right” and “left” (of the Sword) or “outside” and “inside,”

-as if such mysteries were too high or too deep for our national

-intelligence. I would again quote a few lines from my ‘System of

-Bayonet Exercise’ (Introductory Remarks, pp. 8, 9):--

-

-“But why, it may be asked, should the English soldier be deterred by

-difficulties which every French voltigeur can master? We admire the

-intelligence of our neighbours in military matters: we remark that they

-are born soldiers, and that their men learn as much in four months

-as ours do in six. Is not this, however, partly our own fault? In my

-humble opinion we mistake the cause of their quickness, attributing

-to nature the effect of art. When our system of drill is thoroughly

-efficient; when the _Manual and Platoon_ is much simplified, when a

-_salle d’armes_ is established in every corps, and when the bayonet

-exercise becomes a recognized branch of instruction; then, I believe,

-we shall find our soldiers equal in intelligence to any others.” These

-words were written in 1853; in 1875 I add, “When we enlist the right

-kind of recruit either by improving his condition and his prospects,

-not his pay, or better, far better, by securing a superior man through

-the conscription of modern Europe.” We Britons are no longer physically

-divided from the total orb; nor can we afford to remain morally

-insulated and isolated. The logical effect of union with the outer

-world will be to make us do as the world does, and all our exceptional

-institutions, such as the system of volunteer recruiting, must sooner

-or later go by the board.

-

-[Illustration: Outside Guard--(Tierce).

-

-(A Parry not a Guard.)]

-

-Nor is the most modern French Treatise (pp. 229–256, _Manuel de

-Gymnastique et d’Escrime_, officially published by the _Ministre de la

-Marine et des Colonies_; Paris, Dumaine, 1875) “_Escrime au Sabre_”

-much superior to our home growth. The position of the left hand (pp.

-232, 233) is bad throughout: it must slip during the Lunge and make the

-play loose. The retreat of the left leg (Fig. 5, p. 235) is carried to

-an extreme of caution. The body is always perpendicular in the Lunge,

-whereas the same volume shows (Fig. 16, p. 20) the trunk naturally

-inclining forwards. The Cuts are not double nor continuous, as they

-should be. The “Hanging Guards” (pp. 240, 244, 245) are deplorable.

-On the other hand, the _Manuel_ (p. 231) places the thumb along, not

-around, the handle; the _moulinets_, the _enlevés_, and the _brisés_

-(presently to be explained) are good stuff, and, moreover, they are

-applied to the Cuts (p. 239). Finally, nothing can be better than

-the advice (p. 249), “Après avoir touché, retirer vivement le sabre

-en arrière en lui imprimant une direction oblique dans le sens du

-tranchant, de manière à _scier_.”

-

-Of the points or thrusts with broadsword nothing will here be said:

-they belong to another order of things, and they should be studied

-in the fencing school.[4] But the soldier must be taught that if his

-adversary attempt a thrust, the broadsword is easily disarmed. When the

-opponent comes to the position of pointing, that is, extends his blade,

-a sharp glissade along its length will make the grip fly out of his

-grasp. Another way of embarrassing the attack is to cut right and left

-at the hand, the wrist, or the fore-arm, when the adversary begins to

-present point.

-

-General Lamoricière was a firm believer, as we all are, in the

-thrust, and the French Sword Exercise for Cavalry (p. 178 _Règlement

-Provisoire sur les Exercises de la Cavalerie_, officially published at

-the _Ministère de la Guerre_; Paris, Dumaine, 1873) justly remarks:

-“_Les coups de pointe doivent toujours être employés de préférence,

-comme exigeant moins de force et ayant un résultat plus prompt, plus

-certain et plus décisif_.” The reason of its confessed superiority

-to the Cut is as old as the axiom, “a straight line is the shortest

-way between two points.” The Thrust describes a diameter, the Cut, a

-segment, of a circle and, with equal velocity, the Cut will traverse a

-distance occupying some two-thirds more of time than the Thrust. The

-French tactician therefore proposed to abolish the use of the edge

-for cavalry, thus traversing the instinct of the man-at-arms who,

-especially on horseback, loves to slash at his enemy, and who runs

-far less risk of entangling his blade. But he of course advocated

-a straight and tapering sword with no edge to speak of; indeed the

-cuirassier’s _latte_ is still a kind of rapier, but it is rendered

-useless by prodigious length and by the weight of the handle. The

-modern Italian School of Sabre uses, especially in single combat, all

-the _dégagements_ of the _salle d’armes_: this is thoroughly illogical;

-the weapon is chosen because it is supposed to be less fatal than foil

-or rapier, and yet it is so used as to become even more deadly. I

-need hardly say that the weight and shape of the broadsword, together

-with the positions of guard, render pointing with it awkward in the

-extreme.[5]

-

-I have now finished with the ungrateful task of criticizing, and I

-proceed to propose a system which it is hoped will be as severely

-criticized by others. It is only candid to state that its pretensions

-are high, that it contains two distinct novelties, the Manchette System

-and the Reverse or Back-cut; and, finally, that it aspires to be the

-first Treatise in which the broadsword is scientifically taken in hand.

-

-

-

-

-SECTION I.

-

-PREPARATORY INSTRUCTION WITHOUT THE SWORD.

-

-

-§ 1. _Preliminary._

-

-Nothing will here be said concerning the “goose step of the sword,”

-the “Balance Motions,” and the “Extension Motions,” of the official

-‘Infantry Sword Exercise.’ They are essentially a part of ‘Squad and

-Setting-up Drill,’ and as such they have been treated in several good

-manuals, especially by Serjeant-Major S. Bertram Brown: A ‘Practical

-Guide to Squad and Setting-up Drill, in accordance with the Principles

-laid down in Part I., Field Exercise of the Army.’ Adapted for the use

-of Recruits, Rifle Volunteers, Militia, Police Force, Schools, and

-Families: Illustrated with sixty-eight figures, representing each Stick

-and Club Exercise, Extension Motions, and Sword Exercise Positions.

-London: Allen and Co., 1871. 2nd Edition.[6] Considered in a wider

-sense they belong to the Branch of Science so thoroughly developed in

-‘A Military System of Gymnastic Exercises for the Use of Instructors:

-Adjutant-General’s Office, Horse Guards, 1862; Physical Education,’

-_Clarendon Press Series_, Oxford, 1869; and in ‘Training in Theory and

-Practice’ (London, Macmillan, 1874), by Archibald MacLaren,[7] whose

-excellent code for the army, and whose influence with successive war

-ministers, as some one truly said, have aided largely in introducing

-that admirable training which is transforming the stiff, slow-moving

-grenadier of past times into the vigorous, rapid, and enduring soldier

-of the present day.

-

-Squad drill is not likely to make a good swordsman, yet economy of

-time renders it a necessity. It must be practised first without,

-then with, weapons, after which those who show unusual capabilities

-should be taken individually in hand by the master. The latest French

-system (_Manuel, etc_.) divides the four lessons into two degrees: 1.

-Preparatory Movements; moulinets and simple attacks and parries. 2.

-Compound attacks and parries.

-

-The formation of the squad is in the usual line, with open order at

-arm’s length from the right or left. The men are then taught the three

-positions as follows:--

-

-[Illustration:

-

-  First Position.      Second Position.     Third Position.

-

-  In two movements.    In two movements.    In two movements.

-]

-

-

-§ 2. _First Position in Two Motions._

-

-_One._--Place the hands smartly behind the back, the left grasping the

-right arm just above the elbow, and the right similarly supporting the

-left elbow.

-

-_Two._--Make a _half-face right_ by pivoting smartly on both heels,

-which must be kept close together; the feet at right angles; the left

-pointing to the front, the face looking towards the opponent, or the

-right-hand man, and the weight of the body balanced equally upon both

-haunches and legs.

-

-

-_Second Position in Two Motions_ (Guard).

-

-_One._--Bend the knees gradually till they are perpendicular to the

-instep, keeping the head and body erect, and both feet firm on the

-ground. The instructor must be careful that the knees do not incline

-inwards--a general fault.

-

-_Two._--Advance the right foot smartly about 20 inches in front of and

-in line with the right heel, and rest the whole weight of the body upon

-both haunches and legs.[8]

-

-In the second position, that of Guard for the feet, care must be taken

-that the left foot remains firm on the ground, without shuffling or

-turning inwards or outwards. Many swordsmen find a better balance when

-the right heel is on a line with the hollow of the left foot.

-

-

-_Third Position in Two Motions_ (from Guard to Lunge).

-

-_One._--Advance the body slightly forward, and bring the right

-shoulder and knee perpendicular to the point of the right foot.

-

-_Two._--Advance the right foot smartly, about 20 inches, or double

-the distance of No. 2, Second Position (Guard), taking care that the

-foot does not overhang the instep; extend the left leg with a spring,

-the left foot remaining true and firm, and the left knee perfectly

-straight; let the shoulders expand and the body be profiled and

-slightly inclined forwards, or towards the opponent.

-

-This is the position of the legs in the Lunge, and the greatest care

-must be taken to prevent the recruit learning it in a careless,

-shuffling way. Above all things he must accustom himself to separate

-the action into its two composing parts, otherwise the lower limbs will

-often take precedence of the upper (shoulder, arm, and hand), and the

-Lunge become worse than useless. When recovering guard the contrary is

-the case; the left knee must be bent before the right foot is moved,

-and the latter should exert a slight pressure on the ground; at the

-same time the body must be drawn backwards, not jerked upwards.

-

-These measures of Guard (20 inches) and of Lunge (40 inches) are

-best fitted for average-sized men; in exceptional cases they must

-be shortened or lengthened according to the stature and stride of

-the recruit. The rule for guard is the measure of two foot-lengths;

-the Lunge doubles that span; and the least vigorous men require the

-greatest distances.

-

-These movements must be learned, first in slow, and afterwards in quick

-and in double-quick, time; the same may be said of all practice with

-and without the sword. _Squad attention!_ and _Stand at Ease!_ need

-hardly be explained. The recruits’ muscles soon become fatigued by the

-unusual and monotonous exercise, causing them to remain too long in one

-position; the easiest way to relieve them is to change front, making

-the left leg stand on guard and lunge, as a left-handed fencer would

-do. This double practice is as useful and recommendable in fencing and

-broadsword play as in bayonet exercise: it gives additional balance

-to the body, it equalizes the muscular strength of both sides, and it

-makes the soldier feel that if his right arm be disabled he can still

-depend upon his left.

-

-The word _Steady_ must not be used as a command: it should be a caution

-given at the completion of any part of a practice with the view of

-correcting faults.

-

-

-§ 3. _Attacking, Advancing, and Retiring._

-

-_Single Attack._--Raise the right foot well off the ground and beat

-smartly with the whole sole, the greatest force being upon the ball of

-the foot, and the least upon the heel.

-

-_Double Attack._--The same movement made twice. The instructor

-should carefully avoid the directions of the ‘Infantry Sword

-Exercise,’--_first with the heel, then with the flat of the foot_.

-Nothing jars the leg more than this use of the heel; it is a bad habit

-to use it for anything but “pivoting.”

-

-_Advance._--Smartly advance the right foot about six inches and bring

-up the left as nearly as possible to the same distance. The soles must

-just clear the ground, and the toes be kept on a straight line with

-the knee, and never turned inside or outside. Neglect of the latter

-precaution leads to a loose, unsteady, and slovenly style which, easily

-learnt, is hardly to be unlearnt.

-

-_Single Attack._--As before.

-

-_Retire._--Move the left foot lightly to the rear about six inches,

-and let the right foot follow it. Recruits are uncommonly apt to

-“step short,” and this can be remedied only by making them retire for

-considerable distances. The weight and balance of the body must be

-equally distributed on both haunches and legs, not resting upon the

-left, which can serve only to give cramp.

-

-_Double Attack._--As before.

-

-_Front._--Resume the position of “Attention.”

-

-

-

-

-SECTION II.

-

-PREPARATORY INSTRUCTION WITH THE SWORD.

-

-

-§ 1. _Explanation and Use of the Target._

-

-The Target prefixed to these pages explains itself. The shape is

-oblong, the frame measuring 6 feet by 3, and the figure 5 feet 8 inches

-by 1 foot. As the latter represents the opponent, the centre should

-be about 4 feet from the ground, the height of the recruit’s breast.

-Perpendicular to the foot of the figure in each Target a horizontal

-line is drawn, forming for the feet, the legs, the body, and the arms,

-the “directing line” of the scientific schools. At a distance of 10

-feet the recruit is placed in the position of “Attention,” with his

-left heel on the line, so that at the command “First Position” his

-right foot may cover it.

-

-The parallelogram shows the direction and the numbering of the Cuts,

-concerning which further details will presently be given. They should

-be regulated according to the lines described upon the Target; nor

-should the recruit be practised in any other mode until he has gained

-the proper direction of the blade.

-

-Nothing need be added to the directions of the ‘Infantry Sword

-Exercise’ (pp. 12, 13, 14), as regards the movements subject to the

-following words of command: much, on the other hand, with great

-advantage, might be taken away, and the result would be the increased

-efficiency that results from simplicity.

-

-_Draw Swords_ (should be much abridged; after the modern French School,

-pp. 165, 166: _Règlement Provisoire_, &c.);

-

-_Slope Swords_;

-

-_Return Swords_ (should be simplified);

-

-_Stand at Ease_;

-

-_Attention_;

-

-_Prepare for Sword Exercise_;

-

-_Right prove Distance_;

-

-_Slope Swords_;

-

-_Front prove Distance_; and

-

-_Slope Swords_.

-

-At the order, _Stand on Guard_, the recruit having assumed the Second

-Position, No. 2, falls on Guard: the pommel of the sword fronts his

-right breast; the point is directed at his opponent’s right eye; his

-right arm is extended with an easy bend at the elbow; the wrist is

-inclined, with the knuckles slightly turned upwards, to his own right,

-so as to cover him in case of a straight thrust, and the left hand is

-placed upon the left flank just below the ribs, with the fingers to the

-front and the thumb to the rear.

-

-The several guards (parries) are learned by holding the sword opposite

-to and in the inclination of the dotted lines which have sword-hilts

-attached to them; the recruit is thus taught from the Target the angle

-of the blade and the position of the wrist.

-

-The Target directs the recruit _how_ to make the Cuts and to form the

-Guards, but not exactly _where_; this must depend upon how the opponent

-acts during the attack and the defence. Cuts 1, 3, 5, 7, 9, and 11 (odd

-numbers) are all from Carte, which the ‘Infantry Sword Exercise’ calls

-_Inside_. The corresponding even numbers (2, 4, 6, 8, 10, and 12) are

-from Tierce, or _Outside_. The same nomenclature applies to the Guards

-or parries.

-

-When the recruit thoroughly understands the use of the Target he need

-no longer be practised in front of it; but the instructor (sword in

-hand) should consider it a sure guide and reference for correctly

-forming the Guards and for giving a suitable direction to the edge when

-making the Cuts.

-

-

-§ 2. _The Moulinet._[9]

-

-This rotation movement should be learnt before the recruit proceeds to

-the Cut.

-

-There is nothing better for “breaking,” as the French say, the

-recruit’s wrist than this sweep of the sword; and the style of a

-swordsman may always be known by his Moulinet. We will divide it into

-three kinds, viz. (1) horizontal, (2) diagonal, and (3) vertical; the

-latter again may be either (a) ascending or (b) descending; but as the

-second (diagonal) is a mere modification of the first and the third, it

-will be sufficient to notice only two; these are:--

-

-1st. The horizontal movement, or _Moulinet_ proper, circling the sword

-round the head. The grip is held as lightly as possible, chiefly with

-the thumb and the first finger, resting the pommel upon the palm, and

-carrying the nails upwards. The blade should be moved as horizontally

-as it can be, with the back just clearing the swordsman’s crown: it

-should describe, not a true circle, but an oval with a long diameter

-in the directing line to the centre of the Target through the heels or

-ankles of the recruit. Finally, the point should be lanced or thrown

-out, as it were, towards the opponent’s face. Evidently it may be done

-in two ways, first, from right to left, which I will call the “Tierce

-Moulinet” (_Moulinet à gauche_); this is by far the easiest and the

-more habitual, corresponding with Tierce “Counter,” opposition, or

-describing with the blade a circle round the adversary’s blade, in the

-fencing school. The reverse movement (“Carte Moulinet,” _Moulinet à

-droite_), from left to right, requires, like the Counter of Carte, much

-more practice.

-

-In these directions “right and left” apply to the right and left of the

-swordsman’s wrist.

-

-2nd. In France the term “Moulinet” is mostly applied to these two

-rotations of the sword round the head, but we will extend it to all

-circlings of the point. The vertical form is also made from the hand

-in Tierce (Outside Guard), the blade is brought sharply round with the

-back towards the breast and left shoulder, and returns to its original

-position; we will call this the “Inside Moulinet,” having reference to

-the performer, not the adversary. The “Outside Moulinet” is when from

-“Tierce or Outside Guard” the blade passes along the right shoulder, it

-is simply the former done in the outer line.

-

-[Illustration: Horizontal Moulinet.]

-

-Again the “Inside Moulinet,” which ends with the Cut from above

-downwards (the French _enlevé_), may be inverted so as to cut from

-downwards upwards (the _brisé_). The same may be done with the “Outside

-Moulinet,” when the wrist must be turned upwards, and the Cut given

-in the ascending line. This difficult movement should be practised

-in order to ensure a flexible wrist, but it exposes the whole arm. In

-the four latter “Cuts,” the one invariable rule is to circle the point

-as vertically as possible. The French _Manuel_ (pp. 234, 235) gives:

-1, the _enlevé_ cutting from above downwards; and it may be either

-_à gauche_ (Tierce Moulinet) or _à droite_ (Carte Moulinet); 2, the

-Moulinet proper; and 3, the _brisé_, cutting from downwards upwards,

-thus reversing the _enlevé_; and this also may be done _à gauche_

-(Tierce Moulinet) or _à droite_ (Carte Moulinet).

-

-[Illustration: Vertical Moulinet.]

-

-The “Moulinet” should be practised first without, then with, the sword,

-and on foot, before attempting it on horseback. In the earlier stage

-the recruit must turn the hand, with the arm nearly extended, in the

-horizontal and vertical movements, without stiffness and displacement

-of the elbow. In the second he may, if no Target be procurable, work

-before a cross chalked on the wall so as to secure horizontality and

-verticality. Finally, the soldier will combine the two, Tierce and

-Carte, by passing rapidly from one to the other.

-

-Whilst practising the Moulinet the recruit must be taught the two

-main divisions of the sword-blade. Fencers have introduced an immense

-complication into this simple matter; and some have proposed eight

-parts: for broadsword it is sufficient to divide the length. The

-“Feeble,” or weak half, is that contained between the point and the

-centre; this, the proper part for the Cut or attack is ground to a

-thinner edge, and consequently is more liable to an injury from another

-sword if the Cut be not very true. The “Fort,” or strong half, is from

-the centre to the hilt, and upon this we must rely for defence.

-

-A few hours’ practice and a few pressings upon the different parts

-of the blade under the surveillance of the instructor will teach the

-recruit the high importance of this lesson. He will learn that in

-opposing the adversary’s sword the strength of the defence decreases

-from the hilt upwards in proportion as the Cut is received towards the

-point; and that, _vice versâ_, it increases from the point downwards

-to the hand. The strongest man cannot “force in” the opponent’s Guard

-if the Cut or Thrust be received upon the part near the handle. With

-a true Guard the ordinary fencing foil can turn off the thrust of a

-musket and bayonet weighing 10 lbs. The practised swordsman always

-attempts, when attacking, to gain with his “Fort” the “Feeble” of the

-opponent’s weapon, in which case the superior leverage will often

-beat down the parry; and this manœuvre should be carefully practised

-by men of superior muscular strength. The Cuts must, as a rule, be

-delivered within eight inches of the point and at the “centre of

-percussion,”[10] so that the sword may clear itself and the arm escape

-a “jar.”

-

-The two virtues of the Cut are its trueness and its velocity. Unless

-true it will become a blow with the flat that would shiver to pieces

-any brittle Eastern blade. Assuming the _vis viva_ or force of a moving

-body to be its weight multiplied by the square of the velocity, let us

-suppose a strong man cutting with a sword weighing 4 lbs., to which he

-can give a velocity which we will call 1, or 4 × 1 = 4: a weaker man

-who applies double the velocity to a 2 lb. sword will thus produce a

-momentum of 8, doubling the force of the blow. But let the stronger man

-take the lighter sword, evidently he will obtain a higher velocity,

-which we will assume at 3: in this case the effect will be 18. Thus the

-power of the Cut is enormously increased by increased velocity, but

-much less by increased weight in the moving body.

-

-

-§ 3. _The Cuts._

-

-The Target prefixed to the ‘Infantry Sword Exercise’ gives Seven

-Cuts, an insufficient number. The German systems add an eighth blow

-perpendicularly upwards, when the whole of the swordsman’s arm from

-wrist to shoulder would be completely at the opponent’s mercy.

-

-The French _Manuel_ has only seven, viz. the _Coup de Tête_; 2, the

-_Coup de Banderole_; 3, the _Coup de Figure à droite_; 4, the _Coup de

-Figure à gauche_; 5, the _Coup de Flanc_; 6, the _Coup de Ventre_; and

-7, the _Coup de Manchette_.

-

-[Illustration: German System.]

-

-The subjoined diagram shows the Twelve Cuts[11] which serve to “loosen”

-the rigid arm of the recruit.

-

-[Illustration: The Twelve Cuts (shown by the thick strokes), the dotted

-lines denoting the course of the blade in “Moulinet”, or rather in

-“Semi-Moulinet.”

-

-  CARTE.                         TIERCE.

-

-  Cut 1.                         Cut 2 (Head Cuts).

-

-  Cut 3.                         Cut 4 (Face Cuts).

-

-  Cut 5.                         Cut 6 (Shoulder Cuts).

-

-  Cut 7.                         Cut 8 (Breast Cuts).

-

-  Cut 9.                         Cut 10 (Stomach Cuts).

-

-  Cut 11.                        Cut 12 (Groin and Thigh Cuts).

-]

-

-The figure represents the opponent; the thick lines show the direction

-of the edge when cutting; and the dotted continuations denote the

-course of the blade when describing the several “Moulinets.”

-

-The Cuts should be continuous, the regular succession always beginning

-from Carte or the Inside, that is, from the rear of the left shoulder.

-As in the “Moulinet,” the less the arm is bent and the sword-hand is

-moved from the line of direction (to the front), the greater is the

-value of the movement. The recruit, who must walk before he runs,

-should deliver the whole dozen in continuous sweep without pause, but

-at first very slowly, till, by the proper and timely use of the wrist,

-the Cuts lead into one another. The more advanced swordsman, whose

-pliability of strength is free from contractions and other vicious

-habits, should practise the series of twelve with increased rapidity

-till the blade whistles through the air. All the Cuts should be given

-strong, with the edge leading well forwards and with the arm extended

-to its utmost in the delivery.

-

-The following are the Twelve Cuts:--

-

-I. and II. These Cuts are made, after falling into Tierce or Outside

-Guard, from above downwards at the opponent’s head. In No. I. the

-point, beginning as usual from the left shoulder (Carte), describes

-a full circle (“Inside Moulinet,” the _brisé à gauche_ of the French

-_Manuel_), the hand moving as little as possible so as to cover the

-body; the knuckles turned up and the blade passing close to the breast:

-it finishes by delivering a vertical Cut, with the “Feeble” close to

-the point, at the right half of the adversary’s crown. No. II., which

-follows without interruption, reverses the process; the knuckles are

-turned down and the blade sweeps past the right shoulder (_brisé à

-droite_); ending with the left half of the opponent’s head. The latter

-Cut is by far the more difficult to make without moving the hand, but

-it is good practice for “breaking” the wrist.

-

-III. and IV. The horizontal face-cuts, also beginning from the left

-(Carte), an invariable rule, and ending with the right, that is, at

-the adversary’s left cheek. The reason of this practice is to make the

-movement habitual to the recruit; cutting from left to right always

-causes less exposure of the inner wrist than cutting from right to left.

-

-V. and VI. The slanting shoulder-cuts, also from above downwards

-(Nos. 1 and 2, or rather 2 and 1, of the ‘Infantry Sword Exercise,’

-pp. 14, 17, and the _Coups de Banderole_ of the _Manuel_); describing

-two diagonal Moulinets, first from left to right, and then from right

-to left. The sword again makes a double “Moulinet” with the edge

-downwards, and descends first upon the opponent’s right and then upon

-his left shoulder.

-

-VII. and VIII. The horizontal breast-cuts, parallel with the face-cuts,

-and, like them, delivered with the blade as horizontal as possible.

-

-IX. and X. The horizontal stomach-cuts, parallel with, and lower than,

-the breast-cuts.

-

-XI. and XII. The slanting groin or thigh-cuts, diagonally from

-downwards upwards; in fact, the reverse of the shoulder-cuts (Nos. 4

-and 3 of the ‘Exercise,’ and the _brisés_ of the _Manuel_). In these

-diagonal Moulinets, the elbow must not be bent; the hand should deviate

-as little as possible from the directing line under pain of dangerous

-exposure; and the two movements should follow each other without a

-break.

-

-Whenever the recruit fails to carry the edge well forward in making the

-attack, he should be practised slowly and repeatedly in combining the

-opposites, as Head-cut (No. 1) and Thigh-cut (No. 12), Head-cut (No. 2)

-and Thigh-cut (No. 11), and so forth. The instructor must see that the

-edge leads on to the respective lines of the Target, the point being

-darted out at the end of each cut.

-

-The Cuts will be practised first in No. 2 “Second Position” (Guard),

-and afterwards in No. 2 “Third Position” (Lunge).

-

-[Illustration: Prime, or Hanging Guard.]

-

-

-§ 4. _The Engaging Guards, or Engagements._

-

-As the ‘Infantry Sword Exercise’ has a deficiency of Cuts, so it has a

-superfluity of “Engaging Guards.” I have already expressed my opinion

-concerning the Guard (p. 18 of 1874) popularly called the “Hanging

-Guard.” Even with the best position, the head erect and the eyes

-looking straight and not upwards, it is utterly faulty; it displaces

-the arm and the sword, and, as no serious attack can be made directly

-from it, it necessitates a movement entailing a considerable amount of

-exposure. It is now chiefly confined to students’ duels with the German

-Schläger, wherein slitting the opposing nose, which can be done with a

-mere jerk upwards, is the swordsman’s highest aim and ambition.

-

-The “Engaging Guards” are thus reduced to the two following:--

-

-Tierce (or outside) Guard; defending the outer lines, arm, shoulder,

-back, and flank. The recruit having assumed the “Second Position” (No.

-2), brings the pommel of his sword to the centre of his right breast;

-opposes the point to the adversary’s right eye; extends his right arm

-with an easy bend of the elbow; inclines the wrist with the knuckles

-upwards to his own right, so as to cover himself in case of a straight

-thrust, and places his left hand upon his left flank with the fingers

-to the front and the thumb to the rear. In Tierce of course the edge of

-the sword is to the right or outside.

-

-[Illustration: Engaging Guard in Tierce (Outside).]

-

-Carte (or Inside) Guard. This movement defends the inner lines, chest

-and stomach; the knuckles are turned down; the opposition is made to

-the left, and the edge is carried in the same direction.

-

-[Illustration: Engaging Guard in Carte (Inside).]

-

-When engaging in guard (joining weapons), the swords should meet each

-other about eight inches from the points. If the distance is diminished

-the opponents are “out of measure” (or distance); if increased, they

-are “within measure.” The recruit must be taught slightly to press upon

-the opponent’s blade, but not to rest upon it; by this “opposition”

-his hand and wrist will be more ready to follow the weapon during the

-attack. Thus also the “Engaging Guards,” Tierce, and Carte (outside

-and inside) afford protection preparatory to the movements for offence

-and defence. The eye must be fixed upon the eye and the hand or the

-blade-point of the opponent, not upon the eye only.

-

-Guard may be partly defensive when the bust is advanced and the point

-approaches the opponent, or it may be purely protective when its sole

-object is the “parry.”

-

-The right-handed recruit must be taught always to attempt Engaging

-in Tierce,[12] with his opponent’s blade in the outer line (_sur les

-armes_). The reason is simply that in the reverse position (_dans les

-armes_), the fore-arm, from the elbow to the wrist, is comparatively

-unguarded; whereas Tierce facilitates the defence of the “low lines”

-(i. e. those below the wrist). Tierce therefore has invariably the

-advantage with the sabre, as Carte carries off the palm with the

-small-sword, the foil, and the rapier.[13] But the right-handed man

-engaging in Tierce puts his left-handed opponent in Carte; and the

-latter, if a skilful sworder, will manœuvre, by withdrawing his blade,

-by coupés or degagements over the point, and by other feints, to regain

-the ground of vantage. The best treatment of this case is to make a

-time-cut in Seconde (“inner Moulinet,” or _brisé à gauche_) at the

-adversary’s knuckles, a movement which will presently be explained.

-

-

-§ 5. _The Guards or Parries._[14]

-

-The ‘Infantry Sword Exercise’ proposes Seven Guards, a number which can

-hardly be reduced for practice on the drill-ground or in the schools:

-the _Manuel_ contains the same number, including one for the Point.

-But of the seven no less than five are “Hanging Guards,” and Nos. 3 and

-4 serve only to defend the inside and the outside of the advanced leg.

-This limb requires no assistance of the kind: an able swordsman never

-exposes his head and shoulders by cutting so low, and, if he does, the

-leg can be smartly withdrawn (_parade retrograde_, or _en échappant_),

-rendering the attack not only useless but dangerous to the assailant.

-Even in fencing, “low thrusts,” that is, at the body below the wrist,

-are never made, for fear of the “Time” being taken, until the upper

-line has been closed by a feint. In our Single-stick practice the first

-thought seems to be to attack the advanced leg--which may be well

-enough for Single-stick.

-

-[Illustration: Lunge and Cut in Carte (Inside).]

-

-The following are the full number of guards or parries in which the

-edge must invariably be used: they are evidently dividable into two;

-(1) Head (with face) Guards, and (2) Body Guards:--

-

-I. Prime (p. 38), so called because it is the “first” position of

-defence after drawing the blade, that which the unpractised man would

-naturally assume to defend his head. It is the 7th Guard of the

-‘Infantry Sword Exercise.’ In practice the point is more inclined to

-the horizontal line than when the blade is unsheathed; the edge is

-carried somewhat inside or to the left; the arm is shortened and so

-raised that the eyes look under it, but the head remains upright. The

-recruit must be careful _not_ to “bend the body;” _not_ to “draw in

-the chest and neck;” and _not_ to “bring the left shoulder a little

-forward.” The defect of Prime is its being a “Hanging guard,” rendering

-the riposte or reply difficult, and modern practice prefers “High

-Tierce.”

-

-II. Seconde (4th Guard), so termed because following Prime: the arm

-is extended, the edge is carried to the outside or to the right; in

-practice the hilt is lowered, and the point, threatening the opponent’s

-loins, is depressed to the half of a right angle. This position must

-be learned for the sake of feinting: as a parade it is not much used,

-because it defends only the hip and leg, and a good swordsman will

-never expose himself to exceeding danger by making low cuts. Modern

-practice prefers “low Tierce.”

-

-III. Tierce (2nd Guard) has been described (p. 39) under “Standing

-on Guard” and “Engaging Guards;” it defends the outer lines, arm,

-shoulder, and back.

-

-IV. High Tierce is a head-guard: the hand is raised to above the

-shoulder to the maximum level of the swordsman’s right eye, and the

-blade is carried at an angle of 45° with the edge up and the point to

-the left.

-

-V. Low Tierce is a flank-guard; the arm is shortened, the hand is

-depressed six inches; the opposition is to the outside, and the point

-is held vertically or almost vertically, as the attack demands.

-

-VI. Carte (1st Guard) has been described (p. 40) under “Engaging

-Guards,” as defending the inner lines, chest and stomach. For the

-purposes of parrying, the arm is withdrawn till the elbow, almost

-touching the belt, forms an equilateral triangle with the hilt and the

-left side.

-

-VII. High Carte is a head-guard like high Tierce: the hand is raised to

-the left of the left eye, and the blade, crossing the face at an angle

-of 45°, carries the edge up, and the point to the right.

-

-VIII. Low Carte is a stomach guard. As in Low Tierce the arm is

-shortened, the hand is depressed six inches; the opposition is to the

-inside, and the point is held vertically or almost vertically, as the

-attack demands.

-

-In practice the advanced swordsman will confine himself to Tierce

-and Carte with their natural modifications. He will consult his own

-feelings about the head-guard, abolishing Prime in favour of High

-Tierce or High Carte, and he will prefer Low Tierce or withdrawing

-the leg (_rassemblement_) to using Seconde. Of these movements the

-simplest are always the best. When parrying, the sword-arm must

-invariably be drawn for defence nearer the body, and the grip should be

-sensibly tightened to receive the cut. No strength is necessary when

-making the parries: I cannot accept the “Sforzi” or guard-forcings of

-the neo-Italian broadsword school, dry blows upon the blade, which,

-intended to disarm, are essentially dangerous.

-

-The Guards or Parries will be practised like the Cuts, first in the

-“Second Position” (Guard), and afterwards in the “Third Position”

-(Lunge).

-

-

-

-

-SECTION III.

-

-THE MANCHETTE OR FORE-ARM PLAY.

-

-

-§ 1. _Preliminary._

-

-The recruit is now sufficiently advanced to begin the system of

-Manchette, which, as it is the most valuable part of sword-drill, has

-been practised the least, and should be practised the most. A swordsman

-thoroughly trained in this section does not allow the opponent to

-deliver a cut. It is certain that hand and wrist, short-arm and

-elbow, are capable of as many different attacks and defences as the

-whole body: these are the parts most prominent, most exposed, and

-consequently most readily made the _point de mire_. Yet this true and

-simple secret of the broadsword has been universally neglected, or

-rather not worked out: in England we content ourselves with the parades

-technically called _retrogrades_, that is, withdrawing the limb from

-the assault, by shortening the arm and, sometimes, by retiring the

-right foot either near to, or up to, or behind the left heel: even this

-evasion which cannot expect to pass for a Guard, is not described nor

-figured in the official ‘Infantry Sword Exercise.’[15] In France, and

-even in Italy where most subjects are exhaustively treated, Manchette

-is dismissed with a few careless words. The _Manuel_ gives to the _Coup

-de Manchette_ only these few lines: “_Exécuter un enlevé_ (vertical

-Moulinet from above downwards) _en arrière à droite, et arrêter le

-sabre vis-à-vis le milieu du Corps, le tranchant en dessus, le poule

-légèrement à droite; diriger l’enlevé de manière à empêcher en arrêtant

-l’avant bras, l’exécution d’un coup de tête_.” Capitano Settimo del

-Frate (p. 50, _Istruzione sul Maneggio e Scherma della Sciabola_) in

-one of the latest works on swordsmanship contents himself with the

-following desultory observations:

-

-“Manchett” (_sic_) “can attack the fore-arm either above or below,

-according as the opponent gives an opening.

-

-“Manchett is generally used against an adversary whose guard is

-defective. By merely extending the arm with a turn of the wrist, this

-attack may readily succeed should the opponent neglect to provide

-against it.

-

-“One of the most dangerous guards against Manchett is Tierce; the

-surest is High Seconde, which indeed is also the best parry adapted to

-this system of attack.”

-

-The first member of the last paragraph is sensible; the second is

-thoroughly fallacious. As has been stated, the right-handed man must

-always engage in Tierce, and, as will presently appear, Tierce is the

-safest, indeed the only safe guard against Manchette cuts. Another

-Italian writer of our day describes and figures the “Position of the

-weaponed arm to escape the arm-cut” (_Colpo di braccio_), with the

-elbow-joint left clean open. The ‘Infantry Sword Exercise’ limits

-itself (p. 30) to these few lines: “If opposed to the Small Sword

-(_sic_, meaning straight sword or rapier) have recourse to Cuts _Three_

-(No. 13 of this system) and _Four_ (No. 11), directing them at the arm,

-by which means there is every probability of the cuts taking effect,

-as it must always come within range of the edge, before the point can

-be sufficiently advanced to reach your body: if the above cuts are

-quickly given and continued, they will also be found advantageous in

-advancing against the Small Sword, as they constitute an attack and

-form a defence at the same moment; but should the opponent be the most

-skilful and quickest (_sic_) in his movements, then it is best to

-retire whilst giving them, cautiously preserving the proper distance,

-so that each cut may just reach the fore part of his arm.” The French

-content themselves with single oppositions of Tierce and Carte. But why

-multiply instances of ignorance?--they would fill many a useless page.

-

-Finally I meditated upon the comparative humanity of “Manchette,” of

-disabling the opponent by an arm-cut, rather than laying open his flank

-or his head. During single rencontres in the field, especially at the

-end of Indian battles, it is so often necessary to put _hors de combat_

-some unfortunate, whose pluck or sense of honour induces him to prolong

-the hopeless attack.

-

-These considerations led me to reflect seriously for a number of years

-upon the Jeu de Manchette, the Colpi all’ avambraccio, or fore-arm

-play, which has been so much neglected by master-swordsmen. At last an

-unlooked-for opportunity, a short study in the _Salle d’armes_ of Herr

-Balthasar Reich of Trieste, enabled me to reduce it to a system, and

-present it to the public.

-

-I should premise, however, that the following observations are intended

-for professional men. It is therefore necessary only to name and

-number the Direct Cuts, the Guards and the Feints, the Reverse Cuts,

-and the Time Cuts of Manchette, as in most cases the simplest mention

-will suffice. The proficient will at once perceive that I offer a

-mere outline of the system whose many details must be learned by long

-practice. It is enough to give first principles: the minutiæ could not

-even be noticed without stretching description to a wearisome length.

-

-There is no objection, I have said, to teaching squads of recruits all

-the simpler preparatory matter: the Three Positions; the Moulinet;

-the Engaging Guard, and the Guards or Parries. At a certain stage of

-progress, however, especially when beginning Manchette, the quick and

-intelligent soldier, who is likely to qualify himself as a master, must

-be instructed singly.

-

-

-§ 2. _The Direct Cuts in Manchette._

-

-The following are the direct attacks in Manchette, simple and

-compound; all are done from the “Engaging Guard,” the Lunge being here

-inadmissible.

-

-I. _Carte de Manchette._--Extend the sword-arm to the full length and

-deliver the cut, with a flip as it were, at the opponent’s fore-arm,

-between the elbow and the wrist. This can be done with the back of the

-blade (Reverse Cut) under circumstances presently to be described. No.

-I. is useful if the adversary unwisely engages you in Carte otherwise

-(from Tierce) it must be avoided, as he easily parries by withdrawing

-the arm and replies with a Tierce Cut.

-

-II. _Carte de Manchette and Cut Tierce._--This movement is No. I.

-followed by a close rotation of the point (“Tierce Moulinet”); if,

-however, the circle be too small, it will not clear the sword-guard.

-

-III. _Double Carte de Manchette and Cut Carte._--No. III. is to be done

-when the opponent, as he generally will after an attack of No. II.,

-successively parries Carte and Tierce. It is simply the double of No.

-I., and thus the “Tierce Moulinet” cuts, of course, inside the arm.

-

-IV. _Double Carte de Manchette and Cut Tierce._--Useful when the

-adversary parries Carte, Tierce and Carte; it is the double of No. II.

-and thus cuts outside the arm.

-

-No. II. guards the arm and is therefore unexceptionable. Nos. III. and

-IV. are dangerous, because, like No. I., when opposed to an agile hand,

-they may lay the wrist open to a Time Cut.

-

-The two first and all four against a slow unready swordsman may be

-varied by combinations with _coupés_, or passing the blade sharply over

-the adversary’s point. For instance, if the adversary come too wildly

-to the Tierce parade of your double Carte and Tierce (No. III.), _a

-coupé_ will reach his arm in Carte.

-

-A golden rule which cannot be repeated too often is that all the

-Manchette-Cuts in Tierce (outside), either from above or from below,

-must be as nearly vertical as possible, whilst all the Cuts in Carte

-(inside) should be as horizontal as they can be made. The reason is

-simply that these positions cover the arm and render the attack less

-dangerous.

-

-

-§ 3. _The Guards (Parries) and Feints in Manchette._

-

-The Guards of the Target will be found sufficient for parrying all

-attacks in Manchette. The soldier, however, should especially practise

-the retrograde parades, that is withdrawing the right fore-arm with and

-without the right leg.

-

-Feinting with the broadsword is necessarily more simple than with

-the foil, being generally confined to _Coupés_ and _Secondes_. The

-neo-Italian school of sabre uses, I have said, the fencing movements,

-but it is at best a bastard style. If the opponent attempts to

-“degage,” that is to pass his point under your blade from Tierce to

-Carte, or _vice versâ_, retire by withdrawing the right heel to the

-left, and cut at the arm which his movement has exposed.

-

-The _Coupé_, the reverse of the degagement, passes the point over, not

-under, the opposing blade; this legitimate feint, used in every school,

-may be effected in four several ways.

-

-I. _One._ From the usual engagement in Tierce pass the blade over the

-opposite point, just clearing it, and cut inside. The two movements

-raising and dropping the point should be as rapid as possible.

-

-II. _One, Two_, a double _Coupé_, with the cut in Tierce.

-

-III. _One, Two, Three_: as with the foil; against a nervous opponent

-the cut should be made at the face with a dart and a jerk (the Italian

-_Slancio_); against a slow player the cut may be Carte de Manchette.

-

-IV. _One, Two, Three, Four_; like the former, but cutting in Tierce: to

-be attempted only with the most unready of opponents.

-

-The two latter may be combined with a breast (inside) or shoulder

-(outside) “Moulinet” between the penultimate and the last (cut)

-movement; but these long feints are radically vicious, because they lay

-the swordsman open to Time Cuts. They are, however, useful, as will

-appear in making the Reverse Cuts.

-

-Perhaps the Seconde-feints are better than the _Coupés_.

-

-I. _One_: the simple Seconde Cut.--Make a little more opposition in

-Tierce, sweep the blade past and along the breast; (inside Moulinet,

-or the _brisé à gauche_) and, lowering the hand a little, cut upwards

-with a jerk and a flip. The nearer the swordsman’s own body his blade

-circles the better, because the cut will be more in the vertical line:

-if it be much out of the perpendicular the opponent can “take a time”

-in Carte. The Moulinet serves also to embarrass the adversary and to

-add strength to the cut. This simple and most valuable movement must

-not be confounded with the old-fashioned Seconde cut at the leg: the

-latter is objected to, as I have said, by swordsmen; the parry is too

-easy, and the ripost far too dangerous.

-

-II. _Feint Seconde._--From Tierce make a short and sharp movement to

-Seconde with the knuckles turned upwards; the opponent will probably

-come to the Seconde-parry, thereby exposing the fore-arm. You then cut

-Tierce perpendicularly as usual, from above downwards (the _enlevé_),

-either without or with a breast “Moulinet.”

-

-III. _Feint Seconde, Feint Tierce and Cut Carte_, with two short, sharp

-movements, and deliver the horizontal cut in Carte.

