8. Inches of his and give him the Thrust in his right Flanck upon the outside of his sword and beneath it with your Plat 6 For pag 70 Fig i One Parieing his Adversaries thrust with the 2d parade in â—orce see pag 30 Fig 2 One giving in Flanconade see pag â—â— Nails sidewise and when you give in the Thrust throw foreward your Left-Hand turning the palm of it from you and the points of your Fingers towards the Ground and with it keep off your Adversaries Sword from giving you a Contre-temps in the Belly see plat 6 Fig 2. You must also when you give in the Thrust keep your Hilt a good deal lower then your Point the doing of which likewise secureth your Adversaries sword you must also remember when you overlapp to do it with the broad side of your blade and not with the Edge as you do when you bind Sch. What Contrary have you to this Lesson Ma. There are only two Contraries to this Lesson the first is by Parieing The contraries of Flancanade and the other by slipping and the Parade is with the second Parade in Terce when your Adversarie is giving in the Thrust Sch. Which is your contrary to the Parade Ma. If I perceive him offer to Parie The contraries to the Parade and slipping of Flancanade then I give him the thrust without and above the sword as in the double Feint at the Head if he slipp my overlapping then I either make use of Binding or the Contre-caveating Parade Sch. When I am without distance must I not approach with the overlapping or Binding Ma. Yes that you must and if your Sword be at first presented without your Adversaries then before you can play this Lesson you must first dis-engage Sch. Which is your next Lesson Lesson 15. Of Vnder-Counter Ma. My next Lesson is Vnder-Counter Sch. How do you play it Ma. It is almost played like Flancanade How under-counter is to be played only whereas in it after you have overlapped your Adversaries Sword you give him the Thrust in his Flank in this you must go quite under his Sword turning your hand in Terce bring up his Sword and give him the Thrust as you give it when you play the single Feint at the Head and hold your left hand that same very way also as you do in it Sch. Which is your Contrary to this Lesson The contraries to under-counter Ma. There are also only two Contraries against this Lesson the first is by Parieing and is done by making use of the second Parade in Quart when he hath overlapped your Sword and is giving in the Thrust the second is by slipping when he is overlapping your Sword and giving the Thrust without and above his sword by De-querting or Quarting off the streight Line which shall be shewn you in its proper place and is represented by the second figure of the ninth plate Sch. Which is your contrary to this parade Ma. My contrary to this Parade The contraries to the parade and slipping of under-counter is the Feint at the Head upon the true parade and my contrary to his slipping is either binding or the Contre caveating Parade when you are without distance you must also approach with your overlapping and if at first your sword be presented without your Adversaries you must before you offer to play this Lesson disengage because this Lesson is surer to be played when your Sword is presented within your Adversaries then when it is presented without for when you have presented within you have the Advantage of overlapping your Adversaries Sword which in some Manner secureth it Which you cannot at all do when you have presented without unless you first dis-engage Sch. Is this all you have to say of this Lesson Ma. Yes Sch. Which is your Next then Lesson 16. of Beating Ma. My next Lesson is of the beating of your Adversaries Sword with one or both hands Sch. I pray you shew me how that is done Ma. A Man should never offer to make use of this Lesson untill he be almost Master of this Art because the doing of it disordereth his Body besides that a Man is in hazard of being hitt if he should miss his Beat but because you are curious to know how it is done I shall satisfie you Sch. I pray you do so Ma. You must do it after this manner How a man is to beat his Adversaries sword with one or both hands when you intend to make use of this Lesson you must let your Adversaries Sword be within yours then either only with your right hand or otherwise with your Left joyned to your sword about 8. or 10. Inches from the hilt as in Plate 11. Fig. 2. To do it with the greater Force Dis engage and beat your Adversaries Sword strongly and smartly upon the outside with the strong of yours upon the Feible of his and do it with a spring that is when you beat let not the point of your sword follow your Adversaries but keep your point as near streight towards your Adversarie as possible the doing of which will less disorder your Body then if â—e followed your Adversaries sword for then your Body would be discovered within your sword and so you would give your Adversarie an opportunity to thrust at you if you hapned to miss his sword Sch. I take you up very well But what signifyeth this beating Ma. It is very usefull for if you beat your Adversaries sword smartly The usefullness of beating and with a spring as I before told you you will hardly ever fail either to beat it unless he be all the better skill'd in this Art and take the more notice to himself out of his hand or if he keep his sword very firme you may infallibly give him the Thrust but remember if you intend to give the Thrust to give it upon the streight Line by keeping a Closs Left Foot unless you intend to Pass with your beat as I shall teach your hereafter Sch. Well but can I never make use of this Lesson but when my Adversarie hath presented his sword within mine Ma. Yes that you may very well Sch. Shew me then upon what occasions The occasions upon which a Man may make use of beating I should make use of it Ma. You may doe it upon thir occasions First if your Adversarie offer to give in a plain Thrust either within or without your sword then before his Thrust come home to you recovering your Body a little Disengage and beat his sword if he Thrust within your sword Disengage and beat his sword upon the out-side and if he Thrust without Disengage and beat within and instantly after the beat give him home the Thrust Secondly if he should offer to make a Feint within your sword then immediatly in the time of his making the Feint Disengage and beat his sword and give him home the Thrust Thirdly if you should offer to
