Lessons in Sabre, Singlestick, Sabre & Bayonet, and Sword Feats / or, How to use a cut and thrust sword

by J. M. Waite

RETURNS.

Returns should be made with a longe with the greatest rapidity after guarding. Great care must be taken not to draw back the hand or point before making them.

They should, as a rule, be made direct, but may sometimes be preceded by a feint, and should be very much varied.

The best returns from the different guards are the following, placed in the order of their comparative merits, that is, the first is a better return than the second, and so on; but their application should depend a great deal on your adversary’s defence:—

From Guarding the Head.

Cut	at the head.
Do.	under the right arm.
Thrust	at breast with palm down (tierce).
Cut	at outside the leg.
Do.	left breast.
Do.	inside the leg.

From Guarding the Right Side under the Arm.

Cut	at the head.
Thrust	at the breast with palm down (tierce).
Cut	under right arm.
Do.	on outside the leg.
Do.	on left breast.
Do.	on inside the leg.

From Guarding the Left Breast with the Point of the Sword down (Prime).

Cut	at the head.
Thrust	at the breast with the palm turned up (quarte).
Cut	under the right arm.
Do.	at the outside of leg.
Do.	do. left breast.
Do.	do. inside of leg.

From Guarding the Left Breast or Left Cheek with the Point up (Quarte).

Thrust	at the breast with palm turned up (quarte).
Cut	at right cheek or neck (horizontal).
Do.	at head (left diagonal).
Do.	under right arm.
Do.	outside of leg.
Do.	left breast.
Do.	inside of leg.

From Guarding Outside of the Leg.

Cut	at the right side of the head, neck, or shoulder.
Thrust	at the breast (palm turned down).
Cut	at the inside of leg.
Do.	under the right arm.
Do.	left breast.
Do.	outside of leg.
Do.	left horizontal at head. As you form the guard draw back your sword until it is clear of your adversary’s point, and deliver a horizontal cut on the left side of his head.

From Guarding the Inside of Leg.

Thrust	at the breast (palm turned up).
Cut	at the head.
Do.	under the right arm.
Do.	outside of the leg.
Do.	left breast.
Do.	inside of leg.

From Guarding the Thrust under the Blade.

Make the returns as from guarding outside of the leg.

From Guarding the Thrust over the Blade.

Make the returns as from guarding the head.

Returns at the arm should always be made when an opportunity is given.

STOP THRUSTS.

A stop thrust is given, when a man advances with his attack. Immediately you see him move, deliver a straight thrust at his breast with a longe; you will then, if your movement is done in proper time, find your point on his breast as he has completed the advance, and he will be unable to longe and deliver his attack.

To prevent this thrust being made on you, beat under your adversary’s blade as you advance.

PLATE XVI.—TO DECEIVE THE BEAT UNDER THE BLADE (QUARTE THRUST).

PLATE XVI.
To Deceive the Beat under the Blade (Quarte Thrust).

As your adversary advances with a beat, pass your point over the forte of his blade, and thus avoiding his beat, longe and deliver the thrust.

To Avoid This.

Instead of beating under the blade as you advance, pass your point over the blade and beat down.

PLATE XVII.—STOP CUT AFTER DECEIVING THE BEAT OVER THE BLADE.

PLATE XVII.
Stop Cut after Deceiving the Beat over the Blade.

As he advances with a beat over your blade, draw your arm back, and, avoiding his sword, deliver a cut at his head, or a thrust at his breast, with a longe.[^[4]] This may also be done on a man who attacks your sword, or who makes short cuts at your head. On such occasions you must be careful to draw your hand towards your right temple, so that should he make a real attack your head would be guarded.

[4]. If it should unfortunately occur that you have to defend yourself with an ordinary stick against a man similarly armed, he will probably seek to disarm you by cutting at your hand. Deceive him by offering the hand, and on his cut, draw it back, and cut straight at his head. His blow will fall harmlessly, and the effect of yours will be considerably confusing to him.

Stop thrusts may also be used with great effect on a man who retires as you lead off at him, and then advances before making his return.