-

-IV. _Feint Seconde, feint Tierce and Cut Seconde_, from downwards

-upwards, always with a breast “Moulinet.”

-

-At times the two first feinting movements in Nos. III. and IV. may

-be done more emphatically: this of course makes the movement slower,

-but it is a variety which embarrasses an adversary accustomed only to

-short, quick action.

-

-

-§ 4. _The Reverse or Back Cuts in Manchette._

-

-As the Manchette system has been strangely neglected, so the Reverse or

-Back Cut may be pronounced unknown to the majority of the profession:

-the latter, instead of utilizing the “false edge” of the blade, still

-lose time and incur great danger by turning hand and wrist in using

-the true edge, especially when “Cutting within the Sword.”[16] More

-extraordinary still, although almost all the civilized world prefers

-what is technically called the “flat-backed and spear-pointed” sabre,

-yet no one seems to think of employing, or even of sharpening one of

-the most important parts of the weapon.

-

-The Regulation blade with the false edge, that is to say, the blade

-sharpened from the point to the Centre of Percussion, about one-third

-of the length, was introduced into England about 1844, and the first

-specimens were made by the late Henry Wilkinson, acting with the

-late Henry Angelo, then Superintendent of Sword Exercise.[17] This

-back-edge of the blade should be ground to the sharpness of a razor.

-When practising the Reverse Cuts (_Revers_ or _Rovescio_), the handle

-is held loosely with the thumb and the two first fingers, and the wrist

-and fore-arm should bring the blade up with a jerk, the grip being

-at the same time sharply tightened. Practice will soon enable the

-swordsman to deliver a strong “drawing” cut, equal to the Thrust-cut of

-the so-called “Damascus” blades. This valuable movement has the immense

-merit of not uncovering the swordsman, and what makes the sabre so rude

-a weapon is that every movement of attack, in the old systems, lays

-the body open by raising hand and point when a blow is to be given.

-With the Reverse Cut no such dangerous process is necessary; the point

-is still directed at the opponent whilst the cut is being delivered.

-Finally, it is always unexpected by the opponent who has not practised

-it, and although it rarely begins an assault, except against the

-inexperienced, nor should it be done alone as a rule, it may either

-follow or conclude every attack, feint or “time.”

-

-I. _The Half-Feint_ (_Revers de dessous_, _Rovescio di sotto_, or

-_Revers von unten_) is done thus.--When in Tierce extend the arm as if

-intending to cut Tierce; the opponent makes an opposition of Tierce;

-drop the point, and cut sharply upwards with the false edge at his

-fingers, wrist, or fore-arm, drawing the blade towards you and keeping

-the point opposite the adversary’s breast. This movement is one of the

-neatest known, and it is sure to succeed with one who does not expect

-it. The first part of the feint, or dropping the point, may lead to a

-cut with the true edge, but this movement, which is still practised

-in the schools, involves delay by turning the hand. Again, it may be

-combined with the inside (breast) or outside (shoulder) Moulinet.

-

-II. _Feint Seconde and Cut upwards._--This movement may be varied by

-feinting Tierce and cutting upwards.

-

-III. _One-two-three._--This is not the succession of simple _Coupés_,

-the dangerous movement before described. No. 1 _Coupé_ shifts the hand

-from Tierce to Carte with the nails up; No. 2 turns the nails down,

-still remaining in Carte; and No. 3 delivers the Reverse Cut, of course

-in Carte, where it is least expected.

-

-When the point is passed well under and within the sword-arm it is very

-difficult to parry the horizontal Reverse Cut in Carte. The true edge

-may be used, but again it wastes time by turning the hand.

-

-IV. _The Pass_, properly called “_en passant_.”--From Tierce make a

-feint-movement in Seconde, and, when the adversary attempts to parry

-it by lowering the point, turn the knuckles up (in old Tierce), sweep

-the blade over his sword-arm and as close as possible to your right

-leg from left to right with the arm well raised, and, returning from

-right to left with a similar sweep, but with the blade held higher,

-cut, in Carte, with the false edge and close to the point, inside his

-wrist. Unskilfully attempted, this feint is equally dangerous to both,

-but it will do yeoman’s service in the hands of a practised swordsman.

-The true edge may be used, but that involves a change of position and

-the delay of turning the hand with the knuckles downwards. Some make

-a double sweep, and, after the second movement, cut outside or in

-Tierce--the exposure is too great, unless confronted by an unusually

-phlegmatic temperament.

-

-

-§ 5. _The Time Cuts in Manchette._

-

-The Time Cut is the flower of the Manchette system, as the Manchette

-is of the broadsword; and it is, perhaps, the part least capable of

-being taught in books. When well mastered it never allows the opponent

-to raise his arm without imminent risk, and, even if it fail, the

-intention, once recognized, tends greatly to cramp and embarrass the

-adversary’s play. The natural man cuts as if he were using a stick or

-a club, and the preliminary movement lays open the whole of his body;

-indeed, exposure, I have said, is the main danger of every attack with

-the sabre, however closely and skilfully conducted. A cut through the

-muscles of the fore-arm, either inside or outside, causes the sword

-instantly to be relaxed and dropped; the man in fact is hamstrung in

-the upper works.

-

-I. _Carte de Manchette._--When the opponent from Tierce makes a _Coupé_

-or any attack in Carte, stop further movement by a Carte de Manchette,

-a horizontal Cut in Carte. The same may be done with the false edge, in

-which case the blade should be advanced as far as is possible; and this

-is to be preferred because it loses less time.

-

-II. _Parade Retrograde and Cut Tierce._--When the opponent from Tierce

-attempts a Manchette in Carte withdraw the arm (_parade retrograde_)

-and deliver the vertical Cut in Tierce downwards at his extended arm;

-both movements being combined in one. It is not necessary even with

-the tallest man to withdraw the right leg; the Cut will amply suffice.

-This Tierce Cut serves to defend from all attacks when the Guard does

-not cover the adversary; and it has lopped off many a careless arm. If

-slowly done it becomes a mere parade and ripost.

-

-III. _The Reverse Cut-upwards_, _Revers en montant_, _Rovescio

-montante_, Ger. _Revers montant_.--You feint in Seconde; the opponent

-comes to its parry and replies in Tierce; you withdraw the arm, leaving

-the heels as they were, and cut upwards with the false edge, tightening

-the grasp of thumb and fore-fingers as much as possible. This movement

-is especially useful; it is one of the best of Time Cuts, when the

-adversary indulges in long and complicated feints and false attacks. It

-may be done with the true edge, but the latter is less safe.

-

-IV. _The Time Pass_; which is merely “The Pass” turned into a Time

-Cut. When the opponent attempts a “Manchette” or any movement in

-Seconde, and expects you to reply by a time Cut in Tierce with the

-true edge, turn the knuckles up (in old Tierce), sweep the blade over

-his sword-arm as close as possible to your right leg, from left to

-right, with the arm well raised, and returning from right to left with

-a similar sweep, but with the blade held higher, cut in Carte with the

-false edge and close to the point inside his wrist. The true edge may

-be used, but, again, it wastes time. The double sweep possible as in

-“The Pass,” but it causes too much exposure.

-

-This Time Pass may also be done with the hand held high in Prime or

-rather “demi-circle” with the nails turned up, the arm outstretched,

-and the point lowered. In this case the leg must be shifted till the

-fore heel touches the rear heel, so as to give additional height to the

-hand. This is not a Reverse or Back Cut as you use the true edge; it is

-in fact one of the old movements called “Cutting within the Sword.”

-

-

-§ 6. _Résumé._

-

-The following is a synoptical table of Manchette or Fore-arm play,

-showing the Cuts, the Guards (Parries) for the Cuts, and the Riposts or

-replies that should follow each Parade. The Instructor will remember

-that instead of Prime we use High Tierce or High Carte, and for Seconde

-Low Tierce or withdrawing the leg.

-

-

-_Direct Cuts._

-

-            CUT.                         PARRY.              RIPOST.

-

-  1. Carte de Manchette.         IV. (Carte).            II. (Seconde).

-

-  2. Ditto and cut Tierce.       IV. and III. (Tierce).  III.

-

-  3. Double Carte de Manchette   IV., III. and IV.       II.

-       and cut Carte.

-

-  4. Double Carte de Manchette   Parade Retrograde by    III. or IV.

-       and cut Tierce.             withdrawing arm.

-

-

-_Reverse Cuts._

-

-  1. Half-feint.                 II. or III.             III. or IV.

-

-  2. Feint Seconde and cut       II.                     Cut with false

-       upwards.                                            edge upwards.

-

-  3. Feint Tierce and cut        III. and II.            II.

-       upwards.

-

-  4. One-two-three, and cut      Parade Retrograde.      III. or IV.

-       upwards.

-

-  5. The Pass.                   II. and I. (Prime).     III.

-

-

-_Time Cuts._

-

-  1. On all Cuts in Carte.       Parry with time in IV.  IV.

-                                   (Carte de

-                                   Manchette).

-

-  2. On feints in Carte ending   Parade Retrograde.      III. or IV.

-       with Cuts in Tierce.

-

-  3. On Cuts in Tierce.          Reverse Cut upwards.    III.

-

-  4. On Reverse Cut upwards.     II. and III.            IV.

-

-  5. On Cuts in Seconde.         The Time Pass.          III.

-

-

-Feints of _Coupé_ in Manchette.

-

-  1. Single _Coupé_.             III. or IV.             II.

-

-  2. One-two ( „ ).              IV. and III.            III.

-

-  3. One-two-three.              II., III. and II.       III. or IV.

-

-  4. One-two-three-four.         Parade Retrograde.      III.

-

-

-Feints of _Seconde_ in Manchette.

-

-  1. Simple Seconde.             II.                     III.

-

-  2. Feint Seconde and cut       II. and III.            III. or IV.

-       Tierce

-

-  3. Feint Seconde, feint        II., III. and II.       III. or IV.

-       Tierce, and cut Carte.

-

-  4. Feint Seconde, feint        Parade Retrograde.      III. or IV.

-       Tierce, and cut Seconde.

-

-

-CONCLUSION.

-

-I will end this system of Manchette with the words of old Achille

-Marozzo, written some three centuries and a half ago: “I would that ye

-swear upon your sword-hilts never to use this knowledge against me,

-your master.” But, in lieu of insisting that my readers never teach it

-without obtaining formal permission, I only hope that they will favour

-me by spreading it far and wide.

-

-

-

-

-APPENDIX.

-

-

-In p. 26 allusion has been made to an improved form of sabre handle;

-it was first attempted by the Capitano Settimo del Frate in the work

-before alluded to. The gallant officer’s Plates show that in the

-Italian cavalry-sword the upper portion of the handle is at least

-horizontal, whereas in ours it droops backwards and downwards, giving

-the grip additional facility for slipping out of the swordsman’s grasp.

-The author’s remarks[18] being even more applicable to the English

-military sabre; I give them at full length.

-

-“The equilibrium of the sabre, and the facility of firmly grasping the

-handle, are the two prime requisites for a good weapon.

-

-“When properly balanced and easily held, the sword calls for less

-exertion of strength; and the quickness and true direction of the Cuts

-are greatly facilitated. In direct proportion to the economy of force,

-we find the swordsman enabled to continue his exertion.

-

-“However well made and scientifically poised be the blade, it is

-subject to several variations of equilibrium according to the position

-in which it is held.

-

-“The nearer the centre of gravity approaches the hilt, the lighter and

-the better balanced will be the weapon, and _vice versâ_.[19] Therefore:

-

-“_It should be our principal object to effect this improvement without

-changing the proper centre of percussion and the other requisites for

-offence and defence._”

-

-The following Plates fully explain the author’s meaning.

-

-[Illustration: Fig. 1.

-

-Sabre handle actually used by Italian cavalry.]

-

-[Illustration: Fig. 2.

-

-Capt. Del Frate’s improvement.]

-

-[Illustration: Fig. 3.

-

-Capt. Del Frate’s last modification.

-

-  a. Thumb-plate.

-  b. Rest for the little finger.

-  c. Support for the index finger.

-]

-

-[Illustration: Fig. 4.

-

-Improved handle with thumb-guard.

-

-(R. F. Burton.)]

-

-[Illustration: The hand grasping the actual handle.

-

-The hand grasping the modified handle.]

-

-I would further modify his Fig. 1, so as to give more fulcrum to the

-hand. The thumb-plate should be made weighty and the guard light,

-otherwise the blade will be over-balanced, that is, heavier on one

-side than on the other. It need hardly be said that the grip before

-going into battle should be whipped round with thin whipcord, or better

-still, with web-cloth.

-

-

-LONDON: PRINTED BY WM. CLOWES AND SONS, STAMFORD STREET AND CHARING

-CROSS

-

-

-

-

-FOOTNOTES

-

-

-[1] The exceptions are in “_Right Prove Distance_” (p. 13) and No.

-_Seven_ Cut (p. 16). In the other Cuts the thumb “grasps the handle.”

-

-[2] The French divide _l’Escrime_ into two parts: (1) _Escrime à

-l’épée_, or _Escrime pointe_; and (2) _Escrime au sabre_, or _Escrime

-contrepointe_.

-

-[3] The question is considered at great length in my forthcoming volume

-entitled ‘The Sword:’ here it is sufficient simply to state results.

-

-[4] When every regiment shall have its _salle d’armes_, the fencer

-will modify his own fencing thrusts to suit the clumsier weapon. I

-do not, however, see any reason why the three Points of the Infantry

-Sword Exercise should not be delivered in the _posizione media_ of the

-Italian school, with the thumb upwards and extended along the back

-of the sword-handle: nor why, as in the French _Manuel_, they should

-not be reduced to a single _Coup de Pointe_ (p. 239), which is thus

-described. “_Baisser la pointe du sabre à hauteur de la poitrine et

-déployer le bras en tournant la main, le pouce en dessous, le tranchant

-du sabre en dessus._”

-

-[5] As Mr. John Latham justly says (“The Shape of Sword-blades,”

-‘Journal of the Royal United Service Institution,’ vol. vi.):--“The

-proper shape for a thrusting sword is pre-eminently straight.” The

-Clay-more, for instance, moving in a direct line, cuts a hole exactly

-the size of the blade; the Regulation sword, slightly curved, widens

-it to about double, and the bent scimitar and the Talwár, to five or

-six times, thus meeting with five or six times the resistance to its

-penetration. Mr. Latham is again quoted in another part of this System.

-

-[6] My only objections to this volume are the two following:--

-

-(_a_) The author _will_ “throw the whole weight of the body on the

-left leg.” (Fig. 2, p. 69.) Yet in his Introductory Remarks (p.

-5) he sensibly says, “To the haunches, as to the common centre of

-motion of the human figure, are ultimately referred all the movements

-performed in military tactics” (and swordsmanship); “as just poise is

-important to the correct exertion of action, whatever it may be, it is

-necessary that poise or balance be studied, understood, and tried in

-all positions. It is clear that bodily action cannot possess compass,

-power, and ease, unless the movement be made justly and correctly upon

-the haunches, as on a central pivot. If the movement have not compass,

-power, and ease; force and endurance will not be found in the Military

-act.”

-

-(_b_) In the Lunge our author not only keeps the body “perfectly

-erect,” he even inclines it backwards whilst he allows both feet to

-abandon the perpendicular in the most slovenly way: see Fig. 2, p.

-70, and Figs. 1 and 2, p. 71. The same is the case with the official

-‘Infantry Sword Exercise.’

-

-[7] My old friend and instructor set out upon a thoroughly scientific

-principle, and the able way in which he has worked out his system will

-entitle him to the gratitude of the _posteri_. Having established

-the fact that in all our popular athletic, as opposed to gymnastic,

-exercises, our walking and running, cricket and football, fives,

-tennis, and racquets, and especially rowing--which has advanced as

-an art but has declined as an exercise--we circumscribe the line of

-muscular operation by giving the greatest share of the work to the

-lower limbs, and by developing one half to the injury of the other; he

-resolved to cultivate the whole by a wider and more varied range of

-training; hence he supplemented “Recreative exercise” by “Educational

-exercise,” and hence his systematized national gymnasia, which, taken

-up by H.R.H. the Duke of Cambridge and by the late Sidney Herbert, have

-been introduced into the military stations of the Cardwell system, into

-Oxford and Cambridge, and into all our public schools, with one “base

-exception”--Eton.

-

-Mr. MacLaren, in his ‘System of Fencing.’ &c. (p. 9), sensibly

-advocates “resting the weight of the body equally upon both legs.”

-He also lowers the right hand in the Lunge (p. 11), and (_ibid._) he

-throws the trunk forward, perhaps with a little exaggeration.

-

-[8] The ‘Infantry Sword Exercise (see the figures over the Target

-representing the “Preparatory Positions”), “Second Position in 2

-Motions,” makes No. 2 turn the left knee out instead of carrying it

-square to the front; the same may be remarked in “Balance Motions” (No.

-4).

-

-[9] The Moulinet (Ital. Molinetto) is even on horseback a favourite

-movement with French sabrers (See _Règlement Provisoire_, &c., Tome I.

-Titres I. et II.). It is divided into--

-

-1. “_À gauche Moulinet_” (1 temps, 2 mouvements). The directions are:

-“À la dernière partie du commandement, qui est MOULINET, étendre le

-bras droit en avant de toute sa longueur, le poignet en tierce et à

-hauteur des yeux.”

-

-“Baisser la lame en arrière du coude gauche pour décrire un circle

-d’arrière en avant ... et se remettre en garde.”

-

-2. “_À droite Moulinet_” (1 temps, 2 mouvements). “À la dernière partie

-du commandement, qui est MOULINET, étendre le bras droit en avant de

-toute sa longueur, le poignet en quarte et à hauteur des yeux.”

-

-“Baisser la lame en arrière du coude droit pour décrire un circle

-d’arrière en avant ... et se remettre en garde.”

-

-3. “_À gauche et à droite Moulinet_” (1 temps, 2 mouvements). “À la

-dernière partie du commandement, qui est MOULINET, exécuter le premier

-mouvement de _à gauche Moulinet_.”

-

-“Exécuter alternativement et sans s’arrêter sur aucun mouvement le

-Moulinet à gauche et le Moulinet à droite.”

-

-  “À gauche et à droite = MOULINET.”

-

-4. “_À droite et à gauche Moulinet_ (1 temps, 2 mouvements). À la

-dernière partie du commandement, qui est MOULINET, exécuter le premier

-mouvement de _à droite Moulinet_.

-

-“Exécuter alternativement et sans s’arrêter sur aucun mouvement, le

-Moulinet à droite et le Moulinet à gauche.”

-

-  “_À droite et à gauche_ = MOULINET.”

-

-5. “_En arrière Moulinet_ (1 temps, 2 mouvements). À la dernière partie

-du commandement, qui est MOULINET, élever le bras en arrière à droite

-de toute sa longueur, la pointe du sabre en l’air, le tranchant à

-droite, le pouce allongé sur le dos de la poignée, le corps légèrement

-tourné à droite.”

-

-“Décrire un circle en arrière de gauche à droite, le poignet éloigné du

-corps le plus possible, et se remettre en garde.”

-

-  “En arrière = MOULINET.”

-

-“Les cavaliers, exécutant bien les Moulinets, on leur en fait faire

-plusieurs de suite, en faisant précéder cet exercice de l’indication;

-_les Moulinets continueront jusq’au commandement_: EN GARDE.

-

-“Les Moulinets ayant pour objet d’assouplir les articulations du

-bras et du poignet, il faut que les cavaliers y soient exercés comme

-préparation aux autres mouvements; on commence et on finit donc chaque

-leçon par des Moulinets exécutés à un degré de vitesse proportionné aux

-progrès des cavaliers.”

-

-[10] In the Regulation sword the “centre of percussion” is about

-one-third from the point; here there is no vibration, and consequently

-the Cut exercises its whole force. The “centre of gravity” is in the

-third nearest the hilt, and the “balance” of the sword results from the

-relative positions of the two centres. In light swords these points

-may be farther apart than in heavy blades; they should be closer in

-straight than in curved swords, and nearer in thrusting than in cutting

-weapons.

-

-[11] The following are the five principal ways of cutting:--

-

-1. The Chopping or Downright Cut, from the shoulder and fore-arm. This

-appears to be the instinctive method preserved by Europe; most men who

-take up a sword for the first time use it in this way.

-

-2. The Sliding Cut, common throughout the East. In this movement the

-elbow and wrist are held stiff and the blow is given from the strong

-muscles of the back and shoulder, nearly ten times larger than the

-muscles of the arm, while the whole force and weight of the body

-are thrown in. Hence the people of India use small hilts with mere

-crutch-guards, which confine the hand and prevent the play of the

-wrist; the larger grip required for the Chopping Cut only lessens the

-cutting force. The terrible effect of these cuts is well known.

-

-3. The Thrust Cut, with the curved (“Damascus”) blade; a combination of

-point and edge, the latter being obliquely thrust forward and along the

-body aimed at. This movement is a favourite on horseback, when speed

-supplies the necessary force, which can hardly be applied on foot. It

-must be parried like a Point.

-

-4. The Whip Cut; in which the arm and elbow are kept almost motionless,

-and the blow is delivered from the wrist. This is the principal Cut

-allowed in my system; it is capable of sufficient effect upon the

-opponent whilst it does not uncover the swordsman who uses it.

-

-5. The Drawing or Reverse Cut, which will be explained in the following

-pages; it is the reverse of the “Thrust Cut.”

-

-[12] This fact is well known to the _Manuel_, which says, “_Des deux

-engagements celui de droite par la position de la main a le plus

-d’application_.” It therefore makes all the Cuts and Parries begin from

-Tierce. This elementary rule is not recognized by the ‘Infantry Sword

-Exercise’ (p. 32); “your defence is always more effective in the left

-(Carte) than in the right (Tierce).” Such I assert is the case with

-the foil and rapier, certainly not with the sabre or broadsword. On

-horseback the left is of course the weak side.

-

-[13] Used in this sense the “small-sword” is the triangular weapon, the

-rapier is the flat, or rather the bi-convex blade.

-

-[14] In p. 29 of the ‘Infantry Sword Exercise’ we read of “a circular

-motion of the blade, termed the Parry;” but the latter word must not be

-limited to this sense.

-

-[15] The only allusion to it is the “shifting of the leg,” in p. 30.

-

-[16] See the ‘Infantry Sword Exercise,’ p. 31.

-

-[17] In France the false edge is hardly known; such blades are called

-_à deux tranchants_; it is the Italian schiena or chine, mezzo-filo,

-or falso opposed to vero taglio, and the German, rückschneide or

-kurzeschneide, thus distinguished from the lange-schneide.

-

-[18] See his Appendix, entitled “Modificazione all’ impugnatura e

-guardia delle Sciabola di cavalleria per facilitarne l’equilibrio ed

-avantaggiare la fermezza della mano sull’ impugnatura.”

-

-[19] A notable instance of this is the old Highland Clay-more.

-

-

-

-

-Transcriber’s Notes

-

-

-Simple typographical errors were corrected.

-

-Punctuation, hyphenation, and spelling were made consistent when a

-predominant preference was found in the original book; otherwise they

-were not changed.

