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3 6- so"/ 6 ,3 6

ifilS

1barvart> College Xtbran?

FROM

Ledyard W» Sargent
 THE

ART OF DEFENCE ON FOOT

WITH THE

BROAD SWORD AND SABRE,

Printed by C. Rowortli,
Bell Yard, Fleet Street.
 o
THE

ART OF DEFENCE ON FOOT,

WITH THE

"BROAD SWORD AND SABRE

ADAPTED ALSO FOR

THE SPADROON, OR CUT AND THRUST SWORD.

IMPROVED, AND AUGMENTED WITH

THE TEN LESSONS

OF

MR. JOHN TAYLOR,

Late Broadsword Master to the Light Horse Volunteers of London
and Westminster.

ILLUSTRATED WITH PLATES

By R. K. PORTER, Esq.

LONDON:
PRINTED FOR T. EGERTON, AT THE MILITARY LIBRARY,
NEAR WHITEHALL.

1804.
(j) 10^' -•-

HARVARD COLLEGE LIBMSY

GIFT OF
UEDWitSO WOfiTHINGTON SAR3ENT
JUNE 22, 1938

s
 CONTENTS.

PART I.

Practice at the Target.

PAGE
OF Holding the Sword 9
Pojition - 11
Longeing 12
Medium Guard 15
Injide Guard l6
Outside Guard 17
Introductory Remarks on the Six Cuts - - 18
Direction of the Cuts ------- 22
Method ofpractising the Six Cuts at the Target 24
Cut I. - -- -- -- -- -ib.
Cut II. 25
Cut III. 26
Cut IV. 27
Cut V. 28
Cut VI. - ib.
Combining the Siæ Cuts --29
a PART

j- _
 [ 2 ]

PART II.

Practice with Antagonist.

page
General Observations 31
Distance ----------- 37
The Advance - - 39
The Retreat - - 40
Traversing ----------- 41
Disengaging ---------- 44
Forcing an Adversary's Guard ----- 45
Timing - - - - - 46
The Slip - ib.

Inside Guard 50
Half-Circle Guard and Spadroon Guard - - 52
Outside Guard' ----55
Hanging Guard - -- - 56
Half- Hanging Guard 60
St. George's Guard - - - - - - - - ' 6l

Bearing - ---64
Battering ---65
Feints - - - - - 66
Disarming - -- -- 67

Appli-
 [ 3 ]

Application of the Point.

i
PAGE

Thru/is 69—74
Parades 75—82

Cuts differingfrom the general principles of the

System 83—87
Cut at the Advanced Leg 88
Parade and Return for the above -., - - - 91
Broad Sword Salute Q3
Ten Leffons as taught by Mr. Taylor - - - 94
Leffon to be performed with the Sword . - - - 98
Remarks on the Spadroon ------ 99

Appendix.

Opposing the Small Sword 105

Spadroon ------- 107
Mufquet and Bayonet - - - 111
Variations from general principles ofthe System
when engaged with Sticks 112
 THE

ART OF DEFENCE

WITH THE

BROAD SWORD AND SABRE.

rT~,HE following treatise is divided into Two

Parts. The FIRST containing a Mode of

Praclice at a Target*, which may frequently afford
exercise or amusement when it may not be possi
ble, at the instant, to find another person equally
desirous of improvement in the science. In this
part is described the method of directing the edge,
and recovering to a guard from any cut which may

* The target for this purpose will be found at the beginning

of the book, from whence it may be taken and fixed against a
wall or partition; as directed in p. 11.
have
 [ 6 ]

have either missed or cut through its object, with

out suffering your body to remain exposed, or
straining your wrist.

It is not, however, necessary for learners to oc

cupy a great length of time with the first part, be
fore they proceed to practise with an antagonist: it
will be sufficient if they make themselves acquainted
with the direction of the several cuts and the num
bers by which they are distinguished. The mode
of recovering to guard by whirling up the blade,
and the turns of the wrist requisite for that purpose,
may be acquired at convenient intervals, by prac
tising with either a sabre, broad sword, cut and
thrust sword, or hanger; and gentlemen will by
that means become accustomed to the weight of
the weapon, and accurate in carrying a true edge ;
whereas if they practise only with a stick, the weight
of the sword will render it so unwieldy when they
are compelled to draw it on a real occasion, as to
frustrate almost every offensive movement made
against an antagonist possessed of either science or
agility.

The
 [ 7 ]

The SECOND PART treats of the PraBice

with an Antagonist; by attention to which gentle
men may improve each other very fast, provided
they act, and communicate their remarks, as di
rected under the head of General Observa
tions, p. 31, with that candour which every one
has a right to expect in this kind of friendly contest
and amusement.

I would not however venture to recommend the

practice with a friend for the sake of improvement
with naked swords; since although not attended
with danger in the cavalry exercise, yet as the
situation of persons engaged on foot does not con
fine them to one or two particular cuts at com
mencing the attack, but admits of more various
and complicated movements, an error in regard to
the parades might prove fatal.

In this treatise the broad sword and sabre are ge

nerally mentioned, yet the instructions will be found
equally applicable to the hanger and spadroon, or
light cut and thrust sword. The deviations which
may
 [ 8 ]

may prove necessary for the latter are noticed

under the head of Remarks on the Spadroon.

In the Appendix are some hints which may be

found useful when opposing a person armed with a
small sword, Qr with a musquet and bayonet. The
variations from the general principles of the system,
when contending with sticks only, are also noticed
in that part.

PART
 [ 9 ]

PART I.

PRACTICE at the TARGET.

Of HOLDING the SWORD or SABRE.

'HE broad sword and sabre must be held with

the fingers clenched round the gripe, suffi
ciently fast to prevent the blade wavering, the
thumb being either placed on the back or towards
the left, as most convenient. At the instant of
parrying or attacking, it will be requisite to grasp
it with strength, but that exertion of the muscles
is so natural, as not to need much insisting on.
The chief object is to keep the gripe encircled as
much as possible with the fore finger and thumb,
whatever may be the position of the blade, relax
ing or contracting the other fingers according to
its direction. Placing the thumb upon the back
B of
 t 10 ]
of the gripe is the mode always adopted by small-
swordsmen and spadroon players ; but the hilts
of broad swords and sabres are frequently made
too short and confined to permit it, and the curve
of the sabre blade renders it unmanageable and
unsteady if held in that manner. In practising
with light sticks, and in using the spadroon or cut
and thrust sword, the placing the thumb in that
position will be found to give a celerity and sharp
ness to the cut ; but the weight of the blade of
either a broad sword or sabre will, in some in
stances, prove too great to be thus acted upon, and
will frequently require that the gripe be completely
encircled with the forefinger and thumb, in which
manner I would advise holding the sword when
practising the cuts at the Target.

POSITION
 [ 11 ]

POSITION.

rJ^HE first object of the learner should be to

attain a firm yet flexible position. For this

purpose he must learn to support the most part, if
not the whole, of his weight on his left leg, in
order that the right, which is to be advanced, may
be either retired from a cut, or thrown rapidly
forward on a longe. It is therefore necessary to
commence the practice in the following manner:

Fix the sheet, on which the six cuts are de

scribed, flat to the wall, the center of it about one
inch below the height of your shoulder. Leading
to the perpendicular line down the center, mark
a line with chalk on the floor. At the distance of
about ten feet from the figure place your left heel
so as just to touch the line, the left knee bent, to
throw the weight of the body on that leg, the
right foot advanced about 14 or 16 inches towards
the target; the toe pointing to the perpendicular
line. The left shoulder must be thrown back, and
B 2 the
 [ 12 ]

the body kept as much in a line as possible, in order

to expose no more of it than necessary to your
supposed antagonist. The left hand may be raised
to the height of the left ear, in order to preserve the
balance of the body; or may be fixed firm with
the inside of it on the left hip bone, as may be
found most convenient. .

From the above position, practise slipping the

right foot back till the middle of it becomes op
posite the left heel, in order to retire the right
knee from your adversary's reach when necessary,
which is easily and quickly done, if you rest no
more weight than directed on that foot.

LONGEING

TS the stepping forth with the right foot from the

position described in the preceding page, in
order to effect a cut or thrust. In beginning this
practice, make the first trial without attempting
a cut at the same time, till you can longe straight
upon
 [ 13 j
upon the line on the floor, keeping your left foot
firm, and recover yourself with ease.

At the instant of longeing, the left hand should

drop on the left thigh; from whence it should be
thrown up smartly to the left as you recover, which
will assist in regaining your position.

Although an extensive longe is doubtless advan

tageous to those who can make it easily, yet it will
not be found on a real occasion so necessary as a
quick recover. For which reason it will be impru
dent in gentlemen to accustom themselves to step
farther out than their strength or activity naturally
admit. Care must always be taken to place the
right foot flat on the ground, and not to make so
violent an extension, as to pitch on the heel of that
foot.* The proper extent is to bring the left knee
straight, and the right knee perpendicular to the
instep.

* * It should be considered that in real contest the difference

of the ground, and many other circumstances, concur to render
any unnecessary extension hazardous ; especially to such persons
as have used themselves to practise on an even floor, perhaps with
slippers chalked at the bottom.
B 3 After
 [ M ]

After practising the longe until you are enabled

to step well forward and recover without difficulty,
the next object is to execute the cuts in such a
manner as not to expose yourself to a counter or
retort, by suffering your arm to sway improperly
with the motion of your sword.

To prevent accidents; by the sword escaping

from the hand, it will be tiecessary to have a lea
ther sword knot, which should be soft and pliable,
and not so tight as to confine the motion of the
wrist.

Before you draw the sword, pass your hand

through the loop, and give it a couple of turns
inwards, which will render it sufficiently secure.

As all attacks should be preceded by a defensive

posture, and concluded by a return to one, it may
be necessary to commence with the following-
guards, from whence the cuts are chiefly made.
I (hall reserve the description of the others until
I treat on the practice with an antagonist.

MEDIUM
 [ 15 ]

MEDIUM GUARD.

rJ^HIS position rather merits the appellation of

prepare to guard, as it affords hardly any

protection without some change of position, and
mould be only adopted (if at all) when you are
in doubt on which side your adversary means to
join, and before his weapon is within reach of
yours. It consists in presenting your sword per
pendicular, with the shell opposite the bottom of
the target, the point upwards, and the edge op
posite the line down the middle.

It must be observed as an invariable rule, that

the ward-iron should be exactly over the middle
knuckles, either when holding a guard or making
a cut, by which means the direction of the
knuckles will always govern the edge of the
weapon.

INSIDE
 I 16 ]

INSIDE GUARD.

J^ROM the medium guard, by a turn of the

wrist, bring the hilt of the sword opposite A,
the finger nails upwards, the blade sloping suffi
ciently across the target to direct the point to C,
the arm nearly straight from the moulder to the
wrist, but not stiff. See Plate III.

In this position the edge of the sword is to re

ceive the blow from an antagonist, and the bevel
of the blade next the edge should be opposite to
the dotted line from A to C. If you turn the edge
too much to the left, you will find a difficulty in
striking, or be exposed to a cut on the outside of
the wrist.

