Lessons in Foil Fencing by Esgrima Brasil

LESSONS IN

FOIL FENCING By Ralph Whittingham Burgess

Please contact the author with comments: RalphBurgess@jrmason.demon.co.uk Or visit the Web site of Bath Sword Club: www. bathswordclub.co.uk

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LESSONS IN FOIL FENCING

Contents FOREWORD............................................................................................................................................. v SAFETY NOTES........................................................................................................................................ vi PART ONE................................................................................................................................................ 1 Introduction ...............................................................................................................................1

LESSON 1 ............................................................................................................................................. 2 The Grip ....................................................................................................................................2 The Stance And Position ‘On Guard’........................................................................................3 The Salute.................................................................................................................................4 Gaining And Breaking Ground..................................................................................................4 The Attack - Lunge And Recovery............................................................................................4 The Recovery FORWARD........................................................................................................6 The Hit ......................................................................................................................................6

LESSON 2 ............................................................................................................................................. 8 The Valid Target .......................................................................................................................9 Covering..................................................................................................................................10 Engagement – A Definition .....................................................................................................10 Absence Of Blade ...................................................................................................................10 Fencing Measure ....................................................................................................................11

LESSON 3 ........................................................................................................................................... 12 Two Simple Attacks: Direct Thrust and Disengagement ........................................................12 Change Of Engagement And Counter Disengage .................................................................13 The Four Supinated Guards, A Parry, The Riposte................................................................13 Sentiment du Fer ....................................................................................................................14 Reminder of HOW to begin fencing an opponent...................................................................14

LESSON 4 ........................................................................................................................................... 14 Dimensions Of The Piste and Rules.......................................................................................14 Simple Defence – The Three Parries .....................................................................................15 More Sentiment du Fer ...........................................................................................................17

LESSON 5 ........................................................................................................................................... 17 Three More Simple Attacks ....................................................................................................17 Cut-Over .................................................................................................................................17 The Counter Disengagement..................................................................................................18 Low Line Simple Attacks.........................................................................................................18

LESSON 6 ........................................................................................................................................... 19 Simple Ripostes. .....................................................................................................................19 The Direct Riposte ..................................................................................................................19 The Indirect Ripostes ..............................................................................................................19

LESSON 7 ........................................................................................................................................... 20 The Flèche Attack ...................................................................................................................20 The Balestra............................................................................................................................21

ROUNDUP OF PART ONE ................................................................................................................. 22 Summary of what Foil Fencing is all about.............................................................................22 Simple Attacks - Summary .....................................................................................................22 Simple Ripostes - Summary ...................................................................................................22 Notes On Attacks ....................................................................................................................22 Useful Principles .....................................................................................................................23

REFEREEING AND JUDGING ........................................................................................................... 24

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LESSONS IN FOIL FENCING

PART TWO.............................................................................................................................................27 LESSON 8............................................................................................................................................27 Compound Attacks................................................................................................................. 27 The 1-2-3................................................................................................................................ 27 The 1-2-3 from ‘Absence of Blade’ ........................................................................................ 28 The 1-2 Attack........................................................................................................................ 28 The Doublé Attack.................................................................................................................. 29

LESSON 9............................................................................................................................................29 Successive Parries................................................................................................................. 29 Compound Ripostes............................................................................................................... 30 Counter Ripostes ................................................................................................................... 30

LESSON 10..........................................................................................................................................31 Beginning Attacks - Reminder ............................................................................................... 31 Preparations Of Attack ........................................................................................................... 31 (1) Attacks On The Blade – Pressure, Beat, Froissement..................................................... 31

LESSON 11..........................................................................................................................................33 (2) Coulé (& Graze)................................................................................................................ 33 (3) Prises de Fer .................................................................................................................... 33

LESSON 12..........................................................................................................................................33 The Croisé (or Vertical Bind).................................................................................................. 33 The Bind (or Diagonal Bind)................................................................................................... 34 Envelopé (Envelopment)........................................................................................................ 34 Defence Against Prises De Fer – Ceding Parries.................................................................. 35

LESSON 13..........................................................................................................................................35 (4) Gaining And Breaking Ground As A Preparation ............................................................. 35 The Appel............................................................................................................................... 35

LESSON 14..........................................................................................................................................36 (5) Combinations of Preparations. ......................................................................................... 36 (6) Ripostes using Prises de Fer............................................................................................ 36

ROUNDUP OF PART TWO .................................................................................................................37 More Useful Principles ........................................................................................................... 37

PART THREE ...........................................................................................................................................39 LESSON 15..........................................................................................................................................39 Trompement and Dérobement............................................................................................... 39

LESSON 16..........................................................................................................................................39 Stop Hits................................................................................................................................. 39 Counter Time ......................................................................................................................... 40

LESSON 17..........................................................................................................................................41 Renewed Attacks ................................................................................................................... 41 The Remise............................................................................................................................ 41 The Redoublement................................................................................................................. 41 The Reprise............................................................................................................................ 41

LESSON 18..........................................................................................................................................42

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Avoiding Attacks..................................................................................................................... 42 Passata Sotto......................................................................................................................... 42 Inquartata ............................................................................................................................... 43 Rassemblement ..................................................................................................................... 44 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

LESSONS IN FOIL FENCING LESSON 19 ......................................................................................................................................... 44 Flick Hitting .............................................................................................................................44 Defence Against Flick Hits......................................................................................................45

LESSON 20 ......................................................................................................................................... 46 Fencing With Absence Of Blade.............................................................................................46

LESSON 21 ......................................................................................................................................... 49 The Pronated Guards And Parries .........................................................................................49 Prime and Seconde ................................................................................................................50 Tierce ......................................................................................................................................50 Quinte .....................................................................................................................................50

ROUNDUP OF PART THREE ............................................................................................................. 52 Final Useful Principles ............................................................................................................53

APPENDIX A

TECHNICAL TERMS............................................................................................... 54

APPENDIX B

FIE GUIDELINES ON REFEREEING...................................................................... 59

APPENDIX C

Personal Progress Checklist ................................................................................ 60

APPENDIX D

Fencing Terms Explained...................................................................................... 61

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LESSONS IN FOIL FENCING

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3/2/2010 ÂŠ 2010 Ralph Whittingham Burgess and Bath Sword Club

LESSONS IN FOIL FENCING

FOREWORD Foil fencing techniques have evolved during some 400 years of life-preserving sword carrying which stopped evolving when swords were no longer sharp or used for personal defence or duelling and when it became a sport or game with conventions and rules formalised by our governing body the FIE (Federation Internationale Escrime). As far as possible it was intended to provide a sport as near as possible to real sword fighting without the danger of death or injury. The Epée is the direct descendant of duelling swords whilst the Foil began life as a blunted weapon to teach fighting / duelling safely without so much risk of injury or death as when using real fighting weapons. Even scratches then could cause death later – as we know today – by gangrene due to pathogens. Older, very experienced expert swordsmen became the first Fencing Masters (Professors of today) teaching the use of the weapon and eventually Instruction Manuals were produced to provide printed help in this process. An Instruction Manual, including this one, has to start at a beginning and build layer on layer in a sequential, logical and rational manner. This one is based on a pragmatic, need-to-know basis for order of techniques. A good Instruction Manual should help an aspiring Coach to teach and enable a keen pupil to selfeducation, albeit with advice and drilling from an experienced fencer, Fencing Coach or Professor on a regular basis. Pupils and pupil-teachers learn by a variety of methods, instruction and drilling (repetitions with corrections as necessary) but these are always more effective and successful with logical reasons, explanations, demonstrations and even humour, to produce a relaxed atmosphere in which learning can occur more readily. Remember, some learn quicker by physical demonstration and repetition alone, whilst others also need more immediate explanation, logical reasoning and the application of brain power, though most benefit from a good mix. So those who learn, teach or just wish to improve to perfection their fencing with more understanding and logic, start at the beginning and work steadily through to the end – which will only be the start of an enjoyable sport for the whole of a fit, healthy lifetime if you wish. These lessons are based on ‘Fencing with the Foil’(now out of print) by Professor Roger Crosnier, whose tuition and that of his successor as National Coach, Prof. Bob Anderson, taught me all I know about Foil tuition since my initial training with Fencing Master Frank Edmonds in Swansea Fencing Club from 1949 to 1951. The lessons are presented in a direct, practical and personal way to be as clear and without confusion as if they were being delivered in person, and with enough explanation. They are intended to pass on the excitement and pleasure which I have derived from Fencing since 1949 and teaching and coaching foil as a qualified Coach since 1969 and now a Regional Coach. It is hoped they will help all enthusiastic readers and students of this challenging weapon to learn and improve their foil play with knowledge and understanding. I have been fortunate in having the kind assistance of several friends in Bath Sword Club, in their encouragement printing and compilation of these lessons: Lorraine Haan, Rod Hansen and especially John Mason our Club chairman without whom the present completed format would not have been possible. To all my grateful thanks. R.W.B. 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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LESSONS IN FOIL FENCING

SAFETY NOTES Safety comes under two headings - Passive and Active. Passive Safety is concerned with EQUIPMENT - which is not a danger unless misused, or allowed to deteriorate without checking periodically. All Club equipment is maintained in good condition, so it is most important to see that personal equipment is kept in good condition, knowing what to look for and to do, to keep it that way. The BFA Guidelines on Safety pamphlet will give you a very good guide to equipment safety, so get a copy. Active Safety concerns behaviour, and adherence to the current FIE Rules to do with handling equipment, and Fencing with it. However, remember that ‘Fencing is Fun’ and that we all do everything we can to make sure it stays that way, by our own friendly, polite, courteous and sensible behaviour with, and to other fencers, -and in care of the equipment! But basic Safety precautions must be learnt from the start as one begins learning to fence, so:-

How To Handle (Use) A Foil Safely •

Take care when collecting and carrying foils, and returning them to their bag, - keep the point down or carry it by the point, and never wave it about.

•

Never, ever point a foil at anyone unless they are wearing a mask, and never cross swords with anyone unless you are BOTH wearing masks.

•

Learn to put your mask on with one hand, - or put your Foil down when putting your mask on to avoid hitting someone behind you.

•

Avoid handling your foil blade, especially when worn, to avoid steel splinters.

How To Fence Safely

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•

Fencing is NOT a body-contact sport. Body contact is called Corps à corps and is forbidden in foil (& sabre!) for a contestant to cause this, even without violence, brutality or jostling. So maintain proper fencing measure and adjust your hitting to the distance at which you find yourself at any moment of attack or riposte, especially during Flèche or Balestra attacks.

•

NEVER remove your mask during fencing, until the end is announced and the scores given and you have saluted your opponent, - or in a friendly bout when both contestants have saluted and lowered swords at the end and come together to shake hands.

•

Make sure your equipment is all in good useable condition before starting, (or that borrowed equipment is likewise,) for your own safety and peace of mind and your opponent’s.

•

Know the Rules and what you may and may not do and abide by them strictly, to avoid penalties or indeed fencing dangerously.

Part ONE

LESSONS IN FOIL FENCING

PART ONE Introduction Finger Pad

Pommel

Button

Foible

Forte

Coquille or Guard

Hilt or Handle

The objective of the game is to land a good hit on the valid target of your opponent whilst preventing him/her from hitting you, as far as possible. (Note that there are no double hits at Foil). All the lessons following are based on the Classical French School of manipulating the Foil with hand and fingers and only minimally with the wrist, using a simply shaped sword hilt made to fit the hand and a balanced ‘in hand’ blade. It very closely follows the Rules of the Federation Internationale d’Escrime, the body which controls World Fencing, and the well trained, skilled, logical and keenly observant Foilist can succeed to the top internationally with this. Modern (AD 2000) foilists in the EU and elsewhere have mainly opted for a more vigorous, physically strong style which uses blade heavy, unbalanced foils which need a shaped hilt – the pistol grip, accurately so described – to hold and operate this blade and with very strong, fast though more obvious and less subtle wrist and arm actions. Both styles can be trained to be equally fast, though the French so called ‘finger style’ is more subtle and economical in movement and therefore effort and energy need and it can be used by even older veterans to a ripe old age, to continue very stylish foil play which continues to be effective and successful. The largely physical modern style can only restrict continued success as one slows down physically with age, since it is far more tiring and requiring faster reactions. The following techniques have to be taught and learnt Classically. How each foilist then decides to continue and compete with foil in competition and in what style, will be entirely a personal choice and a matter of adapting the teaching to the choice of foil. N.B. a) All advice/instruction is for right handed pupils and foils. Left handed pupils need to read instructions and oppose a right handed foilist oppositely, ie if the opponent is in a high outside guard, the left hander opposes in high inside guard etc – unless otherwise stated, or separately described. b) As far as possible, a logical reason(s) and/or explanation(s) have been given for the execution and use of each technique, position or move, since all pupils learn quicker and more thoroughly, (leading to more intelligent/successful perfection,) if the purpose and timing are added – ie the ‘why’ and ‘when’ are added to the ‘how’, – when being instructed or coached. c) Each technique must be practised until near perfection is reached and then used against opposition until its usage is familiar. If a technique, its purpose or its timing is not clear or still eludes your understanding, persist with enquiry of instructor or coach until satisfied. 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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LESSONS IN FOIL FENCING

Part ONE

LESSON 1 The Grip This is the correct way in which the hilt/handle of the foil is held so that the hand remains relaxed and not cramped, ready to manipulate the blade with ease and full dexterity, without tiring unduly either hand or fingers. The Hilt itself is shaped to fit snugly into the hand and has broad surfaces top and bottom and narrower sides (left handed hilts are similar exactly but mirror image). Coquille or Guard

Manipulators: Index Hook Thumb

Finger Pad

Position of Hilt in hand

Aides

a)Upper Face

b) Left Face

c) Your hand and the hilt together

To hold your sword, put your hand in front of you as shown in diag. (c) with your elbow bent, identify the shape of the hilt of the sword as in diag’s (a) and (b) an lay it into your hand as in (c). CARRY THE SWORD IN YOUR HAND, DON’T GRIP IT – AND RELAX THE HAND.

Next, lay your thumb flat along the broader, upper face to hold the sword with finger and thumb firmly so that the index hook and thumb can manipulate the sword into the small clockwise and anticlockwise movements required, along with deep, narrow V movements also. These movements will be aided by the other three fingers pressing and holding the hilt firmly into the palm of the hand. The index hook and thumb tip are put comfortably against the finger pad inside the coquille and the hand is tilted, half supinated (half on its back). Keep the thumb FLAT and the palm of your hand FLAT against the hilt and the aids almost flat, firmly pressing the hilt into the hand. The thumb should be Page 2

Part ONE

LESSONS IN FOIL FENCING

straight, flat against the index knuckle alongside it with no gap or hole between them and the pommel centre wrist. Practise making the sword tip describe small circles clockwise/anticlockwise about 1ft in diameter and smaller, with a bent arm and with the arm and sword straight in front. Also make the point describe deep, narrow vees 4-6 inches across and 9-12 inches deep, at the end of the straight arm. These will strengthen your finger and thumb and hand in making strong, well co-ordinated, vital fencing movements with the hand half supinated. The Aids ‘stroke’ the hilt and give it firm strong controlled movements and clamp it firm into your hand at the end of a movement.

The Stance And Position ‘On Guard’ The stance is the correct position of the feet as the basis for the ‘on guard’ position. Stand sideways to the direction you intend to move eventually, with right side or left side leading, depending on your right or left handedness. Place the feet apart about as wide as shoulder width, turn your leading foot on its heel to 90° from your rear foot, so keeping your front foot in line with the rear heel (= line of fence) and bend both knees to a half sitting position. This will give you balance and mobility equally forwards and backwards. Turn the rear foot about 5° forward at the toes as if about to begin a cross-country run, keep the bottom and abdomen tucked in and the back straight, and if there is a feeling of falling back, then drop the rear knee slightly more forward or bent. Maintain the foot separation after movement, as exactly as you can. The chest and shoulders will, like the hips be at about 45° from where you started (or where you will be moving,) but a more comfortable position is 50° ie facing slightly more forward than at 45°. The sword and arm are bent at the elbow with the sword pointing forward, elbow a hands width from the waist, sword and hand in front of the elbow and straight under the shoulder, and the back of the hand just out of the line of the shoulder (outside it). This makes sure your sword defends (covers) your shoulder, with the sword and arm in a straight line from the elbow and the point raised to about eye level of an opponent. The rear arm is held with upper arm horizontal and in line comfortably with angle of the chest and shoulders; the forearm is vertical, the hand relaxed, drooped, as if waving good-bye, and relax, holding all this position of ‘on guard’. Your head will look over your forward arm at an opponent. The function of the rear arm is fourfold – to give you balance, direction, penetration when hitting the opponents target area, and finally lift and balance when recovering from the lunge.

