SABRE.

Turn the left foot to the left, and place the right in front of it, so that the back of the right heel touches the inside of the left. The feet will then be at right angles. Easing the grip, let the back of the sword rest in the hollow of the right shoulder, the sword-elbow touching the right hip, and the hand in a direct line in front of it. Close the left hand, and place it on the back of the left hip (so that it cannot be seen from the front), with the elbow thrown back.

Body half turned to the left, face full to the front.

PLATE II.â€”ENGAGING GUARD.

PLATE II.Engaging Guard.

Move the sword-arm to the front until the hand is directly opposite the hollow of the right shoulder, bend the elbow slightly and raise it, sink the wrist, and turn up the middle knuckles and edge of the sword. Advance, and lower the point until it is nearly opposite and level with the left hip.

Then advance the right foot about twice its own length straight to the front, and at the same time bend both kneeswell. Keep the body and head upright, and divide their weight equally between both legs, with the loins well pressed in.

When this guard is properly formed, the upper knuckles and elbow are level and in line with the shoulder. It is calledHigh Seconde.

On crossing swords, which should be about nine inches from each otherâ€™s point, when it is called an equal engagement, press your blade gently upon that of your adversary, so as to close the line in which you are engaged. By this means you are protected from a straight thrust.

I prefer this Engaging Guard to any other for the following reasons:â€”

That when properly formed, it protects the arm and body from all cuts, and the sword is in the best position to defend the head and leg, which may be done by merely raising and lowering the hand. In other guards you have to turn the point down in addition to doing so.

Simply raising or lowering the hand will also parry the thrusts, however high or low or at whatever part they may be aimed. Tierce and quarte, which are the other engaging guards usually taken, only defend the right and left breasts.

The hand and point are also better placed in it than in other guards for giving the stop thrusts and time thrusts by opposition, and all attacks except those directed at the head.

The Engaging Guard with the point up is, however, preferred and taken by some sabre players. It is called outside guard ortiercewhen the hand is on the right, and inside guard orquartewhen on the left side of the body. In each of these guards one side of the arm is exposed, and for that and the above-named reasons I do not like either of them so well as the one with the point down (high seconde).

Place the right elbow about eight inches in front of the centre of the right breast, with the handadvanced and to the left. Pommel of the sword opposite the left nipple. The point as high as, and about two or three inches to the right (his right) of your adversaryâ€™s right eye. Edge slightly turned to your left.

Move the hand about six or seven inches to the right without shifting the upper arm, which should be kept near the side, and slightly turn the palm down. Edge to the right. Point about two or three inches to the left (his left) of your adversaryâ€™s left eye. Hand and point the same height as in Inside Guard.

These guards may be used as parries with good effect against a bayonet or lance.

An Engaging Guard formed in the manner above described is called â€œDefensive,â€ as it covers the side on which you are engaged, and defends it from a straight thrust.

It is called â€œOffensiveâ€ when the arm is more straightened and the point directed to your adversary, so that the line in which you are engaged is open.

After engaging, you are not bound to remain with the blades touching, but it is an advantage to do so to a man who possesses a light hand and has a fine feel of the blade.

The feel of the blade often telegraphs to you your adversaryâ€™s intention. By it you can tell if he is going to attack, or you may learn what guard he will form on the first movement of your attack upon him.

To obtain a proper feel of the blade, you should not grasp your sword tightly, but gently press the tips of your fingers on the grip, and keep as light a touch of your adversaryâ€™s blade as possible.

Move the right foot about six inches forward, letting the heel touch the ground first, then let the left foot follow it the same distance.

Move the left foot back about six inches, and let the right follow it the same distance.

In advancing or retiring, keep the head and body erect and perfectly steady, with the knees well bent.

Stretch the sword-arm to its full length as quickly as possible on a level with the shoulder, without stiffness or jerking or any preliminary movement, and direct the edge or point of your sword to the part you wish to hit. Raise the toes of the right foot, and step straight to the front,until the feet are about four times the length of your foot apart; let the heel touch the ground first.

As you raise the foot to longe[1]press in the left haunch and straighten the left leg, keeping the left foot firmly fixed on the ground. In longeing, let the right heel almost touch the ground.

1. Pressing in the left haunch when longeing adds considerable quickness to the attack, it also causes the body to be upright on the completion of the longe, and therefore enables a man to recover to the guard with less effort and greater quickness.

