Developmental pathway- regular classes- track a through each section to give core competency, b to develop and then c

Transcription

1 Girard s Vademecum A digest of Girard s smallsword method divided into technical, tactical and thematic content To be distributed and used freely, as long as credit is given and not for profit making purposes. Not to be reproduced in any form without express permission, which can be requested using the address below Please use smallswordsymposium@gmail.com for any clarification, workshops requests, discussion or other enquiries Contents remain copyright 2018 Philip T. Crawley This version is correct as of 24/01/2018 yet remains subject to constant change

2 Developmental pathway- regular classes- track a through each section to give core competency, b to develop and then c Depth pathway- seminars, individual lessons- track a to b to c for depth knowledge

3 Mixed ability group pathway- use different variations of common theme to meet differing skills and abilities at once Levels based on ability not on time- many sessions may be spent on each section until they are grasped, other themes may be grasped easily but require regular practice or be used as simple warmups as a path to acquiring/attaining the more advanced material Summaries are divided into- Technical- how to do stuff (skills that require learning, developing and practicing until they are innate) Tactical- when to do stuff (which is how Girard structures his text after covering the basic principles) Thematic- grouping stuff together (this was used to identify techniques and form the syllabus topics and contents)

4 1. Footwork 2. Attacks Ripostes 5. Preparations a. Stepping & Lunges a. Attacks- direct a. Direct parries a. Direct ripostes- in order a. Glide, Beat, Disengage, Cutover, Feint 1-2- in order, out of order b. Passes, Gather & appel b. Attacks- on the Pass & Half Thrusts b. Indirect parries Circular parries b. Indirect- in order b. Glide, Beat & Feints (high/low) c. Traversing c. Attacks- Cut under, Absence & Reprise c. False edge parries c. Direct & Indirect- out of order c. Cutover & Feints (inside/outside) 6. Strong over Weak 7. Flanconnade 8. Taking Time 9. Commanding 10. Vs Cuts a. Rapport drill a. As an attack- a. Stophits a. Disarms a. Guard & Head direct & compound cuts b. Leading to attack b. As a Riposte b. Taking time vs preparation b. Disarms b. Wrist & Stomach cuts c. Eyes shut c. Defences against the Flanconnade c. Taking time vs preparation II c. Sword seizures & defence vs rear hug c. Leg cuts NB: Everything here is in Girard, not everything in Girard is here!

5 Both shoulders should be well profiled sideways & the body weight carried entirely on the left side. The left arm must be raised and bent into a semi-circle, the elbow to the outside with the hand raised to the height of the left eye, the thumb turned to the ground, and the palm of the hand to the outside. Left knee must be more to the outside than the inside, with the left shank well bent. Left foot is flat & firm upon the ground, presenting the inside of the foot to the right heel. The sword point must be presented straight, such that it aims toward the enemy's right breast, and such that the ridge of the blade looks to the ground. That the end of the pommel is oriented between the right nipple and the armpit, and lies directly above the right foot. That the handle is gripped near the pommel with the little finger & the second finger, & that the middle of the thumb is laid flat on the grip, near to the body of the hilt; of which is supported by the inside of the knuckle of the index finger, which will give greater ease in disengaging and thrusting. Observations Use short lunges Use good, short, dry parries Oppose with the left hand Maintain a good guard posture Parry everything Maintain strong over weak on the blade Come on guard out of measure Take time from them by interrupting their large, incomplete or slow attacks The right arm & the wrist flexible & turned to demiquarte, in such a way that the ridge of the blade is toward the ground, as stated, & that the fingertips and nails of the three last fingers point towards the sky, as the greater part of the thumbnail and the tip of the index finger. Hold the head more to the rear rather than to the front & turned towards the right shoulder, to face the enemy. The right hip must be well receded toward the left side, without tilting the upper body to the front or pushing the bottom out. The right knee is flexible & have a little bend in it. The point of the right foot must be in a straight line regarding the enemy, and its heel will lie towards the instep of the left foot, which must be at right angles to the right foot & separated from one another by a distance of about two paces.

6 1. Footwork a b c Step forward Step backward Lunge Half-thrust Pass forward Pass backward Gather Appel Traverse Left Traverse Right Reverse lunge

7 2. Attacks a b c Direct Attack On guard, await invitation, Appel, thrust direct if no response Tierce (3) Quarte (4) Seconde (2) Low Quarte (L4) Pass Against thrust in 4 Pass L foot forward into attack Engaged in 4, beat Disengage to outside and thrust 3 on the pass Engage in 3, feint to head Thrust 2 on the pass Cut-under using Low-Quarte On guard in 3, disengage to high 4 with appel extending toward R breast Parry 4 Drop point, thrust 4 to R flank. Return to 3 Half Thrusts Against attack in 4 Parry 4, raise hand and lower point with an appel During the parry disengage, thrust outside, 3 or 4, redouble 2, retreat Against attack of 3 Parry and appel During parry disengage, thrust 4-inside or coupé Use of absence of blade Blades not touching Adversary retreats Appel, pass in with L foot Thrust at any exposed part Engage with the point only, out of measure Enter measure under cover of appel while extending Disengage and thrust to exposed area, redouble to another exposed area while advancing, retreat Reprise Thrust Engage in 3, appel along blade in 3 3 Disengage, thrust 4 but relax as if returning to guard, withdrawing foot with only toe on ground As they advance turn to 3 and thrust 3 On guard in 4, extend with appel toward R breast Parry 4. Drop point, thrust 4 to R flank. Return to 3 On guard in 3, extend in high 4. Parry 4 and return to 3 Drop point, thrust 4 to R flank. Return to 3 Interrupt disengage from 3 to 4 with a drop point, thrust 4 to R flank. Return to 3 Be out of measure Hand high, point at stomach Appel with R foot, hand in 4, advance with half steps and shrugs of the shoulders while on guard. When in measure as he parries appel then thrust to exposed part, redouble and retreat Engage in 4, appel along blade in 4 4 Disengage, thrust 3 but relax as if returning to guard withdrawing foot with only one toe on the ground As they advance turn to 4 and thrust 4 Engage in 3, appel along blade in 3 3 Disengage, thrust 4 but relax as if returning to guard, withdrawing foot with only toe on ground As they advance turn to 3 and thrust 3 Engage in 4, appel along blade in 4 4 Disengage, thrust 3 but relax as if returning to guard withdrawing foot with only one toe on the ground As they advance turn to 4 and thrust 4