This guard secures the face and front of the

body from cuts I. and V.

OUTSIDE
 [ 17 ]

OUTSIDE GUARD.

ROM the last described position, by a motion

of the wrist turn your knuckles outward till
the hilt arrives opposite B, the blade at the same
instant crossing the target till the point is directed
to D: the bevel of the edge opposite the dotted
line from B to D, and the finger nails downwards.
See plate VI.

Having observed the relative situation of these

two guards, practise the change from one to the
other and back again, till you are able to execute
it with such agility and precision, kas to render it
impossible for an adversary to disengage his wea
pon from one side and cut at the other without
being opposed by the edge of your sword.

In this parade, the action of the wrist should

always precede that of the shoulder; and be so
immediately followed by it, as not to present an
opening
 [ 18 ]

opening to your adversary by holding a crooked

wrist; an error to which beginners are very liable,
especially on the inside guard.

INTRODUCTORY REMARKS on the

SIX CUTS.

HE following method of making the six cuts,

though not practised or taught as a necessary
part of the science of broad sword in England, till
lately introduced into the cavalry exercise, will be
found attended with some advantages. For in
stance; when first engaging, many persons are apt
to retire out of distance as you aim the first or
second stroke, if they have sufficient space for that
purpose, and unless such cut be made on a principle
of expeditioufly recovering your weapon, the loss of
time will afford your antagonist an opportunity of
cutting or thrusting before you regain your defen
sive posture. Others practise a mode of slipping
a cut by withdrawing the arm ; in which if they
succeed,
 C 19 ]

succeed, they are almost certain of throwing in

a cut before you can recover from a forcible stroke,
except you have accustomed yourself to this man
ner of executing the six cuts.

Secondly. The strain, from the weight of your

sword and force of the blow, may so far disable
your wrist, as to render you incapable either of a
vigorous attack or of a quick and firm parade.

On which account a person, who cannot perform

the cuts upon the principle here recommended,
must not attempt to strike with rapidity or force,
until he perceive an absolute certainty of every
blow reaching his antagonist unless parried by his
weapon.

This disadvantage is obviated by the following

method of practice, in addition to which, facility
of execution and flexibility of wrist are obtained.

In
 [ 20 ]

In making cuts I. and II. the point nearly de

scribes a circle, from the commencement of the
cut to the return to the guard; —To make this
easily from the motion of the wrist and preserve
the arm in its proper direction is of much impor
tance, and can only be attained by beginning
gradually, and observing how far you can conduB
the blade in making the cut in the requisite direBion,
•without Jiraining the wrist, or disordering your

position. For instance, in making cut I. you will

find that you cannot proceed farther than to bring
your point a little below fig. 4, without some
change of position; this change must be effected
by turning the wrist, till you can give freedom to
the blade to complete the remainder of the circle,
which brings the point up to the front of your
position. Every unnecessary width of motion
(which would be a sure consequence of bending the
arm) must be avoided. Therefore, having brought
your point from fig. 1 to fig. 4 in the first attempt,
pause and observe the position necessary to be
taken by the wrist, as described in the directions
for making cut I.

A similar
 [ 11 ]

A similar obstruction will be found in making

cut II. as soon as your point sinks below fig. 3,
which must be surmounted in the same manner, by
observing the directions given for the third motion
of cut II.

These difficulties may be easily removed by at

tention and practice; and when the learner has
attained the mode of executing the two first cuts,
he will find little trouble in acquiring the others,
as they are performed on the same principle.

It is however to be observed that cuts I. and II.

cannot be well performed with the antient close or
basket hilt upon this principle, as independent
cuts; although the six cuts when combined may
be made with it.

Dire&ion
 [ 22 ]

Direction of the Six Cuts.

rJ,HERE are but six directions in which a cut

can be properly and safely made with a broad

sword or sabre; four of which are diagonal and
two horizontal. Some persons may perhaps here
mention a seventh, viz. perpendicular; but, in
practice, that cut will be found to partake so much
of the diagonal direction, and of course be so easily
parried either by the inside or outside guard, or if
aimed at the head by the hanging guard, or the
St. George, that I shall not trouble the reader
farther with it, than by observing, that whatever
guard he resorts to against the upper cuts, if it be
correctly held, will form a sufficient obstacle to the
perpendicular stroke; and proceed to describe the
six cuts above mentioned.

CUT I. is made downwards from right to left of

your own position.

CUT II. downwards from left to right.

CUT
 [ 23 ]

CUT III. upwards from right to left.

GUT IV. upwards from left to right.

CUT V. horizontally from right to left.

CUT VI. horizontally from left to right.

Each cut being named according to that figure

on the target from which it is commenced.

METHOD
 [ 24 ]

METHOD of PRACTISING the SIX

CUTS at the TARGET.

TTAVING placed yourself opposite the target

as before directed, adopt the outside guard,
and from thence commence CUT I. in the fol
lowing manner:

Motion 1 . Turn your hand to A, the point of

your sword to fig. 1 .

Motion 2. Conduct the point from fig. 1. to fig. 4.

taking care that the edge leads and the
arm remains steady.*

Motion 3. Turn the wrist so as to bring the thumb

downwards, the back of the hand and
flat of the blade opposite yourself, and
recover to the outside guard, by bringing

* The learner, I trust, will excuse my repeating the caution

given in p. 20, that he must begin, gradually. If he attempts to
make the cuts rapidly and with force, before he attains the proper
turn of the wrist by which. the weapon is to be recovered, he will
be liable to unpleasant accidents.
up
 [ 25 ]

lip the blade with a sweep clear of the

inside (or front) of your position.

CUT II.

Motion l.T^ROM the inside guard, turn your

knuckles towards B, the point of
your sword to fig. 2.

Motion 2. Conduct the poi»t of the sword from

2 to 3.

Motion 3. Turn the inside of the wrist upwards,

which will drop the point of the sword
outwards to the rear, relax the three
fingers nearest the pommel, and recover
to the outside guard by raising the blade
with a sweep clear of the right shoulder.

C Having
 [ 26 ]

Having ascertained the changes of the wrist

necessary to recover your blade in these two cuts,
practise them until you are ahle to perform each
as one motion without any pause, and to recover
from either cut to the inside or outside guard as
occasion may require.

CUT III.

Motion turning the upper part of the wrist

and hack of the hand downwards
from the inside guard, drop the point
outwards to the right till the edge of the
blade is opposite the diagonal line from
3 to 1, at the same instant raising the wrist
with a straight arm as high as the shoul
der.

Motion 2. By the contraction of the fingers and

motion of the wrist conduct the point up
the line from 3 to 1.

Motion
 [ 27 ]

Motion 3. When arrived at fig. 2. turn the back

of the hand up, and drop the hand so as
to bring the blade into the position of
the outside guard.

CUT IV.

Motion 1. Jj^ROM the outside guard by a turn of

the wrist, drop the point to the left,
till the edge becomes opposite the dia
gonal line from 4 to 1, raising your hand
to the height of your shoulder, the arm
extended and straight.

Motion 2. By the spring of the wrist conduct the

point along the line from 4 to 1.

Motion 3. Turn the inside of the wrist rather

upwards, and sinking the arm, come to
the inside guard.

C 2 CUT
 [ 28 ]

CUT V.

Motion l.nPURN the back of the hand down

ward from the inside guard, there
by dropping the point of the sword to
the right till it becomes, opposite fig. 5.

Motion 2. Bv inclining; the wrist inward, and

keeping the nails upward, the point will
be conducted across the target to fig. 6.

Motion 3. Raise the point from fig. 6 to C, and

come to the inside guard.

CUT VI.

JS the reverse of cut V. and is performed with the

nails downward.

Motion 1. Drop the point to the left till opposite

fig. 6.

Motion
 [ 29 ]

Motion 1. By inclining the wrist outwards make

the cut across the target to fig. 5.

Motion 3. Raise the point to D, and recover to

the outside guard.

The preceding guards are not mentioned as the

only positions to which it will be necessary to re
cover, after making these cuts, but as the most
eligible in the first stage of practice.

COMBINING the SIX CUTS.

HE learner may now proceed to combine the

six cuts, that they may all be performed
without pausing, which will be found extremely
useful in an attack, especially if an antagonist
breaks ground and continues to retire, as is fre
quently the cafe at the onset; it may also prove
advantageous in an engagement at night; since
if properly performed, the blade will necessarily
cross your own position in such manner as to afford
considerable security from the stroke of your ad-
C 3 versary,
 [ 30 J

versary, and by the reiterated attack will compel

him to remain almost entirely on the defensive, or
subject him to a certainty of receiving your edge
on his sword arm, particularly if he does not know
the direction of those cuts which so rapidly succeed
the one he may have at first escaped or parried.

The difference between executing the six cuts

singly as before described ami when combined
consists in not resorting to any particular guard
after each cut, but continuing your attack from
cut I. till you have made II. III. IV. V. and VI.
in doing which the- point proceeds from the con
clusion of one cut to the commencement of the
next, according to the dotted lines on the plate.

Be cautious not to lift your arm towards the

figure at which the cut begins, as that would leave
your body unprotected.

PART
' //ff • '//{V. b ///.>.
 [ 31 ]

PART II.

PRACTICE with ANTAGONIST.

GENERAL OBSERVATIONS.

JN commencing your practice with an antagonist,

for the sake of improvement, begin slowly: the
one taking the defensive part entirely; the other
attacking, and mentioning the number of the cut
he means to make; each carefully observing the
motion os his opponent, and informing him what
part appears to become exposed by the changes
from one position to another ; where any defect
of that kind appears, repeat your practice, till by
the correctness or celerity thus aquired, you be
come more perfect. Then change situations, and
let the assailant act on the defensive. By making
observations coolly in this manner, you will acquire
C 4 more
 [ 32 ]

more skill and precision in one lesson, than in play

ing twenty at random ; and will likeM'ise avoid un
pleasant accidents.

Next proceed to attack and defend without

naming what cuts you intend; in doing which en
deavour first to become correct in making cuts I.
and II. and opposing them by the inside and out
side guards. Then add III. and IV. Afterwards
V. and VI. encreasing the celerity of your attack
by degrees, and opposing each cut according to
the following table.

Cut I. Parried by Inside guard, described in page 50

II. Outside Guard . . . 55
C if made by dis- 1
III. < engaging from > Inside Half-hanger . 60
(_ the outside, )
f if made by dis- ~i
III. < engaging from > Half-circle guard . 52
(. the inside, j
IV. Outside half-hanger . . 60
V. - Inside guard . . . 50
or, if made low, by the Inside half-hanger 60
VI. Outside guard . . . 55
or Outside half-hanger ... 60
Cuts made directly at the head are opposed by the St. George 61

The whole of the six cuts may be warded by the

hanging guard, the hand or blade being moved a
little
 [ 33 ]

little to right or left, and raised or lowered ac

cordingly; but observe, if already engaged on an
infide guard, it will be useless to attempt taking the
hanging guard against Cut V. or III. unless your
antagonist makes a feint at the outside before he
delivers his cut.

