,,broad-,,sword   ,,and                 
,,single-,,stick     ,r4 ,g4            
,,allanson-,,winn1   ,,and   ,c4        
,,phillipps-,,wolley4     ,,the         
,,all-,,england ,,series4   ,small #hvo1
 cloth4 ,illustrated1 price #as4 each4  
,,cricket4 ,by the ,hon4 and ,rev4 ,e4  
,,lyttelton4  ,,cricket4 ,by ,,fred ,c4 
,,holland4  ,,lawn ,,tennis4 ,by ,h4 ,w4
 ,w4 ,,wilberforce4  ,,tennis1          
,,rackets1 and ,,fives4 ,by ,,julian    
,,marshall1 ,,major ,,spens1 and ,rev4  
,j4 ,,arnan ,,tait4  ,,squash-,,rackets 
,,and ,,squash-,,tennis4 ,by ,,eustace  
,h4 ,,miles4 ,double volume1 #bs4       
,,golf4 ,by ,h4 ,s4 ,c4 ,,everard4      
,double volume1 #bs4  ,,hockey4 ,by ,f4 
,s4 ,,creswell4 ,revised by ,p4 ,collins
 7#aiji74  ,,rowing ,,and ,,sculling4   
,by ,w4 ,b4 ,,woodgate4  ,,rowing ,,and 
,,sculling4 ,by ,,guy ,,rixon4          
,,sailing4 ,by ,e4 ,f4 ,,knight4 ,double
 volume1 #bs4  ,,canoeing ,,with ,,sail 
,,and ,,paddle4 ,by ,dr4 ,j4 ,d4        
,,hayward4 ,double volume1 #bs4         

,,swimming4 ,by ,m4 and ,j4 ,r4         
,,cobbett4  ,,boxing4 ,by ,r4 ,g4       
,,allanson-,,winn4  ,,wrestling4 ,by    
,,walter ,,armstrong4 ,new edition4     
,,fencing4 ,by ,h4 ,a4 ,,colmore ,,dunn4
  ,,broadsword ,,and ,,singlestick4 ,by 
,r4 ,g4 ,,allanson-,,winn and ,c4       
,,phillipps-,,wolley4                   
,,football--,,rugby4 ,by ,,harry        
,,vassall4 ,revised by ,c4 ,j4 ,b4      
,,marriott 7#aiji74                     
,,football--,,association4 ,by ,c4 ,w4  
,,alcock4  ,,skating4 ,by ,,douglas     
,,adams4 ,double volume1 #bs4           
,,cycling4 ,by ,h4 ,h4 ,,griffin1       
,l4,a4,c4 ,double volume1 #bs4  ,,cycle 
,,touring4 ,by ,a4 ,w4 ,,rumney1 ,m4,a4 
,,rounders1 ,,quoits1 ,,bowls1 etc4 ,by 
,j4 ,m4 ,,walker and ,c4 ,c4 ,,mott4    
,,gymnastics4 ,by ,a4 ,f4 ,,jenkin4     
,double volume1 #bs4  ,,gymnastic       
,,competition ,,and ,,display           
,,exercises4 ,compiled by ,f4 ,,graf4   
,,dumb-,,bells4 ,by ,f4 ,,graf4         
,,indian ,,clubs4 ,by ,g4 ,t4 ,b4       

,,cobbett and ,a4 ,f4 ,,jenkin4         
,,baseball4 ,by ,,newton ,,crane4       
,,riding4 ,by ,w4 ,a4 ,,kerr1 ,v4,c4    
,double volume1 #bs4  ,,riding ,,for    
,,ladies4 ,by ,w4 ,a4 ,,kerr1 ,v4,c4    
,,camping ,,out4 ,by ,a4 ,a4            
,,macdonell4 ,double vol41 #bs4         
,,mountaineering4 ,by ,dr4 ,,claude     
,,wilson1 #bs4  ,,dancing4 ,by ,,edward 
,,scott4 ,double volume1 #bs4           
,,london3 ,g4 ,,bell  ,,sons4 ,,ltd4    
,,broad-,,sword   ,,and                 
,,single-,,stick4     ,,with ,,chapters 
,,on    ,,quarter-,,staff1 ,,bayonet1   
,,cudgel ,,shillalah1 ,,walking-,,stick1
   ,,umbrella1 ,,and ,,other ,,weapons  
,,of ,,self-,,defence4     ,,by   ,r4   
,g4 ,,allanson-,,winn1   ,,author ,,of  
,,boxing1    ,,and    ,c4               
,,phillipps-,,wolley1   ,,inns ,,of     
,,court ,,school ,,of ,,arms4           
,,london3   ,g4 ,,bell  ,,sons1 ,,ltd41 
,,and ,,new ,,york4   #aiaa4            
,,printed ,,by   ,,william ,,clowes     
,,and ,,sons1 ,,limited1   ,,london     

,,and ,,beccles4     ,,preface4   ,the  
favour with which my little brochure on 
boxing has been received induces me to  
put together a few ideas on the subject 
of attack and defence with weapons other
 than those with which nature has       
endowed us4  ,a glance at the table of  
contents will suffice to show that the  
scope of the work has been somewhat     
extended1 and that1 though there is of  
course a vast deal more to be said on   
the wide subject of self-defence1 an    
attempt has been made to give practical 
hints as to what may be effected by a   
proper and prompt use of those common   
accessories which we may find in our    
hands at almost any hour in the day4    
,not having leisure to take in hand the 
whole of the work myself1 ,i asked my   
friend ,mr4 ,c4 ,phillipps-,wolley to   
make himself responsible for that       
portion of the treatise which deals with
 single-stick play4 ,this he kindly     
consented to do1 and those of my readers
 who wish to make a special study of    

stick-play1 ,i refer to p4 #ej to p4 #he
 inclusive4 ,the illustrations in this  
portion of the work are from photographs
 by the ,london ,stereoscopic ,company2 
all the other illustrations are from my 
own sketches4  ,,the ,,author4          
,,contents4    ,,chapter                
,,page      ,i4 ,,introductory          
#a     ,,ii4 ,,the ,,quarter-,,staff    
#d    ,,iii4 ,,the ,,broad-,,sword      
#ag     ,,iv4 ,,single-,,stick          
#ej      ,v4 ,,the ,,bayonet            
#he     ,,vi4 ,,the ,,cudgel1           
,,shillalah1 ,,walking-,,stick1         
,,umbrella1 ,,and ,,various             
,,accessories        #ajj               
,,broad-,,sword ,,and ,,single-,,stick4 
,,chapter ,i4  ,,introductory4   ,our   
neighbours on the other side of the     
,english ,channel have been accused of  
calling us a nation of shopkeepers4 ,no 
doubt the definition is not bad2 and1 so
 long as the goods supplied bear the    
hall-mark of ,british integrity1 there  
is nothing to be ashamed of in the      

appellation2 still1 with all due        
deference1 ,i think we might more       
appropriately be called a nation of     
sportsmen4  ,there is not an ,english   
boy breathing at this moment who does   
not long to be at some sport or game1   
and who has not his pet idea of the     
channel into which he will guide his    
sporting proclivities when he is a man4 
,there are not many grown ,englishmen   
who don't think they know something     
about a horse1 would not like to attend 
a good assault-at-arms1 or who are not  
pleased when they hear of their sons'   
prowess with the oar1 the bat1 or the   
gloves4  ,i may be quite mistaken1 but  
it always seems to me that the          
well-brought-up little foreign boy is   
too unwholesomely good and gentle to    
fight the battle of life4 ,still1 such  
little boys do grow up brave and clever 
men1 and they do1 taken collectively1   
make splendid soldiers4  ,then1 as to   
sports1 foreigners seem to put too much 
pomp and circumstance into their efforts

 in pursuit of game2 the impedimenta and
 general accoutrements are overdone2 but
 here again ,i may be wrong4  ,of one   
thing we may be quite sure1 and that is 
that the majority of ,englishmen are    
devoted to sport of some kind4 ,one of  
the prettiest little compliments you can
 pay a man is to call him a good old    
sportsman4  ,when1 in addition to the   
advantages of a national sport or       
collection of national sports1 such as  
boxing1 sword exercises1 wrestling1     
etc41 you recognize the possibility that
 the games you have been indulging in   
with your friends in playful contests   
may at almost any moment be utilized for
 defeating your enemies and possibly    
saving your life1 you are forced to the 
conclusion that there are some sports at
 least which can be turned to practical 
account4  ,unfortunately there are      
individuals1 possibly in the small      
minority1 who regard anything like      
fighting as brutal or ungentlemanly4 ,in
 a sense--a very limited sense--they may

 be right1 for1 though our environment  
is such that we can never rest in       
perfect security1 it does seem hard that
 we should have to be constantly on the 
alert to protect that which we think is 
ours by right1 and ours alone4  ,however
 this may be1 let us be men first1 and  
aristocrats1 gentlemen1 or anything else
 you please1 afterwards4 ,if we are not 
men1 in the larger and better sense of  
the word1 let there be no talk of gentle
 blood or lengthy pedigree4 ,the nation 
is what it is through the pluck and     
energy of individuals who have put their
 shoulders to the wheel in bygone       
days--men who have laid the foundation  
of a glorious empire by sturdy personal 
efforts--efforts1 unaided by the state1 
emanating from those higher qualities of
 the character1 relying on itself1 and  
on itself alone1 for success or failure4
  ,from the earliest times1 and in the  
most primitive forms of animal life1    
physical efforts to obtain the mastery  
have been incessant4  ,whether it is in 

the brute creation or the human race1   
this struggle for existence has always  
required the exercise of offensive and  
defensive powers4 ,the individual has   
striven to gain his living1 and to      
protect that living when gained2 nations
 have paid armies to increase their     
territories1 and retain those           
territories when acquired4  ,the exact  
form of weapon which first came into use
 will always be doubtful1 but one would 
think that stones1 being hard and handy1
 as well as plentiful1 might have       
presented irresistible attractions to1  
say1 some antediluvian monster1 who     
wished to intimate to a mammoth or      
icthyosaurus1 a few hundred yards       
distant1 his readiness to engage in     
mortal combat4  ,are there not stories1 
too1 of clever little apes in tropical  
forests who have pelted unwary          
travellers with nuts1 stones1 and any   
missiles which came handy8  ,then1      
coming nearer home1 there is the lady at
 an ,irish fair who hangs on the        

outskirts of a faction-fight1 ready to  
do execution with a stone in her        
stocking--a terrible gog-magog sort of  
brain-scatterer4  ,when man was         
developed1 no doubt one of his first    
ideas was to get hold of a really good  
serviceable stick--not a little modern  
masher's crutch--a strong weapon1       
capable of assisting him in jumping1    
protecting him from wild beasts1 and    
knocking down his fellow-man4  ,to      
obtain such a stick the primitive man   
probably had to do a good deal of       
hacking at the bough of a hard oak or   
tough ash1 with no better knife than a  
bit of sharp flint4 ,having secured his 
stick1 the next thing was to keep it1   
and he doubtless had to defend himself  
against the assaults of envious         
fellow-creatures possessed of inferior  
sticks4  ,thus we can imagine that the  
birth of quarter-staff play--not much   
play about it in those days--was a very 
simple affair2 and we recognize in it   
the origin and foundation of all the    

sword exercises1 and all the games in   
which single-stick1 lance1 and bayonet  
play a prominent part4  ,as the question
 of who picked up the first stone and   
threw it at his fellow-man1 or when the 
first branch of a tree was brought down 
on the unsuspecting head of another     
fellow-man1 are questions for learned   
men to decide1 and are of no real       
importance1 ,i shall not allow myself to
 go on with any vague speculations1 but 
shall turn at once to an old ,english   
sport which1 though sometimes practised 
at assaults-at-arms in the present day1 
takes us back to ,friar ,tuck1 ,robin   
,hood1 and    ,maid ,marian1 fair as    
ivory bone1    ,scarlet and ,much and   
,little ,john4     ,,chapter ,,ii4      
,,the ,,quarter-,,staff4   ,according to
 ,chambers's ,encyclopdia1 the          
quarter-staff was formerly a favourite  
weapon with the ,english for            
hand-to-hand encounters4 ,it was a stout
 pole of heavy wood1 about six and a    
half feet long1 shod with iron at both  

ends4 ,it was grasped in the middle by  
one hand1 and the attack was made by    
giving it a rapid circular motion1 which
 brought the loaded ends on the         
adversary at unexpected points4         
,circular motion and shod with iron give
 a nasty ring to this description1 and  
one pictures to one's self half a       
barge-pole1 twirled--more               
,hibernico--with giant fingers1 bearing 
down on one4  ,whether the fingers of   
our ancestors were ever strong enough to
 effect this single-handed twirling or  
not must remain a matter of doubt1 but  
we may rest assured that in the         
quarter-staff we have1 probably1 the    
earliest form of offensive weapon next  
to the handy stone4 ,if ,darwin is      
correct1 we can easily imagine one of   
our gorilla ancestors picking up a big  
branch of a tree with which to hit some 
near member of his family4 ,this1 to my 
mind1 would be playing elementary       
quarter-staff1 and the game would have  
advanced a step if the assaulted        

one--possibly the lady gorilla--had     
seized another branch and retaliated    
therewith4  ,the modern quarter-staff is
 supposed to be rather longer than the  
six and a half feet prescribed by the   
above-quoted authority1 and ,i imagine  
it originally derived its name from     
being grasped with one hand at a quarter
 of its length from the middle1 and with
 the other hand at the middle4  ,thus1  
in the diagram 7,fig4 #a71 if ,a ,e     
represents a quarter-staff eight feet   
long1 divided into four equal two-foot  
lengths at the points ,b1 ,c1 and ,d1   
the idea would be to grasp it with the  
right hand at ,d and with the left hand 
at ,c2 or1 if the player happened to be 
left-handed1 to grasp it with the left  
hand at ,b and with the right hand at   
,c4   ,illustration3 ,fig4 #a4   ,this  
method of holding the quarter-staff may 
be well enough in certain cases1 but it 
seems to me that1 for rapid attack and  
defence1 the hands should be about three
 feet apart3 at ,d and ,m1 half way     

between ,b and ,c2 or at ,b and ,n1 half
 way between ,c and ,d4  ,of course a   
great deal depends upon the height and  
strength of the player1 but1 with the   
hands at a distance of three feet or so 
apart1 it stands to reason you have a   
greater command over the ends of the    
staff than you have if they are only two
 feet apart1 and that you can           
consequently come quicker into hanging  
guard positions1 and more easily defend 
yourself from short upper strokes and   
from points than you can when you have  
less command over your weapon4          
,illustration3 ,fig4 #b4--,on guard4    
,before proceeding to the more technical
 portions of quarter-staff play1 let me 
say that it is better to bar points in a
 friendly bout1 for the weight of a     
stick1 if only a bamboo cane1 of eight  
feet long1 is so great1 that it is an   
easy matter to break a collar-bone or   
rib with a rapid thrust4 ,in any case1  
remember to be well padded and to have a
 good iron-wire broad-sword mask on     

before engaging in a bout4  ,in dealing 
with the cuts and thrusts which may be  
made with the quarter-staff1 we cannot  
do better than consider the ordinary    
broad-sword target4  ,in the            
accompanying diagram are marked the     
ordinary broad-sword cuts #a to #d1 #b  
to #c1 #c to #b1 #d to #a1 #e to #f1 #f 
to #e1 and #g to #j1 the centre of the  
target4   ,illustration3 ,fig4 #c4      
,now1 we observe that the guards for    
these cuts must be such as to ward off  
the blows in the easiest manner and with
 as rapid return as possible to the     
attacking position4  ,with the          
quarter-staff in the hands of a         
right-handed man1 the first cut would be
 from #b to #c1 and the guard for this  
would be with the staff held in the     
direction of c to d4 ,similarly1 for cut
 two1 from #a to #d1 the guard would be 
from a to b4  ,it must be borne in mind 
that this second cut1 from #a to #d1 is 
generally delivered with what ,i shall  
call the butt of the staff1 i4e4 with   

that end which is nearest the right     
hand1 in the case of a right-handed man2
 and that cut one1 from #b to #c1 would 
be delivered with the butt in the case  
of a left-handed man4  ,the two guards  
above illustrated will almost cover any 
attack1 but not quite4   ,illustration3 
,fig4 #d4--;,first ,hit4   ,on examining
 ,fig4 #h it will be seen that the guard
 for the first cut1 viz4 that from #b to
 #c on the target1 is indicated by the  
position of the staff cd or cd4 ,the    
guard cd meets the three cuts #f to #e1 
#b to #c1 and #g to #j1 but is not      
sufficient to protect you against cut #d
 to #a4  ,similarly the guard cd answers
 the purpose as far as cuts #d to #a1 #f
 to #e1 and #b to #c are concerned1 but 
fails to ward off cut #g to #j2 and the 
same remarks apply to the other side of 
the target1 where ab and ab represent   
the staff4  ,of course the two guards in
 ,fig4 #e may be so used as to meet all 
requirements1 but it is1 to my thinking1
 far preferable to thoroughly master the

 four as represented in ,fig4 #i4 ,so   
doing will give increased command over  
the staff1 and will not in any way      
detract from speed or general           
efficiency4   ,illustration3 ,fig4 #e   
,it will be observed that in the        
sketches of guard #a and guard #b1      
,figs4 #f and #g1 the staff is1 in each 
case1 too perpendicular for cut #g to   
#j2 they represent the positions of the 
combatants when using guards ab and cd  
in ,fig4 #h4  ,i would therefore advise 
attention to the following diagram1     
which includes the guards1 four in      
number1 which are really sufficient for 
all hits which can be made with the     
quarter-staff4  ,the lines intersecting 
the circumference of the circle show the
 inclinations of the staff for guarding 
all the cuts which can be made4  ,we now
 turn to the question of position4 ,in  
quarter-staff play it is usual for a    
right-handed man to stand with his left 
foot in advance of the right1 as in     
boxing or bayonet exercise1 and with his

 toe pointing straight in the direction 
of his adversary1 as in ,fig4 #b4 ,it   
is1 however1 often very advisable to    
advance the right foot suddenly to the  
front when bringing the butt of the     
staff to play on the left side of the   
enemy's head or body4 ,as regards points
 it is well to lunge out1 as one does   
when making a left-handed lead-off in   
boxing1 so as to gain somewhat in the   
reach4   ,illustration3 ,fig4           
#f4--;,first guard4  ,illustration3     
,fig4 #g4--,second guard4               
,illustration3 ,fig4 #h4   ,points1     
which1 as before hinted1 should be used 
with care in friendly bouts1 are        
generally made with the point of the    
staff1 but may also be effected with the
 butt2 and this is the case when the    
combatants have come to rather close    
quarters4  ,at quarter-staff play the   
men should be started by the ,master of 
,ceremonies at a distance of ten or     
twelve feet apart1 and when they get to 
close quarters1 or at rough play1 they  

should be immediately separated1 as this
 is a game at which feeling is apt to   
run somewhat high--occasionally4        
,always remember1 when guarding points1 
to do so with that portion of the staff 
which lies between your hands4 ,this    
portion really corresponds with the     
forte of a sword or stick4 ,if you have 
learned fencing with the foils it will  
be of the greatest possible advantage to
 you1 for you will then understand how  
slight an effort brought to bear on the 
foible of your opponent's staff--in this
 case it will be somewhere within two   
feet of the end--will suffice to turn   
aside the most vigorous thrust4         
,illustration3 ,fig4 #i4--,second hit4  
,it may not be out of place to add that 
any man who has gone through any sort of
 apprenticeship in fencing--either with 
foils or single-sticks--will not fail1  
when a quarter-staff is put into his    
hands1 to know what to do with his      
weapon4 ,he may1 at first1 feel awkward1
 and the length of the staff may hamper 

him and its weight fatigue him1 but he  
will1 with his knowledge of general     
principles1 very soon get into the work 
and enjoy it4   ,illustration3 ,fig4    
#aj4--,point4   ,though the staves used 
are often made of light bamboo cane1 one
 may get very severe hits and prods1 so 
it is as well1 before engaging in an    
encounter1 to have 7a7 a good mask1 such
 as broad-swordsmen wear2 7b7 a thick   
jacket of stout leather1 with a high    
collar2 7c7 boxing-gloves on both hands2
 7d7 a good pad for the middle of the   
body1 from waist to knee2 and 7e7       
cricket pads for both legs1 which are   
apt to come in for nasty jars on or     
about the knee4 ,never on any account   
try to dispense with the pads--they may 
save you from permanent injury2 and do  
they not add to your good health by     
promoting a beneficial opening of the   
sweat-glands8  ,in quarter-staff1 as in 
stick-play1 broad-sword exercise1       
fencing1 etc41 it is better to sink down
 with the knees bent1 for in this       

