Chapter VII: The Duelling Sword

As stated on the title page, the purpose of this book is to present sword play, as based upon the French school of the foil. With this purpose clearly before us, it will be appreciated that any comments on the duelling sword must be incidental as well as brief.

In duelling sword play, the weapon, the rules, and the target present certain differences from the foil that exercise a continuous influence on the play of the weapon.

The sword blade is of the same length as that of the foil but is approximately triangular in cross section, with grooves on each face, and is both heavier and stiffer than the foil blade. The guard is always of the bell type, being both wider and deeper than that on the foil, and is planned to actually cover the hand. The orifice for the passage of the blade is frequently placed in a somewhat eccentric position. The grip is very similar to that of the foil as is the pommel, except that the latter is somewhat heavier to balance the heavier blade. As an aid to the judging of touches, a small, sharp, three-pointed button, called a point d’arrêt, is ordinarily fastened to the point of the sword with waxed thread. The points catch in the material of the adversary’s clothing, emphasizing the touch. A drop of some easily removed dye is frequently placed between the points as a further aid. In important competitions, an electric recording device may be used. The rules are chiefly concerned with the limitation of the field of operations, the delimitation of the target, the prevention of dangerously rough play and the doing away with rules. The target includes the entire person of the fencer, a touch on any part of the head, trunk, or extremities being fair, so long as it is made with the point of the weapon.

There are practically no conventions. The man attacked does not need to parry if he prefers not. There is no conventional right of way. There is no requirement of an extended arm. This sounds extremely simple, but is not.

The bout is usually for three touches. Practically the only governing element in connection with these touches is the question of time. The touch that arrives appreciably ahead of the other scores. This emphasizes play for the nearer parts of the target--principally the hand and arm, although some play is directed at the front foot and leg. This play for “les avancés” generally results in the play being out of engagement and out of distance. The lack of any conventional right of way and the prime importance of priority makes attacks on the sword, particularly the controlling, or locking, or binding attacks highly favored. If you can seize control of your opponent’s sword and maintain it until your point has quite, or almost, arrived, your danger from a foil “tension” which becomes a duelling sword “stop thrust” is minimized.

The same group of parries that serves in the foil persists in the épée, but there are qualifying conditions. The parries to the inside (prime, quarte, quinte, and septime) carry the attacking point across the target, even bringing the rear hand and the rear leg into the field of attack, and also uncover the sword arm. Therefore, they are much more dangerous parries for any but exceptional use. “Rolling” parries from high to low line (sixte to seconde) and from low to high line (seconde to sixte) are very inclusive and very powerful. The counter parries to the outside, including these “rolling” parries as a variable, make a very successful defence.

The custom of fencing both out of distance and out of engagement makes the duelling sword even more a war of rapid movement than the foil. There is constant “edging” in, interspersed with short, quick advances and jump advances. The half, or two-thirds, lunge is common, the full lunge rare. The latter brings hand, arm, head, and trunk all within easy hitting distance.

Evasions of attacks on the sword must be executed with small movements at the point extremely close to the attacking blade, with a two-fold purpose. In the first place, a wide evasion will open the defending arm to the attacking point. Secondly, the successful evasion should be the precursor of a stop thrust and this should be directed at the hand, or arm. Where the attack on the sword has been successful so far as establishing contact and control of blades is concerned, the various methods of defence described in the foil section carry special dangers which must be anticipated and guarded against. A releasing parry exposes the outer or inner side of the forearm, depending upon whether it has originated from the outside or inside guard. The slip parry exposes one or the other side of the forearm in its yielding movement around the successive quadrants of the circle--always with uncertainty as to when the attacking sword is going to release its control and try for a touch. The very short distance from attacking point to defending forearm makes this danger somewhat more acute than when the body is the target. This brings us to the decision that all _first parries_ against attacks on the sword should be accompanied by a retreat. _This does not mean all parries._ If the attacker is convinced by the retreat accompanying the first parry that he is pursuing a retreating, or shaken antagonist, it is quite possible that the second parry should be made while standing firm, or even that it should be accompanied by an advance. Either one gives the opportunity to break the rhythm of the attack and either one may completely destroy the attacker’s conception of distance. As always, the prevention of an accurate analysis or forecast of your reaction is vital.

There are certain other basic facts that it is well to remember. If your sword is in prolongation of your forearm and your point is directed towards the hand or guard of your opponent and _your guard is in the same horizontal plane_ with his, the opening to attack showing on your opponent’s arm also appears on yours. Conversely, if he is covered, you are covered. Therefore, one of the most desirable standard positions of guard with the épée would be an adaptation of the foil guards of sixte, tierce, or seconde--with blade in direct prolongation of the forearm, point at approximately hand level, and forearm concealed by guard of sword. Of course, if the position of seconde is chosen, the point would be below the level of the hand. It follows that successful parries from these positions will require a raising or lowering, as well as lateral deviation of the point, so that the defendant blade will cross instead of remain parallel to the line of attack. Also, if he leaves his position to attack your arm, he offers an opening on the same or opposite side of his hand or arm to the one that he is attacking on yours. In continuation of the same reasoning, as you take the point-to-point, guard-to-guard position, you inevitably expose certain areas to attack. This is not necessarily undesirable, so long as you remember the fact, know just what the exposed area is and have decided just what you are going to do in case of attack on that area. It is even sometimes desirable to leave a definite opening as an invitation to attack, provided that you have an adequate answer ready. For instance, your position of guard may deliberately expose the tip of your elbow to attack from below. The assumption is that, when your adversary attacks this elbow, you will counter-attack at his hand or wrist. The extension of your arm in the counter-attack removes your elbow further from his point, places it in an unexpected position, and gives you a target that is the full length of the forearm closer to your point than his target to his point. Attacks on the front leg or foot are easily evaded when the balance is equally distributed on both feet. The simple withdrawal of the foot is sufficient. But the mask, hand, or arm of the attacker may be very vulnerable to counter-attack. Never parry an attack on the front foot or leg--but, likewise, never permit a feint at the front foot or leg to cause such a withdrawal of the foot and simultaneous leaning forward of the head and body and extension of the arm that a successful attack on the sword becomes too easy.

It is obvious that there is one detail in which preliminary foil training will be of little benefit to the duelling sword fencer. This is in the quick recognition of a sudden, small target and the accurate “throwing” of a point to that target. Concentrated practice in this one pursuit is a very necessary preliminary to serious work with this weapon. An improvised target game may be very helpful in this connection, as well as of interest to a small group of fencers. A small rubber ball, not over one inch in diameter, is threaded on a string and suspended from the ceiling at the approximate height of the hand of a fencer in the position of guard. The various members of the practising group then arrange themselves in a circle about the ball at a distance of about four inches less than their respective thrusting ranges. The ball is then started swinging and the members of the squad are allowed one thrust each, the only rules being that the thrusts shall be taken only one at a time, that the opportunity to thrust shall travel in regular rotation around the group, and that no individual shall allow the ball to come to a dead rest before taking his thrust. Ordinarily, there is no wish to keep accurate scores, but this may be done if it seems to add to the interest. It is well to insist that the various men assume the actual position of guard during the exercise. If the exercise appears to become more easy, the fencers may be required to take position out of distance and practise simple advance or jump advance before the thrust.

_Equipment._

The sword has already been described. A martingale is required.

The uniform is similar to that for foil.

The shoes are similar to those for foil, but must be white.

The mask is similar to that for foil, but the trim must be white.

The glove is of special type. It is not padded, has soft leather palm while back of fingers and hand and entire gauntlet are of strong canvas. This should be little larger than street glove and glove and gauntlet should fit snugly.