Front

Side

See photographs on page 8

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LESSONS IN FOIL FENCING

Part ONE

The Salute Modern sport fencing came from the traditional need for self-defence with the sword over the last three hundred years and traditional courtesy has also survived in the ‘salute’, to one’s opponent, a jury if any, the referee and spectators. This at the beginning of matches in competition, or friendly encounters, (also to one’s coach/ instructor at the start of lessons) and in each case at the end in reverse after removing the mask. Put on the mask and remain half turned to the opponent with sword and arm pointing groundwards in his direction. Raise the sword/arm diagonally upwards then bend the elbow and bring the guard close and level with the chin, sword pointing straight upwards. After the opponent repeat to any jury, any spectators and then the referee. At the end of a contest, after the salute remove mask then shake the opponent’s hand with your unarmed hand. A final touch is to thank the Referee – even if you have lost. NB from the FIE seminar, April 1999 on refereeing guidelines:- The salute at the beginning and end of a fight in competition is MANDATORY. Failure to salute and shake hands at the end will lose hits scored and you will be fined $500 (£300 approx) which if not paid will result in a ban from International competitions. So all fencers need to practise the salute and hand shake when fencing to make it an automatic courtesy habit, since ‘forgetting’ is not just discourteous but expensive, dramatic and drastic.

Gaining And Breaking Ground To step forward move the front foot first, followed by the rear foot the same distance exactly, so as to maintain the spacing between your feet. To step back move the back foot first as near as you can the same distance you had stepped forward, to standardise stepping forward and backwards as far as possible. If you need to move further forward, or back, it is better to take more steps than to lengthen the steps. Keep stepping smooth, slick, snappy yet slinky, cat like but crisp, so that moving does not take any longer than necessary and you cannot be caught off guard whilst moving or unbalanced. Maintain the knees bent (sitting down position) and learn to move from the knees down, if you can whilst keeping the upper legs in position. Aim for lightness of movement and of foot by keeping slightly on the balls of the feet whilst moving and lower the heels between moves. Practise up the piste and back.

The Attack - Lunge And Recovery Otherwise known as ‘the development’ and ‘return to guard’. It is the means of reaching one’s opponent and making a legitimate hit on the valid target area, then returning out of reach. It is composed of the extension of the sword arm, from on guard, (or following a parry or other offensive or defensive action), followed by the action of the legs to carry the body and sword to reach the opponent, and back. First, note the FIE definition and guidelines on ‘the attack’:“The attack is the initial offensive action with the straightening of the arm, (from on guard) and the point of the weapon continuously menacing the valid target of the opponent. [This is known as ‘point in line’ and is in the high line]. There must be no pause in the extending of the arm and no bending of the arm once the attack has started or the right of attack passes to the opponent. (ie loses priority). The point-in-line is valid whether the fencer is standing still, going backwards or forwards. It must be fully parried to lose validity.”

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Straightening The Arm

The straightening of the arm defines you as the attacker giving you priority as well as helping to cover your target and discourage your opponent from attacking you, and giving you chance to aim accurately your hit onto your opponent. Your opponent has to parry you fully away from hitting him to remove your priority. If these 2 rules are not strictly observed refereeing is made virtually impossible.

The Lunge

The lunge is achieved by lifting the front foot just off the floor, then straightening the rear leg to push the body forward horizontally to reach the opponents target area with your foil point. As the point is placed/landed raise the hand slightly above the shoulder to compensate for any drop in the body, and to keep your own target area covered to offer no incentive to the opponent to counter attack you there. Simultaneously, the rear arm is rapidly dropped to a position parallel with the rear leg, palm uppermost, - which keeps your shoulder back and keeps you and the sword arm balanced as it is straightened in the lunge; the rear arm also gives accurate direction to your attack and penetration as you hit and thus bend your blade slightly, the rear arm almost reaching backwards to equal your sword arm as you hit. Then on recovering it gives a sense of lifting and balance as you return to guard. DO NOT OVERLUNGE and allow your front knee to bend beyond your instep, or your foot beyond your knee. To recover, use the bounce of the landing into the lunge and the penetration of making the hit to start your recovery recoil, and by bending the rear leg PULL-BACK with it to get your weight off the front leg. Then with a flick of the heel return your front leg and body to the â&#x20AC;&#x2DC;on guardâ&#x20AC;&#x2122; position with the hand and sword trailing in last. This is easier and uses less energy than pushing everything back to on guard by the effort of the front leg quadriceps (thigh) muscles, and is less strain on the knee. Remember, the move into the lunge and recovery back is a horizontal movement carrying the on guard position forward into the lunge and back to the starting position. Think of the lunge and recovery as all one action and practise it. The straightening of the arm first followed immediately by the lunge is counted as occurring in one period of fencing time.

3/2/2010 ÂŠ 2010 Ralph Whittingham Burgess and Bath Sword Club

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LESSONS IN FOIL FENCING

Part ONE

The Recovery FORWARD It is not only possible but often useful, even occasionally necessary, to make recovery forwards instead of backwards. It is used where your opponent doesn't defend but has merely retreated and further or faster out of range than you have attacked. To recover as previously described obviously breaks contact completely and prevents any continuation of your attack, but you can maintain pressure on your opponent by recovering forward. How? - by keeping your sword and arm straight and still threatening it is still your attack. You continue by pulling up your REAR leg forward under you (keeping knees well bent), into an ‘on guard’ position, assisted by lifting your rear arm, then continuing into a further attack with one or more blade movements as you find necessary. This ability will be of great use to you when your fencing has progressed to any competition level, perfect it now.

The Hit This is the fixing of the sword point clearly and distinctly and with the character of penetration anywhere on the opponent’s body, ie going forward and the blade bending a little on contact, on or off target. Hits only score on the valid target area, those off the target area – arms, legs, mask including the bib – do not score but will halt any further action from either opponent – stopped by the Referee and then restarted again. Correct hitting technique is vitally important involving the ability to vary one’s co-ordination at any distance of lunge or riposte, so that one hits accurately, does not risk breaking one’s foil too close (or missing a hit just out of range) and not hitting one’s opponent unnecessarily hard and painfully. Start learning this technique with a partner (or against a suitable wood door), beginning by coming ‘on guard’ with the sword point a mere 2 inches (5cm) away from the surface to be hit, then begin to balance the sword over your index finger, down and up by pushing and pulling gently with the thumb over finger. Then on a ‘down’ rapidly push the point onto the target and straighten your arm to bend the blade in an upwards bend by lifting the hand just above shoulder height as the point strikes.

The Hit

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LESSONS IN FOIL FENCING

Keep repeating this action and speed it up as quickly as you feel confident of always hitting the target aimed at and bending the blade upwards correctly. The blade should never bend downwards and the point hit lightly and not thump or prod. This can be done using the wrist but is not so positive or accurate as fingers. When this can be repeated 100% accurately retire 1 foot length and re-learn the co-ordination - as your arm has to be straightened BEFORE the point is flicked down and placed on the target, with a slight lean forward to bend the blade up to give penetration. Then repeat with another foot length retreat – requiring a half lunge, then hit; again after 100% success retire to full lunge length from the target and retrain your co-ordination. You should now be able to hit correctly from any distance in your fencing measure and have developed a ‘sense of point’ and point control. Remember – the objective of the game is to land a good hit on the valid target of your opponent whilst avoiding being hit yourself or preventing your opponent from hitting you, as far as possible. (N.B. There are no double hits scored in Foil).

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LESSONS IN FOIL FENCING

Part ONE

The Supinated On-Guard Positions

Sixte

Octave

Page 8

Quarte

Septime

3/2/2010 ÂŠ 2010 Ralph Whittingham Burgess and Bath Sword Club

Part ONE

LESSONS IN FOIL FENCING

LESSON 2

The Valid Target Foil conventions limit the target to the torso, the legs, arms and head are not valid target, though hits on these parts will stop play whilst not scoring. Simply the valid target is from the top of the collar and inside the shoulder seams to the line of the groins in front, for both men and women. The upper back is in target similarly but only to a straight line across the top of the pelvic bones (the waist). The bib on the mask covering the collar is currently still not target area, like the mask to which it is attached, = throat protection! For safety, the full jacket overlaps the this target area to beyond the groin lines. The front of the target area is usually divided into 4 sections, right and left, upper and lower for convenience of tuition, named in the Old French, and based on positions dictated by necessity in defence when attacked by an opponent’s sword in duelling or for self-defence. These sections are also referred to as lines , so we have the high lines and low lines and inside and outside lines. The high outside line is the side you hold your foil when you come on guard to start fencing or tuition, whether you are right or left-handed and is the position from which traditional (classical) teaching starts. Traditionally there were 8 fencing positions, and these are still used today, called – Prime, seconde, tierce, quarte, quinte, sixte, septime and octave ie first, second and so on. Sixte, quarte, octave and septime are all with the sword hand held in half supine position (half on its back with the thumb and finger tips uppermost). The other 4 are pronated positions with the back of the hand uppermost – dealt with later in Lesson 21. The high outside line referred to earlier is the sixth or SIXTE position, on the upper right side for righthanders and upper left for left handers. Despite the historical reasons for traditional French terminology, use English ‘first to eighth’ if preferred. But – whichever – learn thoroughly and the reasons for them, only poor fencing can result from ignorance due to difficulties learning the game without.

Bib

6cm (2¾”) {

Top of the ilium (hip bones, pelvis)

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LESSONS IN FOIL FENCING

Part ONE

Covering This is basic defensive positioning of one’s guard. It is defending your own target by making sure, as far as you can, that your opponent cannot see anywhere to make a direct attack on you by keeping the opposing blade outside your guard or your parry. The forte of your foil (9″-12″) is your shield, whilst the foible has to bend on hitting to simulate puncturing your opponent’s skin. The ‘on guard’ in sixte has already been dealt with in The Stance, but it must be emphasised here that that the foil is held pointing over the opponent’s shoulder in a straight ‘wall of steel’ on that side, hand breast high, and point at opponent’s eye level, with the pommel in the centre of the wrist and sword straight from the elbow, in order to defend against a straight thrust over, or around one’s foil on guard in sixte. This is ‘being covered’. To take guard in Quarte, the foil is held as the straight steel wall pointing over the opponent’s other shoulder to that in Sixte. In changing from Sixte to Quarte (and back again) the foil is carried ABSOLUTELY PARALLEL from one side to the other (think of parallel railway lines), to oppose the straight attack or thrust, with one’s forte maintained at the ‘on guard’ angle across the horizontal attack or threat. It is vitally important to train oneself to recover from a lunge and to return to guard fully covered and automatically.

Engagement – A Definition Engagement in foil fencing is to cross swords with the opponent by about 6in or 15cm each. This is usually in the high lines, Sixte or Quarte (since any other leaves one’s whole target exposed) in an attempt to minimise the risk of a direct thrust. It is in the seeking to close one’s line and be fully covered, by pressing the opponents blade out of the central crossed position, that one receives return pressure from the adversary seeking to cover in turn again nearly or completely, that fencing starts. It is quickly obvious that both fencers cannot be fully covered on guard in Sixte or Quarte since: a) It will not be possible to cross swords and b) both would be wide open and totally uncovered. Therefore it is this alternating pressing of blades in and out of ‘covered’ that one’s chance of deceiving the opponent occurs and fencing gets going. But remember – your opponent is doing the same to you, so watch keenly and carefully and be prepared!

Absence Of Blade This occurs by the deliberate taking the blade away from contact (detaching) with the opponent’s blade during fencing., or by failing to cross swords at the start of a bout, deliberately. This must not become a habit, since this can give rise to serious consequences and drawbacks which can contribute to a lack of success – even failure to progress in the sport: •

Page 10

‘Absence of blade’ causes larger and therefore more obvious signalled movements to deflect an attack, or threat of one. This necessitates a greater speed of reaction and force resulting in these larger, wilder movements than otherwise necessary in conventional blades-in-contact mode with its small, neat and more subtle correct techniques. 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

Part ONE •

LESSONS IN FOIL FENCING More serious – the lack of blade contact results in a loss of sensory awareness which should be an addition to visual perception, that is loss of ‘sentiment du fer’, literally ‘the feel of the steel’, so that one is not instantly aware of loss of contact as a warning of some action happening, and therefore the ability to impose one’s mode of play on the adversary, or to be aware of imminent attack which needs attention.

On occasion, one can deliberately use absence of blade tactically, particularly against heavy-handed opponents who continually beat one’s blade, perhaps on purpose to tire one’s arm, - so avoid them and offer an opening one can control.

Fencing Measure This is the distance which you try to maintain between yourself and your opponent such that he/she can only hit you if they lunge FULLY.

It is essential to train yourself to estimate the correct fencing measure with each opponent and to remain keenly aware of it at all times and in all circumstances. Gaining and breaking ground (advancing and retiring) is used all the time by you and your adversary to try and make one another misjudge distance – to one’s own advantage, or to adjust to relative movement and play, even more especially if there is a height difference. So develop this as soon as possible – and remember, too close and you can be too easily hit before you can defend – too far and whilst your opponent not be able easily to reach you, you may end up wasting efforts to attack, or counter attack, when you are out of reach, however slightly.

So finally, you now know how to give pressure on an opponent’s blade, push it out of the way and make a simple direct attack with a lunge and hit your opponent’s target. Also you know how to change your guard to the opposite side to deflect, or parry, your opponent’s attack. Pair off and practice this – then come back with questions.

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LESSON 3 How to begin fencing? – your probable question after practising at the end of Lesson 2.

Two Simple Attacks: Direct Thrust and Disengagement The Direct Thrust/hit; The Disengage – Indirect hit. The Direct Thrust. When first you, then your opponent were giving covering pressure from the crossing of engaged blades, there is a correct moment in time – just as pressure is being given to push the opposing blade out of correct cover, – to make a lunge/thrust over the blade and hit, as a complete surprise. This is correct timing and takes place in one period of fencing time. The Disengage. An alternative is to avoid the pressure which is pushing your blade out of correct cover of your guard, by immediately dipping your sword with your finger and thumb under the pressure, this is called Dis-engaging from their blade. Then your blade is lifted up the other side to make a correct indirect hit – but covered. Some of you may have discovered this already as a deep narrow V. When this is done as one smooth, swift movement it is also in one period of fencing time. CORRECT DISENGAGING – best explained by breaking it down into the parts of the movement as follows: On 1. relax the grip on the hilt, at the same moment pulling with the forefinger under the thumb to rock the sword down over the forefinger. The point of the weapon will describe the curved left side of a as it is pushed whilst sliding down under the opponent’s blade. On 2. push the hilt back up with the forefinger under the thumb and the straight vertical side of the can be completed. The other fingers clamp back onto the hilt to firm it into the grip, with the blade now on the inside of your opponent’s and covering into attack. On 3. extend the sword and arm with the blade horizontal at your target. On 4. lunge – hit and bounce and return to guard. 1st Progression. On pressure 1 and 2 can be put together to make the disengage to just the other side of the opposing blade. On 2. the sword/arm is extended to threaten the opponent. On 3. lunge, hit and recover. 2nd Progression. Again 1 and 2 can be put together on pressure and the point dropped, returned up and the sword arm extended. On 2. lunge, hit and recover. 3rd Progression. Finally the whole disengagement is put together when triggered by pressure – but REMEMBER : i) ii)

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The hand movements are completed and the arm is straightening before the foot moves into the lunge, hit and recover, when moving fast; As the lunge is made the hand is raised and the lunge and hit is made covered, so that, despite starting in Sixte, after disengaging your lunge/hit ends up covered in Quarte. If you start in Quarte of course then you finish lunging and covering in Sixte after disengaging; 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

Part ONE iii)

LESSONS IN FOIL FENCING Success will only happen with correct timing, by your anticipation of the moment that your covering pressure produces a pressure back.

Change Of Engagement And Counter Disengage The other way of avoiding your opponent’s pressure as they cover (or move to make a direct thrust over the blade) is to change engagement. This is to make a disengagement from your Sixte and retake cover in your Quarte side to put their blade outside your guard. Covering pressures may continue then in Quarte, as before in Sixte. It can be strictly what it says – and defensive, Or if used following your opponent’s change of engagement, it becomes your chance of an offensive/attack; and if following their disengage attack it could become your counter offensive in a COUNTER DISENGAGE attack.

The Four Supinated Guards, A Parry, The Riposte Under Sixte guard position is the eighth or Octave guard in the low line (see Target diagram). Learn this thoroughly then the other guards of the inside line are the opposites: Quarte in the high line Septime in the low line All four with the fingers uppermost and the hand half on its back. In low line the wrist only is bent to lower the sword, the arm stays in position. A Parry To change your guard from Sixte to Quarte to DEFLECT an attack into your Quarte position is to make a PARRY of Quarte, which to be correct and successful must completely deflect such an attack from hitting. This is a simple, instinctive or lateral parry. Similarly to change back from Quarte into Sixte in defence becomes a parry of Sixte. In low lines you can have parry of Octave or Septime. A parry is one period of fencing time. Note: i) ii)

If you fail to deflect completely and are hit on or off target, you have made what is called a MALPARRY. You may not use your unarmed hand for defence – or offence!