I have before remarked that it will be unsafe in

friendly practice to make use of broad swords or
sabres, and shall now take the liberty of cautioning
learners, who with to attain the science of real
defence, also against the false mode of defending
themselves with a basket so large as that which
cudgel players generally use, and on which they 1
receive two thirds of the blows aimed at them,
since that will be accustoming themselves to a pro
tection which they cannot have on a real occasion.

The baskets for this purpose should therefore be

made narrow, and as small as possible without hurt
ing the hand : and as gentlemen should always en
deavour to defend themselves rather with the fort*
of the sword than the hilt, they ought not to prac-

* Thefort of the sword is that half of the blade next the hilt;
the half nearest the point is denominated thefeeble.
tisc
 [ 34 ]

tise stopping a blow with the fides, or any other

part of the basket except where the hilt of a sword
would equally project.

By marking a narrow line with chalk down the

supposed edge of the stick, accuracy in carrying
the edge of the sword may be acquired.

In Part I. the mode of recovering to guard has

been considered under the idea of the cuts not
meeting with sufficient resistance either from the
blade or body of your antagonist to impede their
course : but in practising with an opponent, it
is not to be understood that the recovery to guard
must be always made on that principle : From
cuts I. and II. when parried, the blade naturally
rebounds up the line in which it fell, till the point
rises high enough to form an inside or outside
guard. From cuts V. and VI. the point must be
raised in a similar manner, if the cut is opposed by
the blade of your antagonist. In making cuts III.
and IV. it mould be a rule, never to apply above
four inches of the point, in order that it may free
itself
 [ 35 ]

itself, and mount to the inside or outside guard :

if that be prevented by your antagonist's blade
crossing above yours, you must withdraw your
blade from your attempt to make cut III. under
the half-circle guard, and from attempting cut IV.
under the hanging guard.

After making a cut be careful always to recover

to that guard which brings your edge opposed to
your antagonist's blade.

If at any time you mould be compelled to op

pose a weak parade to your adversary, by your
wrist being in a constrained position, quit that pos
ture as soon as possible, either by directing a cut at
him, or springing back at the instant you change.

To attain security from a counter Jiroke whilst

attacking, it is requisite that in every cut made by
you, the fort of your sword should be directed in
some degree towards your antagonist's weapon;
so that although the point of your sword may ef
fect the cut, yet the fort shall at the fame instant be
opposed to any blow he may then deliver. For
example :
In
 [ 36 ]

In making cut I. the hilt being carried to the

left of your position, as much as when on the in
side guard, at the instant the point commences the
cut, occasions your blade to form a cross on that
of your antagonist, and thereby affords a certainty
of protection, unless he can change his position
considerably in less time than you can make the
cut. Cuts I. and II. should therefore in general
be made with the hand lower than the shoulder,
and III. and IV. with it raised above the height of
the shoulder.

On this principle it is that the arm Jhould never

be lifted towards the side at which you intend a
cut, since by that motion both hilt and blade would
be entirely removed from between yourself and
antagonist, and consequently you must become
exposed to the same cut you aim at him.

Experience will soon direct to how great a de

gree it is requisite thus to cross your adversary's
blade. By extending the principle to an unne
cessary extreme, you may indeed frequently pre
vent your own blow taking effect, by encountering
your
 [ 37 ]

your antagonist's sword only; and on the other

hand, by not sufficiently observing it, may become
exposed yourself by every cut you attempt.

In some situations it will undoubtedly be proper

to cut from your antagonist's blade, instead of to
wards it; for instance, in making a cut over and
within his guard, or under and within his guard;
in such cases this attack may be safely risked,
because you have previously forced his sword far
enough from the line to prevent a counter stroke
or retort before your recover takes place.

DISTANCE.

"^^"ANT of attention to preserve the proper

distance is an error to which beginners are
very liable. No invariable positive space can be
recommended, as almost every situation must de
pend on the height, strength and activity of your
opponent. The most general principle that can be
laid down is, that your left knee ihould be about
six or eight inches beyond the reach of your an
tagonist's
 [ 38 ]

tagonist's point upon the most extensive longe he

can exert. But it is difficult to prove your dis
tance by this method in real contest; in that cafe
you may judge more easily from the point of your
sword just reaching his shell when both your arms
are straight, and neither inclining the body impro
perly forward. If you permit him to advance
nearer, he may throw in a cut or thrust too rapidly
for your parade, especially if he first deceive you by %
a feint. To avoid this, some persons accustom
themselves to spring back, frequently dropping
their point to their antagonist's face, when con
tending with one of an impetuous and forward
temper; a mode which will undoubtedly be found
very useful, if the ground on which they are en
gaged should afford sufficient room. —Others adopt
a circular step (called Traversing) to right or left,
and thereby effect their purpose in less length. But
experience and practice will best determine which
to make use of, according to the circumstances and
situation in which you may chance to contend.

The
 [ 39 ]

The ADVANCE

JS to gain ground upon an adversary when at too

great a distance to reach him by a longe, or by
pressing forwards to compel him to retreat fnto worse
ground or a more disadvantageous situation : it is
s effected by stepping forward with the right foot
about one third of your longe, at the same time
transferring the weight of your body from the
left leg to the right, that you may be enabled to
slip the left foot along the ground to within six
inches of the right heel ; then step forward again
with the right foot, and draw up the left as before
(still preserving the position of body erect, and be
ing careful to oppose a proper guard) till your ob
ject be attained.

The
 [ 40 ]

The RETREAT

TS used to gain a more advantageous situation

that may be behind you, or to avoid any in
convenience you may sustain from an adversary of
superior strength or impetuous temper pressing too
closely upon you. In this situation the left leg must
lead, and the weight be thrown in the first motion
on the right, lifting the left foot from the ground
to avoid any unseen obstacle in the rear, then
planting it firmly about sixteen or eighteen inches
backward, and drawing the right to within ten.
After this raise the left foot, and planting it as be
fore, draw the right after it, continuing your retreat
as occasion may require.

TRA-
 [ 41 ]

TRAVERSING.

HERE are two modes of traversing, viz.

backward and forward ; either of which may
be adopted according to the ground or other cir
cumstances in which you may engage, and will be
found useful, if in retiring from an adversary you
are obstructed by a ditch or other impediment.
Traversing is preferred by many to retiring, be
cause it has not so much the appearance of suffer
ing a defeat.

The FORE TRAVERSE

IS performed in a large circle, the center of

which is the middle of the line of defence, * on
which line you and your adversary engage ; such

* A straight line supposed to be drawn through the center of

your own body, and that of your adversary.
IS
 t 42 ]
is the line p, q, C, h, g, in the opposite page, and
the circle formed by the traverse will be p, a, c,
e, g, i, l, n: For the right foot being at o, and
the left at p, the traverse is begun by stepping
about with the left foot from p to a, and the right
foot immediately after from q to b ; and then the
line a, b, C, k, i, will be the line of defence; at
the next step remove the left foot from a to c,
then the right from b, to d; which will make the
line c, d, C, m, l, the line of defence. In the
same manner continue till you have obviated your
difficulty, or drawn your antagonist into the bad
ground, carefully attending to your guard, and
not stepping so far as to disorder the' erect position
of your body.

The BACK TRAVERSE

IS the counter-part of that already described ;

and is commenced by moving the right foot first:
for instance: Standing in the line of defence p,
q, C, h, g, remove the right from q, to o, the
left from p to n, which renders the line n, o, C,
\
 [ 43 J
f, e, the line of defence : Thus stepping- back, the
right foot moving first, you may traverse the whole
or such part of the circle as may be requisite.

This practice may at times prove exceedingly

useful, especially if you should be at first engaged
with the sun directly in your face, as a person who
performs it readily, by traversing half the circle,
brings his opponent into the place he has just
quitted, and by a vigorous attack at that instant
may redouble the embarrassment

D2 DIS-
 [ 44 ]

DISENGAGING

/CONSISTS in quitting that side of your anta

gonist's blade on which you are opposed by
his guard, in order to effect a cut or thrust where
an opportunity may present. It is performed
either by raising the point of your sword towards
yourself so as just sufficiently to clear the blade of
your opponent, or by dropping the point below his
hilt. The change in either way should be made
very quickly, and in the instant of pasting your
adversary's weapon, the edge of your blade mould
be turned to meet any cut that he may direct at
you, otherwise you become liable to be disabled,
from the ward-iron not protecting the hand.

The disengage to effect a cut is generally per

formed over the wrist; that with intention of
thrusting, under it. To cut III. or IV. under the
wrist, it is sometimes best to disengage below it.

FORCING
 [ 45 ]

FORCING your ADVERSARY'S

BLADE.

T F at any time your antagonist appears languid

and weak on his guard, and barely covers his
body on the side he is opposed ; by stepping well
forward and striking your fort smartly on his
blade, you may be enabled to deliver a cut without
risk even at the part he intends to secure, taking
care to direct your blade in such a manner that the
plate or cross bar of your hilt shall prevent his
sword coming forward, and sufficiently bearing
your hand to the side opposite that at which your
point is directed, to prevent an interchanged cut.

This should be performed partly by the sudden

extension of the arm, and partly by the spring of
the wrist.

D3 TIMING
 [ 40 ]

TIMING

JS the exact and critical throwing in a cut or

thrust upon any opening that may occur as your
antagonist changes his position. For instance, if
he changes from an inside to an outside guard, or
from outside to inside, in a negligent manner, his
wrist becomes exposed, and frequently part of his
sword arm above the elbow. The same opportu
nity presents itself, if in his feints he should suffer
his sword to sway his arm, instead of making them
lightly from his wrist, or should not recover quickly
from a cut which you have parried.

The SLIP

J S performed by withdrawing that part at which

your antagonist directs his cut; in order that
his weapon being deprived of the expected resist
ance may sway his arm from the defensive posture,
and thereby afford an opening for a cut. It will
not
 [ 47 ]

not however often effect this purpose against a per

son who can execute the cuts on the principle re
commended in this work, as the recovery is so
very expeditious ; but may prove an excellent de
ception against an impetuous antagonist, especially
if he be ignorant of the science.*

It will therefore be proper for the learner to ac

custom himself sometimes to recover from the longe
with his right hand drawn quickly up to the breast,
the edge of his sword turned to the left or right,
according to the direction of the cut he means to
flip. If the cut he intends to avoid be made at
the inside of the sword arm, the edge should be
turned to the left as in the inside guard, the point
raised perpendicular to the hilt, and the return

* It has been frequently asserted, that a bold active man, un

acquainted with the art, by rustling forward with repeated attacks,
will perplex a good swordsman, and, if not defeat him, reduce
the contest to an equal hazard : but this can only happen if such
swordsman has never reflected on the measures fit to be adopted
in an engagement of that nature. For instance, if a swordsman
slips a cut attempted by one of that description, instead of parry
ing it, he may effect a cut before the ignorant can possibly recover,
and with such force as totally to deprive his antagonist of that
vigour and audacity on which alone he could depend.
D 4 from
 [ 48 ]

from this position should be cut II. Should the

attack be made at the outside of his arm, the edge
should be turned outwards, and the hilt held a
little below the right shoulder, returning cut I. the
instant his adversary's blade passes.