way then I think I may venture to make use of my Left Hand without spoiling of my self Ma. That is the very Method you should take for once being Master of the Parade with the Sword alone you will then find the making use of your Left Hand very useful to you and you will I am confident confess that it is of as great use to you as I before told you it would Sch. It s like I may But which is your seventh Lesson Lesson 7. Of the Single Feint at the Head Ma. My seventh Lesson is the Single Feint a la Teste or single Feint at the Head Sch. How am I to play it Ma. When you are within distance play it after this manner How a man is to Play the single Feint at the Head you may either present your Sword within or without your Adversaries Sword if your Sword be presented without make a Motion or Feint at your Adversaries Face by stretching out of your right Arm a little and turning your nails upwards towards your Adversarie when you make the Motion give a beat with your Right Foot and if you perceive him answer your Feint then instantlie give in your Thrust at your Adversaries Arm-pitt with your Head under your Right Arm as I shew you in the second Parade in Terce Page 30 and for the same reasons there given the Motion at the Face stretching of your Arm turning of your Nails and beat with your Right Foot must be all done together your Thrust must be given with your Nails in Terce and you must hold your left Hand before you with the palm of it looking towards your Right Plat 5 For pag 54 Fig i One Pareing his Adversaries thrust giveâ—â— without below his sword with the second para in quart see pag 28 Fig 2 One giving in a thrust without below the sword after his making a feint at the head see pag 54 side and that part of your Arm from your elbow to the points of your Fingers must stand in a manner streight upwards this you are alwayes to do when you give in this thrust to preserve you from a Contre-temps see Plate 5 fig. 2. Sch. Why must I stretch out my Arm and make my Nails look upwards from my self towards my Adversary Ma. Because the doing of it defends you from your Adversaries thrust if he should Thrust without and above your sword at the same time you are making the Motion at his Face Sch. Would I not also if I keept my Nails in Quart when I make that Motion Parie his Thrust if he should Thrust at the same time I am making it Ma. Not at all for do you not see that if you made your Feint with your nails in Quart your Body would be quite open without and above your sword which making your Feint with your Nails in Terce is quite Guarded Sch. I see so indeed but how must I play this Lesson if at the first I had presented my Sword within my Adversaries Ma. Just as I have been shewing you but you must Disengage with the first Motion Sch. And how am I to play it being without distance Ma. Also just as I have been shewing you only you must approach with your Feint Sch. Which is your Contrary to this single Feint at the Head Ma. When I perceive my Adversary make use of this Lesson against me The Parade and contraryes to the single Feint at the Head then I either give him the Thrust upon time which is just as he is making his Feint at my Face then I give him the Thrust at that same very time and that same way he should have given it me or otherwise I Parie him with the second Parade in Terce or with the Contre-caveating Parade by making half a Circle with it from my Right to my left side which at last will end in the second Parade in Quart see Plate 5. fig. 1. Sch. I understand you very well but is their no contraries whereby a Man may win at his Adversary although he make use of these Parades when this Lesson is played upon him Ma. Yes for each of these Parades have a contrary which you may make use of when you perceive your Adversary make use of any of those two foregoing Parades against this Lesson Sch. I pray you shew me them Lesson 8. Of the Double Feint at the Head Ma. My Contrary to the first Parade How the double feint at the head is to be played which is the contrary to the first parade of the single feint at the head is called the Double Feint at the Head and is done thus when you are within distance make your first Motion or Feint at the face as in the foregoing Lesson then make your second Motion low towards your Adversaries Belly without his Sword and with the Third Motion give in the Thrust without and above your Adversaries Sword with the Nails of your Hand in Quart and let your Head Hand and Foot mark every Motion also when you make your second Motion towards your Adversaries Belly you must hold your Left-Hand as I told you when you was shewn to play the single Feint at the Head see Plate 5. figure 2. when you give in your Thrust above the Sword you must Quart your Head well because you are to give it in with your Nails in Quart Sch. Why am I in this Lesson to give in my Thrust without and above my Adversaries Sword with my Nails in Quart whereas in all other Thrusts without and above the Sword I am to give in my Thrust with my Nails in Terce Ma. The reason is this that after you have made your second Motion towards your Adversaries Belly it lyeth more naturally to your Hand to give in the Thrust with your Nails in Quart then in Terce and besides you can give in your Thrust quicker this way then if you should Aim at the turning of your Nails in Terce which if you did your Body would be open to your Adversary within your Sword if he should offer to Disengage and give you a Contre-temps but when you give in your thrust with your Nails in Quart your Body within your Sword is keept secure especially if you Quart your Head well and make use of your Left Hand as in Plate 5. Figure 2. Sch. I perceive so indeed but must I not when I am without distance or my Sword presented within my Adversaries and intends to play this Lesson observe your Directions given me in playing the single Feint at the Head without distance Ma. Yes and approach with your first Motion The Parade of the double Feint at the Head Sch. How is this Contrary to be Paried Ma. Either with the Contre caveating Parade or by answering every Motion and so you will fall to Parie him with the first Parade in Terce see Plate 4 figure 2. Sch. Which is your Contrary to the second Parade of the Single Feint at the Head Lesson 9.