The Riposte A successful parry gives you the right to counter attack your opponent – but immediately, with priority, this is the RIPOSTE. There is no ‘parry-only’, it should be parry and riposte together, instantly, and according to the Rules a riposte ‘should go directly forward from the position of the parry’. Do NOT detach into a more central position to riposte but go straight forward. Thus your riposte is completed covered, keeping the opposing blade parried whilst you riposte and away from your target. Do not delay ripostes longer than necessary or you lose priority to counter-attack, but you may NOT riposte if your opponent deceived your parry, so that you failed to make contact and deflection, as another parry is then necessary. The riposte is also one period of fencing time, so a parry & riposte is in two periods of fencing time.

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Sentiment du Fer Literally the feel of the iron, where as you parry and feel contact with the attacking blade, you know you may riposte with priority. No contact – no riposte – just another parry. This feel of the opponent’s blade gives another sense of awareness, other than sight, of your opponent’s actions. It is most important since it will give you that edge of success over those who haven’t got this awareness. Practice this with a partner, taking turns of 5 attempts each, making simple disengagements and indirect attacks to give them chance to make a parry and riposte when contact is made, with at least 2 occasions when the attacking blade is lowered or withdrawn and ripostes must not be made! Next, repeat the whole of this in turn, with each fencer practising parry and riposte (or not!) doing so with eyes shut to become aware of Sentiment du Fer. Next, recap Change Of Engagement (see earlier in this lesson) and give covering pressures in turn so that each partner can practise this also with eyes shut, to get the sentiment du fer.

Reminder of HOW to begin fencing an opponent Use one of the following: a) by Simple Direct attack on returning a pressure from your opponent, you do so with a strong deflecting pressure to surprise him/her with your attack over the top of their blade; b) by Simple Indirect attack by disengagement on your opponent's pressure, you initiate a threat with straightening arm and sword in-line, having dipped under his/her blade and follow through into the lunge, covered, but immediately and fast; c) by defensive Change of engagement on pressure an your blade. (Then if your opponent presses your blade back in a parry you can instantly disengage and lunge.); d) by Counter disengage attack if your pressure on your opponent’s blade has produced a change of engagement. You must anticipate this and have already begun your counter disengage and lunge to hit.; e) in absence of blade (refusal to cross swords), always use Second Intentions - feint of the attack into their open target to draw a parry and then disengage in advance of it, lunge and hit. Note: i) Second Intentions - your feint of attack is deliberately never intended to be completed - used only for deception, followed by a second action taking advantage of the opponent’s response uncovering himself. ii) Beware, your opponent may well be attempting to build up his attack similarly on you.

LESSON 4 Dimensions Of The Piste and Rules Fencing takes place on a Piste with dimensions as shown for all weapons. It begins by contestants toeing to the ‘on guard’ lines so that fencers are out of reach until the Referee starts the bout. Then fencers move closer to engage by crossing swords (or with absence of blade, making feints and attacks). Movement is by gaining and breaking ground, only straight up and down the piste, employing all the techniques learned until a hit is scored by either side and play stops for analysis by the referee and scoring.

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LESSONS IN FOIL FENCING Centre Line 2m

2m 1.5-2m wide

OnGuard Lines

Warning Line

Rules i) ii) iii)

iv) v)

While ducking under attacks and stepping aside is allowed, if a contestant steps off the piste with one or both feet a HALT is called, the opponent steps forward 1 metre and both contestants come back on guard centre piste and play is restarted. A hit by the fencer who crosses the lateral boundary of the piste with one foot remains valid if the action was launched before the command HALT. If one of the fencers leaves the piste with both feet, again a HALT is called and any hit he made is annulled. Only a hit made by the fencer who remains on the piste, with at least one foot, is counted even in the case of a double hit. If the opponent left on the piste made a hit, then after scoring play is restarted back at the ‘on guard’ lines as usual. But if he made no hit then both contestants are replaced centrally on piste where they are and play is restarted. The 2m Warning Line is to indicate the end of the piste is close, and if the 1 metre step forward by one fencer puts the one who stepped off the piste over the end of the piste when resuming a correct fencing measure, then a hit is awarded against the latter. Should a competitor cross the rear limit of the piste with both feet a hit will be scored against him.

Note: It is forbidden on pain of penalty to go off the piste with both feet deliberately to avoid being hit.

Simple Defence – The Three Parries There are 3 parries and ripostes: a) Simple, instinctive, lateral b) Semi-circular – the low or indirect parry c) Circular – the counter or acquired parry. The simple, instinctive, lateral parry has been covered in an earlier lesson. The Semi-circular Parry This is a parry usually taken from a high line to deflect an attack aimed at the hip or abdomen in low line, and when necessary back again into the high line. Classically executed from engaging in the high line to the guard below in the low line on the same side, by describing a semi-circle inwards with the sword point to gather the attacking blade and take it back out and away from the low target area Thus from Sixte you semicircle inwards and downwards to Octave guard and the point of your weapon points to about the level of your opponents knee and just outside it. From Quarte similarly in and down to Septime. This is achieved with a slight wrist rotation, the hand only bending backwards and downwards, still half supinated, the arm remaining exactly in position, not being lowered in each case. In Quarte there is a little more supination to end the move. 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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Should the attacking blade be making only a feint into low line and then be redirected back up into the high line as you begin your parry, then merely by reversing your semi-circular parry back into your high line by raising your hand bending the wrist back up – it was essential the arm was not moved – your high line parry will then be still correct and effective!

Sixte to Octave

Quarte to Septime

Riposting from low parries – as for parries in high lines – riposte straight forward from Octave or Septime, lifting the hand and sword point to place the riposte on the low target that is nearest and quickest, and whilst keeping the point on low target, continue to raise the hand to discourage any attempt to counter parry. Circular Parries These involve a circular movement of the blade which is intended to put the attacking blade back into the line from which it started. Also called Counter Parries or Acquired Parries. In Sixte this is a clockwise circle made with the manipulators – thumb and forefinger – the thumb pushes while the forefinger pulls, to drop the blade down under the attacking blade, then gathering it and rotating back, taking the attack back into the Sixte position it started from. The movement is aided by the other 3 fingers which first relax and follow the grip around, then quickly and firmly closing them on the hilt to help pull it round and back firmly into the hand and correct guard, covered. In Quarte the circling is similar to Sixte but anti-clockwise. In Low lines this parry is rarely used, if ever, since there is so much open target above.

In Sixte Clockwise

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In Quarte Anti-Clockwise

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Note: i)

ii)

Do not use wrist or forearm for these circular parries as neither can be sure of accuracy or covering at the end of the parry because the thumb along the top of the grip directs the accuracy of the parry and riposte and the thumb is attached to the wrist which must therefore not move during the circling action for the parry/riposte to remain accurate. Occasionally fencers need a little more time or space for any of these 3 parries and it is perfectly in order to lean back or step back whilst making a parry (sometimes jokingly referred to as the 4th parry).

More Sentiment du Fer Recap: Giving covering pressures, and changing engagements on pressures. Then, taking turns to lead, REPEAT but MIXING them for several minutes and always in opposites as follows: Whoever leads can give pressure or change engagement at random, even repeating a technique several times as they please, but keeping fairly steady and not too fast and always remaking blade contact – the partner (be serious and don’t laugh!) always has to do the OPPOSITE – if pressured, change engagement – if engagement is changed give covering pressure. When both have had turns leading and have got the idea – REPEAT – but the partner following does so WITH EYES CLOSED! This might be tried with both partners with eyes closed – and speeded up? Finally you should have learned to be aware of an opponents blade position purely by feel – which should improve your fencing no end!

LESSON 5 Three More Simple Attacks a) b) c)

The Cut-Over The Counter Disengagement Low line Simple Attacks

Cut-Over Also known as the Coupé. On receiving pressure on one’s blade in Quarte, into one’s Sixte, keep opposition to it whilst lifting the sword and arm slightly to slide up the opponents blade. At the same time twist the INSIDE of the wrist to bend down forward with the hand up, so that the fingers face forward towards the opponent to produce slightly more twisting to Quarte. Your blade will be more vertical, momentarily, and pommel down under the wrist. This has 2 effects – of sliding to the top of the opposing blade pressing on yours, at the same time a flicking the bow of your blade round the top of the opposing one – which when released flicks out of your way on to your Sixte side. Immediately bring your forearm back down and twisting forward again, extending arm and sword to put point in line with hand again properly supinated covering into your Sixte to complete and hit.

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Effectively it is the one move in French finger style fencing where the wrist is twisted, from the onguard supinated position and back to hit, a double twist. In Sixte, on receiving pressure the actions have to be opposite on raising the arm slightly, to achieve the same result – at the same time the back of the wrist is bent down as the hand is bent up, fingers facing backwards, and the pommel is down inside the wrist. Then the arm and sword extend, point in line, and hand back in supination covering into Quarte to complete the hit. Note: The Coupé succeeds by being a surprise! Over use in any one contest loses the surprise element – so avoid frequent repetitions or, worse, allowing it to become a habit. Remember that in lifting and drawing back the arm, however slightly, leaves you exposed to a counter offensive action –do not encourage this!

The Counter Disengagement This is used to deceive an adversary’s change of engagement – it is an answer to it, or to his attempt to parry with a circular parry – and then attacking. The counter disengagement begins and ends in the same line in which one starts and must be completed before the final movement with the foot into the lunge. Used in the deception of a circular (counter) parry the counter disengagement can form part of a COMPOUND attack which will be covered in a later lesson.

Low Line Simple Attacks The attack begins in the usual way but ends up being directed, from a disengage or counter disengagement, into the low line by just not completing lifting the blade back into the high line whilst making those disengage movements. The hand also must not be raised above waist level in completing the hit. Note: i)

ii) iii)

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In low line attacks it is important to pronate or supinate one’s hand on making the hit (whichever is more convenient) to make the bend of the blade sideways and not vertical as usual to avoid it being broken in contact with the opponents arm, or at least being bent or parried off by the elbow movement. If pronated, remember it is essential to be accurate in hitting on the hip, or the bend of the blade could cause the point to skate past the opponent’s Octave and Septime target and not make a hit. Attacks in low line are unexpected and not well parried so often give more successful, surprise hits scored. When fencing left handed opponents, attacks/hits in the low or the high line are always delivered with a good pronation to ensure accuracy of fixing a good hit. Similarly if you are a left handed fencer the pronation when hitting is essential in low and high lines – except of course when hitting another left hander.

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LESSON 6 Simple Ripostes. Direct Indirect -

by disengagement by Cut over by Counter disengagement

Simple ripostes are the counter offensive action following a successful parry, the dual purpose to prevent being hit then launching a counter attack with the riposte if successful. Ripostes can be immediate OR delayed depending on the actions of your adversary when parried. If they are attempting to continue to force their attack on you, you can only continue to hold your parry until they begin their withdrawal and recovery. Again, ripostes can be made with or without a lunge depending on the speed of your attacker’s recovery. Simple ripostes – ie only one blade movement, - can be direct, in the same line as the parry, or indirect into the line opposite to the parry by disengagement, cut over or by counter disengagement. They can end in high or low line.

The Direct Riposte This should be made going straight forward from the parry and hit the opponent without leaving the line in which the parry was made, so that you are riposting covered along the blade you are keeping parried. Remember

- do NOT try to riposte too quickly before your parry is successful, - do NOT delay a riposte longer than necessary or you lose priority and/or initiative, - do NOT lift your hand too quickly riposting - a low riposte may be needed.

The Indirect Ripostes a) By Disengagement Made into the line opposite to that of the parry by passing under the opponent’s blade as they anticipate your direct riposte and make a parry. After a parry Quarte the disengage must be made in the parry position - with the arm bent, before straightening rapidly into the riposte, - this is to avoid the opponent’s arm as the point has to come back up and over their arm first, then cover in Sixte. After a parry in Sixte the disengage riposte can be rapidly extended sooner as there is an open target and no arm in the way to avoid, - then cover in Quarte. b) By Cut Over Made into the line opposite to that of the parry by passing over the opponent’s blade as they anticipate your direct riposte and make a parry. Revise the Cut Over instructions and realise the riposte by cutover has more blade to clear than in an attack against an opponent’s pressure. If you remember to pronate firmly, holding their return to a parry which anticipates your direct riposte, they will feel the urgent need to parry more strongly. Then, as you bring your blade more vertical momentarily and twist it round the top of their opposing blade, it will 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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spring more quickly into their parry out of your way. Instantly twisting your wrist back to full supination and covering to your opposite line, you riposte and hit as quickly as possible. This is the nearest you will come in classical foil to making a flick hit, - but the riposte following the cutover must be this fast. Make sure your arm extension is no quicker than necessary however or you will risk hitting flat before your point has come in line on target. c) By Counter Disengagement The riposte to deceive the attacker’s change of engagement as he recovers after attacking your Sixte and being parried there. Action is either: • your opponent attacks from engagement in Sixte, by feint into your Quarte and disengagement to your Sixte, - being parried in Quarte and then Sixte; • OR the attack is from absence of blade by feint into your Quarte and disengage and is parried similarly, as in the previous example. Anticipating your direct riposte to his Sixte your opponent makes a change of engagement into his Quarte rather than return to his Sixte. You deceive this by following his change of engagement round, - still in the bent arm position of your parry of Sixte, using only your fingers, - with your counter disengagement. Then hit with a rapid arm extension once your point arrives to your covered position of Sixte, - if up and over his arm to hit in Sixte. If you decide to make your riposte even quicker by a low riposte, which does not need the ‘up and over the arm’ into the high line, so much the better and a more likely successful hit into his Octave line, - but pronate or supinate your blade to bend sideways flat. Note: i) ii) iii)

your point action must always precede your arm extension; do not start your counter disengage too soon when you think there is a change of engagement starting or you signal your intentions by pushing at his blade and spoiling your chances. You can only react to an adversary’s defensive action(s) not determine them. counter disengagement riposte is the answer to change of engagement or to a counter parry.

LESSON 7 Two Fast Offensive Actions are the Flèche and the Balestra.

The Flèche Attack (French for Arrow). A fast means of attacking an opponent slightly out of reach of a lunge because of his advantage in reach – or because he steps back when attacked, so, like an arrow, it must waste no time reaching its target. It is used most effectively with simple direct/indirect attacks. The arm must be straightening and sword in line, in a feint of attack threatening the opponent’s target. Simultaneously with the following action: Firstly the rear leg thrusts the body forward over the front leg (1) which remains anchored so that the body is overbalanced forward, then the rear leg must be rapidly brought through to the front on which to land– as in a lunge but on to the rear leg (2). The hit should arrive as this rear leg hits the ground in front, or if not, (and to regain balance), the hit is landed with a second step forward with the original front leg, but a little out to the side of the opponent’s Quarte side. The Rules forbid forcing body to body (corps à corps) or jostling one’s Page 20

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opponent on pain of penalty. There may be a need for a third or a fourth step depending on the speed of the action, and all the steps should be short and rapid, – but they must go around the opponent, not at him and not off the piste.

(2)

(1)

A flèche must be successful. Failure to hit leaves the flècheur at the mercy of his opponent and needing a parry from a most difficult position and on the move. DO NOT USE against left-handed fencers. Left handed fencers can follow these instructions exactly as written, - only against other left handed fencers. But DO NOT USE against right-handed fencers, - into their open Quarte side leaves you with impossible defence if you are parried.

The Balestra (From ballista – an ancient Roman war engine for hurling missiles at their enemies). Another fast method of attack, of Italian origin, whose feint gains speed and momentum thereby. Its purpose, similar to the Flèche is to reach an opponent whose fencing measure is more than one’s own, or who steps back on being attacked. The move consists of a short HOP forward on the rear foot whilst simultaneously raising the front foot in the air with a kicking forward action – which helps the hop forward – and the sword/arm straightened in a feint of attack, usually combined with an attack on the blade to pre-empt a stop hit. On landing, the weight of the body is taken on the rear foot, whilst the front foot beats downwards and backward HARD – to land close to the rear foot at the same moment. When this is done correctly and with force it must be followed by the lunge with the front foot – which is the object of this method of forward propulsion – or you fall on your face since you are going forward off balance. If done without force it can be used as a feint alone, followed by a further foot movement and second intention blade movement ie it is a preparation of attack.