-

-

-

-

-

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+The Project Gutenberg EBook of A New System of Sword Exercise for Infantry, by 
+Richard Francis Burton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: A New System of Sword Exercise for Infantry
+
+Author: Richard Francis Burton
+
+Release Date: April 21, 2019 [EBook #59336]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK A NEW SYSTEM OF SWORD ***
+
+
+
+
+Produced by Tim Lindell, Charlie Howard, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+[Illustration:
+
+  NEW SYSTEM
+  OF SWORD
+  EXERCISE
+]
+
+
+
+
+  A NEW SYSTEM
+  OF
+  SWORD EXERCISE FOR INFANTRY.
+
+
+  BY
+  RICHARD F. BURTON,
+
+  AUTHOR OF ‘A SYSTEM OF BAYONET EXERCISE’ (1853).
+
+
+  LONDON:
+  PRINTED AND PUBLISHED BY
+  WILLIAM CLOWES AND SONS, 13, CHARING CROSS.
+  1876.
+
+
+
+
+  THESE PAGES
+  ARE DEDICATED (WITH PERMISSION)
+  TO
+  His Royal Highness Field-Marshal the Duke of Cambridge,
+  COMMANDER-IN-CHIEF OF THE ARMY,
+  ETC., ETC., ETC.,
+  WHO HAS GRACIOUSLY ENCOURAGED THIS ATTEMPT TO EXTEND
+  THE ‘INFANTRY SWORD EXERCISE,’
+  BY
+  HIS ROYAL HIGHNESS’S
+  MOST HUMBLE AND DEVOTED SERVANT,
+
+  THE AUTHOR.
+
+
+
+
+CONTENTS.
+
+
+                                                        PAGE
+  Introductory Remarks                                    11
+
+  Sect. I. Preparatory Instruction without the Sword      20
+
+       II. Preparatory Instruction with the Sword         26
+
+      III. The Manchette, or Fore-arm Play                45
+
+  Conclusion                                              56
+
+  Appendix (Note on Sabre handles)                        57
+
+[Illustration]
+
+
+
+
+A NEW SWORD EXERCISE FOR INFANTRY.
+
+
+
+
+INTRODUCTORY REMARKS.
+
+
+Before proceeding to develop my New Sword Exercise for Infantry, I
+would offer a few remarks upon the changes proposed in these pages.
+Whilst the last half century has witnessed an immense improvement in
+the projectile weapons of the civilized world, the theory and practice
+of the sabre or cutting arm have remained _in statu quo ante_; indeed,
+if there has been any change it is for the worse. The two systems
+authorized in the British army are completely behind their time. First
+and senior is the ‘Infantry Sword Exercise’ (with plates): Revised
+Edition, Adjutant-General’s Office, Horse Guards. London: Printed under
+the superintendence of H.M. Stationery Office: 1874. The second is
+the ‘Instructions for the Sword, &c. (without plates), for the use of
+Cavalry.’ Adjutant-General’s Office, Horse Guards. June, 1871.
+
+The latter can be despatched very briefly. Despite the late date,
+it is as obsolete as the older system; it is, in fact, only the
+‘Infantry Exercise’ with the addition of “pursuing practice,” and
+“post practice”--the latter upon a sort of modern Quintain not made
+to revolve. So far, so good. The practised swordsman has little to
+learn when mounted, except the few modifications which he can teach
+himself. His real study is on foot. But some of the remarks appear not
+to have been written by a practical hand. For instance, we read (p.
+27): “In delivering a forward thrust, very little force is necessary
+when the horse is in quick motion, as the extension of the arm, with
+a good direction of the point, will be fully sufficient.” “Fully
+sufficient”--I should think so! The recruit must be carefully and
+sedulously taught when meeting the enemy, even at a trot or canter,
+to use no force whatever, otherwise his sword will bury itself to the
+hilt, and the swordsman will either be dragged from his horse, or will
+be compelled to drop his weapon--if he can. Upon this point I may quote
+my own ‘System of Bayonet Exercise’ (p. 27):--
+
+“The instructor must spare no pains in preventing the soldier from
+using force, especially with the left or guiding arm, as too much
+exertion generally causes the thrust to miss. A trifling body-stab
+with the bayonet (I may add with the sword) is sufficient to disable
+a man; and many a promising young soldier has lost his life by
+burying his weapon so deep in the enemy’s breast that it could not
+be withdrawn quickly enough to be used against a second assailant.
+To prevent this happening, the point must be delivered smartly, with
+but little exertion of force, more like a dart than a thrust, and
+instantly afterwards the bayonet must be as smartly withdrawn.” In
+fact the thrust should consist of two movements executed as nearly
+simultaneously as possible; and it requires long habit, as the natural
+man, especially the Englishman, is apt to push home, and to dwell upon
+his slouching push.
+
+The ‘Infantry Sword Exercise’ is nought but a snare and a delusion.
+Except in pagination, it is the same as the “Revised Edition” of
+1845--the only difference or revision that I can detect is the omission
+of a short sentence in p. 26 of the older issue; it even retains
+the General Order of Lord Hill, 23rd April, 1842. Thus “Revision”
+is confined to the plates. In 1845 the figures wear the milk-pail
+shako widening at the top, the frock coat and the scales; the last
+edition, dated April, 1874, dons the tall modern chimney-pot, the
+tightly buttoned tunic with stiff collar and, like its predecessor, the
+sash and the scabbard. It is no wonder that the figures display an
+exceeding _gêne_, the stiffness of pokers, as the phrase is: here we
+might with profit borrow from the French or Italian artist.
+
+I am opposed to almost every page of this unhappy _brochure_,
+especially to the “Seven Cuts and Guards” of the target; to the shape
+of the target--I never yet saw a man absolutely circular; to the grip
+of the sword; to the position in guard; to the Guards or Parades,
+especially the inside engaging guard (Carte); to the Lunge; to the
+angle of the feet, and to the system of “loose practice.”
+
+The “Cuts” will be noticed in a future page. Of the grip I may remark
+that the one essential, the position of the thumb, both in attacks and
+parries is, as a rule, neglected by the ‘Sword Exercise.’[1] As early
+as 1828, Müller made his _point d’appui_ a grasp of the handle with
+the four fingers, the thumb being stretched along the back, in order
+to direct the edge, and to avoid the possibility of striking with
+the “flat.” The only exception to this universal law is when doing
+the “Moulinet” movements, which will be explained farther on. Some
+professors, both with broadsword and small-sword, would stretch the
+index, when pointing, along the right of the handle. I have objected to
+this practice in the rapier and the foil: except when done to change
+position for relief, it serves merely to fatigue the wrist. But the
+proper use of the thumb, “_le pouce allongé sur le dos de la poignée_,”
+which is troublesome at first, and which demands some study, especially
+from those who have acquired bad habits, is the base of all superior
+“counterpoint.”[2]
+
+The position on guard is a debated point. Many, indeed I may say
+most, of the moderns follow the rule of all the older swordsmen,
+namely, reposing two-thirds of the body-weight (as in p. 19 of the
+‘Exercise,’ which, however, is an exaggeration) upon the left leg. The
+reasons usually given are that in this position the person is not so
+much exposed; moreover, that the centre of gravity being thrown back
+adds spring and impetus to the Lunge. We may remember how Cordelois
+(1862) made a step towards change in his fencing-schools at Paris.
+My objection to the old style is that the farther you are from your
+opponent, the longer and slower will be your attack; moreover, I have
+ever found, in personal practice, that it is easier and more convenient
+to “sit on guard” with the weight equally distributed on both haunches
+and legs. In fact, that the backward position is not natural any pair
+of thighs can ascertain for itself after trying it for five minutes:
+whilst the muscles of the right or forward limb are relaxed as much
+as possible, those of the left are tight strung, so as to do double
+work and threaten cramp. This single objection is serious enough to
+counterbalance any other claims to superiority.
+
+[Illustration: First Guard. (Prime.)
+
+(“What to avoid.”)]
+
+Again, there is no excuse for the guards in the ‘Exercise.’ The
+“Hanging guard” (p. 18, in the older issue p. 21) is the worst that
+can be imagined--a painful spectacle, a lesson of “what to avoid.” The
+head ignobly cowers, and the eyes look up, in a forced and wearying
+position, when the former should be held upright, and the glance should
+be naturally fixed upon the opponent’s eye and blade-point; the body
+is bent so as to lose our national advantage of height and strength,
+and the right fore-arm in such a position is, and ever must be, clean
+uncovered. Let the recruit, however strong may be his haunches, stand
+a few minutes in this “Hanging guard,” and he will soon feel by his
+fatigue how strange, awkward, and strained it is. The Carte or inside
+Engaging Guard (pp. 19, 22), again, endangers the fore-arm. The
+Tierce or outside Engaging Guard (pp. 20, 23) holds the hand too low,
+and unduly shortens the arm, thus offering an undesirable amount of
+exposure; it is in fact not a Guard, but a bad parry in “low Tierce.”
+Worse still is the Lunge (pp. 14, 17): here the body is placed bolt
+upright, instead of being easily bent, without exaggeration, to
+the fore, prolonging, as every man instinctively would do at his
+first attempt, the line of the left leg. The former position is not
+only fatiguing and “against the grain;” also shortens the reach and
+carefully places the opponent safely out of measure. Many swordsmen
+still contend for the stiffly upright position in Lunge:[3] I am
+disposed to consider it a mere survival of the classical and artificial
+French school of arms, which aimed at opposing nature as sedulously
+as the Italian, who always leans to the fore, attempted to follow her
+dictates. Moreover, their arguments are founded upon the abuse, not
+the use, of the inclined pose which the body naturally assumes. In
+teaching the recruit it is well to see that he does not fall into the
+dangerous habit of throwing the chest forward (_poitriner_) to meet his
+opponent’s point; but the truth of muscular motion must be consulted.
+
+Finally, I would note the mistake of “loose practice” with the
+single-stick instead of the sabre; it probably arose from a mistaken
+economy in saving swords and paddings. Single-stick is a different
+weapon, a cane or light cudgel with a basket-hilt covering the back
+of the hand, like the imperfect guard of the Highland Clay-more; it
+is straight, not curved, and, as the rod has no edges, so in practice
+every blow equally represents a cut. Single-stick has merits of its
+own, but its practice is fatal to excellence with the broadsword, and
+even the ‘Exercise’ seems to recognize the fact, for the _guindés_
+figures are armed with officers’ Regulation swords.
+
+[Illustration: Inside Guard--(Carte).
+
+(Weight all thrown back.)]
+
+Both ‘Sword Exercises’ carefully avoid naming “Tierce” and “Carte;”
+preferring “right” and “left” (of the Sword) or “outside” and “inside,”
+as if such mysteries were too high or too deep for our national
+intelligence. I would again quote a few lines from my ‘System of
+Bayonet Exercise’ (Introductory Remarks, pp. 8, 9):--
+
+“But why, it may be asked, should the English soldier be deterred by
+difficulties which every French voltigeur can master? We admire the
+intelligence of our neighbours in military matters: we remark that they
+are born soldiers, and that their men learn as much in four months
+as ours do in six. Is not this, however, partly our own fault? In my
+humble opinion we mistake the cause of their quickness, attributing
+to nature the effect of art. When our system of drill is thoroughly
+efficient; when the _Manual and Platoon_ is much simplified, when a
+_salle d’armes_ is established in every corps, and when the bayonet
+exercise becomes a recognized branch of instruction; then, I believe,
+we shall find our soldiers equal in intelligence to any others.” These
+words were written in 1853; in 1875 I add, “When we enlist the right
+kind of recruit either by improving his condition and his prospects,
+not his pay, or better, far better, by securing a superior man through
+the conscription of modern Europe.” We Britons are no longer physically
+divided from the total orb; nor can we afford to remain morally
+insulated and isolated. The logical effect of union with the outer
+world will be to make us do as the world does, and all our exceptional
+institutions, such as the system of volunteer recruiting, must sooner
+or later go by the board.
+
+[Illustration: Outside Guard--(Tierce).
+
+(A Parry not a Guard.)]
+
+Nor is the most modern French Treatise (pp. 229–256, _Manuel de
+Gymnastique et d’Escrime_, officially published by the _Ministre de la
+Marine et des Colonies_; Paris, Dumaine, 1875) “_Escrime au Sabre_”
+much superior to our home growth. The position of the left hand (pp.
+232, 233) is bad throughout: it must slip during the Lunge and make the
+play loose. The retreat of the left leg (Fig. 5, p. 235) is carried to
+an extreme of caution. The body is always perpendicular in the Lunge,
+whereas the same volume shows (Fig. 16, p. 20) the trunk naturally
+inclining forwards. The Cuts are not double nor continuous, as they
+should be. The “Hanging Guards” (pp. 240, 244, 245) are deplorable.
+On the other hand, the _Manuel_ (p. 231) places the thumb along, not
+around, the handle; the _moulinets_, the _enlevés_, and the _brisés_
+(presently to be explained) are good stuff, and, moreover, they are
+applied to the Cuts (p. 239). Finally, nothing can be better than
+the advice (p. 249), “Après avoir touché, retirer vivement le sabre
+en arrière en lui imprimant une direction oblique dans le sens du
+tranchant, de manière à _scier_.”
+
+Of the points or thrusts with broadsword nothing will here be said:
+they belong to another order of things, and they should be studied
+in the fencing school.[4] But the soldier must be taught that if his
+adversary attempt a thrust, the broadsword is easily disarmed. When the
+opponent comes to the position of pointing, that is, extends his blade,
+a sharp glissade along its length will make the grip fly out of his
+grasp. Another way of embarrassing the attack is to cut right and left
+at the hand, the wrist, or the fore-arm, when the adversary begins to
+present point.
+
+General Lamoricière was a firm believer, as we all are, in the
+thrust, and the French Sword Exercise for Cavalry (p. 178 _Règlement
+Provisoire sur les Exercises de la Cavalerie_, officially published at
+the _Ministère de la Guerre_; Paris, Dumaine, 1873) justly remarks:
+“_Les coups de pointe doivent toujours être employés de préférence,
+comme exigeant moins de force et ayant un résultat plus prompt, plus
+certain et plus décisif_.” The reason of its confessed superiority
+to the Cut is as old as the axiom, “a straight line is the shortest
+way between two points.” The Thrust describes a diameter, the Cut, a
+segment, of a circle and, with equal velocity, the Cut will traverse a
+distance occupying some two-thirds more of time than the Thrust. The
+French tactician therefore proposed to abolish the use of the edge
+for cavalry, thus traversing the instinct of the man-at-arms who,
+especially on horseback, loves to slash at his enemy, and who runs
+far less risk of entangling his blade. But he of course advocated
+a straight and tapering sword with no edge to speak of; indeed the
+cuirassier’s _latte_ is still a kind of rapier, but it is rendered
+useless by prodigious length and by the weight of the handle. The
+modern Italian School of Sabre uses, especially in single combat, all
+the _dégagements_ of the _salle d’armes_: this is thoroughly illogical;
+the weapon is chosen because it is supposed to be less fatal than foil
+or rapier, and yet it is so used as to become even more deadly. I
+need hardly say that the weight and shape of the broadsword, together
+with the positions of guard, render pointing with it awkward in the
+extreme.[5]
+
+I have now finished with the ungrateful task of criticizing, and I
+proceed to propose a system which it is hoped will be as severely
+criticized by others. It is only candid to state that its pretensions
+are high, that it contains two distinct novelties, the Manchette System
+and the Reverse or Back-cut; and, finally, that it aspires to be the
+first Treatise in which the broadsword is scientifically taken in hand.
+
+
+
+
+SECTION I.
+
+PREPARATORY INSTRUCTION WITHOUT THE SWORD.
+
+
+§ 1. _Preliminary._
+
+Nothing will here be said concerning the “goose step of the sword,”
+the “Balance Motions,” and the “Extension Motions,” of the official
+‘Infantry Sword Exercise.’ They are essentially a part of ‘Squad and
+Setting-up Drill,’ and as such they have been treated in several good
+manuals, especially by Serjeant-Major S. Bertram Brown: A ‘Practical
+Guide to Squad and Setting-up Drill, in accordance with the Principles
+laid down in Part I., Field Exercise of the Army.’ Adapted for the use
+of Recruits, Rifle Volunteers, Militia, Police Force, Schools, and
+Families: Illustrated with sixty-eight figures, representing each Stick
+and Club Exercise, Extension Motions, and Sword Exercise Positions.
+London: Allen and Co., 1871. 2nd Edition.[6] Considered in a wider
+sense they belong to the Branch of Science so thoroughly developed in
+‘A Military System of Gymnastic Exercises for the Use of Instructors:
+Adjutant-General’s Office, Horse Guards, 1862; Physical Education,’
+_Clarendon Press Series_, Oxford, 1869; and in ‘Training in Theory and
+Practice’ (London, Macmillan, 1874), by Archibald MacLaren,[7] whose
+excellent code for the army, and whose influence with successive war
+ministers, as some one truly said, have aided largely in introducing
+that admirable training which is transforming the stiff, slow-moving
+grenadier of past times into the vigorous, rapid, and enduring soldier
+of the present day.
+
+Squad drill is not likely to make a good swordsman, yet economy of
+time renders it a necessity. It must be practised first without,
+then with, weapons, after which those who show unusual capabilities
+should be taken individually in hand by the master. The latest French
+system (_Manuel, etc_.) divides the four lessons into two degrees: 1.
+Preparatory Movements; moulinets and simple attacks and parries. 2.
+Compound attacks and parries.
+
+The formation of the squad is in the usual line, with open order at
+arm’s length from the right or left. The men are then taught the three
+positions as follows:--
+
+[Illustration:
+
+  First Position.      Second Position.     Third Position.
+
+  In two movements.    In two movements.    In two movements.
+]
+
+
+§ 2. _First Position in Two Motions._
+
+_One._--Place the hands smartly behind the back, the left grasping the
+right arm just above the elbow, and the right similarly supporting the
+left elbow.
+
+_Two._--Make a _half-face right_ by pivoting smartly on both heels,
+which must be kept close together; the feet at right angles; the left
+pointing to the front, the face looking towards the opponent, or the
+right-hand man, and the weight of the body balanced equally upon both
+haunches and legs.
+
+
+_Second Position in Two Motions_ (Guard).
+
+_One._--Bend the knees gradually till they are perpendicular to the
+instep, keeping the head and body erect, and both feet firm on the
+ground. The instructor must be careful that the knees do not incline
+inwards--a general fault.
+
+_Two._--Advance the right foot smartly about 20 inches in front of and
+in line with the right heel, and rest the whole weight of the body upon
+both haunches and legs.[8]
+
+In the second position, that of Guard for the feet, care must be taken
+that the left foot remains firm on the ground, without shuffling or
+turning inwards or outwards. Many swordsmen find a better balance when
+the right heel is on a line with the hollow of the left foot.
+
+
+_Third Position in Two Motions_ (from Guard to Lunge).
+
+_One._--Advance the body slightly forward, and bring the right
+shoulder and knee perpendicular to the point of the right foot.
+
+_Two._--Advance the right foot smartly, about 20 inches, or double
+the distance of No. 2, Second Position (Guard), taking care that the
+foot does not overhang the instep; extend the left leg with a spring,
+the left foot remaining true and firm, and the left knee perfectly
+straight; let the shoulders expand and the body be profiled and
+slightly inclined forwards, or towards the opponent.
+
+This is the position of the legs in the Lunge, and the greatest care
+must be taken to prevent the recruit learning it in a careless,
+shuffling way. Above all things he must accustom himself to separate
+the action into its two composing parts, otherwise the lower limbs will
+often take precedence of the upper (shoulder, arm, and hand), and the
+Lunge become worse than useless. When recovering guard the contrary is
+the case; the left knee must be bent before the right foot is moved,
+and the latter should exert a slight pressure on the ground; at the
+same time the body must be drawn backwards, not jerked upwards.
+
+These measures of Guard (20 inches) and of Lunge (40 inches) are
+best fitted for average-sized men; in exceptional cases they must
+be shortened or lengthened according to the stature and stride of
+the recruit. The rule for guard is the measure of two foot-lengths;
+the Lunge doubles that span; and the least vigorous men require the
+greatest distances.
+
+These movements must be learned, first in slow, and afterwards in quick
+and in double-quick, time; the same may be said of all practice with
+and without the sword. _Squad attention!_ and _Stand at Ease!_ need
+hardly be explained. The recruits’ muscles soon become fatigued by the
+unusual and monotonous exercise, causing them to remain too long in one
+position; the easiest way to relieve them is to change front, making
+the left leg stand on guard and lunge, as a left-handed fencer would
+do. This double practice is as useful and recommendable in fencing and
+broadsword play as in bayonet exercise: it gives additional balance
+to the body, it equalizes the muscular strength of both sides, and it
+makes the soldier feel that if his right arm be disabled he can still
+depend upon his left.
+
+The word _Steady_ must not be used as a command: it should be a caution
+given at the completion of any part of a practice with the view of
+correcting faults.
+
+
+§ 3. _Attacking, Advancing, and Retiring._
+
+_Single Attack._--Raise the right foot well off the ground and beat
+smartly with the whole sole, the greatest force being upon the ball of
+the foot, and the least upon the heel.
+
+_Double Attack._--The same movement made twice. The instructor
+should carefully avoid the directions of the ‘Infantry Sword
+Exercise,’--_first with the heel, then with the flat of the foot_.
+Nothing jars the leg more than this use of the heel; it is a bad habit
+to use it for anything but “pivoting.”
+
+_Advance._--Smartly advance the right foot about six inches and bring
+up the left as nearly as possible to the same distance. The soles must
+just clear the ground, and the toes be kept on a straight line with
+the knee, and never turned inside or outside. Neglect of the latter
+precaution leads to a loose, unsteady, and slovenly style which, easily
+learnt, is hardly to be unlearnt.
+
+_Single Attack._--As before.
+
+_Retire._--Move the left foot lightly to the rear about six inches,
+and let the right foot follow it. Recruits are uncommonly apt to
+“step short,” and this can be remedied only by making them retire for
+considerable distances. The weight and balance of the body must be
+equally distributed on both haunches and legs, not resting upon the
+left, which can serve only to give cramp.
+
+_Double Attack._--As before.
+
+_Front._--Resume the position of “Attention.”
+
+
+
+
+SECTION II.
+
+PREPARATORY INSTRUCTION WITH THE SWORD.
+
+
+§ 1. _Explanation and Use of the Target._
+
+The Target prefixed to these pages explains itself. The shape is
+oblong, the frame measuring 6 feet by 3, and the figure 5 feet 8 inches
+by 1 foot. As the latter represents the opponent, the centre should
+be about 4 feet from the ground, the height of the recruit’s breast.
+Perpendicular to the foot of the figure in each Target a horizontal
+line is drawn, forming for the feet, the legs, the body, and the arms,
+the “directing line” of the scientific schools. At a distance of 10
+feet the recruit is placed in the position of “Attention,” with his
+left heel on the line, so that at the command “First Position” his
+right foot may cover it.
+
+The parallelogram shows the direction and the numbering of the Cuts,
+concerning which further details will presently be given. They should
+be regulated according to the lines described upon the Target; nor
+should the recruit be practised in any other mode until he has gained
+the proper direction of the blade.
+
+Nothing need be added to the directions of the ‘Infantry Sword
+Exercise’ (pp. 12, 13, 14), as regards the movements subject to the
+following words of command: much, on the other hand, with great
+advantage, might be taken away, and the result would be the increased
+efficiency that results from simplicity.
+
+_Draw Swords_ (should be much abridged; after the modern French School,
+pp. 165, 166: _Règlement Provisoire_, &c.);
+
+_Slope Swords_;
+
+_Return Swords_ (should be simplified);
+
+_Stand at Ease_;
+
+_Attention_;
+
+_Prepare for Sword Exercise_;
+
+_Right prove Distance_;
+
+_Slope Swords_;
+
+_Front prove Distance_; and
+
+_Slope Swords_.
+
+At the order, _Stand on Guard_, the recruit having assumed the Second
+Position, No. 2, falls on Guard: the pommel of the sword fronts his
+right breast; the point is directed at his opponent’s right eye; his
+right arm is extended with an easy bend at the elbow; the wrist is
+inclined, with the knuckles slightly turned upwards, to his own right,
+so as to cover him in case of a straight thrust, and the left hand is
+placed upon the left flank just below the ribs, with the fingers to the
+front and the thumb to the rear.
+
+The several guards (parries) are learned by holding the sword opposite
+to and in the inclination of the dotted lines which have sword-hilts
+attached to them; the recruit is thus taught from the Target the angle
+of the blade and the position of the wrist.
+
+The Target directs the recruit _how_ to make the Cuts and to form the
+Guards, but not exactly _where_; this must depend upon how the opponent
+acts during the attack and the defence. Cuts 1, 3, 5, 7, 9, and 11 (odd
+numbers) are all from Carte, which the ‘Infantry Sword Exercise’ calls
+_Inside_. The corresponding even numbers (2, 4, 6, 8, 10, and 12) are
+from Tierce, or _Outside_. The same nomenclature applies to the Guards
+or parries.
+
+When the recruit thoroughly understands the use of the Target he need
+no longer be practised in front of it; but the instructor (sword in
+hand) should consider it a sure guide and reference for correctly
+forming the Guards and for giving a suitable direction to the edge when
+making the Cuts.
+
+
+§ 2. _The Moulinet._[9]
+
+This rotation movement should be learnt before the recruit proceeds to
+the Cut.
+
+There is nothing better for “breaking,” as the French say, the
+recruit’s wrist than this sweep of the sword; and the style of a
+swordsman may always be known by his Moulinet. We will divide it into
+three kinds, viz. (1) horizontal, (2) diagonal, and (3) vertical; the
+latter again may be either (a) ascending or (b) descending; but as the
+second (diagonal) is a mere modification of the first and the third, it
+will be sufficient to notice only two; these are:--
+
+1st. The horizontal movement, or _Moulinet_ proper, circling the sword
+round the head. The grip is held as lightly as possible, chiefly with
+the thumb and the first finger, resting the pommel upon the palm, and
+carrying the nails upwards. The blade should be moved as horizontally
+as it can be, with the back just clearing the swordsman’s crown: it
+should describe, not a true circle, but an oval with a long diameter
+in the directing line to the centre of the Target through the heels or
+ankles of the recruit. Finally, the point should be lanced or thrown
+out, as it were, towards the opponent’s face. Evidently it may be done
+in two ways, first, from right to left, which I will call the “Tierce
+Moulinet” (_Moulinet à gauche_); this is by far the easiest and the
+more habitual, corresponding with Tierce “Counter,” opposition, or
+describing with the blade a circle round the adversary’s blade, in the
+fencing school. The reverse movement (“Carte Moulinet,” _Moulinet à
+droite_), from left to right, requires, like the Counter of Carte, much
+more practice.
+
+In these directions “right and left” apply to the right and left of the
+swordsman’s wrist.
+
+2nd. In France the term “Moulinet” is mostly applied to these two
+rotations of the sword round the head, but we will extend it to all
+circlings of the point. The vertical form is also made from the hand
+in Tierce (Outside Guard), the blade is brought sharply round with the
+back towards the breast and left shoulder, and returns to its original
+position; we will call this the “Inside Moulinet,” having reference to
+the performer, not the adversary. The “Outside Moulinet” is when from
+“Tierce or Outside Guard” the blade passes along the right shoulder, it
+is simply the former done in the outer line.
+
+[Illustration: Horizontal Moulinet.]
+
+Again the “Inside Moulinet,” which ends with the Cut from above
+downwards (the French _enlevé_), may be inverted so as to cut from
+downwards upwards (the _brisé_). The same may be done with the “Outside
+Moulinet,” when the wrist must be turned upwards, and the Cut given
+in the ascending line. This difficult movement should be practised
+in order to ensure a flexible wrist, but it exposes the whole arm. In
+the four latter “Cuts,” the one invariable rule is to circle the point
+as vertically as possible. The French _Manuel_ (pp. 234, 235) gives:
+1, the _enlevé_ cutting from above downwards; and it may be either
+_à gauche_ (Tierce Moulinet) or _à droite_ (Carte Moulinet); 2, the
+Moulinet proper; and 3, the _brisé_, cutting from downwards upwards,
+thus reversing the _enlevé_; and this also may be done _à gauche_
+(Tierce Moulinet) or _à droite_ (Carte Moulinet).
+
+[Illustration: Vertical Moulinet.]
+
+The “Moulinet” should be practised first without, then with, the sword,
+and on foot, before attempting it on horseback. In the earlier stage
+the recruit must turn the hand, with the arm nearly extended, in the
+horizontal and vertical movements, without stiffness and displacement
+of the elbow. In the second he may, if no Target be procurable, work
+before a cross chalked on the wall so as to secure horizontality and
+verticality. Finally, the soldier will combine the two, Tierce and
+Carte, by passing rapidly from one to the other.
+
+Whilst practising the Moulinet the recruit must be taught the two
+main divisions of the sword-blade. Fencers have introduced an immense
+complication into this simple matter; and some have proposed eight
+parts: for broadsword it is sufficient to divide the length. The
+“Feeble,” or weak half, is that contained between the point and the
+centre; this, the proper part for the Cut or attack is ground to a
+thinner edge, and consequently is more liable to an injury from another
+sword if the Cut be not very true. The “Fort,” or strong half, is from
+the centre to the hilt, and upon this we must rely for defence.
+
+A few hours’ practice and a few pressings upon the different parts
+of the blade under the surveillance of the instructor will teach the
+recruit the high importance of this lesson. He will learn that in
+opposing the adversary’s sword the strength of the defence decreases
+from the hilt upwards in proportion as the Cut is received towards the
+point; and that, _vice versâ_, it increases from the point downwards
+to the hand. The strongest man cannot “force in” the opponent’s Guard
+if the Cut or Thrust be received upon the part near the handle. With
+a true Guard the ordinary fencing foil can turn off the thrust of a
+musket and bayonet weighing 10 lbs. The practised swordsman always
+attempts, when attacking, to gain with his “Fort” the “Feeble” of the
+opponent’s weapon, in which case the superior leverage will often
+beat down the parry; and this manœuvre should be carefully practised
+by men of superior muscular strength. The Cuts must, as a rule, be
+delivered within eight inches of the point and at the “centre of
+percussion,”[10] so that the sword may clear itself and the arm escape
+a “jar.”
+
+The two virtues of the Cut are its trueness and its velocity. Unless
+true it will become a blow with the flat that would shiver to pieces
+any brittle Eastern blade. Assuming the _vis viva_ or force of a moving
+body to be its weight multiplied by the square of the velocity, let us
+suppose a strong man cutting with a sword weighing 4 lbs., to which he
+can give a velocity which we will call 1, or 4 × 1 = 4: a weaker man
+who applies double the velocity to a 2 lb. sword will thus produce a
+momentum of 8, doubling the force of the blow. But let the stronger man
+take the lighter sword, evidently he will obtain a higher velocity,
+which we will assume at 3: in this case the effect will be 18. Thus the
+power of the Cut is enormously increased by increased velocity, but
+much less by increased weight in the moving body.
+
+
+§ 3. _The Cuts._
+
+The Target prefixed to the ‘Infantry Sword Exercise’ gives Seven
+Cuts, an insufficient number. The German systems add an eighth blow
+perpendicularly upwards, when the whole of the swordsman’s arm from
+wrist to shoulder would be completely at the opponent’s mercy.
+
+The French _Manuel_ has only seven, viz. the _Coup de Tête_; 2, the
+_Coup de Banderole_; 3, the _Coup de Figure à droite_; 4, the _Coup de
+Figure à gauche_; 5, the _Coup de Flanc_; 6, the _Coup de Ventre_; and
+7, the _Coup de Manchette_.
+
+[Illustration: German System.]
+
+The subjoined diagram shows the Twelve Cuts[11] which serve to “loosen”
+the rigid arm of the recruit.
+
+[Illustration: The Twelve Cuts (shown by the thick strokes), the dotted
+lines denoting the course of the blade in “Moulinet”, or rather in
+“Semi-Moulinet.”
+
+  CARTE.                         TIERCE.
+
+  Cut 1.                         Cut 2 (Head Cuts).
+
+  Cut 3.                         Cut 4 (Face Cuts).
+
+  Cut 5.                         Cut 6 (Shoulder Cuts).
+
+  Cut 7.                         Cut 8 (Breast Cuts).
+
+  Cut 9.                         Cut 10 (Stomach Cuts).
+
+  Cut 11.                        Cut 12 (Groin and Thigh Cuts).
+]
+
+The figure represents the opponent; the thick lines show the direction
+of the edge when cutting; and the dotted continuations denote the
+course of the blade when describing the several “Moulinets.”
+
+The Cuts should be continuous, the regular succession always beginning
+from Carte or the Inside, that is, from the rear of the left shoulder.
+As in the “Moulinet,” the less the arm is bent and the sword-hand is
+moved from the line of direction (to the front), the greater is the
+value of the movement. The recruit, who must walk before he runs,
+should deliver the whole dozen in continuous sweep without pause, but
+at first very slowly, till, by the proper and timely use of the wrist,
+the Cuts lead into one another. The more advanced swordsman, whose
+pliability of strength is free from contractions and other vicious
+habits, should practise the series of twelve with increased rapidity
+till the blade whistles through the air. All the Cuts should be given
+strong, with the edge leading well forwards and with the arm extended
+to its utmost in the delivery.
+
+The following are the Twelve Cuts:--
+
+I. and II. These Cuts are made, after falling into Tierce or Outside
+Guard, from above downwards at the opponent’s head. In No. I. the
+point, beginning as usual from the left shoulder (Carte), describes
+a full circle (“Inside Moulinet,” the _brisé à gauche_ of the French
+_Manuel_), the hand moving as little as possible so as to cover the
+body; the knuckles turned up and the blade passing close to the breast:
+it finishes by delivering a vertical Cut, with the “Feeble” close to
+the point, at the right half of the adversary’s crown. No. II., which
+follows without interruption, reverses the process; the knuckles are
+turned down and the blade sweeps past the right shoulder (_brisé à
+droite_); ending with the left half of the opponent’s head. The latter
+Cut is by far the more difficult to make without moving the hand, but
+it is good practice for “breaking” the wrist.
+
+III. and IV. The horizontal face-cuts, also beginning from the left
+(Carte), an invariable rule, and ending with the right, that is, at
+the adversary’s left cheek. The reason of this practice is to make the
+movement habitual to the recruit; cutting from left to right always
+causes less exposure of the inner wrist than cutting from right to left.
+
+V. and VI. The slanting shoulder-cuts, also from above downwards
+(Nos. 1 and 2, or rather 2 and 1, of the ‘Infantry Sword Exercise,’
+pp. 14, 17, and the _Coups de Banderole_ of the _Manuel_); describing
+two diagonal Moulinets, first from left to right, and then from right
+to left. The sword again makes a double “Moulinet” with the edge
+downwards, and descends first upon the opponent’s right and then upon
+his left shoulder.
+
+VII. and VIII. The horizontal breast-cuts, parallel with the face-cuts,
+and, like them, delivered with the blade as horizontal as possible.
+
+IX. and X. The horizontal stomach-cuts, parallel with, and lower than,
+the breast-cuts.
+
+XI. and XII. The slanting groin or thigh-cuts, diagonally from
+downwards upwards; in fact, the reverse of the shoulder-cuts (Nos. 4
+and 3 of the ‘Exercise,’ and the _brisés_ of the _Manuel_). In these
+diagonal Moulinets, the elbow must not be bent; the hand should deviate
+as little as possible from the directing line under pain of dangerous
+exposure; and the two movements should follow each other without a
+break.
+
+Whenever the recruit fails to carry the edge well forward in making the
+attack, he should be practised slowly and repeatedly in combining the
+opposites, as Head-cut (No. 1) and Thigh-cut (No. 12), Head-cut (No. 2)
+and Thigh-cut (No. 11), and so forth. The instructor must see that the
+edge leads on to the respective lines of the Target, the point being
+darted out at the end of each cut.
+
+The Cuts will be practised first in No. 2 “Second Position” (Guard),
+and afterwards in No. 2 “Third Position” (Lunge).
+
+[Illustration: Prime, or Hanging Guard.]
+
+
+§ 4. _The Engaging Guards, or Engagements._
+
+As the ‘Infantry Sword Exercise’ has a deficiency of Cuts, so it has a
+superfluity of “Engaging Guards.” I have already expressed my opinion
+concerning the Guard (p. 18 of 1874) popularly called the “Hanging
+Guard.” Even with the best position, the head erect and the eyes
+looking straight and not upwards, it is utterly faulty; it displaces
+the arm and the sword, and, as no serious attack can be made directly
+from it, it necessitates a movement entailing a considerable amount of
+exposure. It is now chiefly confined to students’ duels with the German
+Schläger, wherein slitting the opposing nose, which can be done with a
+mere jerk upwards, is the swordsman’s highest aim and ambition.
+
+The “Engaging Guards” are thus reduced to the two following:--
+
+Tierce (or outside) Guard; defending the outer lines, arm, shoulder,
+back, and flank. The recruit having assumed the “Second Position” (No.
+2), brings the pommel of his sword to the centre of his right breast;
+opposes the point to the adversary’s right eye; extends his right arm
+with an easy bend of the elbow; inclines the wrist with the knuckles
+upwards to his own right, so as to cover himself in case of a straight
+thrust, and places his left hand upon his left flank with the fingers
+to the front and the thumb to the rear. In Tierce of course the edge of
+the sword is to the right or outside.
+
+[Illustration: Engaging Guard in Tierce (Outside).]
+
+Carte (or Inside) Guard. This movement defends the inner lines, chest
+and stomach; the knuckles are turned down; the opposition is made to
+the left, and the edge is carried in the same direction.
+
+[Illustration: Engaging Guard in Carte (Inside).]
+
+When engaging in guard (joining weapons), the swords should meet each
+other about eight inches from the points. If the distance is diminished
+the opponents are “out of measure” (or distance); if increased, they
+are “within measure.” The recruit must be taught slightly to press upon
+the opponent’s blade, but not to rest upon it; by this “opposition”
+his hand and wrist will be more ready to follow the weapon during the
+attack. Thus also the “Engaging Guards,” Tierce, and Carte (outside
+and inside) afford protection preparatory to the movements for offence
+and defence. The eye must be fixed upon the eye and the hand or the
+blade-point of the opponent, not upon the eye only.
+
+Guard may be partly defensive when the bust is advanced and the point
+approaches the opponent, or it may be purely protective when its sole
+object is the “parry.”
+
+The right-handed recruit must be taught always to attempt Engaging
+in Tierce,[12] with his opponent’s blade in the outer line (_sur les
+armes_). The reason is simply that in the reverse position (_dans les
+armes_), the fore-arm, from the elbow to the wrist, is comparatively
+unguarded; whereas Tierce facilitates the defence of the “low lines”
+(i. e. those below the wrist). Tierce therefore has invariably the
+advantage with the sabre, as Carte carries off the palm with the
+small-sword, the foil, and the rapier.[13] But the right-handed man
+engaging in Tierce puts his left-handed opponent in Carte; and the
+latter, if a skilful sworder, will manœuvre, by withdrawing his blade,
+by coupés or degagements over the point, and by other feints, to regain
+the ground of vantage. The best treatment of this case is to make a
+time-cut in Seconde (“inner Moulinet,” or _brisé à gauche_) at the
+adversary’s knuckles, a movement which will presently be explained.
+
+
+§ 5. _The Guards or Parries._[14]
+
+The ‘Infantry Sword Exercise’ proposes Seven Guards, a number which can
+hardly be reduced for practice on the drill-ground or in the schools:
+the _Manuel_ contains the same number, including one for the Point.
+But of the seven no less than five are “Hanging Guards,” and Nos. 3 and
+4 serve only to defend the inside and the outside of the advanced leg.
+This limb requires no assistance of the kind: an able swordsman never
+exposes his head and shoulders by cutting so low, and, if he does, the
+leg can be smartly withdrawn (_parade retrograde_, or _en échappant_),
+rendering the attack not only useless but dangerous to the assailant.
+Even in fencing, “low thrusts,” that is, at the body below the wrist,
+are never made, for fear of the “Time” being taken, until the upper
+line has been closed by a feint. In our Single-stick practice the first
+thought seems to be to attack the advanced leg--which may be well
+enough for Single-stick.
+
+[Illustration: Lunge and Cut in Carte (Inside).]
+
+The following are the full number of guards or parries in which the
+edge must invariably be used: they are evidently dividable into two;
+(1) Head (with face) Guards, and (2) Body Guards:--
+
+I. Prime (p. 38), so called because it is the “first” position of
+defence after drawing the blade, that which the unpractised man would
+naturally assume to defend his head. It is the 7th Guard of the
+‘Infantry Sword Exercise.’ In practice the point is more inclined to
+the horizontal line than when the blade is unsheathed; the edge is
+carried somewhat inside or to the left; the arm is shortened and so
+raised that the eyes look under it, but the head remains upright. The
+recruit must be careful _not_ to “bend the body;” _not_ to “draw in
+the chest and neck;” and _not_ to “bring the left shoulder a little
+forward.” The defect of Prime is its being a “Hanging guard,” rendering
+the riposte or reply difficult, and modern practice prefers “High
+Tierce.”
+
+II. Seconde (4th Guard), so termed because following Prime: the arm
+is extended, the edge is carried to the outside or to the right; in
+practice the hilt is lowered, and the point, threatening the opponent’s
+loins, is depressed to the half of a right angle. This position must
+be learned for the sake of feinting: as a parade it is not much used,
+because it defends only the hip and leg, and a good swordsman will
+never expose himself to exceeding danger by making low cuts. Modern
+practice prefers “low Tierce.”
+
+III. Tierce (2nd Guard) has been described (p. 39) under “Standing
+on Guard” and “Engaging Guards;” it defends the outer lines, arm,
+shoulder, and back.
+
+IV. High Tierce is a head-guard: the hand is raised to above the
+shoulder to the maximum level of the swordsman’s right eye, and the
+blade is carried at an angle of 45° with the edge up and the point to
+the left.
+
+V. Low Tierce is a flank-guard; the arm is shortened, the hand is
+depressed six inches; the opposition is to the outside, and the point
+is held vertically or almost vertically, as the attack demands.
+
+VI. Carte (1st Guard) has been described (p. 40) under “Engaging
+Guards,” as defending the inner lines, chest and stomach. For the
+purposes of parrying, the arm is withdrawn till the elbow, almost
+touching the belt, forms an equilateral triangle with the hilt and the
+left side.
+
+VII. High Carte is a head-guard like high Tierce: the hand is raised to
+the left of the left eye, and the blade, crossing the face at an angle
+of 45°, carries the edge up, and the point to the right.
+
+VIII. Low Carte is a stomach guard. As in Low Tierce the arm is
+shortened, the hand is depressed six inches; the opposition is to the
+inside, and the point is held vertically or almost vertically, as the
+attack demands.
+
+In practice the advanced swordsman will confine himself to Tierce
+and Carte with their natural modifications. He will consult his own
+feelings about the head-guard, abolishing Prime in favour of High
+Tierce or High Carte, and he will prefer Low Tierce or withdrawing
+the leg (_rassemblement_) to using Seconde. Of these movements the
+simplest are always the best. When parrying, the sword-arm must
+invariably be drawn for defence nearer the body, and the grip should be
+sensibly tightened to receive the cut. No strength is necessary when
+making the parries: I cannot accept the “Sforzi” or guard-forcings of
+the neo-Italian broadsword school, dry blows upon the blade, which,
+intended to disarm, are essentially dangerous.
+
+The Guards or Parries will be practised like the Cuts, first in the
+“Second Position” (Guard), and afterwards in the “Third Position”
+(Lunge).
+
+
+
+
+SECTION III.
+
+THE MANCHETTE OR FORE-ARM PLAY.
+
+
+§ 1. _Preliminary._
+
+The recruit is now sufficiently advanced to begin the system of
+Manchette, which, as it is the most valuable part of sword-drill, has
+been practised the least, and should be practised the most. A swordsman
+thoroughly trained in this section does not allow the opponent to
+deliver a cut. It is certain that hand and wrist, short-arm and
+elbow, are capable of as many different attacks and defences as the
+whole body: these are the parts most prominent, most exposed, and
+consequently most readily made the _point de mire_. Yet this true and
+simple secret of the broadsword has been universally neglected, or
+rather not worked out: in England we content ourselves with the parades
+technically called _retrogrades_, that is, withdrawing the limb from
+the assault, by shortening the arm and, sometimes, by retiring the
+right foot either near to, or up to, or behind the left heel: even this
+evasion which cannot expect to pass for a Guard, is not described nor
+figured in the official ‘Infantry Sword Exercise.’[15] In France, and
+even in Italy where most subjects are exhaustively treated, Manchette
+is dismissed with a few careless words. The _Manuel_ gives to the _Coup
+de Manchette_ only these few lines: “_Exécuter un enlevé_ (vertical
+Moulinet from above downwards) _en arrière à droite, et arrêter le
+sabre vis-à-vis le milieu du Corps, le tranchant en dessus, le poule
+légèrement à droite; diriger l’enlevé de manière à empêcher en arrêtant
+l’avant bras, l’exécution d’un coup de tête_.” Capitano Settimo del
+Frate (p. 50, _Istruzione sul Maneggio e Scherma della Sciabola_) in
+one of the latest works on swordsmanship contents himself with the
+following desultory observations:
+
+“Manchett” (_sic_) “can attack the fore-arm either above or below,
+according as the opponent gives an opening.
+
+“Manchett is generally used against an adversary whose guard is
+defective. By merely extending the arm with a turn of the wrist, this
+attack may readily succeed should the opponent neglect to provide
+against it.
+
+“One of the most dangerous guards against Manchett is Tierce; the
+surest is High Seconde, which indeed is also the best parry adapted to
+this system of attack.”
+
+The first member of the last paragraph is sensible; the second is
+thoroughly fallacious. As has been stated, the right-handed man must
+always engage in Tierce, and, as will presently appear, Tierce is the
+safest, indeed the only safe guard against Manchette cuts. Another
+Italian writer of our day describes and figures the “Position of the
+weaponed arm to escape the arm-cut” (_Colpo di braccio_), with the
+elbow-joint left clean open. The ‘Infantry Sword Exercise’ limits
+itself (p. 30) to these few lines: “If opposed to the Small Sword
+(_sic_, meaning straight sword or rapier) have recourse to Cuts _Three_
+(No. 13 of this system) and _Four_ (No. 11), directing them at the arm,
+by which means there is every probability of the cuts taking effect,
+as it must always come within range of the edge, before the point can
+be sufficiently advanced to reach your body: if the above cuts are
+quickly given and continued, they will also be found advantageous in
+advancing against the Small Sword, as they constitute an attack and
+form a defence at the same moment; but should the opponent be the most
+skilful and quickest (_sic_) in his movements, then it is best to
+retire whilst giving them, cautiously preserving the proper distance,
+so that each cut may just reach the fore part of his arm.” The French
+content themselves with single oppositions of Tierce and Carte. But why
+multiply instances of ignorance?--they would fill many a useless page.
+
+Finally I meditated upon the comparative humanity of “Manchette,” of
+disabling the opponent by an arm-cut, rather than laying open his flank
+or his head. During single rencontres in the field, especially at the
+end of Indian battles, it is so often necessary to put _hors de combat_
+some unfortunate, whose pluck or sense of honour induces him to prolong
+the hopeless attack.
+
+These considerations led me to reflect seriously for a number of years
+upon the Jeu de Manchette, the Colpi all’ avambraccio, or fore-arm
+play, which has been so much neglected by master-swordsmen. At last an
+unlooked-for opportunity, a short study in the _Salle d’armes_ of Herr
+Balthasar Reich of Trieste, enabled me to reduce it to a system, and
+present it to the public.
+
+I should premise, however, that the following observations are intended
+for professional men. It is therefore necessary only to name and
+number the Direct Cuts, the Guards and the Feints, the Reverse Cuts,
+and the Time Cuts of Manchette, as in most cases the simplest mention
+will suffice. The proficient will at once perceive that I offer a
+mere outline of the system whose many details must be learned by long
+practice. It is enough to give first principles: the minutiæ could not
+even be noticed without stretching description to a wearisome length.
+
+There is no objection, I have said, to teaching squads of recruits all
+the simpler preparatory matter: the Three Positions; the Moulinet;
+the Engaging Guard, and the Guards or Parries. At a certain stage of
+progress, however, especially when beginning Manchette, the quick and
+intelligent soldier, who is likely to qualify himself as a master, must
+be instructed singly.
+
+
+§ 2. _The Direct Cuts in Manchette._
+
+The following are the direct attacks in Manchette, simple and
+compound; all are done from the “Engaging Guard,” the Lunge being here
+inadmissible.
+
+I. _Carte de Manchette._--Extend the sword-arm to the full length and
+deliver the cut, with a flip as it were, at the opponent’s fore-arm,
+between the elbow and the wrist. This can be done with the back of the
+blade (Reverse Cut) under circumstances presently to be described. No.
+I. is useful if the adversary unwisely engages you in Carte otherwise
+(from Tierce) it must be avoided, as he easily parries by withdrawing
+the arm and replies with a Tierce Cut.
+
+II. _Carte de Manchette and Cut Tierce._--This movement is No. I.
+followed by a close rotation of the point (“Tierce Moulinet”); if,
+however, the circle be too small, it will not clear the sword-guard.
+
+III. _Double Carte de Manchette and Cut Carte._--No. III. is to be done
+when the opponent, as he generally will after an attack of No. II.,
+successively parries Carte and Tierce. It is simply the double of No.
+I., and thus the “Tierce Moulinet” cuts, of course, inside the arm.
+
+IV. _Double Carte de Manchette and Cut Tierce._--Useful when the
+adversary parries Carte, Tierce and Carte; it is the double of No. II.
+and thus cuts outside the arm.
+
+No. II. guards the arm and is therefore unexceptionable. Nos. III. and
+IV. are dangerous, because, like No. I., when opposed to an agile hand,
+they may lay the wrist open to a Time Cut.
+
+The two first and all four against a slow unready swordsman may be
+varied by combinations with _coupés_, or passing the blade sharply over
+the adversary’s point. For instance, if the adversary come too wildly
+to the Tierce parade of your double Carte and Tierce (No. III.), _a
+coupé_ will reach his arm in Carte.
+
+A golden rule which cannot be repeated too often is that all the
+Manchette-Cuts in Tierce (outside), either from above or from below,
+must be as nearly vertical as possible, whilst all the Cuts in Carte
+(inside) should be as horizontal as they can be made. The reason is
+simply that these positions cover the arm and render the attack less
+dangerous.
+
+
+§ 3. _The Guards (Parries) and Feints in Manchette._
+
+The Guards of the Target will be found sufficient for parrying all
+attacks in Manchette. The soldier, however, should especially practise
+the retrograde parades, that is withdrawing the right fore-arm with and
+without the right leg.
+
+Feinting with the broadsword is necessarily more simple than with
+the foil, being generally confined to _Coupés_ and _Secondes_. The
+neo-Italian school of sabre uses, I have said, the fencing movements,
+but it is at best a bastard style. If the opponent attempts to
+“degage,” that is to pass his point under your blade from Tierce to
+Carte, or _vice versâ_, retire by withdrawing the right heel to the
+left, and cut at the arm which his movement has exposed.
+
+The _Coupé_, the reverse of the degagement, passes the point over, not
+under, the opposing blade; this legitimate feint, used in every school,
+may be effected in four several ways.
+
+I. _One._ From the usual engagement in Tierce pass the blade over the
+opposite point, just clearing it, and cut inside. The two movements
+raising and dropping the point should be as rapid as possible.
+
+II. _One, Two_, a double _Coupé_, with the cut in Tierce.
+
+III. _One, Two, Three_: as with the foil; against a nervous opponent
+the cut should be made at the face with a dart and a jerk (the Italian
+_Slancio_); against a slow player the cut may be Carte de Manchette.
+
+IV. _One, Two, Three, Four_; like the former, but cutting in Tierce: to
+be attempted only with the most unready of opponents.
+
+The two latter may be combined with a breast (inside) or shoulder
+(outside) “Moulinet” between the penultimate and the last (cut)
+movement; but these long feints are radically vicious, because they lay
+the swordsman open to Time Cuts. They are, however, useful, as will
+appear in making the Reverse Cuts.
+
+Perhaps the Seconde-feints are better than the _Coupés_.
+
+I. _One_: the simple Seconde Cut.--Make a little more opposition in
+Tierce, sweep the blade past and along the breast; (inside Moulinet,
+or the _brisé à gauche_) and, lowering the hand a little, cut upwards
+with a jerk and a flip. The nearer the swordsman’s own body his blade
+circles the better, because the cut will be more in the vertical line:
+if it be much out of the perpendicular the opponent can “take a time”
+in Carte. The Moulinet serves also to embarrass the adversary and to
+add strength to the cut. This simple and most valuable movement must
+not be confounded with the old-fashioned Seconde cut at the leg: the
+latter is objected to, as I have said, by swordsmen; the parry is too
+easy, and the ripost far too dangerous.
+
+II. _Feint Seconde._--From Tierce make a short and sharp movement to
+Seconde with the knuckles turned upwards; the opponent will probably
+come to the Seconde-parry, thereby exposing the fore-arm. You then cut
+Tierce perpendicularly as usual, from above downwards (the _enlevé_),
+either without or with a breast “Moulinet.”
+
+III. _Feint Seconde, Feint Tierce and Cut Carte_, with two short, sharp
+movements, and deliver the horizontal cut in Carte.
+
+IV. _Feint Seconde, feint Tierce and Cut Seconde_, from downwards
+upwards, always with a breast “Moulinet.”
+
+At times the two first feinting movements in Nos. III. and IV. may
+be done more emphatically: this of course makes the movement slower,
+but it is a variety which embarrasses an adversary accustomed only to
+short, quick action.
+
+
+§ 4. _The Reverse or Back Cuts in Manchette._
+
+As the Manchette system has been strangely neglected, so the Reverse or
+Back Cut may be pronounced unknown to the majority of the profession:
+the latter, instead of utilizing the “false edge” of the blade, still
+lose time and incur great danger by turning hand and wrist in using
+the true edge, especially when “Cutting within the Sword.”[16] More
+extraordinary still, although almost all the civilized world prefers
+what is technically called the “flat-backed and spear-pointed” sabre,
+yet no one seems to think of employing, or even of sharpening one of
+the most important parts of the weapon.
+
+The Regulation blade with the false edge, that is to say, the blade
+sharpened from the point to the Centre of Percussion, about one-third
+of the length, was introduced into England about 1844, and the first
+specimens were made by the late Henry Wilkinson, acting with the
+late Henry Angelo, then Superintendent of Sword Exercise.[17] This
+back-edge of the blade should be ground to the sharpness of a razor.
+When practising the Reverse Cuts (_Revers_ or _Rovescio_), the handle
+is held loosely with the thumb and the two first fingers, and the wrist
+and fore-arm should bring the blade up with a jerk, the grip being
+at the same time sharply tightened. Practice will soon enable the
+swordsman to deliver a strong “drawing” cut, equal to the Thrust-cut of
+the so-called “Damascus” blades. This valuable movement has the immense
+merit of not uncovering the swordsman, and what makes the sabre so rude
+a weapon is that every movement of attack, in the old systems, lays
+the body open by raising hand and point when a blow is to be given.
+With the Reverse Cut no such dangerous process is necessary; the point
+is still directed at the opponent whilst the cut is being delivered.
+Finally, it is always unexpected by the opponent who has not practised
+it, and although it rarely begins an assault, except against the
+inexperienced, nor should it be done alone as a rule, it may either
+follow or conclude every attack, feint or “time.”
+
+I. _The Half-Feint_ (_Revers de dessous_, _Rovescio di sotto_, or
+_Revers von unten_) is done thus.--When in Tierce extend the arm as if
+intending to cut Tierce; the opponent makes an opposition of Tierce;
+drop the point, and cut sharply upwards with the false edge at his
+fingers, wrist, or fore-arm, drawing the blade towards you and keeping
+the point opposite the adversary’s breast. This movement is one of the
+neatest known, and it is sure to succeed with one who does not expect
+it. The first part of the feint, or dropping the point, may lead to a
+cut with the true edge, but this movement, which is still practised
+in the schools, involves delay by turning the hand. Again, it may be
+combined with the inside (breast) or outside (shoulder) Moulinet.
+
+II. _Feint Seconde and Cut upwards._--This movement may be varied by
+feinting Tierce and cutting upwards.
+
+III. _One-two-three._--This is not the succession of simple _Coupés_,
+the dangerous movement before described. No. 1 _Coupé_ shifts the hand
+from Tierce to Carte with the nails up; No. 2 turns the nails down,
+still remaining in Carte; and No. 3 delivers the Reverse Cut, of course
+in Carte, where it is least expected.
+
+When the point is passed well under and within the sword-arm it is very
+difficult to parry the horizontal Reverse Cut in Carte. The true edge
+may be used, but again it wastes time by turning the hand.
+
+IV. _The Pass_, properly called “_en passant_.”--From Tierce make a
+feint-movement in Seconde, and, when the adversary attempts to parry
+it by lowering the point, turn the knuckles up (in old Tierce), sweep
+the blade over his sword-arm and as close as possible to your right
+leg from left to right with the arm well raised, and, returning from
+right to left with a similar sweep, but with the blade held higher,
+cut, in Carte, with the false edge and close to the point, inside his
+wrist. Unskilfully attempted, this feint is equally dangerous to both,
+but it will do yeoman’s service in the hands of a practised swordsman.
+The true edge may be used, but that involves a change of position and
+the delay of turning the hand with the knuckles downwards. Some make
+a double sweep, and, after the second movement, cut outside or in
+Tierce--the exposure is too great, unless confronted by an unusually
+phlegmatic temperament.
+
+
+§ 5. _The Time Cuts in Manchette._
+
+The Time Cut is the flower of the Manchette system, as the Manchette
+is of the broadsword; and it is, perhaps, the part least capable of
+being taught in books. When well mastered it never allows the opponent
+to raise his arm without imminent risk, and, even if it fail, the
+intention, once recognized, tends greatly to cramp and embarrass the
+adversary’s play. The natural man cuts as if he were using a stick or
+a club, and the preliminary movement lays open the whole of his body;
+indeed, exposure, I have said, is the main danger of every attack with
+the sabre, however closely and skilfully conducted. A cut through the
+muscles of the fore-arm, either inside or outside, causes the sword
+instantly to be relaxed and dropped; the man in fact is hamstrung in
+the upper works.
+
+I. _Carte de Manchette._--When the opponent from Tierce makes a _Coupé_
+or any attack in Carte, stop further movement by a Carte de Manchette,
+a horizontal Cut in Carte. The same may be done with the false edge, in
+which case the blade should be advanced as far as is possible; and this
+is to be preferred because it loses less time.
+
+II. _Parade Retrograde and Cut Tierce._--When the opponent from Tierce
+attempts a Manchette in Carte withdraw the arm (_parade retrograde_)
+and deliver the vertical Cut in Tierce downwards at his extended arm;
+both movements being combined in one. It is not necessary even with
+the tallest man to withdraw the right leg; the Cut will amply suffice.
+This Tierce Cut serves to defend from all attacks when the Guard does
+not cover the adversary; and it has lopped off many a careless arm. If
+slowly done it becomes a mere parade and ripost.
+
+III. _The Reverse Cut-upwards_, _Revers en montant_, _Rovescio
+montante_, Ger. _Revers montant_.--You feint in Seconde; the opponent
+comes to its parry and replies in Tierce; you withdraw the arm, leaving
+the heels as they were, and cut upwards with the false edge, tightening
+the grasp of thumb and fore-fingers as much as possible. This movement
+is especially useful; it is one of the best of Time Cuts, when the
+adversary indulges in long and complicated feints and false attacks. It
+may be done with the true edge, but the latter is less safe.
+
+IV. _The Time Pass_; which is merely “The Pass” turned into a Time
+Cut. When the opponent attempts a “Manchette” or any movement in
+Seconde, and expects you to reply by a time Cut in Tierce with the
+true edge, turn the knuckles up (in old Tierce), sweep the blade over
+his sword-arm as close as possible to your right leg, from left to
+right, with the arm well raised, and returning from right to left with
+a similar sweep, but with the blade held higher, cut in Carte with the
+false edge and close to the point inside his wrist. The true edge may
+be used, but, again, it wastes time. The double sweep possible as in
+“The Pass,” but it causes too much exposure.
+
+This Time Pass may also be done with the hand held high in Prime or
+rather “demi-circle” with the nails turned up, the arm outstretched,
+and the point lowered. In this case the leg must be shifted till the
+fore heel touches the rear heel, so as to give additional height to the
+hand. This is not a Reverse or Back Cut as you use the true edge; it is
+in fact one of the old movements called “Cutting within the Sword.”
+
+
+§ 6. _Résumé._
+
+The following is a synoptical table of Manchette or Fore-arm play,
+showing the Cuts, the Guards (Parries) for the Cuts, and the Riposts or
+replies that should follow each Parade. The Instructor will remember
+that instead of Prime we use High Tierce or High Carte, and for Seconde
+Low Tierce or withdrawing the leg.
+
+
+_Direct Cuts._
+
+            CUT.                         PARRY.              RIPOST.
+
+  1. Carte de Manchette.         IV. (Carte).            II. (Seconde).
+
+  2. Ditto and cut Tierce.       IV. and III. (Tierce).  III.
+
+  3. Double Carte de Manchette   IV., III. and IV.       II.
+       and cut Carte.
+
+  4. Double Carte de Manchette   Parade Retrograde by    III. or IV.
+       and cut Tierce.             withdrawing arm.
+
+
+_Reverse Cuts._
+
+  1. Half-feint.                 II. or III.             III. or IV.
+
+  2. Feint Seconde and cut       II.                     Cut with false
+       upwards.                                            edge upwards.
+
+  3. Feint Tierce and cut        III. and II.            II.
+       upwards.
+
+  4. One-two-three, and cut      Parade Retrograde.      III. or IV.
+       upwards.
+
+  5. The Pass.                   II. and I. (Prime).     III.
+
+
+_Time Cuts._
+
+  1. On all Cuts in Carte.       Parry with time in IV.  IV.
+                                   (Carte de
+                                   Manchette).
+
+  2. On feints in Carte ending   Parade Retrograde.      III. or IV.
+       with Cuts in Tierce.
+
+  3. On Cuts in Tierce.          Reverse Cut upwards.    III.
+
+  4. On Reverse Cut upwards.     II. and III.            IV.
+
+  5. On Cuts in Seconde.         The Time Pass.          III.
+
+
+Feints of _Coupé_ in Manchette.
+
+  1. Single _Coupé_.             III. or IV.             II.
+
+  2. One-two ( „ ).              IV. and III.            III.
+
+  3. One-two-three.              II., III. and II.       III. or IV.
+
+  4. One-two-three-four.         Parade Retrograde.      III.
+
+
+Feints of _Seconde_ in Manchette.
+
+  1. Simple Seconde.             II.                     III.
+
+  2. Feint Seconde and cut       II. and III.            III. or IV.
+       Tierce
+
+  3. Feint Seconde, feint        II., III. and II.       III. or IV.
+       Tierce, and cut Carte.
+
+  4. Feint Seconde, feint        Parade Retrograde.      III. or IV.
+       Tierce, and cut Seconde.
+
+
+CONCLUSION.
+
+I will end this system of Manchette with the words of old Achille
+Marozzo, written some three centuries and a half ago: “I would that ye
+swear upon your sword-hilts never to use this knowledge against me,
+your master.” But, in lieu of insisting that my readers never teach it
+without obtaining formal permission, I only hope that they will favour
+me by spreading it far and wide.
+
+
+
+
+APPENDIX.
+
+
+In p. 26 allusion has been made to an improved form of sabre handle;
+it was first attempted by the Capitano Settimo del Frate in the work
+before alluded to. The gallant officer’s Plates show that in the
+Italian cavalry-sword the upper portion of the handle is at least
+horizontal, whereas in ours it droops backwards and downwards, giving
+the grip additional facility for slipping out of the swordsman’s grasp.
+The author’s remarks[18] being even more applicable to the English
+military sabre; I give them at full length.
+
+“The equilibrium of the sabre, and the facility of firmly grasping the
+handle, are the two prime requisites for a good weapon.
+
+“When properly balanced and easily held, the sword calls for less
+exertion of strength; and the quickness and true direction of the Cuts
+are greatly facilitated. In direct proportion to the economy of force,
+we find the swordsman enabled to continue his exertion.
+
+“However well made and scientifically poised be the blade, it is
+subject to several variations of equilibrium according to the position
+in which it is held.
+
+“The nearer the centre of gravity approaches the hilt, the lighter and
+the better balanced will be the weapon, and _vice versâ_.[19] Therefore:
+
+“_It should be our principal object to effect this improvement without
+changing the proper centre of percussion and the other requisites for
+offence and defence._”
+
+The following Plates fully explain the author’s meaning.
+
+[Illustration: Fig. 1.
+
+Sabre handle actually used by Italian cavalry.]
+
+[Illustration: Fig. 2.
+
+Capt. Del Frate’s improvement.]
+
+[Illustration: Fig. 3.
+
+Capt. Del Frate’s last modification.
+
+  a. Thumb-plate.
+  b. Rest for the little finger.
+  c. Support for the index finger.
+]
+
+[Illustration: Fig. 4.
+
+Improved handle with thumb-guard.
+
+(R. F. Burton.)]
+
+[Illustration: The hand grasping the actual handle.
+
+The hand grasping the modified handle.]
+
+I would further modify his Fig. 1, so as to give more fulcrum to the
+hand. The thumb-plate should be made weighty and the guard light,
+otherwise the blade will be over-balanced, that is, heavier on one
+side than on the other. It need hardly be said that the grip before
+going into battle should be whipped round with thin whipcord, or better
+still, with web-cloth.
+
+
+LONDON: PRINTED BY WM. CLOWES AND SONS, STAMFORD STREET AND CHARING
+CROSS
+
+
+
+
+FOOTNOTES
+
+
+[1] The exceptions are in “_Right Prove Distance_” (p. 13) and No.
+_Seven_ Cut (p. 16). In the other Cuts the thumb “grasps the handle.”
+
+[2] The French divide _l’Escrime_ into two parts: (1) _Escrime à
+l’épée_, or _Escrime pointe_; and (2) _Escrime au sabre_, or _Escrime
+contrepointe_.
+
+[3] The question is considered at great length in my forthcoming volume
+entitled ‘The Sword:’ here it is sufficient simply to state results.
+
+[4] When every regiment shall have its _salle d’armes_, the fencer
+will modify his own fencing thrusts to suit the clumsier weapon. I
+do not, however, see any reason why the three Points of the Infantry
+Sword Exercise should not be delivered in the _posizione media_ of the
+Italian school, with the thumb upwards and extended along the back
+of the sword-handle: nor why, as in the French _Manuel_, they should
+not be reduced to a single _Coup de Pointe_ (p. 239), which is thus
+described. “_Baisser la pointe du sabre à hauteur de la poitrine et
+déployer le bras en tournant la main, le pouce en dessous, le tranchant
+du sabre en dessus._”
+
+[5] As Mr. John Latham justly says (“The Shape of Sword-blades,”
+‘Journal of the Royal United Service Institution,’ vol. vi.):--“The
+proper shape for a thrusting sword is pre-eminently straight.” The
+Clay-more, for instance, moving in a direct line, cuts a hole exactly
+the size of the blade; the Regulation sword, slightly curved, widens
+it to about double, and the bent scimitar and the Talwár, to five or
+six times, thus meeting with five or six times the resistance to its
+penetration. Mr. Latham is again quoted in another part of this System.
+
+[6] My only objections to this volume are the two following:--
+
+(_a_) The author _will_ “throw the whole weight of the body on the
+left leg.” (Fig. 2, p. 69.) Yet in his Introductory Remarks (p.
+5) he sensibly says, “To the haunches, as to the common centre of
+motion of the human figure, are ultimately referred all the movements
+performed in military tactics” (and swordsmanship); “as just poise is
+important to the correct exertion of action, whatever it may be, it is
+necessary that poise or balance be studied, understood, and tried in
+all positions. It is clear that bodily action cannot possess compass,
+power, and ease, unless the movement be made justly and correctly upon
+the haunches, as on a central pivot. If the movement have not compass,
+power, and ease; force and endurance will not be found in the Military
+act.”
+
+(_b_) In the Lunge our author not only keeps the body “perfectly
+erect,” he even inclines it backwards whilst he allows both feet to
+abandon the perpendicular in the most slovenly way: see Fig. 2, p.
+70, and Figs. 1 and 2, p. 71. The same is the case with the official
+‘Infantry Sword Exercise.’
+
+[7] My old friend and instructor set out upon a thoroughly scientific
+principle, and the able way in which he has worked out his system will
+entitle him to the gratitude of the _posteri_. Having established
+the fact that in all our popular athletic, as opposed to gymnastic,
+exercises, our walking and running, cricket and football, fives,
+tennis, and racquets, and especially rowing--which has advanced as
+an art but has declined as an exercise--we circumscribe the line of
+muscular operation by giving the greatest share of the work to the
+lower limbs, and by developing one half to the injury of the other; he
+resolved to cultivate the whole by a wider and more varied range of
+training; hence he supplemented “Recreative exercise” by “Educational
+exercise,” and hence his systematized national gymnasia, which, taken
+up by H.R.H. the Duke of Cambridge and by the late Sidney Herbert, have
+been introduced into the military stations of the Cardwell system, into
+Oxford and Cambridge, and into all our public schools, with one “base
+exception”--Eton.
+
+Mr. MacLaren, in his ‘System of Fencing.’ &c. (p. 9), sensibly
+advocates “resting the weight of the body equally upon both legs.”
+He also lowers the right hand in the Lunge (p. 11), and (_ibid._) he
+throws the trunk forward, perhaps with a little exaggeration.
+
+[8] The ‘Infantry Sword Exercise (see the figures over the Target
+representing the “Preparatory Positions”), “Second Position in 2
+Motions,” makes No. 2 turn the left knee out instead of carrying it
+square to the front; the same may be remarked in “Balance Motions” (No.
+4).
+
+[9] The Moulinet (Ital. Molinetto) is even on horseback a favourite
+movement with French sabrers (See _Règlement Provisoire_, &c., Tome I.
+Titres I. et II.). It is divided into--
+
+1. “_À gauche Moulinet_” (1 temps, 2 mouvements). The directions are:
+“À la dernière partie du commandement, qui est MOULINET, étendre le
+bras droit en avant de toute sa longueur, le poignet en tierce et à
+hauteur des yeux.”
+
+“Baisser la lame en arrière du coude gauche pour décrire un circle
+d’arrière en avant ... et se remettre en garde.”
+
+2. “_À droite Moulinet_” (1 temps, 2 mouvements). “À la dernière partie
+du commandement, qui est MOULINET, étendre le bras droit en avant de
+toute sa longueur, le poignet en quarte et à hauteur des yeux.”
+
+“Baisser la lame en arrière du coude droit pour décrire un circle
+d’arrière en avant ... et se remettre en garde.”
+
+3. “_À gauche et à droite Moulinet_” (1 temps, 2 mouvements). “À la
+dernière partie du commandement, qui est MOULINET, exécuter le premier
+mouvement de _à gauche Moulinet_.”
+
+“Exécuter alternativement et sans s’arrêter sur aucun mouvement le
+Moulinet à gauche et le Moulinet à droite.”
+
+  “À gauche et à droite = MOULINET.”
+
+4. “_À droite et à gauche Moulinet_ (1 temps, 2 mouvements). À la
+dernière partie du commandement, qui est MOULINET, exécuter le premier
+mouvement de _à droite Moulinet_.
+
+“Exécuter alternativement et sans s’arrêter sur aucun mouvement, le
+Moulinet à droite et le Moulinet à gauche.”
+
+  “_À droite et à gauche_ = MOULINET.”
+
+5. “_En arrière Moulinet_ (1 temps, 2 mouvements). À la dernière partie
+du commandement, qui est MOULINET, élever le bras en arrière à droite
+de toute sa longueur, la pointe du sabre en l’air, le tranchant à
+droite, le pouce allongé sur le dos de la poignée, le corps légèrement
+tourné à droite.”
+
+“Décrire un circle en arrière de gauche à droite, le poignet éloigné du
+corps le plus possible, et se remettre en garde.”
+
+  “En arrière = MOULINET.”
+
+“Les cavaliers, exécutant bien les Moulinets, on leur en fait faire
+plusieurs de suite, en faisant précéder cet exercice de l’indication;
+_les Moulinets continueront jusq’au commandement_: EN GARDE.
+
+“Les Moulinets ayant pour objet d’assouplir les articulations du
+bras et du poignet, il faut que les cavaliers y soient exercés comme
+préparation aux autres mouvements; on commence et on finit donc chaque
+leçon par des Moulinets exécutés à un degré de vitesse proportionné aux
+progrès des cavaliers.”
+
+[10] In the Regulation sword the “centre of percussion” is about
+one-third from the point; here there is no vibration, and consequently
+the Cut exercises its whole force. The “centre of gravity” is in the
+third nearest the hilt, and the “balance” of the sword results from the
+relative positions of the two centres. In light swords these points
+may be farther apart than in heavy blades; they should be closer in
+straight than in curved swords, and nearer in thrusting than in cutting
+weapons.
+
+[11] The following are the five principal ways of cutting:--
+
+1. The Chopping or Downright Cut, from the shoulder and fore-arm. This
+appears to be the instinctive method preserved by Europe; most men who
+take up a sword for the first time use it in this way.
+
+2. The Sliding Cut, common throughout the East. In this movement the
+elbow and wrist are held stiff and the blow is given from the strong
+muscles of the back and shoulder, nearly ten times larger than the
+muscles of the arm, while the whole force and weight of the body
+are thrown in. Hence the people of India use small hilts with mere
+crutch-guards, which confine the hand and prevent the play of the
+wrist; the larger grip required for the Chopping Cut only lessens the
+cutting force. The terrible effect of these cuts is well known.
+
+3. The Thrust Cut, with the curved (“Damascus”) blade; a combination of
+point and edge, the latter being obliquely thrust forward and along the
+body aimed at. This movement is a favourite on horseback, when speed
+supplies the necessary force, which can hardly be applied on foot. It
+must be parried like a Point.
+
+4. The Whip Cut; in which the arm and elbow are kept almost motionless,
+and the blow is delivered from the wrist. This is the principal Cut
+allowed in my system; it is capable of sufficient effect upon the
+opponent whilst it does not uncover the swordsman who uses it.
+
+5. The Drawing or Reverse Cut, which will be explained in the following
+pages; it is the reverse of the “Thrust Cut.”
+
+[12] This fact is well known to the _Manuel_, which says, “_Des deux
+engagements celui de droite par la position de la main a le plus
+d’application_.” It therefore makes all the Cuts and Parries begin from
+Tierce. This elementary rule is not recognized by the ‘Infantry Sword
+Exercise’ (p. 32); “your defence is always more effective in the left
+(Carte) than in the right (Tierce).” Such I assert is the case with
+the foil and rapier, certainly not with the sabre or broadsword. On
+horseback the left is of course the weak side.
+
+[13] Used in this sense the “small-sword” is the triangular weapon, the
+rapier is the flat, or rather the bi-convex blade.
+
+[14] In p. 29 of the ‘Infantry Sword Exercise’ we read of “a circular
+motion of the blade, termed the Parry;” but the latter word must not be
+limited to this sense.
+
+[15] The only allusion to it is the “shifting of the leg,” in p. 30.
+
+[16] See the ‘Infantry Sword Exercise,’ p. 31.
+
+[17] In France the false edge is hardly known; such blades are called
+_à deux tranchants_; it is the Italian schiena or chine, mezzo-filo,
+or falso opposed to vero taglio, and the German, rückschneide or
+kurzeschneide, thus distinguished from the lange-schneide.
+
+[18] See his Appendix, entitled “Modificazione all’ impugnatura e
+guardia delle Sciabola di cavalleria per facilitarne l’equilibrio ed
+avantaggiare la fermezza della mano sull’ impugnatura.”
+
+[19] A notable instance of this is the old Highland Clay-more.
+
+
+
+
+Transcriber’s Notes
+
+
+Simple typographical errors were corrected.
+
+Punctuation, hyphenation, and spelling were made consistent when a
+predominant preference was found in the original book; otherwise they
+were not changed.
+
+
+
+
+
+End of the Project Gutenberg EBook of A New System of Sword Exercise for
+Infantry, by Richard Francis Burton
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-

