Part 2 (1/2)
CUT OVER THE POINT.
It is thus made:--By the action of the hand, and without drawing it back at all, the foil is raised and brought down on the opposite side of the adversary's blade, the arm being extended during its fall to the horizontal position, on attaining which the longe is delivered.
CUT OVER AND DISENGAGEMENT
is on the same princ.i.p.al as the _one-two_ and the _beat and disengagement_. On the adversary opposing the first movement (the cut) with a parade, the second movement (the disengagement) is made to the opposite side, to be followed, of course, by the longe, the extension of the arm being divided between the two movements.
These attacks are called simple attacks, because they may be parried by one or more simple parades, according to the number of movements in the attack. In fact, every attack can be parried, and every parade can be deceived; it is the _additional_ movement last made which hits or guards.
Thus, you threaten by a disengagement to the outside; your adversary bars your way effectually by the parade of _tierce_; you make a second disengagement to the inside, which is now exposed from the very fact of the outside being guarded (for both lines of attack cannot be guarded at the same time), thus converting your attack into _one-two_; but if your adversary parries quarte on your _second_ movement, your attack would be warded off. This can be carried much further, but the above will, I think, be sufficient to explain the nature of simple parades and attacks.
To deceive a _contre_-parade, a separate movement, called a
DOUBLE,
has been invented; it is very simple in principle, and admirably answers the purpose. For instance if you were to threaten your adversary by a disengagement to the outside, and if, instead of tierce, he parried _contra de quarte_, the double is then made by your making a _second_ disengagement _to the same side as the first_, for it will be found that his _contra de quarte_ has replaced the blade in the positions they occupied previous to your disengagement. You will then have an opening, and may finish the attack by the longe.
As all the contra-parades are on the same plan and principle, so are all the doubles. Of course, it is understood that you will make all the movements of the double _en suite_, and without allowing your adversary's blade to overtake yours.
ALL FEINTS.
The foregoing movements having been well practiced in the lesson, the next step is that of _all feints_ and _all parades_, and may be practiced either with a master or fellow-pupil. The practice consists of one pupil standing on the defensive _entirely_, while another a.s.sumes the offensive, and attacks him with _all_ the _feints_ of which he is master, the other, of course, defending with all his parades. It is excellent practice, as it accustoms the pupil to think for himself gradually, he having thus but one set of movements to think about. He is therefore enabled to make them boldly, without having to encounter unknown movements from his adversary.
It also enables him to see the extent of his resources, both for attack and defense. When he can both attack and defend with some presence of mind, he may then begin
THE a.s.sAULT;
that is, he may encounter an adversary, to attack or defend as occasion presents. He is then left to his own resources entirely. The following
GENERAL ADVICE,
given by a very eminent fencer and excellent teacher, cannot fail to be of use:
”Do not put yourself on the position of the guard within the reach of your adversary's thrusts, especially at the time of drawing your sword.
”If you are much inferior, make no long a.s.saults.
”Do nothing that is useless; every movement should tend to your advantage.
”Let your movements be made as much within the line of your adversary's body as possible.
”Endeavor both to discover your adversary's designs and to conceal your own.
”Two skillful men, acting together, fight more with their heads than their hands.
”The smaller you can make the movements with your foil, the quicker will your point arrive at your adversary's body.