Of the Feint at the Head upon the true Parade Ma. My Contrary to the second Parade is called the Feint at the Head How the Feint at the head upon the true Parade is to be played which is the contrary to the second Parade of the single Feint at the Head upon the true Parade and is to be done as followeth first you make your Motion at your Adversaries Faâ—e and then if you think that he intends to Parie you with the second or Contre-caveating parade go quit round his Sword by making as it were a circle with your Sword and so give him in the Thrust at his Arm-Pit as in the Single Feint at the Head and preserve your self with your Left Hand from a Contre temps as you do in it see Plate 5. Figure 2. And if you be without distance approach with your first Motion Sch. I understand not what good that going round my Adversaries Sword doth Ma. Do you not see that by so doing you Caveat his sword and shun his parade Sch. I now see so indeed Ma. You may if you please make one two or three circles as your Adversary followeth your sword untill you have the opportunity of letting in your Thrust Sch. And how is this Contrary paried Ma You may either parie it as you do the single Feint at the Head The Parade of the Feint at the head upon the true parade or you may make one or two Circles with the Contre-caveating parade untill you meet with his sword but if your Adversary still Caveat you by going about then make your Circle the Contrary way and then certainly you will meet with his sword and so prevent the giving in of the Thrust Sch. Which is your next Lesson Lesson 10. Of the Low Feint Ma. My next Lesson is How the single low Feint is to be played the Low Feint and when you intend to play it you must remember to have your sword without your Adversaries and when it is so make exactly the second Motion of the Double Feint at the Head and give in the Thrust above as you did in it when you are without distance approach with the Feint or first Motion and give the Thrust with the second Sch. May not a Man make a Double Feint upon this Lesson Ma. Yes very well How the double low Feint is to be played by only making the Motion with which you was to give in your Thrust above the Sword a Feint and give in your Thrust as in the single Feint at the Head at your Adversaries Arm-Pitt and when you are without distance approach with your first Feint or Motion Sch. Which is the Parade of this Lesson Ma. You may Parie it either by answering every Motion The Parade of the Low Feint or otherwise make use of the Contre-caveating Parade Sch. Have you a Contrary to this Lesson Ma. Yes you may whon your Adversary is making his Low Feint take time The contraries to the Low Feint and give him the Thrust above his Sword with your Nails in Quart or you may Quart or Volt which I shall shew you hereafter Sch. Which is your next Lesson Lesson 11. Of Battery Ma My next Lesson is called Battery Sch. Why hath it that name Ma. I know no other reason for its having that name but because it is done with a kind of Beat. But before I proceed further I will tell you that there are many Names of Lessons in this Art the meaning of which cannot be easily explainâ—d in English to make the name and the Lesson answer other and therefore you need not trouble your self to ask a reason for their having such Names Sch. I shall not But pray tell me why you haâ— not English Names to them Ma. I can give you no other reason then this that it is like those who brought this Aâ— first to this Kingdom out of other Countries have still given the Lessons the proper names which they had in their own country and now those Lessons are so well known by the same names they give them at their first coming to this Kingdom that they need no other Sch. I think indeed that must he the reason of it but how must I play this Battery Ma. When you make use of this Lesson for it is a kind of Beat you may present your sword either without How the single Battery is to be played or within your Adversaries if you present within his sword and he within your-measure you must lye with your sword about half a Foot from his and when you intend to play the Lesson give a little stroak with the Edge and Feible of your sword upon the Edge and Feible of your Adversaries and in the very time you give the stroake give a beat with your Foot to surprize him if he doth not in the least answer your stroak by offering to parie give him the Thrust streight home to his Right Pap as you give in a plain Thrust within the Sword remember when you give the stroak to make the Motion only with the wrest for by so doing you keep your Body closs and doth not disorder your self Sch. I understand you but if he offer to answer my stroak what must I doe in that ease Ma. If you perceive him offer to go to the parade then slip him and give him the thrust without and above the sword Sch. May not a man make a Double Feint upon this Lesson Ma. Yes very well Sch. How I pray you Ma. Thus How the double Battry is to be played when you perceive him going to the Parade immediatly slip and make your Feint in the other side and give in the Thrust upon that side on which you gave the Beat. Sch. Must I give a Beat with my Foot at every Motion Ma. You may either give a beat at every Motion you make or otherwise only at the first just as you please and when you are without distance approach with the first Motion and give the Beat with the Feible of your Sword upon the Feible of your Adversaries Sch. And how am I to play this Lesson my Sword being presented without my Adversaries Ma. You must observe exactly the same rules your Sword being presented without your Adversaries as you do your Sword being presented within it for you may play this Lesson upon any side without disengaging after you have presented your Sword Sch. Which is your Contrary to this Battery Ma. My Contrary is this you may either Park it with the Contre-caveating parade The Parade and contrary to Battery or otherwise you may meet his stroak and make a half Thrust at him which will make him go to the parade and so you become the Pursuer Sch. Which is your next Lesson Lesson 12. Of Volt Coupe Ma. My next Lesson is Volt Coupe Sch. How is it to be played Ma. You are to play it thus when your Sword is presented within your Adversaries
How the single volt-coupe is to be played and he within your measure make a Feint at his Face with your Nails in Quart and when you do it give a Beat with your Foot and Quart your Head well and if he answer your Feint by offering to parie and parieth high then give him the Thrust in the Belly with your Nails in Terce as in the single Feint at the Head and hold your Left hand that same way to defend your self from a contre-temps as you doe in it see Plate 5. fig. 2. Sch. But what if be parie Low How the double volt-coupe is to be played Ma. If he parie you with the first parade in Quart and very low then make use of the Double Volt-coupe which is done thus after you have made your Feint instead of giving him the Thrust in the Belly you Slip his parade and give him the Thrust without and above the Sword which resembleth something the Double Battery and when you are without distance approach with the first Motion or Feint Sch. How must I play this Lesson when my sword is presented without my Adversaries Ma. You must first Dis-engage Sch. Which is your contrary to this Lesson Ma. It is this you may either Parie it with the