Some are so partial to this manœuvre of slipping

an adversary's cut, that by practice they become
enabled to slip a cut even when directed at their
body. But this, unless exceedingly well executed,
becomes hazardous, on account of its disordering
their position, especially if an adversary mould
longe farther than expected, and cut low; added
to which, by throwing their body from the line of
defence, the antagonist may be induced to thrust
upon them in that unguarded position, and will
thereby obtain a decided advantage.

In circumstances where the withdrawing the

hand up to the breast is not sufficient, the slipping
a cut on the inside is effected by drawing the right
foot backward and sideways to the right of the
line, letting your adversary's sword pass a little out
of reach, then stepping into the former position,
return
 [ 49 ]

return cut II. or VI. at his outside, which becomes

exposed by his weapon not meeting the resistance
expected.

To an outside cut the slip is performed by draw

ing the right leg with the whole body backwards
and sideways a small degree out of the line towards
the left, contracting the arm a little, the sword still
in the line, and under an outside guard; let your
antagonist's point pass, and returning your right
foot to its former place, make cut I. at the inside
of the arm, or II. at the head. I have mentioned
this method of performing the outside slip, as it is
attempted by some, but not with intention of re
commending it, as the hazard is much greater
than the probable advantage.

On the hanging guard the slip may be practised

with great safety, by stepping the foot quite out
of and at right angles with the line of defence, the
whole body being thus brought well beyond it
toward the right; and the guard remaining still
opposed to your antagonist to protect you from his
cut,
 [ 50 ]

cut, in case he should longe farther than you

expect.

INSIDE GUARD.

rJ^,URN your hilt to the left, the finger nails

upwards, as in Plate III. the pommel directed

towards the inside of your chest, the point opposite
your antagonist's left eye, or elevated from one to
four inches above it. Should he bear against your
blade to force it out of the line, raise your point,
so as to withdraw your feeble from his bearing;
or disengage quickly and cut at the outside of his
arm.

Cuts I. and V. are warded by this position, the

latter however requires a trifling inclination of the
hand downwards.
i
In parrying cut I. at the cheek, it will be found
adviseable to carry the wrist rather more to the left,
as in Plate IV. raising the point nearly perpendi
cular, to prevent you from being deceived by a
feint:—
Mv/s .iv .'V,-
 [ 51 ]

feint: —If you suffer your point to remain low,

an offer may be made at your cheek, and the cut
delivered over your guard at the head.

Although when standing on an inside or outside

guard the right foot is advanced, yet when parry
ing a cut with either of these guards it is deemed
most eligible to slip back that foot to the left; lest
instead of cut I. or II. at the upper part, your an
tagonist may be tempted to cut at the leg or thigh.
See Plate XII.

Cut V. is frequently made too low to be parried

by the inside guard, which is intended only to ward
the inside cuts above the wrist. The next con
sideration therefore will be the method of parrying
inside cuts below the wrist.

HALF
 [ 52 ]

HALF CIRCLE GUARD.

r ■ ^HIS guard is adapted to ward cuts III. or V.

made at the infide below the wrist, and is
formed by swiftly dropping your point to the right,
as in the first motion of cut III. till it becomes op
posite your antagonist's body, carrying your hand
to the left of your line of defence, and directing the
edge of your weapon towards your antagonist's
sword, instead of his body or arm. The general
rule for the height of your hand is to hold it in
a line with the left eye, but that must depend in
a great degree on the attack made by your antago
nist; otherwise if he sinks his fort low enough to
strike it across your feeble, he will probably beat
your blade sufficiently out of the line to effect his
cut.*

Finding his attack parried by the half circle,

your opponent may endeavour to double his cut

* For this reason if cut III. or V. be made at you by disengaging

from the outside guard, it will be best to parry them with an in
side half hanger. See page 60.
(as
 [ 53 ]

(as he recovers) on the upper part or outside of

your arm: this you may prevent by raising your
point to an inside guard, and thereby meeting his
blade with yours as he endeavours to cut or dis
engage over your wrist. If he disengages by
throwing his point wide, and thereby escapes your
inside guard, parry by an outside guard.

This position (or at least one differing only in

holding the hilt lower and the blade more hori
zontal) is by many termed the Spadroon Guard;
it is not however to be considered as a chief position
of defence with that weapon, being weak and very
liable to be forced. It should therefore only be
adopted for the purpose of parrying a low cut
or thrust at the inside, and not as a guard on which
to engage or wait for an antagonist, except by a
player who may be skilful enough to use it as a
lurch,* in order to induce his antagonist to throw
at some part which he intends to withdraw from

* When standing on the Spadroon Guard, it is usual to bring

the left arm across the chest, and place the left hand on the right
arm between the elbow and the shoulder, in order to steady it.

his
 [ 54 ]

his cut, that he may seize the opening afforded by

such attack.

When on this guard, you should always remem

ber, that if your antagonist succeed in making a
forcible beat on your blade, especially on the back
of it, he will in all probability disarm you. There
fore instead of receiving his blow in that position,
flip it by withdrawing your weapon at the instant,
and return cut II. at the outside of his sword arm.

Caution however will be requisite, that you do

not withdraw your sword instead of parrying a
blow aimed at yourself. The difference will de
pend on the distance you are from your antagonist,
and on his advancing or remaining stationary.
Always quit this position as soon as possible for the
inside or outside guard, in doing which spring back
that your antagonist may not throw in a cut by
timing your change of position.

OUTSIDE
 [ 55 ]

OUTSIDE GUARD.

rJ*,URN your knuckles to the outside, the finger

nails downwards, carrying the hand about 6

or 8 inches to the right of the line of defence, so
as to protect the outside of your position, and di
rect your point to the right eye of your antagonist.
(See Plate VI.) Should he endeavour to force
your blade out of the position, gain his feeble by
withdrawing and raising your point,*1 or disengage
and cut on the other fide.

This guard secures against cut II. and by sink

ing the hand in a small degree against cut VI. In
parrying cut II. at the right cheek, be careful to
turn the hand well outwards, and raise the point as
in Plate VII.

* If your adversary's point has crossed above the back of your

blade so as Uireaten the inside of your position, adopt the hanging
guard, by throwing up your wrist quickly as possible, and bear his
blade off to the inside; should you attempt to parry by the outside
guard after his point has crossed your blade in such a degree as to
come withinside your guard, you will only add to the force of his
cut. See cut V. over and within the guard, p. 8 1 .

HANGING
 t 56 ]

HANGING GUARD*

'J^HIS may be taken from either the inside or

outside guard, by dropping the point of your
sword till it is directed towards your antagonist's
body, a little above his right hip, raising the hand
as high as your head, and looking your adversary
in the face under the shell of your sword.

This

* The hanging guard possesses several advantages, and is at

the fame time liable to some objections. I shall mention the
principal of each, and leave the learner to exercise his own discre
tion in what circumstances to adopt it.
Among the advantages to be derived from the hanging guard,
the most important will be found in the protection it affords by
covering so large a portion of the body, as the whole of the blade
is appropriated to that purpose, especially in the direction in
which the first and most natural blows are made; while from the
oblique position of the weapon, a blow, however forcible, slides
down it without endangering the hand. For these reasons, it
seems well calculated to parry off any sudden attack in the dark,
especially if it should be made against a person armed only with
a stick.
The hanging guard is also well adapted to prevent an anta
gonist from thrusting at the body beneath the wrist, and to ob
viate those feints which might otherwise be made, by shifting his
point from fide to fide under your wrist on either the inside or
outside guard.
Another material advantage is, that it requires a very trifling
motion
 [ 57 ]

This guard admits of two positions, according to

the cuts it may be used to oppose, which may be
denominated inside hanging guard, and outside
hanging guard.

The inside (or prime) hanging guard, is formed

by bending the elbow, till the back of the wrist is
brought opposite the forehead over the left eye,
and is intended to protect against cuts I. III. and
V. when made at the inside ; the left of the head
being covered from attack by the hilt ; but if the
cut be made direct at the head, it is most prudent
to adopt the St. George's guard, especially as the
hilts now used have no basket, and very little shell.

If the antagonist cuts II. IV. or VI. at your

motion of the wrist to meet with your blade any cut whatever
that may be made.
The constrained position of the hand, and weight of the weapon,
will at first be found tiresome on this guard, but practice will soon
overcome that defect, and enable a person to deliver a blow with
amazing rapidity and force from it, as may be observed in the
practice of the French Spadroon players, many of whom place
their chief dependence on the protection afforded by their guard
in seconde, which only differs from this guard in the wrist not
being held quite so high.
E outside,
 [ 58 ]

outside, you must meet his edge by carrying the

weapon to the right of your position.

The outside (or seconde) hanging guard differs

from the former, in having the arm perfectly
straight, the blade being carried to the right, so as
to protect against cuts II. IV. and VI.

When in this position, the adversary's sword

must be kept by your blade sufficiently to the out
side to prevent any cut or thrust being made at
that part.

If your antagonist disengages from the seconde

hanging guard to make cut I. III. or V. you
must oppose them by the prime hanging guard,
which is formed by inclining your wrist to the left
till the back of the hand is in a line above the left
eye, the point rather lowered, to prevent cut III.
being made under it.

Although the prime hanging guard will be found

very useful for parrying cuts III. and V. when
made by disengaging from an outside guard;
 [ 59 ]

yet it cannot be used to parry those cuts when

they are made by disengaging from an inside
guard : in such case the half circle guard must be
adopted.

It will be necessary by practice to obtain a de

gree of firmness and celerity in changing from the
prime, to the seconde hanging guard, since a cut
made at either of those guards occasions the as
sailant's sword to rebound with swiftness, and ena
bles him without much hazard to .strike at the
other side; and although it is against the rules of
broad sword play in schools or friendly contests, to
make two cuts on one longe, yet in an engagement
for life this is not likely to be attended to.

E2 HALF-
 t 60 ]

HALF-HANGING GUARD.

"y^^HEN parrying a thrust or cut directed low,

it will be unsafe to hold the hand high
enough to view your adversary under the hilt;
because such position would enable him to apply
the fort of his blade against your feeble, and there
by render your resistance inadequate to the force
of his attack.

To obviate this disadvantage the Injide and Out-

Jide Half- Hanging Guards must be resorted to,
which differ from the preceding only in your hand
not being raised so high, but held low enough to
view your opponent over your hilt. The right foot
is to be slipped back, and the point of your sword
dropped sufficiently close to your own position, to
prevent your antagonist forcing in his cut or thrust,
by encountering your sword with the fort of his
own weapon. See Plates IX. and X.

St.
XI
 [ 61 1

St. GEORGE'S GUARD

JS intended to ward a blow at the top of the

head, if your adversary disengages from the
outside for that purpose ; it differs from the hang
ing guard, only in raising the hand somewhat
higher, drawing back the right arm, and bringing
the point nearer to yourself. In this position, the
fort of your blade, which is to receive the blow,
will be at least 3 or 4 inches above your head. The
ward-iron of the hilt must be turned well up to pro
tect the knuckles. It will be proper to slip the
right foot back to the left heel at the same instant.
(See Plate XI.)