-The Project Gutenberg EBook of A New System of Sword Exercise for Infantry, by 

-Richard Francis Burton

-

-This eBook is for the use of anyone anywhere at no cost and with

-almost no restrictions whatsoever.  You may copy it, give it away or

-re-use it under the terms of the Project Gutenberg License included

-with this eBook or online at www.gutenberg.org/license

-

-

-Title: A New System of Sword Exercise for Infantry

-

-Author: Richard Francis Burton

-

-Release Date: April 21, 2019 [EBook #59336]

-

-Language: English

-

-Character set encoding: UTF-8

-

-*** START OF THIS PROJECT GUTENBERG EBOOK A NEW SYSTEM OF SWORD ***

-

-

-

-

-Produced by Tim Lindell, Charlie Howard, and the Online

-Distributed Proofreading Team at http://www.pgdp.net (This

-file was produced from images generously made available

-by The Internet Archive)

-

-

-

-

-

-

-</pre>

-

-

-<div id="if_i_000" class="figcenter" style="max-width: 32em;">

-  <img src="images/i_000.jpg" width="506" height="600" alt="NEW SYSTEM OF SWORD EXERCISE" />

-</div>

-

-<hr />

-

-<h1 class="wspace">A NEW SYSTEM<br />

-<span class="xsmall">OF</span><br />

-SWORD EXERCISE FOR INFANTRY.</h1>

-

-<p class="p2 center large vspace"><span class="small">BY</span><br />

-RICHARD F. BURTON,<br />

-<span class="xsmall">AUTHOR OF ‘A SYSTEM OF BAYONET EXERCISE’ (1853).</span></p>

-

-<p class="p2 center vspace larger">LONDON:<br />

-<span class="smaller">PRINTED AND PUBLISHED BY</span><br />

-<span class="larger">WILLIAM CLOWES AND SONS, 13, CHARING CROSS.</span><br />

-1876.

-</p>

-

-<hr />

-

-<div class="newpage p4 center narrow">

-<p class="center vspace2">

-THESE PAGES<br />

-<span class="smaller">ARE DEDICATED (WITH PERMISSION)<br />

-TO</span><br />

-<span class="bold larger">His Royal Highness Field-Marshal the Duke of Cambridge,</span><br />

-<span class="smaller">COMMANDER-IN-CHIEF OF THE ARMY,<br />

-ETC., ETC., ETC.,<br />

-WHO HAS GRACIOUSLY ENCOURAGED THIS ATTEMPT TO EXTEND<br />

-THE ‘INFANTRY SWORD EXERCISE,’<br />

-BY<br />

-HIS ROYAL HIGHNESS’S<br />

-MOST HUMBLE AND DEVOTED SERVANT,</span></p>

-

-<p class="p2 right larger">THE AUTHOR.</p>

-</div>

-

-<hr />

-

-<div class="chapter">

-<h2 id="CONTENTS">CONTENTS.</h2>

-</div>

-

-<table id="toc" summary="Contents">

-  <tr class="small">

-    <td> </td>

-    <td> </td>

-    <td class="tdr">PAGE</td></tr>

-  <tr>

-    <td class="tdl" colspan="2">Introductory Remarks</td>

-    <td class="tdr"><a href="#INTRODUCTORY_REMARKS">11</a></td></tr>

-  <tr>

-    <td class="tdr top">Sect. I.</td>

-    <td class="tdl">Preparatory Instruction without the Sword</td>

-    <td class="tdr"><a href="#Section_I">20</a></td></tr>

-  <tr>

-    <td class="tdr top">II.</td>

-    <td class="tdl">Preparatory Instruction with the Sword</td>

-    <td class="tdr"><a href="#Section_II">26</a></td></tr>

-  <tr>

-    <td class="tdr top">III.</td>

-    <td class="tdl">The Manchette, or Fore-arm Play</td>

-    <td class="tdr"><a href="#Section_III">45</a></td></tr>

-  <tr>

-    <td class="tdl" colspan="2">Conclusion</td>

-    <td class="tdr"><a href="#CONCLUSION">56</a></td></tr>

-  <tr>

-    <td class="tdl" colspan="2">Appendix (Note on Sabre handles)</td>

-    <td class="tdr"><a href="#APPENDIX">57</a></td></tr>

-</table>

-

-<hr />

-<div id="if_i_010" class="newpage figcenter" style="max-width: 32em;">

-  <img src="images/i_010.jpg" width="500" height="800" alt="The Twelve Cuts" /></div>

-

-<hr />

-

-<p><span class="pagenum" id="Page_11">11</span></p>

-

-<div class="chapter">

-<h2 id="A_NEW_SWORD_EXERCISE_FOR_INFANTRY"><span class="larger">A NEW SWORD EXERCISE FOR INFANTRY.</span></h2>

-</div>

-

-<hr />

-<h2 id="INTRODUCTORY_REMARKS" class="nobreak p2">INTRODUCTORY REMARKS.</h2>

-

-<p class="in0"><span class="smcap">Before</span> proceeding to develop my New Sword Exercise for

-Infantry, I would offer a few remarks upon the changes proposed

-in these pages. Whilst the last half century has witnessed

-an immense improvement in the projectile weapons of

-the civilized world, the theory and practice of the sabre or

-cutting arm have remained <i xml:lang="la" lang="la">in statu quo ante</i>; indeed, if

-there has been any change it is for the worse. The two

-systems authorized in the British army are completely behind

-their time. First and senior is the ‘Infantry Sword Exercise’

-(with plates): Revised Edition, Adjutant-General’s Office,

-Horse Guards. London: Printed under the superintendence

-of H.M. Stationery Office: 1874. The second is the

-‘Instructions for the Sword, &amp;c. (without plates), for the

-use of Cavalry.’ Adjutant-General’s Office, Horse Guards.

-June, 1871.</p>

-

-<p>The latter can be despatched very briefly. Despite the

-late date, it is as obsolete as the older system; it is, in fact,

-only the ‘Infantry Exercise’ with the addition of “pursuing

-practice,” and “post practice”—the latter upon a sort of

-modern Quintain not made to revolve. So far, so good.

-The practised swordsman has little to learn when mounted,

-except the few modifications which he can teach himself.

-His real study is on foot. But some of the remarks appear

-not to have been written by a practical hand. For instance,

-we read (p. 27): “In delivering a forward thrust, very

-little force is necessary when the horse is in quick motion,<span class="pagenum" id="Page_12">12</span>

-as the extension of the arm, with a good direction of the

-point, will be fully sufficient.” “Fully sufficient”—I should

-think so! The recruit must be carefully and sedulously taught

-when meeting the enemy, even at a trot or canter, to use no

-force whatever, otherwise his sword will bury itself to the

-hilt, and the swordsman will either be dragged from his

-horse, or will be compelled to drop his weapon—if he can.

-Upon this point I may quote my own ‘System of Bayonet

-Exercise’ (p. 27):—</p>

-

-<p>“The instructor must spare no pains in preventing the

-soldier from using force, especially with the left or guiding

-arm, as too much exertion generally causes the thrust to

-miss. A trifling body-stab with the bayonet (I may add with

-the sword) is sufficient to disable a man; and many a promising

-young soldier has lost his life by burying his weapon

-so deep in the enemy’s breast that it could not be withdrawn

-quickly enough to be used against a second assailant. To

-prevent this happening, the point must be delivered smartly,

-with but little exertion of force, more like a dart than a

-thrust, and instantly afterwards the bayonet must be as

-smartly withdrawn.” In fact the thrust should consist of

-two movements executed as nearly simultaneously as possible;

-and it requires long habit, as the natural man, especially

-the Englishman, is apt to push home, and to dwell upon his

-slouching push.</p>

-

-<p>The ‘Infantry Sword Exercise’ is nought but a snare and

-a delusion. Except in pagination, it is the same as the

-“Revised Edition” of 1845—the only difference or revision

-that I can detect is the omission of a short sentence in p. 26

-of the older issue; it even retains the General Order of

-Lord Hill, 23rd April, 1842. Thus “Revision” is confined

-to the plates. In 1845 the figures wear the milk-pail

-shako widening at the top, the frock coat and the scales;

-the last edition, dated April, 1874, dons the tall modern

-chimney-pot, the tightly buttoned tunic with stiff collar

-and, like its predecessor, the sash and the scabbard. It is<span class="pagenum" id="Page_13">13</span>

-no wonder that the figures display an exceeding <i xml:lang="fr" lang="fr">gêne</i>, the

-stiffness of pokers, as the phrase is: here we might with

-profit borrow from the French or Italian artist.</p>

-

-<p>I am opposed to almost every page of this unhappy <em>brochure</em>,

-especially to the “Seven Cuts and Guards” of the

-target; to the shape of the target—I never yet saw a man

-absolutely circular; to the grip of the sword; to the position

-in guard; to the Guards or Parades, especially the inside

-engaging guard (Carte); to the Lunge; to the angle of the

-feet, and to the system of “loose practice.”</p>

-

-<p>The “Cuts” will be noticed in a future page. Of the

-grip I may remark that the one essential, the position of the

-thumb, both in attacks and parries is, as a rule, neglected by

-the ‘Sword Exercise.’<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">1</a> As early as 1828, Müller made his

-<i xml:lang="fr" lang="fr">point d’appui</i> a grasp of the handle with the four fingers, the

-thumb being stretched along the back, in order to direct

-the edge, and to avoid the possibility of striking with the

-“flat.” The only exception to this universal law is when

-doing the “Moulinet” movements, which will be explained

-farther on. Some professors, both with broadsword and

-small-sword, would stretch the index, when pointing, along

-the right of the handle. I have objected to this practice in

-the rapier and the foil: except when done to change position

-for relief, it serves merely to fatigue the wrist. But the

-proper use of the thumb, “<i xml:lang="fr" lang="fr">le pouce allongé sur le dos de la

-poignée</i>,” which is troublesome at first, and which demands

-some study, especially from those who have acquired bad

-habits, is the base of all superior “counterpoint.”<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">2</a></p>

-

-<p>The position on guard is a debated point. Many, indeed

-I may say most, of the moderns follow the rule of all the

-older swordsmen, namely, reposing two-thirds of the body-weight

-(as in p. 19 of the ‘Exercise,’ which, however, is an<span class="pagenum" id="Page_14">14</span>

-exaggeration) upon the left leg. The reasons usually given

-are that in this position the person is not so much exposed;

-moreover, that the centre of gravity being thrown back adds

-spring and impetus to the Lunge. We may remember how

-Cordelois (1862) made a step towards change in his fencing-schools

-at Paris. My objection to the old style is that the

-farther you are from your opponent, the longer and slower

-will be your attack; moreover, I have ever found, in personal

-practice, that it is easier and more convenient to “sit on

-guard” with the weight equally distributed on both haunches

-and legs. In fact, that the backward position is not natural

-any pair of thighs can ascertain for itself after trying it for

-five minutes: whilst the muscles of the right or forward

-limb are relaxed as much as possible, those of the left are

-tight strung, so as to do double work and threaten cramp.

-This single objection is serious enough to counterbalance

-any other claims to superiority.</p>

-

-<div id="ip_14" class="figcenter newpage" style="max-width: 35em;">

-  <div class="caption"><p>First Guard. (Prime.)</p></div>

-  <img src="images/i_015.jpg" width="546" height="600" alt="" />

-  <div class="caption"><p>(“What to avoid.”)</p>

-</div></div>

-

-<p>Again, there is no excuse for the guards in the ‘Exercise.’

-The “Hanging guard” (p. 18, in the older issue p. 21) is

-the worst that can be imagined—a painful spectacle, a lesson

-of “what to avoid.” The head ignobly cowers, and the eyes

-look up, in a forced and wearying position, when the former

-should be held upright, and the glance should be naturally

-fixed upon the opponent’s eye and blade-point; the body is

-bent so as to lose our national advantage of height and

-strength, and the right fore-arm in such a position is, and ever

-must be, clean uncovered. Let the recruit, however strong

-may be his haunches, stand a few minutes in this “Hanging

-guard,” and he will soon feel by his fatigue how strange,

-awkward, and strained it is. The Carte or inside Engaging

-Guard (pp. 19, 22), again, endangers the fore-arm. The Tierce

-or outside Engaging Guard (pp. 20, 23) holds the hand too

-low, and unduly shortens the arm, thus offering an undesirable

-amount of exposure; it is in fact not a Guard, but a bad

-parry in “low Tierce.” Worse still is the Lunge (pp. 14, 17):

-here the body is placed bolt upright, instead of being easily<span class="pagenum" id="Page_15">15</span>

-bent, without exaggeration, to the fore, prolonging, as every

-man instinctively would do at his first attempt, the line of

-the left leg. The former position is not only fatiguing and

-“against the grain;” also shortens the reach and carefully

-places the opponent safely out of measure. Many

-swordsmen still contend for the stiffly upright position in

-Lunge:<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">3</a> I am disposed to consider it a mere survival of the

-classical and artificial French school of arms, which aimed

-at opposing nature as sedulously as the Italian, who always

-leans to the fore, attempted to follow her dictates. Moreover,

-their arguments are founded upon the abuse, not the

-use, of the inclined pose which the body naturally assumes.

-In teaching the recruit it is well to see that he does not<span class="pagenum" id="Page_16">16</span>

-fall into the dangerous habit of throwing the chest forward

-(<i xml:lang="fr" lang="fr">poitriner</i>) to meet his opponent’s point; but the truth of

-muscular motion must be consulted.</p>

-

-<p>Finally, I would note the mistake of “loose practice”

-with the single-stick instead of the sabre; it probably arose

-from a mistaken economy in saving swords and paddings.

-Single-stick is a different weapon, a cane or light cudgel

-with a basket-hilt covering the back of the hand, like the

-imperfect guard of the Highland Clay-more; it is straight,

-not curved, and, as the rod has no edges, so in practice every

-blow equally represents a cut. Single-stick has merits of

-its own, but its practice is fatal to excellence with the

-broadsword, and even the ‘Exercise’ seems to recognize

-the fact, for the <i xml:lang="fr" lang="fr">guindés</i> figures are armed with officers’

-Regulation swords.</p>

-

-<div id="ip_16" class="figcenter newpage" style="max-width: 37em;">

-  <div class="caption"><p>Inside Guard—(Carte).</p></div>

-  <img src="images/i_016.jpg" width="591" height="600" alt="" />

-  <div class="caption"><p>(Weight all thrown back.)</p>

-</div></div>

-

-<p><span class="pagenum" id="Page_17">17</span>

-Both ‘Sword Exercises’ carefully avoid naming “Tierce”

-and “Carte;” preferring “right” and “left” (of the Sword)

-or “outside” and “inside,” as if such mysteries were too

-high or too deep for our national intelligence. I would

-again quote a few lines from my ‘System of Bayonet Exercise’

-(Introductory Remarks, pp. 8, 9):—</p>

-

-<p>“But why, it may be asked, should the English soldier be

-deterred by difficulties which every French voltigeur can

-master? We admire the intelligence of our neighbours

-in military matters: we remark that they are born soldiers,

-and that their men learn as much in four months as ours do

-in six. Is not this, however, partly our own fault? In my

-humble opinion we mistake the cause of their quickness,

-attributing to nature the effect of art. When our system of

-drill is thoroughly efficient; when the <cite>Manual and Platoon</cite> is<span class="pagenum" id="Page_18">18</span>

-much simplified, when a <i xml:lang="fr" lang="fr">salle d’armes</i> is established in every

-corps, and when the bayonet exercise becomes a recognized

-branch of instruction; then, I believe, we shall find our

-soldiers equal in intelligence to any others.” These words

-were written in 1853; in 1875 I add, “When we enlist

-the right kind of recruit either by improving his condition

-and his prospects, not his pay, or better, far better, by securing

-a superior man through the conscription of modern

-Europe.” We Britons are no longer physically divided

-from the total orb; nor can we afford to remain morally

-insulated and isolated. The logical effect of union with

-the outer world will be to make us do as the world does,

-and all our exceptional institutions, such as the system

-of volunteer recruiting, must sooner or later go by the

-board.</p>

-

-<div id="ip_18" class="figcenter newpage" style="max-width: 38em;">

-  <div class="caption"><p>Outside Guard—(Tierce).</p></div>

-  <img src="images/i_017.jpg" width="600" height="545" alt="" />

-  <div class="caption"><p>(A Parry not a Guard.)</p>

-</div></div>

-

-<p>Nor is the most modern French Treatise (pp. 229–256,

-<cite>Manuel de Gymnastique et d’Escrime</cite>, officially published by

-the <cite>Ministre de la Marine et des Colonies</cite>; Paris, Dumaine,

-1875) “<cite>Escrime au Sabre</cite>” much superior to our home

-growth. The position of the left hand (pp. 232, 233) is bad

-throughout: it must slip during the Lunge and make the

-play loose. The retreat of the left leg (Fig. 5, p. 235) is

-carried to an extreme of caution. The body is always perpendicular

-in the Lunge, whereas the same volume shows

-(Fig. 16, p. 20) the trunk naturally inclining forwards. The

-Cuts are not double nor continuous, as they should be.

-The “Hanging Guards” (pp. 240, 244, 245) are deplorable.

-On the other hand, the <cite>Manuel</cite> (p. 231) places the thumb

-along, not around, the handle; the <i xml:lang="fr" lang="fr">moulinets</i>, the <i xml:lang="fr" lang="fr">enlevés</i>,

-and the <i xml:lang="fr" lang="fr">brisés</i> (presently to be explained) are good stuff,

-and, moreover, they are applied to the Cuts (p. 239).

-Finally, nothing can be better than the advice (p. 249),

-“Après avoir touché, retirer vivement le sabre en arrière

-en lui imprimant une direction oblique dans le sens du

-tranchant, de manière à <i xml:lang="fr" lang="fr">scier</i>.”</p>

-

-<p>Of the points or thrusts with broadsword nothing will<span class="pagenum" id="Page_19">19</span>

-here be said: they belong to another order of things, and

-they should be studied in the fencing school.<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">4</a> But the

-soldier must be taught that if his adversary attempt a thrust,

-the broadsword is easily disarmed. When the opponent

-comes to the position of pointing, that is, extends his blade,

-a sharp glissade along its length will make the grip fly out

-of his grasp. Another way of embarrassing the attack is to

-cut right and left at the hand, the wrist, or the fore-arm,

-when the adversary begins to present point.</p>

-

-<p>General Lamoricière was a firm believer, as we all are,

-in the thrust, and the French Sword Exercise for Cavalry

-(p. 178 <cite>Règlement Provisoire sur les Exercises de la Cavalerie</cite>,

-officially published at the <i xml:lang="fr" lang="fr">Ministère de la Guerre</i>; Paris,

-Dumaine, 1873) justly remarks: “<i xml:lang="fr" lang="fr">Les coups de pointe doivent

-toujours être employés de préférence, comme exigeant moins de

-force et ayant un résultat plus prompt, plus certain et plus

-décisif</i>.” The reason of its confessed superiority to the

-Cut is as old as the axiom, “a straight line is the shortest

-way between two points.” The Thrust describes a diameter,

-the Cut, a segment, of a circle and, with equal velocity,

-the Cut will traverse a distance occupying some two-thirds

-more of time than the Thrust. The French tactician therefore

-proposed to abolish the use of the edge for cavalry, thus

-traversing the instinct of the man-at-arms who, especially

-on horseback, loves to slash at his enemy, and who runs far

-less risk of entangling his blade. But he of course advocated

-a straight and tapering sword with no edge to speak of;

-indeed the cuirassier’s <i xml:lang="fr" lang="fr">latte</i> is still a kind of rapier, but it is<span class="pagenum" id="Page_20">20</span>

-rendered useless by prodigious length and by the weight of

-the handle. The modern Italian School of Sabre uses, especially

-in single combat, all the <i xml:lang="fr" lang="fr">dégagements</i> of the <i xml:lang="fr" lang="fr">salle

-d’armes</i>: this is thoroughly illogical; the weapon is chosen

-because it is supposed to be less fatal than foil or rapier,

-and yet it is so used as to become even more deadly. I need

-hardly say that the weight and shape of the broadsword,

-together with the positions of guard, render pointing with

-it awkward in the extreme.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">5</a></p>

-

-<p>I have now finished with the ungrateful task of criticizing,

-and I proceed to propose a system which it is hoped will be

-as severely criticized by others. It is only candid to state

-that its pretensions are high, that it contains two distinct

-novelties, the Manchette System and the Reverse or Back-cut;

-and, finally, that it aspires to be the first Treatise in

-which the broadsword is scientifically taken in hand.</p>

-

-<hr />

-<div class="chapter">

-<h2 id="Section_I"><span class="smcap">Section I.</span><br />

-

-<span class="subhead">PREPARATORY INSTRUCTION WITHOUT THE SWORD.</span></h2>

-</div>

-

-<h3>§ 1. <i>Preliminary.</i></h3>

-

-<p class="in0"><span class="smcap">Nothing</span> will here be said concerning the “goose step of

-the sword,” the “Balance Motions,” and the “Extension

-Motions,” of the official ‘Infantry Sword Exercise.’ They

-are essentially a part of ‘Squad and Setting-up Drill,’ and<span class="pagenum" id="Page_21">21</span>

-as such they have been treated in several good manuals,

-especially by Serjeant-Major S. Bertram Brown: A ‘Practical

-Guide to Squad and Setting-up Drill, in accordance

-with the Principles laid down in Part I., Field Exercise

-of the Army.’ Adapted for the use of Recruits, Rifle Volunteers,

-Militia, Police Force, Schools, and Families: Illustrated

-with sixty-eight figures, representing each Stick and Club

-Exercise, Extension Motions, and Sword Exercise Positions.

-London: Allen and Co., 1871. 2nd Edition.<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">6</a> Considered

-in a wider sense they belong to the Branch of Science so

-thoroughly developed in ‘A Military System of Gymnastic

-Exercises for the Use of Instructors: Adjutant-General’s

-Office, Horse Guards, 1862; Physical Education,’ <cite>Clarendon

-Press Series</cite>, Oxford, 1869; and in ‘Training in Theory

-and Practice’ (London, Macmillan, 1874), by Archibald

-MacLaren,<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">7</a> whose excellent code for the army, and whose<span class="pagenum" id="Page_22">22</span>

-influence with successive war ministers, as some one truly

-said, have aided largely in introducing that admirable

-training which is transforming the stiff, slow-moving grenadier

-of past times into the vigorous, rapid, and enduring

-soldier of the present day.</p>

-

-<p>Squad drill is not likely to make a good swordsman, yet

-economy of time renders it a necessity. It must be practised

-first without, then with, weapons, after which those

-who show unusual capabilities should be taken individually

-in hand by the master. The latest French system (<cite>Manuel,

-etc</cite>.) divides the four lessons into two degrees: 1. Preparatory

-Movements; moulinets and simple attacks and parries.

-2. Compound attacks and parries.</p>

-

-<p>The formation of the squad is in the usual line, with open

-order at arm’s length from the right or left. The men are

-then taught the three positions as <span class="locked">follows:—</span></p>

-

-<div id="ip_22" class="figcenter newpage" style="max-width: 38em;">

-  <div class="caption">

-    <span class="in0">First Position.</span>

-    <span class="in6">Second Position.</span>

-    <span class="in6">Third Position.</span>

-  </div>

-  <img src="images/i_022.jpg" width="600" height="214" alt="" />

-  <div class="caption">

-    <span class="in0">In two movements.</span>

-    <span class="in6">In two movements.</span>

-    <span class="in6">In two movements.</span>

-  </div>

-</div>

-

-<p><span class="pagenum" id="Page_23">23</span></p>

-

-<h3>§ 2. <i>First Position in Two Motions.</i></h3>

-

-<p><i>One.</i>—Place the hands smartly behind the back, the left

-grasping the right arm just above the elbow, and the right

-similarly supporting the left elbow.</p>

-

-<p><i>Two.</i>—Make a <em>half-face right</em> by pivoting smartly on both

-heels, which must be kept close together; the feet at right

-angles; the left pointing to the front, the face looking

-towards the opponent, or the right-hand man, and the weight

-of the body balanced equally upon both haunches and legs.</p>

-

-<h3><i>Second Position in Two Motions</i> (Guard).</h3>

-

-<p><i>One.</i>—Bend the knees gradually till they are perpendicular

-to the instep, keeping the head and body erect, and both

-feet firm on the ground. The instructor must be careful

-that the knees do not incline inwards—a general fault.</p>

-

-<p><i>Two.</i>—Advance the right foot smartly about 20 inches in

-front of and in line with the right heel, and rest the whole

-weight of the body upon both haunches and legs.<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">8</a></p>

-

-<p>In the second position, that of Guard for the feet, care

-must be taken that the left foot remains firm on the ground,

-without shuffling or turning inwards or outwards. Many

-swordsmen find a better balance when the right heel is on a

-line with the hollow of the left foot.</p>

-

-<h3><i>Third Position in Two Motions</i> (from Guard to Lunge).</h3>

-

-<p><i>One.</i>—Advance the body slightly forward, and bring the<span class="pagenum" id="Page_24">24</span>

-right shoulder and knee perpendicular to the point of the

-right foot.</p>

-

-<p><i>Two.</i>—Advance the right foot smartly, about 20 inches,

-or double the distance of No. 2, Second Position (Guard),

-taking care that the foot does not overhang the instep;

-extend the left leg with a spring, the left foot remaining

-true and firm, and the left knee perfectly straight; let the

-shoulders expand and the body be profiled and slightly inclined

-forwards, or towards the opponent.</p>

-

-<p>This is the position of the legs in the Lunge, and the

-greatest care must be taken to prevent the recruit learning

-it in a careless, shuffling way. Above all things he must

-accustom himself to separate the action into its two composing

-parts, otherwise the lower limbs will often take

-precedence of the upper (shoulder, arm, and hand), and the

-Lunge become worse than useless. When recovering guard

-the contrary is the case; the left knee must be bent before

-the right foot is moved, and the latter should exert a slight

-pressure on the ground; at the same time the body must be

-drawn backwards, not jerked upwards.</p>

-

-<p>These measures of Guard (20 inches) and of Lunge (40

-inches) are best fitted for average-sized men; in exceptional

-cases they must be shortened or lengthened according to the

-stature and stride of the recruit. The rule for guard is the

-measure of two foot-lengths; the Lunge doubles that span;

-and the least vigorous men require the greatest distances.</p>

-

-<p>These movements must be learned, first in slow, and afterwards

-in quick and in double-quick, time; the same may

-be said of all practice with and without the sword. <em>Squad

-attention!</em> and <em>Stand at Ease!</em> need hardly be explained.

