Fig. 24.—Acknowledging.
Again, if you should get an awkward cut, do all you can not to return savagely. If you make any difference at all, play more lightly for the next five minutes, otherwise you may drift into a clumsy slogging match, ending in bad blood. Finally, if you do get hold of a vicious opponent, do not, whatever you do, show that you mind his blows. If he sees that a cut at a particular place makes you flinch, he will keep on feinting at it until he hits you wherever he pleases; but if, on the contrary, you take no notice of punishment, you are apt to dishearten the adversary, who feels that your blows hurt him, and is uncertain whether his tell upon you in like manner. I may as well say here that throughout this paper, I have, as far as possible, used English words to explain my meaning, abstaining from the French terms of the fencing school, as being likely toconfuse a beginner, who may not want to learn French as an introduction to fencing.
The accessories necessary for single-stick are much more numerous now than in the old days on the village green. Then two stout ash-plants, and the old North-country prayer (beautifully terse), “God, spare our eyes!” were considered all that was necessary. Now a complete equipment costs rather more than a five-pound note.
First, then, there is the helmet, constructed more solidly than that used for foil play, although the wire mesh of which it is made is generally a good deal wider than the mesh of the fencing mask. The best helmet is made of stout wire, with a top of buffalo hide, completely covering the head, and with padded ear-pieces to take off the effect of a slashing cut. These are better than those made of cane, which are apt to give way before a stout thrust and let in the enemy’s point to the detriment of eyes and complexion. Be careful, in choosing your helmet, to see that it fits you exactly, as a nodding helm may, in a close thing, so interfere with your sight as to give your adversary a very considerable advantage. The jacket generally used for this play is made like a pea-jacket, with two sleeves, and should be of stout leather. If this is loose fitting, it will afford ample protection, and is not so hot as the padded coat sometimes seen. Besides being too hot, the handsome white kid padded jackets soon get holes made in them by the ash-plant, whereas the brown leather is seldom torn.
In addition to the jacket, an apron of leather, extending from the waist almost to the knee, should be worn, coveringboth thighs, and saving the wearer from dangerously low hits.
Some men wear a cricket pad on the right leg. This, I think, makes a man slow on his feet, and is besides unnecessary. The calf of any one in condition should be able to despise ash-plants; and, as I said before, a bare leg makes you wonderfully quick with your low guards.
Stick play is a fine test of a man’s condition. At first every hit leaves an ugly mark, but as soon as the player gets really “fit,” it takes a very heavy blow indeed to bruise him. The sticks themselves should be ash-plants, about forty inches in length and as thick as a man’s thumb, without knots and unpeeled.
If you want them to last any time it is as well to keep a trough of water in the gymnasium, and leave your ash-plants to soak in it until they are wanted. If you omit to do this, two eager players, in half an hour’s loose play, will destroy half a dozen sticks, which adds considerably to the cost of the amusement.
The old English sword hilt was a mere cross-piece; but in play it has always been customary to protect the fingers with a basket. This may be either of wicker or of buffalo hide. The latter is infinitely the best, as wearing much longer, affording a better protection to the fingers, and not scraping the skin off the knuckles as the wicker-baskets too often do. The basket has a hole on either side; one close to the rim, and the other about a couple of inches from the edge. In putting your basket on, put your stick through the former first, as otherwise you will not be able to get a grip of your stick or any room for the play of your wrist.
There is only one other thing necessary, and then you may consider yourself safe as a schoolboy with the seat of his trousers full of the dormitory towels: and that is eithera stout elastic ring round your wrist—a ring as thick as your thumb—or a good long gauntlet. I rather recommend the ring as interfering less with the freedom of your hand, and as protecting more effectually that weak spot in your wrist where the big veins are. If a blow catches you squarely across this spot, when it is unprotected, you may expect your right hand to lose its cunning for a good many minutes. By the way, it is as well to see that the collar of your jacket is sufficiently high and well supplied with buttons, otherwise there is apt to be a dangerous gap between the shoulder and the bottom of the helmet.
One last word: if you see that the point of your stick is broken, don’t go on playing; stop at once. A split ash-plant is as dangerous as a buttonless foil, and just as likely as not to go through the meshes of a mask, and blind where you only meant to score. As the chief fault of single-stick as a training for the use of the sabre is that the stick does not properly represent the weight of the weapon which it simulates, it is not a bad thing to accustom yourself to using the heaviest sticks in the gymnasium. This will strengthen your wrist, and when in a competition you get hold of a light ash-plant, you will be all the quicker for your practice with a heavier stick.