position you present a smaller area for 
your opponent to strike at than you do  
when quite erect4  ,in leading off it is
 better to slide the hand which is at ,m
 or ,n 7see ,fig4 #aa7 down to the hand 
which is at ,d or ,b2 you then gain     
several feet of reach added to your     
lunge out2 only be careful to recover   
quickly1 and get the hand you have thus 
moved back to its former position4      
,advancing and retreating are effected  
much in the same way as in bayonet      
exercise2 viz4 for the advance1 move the
 left foot swiftly forward in the       
direction of your opponent for a        
distance of1 say1 eighteen inches or two
 feet1 following this up with the right 
foot for the same distance1 so that the 
same relative positions are maintained2 
for the retreat1 move the right foot    
back the required distance and follow up
 with the left foot4  ,in speaking of   
the retreat1 it must be mentioned that1 
from the great length of the staff1 you 
cannot1 very often1 get out of the way  

by the ordinary retreat1 as above       
described1 but may have to make an      
undignified jump back for five or six   
feet1 to avoid a quick return or1       
possibly1 an unexpected lead-off4 ,in a 
stiff bout this jumping1 with all the   
heavy impedimenta indispensable to the  
game1 takes it out of one considerably1 
and1 on this account1 it is a first-rate
 exercise for any man who may wish to   
get into good training4   ,illustration3
 ,fig4 #aa4--;,first hit1 with slide4   
,the most common mistake learners of the
 quarter-staff make is that they try    
very long sweeping hits1 which are      
easily guarded1 instead of shorter and  
sharper taps1 which run up points and   
are much more scientific4  ,your        
sweeping hit may be likened to the      
hook-hit at boxing1 for it lays open    
your weak points and leaves you for an  
instant in a position from which there  
is a difficulty in recovery4  ,in all   
these games be well pulled together4    
,watch a good fencer1 either with the   

foils or with the sticks2 see how seldom
 his point wanders far from the lines of
 attack1 and how quick he is with the   
returns6 ,you cannot guard and return   
with any sort of effect if you go in for
 ugly sweeping hits or hard heavy       
guards4  ,the heavy hit may come off    
occasionally1 the clumsy guard may turn 
the point1 but why misdirect energy8 ,it
 is surely unnecessary to put forth     
great muscular effort when you know that
 the strength of a small child1 if      
properly applied1 is ample to put aside 
the most powerful thrust or the heaviest
 cut4  ,if quite unacquainted with      
fencing1 broad-sword1 stick-play1 or    
bayonet-exercise1 never be tempted into 
a bout with the quarter-staff4 ,no one  
should ever go in for this game without 
previous knowledge4  ,my own idea is    
that learning fencing with the foils    
should precede all the above-named      
exercises1 for in this way a delicacy of
 touch and nicety in the matter of      
guarding are acquired1 which may lay a  

really good foundation4  ,nearly all    
first-rate stick-players have served    
their apprenticeship with the foils1    
and1 where this education has been      
omitted1 one may generally detect the   
ugly carving-knife-and-fork style1 so   
unpleasant to watch4 ,whereas with a    
good fencer--foiler perhaps ,i should   
say--everything is done with neatness1  
whether he has in his hand a            
single-stick1 a cutlass1 or the leg of  
an old chair4  ,so that it comes to     
this3 ,we seek the aid of the newest and
 most delicate weapon of attack and     
defence--the small-sword--to teach us   
how to properly make use of the most    
ancient and clumsy of all weapons--the  
time-honoured quarter-staff6            
,,chapter ,,iii4  ,,the ,,broad-,,sword4
    ,but swords ,i smile at1 weapons    
laugh to scorn1   ,brandish'd by man    
that's of a woman born4    ,macbeth1    
,act ,v41 ,scene vii4   ,,general4  ,in 
the early stages of the world's history 
our very remote ancestors were          

unacquainted with the art of forging    
instruments and weapons from metals2    
they were not even aware of the         
existence of those metals1 and had to   
content themselves with sharpened flints
 and other hard stones for cutting      
purposes4 ,many of these weapons were   
fashioned with considerable skill1 and  
give evidence that even in the dark days
 of the ,stone ,age men had a good idea 
of form and the adaptation of the       
roughest materials to suit the          
particular purpose they had in view4    
,to take an example from the most common
 forms--the spear and javelin-heads     
which are found along with the bones and
 other remains of the cave bear4 ,these 
are admirably designed for entering the 
body of any animal2 for1 though varying 
greatly in size1 weight1 and shape1 the 
double edge and sharp point render them 
capable of inflicting severe wounds1 and
 of entering into the flesh almost as   
easily as the point of a modern sword4  
,as good specimens of these early       

spear-heads fetched high prices1 finding
 them was at one time quite a           
profession1 like finding bullets1 etc41 
on the field of ,waterloo4 ,forgeries   
became common1 and in many cases the    
imitations were so perfect that the most
 experienced antiquary was often puzzled
 to pick out the genuine article when   
placed next to the spurious4  ,for the  
benefit of those who take an interest in
 this branch of research1 it may be     
mentioned that the museum at ,salisbury 
is full of excellent specimens both of  
true spear-heads and the copies made to 
meet the demand1 and ,i may fairly say  
that the ordinary observer would be     
utterly incapable of distinguishing the 
slightest difference between the two4   
,the genus cutting instrument1 then1 has
 for its archetype the sharp flint1     
which was fashioned by dint of hard     
labour in the very early days of man's  
existence on the face of the earth4     
,when metals were discovered and their  
malleability had been tested by the     

application of fire1 not only spear and 
javelin-heads were formed from the new  
material1 but short swords1 consisting  
entirely of metal1 were first           
constructed2 and this departure marked a
 new era in the civilization of the     
world1 termed by geologists and         
antiquarians the ,bronze ,age4  ,in a   
very short treatise on a cut-and-thrust 
weapon like the broad-sword1 it would be
 out of place to enter into any         
speculations as to the probable dates at
 which the stone1 the bronze1 and the   
iron ages commenced their respective    
epochs4 ,it seems sufficient to give the
 order and to mention a few of the early
 weapons with which we are acquainted1  
either through actually finding them1 or
 by seeing representations of them on   
early works of art1 such as             
alto-relievos or frescoes4  ,one of the 
earliest forms of sword was the         
leaf-shaped blade of the early ,greeks4 
,it properly belongs to the ,bronze     
,age1 as it is found amongst the human  

remains of that period4 ,it was a short1
 heavy-bladed weapon1 with sharp point  
and double edge1 used1 it appears from  
ancient monuments1 for cutting purposes4
   ,illustration3 ,fig4 #ab4--;,early   
,greek sword4   ,no doubt the weight of 
the blade1 increased by the heavy deep  
ridge running almost from point to hilt1
 made it very serviceable for cutting1  
but it seems more than probable that the
 point was also used1 and that the idea 
of the edge was handed down to us       
because the ancient sculptor or         
delineator1 in his battle-piece         
representations1 placed the swordsman in
 the most spirited positions he could   
think of4 ,a figure in the act of       
delivering a slashing cut1 say cut #a or
 cut #b1 looks much more aggressive and 
eager for the fray than a similar figure
 about to give the point4  ,i only      
advance this as a suggestion1 for it    
seems hard to believe that people who   
must have been well acquainted with the 
use of the point at the end of a pole or

 staff--as in the case of the spear1    
which was the very earliest form of     
thrusting weapon--should abandon it when
 they came to the sword4  ,be this as it
 may1 there is no doubt that the short  
,roman sword1 which was practically a   
large heavy dagger1 sharp-pointed1      
double-edged1 and straight-bladed1 was  
extensively used for thrusting4 ,for    
cutting purposes1 however1 it could not1
 from the absence of curve in the edge  
of the blade1 have been equal to the    
early ,greek weapon4   ,illustration3   
,fig4 #ac4--,short ,roman sword4   ,when
 iron began to play a prominent part in 
the construction of articles requiring  
hardness1 strength1 and durability1 a   
great stride was made in the production 
of war-like weapons1 and it was then    
very soon discovered that ordinary      
forged iron was too soft and easily     
bent1 and it was not until the art of   
tempering began to be roughly understood
 that iron1 or more correctly speaking  
steel1 swords were brought to a degree  

of perfection sufficient to entitle them
 to a higher place than their bronze    
predecessors4  ,it is believed that the 
,egyptians had some method of tempering 
their bronze chisels1 which is now      
numbered amongst the lost arts2         
otherwise1 how could they have carved   
the head of the ,sphinx and innumerable 
other works out of the intensely hard   
stone of which so many of their         
monuments are cut8  ,the modern sword   
blade is constructed of steel1 tempered 
so as to suit the particular kind of    
work for which it is intended4          
,mechanical invention has not1 says the 
,encyclopdia ,britannica1 been able to  
supersede or equal handwork in the      
production of good sword blades4 ,the   
swordsmiths' craft is still1 no less    
than it was in the ,middle ,ages1       
essentially a handicraft1 and it        
requires a high order of skill4 ,his    
rough material is a bar of cast and     
hammered steel1 tapering from the centre
 to the ends2 when this is cut in two   

each half is made into a sword4 ,the    
'tang1' which fits into the handle1 is  
not part of the blade1 but a piece of   
wrought iron welded on to its base4     
,from this first stage to the finishing 
of the point it is all hammer and anvil 
work4 ,special tools are used to form   
grooves in the blade1 according to the  
regulation or other pattern desired1 but
 the shape and weight of the blade are  
fixed wholly by the skilled hand and eye
 of the smith4 ,measuring tools are at  
hand1 but are little used4 ,great care  
is necessary to avoid over-heating the  
metal1 which would produce a brittle    
crystalline grain1 and to keep the      
surface free from oxide1 which would be 
injurious if hammered in4 ,in tempering 
the blade the workman judges of the     
proper heat by the colour4 ,water is    
preferred to oil by the best makers1    
notwithstanding that tempering in oil is
 much easier4 ,with oil there is not the
 same risk of the blade coming out      
distorted and having to be forged       

straight again 7a risk1 however1 which  
the expert swordsmith can generally     
avoid72 but the steel is only           
surface-hardened1 and the blade         
therefore remains liable to bend4       
,machinery comes into play only for     
grinding and polishing1 and to some     
extent in the manufacture of hilts and  
appurtenances4 ,the finished blade is   
proved by being caused to strike a      
violent blow on a solid block1 with the 
two sides flat1 with the edge1 and      
lastly with the back2 after this the    
blade is bent flatwise in both          
directions by hand1 and finally the     
point is driven through a steel plate   
about an eighth of an inch thick4 ,in   
spite of all the care that can be used1 
both in choice of materials and in      
workmanship1 about forty per cent4 of   
the blades thus tried fail to stand the 
proof and are rejected4 ,the process we 
have briefly described is that of making
 a really good sword2 of course plenty  
of cheaper and commoner weapons are in  

the market1 but they are hardly fit to  
trust a man's life to4 ,it is an        
interesting fact that the peculiar skill
 of the swordsmith is in ,england so far
 hereditary that it can be traced back  
in the same families for several        
generations4  ,the best ,eastern blades 
are justly celebrated1 but they are not 
better than the best ,european ones2 in 
fact1 ,european swords are often met    
with in ,asiatic hands1 remounted in    
,eastern fashion4 ,the 'damascening' or 
'watering' of choice ,persian and       
,indian is not a secret of workmanship1 
but is due to the peculiar manner of    
making the ,indian steel itself1 in     
which a crystallizing process is set up2
 when metal of this texture is forged   
out1 the result is a more or less       
regular wavy pattern running through it4
 ,no difference is made by this in the  
practical qualities of the blade4  ,the 
above-quoted description1 though short  
and superficial1 is sufficient to       
indicate some of the chief difficulties 

of the swordsmith's art1 and it sets one
 thinking1 too1 as to the various uses  
to which cutting instruments are put1   
and gradations of hardness1 from the    
high temper of razors and certain       
chisels to the low temper of hunters'   
and sailors' knives1 which should always
 be of rather soft steel1 for they are  
sharpened more easily1 and the saw-like 
edge is better suited for cutting flesh1
 ropes1 etc41 than a very fine edge     
would be4  ,a comparatively soft steel  
does well enough for the heavy cutlass  
used for cutting lead or dividing a     
sheep1 and the edge1 though sharp and   
keen1 need not1 and1 indeed1 cannot1    
approach the razor-edge necessary for   
cutting a silk pocket-handkerchief or a 
feather4  ,every edge1 when closely     
examined by a microscope1 presents a    
more or less saw-like and jagged        
appearance4 ,it is merely a question of 
degree1 and1 in a sword to be used for  
ordinary cutting and thrusting1 you want
 to secure hardness sufficient to       

produce a good edge and an instant      
return to its former shape after any    
reasonable bending1 and you want to     
avoid anything like brittleness or      
liability to snap4 ,if the disposition  
of the molecules is such as to give too 
great hardness1 the blade1 though       
capable of taking a fine edge1 will     
probably snap1 or the edge will crack   
and shiver on meeting any hard obstacle4
 ,for example1 if you put razor steel   
into a cutlass1 and then try to cut     
lead1 the blade will either snap off or 
the edge will break away in large       
pieces4 ,if1 on the other hand1 you make
 the blade of too soft steel1 the edge  
will be readily dented or turned on one 
side4  ,though there are wonderful      
reports of the excellence of ,eastern   
blades manufactured at ,damascus1 it is 
probable that ,european work was quite  
as good1 and that the tempering of steel
 was quite as well understood at        
,toledo1 in ,spain1 where1 in the       
sixteenth and seventeenth centuries1    

splendid rapiers were produced4 ,it     
seems highly probable that the rapier   
was an extension or refinement of the   
earlier heavy cut-and-thrust sword1     
because1 though the superior value of   
the point was beginning then to assert  
itself1 there was an evident attempt to 
preserve in the rapier the strength and 
cutting properties of the long straight 
sword of a previous time4  ,the ,italian
 and ,spanish rapiers were sometimes of 
great length1 three feet or three feet  
six inches and more in the blade1 and   
they were often beautifully finished1   
the work of the hilts being frequently  
both elaborate and costly4 ,the blade   
itself1 which was double-edged and      
inclined to be flat1 tapered gradually  
from hilt to point1 and was strengthened
 by a ridge running almost its entire   
length4  ,the ,french duelling-sword of 
modern days is sometimes spoken of as a 
rapier2 but this is incorrect1 as the   
popular ,gallic dispute-settler is      
three-sided1 and is1 as it has no edge1 

exclusively used for pointing4  ,for    
details of historical research1 and     
other particulars1 the reader is        
referred to ,mr4 ,egerton ,castle's work
 on the sword4   ,,the ,,modern         
,,cut-,,and-,,thrust ,,sword4  ,the word
 ,broad-sword may be taken to include   
all kinds of cut-and-thrust swords4 ,it 
is the generic term for ship's cutlass1 
infantry sword1 and heavy cavalry sabre1
 which are all cutting weapons1 and1    
though varying in length and curvature  
of blade1 can be used for pointing4     
,illustration3 ,fig4 #ad4--;,grip for   
the light cutlass4   ,the method of     
holding the broad-sword depends entirely
 upon the weight and length of the      
blade4 ,if you have a light cutlass     
weighing1 say1 about one and a half     
pound1 and measuring about thirty-four  
inches in the blade1 you may hold it in 
the same way as in single-stick play1   
viz4 with the thumb on the back of the  
hilt1 as in the sketch1 and you will    
probably find that in this way the      

guards are made with greater facility4  
,at the same time1 when guarding1 say1  
with the hanging guard 7see ,fig4 #ae71 
the thumb is liable to a severe sprain2 
and this is more particularly the case  
when the opposing blade meets the       
foible1 or half nearest the point of    
your blade1 at right angles1 or nearly  
so4  ,to be more explicit4 ,if ,a ,b ,c1
 in ,fig4 #af1 represent your blade     
lying flat on the paper1 d o the        
intersection of a plane at right angles 
to the plane of the paper and also at   
right angles to the tangent to the curve
 at the point o1 where we will suppose  
the edges of the blades to meet1 it will
 be seen at a glance that the leverage  
from o to ,c is considerable1 and that a
 great strain is thrown upon the thumb  
which is endeavouring to keep the guard 
in position4   ,illustration3 ,fig4     
#ae--,low hanging guard4   ,in this case
 the cut has been received on the       
foible1 or half of the blade nearest the
 point4 ,all guards should1 if possible1

 be made with the forte1 or half nearest
 the hilt4  ,it is important to bear in 
mind that the cut should be received    
with the guard as much as possible on   
the slant2 i4e4 you should endeavour to 
make the opponent's blade glance off    
yours at an angle such as d o4 ,the     
difficulty of bringing about this glance
 off is certainly increased by having   
the thumb on the hilt1 because your     
hanging guard--which is perhaps the most
 important and constantly recurring of  
all the guards--is apt to be higher1 so 
far as the point is concerned1 and there
 is the chance of letting in cuts #c or 
#e at the left side1 which is exposed by
 an elevated point4  ,if1 in the hanging
 guard1 the arm is well extended1 with  
the hand slightly above the level of the
 shoulder1 the point dropped well to the
 left1 and the edge turned outwards to  
the left1 as in the illustration 7,fig4 
#ae71 a very good general guard will be 
formed4 ,remember1 too1 that in all     
cuts1 points1 or guards1 the second     

knuckles of the fingers should be in a  
line with the edge4 ,the only exception 
to this rule is1 perhaps1 to be found in
 the third point1 where a shifting of   
the hand1 so as to enable the edge to be
 more completely directed upwards1 is   
sometimes recommended4   ,illustration3 
,fig4 #af--,the broad-sword4   ,the     
hanging guard1 or modifications thereof1
 is capable of warding off all cuts made
 at the left side of the head and body1 
and is also effective against cut #g4   
,then1 by bringing the hand slightly to 
the right1 with the elbow held well in  
to the right side1 it is extremely easy 
to come into the position for guarding  
cut #b4  ,we may1 ,i think1 assume that1
 on the whole1 the thumb held at the    
back of the hilt gives1 in the case of a
 very light sword1 an advantage in      
speed1 especially with short quick cuts 
and points4  ,turning to the heavy sabre
 used by the cavalry of this and other  
countries1 we observe that to keep the  
thumb on the back of the hilt would lead

 to constant sprains4 ,no man is strong 
enough to wield with effect a blade     
weighing about two and a half pounds and
 measuring little short of three        
feet--thirty-five inches is the         
regulation length of the ,british       
cavalry sabre--unless he holds it as    
indicated in ,fig4 #ag4   ,illustration3
 ,fig4 #ag4--;,grip for the heavy sabre4
   ,most cuts made with the heavy sword 
are more sweeping in their nature1 more 
swinging1 so to speak1 than the short   
quick cuts which can be effected with   
the lighter and more handy weapon2      
indeed1 it is only to be expected that  
the weight of the blade and length of   
the sweep should give great force to the
 sabre2 but it must not be forgotten    
that what is thus gained in power is    
lost in speed1 and that in nine cases   
out of ten a well-directed point would  
be immeasurably superior both in speed  
and effect than the most sweeping cut4  
,such very different weapons are        
required to be thoroughly effective in  

different circumstances4 ,a light1      
thin-bladed sword1 though admirable for 
a man on foot1 would not be of nearly so
 much use to a cavalry man1 whose       
slashing cut through shield or helmet   
renders weight an absolute necessity4   
,the light blade might be brought to    
bear with all the speed and force of the
 strongest man1 but would be of no avail
 in those cases where hard1 dense1 and  
heavy substances have to be cut through4
  ,a fly may dash against a pane of     
plate-glass with the utmost speed and   
yet fail to break the glass2 but a      
cricket-ball thrown with a tenth part of
 the velocity will smash the window to  
pieces4 ,this is only an analagous case1
 which indicates very fully the         
existence of the two factors in the     
vis-viva necessary to produce a certain 
result4  ,if you get your blade too     
light it will not be serviceable for    
heavy-cutting work1 whatever the speed  
of the cut2 and if you get the blade too
 heavy1 it will be impossible to use it 

effectively on account of its weight4   
,everything depends upon what a sword is
 expected to do2 and in selecting a     
blade this cannot be too carefully borne
 in mind4  ,the ,easterns have not1 and 
indeed never had1 any idea of using the 
point2 but they are far and away our    
superiors at edge work1 and their curved
 scimitars are admirably adapted for    
effective cutting1 because the edge1    
meeting the object aimed at on the      
slant1 has great cutting or slicing     
power4  ,this brings us to the most     
important matter in connection with     
cutting weapons--the draw4  ,if you take
 a razor in one hand and hit the palm of
 the other hand a smart blow with the   
edge1 no harm will be done2 but if you  
vary this hit1 by making it lighter and 
putting the slightest possible draw into
 it1 a cut will be the result1 and blood
 will flow freely4 ,that is to say1     
anything like drawing the edge along the
 skin will produce a cut4  ,turn to the 
case of the scimitar4 ,it will be seen  

