Broad-Sword and Single-Stick Part 4

_Cut Two._--Now cut diagonally from left to right from No. 2 to No. 3.

Continue the motion till the arm is extended to the right, on a level with the shoulder, edge to the rear.

_Cut Three._--Now turn the wrist so that the knuckles and edge face to the front, and cut diagonally upwards from No. 3 to No. 2, and continue the sweep until the wrist rests in the hollow of the left shoulder, with the point of the sword pointing upwards and the edge to the rear; turn the wrist so that the edge faces to the front, and drop the point until the blade is in the position for the next cut.

_Cut Four._--Cut diagonally upwards from No. 4 to No. 1 until the blade is nearly perpendicular, edge and knuckles to the rear. Bring the arm, still fully extended, to the position of "Right, prove distance," and turn the wrist so that the knuckles and edge face to the front, the blade being horizontal and on a level with the shoulders.

_Cut Five._--Cut horizontally from No. 5 to No. 6. The edge will now be to the left and the point to the rear, over the left shoulder.

_Cut Six._--Turn the wrist so that knuckles and edge face to the front, and cut horizontally from No. 6 to No. 5. Continuing the sweep until the hand is nearly over the head and in the direction of No. 7, the sword being on the same line over the head, point lowered to the rear, and the edge directed vertically upwards.

_Cut Seven._--Cut vertically downwards from No. 7 to the centre of the target, and remain with the arm extended.

_First Point._--Turn the wrist, with the edge of the sword upwards, to the right. Bring the hand upwards on a level with the eyes, elbow bent and raised, the point of the sword directed towards the centre of the target, and the left shoulder advanced. Now, by an extension of the arm, deliver the point smartly to the front, with the edge of the sword still inclined upwards to the right and the point accurately directed to the centre. The right shoulder should now be well advanced and the left drawn back--this motion of the shoulders being applicable to all the points.

_Second Point._--Turn the edge upwards to the left, draw the elbow close to the body and let the wrist be as high as, and in front of, the left breast. Now deliver the point, as before directed, accurately towards the centre of the target, the wrist inclining towards No. 2.

_Third Point._--Draw in the arm till the inside of the wrist touches the right hip, the edge being raised upwards to the right, the left shoulder slightly advanced and the hips well thrown back. Now deliver the point accurately towards the lowest point on the target, the edge being carefully directed upwards to the right throughout the motion.

_Guards._--Having gone through the cuts and points, the pupil should now give his attention to the guards and parries.

A reference to Fig. 20, in which the directions of the blade are indicated by means of the hilt and dotted lines, will make it easy for the beginner to place his sword in the seven guarding positions which follow.

_Guard One._--Grasp the hilt as shown in Fig. 17, turn the edge to the left with the elbow held close to the body, the wrist well to the front.

Let the blade be as nearly as possible parallel to the direction of cut 1, and let it slope in the direction of the target at an angle of about forty-five degrees with the ground: _i.e._ let the point in this, and indeed all the guards, be well advanced to the front.

_Guard Two._--Turn the knuckles up, draw the elbow nearer the right side and let the edge face to the right, and let the blade be parallel to cut 2. In this guard the forearm will be more directly pointing towards the target.

_Guard Three._--Turn wrist and edge to the left, the hand being rather below the left shoulder, and the blade following the dotted lines marked "third guard."

_Guard Four._--Bring the wrist and hand across the body to the right, edge to right and blade following dotted line marked "fourth guard."

_Guard Five._--Wrist and edge to the left, with blade pointing vertically downwards.

_Guard Six._--Wrist and edge to the right, with blade pointing vertically downwards. [It will be observed that these two guards, five and six, are but extensions of guards three and four, the difference being merely in the height of the hand and inclination of the blade.]

_Guard Seven._--Raise the hand well above the level of the eyes, so that the target can be seen under the wrist; let the arm be extended, the point of the sword dropped forward to the left and parallel to dotted lines marked "seventh guard," and let the edge face vertically upwards.

It may be here again mentioned that with all guards and parries in actual practice, the "forte," or half nearest the hilt, should be the portion of the blade which meets the opponent's sword when the attack is made.

_Left Parry._--Let the wrist be drawn back to within eight or ten inches of the right shoulder, the blade pointing in the direction of the perpendicular line on the target, and let the edge be turned to the right. Now, by a second motion, turn the wrist so that the point drops to the left and forms a circle from left to right and then returns to the former position.