Some persons, instead of keeping the sword ad

vanced before them, raise the hand till the blade
crosses above the head in an horizontal direction
from right to, left.

This latter position is seldom used, and can

hardly ever be necessary, except to protect the
E 3 head
 [ to ]

head from a blow made by an antagonist behind,

(for which purpose it is adopted in the cavalry ex
ercise) or to withdraw your weapon from one in
front who endeavours to seize it, and is unarmed
himself.

Against a blow made by a person in front, how

ever near, the first described position will be found
preferable, raising your sword hand and point, ac
cording to circumstances.

It must be observed that the St. George's guard

is not intended to lie under, but only to stop a
blow at the head, when your antagonist advances
so closely upon you, that the hanging guard is
not sufficiently secure. The best way in general
of changing from the St. George (unless when
you immediately return a cut or thrust from it)
is to adopt the hanging guard, taking care to di
rect your point towards the ribs of your antago
nist, and to keep your body well in a line. From
this
 [ 63 ]

this position, there is less danger in taking another

than if you change directly from the St. George to
the inside or outside guard.

Having acquired the preceding guards, the next

articles to be attended to are bearing, battering,
thefeints and disarms.

E4 BEARING
 [ 64 ]

BEARING

JS generally practised by longeing forward briskly

on the outside guard, opposing the fort of your
blade to that of your antagonist, and from thence
slipping your fort towards his feeble,* by which
means you may press his sword out of the line; this
(unless he takes to the hanging guard) leaves his
head, neck and breast exposed to your edge, and
from this position a cut over and within his guard
may be made, but must be executed with celerity.

Bearing on an inside guard is sometimes prac

tised, but is not so safe, as the opponent may easily
drop his point, and springing back make cut III.
at your arm.

Upon the hanging guard bearing cannot be used

to advantage, since in bearing on an antagonist's
blade to obtain an opening at the outside of his

* In attempting this, be careful not to flip your sword too far

down, lest your antagonist disengage and cut withinside.
position,
 [ 65 ]

position, you expose your own head and inside,

and by slipping from your bearing he will in all
probability effect a cut.

BATTERING

JS striking on your antagonist's sword to obtain

an opening, and requires the same degree of
caution as bearing, lest your antagonist slip his
blade from your stroke, and make a cut on the
contrary fide: It can seldom be attended with
success against any but the outside and spadroon
guards, when used to force an opening on the side
at which you batter; but sometimes by inducing
an adversary to resist that attack, you may disen
gage and cut on the contrary side.

Qf
 C 66 ]

Of FEINTS.

FEINT is an offer at a cut or thrust without

striking home. There are two sorts, Jingle
feints and doublefeints. The single feint is made
by disengaging from that side on which you are
opposed by your adversary's guard, and making a
slight motion at the other, you then return to the
first and deliver the cut. For instance, if engaged
on the outside guard, you will disengage over the
point, and dropping your point on the inside of
your adversary's blade about six inches, return to
the outside, and deliver cut II. at his arm, or VI.
at his ribs. If you find him prepared to parry those
cuts (II. and VI. ) you will only make an offer as be
fore, which constitutes it a double feint, and deliver
your cut at the head or inside of his position.

But as cutting at the inside against an antagonist

who is tolerably perfect in his guards, especially
from feints, is attended with the danger of a
counter-stroke, I would recommend when you in
tend a double feint to commence it by a disengage
from the inside.
The
 [ 67 ]

The purpose of feints being only to induce your

adversary to guard a part at which you do not de
sign to strike, the feints, whether single or double,
may be directed at any other parts as well as those
mentioned. Great caution is necessary, that in
making your feints you do not uncover yourself so
much as to receive a time thrust or cut. The feint
should also be directed at a part from whence you
can quickly recover your weapon to effect the cut
you intend.

DISARMING.

rjpiIERE are various methods of disarming at

tempted, but the safest and most likely to

succeed is, after parrying an inside cut to change
quickly to the outside, and longeing forward to
bear your adversary's blade out of the line to the
outside, then step with your left foot up to his
right heel, seize his shell with your left hand, quit
your bearing on his blade, and present your point
to his breast.

A dif-
 [ 68 ]

A disarm on the hanging guard may be effected

by making cut III. at the feeble of your antago
nist's blade, traversing at the same time to the left
and gliding the edge of your sword strongly against
the back of your opponent's. It will however re
quire some caution, lest he should turn his wrist at
the instant you attempt it, and make a cut at the
inside.

Those disarms which are to be effected by

wrenching from an inside guard to a seconde
hanging guard, or from an outside guard to a half
circle will not often succeed, except with very light
swords. With such, they must be commenced by
turning the knuckles rather more up than usual on
those guards, and swiftly reversing them as you
wrench the adversary's blade down, directing your
point rather in a diagonal line across his body, than
permitting it to form a circle. These latter dis
arms are only applicable if the antagonist presents
his blade and arm nearly horizontal; and in that
cafe, if they do not succeed in wrenching the sword
out of his hand, will prove useful to obtain an
opening for a cut or thrust.
The
 [ 69 ]

' The method of avoiding them is by disengaging

under your adversary's hilt at the instant he en
deavours to cross your blade. If this disengage
be well timed, he may probably throw his own
sword from his hand, by not meeting the resistance
he expected.

APPLICATION of the POINT.

rJ^HE weight of the broad sword will not permit

the same number of thrusts that may be made

with the small sword. All that can be safely in
troduced among the cuts of the former are four,
viz. Carte, Tierce, Low Carte, and Seconde which
is a low tierce : these mould be thrust with the hilt
high enough to ward any blow your adversary may
be likely to make, and to retard a disengagement
over your wrist at the instant of longeing.

Carte is thrust at the inside of the upper part

of the body, with the nails upward, and the edge
of the sword turned rather upward to the left,
and
 [ 70 ]

and well opposed towards your antagonist's weapon

by keeping your pommel opposite your left temple
at the time os longeing.*

Low Carte is thrust at the inside of the lower

half of your antagonist's body, with the same pre
caution of opposing your edge towards your ad
versary's blade.

Tierce is thrust at the upper part of your anta

gonist's body, over his arm, with your nails down
ward, the edge of your sword turned to the right,
and opposed towards his blade.

Seconde differs from tierce in being thrust

below the sword arm.

In thrusting Carte and Low Carte be careful to

form a good opposition toward your antagonist's
weapon by carrying your wrist to the left. In

* If when thrusting at the inside of your antagonist you are

apprehensive of his cutting downwards, you must turn your wrist
as in the half circle guard, that your ward-iron may be upwards.
In thrusting at the outside, turn the wrist as in the hanging guard.

thrusting
 [ 71 ]

thrusting Tierce and Seconde the opposition to his

blade must be formed by bearing your wrist to the
right*

In thrusting with the Sabre the safest thrusts

are those already recommended, since the convex
edge of the sabre, when opposed to your antagonist's
blade, affords protection from a counter cut or
thrust. Yet the advantage that may sometimes be
attained by the curve of the sabre enabling you to
deceive your adversary's guard deserves considera
tion. For instance—

Engage on an outside guard, your edge opposed

to mine : thrust at me, turning your nails upwards
as you longe, this forms the thrust called Carte

* Although in using the small sword, there are other thrusts,

which are made with the back of the blade opposed to the weapon
of the antagonist, yet they cannot be executed with a broad sword,
with- out great hazard of receiving a cut on the arm at the time of
longeing; since if your antagonist springs back, his body will be
out of the reach of your thrust, and your arm become exposed to
his edge. This is not the cafe with the small sword, which being
much lighter, the thrust and recovery to guard are executed with
more celerity, and when opposing another small sword without
danger from the edge of your antagonist.
over
 [ 72 ]

over the Arm, and brings the hollow back of your

sabre against my weapon, and thereby enables you
to direct the point 6 or 8 inches more toward my
left than you otherwise could, and to effect either
a thrust, or a sawing cut at my face or neck. Ob
serve, that as you deliver this thrust, your opposi
tion to my blade must be formed by carrying your
wrist to the right of the line of defence.

If I parry this thrust, of carte over the arm, by

an outside guard ; the instant your point passes the
outside of my position, I may cut II. at the outside
of your sword arm ; this you must parry by an out
side guard, or a seconde hanging guard : or if I
drop my point over your blade, and cut at your
cheek, you must parry by a prime hanging guard.

Some after parrying carte over the arm by an

outside guard, whirl the blade round with a half
circle parade, and return low carte: this may be
easily effected against a person who is slow in re
covering from his longe.

Advantages similar to that in thrusting carte

over
d with a sabre by re-
thrusts : these may be
he sabre in your hand,
uced on the direction
r nails up and down,
sscription. However,
mode of obtaining an
n. making a thrust on
of your hilt will not
it the protection, and
, the position of your
of your antagonist as

rincipal object
; fole the reader farther
lend his acquiring by
the before mentioned
e point with accuracy,
with expedition; for
:essary to practise at a
-lnes thrusting only, at
Sniming with a thrust:

Cut I.
 [ 73 ]

over the arm may be obtained with a sabre by re

versing the wrist on the other thrusts : these may be
better understood by taking the sabre in your hand,
and observing the effect produced on the direction
of the point by turning your nails up and down,
than by the most accurate description. However,
do not be too partial to this mode of obtaining an
opening, but recollect, that in making a thrust on
this principle, the ward-iron of your hilt will not
be on the side where you want the protection, and
that if your thrust be parried, the position of your
arm exposes you to the edge of your antagonist as
you recover.

As thrusting is not the principal object of the

broad sword, I shall not trouble the reader farther
on this head than to recommend his acquiring by
practice a facility of making the before mentioned
in good position, directing the point with accuracy,
and recovering to his guard with expedition ; for
which purpose it will be necessary to practise at a
target with the sword, sometimes thrusting only, at
others cutting half way, and finishing with a thrust :
for instance,
F Cut I.
 [ 74 ]

Cut I. half way, then turn up the nails and thrust

carte, or low carte.

Cut II. about one third of the line, then turn

down the nails and thrust tierce, or seconde.

Cut III. part of the line and thrust carte or low

carte.

Cut IV. half way and thrust seconde.

By this practice the learner may not only attain

accuracy in directing his point, but also a celerity
in returning either a cut or thrust after having
parried. He should frequently place himself out
of reach of the target, that he may learn to recover
from a thrust when parried ; otherwise if he accus
toms himself to find a support from his point always
hitting the target, he will not acquire a proper
method of recovering to guard.

Of
 [ 75 ]

Of parrying Thrusts made above the Wrist.

"T^HESE thrusts may be parried by an inside or

outside guard, striking your fort with an
abrupt beat on your adversary's feeble, and retain
ing your point in the line of defence, presented
to his face. In doing this it will be proper to sink
your hilt rather lower than when opposing a cut,
and to keep the arm somewhat more flexible.

