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Title: Sword play, based upon the French school of the foil
Author: Scott Dudley Breckinridge
Scott D. Breckinridge
Release date: September 2, 2026 [eBook #79503]
Language: English
Original publication: New York: A. S. Barnes & Co., 1941
Other information and formats: www.gutenberg.org/ebooks/79503
Credits: Tim Lindell, Steve Mattern and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.)
*** START OF THE PROJECT GUTENBERG EBOOK SWORD PLAY, BASED UPON THE FRENCH SCHOOL OF THE FOIL ***
SWORD PLAY
[Illustration: FRANCOIS DARRIEULAT Fencing Master]
SWORD PLAY
_Based upon_
THE FRENCH SCHOOL
OF THE FOIL
_By_ SCOTT D. BRECKINRIDGE
_and_
SCOTT D. BRECKINRIDGE, Jr.
[Illustration]
A. S. BARNES & COMPANY, NEW YORK
COPYRIGHT, 1941, BY A. S. BARNES AND COMPANY, INCORPORATED
_This book is fully protected by copyright and nothing
that appears in it may be reprinted or reproduced in any
manner, either wholly or in part, for any use whatever,
without special written permission of the copyright owner._
PRINTED IN THE UNITED STATES OF AMERICA
_This little book is dedicated by two former pupils_
To
FRANCOIS DARRIEULAT
Originally of Dax, in France; sometime Master of the Sword to The
Washington Fencer’s Club, the Washington Racquet Club, the United
States Naval Academy and Cornell University. Twice coach to American
Olympic Fencing Teams. A sound teacher, an inspiring master, a loyal
friend.
PREFACE
The accompanying brief text originated in the failure, when called
upon to coach the fencing team at the University of Kentucky several
years ago, to find any book on the subject that seemed to sufficiently
emphasize some of the basic principles of French Foil play. With books
adequately presenting both the Italian and compromise schools, we felt
that a brief presentation of the theory of the French school would not
be amiss.
It has seemed to us that this tendency to follow a compromise school
without any effort to explain or insist upon the basic theory and
practice of either French or Italian method, will develop a group of
sword fighters whose progress is limited by their personal ability and
originality along irregular lines rather than by the almost limitless
possibilities of either of the classical schools. Certainly a fencer
thoroughly grounded in the basic philosophy and technique of either
of these schools is better prepared for a long course of steady
improvement than the individual who has a rather vague conception of
the purpose and performance of offense and defense with the sword.
Therefore, we have endeavored to present accurately and with reasonable
thoroughness the basic principles of the French school. We have
tried to indicate the practical application of these principles to
competition fencing and to point out a number of the pit falls that
await the unwary.
There are four groups to whom it is hoped that this little book will
prove of special value: (1) the amateur fencer whose past interest
has been in the practice rather than in the theory of the art, but
who has been drafted as coach in one of the colleges that has no
available professional; (2) the instructor in the Department of
Physical Education who, with only a minimum of personal knowledge,
is called upon for class instruction; (3) the amateur fencer who has
become somewhat vague in his memory of theory, rules, and conventions,
but finds that he is to be called upon to act as an official in local
fencing matches; and (4) the young fencer who must either give up
fencing or find his way as best he may without the advantages of
personal instruction.
CONTENTS
CHAPTER PAGE
Preface vii
Foreword xi
I. Fundamentals 1
The Position of Guard, without the Sword
The Advance and Retreat
The Thrust
The Lunge
The Sword
The Grasp (Grip, or Hold) of the Sword
Positions of Sword-hand in Guards
II. Defense and Attack 13
Distance
The Engagement
Counter Parries
The Attack
The Disengage and Lunge
The Cut-Over (coupé) and Lunge
The Feint
The One-Two
The Double-Counter-Attacks
Attacks on the Sword
Defense Against Attacks on the Sword
III. Irregular Practises 47
IV. The Bout 52
V. Exercises 68
VI. Class Instruction 71
VII. The Duelling Sword 85
VIII. The Saber 91
Index 99
FORWARD
“SHALL WE FENCE?”
Man was never as fleet of foot and certainly never as strong of fang
and claw as the larger animals with which he had to contend as he
fought his way up the ladder of physical and social evolution. However,
he was superior in cunning, and, later, in pure intellect. Early, he
sought means of equalizing the physical balance--first employing such
crude clubs as could be broken from the forest trees, later improving
these by the addition of a grass or skin bound lump of stone, and yet
later discovering that blood-letting was superior to tissue crushing.
This last discovery, which led to the development of the stone knife,
was the first step in the evolution and perfection of the sword. First,
the dagger was fastened to a staff to make a spear and, eventually,
the sword appeared, although this probably did not come in its true
form until the bronze age. Whatever its exact date, since the earliest
historical records and monuments of man, the sword has been his
companion and principal weapon of offence and defence. In fact, it was
not until after the French Revolution that it disappeared as part of
the formal dress of the gentleman, and not until after World War I that
it ceased to be an important part of the equipment of the cavalryman.
And the sword was by no means a strictly utilitarian product. Not
only was it frequently the object of the most painstaking and loving
attention of both swordsmith and silversmith, but it was endowed with
personality, in some of the most romantic songs and stories of the
ages. King Arthur, at the head of his knights of the Round Table, did
not wear just a sword. At his side rested Excalibur. When Roland died
in the Vale of Roncesvalles, surrounded by the bodies of his Moorish
foes, in his right hand was the good sword, Durandal. The Cid Campeador
carried into battle the sword Tizona. Siegfried bore no nameless
weapon. And so, in the romances of England, of France, of Spain, and of
Germany, we find the swords of the heroes endowed with personalities.
Therefore, we may proudly claim that our weapon has a history and a
romance both as old as those of man. Also, it is interesting to realize
that the sword has progressed with its bearer, varying in weight, in
shape, and in general characteristics as he has visualized the uses to
which it was to be put. In the so-called days of chivalry, the problem
of the swordsman was not graceful play of sword against sword, but
the cracking of a shell of armor so that he could reach the kernel of
humanity within. With the passing of armor, the sword was lightened
to the rapier--and, with the progressive lightening of the sword, its
uses became more and more delicate and complicated, until, by the time
of the appearance of the colichemarde and small sword, most of the
refinements that we know today had been recognized and developed.
Today, there remains to us a game which employs the three weapons that
have been derived from the rapier--the duelling sword which, except
for larger guard and slightly larger blade, is an exact replica of the
small sword; the foil, which was developed as a practice weapon for
the small sword; and the saber which retains the use of both point and
edge, as did the rapier, but is much lightened to permit greater speed
and versatility of play. This game calls upon the physical forces as
does any of our more severe athletic games. It requires the meticulous
attention to technique that characterizes golf; the explosive energy
of the sprint runner; the split-second decisions of the tennis player
and boxer; and, above all and before all, it requires for its fullest
achievement a power of analysis that is not equalled by any other
game in the athletic group--much more nearly resembling chess in
this characteristic. And it is this final attribute that charms and
holds its devotees. After the passing of the super-abundant physical
energy of youth which requires some outlet, even after the passing of
that period when hard training will bring back speed and endurance,
there remains the fascination of the game, where cunning of head and
skill of hand may still more than balance the physical superiority of
younger, but less skilled, heads. It is a game that can be followed
for four or five decades, with the aging devotee still a dangerous
competitor at the end of this time. It is a game where the 220 pounder
has no advantage over the man half his size, and where the six footer
possesses no insuperable advantage over the man a half foot shorter.
It is a game of speed and coordination, of technical finesse and
intellectual acuity, and offers full reward, both physical and mental,
to those who will pursue its intricacies.
Chapter I
FUNDAMENTALS
THE POSITION OF GUARD, WITHOUT THE SWORD
The feet are at right angles--the front foot in the long axis of the
fencing strip and pointing directly towards the opponent, with the heel
in line with the heel of the rear foot and about two foot-lengths from
it. The distance between the feet cannot be set arbitrarily, but must
be such as to give a steady position without sacrificing agility, or
tending to fixation. Both knee- and hip-joints are well flexed, so that
the individual is almost “sitting on air.” The front thigh should form
an angle of less than forty-five degrees with the horizontal and the
knee should be directly above the instep. The rear knee is “cocked”
slightly in front of a vertical line above the foot--so as to lend more
force and assurance to the forward kick in the lunge. The weight is
equally distributed on both feet, so that movement to the front or rear
may be executed with equal ease. The body is erect, with rear shoulder
forced somewhat backward so as to minimize the target offered to the
opponent, but without sufficient restraint to hamper activity. The
rear arm is elevated, with upper arm horizontal, forearm vertical and
hand horizontal, the shoulder, elbow and wrist forming right angles.
The position of this arm should be maintained without rigidity or
tightness. The forward, or sword, arm is about two-thirds extended, the
forearm being almost horizontal with elbow and hand slightly below the
level of the breast. This level should be approximately midway between
the top of the collar and the fork of the crotch. The elbow of the
sword arm should be maintained definitely inside of the outer line of
the body.
Early effort should be made: (1) to accustom the muscles of the rear
shoulder to maintaining its backward position for the effacement
of the target; (2) to accustom the thigh muscles to the strain of
maintaining the semi-sitting position; and (3) to accustom the muscles
of the shoulder of the sword arm to the inside position of that elbow.
These are the only positions in fencing that carry with them a sense
of constraint to the beginner, and, as each makes a very appreciable
contribution to the future efficiency of the swordsman, they should
be practised with assiduity from the beginning. The well flexed legs
are the very basis of the attack; the withdrawal of the rear shoulder
minimizes the apparent target; and the “inside” elbow of the sword arm
is a fixed pivot from which all parries are controlled and all ripostes
launched.
THE ADVANCE AND RETREAT
Fencing is a game of constant, sudden, and rapid movement. The
necessity of closing distance to facilitate the delivery of a
successful attack and of increasing distance to reinforce the
execution of a planned defence results in almost incessant advancing
and retreating. The advance is executed by carrying the front foot
forward approximately its own length, planting it, and quickly bringing
the rear foot up to its previous relative position. The retreat is
merely a reversal of this procedure, first carrying the rear foot
backward approximately its own length, and then following with the
front foot. The necessity for quickness in these movements cannot be
over-emphasized. A certain amount of imbalance and unreadiness is
bound to exist while one foot is in the air. The opponent may await
this brief moment and seize it for launching his attack.
[Illustration:
FIG. 1. Side view of guard; in quarte.
FIG. 2. Front view of guard; in quarte.
FIG. 3. Thrust.
FIG. 4. Lunge.]
The jump advance is just what the name would indicate, a short jump
forward--both feet leaving the ground at the same time. In the Italian
school, this is called the “balestra.” It has the advantage of being
executed in a single movement, thus being quicker. However, being in
a single movement, it is irretrievable and, once started, must be
completed. Probably, its greatest field of usefulness is against the
individual who invariably sways backward on his rear leg with his parry
against any attack.
THE THRUST
The thrust is entirely a movement of the sword arm and is the initial
movement in every attack. As the right of way in the attack depends
upon the sword arm being extended, with the point threatening the
target, any movement _preceding_ the thrust, such as an advance or
retreat, is merely by way of preparation, constitutes no threat, and,
consequently, has no rights. The movement, in its simplest form, is
merely a quick extension of the arm, with point in line. The quickness
should be without initial tension or terminal jerk. If the point is
not in line, it does not threaten the target; does not constitute an
effective feint; and, therefore, does not command the right of way.
Occasion will be taken, from time to time, as this work progresses,
to return to this point for it is upon it and the various departures
from it that the entire theory of the right of way in foil fencing is
based. To recapitulate: No movement is a legal threat, or possesses
any inherent rights, unless preceded, initiated, or accompanied by
an extension of the arm, with the point in line; nor do these rights
become activated until this movement has been completed; nor do these
rights persist after either the extension of the arm, or the threat of
the point, is withdrawn.
THE LUNGE
The lunge is the forward movement of the body by a powerful extension
of the rear leg. With the kick of the rear leg, the front foot is
raised an inch or two clear of the floor and travels forward one and a
half or two times its own length, the heel landing almost imperceptibly
ahead of the planting of the ball of the foot. _When_ the front
foot lands, the rear foot should remain in its original position;
the rear leg should be extended; the thigh of the front leg should
be horizontal, the lower leg vertical, and the body inclined _very_
slightly forward. With the kick, the rear arm is straightened smartly
to the rear. This is the concluding movement of each properly executed
attack, carrying the point from its position at the end of the thrust
to the target. It should be catlike in the speed of its execution
as well as in the accuracy and coordination of its movements. It is
executed in a single time. There is no intermediate stage. There is the
kick of the rear leg, followed by the arrival in the full extension
of the lunge. There is no gentle settling to, or gradual assumption
of the lunge. The movement is explosive in its sudden completeness.
If the legs are insufficiently flexed, the forward movement becomes a
fall and is infinitely slow in the split-second terms of fencing time.
If the rear knee is not cocked slightly forward, as prescribed, the
impetus is apt to be in an upward, rather than forward direction, and
both time and distance are sacrificed. If, in the anxiety to reach out
toward the opponent, the body is allowed more than a _very_ slight
forward inclination, the balance will be disturbed and the recovery
slowed. This may leave one at the mercy of a skilful opponent who
has successfully parried the original attack. The recovery from the
lunge is almost entirely dependent upon a strong kick-back with the
front leg. It is aided by a simultaneous flexion of the rear leg and
swinging of the rear arm up to the position of guard. This recovery
must be executed as quickly and smoothly as was the lunge. It must be
so perfectly coordinated and free from conscious effort that it permits
the careful execution of defensive movements with the sword during its
performance. This presupposes long, hard practice, so that perfectly
seasoned muscles perform their function almost without conscious
direction.
Great emphasis is being placed in these preliminary remarks upon
the development of fencing legs. This is necessary for at least
two sufficient reasons. In the first place, fencing is a war of
movement--not one of fixed positions. In the second place, the muscles
involved are used in a way for which no other sport is more than a
partial training. While the fencing lunge may well be compared with
the quick start in the dash races, one is not allowed to prepare his
stance for a single start but must be continually in position to make
it at any moment and repeatedly, with every muscle under the tension
that exists at the precise moment that the gun fires for the start.
The sudden movements of the advance and retreat must be made from this
position. The strain upon untrained thigh muscles is extreme. The
fencer who has not fully mastered these movements and trained these
muscles starts handicapped and must look for his victories among those
who are inferior to himself in other branches of the game, or who
are equally inferior in this branch. Perfect performance and perfect
coordination of head, hand, and legs are necessary for the finished
fencer. The neglect of proper foot-work is one of the commonest
failings in young fencers--but is almost never seen among the finalists
in major competitions. Bad and slovenly habits, formed early, are
frequently fatal to later success. School the hand and the legs, while
waiting for observation and experience to develop the head.
A good exercise for the development of fencing legs consists in taking
the position of guard at one end of a forty-foot fencing strip and
advancing rapidly to the other end, interspersing a lunge and recovery
after every third or fourth advance. Never relax the flexed position of
guard. When too fatigued to continue properly, stop and rest. The same
exercise may be taken in reverse, doing several quick retreats followed
by lunge and recovery. Remember that the average foil bout lasts about
five minutes and that, against anything like even competition, you may
have to make innumerable advances and retreats with as many as fifteen
lunges to gain your five touches. And you may have to do this three,
six, or nine times in a single afternoon, with the added fatigue of
high nervous strain. Few sights are more depressing than a young man,
with the legs of an octogenarian, having to flex them before each
attack and trying to step back, with knees straight, from a swiftly
executed attack.
Hitherto, we have discussed the position of body and arm without the
sword. From now on, we discuss these positions with the sword in hand.
THE SWORD
The sword is made up of four components: the blade; the guard; the
grip (or handle); and the pommel. The blade is further subdivided into
the blade proper and the tang. The tang is of much softer temper than
the blade proper, meets it at a sharp shoulder and serves for the
attachment of guard, grip, and pommel. The guard is usually made of
polished, or plated, steel or aluminum and is most commonly shaped in a
double loop, called “figure 8,” or as a segment of a spherical surface,
called “bell.” Occasionally, rectangles or ovals of solid metal are
seen. The guard has a square aperture at its center for the passage of
the tang. The “figure 8” guard must be faced, on the blade side, with
heavy leather or other material to prevent the passage and trapping of
the opponent’s point. The bell guard is usually padded on the inner
face with a light, circular, cloth cushion. The grip is usually made of
wood, with a tunnel through its center for the passage of the tang. It
is slightly curved to better fit the hand and is usually wrapped with
cord. The pommel is usually of steel in the shape of a truncated cone,
of such length and weight as to properly balance the sword. It may be
in one or two pieces and is usually threaded to fit the end of the tang.