that the curved form of the blade from  
hilt to point renders it impossible for 
a sweeping cut1 given with the arm      
extended its full length and with the   
shoulder as centre of the circle1 which 
the hand traces out in making the cut1  
to be other than a draw1 because the    
edge must meet the object to be severed 
on the slant4   ,illustration3 ,fig4    
#ah4--,the scimitar4   ,excellent       
examples of this kind of cutting are to 
be found in the circular saw and the    
chaff-cutting machine4  ,but this is not
 the case with a nearly straight-bladed 
broad-sword1 which requires what may be 
termed an artificial draw1 either       
backward or forward1 in order that the  
cut may have its full effect4 ,of course
 the draw back is by far the most common
 form of the draw2 and on reference to  
the accompanying sketch 7,fig4 #ai7 it  
will be seen that the edge1 if the hand 
retains its position throughout the     
entire sweep1 on the circumference of   
the circle ,b ,d1 will meet the object  

to be cut simply as a hit1 and not as a 
cut4 ,this is just what we want to      
avoid4   ,illustration3 ,fig4 #ai4      
,suppose the cut is being made parallel 
to the plane of the paper1 and that the 
hilt of the sword is1 in the first part 
of the sweep1 moving on the             
circumference of the circle from ,b to  
,d4 ,suppose1 too1 that the edge first  
meets the obstacle to be cut at the     
point n4 ,then slightly before n is     
reached the draw should commence1 the   
hand coming into position at ,f1 and the
 point n being necessarily drawn down to
 n by the time the object has been      
severed4 ,that is to say1 the portion of
 the blade between m and n will have    
been made effective in the drawing cut1 
the point n having travelled in the     
direction of the dotted lines till it   
arrives at n4  ,the point n is taken at 
random3 it might be nearer the hilt or  
nearer the point1 according to the      
distance of the object aimed at4 ,it may
 also be observed that the draw might   

continue during the entire sweep from ,b
 to ,f1 but a very slight consideration 
will show clearly the advantage of      
keeping the arm fully extended until the
 edge is quite close to the object1 as1 
by this means1 the reach is increased   
and the power of the cut gains          
considerably4 ,the dynamical proof of   
this latter advantage would take up too 
much space1 and ,i regret that it is    
rather outside the scope of this little 
work4  ,no matter how extended the arm  
may be when commencing the cut--and the 
more extended the better in the case of 
a long heavy sword--the draw should     
always come in towards the end of the   
sweep1 the first part of which is merely
 intended to give the required impetus  
to the effective portion of the cut4    
,how is it that an apple or potato can  
be divided by a straight cut when placed
 in the folds of a silk                 
pocket-handkerchief1 which remains      
uninjured8 ,simply because there is a   
complete absence of draw1 and the apple 

or potato is broken or split in two1    
much as the flesh is indented by the    
edge of the razor whilst the skin       
escapes without the slightest mark4  ,in
 cavalry charges1 etc41 our soldiers too
 often forget that they have in their   
hands pointing and cutting weapons1 and 
make slashing hits1 which lead to a     
large percentage of broken blades4 ,i   
should myself always place the point    
before the edge1 as it is quicker and   
far more deadly2 but as there are       
numerous instances where cutting is     
necessary1 it is as well to remember    
that a mere hit with the true edge of a 
straight-bladed sword is little better  
than a blow from a heavy stick having an
 oval section4  ,this brings us to      
another very important part of the      
subject1 viz4 the consideration of the  
best form of weapon for ordinary        
practice4  ,to many it may seem that in 
these few pages on swordsmanship the    
cart has been placed before the horse1  
and that a discussion on cuts and guards

 should have preceded the somewhat      
intricate questions we have been        
considering4 ,i have1 however1 thought  
it advisable to leave what may be termed
 the drudgery to the end of the chapter1
 in the hope of thereby creating a more 
lively interest in the subject4 ,it     
must1 nevertheless1 be remembered that1 
to attain to any sort of proficiency    
with the sword1 a long apprenticeship   
must be served4  ,though stick-play is  
invaluable as an aid to work with the   
sword1 it may be remarked that there are
 two reasons1 and those important ones1 
why the single-stick should not be first
 placed in the hands of the beginner1   
and why it should never altogether usurp
 the place of the more lethal weapon4   
,the reasons are--  7a47 ,the stick is  
very light1 and short smart hits can be 
made1 which are impossible with a sword4
  7b47 ,the hit with the stick is really
 a hit1 and there need be no draw1      
which1 as already explained1 is so      
important in sword-play4  ,to these may 

be added a third reason4 ,with the stick
 there is always the temptation not to  
cut with the true edge1 and it is very  
hard to detect faults in this           
direction--faults which are hard to     
cure1 and which may quite spoil good    
swordsmanship4  ,remembering1 then1 that
 every cut and guard must be made with  
the true edge1 and with the second or   
middle knuckles of the fingers in the   
direction of the edge1 a navy cutlass   
may be placed in the beginner's hand1   
and he may be gradually taught all the  
cuts and guards by means of the target1 
a sketch of which is here given4        
,illustration3 ,fig4 #bj4--,the target4 
,in the manual on sword-exercises at    
present in use in the army1 it is stated
 that there are four cuts and four      
guards1 so arranged for the sake of     
clearness1 though practically there are 
only two cuts--from right to left and   
from left to right1 high and low--and   
two guards1 one a variation of the      
'hanging' or 'engaging guard1' formed   

high or low1 right or left1 according to
 the part attacked1 and the other the   
'second guard1' where the point of the  
sword is necessarily directed upwards1  
to guard the right cheek and shoulder4  
,this is very brief1 and1 to my mind1   
the effort to be concise has tended to  
somewhat confuse4 ,it may1 however1 be  
well enough for the army1 where there   
are plenty of instructors ready to      
explain the meanings of terms1 etc4 ,for
 ordinary beginners it is certainly     
better to take the old target and       
thoroughly master the seven cuts and    
three points1 with the corresponding    
guards and parries1 as by so doing the  
learner will more readily acquire a     
thorough appreciation of true           
edge-cutting4 ,the general statement    
that there are two cuts--viz4 variations
 from right to left1 and variations from
 left to right--is correct enough1 and a
 swordsman understands it2 but it is bad
 for beginners to start with loose      
notions on the subject4 ,better far     

learn all the cuts1 and learn them well1
 in the first instance4 ,by this means a
 man and his sword become one1 as it    
were1 and the point and edge of the     
weapon are in time brought so completely
 under control that they can be directed
 as easily as the pencil and brush are  
directed by the hand of a skilful       
draughtsman4  ,as the reader will have  
surmised1 the lines drawn through the   
centre of the circle indicate the       
directions of the cuts2 but a little    
further explanation is necessary1 for it
 must not be supposed that a mere       
following of these lines with the point 
of the sword is all that is required4   
,the flat of the blade 7or1 more        
accurately1 a plane passing through the 
edge and a line drawn down the centre of
 the back of the blade from hilt to     
point7 should1 throughout the entire    
cut1 coincide with the plane            
intersecting the plane of the target at 
right angles in the particular line in  
which the cut is being made4  ,careful  

attention to this will ensure cutting   
with the true edge1 and1 in the first   
instance1 all the cuts should be made   
slowly and deliberately1 so that errors 
may be instantly corrected4 ,this may be
 somewhat tedious to the impetuous      
learner1 but it really saves time in the
 end4  ,the target should be hung up on 
a wall with the centre about the height 
of a man's shoulder from the ground4    
,directly below the centre a straight   
line should be drawn on the ground from 
the wall1 and at right angles to it4    
,the beginner should be stationed on    
this line in the position of ,attention1
 at about nine or ten feet from the     
wall1 so that when he comes into the    
first position of the exercise his right
 foot may be on the line1 and may point 
directly towards the wall4              
,instructions as to drawing swords1     
etc41 will be given later on with the   
,extension ,motions and rules for loose 
play 7vide p4 #dd74 ,at this stage it   
may possibly be less confusing to merely

 give the following positions1 leaving  
to the concluding portions of the       
chapter a few amplifications which may  
materially assist the swordsman when he 
has begun to take a genuine interest in 
the subject4  ,attention4--,having taken
 the cutlass in the right hand1 stand   
facing the target1 body and head erect1 
and the heels close together and meeting
 at an angle of sixty degrees on the    
line drawn from the wall4  ,with the    
sword hand in front of1 and on a level  
with1 the elbow1 which should be close  
to the body1 and with the blade pointing
 perpendicularly upwards with the edge  
to the front1 you will be in the        
position of ,carry swords4 ,now relax   
the grasp of the last three fingers1    
and1 without altering the position of   
the hand1 let the back of the blade fall
 on the shoulder half-way between the   
neck and the point of the shoulder4     
,this forms the position of ,slope      
swords1 with which the exercise begins4 
,first ,position4--,bring the right heel

 before the left2 feet at right angles1 
right foot pointing towards target2     
shoulders square to left1 and weight of 
body chiefly resting on left leg4       
,second ,position4--,bend both knees1   
keeping them well apart1 without raising
 the heels or altering the erect        
position of the body4 ,step out with the
 right foot along the line for about    
eighteen or twenty inches straight in   
direction of the target1 still retaining
 most of the weight of the body on the  
left leg4  ,third ,position4--,step out 
still further along the line--about a   
yard or so 7according to the height of  
the individual7--keeping the shin-bone  
as nearly as possible perpendicular to  
the instep4 ,the left leg should be     
straight and the left heel should not   
leave the ground4 ,the heels should be  
both on the line1 and the shoulders     
should be square to the left2 i4e4 the  
right shoulder should be well extended  
and the left held back4 ,the weight is  
now1 of course1 principally on the right

 leg4  ,at the word ,attention1 then1   
the pupil should come into the position 
of ,slope swords1 already described4    
,prepare for ,sword ,exercise4--,turning
 on the heels1 come into the first      
position1 with the left forearm well    
behind the back and the hand closed4    
,right1 ,prove ,distance4--,bring the   
upper part of the hilt of the sword on a
 level with the mouth1 blade pointing   
perpendicularly upwards1 edge to the    
left1 and the elbow close to the side4  
,this forms the position ,recover       
swords4 ,now extend the arm to the      
right1 and lower the blade in a         
horizontal position straight out from   
the right shoulder1 edge to the rear1   
shoulders square to the front1 and the  
head and eyes turned to the right in the
 direction in which the sword is        
pointing4  ,return to the position      
,slope swords4  ,front1 ,prove          
,distance4--,recover swords as before1  
and1 extending the arm with the point of
 the sword directed towards the centre  

of the target1 step out into the third  
position1 taking care that the edge is  
towards the right4  ,return to the      
position ,slope swords4  ,in proving    
distance ,right and ,front1 the         
forefinger and thumb may be stretched   
along the handle of the hilt1 the thumb 
being on the back and the pommel of the 
hilt in the palm of the hand4           
,assault4--,come into ,first ,position2 
raise the right arm to the front with   
the wrist opposite ,no4 #a and the elbow
 rather bent1 and inclining towards the 
centre of the target1 the back of the   
blade1 near the point1 resting on the   
shoulder1 with the edge inclined to the 
right4  ,cut ,one4--,with an extension  
of the arm direct the cut diagonally    
from ,no4 #a to ,no4 #d 7remembering in 
this1 and all the following cuts1 to use
 the true edge71 and as the point clears
 the circle1 turn the knuckles upwards1 
continuing the sweep of the sword until 
the point comes to the rear of the left 
shoulder1 with edge to the left and the 

wrist opposite ,no4 #b4  ,cut           
,two4--,now cut diagonally from left to 
right from ,no4 #b to ,no4 #c4 ,continue
 the motion till the arm is extended to 
the right1 on a level with the shoulder1
 edge to the rear4  ,cut ,three4--,now  
turn the wrist so that the knuckles and 
edge face to the front1 and cut         
diagonally upwards from ,no4 #c to ,no4 
#b1 and continue the sweep until the    
wrist rests in the hollow of the left   
shoulder1 with the point of the sword   
pointing upwards and the edge to the    
rear2 turn the wrist so that the edge   
faces to the front1 and drop the point  
until the blade is in the position for  
the next cut4  ,cut ,four4--,cut        
diagonally upwards from ,no4 #d to ,no4 
#a until the blade is nearly            
perpendicular1 edge and knuckles to the 
rear4 ,bring the arm1 still fully       
extended1 to the position of ,right1    
prove distance1 and turn the wrist so   
that the knuckles and edge face to the  
front1 the blade being horizontal and on

 a level with the shoulders4  ,cut      
,five4--,cut horizontally from ,no4 #e  
to ,no4 #f4 ,the edge will now be to the
 left and the point to the rear1 over   
the left shoulder4  ,cut ,six4--,turn   
the wrist so that knuckles and edge face
 to the front1 and cut horizontally from
 ,no4 #f to ,no4 #e4 ,continuing the    
sweep until the hand is nearly over the 
head and in the direction of ,no4 #g1   
the sword being on the same line over   
the head1 point lowered to the rear1 and
 the edge directed vertically upwards4  
,cut ,seven4--,cut vertically downwards 
from ,no4 #g to the centre of the       
target1 and remain with the arm         
extended4  ,first ,point4--,turn the    
wrist1 with the edge of the sword       
upwards1 to the right4 ,bring the hand  
upwards on a level with the eyes1 elbow 
bent and raised1 the point of the sword 
directed towards the centre of the      
target1 and the left shoulder advanced4 
,now1 by an extension of the arm1       
deliver the point smartly to the front1 

with the edge of the sword still        
inclined upwards to the right and the   
point accurately directed to the centre4
 ,the right shoulder should now be well 
advanced and the left drawn back--this  
motion of the shoulders being applicable
 to all the points4  ,second            
,point4--,turn the edge upwards to the  
left1 draw the elbow close to the body  
and let the wrist be as high as1 and in 
front of1 the left breast4 ,now deliver 
the point1 as before directed1          
accurately towards the centre of the    
target1 the wrist inclining towards ,no4
 #b4  ,third ,point4--,draw in the arm  
till the inside of the wrist touches the
 right hip1 the edge being raised       
upwards to the right1 the left shoulder 
slightly advanced and the hips well     
thrown back4 ,now deliver the point     
accurately towards the lowest point on  
the target1 the edge being carefully    
directed upwards to the right throughout
 the motion4  ,guards4--,having gone    
through the cuts and points1 the pupil  

should now give his attention to the    
guards and parries4  ,a reference to    
,fig4 #bj1 in which the directions of   
the blade are indicated by means of the 
hilt and dotted lines1 will make it easy
 for the beginner to place his sword in 
the seven guarding positions which      
follow4  ,guard ,one4--,grasp the hilt  
as shown in ,fig4 #ag1 turn the edge to 
the left with the elbow held close to   
the body1 the wrist well to the front4  
,let the blade be as nearly as possible 
parallel to the direction of cut #a1 and
 let it slope in the direction of the   
target at an angle of about forty-five  
degrees with the ground3 i4e4 let the   
point in this1 and indeed all the       
guards1 be well advanced to the front4  
,guard ,two4--,turn the knuckles up1    
draw the elbow nearer the right side and
 let the edge face to the right1 and let
 the blade be parallel to cut #b4 ,in   
this guard the forearm will be more     
directly pointing towards the target4   
,guard ,three4--,turn wrist and edge to 

the left1 the hand being rather below   
the left shoulder1 and the blade        
following the dotted lines marked third 
guard4  ,guard ,four4--,bring the wrist 
and hand across the body to the right1  
edge to right and blade following dotted
 line marked fourth guard4  ,guard      
,five4--,wrist and edge to the left1    
with blade pointing vertically          
downwards4  ,guard ,six4--,wrist and    
edge to the right1 with blade pointing  
vertically downwards4 ,it will be       
observed that these two guards1 five and
 six1 are but extensions of guards three
 and four1 the difference being merely  
in the height of the hand and           
inclination of the blade4  ,guard       
,seven4--,raise the hand well above the 
level of the eyes1 so that the target   
can be seen under the wrist2 let the arm
 be extended1 the point of the sword    
dropped forward to the left and parallel
 to dotted lines marked seventh guard1  
and let the edge face vertically        
upwards4  ,it may be here again         

mentioned that with all guards and      
parries in actual practice1 the forte1  
or half nearest the hilt1 should be the 
portion of the blade which meets the    
opponent's sword when the attack is     
made4  ,left ,parry4--,let the wrist be 
drawn back to within eight or ten inches
 of the right shoulder1 the blade       
pointing in the direction of the        
perpendicular line on the target1 and   
let the edge be turned to the right4    
,now1 by a second motion1 turn the wrist
 so that the point drops to the left and
 forms a circle from left to right and  
then returns to the former position4    
,right ,parry4--,drop the point to the  
rear and form the circle from right to  
left of your body1 the sword returning  
to its position as before4  ,both these 
circular parries should be learnt and   
practised for the sake of adding to the 
strength and suppleness of the wrist2   
but for actual use it is better to turn 
the point aside by one of the simple    
guards1 remembering not to let the hand 

wander far from the line of attack4 ,in 
other words1 you should let your forte  
catch the foible of the adversary's     
blade just sufficiently to turn aside   
the point1 and then instantly give your 
point or come back to whatever guard you
 may have assumed in the first instance4
  ,some diversity of opinion exists as  
to the best ,engaging ,guard to take up4
 ,in the two ,figs41 #ba and #bb1 ,i am 
inclined to favour the former for use   
when opposed either to the small sword  
or the bayonet1 and give preference to  
the latter when facing another          
broad-swordsman4 ,in ,fig4 #ba1 it will 
be observed1 the point is well forward1 
and it is easy with a light pressure to 
turn aside the opposing point and       
instantly lunge out in the return4 ,the 
engagement is here in ,tierce1 but it   
might just as well be in ,quarte1 in    
which case the edge would be turned to  
the left instead of to the right4       
,illustration3 ,fig4 #ba4--;,engaging   
guard1 ,a4   ,at the same time1 the more

 common engaging guard1 the very low    
hanging guard in ,fig4 #bb1 has many    
merits not possessed by the other4 ,it  
will be better to constantly practise   
both these guarding positions and then  
come to a decision as to which you can  
do best in4 ,two things are certain1    
viz41 you can1 if proficient at both1   
puzzle an opponent who is at home only  
in one1 and the change of position is a 
great rest in a long succession of      
bouts4   ,illustration3 ,fig4           
#bb4--;,engaging guard1 ,b4   ,it will  
now be well to combine the cuts and     
guards1 and1 for this1 take up the      
second position in front of the target1 
and in making each cut lunge well out   
into the third position1 not allowing   
the blade to cut further than the centre
 of the target4 ,then spring back to the
 position from which you lunged and form
 the guard for the cut you have just    
made4 ,for instance1 having made cut #a 
as far as the centre of the target1     
return to the second position and form  

guard #a4 ,similarly for cut #b and all 
the other cuts4  ,in the same way make  
the points in the lunge1 in position    
three1 and the corresponding parries in 
the second position4  ,in many works on 
the subject1 the foregoing exercises are
 given with the return in each case to  
the first position instead of1 as above1
 to the second4 ,it is1 however1        
advisable to accustom yourself as much  
as possible to rapid returns from the   
lunge to the engaging position in which 
you habitually face an opponent4 ,the   
change from position one to position    
three involves a long stretch out1 and  
the return is1 of course1 harder than   
the return to position two1 and1 for    
this very reason1 it is well to practise
 the exercises from both initial        
positions--one and two4   ,illustration3
 ,fig4 #bc4--,point1 with lunge4   ,at  
the risk of being considered            
old-fashioned1 ,i have given the sword  
exercise with seven cuts and three      
points1 with corresponding guards and   

parries1 and it is my conviction that   
the beginner will do well to follow the 
advice given on p4 #cd4  ,the following 
instructions are taken from the ,manual 
on the ,infantry ,sword1 now used in the
 army4   ,,instructions ,,for ,,drawing 
,,the ,,sword 7,,long74  ,draw          
,swords4--,take hold of the scabbard of 
the sword1 with the left hand below the 
hilt1 which should be raised as high as 
the hip1 then bring the right hand      
smartly across the body1 grasping the   
hilt and turning it at the same time to 
the rear1 raise the hand the height of  
the elbow1 the arm being close to the   
body4  ,two4--,draw the sword from the  
scabbard1 the edge being to the rear1   
and lower the hand until the upper part 
of the hilt is opposite the mouth1 the  
blade perpendicular1 edge to the left1  
elbow close to the body1 which forms the
 position ,recover swords4              
,three4--,bring the sword smartly down  
until the hand is in front of the elbow 
and little finger in line with it1 the  

elbow close to the body1 blade          
perpendicular1 edge to the front2 which 
forms the position of ,carry swords2 the
 left hand resumes the position of      
,attention directly the sword is drawn4 
,slope ,swords4--,relax the grasp of the
 last three fingers1 and1 without       
disturbing the position of the hand1    
allow the back of the sword to fall     
lightly on the shoulder1 midway between 
the neck and the point of the shoulder4 
,return ,swords4--,carry the hilt to the
 hollow of the left shoulder 7the left  
hand1 as before1 raising the scabbard71 
with the blade perpendicular and the    
back of the hand to the front1 then by a
 quick turn of the wrist drop the point 
into the scabbard1 turning the edge to  
the rear until the hand and elbow are in
 line with each other square across the 
body4  ,two4--,replace the sword in the 
scabbard1 keeping the hand upon the     
hilt4  ,three4--,the hands are brought  
back to the position of ,attention4     
,draw ,swords4--,as before4  ,slope     