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ROUNDUP OF PART ONE Summary of what Foil Fencing is all about According to the Rules and the conventions of Foil there can be said to be 3 BASIC PRINCIPLES for Foil Fencing and Refereeing to be possible and to make sense: i) The Attack is the initial offensive action made by straightening the sword arm forward from ‘on guard’ sword ‘in line’ and point continuously threatening the opponent’s target, fractionally PRECEDING the launching of the lunge, flèche or Balestra. This is correct PREPARATION AND DEVELOPMENT and is one period of fencing time. ii) The Parry is the defensive action made with the weapon to prevent an offensive action arriving. To gain the right to riposte it must deflect the attack COMPLETELY from arriving and the riposte should be as immediate as possible and go straight forward from where the parry was made without detaching from the parried blade to give, and keep, your priority. iii) The Disengagement from the start of a classical, crossed swords, situation or the opponent’s attempt to make contact with your blade, is made, correctly, by using fingers (or less correctly wrist,) to dip under the opposing blade in a deep enough V to avoid pressure or other attack on your own blade. This is usually the start of a simple, indirect, or a compound, or a counter attack. NB: All other fencing moves, actions, techniques are dependant on and build on these Basic Principles, and all Fencers, coaches and Referee must maintain them impeccably or Foilplay becomes a nonsense.

Simple Attacks - Summary The straight thrust The simple disengagement The Cutover or Coupé The Counter disengagement Attacks in low lines

DIRECT INDIRECT INDIRECT INDIRECT DIRECT or INDIRECT

When done without delay or hesitation each is considered to occur in one period of fencing time.

Simple Ripostes - Summary The simple DIRECT riposte The simple INDIRECT riposte

- only 1 blade movement, in the same line as the parry. - only 1 blade movement, into the opposite line to the parry (by disengagement, cut-over or counter disengagement).

Ripostes into the LOW LINE

Notes On Attacks The straightening of the sword and arm from ‘on guard’ defines you as the Attacker and gives you priority and precedence since your opponent must react to it or be hit (as in reverse positions so must you) by parry/riposting or other counter attack. It is in effect a threat – which must be responded to – and we call this a FEINT of whichever attack, which may continue into the lunge and hit, or be followed by a 2nd or even 3rd Feint, first, before a final lunge/hit. This makes so-called 2nd and 3rd INTENTIONS of compound attacks. Simple Attacks are those which have single movements of the blade or arm which may be DIRECT or INDIRECT. When executed FAST and up to speed these produce so-called EXPLOSIVE attacks. Compound Attacks are ALL other attacks that involve one or more feints or blade movements. These cannot be explosive lunges as they need time for the feints to build up to speed and are aptly called ACCELERATING attacks. Page 22

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Useful Principles 1. LEARN Learn the HOW, WHEN and WHY of every stroke which you are taught ie Technique, Timing and Tactics. Practice them until perfect. 2. BE FIRM BUT LIGHT HANDED Carry your sword firmly but lightly in hand, don’t grip it and relax. 3. KEEP THE POINT ON TARGET Aim to keep your point within the opponent’s target area when parrying or attacking. Your play will be more accurate and less energetic. 4. STAY COVERED Always attack covered and riposte covered ie never expose your target area unnecessarily or you invite a stop hit or get double/simultaneous counter attacks. Only leave yourself exposed tactically when you are fairly certain of your opponent’s response. 5. CONTROL YOUR OPPONENT Always try to put your opponents weapon outside your guard, away from your target area. Having got it there, keep it there, under your control. 6. FEEL THE BLADE Remember the ‘sentiment de fer’ – the feel of the blade – that important contact with the opponents blade which gives another dimension of awareness of the opponent’s actions. It can give a sense of taking control of the opposing blade especially when parrying – or the knowledge when you have lost control or failed to get it. 7. HAND FIRST Always move the hand before the foot in preparation otherwise you leave yourself exposed to a legitimate and justified STOP HIT and have difficulty in avoiding your opponents arm/leg or changing your attack when too close. 8. CONTROL YOUR SPEED Always take your opponent’s timing in your fencing movements. It is possible to be too slow, or too fast, so do not try to force your timing on your opponent. 9. USE THE LOW LINE Learn to riposte direct into LOW lines (pronated or supinated to avoid opponents arm). You will get more ripostes in low lines than high because they are unexpected. 10. INTELLIGENT ATTACKING Never attack into an open line – you cannot make it since a parry has less far to travel than the attack. Attack only into an opening line, after a feint into the open line to put you one move ahead in a compound attack.

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Part ONE

REFEREEING AND JUDGING Everyone learning foil should learn to observe each opponent and to analyse foil play by taking turns judging and refereeing, from early in their training certainly by this end of Part 1. To become an expert foilist it is not enough to learn the techniques of Simple and Compound attacks and defence, plus Timing and Tactics etc. It is essential to know and understand all terminology and phraseology in analysing play and the judging and priority and validity of hits, - found on P2-4 and P2024 of the FIE Rules, OR in Appendix A of this manual, and in Appendix B, also P44/45 of FIE Rules for ‘Offences and Penalties’. Without this knowledge and understanding mistakes will occur, unfair refereeing and scoring happen and false ideas develop and spread concerning refereeing and the correct way to fence foil. There is no better way to help a foilist’s ability to observe their opponent’s style, to learn the Rules above mentioned and to be able to take advantage of this to beat them, - really the ability to ‘READ YOUR OPPONENT’ - than to make up a group of seven foilists on a piste taking turns with two fencing, each with two judges watching only their hits, and one refereeing, preferably with a senior experienced fencer/coach/Prof. as adviser on method, style and wording, (over the shoulder) and helping with observing and scoring until each is familiar with and capable with it. NB. Absolutely NO electric Box to be used yet,- this must come later.

The two contestants fence ‘best of 5 hits’, the loser comes off and the judges and Referee all move round one position; the judge next to the Piste in the circulation plan replaces the loser who takes up the empty judge spot. This gives each practice at refereeing, and judging at , ‘open’ and ‘closed’ target(with the contestant’s sword arm not in, or in, the way of seeing hits easily). Keep the circulation the same way each time and it all works out that each tries each position and fences. NB. The Referee and judges have to move up and down the Piste FAST to keep up with the action. If both fencing are left-handed it is the same as for both right-handed but if only one is left-handed the referee must observe on the open side. Strictly, according to the rule book, the judges are there to assist the Referee in deciding scoring and must raise an arm instantly they see only their contestant make a hit on target. The Referee must call HALT as soon as this happens and analyse out loud who did what and in what order, that is - he describes the ‘phrasing’. During his analysis the Referee asks the judge(s) with an arm raised “was there a good hit?” OR “did it arrive?”., and all the judge may say is “yes” or “no”. If the judge is doubtful, or having second thoughts as to what he/she saw the answer must be “I abstain”. The Referee then allots the score. NB. Practise at Refereeing/Judging should NOT be a one-off but must be frequent until each is conversant with the processes involved, only then will one’s powers of concentration, observation and fluency in reporting and analysing improve noticeably and become totally familiar. Also it is an intrinsic and basic part of training and greatly improves your foil fencing since you then know what the Referee is looking for. Learn Appendices A and B and practise all assiduously! Page 24

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LESSONS IN FOIL FENCING

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3/2/2010 ÂŠ 2010 Ralph Whittingham Burgess and Bath Sword Club

Part TWO

LESSONS IN FOIL FENCING

PART TWO LESSON 8 Compound Attacks A Compound attack is one which has one or more feints (threats), and all such attacks must involve accelerating lunges into the final hit. They are used when simple attacks fail because of one’s opponent’s correct anticipation or correct reading of your intentions in attack. Compound attacks involve nothing new - merely a combination of several simple attack movements already learned - direct thrust, disengagement, coupé and counter disengagement, together with recoordinating the foot movement with these to deceive the opposing defence. To explain why simple attacks can fail and the need for compound attacks remember that at correct fencing measure one’s foil tip must travel a blade’s length plus 6-10 cms to reach one’s opponent in a lunge, while the parry takes less than half a blade’s length to deflect the attack So if your opponent is alert you cannot win, giving us a Fencers Golden- Rule: never attack into an open line (see p21, no 10) Therefore the feint must be made convincing enough to resemble yet another simple attack to draw their parry- -which you then deceive, and continue with another movement. Thus a feint or feints enable one to start moving closer to gain time or distance and to close the margin of difference between attack and parry, producing the so-called progressive attack (with an accelerating lunge), and keeping you one move ahead of your opponent’s defensive moves. This is best illustrated as follows:

The 1-2-3 This is two feints by simple disengagement followed by yet another disengagement. It is used on an opponent who is using simple, lateral parries. Classically, from pressure on your blade disengage and make your first feint, with your sword in line as you straighten your arm and your point threatening their target nearly as far as their coquille, (giving you priority as the attacker.) Anticipating your opponent’s first parry, immediately begin your second disengagement as their first parry begins - so deceiving it. Next, - still anticipating their second parry, begin your third disengagement as their second parry is beginning. Then completing your lunge place your point to hit on target. But, - if this was all you did from starting from on guard until you lunge you will not have gained any time or distance more than your first feint, - and therefore NOT progressive in any way - and lucky if it landed before being parried! To make it a PROGRESSIVE ATTACK : •

With your first feint put your arm fairly straight and point closer, as far as their coquille and no higher;

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with your second feint lean forward to put it even closer, still horizontal; finally complete your lunge - and hit from 10 cms (4 ins) away, lifting your hand and covered.

Think of this as –‘feint - lean – lunge’ with tempo like a dance rhythm – ‘slow - quick –quick’. Your point will describe a curving zig-zag:

getting closer with each zig and zag. Keep these disengagements no bigger than necessary to avoid your opponent’s parries, blade or arm, and neatly done with finger and thumb making the disengagements. This is now a progressive attack and as you see, getting quicker -making the accelerating lunge, Note: i) ii)

You must keep a straight arm all through and never bend it or you lose priority. Your foot must not move into the lunge until the third disengagement

The 1-2-3 from ‘Absence of Blade’ Here you begin by having to feint into the open line, - since your adversary’s blade will be on your quarte side, make your feint by beginning to straighten your arm/sword across towards target-deadcentre and hand covering into your quarte and their blade outside yours. But anticipate their first parry even quicker watching keenly whether it will be simple or circular, and already beginning to make your first disengage or counter disengage - depending on which parry they use - as you are making your second feint. As they fail to find your blade and begin to make their second parry back to their Sixte by lateral parry, (or by counter disengage of quarte), make your second disengage, or counter disengage, and hit - still covering, depending on their parry. So this goes - straight feint - disengage -disengage (or counter disengage- counter disengage probably,) and as before ‘feint -lean –lunge’, and to a ‘quick -quick –quick’ rhythm in this case. Practise both ‘Classical’ and ‘with Absence of Blade’.

The 1-2 Attack This is a feint by disengage, followed by a second disengagement back. If you have followed the previous 1-2-3 attack and practiced it you will now have got the idea of progressive attacks. So the 1-2 attack will be easy to make progressive also, though of shorter duration being one disengage less. But remember - in a 1-2 attack the -2 needs to come up and over the opponent’s arm to hit in the high line, so your foot lunges on the 2nd disengagement. The 1-2 and 1-2-3 are only used against simple lateral parries.

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The Doublé Attack This is a feint by disengagement followed by a counter disengage. If in the previous examples of 1-2 and 1-2-3 the opponent does not use lateral parries but his first parry is a circular parry then a Doublé is the answer. Effectively you follow your first disengage with another the same, going round in the same direction the counter disengage to his circular parry and your attack is simply a 1-1. If the response is yet another circular parry then repeat the counter disengage, continuing progressively of course into a 1-1-1(or more as needed). You might try also - a feint and cut over followed by disengage – on simple parries; OR a doublé and disengage - on a circular parry followed by a simple parry OR even a beat – cutover – disengage OR a beat - doublé – cutover ( nearly a flick hit!). Note: It is difficult and therefore dangerous to try to fit in more than two feints while lunging as you are getting too close to do so.

LESSON 9 Successive Parries The practical description of two or more parries used one after another, obviously in response to failing to make contact with the first. If , responding to your adversary’s initial feint of his attack, you make a simple lateral parry and find no contact because he is making a 1-2 attack, then a second parry is suddenly essential to avoid being hit. This could be a return to where you began, with another lateral parry, -or it could be a circular (counter) parry, or even a Septime, even with a step back. However the attack starts you have a choice of parries simply to deflect the attack, or to deflect and surprise the attacker, giving you a better chance of succeeding with a riposte. Whichever, there are several important considerations which follow - to be noted :• • • •

do NOT make a habit of using one sort of parry regardless - it will be quickly spotted - to your disadvantage in hits scored against you; you can begin by making your first parry one way but make a different second parry. In other words mix your parries in different ways to confuse the attacker. next time use two counter parries, to gather up the attack and keep confusion in the mind of the attacker perhaps. if fencing with ‘absence of blade’ even try pronated Prime - Seconde, or Prime - Sixte before riposting low or low-high.

Remember

- varying your defence greatly handicaps an attacker attempting to anticipate your parries, - to the greater success of your ripostes. - with French hilts pronated parries are far stronger against pistol grips, - and consider why Prime and Seconde were the first two parries, then today how they could help in ‘absence of blade’ fencing.

Finally, the danger in using pistol-grip hilts and no ‘finger play’ is that the wrist has to be used for circular parries and counter disengages far more and makes accuracy more problematical in repetitions 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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of circular movements. It also causes larger whipping, slashing movements when parrying - so less accurate counter attacks and ripostes. Try out your own ideas of successive parries and these suggestions here and practise them as usual.

Compound Ripostes The counter offensive movements following a successful parry and composed of one or more feints. But these are still only combinations of the simple offensive movements of direct thrust, disengagement, cut over or counter disengagement already learnt. A compound riposte is used when your adversary is expecting a direct riposte after being parried. Keep contact and pressure against his blade while lowering your blade and beginning your riposte to ensure his complete return to say his parry of quarte. Then make your complete lowering of your blade for your disengage - in the bent arm position to avoid his arm/blade not yet out of your way. Then complete straightening your arm into your first feint, - drawing his second parry to his Sixte which you deceive with your second disengage and hit into his Quarte. This is a 1-2 riposte on two lateral parries. If his second parry from his Quarte should be a counter(circular) Quarte then your response would be a second similar disengage to your first - a 1-1 or Doublé, a feint disengage - disengage. If you think a compound riposte is going to be needed then it is essential you do not move your foot on the first feint and put yourself too close to make your second disengage. If the opponent stays on the lunge and parries there you then make both disengagements with a bent arm before putting in your riposte, still not moving your foot since a lunge is not needed for the riposte. There are a varied combination of movements in compound ripostes which you can work out and practise for yourself; but whilst in compound attacks you are defined as the attacker by the priority of your straight arm, in compound ripostes it is only with the last movement you straighten your arm into the open target from the beginning of your second feint (and hit). But if your second feint has to come up and over the opponent’s arm to hit in his Sixte then you must still make your second disengage with a bent arm to some extent according to his stage or state of recovery. This also applies to fencing against a left hander into his Sixte.

Counter Ripostes These are offensive movements by an attacker or a defender after successfully parrying ripostes. An attacker’s counter riposte(s) can be made while still on the lunge, or while recovering or after recovery. So they can be done with or without a lunge, as necessary, and by either fencer. Like all ripostes they can be simple or compound. Thus an attack can be successfully parried and a riposte made. The original attacker can also parry then begin his first counter riposte and the original defender will parry and make the second counter riposte and so on, with the attacker making the odd numbered counter ripostes, each in succession of offensive and defensive. It should be noted that an initial attack can be premeditated - with ‘second intention’ - ie the original attack was not to hit but to draw the parry of a strong defender/riposter and surprise him with the first counter riposte, the attacker deliberately remaining on the lunge for this, to be within reach. Counter parrying and riposting ‘on the lunge’ are not easy due to the proximity of your own thigh and the opponent - which tends to restrict arm movement. This can cause incorrect sword alignment and therefore parrying and riposting. Do not lift the elbow nor draw your hand back too close to your body, either could risk putting your sword out of line for a correct and successful riposte. Page 30

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To parry correctly ‘on the lunge’ think you are parrying with the heel of your hand in Quarte and the back of your wrist in Sixte, while keeping your hand level in front of you and point up, with forte well angled across the opposing blade.

LESSON 10 Beginning Attacks - Reminder You learned three or four ways to begin an attack, after the initial attempts to begin fencing an opponent showed up the problem of how to start: a) By pressure, to deflect the opposing blade as you correct your guard, and immediately straightening your arm, point threatening the opponents target area with sword in line, followed by the completed development into the lunge and hit, ie from your pressure into a direct hit; or b) By disengagement from your opponents return pressure in a covering reaction to your (a) ie into an opening line by indirect attack with disengagement; or c) By change of engagement, on a return pressure from your opponent, into a direct, or indirect attack depending on the opposing reaction to your change; or – d) In the absence of blade (refusal to engage blade) a feint (threat) of attack into the open line (target) exposed with immediate development (lunge) and hit, or by disengagement and hit (2nd intention ie indirect attack) on the opponents attempt to parry. This is a Trompement (deception) example.

