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Notman Photo.
Go.
Boston, Mass.
LOUIS KONDELLE.
FOIL AND SABRE a ©wmmar
of dfcncins
IN
DETAILED LESSONS FOR PROFESSOR AND PUPIL
BY
LOUIS RONDELLE MAITRE d'aRMES AT THE BOSTON ATHLETIC ASSOCIATION
AND THE HARVARD UNIVERSITY FENCING CLUB
ILLUSTRATED
BOSTON ESTES AND LAURIAT PUBLISHERS
Copyright, 189$,
By Louis Rondelle.
John Wilson and Son, Cambridge, U.S.A.
aaxvoiaaa ATiaaioaasaa HIM/nOA
si
SIHJ.
'Bjuauij^ JO anSfiafi .saaiuajf anajBut^ a^:^
AUTHOR'S PREFACE.
A LIFIr-LONG love of to
me
its
study of the art of fencing, and a passionate
practice
;
a careful observance of what seems
" the unfortunate methods of the self-entitled " Maitres
and " Professors " who assume ciation of the certain in
to teach the art
adopted country this splendid art
beguiled
me
may
my
has attained in
it
a full appre-
and deep interest so rapidly growing up
America, together with the sincere wish
excellence which
;
I
have that in
my
reach the same high native land,
â&#x20AC;&#x201D; have
into this effort to transcribe in the English lan-
guage a concise and exhaustive treatise on the science of fencing as
taught in Prance, particularly at the National
whose diploma
Military School of Joinville-le-Pont,
I
have
the satisfaction and honor to hold. I
have attempted
are, in this
in the following
pages to show that there
science, principles far deeper than mechanical
movements, and to give those principles the pression to which they are entitled.
I
intelligent ex-
would gladly base
this,
with other sciences, on the broad ground-work of professional dignity and capacity.
AUTHOR'S PREFACE.
vi
Believing as
I
do that upon each of us there rests a dut}^ to
contribute something to the pleasure or well-being of his fellows, I have in a modest exercise,
and
to stimulate a
this
it
manly
among
Notman Photograjih
their painstaking thoroughness for the
set of original pliotograpbs
volume were made.
that
in intelligent athletics.
myself greatly indebted to the
Company and plete
to popularize a
higher taste for
Americans wlio delight
large class of I find
way hoped
com-
from which the plates
of
EDITOR'S PEEFACE.
T GUIS RONDELLB
â&#x20AC;&#x201D;
^
was born
He
Jan. 31, 1854.
at Cr^py-eu-Yalois, France,
took part in the campaign of 1870-
71 as Zouave, Garibaldian Volunteer, and Franc-Tireur.
was conscripted, and re-entered the
Ninth Regiment of Cliasseurs-a-Cheval
Academy
at Joinville-le-Pont
He
service in 1875 in the ;
sent to the Fencing
(from which, since 1872,
all
the
fencing-masters of the French army must be graduated), where
he received his
Maitre d'Armes (standing number two
title of
in general competition), in the First
Regiment
and was appointed instructor
of Chasseurs-a-Cheval.
of fencing
Honorably
dis-
missed from the service in 1879, he performed the necessary twenty-eight days of active service as a in October, 1881, with the
Cheval
;
arrived in
New
member
of the reserve
Eighth Regiment of Chasseurs-a-
York, December, 1881, and became
the instructor of the Knickerbocker Fencing Club, and later of the
Manhattan Athletic Club, where he served
until his
appointment as fencing-master of the Boston Athletic Association, in October, 1889.
CONTENTS. FAQE
Preface
v
Historical Outline of Fencing in Fiance
1
The School at Joinville-le-Pont The new Academy of Arms
7
Physical Development
7 8
.
Instruction
11
part Preliminary Definitions of Holding the Foil
i. 15
Manner
16
.
Position of Attention
16
The Position of On Guard The Advance. La Marche The Retreat. La Retraite The Calls. Les Appels Extension of the Arm. Extention du Bras The Lunge. La Fente Recover Forward. Rassemblement en Avant
16
.
18 18
Rassemblement en Arriere
....
19
.
.
...
.
.
.
....
Lignes d'Engagements
.
.
.
.
.
.19
.
....
20
...
Demonstration of the Counter. of the Parries.
Nom
20 .
20 21
... 21 ... .21 .... .21
Demonstration da Centre
des Parades
Execution of Prime. Execution de la Prime Counter of Prime. Contre de Prime
Execution of Seconde.
19
19 19
.
.
Names
18
.
.
Lignes d'Attaques
.
.
Parades Demonstration of the Parry. Demonstration de la Parade Demonstration of the Opposition. Demonstration de I'Opposition Parries.
17
.
....
Lines of Engagements.
Diagram
.
....
The Salute. Le Salut The Lines Les Lignes Lines of Attacks.
17
.
.
.
Recover Backward.
17 .
Execution de
la
.
Seconde
.
21 .
.
22
CONTENTS.
X
Page
Counter of Seooude. Execution of Tierce.
22
Centre de Seconde Execution de la Tierce
22
Counter of Tierce, Contre de Tierce Execution of Quarte. Execution de la Quarte Counter of Quarte. Contre de Quarte Execution of Quinte. Execution de la Quinte
Counter of Quinte. Execution of Sixte.
Contre de Quinte Execution de la Sixte
.
Tlie Fingering.
Fingering
Le Doigte
Exei-cise.
The Engagement.
...
L'
The Attack.
.
Definition of Direct Thrust. Definition of Disengagement,
Definition of Cut-Over. Riposte,
.
23 24
.
.
.24
.
24 .
.
...
.
...
.
24 25
.
.
.
.
25 25
M. DIVISION.
.... .
.
26
.
.26
.
Coup Droit du Degagement du Coupe
Definition du
26
Definition
De'finition
La Riposte
23
.
.
â&#x20AC;&#x201D; FIEST
L' Attaque Simple Attacks. Attaque Simple
23 23
.
....
Engagement
FIRST LESSON
23
.
.
Exeroice du Doigte
part
The
.
22
.
.
.
22
.
...
Counter of Sixte. Contre de Sixte Execution of Septime. Execution de la Septime Counter of Septime. Contre de Septime
Execution of Octave. Execution d' Octave Counter of Octave Contre d'Octave
.
.
.
26
.27 .
...
27
Simple Parries for Simple Attacks, and Direct Riposte
29
The
30
Feint.
La Feinte
....
SECOND DIVISION. Attacks composed of two movements Parries
.
.
composed of two movements and Direct Ripostes
.
.80 ... 31
THIRD DIVISION. Attacks composed of three movements Parries composed of three
FOURTH
.
.
34
DIVISION.
Attacks composed of four movements Parries composed of four
33
movements and Direct Ripostes
...
.
.
movements and Direct Ripostes
... ...
36
37
CONTENTS.
xi
SECOND LESSOX — FIEST DIVISION. Page
The Beat.
...
Le Battement
.
....
....
40
Simple Attacks preceded by a Beat Attacks composed of two movements preceded by a Beat Attacks composed of three movements preceded by a Beat .
La
The The
Traverse.
The
Glide.
Press.
Pression
.
Froisse
J^e
.
40 41
42 43
.
.
.
.
43
.
SECOND DIVISION. Le Coule
.43
.
Simple attacks preceded by a Glide Attacks composed of two movements preceded by a Glide
43
.
.
44
Simple parries for simple attacks preceded by a Beat, Press, Traverse; or Glide, and Direct Ripostes
45
.
THIRD DIVISION. .
.
.
.
.
two movements for attacks preceded by a Beat, Press, Traverse, or Glide, and Direct Ripostes Parries composed of three movements for complex attacks preceded by a Beat, Press, Traverse, or Glide, and Direct Ripostes Parries
composed
of
.
.
...
46
48
FOURTH DIVISION. Miscellaneous Attacks
....
.
50 51
Parries for miscellaneous attacks
FIFTH DIVISION. Attacks deceiving the Beat
...
Parries for simple and complex attacks deceiving the Beat
THIRD LESSON — FIEST The Low-Thrust.
Le Derobement
.
55
.
preceded by a Glide Attacks composed of three movements in the High and
preceded by a Glide
.
53
54
DIVISION.
Simple attacks in the Low Line, preceded by a Glide Attacks composed of two movements in the High and
...
... ...
.
.
.
...
.
Low
...
.
Low
56
Lines,
56
Lines,
58
CONTENTS.
xii
SECOND DIVISION. Page
Simple attacks in the Low Line preceded by a Beat Attacks composed of two movements in the High and preceded by a Beat Attacks composed of three movements in the High and .
.
preceded by a Beat
.
59
Low
Lines,
Low
Lines,
....
59 61
.
THIRD DIVISION. The Bind.
Le Liement
.
62
.
Simple attacks in the Low Line, preceded by a Bind Attacks composed of two movements in the High and
Low
Lines
preceded by a Bind Attacks composed of three movements in the High and
Low
Lines,
....
.
...
preceded by a Bind Simple parries in the Low Line, and Direct Ripostes Parries composed of two movements in the High and .
.
and Direct Ripostes
FOURTH and Direct Ripostes
of
.
.
63
.
.
63
.
Low
Lines,
64
DIVISION.
movements
in the
High and Low Lines,
....
.
FOUETH LESSONâ&#x20AC;&#x201D; FIEST The Change
62
....
.
.
Parries composed of three
62
DIVISION.
Le Changement
Engagement.
66
d'
Engagement
.
.
Simple attacks deceiving the Change of Engagement Attacks composed of two movements deceiving the Change of En.
gagement
.
68
.68
.
.
.
68
Attacks composed of three movements deceiving the Change of En-
gagement
....
...
.
.
69
.
.
Simple attacks preceded by a Beat, on the Change of Engagement Attacks composed of two movements preceded by a Beat, on the
Change
of
Engagement
.
.
.
.
70
.
70
SECOND DIVISION. Simple parries for attacks on a Change of Engagement, and vai-ious simple Ripostes
.....
.
.71
Simple parries for attacks on a change of Engagement, and various Ripostes in two movements
72
CONTENTS.
xui Paoe
Parries composed of two
movements
for attacks
on a Change of En-
gagement, and various simple Ripostes Parries composed of two
movements
73
for attacks
on a Change of En-
gagement, and various Ripostes in two movements
74
FIFTH LESSON â&#x20AC;&#x201D; FIEST DIVISION. The Double Engagement.
...
Le Double Engagement Simple attacks preceded by a Double Engagement Attacks composed of two movements preceded by a Double Engagement
.
.
.
75 75 76
.
Attacks composed of three movements preceded by a Double En-
gagement
.
.
.
.
78
.
SECOND DIVISIOX. Simple parries for attacks preceded by a Double Engagement, and various simple Ripostes Simple parries for attacks preceded by a Double Engagement, and .
.80
.
various Ripostes in two movements
81
THIRD DIVISION. movements for attacks preceded by a Double Engagement, and various simple Ripostes Parries composed of two movements for attacks preceded by a Double Engagement, and various Ripostes in two movements Parries composed of two
.
.
FOURTH
83 85
DIVISION.
movements for attacks preceded by a Double Engagement, and various simple Ripostes Parries composed of three movements for attacks preceded by a Double Engagement, and various Ripostes in two movements Parries composed of three
...
.
SIXTH LESSON â&#x20AC;&#x201D; FIRST
91
DIVISION".
Simple attacks while Advancing or upon the adversary's Advance Attacks composed of two movements, while Advancing or upon the .
adversary's Advance
88
....
94 95
CONTENTS.
xiv
SECOND DIVISION. Paoe
Attacks composed of three movements, while Advancing or upon the adversary's
...
Advance
.
.96
.
Simple attacks preceded by a Beat, while Advancing or upon the adversary's
Advance
.
98
.
THIRD DIVISION. Attacks composed of two movements preceded by a Beat, while Ad-
....
vancing or upon the adversary's Advance Simple parries for attacks while Advancing or upon the adversary's Advance, and various simple Ripostes
100
movements for attacks while Advancing upon the adversary's Advance, and various simple Ripostes
102
...
.
.
.
Parries composed of two
or
.
FOURTH
99
.
DIVISION.
movements for attacks while Advancing upon the adversary's Advance, and various simple Ripostes
Parries composed of three or
SEVENTH LESSON â&#x20AC;&#x201D; FIRST
.
104
.
107
DIVISION.
Simple attacks deceiving the Change of Engagement, while Advan ciiig or
upon the adversary's Advance
.
.
.
.
Attacks composed of two movements deceiving the Change of En108 gagement, while Advancing or upon the adversary's Advance Simple attacks preceded by a Beat deceiving the Change of En-
gagement, while Advancing or upon the adversary's Advance
.
109
Attacks composed of two movements preceded by a Beat deceiving the Change of Engagement, while Advancing or upon the adversary's
Advance
.......
109
.
SECOND DIVISION. Simple parries for attacks while Advancing or upon the adversary's Advance, and various Ripostes Parries composed of two movements for attacks while Advancing or
....
.
110
.
Ill
Simple attacks while Advancing or upon the adversary's Advance, preceded by a Double Engagement
112
.
upon the adversary's Advance, and various Ripostes
.
.
THIRD DIVISION.
'
.
CONTENTS.
XV Page
Attacks composed of two movements while Advancing or upon the adversary's Advance, preceded by a Double Engagement .
.
113
yiniple Parries for attacks while sary's
Advancing or upon the adverAdvance, preceded by a Double Engagement and various
Ripostes
114
FOURTH
DIVISIO:^.
movements
Parries composed of two
for attacks while Advancing upon the adversary's Advance, preceded by a Double Engagement, and various Ripostes Simple attacks deceiving the Change of Engagement, while Advancing or upon the adversary's Advance, preceded by a Double Engagement Attacks composed of two movements deceiving the Change of Engagement, while Advancing or upon the adversary's Advance, preceded by a Double Engagement
or
...
....
.
.
...
.
....
.
EIGHTH LESSOX â&#x20AC;&#x201D; FIRST
116
117
117
DIVISION.
Simple attacks while Advancing or upon the adversary's Advance, preceded by a Double Engagement, and deceiving the Change of
...
Engagement by a Beat
....
118
Attacks composed of two movements, while Advancing or upon the adversary's Advance, preceded by a Double Engagement, and deceiving the Change of
Engagement by a Beat
119
SECOND DIVISION. Simple parries for attacks while Advancing or upon the adversary's Advance preceded by a Double Engagement, and various simple Ripostes Simple parries for attacks while Advancing or upon the adversary's .
.
Advance preceded by a Double Engagement, and various Ri. movements
postes in two
.
.
.
120
121
THIRD DIVISION. Parries composed of two movements for attacks while Advancing or upon the adversary's Advance preceded by a Double Engagement, and various simple Ripostes Parries composed of two movements for attacks while Advancing or upon the adversary's Advance preceded by a Double Engagement, and various Ripostes in two movements
122
123
CONTENTS.
xvi
ISraSTTH
LESSON — FIRST DIVISION. Page
Simple attacks preceded by a Beat in the Line opposite to that of the
Engagement
....
.
124
.
Attacks composed of two movements, preceded by a Beat, in the Line opposite to that of the Engagement
124
SECOND DIVISION. Miscellaneous Parries and Ripostes
125
TENTH LESSON — EIEST
DIVISION.
Simple attacks in the Low Line while Advancing or upon the adversary's Advance, preceded by a Change of Engagement, Traverse, Beat, or Press
....
.126
.
Attacks composed of two movements in the High and
Low
Lines
while Advancing or upon the adversary's Advance preceded by a
Change
of
Engagement, Traverse, or Press
.
127
.
SECOND DIVISION. Simple parries for attacks in the Low Line while Advancing or upon the adversary's Advance, and various Ripostes .
.
132
movements in the High and Low Lines for attacks while advancing or upon the adversary's Advance, and
Parries composed of two
various simple Ripostes
....
132
....
135
THIRD DIVISION. Simple attacks Deceiving the Double Engagement Attacks composed of two movements, Deceiving the Double Engage.
ment
.
.
.
...
...
135
.
Attacks composed of three movements, Deceiving the Double En-
gagement
.
.
.
ELEVENTH LESSON — FIRST The Counter-Riposte.
La Centre Riposte
136
.
DIVISION.
....
.
.
137
Various simple Counter-Ripostes and various simple Parries and Ripostes
137
Various simple Parries for the Feint of Disengagement, various simple Ripostes, and various simple Counter-Ripostes
....
139
CONTENTS.
SECOND
xvii
DIVISION". Faob
Various simple Parries for the Feint of Disengagement, various simple Ripostes, and various Counter-Ripostes in two movements Various simple Parries for the Feint of Disengagement, various Ripostes in two movements, and various simple Counter- Ripostes
.
140
.
140
THIRD DIVISION. Various simple
Parries,
Ripostes,
and second
Counter-Ripostes,
Counter-Ripostes
.
141
Various simple Parries, Ripostes, and Counter-Ripostes, and various second Counter-Ripostes in two movements
...
142
Various simple Parries and Ripostes, various Counter-Ripostes in two movements, and various simple second Counter-Ripostes Various simple Parries and Ripostes, Counter-Ripostes in two move-
143
.
.
.
.
FOURTH
.
.
DIVISION.
.
ments, and various simple second Counter-Ripostes
143
FIFTH DIVISION. Various simple Parries and Ripostes, Counter-Ripostes in two movements, and second Counter-Ripostes in two movements
14.5
...
146
.
The Exercise
of the Counters.
Tire les Centres
TWELFTH LESSON â&#x20AC;&#x201D; PIEST
.
.
.
DIVISION.
The Time-Thrust. Le Coup de Temps The Direct Time-Thrust. Le Coup de Temps Direct The Time-Thrust in Opposition. Le Coup de Temps Time-Thrust on attacks composed of two movements
SECOND
.
147 .
.
d'Opposition
147
148
148
DIVISION.
Time-Thrust on attacks composed of three movements
152
THIRD DIVISION. Time- Thrust on attacks composed of four movements
FOURTH
158
DIVISION.
Time-Thrust on attacks in the Low Line
161
CONTENTS.
Xviii
part
Mh Page
....
The Grand Salute. Le Mur The Assault. L'Assaut Premature Assault. Remarks upon President of the Assault Professorships
166 .^
109
the Assault
172
.
.
.
174
.
.
.
....
.
...
Rules governing Amateur Competition Double Hits. Coups Doubles ou Coups Foures Riposte by Tao-au-Tac
175 176 178
...
181 181
Corps-a-Corps
Arms Passage of Arms Phrase of
.
181
.
181
.
Remarks on the Time- Thrust The Stop-Thrust. Le Coup d' Arret
182
.
Attacks on Preparation.
182
Attaques sur Preparation
.
...
.
182
The False Attack.
183
Attacks on the
183
To Deceive
La Fausse Attaque Blade. Attaques k la Lame
Tromper le Fer Tendre la Broche Absence de Fer Blade. the Blade.
The Tension. Absence of
The The The The The The The The
.
...
Le
Bind Flanconnade
...
.
Croise
....
185 .
.
...
.
.
.
....
La Remise Redoubling. Le Redoublement
....
.
LeJeu
185 .
.
... .
.
Le Contre Degagement
Counter-Disengagement.
Style.
.
.
.
186 187
.
187
.
....
.
...
.
186
.187
.
The Strategical Fencer. Le Tireur de Tete The Constitutional Fencer. Le Tireur de Temperament The Classical Fencer. Le Tireur Classique ... The Blunderer. Le Ferailleur ... The Left-hand Fencer. Le Gaucher Accuracy. La Precision The Retention of the Body. La Retenue du Corps Harmony The Judgment The A-Propos ^,
...
.
Rapidity
The Feel
185
185
.
Replacing.
Reprise
183
18i 184
.
Direct Thrust Cross.
.
....
.
.
.
188 188
189 189
189
190 190
190 190 191 191
of the Blade.
Le Sentiment du Fer
191
CONTENTS.
xix Paob
The Eye. La Vue The Disarming. Le Desarmement The Retreat Advancement of the left foot. Gagner The Flying Cut-Over.
Le Coupe a
Exercising on the fixed Pad.
Faux
192
192 la
Mesure du Pied Gauche
.
Parades de Contraction
Parries of Contraction.
False Beats.
191
la
193
Mouche ou Coupe Volant
Tirer au
.
Mur
Batteraents
Tirer les Feintes
Exercise of the Feints.
A Judged Thrust.
195 196
196 196 196 196 196
croiser
Coup Jug^
196
To Fence Wild. Etre fibranler To Lodge oneself. Se Loger Secret Thiust.
194 194 195 195
Avoir des Jambes Thrust within the Blade. Tirer dans le Fer Thrust from Position. Tirer de Pied Ferme be in Line. Etre en Ligne
Possession of Legs.
To To To To Jump. Sauter To Hazard. S'Enfere To Cross Oneself. Se
193
196 196
Bottes Secretes
196
To Hollow. Caver To Give the Blade. Dormer du Fer To Route. Ebranler To Change the Blade. Changer I'Engagement The Coronation. Le Couronnement To Start the Body. Porter le Corps 1' Action
196 197
197 197 197
197
Si
The Allurement. Appas The Assailant. L'Assaillant
197
To Seek the Blade. Aller a I'^pee To Menace. Le Menace The Normal School of Fencing
197
Fencing for Ladies
199
197
197 197
.
part
m,
FIRST DIVISION. The Sabre
200 200
Nomenclature of the Sabre
Manner Prelimix
of holding the Sabre i.i-y
Position
TheGuara
.Âť?-..
.
.
.
200 200 201
>
CONTENTS.
XX
Pase
Preparatory Instruction Moulinet.
....
201
...
201
Moulinet
201
Moulinet vertical. Bris^ Under-Cut. Enleve
202 202
Engagement The Attack
202 20a
Feint
SECOND DIVISION. Simple Thrusts Head-Cut. Coup de Tete Left-Cheek Cut. Coup de Figure h Gauche Right-Cheek Cut. Coup de Figure h. Droit Chest Cut. Coup de Benderole Girdle Cut. Coup de Ventre Flank Cut. Coup de Flauc Thigh Cut. Coup de Cuisse Point-Thrust. Coup de Pointe Arm Cut. Coup de Manohette
203 203 203
.
203
....
203 204 204 204 204 204
THIRD DIVISION. Simple Parries • Parry of Head. Parry of Left Cheek Parry of Right Cheek Parry of Chest and Girdle Parry of Flank Parry of Point Thrusts Parry of Arm Cuts Parry of Thigh Cuts
205 20.5
...
„
... ...
Riposte
Simple Attacks and Parries Attacks Composed of two movements
...
Simple Parries and Ripostes Compound Parries in two movements, and simple Ripostes
.
.
.
Simple Parries and compound Ripostes Simple Parries and double Ripostes
Compound Compound
f
208 209 209
Parries and Ripostes
Parries and double Ripostes
*
205 205 206 206 206 206 206 207 207 207 208
.
209
.
210
--' .
CONTENTS.
FOURTH
XXI
DIVISION.
.......
Simple Parries, Ripostes, and Counter-Ripostes Simple Parries and Ripostes, and compound Counter-Ripostes Simple Parries and Ripostes, and double Counter. Ripostes Time-Thrust Stop-Thrust The Attack on Preparation
...
.
.
.
.
.
The Assault The Cavalry Sabre .
.
.
.
210
.
.
210
...
.
....
.
.
.
.
.
.
.
210
.
.211 211
.
Salute
Page
211
.
.
.
....
212 212
213
ILLUSTRATIOl^^S.
Portrait of the Author
Frontispiece
.
.
FOILS. FiGDEE
PiOE
...
3.
movement to come On Guard Fifth movement to come On Guard On Guard
4.
Extention
....
1.
2.
First
The Lunge
6.
Lines of the Parries and Attacks Parry of Prime
7. 8. 9.
.
.
16. 17.
The Bind
11. 12.
13. 14. 15.
.
.30
...
36
.
.
.
*
.
.
.
40
.
...
.
46
Parry of Seconde Parry of Tierce
Parry of Quarte Parry of Quinte Parry of Sixte Pari-y of Septime Parry of Octave The Cut-Over The Direct Riposte
10.
.
20 26
.
5.
16
.
50 56
60
.
66
70
....
... .
.
.... ....
... .
.
80 86
•
.
76
90
...
.
96
Detached Riposte, low, after Parry (or Opposition) of Sixte, or after Counter of Sixte 19. Riposte by Prime after Pan-y (or Opposition) of Sixte 20. Direct Riposte after Parry of Seconde 21. Direct Riposte after Parry of Septime 22. Quarte Parry of Direct Riposte, being in Lunge 23. Tierce Parry of Direct Riposte, being in Lunge 24. Direct Time-Thrust 25. Opposition Time-Thrust 26. Counter Disengagement 18.
.
.
.
.
.
.
.
.
.
.
.
.
.
100 106
.
.
110
.
120
.
.
.
.
29.
— Position of Attention Salute — Tierce Guard Salute — Taking Distance
30.
Salute
27. 28.
Salute
— Salute to Left
.
.
.
.
.
.
.
.
116 126 130
136
140 146 150 156 160
.
ILLUSTRATIONS.
XXIV
Page
Figure
31. 32. 33.
M. 35.
— Salute to Right Salute — After Parry of Tierce Salute — After Parry of Quarte .... Salute — Salute the Adversary Salute — The Finish
166
Salute
.
.
170
....
176
180 186
THE SABKE.
41.
movement to come On Guard On Guard The Lunge Head Cut, and Parry Left Cheek Cut, and Parry Right Cheek Cut, and Parry
42.
Chest Cut and Parry
43.
Girdle Cut and Parry
36.
37. 38. 39.
40.
200
First
200
.
....
.
.
202
202
.
204 204 206
.
.
.
206 208
.
Flank Cut and Parry 45. Thigh Cut, Escape and Arm Cut, Over 46. Point Thrust 47. Head Cut, Escape and Arm Cut, Under 48. Right Cheek Riposte, by Reversing Hand 49. Time-Thrust by Point on Flank Cut 50. Salute Under Cut to Right 51. Salute Change of Guard to Quarte 52. Salute Salute to Right 44.
.
.
— — —
.
.
.
.
.
after Parry
208 210 210 212 212 214 214 214
FOIL AND SABRE.
HISTORICAL OUTLINE OF FENCING IN FRANCE.
VERY
few particulars are obtainable concerning fencing-
masters during the period extending from the Middle
Ages
to the sixteenth century. The oldest document treaton the subject which comes to our knowledge dates from 1292, during the reign of Philippe-le-bel, and was intended for ing-
the levying of taxes on the inhabitants of Paris.
On
this
document are inscribed the names, address, and amount taxes paid by seven fencing-masters.
of
An interesting history of the early development of fencing might be derived from a brief sketch of tlie different proclamations and edicts that were published during tlie last half of the sixteenth century.
The
first of
these
is
dated 1554.
The
students of the University became negligent of their study of the ancient languages, and gave themselves too frequently to tlie
more fascinating
practice of the sword with their respec-
masters at the fencing-academies, situated in the suburbs proclamation emanating from the Parliament on of Paris. the " 20th day of August, in the year of our Lord 1654," tive
A
makes
special note of their delinquencies
;
and to put a stop and
to this abuse, " the Parliament forbids all fencing-masters
others to reside anywhere but in the City, at the risk of im-
prisonment and effect or not is
Up
Whether unknown. fine."
this threat
to 1567, the various fencing-masters
had the desired and professional
swordsmen had not co-operated with one another. 1
Seeing the
TOIL
2
AND SABRE.
advantage of organizing themselves into a body, they formed a corporation, drew up a set of by-laws, and submitted them to the
Parliament for royal sanction.
Charles IX. confirmed
them, and gave letters-patent authorizing them to organize themselves into a privileged body. In 1573 Henry de Saint-Didier caused to be published the first
French
on fencing, and dedicated it to King the request of the prince, the author gave
treatise
At
Charles IX.
an exhibition of fencing with one of the prince's brothers and afterward with the Due de Guise.
Having gained since
its
foundation considerable experience,
the Corporation of Fencing-Masters revised
its
statutes
presented them to the king for his approbation. ber, 1585,
them by
Henry
III.
i-enewed
his predecessor,
and
all
and
In Decem-
the privileges accorded to
in order to give
them more im-
portance, caused their statutes to be duly registered by Act of
Parliament (Jan. 27, 1586). revision were
â&#x20AC;&#x201D;
1.
To
The reforms aimed
at
by this
prolong the term of apprenticeship necessary for the
assist-
ant to become master, from two to four years. 2.
To prevent
all
persons not members of the corporation from
teaching the science. 3.
To
oblige the
the corporation
all
law was enacted
widow
of a deceased fencing-master to return to
her husband's certificates and privileges.
in order to
academy by engaging the
This by-
prevent the widows from carrying on the
services of
non-members of the corporation
or of an assistant.
On
the occasion of a royal marriage or other important
ceremony, the kings and queens of France usually signed many letters-patent confirming the holders as fully qualified fencing-masters. Those who possessed such letters were not well received by the Corporation, as they refused to undergo
the necessary apprenticeship, alleging that the letters
corded to them it
full rights to practise their profession.
ac-
Thus
happened that an Italian fencing-master, Vincent Vamafound himself possessed of such a privilege, by favor
relli,
:
HISTORICAL OUTLINE OF FENCING IN FRANCE.
3
Queen Mary de Medici. He would not submit to the demands of the Corporation, and was therefore prosecuted on July 18, 1619. Judgment was rendered against him, and on August 12 he was compelled to close his academy uutil he had complied with the rules of the Corporation requiring all of
fencing-masters to have served their apprenticeship and to
have passed an examination in four different weapons, and before six masters. An Act of Parliament duly ratified the above proceedings (Aug. 12, 1621). In 1633, the Corporation of Fencing- Masters added new regulations to
code
its
1.
To govern more
2.
The duration
:
â&#x20AC;&#x201D;
strictly the
admission of
new members.
of apprenticeship to be extended
from four
to six
years. 3.
All apprentices to be forbidden to carry the regulation sword
without having (1)
Two
first
complied*' with
(2) That privilege must and then by the Corporation.
a side arm. ter
the
following rules, namely
years must elapse before an apprentice be allowed to carry also be sanctioned
by
his
mas-
Later on another rule was adopted debarring any person from becoming an apprentice who was not of French nationality.
King Louis, on delivering
letters-patent to the Corporation,
rendered by its members, and acknowledged " fencing-masters, who have diligently propaour thanked now attained its highest state art, which has gated that noble Corporation unlimited king gave the The of perfection." the
powers, and caused
services
all
other societies to be disbanded.
In spite of this King Louis granted letters-patent to a M. Jean Villard, authorizing him to become a fencing-master.
This person established himself in defiance of the Corporation, but was soon after forced to close his academy. On his accession to the throne, Louis XIV. confirmed all tlie
The ceremony took place The following year new by-laws were en-
privileges of the Corporation.
on Sept. acted.
80, 1648.
One
of these forbade
any master to absent himself
â&#x20AC;&#x201D; FOIL
4
from
his
work
AND SABRE.
for a period of
more than
the risk of having his academy closed.
fifteen If
months, at
a master had
chosen a vocation considered degrading to the Corporation, his
name was
instantly struck off its
were also allowed
to
list
of
members.
They
reduce the number of fencing-masters
practising in or about Paris
from twenty-five
to twenty.
By command of the king " six of the oldest and most respected members of the Corporation who had served at least twenty years after becoming masters, were knighted with a At the death of one of these, the next
hereditary nobility.
most deserving master was installed in his place. They were also allowed a crest, which was accorded to the Corporation," two crossed swords reversed and mounted on a cloth of azure covered with four " fleur de lys," lieaded by the royal arms, and surrounded by various weapons. Jean Lecoq and Jean Renard, Sieur de Pr^ville, were the first two masters who were made noblemen. The ceremony took place on the 18th of February, 1657. By bestowing sucli favors on the Corporation the king attached great importance He himself began his education in to instruction in fencing. that branch at the age of six, under the supervision of VinLater on he had as master Pascal cent de Saint-Ange. Rousseau.
In the seventeenth century bers of the Corporation, but were styled " Ferrailleurs."
all
who On
persons
who were not mem-
nevertheless taught
tlie
art,
the 18th of December, 1685, judgment was entered against a master named Barry, a " fcrrailleur," for
having been guilty of "demonstrating the art which offence he was compelled to close his
of fencing," for
academy.
Two
others,
named L'hoste and Caudat, were senIn spite of this somewhat severe
tenced in a like manner.
sentence, the Corporation had occasion to sentence
many
fer-
December, 1722, a raid was made, and Rouet, Houaley, Negro, the following were apprehended Lupine, Lemaire, Lecomte, Henault, Duplessis, Peirridre, Sinegre, Keilly, pSre and fils, le petit Basque, La Jeunesse, Raine, and Esborel. railleurs; notably in
:
HISTORICAL OUTLINE OF FENCING IN FRANCE.
A
5
decree published June 23, 1724, by order of Gabriel
Hyerome de
Bullion, Prevot de Paris, forbade any ferrailleur
to establish himself
under risk
of fine of three
hundred
livres,
goods appertaining to his profession, and perchance imprisonment. confiscation of
all
The principal landlords were forbidden to let any of tlieir house to a master who had not the necessary certificates qualifying
him
as such.
Any
violation of this law
was pun-
ishable by a fine of t\YO hundred livres, and the closing of the
establishment for six months.
This decree also forbade any
wine, beer, or spirit mercliant from giving any exliibitions, as the ferrailleurs and their pupils generally congregated in such
An
places. livres.
offence
was
punisliable by a fine of one thousand
In default of payment, the offenders were severely Tite above decree
punislied.
was sanctioned by Act
liament Dec. 18, 1759, with a clause appended to
of Par-
by which half the amount of fines was handed over to the Corporation
and the other half to the Hotel Dieu, thirty
it,
livres being de-
ducted for necessary expenses.
On March 17,
1759, Louis
XV.
sanctioned
all
the edicts pub-
and caused them to be duly registered by Act of Parliament. In the same year, the Corporation forced a Sieur Dalonneau de la Raye, fencing-master, to close his establishment because he was not a member, although he possessed a diploma of fencing-master, which he had received from the Due de Bourgogne, having been fencing-master to the Conite de Vauguyon. On Dec. 12, 1759, a decree was issued by the Prevot^ de L'hotel, " whereas the Sieur Dalonneau de la Raye has been notified of the above sentence, and ordered to close his acadlished by Louis XIV.,
emy and
to
destroy his armorial ensign placed thereupon,
the authorities will proceed to put the said decree into execution, and at his expense.
brevet."
He
is
also forbidden to use his
This sentence was confirmed at a meeting of the
Grand Council, Aug. 23, 1760. The original emblem of the Corporation was simply "
Arm
Wielding a Sword."
We
An
have in our possession a sign-
FOIL
6
AND
SABRE.
board belonging to a ferrailleur of the eighteenth century
worded thus
:
—
HENRY MARTEAU, MAITRE EN FAIT d'ARMES,
ELEVE DE JI. DE LYANCODRT, GRANDE COUR DU TEMPLE.
On
April 11, 1764, a decree was issued forbidding any per-
son or persons except qualified teachers to teach in the Uni-
and colleges
versities
of
Any
Paris.
contravention to this
law was punishable by a fine of three liundred livres and conAll persons who had been fiscation of all professional goods. selected to teach
at the
above institution were required to
produce their diplomas. Tlie academies of the king having ceased to exist, a fencing
academy
was founded, which was under the M. Teillagory. We now reach modern times. The year 1789 draws to its close. For some time the finances of the country have been exhausted. At each meeting of the National Assembly, deputations from all classes of society, obeying a generous and patriotic impulse, arrive in numbers to offer pecuniary help. The Corporation of Fencing-Masters is foremost among these. A deputation, headed by M. Teillagory, the director of the Royal School of xirms, with M. Pasquier as sub-director, presents itself at a meeting. The following is an extract from the " Gazette Nationale " or " Moniteur Universel," Dec. 3,1789: National Assembly. for the nobility
direction of a Sieur Danet, Sub-Director
—
President Monsieur Desmeuniers
A deputation the bar
;
:
of the Corporation of Fencing-Masters
one of them makes the following, speech
:
—
is
admitted
to
" "We, the fencing-masters of the Royal School of Arms, taking example from our loyal countrymen, come to offer homage to the National Assembly.
Our Lords, we, having been designed to instruct the nobility in the use of the sword, and our weapon consisting of two metals, silver and steel, offer you the first in order to alleviate the present difficulties and "
HISTORICAL OUTLINE OF FENCING IN FRANCE.
7
pray you to accept the second as a tribute of our patriotism in the maintenance of our liberty, for the support of our laws, and lastly iu the defence of our most gracious sovereign and country."
"
The National Assembly
offer that
Soon
accepts with satisfaction the generous
you propose, and permits you
after,
to take part in the meeting." on March 17, 1791, the National Assembly issued a de-
cree annulling the ancient corporation, etc., of fencing-masters after
an existence of two hundred and twenty-three years. on the Rue du Chantre struggled till 1792, but was at with the overthrow of monarchy.
The last
old school
extinguished
L'JSscrime Frangaise.
School of Joinville-le-Pont,
â&#x20AC;&#x201D; After
the Suppression of the
old corporation, the art of fencing still flourished,
perfected
by
many famous masters
namely,
;
and was
Laboessiere,
Jean Louis, Lafaugere, Charlemagne, Gomard, pere and fils. Bonnet, Grisier, and many others, all of whom applied themselves heart and soul to its extension. In 1872, the French Government, perceiving the need of uniformity in the instruction of fencing, founded a school for
The
the benefit of the army.
Pont was established
military school of Joinville-le-
for this purpose,
and placed under
direction of a captain and four adjutants.
A
staff
tlie
of in-
and assistants was organized, aud the department comprised six hundred strong. The results were surprising. Having been drilled so thoroughly in the principles of the science, its graduates were capable of imparting structors
of fencing
their instruction to others in such a
there
was an
efficient
structors for the
number
army
The new Academy
of
"Academy
that very soon
competent
in-
as well as for the civil institutions.
Arms.
fencing-masters was the also styled
manner
of thoroughly
â&#x20AC;&#x201D; The ancient
first of its
of
Arms."
corporation of
kind in France, and was A number of prominent
fencing-masters undertook in the year 1886 to reconstruct the old academy with all
its
old customs and to infuse
some
FOIL
8
modern elements
into
it.
AND SABRE.
A
was chosen
site
in Paris, 5 rue
des Pyramides, for the accomplishment of their project.
A
committee was chosen, composed of an honorary president, Their object the Minister of War, and many other officials. was to create for the fencing-masters residing in Paris a centre for study, to establish among them a constant and fraternal intercourse, to guard the dignity of their profession, and aid in every
manner and everywhere the prosperity
of the art
arms.
of
It is
now composed
of
active, auxiliarj% honorarj', corre-
sponding, and military members.
members number thirty, and are styled " Fencing-Masters of the Academy of Paris." They must be over
The
active
twenty-live years of age and have practised for a period of
two years orary
in Paris.
members
only have
tiie
of the
On their retirement, Academy of Arms.
right of vote.
they become hon
Active members
Auxiliary members are not
recognized as such until introduced by two active members.
No
foreigner can become an active or even an auxiliary member. The latter pay a yearly subscription of $3.25. Honorary members are elected at the general assembly of tlie active members, and are selected from the benefactors and best amateurs. Their dues amount to ten dollars. The corresponding members are those masters residing in the The military members provinces or in foreign countries. are those masters
may become
they five
still
in the army.
active
On
their retirement,
members on being presented by
of their colleagues.
The executive committee reserves
to itself the right of conferring the title of " benefactor" on any person who has made
a donation of two hundred dollars to the corporation.
Such
mentioned annually, and mention is also made of persons who have founded scholarships or made legacies for their endowment. gift
is
Physical Development. tions,
and are forced to
â&#x20AC;&#x201D; Men
who
live in the
follow certain occupa-
cramped quarters
of the
;
PHYSICAL DEVELOPMENT.
9
tenement house, often develop serious physical deficiencies and some of us have even to combat predispositions and malformations that militate against a healthy body.
from narrow chests and
Some
suffer
deficient lung expansion, or imperfect
spinal formation, stooping shoulders,
ment, insufficient circulation,
â&#x20AC;&#x201D;
all
weak muscular developwhich can be greatly
of
modified by physical training.
Many
who
athletes
of athletics,
game demands a
Excellence in any
many hypertrophied
best exercise
is
if
;
exercise in a
their constitutions.
and Witness
specialization of force
among
hearts found
athletes.
The
evidently that which puts the most muscles
and mental training, into action
one or two branches
proves detrimental to general health.
skill that often
the
strive to excel in
injure rather than benefit
it
the exercise also will be
gymnasium
and walking have with moderation.
also
the
all is
course
of
their
demands some degree of more valuable. General excellent;
advantages,
But when followed
when
running practised
to excess, as is often
the case, they become quite harmful, as any one
knows who
has seen athletes faint from over-exertion on the running track.
Rowing
is
limited to a certain season of
the
year,
and like pugilism demands certain degrees of power and temperament. Fencing can be indulged in by all. Application and skill equalize the chances between the short and the tall, the weak and the strong. The consciousness of improvement in the art lends it a fascination, which is increased by the pleasure of competition with other fencers. T]hose whojear n the artjaecome itsdevatfifis. They soon find that tliere is always something to learnj and that, as in (JhesiP'there are always new combinations of known jnovoments to Invent or_to_oppose. The actual results obtained from fencing in the case of people in need of exercise, as well as of those of ordinary good
health, have
been very thoroughly studied.
Tlie
muscular
measurements taken periodically at the Military School of Joinville-le-Pont show tremendous gradual improvement in and fencing-teachers the condition of tlie fencing-students ;
FOIL
10
AND SABRE.
have so often witnessed in their pupils such incredible improvenient in general health, vigor, and stature, that the efficiency of
fencing as an exercise
My
knowledged.
now
is
universally ac-
most enthusiastic pupils have frequently
been physicians.
Fencing possesses many rare advantages of exercising every particle of the legs,
;
has the power
it
arms, hands, muscles, and respiratory organs,
vyorked in
harmon y
;
each
The
human machinery.
member seems
â&#x20AC;&#x201D;
all
are
to be the principal
The_legs_adjusi: the equilibrium of the body, always
agent.
prepared for the retreat or the advance
m oveme nt
;
;
the eyesjyatcli every
the hand gra sps the sw ord and directs
its
move-
ments Recording to the will, assisted by the sense of touch and lastly, the_miiid,, which is the jirincipaTtactor, seems at the opportune moment to prompt an attacli or a retreat or the ^iL?ll^i25_iI^ some strategical movement that may terminate by turning threatening defeat into victory. Men whose daily occupations are of a sedentary nature are necessarily in want They grow old prematurely on account of a of exercise. forced attitude of the body during the day, which is anything but natural, impedes respiration, and exposes the lungs to ;
serious affections.
the exercise of fencing produces such beneficial effects on young man and prevents him from committing excesses that are not compatible with physical well-being, it works If
the
similar results with adults.
Fencing does not naturally prolong mental
in relieving old
sterility.
It is
age of
its
life,
but
it
can be instru-
gouty dotage and corpulent
a union of extremely delicate sentiments with
courage, audacity, and vigorous mental activity.
body are both immeasurably benefited
Mind and
by the practice of
fencing.
A society for the encouragement of fencing was formed in France for the purpose of extending the knowledge of that noble art among the schools, colleges, and private institutions, and to induce fencing-masters and others to create iuterest in fencing either by writing on that subject or by other means,
-
INSTRUCTION.
The
11
adhei'ents of this society were easily recruited.
body seemed
endowed with
to be
in its laudable scheme.
The
Every-
a desire to help the society
society
now
represents a force
hundred strong. Since its foundation, in 1882, it has done wonders, and perhaps we will soon see other countries following this good example. In America, this splendid sport has been received with favor, and if attention is paid to the selection of capable instructors, we will rank foremost in the development of the art. of about four
Instruction.
â&#x20AC;&#x201D; Instruction
in fencing should teach the pupil
sword in attack and defence. It proceeds from the simple to the complex, and lastly to the assault. The instructor must adapt his lesson to the temperament, character, constitution, and intelligence of the pupil, with whom he must identify himself, and follow, step by step, the development, which he can expect only in such proportion as exercise and temperament allow. Nature has not endo_wed all men w ith the same qualities Some have an unlimited vivacity which others, an indolence which must be must be regulated aroused others, an understanding more or less slow. The to direct his
.
;
;
instructor
must unceasingly correct the wrong
positions of
the pupil, put himself within the reach of his comprehension,
and quicken progressively the speed of his movements. He must instil precision and quj^ckness, those indispensable quaTP) The pupil must be allowed to retaiiiTliis ties of the fencer. gradually be led to put into execution, with fndTytauant^, and their greatest force, all the good elements of action that are characteristic of him.
The
instructor should repeatedly give
a practical demonstration of the rudimentary principles, and see to ^
it
that they be strictly observed.
To become expert
in the art of fencing,
it is
necessary to
namely, the judgment, the possess five essential faculties Some glance, the feel of the blade, quickness, and precision. ;
are furnished by Nature, others are acquired.
too tightly,
To
possess the
one must accustom himself to holding itjiot for a tight grasp renders the hand insensible to a
feel of the blade,
AND SABRE.
FOIL
12
delicate touch, or (pressure\ of tlie adversary's blade.
one possesses this laculty, the
ponent
easily detected
is
;
sliglitest
move ment
When
of the
op -
the glance reads in a flash his
judgment to decide immediately what advantage can be derived from his movements and where he can best be invaded the hand responds with its execution, and rapidity secures the coveted designs
the thought, equally prompt, compels
;
;
" touch."
Quickness, perception, anji__j_adgment .are_gifts_j)f Nature,
may
be improved by practice.
(^^Eapidit}' and prccismh are and are the fruiEFTinong experience. These qualities are essential to those who wish to become adept swordsmen. An excellent way to attain this
but
acquired by incessant
perfection
is
drill,
to discuss the possibility of all thrusts; to learn
to do nothing memade, the advantages and dangers which might result from its use, and thus be able to make choice of those which are the most certain and most
and be familiar with chanically
;
to
all their
advantages
know why a movement
appropriate to the
game
â&#x20AC;&#x201D; for
of the opponent,
movements are dependent and
A
;
is
in fencing all
related.
pupil cannot be too often reminded of the necessity of
resting the Ifift-foot flat iML the floor all the time.
the anchorage
is lost,
the left leg
is
Otherwise
not rigid, and the body
falling_forward constrains the-fxeedoiiL,of_the_fore;arm.
who would
The
and dii'cctness of thrust, niust rest with ease on his hips, and the muscles of his whole body must play with rapidity and harmony in order to produce a movement unconstrained and easy. All the different thrusts must be executed slowly, and analyzed, in order to be well comprehended by the pupil. After the detailed drill, and the pupil has become more or less experienced, these analyzing movements should be executed with pupil
the
maximum
The
early develop dexterity
of rapidity.
lesson does not admit of any neglect on the part of the
however slight it may seem. Pie must constantly study his pupil, and be scrupulously attenNevertheless he should not at first persistently rectify tive.
instructor, in respect to any detail,
INSTRUCTION.
13
minute errors which would but serve to paralyze the pupil's and advancement. He may, however, combine prac-
interest
with a certain amount of theory. The " Opposition " should be urged upon
tice
attacks or ripostes which he attempts. different
methods
of parrying
out the most reliable.
the pupil with
all
In demonstrating the
an attack, he should also point
Command
the pupil to execute divers
rapid attacks after each exercise with such direct thrusts and
disengagements as can be effected from the line in which the blades are engaged on the recovery. After each exercise of composite parries, the instructor should execute with a rapidity proportionate to the pupil's strength the above simple thrusts for
him
to parry.
Tiie instructor should occasionally give the lesson with his
hand in order to spare his pupil tiie disagreeable surprise which arises when meeting a left-handed adversary. After every recovery, menace the pupil with your point to oblige him to cover himself in good form, and to place himself and
left
his blade in a correct attitude.
When
instructing a person of short stature, teach
advance the
left foot
him
to
sometimes toward the right before lung-
This preparaIt is for them a precautionary measui'e. movement can be employed to their especial advantage when their adversary is known to habitually retreat in order Make them practise false attacks, and in to avoid the attack. the midst of their false attack thrust in upon them and oblige them to parry and riposte. ing.
tory
If it is
necessary to instruct the short
instructor
must
man
to advance, the-
also teach the taller pupil to keep his adver-
sary at a distance by harassing or attacking
him on
his advance.
Attack the pupil (in the lesson of assault) at unexpected mo-
ments to accustom him to such surprises, to violent attacks, and to any shock which may occur in the assault. Attack him on all preparatory movements of the body or blade, on his advance, on all feints executed rashly, on any absence of Accustom him to the blade, or when his feints are too wide. parry in every position.
Create obstacles that he
may
be
FOIL
14
trained to overcome them.
AND SABRE.
He must
not be disconcerted by
the vigor displayed by an ignorant opponent, whose chance thrusts and wild energy will seem so different from the cautious blade of the instructor to
which he
is
accustomed.