,swords4--,as before4  ,stand at        
,ease4--,keeping the sword at the       
,slope1 draw back the right foot six    
inches1 and bend the left knee4   ,,the 
,,four ,,cuts 7from ,second ,position74 
,assault4--,raise the hand and sword to 
the rear1 arm bent1 wrist rounded1 the  
back of the sword resting upon the      
shoulder1 with the edge inclined to the 
right4  ,one4--,extend the arm1 and     
direct the cut diagonally downwards from
 right to left1 and1 continuing the     
sweep of the sword1 prepare for cut two1
 the back of the sword upon the left    
shoulder1 edge inclined to the left4    
,two4--,cut diagonally downwards from   
left to right1 and turning the wrist let
 the sword continue its motion until it 
rests upon the right shoulder1 edge to  
the right4  ,three4--,cut horizontally  
from right to left1 and prepare for cut 
four1 the flat of the sword resting upon
 the left shoulder4  ,four4--,cut       
horizontally from left to right1 and    
come to the ,engaging ,guard 7vide ,fig4

 #bb74   ,,the ,,four ,,guards4         
,first4--,raise the hand smartly above  
the head1 and a little in advance of it1
 the point of the sword lowered to the  
left front1 edge upwards4               
,second4--,draw back the elbow to the   
right1 and bring the sword to a diagonal
 position1 covering the right cheek and 
shoulder1 point upwards1 inclining to   
the left1 edge to the right4            
,third4--,bring the hand across the body
 towards the left shoulder1 edge of the 
sword to the left1 point down and       
inclining to the front4                 
,fourth4--,square the upper arm with the
 shoulder1 the forearm to be in front   
line with the elbow1 and wrist slightly 
below it1 point of the sword inclined to
 the front1 edge to the right4          
,engage4--,as before4   ,,points ,,and  
,,parries4  ,first4--,with a quick      
motion1 direct the point to the front by
 extending the arm1 the arm moving in a 
straight line to the front of the ,first
 ,guard position1 and without altering  

the direction of the edge4              
,parry4--,brace up the arm quickly and  
parry upwards by forming ,first ,guard4 
,second4--,deliver the point quickly by 
extending the arm and sword to the      
front4  ,parry4--,draw back the arm and 
parry to the right1 by forming ,second  
,guard4  ,third4--,lowering the point1  
extend the arm4  ,parry4--,draw back the
 arm1 and parry to the left by forming  
,third ,guard4  ,fourth4--,raise the    
point and deliver the thrust4           
,parry4--,parry downwards to the right  
by forming ,fourth ,guard4  ,it will be 
worth the reader's while to compare     
carefully the preceding four cuts and   
points and their guards and parries1    
with the earlier exercises1 the         
description of which commences on p4    
#cg4  ,it will be seen that the third   
and fifth guards 7old style7 are merged 
in one1 that the fourth and sixth are   
also merged in one1 and the first       
guard--the old guard in quarte--is      
dispensed with altogether1 and its place

 taken by a low hanging guard1 which is 
a variation of the old seventh guard1   
formed with the hand held rather more to
 the left4  ,it will also be observed   
that the parries for the points are also
 very different4 ,my advice is1 ,learn  
in the old style and then glean all you 
can from the new4   ,,extension         
,,motions4  ,it is a good plan to       
practise the following movements every  
morning before beginning the sword      
exercises4 ,to avoid confusion they are 
here given as in the little ,manual on  
the ,infantry ,sword2 they are effected 
without any accessories1 and you        
commence by being in the position of    
,attention1 i4e4 stand with the heels   
close together at an angle of about     
sixty degrees1 arms hanging down by the 
sides1 chest expanded1 back straight1   
shoulders back1 and head well up4       
,,first ,,extension ,,motions4          
,one4--,bring the hands1 arms1 and      
shoulders to the front1 the fingers     
lightly touching at the points1 nails   

downwards2 then raise them in a circular
 direction well above the head1 the ends
 of the fingers still touching1 the     
thumbs pointing to the rear1 the elbows 
pressed back and shoulders kept down4   
,two4--,separate and extend the arms and
 fingers upwards1 forcing them obliquely
 back until they are extended on a line 
with the shoulders1 and as they fall    
gradually from thence to the original   
position of ,attention1 endeavour as    
much as possible to elevate the neck and
 chest4  ,three4--,turn the palms of the
 hands to the front1 press back the     
thumbs with the arms extended1 and raise
 them to the rear until they meet above 
the head1 the fingers pointing upwards  
and the thumbs locked1 with the left    
thumb in front4  ,four4--,keep the knees
 and arms straight1 and bend over until 
the hands touch the feet1 the head being
 brought down in the same direction1 and
 resume the ,third motion slowly by     
raising the arms to the front4          
,five4--,resume the position of         

,attention1 as directed in ,second      
motion4  ,the whole of these motions    
should be done very slowly1 so as to    
feel the exertion of the muscles        
throughout4   ,,first ,,position ,,in   
,,three ,,motions4  ,one4--,move the    
hands smartly to the rear1 the left     
grasping the right just above the elbow1
 and the right supporting the left arm  
under the elbow4  ,two4--,half turn to  
the left1 turning on the heels1 so that 
the back of the left touches the inside 
of the right heel1 the head retaining   
its position to the front4              
,three4--,bring the right heel before   
the left1 the feet at right angles1 the 
right foot pointing to the front4       
,,second ,,position ,,in ,,two          
,,motions4  ,one4--,bend the knees      
gradually1 keeping them as much apart as
 possible without raising the heels1 or 
changing the erect position of the body4
  ,two4--,step out smartly with the     
right foot about eighteen inches in line
 with the left heel1 bringing the       

foreleg to the perpendicular1 and       
retaining the left as in preceding      
motion1 the weight of the body resting  
equally upon both legs4   ,,third       
,,position ,,in ,,one ,,motion4         
,one4--,step forward to about thirty-six
 inches1 the right knee remaining       
perpendicular to the instep1 the left   
knee straight and firm1 and foot flat   
upon the ground1 the body upright1 and  
the shoulders square to the left4       
,,loose ,,practice4  ,in practising with
 broadswords the blades should be as    
light as possible1 and ,i believe an    
eminent firm has brought out a special  
sword for the purpose4 ,the following   
rules and suggestions may be of use in  
independent practice4  #a4 ,helmets1    
jackets1 gauntlets1 body pads1 and leg  
pads should invariably be worn4  #b4 ,no
 hits or points to be attempted until   
the swords have been crossed4 ,the      
parties should engage out of distance1  
i4e4 after crossing the blades1 step    
back about eight inches and come to the 

,engage just out of distance4  #c4 ,all 
cuts and thrusts must be delivered      
lightly and with the true edge or point4
 ,heavy sweeping cuts should not1 under 
any pretence whatever1 or however       
thickly the parties may be padded1 be   
allowed4  #d4 ,only one cut or thrust   
should be made on the same lunge4  #e4  
,in case the opponents both attack at   
once1 the hit counts to the one in the  
third position1 or on the lunge4 ,if    
both parties lunge simultaneously1 and  
both bring the hit home at the same     
instant1 no hit is to be scored to      
either4  #f4 ,if one party is disarmed1 
a hit is scored to his opponent4  #g4   
,care should be taken to protect the    
inside of the right knee with an extra  
pad1 as this is a particularly tender   
spot1 and a hard hit there may cause    
serious injury4  ,when the beginner has 
established some command over the       
cutlass he should learn the cavalry     
sword-exercise1 for a description of    
which the reader is referred to ,colonel

 ,bowdler ,bell's ,manual4     ,,chapter
 ,,iv4  ,,single-,,stick4  ,contributed 
by ,c4 ,phillipps-,wolley4              
,single-stick is to the sabre what the  
foil is to the rapier1 and while        
foil-play is the science of using the   
point only1 sabre-play is the science of
 using a weapon1 which has both point   
and edge1 to the best advantage4 ,in    
almost every treatise upon fencing my   
subject has been treated with scant     
ceremony4 ,fencing is assumed to mean   
the use of the point only1 or1 perhaps  
it would not be too much to say1 the use
 of the foils2 whereas fencing means    
simply 7in ,english7 the art of         
of-fending another and de-fending       
yourself with any weapons1 but perhaps  
especially with all manner of swords4   
,in ,france or ,spain1 from which       
countries the use of the thrusting-sword
 was introduced into ,england1 it would 
be natural enough to consider fencing as
 the science of using the point of the  
sword only1 but here the thrusting-sword

 is a comparatively modern importation1 
and is still only a naturalized         
foreigner1 whereas broad-sword and sabre
 and single-stick play are older than1  
and were once as popular as1 boxing4 ,on
 the other hand1 the rapier was in old  
days a foreigner of peculiarly shady    
reputation on these shores1 its         
introducer being always alluded to in   
the current literature of that day1 with
 anathemas1 as that desperate traitour1 
,rowland ,yorke4  ,l',escrime is1 no    
doubt1 the national sword-play of       
,france1 and1 for ,frenchmen1 fencing   
may mean the use of the foil1 but       
broad-sword and sabre-play are          
indigenous here1 and if fencing is to   
mean only one kind of sword-play or     
sword-exercise1 it should mean          
single-stick4  ,like the swordsmen of   
,india1 our gallant forefathers         
7according to ,fuller1 in his ,worthies 
of ,england7 accounted it unmanly to    
strike below the knee or with the point4
 ,but necessity has no laws1 still less 

has it any sense of honour1 so that     
before long ,english swordsmen realized 
that the point was much more deadly than
 the edge1 and that1 unless they were   
prepared to be spitted like cats or     
rabbits1 it was necessary for them      
either to give up fighting or condescend
 to learn the new fashion of fence4  ,as
 in boxing1 it was found that the       
straight hit from the shoulder came in  
quicker than the round-arm blow1 so in  
fencing it was found that the thrust got
 home sooner than the cut1 and hence it 
came that the more deadly style of      
fighting with the rapier supplanted the 
old broad-sword play4  ,single-stick    
really combines both styles of fencing4 
,in it the player is taught to use the  
point whenever he can do so most        
effectively2 but he is also reminded    
that his sword has an edge1 which may on
 occasion do him good service4 ,it      
seems1 then1 to me1 that single-stick is
 the most thoroughly practical form of  
sword-play for use in those tight places

 where men care nothing for rules1 but  
only want to make the most out of that  
weapon which the chance of the moment   
has put into their hands4 ,it may       
further be said that as the sabre is    
still supplied to our soldiers1 though  
rarely used for anything more dangerous 
than a military salute1 whereas no one  
except a ,french journalist has probably
 ever seen1 what ,i may be allowed to   
call1 a foil for active service1 the    
science of single-stick has some claim  
to practical utility even in the        
nineteenth century1 the only sound      
objection to single-stick being that the
 sticks used are so light as not to     
properly represent the sabre4  ,this is 
a grave objection to the game1 when the 
game is regarded as representing real   
business2 but for all that1 the lessons 
learnt with the stick are invaluable to 
the swordsman4 ,the true way to meet the
 difficulty would be to supplement      
stick-play by a course with             
broad-swords1 such as are in use in     

different ,london gymnasiums1 with blunt
 edges and rounded points4  ,but        
gunpowder has taken the place of cold   
steel1 and arms of precision at a       
thousand yards have ousted the white arm
 of the chivalrous ages1 so that it is  
really only of single-stick as a sport  
that men think1 if they think of it at  
all1 to-day4 ,as a sport it is second to
 none of those which can be indulged in 
in the gymnasium1 unless it be boxing2  
and even boxing has its disadvantages4  
,what the ordinary ,englishman wants is 
a game with which he may fill up the    
hours during which he cannot play       
cricket and need not work2 a game in    
which he may exercise those muscles with
 which good mother ,nature meant him to 
earn his living1 but which custom has   
condemned to rust1 while the brain wears
 out2 a game in which he may hurt some  
one else1 is extremely likely to be hurt
 himself1 and is certain to earn an     
appetite for dinner4 ,if any one tells  
me that my views of amusement are       

barbaric or brutal1 that no reasonable  
man ever wants to hurt any one else or  
to risk his own precious carcase1 ,i    
accept the charge of brutality1 merely  
remarking that it was the national love 
of hard knocks which made this little   
island famous1 and ,i for one do not    
want to be thought any better than the  
old folk of ,england's fighting days4   
,there is just enough pain about the use
 of the sticks to make self-control     
during the use of them a necessity2 just
 enough danger to a sensitive hide to   
make the game thoroughly ,english1 for  
no game which puts a strain upon the    
player's strength and agility only1 and 
none on his nerve1 endurance1 and       
temper1 should take rank with the best  
of our national pastimes4  ,gallant     
,lindsey ,gordon knew the people he was 
writing for when he wrote--    ,no game 
was ever yet worth a rap1     ,for a    
rational man to play1   ,into which no  
accident1 no mishap1     ,could possibly
 find its way4  ,still1 there comes a   

time1 alas6 in the lives of all of us1  
when1 though the hand is still ready to 
smite1 the over-worked brain resents the
 infliction of too many merry           
cross-counters1 and we cannot afford to 
go about with black eyes1 except as an  
occasional indulgence4 ,then it is that 
single-stick comes in4 ,boxing is the   
game of youth1 and fencing with foils1  
we have been assured1 improves as men   
fall into the sere and yellow leaf4     
,single-stick1 then1 may be looked upon 
as a gentle exercise1 suitable for early
 middle age4  ,there is just enough     
sting in the ash-plant's kiss1 when it  
catches you on the softer parts of your 
thigh1 your funny bone1 or your wrist1  
to keep you wide awake1 and remind you  
of the good old rule of grin and bear   
it2 but the ash-plant leaves no marks   
which are likely to offend the eyes of  
squeamish clients or female relations4  
,another advantage which single-stick   
possesses is that you may learn to play 
fairly well even if you take it up as   

late in life as at five and twenty2     
whereas ,i understand that1 though many 
of my fencing friends were introduced to
 the foil almost as soon as to the      
corrective birch1 and though their heads
 are now growing grey1 they still       
consider themselves mere tyros in their 
art4  ,that single-stick is a national  
game of very considerable antiquity1 and
 at one time in great repute on our     
country greens1 no one is likely to     
deny1 nor have ,i time to argue with    
them even if ,i would in this little    
brochure4 ,those who are interested in  
spadroon1 back-sword1 and broad-sword   
will find the subjects very exhaustively
 treated in such admirable works as ,mr4
 ,egerton ,castle's ,schools and        
,masters of ,fence4 ,these pages are    
merely intended for the tyro--they are1 
at best1 a compilation of those notes   
written during the last ten years in    
black and white upon my epidermis by the
 ash-plants of ,serjeants ,waite and    
,ottaway1 and ,corporal-,major          

,blackburn4 ,two of them1 unfortunately1
 will never handle a stick again1 but   
the last-named is still left1 and to him
 especially ,i am indebted for anything 
which may be worth remembering in these 
pages4 ,a book may teach you the        
rudiments of any game1 but it is only   
face to face with a better player than  
yourself that you will ever make any    
real advance in any of the sciences of  
self-defence4  ,and here1 then1 is my   
first hint1 taught by years of          
experience3 ,if you want to learn to    
play quickly1 if you want to get the    
most out of your lessons1 whether in    
boxing or stick-play1 never encourage   
your teacher to spare you too much4 ,if 
you get a stinging cross-counter early  
in your career as a boxer1 which lays   
you out senseless for thirty seconds1   
you will find that future antagonists   
have the greatest possible difficulty in
 getting home on that spot again4 ,it is
 the same in single-stick4 ,if you are  
not spared too much1 and are not too    

securely padded1 you will1 after the    
ash-plant has curled once or twice round
 your thighs1 acquire a guard so        
instinctively accurate1 so marvellously 
quick1 that you will yourself be        
delighted at your cheaply purchased     
dexterity4 ,the old ,english players    
used no pads and no masks1 but1 instead1
 took off their coats1 and put up their 
elbows to shield one side of their      
heads4  ,there are to-day in ,england   
several distinct schools of             
single-stick1 the ,english navy having1 
,i believe1 a school of its own2 but all
 these different schools are separated  
from one another merely by sets of      
rules1 directing1 for the most part1    
where you may and where you may not hit 
your adversary4  ,the best school       
appears to be that in which all hits are
 allowed1 which might be given by a     
rough in a street row1 or a ,soudanese  
running a-muck4 ,the old trial for      
teachers of fencing was not a bad test  
of real excellence in the mastery of    

their weapon--a fight with three skilled
 masters of fence 7one at a time1 of    
course71 then three bouts with valiant  
unskilled men1 and then three bouts     
against three half-drunken men4 ,a man  
who could pass this test was a man whose
 sword could be relied upon to keep his 
head1 and this is what is wanted4 ,all  
rules1 then1 which provide artificial   
protection1 as it were--protection other
 than that afforded by the swordsman's  
guard--to any part of the body are      
wrong1 and to be avoided4  ,let me      
illustrate my position4 ,i remember     
well1 at ,waite's rooms1 in ,brewer     
,street1 seeing a big ,belgian engaged  
with a gentleman who at that time       
occupied the honourable position of     
chopping-block to the rooms4 ,the       
,belgian had come over to take part in  
some competition1 and was an            
incomparably better player than the     
,englishman1 but then the ,belgian      
wished to play according to the rules of
 his own school4 ,it was arranged at    

last that each should do his worst in   
his own way1 and it was hoped that      
,providence would take care of the      
better man4  ,unfortunately the worse   
man of the two had been very much in the
 habit of taking care of himself when   
subjected to the attacks of such        
punishing players as ,ottaway and ,mr4  
,jack ,angle4  ,the ,belgian's legs had 
been protected by a rule of fence1 which
 made it illegal to hit below the waist1
 or some such point1 and now naturally  
they fell an easy prey to the           
,englishman's ash-plant4 ,the result    
was1 of course1 that in a very short    
time that ,belgian's thigh was so wealed
 that at every feint in that direction  
he was ready to be drawn1 and to uncover
 head or arm or any well-padded spot1   
not already sore1 to the other man's    
attack4  ,let me touch lightly on one or
 two little points before plunging in   
medias res4 ,in spite of what ,i have   
said about hard hitting1 please remember
 that ,i have recommended my pupil only 

to suffer it gladly for his own sake4   
,it will improve his temper and his     
play4 ,on the other hand1 hard1         
indiscriminate hitting is to be         
discountenanced for many reasons1 and   
principally because1 as a rule1 a hard  
hit means a slow one4 ,always remember  
that all the time taken to draw your    
hand back for a blow is time given to   
the enemy to get his point in1 and that 
a blow delivered from wrist and arm     
7bent only as much as it should be when 
you engage7 would suffice to disable    
your adversary if the sticks were what  
they pretend to be1 sharp swords4       
,again1 in ordinary loose play1 remember
 you are playing1 or are supposed to be 
playing1 with the weapons of gentlemen1 
and should show the fine old-fashioned  
courtesy to one another which is due to 
a foeman worthy of your steel4 ,if there
 is a question as to a hit1 acknowledge 
it as against yourself1 as in the cut   
below1 by springing up to attention and 
bringing the hilt up to the level of the

 mouth1 blade upright1 and knuckles     
turned to your front4   ,illustration3  
,fig4 #bd4--;,acknowledging4   ,again1  
if you should get an awkward cut1 do all
 you can not to return savagely4 ,if you
 make any difference at all1 play more  
lightly for the next five minutes1      
otherwise you may drift into a clumsy   
slogging match1 ending in bad blood4    
,finally1 if you do get hold of a       
vicious opponent1 do not1 whatever you  
do1 show that you mind his blows4 ,if he
 sees that a cut at a particular place  
makes you flinch1 he will keep on       
feinting at it until he hits you        
wherever he pleases2 but if1 on the     
contrary1 you take no notice of         
punishment1 you are apt to dishearten   
the adversary1 who feels that your blows
 hurt him1 and is uncertain whether his 
tell upon you in like manner4 ,i may as 
well say here that throughout this      
paper1 ,i have1 as far as possible1 used
 ,english words to explain my meaning1  
abstaining from the ,french terms of the

 fencing school1 as being likely to     
confuse a beginner1 who may not want to 
learn ,french as an introduction to     
fencing4   ,,outfit4  ,the accessories  
necessary for single-stick are much more
 numerous now than in the old days on   
the village green4 ,then two stout      
ash-plants1 and the old ,north-country  
prayer 7beautifully terse71 ,god1 spare 
our eyes6 were considered all that was  
necessary4 ,now a complete equipment    
costs rather more than a five-pound     
note4  ,first1 then1 there is the       
helmet1 constructed more solidly than   
that used for foil play1 although the   
wire mesh of which it is made is        
generally a good deal wider than the    
mesh of the fencing mask4 ,the best     
helmet is made of stout wire1 with a top
 of buffalo hide1 completely covering   
the head1 and with padded ear-pieces to 
take off the effect of a slashing cut4  
,these are better than those made of    
cane1 which are apt to give way before a
 stout thrust and let in the enemy's    

point to the detriment of eyes and      
complexion4 ,be careful1 in choosing    
your helmet1 to see that it fits you    
exactly1 as a nodding helm may1 in a    
close thing1 so interfere with your     
sight as to give your adversary a very  
considerable advantage4 ,the jacket     
generally used for this play is made    
like a pea-jacket1 with two sleeves1 and
 should be of stout leather4 ,if this is
 loose fitting1 it will afford ample    
protection1 and is not so hot as the    
padded coat sometimes seen4 ,besides    
being too hot1 the handsome white kid   
padded jackets soon get holes made in   
them by the ash-plant1 whereas the brown
 leather is seldom torn4  ,in addition  
to the jacket1 an apron of leather1     
extending from the waist almost to the  
knee1 should be worn1 covering both     
thighs1 and saving the wearer from      
dangerously low hits4  ,some men wear a 
cricket pad on the right leg4 ,this1 ,i 
think1 makes a man slow on his feet1 and
 is besides unnecessary4 ,the calf of   

any one in condition should be able to  
despise ash-plants2 and1 as ,i said     
before1 a bare leg makes you wonderfully
 quick with your low guards4  ,stick    
play is a fine test of a man's          
condition4 ,at first every hit leaves an
 ugly mark1 but as soon as the player   
gets really fit1 it takes a very heavy  
blow indeed to bruise him4 ,the sticks  
themselves should be ash-plants1 about  
forty inches in length and as thick as a
 man's thumb1 without knots and         
unpeeled4  ,if you want them to last any
 time it is as well to keep a trough of 
water in the gymnasium1 and leave your  
ash-plants to soak in it until they are 
wanted4 ,if you omit to do this1 two    
eager players1 in half an hour's loose  
play1 will destroy half a dozen sticks1 
which adds considerably to the cost of  
the amusement4  ,the old ,english sword 
hilt was a mere cross-piece2 but in play
 it has always been customary to protect
 the fingers with a basket4 ,this may be
 either of wicker or of buffalo hide4   