_Right Parry._--Drop the point to the rear and form the circle from right to left of your body, the sword returning to its position as before.

Both these circular parries should be learnt and practised for the sake of adding to the strength and suppleness of the wrist; but for actual use it is better to turn the point aside by one of the simple guards, remembering not to let the hand wander far from the line of attack. In other words, you should let your "forte" catch the "foible" of the adversary's blade just sufficiently to turn aside the point, and then instantly give your point or come back to whatever guard you may have a.s.sumed in the first instance.

Some diversity of opinion exists as to the best "Engaging Guard" to take up. In the two Figs., 21 and 22, I am inclined to favour the former for use when opposed either to the small sword or the bayonet, and give preference to the latter when facing another broad-swordsman. In Fig.

21, it will be observed, the point is well forward, and it is easy with a light pressure to turn aside the opposing point and instantly lunge out in the return. The engagement is here in Tierce, but it might just as well be in Quarte, in which case the edge would be turned to the left instead of to the right.

[Ill.u.s.tration: Fig. 21.--Engaging guard, A.]

At the same time, the more common engaging guard, the very low hanging guard in Fig. 22, has many merits not possessed by the other. It will be better to constantly practise _both_ these guarding positions and then come to a decision as to which you can do best in. Two things are certain, viz., you can, if proficient at both, puzzle an opponent who is at home only in one, and the change of position is a great rest in a long succession of bouts.

[Ill.u.s.tration: Fig. 22.--Engaging guard, B.]

It will now be well to combine the cuts and guards, and, for this, take up the second position in front of the target, and in making each cut lunge well out into the third position, not allowing the blade to cut further than the centre of the target. Then spring back to the position from which you lunged and form the guard for the cut you have just made.

For instance, having made cut 1 as far as the centre of the target, return to the second position and form guard 1. Similarly for cut 2 and all the other cuts.

In the same way make the points in the lunge, in position three, and the corresponding parries in the second position.

In many works on the subject, the foregoing exercises are given with the return in each case to the first position instead of, as above, to the second. It is, however, advisable to accustom yourself as much as possible to rapid returns from the lunge to the engaging position in which you habitually face an opponent. The change from position one to position three involves a long stretch out, and the return is, of course, harder than the return to position two, and, for this very reason, it is well to practise the exercises from both initial positions--one and two.

[Ill.u.s.tration: Fig. 23.--Point, with lunge.]

At the risk of being considered old-fas.h.i.+oned, I have given the sword exercise with seven cuts and three points, with corresponding guards and parries, and it is my conviction that the beginner will do well to follow the advice given on p. 34.

The following instructions are taken from the Manual on the Infantry Sword, now used in the army.

INSTRUCTIONS FOR DRAWING THE SWORD (LONG).

_Draw Swords._--Take hold of the scabbard of the sword, with the left hand below the hilt, which should be raised as high as the hip, then bring the right hand smartly across the body, grasping the hilt and turning it at the same time to the rear, raise the hand the height of the elbow, the arm being close to the body.

_Two._--Draw the sword from the scabbard, the edge being to the rear, and lower the hand until the upper part of the hilt is opposite the mouth, the blade perpendicular, edge to the left, elbow close to the body, which forms the position "Recover swords."

_Three._--Bring the sword smartly down until the hand is in front of the elbow and little finger in line with it, the elbow close to the body, blade perpendicular, edge to the front; which forms the position of "Carry swords;" the left hand resumes the position of "Attention"

directly the sword is drawn.

_Slope Swords._--Relax the grasp of the last three fingers, and, without disturbing the position of the hand, allow the back of the sword to fall lightly on the shoulder, midway between the neck and the point of the shoulder.

_Return Swords._--Carry the hilt to the hollow of the left shoulder (the left hand, as before, raising the scabbard), with the blade perpendicular and the back of the hand to the front, then by a quick turn of the wrist drop the point into the scabbard, turning the edge to the rear until the hand and elbow are in line with each other square across the body.

_Two._--Replace the sword in the scabbard, keeping the hand upon the hilt.

_Three._--The hands are brought back to the position of "Attention."

_Draw Swords._--As before.

_Slope Swords._--As before.

_Stand at Ease._--Keeping the sword at the "Slope," draw back the right foot six inches, and bend the left knee.

THE FOUR CUTS (from Second Position).