This is the action of the fencer, who endeavors to touch his opponent by thrusting at him.
The blow is the “ensemble” of the attack; it is the method employed, the route followed, to reach the body of the opponent.
The point is the termination of the blow, the manner of finishing it. The blow is the action of an attack; the point is the aim. To express completely an attack—to explain, on the one hand, the method employed and the route followed to reach the body; and, on the other hand, to indicate the line in which it terminated, and the respective positions of the weapons at that moment—we must name both the blow and the point, thus: the direct blow in tierce, the disengagement in quarte, etc.
There are four points, or ways, of terminating a blow, viz., prime, seconde, tierce, and quarte. They are effected in the lines having the same names.
A simple blow is one in which the point of the weapon makes only the movement necessary to direct itself towards the body; it admits of no feint. It may be effected by a direct blow, or by a disengagement.
The direct blow is the action of directing the point in a straight line towards the body of the opponent; it is the movement which finishes all the blows. There are four distinct direct blows, because one may be made in each line. When a feint precedes a direct blow, they form a compound blow; the direct blow which follows a parry is a simple blow.
The disengagement is the act of passing the point of the weapon from one line into another, in order to reach the body in the latter line. Two disengagements can be made from each line—into the one just above or below it, and into that on the same level, but never into the one diagonally opposite—so there are eight disengagements in all.
From an upper line into an upper line, the point of the bayonet moves under that of the adversary. From a lower line into a lower line, it moves over his point.
By the term disengagement is to be understood, not only the action of passing the point from one line into another, but also that of thrusting it towards the body. The mere act of passing from one line into another, without thrusting, should be called a feint of a disengagement.
A parry is the action of turning aside the weapon of the antagonist from the direction of the body, when he attacks. As there are four directions of attack, there are four corresponding parries, viz., prime, seconde, tierce, and quarte. The parries in high tierce and quarte, seconde and tierce in retreat, are mere variations of those whose names they bear. There are two kinds of parries—the simple parries, and the parries in opposition.
A simple parry is one which throws off the opponent’s point in the same line as that in which it presents itself to reach the body; for instance, if a thrust be made at the left breast, the parry in tierce (No. 32) throws off the point to the left of the body, and is a simple parry. The parries in prime, seconde, and quarte (Nos. 28, 30, and 34), are all simple parries, and serve both against direct blows and disengagements.
A parry in opposition is one which throws off the point of the antagonist into a different line from that in which it presents itself to reach the body. They are of two kinds, the half counter, which is made against a direct thrust, and the counter, against a disengagement.
In the half counter, the point describes a semicircle; it will be best described by an example. Suppose the antagonists are engaged in tierce; one of them makes a direct thrust at his opponent’s right breast; the latter parries by dropping his point under his adversary’s, and then bringing it up on the right, in quarte; and at the same time, by moving his piece to the left, he throws off the point to the high outside line, or to his own left. The half counter for the other engagements is similar to the one described; in prime and seconde the point passes over that of the assailant.
In the counter, the point describes a circle. Let the antagonists be engaged as before, in tierce; one disengages and thrusts in quarte at his opponent’s left breast; the latter parries by following the movement, passing his point under his assailant’s and bringing it up on the left, in tierce, as they were in the first place, thus throwing off the point to his right.
From this the remaining counters will readily be understood; recollecting that in prime and seconde the point passes over the opponent’s.
The parries in opposition are very useful in the lessons with the plastron, as increasing the quickness of the eye and hand; but in actual combat, the simple parries should alone be used, for they are quicker and more certain.
In order to accustom the soldier to varying the high parries according to the direction of the attack, the instructor will use a wooden sabre, and cause the soldier to pay particular attention to protecting his hands. The German system of placing the soldier inside of a circular platform, at such a height that the instructor, when on it, will be at the height of a man on horseback, seems to merit adoption. They also provide the instructor with a lance.
This is a parry in tierce against thrusts at the upper part of the breast. It is made by turning the lock-plate upwards, drawing the barrel to the left, and throwing the stock in towards the body.—See Plate 23.
This cannot be used against thrusts directed at the lower part of the breast; and, therefore, was not introduced into the school of the soldier. But, as it is a very rapid parry, it would frequently be of great service in the hands of a good fencer; it should, therefore, be taught in the lessons with the plastron.
A feint is a pretended blow made for the purpose of attracting the opponent’s piece into one line, and then making a real attack in another. It may be made either by feigning a direct blow, and then, at the instant the proper parry is commenced, suddenly disengaging and making a real blow in another line; or else, by making the feint of a disengagement, and, as soon as it is answered, rapidly making another disengagement, followed instantly by a real blow.
An appel is the act of striking the ground with the left foot when at guard; it should be a very rapid motion. Its object is to disconcert the antagonist by the noise, and to withdraw his attention from his defence.
This should be practised occasionally in figurative lessons, and may be frequently used in the lessons with the plastron.