-The recruits’ muscles soon become fatigued by the unusual

-and monotonous exercise, causing them to remain too long

-in one position; the easiest way to relieve them is to change

-front, making the left leg stand on guard and lunge, as a left-handed

-fencer would do. This double practice is as useful

-and recommendable in fencing and broadsword play as<span class="pagenum" id="Page_25">25</span>

-in bayonet exercise: it gives additional balance to the body,

-it equalizes the muscular strength of both sides, and it

-makes the soldier feel that if his right arm be disabled he

-can still depend upon his left.</p>

-

-<p>The word <em>Steady</em> must not be used as a command: it

-should be a caution given at the completion of any part of a

-practice with the view of correcting faults.</p>

-

-<h3>§ 3. <i>Attacking, Advancing, and Retiring.</i></h3>

-

-<p><i>Single Attack.</i>—Raise the right foot well off the ground

-and beat smartly with the whole sole, the greatest force being

-upon the ball of the foot, and the least upon the heel.</p>

-

-<p><i>Double Attack.</i>—The same movement made twice. The

-instructor should carefully avoid the directions of the

-‘Infantry Sword Exercise,’—<em>first with the heel, then with the

-flat of the foot</em>. Nothing jars the leg more than this use of

-the heel; it is a bad habit to use it for anything but

-“pivoting.”</p>

-

-<p><i>Advance.</i>—Smartly advance the right foot about six inches

-and bring up the left as nearly as possible to the same

-distance. The soles must just clear the ground, and the

-toes be kept on a straight line with the knee, and never

-turned inside or outside. Neglect of the latter precaution

-leads to a loose, unsteady, and slovenly style which, easily

-learnt, is hardly to be unlearnt.</p>

-

-<p><i>Single Attack.</i>—As before.</p>

-

-<p><i>Retire.</i>—Move the left foot lightly to the rear about six

-inches, and let the right foot follow it. Recruits are uncommonly

-apt to “step short,” and this can be remedied

-only by making them retire for considerable distances. The

-weight and balance of the body must be equally distributed

-on both haunches and legs, not resting upon the left, which

-can serve only to give cramp.</p>

-

-<p><i>Double Attack.</i>—As before.</p>

-

-<p><i>Front.</i>—Resume the position of “Attention.”</p>

-

-<hr />

-

-<p><span class="pagenum" id="Page_26">26</span></p>

-

-<div class="chapter">

-<h2 id="Section_II"><span class="smcap">Section II.</span><br />

-

-<span class="subhead">PREPARATORY INSTRUCTION WITH THE SWORD.</span></h2>

-</div>

-

-<h3>§ 1. <i>Explanation and Use of the Target.</i></h3>

-

-<p class="in0"><span class="smcap">The</span> Target prefixed to these pages explains itself. The

-shape is oblong, the frame measuring 6 feet by 3, and

-the figure 5 feet 8 inches by 1 foot. As the latter represents

-the opponent, the centre should be about 4 feet

-from the ground, the height of the recruit’s breast. Perpendicular

-to the foot of the figure in each Target a horizontal

-line is drawn, forming for the feet, the legs, the body, and

-the arms, the “directing line” of the scientific schools. At

-a distance of 10 feet the recruit is placed in the position of

-“Attention,” with his left heel on the line, so that at the

-command “First Position” his right foot may cover it.</p>

-

-<p>The parallelogram shows the direction and the numbering

-of the Cuts, concerning which further details will presently

-be given. They should be regulated according to the lines

-described upon the Target; nor should the recruit be

-practised in any other mode until he has gained the proper

-direction of the blade.</p>

-

-<p>Nothing need be added to the directions of the ‘Infantry

-Sword Exercise’ (pp. 12, 13, 14), as regards the movements

-subject to the following words of command: much, on the

-other hand, with great advantage, might be taken away, and

-the result would be the increased efficiency that results from

-simplicity.</p>

-

-<p><i>Draw Swords</i> (should be much abridged; after the modern

-French School, pp. 165, 166: <cite>Règlement Provisoire</cite>, &amp;c.);</p>

-

-<p><em>Slope Swords</em>;</p>

-

-<p><em>Return Swords</em> (should be simplified);</p>

-

-<p><span class="pagenum" id="Page_27">27</span>

-<em>Stand at Ease</em>;</p>

-

-<p><em>Attention</em>;</p>

-

-<p><em>Prepare for Sword Exercise</em>;</p>

-

-<p><em>Right prove Distance</em>;</p>

-

-<p><em>Slope Swords</em>;</p>

-

-<p><em>Front prove Distance</em>; and</p>

-

-<p><em>Slope Swords</em>.</p>

-

-<p>At the order, <em>Stand on Guard</em>, the recruit having assumed

-the Second Position, No. 2, falls on Guard: the pommel of

-the sword fronts his right breast; the point is directed at

-his opponent’s right eye; his right arm is extended with an

-easy bend at the elbow; the wrist is inclined, with the

-knuckles slightly turned upwards, to his own right, so as to

-cover him in case of a straight thrust, and the left hand is

-placed upon the left flank just below the ribs, with the

-fingers to the front and the thumb to the rear.</p>

-

-<p>The several guards (parries) are learned by holding the

-sword opposite to and in the inclination of the dotted lines

-which have sword-hilts attached to them; the recruit is

-thus taught from the Target the angle of the blade and the

-position of the wrist.</p>

-

-<p>The Target directs the recruit <em>how</em> to make the Cuts and

-to form the Guards, but not exactly <em>where</em>; this must depend

-upon how the opponent acts during the attack and the

-defence. Cuts 1, 3, 5, 7, 9, and 11 (odd numbers) are all

-from Carte, which the ‘Infantry Sword Exercise’ calls

-<em>Inside</em>. The corresponding even numbers (2, 4, 6, 8, 10, and

-12) are from Tierce, or <em>Outside</em>. The same nomenclature

-applies to the Guards or parries.</p>

-

-<p>When the recruit thoroughly understands the use of the

-Target he need no longer be practised in front of it; but the

-instructor (sword in hand) should consider it a sure guide

-and reference for correctly forming the Guards and for

-giving a suitable direction to the edge when making the

-Cuts.</p>

-

-<p><span class="pagenum" id="Page_28">28</span></p>

-

-<h3>§ 2. <i>The Moulinet.</i><a id="FNanchor_9" href="#Footnote_9" class="fnanchor smaller">9</a></h3>

-

-<p>This rotation movement should be learnt before the recruit

-proceeds to the Cut.</p>

-

-<p><span class="pagenum" id="Page_29">29</span>

-There is nothing better for “breaking,” as the French say,

-the recruit’s wrist than this sweep of the sword; and the

-style of a swordsman may always be known by his Moulinet.

-We will divide it into three kinds, viz. (1) horizontal,

-(2) diagonal, and (3) vertical; the latter again may be either

-(a) ascending or (b) descending; but as the second (diagonal)

-is a mere modification of the first and the third, it will be

-sufficient to notice only two; these <span class="locked">are:—</span></p>

-

-<p>1st. The horizontal movement, or <em>Moulinet</em> proper, circling

-the sword round the head. The grip is held as lightly as

-possible, chiefly with the thumb and the first finger, resting

-the pommel upon the palm, and carrying the nails upwards.

-The blade should be moved as horizontally as it can be,

-with the back just clearing the swordsman’s crown: it

-should describe, not a true circle, but an oval with a long

-diameter in the directing line to the centre of the Target

-through the heels or ankles of the recruit. Finally, the

-point should be lanced or thrown out, as it were, towards

-the opponent’s face. Evidently it may be done in two ways,

-first, from right to left, which I will call the “Tierce

-Moulinet” (<i xml:lang="fr" lang="fr">Moulinet à gauche</i>); this is by far the easiest

-and the more habitual, corresponding with Tierce “Counter,”

-opposition, or describing with the blade a circle round the

-adversary’s blade, in the fencing school. The reverse movement

-(“Carte Moulinet,” <i xml:lang="fr" lang="fr">Moulinet à droite</i>), from left to

-right, requires, like the Counter of Carte, much more

-practice.</p>

-

-<p>In these directions “right and left” apply to the right and left of

-the swordsman’s wrist.</p>

-

-<p><span class="pagenum" id="Page_30">30</span>

-2nd. In France the term “Moulinet” is mostly applied to

-these two rotations of the sword round the head, but we will

-extend it to all circlings of the point. The vertical form is

-also made from the hand in Tierce (Outside Guard), the blade

-is brought sharply round with the back towards the breast

-and left shoulder, and returns to its original position; we

-will call this the “Inside Moulinet,” having reference to the

-performer, not the adversary. The “Outside Moulinet” is

-when from “Tierce or Outside Guard” the blade passes

-along the right shoulder, it is simply the former done in the

-outer line.</p>

-

-<div id="ip_30" class="figcenter newpage" style="max-width: 38em;">

-  <img src="images/i_030.jpg" width="600" height="542" alt="" />

-  <div class="caption">Horizontal Moulinet.</div></div>

-

-<p>Again the “Inside Moulinet,” which ends with the Cut

-from above downwards (the French <i xml:lang="fr" lang="fr">enlevé</i>), may be inverted

-so as to cut from downwards upwards (the <i xml:lang="fr" lang="fr">brisé</i>). The same

-may be done with the “Outside Moulinet,” when the

-wrist must be turned upwards, and the Cut given in the<span class="pagenum" id="Page_31">31</span>

-ascending line. This difficult movement should be practised

-in order to ensure a flexible wrist, but it exposes the

-whole arm. In the four latter “Cuts,” the one invariable

-rule is to circle the point as vertically as possible.

-The French <cite>Manuel</cite> (pp. 234, 235) gives: 1, the <i xml:lang="fr" lang="fr">enlevé</i>

-cutting from above downwards; and it may be either <i xml:lang="fr" lang="fr">à

-gauche</i> (Tierce Moulinet) or <i xml:lang="fr" lang="fr">à droite</i> (Carte Moulinet);

-2, the Moulinet proper; and 3, the <i xml:lang="fr" lang="fr">brisé</i>, cutting from

-downwards upwards, thus reversing the <i xml:lang="fr" lang="fr">enlevé</i>; and this also

-may be done <i xml:lang="fr" lang="fr">à gauche</i> (Tierce Moulinet) or <i xml:lang="fr" lang="fr">à droite</i> (Carte

-Moulinet).</p>

-

-<div id="ip_31" class="figcenter newpage" style="max-width: 38em;">

-  <img src="images/i_031.jpg" width="600" height="542" alt="" />

-  <div class="caption">Vertical Moulinet.</div></div>

-

-<p>The “Moulinet” should be practised first without, then

-with, the sword, and on foot, before attempting it on

-horseback. In the earlier stage the recruit must turn<span class="pagenum" id="Page_32">32</span>

-the hand, with the arm nearly extended, in the horizontal

-and vertical movements, without stiffness and displacement

-of the elbow. In the second he may, if no Target be procurable,

-work before a cross chalked on the wall so as to

-secure horizontality and verticality. Finally, the soldier

-will combine the two, Tierce and Carte, by passing rapidly

-from one to the other.</p>

-

-<p>Whilst practising the Moulinet the recruit must be taught

-the two main divisions of the sword-blade. Fencers have

-introduced an immense complication into this simple matter;

-and some have proposed eight parts: for broadsword it is

-sufficient to divide the length. The “Feeble,” or weak half,

-is that contained between the point and the centre; this,

-the proper part for the Cut or attack is ground to a thinner

-edge, and consequently is more liable to an injury from

-another sword if the Cut be not very true. The “Fort,” or

-strong half, is from the centre to the hilt, and upon this we

-must rely for defence.</p>

-

-<p>A few hours’ practice and a few pressings upon the different

-parts of the blade under the surveillance of the

-instructor will teach the recruit the high importance of this

-lesson. He will learn that in opposing the adversary’s sword

-the strength of the defence decreases from the hilt upwards

-in proportion as the Cut is received towards the point; and

-that, <i xml:lang="la" lang="la">vice versâ</i>, it increases from the point downwards to the

-hand. The strongest man cannot “force in” the opponent’s

-Guard if the Cut or Thrust be received upon the part near

-the handle. With a true Guard the ordinary fencing foil can

-turn off the thrust of a musket and bayonet weighing 10 lbs.

-The practised swordsman always attempts, when attacking,

-to gain with his “Fort” the “Feeble” of the opponent’s

-weapon, in which case the superior leverage will often beat

-down the parry; and this manœuvre should be carefully

-practised by men of superior muscular strength. The Cuts

-must, as a rule, be delivered within eight inches of the point<span class="pagenum" id="Page_33">33</span>

-and at the “centre of percussion,”<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">10</a> so that the sword may

-clear itself and the arm escape a “jar.”</p>

-

-<p>The two virtues of the Cut are its trueness and its velocity.

-Unless true it will become a blow with the flat that

-would shiver to pieces any brittle Eastern blade. Assuming

-the <i xml:lang="la" lang="la">vis viva</i> or force of a moving body to be its weight

-multiplied by the square of the velocity, let us suppose a

-strong man cutting with a sword weighing 4 lbs., to which

-he can give a velocity which we will call 1, or 4 × 1 = 4:

-a weaker man who applies double the velocity to a 2 lb.

-sword will thus produce a momentum of 8, doubling the force

-of the blow. But let the stronger man take the lighter sword,

-evidently he will obtain a higher velocity, which we will

-assume at 3: in this case the effect will be 18. Thus the

-power of the Cut is enormously increased by increased velocity,

-but much less by increased weight in the moving

-body.</p>

-

-<h3>§ 3. <i>The Cuts.</i></h3>

-

-<p>The Target prefixed to the ‘Infantry Sword Exercise’ gives

-Seven Cuts, an insufficient number. The German systems

-add an eighth blow perpendicularly upwards, when the

-whole of the swordsman’s arm from wrist to shoulder would

-be completely at the opponent’s mercy.</p>

-

-<p>The French <cite>Manuel</cite> has only seven, viz. the <i xml:lang="fr" lang="fr">Coup de

-Tête</i>; 2, the <i xml:lang="fr" lang="fr">Coup de Banderole</i>; 3, the <i xml:lang="fr" lang="fr">Coup de Figure

-à droite</i>; 4, the <i xml:lang="fr" lang="fr">Coup de Figure à gauche</i>; 5, the <i xml:lang="fr" lang="fr">Coup<span class="pagenum" id="Page_34">34</span>

-de Flanc</i>; 6, the <i xml:lang="fr" lang="fr">Coup de Ventre</i>; and 7, the <i xml:lang="fr" lang="fr">Coup de

-Manchette</i>.</p>

-

-<div id="ip_34" class="figcenter newpage" style="max-width: 38em;">

-  <img src="images/i_034.jpg" width="594" height="600" alt="" />

-  <div class="caption">German System.</div></div>

-

-<p>The subjoined diagram shows the Twelve Cuts<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">11</a> which

-serve to “loosen” the rigid arm of the recruit.</p>

-

-<p><span class="pagenum" id="Page_35">35</span></p>

-

-<div id="ip_35" class="figcenter newpage" style="max-width: 30em;">

-  <img src="images/i_035.jpg" width="475" height="600" alt="" />

-  <div class="caption"><p>The Twelve Cuts (shown by the thick strokes), the dotted lines denoting

-the course of the blade in “Moulinet”, or rather in “Semi-Moulinet.”</p>

-

-<table id="cuts12" class="p1 narrow" summary="The Twelve Cuts">

-  <tr class="bpad">

-    <td class="tdc"><span class="smcap">Carte.</span></td>

-    <td class="tdc"><span class="smcap">Tierce.</span></td></tr>

-  <tr>

-    <td class="tdl">Cut 1.</td>

-    <td class="tdl">Cut 2 (Head Cuts).</td></tr>

-  <tr>

-    <td class="tdl">Cut 3.</td>

-    <td class="tdl">Cut 4 (Face Cuts).</td></tr>

-  <tr>

-    <td class="tdl">Cut 5.</td>

-    <td class="tdl">Cut 6 (Shoulder Cuts).</td></tr>

-  <tr>

-    <td class="tdl">Cut 7.</td>

-    <td class="tdl">Cut 8 (Breast Cuts).</td></tr>

-  <tr>

-    <td class="tdl">Cut 9.</td>

-    <td class="tdl">Cut 10 (Stomach Cuts).</td></tr>

-  <tr>

-    <td class="tdl">Cut 11.</td>

-    <td class="tdl">Cut 12 (Groin and Thigh Cuts).</td></tr>

-</table>

-</div></div>

-

-<p>The figure represents the opponent; the thick lines show

-the direction of the edge when cutting; and the dotted continuations<span class="pagenum" id="Page_36">36</span>

-denote the course of the blade when describing

-the several “Moulinets.”</p>

-

-<p>The Cuts should be continuous, the regular succession

-always beginning from Carte or the Inside, that is, from the

-rear of the left shoulder. As in the “Moulinet,” the less

-the arm is bent and the sword-hand is moved from the line

-of direction (to the front), the greater is the value of the

-movement. The recruit, who must walk before he runs,

-should deliver the whole dozen in continuous sweep without

-pause, but at first very slowly, till, by the proper and timely

-use of the wrist, the Cuts lead into one another. The more

-advanced swordsman, whose pliability of strength is free from

-contractions and other vicious habits, should practise the

-series of twelve with increased rapidity till the blade whistles

-through the air. All the Cuts should be given strong, with

-the edge leading well forwards and with the arm extended to

-its utmost in the delivery.</p>

-

-<p>The following are the Twelve <span class="locked">Cuts:—</span></p>

-

-<p>I. and II. These Cuts are made, after falling into Tierce

-or Outside Guard, from above downwards at the opponent’s

-head. In No. I. the point, beginning as usual from the left

-shoulder (Carte), describes a full circle (“Inside Moulinet,”

-the <i xml:lang="fr" lang="fr">brisé à gauche</i> of the French <cite>Manuel</cite>), the hand moving

-as little as possible so as to cover the body; the knuckles

-turned up and the blade passing close to the breast: it

-finishes by delivering a vertical Cut, with the “Feeble” close

-to the point, at the right half of the adversary’s crown.

-No. II., which follows without interruption, reverses the

-process; the knuckles are turned down and the blade sweeps

-past the right shoulder (<i xml:lang="fr" lang="fr">brisé à droite</i>); ending with the left

-half of the opponent’s head. The latter Cut is by far the<span class="pagenum" id="Page_37">37</span>

-more difficult to make without moving the hand, but it is

-good practice for “breaking” the wrist.</p>

-

-<p>III. and IV. The horizontal face-cuts, also beginning from

-the left (Carte), an invariable rule, and ending with the right,

-that is, at the adversary’s left cheek. The reason of this

-practice is to make the movement habitual to the recruit;

-cutting from left to right always causes less exposure of the

-inner wrist than cutting from right to left.</p>

-

-<p>V. and VI. The slanting shoulder-cuts, also from above

-downwards (Nos. 1 and 2, or rather 2 and 1, of the ‘Infantry

-Sword Exercise,’ pp. 14, 17, and the <i xml:lang="fr" lang="fr">Coups de Banderole</i> of

-the <cite>Manuel</cite>); describing two diagonal Moulinets, first from

-left to right, and then from right to left. The sword again

-makes a double “Moulinet” with the edge downwards, and

-descends first upon the opponent’s right and then upon his

-left shoulder.</p>

-

-<p>VII. and VIII. The horizontal breast-cuts, parallel with

-the face-cuts, and, like them, delivered with the blade as

-horizontal as possible.</p>

-

-<p>IX. and X. The horizontal stomach-cuts, parallel with,

-and lower than, the breast-cuts.</p>

-

-<p>XI. and XII. The slanting groin or thigh-cuts, diagonally

-from downwards upwards; in fact, the reverse of the shoulder-cuts

-(Nos. 4 and 3 of the ‘Exercise,’ and the <i xml:lang="fr" lang="fr">brisés</i> of the

-<cite>Manuel</cite>). In these diagonal Moulinets, the elbow must not

-be bent; the hand should deviate as little as possible from

-the directing line under pain of dangerous exposure; and

-the two movements should follow each other without a

-break.</p>

-

-<p>Whenever the recruit fails to carry the edge well forward

-in making the attack, he should be practised slowly and repeatedly

-in combining the opposites, as Head-cut (No. 1)

-and Thigh-cut (No. 12), Head-cut (No. 2) and Thigh-cut

-(No. 11), and so forth. The instructor must see that the

-edge leads on to the respective lines of the Target, the point

-being darted out at the end of each cut.</p>

-

-<p><span class="pagenum" id="Page_38">38</span>

-The Cuts will be practised first in No. 2 “Second

-Position” (Guard), and afterwards in No. 2 “Third Position”

-(Lunge).</p>

-

-<div id="ip_38" class="figcenter newpage" style="max-width: 29em;">

-  <img src="images/i_038.jpg" width="455" height="600" alt="" />

-  <div class="caption">Prime, or Hanging Guard.</div></div>

-

-<h3>§ 4. <i>The Engaging Guards, or Engagements.</i></h3>

-

-<p>As the ‘Infantry Sword Exercise’ has a deficiency of

-Cuts, so it has a superfluity of “Engaging Guards.” I have

-already expressed my opinion concerning the Guard (p. 18

-of 1874) popularly called the “Hanging Guard.” Even

-with the best position, the head erect and the eyes looking

-straight and not upwards, it is utterly faulty; it displaces

-the arm and the sword, and, as no serious attack

-can be made directly from it, it necessitates a movement

-entailing a considerable amount of exposure. It is now

-chiefly confined to students’ duels with the German Schläger,

-wherein slitting the opposing nose, which can be done with<span class="pagenum" id="Page_39">39</span>

-a mere jerk upwards, is the swordsman’s highest aim and

-ambition.</p>

-

-<p>The “Engaging Guards” are thus reduced to the two

-<span class="locked">following:—</span></p>

-

-<p>Tierce (or outside) Guard; defending the outer lines,

-arm, shoulder, back, and flank. The recruit having assumed

-the “Second Position” (No. 2), brings the pommel of his

-sword to the centre of his right breast; opposes the point to

-the adversary’s right eye; extends his right arm with an

-easy bend of the elbow; inclines the wrist with the knuckles

-upwards to his own right, so as to cover himself in case of a

-straight thrust, and places his left hand upon his left flank

-with the fingers to the front and the thumb to the rear. In

-Tierce of course the edge of the sword is to the right or

-outside.</p>

-

-<div id="ip_39" class="figcenter newpage" style="max-width: 38em;">

-  <img src="images/i_039.jpg" width="600" height="526" alt="" />

-  <div class="caption">Engaging Guard in Tierce (Outside).</div></div>

-

-<p>Carte (or Inside) Guard. This movement defends the

-inner lines, chest and stomach; the knuckles are turned<span class="pagenum" id="Page_40">40</span>

-down; the opposition is made to the left, and the edge is

-carried in the same direction.</p>

-

-<div id="ip_40" class="figcenter newpage" style="max-width: 38em;">

-  <img src="images/i_040.jpg" width="600" height="546" alt="" />

-  <div class="caption">Engaging Guard in Carte (Inside).</div></div>

-

-<p>When engaging in guard (joining weapons), the swords

-should meet each other about eight inches from the points.

-If the distance is diminished the opponents are “out of measure”

-(or distance); if increased, they are “within measure.”

-The recruit must be taught slightly to press upon the opponent’s

-blade, but not to rest upon it; by this “opposition”

-his hand and wrist will be more ready to follow the weapon

-during the attack. Thus also the “Engaging Guards,”

-Tierce, and Carte (outside and inside) afford protection preparatory

-to the movements for offence and defence. The

-eye must be fixed upon the eye and the hand or the blade-point

-of the opponent, not upon the eye only.</p>

-

-<p>Guard may be partly defensive when the bust is advanced<span class="pagenum" id="Page_41">41</span>

-and the point approaches the opponent, or it may be purely

-protective when its sole object is the “parry.”</p>

-

-<p>The right-handed recruit must be taught always to

-attempt Engaging in Tierce,<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">12</a> with his opponent’s blade in

-the outer line (<i xml:lang="fr" lang="fr">sur les armes</i>). The reason is simply that in

-the reverse position (<i xml:lang="fr" lang="fr">dans les armes</i>), the fore-arm, from the

-elbow to the wrist, is comparatively unguarded; whereas

-Tierce facilitates the defence of the “low lines” (i. e. those

-below the wrist). Tierce therefore has invariably the advantage

-with the sabre, as Carte carries off the palm with the

-small-sword, the foil, and the rapier.<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">13</a> But the right-handed

-man engaging in Tierce puts his left-handed opponent in

-Carte; and the latter, if a skilful sworder, will manœuvre,

-by withdrawing his blade, by coupés or degagements over

-the point, and by other feints, to regain the ground of vantage.

-The best treatment of this case is to make a time-cut

-in Seconde (“inner Moulinet,” or <i xml:lang="fr" lang="fr">brisé à gauche</i>) at the

-adversary’s knuckles, a movement which will presently be

-explained.</p>

-

-<h3>§ 5. <i>The Guards or Parries.</i><a id="FNanchor_14" href="#Footnote_14" class="fnanchor smaller">14</a></h3>

-

-<p>The ‘Infantry Sword Exercise’ proposes Seven Guards, a

-number which can hardly be reduced for practice on the

-drill-ground or in the schools: the <cite>Manuel</cite> contains the same<span class="pagenum" id="Page_42">42</span>

-number, including one for the Point. But of the seven no

-less than five are “Hanging Guards,” and Nos. 3 and 4 serve

-only to defend the inside and the outside of the advanced

-leg. This limb requires no assistance of the kind: an able

-swordsman never exposes his head and shoulders by cutting

-so low, and, if he does, the leg can be smartly withdrawn

-(<i xml:lang="fr" lang="fr">parade retrograde</i>, or <i xml:lang="fr" lang="fr">en échappant</i>), rendering the attack

-not only useless but dangerous to the assailant. Even in

-fencing, “low thrusts,” that is, at the body below the wrist,

-are never made, for fear of the “Time” being taken, until

-the upper line has been closed by a feint. In our Single-stick

-practice the first thought seems to be to attack the

-advanced leg—which may be well enough for Single-stick.</p>

-

-<div id="ip_42" class="figcenter newpage" style="max-width: 38em;">

-  <img src="images/i_042.jpg" width="600" height="430" alt="" />

-  <div class="caption">Lunge and Cut in Carte (Inside).</div></div>

-

-<p>The following are the full number of guards or parries

-in which the edge must invariably be used: they are evidently<span class="pagenum" id="Page_43">43</span>

-dividable into two; (1) Head (with face) Guards, and

-(2) Body <span class="locked">Guards:—</span></p>

-

-<p>I. Prime (p. 38), so called because it is the “first” position

-of defence after drawing the blade, that which the unpractised

-man would naturally assume to defend his head.

-It is the 7th Guard of the ‘Infantry Sword Exercise.’ In

-practice the point is more inclined to the horizontal line than

-when the blade is unsheathed; the edge is carried somewhat

-inside or to the left; the arm is shortened and so raised that

-the eyes look under it, but the head remains upright. The

-recruit must be careful <em>not</em> to “bend the body;” <em>not</em> to

-“draw in the chest and neck;” and <em>not</em> to “bring the left

-shoulder a little forward.” The defect of Prime is its being

-a “Hanging guard,” rendering the riposte or reply difficult,

-and modern practice prefers “High Tierce.”</p>

-

-<p>II. Seconde (4th Guard), so termed because following

-Prime: the arm is extended, the edge is carried to the outside

-or to the right; in practice the hilt is lowered, and the point,

-threatening the opponent’s loins, is depressed to the half of a

-right angle. This position must be learned for the sake of

-feinting: as a parade it is not much used, because it defends

-only the hip and leg, and a good swordsman will never

-expose himself to exceeding danger by making low cuts.

-Modern practice prefers “low Tierce.”</p>

-

-<p>III. Tierce (2nd Guard) has been described (p. 39) under

-“Standing on Guard” and “Engaging Guards;” it defends the

-outer lines, arm, shoulder, and back.</p>

-

-<p>IV. High Tierce is a head-guard: the hand is raised to

-above the shoulder to the maximum level of the swordsman’s

-right eye, and the blade is carried at an angle of 45° with

-the edge up and the point to the left.</p>

-

-<p>V. Low Tierce is a flank-guard; the arm is shortened, the

-hand is depressed six inches; the opposition is to the outside,

-and the point is held vertically or almost vertically, as

-the attack demands.</p>

-

-<p>VI. Carte (1st Guard) has been described (p. 40) under<span class="pagenum" id="Page_44">44</span>

-“Engaging Guards,” as defending the inner lines, chest and

-stomach. For the purposes of parrying, the arm is withdrawn

-till the elbow, almost touching the belt, forms an

-equilateral triangle with the hilt and the left side.</p>

-

-<p>VII. High Carte is a head-guard like high Tierce: the

-hand is raised to the left of the left eye, and the blade,

-crossing the face at an angle of 45°, carries the edge up,

-and the point to the right.</p>

-

-<p>VIII. Low Carte is a stomach guard. As in Low Tierce

-the arm is shortened, the hand is depressed six inches; the

-opposition is to the inside, and the point is held vertically

-or almost vertically, as the attack demands.</p>

-

-<p>In practice the advanced swordsman will confine himself

-to Tierce and Carte with their natural modifications. He

-will consult his own feelings about the head-guard, abolishing

-Prime in favour of High Tierce or High Carte, and he will

-prefer Low Tierce or withdrawing the leg (<i xml:lang="fr" lang="fr">rassemblement</i>)

-to using Seconde. Of these movements the simplest are

-always the best. When parrying, the sword-arm must invariably

-be drawn for defence nearer the body, and the

-grip should be sensibly tightened to receive the cut. No

-strength is necessary when making the parries: I cannot

-accept the “Sforzi” or guard-forcings of the neo-Italian

-broadsword school, dry blows upon the blade, which, intended

-to disarm, are essentially dangerous.</p>

-

-<p>The Guards or Parries will be practised like the Cuts, first

-in the “Second Position” (Guard), and afterwards in the

-“Third Position” (Lunge).</p>

-

-<hr />

-

-<p><span class="pagenum" id="Page_45">45</span></p>

-

-<div class="chapter">

-<h2 id="Section_III"><span class="smcap">Section III.</span><br />

-

-<span class="subhead">THE MANCHETTE OR FORE-ARM PLAY.</span></h2>

-</div>

-

-<h3>§ 1. <i>Preliminary.</i></h3>

-

-<p class="in0"><span class="smcap">The</span> recruit is now sufficiently advanced to begin the

-system of Manchette, which, as it is the most valuable part

-of sword-drill, has been practised the least, and should be

-practised the most. A swordsman thoroughly trained in

-this section does not allow the opponent to deliver a cut.

-It is certain that hand and wrist, short-arm and elbow, are

-capable of as many different attacks and defences as the

-whole body: these are the parts most prominent, most exposed,

-and consequently most readily made the <i xml:lang="fr" lang="fr">point de

-mire</i>. Yet this true and simple secret of the broadsword has

-been universally neglected, or rather not worked out: in

-England we content ourselves with the parades technically

-called <i xml:lang="fr" lang="fr">retrogrades</i>, that is, withdrawing the limb from the

-assault, by shortening the arm and, sometimes, by retiring

-the right foot either near to, or up to, or behind the left

-heel: even this evasion which cannot expect to pass for a

-Guard, is not described nor figured in the official ‘Infantry

-Sword Exercise.’<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">15</a> In France, and even in Italy where most

-subjects are exhaustively treated, Manchette is dismissed

-with a few careless words. The <cite>Manuel</cite> gives to the <i xml:lang="fr" lang="fr">Coup de

-Manchette</i> only these few lines: “<i xml:lang="fr" lang="fr">Exécuter un enlevé</i> (vertical

-Moulinet from above downwards) <i xml:lang="fr" lang="fr">en arrière à droite, et arrêter

-le sabre vis-à-vis le milieu du Corps, le tranchant en dessus, le

-poule légèrement à droite; diriger l’enlevé de manière à empêcher

-en arrêtant l’avant bras, l’exécution d’un coup de tête</i>.” Capitano

-Settimo del Frate (p. 50, <cite xml:lang="it" lang="it">Istruzione sul Maneggio e Scherma

-della Sciabola</cite>) in one of the latest works on swordsmanship<span class="pagenum" id="Page_46">46</span>

-contents himself with the following desultory observations:</p>

-

-<p>“Manchett” (<i xml:lang="la" lang="la">sic</i>) “can attack the fore-arm either above

-or below, according as the opponent gives an opening.</p>

-

-<p>“Manchett is generally used against an adversary whose

-guard is defective. By merely extending the arm with a

-turn of the wrist, this attack may readily succeed should

-the opponent neglect to provide against it.</p>

-

-<p>“One of the most dangerous guards against Manchett

-is Tierce; the surest is High Seconde, which indeed is also

-the best parry adapted to this system of attack.”</p>

-

-<p>The first member of the last paragraph is sensible; the

-second is thoroughly fallacious. As has been stated, the

-right-handed man must always engage in Tierce, and, as will

-presently appear, Tierce is the safest, indeed the only safe

-guard against Manchette cuts. Another Italian writer of our

-day describes and figures the “Position of the weaponed arm

-to escape the arm-cut” (<i xml:lang="it" lang="it">Colpo di braccio</i>), with the elbow-joint

-left clean open. The ‘Infantry Sword Exercise’ limits

-itself (p. 30) to these few lines: “If opposed to the Small

-Sword (<i xml:lang="la" lang="la">sic</i>, meaning straight sword or rapier) have recourse

-to Cuts <em>Three</em> (No. 13 of this system) and <em>Four</em> (No. 11),

-directing them at the arm, by which means there is every

-probability of the cuts taking effect, as it must always

-come within range of the edge, before the point can be

-sufficiently advanced to reach your body: if the above

-cuts are quickly given and continued, they will also be

-found advantageous in advancing against the Small Sword,

-as they constitute an attack and form a defence at the same

-moment; but should the opponent be the most skilful and

-quickest (<i xml:lang="la" lang="la">sic</i>) in his movements, then it is best to retire

-whilst giving them, cautiously preserving the proper distance,

-so that each cut may just reach the fore part of his

-arm.” The French content themselves with single oppositions

-of Tierce and Carte. But why multiply instances of

-ignorance?—they would fill many a useless page.</p>

-

-<p><span class="pagenum" id="Page_47">47</span>

-Finally I meditated upon the comparative humanity of

-“Manchette,” of disabling the opponent by an arm-cut,

-rather than laying open his flank or his head. During

-single rencontres in the field, especially at the end of Indian

-battles, it is so often necessary to put <i xml:lang="fr" lang="fr">hors de combat</i> some

-unfortunate, whose pluck or sense of honour induces him to

-prolong the hopeless attack.</p>

-

-<p>These considerations led me to reflect seriously for a

-number of years upon the Jeu de Manchette, the Colpi all’

-avambraccio, or fore-arm play, which has been so much

-neglected by master-swordsmen. At last an unlooked-for

-opportunity, a short study in the <i xml:lang="fr" lang="fr">Salle d’armes</i> of Herr

-Balthasar Reich of Trieste, enabled me to reduce it to a

-system, and present it to the public.</p>

-

-<p>I should premise, however, that the following observations

-are intended for professional men. It is therefore necessary

-only to name and number the Direct Cuts, the Guards and

-the Feints, the Reverse Cuts, and the Time Cuts of Manchette,

-as in most cases the simplest mention will suffice.

-The proficient will at once perceive that I offer a mere

-outline of the system whose many details must be learned

-by long practice. It is enough to give first principles: the

-minutiæ could not even be noticed without stretching

-description to a wearisome length.</p>

-

-<p>There is no objection, I have said, to teaching squads of

-recruits all the simpler preparatory matter: the Three Positions;

-the Moulinet; the Engaging Guard, and the Guards

-or Parries. At a certain stage of progress, however, especially

-when beginning Manchette, the quick and intelligent

-soldier, who is likely to qualify himself as a master, must be

-instructed singly.</p>

-

-<h3>§ 2. <i>The Direct Cuts in Manchette.</i></h3>

-

-<p>The following are the direct attacks in Manchette, simple

-and compound; all are done from the “Engaging Guard,” the

-Lunge being here inadmissible.</p>

-

-<p><span class="pagenum" id="Page_48">48</span>

-I. <i>Carte de Manchette.</i>—Extend the sword-arm to the full

-length and deliver the cut, with a flip as it were, at the

-opponent’s fore-arm, between the elbow and the wrist. This

-can be done with the back of the blade (Reverse Cut) under

-circumstances presently to be described. No. I. is useful

-if the adversary unwisely engages you in Carte otherwise

-(from Tierce) it must be avoided, as he easily parries by

-withdrawing the arm and replies with a Tierce Cut.</p>

-

-<p>II. <i>Carte de Manchette and Cut Tierce.</i>—This movement is

-No. I. followed by a close rotation of the point (“Tierce

-Moulinet”); if, however, the circle be too small, it will not

-clear the sword-guard.</p>

-

-<p>III. <i>Double Carte de Manchette and Cut Carte.</i>—No. III. is

-to be done when the opponent, as he generally will after an

-attack of No. II., successively parries Carte and Tierce. It

-is simply the double of No. I., and thus the “Tierce Moulinet”

-cuts, of course, inside the arm.</p>

-

-<p>IV. <i>Double Carte de Manchette and Cut Tierce.</i>—Useful

-when the adversary parries Carte, Tierce and Carte; it is

-the double of No. II. and thus cuts outside the arm.</p>

-

-<p>No. II. guards the arm and is therefore unexceptionable.

-Nos. III. and IV. are dangerous, because, like No. I., when

-opposed to an agile hand, they may lay the wrist open to a

-Time Cut.</p>

-

-<p>The two first and all four against a slow unready swordsman

-may be varied by combinations with <i xml:lang="fr" lang="fr">coupés</i>, or passing

-the blade sharply over the adversary’s point. For instance,

-if the adversary come too wildly to the Tierce parade of your

-double Carte and Tierce (No. III.), <i xml:lang="fr" lang="fr">a coupé</i> will reach his

-arm in Carte.</p>

-

-<p>A golden rule which cannot be repeated too often is that

-all the Manchette-Cuts in Tierce (outside), either from above

-or from below, must be as nearly vertical as possible, whilst

-all the Cuts in Carte (inside) should be as horizontal as they

-can be made. The reason is simply that these positions

-cover the arm and render the attack less dangerous.</p>

-

-<p><span class="pagenum" id="Page_49">49</span></p>

-

-<h3>§ 3. <i>The Guards (Parries) and Feints in Manchette.</i></h3>

-

-<p>The Guards of the Target will be found sufficient for

-parrying all attacks in Manchette. The soldier, however,

-should especially practise the retrograde parades, that is

-withdrawing the right fore-arm with and without the right

-leg.</p>

-

-<p>Feinting with the broadsword is necessarily more simple

-than with the foil, being generally confined to <i xml:lang="fr" lang="fr">Coupés</i>

-and <i xml:lang="fr" lang="fr">Secondes</i>. The neo-Italian school of sabre uses, I have

-said, the fencing movements, but it is at best a bastard style.

-If the opponent attempts to “degage,” that is to pass his

-point under your blade from Tierce to Carte, or <i xml:lang="la" lang="la">vice versâ</i>,

-retire by withdrawing the right heel to the left, and cut at

-the arm which his movement has exposed.</p>

-

-<p>The <i xml:lang="fr" lang="fr">Coupé</i>, the reverse of the degagement, passes the point

-over, not under, the opposing blade; this legitimate feint,

-used in every school, may be effected in four several ways.</p>

-

-<p>I. <i>One.</i> From the usual engagement in Tierce pass the

-blade over the opposite point, just clearing it, and cut inside.

-The two movements raising and dropping the point should

-be as rapid as possible.</p>

-

-<p>II. <i>One, Two</i>, a double <i>Coupé</i>, with the cut in Tierce.</p>

-

-<p>III. <i>One, Two, Three</i>: as with the foil; against a nervous

-opponent the cut should be made at the face with a dart and

-a jerk (the Italian <i xml:lang="it" lang="it">Slancio</i>); against a slow player the cut

-may be Carte de Manchette.</p>

-

-<p>IV. <i>One, Two, Three, Four</i>; like the former, but cutting

-in Tierce: to be attempted only with the most unready of

-opponents.</p>

-

-<p>The two latter may be combined with a breast (inside) or

-shoulder (outside) “Moulinet” between the penultimate

-and the last (cut) movement; but these long feints are

-radically vicious, because they lay the swordsman open to

-Time Cuts. They are, however, useful, as will appear in

-making the Reverse Cuts.</p>

-

-<p><span class="pagenum" id="Page_50">50</span>

-Perhaps the Seconde-feints are better than the <i xml:lang="fr" lang="fr">Coupés</i>.</p>

-

-<p>I. <i>One</i>: the simple Seconde Cut.—Make a little more

-opposition in Tierce, sweep the blade past and along the

-breast; (inside Moulinet, or the <i xml:lang="fr" lang="fr">brisé à gauche</i>) and, lowering

-the hand a little, cut upwards with a jerk and a flip. The

-nearer the swordsman’s own body his blade circles the better,

-because the cut will be more in the vertical line: if it be

-much out of the perpendicular the opponent can “take a time”

-in Carte. The Moulinet serves also to embarrass the adversary

-and to add strength to the cut. This simple and most

-valuable movement must not be confounded with the old-fashioned

-Seconde cut at the leg: the latter is objected to,

-as I have said, by swordsmen; the parry is too easy, and

-the ripost far too dangerous.</p>

-

-<p>II. <i>Feint Seconde.</i>—From Tierce make a short and sharp

-movement to Seconde with the knuckles turned upwards;

-the opponent will probably come to the Seconde-parry,

-thereby exposing the fore-arm. You then cut Tierce perpendicularly

-as usual, from above downwards (the <i xml:lang="fr" lang="fr">enlevé</i>), either

-without or with a breast “Moulinet.”</p>

-

-<p>III. <i>Feint Seconde, Feint Tierce and Cut Carte</i>, with two

-short, sharp movements, and deliver the horizontal cut in

-Carte.</p>

-

-<p>IV. <i>Feint Seconde, feint Tierce and Cut Seconde</i>, from

-downwards upwards, always with a breast “Moulinet.”</p>

-

-<p>At times the two first feinting movements in Nos. III.

-and IV. may be done more emphatically: this of course

-makes the movement slower, but it is a variety which

-embarrasses an adversary accustomed only to short, quick

-action.</p>

-

-<h3>§ 4. <i>The Reverse or Back Cuts in Manchette.</i></h3>

-

-<p>As the Manchette system has been strangely neglected,

-so the Reverse or Back Cut may be pronounced unknown

-to the majority of the profession: the latter, instead of utilizing<span class="pagenum" id="Page_51">51</span>

-the “false edge” of the blade, still lose time and incur

-great danger by turning hand and wrist in using the true edge,

-especially when “Cutting within the Sword.”<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">16</a> More extraordinary

-still, although almost all the civilized world prefers

-what is technically called the “flat-backed and spear-pointed”

-sabre, yet no one seems to think of employing, or

-even of sharpening one of the most important parts of the

-weapon.</p>

-

-<p>The Regulation blade with the false edge, that is to say,

-the blade sharpened from the point to the Centre of Percussion,

-about one-third of the length, was introduced into

-England about 1844, and the first specimens were made by

-the late Henry Wilkinson, acting with the late Henry

-Angelo, then Superintendent of Sword Exercise.<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">17</a> This

-back-edge of the blade should be ground to the sharpness

-of a razor. When practising the Reverse Cuts (<i xml:lang="fr" lang="fr">Revers</i> or

-<i xml:lang="it" lang="it">Rovescio</i>), the handle is held loosely with the thumb and

-the two first fingers, and the wrist and fore-arm should

-bring the blade up with a jerk, the grip being at the same

-time sharply tightened. Practice will soon enable the

-swordsman to deliver a strong “drawing” cut, equal to the

-Thrust-cut of the so-called “Damascus” blades. This valuable

-movement has the immense merit of not uncovering the

-swordsman, and what makes the sabre so rude a weapon

-is that every movement of attack, in the old systems, lays

-the body open by raising hand and point when a blow is to

-be given. With the Reverse Cut no such dangerous process

-is necessary; the point is still directed at the opponent

-whilst the cut is being delivered. Finally, it is always

-unexpected by the opponent who has not practised it, and

-although it rarely begins an assault, except against the<span class="pagenum" id="Page_52">52</span>

-inexperienced, nor should it be done alone as a rule, it may

-either follow or conclude every attack, feint or “time.”</p>

-

-<p>I. <i>The Half-Feint</i> (<i xml:lang="fr" lang="fr">Revers de dessous</i>, <i xml:lang="it" lang="it">Rovescio di sotto</i>, or

-<i xml:lang="de" lang="de">Revers von unten</i>) is done thus.—When in Tierce extend the

-arm as if intending to cut Tierce; the opponent makes an

-opposition of Tierce; drop the point, and cut sharply upwards

-with the false edge at his fingers, wrist, or fore-arm,

-drawing the blade towards you and keeping the point opposite

-the adversary’s breast. This movement is one of the

-neatest known, and it is sure to succeed with one who does

-not expect it. The first part of the feint, or dropping the

-point, may lead to a cut with the true edge, but this movement,

-which is still practised in the schools, involves delay

-by turning the hand. Again, it may be combined with the

-inside (breast) or outside (shoulder) Moulinet.</p>

-

-<p>II. <i>Feint Seconde and Cut upwards.</i>—This movement may

-be varied by feinting Tierce and cutting upwards.</p>

-

-<p>III. <i>One-two-three.</i>—This is not the succession of simple

-<i xml:lang="fr" lang="fr">Coupés</i>, the dangerous movement before described. No. 1

-<i xml:lang="fr" lang="fr">Coupé</i> shifts the hand from Tierce to Carte with the nails up;

-No. 2 turns the nails down, still remaining in Carte; and

-No. 3 delivers the Reverse Cut, of course in Carte, where it

-is least expected.</p>

-

-<p>When the point is passed well under and within the

-sword-arm it is very difficult to parry the horizontal Reverse

-Cut in Carte. The true edge may be used, but again it

-wastes time by turning the hand.</p>

-

-<p>IV. <i>The Pass</i>, properly called “<i xml:lang="fr" lang="fr">en passant</i>.”—From Tierce

-make a feint-movement in Seconde, and, when the adversary

-attempts to parry it by lowering the point, turn the knuckles

-up (in old Tierce), sweep the blade over his sword-arm and

-as close as possible to your right leg from left to right with

-the arm well raised, and, returning from right to left with a

-similar sweep, but with the blade held higher, cut, in Carte,

-with the false edge and close to the point, inside his wrist.<span class="pagenum" id="Page_53">53</span>

-Unskilfully attempted, this feint is equally dangerous to

-both, but it will do yeoman’s service in the hands of a practised

-swordsman. The true edge may be used, but that

-involves a change of position and the delay of turning the

-hand with the knuckles downwards. Some make a double

-sweep, and, after the second movement, cut outside or in

-Tierce—the exposure is too great, unless confronted by an

-unusually phlegmatic temperament.</p>

-

-<h3>§ 5. <i>The Time Cuts in Manchette.</i></h3>

-

-<p>The Time Cut is the flower of the Manchette system, as

-the Manchette is of the broadsword; and it is, perhaps, the

-part least capable of being taught in books. When well

-mastered it never allows the opponent to raise his arm without

-imminent risk, and, even if it fail, the intention, once

-recognized, tends greatly to cramp and embarrass the adversary’s

-play. The natural man cuts as if he were using a

-stick or a club, and the preliminary movement lays open

-the whole of his body; indeed, exposure, I have said, is the

-main danger of every attack with the sabre, however closely

-and skilfully conducted. A cut through the muscles of the

-fore-arm, either inside or outside, causes the sword instantly

-to be relaxed and dropped; the man in fact is hamstrung in

-the upper works.</p>

-

-<p>I. <i>Carte de Manchette.</i>—When the opponent from Tierce

-makes a <i xml:lang="fr" lang="fr">Coupé</i> or any attack in Carte, stop further movement

-by a Carte de Manchette, a horizontal Cut in Carte.

