THE SABER
The comments on the saber will be equally as brief as those upon the
duelling sword. In the first place, there is no recognized play of the
saber that is based upon the French school of the foil. Thirty-five, or
forty, years ago, there was a definite French school of the saber. The
Italian saber play was so superior to that of the French school that
the latter was gradually abandoned as a distinct entity. Today, it is
probable that the most finished fencers with the saber belong to the
Hungarian school which is an adaptation and perfection of the Italian
school.
The saber is a weapon to itself and its play is a school to itself. The
modern fencing saber is light, weighing only an ounce or two more than
the foil. The blade is about one inch shorter than those of foil and
duelling sword. It is assumed to have a point, a sharp edge extending
the full length of the front edge of the blade and a sharp false
edge, extending for the distal third of the back of the blade. Fair
touches may be made with any of these portions of the blade. The target
includes head, arms, and the trunk down to the break of the hips in the
position of guard.
Probably the most favored position of guard with the saber corresponds
to the French foil guard of tierce. The parries across the body tend
to assume the characteristics of the “rolling” guards mentioned under
foil play. Thus the four parries for the arms and trunk would be very
similar to the foil parries of tierce, quarte, septime, and seconde.
The parry of prime, or an alternating prime-seconde is also employed,
although it exposes the arm. The parries against cuts at the sides of
the head may be made by simply raising the parries of the corresponding
high lines of the body. A downward cut at the head may be met by a
blade sloping slightly upward and pointing from right to left, or left
to right. As attacks with both point and edges are permissible and
the hand and forearm are included in the target, precautions similar
to those observed in the duelling sword are necessary, with certain
obvious additions. As cuts with the edge are good, the fact that the
point has been successfully deviated is not a final and sufficient
defence. What is a feint of a point attack may end as an attack with
the edge at some other portion of the target. It may even end with a
withdrawing cut with the false edge during the return to the position
of guard.
As in the duelling sword, with the inclusion of the hand and arm in the
valid target, it is customary to fence out of engagement and out of
distance. This makes the game of the saber one of extremely active and
accurate foot-work.
Also, there is a very marked difference in the theory of the handling
of the sword from that which has been prescribed for foil play under
the French school. There is a definite, intended, prescribed departure
from finger- or wrist-play. Here, the emphasis is placed upon the
elbow. The sword is carried in direct prolongation of the sword arm and
parries, feints, attacks, and counter-attacks are executed from the
elbow.
Anyone who is seriously following the foil may obtain considerable
pleasure from saber play by treating it largely as has been advised
for the duelling sword. The point may be used to great advantage. The
false edge may be used to occasional advantage, following a feinted
point attack. Beyond this the foil or duelling sword fencer had better
not venture. If he wishes to make a serious study of the saber, which
it thoroughly well deserves, let him seek a competent master of the
Italian or Hungarian school, or, if such is not available, obtain a
book from the pen of such a master.
To somewhat amplify the preceding remarks, in adapting our basic
knowledge of French foil and duelling sword play to the saber, we
assume the regular position of guard so far as body and legs are
concerned. The rear arm, instead of being carried high as in foil
play, is carried behind the back--the back of the hand resting in the
small of the back, with the fingers inside of and grasping the belt.
The sword arm and sword are carried in the guard of tierce. However,
in this position of guard, the blade is carried in a practically
horizontal position instead of carrying the point at the level of the
eye. Although fencing out of engagement, the point is directed towards
the opponent’s sword hand. This position of guard accomplishes three
things: first, the straight line formed by forearm and sword places
the hand and forearm directly behind the protection of the guard of
the sword; second, the horizontal position of the sword, with point
relatively low, renders the blade less accessible to an attack on the
sword; and, third, the constantly threatening point must be displaced
or evaded before the opponent can safely launch any attack.
The sword arm is maintained in a position two-thirds extended with
hand at approximately the same level as in foil work. Although this
low position of the hand does not adequately cover the head, or even
the upper portion of the trunk, it places the hand and forearm under
the cover of the bell and removes the blade from ready accessibility
to attack. Against point attacks, the parries are executed much as
in foil play--except that the simple parries with the true edge are
favored--necessitating a rolling parry to meet a change of line. Thus
the normal high line parries are quarte and tierce, the low line
septime and seconde. When the attack is at the head, high quarte and
high tierce are used--thus giving really a high, a mid, and a low line.