Ofparrying Thrusts made below the Wrist.

pHE most usual method of parrying thrusts

made below the wrist, with a broad sword,
is to beat the opponent's blade to the outside, by
dropping the point to a Jeconde, or outside half-
hanging guard, whether those thrusts be made by
disengaging from an outside or inside guard.

In performing this parade, observe to retain a

sufficient command of your sword to be able to
change quickly to an inside (or prime) half-hang
F 2 mg
 [ 76 ]

ing guard by carrying your wrist to the left, if

necessary ; otherwise your antagonist may deceive
you by a feint, and deliver his thrust at the inside.

This mode of parrying, first with a seconde, and

then changing to a prime half-hanging guard if
your antagonist disengage to attack the inside of
your position, seems peculiarly adapted to the broad
sword, as the situation of the hand at the same time
affords great security from a cut as well as a thrust.

In some circumstances, especially in an attack at

night, your safety must depend greatly on not
losing the feel of your antagonist's blade; you
should therefore learn to parry the lower thrusts
by following your antagonists weapon with your
own blade,—with a, seconde parade if he disengages
from an inside guard; and with either a. prime ox a
half-circle parade, if he disengages from an outside
guard.*

* The Seconde Parade is the fame as the Outside Half-hanger.

The Prime Parade is similar to the Inside Half-hanger; but in
parrying a thrust with the prime, the antagonist's sword is opposed
by the back of your blade ; in warding a»cut with the Inside Hals-
hanger, it is opposed by your edge.
 [ 77 ]

Of following your Antagonist's Blade from

the inside to parry zvith a Seconde.

your antagonist drops his point from the

inside guard, to thrust below your wrist, you
must follow his blade by theseconde or outside half-
hanger. Having parried his thrust, you may turn
up your nails and return cut V. under his blade,
or you may return a thrust in seconde.

If he completes the circle with his point by con

tinuing the motion till he brings it over your hilt
to thrust at the inside, you must parry by changing
from the outside to the inside half-hanger.

Of following your Antagonist's Sword with

the Prime Parade.

^A^T the instant the antagonist sinks his point

from your outside guard in order to thrust
under your wrist, drop your point over his blade,
F 3 and
 [ 78 ]

and striking the back of your blade on his weapon,

draw your hand to within a foot of your forehead,
in a line with your left temple, so as to bring his
thrust clear of the inside of your position. To
effect this you must bend your elbow; then having
brought his blade past your body, extend your
arm to a hanging guard, turning the back of your
hand opposite your forehead. This should be
practised till you can perform it with readiness as
one motion.

The prime thruji may be frequently delivered

with safety after forming this parade. It differs
from the thrust in seconde in being directed at the
inside instead of at the outside, and the opposition
to your antagonist's blade being formed by bearing
your wrist to the left of the line of defence instead
of to the right.

If you intend to return a thrust after having

parried by the prime, it will be safest either to op
pose your antagonist's blade with your left hand
as you thrust, or to step out of the line to the
right as you parry, which gives you an opportunity
of thrusting at the inside of your antagonist.
If
 [ 79 ]
If your antagonist should only make a half thrust
and disengage to the outside, you must oppose* any
cut or thrust he may there attempt, by carrying
your hand to the right as in the seconde hanging
guard.

Of following your Antagonist's Sword by the

Half Circle Parade.

HF^HIS is to be effected by dropping your point

over your adversary's blade as he quits your
outside guard to thrust under your hilt, and striking
with the edge of your sword against his blade, to
beat his thrust past the inside. In performing this,
the arm must be extended and inclined to the left
till the wrist becomes opposite the left temple, the
back of the hand downwards, and the point directed
towards your antagonist's hip. When by this pa
rade you have beat his blade out of the line to the
. left, you may either return a thrust in low carte, or
turn the nails down and cut VI. beneath his blade
as he recovers, springing back as you cut.
F 4 If
 C 80 ]

If in performing the half-circle parade, you miss

the feel of your adversary's blade, by his raising
his point over your hilt to thrust at your outside,
you must instantly carry your hand about six inches
to the right or outside of your line of defence, the
inside of the wrist still upwards, and oppose his
thrust with the back of your blade;* then whirl
your point up in a circular direction outwards,
and thus bring it round to the fecovde hanging
guard, without sinking your wrist as you turn it.f

Observe to keep the gripe encircled with your

forefinger and thumb, or you will be liable to lose
your sword. Hold your head well back, and in
cline your body on the left hip. This parade may
be practised alone with your sword, till you can
perform it rapidly and without any pause.

If in whirling your blade up, you beat your an-

* This forms the Parade called Quinte or Oflare, by small

swordsmen.
f Instead of parrying in the above mode, first with half-circle
and then with ottave, it will sometimes be preferable to continue
the motion of your point till it describes the whole circle, which
may be repeated without stopping if there should be occasion.
tagonist's
 [ 81 ]

tagonist's weapon out of the line; then, instead

of dropping your point to form a seconde, make
cut II. at his head or arm.

ROUND PARADES.

rJPHESE cannot be well performed with a very

heavy sword, yet will prove useful to a person

armed with a spadroon or light cut and thrust sword.

Engage on an inside guard :—Your antagonist dis

engages to thrust tierce or carte over the arm;
follow his blade by describing a small circle with
your point, keeping your wrist on the line of the
inside guard ; this will bring his blade to the posi
tion from which he disengaged.—Observe this cir
cle is began by sinking your point from left to right.

On an outside guard:—Your opponent disengages

to thrust carte; follow his blade with a small
circle began by dropping your point from the right
to the left, keeping your wrist on the outside guard:
this
 [ 82 ]

this also brings his blade up to the position from

which he disengaged.

N. B. The motion of your wrist and the circle

described by your point must not be greater than
may be sufficient to enable you to preserve or re
gain the feel of your antagonist's weapon; for which
reason, when you intend to use these parades against
a thrust, you must engage with your point directed
towards the upper part of your antagonist's breast.

CIRCLE PARADE.

fJ^HIS is formed by describing a circle of about

three feet diameter with your point, keep
ing your wrist the height of your shoulder, on the
line of either an inside or outside guard, your weight
resting on the left leg, and holding your head
back. This parade is extremely serviceable for
regaining the feel of an adversary's blade, espe
cially when engaged in the dark, and will be found
useful against a person who may endeavour to em
barrass you by a multiplicity of feints.

It
 [ 83 ]

It may now be necessary to notice such cuts as

deviating from the principles of the system become
exceptions to every general rule, and therefore
demand particular attention.

Of this description are those cuts in which we

abandon that general principle ofsecurity of cutting
towards an antagonist's blade in order to prevent a
counter Jlroke or time thrust. Under this head
may be classed the three following cuts, in which
security is to be attained by first throwing an ad
versary's blade out of the line.

Cut V. under the Sword.

JF on the inside guard your antagonist lowers

his point and presents his arm and blade in a
line nearly horizontal, so that you can cross about
8 inches of his feeble with your fort, drop your
blade smartly across his, and wrench his sword to
the outside under your blade, then turn your wrist
and
 [ 84 ]

and cut V. beneath his blade and recover to an

outside guard.
»

(In order to be able to perform this cut with

safety and effect, it will be necessary frequently to
practise alone with a sword, dropping the point
from an inside guard to a seconde hanging guard,
then turning up the nails cut V. and recover to an
outside guard.)

If your antagonist be aware of your design, he >

will probably withdraw his blade or disengage un
der your wrist: in which case you must spring back
on a hanging guard the instant you lose the feel of
it, presenting your point at his ribs, or seek his
sword by the circle parade.

The parade to this cut is formed by raising the

point and dropping your hilt low to an inside guard,
upon feeling your point borne out of the line, in
which case the person who attempts the cut must
also recover to an inside guard.

Cut
 [ 85 ]

Cut VI. under the Sword.

"^^"HEN you are on the outside guard and your

antagonist presents his point low, as before
described, drop your blade smartly across his as if
to make cut III. wrench his blade to the left, and
then quitting it, turn the wrist and cut VI. under
his sword across the body, recovering to the inside
guard or to a hanging guard.

Unless this be well executed it is somewhat dan

gerous, especially if your antagonist suspect your
design, and withdraw his blade or disengage; should
he do that, you may spring back on the half circle
guard the instant you lole the feel of it; or regain
his sword by the circle parade.

This, as well as the preceding cut, will require

practising alone with a sword, first dropping the
point as in the half circle parade, and then making
cut VI. and recovering to an inside or a hanging
guard.

The

/
 [ 86 ]

The parade to cut VI. thus given beneath the

sword, must be made by raising your point and
dropping the hilt low to an outside guard, on the
instant you are borne out of the line. When the
cut is thus stopped, the person who attempts it must
also take an outside guard.

Although it is not to be supposed that in an at

tack at first a skilful antagonist will be very likely
to present his blade and arm in the horizontal di
rection described in the two preceding lessons; ne
vertheless the method here recommended will prove
useful, as a practice for improvement, in order to
attain a celerity in returning a cut after having
parried a thrust either by the half circle parade or
seconde hanging guard.

Cut
 [ 87 ]

Cut V. over and within the Sword.

JF at any time on the outside guard your anta

gonist holds his wrist too low, bear his blade a
little out of the line, and turning the back of your
blade to the back of his, cut V. above his sword
across the neck, retreating as you cut.*

This must be parried by raising the hand quickly

to a prime hanging guard.

Your antagonist having parried your cut by the

hanging guard, your feeble will become opposed to
his fort: unless you withdraw it very quickly, he
may whirl your blade outwards, and make cut V.
at your face, or thrust carte over the arm : if he
attempts either, parry by the hanging guard, and
return a thrust in seconde as he recovers.

* A similar cut to this may sometimes be effected against an

inside guard, but as that is the strongest guard which can be held,
will not often succeed.

The
 [ 88 ]

The CUT at the ADVANCED LEG or

THIGH.

rJpHIS cut can seldom be made without consi

derable danger to the person who attempts it

against a swordsman, as it must be always attended
with an inclination of the body, and the head being
thus brought forward, becomes exposed, even when
the leg or thigh at which the stroke is directed, is
removed out of distance.

It mould never be attempted without previously

diverting your antagonist's blade by a feint at the
upper part of his position : and may afford variety
of play to gentlemen in friendly assaults for mutual
diversion, and willso far be necessary in order to attain
the parade against it. The cut at the leg is generally
preceded by a feint at the head; but this feint brings
the antagonist to a St. George's Guard, on which
almost every one retires the leg, in which case you
must advance considerably to effect your cut.

In
 [ 89 ]

In Plate XII. the assailant is supposed to have

made a feint at the inside of his antagonist, who
has parried to the feint, and again returned to the
outside guard, but has neglected to withdraw his leg.

This cut will always be extremely hazardous with

the sword in real contest, unless your antagonist
advances his right foot by standing much too wide
upon guard. Otherwise, in striking at his leg,
your head and sword arm must become exposed
even to a person wholly ignorant of the science ;
and his attention not being occupied by endeavour
ing to parry, his blow at the head would probably
prove fatal, even though he received a cut on the
leg at the same instant.