A cut on p. 57 by Mr. Graham Simpson represents the way to acknowledge a hit, and a cut by the same artist on p. 61 illustrates, as far as we know it, the less careful method of our forefathers. The use of the elbow to shield the head, though common in the contests on the village greens, was in its way no doubt more foolish than our pads; for though a sturdy yokel might take a severe blow from a cudgel on his bare arm, without wincing, the toughest arm in England would have had no chance against a sabre.
Fig. 25.—Old style.
Having now secured the necessary implements, let us begin to learn how to use them. First, as to the stick, which, you will remember, represents for the present a sabre, and consequently a weapon of which one edge only is sharpened. In order that every blow dealt with the stick should be dealt with what represents the sharp or “true” edge of the sword, it is only necessary to see that you get a proper grip of your weapon in the first instance. To do this shut your fingers round the hilt, and straighten your thumb along the back of the hilt, thus bringing your middle knuckles (or second joints of your fingers) and the trueedge into the same line. If you keep this grip you may rest assured that every blow you deal will be with the edge.
And now as to position—the first position from which every attack, feint, or guard, begins. Ned Donelly, the great boxer, used to tell his pupils that if a man knew how to use his feet, his hands would take care of themselves. And what is undoubtedly true in boxing is equally true in fencing. “Look that your foundations are sure” should be every fighting man’s motto. Take trouble, then, about the position of the feet from the first. To come on to the engaging guard, as shown inFig. 26, stand upright, your heels together, your feet at right angles to one another, your right foot pointing to your front, your left foot to your left, your stick in your right hand, loosely grasped andsloped over your right shoulder, your right elbow against your side, and your right hand about on a level with it, your left hand behind your back, out of harm’s way.
Fig. 26.—Engaging guard.
It is not a bad plan to put the fingers of the left hand through the belt at the back of the waist. If this is done, it counteracts, to a certain extent, that tendency to bring the left hand in front, which a good many beginners display, and for which they get punished by many an unpleasant rap on the knuckles.
Now take a short pace to the front with the right foot, and, in the words of the instructor, “sit down,”i.e.bend both legs at the knee, so that the calves are almost at right angles to the thighs. This position will be found a severe strain upon the muscles at first, but they will soon get used to it. The object of the position is twofold. First, the muscles are thus coiled, as it were, ready for a spring at the shortest notice; and in the second place, the surface which your stick has to guard is thus considerably reduced. Be careful to keep the right heel in a line with the left heel, a space equal to about twice the length of your own foot intervening between them, and see that your right toe points squarely to the front and your left toe to your left. If your right toe is turned in, you will never advance straight to your front; and if your left toe is turned in, you contract the base upon which your body rests, and very soon will begin to roll and lose your balance altogether. As far as the legs and feet are concerned you are now in your proper position, which you will only leave when you lunge, or when you straighten yourself to acknowledge a hit, and to which you will invariably return as soon as you engage.
If you wish to advance, advance the right foot a short pace, bringing the left after it at once, so that the two resume their relative positions to one another, half a pacenearer your enemy. If you wish to retire, reverse this movement, retiring with the left foot and following it with the right. In both cases keep your eyes to the front, your feet at right angles, and your knees bent.
Now as to the stick. There are two forms of guard in common use amongst players, the hanging and the upright guard, of both of which illustrations will be found in these pages. In Rowland Yorke’s time men sought for what I think they called “the universal parry” almost as anxiously as they did for the alchemist’s stone which should turn all things to gold. Of course such a thing has never been found, but either of these guards, if truly taken andkept, will stop the attacks of most men as long as you keep them at their proper distance.
In passing, let me say that if a manwilltry to overwhelm you with rushes, the best thing you can do is to straighten your stick, thrust, anddon’t let the stick run through the basket. This has a wonderfully soothing effect upon an excitable player.
InFig. 27the upright guard (or high tierce) is shown, in which the right elbow should be close in to the side, the forearm at right angles to the body, wrist bent, so as to turn the knuckles outwards, and the stick pointed upwards, at an angle of about 45°. InFig. 26, the hanging guard, the point of the stick should be inclined slightly downwards, the knuckles turned upwards, the forearm should be kept slightly bent, the hilt a little outside the right knee, the point of the stick a little low and in the direction of the left front.
If the point of the stick be kept up, the adversary finds a way in by cutting upwards under the point; if the hilt is not outside the right knee, the back of the sword arm will be unprotected; and if the sword arm itself is not keptslightly bent, no effective blow can be delivered by it without first drawing back the hand.
Fig. 27.—Upright guard, or high tierce.