8 3. a b c As 2a but parry- Tierce Quarte Circle Tierce Circle Quarte Attack L4 or 2- parry Quarte Attack 2 or L4- parry C-Tierce Attack 4, L4 or 2- parry C-Quarte Attack 3, 4, 2, L4 & F- parry Prime Attack 3 & 4-over-arm- parry Quinte Counter-Disengagement of Quarte to Tierce Counter-Disengagement of Tierce to Quarte To counter the counter-disengagement 4. Ripostes a Parry Tierce- Riposte 3 Parry Quarte- Riposte 4 Parry Low Tierce- Riposte 2 Parry Low Quarte- Riposte L4 b Parry Tierce- Riposte 2 or 5 Parry Quarte- Riposte 4 or L4 Parry Seconde- Riposte 2 or3 Parry C-Tierce- Riposte 3 or 2 Parry C-Quarte- Riposte L4 or 4 c As 4b but out of order Circular parries- Circular Tierce vs single disengage Circular Quarte vs single disengage Circular parries- Circular Tierce vs double disengage Circular Quarte vs double disengage Parade of Quarte, hand turned with the nails upward, withdrawing the arm

9 5. Preparations a b From both Quarte & Tierce guards- Glide Beat Disengage & Counter-disengage Cutover Feint 1,2 Glide Engage in 3 outside sword, slide along blade, disengage and thrust 3(in line of 4), return to guard in 3 Engage inside sword, slide along blade, disengage, thrust 4 over the sword, redouble 2 Engage in 3 outside sword, slide along blade, disengage and thrust 3(in line of 4), return to guard in 3 Engage inside sword, slide along blade, disengage, thrust 4 over the sword, redouble 2 Beat Engage in 4, beat, thrust 4 Engage in 3, beat, thrust 3 Engage in 3, disengage to 4, beat, thrust 4, retreat Engage in 4, disengage to 3, beat, 3, redouble 2, retreat Engage in 3, disengage and beat, thrust 4 and ripostes Raise hand, lower point for circular parry, oppose with L hand, thrust 4 Engage in 4, disengage, thrust 3 (or 2 with pressure on blade) Parry and riposte 3 Parry 1 (high), L hand opposing, riposte 1 Engage in 3, disengage and beat Closes line with a pressure Disengage and thrust Engage in 4, disengage Closes line with a pressure Disengage, thrust 4 Engage in 4, beat, thrust 4 Engage in 3, beat, thrust 3 Engage in 3, disengage to 4, beat, thrust 4, retreat Engage in 4, disengage to 3, beat, 3, redouble 2, retreat Feints- Low/high High/low Engage in 3, appel while turning to 2 During parry return hand to thrust 4, redouble 2 Engage in 3, feint under wrist with appel, raise point & push-in along blade Thrust 2-under-arm (head under arm) Engage in 4. Feint 3 to head along blade with appel Turn hand down to 2 Turn hand up to thrust 3 or 4, redouble with 2 Engage in 3, feint under wrist with appel, raise point & push-in along blade Thrust 2-under-arm (head under arm) Engage in 4. Feint 3 to head along blade with appel Turn hand down to 2 Turn hand up to thrust 3 or 4, redouble with 2 Engage in 3, appel while turning to 2 During parry return hand to thrust 4, redouble 2 Engage in 3, disengage and beat, thrust 4 and ripostes Raise hand, lower point for circular parry, oppose with L hand, thrust 4

10 c Cutover Attack 4-inside using the point only During parry withdraws arm, cuts over, thrusts 3, withdraws to guard Engage in 3. Appel or half-thrust with point only During parry withdraws arm, cuts over, thrusts 4, redouble 3 Engage 4-inside, appel During parry cutover, feint thrust 3, During parry disengage and thrust 4, redouble 3, retreat Engage 4, appel During parry cutover 4-3, feint 3 During parry thrust 2 in low line Engage in 4, disengage, thrust 3 (or 2 with pressure on blade) Parry and riposte 3 Parry 1 (high), L hand opposing, riposte 1 Engage in 3, disengage and beat Closes line with a pressure Disengage and thrust Closes line with a pressure Disengage, thrust 4 Engage in 4, disengage On guard in 4 Disengage to RIGHT ANGLES across blade and beat upwards while advancing, thrusting 2 Out of measure, step in, disengage 3 to 4 and appel Parry 4 Pass in, beat at RIGHT ANGLES upwards, thrust 2 low while bending low over R knee Feints- inside/outside On guard in 4, appel, feint 3 Parry 3 Thrust 4 inside sword On guard in 4, step in, lean back, feint 3 Parry 3 Thrust 4 inside sword On guard in 4, thrust 4 Parry 4 Flying feint 3 (i.e. hand and foot together) On guard in 4, step-in, disengaging to 3 while extending toward eye and appel. high 3 Raise wrist, drop point, thrust 2 to lowline (bending low, head under arm), return on guard 3 On guard in 3, appel as if thrusting straight 3

11 Engage in 4, appel During parry cutover During parry cutover, thrust 4 Engage in 3, appel Cutover Cutover, thrust 3 or 4, retreat Attack 4-inside using the point only During parry withdraws arm, cuts over, thrusts 3, withdraws to guard Engage in 3. Appel or half-thrust with point only During parry withdraws arm, cuts over, thrusts 4, redouble 3 Engage 4-inside, appel During parry cutover, feint thrust 3, During parry disengage and thrust 4, redouble 3, retreat Engage 4, appel During parry cutover 4-3, feint 3 During parry thrust 2 in low line Engage in 4, appel During parry cutover During parry cutover, thrust 4 Engage in 3, appel Cutover Cutover, thrust 3 or 4, retreat 3 Thrust 2 under sword, thrust 4 over sword, on guard On guard in 3, appel, feint 4 Parry 4 Thrust 4 inside sword On guard in 3, step in, lean back, feint 4 Parry 4 Thrust 3 inside sword On guard in 3, thrust 3 Parry 3 Flying feint 4 (i.e. hand and foot together) Engage in 3. Feint 4 with appel, feint 3. 3 Thrust 4-inside Engage in 4. Feint 3 with appel, feint 4 4 Thrust 3- outside or 4-over-sword & redouble 2 Engage in 3. Feint 4 with appel, feint 3. 3 Thrust 4-inside Engage in 4. Feint 3 with appel, feint 4 4 Thrust 3- outside or 4-over-sword & redouble 2