He
should not be taught the replacing, redoubling, or time thrusts until he is well advanced. will
There should be exchange of good
between the instructor and pupil.
The
instructor should pay particular attention to the posi-
tion of the body, as all pupils are inclined to start the
before the
arm has been
fully
body
extended or before the point of
the sword has reached the line in which the thrust can be effected,
that
is
and which
to follow.
attain great skill,
is
open to the
full
extension of the
arm
The lesson thus given enables the pupil to reflects all credit upon the instructor.
and
PAET
I.
PRELIMINARY DEFINITIONS.
THE
—
composed of two portions, the Blade and the Handle, each subdivided into several parts. The foil
is
blade, quadrangular in shape,
and reference
of instruction
—
of steel,
is is
portions of equal length, 1. The Point, or " Feeble,"
from the
tip,
or button,
and
for convenience
divided into three imaginary
comprising the
downward toward
thjrd,
first
the guard, and
is
the part by which the touch is made. 2. The Heel, or " Forte," that portion extending from the hilt
upward one third distance
to the button, and is the part
with which the parries are executed. 3. The Middle comprises the middle third of the blade, and is the part which touches the opponent's weapon in the engagement. That portion of the steel which passes from the guard through the grip to the pommel is called the Tongue. The Handle proper is divided thus 1. The Guard between the blade and the hand is supposed :
—
to shield the latter. 2.
The
Grip, a piece of
wood
ordinarily
wrapped with cord,
through which the tongue passes. 3.
The Pommel,
a piece of brass or steel forming the ex-
treme butt of the handle. Different sizes of blades are
Nos. 4 and 5 are most in use.
A
marked by
a
stamped
properly balanced
foil
figure.
should
poise evenly at a point about one inch from the guard.
proper balance
pommel.
is
The
obtained by regulating the weight of the
Great importance attaches to the choice of a blade
AND SABRE.
FOIL
16
and to the manner
in
which
it is
mounted.
Fencing-masters
mount
own weapons.
for this reason generally prefer to
Manner
of
Holding the
Foil.
â&#x20AC;&#x201D; The
their
being placed in
foil
your hand, place your thumb upward on the convex side the fingers are toof tlie handle, nearly touching tlie guard ;
gether underneath.
The thumb and index agement
finger largely monopolize the
of the foil, while the other fingers take part
emphatically at the
moment
of parrying.
A
manmore
tight grasp by
the fingers would render the articulations heavy, and the
all
benumbed hand would
lose its sensitiveness
touch, which, as I have said,
and delicacy
of
such an essential quality in
is
a good fencer. Position of Attention.
â&#x20AC;&#x201D; Grasp
ing to the prescribed rules
;
the handle lightly accord-
place the feet at I'ight angles with
each other, the head erect, the right arm and
foil
extended
downward on the right side, the button four incites from the floor, the left arm hanging down naturally, the body placed sideways in order to form a profile against your opponent. (See
fig.
27.)
â&#x20AC;&#x201D;
1. Being in position "attention," On Guard. arm and foil, both in line and extended toward
Position of
elevate the
the
adversary, the hand
fig.
1.)
Lower the arm and
2.
at
foil
the
till
height
of
the button
the
is at
eye.
(See
a distance
from the floor. Swing the foil down, and continue the point around
of four inches 3.
to
the left side of the body until the blade reaches a horizontal
hand becoming reversed, same time place the fingers of the hand together along the blade, palm up, and nails touch-
position in front of the thighs, the nails left
downward
;
at the
ing the guard. 4.
The
foil
positions, are
and both hands, maintaining the same relative carried above the head, until the arms are
Fig.
1.
FIRST
MOVEMENT TO COME ON GUARD.
PRELIMINARY DEFINITIONS. straight,
17
keeping the blade horizontal and close to the body
in its ascent.
Rebend your arms
5.
;
arm
let the left
fall to a
curved posi-
band slightly above the head simultaneously bring the right hand down in the direction
tion behind the head and the
opponent and place
of the
it
;
at the height of
arm
the
thumb upwards and
and
at a distance of eight inches
the
your right chest,
curved, the elbow well in
from the body.
The point
your sword must be in line with the adversary's eye. fig.
of
(See
2.)
Keeping
6.
feet in their position at right angles,
legs, separating
them
bend your
at the knees, care being taken to pre-
serve the poise of the body. 7. Shift the whole weight of your body on to the left leg; advance the right foot to a convenient distance and place it on the ground in a direct line from your left heel toward the In this position, keep the weight of opponent. (See fig. B.)
the body slightly
more on the
left leg,
and the right knee
in
a perpendicular line above the right instep.
The Advance.
— Being
placed "
On Guard, " advance
the
right foot to a convenient distance, and let the left foot follow
immediately after with same length of step, care being taken not to derange the position of the body nor that of the hand.
Both steps are taken with the greatest rapidity, but the right foot always leads the
left.
—-Being
placed "On Guard," step the left near instantaneously as possible let and as foot taken not to derange the posifollow, care being the right foot the hand the left foot must always nor that of tion of the body the right. step backward before
The Retreat.
backward
;
;
The
Calls.
— Strike the
floor sharply twice or
once
witli
right foot, but do not derange the position of the body.
movement brium
is
is
the
This
executed in order to ascertain whether the equili-
preserved.
AND SABRE.
FOIL
18
â&#x20AC;&#x201D;
Develop your arm to its full extent rough movement of the body, especially The arm, wrist, and hand foi'm a straight of the shoulder. line with the foil, at a height enabling you to look over it, the hand and foil being on a level with the shoulder. (See fig. 4.) In order to resume the original position, bend the arm without a jerk, replace it in line with your right chest, the Extension of the Arm.
without any
jerl^y or
elbow at a distance of eight inches from the body and in line with
it.
â&#x20AC;&#x201D; The
The Lunge.
arm being
denly straighten out the forward, place
it
convenient
a
to
on the
flat
above the instep.
Extension as above, sud-
distance,
the
right
making this step forward, the more than one inch from the
foot should not be raised
Simultaneously as the body
right floor.
going forward on this lunge,
is
arm
straighten and lower the left
above the
and
foot
the knee in a perpendicular line
floor,
In
in
leg and simultaneously carry
left
to a position four inches
This movement forms a counter balance
left leg.
All these movements must be
to the right hand's attitude.
executed correctly and simultaneously in order to ensure a
(See
firm attitude.
to "
The return leg briskly,
and
backward with
fig.
5.)
On Guard at
tlie
"
is
executed by bending the
left
the same time giving strong impulsion
right leg
;
throw the
left
arm up and carry
the weight of the body back on to the left leg
lastly and almost simultaneously replace the right foot in its original position and the weight of the body largely upon the left leg. ;
â&#x20AC;&#x201D;
Recover Forward. The action of recovering forward the return to " Attention" from " On Guard." 1. v.'ith
Extend the right arm and the eye
;
foil
is
forward, the hand in line
simultaneously lower the
left
hand
to the left
side. 2.
Draw
the foot that
is
fig.
1.)
up to the one which is and stand thus erect. (See
in the rear
in front, straightening the legs,
— PRELIMINARY DEFINITIONS.
—
1.
the foot that
is
Recover Backward. 2.
Draw
Same
as for recovering forward.
in advance back to the one in rear,
straightening the legs, and stand thus erect.
The Salute.
—
19
(See
Having ended the movement
1.
fig.
1.)
of recover-
ing backward or forward, carry the hand aroimd to a position in front of the throat, with the blade vertical before the face,
the hilt at the centre of the chin, knuckles tui-ned outward.
(See 2.
34.)
fig.
Lower
and extend- the arm,
the foil
nails
down
in tierce,
the point of the blade four inches from the floor and the whole slightly to the riglit.
The
(See
Lines.
different
35.)
fig.
— The
different lines
which
exist in
fencing constitute the spaces which the blade covers when " On Guard." They number four, and are thus classified :
1.
The
Sixte Line, otherwise
Line, that part of
the
named
body which
is
Tierce, Right, or Outside
on the right
side
of
the
blade. 2.
The Quarte
Line, otherwise
part of the body which 3.
The High
hilt of 4.
is
on the
named
Left, or .]nsid« Line, that
left side of the blade.
Line, or Prime, that part of the body above the
the blade.
The Low
Line, or Seconde, that part of the body under the
(See
hilt of the blade.
Engagements are
fig.
6.)
effected only in the Quarte
Lines, attacks only in the
and Sixte
High and Low Lines.
In order to simplify the instruction I have classed them as follows
:
—
Lines op " Engagements." Line of Quarte,
left side of the blade.
Line of Sixte, right side of the blade.
Lines op " Attacks."
Above Below
the blade,
High Line.
the blade.
Low
Line.
-
FOIL
20
Thus the body
On On On On
is
AND SABRE.
divided into four parts, namely,
the left side and above the blade,
High Quarte.
the left side and below the blade,
Low
Quarte.
the right side and above the blade,
High
the right side and below the blade,
Low
Sixte. Sixte.
DIAGRAM. High Line, or Prime,
in
which
holding the
\
CO
" Id
a
S
H
â&#x20AC;˘ÂŤ
foil
line attacks are executed,
body between the hand and the two shoulders.
pri.iing that part of the
com-
Fig.
2.
FIFTH MOVEMENT TO COME ON GUARD.
;
PRELIMINARY DEFINITIONS. throwing
out of line of
it
its
21
mark, and must be executed with retaining its position must not
The hand
the fingers only.
be allowed to accompany the adverse blade.
— Cause
Demonstration of the Opposition.
the threatening
from its course by simThis must be executed by
blade, without concussion, to deviate
moving the wrist outward.
ply
opposing the Forte of your own blade against the Feeble of
^
the adversary's.
Demonstration of the Counters.
— The Counter
is
a circular
parry, intended to seek the adverse blade in whatever quarter it
may
threaten you, and to direct
it
to the opposite quarter,
In a counter the point of your
or line.
foil
describes a small
but complete circle while your hand remains stationary.
Names thus 1. 6.
:
—
Prime
Sixte
;
the
of
2.
;
— There
Parries.
Seconde
;
3.
Tierce
Septime (or Half-circle)
7.
are eight parries,
;
;
4.
8.
Quarte
;
5.
named Quinte
Octave.
Prime and Quarte are employed to protect High Quarte. Sixte and Tierce are employed to protect High Sixte. Quint& and Septime are employed to protect Low Quarte. Seconde and Octave are employed to protect Low Sixte. Execution of Prime. in
— Your adversary having made a thrust
High Quarte, carry
his blade to your left thus] Reverse
the position of the hand, the
thumb downward, by bending
the elbow, raising the forearm to horizontal position close to the forehead, the wrist slightly above the left eye, and the
point of your sword threatening your opponent in the
(See
Line.
Low
fig. 7.)
Counter of Prime.
— Being in Prime position, as above, and
wishing to parry a thrust in High Sixte by a Counter of Prime, elevate the point of your sword, and describe a circle with
it
by passing your point to the right over your oppohaving thus enveloped his threatening weapon,
nent's blade
;
22
AND SABRE.
FOIL
sweep
to the left out of
it
range of
the original position of Prime.
Execution of Seoonde.
Low
its
(See
— Your
mark
as you return to
fig. 7.)
adversary having
,
made a
your hand and point a little by a from left to right, cai-rying the opponent's blade aside at the finish your blade, wrist, and forearm form a straight horizontal line, nails downward, and the point threatening the adversary in the Low Line. (See fig. 8.) thrust iu
half-circular
Sixte, lower
movement
slightly ;
Counter of Seconde.
— Being
in the Seconde position, as
Low Quarte by a Counter of Seconde elevate the point and describe a circle with it, by passing to the left over your adversaiy's blade and downward, returning to the original position of Seconde. above, and wishing to parry a thrust in ;
'"^'
(See
fig.
8.)
Execution of Tierce. thrust in
High
— Your
made a downward and carry
adversary having
Sixte, turn your nails
your hand slightly toward the right, until your Forte encounters the adversary's Feeble and bears it out of line of its mark, the point of your sword remaining opposite your adversary's tlie same elevation. The articulations of the wrist and forearm are quite pronounced in this parry. (See fig. 9.)
eye and at
Counter of Tierce.
— Being in the Tierce position, as above,
High Quarte by a Counter and describe a circle with it by passing to the left under your adversary's blade and pressing it to the right out of line of its mark, thus retui'uing to the and wishing
to parry a thrust in
of Tierce, lower your point
original position of Tierce.
Execution of
Quarte.
(See
— Your
fig. 9.)
adversary having
thrust in High Quarte, carry your
hand
Forte encounters his Feeble and bears
mark, the thumb
made a
to the left until your it
out of line of
slightly inclined to the right,
your point
its
re-
;
PRELIMINARY DEFINITIONS.
23
maininp; opposite your opponent's left eye and
The
elevation.
a,t
the same
articulations of the wrist and forearm are
rather pronounced in this parry, as in Tierce.
(See
fig.
10.)
— Being
in the Quarte position, as above, an attack made in High Sixte by a Counter of Quarte, lower the point of your sword and describe a circle with it by passing to the right under your adversary's blade, and pressing it to the left as you return to the original
Counter of Quarte.
and wishing
to parry
position of Quarte.
Execution of thrust in
Low
(See
Quinte.
10.)
fig.
— Your
adversary having
made a
Quarte, turn your wrist and nails downward
your blade thus forms a cross with your adversary's and drives
it
downward out
of line of its
ing this parry, the forearm, wrist, and
When
mark. foil
execut-
must be placed
in
a horizontal position, with t\j point directed slightly to the adversai'y's right side.
This
is
the only parry which leaves
your point out of line with the opponent's body. Counter of Quinte.
and wishing
(See
fig. 11.)
— Being in the Quinte position, as above,
to parry a thrust
made
in
Low
Sixte by a Coun-
ter of Quinte, lower the point of your sword, describe a circle
with
it
by passing under your adversary's blade and driving
it
to the left, thus returning to the original position of Quinte.
Execution of Sixte. tack in
High
— Your adversary having
made an
at-
hand toward the right, forcing mark, the thumb upward, keeping
Sixte, carry your
his point out of line of its
the point of your sword opposite your adversary's eye and at the
same
elevation.
The movement
are quite pronounced in this parry.
Counter of Sixte.
— Being
of the wrist
(See
fig.
and forearm
12.)
in the Sixte position, as above,
and wishing to parry an attack in High Quarte by a Counter of Sixte, lower the point of your sword, and describe a circle with it by passing under your adversary's blade, and carrying
24 it
FOIL
AND SABRE.
to the right side out of the range of your
turn to the original position of Sixte.
— Your
Execution of Septime.
(See
body as you
fig.
re-
12.)
adversary having
made an
Low
Quarte, lower the point of your sword by a half-circular movement, and place it under his wrist; turn attaclt in
toward the right, and carry your hand a the left, keeping it always at the same elevation, until your Porte encounters the adversary's Feeble and bears his point out of line of its mark. (See fig. 13.) your thumb a
little
little to
— Being
in Septime position, as above, an attack in Low Sixte by a Counter of Septime, elevate the point of your sword and describe a circle with it, by passing to the I'ight over your adversary's blade, downward, and return, carrying his point to the left out of
Counter of Septime.
and wishing to
line of
mark
its
(See
Septime.
Execution thrust in
pai'ry
of
Low
as you return to the original position of
fig.
13.)
Octave.
— Your
adversary having
Sixte, lower the point of
made a
your sword by a half
place it under his wrist, the thumb toward the right carry the hand a little to the right, keeping it always at the same elevation, until your Forte encounters the adversary's Feeble and bears it out of circle
movement and
slightly turned
line of its
;
mark.
(See
Counter of Octave.
fig.
14.)
— Being
in
Octave position, as above,
an attack in Low Quarte, elevate the point of your sword and describe a circle with it by passing to the left over your adversary's blade, downward, and to the right, carrying his point out of line of your body as you return to the original position of Octave. (See fig. 14.) The classification and application of each Observation :
and wishing
to parry
—
parry are not absolute, but are simply intended to facilitate the instruction.
The
those specified.
parries
may
Therefore,
be applied in other places, than
when
the pupil has mastered the
PRELIMINARY DEFINITIONS.
25
mechanism
of each, as laid down in the foregoing lessons, he should be tauglit to apply them in any other place or time demanding " special legislation " or appropriation.
The Fingering. of
— The fingering consists in shifting the point
your sword, under the action of the fingers, especially the first two fingers. This finger movement serves
thumb and
especially in
making the
feints,
and directing your point
in
the attack.
Fingering Exercise.
— Engagement
point of your sword and incline
it
Quarte
of
:
the grip of the last fingers, but without changing of the
hand
;
replace
it
Displace the
to the right, by relaxing tlie
position
by the action of the fingers only,
striking your adversary's blade sharply
;
his blade is then dis-
placed to his right (in order to effect this, he has also loosened his grip), while your blade rests in direct line with his chest;
and strikes your blade, and
his blade then returns to position
so on alternately.
agreement, parry.
This exercise
is
continued, according to
one withdraws his blade in order to vary the It can be adapted equally well to the parries of Tierce, till
Sixte, Septime,
and Octave.
By
this practice the pupil
soon
acquires delicacy of touch and accuracy.
The Engagement.
— The Engagement
is
the action of joining
blades in the opposite line to which they were previously situated, and is taken to cover one's self. To effect the engagement, lower your point and pass it underneath your
opponent's blade by the action of the fingers and as near as it, and then cover yourself. Your point must be in line with your opponent's eye and at the same elevation.
possible to
(See
fig.
28.)
;
PAET
FIRST LESSON
II.
— FIRST
DIVISION.
The Attack.
THE
attack
versary.
and
is
the action of making a thrust at your ad-
It
may
be either simple and direct, simple
complex
; accompanied by a lunge, or not preceded by an Advance or Retreat, by a Beat, Press, Glide, Traverse, etc., by a single or double engagement, at all times to be effected with the greatest rapidity.
indirect, or
Simple Attacks. Definition of Direct "Thrust.
— The
direct tlirust can be exe-
—
cuted in the line of engagement when, 1.
Your adversary
is
unprotected by reason of the position
of his hand. 2.
When
the point of your adversary's sword
The proper
" Opposition "
is
not in
line.
hand must always be
of the
observed.
Direct Thrust.
2.
Engage the blade in Qnarte. Extend your arm.
Engage the blade in Extend your arm.
3.
Lunge.
Lunge.
4.
On
On
1.
Guard.
Sixte.
Guard.
Without Analyzing. Lunge
On
Direct.
Definition of Disengagement.
— The
Guard.
disengagement
is
an
at-
tack effected in the line opposite to that of the engagement.
Fig.
3.
ON GUARD.
FIRST LESSON — FIRST DIVISION.
27
Pass your point rapidly under the forearm of your adver-
'
sary by the aid of the fingers and wrist only
at the
same
— care
being
;
time extend your arm and immediately lunge,
taken to do so with the hand in opposition. This attack may be employed when the adversary carries his hand too far over, in an exaggerated opposition.
Disengagement. 1
2 3.
4
Engage the blade
Engage the blade in Quarte. Disengage and extend your arm.
in Sixte
Disengage and extend your arm. Lunge.
Lunge. On Guard.
On
Guard.
WiiHODT Analyzing. On Guard
Disengage.
Definition of Cut-Over.
— The
Cut-Over
is
a disengagement
effected by passing your blade over your adversary's point,
and lowering
it
in the line opposite engagement.
vate your point and pass
it
which movement must be executed with the (see fig. 15), the hand remaining in its position point, in the exposed quarter, extend your
lunge with the hand in opposition.
when point
Thus,
arm
This attack
fingers only ;
lower your
rapidly, is
the adversary presses your blade too hard or is
too low
and out
ele-
over that of your adversary's,
and
provoked
when
his
of line.
CUT-OVEE. 1.
Engage the blade
2.
Cut-Over and extend your arm.
Engage
in Quarte.
3 Lunge. 4.
the blade in Sixte.
Cut-Over and extend your arm. Lunge. On Guard.
On Guard.
Without Analyzing On
Cut-Over.
The Riposte.
— The
Riposte
is
Guard.
an attack which follows a
successful parry either immediately, or after a certain delay,
determined by the position and movements of the adversary. 1. The Riposte is simple, direct, and " tac-au-tac," when
it
28
FOIL
AND SABRE.
executed without auy delay whatever after the parry, in the This line in which the adverse blade was encountered. riposte is always made on quitting the adverse blade after is
same
having whipped
it
upon the lunge
out of line by a parry, without lunging, but
of the adversary
and simultaneous with the It is the most rapid
touch of his right foot upon the ground. of all the ripostes.
(See
fig.
16.)
The Riposte is simple, direct, in opposition, and strategiwhen it is executed (with or without a lunge) in the line in
2.
cal
which one has encountered the adverse blade after being sure of one's safety. This riposte is made after an opposition parry
upon an adversary whose blade hugs
close to your
own and
renders the riposte " tac-au-tac " impossible, since you fear a Replacing.
In this riposte
opposition of heel to point.
it is
It
necessary to conserve well the
may happen
also that the posi-
tion of the adversary will force you to wait until he assumes
guard before you riposte, which would necessitate a lunge. 3. is
The Riposte
is
simple, indirect, and strategical
when
it
executed (with or without a lunge) in the line opposite to
tliat in
which the adverse blade has been encountered (after it) or from the High into the Low Lines, or
being assured of vice versa.
parry,
if
rect riposte is
This riposte
may
be
made
after the sharp stroke
the adversary in seeking to save himself from a di-
comes briskly
to the parry.
If
he does not,
necessary to hold the adverse blade, and (standing
it
still)
neither disengage nor cut-over except upon his Press or by
lunging upon his assumption of guard.
The Riposte
in
Low
Line by a Bind
is
made only
after
an
opposition and immediately upon the contact of the blades.
The Riposte is composite and strategical when it is executed in two movements (with or without lunge). From these different classes of ripostes are to be chosen 4.
those most appropriate to the peculiarities of the adversary,
observing whether he lunges with or without Opposition, whether he attempts Replacing or Redoujaling or not, whether he recovers rapidly or slowly, whether he attempts to parry
on the recovery or not.
FIRST LESSON â&#x20AC;&#x201D; FIRST DIVISION.
29
SIMPLE FAERIES FOR SIMPLE ATTACKS, AND DIRECT RIPOSTE. Direct Theust. ^
Engage the blade ia Quarte. On mi) Direct Thrust.
Engage the blade in Sixte. On mij Direct Thrust.
3.
Oppose
Oppose
4.
Riposte Direct,
5.
On
1.
2.
(or Parry) Quarte.
(or
Parry) Sixte.
Riposte Direct.
On
Guard.
Guard.
Without Analyzing. Oppose Quarte.
Oppose
Riposte Direct.
On
Sixte.
Guard.
Command. Parry the Nos. 2 above by Counter, Riposte as above.
Disengagement. 2.
Engage the blade in Quarte. On mij Disengagement.
Engage tlie blade iu Si^te. On mil Disengagement.
S.
Oppose
Oppose
4.
Riposte Direct.
5.
On
1.
(or Parry) Sixte.
(or Parry) Quarte.
Riposte Direct.
On Guard.
Guard.
Without Analyzing. Oppose Sixte.
Oppose Quarte.
Riposte Direct.
On
Guard.
Command. Parry the Nos. 2 above by Counter, Riposte as above.
CUT-OVEE. 2.
Engage the blade On my Cut-Over.
3.
Oppose
4.
Riposte Direct.
5.
On
1.
Engage the blade On mij Cut-Over.
in Quarte.
Oppose
(or Parry) Sixte.
in Sixte.
(or Parry) Quarte.
Riposte Direct.
On
Guard.
Guard.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
Riposte Direct.
On
Guard.
Command. Parry the Nos. 2 above by Counter, Riposte as above.
FOIL
30
AND SABRE.
â&#x20AC;&#x201D;
The Feint is the action of making a false thrust, The Feint. This and must be so executed as to be taken for a real one. your therefore hold obliges your parry move adversary to ;
point in readiness to deceive
him
feint or by executing a tlirust in
making another another line. The feint is either by
the exact reproduction of the real thrust, unaccompanied by a lunge.
SECOND DIVISION.
ATTACKS COMPOSED OF TWO MOVEMENTS. One-Two. 1.
Engage
2.
Feint Disengagement.
Feint Disengagement.
3.
I oppÂŁSe
I oppose
4.
Disengage, lunge.
Disengage, lunge.
5.
On
On
Engage the blade
the blade in Quarte.
Sixle.
Guard.
in Sixte.
Qiiarte.
Guard.
Without Analyzing. On One-Two.
Guard.
Double. Engage
the blade in Sixte,
1.
Engage
2.
Feint Disengagement.
Feint Disengagement.
I oppose
the blade in Qnarte.
3.
/ oppose
4.
Deceive, lunge.
5.
On
Counter of Quarte.
Counter oj Sixte.
Deceive, lunge.
On
Guard.
Guard.
Without Analyzing.
On
Double.
Guard.
Cut-Over and Disengage. Engage the blade
1
Engage
2
Feint Cut-Over.
3.
/ oppose
4.
Disengage, lunge.
Disengage, lunge.
5.
On
On
the blade in Qnarte.
in Sixte-
l^eint Cut-Over.
J oppose Quarte.
Sixte.
Guard.
Guard.
Without Analyzing. Cut-Over and Disengage.
On
Guard.
.
FIRST LESSON — SECOND DIVISION.
31
Cut-Over and Deceiye. 1.
Engage the blade
2.
Feint Cut-Over.
3
I oppose Counter 0^ Quarte.
1 oppose Counter of Sixte.
4
Deceive, lunge.
Deceive, lunge.-
5.
On
Guard.
Engage the hlade
in Quarte.
'
in Sixte.
Feint Cut-Over.
v
On
•
*
.
Guard.
Without Analyzing. On Guard.
Cut-Over and Deceive.
PAEEIES COMPOSED OF TWO MOVEMENTS, AND DIEECT EIPOSTES. One-Two. Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On mij feint of Disengagement. Oppose (or Parry) Quarte.
5.
Oppose (or Parry) Sixte. / disengage and lunge. Oppose Quarte.
6.
Riposte Direct.
Riposte Direct.
7.
On Guard.
On
1.
2.
3. 4.
I
disengage
Oppose
and
lunge.
Sixte.
Guard.
Without Analyzing. Oppose Sixte and Quarte. Riposte Direct.
Oppose Quarte and
Sixte.
On Guard.
Command. Parry the Nos. 2 above by one Opposition, Nos. 4 by Counter, and Riposte as above.
Double. 1.
2.
Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On my feint of Disengagement Oppose
3.
Oppose
4.
/
5.
Oppose
6.
Riposte Direct.
Riposte Direct.
7.
On
On
(or Parry)Counterof Quarte.
deceive
and
I
lunge.
Oppose
(or Parry) Sixte.
Guard.
(or Parry)
deceive
and
Counter of Sixte.
lunge.
(or Parry) Quarte.
Guard.
Without Analyzing. Oppose Counter of Quarte and
Sixte.
Riposte Direct.
Oppose Counter of Sixte and Quarte.
On
Guard.
Command. Parry the Nos. 2 and 4 above by Counters, Riposte as above.
FOIL
32
AND SABRE.
CUT-OVEK AND DiSENGAGE. 1.
Engage the blade
2.
On
3.
Engage the blade in Sixte. On my femt nf Cut-Ocer.
in Quarte.
of Cut-Over. Oppose (or Parry) Sixte. mij feint
Oppose
(or Parry) Quarte.
5.
Z disengage and lunge. Oppose (or Parry) Quarte.
Oppose
6.
Riposte Direct.
Eiposte Direct.
7.
On
On Guard.
4.
I
Guard.
disenyage and hinge. (or Parry) Sixte.
Without Analyzing. Oppose Sixte and Quarte. Eiposte Direct.
Oppose Quarte and Sixte.
On
Guard.
Command. Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Eiposte as above.
Cut-Over and Deceive. 2.
Engage the blade in Quarte. On VI feint of Cat-Ocer.
3.
Oppose
4.
/ deceive and lunge.
Engage the blade in Sixte. On my feint of Cut-Oi-er. Oppose (or Parry) Counter of I deceive and lunge.
5.
Oppose
Oppose
6.
Eiposte Direct.
Eiposte Direct.
7.
On
On
1
ij
(or Parry)Counterof Quarte.
(or
Parry
*) Sixte.
Guard.
Sixte.
(or Parry) Quarte.
Guard.
Without Analyzing. Oppose Counter of Quarte and Sixte. Eiposte Direct.
Oppose Counter of Sixte and Quarte.
On Guard.
Command. Parry the Nos. 2 and 4 above by Counters, Eiposte as above.
* Observation : Hereafter at this point in the lesson I will only employ the word " oppose," but the fencer should understand that the words " or Parry " may follow it always, and
he should employ both styles of defence.
â&#x20AC;&#x201D;
his
In all these lessons the instructor is supposed to be spealviug, and Note. own movements are distinguished from the pupil's by the use of italics.
.
FIRST LESSON â&#x20AC;&#x201D; THIRD DIVISION.
33
THIRD DIVISION.
ATTACKS COMPOSED OF THREE MOVEMENTS. One-Two-Three. 1
Engage
2.
Feint Disengagement.
the blade in Quarte.
Engage
the blade in Sixte.
Feint Disengagement.
3.
I oppose
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
5
/ oppose Quarle.
/ oppose
6.
Disengage, lunge.
Disengage, lunge.
7.
On Guard.
/ oppose
Sixte.
On
Quarte.
Sixte.
Guard.
Without Analyzing. On
One-Two-Three,
Guard.
One-Two, and Deceive. 1.
Engage the blade
2.
Feint Disengagement.
in
Quarte.
Engage
the blade in Sixte.
Feint Disengagement.
3.
/ oppose
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
f>.
I oppose Counter of Sixte.
/ oppose
6.
Deceive, lunge.
Deceive, lunge.
7
On Guard.
On
/ oppose Quarte.
Sixte.
Counter of Quarte.
Guard.
WiTHODT Analyzing.
On
One-Two and Deceive.
Guard.
Double and Disengage. Engage the
1.
Engage the blade
2
Feint Disengagement.
Feint Disengagement.
/ oppose
in Quarte.
3
I oppose
4.
Deceive.
Deceive.
5.
I
I oppose
6.
Disengage, lunge.
7
On
Counter of Quarte.
oppose Sixte.
blade in Sixte.
Counter of Sixte. Quarte.
Disengage, lunge.
On
Guard.
Guard.
WiTHOnT Analy'zing.
On
Double and Disengage.
Guard.
Cut-Over and One-Two. Engage the blade
1.
Engage the blade
2.
Feint Cut-Over.
Feint Cut-Over.
3.
I oppose
I
Sixte.
in Quarte.
oppose Quarte.
in Sixte.
FOIL
4
AND SABRE.
4.
Feint Disengagement.
Feint Disengagement.
5.
I oppose Quarte. Disengage, lunge. On Guard.
I oppose
6. 7.
Sixte.
Disengage, lunge.
On
Guard.
Without Analyzing. On Guard.
Cut-Over and One-Two.
PAEEIES COMPOSED OF THEEE MOVEMENTS. AND DIEECT EIPOSTES. One-Two-Threb. Engage tlie blade in Quarte. On mij feint of Disengagement.
1.
2.
Engage
tlie
blade in Sixte.
On m>/ feint of Disengagement. Oppose Quarte. I feint 2d Disengagement. Oppose Sixte. I disengage and lunge. Oppose Quarte.
7.
Oppose Sixte. I feint 2d Disengagement. Oppose Quarte. / disengage and lunge. Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
3. 4. 5. 6.
Guard.
Guard.
Without Analyzixg Oppose
Sixte, Quarte,
and Sixte.
Oppose Quarte,
Riposte Direct.
Sixte,
and Quarte.
On Guard.
Covimand. Parry the Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte as above.
One-Two, and Deceive. Engage the blade in Sixte. On mg feint of Disengagement.
Engage the blade in Quarte. On 7n>/ feint of Disengagement. Oppose Sixte. T feint 2d Disengagement.
I feint 2d
Oppose Counter of Sixte. / deceive and lunge. Oppose Quarte.
Oppose Counter of Quarte. 7 deceive and lunge. Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On
1
2.
3 4. 5.
6. 7.
Oppose Quarte. Disengagement.
On Guard.
Guard.
Without Analyzing. Oppose Sixte, Counter and Quarte.
of Sixte,
Riposte Direct.
Oppose Quarte. Counter of Quarte, and Sixte.
On
Guard.
Command. Parry the Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte as above.
FIRST LESSON â&#x20AC;&#x201D; THIRD DIVISION.
35
Double and Disengage. Engage the blade in Quarte. On mi/ feint of Disengagement.
Engage the blade in Sixte. On mg feint of Disengagement.
3.
Oppose Counter
Oppose Counter
4.
/
1.
2
of Quarte.
of Sixte.
1 deceive.
deceive.
5.
Oppose
6.
/ disengage and lunge.
Oppose Quarte. 1 disengage and
7.
Oppose Quarte.
Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On Guard.
On
Sixte.
lunge.
Guard.
Without Analyzing. Oppose Counter and Quarte.
of Quarte, Sixte,
Riposte Direct.
Oppose Counter of and Sixte.
Sixte, Quarte,
On Guard.
Command. Parry the Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter, Riposte as above.
Cut-Over and One-Two. Engage the blade in Quarte. On my feint of Cut-Over.
Engage
Oppose Quarte.
7.
Oppose Sixte. I feint 2d Disengagement. Oppose Quarte. I disengage and lunge. Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
1.
2. 3.
4. 5. 6.
the blade in Sixte.
On my feint of I feint
'id
Cut-Over.
Disengagement.
Oppose Sixte. / disengage and Oppose Quarte.
Guard.
lunge.
Guard.
Without Analyzing. Oppose Sixte, Quarte, and
Sixte.
Riposte Direct.
Oppose Quarte,
On
Sixte,
and Quarte.
Guard.
Command. Parry the Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte as above.
..
POIL
36
AND SABRE.
FOURTH
DIVISION.
ATTACKS COMPOSED OF FOUR MOVEMENTS. One-Two-Three-Fo0r. 1
Engage
2.
Feint Disengagement.
the blade in Quarte.
Engage
the hlade in Sixte.
Feint Disengagement.
3.
1 oppose Sixte.
/ oppose
4.
Feint ad Disengagement.
Feint 2d Disengagement.
5.
/ oppose
/ oppose
6.
Feint 3d Disengagement.
Feint 3d Disengagement.
7.
/ oppose
/
8.
Disengage, lunge.
9.
On
Quarte.
Sixte.
Quarte.
Sixte.
oppose Quarte.
Disengage, lunge.
On
Guard.
Guard.
Without Analyzing.
On
One-Two-Three-Four.
Guard.
One-Two -Three, and Deceive. 1
Engage the blade in Quarte.
Engage the blade
2.
Feint Disengagement.
Feint Disengagement.
3.
/ oppose
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
5.
/ oppose
/ oppose
6.
Feint 3d Disengagement.
Feint 3d Disengagement.
7.
/
I oppose
8.
Deceive, lunge.
Deceive, lunge.
9.
On
On Guard.
/ oppose
Sixte.
Quarte.
oppose Counter of Quarte
Guard.
in Sixte.
Quarte.
Sixte.
Counter of Sixte.
Without Analyzing.
On
One-Two-Three, and Deceive.
Guard.
One-Two, Deceive, and Disengage. 1.
Engage the blade
in Quarte.
/ oppose
Engage the blade
in Sixte.
Feint Disengagement.
Feint Disengagement.
/
Sixte.
oppose Quarte.
Feint 2d Disengagement.
Feint 2d Disengagement.
I
/ oppose
oppose Counter of Sixte.
Counter of Quarte.
Deceive.
Deceive.
7.
1 oppose Quarte.
I oppose
8.
Disengage, lunge.
Disengage, lunge.
9.
On
Guard.
Sixte.
On Guard. Without Analyzing.
One-Two, Deceive, and Disengage.
On
Guard.
FIRST LESSON â&#x20AC;&#x201D; FOURTH DIVISION.
37
DODBLE AND OnE-TwO. Engage
Engage
the blade in Quarte.
Feint Disengagement.
the blade in Sixte.
Feint Disengagement.
/ oppose Counter of Quarte.
/ oppose Counter of Sixte.
Deceive.
Deceive.
/ oppose
/ oppose
Sixte.
Quarte.
Feint 2d Disengagement.
Feint 2d Disengagement.
/ oppose
/ oppose
Quarte.
Sixte.
Disengage, lunge.
Disengage, lunge.
On
On
Guard.
Guard.
Without Analyzing. On Guard.
Double and One-Two.
Double 1.
Engage the blade
2.
Feint Disengagement.
3.
/
4.
Deceive.
in
in Quarte.
Lines.
Engage the
blade in Sixte.
Feint Disengagement.
oppose Counter of Quarte.
/ oppose
Both
/
oppose Counter of Sixte.
Deceive.
/ oppose
Sixte.
Feint 2d Disengagement.
Quarte.
Feint 2d Disengagement.
/ oppose Counter of Sixte.
/
Deceive, lunge.
Deceive, lunge.
On
On
Guard.
oppose Counter of Quarte.
Guard.
WiTHODT Analyzing. Double
in
On
both Lines.
Guard.
PAEEIES COMPOSED OF FOUR MOVEMENTS, AXD DIRECT RIPOSTES. One-Two-Three-Four. 1.
2
Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On mt/ feint of Disengagement. Oppose Quarte.
3.
Oppose
4.
I feint 2d Disengagement.
I feint 2d
5.
Oppose Quarte. I feint Sd Disengagement. Oppose Sixte. / disengage and lunge. Oppose Quarte.
Oppose Sixte. I feint Sd Disengagement. Oppose Quarte.
10.
Riposte Direct.
Riposte Direct.
11.
On Guard.
On
6.
7. 8.
9.
Sixte.
/
Disengagement.
disengage
Oppose
and
Sixte.
Guard.
lunge.
.
FOIL
38
AND SABRE.
Without Analyzing. Oppose Sixte, Quarte, aad Quarte.
Sixte,
Riposte Direct.
Oppose Quarte, and Sixte.
Sixte, Quarte,
On Guard.
Command. Parry the Nos.
2, 4,
and
6
above by Oppositions, Nos. 8 by Counter, Riposte as
above.
One-Two-Three, and Deceive. Engage the blade in Quarte. On my feint of Disengagement,
Engage the blade in Sixte. On my feint of Disengagement.
Oppose Sixte. 1 feint 2d Disengagement.
Oppose Counter of Quarte. / deceive and lunge. Oppose Sixte.
Oppose Quarte. I feint 2d Disengagement. Oppose Sixte. I feint 3d Disengagement. Oppose Counter of Sixte. / deceive and lunge. Oppose Quarte.
10.
Riposte direct.
Riposte direct.
11.
On Guard.
On
1
2.
3. 4. 5. 6.
7. 8. 9.
Oppose Quarte. I feint 3d Disengagement.
Guard.
WiTHOtiT Analyzing. Oppose
Counter and Sixte.
Sixte, Quarte,
of Quarte,
Riposte Direct.
Oppose Quarte, Sixte, Counter of Sixte, aud Quarte.
On
Guard.
Command. Parry the Nos. 2 and 4 by Oppositions, Nos. 6 and 8 by Counters, Riposte as above.
One-Two, Deceive, and Disengage. Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On my feint of Disengagement.
5.
Oppose Sixte. I feint 2d Disengagement. Oppose Counter of Sixte.
6.
/ deceive.
7.
Oppose Quarte. / disengage and Oppose Sixte.
Oppose Quarte. I feint 2d Disengagement. Oppose Counter of Qnarte. I deceive. Oppose Sixte. / disengage and lunge. Oppose Quarte.
1.
2. 3.
4.
8. 9.
lunge.
10.
Riposte Direct.
Riposte Direct.
11.
On
On
Guard.
Guard.
.
FIRST LESSON â&#x20AC;&#x201D; FOURTH DIVISION.
39
AViTiiouT Analyzing.
Oppose Sixte, Counter of Sixte, Quarte, aud Sixte.
Oppose Qaarte, Counter Sixte, and Quarte.
Riposte Direct.
of Quarte,
On Guard.
Command. Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Nos. 6 by Opposiby Counter, Riposte as above.
tion, Nos. 8
Double and One-Two. 1
2. 3. 4. 5. 6. 7.
Engage the blade in Quarte. On rnij feint of Disenijaqement.
Engage the blade in Sixte. On mi/ feint of Disengagement.
Oppose Counter of Quarte. I deceioe. Oppose Sixte. I feint 2d Disengagement. Oppose Quarte.
Oppose Counter of Sixte. I deceive. Oppose Quarte. I feint 2d Disengagement. Oppose Sixte. 1 disengage and lunge. Oppose Quarte.
8.
/ disengage
9.
Oppose
and
lunge.
Sixte.
10.
Riposte Direct.
Riposte Direct.
11.
On Guard.
On
Guard.
WiTHonx Analyzing. Oppose Counter of Quarte, Sixte, Quarte, and Sixte.
Oppose Counter of Sixte, Quarte, Sixte, and Quarte.
Riposte Direct.
On
Guard.
Command. Parry the Nos. 2 above by Counter, Nos. 4 and 6 by Opposition, Nos. 8 by Counters, Riposte as above.
Double 1.
2.
Engage the blade in Quarte, On mi/ feint of Disengagement.
in
Both
Lines.
Engage the blade in Sixte. On mg feint of Disengagement.
Oppose Counter of Quarte. I deceive. Oppose Sixte. I feint 2d Disengagement. Oppose Counter of Sixte. / deceive and lunge. Oppose Quarte.
Oppose Counter of Quarte. I deceive and lunge. Oppose Sixte.
10.
Riposte Direct.
Riposte Direct.
11.
On Guard.
On
3. 4. 5.
6 7.
8. 9.
Oppose Counter
of Sixte.
1 deceive.
Oppose Quarte.
I feint 2d Disengagement.
Guard.
FOIL
40
AND
SABRE.
Without Analyzing. Oppose Counter of Sixte, Quarte, Counter of Quarte, and Sixte.
Oppose Counter of Quarts, Sixte, Counter of Sixte, and Quarte. Riposte Direct.
On Guard.
Command. Parry the Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 and 8 by Counters, Riposte as above.
SECOND LESSON
— FIRST
DIVISION.
The Beat. The Beat
is
a sharp stroke, with
more or
less force,
by the
point of your blade against the point of the adverse blade, in
order to brealt his guard and open a
way
for
an attack.
Beat should be made by the fingers and thumb only, sharp movement.
SIMPLE ATTACKS PRECEDED BY A BEAT. Direct Thrust. 1.
Engage
the blade iu Quarte.
3.
Beat and extend your arm. Lunge.
4.
On Guard.
2.
Engage the blade in Sixte. Beat and exteud your arm. Lunge.
On
Guard.
WiTHonT Analyzing. Beat and Lunge
On Guard.
direct.
Disengagement. 1.
Engage the blade
2.
Beat and disengage. Lunge. On Guard.
3. 4.
in Quarte.
Engage the blade
in Sixte.
Beat and disengage. Lunge. On Guard.
Without Analyzing. Beat and Disengage.
On
Guard.
The
— a quick
second lesson — first division.
41
Cut-Over. 1.
2.
3. 4.
Engage the blade
Engage the blade
in Quarte.
in Sixte.
Beat and Cut-Over. Lunge. On Guard.
Beat and Cut-Over. Lunge. On Guard.
Without Axalyzixg.
On
Beat and Cut-Over.
—
: In the Beat preceding the Cut-Over, the point your blade should execute a retreating stroke toward vour
Observation of
Guard.
face preparatory to the Cut-Over.
ATTACKS COMPOSED OF TWO MOVEMENTS PEECEDED BY A BEAT. OxE-Two. Engage the
2.
Engage the blade in Quarte. Beat and feint Disengagement.
3.
7 oppose Sirte.
I oppose Quarte.
4.
Disengage, lunge.
Disengage, lunge.
5.
On
1.
Beat and
On
Guard.
blarle in Sixte.
Disengagement.
feint
Guard.
Without Analtzixg. On Guard.
Beat, One-Two.
Double. Engage
3.
Engage the blade in Quarte. Beat and feint Disengagement. / oppose Counter of Quarte.
4.
Deceive, lunge.
Deceive, lunge.
5.
On
1.
2.
On
Guard.
the blade in Sixte.
Beat and feint Disengagement. I oppose Counter of Sixte. Guard.
Without Analyzing.
On
Beat and Double.
Guard.
Cut-Over and Disengage. 1.
Engage the blade
2.
Beat and feint Cut-Over.
Beat and
3.
/ oppose
I
4.
Disengage, lunge.
5.
On
in Quarte.
Sixte.
Engage
the blade in Sixte. feint Cut-Over.
oppose Quarte.
Disengage, lunge.
On
Guard.
Guard.
Without Analyzing. Beat, Cut-Over, and Disengage.
On Guard.
FOIL
42
AND SABRE.
ATTACKS COMPOSED 'OF THEEE MOVEMENTS PEECEDED BY A BEAT. One-Two-Theee. 1.
Engage
2.
3.
Beat and feint Disengagement. / oppose SIxte. Feint 2d Disengagement. I oppose Quarte.
/
6.
Disengage, lunge.
Disengage, lunge.
7.
On
3. 4.
Engage the blade
the blade in Quarte.
in Sixte.
Beat and feint Disengagement.
/ oppose
Qaatte.
Feint 2d Disengagement. oppose Sixte.
On
Guard.
Guard.
WiTHOBT Analyzing.
On
Beat, One-Two-Three.
Guard.
One-Two, and Deceive. 1.
Engage the blade
2.
Beat and
3.
/ oppose
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
/ oppose
Engage the blade
in Quarte.
Disengagement.
feint
in Sixte.
Beat and feint Disengagement.^
/ oppose
Sixte.
Quarte.
5.
I
6.
Deceive, lunge.
Deceire, lunge.
7.
On
On
oppose Counter of Sixte.
Guard.
Counter of Quart&.
Guard.
Without Analyzing. On
Beat, One-Two, and Deceive.
Guard.
Double and Disengage. 1.
Engage
2.
Beat and
3.
I oppose
4.
Deceive.
5.
/ oppose
6.
Disengage, lunge.
7.
On
Engage
the blade in Quarte.
the blade in Sixte.
Beat and
Disengagement.
feint
feint
Disengagement.
7 oppose Counter of Sixte.
Counter of Quarte.
Deceive.
I oppose
Sixte.
Quarte.
Disengage, lunge.
On
Guard.
Guard.
Without Analyzing. Beat, Double, and Disengage.
Observation
:
â&#x20AC;&#x201D;
â&#x20AC;˘
Each
of the
On
Guard.
above exercises must be
re-
peated, substituting a Press, and Traverse, each in turn, in
place of Beat.
SECOND LESSON — SECOND DIVISION.
43
—
The Press is a sharp pressure, with more or your point against the adversary's point, in order to break his guard and make an opening for your attack. The Press.
less force, of
—
The Traverse. The Traverse consists in making a prolonged and sharp pressure, a sort of scraping blow, on the adverse blade, and must be effected by sliding his hilt.
down toward
This move shakes your adversary's guard and makes
an opening for your Thrust.
SECOND DIVISION. The Glide.
— The
Glide
adverse blade, keeping of direct thrust.
it
is
the action of gliding along the
in opposition,
and
is
in reality a feint
Glide along your adversary's blade slyly and
without giving an alarm.
SIMPLE ATTACKS PEECEDED BY A GLIDE. Direct Thrust. 1.
2.
.
4
..
44
foil
and sabre.
Cdt-Oveb. 1
Engage
2.
Glide.
Engage the blade
the blade in Quarte.
in Sixte.
Glide.
3.
/ oppose
4.
Cut-Over, lunge.
Cut-Over, lunge.
5.
On
On
I
Quarte.
Guard.
oppose Sixle.
Guard.
Without Analyzing.
On
Glide and Cut-Over.
Guard.
Deceive. 1
Engage the blade
2.
Glide.
Glide.
4.
I oppose Counter of Sixte. Deceive, lunge.
Deceive, lunge.
5.
On
On
.3.
in Quarte.
Engage the blade
I oppose
Guard.
in Sixte.
Counter of Quarte.
Guard.
WiTiiODT Analyzing. Glide and Deceive.
On
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS, PEECEDED BY A GLIDE. One-Two. 1.
Engage the blade
2.
Glide.
in Quarte.
Engage
the blade in Sixte.
Glide.
3.
7 oppose Quarte.
I oppose
4.
Eeint Disengagement.
Eeint Disengagement.
.5.
7 oppose
1 oppose Quarte.
6.
Disengage, lunge.
7.
On
Sixte,
Sixte.
Disengage, lunge. On Guard.
Guard.
WiTHODT Analyzing.
On
Glide and One-Two.
Guard.
Cut-Over and Disengage. 1
Engage
2.
Glide.
the blade in Quarte.
Engage the blade
in Sixte.
Glide.'
3.
7
4.
Feint Cut-Over.
Feint Cut-Over.
.5.
7 oppose
I
6.
Disengage, lunge.