Also, as previously mentioned, the parries are controlled more from
shoulder or elbow and little from the fingers or from the wrist.
Against cuts, there is some further departure from the technique of
foil parries. In the latter, both hand and point stop just beyond the
line of the body, as the deviation of the attacking point requires
little force if faible is met with forte. However, with the saber,
a cut may well force through to the target if it is met by simple
opposition. Therefore, the point of the parrying sword is carried
diagonally beyond the direct zone of the target so as to cause the
attacking blade to glide down the parrying blade to the guard.
As the fencing is out of engagement, practically all attacks must be
initiated with a closing of distance. As in foil play, this closing of
distance may be accompanied by the first feint of a compound attack or
by an attack on the sword. At all times, it must be remembered that the
sword hand and arm are a part of the target and that they must not be
uncovered during the preliminary movements of the attack.
A very good practice for both attacker and defender is the
making of compound attacks and the parries against them in three
lines--accompanying the first two feints by advances and the third
cut by a lunge. Such an attack would be: (1) feint seconde cut, with
advance; (2) feint quarte cut, with advance; and (3) high tierce cut,
with lunge. The first of these feints would bring the attacker within
distance; the second would be met by a retreat of the defender; and the
third would touch the mark--or give the defender the opportunity to
parry and riposte--according to previous agreement. These exercises
could be alternated between fencers--first one and then the other
attacking--and first the attacker touching and then the defendant
making a successful parry and riposte. The same variation should be
made in the origin and direction of the attacks, changing the first
feint from one side to the other and from the low line to the high
line. This is excellent practice for both foot and hand.
The attacker should never forget that certain feints and attacks
automatically carry exposure of certain portions of the target to
stop cuts or thrusts. When made in the low line, the upper side of
the arm is exposed and when to the inside or the outside, the inside
or the outside of the arm is exposed. While the same general rules
as to right of way pertain to saber as to foil play, the fact that
cuts with the saber are nearly always preceded by some withdrawal of
the sword makes many more stop cuts valid. The tendency of directors
is to grant the right of way to a simple attack but to judge between
successful compound attacks and stop cuts on the basis of time. This is
particularly true where the defender makes a successful stop cut on the
first feint of a compound attack en marchant and succeeds in executing
a retreat before the attacker overtakes him and touches with the final
movement of his compound attack.
It is well to remember that many saber fencers have never been trained
in the school of the foil and have sadly neglected practice in point
work. Against such, a straight lunge, a disengage, or a one-two and
lunge may prove very efficacious.
The saber riposte is frequently less complicated than with the foil.
The successful parry of a cut leaves the defender’s sword between that
of the attacker and the target. A straight riposte may frequently be
achieved by simply turning the hand over and making a gliding cut at
the exposed area. Other ripostes follow the general rules laid down
for foil and épée.
The hand and arm are frequently vulnerable to either direct attack
or to stop cut or thrust against fencers who indulge excessively in
compound attacks or who have peculiarities of execution.
With the saber as with the épée, the occasional individual who
fences with fully extended arm and sword is particularly susceptible
to attacks on the sword. But, it must not be forgotten that he has
schooled himself against these attacks and that the attacker must be
versatile in their use and not over-confident of success. Probably
the most commonly used attack on the sword is the bind (liement).
However, in both saber and épée, the croisé may be both safer and more
efficacious. The inclusion of the mask in the target of these weapons
makes it particularly difficult to carry off the croisé--and, if it is
carried off, it must be at the expense of a complete exposure of the
flank.
The rule regarding the right of way of the riposte following a
successful parry is the same for saber as for foil. However, the much
greater frequency of attacks on the sword with the saber makes it very
important for the defender to be sure that he is parrying a frank
attack or a feint, rather than an attack on the sword. Otherwise, he
may be surprised to find that what he considered a good riposte is
being judged a stop cut and what he considers his opponent’s remise, or
redoublement, is being declared a good touch on the attack, following
an attack on the sword. Such decisions are extremely difficult and,
adopting baseball terminology, may be called a “director’s choice.”
Frequently, he can reach a decision only through a knowledge of the
habitual play of the individual fencers.