12 6. Strong over Weak a b c Match- strong (i.e. opposing) A initiates with lateral and circular engagements B matches these actions, always following A s lead Swap lead Change on call Mirror- weak (i.e. yielding) A initiates as match, B does the opposite (counters where A is lateral and v.v.) Swap lead Change on call Pace A initiates as match but varies tempo (½, ¾, full speed), B matches Swap lead Change on call Lead A initiates as per match, B matches, mirrors or paces to gain initiative Swap lead Change on call- who is leading?? As 6a, attacking as per 2 when opening is perceived- lead has eyes open! As 6b. using preparations from 5 and/or attacks from 2 when opening is perceived- lead has eyes shut! 7 Flanconade a b c a. As an attack On guard in 4 Adversary advances Raise hand in 4 & bind to flanconade, using L hand. Return to guard On guard in 3. Disengage to 4, arm high, gain weak and bind down in adversary s flank using L hand opposition. Return to guard F incorporated into 2a As a Riposte Adversary thrusts 4 Parry 4 on weak, raise wrist, bind to flaconnade using L hand F incorporated into 2b Defences vs Flanconnade Tierce vs 7a & 7b Prime vs 7a & 7b Quarte vs 7a & 7b Circle Tierce vs 7a & 7b

13 8 Taking Time a b c Volte vs attack Against thrust in 3 with pressure Quit blade, lower point, thrust 4- inside, turning the body in a demi-volte, L hand opposing. Retreat to 3, beat blade and return to guard Against disengage to 4 Raise hand to eye-level, volte fully. Retreat to guard using a circular parry to strike blade Against thrust or pass in 3 Disengage to 4, raising hand, lowering point, volte fully, Return to guard striking blade Reverse lunge Attack into 4a- deliberate openings Attack into 4a- nondeliberate openings 9 Commanding a b c Disarms Against attack in Quarte Upon an over-committed attack in 4 Circular parry, turn hand to 3, strike blade Disarms against attack in Tierce Against over-committed thrust in 3 Parry prime, hand at head height, strike upwards onto weak of blade Seizures in Tierce Pass in 3, use L hand to grab hilt with sword at right-angle, pass R foot forward Against an over-committed attack in 3 Parry and beat at RIGHTANGLES from underneath, L hand to hilt, leaning back so he cannot seize your sword If your hand is seized instead of the hilt then use the L hand to grab the middle of your own sword and present point Counter to the counter above- lean back and place point on line having passed it behind your back Seizure in Quarte Against over-committed attack in 4 Parry and beat at RIGHT ANGLES above with hand in 3, place L hand on hilt and gather feet together Having passed into 4, use L hand to grab hilt and place sword at right-angle to the weak of theirs, passing forward with R foot Pass in 2, turn hand to 3 and grab hilt If grabbed from behind by both arms, place sword between legs, point behind, lean forwad and stab them in stomach 10 vs cuts a b c Low guard & use of coat/cane Highline cuts- vs head Midline cuts- vs wrist & Stomach Low line cuts- vs leg

14 Girard s smallsword techniques against those who fence in measure Action Method Concept Direct thrust 4 On guard in 4 Attack into an open line Appel, thrust direct if no response Direct thrust 3 On guard in 3 Appel, thrust direct if no response Feint 3 to thrust 4 Create an opening line and attack into it- R to L 1 On guard in 4, appel, feint 3 Parry 3 Thrust 4 inside sword 2 On guard in 4, step in, lean back, feint 3 Parry 3 Thrust 4 inside sword 3 On guard in 4, thrust 4 Parry 4 Flying feint 3 (i.e. hand and foot together) Feint 4 to thrust 3 Create an opening line and attack into it- L to R 1 On guard in 3, appel, feint 4 Parry 4 Thrust 4 inside sword 2 On guard in 3, step in, lean back, feint 4 Parry 4 Thrust 3 inside sword 3 On guard in 3, thrust 3 Parry 3 Flying feint 4 (i.e. hand and foot together) Low Quarte Create an opening line and attack into it- Inside to Outside 1 On guard in 3, disengage to high 4 with appel extending toward R breast Parry 4 Drop point, thrust 4 to R flank. Return to 3 2 On guard in 4, extend with appel toward R breast Parry 4. Drop point, thrust 4 to R flank. Return to 3 3 On guard in 3, extend in high 4. Parry 4 and return to 3 Drop point, thrust 4 to R flank. Return to 3 4 Interrupt disengage from 3 to 4 with a drop point, thrust 4 to R flank. Return to 3 Feint to head to thrust seconde 1 On guard in 4, step-in, disengaging to 3 while extending toward eye and appel. high 3 Raise wrist, drop point, thrust 2 to lowline (bending low, head under arm), return on guard 3 Create an opening line and attack into it- High to low

15 2 On guard in 3, appel as if thrusting straight 3 3 Thrust 2 under sword, thrust 4 over sword, on guard 3 On guard in 4 Disengage to RIGHT ANGLES across blade and beat upwards while advancing, thrusting 2 4 Out of measure, step in, disengage 3 to 4 and appel Parry 4 Pass in, beat at RIGHT ANGLES upwards, thrust 2 low while bending low over R knee Flanconnade 1 On guard in 3. Disengage to 4, arm high, gain weak and bind down in adversary s flank using L hand opposition. Return to guard 2 On guard in 4 Adversary advances Raise hand in 4 & bind to flanconade, using L hand. Return to guard 3 Adversary thrusts 4 Parry 4 on weak, raise wrist, bind to flaconnade using L hand Capture weak in 4. Bind to flank opposing with L hand