I must however observe that in attempting it a

considerable degree of safety may be attained by
raising the hand, as in the hanging guard, when
cutting at the outside of the leg, and sinking the
body behind the protection of the hilt; and, when
cutting at the inside turning the wrist in the posi
tion of the spadroon guard. But to effect this re
quires a very great degree of practice and agility.
G Having
 [ 90 ]

Having mentioned the dangers to which this at

tempt is liable, I shall now describe the method of
executing it in the safest manner according to the
opinion of an able writer on this science, without
fear of its being adopted rashly in a real contest.

" The first method is to parry an inside cut, and

instead of returning an outside, step a little for
warder, sinking your body at the same time you
transfer your weight from the left to the right leg,
bring the point underneath your adversary's sword,
and cutting swiftly at the calf of his leg, spring
back as from a longe under cover of a St. George
or hanging guard. This throw should never be
used against a master of timing, for if he slip his
right leg instead of parrying, he may cut you either
on the head or arm.

" The second way of going down to the leg is

by much the safest of the two, and is done by sink
ing the body very low at half sword under a St.
George's guard, make a feint to the leg, recover to
a St. George, feint to the leg again, then stopping
fully
 [ 91 1

fully with a St. George go swiftly down to the leg,

and spring off as before."

A very trifling reflection on the openings afford

ed to your adversary's point as well as his edge, by
this manœuvre, which the author stiles the safest^
will certainly prevent its being too hastily adopted.

Parade against the Cuts at the Leg or Thigh.

Ifyou are upon the inside or outside guard. At

the instant your antagonist drops his wrist to make
the cut, slip the right foot back to the left heel,
and meet the inside of his sword arm with cut I,
III, or V, if he cuts at the inside of your leg or
thigh. Make cut II, IV, or VI, if he strikes at
the outside. (See Plate XIII.)

Should you have any reason to suspect the offer

at your leg to be only a feint, present your point
opposite to the face of your antagonist, drawing in
the sword arm a little on either an inside or outside
guard, (according to which side your adversary may
threaten) and retiring the leg. His intention may >
G 2 generally
 [ 92 ]

generally be discovered by his inclining the head

and body forwards if he means to cut; and retain
ing them when only making a feint.

Some persons when they suspect the offer at the

leg to be only a feint, present the point to the an
tagonist's face, and extend the sword arm, in order
to prevent his advancing too close to be avoided by
slipping the leg. This method must, however, be
used with caution against a swordsman ; for when
you thus present your blade and arm horizontal, if
your antagonist should strike his fort smartly against
your feeble, he may beat your blade upwards and
deliver a low thrust.

If you are upon the hanging guard, and your

antagonist has advanced too near to be avoided by
slipping the leg, drop your point so as to meet his
edge with yours, retiring the leg in the manner
above directed, and as soon as you have parried,
make cut I. or II.

BROAD
 [ 93 ]

BROAD SWORD SALUTE.

rJ",HE modes of Saluting are various at different

academies, according to the fancy of the
teachers:—the following is taught by Mr. Taylor.

Draw swords—Inside guard—Take off your hat

with left hand, and poise the sword to a very high
inside guard ; turn your face and edge to the left
and then to the right—Drop your point and raise
your hilt to the inside half-hanger, at the same
time pitting on your hat— Raise your point with
a circle to the left, and bring the right hand across
the chest so as to place the hilt of your sword in the
left hand, the pommel between the two middle
fingers—Extend the left hand to the rear, the back
of the blade falling on the left shoulder, and advance
the right foot, presenting your right hand to your
antagonist—Shake hands—Recover, seize the gripe
of your sword with right hand, and come to outside
guard.

THE
 [ 94 ]

THE TEN LESSONS

TAUGHT BY

Mr. JOHN TAYLOR,

Late Broad Sword Master to the Light Horse Volunteers
of London and Westminster.

LESSON I.

Cut at my head — Guard your own.

Cut at my leg outside—Guard your head.

II.

Cut at my head—Guard your own.

Feint at my leg—Guard your head.
Cut at my leg—Guard your head.

III.

Cut at my head—Guard your own.

Feint at my leg— Guard your head.
Cut at my leg—Guard your head.
Cut at my ribs.
 V[ 95 ]

. IV.

Cut at my head — Guard your own.

Cut at my leg—Shift your own.
Cut at my head — Guard your own.

V.

Stand on outside guard ; drop your point to the

right, turning the inside of your wrist upwards—
Parry my cut at your face with a high Inside
guard.
Cut at my thigh outside—Guard your head.
Cut at my head—Guard your own.

VI.

Stand on inside guard—

Feint outside at my face, and cut III. at my
wrist.
Parry the thrust in carte with inside guard.
Cut at my head—Guard your own.
Cut at my head.

VIJ.
 [ 96 ]

VII.

Cut at my head —Guard your own.

Cut at my arm outside—Guard your head.
Cut at my head—Guard your arm outside.
Cut at my head—Guard your own.
Cut at my ribs—Guard your head.
Cut at my head— Guard your ribs.

' VIII.

Stand on outside guard—

Feint at my face inside, and cut at my arm out
side—Guard your head.
Cut at my head—Guard your own.

IX.

Stand on outside guard—

Feint inside, and cut at my arm outside—Guard
your head.
Cut III. at my wrist—and parry carte with in
side guard.
Cut
 [ 97 ]

Cut at my head—Guard your own.

Thrust seconde—-Guard your head.
Thrust seconde again—Guard your head.
Cut at my head.

X.

Cut at my head—Guard your face.

Cut at my arm outside—Guard your belly.
Cut at my face—Guard your head.
Cut at my breast—Guard your arm outside.
Cut at my belly—Guard your breast.
 [ 98 ]

The following Lejson is intended for Practice

with the Sword, upon the Principle on
which the Exercise at the Target has been re
commended in Part I. of this Work, and may
be performed in Line, proper Caution having
been firjl taken to open the Files sufficiently.

Left, Half-face
Carry swords
Guard
Cut I. at head and recover to St. George's guard
II. at right cheek - Outside guard
I. at left cheek - Inside guard
VI. at right side - Outside half-hanger
V. at belly - Inside half-hanger
VI. at knee - Shift-St. George
III. at wrist - Half-circle guard
Guard —Slope swords, Front.

* It will be proper to allow more space between each than may

at first seem absolutely necessary ; because the cuts are to be
made on a longe, and learners are very apt to move the left foot,
when stepping forward, or to shift their ground as they recover
to guard.
This lesson is intended to impress on the mind the guard ap
plicable to each cut, rather than to point out the succession in
which cuts will follow each other when in contest.

REMARKS
 t 99 ]

REMARKS on the SPADROON.

HE spadroon being much lighter than the

broad sword, and made both to cut and
thrust, is therefore a weapon well adapted to those
gentlemen who are masters both of the small and
broad sword, and unite according to circumstances
the defensive and offensive movements of the two.
In thrusting, the spadroon has an advantage over
the broad sword, on account of the celerity with
which that fatal movement may be executed, but
in cutting it is much weaker in its effect.

The chief defensive position of the spadroon

among the French, resembles the seconde hanging
guard, except that the blade is held more horizon
tal, the point is directed at the antagonist's body
about two inches below the arm-pit, and the wrist
held on a level with the shoulder, instead of raising
it high enough to view your adversary under the
shell.

From
 [ ioo ]

From this guard, by dropping the point to the

inside or outside of your position, as in the prime or
seconde hanging guard, you may parry any cut or
thrust made below the neck. Cuts at the head are
parried by the St. George, those made at the cheek
and neck by raising the hilt to a prime orseconde
hanging guard, as with the broad sword.

Much practice will be necessary to enable you to

hold the sword in the position above described,
without constraint or wavering, and to attain the
firmness requisite for parrying, and a sufficient de
gree of celerity in striking or thrusting.

The left hand should be placed with the palm

flat on the left hip bone, in order to preserve the
balance. The center of gravity must be thrown on
the left leg, and the feet placed as directed, for the
broad sword.

Although the above guard in seconde is that on

which the most eminent French masters place the
chief dependence, and in which they principally
instruct their scholars ; yet the guards mentioned in
the
 [ ioi ]

the preceding work for the broad sword, will be

found equally useful, especially to those who can
not retain their arm a sufficient length of time in
that posture.

In adopting the inside and outside guards to

parry a thrust, remember to sink the hand rather
lower than when opposing a cut at the arm, and
keep your point presented to your adversary's face.

The cuts with the spadroon are made on a prin

ciple similar to those of the broad sword, except
in the following instances. The weapon being
lighter and the blade held more horizontal, the
disengaging may be effected with a smaller circle .
described by the point, and the attack made more
rapidly.

The mode of recovering from cuts I. and II.

when you chance to miss the object at which your
cut is directed, may be rather more in front than
with the broad sword or sabre, instead of the blade
swinging so much round to the outside or inside of
your position, as is necessary with those weapons.
To
 [ n>2 ]

To facilitate this method of recovering, cuts I. and

II. with the fpadroon may be made with a circular
direction ; whereas the weight of the sabre renders
it difficult to apply the edge unless the cut be made
in a more direct line.

One cut withinjide the arm seems indeed peculiar

to the spadroon, since few have sufficient strength
in the arm to effect it with the broad sword. It
is thus performed ; your antagonist being on the
hanging guard, feint a thrust in seconde, and if
he attempts to parry it with his feeble, turn your
nails up without disengaging, and raising your
point cut at the inside of his sword arm. This
cut, if performed with spirit, is generally sure to
disable; and is rendered safe, by your antagonist's
feeble being occupied in a vain attempt to bear
out your fort, which is brought against his feeble
by your longeing forward as you raise your point.
If he sinks his hand to parry with his fort, spring
off with a cut at the upper part of his arm, on the
outside.

The most eligible thrusts to be made with the

spadroon
 [ 103 ]

spadroon are those already recommended, p. 69,

for the broad sword.—Those who wisli to become
perfect masters of the spadroon mould however be
acquainted also with the system of the small sword,
on which there are already so many treatises pub
lished, that it is unnecessary to swell this work with
further remarks on the subject. That published
by Mr. Angelo, intitled the School of Fencing, is
indeed so clear and comprehensive, that it cannot
be too much recommended to those who are de
sirous of attaining a just idea of that art, and yet
may not be able to attend regularly to lessons from
a fencing master.

In retiring from a superior force, the mode

taught by the French of flourishing the weapon is
itiled a la debandade, and consists in brandifliing it
in front of your position from right to left, turn
ing the wrist up and down so as to lead with a
true edge, the point describing the figure 00>
the wrist held level with the slioulder. By this
method an antagonist may be prevented advancing
too fast upon you, as he must first stop the motion
of your blade before he can safely attack, and the
next
 [ 104 ]

next step you retreat again sets your weapon at

liberty.

The practising this figure alone with the sword,

will tend much to supple the wrist, and to give you
a proper command of your weapon. It sliould be
performed sometimes in the manner of cut I. and
II. combined; at others as cut III. and IV. only
in a direction more horizontal.

APPENDIX
 [ 105 ]

APPENDIX.

Opposing the Small Sword.