Preparations Of Attack Any one movement of blade/body/foot which opens the way for an attack. Mostly these preparations of attack prepare for your following offensive action by deflecting the opposing blade, or by getting a reaction to it and each is in one period of Fencing Time. They are made with arm bent, or straightening from on guard, to prepare the way for a subsequent attack in which your arm is straight, sword point threatening the opponent, and reacting to the responses - if any – of your opponent to that preparation. They are NOT the attack and taking a period of fencing time to perform, are therefore open to a possibly successful counter offensive movement, which you as the attacker need to watch out keenly for in your preparation in order to prevent it. 1. Attacks on the blade 2. Coulé ( & Graze) 3. Takings of the blade (Prises de Fer) and DEFENCE against Prises de Fer 4. Gaining and breaking ground 5. Combinations of preparations 6. Takings of the blade preceding ripostes These are examples also of imposing your will on your opponent making them react to you so that you can take advantage of their reaction.

(1) Attacks On The Blade – Pressure, Beat, Froissement a)

Pressure, to deflect the opposing blade to obtain a reaction to it. Today since ‘engagement’ is with absence of blade, this is best used following the opponents recovery from a failed attack when recovering is being covered by a parry, - which is the only opportunity to engage their blade and a crucial moment to counter attack with this pressure. Note: Both blades should be crossed about halfway up, and by wrist flexion the pressure is

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applied horizontally/laterally, the point not dropping and the arm remaining nearly in its guard/parry position, then straighten/lunge. b)

The Beat, a sharp, crisp knock against the opponents blade with your own to knock it aside, or obtain a reaction to the threat, thus producing two ways of doing this depending on one’s intentions, and the response expected. The object when preparing to attack is to move ahead of the adversary’s defence as always. So the beat and direct attack is intended to gain time by first knocking the opposing blade out of the way and the straight arm and lunge follows immediately. To begin your beat – if your blade is against the opposing blade in quarte, take your blade away rapidly, unexpectedly with forefinger and thumb whilst relaxing the other three fingers. (Or, with absence of blade, move to quarte with the opposing one, do so suddenly as if parrying, but hand first leaving the blade behind, by using thumb and forefinger whilst relaxing and opening the other three fingers). In either case, even more rapidly, snap the hilt back into the palm of the hand, with a shake of the forearm, to whip your blade hard against the middle of your opponents blade at the same instant as you straighten your arm to put the sword in line and lunge. This should only be used once in a fight – next time use beat/disengage.

The Beat Disengage is used when you know you will get a return beat from your opponent. By anticipation the disengage must be immediate in the on guard position before straightening the arm with the attack after disengaging. NB An experienced opponent may well expect the disengage after the beat and not beat back but execute a circular parry – then your beat has to be followed by a double effectively or change of engagement, and a lunge to hit.

The Change Beat or reverse beat is to make a change of engagement (or a disengage) BEFORE executing the beat or beat disengage. This is more difficult into the sixte side and needs much practice (as for a straight beat in sixte) to be able to make a strong back beat. To make a beat in sixte, or a reverse beat in to sixte effectively, keep hold of the hilt with thumb and forefinger but relax the grip of the other fingers while pushing the hilt away from the hand with the forefinger and thumb. As you snap the hilt back into the hand with a firm grip, make the beat against the opposing blade with a sideways shake of the forearm, stopping suddenly to give a whip to your blade and a very firm beat. Instantly straighten the arm covering in sixte as you lunge and hit.

The Froissement – like a very forceful pressure, but with the forte of your weapon graze diagonally down from your opponents foible to the middle of his blade very sharply and strongly, to deflect it right away. This can be made even more forceful if done with a pronation of the hand to give an even stronger push, in quarte or in sixte, and end in the hit. This can be made effective from ‘absence of blade’ into quarte, or as an opponent is recovering from a failed attack, into quarte by disengagement into his sixte side, especially where the guard is rather central during recovery, or even following a coupe, ending in completing arm straightening and hit.

NB Attacks on the blade largely rely for success on surprise – so do not use them too often, they have become no longer a surprise, and are a difficult habit to break.

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LESSON 11 (2) Coulé (& Graze) [From the French verb meaning ‘to flow.’] This can be considered as:- a feint and/or a preparation; an attack on the blade; or a taking of the blade. It depends on the circumstances and conditions which dictate its use and the manner in which it is executed. At its simplest it is a very gentle, subtle, ‘flowing’ movement in which your blade slips along your opponent’s blade to make him cover properly. Used on an incorrect guard, at worst one in a central stance, followed by a direct hit if covering is slow, or a disengage/hit if the coulé causes the opponent to correct his guard (or even a disengage one/two, etc). On a badly held sixte the coulé is on the sixte side, in quarte on quarte side. Used on a well covered opponent with a correct guard but weakly held and with enough pressure (opposition) to push the blade away and hold it to a direct hit = a GRAZE and is perhaps the simplest form of ‘prise de fer’ or taking of the blade. NB Today never try this latter against pistol grip opposition as it is too strongly held.

(3) Prises de Fer [French = ‘takings of the iron’] or takings of the blade In the classical ‘on guard’ and crossing swords with an opponent, ie being in a ‘state of engagement,’ both cannot be correctly covered, but in attempting to be each is alternately taking ones opponent blade in the simplest form by pushing the opponent’s blade whilst trying to correct ones guard to ‘covered.’ Therefore a ‘change of engagement’ is also a simple ‘prise de fer.’ Definition – when engaged, or in anyway in contact, with the opponents blade, any movement which deflects it whilst keeping contact, is called a Prise de fer. There are 3 of these:a) The Croisé b) The Bind c) The Envelopé and these are only executed against a straightening arm, sword ‘in line’ and point threatening your target area, ie a feint/threat.

LESSON 12 The Croisé (or Vertical Bind) Takes the opponent’s blade from high line to low line on the same side as the engagement, ie it crosses the line from high to low without any sideways movement (this is one period of fencing time). Classically, on your opponent disengaging to feint into your quarte side, or today with absence of blade, making a threat into your quarte/open target, engage with their blade, forte to foible and pivot your blade over theirs, keeping well in quarte and point towards their hip.

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At the same time bear down on their blade to keep control of it between your guard and forte whilst thrusting forward to hit on their hip (on target) with the hand turning into pronation and angulating the blade to a well directed hit on hip (or flank) but arm and wrist must keep lowering. The Croisé also makes a useful surprise riposte after a quarte parry!

The Bind (or Diagonal Bind) The action of taking the opposing blade from high line sixte or quarte, diagonally across and down to the low opposite side. The action begins, as for the Croisé by being in contact or making contact with the opposing blade threatening your own target area and pivoting over the top of it whilst bearing down on it with sword and arm. At the same moment carrying the opposing blade diagonally across to the low line opposite side. This must become one fast movement with practice, and end in a hit on abdomen, supinated completely to turn foible bend and point onto target. N.B. The bind must be nearly completed before any forward movement of sword/ arm or body to complete the hit, or you may hit off target on opponents leg. Beware an experienced opponent’s dérobement (evasion) or his ceding parry!

Envelopé (Envelopment) The action of taking the foible of the opposing blade with one’s own forte and describing a circle around it, with a wrist movement, keeping both blades in contact to return to the line of engagement, in sixte, clockwise rotation and anticlockwise in quarte. This is followed immediately by the lunge and hit but beginning on the rising second half of the rotation with the straightening of the arm into the attack. Classically when engaged in sixte with an opponent who, having the top of your blade momentarily, lowers his point enough when beginning to straighten his sword/arm in a threat/feint the action is again to pivot rapidly over the top of his foible with one’s forte but then to continue round in a complete circle in constant contact with his blade, (ie clockwise) to return to the original sixte line of engagement but on top (& in control) of the opposing blade which was lost when it was being thrust over yours. This is followed ‘sooner than immediately’ with your lunge-hit or lunge – disengage – hit and maybe even Low! Today with ‘absence of blade’ (‘not engaged’ opposition) feints/threats/attacks either break a fencers golden role of ‘never attack into an open line’ or do so deliberately to draw your parry in which case a simple or circular parry is the response. But if an engagement is sought to proceed their attack then this gives the opportunity on their straightening sword arm to envelopé and make your counter attack and hit. NB a) Remember prises de fer cannot be done on a feebly held sword nor on one held too high (eg a tall opponent). Opponents with pistol grip hilts may be too strong to use envelopé on. b) Keep the circular movement small yet large enough to maintain contact of forté to foible throughout and use wrist not fingers or forearm. If you can learn it – a sideways flick at the end of the circling can deflect the opposing blade even more efficiently in envelopé. Do not confuse the preparation for attack by prises with defensive circular parries. Keep them utterly separate in your mind.

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Defence Against Prises De Fer – Ceding Parries On your blade-in-line threat/feint your opponent attempts: a) Croisé from quarte on your straight blade – parry by withdrawing your threat into a simple octave parry well pulled back on their foible & riposte instantly, low or high. b) a Bind into their octave – parry by ceding into your low quarte by allowing their bind to succeed only so far – to keep them committed, then roll your forte over their foible to end up with your hand/ hilt dropping inside to quarte. Reverse this heading into their septime by rolling your blade similarly (reversed) into Tierce & instantly riposte c) Envelopé – don’t resist, allow it to nearly succeed then resist with a strong sixte/quarte. N.B. Keep arm/sword straight long enough to bluff attack into continuing – resist at end.

LESSON 13 (4) Gaining And Breaking Ground As A Preparation Used normally for maintaining fencing measure and to reach an opponent in attacking or retreating from attacks by taller opponents or those fléching or from balestras. But these can be a subtle preparation of attack due to this naturalness and not being thought of as a preparation for an offensive action, especially retreating. This is Tactics and not Technique but needs to be practised for perfection! a) Step forward as preparation:- essential on the adversary who is in the habit of stepping back on the first sign of an attack. But classically with swords crossed, to step forward correctly covering in sixte or quarte means a threat to your opponent where you are now holding the top of his blade and could attack with a direct thrust. So the step forward covering, with even a slight pressure to emphasise his anticipation of your direct attack – is then wickedly followed by the indirect disengage attack and hit! Today with ‘absence of blade’, lack of engagement, there is often a feint of attack into your open line – or will be if you take a slight step forward (or from out of range a good step), whereupon you follow with a beat direct/beat disengage or parry and riposte with opposition, or even a counter stop hit with opposition – and hit since they are within hitting distance! N.B. Remember preparation and attack are two separate movements (two periods of fencing time). b) Step back as a preparation – an even more crafty and subtle move! With an eager opponent determined to maintain correct fencing measure and following up your every step, if you do two steps back he will anticipate your third step back. But if this third step is scarcely suggested but followed immediately by a step FORWARD instead and your sword point dropping to just below high line and straightening only for a close-quarter hit in mid line a good hit can be scored on target – maybe with an avoiding movement of body. N.B. (1) Remember, in close-quarter fencing be prepared to ‘pull your punch/hit’ – broken blades are dangerous and at least expensive! (2) This is a useful, even essential tactic on a tall opponent who is out of your fencing measure all/most of the time and will help to get him into your fencing measure without him realising it, but it is also essential to make your attack whilst he is moving!

The Appel (Fr Literally ‘a call’) – In fact calling the opponent’s bluff – with a step preparation that goes nowhere but convinces them you are attacking and hopefully surprises or shocks them into a reaction – which you must then instantly take advantage of. It consists of a light stamp of the front foot as if starting a step and with a slight forward jerk or twitch of the sword and arm as if starting a feint. But make it convincing and use it very rarely, for surprise, and don’t waste the opportunity made – unless the Appel is ignored. 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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LESSON 14 (5) Combinations of Preparations. These are sometimes necessary eg where the adversary is offering a straight arm-blade feint, maybe not too high, but not following it up. This is an obvious trap inviting a prise de fer which they hope to evade (dérobement), so that you complete your attack running on to their straight blade (their hit!). But to discover their intentions - try a feint counter offensive yourself first, say with a beat and straighten sword and arm, being ready to step back out of range if evaded after all, then return to your attack after mentally organising a different and double preparation of attack next time. The imperative response is to take not one but two successive Prises essentially, making sure you maintain blade contact all the time and not losing it up to your final hit ie keeping control of your opponent’s blade. The other essential is nearly to complete your two successive prises before moving your foot into the lunge - after making sure you will not run onto his blade during your two prises by their near completion before lunging; eg an envelopé repeated; an envelopé and a bind ; or a bind and a croisé. These then all make COMPOUND PRISES de FER. Note: If you lose contact between the first and second prise the two then become a DOUBLE PRISE de FER. Today with so much fencing with Absence of Blade it becomes difficult to use prises de fer, so an alternative would be to try double attacks on the blade for example: On a feint - often/frequently high - try an upward beat, your sword diagonally across under theirs, followed by a down beat in Seconde (or Quinte) depending on response, - often this could be an attempt at flick hit into your quarte, or perhaps your octave, or maybe a heavy attempt to parry and riposte down into septime or octave. So be fast with your final hit after your second attack on their blade. On a held, straight blade feint - offer a straight beat feint, then: if the response is to attempt an opposition parry/riposte, or a beat back and direct attack take a step back, and try a Croisé into their octave and lunge and hit on hip; if their response is a dérobement ( evasion) of your attempted beat, again step back and repeat your beat as a change (reverse) beat and hit. In the event of it being necessary to gain distance while making such takings or attacks on the blade then a beat, pressure or croisé with a step forward would together make a compound preparation. You can think up and work out many more similar possibilities! But it is essential to test your opponent’s responses - see if they are consistent/habitual or not and decide alternative strategies to outwit their possible responses. So keep observant and THINK!

(6) Ripostes using Prises de Fer Useful particularly to deal with habitual remisers, or those who try to force their way through a parry, raising the danger of being hit whilst riposting. So the idea is to carry their point away from your own target area whilst you are riposting by using prises. Any will do though binds and croisés are the most obvious, as they are most likely to surprise the opponent in being out of expected position. As usual practise makes perfect!

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ROUNDUP OF PART TWO The success of any action - Preparations, Attacks, Parries, ripostes etc - lies in the correct selection of your informed responses to your adversary’s actions, which requires your initial careful observations and noting the opponent’s usual reactions and style of play, so that you can arrange traps for them. But success in foil fencing also depends on your own technical perfection, self discipline and speed of reaction to be able to seize opportunities when presented with them, and particularly with your ability to observe and so anticipate correctly and thus produce correct timing. Do NOT fence rapidly/frenetically regardless of your opponent’s actions and reactions, but with thought and purpose based on your observations and your confidence in your ability to fence effectively against each opponent - use your brain! Practise all the techniques outlined in Part 1&2 against others of your own standard and also more experienced fencers, and do not be afraid to be analytical - discuss what occurs and enlist their help in correcting your mistakes/failures and improving them. Don’t let them just use you for target practice. Also use visualisation – this is an exceedingly valuable self-training, mostly mental and slightly physical process used by all highly successful top athletes, gymnasts, high-divers and fencers, in addition to physical repetition drill. It is the process of repeatedly rehearsing any technique in the mind, during lessons or after fencing, to help train mind and muscles and to fix a technique in the mind to perfection. It greatly assists rapid learning and greater success in perfect execution of individual movements to the point of becoming instinctive in time. DO IT, USE IT, it will help you.

More Useful Principles 11. IMPOSE YOUR WILL Always try to impose your will on your opponent’s play by feints of attack to produce known, expected and conventional responses that you can take advantage of. Never pause on a feint unless you planned it, so react quickly if you do pause - or withdraw the feint. 12. DON’T BECOME PREDICTABLE Be ready to mix your parries and reverse the order so as to leave your opponent guessing your next parry. Avoid developing easily spotted habits. 13. RELAX Always try to be cool, calm and calculating - but determined and devastating in your responses and RELAX - it is less exhausting. A tense uptight fencer is fractionally slower and more jerky in response and movement and tires more quickly! 14. HANDLE AGGRESSIVE OPPONENTS Discourage aggressive/pushy constant attacks by making threats/feints of your own at crucial moments with straight arm and foil point under their nose. Be ready yourself to attack with second intentions or counter parries of their parries, and ripostes. 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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15. OBSERVE Try to observe an opponent fencing before you have to fence them and spot any habits, favourite attacks or defensive movements; otherwise read their moves and habits ‘on the hoof’ when testing with feints and use this information to launch attacks yourself. 16. PREPARE AND PLAN In fencing there is an answer for every move your opponent makes. Train yourself to work out answers ‘on the hoof’ to deal successfully with each one.