16 Girard s smallsword techniques against those who rush-in Action Method Concept Double feint quarte to thrust 4 Engage in 3. Feint 4 with appel, feint 3. 3 Thrust 4-inside Triple-action attack to impede their advance R-L-R Double feint tierce to thrust 3 Double feint low to thrust 2 Double feint to head to thrust 3-outside or 4- over-sword Double feint low to thrust with absence of blade at an opening Engage in 4. Feint 3 with appel, feint 4 4 Thrust 3- outside or 4-over-sword & redouble 2 Engage in 3, feint under wrist with appel, raise point & push-in along blade Thrust 2-under-arm (head under arm) Engage in 4. Feint 3 to head along blade with appel Turn hand down to 2 Turn hand up to thrust 3 or 4, redouble with 2 Blades not touching Adversary retreats Appel, pass in with L foot Thrust at any exposed part L-R-L R- Low-High-Low L-High-Low-High(+Low) Take opportunity to counter into their attack by closing measure faster and gaining initiative Action Method Concept Simple cutover 4 to attack Attack 4-inside Take advantage of weak parries by cutting over the point 3 using the point only During parry withdraws arm, cuts over, thrusts 3, withdraws to guard L-R Simple cutover from 3 to attack 4 Cutover in 3 actions- 4-3 Cutover in 3 actions- 3-4 Cutover twice- 4-3, 3-4 Engage in 3. Appel or half-thrust with point only During parry withdraws arm, cuts over, thrusts 4, redouble 3 Engage 4-inside, appel During parry cutover, feint thrust 3, During parry disengage and thrust 4, redouble 3, retreat Engage 4, appel During parry cutover 4-3, feint 3 During parry thrust 2 in low line Engage in 4, appel During parry cutover R-L Take advantage of weak parries by cutting over the point then disengaging back again L-R-L (+R) L-R-Low Doubled cutover to conceal line of attack L-R-L

17 Cutover twice- 3-4, 4-3 During parry cutover, thrust 4 Engage in 3, appel Cutover Cutover, thrust 3 or 4, retreat (NB: Not approved of!) R-L-R (NB: Not approved of!) Action Method Concept Simple beat in 4 Engage in 4, beat, thrust 4 Create opening by dominating strong over weak L Simple beat 3 Engage in 3, beat, thrust 3 R Double beat from 3 to 4 Engage in 3, disengage to 4, beat, thrust 4, retreat Conceal line of attack by disengaging first R-L Double beat from 4 to 3 Engage in 4, disengage to 3, beat, 3, redouble 2, retreat L-R-Low Beat from 4-3 with circular parry Engage in 3, disengage and beat, thrust 4 and ripostes Raise hand, lower point for circular parry, oppose with L hand, thrust 4 Beat from 4-3 with 1 Engage in 4, disengage, thrust 3 (or 2 with pressure on blade) Parry and riposte 3 Parry 1 (high), L hand opposing, riposte 1 Beat 3-4 upon a pressure Engage in 3, disengage and beat Closes line with a pressure Disengage and thrust Beat 4-3 upon a pressure Engage in 4, disengage Closes line with a pressure Disengage, thrust 4 Glide outside to thrust 4 Engage in 3 outside sword, slide along blade, disengage and thrust 3(in line of 4), return to guard in 3 Glide inside to thrust 3 Engage inside sword, slide along blade, disengage, thrust 4 over the sword, redouble 2 Feint low to thrust 4 or 3 Engage in 3, appel while turning to 2 During parry return hand to thrust 4, redouble 2 Reprise thrust inside Engage in 3, appel along blade in 3 3 Disengage, thrust 4 but relax as if returning to guard, withdrawing foot with only toe on ground As they advance turn to 3 and thrust 3 Reprise thrust outside Engage in 4, appel along blade in 4 4 Disengage, thrust 3 but relax as if returning to guard withdrawing foot with only one toe on the ground As they advance turn to 4 and thrust 4 R- L-(High)-L L- R (or Low)-High Response to an over-reaction to a beat R-L L-R Slide along blade, disengage deep and attack to open line without opposition R L Aim low to attack high R- Low-L (+low) Fake retreat to draw the rush and counter-attack R-L-R L-R-L

18 Girard s smallsword techniques against those who retreat Action Method Concept Half thrust Against attack in 4 Parry 4, raise hand and lower point with an appel Parry and feint riposte, riposte, redouble L- Low-L/R-Low During the parry disengage, thrust outside, 3 or 4, redouble 2, retreat Against attack of 3 R- L- R/Low Parry and appel During parry disengage, thrust 4-inside or coupé Engage with the point only, out of measure Enter measure under cover of appel while extending Disengage and thrust to exposed area, redouble to another exposed area while advancing, retreat Attack with absence of blade Be out of measure Hand high, point at stomach Appel with R foot, hand in 4, advance with half steps and shrugs of the shoulders while on guard. When in measure as he parries appel then thrust to exposed part, redouble and retreat Cautious but determine advance, distracting attention with feints of the body to attack exposed area without engagement Passes Against thrust in 4 Pass L foot forward into attack Gain measure by passing into an attack L Engaged in 4, beat R Disengage to outside and thrust 3 on the pass Engage in 3, feint to head Thrust 2 on the pass Seizing the sword Having passed into 4, use L hand to grab hilt and place sword at right-angle to the weak of Grab hilt in 4, point low theirs, passing forward with R foot Pass in 3, use L hand to grab hilt with sword at right-angle, pass R foot forward Grab hilt in 3, point high Pass in 2, turn hand to 3 and grab hilt Grab hilt in 3, point high Voltes Against thrust in 3 with pressure Voidance against attack in 3 Quit blade, lower point, thrust 4- inside, turning the body in a demi-volte, L hand opposing. Retreat to 3, beat blade and return to guard Against disengage to 4 Raise hand to eye-level, volte fully. Retreat to guard using a circular parry to strike blade Voidance against 4 Against thrust or pass in 3 Disengage to 4, raising hand, lowering point, volte fully, Return to guard striking blade Disarms Upon an over-committed attack in 4 Circular parry, turn hand to 3, strike blade Against over-committed thrust in 3 Parry prime, hand at head height, strike upwards onto weak of blade Voidance against 3