,the latter is infinitely the best1 as  
wearing much longer1 affording a better 
protection to the fingers1 and not      
scraping the skin off the knuckles as   
the wicker-baskets too often do4 ,the   
basket has a hole on either side2 one   
close to the rim1 and the other about a 
couple of inches from the edge4 ,in     
putting your basket on1 put your stick  
through the former first1 as otherwise  
you will not be able to get a grip of   
your stick or any room for the play of  
your wrist4  ,there is only one other   
thing necessary1 and then you may       
consider yourself safe as a schoolboy   
with the seat of his trousers full of   
the dormitory towels3 and that is either
 a stout elastic ring round your        
wrist--a ring as thick as your thumb--or
 a good long gauntlet4 ,i rather        
recommend the ring as interfering less  
with the freedom of your hand1 and as   
protecting more effectually that weak   
spot in your wrist where the big veins  
are4 ,if a blow catches you squarely    

across this spot1 when it is            
unprotected1 you may expect your right  
hand to lose its cunning for a good many
 minutes4 ,by the way1 it is as well to 
see that the collar of your jacket is   
sufficiently high and well supplied with
 buttons1 otherwise there is apt to be a
 dangerous gap between the shoulder and 
the bottom of the helmet4  ,one last    
word3 if you see that the point of your 
stick is broken1 don't go on playing2   
stop at once4 ,a split ash-plant is as  
dangerous as a buttonless foil1 and just
 as likely as not to go through the     
meshes of a mask1 and blind where you   
only meant to score4 ,as the chief fault
 of single-stick as a training for the  
use of the sabre is that the stick does 
not properly represent the weight of the
 weapon which it simulates1 it is not a 
bad thing to accustom yourself to using 
the heaviest sticks in the gymnasium4   
,this will strengthen your wrist1 and   
when in a competition you get hold of a 
light ash-plant1 you will be all the    

quicker for your practice with a heavier
 stick4  ,a cut on p4 #eg by ,mr4       
,graham ,simpson represents the way to  
acknowledge a hit1 and a cut by the same
 artist on p4 #fa illustrates1 as far as
 we know it1 the less careful method of 
our forefathers4 ,the use of the elbow  
to shield the head1 though common in the
 contests on the village greens1 was in 
its way no doubt more foolish than our  
pads2 for though a sturdy yokel might   
take a severe blow from a cudgel on his 
bare arm1 without wincing1 the toughest 
arm in ,england would have had no chance
 against a sabre4  ,illustration3 ,fig4 
#be4--,old style4   ,,position4  ,having
 now secured the necessary implements1  
let us begin to learn how to use them4  
,first1 as to the stick1 which1 you will
 remember1 represents for the present a 
sabre1 and consequently a weapon of     
which one edge only is sharpened4 ,in   
order that every blow dealt with the    
stick should be dealt with what         
represents the sharp or true edge of the

 sword1 it is only necessary to see that
 you get a proper grip of your weapon in
 the first instance4 ,to do this shut   
your fingers round the hilt1 and        
straighten your thumb along the back of 
the hilt1 thus bringing your middle     
knuckles 7or second joints of your      
fingers7 and the true edge into the same
 line4 ,if you keep this grip you may   
rest assured that every blow you deal   
will be with the edge4  ,and now as to  
position--the first position from which 
every attack1 feint1 or guard1 begins4  
,ned ,donelly1 the great boxer1 used to 
tell his pupils that if a man knew how  
to use his feet1 his hands would take   
care of themselves4 ,and what is        
undoubtedly true in boxing is equally   
true in fencing4 ,look that your        
foundations are sure should be every    
fighting man's motto4 ,take trouble1    
then1 about the position of the feet    
from the first4 ,to come on to the      
engaging guard1 as shown in ,fig4 #bf1  
stand upright1 your heels together1 your

 feet at right angles to one another1   
your right foot pointing to your front1 
your left foot to your left1 your stick 
in your right hand1 loosely grasped and 
sloped over your right shoulder1 your   
right elbow against your side1 and your 
right hand about on a level with it1    
your left hand behind your back1 out of 
harm's way4   ,illustration3 ,fig4      
#bf4--;,engaging guard4   ,it is not a  
bad plan to put the fingers of the left 
hand through the belt at the back of the
 waist4 ,if this is done1 it            
counteracts1 to a certain extent1 that  
tendency to bring the left hand in      
front1 which a good many beginners      
display1 and for which they get punished
 by many an unpleasant rap on the       
knuckles4  ,now take a short pace to the
 front with the right foot1 and1 in the 
words of the instructor1 sit down1 i4e4 
bend both legs at the knee1 so that the 
calves are almost at right angles to the
 thighs4 ,this position will be found a 
severe strain upon the muscles at first1

 but they will soon get used to it4 ,the
 object of the position is twofold4     
,first1 the muscles are thus coiled1 as 
it were1 ready for a spring at the      
shortest notice2 and in the second      
place1 the surface which your stick has 
to guard is thus considerably reduced4  
,be careful to keep the right heel in a 
line with the left heel1 a space equal  
to about twice the length of your own   
foot intervening between them1 and see  
that your right toe points squarely to  
the front and your left toe to your     
left4 ,if your right toe is turned in1  
you will never advance straight to your 
front2 and if your left toe is turned   
in1 you contract the base upon which    
your body rests1 and very soon will     
begin to roll and lose your balance     
altogether4 ,as far as the legs and feet
 are concerned you are now in your      
proper position1 which you will only    
leave when you lunge1 or when you       
straighten yourself to acknowledge a    
hit1 and to which you will invariably   

return as soon as you engage4  ,if you  
wish to advance1 advance the right foot 
a short pace1 bringing the left after it
 at once1 so that the two resume their  
relative positions to one another1 half 
a pace nearer your enemy4 ,if you wish  
to retire1 reverse this movement1       
retiring with the left foot and         
following it with the right4 ,in both   
cases keep your eyes to the front1 your 
feet at right angles1 and your knees    
bent4  ,now as to the stick4 ,there are 
two forms of guard in common use amongst
 players1 the hanging and the upright   
guard1 of both of which illustrations   
will be found in these pages4 ,in       
,rowland ,yorke's time men sought for   
what ,i think they called the universal 
parry almost as anxiously as they did   
for the alchemist's stone which should  
turn all things to gold4 ,of course such
 a thing has never been found1 but      
either of these guards1 if truly taken  
and kept1 will stop the attacks of most 
men as long as you keep them at their   

proper distance4  ,in passing1 let me   
say that if a man will try to overwhelm 
you with rushes1 the best thing you can 
do is to straighten your stick1 thrust1 
and don't let the stick run through the 
basket4 ,this has a wonderfully soothing
 effect upon an excitable player4  ,in  
,fig4 #bg the upright guard 7or high    
tierce7 is shown1 in which the right    
elbow should be close in to the side1   
the forearm at right angles to the body1
 wrist bent1 so as to turn the knuckles 
outwards1 and the stick pointed upwards1
 at an angle of about #de4 ,in ,fig4    
#bf1 the hanging guard1 the point of the
 stick should be inclined slightly      
downwards1 the knuckles turned upwards1 
the forearm should be kept slightly     
bent1 the hilt a little outside the     
right knee1 the point of the stick a    
little low and in the direction of the  
left front4  ,if the point of the stick 
be kept up1 the adversary finds a way in
 by cutting upwards under the point2 if 
the hilt is not outside the right knee1 

the back of the sword arm will be       
unprotected2 and if the sword arm itself
 is not kept slightly bent1 no effective
 blow can be delivered by it without    
first drawing back the hand4            
,illustration3 ,fig4 #bg4--,upright     
guard1 or high tierce4   ,this1 of      
course1 is a fatal fault4 ,the moment   
your adversary sees your hand go back1  
he will come out4 ,as you retire for the
 spring1 he will spring4 ,time is the   
very essence of single-stick1 and the   
chief object of the player should be to 
make his attack in the fewest possible  
motions4 ,for this reason a slightly    
bent arm is necessary when on guard4 ,of
 course if the arm is unduly bent the   
elbow will be exposed1 but a little     
practice will soon enable any moderately
 supple man to so hold his arm as to be 
ready to cut direct from his guard and  
yet keep his elbow out of peril4 ,and   
this brings me to a question often      
discussed amongst players1 viz4 which is
 the better guard1 the upright or the   

hanging guard1 for general purposes4    
,although ,i have been taught to use the
 hanging guard myself ever since ,i     
began to play1 ,i unhesitatingly say    
that the upright guard is the better    
one1 as enabling a player to save time  
in the attack4 ,in the hanging guard the
 knuckles 7i4e4 the edge7 are up and    
away from the enemy2 the wrist must be  
turned before the edge can be brought   
into contact with his body1 and this    
takes time1 however little4 ,in the     
upright guard the knuckles 7i4e4 the    
edge7 are towards your opponent1 the arm
 is ready flexed1 everything is in      
readiness for the blow4 ,if1 then1 as ,i
 believe1 the advantages of the two     
guards1 as guards1 are equal1 the       
advantage of the upright guard as a     
position to attack from seems to me     
undeniable4  ,in all guards remember    
that it is not sufficient to oppose some
 part of your weapon to your            
adversary's4 ,you must meet him1 if     
possible1 with what the old masters     

called the forte of your blade1 that is1
 the part from the hilt to the middle of
 the sword1 with which you have         
naturally more power of resistance than 
with the lower half of the blade4 ,of   
course all guards must be made with the 
edge of the sword outwards1 and make    
sure that you really feel your enemy's  
blade 7i4e4 make a good clean guard7    
before attempting to return his attack4 
,there is another matter to which many  
teachers pay too little attention1 but  
which is as important as any point in   
the fencer's art4 ,it is obvious that   
the player should try1 if possible1 to  
hit without being hit4 ,to do this      
effectively it is necessary in attacking
 to maintain what fencers call a good   
opposition1 that is to say1 to so carry 
your stick in cutting or thrusting at   
him as to protect yourself in the line  
in which you are attacking4  ,this is   
easier to explain in practice than on   
paper1 but it may perhaps be            
sufficiently explained by examples4 ,if1

 for instance1 you are cutting at the   
left side of your opponent's head1 you  
must1 to stop a possible counter from   
him1 keep your hilt almost as high as   
the top of your own head and carry your 
hand well across to your own left4 ,if  
you do this correctly1 you will1 in case
 he should cut at your left cheek as you
 cut at his1 stop his cut with the upper
 part of your stick4  ,again1 in        
thrusting at him1 if you keep your hand 
as high as your shoulder1 and in a line 
with your right shoulder1 you will      
protect the upper half of your own body 
from a counter1 so that1 even if your   
thrust fails and does not get home1 the 
upper part of your blade will stop his  
cut4  ,it is necessary to study so to   
attack your opponent that1 in the very  
act of delivering a cut or thrust1 you  
may stop him in as many lines or        
directions of attack as possible4  ,if  
you find your man will counter in spite 
of all that you can do1 take advantage  
of this habit of his by feinting a cut  

to draw his counter1 stop this1 and     
return4  ,this will have the effect of  
making him do the leading1 which will be
 all in your favour4   ,,hits1 ,,guards1
 ,,feints1 ,,etc4  ,for the purposes of 
instruction and description1 the        
principal hits in single-stick have been
 numbered and described according to the
 parts of the body at which they are    
aimed4  ,there are four principal hits3 
7#a7 a cut at your opponent's left      
cheek2 7#b7 a cut at his right cheek2   
7#c7 a cut at his left ribs2 7#d7 a cut 
at his right ribs4 #e and #f are mere   
repetitions of #c and #d on a lower     
level1 guarded in the same way1 and     
aimed at the inside and outside of the  
right leg instead of at the ribs4  ,in  
the accompanying cuts numbered #bh1 #bi1
 #cj1 #ca1 the four principal attacks   
and the stops for them have been        
illustrated1 and with their help and a  
long looking-glass in front of him the  
young player ought to be able to put    
himself into fairly good position4      

,illustration3 ,fig4 #bh4--;,cut #a and 
guard4  ,illustration3 ,fig4 #bi4--;,cut
 #b and guard4   ,in addition to the    
cuts there is the point1 which1 as our  
forefathers discovered1 is far more     
deadly than the edge4 ,of this more     
later on4  ,almost every cut is executed
 upon the lunge4 ,as you and your       
adversary engage1 you are practically   
out of each other's range unless you    
lunge4  ,standing in the first position 
the heels are two feet apart4 ,on the   
lunge1 ,i have seen ,corporal-,major    
,blackburn1 a man1 it is true1 over six 
feet in height1 measure1 from his left  
heel to a point on the floor1 level with
 his sword point1 nearly ten feet4 ,this
 gives some idea of what is to be       
expected from a man who can lunge       
properly4 ,to do this1 throw out the    
right foot as far as it will go to the  
front1 keeping the heels still in line  
and the right foot straight4  ,keep the 
outside edge of the left foot firmly    
down upon the floor1 and keep it still  

at right angles to the right foot4 ,if  
your left foot begins to leave the      
ground you have over-reached yourself2  
you will find it impossible to get back1
 and you will be at your opponent's     
mercy4 ,see that your right knee is     
exactly over your right ankle1 your left
 leg straight1 your chest square to the 
front1 and your head well up4 ,if you   
can get yourself into this position1 you
 will have no difficulty in recovering  
yourself if your lunge fails1 and you   
will gain nothing by bending your body  
forward from the waist4 ,on the         
contrary1 you will spoil your balance4  
,this lunge will do for every cut and   
every point4  ,to recover after a lunge1
 throw your weight well back upon your  
left leg1 and use the muscles of the    
right thigh and calf to shoot yourself  
back into position4 ,if the knee of the 
right leg has been kept exactly over the
 ankle1 the impetus necessary to regain 
your original position will be easily   
obtained4 ,if1 however1 the right foot  

has been protruded too far1 and the     
caution as to the knee and ankle        
disregarded1 you will find yourself     
unable to return quickly from the       
lunging position1 and will consequently 
be at your opponent's mercy4 ,it is in  
the operation of returning from the     
lunge that the player realizes to the   
full the advantage of keeping the       
shoulders well back and head erect4     
,illustration3 ,fig4 #cj4--;,cut #c and 
guard4   ,the illustrations should speak
 for themselves1 but perhaps ,i had     
better explain them4  ,in cut #a 7,fig4 
#bh71 lunge out and cut at the left     
cheek of your opponent1 straightening   
the arm and turning the knuckles down4  
,to stop this cut1 raise the engaging   
guard 7hanging guard1 ,fig4 #bf7        
slightly1 and bring the hand somewhat   
nearer the head1 as shown in the        
illustration1 or stop it with the       
upright guard1 with the elbow kept well 
in and the right hand about on a level  
with the left shoulder4  ,in cut #b     

7,fig4 #bi71 lunge out and cut at your  
opponent's right cheek1 with your arm   
straight and knuckles up4 ,the natural  
guard for this is the high upright      
guard1 with the elbow well in to the    
right side1 the arm bent and turned     
slightly outwards1 and wrist and        
knuckles turned well to the right4  ,in 
cut #c 7,fig4 #cj71 make free use of the
 wrist1 bringing your blade round in the
 smallest space possible1 and come in on
 your man's ribs with your arm straight 
and knuckles turned downwards4  ,to stop
 this cut you may either use a low      
hanging guard1 brought across to the    
left side1 the right hand about on a    
level with the left shoulder1 or a low  
upright guard1 with the hilt just       
outside the left thigh4  ,the hanging   
guard is the safer one of the two1 as it
 is difficult in practice to get low    
enough with the hilt in the upright     
guard to stop a low cut of this kind4   
,in cut #d 7,fig4 #ca71 cut at your     
adversary's right ribs1 and keep your   

knuckles up1 and when he attacks you on 
this line1 stop him with the hanging    
guard held low on your right side1 or   
with the upright guard1 with arm1 wrist1
 and knuckles turned outwards4          
,illustration3 ,fig4 #ca4--;,cut #d and 
guard4   ,cuts #e and #f are made like  
cuts #c and #d respectively1 and must be
 met in all cases by a low hanging      
guard4 ,it is well to practise these low
 hanging guards continually1 as a man's 
legs are perhaps the most exposed part  
of his body4  ,the point when used is   
given by a simple straightening of the  
arm on the lunge1 the knuckles being    
kept upwards1 and1 in ordinary play1 the
 grip on the stick loosened1 in order   
that it may run freely through the hilt1
 and thus save your opponent from an    
ugly bruise1 a torn jacket1 or possibly 
a broken rib4 ,when the knuckles are    
kept up in giving point1 the sword hand 
should be opposite the right shoulder4  
,but the point may also be delivered    
with the knuckles down1 in which case   

the hand should be opposite to the left 
shoulder4   ,illustration3 ,fig4        
#cb4--,the point4   ,the point may be   
parried with any of the guards          
previously described4  ,it is well to   
remember that one of the most effective 
returns which can be made from any guard
 is a point1 and that a point can be    
made certainly from every hanging guard 
by merely straightening the arm from the
 guard1 lunging1 and coming in under    
your opponent's weapon4 ,but perhaps    
this is a thing to be learnt rather from
 practical play than from a book4  ,now1
 it is obvious that if any of the       
foregoing guards are as good as they    
have been described1 it is necessary to 
induce your adversary to abandon them if
 you are ever to score a point4  ,this  
may be done in a variety of ways1 when  
you have assured yourself that he is    
invulnerable to a direct attack1 not to 
be flurried by a fierce onslaught1 or   
slow enough to let you score a          
remise--that is1 a second hit--the first

 having been parried1 but not returned4 
,the first ruse to adopt1 of course1 is 
the feint--a feint being a false attack1
 or rather a move as if to attack in a  
line which you threaten1 but in which   
you do not intend to attack4 ,all feints
 should be strongly pronounced or       
clearly shown4 ,a half-hearted feint is 
worse than useless2 it is dangerous4 ,if
 you have a foeman worthy of your steel 
facing you1 he will detect the fraud at 
once1 and use the time wasted by you    
over a feeble feint to put in a time    
thrust4  ,the ordinary feint is made by 
an extension of the arm as if to cut    
without moving the foot to lunge1 the   
lunge being made the moment you have    
drawn off your enemy's guard and laid   
bare the real object of your attack4    
,sometimes1 however1 if you cannot      
succeed otherwise1 a half or short lunge
 for your feint1 to be turned into a    
full lunge as you see your opening1 may 
be found a very useful variation of the 
ordinary feint4 ,if you find feints     