On the completion of the longe the body and head should be erect, the shoulders have their natural fall, and the right knee be perpendicular to the instep, left leg straight, and foot flat and firm on the ground, and the weight of the body equally divided between the haunches. The whole of these movements should be performedtogetherwith the greatest rapidity.

Be careful not to give any sign of preparation, but make the attack with great boldness and suddenness.

Do not raise the hand, or draw it or the point of the sword back when about to deliver an attack; by so doing you expose your arm to a time cut and the body to a time thrust.

In attacking, never let the foot touch the ground before the sword reaches its destination.

In all attacks and returns the point of the sword should travel over no more space than is necessary for it to arrive at its intended destination.

To Recover.

Draw back the arm and foot, and bending the left knee, resume the position of Guard, with knees well bent.

Opposition.

Is to oppose your sword to that of your adversary when cutting or thrusting, either in an attack or return, so as to prevent him from touching you, at the same time in the same line, with a counter.

Thus if you deliver a cut on the left side of his head, bear your hand to your own left until it is as high as, and about four inches to the left of, your eye; the left side of your head will then be guarded.

In like manner, always cover with the forte of your sword the part of your own person which corresponds with the part you are attacking.

While cutting at your adversaryâ€™s left side or thrusting with your palm turned up inquarte, your hand should be opposite your left shoulder. While cutting at his right side or thrusting with the palm turned down intierce, your hand should be opposite your right shoulder.

The elevation of the hand depends on where theattack is made, but it ought rarely to be below the shoulder, except when cutting at the leg.

Against a man who counters on the head, the hand should be kept as high as your own eye.

If you neglect your opposition you are liable to be both guarded and hit at the same time by a man who counters with good opposition.

PLATE III.â€”FEINT AT THE HEAD.

PLATE III.Feinting.

A feint is a threatened attack made to induce your adversary to guard one part while you deliver the real attack on another. It is made by suddenly straightening the arm, without any movement of the body or feet, and directing the point at the place you wish him to guard.

Feints are also made to find out a manâ€™s method of defence and general style of play; when done for that purpose you should watch carefully what he does, and instantly return to your guard, but when it is your intention to follow up the feint with an attack the cut should follow the feint with the greatest rapidity.

An attack preceded by a feint is done thus: Make the feint as directed above, then longe, and by a quick and close action of the wrist, deliver the real attack, taking care not to draw back the hand as you do so.

This is called â€œDeceiving a Guard.â€

All guards should be made with the edge of the forte of the sword, that is, the half of the bladenext to the hand (the other half is called the feeble), and with the wrist well sunk. A firm guard is thus formed, and consequently a quick return can be given.

Too much force should not be used, so that a second guard may be readily made should the first be deceived. The sword should never be moved one inch more than is necessary to defend the part attacked.

PLATE IV.â€”A DIRECT LEAD OFFAT THEHEADANDGUARD (PRIME).

PLATE IV.A Direct Lead Off at the Head and Guard.

This is the only direct cut in leading off that can be made with any degree of safety on a man who forms the engaging guard, shown in PlateII.

It can be given in five different directions, viz.:â€”

I prefer the cuts on the left side of the head, for the reasons that the extra turn of the wrist necessary for their execution adds considerable force to them, and that when the opposition is correctly formed the whole of the head is defended from a counter, which is not the case when the cuts are delivered on the right side. Then the opposition only covers that side of the head. This I think to be of great importance, as the head, as a rule, is the part at which men naturally and generallycounter. The vertical is not an effective one. A downward cut on the top of a manâ€™s head protected by a helmet would not do him much harm.

In making the horizontal or diagonal cut at the right side of the head, a man may be timed if his adversary, instead of guarding, gives a straight thrust with his hand opposite his right eye as the attack is being made. The opposition thus formed would guard the attack. This cannot be done on the cuts at the left side of the head, as there is no certain opposition on that side.

The diagonal cut at the left side of the head should be aimed at the temple in such a direction that, should the sword pass through, it would come out near the right angle of the jaw.[2]

2. In actual combat I should aim the diagonal and horizontal cuts between the ear and the top of the jacket collar.

It should be made with the wrist, and delivered in the manner described in page22(To Attack).

Be careful as you longe to bear your hand to the left, so that, as you strike the head, your hand is as high as, and a little to the left of, your left eye and look over your forearm.