second Parade in Quart or you may take time The Parade and contrary to volt-Coupe and give him the Thrust that same very way he was to give it you just when he is making the Motion at your face or you may pass with your Thrust which shall be shewn you when I come to speake of passing Sch. You have now described to me very plainly the Feints which you told me a little before of as also their Contraries I pray you now go on to your other Lessons and be as plain in the discribing of them Lesson 13. Of Binding Ma. I shall my next Lesson then is the Binding or securing of your Adversaties Sword which certainly is the chiefest Lesson belonging to this Art For a Man that can play it exactly needeth almost no other Sch. Because you commend this Lesson so much I shall hear you discribe it wth the more attentiveness that I may the better understand it Ma. You will do well to do so for it is the only secure play belonging to the smal Sword Sch. I shall therefore I pray you let me hear how it is done Ma. Take notice to me then How a man is to hind or secure his Adversaries sword when you keep the Quart Guard the first thing that ever you should doe should be to secure or Bind your Adversaries sword which if it be well done you will be but in little hazard of being hurt by him and it is done after this manner after your sword is presented either within or without your Adversaries immediatlie overlapp Six or seven Inches of your Adversaries Sword with 8 or 10 of yours the doing of with secureth his Sword this Binding must alwayes be done with the edge of your Sword whither it be presented within or without your Adversaries and immediatlie after you have Bound his Sword give him the Thrust streight home keeping a closs Left Foot and remember alwayes when you bind to give a beat with your Foot and Bind with a spring that is to say press his Sword almost to the Ground but stay not with it but instantlie bring up your Sword again and give in the Thrust Sch. I begin to think that when a Man maketh use of this Lesson he indeed secureth his Adversaries Sword better and is in less hazard of being bitt by a Contre-temps then when be maketh use of any of the preceeding Lessons Ma. That is most certain otherwise I could not have had the confidence to recommend it so earnestly to you Sch. Sir I am oblidged to you for the painâ— you take to informe me but which is your parade against this Lesson The parade against binding Ma. The best Parade absolutelie against this Lesson is the Contre-caveating Parade Sch. Which is your contrary to binding Ma. My Contrary is Caveating or Slipping The contrary to binding and you must do it before your Adversarie feel your Sword for your must understand that this binding is done by feeling and not by seing as the Lessons before shewn you are Sch. I pray you let me understand this way of playing by feeling Ma. It is known thus when you overlap your Adversaries Sword if he slipp you before you touch his Sword which is the feeling of it then your offering to bind is in vain because he hath prevented it by Caveating your sword but if you feel his sword before he Caveat you then you may safely give home the thrust because you did first secure it Which you knew by your feeling or touching of his sword and which you nor no man else could have so well discerned by your sight Sch. But what must I doe to prevent my Adversaries slipping of my Sword when I am going to seeure his Ma. You must if you intend to Bind his Sword within The contrary to the caveating or slipping of the Sword and he slipp you rebind his Sword again either without by making use of the first Parade in Terce or within by making use of the Contre-caveating Parade after you have rebound him give him home the Thrust or if you intend to bind his sword without and he slipp you then either rebind him again within his sword by making use of the first Parade in Quart or without his sword by making use of the Contre-caveating Parade and remember that Binding or the Contre caveating parade are only the contraries to slipping and that slipping is absolutely the best Contrary either against the Contre caveating-Parade or binding Sch. I understand you very well but may I not play a Feint with Binding Ma. That you may for you may make the ordinary single and double Feint upon it which resembleth very near the single and double Feint upon battery or you may bind his sword without give in your Thrust as you do when you play the single Feint at the Head Sch. When I am without distance and intends to bind my Adversaries sword must I not approach with the binding Ma. Yes that you must Sch. I find this to be a very useful Lesson and therefore I will endeavour to practise it as much as lyeth in my power that so I may become master of it Ma. If you do that I am confident you will confess to me that what I have said in commendation of it is far less then it deserveth Sch. It may be so but which is your Next Lesson Lesson 14. Of Flancanade Ma. My next Lesson is called Flancanade Sch. How am I to play this Lesson Ma. How Flantanade is to be played You must play it thus for it is a kind of binding when you have presented within your Adversaries sword then over-lapp his sword within with about a foot of yours upon
make a Feint within his sword and he should take time and Thrust just as you are making your Feint then instantly Disengage and before his Thrust be home at you beat his sword and give him the Thrust alwayes with a closs Left Foot this I think as good a time for Beating of your Adversaries sword this way as can be but you must be sure not to miss his sword for if you do he is but an ignorant if he miss you And therefore I think a man should be very Expert in the Parade and judging of his Adversaries Measure before he should offer to make use of this Lesson Sch. I am much of your opinion considering what difficulty there is in playing of it well Ma. I can assure you the more you practise this Lesson the more you will find out the hazard a man is in if he happen to miss his Adversaries Sword Sch. I believe it indeed but can a Man never play this Lesson without Disengaging Ma. Yes you may Beat your Adversaries Sword after this same manner without Disengaging when he offereth to give in a plain Thrust without your Sword but then your Beat hath not such a spring with it to cause him part with his Sword as when he offereth to Thrust either without or within your Sword and you Disengage and Beat upon that time which certainly is the best Sch. You are in the right now when I consider it But is their no other way to Beat the sword Two other ways of beating the sword out of a Man's hand to cause it go out of my Adversaries Hand Ma. Yes there are yet two wayes which I have not as yet shewn you Sch. I pray you show me them Ma. The first way then is done thus when your Adversary hath his sword presented within yours The 1. way of beating your Adversaries sword out of his hand then on a sudden give a smart Beat with the strong and edge of your sword upon the Feible and outter edge of his and let your Beat be very strong and quick Sch Which is your second way Ma. The second way is done by a twist and is just done as you play under-counter only you must do it with a spring The 2. way by throwing of your point smartly up towards your Adversaries left side Sch. What contraries have you to this Beating of the sword Ma. A man must of necessity