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PART THREE LESSON 15 Trompement and Dérobement Deception or evasion? Trompement (Fr. Tromper - to deceive) is a deception, and in fencing refers to YOUR blade action avoiding an opponent’s attempt to parry your first feint of a compound attack, (ie an attack of one or more feints) and completely avoiding any blade contact. Thus ALL attacks, other than a straight thrust, are attacks by trompement whether they are by attacks on the blade or takings of the blade as preparations of attacks, or by one or more disengages or a doublé or a coupé and disengage. Dérobement (Fr. dérober -to evade) is an evasion, - YOUR evasion of an opponent’s attempt to attack or to take your blade. The latter will only occur if your arm is extended and your point is threatening your opponent’s target - making you the attacker since your arm is straight first. As long as you do not bend your arm during your evading their attempts on your blade then you remain the attacker. Remember, regardless of the importance of immediately seizing any opportunity you create or get, it is even more vitally important not to anticipate your own intentions by tensing up and slowing up your speed off the mark and distance, by contraction, so be a cool customer and RELAX at all times - you will be quicker, more precise and on the target. Practise dérobement by offering say, a feint by disengagement. Evade your opponent’s attempts at a beat, bind or croisé - by disengagement back again and maintain your point in line and hit as your opponent runs on to it in completing their action and hitting you. The dérobement with straight arm retains priority and scores even though both hit.

LESSON 16 Stop Hits The Stop Hit, - a counter attack made into the opponent’s attack, to hit the adversary in the development of their attack. To be valid it must arrive one period of fencing time before their final movement, - so it must be fast, accurate and preferably ‘covering’, OR by avoiding the attack be the first to arrive. Therefore you stop hit when your adversary is attacking in two or more periods of fencing time such as: a) on a bent arm attack where the foot movement occurs before the arm straightening, or b) on wide, badly directed blade actions, or c) on the feint beginning a compound attack such as a 1-2 or a 1-1, or d) on flick hits badly made with bent arm and step-forward preparation. Stop hits ‘in time’. For your stop hit to be legitimate, as defined, in any of these attacks made in two or more periods of fencing time your point has to land in time: a) while the arm was bent before it straightened with point in line, or b) on the first feint of your opponent’s badly directed point, or c) on the first feint of the attack in two-time as in a 1-l or 1-2 attack 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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d) on a flick-hit step forward where the arm is bent and sword pointing up at a steep angle or vertical, but in this case, if you hit on target, often the flick is so fast it arrives and registers on the Box at almost the some time. This can make difficulties in refereeing! BUT - strictly, according to the FIE Refereeing Guidelines of April 1999 (see appendix B), bent arm attacks lose priority/right of way and it is a refereeing fault to allow such an ‘attack’ which is NOT an attack nor even part of a preparation, - no referee should allow it, especially peer-group ref’s in friendly bouts (See refereeing faults e. and f.). Therefore perhaps a stop hit - off target but in time, - on their bent forearm stops play and flick (but no score) is a better and more convincing way to emphasize the FIE ruling, the poor refereeing and your opponent’s futility in making silly incorrect attacks! Certainly this is more easily arguable Rule-wise and more referee friendly. Stop hits with Opposition or Opposition Stop-Hits (the old Time-hit) ie ‘covered’ can be made if you correctly anticipate and close the line in which your opponent’s attack will be completed. In this case it is being made ‘out of time’ on the final move of the attack except for your correct anticipation and closing against the final end of their attack. One of the most difficult strokes in Fencing to do successfully; it needs correct observation and anticipation, timing and precision, since it intercepts the final line of the attack and lands on a small target area where an attacker has failed to lift his arm and sword adequately to cover his own target area. Straight Stop hit regardless of correct timing - there are times when this can succeed, for example: a) on a wide progressive 1-2-3 attack made too slowly when your immediate fast stop hit on the observed slowness could arrive in time. b) by taking action at the same time as the attack your stop hit can be made successful by taking avoiding action simultaneously, to dodge being hit. Note: Considering which conditions most favour successful Stophitting, it appears your best chances are on opponent’s ‘preparations with a step forward’, including flick hits, with a bent arm.

Counter Time Every action made by the attacker against a stop hit made by his opponent, - or if you prefer it ‘a premeditated second intention action taken against a provoked stop hit, that is - the action of drawing the opponent’s stop hit, parrying it and riposting from it. It is used against those prone to making stop hits as a habit or tactic or to counter attacking direct into any feint you make. Their intention maybe, if not habit or tactic, only to cause your hesitation in continuing your intended attack to improve their own chance of a hit. How to provoke a stop hit? Check back to the beginning of this Lesson to see why you might use a stop hit. Put briefly - on wide or low feints; on attacks with half a step forward and bent arm; on a half lunge with half feint; any one of these could draw your opponent’s stop hit - and could be very fast - so be ready with your second intention which must start with a parry to avoid being hit by their stop hit, - also be ready to lean back while parrying. Your second intention after parrying could be a direct riposte high, or low, or by disengage or cut over. Note: Counter time is a basic tactic of Epée fencing and Sabre, where the arm is in target and vulnerable as the nearest bit of target in reach.

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LESSON 17 Renewed Attacks The Remise (To remake an attack) The Redoublement (To renew an attack) The Reprise (To retake an attack)

) Both executed while on the ) lunge with no parry between. Executed immediately after a return to guard, backwards or forwards.

Each of these follows immediately after an original attack and is a second offensive action, premeditated following observation of opponent’s habits / style!

The Remise The remise is the replacing of the point on the target while on the lunge, in the line in which your attack has been parried, with no bending of the arm or making any additional arm or blade movement, ie by a slight sideways movement. Used against an opponent who • parries incompletely and fails to riposte; • parries and delays the riposte; • parries and uses an indirect or compound riposte To be valid the remise must arrive one period of fencing time ahead of any final riposte. It is generally a premeditated, second intention move, pre-decided as a result of ones observation of the opponent’s style, ie ‘reading’ ones opponent!

The Redoublement This is the renewal of the attack while on the lunge and can be direct, indirect or compound, ie preceded by another movement of blade or arm. Used against an opponent who parries well, but pauses before riposting – or fails to riposte! Your attack has been parried, but held – the riposte is delayed, or will not happen, so eg staying on the lunge make a beat/direct continuation of your attack; or make a disengage, or cut-over continuation of attack with a lean back to give room to pass ones sword point over or under the opponents parry and lean forward again to complete point placement. Having replaced the point raise the hand and guard in covered position to discourage a delayed riposte, or counter parry or counter attack into yours. REMEMBER; the straight arm with sword-in-line defines you as the attacker, so keep your arm straight for the first two (beat & disengage) to maintain you as attacker.

The Reprise An immediate renewal of attack preceded by a return to guard and by recovering forward or backward to guard depending whether the opponent retreats following your first attack, or not. So it is used against an opponent who; a) parries and fails to riposte; or b) parries and retreats without riposting 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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and either can be simple or compound. Therefore your reprise could be by simple direct attack in a new line, by one/two, or doublé by beat/direct or disengage, by froissement or froissement/disengage or by coulé or coulé disengage etc, the choice is yours. If contact is maintained firmly on the opponent’s blade during recovery to ensure the continuation of their parry then a cut-over is a good, fast surprise alternative, also making full recovery unnecessary and therefore quicker.

LESSON 18 Avoiding Attacks Within the limits of the piste it is permitted under the FIE Rules to attempt to avoid being hit – by body movements to dodge attacks. But, before describing the possibilities, note the FIE Rules concerning hits off target :A hit made on a part of the body other than the target (whether directly or as result of a parry) is not counted as a valid hit ,but it stops the phrase and therefore annuls all hits scored immediately thereafter before a halt is called. However, hits arriving off target are counted valid whenever, by reason of an abnormal position, the fencer has substituted this non valid target for the valid target. So, if by ducking you put your head and mask where your chest is normally, and are hit on the mask, it probably will count as a hit against you, depending on circumstances and the Referee's analysis. Similarly, hits on legs when jumping or arms when turning, this Rule could apply - so take care!

Passata Sotto ( Ital, literally ‘a glance underneath’) - or in English – DUCK!

Passato Sotto (front)

Passato Sotto (side)

The usual way this is seen to be achieved is a squat-down,- with quick and extreme knees bend and hips between ankles, and foil aimed upwards at the adversary’s target. It achieves the object only IF you are not hit in the mask which is then at about lower target region and a correct hit. Classically, very rapidly bend your front knee, extending your rear leg diagonally right backwards to drop your body (target) fast out of direct line of attack, while straightening your sword arm, angled upwards towards your opponent’s low target. Your unarmed hand goes on the floor/piste for balance Page 42

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and your head (in mask)is removed sideways out of normal target position, - so if hit it does not count as valid target. This can be very effective on the odd occasion when being pressured , by a tall opponent, or by attacks in the high line or to the right hip or shoulder by a left hander, - remembering to pronate as you hit.

Inquartata ( Ital, literally ‘a quarter turn out of line’) A twisting movement away from line of attack by a step sideways with the rear leg only, to your sixte side whilst you stop-hit very fast regardless of the attack on you. Used in correct time when your opponent is attacking your inside high or low line (ie into your Quarte or Septime), OR is seen, or known to feint to the inside line and not follow it up, -but then withdraws the feint. Not easily used against Left handers; in this case it might be used in counter attack on a disengage attack or a beat-disengage attack on you.

Simply swing your rear leg 45° across behind you to your Sixte side and the attack ends at the position where you were – hopefully! If you make your stop hit with opposition, - or at least covered as far as possible, on your Quarte side as you stop hit, this should discourage any attempt at redirection of point by the attacker. Note: Make sure you do NOT put a foot off piste as you do this. Be prepared to renew your parrying if necessary, and leaning back also.

Inquartata

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Rassemblement (Fr. literally , gathering together / collecting up, - effectively, gathering yourself together. This is an avoiding action usually used when attacked by an opponent smaller than yourself, OR on one ending up in a low line attack on you from a badly performed, over-low lunge, OR on some attempt to arrive under your guard, say by Passata Sotto. The action is to pull up the front foot smartly to touch the rear foot, straighten both legs upwards to the fullest extent, while leaning as far forward as you dare and straightening the arm and sword over the opponent’s attack to hit on the upper target, simultaneously avoiding being hit by having pulled your lower half back out of the way.

This is done fast and like a stop hit, without a parry, beat or opposition on the opposing blade. The feet might even be slid back a little at the same moment, further out of the way, - but gently - or you suffer the fate of this author who, in one contest being too energetic on a slippery floor, landed horizontal and outstretched - having made the final successful hit before gravity took over!

LESSON 19 Flick Hitting This curious and controversial phenomenon, looking like fly-swatting or fly fishing for trout, has arisen in the last 5-10 years, along with very whippy blades to make it easier to achieve. As seen generally at Club level it is usually done with a step forward, either to close the full point-lunge distance to where the flick hit can reach from a bent arm start &/or without a lunge. OR because their opponent foolishly steps back on seeing the flick attack starting. The action is too frequently made with their blade drawn back to point vertically at the ceiling and arm bent up as the step forward is made, or with the blade angled outwards sideways with the wrist and from the elbow, beyond the guard of Sixte line or Quarte line. This is done to give more whiplash to the blade, over the opponent’s head, or around normal parries of Sixte or Quarte, to hit as the arm is straightened from either direction, very rapidly, (rather in the style of a badly executed Sabre cut, or as if fly-fishing for Trout.) With a pistol grip hilt the force, strength and power used is often very strong and intended to be unstoppable - and is frequently beyond sense or reason and, if fencing measure is misjudged, frequently very painful to the recipient. Page 44

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The FIE Rules do not recognise this action but state: The attack is the initial offensive action made by extending the arm (forward from on guard) and continuously threatening the opponent’s target, preceding the launching of the lunge, fleche or balestra. The simple attack, direct or indirect, is correctly executed when the straightening of the arm, (from on guard), the point threatening the valid target, precedes the initiation of the lunge, fleche or balestra. Further - in the FIE Seminar on Refereeing Guidelines 1999 it was very clearly stated that in their view Referees were at fault because: a) Lack of knowledge of the Rules and knowing them by heart (& applying them strictly); e) Failure to notice a bent arm during the attack which loses right of way (or any priority) f) Allowing attacks where attacker’s arm is vertical and foil pointing at the ceiling, (which is not any kind of preparation, nor an attack), (& is not continuously in-line threatening the opponent’s target). For the full list see Appendix B. – in which is also restated and redefined what is an attack. It is only Referees, (International, National or peer group) who can accept or reject and rule out of order, any infringement of the Rules,- if they learn them and if they apply them fairly at any level of competition. this will ease difficulty in refereeing and help ensure the survival of Foil fencing as a recognisable sport. (FIE please note!). Therefore, to correctly perform a flick hit, following FIE Rules and Refereeing Guidelines, until flickhitting is eliminated, it should begin from on guard with arm straightening, point in line, continuously menacing the valid target, and with no arm bending at any point. Only when somewhere beyond half way should the blade be taken out of line sideways momentarily by hand and wrist action to be returned with the flick action to whiplash the point around the occurring parry. This action does not facilitate a flick hit over the head to hit the back,- which, as the Rules stand, should not be possible - ruled out!

Defence Against Flick Hits As with all foil fencing there is an answer to each and every action and it is up to foilists to work out the best one to use, - but on the premise that the best defence is attack, since flick hitters most frequently step forward with a bent arm try: a) On their step forward - Stop hit them, - since their attack is in two periods of fencing time, the step forward then their ‘fly swat hit’ - if your stop hit is instant on their step forward, this is technically the correct moment for it and ‘in time’ and will stop play and score a hit - if the Referee knows and applies the rules of foil fencing fairly and correctly b) If their bent arm preparation has their foil pointing at the ceiling for a hit over your mask to back - a stop hit on their vertical forearm has to be in correct time and your hit regardless, even if off target and non-scoring it stops them scoring. c) If the bent arm preparation is out sideways, Sixte or Quarte, - for a flick round any Sixte or Quarte parry you make, - then a backwards beat a bit diagonal into the whip of the blade should take out the whip effect, followed instantly by your riposte by twisting your wrist and foil, in situ, back to put your point toward them to run on to, - your hit! d) Alternatively a hard down-beat on top of their attack in c) could deflect it down off target on to leg, - Stops play/no score. Finally consider:- Flick hits/fly swatting is in no early Fencing manuals since advocates and practitioners of such would have been quickly dead, - so by ‘Natural Selection’ the practice could not survive as a viable technique. 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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It has no place in modern Foil or else most techniques become literally pointless and Foil will disappear - to end up as a simple Fly-fishing contest. However it is the decision of the FIE after their Havana Plenary Session on 3/10/2003 to apply the following changes at Foil and sabre to all Junior World Cup Competitions of the 2004-5 season: The blocking times for the lights have been set at 300 msec for Foil and 120 msec for Sabre; duration of contact time at Foil is set at 14-16 msec; increase of pressure on points d’arrêt to 750 gm and max curve of blade reduced to 1cm – all effectively eliminating ‘flicks’ at Foil. If effective this may well be continued and applied to Senior Competitions.

LESSON 20 Fencing With Absence Of Blade If you are going to fence with ‘absence of blade’, or find yourself in that position, try to decide: Whether to adopt a central position of hand and sword, with blade horizontal and point about level with and aimed at your opponent’s navel. This gives you least distance to cover, to parry or attack, deceive or evade; or whether you attempt to oppose your opponent’s blade wherever it is held, keeping it in contact outside whichever guard you adopt. This will give you blade contact and awareness of touch as well as sight. Note: a) The first option of central guard is a very unwise and dangerous position for novice and inexperienced foilists and must only be deliberately considered by fully trained and highly experienced fencers as a purposeful position. b) In the second option be ready to resist attacks on the blade or prise de fer, or to use ceding parries. If experienced you may decide to use both and change about, or reject these ideas and work out one of your own. But try different ideas and use what best suits you and is successful - which you keep. Always remember that in fencing there is an answer to every attack or defence your opponent produces - it is up to you to work it out if you wish to succeed and beat them. So observe, deduce and apply the best stroke or answer that you can. Practise each style and choose your response. NB Don’t put up with absence of blade fencing, unless you are happy to fence without sentiment de fer. - use parry of quinte on a horizontally held blade - use prime on a blade held in low octave by opponent - use seconde on a left handed opponent using his octave ie in your octave - if the opponent then keeps his blade out of your way by not being horizontal, or in octave by pointing to the floor near his front foot, just low, then his open target asks for the fastest simple direct high attack you have ever made, central and strong.

