,the ,,art of ,,fencing1 or1 the ,,use of the ,small ,,sword4 ,translated from the ,,french of the late celebrated ,monsieur ,l',,abbat2 ,master of that ,,art at the ,academy of ,,toulouse4 99 99 99 99 99 ,by ,,andrew ,,mahon1 ,professor of the ,,small ,,sword in ,,dublin4 ,,dublin3 ,printed by ,,james ,,hort1 at the ,sign of ,mercury in ,skinner-,row1 #agcd4 ,,dedication4 ,transcribers note3 ,first page of dedication missing4 sue for4 ,i shall omit saying any ,thing1 ,my ,lord1 of the shining ,qualities1 which seem ,hereditary in ,your ,lordship's ,family1 as well as of the ,dignity and ,importance of the ,charge with which ,his ,majesty has been pleased to entrust ,your ,lordship's ,most ,noble ,father4 ,neither will ,i presume to trouble ,your ,lordship with those ,encomiums1 which are most deservedly due to the ,vertues1 whereby ,your ,lordship has gained the ,admiration and ,esteem of the ,polite and ,ingenious ,persons of this ,nation4 ,be pleased then1 ,my ,lord1 to permit me to have the ,honour of subscribing myself1 ,my ,lord1 ,your ,lordship's ,most devoted1 and ,most humble ,servant1 ,andrew ,mahon4 ,,preface4 ,i thought it very suitable to my ,business1 when ,i met with so good an ,author as ,monsieur ,l',abbat1 on the ,art of ,fencing1 to publish his ,rules1 which in general1 will ,i believe be very useful1 not only as they may contribute to the ,satisfaction of such ,gentlemen as are already ,proficients in the ,art1 and to the better ,discipline of those who intend to become so1 but also in regard that the ,nicety and ,exactness of his ,rules1 for the most ,part1 and their great ,consistency with ,reason1 may1 and will in all ,probability1 lay a regular and good ,foundation for future ,masters1 who tho' accustom'd to any particular ,method formerly practised1 may rather chuse to proceed upon the ,authority of an excellent ,master1 than upon a vain and mistaken ,confidence of their own ,perfection1 or upon an obstinate ,refusal to submit to ,rules founded on1 and demonstrated by ,reason4 ,for my ,part1 though ,i had my ,instructions from the late ,mr4 ,hillary ,tully of ,london1 who was 7and ,i think with great ,reason7 esteemed a most eminent ,master in his ,time1 ,i thought ,i could not make too nice a ,scrutiny into my ,profession1 by comparing ,notes with ,monsieur ,l',abbat1 which improved me in some ,points1 and confirmed me and others1 to my no small ,satisfaction1 being well persuaded1 that1 as a ,professor of this ,science1 it would have been an unpardonable ,fault in me to deprive our ,nations of such an ,improvement1 either through ,prejudice to his1 or ,partiality to my own ,opinion4 ,though ,i have already said that ,mr4 ,l',abbat's ,rules are nice1 reasonable1 and demonstrative1 yet ,i would not have it inferred from thence1 that he approves of them all1 as really essential to the ,art of ,fencing2 there being some which he does not approve of1 and which he would not have mentioned1 had they not interfered with his profession1 by the ,practice and ,recommendation of some ,masters1 who being more capricious than knowing1 were fonder of the shewy or superficial1 than of the solid ,part of the ,science4 ,volting1 ,passing1 and ,lowering the ,body1 are three things which ,mr4 ,l',abbat disapproves of1 in which ,opinion ,i join2 because the ,sword being the ,instrument of ,defence1 there can be no ,safety when the proper ,opposition of the ,blade is wanting1 as it is in volting and lowering the ,body1 and in passing1 by reason of the ,weakness of the ,situation1 which cannot produce a vigorous ,action4 ,notwithstanding which1 there is a modern ,master1 who as soon as he had seen this ,book1 and the ,attitudes representing volting1 passing and lowering the ,body1 began and still continues teaching them to his ,scholars1 without considering how unsafe and dangerous they are1 for want of the proper ,opposition of the ,sword when within ,measure4 ,of all ,professions1 that of ,arms has in all ,ages1 since their ,invention1 been esteemed the noblest and most necessary2 it being by them that the ,laws preserve their ,force1 that our ,dominions are defended from the ,encroachments of our ,enemies1 and ill designing ,people kept in the ,subjection due to their ,sovereigns2 and of all ,arms1 the ,sword is probably the most ancient3 ,it is honourable and useful1 and upon ,occasion1 causes a greater ,acquisition of ,glory than any other3 ,it is likewise worn by ,kings and ,princes1 as an ,ornament to ,majesty and ,grandeur1 and a ,mark of their ,courage1 and distinguishes the ,nobility from the lower ,rank of ,men4 ,it is the most useful1 having the ,advantage of ,fire ,arms1 in that it is as well defensive as offensive1 whereas they carry no ,defence with them2 and it is far preferable to ,pikes and other long ,weapons1 not only because it is more weildy and easy of ,carriage1 but also by reason of the ,perfection to which ,art has brought the ,use of the ,small ,sword2 there being no ,exercise that conduces so much as ,fencing1 to strengthen and supple the ,parts1 and to give the ,body an easy and graceful ,appearance4 ,the ,sword1 since it's first ,invention1 has been used in different ,manners3 ,first1 with a ,shield or ,buckler2 ,secondly1 with a ,helmet1 and ,thirdly1 with a ,dagger1 which is still used in ,spain and ,italy4 ,mr4 ,patinotris1 who taught at ,rome1 introduced1 and laid down ,rules for the ,use of the ,small ,sword alone1 which has since been much improved by the ,french and our ,nations4 ,as the ,art of ,fencing consists in attacking and defending with the ,sword1 it is necessary that every ,motion and ,situation tend to these two principal ,points1 viz4 ,in offending to be defended1 and in defending to be in an immediate ,condition to offend4 ,there is no ,guard but has it's ,thrust1 and no ,thrust without it's ,parade1 no ,parade without it's ,feint1 no ,feint without it's opposite ,time or ,motion1 no opposite ,time or ,motion but has it's ,counter1 and there is even a ,counter to that ,counter4 ,some injudicious ,persons have objected to ,mr4 ,l'abbat's ,manner of ,fencing1 that it is too beautiful and nice1 without observing that if it be beautiful1 it cannot be dangerous1 ,beauty consisting in ,rule1 and ,rule in the ,safety of attacking and defending4 ,in ,fencing1 there are five ,figures of the ,wrist1 viz4 ,prime1 ,seconde1 ,tierce1 ,quart1 and ,quinte4 ,the first is of very little ,use1 and the last of none at all4 ,prime is the ,figure that the ,wrist is in1 in drawing the ,sword4 ,seconde and ,tierce require one and the same ,figure of the ,wrist1 with this ,difference only1 that in ,seconde1 the ,wrist must be raised higher1 in order to oppose the ,adversary's ,sword2 but in both these ,thrusts the ,thumb ,nail must be turned directly down1 and the ,edges of the ,blade of the ,foil of an equal ,height4 ,quart is the handsomest ,figure in ,fencing1 the ,thumb ,nail and the ,flat of the ,foil being directly up1 and the ,wrist supported so as to cover the ,body below as well as above4 ,in ,quinte1 the ,wrist is more turned and raised that in ,quart1 which uncovers the ,body1 and weakens the ,point1 and therefore is not used by the skilful4 ,some ,masters divide the ,blade into three ,parts1 viz4 the ,fort1 the ,feeble1 and the ,middle4 ,others divide it into ,four1 viz4 the ,fort1 the ,half ,fort1 the ,feeble1 and the ,half ,feeble2 but to avoid ,perplexity1 ,i divide it only into ,fort and ,feeble2 tho' it may be divided into as many ,parts as there are ,degrees of ,fort and ,feeble to be found on the ,blade4 ,the ,attitudes which are in the ,book1 are copied exactly from the ,originals2 tho' ,i might perhaps have made some ,alterations1 in my ,opinion1 for the better1 yet ,i chose rather to leave them as they are1 than to run the ,hazard of spoiling any of them3 ,i have therefore left the same ,bend in the ,foils as ,mr4 ,l',abbat recommends1 and for which he makes an ,apology in his ,preface4 ,nor have ,i1 in any of the ,attitudes1 represented a ,left-handed ,figure1 because by looking thro' the ,paper on the blank ,side1 they will appear reversed1 and consequently ,left-handed4 ,monsieur ,l',abbat recommends the turning on the ,edge of the ,left-foot in a ,lunge1 as may be seen by the ,attitudes4 ,this ,method indeed was formerly practised by all ,masters1 and would be very good1 if their ,scholars had not naturally run into an ,error1 by turning the ,foot so much as to bring the ,ancle to the ,ground1 whereby the ,foot became so weak as to make the ,recovery difficult1 for want of a sufficient ,support from the ,left-foot1 which1 in recovering1 bears the whole ,weight of the ,body3 ,therefore ,i would not advise the turning on the ,edge of the ,foot to any but such as1 by long ,practice on the ,flat1 are able to judge of the ,strength of their ,situation1 and consequently1 will not turn the ,foot more than is consistent therewith4 ,it may sometimes be necessary to turn on the ,edge1 on such ,ground whereon the ,flat would slip1 and the ,edge would not1 if it were properly turned2 but even in this ,case1 by turning it too much it would have no ,hold of the ,terrace1 and therefore would be as dangerous as keeping it on the ,flat4 ,the chief ,reason for turning on the ,edge1 is that the ,length of the ,lunge is greater by about three ,inches1 which a ,man who is a ,judge of ,measure need never have recourse to1 because he will not push but when he knows he is within ,reach4 ,some of the ,subscribing ,gentlemen will1 perhaps1 be surprized1 when they find this ,book published in my ,name1 after having taken ,receipts1 for the first ,moiety of their ,subscription ,money1 in the ,name of ,mr4 ,campbell1 to whom ,i am obliged for his ,assistance in the ,translation1 he being a better ,master of the ,french ,tongue than ,i am4 ,indeed to the chief ,reasons why they were not signed in my ,name1 are1 ,first1 because ,i was1 at the ,time of their being signed1 a ,stranger in this city1 being then lately come from ,england4 ,and secondly1 lest ,i should meet with such ,opposition as might perhaps have frustrated my ,design of publishing this book1 ,i thought proper to conceal my being concerned in it1 'till ,mr4 ,campbell had shown the ,translation to all the principal ,masters in ,town1 and gained their ,approbation much in ,favour of it4 ,,the ,,art of ,,fencing2 ,,or ,,the ,,use of the ,,small-,,sword4 ,,chap4 ,i4 ,of chusing and mounting a ,blade4 ,courage and ,skill being often of little ,use without a good ,weapon1 ,i think it necessary1 before ,i lay down ,rules for using it1 to shew how to chuse a good ,blade1 and how it ought to be mounted4 ,the ,length of the ,blade ought to be proportionable to the ,stature of the ,person who is to use it3 ,the longest ,sword1 from ,point to ,pommel1 should reach perpendicularly from the ,ground to the ,navel1 and the shortest1 to the ,waste2 being large in ,proportion to its ,length1 and not extremely large1 nor very small1 as some ,people wear them2 the over large ,blades being unweildy1 unless very hollow1 which makes them weak1 and the narrow ones being not sufficient to cover the ,body enough4 ,in ,order to chuse a good ,blade1 three ,things are to be observed3 ,first1 that the ,blade have no ,flaw in it1 especially across1 it being more dangerous so than ,length-way4 ,secondly1 ,that it be well tempered1 which you'll know by bending it against a ,wall or other ,place2 if it bend only towards the ,point1 'tis faulty1 but if it bend in a semicircular ,manner1 and the ,blade spring back to its ,straitness1 'tis a good ,sign2 ,if it remains bent it is a ,fault1 tho' not so great as if it did not bend at all2 for a ,blade that bends being of a soft ,temper1 seldom breaks2 but a stiff ,one being hard tempered is easily broke4 ,the third ,observation is to be made by breaking the ,point1 and if the ,part broken be of a grey ,colour1 the ,steel is good2 if it be white 'tis not3 ,or you may strike the ,blade with a ,key or other ,piece of ,iron1 and if he gives a clear ,sound1 there is no hidden ,fault in it4 ,in bending a ,blade you must not force it1 what ,i have said being sufficient to know it by1 and besides by forcing it1 it may be so weakened in some ,part as to break when it comes to be used4 ,it would not be amiss for a ,man to see his ,sword mounted1 because the ,cutlers1 to save themselves the ,trouble of filing the inside of the hilts and pommel1 to make the ,holes wider1 often file the ,tongue#a of the ,blade too much1 and fill up the ,vacancies with ,bits of ,wood1 by which ,means the ,sword is not firm in the ,hand1 and the tongue being thin and weak1 is apt to break in ,parrying or on a dry ,beat1 as has been unhappily experienced4 ,care should also be taken that the ,end of the ,tongue be well riveted to the ,extremity of the ,pommel1 lest the ,grip should fly off1 which would be of very dangerous ,consequence4 ,some ,men chuse strait ,blades1 others will have them bending a little upwards or downwards2 some like them to bend a little in the ,fort1 and others in the ,feeble1 which is commonly called le ,tour de ,breteur1 or the ,bullie's ,blade4 ,the ,shell should be proportionable in ,bigness to the ,blade1 and of a ,metal that will resist a ,point1 and the ,handle fitted to the ,hand4 ,some like square ,handles1 and others chuse round ,ones2 the square are better and firmer in the ,hand1 but as this ,difference depends on ,fancy1 as does also the ,bow1 which in some ,cases may preserve the ,hand1 but may be a ,hindrance in inclosing1 ,i shall leave it to the ,decision of the ,fashions4 ,,chap4 ,,ii4 ,of ,guard4 ,by ,guard1 is meant such a ,situation of all the ,parts of the ,body as enables them to give their mutual ,assistance to defend or attack4 ,a ,guard cannot be perfect without a good and graceful ,disposition1 proceeding from a natural ,proportion of the ,parts of the ,body1 and an easy and vigorous ,motion1 which is to be acquired by ,practice1 and the ,instruction of a good ,master4 ,illustration3 ,plate #a4 ,the middling ,guard4 ,illustration3 ,the straight ,guard or flat ,sword4 ,as ,in all bodily ,excercises1 a good ,air1 ,freedom1 ,vigour1 and a just ,disposition of the ,body and ,limbs are necessary1 so are they more especially in ,fencing1 the least ,disorder in this ,case being of the worst ,consequence2 and the ,guard being the ,center whence all the ,vigour should proceed1 and which should communicate ,strength and ,agility to every ,part of the ,body1 if there be the least ,irregularity in any one ,part1 there cannot be that ,agreeableness1 ,power of ,defence1 ,justness1 or ,swiftness that is requisite4 ,in order to be well in ,guard1 it is absolutely necessary that the ,feet1 as the ,foundation that conduces chiefly to communicate ,freedom and ,strength to the other ,parts1 be placed at such a ,distance from each other1 and in such a lineal ,manner as may be advantageous3 ,the ,distance must be about two ,foot from one ,heel to the other2 for if it were greater1 the ,adversary1 tho' of the same ,stature1 and with a ,sword of equal ,length1 would be within ,measure when you would not1 which would be a very considerable ,fault1 ,measure being one of the principal ,parts of ,fencing1 and if the ,feet were nearer together1 you would want ,strength1 which is also a great ,fault1 because a feeble ,situation cannot produce a vigorous ,action4 ,the ,line must be taken from the hindmost ,part of the ,right ,heel to the ,left ,heel near the ,ancle4 ,the ,point of the ,right ,foot must be opposite to the ,adversary's1 turning out the ,point of the ,left ,foot1 and bending the ,left ,knee over the ,point of the same ,foot1 keeping the ,right ,knee a little bent1 that it may have a ,freedom of ,motion4 ,the ,body must be upright1 which gives it a better ,air1 greater ,strength1 and more ,liberty to advance and retire1 being supported almost equally by the two ,feet4 ,some ,masters teach to keep the ,body back in ,favour of ,measure1 which cannot be broke by the ,body when 'tis already drawn back1 tho' it is often necessary1 not only to avoid a ,surprize1 but also to deceive a ,man of superior ,swiftness who pushes a just ,length3 ,therefore 'tis much better to have the ,liberty of retiring to avoid the ,thrusts of the ,adversary1 or of extricating yourself by advancing towards him and pushing 7as ,i shall observe in its proper ,place7 than to keep the ,body in one ,situation at a ,distance1 which being fixed1 cannot deceive a ,person who knows any thing of ,measure2 moreover1 such a ,retention of the ,body does not only hinder the breaking ,measure with the ,body1 but also the ,left ,leg is so oppressed with its whole ,weight1 that it would find it difficult to retire upon ,occasion4 ,the ,elbows must be almost on a ,line1 and of an equal ,height1 that one ,shoulder may not be higher than the other1 and that they may be both turn'd alike2 the ,left ,hand must be over against the ,top of the ,ear1 the ,hilt of the ,sword a little above the ,hip1 turning towards ,half ,quart1 the ,thumb extended1 pressing the ,middle of the ,eye of the ,hilt1 keeping the ,fingers pretty close to the ,handle1 especially the little one1 in order to feel the ,sword firmer and freer in the ,hand4 ,by feeling the ,sword1 is meant commanding the ,fort and ,feeble equally with the ,hand1 in order to communicate to the more distant ,part of the ,blade1 as well as to that which is nearer1 the ,motion and ,action that is requisite4 ,the ,hilt should be situated in the ,center1 that is to say1 between the upper and lower ,parts1 and the ,inside and ,outside of the ,body1 in order to be in a better ,condition to defend whatever ,part may be attacked4 ,the ,arm must not be strait nor too much bent1 to preserve its ,liberty and be cover'd4 ,the ,parts being thus placed1 the ,wrist and the ,point of the ,right ,foot will be on a perpendicular ,line4 ,the ,point of the ,sword ought to be about the ,height of1 and on a ,line with the ,adversary's ,shoulder1 that is1 it must be more or less raised1 according as he is taller or shorter3 ,some ,masters raise it to one fixed ,height1 which would be very well if all ,men were of the same ,stature2 but if we consider the difference in ,height of ,persons1 we shall find it evidently bad4 ',tis to be observed1 that according to the ,length or ,shortness of the ,blade1 the ,line from the ,shell to the ,point is higher or lower1 when the ,height of the ,point is fix'd4 ,the ,shoulder1 the ,bend of the ,arm1 the ,hilt1 the ,point of the ,sword1 the ,hip1 the ,right ,knee and the ,point of the ,right ,foot must be on a ,line4 ,the ,head should be upright and free without ,stiffness or ,affectation1 the ,face turned between full and profile1 and not altogether full1 as many ,masters will have it1 that being a constrained and disagreeable ,figure4 ,illustration3 #b;d ,plate4 ,a ,lunge in ,quart4 ,illustration3 ,a ,thrust in ,quart4 ,the ,sight should be fixed on the ,adversary's1 not only to observe his ,motions1 but also to discover his ,design1 it being possible to guess