Raise the hand until it is opposite the right temple, with the upper knuckles level with the topof the head, so that you can see under the forte of the sword without lowering the chin. Point well advanced, and nearly opposite to the left elbow, so as to cover the left cheek and breast. Edge upwards. Arm slightly bent, with elbow turned up and hidden behind the hilt.

A short man should form this guard a little higher than the right temple.

Feint a straight thrust at your adversaryâ€™s breast under his blade, by suddenly straightening the arm, with the hand as high as the shoulder, and hilt turned upwards to protect the arm from a time cut; then, without lowering the hand or drawing back the point, longe and deliver the diagonal cut on the left temple.

This attack is sometimes made by feinting at the outside of the leg instead of at the breast. It is not, however, so safe, as you expose the arm to a time cut while making it.

PLATE V.â€”FEINT AT THE HEAD AND CUT AT THE LEFT CHEEK, AND GUARD (QUARTE).

PLATE V.Feint at the Head and Cut at the Left Cheek and Guard.

This can only be done when a man forms his head guard with the point too high. Feint a cut at the head by straightening the arm and directing the point to a little above the centre of the forehead, edge of the sword turned downwards. Then, with the action of the wrist, and without touching your adversaryâ€™s blade, pass the sword to your right until you have cleared his point, and with a longe deliver a cut on his left cheek just below the ear, the edge of the sword slightly turned up so that the arm may be covered with the hilt.

Opposition the same as in the diagonal cut at the head (page31).

This cut may be given without being preceded by a feint, when the adversary forms his head guard with the point drawn back and high.

PLATE VI.â€”FEINT AT THE HEAD AND CUT AT THE LEFT BREAST, AND GUARD (PRIME).

Guard for the Feint at the Head and Cut at the Left Cheek.

The guard for the head, described in page32, will stop this attack, but should you find your opponent is passing his sword under your point, lower your hand quickly and bear it to your left until the pommel is opposite your left nipple. Point as high as the top of your head and a little to the left of your hand, edge to the left, wrist sunk, and inside of forearm resting on the body, to prevent the cut being given under the wrist.

This is the quarte guard with the hand drawn a little back. It may also be used against returns at the left breast.

This is done under the same circumstances and in the same manner as â€œThe Feint at the Head and Cut at the Left Cheek,â€ except that the cut is aimed at the left nipple. Opposition the same as when cutting at the head.

The guard, also, is the same, except that the hand should be a little lower when forming the quarte.

In this illustration the guard is formed with the point down (prime).

PLATE VII.â€”FEINT AT THE HEAD AND CUT AT THE INSIDE OF THE WRIST.

PLATE VII.Feint at the Head and Cut Inside the Wrist.

This is also done under the same circumstances and in the same manner as â€œThe Feint at the Head and Cut at the Left Cheek,â€ except that you only make a half longe, and aiming at the inside of the wrist, make a retrograde cut by drawing your hand towards your body, and at the same time retire out of distance to avoid the counter.

The guard for this attack is the same as the one for â€œThe Feint at the Head and Cut at the Left Cheek.â€

None of the three preceding attacks can be made on a man who keeps the point of his sword well down and forward when guarding the head or left breast, and who does not attempt to return until he has found his opponentâ€™s blade.

The head guard, as described in page32, will guard the left cheek and wrist, and the engaging guard with the edge a little turned to your left will defend the cut at the left breast. They should, as a rule, be used against all attacks directed against these parts.

The guard with the point up ought only to be used as an auxiliary, when you find that your point in forming the other guard has got too high.

If you always use it to defend the left side, you may easily be hit by a feint at the left and a cut at the right side or forearm.

PLATE VIII.â€”FEINT AT THE HEAD AND CUT UNDER RIGHT ARM, AND GUARD (HIGH SECONDE).

PLATE VIII.Feint at the Head and Cut under the Right Arm, and Guard.

This attack, when well executed, is most difficult to judge and guard.

Feint at the head by suddenly straightening the arm and directing the point to a little above your adversaryâ€™s forehead, with the edge of the sword turned down, then, without drawing back the arm, but with the action of the wrist only, longe and deliver a cut on the right armpit, the edge slightly turned up so that the arm may be covered with the hilt. Always aim this cut high, so that should your adversary form his guard a little low you will hit the outside of his shoulder.

Opposition, hand as high as and opposite to your right shoulder.

The cut may sometimes be given on the arm.

Should you have been induced to answer the feint and form the head guard, lower the hand again as quickly as possible to the engaging guard, with the edge of the sword turned a little to your right.