either slipp the Beat The contraries to beating or otherwise hold his Sword so fast that his Adversary Beat it not out of his Hand I have no other contraries against it but the slipping is absolutly the best you must also remember that you can never make use of Beating but when you are within distance Sch. I shall but is this all you have to say of the Beating of the sword Ma. Yes Sch. Which is your next Lesson then Lesson 17. Of Passing Ma. My next Lesson is of Passing or making of a pass Sch. Shew me how I am to do that Ma. Before I shew you the way of doing it What is properly called a Pass you must know that there are two kinds of Passes the first kind and that which most properly deserveth the name of a Pass is that with which a man goeth quite by and behind his Adversary the second kind which is called a Pass but improperly is that with which a Man goeth only closs to his Adversary and when he is closs at him commandeth his Sword and this most properly is called an inclosing or commanding of your Adversaries Sword and shall be the next Lesson I shall shew you Sch. Shew me then the way of making a true Pass Ma. The true Pass is done by runing quite by your Adversaries right side untill you be behind him How a Man is to pass and when you are runing by give him the Thrust at his right pap if you give him the Thrust above the Sword but if you give it him below at his Arm Pitt then you must in the time of you passing keep your head that same very way as you do when you play the single Feint 〈◊〉 the Head and that to preserve your Fa◠from a blow or joyne your left hand 〈◊〉 your Sword about half a Foot from th◠point and give him the thrust the very sam◠way as it is represented by the 2d figure o◠the seventh plate And when you think yo◠are farr enough past your Adversary which is that if he should turn about to you yo◠would be out of his measure You mu◠then turn about and stand to your ow◠defence again and remember alwayes whe◠you intend to pass to go quite thorow wit◠it And not if you should chance not 〈◊〉 take the time exactly to stop in the midle and offer to recover your Body For the◠is farr less hazard in going foreward a◠though you have not taken the occasion altogether so exactly as you should the◠to offer to recover your self Sch. Sir I think there is a great deal of reason for what you say for when a man offereth to pas◠it surpriseth his Adversary if he go quite thorow with it although he should miss the giving 〈◊〉 the Thrust but when a man offereth to pass an◠doth it not freely it both disordereth himself Plat 7 For pag 80 Fig i One receiving a thrust after his adversary hath beat his sword see pag 80. Fig 2 One passing below the sword after a beat given with both his hands see pag 80. and encourageth his Adversarie to pursue him the brisklyer upon the bak of it but I pray you Sir upon what occasions am I to make use of this passing Ma. You may Pass upon the very same occasions that you can beat your Adversaries sword The occasions upon which a Man may pass I mean not the two last wayes of beating of it But then you must first beat and immediatly after your beat Pass or you may pass without beating with the single Feint at the Head Volt-coupe and Vnder-counter those are the best times which I know for Passing but you will by frequent practice know all the occasions upon which you may either Beat or Pass according to your pleasure Sch. Which is your contrary to passing Ma. If your Adversarie make use of Passing after his beat The contraries to passing then prevent his Passing by using the contrary to beating for by preventing his beating you prevent his passing after his beat but if he offer to pass upon any other occasion then the best contraries I know are either to parie him or otherwise to break his Measure or go off the streight Line as shall be taught you here after Sch. Which is your next Lesson Lesson 18. of Commanding the Sword Ma. I told you before that my next Lesson should be of Inclosing or commanding your Adversaries Sword Sch. Which way do you that Ma. There are two kinds of Inclosing the first kind is done by runing
the Thrust or spare him as you please Fiftly you may Command your Adversaries sword after this fashion which is a very good time for Commanding and that is immediately after you have given in a Thrust without the sword and that your Adversarie hath paried it you must then immediately leap half about to the right changing your Feet by putting the Left where the Right was and the right where the Left was and in the very time you are changing your Feet bring your sword which was under your Adversaries quite over your head and in the mean time you do this throw your left arme over your Adversaries sword and so secure it under your Left arm as in Plat. 8. Fig. 1. The changing of your Feet bringing your sword over your head and securing of your Adversaries sword under your Arm must be all done together otherwise the offering to take this occasion of Commanding will signifie nothing I now go to shew you how you are to prevent a man's taking of these occasions to Inclose with you Sch. Pray do so for I was just going to desire it of you Ma. You may then prevent your Adverlaries Commanding of your sword How to prevent the first occasion for inclosing as followeth first if your Adversarie should make use of the first occasion you may shun his Commanding by throwing back your right Foot and in the time you throw it back give him a blow upon the Left hand this must be done just as he is throwing in his Left Foot to command or you may when you perceive him offer to Command leape quite out of his measure How to prevent the second occasion for inclosing Secondly if your Adversarie make use of the second occasion of Commanding you may shun him thus immediately when he hath overcrossed your Sword and you perceive him bringing foreward his left Hand to secure yours either with a leap half about to the right change your Feet by putting the left where the right was and the right where the left was and instantly take hold of his Sword and so long as you keep it in your hand hold the point of yours to his Breast you may perceive the advantaâ—e of making use of this contrary providing you take the right time for if you do it right you not only shun his Commanding of you but you at one time both prevent his inclosing with you and you become the pursuer by Commanding of his Sword whereas he should have Commanded yours but as I said before you must be sure to take the right time otherwise you will be disappointed Sch. But what is to be done if he should catch hold of my Sword before that I command his Ma. Truely if that happen you must either yeild him your sword or if you will not do that but rather run the hazard of receiving a Thrust you must instantly when you find that your sword is secured turn your Hand in Terce and strive to secure his sword likewise before that he can get his sword free of you to harm you but if you take this method you must do it very quickly Sch. But although I turn my hand in Terce may not my Adversary force my sword from me before that I can take hold of his Ma. Yes that he may by only when you have turned your hand drawing your sword sidewise out of it by raising of your Point and pressing down your Hilt Sch. I understand all you say very well but only that of taking the right time I understand not Ma. I shall explain it to you then