To attack the weapon of an opponent is to exert some action upon it with our own. The object is to disconcert him by attracting his piece where we do not intend attacking him, or to displace his point from a threatening position. This is done by pressing upon his piece so as to displace it, either to open the direct line to his body, or else to call forth a resistance which will facilitate an attack, made in the opposite line, by a sudden disengagement. Another method is to strike his piece so as either to throw it out of opposition, or else derange his guard, in order to render his parry more difficult. This last method is particularly efficacious in the engagement in tierce.
The riposte is an attack which follows a parry. It is the best blow that can be made; it is safer than any other for the one who executes it, and more dangerous to his opponent. It should be made instantly after the parry, and with such rapidity as to touch the opponent at the same time his foot reaches the ground in his development. The parry, according to the direction given to the weapon, opens a passage either in the direct line, or in that above or below it; it is then only in one of these two lines that the immediate riposte can be given. If the riposte does not follow the parry instantaneously, its direction will be determined by the movements of the assailant, and will generally be given by a disengagement, as he recovers his guard.
In the immediate riposte the development will seldom be necessary; a simple extension of the arms will generally be sufficient to reach the opponent’s body.
A repeat is a blow given, without recovering the guard, immediately after one which is parried. It should only be used when it is evident that the parry will not be followed by an immediate riposte. It should never be made in the line in which the attack terminated, but by a disengagement into the one above, or below. It should be but sparingly used; it may sometimes be used as a time-thrust before a riposte.
A time-thrust is a blow by means of which we anticipate an adversary who is slow or awkward in his attack. When delivered, we should be certain that we have the opposition perfectly. It is, at the best, an unsafe attack.
A stop-thrust is one delivered against an adversary who attacks advancing. It should be given at the very instant he raises his foot to advance and attack. If given at that moment, the opposition is not so necessary as in the time-thrust, but, if delayed, it becomes a simple time-thrust.
The object of the shortened thrust is to stab an antagonist who presses up breast to breast. It is the action of throwing the musket to the rear, or either side of the body, so that the bayonet may be used as a poniard.
This blow may be used in riposte as well as in attack. After the parries in prime, seconde, quarte, and seconde in retreat, the riposte should be made by the thrust shortened on the right. After the parries in tierce, and tierce in retreat, the riposte will be made by shortening on the left. The panes against the shortened thrusts are made with the stock of the piece; and the blow to the front, with the butt, will be given in riposte.
The men should be carefully drilled at these parries, which will at once suggest themselves to the instructor.
The bayonet is undoubtedly more effective than the butt. Yet it may occur that the soldier is so completely surprised on his right, or in rear, that he cannot volt, so as to use his bayonet; in this case, he must, according to circumstances, parry and strike with the butt.
To cause the blow to the rear, the instructor will command—
“Right (or left) rear—VOLT!”—then “Stock to the—REAR!” which will be followed either by a blow, or by a movement of the butt, which will parry such thrusts as the instructor may make.
For the blow to the right, the instructor will command—
“Left—VOLT!” then “Stock to the—RIGHT!” etc. etc.
No blow to the left is given, for the reason that, from the position of the guard, it will always be easier to use the point, in that direction, than the butt.
When the men are proficient in the “school of the solder” (Bayonet Exercise, Part I.), they should be made to fence with each other, or with the instructor. They will be told off by pairs, and numbered in each pair, as one and two.
At first they will execute the different movements at the commands of the instructor, who will give those of attack only, cautioning the men attacked as to the parry they are to use, e.g.—
“Numbers one, In prime—THRUST!” informing numbers two, before he gives the commands, that they will parry in seconde.
In the lessons with the plastron, the movements will be taught in the order in which they occur in the school of the soldier; that is, commencing with the most simple thrusts and parries.
When the men are sufficiently adroit in executing the attacks and parries, by the words of command, they will be allowed to choose their own thrusts, parries, etc., the instructor giving no commands, but merely watching that the movements are properly made, and in strict conformity with the directions.
An “assault” in fencing, whatever may be the weapon used, should be preceded by a salute.
It is a compliment paid by the fencers to spectators, and to each other. The salute is made simultaneously by both fencers.
1. Assume the position of guard, and engage, in quarte, with the middle of the bayonets.
2. Make two appels, then rise, by straightening both knees, and bring the left heel against the right, to feet at right angles; at the same time raise the musket to a vertical position against the right shoulder, the rammer to the front, the left arm on the breast, and the left hand at the height of the shoulder.
3. Salute to the right by turning the rammer, and advancing the hands in that direction, keeping the piece vertical; the feet do not move, but the head is turned to the right.
4. Salute to the left by a similar movement, advancing the right hand as far as possible in that direction, and bringing up the right shoulder upon the same line with the left.
5. Salute the antagonist by a similar movement to the front, lowering the hands slightly at the same time.
6. Resume the position of guard, and make two appels.
THE END.
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Transcribed by Scott Gutzke, 2006.