To do them under these circumstances, you must be very quick on your legs, so as to be able to recover to your guard and deliver the thrust as he advances.

If you are not quick enough to do this, make a false attack with a half longe and draw him; you will then have more time.

To Draw the Stop Thrust and Stop Cut.

These may be drawn and parried thus: Advance as if you intended to attack, but instead of doing so parry the thrust and return quickly.

PLATE XVIII.
Another Stop Thrust used against a Man who Longes with his Arm Bent, or who Draws his Hand Back when Attacking.

PLATE XVIII.—STOP THRUST (TIERCE) WHEN A MAN DRAWS HIS HAND BACK TO ATTACK.

Immediately you see him move, longe and deliver a straight thrust, or you may give the thrust without longing, by merely straightening the arm. I prefer, however, to longe with the thrust, as it is more certain to stop the attack.

Stop thrusts, to be successful, should be given without hesitation and with the greatest boldness.

REMISE.

A remise is a sort of time hit made on the longe, when a man after guarding delays his return. It is done thus: Immediately after you have delivered your attack, draw your hand and head back to simulate a recovery, and without moving the foot, make a second hit at the same place as rapidly as possible.

Unless this hit is given decidedly before the return is made, the hit counts to the one who returns.

Renewal of the Attack or Redoubling.

A redouble is a renewal of the attack when your adversary after guarding does not return. It should be done with great rapidity and in a different line to that of the first attack.

REPRISE ATTACK.

A reprise is a sudden repetition of the attack, after a phrase in which no hit has been got and both have returned to the guard. It must be done with great quickness, so as to catch your adversary a little unprepared.

PLATE XIX.—TIME THRUST WITH OPPOSITION.

PLATE XIX.
Time Thrust with Opposition.

A time thrust can be made when a man feints at your head and tries to deliver a cut under your right arm, or on any part of the right side down to the foot.

As he raises his point to feint, make a straight thrust at his breast with a longe, keeping your hand as high as your right shoulder and a little to the right of it. Palm turned down.

Should you be quick enough, your point will fix on his breast, and his cut will fall on the forte of your sword.

If you are too slow, your thrust will guard his attack, although you may not touch him.

The same movements should be executed on the adversary, when from the engagement of High Seconde he endeavours to deceive prime, or, when from that of tierce, he tries to deceive quarte with “One, Two.”

Another Time Thrust.

When from the engagement of quarte he attempts to deceive tierce by a “One, Two,” lower your point on his first movement, and bearing your hand to your right, deliver a thrust on his right flank with a longe. Hand to your right and palm turned down.

To Draw and Stop a Time Thrust.

Feint a cut at the head or a thrust over the blade, and instead of delivering a cut or thrust, parry the thrust, and return with a half longe.

PLATE XX.
A Time Cut.

PLATE XX.—TIME CUT WHEN A MAN RAISES HIS HAND TO ATTACK.

When a man raises his hand or draws it back to lead off, hit him on the outside of the wrist and get away out of distance.

In using the stop thrusts, remises, and time thrusts, great judgment is required. They should never be attempted until the swordsman has had considerable experience. When given at the proper time, they are beautiful and effective strokes, but when badly timed, great danger attends their use, and mutual hitting is often the result.

Young players will do well not to attempt them.

In an assault, should you find yourself timed and not know how to draw and stop a time thrust, your safest plan will be to make direct attacks only, that is, attacks not preceded by a feint.

DRAWING.

Is to induce your adversary to deliver a certain cut or thrust for which you are prepared. To do this, make a false attack, that is, attack with a half longe so that you can the more readily recover and guard; thus, having drawn out and guarded his cut, instantly deliver a genuine one.

To prevent this being done upon you, draw back your hand as your adversary makes his false attack, and thus avoiding his sword, deliver a cut on his head with a longe (vide Plate [XVII].).

OBSERVATIONS ON FEINTING.

When a man makes a feint on you and you foresee his intention, do not answer it, but wait and parry his last movement. When acting on this principle, take care he does not make a direct attack, for should he do so, you will be too late, as his arm would be straight before you have moved.