For the guard and type of play here advocated, the saber guard, which
is designated “Olympic,” should be employed, as the Hungarian guard
leaves the top of arm exposed in the low position.
_Costume and equipment._
With the exception of the weapon, there is no fundamental difference
between the equipment for saber and for foil. The mask may be of
somewhat heavier wire and somewhat more heavily padded. Some fencers
prefer light padding in the jacket. Some like a leather or padded cap
for the elbow of the sword arm. Some like a glove with some padding
in the gauntlet. All of these differences are matters of personal
preference--are permissible but not mandatory.
INDEX
Advance, 2
Attack, 22
compound, 25
concealed, 45
false, 44
frank, 22
simple, 22
Attack, advancing or en marchant, 40
Attack and Defence, relation of, 27
Attack from position or de pied ferme, 40
Attack on Execution, 30
Attack on Preparation, 30
Attacks on Sword, 32
suggestive or suggested, 33
real, 33
Balestra; _see_ Jump Advance
Beat, light and heavy, 33, 36
Bind, 34, 35, 36
Body Evasion, 31
Bout, 53
Breaking the Line, 47
Cavé (cavation), 50
Compound Attacks, 25
Coulé, 33
Counter Attack, 15, 29
Counter Parry, 19
Coupé, 23
Coup d’Arret; _see_ Stop Thrust
Coup de Temps; _see_ Time Thrust
Croisé (cross), 34, 36
Cut-over; _see_ Coupé
Deceive; _see_ Evasion of Parry
Defense of Desperation, 37
Derober; _see_ Evasion of Attack
Disengage, 23
Doigté, 9, 17, 21, 23, 24, 26, 37
Double, 27
Engagement, 19
Envelopée, septime and octave, 48, 65
Envelopment, 34
Épée, 87
Evasion of Parry, 25
Evasion of Attack, 37
_also see_ Body Evasion
Feint, 4, 24
Feint, effective, 25
Feint, legal, 4, 25
Finger Work; _see_ Doigté
Fleche; _see_ Passado
Froisé, 33, 36
Gain (gagnant), 41
Gauchers; _see_ Left Handed Fencers
Glide; see Coulé
Grasp (Grip or Hold) of Sword, 9
Guard, assumption of, 54
Guard, stance, 1
Guard, distinguished from parry, 17
Guards with sword, 15, 16, 17
Half Circle, 49
Hand, grip, 9
position in guards, 11
High Line, 17
_see also_ Lines of Defense or Attack
High Octave, 51
High Prime, 51
High Septime, 49
Inside Line; _see_ Lines of Defense or Attack
Invitation, 37
Irregular Position, 39
Italian School, 63
Jump Advance, 4
Left Handed Fencer, 19, 61
Les Avancés, 86
Liement; _see_ Bind
Lines of Defense or Attack, 11, 12
Low Line, 17
_see also_ Lines of Defense or Attack
Lunge, 5
disengage and-, 23
half and two thirds, 87
straight, 24
Octave, 17
One-Two, 25
Opposition in Attacks, 43
Opposition; _see_ Parry, slipping and yielding
Outside Line; _see_ Lines of Defense or Attack
Parry, in reference to contact with sword, 8
counter, 19
distinguished from guard, 17
releasing, 38
rolling, 16, 17, 86
yielding, 38, 39
Passado, 43
Phrase d’Armes, 29
Point d’Arret, 85
Press, 33, 36
Pronation of Hand, 11
Quarte, 16
Quinte, 16
Redoublement d’Attaque, 29
Remise, 28
Reprise d’Attaque, 29
Retreat, 2, 37, 42, 87
Right of Way, 4, 13, 15, 24, 27
Riposte, 28
Saber, 91
Salute, 53, 54
Seconde, 16
Septime, 17
Simple Parry, 17
Sixte, 16
Slipping Parry; _see_ Parry, releasing and yielding
Stop Thrust, 30
distinguished from Tension
Supination of Hand, 11
Sword, 7
Target, in foil, 11
Tension, 30
Threat; _see_ Feint, effective
Thrust, 4
Tierce, 16
Time Thrust, 30
Tour de l’Épée, 65
Transcriber’s Notes
Perceived typographical errors have been silently corrected.
Inconsistencies in hyphenation and compound words have been maintained
as printed.
New original cover art included with this eBook is granted to the
public domain.