7.
On
I oppose
oppose Quarte.
Sixte.
Sixte.
oppose Quarte.
Disengage, lunge.
On
Guard.
Guard.
Without Analyzing. Glide, Cut-Over,
and Disengage.
On Guard.
.
second lesson â&#x20AC;&#x201D; third division.
45
Double. 1
Engage the blade
2.
Glide.
Glide.
3.
1 oppose Quarte.
I
4.
Feint Disengagement.
Feint Disengagement.
5.
/ oppose Counter of Sixte.
6.
Deceive, lunge.
I oppose Counter of Quarte. Deceive, lunge.
7.
On
Engage the blade
in Quarte.
oppose Sixte.
On
Guard.
in Sixte.
Guard.
Without Analyzing.
On
Glide and Double.
Deceive
Two
Guard.
Counters. Engage
1
Engage
2.
Glide.
3.
I opposz
4.
Deceive.
5.
I oppose Counter of Sixte.
6.
Deceive, lunge.
Deceive, lunge.
7.
On Guard.
On
the blade in Quarte.
the blade in Sixte.
Glide.
I oppose
Counter of Sixte.
Counter of Quarte.
Deceive.
I oppose
,
Counter of Quarte.
Guard.
WiTHOCT Analyzing. Glide and Deceive
Two
On
Counters.
Guard.
THIRD DIVISION. SIMPLE PARRIES FOR SIMPLE ATTACKS PRECEDED BY A BEAT, PRESS, TRAVERSE, GLIDE, AND DIRECT RIPOSTES. Direct Thrust. 1.
2.
Engage the blade in Quarte. On my Direct Thrust.
Engage the blade
On my
3.
Oppose Quarte.
Oppose
4.
Riposte Direct.
Riposte Direct.
5.
On
On
Guard.
in Sixte.
Direct Thrust. Sixte.
Guard.
Without Analyzing. Oppose
Oppose Quarte. Riposte Direct.
Sixte.
On Guard.
Command. Parry the Nos. 2 above by Counter, Riposte as above.
.
and sabre.
foil
46
Disengagement. 2.
Engage the blade in Quarts. On my Disengagement.
Engage the blade in Sixte. On ,ny Disengagement.
3.
Oppose
Oppose Quarte.
4.
Riposte Direct.
Riposte Direct.
5.
On
On
i.
Sixte.
Guard.
Guard.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
Riposte Direct.
On
Guard.
Command. Parry the Nos. 2 above by a Counter, Riposte as above.
Cut-Over. 2.
Engage the blade On mij Cut-Ooer.
3.
Oppose
4.
Riposte Direct.
5.
On
1.
Engage the blade On my Cut-Oner.
in Quarte.
in Sixte.
Oppose Quarte.
Sixte.
Ript)Ste Direct.
On
Guard.
Guard.
Without Analyzing., Oppose
Oppose Quarte.
Si.xte.
Riposte Direct.
On
Guard.
Command. Parry the Nos. 2 above by a Counter, Riposte as above.
TWO MOVEMENTS FOR ATTACKS PRECEDED BY A BEAT, PRESS, TRAVERSE, GLIDE,
PARRIES COMPOSED OF
AND DIRECT
RIPOSTES.
One-Two. Engage the blade in Sixte. On my feint of Disengagement.
4.
Engpge the blade in Quarte. On my feint of Disengagement. Oppose Sixte. 1 disengage and lunge.
5.
Oppose Quarte.
Oppose Quarte disengage and Oppose Sixte.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
1
2.
3.
I
Guard.
lunge.
Guard.
Without Analyzing. Oppose Sixte and Quarte. Riposte Direct.
Oppose Quarte and
On
Sixte.
Guard.
Command. Parry the Nos. 2 and 4 above by one Opposition and one Counter, Riposte as above.
a-,
second lesson â&#x20AC;&#x201D; third division.
47
Double. Engage the blade in Quarte. On mi/ feint of Disenqarjement.
Engage the blade in Sixte. On mil feint of Disenqagement.
5.
Oppose Counter of Quarte. deceive and lunge. Oppose Sixte.
Oppose Counter of Sixte. I deceive and lunge. Oppose Quarte.
6
Riposte Direct.
Riposte
7.
On
Ou
1.
2. 3. 4.
/
Guard.
Direct".
Guard.
Without Analyzing. Oppose Counter
of Quarte
and
Sixte.
Riposte Direct.
Oppose Counter of Sixte and Quarte.
On
Guard.
Command. Parry the Nos. 2 and 4 above by Counters, Riposte as above.
Cut-Over and Disengage. 1.
2.
3. 4. 5.
Engage the blade in Quarte. On my feint of Cut-Over.
Engage the blade in Sixte. On mij feint of Cut-Over.
Oppose Sixte. I disengage and Oppose Quarte.
I disengage and
Oppose Quarte. lunge.
Oppose
lunge.
Sixte.
6.
Riposte Direct.
Riposte Direct.
7.
On Guard.
On
Guard.
WiTHOnT Analyzixg. Oppose Sixte and Quarte. Riposte Direct.
Oppose Quarte and
On
Sixte.
Guard.
Command. Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte as above.
Glide and Deceive. 1.
2.
Engage the blade On my Glide.
Engage the blade On my Glide.
in Quarte.
I deceive and
5.
Oppose Counter of Sixte. deceive and lunge. Oppose Quarte.
6.
Riposte Direct.
Riposte Direct.
7.
On
3. 4.
in Sixte.
Oppose Counter of Quarte.
I
Oppose
On
Guard.
lunge.
Sixte.
Guard.
Without Analyzing. Oppose Counter of Sixte and Quarte. Riposte Direct.
Oppose Counter of Quarte and
On
Guard.
Command. Parry the Nos. 2 and 4 above by Counters, Riposte as above.
Sixte.
AND SABRE.
FOIL
48
PARRIES COMPOSED OF THREE MOVEMENTS FOR COMPLEX ATTACKS PRECEDED BY A BEAT, PRESS, TRAVERSE, GLIDE, AND DIRECT RIPOSTES.
One-Two and Deceive. 1.
Engage
2.
Oil mi/ feint
Engage the blade in Sixte. On my feint of Disengagement.
the blade in Quarte.
3.
Oppose
4.
I feint 2d
of Disengagement.
7.
Oppose Counter of Sixte. deceive and lunge. Oppose Quarte.
Oppose Quarte. I feint 2d Disengagement. Oppose Counter of Quarte. I deceive and lunge. Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
Ou
On
5. 6.
Sixte.
Disengagement.
I
Guard.
Guard.
Without Analyzing. Oppose
Sixte,
Counter of Sixte, and
Quarte.
Oppose Quarte, Counter of Quarte, and Sixte.
Riposte Direct.
On
Guard.
Command. Parry the Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte as above.
One-Two-Three. Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On my feint of Disengagement
Oppose Sixte. / feint 2d Disengagement. Oppose Quarte. I disengage and lunge. Oppose Sixte.
Oppose Quarte. I feint 2d Disengagement, Oppose Sixte. I disengage and lunge. Oppose Quarte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
1.
2 3.
4. 5. 6.
7.
Guard.
Guard.
Without Analyzing. Oppose
Sixte, Quarte,
and
Sixte.
Riposte Direct.
Oppose Quarte, Sixte, and Quarte.
Ou Guard.
Command. Parry the Nos. 2 and 4 above by Oppositions, Nos. above.
6
by Counter, Riposte
as
.
SECOND LESSON â&#x20AC;&#x201D; THIRD DIVISION.
49
Double and Disengage. Engage the blade in Sixte. On mi/ feint of Disengagement.
2.
Engage On mi/ feint of Disengagement.
3.
Oppose Counter of Quarte.
Oppose Counter
4.
/
/
the blade in Quarte.
1
deceive.
5.
Oppose
6.
/ disengage and
7.
Oppose Quarte.
Oppose Quarte. / disengage and Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
Sixte. lunge.
Guard.
of Sixte.
deceive.
lunge.
Guard.
WiTHonT Analyzing. Oppose Counter of Quarte,
Sixte,
Oppose Counter of
and
Quarte.
Sixte, Quarte,
and
Sixte.
On Guard
Riposte Direct.
Command. Parry the Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter, Riposte as above.
Glide and Deceive Engage the blade On my Glide.
1.
2.
in Quarte.
Two
Counters.
Engage the blade On my Glide.
in Sixte.
3.
Oppose Counter of Sixte.
Oppose Counter of Quarte.
4.
/
2
5.
7.
Oppose Counter of Sixte. / deceive and lunge. Oppose Quarte.
Oppose Counter of Quarte. I deceive and lunge. Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
6.
deceive.
Guard.
deceive.
Guard.
Without Analyzing. Oppose Counter of Sixte twice and Quarte.
Oppose Counter of Quarte twice and Sixte.
Riposte Direct,
On
Guard.
..
5(
FOIL
50
AND SABRE.
FOURTH
DIVISION.
MISCELLANEOUS ATTACKS. Cut-Over and Traverse. 1.
Engage
2.
Cut-Over, traverse.
Cut Over,
3.
Lunge Direct. On Guard.
Lunge
4.
Engage
the blade iu Quarts.
On
the blade in Sixte. traverse.
Direct.
Guard.
Without Analyzing. Cut-Over and Traverse.
On Guard.
Cut-Over, Traverse, and Disengage. 1
Engage
2.
Cu^Over, traverse.
Cut-Over; traverse.
3.
/ oppose
I oppose
4.
Disengage, lunge.
5.
On
Engage the blade
the blade in Quarte.
Sixte.
in Sixte.
Quarte.
Disengage, lunge.
On Guard.
Guard.
Without
An.4.lyzing.
On Guard.
Cut-Over, Traverse, and Disengage.
Double Cut-Over. Engage the blade
1
Engage the blade
2.
Feint Cut-Over.
Feint Cnt-(.)ver.
3.
/
I oppose
4.
Cut-Over, lunge.
Cut-Over, lunge.
5.
On Guard.
On
in Quarte.
oppose Sixte.
in Sixte.
Quarte.
Guard.
Without Analyzing.
On Guard.
Double Cut-Over.
Disengage and Cut-Over. 1.
Engage the
2.
Feint Disengagement.
Feint Disengagement.
3.
I
I
4.
Cut-Over, lunge.
Cut-Over, lunge.
5.
On
On Guard.
blade in Quarte.
oppose Sixte.
Guard.
Engage the blade
in Sixte.
oppose Quarte.
Without Analyzing. Disengage and Cut-Over.
On Guard.
ff.'^^ 'r^ ~"™'.''?^-.'^.' v??"^-" •
V
„
SECOND LESSON â&#x20AC;&#x201D; FOURTH DIVISION.
51
Disengage, Cut-Ovee, and Disengage. Engage
1.
Engage
2.
Feint Disengagement.
Feint Disengagement.
3.
/ oppose
I
4.
Feint Cut-Over.
5.
1 oppose Quarte,
/
6.
Disengage, lunge.
Disengage, lunge.
7.
On
the blade in Quarte.
Sixte.
the blade in Sixte.
oppose Quarte.
Feint Cut-Over. oppose Sixte.
On
Guard.
Guard.
Without Analyzing.
On
Disengage, Cut-Over, and Disengage.
Guard.
One-Two, and Cut-Over. Engage the blade
1.
Engage the blade
2.
Feint Disengagement.
3.
/ oppose
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
5.
/ oppose
/ oppose
6.
Cut-Over, lunge.
Cut-Over, lunge.
7.
On
On
in Quarte.
in Sixte.
Feint Disengagement.
/ oppose
Sixte.
Quarte.
Guard.
Quarte.
Sixte.
Guard.
Without Analyzing.
On
One-Two and Cut-Over.
Guard.
PAERIES FOR MISCELLANEOUS ATTACKS. Cut-Over and Traverse. 2.
Engage the blade in Quarte. On my Cut-Over and Traverse.
Engage the blade in On my Cut-Over and
3.
Oppose
Oppose Quarte.
4.
Eiposte Direct.
Riposte Direct.
5.
On
On Guard.
1.
Sixte.
Guard.
Sixte.
Traverse.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
Eiposte Direct.
On
Guard.
Command. Parry the Nos. 2 above by Counter, Eiposte as above.
Cut-Over, Traverse, and Disengage. 2.
Engage the blade in Quarte. On my Cut-Over and Traverse.
3.
Oppose Sixte.
1.
Engage the blade in On my Cut-Over and Oppose Quarte.
Sixte.
Traverse.
52
FOIL I
AND SABRE. I
and
5.
disengage and Oppose Quarte.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
4.
lunge.
disengage
Oppose
Guard.
lunge.
Sixte.
Gnard.
Without Analyzing. Oppose Quarte and
Oppose Sixte and Quarte. Riposte Direct.
On
Sixte.
Guard.
Command. Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte as above.
Double Cut-Over. 1.
SECOND LESSON â&#x20AC;&#x201D; FIFTH DIVISION.
53
FIFTH DIVISION.
ATTACKS DECEIVING THE BEAT. Disengagement. 1. 2.
Engage the blade On my Beat.
Engage the blade On my Beat.
in Quarte.
3.
Disengage, lunge.
4.
On
in Sixte.
Disengage, lunge.
On
Gua,rd.
Guard.
Without Analyzing.
On my
On
Beat, Disengage.
Guard.
Double. Engage the blade On my Beat.
2
Engage the blade On my Beat.
3.
Eeint Disengagement.
4.
I oppose Counter of Quarte.
I oppose Counter of Sixte.
5-
Deceive, lunge.
Deceive, lunge.
6.
On Guard.
1
in Quarte.
in Sixte.
Feint Disengagement.
On
Guard.
Without Analyzing. On my
On
Beat, Double.
Guard.
One-Two. Engage the blade On my Beat.
2.
Engage the blade On my Beat.
3.
Feint Disengagement.
Feint Disengagement.
4.
/ oppose
I oppose
5.
Disengage, lunge.
6.
Ot
1.
in Quarte.
Sixte.
in Sixte.
Quarte.
Disengage, lunge.
On
Guard.
Gnard.
WiTHonT Analyzing.
On my
Beat,
On
One -Two.
Guard.
Disengage and Cut-Over. Engage the blade
2.
Engage the blade On my Beat
3.
Feint Disengagement.
Feint Disengagement.
4.
/
I oppose Quarte.
5.
Cut-Over, Innge.
Cut-Over, lunge.
6.
On Guard.
On
1.
oppose Sixte.
in Quarte.
On my
in Sixte.
Beat.
Guard.
Without Analyzing.
On my
Beat, Disengage and Cut-Over.
On
Guard.
AND SABRE.
FOIL
54 Observation;
â&#x20AC;&#x201D; The
deceiving the Press.
same attacks must be repeated when Your sword must not resist the press
of the adverse blade, but should yield to
it.
PARRIES FOR SIMPLE AND COMPLEX ATTACKS DECEIVING THE BEAT. Disengagement. 1.
Engage the blade
3.
On your Beat. / disengage and
4.
Oppose
2.
Engage the blade
iu Quarte.
On your
I disengage and Oppose Quarte.
lunge.
Sixte.
5.
Riposte Direct.
Riposte Direct.
6.
On
On
Guard.
in Sixte.
Beat. lunge.
Guard.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
Riposte Direct.
On
Guard.
Command. Parry the Nos. 3 above by Counter, Riposte as above.
Double. 1.
Engage the blade
2.
On
3.
I feint Disengagement.
4.
Oppose Counter of Quarte. I deceive and lunge. Oppose Sixte.
5. 6.
Engage the blade
in Quarte.
On your
your Beat.
in Sixte.
Beat.
I feint Disengagement. Oppose Counter of Sixte.
I deceive and
lunge.
Oppose Quarte.
7.
Riposte Direct.
Riposte Direct.
8.
On
On
Guard.
Guard.
WiTHODT Analyzing. Oppose Counter of Quarte. Riposte Direct.
Oppose Counter of
On
Sixte.
Guard.
Command. Parry the Nos. 3 and 5 above by Counters, Riposte as above.
One-Two. 1.
2.
3.
Engage the blade in Quarte. On your Beat. I feint Disengagement.
Engage
the blade in Sixte.
On your
Beat.
I feint Disengagement.
THIRD LESSON â&#x20AC;&#x201D; FIRST DIVISION.
55
6.
Oppose Sixte. I feint 2d JDisenijagement. Oppose Quarte.
Oppose Quarte. 1 feint 2d Disengagement. Oppose Sixte.
7.
Riposte Direct.
Riposte Direct.
8.
On Guard.
On Guard
4.
5.
WiTHOtiT Analyzing. Oppose Sixte and Quarte.
Oppose Quarte and
Riposte Direct.
On
Sixte.
Guard.
Command. Parry the Nos. 3 and 5 above by Oppositions, Riposte as above.
Disengage and Cut-Oyer. 1.
Engage
the blade in
i
TOIL AND' SABRE.
56
SIMPLE ATTACKS IN THE LOW LINE, PRECEDED
BY A GLIDE. Low-Thrust. 1.
Engage the blade
2.
Glide.
Glide.
3.
/ oppose Quarte.
I oppose
4.
Low-Thrust, lunge.
5.
On
Low-Thrust, lunge. On Guard.
in Quarte.
Guard.
Engage
the blade in Sixte.
Sixte.
Without Analyzing.
On
Glide and Low-Thrust.
Guard.
Deceive and Low-Thrust. 1.
Engage the blade
2.
Glide.
Glide.
3.
I oppose Counter of Sixte.
I oppose
i.
Deceive, low-thrust.
Deceive, low-thrust.
5.
On Guard.
On
in Quarte.
Engage
the blade in Sixte.
Counter of Quarte.
Guard.
Without Analyzing. Glide, Deceive,
On
and Low-Thrust.
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS IN THE HIGH AND LOW LINES, PRECpDED BY A GLIDE. Low-Thrust and Deceive. Engage the blade
1
Engage the blade
2
Glide.
3.
/ oppose
4.
Feint Low-Thrust.
Feint Low-Thrust.
in Quarte.
in Sixte.
Glide.
I oppose
Quarte.
Sixte.
5.
/ oppose Septime.
I
6.
Deceive, lunge.
Deceive, lunge.
7
On Guard.
oppose Octave.
On
Guard.
WiTHOuf Analyzing. Glide, Low-Thrust,
and Deceive.
On
Guard.
m o
^"mmf
THIRD LESSON â&#x20AC;&#x201D; FIRST DIVISION.
FOIL
58
AND SABRE.
ATTACKS COMPOSED OF THREE MOVEMENTS IN THE HIGH AND LOW LINES, PRECEDED BY A GLIDE. Low-Theust and One-Two 1.
Engage
in
Engage
the blade in Quarte.
High
Line.
the blade in Sixte.
2.
Glide.
Glide.
3.
/
/
4.
Feint Low-Thrust.
Feint Low-Thrust.
5.
/ oppose Septime.
/
6.
Feint in High Line.
Feint in High Line.
7.
/ oppose
8.
Disengage, lunge.
Disengage, lunge.
9.
On
On
oppose Qiiarte.
oppose Sixte.
oppose Octave.
/ oppose
Quarte.
Guard.
Sixte.
Guard.
Without Analyzing. Glide, Low-Thrust,
and One-Two
DiSENGACxE, Engage
in
High
On
Line.
Guard.
Low-Thrust, and Deceive. Engage
the blade in Quarte.
the blade in Sixte.
Glide.
Glide.
I oppose
I oppose
Quarte.
Sixte.
Feint Disengagement.
Feint Disengagement.
I oppose
/
Sixte.
/
oppose Quarte.
Feint Low-Thrust.
Feint Low-Thrust.
/ oppose Septime.
oppose Octave.
8.
Deceive, lunge.
Deceive, lunge.
9.
On
On
Guard.
Guard.
Without Analyzing. Glide, Disengage, Low-Thrust,
On
and Deceive.
Guard.
Disengage, Deceive, Low-Thrust, and Lunge in High Line. Engage
1.
Engage the blade
2.
Glide.
3.
/
4.
Feint Disengagement.
Feint Disengagement.
I
in Quarte.
the blade in Sixte.
Glide.
I oppose Sixte.
oppose Quarte.
5.
I oppose Counter of
6.
Deceive, low-thrust.
7.
/ oppose Octnre.
8.
Lunge
9.
On Guard.
in
High
Quarte.
oppose Counter of Sixte. Deceive, low-thrust.
I oppose Septime. Lunge in High Line.
Line.
On
Guard.
Without Analyzing. Glide, Disengage, Deceive, Low-Thrust,
and Lunge
in
High
Line.
On
Guard.
third lesson â&#x20AC;&#x201D; second division. Cut-Over, Low-Thrust, and Lunge in High Line. 1.
Engage the blade
in Quarte.
Engage the blade
in Sixte.
Glide.
2. Glide.
I
3.
/ oppose
4.
Feint Cut-Over.
Feint Cut-Over.
5.
/ oppose
I oppose
6.
Feint Low-Thrast.
Feint Low-Thrust.
7.
I oppose Octave. Lunge in High Line.
I oppose
8.
9.
On
On
Quarte.
Sixte.
oppose Sixte.
Lunge
Guard.
Quarte.
Septime.
High
in
Line.
Guard.
WiTHOCT Analyzing. Glide, Cut-Over, in
On
Low-Thrust, and Lunge
Guard,
High Line.
SECOND DIVISION. SIMPLE ATTACKS IN THE LOW LINE PRECEDED
BY A BEAT. Low-Theust. 1.
Engage
2.
Beat and Low-Thrust. On Guard.
3.
the blade in Quarte.
Engage the blade
in Sixte.
Beat and Low-Thrust. On Guard.
Without Analyzing.
On
Beat and Low-Thrust.
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS IN THE HIGH AND LOW LINES, PRECEDED BY A BEAT. Low-Thrust and Deceive. Engage
1.
Engage the blade
2.
Beat and feint Low-Thrust.
Beat and
3.
I oppose
I oppose
in Quarte.
Septime.
the blade in Sixte. feint
i.
Deceive, lunge.
Deceive, lunge.
5.
On
On Guard.
Guard.
Low-Thrust.
Octave.
Without Analyzing. Beat, Low-Thrust, and Deceive.
On
Guard.
FOIL
6(D
AND SABRE.
Djsengage and IjOW-ThRUST. Engage
the blade in Sixte.
1.
Engage the blade
2.
Beat and
3.
I oppose
4.
Low-Thrust.
Low-Thrust.
5.
On
On
feint
in Quarte.
Beat and feint Disengagement.
Disengagement.
I oppose
Sixte.
Guard.
Quarte.
Guard.
Without Analyzing. On
Beat, Disengage, and Low-Thrust.
Guard.
Disengage, Deceive, and Low-Thrust. 1.
Engage
2.
Beat and
3.
I oppose
4.
Deceive, Low-Thrust.
5.
On Guard.
Engage
the blade in Quarte. feiut
Disengagement.
Counter
oj'
the blade in Sixte.
Beat and
I oppose
Quarte.
feint
Disengagement.
Counter
oj'
Sixte.
Deceive, Low-Thrust.
On
Guard.
Without Analyzing. On
Beat, Disengage, Deceive, and Low-Thrust.
Guard.
Cut-Over and Low-Thrust. Engage
1.
Engage the blade
2.
Beat and
3.
/
4.
Low-Thrust.
Low-Thrust.
5.
On
Ou
in Quarte.
the blade in Sixte.
Beat and
feint Cut-Over.
I oppose
oppose Sixte.
Guard.
feint Cut-Over.
Quarte.
Guard.
Without Analyzing. On
Beat, Cut-Over, and Low-Thrust.
Low-Thrust and Lunge
in
Guard.
High Line.
Engage the blade
1.
Engage the blade
2.
Beat and
3.
4.
I oppose Septime. Lunge in High Line.
I oppose Octave. Lunge in High Line.
5.
On Guard.
On Guard.
feint
in Quarte.
in Sixte.
Beat and feint Low-Thrust.
Low-Thrust.
Without Analyzing. Beat, Low-Thrust, and
Lunge
in
High Line.
On
Guard.
H E-i
S3 >^
& o «
fH
..
THIHD LESSOR
— SECOND
DIVISION.
61
ATTACKS COMPOSED OF THREE ]MOYEMENTS TN^ THE HIGH AXD LOW LLN'ES, PRECEDED BY A BEAT. Disengage, Low-Thrust, and Deceive. 1
Engage
2.
Beat and feint Disengagement.
Beat and
3.
I
I oppose
4.
Feint Low-Thrust.
Feint Low-Thrust.
5.
/ oppose
/ oppose
6.
Deceive, lunge.
7.
On
the blade in Quarte.
oppose Sixte.
Octave.
Engage
the blade in Sixte.
Disengagement.
feint
Qnarif:,
Septime.
Deceive, lunge.
On
Guard.
Guard.
Without Analyzing.
On
Beat, Disengage, Low-Thrust, and Deceive.
Guard.
Disengage, Deceive, Low-Thbust, and Lunge in High Line. Engage the blade
1
Engage
2.
Beat and feint Disengagement.
Beat and
3.
/ oppose Counter of Qxiarte. Deceive and feint Low-Thrust.
/ oppose Counter of Hixte. Deceive and feint Low-Thrnst.
I oppose Octave. Lnnge in High Line.
/ oppose
6. 7.
On Guard.
On
4. 5.
the blade in Quarte.
Lnnge
in Sixte.
Disengagement.
feint
Septime.
in
High
Line.
Guard.
Without Asaltzixg.
On
Beat, Disengage, Deceive, Low-Thrnst,
and Lunge
in
High
Cut-Over, Low-Thrust, and Lunge Engage the blade Beat and
/
Guard.
Line.
in Quarte.
High Line.
Engage the blade Beat and
feint Cut-Over.
in
in Sixte.
feint Cut-Over.
I oppose Quarte.
oppose Sixte.
Eeint Low-Thrust.
Feint Low-Thrust.
/ oppose Octave.' Lnnge in High Line.
Lunge
On Guard.
On
/ oppose
Septime.
in
High
Line.
Guard.
Without Asaltzing. Beat, Cut-Over, Low-Thrust, and in
High
Observation:
Lunge
On
Guard.
Line.
— Each
of the above exercises
must be
re-
peated, substituting a Press and a Traverse, each in turn, in
place of Beat.
FOIL
62
AND SABRE.
THIRD DIVISION. The Bind.
â&#x20AC;&#x201D; The Bind consists
adversary's blade, and carrying
in getting possession of your
down
it
into the opposite
Low
Line. It is simply necessary to pass your point over his hilt, seize his point by your own Forte, thus enveloping his weapon. Press it down. Forte to Feeble, from High Quarte to Low
His point having Sixte, or from High Sixte to Low Quarte. been carried outside the line of the body, lunge under his hand with the hand in opposition. The Bind is effected on the adversary's feint, or when his
arm
is
extended.
(See Fig. 17.)
SIMPLE ATTACK IN THE
BY A
LOW LINE PEECEDED
BIND.
Bind and Lunge. Engage
1.
Engage the blade
2.
Bind and lunge.
Bind and lunge.
3.
On
On
in Quarte.
Guard.
the blade in Sixte.
Guard.
Without Analyzing.
On Guard.
Bind and Lunge.
ATTACK COMPOSED OF TWO MOVEMENTS IN THE HIGH AND LOW LINES, PRECEDED BY A BIND. Bind and Lunge in High Line. Engage
1.
Engage the blade
2.
Feint Bind.
Eeint Bind.
3.
/ oppose Octave. Lunge in High Line.
I oppose
4. 5.
On
On
in Quarte.
Lunge
Guard.
the blade in Sixte.
Septime.
in
High Line.
Guard.
Without Analyzing. Bind and Lunge in High Line.
On Guard.
THIRD LESSON â&#x20AC;&#x201D; THIRD DIVISION.
63
ATTACK COMPOSED OF THREE MOVEMENTS IN THE HIGH AND LOW LINES, PRECEDED BY A BIND. Bind and One-Two
High
in
Line.
1.
Engage the blade
2.
Feint Bind.
Engage the blade Feint Bind.
3.
/ oppose
/
4.
Feint in High Line.
Feint iu High Line.
/
in Quarte.
Octave.
oppose Septime.
5.
I oppose
6.
Disengage, lunge.
Disengage, lunge.
7.
On Guard.
On
Slxte,
in Sixte.
oppose Quarte.
Guard.
Without Analyzing. Bind and One-Two
in
High
On
Line.
SIMPLE PARRIES IN THE
LOW
Guard.
LINE AND DIRECT
RIPOSTES.
Low-Thrust. Engage the blade in On mi/ Low-Thrust.
2.
Engage the blade in Quarte. On my Low-Thrust.
3.
Oppose Septime.
Oppose Octave.
4.
Riposte Direct.
Riposte Direct.
5.
On
On
1.
Guard.
Sixte.
Guard.
Without Analyzing. Oppose Septime.
Oppose Octave.
Riposte Direct.
On
Guard.
Bind.
2.
Engage the blade On my Bind.
3.
Oppose Octave.
4.
Riposte Direct.
Riposte Direct.
5.
On
On
1.
iu Quarte.
Engage the blade On my Bind.
in Sixte.
Oppose Septime.
Guard.
Guard.
Without Analyzing. Oppose Septime.
Oppose Octave. Riposte Direct.
On
Guard.
64
FOIL
AND SABBE.
PARRIES, COMPOSED OF TWO MOVEMENTS IN THE HIGH AND LOW LINES, AND DIRECT RIPOSTES.
I;OW-ThRUST and DECEIVE. 1.
.
THIRD LESSON â&#x20AC;&#x201D; THIRD DIVISION.
65
Disengage and Low-Thrust. 1
2.
Engage the blade in Quarte. On my feint of Disengagement.
3.
Oppose
4.
I thrust-low.
Engage the blade in Sixte. On my feint of Disengagement. Oppose Quarte.
Sixte.
1 thrust-low.
5.
Oppose Octave.
Oppose Septime.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
Guard.
Guard.
Without Analyzing. Oppose Sixte and Octave. Riposte Direct.
Oppose Quarte and Septime.
On
Guard.
Cut-Over and Low-Thrust. Engage the blade in Quarte. On my feint of Cut-Oi-er.
Engage the blade in Sixte. On my feint of Cut- Over.
/ thrust-low.
5.
Oppose Sixte. / thrust-low. Oppose Octave.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
1.
2.
3.
4.
Oppose Quarte.
Oppose Septime.
Guard.
Guard.
Without Analyzing. Ojpose Sixte and Octave. Riposte Direct.
Oppose Quarte and Septime.
On
Guard.
Deceive and Low-Thrust. 1.
2.
Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On my feint of Disengagement.
3.
Oppose Counter of Quarte.
4.
/ deceive and
5.
Oppose Octave.
Oppose Counter of Sixte. deceive and thrust-low. Oppose Septime.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
thrust-low.
Guard.
/
Guard.
Without Analyzing. Oppose Counter
of Quarte
and Octave. Riposte Direct.
Oppose Counter
On
Guard.
of Sixte
and Septime.
AND SABRE.
FOIL
FOURTH
DIVISION.
OF THREE MOVEMENTS IN THE HIGH AND LOW LINES, AND DIRECT RIPOSTES.
PAKRIES, COMPOSED
Disengage, Low-Thrust, and Deceive.
2.
Engage the blade in Quarte. On feint of Disengagement.
Engage the blade in Sixte. On my feint nf Uisengagement.
3.
Oppose
Oppose Quarte.
4.
On my
5.
Oppose Octave.
6.
I
7.
Oppose Septime.
8.
Kiposte Direct.
9.
On
1.
7111/
Sixte.
feint in
Low
On my feint
Line.
in
Low
Line.
Oppose Septime.
I
deceive. .
deceive.
Oppose Octave. Eiposte Direct.
On
Guard.
Guard.
Without Analyzing. Oppose
Sixte, Octave,
and Septime. Riposte Direct.
Oppose Quarte, Septime, and Octave.
On
Guard.
Command. Parry the No. 2 above by Sixte, No. 4 by Octave, No. 6 by Counter.
Parry the No. 2 above by Quarte, No. 4 by Septime, No. 6 by Counter.
Riposte as above.
Low-Thrust and One-Two
in
High Line.
Engage the blade in Quarte. On my feint in Low Line.
Engage the blade in Sixte. On my feint in Low Line.
7.
Oppose Septime. On my feint in High Line. Oppose Quarte. 7 disengage and lunge. Oppose Sixte.
Oppose Octave. On my feint in High Line. Oppose Sixte. I disengage and lunge. Oppose Quarte.
8
Riposte Direct,
Riposte Direct.
9.
On
On
1.
2. 3.
4. 5. 6.
Guard,
Guard.
Without Analyzing. Oppose Septime, Quarte, and
Sixte.
Riposte Direct.
Oppose Octave,
On
Sixte,
and Quarte.
Guard.
Command. Parry the No. 2 above by Septime, No, 4 by Quarte, No. 6 by Counter.
Parry the No. 2 above by Octave, No, 4 by Sixte, No. 6 by Counter.
Riposte as above.
39
.
THIRD LESSON â&#x20AC;&#x201D; FOURTH DIVISION. Bind and One-Two 1.
2.
Engage the blade in On niy feint of Bind.
High
in
Line.
Engage the blade in On my feint of Bind.
Qiiarte.
Oppose Septime.
7.
Oppose Octave. On my feint in High Line. Oppose Si.xte. I disengage and lunge. Oppose Quarte.
8.
Riposte Direct.
Riposte Direct.
9.
On
3. 4. 5. 6.
67
On mg feint
in
High
Oppose Quarte. / disengage and Oppose Sixte.
On
Guard.
Sixte.
Line.
lunge.
Guard.
Without Analyzing. Oppose Octave,
Sixte,
and Quarte. Riposte Direct.
Oppose Septime, Quarte, and Sixte.
On
Guard.
Command. Parry the No. 2 above by Octave, No. 4 by Sixte, No. 6 by Counter.
Parry the No. 2 above by Septime, No. 4 by Quarte, No. 6 by Counter.
Riposte as above.
Deceive, Low-Thrust, and Lunge tn High Line. Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On my feint of Disengagement.
7.
Oppose Counter of Quarte. / deceive and thrust-low. Oppose Septime. / lunge in High Line. Oppose Quarte.
Oppose Counter of Sixte. I deceive and thrust-low. Oppose Octave. / lunge in High Line. Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On Guard.
1
2.
3. 4. 5. 6.
On
Guard.
Without Analyzing. Oppose Counter of Quarte, Octave, and Sixte. Riposte Direct.
Oppose Counter of and Quarte.
On
Sixte, Septime,
Guard.
Cut-Over, Low-Thrust, and Deceive. Engage the blade in Quarte. On my feint of Cut-Over.
Engage
5.
Oppose Sixte. / thrust-low. Oppose Octave.
Oppose Quarte. I thrust-low. Oppose Septime.
6.
/ deceive.
L
7.
Oppose Septime.
Oppose Octave.
8.
Riposte Direct.
Riposte Direct.
9.
On
1.
2.
3. 4.
of Cut-Over.
deceive.
On
Guard.
the blade in Sixte.
On my feint
Guard.
Without Analyzing. Oppose
Sixte, Octave,
and Septime. Riposte Direct.
Oppose Quarte, Septime, and Octave.
On
Guard.
FOIL
68
AND SABEE.
FOURTH LESSON — FIRST The Change is
of
Engagement.
— The
DIVISION.
Change
of
Engagement
the action of taking a different engagement from the one
which the sword happens engagement itself.
in
to be.
It is
executed like the
SIMPLE ATTACKS DECEIVING THE CHANGE OE
ENGAGEMENT. DiBECT Thrust.
3.
Engage the blade in Quarte. On my Change of Engagement. Lunge Direct.
Engage the blade in Sixte. On my Change of Engagement, Lunge Direct.
4.
On
On
1.
2.
Guard.
Guard.
Without Analyzing. On my Change of Engagement.
On Guard.
Lunge
Direct.
Disengagement. 2.
Engage the blade in Quarte. On my Change of Engagement.
Engage tlie blade in Sixte. On my Change of Engagement.
3.
Disengage.
Disengage.
4.
On
On
1.
Guard.
Guard.
Without Analyzing. On Guard.
On my Change of Engagement.
Disengage.
ATTACKS COMPOSED OF TWO MOVEMENTS DECEIVING THE CHANGE OF ENGAGEMENT. One-Two. 2.
Engage the blade in Quarte. On my Change of Engagement.
Engage the blade in Sixte. On my Change of Engagement.
3.
Feint Disengagement.
Feint Disengagement.
4.
/ oppose
I oppose
5.
Disengage, lunge.
6.
On Guard.
1.
Quarte.
Sixte.
Disengage, lunge.
On
Guard.
Without Analyzing. On my Change of Engagement.
On Guard.
One-Two.
FOURTH LESSON â&#x20AC;&#x201D; FIRST
DIVISION.
69
Double.
2.
Engage the blade in Quarte. On mij Change of Engagement.
Engage the blade in Sixte. On nig Change of Engagement,
3.
Feint Disengagement.
Feint Disengagement.
4.
/
I oppose Counter of
5.
Deceive, lunge.
Deceive, lunge.
6.
On
On
1.
oppose Counter of Sixte.
Guard.
Quarte.
Guard.
Without Analyzing. On my Change of Engagement.
On
Double.
Guard.
ATTACKS COMPOSED OF THREE MOVEMENTS DECEIVING THE CHANGE OF ENGAGEMENT. One-Two-Theee. Engage the blade in Quarte On mij Change of Engagement.
Engage the blade in Sixte. On my Change of Engagement.
.3.
Feint Disengagement.
Feint Disengagement.
4.
I
/ oppose
5.
Feint 2d Disengagement.
Feint 2d Disengagement.
6.
/ oppose
I oppose
7.
Disengage, lunge.
Disengage, lunge.
8.
On Guard.
On
1.
2.
oppose Quurte.
Sixte.
Sixte.
Quarte.
Guard.
Without Analyzing. On my Change of Engagement.
One-Two-Three.
On
Guard.
One-Two, and Deceive. Engage the blade in Quarte. On my Change of Engagement.
1.
2.
Engage the blade in Sixte. On my Change of Engagement.
3.
Feint Disengagement.
Feint Disengagement.
4.
/ oppose
/ oppose
5.
Feint 2d Disengagement,
Feint 2d Disengagement.
6.
I oppose Counter of Quarte.
/ oppose
7.
Deceive, lunge.
Deceive, lunge.
8.
On
On
Quarte.
Guard.
Sixte.
Counter of Sixte.
Guard.
Without Analyzing. On my Change
of Engagement.
One-Two, and Deceive.
On Guard.
foil
70
and
sabre.
Double and Disengage. Engage the blade in Quarte. On my Change of Engagement.
1.
2.
Engage the blade in Sixte. On my Change of Engagement.
3.
Feint of Disengagement.
Feint of Disengagement.
4.
I oppose
I
5.
Deceive.
Deceive.
6.
/
I
7.
Disengage, lunge.
8.
On
Counter of Sixte.
oppose Quarte.
oppose Counter
oj"
Quarte.
oppose Sixte.
Disengage, lunge. Ou Guard.
Guard.
Without Analyzing. On my Change of Engagement.
Double and Disengage.
Oil Guard.
SIMPLE ATTACKS PRECEDED BY A BEAT, ON THE CHANGE OF ENGAGEMENT. DiEECT Thrust. 2.
Engage the blade in Quarte. On my Change of Engagement.
Engage the blade in Sixte. On my Change of Engagement.
3.
Beat and lunge
4.
On
Beat and luuge On Guard.
1
direct.
Guard.
direct.
Without Analyzing. On my Change of Engagement.
Beat and Lunge Direct.
Ou Guard.
Disengagement. Engage the blade iu Quarte. On my Change of Engagement.
Engage the blade in Sixte. On my Change of Engagement.
3.
Beat, disengage, and lunge.
Beat, disengage, and lunge.
4.
On
On
1.
2.
Guard.
Guard.
Without Analyzing. On my Change of Engagement.
Beat and Disengage.
On
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS PRECEDED BY A BEAT, ON THE CHANGE OF ENGAGEMENT. One-Two. 2.
Engage the blade in Quarte. On mi/ Change of Engagement.
3.
Beat and
1.
feint
Disengagement.
Engage the blade in Sixte. On my Change of Engagement. Beat and
feint
Disengagement.
.;;>i&.':i:;iiiaiiiai&i>>Mi::^'ii^.-iai4K'i:«a;iiK-;*^
FOURTH LESSON — SECOND
71
DIVISION.
4.
/ oppose Quarte.
I oppose Sixte.
5.
Disengage, lunge.
Disengage, lunge.
6.
On Guard.
On Guard.
WiTHODT Analyzing. On my Change of Engagement.
Beat, One-Two.
On Guard.
Double. 1.
2.
Engage the blade in Sixte. On mij Change oj Engagement.
Engage the blade in Quarte. On my Change of Engagement.
3.
Beat and
4.
I oppose Counter of Sixte.
Beat and feint Disengagement. 1 oppose Counter of Quarte.
5.
Deceive, lunge.
Deceive, lunge.
6.
On
Guard.
On
On
mi)
Disengagement.
feint
Guard.
"WiTHODT Analyzing. Change
of Engagement.
Beat and Double.
On
Guard.
SECOND DIVISION. SIMPLE PARRIES FOR ATTACKS OX A CHANGE OF ENGAGEMENT, AND VARIOUS SIMPLE RIPOSTES. Direct Thrust. Engage the blade in Quarte. Change Engagement. / lunge direct.
Engage the blade in Sixt«. Change Engagement. I lunge direct.
4.
Oppose
Oppose Quarte.
5.
Riposte Direct.
Riposte Direct.
6.
On Guard.
On
1.
2 3.
Sixte.
Guard.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
Riposte Direct.
On
Guard.
Command. Parry as in Nos. 4 above. Riposte by a Disengagement. Parry as in Nos. 4 above. Riposte by a Cut-Over.
ObseT'vation
:
— In executing a Cut-Orer after an Opposition
or a Counter, the parry should be effected hj a retrograde
movement toward your
face.
FOIL
72
AND SABKE.
Disengagement. Engage the blade in Quarte. Change Engagement.
Engage the blade in Sixte. Change Engagement.
/ disengage. Oppose Quarte.
I disengage. Oppose Sixte.
5.
Riposte Direct.
Riposte Direct.
6.
On
1.
2.
3 4.
On Guard.
Guard.
Without Analyzing. Oppose Quarte.
Oppose
Riposte Direct.
On
Sixte.
Guard.
Command. Parry as in Nos. 4 above, Riposte by a Disengagement. Parry as in Nos. 4 above, Riposte by a Cut-Over. Parry the Nos. 3 above, by Counter, and Riposte by each of the above.
PARRIES FOR ATTACKS ON A CHANGE OF ENGAGEMENT, AND VARIOUS RIPOSTES IN TWO MOVEMENTS.
SIMPLE
Direct Thrust. Engage the blade iu Sixte. Change Engagement. I lunge direct. Oppose Quarte,
3.
Engage the blade in Quarte. Change Engagement. / lunge direct.
4.
Oppose
5.
Riposte by a Double.
Riposte by a Double.
6.
On
On
1.
2.
Sixte.
Guard.
Guard.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
On
Riposte by a Double
Guard.
Command. Parry as in Nos. 4 above, Riposte by One-Two. Parry as in Nos. 4 above. Riposte by Cut-Over and Disengage.
Disengagement. Engage the blade in Sixte. Change Engagement. I disengage.
2.
Engage the blade in Quarte. Change Engagement.
3.
/ disengage.
4.
Oppose Quarte. Riposte by a Double.
Oppose
5.
6.
On Guard.
On
1.
Sixte.
Riposte by a Double.
Guard.
FOURTH LESSON â&#x20AC;&#x201D; SECOND
DIVISION.
73
Without Analyzing. Oppose Quarte. Riposte by a Double.
Oppose
On
Sixte.
Guard.
Command. Parry as in Nos. 4 above, Riposte by Oue-Two. Parry as iu Nos. 4 above, Riposte by a Cut-Over, Disengage. Parry Nos. 3 above, by Counter, and Riposte by each of the above.
FAERIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS ON A CHANGE OF ENGAGEMENT, AND VARIOUS SIMPLE RIPOSTES. One-Two. 1.
2. 3.
4. 5.
6.
Engage the blade in Quarte. Change Engagement. On my feint of DisemjagemenL
Engage the blade in Sixte. Change Engagement. On my feint of Disengagement.
Oppose Quarte. / disengage and Oppose Sixte.
Oppose Sixte. 1 disengage and Oppose Quarte.
lunge.
7.
Riposte Direct.
Biposte Direct.
8.
On
On
Guard.
lunge.
Guard.
WiTHOnT Analyzing. Oppose Quarte and
Oppose Sixte and Quarte.
Sixte.
Riposte Direct.
On Guard.
Command. Parry as in Nos. 4 above. Riposte by a Disengagement. Parry as in Nos. 4 above. Riposte by a Cut-Over. Parry Nos. 5 by Counter, and Riposte by each of the above.
Double. 1.
Engage
2.
Cliange Engagement.
the.blade in Quarte.
Engage the blade in Sixte. Change Engagement. On my feint of Disengagement.
3.
On my feint of Disengagement.
4.
Oppose Counter of Quarte.
6.
Oppose Counter of Sixte. I deceive and lunge. Oppose Quarte.
7.
Riposte Direct.
Riposte Direct.
8.
On
On Guard.
5.
Guard.
I
deceive
Oppose
and
lunge.
Sixte.
.
AND SABRE.
FOIL
74
Without Analyzing. Oppose Counter of Sixte and Qnarte.
Oppose Counter of Quarte and
Riposte Direct.
Ou
Sixte.
Guard.
Command. Parry as in Nos. 4 above, Riposte by a Disengagement. Parry as in Nos. 4 above, Riposte by a Cut-Over. Parry Nos. 3 and 5 above by Counters, and Riposte by each of the above.
PAKKIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS ON A CHANGE OF ENGAGEMENT, AND VARIOUS RIPOSTES TWO MOVEMENTS.
m
One-Two. Engage the blade in Quarte. Change Engagement. On my faint of Disenrjagement.
Engage the blade in Sixte. Change Engagem&t On inij feint of Disengagement. Oppose
6.
Oppose Quarte. I disengage and Oppose Sixte.
7.
Riposte by a Double.
and lunge. Oppose Quarte. Riposte by a Double.
8.
On Guard.
On
1
2. 3. 4. 5.
Sixte.
/ disengage
lunge.
Guard.
Without Analyzing. Oppose Quarte and
Oppose Sixte and Quarte.
Sixte.
On
Riposte by a Double.
Guard.
Command. Parry as in Nos. 4 above. Riposte by One-Two. Parry as in Nos. 4 above. Riposte by a Cut-Over, Disengage. Parry Nos. 5 by Counter, and Riposte by each of the above.
Double. 1.
2. 3.
Eng.ige the blade in Quarte.
Change Engagement. On mij feint of Disengagement. Oppose Counter of Sixte. I deceive and lunge.
Engage the blade in Sixte. Change Engagement. On mg feint of Disengagement.
7.
Oppose Quarte. Riposte by One-Two.
Oppose Counter of Quarte. I deceive and lunge. Oppose Sixte. Riposte by One-Two.
8.
On
Ou
4. .5.
6.
Guard.
Guard.
PIFTH LESSON — FIRST DIVISION.
75
Without Analyzing. Oppose Counter of Sixte and Quarte. Oppose Counter Kiposte by One-Two. On Guard.
of Quarte
and
Sixte.
Command. Parry as in Nos. 4 above, Riposte by a Double. Parry as iu Nos. 4 above, Riposte by a Cut-Over, Disengage. Parry Nos. 3 and 5 above by Counters, Riposte by each of the above.
FIFTH LESSON — FIRST DIVISION. The Double Engagement. The Double Engagement consists in executing two sucEngagements without stopping and without altering the position of the wrist. Care must be taken to be well covered in the last Engagement. The first takes place in the opposite line to that of departure. The double engagement cessive
on the " advance " or " retreat." engagement and the action of stepping forward or backward are simultaneous, and the second engagement follows immediately.
may be
effected standing
still,
In the two latter cases, the
first
SIMPLE ATTACKS PRECEDED BY A DOUBLE
ENGAGEMENT. Direct Thrust. Being Engaged 1.
2.
3.
in Quarte.
Being Engaged
in Sixte.
Double Engagement. Extend your arm. Lunge, On Guard.
Double Engagement. Extend your arm. Lunge, On Guard.
Without Analyzing. Double Engagement, Lunge
direct.
On
Guard.
foil
76
and
sabre.
Disengagement. Being Engaged in Quarte.
Being Engaged in
Sixte.
1.
Double Engagement.
Double Engagement.
2.
Disengage, lunge.
Disengage, lunge.
3.
On
On
Guard.
Guard.
Without Analyzing. On Guard.
Double Engagement, Disengage.
Cut-Over. Being Engaged
in Quarte.
Being Engaged
in Sixte.
Double Engagement.
Double Engagement.
2.
Cut-Over, lunge.
Cut-Over, lunge.
3.
On
On
1.
Guard.
Guard.