JN contending with abroad sword against a small

sword, your first object mould be to disable your
■antagonist's sword arm if possible, keeping your

body well back, and springing off at the instant he •

, longes, far enough to remove your body from his
thrust, cut at his arm. Be cautious not to make
wide motions or to strike with too much exertion ;
and recover to your guard with your point well
opposed to his face.

When you parry a thrust by the inside or outside

guard, remember to sink the hilt lower than when
opposing a cut.

If your antagonist disengages from an inside

H guard,
 [ 106 ]

guard, and thrusts below your wrist, follow his

blade by dropping your point to the outside half-
hanger, and having parried his thrust to the out
side of your position, turn your wrist, and before
he recovers from his longe cut V. beneath his
blade. If from the outside guard he lowers his
point to thrust beneath the hilt, parry with the
half circle or prime parade, and cut VI. under
his blade.

Should your antagonist be so near when on the

above longe as not to allow sufficient sweep to give
cuts V. and VI. with force ; in that case, instead
of striking, draw your sword edge swiftly across his
body, retreating or traversing at the instant.

Observe that after parrying a thrust made at

you with a small sword, your chief advantage lies
in returning a cut without longeing forward, be
cause your antagonist will always endeavour to re
cover from his longe with his point directed to
wards your body. This renders it necessary to
confine your attack particularly to his sword arm,
except when you may be able to beat his sword
first
 [ 107 ]

first out of the line; otherwise if you longe eagerly

to effect a cut at his head or body, you will rush
on his point. If you have an opportunity of strik
ing on the back of his blade, as he recovers from a
longe, you may probably disarm him.

j>
Opposing the Spadroon.

To oppose this weapon, you must be master of

the parades against the thrusts (described 'p. 75 to
82,) since thrusting is a principal object with the
spadroon. Should your antagonist's weapon be
much shorter than your own, be always ready to
spring off from an attempt to inclose, otherwise he
will get within your point, and the length of your .
swqrd will prove a material disadvantage.

Many persons use the spadroon in a manner

very similar to that already described for the broad
sword, against those the guards and cautions be
fore mentioned will be sufficient. I shall therefore
only observe that in contending with such as de
pend on the guard in seconde, it will be best to
H 2 engage
 [ 108 ]

engage them with the hand in the position of the

t inside guard, the fort of your blade crossing above
your antagonist's feeble, and your point about
eight inches to the right of your line of defence,
threatening the inside of his position.* At the
same time sink on your knees, keeping your body
well poised, and your left hand on your hip, but
do not rest too much weight on your right foot,
lest you should be unable to withdraw it, or to
spring off, when necessary.

If your antagonist endeavours to thrust under

your hilt, parry by sinking your hand on an out-
side guard. If he disengages under your hilt,
your hand is already on an inside guard, and you
have only to raise your point to the left. If
he disengages over your point, he must expose the
inside of his position and sword arm.

* Your point would otherwise be opposed to your adversary's

hilt, and both weapons in parallel lines, by which you would lose
" your principle of defence, which must always depend in a great
measure on the cross your weapon forms to that of your anta
gonist.

In
 [ lop ]

In attacking the spadroon when held in seconde,

the easiest cut to effect will be on the outside of
the sword arm, first making a light feint at the head
or inside of the facer but be careful not to make
wide motions.

Another cut may be effected by attacking the

feeble of his blade briskly with your fort, and beat
ing it downwards to the outside of his position, then
turn your wrist and cut VI. at his ribs, recovering
to an inside guard.

The mode of commencing with a cut and finish

ing with a thrust (p. 73, 74,) will be found useful
against this guard of the spadroon. If your anta
gonist holds his thumb on the back of the gripe,
when on this guard of seconde, you may disarm
him by making cut III. at the feeble of his blade.
In performing this keep out of distance of a longe.

It will not be prudent to attempt beating the

spadroon to the outside of your position, because
your antagonist can easily slip from that beat and
thrust at your inside; neither would I recommend
H 3 the
 [ no ]

the broad sword hanging guard to be opposed to

the spadroon, except merely to stop a cut, unless
you are in considerable practice, and much ac
customed to that guard; for the spadroon is so
much lighter and swifter in its motions, that by
repeated feints your arm will tire, aud your anta
gonist soon gain an advantage from your not being
able to answer his motions with sufficient celerity.*

* The hanging guard, with a long heavy sword, will not

afford you so much real protection against the point of a de
termined adversary, as it may, at first view of the position be
thought to do. This advantage arises from the ease with which
he may attack your feeble with his fort and beat it out of the line
of defence, by which he gains an opening to thrust carte, or low
carte. To avoid this attack, you may raise your point with a
circular motion over his blade at the instant he strikes at your
feeble ; and having .thus flipped from his stroke, return a thrust
in seconde, or a cut at his outside } should your blade be too
heavy to effect this, spring off. If you are aware of his intention
time enough, the best method of resisting his attack will be to
drop your point and incline your hand towards the prime hang
ing guard, meeting his blow with your edge. In performing this
do not make your motion too wide, nor bend your arm unneces
sarily, lest your antagonist effect a cut at the outside of your arm.

Opposing
 v.

[ HI ]

Opposing the Musquet and Bayonet.

It will be in general best to parry the bayonet to

the outside by dropping the blade across the barrel
of the musquet, as in the outside half hanging
guard, the back of your fort close behind the
elbow of the bayonet. The purchase thus ob
tained will assist your stepping forward with the left
foot to seize the barrel with the left hand, which
being once effected, places your adversary's life in
your power.

If you parry with the inside half hanger, the fort

of your sword should be directed to the hollow of
the elbow of your antagonist's bayonet, and you
must step obliquely to the right with the right foot,
advancing your left hand under the arch formed
by your right arm to seize your antagonist's weapon.

In this method it is to be observed that although

your parade may not have weight enough to beat
the bayonet far out of the line of defence, yet by
H 4 stepping
 [ 112 ]

stepping about with your left or right foot, accord

ing to which parade you use, you change the line
of defence, while your blade prevents your anta
gonist from withdrawing his weapon, or following
your motion with his point.

Another method by which the thrust of a

bayonet may be parried, is by opposing the fort
of the bayonet with that of your sword on an in
side guard, and beating the bayonet towards the
left of the sine of defence, seize it with your left
hand. But in performing this, unless you are very
quick, your adversary may deceive you by disen
gaging under the hilt of your sword.

Engaging with Sticks,

As it may happen that a gentleman may be

compelled to defend himself with a common walk
ing stick, against a ruffian who may presume on his
skill in cudgel playing, the following hints may
prove useful, in pointing out such deviations from
the general system of broad sword as are requisite
to be known in that case.
In
 [ H3 ]

In a contest with sticks, if you parry with an in

side or outside guard, you must endeavour to meet
your antagonist's blow with your fort, rather more
to the left or right of the line of defence, according
to which side you are protecting than with a sword.
By these means the recoil of the sticks will prevent
the blow sliding down to your knuckles, and in
proportion as you can stop your antagonist's blow
wide of the line of defence, you obtain a greater
opening to return it.

The hanging guard is however the most usual,

and often the safest, as it affords more protection
' to the head and face, at which blows with a stick
are generally directed. The only difference in
holding this guard with a stick instead of a sword
consists in directing the point about six inches to
wards the outside of your antagonist's right hip,
instead of opposite his side ; because the point of a
stick if held stationary like the point of a sword,
will not prevent his advancing; but on the con
trary may be seized with his left hand.

Among cudgel players the blows from this po

sition
 [ 114 ]

sition are effected by a turn of the wrist differing

from that used with the broad sword, the large
knuckles of the hand (instead of the middle ones)
being directed towards the object at which the
blow is discharged, and turned downwards at the
instant of making it. If the opponent springs off
from a blow made in this manner, the general con
sequence to the assailant, is a strain of the wrist, or
the loss of his stick. Another material disadvan
tage in this mode of striking is, that unless they
engage very close they cannot reach to hit their
antagonist.

When contending with a person who endeavours

to advance for this purpose, receive his blows on
your hanging guard, and return a thrust beneath
his arm either at his face, right side, or belly,
griping your stick very firm that your thrust may
be of sufficient force; recover quickly to a hang
ing guard.

If you stand on guard with a stick previous to

your antagonist making his attack, it is impossible
to avoid presenting your knuckles as an object for
his
 [ 115 ]

his cut, without some change of position, and the

more correctly you are on guard (that is the less
opening you leave at your head or body) the more
probable will it become that he mould select your
hand as the part at which to direct his blow. To
avoid giving him this opportunity, you must
change repeatedly from the inside to the outside
and hanging guards, threatening his face with your
point in each motion, which will occupy his atten
tion, and prevent his making such choice: or if
you do not choose thus to become the assailant)
but wish that your antagonist should make the first
attack, adopt the following :

Stand on a wide outside guard, your right foot

advanced rather more than usual ; this presents an
opening at your head and inside; the instant he
moves to seize this advantage, shut up the opening
by dropping your point and raising your hand to an
inside hanging guard, at the same time drawing
back the right foot ; which in all probability will
remove you so far that his blow will fall to the
ground, or sway his arm so much as to leave him
exposed to your return.
Observe,
 [ n6 ]

Observe, that the hanging guard for the above

purpose is not to be taken by raising the point first
with a sweep and then dropping it; but by instantly
dropping the point, and raising the hand to the left,
and will require practice to execute it with strength
and celerity.

Cudgel players seldom pay much attention to

protecting the outside of their right arm or ribs.
It will not however be safe to strike at their outside,
except in returning a blow which you have just
parried. If you commence an attack at that part,
you will most probably receive a cut in the face at
the same instant. The best method therefore is to
receive and return a' few blows on the hanging
guard, and alternately intermix your play with
cutting at the wrist and elbow, and thrusting, thus
keeping them at a. greater distance than they have
been accustomed to ; and if you can by this mode
of attack induce them to defend their ribs, feint at
their outside and throw at the head.

Very few cudgel players accustom themselves to

longe at the time of striking, therefore if you can
keep
 [ 117 ]

keep them at a proper distance, you will be out of

their reach while they are within yours.

Should your antagonist succeed in rustling close

up to you, notwithstanding all your endeavours to
keep him at a proper distance, you may easily dis
arm him at the instant he closes.

If he advances on a hanging guards oppose him

with the same guard ; lower your body by suddenly
bending your knees, and pass your left hand under
your right wrist, seize his stick, advance your left
foot and knee behind his right, and dart the pom
mel of »your stick in his face, striking up his right
foot at the same instant.

Or as your opponent advances, you may thrust

your left arm into the upper angle formed by the
cross of your weapons, twine your arm round his,
by pasting your hand under his wrist and over his
arm, and bear it downwards. Use your pommel
and left foot as before.

If he advances on an outside guard, lay hold of

his
 C 118 ]

his stick with your left hand, and pull it down

wards over your own, at the same time dropping
your point and raising your weapon forcibly to the
position of the seconde hanging guard.

There are other methods of disarming by ad

vancing the left hand and foot, but these are the
easiest and most readily executed, as they require
only a previous reflection on the position, to enable
a person to adopt them whenever there may be
occasion.

FINIS.
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