The French blade most commonly used is the #5, which is about
thirty-five inches long; rectangular in cross section; much heavier
near the guard than at the point; and resilient and highly tempered,
so that its tendency is to resume its straightness after a touch.
This blade terminates at the point in a flattened button, which, in
practice, is wound with waxed cord or friction tape. The blade proper
is divided into three theoretical portions: the forte, which is the
heavier part near the guard; the faible, which is the light portion
near the point; and the middle section. In the French theory, all
parries are made against the faible of the attacking sword, either by
a pressure of forte to faible or of a sharp blow of forte to faible,
faible to faible, or mid-section to faible.
The balance of the French foil, to lend itself ideally to the finger
play that is the perfection of French fencing, should be immediately in
front of the guard, so that the sword is _very_ slightly point heavy.
This balance can be obtained by mounting a standard #5 blade and guard,
with a grip measuring six and one half inches in length, and a steel
pommel measuring two inches in length and weighing about five ounces.
Many of the French foils offered on the market are so short in the
grip and light in the pommel as to create a heaviness of point that is
almost prohibitive to any delicacy of finger work.
THE GRASP (GRIP, OR HOLD) OF THE SWORD
The manner in which the sword is held largely governs its proper use,
but is frequently neglected in the basic instruction in sword-play. In
the French school, proper sword-play is grounded upon finger work and,
for the successful employment of this technique, two distinct grips are
employed--the one for defence, the other for offence. In both grips,
the position of the thumb is the same, resting upon the broader surface
of the handle close to the guard. However, the finger grip varies. In
the defence grip, the grip of the sword passes across the palm in such
a manner as to permit the fingers to curl snugly around the handle, the
index finger resting its distal _joint_ (articulation, not phalanx) on
the broad surface opposite the thumb and only partially encircling the
handle. This grip permits the use of the full strength of the fingers
in making parries and attacks on the sword. In the attack position, the
handle of the sword runs slightly obliquely along the palm of the hand,
instead of across it, and is in direct prolongation of the extended
arm. The thumb and index finger retain their firm grip near the guard,
but the terminal phalanges of the other fingers now rest lightly along
the narrow face opposite the palm for direction and control, rather
than force. The finger work (doigté) is one of the most valuable
and delicate and, at the same time, one of the most difficult and
neglected features of French sword-play, and this shifting grip is
quite necessary for its proper performance.
[Illustration:
FIG. 5. Grip of sword in quarte; supination, page 11; defence, p. 9;
top view.
FIG. 6. Grip of sword in sixte; supination, p. 11; defence, p. 9; top
view.
FIG. 7. Side view; hand in supination, p. 11; low line guard, p. 11.
FIG. 8. Side view; same as above except high line guard.
FIG. 9. Grip in attack, p. 9; top view.
FIG. 10. Hand in pronation, p. 11.]
POSITIONS OF SWORD-HAND IN GUARDS
The general position of the body and extremities in the position of
guard has been discussed in earlier paragraphs. The various guards with
the sword are designed to close the various lines of attack to the
opponent’s sword. The valid target in foil play includes the entire
trunk and the neck to the top of the collar. The head, arms, and legs
are excluded. For purposes of description and of defence, this target
is divided by an imaginary horizontal line into a high and a low line.
This horizontal line is drawn at slightly below the level of the breast
and equally divides the distance from the top of the collar to the
fork of the crotch. Frequent reference is also made to an inside and
an outside line, dependent upon its vertical area inside, or outside,
the sword arm. The high and low lines are fixed and constant, but
the inside and outside lines are variable, for reasons that will be
given later. The various areas of the body are protected by a series
of guards which, by their position, prevent the attacking sword from
reaching the body in this particular area. This division gives two
areas to be covered in the high and two in the low line. This gives
us guards in both high and low lines that deviate the attacking point
from the target either to the outer side or to the inner side of the
sword arm. Not only are there the four general lines of deviation of
the attacking point, but in each of these lines there is a distinction
based upon whether the guard is closed with the fingers of the sword
hand up (hand in supination) or with the fingers down (hand in
pronation). This gives us eight guards in all. In all of these guards,
the hand is maintained in the horizontal line dividing high and low
lines, the point being at eye level in the high line and at knee level
in the low line guards.
If, as stated above, these guards prevent the attacking sword from
reaching the body in the particular area which each is designed to
protect, it becomes obvious that, when an outside guard is taken, no
outside line for attack exists, except one which is outside the body,
and, consequently, no line at all. The same holds true of the inside
line, either high or low. Therefore, the outside and inside lines are
variables, existing only one at a time for purposes of attack and,
when they do exist, including the entire target. This distinction will
become more clear with the detailed description of the various guards
and their use in combat.
Chapter II
DEFENCE AND ATTACK
Although one would probably be quite justified in stating that there
can be no arbitrary system of attack and defence with the sword, yet
the four and a half centuries of accumulated experience that measure
the development of modern sword play must have taught certain lessons
as to greater, or lesser, desirability of method. The foil, being
essentially a weapon of practice, has further been surrounded with
certain conventions which carry a direct, or indirect, penalty for
doing things that would result in a wound to the offender in actual
combat with sharp weapons.
The convention of the “right of way” is probably the most important
single convention in foil play and has evolved from certain very
logical assumptions regarding conduct in actual combat. It is assumed
that there is no attack until there is a threat and that there can
be no threat unless the point is directed toward the valid target.
It is further assumed that any individual threatened with a sharp
weapon would make some movement of defence. In order that the attacker
should somewhat more definitely indicate his intention than by the
simple direction of his point in order to be able to claim the benefit
of the convention, it is further assumed that the first movement
of a real attack will consist in the extension of the arm, as the
forward precipitation of the body with arm withdrawn might result in
impaling oneself upon the extended sword of one’s opponent. Thus,
the convention declares that the individual who extends his arm
towards his opponent, with his point in line (that is threatening the
valid target), shall have the right of way. This convention (right
of way) requires that his opponent shall deviate the attacking point
from its threatening position by parry, or attack on the sword,
or by evasion through bodily movement before initiating any type
of counter-offensive. If the effort to deviate, or to evade, the
threatening point is unsuccessful and the one threatened precipitates
himself upon it in making a counter-attack, the touch counts against
him, even though he scores what would otherwise have been a valid
touch. The logic of this convention is clear. The defender has taken
a chance with practice weapons that would never have been accepted in
actual combat and is penalized for the transgression. This convention
leads to the rule: The man attacked must parry. Of course, this rule
does not mean that every attack, no matter how ill-conceived as to
time and distance or how poorly executed, must be honored by a parry.
However, it does mean that, in the face of a properly executed attack,
the defender has no offensive rights until he has found the attacking
sword with his own and carried its point away from his torso.
[Illustration:
FIG. 11. Guard of prime; front view, p. 15.
FIG. 12. Guard of high prime, p. 51.
FIG. 13. Seconde, side view, p. 16.
FIG. 14. Seconde, front view.
FIG. 15. Tierce, side view, p. 16.
FIG. 16. Tierce, front view.
for quarte see figs. 1 and 2.]
This discussion of one of the fundamental conventions of foil play and
its accompanying rule brings us to a detailed consideration of the
guards, parries, and attacks. The general character of the guards has
already been mentioned. Experience has shown that the entire target can
be covered and the different lines of possible attack closed by four
guards. To all intents and purposes, in the French school, there are
but four guards, but, as it is sometimes advantageous to take them with
the hand in pronation or in supination, each position has been given a
separate designation. These positions are designated by number and the
first (prime) is the position guarding the low line on the inside with
the hand in pronation, to which the sword naturally goes upon being
drawn from a scabbard at hip level on the inside, or side opposite the
sword hand. If this guard was deceived by the opponent, the hand was
carried directly across the body, to meet the deceive and to cover
the outside line, the hand still pronated and slightly below breast
level, the point still at the level of the knee if the deceive was in
the low line, but raised to the level of the eye if the deceive was in
the high line. These two positions give us the second and third guards
(seconde and tierce). These were the early days of the rapier. The
weapon was very long (a sixty inch blade being not unknown and a length
from ground to navel being considered the perfection of individual
fitting) and relatively heavy, being still suitable for cutting as
well as thrusting. There was no light play of the point in attack,
or light tapping of the opponent’s blade in defence. The guard, or
parry, must carry authority. This was perhaps accomplished best by what
today might be called a rolling parry. So, on the deceive of the third
guard, the hand was carried across the body, rolling from pronation to
supination, developing the first guard of the high line on the inside
and the fourth guard of our series (quarte). Although this position
proved the handiest for the high inside guard with the heavy rapier,
the other guards being with the hand in pronation, it was only natural
that a similar guard should be developed for this line--so we have the
fifth guard (quinte) which covers the high inside line with the hand in
pronation. The development of the rolling guard from quinte to cover
the high outside line led naturally to the sixth guard (sixte), with
hand in supination. We can readily visualize the duellist, rolling his
guard from tierce to quarte to meet his opponent’s blade, suddenly
realizing that the threatening point has shifted to the low line. Just
as quickly, he drops his point to cover the threatened area, and the
seventh guard (septime), is born, with hand in supination to cover the
low inside line. The eighth guard (octave), probably had a similar
birth during a rolling guard from quinte to sixte, which had to be
quickly modified to cover the low line. And so we have the eight guards
of the French school--all with the hand at the same level, slightly
below the breast; four (prime, seconde, tierce, and quinte) with the
hand in pronation; four (quarte, sixte, septime, and octave) with the
hand in supination; four (tierce, quarte, quinte, and sixte) with the
point at eye level; four (prime, seconde, septime, and octave) with the
point at knee level; four (prime, quarte, quinte, and septime) with
the hand in the same vertical plane as the front of the inside (rear)
shoulder; four (seconde, tierce, sixte, and octave) with the hand in
the same vertical plane as the back of the outside (front) shoulder;
and all with the elbow carried inside the outer line of the body.
In this discussion, no distinction has been made between guard and
parry. However, in modern fencing, there is a definite, though slight,
difference. The guards are _positions_ which close certain lines to
attack, whereas the parries are _movements_ which are designed to
close threatened lines to attack and, at the same time, to carry the
threatening point definitely out of line. In the guard position, the
point is toward, or at, the center line of the body at the approximate
height of the eye in the high line, and of the knee in the low line. In
the parry position, the point is in the vertical plane of the shoulder
on the side threatened. The defending point is carried to this position
by a sharp loosening and contraction of the fingers, as the hand moves
from one guard position to another.
The parries accomplished by this movement of hand _and_ point from one
line to another are called simple parries and are indeed the simplest
and most natural method of meeting a threat in any of the unclosed
lines.
[Illustration:
FIG. 17. Guard of quinte from front (low quinte not shown), p. 16.
FIG. 18. Guard sixte from front, p. 16. For side view see Fig. 1.
FIG. 19. Guard septime from front, p. 17.
FIG. 20. Side view both octave and septime, p. 17.
FIG. 21. Guard octave from front, p. 17.]
_Distance._ As usually employed in fencing, the word “distance” applies
to the extreme limit from which an attack can be successfully launched.
In other words, it is the additional distance added to an attack by the
extension of the arm and the lunge, without moving the rear foot closer
to your opponent. This automatically creates the conception of a double
distance, one for each fencer, as physical conformation, position, and
correctness of performance are seldom identical in any two opponents.
This is a matter of major importance in competition, as what is out of
distance for one fencer may be well within for another.
_The engagement._ When two opponents face each other _within distance_,
they have the choice of fencing either in, or out of, engagement. The
engagement consists in the holding of the faibles of the two swords
in light contact, the line in which the contact occurs usually being
closed by both opponents. Of course, either of the guards closing a
particular line may be employed by either fencer. Thus, one may be
engaged in tierce and the other in sixte--both closing the high line to
the outside of the arm.
Where one fencer is left-handed, they engage in opposite
guards--quarte, or quinte, opposing tierce, or sixte. When fencing out
of engagement, there is no contact of swords and no prescribed line
is closed. Fencing out of engagement is usually not employed within
distance.
_Counter parries._ Each position of guard, in addition to its simply
parry, also has what is called a counter parry of the same name. In
contrast to the natural, or instinctive, character of the simple
parries, the counter parries are definitely planned parries. Instead
of meeting the threatening point in the line attacked and deviating it
from the target in that line, the counter parry picks up the attacking
blade by a somewhat encircling movement, carries it back to the
original line and deviates the point in that line. On account of this
encircling movement, the counter parries are often called circular
parries. Literally, this is inaccurate, but it has been widely accepted
by both teachers and authors on account of the difficulty of either
describing or illustrating what should occur. If one can visualize
the simplest threatening movement by the opponent in the open line,
it will consist of simply passing the point under (in the high line)
the defending sword and extending the arm, with the point threatening
the target. Of course, as a terminal movement, this extension will
be followed by a lunge. But, at the completion of the thrust, it
places the attacking sword relatively close to the defending one, in
a horizontal line at the height of the shoulder, with the point in
approximately the same transverse vertical plane with and about six
inches above the defending guard (or point of intersection of guard and
blade). However, the defending blade is sloping upward from slightly
below breast level to about eye level and toward the mid-line from
the shoulder line. This places the defending hand about six inches
below and the defending point about eight inches above the attacking
sword. Also, if the attacking sword is very close to the defending,
the defending point may occupy a position further in the open line
than does the attacking point. This means that, before the start of
the encircling movement, the defending point must assume a position
below and to the closed side of the attacking blade. It must then pass
back _under_ to the open side and, as a third movement, strike the
opposing blade and deviate its point while carrying the defending point
past its original position of guard to that of parry. In theory, this
would form a triangle with its sides continued beyond the apex. Figure
1 (page 21) roughly illustrates this theory, A being the starting
position of the defending point and ABCD its line of travel about the
attacking blade O. However, in practice, this is a continuous movement,
so that the base angles are rounded and the enclosed area becomes more
a raindrop than a triangle. Figure 2 illustrates the rounding of the
base angles. These figures illustrate the movement of the point from
the guards of quarte, or quinte, as you face the attacker. The movement
is counter-clockwise to the observer. From the guards of tierce, or
sixte, the movement by the defender would be clockwise. In the low
lines, the loop would be inverted, as the defending point passes over,
instead of under, the attacking blade. These analyses and figures only
apply to the counter as an initial parry; i.e., when taken from the
position of guard. When it is a later parry against a compound attack,
i.e. taken from the position of parry instead of guard, the movement
of the point is somewhat different. Being already in the position of
parry, the point need only be lowered vertically to be in position
for its encircling sweep and need only return to its starting point,
so that the theoretical figure becomes a right-angle triangle with
apex uncrossed, and the practical figure becomes only one-half of our
raindrop.
[Illustration:
FIG. 1
FIG. 2]
_The attack._ As the object of all sword play is to touch without being
touched, an efficient attack must be of the very greatest importance.
Any detailed reference to the technique of the attack has been delayed
in the present work on account of the obvious fact that the character
is almost wholly dependent upon the system of defence employed and the
efficiency of its execution. As this makes it true that no adequate
appreciation of the objectives, logic, and technique of certain attacks
can be attained without a thorough understanding of the various
parries, the endeavor has been made to impart this understanding before
proceeding to a detailed consideration of the attack.
When considered according to motive, attacks may be divided into frank,
false, and concealed attacks. The present discussion is concerned with
frank attacks, which are just what the name implies--frank efforts
to gain a valid touch by the offensive penetration of the opponent’s
guard. According to the complexity of the manoeuvers with the sword in
their execution, frank attacks are classified as simple attacks and
compound attacks.
The simple attacks are called:
1. The straight lunge.
2. The disengage and lunge.
3. The cut-over (coupé) and lunge.
The compound attacks are composed of any series, or combination, of the
simple attacks used as feints, with the thrust accompanying the first
and the lunge the final movement.
_The straight lunge._ The straight lunge is executed by extending the
sword arm toward the target and lunging without any effort to evade
the defending sword. Its efficacy must depend entirely upon speed and
timing. Therefore, it is almost never used against an opponent who
fences in engagement, with the line of engagement properly closed.
_The disengage and lunge._ The disengage and lunge is executed by
passing the point under the defending sword, as the arm is extended,
and lunging upon the completion of the thrust. This is our first
practical example of the delicacy of the French finger play. In the
position of guard, in engagement, the hand is already on the open side
of the defending blade, and the point is on the closed side. To make
this disengage, the guard grip of the fingers is relaxed sufficiently
to permit the point to drop below the level of the defending sword; the
fingers are tightened in the attack grip as the thrust is executed; and
the lunge follows immediately. All of this is accomplished without any
conscious lateral movement of the attacking point, the mere shifting of
the finger grip accomplishing this first disengage.
To avoid confusion, it is probably well to mention at this point that
the guards of pronation do not lend themselves readily to finger play
in offensive work, although some of them are particularly strong for
defensive purposes. For this reason, the guards of quarte and sixte in
the high line and septime and octave in the low line are frequently
favored by fencers of the French school.
