Thus, you threaten by a disengagement to the outside; your adversary bars your way effectually by the parade of _tierce_; you make a second disengagement to the inside, which is now exposed from the very fact of the outside being guarded (for both lines of attack cannot be guarded at the same time), thus converting your attack into _one-two_; but if your adversary parries quarte on your _second_ movement, your attack would be warded off. This can be carried much further, but the above will, I think, be sufficient to explain the nature of simple parades and attacks.

To deceive a _contre_-parade, a separate movement, called a _double_, or

DOUBLE,

has been invented; it is very simple in principle, and admirably answers the purpose. For instance, if you were to threaten your adversary by a disengagement to the outside, and if, instead of tierce, he parried _contre de quarte_, the double is then made by your making a _second_ disengagement _to the same side as the first_, for it will be found that his _contre de quarte_ has replaced the blades in the positions they occupied previous to your disengagement. You will then have an opening, and may finish the attack by the longe.

As all the contre-parades are on the same plan and principle, so are all the doubles. Of course, it is understood that you will make all the movements of the double _en suite_, and without allowing your adversary's blade to overtake yours.

ALL FEINTS.

The foregoing movements having been well practised in the lesson, the next step is that of _all feints_ and _all parades_, and may be practised either with a master or fellow-pupil. The practice consists of one pupil standing on the defensive _entirely_, while another a.s.sumes the offensive, and attacks him with _all_ the _feints_ of which he is master, the other, of course, defending with all his parades. It is excellent practice, as it accustoms the pupil to think for himself gradually, he having thus but one set of movements to think about. He is therefore enabled to make them boldly, without having to encounter unknown movements from his adversary.

It also enables him to see the extent of his resources, both for attack and defence. When he can both attack and defend with some presence of mind, he may then begin

THE a.s.sAULT;

that is, he may encounter an adversary, to attack or defend as occasion presents. He is then left to his own resources entirely. The following

GENERAL ADVICE,

given by a very eminent fencer and excellent teacher, cannot fail to be of use:--

"Do not put yourself on the position of the guard within the reach of your adversary's thrust, especially at the time of drawing your sword.

"If you are much inferior make no long a.s.saults.

"Do nothing that is useless; every movement should tend to your advantage.

"Let your movements be made as much within the line of your adversary's body as possible.

"Endeavour both to discover your adversary's designs, and to conceal your own.

"Two skilful men, acting together, fight more with their heads than their hands.

"The smaller you can make the movements with your foil, the quicker will your point arrive at your adversary's body.

"Do not endeavour to give many thrusts on the longe, thus running the risk of receiving one in the interim.

"If your adversary drops his foil by accident, or in consequence of a smart parade of yours, you should immediately pick it up, and present it to him politely.

"Always join blades (if possible) previously to another attack, after a hit is given."

BROADSWORD.

The princ.i.p.al distinction between the broadsword and the rapier is, that the latter is formed only for thrusting, while the former is adapted for cutting also. Indeed, those who use the broadsword are, in my opinion, too apt to neglect the use of the point, and to give their attention almost exclusively to the cuts.

The first lesson in the sword exercise is necessarily to know how to stand. The learner should be instructed to perform the different movements by word of command, remembering to consider the first parts of the word as a caution, and not to stir until the _last_ syllable is uttered. At the last syllable, the movement should be performed smartly.

In giving the word, the instructor always makes a slight pause, in order to give his pupils time to remember what they must do. For example, the words Draw Swords, is given thus, Draw ... . . Swords--the word swords being spoken smartly, in order that the movement may correspond.

POSITIONS.

_First Position._--Make the target[3] about fourteen inches in diameter, and place it on the wall, having its centre about four feet from the ground. Draw a perpendicular line from the spot at the bottom of the target to the ground, and continue it on the floor, in order to ensure the proper position of the heels. The learner stands perfectly upright opposite the target, with his right side towards it, his heels close together, his right toe pointing to the target, and his left foot at right angles with the left. His arms must be clasped behind his back, his right palm supporting the left elbow, and his left hand grasping the right arm just above the elbow. In this position, he must bend both knees and sink down as far as possible. This will not be very far at first, but he will soon sink down quite easily. See accompanying figure (1).

[3] For target, see next page.

[Ill.u.s.tration: Fig. 1.]

[Ill.u.s.tration: Fig. 2.]

_Second Position._--This is accomplished by placing the right foot smartly in front, about sixteen or fourteen inches before the left. See (2). He must accustom himself to balance himself so perfectly on his left foot, that he can place the right either before or behind it, without losing his balance.

_Third Position._--The third position must then be learned. This consists in stepping well forward with the right foot, until the left knee is quite straight, and the right knee exactly perpendicularly placed over the right foot. Great care must be taken to keep the heels exactly in the same line, and the body perfectly upright. See Figure (3).

[Ill.u.s.tration: Fig. 3.]

These preliminaries having been settled, the learner stands upright before the target, as in (1). A sword is then put into his hand, and the target is explained as follows:--

[Ill.u.s.tration]

TARGET.

The interior lines represent the cuts. Cut one being directed from No. 1 diagonally through the target, coming out at 4. Cut two is the same, only from left to right. Three is made upwards diagonally, and four is the same, only in the opposite direction. Cut five is horizontally through the target, from right to left, and six from left to right. Cut seven is perpendicularly downwards. Care must be taken that the cuts are fairly given with the edge.

The swords drawn on the target represent the guards. The seventh guard ought, however, not to be made directly across, but must have the point directly rather forwards and downwards, as a cut 7 glides off the blade, and can be instantly answered either by a thrust or by cut 1.

The two dark circles represent the places where the thrusts take effect.

[Ill.u.s.tration]

The learner begins by taking the sword in his right hand, having its edge toward the target and its back resting on his shoulder. His right arm is bent at right angles, and the elbow against his side. The left hand must rest upon the hip, the thumb being to the rear. At the word--

CUTS AND GUARDS.

CUTS.

_Cut 1._--The young swordsman extends his right arm, and makes the cut clear through the target. When the point has cleared the target, continue the sweep of the sword, and by a turn of the wrist bring it with its back on the left shoulder, its edge towards the left. The arm is then ready for

_Cut 2._--Bring the sword from 2 to 3, continue the movement of the sword, and turn the wrist so that the point is below the right hip and the edge towards the ground.