19 Against over-committed attack in 4 Parry and beat at RIGHT ANGLES above with hand in 3, place L hand on hilt and gather feet together Against an over-committed attack in 3 Parry and beat at RIGHTANGLES from underneath, L hand to hilt, leaning back so he cannot seize your sword If your hand is seized instead of the hilt then use the L hand to grab the middle of your own sword and present point Counter to the counter abovelean back and place point on line having passed it behind your back If grabbed from behind by both arms, place sword between legs, point behind, lean forward and stab them in stomach

20 Girard s smallsword techniques against those who rush-in Action Method Concept Double feint quarte to thrust 4 Engage in 3. Feint 4 with appel, feint 3. 3 Thrust 4-inside Triple-action attack to impede their advance R-L-R Double feint tierce to thrust 3 Double feint low to thrust 2 Double feint to head to thrust 3-outside or 4- over-sword Double feint low to thrust with absence of blade at an opening Engage in 4. Feint 3 with appel, feint 4 4 Thrust 3- outside or 4-over-sword & redouble 2 Engage in 3, feint under wrist with appel, raise point & push-in along blade Thrust 2-under-arm (head under arm) Engage in 4. Feint 3 to head along blade with appel Turn hand down to 2 Turn hand up to thrust 3 or 4, redouble with 2 Blades not touching Adversary retreats Appel, pass in with L foot Thrust at any exposed part L-R-L R- Low-High-Low L-High-Low-High(+Low) Take opportunity to counter into their attack by closing measure faster and gaining initiative Action Method Concept Simple cutover 4 to attack Attack 4-inside Take advantage of weak parries by cutting over the point 3 using the point only During parry withdraws arm, cuts over, thrusts 3, withdraws to guard L-R Simple cutover from 3 to attack 4 Cutover in 3 actions- 4-3 Cutover in 3 actions- 3-4 Cutover twice- 4-3, 3-4 Engage in 3. Appel or half-thrust with point only During parry withdraws arm, cuts over, thrusts 4, redouble 3 Engage 4-inside, appel During parry cutover, feint thrust 3, During parry disengage and thrust 4, redouble 3, retreat Engage 4, appel During parry cutover 4-3, feint 3 During parry thrust 2 in low line Engage in 4, appel During parry cutover R-L Take advantage of weak parries by cutting over the point then disengaging back again L-R-L (+R) L-R-Low Doubled cutover to conceal line of attack L-R-L

21 Cutover twice- 3-4, 4-3 During parry cutover, thrust 4 Engage in 3, appel Cutover Cutover, thrust 3 or 4, retreat (NB: Not approved of!) R-L-R (NB: Not approved of!) Action Method Concept Simple beat in 4 Engage in 4, beat, thrust 4 Create opening by dominating strong over weak L Simple beat 3 Engage in 3, beat, thrust 3 R Double beat from 3 to 4 Engage in 3, disengage to 4, beat, thrust 4, retreat Conceal line of attack by disengaging first R-L Double beat from 4 to 3 Engage in 4, disengage to 3, beat, 3, redouble 2, retreat L-R-Low Beat from 4-3 with circular parry Engage in 3, disengage and beat, thrust 4 and ripostes Raise hand, lower point for circular parry, oppose with L hand, thrust 4 Beat from 4-3 with 1 Engage in 4, disengage, thrust 3 (or 2 with pressure on blade) Parry and riposte 3 Parry 1 (high), L hand opposing, riposte 1 Beat 3-4 upon a pressure Engage in 3, disengage and beat Closes line with a pressure Disengage and thrust Beat 4-3 upon a pressure Engage in 4, disengage Closes line with a pressure Disengage, thrust 4 Glide outside to thrust 4 Engage in 3 outside sword, slide along blade, disengage and thrust 3(in line of 4), return to guard in 3 Glide inside to thrust 3 Engage inside sword, slide along blade, disengage, thrust 4 over the sword, redouble 2 Feint low to thrust 4 or 3 Engage in 3, appel while turning to 2 During parry return hand to thrust 4, redouble 2 Reprise thrust inside Engage in 3, appel along blade in 3 3 Disengage, thrust 4 but relax as if returning to guard, withdrawing foot with only toe on ground As they advance turn to 3 and thrust 3 Reprise thrust outside Engage in 4, appel along blade in 4 4 Disengage, thrust 3 but relax as if returning to guard withdrawing foot with only one toe on the ground As they advance turn to 4 and thrust 4 R- L-(High)-L L- R (or Low)-High Response to an over-reaction to a beat R-L L-R Slide along blade, disengage deep and attack to open line without opposition R L Aim low to attack high R- Low-L (+low) Fake retreat to draw the rush and counter-attack R-L-R L-R-L

22 Not Girard but core concepts of the French school of fencing- can be seen as where to apply one s energy as the situation requires A V O I R M A I N A D R O I T A D R E S S E APROPOS A P L O M B Aplomb- grounding and thus balance; not only physical balance but also symmetry of posture leading to Adroit Adresse- skill; ability to do the basics and combine them into sophisticated actions Apropos- wherewithal; knowing when and where to apply Adresse to maximum effect at an innate level Adroit- dexterity; being aesthetically pleasing by doing nothing (Aplomb) and being graceful when doing something (Adresse), as dictated by Apropos Avoir Main- fencing using only the sensitivity and actions of the hand to determine the intent of one's adversary and define one's own actions