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Prime

Quinte

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Tierce

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LESSON 21 The Pronated Guards And Parries (See Target diagram P.9). Consideration of these four pronated guards and parries has been left until now not to confuse the learning process so far, since they have some disadvantages - to be avoided,- but some advantages which should be seriously used, all to be examined here. Prime (First). The sword arm is held horizontal from shoulder to hand across in front of the chest, with the foil point outside vertical and the fingers on the hilt showing forward. Prime is like an upside down Quarte covering the high inside line. Seconde A low outside guard - effectively a pronated Octave, - with point downwards and slightly out and fingers showing outwards sideways, forearm horizontal from the elbow. Tierce (Third) A pronated Sixte with forearm horizontal, point lower than Sixte and slightly outside straight forward. Quinte (Fifth) A pronated Quarte with arm and point lowered slightly and point a little outside straight forward. Certain developments in Foils and Foil fencing practices now seem to suggest these older and once outdated prone guard/parry positions could be usefully reinstated, albeit by well trained foilists judiciously using them in certain specific circumstances. Consider! - why were guards/parries of pronated Prime and Seconds so named and used originally? Obviously because on drawing your sword for defence, they were the first two positions which could be taken, quickly and effectively, to deflect an already drawn sword threatening your life. Today this strength can be used to help French-hilt users deal with pistol-grip forcefulness and ‘absence of blade’ fencing.

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Prime and Seconde Advantages a) Strongly held parries which can safely hold forceful/insistent actions a by pistol-grip foilists, where Septime and Octave with French hilts can result in painful, crippling injuries to the forefinger against such force as is put against those parries, - to which this Author can testify! b) It is quick and easy to riposte, low or high, from Prime or Seconde, with a flick or twist of the wrist straight up on to target c) From Seconde it is equally quick to change to a supinated parry of Sixte by semi-circular parry against a low-high attack, - as with Octave to Sixte. d) Prime can cause hesitation or even confusion in the opponent if they are not used to seeing or dealing with the parry of Prime, - which is difficult to disengage from or to Coupé, - and gives an opportunity of a quick riposte LOW, or a sneaky counter-attack by Prise de fer. Disadvantages a) Prime causes too much wrist rotation to arrive accurately at other guard positions and with less accuracy of point, except to Seconde, and finger manipulation of the foil is not really possible. b) When in Prime or Seconde it is difficult to disengage or coupe. c) From either it is difficult to use any attack on the blade or prise de fer. d) Seconde is weak to a beat from above which can knock a French hilt out of the hand.

Tierce Advantages a) A strong blade contact in place of Sixte and a sense of awareness of opponent’s blade actions, in otherwise ‘absence of blade’ fencing. b) Almost as easy as from Sixte to fence as usual. Disadvantages a) More wrist rotation for some actions and resulting inaccuracies from this - from the point starting outside the line of guard/parry. b) Difficult to use finger play for neat, accurate manipulation of foil. c) Vulnerable to a downward beat disarming

Quinte Advantages a) Quinte used as a guard position unexpectedly in ‘absence of blade’ fencing can give strong blade contact with consequent awareness of opponent’s actions not otherwise available, also an Page 50

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b) As a parry the riposte by disengagement or coupé is as possible and easy as with Quarte, followed by any of the usual simple or compound actions. c) Can be used as a strong downward beat-preparation for a counter-attack against the threat of a flick hit into your Quarte inside target. Disadvantages a) Disengagements need wrist work with consequent danger of inaccuracy of point and wider, wilder play signalling intentions, - but Coupé is as normal. b) Difficult to use finger work for neat, accurate manipulation of foil. c) Vulnerable to down beat disarming. Notes: When Fencing Sport was being re-established world-wide post war, 1946 onwards, the supinated guards and parries became considered superior to the pronated ones, - Tierce was considered a bad Sixte position and Quinte a bad Quarte, while supinated Octave and Septime could do all that Prime and Seconde did and better. The whole guard/parry teaching became simplified ‘at a stroke’. In the latter half of the last century, Electric Foils and scoring equipment first gave us clumsier, heavier foils followed by adoption of pistol grip hilts to help wield them, rather than more logically using the existing proper orthopaedic hilt - the Gardére hilt, - and weighting the pommel to re-balance. Then lighter electric blades and later more whippy blades, bring us to this century and the present mixed position of the traditional French hilts finding pistol grip hilts heavy physical opposition, and fast, light blades causing potentially dangerous, physical problems which could be prevented by the use of these pronated guards/parries. There are increasingly numerous opinions that pistol grip hilts are no longer needed with lighter blades, - that we should be getting back to traditional French hilts, also that fencing with pistol hilts should not be mixed fencing against French hilts. Certainly pistol grips cramp hand function and inhibit good, neat finger style fencing as can be found with French hilts, and they give rise to wilder, less accurate foil fencing, with abundant risks of some slashing actions, - injuries are not unknown from this. A better lead and ruling from the FIE is long overdue.

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ROUNDUP OF PART THREE The finest and most successful Foilists have always been those whose techniques and timing have been near perfection and whose tactics have been more imaginative and innovative and practiced till near instinctive. These are the 3 T’s of fencing, - Techniques, Timing and Tactics, each is of vital and equal importance, being the How, When and Why of Fencing, and each is no use alone without the others. You ignore any one of them to your cost in hits against you. The Techniques must be learned and practiced to as near perfection as possible by each individual who wishes for top success in the sport. This should preferably be against more experienced opposition occasionally, to learn from and test oneself against, even losing every point - as long as you learn what beat you and why, and where you failed. Ask! Then work out how to improve and correct oneself. Aim for correctness of techniques before speed. You can always speed up a correct technique when necessary, but incorrect techniques are not improved by speeding up and will only become bad habits causing repeated failure and disillusionment. Timing is knowing when to deploy the right technique at the vital, crucial moment when it can result in success and this is usually learnt in training and by practice - training correct habits, and usage. Every movement of blade, hand or foot takes a certain short period of time to enact, referred to as ‘a period of fencing time’, which is important as part of the correct timing of whole movements Tactics, - procedures calculated to gain some end. In Fencing, tactics is making decisions before OR during play, determining on various actions to use, based on observations and/or knowledge of the play, habits, style and behaviour of each opponent, in order to outwit them and score hits. It is using a plan of action, or selecting the right action to use, in the right circumstances, at the right moment and is largely based on wisdom borne of experience and expertise and the ability to make opportunities successful in each situation. It is the direct consequence of training, experience, observation, opportunism and instinctive reactions. Remember:- top fencers aren’t just very good fencers and lucky, they use their brains and outwit opponents with well thought out TACTICS. Simple basic tactics can be taught as in Lesson 13, but you can make your own opportunities since tactics are concerned with Fencing measure, gaining and breaking ground and the psychology of persuasion and bluff. For example, any fencer who steps forward with their attack, or who is tall - good reach, good lunge - is one who needs space to operate (and so often is used to getting it by their intimidating actions). Your tactical answer is to deny them that space by gently stepping forward into their offensive action and making an opposition stop hit, or parrying and fencing at close quarters, that is with arm bent close and point kept within the opponent’s target area whatever your actions.

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Final Useful Principles 17. CONCEAL YOUR INTENTIONS Never waste time or energy in large, unnecessary movements which signal your intentions. Keep parries and preparations for attacks and counter-attacks no larger than necessary to make quick efficient defence and counter attacks and to avoid opposing defence or counter defence. 18. NO HISTRIONICS! Do not indulge in histrionics - stage/film ‘swash and buckle’! You will score more hits keeping movements small and neat. Use brains not muscle if you wish to win. 19. PENULTIMATE THOUGHT! Fencing is only a game, someone wins, someone loses on the day. What really matters is HOW and WHY you won or lost and with what good grace. 20. CONFUCIUS! He say: pleasant to win! But win or lose it is more pleasurable and satisfying to outwit the opponent even on one hit only, playing the game as it should be played strictly according to the Rules.

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APPENDIX A

Appendices

TECHNICAL TERMS

Taken from FIE Rules for competitions 1998. All text in CAPITALS has been added by the author to assist in clarity.

Explanation of some technical terms and TECHNIQUES - NECESSARY FOR JUDGING, REFEREEING, FENCING AND COACHING. 1. Fencing time is the time required to perform one simple fencing action of BLADE/HAND/FOOT, = STRAIGHT ARM FEINT, LUNGE, PARRY, SIMPLE RIPOSTE, DISENGAGE, CUT OVER, CHANGE OF ENGAGEMENT, COUNTER DISENGAGE, STEP, APPEL, PRISE DE FER, CROISÉ, BIND, ENVELOPEMENT, ATTACKS ON BLADE, PRESSURE, BEAT, FROISSEMENT, COULÉ. These are Preparations for your following offensive actions. 2

Offensive And Defensive Actions.

The Offensive Actions are the attack, the riposte and counter riposte. Bottom of P.3. It is stressed that this section B in no way replaces a treatise on fencing and is only included in order to help the reader to understand the Rules. The attack is the initial offensive action made by extending the arm FORWARD FROM ON GUARD, POINT IN LINE continuously threatening the opponent’s target preceding the launching of the lunge, flèche OR BALESTRA. [A DIRECT/INDIRECT ATTACK IS ONE PERIOD OF FENCING TIME, SO IF TWO LIGHTS COME UP THE ATTACK WAS SUCCESSFUL AND ANY PARRY IS A MALPARRY, THE RIPOSTE UNJUSTIFIED AND OUT OF TIME.] The riposte is the offensive action made by the fencer who has FULLY parried the attack. [ONLY ONE LIGHT SHOWS IF THIS RIPOSTE WAS SUCCESSFUL]. The counter-riposte is the offensive action made by the fencer who has SUCCESSFULLY parried the riposte. [ONLY ONE LIGHT SHOWS IF THIS WAS SUCCESSFUL.] The Defensive Actions are the parries. The parry is the defensive action made with the weapon FULLY TO A NEW GUARD POSITION, TO OPPOSE AND to prevent an offensive action arriving. NOTE: TO BE SUCCESSFUL IT MUST FULLY DEFLECT THE ATTACK FROM ARRIVING ON ITS TARGET, THIS THEN GIVES PRIORITY TO THE RIPOSTE, - AND ONE LIGHT ONLY ON THE BOX. THE MALPARRY. AN INADEQUATE/INCORRECT PARRY WHICH HAS FAILED TO DEFLECT AWAY FULLY AN ATTACK FROM HITTING ITS TARGET. [NOTE: IF 2 LIGHTS COME UP - THE ATTACK SUCCEEDED, THE PARRY BEING INADEQUATE THE FOLLOWING RIPOSTE IS NOT JUSTIFIED, HOWEVER FAST]. A MALPARRY GAINS NO PRIORITY TO RIPOSTE. 3. Explanation. Offensive actions. (a) The Attack. The action is simple when executed in one movement, and is - either direct (in the same line) Page 54

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- - or indirect ( in another line) -

(b)

NOTE: THE ARM SHOULD EXTEND FORWARD FROM ON GUARD WITH POINT IN LINE AND PRECEDE FOOT MOVEMENTS FRACTIONALLY. The action is compound when it is executed in several movements. The Riposte can be immediate or delayed depending on what action takes place and the speed at which it is carried out. Examples. 1. The simple direct riposte, MUST hit the opponent without leaving the line in which the parry was made. IT IS NOT JUSTIFIED IF THE PARRY WAS NOT FULL AND SUCCESSFUL, AND IF IMMEDIATE AND FAST IT WILL GRAZE ALONG THE PARRIED BLADE, - AS IT SHOULD FOR THE RIPOSTER TO BE COVERED AND SAFE FROM AN ATTEMPT AT A REMISE. 2. The simple, indirect ripostes Riposte by disengagement: a riposte which hits the opponent in the opposite line to that in which the parry was formed (by passing under the opponent’s blade if the parry was formed in the high line, and over the blade if it was formed in the low line.) EXAMPLE: A PARRY OF QUARTE FOLLOWED BY A DISENGAGE RIPOSTE, WITH COVERING IN SIXTE. Riposte with a coupé: as for disengagement but the riposting blade always passing over the opponent’s point. EXAMPLE: A PARRY OF QUARTE THEN WITH PRONATION TWISTING THE PARRY UP AND OVER AND ROUND THE TIP OF THE OPPOSING BLADE, THEN TWISTING BACK TO HIT AND COVERING IN SIXTE. 3. The compound riposte. Riposte with a doublé: a riposte which hits the opponent in the opposite line to that in which the parry was formed, but after having described a complete circle round the opponent's blade. EFFECTIVELY, YOUR OPPONENT HAVING HIS ATTACK PARRIED RETURNS TO GUARD MAKING A SIMPLE PARRY THEN A CIRCULAR PARRY AS YOU RIPOSTE WITH DISENGAGE AND COUNTER DISENGAGE.(l-1). Riposte with a one-two: a riposte which hits the opponent in the same line as that in which the parry was formed but after the blade has first been into the opposite line by passing under the opponent's blade. EFFECTIVELY, YOUR OPPONENT HAVING HIS ATTACK PARRIED RETURNS TO GUARD MAKING TWO SUCCESSIVE SIMPLE PARRIES AS YOU RIPOSTE WITH DISENGAGE - DISENGAGE(l-2).

(c)

Counter attacks are offensive or offensive-defensive actions made during the offensive action of the opponent. 1. The stop hit. A counter-attack made into an attack, - BUT ONLY JUSTIFIED ON A SLOW, OR A WIDE, BADLY DIRECTED BLADE ACTION, OR A STEP WITHOUT OR BEFORE A FEINT OF ATTACK. (SAFEST MADE WITH COVERED COMPLETION).

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2 The stop hit made with opposition - a counter attack made while closing the line in which the opponent’s attack will be completed. THAT IS ANTICIPATING AND INTERCEPTING THE FINAL LINE OF ATTACK WHILE BEING COVERED. 3. The stop hit made within a period of fencing time, ie ‘in time’. THE CLASSIC EXAMPLE INTENDED TO ARREST A PERCEIVED ATTACK IN ITS PREPARATION AND BEFORE ITS FINAL DEVELOPMENT, - ON A BENT ARM ATTACK WITH, OR WITHOUT A STEP; ON A FEINT OF ATTACK BEFORE A DISENGAGE LUNGE etc. (d) Other offensive actions. 1. The Remise - a simple, immediate CONTINUATION OF AN offensive action WITH IMMEDIATE PLACEMENT OF THE POINT ON TARGET WHILE ON THE LUNGE, without withdrawing the arm OR MAKING ADDITIONAL BLADE/ARM MOVEMENT, after the opponent has MALparried or retreated, OR PARRIED and quitted contact with the blade without riposting, or has made a riposte which is delayed, indirect or compound. 2. The Redoublement, - A RENEWAL OF AN ATTACK WHILE ON THE LUNGE, simple or compound, made against an opponent who has parried and delays or fails to riposte, or who has merely avoided the first action by retreating or displacing target. 3. The Reprise of the attack, - a RENEWAL of attack executed immediately after a return to ‘on guard' EITHER BACKWARD OR FORWARD, AND SIMPLE OR COMPOUND, AGAINST AN OPPONENT AS IN THE REDOUBLEMENT. 4. Counter time. Every action made by the attacker against a stop hit made by his opponent ie A PREMEDITATED, SECOND INTENTION ACTION TAKEN AGAINST A PROVOKED STOP HIT FROM THE OPPONENT. 4. Defensive actions. Parries are simple, direct, when they are made in the same line as the attack. They are circular (counter-parries) when they are made in the opposite line to that of the attack. 5. The ‘in-line’ position. (See APPENDIX B - FINAL PARAGRAPH). The position of a fencer in which his sword arm is straight and the point of his weapon threatens his opponent’s valid target ie A FEINT OR THREAT OF THE ATTACK a) AS PART OF A DIRECT, INDIRECT, OR SECOND INTENTION ATTACK; OR b) A TENTATIVE ACTION TO DISCOVER/ASSESS THE OPPONENT’S RESPONSE, (THEN USUALLY WITHDRAWN FAIRLY QUICKLY); OR c) AS PART OF A TACTICAL INTENTION ENABLING A DEROBEMENT AND COUNTER ATTACK; OR d) TO PROVOKE A PRISE DE FER TO ENABLE A CEDING PARRY AND COUNTER ATTACK – RIPOSTE.