The disengage from one low line to the other must pass over, instead of
under, the defending blade and, consequently, requires more wrist play,
but in other ways is essentially as described.
_The cut-over_ (coupé) _and lunge_.
The cut-over is executed with the fingers by elevating the point just
enough to clear the point of the defending sword and dropping it into
line on the other side as the arm is extended. The lunge follows the
thrust immediately.
Although there is little difficulty, or danger, in executing the coupé
from the position of guard, as an original simple attack, there may be
both difficulty and danger in its use from the conventional position as
a second, or later movement in a compound attack. With the arm extended
in a full feint, there is some difficulty in clearing the defending
point without bending the elbow. As the cut-over withdraws the point
from its threat of the opposing target, the accompanying bending of the
elbow would result in a complete surrender of the conventional right of
way obtained by the extension of the arm with the point threatening the
target. For this reason, the cut-over carries an inherent danger, or
weakness, to the attacker, in any case. Therefore, it is advised that a
slight departure from the conventional position of the hand be employed
with the coupé. This would consist of a slight turning of the hand
toward a mid-position, with the thumb up. This permits a much greater
withdrawal of the point by finger action alone, without any bending of
the elbow.
As already stated, the compound attacks may consist of any series, or
combinations, of simple attacks. They are all based upon the successive
execution of one or more parries by the defence and are planned so
that the second, third, or later movement will, through superiority of
execution in speed or timing penetrate the defensive guard. They must
be adapted in both character and timing to the defence, as failure
in either will result in contact of the swords and a breaking of the
rhythm of the attack. Indeed, this accidental contact of the swords may
be considered a technical parry and deprive the attacker of any further
rights. In other words, more than one disengage will not deceive a
counter parry and the type of attack that will deceive a counter parry
will not deceive simple parries.
_The Feint._ In any attack, a movement that is designed to draw a
defending parry but not, by its direct continuation, to reach the
defending target is called a feint. In a frank attack, this would carry
with it the further intention of evading this parry and completing
the attack on a subsequent movement in a different line. One of the
simplest examples of this would be to execute a disengage, without a
lunge, and, as the defending sword makes a simple parry to deviate the
point from the threatened line, to make a second disengage, with lunge,
back into the line of original engagement. All _threatening_ movements
in a compound attack, prior to the final one which is accompanied by
a lunge, are feints. Thus, a compound attack consists of one or more
feints followed by the actual attack. To be _legal_, that is to retain
the conventional right of way, the arm must be extended and the point
threatening the target at all times. To be _effective_, a feint must
so closely simulate a real attack as to draw a defending parry. Thus,
it will be seen that a feint may be legal without being effective--the
slowness of the execution failing to convince the adversary that he is
being attacked. On the other hand, a feint may be effective without
being legal, as almost any sudden movement may draw a parry from a
nervous, or shaken, opponent.
One of the simplest and most widely used of the compound attacks has
already been mentioned as an example in the above definition of feint.
This is the feint disengage and deceive of the simple parry. This is
called
_The One-Two._ The One-Two is frequently, and erroneously, described
as a lateral movement of the attacking point under the defending blade
into the open line, followed, when that line is closed by a defending
simple parry, by a second lateral movement under the defending blade
back into the original line, with a terminal lunge. This is the
natural, unconsidered technique, and is the way not to do it. We
have already described how the first disengage is executed, without
conscious effort at lateral movement of the point, how the finger
relaxation in the grip of guard permits the point to fall below the
defending blade, and how the tightening of the fingers in the grip of
attack brings the point in line on the other side of the defending
sword. If this movement, with its accompanying thrust, is executed
smartly, it will be an effective feint and will draw a parry. If this
is a simple parry, the attacking point is already in the line which
it wishes to hold, threatening the opposing target, and _should not_
be deviated in a lateral direction. How evade the parry? Drop the
point, by a simple relaxation of the fingers, and allow the parry to
pass above it. Tighten the finger grip to bring the point back to
its original level, as you lunge. More doigté. The lateral movement
is all made by the defending parry. The down-and-up movement of the
attacking point is the sole evasion. Whether one, or seven, simple
parries are taken, the evasion is a repetition of the same relaxation
and tightening of the fingers, down-and-up of the point until the
psychological moment for the launching of the lunge. Exactly the same
technique is employed that would be necessary to avoid the successive
swings of a pendulum.
But, suppose a One-Two has already proved successful or that for other
reasons the defender does not respond with a simple parry. Instead,
to the feint of disengage, he responds with the counter parry--that
somewhat asymmetrical raindrop that has already been described. Does
one, as so often taught, try to deceive this parry by following
it around the circle? He does not! Again, we avoid the natural,
unconsidered course and follow the efficient, considered course. As the
defending blade describes its encompassing arc, the attacking blade
is carried obliquely downward in the same direction as the concluding
sweep of the parry and, as this passes, is brought back along the same
line to its original position as the lunge is executed. This deceive of
the counter parry is called
_The Double._ The Double is sometimes described as two disengages into
the same line. While this definition describes the intention, it gives
an erroneous impression of the technique, as the vertical down-and-up
of the successive disengages is quite different from the oblique down
and back of the successive doubles.
Although an infinite number of compound attacks might easily be
imagined to deceive an equal number of mixed parries, in practice
the compound attack seldom tries, or needs, to deceive more than two
or three parries. During instruction, more complicated series may be
practised for their value as exercises in control and coordination.
It is important to realize that attack and defence are interdependent.
No attack can be more intricate than the defence that it seeks to
penetrate. Similarly, although to a lesser degree, the defence may be
restricted in its versatility by an attack that depends primarily upon
speed and timing combined with the simplest movements.
In another section of this work certain exercises, or lessons, are
given, by which two fencers may practise the interplay of the various
attacks and parries. The performance of these, or similar exercises, is
vital to the development of the accuracy and coordination that go to
make the finished swordsman.
So far, the subject of attack and defence has been treated as though
one fencer attacked and the other defended and then started over.
However, nothing is farther from the actual method of procedure. It is
true that, when one fencer seizes the initiative by extending the arm
with point threatening the target, the right of way remains with him
until he surrenders it by bending the arm or removing the threat of his
point from the opposing target or until his opponent deprives him of
it by forcibly deviating his point from the target. With this surrender
or destruction of the right of way, the initiative passes to the
other fencer. If this termination of the right of way is by means of
a successful parry, not only does the initiative pass to the defender
but also the right of way for an immediate counter-stroke, even though
the arm is not extended and the point is not in line at the moment of
completion of the successful parry. This is the only condition under
which the right of way exists without the extension of the arm with the
point threatening the target, and this is only momentary. The right
of way ceases automatically, if not immediately used for delivering a
counter-stroke. This counter-stroke is called a _riposte_. It may be a
direct thrust in the line of the original attack, which has been opened
by the force of the parry, or may be a compound movement with one or
more feints or deceives. As in all thrusts, the grip shifts from that
of guard to that of attack. In spite of the dependence of the right
of way upon the immediacy of the return, it is at times of definite
advantage to delay the riposte until the attacker starts to resume the
guard. If this delay should occur, without a resumption of the guard,
all right of way ceases and any subsequent touch by either must be
judged upon the basis of priority alone.
When an attack has been successfully parried and the defendant delays
his riposte, but does not keep the original line of attack closed, the
attacker may renew the attack in the original line without returning to
the position of guard. This attack is called a _remise_. The remise is
only valid when the defender delays or misses his riposte.
Under similar conditions of a delayed riposte, with the defender
keeping the original line of attack closed, the attacker may
immediately renew the attack in another line, usually by a partial
return to the position of guard. This is called a redoublement
d’attaque.
When, upon the completion of an attack, or an attack, parry, riposte,
and counter-parry, or any other sequence originating in an attack but
not terminating in a touch, the attacker resumes the position of guard
and immediately launches another attack; this is termed a reprise
d’attaque.
It will be gathered from the preceding remarks that the original
attack may lead into a quite complicated series of movements by both
fencers. The rule is that such a series of attacks and counter-attacks
terminates only with the command of the Director of the Jury to halt.
The Director should halt the action (1) upon the indication of a fair
or foul touch by one of the judges; (2) upon the loss or breaking of
his weapon by one of the contestants; and (3) upon the transgression
of the rules by a competitor. Such a series of attacks and ripostes,
finally terminating in a touch or a halt by the Director for other
reason, is called a _phrase d’armes_. Neither contestant has the
privilege of discontinuing the phrase of his own volition and his
action in doing so leaves him open to a fair touch by his opponent.
_Counter-Attacks._ In general, there are two types of aggressive action
employed to interfere with the formulation and execution of attacks.
These are designated counter-attacks and, according to the time of
occurrence, are classified as attacks on the preparation and attacks on
the execution. If the proper moment, during the making of preliminary
movements but before the establishment of the right of way, is seized,
the attack on the preparation may take the form of any of the frank
attacks, its only difference lying in the fact that it seizes for its
execution the exact moment when the opponent is _mentally_ committed
to the attack rather than prepared for defence. One of the best
examples of this is where one fencer advances, making a simultaneous
attack on the sword, with the idea of closing distance and shaking his
opponent’s defence preparatory to launching his attack within distance.
If his opponent evades the attack on his sword, he can extend his arm
and lunge, having seized the right of way on the preparation of his
adversary, or may even touch by a simple extension if the attacker
precipitates himself upon the point. Possibly, a more usual example
would be found in a quick extension against the “short arm” fighter,
who rushes to close quarters with multiple feints with the sword, but
no proper extension of the arm.
The attacks on the execution are neither so simple nor so safe as the
attacks on the preparation. There are three such attacks and all are
executed against an adversary who has established the conventional
right of way. They are designated the _tension_, the _stop thrust_
(coup d’arrêt), and the _time thrust_ (coup de temps). The _tension_
is the simple, frequently instinctive, extension of arm and point
toward the attacker in the hope that the point may strike the attacker
and that the unexpected counter-attack may cause his blow to miss.
It is frequently devoid of planned objective and always without any
conventional rights. It can only score if the attacker completely
misses the target. It is bad form, poor fencing, and the recourse of
excited or inadequately trained fencers. The _stop thrust_, although
frequently confused with the tension, is quite different. Although
employed against an opponent who has established the conventional right
of way, it is used only when that right of way has been technically
(even though only momentarily) abandoned. An example of this would be
an attack initiated by a feint of disengage, which gains the right
of way, and followed by a cut-over, which technically abandons it by
removing the point from a position of threat and, possibly, slightly
bending the elbow. If, upon the first elevation of the point from the
target, the defender extends his arm with point in line and touches
either with the thrust or an accompanying lunge, he has executed a
valid stop thrust. The sole condition controlling the validity of a
properly executed stop thrust is that it must precede by an appreciable
measure of fencing time any touch made by the original attacker in
the continuation of his attack. Another common example of a properly
executed stop thrust is found when the attacker, after having properly
taken the conventional right of way with his initial feint, proceeds
in a compound attack with subsequent feints wide of the target and
the defender takes advantage of the first of these withdrawals of the
point to extend and score. These examples and distinctions are given
in detail and emphasized on account of the confusion that seems to
exist among both fencers and judges regarding the difference between
the tension and the stop thrust. Instead of the existing tendency to
penalize a properly executed stop thrust, on account of its superficial
resemblance to the tension, there should rather exist a reluctance
to concede any rights to a fencer who deliberately, or through
carelessness or ineptitude, abandons his right of way and then tries to
recover it on a technicality that should not exist.
However, there is one form of stop thrust against which technicalities
should exist and be enforced. This is the stop thrust by evasion.
Here, an endeavor is made to “side step” or dodge under a properly
executed attack and make a point from the side, or below, after evading
the attacking point. The rules have an added penalty by awarding a
fair touch for a touch made on any part of the person that may be
substituted for the valid target in such an evasion.
The _time thrust_, when properly executed, is the perfection of
analysis of your opponent’s offensive play. It consists in closing the
line of the final movement of your opponent’s attack with a simple
opposition parry, at the same time extending arm and point toward his
target. To be valid, this manoeuver must fully deviate the attacking
point from the target. Therefore, its proper performance requires
perfect analysis, perfect coordination and perfect timing. As there can
be no more exacting requirement, so there can be no higher attainment.
While the preceding paragraphs cover the theory of the counter attack,
it is well to give warning as to the practical application in a number
of these cases. The Rules Committee of The Amateur Fencer’s League of
America, in order to avoid hair-splitting definitions, has covered
the subject of the stop thrust in one broad statement which reads as
follows:
The stop thrust is a simple counter attack, against the opponent’s
attack. It is successful against a faulty attack, simple or
composite; or against attacks advancing (“on the march”) and delayed
attacks, when the attacker exposes an open line and enables the
defender to obtain the advantage of a sufficient interval of fencing
time.
It will be seen from this definition that the final decision in most
of these instances will rest with the director, who alone decides the
validity of touches. If the director happens to be ill informed, or
unsympathetic regarding this type of counter attack, a perfectly timed
attack on the preparation or stop thrust may be declared a stop thrust
without sufficient interval of fencing time. Unfortunately, in this, as
in many other instances, knowing your officials or their prejudices is
almost more important than knowing your fencing.
_Attacks on the sword._ Sometimes there comes to an aggressive fencer
the feeling that his opponent is a little too sure of himself; that his
position of guard is too assured; that his confidence in his defence
is too unshaken; that his response to feints is too deliberate, too
unhurried. There is no reaction to the preliminary movements of a
compound attack, and the response to the final movement is so delayed
and so sure as to carry with it exceptional danger of a successful
riposte. Something must be done to shake this confidence, to make the
defender a little less sure of his position, a little less certain of
the line in which the developing attack is to come. What shall it be?
One possibility is an attack on the defending sword, as a preliminary
to the actual attack. Such an attack on the sword may be suggested,
or real. Also, it may be single, or multiple. The suggested attacks
are: (1) the _press_--a light, sharp pressure, faible to faible, in
the position of guard; (2) the _glide_ (coulé)--a light, prolonged
pressure from the position of guard as the arm is extended to a feint
in line; and (3) the light _beat_--a light tap, faible to faible,
in the position of guard. None of these suggested attacks on the
defending blade forces it from the position of guard. In fact, its
intention is quite the opposite, being to suggest a forcible entry in
the closed line so as to delay response to an actual attack in the
open line. All of these attacks should be performed by mere finger
play. The real attacks on the sword are executed with much more force
and authority than the suggested attacks and are planned to actually
force the defending blade aside so that an opening will exist in the
closed line, whether or not penetration is intended. The real attacks
on the sword are: (1) the heavy beat--performed much more strongly but
in the same way as the light beat in the suggested attack; (2) the
force (froisé)--performed in much the same way as the glide in the
suggested attacks, but with a force that almost throws the defending
blade out of line and not infrequently results in a disarmament against
a lightly held blade; (3) the cross (croisé); (4) the bind (liement);
and (5) the envelopment. The last three of these have no corresponding
movements in the suggested attacks and will have to be treated
separately.
As mentioned above, the heavy beat is much heavier than in the
suggested attack. However, it is executed entirely with the fingers
in the lines of seconde, tierce, quarte, and septime and with minimum
wrist play in quinte, sixte, and octave. The beat from prime is not
mentioned because of the very infrequent use of the guard of prime in
modern fencing and because of the extreme difficulty of executing a
successful beat from that guard.
The _cross_ is executed by closing distance enough to permit engaging
the faible of the defending sword with either the forte or middle
section of the attacking blade. This closing of distance may be
accomplished by a short advance, or may be unnecessary against an
adversary who extends the arm with point in line. In the latter case,
great care must be exercised in the execution of the movement, as
the defender’s extension is a recognized invitation to an attack on
the sword, and it must be assumed that he is especially prepared for
such a manoeuver. As such preparation probably means that he plans
to evade the attacking blade and permit the attacker to precipitate
himself upon an extended point, which has taken the conventional right
of way, care must be taken that his blade is found and his point
deviated before the attack is pursued. When the adversary’s arm is not
extended, it is necessary to raise the hand slightly in order to obtain
the necessary control of the defending sword. Control of the opposing
blade having been established, the faible is forced laterally toward
the open line and depressed, while the attacking sword crosses over to
the open line--the extension and lunge following immediately. In this
movement, great care must be exercised to maintain contact of the
blades until the thrust is completed. When made upon a blade with right
of way, additional care must be exercised to sufficiently deviate the
threatening point to effectually and obviously destroy the right of way.
The _bind_ is executed under the same conditions and in the same manner
as the cross, except that it retains control of the opposing faible
and carries it through an encircling movement to the low line of the
high line in which the original engagement occurred. The converse is
true from low to high. The same restrictions and precautions must be
observed as with the cross.