-The same may be done with the false edge, in which case the

-blade should be advanced as far as is possible; and this is to

-be preferred because it loses less time.</p>

-

-<p>II. <i>Parade Retrograde and Cut Tierce.</i>—When the opponent

-from Tierce attempts a Manchette in Carte withdraw

-the arm (<em>parade retrograde</em>) and deliver the vertical Cut in

-Tierce downwards at his extended arm; both movements<span class="pagenum" id="Page_54">54</span>

-being combined in one. It is not necessary even with the

-tallest man to withdraw the right leg; the Cut will amply

-suffice. This Tierce Cut serves to defend from all attacks

-when the Guard does not cover the adversary; and it has

-lopped off many a careless arm. If slowly done it becomes

-a mere parade and ripost.</p>

-

-<p>III. <i>The Reverse Cut-upwards</i>, <i xml:lang="fr" lang="fr">Revers en montant</i>, <i xml:lang="it" lang="it">Rovescio

-montante</i>, Ger. <i xml:lang="de" lang="de">Revers montant</i>.—You feint in Seconde; the

-opponent comes to its parry and replies in Tierce; you withdraw

-the arm, leaving the heels as they were, and cut upwards

-with the false edge, tightening the grasp of thumb and fore-fingers

-as much as possible. This movement is especially

-useful; it is one of the best of Time Cuts, when the adversary

-indulges in long and complicated feints and false attacks.

-It may be done with the true edge, but the latter is less

-safe.</p>

-

-<p>IV. <i>The Time Pass</i>; which is merely “The Pass” turned

-into a Time Cut. When the opponent attempts a “Manchette”

-or any movement in Seconde, and expects you to

-reply by a time Cut in Tierce with the true edge, turn the

-knuckles up (in old Tierce), sweep the blade over his sword-arm

-as close as possible to your right leg, from left to right,

-with the arm well raised, and returning from right to left

-with a similar sweep, but with the blade held higher, cut in

-Carte with the false edge and close to the point inside his

-wrist. The true edge may be used, but, again, it wastes

-time. The double sweep possible as in “The Pass,” but it

-causes too much exposure.</p>

-

-<p>This Time Pass may also be done with the hand held high

-in Prime or rather “demi-circle” with the nails turned up,

-the arm outstretched, and the point lowered. In this case

-the leg must be shifted till the fore heel touches the rear

-heel, so as to give additional height to the hand. This is not

-a Reverse or Back Cut as you use the true edge; it is in

-fact one of the old movements called “Cutting within the

-Sword.”</p>

-

-<p><span class="pagenum" id="Page_55">55</span></p>

-

-<h3>§ 6. <i>Résumé.</i></h3>

-

-<p>The following is a synoptical table of Manchette or Fore-arm

-play, showing the Cuts, the Guards (Parries) for the

-Cuts, and the Riposts or replies that should follow each

-Parade. The Instructor will remember that instead of

-Prime we use High Tierce or High Carte, and for Seconde

-Low Tierce or withdrawing the leg.</p>

-

-<table id="resume" summary="synoptical table">

-  <tr>

-    <td class="tdc head" colspan="3"><i>Direct Cuts.</i></td></tr>

-  <tr class="sub">

-    <td class="tdc">CUT.</td>

-    <td class="tdc">PARRY.</td>

-    <td class="tdc">RIPOST.</td></tr>

-  <tr>

-    <td class="tdl">1. Carte de Manchette.</td>

-    <td class="tdl">IV. (Carte).</td>

-    <td class="tdl">II. (Seconde).</td></tr>

-  <tr>

-    <td class="tdl">2. Ditto and cut Tierce.</td>

-    <td class="tdl">IV. and III. (Tierce).</td>

-    <td class="tdl">III.</td></tr>

-  <tr>

-    <td class="tdl">3. Double Carte de Manchette and cut Carte.</td>

-    <td class="tdl">IV., III. and IV.</td>

-    <td class="tdl">II.</td></tr>

-  <tr>

-    <td class="tdl">4. Double Carte de Manchette and cut Tierce.</td>

-    <td class="tdl">Parade Retrograde by withdrawing arm.</td>

-    <td class="tdl">III. or IV.</td></tr>

-  <tr>

-    <td class="tdc head" colspan="3"><i>Reverse Cuts.</i></td></tr>

-  <tr>

-    <td class="tdl">1. Half-feint.</td>

-    <td class="tdl">II. or III.</td>

-    <td class="tdl">III. or IV.</td></tr>

-  <tr>

-    <td class="tdl">2. Feint Seconde and cut upwards.</td>

-    <td class="tdl">II.</td>

-    <td class="tdl">Cut with false edge upwards.</td></tr>

-  <tr>

-    <td class="tdl">3. Feint Tierce and cut upwards.</td>

-    <td class="tdl">III. and II.</td>

-    <td class="tdl">II.</td></tr>

-  <tr>

-    <td class="tdl">4. One-two-three, and cut upwards.</td>

-    <td class="tdl">Parade Retrograde.</td>

-    <td class="tdl">III. or IV.</td></tr>

-  <tr>

-    <td class="tdl">5. The Pass.</td>

-    <td class="tdl">II. and I. (Prime).</td>

-    <td class="tdl">III.</td></tr>

-  <tr>

-    <td class="tdc head" colspan="3"><i>Time Cuts.</i></td></tr>

-  <tr>

-    <td class="tdl">1. On all Cuts in Carte.</td>

-    <td class="tdl">Parry with time in IV. (Carte de Manchette).</td>

-    <td class="tdl">IV.</td></tr>

-  <tr>

-    <td class="tdl">2. On feints in Carte ending with Cuts in Tierce.</td>

-    <td class="tdl">Parade Retrograde.</td>

-    <td class="tdl">III. or IV.</td></tr>

-  <tr>

-    <td class="tdl">3. On Cuts in Tierce.</td>

-    <td class="tdl">Reverse Cut upwards.</td>

-    <td class="tdl">III.</td></tr>

-  <tr>

-    <td class="tdl">4. On Reverse Cut upwards.</td>

-    <td class="tdl">II. and III.</td>

-    <td class="tdl">IV.</td></tr>

-  <tr>

-    <td class="tdl">5. On Cuts in Seconde.</td>

-    <td class="tdl">The Time Pass.</td>

-    <td class="tdl">III.</td></tr>

-  <tr>

-    <td class="tdc head" colspan="3">Feints of <i xml:lang="fr" lang="fr">Coupé</i> in Manchette.</td></tr>

-  <tr>

-    <td class="tdl">1. Single <i xml:lang="fr" lang="fr">Coupé</i>.</td>

-    <td class="tdl">III. or IV.</td>

-    <td class="tdl">II.</td></tr>

-  <tr>

-    <td class="tdl">2. One-two ( „ ).</td>

-    <td class="tdl">IV. and III.</td>

-    <td class="tdl">III.</td></tr>

-  <tr>

-    <td class="tdl">3. One-two-three.</td>

-    <td class="tdl">II., III. and II.</td>

-    <td class="tdl">III. or IV.</td></tr>

-  <tr>

-    <td class="tdl">4. One-two-three-four.</td>

-    <td class="tdl">Parade Retrograde.</td>

-    <td class="tdl">III.</td></tr>

-  <tr>

-    <td class="tdc head" colspan="3">Feints of <i xml:lang="fr" lang="fr">Seconde</i> in Manchette.<span class="pagenum" id="Page_56">56</span></td></tr>

-  <tr>

-    <td class="tdl">1. Simple Seconde.</td>

-    <td class="tdl">II.</td>

-    <td class="tdl">III.</td></tr>

-  <tr>

-    <td class="tdl">2. Feint Seconde and cut Tierce</td>

-    <td class="tdl">II. and III.</td>

-    <td class="tdl">III. or IV.</td></tr>

-  <tr>

-    <td class="tdl">3. Feint Seconde, feint Tierce, and cut Carte.</td>

-    <td class="tdl">II., III. and II.</td>

-    <td class="tdl">III. or IV.</td></tr>

-  <tr>

-    <td class="tdl">4. Feint Seconde, feint Tierce, and cut Seconde.</td>

-    <td class="tdl">Parade Retrograde.</td>

-    <td class="tdl">III. or IV.</td></tr>

-</table>

-

-<hr />

-

-<h2 id="CONCLUSION" class="nobreak">CONCLUSION.</h2>

-

-<p>I will end this system of Manchette with the words of

-old Achille Marozzo, written some three centuries and a

-half ago: “I would that ye swear upon your sword-hilts

-never to use this knowledge against me, your master.” But,

-in lieu of insisting that my readers never teach it without

-obtaining formal permission, I only hope that they will

-favour me by spreading it far and wide.</p>

-

-<hr />

-

-<p><span class="pagenum" id="Page_57">57</span></p>

-

-<div class="chapter">

-<h2 id="APPENDIX">APPENDIX.</h2>

-</div>

-

-<p class="in0"><span class="smcap">In</span> <a href="#Page_26">p. 26</a> allusion has been made to an improved form of sabre

-handle; it was first attempted by the Capitano Settimo del

-Frate in the work before alluded to. The gallant officer’s

-Plates show that in the Italian cavalry-sword the upper portion

-of the handle is at least horizontal, whereas in ours it

-droops backwards and downwards, giving the grip additional

-facility for slipping out of the swordsman’s grasp. The

-author’s remarks<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">18</a> being even more applicable to the English

-military sabre; I give them at full length.</p>

-

-<p>“The equilibrium of the sabre, and the facility of firmly

-grasping the handle, are the two prime requisites for a good

-weapon.</p>

-

-<p>“When properly balanced and easily held, the sword calls

-for less exertion of strength; and the quickness and true

-direction of the Cuts are greatly facilitated. In direct proportion

-to the economy of force, we find the swordsman

-enabled to continue his exertion.</p>

-

-<p>“However well made and scientifically poised be the

-blade, it is subject to several variations of equilibrium

-according to the position in which it is held.</p>

-

-<p>“The nearer the centre of gravity approaches the hilt, the

-lighter and the better balanced will be the weapon, and <i xml:lang="la" lang="la">vice

-versâ</i>.<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">19</a> Therefore:</p>

-

-<p>“<em>It should be our principal object to effect this improvement<span class="pagenum" id="Page_58">58</span>

-without changing the proper centre of percussion and the other

-requisites for offence and defence.</em>”</p>

-

-<p>The following Plates fully explain the author’s meaning.</p>

-

-<div class="center"><div class="ilb">

- <div id="fig1" class="figleft" style="max-width: 16em;">

-   <div class="caption"><p>Fig. 1.</p>

-   <p>Sabre handle actually used by Italian cavalry.</p>

- </div>

-   <img src="images/i_058a.jpg" width="200" height="300" alt="" />

- </div>

-

- <div id="fig2" class="figright" style="max-width: 16em;">

-   <div class="caption"><p>Fig. 2.</p>

-   <p class="b1">Capt. Del Frate’s improvement.</p>

-   </div>

-   <img src="images/i_058b.jpg" width="200" height="300" alt="" />

- </div>

-</div></div>

-

-<div class="center b4"><div class="ilb">

- <div id="fig3" class="figleft" style="max-width: 16em;">

-   <div class="caption"><p>Fig. 3.</p>

-

-   <p class="b2">Capt. Del Frate’s last modification.</p></div>

-   <img src="images/i_058c.jpg" width="200" height="300" alt="" />

-   <div class="captionl"><p class="in0">

-     a. Thumb-plate.<br />

-     b. Rest for the little finger.<br />

-     c. Support for the index finger.<br />

-   </p></div>

- </div>

-

- <div id="fig4" class="figright" style="max-width: 16em;">

-   <div class="caption"><p>Fig. 4.</p>

-

-   <p>Improved handle with thumb-guard.<br />

-   (R. F. Burton.)</p>

- </div>

-   <img src="images/i_058d.jpg" width="200" height="300" alt="" />

- </div>

-</div></div>

-

-<p><span class="pagenum" id="Page_59">59</span></p>

-

-<div id="ip_59" class="figcenter newpage" style="max-width: 38em;">

-  <img src="images/i_059.jpg" width="600" height="520" alt="" />

-  <div class="caption"><span class="floatl">The hand grasping the actual handle.</span>

-  <span class="floatr">The hand grasping the modified handle.</span>

-</div></div>

-

-<p class="p1 clear">I would further modify his <a href="#fig1">Fig. 1</a>, so as to give more

-fulcrum to the hand. The thumb-plate should be made

-weighty and the guard light, otherwise the blade will be

-over-balanced, that is, heavier on one side than on the

-other. It need hardly be said that the grip before going

-into battle should be whipped round with thin whipcord, or

-better still, with web-cloth.</p>

-

-<p class="p2 small center"><span class="bt">LONDON: PRINTED BY WM. CLOWES AND SONS, STAMFORD STREET AND CHARING CROSS</span></p>

-

-<div class="chapter"><div class="footnotes">

-<h2 id="FOOTNOTES" class="nobreak p1">FOOTNOTES</h2>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_1" href="#FNanchor_1" class="fnanchor">1</a> The exceptions are in “<em>Right Prove Distance</em>” (p. 13) and No. <em>Seven</em>

-Cut (p. 16). In the other Cuts the thumb “grasps the handle.”</p></div>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_2" href="#FNanchor_2" class="fnanchor">2</a> The French divide <i xml:lang="fr" lang="fr">l’Escrime</i> into two parts: (1) <i xml:lang="fr" lang="fr">Escrime à l’épée</i>,

-or <i xml:lang="fr" lang="fr">Escrime pointe</i>; and (2) <i xml:lang="fr" lang="fr">Escrime au sabre</i>, or <i xml:lang="fr" lang="fr">Escrime contrepointe</i>.</p></div>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_3" href="#FNanchor_3" class="fnanchor">3</a> The question is considered at great length in my forthcoming

-volume entitled ‘The Sword:’ here it is sufficient simply to state

-results.</p></div>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_4" href="#FNanchor_4" class="fnanchor">4</a> When every regiment shall have its <i xml:lang="fr" lang="fr">salle d’armes</i>, the fencer will

-modify his own fencing thrusts to suit the clumsier weapon. I do not,

-however, see any reason why the three Points of the Infantry Sword

-Exercise should not be delivered in the <i xml:lang="it" lang="it">posizione media</i> of the Italian

-school, with the thumb upwards and extended along the back of the

-sword-handle: nor why, as in the French <cite>Manuel</cite>, they should not be

-reduced to a single <i xml:lang="fr" lang="fr">Coup de Pointe</i> (p. 239), which is thus described.

-“<i xml:lang="fr" lang="fr">Baisser la pointe du sabre à hauteur de la poitrine et déployer le bras en

-tournant la main, le pouce en dessous, le tranchant du sabre en dessus.</i>”</p></div>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_5" href="#FNanchor_5" class="fnanchor">5</a> As Mr. John Latham justly says (“The Shape of Sword-blades,”

-‘Journal of the Royal United Service Institution,’ vol. vi.):—“The

-proper shape for a thrusting sword is pre-eminently straight.” The

-Clay-more, for instance, moving in a direct line, cuts a hole exactly

-the size of the blade; the Regulation sword, slightly curved, widens

-it to about double, and the bent scimitar and the Talwár, to five or

-six times, thus meeting with five or six times the resistance to its penetration.

-Mr. Latham is again quoted in another part of this System.</p></div>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_6" href="#FNanchor_6" class="fnanchor">6</a> My only objections to this volume are the two following:—

-</p>

-<p>

-(<i>a</i>) The author <em>will</em> “throw the whole weight of the body on the left

-leg.” (Fig. 2, p. 69.) Yet in his Introductory Remarks (p. 5) he sensibly

-says, “To the haunches, as to the common centre of motion of the

-human figure, are ultimately referred all the movements performed in

-military tactics” (and swordsmanship); “as just poise is important to

-the correct exertion of action, whatever it may be, it is necessary that

-poise or balance be studied, understood, and tried in all positions. It

-is clear that bodily action cannot possess compass, power, and ease,

-unless the movement be made justly and correctly upon the haunches,

-as on a central pivot. If the movement have not compass, power, and

-ease; force and endurance will not be found in the Military act.”

-</p>

-<p>

-(<i>b</i>) In the Lunge our author not only keeps the body “perfectly

-erect,” he even inclines it backwards whilst he allows both feet to

-abandon the perpendicular in the most slovenly way: see Fig. 2, p. 70,

-and Figs. 1 and 2, p. 71. The same is the case with the official

-‘Infantry Sword Exercise.’</p></div>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_7" href="#FNanchor_7" class="fnanchor">7</a> My old friend and instructor set out upon a thoroughly scientific

-principle, and the able way in which he has worked out his system

-will entitle him to the gratitude of the <i xml:lang="la" lang="la">posteri</i>. Having established the

-fact that in all our popular athletic, as opposed to gymnastic, exercises,

-our walking and running, cricket and football, fives, tennis, and racquets,

-and especially rowing—which has advanced as an art but has declined

-as an exercise—we circumscribe the line of muscular operation by

-giving the greatest share of the work to the lower limbs, and by

-developing one half to the injury of the other; he resolved to cultivate

-the whole by a wider and more varied range of training; hence he

-supplemented “Recreative exercise” by “Educational exercise,” and

-hence his systematized national gymnasia, which, taken up by H.R.H.

-the Duke of Cambridge and by the late Sidney Herbert, have been

-introduced into the military stations of the Cardwell system, into

-Oxford and Cambridge, and into all our public schools, with one “base

-exception”—Eton.

-</p>

-<p>

-Mr. MacLaren, in his ‘System of Fencing.’ &amp;c. (p. 9), sensibly advocates

-“resting the weight of the body equally upon both legs.” He

-also lowers the right hand in the Lunge (p. 11), and (<i xml:lang="la" lang="la">ibid.</i>) he throws

-the trunk forward, perhaps with a little exaggeration.</p></div>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_8" href="#FNanchor_8" class="fnanchor">8</a> The ‘Infantry Sword Exercise (see the figures over the Target

-representing the “Preparatory Positions”), “Second Position in 2

-Motions,” makes No. 2 turn the left knee out instead of carrying it

-square to the front; the same may be remarked in “Balance Motions”

-(No. 4).</p></div>

-

-<div class="footnote">

-

-<p class="fn1"><a id="Footnote_9" href="#FNanchor_9" class="fnanchor">9</a> The Moulinet (Ital. Molinetto) is even on horseback a favourite

-movement with French sabrers (See <cite>Règlement Provisoire</cite>, &amp;c., Tome <span class="smcap smaller">I</span>.

-Titres <span class="smcap smaller">I</span>. et <span class="smcap smaller">II</span>.). It is divided into—

-</p>

-<p>

-1. “<i xml:lang="fr" lang="fr">À gauche Moulinet</i>” (1 temps, 2 mouvements). The directions

-are: “À la dernière partie du commandement, qui est <span class="smcap">Moulinet</span>,

-étendre le bras droit en avant de toute sa longueur, le poignet en

-tierce et à hauteur des yeux.”

-</p>

-<p>

-“Baisser la lame en arrière du coude gauche pour décrire un circle

-d’arrière en avant ... et se remettre en garde.”

-</p>

-<p>

-2. “<i xml:lang="fr" lang="fr">À droite Moulinet</i>” (1 temps, 2 mouvements). “À la dernière

-partie du commandement, qui est <span class="smcap">Moulinet</span>, étendre le bras droit en

-avant de toute sa longueur, le poignet en quarte et à hauteur des

-yeux.”

-</p>

-<p>

-“Baisser la lame en arrière du coude droit pour décrire un circle

-d’arrière en avant ... et se remettre en garde.”

-</p>

-<p>

-3. “<i xml:lang="fr" lang="fr">À gauche et à droite Moulinet</i>” (1 temps, 2 mouvements). “À la

-dernière partie du commandement, qui est <span class="smcap">Moulinet</span>, exécuter le

-premier mouvement de <i xml:lang="fr" lang="fr">à gauche Moulinet</i>.”

-</p>

-<p>

-“Exécuter alternativement et sans s’arrêter sur aucun mouvement

-le Moulinet à gauche et le Moulinet à droite.”

-</p>

-

-<p class="p1 b1 center">

-“À gauche et à droite = <span class="smcap">Moulinet</span>.”

-</p>

-

-<p>

-4. “<i xml:lang="fr" lang="fr">À droite et à gauche Moulinet</i> (1 temps, 2 mouvements). À la

-dernière partie du commandement, qui est <span class="smcap">Moulinet</span>, exécuter le

-premier mouvement de <i xml:lang="fr" lang="fr">à droite Moulinet</i>.

-</p>

-<p>

-“Exécuter alternativement et sans s’arrêter sur aucun mouvement,

-le Moulinet à droite et le Moulinet à gauche.”

-</p>

-

-<p class="p1 b1 center">

-“<i xml:lang="fr" lang="fr">À droite et à gauche</i> = <span class="smcap">Moulinet</span>.”

-</p>

-

-<p>

-5. “<i xml:lang="fr" lang="fr">En arrière Moulinet</i> (1 temps, 2 mouvements). À la dernière

-partie du commandement, qui est <span class="smcap">Moulinet</span>, élever le bras en arrière

-à droite de toute sa longueur, la pointe du sabre en l’air, le tranchant à

-droite, le pouce allongé sur le dos de la poignée, le corps légèrement

-tourné à droite.”

-</p>

-

-<p>

-“Décrire un circle en arrière de gauche à droite, le poignet éloigné

-du corps le plus possible, et se remettre en garde.”

-</p>

-

-<p class="p1 b1 center">

-“En arrière = <span class="smcap">Moulinet</span>.”

-</p>

-

-<p>

-“Les cavaliers, exécutant bien les Moulinets, on leur en fait faire

-plusieurs de suite, en faisant précéder cet exercice de l’indication; <i xml:lang="fr" lang="fr">les

-Moulinets continueront jusq’au commandement</i>: <span class="smcap smaller">EN GARDE</span>.

-</p>

-<p>

-“Les Moulinets ayant pour objet d’assouplir les articulations du bras et

-du poignet, il faut que les cavaliers y soient exercés comme préparation

-aux autres mouvements; on commence et on finit donc chaque leçon par

-des Moulinets exécutés à un degré de vitesse proportionné aux progrès des

-cavaliers.”</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_10" href="#FNanchor_10" class="fnanchor">10</a> In the Regulation sword the “centre of percussion” is about one-third

-from the point; here there is no vibration, and consequently the

-Cut exercises its whole force. The “centre of gravity” is in the third

-nearest the hilt, and the “balance” of the sword results from the

-relative positions of the two centres. In light swords these points may

-be farther apart than in heavy blades; they should be closer in straight

-than in curved swords, and nearer in thrusting than in cutting

-weapons.</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_11" href="#FNanchor_11" class="fnanchor">11</a> The following are the five principal ways of cutting:—

-</p>

-<p>

-1. The Chopping or Downright Cut, from the shoulder and fore-arm.

-This appears to be the instinctive method preserved by Europe; most

-men who take up a sword for the first time use it in this way.

-</p>

-<p>

-2. The Sliding Cut, common throughout the East. In this movement

-the elbow and wrist are held stiff and the blow is given from the

-strong muscles of the back and shoulder, nearly ten times larger than

-the muscles of the arm, while the whole force and weight of the body

-are thrown in. Hence the people of India use small hilts with mere

-crutch-guards, which confine the hand and prevent the play of the

-wrist; the larger grip required for the Chopping Cut only lessens the

-cutting force. The terrible effect of these cuts is well known.

-</p>

-<p>

-3. The Thrust Cut, with the curved (“Damascus”) blade; a combination

-of point and edge, the latter being obliquely thrust forward and

-along the body aimed at. This movement is a favourite on horseback,

-when speed supplies the necessary force, which can hardly be applied

-on foot. It must be parried like a Point.

-</p>

-<p>

-4. The Whip Cut; in which the arm and elbow are kept almost

-motionless, and the blow is delivered from the wrist. This is the

-principal Cut allowed in my system; it is capable of sufficient effect

-upon the opponent whilst it does not uncover the swordsman who

-uses it.

-</p>

-<p>

-5. The Drawing or Reverse Cut, which will be explained in the

-following pages; it is the reverse of the “Thrust Cut.”</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_12" href="#FNanchor_12" class="fnanchor">12</a> This fact is well known to the <cite>Manuel</cite>, which says, “<i xml:lang="fr" lang="fr">Des deux

-engagements celui de droite par la position de la main a le plus d’application</i>.”

-It therefore makes all the Cuts and Parries begin from Tierce.

-This elementary rule is not recognized by the ‘Infantry Sword Exercise’

-(p. 32); “your defence is always more effective in the left (Carte)

-than in the right (Tierce).” Such I assert is the case with the foil and

-rapier, certainly not with the sabre or broadsword. On horseback the

-left is of course the weak side.</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_13" href="#FNanchor_13" class="fnanchor">13</a> Used in this sense the “small-sword” is the triangular weapon,

-the rapier is the flat, or rather the bi-convex blade.</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_14" href="#FNanchor_14" class="fnanchor">14</a> In p. 29 of the ‘Infantry Sword Exercise’ we read of “a circular

-motion of the blade, termed the Parry;” but the latter word must not

-be limited to this sense.</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_15" href="#FNanchor_15" class="fnanchor">15</a> The only allusion to it is the “shifting of the leg,” in p. 30.</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_16" href="#FNanchor_16" class="fnanchor">16</a> See the ‘Infantry Sword Exercise,’ p. 31.</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_17" href="#FNanchor_17" class="fnanchor">17</a> In France the false edge is hardly known; such blades are called

-<i xml:lang="fr" lang="fr">à deux tranchants</i>; it is the Italian schiena or chine, mezzo-filo, or

-falso opposed to vero taglio, and the German, rückschneide or kurzeschneide,

-thus distinguished from the lange-schneide.</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_18" href="#FNanchor_18" class="fnanchor">18</a> See his Appendix, entitled “Modificazione all’ impugnatura e

-guardia delle Sciabola di cavalleria per facilitarne l’equilibrio ed

-avantaggiare la fermezza della mano sull’ impugnatura.”</p></div>

-

-<div class="footnote">

-

-<p class="fn2"><a id="Footnote_19" href="#FNanchor_19" class="fnanchor">19</a> A notable instance of this is the old Highland Clay-more.</p></div>