The taking of right time explained there are two times viz. A right and a wrong for the wrong I have nothing to do with it in this place because most commonly all people take it but to take the right time is that which at this time I am to explain to you and shew you upon what occasions a man is said to take it there are then two occasions in which a man is said to take the right time Occasion 1. of taking right time first when a man hath an opportunity of playing of a Lesson commanding or giving in a Thrust and neglecteth not that occasion then he is said to take the right time Occasion 2. of taking right time The second is when a man preventeth his Adversary by playing the same or the like Lesson upon his Adversary which his Adversary designed to play upon him and to make use of this second occasion right a man must be sure to be before his Adversary that is to say whatever Lesson he designes to prevent his Adversaries Lesson with he must have it played before his Adversary hath played his otherwise it will be a Contre-temps as for example if your Adversary should offer to give you in a Plain Thrust and you in the very time of his giving of it in should give him a plain Thrust before that his be home at you by Quarting your head and shoulders upon the streight Line then I say you are Before him because although he pursued first yet you prevented him and was Before him in so far as your Thrust was sooner home at him then his at you which had it not been so it would have been a Contre-temps because you would have been hitt had you not Quarted all the better upon the streight Line In like manner if a man should offer to command your sword by taking the second occasion and you should offer to prevent him by the contrary to it which I just before shew you I say you must then have your Contrary played and his sword Commanded before that he hath yours Commanded otherwise you have neither taken the right time nor been Before him and therefore your endeavouring to prevent him signified nothing I think I have now sufficiently Explained to you what the taking of the right time is Sch. You have so Sir and I understand you very well but I pray you go on in what you was saying Concerning the shuning of my Adversaries commanding my sword Ma. I shall Thirdly then if your Adversarie should take the Third occasion you may prevent him thus How to prevent the third occasion for inclosing either by recovering of your Body before that he catch hold of your sword or if he do catch hold of it before that you can recover your Body you must then Instantlie turn your hand in Terce and before that he can have the time either to disarme you or to get his sword free of you to command you throw in your left foot command his sword likewise and then he that is strongest must carry it Fourthly if your Adversary take the fourth occasion for Commanding How to prevent the fourth occasion for inclosing you may either prevent him by making use of the 5th occasion as in Plat 8. fig. 1. so you command his sword whereas he should have commanded yours or you may when he is throwing in his
that your Adversarie hath broken your Measure How a man is to Redouble his Thrust which is the contrary to the breaking of Measure and you at your Elonge keeping your right Foot closs draw your left so near to it that you can either approach or make another Elonge just as you please and when you Redouble or give in another Thrust First Bind for it is the securest way and then give in your Thrust it you can play this Lesson well you may pursue your Adversarie by this Redoubling although he should break your Measure half a paire or more according to your strength and when you Redouble remember as a general rule alwayes either to Beat or Bind your Adversaries sword before you offer to give the Thrust for it will preserve you from a great many Contre-temps Sch. I think this a very useful Lesson for I perceive it is just the contrary to retireing or breaking of measure which is a great preventer of all thrusts Ma. It is so and if you learn not to do this Redoubling exactly your Adversary may many a time shun your thrust which had you known how to Redouble he might certainly have gotten Sch. I perceive so indeed but shew me your next Lesson Lesson 21. Of raising or gathering up of the sword Ma. How a man is to raise or gather up his Adversaries sword when the point of it is sloping towards the ground My next Lesson is of Raising or Gathering up of your Adversaries sword and I do it thus when my Adversary either presenteth his sword with a very low point so that I cannot easily bind it or that he maketh use of the Quart Guard with a sloping point near to the Ground then I present my sword within his and brings his up with the edge of my sword not farr from his point and when I have raised it as high as my middle then I bind him in the outside and so I give him the thrust either streight home without his sword or I make a Feint without and give the thrust within you must know that this raising and binding of my Adversaries sword is done with two Motions with the first I bring up his sword and with the second I Bind when you are without distance you must approach with the raising or gathering up of the sword Sch. The contrary to the gather ing up of the sword Is this all you have to say of this Lesson Ma. Yes only that the contrary to it is slipping Sch. Which is your next Lesson Lesson 22. Of Quarting and Volting Ma. My next and last Lesson is called Quarting and Volting and is to be played off the streight line Sch. I intreat you shew me how this lesson is to be played Ma. You must play it after this manner How a man is either to Quart or volt or to Quart and Volt immediately after other as also the times in which a man may make use of them you may either only Quart or Volt or Quart and Volt immediatly after other if you only Quart you must when your Adversary offereth to bind your sword without immediatly before he touch your sword give him the thrust by slipping him and in the very time you slipp him throw your left foot behind you off the streight line backwards towards your adversary give him the thrust at his breast by keeping your right legg close and stretched this is called Dequarting or Quarting off the streight line see plat 9. fig 2. and if you intend to Volt you may either take the same verie time or when he is going to Bind you within but this time is not so safe as the former or you may Volt after you have Bound his sword this is a verie good time but whatsoever time you take you must Volt or leap with both your feet in the Air at once quite by your Adversaries left shoulder and in the time you Volt Quart your head well to prevent a Contre-temps and give him the thrust at his left pap and Volt quite out of his Measure and then stand to your Guard again and remember when you either Quart or Volt alwayes to make use of your left hand for fear of a Contre-temps But if you intend to Quart and Volt immediatly after other then you must first quart as I have shewn you but give not your thrust with your quarting and afterwards volt I say you must first quart and secure his sword within by binding in the verie time you quart and immediatly after give him the thrust at his left Pap by volting as I told you now the properest time of Quarting and volting immediatly after other is when your Adversary giveth in a thrust within your Sword