The _envelopment_ is the third of this series of attacks on the sword
and is merely a further development of the bind, as the bind was of
the cross. In this instance, the defending sword is carried through a
complete circle, ending in the guard in which it started. The thrust
and lunge of the attack follow immediately upon the completion of
the envelopment. It is probably unnecessary to point out the need
of increasing caution and exactness as these movements become more
extensive and complicated. The addition of each succeeding quadrant to
the encircling movement detracts from the element of surprise, adds to
the chance of evasion, and increases the probability of wide play.
With the exception of the beat in the inside high line, greater
authority in the execution of the various attacks on the sword is
obtained from the guards with the hand in pronation. However, as all of
these manoeuvers are in preparation for the final lunge of the attack,
it is well to remember that what is gained in force is ordinarily
sacrificed in control and accuracy. Therefore, the cross, the bind, and
the envelopment will usually be used most effectively from the guards
with the hand in supination.
Reference has already been made to the progressive development of
the cross, the bind, and the envelopment. This same comparison could
quite properly include the simpler attacks on the sword which use
force and are designed to create an opening for the attacking point.
In other words, we have a progressive series of forceful attacks on
the sword, which have as their objective the opening of a line of
attack by the deviation of the defending blade. These are, in their
progressive intricacy or extent: (1) the strong beat, or strong press;
(2) the force (froisé); (3) the cross (croisé); (4) the bind (liement);
and (5) the envelopment. Where these attacks are to be employed, the
fencer should carefully master the details of each one and accustom
himself to its use. When the adversary can anticipate a fairly definite
and dependable reaction under given circumstances, the advantages
attendant upon initiative and surprise are largely lost. It is of
utmost importance that the play should be very close and controlled,
as the temptation to put elbow and even shoulder movement into these
attacks is great. There are few occasions more disconcerting than the
termination of a powerful and uncontrolled attack on the sword--which
has been evaded. At this moment, the attacker, has widely opened his
own target and, instead of an attack on the sword, may have executed a
precipitation on the point.
_Defence against attacks on the sword._ The first step in preparing
an adequate defence against attacks on the sword is the inclusion of
these manoeuvers in all practice and lesson work. This will permit one
to school himself against response by instinctive movements. In other
words, there must be no instinctive response to such attacks. The
tendency to hold the guard in which a light beat or press has been made
just a moment too long may result in a successful disengage to the open
line. But, on the other hand, the careful training of oneself to always
make a simple parry in the open line upon such an attack will be just
as fatal with an observant adversary, as he will make the attack on
the sword and lunge in line as the parry is executed. Therefore, so
accustom yourself to the attacks that you neither allow them to hold
you in the original guard position nor draw you into an habitual parry.
This advice applies not only to suggested but also to real attacks on
the sword. But, in the latter group, something more is necessary. The
forceful attack on the sword is bound to shake the position of guard
and to derange the plan of defence. Also, it opens a line of attack and
must be met by some form of defence.
All of these attacks are best met with some form of evasion. The
simplest form of this consists in a quick retreat, executed as soon
as the heavy blow or pressure characteristic of such attacks is felt
on the blade. However, the simplest is not always the best, and the
retreat should be the defence of desperation rather than of routine.
As soon as the retreat becomes a regular part of every defence,
allowance is made for it in every attack. The better form of evasion
is with the blade. This requires the maximum of readiness, almost to
the extent of anticipation. Of course, where the arm has been extended
with point in line, this constitutes an invitation to the attack on
the sword and readiness for any eventuality may be assumed. In such
case, the relative success of attack or evasion is governed by the
superior timing, coordination, and speed of attacker or defender. The
evasion consists of the simple, finger-controlled disengage, one-two,
or double required by the form of attack made--always treating and
considering the attack on the sword as a parry to be deceived. However,
when the contact of swords is established and control of the blade
gained, and resistance is of no value, as the attacker has an advantage
of leverage that cannot be counteracted by any amount of force, the
defence must consist of some form of parry of either a releasing or
a yielding character. Even the releasing parries in these cases are
partly yielding in character. For instance, with engagement in the
line of sixte, a strong press or beat, or a froisé, is executed by
one fencer. The defender allows his hand to follow his point into the
guard of quarte, executing a counter of quarte as he does so. In doing
this, he has been forced to yield with the point; has voluntarily
yielded with the hand; and has released his point and covered both
high lines with the counter of quarte. Against the more controlled
attacks on the sword (the cross, the bind, and the envelopment), a more
pronounced yielding and following of the attacking sword is required.
Both point and hand yield, but there is little hope of release against
a properly executed attack, so the hand must be allowed to slip into
a defending parry while appearing to yield continuously. The bind is
the simplest and the cross the most difficult of these “slipping”
oppositions to execute. Taking the bind from quarte as an example, it
would start by taking control of the defending faible in the guard
of quarte and delivering its touch in the line of septime. However,
as the carrying of the defending blade into septime is completed,
and the attacking point is advanced, the defender is able to oppose
forte to faible. This is accomplished by allowing the deviation of the
point from quarte to septime and at the same time carrying the hand
across the target from quarte to octave (or seconde) and, as the point
is released from opposing control, carrying it by a strong movement
of the fingers to the parry occupied by the hand. If taken too much
by surprise, the movement of hand and point must be synchronous. A
less usual, but very effective, reply to the bind is accomplished
by yielding to the pressure of the attacking sword, turning the
hand into pronation, dropping it to hip level with point high, and
offering strong opposition in the attacked line. If the attack is the
envelopment, again from quarte, the point again travels freely to the
end of the movement, but the hand has travelled to the outside line
and, with the final finger play of the parry, sixte (or tierce) is
opposed to the attacking point. Also, it is possible to allow this
attack to proceed to its completion and to execute a counter of quarte
parry at that time, which is a return to the yielding and releasing
manoeuver. While the reply to the cross may offer no greater intrinsic
difficulties than these attacks, it does require a radical departure
from fundamental positions. Here, the blade is forced downward as well
as in a lateral direction, and the proper defence of the high line
must be by a high line parry. To assume that point and hand can be
returned to the attacked line in time for its closure is to assume too
great a margin of superiority in speed and technique on the part of the
defence. Here, the yielding “slip” parry must use a low line parry in
irregular position to cover a high line. So, the point is allowed to
remain in the slightly low position to which it has been forced, and
the hand is raised to chin level, the parry of septime (or prime) being
taken from this position, if the attack was made from sixte. Probably
the only time that the parry of prime will be recommended in this work
will be where the cross is employed from sixte with sufficient force
to thoroughly shake the guard and to make it more natural to roll this
hand into the parry of prime than to carry it across into septime. When
the attack is made from quarte, the high octave is the parry of choice.
It may be well, at this time, to emphasize a mental attitude toward all
parries. In making a parry, unless _very_ sure of the analysis of the
opponent’s play, it should never be considered as a terminal movement.
In other words, a fencer never says to himself, “Upon such and such an
attack, I shall take the parry of so and so.” He says, “Upon such and
such an attack, I shall take the parry of so and so--and--.” The “and”
may be left open, as merely indicating a state of mind. In other words,
if the attacker deceives the planned parry, the defender is mentally
prepared to take another parry and awaits the contact of the blades
before closing his mind on that particular defence. This is especially
true of the encircling attacks on the sword, which are very hard to
analyze until the style of play of a particular opponent is known.
_The Attacks Advancing._ Although there is no fundamental difference
between the execution of the _attacks from position_ (de pied ferme),
which already have been described, and the _attacks advancing_ (en
marchant), there are certain points that are worthy of special
attention. Where the fencing is out of engagement and out of distance,
or where one of the fencers accompanies every parry with a retreat,
or a pronounced backward swaying of the body, the attacker must take
cognizance of these circumstances each time he prepares to attack.
How is he to so adjust the distance at which his lunge is executed
as to be sure that he is within distance? The first requirement is a
knowledge of his adversary’s reaction under given conditions. If the
defender is a “pendulum” fencer, swaying back with each parry and
forward immediately afterward, the distance is fixed. When he sways
backward, his weight is carried to his rear foot and further retreat
is awkward, slow, or impossible. Therefore, having once determined
the limit of rearward travel that this sway permits, it is only
necessary to add the gain of that distance to any other that may have
to be covered in reaching the target. If the fencing is in engagement
and within distance, the sway is the total amount to be gained. If
possible, this should be done without warning. Generally, this is best
accomplished by the employment of a movement designated “the gain”
(gagnant). This is simply a contraction of the foot position of the
guard to the front. In other words, without moving the front foot and
without attracting the attention of the defender, the rear foot is
brought forward either the needed distance or all of the way to the
front foot. In order to distract the attention of the defender, it
is well to execute some feint with the sword at the same time that
this movement is executed. With the completion of the “gain” and the
return of the hand to the position of guard from the accompanying
feint, the previously planned attack is immediately executed, before
the defender has time to appreciate the change in foot position. This
simple movement will diminish the distance to be covered by more
than eighteen inches with the average position of guard. Where the
fencing is out of distance and the defender employs the sway, but
knows that a single advance will not close both the extra distance and
his sway, the single advance, with gain, may be employed. Here, the
advance which is inadequate to close the total distance is completed
by bringing the rear foot up to the front foot, and the attack is
completed immediately. In this instance, it is well to accompany the
advance with an attack on the sword to cover the changed foot-work.
Either the simple advance, or the gain, will cover similar distance
made by the adversary and any combination of the two will match him
move for move. However, trying to follow a retreating opponent is
likely to disturb the accuracy of any accompanying attack. In order
to avoid this, it is well to time the consecutive movements of the
attack to the successive gains in distance, so far as this is possible.
For instance, assuming that the distance to be gained requires two
advances and that the parries to be deceived are a counter of quarte
and sixte, the first advance is made with the feint of disengage, the
second advance with the deceive of the counter parry, and the deceive
of the simple parry and lunge are made from this position. As this
method establishes a certain coordination and rhythm between foot
and hand, it offers a minimum likelihood of deranging the attack and
should be employed whenever possible. Against the consistent multiple
retreater, the rabbit of sword play who has come into his own with the
extension of the fencing limits, there is no recourse but to gain all
of the distance possible and hold what is gained. After all, with a
forty-foot strip, each fencer has only about fifteen feet behind him in
the original position of guard. If he uses this distance for running
exercises, and his adversary takes and holds the distance surrendered,
the time soon arrives when there is no further room for retreating
within the limits of the strip. He must then stand and take the attack
or run off the strip. If he does the latter with both feet, a touch is
scored against him, and it is just as good a touch as any other. In
fact, psychologically, it is better. If a fencer who depends upon the
retreat for his defence is once driven off the strip for a declared
touch, subsequent to that time his mind will be divided between what
he is trying to do and how much distance he has behind him. However,
it is well to give warning against the following of such a fencer with
over-confidence. There is always the possibility that this exaggerated
retreating is planned to lure the attacker into an ill-considered,
rushing attack which will be met with a parry and riposte from
position. Never assume that you are a better or a smarter fencer than
your adversary, until the final decision of the jury justifies that
conclusion--and, then, don’t assume that the condition is more than
temporary. Who knows what will happen tomorrow, particularly if you
presume on the basis of what happened today.
There is one method of closing, or extending, distance in large
measure and quickly that we mention with trepidation. Before the
discovery of the lunge, which was an advanced development of fencing,
there was need of some method of quickly arriving within striking
distance of one’s adversary. An ingenious movement was evolved which
was based upon the “gain” and was called the “passado.” This movement
was executed by bringing the rear foot not only up to, but past, the
front foot and planting it, and, then, bringing the front foot forward
to the position of guard. By this movement, three feet or more could
be swiftly covered in one forward movement. Although long omitted from
the formal instruction in the classical French school of the foil, it
was retained in the school of the bayonet under the designation of
“front pass” and “rear pass.” The principal objections to the “passes”
are: (1) that they commit one almost irrevocably to an extensive,
sometimes excessive, gain or surrender of distance; (2) that, at the
mid-point of the “pass,” they have a tendency to do away with the
effacement of the rear shoulder and broaden the visible target; and (3)
that in both attack and defence, they have a tendency to disturb the
steadiness of the hand. However, there are very rare occasions when
they may be advisable. The most definite of these is to supplement a
“parry of desperation.” Another, but more questionable, use would be
when pursuing a badly shaken and rapidly retreating opponent. It will
occasionally, though rarely, happen that such a pursuit will carry the
opponent to the limit of his available space and that a following lunge
may drive him off the strip.
_Opposition in Attacks._ The giving of opposition in attacks is that
deviation of the hand slightly away from the direct line of attack and
toward the defending sword that endeavors to keep that line closed
against a stop or time thrust, or succeeding simple riposte. Against
the stop thrust (really “tension” under these circumstances), it is
unnecessary, as the attack has the right of way. Against the time
thrust, it is inadequate as that manoeuver will force it aside. Against
the anticipated riposte, it is foolish because the parry has not yet
been made and may prove unsuccessful. However, immediately following
a successful parry of your attack, it is an excellent procedure and
should always be employed, unless you have something better planned.
The group of attacks and counter-attacks described prior to this
have all been in the class of _frank attacks_. As will be recalled,
two other classes of attacks were mentioned at the beginning of
this section--_false attacks_ and _concealed attacks_. The false
attacks are just what the name would indicate, movements simulating
the characteristics of attacks but lacking the intent of gaining a
touch by their execution. They are usually employed with one of three
purposes--to gain distance, to gain information, or to discompose
the adversary. Their employment to gain distance is against the
running defence already described. Here, there is neither hope nor
intention of touching. The false attack is delivered with the usual
precautions against a parry and riposte, but is used with the idea
of closing _forward_ to the guard position upon its completion and
making a permanent gain of distance of any ground gained by both the
lunge and any advance that may have preceded it. Its use for gaining
information is in the process of feeling out an opponent’s defence,
in order to discover whether he has favorite parries, or sequences of
parries. Against some fencers, a quick feint, or series of feints,
will serve this purpose. Against a stronger and more confident fencer,
the actual lunge may be needed to draw the parry. The feint does not
differ from that of the frank attack, but the lunge is usually a little
“tied-in,” being delivered with the same initial impetus to give the
impression of a real attack, but only going to one-half or two-thirds
the distance of a full lunge. Its use to discompose the adversary is
most useful against the fencer who is constantly edging in rather than
making a frank attack advancing. This edging-in process is frequently
accompanied with attacks on the sword, or with multiple feints, but
usually does not lead to a frank attack until the desired distance
is attained or a moment of unreadiness seized. If not prepared to
deliver an attack on the preparation but still unwilling to permit the
persistent gain of ground, an unexpected deceive of the attack on the
sword and false attack will frequently cause a hurried withdrawal that
will surrender any ground gained.
A _concealed attack_ is one which originates in a false attack but is
immediately followed by a true attack which was part of the original
plan. A good example of this is the planned remise against a fencer who
slightly delays his riposte, with the idea of delivering it during the
resumption of the guard. A false attack is delivered with two-thirds
lunge and the remise follows immediately, without attempting to
regain the guard. However, a more generally useful employment of the
concealed attacks is in a group of secondary attacks that are called
_counter-ripostes_. The _counter-ripostes_ are most useful against a
strong defence, where the parries are held to the last possible moment,
are both authoritative and carefully controlled, and are followed by
immediate ripostes. Such a defence is extremely hard to penetrate. By
making quick, apparently hard false attacks which will draw the parry
and riposte, the riposte may be parried and an opening found for the
counter-riposte. Few fencers, no matter how strong their defences,
are as well prepared against a counter-riposte as against an original
attack. This play should be practised assiduously in all lines and
mastered by every fencer who hopes to attain a rank that will expose
him to difficult and versatile competition.
The original attack of the planned counter-riposte generally employs
only a two-thirds lunge and the parries preceding the counter-ripostes
are frequently made in an almost fully extended position of the arm.
Chapter III
IRREGULAR PRACTISES
The earlier discussion of the defence treated only what might be
described as the regular parries and their use in a regular way. In
the choice of the word “regular,” it is not intended to indicate that
other parries or a different use of the usual parries may not be
perfectly legal as well as an accepted procedure. However, the most
finished technique is to meet a certain attack with the parry that
will deviate its final movement from the target as an act of deftness
and skill rather than force. There is an application of the regular
parries and a certain group of compound parries that aim at defence by
breaking up the attack at its inception or at some predetermined point
in its development by a “breaking of the line.” This breaking of the
line is the application of force in a direction opposite to that of
the attacking blade. It rather tends to minimize the necessity of a
complete analysis of the attack and plans to break it by force before
its full development. Also, there is a use of certain of the regular
parries in irregular ways to meet attacks of force, or frank attacks
executed in an irregular manner.
