Chapter VIII: The Saber

The comments on the saber will be equally as brief as those upon the duelling sword. In the first place, there is no recognized play of the saber that is based upon the French school of the foil. Thirty-five, or forty, years ago, there was a definite French school of the saber. The Italian saber play was so superior to that of the French school that the latter was gradually abandoned as a distinct entity. Today, it is probable that the most finished fencers with the saber belong to the Hungarian school which is an adaptation and perfection of the Italian school.

The saber is a weapon to itself and its play is a school to itself. The modern fencing saber is light, weighing only an ounce or two more than the foil. The blade is about one inch shorter than those of foil and duelling sword. It is assumed to have a point, a sharp edge extending the full length of the front edge of the blade and a sharp false edge, extending for the distal third of the back of the blade. Fair touches may be made with any of these portions of the blade. The target includes head, arms, and the trunk down to the break of the hips in the position of guard.

Probably the most favored position of guard with the saber corresponds to the French foil guard of tierce. The parries across the body tend to assume the characteristics of the “rolling” guards mentioned under foil play. Thus the four parries for the arms and trunk would be very similar to the foil parries of tierce, quarte, septime, and seconde. The parry of prime, or an alternating prime-seconde is also employed, although it exposes the arm. The parries against cuts at the sides of the head may be made by simply raising the parries of the corresponding high lines of the body. A downward cut at the head may be met by a blade sloping slightly upward and pointing from right to left, or left to right. As attacks with both point and edges are permissible and the hand and forearm are included in the target, precautions similar to those observed in the duelling sword are necessary, with certain obvious additions. As cuts with the edge are good, the fact that the point has been successfully deviated is not a final and sufficient defence. What is a feint of a point attack may end as an attack with the edge at some other portion of the target. It may even end with a withdrawing cut with the false edge during the return to the position of guard.

As in the duelling sword, with the inclusion of the hand and arm in the valid target, it is customary to fence out of engagement and out of distance. This makes the game of the saber one of extremely active and accurate foot-work.

Also, there is a very marked difference in the theory of the handling of the sword from that which has been prescribed for foil play under the French school. There is a definite, intended, prescribed departure from finger- or wrist-play. Here, the emphasis is placed upon the elbow. The sword is carried in direct prolongation of the sword arm and parries, feints, attacks, and counter-attacks are executed from the elbow.

Anyone who is seriously following the foil may obtain considerable pleasure from saber play by treating it largely as has been advised for the duelling sword. The point may be used to great advantage. The false edge may be used to occasional advantage, following a feinted point attack. Beyond this the foil or duelling sword fencer had better not venture. If he wishes to make a serious study of the saber, which it thoroughly well deserves, let him seek a competent master of the Italian or Hungarian school, or, if such is not available, obtain a book from the pen of such a master.

To somewhat amplify the preceding remarks, in adapting our basic knowledge of French foil and duelling sword play to the saber, we assume the regular position of guard so far as body and legs are concerned. The rear arm, instead of being carried high as in foil play, is carried behind the back--the back of the hand resting in the small of the back, with the fingers inside of and grasping the belt. The sword arm and sword are carried in the guard of tierce. However, in this position of guard, the blade is carried in a practically horizontal position instead of carrying the point at the level of the eye. Although fencing out of engagement, the point is directed towards the opponent’s sword hand. This position of guard accomplishes three things: first, the straight line formed by forearm and sword places the hand and forearm directly behind the protection of the guard of the sword; second, the horizontal position of the sword, with point relatively low, renders the blade less accessible to an attack on the sword; and, third, the constantly threatening point must be displaced or evaded before the opponent can safely launch any attack.

The sword arm is maintained in a position two-thirds extended with hand at approximately the same level as in foil work. Although this low position of the hand does not adequately cover the head, or even the upper portion of the trunk, it places the hand and forearm under the cover of the bell and removes the blade from ready accessibility to attack. Against point attacks, the parries are executed much as in foil play--except that the simple parries with the true edge are favored--necessitating a rolling parry to meet a change of line. Thus the normal high line parries are quarte and tierce, the low line septime and seconde. When the attack is at the head, high quarte and high tierce are used--thus giving really a high, a mid, and a low line. Also, as previously mentioned, the parries are controlled more from shoulder or elbow and little from the fingers or from the wrist.