at the interior ,design1 by the exterior ,action4 ,it is necessary to appear animated with a brave ,boldness1 for nothing requires a ,man to exert himself more than ,sword in ,hand2 and it is as difficult to attain such an ,air of ,intrepidity without much ,excercise1 as it is to become perfectly expert4 ,,chap4 ,,iii4 ,of ,pushing ,quart4 ,to push ,quart within1 besides the ,precautions of placing yourself to ,advantage1 and of pushing properly and swiftly1 which is to be acquired by ,practice and nice ,speculation1 ,it is necessary that the ,parts1 in order to assist each other in making the ,thrust1 should be so disposed and situated1 as that the ,wrist should draw with it the ,bend of the ,arm1 the ,shoulder1 and the upper ,part of the ,fore-,part of the ,body1 at the same time that the ,left ,hand and ,arm should display or stretch themselves out smartly1 bending one of the ,knees and extending the other1 which gives more ,vigour and ,swiftness to the ,thrust2 and the ,body finding itself drawn forward by the swift ,motion of the ,wrist and other ,parts1 obliges the ,right ,foot to go forward in order to support it1 and to give the ,thrust a greater ,length2 the ,left ,foot should1 at the same ,instant1 turn on the ,edge1 without stirring from its ,place2 whilst the ,right ,foot coming smartly to the ,ground1 finishes the ,figure1 ,extension and ,action of the ,lunge4 ,this is the ,order and ,disposition of the ,parts in making the ,thrust1 which see in the second ,plate4 ,at the ,instant when the ,wrist moves forward1 it must do three things1 turn1 support and oppose4 ,to turn the ,wrist in ,quart1 the ,thumb ,nail must be up1 and the inside ,edge equal in ,height with the other1 for if it were not so high1 the ,thrust would not be so swift1 for want of ,motion enough1 neither would the ,body be so well covered1 because the ,edge1 instead of being directly opposite to the ,adversary's ,sword1 would fall off with a ,slant2 and if it were higher1 it would make a ,quint ,figure1 which1 by the excessive ,turn of the ,wrist1 would weaken the ,thrust1 and by the unequal ,turn of the ,edges would uncover the ,body4 ,the ,wrist ought to be of a ,height sufficient to cover the ,body without contracting the ,arm1 which cannot be fixed to a particular ,height2 for a short ,man against a tall one1 should raise it as high as the ,head1 which ,people of equal2 ,stature1 or a tall ,man against a short one1 ought not to do4 ,when the ,opposition is accompanied with such a ,turn and ,support of the ,wrist as will cover the ,body1 it is good1 but if the ,wrist be carried too far in1 you not only lose ,part of the ,length of the ,thrust1 but also uncover the ,outside of the ,body1 which are two very great ,faults4 ,the ,thrust must be made on the ,inside of the ,right ,shoulder1 in order to take the ,feeble with your ,fort1 and that you may be covered1 bearing on the ,adversary's ,sword1 by which ,means1 the ,thrust will be well planted1 and you less liable to receive one1 which ,advantages you lose by pushing otherwise4 ,in order to make the ,thrust perfect1 it must have its proper ,strength and ,support when planted3 ,the ,strength1 is the ,vigour with which the ,thrust is made1 and the ,support is the ,consequence of the ,motion of the ,wrist1 turning and bearing upwards1 which makes the ,foil to bend accordingly1 fixing itself 'till you retire4 ,the ,foil may bend upwards in two ,manners2 the best ,way for it to bend1 is from the ,middle towards the ,button2 the other ,way is1 when almost all the ,blade makes a ,semi-circle4 ,the first has a better ,effect1 the ,feeble being stronger1 the other makes a greater ,show2 but the ,point being feeble1 there is not the same ,advantage in the ,thrust4 ,in all ,thrusts1 the ,button should hit before the ,right ,foot comes to the ,ground1 and the ,left ,hand and ,arm be stretched out smartly1 to help the ,body forward1 and give more ,swiftness to the ,thrust3 ,the ,left ,hand should always be conformable to the ,right1 turning to ,quart or ,tierce1 according to the ,thrust4 ,the ,left ,hand and ,arm should be on a ,line with the ,thigh1 and their ,height a little lower than the ,shoulder4 ,the ,body must lean a little forward before1 to give the ,thrust a greater ,length2 the ,hips must not be so much bent as other ,times2 which weakens and shortens the ,thrust1 by the ,distance which the lowering the ,body causes from the ,height of the ,line which must come from the ,shoulder2 besides 'tis harder to recover1 and you1 by that ,means1 give the ,adversary an ,opportunity of taking your ,feeble with his ,fort1 your ,situation being very low4 ,the ,front of the ,body should be hid by turning the two ,shoulders equally on a ,line4 ,the ,foot should go out strait2 in order to preserve the ,strength and ,swiftness of the ,thrust1 it must have its proper ,line and ,distance4 ,the ,line must be taken from the ,inside of the ,left ,heel to the ,point of the ,adversary's ,right ,foot2 ,if it turn inward or outward1 the ,button will not go so far1 the strait ,line being the shortest2 besides the ,body would be uncovered1 for by carrying the ,foot inwards1 the ,flank is exposed1 and by carrying it outwards the ,front of the ,body1 and the ,body is thereby weakened2 the ,prop and the ,body being obliged to form an ,angle instead of a strait ,line1 from the ,heel of the ,left ,foot to the ,point or ,button of the ,foil4 ,in order to know the ,distance of the ,lunge1 the ,right ,knee being bent1 must form a perpendicular ,line with the ,point of the ,foot2 if the ,foot were not so forward1 the ,heel would be off the ,ground1 and the ,body would have less ,strength1 and if it were carried farther the ,body could not easily bend it self1 and consequently could not extend so far2 moreover1 it would want ,strength1 being at too great a ,distance from the perpendicular ,line of the ,foot and ,leg1 which are its ,support1 and its ,recovery would be more difficult4 ,the ,foot should fall firm without lifting it too high1 that the ,soal of the ,sandal1 or ,pump1 may give a smart ,sound1 which not only looks better and animates more1 but also makes the ,foot firm1 and in a ,condition to answer the ,swiftness of the ,wrist4 ,care must be taken not to carry the ,point of the ,foot inward or outward1 because the ,knee bending accordingly1 as part of the ,thigh1 goes out of the ,line of the ,sword1 and consequently1 of the ,line of ,defence1 besides 'tis very disagreeable to the ,sight4 ,the ,feet sometimes slip in the ,lunge1 the ,right ,foot sliding forward1 or the ,left backward2 the first is occasioned by carrying out the ,foot before the ,knee is bent1 whereas when the ,knee brings it forward1 it must fall flat and firm2 the other proceeds from the ,want of a sufficient ,support on the ,left ,foot4 ,the ,head should follow the ,figure of the ,body2 when this is upright1 that should be so to2 when the ,body leans1 the ,head must lean2 when you push within1 you must look at your ,adversary on the ,outside of your ,arm1 which is done without turning the ,head1 by the ,opposition of the ,hand only4 ,that every ,thrust may carry with it it's due ,extent and ,strength1 the ,opposition of the ,sword1 the true placing of the ,body1 and a ,facility of recovering2 you are to observe that the two first are for ,offence1 and the others for ,defence4 ,every ,thrust must have it's just ,length1 and carry with it a good ,air1 a regular ,situation1 ,vigour1 and a due ,extension2 ,see the #b;d4 plate4 ,of recovering in ,guard4 ,as soon as the ,thrust is made1 you must recover in ,guard1 which is done either by retiring out of ,measure1 or only to the ,place from whence you1 pushed2 if out of ,measure1 'tis done by springing back1 or by bringing the ,right ,foot back behind the ,left1 and the ,left behind the ,right2 and if to the ,place from whence you pushed1 you must parry if there's a ,thrust made2 and if not1 you must command the ,feeble of the ,adversary's ,sword1 in order to cover the ,side on which it is1 without giving an ,open on the other ,side1 which is done as you recover1 by drawing back the ,body on the ,left ,foot2 which should bring with it the ,right ,knee1 drawing the ,foot1 with the ,heel a little raised from the ,ground1 to prevent any ,accident that may happen by the ,badness of the ,terrace4 ,by this ,recovery1 commanding the ,adversary's ,sword1 you either get ,light if he not stir1 or ,time if he does1 which instead of being dangerous1 as has formerly been thought1 it is1 by the ,help of ,art1 become advantageous4 ,,chap4 ,,iv4 ,of the ,parade of ,quart4 ,to parry1 signifies1 in our ,art1 to cover when the ,adversary pushes1 that ,part which he endeavors to offend2 which is done it either by the ,opposition of the ,sword or of the ,left ,hand2 but as ,i am now speaking of the ,sword only1 ,i must observe2 that in order to parry well with it1 you are to take notice of the ,manner and ,swiftness of your ,adversary3 ,by the ,manner1 is meant whether in ,quart or ,tierce2 with his ,fort to your ,feeble1 or with his ,feeble to your ,fort2 and you are to observe the ,swiftness of his ,thrust1 that you may regulate your ,parade accordingly4 ,illustration3 #crd4 ,plate4 ,parade of ,quart4 ,illustration3 ,parade of ,quart opposing with the hand4 ,when a ,thrust is made with the ,fort to your ,feeble1 which is the best way2 you must1 by raising and turning the ,hand a little in ,quart1 raise the ,point1 which brings it nearer to you1 and hinders the ,adversary from gaining your ,feeble1 which being raised up is too far from him1 and makes it easy for you to seize his ,feeble4 7,refer to the #c;d4 ,plate47 ,if the ,thrust be made on the ,fort or ,middle of your ,sword1 you need only turn the ,hand a little in ,quart4 ,if after the ,adversary has pushed ,quart1 he pushes ,seconde2 you must parry with the ,fort1 bringing it nearer to you1 and for the greater ,safety1 or to avoid other ,thrusts1 or the taking ,time on your return1 you must oppose with the left hand1 which hinders him from hitting you as he meets your ,thrust1 and from parrying it1 for want of having his ,sword at ,liberty4 7,refer to the #gth ,plate47 ,the same ,opposition may be made on a ,lunge in ,quart1 and to be more safe in returning ,thrust or ,thrusts1 you must close the ,measure in parrying1 which confounds the ,enemy1 who finds himself too near to have the ,use of his ,sword3 ,your ,sword1 in parrying1 must carry it's ,point lower and more inward than in the other ,parades4 ,if the ,adversary makes a ,thrust1 with shortning or drawing back his ,arm1 or leaving his ,body open2 you must defend with the ,left ,hand1 and lunge strait on him1 unless you had rather parry with the ,sword1 making use of the ,opposition of the ,hand1 and closing the ,measure1 as ,i just now observed4 ,you may also parry in disengaging1#b drawing back the ,body to the ,left1 in order to give the ,hand ,time and ,facility to make the ,parade4 ,there are several other ,parades1 of which ,i shall treat in their proper ,places1 confining myself now to the most essential4 ,illustration3 #dth4 ,plate4 ,a ,lunge in ,tierce4 ,illustration3 ,tierce ,parryed4 ,,chap4 ,v4 ,of pushing ,tierce without1 or on the ,outside of the ,sword4 ,in order to push ,tierce well1 the ,hand being gone first1 taking the ,feeble with the ,fort1 turning down the ,nails1 and the ,wrist a little outwards1 not too high or low2 in order not to give ,light above or below1 the ,body must bend more forward and inward than in ,quart2 the ,left ,hand should extend itself in ,tierce1 because it ought1 in all ,cases1 to be conformable with the ,right1 except that it is lower4 ,when you push ,tierce1 you should look within your ,sword3 ,as to the ,feet1 they must be1 in every ,lunge1 on the same ,line1 and at the same ,distance4 ,the ,rules ,i have laid down for recovering in ,quart1 will serve also in ,tierce1 but of the contrary ,side4 ,parade of ,tierce4 ,to parry a ,thrust made with the ,fort to the ,feeble1 you must turn the whole ,hand1 carrying it a little outwards1 raising the ,point1 in order to avoid the ,adversary's taking your ,feeble1 and at the same time take ,his4 ,see the #dth ,plate4 ,if a ,thrust be made on the ,middle1 or ,fort of your ,sword1 you need only turn the ,hand1 carrying all the ,blade equally outwards4 ,some ,masters teach to parry this ,thrust with the ,hand in ,quart1 which is very dangerous if the ,enemy pushes ,quart over the ,arm in the ,fort1 or ,quart within1 in the ,feeble1 there being an ,opening in one1 as well as the other ,case2 besides the ,point is too far from the ,line1 to make a quick ,return4 ,to avoid the ,return of a ,thrust when you have pushed ,tierce1 and that the ,adversary1 in parrying1 has gained to your ,feeble2 you must1 by raising and opposing with the ,fort1 bring the ,pommel of your ,sword on high2 so that the ,point be downwards2 whereby his ,point will be near your ,left ,shoulder1 and you1 not only avoid being hit1 but you may make a ,thrust at the same time1 by opposing with the ,left ,hand1 and for the greater ,safety1 you must return on the ,blade1 and push strait1 without quitting it4 ,see the #eth ,plate4 ,illustration3 #eth ,plate4 ,parade of ,tierce yeilding the ,feeble4 ,illustration3 ,the same parade opposition of the hand4 ,when a ,thrust is made in ,tierce upon the ,blade on the ,feeble1 or by disengaging2 tho' the first is more easily parryed1 you must yeild the ,feeble1 opposing with the ,fort1 in order to guide the ,adversary's ,sword to the ,place the most convenient for the ,opposition of the ,left ,hand1 and closing the ,measure at the same time1 you have an ,opportunity1 before he can recover1 to hit him several times2 which must be done by advancing on him1 as fast as he retires4 ,see the #eth ,plate4 ,you may also parry by disengaging1 drawing the ,body back4 ,the ,return is easy1 by pushing ,quart2 and to avoid a second ,thrust from the ,enemy at the ,time of your ,return1 you must oppose with the ,left ,hand4 ,see the #eth ,plate4 ,,chap4 ,,vi4 ,of pushing ,seconde4 ,in pushing under1 the ,hand must be turned in ,seconde1 as high as in ,quart1 and more within than in ,tierce2 the ,body should be more bent1 lower1 and more forward than in thrusting ,tierce1 and the ,left ,hand lower4 ,see the #fth ,plate4 ,seconde ought not be pushed1 but on the following ,occasions3 ,first1 when an ,engagement1 ,feint or ,half-,thrust1 is made without1 that the ,adversary at one of these ,times parrys high4 ,secondly1 when your ,adversary engages your ,sword on the ,outside1 with his ,hand raised high2 or on the ,inside1 with his ,feeble only2 and thirdly1 upon a ,thrust or ,pass1 within or without4 ,the ,recovery in ,guard1 should be in ,quart within the ,arm1 though most ,masters teach to recover on the ,outside1 which takes much more ,time1 and though the ,seconde is independent on the ,side1 it is nearer to the ,inside than to the ,outside2 because the ,adversary carries his ,wrist to the ,outside1 when he gives an ,opportunity of making this ,thrust2 therefore you ought to return to his ,sword in the shortest ,time1 in order to be sooner on your ,guard4 ,if you examine this ,parade1 you will find it is the only ,means of recovering with ,safety4 ,what introduced the ,manner of returning to the ,sword on the ,outside1 was the false ,method formerly used in parrying the ,seconde by beating on the ,blade2 in ,tierce1 with the ,point downwards2 so that the ,adversary not being able to return but above1 there was a ,necessity for returning to the ,sword on the ,outside in order to defend2 but the ,parade and ,return being no longer the same1 the ,manner of returning to the ,sword must also be different4 ,,chap4 ,,vii4 ,the ,parades of ,seconde4 ,seconde may be parried three ,ways4 ,first1 according to the ancient ,manner ,i just described1 which is done by a ,semi-circle on the ,inside1 with the ,hand in ,tierce1 the ,point low1 almost on a ,line with the ,wrist2 but the ,greatness of the ,motion does not only render it difficult to parry the ,thrust but still harder to parry the ,feint of the ,thrust and come up again2 besides the ,rispost is dangerous2 because it requires a long ,time to raise the ,point1 which is almost as low as the ,ground1 to the ,body2 in which ,time1 the ,adversary has not only an ,opportunity of parrying the ,thrust1 but also of hitting you whilst you are bringing up your ,point4 ,secondly1 ,seconde may be parryed by making a ,half-circle on the ,outside1 the ,wrist in ,quart1 as high as the ,shoulder1 the ,arm extended1 and the ,point very low4 ,see the #gth ,plate4 ,it is less dangerous1 and more easy for the ,rispost than the former1 which must be made as soon as you have parryed1 by pushing strait in ,quart which the ,adversary having pushed under1 can hardly avoid1 but by yeilding1 and battering the ,sword4 ,see the #gth ,plate4 ,to this ,manner of parrying ,seconde1 there is but one ,opposite1 which is done by feinting below1 and as the ,adversary is going to cross your ,sword1 in order to parry1 you must disengage by a little ,circle1 with the ,hand in ,seconde1 which preventing the ,enemy's ,sword1 gives an ,opportunity of hitting him above1 if the ,wrist is lower than ,i have observed1 or in ,flanconnade1 if the ,wrist is high4 ,a ,man that parrys below1 in order to avoid this ,feint1 must redouble his ,circle to meet the ,blade4 ,this ,parade is best in recovering1 after having pushed1 not only to avoid the strait or low ,rispost1 but also any ,feint or ,thrust4 ,the third and best ,parade1 is made with your ,fort to the ,middle of the ,adversary's ,sword1 the ,wrist turned in ,quart1 but a little lower3 ,the ,rispost of this ,parade is very good1 when you know how to bind the ,sword upon the ,rispost2 and it cannot be parryed without returning to the ,parade that ,i have here1 before1 described and which1 ,i believe1 is peculiar to myself4 ,this ,parade is by so much the more adventageous1 as the ,rispost is easy the ,sword being near the ,adversary's ,body1 which makes it1 more difficult for him to avoid you2 besides1 by this ,parade1 you are in better ,condition to parry1 not only a ,thrust below1 but also any other ,thrusts and ,feints1 the ,sword being near the ,situation of ,guard4 ,,chap4 ,,viii4 ,of ,quart under the ,wrist4 ,this ,thrust should not be made but instead of ,seconde1 that is to say1 on an ,engagement1 ,parade1 or ,lunge of the ,adversary in ,quart4 ,the ,wrist must not be so much turned up1 nor so high as in ,quart within2 the ,body should be more inward1 and bending more forward4 7,refer to the #gth ,plate47 ,in case the ,adversary pushes ,quart1 in order to take the ,time1 you must lunge the ,foot strong inward1 to throw the ,body farther from the ,line of the ,adversary's ,sword4 ,in recovering from this ,thrust1 the ,wrist must be in ,tierce1 and the ,sword without the ,enemy's whilst the other ,parts take their ,situation4 ,the ,parade of this ,thrust is made by a ,half-circle of the ,sword within1 the ,wrist raised in ,quart1 and the ,point low4 ,see the #gth ,plate4 ,illustration3 #gth ,plate4 ,thrust under the ,wrist4 ,illustration3 ,it's ,parade4 ,illustration3 #hth4 ,plate4 ,flannconade4 ,illustration3 ,the ,opposition of the ,hand to the lowering the body4 ,,chap4 ,,ix4 ,of ,flanconnade4 ,this ,thrust is to be made only in engaging or risposting when the ,adversary carries his ,wrist too far inward1 or drops the ,feeble of his ,sword1 then you must press a little within1 and with your ,feeble on his1 in order to lower it1 and by that means get an ,opening in his ,flank4 ,the ,body1 in this ,thrust1 is not so strait as in ,quart within1 tho' the ,arms are4 ,see the #hth ,plate4 ,it is necessary to oppose with the ,left hand1 in order to avoid a low ,thrust on your engaging1 pushing or risposting4 ,this is the last ,thrust of the ,five which are to be made in our ,art4 ,the first us ,quart within the ,sword1 the second ,tierce without the ,sword1 the third ,seconde under the ,sword1 the fourth ,quart under the ,sword1 and the fifth1 ,flanconnade2 and there is not any ,attack1 ,thrust1 ,feint1 ,time or ,rispost in this extensive ,art1 but what depends on one of these4 ,the ,recovery from ,flanconnade1 should be the same as from ,quart within the ,sword4 ,flanconnade is generally avoided by taking the ,time in ,seconde with the ,body low2 the ,hand must oppose to shun the ,thrust1 and hit the ,adversary at the same time4 ,instead of pushing at the ,flank1 you should push within the ,body4 ,see the #hth ,plate4 ,besides the taking ,time in ,seconde1 there is another very good ,parade1 very little practised in ,schools2 either because few ,masters know it1 or because it is more difficult to execute it justly4 ,this ,parade is made by lowering the ,adversary's ,sword1 bringing it under your's to the ,inside1 and parrying a little lower on the ,feeble of his ,sword1 you make your ,rispost where he intended his ,thrust1 that is to say in the ,flank4 ,,chap4 ,x4 ,of ,parades4 ,there are two ,sorts of ,parades1 the one by binding the ,blade1 the other by a dry beat4 ,the binding ,parade is to be used when you are to rispost in ,quart within1 in ,tierce without1 in ,seconde under1 in ,flanconnade1 and in all ,feints3 ,and the ,beat1 giving a favourable ,opportunity of risposting1 is to be used when you rispost to a ,thrust in ,seconde2 or when after having parryed a ,thrust in ,quart within1 you see an ,opening under the ,wrist4 ,to these two ,thrusts1 you must rispost almost as soon as the adversary pushes1 quitting his ,blade for that ,purpose1 which is to be done only by a smart ,motion1 joining again immediately1 in order to be in ,defence if the ,adversary should thrust4 ,there are three ,things more to be observed in parrying4 ,first1 that you are to parry all ,thrusts with the inmost ,edge1 except in yeilding ,parades1 which are made with the ,flat4 ,secondly1 that your ,fort be to the ,middle1 and your ,middle to the ,feeble of the ,adversary's ,sword4 ,and thirdly1 that your situation be as rear to the guard as possible1 as to favour your riposte4 ,the ripostes4 ,in order to riposte well1 you must observe the adversary's time and recovery in guard4 ,the time is to be taken in the thrusts of opposition when he is recovering1 and the other as soon as you have parryed4 ,there are three ways of riposting on the adversary's recovery in guard3 when he does not come enough to the sword1 or not at all3 the second1 when he comes too much1 and the third1 when his recovery and parade are just4 ,to the first1 you must riposte strait2 to the second by disengaging1 or cutting over or under1 according as you see light2 and to the last1 by making a strait feint or ,half-thrust1 to oblige the adversary to come to the parade1 and then pushing where there is an opening1 which is called baulking the parade4 ,,chap4 ,,xi4 ,of the demarches1 or manner of advancing and retiring4 ,most of the ,faults committed in making ,thrusts when the ,measure is to be closed1 proceed from the ,disorder of the ,body1 occasioned by that of the ,feet1 so that for want of moving well1 you are not only in danger of being taken on your ,time1 but likewise you cannot execute your ,thrusts neatly1 justly1 nor swiftly2 the ,body being disordered and weak4 ,there are ten ,demarches in ,fencing2 four in advancing1 five in retiring1 and one to turn your ,adversary1 or hinder him from turning you4 ,the first ,demarche in advancing1 is made by lifting and carrying your ,left-foot the length of your ,shoe before the right1 keeping it turned as in guard1 with the ,knee bent1 lifting up the ,heel of the ,right-foot1 leaning the body forward1 which1 on this occasion1 gives it more strength and a better air2 then carrying the ,right-foot about two foot before the left1 in order to be in ,guard1 which is done by a smart ,beat of the ,right-foot4 ,the same ,demarche in retiring1 is made by lifting and carrying the ,right foot the ,length of the ,shoe behind the ,left1 with the ,knee a little bent1 then carrying the ,left-foot on the ,line1 and to the ,distance of ,guard4 ,the second ,demarche is called closing the ,measure2 which is done by lifting and advancing the ,right-foot a bout a ,foot with a ,beat1 drawing the ,left the same ,length2 because by drawing it more or less you would lose your ,strength or your ,measure1 which few ,people have observed4 ,there is such a ,demarche backward1 which is called breaking ,measure2 which is done by lifting and carrying the ,left-foot a ,foot back1 drawing or bringing back the ,right in ,proportion according as the ,ground will permit4 ,if the ,ground be uneven1 or that you have a mind to surprize an unskilful ,man by gaining ,measure unperceived1 or to oblige one1 a little expert1 to push at the time you advance your ,body2 you must1 ,i say1 if your ,adversary is unskilful1 bring the ,left-foot more or less near the ,right1 as you are more or less out of ,measure1 which gains more ,ground1 and less visibly than the foregoing ,demarche1 and is more favourable to your ,thrust3 ,if your ,adversary is a little expert1 and pushes on this your advancing you must bring back the ,left-foot to it's ,place1 and he will be out of ,measure1 tho' by ,means of his ,lunge you will be well in ,measure1 which is a great ,advantage4 ,the same ,demarche may be made in retiring1 where the ,ground is uneven1 lifting the ,right-foot1 bringing it near the ,left1 and putting back the ,left in ,guard4 ,to make a ,thrust in three ,motions1 being out of ,measure1 you must make a double ,beat1 which is done by a small ,beat of the ,right-foot in the same ,place1 beginning immediately with the same ,foot to close the ,measure4 ,the three ,ways of retiring which ,i have shewn1 are done from the ,situation in ,guard4 ,the two which are done after a ,lunge are1 first by lifting and bringing the ,right-foot back from the ,place of the ,lunge behind the ,left1 and then carrying the ,left behind the ,right1 in order to be in ,guard4 ,the late ,monsieur ,de ,latouche1 and ,monsieur ,de ,liancour1 found this demarche better than the following one1 tho' it is not so generally used4 ,the second ,retreat after having pushed1 is made by drawing back the ,right-foot about the length of the ,shoe1 bending the ,knees1 in order to be in a condition to chace or drive back the ,left-foot with the ,right1 keeping the ,hams very supple1 the ,body free1 and the ,sword before you2 not only that you may spring the farther1 but also to be in a better ,posture of defence4 ,the ,point of the ,right-foot should come down first1 leaning immediately after on the ,heel2 the ,left-foot must fall on the ,line at the distance1 and in the ,situation in ,guard1 as ,i before observed1 in order to be ready to take the ,time1 or to make a ,riposte4 ,the two ,masters that ,i have quoted1 condemned this ,retreat very much1 especially ,monsieur ,de ,latouche1 who says in springing back1 three motions are necessary2 first to draw back the ,right-foot in guard1 secondly to bend the ,knee1 and thirdly to chace or fly back4 ,any ,master1 will find that there should be but two motions1 it being easy to bend the ,knees and draw back the ,right-foot at the same ,time4 ,besides1 his rule for springing back is false2 for by drawing the ,right-foot back so far as in guard2 you lose ,time1 the first ,motion being too long1 and the ,feet being so close together1 the ,body has not sufficient ,strength1 and consequently cannot go far4 ,from this it is plain that three ,motions are not necessary for springing back1 there being but two in all4 ,he likewise says that the leaping back1 requires such an effort1 that you have not ,power to parry2 but ,experience sufficiently shows that you may easily parry and spring back4 ,indeed on a moving ,sand1 or slippery ,ground1 it is very difficult to leap back2 and if we consider things rightly1 we cannot find our purpose answered at all times and places2 and tho' the first ,retreat that ,i recommended1 and which these ,gentlemen esteemed1 is very good1 yet if you are followed closely in retreating thus1 as the two ,steps do not place you at so great a ,distance1 by much1 as the springing back1 you may be put to a ,nonplus by a redouble4 ,when you know the just ,length of your ,adversary's ,thrust1 you may break or steal out of measure1 by leaning back the ,body1 without stirring the ,foot4 ,if in the ,field1 you have the ,disadvantage of the ,ground1 the ,wind1 or the ,sun1 or that in a ,school1 you are exposed to too much ,light1 or1 pushing with an awkard ,man2 in order to obviate these ,inconveniencies1 you must go round him1 which may be done within or without according as you have ,room4 ,the ,turning must be done out of ,measure1 and with great ,caution3 ,when 'tis within your ,sword1 you must begin with your ,left-foot1 carrying it to that ,side1 and then bring the ,right-foot to it's proper ,line and ,distance2 and if your ,adversary turns on the ,outside1 you must carry the ,right-foot to that ,side1 and the ,left in ,guard1 as well to avoid his ,thrusts1 as to lay hold on every favourable ,opportunity1 in case he should persist in his ,demarche4 ,you should never give ,measure but to your ,inferior3 ,giving ,measure1 is when the ,body and ,feet advance too much1 or in ,disorder2 or advancing before you are well situated1 although corrected in the ,demarche1 or advancing when you are near enough1 except you be much superior to the ,enemy4 ,the ,measure should be given to oblige the ,adversary to push2 in order to get an ,opportunity of taking the ,time1 or of risposting4 ,,chap4 ,,xii4 ,of ,disengagements4 ,there is nothing more nice1 or more necessary in ,fencing1 than ,disengagements2 the nicest ,motion1 being the smoothest and finest1 and the most necessary1 there being but few ,thrusts where you ought not to disengage1 and to several more than once2 and there is no better ,means of avoiding the ,advantage that a strong ,man has when he presses on your ,sword4 ,if we confine ourselves1 strictly1 to the ,meaning of ,disengagements1 we shall find it to be of three ,sorts2 which are1 upon the ,blade1 over the ,point1 and under the ,wrist3 ,but as this might be too intricate in ,lessons1 and a ,learner mistake one for another2 none should be called a ,disengagement1 but that which is made on the ,blade2 and though the others are1 in effect1 ,disengagements1 especially that over the ,point1 which is done closer than those under the ,wrist1 yet they are distinguished from ,disengagements1 by calling them ,cuts over the ,point1 and under the ,wrist1 according as they are used4 ,in order to disengage and push from the ,outside to the ,inside1 being in ,guard towards half ,quart2 the ,wrist must be raised a little at the ,time that you lower the ,point and raise it again1 which should be done as close as possible1 by a smooth and quick ,motion1 that you may be covered and lose no ,time1 and be able to push with your ,fort to the ,adversary's ,feeble4 ,some ,people1 in pushing ,quart and ,tierce1 keep the ,wrist in ,tierce1 in order to push ,quart the swifter1 which is a ,fault2 because they accustom themselves to a ,situation1 which1 when they come to assault1 is unsafe and dangerous1 for want of being in the ,guard of ,defence4 ,in disengaging from the ,inside to the ,outside1 the ,wrist should turn a little more towards ,quart1 than in the ,guard which ,i have recommended3 ,the ,point should fall and rise and the same ,instant1 and the ,hand should turn insensibly in ,tierce1 as the ,thrust goes forward4 ,some ,masters teach to hold the ,sword in ,guard between ,quart and ,tierce1 and to disengage in that ,situation2 whereby the three ,advantages which the ,disengagement in ,half-,quart gives you1 are lost2 that is to say1 first1 a good ,air1 secondly1 the being covered with the ,fort of the ,sword1 and thirdly1 the ,swiftness of the ,thrust2 because the ,hand has not a sufficient ,freedom of ,motion4 ,the knowing how to disengage barely is not sufficient2 it is necessary that you be acquainted with the ,time1 and with your ,adversary's ,play1 in order to disengage to ,advantage4 ,the ,time is when the ,adversary comes to your ,sword2 and when your ,adversary1 depending on his ,strength1 comes to your ,blade1 in order to guide his ,thrust to your ,body1 is what is meant by his ,play or ,manner4 ,you may indeed disengage without taking the ,time1 but with less ,success4 ,when the ,adversary engages swift1 'tis good to keep your ,point a little low1 or distant from his2 by which ,means he requires more ,time to engage you1 and gives you more to prevent him1 unless you suffer him to touch your ,sword2 which would not only make you lose the ,time of hitting him1 but would also expose you to receive a ,thrust1 it being certain that when you go to the ,blade on one ,side1 you cannot defend the ,other2 for you cannot do two opposite ,actions at one and the same ,time2 and by the same ,rule1 if you miss the ,time of disengaging1 and disengage too late1 you expose yourself to his ,thrust2 for you cannot1 at the same time1 quit his ,blade and parry4 ,though it is necessary that every ,fencer should understand the ,disengagements1 it is more especially so to tall and weak ,men4 ,to the first1 that they may keep their ,adversary at a ,distance2 which by ,reason of their ,height1 is an ,advantage to them2 and to the others in order to prevent closing2 in which ,case1 their ,weakness would be a ,disadvantage to them4 ,,chap4 ,,xiii4 ,of ,feints4 ,feints are much used in ,fencing1 whether it be by reason of their ,number1 their ,ease1 or the ,success that attends them1 gaining more ,time and ,light than is to be got in plain ,thrusts1 there being no ,thrust to be given so well as after a ,feint4 ,the ,number of ,feints is so great1 by reason of the many ,guards and ,parades1 that ,i should find it as difficult to describe them1 as the ,reader would to comprehend them without ,experience2 so that ,i shall confine myself to those from which the rest derive1 which are1 strait ,feint1 ,feint1 and double ,feint4 ,by strait feint1 is meant a ,motion or ,feint to ,thrust on the ,side on which your ,sword is1 which is to be done on the ,inside1 the ,wrist in ,quart1 a little higher than the ,point which must be near the ,adversary's ,sword1 that you may be covered1 whilst you endeavour to get an ,opening4 ,this ,motion should be attended with a little ,beat of the ,right-foot1 keeping back the ,body4 ,if1 at the ,time you feint1 your ,adversary does not stir1 you must push ,quart3 if he parrys with his ,feeble1 you must immediately disengage to ,tierce2 and if he parrys high you must cut in ,quart under the ,wrist4 ,the ,feint1 to which ,i give no other ,name1 it being the most used1 and to distinguish it from the others1 is done by feinting from ,quart to ,tierce1 with a little beat of the ,foot1 keeping the ,body back3 the ,wrist must be raised in ,quart1 and the ,button a little lower than the ,pommel1 near the ,adversary's ,blade2 by which means you are covered1 and can make your ,thrust swifter4 ,if the ,adversary does not stir at the ,feint1 you must go on strait with the ,tierce3 if he parrys with his ,feeble1 you must disengage and thrust ,quart1 and if he parrys with his ,fort1 you must push ,seconde4 ,several masters teach to make this ,feint from the inside to the outside1 with the ,wrist turned in ,tierce2 and indeed they are seemingly in the right2 a ,feint being a likeness of the beginning of a ,thrust2 and that likeness cannot be better shown than in the figure of the thrust3 but the smart motion of the point1 causes the adversary to stir1 the figure of the hand no way contributing thereto4 ,you are to consider which is the most proper1 not only to make the adversary answer you1 but also to make the motion quicker4 ,monsieur ,de ,latouche says1 that from ,quart to ,quart there is no motion2 but we have two instances to the contrary4 ,first1 that a ,man of experience has his ,wrist and the bend of his ,arm free1 so as to thrust strait in ,quart1 tho' in the same figure2 and secondly1 if there be a motion preceding the ,thrust1 as in a ,disengagement1 or a cut under2 this motion is sufficient to help the swiftness of the ,feint1 and of the ,thrust3 in short1 the motion from ,quart to ,quart1 being quicker than feinting from ,quart to ,tierce1 and returning in ,quart2 it ought to have the preference1 swiftness being the line of ,fencing4 ,the only ,feints that should be made in ,tierce1 are those that are marked from below above to return below1 and from above below to return above4 ,the double ,feint is in two motions1 so that in order to push within the ,sword1 you must be without2 and making a little motion in ,quart within1 with a little beat of the ,foot1 you feint again without closing the measure1 keeping back the ,body in order to be out of the adversary's reach3 if he parrys with his ,fort1 you must cut under in ,seconde1 and if he parrys with his ,feeble1 disengage to ,quart within4 ,as there are in this ,thrust three motions of the ,sword1 viz4 the two ,feints and the ,thrust2 the ,foot must make as many1 in order to answer the motions of the ,hand4 ,some ,masters teach to make the double ,feint without stirring the ,foot2 and others teach to advance on the first ,motion4 ,in the first ,case1 being in the ,adversary's ,measure1 you lose too much ,time1 which is very dangerous3 ,and advancing on the first motion1 is almost as dangerous as keeping the ,foot firm1 by putting yourself within the ,adversary's ,reach2 besides the ,manner is not so graceful as that which ,i recommend1 in which you are not within his ,reach 'till the second ,motion2 and this is attended with another ,advantage2 for by bearing with the ,right-foot1 the ,body must of necessity be kept back1 and consequently1 farther from the ,sword of the ,adversary1 and in a better ,condition to act4 ,there are two other ,ways of making these ,thrusts3 ,the one by an ,interval between the first and second ,motions1 joining or uniting the other two2 and the latter between the second and third ,motions1 