23 General Advice Nothing will serve you better in a serious affair than good short & dry parries, firm ripostes, with opposition of the left hand according to the explained principles in a well-formed guard, the right hip well recede, body low, shoulders as profiled as possible, steady on your feet & sword in front; in this posture one is ready to parry and thrust on all occasions, without quitting the enemy s blade, always opposing with the left hand in front of the body, as described, & without lowering the wrist one can advance upon the enemy, whether he thrusts or not, while firmly thrusting strong over weak along the blade, tierce, quarte, over and under the sword, good dry beats of the sword, half-thrusts, good small & short feints as required, this is the way to conquer & to guarantee oneself in combat. Generally, one must go toward every action of the enemy without neglecting any, so as to not be taken by surprise; that s to say, always oppose with your sword, whether you are thrusting at him or he thrusts at you, & have the sword well in front of you. It is good also to know that all actions of the sword can be done while advancing on the enemy, as well as firm footed, and even by breaking measure, either with or without appels of the right foot, while observing the principles contained in this book. As of the opposition of the unarmed hand used on many actions of the weapon explained in this book, & even at the Flanconnade, there are people who purport it exposes the left shoulder; consequently that this opposition of the left hand is perilous and risky to those who use it; I strongly support that it is very useful for protecting oneself, in the case that an enemy comes to turn his hand from quarte to tierce, & from tierce to quarte upon one same attack; that s to say angling in or across the line. Always follow & oppose the sword to all the movements an enemy makes, so as to not be taken by surprise & to make use of favourable times. Since low guards & parries with the left hand are nothing but annoying, you must remain out of measure, & do not attack them with anything other than appels with the foot, half-thrusts & small & short feints, in order to make them use their left hand; & in the same time as they thrust, parry while advancing & opposing with the hand, then let the sword go around the left arm, thrust thoroughly at the chest; then redouble, keeping an opposing hand & retreat with sword in front of you. Voltes, passes, double-feints & actions that "take time", are too dangerous for use in a serious affair; this is why you should focus on good parades & good ripostes, & other attacks contained in this book. There are people who have never learned to fence, & who thrust rapidly with a bent arm, while always advancing without any use of measure, which is very dangerous, if one does not know how to protect oneself: & here is the method to counter them; I recede my right hip extremely, body well to the rear & close entirely my tierce line, having the right hand at shoulder height, & turned to demi-quarte, presenting the point to the front; & when the enemy comes to thrust with a shortened arm, one must parry firmly diagonally across the body from shoulder height towards the buttons of his britches, with the strong of the sword, held rigid from point to hilt, withdrawing the arm to yourself, opposing with the left hand while advancing in the same time as the parade, a large step upon the enemy, the said hand opposing as on [the appropriate page] & thrust firmly in quarte direct to the body, or disarm in quarte. See [the appropriate page]. One must in all cases, parry in this way these games while advancing upon them, left hand opposing, expected he will not be able to clear away his sword. Since the greater part of young men who learn to fence, bring with them a seething ardour, without paying attention to the good principles imparted to them by their masters, they want to strike their adversary without providing for the danger of being exposed to being struck in same time; it would consequently take entire volumes to demonstrate to them how much prudence is necessary, in order to proceed in fencing with perfection; it is from these which, though abridged, I give the following advice;

24 Firstly, do not put yourself in guard while within measure, so as to not be taken by surprise. Do not praise highly your ability; because another s ability may surpass yours. Do not create useless times, for fear of being surprised by the enemy. One must feign dreading an energetic opponent, to force him into giving you the occasion to surprise him. When in guard, all your movements must oppose those of your enemy. Ability consists of hiding one s own intent & uncovering those of your enemy in order to benefit from them. If you have affair against a timid fellow, attack him vigorously, that s the way to put him into disarray. Ensure you stay firm footed, advancing & retreating accordingly. In a serious affair, the parry is an excellent choice, but the able man fights more with his head than with his hand. To acquire experience under Arms, you must have dedication & practice The perfection of Arms consists of five necessary qualities, which are inseparable; viz; knowledge, speed & precision in perfect coordination between eye & hand. And if you have some good fortune and gain perfection in fencing, being wise, to never use a sword, as already stated, except in the service of the king, to protect the religion, & to defend your life. When one does beats on the sword, Glides upon the blade, or some other sort of attack, when the enemy retreats, and you are no longer in measure, such that to attempt any sort of attack would be useless, you must stamp twice with your right foot &, on the second stamp, follow up with the left foot, then the right foot, thus having regained measure with him, thrust at the exposed area, hand first, in accordance with principles; & you can also cut under the line of the arm, either with a quarte coupé or seconde, depending upon circumstance, having put the sword well in front of you, & the body to the rear, so to not be taken by surprise while advancing. And finally, that your aim and your wrist pre-empts always the body. Guard For which there are twelve essential points to consider protecting your life. Viz; The sword point must be presented straight, such that it aims toward the enemy's right breast, and such that the ridge of the blade looks to the ground. That the end of the pommel is oriented between the right nipple and the armpit and lies directly above the right foot. That the handle is gripped near the pommel with the little finger & the second finger, & that the middle of the thumb is laid flat on the grip, near to the body of the hilt; of which is supported by the inside of the knuckle of the index finger, which will give greater ease in disengaging and thrusting. The right arm & the wrist flexible & turned to demi-quarte, in such a way that the ridge of the blade is toward the ground, as stated, & that the fingertips and nails of the three last fingers point towards the sky, as the greater part of the thumbnail and the tip of the index finger. The left arm must be raised and bent into a semi-circle, the elbow to the outside with the hand raised to the height of the left eye, the thumb turned to the ground, and the palm of the hand to the outside. Hold the head more to the rear rather than to the front & turned towards the right shoulder, in order to face the enemy. Both shoulders should be well profiled sideways & the body carried entirely on the left side. The right hip must be well receded toward the left side, without tilting the upper body to the front or pushing the bottom out. The right knee be flexible & have a little bend in it. The point of the right foot must be in a straight line in regard to the enemy, and its heel will lie towards the instep of the left foot, which must be at right angles to the right foot & separated from one another by a distance of about two paces.