Against cuts, there is some further departure from the technique of foil parries. In the latter, both hand and point stop just beyond the line of the body, as the deviation of the attacking point requires little force if faible is met with forte. However, with the saber, a cut may well force through to the target if it is met by simple opposition. Therefore, the point of the parrying sword is carried diagonally beyond the direct zone of the target so as to cause the attacking blade to glide down the parrying blade to the guard.

As the fencing is out of engagement, practically all attacks must be initiated with a closing of distance. As in foil play, this closing of distance may be accompanied by the first feint of a compound attack or by an attack on the sword. At all times, it must be remembered that the sword hand and arm are a part of the target and that they must not be uncovered during the preliminary movements of the attack.

A very good practice for both attacker and defender is the making of compound attacks and the parries against them in three lines--accompanying the first two feints by advances and the third cut by a lunge. Such an attack would be: (1) feint seconde cut, with advance; (2) feint quarte cut, with advance; and (3) high tierce cut, with lunge. The first of these feints would bring the attacker within distance; the second would be met by a retreat of the defender; and the third would touch the mark--or give the defender the opportunity to parry and riposte--according to previous agreement. These exercises could be alternated between fencers--first one and then the other attacking--and first the attacker touching and then the defendant making a successful parry and riposte. The same variation should be made in the origin and direction of the attacks, changing the first feint from one side to the other and from the low line to the high line. This is excellent practice for both foot and hand.

The attacker should never forget that certain feints and attacks automatically carry exposure of certain portions of the target to stop cuts or thrusts. When made in the low line, the upper side of the arm is exposed and when to the inside or the outside, the inside or the outside of the arm is exposed. While the same general rules as to right of way pertain to saber as to foil play, the fact that cuts with the saber are nearly always preceded by some withdrawal of the sword makes many more stop cuts valid. The tendency of directors is to grant the right of way to a simple attack but to judge between successful compound attacks and stop cuts on the basis of time. This is particularly true where the defender makes a successful stop cut on the first feint of a compound attack en marchant and succeeds in executing a retreat before the attacker overtakes him and touches with the final movement of his compound attack.

It is well to remember that many saber fencers have never been trained in the school of the foil and have sadly neglected practice in point work. Against such, a straight lunge, a disengage, or a one-two and lunge may prove very efficacious.

The saber riposte is frequently less complicated than with the foil. The successful parry of a cut leaves the defender’s sword between that of the attacker and the target. A straight riposte may frequently be achieved by simply turning the hand over and making a gliding cut at the exposed area. Other ripostes follow the general rules laid down for foil and épée.

The hand and arm are frequently vulnerable to either direct attack or to stop cut or thrust against fencers who indulge excessively in compound attacks or who have peculiarities of execution.

With the saber as with the épée, the occasional individual who fences with fully extended arm and sword is particularly susceptible to attacks on the sword. But, it must not be forgotten that he has schooled himself against these attacks and that the attacker must be versatile in their use and not over-confident of success. Probably the most commonly used attack on the sword is the bind (liement). However, in both saber and épée, the croisé may be both safer and more efficacious. The inclusion of the mask in the target of these weapons makes it particularly difficult to carry off the croisé--and, if it is carried off, it must be at the expense of a complete exposure of the flank.

The rule regarding the right of way of the riposte following a successful parry is the same for saber as for foil. However, the much greater frequency of attacks on the sword with the saber makes it very important for the defender to be sure that he is parrying a frank attack or a feint, rather than an attack on the sword. Otherwise, he may be surprised to find that what he considered a good riposte is being judged a stop cut and what he considers his opponent’s remise, or redoublement, is being declared a good touch on the attack, following an attack on the sword. Such decisions are extremely difficult and, adopting baseball terminology, may be called a “director’s choice.” Frequently, he can reach a decision only through a knowledge of the habitual play of the individual fencers.

For the guard and type of play here advocated, the saber guard, which is designated “Olympic,” should be employed, as the Hungarian guard leaves the top of arm exposed in the low position.