One of the most frequently seen examples of the use of a regular
parry to break the line is the opposing of the parry of septime to a
disengage from quarte into sixte. The closing of the line of sixte
by the parry of sixte, or the returning of the attacking point into
quarte by the counter of quarte would be the regular method of meeting
this attack. But, if the attacking faible is met by a sharp parry of
septime as it drops to pass under the defending blade, the attack is
immediately terminated in an entirely new and unexpected line before
the completion of its first movement. A similar defence with octave, or
seconde, may be employed from the line of sixte. Also, it is obvious
that any plan for a compound attack has been shattered by this initial
breaking of the line. Of course, if the attacker anticipates the play,
he merely starts the disengage and immediately returns to the high line
that has been opened. As already stated, there are certain combination
parries used for this same purpose of breaking the line. Two of the
best known and most widely used of these are the parries of septime
and octave enveloppé. These parries are started from the high line
guards of quarte or of sixte, drop to the corresponding low lines of
septime or of octave and are carried back by an encircling (enveloping)
movement to the opposite high line of sixte or of quarte. The parry is
supposed to be so executed that the low line parry meets the initial
movement of the first feint of the attacking blade and that the
subsequent envelopment carries it upward and outward to the opposite
high line. Both of these parries are extremely efficient against
inexperienced fencers and, if only used very occasionally, against
experienced swordsmen. However when anticipated, there is no parry more
easily deceived. With the wide sweep from quarte to septime to sixte,
such a parry must be relatively slow and requires only the start of the
disengage to draw the septime parry and an immediate disengage _over_
the septime to deceive the following sweep from septime to sixte.
One of the pleasantest to use of these combination parries is the
combination of counter of sixte--octave against the double from sixte.
This, after showing the counter to the feint, only _suggests_ it to
the attack, starting as though to take the counter-parry but really
going directly to octave. The riposte, which is almost continuous with
the parry, is best taken in seconde, by simply turning the hand into
pronation as the thrust is made. Again, if anticipated, this parry is
very easily deceived, but, if successfully executed, has all of the
beauty of a time thrust. The high line that would have been closed
by the counter parry is left wide open by its abandonment, and the
attack need only continue in the line of the original feint, after
making a slight movement to suggest the deceive of the counter parry.
As has been suggested in each instance, this group of parries may be
most disconcerting when resorted to only occasionally as surprise
measures. As has also been suggested, when used habitually, they are
much more easily deceived than the simpler regular parries for which
they are substituted. The Italian school has a favored parry designated
“half-circle,” which is similar to the French parry of septime but is
used in the high line. This is not infrequently employed by fencers
of the French school and called “high septime.” When taken from the
guard of quarte, it sweeps all lines except the high outside (sixte, or
tierce). When properly timed, it is very inclusive. The best deceive is
a disengage _over_ the blade into the _low_ outside line (octave, or
seconde). Similarly, “high octave” is best deceived with a disengage
over the blade into septime, or prime.
There is an irregular type of attack designated as a cavation, or cavé,
which is executed by endeavoring to _bend around_ the defending parry.
The effort is to evade a properly executed parry by forming such an
angle between the sword and the sword arm that the point remains on
the target, although the hand is carried well out of line. While quite
irregular, this attack is neither illegal nor uncommon. It calls for
a different parry from the one that would ordinarily close the line
attacked. For instance, a straight attack in sixte would be parried
by the simple parry of sixte. But a cavé attack into sixte would carry
the hand so far outside that the point would come in from the side and
there would be no deviation of the attacking point by a parry of sixte.
However, a counter parry into the opposite line will always pick up a
_lateral_ cavé. Notice the emphasis upon the word “lateral.” The cavé
from above is practically never employed, and _no regular parry_ will
pick up the cavé from _below_. It is too low to be met with a regular
high line parry and the blade takes a direction parallel to that of the
low line parries, so that contact of the blades is a matter of chance.
This should make it the ideal attack. But there are two weaknesses
inherent to its use. The angulation at the hand shortens the line of
attack, while the dropping of the hand uncovers the entire target--an
invitation to a successful stop thrust. This is first and the second
is even more stringent. A slight dropping in the semi-sitting position
of guard and a lowering of the hand to slightly below the waist level,
while maintaining the hand and sword position of a high line guard,
makes the high line parries a perfect defence against the cavé from
below, whereas the attacker has only his faible to offer in defence
against the riposte which follows a successful parry. To summarize
our conclusions, we may say that there are certain irregular parries
and irregular uses of regular parries, as well as certain irregular
attacks, that offer a temporary advantage when used sparingly as
surprise measures. But each and every one of these puts its user at
a greater disadvantage when its use is expected, either through its
excessive employment or the unusual preparedness of the adversary.
There is no attack that cannot be parried. There is no parry that
cannot be deceived. On the whole, close, careful, regular play is the
surest play.
There is a certain use of parries that for lack of a better term, we
designate “parries of desperation.” These are employed when some very
unexpected manoeuver of the opponent has quite destroyed the sequence
of your play and left you, however temporarily, completely at his
mercy, without formulated plan of defence. These occasions should be
so rare that your reaction to them could never be employed by your
opponent in his analysis of your play. If you allow such an occasion
to arise twice against the same team, much less against the same
individual, you will have earned the defeat that will almost surely be
your portion. These “parries of desperation” are generally as inclusive
as you can make them, breaking one or more lines. Here is the occasion
for the “universal parry” of the old masters. But, probably, the best
that we have available is the “high septime,” the “high octave,” the
septime enveloppée, or the octave enveloppée. An occasional fencer
still insists upon a _high_ prime, seconde alternation as the answer
to this dénouement. And whichever of these is employed should always
be accompanied by a _breaking_ of distance. The direction of the break
will be governed by the action of your adversary. If he is pursuing
rapidly and tenaciously, to exploit his advantage close to the front,
it will be more disconcerting. It may destroy his estimate of the
situation. If he stands fast, awaiting his opportunity, break rapidly
to the rear, regaining your position of guard and, perhaps, aplomb out
of distance.
Chapter IV
THE BOUT
All of the discussion of the theory of fencing that has gone before
leads up to meeting an adversary in competition. This single match
of man against man is called a bout. In addition to the rules and
conventions that govern the bout itself, there are certain courtesies
that are not prescribed by rule, but that are customary and an integral
part of the refinements of the game. The preliminary formalities are
the process of coming on guard and the salute to the jury and to your
adversary. As these are not prescribed by rule, they may be omitted,
may be very abbreviated, or may be quite slovenly in their execution
without any penalty--except in the minds of any observers. The
procedure that is recommended and described is of the more formal kind.
When called to the fencing strip, the fencer steps to his preliminary
position and half faces his adversary. The heels are together, the
front toe pointing directly at the adversary and the rear foot at
right angles to this. The mask is grasped in the rear hand, the thumb
holding the head spring near the body of the mask, the arm curled
around the circumference of the mask and the chin of the mask in the
arm-pit. The sword is held in direct prolongation of the arm, with
the point a few inches above the ground and from a foot and a half
to two feet in front of the front toe. The fingers are to the front.
The first movement is to raise the hand to the level of the forehead,
keeping the arm straight and the sword in direct prolongation of
it. As the jury and audience are placed on both sides of the fencing
strip, it is courteous to salute both groups before saluting your
adversary and proceeding with the bout. The salute to the inside is
performed by turning the hand over, with knuckles up, and turning the
sword in a horizontal plane towards the inside through a complete
circle and an eighth, using only the fingers and the wrist, until
the sword stops with the hand in supination, fingers up, pointing
diagonally to the inside front, with the arm bent in the position of
the guard and the head turned towards those saluted. The salute to
the outside starts from the position of termination of the salute to
the inside and the sword is turned back through a horizontal circle
and a quarter, point starting toward the outside, and ending pointing
to the outside front with the hand in pronation, knuckles up, and arm
in the position of guard. From this position, the arm is straightened
toward the adversary, with hand at height of forehead and fingers up,
and the adversary saluted. This salute is rendered by bending the
elbow and bringing the hand back, until the guard is about four inches
in front of the mouth and the point has a slight forward slope. The
point is then lowered smartly to the original position taken facing
the adversary by a simple straightening of the elbow and wrist. The
mask is then adjusted and the fencer comes on guard. Even this action
is best performed in a regular and formal manner. The sword is turned
back to a horizontal position, with the arm extended, so that the hands
are almost together--the right hand grasping the sword and the fingers
of the left hand, back down, running along the blade and touching the
guard at approximately crotch level. From this position, the hands are
raised over the head, without changing their relative positions, with
arms bowed to form almost a circle and blade horizontal, with point
to the rear. From this position, the knees are bent, the front foot is
advanced the proper distance and the hands are separated and lowered to
the position of guard. If anyone feels that all of these preliminaries
are quite unnecessary, it is only fair to consent. But, the experience
of the race has prescribed certain courtesies by which one is judged
almost more severely than by his morals, and sword-play has developed
its little courtesies over some four hundred years. As a practical
and, possibly, materialistic hint, let us suggest that some members of
the jury are prejudiced in favor of the courtesies. Old fogies, if you
please! But don’t violate their sense of the decencies in the opening
and expect them to credit you with good intentions when you violate
rules later on. It is sometimes difficult for one trained in the “old
school” to believe that bad manners and good intentions can go hand in
hand. For this, if no other reason, cultivate good “fencing manners.”
[Illustration: Final salute and positions of formal assumption of
guard.]
The coming on guard has taken place near the center of a strip which
is forty feet long and six feet wide. According to the rules, there
must be a line marking the center of this strip. The contestants
fall on guard sufficiently to their own sides of this line to be out
of engagement. When the director starts the bout by the command of
“Play,” or “Fight,” each contestant is left to pursue his own judgment,
within the limits of the rules, as to the subsequent action. If one
desires to fence “in engagement,” he advances slightly, always on
the alert against offensive action, and endeavors to cross swords,
faible to faible. If he does not desire to fence “in engagement,” he
may either retain his position of guard, awaiting the preliminary
movements of his adversary, or attempt to close distance, remaining out
of engagement. There is an old “catch phrase” for the objective from
this point. It has been said that fencing is the height of altruism.
Its persistent objective is to give and to receive nothing in return.
The action of each fencer is governed by two factors--his personal
temperament and his schooling. A fencer may be aggressive because
he is not temperamentally suited to the waiting game, or because he
has not developed confidence in his defence. If you are going to be
aggressive, do not let it be for the latter reason. So develop your
defence during the schooling period that you are not driven to the
attack of desperation. Let your attacks be planned and based upon calm
observation and study of your opponent’s play. A touch by parry and
riposte is just as valuable as one by attack and may be more valuable
if it shakes the faith of an aggressive adversary in his attack. Do not
let your attacks be unconsidered. A quick feint may tell you whether
your adversary prefers simple, or counter, parries. A false attack may
be necessary to get the same information. If he prefers simple parries,
there is no use planning doubles. If he holds his parry to the last
possible fraction of a second, don’t forget your counter-ripostes,
against immediate ripostes, and don’t forget the remise and the
redoublement against the delayed riposte. All of the various methods
that have been suggested under the theory are necessary, and then a
fund of “fighting sense” that only comes with experience.
It is not possible to over-emphasize certain suggestions that were made
very early in regard to position. The well flexed position of the legs,
with feet not too close together for steadiness and not too far apart
for agility, must be maintained at all times. The reduction of the
target by the effacement of the rear shoulder should become a matter of
subconscious practice. And the maintenance of the elbow of the sword
arm, definitely inside the line of the body, is of great importance.
With this elbow held well inside and serving as a fixed pivot for
all parries, in the parries with the hand held in supination, it is
almost impossible to carry the parry of sixte too far to the outside
and very difficult to execute those wide parries of quarte in which
the point beats the floor. It is important to bear in mind that every
parry is the natural precursor of a riposte and that it should stop in
a position from which the riposte can be made easily and accurately.
The parry that is held to the last possible moment, that goes just far
enough to cover the target and that is promptly followed by a quick,
accurate riposte, either simple or compound, soon becomes a matter of
dread to the attacker.
Frequent reference has been made to the analysis of attacks and parries
and to the withholding of the parry to the last possible moment. Like
most other details of fencing technique, this is simple and is not a
matter of inspiration but of long, patient practice. First, as to the
movements of the blade, whether in attack or defence. In close sword
play, with the fingers or even the wrist controlling the point, the
movements of the blade originate at the hand and become progressively
larger as they approach the point. Even in wide play, with the movement
coming even from the shoulder, the movement at the point is wider than
at the hand. Therefore, watch the intersection of the blade with the
guard for information regarding the point. The movement of the point
always follows and exaggerates the movement of this intersection. The
slightest of movements here tells you that the point is going to right
or left, up or down. That indication directs your parry, or deceive,
as the case may be. But there is another advantage in making this
intersection the focal point of your observation. It includes in the
lower limit of the field of vision the front foot of your adversary.
This is important. If your judgment of distance is accurate and you
have not allowed your adversary to come closer than lunging distance,
he cannot hope to hit you without lunging. He cannot lunge without
raising the front foot from the ground. It is extremely difficult to
change the direction of an attack in the middle of a lunge. Therefore,
you may safely ignore all feints made before the starting of the
lunge. Only an infinitesimally accurate judgment of the speed of your
adversary’s lunge can tell you just how long you can wait _after_ that
foot comes off the ground before starting your parry. But, you never
need to parry before the foot leaves the ground and the longer you
can safely wait afterwards the less is the chance of your parry being
deceived.
A considerable number of factors has been mentioned that will
contribute to successful competition fencing. Our recommendation is
that every effort be made to master all of these factors. However, it
is always interesting to try to arrange such factors in their order of
relative importance. Probably no two individuals would agree as to the
entire list. But we shall give our idea and endeavor to support it by
reason. We give first importance to the position of the elbow of the
sword arm. Upon this depends the building of an impregnable defence,
and the fencer with an impregnable defence cannot lose. Upon this
foundation, and for the same reason, we advocate a complete mastery
of the various parries. Although we advise it, we do not insist upon
a mastery of all eight parries. But a complete mastery of one parry
for each of the four lines (inside and outside high and inside and
outside low) is essential. If only four parries are to be mastered,
we advocate quarte and sixte in the high lines, septime and either
seconde or octave for the low lines. Third in our order of importance
would come the effacement of the rear shoulder, because this also
contributes to the defence by minimizing the effective target. Fourth,
we would master the various ripostes from our parries, because the
groundwork has already been laid for getting touches by this method.
Fifth, we should master our leg work, partly because the ability to
extend and close distance adds to the efficiency of the defence, and
partly because fully developed leg work is a necessary preliminary to
any study of the offense. Next, sixth, we would study the concealed
attacks (counter-ripostes), because we have already mastered the
parries and ripostes and the concealed attacks would be utilized to
tease an over-cautious opponent into playing our game. Finally, we
would master the frank attacks, including the attacks on the sword and
the counter-attacks. Throughout all of this progress, we should be
constantly studying both time and distance, as well as endeavoring to
analyze and anticipate the play of our opponent’s weapon and trying to
learn how to hold our parries to the last possible moment.
Even if the average instructor agreed with the preceding outline,
it would not be practicable for him to follow it. Try to visualize
the fencing master of a large club giving ten, or fifteen, or twenty
lessons in an afternoon and giving all of them in the defence. Even
with the labor-saving methods that he has learned of stepping forward
instead of making a hard lunge, he would soon be exhausted. Also,
he would find a certain proportion of his pupils of a combative
temperament complaining because they were not being taught to attack.
Further, he would find that certain other of his pupils, not having
mastered leg work in the beginning when their enthusiasm was high,
would never after go through the drudgery of adequately practising it.
And, of course, the best reason of all would be that he considered the
whole thing foolishness--that lesson five should come before lesson
fifteen and that no one could convince him to the contrary.
It is well to remember that there is no such thing as an advance plan
for conducting any bout. Even if you think that you are thoroughly
familiar with your adversary’s play, he may have changed it to meet
certain peculiarities observed in yours. He may have found in his last
bout with you that there are certain parries or attacks that he had
best avoid. Or his coach may have been studying your play from the
side-lines and advising him as to the best methods to employ against
you. Therefore, enter each bout with an open mind. Do not presume too
far upon what you know about your adversary’s former play. Remember it
and be prepared to profit by it, but do not presume upon it. Comment
has already been made upon the necessity of gaining and holding
distance with a constantly retreating opponent. Do not forget that he
may do the same to you. At the beginning of the bout, you have equal
distances behind you. Do not become unconscious of this margin of
safety to the rear. There is a warning line ten feet from the end of
the strip, which is all of the warning the fencer receives under the
present rules. However, this should be of no interest to you. Your
guide as to distance to the rear should be the line in the middle of
the strip. If your adversary has crossed it, the fighting is being
pursued in your territory and a sudden unconsidered, extensive retreat
may carry you off the strip. Do not permit yourself to be driven
far enough back so that this reduced distance to the rear becomes a
fear that distracts your attention from other details of the combat.