joining the two first4 ,though both these ,methods are good1 ,i prefer the latter1 which puts you in a better ,condition1 not only to avoid your ,adversary's ,thrust1 but also to chuse your own2 the ,interval giving you a favourable ,opportunity of doing both4 ,there has been so much said of the ,feints which ,i have described1 with their ,opposites1 that ,i shall say no more of them1 nor will ,i speak of an infinite ,number of other ,feints1 strait1 single1 and double1 within1 without1 and under1 in disengaging1 or cutting over the ,point1 or under the ,wrist1 in risposting1 or redoubling ,thrusts2 all which1 depend on the three which ,i have described2 in which1 as in all ,thrusts1 the ,body must be kept back1 and the ,fort of the ,sword before you2 by which ,means1 you are more out of ,danger1 and the ,wrist is better prepared4 ,some ,men mark ,feints with the ,head and ,body1 which is a very disagreeable ,sight1 and dangerous with ,regard to ,time4 ,a ,feint is the ,likeness of the ,beginning of a ,thrust3 ,it is made to put the ,adversary off his ,guard1 and to gain an ,opening4 ,in order to take ,advantage of the ,time and ,light which you get by your ,feint1 you must take care to avoid an ,inconveniency into which many ,people fall1 by uncovering themselves in endeavouring to uncover the ,adversary4 ,,chap4 ,,xiv4 ,of cutting over the ,point of the ,sword4 ,in order to cut over the ,point1 within from without1 the ,wrist must be turned towards ,tierce1 which gives it a swifter ,motion4 ,when your ,point is over your ,adversary's1 you must turn the ,wrist in ,quart1 pushing with your ,fort to his ,feeble3 ,though this is a regular ,way of cutting1 what is most essential to perfect the ,thrust is wanting1 that is to say1 the ,motion that should precede it1 which is commonly a ,half-thrust or ,feint1 by which1 two ,advantages are gained3 ,first you discompose your ,adversary1 and secondly1 your ,thrust is swifter1 being by so much the more vigorous1 as the ,motion previous thereto is so4 ,at the ,time you make a ,half-thrust or ,feint1 you must make a little ,beat with the ,foot1 bearing back the ,body to break your ,adversary's ,measure4 ,the ,cut from the ,inside to the ,outside1 has commonly more ,success than that from the ,outside to the ,inside1 the ,adversary going more readily to his ,parade on this ,side than on the other4 ,the ,manner of cutting on the ,outside1 is by placing your ,sword within1 making a little ,motion or strait ,feint1 the ,wrist in ,quart1 the ,fort of the ,sword before you1 in order to be covered1 and your ,point very near the ,adversary's ,sword2 you must beat a little with the ,foot1 bending the ,body back a little1 and as the ,adversary is going to parry with the ,feeble1 you must pass your ,point quickly over his1 pushing in ,tierce1 with your ,fort to his ,feeble4 ,though all ,thrusts have the same following ,ones2 the ,cut has them more easy2 it's ,motion from above to below1 disposing it better than the ,disengagements1 if the ,thrust be from the ,outside to the ,inside1 and that the ,adversary parrys with his ,fort to your ,feeble3 ,besides the ,recovery in ,guard1 which is common after all ,thrusts1 you must1 upon a ,parade with the ,fort1 if it be without stirring the ,foot1 or in advancing1 join3 ,and if the ,adversary makes this ,parade in retiring1 he gives you an ,opportunity of cutting in ,quart under the ,wrist1 and on his parrying with the ,feeble1 you must return in ,seconde1 bringing forward the ,left-foot a little1 in order to procure a ,reprise or second ,lunge4 ,these two ,reprises are to be made before you are acquainted with your ,adversary's ,manner of parrying2 but when you have discovered it1 if it be with his ,fort1 you must cut over and under the ,wrist in ,quart1 and if with his ,feeble1 return in ,tierce1 that is to say1 make an entire ,circle4 ,these ,cuts are to be made in one or two ,motions2 in the first you are not to stop1 but in the other1 you make a short ,interval by a little ,beat with the ,foot4 ,the ,thrusts following the ,cut from the ,inside to the ,outside1 before you know your ,adversary's ,parade1 are made thus3 ,if 'tis with the ,fort1 you must return with a ,cut in ,seconde1 under the ,sword1 advancing the ,left-foot a little2 ,if he parrys with the ,feeble1 you must return by disengaging to ,quart within1 advancing the ,left-foot1 as before3 ,some ,people return a ,cut in ,tierce1 in ,quart1 by another ,cut over the ,point1 of ,quart in ,tierce1 and so on the contrary ,side4 ,when you foresee the ,parade1 you may at once cut from the ,inside to the ,outside1 and under in ,seconde2 or return within1 according as the ,parade is made with the ,fort or ,feeble4 ,you may also make these ,redoubles by a little ,interval over the ,sword1 beating with the ,foot4 ,there are other ,redoubles which are made by drawing back the ,body without stirring the ,feet4 ,see the ,chapter of ,reprises4 ,the ,cut may be made not only after a ,half-thrust1 or strait ,feint1 as ,i have said1 but also after an ,engagement1 ,lunge1 or ,pass1 and in ,risposting1 which is the best and most used2 because that is to be done only in recovering to ,guard1 or by bringing one ,foot behind the other1 or springing back2 ,to the first you must ,rispost with the ,foot firm1 and to the other by closing the ,measure4 ,,chap4 ,,xv4 ,of the ,reprise1 or redoubled ,thrust4 ,the ,term ,reprise signifies a succession of ,thrusts without ,interval1 or with very little4 ,it may be done in three ,manners2 ,first after having pushed without recovering1 ,secondly1 in recovering or being recovered2 and ,thirdly1 when the ,enemy steals ,measure4 ,the first and last of these three ,reprises may be called ,redoubles4 ,the first ,reprise is made after having pushed ,quart1 the ,enemy having parryed with his ,feeble1 you must return in ,seconde1 advancing the left ,foot a little to make the ,action easier to the right ,foot1 and tho' it be not necessary to advance it unless the ,enemy retires1 it serves for an ,ornament1 and to give more ,vigour to the ,thrust3 ,but if as soon as the ,enemy has parryed he ,risposts1 you must only redouble with the ,hand1 the ,body low without stirring the ,feet1 and join4 ,if he ,risposts under the ,wrist in the ,flank1 you must either parry crossing his ,sword as you recover1 opposing with the left ,hand1 or return1 as ,i said1 with the ,hand in ,seconde4 ,upon the ,rispost of the ,enemy1 you may also redouble1 volting strait1 or cutting in the ,flank according as he raises his ,hand more or less in his ,rispost1 in order to facilitate your ,volt2 you must immediately after your ,lunge follow a little with the left ,foot4 ,the second ,reprise is made1 after having pushed ,quarte1 when in recovering to ,guard the ,enemy advances1 without being covered1 or that suffering the ,superiority of your ,sword1 he gives you room to thrust in ,quarte1 if he disengages1 you must go off in ,tierce1 if he forces your ,sword with his ,feeble1 you must disengage to ,tierce1 and if with his ,fort cut ,quarte under the ,wrist4 ,in order to get time for this ,redouble1 you must make a half ,thrust1 immediately getting out of ,measure1 either with the ,body ,simply1 or by the first ,demarche backwards1 or by leaping a little back2 if the ,enemy advances it will be either strait or making a ,feint1 or on your ,sword2 to the two first you must push strait ,quarte1 or ,seconde1 lowering the ,body or volting1 and if he comes on your ,sword you must disengage and push over in ,tierce4 ,the third ,reprise is made when the ,enemy upon your pushing ,quarte breaks ,measure without or with parrying2 to the one you must redouble in ,quarte1 with your ,fort to his ,feeble1 which is done after a strait ,thrust1 ,feint1 ,engagement1 or ,rispost2 and if the ,enemy parrys1 you must likewise redouble forwards by a ,disengagement1 or a ,cut under or over according to his ,parade1 or as ,opportunity offers4 ,to redouble forward1 or make several ,reprises following with ease1 you must as often as you thrust follow with the left ,foot4 ,the ,reprises on the ,outside4 ,if you push in ,tierce and your ,adversary parrys with the ,fort1 you must redouble in ,seconde1 and if he parrys with the ,feeble disengage to ,quarte1 advancing a little the left ,foot that the ,right may have the ,liberty of a second ,motion4 ,if the ,enemy after parrying ,tierce shou'd ,rispost strait or under1 to the first you may disengage and volt1 and to the other volt strait1 advancing the left ,foot a little in ,lunging1 in order to have the ,liberty of ,volting1 because you cannot easily do it when you are extended3 ,it is more easy to take the ,time opposing with the left ,hand2 and 'tis best of all to parry and thrust strait in ,quarte2 if after having pushed ,tierce1 on your ,recovery to ,guard1 you find you have the ,command of the ,enemy's ,sword1 or that he advances uncovered1 you1 must in these ,cases push strait in ,tierce if he disengage you must take the time and push ,quarte1 if he comes to your ,sword with his ,fort1 you must cut under in ,seconde1 if with his ,feeble1 disengage in ,quarte1 it is also good after having pushed ,tierce to recover with your ,sword high1 giving ,light under1 and if the ,enemy pushes there1 you must take the ,time opposing with the left ,hand1 or ,parry and ,rispost4 ,it is good likewise for a ,decoy to make a half ,thrust and recover with the ,sword quite distant from you ,body1 and if the ,enemy comes to your ,sword1 you must disengage and thrust at his ,open1 and if he makes at your ,body1 you must volt or oppose with the ,hand and thrust where you have ,light4 ,the ,reprises or ,redoubles in advancing are made in ,tierce by the same ,rules as those within are4 ,that is to say1 either strait1 or by disengaging or cutting over or under1 according as the ,enemy either lets you make your ,thrust1 or goes to his ,parade4 ,all these ,redoubles may be made on a ,rispost as well as on other ,lunges4 ,,chap4 ,,xvi4 ,of passing ,quarte within the ,sword4 ,a ,pass is contrary to a ,volt as well in ,figure as in it's ,occasion1 the left ,leg in the ,figure passing foremost1 and in a ,volt behind1 to help the ,body to turn1 and in it's occasion1 the ,pass being to be made as in a ,lunge1 taking the ,time1 or his ,time1 whereas the ,volt cannot be made without a great deal of ,time2 yet the ,pass is different from a ,lunge1 the one being made with the foremost ,foot1 and the ,pass with the hindmost1 which gives the ,thrust a greater ,length1 more ,strength and ,swiftness1 and a greater ,facility of taking the ,feeble with your ,fort1 the ,body goes further1 because the ,center from which it departs in a ,lunge is in the left ,foot1 and in a ,pass in the right ,foot which is more advanced1 and also because in passing you advance the ,left ,foot more than you do the ,right in ,lunging1 and the ,parts being higher on a ,pass than in a ,lunge there is a greater ,facility of taking the ,feeble with your ,fort4 ,illustration3 #ith ,plate4 ,a ,pass in ,quart4 ,illustration3 ,the ,lowering the ,body on the ,pass4 ,in a ,pass in ,quarte1 the ,hands and ,arms must be displayed as in a ,lunge1 not only in their ,figure1 but in the same ,order1 that is to say1 the ,hand must move first to bring on the ,shoulder and the ,body2 which should lean more forward than in ,lunging1 at the ,time that carrying the left ,foot about two ,foot and an half1 you find your ,pass at it's full ,extention4 ,as your ,body is too much abandoned forward to recover itself easily1 you must rush on your ,enemy1 seize the ,guard of his ,sword1 and present him your ,point1 which is done by advancing the right ,foot to such a ,distance as to be out of the reach of his ,leg whilst you advance1 which otherwise might give him an ,opportunity1 by ,tripping to throw you down4 ,as you advance the right ,foot you must seize the ,guard of his ,sword1 at the same time drawing back your ,sword1 keeping it high4 ,then you must carry your right ,foot behind the ,left to almost the ,distance of a ,lunge1 in ,order to be strong1 as well to avoid his pulling you forward1 as to draw him to you4 ,if the ,enemy parrys the ,pass with his ,fort1 you must only join1 commanding his ,sword with your ,fort1 'till you have seized his ,guard with the left ,hand1 which must be done at the ,time that you advance the right ,foot1 carrying your ,sword from the ,inside to the ,out1 then you must bring the left ,foot to the side of the right1 and bring back the right presenting the ,sword to the ,enemy4 ,if he parrys with his ,feeble1 you must1 without stopping1 either cut over his ,point from within to without1 or turn the ,wrist in ,seconde1 lowering your ,body1 and bringing up the right ,foot seize his ,guard1 then carrying your ,sword from within to without1 you advance the left ,foot to the side of the right1 and drawing back the right present your ,sword4 ,the easiest means to avoid and hit a ,man who passes in ,quart within are to parry dry and ,rispost swiftly in the ,flank1 and if the ,pass is made straight along the ,blade with the ,fort to your ,feeble1 you must by lowering your ,feeble1 turn your ,wrist in ,quarte carrying the ,point perpendicularly down1 supporting the ,wrist1 without1 and bringing your ,sword round by the ,outside of the ,adversary's ,shoulder1 you find your ,sword above his1 with your ,point to his ,body4 ,you may also upon the same ,pass lower the ,body and push ,seconde4 ,illustration3 #ajth ,plate4 ,the ,turning the ,body on a ,pass in ,tierce4 ,illustration3 ,pass in ,seconde ,volting the ,body4 ,to ,pass in ,tierce4 ,in passing ,tierce1 as in a ,lunge1 the ,wrist must draw the ,shoulder and ,body forward1 bringing1 as in a ,pass in ,quarte1 the ,left-foot about two ,feet and an ,half before the ,right1 then advancing the ,right foremost and out of the ,reach of the ,enemy's2 you must seize the ,guard of his ,sword1 and again advancing the ,left-foot near the ,right1 you draw back the ,right and present the ,point4 ,the ,counters or ,opposites to this ,pass1 are the strait ,rispost1 or the ,rispost under1 the taking ,time1 cutting ,seconde under1 disengaging1 or counter disengaging and volting1 but the surest is to loosen the ,right-foot turning the ,body half round to the right1 opposing with the ,sword and presenting the ,point to the ,enemy1 which hindering him from hurting you1 throws him on your ,point if he abandons himself1 and at the same time you seize the ,guard of his ,sword4 ,see the #ajth ,plate4 ,to ,pass in ,seconde4 ,in passing ,seconde1 there must1 as in a ,lunge1 be a preparatory ,motion1 which is made by a ,feint1 or by an ,engagement on the ,blade to oblige the ,enemy to parry high1 in order to take that ,time to pass under1 which is done by advancing the ,left-foot very much1 with the ,body lower and more forward than in other ,passes1 and advancing the ,right-foot1 you seize the ,enemy's ,sword1 bringing yours from under over1 and advancing the ,left-foot to the ,side of the ,right1 you draw back the ,right presenting the ,point4 ,you must take notice1 that in a ,pass in ,quarte with it's ,joining1 there are but three ,steps1 and that in the ,passes in ,tierce and ,seconde there are four4 ,the first1 passing the ,left-foot before the ,right2 the second1 advancing the ,right to seize the ,sword2 the third1 bringing up the ,left-foot a little1 and the fourth1 bringing back the ,right1 presenting the ,point4 ,in order to avoid1 and to hit the ,enemy on his ,pass1 besides parrying and pushing strait1 as in the ,thrust lunged in ,seconde1 in the #fth ,plate1 you may also make a strait ,thrust1 opposing with the ,left-hand1 or by volting1 as is shewn in the ,cut of the #ajth ,plate4 ,tho' a ,pass carries along with it1 as ,i have observed1 a greater ,extension and ,swiftness than a ,lunge1 yet as you cannot recover from it1 it should be seldom practised1 especially if you are not the strongest1 or able in three attacks to hit twice1 there being nothing more disagreeable to the ,sight than to see several ,passes made without hitting4 ,but it is otherwise in ,lunges1 by reason of the ,liberty of recovering and parrying4 ,passes were more used formerly than they are now1 whether it was to endeavour to bring them to ,perfection1 or because it has been found that this ,sort of ,play was not so sure4 ,,chap4 ,,xvii4 ,of volting the ,body4 ,the ,volting of the ,body1 which many ,people call ,quarting1 shou'd never be done but at times when you are abandoned1 as in ,case of ,lunges or on an ,engagement of ,feint in ,disorder1 of when finding yourself so disordered as not being able to parry1 you must of necessity have recourse to volting in order to avoid the ,thrust2 but to do it at an improper time1 as some do1 is very dangerous1 by reason of the ,facility of parrying it1 it being a ,figure in ,fencing which gives the least ,strength1 ,extention1 of ,swiftness to a ,thrust2 besides that presenting the ,flank and ,small of the ,back1 the ,adversary1 in order to hit these ,parts1 has nothing to do but parry with his point a little within and low4 ,in volting you must begin with the ,arms and ,left-foot1 by whose ,assistance you turn the body2 the ,hands shou'd turn in ,quarte1 the ,right as in a ,lunge or ,pass1 and the ,left more without2 you must at the same time turn upon the ,point of the ,right-foot1 bringing the ,heel outwards1 and the ,left-foot behind the ,right1 a little farther outwards1 which gives the ,body almost the ,figure of a ,left-handed ,man2 having turned about a ,quarter round1 the ,body in this ,posture must necessarily be in ,disorder4 ,see the #ajth ,plate4 ,having finished these ,motions1 if you find1 for want of the ,enemy's having suficiently abandoned himself1 that you have not an ,opportunity of ,joining1 you must without stirring the ,body or ,left-foot1 return with your ,sword on the ,enemy's1 and from his ,sword to his ,body1 and from the ,body to the ,sword1 as often as you shall see proper1 which may be easily done1 your ,thrusts being but of small ,extension1 as well by reason of the ,action of the ,enemy coming to you1 as by the ,advancement of the ,volt2 you should1 at the same time1 oppose with the ,left-hand1 to avoid the ,thrusts that the ,enemy might make upon the ,time of yours2 by this means you may easily come to ,guard again1 or if he retires you may push at him1 the ,left-foot by it's ,advancement having given a great ,advantage to your ,thrust1 and if instead of retiring1 he has a mind to join1 you must prevent him by seizing the ,guard of his ,sword1 presenting your ,point to him4 ,if in an ,assault the ,foil be entangled in the ,shirt or elsewhere1 or that in ,battle the ,sword be too far entered1 or that the ,enemy lay hold on the ,blade2 in these ,cases you must shift your ,sword to the other ,hand1 which is done after the ,volt1 advancing your ,right-foot1 taking hold of your ,blade with the ,left-hand about four inches from the ,guard1 whilst with the ,right you seize his ,guard1 and drawing back your ,sword you present