THE MANCHETTE OR FORE-ARM PLAY.
§ 1. _Preliminary._
The recruit is now sufficiently advanced to begin the system of
Manchette, which, as it is the most valuable part of sword-drill, has
been practised the least, and should be practised the most. A swordsman
thoroughly trained in this section does not allow the opponent to
deliver a cut. It is certain that hand and wrist, short-arm and
elbow, are capable of as many different attacks and defences as the
whole body: these are the parts most prominent, most exposed, and
consequently most readily made the _point de mire_. Yet this true and
simple secret of the broadsword has been universally neglected, or
rather not worked out: in England we content ourselves with the parades
technically called _retrogrades_, that is, withdrawing the limb from
the assault, by shortening the arm and, sometimes, by retiring the
right foot either near to, or up to, or behind the left heel: even this
evasion which cannot expect to pass for a Guard, is not described nor
figured in the official ‘Infantry Sword Exercise.’[15] In France, and
even in Italy where most subjects are exhaustively treated, Manchette
is dismissed with a few careless words. The _Manuel_ gives to the _Coup
de Manchette_ only these few lines: “_Exécuter un enlevé_ (vertical
Moulinet from above downwards) _en arrière à droite, et arrêter le
sabre vis-à-vis le milieu du Corps, le tranchant en dessus, le poule
légèrement à droite; diriger l’enlevé de manière à empêcher en arrêtant
l’avant bras, l’exécution d’un coup de tête_.” Capitano Settimo del
Frate (p. 50, _Istruzione sul Maneggio e Scherma della Sciabola_) in
one of the latest works on swordsmanship contents himself with the
following desultory observations:
“Manchett” (_sic_) “can attack the fore-arm either above or below,
according as the opponent gives an opening.
“Manchett is generally used against an adversary whose guard is
defective. By merely extending the arm with a turn of the wrist, this
attack may readily succeed should the opponent neglect to provide
against it.
“One of the most dangerous guards against Manchett is Tierce; the
surest is High Seconde, which indeed is also the best parry adapted to
this system of attack.”
The first member of the last paragraph is sensible; the second is
thoroughly fallacious. As has been stated, the right-handed man must
always engage in Tierce, and, as will presently appear, Tierce is the
safest, indeed the only safe guard against Manchette cuts. Another
Italian writer of our day describes and figures the “Position of the
weaponed arm to escape the arm-cut” (_Colpo di braccio_), with the
elbow-joint left clean open. The ‘Infantry Sword Exercise’ limits
itself (p. 30) to these few lines: “If opposed to the Small Sword
(_sic_, meaning straight sword or rapier) have recourse to Cuts _Three_
(No. 13 of this system) and _Four_ (No. 11), directing them at the arm,
by which means there is every probability of the cuts taking effect,
as it must always come within range of the edge, before the point can
be sufficiently advanced to reach your body: if the above cuts are
quickly given and continued, they will also be found advantageous in
advancing against the Small Sword, as they constitute an attack and
form a defence at the same moment; but should the opponent be the most
skilful and quickest (_sic_) in his movements, then it is best to
retire whilst giving them, cautiously preserving the proper distance,
so that each cut may just reach the fore part of his arm.” The French
content themselves with single oppositions of Tierce and Carte. But why
multiply instances of ignorance?--they would fill many a useless page.
Finally I meditated upon the comparative humanity of “Manchette,” of
disabling the opponent by an arm-cut, rather than laying open his flank
or his head. During single rencontres in the field, especially at the
end of Indian battles, it is so often necessary to put _hors de combat_
some unfortunate, whose pluck or sense of honour induces him to prolong
the hopeless attack.
These considerations led me to reflect seriously for a number of years
upon the Jeu de Manchette, the Colpi all’ avambraccio, or fore-arm
play, which has been so much neglected by master-swordsmen. At last an
unlooked-for opportunity, a short study in the _Salle d’armes_ of Herr
Balthasar Reich of Trieste, enabled me to reduce it to a system, and
present it to the public.
I should premise, however, that the following observations are intended
for professional men. It is therefore necessary only to name and
number the Direct Cuts, the Guards and the Feints, the Reverse Cuts,
and the Time Cuts of Manchette, as in most cases the simplest mention
will suffice. The proficient will at once perceive that I offer a
mere outline of the system whose many details must be learned by long
practice. It is enough to give first principles: the minutiæ could not
even be noticed without stretching description to a wearisome length.
There is no objection, I have said, to teaching squads of recruits all
the simpler preparatory matter: the Three Positions; the Moulinet;
the Engaging Guard, and the Guards or Parries. At a certain stage of
progress, however, especially when beginning Manchette, the quick and
intelligent soldier, who is likely to qualify himself as a master, must
be instructed singly.
§ 2. _The Direct Cuts in Manchette._
The following are the direct attacks in Manchette, simple and
compound; all are done from the “Engaging Guard,” the Lunge being here
inadmissible.
I. _Carte de Manchette._--Extend the sword-arm to the full length and
deliver the cut, with a flip as it were, at the opponent’s fore-arm,
between the elbow and the wrist. This can be done with the back of the
blade (Reverse Cut) under circumstances presently to be described. No.
I. is useful if the adversary unwisely engages you in Carte otherwise
(from Tierce) it must be avoided, as he easily parries by withdrawing
the arm and replies with a Tierce Cut.
II. _Carte de Manchette and Cut Tierce._--This movement is No. I.
followed by a close rotation of the point (“Tierce Moulinet”); if,
however, the circle be too small, it will not clear the sword-guard.
III. _Double Carte de Manchette and Cut Carte._--No. III. is to be done
when the opponent, as he generally will after an attack of No. II.,
successively parries Carte and Tierce. It is simply the double of No.
I., and thus the “Tierce Moulinet” cuts, of course, inside the arm.
IV. _Double Carte de Manchette and Cut Tierce._--Useful when the
adversary parries Carte, Tierce and Carte; it is the double of No. II.
and thus cuts outside the arm.
No. II. guards the arm and is therefore unexceptionable. Nos. III. and
IV. are dangerous, because, like No. I., when opposed to an agile hand,
they may lay the wrist open to a Time Cut.
The two first and all four against a slow unready swordsman may be
varied by combinations with _coupés_, or passing the blade sharply over
the adversary’s point. For instance, if the adversary come too wildly
to the Tierce parade of your double Carte and Tierce (No. III.), _a
coupé_ will reach his arm in Carte.
A golden rule which cannot be repeated too often is that all the
Manchette-Cuts in Tierce (outside), either from above or from below,
must be as nearly vertical as possible, whilst all the Cuts in Carte
(inside) should be as horizontal as they can be made. The reason is
simply that these positions cover the arm and render the attack less
dangerous.
§ 3. _The Guards (Parries) and Feints in Manchette._
The Guards of the Target will be found sufficient for parrying all
attacks in Manchette. The soldier, however, should especially practise
the retrograde parades, that is withdrawing the right fore-arm with and
without the right leg.
Feinting with the broadsword is necessarily more simple than with
the foil, being generally confined to _Coupés_ and _Secondes_. The
neo-Italian school of sabre uses, I have said, the fencing movements,
but it is at best a bastard style. If the opponent attempts to
“degage,” that is to pass his point under your blade from Tierce to
Carte, or _vice versâ_, retire by withdrawing the right heel to the
left, and cut at the arm which his movement has exposed.
The _Coupé_, the reverse of the degagement, passes the point over, not
under, the opposing blade; this legitimate feint, used in every school,
may be effected in four several ways.
I. _One._ From the usual engagement in Tierce pass the blade over the
opposite point, just clearing it, and cut inside. The two movements
raising and dropping the point should be as rapid as possible.
II. _One, Two_, a double _Coupé_, with the cut in Tierce.
III. _One, Two, Three_: as with the foil; against a nervous opponent
the cut should be made at the face with a dart and a jerk (the Italian
_Slancio_); against a slow player the cut may be Carte de Manchette.
IV. _One, Two, Three, Four_; like the former, but cutting in Tierce: to
be attempted only with the most unready of opponents.
The two latter may be combined with a breast (inside) or shoulder
(outside) “Moulinet” between the penultimate and the last (cut)
movement; but these long feints are radically vicious, because they lay
the swordsman open to Time Cuts. They are, however, useful, as will
appear in making the Reverse Cuts.
Perhaps the Seconde-feints are better than the _Coupés_.
I. _One_: the simple Seconde Cut.--Make a little more opposition in
Tierce, sweep the blade past and along the breast; (inside Moulinet,
or the _brisé à gauche_) and, lowering the hand a little, cut upwards
with a jerk and a flip. The nearer the swordsman’s own body his blade
circles the better, because the cut will be more in the vertical line:
if it be much out of the perpendicular the opponent can “take a time”
in Carte. The Moulinet serves also to embarrass the adversary and to
add strength to the cut. This simple and most valuable movement must
not be confounded with the old-fashioned Seconde cut at the leg: the
latter is objected to, as I have said, by swordsmen; the parry is too
easy, and the ripost far too dangerous.
II. _Feint Seconde._--From Tierce make a short and sharp movement to
Seconde with the knuckles turned upwards; the opponent will probably
come to the Seconde-parry, thereby exposing the fore-arm. You then cut
Tierce perpendicularly as usual, from above downwards (the _enlevé_),
either without or with a breast “Moulinet.”
III. _Feint Seconde, Feint Tierce and Cut Carte_, with two short, sharp
movements, and deliver the horizontal cut in Carte.
IV. _Feint Seconde, feint Tierce and Cut Seconde_, from downwards
upwards, always with a breast “Moulinet.”
At times the two first feinting movements in Nos. III. and IV. may
be done more emphatically: this of course makes the movement slower,
but it is a variety which embarrasses an adversary accustomed only to
short, quick action.
§ 4. _The Reverse or Back Cuts in Manchette._
As the Manchette system has been strangely neglected, so the Reverse or
Back Cut may be pronounced unknown to the majority of the profession:
the latter, instead of utilizing the “false edge” of the blade, still
lose time and incur great danger by turning hand and wrist in using
the true edge, especially when “Cutting within the Sword.”[16] More
extraordinary still, although almost all the civilized world prefers
what is technically called the “flat-backed and spear-pointed” sabre,
yet no one seems to think of employing, or even of sharpening one of
the most important parts of the weapon.
The Regulation blade with the false edge, that is to say, the blade
sharpened from the point to the Centre of Percussion, about one-third
of the length, was introduced into England about 1844, and the first
specimens were made by the late Henry Wilkinson, acting with the
late Henry Angelo, then Superintendent of Sword Exercise.[17] This
back-edge of the blade should be ground to the sharpness of a razor.
When practising the Reverse Cuts (_Revers_ or _Rovescio_), the handle
is held loosely with the thumb and the two first fingers, and the wrist
and fore-arm should bring the blade up with a jerk, the grip being
at the same time sharply tightened. Practice will soon enable the
swordsman to deliver a strong “drawing” cut, equal to the Thrust-cut of
the so-called “Damascus” blades. This valuable movement has the immense
merit of not uncovering the swordsman, and what makes the sabre so rude
a weapon is that every movement of attack, in the old systems, lays
the body open by raising hand and point when a blow is to be given.
With the Reverse Cut no such dangerous process is necessary; the point
is still directed at the opponent whilst the cut is being delivered.
Finally, it is always unexpected by the opponent who has not practised
it, and although it rarely begins an assault, except against the
inexperienced, nor should it be done alone as a rule, it may either
follow or conclude every attack, feint or “time.”
I. _The Half-Feint_ (_Revers de dessous_, _Rovescio di sotto_, or
_Revers von unten_) is done thus.--When in Tierce extend the arm as if
intending to cut Tierce; the opponent makes an opposition of Tierce;
drop the point, and cut sharply upwards with the false edge at his
fingers, wrist, or fore-arm, drawing the blade towards you and keeping
the point opposite the adversary’s breast. This movement is one of the
neatest known, and it is sure to succeed with one who does not expect
it. The first part of the feint, or dropping the point, may lead to a
cut with the true edge, but this movement, which is still practised
in the schools, involves delay by turning the hand. Again, it may be
combined with the inside (breast) or outside (shoulder) Moulinet.
II. _Feint Seconde and Cut upwards._--This movement may be varied by
feinting Tierce and cutting upwards.
III. _One-two-three._--This is not the succession of simple _Coupés_,
the dangerous movement before described. No. 1 _Coupé_ shifts the hand
from Tierce to Carte with the nails up; No. 2 turns the nails down,
still remaining in Carte; and No. 3 delivers the Reverse Cut, of course
in Carte, where it is least expected.
When the point is passed well under and within the sword-arm it is very
difficult to parry the horizontal Reverse Cut in Carte. The true edge
may be used, but again it wastes time by turning the hand.
IV. _The Pass_, properly called “_en passant_.”--From Tierce make a
feint-movement in Seconde, and, when the adversary attempts to parry
it by lowering the point, turn the knuckles up (in old Tierce), sweep
the blade over his sword-arm and as close as possible to your right
leg from left to right with the arm well raised, and, returning from
right to left with a similar sweep, but with the blade held higher,
cut, in Carte, with the false edge and close to the point, inside his
wrist. Unskilfully attempted, this feint is equally dangerous to both,
but it will do yeoman’s service in the hands of a practised swordsman.
The true edge may be used, but that involves a change of position and
the delay of turning the hand with the knuckles downwards. Some make
a double sweep, and, after the second movement, cut outside or in
Tierce--the exposure is too great, unless confronted by an unusually
phlegmatic temperament.
§ 5. _The Time Cuts in Manchette._
The Time Cut is the flower of the Manchette system, as the Manchette
is of the broadsword; and it is, perhaps, the part least capable of
being taught in books. When well mastered it never allows the opponent
to raise his arm without imminent risk, and, even if it fail, the
intention, once recognized, tends greatly to cramp and embarrass the
adversary’s play. The natural man cuts as if he were using a stick or
a club, and the preliminary movement lays open the whole of his body;
indeed, exposure, I have said, is the main danger of every attack with
the sabre, however closely and skilfully conducted. A cut through the
muscles of the fore-arm, either inside or outside, causes the sword
instantly to be relaxed and dropped; the man in fact is hamstrung in
the upper works.
I. _Carte de Manchette._--When the opponent from Tierce makes a _Coupé_
or any attack in Carte, stop further movement by a Carte de Manchette,
a horizontal Cut in Carte. The same may be done with the false edge, in
which case the blade should be advanced as far as is possible; and this
is to be preferred because it loses less time.
II. _Parade Retrograde and Cut Tierce._--When the opponent from Tierce
attempts a Manchette in Carte withdraw the arm (_parade retrograde_)
and deliver the vertical Cut in Tierce downwards at his extended arm;
both movements being combined in one. It is not necessary even with
the tallest man to withdraw the right leg; the Cut will amply suffice.
This Tierce Cut serves to defend from all attacks when the Guard does
not cover the adversary; and it has lopped off many a careless arm. If
slowly done it becomes a mere parade and ripost.
III. _The Reverse Cut-upwards_, _Revers en montant_, _Rovescio
montante_, Ger. _Revers montant_.--You feint in Seconde; the opponent
comes to its parry and replies in Tierce; you withdraw the arm, leaving
the heels as they were, and cut upwards with the false edge, tightening
the grasp of thumb and fore-fingers as much as possible. This movement
is especially useful; it is one of the best of Time Cuts, when the
adversary indulges in long and complicated feints and false attacks. It
may be done with the true edge, but the latter is less safe.
IV. _The Time Pass_; which is merely “The Pass” turned into a Time
Cut. When the opponent attempts a “Manchette” or any movement in
Seconde, and expects you to reply by a time Cut in Tierce with the
true edge, turn the knuckles up (in old Tierce), sweep the blade over
his sword-arm as close as possible to your right leg, from left to
right, with the arm well raised, and returning from right to left with
a similar sweep, but with the blade held higher, cut in Carte with the
false edge and close to the point inside his wrist. The true edge may
be used, but, again, it wastes time. The double sweep possible as in
“The Pass,” but it causes too much exposure.
This Time Pass may also be done with the hand held high in Prime or
rather “demi-circle” with the nails turned up, the arm outstretched,
and the point lowered. In this case the leg must be shifted till the
fore heel touches the rear heel, so as to give additional height to the
hand. This is not a Reverse or Back Cut as you use the true edge; it is
in fact one of the old movements called “Cutting within the Sword.”
§ 6. _Résumé._
The following is a synoptical table of Manchette or Fore-arm play,
showing the Cuts, the Guards (Parries) for the Cuts, and the Riposts or
replies that should follow each Parade. The Instructor will remember
that instead of Prime we use High Tierce or High Carte, and for Seconde
Low Tierce or withdrawing the leg.
_Direct Cuts._
CUT. PARRY. RIPOST.
1. Carte de Manchette. IV. (Carte). II. (Seconde).
2. Ditto and cut Tierce. IV. and III. (Tierce). III.
3. Double Carte de Manchette IV., III. and IV. II.
and cut Carte.
4. Double Carte de Manchette Parade Retrograde by III. or IV.
and cut Tierce. withdrawing arm.
_Reverse Cuts._
1. Half-feint. II. or III. III. or IV.
2. Feint Seconde and cut II. Cut with false
upwards. edge upwards.
3. Feint Tierce and cut III. and II. II.
upwards.
4. One-two-three, and cut Parade Retrograde. III. or IV.
upwards.
5. The Pass. II. and I. (Prime). III.
_Time Cuts._
1. On all Cuts in Carte. Parry with time in IV. IV.
(Carte de
Manchette).
2. On feints in Carte ending Parade Retrograde. III. or IV.
with Cuts in Tierce.
3. On Cuts in Tierce. Reverse Cut upwards. III.
4. On Reverse Cut upwards. II. and III. IV.
5. On Cuts in Seconde. The Time Pass. III.
Feints of _Coupé_ in Manchette.
1. Single _Coupé_. III. or IV. II.
2. One-two ( „ ). IV. and III. III.
3. One-two-three. II., III. and II. III. or IV.
4. One-two-three-four. Parade Retrograde. III.
Feints of _Seconde_ in Manchette.
1. Simple Seconde. II. III.
2. Feint Seconde and cut II. and III. III. or IV.
Tierce
3. Feint Seconde, feint II., III. and II. III. or IV.
Tierce, and cut Carte.
4. Feint Seconde, feint Parade Retrograde. III. or IV.
Tierce, and cut Seconde.
CONCLUSION.
I will end this system of Manchette with the words of old Achille
Marozzo, written some three centuries and a half ago: “I would that ye
swear upon your sword-hilts never to use this knowledge against me,
your master.” But, in lieu of insisting that my readers never teach it
without obtaining formal permission, I only hope that they will favour
me by spreading it far and wide.
APPENDIX.
In p. 26 allusion has been made to an improved form of sabre handle;
it was first attempted by the Capitano Settimo del Frate in the work
before alluded to. The gallant officer’s Plates show that in the
Italian cavalry-sword the upper portion of the handle is at least
horizontal, whereas in ours it droops backwards and downwards, giving
the grip additional facility for slipping out of the swordsman’s grasp.
The author’s remarks[18] being even more applicable to the English
military sabre; I give them at full length.
“The equilibrium of the sabre, and the facility of firmly grasping the
handle, are the two prime requisites for a good weapon.
“When properly balanced and easily held, the sword calls for less
exertion of strength; and the quickness and true direction of the Cuts
are greatly facilitated. In direct proportion to the economy of force,
we find the swordsman enabled to continue his exertion.
“However well made and scientifically poised be the blade, it is
subject to several variations of equilibrium according to the position
in which it is held.
“The nearer the centre of gravity approaches the hilt, the lighter and
the better balanced will be the weapon, and _vice versâ_.[19] Therefore:
“_It should be our principal object to effect this improvement without
changing the proper centre of percussion and the other requisites for
offence and defence._”
The following Plates fully explain the author’s meaning.
[Illustration: Fig. 1.
Sabre handle actually used by Italian cavalry.]
[Illustration: Fig. 2.
Capt. Del Frate’s improvement.]
[Illustration: Fig. 3.
Capt. Del Frate’s last modification.
a. Thumb-plate.
b. Rest for the little finger.
c. Support for the index finger.
]
[Illustration: Fig. 4.
Improved handle with thumb-guard.
(R. F. Burton.)]
[Illustration: The hand grasping the actual handle.
The hand grasping the modified handle.]
I would further modify his Fig. 1, so as to give more fulcrum to the
hand. The thumb-plate should be made weighty and the guard light,
otherwise the blade will be over-balanced, that is, heavier on one
side than on the other. It need hardly be said that the grip before
going into battle should be whipped round with thin whipcord, or better
still, with web-cloth.
LONDON: PRINTED BY WM. CLOWES AND SONS, STAMFORD STREET AND CHARING
CROSS
FOOTNOTES
[1] The exceptions are in “_Right Prove Distance_” (p. 13) and No.
_Seven_ Cut (p. 16). In the other Cuts the thumb “grasps the handle.”
[2] The French divide _l’Escrime_ into two parts: (1) _Escrime à
l’épée_, or _Escrime pointe_; and (2) _Escrime au sabre_, or _Escrime
contrepointe_.
[3] The question is considered at great length in my forthcoming volume
entitled ‘The Sword:’ here it is sufficient simply to state results.
[4] When every regiment shall have its _salle d’armes_, the fencer
will modify his own fencing thrusts to suit the clumsier weapon. I
do not, however, see any reason why the three Points of the Infantry
Sword Exercise should not be delivered in the _posizione media_ of the
Italian school, with the thumb upwards and extended along the back
of the sword-handle: nor why, as in the French _Manuel_, they should
not be reduced to a single _Coup de Pointe_ (p. 239), which is thus
described. “_Baisser la pointe du sabre à hauteur de la poitrine et
déployer le bras en tournant la main, le pouce en dessous, le tranchant
du sabre en dessus._”
[5] As Mr. John Latham justly says (“The Shape of Sword-blades,”
‘Journal of the Royal United Service Institution,’ vol. vi.):--“The
proper shape for a thrusting sword is pre-eminently straight.” The
Clay-more, for instance, moving in a direct line, cuts a hole exactly
the size of the blade; the Regulation sword, slightly curved, widens
it to about double, and the bent scimitar and the Talwár, to five or
six times, thus meeting with five or six times the resistance to its
penetration. Mr. Latham is again quoted in another part of this System.
[6] My only objections to this volume are the two following:--
(_a_) The author _will_ “throw the whole weight of the body on the
left leg.” (Fig. 2, p. 69.) Yet in his Introductory Remarks (p.
5) he sensibly says, “To the haunches, as to the common centre of
motion of the human figure, are ultimately referred all the movements
performed in military tactics” (and swordsmanship); “as just poise is
important to the correct exertion of action, whatever it may be, it is
necessary that poise or balance be studied, understood, and tried in
all positions. It is clear that bodily action cannot possess compass,
power, and ease, unless the movement be made justly and correctly upon
the haunches, as on a central pivot. If the movement have not compass,
power, and ease; force and endurance will not be found in the Military
act.”
(_b_) In the Lunge our author not only keeps the body “perfectly
erect,” he even inclines it backwards whilst he allows both feet to
abandon the perpendicular in the most slovenly way: see Fig. 2, p.
70, and Figs. 1 and 2, p. 71. The same is the case with the official
‘Infantry Sword Exercise.’
[7] My old friend and instructor set out upon a thoroughly scientific
principle, and the able way in which he has worked out his system will
entitle him to the gratitude of the _posteri_. Having established
the fact that in all our popular athletic, as opposed to gymnastic,
exercises, our walking and running, cricket and football, fives,
tennis, and racquets, and especially rowing--which has advanced as
an art but has declined as an exercise--we circumscribe the line of
muscular operation by giving the greatest share of the work to the
lower limbs, and by developing one half to the injury of the other; he
resolved to cultivate the whole by a wider and more varied range of
training; hence he supplemented “Recreative exercise” by “Educational
exercise,” and hence his systematized national gymnasia, which, taken
up by H.R.H. the Duke of Cambridge and by the late Sidney Herbert, have
been introduced into the military stations of the Cardwell system, into
Oxford and Cambridge, and into all our public schools, with one “base
exception”--Eton.
Mr. MacLaren, in his ‘System of Fencing.’ &c. (p. 9), sensibly
advocates “resting the weight of the body equally upon both legs.”
He also lowers the right hand in the Lunge (p. 11), and (_ibid._) he
throws the trunk forward, perhaps with a little exaggeration.
[8] The ‘Infantry Sword Exercise (see the figures over the Target
representing the “Preparatory Positions”), “Second Position in 2
Motions,” makes No. 2 turn the left knee out instead of carrying it
square to the front; the same may be remarked in “Balance Motions” (No.
4).
[9] The Moulinet (Ital. Molinetto) is even on horseback a favourite
movement with French sabrers (See _Règlement Provisoire_, &c., Tome I.
Titres I. et II.). It is divided into--
1. “_À gauche Moulinet_” (1 temps, 2 mouvements). The directions are:
“À la dernière partie du commandement, qui est MOULINET, étendre le
bras droit en avant de toute sa longueur, le poignet en tierce et à
hauteur des yeux.”
“Baisser la lame en arrière du coude gauche pour décrire un circle
d’arrière en avant ... et se remettre en garde.”
2. “_À droite Moulinet_” (1 temps, 2 mouvements). “À la dernière partie
du commandement, qui est MOULINET, étendre le bras droit en avant de
toute sa longueur, le poignet en quarte et à hauteur des yeux.”
“Baisser la lame en arrière du coude droit pour décrire un circle
d’arrière en avant ... et se remettre en garde.”
3. “_À gauche et à droite Moulinet_” (1 temps, 2 mouvements). “À la
dernière partie du commandement, qui est MOULINET, exécuter le premier
mouvement de _à gauche Moulinet_.”
“Exécuter alternativement et sans s’arrêter sur aucun mouvement le
Moulinet à gauche et le Moulinet à droite.”
“À gauche et à droite = MOULINET.”
4. “_À droite et à gauche Moulinet_ (1 temps, 2 mouvements). À la
dernière partie du commandement, qui est MOULINET, exécuter le premier
mouvement de _à droite Moulinet_.
“Exécuter alternativement et sans s’arrêter sur aucun mouvement, le
Moulinet à droite et le Moulinet à gauche.”
“_À droite et à gauche_ = MOULINET.”
5. “_En arrière Moulinet_ (1 temps, 2 mouvements). À la dernière partie
du commandement, qui est MOULINET, élever le bras en arrière à droite
de toute sa longueur, la pointe du sabre en l’air, le tranchant à
droite, le pouce allongé sur le dos de la poignée, le corps légèrement
tourné à droite.”
“Décrire un circle en arrière de gauche à droite, le poignet éloigné du
corps le plus possible, et se remettre en garde.”
“En arrière = MOULINET.”
“Les cavaliers, exécutant bien les Moulinets, on leur en fait faire
plusieurs de suite, en faisant précéder cet exercice de l’indication;
_les Moulinets continueront jusq’au commandement_: EN GARDE.
“Les Moulinets ayant pour objet d’assouplir les articulations du
bras et du poignet, il faut que les cavaliers y soient exercés comme
préparation aux autres mouvements; on commence et on finit donc chaque
leçon par des Moulinets exécutés à un degré de vitesse proportionné aux
progrès des cavaliers.”
[10] In the Regulation sword the “centre of percussion” is about
one-third from the point; here there is no vibration, and consequently
the Cut exercises its whole force. The “centre of gravity” is in the
third nearest the hilt, and the “balance” of the sword results from the
relative positions of the two centres. In light swords these points
may be farther apart than in heavy blades; they should be closer in
straight than in curved swords, and nearer in thrusting than in cutting
weapons.
[11] The following are the five principal ways of cutting:--
1. The Chopping or Downright Cut, from the shoulder and fore-arm. This
appears to be the instinctive method preserved by Europe; most men who
take up a sword for the first time use it in this way.
2. The Sliding Cut, common throughout the East. In this movement the
elbow and wrist are held stiff and the blow is given from the strong
muscles of the back and shoulder, nearly ten times larger than the
muscles of the arm, while the whole force and weight of the body
are thrown in. Hence the people of India use small hilts with mere
crutch-guards, which confine the hand and prevent the play of the
wrist; the larger grip required for the Chopping Cut only lessens the
cutting force. The terrible effect of these cuts is well known.
3. The Thrust Cut, with the curved (“Damascus”) blade; a combination of
point and edge, the latter being obliquely thrust forward and along the
body aimed at. This movement is a favourite on horseback, when speed
supplies the necessary force, which can hardly be applied on foot. It
must be parried like a Point.
4. The Whip Cut; in which the arm and elbow are kept almost motionless,
and the blow is delivered from the wrist. This is the principal Cut
allowed in my system; it is capable of sufficient effect upon the
opponent whilst it does not uncover the swordsman who uses it.
5. The Drawing or Reverse Cut, which will be explained in the following
pages; it is the reverse of the “Thrust Cut.”
[12] This fact is well known to the _Manuel_, which says, “_Des deux
engagements celui de droite par la position de la main a le plus
d’application_.” It therefore makes all the Cuts and Parries begin from
Tierce. This elementary rule is not recognized by the ‘Infantry Sword
Exercise’ (p. 32); “your defence is always more effective in the left
(Carte) than in the right (Tierce).” Such I assert is the case with
the foil and rapier, certainly not with the sabre or broadsword. On
horseback the left is of course the weak side.
[13] Used in this sense the “small-sword” is the triangular weapon, the
rapier is the flat, or rather the bi-convex blade.
[14] In p. 29 of the ‘Infantry Sword Exercise’ we read of “a circular
motion of the blade, termed the Parry;” but the latter word must not be
limited to this sense.
[15] The only allusion to it is the “shifting of the leg,” in p. 30.
[16] See the ‘Infantry Sword Exercise,’ p. 31.
[17] In France the false edge is hardly known; such blades are called
_à deux tranchants_; it is the Italian schiena or chine, mezzo-filo,
or falso opposed to vero taglio, and the German, rückschneide or
kurzeschneide, thus distinguished from the lange-schneide.
[18] See his Appendix, entitled “Modificazione all’ impugnatura e
guardia delle Sciabola di cavalleria per facilitarne l’equilibrio ed
avantaggiare la fermezza della mano sull’ impugnatura.”
[19] A notable instance of this is the old Highland Clay-more.
Transcriber’s Notes
Simple typographical errors were corrected.
Punctuation, hyphenation, and spelling were made consistent when a
predominant preference was found in the original book; otherwise they
were not changed.