When the crowding of your opponent becomes obvious, which should be
immediately after its inception, drive him back with false attack,
concealed attack, or frank attack, regaining your lost ground by
resuming the guard forward instead of to the rear. Remember that, as
you have some control over your opponent’s play, so he is not without
influence over yours. Do not obstinately persist in preferred movements
that do not fit in with his style. If you like cut-over attacks and
he is adept at the stop thrust, mind your step. If you favor counter
parries and he makes wide feints with a slight tendency to cavé, go
back to the simple parries. The counter parry against a wide feint
tries to pick up his blade with the faible, which is risky at best. On
the other hand, these same resources are yours. Against an adversary
who employs “elbow” cutovers, the well executed stop thrust is a
wonderful deterrent. However, this is an occasion where you must study
your judges and Director, as well as your opponent. A beautiful stop
thrust before a jury that treats it as a tension is a pearl before
swine. Again, with an adversary who is not too well effaced and who
favors counter parries, somewhat wide feints with a firmer grip than
usual may cause his parries to fail and may eventually cause him to
fall back upon the simple parries, which may be his weakness.
Against a fencer of the classic school, who fences with light hand
and without too many attacks on the sword, it is pleasant to fence in
engagement. Against a heavy-handed fencer, who is constantly trying
to force your blade out of line and who is reinforcing this play with
constant attacks on the sword, it is well to fence out of engagement.
There is no use in exposing your hand to the constant pounding of a
mauler. When fencing out of engagement, the outside guard in the high
line is usually preferable. A right-handed fencer has to come across
his own body to make an attack on your sword. Thus, it follows that the
high guard on the inside may be preferable against a left-hander.
There are other things to remember about a left-handed fencer. The
guard of sixte is relatively weak from the point of view of offering
opposition to force of any sort. It places leverage against the weaker
side of the hand. So, when fencing in engagement against a left-handed
fencer, it is well to remember that his strong guard of quarte is
naturally opposed to your weak guard of sixte. For this reason, many
left handers prefer to fence in quarte and will make considerable
effort to maintain that guard. It is also well to remember that such
slight bend as has developed at the point of your sword, to prevent
breakage, is away from the thumb side. This slight bend has a tendency
to throw the point _toward_ the target of a right-handed fencer,
lessening the tendency to slip off the target, when the hand is in
suppination (fingers up). Conversely, with hand in supination, this
same bend has the tendency to throw the point _away_ from the target of
the left-handed fencer. Turning the hand into pronation (fingers down)
corrects this tendency. Finally, it is of psychological value to recall
that there is no inherent advantage in fencing with either left or
right hand. The advantage of the left hander rests in the fact that he
is accustomed to fencing against right-handed fencers, while they are
less used to left handers. Unfortunately, this adventitious advantage
leads many left-handed fencers to neglect thorough grounding in all
departments of play. If your opponent is such a one, look for the phase
that he has neglected. Welcome every opportunity to meet the “gauchers”
and try to have one in your own circle of fencers. All of this advice
is equally applicable to left hander meeting left hander. But the best
advice to him, after all, is to avoid the pitfall of accepting his
advantage as a special gift that justifies neglect of that mastery
of all departments of the game that is necessary to the well rounded
fencer.
In any discussion of this sort, some reference must be made to the
special problems presented by competition with a fencer of the Italian
school. The basic theory behind the Italian and French schools differs
in many ways. There is no desire to aggrandize or to disparage either
school in the present discourse. We are basing our discussion and
instruction upon the French school, because it was the one in which
we were first instructed and to which we afterwards adhered, either
through preference or prejudice. That this preference is not based
entirely upon ignorance is evinced by the fact that one of us fenced
for two years on a team with a pupil of the great Italian master Greco
and later spent one season under the instruction of another Italian
master. It is felt that the swords of the two schools are the outward
evidence of the essential underlying difference in theory. The French
school uses a sword with a light blade that is almost perfectly
balanced by a relatively long grip and heavy pommel. The grip depends
entirely upon the fingers as does the control of the sword. On the
other hand, the Italian sword has a slightly heavier blade, a cross
bar at the upper limits of the guard about which the fingers curl for
greater power, a relatively short grip and light pommel, and a strap
for securing the pommel to the wrist. This assembly does not lend
itself to light finger play, but presupposes the control of movements
by the wrist and arm, some movements including the shoulder. With such
a weapon, we should expect more dependence upon force, numerous attacks
on the sword, powerful parries that break the line and a general
tendency to break through rather than slip through. It seems to us that
this is the fundamental difference--force rather than evasion. And
the fencer whose training and weapon both lend themselves to evasion
must learn to avoid exposing himself to the full effects of a force
for which he is neither armed nor prepared. It is not necessary to
warn one to fence out of distance and out of engagement, for that is
the usual choice of the Italian fencer. The well trained fencers of
this school are keen judges of both time and distance and are very
highly trained in foot work. From a position well out of distance,
they are prepared to close distance very rapidly by one or a series of
advances, possibly including an attack on the sword, before launching
the final lunge. In regard to the closing of distance, remember that
there are three ways of meeting this. The first is by being thoroughly
prepared and receiving the attack with a sure defence. The second is
by increasing the distance at the final, or earlier, movement of your
opponent’s attack. The third and frequently the most disconcerting is
to close distance yourself at your adversary’s first movement. When
the aggressor has decided that two advances are necessary to close
distance before the lunge, to suddenly find that one of those advances
has put him within reach of a parry and lunge riposte may greatly shake
his confidence. Remember also that the principle of properly applied
leverage in parries eliminates all advantages of heavier weapons.
Also, remember the earlier “rolling” parries that were evolved for use
against heavy weapons. An unexpected “rolling” parry, executed with
force and forte to faible, from sixte to quinte, or from quarte to
tierce, and accompanied by froisé or croisé, may shake the wrist of
your adversary as much as his heavier, strapped-on sword was expected
to shake your hand. And never lose sight of the fact that the second
defensive movement of the Italian fencer is most likely to break the
line. That is, if a double into sixte has deceived his counter quarte,
his next parry is apt to be the high septime. The deceive of this must
be over the blade.
There are certain combinations in the way of parries and ripostes
or attacks that may be advantageously practised as a part of your
repertoire. The combination parry of counter sixte--octave, with
riposte of tierce, against a double, from sixte, has already been
mentioned. An occasional octave enveloppée, with straight riposte,
against a disengage or planned double from sixte, may prove
disconcerting. The septime enveloppée is equally successful but,
somehow, seems easier to recognize and anticipate. The cut-over
riposte may be helpful against an adversary who bears down with
heavy opposition after a parried attack. On the offensive, similar
variations may be found. A properly timed cut-over disengage (the
tour de l’épée) may be very effective. A drop to the low line on the
deceive of the counter in the high line sometimes finds an unexpected
opening. A disengage from quarte, with strong attack on the sword with
high septime at the first movement of a counter parry, may break a way
through. These are merely hints at the various ways in which elementary
attacks, parries, and ripostes may be combined in combat.
In general, fencers conform to one of three mental types. There is the
rote fencer. He has certain movements--a certain technique--possibly
several tricks, which he employs persistently, without regard for the
play of his opponent. Next, there is the inductive fencer, who strives
by feints and suggested parries to lead his adversary into the defence
or attack that he desires. Finally, there is the analyst, who studies
his opponent’s play, who has no favorite method, but will adopt the one
best calculated to overcome his opponent. The first is an opportunist,
the second an artist, the third artist and scientist combined.
As a final suggestion regarding competition fencing, let us emphasize
the courtesies. The acknowledgment of touches is not required. With
well qualified juries of five, this is no longer considered either
necessary or desirable. The claiming of touches is not _permitted_.
The contestant is not supposed to endeavor to influence the decision
of the judges by either word or action. In team competitions, the team
captain may protest decisions either at the time of their occurrence
to the Director, or later to the Bout Committee. In individual
competition, it would probably be permissible to request permission of
the Director to register an immediate protest, or to inform him that
a later protest would be registered with the Bout Committee. Beyond
such very unusual occurrences, the contestant should offer no comment
and should certainly refrain from theatrical gestures that are planned
to influence the judges or to appeal to the audience. These actions
are bad from at least three points of view. They are against the
rules. They are unwise. They are bad manners. When the final touch is
announced, close to the rear, bringing your heels together, assuming
the upright position, with arm and sword extended as in the position
preceding the assumption of guard, and salute your adversary. Then,
remove your mask and step forward to shake hands with your adversary.
Remember that, while there is little excuse for being a poor loser,
there is absolutely no excuse for being an ungracious winner. Thank
your adversary for the bout. If he won, tell him what a corking
exhibition of strong fencing he gave. If he lost, pick something that
he did well as an excuse for congratulation and assign his loss to
bad luck. _And mean it._ If you can once reach that point where you
can fully appreciate a beautiful touch made by your opponent at your
expense, you have become a real fencer, regardless of the score.
_The foil costume._ The foil fencing costume is designed for utility
and safety, not for beauty. The black velvet jacket and the red heart
of the calendar girls is not seen elsewhere. The suit is white or
nearly so and should be made of a fairly heavy canvas. The material in
the jacket should be doubled over the front and sword side of the body,
the collar, and the upper sword arm. _This is important._ A broken foil
blade is a truly deadly weapon. The jacket is form-fitting, closes
along the side opposite the sword arm and has a short tail piece,
called a cuissard which is carried between the legs and fastened in
back. This protects the extreme low line.
The pants may be either trousers, or knee breeches, should be of the
same material as the jacket, and should have the fly arranged opposite
to the sword arm. If trousers, the lower portion should be somewhat
shaped to the leg. Such a suit is equally useful for foil, duelling
sword, or saber work, although some fencers like a little padding in
the saber jacket.
The shoes may be any light, flexible type of athletic shoe. If a
linoleum strip is used, an elk sole and resin are best. If a rubber
strip is used, the rubber sole, as used in basketball, is satisfactory.
For duelling sword play, the shoes must be white.
The mask is of wire mesh: (1) of close enough weave to prevent the
passage of a broken blade; and (2) strong enough to resist a heavy blow
with lunge and body weight behind it, from the stump of a broken blade.
The mask must have a bib to protect the neck. For épée, all trim must
be white.
The glove should be of soft leather, lightly padded over the back of
the hand and fingers and should be one full size larger than the street
glove. In major competitions, it must be of light color. The type with
soft gauntlet is probably most desirable.
The sword has already been described, except for one accessory--the
martingale. This is a string, or strap, which may be wrapped around the
fingers or wrist, or otherwise secured, to prevent a released sword
from flying into the audience or jury. At least two foils, preferably
of demountable type, and also spare blades, should be available for
every match, if more than one bout is to be fought.
The jury is charged with the obligation of seeing that equipment
conforms to the rules and that it does not endanger adversary,
onlookers, or self. If they consider that a fencer’s costume offers
inadequate protection, they may disqualify him.
Chapter V
EXERCISES
While there is always doubt as to the acceptability of formal
exercises, to be voluntarily pursued, in any sport, there are always a
few enthusiasts who are hunting for methods of improving their play. In
an earlier section, we have suggested exercises for the development of
the legs. As will be recalled, these consist in the lonely travel up
and back the fencing strip, with the advance and lunge and, later, the
retreat and lunge. Possibly it is absurd to suggest, but the fencer who
will assume the leg position of guard during the morning shave, will
get in an extra ten minutes on those legs. Again, if the man who sits
over a book, will start an open sheet of newspaper at the corner with
the fingers of his sword hand (or both hands, if he desires symmetry
of exercise and development) and gradually, by finger action alone,
crumple that sheet of paper until it is a compact ball within his hand,
he will eventually develop almost tireless fingers. Of course, these
exercises are quite outside of swordplay and may not interest one who
just wants to fence.
There are other formal exercises, with the sword, that are planned
to help develop one or another of the phases of the technique of the
sword. One series of these is planned to help perfect finger work
in the parries. Two fencers face each other well within distance in
what might be called engagement for the simple parries and reverse
engagement for the counter parries. The first term is self-explanatory.
Here, the fencers engage in sixte, or quarte, or whatever guard they
may choose. They then alternate, taking the sharp, tapping parry of
that position with the fingers alone, or with a minimal amount of wrist
play. It is recommended that the parry of prime be omitted from this
exercise. Of the other parries, seconde, tierce, quarte, and septime
are practised very easily with the fingers alone. The parries of sixte
and octave require some degree of wrist play. But constant practice
will reduce this to a minimum. These exercises, when properly executed,
help in four elements--the developing of the leg position of guard, the
holding of the elbow of the sword arm well inside the line of the body,
the effacement of the rear shoulder, and the practice of doigté in the
simple parries. They may prove of some interest, as well as of great
value, to the practical fencer. As stated, with the counter parries,
a _reverse_ engagement is employed. By this, it is meant that instead
of opposing quarte to quarte, or sixte to sixte, as would be the usual
practice if only closing the line were desired, quarte is opposed by
sixte, and similarly throughout the series of guards, so that the
various counter parries can be used. In fact, no true engagement
exists. In the stated position, first one fencer takes the counter of
quarte, whereupon the other takes the counter of sixte. Any time spent
in these exercises will amply repay the fencers in the development of
perfection in the execution of these movements.
Another series of formal exercises that permits an almost infinite
variety opposes a known parry to attack and introduces the lunge
into the exercise. For example, two fencers come on guard in quarte.
It is agreed that the defence must be by no parry or the counter
of quarte. The reason that “no parry” is introduced is in order to
prevent the fencer with the attack from starting a “spinning” double
on the agreement of a counter parry. With the privilege of “no parry”
the defender may stand fast, whereupon the “spinning” double runs
into the motionless defending sword and loses the attack. This is
fine practice in timing the attack to the defence and vice versa. In
addition to the practice in the various elements of the guard and
parries of the previous exercises it introduces: (1) the analysis of
the attack and the defence; (2) the timing of attack to defence and
defence to attack; (3) practice in holding the parry until the front
foot leaves the ground; and (4) the launching of the lunge in perfect
synchronization with the other elements of the attack. As this exercise
can be practised from all guards and with all parries, either simple
or counter, it may well command almost continuous interest for the
perfection of weak spots in attack or defence between the periods of
formal instruction. If the fencers are equally advanced, observant and
mutually critical and helpful, they may make such exercises of enormous
value.
Chapter VI
CLASS INSTRUCTION
Although we have already put ourselves on record as believing that
nothing can take the place of individual instruction by a competent
professional, this does not mean that one who cannot fence under
ideal conditions should not fence at all. Throughout the country,
teams are being instructed by amateurs who are giving their time and
such knowledge as they possess from pure love of the game. In other
institutions, members of the Departments of Physical Education are
replying to the demand for instruction by obtaining such textbooks as
are available and making a very sporting effort to teach as they learn.
It is principally for these individuals and, to a somewhat lesser
degree, for those small groups that must go a step further and indulge
in self-instruction that the following exercises are prepared. An
effort has been made to prepare a series of fifteen lessons, or formal
exercises, that will carry a class or small group through the field of
foil fencing in a logical progression. Of course, the most that can be
hoped for from such a course is the attainment of basic instruction
and the avoidance of the formation of bad habits during the formative
period. The instructor will want to devote two or more class periods to
some of the lessons. He will be wise to devote the opening minutes of
each period to a _physical_ review of what has gone before. The various
procedures will be mastered only by constant repetition with meticulous
attention to correct performance. A spirit of friendly cooperation on
the part of members of the class will be of incalculable help in making
adequate progress. If each member will try to correct the mistakes that
his particular fencing partner makes during the exercises with the
sword and to welcome similar corrections from his partner, the efforts
of the instructor will be multiplied to an extent that will permit him
to concentrate on the obvious serious errors of individuals. Where a
small group is working without an instructor, it is of great importance
that each member become thoroughly familiar with the discussions in
the section on theory before the corresponding lesson is practised. In
class work, this study will probably be imposed on the instructor.
LESSON I
Position of guard.
To be especially emphasized:
1. Semi-sitting position.
2. Effacement of rear shoulder.
3. Inside position of front elbow.
4. Slight forward “cock” of rear knee.
The Advance.
The Retreat.
The Lunge.
To be especially emphasized:
1. The single time, “explosive” character.
2. Horizontal position of front thigh and vertical position of
front leg.
3. Extended position of front and rear arms and rear leg.
4. _Very_ slight forward inclination of trunk.
The points to be emphasized in this lesson will be found illustrated
by Figures 1, 2, 4 and 18 (on pages 3 and 18).
Exercises. Class in line, two feet distance between individuals.