him the ,point4 ,tho' ,volting is not best in ,combat1 yet it may on some ,occasions be necessary1 besides it is my ,business to speak of them1 at the same time advising that 'tis much better to make use of ,parades and ,risposts1 than of ,time of what ,sort soever4 ,the ,joining on a ,volt is the same as on passing in ,quarte4 ,,chap4 ,,xviii4 ,of ,joining or seizing the ,sword4 ,you may join after having parryed any ,thrust or ,pass whatever1 as also after having pushed1 passed1 or volted in whatever ,figure1 or on whatever ,side it may be1 especially when the ,enemy abandons himself1 or you abandon yourself3 ,if the ,enemy abandons himself by a ,lunge or ,pass2 in case of the first1 you must close the ,measure in parrying1 seizing at the same time the ,guard of his ,sword with your ,left-hand and carrying the ,right-foot back present him the ,point2 and in case of a ,pass1 you must parry with your ,feet firm1 and seize his ,guard1 drawing back the ,right-foot and presenting your ,point in like ,manner4 ,illustration3 #aath ,plate ,the ,seizing and presenting the ,sword4 ,illustration3 ,parrying and ,disarming4 ,if you have pushed being too near1 that your ,right-foot slipped1 or that the ,enemy in parrying closed ,measure2 if he parryed with his ,feeble you must redouble in ,seconde and join1 and if with his ,fort1 you must oppose his ,sword with your's 'till with your ,left-hand you have seized the ,guard1 advancing the ,left-foot2 this ,motion being done1 you pass your ,sword over the ,enemy's from within to without2 and loosing the ,right-foot present him your ,point4 ,upon the ,parade of ,tierce with the ,fort1 being near you must join1 seizing the ,guard1 advancing the ,left ,leg1 and drawing back the ,right1 and present the ,point2 or you may1 before you join1 cut under in ,seconde2 the first is surer at the ,sword1 and the other more beautiful in an ,assault where a ,thrust is more esteemed1 than joining4 ,if on a ,pass or ,lunge the ,enemy shou'd attempt to join or seize your ,sword1 you must1 in order to prevent him1 change it from the ,right-hand to the ,left1 four ,inches from the ,guard1 as ,i have already observed1 seizing his with the ,right-hand1 and presenting him the ,point1 holding it at such a ,length as to hit him whilst he is unable to come near you4 ,in ,joining1 if you cannot seize the ,guard1 you must the ,blade1 helping with your ,elbow1 turning the ,hand to break the ,blade1 or take away the sword1 which may be done if you are cunning and nervous1 especially if the ,enemy's ,wrist is in ,quarte1 in which there is no ,danger of hurting yourself1 because the ,sword cannot slip thro'1 and consequently1 can't cut your ,fingers1 as has happened to some by their ,imprudence2 by this ,means1 you have time not only to secure yourself1 but also to hit your ,enemy4 ,some ,people seize the ,arm1 but that is of no use1 because the ,enemy may change ,hands and hit you4 ,you may throw a ,man down after having pushed1 either upon the ,pass of ,quarte or ,tierce2 if in ,quarte1 it is done after advancing the ,left-foot1 crossing the ,enemy's ,sword with your ,fort1 and carrying your ,right-leg without his1 at the same time pushing the ,sword up from the ,inside to the ,out1 and carrying the ,right ,arm to his ,neck1 and the ,left to the ,small of his ,back3 ,these three ,actions must be done at the same time4 ,there has been so much said on this ,head1 with the ,joining without1 that ,i shall say no more of it4 ,the ,joining in ,passes within1 without1 and under1 is the same as in their ,lunges4 ,in whatever ,manner you join you must present the ,sword at a ,distance1 in order to hinder the ,enemy from seizing it1 or putting it off with his ,left ,hand to throw himself in upon you3 ,if the ,enemy shou'd make a ,difficulty of yeilding up his ,sword1 you must1 in order to frustrate his ,hopes of closing you1 and to make him follow you1 draw back the ,left-foot behind the ,right1 and the ,right behind the ,left1 at such a ,distance as to be strong1 at the same time moving the ,point of your ,sword circularly2 by this ,means1 you are in a ,condition either of giving or taking his ,life1 which you would not be if he could close you1 by which you would be oblig'd to kill him1 or render the ,advantage doubtful by struggling4 ,,chap4 ,,xix4 ,of engaging in ,quarte in a midling ,guard4 ,i ,have hitherto treated of the ,means whereby to make ,thrusts1 and in this and the following ,chapters1 ,i will shew on what ,occasion they are to be made use of4 ,tho' there is an infinite ,number of ,figures or ,postures1 and that every ,posture may be in ,guard1 whether within1 or without1 ,prime1 ,seconde1 ,tierce1 or ,quarte1 they proceed from the ,midling ,guard1 the ,strait1 the ,high1 or the ,low ,guard1 each of which may be attacked and defended within or without4 ,though there are many ,means to disorder the ,enemy by putting him out of ,guard in order to hit him on that ,occasion1 they all depend either upon a ,feint by the ,side of his ,sword to draw him on1 or on a ,motion of your ,sword on his1 to uncover him1 taking his ,sword from the ,line of your ,body1 and placing yours on a ,line with his1 which is called engaging4 ,and there are several other ,ways of coming to the ,sword1 which are the ,beats1 ,crossings1 ,bindings1 and ,lashings2 the ,occasions of which1 and the ,manners of using them1 ,i shall shew in their proper ,places4 ,i begin with engaging in the midling ,guard1 as the neatest1 the most used1 and the best4 ,to engage this ,guard within1 it must be done with the ,edge on the same ,side1 without going wide1 in order to keep your ,fort before you1 and your ,point before the ,enemy1 carrying both ,parts alike2 the ,engagement must be made ,feeble to ,feeble1 a little more to your ,enemy's than your own1 because if it were with the ,feeble to the ,fort1 the ,enemy's ,sword would not be displaced1 besides if he should push1 you could not parry1 being unable with your ,feeble to resist his ,fort2 and if it were with the ,fort to the ,feeble1 you wou'd be in ,danger of being hit under1 where there would be an ,opening2 besides you would be oblig'd to advance much1 which would be dangerous4 ,on your ,engagement1 the ,enemy may do ,three things1 either of which1 produces several others4 ,first1 either he will let you engage1 or secondly1 he will disengage1 or thirdly1 he will come to your ,blade4 ,if he lets you engage1 you must push ,quarte1 or1 by way of ,precaution1 make a ,half-thrust1 in order to see if he stirs1 to retire1 or to have recourse to his ,parade1 or to ,time4 ,if he does not stir1 you must1 as ,i said1 push ,quarte2 if he retires1 redouble your ,thrust2 if he parrys with his ,fort cut ,quarte under the ,wrist2 if with the ,feeble1 disengage1 or cut over the ,point in ,tierce2 and if upon the ,half-thrust he takes the ,time pushing strait1 you must parry and risposte1 or take the ,time in ,seconde1 with your ,body low2 if he takes the ,time lowering his ,body1 you must parry and oppose with the ,left-hand1 risposting in ,quarte2 if he takes the ,time cutting under the ,wrist1 you must parry crossing the ,sword in ,quarte1 opposing with the ,hand1 in order to make your ,rispost more safely2 and if he volts upon the ,half-thrust1 you must parry and risposte in ,flanconnade1 or take the ,time1 with1 your ,body low4 ,if when you engage he disengages1 it will be either1 #ast1 without ,design1 or #b;dly1 to disengage and push ,tierce over1 or #c;dly1 disengage breaking ,measure1 or #dthly1 disengage1 and come to your ,blade without1 or #ethly disengage making a ,feint1 and pushing ,quarte or #fthly1 disengage to take a ,counter to your ,time4 #ast4 ,if he disengages with a ,design only to disengage1 you must on the ,time push ,tierce4 #b;dly4 ,if he disengages breaking ,measure1 you must redouble in ,tierce1 advancing4 #c;dly4 ,if he disengages and pushes without1 you must parry and risposte quick where you have ,light1 or take ,time against him1 disengaging and volting1 or lowering the ,body4 #dthly4 ,if he disengages and comes to your ,blade without2 if 'tis with his ,fort1 you must cut under in ,seconde2 and if with the ,feeble1 you must ,counter-disengage from without to within4 #ethly4 ,if on the ,engagement1 he feint ,tierce in order to push ,quarte1 you must push or take the ,time strait upon the ,feint1 or by lowering the ,body on the ,thrust4 #fthly4 ,if he disengages giving ,light1 to take a ,counter to your ,thrust1 whether by a ,rispost or ,time1 you must make a ,false-time or ,half-thrust1 and if he parrys1 or takes the ,time1 in ,case of the first1 you must baulk his ,parade2 and if he takes the ,time1 you must take another upon him4 ,if1 upon the ,engagement1 he goes to your ,blade with his ,fort1 you must cut under his ,wrist1 and if with his ,feeble1 disengage and push without in ,tierce4 ,though an ,engagement may be made ,blade to ,blade1 without ,disengaging1 that is ,inside to ,inside2 better and more common to make it by disengaging from the ,outside to the ,inside4 ,,chap4 ,,xx4 ,of engaging in ,tierce in the ,midling ,guard4 ,the ,engagement without shou'd be made from your being placed within1 ,feeble to ,feeble1 for the same ,reason as in ,quarte1 the ,wrist shou'd be turned in ,tierce2 in this ,engagement as in ,quarte1 the ,antagonist may do three things4 #ast1 let you engage him1 #b;d4 or disengage1 #c;d4 or come to your ,blade4 ,if he lets you engage him1 you must carry on your ,thrust in ,tierce1 or make a ,half-,thrust1 to see if he does not stir1 if he retires1 if he parrys1 or if he takes the ,time4 ,if upon your ,half-thrust he does not stir1 you must thrust strait1 if he retires1 advance and redouble4 ,if he parrys with his ,fort1 cut ,seconde under1 if with his ,feeble1 you must disengage or cut over the ,point from ,tierce to ,quarte1 and if upon the ,half-thrust he takes the ,time pushing strait1 you must either parry and risposte1 or make him ,time1 volting or lowering the ,body4 ,if he takes the ,time in ,seconde1 lowering his ,body1 you must either parry him and thrust ,quarte1 or pushing ,quarte1 oppose with the ,left hand1 or volt4 ,if on your ,engagement he disengages1 'tis as in ,quarte1 #ast either without ,design1 #b;d4 or to retire1 #c;d4 or to take the ,time pushing ,quarte or volting1 #dth4 or to come to your ,blade1 #eth4 or to make a ,feint2 #fth4 or to take a ,counter to your ,thrust4 #ast4 ,if he disengage without ,design1 you must push strait in ,quarte1 or make a ,half-thrust1 and go on with the same4 #b;d4 ,if he disengages breaking ,measure1 you must come forward redoubling in ,quarte4 #c;d4 ,if he disengages and pushes ,quarte1 which1 on this ,occasion1 is called ,counter-disengaging1 you must either parry and risposte1 or take the ,time lowering the ,body1 or volting4 #dth4 ,if he disengages and comes to your ,sword within1 with his ,fort1 you must cut ,quarte under the ,wrist1 and if with his ,feeble1 you must ,counter-disengage from the ,inside to the ,outside4 #eth4 ,if he makes a ,feint in order to return in ,tierce1 you must either parry or take the ,time as ,i have said4 #fth4 ,if he disengages giving ,light1 to take a ,counter on your ,thrust1 whether by ,rispost or ,time1 you must make a ,feint1 and if he parrys with his ,fort you must cut under in ,seconde1 if with his ,feeble1 you must disengage and push ,quarte1 if he takes the ,time strait1 you must lower the body1 if he takes ,time lowering his body1 you must parry and push strait in ,quarte1 if he cuts in ,flank1 you must parry crossing the ,sword in ,quarte1 and if he volts1 you must parry and risposte in ,flanconnade4 ,if on the ,engagement without1 he comes to your ,sword with his ,fort1 you must cut under in ,seconde1 if with his ,feeble1 disengage or cut over the ,point in ,quarte4 ,when you are engaged within the ,sword4 ,if the ,enemy engage you within with his ,fort1 you must cut under the ,wrist1 and if with his ,feeble1 disengage from within to without1 of if you don't care to do that1 make a ,feint without2 if on this ,feint he goes to the ,parade with his ,fort1 you must push ,seconde under1 and if with his ,feeble1 disengage in ,quarte4 ,when the ,enemy engages to make you push1 in order to parry and rispost1 you must1 as ,i have said1 make a ,half-thrust and retire giving ,light1 in order to take him by a ,counter to his thrust1 by a ,parade1 or by ,time4 ,you may on the same ,engagement1 remain engaged on purpose1 in order to make the ,adversary path strait2 and in this ,case1 you must parry and risposte where he is uncovered1 or take ,time lowering the ,body4 ,if after having engaged you he shou'd make a ,feint1 you must1 by going to the ,parade1 give ,light on purpose1 and if he pushes1 take him by a ,contrary4 ,if he engages to make you disengage1 in order to take the ,time on your ,disengagement1 you must disengage and give him a little ,light1 and if he pushes at it1 take him by a ,rispost1 or a ,time opposite to his4 ,if you are engaged in ,tierce with the ,fort1 you must cut under the ,wrist in ,seconde1 and if with the ,feeble1 and the ,hand in ,quarte1 disengage to ,quarte within1 or1 by ,way of ,caution1 make a ,half-thrust2 if the ,adversary goes to the ,parade1 you must push where you have ,light1 and if he takes the ,time1 parry and risposte1 or take a ,time to his4 ,you may also upon an ,engagement in ,tierce1 make a ,feint below1 and if he takes the ,time1 parry above and risposte below4 ,this ,thrust is very good against a ,man that's disorder'd1 who coming to the ,parade above1 gives room to hit him below4 ,,chap4 ,,xxi4 ,of several ,guards1 and the ,manner of attacking them4 ,tho' all the ,guards are ,good when well defended1 yet they are not equally good2 because we ought not to look upon any thing as good1 that does not procure us some ,advantage1 and an ill placed ,guard1 instead of being favourable1 requires a great deal of ,skill to be of any ,use at all1 being farther from a ,posture of ,defence1 the midling ,guard only carrying with it such a ,disposition of the ,point and ,wrist as is sufficient to defend the ,inside1 the ,outside1 the ,upper and ,lower ,parts of the ,body with the ,sword3 ,for as to the other ,guards1 whether ,flat1 ,high1 or ,low1 or holding the ,sword with both ,hands1 they leave some ,part uncovered1 either by reason of their ,height1 or their ,line4 ,to attack a strait ,guard4 ,no ,man of ,skill or ,reason will give a considerable ,open without a ,design1 and as the ,people who hold such a ,guard as ,i am going to describe1 have their several ,designs1 you must be cautious of them1 in order not only to make them useless to them1 but advantageous to yourself4 ,some ,men hold their ,swords strait or flat1#c whether 'tis because they are more used to ,disengagements than ,parades1 or to take ,advantage of the ,superiority of their ,stature1 or of the ,length of their ,sword1 to avoid the ,attacks and ,engagements to which the other ,guards are more exposed2 for you can hardly engage or feint on this ,guard1 the ,point being too low2 so that to attack him1 you must bind the ,sword1 which you must do after placing yourself within his ,sword1 binding his ,blade under yours1 when he is out of ,measure1 to take1 with more ,ease1 the ,feeble of his ,sword1 crossing it with yours1 raising your ,hand in ,seconde1 and carrying the ,point low1 whilst gaining ,measure1 you form a little ,circle with the two ,points1 and raising them up again1 you push ,seconde within1 with the ,body low4 ,tho' it be almost impossible for the ,enemy to disengage1 when you have bound his ,sword as ,i have described1 it may happen that if some of the ,circumstances were wanting1 he might disengage and push1 which ought not to hinder you from making your ,thrust2 because your ,sword may very well hit him1 passing under his1 which cannot hurt you1 because of the ,lowness of your ,body4 ,the ,binding is easy to be parryed1 by reason of the natural ,tendency to follow the ,sword1 which is done by raising and bringing your ,fort nearer4 ,these following have commonly more ,success4 ,the first is made after having bound the ,sword1 instead of pushing ,seconde within1 you must1 upon the ,parade1 disengage and push ,tierce over3 ,if the ,adversary is quick enough in his ,parade to shun this double ,motion1 you must have recourse to the third1 binding the ,sword in the like ,manner1 and feinting above1 return below4 ,tho' the ,sword is seldom bound on the ,outside1 upon some ,occasions and to some ,people it would not be amiss2 it must be done with your ,feeble to the ,enemy's1 with the ,precautions necessary in binding within1 by a little ,circle without1 the ,hand in ,quarte1 and if he does not stir1 or if he disengages1 you must push without1 the ,hand in ,quarte4 ,these following are according to the ,parade with the ,fort or with the ,feeble1 pushing ,seconde under1 or ,quarte within4 ,as in all ,thrusts the ,hand must be easy and uniform1 it must be more so in this than in the others1 because the ,binding cannot be made without a very close and smooth ,motion4 ,though several ,masters teach to disengage in order to bind the ,sword1 ,i would not have it done so for two ,reasons3 ,first1 because the disengaging gives ,time to the ,opponent1 not only to thrust strait1 but also to disengage2 and ,secondly1 because you cannot so easily bind the ,sword as when you are on the same ,side4 ,in binding the ,blade1 you must close the ,measure2 because a ,man who is superior to you1 in ,height1 by the ,length of his ,sword1 or by his ,situation1 won't let his ,inferior into ,measure2 in one or the other ,case1 being at a proper ,distance1 you bind more easily on the ,feeble4 ,illustration3 #abth ,plate4 ,attack in the high ,guard4 ,illustration3 ,attack in the low ,guard4 ,to attack the high ,guard4 ,in this ,guard1 you must place yourself under1 with the ,hand in ,seconde1 covering the upper ,part1 in order to oblige the ,enemy to go under2 which being the most distant ,place from his ,sword1 procures you more ,time to avoid him4 ,he may1 on this ,occasion1 do three things3 ,let you engage him1 go under1 or force your ,sword4 ,if he lets you engage him1 'tis either with a ,design to parry1 or to take the ,time2 wherefore1 before you push1 you must make a ,half-thrust under3 ,if he parrys1 it will be in one of the three ,ways that ,i have shewn in the ,parade of ,seconde1 ,chap4 #h1 where you may see all their ,counters4 ,if upon the ,half-thrust he takes the ,time1 you must parry and risposte below1 or push strait1 opposing with the ,hand2 you may also volt on this ,occasion1 but it is better to parry4 ,if he opposes with his ,hand upon your ,half-thrust1 you must parry with your ,left-hand1 and1 pushing near his ,left ,shoulder1 baulk his ,hand4 ,and if he volts on your ,half-thrust1 you must parry and risposte in the ,flank4 ,if on the ,engagement he thrust under1 you must parry and thrust strait1 or take the ,time1 opposing with your ,hand1 and if instead of going under1 he only feints there in order to return above2 