or when he goeth to bind your Sword without then immediatly you Quart and with the Quarting secureth and Parieth his thrust as it were although the Quarting of it self shuneth it sufficiently yet it is farr surer first to secure his Sword in the time you Quart and then with your volt you give the thrust as I before shew you Sch I see this is a difficult Lesson and should not be played but when one hath a verie fair opportunity for in playing of it a man throweth his body wholly open to his Adversarie Ma Sir your observation is good and I am glad to see you reflect upon the security and hazard a man may be in when he maketh use of such and such a lesson for it is a great signe that you will reap advantage from what I have at present been teaching you Sch. I pray you if you have a Contrary to this Quarting and Volting shew me it Ma. There is no other contrary to this Lesson The contrarie to quarting and volting but when you perceive that your Adversary is either going to quart or Volt to Rebind him without his sword by making use of the contre caveating Parade and give him the Thrust streight home or you may take time and Volt upon him Sch. And are you now Sir at an end with your Lessons Ma. Yes Sch. But have you no more to say before you go on to the pursuing and defending of the several Guards Ma. No for although there might be a great deal more said yet I think what I have taught you sufficient to make you a Master of this Art providing you practise it exactly for the Lessons which I have shewn you are those upon which this Art depends so that a Man that can once play them exactlie in my opinion needeth no other besides that a Man when once he knoweth the common grounds may according to his own fancy invent very good Lessons together with their contraries for his own practice for all Lessons that can be invented depend upon thir that I have been shewing you Sch. Sir I think there is a great deal of reason for what you say but now let us go to the several Guards and see how they must be pursued
if neatly done will easily surprise him this is all the Pursute and Defence can be used upon this Guard Sch Which is your next Guard Thirdly Of the Terce Guard with the Point higher then the Hilt Ma. My Third Guard is the Terce Guard with the point higher then the Hilt How the Terce Guard with the point higher then the Hilt is to be kept and is to be keept thus you must hold your Nails in Terce and your hand some lower then in the Quart Guard with a streight point the point of your Sword must be presented towards your Adversaries left shoulder 〈◊〉 he be a tall man but if little then to his left eye you must keep your arme a little bent as in the Quart Guard for the better pursuing you are also to lean a little forward with your bodie as in the foregoing Guard and to make use of your left hand for a Parade but it must be held lower then you hold it in the fore-going Guard the rest oâ— your bodie must be keept after the same manner as in the Quart Guard with 〈◊〉 streight point See Plat. 10 fig 1. Sch How is this Guard to be pursued How the Terce Guard with the point higher then the Hilt is to be Pursued and Defended Ma It is to be pursued either with striking Binding Volting or Passing for your feint upon this Guard will signifie nothing iâ— your Adversarie understand it for as iâ— Plat i0 For pag ii0 Fig i One keeping the terce guard with the point a little higher then the hilt see pag ii0 Fig 2 One keeping the Terce guard with a sloping point see pag ii0 â—one of the Guards a man is to answer feints so far less in this for the right Defence of this Guard is to secure your self without your â—word which you do by presenting your â—oint to your Adversaries left shoulder or â—ye so that your bodie is quite covered â—itheut your sword and seing you are by â—o means to Answer his Feints but to keep your self secured upon that side you are â—hen certain that if he Thrust he must of necessitie Thrust within your sword and â—hen you are to Parie him with your left Hand and give him the Thrust upon the Respost or you may if you please Parie with your Sword or take time for seing you are not to answer his Feints you may the easilier judge of the comming â—n of his Thrusts and therefore may either make use of Sword or hand as you think fit Now seing Feints against this Guard signifie nothing therefore it must be pursued according to your fancy by Binding or Beating you may also if you please try your Adversarie with Feints and if he answer them they may do well enough but then it is a certain sign that he understandeth not the Defence of this Guard as he should but if your Adversarie should pursue you upon this Guard the most proper way to defend your selâ— upon it is to make use of your left hand although it be left to your choice either to make use of it of your sword or any other Contrary you think fit this is all 〈◊〉 think needful to say of this Guard Sch. Which is your fourth Guard Fourthly Of the Terce Guard with the point Lower then the Hilt Ma. My Fourth Guard is the Terce Guard with the point lower then the Hilt How the Terce Guard with the point Lower then the Hilt is to be kept Pursued and Defended and is just Kept with your body in that posture as when you give in the Thrust when you play the single Feint at the Head but only your Feet must be at their just distance and not as when you are at your full Elonge and your left hand must be also just held after that same manner as it is held when you play that Lesson but your swords point must be presented towards your Adversaries left side and make use of your left hand for a Parade it is to be pursued and defended just as the preceeding Terce Guard only when you defend it you need not make so much use of your left Hand as in the foregoing but more of your sword you may make use of either according to your Fancy See Plat. 10. Fig. 2. Sch. Which is your Fifth Guard Fifthly Of a Guard in which a Man is to hold his sword with both hands Ma. To my Fifth and last Guard I have no proper Name How the 5. kind of Guard is to be keept pursued and defended but as I told you in the beginning of this Treatise Page-15-you are to hold your sword with both your hands and you are to do it thus keep your body Exactlie in the posture of the Quart Guard with a streight point but for your sword you are to join your left hand to it about 8. or 10. Inches from the Hilt and hold the Blade betwixt your formest finger and thumb just as you do when you are going to beat your Adversaries sword with both hands as in page 7 and Plat. 11. Fig. 2. and secure your self within your sword immediatly when you present it that is present your swords point towards your Adversaries right thigh and a thought without it with your point sloping a little towards the ground For to Pursue this Guard you must First strive to take away your Adversaries left hand by striking at it and immediatly after the stroak offer to Thrust at his body and so make him doubtful when you will give your Thrust the Pursuit of this Guard is somewhat like the Pursuit of the Quart Guard with a sloping point you may try him with Feints but if he understand the Defence of this Guard as he should they will signifie nothing because he will not answer them any other way of Pursuing thir Five Guards then what I have set you down is left wholly to your own discretion which you may easily with a little consideration find out but these which I have given you are the safest and most proper Persuites belonging to each Guard if you take your self to this Guard and your Adversarie Pursue you upon it you know you are secured upon one side so that if he give you a Thrust it must certainlie be upon that side in which you are discovered unless it be your own Fault by answering of his falsisies I say if he Pursue you upon it your Defence is only to wait his Thrust and when he is giving it Beat his sword and give him home the Thrust and prevent as much as you can his Hitting you upon the left hand which you must doe by sometimes making half Thrusts at him and other times drawing back your sword near your Body by doing of which you slipp his stroak the judging of your Adversaries measure in this Guard as well as in all the rest is most requisit therefore I intreat you to remember it I have now explained to you the Five several Guards with their