This, of course, is a fatal fault. The moment your adversary sees your hand go back, he will come out. As you retire for the spring, he will spring.Timeis the very essence of single-stick, and the chief object of the player should be to make his attack in the fewest possible motions. For this reason a slightly bent arm is necessary when on guard. Of course if the arm is unduly bent the elbow will be exposed, but a little practice will soon enable any moderately supple man to so hold his arm as to be ready to cut direct from his guard and yet keep his elbow out of peril. And this brings me to a question often discussed amongstplayers, viz. which is the better guard, the upright or the hanging guard, for general purposes. Although I have been taught to use the hanging guard myself ever since I began to play, I unhesitatingly say that the upright guard is the better one, as enabling a player to save time in the attack. In the hanging guard the knuckles (i.e.the edge) are up and away from the enemy; the wrist must be turned before the edge can be brought into contact with his body, and this takes time, however little. In the upright guard the knuckles (i.e.the edge) are towards your opponent, the arm is ready flexed, everything is in readiness for the blow. If, then, as I believe, the advantages of the two guards, as guards, are equal, the advantage of the upright guard as a position to attack from seems to me undeniable.
In all guards remember that it is not sufficient to oppose some part of your weapon to your adversary’s. You must meet him, if possible, with what the old masters called the “forte” of your blade, that is, the part from the hilt to the middle of the sword, with which you have naturally more power of resistance than with the lower half of the blade. Of course all guards must be made with the edge of the sword outwards, and make sure that you reallyfeelyour enemy’s blade (i.e.make a good clean guard) before attempting to return his attack.
There is another matter to which many teachers pay too little attention, but which is as important as any point in the fencer’s art. It is obvious that the player should try, if possible, to hit without being hit. To do this effectively it is necessary in attacking to maintain what fencers call a good “opposition,” that is to say, to so carry your stick in cutting or thrusting at him as to protect yourself in the line in which you are attacking.
This is easier to explain in practice than on paper, but itmay perhaps be sufficiently explained by examples. If, for instance, you are cutting at the left side of your opponent’s head, you must, to stop a possible counter from him, keep your hilt almost as high as the top of your own head and carry your hand well across to your own left. If you do this correctly, you will, in case he should cut at your left cheek as you cut at his, stop his cut with the upper part of your stick.
Again, in thrusting at him, if you keep your hand as high as your shoulder, and in a line with your right shoulder, you will protect the upper half of your own body from a counter, so that, even if your thrust fails and does not get home, the upper part of your blade will stop his cut.
It is necessary to study so to attack your opponent that, in the very act of delivering a cut or thrust, you may stop him in as many lines or directions of attack as possible.
If you find your man will counter in spite of all that you can do, take advantage of this habit of his by feinting a cut to draw his counter, stop this, and return.
This will have the effect of making him do the leading, which will be all in your favour.
For the purposes of instruction and description, the principal hits in single-stick have been numbered and described according to the parts of the body at which they are aimed.
There are four principal hits: (1) a cut at your opponent’s left cheek; (2) a cut at his right cheek; (3) a cut at his left ribs; (4) a cut at his right ribs. 5 and 6 are mere repetitions of 3 and 4 on a lower level, guarded in the same way, and aimed at the inside and outside of the right leg instead of at the ribs.
In the accompanying cuts numbered 28, 29, 30, 31, the four principal attacks and the stops for them have been illustrated, and with their help and a long looking-glass in front of him the young player ought to be able to put himself into fairly good position.
Fig. 28.—Cut 1 and guard.
Fig. 29.—Cut 2 and guard.
In addition to the cuts there is the point, which, as our forefathers discovered, is far more deadly than the edge. Of this more later on.
Almost every cut is executed upon the lunge. As you and your adversary engage, you are practically out of each other’s range unless you lunge.
Standing in the first position the heels are two feet apart. On the lunge, I have seen Corporal-Major Blackburn, a man, it is true, over six feet in height, measure, from his left heel to a point on the floor, level with his sword point, nearly ten feet. This gives some idea of what is to be expected from a man who can lunge properly. To do this, throw out the right foot as far as it will go to the front, keeping the heels still in line and the right foot straight.
Keep the outside edge of the left foot firmly down upon the floor, and keep it still at right angles to the right foot. If your left foot begins to leave the ground you have over-reached yourself; you will find it impossible to get back, and you will be at your opponent’s mercy. See that your right knee is exactly over your right ankle, your left leg straight, your chest square to the front, and your head well up. If you can get yourself into this position, you will have no difficulty in recovering yourself if your lunge fails, and you will gain nothing by bending your body forward from the waist. On the contrary, you will spoil your balance.
This lunge will do for every cut and every point.