-</div></div>

-

-<div class="chapter"><div class="transnote">

-<h2 id="Transcribers_Notes" class="nobreak p1">Transcriber’s Notes</h2>

-

-<p>Simple typographical errors were corrected.</p>

-

-<p>Punctuation, hyphenation, and spelling were made

-consistent when a predominant preference was found

-in the original book; otherwise they were not changed.</p>

-</div></div>

-

-

-

-

-

-

-

-

-<pre>

-

-

-

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+<pre>
+
+The Project Gutenberg EBook of A New System of Sword Exercise for Infantry, by 
+Richard Francis Burton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: A New System of Sword Exercise for Infantry
+
+Author: Richard Francis Burton
+
+Release Date: April 21, 2019 [EBook #59336]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK A NEW SYSTEM OF SWORD ***
+
+
+
+
+Produced by Tim Lindell, Charlie Howard, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
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+
+
+</pre>
+
+
+<div id="if_i_000" class="figcenter" style="max-width: 32em;">
+  <img src="images/i_000.jpg" width="506" height="600" alt="NEW SYSTEM OF SWORD EXERCISE" />
+</div>
+
+<hr />
+
+<h1 class="wspace">A NEW SYSTEM<br />
+<span class="xsmall">OF</span><br />
+SWORD EXERCISE FOR INFANTRY.</h1>
+
+<p class="p2 center large vspace"><span class="small">BY</span><br />
+RICHARD F. BURTON,<br />
+<span class="xsmall">AUTHOR OF ‘A SYSTEM OF BAYONET EXERCISE’ (1853).</span></p>
+
+<p class="p2 center vspace larger">LONDON:<br />
+<span class="smaller">PRINTED AND PUBLISHED BY</span><br />
+<span class="larger">WILLIAM CLOWES AND SONS, 13, CHARING CROSS.</span><br />
+1876.
+</p>
+
+<hr />
+
+<div class="newpage p4 center narrow">
+<p class="center vspace2">
+THESE PAGES<br />
+<span class="smaller">ARE DEDICATED (WITH PERMISSION)<br />
+TO</span><br />
+<span class="bold larger">His Royal Highness Field-Marshal the Duke of Cambridge,</span><br />
+<span class="smaller">COMMANDER-IN-CHIEF OF THE ARMY,<br />
+ETC., ETC., ETC.,<br />
+WHO HAS GRACIOUSLY ENCOURAGED THIS ATTEMPT TO EXTEND<br />
+THE ‘INFANTRY SWORD EXERCISE,’<br />
+BY<br />
+HIS ROYAL HIGHNESS’S<br />
+MOST HUMBLE AND DEVOTED SERVANT,</span></p>
+
+<p class="p2 right larger">THE AUTHOR.</p>
+</div>
+
+<hr />
+
+<div class="chapter">
+<h2 id="CONTENTS">CONTENTS.</h2>
+</div>
+
+<table id="toc" summary="Contents">
+  <tr class="small">
+    <td> </td>
+    <td> </td>
+    <td class="tdr">PAGE</td></tr>
+  <tr>
+    <td class="tdl" colspan="2">Introductory Remarks</td>
+    <td class="tdr"><a href="#INTRODUCTORY_REMARKS">11</a></td></tr>
+  <tr>
+    <td class="tdr top">Sect. I.</td>
+    <td class="tdl">Preparatory Instruction without the Sword</td>
+    <td class="tdr"><a href="#Section_I">20</a></td></tr>
+  <tr>
+    <td class="tdr top">II.</td>
+    <td class="tdl">Preparatory Instruction with the Sword</td>
+    <td class="tdr"><a href="#Section_II">26</a></td></tr>
+  <tr>
+    <td class="tdr top">III.</td>
+    <td class="tdl">The Manchette, or Fore-arm Play</td>
+    <td class="tdr"><a href="#Section_III">45</a></td></tr>
+  <tr>
+    <td class="tdl" colspan="2">Conclusion</td>
+    <td class="tdr"><a href="#CONCLUSION">56</a></td></tr>
+  <tr>
+    <td class="tdl" colspan="2">Appendix (Note on Sabre handles)</td>
+    <td class="tdr"><a href="#APPENDIX">57</a></td></tr>
+</table>
+
+<hr />
+<div id="if_i_010" class="newpage figcenter" style="max-width: 32em;">
+  <img src="images/i_010.jpg" width="500" height="800" alt="The Twelve Cuts" /></div>
+
+<hr />
+
+<p><span class="pagenum" id="Page_11">11</span></p>
+
+<div class="chapter">
+<h2 id="A_NEW_SWORD_EXERCISE_FOR_INFANTRY"><span class="larger">A NEW SWORD EXERCISE FOR INFANTRY.</span></h2>
+</div>
+
+<hr />
+<h2 id="INTRODUCTORY_REMARKS" class="nobreak p2">INTRODUCTORY REMARKS.</h2>
+
+<p class="in0"><span class="smcap">Before</span> proceeding to develop my New Sword Exercise for
+Infantry, I would offer a few remarks upon the changes proposed
+in these pages. Whilst the last half century has witnessed
+an immense improvement in the projectile weapons of
+the civilized world, the theory and practice of the sabre or
+cutting arm have remained <i xml:lang="la" lang="la">in statu quo ante</i>; indeed, if
+there has been any change it is for the worse. The two
+systems authorized in the British army are completely behind
+their time. First and senior is the ‘Infantry Sword Exercise’
+(with plates): Revised Edition, Adjutant-General’s Office,
+Horse Guards. London: Printed under the superintendence
+of H.M. Stationery Office: 1874. The second is the
+‘Instructions for the Sword, &amp;c. (without plates), for the
+use of Cavalry.’ Adjutant-General’s Office, Horse Guards.
+June, 1871.</p>
+
+<p>The latter can be despatched very briefly. Despite the
+late date, it is as obsolete as the older system; it is, in fact,
+only the ‘Infantry Exercise’ with the addition of “pursuing
+practice,” and “post practice”—the latter upon a sort of
+modern Quintain not made to revolve. So far, so good.
+The practised swordsman has little to learn when mounted,
+except the few modifications which he can teach himself.
+His real study is on foot. But some of the remarks appear
+not to have been written by a practical hand. For instance,
+we read (p. 27): “In delivering a forward thrust, very
+little force is necessary when the horse is in quick motion,<span class="pagenum" id="Page_12">12</span>
+as the extension of the arm, with a good direction of the
+point, will be fully sufficient.” “Fully sufficient”—I should
+think so! The recruit must be carefully and sedulously taught
+when meeting the enemy, even at a trot or canter, to use no
+force whatever, otherwise his sword will bury itself to the
+hilt, and the swordsman will either be dragged from his
+horse, or will be compelled to drop his weapon—if he can.
+Upon this point I may quote my own ‘System of Bayonet
+Exercise’ (p. 27):—</p>
+
+<p>“The instructor must spare no pains in preventing the
+soldier from using force, especially with the left or guiding
+arm, as too much exertion generally causes the thrust to
+miss. A trifling body-stab with the bayonet (I may add with
+the sword) is sufficient to disable a man; and many a promising
+young soldier has lost his life by burying his weapon
+so deep in the enemy’s breast that it could not be withdrawn
+quickly enough to be used against a second assailant. To
+prevent this happening, the point must be delivered smartly,
+with but little exertion of force, more like a dart than a
+thrust, and instantly afterwards the bayonet must be as
+smartly withdrawn.” In fact the thrust should consist of
+two movements executed as nearly simultaneously as possible;
+and it requires long habit, as the natural man, especially
+the Englishman, is apt to push home, and to dwell upon his
+slouching push.</p>
+
+<p>The ‘Infantry Sword Exercise’ is nought but a snare and
+a delusion. Except in pagination, it is the same as the
+“Revised Edition” of 1845—the only difference or revision
+that I can detect is the omission of a short sentence in p. 26
+of the older issue; it even retains the General Order of
+Lord Hill, 23rd April, 1842. Thus “Revision” is confined
+to the plates. In 1845 the figures wear the milk-pail
+shako widening at the top, the frock coat and the scales;
+the last edition, dated April, 1874, dons the tall modern
+chimney-pot, the tightly buttoned tunic with stiff collar
+and, like its predecessor, the sash and the scabbard. It is<span class="pagenum" id="Page_13">13</span>
+no wonder that the figures display an exceeding <i xml:lang="fr" lang="fr">gêne</i>, the
+stiffness of pokers, as the phrase is: here we might with
+profit borrow from the French or Italian artist.</p>
+
+<p>I am opposed to almost every page of this unhappy <em>brochure</em>,
+especially to the “Seven Cuts and Guards” of the
+target; to the shape of the target—I never yet saw a man
+absolutely circular; to the grip of the sword; to the position
+in guard; to the Guards or Parades, especially the inside
+engaging guard (Carte); to the Lunge; to the angle of the
+feet, and to the system of “loose practice.”</p>
+
+<p>The “Cuts” will be noticed in a future page. Of the
+grip I may remark that the one essential, the position of the
+thumb, both in attacks and parries is, as a rule, neglected by
+the ‘Sword Exercise.’<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">1</a> As early as 1828, Müller made his
+<i xml:lang="fr" lang="fr">point d’appui</i> a grasp of the handle with the four fingers, the
+thumb being stretched along the back, in order to direct
+the edge, and to avoid the possibility of striking with the
+“flat.” The only exception to this universal law is when
+doing the “Moulinet” movements, which will be explained
+farther on. Some professors, both with broadsword and
+small-sword, would stretch the index, when pointing, along
+the right of the handle. I have objected to this practice in
+the rapier and the foil: except when done to change position
+for relief, it serves merely to fatigue the wrist. But the
+proper use of the thumb, “<i xml:lang="fr" lang="fr">le pouce allongé sur le dos de la
+poignée</i>,” which is troublesome at first, and which demands
+some study, especially from those who have acquired bad
+habits, is the base of all superior “counterpoint.”<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">2</a></p>
+
+<p>The position on guard is a debated point. Many, indeed
+I may say most, of the moderns follow the rule of all the
+older swordsmen, namely, reposing two-thirds of the body-weight
+(as in p. 19 of the ‘Exercise,’ which, however, is an<span class="pagenum" id="Page_14">14</span>
+exaggeration) upon the left leg. The reasons usually given
+are that in this position the person is not so much exposed;
+moreover, that the centre of gravity being thrown back adds
+spring and impetus to the Lunge. We may remember how
+Cordelois (1862) made a step towards change in his fencing-schools
+at Paris. My objection to the old style is that the
+farther you are from your opponent, the longer and slower
+will be your attack; moreover, I have ever found, in personal
+practice, that it is easier and more convenient to “sit on
+guard” with the weight equally distributed on both haunches
+and legs. In fact, that the backward position is not natural
+any pair of thighs can ascertain for itself after trying it for
+five minutes: whilst the muscles of the right or forward
+limb are relaxed as much as possible, those of the left are
+tight strung, so as to do double work and threaten cramp.
+This single objection is serious enough to counterbalance
+any other claims to superiority.</p>
+
+<div id="ip_14" class="figcenter newpage" style="max-width: 35em;">
+  <div class="caption"><p>First Guard. (Prime.)</p></div>
+  <img src="images/i_015.jpg" width="546" height="600" alt="" />
+  <div class="caption"><p>(“What to avoid.”)</p>
+</div></div>
+
+<p>Again, there is no excuse for the guards in the ‘Exercise.’
+The “Hanging guard” (p. 18, in the older issue p. 21) is
+the worst that can be imagined—a painful spectacle, a lesson
+of “what to avoid.” The head ignobly cowers, and the eyes
+look up, in a forced and wearying position, when the former
+should be held upright, and the glance should be naturally
+fixed upon the opponent’s eye and blade-point; the body is
+bent so as to lose our national advantage of height and
+strength, and the right fore-arm in such a position is, and ever
+must be, clean uncovered. Let the recruit, however strong
+may be his haunches, stand a few minutes in this “Hanging
+guard,” and he will soon feel by his fatigue how strange,
+awkward, and strained it is. The Carte or inside Engaging
+Guard (pp. 19, 22), again, endangers the fore-arm. The Tierce
+or outside Engaging Guard (pp. 20, 23) holds the hand too
+low, and unduly shortens the arm, thus offering an undesirable
+amount of exposure; it is in fact not a Guard, but a bad
+parry in “low Tierce.” Worse still is the Lunge (pp. 14, 17):
+here the body is placed bolt upright, instead of being easily<span class="pagenum" id="Page_15">15</span>
+bent, without exaggeration, to the fore, prolonging, as every
+man instinctively would do at his first attempt, the line of
+the left leg. The former position is not only fatiguing and
+“against the grain;” also shortens the reach and carefully
+places the opponent safely out of measure. Many
+swordsmen still contend for the stiffly upright position in
+Lunge:<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">3</a> I am disposed to consider it a mere survival of the
+classical and artificial French school of arms, which aimed
+at opposing nature as sedulously as the Italian, who always
+leans to the fore, attempted to follow her dictates. Moreover,
+their arguments are founded upon the abuse, not the
+use, of the inclined pose which the body naturally assumes.
+In teaching the recruit it is well to see that he does not<span class="pagenum" id="Page_16">16</span>
+fall into the dangerous habit of throwing the chest forward
+(<i xml:lang="fr" lang="fr">poitriner</i>) to meet his opponent’s point; but the truth of
+muscular motion must be consulted.</p>
+
+<p>Finally, I would note the mistake of “loose practice”
+with the single-stick instead of the sabre; it probably arose
+from a mistaken economy in saving swords and paddings.
+Single-stick is a different weapon, a cane or light cudgel
+with a basket-hilt covering the back of the hand, like the
+imperfect guard of the Highland Clay-more; it is straight,
+not curved, and, as the rod has no edges, so in practice every
+blow equally represents a cut. Single-stick has merits of
+its own, but its practice is fatal to excellence with the
+broadsword, and even the ‘Exercise’ seems to recognize
+the fact, for the <i xml:lang="fr" lang="fr">guindés</i> figures are armed with officers’
+Regulation swords.</p>
+
+<div id="ip_16" class="figcenter newpage" style="max-width: 37em;">
+  <div class="caption"><p>Inside Guard—(Carte).</p></div>
+  <img src="images/i_016.jpg" width="591" height="600" alt="" />
+  <div class="caption"><p>(Weight all thrown back.)</p>
+</div></div>
+
+<p><span class="pagenum" id="Page_17">17</span>
+Both ‘Sword Exercises’ carefully avoid naming “Tierce”
+and “Carte;” preferring “right” and “left” (of the Sword)
+or “outside” and “inside,” as if such mysteries were too
+high or too deep for our national intelligence. I would
+again quote a few lines from my ‘System of Bayonet Exercise’
+(Introductory Remarks, pp. 8, 9):—</p>
+
+<p>“But why, it may be asked, should the English soldier be
+deterred by difficulties which every French voltigeur can
+master? We admire the intelligence of our neighbours
+in military matters: we remark that they are born soldiers,
+and that their men learn as much in four months as ours do
+in six. Is not this, however, partly our own fault? In my
+humble opinion we mistake the cause of their quickness,
+attributing to nature the effect of art. When our system of
+drill is thoroughly efficient; when the <cite>Manual and Platoon</cite> is<span class="pagenum" id="Page_18">18</span>
+much simplified, when a <i xml:lang="fr" lang="fr">salle d’armes</i> is established in every
+corps, and when the bayonet exercise becomes a recognized
+branch of instruction; then, I believe, we shall find our
+soldiers equal in intelligence to any others.” These words
+were written in 1853; in 1875 I add, “When we enlist
+the right kind of recruit either by improving his condition
+and his prospects, not his pay, or better, far better, by securing
+a superior man through the conscription of modern
+Europe.” We Britons are no longer physically divided
+from the total orb; nor can we afford to remain morally
+insulated and isolated. The logical effect of union with
+the outer world will be to make us do as the world does,
+and all our exceptional institutions, such as the system
+of volunteer recruiting, must sooner or later go by the
+board.</p>
+
+<div id="ip_18" class="figcenter newpage" style="max-width: 38em;">
+  <div class="caption"><p>Outside Guard—(Tierce).</p></div>
+  <img src="images/i_017.jpg" width="600" height="545" alt="" />
+  <div class="caption"><p>(A Parry not a Guard.)</p>
+</div></div>
+
+<p>Nor is the most modern French Treatise (pp. 229–256,
+<cite>Manuel de Gymnastique et d’Escrime</cite>, officially published by
+the <cite>Ministre de la Marine et des Colonies</cite>; Paris, Dumaine,
+1875) “<cite>Escrime au Sabre</cite>” much superior to our home
+growth. The position of the left hand (pp. 232, 233) is bad
+throughout: it must slip during the Lunge and make the
+play loose. The retreat of the left leg (Fig. 5, p. 235) is
+carried to an extreme of caution. The body is always perpendicular
+in the Lunge, whereas the same volume shows
+(Fig. 16, p. 20) the trunk naturally inclining forwards. The
+Cuts are not double nor continuous, as they should be.
+The “Hanging Guards” (pp. 240, 244, 245) are deplorable.
+On the other hand, the <cite>Manuel</cite> (p. 231) places the thumb
+along, not around, the handle; the <i xml:lang="fr" lang="fr">moulinets</i>, the <i xml:lang="fr" lang="fr">enlevés</i>,
+and the <i xml:lang="fr" lang="fr">brisés</i> (presently to be explained) are good stuff,
+and, moreover, they are applied to the Cuts (p. 239).
+Finally, nothing can be better than the advice (p. 249),
+“Après avoir touché, retirer vivement le sabre en arrière
+en lui imprimant une direction oblique dans le sens du
+tranchant, de manière à <i xml:lang="fr" lang="fr">scier</i>.”</p>
+
+<p>Of the points or thrusts with broadsword nothing will<span class="pagenum" id="Page_19">19</span>
+here be said: they belong to another order of things, and
+they should be studied in the fencing school.<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">4</a> But the
+soldier must be taught that if his adversary attempt a thrust,
+the broadsword is easily disarmed. When the opponent
+comes to the position of pointing, that is, extends his blade,
+a sharp glissade along its length will make the grip fly out
+of his grasp. Another way of embarrassing the attack is to
+cut right and left at the hand, the wrist, or the fore-arm,
+when the adversary begins to present point.</p>
+
+<p>General Lamoricière was a firm believer, as we all are,
+in the thrust, and the French Sword Exercise for Cavalry
+(p. 178 <cite>Règlement Provisoire sur les Exercises de la Cavalerie</cite>,
+officially published at the <i xml:lang="fr" lang="fr">Ministère de la Guerre</i>; Paris,
+Dumaine, 1873) justly remarks: “<i xml:lang="fr" lang="fr">Les coups de pointe doivent
+toujours être employés de préférence, comme exigeant moins de
+force et ayant un résultat plus prompt, plus certain et plus
+décisif</i>.” The reason of its confessed superiority to the
+Cut is as old as the axiom, “a straight line is the shortest
+way between two points.” The Thrust describes a diameter,
+the Cut, a segment, of a circle and, with equal velocity,
+the Cut will traverse a distance occupying some two-thirds
+more of time than the Thrust. The French tactician therefore
+proposed to abolish the use of the edge for cavalry, thus
+traversing the instinct of the man-at-arms who, especially
+on horseback, loves to slash at his enemy, and who runs far
+less risk of entangling his blade. But he of course advocated
+a straight and tapering sword with no edge to speak of;
+indeed the cuirassier’s <i xml:lang="fr" lang="fr">latte</i> is still a kind of rapier, but it is<span class="pagenum" id="Page_20">20</span>
+rendered useless by prodigious length and by the weight of
+the handle. The modern Italian School of Sabre uses, especially
+in single combat, all the <i xml:lang="fr" lang="fr">dégagements</i> of the <i xml:lang="fr" lang="fr">salle
+d’armes</i>: this is thoroughly illogical; the weapon is chosen
+because it is supposed to be less fatal than foil or rapier,
+and yet it is so used as to become even more deadly. I need
+hardly say that the weight and shape of the broadsword,
+together with the positions of guard, render pointing with
+it awkward in the extreme.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">5</a></p>
+
+<p>I have now finished with the ungrateful task of criticizing,
+and I proceed to propose a system which it is hoped will be
+as severely criticized by others. It is only candid to state
+that its pretensions are high, that it contains two distinct
+novelties, the Manchette System and the Reverse or Back-cut;
+and, finally, that it aspires to be the first Treatise in
+which the broadsword is scientifically taken in hand.</p>
+
+<hr />
+<div class="chapter">
+<h2 id="Section_I"><span class="smcap">Section I.</span><br />
+
+<span class="subhead">PREPARATORY INSTRUCTION WITHOUT THE SWORD.</span></h2>
+</div>
+
+<h3>§ 1. <i>Preliminary.</i></h3>
+
+<p class="in0"><span class="smcap">Nothing</span> will here be said concerning the “goose step of
+the sword,” the “Balance Motions,” and the “Extension
+Motions,” of the official ‘Infantry Sword Exercise.’ They
+are essentially a part of ‘Squad and Setting-up Drill,’ and<span class="pagenum" id="Page_21">21</span>
+as such they have been treated in several good manuals,
+especially by Serjeant-Major S. Bertram Brown: A ‘Practical
+Guide to Squad and Setting-up Drill, in accordance
+with the Principles laid down in Part I., Field Exercise
+of the Army.’ Adapted for the use of Recruits, Rifle Volunteers,
+Militia, Police Force, Schools, and Families: Illustrated
+with sixty-eight figures, representing each Stick and Club
+Exercise, Extension Motions, and Sword Exercise Positions.
+London: Allen and Co., 1871. 2nd Edition.<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">6</a> Considered
+in a wider sense they belong to the Branch of Science so
+thoroughly developed in ‘A Military System of Gymnastic
+Exercises for the Use of Instructors: Adjutant-General’s
+Office, Horse Guards, 1862; Physical Education,’ <cite>Clarendon
+Press Series</cite>, Oxford, 1869; and in ‘Training in Theory
+and Practice’ (London, Macmillan, 1874), by Archibald
+MacLaren,<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">7</a> whose excellent code for the army, and whose<span class="pagenum" id="Page_22">22</span>
+influence with successive war ministers, as some one truly
+said, have aided largely in introducing that admirable
+training which is transforming the stiff, slow-moving grenadier
+of past times into the vigorous, rapid, and enduring
+soldier of the present day.</p>
+
+<p>Squad drill is not likely to make a good swordsman, yet
+economy of time renders it a necessity. It must be practised
+first without, then with, weapons, after which those
+who show unusual capabilities should be taken individually
+in hand by the master. The latest French system (<cite>Manuel,
+etc</cite>.) divides the four lessons into two degrees: 1. Preparatory
+Movements; moulinets and simple attacks and parries.
+2. Compound attacks and parries.</p>
+
+<p>The formation of the squad is in the usual line, with open
+order at arm’s length from the right or left. The men are
+then taught the three positions as <span class="locked">follows:—</span></p>
+
+<div id="ip_22" class="figcenter newpage" style="max-width: 38em;">
+  <div class="caption">
+    <span class="in0">First Position.</span>
+    <span class="in6">Second Position.</span>
+    <span class="in6">Third Position.</span>
+  </div>
+  <img src="images/i_022.jpg" width="600" height="214" alt="" />
+  <div class="caption">
+    <span class="in0">In two movements.</span>
+    <span class="in6">In two movements.</span>
+    <span class="in6">In two movements.</span>
+  </div>
+</div>
+
+<p><span class="pagenum" id="Page_23">23</span></p>
+
+<h3>§ 2. <i>First Position in Two Motions.</i></h3>
+
+<p><i>One.</i>—Place the hands smartly behind the back, the left
+grasping the right arm just above the elbow, and the right
+similarly supporting the left elbow.</p>
+
+<p><i>Two.</i>—Make a <em>half-face right</em> by pivoting smartly on both
+heels, which must be kept close together; the feet at right
+angles; the left pointing to the front, the face looking
+towards the opponent, or the right-hand man, and the weight
+of the body balanced equally upon both haunches and legs.</p>
+
+<h3><i>Second Position in Two Motions</i> (Guard).</h3>
+
+<p><i>One.</i>—Bend the knees gradually till they are perpendicular
+to the instep, keeping the head and body erect, and both
+feet firm on the ground. The instructor must be careful
+that the knees do not incline inwards—a general fault.</p>
+
+<p><i>Two.</i>—Advance the right foot smartly about 20 inches in
+front of and in line with the right heel, and rest the whole
+weight of the body upon both haunches and legs.<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">8</a></p>
+
+<p>In the second position, that of Guard for the feet, care
+must be taken that the left foot remains firm on the ground,
+without shuffling or turning inwards or outwards. Many
+swordsmen find a better balance when the right heel is on a
+line with the hollow of the left foot.</p>
+
+<h3><i>Third Position in Two Motions</i> (from Guard to Lunge).</h3>
+
+<p><i>One.</i>—Advance the body slightly forward, and bring the<span class="pagenum" id="Page_24">24</span>
+right shoulder and knee perpendicular to the point of the
+right foot.</p>
+
+<p><i>Two.</i>—Advance the right foot smartly, about 20 inches,
+or double the distance of No. 2, Second Position (Guard),
+taking care that the foot does not overhang the instep;
+extend the left leg with a spring, the left foot remaining
+true and firm, and the left knee perfectly straight; let the
+shoulders expand and the body be profiled and slightly inclined
+forwards, or towards the opponent.</p>
+
+<p>This is the position of the legs in the Lunge, and the
+greatest care must be taken to prevent the recruit learning
+it in a careless, shuffling way. Above all things he must
+accustom himself to separate the action into its two composing
+parts, otherwise the lower limbs will often take
+precedence of the upper (shoulder, arm, and hand), and the
+Lunge become worse than useless. When recovering guard
+the contrary is the case; the left knee must be bent before
+the right foot is moved, and the latter should exert a slight
+pressure on the ground; at the same time the body must be
+drawn backwards, not jerked upwards.</p>
+
+<p>These measures of Guard (20 inches) and of Lunge (40
+inches) are best fitted for average-sized men; in exceptional
+cases they must be shortened or lengthened according to the
+stature and stride of the recruit. The rule for guard is the
+measure of two foot-lengths; the Lunge doubles that span;
+and the least vigorous men require the greatest distances.</p>
+
+<p>These movements must be learned, first in slow, and afterwards
+in quick and in double-quick, time; the same may
+be said of all practice with and without the sword. <em>Squad
+attention!</em> and <em>Stand at Ease!</em> need hardly be explained.
+The recruits’ muscles soon become fatigued by the unusual
+and monotonous exercise, causing them to remain too long
+in one position; the easiest way to relieve them is to change
+front, making the left leg stand on guard and lunge, as a left-handed
+fencer would do. This double practice is as useful
+and recommendable in fencing and broadsword play as<span class="pagenum" id="Page_25">25</span>
+in bayonet exercise: it gives additional balance to the body,
+it equalizes the muscular strength of both sides, and it
+makes the soldier feel that if his right arm be disabled he
+can still depend upon his left.</p>
+
+<p>The word <em>Steady</em> must not be used as a command: it
+should be a caution given at the completion of any part of a
+practice with the view of correcting faults.</p>
+
+<h3>§ 3. <i>Attacking, Advancing, and Retiring.</i></h3>
+
+<p><i>Single Attack.</i>—Raise the right foot well off the ground
+and beat smartly with the whole sole, the greatest force being
+upon the ball of the foot, and the least upon the heel.</p>
+
+<p><i>Double Attack.</i>—The same movement made twice. The
+instructor should carefully avoid the directions of the
+‘Infantry Sword Exercise,’—<em>first with the heel, then with the
+flat of the foot</em>. Nothing jars the leg more than this use of
+the heel; it is a bad habit to use it for anything but
+“pivoting.”</p>
+
+<p><i>Advance.</i>—Smartly advance the right foot about six inches
+and bring up the left as nearly as possible to the same
+distance. The soles must just clear the ground, and the
+toes be kept on a straight line with the knee, and never
+turned inside or outside. Neglect of the latter precaution
+leads to a loose, unsteady, and slovenly style which, easily
+learnt, is hardly to be unlearnt.</p>
+
+<p><i>Single Attack.</i>—As before.</p>
+
+<p><i>Retire.</i>—Move the left foot lightly to the rear about six
+inches, and let the right foot follow it. Recruits are uncommonly
+apt to “step short,” and this can be remedied
+only by making them retire for considerable distances. The
+weight and balance of the body must be equally distributed
+on both haunches and legs, not resting upon the left, which
+can serve only to give cramp.</p>
+
+<p><i>Double Attack.</i>—As before.</p>
+
+<p><i>Front.</i>—Resume the position of “Attention.”</p>
+
+<hr />
+
+<p><span class="pagenum" id="Page_26">26</span></p>
+
+<div class="chapter">
+<h2 id="Section_II"><span class="smcap">Section II.</span><br />
+
+<span class="subhead">PREPARATORY INSTRUCTION WITH THE SWORD.</span></h2>
+</div>
+
+<h3>§ 1. <i>Explanation and Use of the Target.</i></h3>
+
+<p class="in0"><span class="smcap">The</span> Target prefixed to these pages explains itself. The
+shape is oblong, the frame measuring 6 feet by 3, and
+the figure 5 feet 8 inches by 1 foot. As the latter represents
+the opponent, the centre should be about 4 feet
+from the ground, the height of the recruit’s breast. Perpendicular
+to the foot of the figure in each Target a horizontal
+line is drawn, forming for the feet, the legs, the body, and
+the arms, the “directing line” of the scientific schools. At
+a distance of 10 feet the recruit is placed in the position of
+“Attention,” with his left heel on the line, so that at the
+command “First Position” his right foot may cover it.</p>
+
+<p>The parallelogram shows the direction and the numbering
+of the Cuts, concerning which further details will presently
+be given. They should be regulated according to the lines
+described upon the Target; nor should the recruit be
+practised in any other mode until he has gained the proper
+direction of the blade.</p>
+
+<p>Nothing need be added to the directions of the ‘Infantry
+Sword Exercise’ (pp. 12, 13, 14), as regards the movements
+subject to the following words of command: much, on the
+other hand, with great advantage, might be taken away, and
+the result would be the increased efficiency that results from
+simplicity.</p>
+
+<p><i>Draw Swords</i> (should be much abridged; after the modern
+French School, pp. 165, 166: <cite>Règlement Provisoire</cite>, &amp;c.);</p>
+
+<p><em>Slope Swords</em>;</p>
+
+<p><em>Return Swords</em> (should be simplified);</p>
+
+<p><span class="pagenum" id="Page_27">27</span>
+<em>Stand at Ease</em>;</p>
+
+<p><em>Attention</em>;</p>
+
+<p><em>Prepare for Sword Exercise</em>;</p>
+
+<p><em>Right prove Distance</em>;</p>
+
+<p><em>Slope Swords</em>;</p>
+
+<p><em>Front prove Distance</em>; and</p>
+
+<p><em>Slope Swords</em>.</p>
+
+<p>At the order, <em>Stand on Guard</em>, the recruit having assumed
+the Second Position, No. 2, falls on Guard: the pommel of
+the sword fronts his right breast; the point is directed at
+his opponent’s right eye; his right arm is extended with an
+easy bend at the elbow; the wrist is inclined, with the
+knuckles slightly turned upwards, to his own right, so as to
+cover him in case of a straight thrust, and the left hand is
+placed upon the left flank just below the ribs, with the
+fingers to the front and the thumb to the rear.</p>
+
+<p>The several guards (parries) are learned by holding the
+sword opposite to and in the inclination of the dotted lines
+which have sword-hilts attached to them; the recruit is
+thus taught from the Target the angle of the blade and the
+position of the wrist.</p>
+
+<p>The Target directs the recruit <em>how</em> to make the Cuts and
+to form the Guards, but not exactly <em>where</em>; this must depend
+upon how the opponent acts during the attack and the
+defence. Cuts 1, 3, 5, 7, 9, and 11 (odd numbers) are all
+from Carte, which the ‘Infantry Sword Exercise’ calls
+<em>Inside</em>. The corresponding even numbers (2, 4, 6, 8, 10, and
+12) are from Tierce, or <em>Outside</em>. The same nomenclature
+applies to the Guards or parries.</p>
+
+<p>When the recruit thoroughly understands the use of the
+Target he need no longer be practised in front of it; but the
+instructor (sword in hand) should consider it a sure guide
+and reference for correctly forming the Guards and for
+giving a suitable direction to the edge when making the
+Cuts.</p>
+
+<p><span class="pagenum" id="Page_28">28</span></p>
+
+<h3>§ 2. <i>The Moulinet.</i><a id="FNanchor_9" href="#Footnote_9" class="fnanchor smaller">9</a></h3>
+
+<p>This rotation movement should be learnt before the recruit
+proceeds to the Cut.</p>
+
+<p><span class="pagenum" id="Page_29">29</span>
+There is nothing better for “breaking,” as the French say,
+the recruit’s wrist than this sweep of the sword; and the
+style of a swordsman may always be known by his Moulinet.
+We will divide it into three kinds, viz. (1) horizontal,
+(2) diagonal, and (3) vertical; the latter again may be either
+(a) ascending or (b) descending; but as the second (diagonal)
+is a mere modification of the first and the third, it will be
+sufficient to notice only two; these <span class="locked">are:—</span></p>
+
+<p>1st. The horizontal movement, or <em>Moulinet</em> proper, circling
+the sword round the head. The grip is held as lightly as
+possible, chiefly with the thumb and the first finger, resting
+the pommel upon the palm, and carrying the nails upwards.
+The blade should be moved as horizontally as it can be,
+with the back just clearing the swordsman’s crown: it
+should describe, not a true circle, but an oval with a long
+diameter in the directing line to the centre of the Target
+through the heels or ankles of the recruit. Finally, the
+point should be lanced or thrown out, as it were, towards
+the opponent’s face. Evidently it may be done in two ways,
+first, from right to left, which I will call the “Tierce
+Moulinet” (<i xml:lang="fr" lang="fr">Moulinet à gauche</i>); this is by far the easiest
+and the more habitual, corresponding with Tierce “Counter,”
+opposition, or describing with the blade a circle round the
+adversary’s blade, in the fencing school. The reverse movement
+(“Carte Moulinet,” <i xml:lang="fr" lang="fr">Moulinet à droite</i>), from left to
+right, requires, like the Counter of Carte, much more
+practice.</p>
+
+<p>In these directions “right and left” apply to the right and left of
+the swordsman’s wrist.</p>
+
+<p><span class="pagenum" id="Page_30">30</span>
+2nd. In France the term “Moulinet” is mostly applied to
+these two rotations of the sword round the head, but we will
+extend it to all circlings of the point. The vertical form is
+also made from the hand in Tierce (Outside Guard), the blade
+is brought sharply round with the back towards the breast
+and left shoulder, and returns to its original position; we
+will call this the “Inside Moulinet,” having reference to the
+performer, not the adversary. The “Outside Moulinet” is
+when from “Tierce or Outside Guard” the blade passes
+along the right shoulder, it is simply the former done in the
+outer line.</p>
+
+<div id="ip_30" class="figcenter newpage" style="max-width: 38em;">
+  <img src="images/i_030.jpg" width="600" height="542" alt="" />
+  <div class="caption">Horizontal Moulinet.</div></div>
+
+<p>Again the “Inside Moulinet,” which ends with the Cut
+from above downwards (the French <i xml:lang="fr" lang="fr">enlevé</i>), may be inverted
+so as to cut from downwards upwards (the <i xml:lang="fr" lang="fr">brisé</i>). The same
+may be done with the “Outside Moulinet,” when the
+wrist must be turned upwards, and the Cut given in the<span class="pagenum" id="Page_31">31</span>
+ascending line. This difficult movement should be practised
+in order to ensure a flexible wrist, but it exposes the
+whole arm. In the four latter “Cuts,” the one invariable
+rule is to circle the point as vertically as possible.
+The French <cite>Manuel</cite> (pp. 234, 235) gives: 1, the <i xml:lang="fr" lang="fr">enlevé</i>
+cutting from above downwards; and it may be either <i xml:lang="fr" lang="fr">à
+gauche</i> (Tierce Moulinet) or <i xml:lang="fr" lang="fr">à droite</i> (Carte Moulinet);
+2, the Moulinet proper; and 3, the <i xml:lang="fr" lang="fr">brisé</i>, cutting from
+downwards upwards, thus reversing the <i xml:lang="fr" lang="fr">enlevé</i>; and this also
+may be done <i xml:lang="fr" lang="fr">à gauche</i> (Tierce Moulinet) or <i xml:lang="fr" lang="fr">à droite</i> (Carte
+Moulinet).</p>
+
+<div id="ip_31" class="figcenter newpage" style="max-width: 38em;">
+  <img src="images/i_031.jpg" width="600" height="542" alt="" />
+  <div class="caption">Vertical Moulinet.</div></div>
+
+<p>The “Moulinet” should be practised first without, then
+with, the sword, and on foot, before attempting it on
+horseback. In the earlier stage the recruit must turn<span class="pagenum" id="Page_32">32</span>
+the hand, with the arm nearly extended, in the horizontal
+and vertical movements, without stiffness and displacement
+of the elbow. In the second he may, if no Target be procurable,
+work before a cross chalked on the wall so as to
+secure horizontality and verticality. Finally, the soldier
+will combine the two, Tierce and Carte, by passing rapidly
+from one to the other.</p>
+
+<p>Whilst practising the Moulinet the recruit must be taught
+the two main divisions of the sword-blade. Fencers have
+introduced an immense complication into this simple matter;
+and some have proposed eight parts: for broadsword it is
+sufficient to divide the length. The “Feeble,” or weak half,
+is that contained between the point and the centre; this,
+the proper part for the Cut or attack is ground to a thinner
+edge, and consequently is more liable to an injury from
+another sword if the Cut be not very true. The “Fort,” or
+strong half, is from the centre to the hilt, and upon this we
+must rely for defence.</p>
+
+<p>A few hours’ practice and a few pressings upon the different
+parts of the blade under the surveillance of the
+instructor will teach the recruit the high importance of this
+lesson. He will learn that in opposing the adversary’s sword
+the strength of the defence decreases from the hilt upwards
+in proportion as the Cut is received towards the point; and
+that, <i xml:lang="la" lang="la">vice versâ</i>, it increases from the point downwards to the
+hand. The strongest man cannot “force in” the opponent’s
+Guard if the Cut or Thrust be received upon the part near
+the handle. With a true Guard the ordinary fencing foil can
+turn off the thrust of a musket and bayonet weighing 10 lbs.
+The practised swordsman always attempts, when attacking,
+to gain with his “Fort” the “Feeble” of the opponent’s
+weapon, in which case the superior leverage will often beat
+down the parry; and this manœuvre should be carefully
+practised by men of superior muscular strength. The Cuts
+must, as a rule, be delivered within eight inches of the point<span class="pagenum" id="Page_33">33</span>
+and at the “centre of percussion,”<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">10</a> so that the sword may
+clear itself and the arm escape a “jar.”</p>
+
+<p>The two virtues of the Cut are its trueness and its velocity.
+Unless true it will become a blow with the flat that
+would shiver to pieces any brittle Eastern blade. Assuming
+the <i xml:lang="la" lang="la">vis viva</i> or force of a moving body to be its weight
+multiplied by the square of the velocity, let us suppose a
+strong man cutting with a sword weighing 4 lbs., to which
+he can give a velocity which we will call 1, or 4 × 1 = 4:
+a weaker man who applies double the velocity to a 2 lb.
+sword will thus produce a momentum of 8, doubling the force
+of the blow. But let the stronger man take the lighter sword,
+evidently he will obtain a higher velocity, which we will
+assume at 3: in this case the effect will be 18. Thus the
+power of the Cut is enormously increased by increased velocity,
+but much less by increased weight in the moving
+body.</p>
+
+<h3>§ 3. <i>The Cuts.</i></h3>
+
+<p>The Target prefixed to the ‘Infantry Sword Exercise’ gives
+Seven Cuts, an insufficient number. The German systems
+add an eighth blow perpendicularly upwards, when the
+whole of the swordsman’s arm from wrist to shoulder would
+be completely at the opponent’s mercy.</p>
+
+<p>The French <cite>Manuel</cite> has only seven, viz. the <i xml:lang="fr" lang="fr">Coup de
+Tête</i>; 2, the <i xml:lang="fr" lang="fr">Coup de Banderole</i>; 3, the <i xml:lang="fr" lang="fr">Coup de Figure
+à droite</i>; 4, the <i xml:lang="fr" lang="fr">Coup de Figure à gauche</i>; 5, the <i xml:lang="fr" lang="fr">Coup<span class="pagenum" id="Page_34">34</span>
+de Flanc</i>; 6, the <i xml:lang="fr" lang="fr">Coup de Ventre</i>; and 7, the <i xml:lang="fr" lang="fr">Coup de
+Manchette</i>.</p>
+
+<div id="ip_34" class="figcenter newpage" style="max-width: 38em;">
+  <img src="images/i_034.jpg" width="594" height="600" alt="" />
+  <div class="caption">German System.</div></div>
+
+<p>The subjoined diagram shows the Twelve Cuts<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">11</a> which
+serve to “loosen” the rigid arm of the recruit.</p>
+
+<p><span class="pagenum" id="Page_35">35</span></p>
+
+<div id="ip_35" class="figcenter newpage" style="max-width: 30em;">
+  <img src="images/i_035.jpg" width="475" height="600" alt="" />
+  <div class="caption"><p>The Twelve Cuts (shown by the thick strokes), the dotted lines denoting
+the course of the blade in “Moulinet”, or rather in “Semi-Moulinet.”</p>
+
+<table id="cuts12" class="p1 narrow" summary="The Twelve Cuts">
+  <tr class="bpad">
+    <td class="tdc"><span class="smcap">Carte.</span></td>
+    <td class="tdc"><span class="smcap">Tierce.</span></td></tr>
+  <tr>
+    <td class="tdl">Cut 1.</td>
+    <td class="tdl">Cut 2 (Head Cuts).</td></tr>
+  <tr>
+    <td class="tdl">Cut 3.</td>
+    <td class="tdl">Cut 4 (Face Cuts).</td></tr>
+  <tr>
+    <td class="tdl">Cut 5.</td>
+    <td class="tdl">Cut 6 (Shoulder Cuts).</td></tr>
+  <tr>
+    <td class="tdl">Cut 7.</td>
+    <td class="tdl">Cut 8 (Breast Cuts).</td></tr>
+  <tr>
+    <td class="tdl">Cut 9.</td>
+    <td class="tdl">Cut 10 (Stomach Cuts).</td></tr>
+  <tr>
+    <td class="tdl">Cut 11.</td>
+    <td class="tdl">Cut 12 (Groin and Thigh Cuts).</td></tr>
+</table>
+</div></div>
+
+<p>The figure represents the opponent; the thick lines show
+the direction of the edge when cutting; and the dotted continuations<span class="pagenum" id="Page_36">36</span>
+denote the course of the blade when describing
+the several “Moulinets.”</p>
+
+<p>The Cuts should be continuous, the regular succession
+always beginning from Carte or the Inside, that is, from the
+rear of the left shoulder. As in the “Moulinet,” the less
+the arm is bent and the sword-hand is moved from the line
+of direction (to the front), the greater is the value of the
+movement. The recruit, who must walk before he runs,
+should deliver the whole dozen in continuous sweep without
+pause, but at first very slowly, till, by the proper and timely
+use of the wrist, the Cuts lead into one another. The more
+advanced swordsman, whose pliability of strength is free from
+contractions and other vicious habits, should practise the
+series of twelve with increased rapidity till the blade whistles
+through the air. All the Cuts should be given strong, with
+the edge leading well forwards and with the arm extended to
+its utmost in the delivery.</p>
+
+<p>The following are the Twelve <span class="locked">Cuts:—</span></p>
+
+<p>I. and II. These Cuts are made, after falling into Tierce
+or Outside Guard, from above downwards at the opponent’s
+head. In No. I. the point, beginning as usual from the left
+shoulder (Carte), describes a full circle (“Inside Moulinet,”
+the <i xml:lang="fr" lang="fr">brisé à gauche</i> of the French <cite>Manuel</cite>), the hand moving
+as little as possible so as to cover the body; the knuckles
+turned up and the blade passing close to the breast: it
+finishes by delivering a vertical Cut, with the “Feeble” close
+to the point, at the right half of the adversary’s crown.
+No. II., which follows without interruption, reverses the
+process; the knuckles are turned down and the blade sweeps
+past the right shoulder (<i xml:lang="fr" lang="fr">brisé à droite</i>); ending with the left
+half of the opponent’s head. The latter Cut is by far the<span class="pagenum" id="Page_37">37</span>
+more difficult to make without moving the hand, but it is
+good practice for “breaking” the wrist.</p>
+
+<p>III. and IV. The horizontal face-cuts, also beginning from
+the left (Carte), an invariable rule, and ending with the right,
+that is, at the adversary’s left cheek. The reason of this
+practice is to make the movement habitual to the recruit;
+cutting from left to right always causes less exposure of the
+inner wrist than cutting from right to left.</p>
+
+<p>V. and VI. The slanting shoulder-cuts, also from above
+downwards (Nos. 1 and 2, or rather 2 and 1, of the ‘Infantry
+Sword Exercise,’ pp. 14, 17, and the <i xml:lang="fr" lang="fr">Coups de Banderole</i> of
+the <cite>Manuel</cite>); describing two diagonal Moulinets, first from
+left to right, and then from right to left. The sword again
+makes a double “Moulinet” with the edge downwards, and
+descends first upon the opponent’s right and then upon his
+left shoulder.</p>
+
+<p>VII. and VIII. The horizontal breast-cuts, parallel with
+the face-cuts, and, like them, delivered with the blade as
+horizontal as possible.</p>
+
+<p>IX. and X. The horizontal stomach-cuts, parallel with,
+and lower than, the breast-cuts.</p>
+
+<p>XI. and XII. The slanting groin or thigh-cuts, diagonally
+from downwards upwards; in fact, the reverse of the shoulder-cuts
+(Nos. 4 and 3 of the ‘Exercise,’ and the <i xml:lang="fr" lang="fr">brisés</i> of the
+<cite>Manuel</cite>). In these diagonal Moulinets, the elbow must not
+be bent; the hand should deviate as little as possible from
+the directing line under pain of dangerous exposure; and
+the two movements should follow each other without a
+break.</p>
+
+<p>Whenever the recruit fails to carry the edge well forward
+in making the attack, he should be practised slowly and repeatedly
+in combining the opposites, as Head-cut (No. 1)
+and Thigh-cut (No. 12), Head-cut (No. 2) and Thigh-cut
+(No. 11), and so forth. The instructor must see that the
+edge leads on to the respective lines of the Target, the point
+being darted out at the end of each cut.</p>
+
+<p><span class="pagenum" id="Page_38">38</span>
+The Cuts will be practised first in No. 2 “Second
+Position” (Guard), and afterwards in No. 2 “Third Position”
+(Lunge).</p>
+
+<div id="ip_38" class="figcenter newpage" style="max-width: 29em;">
+  <img src="images/i_038.jpg" width="455" height="600" alt="" />
+  <div class="caption">Prime, or Hanging Guard.</div></div>
+
+<h3>§ 4. <i>The Engaging Guards, or Engagements.</i></h3>
+
+<p>As the ‘Infantry Sword Exercise’ has a deficiency of
+Cuts, so it has a superfluity of “Engaging Guards.” I have
+already expressed my opinion concerning the Guard (p. 18
+of 1874) popularly called the “Hanging Guard.” Even
+with the best position, the head erect and the eyes looking
+straight and not upwards, it is utterly faulty; it displaces
+the arm and the sword, and, as no serious attack
+can be made directly from it, it necessitates a movement
+entailing a considerable amount of exposure. It is now
+chiefly confined to students’ duels with the German Schläger,
+wherein slitting the opposing nose, which can be done with<span class="pagenum" id="Page_39">39</span>
+a mere jerk upwards, is the swordsman’s highest aim and
+ambition.</p>
+
+<p>The “Engaging Guards” are thus reduced to the two
+<span class="locked">following:—</span></p>
+
+<p>Tierce (or outside) Guard; defending the outer lines,
+arm, shoulder, back, and flank. The recruit having assumed
+the “Second Position” (No. 2), brings the pommel of his
+sword to the centre of his right breast; opposes the point to
+the adversary’s right eye; extends his right arm with an
+easy bend of the elbow; inclines the wrist with the knuckles
+upwards to his own right, so as to cover himself in case of a
+straight thrust, and places his left hand upon his left flank
+with the fingers to the front and the thumb to the rear. In
+Tierce of course the edge of the sword is to the right or
+outside.</p>
+
+<div id="ip_39" class="figcenter newpage" style="max-width: 38em;">
+  <img src="images/i_039.jpg" width="600" height="526" alt="" />
+  <div class="caption">Engaging Guard in Tierce (Outside).</div></div>
+
+<p>Carte (or Inside) Guard. This movement defends the
+inner lines, chest and stomach; the knuckles are turned<span class="pagenum" id="Page_40">40</span>
+down; the opposition is made to the left, and the edge is
+carried in the same direction.</p>
+
+<div id="ip_40" class="figcenter newpage" style="max-width: 38em;">
+  <img src="images/i_040.jpg" width="600" height="546" alt="" />
+  <div class="caption">Engaging Guard in Carte (Inside).</div></div>
+
+<p>When engaging in guard (joining weapons), the swords
+should meet each other about eight inches from the points.
+If the distance is diminished the opponents are “out of measure”
+(or distance); if increased, they are “within measure.”
+The recruit must be taught slightly to press upon the opponent’s
+blade, but not to rest upon it; by this “opposition”
+his hand and wrist will be more ready to follow the weapon
+during the attack. Thus also the “Engaging Guards,”
+Tierce, and Carte (outside and inside) afford protection preparatory
+to the movements for offence and defence. The
+eye must be fixed upon the eye and the hand or the blade-point
+of the opponent, not upon the eye only.</p>
+
+<p>Guard may be partly defensive when the bust is advanced<span class="pagenum" id="Page_41">41</span>
+and the point approaches the opponent, or it may be purely