Describe “Position of guard.” At command “On guard,” (1) right handers
face half to left, feet at right angles, toe of front foot pointing
directly to original front; (2) arms are raised to position of guard
and knees simultaneously bent to semi-sitting position; (3) front
foot is advanced twice its length. Left handers face half to the
right, otherwise following same directions. At this point, individual
criticism of position should be made. At first, position of guard
should not be maintained for more than two minutes. At the end of this
time, command “To the rear--Close,” whereupon individuals carry front
heel back to rear, straighten knees and drop arms simultaneously and
half-face back to original position. Allow class to stand at ease while
explaining that these short periods are for the gradual hardening
of untrained muscles to somewhat constrained positions. During this
period, the more obvious errors of position may be criticized. After
a short rest, have the class resume the position of guard and proceed
with individual criticism for the two-minute period and during the
succeeding rest. The first third of the instruction period can well be
devoted to these successive periods of position and rest.
After the completion of this exercise, explain the execution of the
advance and the retreat, emphasizing the speed with which these
exercises must be performed. Form the habit from the very beginning
of speed and snap in all footwork. Then continue the periods of two
minutes of work and of rest, insisting upon the maintenance of the
semi-sitting position throughout these short periods and continually
criticizing the general position as well as the performance of the
actual exercise under consideration. As this double criticism is being
maintained, another third of the period can well be devoted to these
exercises.
The final instruction in the first period is devoted to the execution
of the lunge. Explain this execution with great care. Emphasize the
“explosive” character of the movement. Warn against rising up in the
air with the kick and a gradual settling-to position at the end. Warn
against the turning forward of the rear shoulder from its position of
effacement and against the excessive leaning forward of the trunk.
After this explanation, proceed with the actual exercise. Do not keep
the class in the extended position while making individual criticisms.
This is a hard position for the beginner. Intersperse the lunges with
an occasional advance or retreat to emphasize the need for maintaining
the semi-sitting position. Continue to criticize all elements of the
various positions as well as the actual execution of the lunge. Make
the rest periods a little longer for this exercise and do most of the
individual criticisms during the rest periods. The successive commands
are “Lunge” and “On guard.”
At the end of the period, explain to the class that these exercises, if
properly performed, will result in considerable crippling of the thigh
muscles.
LESSON II
This lesson will be with sword and glove. The mask and jacket may be
omitted, as there will be no opposed exercises. After the beginning of
opposed exercises with the sword, the class should never be allowed to
assemble without masks and properly constructed jackets.
The Description of the Sword.
The Grasp of the Sword.
To be especially emphasized:
Difference between grasp of guard and grasp of attack.
Coming on guard with the sword.
Do not teach the salutes at this time. Practise the various movements
included in the assumption of the guard with the sword. It is well at
this time to teach a single position of guard. The position of quarte
is recommended.
The Thrust. Describe the execution of the thrust, emphasizing the
change from the grip of guard to the grip of attack during the
execution. Emphasize the fact that it definitely precedes the lunge.
From this point, proceed with the exercises very much as in the first
lesson, practising the advance, retreat and lunge with the sword.
Divide the execution of the lunge into two movements, commanding (1)
Thrust; (2) Lunge. The alternating periods of two minutes of exercise
and two minutes of rest should be persisted in during this lesson.
After each thrust emphasize and check the change of grip from guard
to attack. Occasionally, after the command “Thrust,” follow with the
command “On guard,” to check not only the correct resumption of the
position of the guard of quarte, but also the correct resumption of the
grip of guard. It is well to remember that each lesson is the occasion
for insisting upon the fundamental positions of the legs, the rear
shoulder and the front elbow, as well as any later movements that may
be taught. It is also well to remember that this exercise of the thrust
is the first occasion to teach any fingerplay, which is going to be of
great importance.
LESSON III
Preliminary unopposed exercise. It is recommended that a short period
at the opening of each instruction period be devoted to practice in the
positions and movements of the first two lessons. These lessons contain
important fundamental instruction that is often neglected and their
content may well be emphasized for a short period at each session.
Evolution of the Guards.
To be especially emphasized:
(1) The high and low lines.
(2) The constant level of the hand for both lines.
(3) Point at eye level for high line and knee level for low line.
(4) Lateral limits for hand in inside and outside guards.
Difference between guards and parries.
Simple high line parries--quarte and sixte.
Distance.
The engagement.
The simple attacks--high line
(1) The straight lunge in engagements of quarte and of sixte.
(2) The disengage and lunge from engagements of quarte and of sixte.
To be especially emphasized:
(1) Change to grip of attack.
(2) Absence of deliberate lateral movement of point.
(3) The cut-over and lunge from engagements of quarte and of sixte.
To be especially emphasized:
(1) Movement with fingers alone.
(2) Thumb turned slightly up.
This is the first occasion of opposed practice. Let class count twos
and have numbers two step forward three steps and turn about. Let them
alternate the exercises, first with the parry succeeding and then the
attack. Limit exercise periods.
LESSON IV
Preliminary unopposed exercise.
The Feint--Definition.
The Compound Attacks.
(1) The One-Two.
To be especially emphasized:
The down and up movement of second disengage.
Description of the counter parries.
The counter of quarte and the counter of sixte.
The Compound Attacks.
(2) The Double.
To be especially emphasized:
The absence of any circular movement of the point. This lesson is
the opportunity to lay once and for all the ghost of the “circular”
attack and the “circular” parry. Some members of the class may have
had some previous instruction and some may have done a little reading
on the subject. These are going to have to be convinced first and
reeducated afterwards. Few things are more difficult. But, if the
beginners can master the earlier positions and the simple movements
of these fundamental attacks and parries, they will have made a real
start toward correct fencing. There will be very little difficulty
in building the later and more complicated manoeuvers into their
game. On the other hand, bad habits learned at this time may never be
eradicated. Any time spent in mastering the material in these first
four lessons will more than repay both instructor and class.
LESSON V
Preliminary unopposed exercise.
Short review exercise of the parries of quarte and sixte and their
counters and of the One-Two and Double from these lines.
The simple low line parries--septime and octave.
The deceive of the simple low line parries, disengage over the sword
into octave and septime.
The compound deceive of the simple low line parries--One-Two over the
sword.
The counters of septime and of octave.
The deceive of the low line counters by doubles of septime and octave.
This lesson is a simple progression from Lesson IV. The same
alternation of attack and defence by fencing partners may be practised,
with first the attack, and then the defence succeeding. The leg muscles
should be getting a little toughened by now, so that the exercise
periods may be extended to five minutes while the rest periods are held
at two minutes.
LESSON VI
Preliminary unopposed exercise.
This lesson should be devoted to a continuation and extension of the
exercises in the parries of quarte, sixte, septime, and octave, their
counters and the necessary deceives. The simple parries may be extended
to two successful parries, which require a One-Two-Three for their
deceive. Two counter parries may be taken, requiring two doubles for
their deceive. One counter parry and a simple parry may be taken,
requiring a double and disengage to deceive. These more complicated
parries and attacks are excellent training for the hand and some of
them are very practical for competition work. A double and disengage or
two doubles will be frequently used, the one-two-three less frequently
but occasionally. This will also be an opportunity to use the cut-over
as the second movement of an attack, when the temptation to bend the
arm is much greater. Some experience with the cut-over is valuable for
both attack and defence.
LESSON VII
Preliminary unopposed exercises.
Attacks with change of line.
This lesson should be devoted to further practice with the attacks and
parries used in Lessons V and VI and should add to them certain attacks
where the final movement shifts from high line to low, or from low line
to high. For example, a disengage may be made from quarte into sixte;
as the parry of sixte replies, a second disengage may be made into
septime. A similar movement may be practised from sixte to quarte to
octave. Similarly a disengage may be made from quarte to octave and on
the parry of octave a second may return to quarte. Or a disengage may
be made from sixte into quarte and on the counter of sixte a double may
be made into septime.
All of these changes from one parry to another and from one line to
another should be accompanied by a constant insistence upon the sword
hand clinging to the horizontal line slightly below breast level, upon
the point being at eye level in the high line and knee level in the
low line parries and upon the parry never carrying the attacking sword
unnecessarily wide of the target.
LESSON VIII
Preliminary unopposed exercises.
The Ripostes. By this time, the class is presumed to have a reasonable
knowledge of the usual attacks and parries. However, up to this time,
each exercise has had to stop with the successful attack or with the
successful parry. It is now time to take up the ripostes after the
successful parry. First practise the straight riposte following the
simple parries and the counter parries. Do this in both high and low
lines. See whether the parries stop sharply in proper position, with
the point ready to follow through immediately. There is a very strong
tendency to carry the point out too wide in the counter parries and the
same may be true of the simple parries if the elbow is not carried well
inside the body line. Watch this and emphasize it.
LESSON IX
Preliminary unopposed exercise.
Period of exercise in straight ripostes.
This period should be devoted to a continuation of the instruction in
the ripostes, proceeding to the riposte with disengage, riposte with
one-two, riposte with double, and riposte with cut-over. Of course, the
riposte with cut-over can be practised only against high line parries.
The value of the parry and riposte should be explained to the class.
The fact that its proper use may be a decisive factor in any match
should be emphasized. The fact should be explained that its mastery may
be the basis in more advanced work, through the concealed attack of
the counter-riposte, of penetrating what seems an impregnable defence.
Controlled parries and accurate ripostes may more than counter-balance
some weakness in the offensive.
LESSON X
Preliminary unopposed exercise.
Attacks advancing.
In the section on theory, the use of attacks on the advance has been
extensively discussed. This lesson should be employed for their
explanation to the class. In class instruction, only the attack with
“gain” should be employed with a simple attack. The advance, the gain
advance, and the double advance should be used with compound attacks
and care should be taken to try to synchronize them with the successive
movements of the attack. In the class instruction, some of the attacks
should be made against a sway, some against a single retreat, and some
against a multiple retreat. This exercise will be valuable for the
fencing partner, as it will train him in executing the various actions
without deranging the accuracy of his own defence.
LESSON XI
Preliminary unopposed exercise.
Concealed Attacks--Counter Ripostes.
These exercises should start with the simpler attacks and
counter-parries. The effective execution and control of the two-thirds
lunge after considerable practice with the full lunge is a distinct
problem in itself.
It is suggested that the lesson should open with the lunge, parry and
remise, starting with the straight lunge, simple parry, and remise
from each of the high line guards of quarte and sixte. After this
procedure has been mastered, the remise against the counter parries may
be practised, to be followed by the low line simple parries and the
low line counters. The remise is practised because it is the natural
predecessor to the counter-ripostes. Its use and _abuse_ should be
_most_ carefully explained, or we may develop a sewing machine instead
of a swordsman. It is recommended that no effort be made to include the
redoublement d’attaque in this basic instruction.
After the remise, the counter riposte may be developed, first against
simple parry and riposte with simple parry and riposte; then against
compound riposte; and finally against counter and compound parries.
As the concealed attacks are such a very important aid in penetrating
exceptionally strong defences, it is felt that some additional time and
practice could be advantageously given to them.
LESSON XII
Preliminary unopposed exercise.
Review of counter-ripostes.
Counter-Attacks.
1. The stop thrust.
Practice this movement first against an opponent using an “elbow”
cut-over and then against an opponent who makes the second feint
wide of the target.
2. The time thrust.
Practice against disengage, one-two, double, double and disengage,
and two doubles.
LESSON XIII
Preliminary unopposed exercise.
Attacks on the sword.
Suggested attacks.
The press, the glide, and the light beat.
Real attacks.
The heavy beat, the force, the cross, the bind, and the envelopment.
The use of the fingers in all of these exercises and the greater
accuracy from positions of supination should be emphasized. The proper
execution of bind and envelopment will be found much more difficult
than the simpler attacks.
LESSON XIV
Preliminary unopposed exercise.
Defence against attacks on the sword.
LESSON XV
The Courtesies--Salute to jury and opponent.
Formal exercises.
It may be that the preceding outline of fifteen instruction periods
may be considered as more noticeable for what is omitted than for what
is included. Immediately, it becomes evident that no instruction in
the parries of prime, seconde, tierce, and quinte has been included.
It is admitted that, except for the parry of prime, this is a matter
of personal preference. Prime is omitted because of the difficulty
attending its mastery and the very awkward position in which it leaves
the hand for either riposte or further defence. Tierce, and quinte in
the high line, and seconde in the low line are omitted because the
parries with the hand in pronation are somewhat more difficult to
perform with accuracy, to control as to extent and to follow with a
riposte against a right-handed fencer. The enumeration of the omissions
with reasons for the choice might be continued but the basic fact
remains that no man ever mastered fencing in fifteen lessons. The old
prescribed period of instruction by the French master of the classical
school was a minimum of three years. It still takes three years to make
a _good_ college fencer. A conscientious adherence to and practice
of the exercises outlined in these lessons will, however, give the
beginner a sound foundation upon which to build, bring him to the point
where he may appreciate the beauties and intricacies of the game,
qualify him to pass this knowledge on to other beginners and, above all
and before all, will save him from the early formation of those bad
or slovenly habits of performance that have ruined the future of more
fencers than any other one factor.
From time to time, as opportunity offers, the instructor may refer
to some of the omitted sections and emphasize the fact that the
class instruction is after all only basic. He may encourage the
members of the class to study the other parries. He may mention
their advantages and disadvantages in special combinations and under
specified conditions. He should continuously impress upon the class the
limitations as well as the advantages of such a brief course.
Chapter VII
THE DUELLING SWORD
As stated on the title page, the purpose of this book is to present
sword play, as based upon the French school of the foil. With this
purpose clearly before us, it will be appreciated that any comments on
the duelling sword must be incidental as well as brief.
In duelling sword play, the weapon, the rules, and the target present
certain differences from the foil that exercise a continuous influence
on the play of the weapon.
The sword blade is of the same length as that of the foil but is
approximately triangular in cross section, with grooves on each face,
and is both heavier and stiffer than the foil blade. The guard is
always of the bell type, being both wider and deeper than that on the
foil, and is planned to actually cover the hand. The orifice for the
passage of the blade is frequently placed in a somewhat eccentric
position. The grip is very similar to that of the foil as is the
pommel, except that the latter is somewhat heavier to balance the
heavier blade. As an aid to the judging of touches, a small, sharp,
three-pointed button, called a point d’arrêt, is ordinarily fastened
to the point of the sword with waxed thread. The points catch in the
material of the adversary’s clothing, emphasizing the touch. A drop of
some easily removed dye is frequently placed between the points as a
further aid. In important competitions, an electric recording device
may be used. The rules are chiefly concerned with the limitation of the
field of operations, the delimitation of the target, the prevention
of dangerously rough play and the doing away with rules. The target
includes the entire person of the fencer, a touch on any part of the
head, trunk, or extremities being fair, so long as it is made with the
point of the weapon.
There are practically no conventions. The man attacked does not need to
parry if he prefers not. There is no conventional right of way. There
is no requirement of an extended arm. This sounds extremely simple, but
is not.
The bout is usually for three touches. Practically the only governing
element in connection with these touches is the question of time.
The touch that arrives appreciably ahead of the other scores. This
emphasizes play for the nearer parts of the target--principally the
hand and arm, although some play is directed at the front foot and
leg. This play for “les avancés” generally results in the play being
out of engagement and out of distance. The lack of any conventional
right of way and the prime importance of priority makes attacks on the
sword, particularly the controlling, or locking, or binding attacks
highly favored. If you can seize control of your opponent’s sword and
maintain it until your point has quite, or almost, arrived, your danger
from a foil “tension” which becomes a duelling sword “stop thrust” is
minimized.
The same group of parries that serves in the foil persists in the épée,
but there are qualifying conditions. The parries to the inside (prime,
quarte, quinte, and septime) carry the attacking point across the
target, even bringing the rear hand and the rear leg into the field of
attack, and also uncover the sword arm. Therefore, they are much more
dangerous parries for any but exceptional use. “Rolling” parries from
high to low line (sixte to seconde) and from low to high line (seconde
to sixte) are very inclusive and very powerful. The counter parries to
the outside, including these “rolling” parries as a variable, make a
very successful defence.
The custom of fencing both out of distance and out of engagement makes
the duelling sword even more a war of rapid movement than the foil.
There is constant “edging” in, interspersed with short, quick advances
and jump advances. The half, or two-thirds, lunge is common, the full
lunge rare. The latter brings hand, arm, head, and trunk all within
easy hitting distance.