To recover after a lunge, throw your weight well back upon your left leg, and use the muscles of the right thigh and calf to shoot yourself back into position. If the knee of the right leg has been kept exactly over the ankle, the impetus necessary to regain your original position will be easily obtained. If, however, the right foot has been protruded too far, and the caution as to the knee and ankle disregarded, you will find yourself unable to return quickly from the lunging position, and will consequently be at your opponent’s mercy. It is in the operation of returning from the lunge that the player realizes to the full the advantage of keeping the shoulders well back and head erect.
Fig. 30.—Cut 3 and guard.
The illustrations should speak for themselves, but perhaps I had better explain them.
In cut 1 (Fig. 28), lunge out and cut at the left cheek of your opponent, straightening the arm and turning the knuckles down.
To stop this cut, raise the engaging guard (hanging guard,Fig. 26) slightly, and bring the hand somewhat nearer the head, as shown in the illustration, or stop it with the upright guard, with the elbow kept well in and the right hand about on a level with the left shoulder.
In cut 2 (Fig. 29), lunge out and cut at your opponent’s right cheek, with your arm straight and knuckles up. The natural guard for this is the high upright guard, with the elbow well in to the right side, the arm bent and turned slightly outwards, and wrist and knuckles turned well to the right.
In cut 3 (Fig. 30), make free use of the wrist, bringing your blade round in the smallest space possible, and come in on your man’s ribs with your arm straight and knuckles turned downwards.
To stop this cut you may either use a low hanging guard, brought across to the left side, the right hand about on a level with the left shoulder, or a low upright guard, with the hilt just outside the left thigh.
The hanging guard is the safer one of the two, as it is difficult in practice to get low enough with the hilt in the upright guard to stop a low cut of this kind.
In cut 4 (Fig. 31), cut at your adversary’s right ribs, and keep your knuckles up, and when he attacks you on this line, stop him with the hanging guard held low on your right side, or with the upright guard, with arm, wrist, and knuckles turned outwards.
Fig. 31.—Cut 4 and guard.
Cuts 5 and 6 are made like cuts 3 and 4 respectively, and must be met in all cases by a low hanging guard. It is well to practise these low hanging guards continually, as a man’s legs are perhaps the most exposed part of his body.
The point when used is given by a simple straightening of the arm on the lunge, the knuckles being kept upwards, and, in ordinary play, the grip on the stick loosened, in order that it may run freely through the hilt, and thus save your opponent from an ugly bruise, a torn jacket, or possibly a broken rib. When the knuckles are kept up in giving point, the sword hand should be opposite the right shoulder. But the point may also be delivered with the knuckles down, in which case the hand should be opposite to the left shoulder.
Fig. 32.—The point.
The point may be parried with any of the guards previously described.
It is well to remember that one of the most effective returns which can be made from any guard is a point, and that a point can be made certainly from every hanging guard by merely straightening the arm from the guard, lunging, and coming in under your opponent’s weapon. But perhaps this is a thing to be learnt rather from practical play than from a book.
Now, it is obvious that if any of the foregoing guards are as good as they have been described, it is necessary to induce your adversary to abandon them if you are ever to score a point.
This may be done in a variety of ways, when you have assured yourself that he is invulnerable to a direct attack, not to be flurried by a fierce onslaught, or slow enough to let you score a “remise”—that is, a second hit—the first having been parried, but not returned.
The first ruse to adopt, of course, is the feint—a feint being a false attack, or rather a move as if to attack in a line which you threaten, but in which you do not intend to attack. All feints should bestrongly pronouncedor clearly shown. A half-hearted feint is worse than useless; it is dangerous. If you have a foeman worthy of your steel facing you, he will detect the fraud at once, and use the time wasted by you over a feeble feint to put in a time thrust.
The ordinary feint is made by an extension of the arm as if to cut without moving the foot to lunge, the lunge being made the moment you have drawn off your enemy’s guard and laid bare the real object of your attack.
Sometimes, however, if you cannot succeed otherwise, a half or short lunge for your feint, to be turned into a fulllunge as you see your opening, may be found a very useful variation of the ordinary feint. If you find feints useless, you may try to compass your adversary’s downfall by “a draw.” All the time that you are playing you should try to be using your head, to be thinking out your plans and trying to discover his. In nine cases out of ten he has some favourite form of attack. If you discover what it is, and know how to stop it, indulge him, and invite him even to make it, having previously formed some little scheme of attack of your own upon this opening. Let me illustrate my meaning by examples. If you notice a hungry eye fixed yearningly on your tender calf, let your calf stray ever so little from under the protection of the hanging guard. If this bait takes your friend in, and he comes with a reckless lunge at it, throwing all his heart into the cut, spring up to your full height, heels together, and leg well out of danger, and gently let your avenging rod fall along his spine. This, by the way, is the only occasion, except when you are acknowledging a hit, on which you may be allowed to desert the first position for legs and feet.