+protective when its sole object is the “parry.”</p>
+
+<p>The right-handed recruit must be taught always to
+attempt Engaging in Tierce,<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">12</a> with his opponent’s blade in
+the outer line (<i xml:lang="fr" lang="fr">sur les armes</i>). The reason is simply that in
+the reverse position (<i xml:lang="fr" lang="fr">dans les armes</i>), the fore-arm, from the
+elbow to the wrist, is comparatively unguarded; whereas
+Tierce facilitates the defence of the “low lines” (i. e. those
+below the wrist). Tierce therefore has invariably the advantage
+with the sabre, as Carte carries off the palm with the
+small-sword, the foil, and the rapier.<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">13</a> But the right-handed
+man engaging in Tierce puts his left-handed opponent in
+Carte; and the latter, if a skilful sworder, will manœuvre,
+by withdrawing his blade, by coupés or degagements over
+the point, and by other feints, to regain the ground of vantage.
+The best treatment of this case is to make a time-cut
+in Seconde (“inner Moulinet,” or <i xml:lang="fr" lang="fr">brisé à gauche</i>) at the
+adversary’s knuckles, a movement which will presently be
+explained.</p>
+
+<h3>§ 5. <i>The Guards or Parries.</i><a id="FNanchor_14" href="#Footnote_14" class="fnanchor smaller">14</a></h3>
+
+<p>The ‘Infantry Sword Exercise’ proposes Seven Guards, a
+number which can hardly be reduced for practice on the
+drill-ground or in the schools: the <cite>Manuel</cite> contains the same<span class="pagenum" id="Page_42">42</span>
+number, including one for the Point. But of the seven no
+less than five are “Hanging Guards,” and Nos. 3 and 4 serve
+only to defend the inside and the outside of the advanced
+leg. This limb requires no assistance of the kind: an able
+swordsman never exposes his head and shoulders by cutting
+so low, and, if he does, the leg can be smartly withdrawn
+(<i xml:lang="fr" lang="fr">parade retrograde</i>, or <i xml:lang="fr" lang="fr">en échappant</i>), rendering the attack
+not only useless but dangerous to the assailant. Even in
+fencing, “low thrusts,” that is, at the body below the wrist,
+are never made, for fear of the “Time” being taken, until
+the upper line has been closed by a feint. In our Single-stick
+practice the first thought seems to be to attack the
+advanced leg—which may be well enough for Single-stick.</p>
+
+<div id="ip_42" class="figcenter newpage" style="max-width: 38em;">
+  <img src="images/i_042.jpg" width="600" height="430" alt="" />
+  <div class="caption">Lunge and Cut in Carte (Inside).</div></div>
+
+<p>The following are the full number of guards or parries
+in which the edge must invariably be used: they are evidently<span class="pagenum" id="Page_43">43</span>
+dividable into two; (1) Head (with face) Guards, and
+(2) Body <span class="locked">Guards:—</span></p>
+
+<p>I. Prime (p. 38), so called because it is the “first” position
+of defence after drawing the blade, that which the unpractised
+man would naturally assume to defend his head.
+It is the 7th Guard of the ‘Infantry Sword Exercise.’ In
+practice the point is more inclined to the horizontal line than
+when the blade is unsheathed; the edge is carried somewhat
+inside or to the left; the arm is shortened and so raised that
+the eyes look under it, but the head remains upright. The
+recruit must be careful <em>not</em> to “bend the body;” <em>not</em> to
+“draw in the chest and neck;” and <em>not</em> to “bring the left
+shoulder a little forward.” The defect of Prime is its being
+a “Hanging guard,” rendering the riposte or reply difficult,
+and modern practice prefers “High Tierce.”</p>
+
+<p>II. Seconde (4th Guard), so termed because following
+Prime: the arm is extended, the edge is carried to the outside
+or to the right; in practice the hilt is lowered, and the point,
+threatening the opponent’s loins, is depressed to the half of a
+right angle. This position must be learned for the sake of
+feinting: as a parade it is not much used, because it defends
+only the hip and leg, and a good swordsman will never
+expose himself to exceeding danger by making low cuts.
+Modern practice prefers “low Tierce.”</p>
+
+<p>III. Tierce (2nd Guard) has been described (p. 39) under
+“Standing on Guard” and “Engaging Guards;” it defends the
+outer lines, arm, shoulder, and back.</p>
+
+<p>IV. High Tierce is a head-guard: the hand is raised to
+above the shoulder to the maximum level of the swordsman’s
+right eye, and the blade is carried at an angle of 45° with
+the edge up and the point to the left.</p>
+
+<p>V. Low Tierce is a flank-guard; the arm is shortened, the
+hand is depressed six inches; the opposition is to the outside,
+and the point is held vertically or almost vertically, as
+the attack demands.</p>
+
+<p>VI. Carte (1st Guard) has been described (p. 40) under<span class="pagenum" id="Page_44">44</span>
+“Engaging Guards,” as defending the inner lines, chest and
+stomach. For the purposes of parrying, the arm is withdrawn
+till the elbow, almost touching the belt, forms an
+equilateral triangle with the hilt and the left side.</p>
+
+<p>VII. High Carte is a head-guard like high Tierce: the
+hand is raised to the left of the left eye, and the blade,
+crossing the face at an angle of 45°, carries the edge up,
+and the point to the right.</p>
+
+<p>VIII. Low Carte is a stomach guard. As in Low Tierce
+the arm is shortened, the hand is depressed six inches; the
+opposition is to the inside, and the point is held vertically
+or almost vertically, as the attack demands.</p>
+
+<p>In practice the advanced swordsman will confine himself
+to Tierce and Carte with their natural modifications. He
+will consult his own feelings about the head-guard, abolishing
+Prime in favour of High Tierce or High Carte, and he will
+prefer Low Tierce or withdrawing the leg (<i xml:lang="fr" lang="fr">rassemblement</i>)
+to using Seconde. Of these movements the simplest are
+always the best. When parrying, the sword-arm must invariably
+be drawn for defence nearer the body, and the
+grip should be sensibly tightened to receive the cut. No
+strength is necessary when making the parries: I cannot
+accept the “Sforzi” or guard-forcings of the neo-Italian
+broadsword school, dry blows upon the blade, which, intended
+to disarm, are essentially dangerous.</p>
+
+<p>The Guards or Parries will be practised like the Cuts, first
+in the “Second Position” (Guard), and afterwards in the
+“Third Position” (Lunge).</p>
+
+<hr />
+
+<p><span class="pagenum" id="Page_45">45</span></p>
+
+<div class="chapter">
+<h2 id="Section_III"><span class="smcap">Section III.</span><br />
+
+<span class="subhead">THE MANCHETTE OR FORE-ARM PLAY.</span></h2>
+</div>
+
+<h3>§ 1. <i>Preliminary.</i></h3>
+
+<p class="in0"><span class="smcap">The</span> recruit is now sufficiently advanced to begin the
+system of Manchette, which, as it is the most valuable part
+of sword-drill, has been practised the least, and should be
+practised the most. A swordsman thoroughly trained in
+this section does not allow the opponent to deliver a cut.
+It is certain that hand and wrist, short-arm and elbow, are
+capable of as many different attacks and defences as the
+whole body: these are the parts most prominent, most exposed,
+and consequently most readily made the <i xml:lang="fr" lang="fr">point de
+mire</i>. Yet this true and simple secret of the broadsword has
+been universally neglected, or rather not worked out: in
+England we content ourselves with the parades technically
+called <i xml:lang="fr" lang="fr">retrogrades</i>, that is, withdrawing the limb from the
+assault, by shortening the arm and, sometimes, by retiring
+the right foot either near to, or up to, or behind the left
+heel: even this evasion which cannot expect to pass for a
+Guard, is not described nor figured in the official ‘Infantry
+Sword Exercise.’<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">15</a> In France, and even in Italy where most
+subjects are exhaustively treated, Manchette is dismissed
+with a few careless words. The <cite>Manuel</cite> gives to the <i xml:lang="fr" lang="fr">Coup de
+Manchette</i> only these few lines: “<i xml:lang="fr" lang="fr">Exécuter un enlevé</i> (vertical
+Moulinet from above downwards) <i xml:lang="fr" lang="fr">en arrière à droite, et arrêter
+le sabre vis-à-vis le milieu du Corps, le tranchant en dessus, le
+poule légèrement à droite; diriger l’enlevé de manière à empêcher
+en arrêtant l’avant bras, l’exécution d’un coup de tête</i>.” Capitano
+Settimo del Frate (p. 50, <cite xml:lang="it" lang="it">Istruzione sul Maneggio e Scherma
+della Sciabola</cite>) in one of the latest works on swordsmanship<span class="pagenum" id="Page_46">46</span>
+contents himself with the following desultory observations:</p>
+
+<p>“Manchett” (<i xml:lang="la" lang="la">sic</i>) “can attack the fore-arm either above
+or below, according as the opponent gives an opening.</p>
+
+<p>“Manchett is generally used against an adversary whose
+guard is defective. By merely extending the arm with a
+turn of the wrist, this attack may readily succeed should
+the opponent neglect to provide against it.</p>
+
+<p>“One of the most dangerous guards against Manchett
+is Tierce; the surest is High Seconde, which indeed is also
+the best parry adapted to this system of attack.”</p>
+
+<p>The first member of the last paragraph is sensible; the
+second is thoroughly fallacious. As has been stated, the
+right-handed man must always engage in Tierce, and, as will
+presently appear, Tierce is the safest, indeed the only safe
+guard against Manchette cuts. Another Italian writer of our
+day describes and figures the “Position of the weaponed arm
+to escape the arm-cut” (<i xml:lang="it" lang="it">Colpo di braccio</i>), with the elbow-joint
+left clean open. The ‘Infantry Sword Exercise’ limits
+itself (p. 30) to these few lines: “If opposed to the Small
+Sword (<i xml:lang="la" lang="la">sic</i>, meaning straight sword or rapier) have recourse
+to Cuts <em>Three</em> (No. 13 of this system) and <em>Four</em> (No. 11),
+directing them at the arm, by which means there is every
+probability of the cuts taking effect, as it must always
+come within range of the edge, before the point can be
+sufficiently advanced to reach your body: if the above
+cuts are quickly given and continued, they will also be
+found advantageous in advancing against the Small Sword,
+as they constitute an attack and form a defence at the same
+moment; but should the opponent be the most skilful and
+quickest (<i xml:lang="la" lang="la">sic</i>) in his movements, then it is best to retire
+whilst giving them, cautiously preserving the proper distance,
+so that each cut may just reach the fore part of his
+arm.” The French content themselves with single oppositions
+of Tierce and Carte. But why multiply instances of
+ignorance?—they would fill many a useless page.</p>
+
+<p><span class="pagenum" id="Page_47">47</span>
+Finally I meditated upon the comparative humanity of
+“Manchette,” of disabling the opponent by an arm-cut,
+rather than laying open his flank or his head. During
+single rencontres in the field, especially at the end of Indian
+battles, it is so often necessary to put <i xml:lang="fr" lang="fr">hors de combat</i> some
+unfortunate, whose pluck or sense of honour induces him to
+prolong the hopeless attack.</p>
+
+<p>These considerations led me to reflect seriously for a
+number of years upon the Jeu de Manchette, the Colpi all’
+avambraccio, or fore-arm play, which has been so much
+neglected by master-swordsmen. At last an unlooked-for
+opportunity, a short study in the <i xml:lang="fr" lang="fr">Salle d’armes</i> of Herr
+Balthasar Reich of Trieste, enabled me to reduce it to a
+system, and present it to the public.</p>
+
+<p>I should premise, however, that the following observations
+are intended for professional men. It is therefore necessary
+only to name and number the Direct Cuts, the Guards and
+the Feints, the Reverse Cuts, and the Time Cuts of Manchette,
+as in most cases the simplest mention will suffice.
+The proficient will at once perceive that I offer a mere
+outline of the system whose many details must be learned
+by long practice. It is enough to give first principles: the
+minutiæ could not even be noticed without stretching
+description to a wearisome length.</p>
+
+<p>There is no objection, I have said, to teaching squads of
+recruits all the simpler preparatory matter: the Three Positions;
+the Moulinet; the Engaging Guard, and the Guards
+or Parries. At a certain stage of progress, however, especially
+when beginning Manchette, the quick and intelligent
+soldier, who is likely to qualify himself as a master, must be
+instructed singly.</p>
+
+<h3>§ 2. <i>The Direct Cuts in Manchette.</i></h3>
+
+<p>The following are the direct attacks in Manchette, simple
+and compound; all are done from the “Engaging Guard,” the
+Lunge being here inadmissible.</p>
+
+<p><span class="pagenum" id="Page_48">48</span>
+I. <i>Carte de Manchette.</i>—Extend the sword-arm to the full
+length and deliver the cut, with a flip as it were, at the
+opponent’s fore-arm, between the elbow and the wrist. This
+can be done with the back of the blade (Reverse Cut) under
+circumstances presently to be described. No. I. is useful
+if the adversary unwisely engages you in Carte otherwise
+(from Tierce) it must be avoided, as he easily parries by
+withdrawing the arm and replies with a Tierce Cut.</p>
+
+<p>II. <i>Carte de Manchette and Cut Tierce.</i>—This movement is
+No. I. followed by a close rotation of the point (“Tierce
+Moulinet”); if, however, the circle be too small, it will not
+clear the sword-guard.</p>
+
+<p>III. <i>Double Carte de Manchette and Cut Carte.</i>—No. III. is
+to be done when the opponent, as he generally will after an
+attack of No. II., successively parries Carte and Tierce. It
+is simply the double of No. I., and thus the “Tierce Moulinet”
+cuts, of course, inside the arm.</p>
+
+<p>IV. <i>Double Carte de Manchette and Cut Tierce.</i>—Useful
+when the adversary parries Carte, Tierce and Carte; it is
+the double of No. II. and thus cuts outside the arm.</p>
+
+<p>No. II. guards the arm and is therefore unexceptionable.
+Nos. III. and IV. are dangerous, because, like No. I., when
+opposed to an agile hand, they may lay the wrist open to a
+Time Cut.</p>
+
+<p>The two first and all four against a slow unready swordsman
+may be varied by combinations with <i xml:lang="fr" lang="fr">coupés</i>, or passing
+the blade sharply over the adversary’s point. For instance,
+if the adversary come too wildly to the Tierce parade of your
+double Carte and Tierce (No. III.), <i xml:lang="fr" lang="fr">a coupé</i> will reach his
+arm in Carte.</p>
+
+<p>A golden rule which cannot be repeated too often is that
+all the Manchette-Cuts in Tierce (outside), either from above
+or from below, must be as nearly vertical as possible, whilst
+all the Cuts in Carte (inside) should be as horizontal as they
+can be made. The reason is simply that these positions
+cover the arm and render the attack less dangerous.</p>
+
+<p><span class="pagenum" id="Page_49">49</span></p>
+
+<h3>§ 3. <i>The Guards (Parries) and Feints in Manchette.</i></h3>
+
+<p>The Guards of the Target will be found sufficient for
+parrying all attacks in Manchette. The soldier, however,
+should especially practise the retrograde parades, that is
+withdrawing the right fore-arm with and without the right
+leg.</p>
+
+<p>Feinting with the broadsword is necessarily more simple
+than with the foil, being generally confined to <i xml:lang="fr" lang="fr">Coupés</i>
+and <i xml:lang="fr" lang="fr">Secondes</i>. The neo-Italian school of sabre uses, I have
+said, the fencing movements, but it is at best a bastard style.
+If the opponent attempts to “degage,” that is to pass his
+point under your blade from Tierce to Carte, or <i xml:lang="la" lang="la">vice versâ</i>,
+retire by withdrawing the right heel to the left, and cut at
+the arm which his movement has exposed.</p>
+
+<p>The <i xml:lang="fr" lang="fr">Coupé</i>, the reverse of the degagement, passes the point
+over, not under, the opposing blade; this legitimate feint,
+used in every school, may be effected in four several ways.</p>
+
+<p>I. <i>One.</i> From the usual engagement in Tierce pass the
+blade over the opposite point, just clearing it, and cut inside.
+The two movements raising and dropping the point should
+be as rapid as possible.</p>
+
+<p>II. <i>One, Two</i>, a double <i>Coupé</i>, with the cut in Tierce.</p>
+
+<p>III. <i>One, Two, Three</i>: as with the foil; against a nervous
+opponent the cut should be made at the face with a dart and
+a jerk (the Italian <i xml:lang="it" lang="it">Slancio</i>); against a slow player the cut
+may be Carte de Manchette.</p>
+
+<p>IV. <i>One, Two, Three, Four</i>; like the former, but cutting
+in Tierce: to be attempted only with the most unready of
+opponents.</p>
+
+<p>The two latter may be combined with a breast (inside) or
+shoulder (outside) “Moulinet” between the penultimate
+and the last (cut) movement; but these long feints are
+radically vicious, because they lay the swordsman open to
+Time Cuts. They are, however, useful, as will appear in
+making the Reverse Cuts.</p>
+
+<p><span class="pagenum" id="Page_50">50</span>
+Perhaps the Seconde-feints are better than the <i xml:lang="fr" lang="fr">Coupés</i>.</p>
+
+<p>I. <i>One</i>: the simple Seconde Cut.—Make a little more
+opposition in Tierce, sweep the blade past and along the
+breast; (inside Moulinet, or the <i xml:lang="fr" lang="fr">brisé à gauche</i>) and, lowering
+the hand a little, cut upwards with a jerk and a flip. The
+nearer the swordsman’s own body his blade circles the better,
+because the cut will be more in the vertical line: if it be
+much out of the perpendicular the opponent can “take a time”
+in Carte. The Moulinet serves also to embarrass the adversary
+and to add strength to the cut. This simple and most
+valuable movement must not be confounded with the old-fashioned
+Seconde cut at the leg: the latter is objected to,
+as I have said, by swordsmen; the parry is too easy, and
+the ripost far too dangerous.</p>
+
+<p>II. <i>Feint Seconde.</i>—From Tierce make a short and sharp
+movement to Seconde with the knuckles turned upwards;
+the opponent will probably come to the Seconde-parry,
+thereby exposing the fore-arm. You then cut Tierce perpendicularly
+as usual, from above downwards (the <i xml:lang="fr" lang="fr">enlevé</i>), either
+without or with a breast “Moulinet.”</p>
+
+<p>III. <i>Feint Seconde, Feint Tierce and Cut Carte</i>, with two
+short, sharp movements, and deliver the horizontal cut in
+Carte.</p>
+
+<p>IV. <i>Feint Seconde, feint Tierce and Cut Seconde</i>, from
+downwards upwards, always with a breast “Moulinet.”</p>
+
+<p>At times the two first feinting movements in Nos. III.
+and IV. may be done more emphatically: this of course
+makes the movement slower, but it is a variety which
+embarrasses an adversary accustomed only to short, quick
+action.</p>
+
+<h3>§ 4. <i>The Reverse or Back Cuts in Manchette.</i></h3>
+
+<p>As the Manchette system has been strangely neglected,
+so the Reverse or Back Cut may be pronounced unknown
+to the majority of the profession: the latter, instead of utilizing<span class="pagenum" id="Page_51">51</span>
+the “false edge” of the blade, still lose time and incur
+great danger by turning hand and wrist in using the true edge,
+especially when “Cutting within the Sword.”<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">16</a> More extraordinary
+still, although almost all the civilized world prefers
+what is technically called the “flat-backed and spear-pointed”
+sabre, yet no one seems to think of employing, or
+even of sharpening one of the most important parts of the
+weapon.</p>
+
+<p>The Regulation blade with the false edge, that is to say,
+the blade sharpened from the point to the Centre of Percussion,
+about one-third of the length, was introduced into
+England about 1844, and the first specimens were made by
+the late Henry Wilkinson, acting with the late Henry
+Angelo, then Superintendent of Sword Exercise.<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">17</a> This
+back-edge of the blade should be ground to the sharpness
+of a razor. When practising the Reverse Cuts (<i xml:lang="fr" lang="fr">Revers</i> or
+<i xml:lang="it" lang="it">Rovescio</i>), the handle is held loosely with the thumb and
+the two first fingers, and the wrist and fore-arm should
+bring the blade up with a jerk, the grip being at the same
+time sharply tightened. Practice will soon enable the
+swordsman to deliver a strong “drawing” cut, equal to the
+Thrust-cut of the so-called “Damascus” blades. This valuable
+movement has the immense merit of not uncovering the
+swordsman, and what makes the sabre so rude a weapon
+is that every movement of attack, in the old systems, lays
+the body open by raising hand and point when a blow is to
+be given. With the Reverse Cut no such dangerous process
+is necessary; the point is still directed at the opponent
+whilst the cut is being delivered. Finally, it is always
+unexpected by the opponent who has not practised it, and
+although it rarely begins an assault, except against the<span class="pagenum" id="Page_52">52</span>
+inexperienced, nor should it be done alone as a rule, it may
+either follow or conclude every attack, feint or “time.”</p>
+
+<p>I. <i>The Half-Feint</i> (<i xml:lang="fr" lang="fr">Revers de dessous</i>, <i xml:lang="it" lang="it">Rovescio di sotto</i>, or
+<i xml:lang="de" lang="de">Revers von unten</i>) is done thus.—When in Tierce extend the
+arm as if intending to cut Tierce; the opponent makes an
+opposition of Tierce; drop the point, and cut sharply upwards
+with the false edge at his fingers, wrist, or fore-arm,
+drawing the blade towards you and keeping the point opposite
+the adversary’s breast. This movement is one of the
+neatest known, and it is sure to succeed with one who does
+not expect it. The first part of the feint, or dropping the
+point, may lead to a cut with the true edge, but this movement,
+which is still practised in the schools, involves delay
+by turning the hand. Again, it may be combined with the
+inside (breast) or outside (shoulder) Moulinet.</p>
+
+<p>II. <i>Feint Seconde and Cut upwards.</i>—This movement may
+be varied by feinting Tierce and cutting upwards.</p>
+
+<p>III. <i>One-two-three.</i>—This is not the succession of simple
+<i xml:lang="fr" lang="fr">Coupés</i>, the dangerous movement before described. No. 1
+<i xml:lang="fr" lang="fr">Coupé</i> shifts the hand from Tierce to Carte with the nails up;
+No. 2 turns the nails down, still remaining in Carte; and
+No. 3 delivers the Reverse Cut, of course in Carte, where it
+is least expected.</p>
+
+<p>When the point is passed well under and within the
+sword-arm it is very difficult to parry the horizontal Reverse
+Cut in Carte. The true edge may be used, but again it
+wastes time by turning the hand.</p>
+
+<p>IV. <i>The Pass</i>, properly called “<i xml:lang="fr" lang="fr">en passant</i>.”—From Tierce
+make a feint-movement in Seconde, and, when the adversary
+attempts to parry it by lowering the point, turn the knuckles
+up (in old Tierce), sweep the blade over his sword-arm and
+as close as possible to your right leg from left to right with
+the arm well raised, and, returning from right to left with a
+similar sweep, but with the blade held higher, cut, in Carte,
+with the false edge and close to the point, inside his wrist.<span class="pagenum" id="Page_53">53</span>
+Unskilfully attempted, this feint is equally dangerous to
+both, but it will do yeoman’s service in the hands of a practised
+swordsman. The true edge may be used, but that
+involves a change of position and the delay of turning the
+hand with the knuckles downwards. Some make a double
+sweep, and, after the second movement, cut outside or in
+Tierce—the exposure is too great, unless confronted by an
+unusually phlegmatic temperament.</p>
+
+<h3>§ 5. <i>The Time Cuts in Manchette.</i></h3>
+
+<p>The Time Cut is the flower of the Manchette system, as
+the Manchette is of the broadsword; and it is, perhaps, the
+part least capable of being taught in books. When well
+mastered it never allows the opponent to raise his arm without
+imminent risk, and, even if it fail, the intention, once
+recognized, tends greatly to cramp and embarrass the adversary’s
+play. The natural man cuts as if he were using a
+stick or a club, and the preliminary movement lays open
+the whole of his body; indeed, exposure, I have said, is the
+main danger of every attack with the sabre, however closely
+and skilfully conducted. A cut through the muscles of the
+fore-arm, either inside or outside, causes the sword instantly
+to be relaxed and dropped; the man in fact is hamstrung in
+the upper works.</p>
+
+<p>I. <i>Carte de Manchette.</i>—When the opponent from Tierce
+makes a <i xml:lang="fr" lang="fr">Coupé</i> or any attack in Carte, stop further movement
+by a Carte de Manchette, a horizontal Cut in Carte.
+The same may be done with the false edge, in which case the
+blade should be advanced as far as is possible; and this is to
+be preferred because it loses less time.</p>
+
+<p>II. <i>Parade Retrograde and Cut Tierce.</i>—When the opponent
+from Tierce attempts a Manchette in Carte withdraw
+the arm (<em>parade retrograde</em>) and deliver the vertical Cut in
+Tierce downwards at his extended arm; both movements<span class="pagenum" id="Page_54">54</span>
+being combined in one. It is not necessary even with the
+tallest man to withdraw the right leg; the Cut will amply
+suffice. This Tierce Cut serves to defend from all attacks
+when the Guard does not cover the adversary; and it has
+lopped off many a careless arm. If slowly done it becomes
+a mere parade and ripost.</p>
+
+<p>III. <i>The Reverse Cut-upwards</i>, <i xml:lang="fr" lang="fr">Revers en montant</i>, <i xml:lang="it" lang="it">Rovescio
+montante</i>, Ger. <i xml:lang="de" lang="de">Revers montant</i>.—You feint in Seconde; the
+opponent comes to its parry and replies in Tierce; you withdraw
+the arm, leaving the heels as they were, and cut upwards
+with the false edge, tightening the grasp of thumb and fore-fingers
+as much as possible. This movement is especially
+useful; it is one of the best of Time Cuts, when the adversary
+indulges in long and complicated feints and false attacks.
+It may be done with the true edge, but the latter is less
+safe.</p>
+
+<p>IV. <i>The Time Pass</i>; which is merely “The Pass” turned
+into a Time Cut. When the opponent attempts a “Manchette”
+or any movement in Seconde, and expects you to
+reply by a time Cut in Tierce with the true edge, turn the
+knuckles up (in old Tierce), sweep the blade over his sword-arm
+as close as possible to your right leg, from left to right,
+with the arm well raised, and returning from right to left
+with a similar sweep, but with the blade held higher, cut in
+Carte with the false edge and close to the point inside his
+wrist. The true edge may be used, but, again, it wastes
+time. The double sweep possible as in “The Pass,” but it
+causes too much exposure.</p>
+
+<p>This Time Pass may also be done with the hand held high
+in Prime or rather “demi-circle” with the nails turned up,
+the arm outstretched, and the point lowered. In this case
+the leg must be shifted till the fore heel touches the rear
+heel, so as to give additional height to the hand. This is not
+a Reverse or Back Cut as you use the true edge; it is in
+fact one of the old movements called “Cutting within the
+Sword.”</p>
+
+<p><span class="pagenum" id="Page_55">55</span></p>
+
+<h3>§ 6. <i>Résumé.</i></h3>
+
+<p>The following is a synoptical table of Manchette or Fore-arm
+play, showing the Cuts, the Guards (Parries) for the
+Cuts, and the Riposts or replies that should follow each
+Parade. The Instructor will remember that instead of
+Prime we use High Tierce or High Carte, and for Seconde
+Low Tierce or withdrawing the leg.</p>
+
+<table id="resume" summary="synoptical table">
+  <tr>
+    <td class="tdc head" colspan="3"><i>Direct Cuts.</i></td></tr>
+  <tr class="sub">
+    <td class="tdc">CUT.</td>
+    <td class="tdc">PARRY.</td>
+    <td class="tdc">RIPOST.</td></tr>
+  <tr>
+    <td class="tdl">1. Carte de Manchette.</td>
+    <td class="tdl">IV. (Carte).</td>
+    <td class="tdl">II. (Seconde).</td></tr>
+  <tr>
+    <td class="tdl">2. Ditto and cut Tierce.</td>
+    <td class="tdl">IV. and III. (Tierce).</td>
+    <td class="tdl">III.</td></tr>
+  <tr>
+    <td class="tdl">3. Double Carte de Manchette and cut Carte.</td>
+    <td class="tdl">IV., III. and IV.</td>
+    <td class="tdl">II.</td></tr>
+  <tr>
+    <td class="tdl">4. Double Carte de Manchette and cut Tierce.</td>
+    <td class="tdl">Parade Retrograde by withdrawing arm.</td>
+    <td class="tdl">III. or IV.</td></tr>
+  <tr>
+    <td class="tdc head" colspan="3"><i>Reverse Cuts.</i></td></tr>
+  <tr>
+    <td class="tdl">1. Half-feint.</td>
+    <td class="tdl">II. or III.</td>
+    <td class="tdl">III. or IV.</td></tr>
+  <tr>
+    <td class="tdl">2. Feint Seconde and cut upwards.</td>
+    <td class="tdl">II.</td>
+    <td class="tdl">Cut with false edge upwards.</td></tr>
+  <tr>
+    <td class="tdl">3. Feint Tierce and cut upwards.</td>
+    <td class="tdl">III. and II.</td>
+    <td class="tdl">II.</td></tr>
+  <tr>
+    <td class="tdl">4. One-two-three, and cut upwards.</td>
+    <td class="tdl">Parade Retrograde.</td>
+    <td class="tdl">III. or IV.</td></tr>
+  <tr>
+    <td class="tdl">5. The Pass.</td>
+    <td class="tdl">II. and I. (Prime).</td>
+    <td class="tdl">III.</td></tr>
+  <tr>
+    <td class="tdc head" colspan="3"><i>Time Cuts.</i></td></tr>
+  <tr>
+    <td class="tdl">1. On all Cuts in Carte.</td>
+    <td class="tdl">Parry with time in IV. (Carte de Manchette).</td>
+    <td class="tdl">IV.</td></tr>
+  <tr>
+    <td class="tdl">2. On feints in Carte ending with Cuts in Tierce.</td>
+    <td class="tdl">Parade Retrograde.</td>
+    <td class="tdl">III. or IV.</td></tr>
+  <tr>
+    <td class="tdl">3. On Cuts in Tierce.</td>
+    <td class="tdl">Reverse Cut upwards.</td>
+    <td class="tdl">III.</td></tr>
+  <tr>
+    <td class="tdl">4. On Reverse Cut upwards.</td>
+    <td class="tdl">II. and III.</td>
+    <td class="tdl">IV.</td></tr>
+  <tr>
+    <td class="tdl">5. On Cuts in Seconde.</td>
+    <td class="tdl">The Time Pass.</td>
+    <td class="tdl">III.</td></tr>
+  <tr>
+    <td class="tdc head" colspan="3">Feints of <i xml:lang="fr" lang="fr">Coupé</i> in Manchette.</td></tr>
+  <tr>
+    <td class="tdl">1. Single <i xml:lang="fr" lang="fr">Coupé</i>.</td>
+    <td class="tdl">III. or IV.</td>
+    <td class="tdl">II.</td></tr>
+  <tr>
+    <td class="tdl">2. One-two ( „ ).</td>
+    <td class="tdl">IV. and III.</td>
+    <td class="tdl">III.</td></tr>
+  <tr>
+    <td class="tdl">3. One-two-three.</td>
+    <td class="tdl">II., III. and II.</td>
+    <td class="tdl">III. or IV.</td></tr>
+  <tr>
+    <td class="tdl">4. One-two-three-four.</td>
+    <td class="tdl">Parade Retrograde.</td>
+    <td class="tdl">III.</td></tr>
+  <tr>
+    <td class="tdc head" colspan="3">Feints of <i xml:lang="fr" lang="fr">Seconde</i> in Manchette.<span class="pagenum" id="Page_56">56</span></td></tr>
+  <tr>
+    <td class="tdl">1. Simple Seconde.</td>
+    <td class="tdl">II.</td>
+    <td class="tdl">III.</td></tr>
+  <tr>
+    <td class="tdl">2. Feint Seconde and cut Tierce</td>
+    <td class="tdl">II. and III.</td>
+    <td class="tdl">III. or IV.</td></tr>
+  <tr>
+    <td class="tdl">3. Feint Seconde, feint Tierce, and cut Carte.</td>
+    <td class="tdl">II., III. and II.</td>
+    <td class="tdl">III. or IV.</td></tr>
+  <tr>
+    <td class="tdl">4. Feint Seconde, feint Tierce, and cut Seconde.</td>
+    <td class="tdl">Parade Retrograde.</td>
+    <td class="tdl">III. or IV.</td></tr>
+</table>
+
+<hr />
+
+<h2 id="CONCLUSION" class="nobreak">CONCLUSION.</h2>
+
+<p>I will end this system of Manchette with the words of
+old Achille Marozzo, written some three centuries and a
+half ago: “I would that ye swear upon your sword-hilts
+never to use this knowledge against me, your master.” But,
+in lieu of insisting that my readers never teach it without
+obtaining formal permission, I only hope that they will
+favour me by spreading it far and wide.</p>
+
+<hr />
+
+<p><span class="pagenum" id="Page_57">57</span></p>
+
+<div class="chapter">
+<h2 id="APPENDIX">APPENDIX.</h2>
+</div>
+
+<p class="in0"><span class="smcap">In</span> <a href="#Page_26">p. 26</a> allusion has been made to an improved form of sabre
+handle; it was first attempted by the Capitano Settimo del
+Frate in the work before alluded to. The gallant officer’s
+Plates show that in the Italian cavalry-sword the upper portion
+of the handle is at least horizontal, whereas in ours it
+droops backwards and downwards, giving the grip additional
+facility for slipping out of the swordsman’s grasp. The
+author’s remarks<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">18</a> being even more applicable to the English
+military sabre; I give them at full length.</p>
+
+<p>“The equilibrium of the sabre, and the facility of firmly
+grasping the handle, are the two prime requisites for a good
+weapon.</p>
+
+<p>“When properly balanced and easily held, the sword calls
+for less exertion of strength; and the quickness and true
+direction of the Cuts are greatly facilitated. In direct proportion
+to the economy of force, we find the swordsman
+enabled to continue his exertion.</p>
+
+<p>“However well made and scientifically poised be the
+blade, it is subject to several variations of equilibrium
+according to the position in which it is held.</p>
+
+<p>“The nearer the centre of gravity approaches the hilt, the
+lighter and the better balanced will be the weapon, and <i xml:lang="la" lang="la">vice
+versâ</i>.<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">19</a> Therefore:</p>
+
+<p>“<em>It should be our principal object to effect this improvement<span class="pagenum" id="Page_58">58</span>
+without changing the proper centre of percussion and the other
+requisites for offence and defence.</em>”</p>
+
+<p>The following Plates fully explain the author’s meaning.</p>
+
+<div class="center"><div class="ilb">
+ <div id="fig1" class="figleft" style="max-width: 16em;">
+   <div class="caption"><p>Fig. 1.</p>
+   <p>Sabre handle actually used by Italian cavalry.</p>
+ </div>
+   <img src="images/i_058a.jpg" width="200" height="300" alt="" />
+ </div>
+
+ <div id="fig2" class="figright" style="max-width: 16em;">
+   <div class="caption"><p>Fig. 2.</p>
+   <p class="b1">Capt. Del Frate’s improvement.</p>
+   </div>
+   <img src="images/i_058b.jpg" width="200" height="300" alt="" />
+ </div>
+</div></div>
+
+<div class="center b4"><div class="ilb">
+ <div id="fig3" class="figleft" style="max-width: 16em;">
+   <div class="caption"><p>Fig. 3.</p>
+
+   <p class="b2">Capt. Del Frate’s last modification.</p></div>
+   <img src="images/i_058c.jpg" width="200" height="300" alt="" />
+   <div class="captionl"><p class="in0">
+     a. Thumb-plate.<br />
+     b. Rest for the little finger.<br />
+     c. Support for the index finger.<br />
+   </p></div>
+ </div>
+
+ <div id="fig4" class="figright" style="max-width: 16em;">
+   <div class="caption"><p>Fig. 4.</p>
+
+   <p>Improved handle with thumb-guard.<br />
+   (R. F. Burton.)</p>
+ </div>
+   <img src="images/i_058d.jpg" width="200" height="300" alt="" />
+ </div>
+</div></div>
+
+<p><span class="pagenum" id="Page_59">59</span></p>
+
+<div id="ip_59" class="figcenter newpage" style="max-width: 38em;">
+  <img src="images/i_059.jpg" width="600" height="520" alt="" />
+  <div class="caption"><span class="floatl">The hand grasping the actual handle.</span>
+  <span class="floatr">The hand grasping the modified handle.</span>
+</div></div>
+
+<p class="p1 clear">I would further modify his <a href="#fig1">Fig. 1</a>, so as to give more
+fulcrum to the hand. The thumb-plate should be made
+weighty and the guard light, otherwise the blade will be
+over-balanced, that is, heavier on one side than on the
+other. It need hardly be said that the grip before going
+into battle should be whipped round with thin whipcord, or
+better still, with web-cloth.</p>
+
+<p class="p2 small center"><span class="bt">LONDON: PRINTED BY WM. CLOWES AND SONS, STAMFORD STREET AND CHARING CROSS</span></p>
+
+<div class="chapter"><div class="footnotes">
+<h2 id="FOOTNOTES" class="nobreak p1">FOOTNOTES</h2>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_1" href="#FNanchor_1" class="fnanchor">1</a> The exceptions are in “<em>Right Prove Distance</em>” (p. 13) and No. <em>Seven</em>
+Cut (p. 16). In the other Cuts the thumb “grasps the handle.”</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_2" href="#FNanchor_2" class="fnanchor">2</a> The French divide <i xml:lang="fr" lang="fr">l’Escrime</i> into two parts: (1) <i xml:lang="fr" lang="fr">Escrime à l’épée</i>,
+or <i xml:lang="fr" lang="fr">Escrime pointe</i>; and (2) <i xml:lang="fr" lang="fr">Escrime au sabre</i>, or <i xml:lang="fr" lang="fr">Escrime contrepointe</i>.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_3" href="#FNanchor_3" class="fnanchor">3</a> The question is considered at great length in my forthcoming
+volume entitled ‘The Sword:’ here it is sufficient simply to state
+results.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_4" href="#FNanchor_4" class="fnanchor">4</a> When every regiment shall have its <i xml:lang="fr" lang="fr">salle d’armes</i>, the fencer will
+modify his own fencing thrusts to suit the clumsier weapon. I do not,
+however, see any reason why the three Points of the Infantry Sword
+Exercise should not be delivered in the <i xml:lang="it" lang="it">posizione media</i> of the Italian
+school, with the thumb upwards and extended along the back of the
+sword-handle: nor why, as in the French <cite>Manuel</cite>, they should not be
+reduced to a single <i xml:lang="fr" lang="fr">Coup de Pointe</i> (p. 239), which is thus described.
+“<i xml:lang="fr" lang="fr">Baisser la pointe du sabre à hauteur de la poitrine et déployer le bras en
+tournant la main, le pouce en dessous, le tranchant du sabre en dessus.</i>”</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_5" href="#FNanchor_5" class="fnanchor">5</a> As Mr. John Latham justly says (“The Shape of Sword-blades,”
+‘Journal of the Royal United Service Institution,’ vol. vi.):—“The
+proper shape for a thrusting sword is pre-eminently straight.” The
+Clay-more, for instance, moving in a direct line, cuts a hole exactly
+the size of the blade; the Regulation sword, slightly curved, widens
+it to about double, and the bent scimitar and the Talwár, to five or
+six times, thus meeting with five or six times the resistance to its penetration.
+Mr. Latham is again quoted in another part of this System.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_6" href="#FNanchor_6" class="fnanchor">6</a> My only objections to this volume are the two following:—
+</p>
+<p>
+(<i>a</i>) The author <em>will</em> “throw the whole weight of the body on the left
+leg.” (Fig. 2, p. 69.) Yet in his Introductory Remarks (p. 5) he sensibly
+says, “To the haunches, as to the common centre of motion of the
+human figure, are ultimately referred all the movements performed in
+military tactics” (and swordsmanship); “as just poise is important to
+the correct exertion of action, whatever it may be, it is necessary that
+poise or balance be studied, understood, and tried in all positions. It
+is clear that bodily action cannot possess compass, power, and ease,
+unless the movement be made justly and correctly upon the haunches,
+as on a central pivot. If the movement have not compass, power, and
+ease; force and endurance will not be found in the Military act.”
+</p>
+<p>
+(<i>b</i>) In the Lunge our author not only keeps the body “perfectly
+erect,” he even inclines it backwards whilst he allows both feet to
+abandon the perpendicular in the most slovenly way: see Fig. 2, p. 70,
+and Figs. 1 and 2, p. 71. The same is the case with the official
+‘Infantry Sword Exercise.’</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_7" href="#FNanchor_7" class="fnanchor">7</a> My old friend and instructor set out upon a thoroughly scientific
+principle, and the able way in which he has worked out his system
+will entitle him to the gratitude of the <i xml:lang="la" lang="la">posteri</i>. Having established the
+fact that in all our popular athletic, as opposed to gymnastic, exercises,
+our walking and running, cricket and football, fives, tennis, and racquets,
+and especially rowing—which has advanced as an art but has declined
+as an exercise—we circumscribe the line of muscular operation by
+giving the greatest share of the work to the lower limbs, and by
+developing one half to the injury of the other; he resolved to cultivate
+the whole by a wider and more varied range of training; hence he
+supplemented “Recreative exercise” by “Educational exercise,” and
+hence his systematized national gymnasia, which, taken up by H.R.H.
+the Duke of Cambridge and by the late Sidney Herbert, have been
+introduced into the military stations of the Cardwell system, into
+Oxford and Cambridge, and into all our public schools, with one “base
+exception”—Eton.
+</p>
+<p>
+Mr. MacLaren, in his ‘System of Fencing.’ &amp;c. (p. 9), sensibly advocates
+“resting the weight of the body equally upon both legs.” He
+also lowers the right hand in the Lunge (p. 11), and (<i xml:lang="la" lang="la">ibid.</i>) he throws
+the trunk forward, perhaps with a little exaggeration.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_8" href="#FNanchor_8" class="fnanchor">8</a> The ‘Infantry Sword Exercise (see the figures over the Target
+representing the “Preparatory Positions”), “Second Position in 2
+Motions,” makes No. 2 turn the left knee out instead of carrying it
+square to the front; the same may be remarked in “Balance Motions”
+(No. 4).</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_9" href="#FNanchor_9" class="fnanchor">9</a> The Moulinet (Ital. Molinetto) is even on horseback a favourite
+movement with French sabrers (See <cite>Règlement Provisoire</cite>, &amp;c., Tome <span class="smcap smaller">I</span>.
+Titres <span class="smcap smaller">I</span>. et <span class="smcap smaller">II</span>.). It is divided into—
+</p>
+<p>
+1. “<i xml:lang="fr" lang="fr">À gauche Moulinet</i>” (1 temps, 2 mouvements). The directions
+are: “À la dernière partie du commandement, qui est <span class="smcap">Moulinet</span>,
+étendre le bras droit en avant de toute sa longueur, le poignet en
+tierce et à hauteur des yeux.”
+</p>
+<p>
+“Baisser la lame en arrière du coude gauche pour décrire un circle
+d’arrière en avant ... et se remettre en garde.”
+</p>
+<p>
+2. “<i xml:lang="fr" lang="fr">À droite Moulinet</i>” (1 temps, 2 mouvements). “À la dernière
+partie du commandement, qui est <span class="smcap">Moulinet</span>, étendre le bras droit en
+avant de toute sa longueur, le poignet en quarte et à hauteur des
+yeux.”
+</p>
+<p>
+“Baisser la lame en arrière du coude droit pour décrire un circle
+d’arrière en avant ... et se remettre en garde.”
+</p>
+<p>
+3. “<i xml:lang="fr" lang="fr">À gauche et à droite Moulinet</i>” (1 temps, 2 mouvements). “À la
+dernière partie du commandement, qui est <span class="smcap">Moulinet</span>, exécuter le
+premier mouvement de <i xml:lang="fr" lang="fr">à gauche Moulinet</i>.”
+</p>
+<p>
+“Exécuter alternativement et sans s’arrêter sur aucun mouvement
+le Moulinet à gauche et le Moulinet à droite.”
+</p>
+
+<p class="p1 b1 center">
+“À gauche et à droite = <span class="smcap">Moulinet</span>.”
+</p>
+
+<p>
+4. “<i xml:lang="fr" lang="fr">À droite et à gauche Moulinet</i> (1 temps, 2 mouvements). À la
+dernière partie du commandement, qui est <span class="smcap">Moulinet</span>, exécuter le
+premier mouvement de <i xml:lang="fr" lang="fr">à droite Moulinet</i>.
+</p>
+<p>
+“Exécuter alternativement et sans s’arrêter sur aucun mouvement,
+le Moulinet à droite et le Moulinet à gauche.”
+</p>
+
+<p class="p1 b1 center">
+“<i xml:lang="fr" lang="fr">À droite et à gauche</i> = <span class="smcap">Moulinet</span>.”
+</p>
+
+<p>
+5. “<i xml:lang="fr" lang="fr">En arrière Moulinet</i> (1 temps, 2 mouvements). À la dernière
+partie du commandement, qui est <span class="smcap">Moulinet</span>, élever le bras en arrière
+à droite de toute sa longueur, la pointe du sabre en l’air, le tranchant à
+droite, le pouce allongé sur le dos de la poignée, le corps légèrement
+tourné à droite.”
+</p>
+
+<p>
+“Décrire un circle en arrière de gauche à droite, le poignet éloigné
+du corps le plus possible, et se remettre en garde.”
+</p>
+
+<p class="p1 b1 center">
+“En arrière = <span class="smcap">Moulinet</span>.”
+</p>
+
+<p>
+“Les cavaliers, exécutant bien les Moulinets, on leur en fait faire
+plusieurs de suite, en faisant précéder cet exercice de l’indication; <i xml:lang="fr" lang="fr">les
+Moulinets continueront jusq’au commandement</i>: <span class="smcap smaller">EN GARDE</span>.
+</p>
+<p>
+“Les Moulinets ayant pour objet d’assouplir les articulations du bras et
+du poignet, il faut que les cavaliers y soient exercés comme préparation
+aux autres mouvements; on commence et on finit donc chaque leçon par
+des Moulinets exécutés à un degré de vitesse proportionné aux progrès des
+cavaliers.”</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_10" href="#FNanchor_10" class="fnanchor">10</a> In the Regulation sword the “centre of percussion” is about one-third
+from the point; here there is no vibration, and consequently the
+Cut exercises its whole force. The “centre of gravity” is in the third
+nearest the hilt, and the “balance” of the sword results from the
+relative positions of the two centres. In light swords these points may
+be farther apart than in heavy blades; they should be closer in straight
+than in curved swords, and nearer in thrusting than in cutting
+weapons.</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_11" href="#FNanchor_11" class="fnanchor">11</a> The following are the five principal ways of cutting:—
+</p>
+<p>
+1. The Chopping or Downright Cut, from the shoulder and fore-arm.
+This appears to be the instinctive method preserved by Europe; most
+men who take up a sword for the first time use it in this way.
+</p>
+<p>
+2. The Sliding Cut, common throughout the East. In this movement
+the elbow and wrist are held stiff and the blow is given from the
+strong muscles of the back and shoulder, nearly ten times larger than
+the muscles of the arm, while the whole force and weight of the body
+are thrown in. Hence the people of India use small hilts with mere
+crutch-guards, which confine the hand and prevent the play of the
+wrist; the larger grip required for the Chopping Cut only lessens the
+cutting force. The terrible effect of these cuts is well known.
+</p>
+<p>
+3. The Thrust Cut, with the curved (“Damascus”) blade; a combination
+of point and edge, the latter being obliquely thrust forward and
+along the body aimed at. This movement is a favourite on horseback,
+when speed supplies the necessary force, which can hardly be applied
+on foot. It must be parried like a Point.
+</p>
+<p>
+4. The Whip Cut; in which the arm and elbow are kept almost
+motionless, and the blow is delivered from the wrist. This is the
+principal Cut allowed in my system; it is capable of sufficient effect
+upon the opponent whilst it does not uncover the swordsman who
+uses it.
+</p>
+<p>
+5. The Drawing or Reverse Cut, which will be explained in the
+following pages; it is the reverse of the “Thrust Cut.”</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_12" href="#FNanchor_12" class="fnanchor">12</a> This fact is well known to the <cite>Manuel</cite>, which says, “<i xml:lang="fr" lang="fr">Des deux
+engagements celui de droite par la position de la main a le plus d’application</i>.”
+It therefore makes all the Cuts and Parries begin from Tierce.
+This elementary rule is not recognized by the ‘Infantry Sword Exercise’
+(p. 32); “your defence is always more effective in the left (Carte)
+than in the right (Tierce).” Such I assert is the case with the foil and
+rapier, certainly not with the sabre or broadsword. On horseback the
+left is of course the weak side.</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_13" href="#FNanchor_13" class="fnanchor">13</a> Used in this sense the “small-sword” is the triangular weapon,
+the rapier is the flat, or rather the bi-convex blade.</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_14" href="#FNanchor_14" class="fnanchor">14</a> In p. 29 of the ‘Infantry Sword Exercise’ we read of “a circular
+motion of the blade, termed the Parry;” but the latter word must not
+be limited to this sense.</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_15" href="#FNanchor_15" class="fnanchor">15</a> The only allusion to it is the “shifting of the leg,” in p. 30.</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_16" href="#FNanchor_16" class="fnanchor">16</a> See the ‘Infantry Sword Exercise,’ p. 31.</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_17" href="#FNanchor_17" class="fnanchor">17</a> In France the false edge is hardly known; such blades are called
+<i xml:lang="fr" lang="fr">à deux tranchants</i>; it is the Italian schiena or chine, mezzo-filo, or
+falso opposed to vero taglio, and the German, rückschneide or kurzeschneide,
+thus distinguished from the lange-schneide.</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_18" href="#FNanchor_18" class="fnanchor">18</a> See his Appendix, entitled “Modificazione all’ impugnatura e
+guardia delle Sciabola di cavalleria per facilitarne l’equilibrio ed
+avantaggiare la fermezza della mano sull’ impugnatura.”</p></div>
+
+<div class="footnote">
+
+<p class="fn2"><a id="Footnote_19" href="#FNanchor_19" class="fnanchor">19</a> A notable instance of this is the old Highland Clay-more.</p></div>
+</div></div>
+
+<div class="chapter"><div class="transnote">
+<h2 id="Transcribers_Notes" class="nobreak p1">Transcriber’s Notes</h2>
+
+<p>Simple typographical errors were corrected.</p>
+
+<p>Punctuation, hyphenation, and spelling were made
+consistent when a predominant preference was found
+in the original book; otherwise they were not changed.</p>
+</div></div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of A New System of Sword Exercise for
+Infantry, by Richard Francis Burton
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