VALIDITY OR PRIORITY OF THE HIT. The Referee alone decides as to the validity or the priority of the hit by applying the following basic rules which are the conventions applicable to foil fencing. Respect of the fencing phrase. a) Every attack, that is every initial offensive action, which is correctly executed must be FULLY/COMPLETELY parried or completely avoided and the phrase must be followed through that is to say, co-ordinated. In order to judge the correctness of an attack the following points must be considered: Page 56

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LESSONS IN FOIL FENCING 1) The simple attack, direct or indirect, is correctly executed when the straightening of the arm FROM ‘ON GUARD’, POINT IN LINE, threatening the valid target, PRECEDES the initiation of the lunge, flèche or BALESTRA, ie FOOT MOVEMENT(S). 2) The compound attack is correctly executed when the arm is straightened in the presentation of the first feint, with the point threatening the valid target, and the arm is not bent during the successive actions of the attack and the initiation of the lunge, flèche or balestra. 3) The attack with a step-forward-lunge or a step-forward-flèche or balestra is correctly executed when the straightening of the arm PRECEDES the end of the step forward and the initiation of the lunge, flèche or balestra. 4) Actions, simple or compound, steps or feints which are executed with a bent arm are not considered as attacks but as preparations, laying themselves open to the initiation of the offensive or defensive/offensive action of the opponent,- AN ATTACK OR A STOP HIT. To judge the priority of an attack when analysing the fencing phrase, it should be noted that: 5) If the attack is initiated when the opponent is not ‘point in line’ it may be executed either with a direct thrust, or by a disengage, or by a cut-over, or may even be preceded by a beat or successful feints obliging the opponent to parry. 6) If the attack is initiated when the opponent is ‘point in line’ the attacker must first completely deflect the opponent’s blade. Referees must ensure that a mere contact of the blades is not considered as sufficient to deflect the opponent’s blade, WHETHER BY PARRY OR BEAT. 7) If the attacker, when attempting to deflect the opponent’s blade BY BEAT OR PRISE DE FER fails to find it (BY OPPONENT’S derobement), the right of attack passes to the opponent. 8) 8. Continuous steps forward, with the legs crossing one another, constitute a preparation and on this preparation any simple attack, OR A STOP HIT, has priority.

b) The SUCCESSFUL parry gives the right to riposte: the simple riposte may be direct- or indirect, but to annul any subsequent action by the attacker, it must be executed AS SOON AS POSSIBLE , without indecision or delay. c) When a compound attack is made, if the opponent finds the blade during one of the feints, he has the right to riposte. d) When compound attacks are made, the opponent has the right to stop hit; but to be valid the stop hit must precede the conclusion of the attack by an interval of fencing time; that is to say that the stop hit must arrive before the attacker has begun the final movement of the attack. Judging of hits In applying these basic conventions of foil fencing, the Referee should judge as follows: When during a phrase, both fencers are hit simultaneously, there is either a simultaneous action or a double hit; The first of these conditions is due to simultaneous conception and execution of an attack by both fencers; in this ease the hits exchanged are annulled for both fencers even if one of them has been hit off the target. 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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The double hit, on the other hand, is the result of a faulty action on the part of one of the fencers - or often both. Therefore, when there is not a period of fencing time between the hits: 1 Only the fencer who is attacked is counted as hit: a) If he makes a stop hit on his opponent's simple attack, OR A TOO FAST MALPARRY RIPOSTE WHICH FAILS TO DEFLECT IT FULLY/COMPLETELY. b) If , instead of parrying, he attempts to avoid the hit and does not succeed in so doing. c) If ,after making a successful parry, he makes a momentary pause which gives his opponent the right to renew the attack (remise, redoublement or reprise). d) If ,during a compound attack, he makes a stop hit without being in time. e) If, having his ‘point in line’ and being subjected to a beat or a taking of the blade (prise de fer) which deflects his blade, he attacks or places his point in line again instead of parrying a direct thrust made by his opponent. 2 Only the fencer who attacks is counted as hit: a) If he initiates his attack when his opponent has his point in line without deflecting COMPLETELY the opponent’s weapon. Referees must ensure that a mere contact of the blades is not considered as sufficient to deflect the opponent’s blade TOTALLY AWAY FROM THE TARGET. b) If he attempts to find the blade WITH A BEAT ATTACK OR PRISE DE FER, does not succeed (ie the object of a derobement) and continues his attack. c) If, during a compound attack, his opponent finds the blade, but he continues the attack and his opponent ripostes immediately. d) If, during a compound attack, he makes a momentary pause, during which time the opponent makes a stop hit, while the attacker continues his attack. e) If, during a compound attack, he is stop hit in time before he begins his final movement. f) If he makes a hit by a remise, redoublement or reprise when his original attack has been parried and his opponent has made a riposte which is immediate, simple, and executed in one period of fencing time without withdrawing the arm. 3. The Referee must replace the competitors on guard each time that there is a double hit and he is unable to judge clearly on which side the fault lies. One of the most difficult cases to judge arises when a stop hit is made and there is doubt as to whether it was made sufficiently in time in relation to the final movement of a compound attack. Generally, in such cases, the double hit occurs through the fault of both fencers concerned, which justifies the Referee replacing them on guard. (The fault of the attacker consists of indecision, slowness of execution or the making of feints which are not sufficiently effective. The fault of the defender lies in delay or slowness in making the stop hit.)

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APPENDIX B

LESSONS IN FOIL FENCING

FIE GUIDELINES ON REFEREEING

The following guidelines were given in a seminar in April 1999. The attack is again defined as “the initial offensive action, with the straightening of the arm (from the ‘on guard’) and the point of the weapon continuously menacing the valid target of the opponent. Any pause in the extending of the arm (from ‘on guard’), or any bending of the arm once the attack has been started, allows the right of attack to pass to the opponent”. It was stressed that the arm does have to be continuously straightening and proceeding towards the valid target of the opponent. (See Referee faults e & f below). Foil referees are the worst at refereeing because of confusion over the attack so the FIE have asked foil referees to be as strict in interpretation of the attack as sabre referees. Too many fencers and coaches are unaware of the rules and conventions of their weapon. Referees to tighten up the rules in various areas:Corps a corps is allowed too much at all weapons - a common fault which must cease. Simple body contact = yellow card. (at foil & sabre; épée ref. calls “halt”). Jostling or causing (physical) shock to opponent = red card. Intentional violence = black card! Referees not enforcing this rule will not be used by the FIE! Going off the piste - one foot off the piste = referee calls “halt”! A second time in the fight one foot off = yellow card. A third time = red card. The salute at the beginning and end of the fight is MANDATORY. Failure to salute and shake hands at end will lose hits scored and will be fined $500 (£330) which if not paid = a ban from International Competition. Shoulder Inversion & hand, arm or shoulder covering of target will be strictly warned against. Referee faults include: a) Lack of knowledge of Rules & knowing them by heart. b) Lack of correct terminology (& hand signals). c) Lack of rigour in applying the penalties. d) Mistakes (inability) to define who made the attack, especially at foil. e) Failure to notice bent arm during the attack which loses the right of way. f) Allowing attacks where attackers arm is vertical and foil pointing at ceiling (this is NOT a preparation NOR an attack!) g) Failure to separate attack and counter attack. h) Failure to penalise corps a corps. The Attack. The following definition was also given to clarify the FIE’s intentions as to how this rule is to be applied:The point -in-line is when a fencer has a straight arm with the point of the weapon threatening the valid target of his opponent in the high line. The arm must not bend otherwise the point in line loses priority. The point-in-line is valid if the fencer is standing still, going backwards or going forwards & must be fully parried to lose validity.

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APPENDIX C

PERSONAL PROGRESS CHECKLIST 9

Technique

1 2 3 4 5 6 7 8 9 10

The Grip; parts of the foil The Stance and position ‘On guard’ The Salute Gaining and breaking ground The Attack – lunge and recovery; recovery forward The Hit and co-ordination The valid target and fencing positions Covering, engagement and absence of blade Fencing measure Two simple attacks: Direct Thrust and Disengage; Change of Engagement and Counter Disengage The four supinated guards; a Parry; the Riposte. ‘Sentiment de Fer’ The Piste and its rules Simple defence = Parries – lateral, semi-circular, circular More ‘Sentiment du Fer’ Three more simple attacks – the cut-over, counter disengage and low line attacks Simple ripostes – direct, indirect by disengagement, cutover, counter disengage - riposte The Flèche attack; the Balestra Compound attacks; 1-2-3, 1-2, doublé Successive parries; compound ripostes, counter ripostes Preparations of attack; attacks on the blade = Pressure, Beat, Froissement Coulé and Graze Prises de fer: Croisé, Bind Envelopé; defence against prises – the ceding parries Using advance and retire as preparations Combinations of preparations; ripostes using prises de fer Trompement and Dérobement Stop hits, counter time Renewed attacks; the Remise, Redoublement, the Reprise ‘Avoiding’ actions: Passato Sotto, Inquartata, Rassemblement Flick hitting – and defence; FIE ruling Fencing with absence of blade Pronated guards and parries

11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32

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APPENDIX D

LESSONS IN FOIL FENCING

FENCING TERMS EXPLAINED

THE AIDS

The last three fingers of the sword hand used to firm and speed the action of the manipulators q.v. ABSENCE OF BLADE refusal to cross swords in engagement, or to contact opposing blade ASSAULT a non-scoring friendly combat between two fencers. ATTACK ON THE BLADE a preparation of attack by pressure, beat or froissement. BALESTRA a fast method of attack with a HOP before lunging so extending reach. BEAT a preparation of attack which deflects opposing blade, or provokes a reaction by knocking it hard. BIND a preparation of attack which takes the in-line opposing blade out of line before making the final attack, vertically or diagonally. BOUT a friendly combat between two fencers where the score is kept for a purpose. BREAKING GROUND - or retiring -by stepping back one or more steps as necessary. BROKEN TIME when two movements are deliberately made not to follow immediately one upon the other. CADENCE rhythm in which a sequence of movements ie made. CEDE partially to give way to an opposition. CENTRAL GUARD one in the middle between Sixte and Quarte or Octave and Septime. CHANGE OF ENGAGEMENT the action of engaging in a new line. CLOSE QUARTERS FENCING - when two fencers are close together but can still wield their swords correctly. COMPOUND ATTACKS attacks composed of one or more feints. COMPOUND PRISES DE FER an uninterrupted succession of takings of the blade. COMPOUND RIPOSTES ripostes composed of one or more feints. COUNTER-ACTION PARRIES ( CONTRACTION PARRIES) a circular parry taken in the wrong line. COUNTER DISENGAGEMENT a simple offensive action deceiving a change of engagement or a circular (counter) parry. COUNTER OFFENSIVE ACTIONS stop-hits, = in time, early, just straight with or without avoidance, or, with opposition. COUNTER PARRY a circular parry. COUNTER RIPOSTE the offensive action following the successful parry of a riposte. COUNTER TIME a premeditated second intention action taken against a provoked stop-hit. COVERED a position which closes the line of engagement with the foil from forte to point (button). CROISÉ - or vertical bind - a taking of the blade from high to low on the same side as the engagement. CUT-OVER a disengagement over the top of the opponent’s blade as an attack, a preparation of attack, or riposte. DELAYED PARRY only risked by experts, often leaning backward; done to observe or to cause commitment and/or completion by an opponent to his particular attack before being parried late - but fast, and a direct riposte. DELAYED RIPOSTE one usually caused by insistent attack necessitating a held parry before riposting as the opponent recovers DÉROBEMENT an evasion of an opponent's attempts to beat or take the blade of a straight arm threat/feint preparation by disengagement or by dropping, still straight, into low line. DETACHMENT a riposte not straight to target from where the parry was made but bounced off and more central, ie not covered and open to a remise. DEVELOPMENT the combined actions in an attack, of straightening the sword and arm with the following instant foot movement to complete the lunge. DIRECT term denoting an attack/riposte delivered in the line of the engagement. DISENGAGEMENT a simple indirect attack or riposte in which the sword point is passed under the opposing sword from the line of engagement into the opposite one 3/2/2010 © 2010 Ralph Whittingham Burgess and Bath Sword Club

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DOUBLE PRISE DE FER a succession of takings of the blade where contact is lost between each one. ENGAGEMENT the crossing of the swords at start of an assault or a bout. ENVELOPEMENT a circular taking of the blade with both blades in contact and returning to the original line of engagement. FALSE ATTACK FEINT OF ATTACK

a mock attack not intended to land but to reveal an opponent’s likely response. - or threat, - a blade movement as a part of an attack to get a reaction enabling the completion of a compound attack. FENCING MEASURE the practical distance which every fencer has to estimate and remember in relation to each different opponent such that each opponent cannot hit him without lunging fully. FENCING POSITIONS any of the 8 classical defensive positions of guards/parries in which a fencer can place arm and sword depending on the attack point. FENCING TIME see ‘Period of Fencing Time’ FIE Fédération International d'Escrime. International Federation of Fencing. FINGER PLAY a method of manipulating the foil more quickly, precisely and accurately using fingers rather than the wrist. FIRST COUNTER RIPOSTE the attacker’s first riposte. FLÈCHE a fast, surprise form of lunging, effectively landing on the rear leg brought to the front and starting a running attack around the open side. FOIBLE the half of the foil blade nearest the point. FOIL originally the training/practice weapon for the dangerous duelling épée. Today the basic and competitive weapon. FORTE the half of the blade nearest the guard; your defence in the parry. FROISSEMENT a preparation of attack which deflects the opposing blade forcefully from point to guard. GAINING GROUND(Advancing) stepping forward one or more steps as necessary. GRIP the manner in which the foil is held. GUARD a) coquille/shell -the cupped metal protection for the hand/fingers between handle and blade b) any one of the defensive positions a fencer can adopt. IMMEDIATE usually used referring to a riposte following a parry without pause. INDIRECT any single offensive action of blade which is not direct, ending not in line of the engagement eg disengagement, coupé or stop hit. IN LINE the position of the sword blade when making a feint or threat of action, in which the sword arm and sword is straight and level with the point close to and threatening the opponent’s valid target. IN TIME the arrival of an attack or counter-attack before the opposition defence is successfully completed. JUDGES non-competing fencers whose duty is to watch for hits in non-electric matches/competitions, and/or to assist the Referee. LINES theoretical areas corresponding to the fencing positions. LUNGE the means of making an attack by straightening the arm forward from on guard, with sword in line, point threatening the opponent's target, then driving this forward horizontally by straightening the rear leg. MALPARRY a badly executed or incomplete parry not successfully deflecting the attack from hitting. MANIPULATORS the index finger and thumb of the hand holding the foil. ON GUARD the position of body, arms and feet preparing a fencer for offensive or defensive actions. ORTHOPAEDIC strictly = helping deformity (Med). Prof. Gardère invented a moulded plastic handle to help his crippled hand. Colloquially today refers to all moulded plastic handles.

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PARRY

defensive action which opposes the forte of the defender’s foil against the foible of the attacker’s in order to deflect it completely from hitting its target. PATINANDO (skating) a Continental technique of a very rapid small step by rear leg first, put into a developed lunge, to lengthen it when made short by one’s opponent stepping or leaning back when attacked. PISTE the 1.5 – 2m long strip of phosphor-bronze mesh, or floor on which Fencing and Competitions are Fenced. PERIOD OF FENCING TIME the time it takes to make ONE movement of blade, body or foot parry, riposte, lunge etc. POMMEL the heavy, inverted/truncated cone shaped metal locking knob holding foil parts together at handle end, and also acts as counter-weight to the blade. PRECEDENCE priority in time or correct succession. PREPARATION OF ATTACK any blade, body or foot movement which opens the way for an attack. PRESSURE a preparation of attack. PRINCIPLE OF DEFENCE opposition of Forte to Foible. PROGRESSIVE ATTACKS the method of accelerating certain compound attacks. RECOVERY (or return to Guard) - using the bounce at lunge end & the bending of the rear leg to pull one back from the lunge with bent knees back into the ‘on guard’ position. REDOUBLEMENT a renewal of attack while on the lunge comprising one or more blade actions. REFEREE new name for the president who directs all bouts at Fencing and has many duties, including analysing the last fencing phrase and the validity, priority and materiality and awarding of the hits &/or penalties. REMISE a renewal of attack while on the lunge, made by replacing the point on target in the line of the parry. REPRISE a renewal of attack preceded by a return to guard. RIPOSTE the offensive action following a successful parry. SECOND COUNTER-RIPOSTE the defender's second riposte. SECOND INTENTION a premeditated action taken to deal with a provoked movement. SEMICIRCULAR PARRY a parry describing a half circle from high to low line or vice versa. SITTING DOWN the bending of the knees in the on-guard position. SIMPLE ATTACK one single action which is direct or indirect, with immediate lunge. STANCE the position of the body, feet, arm and sword when ‘on-guard’. STOP HIT a counter offensive action into a simultaneous attack to stop it before its development is complete, or with opposition to its completion. STRAIGHT THRUST the direct and simplest form of attack. SUCCESSIVE PARRIES several parries one after another until the attacking blade is found. TAKING OF THE BLADE (Prise de Fer) - one of the preparations of attack. TO TIME seizing an opportunity and executing an action at the correct moment. TROMPEMENT offensive blade actions which deceive the opponent’s parries, eg disengagements, coupés, 1/1, 1/2, 1/2/3 etc. TWO-TIME actions executed in two periods of fencing time. UNCOVERED a position where the line of engagement is not closed. WARNING LINES lines drawn two metres from the rear limit of the piste which warns fencers they are nearing the end of the piste.

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3/2/2010 ÂŠ 2010 Ralph Whittingham Burgess and Bath Sword Club