Without Analyzing. Double Engagement, Cut-Over.
On
Guard.
CuT-OvEE, Traverse. Being Engaged
in Quarte.
Being Engaged
in Sixte.
Double Engagement.
Double Engagement.
2.
Cut-Over, traverse.
Cut-Over, traverse.
3.
Lunge. On Guard.
Lunge. On Guard.
1.
4.
Without Analyzing. Double Engagement, Cut-Over, Traverse.
On
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS PRECEDED BY A DOUBLE ENGAGEMENT. One-Two. Being Engaged 1.
2. 3.
4. 5.
in Quarte.
Being Engaged
in Sixte.
Double Engagement. Feint Disengagement.
Double Engagement. Feint Disengagement.
I oppose Sixte. Disengage, lunge. On Guard.
1 oppose Quarte,
Disengage, lunge.
On Guard.
Without Analyzing. Double Engagement, One-Two.
On
Guard.
o
/<-^
je^"t"'
.
fifth lessonâ&#x20AC;&#x201D; first division.
77
Double. Being Engaged
Being Engaged
in Quarte.
in Sixte.
2.
Double Engagement. Feint Disengagement.
Double Engagement. Feint Disengagement.
3.
I oppose Counter of
I oppose
4.
Deceive, lunge.
5.
On
1.
Quarte.
Counter of Sixte.
Deceive, lunge.
On
Guard.
Guard.
Without Analyzino. Double Engagement, Double.
On
Guard.
Cut-Over and Disengage. Being Engaged
Being Engaged
in Quarte.
in Sixte.
1.
Double Engagement.
Double Engagement.
2.
Feint Cut-Over.
Feint Cut-Over.
3.
/ oppose Sixte.
I
4.
Disengage, lunge.
Disengage, lunge.
5.
On Guard.
oppose Quarte.
On Guard.
Without Analyzing. Double Engagement, Cut-Over, and Disengage.
On
Guard.
Disengage and Cut-Over. Being Engaged in Quarte.
Being Engaged
in Sixte.
2.
Double Engagement. Feint Disengagement.
Feint Disengagement.
3.
/ oppose
I oppose
4.
Cut-Over, lunge.
Cut-Over, lunge.
5.
On Guard.
On
1.
Double Engagement.
Sixte.
Quarte.
Guard.
Without Analyzing. Double Engagement, Disengage, and Cut-Over.
On
Guard.
Cut-Over, Traverse, and Disengage. Being Engaged
in Quarte.
Being Engaged
in Si.xte.
Double Engagement. Cut-Over and traverse. I oppose Sixte.
Double Engagement. Cut-Over and traverse. I oppose Quarte.
4.
Disengage, lunge.
Disengage, lunge.
5.
On
On
1
2. 3.
Guard.
Guard.
Without Analyzing. Double Engagement, Cut-Over, Traverse, and Disengage.
On
Guard.
.
FOIL
78
AND SABRE.
ATTACKS COMPOSED OF THREE MOVEMENTS PRECEDED BY A DOUBLE ENGAGEMENT. One-Two-Three. Being Engaged
Being Engaged
in Quarte.
in Sixte.
2.
Double Engagement. Feint Disengagement.
Double Engagement. Feint Disengagement.
3.
/ oppose
/ oppose
4.
Feint 2d Disengagement.
5.
I oppose
6.
Disengage, lunge.
Disengage, lunge.
7.
On
On
1
Sixle.
/
Qua7-te.
Guard.
Quarte.
Feint 2d Disengagement. oppose Sixte.
Guard.
Without Analyzing. Double Engagement, One-Two-Three.
On
Guard.
One-Two AND Deceive. Being Engaged
Being Engaged
in Quarte.
in Sixte.
Double Engagement. Feint Disengagement.
Double Engagement. Feint Disengagement.
/ oppose
/
Sixte.
Feint 2d Disengagement.
I oppose
Counter of Sixte.
oppose Quarte.
Feint 2d Disengagement.
I
oppose Counter of Quarte.
Deceive, lunge.
Deceive, lunge.
On
On Guard.
Guard.
Without Analyzing. Double Engagement, One-Two, and Deceive.
On
Guard.
One-Two AND Cut-Over. Being Engaged
Being Engaged
in Quarte.
in Sixte.
1
Double Engagement.
Double Engagement.
2.
Feint Disengagement.
Feint Disengagement.
3.
/ oppose
/
4.
Feint 2d Disengagement,
Feint 2d Disengagement.
/ oppose Quarte. Cut Over, lunge.
/ oppose Sixte.
6 7.
On
On
ft.
Sixte.
Guard.
oppose Quarte.
Cut-(Jver, Inuge.
Guard.
Without Analyzing. Double Engagement, One-Two, and Cut-Over.
On
Guard.
FIFTH LESSON â&#x20AC;&#x201D; FIRST DIVISION.
79
Double and Disengage. Being Engaged
Being Engaged
in Quarte.
in Sixte.
1.
Double Engagement.
Double Engagement.
2.
Feint Disengagement.
Feint Disengagement.
3.
/ oppose Counter of
4.
Deceive.
5.
/ oppose
6.
Disengage, Innge.
Disengage, lunge.
7.
On Guard.
On
Quarte.
/
oppose Counter of Sixte.
Deceive.
/
Sixte.
oppose Quarte.
Guard.
Without Analyzing.
On
Double Engagement, Double, and Disengage.
Guard.
Cut-Over and One-Two. Being Engaged
Being Engaged in Sixte.
in Quarte.
1.
Double Engagement.
2.
Feint Cut-Over.
Feint Cul^Over.
3.
/
4.
7 oppose Sixte. Feint Disengagement.
Feint Disengagement.
5.
I
I
6.
Disengage, lunge.
Disengage, lunge.
7.
On
On Guard.
Double Engagement.
oppose Quarte.
Guard.
oppose Quarte.
oppose Sixte.
Without Analyzing. Double Engagement, Cut-Over, and One-Two.
On
Guard.
Disengage, Cut-Over, and Disengage. Being Engaged in Quarte. 1.
2. 3.'
4.
Being Engaged
in Sixte.
Double Engagement. Feint Disengagement. I oppose Sixte.
Double Engagement. Feint Disengagement.
Feint Cut-Over.
Feint Cut- Over.
/
oppose Quarte.
5.
I oppose
6
Disengage, lunge.
Disengage, lunge.
7.
On
On
Quarte.
Guard.
/
oppose Sixte.
Guard.
Without Analyzing. Double Engagement, Disengage, Cut-Over, and Disengage.
On Guard.
80
AND SABRE.
FOIL
SECOND DIVISION. SIMPLE PARRIES FOR ATTACKS PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS SIMPLE RIPOSTES. Direct Thrust. Being E'lgaged
Being Engaged
in Quarte.
in
Sixta
Double Engagement,
Double Engagement.
3.
On my Direct Thrust. Oppose Quarte.
Oppose
4.
Riposte Direct.
Riposte Direct.
5.
On
On
1.
2.
On my
Guard.
Direct Thrust. Sixte.
Guard.
Without Analyzing. Oppose Quarte.
Oppose
Riposte Direct.
On
Sixte.
Guard.
Command. Parry as in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos. 3 above. Riposte by a Cut-Over.
Disengagement. Being Engaged 1.
Being Engaged
in Quarte.
Double Engagement.
in Sixte
Double Engagement.
2.
On my Disengagement.
On my Disengagement.
3.
Oppose
Oppose Quarte.
4.
Riposte Direct.
Riposte Direct.
5.
On Guard.
On
Sixte.
Guard.
Without Analyzing. Oppose Sixte.
Oppose Quarte.
Riposte Direct.
On
Guard.
Command. Parry as in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos. 3 above. Riposte by a Cnt-Over. Parry Nos. 2 above by Counter, Riposte by each of the above.
>
O o
OS
riFTH LESSON â&#x20AC;&#x201D; SECOND DIVISION.
81
Cut-Over. Being Engaged 1.
Being Engaged
in Quarte.
Double Engagement.
in Sixte.
Double Engagement.
2.
On my
3.
Oppose Sixte.
Oppose Quarte.
4.
Riposte Direct.
Riposte Direct.
5.
On
On
Cut-Over.
On
Guard.
mi) Cut-Ooer.
Guard.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
Riposte Direct.
On Guard.
Command. Parry as in Nos. 3 above, Riposte by a Disengagement. Pacry as in Nos. 3 above, Riposte by a Cut-Over. Parry Nos. 2 above, by Counter, Riposte by eacli of the above.
Cut-Over and Traverse. Being Engaged
Being Engaged
in Quarte.
Double Engagement.
in Sixte.
2.
On
3.
Oppose Sixte.
Double Engagement. On my Cut-Over and Traverse. Oppose Quarte.
4.
Riposte Direct.
Riposte Direct.
5
On Guard.
On
1.
mij Cut-Over
and Traverse.
Guard.
Without Analyzing. Oppose Quarte.
Oppose Sixte. Riposte Direct.
On
Guard.
Command. Parry as in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos. 3 above, Riposte by a Cut-Over.
PARRIES FOR ATTACKS PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS RIPOSTES IN TWO MOVEMENTS.
SIMPLE
Direct Thrust. Being Engaged 1.
in Quarte.
Double Engagement.
Being Engaged in
On my
2.
On my
3.
Oppose
4.
Oppose Quarte. Riposte by a Double.
5.
On Guard.
On Guard.
Direct Thrust.
Sixte.
Double Engagement. Direct Thrust. Sixte.
Riposte by a Double.
.
AND SABRE.
FOIL
832
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
On Guard.
Riposte by a Double.
Command. Parry as in Nos. 3 above, Riposte by One-Two. Parry as in Nos. 3 above, Riposte by a Cut-Over, Disengage.
Disengagement. Being Engaged
Being Engaged
in Quarte.
in Sixte.
Double Engagement.
4.
Double Engagement. On mij Disengagement. Oppose Sixte. Riposte by a Double.
5.
On Guard.
On Guard.
1
2.
3.
On
mi/
Disengagement
Oppose Quarte. Riposte by a Double.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
On
Riposte by a Double.
Guard.
Command. Parry as in Nos. 3 above, Riposte by One-Two. Parry as in Nos. 3 above, Riposte by a Cut-Over, Disengage. Parry Nos 2 above by Counter, Riposte as above.
Cut-Over. Being Engaged 1.
Being Engaged
in Quarte.
in Sixte.
Double Engagement.
Double Engagement.
2.
On my
Cut-Ooer.
On
3.
Oppose
Sixte.
mi/ Cut-Over.
4.
Riposte by a Double.
Oppose Quarte. Riposte by a Double.
5.
On
On Guard.
Guard.
Without Analyzing. Oppose Sixte.
Oppose Quarte.
Riposte by a Double.
On
Guard.
Command. Parry as in Nos. 3 above. Riposte by One-Two. Parry as in Nos. 3 above, Riposte by a Cut-Over, Disengage.
fifth lesson â&#x20AC;&#x201D; third division.
83
Cut-Over, Traverse. Being Engaged
Beiug Engaged
iu Quarte.
in Sixte.
4.
Double Engagement. On my Cut-Over and Traverse. Oppose Sixte. Kiposte by a Double.
Double Engagement. On my Cut-Over and Traveise. Oppose Quarte. Riposte by a Double.
5.
On Guard.
On
1. 2.
3.
Guard.
Without Analtzixg. Oppose
Oppose Quarte.
Sixte.
On
Riposte by a Double.
Guard.
Command. Parry as in Nos. 3 above, Riposte by One-Two. Parry as in Nos. 3 above, Riposte by a Cut-Over, Disengage.
THIRD DIVISION.
TWO MOVEMEXTS FOR ATTACKS, PRECEDED BY A DOUBLE EXGAGEME:NT, AND VARI-
PARRIES COMPOSED OF
OUS SniPLE RIPOSTES. One-Two. Being Engaged 1.
Being Engaged
in Quarte.
in Sixte.
Double Engagement.
Double Engagement.
2.
On my feint of Disengagement.
On my feint of Disengagement.
3.
Oppose
4.
/
Oppose Quarte. I disengage and Oppose Sixte.
Sixte.
5.
disengage and Oppose Quarte.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
lunge.
Guard.
lunge.
Guard.
Without Analyzing. Oppose Sixte and Quarte. Riposte Direct.
Oppose Quarte and
On
Sixte.
Guard.
Comnmnd. Parry as in Nos. 3 and above, Riposte by a Disengagement. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each .5
above.
of the
AND SABRE.
FOIL
84
Double. Being Engaged
3.
Oppose Counter of Quarte.
4.
/
5.
Oppose
6.
Riposte Direct.
7.
On Guard.
deceive
and
Being Engaged
in Quarte.
L Double Engagement. 2. On my feint of Disengagement.
in Sixte.
Double Engagement.
On
mi/ feint of Disengagement.
Oppose Counter of iSixte. / deceive and lunge. Oppose Quarte.
lunge.
Sixte.
Riposte Direct.
On
Guard.
Without Analyzing. Oppose Couuter of Quarte and
Sixte.
Riposte Direct.
Oppose Counter of Sixte and Quarte.
On Guard.
Command. Parry as in Nos. 3 and 5 above, Riposte by a Disengagement. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over. Parry Nos. 2 and 4 above by Counters, Riposte by each of tlie above.
CUT-OVEE AND DISENGAGE. Being Engaged 1.
Being Engaged
in Quarte.
On my feint of Cut-Over.
2.
On
3.
5.
Oppose Sixte. / disengage and lunge. Oppose Quarte.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
4.
mij feint
in Sixte.
Double Engagement.
Double Engagement. of Cut-Over.
Oppose Quarte. 7 disengage and Oppose Sixte.
Guard.
lunge.
Guard.
Without Analyzing. (jppose Sixte and Quarte.
Riposte Direct.
Oppose Quarte and Sixte.
On
Guard.
Command. Parry as Parry as
in
Nos. 3 and 5 above, Riposte by a Disengagement.
in Nos. 3 and 5 above. Riposte by a Cut-Over. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
above.
Cut-Over, Traverse, and Disengage.
FIFTH LESSON â&#x20AC;&#x201D; THIRD DIVISION.
85
Without Analyzing. Oppose Sixte and Quarte. Riposte Direct.
Oppose Quarte and
On
Sixte.
Guard.
Command. Parry as in Nos. .3 and 5 above, Riposte by a Disengagement. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the above.
Disengage and Cut-Over. Being Engaged in Quarte.
Being Engaged
in Sixte.
Double Engagement.
Double Engagement. On my feint oj Disengagement. Oppose Sixte. I Cut-Ocer and lunge. Oppose Quarte.
Oppose Quarte. I Cut-Over and lunge. Oppose Sixte.
6.
Riposte Direct.
Riposte Direct.
7.
On Guard.
1.
2.
3. 4. 5.
On my feint of Disengagement.
On Guard.
Without Analyzing. Oppose Sixte and Quarte. Riposte Direct.
Oppose Quarte and
On
Sixte.
Guard.
Command. Parry as Parry as
in
Nos. 3 above. Riposte by a Disengagement.
in Nos. 3 above. Riposte
by a Cut-Over.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS, PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS RIPOSTES IN TWO MOVEMENTS. One-Two. Being Engaged 1.
in Quarte.
Double Engagement.
Being Engaged
in Sixte.
Double Engagement.
2.
On my feint of Disengagement.
On my feint of Disengagement.
3.
Oppose
4.
/ disengage and
6.
Oppose Quarte. Riposte by a Double.
Oppose Quarte. I disengage and lunge. Oppose Sixte. Riposte by a Double.
7.
On
On
5.
Sixte. lunge.
Guard.
Guard.
Without Analyzing. Oppose Sixte and Quarte. Riposte by a Double
Oppose Quarte and Sixte.
On Guard.
AND SABRE.
FOIL
86
Command. Parry as in Nos. 3 and 5 above, Riposte by One-Two. Parry as in Nos. 3 and 5 above, Riposte by a Cat-Over, and Disengagement. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the above.
Double. Being Engaged
Being Engaged
in Quarte.
in Sixte.
Double Engagement.
1.
Double Engagement.
2. 3.
of Disengagement. Oppose Counter of Quarte.
4.
/
5.
Oppose
6.
Riposte by a Double.
Oppose Counter of Sixte. I deceive and lunge. Oppose Quarte. Riposte by a Double.
7.
On
On Guard.
On my feint of Disengagement.
071 mij feint
deceive
and
lunge.
Sixte.
Guard.
Without Analyzing. Oppose Counter of Quarte and Sixte. Oppose Counter of Sixte and Quarte. Riposte by a Double. On Guard.
Command. Parry as in Nos. 3 and 5 ahove, Riposte by One-Two. Parry as iu Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 and 4 above by Counters, Riposte by each of the above.
Cut-Over and Disengage. Being Engaged
Being Engaged
in Quarte.
in Sixte.
6.
Double Engagement. On my feint of Cut-Over. Oppose Sixte. I disengage and lunge. Oppose Quarte. Riposte by a Double.
Oppose Quarte. I disengage and lunge. Oppose Sixte. Riposte by a Double.
7.
On
On
1.
2.
3.
4. 5.
Guard.
Double Engagement.
On my feint of
Cui-Ocer.
Guard.
Without Analyzing. Oppose Sixte and Quarte. Oppose Quarte and Sixte. Riposte by a Double. On Guard.
Command. Parry as in Nos. 3 and Parry as in Nos. 3 and
5 above,
Riposte by One-Two.
5 above,
Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the above.
fifth lesson â&#x20AC;&#x201D; third division.
87
Cut-Over, Traverse, and Disengage. Being Engaged
in
Being Engaged
Quarte.
in Sixte.
6
Double Engagement. On my Cal-Ocer, and Traverse. Oppose Sixte. I disengage and lunge. Oppose Quarte. Kiposte by a Double.
Double Engagement. On my Cut-Over, and Traverse. Oppose Quarte. I disengage and lunge. Oppose Sixte. Riposte by a Double.
7-
On Guard.
On Guard.
1.
2.
3. 4. 5.
Without Analyzing. Oppose Quarte and
Oppose Sixte and Quarte.
On
Riposte by a Double.
Sixte.
Guard.
Command. Parry as in Nos. 3 and 5 above, Riposte by One-Two. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the above.
Disengage and Cut-Over. Being Engaged
Being Engaged in Quarte. 1.
Double Engagement.
in Sixte.
Double Engagement.
On my feint
6.
On my feml of Disengagement. Oppose Sixte. I Cut-Over and lunge. Oppose Quarte. Riposte by a Double.
Eiposte by a Double.
7.
On Guard.
On
2. 3. 4. 5.
of Disengagement.
Oppose Quarte. I Cut-Over and lunge.
Oppose Sixte. Guard.
Without Analyzing. Oppose Sixte and Quarte. Oppose Quarte and Riposte by a Double. On Guard.
Sixte.
Command. Parry as in Nos. 3 and 5 above. Riposte by One-Two. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement.
.
FOIL
88
AXD SABRE
FOURTH
DIVISION.
PARRIES COMPOSED OF THREE MOVEMENTS FOR AT-
TACKS PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS SIMPLE RIPOSTES. Oxe-Two-Thbee. Being Engaged 1.
On my
2.
Being Engaged in Sixte.
in Quarte.
Double Engagement.
Double Engagement. On my feint of Disengaqement. Oppose Quarte.
Disenyagemenl.
feint oj
7.
Oppose Sixte. 1 feint 2d Disengagement Oppose Quarte. / disengage and lunge. Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
3.
4. 5.
6.
/ feint 2d Disengagement. Oppose Si.xte. / disengage and Oppose Quarte.
Guard.
lunge.
Guard.
Without Analyzing. Oppose
Oppose Quarte,
and Sixte.
Sixte, Quarte,
Riposte Direct.
On
Sixte,
and Quarte.
Guard.
Command. Parry as Parry as
in Nos. 3, 5, in
Nos
3, 5,
and and
7 above. 7
Riposte by a Disengagement.
above. Riposte by a Cut-Over.
Parry Nos. 2 and 4 above by Oppositions, Nos
6
by Counter, Riposte by each
of the above.
One-Two and Deceive. Being Engaged
Being Engaged
in Quarte.
Double Engagement.
in Sixte.
2.
On my
3.
7.
Oppose Sixte. I feint 2d Disengagement.' Oppose Counter of Sixte. I deceive and lunge. Oppose Quarte.
Double Engagement. On my feint of Disengagement. Oppose Quarte. I feint 2d Disengagement. Oppose Counter of Quarte. / deceive and lunge. Oppose Sixte.
8
Riposte Direct.
Riposte Direct.
9.
On
1
4. 5. 6.
feint of
Disengaqement.
Guard.
On
Guard.
Without Analyzing. Oppose Sixte, Counter of Sixte, and Quarte.
Oppose Quarte, Counter of Quarte, and Sixte
Riposte Direct.
On
Guard.
FIFTH LESSON â&#x20AC;&#x201D; FOURTH DIVISION.
89
Command. Parry as in Nos. 3, 5, and 7 above, Riposte by a Disengageraeut. Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over. Parry Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte by each of the above.
One-Two and Cut-Over. Being Engaged
Being Engaged in Quarte.
in Sixte.
Double Engagement.
7.
Double Engagement. On mil feint of Disengagement. Oppose Sixte. I feint 2d Disengagement. Oppose Quarte. / Cut-Over and lunge, Oppose Sixte.
Oppose Quarte. I Jemt 2d Disengagement. Oppose Sixte. 7 Cut-Over and lunge Oppose Quarte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
1.
2. 3.
4. 5.
6.
On my
Guard.
feint of Disengagement.
Guard.
Without Analyzing. Oppose
and Sixte.
Sixte, Quarte,
Oppose Quarte, Sixte, and Quarte.
Riposte Direct.
On
Guard.
Command. Parry as in Nos Parry as in Nos
3, 5,
3, 5,
and and
7 above.
Riposte by a Disengagement.
7 above.
Riposte by a Cut-Over.
Double and Disengage. Being Engaged
7.
On my feint of Disengagement. Oppose Counter of Quarte. / deceive. Oppose Sixte. I disengage and lunge. Oppose Quarte.
8.
Riposte Direct.
9.
On
2.
3. 4. 5. 6.
Being Engaged
in Quarte.
Double Engagement.
1
in Sixte.
Double Engagement. On mi/ feint of Disengagement. Oppose Counter of Sixte.
/
deceive.
Oppose Quarte. / disengage and Oppose Sixte.
lunge.
Riposte Direct.
On Guard.
Guard.
Without Analyzing. Oppose Counter of Quarte,
Sixte,
and
Quarte.
Oppose Counter of
Sixte, Quarte,
and
Sixte
^
Riposte Direct.
On Guard.
Command. Parry as in Nos. 3, 5, and 7 above, Riposte by a Disengagement. Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over Parry Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter, Riposte by each of the above.
AND SABRE.
TOIL
90
Cut-Over and One-Two. Being EngageJ
Being Engaged
in Quarte.
Double Engagement.
1,
of
2.
Oil in ij feint
3 4.
Oppose Sixte. On mi/ feint of Disengagement.
5.
llppose Quarte.
6.
/ disengage
7
Oppose
Cttt-Ot'er.
and
in Sixte.
Double Engagement On my feint of Cut-Over. Oppose Quarte. On my feint of Disengagement. Oppose Sixte. / disengage and lunge. Oppose Quarte.
lunge.
Sixte.
S.
Kiposte Direct.
Riposte Direct.
9.
On Guard.
On
Guard.
Without Ax.vlyzixc. Oppose Sixte, Quarte, and Sixte. Riposte Direct.
Oppose Quarte, On Guard
Sixte,
and Quarte.
Cmmnand. Parry as
Xos
in
.3,
5,
and and
7 above.
Riposte by a Disengagement.
Riposte by a Cut-Over. Parry Xos. 2 and 4 above by Oppositions, Xos 6 by Counter, Riposte by each
Parry as of
tlie
Nos.
in
3, 5,
7 above,
above.
Disengage, Cut-Over, and Disengage. Being Engaged 1.
in
Being Engaged
Quarte
Double Engagement.
Double Engagement.
On
2.
On mg feint
3.
Oppose Quarte.
6.
Oppose Sixte. On my feint of Cid-Ocer. Oppose Quarte. I disengage and lunge.
7.
Oppose
Oppose Quarte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
4. 5.
in Sixte.
of Disengagement.
mi/ feint
of Disengagement.
On my feint of Oppose
Cut-Over.
Sixte.
1 disengage and lunge.
Si.xte.
Guard.
Guard.
AVlTHOUT AN.4LYZING Oppose Sixte, Quarte, and Sixte. Riposte Direct.
Oppose Quarte, Sixte, and Quarte. On Guard
Command. Parry as in Xos. 3, 5, and 7 above, Riposte by a Disengagement. Parry as in Xos, 3. 5, and 7 above, Riposte by a Cut-Over. Parry Xos 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each of the above.
'«
FIFTH LESSON â&#x20AC;&#x201D; FOURTH DIVISION.
91
PARRIES COMPOSED OF THREE MOVEMEXTS FOR ATTACKS PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS RIPOSTES IN TWO MOVEMENTS. One-Two-Three. Being Engaged
Double Engagement.
1.
Double Engagement. On my feint of Disengagement. Oppose Quarte. I feint 2d Disengagement. Oppose Sixte.
On my feint of Disengagement.
2.
8.
Oppose Sixte. 1 feint 2d Disengagement. Oppose Quarte. / disengage and lunge. Oppose Sixte. Riposte by a Double.
9.
On
3. 4. 5.
6. 7.
Being Engaged in Sixte.
in Quarte.
/
disengage
and
lunge.
Oppose Quarte. Riposte by a Double.
On
Guard.
Guard.
Without Analyzing. Oppose
Sixte, Quarte,
and
Sixte.
Oppose Quarte,
On
Riposte by a Double.
Sixte,
and Quarte.
Guard.
Command. Parry as in Nos. 3, 5, and 7 above, Riposte by One-Two. Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by eacli of the above.
One-Two and Deceive. Being Engaged
Being Engaged in Quarte. 1.
in Sixte.
Double Engagement.
Double Engagement.
On my feint of Disengagement.
On my feint of Disengagement. Oppose Quarte. 1 feint 2d Disengagement. Oppose Counter of Quarte. / deceive and lunge. Oppose Sixte.
8.
Oppose Sixte. I feint 2d Disengagement. Oppose Counter of Sixte. / deceive and lunge. Oppose Quarte. Riposte by a Double.
9.
On
On
2. 3. 4. 5.
6. 7.
Riposte by a Double.
Guard.
Guard.
Without Analyzing. Oppose
Sixte,
Quarte.
Counter of Sixte, and
Oppose Quarte, Counter Sixte.
Riposte by a Double.
On
Guard.
of Quarte,
and
AND SABRE.
FOIL
92
Command. and 7 above, Riposte by One-Two. in Nos. 3, 5, and 7 above, Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte by each Parry as Parry as
in Nos. 3, 5,
of the above.
One-Two and Cut-Over. Being Engaged
Being Engaged
in Quarte.
in Sixte.
8.
Double Engagement. On mij feint of Disengagement, Oppose Sixte. I feint 2d Disengagement. Oppose Quarte. / Cut-Ouer and lunge. Oppose Sixte. Riposte by a Double.
Oppose Quarte. /feint 2d Disengagement. Oppose Sixte. / Cut-Over and lunge. Oppose Quarte. Riposte by a Double.
9.
On Guard.
On Guard.
1.
2.
3.
4. 5.
6. 7.
Double Engagement.
On my feint of Disengagement.
Without Analyzing. Oppose
Sixte, Quarte,
and
Sixte.
Oppose Quarte,
Sixte,
and Quarte.
On Guard.
Riposte by a Double.
Command. Parry as in Nos. 3, 5, and 7 above. Riposte by One-Two. Parry as in Nos. 3, 5, and 7 above. Riposte by a Cut-Over, and Disengagement, Parry Nos. 2 and 4 above by Oppositions, No. 6 by Counter, Riposte by each of the above.
Double, and Disengage. Being Engaged 1. 2.
3. 4. .>.
Oppose
6.
/
7.
Oppose Quarte. Riposte by a Double. On Guard.
8. 9.
Being Engaged
in Quarte.
Double Engagement. On mg Jeint of Disengagement. Oppose Counter of Quarte. / deceive.
On my feint of Disengagement. Oppose Counter of Sixte. / deceive. Oppose Quarte. I disengage and lunge. Oppose Sixte. Riposte by a Double.
Sixte.
disengage
and
in Sixte.
Double Engagement.
lunge.
On Guard. Without Analyzing.
Oppose Counter and Quarte.
of Quarte, Sixte,
Oppose Counter of Sixte, Quarte, and Sixte.
Riposte by a Double.
On
Guard.
FIFTH LESSON â&#x20AC;&#x201D; FOURTH DIVISION.
93
Command. Parry as in Nos. 3, 5, and 7 above, Riposte by One-Two. Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter, Riposte
by each of the above.
Cut-Over, One-Two. Being Engaged
Being Engaged
in Quarte.
Double Engagement.
in Sixte.
8.
of Disengagement. Oppose Quarte. / disengage and lunge, Oppose Sixte. Riposte by a Double.
Double Engagement. On my feint of Cut-Over. Oppose Quarte. On mi/ feint of Disengagement. Oppose Sixte. / disengage and lunge. Oppose Quarte. Riposte by a Double.
9.
On Guard.
On
1.
2.
On
3.
Oppose
4.
On
5.
6. 7.
VI ji
feint of Cut-Over. Sixte.
mji feint
Guard.
Without Analyzing. Oppose
Sixte, Quarte,
and Sixte.
Oppose Quarte,
Sixte,
and Quarte.
On Guard.
Riposte by a Double. Com/iiand.
Parry as in Nos. 3, 5, and 7 above. Riposte by One-Two. Parry as in Nos. 3, 5, and 7 above. Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each of the above.
Disengage, Cut-Oveb, AND Disengage, Being Engaged
Being Engaged in
in Quarte.
Sixte.
8.
Double Engagement. On my Jeint of Disengagement. Oppose Sixte. On mil feint of Cut-Over. Oppose Quarte. / disengage and lunge. Oppose Sixte. Riposte by a Double.
Oppose Sixte. / disengage and lunge. Oppose Quarte. Riposte by a Double.
9.
On
On
7.
Double Engagement.
On my feint of Disengagement. Oppose Quarte.
On my feint of
Guard.
Cut-Over.
Guard.
Without Analyzing. Oppose
Sixte, Quarte,
and
Sixte.
Oppose Quarte,
Riposte by a Double.
On
Sixte,
and Quarte.
Guard.
Command. and 7 above. Riposte by One Two. Parry as in Nos. 3, 5, and 7 above. Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each Parry as in Nos.
of the above.
3, 5,
AND SABRE.
TOIL
94
SIXTH LESSON â&#x20AC;&#x201D; FIRST DIVISION. SIMPLE ATTACKS WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE. Direct Thrust. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Ketreat).
(or Ee-
treat).
2.
Extend your arm.
3.
Lunge.
Extend your arm. Lunge.
4.
On
On
Guard.
Lunge
Guard.
Without Analyzing. On
Direct.
Guard.
Disengagement. 1.
Engage Quarte and Advance
(or
Engage
Advance
(or
Advance
(or Ee-
Engage Sixte and Advance
(or Ke-
Eetreat).
Sixte and
Ee-
treat).
2.
Disengage, lunge.
Disengage, lunge.
3.
On
On
Guard.
Guard.
Without Analyzing. Disengage. On
Guard.
Cut-Oyer. 1.
Engage Quarte and Advance
(or
Eetreat).
Engage
Sixte and
treat).
2.
Cut-over, lunge.
3.
On
Cut-over, lunge.
On
Guard.
Guard.
Without Analyzing.
On
Cut-Over.
Guard.
Cut-Over, Traverse. 1.
Engage Quarte and Advance
(or
treat).
Retreat). "
2.
Cut-over, traverse.
Cut-over, traverse.
3.
Lunge. On Guard.
Lunge. On Guard.
4.
Without Analyzing. Cut-Over, Traverse.
On
Guard.
SIXTH LESSON â&#x20AC;&#x201D; FIRST DIVISION.
95
ATTACKS COMPOSED OF TWO MOVEMENTS WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE. One-Two. 1.
Engage Quarte and Advance
(or
Engage
Retreat).
Sixte and
Advance
(or
Ke-
(or
Re-
treat).
2.
Feint Disengagement.
Feint Disengagement.
3
/ oppose
I
4.
Disengage, lunge.
Disengage, lunge.
5.
On
On
Sixie.
Guard.
oppose Quarte.
Guard.
Without Analyzing. On One-Two.
Guard.
Double. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Retreat),
treat).
2.
Feint Disengagement.
Feint Disengagement.
3.
I oppose
I oppose
4.
Deceive, lunge.
5.
On
Counter of Quarte.
Counter of Sixte.
Deceive, lunge.
On
Guard.
Double.
Guard.
Without Analyzing. On
Guard.
Cut-Over and Disengage. 1.
Engage Quarte and Advance
(or
Engage
Retreat),
Sixte and
Advance
(or Re-
treat).
2.
Feint Cut-Over.
Feint Cut-Over.
3.
/
I oppose
4.
Disengage, lunge.
5.
On
oppose Sixte.
Quarte.
Disengage, lunge.
On
Guard.
Guard.
Without Analyzing.
On
Cut-Over and Disengage.
Guard.
Disengage and Cut-Oter. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Retreat),
treat).
2.
Feint Disengagement.
Feint Disengagement.
3.
/ oppose
I
4.
Cut-Over, lunge.
Cut-Over, lunge.
5.
On
On
Sixte.
Guard.
oppose Quarte.
Guard.
Without Analyzing. Disengage and Cut-Over.
On
Guard.
(or
Re-
foil
96
and sabre.
Cut-Over, Traverse, and Disengage. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
2.
Cut-Over, Traverse.
Cut-Over, Traverse.
3.
/ oppose
I oppose Quarte.
4.
Disengage, lunge.
Disengage, lunge.
5.
On
On
Sixte.
Guard.
(or Re-
treat).
Retreat),
Guard.
WiTnouT Analyzing. Cut-Over, Traverse, and Disengage.
On
Guard.
SECOND DIVISION. ATTACKS COMPOSED OF THREE MOVEMENTS WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE. One-Two-Three. 1.
2;
'\
>*^m
%
sixth lesson â&#x20AC;&#x201D; second division.
97
One-Two and Cut-Over. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Retreat),
(or Re-
treat).
2.
Eeint Disengagement.
3.
/
Feint Disengagement.
I
oppose Sixte. '
oppose Quarte.
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
5.
I
I oppose
6.
Cut-Over, lunge.
7.
On
oppose Quarte.
Sixte.
Cut-Over, lunge.
On
Guard.
Guard.
Without Analyzing.
On
One-Two and Cut-Over.
Guard.
Double and Disengage. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Retreat), 2.
Feint Disengagement.
Feint Disengagement.
3.
I
I oppose
4.
Deceive.
Deceive.
.^.
I
I
6. 7.
(or Re-
treat).
oppose Counter of Quarte. oppose Sixte.
Disengage and lunge. On Guard.
Counter of Sixte.
oppose Quarte.
Disengage and lunge. On Guard.
Without Analyzing. On Guard.
Double and Disengage.
Cut-Over and One-Two. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Retreat),
(or Re-
treat).
2.
Feint Cut-Over.
Feint Cut-Over.
3-
/ oppose
I
4.
Feint Disengagement.
Feint Disengagement.
5.
/ oppose Quarte.
I
6
Disengage, lunge.
Disengage, lunge.
7.
On Guard.
Sixte.
oppose Quarte.
oppose Sixte.
On
Guard.
Without Analyzing.
On Guard
Cut-Over and One-Two.
Disengage, Cut-Over, and Disengage. 1.
Engage Quarte and Advance
(or
Engage
Retreat),
Sixte and Advance (or Re-
treat).
2.
Feint Disengagement.
Feint Disengagement.
3.
I oppose
I
Sixte.
oppose Quarte.
FOIL
98
AND SABRE.
4.
Feint Cut-Over.
Feint Cut-Over.
5.
/
I
6.
Disengage, lunge.
7.
On
oppose Quarte.
oppose Sixte.
Disengage, lunge. '
On
Guard.
Guard.
Without Analyzing.
On
Disengage, Cut-Over, and Disengage.
Guard.
SIMPLE ATTACKS, PRECEDED BY A BEAT, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE. Direct Thrust. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Eetreat). 2.
3.
(or
Re-
treat).
Beat and lunge On Guard.
Beat and lunge On Guard.
direct.
direct.
WiTHonT Analyzing. On
Beat and Lunge Direct.
Guard.
Disengagement. 1.
Engage Ouarte and Advance
(or
Engage
Retreat), 2. 3.
4.
Sixte and
Advance
(or Re-
treat).
Beat and disengage. Lunge. On Guard.
Beat and disengage. Lunge. On Guard.
Without Analyzing.
On
Beat and Disengage.
Guard.
Cut-Over. 1.
Engage Quarte and Advance
(or
Retreat),
Engage Sixte and Advance treat).
3.
Beat and Cut-Over. Lunge.
Beat and Cut-Over. Lunge.
4.
On
On
2.
Guard.
Guard.
Without Analyzing. Beat and Cut-Over.
On Guard.
(or Re-
SIXTH LESSON â&#x20AC;&#x201D; THIRD DIVISION.
99
Cut-Over and Traverse. 1.
Engage Quarte and Advance
Engage
(or
Ketreat).
Sixte and
Advance
(or
Ee-
treat).
2.
Beat, Cut-Over, and Traverse.
Beat, Cut-Over, and Traverse.
3.
Luuga,
4.
On
Lunge. On Guard.
Guard.
Without Analyzing. On Guard.
Beat, Cut-Over, and Traverse.
THIRD DIVISION. ATTACKS COMPOSED OF TWO MOVEMENTS, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A BEAT. One-Two. 1.
Engage Quarte and Advance
Engage Sixte and Advance
(or
Ketreat).
(or
Re-
treat).
2.
Beat and feint Disengagement.
3.
I
Beat and feint Disengagement. I oppose Quarte.
oppose Sixte.
4.
Disengage, lunge.
5.
On
Guard.
Disengage, lunge.
On
.
Guard.
Without Analyzing.
On
Beat, One-Two.
Guard.
Double. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Retreat),
(or
treat).
2.
Beat and
3.
/ oppose Counter of Quarte.
I oppose
i.
Deceive, lunge.
Deceive, lunge.
5.
On
feint
Disengagement.
Beat and
On
Guard.
feint
Disengagement.
Counter of Sixte.
Guard.
Without Analyzing. Beat Double.
On
Guard.
Re-
foil
100
and sabre.
Cut-Over axd Disengage. 1.
Engage Quarte and Advance
Engage Sixte and Advance
(or
(or
Ee-
treat).
Ketreat).
Beat and feint Cut-Over. I oppose Quarte.
2.
Beat and
3.
/ oppose
4.
Disengage, lunge.
Disengage, lunge.
5.
On Guard.
On Guard.
feint Cut-Over.
Sixte.
Without Axaltzing.
On
Beat, Cut-Over, and Disengage.
Guard.
DiSEXGAGE AXD CuT-OvER. 1.
Engage Quarte and Advance
Engage Sixte and Advance
(or
(or Re-
treat).
Retreat). 2.
Beat and feint Disengagement.
Beat and feint Disengagement.
3.
I oppose Sixte.
I
4.
Cut-Over, lunge.
Cut-Over, lunge.
5.
On
On Guard.
Guard.
oppose Quarte.
Without Axaltzing. On Guard.
Beat, Disengage, and Cut-Over.
Observation
:
Each
of
the
above exercises must be
re-
peated, substituting a Press and a Traverse, each in turn, in place of the Beat.
SIMPLE PARRIES FOR ATTACKS, WHILE ADVAXCTXG, OR
UPON THE ADVERSARY'S ADVANCE, AND VARIOUS SIMPLE RIPOSTES. Direct Thrust. 1.
Engage Quarte and Advance
(or
Eugage Sixte aud Advance treat).
Retreat),
7 hinge direct. Oppose Quarte.
I
3. 4.
Riposte Direct.
Riposte Direct.
5.
On
On
2.
lunge direct.
Oppose
Guard.
Sixte.
Guard.
Without Asaltzing. Oppose
Oppose Quarte. Riposte Direct.
On
Guard.
Sixte.
(or Re-
o Ph c o pi E o >
P-
"3
P
ai
5=;
SIXTH LESSON — THIRD DIVISION. Command.
101
'
Parry as in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos. 3 above, Riposte by a Cut-Over. Parry Nos. 2 above by Counter, Riposte by each of tlie preceding.
Disengagement. » 1.
Engage Quarte and Advance
Engage Sixte and Advance
(or
Retreat),
(or Re-
treat).
2.
On my Disengagement.
3.
Oppose
4.
Riposte Direct.
Riposte Direct.
5.
On
On
On my Disengagement. Oppose Quarte.
Sixte.
Guard.
Guard.
"Without Analyzing. Oppose
Oppose Quarte.
Sixte.
On Guard.
Riposte Direct.
Command. Parry as in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos. 3 above. Riposte by a Cut-Over.
Parry Nos. 2 above by Counter, Riposte by each of
tlie
preceding.
Cut-Over. 1.
Engage Quarte and Advance
Engage Sixte and Advance
(or
3.
On my Cut-Over. Oppose Sixte.
On my Cut-Over. Oppose Quarte.
4.
Riposte Direct.
Riposte Direct.
5.
On
On
2.
(or
Re-
treat).
Retreat),
Guard.
Guard.
yViTHOUT Analyzing. Oppose
Oppose Quarte.
Sixte.
Riposte Direct.
.
On
Guard.
Command. Parry as in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos."3 above, Riposte by a Cut-Over.
Cut-Over, Traverse. 1.
Engage Quarte and Advance
(or
Retreat),
Engage Sixte and Advance On my Cut-Orer and
2.
On my Cut-Over and
3.
Oppose
4.
Riposte Direct.
Riposte Direct.
5.
On
On Guard.
Sixte.
Guard.
(or Re-
treat).
Traverse.
Oppose Quarte.
Traverse.
FOIL
102
AND SABRE.
Without Analyzing. Oppose
Oppose Qnarte.
Sixte.
Eiposte Direct.
On
Guard.
Command. Parry as in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos. 3 above, Riposte by a Cut-Over.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, AND VARIOUS SIMPLE RIPOSTES. One-
SIXTH LESSON â&#x20AC;&#x201D; THIRD DIVISION.
103
Command. in Nos. 3 and 5 above, Riposte by a Disengagement. Parry as in Nos. 3 and 5 above. Riposte by a Cut-Over. Parry Nos. 2 and 4 above by Counters, Riposte by each of the preceding.
Parry as
Cut-Over and Disengage. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance treat)
Retreat).
On mg feint of
2.
On
3.
5.
Oppose Sixte. I disengage and Oppose Quarte.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
4.
mil feint of Cut-Ooer.
Guard.
Re-
Cut-Over.
Oppose Quarte. / disengage and Oppose Sixte.
lunge.
(or
.
lunge.
Guard.
"Without Analyzing. Oppose Quarte and
Oppose Sixte and Quarte. Riposte Direct.
On
Sixte.
Guard.
Command. Parry as in Nos. 3 and .5 above, Riposte by a Disengagement. Parry as in Nos. 3 and 5 above. Riposte by a Cut-Over. Parry Noa. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the preceding.
Disengage and Cut-Over. 1.
Engage Qujrte and Advance
(or
Engage Sixte and Advance
Retreat).
On my feint of Disengagement.
5.
On my feint of Disengagement. Oppose Sixte. I Cut-Over and lunge. Oppose Quarte.
Oppose Quarte. / Cut-Over and Oppose Sixte.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
2.
3. 4.
(or Re-
treat).
Guard.
lunge.
Guard.
WiTHOBT Analyzing. Oppose Sixte and Quarte. Riposte Direct.
Oppose Quarte and
On
Sixte.
Guard.
Command. Parry as in Nos. 3 and 5 above, Riposte by a Disengagement. Parry as in Nos. 3 and 5 above. Riposte by a Cut-Over.
AND SABRE.
FOIL
104
CuT-OvEE, Traverse, and Disengage. 1.
Engage Quarte and Advance
Engage Sixte and Advance
(or
Ketreat). 2.
3. 4. 5.
On my Cut-Ouer and Oppose Sixte. / disengage and Oppose Quarte.
6.
Riposte Direct.
7.
On
(or Ee-
treat).
On my Cut-Over and Traverse. Oppose Quarte. I disengage and lunge. Oppose Sixte.
Traverse.
lunge.
Riposte Direct.
On
Guard.
Guard.
Without Analtzihg. Oppose Sixte and Quarte.
Oppose Quarte and
Riposte Direct.
Sixte.
On Guard.
Command. Parry as in Nos, 3 and 5 above, Riposte by a Disengagement. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the preceding.
FOURTH
DIVISION.
PARRIES COMPOSED OF THREE MOVEMENTS FOR ATTACKS, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, AND VARIOUS SIMPLE RIPOSTES. ,
1.
One-Two-Three.
Engage Quarte and Advance
{or
Engage
Sixte and
Advance
(or Re-
SIXTH LESSON â&#x20AC;&#x201D; FOURTH DIVISION.
105
Command. Parry as in Nos. 3, 5, and 7 above, Riposte by a Diseugagemeut. Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over. Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each of the preceding.
One-Two, and Deceive. 1.
Engage Quarte and Advance
Engage
(or
Retreat).
Sixte and
Advance
(or
2.
On
3.
Oppose Sixte. I feint 2d Disengagement. Oppose Counter of Sixte. / deceive and lunge. Oppose Qiiarte.
On mg feint of Disengagement. Oppose Quarte. I feint 2d Disengagement. Oppose Counter of Quarte. / deceive and lunge. Oppose Sixte.
8.
Riposte Direct.
Riposte Direct.
9.
On
On
4. 5. 6. 7.
Re-
treat).
mij feint of Disengagement.
Guard.
Guard.
"Without Analyzing. Oppose Sixte, Counter of Sixte, and Quarte.
Oppose Quarte, Counter and Sixte.
On
Riposte Direct.
of Quarte,
Guard.
Command. Parry as
in Nos. 3, 5,
and
above. Riposte by a Disengagement.
7
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over. Parry Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte by each of the preceding.
One-Two, and Cut-Over. 1.
Engage Quarte and Advance
Engage Sixte and Advance
(or
Retreat). '
On my feint of Disengagement.
2.
On
3.
5.
Oppose Sixte. I feint 2d Disengagement. Oppose Quarte.
6.
/ Cut-Over and
7.
Oppose
8.
Riposte Direct.
Riposte Direct.
9.
On
On
4.
mi/ feint
(or Re-
treat).
of Disengagement.
Oppose Quarte. I feint 2d Disengagement. Oppose Sixte. / Cut-Over and lunge. Oppose Quarte.
lunge.
Sixte.
Guard.
Guard.
Without Analyzing. Oppose Sixte, Quarte, and
Sixte.
Oppose Quarte,
Riposte Direct.
On
Sixte,
and Quarte.
Guard.
Command. Parry as in Nos. Parry as in Nos.
3, 5,
and
7 above,
3, 5,
and
7
Riposte by a Disengagement.
above, Riposte by a Cut-Over.
106
FOIL
1.
Engage Quarte and Advance
AND SABRE,
Double, and Disengage. Engage
(or
Retreat).
Si.Kte
and Advance
2.
On my feint of Disengagement.
On
3.
Oppose Counter
4.
/
Oppose Counter of Sixte. / deceive. Oppose Quarte. / disengage and lunge. Oppose Sixte.
f>.
6. 7.
(or
Re-
treat).
of Quarte.
deceive.
Oppose Sixte. / disengage and Oppose Quarte.
lunge.
mij feint
of Disengagement.
8.
Riposte Direct.'
Riposte Direct.
9.
On Guard.
On
Guard.
Without Analyzing. Oppose Counter of Quarte, and Quarte.
Sixte,
Riposte Direct.
Oppose Counter of and Sixte.
On
Sixte..
Quarte,
Guard.
Command. Parry as in Nos. 3, .5, and 7 above, Riposte by a Disengagement. Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over. Parry Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter, Riposte by each of the preceding.
Cut-Over, and One-Two. 1.
Engage Quarte and Advance
(or
Engage
Retreat). 2.
On my feint of
3.
Oppose
4.
I feint Disengagement.
5.
Oppose Quarte. / disengage and Oppose Sixte.
6.
7. 8.
Riposte
9.
On
Sixte and
Advance
(or
Re-
treat).
On my feint of Cut-Over. Oppose Quarte. I feint Disengagement. Oppose Sixte. / disengage and lunge. Oppose Quarte.
Cut-Over.
Sixte.
lunge.
Riposte Direct.
]3irect.
On Guard.
Guard.
Without Analyzing. Oppose
Sixte, Quarte,
and
Sixte.
Riposte Direct.
Oppose Quarte,
On
Sixte,
and Quarte.
Guard.