useless1 you may try to compass your    
adversary's downfall by a draw4 ,all the
 time that you are playing you should   
try to be using your head1 to be        
thinking out your plans and trying to   
discover his4 ,in nine cases out of ten 
he has some favourite form of attack4   
,if you discover what it is1 and know   
how to stop it1 indulge him1 and invite 
him even to make it1 having previously  
formed some little scheme of attack of  
your own upon this opening4 ,let me     
illustrate my meaning by examples4 ,if  
you notice a hungry eye fixed yearningly
 on your tender calf1 let your calf     
stray ever so little from under the     
protection of the hanging guard4 ,if    
this bait takes your friend in1 and he  
comes with a reckless lunge at it1      
throwing all his heart into the cut1    
spring up to your full height1 heels    
together1 and leg well out of danger1   
and gently let your avenging rod fall   
along his spine4 ,this1 by the way1 is  
the only occasion1 except when you are  

acknowledging a hit1 on which you may be
 allowed to desert the first position   
for legs and feet4  ,but this is a very 
old ruse1 and most players know it3 a   
much better one may be founded upon it4 
,if1 for instance1 you think you detect 
any coquettish symptoms in the right leg
 of your adversary1 you may know at once
 what he is meditating4 ,oblige him at  
once4 ,lunge freely out at his leg1     
which will of course be at once         
withdrawn4 ,this1 however1 you were     
expecting1 and as his leg goes back your
 hand goes up to the high hanging guard1
 covering your head from his cut4 ,this 
cut stopped1 he is at your mercy1 and   
you may cut him in halves or crimp his  
thigh at your leisure4 ,this position is
 illustrated in ,fig4 #cc4              
,illustration3 ,fig4 #cc4--;,a ruse4    
,once again3 some men set their whole   
hearts on your sleeve1 and you may1 if  
yours is the hanging guard1 lure them to
 their destruction through this lust of 
theirs4 ,gradually1 as the play goes on1

 your arm tires1 your hand sinks1 your  
arm at last is bare1 and the enemy comes
 in with a cut which would almost lay   
open the gauntlet1 were it not that at  
that moment you come to the low upright 
guard and return at his left cheek4     
,these are what are known as draws1 and 
their number is unlimited4  ,another    
thing sometimes heard of in single-stick
 play is a gain4 ,this is a ruse for    
deceiving your opponent as to distance1 
and is achieved by bringing the left    
heel up to the right1 in the course of  
the play1 without abandoning the normal 
crouching position4 ,this1 of course1   
makes your lunge two feet longer than   
your victim has any reason for believing
 it to be4  ,a false beat is another    
very common form of attack1 consisting  
of a cut aimed at the hilt or at the    
forte of your stick1 the object being to
 make you raise your point1 if possible1
 so that the attacker may come in under 
with cut three4  ,this is very well met 
by a thrust1 the arm being merely       

straightened from the guard1 and the    
lunge delivered directly the beat is    
made4  ,a pretty feint having the same  
effect as the beat1 as opening up cut   
three1 is a long feint with the point at
 the chest1 cut three being given as the
 sword rises to parry the point4  ,but  
probably ,i have already transgressed   
the limits of my paper4 ,what remains to
 be taught1 and ,i know full well that  
it is everything except the merest      
rudiments1 must be learned stick in     
hand4 ,i can only wish the beginner     
luck1 and envy him every hour which he  
is able to devote to acquiring a        
knowledge of sword-play4   ,,the        
,,salute4  ,although the salute is a    
mere piece of sword drill1 of no use for
 practical purposes1 it is still worth  
learning1 as being the preliminary      
flourish common at all assaults-at-arms1
 and valuable in itself as reminding the
 players that they are engaged in a     
knightly game1 and one which insists on 
the display of the greatest courtesy by 

one opponent to the other4 ,even if you 
are playing with bare steel1 it is      
expected of you that you should kill    
your enemy like a knight1 and not like a
 butcher2 much more then1 when you are  
only playing a friendly bout with him1  
should you show him all possible        
politeness4 ,on entering the ring you   
should have all your harness on except  
your mask2 this you should carry in your
 left hand until you are face to face   
with your antagonist4 ,when in the ring1
 lay your helmet down on your left hand 
and come to the slope swords--your blade
 upon your right shoulder1 your elbow   
against your side and your hilt in a    
line with your elbow1 your knuckles     
outwards4 ,your body should be erect1   
your head up1 your heels together1 your 
right foot pointing straight to your    
front1 your left foot at right angles to
 it pointing to the left4  ,both men    
acting together now come to the engaging
 guard1 and beat twice1 stick against   
stick2 they then come back to the       

recover by bringing the right foot back 
to the left1 and bringing the stick into
 an upright position in front of the    
face1 basket outwards1 and thumb on a   
level with the mouth4  ,after a slight  
pause1 salute to the left in quarte1    
i4e4 extend the stick to your left front
 across the body1 keeping the elbow     
fairly close to the side and the        
finger-nails upwards2 then pause again  
for a second1 and salute to the right in
 tierce 7the back of the hand up72 pause
 again1 and salute to the front1 by     
extending the arm in that direction1 the
 point of the stick towards your left   
front4 ,now step forward about two feet 
with the right foot and come to the     
engaging guard1 beat twice1 draw the    
left foot up to the right1 draw yourself
 up to your full height1 and come again 
to the recover1 drop your stick to the  
second guard 7i4e4 low hanging guard for
 the outside of the leg71 making a      
slight inclination of the body at the   
same time 7probably this is meant for a 

bow ceremonious71 and then you may      
consider yourself at liberty to put on  
your mask and begin4  ,don't forget1    
when you cross sticks1 to step out of   
distance again at once4 ,this salute1 of
 course1 is only usual at               
assaults-at-arms1 which are modern      
tournaments arranged for the display of 
the men's skill and the entertainment of
 their friends4 ,at the assault-at-arms1
 as we understand it generally1 there is
 no element of competition1 there are no
 prizes to be played for1 and therefore1
 so long as a good display is made1     
every one is satisfied1 and nobody cares
 who gets the most points in any        
particular bout4  ,in competitions this 
is not so1 and time is an object2 so    
that as soon as the men can be got into 
the ring they are told to put their     
masks on and begin4  ,in assaults and in
 general play you cannot be too careful 
to acknowledge your adversary's hits4   
,in a competition do nothing of the     
kind4 ,the judges will see that every   

point made is scored1 and you may safely
 relieve your mind from any anxiety on  
that ground4 ,but in general play it is 
different1 and you cannot be too careful
 in scoring your adversary's points1 or 
be too liberal in allowing them1 even if
 some of them are a little bit          
questionable4   ,,acknowledging4  ,the  
ordinary form of acknowledgment 7and a  
very graceful one it is7 is accomplished
 as follows3--,on being hit1 spring to  
attention1 with your heels together and 
body erect1 at the same time bringing   
your sword to the recover1 i4e4 sword   
upright in front of your face1 thumb in 
a line with your mouth1 and knuckles    
outwards4  ,the acknowledgment should be
 only a matter of seconds1 and when made
 the player should come back to the     
engaging guard and continue the bout4   
,,foul ,,hits4  ,of course there are    
occasions on which the best player      
cannot help dealing a foul hit4 ,when   
this happens there is nothing to be done
 except to apologize2 but most of these 

hits may be avoided by a little care and
 command of temper4 ,by a foul hit is   
meant a blow dealt to your opponent on  
receiving a blow from him--a hit given1 
not as an attempt to time1 but instead  
of a guard and1 as a matter of fact1    
given very often on the blow for blow   
principle4  ,this1 of course1 is great  
nonsense1 if you assume1 as you should  
do1 that the weapons are sharp1 when    
such exchanges would be a little more   
severe than even the veriest glutton for
 punishment would care for4  ,if you    
only want to see who can stand most     
hammering with an ash-plant1 then your  
pads are a mistake and a waste of time4 
,ten minutes without them will do more  
to settle that question than an hour    
with them on4  ,there ought to be some  
way of penalizing the player who1 after 
receiving a palpable hit himself1 fails 
to acknowledge it1 and seizes the       
opportunity instead to strike the       
hardest blow he is able to at the       
unprotected shoulder or arm of his      

adversary4  ,one more word and we have  
done with the courtesies of sword-play4 
,don't make any remarks either in a     
competition 7this1 of course1 is worst  
of all7 or in an ordinary bout4 ,don't  
argue1 except with the sticks4 ,remember
 that the beau-ideal swordsman is one   
who fights hard1 with silent lips and   
striking hand4   ,,competitions4  ,once 
a man has mastered the rudiments of any 
game and acquired some considerable     
amount of dexterity in loose play1 he   
begins to long to be pitted against some
 one else in order to measure his       
strength4 ,before long the limits of his
 own gymnasium grow too small for his   
ambition1 and then it is that we may    
expect to find him looking round for a  
chance of earning substantial laurels in
 public competitions4 ,unfortunately the
 stick-player will not find many        
opportunities of displaying his skill in
 public4 ,as far as the present writer  
knows1 there are only two prizes offered
 annually in ,london for single-stick1  

and neither of these attract much       
attention4 ,one of them is given at the 
,military ,tournament at ,islington1 in 
,june1 and one at the ,german           
,gymnasium1 in ,december4 ,the former of
 these prizes is open only to soldiers1 
militia-men1 or volunteers1 the latter  
to any member of a respectable athletic 
club1 who is prepared to pay #bs4 #f;d4 
for his entrance fee4 ,the attendance of
 spectators at both shows is very poor1 
which is to be regretted1 as the        
interest of the public in any game      
generally goes a long way towards       
insuring improvement in the play4  ,it  
is just as well1 before entering for    
either of these competitions1 to know   
something about the conditions under    
which they take place1 and the rules    
which govern them4 ,the bouts are       
generally played in a fourteen foot     
ring1 at least that is the statement in 
the notice to players1 and it is as well
 to be prepared to confine your         
movements to such a limited area4 ,as a 

matter of fact1 no objection ever seems 
to be raised to a competitor who        
transgresses this rule1 and we remember 
to have seen a nimble player skipping   
about like an electrified eel outside   
the magic circle1 until stopped by a    
barrier of chairs at the edge of the big
 arena4  ,at the ,military ,tournament  
the play is for the best out of three   
hits1 i4e4 the man who scores the first 
two points wins4 ,at the ,german        
,gymnasium the competitor who first     
scores five wins the bout4 ,this is     
better than at the ,tournament1 although
 it will seem to some that even this is 
hardly a sufficient test of the merits  
of each player4 ,the bouts seem too     
short1 but probably this is unavoidable2
 that which is to be regretted and might
 be remedied1 being that no points are  
given for form3 the result is that1 in  
many cases1 the anxiety to score the    
necessary points as soon as possible    
results in very ugly and unscientific   
rushes1 in which no guards are attempted

 and from which the most reckless and   
rapid hitter comes out the winner4      
,this1 of course1 is the same for every 
one1 and therefore perfectly fair1 but  
it does not tend to elevate the style of
 play4  ,but the great difficulty at    
these competitions appears to be the    
difficulty of judging4 ,and here let me 
say at once that it is as far from my   
intention to find fault with any        
individual judge as it possibly can be4 
,being ,english1 ,i believe them to be  
above suspicion2 being sometimes a      
competitor myself1 it would not be for  
me to impugn their honesty if they were 
not4 ,whatever he does1 ,i would always 
advise the athlete to preserve his faith
 in judges and a stoical silence when he
 does not quite agree with them4  ,all  
,i would suggest for the benefit of     
judges and judged alike in these trials 
of skill which test the eyesight and    
quickness of the umpires almost as much 
as the eyesight and quickness of the    
competitors1 is that some definite code 

of scoring should be established and    
recognized amongst the different        
schools-of-arms in ,england4  ,in order 
to facilitate the scoring they have a   
very good plan at the ,military         
,tournament of chalking the competitors'
 sticks4 ,this precaution ensures a mark
 upon the jacket every time the         
ash-plant hits it2 but even this is not 
always sufficient1 for it is quite      
possible for a true guard to be opposed 
to a hard cut with a pliant stick1 with 
the result that the attacker's stick    
whips over and leaves a mark which ought
 not to be scored1 for had the weapons  
been of steel this could not have       
happened4  ,this1 however1 is a point   
which would generally be detected by one
 of the three judges in the ring4  ,what
 gives rise to question in players'     
minds is not any small point like this1 
so much as the question of timing and   
countering4  ,to take the last first3   
,if ,a and ,b lunge together1 both      
making direct attacks1 and both get home

 simultaneously1 it is generally        
admitted that the result is a counter1  
and nothing is to be scored to any one4 
,but if ,a makes a direct attack1 and   
,b1 ignoring it1 stands fast and        
counters1 this is a wilful omission to  
protect himself on his part2 and even if
 his cut should get home as soon as ,a's
 it should not count1 nor1 ,i think1    
should it be allowed to cancel ,a's     
point1 for ,a led1 as the movement of   
his foot in lunging showed1 and ,b's    
plain duty was to stop ,a's attack      
before returning it4 ,this he would have
 done naturally enough if he had had the
 fear of a sharp edge before his eyes4  
,i even doubt whether a time-thrust or  
cut should ever be allowed to score1    
unless the result of it be such as would
 have rendered the direct attack        
ineffectual in real fighting4 ,should   
not the rule be1 either that the point  
scores to the person making the direct  
attack1 as shown by the action of his   
foot in lunging 7unless1 indeed1 the    

attacked person has guarded and         
returned1 when1 of course1 the point is 
his71 or else make the rule a harder    
one1 but equally fair for every one1 and
 say no hits shall count except those   
made clean without a counter1 i4e4 to   
score a point the player must hit his   
adversary without being hit himself8    
,of course bouts would take longer to   
finish if this were the rule1 but such a
 rule would greatly simplify matters4   
,the really expert swordsman is surely  
he who inflicts injuries without        
receiving any1 not he who is content to 
get rather the best of an exchange of   
cuts1 the least of which would with     
sharp steel put any man hors de combat4 
,in connection with public competitions1
 ,i may as well warn the tyro against   
what is called a surprise4 ,on entering 
the ring the men face each other1 come  
on the engaging guard1 and begin at the 
judge's word of command4 ,the sticks    
must have been fairly crossed before    
hits may be counted4 ,but it is as well 

the moment your stick has crossed your  
opponent's to step out of distance      
again1 by taking a short pace to the    
rear with the left foot and bringing the
 right foot1 after it4 ,you can always  
come in again at short notice2 but if   
you do not keep a sharp look out1 a very
 alert opponent may cross swords with   
you and tap you on the arm almost in the
 same movement4 ,if he does you may     
think it rather sharp practice1 but you 
will find that it scores one to him     
nevertheless4 ,as no word of practical  
advice founded on experience should be  
valueless1 let me add one here to       
would-be competitors4 ,do not rely upon 
other people for masks1 aprons1 or other
 necessaries of the game4 ,you cannot   
expect a gymnasium to which you do not  
belong to furnish such things for you1  
and even if they were provided they     
probably would not fit you4 ,bring all  
you want for yourself2 and if you value 
your own comfort or personal appearance 
when you leave the scene of the         

competition1 let your bag1 on arriving1 
contain towels1 brushes1 and such other 
simple toilet necessaries as you are    
likely to require4     ,,chapter ,v4    
,,the ,,bayonet4   ,history tells us    
that firearms of sorts were in existence
 as far back as the fourteenth century1 
and that they were probably of ,flemish 
origin4 ,certain it is that1 prior to   
#aejj1 there were large bodies of troops
 armed with what may be called portable 
culverins1 and in #adhe the ,english    
yeomen of the guard were armed with     
these clumsy weapons4 ,later on1 in the 
middle of the sixteenth century1 we hear
 of the long-barrelled harquebus being  
used in ,spain1 and before the close of 
the century the muschite was in use in  
the ,english army4 ,this was a heavier  
weapon than the harquebus1 and the      
soldiers were provided with a long      
spiked stake with a fork at the upper   
end in which to rest the ponderous      
barrel whilst they took aim4  ,the      
method of discharging these weapons was 

primitive in the extreme1 as it was     
necessary to hold a lighted match to the
 priming1 in a pan at the right side of 
the barrel1 and one can imagine what a  
lot of fizzing1 spluttering1 and        
swearing there must have been in damp   
weather6  ,improvements in the harquebus
 and musket1 as it got to be called     
later on1 continued to be developed from
 time to time4 ,in the early days1      
matchlocks were sneered at as being     
inferior to crossbows1 much in the same 
way that the first railway engine was   
contemptuously spoken of and written    
about by the coaching men at the        
beginning of this century2 but when in  
#agjj the flintlock musket made its     
appearance popular prejudice was shaken1
 and it was completely removed in #ahbj 
when percussion guns came into pretty   
general use4  ,this may appear to be a  
digression and somewhat outside the     
scope of this little work4 ,i give it1  
however1 to show the origin of the      
rifle1 to which1 after all1 the bayonet 

is but an adjunct4  ,about the middle of
 the seventeenth century it occurred to 
the sapient mind of one ,pusygur1 a     
native of ,bayonne1 in ,france1 that it 
would be a grand thing to have a sharp  
point on which to receive an advancing  
adversary after one had missed him1 or  
the fizzling matchlock had failed to go 
off4 ,the weapon devised was a          
sharp-bladed knife1 about eighteen      
inches long1 with a rounded handle six  
or eight inches long1 to fit like a plug
 into the muzzle of the musket1 and the 
bayonet in this form was used in        
,england and ,france about the year     
#afge4 ,it was1 of course1 impossible to
 fire the piece with the bayonet fixed2 
it was a case of fire first and then fix
 bayonets with all possible dispatch4   
,one can imagine what receiving a       
cavalry charge must have meant in those 
days4 ,towards the close of the         
seventeenth century an important step   
was made in the right direction4        
,bayonets were then for the first time  

attached to the barrel by two rings1 by 
which means the gun could be fired      
whilst the bayonet was in its place and 
ready for instant use4 ,very early in   
the eighteenth century a further        
improvement was invented1 in the shape  
of a socketed bayonet1 which was firmer 
and more satisfactory than anything     
previously devised4  ,the ,british      
bayonet in the hands of our soldiers has
 over and over again carried victory    
into the serried ranks of our           
adversaries1 but1 now that arms of      
precision have reached such a pitch of  
perfection1 and are still on the advance
 in the matter of rapid firing1 it is to
 be doubted whether hand-to-hand        
conflicts will play a very prominent    
part in the battles of the future4  ,a  
distinction must be drawn between the   
ordinary weapon with which the ,guards  
and army generally were till recently   
provided 7,i refer to the               
triangular-fluted bayonet1 used         
exclusively for thrusting purposes71 and

 the sword-bayonet1 which serves both   
for cutting and thrusting4 ,the         
advantage of the former was evidently   
its lightness and handiness2 but it must
 be remembered that1 save for thrusting1
 spiking a gun1 or boring a hole in a   
leather strap1 it was practically       
useless1 whereas the sharp edge of the  
sword-bayonet makes it an excellent     
companion to ,tommy ,atkins on all sorts
 of occasions1 too numerous to mention4 
,in the early months of the present year
 the new rifle and bayonet placed in the
 hands of the ,guards caused a good deal
 of comment4 ,as my readers are aware1  
the new arm is a magazine small-bore    
rifle1 carrying a long conical ball4 ,it
 is not a pretty-looking weapon1 and its
 serviceable qualities have yet to be   
tested in actual warfare4 ,but it is    
with the bayonet we are now chiefly     
concerned4 ,at first sight it reminds   
one of an extra strong sardine-box      
opener1 but on closer inspection it is  
evident that1 though quite capable of   

dealing with tinned-meat cans1 etc41 it 
has very many merits which are wanting  
in all the other bayonets which have    
gone before it4 ,it is a strong         
double-edged1 sharp-pointed knife1      
twelve inches long1 rather more than an 
inch wide1 and about a fifth of an inch 
deep through the strong ridge which runs
 down the centre of the blade from point
 to hilt4 ,the handle is of wood1 and it
 is fastened to the muzzle of the rifle 
by means of a ring and strong spring    
catch or clip4 ,altogether it is almost 
a model of the early ,roman sword4      
,from this short description it will be 
seen that1 though the soldier loses a   
good many inches in reach1 he is        
provided with an excellent              
hunting-knife1 which can be turned to   
any of the uses of a knife--from        
slaughtering a foe to cutting up        
tobacco4  ,then1 again1 it is possible  
that the loss in actual reach may be    
more than compensated for at very close 
quarters by the greater ease with which 