the storngest part of the Blade it is therefore made use of in Parieing or putting by thrusts and Blowes the Weak Feeble or Second part of the Blade is measured from the middle D. to the point E. and being the weakest part of the Blade it is therefore made use of in offending or in giving thrusts or blowes and this much for the division of the Sword Sch. What is the next thing you are to shew me Ma. The next thing I will doe will be to Explain some termes belonging to this Art which otherwise might seem somewhat difficult to you or any new beginner to understand Sch. Which are they Ma. They are these which follow A Guard Is a posture which a Man patteth his body into for the better defending of himself from his Adversaries thrusts or blowes See the Figures of the Second Tenth and Eleventh Plates To Parie Is to put by a thrust or blow so that you are not touched with it As you see in the Third Plate where the first Figure is pateing the second or in the three following plates where the figures giving in the thrusts are Paried by the figures opposite to them Quarte When a Man holdeth the Nails of his Sword hand quite upwards which the 2. Figure of the first Plate representeth at the letter F. then he is said to hold his hand in Quarte Terce When a Man holdeth the Nails of his Sword hand quite downwards which the third figure of the first Plate representeth at the letter G. Then he is said to hold his hand in Terce Within the Sword It is that part of your Body which when our right-side is towards your Adversary 〈◊〉 betwixt your Sword and your left Breast â—nd is marked in the first figure of the third â—late with the distance A. B. Without the Sword Is that part of your Body which when â—oâ— hold your Sword towards your left side â—s above your Sword the whole breadth of your Body and is marked in the second figure of the eleventh plate with the distance C. D. To Approach or Advance A Man is said to Approach or Advance when being out of his Adversaries reach or at a pretty distance from him he cometh nearer to him To Retire A Man is said to Retire when being within his Adversaries reach he goeth out of it either by stepping or Jumping backwards from his Adversary upon a Streight line Measure Is the distance betwixt a Man and his Adversary which should be exactly observed that when he is Thrusting at you You may be without his Measure or Reach as the first figure of the third Plate is without the Reach of the second figure and when you are Thrusting at him that your thrust may be home and not short of him when you are at your Elonge as for example the distance betwixt the right foot of the first and the right foot of the second figure of the second Plate is called the Measure betwixt these two Figures To Break Measure Is just as your Adversary is thrusting at you so to judge the distance he is from you as that his Thrust when he is at his full Elonge may be short of you because you are out of his Measure or reach as the first Figure of the third Plate is without the reach of the second Figure for I suppose that the first Figure to make the Thrust of the second short of him hath broke his Measure the way of doing it shall be taught you hereafter To Elonge Is to Streatch forward ones right Arm and Legg and to keep a closs left Foot This a Man doth when he giveth in a Thrust and when he doth it he is then said to make an Elonge which is represented by the second Figure of the third Plate Respost Is when a Man hath given in a Thrust and before he recovereth his Body receiveth a Thrust after his Adversary hath Paried his then he is said to receive a Thrust upon the respost or back of the Parrade which is the Safest thrust that a Man can give for it is not possible for him upon that Thrust to receive a Contre-Temps which shall be immediately explained what is Feinting or Falsifying Is the deceiving of your Adversary by causing him believe that you are to give your Thrust in one place when you design really to give it him in another Beating Is the striking of the Feeble of your Adversaries sword with the edge and Fort of yours either with one hand or with the help of your left hand joyned to the blade about a foot from the Hilt as in the second figure of the 11. plate to cause the Beat have the greater spring or force Battery The difference between Beating and Battery is that Battery is the striking with the edge Feeble of your sword upon the edge and Feeble of your Adversaries whereas beating as I just now told is done with the fort of your sword upon the feeble of your adversaries and therefore secureth your Adversaries sword a great deale better then Battery doth Binding Is the securing your Adversaries sword with 8. or 10. Inches of yours upon 5. or 6. of your Adversaries Caveating or Dis-engaging Is the slipping of your Adversaries sword when it is going to bind or secure yours To take time Is either never to thrust but when you have a fitt opportunity or otherwise it is the thrusting at your Adversarie just as he is making of a Feint or the slipping of him and giving him the thrust when he is either going to bind or beat your sword as you may see in plate 9. where the second figure hath taken time upon the first Contre-Temps Is when a man thrusts without having a good opportunity or when he thrusts at the same time his Adversarie thrusts and that each of them at that time receive a thrust Quarting upon the streight Line Is the keeping very much back of your head and shoulders from your Adversaries sword when you are giving in a thrust within the sword which is represented by the second figure of the third plate Dequarting Or Quarting off the streight Line Is the throwing of your left foot and body backwards off the straight Line towards your Adversarie and keeping your right foot fast which is represented by the second figure of the 9. plate Volting Is the leaping by your Adversaries left side quite out of his measure These are the terms of Art which ordinarly young beginners understand not Sch. Are those all the termes of Art you have to explain to me Ma. Yes these are all the termes which I think need explaining any other being easily understood without it Sch. What then do you intend to teach me in the next place Ma. Because you are still asking me that question and that you may not put your self to the trouble of asking it again I will shew you the method I intend to follow in teaching you this Art And first I will teach you how to hold your sword in