you must either parry the ,feint and risposte under1 or push on the time1 as ,i have said before4 ,if he makes use of the same ,thrust1 pushing at the ,time of your going under1 you must make believe to push there1 returning quickly to the ,parade above1 and risposte under4 ,and if he would draw you on in order to make this ,rispost on you1 you must make a ,half-thrust1 keeping on your ,parade below1 to risposte strait in ,quarte4 ,if upon your ,engagement he forces your ,sword1 you must yeild the ,feeble1 opposing with the ,fort and the ,left-hand4 ,see the #eth ,plate4 ,to keep the ,enemy from forcing your ,sword1 you must cross his ,blade with your ,fort to his ,feeble4 ,to attack the low ,guard4 ,those who hold a low ,guard have a ,design either to parry with the ,sword or with the ,hand1 to lower the ,body or to volt2 therefore as in the other ,guards you must make a false ,time1 or half ,thrust1 and if he parrys with the ,sword1 thrust where you see ,light1 if he parry with the ,hand1 you must feign a strait ,thrust in order to bring his ,left-hand to the ,parade1 at the same time raising your ,point with a little ,circle1 pushing at the left ,side with the ,hand in ,seconde1 the ,body low1 whereby you baulk his ,left-hand1 and for the greater ,safety1 you must oppose his ,thrust with your ,hand1 endeavouring in your ,risposts1 to deceive his ,sword and his ,hand4 ,if he waits for your ,thrust in order to lower the ,body or to volt1 you must make a ,half-thrust to draw him on1 and take one of the ,counters which ,i have spoken of before4 ,if the low ,guard is within your ,sword1 you must attack it making a ,semi-circle with the ,point of the ,sword down1 lashing and crossing his1 the ,hand in ,quarte1 and to push without ,danger1 you must oppose with the ,left-hand3 ,this ,thrust is good against a ,man that pushes at the same ,time4 ,if the low ,guard is without your ,sword1 you must lash in ,tierce1 crossing the ,sword and push without4 ,if the low ,guard is neither within nor without1 you must lash smartly in ,tierce and in ,quarte1 that is to say on his ,outside and ,inside1 pushing ,quarte afterwards1 opposing with the ,left-hand3 ,this ,thrust puzzles a ,man who disengages quick1 which in this ,case is of no use4 ,you may also engage this ,guard placing yourself within1 the ,wrist in ,tierce1 and the ,point low#d closing the ,enemy pretty near to oblige him to push above1 and if he pushes there1 you must parry and risposte above1 or under1 according as you have ,light4 ,if instead of making a ,thrust above1 he makes a ,feint there and pushes within1 or under1 you must push ,quarte1 opposing with the ,left-hand1 or else going to the ,parade with the ,sword to all ,thrusts and ,feints without1 leave to the ,left-hand the ,defense of the ,inside1 and of the under ,part4 ,and if instead of pushing1 he waits for your ,thrust to take the ,time upon it1 you must press close upon him and push strait in ,quarte1 with the ,point low1 opposing with the ,left hand1 in order to throw off his ,sword1 or push at his ,arm1 of which you are in ,reach1 though he is not in ,measure of your ,body4 ,these ,sorts of ,guards are not so much practised1 with ,sword in ,hand1 as the middling ,guard1 ,people being more careful of parrying with the ,sword1 and a ,man is in much better ,condition to parry from the middling ,guard than from any other4 ,to attack the ,guard where the ,sword is held in both ,hands4 ,those who hold the ,sword in both ,hands1 that is to say1 the ,handle in the ,right-hand1 and the ,blade about four ,fingers ,breadth in the ,left1 will either engage1 or beat on your ,sword1 with great ,force1 or stick to a strong ,parade1 in order to uncover you the more1 in ,favour of their ,thrust4 ,but as they cannot keep this ,situation without exposing their ,body very much1 which is often dangerous1 as also a very unseemly ,posture1 this ,guard is therefore1 with good ,reason1 condemned by most1 if not all1 experience'd ,masters4 ,if you have to do with one that holds this ,guard1 you must keep your ,point a little low1 and be always ready to change1 in order to render the ,strength which the ,left-hand gives to the ,right1 useless1 in his engaging or beating4 ,if he will not attack you1 but waits for your ,thrust in order to parry and risposte1 you must make a ,half-thrust1 and recover quickly to your ,parade1 to avoid his ,rispost2 wherein1 throwing back his ,left-hand1 and abandoning himself extremely1 he is not in a ,condition to avoid your ,thrust after you have parryed his4 ,you may also make a ,home-thrust on him1 by a single or double ,feint1 because these require two or three ,parades2 so that your ,adversary being unable to parry without throwing his ,point a great way off1 he cannot bring it back in time if you disorder him by a ,feint4 ,you may likewise catch him1 by placing your ,sword along his1 with your ,point a little raised1 and sliding on a ,defence along his ,sword1 push at his ,left-hand or ,arm1 for he cannot1 tho' he goes to his ,parade1 hinder your ,blade from sliding so as to hit him there1 without running any ,risque1 you being in ,measure of his ,hand and ,arm1 when he is out of ,reach of your ,body4 ,you are to observe1 that in all ,guards with ,sword in ,hand1 you must push at the nearest and most uncovered ,part2 which in the ,guards that ,i have described is the ,arm2 therefore you must not abandon yourself to hit the ,body1 but in risposting1 or after having disordered1 or engaged the ,enemy as aforesaid4 ,,chap4 ,,xxii4 ,of ,left-handed ,men4 ,most ,people imagine that a ,left-handed ,man has1 by ,nature1 the ,advantage of a ,right-handed ,man in ,fencing1 whereas he has it only by ,habit1 exercising oftener with ,right-handed ,men than a ,right-handed ,man with him1 as well in ,lessons as in ,assaults1 most ,masters being ,right-handed1 as well as most of the ,scholars1 taking ,lessons from the ,right-hand1 and practising seldom with ,left-handed ,men1 find themselves puzzled1 nothing surprizing more than what one is not used to1 which is so true1 that to embarrass a ,left-handed ,man1 who has not fenced much1 you must put another against him2 ,i say one that has not fenced much1 because ,right or ,left-handed ,men who go to the ,school of a perfect ,master1 will be taught to use both ,hands1 by which ,means1 they will not be so much surprized when they meet with a ,left-handed ,man1 as they would otherwise be4 ,when a ,right and a ,left-handed ,man fence together1 the ,right handed ,man should push but seldom within1 that being the ,antagonist's strongest ,part2 and his weakest and outward1 which should be kept covered1 or in a defensive ,condition1 as the most liable to be attacked2 the best ,way is to push ,quarte without1 ,engagements1 ,feints under1 and ,thrusts above1 and double ,feints1 finished above or under the ,wrist in ,quarte1 ,cuts over the ,point without1 and upon the ,parade1 with the ,fort1 or with the ,feeble1 redoubling ,quarte under the ,wrist1 or ,seconde over3 ,these are chiefly the ,thrusts which a ,right-handed and a ,left-handed ,man may make against each other1 whether on an ,attack1 or in ,defence1 by ,time or ,risposts4 ,several ,masters puzzle their ,scholars by telling them that with a ,left-handed ,man they must act quite contrary to what they do with a ,right-handed1 which appears to be false2 because to a ,right or ,left-handed ,man you must push1 opposing with the ,sword1 which is to be done by pushing ,quarte1 when the ,enemy is within your ,sword1 and ,tierce1 when he is without4 ,all the ,difference between a ,right and a ,left-handed ,man is1 that two ,right1 or two ,left-handed ,men1 are both within or without1 whereas a ,right with a ,left-handed ,man1 the one is within when the other is without1 the one in ,quarte1 the other in ,tierce4 ,,chap4 ,,xxiii4 ,of the ,parade of the ,hand4 ,there are1 in ,fencing1 three ,parades with the ,left-hand3 ,the first1 like the ,opposition that is from the ,top to the ,bottom2 the second1 with the ,palm of the ,hand without1 towards the ,right ,shoulder1 and the third1 from the ,bottom to the ,top1 with the ,outside of the ,hand3 ,of these three ,parades1 the first is the easiest1 the most used1 and the least dangerous3 ,they are condemned by able ,men1 as weakening those of the ,sword2 wherefore it is wrong in a ,master to shew them to a ,scholar1 before he has practised those of the ,blade a good while1 which being longer1 can return to all feints1 which the ,left-hand cannot1 it being impossible to parry with it except you be near1 which is very dangerous1 as well by reason of the ,difficulty of meeting properly with the ,sword1 as of the ,facility of deceiving the ,hand1 which in this ,case has not ,time to come to the ,parade1 because of it's small ,distance2 and besides the ,facility of deceiving it1 you need only push at the ,arm1 ,sword in ,hand1 in order to make it useless4 ,of the ,opposition of the ,hand4 ,many ,people make no ,distinction between the ,parade and ,opposition of the ,hand1 tho' there is a very great ,difference1 the ,parade being made only against the ,adversary's ,thrust1 and the ,opposition to prevent a following ,thrust after having parryed with the ,sword1 which is very necessary in most ,thrusts1 especially in the ,risposts which may be made to your ,thrust in ,seconde4 ,besides the ,opposition of the ,hand1 after having parryed with the ,sword1 you may oppose with it1 taking the ,time1 that is to say1 when the ,enemy pushes from above to below1 as the motion of his sword is greater than your's1 having only a strait line to push ,quarte on1 whereas his from above to below1 is crooked1 so that pushing upon his time1 he cannot avoid the thrust1 and you may easily oppose his with the ,left-hand1 which is very different from the parade with the hand1 to which you do not push 'till after you have parryed4 ,,chap4 ,,xxiv4 ,of the beat of the ,foot1 in closing the measure1 or in the same place4 ,though it may seem to many people1 that the beat of the ,foot1 in gaining measure1 making appels1 or alurements1 engagements1 or other ,thrusts1 is rather ornamental than necessary2 nevertheless1 there is nothing puts the ,foot in a better condition to follow the swiftness of the ,wrist1 in most of the actions of the ,sword2 nor can any thing contribute more to the equal situation1 and to the retention of the ,body1 qualities1 which keeping you covered from the time of your combatant1 procures you the means1 not only of taking advantage of his1 but also of possessing firmness1 freedom1 justness and swiftness4 ,you are to observe two sorts of beating1 the one with the ,foot firm in the same place1 the other gaining measure2 the ,beat with the ,foot firm1 is done in two ways1 the one in appels1 or alurements on the ,blade1 and the other in engagements or ,feints4 ,that upon the allurement on the ,blade1 may be made by a single beat of the ,foot1 but those who are pretty well advanced1 make two without lifting the ,foot but once1 the first with the ,point1 and the other with the whole ,foot3 that on engagements or single ,feints1 shou'd have but one beat1 the thrust being to be made on the second motion4 ,the beat of the ,foot in marching or advancing1 is also divided into two sorts1 the one in ,engagements or single ,feints1 and the other in ,engagements and ,feints following1 or in double ,feints2 the manner of engaging must be with a single beat gaining measure1 and that of engaging with a double ,feint1 must be done with a double beat1 in order to agree with the motion of the ,wrist2 and as in all1 including the lunge1 there must be three beats2 you must1 on the ,first ,time or ,feint1 beat with the whole ,foot in the same ,place1 at the second ,motion of the ,wrist beat again with the foot getting ,measure1 and at the third ,motion push4 ,you must observe1 that between the first and second ,motion1 there is no ,interval1 but between the second and third there is1 in order to see where the ,enemy gives ,light3 ,this ,interval must be shorter or longer according as your ,disposition or ,practice is more or less4 ,,chap4 ,,xxv4 ,of the ,good ,effects of a nice ,discernment of the ,eye4 ,in ,fencing1 there is the ,foreseen1 and the ,unforeseen2 the ,foreseen is the ,effect of the ,understanding and of the ,will1 and the ,unforeseen is the ,effect of the ,discernment of the ,eye1 and of ,custom2 which being upheld by this ,quality1 has no sooner discerned an ,action or ,opening of the ,enemy1 than all the ,parts which are to act1 display themselves to oppose or attack him1 as if they depended on the ,eye4 ,to be convinced of this ,truth1 you may reflect on ,,reading1 wherein1 as soon as the ,eye has discerned the ,words1 the pronouncing them follows as quick as in a studied ,discourse2 the ,eye and ,tongue being so disposed by ,custom1 as to do it without immediately reflecting4 ,indeed before they cou'd arrive to this1 the ,understanding and the ,will were necessary1 which having been united for a certain ,time1 have communicated such a ,habit to these ,parts1 as to make them act as it were of themselves4 ,in order to acquire this ,quality in ,fencing1 it is necessary that the ,master1 in his ,lessons1 shou'd shew what ,opportunities are to be favourably laid hold of1 two opposite ,actions at one and the same ,time1 ,that whilst he is uncovering some ,part of his ,body1 he cannot1 at the same ,instant1 parry1 because by the ,parade1 it must be covered2 so that by making them make their ,thrusts1 and other ,motions1 by the ,discernment of the ,eye1 they find themselves by ,practice ready to oppose all the ,motions of the ,antagonist without the ,assistance of the ,will4 ,this ,method is indeed a little more tedious in the ,beginning1 but it afterwards becomes shorter and more certain4 ,if you have not had ,practice enough to make the ,discernment of the ,eye thus habitual1 you must observe what ,motions your ,action causes in the ,adversary1 by making a ,half1 or ,home-thrust1 in order to discover whether the ,enemy has recourse to the ,parade1 or to the ,time3 ,if he goes to parry1 you must observe his ,manner1 in order to make a ,feint resembling the same ,thrust1 and to push at the ,part where you observed him to give the ,light2 and if he goes to the ,time1 you also make a ,feint1 preparing yourself for the parade and ,rispost1 or to take a ,time contrary to his4 ,,chap4 ,,xxvi4 ,of ,time4 ,if we were to follow the exact ,term of ,time1 every ,thing that is done in ,fencing might be called so2 for you shou'd never thrust but when you have a favourable ,opportunity of hitting1 nor parry1 but at the ,time that favours you to oppose the ,enemy's ,sword1 not make an ,engagement1 nor a ,feint1 but to take the ,time upon the ,motion that your ,action occasions in the ,adversary4 ,time is the ,duration of any ,motion3 ,it is called ,time because it is the most favourable ,opportunity of pushing1 the ,enemy being unable during one ,action to do a contrary one4 ,it is divided into several ,manners and ,terms3 ,the first is called the ,time1 the second1 taking his ,time1 the third1 ,time to ,time1 the fourth1 the same ,time1 and the fifth1 false ,time4 #a4 ,taking the ,time1 is making your ,thrust by a judicious ,discernment on the ,motion of the ,enemy1 taking him by a contrary one3 ,you are to know that every ,motion1 of whatever ,part it be1 is called ,time2 for which ,reason1 ,i shall say nothing of ,feints1 ,engagements1 and ,disengagements1 upon which it may be taken2 and that in three ,manners1 viz4 strait1 lowering the ,body1 or volting it1 which you must know how to apply4 ,in a strait ,thrust the ,time shou'd be taken by lowering and volting the ,body1 because the ,thrust coming strait1 if you were to push the same ,way1 you would1 by supporting the ,wrist1 make a ,contrast2 and by pushing crooked1 you would make a ,coup ,fourres1 or an interchanged ,thrust2 but if the ,thrust be in ,two ,times1 or ,motions1 you may push on the first2 ,if it be in three ,motions1 on the second4 ,as to the volting and lowering the ,body1 they may be used on all ,motions1 provided they be abandoned1 and that the ,enemy does not keep back his ,body to draw you on4 #b4 ,taking his ,time1 is the most subtle ,thing in ,fencing1 depending principally on the ,mind3 ,the ,manner of taking it proceeds from your ,place or ,situation1 which gives you an opportunity of knowing the fort and the feeble of the enemy1 so that feeling his blade with your's1 you may by a judicious custom1 push at a proper instant1 according as you find the weakness of his sword2 and though it may seem that the enemy1 in the same guard1 and at the same distance1 can as easily parry2 that does not happen because of his different design to push1 disengage1 or make a feint1 by reason of the several operations of the mind which follow the will4 #c4 ,the ,time to ,time1 or the ,counter to ,time1 is by several people1 called ,counter-time3 this cannot in effect alter this necessary part of the art2 it being but an impropriety in terms2 when they say that making a motion to bring the ,enemy on1 and when he is going to make a ,thrust1 the making a ,counter2 this is by consequence a ,counter ,time1 like a ,counter-disengagement1 without observing that a ,counter-time is nothing but an ill timed ,motion1 which should upon all occasions be avoided3 and if that argument were to take place1 it might be said that there is no such thing in fencing as taking the ,time1 because it is to be done only by taking a ,time contrary to that which is intended to be taken of you1 which according to their ,argument would be a ,counter-time2 whereas the ,term ,time to ,time1 or counter to ,time1 sufficiently shews1 that it requires three ,motions2 since the taking the ,time requires two1 and the taking it at the ,time that he takes it1 must require a third4 ,of these three ,motions you are to make two3 ,the first1 in order to get one from the ,enemy1 that you may have an ,advantage by your second1 which is the third ,time2 so that when he thinks to take the ,time upon you1 you take it upon him1 which1 far from being a ,counter-time1 is a ,time to his1 or ,counter to his ,time4 #d4 ,the same ,time1 depends on three ,things3 ,first1 that both having a ,design to push1 you both push by chance at once1 without expecting it from each other3 ,secondly3 ,that full of the ,design to take the ,time1 and not knowing it1 you push upon the ,enemy's ,thrust1 without foreseeing how to avoid it2 and thirdly1 when an ,inferior or desperate ,man1 unable to defend himself1 had rather run on your ,thrust in endeavouring to hit you1 than strive in vain to avoid it4 ,these are not only the ,occasions of the same ,time1 but also of the ,coups ,fourres4 ,it is to be observed1 that ,time1 and the same ,time1 differ only in their ,figure1 and not in their ,occasion1 as ,monsieur ,de la ,touche says1 for to take the ,time upon a ,thrust1 you must go off upon the ,lunge1 as if it were on the same ,time1 except that the ,figure of the ,body shuns the ,thrust1 