a man can shorten arms effectively as   
well as by the double edge4 ,every ounce
 saved in the weight of a soldier's     
accoutrements is a great gain1 and these
 new bayonets are light and1 as ,i have 
hinted1 are likely to be extremely      
useful for the every-day work of a long 
march4  ,it is not my intention to deal 
with the bayonet-exercise as practised  
by squads of infantry1 but1 before      
proceeding to deal with some of the more
 important situations in attack and     
defence1 ,i would advise those who wish 
to become proficient to learn the drill4
 ,the best way to do this is to join the
 ,volunteers1 and get all the squad work
 possible as a means of gaining a       
command over the weapon--the continued  
use of which for any length of time is  
extremely fatiguing4 ,when the rudiments
 are mastered1 and you know fairly well 
how to respond to the reiterated words  
of command3 ,high ,guard--,pint2 ,low   
,guard--,pint1 etc41 and can form the   
pints and guards in a respectable       

manner1 it will be well to join some    
school of arms with a proficient and    
painstaking military instructor who is  
also an expert swordsman4 ,i say        
swordsman advisedly1 because ,i am      
convinced that it is only one who is a  
fencer who can be really qualified to   
impart knowledge on the subject of      
weapons chiefly used for pointing4  ,no 
man can be said to use the bayonet      
efficiently who is not able to tackle   
another man similarly armed--a swordsman
 on foot or a mounted man armed with the
 cavalry sabre4  ,for ordinary practice 
the first thing to be secured is a good 
spring-bayonet musket1 somewhere about  
the weight of the ordinary rifle1       
provided with a bayonet which1 by means 
of a strong spiral spring inside the    
barrel1 can be pressed back eighteen    
inches or so when it comes in contact   
with the object thrust against4 ,it is  
hardly necessary to observe that the    
point of the bayonet must be covered    
with a good button1 similar to those    

used on fencing foils1 only much larger4
 ,the button should be tightly encased  
with layer upon layer of soft leather1  
and then bound over with stout parchment
 or stiff leather1 and tied very        
strongly with whipcord or silk just     
behind the button4 ,this precaution is  
very necessary to guard against broken  
ribs1 collar-bones1 etc4  ,the          
illustrations which embellish or        
disfigure this chapter do not profess to
 do more than indicate a few of the more
 important positions1 points1 and guards
 which occur in bayonet-exercise3 for   
fuller details the reader is referred to
 the various manuals issued from time to
 time by the ,horse ,guards and ,war    
,office authorities4 ,in these little   
books will be found all the words of    
command and1 ,i believe1 illustrations  
of every point and parry4  ,at an       
assault1 and opposed to a man armed also
 with a bayonet1 the first position is  
indicated by the accompanying sketch4   
,the head should be held well up1 the   

chest expanded1 and the weight of the   
body nearly evenly balanced on both     
feet1 which should be about eighteen or 
twenty inches apart1 so as to give a    
good firm base without detracting from  
the rapidity of advance and retreat4 ,in
 the case of a tall man1 the feet will  
be rather further apart than with a     
short man2 but this is a matter which   
can be easily adjusted to suit the      
requirements of each particular case4   
,illustration3 ,fig4 #cd4--,on guard4   
,illustration3 ,fig4 #ce4--,point1 from 
guard4   ,the great thing is to get     
accustomed to the position--to feel at  
home in it--and to be able to shift it  
at a moment's notice1 and1 when         
necessary1 to make a firm stand4 ,the   
drill work is very good for all this1   
and though it is tedious and irritating 
to many1 it is worth what it costs4  ,in
 ,fig4 #ce we have the point from guard1
 and in delivering this point the feet  
retain their positions1 flat upon the   
ground1 the right leg is straightened1  

the left knee bent1 and the body        
advanced over the left knee as far as   
possible consistent with stability4 ,the
 left shoulder is necessarily somewhat  
in advance of the right1 and the arms   
are stretched out horizontally1 and     
quite on a level with the shoulders4    
,the barrel of the rifle1 too1 is to be 
held horizontally1 with the bayonet     
pointing to the adversary's throat and  
chest4  ,in ,fig4 #cf we have the point 
from guard with the lunge1 which ought  
to give an extra reach of a foot or     
more4 ,here1 as in the point without the
 lunge1 the sole of the right foot      
should remain flat upon the ground1     
whilst the left is advanced about a foot
 or fifteen inches smartly on the       
straight line between the right heel and
 the adversary4  ,it is most important  
to remember that in all lunges the      
step-out should be bold and decided1 but
 that to over-stretch the distance is   
worse than stepping short1 because it   
leaves one in a position from which it  

is hard to recover4 ,having made your   
attack1 you want to be in a position of 
easy retreat to the base of operations1 
which is on guard4  ,we next come to    
what is called the ,throw-point1 by     
which a little extra reach is obtained  
over the ordinary point with lunge4     
,this is a point which may be very      
effective1 but unless a man is strong in
 the arm he should not use it much on   
account of the difficulty in rapidly    
regaining hold of the rifle with both   
hands4 ,the throw-point comes in when in
 making the ordinary lunge you feel that
 you are going to be just ever so little
 short2 you then release your hold of   
the barrel with the left hand1 and1     
bringing the right shoulder well        
forward1 you continue the lunge1 holding
 the rifle by the thin part of the stock
 alone4 ,the very instant your right arm
 is fully extended1 and the point of the
 bayonet has reached its furthest limit1
 you should draw back the rifle1 regain 
possession of the barrel with the left  

hand1 and come into the on guard        
position4   ,illustration3 ,fig4        
#cf4--,point1 with lunge4               
,illustration3 ,fig4 #cg4--,throw point4
  ,illustration3 ,fig4                  
#ch4--;,guard--opposed to ,swordsman4   
,as previously hinted1 a knowledge of   
fencing is of the first importance in   
studying the use of weapons where the   
point is the main factor1 and the longer
 the weapon the more this fact is forced
 upon us4 ,it is of course true for all 
weapons1 but the leverage being so great
 in the case of the rifle and bayonet1  
it becomes more apparent4 ,for example1 
the slightest touch from the thin blade 
of a foil is sufficient1 when applied   
near the point of the bayonet1 to bring 
about the necessary deflection of the   
weapon4 ,indeed ,i cannot help thinking 
that if two men fought1 one armed with  
the small-sword or light rapier and the 
other with the rifle and bayonet1 the   
swordsman would win--always supposing   
that they were equally expert in the use

 of their respective weapons4 ,it would 
seem that the lightness and consequent  
handiness of the rapier must more than  
make up for the length and strength of  
the more ponderous arm4   ,illustration3
 ,fig4 #ci4--,shorten arms4             
,illustration3 ,fig4 #dj4--,low guard4  
,illustration3 ,fig4 #da4--,point from  
low guard4   ,conflicts between the     
sword and bayonet are common enough1 but
 it is the broad-sword1 as a rule2 and  
one does not often see the bayonet1     
opposed to the small-sword1 used        
exclusively for thrusting4  ,in ,fig4   
#ch is given the best general position  
for coming on guard when opposed by a   
swordsman4 ,the great object is to keep 
the opponent at a distance2 directly he 
gets your side of your point you are in 
difficulties4 ,therefore never let the  
point of your bayonet wander far from   
the lines leading straight to his body4 
,there is1 of course1 the ,shorten-arms1
 shown in ,fig4 #ci2 but in actual      
conflict you might be a dead man twice  

over before you could get the bayonet   
back to the position indicated4 ,when   
the swordsman gets to close quarters1   
and has possibly missed you1 a good plan
 is to knock him down with the butt of  
the rifle--using the weapon like the    
quarter-staff 7vide ,fig4 #i74  ,the    
next two sketches show the positions in 
,low ,guard and ,point from ,low        
,guard--the latter being particularly   
effective on broken ground when an enemy
 is rushing up a hill at you1 or when   
you want to spike a fellow hiding in    
long grass4   ,illustration3 ,fig4      
#db4--;,high guard--opposed to mounted  
man4  ,illustration3 ,fig4 #dc4--;,head 
parry4   ,the ,high ,guard and ,head    
,parry are chiefly used when dealing    
with cavalry4 ,it seems to me hardly    
necessary to give the points of these   
guards1 as they simply amount to        
extending the arms straight in the      
direction of the foe4  ,a man on foot   
possesses one or two great advantages   
over a mounted man1 for his movements   

are quicker1 and if he can only avoid   
being ridden down and can keep on the   
horseman's bridle-hand side1 he ought to
 have a good chance of delivering his   
point in the left side4 ,it is most     
important that the man on foot should be
 ready to spring back so as to avoid a  
sudden sweep to the left1 which will    
bring him1 if the horse is spurred      
forward at the same time1 right under   
the rider's sword arm4  ,it is almost   
superfluous to add that in practice the 
general habiliments should be much the  
same as those used when playing         
quarter-staff4 ,in the illustrations the
 hands are left bare in order to show   
the grip of the rifle1 but boxing-gloves
 should invariably be worn1 or a broken 
finger may be the result4     ,,chapter 
,,vi4  ,,the ,,cudgel4   ,one remembers 
reading somewhere1 ,i think in ,bunyan's
 ,pilgrim's ,progress1 of a certain     
grievous crab-tree cudgel1 and the      
impression left by this description is  
that the weapon1 gnarled and knotty1 was

 capable of inflicting grievous bodily  
harm4  ,any thick stick under two feet  
long1 such as a watchman's staff or a   
policeman's truncheon1 may be fairly    
called a cudgel1 and it is not so long  
ago that cudgel-play formed one of the  
chief attractions at country fairs in   
many parts of ,england4  ,a stage was   
erected1 and the young fellows of the   
neighbourhood were wont to try          
conclusions with their friends or those 
celebrities from more distant parts of  
the country who were anxious to lower   
their colours4  ,the game was at times  
pretty rough1 and the object of each    
combatant was to break the skin on the  
scalp or forehead of his antagonist1 so 
as to cause blood to flow4 ,as soon as  
the little red stream was seen to       
trickle down the face of one or other   
the battle was at an end1 and the man   
who was successful in drawing first     
blood was declared the victor4          
,similarly1 ,german students1 squabbling
 over love affairs or other trivial     

matters1 fight with a long sort of foil1
 which has a very short lancet blade at 
the extreme point4 ,their object1 like  
our old cudgel-players1 is to draw first
 blood1 only our ,teutonic cousins1 in  
drawing the blood1 often lop off their  
friends' noses or slit open their cheeks
 from ear to mouth4  ,there is a great  
similarity in these two games1 because  
in each the head1 and the head alone1 is
 the object aimed at4 ,in the one case  
the defeated party went away with a     
pretty severe bump on his head1 and in  
the other he hies him to a surgeon to   
have his nose fixed on1 or his cheek    
stitched up with silver wire4  ,i have  
never been fortunate enough to witness a
 bout with the cudgels1 but those who   
have been more lucky say that the       
combatants stood very close to each     
other1 making all the hits nearly       
straight on to the top of their         
adversaries' heads1 and guarding the    
returns and attacks with their cudgels  
and with their left arms4  ,considering 

the cudgel as a modern weapon1 ,i am    
inclined to advocate its use for        
prodding an enemy in the pit of the     
stomach1 for1 with the extra eighteen   
inches or so of reach which your cudgel 
gives you1 it is likely that you may get
 your thrust well home1 at any rate     
before the opponent can hit you with his
 fist4 ,many of us know what a blow on  
the mark with the naked fist will do4   
,well1 the area of the knuckles is very 
much greater than the area of the end of
 even a very stout stick1 so that1 if   
you can put anything like the same force
 into the thrust that you can into the  
blow1 you will bring a smaller area to  
bear on a vital point1 and consequently 
work on that point with greater effect4 
,a grievous crab-tree 7or blackthorn7   
cudgel1 with two or three ounces of lead
 let into one end1 is a good thing to   
have under your pillow at night4 ,armed 
with this instrument1 you can steal up  
behind your burglar whilst he is opening
 your wife's jewel case or bagging your 

favourite gold snuff-box2 but don't get 
excited about it1 and remember to hit   
his head rather on the sides than on the
 back or front4  ,some authorities      
advocate life-preservers1 but later on  
,i hope to give my reasons for not      
caring much about this combination of   
lead and cane4   ,,the ,,shillalah4  ,in
 ,ireland they were formerly very       
partial to the use of the shillalah1 and
 even to this day there is a little bit 
of fun in this line to be seen at most  
of the fairs4  ,the shillalah proper is 
about four feet long and is usually made
 of blackthorn1 oak1 ash1 or hazel2 and 
it is a great point to get it uniform in
 thickness and in weight throughout its 
entire length4 ,it is held somewhere    
about eight inches or so from the       
centre1 and my countrymen1 who are      
always pretty active on their pins when 
fighting1 use their left forearms to    
protect the left side of their heads4   
,it is extraordinary what a lot of      
knocking about a sturdy ,irishman can   

put up with1 and what whacks he can     
receive on the head without any apparent
 damage4 ,one cannot help thinking that 
the ,celtic skull must be thicker than  
the ,saxon4 ,the brains in the former   
are certainly more capable than those in
 the latter of producing brilliant and  
amusing1 if incorrect1 ideas and        
expressions4 ,the history of the        
,emerald ,isle swarms with              
,boyle-,rocheisms as the country itself 
has long been said to swarm with        
absentee landlords4  ,after a certain   
fair1 where the whisky and the whacks   
had contended pretty severely for the   
first place as regards strength1 a      
certain ,paddy was found lying1 as ,mrs4
 ,malaprop would say1 in a state of     
como1 in a ditch hard by the scene of   
conflict4 ,a friend solicitous1 and     
fearing the worst1 said1 ,och1 ,paddy1  
what ails ye8 ,are ye dead8 ,a feeble   
voice replied1 ,ochone1 no1 ,jack4 ,i'm 
not dead1 but ,i'm spacheless4  ,the    
length of the shillalah gives it a great

 advantage over a shorter stick1 for1   
when held about a third of its length   
from the end1 the shorter portion serves
 to guard the right side of the head and
 the right forearm4 ,indeed1 the        
definition of the quarter-staff1 given  
at the commencement of ,chapter ,,ii41  
seems to me to apply far better to the  
shillalah1 which may in a sense be      
regarded as the link between the        
ordinary walking-stick and the mighty   
weapon which ,robin ,hood wielded so    
deftly in his combat with ,little ,john4
  ,the use of the point is almost       
unknown in ,irish conflicts4 ,my        
countrymen twirl their shillalahs above 
their heads with a whirring noise1 and  
endeavour to knock off their opponents' 
hats so as to get at their heads4 ,then 
begins the fun of the fair--all is      
slashing and whacking1 and the hardest  
skull generally comes off the best4     
,sometimes a great deal of skill is     
displayed1 and ,i often wonder whether a
 really expert swordsman would be much  

more than a match for some quick1       
strong1 ,kerry boys ,i could pick out4  
,be it remembered1 a swordsman          
invariably keeps his left hand behind   
his back1 whilst an ,irishman nearly    
always makes his left forearm the guard 
for the left side of his head1 and so   
has more scope for hitting than he would
 otherwise have4 ,one is here reminded  
of the conflict between ,fitz-,james and
 the ,highland ,chieftain1 ,roderick    
,dhu3--    ,ill fared it then with      
,roderick ,dhu1    ,that on the field   
his targe he threw1    ,whose brazen    
studs and tough bull-hide    ,had death 
so often dashed aside2    ,for1 trained 
abroad his arms to wield1               
,fitz-,james's blade was sword and      
shield4  ,the left arm1 supplying the   
place of the targe1 alluded to in       
,scott's lines1 is doubtless an         
advantage2 but1 in the case of the two  
combatants whose merits we are          
considering1 the ordinary swordsman     
possesses superior reach1 can lunge out 

further1 and knows full well the value  
of the point4  ,a mele at an ,irish fair
 is worth seeing1 but it is better not  
to join in it1 if possible4  ,a number  
of the boys1 from ,cork or an adjacent  
county1 were once had up before ,judge  
,keogh for beating a certain man within 
an inch of his life4 ,a witness under   
examination--after graphically          
describing how one of the prisoners had 
beaten the poor man wid a stone1 and he 
lying senseless in the road2 how another
 had hit the crater wid a thick wattle2 
and how a third had kicked him in the   
back--was asked what one ,michael       
,o',flannagan1 another of the prisoners1
 had done4 ,begorra1 your honour1 said  
the witness1 devil a hap'orth was ,micky
 doing at all1 at all2 he was just      
walking round searching for a vacancy4  
,a similar story is told of about a     
dozen tinkers who had set upon one man  
and were unmercifully beating him4      
,presently there was a lull in the      
proceedings1 and a little deformed man1 

brandishing a very big stick1 elbowed   
his way through the crowd1 shouting1    
,och1 now1 boys1 for the love of mercy  
let a poor little cripple have just one 
stroke at him4  ,illustration3 ,the fun 
of the fair--,whirroo4   ,,the          
,,walking-,,stick4  ,the choice of this 
useful adjunct is by no means as easy as
 many people suppose1 for it involves   
not only a knowledge of the             
prerequisities--in the matter of various
 kinds of woods1 etc4--but also an      
acquaintance with the situations a man  
may find himself in1 and the uses to    
which he may have to put his            
walking-stick4  ,first1 then1 as to the 
matter of the best wood4 ,there are1    
roughly speaking1 two headings under    
which we may class our types of raw     
material--strong and stiff wood1 such as
 the oak and the hazel2 and strong and  
pliable1 such as the ash-plant and      
various kinds of canes4 ,what one really
 wants to secure is a sufficient amount 
of stiffness and strength to enable one 

to make an effective hit or longe1      
without any chance of snapping1 and a   
degree of pliability and spring combined
 with that lightness which makes a stick
 handy and lively in actual encounter4  
,the oak has plenty of power and about  
the right density1 but1 unless you get a
 rather big stick--too big for all-round
 usefulness1--it is apt to snap4 ,the   
hazel is perhaps rather too stiff1 and  
it is certainly too light1 though for   
this very reason it is handy4 ,then1    
again1 there is no bending a hazel      
without a great chance of breaking it4  
,a good strong ground-ash is not to be  
despised if cut at the right time1 but  
it is always apt to split or break4     
,turning to the rattan-cane1 we find a  
capital solid cane--almost              
unbreakable--but with rather too much   
bend in it for thrusting1 or warding off
 the rush of a savage dog4 ,the rattan1 
too1 is very apt to split if by any     
chance the ferrule comes off2 and when  
once it has really split you might just 

as well have a birch-rod in your hands4 
,where1 then1 shall we look for a stick 
which combines all the good qualities   
and is free from the drawbacks just     
enumerated8 ,without the slightest      
hesitation ,i refer you to the ,irish   
blackthorn1 which can be chosen of such 
convenient size and weight as not to be 
cumbersome1 and which1 if carefully     
selected1 possesses all the strength of 
the oak1 plus enormous toughness1 and a 
pliability which makes it a truly       
charming weapon to work with4  ,it is a 
matter of some difficulty to obtain a   
real blackthorn in ,london or any big   
town4 ,you go into a shop1 and they show
 you a smart-looking stick which has    
been peeled and deprived of most of its 
knobs1 dyed black1 and varnished4 ,that 
is not the genuine article1 and1 if you 
buy it1 you will become the possessor of
 a stick as inferior to a blackthorn as 
a pewter skewer is inferior to a        
,damascus blade4  ,the best way is to   
send over to ,kerry1 ,cork1 or some     

other county in the ,emerald ,isle1 and 
ask a friend to secure the proper thing 
as prepared by the inhabitants4  ,the   
sticks are cut out of the hedges at that
 time of year when the sap is not       
rising2 they are then carefully prepared
 and dried in the peat smoke for some   
considerable time1 the bark of course   
being left on and the knobs not cut off 
too close2 and1 when ready1 they are    
hard1 tough1 and thoroughly reliable    
weapons4  ,as regards appearance1 too1  
,i think1 when the hard surface of the  
rich-coloured bark has been rubbed up   
with a little oil and a nice silver     
mount fixed on the handle1 no man need  
feel ashamed of being seen with one of  
them in ,piccadilly or ,bond ,street4   
,the section of these sticks is seldom a
 true circle1 but bear in mind1 when    
giving your order1 to ask for those     
which are rather flat than otherwise4 ,i
 mean that the section should be        
elliptical1 and not circular4 ,the shape
 of the stick then more nearly          

approaches that of the blade of a sabre1
 and if you understand sword exercise   
and make all cuts and guards with the   
true edge1 you are far more likely to do
 effective work4  ,again1 the blow comes
 in with greater severity on account of 
the curvature at either end of the major
 axis of the ellipse being sharper than 
it is at the end of any diameter of the 
circle1 the sectional areas1 of course1 
being taken as equal4  ,the length of   
the blackthorn depends on the length of 
the man for whom it is intended1 but    
always go in for a good long stick4     
,useful lengths range between #b ft4 #aj
 in4 and #c ft41 and even #c ft4 #f in4 
for a very tall man4  ,the blackthorn1  
being stiff and covered with sharp      
knots1 is a first-rate weapon for       
defence at very close quarters4 ,when1  
therefore1 your efforts at distance-work
 have failed1 and you begin to be hemmed
 in1 seize the stick very firmly with   
both hands1 and dash the point and hilt 
alternately into the faces and sides of 

your opponents4  ,always have a good    
ferrule at the end of your stick4 ,an   
inch and a half from an old gun barrel  
is the best2 and do not fix it on by    
means of a rivet running through the    
stick4 ,let it be fixed in its place    
either by a deep dent in the side1 or by
 cutting out two little notches and     
pressing the saw-like tooth into the    
wood4 ,it is also a good plan to carry  
these saw-like teeth all round the      
ferrule and then press the points well  
into the wood2 there is then no chance  
of the fastening-on causing a split or  
crack in the wood4  ,the weight of the  
stick is an important matter to         
consider4 ,some blackthorns are so      
enormously heavy that it is next to     
impossible to do any quick effective    
work with them1 and one is reminded1 on 
seeing a man over sticked1--if ,i may be
 allowed such an expression--of ,lord   
,dundreary's riddle1 ,why does a dog wag
 his tail8 ,because the dog is stronger 
than the tail1 or of ,david in ,saul's  

armour4 ,some time ago it was rather the
 fashion for very young men to affect   
gigantic walking-sticks--possibly with  
the view of intimidating would-be       
plunderers and robbers1 and investing   
themselves generally with a magic sort  
of noli me tangere air4  ,without       
wishing to detract from the undoubted   
merits1 in certain special cases1 of    
these very big sticks1 ,i am bound to   
say that1 only being useful to a limited
 extent1 they should not be encouraged4 
,let the stick you habitually carry be  
one well within your compass4 ,if it    
comes up to guard readily and without   
any apparent effort or straining of your
 wrist1 and if you find you can make all
 the broadsword cuts1 grasping it as    
shown in ,fig4 #ad1 without the least   
spraining your thumb1 then you may be   
pretty sure that you are not            
over-sticked1 and that your cuts and    
thrusts will be smart to an extent not  
to be acquired if you carried a stick   
ever so little too heavy for you4       