Command. Parry as in Nos. 3, 5, and 7 above. Riposte by a Disengagement. Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over. Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each of the preceding.
c o O a o
seventh lesson â&#x20AC;&#x201D; fikst
107
division.
Disengage, Cut-Over, and Disengage. 1.
Engage Quarte and Advance Eetreat).
(or
Engage
Sixte and
Advance
(or
Re-
and sabre.
foil
108
Disengagement. 1.
Engage Quarte and Advance
Engage Sixte and Advance
(or
(or
3.
On my Change of Engagement. Disengage, lunge.
On mij Change of Engagement. Disengage, lunge.
4.
On
On
2.
Re-
treat).
Retreat).
Guard.
Guard.
Without Analyzing. On my Change of Engagement.
Disengage.
On
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS DECEIVING THE CHANGE OF ENGAGEMENT, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE. One-Two. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Retreat),
(or
3.
On mi/ Change of Engagement. Feint Disengagement.
On my Change of Engagement. Feint Disengagement.
4.
I oppose Quarte.
I oppose
5.
Disengage, lunge.
Disengage, lunge.
6.
On
On
2.
Re-
treat).
Guard.
Sixte.
Guard.
Without Analyzing. On
mij
Change of Engagement.
One-Two.
On
Guard.
Double. 1.
Engage Quarte and Advance
(or
Retreat),
Engage Sixte and Advance
On my Change of Engagement, Feint Disengagement.
3.
On m)] Change of Engagement. Feint Disengagement.
4.
I oppose Counter of Sixte.
I oppose Counter of Quarte,
5.
Deceive, lunge.
Deceive, lunge.
6.
On Guard.
On
2.
(or
treat).
Guard.
Without Analyzing. On my Change of Engagement.
Double.
On
Guard.
Re-
SEVENTH LESSON â&#x20AC;&#x201D; FIRST
109
DIVISION.
SIMPLE ATTACKS PRECEDED BY A BEAT, DECEIVIXG THE CHANGE OF EXGAGEilEXT, WHILE ADVANCIXG, OR UPON THE ADVERSARY'S ADVANCE. DiEECT ThEUST. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Eetreat).
(or
Ee-
treat).
2.
On my Change of Engagement,
On mg Change of Engagement.
3.
Beat, lunge.
Bf,aX, lunge.
4
On
Ou Guard.
Guard.
Without Axalyzing. On my Change of Engagement.
Beat and lunge
direct.
On
Guard.
Disengagement. 1.
Engage Quarte and Advance
(or
Engage
Sixte and
Advance
(or Re-
treut).
Retreat), 2.
On my Change of Engagement.
On
3
Beat, disengage.
Beat, disengage.
4.
On
On
Guard.
mi/
Change of Engagement.
Guard.
Without Axaltzixg. On my Change
Beat, and Disengage.
of Engagement.
On
Guard.
ATT.^CKS COMPOSED OF TWO MOVEMENTS, PRECEDED BY A BEAT, DECEIVING THE CHANGE OF ENGAGE-
MENT, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE. One-Two. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
On my Change of Engagement. Beat and feint Disengagement.
3.
()n my Change of Engagement. Beat and feint Disengagement.
4.
/ oj)/wse Quarte.
I oppose
5.
Disengage, lunge.
Disengage, lunge.
6.
On
On
2.
for Re-
treat).
Retreat),
Guard.
.Sixte.
Guard.
Without Analyzing. On
mi/
Change of Engagement.
Beat, One-Two.
On Guard.
and sabre.
foil
110
Double. 1.
Engage Quarte and Advance
Engage
(or
Eetreat).
Sixte and
Advance
(or
3.
On nui Change of Engagement. Beat and feint Disengagement.
On mij Change of Engagement. Beat and feint Disengagement.
4.
I
I oppose
5.
Deceive, lunge.
6.
Un
2.
Ee-
treat).
oppose Counter of Sixte.
Counter of Quarte
Deceive, lunge.
On
Guard.
Guard.
Without Analyzing. On my Change of Engagement.
On
Beat, Double.
Guard.
SECOND DIVISION. SIMPLE PAKEIES FOE ATTACKS, AVHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, AND VARIOUS RIPOSTES. DiKECT Thrust. Engage Quarte and Advance
Engage
Sixte and
Advance
(or
He-
Low Line and Disengage. Parry as in Nos. 3 above. Riposte by a flying Cut-Over and Beat (with hand in Quarte, and with the hand in Tierce). Parry Nos. 2 above by Counter, Riposte by each of the preceding.
tlio
1.
(or
Retreat),
treat).
/ lunge direct. Oppose Quarte.
I
3.
4.
Riposte Direct.
Riposte Direct.
5.
On
2.
lunge direct.
Oppose Sixte
On
Guard.
Guard.
Without Analyzing Oppose
Oppose Quarte. Riposte Direct.
On
Sixte.
Guard.
Command. Parry Parry Parry Parry
as in Nos. 3 above, Riposte in
Low
Line
(See
fig.
as in Nos. 3 above, Riposte by a flying Cut-Over in as in Nos. 3 above, Riposte as in Nos. 3 above, Riposte
by a by a
flying
Cut-Over
18
)
High Line
in
flying Cut-Over,
After the parries of " Sixte " and " Counter the Riposte to be executed with the hand in position of Prime, both in High and Low Lines. (See Observation
of Sixte,"
fig.
19.)
:
command
2;
O o
P4
i^^
^ ^
'
\
4 'f)-^^.
seventh lesson â&#x20AC;&#x201D; second
ill
division.
Disengagement. 1.
Engage Quarte and Advance
Engage
(or
lletreat).
Sixte and
On my Disenijaiiement. Oppose Sixte.
Oppose Quarte.
4.
Riposte Direct.
Riposte Direct.
5.
On
2. 3.
Advance
(or Re-
treat).
On my Disengagement.
On
Guard.
Guard.
Without Axalyzixu. Oppose
Oppose Quarte.
Sixte.
Riposte Direct.
On
Guard.
Command. Parry Parry Parry Parry Parry
as in Nos.
.3
above. Riposte in
Low
Line.
as in Nus. 3 above, Riposte by a flying Cut-Over in
High Line.
as in Nos. 3 above, Riposte by a flying Cut-Over in
Low
Line.
and Disengagement. as iu Nos. 3 above. Riposte by a flying Cut-Over, and Beat (with the hand in Quarte, and with the hand in Tierce). Parry Nos. 2 above by Couuter, Riposte by each of the preceding. as in Nos. 3 abore, Riposte by a flying Cut-Over,
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS, Vl^HILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, AND VARIOUS RIPOSTES. One-Two. 1.
Engage Quarte and Advance
(or
Engage Sixte and Advance
Retreat), 2.
On my feint of Disengagement.
3.
Oppose Sixte. / disengage and Oppose Quarte.
4. 5. 6.
Riposte Direct.
7.
On
(or Re-
treat).
On my feint of Disengagement. Oppose Quarte. I disengage and lunge. Oppose Sixte.
lunge.
Riposte Direct.
On
Guard.
Guard.
Without Analyzing. Oppose Sixte and Quarte.
Oppose Quarte and
Riposte Direct.
On
Sixte.
Guard.
Commpnd. and 5 above, Riposte in Low Line. as in Nos. 3 and 5 above. Riposte by a flying Cut-Over in High Line. as in Nos. 3 and 5 above, Riposte by a flying Cut-Over in Low Line. as in Nos. 3 and 5 above, Riposite by a flying Cut-Over, and Disengage. as in Nos. 3 and S above, Riposte by a flying Cut-Over, and Beat (with hand in Quarte, and with the hand in Tierce). Parry Nos. 4 above by Counter, Riposte by each of the preceding. Parry Parry Parry Parry Parry
as in Nos. 3
and sabee.
foil
112
Double. Engage Quarts and Advance
1.
Engage
(or
Sixte and
Advance
6.
Oppose Counter of Sixte. I deceive and lunge. Oppose Quarte.
6.
Riposte Direct.
Riposte Direct.
7.
On
On Guard.
3. 4.
Re-
On my feint of Disengagement.
On mi/ feint of Disengagement. Oppose Counter of Quarte. / deceive and lunge. Oppose Sixte.
2.
(or '
treat).
Retreat),
Guard.
Without Analyzing. Oppose Counter
of Quarte,
and
Sixte.
Oppose Counter
Riposte Direct.
On
of Sixte,
and Quarte.
Guard.
Command. Parry Parry Parry Parry
as in Nos. 3 as in Nos. 3
as in Nos. 3 as in Nos. 3
and and and and
5 above, Riposte in
Low
Line.
by a flying Cut-Over in High Line. above. Riposte by a flying Cut-Over in Low Line. above. Riposte by a flying Cut-Over, and Disengage-
5 above, Riposte 5 5
ment.
Parry as in Nos. 3 and 5 above. Riposte by a hand in Quarte, and with the hand in Tierce).
flying Cut-Over,
and Beat (with
THIRD DIVISION. SIMPLE ATTACKS WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE
ENGAGEMENT. DiRscT Theust. Being Engaged 1.
in Quarte.
DoubleEngagement, Advance
2.
Lunge
On
Being Engaged
LTinge Direct.
Direct.
On
Guard.
Guard.
Without Analyzing. Lunge
Direct.
in Sixte.
Double Engagement, Advance Retreat).
Retreat).
3.
(or
On
Guard.
(or
SEVENTH LESSON â&#x20AC;&#x201D; THIRD
DIVISION.
113
Disengagement. Being Engaged 1.
Being Engaged
in Qnarte.
Double Engagement, Advance (or
in Sixte.
Double Engagement, Advance
Retreat).
(or
Retreat).
2.
Disengage, lunge.
Disengage, lunge.
3.
On
On
Guard.
Guard.
Without Analyzing.
On
Disengage.
Guard.
CUT-OyER. Being Engaged 1.
Being Engaged
in Quarte.
Double Engagement, Advance (or
in Sixte.
Double Engagement, Advance
(or
Retreat).
Retreat). 2.
Cut-Over, lunge.
Cut-Over, lunge.
3.
On
On
Guard.
Guard.
Without Analyzing.
On
Cut-Over.
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS, WHILE ADVANCIXG, OR UPON THE ADVERSARY'S ADVANCE. PRECEDED BY A DOUBLE ENGAGEMENT. One-Two. Being Engaged 1.
Being Engaged
in Quarte.
Double Engagement, Advance
(or
in Sixte.
Double Engagement, Advance
Retreat). 2.
Eeint Disengagement.
Feint Disengagement.
3.
I oppose
I
4.
Disengage, lunge. On Guard.
5.
(or
Retreat).
Sixte.
oppose Quarte.
Disengage, lunge.
On
Guard.
Without Analyzing. One-Two.
On
Guard.
Double. Being Engaged 1.
in Quarte.
Double Engagement, Advance Retreat).
2.
Feint Disengagement.
(or
Being Engaged
in Sixte,
Double Engagement, Advance Retreat).
Feint Disengagement.
(or
FOIL
114 3.
I
4.
Deceive, lunge.
5.
On Guard.
AND SABRE. I
oppose Counter of Quarte.
oppose Counter of Sixte.
Deceiye, lunge.
On Double.
Guard.
Without Analyzing. On Guard.
Cdt-Ovee and Disengage. Being Engaged 1.
Being Engaged in Sixte.
in Quarte.
Double Engagement, Advance
(or
Double Engagement, Advance
(or
Ketreat).
Eetreat). 2.
Feint Cut-Over.
F"eint Cut-Over.
3.
/
J
4.
Disengage, lunge.
DLsejigage, lunge.
5.
On
On
oppose Sixte.
Guard.
oppose Quarte.
Guard.
Without Analyzing. On Guard.
Cut-Over and Disengage.
Disengage and Cct-Ovek. Being Engaged 1.
in Quarte.
DoubleEngagement, Advance
(or
Being Engaged
in Sixte.
Double Engagement, Advance
(or
Retreat).
Ketreat). 2.
Feint Disengagement.
Feint Disengagement.
3.
/ oppose
I oppose Quarte.
4
Cut-Over, lunge.
Cut-Over, lunge.
5.
On Guard.
On
Sixte.
Guard.
Without Analyzing. On Guard.
Disengage and Cut-Over.
SIMPLE PARRIES FOR ATTACKS, WHILE ADYAXCIJrC, OR UPON THE ADVERSARY'S ADVAXCE, PRECEDED BY
A DOUBLE ENGAGEMENT, AND VARIOUS
RIPOSTES.
Direct Thrust. Being Engaged 1.
in Quarte.
Double Engagement, Advance Retreat),
2,
On my
Direct Thrust.
(or
Being Engaged
in Sixte.
Double Engagement, Advance Retreat).
On my Direct
Thrust.
(or
SEVENTH LESSON â&#x20AC;&#x201D; THIRD 3.
Oppose Quarte.
4.
Eiposte Direct (or in
5.
On Guard.
Oppose
Low
Line).
DIVISION. Sixte.
liiposte Direct (or in
On
115
Low
Line).
Guard.
Without Analyzing. Oppose Quarte.
Oppose Sixte.
Eiposte Direct (or in
Low Line).
On
Guard.
Command. Parry as in Nos. 3 above. Riposte by a flying Cut-Over in High (or Low) Line. Parry as in Nos. 3 above, Riposte by a Hjiug Cut-Over, and Disengagement. Parry as
in
Nos. 3 above, Riposte by a flying Cut-Over, and Beat (liand in Tierce
or Quarte).
Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
Olservation in
:
After the parries of Sixte and Counter, Riposte
High and Low Lines, with hand
in Prime.
Disengagement. Being Engaged 1.
Being Engaged
in Quarte.
Double Engagement, Advance
in Sixte.
Double Engagement, Advance
(or
(or
Retreat).
Retreat). 2.
On my Disengagement.
3.
Oppose Sixte.
4.
Riposte Direct (or in
5.
On
On my Disengagement. Oppose Quarte.
Low
Riposte Direct (or in
Line).
On
Gnard.
Low
Line).
Guard.
Without Analtzing. Oppose
Oppose Quarte.
Sixte.
Eiposte Direct (or iu
Low
Line).
On
Guard.
Command. Parry Parry Parry Parry
flying Cut-Over in High (or Low) Line. by a flying Cut-Over, and Disengagement. as in Nos. 3 above. Riposte by a flying Cut-Over, and Beat. Nos. 2 above by a Counter, Riposte by each of the preceding. as in Nos. 3 above. Riposte as in Nos. 3 above. Riposte
by a
116
AND SABEE.
FOIL
FOURTH
DIVISION.
parries composed of two movements for attacks, while advancing, or upon the adversary's advance, i'lieceded by
a double engagement, and various ripostes.
One-Two. Being Engaged 1.
Being Engaged
in Quarte.
Double Engagenaent, Advance
iu Sixte.
Double Engagement, Advance
(or
Retreat).
(or
Retreat).
2.
On my feint of Disengagement.
On
3.
Oppose
4. 5.
I disengage and Oppose Quarte.
Oppose Quarte. I disengage and Oppose Sixte.
6.
Riposte Direct (or in
7.
On
Sixte. lunge.
Low
mij feint
of Disengagement. lunge.
Riposte Direct (or in
Line).
On
Guard.
Low
Line).
Guard.
Without Analyzing. Oppose Sixte and Quarte.
Oppose Quarte and
Riposte Direct (or in
Low
Line).
On
Sixte.
Guard.
Co7nmand. Parry as in Nos. 3 and 5 above. Riposte by a flying Cut-Over in High
(or
Low)
Line.
Parry as in Nos. 3 and 5 above, Eiposte by a flying Cut-Over, and Disengagement.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over, and Beat. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the preceding.
Double. Being Engaged 1.
Being Engaged
in Qnarte.
Double Engagement, Advance
(or
Retreat).
Retreat).
3.
On my feint of Disengagement. Oppose Counter of Quarte.
4.
/ deceive and lunge.
5.
Oppose Sixte.
6.
Riposte Direct (or in
7.
On
2
in Sixte.
Double Engagement, Advance
(or
Low
On my feint of Disengagement. Oppose Counter of Sixte. 1 deceive and hinge. Oppose Quarte. Riposte Direct (or in
Line).
On
Guard.
Low
Line).
Guard.
Without Analyzing. Oppose Counter
of
Quarte and Sixte.
Riposte Direct (or iu
Oppose Counter of Sixte and Quarte.
Low
Line).
On
Guard.
o
!i
SEVENTH LESSON â&#x20AC;&#x201D; FOURTH
117
DIVISION.
Command. Parry as
in
Nos. 3 and
5 above,
Riposte by a flying Cut-Over in
High
(or
Low)
Line.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over, and Disengagement.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over, and Beat. Parry Nos. 2 and 4 above by Counters, Riposte by each of the preceding.
SIMPLE ATTACKS DECEIVING THE CHAXGE OF EXGAGEMEXT, WHILE ADVAXCIXG, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE EX-
GAGEMEXT. Direct Thrust. Being Engaged in Quarte. 1.
Double Engagement, Advance (or
Being Engaged
in Sixte.
Double Engagement, Advance
3
On my Chanqe of Engagement. Lunge Direct.
On mij Change of Engagement. Lunge Direct.
4.
On
On
2.
(or
Retreat).
Retreat).
Guard.
Guard.
Without Analyzing. Lunge
On my Change of Engagement.
Direct.
On Guard.
Disengagement. Being Engaged in Quarte. 1.
Double Engagement, Advance
(or
Being Engaged
in Sixte.
Double Engagement, Advance
3.
On my Change of Engagement. Disengage, lunge.
On my Change of Engagement. Disengage, lunge.
4.
On
On
2.
(or
Retreat).
Retreat).
Guard.
Guard.
Without Analyzing. On my Change of Engagement.
Disengage.
On Guard.
ATTACKS COMPOSED OP TWO MOVEMENTS, DECEIVING THE CHANGE OF ENGAGEMENT, WHILE ADVANCING, OR UP(JN THE ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE ENGAGEMENT. One-Two. Being Engaged 1.
in Quarte.
Double Engagement, Advance Retreat).
2.
On
m.y
Change of Engagement.
(or
Being Engaged
in Sixte.
Double Engagement, Advance Retreat).
On my Change of Engagement.
(or
AND SABRE.
FOIL
118 3.
Feint Disengagement.
Feint Disengagement.
4.
/
I
5.
Disengage, lunge.
Disengage, lunge.
6.
On
On Guard.
oppose Quarte.
Guard.
oppose Sixte.
Without Analyzing. On my Change of Engagement.
One-Two.
On
Guard.
Double. Being Engaged 1.
Being Engaged
in Quarte.
Double Engagement, Advance
(or
in Sixte.
Double Engagement, Advance
Retreat).
3.
On my Change of Engagement. Feint Disengagement.
On mi/ Change of Engagement. Feint Disengagement,
4.
I oppose Counter of Stxte.
I
5.
Deceive, lunge.
Deceive, lunge.
6.
On
On
2.
(or
Retreat).
Guard.
oppose Counter of Quarte.
Guard.
Without Analyzing. On my Change of Engagement.
Double.
On
Guard.
EIGHTH LESSON â&#x20AC;&#x201D; FIRST DIVISION. SIMPLE ATTACKS WHILE ADVANCING, OR UPON THE ADVEPvSARY'S ADVANCE, PRECEDED BY A DOUBLE ENGAGE:MENT, and deceiving the CHANGE OF ENGAGEMENT BY A BEAT. Direct Theust. Being Engaged 1.
Retreat). 2.
3.
4.
(or
in Sixte.
Double Engagement, Advance
(or
Retreat).
On my Change of Engagement. Beat and lunge On Guard.
Being Engaged
in Quarte.
DoubleEngagement, Advance
direct.
On my Change of Engagement. Beat and lunge direct. On Guard.
Without Analyzing. On my Change of Engagement.
Beat and Lunge Direct.
On
Guard.
EIGHTH LESSON â&#x20AC;&#x201D; FIRST DIVISION.
119
Disengagement. Being Engaged 1.
Being Engaged
in Quarte.
Double Engagement, Advance
(or
Retreat). 2.
On my
in Sixte.
Double Engagement, Advance
(or
Retreat).
On my Change of Engagement,
Chantje of Engagement.
3.
Beat, disengage.
Beat, disengage.
4.
On Guard.
On
Guard.
Without Analyzing. On my Change of Engagement.
On
Beat and Disengage.
Guard.
ATTACKS C0:MP0SED OF TWO MOVEMENTS, WHILE ADVA^^CIXG, OR UPON^ THE ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE ENGAGEMENT, AND DECEIVING THE CHANGE OP ENGAGEMENT BY A BEAT.
One-Two. Engagement 1.
Engagement
of Quarte.
Double Engagement, Advance
(or
of Sixte.
Double Engagement, Advance
3.
On my Change ay Engagement. Beat and feint Disengagement.
On my Change of Engagement. Beat and feint Disengagement.
4.
/ oppose
I
5.
Disengage, lunge.
Disengage, lunge.
6.
On
On
2.
(or
Retreat).
Retreat).
Quaite.
Guard.
oppose Sixte.
Guard.
Without Analyzing. On my Change of Engagement.
Beat and One-Two.
On Guard.
Double. Being Engaged in Quarte.
Being Eugaged
in Sixte.
Double Engagement, Advance
1.
Double Engagement, Advance
2
On my Change of Engagement.
On my Change of Engagement.
3.
Beat and feint Disengagement.
Beat and
4.
/ oppose Counter
/ oppose
5.
Deceive, lunge.
Counter of Quarte. Deceive, lunge.
6.
On
On
(or
Retreat).
Retreat).
of Sixte.
Guard.
feint
Disengagement.
Guard.
Without Analyzing. On my Change of Engagement.
Beat and Double.
On
Guard.
AND SABRE.
FOIL
120
SECOND DIVISION. SIMPLE PARRIES FOR ATTACKS, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS SIMPLE RIPOSTES. Direct Thrust. Being Engaged 1.
Being Engaged
in Quarts.
Double Engagement, Advance
(or
Retreat).
(or
Retreat).
3.
I lunge direct. Oppose Quarte.
4.
Riposte Direct.
Riposte Direct.
5.
On
On
2.
in Sixte.
Double Engagement, Advance
1 lunge direct. Oppose Sixte.
Guard.
Guard.
Without Analyzing. Oppose Quarte.
Oppose
Riposte Direct.
On
Sixte.
Guard.
Command. Parry as in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos. 3 above, Riposte by a Cut-Over. Parry Nos. 2 above by a Counter, Riposte by eacb of the preceding.
Disengagement. Being Engaged
Being Engaged in Quarte. 1.
Double Engagement, Advance
(or
in Sixte.
Double Engagement, Advance
Retreat).
Retreat).
2.
On
3.
Oppose
4.
Riposte Direct.
5.
On Guard.
On my Disengagement.
mi/ Disengagement.
Oppose Quarte.
Sixte.
Riposte Direct.
On
Guard.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
Riposte Direct.
On
Guard.
Command. Parry aa in Nos. 3 above, Riposte by a Disengagement. Parry as in Nos. 3 above, Riposte by a Cut-Over. Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
(or
3
OP
EIGHTH LESSON â&#x20AC;&#x201D; SECOND DIVISION.
121
SIMPLE PARRIES FOR ATTACKS, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS RIPOSTES IN
TWO MOVEMENTS. Direct Thrust. Being Engaged
Being Engaged in Quarte. 1.
Advance
Double Engagement,
2.
4. 5.
(or
Retreat).
(or Retreat).
3.
in Sixte.
Double Engagement, Advance
I lunge direct. Oppose Sixte.
I lunge direct. Oppose Quarte. Riposte by a Double. On Guard.
Riposte by a Double.
On
Guard.
WiTHOnT Analyzing. Oppose
Oppose Quarte. Riposte by a Double.
Sixte.
On Guard.
Command. Parry as in Nos. 3 above, Riposte by One-Two. Parry as in Nos. 3 above, Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
.
Being Engaged 1.
Double
Disengagement. Being Engaged in Sixte.
in Quarte.
Engagement, Advance
Double Engagement, Advance Retreat).
(or Retreat). 2.
On my Disengagement,
3
Oppose
4.
Riposte by a Double.
On my Disengagement. Oppose Quarte. Riposte by a Double.
5.
On
On
Sixte.
Guard.
Guard.
Without Analyzing. Oppose
Oppose Quarte.
Sixte.
Riposte by a Double.
On
Guard.
Command. Parry as in Nos. 3 above. Riposte by One-Two. Parry as in Nos. 3 above, Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
(or
FOIL
122
AND SABEE.
THIRD DIVISION. PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS SIMPLE RIPOSTES. One-Two. Being Engaged
Double
Being Engaged
in Quarte.
Engagement, Advance
(or Retreat).
On my feint of Disengagement.
On
Oppose Quarte. I disengage and Oppose Sixte.
Sixte.
disengage and Oppose Quarte.
(or
Retreat).
Oppose
/
in Sixte.
Double Engagement, Advance
lunge.
mij feint
of Disengagement.
Riposte Direct.
Riposte Direct.
On
On Guard,
Guard.
lunge.
Without Analyzing. Oppose Sixte and Quarte. Riposte Direct.
Oppose Quarte and
On
Sixte.
Guard.
Command. Parry as Parry as
in
Nos. 3 and 5 above, Riposte by a Disengagement.
in Nos. 3 and 5 above, Riposte by a Cut-Over. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
preceding.
Double. Being Engaged Double
Being Engaged
in Quarte.
Engagement,
Advance
in Sixte.
Double Engagement, Advance
(or
Retreat).
(or Retreat).
On my feint of Disengagement.
On my feint of Disengagement.
Oppose Counter of Quarte. I deceive and lunge. Oppose Sixte.
Oppose Counter of Sixte. / deceive and lunge. Oppose Quarte.
Riposte Direct.
Riposte Direct.
On
On
Guard.
Guard.
Without Analyzing. Oppose Counter of Quarte and
Sixte.
Riposte Direct.
Oppose Counter of Sixte and Quarte.
On
Guard.
EIGHTH LESSON â&#x20AC;&#x201D; THIRD
123
DIVISION.
Command. Parry as in Nos. 3 and 5 above, Riposte by a Disengagement. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over. Parry Nos. 2 and 4 above by Counters, Riposte by each of the preceding.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS, WHILE ADVAXCIXG, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE ENGAGEMENT, AND VARIOUS RIPOSTES IN TWO MOVEMENTS. One-Two. Being Engaged 1.
Double
Being Engaged
in Quarte.
Engagement,
Advance
in Sixte.
Double Engagement, Advance
On my feint of Disengagement.
6.
On my feint of Disengagement. Oppose Sixte. I disengage and lunge. Oppose Quarte. Riposte by a Double.
Oppose Quarte. I disengage and lunge. Oppose Sixte. Riposte by a Double.
7.
On
On
2. 3.
4. 5.
(or
Retreat).
(or Retreat).
Guard.
Guard.
Without Asalyzisg. Oppose Quarte and Oppose Sixte and Quarte. Riposte by a Double. On Guard.
Sixte.
Command. Parry as in Nos. 3 and 5 above. Riposte by One-Two. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, Disengagement. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the preceding.
Double. Being Engaged 1.
in Quarte.
Double Engagement, Advance Retreat).
(or
Bfeing
Engaged
in Sixte.
Double Engagement, Advance Retreat).
On my feint of Disengagement.
On my feint of Disengagement.
6.
Oppose Counter of Quarte. / deceive and lunge. Oppose Sixte. Riposte by a Double.
Oppose Counter of Sixte. I deceive and lunge. Oppose Quarte. Riposte by a Double.
7.
On
On
2.
3. 4. 5.
Guard.
Guard.
(or
TOIL
124
AND SABRE.
Without Analyzing. Oppose Counter of Sixte and
Oppose Counter of Quarte and
Quarte.
Sixte.
On Guard.
Riposte by a Double.
Command. Parry as in Nos. 3 and 5 above, Riposte \>j One-Two. Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement. Parry Nos. 2 and 4 above by Counters, Riposte by each of the preceding.
NINTH LESSON â&#x20AC;&#x201D; FIRST DIVISION. SIMPLE ATTACKS PRECEDED BY A BEAT, EST THE LINE OPPOSITE TO THAT OF THE ENGAGEMENT. Direct Thrust. Being Engaged in Quarte. 1.
Change Engagement, Beat and
Being Engaged
Change
lunge. 2.
On
in Sixte.
Engagement,
Beat
and
lunge.
On
Guard.
Guard.
Without Analyzing. Change Engagement, Beat and Lunge
On
Direct.
Guard.
Disengagement. Being Engaged
Being Engaged in Sixte.
in Quarte.
1.
Change Engagement, Beat and
2.
On Guard.
Change Engagement, Beat and Dis-
Disengage.
engage.
On
Guard.
Without Analyzing. Change Engagement, Beat and Disengage.
On
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS, PRECEDED BY A BEAT, IN THE LINE OPPOSITE TO THAT OF THE ENGAGEMENT. One-Two. Being Engaged 1.
in Quarte.
Change Engagement, Beat and Feint Disengagement.
Being Engaged
in Sixte.
Change Engagement, Beat and Feint Disengagement.
.
NINTH LESSON â&#x20AC;&#x201D; SECOND DIVISION. 2.
/
3.
Disengage, lunge.
4.
On
I oppose
oppose Quarte.
125
Sixte.
Disengage, lunge.
On
Guard.
Guard.
Without Analyzing. Change Engagement, Beat and One-Two.
On
Guard.
Double. 1
Change Engagement, Beat and
Change Engagement, Beat and Feint
Feint Disengagement.
Disengagement.
I
1 oppose Counter of
3
oppose Counter of Sixte. Deceive, lunge.
4.
On
On
2.
Qaarte.
Deceire, lunge.
Guard.
Guard.
WiTHOnT Analtzixg. Change Engagement, Beat and Double.
On
Guard.
SECOND DIVISION. MISCELLANEOUS PARRIES AND RIPOSTES. Disengagement. Being engaged in Quarte. 1.
/ disengage.
2.
Oppose Tierce.
3.
Eijioste Direct,
4.
On
hand
in Quarte.
Guard.
Without Analyzing. Oppose Tierce, Riposte Direct, hand in Quarte.
On
Guard.
Command. Parry as in No. 3 above, Riposte Direct, hand in Prime. (See Parry as in No. 3 above, Riposte Direct, hand in Tierce. Parry No. 2 above by Sixte, Riposte Direct, hand in Prime.
fig. 19.)
Parry No. 2 above by Sixte, Riposte Direct, hand in Tierce. Parry No. 2 above by Sixte, Riposte by a flying Cut-Over. Parry No. 2 above by Sixte, Riposte by a Sixte Bind, viz., execute Septime and carry the adverse blade into Sixte Line.
Parry No. 2 above by Counter of Quarte, Riposte Direct, hand in Quarte.
FOIL
126
AND SABRE.
Parry No. 2 above by Counter of Qnarte, Eiposte in Low Line, hand in Quarte. Parry No. 2 above by Counter of Quarte, Riposte in Low Line by Quarte Bind, (execute Octave by passing over my blade). Parry No. 2 above by Counter of Quarte, Riposte in Low Line by a Bind, liand (See fig. 20.) in Seconde, (execute Seconde by passing over my blade). Parry No. 2 above by Counter of Quarte, and Eiposte by a flying Cut-Over in
Low
Line.
Disengagement. Being engaged in / disengage. 2 Oppose Quarte.
Sixte.
1.
3.
Eiposte Direct
4.
On
Guard.
Without Analyzing. Oppose Quarte.
On
Riposte Direct.
Guard.
Command. Parry as in No. 3 above, Eiposte in Low Line. Parry as in No. 3 above. Riposte under by Quarte-Bind (execute Octave by passing over
my
blade).
Parry as in No. 3 above. Riposte under by a Bind, hand in Seconde (execute Seconde by passing over my blade). Parry No. 2 above by Prime, Eiposte in Low Line. Parry No. 2 above by Prime, Eiposte by a Cut-Over, Parry No. 2 above by Prime, Cut-Over, and Beat, Eiposte in High Line.
TENTH LESSON â&#x20AC;&#x201D; FIRST
DIVISION.
LOW LINE, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A CHANGE OF ENGAGEMENT, TRAVERSE, BEAT, OR PRESS.
SIMPLE ATTACKS IN TPIE
Traverse and Low-Thrust. L Engage
Quarte, and Advance (or
Eetreat).
Engage
Sixte,
and Advance
treat).
2.
Traverse, Low-Thrust.
Traverse, Low-Thrust.
3.
On
On
Guard.
Guard.
Without Analyzing. Traverse and Low-Thrust.
On
Guard.
(or
Re-
"'^^;\';(\
p h3
CO
H O EI
o pi pa
<
tenth lesson â&#x20AC;&#x201D; first
division.
127
Beat and Low-Thedst. 1.
Engage Quarte, and Advance
(or
Engage
Retreat),
Sixte,
and Advance
(or
Re-
treat).
2.
Beat, Low-TIirust.
3
On
Beat, Lovf-Thrust.
On
Guard.
Guard.
Without Analyzing.
On
Beat and Low-Thrust.
Guard.
Press and Low-Thrust. 1.
Engage Quarte, and Advance
(or
Engage
Retreat),
Sixte,
and Advance
(or Re-
treat).
2.
Press, Low-Thrust.
Press, Low-Thrust.
3.
On
On
Guard.
Guard.
Without Analyzing. On Guard.
Press and Low-Thrust.
On my Change of Engagement, Low-Thrust. 1.
Engage Quarte, and Advance
(or
Retreat), 2. 3.
4.
Engage
and Advance
Sixte,
(or Re-
treat).
On my Change of Engagement.
On
Low-Thrust. On Guard.
Low-Thrust.
On
viif
Change of Engagement.
Guard.
Without Analyzing. On my Change of Engagement.
On
Low-Thrust.
Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS EST THE HIGH AND LOW LINES, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, PRECEDED BY A CHANGE OF ENGAGE:MENT, traverse, BEAT, OR PRESS. Traverse, Low-Thrust, and Deceive. 1.
Engage Quarte, and Advance
(or
Retreat), 2.
Traverse and feint Low-Thrust.
/ oppose
4.
Deceive, lunge.
5.
On
Guard.
and Advance
Sixte,
(or
treat).
3.
Septime.
Engage
Traverse and feint Low-Thrust. I oppose Octave. Deceive, lunge.
On
Guard.
Without Analyzing. Traverse, Low-Thrust, and Deceive.
On
Guard.
Re-
.
foil
128
and
sabee.
Beat, Low-Thrust, and Deceive. 1.
Engage Quarte, and Advance
Engage
(or
and Advance
Sixte,
(or
Ee-
treat).
Retreat).
Beat and feint Low-Thrust.
2.
Beat and
3.
I oppose Septime.
J oppose
i.
Deceive, lunge.
Deceive, lunge.
5.
On
feint
Low-Thrust.
On
Guard.
Octave,
Guard.
Without Analyzing.
On
Beat, Low-Thrust, and Deceive.
and Deceive.
Press, Low-Thrust, 1.
Engage Quarte, and Advance
Engage
(or
Guard.
Retreat),
Sixte,
and Advance
(or Re-
treat).
2.
Press and feint Low-Thrust.
Press and feint Low-Thrust.
3.
/ oppose Septime.
I
A.
Deceive, lunge.
Deceive, lunge.
5.
On
On
Guard.
oppose Octave.
Guard.
Without Analyzing. Press, Low-Thrust,
On
and Deceive.
Guard.
On my Change of Engagement, Low-Thrust and Deceive. 1
Engage Quarte, and Advance
Engage
(or
Retreat),
Sixte,
3.
On my Change of Engagement. Feint Low-Thrust.
4.
/
5.
Deceive, lunge.
Deceive, lunge.
6.
On
On
2.
and Advance
(or
Re-
treat).
On my Change of Engagement. Feint Low-Thrust.
I oppose
oppose Octave.
Guard.
Septime.
Guard.
Without Analyzing. On my Change of Engagement.
On
Low-Thrust and Deceive.
Guard.
Traverse, Low-Thrust, and Lunge in High Line. 1.
Engage Quarte, and Advance
Engage
(or
Retreat),
Sixte,
and Advance
(or Re-
treat).
2
Traverse and feint Low-Thrust.
Traverse and feint Low-Thrust.
3. 4.
/ oppose Septime. Lunge in High Line.
Lunge
5.
On
On
I oppose
Guard.
Octave.
in
High Line.
Guard.
Without Analyzing. Traverse Low-Thrust,
Lunge
in
High
Line.
On
Guard.
tenth lesson â&#x20AC;&#x201D; first
129
division.
Traverse, Disengage, and Low-Thrust. 1.
Engage Quarte, and Advance
Engage
(or
Retreat), 2.
and
Traverse
Sixte,
and Advance
(or
Re-
treat).
feint
Traverse and feint Disengagement.
Disengage-
ment. 3.
/ oppose
4.
Deceive, low-thrust.
Deceive, low-tlirust.
5.
On
On
I oppose
Sixte,
Guard.
Quarte.
Guard.
Without Analyzing. On
Traverse, Disengage, Low-Thrust.
Guard.
Traverse, Cut-Over, and Low-Thrust. 1.
Engage Qnarte, and Advance
Engage
(or
Ketreat).
Sixte,
and Advance
(or
Re-
treat).
2.
Traverse and feint Cut-Over.
Traverse and feint Cut-Over.
3.
I
I
4.
Deceive, low-thrust.
5
On
oppose Sixte.
oppose Quarte.
Deceive, low-thrust.
On
Guard.
Guard.
Without Analyzing. On
Traverse, Cut-Over, Low-Thrust.
Guard.
Traverse, Disengage, Deceive, and Low-Thrust. 1.
Engage Quarte, and Advance
Engage
(or
Retreat),
Sixte,
and Advance
(or
Re-
treat).
2.
Traverse and feiut Disengagement.
Traverse and feint Disengagement.
3.
I oppose Counter of Quarte.
I oppose
4.
Deceive, low-thrust.
Deceive, low-thrust.
5.
On Guard.
On
Counter of Sixte.
Guard.
Without Analyzing. On
Traverse, Disengage, Deceive, and Low-Thrust.
Guard.
BnAT, Disengage, and Low-Thrust. 1.
Engage Quarte, and Advance
Engage
(or
Retreat). 2.
Beat and
3.
I oppose
4.
Low-Thrust. On Guard.
5.
feiut
Sixte,
and Advance
(or
treat).
Beat and feint Disengagement. 1 oppose Quarte. Low-Thrust. On Guard.
Disengagement.
Sixte.
Without Analyzing. Beat, Disengage, and Low-Thrust.
9
On
Guard.
Ee-
and sabre.
poil
130
Beat, Low-Thrust, and Lunge in High Line. 1.
Engage Quarte, and Advance
Engage
(or
2.
Beat and
and Advance
Sixte,
feint
Ee-
(or
Ee-
(or
Ee-
Beat and feint Low-Thrust.
Low-Thrust.
4.
/ oppose Septime. Lunge in High Line.
I oppose Octave. Lunge in High Line.
5.
On
On
3.
(or
treat).
Eetreat).
Guard.
Guard.
Without Analyzing. Beat, Low-Thrust,
Lunge
in
On
High Line.
Guard.
Beat, Cut-Over, and Low-Thrust. 1.
Engage Quarte, and Advance
Engage
(or
2.
Beat and
3.
I
4.
Low-Thrust.
5.
On
feint
and Advance
Sixte,
treat).
Eetreat).
Beat and
Cut Over.
I
oppose Sixte.
feint Cut-Over.
oppose Quarte.
Low-Thrust. On Guard.
Guard.
Without Analyzins.
On
Beat, Cut-Over, Low-Thrust.
Guard.
Beat, Disengage, Deceive, and Low-Thrust. 1.
Engage Quarte, and Advance
Engage
(or
and Advance
Beat and feint Disengagement. I oppose Counter of Sixte.
Disengagement.
2.
Beat and
3.
I oppose Counta' of
4.
Deceive, low-thrust.
5.
On
feint
Sixte,
treat).
Retreat).
Quarte.
Deceive, low-thrust.
Ou
Guard.
Guard.
Without Analyzing. On
Guard.
High
Line.
Beat, Disengage, Deceive, and Low-Thrust.
Press, Low-Thrust, and Lunge in 1.
Engage Quarte, and Advance
Engage
(or
Sixte,
and Advance
treat).
Retreat). 2.
Press and feint Low-Thrust.
Press and feint Low-Thrust.
3. 4.
/ oppose Septime. Lunge in High Line.
I oppose Octave. Lunge in High Line.
5.
On
On Guard.
Guard.
Without Analyzing. Press, Low-Thrust,
and Lunge
in
High Line.
On
Guard.
(or
Ee-
o T
#
V -^
.
tenth lesson â&#x20AC;&#x201D; first
131
division.
Press, Disengage, and Low-Thrust. 1.
Engage Quarte, and Advance
Engage
(or
Retreat).
Sixte,
and Advance
(or Ke-
treat).
2.
Press and feint Disengagement.
Press and feint Disengagement.
3.
/
I oppose
4.
Low-Thrnst. On Guard.
5.
oppose Sixte.
Quarte.
Low-Thrust.
On
Guard.
WiTiioL'T Analyzing. Press, Disengage,
On
and Low-Thrust.
Guard.
Press, Cut-Over, and Low-Thrust. 1.
Engage Quarte, aud Advance
Engage
(or
Retreat),
Sixte,
and Advance
(or Re-
treat).
2.
Press and feint Cut-Over.
Press and feint Cut-Over.
3.
I oppose
I
4.
Low-Thrust.
5.
On Guard.
Sixte.
oppose Quarte.
Low-Thrust.
On
Guard.
Without Analyzing. Press, Cut-Over,
On
and Low-Thrust.
Press, Disengage, Deceive, and 1.
Engage Quarte, and Advance
Engage
(or
Guard.
Low -Thrust. Sixte,
and Advance
(or
Re-
treat).
Retreat),
2
Press and feint Disengagement.
Press and feint Disengagement.
3.
I oppose
I
4.
Counter of Quarte Deceive, low-thrnst.
.5.
On Guard.
On
oppose Counter of Sixte.
Deceive, low-thrust.
Guard,
WiTHOLT Analyzing. Press, Disengage, Deceive,
On my Change
Guard.
op Engagement, Low-Thrust, and Lunge IN
1.
On
and Low-Thrust.
Engage Quarte, and Advance
High (or
Line. Engage
Sixte,
and Advance
(or Re-
treat).
Retreat),
On my Change of Engagement. Feint Low-Thrust.
On my Change of Engagement. Feint Low-Thrust.
5.
/ oppose Octave. Lunge in High Line.
I oppose S'ptime, Lunge in High Line.
6.
On
2.
3. 4.
On
Guard.
Guard.
Without Analyzing. On my Change of Engagement.
Low-Thrust and Lunge
On
Guard.
in
High
Line.
foil
132
and sabre.
On my Change op Engagement, Deceive, and Low-Thrust. 1.
Engage Quarte, and Advance
(or
Engage
and Advance
Sixte,
(or
3.
On my Change of Engagement. Feint Disengagement.
On mij Change of Engagement. Feint Disengagement.
4.
/
I oppose
5.
Deceive, low-thrust.
6.
On
2.
Ee-
treat).
Ketreat).
Counter of Quarte. Deceive, low-tlirust.
oppose Counter of Sixte.
On Guard.
Guard.
Without Analyzing. Deceive and Low-Tlirust.
On my Change of Engagement.
On
Guard.
SECOND DIVISION. SBIPLE PARRY FOR ATTACKS IN THE LOW LIFE, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, AND VARIOUS SIMPLE RIPOSTES. Low-Thbost. 1.
Engage Quarte, and Advance
(or
Engage
Retreat).
and Advance
Sixte,
(or
Re-
tre.at)
2.
On my Low-Thrust.
On my Low-Thrust.
3.
Oppose Septime.
Oppose Octave.
4.
Riposte Direct.
Riposte Direct.
5.
On Guard.
On
Guard.
Without Analyzing. Oppose Octave.
Oppose Septime. Riposte Direct.
On
Guard.
Command. Parry as above. Riposte in High Line.
PARRIES COMPOSED OF TWO MOVEMENTS IN THE HIGH AND LOW LINES FOR ATTACKS, WHILE ADVANCING, OR UPON THE ADVERSARY'S ADVANCE, AND VARIOUS SIMPLE RIPOSTES.
Low-Thrust and Deceive. 1.
Engage Quarte, and Advance Retreat).
2,
On my feint of Low-Thrust.
(or
Engage
Sixte,
and Advance
treat).
On my feint of Low-Thrust.
(or
Ee-
TENTH LESSON â&#x20AC;&#x201D; SECOND I
5.
Oppose Septime. deceive and lunge. Oppose Octave.
6.
Eiposte Direct.
Riposte Direct.
7.
On
3. 4.
133
DIVISION.
Oppose Octave. deceive and lunge. Oppose Septime.
I
On
Guard.
Guard.
Without Akalyzlng. Oppose Octave and Septime.
Oppose Septime and Octave. Eiposte Direct.
On
Guard.
Command. Parry as
and 5 above, Riposte in Higli Line. Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Eiposte in Kos. 3
LoW-TflEUST AND LuNGE 1.
Engage Quarte, and Advance
(or
IN
HiGH
Engage
Sixte,
Direct.
LiNE. and Advance
{or Re-
treat).
Eetreat). 2.
On my feint of Low-Thrust.
On my feint of Low-Thrust.
3.
Oppose Septime.
4.
/ lunge in High Line.
5.
Oppose Quarte.
Oppose Octave. I lunge in High Line. Oppose Sixte.
6.
Eiposte Direct.
Eiposte Direct.
7.
On
On
Guard.
Guard.
WiTHOnT Analyzing. Oppose Octave and
Oppose Septime and Quarte. Eiposte Direct.
On
Sixte.
Guard.
Command. Parry as in Nos. 3 and 5 above, Riposte in
Low Line.
Disengage and Low-Theust. 1.
Engage Quarte, and Advance
(or
Engage
Retreat). 2.
Sixte,
On my feint of Disengagement.
On my feint of Disengagement. Oppose Quarte.
I
5.
Oppose Sixte. / thrust-low. Oppose Octave.
6.
Eiposte Direct.
Eiposte Direct.
7.
On
On Guard.
3.
4.
and Advance (or Ee-
treat).
thrust-low.
Oppose Septime.
Guard.
Without Analyzing. Oppose Quarte and Septime.
Oppose Sixte and Octave. Eiposte Direct.
On
Guard.
Command. Parry as
in
Nos. 3 and
5 above.
Riposte in High Line.
and sabre.
foil
134
Cut-Over and Low-Thrust. 1.
Engage Quarte, and Advance
(or
Engage
Sixte,
and Advance
On my feint of
Cut- Over.
3.
On my feint of Cut-Over. Oppose Sixte.
-t.
/
5.
Oppose Octave.
Oppose Quarte. I thrust-low. Oppose Septime.
6.
Riposte Direct.
Riposte Direct.
7.
On
On
2.
(or Ee-
treat).
Ketreat).
thrust-low.
Guard.
Guard.
Without Analyzing. Oppose Quarte and Septime.
Oppose Sixte and Octave. Riposte Direct.
On
Guard.
Command. Parry as in Nos. 3 and
Riposte iu Higli Line.
5 above,
Deceive and Low-Thrust. 1.
Engage Quarte, and Advance
Engage
(or
2.
3. 4. 5.
6. 7.
Sixte,
and Advance
(or Re-
treat).
Retreat),
On my feint of Disengagement.
On my feint of Disengagement.
Oppose Counter of Quarte. / deceive and thrust-low. Oppose Septime.
Oppose Counter of Si.xte. I deceive and thrust-low. Oppose Octave,
Riposte Direct.
Riposte Direct.
On
-On Guard.
Guard.
Without Analyzing. Oppose Counter of Quarte and Septime. Riposte Direct.
Oppose Counter of Sixte and Octave.
On Guard.
Command. Parry as
in Nos. 3
and
5 above,
Riposte in Higli Line.
TENTH LESSON â&#x20AC;&#x201D; THIRD
135
DIVISION.
THIRD DIVISION. SIMPLE ATTACKS DECEIVING THE DOUBLE
ENGAGEMENT. Direct Thrust. Being engaged
in
Being engaged
Quarte.
1.
/ double the Engagement.
2.
Lunge
3.
On
in Sixte.
I double the Engagement. Lunge Direct.
Direct.
On
Guard.
Guard.
Without Analyzing. On my
On
Liinge Direct.
Double Engagement.
Guard.
Disengagement.
I
Being engaged in Quarte. / double the Engagement.
2.
Deceive the
Second
by
Disen-
Being engaged in Sixte. I double the Engagement. Deceive the Second by Disengaging.
gaging. 3.
On Guard
On Guard.
Without Analyzing. On Guard.
Disengage.
On my Double Engagement.
ATTACKS COMPOSED OF TWO MOVEMENTS DECEIVING THE DOUBLE ENGAGEMENT. One-Two. 1.
2.
Being engaged in Quarte. I double the Engagement. Deceive the Second by a feint of Disengagement.
Being engaged
I double
the
Deceive the Second by a feint of
Disengagement.
I oppose
3.