_Costume and equipment._

With the exception of the weapon, there is no fundamental difference between the equipment for saber and for foil. The mask may be of somewhat heavier wire and somewhat more heavily padded. Some fencers prefer light padding in the jacket. Some like a leather or padded cap for the elbow of the sword arm. Some like a glove with some padding in the gauntlet. All of these differences are matters of personal preference--are permissible but not mandatory.

INDEX

Advance, 2

Attack, 22
compound, 25
concealed, 45
false, 44
frank, 22
simple, 22

Attack, advancing or en marchant, 40

Attack and Defence, relation of, 27

Attack from position or de pied ferme, 40

Attack on Execution, 30

Attack on Preparation, 30

Attacks on Sword, 32
suggestive or suggested, 33
real, 33

Balestra; _see_ Jump Advance

Beat, light and heavy, 33, 36

Bind, 34, 35, 36

Body Evasion, 31

Bout, 53

Breaking the Line, 47

Cavé (cavation), 50

Compound Attacks, 25

Coulé, 33

Counter Attack, 15, 29

Counter Parry, 19

Coupé, 23

Coup d’Arret; _see_ Stop Thrust

Coup de Temps; _see_ Time Thrust

Croisé (cross), 34, 36

Cut-over; _see_ Coupé

Deceive; _see_ Evasion of Parry

Defense of Desperation, 37

Derober; _see_ Evasion of Attack

Disengage, 23

Doigté, 9, 17, 21, 23, 24, 26, 37

Double, 27

Engagement, 19

Envelopée, septime and octave, 48, 65

Envelopment, 34

Épée, 87

Evasion of Parry, 25

Evasion of Attack, 37
_also see_ Body Evasion

Feint, 4, 24

Feint, effective, 25

Feint, legal, 4, 25

Finger Work; _see_ Doigté

Fleche; _see_ Passado

Froisé, 33, 36

Gain (gagnant), 41

Gauchers; _see_ Left Handed Fencers

Glide; see Coulé

Grasp (Grip or Hold) of Sword, 9

Guard, assumption of, 54

Guard, stance, 1

Guard, distinguished from parry, 17

Guards with sword, 15, 16, 17

Half Circle, 49

Hand, grip, 9
position in guards, 11

High Line, 17
_see also_ Lines of Defense or Attack

High Octave, 51

High Prime, 51

High Septime, 49

Inside Line; _see_ Lines of Defense or Attack

Invitation, 37

Irregular Position, 39

Italian School, 63

Jump Advance, 4

Left Handed Fencer, 19, 61

Les Avancés, 86

Liement; _see_ Bind

Lines of Defense or Attack, 11, 12

Low Line, 17
_see also_ Lines of Defense or Attack

Lunge, 5
disengage and-, 23
half and two thirds, 87
straight, 24

Octave, 17

One-Two, 25

Opposition in Attacks, 43

Opposition; _see_ Parry, slipping and yielding

Outside Line; _see_ Lines of Defense or Attack

Parry, in reference to contact with sword, 8
counter, 19
distinguished from guard, 17
releasing, 38
rolling, 16, 17, 86
yielding, 38, 39

Passado, 43

Phrase d’Armes, 29

Point d’Arret, 85

Press, 33, 36

Pronation of Hand, 11

Quarte, 16

Quinte, 16

Redoublement d’Attaque, 29

Remise, 28

Reprise d’Attaque, 29

Retreat, 2, 37, 42, 87

Right of Way, 4, 13, 15, 24, 27

Riposte, 28

Saber, 91

Salute, 53, 54

Seconde, 16

Septime, 17

Simple Parry, 17

Sixte, 16

Slipping Parry; _see_ Parry, releasing and yielding

Stop Thrust, 30
distinguished from Tension

Supination of Hand, 11

Sword, 7

Target, in foil, 11

Tension, 30

Threat; _see_ Feint, effective

Thrust, 4

Tierce, 16

Time Thrust, 30

Tour de l’Épée, 65

Transcriber’s Notes

Perceived typographical errors have been silently corrected.

Inconsistencies in hyphenation and compound words have been maintained as printed.

New original cover art included with this eBook is granted to the public domain.