Evasions of attacks on the sword must be executed with small movements
at the point extremely close to the attacking blade, with a two-fold
purpose. In the first place, a wide evasion will open the defending arm
to the attacking point. Secondly, the successful evasion should be the
precursor of a stop thrust and this should be directed at the hand,
or arm. Where the attack on the sword has been successful so far as
establishing contact and control of blades is concerned, the various
methods of defence described in the foil section carry special dangers
which must be anticipated and guarded against. A releasing parry
exposes the outer or inner side of the forearm, depending upon whether
it has originated from the outside or inside guard. The slip parry
exposes one or the other side of the forearm in its yielding movement
around the successive quadrants of the circle--always with uncertainty
as to when the attacking sword is going to release its control and try
for a touch. The very short distance from attacking point to defending
forearm makes this danger somewhat more acute than when the body is
the target. This brings us to the decision that all _first parries_
against attacks on the sword should be accompanied by a retreat. _This
does not mean all parries._ If the attacker is convinced by the retreat
accompanying the first parry that he is pursuing a retreating, or
shaken antagonist, it is quite possible that the second parry should
be made while standing firm, or even that it should be accompanied by
an advance. Either one gives the opportunity to break the rhythm of the
attack and either one may completely destroy the attacker’s conception
of distance. As always, the prevention of an accurate analysis or
forecast of your reaction is vital.
There are certain other basic facts that it is well to remember.
If your sword is in prolongation of your forearm and your point is
directed towards the hand or guard of your opponent and _your guard is
in the same horizontal plane_ with his, the opening to attack showing
on your opponent’s arm also appears on yours. Conversely, if he is
covered, you are covered. Therefore, one of the most desirable standard
positions of guard with the épée would be an adaptation of the foil
guards of sixte, tierce, or seconde--with blade in direct prolongation
of the forearm, point at approximately hand level, and forearm
concealed by guard of sword. Of course, if the position of seconde is
chosen, the point would be below the level of the hand. It follows
that successful parries from these positions will require a raising
or lowering, as well as lateral deviation of the point, so that the
defendant blade will cross instead of remain parallel to the line of
attack. Also, if he leaves his position to attack your arm, he offers
an opening on the same or opposite side of his hand or arm to the one
that he is attacking on yours. In continuation of the same reasoning,
as you take the point-to-point, guard-to-guard position, you inevitably
expose certain areas to attack. This is not necessarily undesirable, so
long as you remember the fact, know just what the exposed area is and
have decided just what you are going to do in case of attack on that
area. It is even sometimes desirable to leave a definite opening as an
invitation to attack, provided that you have an adequate answer ready.
For instance, your position of guard may deliberately expose the tip
of your elbow to attack from below. The assumption is that, when your
adversary attacks this elbow, you will counter-attack at his hand or
wrist. The extension of your arm in the counter-attack removes your
elbow further from his point, places it in an unexpected position, and
gives you a target that is the full length of the forearm closer to
your point than his target to his point. Attacks on the front leg or
foot are easily evaded when the balance is equally distributed on both
feet. The simple withdrawal of the foot is sufficient. But the mask,
hand, or arm of the attacker may be very vulnerable to counter-attack.
Never parry an attack on the front foot or leg--but, likewise, never
permit a feint at the front foot or leg to cause such a withdrawal of
the foot and simultaneous leaning forward of the head and body and
extension of the arm that a successful attack on the sword becomes too
easy.
It is obvious that there is one detail in which preliminary foil
training will be of little benefit to the duelling sword fencer. This
is in the quick recognition of a sudden, small target and the accurate
“throwing” of a point to that target. Concentrated practice in this
one pursuit is a very necessary preliminary to serious work with
this weapon. An improvised target game may be very helpful in this
connection, as well as of interest to a small group of fencers. A small
rubber ball, not over one inch in diameter, is threaded on a string and
suspended from the ceiling at the approximate height of the hand of a
fencer in the position of guard. The various members of the practising
group then arrange themselves in a circle about the ball at a distance
of about four inches less than their respective thrusting ranges. The
ball is then started swinging and the members of the squad are allowed
one thrust each, the only rules being that the thrusts shall be taken
only one at a time, that the opportunity to thrust shall travel in
regular rotation around the group, and that no individual shall allow
the ball to come to a dead rest before taking his thrust. Ordinarily,
there is no wish to keep accurate scores, but this may be done if it
seems to add to the interest. It is well to insist that the various
men assume the actual position of guard during the exercise. If the
exercise appears to become more easy, the fencers may be required to
take position out of distance and practise simple advance or jump
advance before the thrust.
_Equipment._
The sword has already been described. A martingale is required.
The uniform is similar to that for foil.
The shoes are similar to those for foil, but must be white.
The mask is similar to that for foil, but the trim must be white.
The glove is of special type. It is not padded, has soft leather palm
while back of fingers and hand and entire gauntlet are of strong
canvas. This should be little larger than street glove and glove and
gauntlet should fit snugly.
Chapter VIII
THE SABER
The comments on the saber will be equally as brief as those upon the
duelling sword. In the first place, there is no recognized play of the
saber that is based upon the French school of the foil. Thirty-five, or
forty, years ago, there was a definite French school of the saber. The
Italian saber play was so superior to that of the French school that
the latter was gradually abandoned as a distinct entity. Today, it is
probable that the most finished fencers with the saber belong to the
Hungarian school which is an adaptation and perfection of the Italian
school.
The saber is a weapon to itself and its play is a school to itself. The
modern fencing saber is light, weighing only an ounce or two more than
the foil. The blade is about one inch shorter than those of foil and
duelling sword. It is assumed to have a point, a sharp edge extending
the full length of the front edge of the blade and a sharp false
edge, extending for the distal third of the back of the blade. Fair
touches may be made with any of these portions of the blade. The target
includes head, arms, and the trunk down to the break of the hips in the
position of guard.
Probably the most favored position of guard with the saber corresponds
to the French foil guard of tierce. The parries across the body tend
to assume the characteristics of the “rolling” guards mentioned under
foil play. Thus the four parries for the arms and trunk would be very
similar to the foil parries of tierce, quarte, septime, and seconde.
The parry of prime, or an alternating prime-seconde is also employed,
although it exposes the arm. The parries against cuts at the sides of
the head may be made by simply raising the parries of the corresponding
high lines of the body. A downward cut at the head may be met by a
blade sloping slightly upward and pointing from right to left, or left
to right. As attacks with both point and edges are permissible and
the hand and forearm are included in the target, precautions similar
to those observed in the duelling sword are necessary, with certain
obvious additions. As cuts with the edge are good, the fact that the
point has been successfully deviated is not a final and sufficient
defence. What is a feint of a point attack may end as an attack with
the edge at some other portion of the target. It may even end with a
withdrawing cut with the false edge during the return to the position
of guard.
As in the duelling sword, with the inclusion of the hand and arm in the
valid target, it is customary to fence out of engagement and out of
distance. This makes the game of the saber one of extremely active and
accurate foot-work.
Also, there is a very marked difference in the theory of the handling
of the sword from that which has been prescribed for foil play under
the French school. There is a definite, intended, prescribed departure
from finger- or wrist-play. Here, the emphasis is placed upon the
elbow. The sword is carried in direct prolongation of the sword arm and
parries, feints, attacks, and counter-attacks are executed from the
elbow.
Anyone who is seriously following the foil may obtain considerable
pleasure from saber play by treating it largely as has been advised
for the duelling sword. The point may be used to great advantage. The
false edge may be used to occasional advantage, following a feinted
point attack. Beyond this the foil or duelling sword fencer had better
not venture. If he wishes to make a serious study of the saber, which
it thoroughly well deserves, let him seek a competent master of the
Italian or Hungarian school, or, if such is not available, obtain a
book from the pen of such a master.
To somewhat amplify the preceding remarks, in adapting our basic
knowledge of French foil and duelling sword play to the saber, we
assume the regular position of guard so far as body and legs are
concerned. The rear arm, instead of being carried high as in foil
play, is carried behind the back--the back of the hand resting in the
small of the back, with the fingers inside of and grasping the belt.
The sword arm and sword are carried in the guard of tierce. However,
in this position of guard, the blade is carried in a practically
horizontal position instead of carrying the point at the level of the
eye. Although fencing out of engagement, the point is directed towards
the opponent’s sword hand. This position of guard accomplishes three
things: first, the straight line formed by forearm and sword places
the hand and forearm directly behind the protection of the guard of
the sword; second, the horizontal position of the sword, with point
relatively low, renders the blade less accessible to an attack on the
sword; and, third, the constantly threatening point must be displaced
or evaded before the opponent can safely launch any attack.
The sword arm is maintained in a position two-thirds extended with
hand at approximately the same level as in foil work. Although this
low position of the hand does not adequately cover the head, or even
the upper portion of the trunk, it places the hand and forearm under
the cover of the bell and removes the blade from ready accessibility
to attack. Against point attacks, the parries are executed much as
in foil play--except that the simple parries with the true edge are
favored--necessitating a rolling parry to meet a change of line. Thus
the normal high line parries are quarte and tierce, the low line
septime and seconde. When the attack is at the head, high quarte and
high tierce are used--thus giving really a high, a mid, and a low line.
Also, as previously mentioned, the parries are controlled more from
shoulder or elbow and little from the fingers or from the wrist.
Against cuts, there is some further departure from the technique of
foil parries. In the latter, both hand and point stop just beyond the
line of the body, as the deviation of the attacking point requires
little force if faible is met with forte. However, with the saber,
a cut may well force through to the target if it is met by simple
opposition. Therefore, the point of the parrying sword is carried
diagonally beyond the direct zone of the target so as to cause the
attacking blade to glide down the parrying blade to the guard.
As the fencing is out of engagement, practically all attacks must be
initiated with a closing of distance. As in foil play, this closing of
distance may be accompanied by the first feint of a compound attack or
by an attack on the sword. At all times, it must be remembered that the
sword hand and arm are a part of the target and that they must not be
uncovered during the preliminary movements of the attack.
A very good practice for both attacker and defender is the
making of compound attacks and the parries against them in three
lines--accompanying the first two feints by advances and the third
cut by a lunge. Such an attack would be: (1) feint seconde cut, with
advance; (2) feint quarte cut, with advance; and (3) high tierce cut,
with lunge. The first of these feints would bring the attacker within
distance; the second would be met by a retreat of the defender; and the
third would touch the mark--or give the defender the opportunity to
parry and riposte--according to previous agreement. These exercises
could be alternated between fencers--first one and then the other
attacking--and first the attacker touching and then the defendant
making a successful parry and riposte. The same variation should be
made in the origin and direction of the attacks, changing the first
feint from one side to the other and from the low line to the high
line. This is excellent practice for both foot and hand.
The attacker should never forget that certain feints and attacks
automatically carry exposure of certain portions of the target to
stop cuts or thrusts. When made in the low line, the upper side of
the arm is exposed and when to the inside or the outside, the inside
or the outside of the arm is exposed. While the same general rules
as to right of way pertain to saber as to foil play, the fact that
cuts with the saber are nearly always preceded by some withdrawal of
the sword makes many more stop cuts valid. The tendency of directors
is to grant the right of way to a simple attack but to judge between
successful compound attacks and stop cuts on the basis of time. This is
particularly true where the defender makes a successful stop cut on the
first feint of a compound attack en marchant and succeeds in executing
a retreat before the attacker overtakes him and touches with the final
movement of his compound attack.
It is well to remember that many saber fencers have never been trained
in the school of the foil and have sadly neglected practice in point
work. Against such, a straight lunge, a disengage, or a one-two and
lunge may prove very efficacious.
The saber riposte is frequently less complicated than with the foil.
The successful parry of a cut leaves the defender’s sword between that
of the attacker and the target. A straight riposte may frequently be
achieved by simply turning the hand over and making a gliding cut at
the exposed area. Other ripostes follow the general rules laid down
for foil and épée.
The hand and arm are frequently vulnerable to either direct attack
or to stop cut or thrust against fencers who indulge excessively in
compound attacks or who have peculiarities of execution.
With the saber as with the épée, the occasional individual who
fences with fully extended arm and sword is particularly susceptible
to attacks on the sword. But, it must not be forgotten that he has
schooled himself against these attacks and that the attacker must be
versatile in their use and not over-confident of success. Probably
the most commonly used attack on the sword is the bind (liement).
However, in both saber and épée, the croisé may be both safer and more
efficacious. The inclusion of the mask in the target of these weapons
makes it particularly difficult to carry off the croisé--and, if it is
carried off, it must be at the expense of a complete exposure of the
flank.
The rule regarding the right of way of the riposte following a
successful parry is the same for saber as for foil. However, the much
greater frequency of attacks on the sword with the saber makes it very
important for the defender to be sure that he is parrying a frank
attack or a feint, rather than an attack on the sword. Otherwise, he
may be surprised to find that what he considered a good riposte is
being judged a stop cut and what he considers his opponent’s remise, or
redoublement, is being declared a good touch on the attack, following
an attack on the sword. Such decisions are extremely difficult and,
adopting baseball terminology, may be called a “director’s choice.”
Frequently, he can reach a decision only through a knowledge of the
habitual play of the individual fencers.
For the guard and type of play here advocated, the saber guard, which
is designated “Olympic,” should be employed, as the Hungarian guard
leaves the top of arm exposed in the low position.
_Costume and equipment._
With the exception of the weapon, there is no fundamental difference
between the equipment for saber and for foil. The mask may be of
somewhat heavier wire and somewhat more heavily padded. Some fencers
prefer light padding in the jacket. Some like a leather or padded cap
for the elbow of the sword arm. Some like a glove with some padding
in the gauntlet. All of these differences are matters of personal
preference--are permissible but not mandatory.
INDEX
Advance, 2
Attack, 22
compound, 25
concealed, 45
false, 44
frank, 22
simple, 22
Attack, advancing or en marchant, 40
Attack and Defence, relation of, 27
Attack from position or de pied ferme, 40
Attack on Execution, 30
Attack on Preparation, 30
Attacks on Sword, 32
suggestive or suggested, 33
real, 33
Balestra; _see_ Jump Advance
Beat, light and heavy, 33, 36
Bind, 34, 35, 36
Body Evasion, 31
Bout, 53
Breaking the Line, 47
Cavé (cavation), 50
Compound Attacks, 25
Coulé, 33
Counter Attack, 15, 29
Counter Parry, 19
Coupé, 23
Coup d’Arret; _see_ Stop Thrust
Coup de Temps; _see_ Time Thrust
Croisé (cross), 34, 36
Cut-over; _see_ Coupé
Deceive; _see_ Evasion of Parry
Defense of Desperation, 37
Derober; _see_ Evasion of Attack
Disengage, 23
Doigté, 9, 17, 21, 23, 24, 26, 37
Double, 27
Engagement, 19
Envelopée, septime and octave, 48, 65
Envelopment, 34
Épée, 87
Evasion of Parry, 25
Evasion of Attack, 37
_also see_ Body Evasion
Feint, 4, 24
Feint, effective, 25
Feint, legal, 4, 25
Finger Work; _see_ Doigté
Fleche; _see_ Passado
Froisé, 33, 36
Gain (gagnant), 41
Gauchers; _see_ Left Handed Fencers
Glide; see Coulé
Grasp (Grip or Hold) of Sword, 9
Guard, assumption of, 54
Guard, stance, 1
Guard, distinguished from parry, 17
Guards with sword, 15, 16, 17
Half Circle, 49
Hand, grip, 9
position in guards, 11
High Line, 17
_see also_ Lines of Defense or Attack
High Octave, 51
High Prime, 51
High Septime, 49
Inside Line; _see_ Lines of Defense or Attack
Invitation, 37
Irregular Position, 39
Italian School, 63
Jump Advance, 4
Left Handed Fencer, 19, 61
Les Avancés, 86
Liement; _see_ Bind
Lines of Defense or Attack, 11, 12
Low Line, 17
_see also_ Lines of Defense or Attack
Lunge, 5
disengage and-, 23
half and two thirds, 87
straight, 24
Octave, 17
One-Two, 25
Opposition in Attacks, 43
Opposition; _see_ Parry, slipping and yielding
Outside Line; _see_ Lines of Defense or Attack
Parry, in reference to contact with sword, 8
counter, 19
distinguished from guard, 17
releasing, 38
rolling, 16, 17, 86
yielding, 38, 39
Passado, 43
Phrase d’Armes, 29
Point d’Arret, 85
Press, 33, 36
Pronation of Hand, 11
Quarte, 16
Quinte, 16
Redoublement d’Attaque, 29
Remise, 28
Reprise d’Attaque, 29
Retreat, 2, 37, 42, 87
Right of Way, 4, 13, 15, 24, 27
Riposte, 28
Saber, 91
Salute, 53, 54
Seconde, 16
Septime, 17
Simple Parry, 17
Sixte, 16
Slipping Parry; _see_ Parry, releasing and yielding
Stop Thrust, 30
distinguished from Tension
Supination of Hand, 11
Sword, 7
Target, in foil, 11
Tension, 30
Threat; _see_ Feint, effective
Thrust, 4
Tierce, 16
Time Thrust, 30
Tour de l’Épée, 65
Transcriber’s Notes
Perceived typographical errors have been silently corrected.
Inconsistencies in hyphenation and compound words have been maintained
as printed.
New original cover art included with this eBook is granted to the
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