/ oppose
4.
Disengage, lunge.
Disengage, lunge.
5.
On Guard.
On Guard.
Sixte.
in Sixte.
Engagement.
Quarte.
Without Analyzing. On my
Double Engagement.
One-Two.
On
Guard.
.
FOIL
136
AND SABRE. Double.
Being engaged
Being engaged
in Quarte.
/
in Sixte.
1.
I
2.
Deceive the Second by a feint of Disengagement.
Deceive the Second by a feint of Disengagement.
3.
J oppose
/ oppose
4.
Deceive, lunge.
Deceive, lunge.
5.
On
On
double the Engagement.
Counter of Quarte.
Guard.
double the Engagement.
Counter of Sixte.
Guard.
Without Analyzing. On my Double Engagement.
On
Double.
Guard.
ATTACKS COMPOSED OF THREE MOVEMENTS DECEIVING THE DOUBLE ENGAGEMENT. One-Two-Three. Being engaged
Being engaged
in Quarte.
in Sixte.
1.
I
2.
Deceive the Second by a feint of Disengagement.
Deceive the Second by a feint of Disengagement.
3.
/ oppose
I oppose
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
5.
I
/ oppose
6.
Disengage, lunge.
Disengage, lunge.
7.
On
On
/
double the Engagement.
Sixte.
oppose Quarte.
Guard.
double the Engagement.
Quarte.
Sixte.
Guard.
Without Analyzing. On my Double Engagement.
One-Two-Three.
On
Guard.
One-Two and Deceive. Being engaged in Quarte.
Being engaged in
/
1
I
2.
Deceive the Second by a feint of
double the Engagement,
Disengagement.
Sixte.
double the Engagement.
Deceive the Second by a feint of Disengagement.
3
I oppose
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
I oppose
Sixte.
Quarte.
5.
I oppose Counter of Sixte.
/ oppose
6.
Deceive, lunge.
Deceive, lunge.
7.
On Guard.
On Guard.
Counter of Quarte,
Without Analyzing. On my
Double Engagement.
One-Two and Deceive.
On
Guard.
CO
P Pi
O O Ph
o
ELEVENTH LESSON — FIRST
DIVISION.
137
Double and Disengage. Being engaged
Being engaged in
iu Quarte.
Sixte.
1.
I
2.
Deceive the Second by a feint of Disengagement,
3.
7 oppose Counter of Quarte.
I oppose Counter of Sixte.
4.
Deceive.
Deceive.
5.
I
/
6.
Disengage, lunge.
Disengage, lunge.
7.
On
On
double the Engagement.
/
oppose Stxte.
Guard.
double the Engagement.
Deceive the Second by a feint of Disengagement.
oppose Quarte.
Guard.
Without Analyzing. On Guard.
Double and Disengage.
On my Double Engagement.
ELEVENTH LESSON — FIRST
DIVISION.
The Counter-Riposte. The Counter-Riposte is the attack that follows the parrying and may be executed with or without a lunge,
of the Riposte,
and may be direct or
VARIOUS
indirect, simple or complex.
SIMPLE COUNTER-RIPOSTES, AND SIMPLE PARRIES AND RIPOSTES.
VARIOUS
Disengagement. Being engaged
Being engaged
in Quarte.
L 2.
/ oppose
3.
Oppose Sixte and Counter-Riposte
4.
On Guard.
1.
Disengage.
2.
/ oppose
in
Low
Sixte
and
Riposte Direct.
/ oppose
Quarte and Riposte Direct. Oppose Quarte and Counter-Riposte
Line.
in
On
Sixte
and
Oppose Octave
Riposte in
Low
Guard.
in Sixte.
/
oppose Quarte and Riposte in
Low
Line. (or Seconde)
and
Counter-Riposte in High Line.
On
Line.
Disengage.
Line.
4.
Low
Guard.
Being engaged
Being engaged in Quarte.
3.
in Sixte.
Disengage.
Oppose
Septime
(or
Quinte)
Counter-Riposte in High Line.
On Guard.
and
AND SABRE.
TOIL
138 Being engaged
Being engaged
in Quarte.
Disengage.
2.
/ oppose Counter of Quarte and Riposte in
3.
Low
Oppose Septime
Line. (or Quiute)
and
/ oppose Counter of Sixte and in Low Line. Oppose
On
1.
Disengage.
2.
/
On
Guard.
Being engaged
Being engaged
and
/ oppose
1.
Disengage.
2.
I
3.
Oppose Tierce
4.
On
1.
Disengage.
2.
/ oppose Tierce and Riposte
Ciuard.
Being engaged in
in Sixte.
Disengage.
and Riposte (or
Direct.
Sixte)
Low
and
Line.
/ oppose
Quarte and Riposte Direct.
Oppose Prime, Cut-Over (or Quarte) and Counter-Riposte in Low Line.
On Guard.
Guard.
Being engaged
Being engaged
in Quarte.
in Sixte.
Disengage. in
/ oppose
Quarte and Riposte Direct.
Oppose
Septime
Line.
Oppose Seconde
(or
Octave) and
Counter-Riposte in High Line.
On Guard.
1.
Thrust-low.
2.
I oppose Septime, Bind,
Being engaged
Sixte
Being engaged
in Sixte.
Thrust-low.
and Ri-
I oppose
Octave
Riposte in (or
Counter-Riposte in
Tierce)
Low
and
On Guard.
1.
Thrust-low.
2.
/ oppose Septime
High
(or
Seconde)
and
Line.
Oppose Sixte (or Tierce) and Counter-Riposte in
Line.
On
4.
Being engaged
and
Guard.
in Quarte.
poste Direct.
Oppose
Quinte)
(or
Counter-Riposte in High Line.
On
4.
3.
Line.
Being engaged
Qusi'te.
Counter Riposte in
3.
Low
in
On Guard.
On
Low
Counter of Sixte and Riposte
Oppose Sixte and Counter Riposte
Line.
4.
oppose Tierce
in Sixte.
Direct.
Oppose Quarte and Counter-Ri-
Low
and
Disengage.
oppose Counter of Quarte
poste in
Seconde)
(or
Guard.
in Quarte.
Riposte Direct. 3.
Octave
Riposte
Counter-Riposte in High Line.
Counter- Kiposte in High Line. 4.
in Sixte.
Disengage.
1.
Low
Line.
Guard.
Being engaged in Sixte.
in Quarte.
Thrust-low.
and
Riposte
/
oppose Octave
and
Riposte Direct.
Direct. 3.
Oppose Septime, Bind, and Counter Riposte Direct.
4.
On
Guard.
Oppose Octave and Counter-Riposte in
On
High Line.
Guard.
ELEVENTH LESSON — FIRST Observation
1.
:
139
DIVISION.
— Command the Counter-Riposte to be exe-
cuted without lunging,
if
the Riposte has been accompanied by
a lunge, and vice versa.
As soon
2.
as the pupil begins to improve, the instructor
should place himself in a position less favorable to the pupil, in order that the lesson namely, the body more in profile,
—
—
may
more
be
ticularly important
Ripostes.
This
nearly an imitation of the assault.
Some
when
is par-
executing the Ripostes and Counter-
instructors offer their pupils every facility
for the easy success of their thrust,
—a
practice which
is,
without doubt, entirely erroneous. Such a pupil, when before an adversary in an ordinary assault, is surprised to placed
find so
many imexpected
difficulties.
The lesson must be a continual preparation
for the assault,
in order to render the pupil confident of his thrust, to give
him accuracy
in placing them.
much "at sea" when
so
position of body
tunity to attack,
is
The
pupil will not then be
placed before an adversary whose
so correct as to offer
— an excellency which
him but
little
oppor-
the pupil also should
strive to acquire.
The thinks
instructor should apply these two suggestions
when
he
fit.
VARIOUS SIMPLE PARRIES FOR THE FEINT OF DISENGAGEMENT, VARIOUS SIMPLE RIPOSTES, AND VARIOUS SIMPLE COUNTER-RIPOSTES. Feint op Disengagement. Being engaged in Quarte.
Being engaged
in Sixte.
1.
Feint Disengagement.
Feint Disengagement.
2.
/
I
oppose Sixte
and Riposte hy a
3.
Oppose Quarte and Counter-Rl-
On
Guard.
and
Riposte by a
Oppose Sixte and Counter-Riposte Direct.
poste Direct. 4.
oppose Quarte
Disengagement.
Disengagement.
On
Guard.
Command. (A) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Disengagement.
(B) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Cut-Over.
FOIL
140
AND SABRE.
2d Exercise Parry the above Nos. 1 by an Opposition, the Eiposte by a Counter, and Counter-Riposte as in each of the preceding. 3d Exercise Parry the above Nos. 1 by a Counter, the Eiposte by an Opposition, and Counter-Riposte as in A and B. 4th Exercise Parry tlie above Nos. 1 and the Riposte by Counters, and Counter-Riposte as in A and B. :
:
:
SECOND DIVISION. VARIOUS SIMPLE PAP.RIES FOR THE EEINT OF DISENGAGEMENT, VARIOUS SIMPLE RIPOSTES, AND VARIOUS COUNTER-RIPOSTES IN TWO MOVEMENTS. Feint op Disengagement. 1.
2.
Being engaged in Quarte. Feint Disengagement. / oppose Sixte and Miposte hy
Being engaged u,
I
Disengagement, 3.
Oppose Quarte and Counter-Ri-
On
oppose
Quarte and Riposte by a
Disengagement.
poste by a Double. 4.
in Sixte.
Feint Disengagement.
Oppose Sixte and Counter-Riposte by a Double.
On
Guard.
Guard.
Command. (A) Parry as in Nos. 2 and 3 above, Counter-Riposte by One-Two. (B) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Cut-Over, and Disen-
gagement. 2d Exercise
Parry Nos.
:
1
above by Opposition, the Riposte by Counter, and
Counter-Riposte as in each of the preceding.
Parry Nos. 1 above by Counter, the Riposte by Opposition, and A and B. 4th Exercise Parry Nos. 1 above and the Riposte by Counters, and CounterRiposte as in A and B. 3d Exercise
;
Counter-Riposte as in :
ST]\IPLE PARRIES FOR THE FEINT OF DISENGAGE.MENT, VARIOUS RIPOSTES IN TWO MOVEMENTS, AND VARIOUS SIMPLE COUNTER-RIPOSTES.
VARIOUS
Feint op Disengagement.
1.
2.
Being engaged in Quarte. Feint Disengagement. / oppose Sixte and Riposte by a Double.
Being engaged
in Sixte.
Feint Disengagement.
I oppose Double.
Quarte and Riposte by a
1^
D O O
ELEVENTH LESSON — THIRD Oppose
3.
Counter
and
Quarte,
of
and
Sixte
Counter-Riposte
141
DIVISION.
Oppose Counter of Quarte and Sixte, and Counter-Riposte Direct.
Direct.
On Guard.
4.
On
Guard.
Command. (A) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Disengagement. (B) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Cut-Over. 2d Exercise Parry Nos. 1 above by an Opposition, the Riposte by two Counters, and Counter-Riposte as in A and B. 3d Exercise Parry Nos 1 above by a Counter, the Riposte by a Counter and an Opposition, and Counter-Riposte as in A and B. 4th Exercise Parry Nos 1 above by a Counter, the Riposte by two Couuters, and Counter-Riposte as in A and B. ;
r
Observation
:
Command
cuted with a lunge,
if
the
Counter-Riposte
to
be exe-
the Riposte has been effected without
the lunge, and vice versa.
THIRD DIVISION. VARIOUS SIMPLE PARRIES, RIPOSTES, COUNTER-RIPOSTES, AND SECOND COUNTER-RIPOSTES. Feint of Disengagement.
3.
Oppose Sixte and Riposte Direct. / oppose Sixte and Counter-Riposte
Being engaged in Sixte. On my feint of Disengagement. Oppose Quarte and Riposte Direct. I oppose Quarte and Counter-Riposte
4.
by a Disengagement. Oppose Quarte and 2d Counter-
by a Disengagement Oppose Sixte and 2d Counter-Riposte
5.
On
Being engaged
On
1.
2.
in Quarte.
mil feint of Disenga(jem€nt.
Direct
Riposte Direct.
On
Guard.
Guard.
Command (A) Parry as in Nos.
2, 3,
and 4 above, second Counter-Riposte by a Disengage-
ment. (B) Parry as in Nos. 2, 3, and 4 above, second Counter-Riposte by a Cut-Over. 2d Exercise Parry Nos. 1 above by an Opposition, the Riposte by a Counter, the Counter-Riposte by an Opposition, and the second Counter-Riposte as in A and B. 3d Exercise Parry Nos. 1 above and the Ripo.'ste by Oppositions, the CounterRiposte by a Counter, and the second Counter-Riposte as in A and B. :
:
FOIL
142 4th Exercise
:
Parry Nos
1
AND
SABRE.
above by a Counter, the Riposte and Counter-Ri-
A and B. Parry Nos. 1 above by a Counter, the Riposte by an Opposition, the Counter-Riposte by a Counter, and the second Counter-Riposte as in A and B. 6th Exercise Parry Nos. 1 above and the Riposte by Counters, the CounterRiposte by an Opposition, and the second Counter-Riposte as in A and B. poste by Oppositions, and the second Counter-Riposte as in
5th Exercise
:
:
VARIOUS SIMPLE PARRIES, RIPOSTES, AND COUNTERRIPOSTES, AND VARIOUS SECOND COUNTER-RIPOSTES IN TWO MOVEMENTS. Feint op Disengagement.
1.
2. 3.
Being engaged in Quarte. On my feint of Disengagement. Oppose Sixte and Riposte Direct. I oppose Sixte and Counter-Riposte
Being engaged
I oppose
Quarte and Counter-Riposte
by a Disengagement.
Oppose Quarte and 2d CounterRiposte by a Double.
5.
Sixte.
Oppose Quarte and Riposte Direct.
by a Disengagement. 4.
m
On my feint of Disengagement.
On Guard.
Oppose Sixte and 2d Counter-Riposte by a Double.
On
Guard.
Command. 2, 3, and 4 above, and second Counter-Riposte by One-Two. (B) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a CutOver, and Disengagement. 2d Exercise Parry Nos. 1 above and the Riposte by Oppositions, the CounterRiposte by a Counter, and the second Counter-Riposte as in A and B. 3d Exercise Parry Nos, 1 aliove by an Opposition, the Riposte by a Counter, the Counter-Riposte by an Opposition, and the second Counter-Riposte as in A and B.
(A) Parry as in Nos.
:
:
4th Exercise poste
:
Parry Nos.
1
above by a Counter, the Riposte and Counter-Ri-
by Oppositions, and the second Counter-Riposte
5th Exercise
Parry Nos.
as in
A and B.
above and the Riposte by Counters, the CounterRiposte by an Opposition, and the second Counter-Riposte as in and B. :
1
A
ELEVENTH LESSON â&#x20AC;&#x201D; FOURTH
FOURTH
143
DIVISION.
DIVISION.
VARIOUS SIMPLE PARRIES AND RIPOSTES, VARIOUS COUNTER-RIPOSTES IN" TWO MOVEMENTS, AND VARIOUS SIMPLE SECOND COUNTER-RIPOSTES. Feint op Disengagement. Being engaged
On
in Quarts.
2.
of Disengagement. Oppose Sixte and Riposte Direct.
3.
/ oppose Sixie and Counter-Riposte
4.
Oppose
1.
bi/
mt/ feint
Being engaged in Sixte. On my feint of Disengagement. Oppose Quarte and Riposte Direct. I oppose Quarte and Counter-Riposte
a Double.
bi/
Counter
and
Sixte
of
Quarte, and 2d Counter-Riposte
a Double.
Oppose Counter of Quarte and Sixte, and 2d Counter-Riposte Direct.
Direct. 5.
On Guard.
On Guard.
Cominand. and 4 above, and second Counter-Riposte by a
(A) Parry as in Nos. 2, 3, Disengagement. (B) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a CutOver.
2d Exercise Parry Nos. 1 above and the Riposte by Oppositions, the CounterRiposte by two Counters, and the second Counter-Riposte as in A and B. 3d Exercise Parry Nos. 1 above by an Opposition, the Riposte by a Counter, :
:
the Counter-Riposte by a Counter and an Opposition, and the second Counter-
Riposte as in
A and B.
4th Exercise
:
Parry Nos.
1
above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by a Counter and an Opposition, and the second Counter-
Riposte as in
A and B.
Parry Nos. 1 above and the Riposte by Counters, the CounterRiposte by a Counter and an Opposition, and the second Counter-Riposte as in 5th Exercise
:
A
and B.
VARIOUS
SIMPLE RIPOSTES IN
PARRIES AND RIPOSTES,
COUNTER-
TWO MOVEMENTS, AND VARIOUS
SIM-
PLE SECOND COUNTER-RIPOSTES. Feint of Disengagement. Being engaged
in Quarte.
Being engaged in
Sixte.
1.
On my feint of Disenqaqement.
On my feint of Disengagement.
2.
Oppose Sixte and Riposte
Oppose Quarte and Riposte Direct.
Direct,
FOIL
144 3.
/ oppose
Sixte
AND SABRE.
and Counter-Riposte
I
4.
Oppose Quarte and
Sixte,
and
and Counter-Riposte
Oppose Sixte and Quarte, and
2d
Counter-Riposte Direct.
2d Counter-Riposte Direct. 5.
oppose Quarte
by One-Two.
by One-Two.
On
On Guard.
Guard.
Command. (A) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a Disengagement. (B) Parry as in Nos. 2, 3, and 4 above, and secoud Counter- Riposte by a CutOver.
2d Exercise
Parry Nos.
;
above and the Riposte by Oppositions, the Counter-
1
Riposte by an Opposition aud a Counter, and second Counter-Riposte as in
and B. 3d Exercise
Parry Nos.
:
A
above by an Opposition, the Riposte by a Counter,
1
the Counter-Riposte by two Oppositions, and the second Counter-Riposte as in
A
and B. 4th Exercise
:
Parry Nos.
1
above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by au Opposition and a Counter, and second Counter-Riposte
A
as in
and B.
5th Exercise
:
Parry Nos.
above and the Riposte by Counters,
1
Riposte by two Oppositions, and second Counter- Riposte as in
tlie
Counter-
A and B.
Feint op Disengagement. Being engaged
Engage the blade in Sixte. On my feint of Disengagement.
in Quarte.
my feint of Disengagement.
1.
Oji
2.
3.
Oppose Sixte and Riposte Direct. I oppose Sixte and Counter-Riposte by It Cut-Over, and Disengage-
4.
Oppose Quarte and
Oppose Quarte and Riposte Direct. Quarte and Counter-Riposte by a Cut-Ocer, and Disengagement,
I oppose
ment.
Sixte,
and 2d
Oppose Sixte and Quarte, and 2d Counter-Riposte Direct.
Counter-Riposte Direct. 5.
On
On
Guard.
Guard.
Command. (A) Parry as in Nos. Disengagement. (B) Parry as in Nos.
2,
2, 3,
3,
and 4 above, and second Counter-Riposte by a
and 4 above, and second Counter-Riposte by a Cut-
Over.
2d Exercise
;
Parry Nos.
1
above by an Opposition, the Riposte by a Counter,
the Counter-Riposte by two Oppositions, and second Counter-Riposte as in
A
and B. 3d Exercise: Parry Nos. 1 above and the Riposte by Counters, the CounterRiposte by two Oppositions, and second Counter-Riposte as in A and E.
ELEVENTH LESSON â&#x20AC;&#x201D; FIFTH
DIVISION.
145
FIFTH DIVISION. VARIOUS SIMPLE PARRIES AND RIPOSTES, COUNTERRIPOSTES IN TWO MOVEMENTS, AND SECOND COUNTER-RIPOSTES IN TWO MOVEMENTS. Feint op Disengagement. 1.
2.
Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On my feint of Disengagement.
3.
Oppose Sixte and Riposte Direct.
Oppose Quarte and Riposte Direct.
4.
1 oppose Sixte and Counter-Riposte
1 oppose Quarte and Counter-Riposte
5.
Oppose
Oppose Counter of Quarte and Sixte, and second Counter-Riposte by a
6.
On Guard.
On Guard
by a Double.
a Double.
hi)
Counter of Sixte and Quarte, and second CounterRiposte by a Double.
Double.
Covimand. (A) Parry as in Nos. 3, 4, and 5 above, and second Counter-Riposte by One-Two. (B) Parry as in Nos 3, 4, and 5 above, and second Counter-Riposte by a CutOver and Disengagement 1st Exercise- Parry Nos 2 above and the Riposte by Oppositions, the CounterRiposte by two Counters, and second Counter-Riposte by each of the preceding.
2d Exercise
.
Parry Nos. 2 above by one Opposition, the Riposte by a Counter,
the Counter-Riposte by a Counter and an Opposition, and second Counter-Riposte
A and B. 3d Exercise
as in
:
Parry Nos. 2 above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by a Counter and one Opposition, and second Counter-Riposte as in
A
and B.
Feint op Disengagement. 1.
2.
3. 4.
5.
Engage the blade in Quarte. On my feint of Disengagement.
Engage the blade in Sixte. On my feint of Disengagement.
Oppose Sixte and Riposte Direct. Sixte and Counter-Riposte by One-Two. Oppose Quarte and Si.xte, and second Counter-Riposte by a
Oppose Quarte and Riposte Direct. I oppose Quarte and Counter-Riposte
/ oppose
by One-Two. Oppose Sixte and Quarte, and second Counter-Riposte by a Double.
Double. 6.
On
On
Guard.
Guard.
Command. (A) Parry as in Nos.
3, 4,
(B) Parry as in Nos.
and 5 above, and second Counter-Riposte by One-Two. and 5 above, and second Counter-Riposte by a Cut-
3, 4,
Over and Disengagement. 10
FOIL
146 Exercise
1st
AND SABRE.
Parry Nos. 2 ahore and the Riposte by Oppositions, the Counter-
:
Riposte by one Opposition and one Counter, and second Counter-Riposte by each of the preceding.
2d Exercise
Parry Nos. 2 above by an Opposition, the Riposte by a Counter, two Oppositions, and second Counter-Riposte as in A
:
the Counter-Riposte by
and B. 3d Exercise
Parry Nos. 2 above by a Counter, the Riposte by an Opposition, and second Counter-Riposte as in
:
A
the Counter-Riposte by two Oppositions,
and B.
Feint of Disengagement.
â&#x20AC;˘
Engage the blade in Quarte. On mij feint of Disejviaijevient
Engage the blade in Sixte. On my feint of Disengagement.
4.
Oppose Sixte and Riposte Direct. / oppose Sixte and Counter-Riposte
Oppose Quarte and Riposte Direct. I oppose Quarte and Counter-Riposte
5.
Oppose Quarte and
1.
2. 3.
bi/
a Cut-Over, Disengage.
secoud
hi/
and by a
Counter-Riposte
a Cut-Over, Disengage.
Oppose Sixte and Quarte, and secoud Counter-Riposte by a Double.
Sixte,
Double 6.
On
On Guard.
Guard.
Command.' (
A) Parry as in Nos.
3, 4,
(B) Parry as in Nos,
and
above, and second Counter-Riposte by One-Two.
.'5
and second Counter-Riposte by a CutOver and Disengagement. Lst Exercise: Parry Nos. 2 above by an Opposition, the Riposte by a Counter, the Counter-Riposte by two Oppositions, and second Counter-Riposte by each of 3, 4,
and
5 above,
the preceding.
2d Exercise: Parry Nos. 2 above by a Counter, the Riposte by an Opposition, the Counter-Riposte by two Oppositions, and second Counter-Riposte as in
A
and B.
The Exercise is
of the Counters.
â&#x20AC;&#x201D; The cxercise
of the counters
a practice for two pupils together, and serves to overcome
the liesitation which exists to the pupil confidence ries,
though conventional
,ecuted rapidly,
when making an assault. It gives The thrusts and par-
and precision.
in character, are required to
and with the same decision and
they were to take
be ex-
spirit as if
effect.
The exercise may be
:
Begin in the line of Quarte, and
engage without words of command.
One of the two pupils when he thinks fit.
takes the lead, and changes the exercise
Both
of
them have the opportunity
of parrying
and
ing alternately, and also of riposting after the parry.
of attack-
o 2;
Eh
o
o a.
J
.
TWELFTH LESSON — FIRST The
147
DIVISION.
exercise of the counters has no particular rank in the
may
theory of fencing, but
advanced
be practised
in the different parries
when
the pupil
is
well
and attacks.
Exercise of the Counters. Engagement Direct Thrust
.
Disengagement
One-Two
.
.
.
.
.
.
...
.
of Quarts.
one Opposition. one Opposition. two Oppositions. three Oppositions.
One-Two-Three
Repeat the above with Tierce Engagement.
Engagement
of Quarte.
one Counter. one Counter. Disengagement two Counters. Double Repeat the above with Tierce Engagement. Direct Thrust
.
.
.
.
.
Engagement
One-Two
.
of Quarte.
one Opposition and one Couuter. one Opposition, one Counter, and one Opposition. one Opposition and two Counters.
One-Two, and Deceive One-Two, and Deceive two Oppositions and one Counter. One-Two-Three Repeat the above with Tierce Engagement. .
.
Engagement Double Double and Disengage Double and Disengage Repeat the
Repeat
all
of Quarte.
one Counter and one Opposition. one Counter and two Oppositions-
one Counter, one Opposition, and one Counter above with Tierce Engagement.
the above exercises, letting each be preceded by
a Double Engagement.
TWELFTH LESSON — FIRST
DIVISION.
—
The Time-Thrust. The Time-Thrust is the action of making an attack between the two final movements of your adversary's attack, and is effected 1. By anticipating the last of these and hitting him in the line in which he had intended to make his thrust, and which he finds closed by reason of your action. 2. By obstructing his passage from one line into the line in which he intends to make his lunge. :
—
The Direct Time-Thrust. The Direct Time-Thrust can be any composite attack ending in High Sixte by
effected on
FOIL
148
AND SABRE.
lunging (with hand in opposition) direct in that same line
between the adversary's last feint and his final lunge. By so doing you gain half a movement on your adversary, because you touch him during the passage of his blade from one line This direct movement on your part closes at to the other. the same time the line that he proposed entering in his attack
upon you.
(See
fig.
24.)
â&#x20AC;&#x201D;
This Time-Thrust may be The Time-Thrust in Opposition employed in composite attacks ending in the line of Quarte, and is executed by lowering the point of your sword, stopping your adversary's blade in Low Sixte, holding it there by opposition of Octave, and simultaneously touching him in the
Low
This
Line.
thi'ust
checks the
final
attack, having been executed prior to
movement (See
it.
fig.
of
his
25.)
TWO
TIME-THRUSTS ON ATTACKS COMPOSED OF
MOVEMENTS. One-Two. Time-Thrust iu Opposition.
Engage
Time-Thrust Direct.
Engage the blade
the blade in Quarte.
I execute One-Two. On m>/ feint. Lower the point of your sword and " Time " me in Low-Sixte, the moment I begin my final movement,
iu Sixte.
J execute One-Two. " " in
me
Time
High Sixte with Op-
position, the final
moment
I
execute
my
movement,
by carrying your hand iu opposition from left to right, to protect your body iu that line.
Without Analyzing. On
mi/
On
Time-Thrust.
One-Two.
Guard.
'
Double Cut-Over. Parry of Time-Thrust. seems about to make a Time-Thrust, it might be well to draw out his attack by making a False Attack with a half lunge, which would give him more con-
If the adversary
Time-Thrust Direct.
Engage the blade
in Sixte.
7 execute a double Cut-Over.
"Time" me
in
position the last
High-Sixte with Op-
moment
Cut-Over.
I begin the
TWELFTH LESSON â&#x20AC;&#x201D; FIRST
149
DIVISION.
and parrv his Time-Thrust hy a Sixte or Tierce, his Time-Thrust in Couuter-Diseugagement by a Quarte, his TimeThrust in Opposition by an Octave fiilence,
direct
or Seconde, and Riposte.
Without Analyzing. On my Double
Olservation
:
Cut-Ocer.
On
Time-Thrust.
Guard.
Time-Thrust in Quarte Line not applicable
to the above attaclc.
COT-OVEB AND DiSENGAGE. Time-Thrust
Engage
in Ojjposition.
the blade in Quarte.
/ execute Cut-Ouer and Disenrjage.
On my
Cut-Over, lower your point
and " Time "
me
Low
Sixte
moment
I be-
in
with Opposition the
Time-Thrust Direct.
Engage the blade in Sixte. I execute Cut-Ouer and Disengage. "Time" me in High Sixte with Opposition the moment I execute the final
movement,
gin the final movement.
Without Analyzing. On my
On Guard.
Disengage; Time-Thrust.
Cut-Over.
Beat and Disengage. Time-Thrust Direct.
Engage the blade in Quarte. / execute Beat and Disengage. "Time" me in High Sixte the moment I execute the final move-
Time-Thrust
"Time" me position,
the
ment.
in Opposition.
Engage the blade in Sixte. I execute Beat and Disengage. in
Low
Sixte with Op-
by lowering your point
moment I begin the final move-
ment.
Without Analyzing. On
mi/
Beat and Disengagement.
Time-Thrnst.
Beat and Cut-Over. Time-Thrust Direct.
Engage the blade in Quarte. I execute Beat and Cut-Over. " Time " me in High Sixte with Opposition the moment I execute the final
movement.
On
Guard.
FOIL
150
AND
SABEE.
Without Analyzing. On my Beat and
Observation
:
Cat-Ooer.
Ou
Time-Thrust.
Guard,
Time-Thrust in Sixte Line not applicable to
the above attack.
Press and Disengage. Time-Thrust
Time-Thrust Direct.
Engage the blade in Quarte. / execute Press and Disengage. " Time " me in High Sixte with Opposition the moment I execute
Engage the
in Opposition.
blade in
Si.xte.
and Disengage. Lower your point and " Time /
execute Press
in
Low
moment
the final movement.
"
me
Sixte with Opposition, the I begin the final
move-
ment.
Without Analyzing. On my Press and
Disengagement.
On
Time-Thrust.
Guard.
Press and Cut-Oyer. Time-Thrust Direct.
Engage
the blade in Quarte.
/ execute Press and Cut-Over. "
Time " me
High Sixtfe with Opmoment I execute the
in
position the final
movement.
Without Analyzing. On my Press and
Observation
:
Cut-Ocer.
On
Time-Thrust.
Time-Thrust in Sixte Line
is
Guard.
not applicable
to the above attack.
Traverse and DisengageTime-Thrust Direct.
Engage
the blade in Quarte.
I execute Traverse and Disenqai/e. "
Time " me
in
po.sition the final
High Sixte with Op-
moment
I execute the
Time-Thrust
Engage /
execute Traverse
Lower your in
Low
moment
movement.
in Opposition.
the blade in Sixte.
and Disengage.
point and
"Time" me
Sixte with Opposition the 1
begin the
final
move-
ment.
Without Analyzing. On my Traverse and Disengagement.
Time-Thrust.
On
Guard.
ZJ
^
TWELETH LESSON â&#x20AC;&#x201D; FIRST
151
DIVISION.
Traverse and Cut-Over. Time-Tlirust Direct.
Engage
the blade in Quarte.
J fxecute Traverse and Cut-Over. "
"
Time
me
High Sixte with Op-
in
position the
moment I
execute the
movement.
final
Without Analyzing. Oh
mtj Traverse
Observation
:
and Cut-Over.
On
Time-Thrust.
Time-Thrust
in Sixte
Line
Guard.
not applicable to
is
the above attack.
Double. Time-Thrust Direct.
Engage the blade
Time-Thrust
/ execute Double.
I execute
On my
Lower your
"
first
in Opposition.
Engage the blade
in Quarte.
Disengagement.
Time " me by Counter Disengagement in High Quarte.
in
in Sixte.
Double.
Low
point and
"Time" me
Sixte with Opposition the
moment I begin the final movement.
Without Analyzing. On
On
Time-Thrust.
mi/ Double.
Guard.
Disengage and Cut-Over. Time-Thrust Direct.
Engage the blade
in Sixte.
/ execute Disenrjagement and Cut-Over. " Time " me in High Sixte with Opposition the moment I execute the final
movement.
Without Analyzing On my Disengagement and Cut-Over
Observation to the
:
Time-Thrust
Time-Thrust in Quarte Line
is
Oil
Guard.
not applicable
above attack.
Glide and Deceive. Time-Thrust in Opposition.
Engage the blade On my Glide.
in Quarte.
Feign the parry of Counter of Sixte, but stop halfway in its execution.
Time-Thrust Direct.
Engage the blade in Sixte. On my Glide. Disengage in High Quarte with Opposition.
/
AND SABRE.
FOIL
152 deceive the Coiinter.
Lower your
Low
in
point and "
Time
"
me
Sixte with Opposition the
moment my
blade arrives there to
pass under your wrist.
WiTHODT Analyzing. On my Glide and
On
Time-Thrust.
Deceive.
Guard.
SECOND DIVISION. time-thrusts on attacks composed of three m0ve5ients.
Two
Glide and Deceive
Time-Thrust Direct.
Time-Thrust in Opposition.
Engage the blade On VI Glide.
Engage the blade On my Glide.
in Quarte.
1/
but stop halfway in
its
in Sixte.
Oppose Counter of Quarte.
Oppose Counter of Sixte. / Deceice. Eeign the parry of the Second Counter,
Counters.
/ Deceive. Counter-disengage in High Quarte.
execu-
tion.
/ Deceive. Lower your point and " Time in
Low
"
me
Sixte with Opposition, the
moment my
blade arrives there to
pass under your wrist.
WiTHOOT Analyzing. On
mj) Glide
and Deceive two Counters.
On
Time-Thrust.
Guard.
Glide and One-Two. Time-Thrust
Engage the blade On ml] Glide.
Time-Thrust Direct.
in Opposition.
Engage the blade On my Glide.
in Quarte.
in Sixte.
Oppose Quarte.
Oppose
On my first disenqngement. Lower your point and " Time
On my One-Two " Time " me in High Sixte with Op-
Low Sixte with ment
I
"
me
in
Opposition the mo-
begin the final movement.
Sixte.
position the final
moment
I execute
movement.
Without Analyzing. On my Glide and One-Two.
Time-Thrust.
On Guard.
my
TWELFTH LESSON â&#x20AC;&#x201D; SECOND
153
DIVISION.
Glide, Cut-Over and Disengage. Time-Thrust
Engage the blade On mi/ Glide.
Time-Thrust Direct.
in Opposition.
Engage
in Quarte.
the blade in Sixte.
Oppose Quarte.
On mi] Glide. Oppose Sixte.
On my Cut-Over and Disengaqement. Lower your point and " Time " me
"
Low
in
On mij Cut-Over and Disengagement. Time " me in High Sixte with Opposition the moment I execute the
Sixte with Opposition the
moment
I begin the
final
move-
final
movement.
ment.
Without Analyzing. On
mi] Glide, Cut-Oier
and Disengage.
On
Time-Thrust,
Guard.
Beat and One-Two. Time-Thrust
Engage the blade in Quarte. / execute Beat and One-Two. On nig first Disengagement. Lower your point and " Time in
Low
Time-Thrust Direct.
in Opposition.
"
me
Sixte with Opposition the
moment
I begin the final
move-
Engage the blade in Sixte. / execute Beat and One-Two. On mi] first Disengagement. " Time " me in High Sixte with Opposition the moment I execute the final
movement.
ment.
Without Analyzing. On
mi]
Beat and One-Two.
Time-Thrust
On
Guard.
Beat and Double. Time-Thrust in Opposition.
Time-Thrnst Direct.
Engage the blade in Quarte. I execute Beat and Double. On mg first Disengagement. "Time" me by Counter-Disengage ment in High Quarte.
Engage the blade in Sixte. / execute Beat and Double. On mi] first Disengagement. Feign the parry of Counter of Sixte, but stop half- way in
its
execution.
/ Deceive. " Time " me in Low Sixte with Opposition the
moment my
rives there to pass
blade ar-
under your wrist.
Without Analyzing. On my Beat and
Time-Thrust
Double.
On Guard.
Beat, Cut-Over, and Disengage. Time-Thrust in Opposition.
Engage I execute Beat, Cut-Over, and the blade in Quarte.
engage.
Dis-
Time-Thrust Direct.
Engage the blade in Sixte. I execute Beat, Cut-Over, and Disengage.
AND SABRE.
FOIL
154 On my Lower in
Cut-Over.
and "Time"
j'our point
Low
me
On my Cut-Over. Time " me in High Sixte with Op-
"
position the
Sixte with Opposition the
moment
I begin
my
final
move-
final
moment
I execute
my
movement.
ment.
Without Analyzing. On Guard.
Time-Thrust,
On my Beat, Cut-Over, and Disengagement.
Press and One-Two. Time-Thrust
Engage the blade in Quarte. / execute Press and One-Two. On my first Disengagement. Lower your point and " Time " me
Low
Time-Thrust Direct.
in Opposition.
Engage
in
On my first Disengagement. in High Sixte with Op-
"Time" me
Sixte with Opposition the mo-
ment
I
begin the
final
the blade in Sixte,
7 execute Press and One-Two.
position the
movement.
moment
execute
I
tlie
movement.
final
Without Analyzing. On my Press and
On
Time-Thrust
One-Ttvo.
Guard.
Press and Double. Time-Thrust in Opposition.
Time-Thrust Direct.
Engage the blade in Quarte. I execute Press and Double. On my first Disengagement. " Time " me by Counter-Disengagement in High Quarte.
Engage the blade in Sixte. I execute Press and Double, On my first Disengagement. Eeign the parry of Counter of Sixte but stop half-way in
I Deceive. Lower your in
Low
its
point and
execution.
"Time "me
Sixte with Opposition
moment my
tlie
blade arrives there, to
pass under your wrist.
AViTHOUT Analy-zixg. On my Press and Double.
Time-Thrust.
On
Guard.
Press, Cut-Over, and Disengage Time-Thrust Direct.
Time-Thrust in Opposition.
Engage
the blade in Quarte.
I execute Press, Cut-Over, and Dis-
Engage the blade in Si.xte. / execute Press, Cut-Over, and
engage.
On my Cut-Over. Lower your point and
Low
"
Time " me
in
Sixte with Opposition the mo-
ment
I
Dis-
engage.
On my Cut-Over. "Time" me in High Sixte witli Opposition tlie moment I execute the
begin the final movement.
final
movement.
Without Analyzing. On my
Press, Cut-Over,
and Disengagement.
Time-Thrust.
On
Guard.
TWELJ'TH LESSON â&#x20AC;&#x201D; SECOND DIVISION.
155
Traverse and One-Two. Time-Thrust Direct.
Time-Thrust in Opposition.
Engage tMe blade in Quarte. / execute Traverse and One-Two. On m y first Disengagement. Lower your point and " Time " me
Low
in
Sixte witli Opposition the mo-
ment
begin the
I
final
Engage the blade in Sixte. I execute Traverse and One-Two. On my first Disengagement. " Time " me in High Sixte with Opposition the moment X execute the
movement.
fijial
movement.
Without Analyzing. On my Traverse and One-Two.
On
Time-Thrust.
Guard.
Traverse and Double. Time-Thrust in Opposition.
Time-Thrust Direct.
/ execute Traverse and Double. On my first Disengagement.
Engage the blade in Sixte. I execute Traverse and Double. On my first Disengagement.
" Time "
Feign the parry of Counter of
Engage the blade
in
in Quarte.
me by Counter-Disengaging
but stop half-way in
High Quarte.
its
Si.xte,
execution.
7 Deceive.
Lower your point and "Time" me in
Low
Sixte with Opposition the
moment my
blade arrives there to
pass under your wrist.
Without Analyzing. On my Traverse and Double.
On
Time-Thrust.
Guard.
Traverse, Cut-Over, and Disengage. Time-Thrust Direct.
Time-Thrust iu Opposition.
Engage the blade
I
execute
in Quarte.
Traverse,
Cut-Over, and
Engage the blade in Sixte. I execute Traverse, Cut-Over, and
Disengage.
Disengage.
On my Cut-Over. Lower your point and
On my "
Time " me in
"
Low Sixte with Opposition the moment
I begin
my
final
Cut-Over.
Time" me
in
High Sixte with Op-
moment
position at the
my
movement.
final
I
execute
movement.
Without Analyzing. On my
Traverse, Cut-Over,
and Disengage.
Time-Thrust.
On
Guard.
One-Two-Three. Time-Ttrust Direct.
Engage the blade in Quarte. I execute One-Two-Three. On my first Disengagement.
Time-Thrust in Opposition.
Engage the blade in Sixte. / execute One-Two-Three. On my first Disengagement.
FOIL
156
AND
" Time " me in High Sixte with Opposition the
Oppose Sixte and
moment
I execute
my
final
move-
ment.
SABRE. Oppose Quarte. On my second Disengagement. Lower your point and " Time " me in Low Sixte with Opposition the moment I begin my final movement.
WiTHOOT Analyzing. On my One-Two-Three.
On
Time-Thrust.
Guard.
One-Two and Deceive. Time-Thrust Direct.
Time-Thrust in Opposition.
Engage
Engage the blade in Quarte. / execute One-Two and Deceive. On my first Disengagement.
I execute One-Two and Deceive. On my first Disengagement.
Oppose
Sixte.
Oppose Quarte.
On my
second.
On my
Eeign the parry of Counter of but stop half-way in
/
Si.Kte,
its
execution.
point and "
Time " me
the blade in Sixte.
second.
Counter-Disengage in High Quarte.
Deceive.
Lower your in
Low
Sixte with opposition the
moment my
blade arrives there to
pass under your wrist.
Without Analyzing. On my
One-Tivo, and Deceive.
Time-Thrust.
On
Guard.
On
Guard.
One-Two and Cut-Over. Time-Thrust Direct.
Engage the blade in Quarte. I execute One-Two and Cat-Over. On my first Disengagement. Oppose Sixte and "Time"
me
in
High Sixte with Opposition the
moment
I execute the final
move-
ment.
"Without Analyzing. On my One-Two and
Ohservation:
Cut-Over.
Time-Thrust.
Time-Thrust in Sixte Line
is
not applicable
to the above attack.
Cut-Over and One-Two. Time-Thrust Direct.
Engage the blade in Quarte. I execute Cut-Over and One-Two. On my Cut-Over.
Time-Thrust in Opposition.
Engage the blade in Sixte. I execute Cut-Over and One-Two. On my Cut-Over.
i3
O Z
C5
P
TWELFTH LESSON â&#x20AC;&#x201D; SECOND Oppose Sixte and Higli
"
Time
"
me
Sixte witli Opposition
moment
I execute the final
in tlie
move-
ment.
157
DIVISION.
Oppose Quarte.
On my jirst iJisencjagement, Lower your point and " Time " me in Low Sixte with Opposition tlie moment I begin the final movement.
Without Ajialyzing. On my Cut-Over and One-Two.
On
Time-Thrust.
Guard.
CuT-OvEB, Traverse, and Disengage. Time-Thrust Direct.
Engage the blade in Sixte. I execute Cut-Over, Traverse, and Disengage.
"
Time " me
in
position the final
High Sixte with Op-
moment
I execute
my
movement.
Without Analyzing. On my
Cut-Over, Traverse,
Observation
:
Time-Thrust
in
On
Time-Thrust.
and Disengagement.
Quarte Line
Guard.
not applicable
is
to the above attack.
Double and Disengage. Time-Thrust Direct.
Time-Thrust in Opposition.
Engage the blade iu Quarte. / execute Double and Disengage. On my first Disengagement.
Engage the blade in Sixte. I execute Double and Disengage. On my first Disengagement.
Oppose Counter of Quarte.
Oppose "
On my second. Lower your point and
" Time " me in Low Sixte with Opposition tlie moment I begin my final movement.
Counter
Time " me
in
Opposition the
my
final
of
Sixte
moment
I
execute
movement.
Without Analyzing. On my Double and Disengagement.
Time-Tlirust.
and
High Sixte with
On
Guard.
FOIL
158
AND SABRE.
THIRD DIVISION. time-thrust on attacks composed of four movements.
Beat, One-Two, and Deceive. Time-Thrust
Time-Thrust Direct.
in Oppositiou.
On my first Disengagement.
Engage the blade in Sixte. ÂŁ execute Beat, One-Two, and On my first Disengagement.
Oppose Sixte.
Oppose Quarte.
Engage
the blade in Quarte.
I execute Beat, One-Two, and Deceive.
On my
On my
second.
Feign the parry of Counter of Sixte, but stop half-way in
its
/ Deceive. Lower your point and in
Low
Sixte at the
Deceive.
second.
Counter-Disengage in High Quarte.
execution.
Time " me moment my
"
blade arrives there to pass under
your
wrist.
W^iTHonr Analyzing.
On my
Beat, One-Two,
and Deceive.
Time-Thrust,
On Guard.
Beat and One-Two-Theee. Time-Thrust Direct.
Engage the blade in Quarte. / execute Beat and One-Two-Three. On VI y first Disengagement. Oppose Sixte and " Time " me in High Sixte the moment I execute
my
final
movement.
Time-Thrust in Opposition.
Engage the blade in Sixte. / execute Beat and One-Two-Three. On my first Disengagement. Oppose Quarte.
On my second. Lower your point aud
"
Time
"
me
in
Low Sixte with Opposition the moment
I
begin the final movement.
Without Analyzing. On my Beat and One-Two-Three.
Time-Thrust.
On
Guard.
Beat, Double, and Disengage. Time-Thrust in Opposition.
Engage the blade
in Quarte.
1 execute Beat, Double, and Disengage.
Time-Thrust Direct.
Engage
the blade in Sixte.
I execute Beat, Double, and Disengage.
On my first Disengagement.
On my first Disengagement.
Oppose Counter of Quarte. On my second. Lower your point and " Time " me in Low Sixte with Opposition the moment I begin my final movement.
Oppose Counter of
On my
Sixte.
second.
Feign the
parry
of
Quarte
Without Analyzing. On my Beat, Double, and Disengage.
aud
Time " me in High Sixte the moment I execute my final movement. "
Time-Thrust.
On
Guard,
TWELFTH LESSON â&#x20AC;&#x201D; THIRD
159
DIVISION.
One-Two, Deceive, and Disengage. Time-Thrust Direct,
Eugage the blade
Time-Thrust
1 execute One- 2\co, Deceive, and Disengage.
On
On my first Disengagement. Oppose Quarte.
mi/ first Disengagement.
me
Dis-
engage.
Oppose Sixte. On mi/ second. Oppose Counter of Sixte, and "Time "
On mg
moment
I
my
execute
second.
Oppose Counter of Quarte. On my third. Lower your point and " Time
in Higli Sixte with Opposition,
the
in Opposition.
Engage the blade in Sixte. / execute One-Two, Deceive, and
in Quarte.
final
Low Sixte
movement.
ment
my
begin
I
"
me in
with Opposition the mo-
movement.
final
Without Analyzing. On my One-Two,
and Disengage.
Deceive,
On
Time-Thrust.
Guard.
Double and One-Two. Time-Thrust
Time-Thrust Direct.
Engage the blade in Quarte. I execute Double and One-Two. On my first Disengagement. Oppose Counter of Quarte. / Deceive. Oppose Sixte. / execute One-Two. "
Time
"
me
in
position the final
High Sixte with Op-
moment
I execute the
movement.
in Opposition.
Engage the blade in Sixte. / execute Double and One-Two. On my first Disengagement. Oppose Counter of
/
Sixte.
Deceive.
Oppose Quarte. 1 execute One-T'wo. Lower your point and " Time " in
Low
Sixte the
moment
I
me
begin
the final movement.
Without Analyzing. On my Double and One-Two.
On
Time-Thrust.
Guard.
Press and One-Two-Three Time-Thrust Direct.
Engage the blade in .Quarte. / execute Press and One-Two-Three. On my first Disengagement. Oppose Sixte and " Time " me in High Sixte with Opposition the moment I execute the final move-
Time-Thrust
in Opposition.
Engage the blade in Sixte. / execute Press and One-Two- Three. On my first Disengagement. Oppose Quarte.
On my
second.
" Time "
me
in
position the
ment.
final
Low
Sixte with Op-
moment
I begin the
movement.
Without Analyzing. On my Press and One-Two-Three.
Time-Thrust.
On
Guard.
AND SABRE.
FOIL
160
Press, Double, and Disengage. Time-Thrust
Time-Thrust Direct.
in Opposition.
Engage the blade in Quarte. / execute Press, Double, and DisenOn my first Disengagement. Oppose Counter of Quarte.
On my second. Lower your point and
and Disen-
On my first Disengagement. Oppose Counter of O71
"
Time
"
me
in
Sixte with Opposition the mo-
ment
in Sixte.
I execute Press, Double,
gage.
gage.
Low
Engage the blade
begin the
I
final
movement.
my
Sixte.
second.
" Time "
me
in
High Sixte with Op-
moment
position the
execute the
I
movement.
final
Without Analyzing. On my Press, Double, and Disengage.
On
Time-Thrust.
Guard.
Press, One- Two, and Deceive. Time-Thrust in Opposition.