PLATE IX.â€”FEINT AT THE HEAD AND CUT OUTSIDE THE LEG, AND GUARD (SECONDE).

PLATE IX.Feint at the Head and Cut outside the Leg, and Guard.

This is done under the same circumstances and in the same manner as â€œThe Feint at the Head and Cut under the Right Arm,â€ except that you aim the cut at the leg a little below the knee, or you may make the feint by threatening a thrust at the breast over the blade.

Opposition to your right, and as high as possible.

Drop the hand as low as the right hip and a little to the right of it. Point advanced as in the other guards and about 16 inches from the ground. Edge upwards.

PLATE X.â€”FEINT AT THE BREAST AND CUT INSIDE THE LEG, AND GUARD.

PLATE X.A Feint at the Breast and Cut inside the Leg.

Feint a thrust at your adversaryâ€™s breast over his blade, and as he raises his guard, pass your point to your right, and without touching his blade, clear his point and deliver a cut inside his leg above the knee with a longe.

Opposition to your left and as high as possible.

Beat your adversaryâ€™s sword to your right, then suddenly straighten your arm, and turning the edge inwards, longe and deliver a cut on the inside of his leg.

Opposition to your left, and as high as possible.

The same as for outside of leg, except that you move your hand to the left until it hangs over the right knee.

PLATE XI.â€”SHIFTING THE LEG TO AVOID A CUT AND COUNTER ON THE HEAD.

PLATE XI.Shifting the Leg to avoid a Cut, and Countering on the Head.

As your adversary cuts at your leg, draw it quickly back and assume the first position shown in PlateI., and at the same time deliver a diagonal cut on his head or arm, with good opposition, so that should your adversary feint at your leg and cut at the head, the opposition will guard his attack. Be careful not to raise the hand in making the counter. This manÅ“uvre may also be used against attacks made at the left breast.

PLATE XII.â€”SHIFTING THE LEG WHEN A MAN ATTACKS WITH HIS HAND BELOW THE SHOULDER, AND COUNTER ON THE ARM.

PLATE XII.Shifting the Leg when a Man Attacks with his Hand Below the Shoulder, and Counter on the Arm.

The above manÅ“uvre may be executed on any cut or thrust given with the hand below the shoulder, except that the counter should be aimed at the inside of the arm and the left foot moved back about eight inches before drawing up to the first position, so that you are out of distance.

The counter will act as a half circular parry should you not reach the arm.

The counter on the head or arm can also be given when a man returns at the leg after guarding his head. In this case you must recover in one movement from the longe to the first position, and at the same time deliver the counter.

It is much more difficult to recover from the longe than from the guard with sufficient quickness to avoid a return, but practice and good position on the longe will enable any one with good legs to accomplish it.

PLATE XIII.â€”A DRAW AND GUARD FOR SHIFTING THE LEG AND COUNTER ON THE HEAD OR ARM.

PLATE XIII.A Draw and Guard for Shifting the Leg to avoid a Cut and Counter on the Head or Arm.

Feint a cut at outside leg, then longe, and forming the head guard, receive his counter on your sword and deliver a return under his right arm.

PLATE XIV.â€”A DRAW AND STOP FOR SHIFTING THE LEG AND COUNTER ON THE HEAD OR ARM.

PLATE XIV.A Draw and Stop for Shifting the Leg to avoid a Cut and Counter on the Head or Arm.

Feint at outside of leg, and as your adversary tries to counter, make a half longe, and, aiming at the inside of his wrist, make a retrograde cut by drawing your hand towards your body, and at the same time retire out of distance.

Attacks at the leg should never be made without being preceded by a feint or a beat to divert your adversaryâ€™s attention, and even when done in that manner you should be chary of their use. The man on the defensive has the advantage of either guarding and returning or shifting and countering, and should he adopt the latter method and not shift his leg quickly enough to avoid the hit, he would have considerably the better of the exchange.

I do not, however, think that attacks at the leg should be entirely ignored, neither do I think that they should always be avoided by shifting the leg. A man on horseback cannot do so. Both methodsof defence should be practised. A man who relies entirely upon shifting may easily be drawn into a trap, as is shown in Plates XIII. and XIV. When mounted, the leg guards defend your horse as well as your leg.

Returns at the leg may be made without much fear of being countered.

FEINT AND CUT AT THE ARM.

Feint at the right temple and deliver a cut under the forearm, or feint at the outside of the leg and cut at the top of the forearm.