25 The left knee must be more to the outside than the inside, with the left shank well bent. Finally, the left foot is flat & firm upon the ground, presenting the inside of the foot to the right heel. Footwork There are Four Different Methods to Gain Measure and Advance upon the Enemy Firstly, when on guard out of measure from the enemy, sword in front, body firm and to the rear, I raise my right foot and slide it forward one halfpace without moving the left foot, which stays in place, firm & flat on the ground. This method is used for a quick thrust along the blade, when the enemy advances, the hand must move first & make sure that the thrust is well supported. II Being on guard with sword to the front & out of measure, I raise my right foot so that it just grazes over the ground, & advance it in a straight line for a distance of one pace, following with the left foot by the same amount, the body firm & to the rear, the right hip receded & the shoulders profiled in readiness to parry and thrust. III Being on guard and far from the enemy, I pass the left foot in front of the right foot the length of one pace, arms extended, sword in front; make sure that the wrist is at mouth-height & is turned to quarte, nails upward, the point lower, body firm; & pass in the same time the right foot in front of the left foot, a distance of two good paces in a straight line, in line with enemy; then having joined the sword in the normal guard, attack vigorously. IV Being on guard out of measure, I advance by sliding the left foot a distance of about one pace, without moving the right foot which remains firm, always with the body well to the rear, & the sword in front, such that the enemy cannot see that you are gaining measure on him; & in the same time as he makes a move to advance or retreat thrust him vigorously along his blade with a well sustained thrust. There are Four Different Methods for Breaking Measure and Retreating from the Enemy The First When on guard and obliged to break measure, I withdraw my body to the rear, the right hand last, sword in front, & slide the right foot so that it closes with the left foot, but without moving the latter, always remaining firm, the hip receded & the knees bent, so that if the enemy goes to thrust you will be ready to parry by throwing the left foot back, or push a thrust if he makes a movement to retreat, having that measure by more than a pace upon him, without him knowing, which is a mean to surprise him. The Second When the enemy barges forward & is too close to thrust him, I keep the right foot firm, & slide the left foot briskly backwards by a good foot s distance, and thrust him along the blade with a well-supported attack. The Third If the enemy advances impetuously, I withdraw the left foot by one pace, & follow it by dragging my right foot, the hand last, sword in front, body firm & carried on the left side with the right hip receded, & the shoulders profiled. Fourth After having thrust at the enemy, if he pursues you, after having parried I withdraw the hand last; that s to say, the body goes first to the rear passing the right foot behind the left, the arms & legs outstretched, sword to the front, wrist high & lowering the point, as stated, the nails upward, with the shoulders profiled; then having passed the left foot behind the right in the same posture, return to the normal guard. A method to turn your enemy about, in order to gain the advantage of ground. Here is what to do: I immediately retreat, passing the right foot behind the left, then the left behind the right, the sword in front, then take a large step with the same left foot to the side of the right foot, thus turning the body to the left, always with a steady hand presenting the point at the enemy, & stopping from time to time to parry when he thrusts, in readiness to riposte upon such occasions; continue in this fashion until you turn him about & you have gained the ground & avoided the sun.

26 Attacks In Fencing there are Two Principal Attacks, which are quarte & tierce; from these are quarte coupé, seconde and the Flanconnade, such that one can consider these the five attacks for fencing with the smallsword. Viz; High quarte inside the sword, thrust with the nails upward High Tierce outside the sword, thrust with the nails downward Quarte Coupé under the sword, thrust with the nails upward Seconde under the sword & the line of the arm, thrust with the nails downward Flanconnade inside the sword, behind the wrist, to the flank; thrust with the nails upward, & to parry this attack turn the hand to tierce, the wrist high & the nails underneath The Flanconnade Attack can be pushed by Three Methods- First Thrust of Flanconnade The enemy being on guard with his wrist out in front of his body, & the sword engaged outside the sword, I disengage to quarte, raising the hand high with the nails on top, the arm outstretched, gaining the weak of his sword, sliding on it, & passing the point over and behind his wrist; and at the same time I thrust a Flanconnade to his right flank, arm and shank taut, the wrist high turned to quarte and bent downward, the body supported with the left hand opposing his sword, for fear of being hit in same time; in case the enemy would turn his hand to tierce. Having made the thrust, return to guard, or redouble the same attack. Second Flanconnade Thrust The sword engaged in quarte & the enemy advancing his wrist well in front of his body, I raise my hand turned in quarte & thrust thoroughly a flaconnade strong over weak beyond his wrist, opposing with the left hand, as stated, & redouble this attack without quitting his sword, then return to guard with the sword in front of you. Third Flanconnade Thrust The enemy thrusting in quarte inside the sword, if he lowers the wrist or moves it outside his body, I parry with the strong edge, on the weak of his blade and at the same time slide on it, raising the wrist as the point is passed, and thrust a Flanconnade thoroughly, as stated, opposing with the left hand, then returning on guard. Glide Glide of the Blade outside the Sword to thrust Quarte inside the sword, nails underneath Enter into measure with the enemy & engage his sword slightly in tierce outside the sword, body entirely carried on the left side; as his blade touches yours, quit it by sliding along it & lower the point until it is under the elbow, disengage while thrusting subtly & firmly inside the sword, hand first & the nails turned underneath, although making the thrust in the quarte line, then return to guard while at the same time raising the point to return the sword to tierce outside the sword.

27 Similar Glide of the Blade inside the Sword to Thrust Tierce Entering into measure with the sword engaged very slightly inside the sword, body well to the rear; & when the enemy goes to touch it, I subtly slide along his blade, disengaging the point underneath his hilt, & thrust quarte over the sword firmly, hand leading according to principle, nails turned upward, then redouble in seconde. There are six parades, other than the oppositions of the left hand, & the counter-disengagements of tierce & quarte. Viz; Parade of Quarte, hand turned with the nails upward, withdrawing the arm Firstly, Parade of High Quarte With this parade one parrieswhile lowering the wrist- quarte coupé & seconde raising the wrist- Flanconnade, and cutover the point Riposte direct with quarte inside the sword or quarte coupé under the line of his arm Parade of Tierce, hand turned with the nails downward, withdrawing the arm With this parade one parriesquarte over the sword, Flanconnade & cuts over the point Riposte with a straight tierce or seconde under the line of his arm, hand going first, in the same time as the enemy withdraws, then retreat yourself, with your sword in front of you Circle Parry, hand high, nails upward, arm outstretched, point low The hand turned to quarte, nails upward, wrist high & the point low. With this parade one parrieshigh quarte, quarte coupé, seconde & the Flanconnade Riposte him with a straight quarte inside the sword; always opposing his blade with your left hand &, without quitting, redouble using a well-supported hand, then return to the ordinary guard Circle parry, hand high, nails downward, arm outstretched, point low. Hand in tierce, nails downward, wrist high & the sword point low. With this parade one parries all attacks below the sword; that s to say: seconde, quarte coupé, & Flanconnade. Riposte direct under the sword, wrist bent & turned to tierce; then go around the arm & redouble with a thrust of quarte over the sword, then retreat according to the principles. Parade of Prime, hand very high, nails upward, arm raised, point low. The hand high and turned so the nails are underneath. Parry with false edge.