,though it is a good plan to be         
accustomed to the feel of the weapon    
which is most likely to serve you in    
time of need1 it is nevertheless a grand
 mistake to get into a way of imagining 
that you can only use one kind of stick 
or one kind of sword effectively4  ,this
 is one reason why it is so advisable to
 range wide in fencing matters4 ,i would
 always say1 commence with the foils and
 work hard1 under some good master1 for 
a year or so without touching any other 
branch4 ,then go on to broad-sword1 and 
keep to alternate days with foils4      
,later on take up the single-stick1 and 
then go on to bayonet-exercise1         
quarter-staff1 and anything else you    
please4  ,this extended range of work   
will give you a wonderful general       
capability for adapting yourself at a   
moment's notice to any weapon chance may
 place in your hands3 the leg of an old 
chair1 the joint of a fishing rod1 or   
the common or garden spade2 any of these
 may be used with great effect by an    

accomplished all-round swordsman4       
,there is one point on which a few words
 may not be out of place in this        
connection4  ,good men1 with their      
fists1 and those who are proficient with
 the sword or stick1 often complain     
that1 in actual conflict with the rough 
and ready1 though ignorant1 assailant1  
they are worsted because the adversary  
does something diametrically opposed to 
what a scientific exponent of either art
 would do in similar circumstances4  ,it
 is certainly trying1 when you square up
 to a rough and expect him to hit out   
with his fists1 to receive a violent    
doubling-up kick in the stomach2 and    
similarly annoying is it1 when attacked 
by a man with a stick1 to experience    
treatment quite different to anything   
you ever came across in your own        
particular ,school-of-,arms4  ,but after
 all this is only what you ought to     
expect4 ,it is absolutely necessary to  
suit yourself to your environment for   
the time being1 and be ready for        

anything4  ,depend upon it science must 
tell1 and there is always this very     
consoling reflection to fall back upon3 
if your opponent misses you1 or you are 
quick enough to avoid his clumsy        
attack--either of which is extremely    
likely to happen--it is highly probable 
that you will be able to make good your 
own attack1 for1 as a rule1 the         
unscientific man hits out of distance or
 wide of the mark1 and this is rarely   
the case with a scientific man4  ,it    
once fell to my lot to be set upon by a 
couple of very disagreeable roughs in   
,dublin1 one of whom did manage to get  
the first blow1 but it was all round and
 did not do much harm4 ,before he could 
deliver a second hit ,i managed to lay  
him out with a very severe cut from my  
blackthorn1 which came in contact with  
his head just between the rim of his hat
 and the collar of his coat4 ,now1 had  
my knowledge of stick-play been         
insufficient to enable me to accurately 
direct this cut 7cut #e7 to its         

destination1 ,i might not now be        
scribbling these pages4 ,as it turned   
out1 this poor injured rough was placed 
hors de combat1 and was afterwards      
conveyed to the hospital1 and ,i only   
had to tackle his friend1 a stubborn    
varlet1 who1 after knocking me about a  
good deal and also receiving some rough 
treatment at my hands1 ran away4 ,he was
 wanted by the police for some time1 but
 was never caught4  ,this little episode
 is only given to show that the proper  
delivery of one blow or hit is often    
enough to turn the tables1 and how      
advisable it is to practise often1 so as
 to keep the eye and hand both steady   
and quick4  ,when walking along a       
country road it is a good plan to make  
cuts with your stick at weeds1 etc41 in 
the hedges1 always using the true edge1 
i4e4 if aiming at a certain part of a   
bramble or nettle1 to cut at it1 just as
 though you were using a sabre4 ,by this
 sort of practice1 which1 by the way1 is
 to be deprecated in a young plantation 

or in a friend's garden1 you may greatly
 increase the accuracy of your eye4  ,it
 is merely an application of the        
principle which enables a fly-fisher to 
place his fly directly under such and   
such over-hanging boughs1 or gives the  
experienced driver such control over his
 whip that he can flick a midge off the 
ear of one of his galloping leaders4    
,much does not1 in all probability1     
depend upon the success or failure of   
the piscator's cast1 and very likely the
 midge might safely be allowed to remain
 on the leader's ear2 but if you are    
walking in a lonely suburb or country   
lane1 your life may depend upon the     
accuracy with which you can deliver one 
single cut or thrust with your faithful 
blackthorn4  ,i can almost hear people  
say1 ,oh1 this is all rubbish2 ,i'm not 
going to be attacked2 life would not be 
worth living if one had to be always 'on
 guard' in this way4 ,well1 considering 
that this world1 from the time we are   
born to the time we die1 is made up of  

uncertainties1 and that we are never    
really secure from attack at any moment 
of our lives1 it does seem worth while  
to devote a little attention to the     
pursuit of a science1 which is not only 
healthful and most fascinating1 but     
which may1 in a second of time1 enable  
you to turn a defeat into a victory1 and
 save yourself from being mauled and    
possibly killed in a fight which was    
none of your own making4 ,added to all  
this1 science gives a consciousness of  
power and ability to assist the weak and
 defenceless1 which ought to be most    
welcome to the mind of any man4 ,though 
always anxious to avoid anything like a 
row1 there are times when it may be     
necessary to interfere for the sake of  
humanity1 and how much more easy is it  
to make that interference dignified and 
effective if you take your stand with a 
certainty that you can1 if pushed to    
extreme measures1 make matters very warm
 indeed for the aggressor8 ,the         
consciousness of power gives you your   

real authority1 and with it you are far 
more likely to be calm and to gain your 
point than you would be without the     
knowledge4 ,backed up by science1 you   
can both talk and act in a way which is 
likely to lead to a peaceful solution of
 a difficulty1 whereas1 if the science  
is absent1 you dare not1 from very      
uncertainty1 use those very words which 
you know ought to be used on the        
occasion4  ,there are necessarily a good
 many difficulties to be faced in       
becoming at all proficient in the art of
 self-defence1 but the advantages to be 
gained are doubtless very great4  ,an   
expert swordsman1 and by this ,i mean   
one who is really au fait with any      
weapon you may put into his hand1 who is
 also a good boxer and wrestler1 is a   
very nasty customer for any one or even 
two footpads to make up to4  ,the worst 
of it is that it takes so long to become
 really good in any branch of athletics4
 ,when you know all1 or nearly all1 that
 is to be learned1 you get a bit stiff  

and past work6 ,but this1 after all1    
need not trouble one much1 since it     
applies to all relations of life4 ,as a 
wise man once said1 with a touch of     
sorrow and regret in his tone1 ,by the  
time you have learned how to live1 you  
die4   ,,the ,,umbrella4  ,as a weapon  
of modern warfare this implement has not
 been given a fair place4 ,it has1      
indeed1 too often been spoken of with   
contempt and disdain1 but there is no   
doubt that1 even in the hands of a      
strong and angry old woman1 a gamp of   
solid proportions may be the cause of   
much damage to an adversary4 ,has not an
 umbrella1 opened suddenly and with a   
good flourish1 stopped the deadly       
onslaught of the infuriated bull1 and   
caused the monarch of the fields to turn
 tail8 ,has it not1 when similarly      
brought into action1 been the means of  
stopping a runaway horse1 whose mad     
career might otherwise have caused many 
broken legs and arms8  ,if1 then1 there 
are these uses beyond those which the   

dampness of our insular climate forces  
upon us1 it may be well to inquire how  
they can be brought to bear when a man1 
who is an expert swordsman1 or one who  
has given attention to his fencing      
lessons1 is attacked without anything in
 his hands save the homely umbrella4    
,it is1 of course1 an extremely risky   
operation prodding a fellow-creature in 
the eye with the point of an umbrella2  
and ,i once knew a man who1 being       
attacked by many roughs1 and in danger  
of losing his life through their        
brutality1 in a despairing effort made a
 desperate thrust at the face of one of 
his assailants4 ,the point entered the  
eye and the brain1 and the man fell     
stone dead at his feet4 ,i would        
therefore only advocate the thrusting   
when extreme danger threatens--as a     
dernier resort1 in fact1 and when it is 
a case of who shall be killed1 you or   
your assailant4  ,there are two methods 
of using the umbrella1 viz4 holding it  
like a fencing foil--and for this reason

 umbrellas should always be chosen with 
strong straight handles--for long       
thrusts when at a distance1 or grasping 
it firmly with both hands1 as one grasps
 the military rifle when at             
bayonet-exercise4 ,in the latter case   
one has a splendid weapon for use       
against several assailants at close     
quarters4 ,both the arms should be bent 
and held close to the body1 which should
 be made to work freely from the hips1  
so as to put plenty of weight into the  
short sharp prods with which you can    
alternately visit your opponents' faces 
and ribs4 ,if you have the handle in    
your right hand1 and the left hand      
grasps the silk 7or alpaca71 not more   
than a foot from the point1 it will be  
found most effective to use the forward 
and upward strokes with the point for   
the faces1 and the back-thrusts with the
 handle for the bodies4 ,whatever you   
do1 let your strokes be made very       
quickly and forcibly1 for when it comes 
to such close work as this your danger  

lies in being altogether overpowered1   
thrown down1 and possibly kicked to     
death2 and1 as ,i have before hinted1   
when there is a choice of evils1 choose 
the lesser1 and don't be the least      
squeamish about hurting those who will  
not hesitate to make a football of your 
devoted head should it unfortunately be 
laid low4  ,then1 again1 there is no    
better weapon for guarding a heavy blow 
aimed at you with a thick bludgeon than 
an umbrella1 which1 with its wire ribs  
and soft covering1 is almost            
unbreakable1 when all its ribs are held 
tightly with both hands2 it is also1 for
 the same reason1 when thus grasped with
 both hands1 an excellent defence       
against the attack of a large powerful  
dog1 which may spring at your throat2   
but1 in this case1 remember to get one  
of your legs well behind the other so as
 to bring most of the weight of your    
body on the foremost leg1 and1 if you   
are lucky1 you may have the satisfaction
 of throwing the animal on his back4    

,thrusting1 prodding1 and guarding1     
then1 may be called the strong points of
 the gamp2 it is no use for hitting     
purposes1 and invariably tumbles to     
pieces1 comes undone1 and gets into a   
demoralized condition when one tries to 
make it fulfil all the conditions of the
 unclothed walking-stick4 ,besides      
which1 the handles are never made strong
 enough for hitting1 and the hittee is  
protected by the folds of silk4         
,hitting1 then1 is the weak point of the
 gamp4 ,try to remember this when you   
feel inclined to administer a           
castigation to man or beast1 and bear in
 mind that a comic scene may ensue1     
when1 hot and angry1 you stand with your
 best umbrella broken and half open1    
with the silk torn and the ribs sticking
 out in all directions4  ,sometimes     
umbrellas have been made even more      
effective weapons by what is called a   
spring dagger1 which consists of a      
short1 strong knife or dirk let into the
 handle1 and is readily brought into    

play by a sudden jerk1 or by touching a 
spring4 ,this may be all very well for  
travellers in the out-of-the-way regions
 of ,spain1 ,sicily1 or ,italy1 but ,i  
don't like these dangerous accessories  
for ,english use1 as they may be        
unfortunately liable to abuse by        
excitable persons4  ,in addition to the 
weapons already alluded to1 there are   
others which1 though not so generally   
known1 or so generally useful1 may be   
turned to good account on certain       
occasions4  ,the life-preserver consists
 of a stout piece of cane about a foot  
long1 with a ball of five or six ounces 
of lead attached firmly to one end by   
catgut netting1 whilst the other end is 
furnished with a strong leather or      
catgut loop to go round the wrist and   
prevent the weapon flying from or being 
snatched from the hand4  ,of course this
 instrument may be very effective1 very 
deadly1 but what you have to consider is
 this3 the serviceable portion is so    
small--no bigger than a hen's egg--that 

unless you are almost an expert1 or     
circumstances greatly favour you1 there 
is more than a chance of altogether     
missing your mark4 ,with the            
life-preserver you have1 say1 at most a 
couple of inches only of effective      
weapon to rely on1 whereas with the     
cudgel at least a foot of hard and heavy
 wood may be depended upon for bowling  
over the adversary4  ,a leaded rattan   
cane is a dangerous instrument in expert
 hands1 but my objections to it are very
 similar to those advanced with regard  
to the shorter weapon4 ,leaded          
walking-sticks are not handy1 for the   
presence of so much weight in the       
hitting portion makes them extremely bad
 for quick returns1 recovery1 and for   
guarding purposes4  ,to my mind the     
leaded rattan is to the well-chosen     
blackthorn what the life-preserver is to
 the cudgel--an inferior weapon4  ,one  
does not want to kill but to disable1   
even those who have taken the mean      
advantage of trying to catch one        

unprepared in the highways and byways4  
,to take an ordinary common-sense view  
of the matter3 it is surely better far  
to have a three to one chance in favour 
of disabling than an even chance of     
killing a fellow-creature8 ,the         
disablement is all you want1 and1 having
 secured that1 the best thing is to get 
out of the way as soon as possible1 so  
as to avoid further complications4  ,the
 sword-stick is an instrument ,i        
thoroughly detest and abominate1 and    
could not possibly advocate the use of  
in any circumstances whatever4  ,these  
wretched apologies for swords are to    
outward appearance ordinary straight    
canes--usually of ,malacca cane4 ,on    
pulling the handle of one of these      
weapons1 however1 a nasty piece of steel
 is revealed1 and then you draw forth a 
blade something between a fencing-foil  
and a skewer4  ,they are poor things as 
regards length and strength1 and not in 
it with a good solid stick4 ,in the     
hands of a hasty1 hot-tempered          

individual they may lead to the shedding
 of blood over some trivial1 senseless  
squabble4 ,the hollowing out of the     
cane1 to make the scabbard1 renders them
 almost useless for hitting purposes4   
,in the environs of our big cities there
 is always a chance of attack by some   
fellow who asks the time1 wants a match 
to light his cigar1 or asks the way to  
some place4 ,when accosted never stop1  
never draw out watch or box of lights1  
and never know the way anywhere4 ,always
 make a good guess at the time1 and     
swear you have no matches about you4 ,it
 is wonderful to notice kind-hearted    
ladies stopping to give to stalwart     
beggars who are only waiting for an     
opportunity to snatch purses1 and it    
would be interesting to know how many   
annually lose their purses and watches  
through this mistaken method of         
distributing largess4  ,let me conclude 
by saying that1 if you want to be as    
safe as possible in a doubtful          
neighbourhood1 your best friends are a  

quick ear1 a quick eye1 a quick step1   
and a predilection for the middle of the
 road4 ,the two former help you to      
detect1 as the two latter may enable you
 to avoid a sudden onslaught4     ,,the 
,,all-,,england ,,series4  ,illustrated4
      ,price #as4  #djj ,gymnastic      
,competition  ,display ,exercises       
,,set ,,at ,,various ,,open             
,,competitions ,,and ,,displays ,,during
   ,,the ,,last ,,twelve ,,years1 ,,and 
,,voluntary   ,,exercises ,,shown ,,by  
,,winners of ,,open and ,,championship  
,,gymnastic ,,competitions4  ,edited by 
,f4 ,,graf1 ,orion ,gymnastic ,club4    
,the book also contains an ,illustrated 
,glossary of the ,principal ,gymnastic  
,terms2 the ,exercises for the ,second  
and ,third ,class ,badge of the ,a4,g4  
and ,f4,a4 7,illustrated72 #db          
,exercises for ,developing ,muscles2 and
 an article on ,training for            
,competitions1 by ,a4 ,,barnard1        
,captain of the ,orion ,gymnasium ,club4
    ,on ,sheets #ag  #bg4 ,price #f;d42 

or ,mounted on ,cardboard1 #as4         
,exercises on the ,instruments   ,,for  
,,the   ,a4,g4 and ,f4,a4               
,,third-,,class ,,test4  ,by ,a4 ,f4    
,,jenkin4  ,with #bh ,,illustrations by 
,b4 ,m4 ,,jenkin4    ,,issued ,,by ,,the
 ,,amateur ,,gymnastic ,,association1   
,,and ,,published ,,by   ,g4 ,,bell     
,,sons1 ,,ltd4   ,,york ,,house1        
,,portugal ,,street1 ,,london1 ,w4,c4   
,,the ,,all-,,england ,,series4         
,numerous ,illustrations4      ,,boxing4
      ,price #as4    ,,by   ,r4 ,g4     
,,allanson-,,winn1    ,,inns ,,of       
,,court ,,school ,,of ,,arms1 ,,winner  
,,of ,,the ,,middle ,,weights1          
,,cambridge1 #ahgf-g2 ,,heavy ,,weights1
 #ahgg-h4  ,mr4 ,winn's book is worthy  
of great praise1 for it is at once one  
of the cheapest and best on the         
subject4--,field4  ,his 7,mr4           
,allanson-,winn's7 book gives ample     
testimony of his ability to write on    
boxing4 ,if only for the illustrations  
that enable the novice to see what he   

should do with the gloves and what he   
should not do with them1 the brochure is
 well worth the modest price charged for
 it4--,,pendragon in the ,referee4  ,the
 art of self-defence is here treated    
from a thoroughly practical point of    
view4 ,clear as the text is1 its value  
is no little enhanced by the numerous   
and admirably executed                  
illustrations4--,st4 ,james's ,gazette4 
,,new ,,edition1 ,,revised4             
,illustrated4      ,,wrestling4         
,price #as4    ,,by   ,,walter          
,,armstrong 7,,cross-,,buttocker71      
,,late ,,hon4 ,,sec4 ,,cumberland ,,and 
,,westmoreland ,,wrestling ,,society    
,,in   ,,london1 ,,author ,,of          
,,wrestliana1 ,,etc41 ,,etc4            
',wrestling' needs no praise at our     
hands4 ,it is sufficient to say that the
 handbook is the work of ,mr4 ,walter   
,armstrong4--,field4  ,no one is better 
qualified to deal with such a subject   
than the ',cross-buttocker1' who for the
 last thirty years has been known as a  

clever light-weight wrestler1 and whose 
remarks are1 therefore1 not mere        
theories1 but founded on the results of 
long experience4--,sporting ,life4  ,the
 handy little volume will be largely    
acceptable in these northern parts1     
where wrestling is a distinctive        
pastime4--,west ,cumberland ,times4     
,,london3 ,g4 ,,bell ,,and ,,sons1      
,,ltd4     ,transcriber's ,notes3       
,passages in italics are indicated by   
underscore4  ,underlined passages       
indicated by underline4  ,the following 
misprints have been corrected3   cutlas 
corrected to cutlass 7page #bc7   two   
corrected to too 7page #ha7   once      
corrected to one 7page #hf7   spilt     
corrected to split 7page #aje7  ,other  
than the corrections listed above1      
printer's inconsistencies in spelling   
and hyphenation usage have been         
retained4