which in that of the same ,time it does not do4 #e4 ,false ,time1 is a ,motion made by the ,enemy to draw you on1 in order to take a ,time upon your's2 therefore he that would take the ,time1 shou'd distinguish whether the ,motion made1 is to disorder him1 and take the ,advantage of his ,parade1 or to make him thrust1 and take the ,advantage of his ,lunge2 ,in ,case of the first1 it would be a ,fault not to push2 and in ,case of the other1 it would be amiss to push4 ,some ,masters call the false ,time1 ,half ,time1 which is wrong1 every ,motion being a ,time1 and as it is impossible to make a ,half ,motion1 so 'tis impossible to make a ,half ,time4 ,the ,difference of ,time between the dexterous and awkard is1 that the dexterous present and take the ,time1 and the others1 give and lose it4 ,,chap4 ,,xxvii4 ,of ,swiftness4 ,swiftness is the ,shortness of ,time between the ,beginning and ,end of a ,motion3 ,it proceeds from a regular and frequent ,exercise1 joined with a good ,disposition2 that is to say1 ,vigour and ,suppleness1 which form ,agility4 ,a great ,swiftness cannot be acquired without long ,practice and a good ,disposition1 the one not being sufficient1 without the other1 to give it3 ,for the best natural ,parts1 without ,practice1 will be of very little ,service to those who have the best ,disposition2 and the most regular ,practice without the ,assistance of ,nature1 will never make a ,man perfectly ,swift4 ,swiftness in ,fencing1 is so necessary1 that without this ,quality1 it is very difficult to defend1 and impossible to offend3 ,this ,truth is so well known1 that every one is earnestly desirous of it1 tho' most ,people are ignorant of the ,means necessary to acquire it4 ,what contributes most to the becoming swift1 besides1 frequent ,exercise and a fine ,disposition1 is a perfect ,situation of the ,parts1 the ,retention of the ,body1 and the regular ,motion of the ,wrist3 ,the ,situation requires this advantageous ,point of all the ,parts1 to communicate ,freedom and ,vigour to the ,action1 that they may act with ,quickness4 ,in order to retain the ,body1 it is necessary that it be always in it's perfect ,situation1 during the ,motions previous to the ,thrust2 and if the ,thrust consist of one ,time only1 the ,wrist must begin4 ,as to the ,motion of the ,hand1 it must not only be animated1 but also the ,action must not be wide1 whether in ,disengagements1 ,engagements1 ,feints1 or ,risposts2 because if you would be soon at your ,mark1 it is not sufficient to go quick1 but it is also necessary that the ,action be close4 ,many ,people have confounded the ,swiftness of pushing with precipitate or consecutive ,thrusts1 without considering that ,precipitation is either when the ,body moves before the ,hand1 or when an improper ,motion is made2 and the consecutive ,thrusts1 the pushing several ,times without ,interval1 or when there is no ,occasion2 which may be done by one who is not swift2 for ,swiftness is only the ,shortness of ,time between the ,beginning and ,end of an ,action1 as ,i have already said4 ,swiftness and ,time are very justly called the ,soul of ,fencing1 and all ,thrusts owe their ,success to these ,qualities2 for you cannot hit but by ,surprize1 nor surprize but by ,swiftness4 ,there are three ,ways of surprizing in ,fencing3 ,the first is the ,situation of the ,guard1 taking his ,time3 ,the second1 is doing an ,action to disorder the ,enemy1 in order to hit him1 at that ,time1 where he is open2 and the third is when the ,opponent attacks you1 either by ,feints1 ,engagements1 or ,lunges1 you take him upon the ,time4 ,tho' these three ,sorts of ,surprize require a certain ,point of ,swiftness1 the first needs the most1 having no other ,support2 but the two others have the ,advantage of having disorder'd the ,enemy4 ,although ,time1 ,swiftness1 and the other ,qualities are absolutely necessary in ,fencing1 without their just ,concurrence they are useless4 ,in order to acquire which1 the ,wrist must be easy by ,practice1 that you may hit where you see ,light4 ,,chap4 ,,xxviii4 ,of ,measure4 ,time1 ,swiftness1 and ,justness1 without the ,knowledge of ,measure1 would be in vain1 ,thrusts from afar being of no ,use1 and from near1 dangerous2 and the other ,motions shou'd also be at a certain ,distance1 in order not only to be ready for the ,time1 but also to take ,advantage of the ,disorder of the ,enemy4 ,the ,measure is taken from you to the ,enemy1 and from the ,enemy to you3 ,the first is easier known1 as well because it is naturally so1 as by the ,custom of your ,lunge1 which being1 in regard of yourself1 always the same1 makes it easier by ,practice3 ,the ,measure from the ,enemy to you is difficult1 from the ,difference in ,persons whose ,stature1 ,activity1 or ,swords1 are not always alike2 and tho' the ,height shou'd be the same1 the ,arms1 ,thighs and ,legs are not proportionable2 besides there are big ,men that have short ,arms1 and little ,men that have long ,arms4 ,it is likewise so in regard to the ,clift2 some being longer in the ,fork than others2 and though two ,men shou'd in that ,particular be alike1 if one of them has shorter ,legs than the other1 he will reach farther1 because his ,thighs are longer1 and in the ,lunge1 only one of the ,legs contributes to it's ,length1 the other making a ,line almost perpendicular1 whereas the two ,thighs making a strait ,line1 contribute equally to the ,extention4 ,the ,difference in ,suppleness1 also makes a ,difference in the ,extention2 a ,man who has the ,freedom of his ,shoulders and ,hips1 going farther than one that has them constrain'd4 ,it may also happen that two ,men of like ,proportion and ,freedom of ,parts1 may not have an equal ,extention1 by their being taught differently2 some ,masters teaching to keep the ,body upright1 the ,wrist raised1 or too much on one ,side1 and the ,left-foot first2 whereas the ,body shou'd lean a little forward1 without raising or carrying the ,hand to one ,side1 farther than to keep the ,body covered1 and the ,left-foot shou'd lye down on the ,edge2 this ,situation gives a greater ,length than the other4 ,the different ,lengths of ,swords sometimes make it difficult to know the ,measure1 and makes it impossible to fix it by ,rule1 as several ,masters have pretended3 ,some of them say that the ,measure is just1 when the ,points cross each other a ,foot2 others1 with as little ,reason1 wou'd have the ,middle of your ,blade touch the ,point of the ,adversary's2 but what gives a true ,knowledge of the ,measure is frequent ,exercise1 accompanied with a good ,judgment1 pushing often ,quart and ,tierce with different ,foils1 and being pushed at by different ,persons4 ,the ,extention is taken from the ,left-foot1 which is the ,centre1 to the ,button of the ,foil4 ,i did design1 in this ,place1 to treat of ,time1 and of a regular ,way of pushing in ,lessons1 from the ,beginning to the ,end of one ,year1 according to the ,disposition of ,scholars2 but after ,i had finished it1 ,i thought that my ,fellow-,brethren would perhaps take it ill that ,i should prescribe ,lessons to their ,scholars1 by which1 instead of gaining their good ,opinion1 ,i might incur the ,accusation of being more busy than knowing4 ,,chap4 ,,xxix4 ,of the ,necessity of some ,qualities in a ,master4 ,in order to teach well1 it's necessary to have a perfect ,idea of the ,means which conduce from the ,beginning to the ,end of the ,matter proposed1 ,i mean to it's ,perfection1 or to what comes nearest it1 if our ,age has not as yet arrived to it4 ,in ,fencing1 as well as in other ,exercises1 there should be ,judgment and ,knowledge how to act and how to ,teach3 ,the first is the ,effect of a long and good ,theory2 the second1 of a good ,theory1 long ,practice1 and a good ,disposition2 and the third1 besides the ,theory and ,practice1 is the ,effect of a good ,genius1 or of a particular ,talent4 ,qualities which shou'd be always united2 so that the ,genius may be capable of teaching properly to different ,persons1 the ,application of the ,rules which are acquired by ,experience4 ,it is as necessary in this ,art that a ,master's ,motions shou'd be regular1 and that he shou'd hold the ,foil properly in his ,hand1 as it is for a ,writing ,master to draw the ,example well that he would have copied2 so that the ,scholar of the one1 or of the other1 may learn a better ,motion1 or a finer ,character4 ,it is also proper that when a ,scholar commits a ,fault1 the ,master shou'd shame him by imitating it1 the seeing the ,fault making a greater ,impression than the hearing of it4 ,a ,master in his ,lesson shou'd give a ,time to the ,scholar to make him push1 in order to teach him to take the ,enemy's ,time4 ,he shou'd likewise sometimes beat back his ,body1 and parry him from time to time1 that he may accustom him to be firm on his ,legs1 to oppose his ,sword well1 and to recover well3 ,it is good sometimes to let him make several ,thrusts following1 and then remaining firm all of a sudden1 to shew him1 that he shou'd always be ready to thrust when an ,opportunity offers1 and to retain himself when it does not offer4 ,in order to make him take the ,time well1 and to form his ,parade and ,rispost properly1 the ,time that the ,master gives must have a ,regard to ,rule1 and sometimes to the ,disorder of an unskilful ,enemy1 that he may be equally fortifyed for both2 and to form his ,parade and ,rispost the ,master must push in the ,manner the most like to an ,assault4 ,though most ,masters give ,lessons with shorter and stiffer ,foils than are used in assaulting or playing loose1 ,i esteem it better always to use the same ,foils that they may not be deceived in an ,assault4 ,a ,master's ,play shou'd be neat1 subtle agreeable1 and useful1 as fit for ,combat as for the ,school4 ,the ,art of ,fencing being to make the most of a good or bad ,disposition1 when 'tis good 'tis capable of being made perfectly dexterous1 and when bad1 the ,defect of ,nature is to be repaired by ,art4 ,by saying that 'tis no hard ,matter to perfect such ,men as are naturally of a very good ,disposition1 is meant the bringing them to a certain ,point which they could almost arrive to of themselves1 by ,practice and ,speculation2 but it is well known that it is the ,business of a good ,master to make his ,scholar perfectly dexterous1 and tho' he may have a good ,disposition and long ,exercise1 if he is not well instructed1 he cannot become dexterous1 even tho' he shou'd execute with ,agility1 being incapable of acquiring a ,good without knowing and practising it4 ,a good ,disposition is seldom to be met with1 for there is generally a ,mixture of bad ,parts with the good4 ,some have a supple1 light and vigorous ,body1 and with these ,qualities a heavy or ill adjusted ,hand2 and others that have as good a ,disposition as is desirable1 have a narrow ,genius1 fearing to undertake any thing1 or are hot and inconsiderate1 which shews that it is only be a perfect ,accord of the ,parts and ,understanding that a ,man can be perfectly dexterous4 ,in short an able ,master does not only shew the ,fault1 and whence it proceeds1 but also the ,danger to which it exposes1 and the ,means to leave it4 ,a ,master whose ,play is regular1 or who has the best ,foundation1 may properly be said to be a good ,master4 ,,chap4 ,,xxx4 ,rules for pushing and parrying at the ,wall1 and for making an ,assault4 ,though 'tis absolutely necessary to begin by way of ,lesson1 and to continue in it a long ,time1 in order that ,practice growing to a ,habit1 may give ,liberty to the ,parts to form themselves3 nevertheless however well you may take your ,lessons1 some other ,means are necessary to make an ,assault well1 than those which the ,master gives at his ,plastron3 ,this ,rule must be supported by pushing and parrying at the ,wall1 and in the ,manner ,i am going to lay down4 ,when you have laboured a certain ,time at ,lessons1 you must push at a ,cushion which is fixed against the ,wall for that ,purpose1 observing the ,guard1 and the ,measure or ,extention of the ,thrust2 and that the ,hand display itself in ,quart1 not only according to the ,rule1 but first1 adjusting and supporting the ,thrust1 and that all the ,parts be placed in the most advantageous ,situation for the ,thrust and ,recovery1 which shou'd be very regularly observed4 ,after having lunged for some ,days on the ,cushion1 to fix the ,wrist and ,body a little1 you must push at a ,scholar1 who ,being placed at the ,wall will parry your ,thrusts2 you shou'd be in ,measure1 and to see if it be just1 you must lunge in ,quart1 placing the ,button softly on the ,body1 at the same time taking off your ,hat1 having taken the ,measure you must recover in ,guard1 and place yourself on the ,outside of his ,sword in order to disengage and push ,quart1 being more careful of pushing justly than hitting2 he that parrys shou'd from time to time drop his ,foil1 which will shew whether he that pushes follows the ,blade or the ,line of the ,body2 having remain'd some ,time upon the ,lunge to form the ,support of the ,wrist and the ,posture of the ,body you recover to ,guard4 ,when you lunge pretty well in ,quart1 you may disengage and push ,tierce1 and when the ,thrust is pushed and parryed1 you may recover and push ,seconde under4 ,when you have pushed for some ,time in this ,manner1 you may practise to parry1 putting yourself for that ,purpose to the ,wall1 which furnishes a better ,parade than at large1 where you are used to draw back the ,body which weakens it1 whereas here you cannot1 which makes the ,parade stronger1 having no ,dependence but on the ,foil2 you shou'd chuse a ,scholar that pushes the most regularly1 it being difficult without that1 that a ,beginner shou'd learn to parry justly4 ,most young ,beginners endeavour to hit at any ,rate1 instead of practising what would be beneficial to them1 but instead of deceiving others they deceive themselves1 by practising less how to form themselves and push according to ,rule1 than how to spoil their ,bodies1 and destroy the ,solidity of the ,principles3 ,some use themselves to push with the ,wrist only1 without the ,foot1 which is dangerous1 by reason of the too great ,measure2 others with as little ,reason1 and as much ,danger1 place themselves without binding the ,blade1 and thrust under the ,wrist2 in the one the ,situation of the ,guard is good for nothing1 and in the other there is no ,defence if the ,adversary thrusts at that time3 ,others deceive by making a ,time or ,motion when they are placed1 but the pushing at the ,wall requires only the ,justness and ,swiftness of the ,thrust2 others put themselves very near baulking the ,measure1 which may be done four ,ways1 tho' the ,left-foot may be in it's proper ,place1 and kept firm in the ,thrust2 the first is done by marking or bringing forward the ,point of the ,left-foot1 keeping it a little in1 then advancing the ,heel1 which gives more ,measure2 secondly1 by keeping back the ,body on a ,lunge1 you deceive the ,measure and hit by abandoning it forward1 which gives it a greater ,extention1 thirdly1 by raising or carrying the ,wrist too high1 or too much to one ,side1 which shortning the ,thrust1 makes it believed that you are out of ,reach1 but according to the ,rule and ,line you are too much in ,reach2 fourthly1 some take ,measure by holding the ,thumb on the ,body of the ,guard1 and when they have a mind to hit they hold it on the ,middle of the ,handle1 with the ,pommel in the ,hand1 which also gives a greater ,length4 ,when you have for some time used yourself to push and parry at the ,wall1 according to the ,rules that ,i have laid down1 you must1 7tho' 'tis not the ,rule of ,schools1 especially when you push with ,strangers17 you must ,i say1 when you push with a ,scholar of your own ,master1 push and parry a ,thrust alternately1 disengaging1 and then do the same ,feinting1 and sometime after you shou'd make the other ,thrusts1 telling one another your design1 which makes you execute and parry them by ,rule1 especially if you reflect on the ,motions and ,postures of the ,lunges and ,parades4 ,being a little formed to this method1 you may1 being warned of the ,thrust1 parry it1 telling the ,adversary where you intend your ,riposte1 which puts him in a condition to avoid it1 and gives him room to redouble after his ,parade1 either strait or by a ,feint1 at which you are not surprised1 expecting by being forewarned the ,thrust he is to make1 which puts you easily on your ,defence and ,offence3 by this manner of ,exercise1 you may not only improve faster1 but with more art1 the ,eye and ,parts being insensibly disposed to follow the ,rule1 whereas without this ,method1 the difference that there is between a lesson of assaulting a ,man who forewarns you1 helps you1 and lets you hit him1 and another who endeavours to defend himself and hit you1 is1 that except the ,practice of ,lessons be very well taught by long exercise1 you fall into a ,disorder which is often owing to the want of ,art more than to any ,defect in ,nature4 ,the taking a ,lesson well1 and the ,manner of ,pushing and ,parrying which ,i have just described1 may be attained to by ,practice only1 but some other things are necessary to make an ,assault well2 for besides the ,turn of the ,body1 the ,lightness1 ,suppleness and ,vigour which compose the exteriour ,part1 you must be stout and prudent1 qualities so essential1 that without them you cannot act with a good ,grace1 nor to the purpose4 ,if you are apprehensive1 besides1 that you don't push home1 or justly1 fear making you keep back your ,thrust1 or follow the ,blade1 the least ,motion of the ,enemy disorders you1 and puts you out of a ,condition to hit him1 and to avoid his ,thrusts4 ,without ,prudence1 you cannot take the advantage of the situation1 motions designs of the enemy1 which changing very often1 according to his ,capacity and to the ,measure1 demonstrates that an ill concerted ,enterprise exposes more to ,danger than it procures ,advantage3 in order to turn this ,quality to an advantage1 you are to observe the ,enemy's fort and feeble1 whether he attack or defend2 if he attack it will be either by plain ,thrusts strait1 or disengaged1 or by ,feints or ,engagements1 which may be opposed by ,time1 or ,ripostes3 if he keeps on his ,defence1 it is either to take the ,time or to ,riposte4 ,in case of the first2 you shou'd1 by half ,thrusts1 oblige him to push in order to take a ,counter to his ,time1 and if he sticks to his ,parade you must serve in what ,manner1 in order to disorder him by ,feints1 and push where he gives ,light4 ,it would fill a whole ,volume to describe the ,thrusts that may be made1 according to the ,difference of ,persons1 as well to surprise as to avoid being surprised2 besides the many ,repetitions wou'd be extremely puzzling1 for which ,reason1 ,i have1 instead of them1 laid down the following ,advices1 which contain chiefly1 what ,i cou'd not otherwise have communicated without a long ,treatise4 ,don't put yourself in ,guard within the ,reach of the ,enemy4 ,make no wry ,faces1 or ,motions that are disagreeable to the ,sight4 ,be not affected1 negligent1 nor stiff4 ,don't flatter yourself in your ,lessons1 and still less in ,assaults4 ,be not angry at receiving a ,thrust1 but take care to avoid it4 ,be not vain at the ,thrusts you give1 nor shew ,contempt when you receive them4 ,do not endeavour to give many ,thrusts1 running the ,risque of receiving one4 ,don't think yourself expert1 but that you may become so4 ,when you present the ,foils1 give the ,choice without pressing4 ,if you are much inferiour1 make no long ,assaults4 ,do nothing that's useless1 every ,action shou'd tend to your ,advantage4 ,lessons and ,assaults are only valuable when the ,application and ,genius make them so4 ,too good an ,opinion spoils many ,people1 and too bad a one still more4 ,a natural ,disposition and ,practice are necessary in ,lessons1 but in ,assaults there must be a ,genius besides4 ,the ,goodness of ,lessons and of ,assaults does not consist so much in the ,length as in the ,manner of them4 ,when you have to do with one that's bold and forward1 it is necessary to seem apprehensive in order to get a favourable ,opportunity4 ,if you act against one that's fearful1 attack him briskly to put him in ,disorder4 ,before you applaud a ,thrust given1 examine if ,chance had no ,hand in it4 ,thrusts of ,experience1 and those of ,chance are different1 the first come often1 the others seldom or never happen1 you may depend on one1 but not on the other4 ,in ,battle let ,valour and ,prudence go together1 the ,lyon's ,courage with the ,fox's ,craft4 ,to be in ,possession of what you know1 you must be in ,possession of yourself4 ,undertake nothing but what your ,strength and the ,capacity of the ,enemy will admit of in the ,execution4 ,the ,beauty of an ,assault appears in the ,execution of the ,design4 ,make no ,thrust without considering the ,advantage and the ,danger of it4 ,if the ,eye and ,wrist precede the ,body1 the ,execution will be good4 ,be always cautious1 ,time lost cannot be regained4 ,if you can hit without a ,feint1 make none1 two ,motions are more dangerous than one4 ,to know what you risque1 you must know what you are worth4 ,if you would do well1 acquire the agreeable and useful4 ,twenty good ,qualities will not make you perfect1 and one bad one will hinder your being so4 ,judge of a ,thrust1 rather by ,reason than by it's ,success2 the one may fail1 but the other cannot4 ,to parry well is much1 but it is nothing when you can do more4 ,let your ,guard1 and your ,play be always directly opposite to the ,enemy4 ,practice is either a ,good or an ,evil2 all consists in the ,choice of it4 ,when you think yourself skilful and dexterous1 'tis then you are not so4 ',tis not enough that your ,parts agree1 they must also answer the ,enemy's ,motions4 ,the knowing a ,good without practising it1 turns to an ,evil4 ,two skilful ,men acting together1 fight more with their ,heads than with their ,hands4 ,if you are superiour to your ,enemy1 press him close1 and if you are inferiour1 break ,measure to keep him moving4 ,endeavour both to discover the ,enemy's ,design1 and to conceal your own4 ,when the ,eye and the ,hand agree in the same instant1 you are perfectly right4 ,draw not your ,sword1 but to serve the ,king1 preserve your ,honour1 or defend your ,life4 ,,chap4 ,,xxxi4 ,against several erroneous ,opinions4 ,though there are ,people of a bad ,taste in every ,art or ,science1 there are more in that of ,fencing than in others1 as well by ,reason of the little ,understanding of some ,teachers1 as of the little ,practice of some ,learners1 who are not acting upon a good ,foundation1 or long enough1 to have a good idea of it1 argue so weakly on this ,exercise1 that ,i thought it as much my ,business to observe their ,errors1 as it is my ,duty to instruct those that ,i have the ,honour to teach in the ,theory of it3 ,by this ,means1 ,i may furnish the ,one with juster ,sentiments1 and the ,others with the ,means of preserving their ,honour and ,lives4 ,i begin with those1 who defer letting their ,children learn 'till they have attained a certain ,age1 ,growth and ,strength4 ,if these three ,qualities would enable them to put this ,art in ,execution immediately1 ,i acknowledge that they ought not to begin 'till they possessed them2 but it is by long ,experience and ,practice only1 that they can become perfect2 so that except they begin young1 the ,employments for which they are designed1 may not give them ,time to arrive to it2 besides1 by beginning in a tender ,age1 the ,body is more easily brought to a good ,air1 and an easy ,disengagement2 being more at ,liberty1 and less used to ,faults1 which it would naturally fall into for want of being cultivated4 ,others say that it is needless to learn when the ,disposition is wanting1 which is an ,error2 for a ,body that is well disposed by ,nature1 can better dispense with the ,want of ,improvement1 than those that she has taken less care of2 these requiring a constant ,labour1 to acquire what the others have almost of themselves2 and tho' they cannot arrive to a perfect ,agility1 yet their ,bodies will be better disposed to act1 and their ,lives not so much in ,danger4 ,some assure you that the knowing how to ,fence1 makes a ,man quarrelsome1 and thereby exposes him to dangerous ,consequences1 without considering it is a natural ,brutality1 ,honour1 or ,danger1 which obliges him to attack another1 or defend himself1 which he would do without having learned1 with this ,difference2 that though he have the same ,brutality or ,courage1 the ,issue of the ,battle is not the same2 and if he have ,occasion to defend himself1 would it not be better for him to be able to do it1 than to leave his ,life to an uncertain and dangerous ,hazard4 ,others say that it is enough to learn one ,exercise at a time2 that a ,plurality of different ,lessons fatigues the ,mind and the ,body3 ,but as one ,science disposes the ,mind for the others1 they having a ,sort of a ,correspondence one with another1 so ,exercises favour one another as well in regard to the ,posture of the ,body1 as to the ,freedom of ,motion2 besides1 that learning them one after another1 as each ,particular would take up as much ,time as all in general1 this ,length of ,time would be too great for any one almost to succed in them4 ,many ,people say that with ,sword in ,hand the ,rules of the ,school are not observed1 and that 'tis sufficient to have a good ,heart3 ,it is certain that ,people who are subject to this ,error1 are not capable of following the ,rules which are to be acquired only by putting a good ,theory in ,practice2 which by frequent ,use1 disposes the ,eye and the ,part of ,executing so well1 that it is almost impossible to act otherwise3 ,and as to the ,practice of ,schools and of the ,sword1 'tis the same2 for no one ought to do any thing with the ,foil1 but what he knows by ,experience to be without ,risque1 according to his ,rules4 ,in some ,cases1 it is true1 what is esteemed good in one1 is not in the other4 ,for ,example3 ,thrusts with the ,foil are good only on the ,body1 and with the ,sword they are good every where2 and that in an ,assault with the ,foil1 the joining is reckoned as nothing1 whereas in ,battle 'tis the ,seal of the ,victory2 but except in that1 it should be alike in every ,thing4 ,others say that if they had to do with experienced ,men1 they would not give them ,time to put themselves in ,guard2 as if a ,man who is expert were not always on his ,guard1 being more knowing1 and better disposed1 not only to place himself at once1 by the ,habit that all his ,parts have contrasted1 but also to surprise1 and to avoid being surprised1 by the ,knowledge he has of ,time and ,measure3 ,on the contrary1 an unskilful ,person being ignorant of both1 is easily catch'd2 besides1 that his ,parts being unaccustomed to place themselves regularly1 or at once1 must always be in a continual ,motion1 vainly seeking their ,place1 by which they give the ,time1 and would lose it if it were given to them4 ,some1 in ,opposition to these1 say that if they know how to keep themselves in ,guard 'tis sufficient4 ,they are in the right if the ,guard be perfect1 which is not to be acquired but by a ,practice as long as is necessary to make them perfectly dexterous1 which is not their ,meaning2 they thinking that it is only the placing of the ,parts1 which is useless1 without ,freedom and ,vigour to manage them4 ,these are ,qualities which when accompanied with a certain regular ,air1 and a good ,grace1 shew1 as soon as a ,man takes a ,sword or ,foil in his ,hand1 to what ,pitch of ,dexterity he is arrived4 ,some ,men will tell you that they know enough to serve their ,turn3 ,those who use this ,expression1 as well as those ,i have spoken of before1 sufficiently shew that they have learnt but little or nothing4 ,in ,effect it is no hard ,matter to judge of the different ,degrees of ,ability2 so that when a ,man finds himself inferiour1 he cannot properly say that he knows enough to serve his ,turn2 and a ,man who is superiour1 knows very well that he is not perfect1 and that if his good ,disposition together with his long ,practice1 has brought him very forward in the ,art1 others may know as much as he1 and that therefore he is not so perfect as an unskilful ,person may imagine4 ,i have heard several ,people say that they did not care to be dexterous1 nor to know the five ,rules1 provided they knew how to defend themselves1 and to push and parry well2 and really they are in the right1 supposing they could do that without practising what the most able ,men have invented upon this ,occasion4 ,there are ,people that say1 that with ,sword in ,hand1 against an able ,man1 there is nothing to be done but push vigorously1 to disorder him3 ,i am apt to believe that this may succeed against a ,man who is not well form'd1 or has not the ,courage and ,resolution that is necessary2 but if he has enough to keep up his ,spirit1 this ,attack will be advantageous to him2 because it cannot be done without giving him an ,opportunity of getting the better2 and besides1 ,i have ,reason to believe that the greatest ,part of those who talk in this ,manner1 would hardly attempt an able ,man4 ,it may be said that ,people have then fought in this ,manner with ,success2 but as there is ,difference in ,persons1 what succeeded with them against unskilful ,people or ,cowards1 would have been dangerous against other ,men4 ,i have met with ,people who were weak enough to believe that ,knowledge in ,fencing takes away the ,heart1 saying1 that seeing the ,counters to every ,thrust they form1 by ,means of that ,knowledge1 an ,idea of evident ,danger1 which dissipating the ,courage1 and causing an ,apprehension1 hinders them from their ,enterprise2 when an unskilful ,person blindly undertakes every thing4 ,it is true that there is great ,blindness in this ,way of pushing1 as they say1 and still more in their ,understanding1 to think that an able ,man dares not undertake or venture when the ,appearance of ,success leads him to it2 and that an ignorant ,man shall venture when his ,loss is almost certain4 ,is it reasonable to suppose1 that a ,man of natural ,courage shou'd lose it1 because he is assured that he is more expert than his ,enemy1 over whom1 or perhaps his ,equals1 he always had the ,better in ,assaults1 by the ,help of his ,knowledge and ,dexterity8 ,this1 far from intimidating him1 seems to assure him of ,success1 which is due to his habitual ,practice4 ,on the contrary1 an awkard ,man having seen1 by his ,disadvantage in ,school ,assaults1 that he has no ,room to hope in ,combat1 the dexterous ,man possessing the ,qualities which procure ,success1 and one who had never handled a ,foil1 will be as much puzzled1 as if he had experience'd the ,disadvantage of it4 ,others1 with as little ,reason1 leave all to ,chance1 but the very ,name is sufficient to shew that it is not to be relye'd on4 ,some again say to what ,purpose shall we learn to ,fence1 the ,,king had forbid ,duels3 ,it is true that this great ,prince1 as august for his ,piety as for his ,victories1 was willing thereby to preserve the ,blood of his bravest ,subjects1 who expose'd it every ,day to be shed through a false ,notion of ,honour4 ,but tho' he forbid ,duels1 he was so far from hindering the ,practice of the ,sword1 that he has established several ,academies for the perfect ,use of it1 not only for ,defence1 but also to qualify his ,subjects to put the ,justice of his ,measures in ,execution3 ,and it must at last be agreed to1 that a ,man who wears a ,sword1 without knowing how to use it1 runs as great a ,hazard1 and is full as ridiculous1 as a ,man who carries ,books about him without knowing how to read4 ,many ,men are of ,opinion that a ,man may naturally know enough to attack or defend himself1 without the ,assistance of ,art3 ,man1 tho' the only reasonable ,creature1 finds himself deprived of what irrational ,creatures naturally possess2 and he requires for his ,improvement the ,assistance and ,practice of others2 the grand ,art of ,war1 and that of using the ,sword1 which has been practised thro' so many ,ages1 still find new ,inventions2 and it may be said1 that as there is no ,place1 in whatever ,situation by ,nature1 but requires ,art to secure it's ,defence2 so likewise1 whatever ,disposition a ,man possesses1 he cannot be perfect without the ,assistance of ,rules and ,practice4 ,some ,men acknowledge that ,skill is necessary in single ,combat1 but that in a ,crowd or ,battle it is altogether useless3 ,i own that on these ,occasions1 it is less useful than in single ,battle1 by reason of the different ,accidents1 as of ,cannon1 ,musquets1 and of other ,arms2 besides1 a ,man may be attacked by several at once3 ,but if a ,man cannot avoid being hit with a ,ball1 and sometimes with a ,sword1 he may1 nevertheless1 by the ,disposition and ,agility of the ,parts1 more easily defend and return a ,thrust3 ,besides1 being more able to hit with the ,edge or ,point1 he may put more ,enemies to flight1 or keep them at a greater ,distance4 ,if the ,french ,troops have always been victorious1 ,sword in ,hand1 a ,part of the ,glory is owing to the ,skill of several ,officers2 and ,i'll venture to say1 that if they had all been as expert as they should have been1 you might see1 as well on ,foot as on ,horseback1 in ,battle as on a ,breach1 ,actions that would be not only uncommon but prodigious4 ,it may perhaps be said1 that our ,enemies have some expert ,officers among them2 besides1 that their ,number is commonly less than in ,france1 there is as great a ,difference between their ,dexterity and that of the ,french1 as between their ,masters and our's1 from whom very few would have learned if the ,war had no suspended our ,academies4#e ,i think it proper to finish this ,chapter by confuting an ,error as common1 and more ridiculous1 than the others2 which is1 of an infallible ,thrust1 which a great many ,people think that ,masters reserve for dangerous ,occasions1 or to sell it at a dear ,rate4 ,this wonderful ,thing1 is called the secret ,thrust4 ,i don't know whether this ,error proceeded from those who have not learned1 or from the ,chimera of some self-conceited ,masters1 who have sold to ignorant ,scholars1 some ,thrusts as infallible1 of their own ,contrivance1 as ridiculous and dangerous as the ,simplicity of the ,scholar and the ,knavery of the ,master are great4 ,to discover the ,error of this ,opinion you must observe two ,things3 ,first1 that in ,fencing there are no more than five ,thrusts or ,places1 which ,i have described in ,page #bg1 shewing the ,parade of each of them2 and secondly1 that there is no ,motion without it's ,opposite2 so that as you cannot push without a ,motion1 there is no ,thrust without it's ,counter1 and even several2 for besides the different ,positions of the ,body1 there is not only the ,time to take1 but also several ,parades to favour the ,risposts1 which plainly shews1 that doing one of these ,things properly1 this imaginary infallible ,thrust1 far from succeeding will expose him that would make it4 ,all the ,secrets in the ,thrusts that are given by an able ,man1 far from being an ,effect of the ,thrust1 is only an ,effect of the ,occasion1 and the ,swiftness2 or rather of the judgment and ,practice3 ,by ,means of these ,qualities all ,thrusts are secret ones1 or they wou'd be worth nothing4 ,all the ,thrusts in ,fencing are equally good1 when they are made according to ,rule1 with ,swiftness1 and on the ,occasions proper to them2 wherefore they ought not to be neglected whilst the ,time of learning them offers2 not but you may stick closer to some ,thrusts than to others1 either because you may be better disposed for them1 or because you are more used to them4 ,i thought that after ,i had exposed the ,errors of several ,persons1 ,i might tell them1 that it is contrary to the ,rules of good ,breeding1 to talk of ,things they do not understand2 that oftentimes ,people1 by their first ,appearance1 have been thought to possess the ,qualities of knowing ,men1 but have afterwards forfeited the good ,opinion which they had at first imposed on others4 ,,finis4 ,thrusts of ,emulation for ,prizes1 ,wagers c4 ,all ,thrusts from the ,neckband to the ,wastband are counted good4 ,coup ,fourres or interchanged ,thrusts are not counted on either side1 except one of the ,competitors has ,recourse to it in order to make the ,thrusts equal1 then the ,thrust of the other is good1 and not his4 ,if one hits the ,body and the other the ,face or below the ,wast at the same ,time2 the ,thrust on the ,body is counted1 but not the other4 ,if a ,man parrys with his ,hand1 and afterwards hit1 his ,thrust is not good1 because by parrying with the ,hand1 his ,antagonist's ,foil is less at ,liberty than if he had parryed with the ,blade1 and might be a ,reason why he could not parry and risposte4 ,if a ,man takes the ,time1 opposing with the ,left-hand1 and hits without receiving1 his ,thrust is not good1 because if he had not ,opposed with the ,hand1 both would have hit1 the ,opposition of the ,hand serving only to avoid1 but no way contributing to the ,success of the ,thrust4 ,if in parrying1 binding1 or lashing the ,foil1 it ,falls1 and that the ,thrust is made without ,interval1 it is ,good4 ,thrusts made with the ,sword in both hands1 or shifting from one ,hand to the other are not good4 ,a ,master is not to give judgment for his own ,scholar4 ,,footnotes3 ,footnote #a3 ,the ,iron at the ,end of the ,blade that runs into the ,handle4 ,footnote #b3 ,i am not of ,opinion that the ,body should be drawn back1 except it be impossible to avoid the ,thrust without doing it2 all ,parades being best when the body is not disorder'd4 ,footnote #c3 ,see the #hth4 ,plate4 ,footnote #d3 ,see the #abth ,plate4 ,footnote #e3 ,as in this ,paragraph1 ,monsieur ,l',abbat rather introduces an ,encomium on his ,country-men1 than any thing essential to the ,art of ,fencing4 ,i leave the ,reader to his own ,opinion thereon4