But this is a very old ruse, and most players know it: a much better one may be founded upon it. If, for instance, you think you detect any coquettish symptoms in the right leg of your adversary, you may know at once what he is meditating. Oblige him at once. Lunge freely out at his leg, which will of course be at once withdrawn. This, however, you were expecting, and as his leg goes back your hand goes up to the high hanging guard, covering your head from his cut. This cut stopped, he is at your mercy, and you may cut him in halves or crimp his thigh at your leisure. This position is illustrated inFig. 33.
Fig. 33.—A ruse.
Once again: some men set their whole hearts on your sleeve, and you may, if yours is the hanging guard, lurethem to their destruction through this lust of theirs. Gradually, as the play goes on, your arm tires, your hand sinks, your arm at last is bare, and the enemy comes in with a cut which would almost lay open the gauntlet, were it not that at that moment you come to the low upright guard and return at his left cheek.
These are what are known as draws, and their number is unlimited.
Another thing sometimes heard of in single-stick play is “a gain.” This is a ruse for deceiving your opponent as to distance, and is achieved by bringing the left heel up to the right, in the course of the play, without abandoning the normal crouching position. This, of course, makes your lunge two feet longer than your victim has any reason for believing it to be.
A false beat is another very common form of attack, consisting of a cut aimed at the hilt or at the forte of your stick, the object being to make you raise your point, if possible, so that the attacker may come in under with cut three.
This is very well met by a thrust, the arm being merely straightened from the guard, and the lunge delivered directly the “beat” is made.
A pretty feint having the same effect as the “beat,” as opening up cut three, is a long feint with the point at the chest, cut three being given as the sword rises to parry the point.
But probably I have already transgressed the limits of my paper. What remains to be taught, and I know full well that it is everything except the merest rudiments, must be learned stick in hand. I can only wish the beginner luck, and envy him every hour which he is able to devote to acquiring a knowledge of sword-play.
Although the salute is a mere piece of sword drill, of no use for practical purposes, it is still worth learning, as being the preliminary flourish common at all assaults-at-arms, and valuable in itself as reminding the players that they are engaged in a knightly game, and one which insists on the display of the greatest courtesy by one opponent to the other. Even if you are playing with bare steel, it is expected of you that you should kill your enemy like a knight, and not like a butcher; much more then, when you are only playing a friendly bout with him, should you show him all possible politeness. On entering the ring you should have all your harness on except your mask; this you should carry in your left hand until you are face to face with your antagonist. When in the ring, lay your helmet down on your left hand and come to the slope swords—your blade upon your right shoulder, your elbow against your side and your hilt in a line with your elbow, your knuckles outwards. Your body should be erect, your head up, your heels together, your right foot pointing straight to your front, your left foot at right angles to it pointing to the left.
Both men acting together now come to the engaging guard, and beat twice, stick against stick; they then come back to the “recover” by bringing the right foot back to the left, and bringing the stick into an upright position in front of the face, basket outwards, and thumb on a level with the mouth.
After a slight pause, salute to the left in quarte,i.e.extend the stick to your left front across the body, keeping the elbow fairly close to the side and the finger-nails upwards; then pause again for a second, and salute to the right intierce (the back of the hand up); pause again, and salute to the front, by extending the arm in that direction, the point of the stick towards your left front. Now step forward about two feet with the right foot and come to the engaging guard, beat twice, draw the left foot up to the right, draw yourself up to your full height, and come again to the recover, drop your stick to the second guard (i.e.low hanging guard for the outside of the leg), making a slight inclination of the body at the same time (probably this is meant for a bow ceremonious), and then you may consider yourself at liberty to put on your mask and begin.
Don’t forget, when you cross sticks, to step out of distance again at once. This salute, of course, is only usual at assaults-at-arms, which are modern tournaments arranged for the display of the men’s skill and the entertainment of their friends. At the assault-at-arms, as we understand it generally, there is no element of competition, there are no prizes to be played for, and therefore, so long as a good display is made, every one is satisfied, and nobody cares who gets the most points in any particular bout.
In competitions this is not so, and time is an object; so that as soon as the men can be got into the ring they are told to put their masks on and begin.
In assaults and in general play you cannot be too careful to acknowledge your adversary’s hits. In a competition do nothing of the kind. The judges will see that every point made is scored, and you may safely relieve your mind from any anxiety on that ground. But in general play it is different, and you cannot be too careful in scoring your adversary’s points, or be too liberal in allowing them, even if some of them are a little bit questionable.
The ordinary form of acknowledgment (and a very graceful one it is) is accomplished as follows:—On being hit, spring to attention, with your heels together and body erect, at the same time bringing your sword to the recover,i.e.sword upright in front of your face, thumb in a line with your mouth, and knuckles outwards.
The acknowledgment should be only a matter of seconds, and when made the player should come back to the engaging guard and continue the bout.
Of course there are occasions on which the best player cannot help dealing a foul hit. When this happens there is nothing to be done except to apologize; but most of these hits may be avoided by a little care and command of temper. By a foul hit is meant a blow dealt to your opponent on receiving a blow from him—a hit given, not as an attempt to “time,” but instead of a guard and, as a matter of fact, given very often on the “blow for blow” principle.
This, of course, is great nonsense, if you assume, as you should do, that the weapons are sharp, when such exchanges would be a little more severe than even the veriest glutton for punishment would care for.
If you only want to see who can stand most hammering with an ash-plant, then your pads are a mistake and a waste of time. Ten minutes without them will do more to settle that question than an hour with them on.
There ought to be some way of penalizing the player who, after receiving a palpable hit himself, fails to acknowledge it, and seizes the opportunity instead to strike the hardestblow he is able to at the unprotected shoulder or arm of his adversary.
One more word and we have done with the courtesies of sword-play.
Don’t make any remarks either in a competition (this, of course, is worst of all) or in an ordinary bout. Don’t argue, except with the sticks. Remember that the beau-ideal swordsman is one who fights hard, with “silent lips and striking hand.”
Once a man has mastered the rudiments of any game and acquired some considerable amount of dexterity in “loose play,” he begins to long to be pitted against some one else in order to measure his strength. Before long the limits of his own gymnasium growtoosmall for his ambition, and then it is that we may expect to find him looking round for a chance of earning substantial laurels in public competitions. Unfortunately the stick-player will not find many opportunities of displaying his skill in public. As far as the present writer knows, there are only two prizes offered annually in London for single-stick, and neither of these attract much attention. One of them is given at the Military Tournament at Islington, in June, and one at the German Gymnasium, in December. The former of these prizes is open only to soldiers, militia-men, or volunteers, the latter to any member of a respectable athletic club, who is prepared to pay 2s.6d.for his entrance fee. The attendance of spectators at both shows is very poor, which is to be regretted, as the interest of the public in any game generally goes a long way towards insuring improvement in the play.
It is just as well, before entering for either of thesecompetitions, to know something about the conditions under which they take place, and the rules which govern them. The bouts are generally played in a fourteen foot ring, at least that is the statement in the notice to players, and it is as well to be prepared to confine your movements to such a limited area. As a matter of fact, no objection ever seems to be raised to a competitor who transgresses this rule, and we remember to have seen a nimble player skipping about like an electrified eel outside the magic circle, until stopped by a barrier of chairs at the edge of the big arena.
At the Military Tournament the play is for the best out of three hits,i.e.the man who scores the first two points wins. At the German Gymnasium the competitor who first scores five wins the bout. This is better than at the Tournament, although it will seem to some that even this is hardly a sufficient test of the merits of each player. The bouts seem too short, but probably this is unavoidable; that which is to be regretted and might be remedied, being that no points are given for “form:” the result is that, in many cases, the anxiety to score the necessary points as soon as possible results in very ugly and unscientific rushes, in which no guards are attempted and from which the most reckless and rapid hitter comes out the winner. This, of course, is the same for every one, and therefore perfectly fair, but it does not tend to elevate the style of play.
But the great difficulty at these competitions appears to be the difficulty of judging. And here let me say at once that it is as far from my intention to find fault with any individual judge as it possibly can be. Being English, I believe them to be above suspicion; being sometimes a competitor myself, it would not be for me to impugn their honesty if they were not. Whatever he does, I wouldalways advise the athlete to preserve his faith in judges and a stoical silence when he does not quite agree with them.
All I would suggest for the benefit of judges and judged alike in these trials of skill which test the eyesight and quickness of the umpires almost as much as the eyesight and quickness of the competitors, is that some definite code of scoring should be established and recognized amongst the different schools-of-arms in England.
In order to facilitate the scoring they have a very good plan at the Military Tournament of chalking the competitors’ sticks. This precaution ensures a mark upon the jacket every time the ash-plant hits it; but even this is not always sufficient, for it is quite possible for a true guard to be opposed to a hard cut with a pliant stick, with the result that the attacker’s stick whips over and leaves a mark which ought not to be scored, for had the weapons been of steel this could not have happened.
This, however, is a point which would generally be detected by one of the three judges in the ring.
What gives rise to question in players’ minds is not any small point like this, so much as the question of timing and countering.
To take the last first: If A and B lunge together, both making direct attacks, and both get home simultaneously, it is generally admitted that the result is a counter, and nothing is to be scored to any one.
But if A makes a direct attack, and B, ignoring it, stands fast and counters, this is a wilful omission to protect himself on his part; and even if his cut should get home as soon as A’s it should not count, nor, I think, should it be allowed to cancel A’s point, for A led, as the movement of his foot in lunging showed, and B’s plain duty was to stop A’s attack before returning it. This he would have donenaturally enough if he had had the fear of a sharp edge before his eyes.
I even doubt whether a time-thrust or cut should ever be allowed to score, unless the result of it be such as would have rendered the direct attack ineffectual in real fighting. Should not the rule be, either that the point scores to the person making the direct attack, as shown by the action of his foot in lunging (unless, indeed, the attacked person has guarded and returned, when, of course, the point is his), or else make the rule a harder one, but equally fair for every one, and say no hits shall count except those made clean without a counter,i.e.to score a point the player must hit his adversary without being hit himself?
Of course bouts would take longer to finish if this were the rule, but such a rule would greatly simplify matters.
The really expert swordsman is surely he who inflicts injuries without receiving any, not he who is content to get rather the best of an exchange of cuts, the least of which would with sharp steel put any manhors de combat.
In connection with public competitions, I may as well warn the tyro against what is called “a surprise.” On entering the ring the men face each other, come on the engaging guard, and begin at the judge’s word of command. The sticks must have been fairly crossed before hits may be counted. But it is as well the moment your stick has crossed your opponent’s to step out of distance again, by taking a short pace to the rear with the left foot and bringing the right foot, after it. You can always come in again at short notice; but if you do not keep a sharp look out, a very alert opponent may cross swords with you and tap you on the arm almost in the same movement. If he does you may think it rather sharp practice, but you will find that it scores one to him nevertheless. As no wordof practical advice founded on experience should be valueless, let me add one here to would-be competitors. Do not rely upon other people for masks, aprons, or other necessaries of the game. You cannot expect a gymnasium to which you do not belong to furnish such things for you, and even if they were provided they probably would not fit you. Bring all you want for yourself; and if you value your own comfort or personal appearance when you leave the scene of the competition, let your bag, on arriving, contain towels, brushes, and such other simple toilet necessaries as you are likely to require.
History tells us that firearms of sorts were in existence as far back as the fourteenth century, and that they were probably of Flemish origin. Certain it is that, prior to 1500, there were large bodies of troops armed with what may be called portableculverins, and in 1485 the English yeomen of the guard were armed with these clumsy weapons. Later on, in the middle of the sixteenth century, we hear of the long-barrelledharquebusbeing used in Spain, and before the close of the century themuschitewas in use in the English army. This was a heavier weapon than the harquebus, and the soldiers were provided with a long spiked stake with a fork at the upper end in which to rest the ponderous barrel whilst they took aim.
The method of discharging these weapons was primitive in the extreme, as it was necessary to hold a lighted match to the priming, in a pan at the right side of the barrel, andonecan imagine what a lot of fizzing, spluttering, and swearing there must have been in damp weather!
Improvements in theharquebusandmusket, as it got to be called later on, continued to be developed from time to time. In the early days, matchlocks were sneered at as being inferior to crossbows, much in the same way that the first railway engine was contemptuously spoken of and written about by the coaching men at the beginning of this century; but when in 1700 the flintlock musket made its appearance popular prejudice was shaken, and it was completely removed in 1820 when percussion guns came into pretty general use.
This may appear to be a digression and somewhat outside the scope of this little work. I give it, however, to show the origin of the rifle, to which, after all, the bayonet is but an adjunct.
About the middle of the seventeenth century it occurred to the sapient mind of one Puséygur, a native of Bayonne, in France, that it would be a grand thing to have a sharp point on which to receive an advancing adversary after one had missed him, or the fizzling matchlock had failed to go off. The weapon devised was a sharp-bladed knife, about eighteen inches long, with a rounded handle six or eight inches long, to fit like a plug into the muzzle of the musket, and the bayonet in this form was used in England and France about the year 1675. It was, of course, impossible to fire the piece with the bayonet fixed; it was a case of fire first and then fix bayonets with all possible dispatch. One can imagine what receiving a cavalry charge must have meant in those days. Towards the close of the seventeenthcentury an important step was made in the right direction. Bayonets were then for the first time attached to the barrel by two rings, by which means the gun could be fired whilst the bayonet was in its place and ready for instant use. Very early in the eighteenth century a further improvement was invented, in the shape of a socketed bayonet, which was firmer and more satisfactory than anything previously devised.
The British bayonet in the hands of our soldiers has over and over again carried victory into the serried ranks of our adversaries, but, now that arms of precision have reached such a pitch of perfection, and are still on the advance in the matter of rapid firing, it is to be doubted whether hand-to-hand conflicts will play a very prominent part in the battles of the future.
A distinction must be drawn between the ordinary weapon with which the Guards and army generally were till recently provided (I refer to the triangular-fluted bayonet, used exclusively for thrusting purposes), and the sword-bayonet, which serves both for cutting and thrusting. The advantage of the former was evidently its lightness and handiness; but it must be remembered that, save for thrusting, spiking a gun, or boring a hole in a leather strap, it was practically useless, whereas the sharp edge of the sword-bayonet makes it an excellent companion to Tommy Atkins on all sorts of occasions, too numerous to mention.
In the early months of the present year the new rifle and bayonet placed in the hands of the Guards caused a good deal of comment. As my readers are aware, the new arm is a magazine small-bore rifle, carrying a long conical ball. It is not a pretty-looking weapon, and its serviceable qualities have yet to be tested in actual warfare. But it is with the bayonet we are now chiefly concerned. At firstsight it reminds one of an extra strong sardine-box opener, but on closer inspection it is evident that, though quite capable of dealing with tinned-meat cans, etc., it has very many merits which are wanting in all the other bayonets which have gone before it. It is a strong double-edged, sharp-pointed knife, twelve inches long, rather more than an inch wide, and about a fifth of an inch deep through the strong ridge which runs down the centre of the blade from point to hilt. The handle is of wood, and it is fastened to the muzzle of the rifle by means of a ring and strong spring catch or clip. Altogether it is almost a model of the early Roman sword.
From this short description it will be seen that, though the soldier loses a good many inches in reach, he is provided with an excellent hunting-knife, which can be turned to any of the uses of a knife—from slaughtering a foe to cutting up tobacco.
Then, again, it is possible that the loss in actual reach may be more than compensated for at very close quarters by the greater ease with which a man can “shorten arms” effectively as well as by the double edge. Every ounce saved in the weight of a soldier’s accoutrements is a great gain, and these new bayonets are light and, as I have hinted, are likely to be extremely useful for the every-day work of a long march.
It is not my intention to deal with the bayonet-exercise as practised by squads of infantry, but, before proceeding to deal with some of the more important situations in attack and defence, I would advise those who wish to become proficient to learn the drill. The best way to do this is to join the Volunteers, and get all the squad work possible as a means of gaining acommandover the weapon—the continued use of which for any length of time is extremelyfatiguing. When the rudiments are mastered, and you know fairly well how to respond to the reiterated words of command: “High Guard”—“Pint;” “Low Guard”—“Pint,” etc., and can form the “pints” and guards in a respectable manner, it will be well to join some school of arms with a proficient and painstaking military instructor who is also an expert swordsman. I sayswordsmanadvisedly, because I am convinced that it is only one who is a fencer who can be really qualified to impart knowledge on the subject of weapons chiefly used for pointing.
No man can be said to use the bayonet efficiently who is not able to tackle another man similarly armed—a swordsman on foot or a mounted man armed with the cavalry sabre.
For ordinary practice the first thing to be secured is a good spring-bayonet musket, somewhere about the weight of the ordinary rifle, provided with a bayonet which, by means of a strong spiral spring inside the barrel, can be pressed back eighteen inches or so when it comes in contact with the object thrust against. It is hardly necessary to observe that the point of the bayonet must be covered with a good button, similar to those used on fencing foils, only much larger. The button should be tightly encased with layer upon layer of soft leather, and then bound over with stout parchment or stiff leather, and tied very strongly with whipcord or silk just behind the button. This precaution is very necessary to guard against broken ribs, collar-bones, etc.
The illustrations which embellish or disfigure this chapter do not profess to do more than indicate a few of the more important positions, points, and guards which occur in bayonet-exercise: for fuller details the reader is referred to the various manuals issued from time to time by theHorse Guards and War Office authorities. In these little books will be found all the words of command and, I believe, illustrations of every point and parry.
At an assault, and opposed to a man armed also with a bayonet, the first position is indicated by the accompanying sketch. The head should be held well up, the chest expanded, and the weight of the body nearly evenly balanced on both feet, which should be about eighteen or twenty inches apart, so as to give a good firm base without detracting from the rapidity of advance and retreat. In the case of a tall man, the feet will be rather further apart than with a short man; but this is a matter which can be easily adjusted to suit the requirements of each particular case.