Should your adversary form his engaging guard with his hand higher than his shoulder, pass the point of your sword suddenly between his forte and wrist, and, turning the edge, deliver a drawing cut on the inside of his wrist, retiring out of distance as you do so.

PLATE XV.â€”GUARD FOR AN UPWARD CUT AT THE FORK.

PLATE XV.Guard for an Upward Cut at the Fork.

This is not a good cut, and I do not recommend its use. To guard it, draw the right leg up to the first position, and at the same time form the outside leg guard.

When on guard, the point of your sword is under the forte of your adversaryâ€™s, and a straight thrust may be given should he quit the engagement, by suddenly straightening the arm and directing the point at his breast; deliver it with a longe.

A good time to make this thrust is when he prepares for his attack or dwells on his feint at your head, or when he advances, as described in page59.

The guard for the straight thrust is the same as that used for guarding the outside of the leg.

This is given in the same manner and under the same circumstances as the straight thrust, exceptthat you pass the point of your sword over the forte of your adversaryâ€™s.

These thrusts may be given either with the palm of the hand turned down in tierce, when the hand should be opposite to your right shoulder, or with the palm turned up in quarte, when the hand should be opposite your left shoulder.

In both thrusts the edge of the sword should be well turned up, so that the hand and arm are covered by the hilt, and the point brought in line with the adversaryâ€™s breast.

As the point touches, the hand should rise and the grip of the sword be slightly eased, the arm kept perfectly straight and well stretched.

It is dangerous to thrust when practising with sabres, unless you are well protected with pads; but with sticks the point should be freely used, always, however, taking care to ease the grip as the point touches, so that your hand may slip a little up the stick, and by that means avoid giving your adversary an unpleasant prod.

The guard for the thrust over the blade is the same as that used for guarding the head.

Straighten your arm and threaten a straight thrust, and without bending the arm or drawingit back, disengage over the blade and deliver the thrust with a longe.

Form the outside leg guard, and then the head guard, as quickly, lightly, and closely as possible.

Pass your point over your adversaryâ€™s blade, and with a straight arm threaten a thrust, then, instantly, without bending the arm or drawing it back, pass your point under his sword and deliver a thrust with a longe.

To guard this attack, form the head guard and then the outside leg guard.

All the attacks can be preceded by an advance. When so done, the movement should be covered with a beat either under or over the adversaryâ€™s blade, to prevent a stop thrust being given. The beat should be made very closely with the thumb and forefinger, and both it and the feint should be done while advancing, and the cut or thrust given with the longe.[3]

3. The beat may also be used with great advantage in attacks not preceded by an advance. It should be made when a counter is expected, which it would most probably prevent, and should occasionally be used to check the adversaryâ€™s parry.

In the advance and longe the right foot moves twice and the left once. They should move as quickly as it is possible to count â€œOne, two, three.â€

A short man ought to use this method of attack when opposed to a tall man, as otherwise he cannot reach him. He should advance very rapidly, with short steps, and be prepared to parry as he goes forward should his beat be deceived.

A tall man ought seldom or never to advance when attacking.

Returns should be made with a longe with the greatest rapidity after guarding. Great care must be taken not to draw back the hand or point before making them.

They should, as a rule, be made direct, but may sometimes be preceded by a feint, and should be very much varied.

The best returns from the different guards are the following, placed in the order of their comparative merits, that is, the first is a better return than the second, and so on; but their application should depend a great deal on your adversaryâ€™s defence:â€”

From Guarding the Thrust under the Blade.

Make the returns as from guarding outside of the leg.

Make the returns as from guarding the head.

Returns at the arm should always be made when an opportunity is given.

A stop thrust is given, when a man advances with his attack. Immediately you see him move, deliver a straight thrust at his breast with a longe; you will then, if your movement is done in proper time, find your point on his breast as he has completed the advance, and he will be unable to longe and deliver his attack.

To prevent this thrust being made on you, beat under your adversaryâ€™s blade as you advance.

PLATE XVI.â€”TO DECEIVE THE BEAT UNDER THE BLADE (QUARTE THRUST).

PLATE XVI.To Deceive the Beat under the Blade (Quarte Thrust).

As your adversary advances with a beat, pass your point over the forte of his blade, and thus avoiding his beat, longe and deliver the thrust.

Instead of beating under the blade as you advance, pass your point over the blade and beat down.

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