28 One parries with this parade all five attacks; viz, high quarte, quarte coupé, tierce, seconde & Flanconnade, the left hand opposing the enemy s sword, parrying firmly while advancing. Riposte briskly always with the left hand to the front opposing, the elbow raised, the palm of the hand to the outside, fingers hanging down & under the bend of the right arm, in order to catch with hand or sword all attacks which are thrust at you. Parade of Quinte, nails upward, hand raised, & point low. The hand turned to quarte, the nails upward. Parry with false edge With this parade one parries Tierce, Quarte over the sword & Seconde. One should not oppose with the hand with the parade of Quinte & it is done in two ways. First Parade of Quinte If the enemy goes to thrust in tierce or quarte over the sword, I oppose this with a stiff wrist, as it is in this guard without turning to tierce, and strike the weak of his sword with the false edge. The attack parried, riposte direct with quarte over the sword or seconde, and then return to guard, the sword in front. Second Parade of Quinte If the enemy thrusts seconde under the sword, I raise the hand in quarte & lower the point while opposing firmly with that same strong of the opposite edge, & pushing the attack outside the sword, then raise the sword to engage in tierce. Oppositions, the inside of the left hand to the outside, fingers hanging down To oppose with the hand, one must be in a well-formed guard, as stated, steady on the feet, the left shank bent & the body carried on it well to the rear, with the right hip receded. If the enemy pushes quarte inside the sword, or you thrust at him with the same attack, I oppose his sword with my hand, raising the left elbow, advancing the hand under the bend of the right arm, the tips of the fingers & the thumb hanging low, presenting the inside of the hand to the outside; and in this posture I parry the sword with this opposing hand, & riposte direct inside his sword while closing measure, the [armed] hand well supported & turned to quarte, the nails upward, then redouble & return to guard, sword in front. Counter-Disengagement of Quarte to Tierce To counter-disengage from quarte to tierce, you must be in a well-formed guard, as stated. The enemy being engaged outside the sword; when he disengages his sword point to thrust quarte inside the sword: to counter-disengage I raise the wrist a little, being in guard, lowering the point & pass it underneath his sword, raising again in the same time the point before his blade, & lowering the wrist turned to tierce, striking the weak with a brisk blow with the strong edge, withdrawing the arm a little; so that the thrust is parried in tierce outside the sword, even though the enemy thrust quarte inside the sword. And to do the counter of counter-disengagement, you must follow the sword while turning again around the arm while thrusting thoroughly in quarte. Counter-Disengagement of Tierce to Quarte. To counter-disengage you must be well on guard; the enemy being engaged with his sword in quarte, when he disengages to thrust tierce, I raise my wrist a little & lower the point passing it underneath his sword, then subtly raise the point before the thrust in tierce, lowering the wrist turned to quarte, striking with the strong edge on the weak of the enemy s blade, withdrawing the arm a little; so that the thrust is parried in quarte inside the sword, even though the thrust was outside the aforesaid weapon. To counter the counter-disengagement is to follow the sword going around the arm again to thrust tierce.

29 Beat Simple Sword Beat to thrust quarte Direct inside the sword, with strong over weak of the blade. The sword engaged in quarte, body back, right hip receded & the right arm flexible, which I withdraw slightly & strike firmly with the strong edge of the sword upon the weak of the enemy; & his wrist softened, I thrust straight quart inside the sword, sliding the strong over the weak, hand raised, that the pommel is in line with the left eye, the attack very steady and well-aimed, then return to guard in accordance with the principles. Simple Sword Beat to thrust Tierce outside the sword, with strong over weak The sword engaged in tierce as was done in quarte, withdrawing the arm & strike firmly with a short & dry beat on the weak of the enemy s blade, & thrust straight tierce thoroughly without disengaging, nails underneath, then retreat. Double Sword Beat while sliding on the blade from Tierce to Quarte, with strong over weak The sword engaged in tierce outside the sword, I disengage to quarte inside the sword, while striking with a firm & short beat upon the weak of the enemy s blade, with the strong edge, having the body back over the left side, & in the same time that his wrist softens, I thrust at him thoroughly with strong over weak, with an attack of quarte inside the sword, the hand steady according to principle. Double Sword Beat while sliding on the blade from quarte to tierce, with strong over weak The sword engaged in quarte inside the sword, I disengage to tierce while withdrawing the arm a little, & beating firmly on the weak of the enemy s blade with the strong edge of my sword; his wrist softened, I thrust straight outside the sword, hand leading, steady attack, redouble seconde under the line of the arm, then return to guard. Another Sword Beat from Tierce to Quarte with Circular Parry and Riposte The sword engaged in tierce, I disengage striking the weak of the enemy s blade with the strong edge of the blade to the inside of the sword; his wrist softened, I thrust straight quarte, strong over weak, if he goes for a parry & riposte, in the same time I lower the point and raise the hand to mouth-height, nails upward & do a circular parry, opposing with the left hand in accordance with the principles stated, then riposte with a straight quarte inside the sword, hand leading. Similar Sword Beat from Quarte to Tierce Parade in Prime The sword engaged in quarte inside the sword, I disengage striking the weak of the enemy s blade, with the strong edge of the sword outside the sword, & in the same time as his wrist softens, I thrust tierce without disengaging, and if he goes to parry & riposte in tierce, or seconde pressuring the blade, I parry prime with my hand at temple-height & the point low in accordance with the principle as stated, while opposing with the left hand, then riposte direct. Another Sword Beat Tierce to Quarte When the enemy resists by pressuring the blade inside the sword, disengage the sword & thrust thoroughly outside the said sword, or under the line of the arm. Having a flexible arm & the body well back, carried on the left side, with the left (right) hip receded; the sword engaged in tierce, I disengage inside the sword while striking firmly the enemy s sword on its weak, and as he goes to parry by pressuring the blade, I subtly quit his blade & disengage while thoroughly thrusting outside the sword, with a well-made and aimed attack.