If you answer a feint, form your first guard as lightly and as correctly as possible, so that you have time to make a second one.

By not forming the first correctly, your adversary, taking advantage of your fault, would be able to hit you when otherwise he could not. The hits shown in Plates V., VI., and VII. are got through this cause.

When you are in doubt about his intentions, step back out of distance on his first movement.

When a man will not answer your feints, make them with greater energy and rapidity, and thus force him to do so.

How to Deal with a Man who is Continually Countering.

When you meet with a man who is guilty of this very bad practice, you should deal with him in the following ways:—

Either act on the defensive and let him lead off, then after guarding, return as quickly as possible and get away.

Or, make false attacks, and thus draw out his counters, which guard, and then returning with great quickness, get away.

Or, by opposition, when, should his counters be directed at your head or left side, lead off without feinting with good opposition (in fact your opposition should be slightly exaggerated) at the part of his person which will correspond with that of your own at which you think he will aim his counter.

If his counters are directed at your right side, attack him with a straight thrust with your hand as high as, and a little to the right of, your right shoulder. Palm turned down.

When Opposed to a Man who Engages in Quarte or Tierce.

When opposed to a man who engages in quarte or tierce, you will find that he will guard his right cheek and side with tierce, and his left side with quarte. You may then make the following attacks in addition to those already shown:—

From the Engagement of Tierce.

Cut at the inside of his wrist.

Feint inside the wrist and cut at the outside.

Feint at the left cheek and cut at the right.

Feint at the left breast and cut at the right side or at his forearm.

From the Engagement of Quarte.

Cut at the outside of his wrist.

Feint outside the wrist and cut at the inside.

Feint at the right cheek and cut at the left.

Feint at the right side and cut at the left.

His stop thrust should be avoided in the following manner:—

To prevent him from giving you a straight thrust as you advance to attack, beat his blade either in tierce or quarte.

Should he avoid the beat by disengaging and thrust upon you, make a beat before you move the feet, then, as you advance, change quickly and beat on the other side of his blade, and instantly deliver your attack.

The beat will probably draw his disengagement, and the change will parry it.

To change is to pass your sword under that of your adversary, and rejoin the blades on the opposite line.

OBSERVATIONS.
On Countering and Hard-Hitting.

When you are making an assault with sabres or sticks, remember they are substitutes for sharp swords, and act as though every hit you would receive would either kill or disable you. All your movements must be governed by this idea. You should never attempt to do anything with a stick that you could or would not do with a sword.

You must remember that in an actual combat the sabres have sharp points and edges, and that a very light touch would probably place you hors de combat.

Hitting at your adversary when he is attacking you is almost as bad as cutting your own throat, for you are almost certain to be more or less seriously wounded; your chances of escape are very small indeed. You must, therefore, always endeavour to guard the attack and never counter except when you can avoid the hit by shifting.

You must never hit after you are hit, as it is very doubtful if you would be able to do so with sharp swords.

The act of countering, so deservedly popular among boxers, is not admissible here. A blow with the fist will probably only shake you, but with a sharp sword the effect would be much more serious. There is no such thing as give and take with that weapon, and I question if there is much in a serious encounter with sticks, as a well delivered blow on any part of the head would in all probability cause a cessation of hostilities.

Rough and heavy hitting should be avoided: it destroys quickness; greater effect is given to a hit by pace than by force.

A hard hitter has to brace himself together before attacking; he thus prepares, and while doing so may easily be hit.

If his attack is guarded, he cannot recover and guard a return so readily as he ought to do.

His returns are not given so quickly as they should be, for after guarding, he is almost certain to draw his hand back in order to make them with greater force.

As he hits, so he will guard; heaviness will pervade all his movements; therefore, if you deceive his guard, he cannot make a second one with sufficient quickness to stop a good attack, as he will throw too much force into the first.

Slowness is the natural result of heaviness, quickness that of lightness; therefore, if you wish to become a bon tireur, cultivate and practise light play.

In trying to play light, you must not get into the habit of making snatching hits by which you would only scratch your adversary. However lightly you deliver them, let them be so given that with a sharp sword they would be effective, and your points fixed so that they would penetrate.

CUT versus THRUST.

Some writers on the sword, acting on the presumption that the sword must be elevated in order to gain force before cutting, have asserted that the point traverses two-thirds less distance when thrusting than when cutting. If this were correct, the less use made of the cut the better, as a good swordsman would most certainly give a time cut on the arm or deliver a thrust on a man while he was thus preparing to cut.

I once saw a sketch drawn to prove this assertion, in which the man thrusting was depicted with his point lowered to a line with his adversary’s breast instead of being level with his eye, while the man who was cutting, and should have had his sword similarly placed, had his point drawn back and raised about two feet above his head, a distance greater than I should draw the point of my sword back were I going to cut the carcase of a sheep in two at one stroke.

The point should not be drawn back or elevated when cutting either in an attack or in a return.

There is only one direct cut in leading off (that at the head), and that can be given with quite sufficient force without the slightest elevation of the point if the sword arm and leg act together.

In all other attacks and returns the feint, or the act of forming the guard, gives great impetus to the cut.

It has also been asserted that in making a thrust the sword moves in a straight line, and in making a cut it moves in a circle.

This assertion is erroneous, and having been made without contradiction, has been generally accepted as a fact, and hence become a popular error.

All straight thrusts and disengagements move in straight lines, but in the cut over, the point has to be drawn back before the thrust can be given, and when a cut over is made after a parry, the point traverses as great if not a greater distance than in any cut.

Compare the following movements, which I think are the longest made either in thrusting or cutting.

Engage with foils in quarte and parry the disengagement into tierce with prime, and riposte with a cut over.

Engage with sabres in high seconde, and, guarding an attack at the head with prime, return at the inside of the leg.

All direct cuts at the right side on any part from head to foot, from whatever guards they are made, move in as straight lines as any thrusts that can be given, and are consequently as quick.

In all other cuts the point moves in a circle.

However partial one may be to the thrust, and I acknowledge that I am one of its partisans, justice should be given to the cut, and although it may not in every instance be so quick or so fatal in its effect as the thrust, it has its advantages. Among others, it rarely passes, that is, goes by the object aimed at, without touching it, as the thrust will often do, more particularly when aimed at the arm or leg.

USEFUL HINTS.

Immediately you go on guard, touch your adversary’s sword with yours, and retire out of distance to avoid a surprise. This is called “engaging.”

Keep your eyes open and fixed upon your adversary, watching all his movements.

Hold yourself in as easy a manner as possible, particularly the sword arm.

Keep your knees well bent while setting to; you cannot longe quickly unless you do.

Move the feet lightly, and never drag them on the ground.

Be careful to always keep sufficient room behind you to be able to retire. Should your adversary try to drive you back, either attack him or threaten an attack.

While manœuvring, keep out of reach, and plan your attacks and deliver them immediately you are within distance, then recover to the position of guard whether you have succeeded or not.

Should your adversary guard your attack and return, form the necessary guard, and make a second attack without the slightest delay.

Do not hit at the same place more than twice in succession, but vary your attacks and returns very much.

After two or three exchanges, break away out of distance to steady yourself and plan your next movements. In making long phrases you get slow and out of form, and, consequently, are not likely to get a hit.

Always deliver your cuts with a true edge and with the centre of percussion, which is generally about seven or eight inches from the point. It is the most effective part of the sword to cut with, and will not jar the arm like a cut made with any other part of the blade.

Never press upon your adversary’s blade after having delivered a cut or thrust, but recover as quickly as possible to guard the return. Should he press upon yours, disengage and return as quickly as possible.

Make all your cuts with the wrist; never throw your arm out of line, but always keep it in front of you.

The action of cutting at your opponent’s left side (called the inside line), is something like that of throwing, and at his right side (outside line) like that of whipping.

Always keep in front of your opponent, never more to your right or left; should he do so, keep on your own ground, turning only so much as to enable you to have your right toes pointed to his. Let him move round as much as he likes: he will only tire himself and gain no advantage.

Keep the head and body erect and quiet in all positions.[^[5]] If you lean forward on the attack, a man much shorter than yourself can thrust you through the head by simply retiring and straightening his arm, while your attack would not reach him. You also cannot recover quickly, as too much weight is thrown upon the front leg.

[5]. The advantages of this are fully and clearly shown by that justly celebrated fencer, Captain G. Chapman, in his “Sequel to Foil Practice.”

Avoid remaining on the longe and getting to close quarters, no true defence can be made when in-fighting.

If you remain on the longe, your adversary may easily and without any danger step forward with his left foot and seize the wrist of your sword arm with his left hand.[^[6]] By always recovering to your guard such a manœuvre is avoided, and, if attempted, you may easily deliver a straight thrust as he steps forward.

[6]. Although this would not be permitted in a duel, a man would not hesitate to do it in actual combat.

Another reason why you should always recover to your guard after an attack is, if you remain on the longe and your adversary retires one step, you cannot reach him; he has then the advantage of position, and will be able to attack you, while you can only act on the defensive.

If you can hit your adversary without feinting, do so, as it is more dangerous to make two motions than one.

Use judgment, study your opponent’s play, and make no meaningless movements. An assault ought not to last longer than ten minutes. After that time, if you have fenced with energy and vigour, you lose your quickness and get out of form, and thereby contract slow and bad habits.

EXERCISES.

The following exercises may be practised by two advanced players. The hits and guards must be made as correctly, smartly, and as rapidly in succession as possible, taking it in turns to lead off. Care being taken not to move the left feet, and to strictly preserve the proper distance between you.

The following is an example of the way in which they should be gone through:—

We are both on guard, and in hitting distance.

I say, “You lead off.”

Head, head, under right arm.

You then lead off at my head, which I guard and return with a longe at yours.

You recover, and guard your head, and then with a longe hit under my right arm, I guard.

We should then remain steady a few moments, you on the longe hitting under my right arm, I on guard defending my right side, to see if the positions of the sword arms, feet, and bodies are correct.

This should invariably be done at the finish of each exercise. It helps to keep you in form.

Another Example.

You say to me, “You lead off.”

Feint head, and hit under right arm. Thrust at breast. Head.

I feint at your head, and cut under your right arm, which you guard, and longeing, return with a thrust at my breast.

I recover and parry it, then, with a longe, cut at your head. Both remain steady to see the positions.

1st Exercise.—Head. Head. Head.

2nd do.—Head. Head. Under right arm.

3rd do.—Head. Head. Outside leg.

4th do.—Head. Head. Left breast.

5th do.—Head. Head. Inside leg.

6th do.—Feint head, hit under right arm. Thrust at breast. Head.

7th do.—Feint head, hit outside leg. Thrust at breast. Head.

8th do.—Thrust straight at breast. Head. Hit under right arm.

9th do.—Disengage with a thrust. Hit under right arm. Head.

10th do.—Head. Head. Hit under right arm. Thrust at breast. Head.

11th do.—Head. Head. Hit outside leg. Thrust at breast. Head.

12th do.—Feint a thrust under the blade, and hit at the head. Inside leg. Thrust at the breast. Head. Head.

In these exercises you must not get into the habit of cutting only at each other’s swords, and thereby making a mock combat, but you should try to hit each other on every occasion.

THE SALUTE.

The Salute is a ceremony usually performed by two sabre players previous to making an assault. It is a mark of respect to those looking on, and an act of courtesy to each other.

Both should move together, and keep correct time throughout its performance.

There is no established method, but the following is that generally adopted by the best sabre players I know.

The two adversaries, facing each other in the first position, without wearing masks, which should be laid on the floor on their left, go smartly on guard, as shown in Plate [II]., and having beat twice on each other’s blades, return to the first position.

Both bring the hilt to the mouth, the point of the thumb level with the lower lip, sword upright, and edge to the left. This is called “Recover swords.” Then turning the face and directing the eyes to the left, slowly and gracefully extend the arm and the sword in the same direction until the point is level with the centre of the face and arm nearly straight, hand in quarte, and as high as the shoulder.

After a short pause both again recover swords, and, turning the face to the right, extend the hand in a similar manner to the right. Hand in tierce.

From there they recover swords, and, falling on guard, beat a double attack with the right foot (a beat with the heel and one with the flat of the foot in rapid succession). Then, bringing the left foot up to the right, recover swords, and lower the hand and sword slowly towards the right hip. Arm straight, palm down, and edge to the right.

RULES.

You must not attack until an engagement has been formed.

Touches on any part are counted good.

You must not hit after you are touched, but recover to the first position and acknowledge the hit.

After each hit, both men should go to their original ground, and form a fresh engagement before renewing the assault.

When a man leads off with proper quickness, the other should guard before returning. Should he not do so, the hit belongs to the one who led off.

When two men lead off together and both hit, neither hit is counted.

When the Remise or Redouble and Return are made together, the hit belongs to the one making the Return.

If the Stop Thrust is not made in sufficient time to prevent the attack being delivered, the hit counts to the one making the attack.

A hit is counted good after a disarmament, if given immediately after and before there is time to think.

DRESS FOR SABRE PLAY.

Although the figures in the preceding illustrations are shown without masks or pads, no practice ought ever to be made without them. The following is the dress usually worn.

A flannel shirt and trousers, shoes with soles of buff leather, without heels.

A stout leather jacket, arm guard, leather apron, leg guard on right leg, and a pair of shoulder pads, shaped like a milkman’s yoke.

A strong helmet covered with leather on the top, with large ear guards, and the mask of strong wire with the meshes sufficiently small to prevent the point of the sabre passing through. A leather stock should also be worn round the neck.

When practising with sticks, the shoulder pad and arm guard may be dispensed with, and the hand ought to be protected with a buffalo hide hand guard.

Basket hilts are dangerous, as the point of the stick is apt to pass through them, and your hand may thereby be seriously injured.

PRACTICE SABRE.

The practice sabre should have a quill edge, which is the bluntest edge there is, and the point should be rounded off.

SABRE v. BAYONET.

While writing on this subject, the fencing names of the parries will be used, viz.:—

Prime	(Head Guard).
Seconde	(Outside Leg Guard).
Tierce	(Outside Guard).
Quarte	(Inside Guard).

In describing how to deal with a man armed with a rifle and bayonet, it will be necessary to explain his methods of attack and defence.

A bayonet should be used like a foil, but in consequence of its weight and general unwieldiness, the simple movements of the latter weapon can only be executed by it, and as the sabre, from its weight and shape, is similarly circumstanced, the two arms, in that respect, are on equal terms.

PLATE XXI.—ENGAGING GUARD.

PLATE XXI.
Engaging Guard.

A bayoneteer, therefore, engages in tierce or quarte, from which he can make the following attacks:—

A straight thrust.

A disengagement.

Feint a straight thrust and disengage.

“One, Two” (feint a disengagement into one line and disengage into another).

How to Parry his Straight Thrusts and Disengagements.

All his straight thrusts or disengagements over your blade may be parried with prime, and all those under your blade with seconde.

These parries are stronger than tierce and quarte, and are, therefore, better adapted for parrying such a heavy weapon as a rifle and bayonet.

They also defend the head and leg as well as the body, while the others only guard the breast.

Tierce and quarte may, however, be occasionally used against his thrusts at the breast. A greater variety of returns would be thereby obtained.

How to Parry, “Feint a Straight Thrust, and Disengage.”

His feint of a straight thrust, when engaged under the blade and disengagement over the blade, may be parried with seconde and prime.

His feint of a straight thrust, when engaged over the blade and disengagement under the blade, may be parried with prime and seconde.

How To Parry “One, Two.”

His “One, Two” below and above your blade may be parried with seconde and prime, and his “One, