THE DUELLING SWORD
As stated on the title page, the purpose of this book is to present
sword play, as based upon the French school of the foil. With this
purpose clearly before us, it will be appreciated that any comments on
the duelling sword must be incidental as well as brief.
In duelling sword play, the weapon, the rules, and the target present
certain differences from the foil that exercise a continuous influence
on the play of the weapon.
The sword blade is of the same length as that of the foil but is
approximately triangular in cross section, with grooves on each face,
and is both heavier and stiffer than the foil blade. The guard is
always of the bell type, being both wider and deeper than that on the
foil, and is planned to actually cover the hand. The orifice for the
passage of the blade is frequently placed in a somewhat eccentric
position. The grip is very similar to that of the foil as is the
pommel, except that the latter is somewhat heavier to balance the
heavier blade. As an aid to the judging of touches, a small, sharp,
three-pointed button, called a point d’arrêt, is ordinarily fastened
to the point of the sword with waxed thread. The points catch in the
material of the adversary’s clothing, emphasizing the touch. A drop of
some easily removed dye is frequently placed between the points as a
further aid. In important competitions, an electric recording device
may be used. The rules are chiefly concerned with the limitation of the
field of operations, the delimitation of the target, the prevention
of dangerously rough play and the doing away with rules. The target
includes the entire person of the fencer, a touch on any part of the
head, trunk, or extremities being fair, so long as it is made with the
point of the weapon.
There are practically no conventions. The man attacked does not need to
parry if he prefers not. There is no conventional right of way. There
is no requirement of an extended arm. This sounds extremely simple, but
is not.
The bout is usually for three touches. Practically the only governing
element in connection with these touches is the question of time.
The touch that arrives appreciably ahead of the other scores. This
emphasizes play for the nearer parts of the target--principally the
hand and arm, although some play is directed at the front foot and
leg. This play for “les avancés” generally results in the play being
out of engagement and out of distance. The lack of any conventional
right of way and the prime importance of priority makes attacks on the
sword, particularly the controlling, or locking, or binding attacks
highly favored. If you can seize control of your opponent’s sword and
maintain it until your point has quite, or almost, arrived, your danger
from a foil “tension” which becomes a duelling sword “stop thrust” is
minimized.
The same group of parries that serves in the foil persists in the épée,
but there are qualifying conditions. The parries to the inside (prime,
quarte, quinte, and septime) carry the attacking point across the
target, even bringing the rear hand and the rear leg into the field of
attack, and also uncover the sword arm. Therefore, they are much more
dangerous parries for any but exceptional use. “Rolling” parries from
high to low line (sixte to seconde) and from low to high line (seconde
to sixte) are very inclusive and very powerful. The counter parries to
the outside, including these “rolling” parries as a variable, make a
very successful defence.
The custom of fencing both out of distance and out of engagement makes
the duelling sword even more a war of rapid movement than the foil.
There is constant “edging” in, interspersed with short, quick advances
and jump advances. The half, or two-thirds, lunge is common, the full
lunge rare. The latter brings hand, arm, head, and trunk all within
easy hitting distance.
Evasions of attacks on the sword must be executed with small movements
at the point extremely close to the attacking blade, with a two-fold
purpose. In the first place, a wide evasion will open the defending arm
to the attacking point. Secondly, the successful evasion should be the
precursor of a stop thrust and this should be directed at the hand,
or arm. Where the attack on the sword has been successful so far as
establishing contact and control of blades is concerned, the various
methods of defence described in the foil section carry special dangers
which must be anticipated and guarded against. A releasing parry
exposes the outer or inner side of the forearm, depending upon whether
it has originated from the outside or inside guard. The slip parry
exposes one or the other side of the forearm in its yielding movement
around the successive quadrants of the circle--always with uncertainty
as to when the attacking sword is going to release its control and try
for a touch. The very short distance from attacking point to defending
forearm makes this danger somewhat more acute than when the body is
the target. This brings us to the decision that all _first parries_
against attacks on the sword should be accompanied by a retreat. _This
does not mean all parries._ If the attacker is convinced by the retreat
accompanying the first parry that he is pursuing a retreating, or
shaken antagonist, it is quite possible that the second parry should
be made while standing firm, or even that it should be accompanied by
an advance. Either one gives the opportunity to break the rhythm of the
attack and either one may completely destroy the attacker’s conception
of distance. As always, the prevention of an accurate analysis or
forecast of your reaction is vital.
There are certain other basic facts that it is well to remember.
If your sword is in prolongation of your forearm and your point is
directed towards the hand or guard of your opponent and _your guard is
in the same horizontal plane_ with his, the opening to attack showing
on your opponent’s arm also appears on yours. Conversely, if he is
covered, you are covered. Therefore, one of the most desirable standard
positions of guard with the épée would be an adaptation of the foil
guards of sixte, tierce, or seconde--with blade in direct prolongation
of the forearm, point at approximately hand level, and forearm
concealed by guard of sword. Of course, if the position of seconde is
chosen, the point would be below the level of the hand. It follows
that successful parries from these positions will require a raising
or lowering, as well as lateral deviation of the point, so that the
defendant blade will cross instead of remain parallel to the line of
attack. Also, if he leaves his position to attack your arm, he offers
an opening on the same or opposite side of his hand or arm to the one
that he is attacking on yours. In continuation of the same reasoning,
as you take the point-to-point, guard-to-guard position, you inevitably
expose certain areas to attack. This is not necessarily undesirable, so
long as you remember the fact, know just what the exposed area is and
have decided just what you are going to do in case of attack on that
area. It is even sometimes desirable to leave a definite opening as an
invitation to attack, provided that you have an adequate answer ready.
For instance, your position of guard may deliberately expose the tip
of your elbow to attack from below. The assumption is that, when your
adversary attacks this elbow, you will counter-attack at his hand or
wrist. The extension of your arm in the counter-attack removes your
elbow further from his point, places it in an unexpected position, and
gives you a target that is the full length of the forearm closer to
your point than his target to his point. Attacks on the front leg or
foot are easily evaded when the balance is equally distributed on both
feet. The simple withdrawal of the foot is sufficient. But the mask,
hand, or arm of the attacker may be very vulnerable to counter-attack.
Never parry an attack on the front foot or leg--but, likewise, never
permit a feint at the front foot or leg to cause such a withdrawal of
the foot and simultaneous leaning forward of the head and body and
extension of the arm that a successful attack on the sword becomes too
easy.
It is obvious that there is one detail in which preliminary foil
training will be of little benefit to the duelling sword fencer. This
is in the quick recognition of a sudden, small target and the accurate
“throwing” of a point to that target. Concentrated practice in this
one pursuit is a very necessary preliminary to serious work with
this weapon. An improvised target game may be very helpful in this
connection, as well as of interest to a small group of fencers. A small
rubber ball, not over one inch in diameter, is threaded on a string and
suspended from the ceiling at the approximate height of the hand of a
fencer in the position of guard. The various members of the practising
group then arrange themselves in a circle about the ball at a distance
of about four inches less than their respective thrusting ranges. The
ball is then started swinging and the members of the squad are allowed
one thrust each, the only rules being that the thrusts shall be taken
only one at a time, that the opportunity to thrust shall travel in
regular rotation around the group, and that no individual shall allow
the ball to come to a dead rest before taking his thrust. Ordinarily,
there is no wish to keep accurate scores, but this may be done if it
seems to add to the interest. It is well to insist that the various
men assume the actual position of guard during the exercise. If the
exercise appears to become more easy, the fencers may be required to
take position out of distance and practise simple advance or jump
advance before the thrust.
_Equipment._
The sword has already been described. A martingale is required.
The uniform is similar to that for foil.
The shoes are similar to those for foil, but must be white.
The mask is similar to that for foil, but the trim must be white.
The glove is of special type. It is not padded, has soft leather palm
while back of fingers and hand and entire gauntlet are of strong
canvas. This should be little larger than street glove and glove and
gauntlet should fit snugly.