Engage the blade
Time-Thrust Direct.
Engage the blade
in Quarte.
/execute Press, One-Two, and Deceive.
On my first Disengagement. Oppose Sixte. On my second. Feign the parry of Counter but stop half-way in
/
in Sixte.
/ execute Press, One-Two, and Deceive.
On my first Disengagement. Oppose Quaxte.
On my of Sixte
second.
Counter-Disengage in High-Quarte.
execution.
its
Deceive.
Lower your in
Low
point and "
Time
"
me
Sixte with Opposition the
moment my
blade arrives there to
pass under your wrist.
Without Analyzing. On my
Press, One-Two,
and Deceive.
On Guard.
Time-Thrust.
One-Two-Three-Foue. Time-Thrust in Opposition.
Engage the Blade in Quarte. / execute One-Two-Three-Four. On my first Disengagement. Oppose
Sixte.
On my
second.
Time-Thrust Direct.
Engage the blade
On my first Disengagement. Oppose Quarte.
On my
second.
Oppose Quarte.
Oppose
On my third. Lower your point and
On my
third.
"Time
"
Low Sixte ment
I
"
Time " me in
with Opposition the mo-
begin the final movement.
in Sixte.
/ execute One-Two-Three-Four.
Sixte.
me
in
position the final
High Sixte with Op-
moment
I
execute the
movement.
Without Analyzing. On my One-Tivo-Three-Four.
Time-Thrust.
On
Guard.
'^ -^
TWELFIH LESSON â&#x20AC;&#x201D; FOURTH
161
DIVISION.
One-Two-Turee and Deceive. Time-Thrust Direct
Engage the Blade
Time-Thrust
lexecute One-J'wo-Three and Deceive.
On
mji first feint
of Disengagement.
Oppose Sixte. On my second. Oppose Quarte. On my third. Counter Disengage
in Opposition.
Engage the blade in Sixte. I execute One-Two-Thne and Deceive. On my first feint of Disengagement.
in Quarte.
Oppose Quarte.
On
mi/ second.
Oppose
On my Feign
High-Quarte.
in
Sixte. third.
tlie
parry of Counter of Sixte
but stop half-way in
its
/ Deceive. Lower your point and
"
execution.
Time
"
me
in Low-Sixte with Opposition the
moment my
blade arrives there to
pass under your wrist.
Without Analyzing. On my One-Two-Three and
Deceive.
FOURTH
On Guard.
Time-Thrust.
DIVISION.
TIME-THRUST ON ATTACKS IN THE LOW LIXE. Glide and Low-Thrust. Time-Thrust in Opposition.
Engage the blade in Sixte. I execute Glide and Low-Thrust. On my Glide. Lower your point and " Time " me
Low
in
Sixte with Opposition the mo-
ment I lower Low.
my
point to Thrust
WiTHOiTT Analyzing.
Observation
:
On
Time-Thrust.
On my Glide and Low-Thrust.
Time-Thrust in Quarte Line
is
Guard.
not applicable
to the above attack.
Beat and Low-Thrust. Time-Thrust in Opposition.
Engage
the blade in Sixte.
/ execute Beat and On my Beat. Lower your
Low ment Low. 11
Low-Thrust.
point and "
Time " me
in
Sixte with Opposition the moI lower
my
point to Thrust
FOIL
162
AND SABRE.
"Without Analyzing. On
mij
Observation to the
:
On
Time-Thrust.
Beat and Low-Thrust.
Time-Thrust in Quarte Line
Guard.
not applicable
is
above attack.
Press and Low-Thrust. Time-Thrust
Engage the
in Opposition.
blade.
/ execute Pi'ess and On my Press.
Low-Thrust.
Lower your point and "Time" me
Low Sixte with Opposition ment I lower my point to
the
in
mo-
Thrust
Low.
Without Analyzing. On my Press and Low-Thrust.
Observation
:
On
Time-Thrust
Time-Thrust.
in
Quarte Line
is
Guard.
not applicable
to the above attack.
Beat, Low-Thrust, and Deceive. Time-Thrust
Engage
tlie
in Opposition.
blade in Quarte.
I execute Beat, Low-Thrust, and Deceive.
On my feint of Low-Thrust. Lower your point as if to parry
Sep-
time.
/ Deceive Septime. " Time " me in Low-Sixte with Opposition the
moment my
blade arrives
there to pass under your wrist.
Without Analyzing. On my
Beat, Low-Thrust, and Deceive.
Time-Thrust.
Observation: Time-Thrust in Sixte Line to the above attack.
is
On
Guard,
not applicable
TWELFTH LESSON â&#x20AC;&#x201D; FOURTH
163
DIVISION,
Beat, Low-Thrust, and Lunge in High Line. Time-Thrust Direct.
Engage the blade in Sixte. I execute Beat, Low-Thrust, and Iwuje in High Line. " Time " me in High-Sixte with Opposition the moment I execute the Low-Thrust.
Without Analyzing. On my
Beat, Low-Thrust,
Observation
:
and Lunge
in
Time-Thrust
High
in
On
Time-Thrust.
Line.
Quarts Line
is
Guard.
not applicable
to the above attack.
Beat, Low-Thrust, and
One-Two
Time-Thrust Direct.
Engage the blade
Engage
in Quarte.
Two in Sigh Line. On my Low-Thrust.
my
final
Line.
the blade in Sixte. One-
Oppose Octave. On my One-Two in Sigh Line. " Time " me in Low-Sixte with Oppo-
Oppose Septime. On.my feint in Sigh Line. Keplace your point in the High-Line and " Time " me in High-Sixte with
moment
High
I execute Beat, Low-7'hrust, and Two in Sigh Line. On my Low-Thrust.
/ execute Beat, Low-Thrust, and One-
Opposition the
in
Time-Thrust in Opposition.
sition the
moment
I
begin
my
final
movement,
I execute
movement.
Without Analyzing. On my
Beat, Low-Thrust, and One-Two in
Sigh
Line.
Time-Thrust.
On
Guard.
Press, Low-Thrust, and Deceive. Time-Thrust in Opposition.
Engage the blade
I execute
in Quarte.
Press, Low- Thrust,
and De-
ceive.
On my Low-Thrust. Lower your point as if to parry Septime and " Time " me in Low-Sixte with Opposition the moment I begin the final movement.
WiTHonT Analyzing. On my
Press, Low-Thrust,
Observation
:
and
Deceive.
Time-Thrust.
Time-Thrust in Sixte
to the above attack.
liine is
On
Guard.
not applicable
foil
164
and
sabre.
Low-Thrust, and Lunge
Press,
High Line.
in
Time-Thrust Direct.
Engage the hlade in Sixte. / execute Press, Low-Thrust, and Lunge
in
High Line.
On viy Press and Low-Thrust. " Time " me in High-Sixte with Opposition the moment I execute the Low-Thrust.
Without Analyzing. On my
Press, Low-Thrust,
and Lunge
in
Press, Low-Thbust, and
Sigh Line
One-Two
Engage
One-
Oppose Septime. On my One-Two in High Line. in
position the final
Line.
in Opposition.
Oppose Octave.
On my One-Two in High Line. "Time" me in Low-Sixte with position the moment I begin
High-Sixte with Op-
moment
Guard.
Engage the blade in Sixte. I execute Press, Low-Thrust, and OneTwo in High Line. On my Low-Thrust.
the blade iu Quarte.
/ execute Press, Low- Thrust, and Two in High Line. On my Low-Thrust.
"Time" me
High
in
Time-Thrust
Time-Thrust Direct.
On
Time-Thrust.
I execute the
movement.
Opthe
movement.
final
Without Analyzing. On my
Press, Low-Thrust,
and One-Two.
Time-Thrust.
On
Guard.
On
Guard.
Glide, Low-Thrust, and Deceive. Time-Thrust in Opposition.
Engage the blade. / execute Glide, Low-Thrust, and Deceive.
On my
Glide.
Oppose Quarte. / Thrust Low. Lower your point as if to parry Septime and " Time " me with Opposition the
moment my blade
arrives
there to pass under your wrist.
Without Analyzing. On my
Glide, Low-Thrust,
Observation
:
and
Deceive.
Time-Thrust
to the above attack.
Time-Thrust.
in Sixte
Line
is
not applicable
twelfth lesson â&#x20AC;&#x201D; fourth
165
division.
Glide, Low-Thrust, and Lunge in High Line. Time-Thrust Direct.
Engage
/
tlie
Lunge
On my
blade in Sixte. Glide,
execute in
and
Low-Thrust,
High Line.
Glide,
Oppose Sixte. / Thrust Low. "
Time " me in High Sixte the moment I execute the Low-Tlirust.
Without Analyzing. On
mil Glide,
Low-Thrust, and Lunge
Observation
:
in
High Line.
On
Time-Thrust.
Time-Thrust iu Quarte Line
is
Guard.
not applicable
to the above attack.
Glide, Low-Thrust, and
Engage the blade
One-Two
in
High Line.
Glide.
Oppose
Oppose Quarte. / Thrust Low. Oppose Septime. On my feint in High Line. Replace your point in High Line and "
Time
"
me
in
Opposition the
my
final
High
Line.
Engage the blade in Sixte. I execute Glide, Low-Thrust, and OneTwo in High Line. On my Glide.
in Quarte.
I execute Glide, Low-l%rust,and One-
Two On my
in
Time-Thrust in Opposition.
Time-Thrust Direct.
I
Sixte.
Thrust Low.
Oppose Octave. 1 execute One-Two
in
High
Line.
"
Time " me in Low Si.xte with Opposition the moment I begin mj
High Sixte with moment I execute
final
movement,
movement.
Without Analyzing. On my
Glide, Low-Thrust,
and One-Two
On
in
Guard.
High
Line.
Time-Thrust.
PAET
III.
THE GRAND SALUTE. The Grand
Salute
is
effect of exercising the
a prelude to the assault, and has the
arms and
and
legs, rendering the joints
At
muscles supple, preparatory to the strain of the contest. the
same time
serves as a courteous
it
salutation
the
to
audience.
The two adversaries face each other at a distance of about 12 feet and place their masks on the floor to the left of them. (See fig. 27.) Elevate the points of the foils, in line with the eyes, ai-ms extended and with foils forming continuous horizontal line at the height of the shoulder.
First movement.
— To
(See
both adversaries.
fig.
1.)
— Lower
simulta-
neously your hand in the position of Tierce by bending the
arm, elevate the your head. "
arm, curve slightly and place it behind Bend your legs, advance your foot (position of
On Guard")
left
(See
fig.
28),
and then recover backwards.
(See
fig. 1.)
"
One of the fencers invites the other to take his distance. To you the honor." His adversary responds, " I obey," and
then lunges without touching (see first position.
(See
fig.
29),
and returns
to
fig. 1).
—
Both salute simultaneously, each to his Second movement. left, with the arm half extended (nails turned upwards) and in line with the left breast and looking in that direction.
own
(See
fig.
30.)
Withdraw the arm and
salute to the right
turned downwards) and in line with the right breast and look in that direction. (See fig. 31.) Return to first (nails
position
(see
fig.
joined in Quarte.
1),
and
fall
On Guard and
with blades
O
I
P
;
Third movement. distance and
is
THE GRAND SALUTE.
167
â&#x20AC;&#x201D; The adversary who
previously took the
the attaclting party, executes four successive
disengagements, his adversary parries the first of these by a sharp Tierce and then lowers his point, till in line with the belt or hip,
with nails turned downward.
The action
of this
parry causes the adverse blade to swing around, with the aid
thumb and index
of the
finger, to a position above the left
shoulder and in line with the ear.
The adversary should
remain an instant thus fully extended on the lunge, with his hand at the same elevation as the crown of his head, looking at his opponent through the opening between his arm and blade. (See fig. 32.) Returning On Guard with engagement of Sixte he then executes a second disengagement in Quarte. His adversary parries Quarte and lowers his point till in line with belt or hip, nails turned upwards. The action of this parry causes the adverse blade to swing around (the adversary himself remaining an instant fully extended on the lunge) to a position above the right shoulder
and in
line with the right ear,
He
arm extended.
looks at
adversary through the opening between his blade and
his
arm.
(See
fig.
33.)
Resume On Guard, the blades
joined in Quarte. Redisengagements and find then the blades peat these two execute One-Two and recover forward joined in Quarte the adversary parries Tierce on the first feint and re;
mains in that position
;
the attacking party passes his blade
over that of his adversary with the hand in Tierce, elevates his left latter fig.
arm
as for
position by
On Guard, and
moving
his
left
places himself in foot
backward.
the
(See
28.)
Both adversaries execute simultaneously one Call and recover backward to " first position." From this position the former parrying Fourth movement. party now becomes the attacking party and proceeds, in his
â&#x20AC;&#x201D;
turn, to lunge, in order to take the distance (see
without words of command.
Having done
so,
fig.
29), but
he returns to
first figs.
AND SABRE.
FOIL
168
Both salute the audience
position.
30 and 31.)
Fifth movement.
— Proceed
ments) with engagement
to
On Guard
(See
(in seven
move-
The attacking party
Quarte.
of
before.
as
One-Two, recovers and then backward to On Guard. Both execute simultaneously one call and assume first poexecutes four disengagements, executes
forward to
first position,
sition.
Sixth movement.
— Both
adversaries lower simultaneously
and place themselves On Guard by means of the left foot, execute two Calls, salute from this position, and recover forward. Simultaneously bend the right arm, the elbow close to tlic body the hilt of the foil near the chin and the nails turned toward the throat (see fig. 34), lower the blades, straightening the arm, palm of the hand toward the floor, the point of the the right hand, elevate the
left,
blade at a distance of four inches frohi the floor, and fortyfive degrees to the right of an imaginary line drawn from
one adversary to the other.
(See
fig.
35.)
The Grand Salute by Left-handed Fencers.
—
Tlie rules of the
Salute are strictly applicable to two left-handed together,
it
right and
When
men
fencing
being necessary only to interchange the words
left.
man fences with a right-handed one, former should observe the following modifications of the general rules 1. He should deposit the mask at the right. a left-handed
tlie
:
—
He must conform to the Tierce engagement handed man in the first assumption of Guard. 2.
of the right3.
He
should
take his distance with his hand turned nails downward.
The One-Two
final is
made from
after having taken his distance
Quarte to his opponent's Tierce. for the
same
One-Two.
5.
The
he assumes engagement of parries Quarte
The opponent
individual salutes are
direction simultaneously.
4.
Sixte line, and to that end
That
is
made
in the
to say both fencers
Quarte first, then Tierce. To this end the lefthanded man should take such a position that the president of execute
the assault will be at his right.
THE ASSAULT.
169
The Assault. In the assault a fencer must depend entirely on himself he his imagination and resources to the utmost, as all ;
must tax
They
of the details of the lesson find their application here.
are of course to be applied as circumstances demand.
must use
to his
take advantage
own of,
profit,
and
He
in every instance possible
his adversary's faults
and
errors.
has been demonstrated that one cannot score a hit frequently without deceiving the adverse blade. The adversary It
has at his
command an
movements which Not only must his intended
infinite variety of
challenge unceasing attention.
attack be foreseen and provided against, but his probable
parry of any thrust must be prejudged attention of the most active
possible,
if
suitable counter-thrust determined upon.
and a
In fact the keenest
and trained mind
finds
ample
oc-
cupation in the presence of the threatening blade of an agile
swordsman. Mental no less than physical activity is accountaIt therefore follows that the ble for every good touch given. fencer's chief occupation is to divine the adversary's movements, to note his mental as well as his physical capabilities. Is he easily led out, is his general attitude regular, does he give himself to parrying or to attacking, is he prudent or precipitate,
deliberate
or
impulsive,
â&#x20AC;&#x201D; in
short,
does
his
head avail him for any other purpose than to carry his
mask
?
When
beginning the assault
it is
necessary to keep the dis-
Never advance withProceed by false attack, execute the real attack only when you foresee the intentions of the even when successadversary. After an attack or a riposte return on guard with the point in line ful in its execution tance in order to prevent any surprise. out being prepared to parry.
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
and in readiness either for the parry or another attack, observing the maxim " Prudence is the mother of safety." An accurate appreciation of the distance within which one can reach his adversary and be reached by him, is one of the qualities essential to
an expert fencer.
When
the adversary makes
FOIL AND SABRE.
170 t urn
a pa rr^ that you would not take on the
to inspire
your adversary with confidence, dissem-
a feint, feignjn real attack.
In order
and apprehension you will then cause him to Harass him, attack him repeatedly on his act imprudently. advance, and do not forget that in fencing one can deceive not only the movements of the blade but also those of the body. This end is obtained by attacking the adversary on his present Do not attack him when attitude and also on his future oneble uneasiness
he
is
;
prepared to parry, but endeavor to break his guard.
An
unguarded "nick of time" is the one which surpiises him with a touch. When contending against an adversary who gives no blade, one must proceed by false attacks. These tactics oblige him attack executed in that
to replace his foil in line, either for the parry or for the attack.
When
facing an adversary
who
favors the extension of the
arm, provoke this extension by a false attack and then attack liis
blade.
In
all
regular assaults at arms a rule has
come
to be uni-
versally adopted which counts as good hits only those which
touch the body within certain prescribed limits (usually be-
tween the collar and the hips). This rule has led some fencers into an unfortunate practice of entirely disregarding those thrusts from the enemy which are likely to arrive outside said limits.
The rants
rule, tlie
though
it
annuls these touches, by no means war-
They should all be The conscientious defend himself against being hit upon
complete ignoring of them.
parried with the greatest possible care.
fencer endeavors to
any part
A
of the body.
diligent instructor will inculcate this principle progres-
sively like all others, in the ordinary course of lessons,
not wait until the pupil
is
about to enter his
and
first assault.
Observation 1. I would here like to put the " stamp of Cain " upon a practice which, be it said to the credit of this chivalrous pastime,
is
only rarely seen, but which some cow-
O
o >-
a H
J
THE ASSAULT.
171
ardly fencers have allowed themselves to profit hy.
They
take unmanly advantage of the above mentioned rule of limitation by intentionally coiling their fencing
arm
as
much
as
possible over their chest with the intention of covering that
part of the body which
open to valid hits by the fleshy a hit does not count. They also sometimes lean the upper torse far forward and at the same time crouch down so that but a small part of the chest part of the upper
is
arm upon which
exposed to the attack of the adversary. These cowardly tactics cannot be too severely condemned by all fencers who would lift their favorite sport to its proper elevation of honorable war (fair). In the rules govei'ning the assault below, I have empowered the president and jury to judge for themselves, and to count as good a touch upon the arm when it is quite evident to them that tlie fencer is purposely employing these disreputable tacThey will tics to avoid a touch that has been well executed. have use this discretionary power, however, occasion to seldom, chivalrous sport which prompts dishonor on no as fencing is a
is
the part of
its
devotees.
may
not be untimely here to touch upon seems to me is of great consequence to the art of fencing in America, as it relates to a serious drawback to the public assault as at present conducted in this country, where athletes are so fond of public contests. I reObservation
2.
It
another point wJiich
it
fer to the practice of chalking the tip of the foil so that will leave its
mark on
the adversary's chest.
it
Whoever has
seen an assault in whicli chalk was used will never wish to see another.
The
objections are many.
be very misleading.
The chalk
spot
may
In the passes of the by-play and pre-
paratory feints the chalk
may be
accidentally rubbed off the
point so that a succeeding successful hit will leave no at all, or one so indistinct that the judges
mark
must run to each
adversary, examine carefully over their whole vests, consult together, and decide as best they can.
This running of the
judges at every interval of two or three passes, and peeking for a fly specTi on the chest of the contestants converts a digni-
TOIL
172
AND
SABRE.
very burlesque. It interrupts tbe sword most unfortunate moment. It intercepts a or a " Phrase d'Armes," and shatters the integrity of
fied exhibition into a
play, often at a rally,
All because the contestants are not conceded honest enough to acknowledge a palpable hit made
the game. to be
against them.
This
is all
wrong, and should be remedied at once. Fenenough to admit the success of an adversary,
cers are honest if
they are given a chance and
if
trained to do so by their in-
structor in his practice with them, If all
and among themselves.
the instructors and fencing clubs would set about
it,
there would soon be an unwritten law of honor in this matter
which would leave very
little
for the jury to do, except to
judge of the comparative styles of the tive value
of their hits
and
parries.
men and
When
a
the compara-
man
is hit,
whether valid or not, he should immediately shout " a touch," and continue the assault with but an instant's interruption, leaving the judge to decide whether it was a good hit, or not. If he would at the same time place his left index finger upon the spot where he perceived he had been hit, it would greatly assist the judges and emphasize the honorable chivalry of the game. If
the president of the assault sliould become satisfied that
any fencer intentionally failed he should
call his attention
to
acknowledge that he was
hit,
sharply to the fact, and a second
summarily and upon a vote of the jury be disbarred from ever again participating in an assault under the auspices of the society. I heartily recommend the above method to American offence should be publicly announced, the offender ejected,
fencers.
Remarks upon
the Assault.
â&#x20AC;&#x201D; In
order to get a just per-
and defence, one must imagine that two fencers of equal quickness, strength, and cleverness are pitted against each other. In this case the attack is always one movement in advance of the parry, and the adversary, if he attempts to follow the attacking blade in all its movespective of the attack
PREMATURE ASSAULT.
173
ments, will assuredly be hit. When the adversary parries an attack by following the blade unerringly in all its feints, it proves that he is quicker than his opponent, for he could not follow the blade in all of
them
had
its feints
without dissimulating some
in order to regain the start that the attacking party
moment
at the
of execution.
retreat of the body, on the final
He
can also execute a
movement
of his adversary's
attack, placing himself at a further distance,
and giving him
time to arrive with his parry. In an assault in wliich the quicker of the two fencers defeated,
it
adversary,
is
denotes that he possesses less judgment than his
who does not give him time to utilize his quickown detriment, when he attempts to em-
ness, except to his
ploy the Time-Thrust.
In a public assault there sometimes exists another element beside judgment and rapidity, which figures largely in the
There is a certain sense of uneasiness on the part of some fencers which tends to paralyze entirely their resources. result.
Their nervous system ness
is
such a feeling. tary inability, less
is
prostrated.
only understood by those
This state of helpless-
who have
really experienced
This sensation is the cause of their momenwhich results in their defeat at the hands of
who are not subject to the same There are others who only experience this prosthe beginning of the fight, and' who, after a few
expert adversaries
timidity.
tration at
passes, regain possession of themselves.
Experienced fencers do not judge of the qualities of a man by the result of his public encounters, which sometimes depends more on his natural endowment and temperament, as stated above, than on his knowledge of the science or practical ability.
I
in
would, therefore, recommend public assaults as beneficial
more senses than
one.
They not only promulgate
a liking
for the art, but also teach the fencer self-possession.
â&#x20AC;˘
Premature Assault.
â&#x20AC;&#x201D;
It is a great
mistake for
tlie
pupil to
begin making assaults too early in his study and practice of
AND SABEE.
FOIL
174
The
arms.
instructor has not always the necessary authority
bad practice. He fears to offend his pupils, a matter often of considerable conand possibly lose them, sequence to him. The pupil who makes an assault having only an imperfect knowledge of the parries, makes every to suppress this
â&#x20AC;&#x201D;
be touclied, fears every attack of the adver-
effort not to
makes every kind
sary,
of contortion
and displacement with-
This doubtful remain with him, and often becomes a serious obstacle, and sometimes hinders him from ever becoming a really strong fencer. out purpose, simply through excess of fear.
and fearing manner
will
President of the Assault. is
â&#x20AC;&#x201D; The president
of a public assault
appointed to preside over and fully control
the contestants.
He
is
tlie
contest and
chosen with a view to his practical
knowledge and judgment in the art, and his cool head. It is his duty to see that all the rules that govern the competition are observed, likewise those unwritten rules which pertain to a fair fight, a fair count, intervening courtesy, and mutual consideration. His decision is final. He should not tolerate any irregularities similar to the ability as a fencer, his
his impartial disposition,
following: 1.
One
â&#x20AC;&#x201D;
of the contestants
having delivered a thrust, whether
successful or not, should not turn his back toward his adversary. 2.
A
fencer should not by sign or gesture indicate to the
audience or the jury that he thinks he has
made a
successful
thrust; or that he disapproves of a decision. 3.
The fencers should under all circumstances maintain accompany a lunge with a shout or
perfect silence, and never ejaculation.
4. Every hit should be immediately acknowledged, whether good or bad the spectators, being generally seated at some distance from the fencers, trust in their honor to acknowledge ;
a
hit.
Neither adversary
is
allowed to retain the point of the
PROFESSORSHIPS.
175
sword on his opponent's chest, neither must he appeal to him to ascertain whether his thrust was successful or not. After a hit, whether good or not, the swords must be crossed " On Guard " before a succeeding attack becomes allowable.
Any
violation of the above regulations
and checked.
If
the offender
must be announced
called to order a second
is
time, he should be excluded from the assault, and the order
announced publicly.
Professorships.
A
I.
Board
of
Examiners, consisting
of at least three
Mas-
ters-at-Arms, should hold an annual examination and have the power to confer two grades of Diplomas upon successful candidates for Professorships, that of
Maitre d'Armes, and that of
Prevot d'Armes. those
who
(Fencing Master)
(Assistant Fencing Master)
The former should be conferred only upon
already hold the latter.
All persons wishing to stand the examination should
II.
make
application to the secretary of the
at least
Board
of
Examiners
one month before the examination takes place, stating
name, age, nationality, references, previous record, and any other information the authorities
may
Each
think advisable.
application should be accompanied by ten dollars to defray
expenses of the examination, diplomas,
etc.
in. The moral character and reputation of the applicant should be taken particularly into account, and
if
not satisfac-
tory he should be excluded from the examination.
IV. The examination
may
be divided into four parts
:
De-
monstration, Theory, Practical Capacity, and General Excellence.
From one
to twenty-five points
may
be given to each
head.
in
a. Demonstration relates Attack and Defence. b.
Theory questions
to the
manner
shall relate to
of giving a lesson to a pupil
fundamental principles of fen-
cing instruction and practice. c.
Practical Capacity will be demonstrated by an assault of five
FOIL
176 liits,
each having a value of from one to
judgment of the Board. d. General Excellence
By date
AND SABRE.
adding is
refers
to
according to the
five points,
attitude,
style,
resources,
etc.
the points the grade and classification of each candi-
all
100
determined.
vtfould signify perfection.
Choice of a Professor.
â&#x20AC;&#x201D; Until
sucli a plan as the
above has
been adopted and carried out, clubs and other organizations in need of an instructor in fencing are at the mercy of adven-
Any
turers.
one wishing to teach the art
so without restrictions in this country.
at liberty to
is
Many
a man, and
do
many
clubs even, have been beguiled into employing the services of
a vaunted " professor,"
who
exhibited foreign but not genuine
medals never won, and have afterwards regretted their own good faith and credulity, on becoming aware that all they had acquired was detrimental rather than diplomas, and
There
helpful in the art.
is
only one remedy against these
who debase our
improvised tutors obligatory diploma.
noble art,
â&#x20AC;&#x201D; establish
an
In a few years every college and club in
America will be needing the services of fencing masters, and we must look to the elevation of the profession by winnowing the wheat from the chaff. Professional capacity and personal honor we must have in our teachers. Rules governing Amateur Competitions. I.
The competition who shall
tent fencers
shall be in charge of a jury of elect
Decision of jury shall be
of the assault.
n. Each bout
shall"
compe-
one of their number as president final.
be for an aggregate of five (5) touches
;
each touch to count one point. III.
a
The judges may award
maximum
attack,
and
of
-f-^-^
-^-^ of
to each contestant in each bout
of a point for defence, j^"^ of a point for
a point for general good form, or any part
thereof, the total of all the points
made by a
contestant being
his score.
IV.
A
good hit shall count when made upon the body
within the limits bounded by the collar of the fencing jacket, the hips, and a line
drawn from
the hip to the posterior limit of
Pi
& O >->
Pi
PS ?!
EI E-i
P
RULES GOVERNING AMATEUR COMPETITIONS. the arm-pit around the front of the
arm and along
177
the crest
of tlie slioulder to the collar.
V.
A
hit outside the prescribed limits
vided in the opinion of the judges
it
may
be counted, pro-
would have been good
the adversary had not taken an irregular position or illegal
if
made an
movement.
VI. If one of the contestants touches with his point a part of his adversary's body, not within the prescribed limits, suffices to stop the
it
phrase of arms, and annuls any succeed-
ing riposte or counter-riposte. VII.
No
passage of arms
contestants VIII.
is
is
terminated until one of the
hit.
Contestants shall fence within a marked floor-space
not more than twenty feet long and three feet wide ; half a point for each offence of overstepping tliose boundaries may be deducted from the score of the offender.
When one of the contestants has forced his adversary extreme boundary, they shall not be ordered to central ground until a hit has been made. IX.
to his
X. The contestants are
strictly forbidden
claim a hit or speak a word. penalty to
fit
discuss or
to
The judges may
prescribe a
the infraction.
XI. Either contestant on being hit must acknowledge the point in a loud voice.
The president
of the assault
may
dis-
qualify an offender.
XII.
Corps&,-corps encounters must be stopped by the presi-
dent as soon as they become irregular. contestant shall fence with the same hand throughXIII.
A
out the bout.
XIV. The two costumes should be
of the
same color and
of strong material to avoid accidents.
XV. When matched by
XVI.
A
there
are
several
contestants they shall be
lot.
touch
is
invalid
when the
the body after the slap of the
point
is
XVII. To disarm an adversary counts
for nothing
tac-au-tac riposte against a disarmed adversary 12
twisted on to
foil.
is
;
good.
but a
"
AND SABRE.
FOIL
178
XVIII. Foil blades
shall not exceed thirty-five inches in
length.
XIX. Only masks of the fine-mesh pattern The use of coarsely-woven masks is prohibited.
shall be used.
XX. Contests with the duelling sword (ep^e de combat) and sabre are governed by the same rules as the foil competition, except that a touch on any part of the person or mask is
The guard
good.
of the duelling
sword shall not exceed five more than
inches in diameter, and the blade shall not be thirty-five inches long.
Double
Hits.
quently than the is
same
â&#x20AC;&#x201D;
is
It
sometimes happens, though much
supposed, that both contestants "
instant.
Who
make
less fre-
hits at
shall be credited with the point
?
the perplexing question which always gives rise to varying
and endless perplexities. It seems impossible to a rule that would be invariably applicable and concluThe two following rules have been much tried, but both
discussions, find sive.
are found wanting.
Second.
parry."
First.
"
A
cedence over one in the
"
touch
Low
The contestant attacked must in the High Line takes preBoth are as unjust as
Line.'"
inconsistent with the ground principles, classical and practical, of
first
tlie
rule,
art.
allow
Many young
fencers, standing
themselves to attack
the
upon the
adversary with-
They blindly out judgment, preparation, or reflection. throw themselves upon the adversary, searcliing only to make a touch, taking no precaution against being touched. Unmindful of the dangers they court, they forget that a fencer sliould never make an attack without being prepared to parry.
By means
of the first of these rules
it
was hoped
to prevent
the occurrencS of the double hit by obliging the attacked party to parry before riposting fact
it is
;
but the rule
not always necessary to do
so.
is
When
in error, as in
the attack
is
badly made, as for example, too wide, too slowly, without opposition, assailed
when
may
the assailant draws his
arm
back, the party
be warranted in omitting his parry and proceed-
DOUBLE
HITS.
179
ing instantly, upon seeing the opening made by the above errors, to execute a Stop-Thrust.
The second
rule also stands upon good theory, but is like-
wise faulty and unreliable.
That the touch in high line should take precedence over the one in low line is good doctrine, since the ujjper part of the torso is generally inclined forward at the moment of the starting and would be (arms and weapons being of the same length). But by no means does it always happen so. To illustrate Suppose A successfully parries B's thrust in low line, but in his haste to riposte abandons the blade too slightly
touclied before the lower part
:
B
quickly, leaving an opening for
low
which he can
line,
easily
could complete his riposte,
replace
to
his point in
do as soon as, or eveu before, A having less distance to travel.
This point might rightly belong to B, certainly not to A.
But here the above mentioned
rule
would step
in
the point because his touch was in higli line.
not only illustrates
and give
A
This example
how absurd the above rule may le, many arbitrary rules which
typifies the unreliability of
but are
brought forward for the settlement of questions which only the judgment of the jury can well decide.
It is for tlie presi-
dent of the assault and the judges to weigh the comparative merits of the two attacks and the parries,
â&#x20AC;&#x201D; letting the attitude,
the style of the lunge, the position, the elevation of the hand,
and
precautionary measures that were taken by either
all
party, enter into the comparison,
one
who
did the most to earn
â&#x20AC;&#x201D; and give the
point to the
have often noticed in assaults of arms where chalked buttons were used, that the judges busied themselves about the white marks left upon the it.
I
fencing jackets, quite forgetting to discuss and pass upon the
manner
in
which they were made,
finally
concluding the farce
of their service by declaring that the hits were mutual and void, finding
it
easier to annul the point than to judge justly.
Double hits should never be annulled unless
A
demerit.
ment, in host."
double hit
which
each
is
of equal merit or
generally the result of bad judg-
contestant
" reckoned
It is the lite noire of every fencing
without
match.
his
It is safe
AND SABRE.
FOIL
180 to say that
what appear
to be double hits
would never occur,
within the usually prescribed limits of a valid touch, if the In the heat of a sharp battle attacks were correctly made.
But expeto sacrifice safety to ambition. him always to have his defensive resources hand, especially when about to assume the offensive.
a fencer
is likely
rience will teach well in
The judges of an assault should follow most attentively movement of the two fencers and note exactly what
every
positions
they hold at
moment
tlie
of the double hit,
and
decide upon those respective positions and according to the
following rules, which
may
be considered supplemental to the
regular rules of the assault (page 176).
A
Double Hit by simultaneous attacks of equal merit is annulled, since the fault is equally shared. 2. A Double Hit by a Stop-Thrust upon an attack badly executed, wherein the feint waยง too large or the arm drawn back, counts for the one who makes the Stop-Thrust since he may have mistaken the 1.
;
faulty
movement
and erred only
of tlie assailant for a preparation of attack,
in judgment, while
the other
is
doubly cul-
pable in having sacrificed primary principles to ambition or
A
Double Hit by a Time-ThruHt badly judged For the attack was well executed and the adversary had the choice of a parry, a retreat, or a Time-Thrust. He chose the most hazai-dous and executed excitement.
3.
counts for the assailant.
faultily. 4.
A
The attacker
is
therefore
entitled
to
the
point.
Double Hit by a Tension upon an attack well made
counts for the Assailant.
The party attacked sought
to
make
a Double Hit because he felt himself incapable of parrying. 5.
A
Double Hit by a Remise upon a riposte with hollow arm abandonment of the blade, counts for the one who
or upon an
it was provoked by a faulty Riposte. Double Hit by a Remise with hollow arm or with hand dropped to remise counts for the one who executed the Riposte; for he was less at fault for taking his guard than the othci-,
executed the Remise, for 6.
A
his cliest by trying a faulty Remise. 7. A Douby a Redouble upon a parry which it was supposed would not be followed by a Riposte counts for the Riposter.
who exposed ble Hit
H P 1-^
1-1
^''^â&#x20AC;¢w^IJ '^""'^ms*^-
y ^'-
"^
TECHNICAL DEFINITIONS.
181
For the assailant who already had the advantages of having prevented the riposte by his position should have been satisfied to taice his guard, and not have offered an overture for a Riposte by his Redouble. Riposte by Tac-au-Tac.
— This riposte
essentially direct,
is
hence the name, one has no time to see that the adversary may be disarmed by The point arrives on the adversathe stroke of the parry. ry's body just as his blade slips from his hand, and the tac as
it
follows instantaneously after the parry
tac of blade
and tac
of body.
;
It is so instantaneous that
body occurs simultaneously with the fall of the sword, and the riposte cannot be withheld. In the case of disarming by a Beat, Bind, or Traverse, tlie hit counts good if the tac of the body follows instantaneously after the tac of the blade. of tlie
(See
fig.
16.)
Corps-a-Corps.
— This encounter
is
the meeting of two ad-
versaries who, in the heat of the fight, find themselves close
enough
to one another to hit without lunging
and without ex-
tension of the arm.
The
thrusts in this case
may
be very regular, but
if,
as
is
often the case, the adversaries approach each other and touch
shoulder to shoulder, the bout degenerates into a pugilistic
encounter which should be instantly stopped. Phrase of Arms.
— A Phrase
of
Arms
is
a series of attacks,
parries, ripostes, etc., continued without interruption,
does not end
till
one of the adversaries
is
which
hit, or until
they
are separated by a retreat.
Passage of Arms.
—A
Passage
of
Arms
is
the
series
of
thrusts and parries beginning at the engagement of the blades
and ending by the successful touch, or by an interruption the judges, by a disarmament, or a complete retreat of one It may consist of one or several phrases the contestants. arras.
of of
of
FOIL
182
AND SABRE.
—
The Time-Thrust does not Remarks on the Time -Thrust. provoke a foul hit, as is supposed by many who have not studied the hit as carefully as its importance requires, and
who confound Time-Thrusts with cution
part
;
the
of
In the exe-
Stop-Thrusts.
Time-Thrust, judgment plays an important
the triumph of science over strength.
it is
By
aiding
the adversary to deceive a parry executed intentionally, one
can easily avert the not a chance
hit.
The Time-Thrust
movement.
final
In making
it,
is
one must follow the ad-
and by the TimeThrust. The practice of this unique thrust develops one of namely, judgment. the greatest qualities of a good fencer, verse blade in all
when one
its feints,
of tliem is
as a matter of precaution,
judged the
last, intercept it
—
The stop-Thrust.
—
accomplished either by a simple
It is
extension of the arm, by a direct lunge on a
commencement
an attack (whether on the advance or at a stand-still), on all wide feints from the beginning of the attack up to the last feint. The Stop-Thrust does not have for its primary check your adversary's advance, but to check the object to of
execution of his attack.
The former should be done by
at-
tacking him on his advance.
Attacks on Preparations
ment that your adversary
— Are is
executed at the
vei'y
mo-
preparing himself to attack you.
This attack can be executed on a preparation of the body or of the blade.
Some
fencers, in order to give
more
rapidity to their at-
tack, effect a certain retreat of the body.
Others bend their
knees slightly, in order to get a better leverage for the lunge. Others, as
if
to anchor themselves, execute a
movement
of
the body forwards, or advance the left foot.
At
these certain signs of preparation of the body, which
any person of judgment can discern quickly, one must attack with exceptional vigor. The attacks on a preparation of the blade, such as a Beat, Press, Traverse, Absence of the Blade, etc., should not be
TECHNICAL DEFINITIONS. confounded with a Stop-Thrust,
— the
until the execution begins, while the
latter never takes place
former
movements which are preparatory
to the
183
The Beat, Press, Traverse, and Absence
always applied
is
to the execution.
Blade are pre-
of the
parations of the blade, and subject to this attack.
The False Attack
and
tack,
—
Is a
employed
is
movement
feigning the real at-
in order to bring- about
an attack on
him
to
be taken advantage
of.
one's self, or to disconcert the adversary and entice
make irregular movements which can It may be used to ascertain whether deavor to parry, or whether he will thrust.
If
the adversary will en-
make
a simultaneous
he manifests the latter inclination, cause him to
attack on your false attack, then parry and
False Attack
who and
is
riposte.
The
very useful against an ambitious adversary against you at every opportunity,
precipitates himself also against those
who
favor Time-Thrusts.
In order to accentuate the False Attack, execute at the
same time a movement or short step with the right above
all
foot,
and
be ready to parry the Time-Thrust, the Riposte, or
the Tension.
Attacks on the Blade
— Are
executed in order to derange
the position of the adverse blade, or drive
it
from
its line
of
defence.
The Beat, Press, Traverse, Bind, and Cross blade,
and cannot be considered as
feints.
are attacks on the
A
feint is the fac-
simile of a thrust, while Beats, etc., are real attacks on the
blade intended to facilitate the attack on the body.
my reason
for giving
them out
That
is
in the course of lessons, as pre-
ceding the attack, and not as feints.
To Deceive the Blade.
— To
Deceive the Blade
is
to elude
the adversary's blade which seeks to encounter yours, either
by a simple or circular parry, wishing to divert
it
from the
Line of his body.
The simple parry
is
deceived by passing under or over
FOIL
184 the adverse blade
;
that
AND SABRE.
by executing a movement directly made by your This movement places you in the line is,
opposite, although similar in nature, to the one
adversary in parrying. that he has just quitted.
The Counter is deceived by executing the same circular movement that your adversary makes in his attempt to parry. This movement will replace you in the same line that you wej'e before deceiving.
The Beat, and the Change of Engagement, are deceived in same manner as the simple parry. Likewise the Double Engagement after the execution of its first half. The Press and the Traverse are divined equally well at the commencement of their execution by a certain amount of the
fingering and " feel " of the blade.
The Tension.
â&#x20AC;&#x201D; Irregular
and weak fencers generally have
recourse to a Tension to avoid
their
adversaries'
attacks.
They simply straighten out the arm, regardless of the conseThis movement is sometimes miscalled the Timequences. Thrust or the Stop-Thrust; but
it
is
neither.
It is
simply a
chance defence and attack combined, thrown out in blind desperation, an act of weakness on the part of the fencer. It
â&#x20AC;&#x201D;
is
entirely disapproved of
by fencers of merit, and has no
recognition in any system of fencing. the
Time
It
has no relation to
or Stop Thrusts.
Absence
of Blade
â&#x20AC;&#x201D; May
be employed
when your adver-
sary fatigues you by his attitude, holding your rigidly or persistently.
If
he
is
blade
too
well possessed of the feel
he will be " at sea " when you absent your blade. and give to the adversary a tempting inducement to execute the direct thrust, you yourof the blade, It is
also used to open a line
being at the same time prepared to parry In executing an " Absence of the blade "
self
necessary to maintain the hand in position
;
it it
and is
riposte.
absolutely
the point only
departs from the line by the aid of the wrist and fingers.
TECHNICAL DEFINITIONS. The Direct Thrust.
The
attacks.
— The
composite
185
Direct Tlirust
attacks
is
the core of
made up
are
all
lateral
of
changing of lines called feints, which vary according to the employed, terminatiiig in every case with a final
parries
Direct Thrust.
wind up
It is the
of all possible passages of
arms, the soul of the riposte.
The
direct thrust is not only
fails to obsei've
employed when the adversary
the opposition of the hand or the point, or
engaged on guai-d with a loose opposition, but
is
is
also used
if too wide, on an absence of the blade, preparations of attacks, and changes In fencing as in geometry the " straight line of engagement. is the shortest distance from one poiut to another."
in the case of a multiplicity of feints and,
— The Cross — over the blade
The Cross. the bind, it
away vigorously,
ing.
;
riposte at
the
same manner as
but instead of holding
drives
it,
in order to create for itself a large open-
Like the Bind and Flanconnade,
attack on those
fig.
effected in the
is
it
is
employed in the
who extend the arm too much, and on the moment that the adversary recovers. (See
21.)
The Bind.
— The Bind forms
a complete circle, conducting
the adverse blade, forte to feeble, through
all
the differe.nt lines,
This movement, which has the disadvantage of causing the threatening and
in order to replace
it
in its original position.
constantly approaching adverse blade to pass in front of the
body, has been abandoned by most fencing masters.
Notwithstanding, the
name
of bind
is
still
attack executed on the same principles and
applied to an starting
from
high quarte into low sixte, also from high sixte into low quarte, which original Bind.
movement (See
—
fig.
in reality constitutes half
of
the
17.)
The Flanconnade is a bind which starts The Flanconnade. from high quarte, masters the adverse blade, and instead of throwing it out from the body, carries it down, forte to feeble.
AND SABRE.
POIL
186
and terminates
in a thrust
under the adversary's arm.
the thrust takes effect, the point of the blade
hand, the latter hy reason of
its
is
When
higher than
tlie
position holding the adverse
blade in the low line.
â&#x20AC;&#x201D;
The Replacing, or second attack, is always same line as that in whicli the attack was exeOne can replace cuted, by a direct thrust without recovering. on an adversary who does not riposte or does not hold his The Replacing,
effected in the
Therefore, execute a slight re-
blade in a proper position. treat of the body, at the
place
with opposition.
who abandons
adversary
ripostes direct slowly
who
adversary
measure
same time holding his blade, and reThe same may be effected on an the blade
after
a parry, or else
and without opposition. Also on an attack and tries to regain tlie riposte. At that instant Replace with
escapes the
in order to
opposition.
In the case of a composite riposte, Replace between the first
and second movements, in order
final
movement by an
to
stop or avert his
opposition, as in the case of the time-
thrust.
Replacing sary.
When
is
the result of observations
made on
the adver-
executed with premeditation, a certain impulsion
must constantly be kept up
development of the attack, forward movement instead of
in the
to enable one to continue the
effecting a retreat of the body.
A sary
prudent fencer
who
is in
will abstain
from replacing on an adver-
the habit of riposting tac-au-tac, as a double
hit is generally the result.
â&#x20AC;&#x201D;
The Redoubling. Redoubling is a renewed attack executed on the lunge, on a parry unaccompanied by a riposte, or when the adversary effects a retreat in order to fall
make
the attack
short and then returns to position in order to execute the
from replacing by an opposition. by a direct would become a replacing.
riposte, protecting himself
One can redouble thrust, as in that case
in all the lines, but never it
I
w
yytrr
TECHNICAL DEFmiTIONS. One must
187
employment
act with circumspection in the
the redouble, as
it
of
occasions a double hit, unless the adver-
sary fails to riposte, or lacks rapidity in the hand.
—
The Reprise Is an attack executed immediately after a Phrase of Arms, either long or short, in which neither party secures a hit. At the instant the two adversaries recover, or even before the recovering is quite completed, one of them with lightning rapidity assails his opponent with a second or supplementary attack, which may be simple or complex. It may succeed very well if one has not become disorganized in the preceding phrase of arms, for it swoops down upon the adversary at the very
moment he
considers himself out of dan-
and is therefore unprepared to parry. enemy and attack him when he least expects
To
ger,
it, is
deceive the a principle
of fencing, as of military warfare.
The Counter-Disengagement
— Deceives the disengagement of
making a similar movement, which brings the two weapons back into the same relative lines they occupied before the adversary made his disengagement. It is always executed upon a disengagement or a feint of disengagement. This movement can best be made clear by an illustration. The two contestants being engaged in Quarte, A disengages into Sixte line, B follows him closely with a the
blade, by
adverse
counter-disengagement passing from Sixte into Quarte with
good opposition, and a better This attack
is
command
of the blade
than A.
a Time-Thrust which cannot be executed from
Quarte to Sixte, as Sixte line is entirely covered by the extended arm of the adversary in his execution of disengagement.
It is
a grave error to suppose
tliat this
attack can be
executed upon an adversary's change of engagement.
In that
becomes a disengagement deceiving the change engagement. (See fig. 26.) case
it
—
of
A fencer's style is not made up solely, as is somestyle. times supposed, of a particular set of attacks and parries which
FOIL
188
AND SABRE.
invariably to employ, but is rather the whole body work, bearing the individual stamp of his temperament and training. He favors attack or defence according as his disposition is aggressive or calm, pugnacious or reserved. The fencer who thinks out his work and proceeds carefully will do
he
may seem
of his
and fine execution, whereas the impulsive man will have a wide and boisterous style. The position, the manner of the hands and feet, the attitude of the members both on the lunge and on guard, are elements which enter into the make-up of a fencer's style. delicate
The strategical Fencer adversary.
He
advantage.
Whether
without having
â&#x20AC;&#x201D; Profits by
movements
all tlie
places all the resources of the
first
in attack or defence,
ai't
of the
to his
own
he makes no feints
considered the consequences.
He
does
not advance without being ready to parry the attack on his
As he
march.
prepares for the attack he also holds himself
in I'eadiness for the defence.
He
retreats only to inveigle his
adversary to advance, in hopes that ho will expose an opening while doing
it,
of distance.
or perhaps to render
He
liis
adversary's attack out
parries with a slight retreat of the body in
In fact he only executes wise and precautious movements. He beguiles his adversary into making faults and profits by them with exasperating accui'acy.
order to facilitate his riposte.
The Constitutional Fencer to his
temperament.
â&#x20AC;&#x201D;
Is the
One
who
acts according
In an assault he will either attack furi-
ously or remain continually on the defence, according to his temperament. He cannot vary his play to lit the circumstances his method is in keeping with his instincts. Nevertheless he combines as much regularity as possible in his movements. His nature, be it excitable or otherwise, gives forth un;
wonted energies, and
his
movements
are so executed that the
strategical fencer alone can get the advantage of him.
The above
title
is
sometimes given to a
man
capable of
holding- out for an unlimited length of time, or in other words
TECHNICAL DEFINITIONS.
who in
is
insensible to fatigue.
common
189
These fencers have nothing
with the others, as fencing
is
not a question of
endurance.
â&#x20AC;&#x201D;
The Classical Fencer. A classical fencer is supposed to be one who observes a fine position, whose attacks are fully developed, whose hits are marvellously accurate, his parries firm
and his ripostes executed with precision. One must not forget that this regularity less the
adversary
which consists
bout,
a party to
is
it.
It is
of parries, attacks,
is
not possible un-
then a conventional
and returns,
all
rhym-
ing together.
â&#x20AC;&#x201D;
The Blunderer Is a fencer who strives to hit his adversary all means, fair or foul, without preparation or opposition. His arm is drawn back of its position, he advances or retreats without necessity, effects a tension on any attack, attempts to execute time-thrusts on simple attacks, beats the blade and changes the engagement without motive. by
Left-handed Fencers
â&#x20AC;&#x201D; Have an advantage over right-handed
ones, as they are continually in contact witli the latter, whilst
the latter seldom practise with the former.
man
is
The right-handed
generally disconcerted on fencing with a left-handed
seems changed. Their parries of Quarte and Counter of Quarte are severe and fatiguing, because the thumb of their left hand is in vantage position and forces the adverse blade out of the hand. Moreover the right-handed one, as everything
fencer does not riposte with such confidence, as he finds his
adversary's body in a strange position.
The instructor should be able to fence a little with the left hand in order to accustom his pupil to that style of fencing, Leftand the latter will soon overcome the uneasiness. handed fencers really have no special advantage, and when two of them fence together they seldom exhibit grace or finish.
FOIL
190 Accuracy.
— Accuracy
harmony
entire
of all
AND SABRE.
results in effective execution.
The
movements which make up a composite
and succession, their demarkaand interdependence, must be carefully demonstrated by the instructor, and executed at first deliberately but always intelligently, by the pupil who hopes to acquire Guesswork makes a wild fencer. accuracy. attack, their duo subordination
tion, relation,
—
The body should not be alThe Retention of the Body. and move forward during the developlowed to give way, ment in
of
an attack
until the point
which the thrust extension.
its entire
take place and the arm has gained
is to
A
has arrived within the line
tendency to precipitate the body
one of the great faults to which the pupil clined.
None
are
exempt from
this
is
naturally in-
bad habit, which
the principal causes of the bad execution of
The fencing
is
many
is
one of
thrusts.
instructor should direct all his attention to
combating this tendency, and should not allow the pupil to lunge, until the hand and arm have first fulfilled their respective duties.
Harmony.
— Harmony
is
the sympathetic co-operation of the
supple and rapid movements, not only of the hand but of all the other parts of the body which contribute to the execution.
Every limb and muscle without apparent
effort responds witli
lightning rapidity to the decisions of the judgment.
the natural
This is and immediate result of good instruction, and
insures the success of the thrusts.
—
Judgment in fencing is the intelligent The Judgment. weighing and deciding of questions as to the best attacks and parries, and the wisest employment of them, under varying circumstances; deducting a true diagnosis of the adversary, his strong points
and weaknesses, temperament and physical
capacities.
An accurate judgment forearms the swordsman. His movements are well calculated and tempered with prudence, his combinations
skilful, his decisions rapid.
TECHNICAL DEFINITIONS. The A-Propos.
which
— To fence
The
opportunely.
a-propos
is
a-propos in fencing
191
to attack is
and parry
a gift of nature
cultivated by practice.
is
To lunge
either too soon or too late
is
to be deficient in
a-propos.
— Rapidity
Rapidity.
veloped and the
is
a natural faculty which can be deRapidity of the hand, rapidity of
regulated.
body, depending mainly
on the strength
of
the legs,
general rapidity, which produces complete harmony in
them
all,
The
all
combines being a combination of a-propos, accuracy, and
movements, are the result
of
practice.
last
—
This sensation can only be acThe Feel of the Blade. quired by unceasing practice and perseverance. It ensures a light
hand and gives that delicacy
of
touch which, combined
with rapidity and precision, renders a thrust almost unavoidable.
It is a sort of
mind-reading, by which the fencer
is
able
to read, through the touch of the blades, all the advei-sary's
intentions and tactics.
This cunning of the blade seems to
endow the fencer with a power
of divination
which envelops
the adversary in a network of bewilderment, and draws out
The
all his secrets.
of the
latter discovers himself within the toils
enemy, lashed by i-epeated showers
The Eye.
— When an opponent
of surprises.
does not allow his sword to
in which case movements, endeavoring to divine his intentions, in what line he intends to attack, The eye must also be so that a parry may be prepared for it. accustomed to judge the distance, 'so that an attack will not
be touched,
it is
impossible to "feel" his blade
must follow
the eye
be made out of range. the body riposte
is sufficient to
—
In some instances a slight retreat of At other times the
evade a thrust.
must be withheld,
opportunity.
By
;
attentively his
to be
employed at a more favorable
observing these suggestions one will soon
perceive and acknowledge the importance of a trained eye.
AND SABRE.
FOIL
192
The Disarming.
— The
the blade with the hand
disarming
is
executed by whipping or by binding the
turned in Tierce
;
blade, describing a circle with the adverse blade, but without
quitting
it
;
or by subduing
point of departure by
it
means
and trying
it
at the
of the old style of Bind.
This
to replace
movement, when executed vigorously, plucks the blade out of It is also effected by executing the hand of your adversary. Quarte-Bind or Sixte-Bind when the adversary has his arm •
extended.
The disarming of one's adversary, in order to attack when was practised in olden times. One of the methods in vogue was to disarm him by seizing his blade with the Nowadays the disarming is left hand and snatching it away. only attempted to disconcert or annoy the adversary. Very fencers practise disarming, and when it occur it is few does defenceless,
generally accidental, or
the blade,
— not with
is
the result of a vigorous attack on
the intention of disarming, but simply
to effect an opening for a thrust.
The Retreat.
The
— The Retreat may be one
of the three kinds
:
body namely, on an attack of the adversary, sway the body back, more or less, if you expect to be reached by his point. Being on a lunge, this retreat may 2. The retreat be used as a preparation for a Replacement. 3. The retreat by means of after the lunge (the recoverj^). This retreat may be a step backward to get out of reach. effected to induce your adversary to advance by leading him to imagine that you fear him, then attack him on his advance. This retreat is also admissible when, having received a violent attack on your blade, you find yourself unable to make tlie parry. Also when you are surprised by an attack. One must always retreat by the strength of the legs and loins. To retreat without motive is a fault. 1.
A
retreat of the
retreat intended to
;
make
the adversary advance, must
be executed with apparent disorder, thus inspiring him with confidence
advance.
;
nevertheless be prepared to attack
The habit
of retreating
dissipate the ability to parry
from
all
and riposte
him on
liis
attacks would soon
well.
;
TECHNICAL DEFINITIONS. Advancement
the Left Foot.
of
— This
193
is
a
delicate
and
which may be used when the enemy when he is known to habitually retreat
effective bit of strategy is
out of distance, or
upon being attacked. It consists in drawing tlie left foot up toward the right, the distance wished to be gained, just before lunging. instantly
It ;
or
should be done rapidly if the lunge is to follow if it is preparatory to an intended attack, should
Prom one twenty inches, or even more, can thus be gained upon the adversary before he is aware. This advance of the left foot is also employed in a recover forward after a lunge, when be executed so stealthily as to be imperceptible. to
wishing to pursue a retreating adversary.
— Every parry which
Parries of Contraction.
drags the ad-
verse blade unnecessarily from one line into another creates a contraction.
I distinguish three kinds
second, Semi-circular
thus
;
named on account
and
third,
:
first,
the Direct
Circular contraction,
of the space
—
and direction in which
the adverse blade travels.
Direct Contraction.
gage in High Sixte. or Tierce, to turn
— Being engaged
My
in Quarte,
you disen-
natural action will be to parry Sixte
away your
blade,
which
is
at
my
right,
by
the shortest route possible, starting from the line of the body. If I
parry Counter of Quarte
I act
against the natural order
and place it in the left, thus causing it and without apparent necessity in front of my body. The same happens in the case of a disengagement in High Quarte, if I parry Counter of Sixte or Counter of Tierce instead of a simple. It is the same in the low line, and occurs for the same reason. of things, as I seek yours in the right line
to travel in a direct line
The counter contraction
;
parries are therefore always parries of direct
the use of
them
is
indispensable in seeking to
vary the methods of parrying, and also has the advantage of covering several lines. Semi-circular Contraction.
— Being engaged
in Quarte,
you
disengage in High Sixte instead of parrying Sixte, which 13
FOIL
194
AND SABRE.
would turn away your blade from the line of
my
body.
I
parry Sixte-Bind, and tlms the blade descends from High Sixte into
and beyond
Low
Quarte, causing
it
to travel across tlie
and describe, without apparent necessity, a On a disengagement in High Quarte the Quarte-
line of the body, half-circle.
Bind produces a similar effect, as it carries the adverse blade into and beyond Low Sixte. The Septime-Bind takes the adverse blade from Low Quarte and places it outside of High Sixte. These semi-circular parries,
although excellent, are employed less frequently than
the direct contraction. Circular Contraction.
gage in High Sixte
;
if
— Being engaged in Quarte, you disenI
parry Tierce and Counter-Tierce by
passing over your blade, thus causing
whole
line of the
position, I
then
body in order act
it
to travel over the
to replace
against the
natural
it
in its original
order of things,
which would be to turn the blade away from the line of the body by a simple parry. The same effect is produced on a disengagement in High Quarte by parrying Quarte and Counter-Quarte. This Circular Contraction has received the of " Opposite Counter."
Contraction of the Blades.
ment on the part
— This
is
name
the effect of bad judg-
what parry the ademploy upon his intended attack. But the adversary, appreciating his assailant's intention, employs the contrary parry, and the unexpected collision of blades which
versary
follows
of the assailant as to
will
is
called " Contraction of the Blades."
—
The flying cut-over is executed withThe Flying Cut-Over. out any stoppage whatever after contact with the adverse Thus the parry, cut-over, and riposte, are bound toThe above cut-over must be executed with a retrograde movement of the hand towards the body. blade.
gether.
Exercising on the Fixed Pad.
— A round
pad, fixed On the
wall of the fencing-room, against which one can thrust and lunge, furnishes an excellent exercise in which every pupil
should indulge preparatory to receiving his lesson.
It pre-
TECHNICAL DEFINITIONS.
195
pares the legs and the entire system for activity, and is the best possible means for obtaining accuracy. Every fencer should practise on the pad as regularly as' he takes his lesson.
False Beats.
— The
false beat is a slight beat executed
the aid of the fingers, and sary,
who
by
intended to disquiet the adver-
is
invariably responds to
in spite of himself.
it
It is
not only executed previous to an attack but also after a feint in order to facilitate another feint or the final thrust.
Exercise of the Feints
who
pupils
tion of the lunge, feints, It is
— Is
ail
excellent practice for two
are ambitious to advance in the practical execu-
and
parries.
agreed between them that one shall stand on guard
without retreating and without himself attacking, and parry every kind of attack which the other witliout warning.
may
elect to
employ,
After a few moments of this work, the
assailant takes his turn on the defence, and in like manner,
without himself attacking,
tries to
onslaught of his former victim. tinued through any
number
defend himself against the
This alternation
may
be con-
which the instructor may have previously demonstrated to both of these men. Nothing but the most correct and approved parries and feints should be allowed in this exercise. Great care must be taken that the party on the defence shall parry without moving any part of his body except his arm, and tliat the assailant shall return on guard and recover his full distance after his This most helpful exercise lunge, whether successful or not. is too often neglected by pupils, who unwisely prefer the
more
of lessons
attractive practice of the assault.
can also be understood between the fencers that the Riposte and Counter-Riposte shall be used. In this case It
they proceed exactly as above. Possession of Legs.
ployment or lunge.
— To
be able to
of the strength in the legs
make
a judicious
em-
on the advance, retreat,
AND SABRE.
FOIL
196
To Thrust within the Blade. your adversary is covered.
To Thrust from
Position.
— To lunge in the line
— To
in
which
lunge without moving the
left foot.
To be
in Line.
— To
be well placed in the position of the
guard, and in line with your adversary.
To Jump
—
Is said of a fencer
who makes
or backward, lifting both feet at the
— To throw
To Hazard.
right foot
is
Oneself.
too
—A
much
a
bound forward
time.
oneself on the adverse blade with-
out having previously turned
To Cross
same
it
aside.
bad position of the fencer, whose on the line
to the left, instead of being
— position the guard. A Judged Thrust. — To guess the adversary's thrust. — To act without proper forethought; To Fence
of the left heel,
of
"Wild.
execute unnecessary parries ries that
Oneself.
proaching with the pai^t of
—A
short fencer lodges himself by ap-
left foot or
by advancing the right foot or
the body, also by gliding his blade up as near
as possible to his adversary. tall
to
to endeavor to deceive the par-
your adversary does not employ.
To Lodge upper
;
Generally used to gain upon a
adversary preparatory to the lunge.
—
There does not exist in fencing a thrust Secret Thrusts. which cannot be parried, nor is there one parry adaptable to all attacks.
To Hollow.
— To carry the hand outside the
reverse side to the opposition. serious faults in fencing.
It constitutes
line
and on the
one of the most
THE NORMAL SCHOOL OF FENCING. To Give the
Blade.
— To place the blade
in line
197
where
it is
easily joined by the adversary's.
—
To Route. To force your adversary by superiority of acand a general supremacy, to retreat in disorder, or to
tivity
take uncertain parries.
To Change the Blade The Coronation.
— Signifies change the engagement.
— Tbe
coronation
is
a circle nearly de-
scribed by the point, over the head, passing from high sixte to high quarte
famous.
As
and
vice versa.
executed by
him
LafourgSre made tliis attack was almost impossible to
it
parry.
—
To make a movement of the body forTo Start the Body. ward without having duly extended the arm is a grave fault.
— A trap laid for the adversary. The Assailant. — Person attacking. in movements. To Seek the Blade. — To follow To Menace. — To execute a feint of direct thrust. The Normal School of Fencing. — The art of fencing has not The Allurement.
it
all its
only received the recognition and patronage of a great
number
eminent individuals in many lauds, but has also been encouraged and subsidized by many national governments. In 1826 the French government founded a Normal School In 1872 it was transferred to Joinof Fencing at Grenelle. of
vill^-le-Pont Italy,
and considerably enlarged.
Belgium, and Japan, each have had such schools for
a number of years. In the two latter countries these schools were founded and supervised by French fencing masters.
Why
should America not possess such an institution ? the consequences be if such a school were estab-
What would
FOIL
198
AND SABEE.
? First and most important, the instruction in this would be taken out of the hands of ambiguous foreigners of doubtful reputation and more doubtful ability, and be placed in charge of professors authorized by this school and bearingdiplomas of professional capacity, as well as of moral respon-
lished art
sibility.
And
this
last qualification, as
much
as the
first,
would have its influence in making popular the art of fencing. For the moral character of any teacher attracts or repels his At pupils, and fosters or dissipates their interest in his art. present fugitives from foreign lands and men unable to gain a livelihood at home come here without interference, christen themselves " professors," hang out their signs, and begin to
disseminate
among
the innocent but enthusiastic American
youth a distorted system
of
sword play which
is
nothing more
than a burlesque on the true methods of teaching fencing, and the pernicious consequences of which only an expert swords-
man
can fully
These impostors assume
realize.
to teach
what
they never knew, the fundamental principles of which never
dawned upon them.
They
exhibit a fair
amount
of physical
dexterity, challenge the world, and forever after call themselves "
Champion
of
the two Americas."
Sooner or later
their true character
and
lively interest in all
matters pertaining to physical education.
become known, and the true All this would be remeinterest in fencing suffers a relapse. died under the influence of a normal school, where every man would be obliged to stand a rigid examination before he was permitted to teach. The people of the United States take a inability
Every large college and even many
now
of the smaller schools are
provided with well-appointed gymnasiums.
The most
magnificent athletic cluh. houses in the world are springing
up in the large already taking
cities of the
its
East and West, and fencing
is
place in these institutions as the most un-
With
objectionable and popular kind of indoor exercise.
growing interest comes the demand for hence the need of a Normal School of tunes are annually bequeathed for the institutions of learning, which are the
this
capable teachers, and
Fencing.
Large
endowment
for-
of public
pride of our people,
FENCING FOR LADIES. reflecting everlasting credit
199
upon the donors, serving the well
being of the whole population, and elevating the standard of
our mental,
artistic,
or physical nationality.
As soon
as the
art of fencing shall be appreciated according to its merits, I
am confident that benefactors will be forthcoming who will found such an institution, partake of its benefits themselves, and win the gratitude of a large body of their young fellow countrymen. Fencing for Ladies.
recommendations it
of the,
by no means secondary,
of fencing is that
reach of both sexes. the exercise
â&#x20AC;&#x201D; One
Ladies practise
affords them,
it it
is
equally within the
more particularly
for
and therefore should be taught
to use both hands.
The
instructor should Tary and gauge his exercise for ladies
according to their strength, and study particularly ease of
movement and
graceful carriage.
:
PART
IV.
THE SABRE. ground THEfencing
principles governing the instruction of sabre-
are the
To proceed from
same
as those for the foil
the simple to the compound, gauging the
lesson to the temperament of the pupil
;
to seek to bring for-
ward and demonstrate the utility of every detail by neat explanations and illustrations, in order that tiie pupil may acquire a permanent knowledge of the correlation existing between the attack and the defence to prepare him by careful drill for an intelligent and finished assault, and to arm him ;
for the exigencies of his adversai'y's tactics.
Nomenclature of the Sabre. parts,
— the
— The
sabre has two principal
Blade and the Handle.
1. The Blade has a Point, an Edge, a Back, a Heel, and a Tongue, which traverses the handle. 2. The Handle comprises a Guard of brass or steel, which covers the hand, and the Grip, which is wound with copper or
steel thread.
Manner
of Holding the Sabre.
— The
grip should be firmly grasped in the right hand but not too rigidly, the four fingers together, the thumb along the back of the grip.
Preliminary Position.
— Place the
feet at riglit angles, heels
arm extending down the right side of the body, but not touching it, the blade and arm forming a straight
together, the riglit
line obliquely
downward, the point
of the
weapon four inches
MOULINEX.
from back.
tlie
floor,
From
the left forearm resting in the small of the
come on guard
this position
—
201
as follows.
Keeping the arm and sabre straight, raise and in the direction of the adversary, the hand at the height of the eyes, nails downward, the point of the weapon at the height of the crown The Guard.
them
1.
to a position a little above horizontal,
of the head.
Prom
(See
fig.
36.)
execute two vertical moulinets to and right, and at the termination of the second find the hand at height of chest and in front of the right shoulder toward the adversary, nails down, the arm half bent, the elbow standing out to the right a little and eight inches from the body, point of the weapon at the height of the eyes. 3. Sink the torso by bending the knees and advance the right foot about twenty inches on a line from the left heel toward the adversary to the position of the guard. (See 2.
this
position
left
fig.
37.)
Preparatory Instruction.
advance, the retreat, the
— The
pupil should be taught the
calls, the
recoveries,
according to the principles prescribed for the is
and the
foil.
feints
The lunge
always preceded by an unfolding of the arm in connection
with a moulinet, horizontal or vertical, or an under cut left
hand
the
;
resting all the time in the hollow of the back.
Moulinet
—
Is
executed by making the sabre describe a
horizontal circle from right to left (or left to right) above the
head, holding the hand near the forehead, bending the in the first half of the circle, and straightening
it
the hand over in the progress of the second half, nails (or up), the
edge of the weapon towards the right (or
Moulinet Vertical
and right
—
1.
arm
and turning
down
left).
Is a vertical circle executed
on the
sword arm. Let the point of the sabre fall, turning the hand so that the nails are forward, the thumb to the right, at the height and in front of the left left
side of the
TOIL
202
AND SABRE.
weapon to the left. This is for the The second half is executed by let-
shoulder, the edge of the of the circle.
first half
ting the blade pass as close as possible to the body, turning
hand progressively so that at the termination of the circle thumb will be upward and the edge of the weapon downward. The arm should be fully extended in the execution of the the
the
last,
quarter of the circle.
To execute
2.
the sabre fall
'to
the right vertical moulinet, let the point of the right side of the hip, the last three fin-
gers relaxing their grip, turn the
hand so that the thumb
is
to the right, the nails upward, the hand held at the height
and
in front of the right shoulder; the
first
half of the circle.
The second
half
arm is
is
bent for the
executed by
let-
ting the blade pass as closely as possible to the body, turning
progressively the liand so .that the termination of the circle will
thumb uppermost and the edge of the sabre The, arm should be fully extended in the execu-
find the
downward.
tion of the last quarter of the circle.
The Under-Cut
—
Is a vertical circle executed in nearly the
reverse order of the moulinet.
sabre has
A tical,
its
At the end
of the circle the
edge facing upward.
pupil should practice the moulinets, horizontal
and the under
and verguard limber the joints and
cuts, both standing in position of
and in connection with the lunge, to muscles of the arm, before passing to the demonstration of the lesson.
Engagement. be placed
— In the engagement the blades should always
edge against edge.
the only effective one
Quarte engagement
is
The Tierce engagement
is
between right-handed fenpers. The employed only against a left-handed
fencer.
The (See
definitions of the lines are the
fig.
same
as for foil fencing.
6.)
—
The Attack May be simple or compound. The latter should never be composed of more than three movements, on
Yia.Se.
FIRST
MOVEMENT TO COME ON aUARD.
Fig. 37.
ON GUARD.
;
203
CHEST-CUT.
account of the displacement resulting from the greater weight of the
The
weapon, and consequent inconvenience. strokes of the sabre are
made
at the head, at the left
cheek, at the right cheek, at the chest, at the flank, at the girdle, at the thigh, at the
arm, and the thrust of the point
which attacks everywhere. Feint.
— As with the
foil,
form a compound attack.
the feints of the sabre serve to It
is
simple attack without the lunge. that
executed precisely like a It should be so well
would be taken for the attack
it
call out the
itself,
made
and consequently
opponent's parry.
Simple Thrusts.
Head
Cut.
— Pass the blade over
the adverse point, extend
the arm, lunge with opposition, give the sabre cut upon the
crown cut
;
head drawing the blade back to make the edge
of the
recover on guard quickly, being well covered while do-
ing so.
(See
Oommand
fig.
:
39.)
Attack by Head Cut,
— Lunge.
On Guard.
—
Pass the blade over the adverse point, Left-Cheek Cut. extend the arm, turning tlie hand to quarte with opposition, give the sabre cut on the left cheek with a drawing stroke (See fig. 40.) recover on guard quickly, being well covered. Lunge. On Guard. Command : Attack by Left-Cheek Cut,
—
Note.
— Proceed
in
a corresponding manner from Quarte Engagement to
execute Biglit-Cheek Cut (See
Chest Cut.
— Pass
fig.
tlie
41).
blade over the adverse point, extend
the arm, lunge with opposition, turning the hand to Quarte, give the sabre slash from the left shoulder downward diagonally across the chest
covered while doing
;
so.
recover on guard quickly, being well
— (See
Command : Attack by
fig.
42.)
Chest-Cut,
— Lunge.
On
Guard.
;
204
FOIL
Girdle Cut.
— Lower
AND SABRE.
the point of the sabre, carry
the adverse blade, extend the arm, turning the
hand
under
it
to
Quarte
with opposition, give the sabre slash across the waist with a drawing cut recover on guard quickly, being well covered. ;
(See
fig.
43.)
Command : Attack Flank
by Girdle Out,
— Lower the arm and
Cut.
sition, give the
— Lunge.
lunge, maintaining oppo-
sabre cut across the hip, drawing
recover on guard quickly, being well covered.
Command: Attack
by Flank Out,
— Lower the
Thigh Cut.
On Guard.
it
— Lunge.
(See
fig.
;
point, extend the arm, lunge with
drawing the
recover on guard quickly, being well covered.
45.)
Command: Attack by Thigh Point-Thrust.
44.)
fig.
On Guard.
opposition, give the sabre cut across the thigh,
sword backward
backward
(See
— Lower the
Cut,
— Lunge.
point and pass
On Guard.
it
under the ad-
verse blade, extend the arm, lunge with opposition, turning the
hand
thumb shall be underneath and the edge upward (see fig. 46) recover on guard quickly,
so that the
of the sabre
;
being well covered.
Comrnand
Arm
Cut.
:
Attack by Point Thrust,
— This cut can be executed
— Lunge. in several
On Guard. ways
:
—
By
gliding the blade rapidly along the adverse weapon and forcing it a little out of line, turning the hand over quickly, 1.
nails
upward, lowering the point, and cutting the upper side arm with a drawing slash. No. 1 can be executed by beginning it with a beat in-
of the 2.
stead of a glide. 3.
Or, pass the point under the adverse blade, extending
the arm, turning the
hand
over, nails up, raise the point of across the adversary's wrist or forearm recover on guard, being well covered.
the sabre, and draw
it
Cornmand: Attack by
Arm
Cut,
— Lunge.
On Guard.
<
Q
pi
PARRY OF LEFT CHEEK. The Right-Cheek Cut is not possible when starting from a Tierce Engagement.
Observations
simple attack
as
:
Arm
Point Thrusts and
more
205
Cuts, as simple attacks, are
when they
effectual
a
The
much
are executed upon preparatory at-
tacks, or as ripostes.
The thumb and
the last two fingers, by their simultaneous
flexion, are the agents
which render the cut
sabre
of the
effective.
But
it is
chanism
of
necessary before
all
things else to have the me-
By applying
each attack clearly demonstrated.
down
the principles laid
in each lesson, one can understand
the importance I attach to each.
Simple Parries.
— The
parry
always made by opposition
is
of edge against edge and with the heel of the blade. It
throws
attacking weapon, without accompanying
off the
by a sharp beat.
it,
Or,
it
accompanying
diverts the attacking blade by
it
with
the opposition. Or,
it
precedes the attack, at the locality threatened, and
receives the brunt of the cut without diverting the adverse
blade or throwing
Parry of Head. front of and a
it
out of line.
— Raise the sabre to a horizontal position
little
bent and the nails forward.
Command: Head
in
above the crown of the head, the arm cut,
(See
39.)
fig.
— Parry.
On Guard.
Parry of Left Cheek (or right cheek).
— Carry the hand
to a
position in front of the left chest (or right) and four inches
from it, the blade pointing upward and ward and inward, the edge toward the fig.
(or right).
(See
40.)
Cuts upon the
shoulder
parries.
Command
:
Left cheek,
Right cheek, — Parry 41).
slightly inclined forleft
On Guard.
are
also
— Parry.
parried
by the cheek
On Guard.
(from quarte engagement
;
see
fig.
;
FOIL
206
AND SABRE.
— Raise
the right forearm to a horizontal position in front of the body, elbow bent and outside the line of the body, the hand in front of and at the height
Fairy of Chest and Girdle.
of the chin, the nails forward, the blade hanging downward about six inches from the body and slightly inclined outward, left. (See fig. 42.) This form of parry can also be advantageously employed
the edge to the
for a left-cheek cut.
Command : Chest Girdle cut,
cut,
— Parry.
Parry of Flank.
— Parry. (See
fig.
On Guard: On Guard.
43.)
— Carry the hand to the right a arm
the line of the body,
little
slightly bent at elbow, the
out of
hand and
elbow at the height of the belt, the blade pointing downward and inward and about fifteen inches from
inclined forward
the body, the edge to the right.
Command: Flank
cut,
— Parry.
(See
Against point thrust
in the low line use the parry of Second.
Farry of
:
Point thrust,
Arm
Cuts.
44.)
— Against point thrusts in the high
Farry of Foint Thrusts.
line use the parry of Tierce or Quarte.
Coynma)id
fig.
On Guard.
— Parry.
(See
fig. 44.)
On Guard.
— The parry of the arm cuts
withdrawing the arm.
is
made by arm
Or, those on the right side of the
may
be parried by the right-cheek parry by crowding the hand well out to the right and drawing elbow well into the waist those on the left side and under the arm by the flank parry "
crossing" the adverse blade.
Command : Arm
Cut,
Farry of Thigh Cuts. rear.
— Parry.
On Guard.
—
This Cut is parried by an Escape to Quickly carry the right leg, which is attacked, twelve
inches to the rear of left leg, the foot (See fig. 45.)
Command : Thigh
cut,
— Escape.
flat
upon the
On Guard.
floor.
p
P
ATTACKS COMPOSED OF TWO MOVEMEXTS. Riposte
— May be
simple or compound.
The
207
latter should
not be composed of more than two movements.
In the riposte as in the attack
it is
necessary, before all else,
to be safely covered by the opposition
;
and never abandon the
adverse blade to execute a riposte without being sure to have vigorously thrown
it out of the line of your body. your riposte Direct to the unprotected part of your adversary's body, exposing as little as possible of your own, for the
remise of the sabre
is
made by merely dragging
its
edge against
an uncovered part as you recover on guard. The riposte can also be easily made by merely turning the
hand over
in its extended position after a parry, without quit-
In some cases this manner of ripost-
ting the adverse blade.
ing
is
the best, as
affords the advantage of a double cut
it
without deranging the safe position of the arm.
SiJiPLE
Attacks and Parpjes.
{The parry of the riposte should he made while recovering on guard.)
Head
Cut,
— Lunge.
Left Cheek Cut,
Flank Cut,
— Lunge.
— Lunge. — Lunge.
Head
— Parry. Cut,
On
— Parry.
Guard. On Guard.
— Furry. On Guard. — Parry. On Guard. Flank Cut, — Lunge. Point Thrust, — Parry. On Guard. — Parry. On Guard. Point Thrust, — Lunge. Arm Cut On Guard. Point Thrust, — Lunge. Pdght-Cheek Cut, — Parry. 47). Head Cut, — Lunge. Arm Cut (under), — Escape (see Chest Cut,
Girdle Cut,
Head
Cut,
CJiest Cut,
{n-pper},
fig.
Guard.
Thigh Cut,
— Lunge,
^rm
Cm? (upper),
— Escape
(see
fig.
45).
On On
Guard.
Attacks composed of Two Movements.
— Lunge. On Guard— Lunge. On Guard. and Cut Head, — Lunge. On Guard. Feint Point Thrust On Guard. Feint Point Thrust (low), and Cut Right Cheek, — Lunge. Feint Flank Cut, and Cut Right Cheek, — Lunge. On Guard. Feint
Head
Cut, and Cut Girdle,
Feint Point Thrust (high), and Cut Flank, (low),
AND SABEE.
rOIL
208
—
On Guard.
Lunge. Feint Left-Cheek Cut, and Cut Eight Cheek, Lunge. On Guard. Feint Head Cut, and Cut Flank,
—
Simple Paeeies and Ripostes. Ilenrl Cut,
— Parry.
On Guard.
46).
Cut,
Lefl-Cheek
On
hand).
Riposte by Point Thrust (hand in prime, see
— Parry.
— Parry. — Parry. Flank Cut, — Parry. Thrust
Guard. Cut,
(low),
— Parry. — Parry.
Head
Riposte by
On Guard. On Guard. Thrust. Ou Guard.
Cut.
Riposte by Chest Cut.
Girdle Cw/,
Head
by Right Cheek Cut (reversing
Guard.
Chest Cut,
Point
Riposte
fig.
Riposte by Point
— Parry.
Cut.
On
Riposte by Point Thrust (low).
On
by Arm Cut (upper).
On
Riposte by Right Cheek
Riposte by Flank Cut. Riposte by
Flank
Cut,
Point
Thrust (low),
— Parry.
Thrust (low),
— Parry.
Head
Cut.
On On
Guard. Guard.
Guard. Point
Riposte
Guard.
Compound Paeeies
in
Two Movements, and
Simple Ripostes.
— Parry. Riposte by Point Thrust. Head Cut, and Cut Girdle, — Parry. Riposte by Head Cut. On
Feint Flank Cut, and Cut Head,
On Guard. Feint
Guard.
— Parry.
Feint Point Thrust, and Cut Right Cheek, Cheek Cut (reversing hea,d). On Guard. Feint Hand Cut, and Cut Flank, Parry.
—
Cut.
On
Riposte by Right Cheek
Guard.
Feint Left-Cheek Cut, and Cut Right Cheek,
Cut
(upper).
On
Guard.
Feint Left-Cheek Cut, and Cut Right Cheek, Cut.
On
The
Riposte by Left
— Parry.
— Parry.
Riposte by
Arm
Riposte by Flank
Guard.
instructor should have the pupil repeat each exercise
several times, letting himself be touched.
To terminate
exercise he should parry the pupil's attack and have
attack by point thrust. exercises.
This rule
is
common
to all
the
him the
^^^'
\ i
I,
13
CO'MPOUND PARRIES AND RIPOSTES.
209
Simple Parries and Compound Ripostes. Chest Cut,
— Parry.
Riposte by Feint
Head
Cut, aud Cut Girdle.
On
—Parry.
Riposte by Feint
Head
Cut, and Cut Flank.
On
— Parry.
Riposte by Feint
Head
Cut, and Cut Flank.
On
— Parry.
Riposte by Feint
Head
Cut, and Cut Girdle.
On
Guard. Chest C«/,
Guard. Girdle Cut,
Guard. Girdle Cut,
Guard. Flaiik Cut,
Flank.
On
— Parry.
Riposte by Feint Right-Cheek Cut, and Cut
Guard.
— Riposte by Feint Point Thrust and Cut Point Thrust, — Parry. Riposte by Feint Point Thrust, and Cut Arm. Flank Cut, Parry. On Guard.
(l'igli)i
Flank.
On
Guard.
Simple Parries and Double Ripostes. Left-Cheek Cut,
On
Guard.
Left-Cheek Cut,
On
— Parry.
Riposte by Cut Right Cheek and Chest.
— Parry.
Riposte by Cut Right Cheek and Girdle.
Guard.
Left-Cheek (under).
Ill
Cut,
Oa
— Parry.
Riposte by Cut Right Cheek and
Arm
Guard.
these three exercises, have the hand in tierce for the first
half of the riposte
and turn
to quarte for the second half.
it
Compound Parries and Ripostes.
—
Feint Point Thrust (low) and Cut Head, Parry. Riposte by Feint Flank Cut, and Cut Right Cheek. On Guard. Feint Head Cut, and Cut Girdle, Parry. Riposte by Feint Head Cut, and Cut Flank. On Guard. Feint Flank Cut, and Cut Right Cheek, Parry. Riposte by Feint Point Thrust, and Cut Arm (upper). On Guard. Feint Head Cut, and Cut Flank, Parry. Riposte by Feint Right Cheek, and Cut Left Cheek. On Guard. Feint Flank Cut, and Cut Arm, Parry. Riposte by Feint Head Cut, and Cut Girdle. On Guard. ,
—
—
—
—
14
foil
210
and sabre.
Compound Paeries and Double Ripostes.
—
Riposte by Parry. Feint Point Thrust (low), mid Cut Eight Cheek, Cut Left Cheek and Flank. On Guard. Parry. Riposte by Cut Right Feint Flank, and Cut Left Cheek, Cheek and Arm (under). On Guard. Parry. Riposte by Cut Feint Point Thrust (low), and Cut Left Cheek, Right Cheek and Chest. On Guard. Parry. Riposte by Cut Left Feint Left-Cheek, and Cut Right Cheek, Cheek and Arm (upper). On Guard.
—
—
—
Simple Parries, Eiposies, and Counter-Ripostes.
—
—
Lunge. Flank Cut, Cut Head, Parry. Counter-Riposte by Thrust On Guard. Lunge. Girdle Cut, Cut Head, Parry. Counter-Riposte by Cut Head. On Guard. Cut Flank, Lunge. Eight- Cheek Cut, Parry. Counter- Riposte by Cut Left Cheek. On Guard. Thrust Point, Lunge. Right-Cheek Cut, Parry. Counter- Riposte by Cut Arm (upper). On Guard. Cut Left Cheek, Lunge. Right-Cheek Cut, Parry. CounterRiposte by Cut Flank. On Guard. Point.
—
—
—
—
—
—
—
—
Simple Parries and Ripostes, and Compound CounterRipostes.
—
—
—
—
Cut Head, Lunge. Flank Cut, Parry. Counter-Riposte by Feint Right Cheek Cut, and Cut Flank. On Guard. Cut Head, Lunge. Girdle Cut, Parry. Counter-Riposte by Feint Head Cut, and Cut Flank. On Guard. Cut Flank, —.Lunge. Eight-Cheek Cut, —Parry. Counter-Riposte by Feint Flank Cut, and Cut Right Cheek. On Guard. Thrust Point, Lunge. Cut Flank, Parry. Counter- Riposte by Feint Point Thrust, and Cut Right Cheek. On Guard.
—
—
Simple Parries and Ripostes, and Double CounterRipostes.
—
Cut Left Cheek,— Lnnsre. Eight-Cheek Cut, Parry. Counter-Riposte by Cut Left Cheek and Flank. On Guard. CutGirdle, Lunge. Left-Cheek Cm(,— Parry. Counter-Riposte by Cut Right Cheek and Chest. On Guard. Cut Chest, Lunge. Left-Cheek Cut, Tarry. Counter-Riposte by Cut Right Cheek and Arm (under). On Guard.
—
—
—
<
THE ATTACK ON PREPARATIONS. Time Thrust.
— The Sabre Time Thrust
is
against that part of the enemy's body wliich
211
especially directed
nearest, namely, executed by an Arm Cut or a Point Thrust. When the enemy attempts a Head Cut, the Time Thrust can be executed directly upon his forearm, making an escape to his forearm,
and
is
is
Or he can be attacked by an
rear or a retreat.
Arm
Cut on
the left and under side of the forearm by turning the hand to Quarte with nails up. Avoid his Head Cut by an escape or a retreat.
When the enemy attempts a Left-Cheek Cut, the Time Thrust can be applied in the same manner as for a Head Cut. Likewise when he attempts a Right-Cheek Cut the Time Thrust by the Point is similarly executed but the Arm Cut is directed to the right and under side of the forearm, the hand being turned with nails downward. In case he attempts a Thigh Cut, the Time Thrust by an Arm Cut should be directed to one or the other side of the forearm and above, avoiding his cut by an Escape to rear. (See When he attempts a Flank Cut, the Time Tiirust by fig. 45.) ;
Point should be directed to his chest, the hand in opposition (see
fig.
49), or to his face and Escape to rear, or the
Cut can be directed
to the left side of the forearm.
Arm
Escape to
rear.
—
stop Thrust is directed to the nearest part of the'enemy's body by a Point Thrust or an Arm Cut, delivered upon the first movement of a compound attack, either on the advance or standing still. It is executed like the Time Thrust with this
marked
difference
while the former
is
:
the latter
applied to the
is
applied
at
the
commencement of the
end,
adver-
sary's attack.
—
is executed upon any moveThe Attack on Preparations ments of the adversary having for their end the preparation of an attack. To a Press or a Beat it is applied by a Point Thrust by disengaging. To an Advance or a Menace it is The sabre being a heavy weapon it applied by an Arm Cut.
FOIL
212 is
AND SABRE.
necessary to avoid those movements which draw
out of
it
The Point Thrust
the hue of the adversary's guard.
in this
respect supersedes all the other cuts, by its central position of
the sword-hand and
Sabre Salute.
its
rapidity of execution.
— The
salute preceding the assault is exe-
cuted in the following fashion
:
—
1.
Execute an Under Cut with Lunge.
2.
Recover
3.
Assume guard by two MouHnets
4.
Recover forward, crossing the sabres. Execute two changes of guard first in Quarte. Escape to rear.
5. 6.
to the position of the first
7.
Two
8.
Salute to right (see
9.
Assume Guard by two Moulinets
(See
fig.
movement
50.)
of the guard.
vertical.
(See
fig.
51.)
calls. fig.
52), to left,
and Recover forward.
vertical.
11.
the adversary to attack by these words, " To You the Honor! " and allow him to make a touch, or reply to the above invitation, "I obey," and execute a Lunge with Flank Cut or Point Thrust and return to guard. Salute to the right. Recover backward.
12.
Salute the Adversary.
10. Invite
The Assault.
— With
important to learn
tlie
how
sabre, as with the foil,
it
is
most
to calculate the distance to he ob-
served in which the fencer can touch his adversary and on the other hand not be touched by iiim.
Each time lie enters within that range it is necessary to be prepared to parry a Point Thrust, which in this case is always very effective. He should never attack low without having forced the adversary by well-marked feints to carry his defence into the high line. He is thus protected against certain time thrusts.
In every attack he should take the greatest pains to preserve Opposition, and thus, guarantee himself against Point Thrust upon the body, which the adversary might make. This precept
is
absolute.
Every movement of the sabre either be
made very
contractedly.
in attack or parry should
The sabre
is
a heavy weapon,
and
#
o
O O
THE CAVALRY SABRE.
213
always has a tendency to bear the hand too far in the lateral it is necessary to strive to control.
movements, â&#x20AC;˘which
The Riposte by the Point Thrust is the most terrible for the adversary and the most advantageous for the one who employs it, for it is the most rapid attack and it maintains the adverse blade in Opposition.
Fencers too often quit the line and thus expose themselves to In attacking by a Beat or Press it is necessary
of the defence to
Replacings.
make
ripostes
movements being deceived. Likewise provoke this movement for the purpose of parrying to take precaution against these
and
riposting.
It is incontestably true that in the case of the
sabre a good parrier always wins. fears the adverse attack. it,
that he
may have
He
Strong in parries, he never
waits for
it
the advantage of a
and even provokes Time Thrust or a
good Riposte, which, made within distance,
will invariably
count.
The
assailant after every attack, whether successful or not,
should retreat slightly out of distance and at same time hold the adverse blade outside the line of his body.
The Cavalry Sabre.
â&#x20AC;&#x201D; I cannot close this part of the Treatise
without saying a word about the sabre used by the cavalry.
In this century, which has seen the most terrible wars of history and which has perfected fii'earms to such a degree as to
render war almost impossible, given
its
it is
strange that no nation has
cavalry a sabre that can be handled easily and that
answers exactly to the requirements.
Every one who has
now
in use by the cavalry
held in his hand one of the sabres
knows that they are not suitable arms offensive or defensive. The blade is too heavy and the handle too short. It entirely misses the true balance of such a weapon and fatigues the hand.
A
cavalry sabre should be straight with a blade thirty-live inches long, very strong at the heel and diminishing gradually
The grip should be seven inches long and fit The guard should be of steel, solid or perwell into the hand. At forated with small holes, but well protecting the hand. toward the point.
AND SABRE.
TOIL
214
the extremity of the grip should be a pommel which by its weight should counterbalance the blade and place the centre of gravity at the heel.
a
It is
common
error to suppose that
a heavy blade to do execution, whereas
know how
to
make
may
not cut at
necessary to have only necessary to
the sabre stroke in order to cut effectually
with a lighter weapon. but
it is
it is
all.
A If I
heavy sabre deals a heavy blow had the honor to be consulted by
the government on the subject
of-
the manual of sabre exer-
cises for the cavalry, I should advise the discarding of all
movements that expose the body,
â&#x20AC;&#x201D; in fact
all of
wide
the sabre cuts
except those directed against the bridle hand and the reins.
But in return for this I would teach the Point Thrust in all and for all conditions. The Point Thrust kills almost always, or severely wounds, and always throws its victim, positions
out of combat.
The sabre cut sometimes wounds
seriously, often lightly or
and rarely kills whereas it uncovers the body of the assailant and exposes it to the Point Thrust of the enemy, which latter thrust has the advantage of being easily exenot at
all,
;
cuted in every direction without exposing the body.
most rapid difficult to
A
of execution, the
parry of
all
It is the
most dangerous, and the most
the sabre strokes.
cavalryman, whose attention
is divided between the manweapon and his horse, should not be embarrassed by a great number of disorganized movements. It is
agement
of his
necessary that his principles of fencing should coincide with his principles of horsemanship, and not mutually conflict.
Vegec those
tells
us that the
who used
Roman
cavalry not only conquered
the cutting stroke with their weapons, but
made
light of the practice.
In its
all
the great wars of the Empire the French cavalry
invincible reputation by this Point Thrust,
times and places
is
which
superior to the cutting stroke.
won
at all
C5
o Eh
O H a p I
p
& p o <
o fa c;
Z 5 I
s 33
INDEX. THE
....
Absence of Blade Academy of Arms, The Accuracy Advance, The
Advancement Allurement A-Propos
FOIL. Page
... ... ...
184
.
New
7 190
.
17
of the left foot
...
.
.
.
Assailant
.193
.
.... .... .
.
197 191 197
.
Assault
169
Assault, Premature
... ...
.
Assault, President of the
Remarks upon Attack, The Assault,
.
.
174
the
172 .
.
Attacks, False .
Attacks on Preparation
183
.
...
Attacks, Simple
.
.
.
....
.
Beats, False
Bind, The Calls,
.
.... .
... ... ...
.
.
.
...
.
16
195
.
62,
Change the Blade, To
.
.
.
.
.
.
.
Counter, Demonstration of the
Counter Counter Counter Counter
Disengagement, The of Octave .
of
Prime
of Quarte
.
.
.
.
.
.
...
.
.
197
.... .
.
185
.17
.
.
.
...
Contraction, Parries of
Corps-k-corps
26
40
.
The
182
....
.
The
Coronation,
.
.
Attention, Position of
The
26
183
Attacks on the Blade
Beat,
173
.
193 197 181 21
.
187 .
.
â&#x20AC;˘
.
...
.
24 21
.
.
.
23
INDEX.
216
.........
Counter of Quinte Counter-Riposte,
Counter Counter Counter Counter
The .
-
.
.
24
of Tierce
Cross Oneself,
.
146
.
To
196
The
Cut-Over,
185
The
27
To
Deceive the Blade,
.
183
.
Definitions, Preliminary
.
...
15
Diagram
20
Direct Thrust,
The
185
Disarming Disengagement, The Double Hits Engagement, Change of Engagement, The Engagement, The Double Extension of the Arm
.
192
.
26
.
.
....
178 .
.
68
.
25
.
75
.
18
Eye, The
191
Feel of the Blade, Feint,
22
23 22
Counters, Exercise of the
Cross,
.
.
...
of Sixte
-3 137
of Seconde of Septime
Page
The
191
The
80
Feints, Exercises of the
195
Fence Wild, To The Blundering
196
.
Fencer,
.....
The Classical Fencer, The Constitutional Fencer, The Left-hand Fencer, The Strategical Fencer,
189 .
189
.
....
188 1S9
188
.... ....
....
Fencing for Ladies Fingering Fixed Pad, Exercising on the Flanconnade, The Flying Cut-Over Give the Blade, To .
.
.
Glide,
25
194 18.5
194
197
.
The
Harmony Hazard, To
43
.1,00 .
.
Historical Outline
Holding the Hollow, To
199
Foil,
.
,
Manner
.
igg 1
.
of
16
190
INDEX.
217 Page
Instruction
Judgment Jump, To Line, To be Lilies, The Lodge
Low
.
.
11
.
.
190
.
196
.
in
196
.
.
19
.
To The
oneself,
Tlirust,
196
55
Lunge, Tlie
18
iJeiiace
197
Ucta\e, Piirry of
24
On
Guard, The Position of Opposition, Demonstration of the
16 21
....
Parries
Arms Arms
Pas.sage of
Phrase of
20 181
.
.
.
.
181
.
Physical Development
8
Possession of the Legs
195
Press,
The
43
.
.
Piime, Parry of
21
Professorships
Pany
Quarte,
.
.
.
.
.
175
22
of
Quinte, Parry of
23
Rapidity
191
Recover Backward
19
Recover Forward
Redoubling Replacing Reprise,
.
.
The
186
.
187
.
.
.
Retention of the Retreat,
.
.
The
IS
186
.
Body
.
190
192
.
Riposte by Tac-au-tac
181
The Route, To
197
27
Riposte,
.
Rules Governing Amateur Competitions Salute, Salute,
The Grand The .
.
.
.
The Fencing, The Normal
166
.
.
7
197
22
Seconde, Parry of
Seek the Blade, I'o Septime, Parry of
197 .
Sixte, Parry of Start the Body, To .
176 19
.
School at Joinville-le-Pont, School of
.
.
24 23 197
INDEX.
218
Stop- Thrust, Style
The
182
.
1S7
.
....
Tension Thrust from Position, To
196
A Judged
196
Thrust,
184
Thrusts, Secret
196
Thrust within the Blade, To Tierce, Parry of
196 .
.
.
Time-Thrust, Remarks on
Time-Thrust, The Traverse,
The
Arm Cut
.
.
.... ....
.
...
22
182 147
'.
.
.
43
THE SABRE. Assault,
204
.
The
.
212
.
Attack on Preparation, The
211
The
Attack,
202
Cavalry Sabre, The
Engagement, The
The Guard, The
213
....
202
Feint,
203
...
201
Holding the Sabre, Manner of Instruction, Preparatory
.
200 .
Molinet
201 201
Molinet, Vertical
201
Nomenclature of the Sabre Parries, Simple
200
Preliminary Position Riposte,
Salute
The
Stop Thrust, The Thrusts, Simple
Time-Thrust, The Under-Cut, The
.
...
.... ,
205
.
.
200 207 212
.
.... .
.
211
203 211
202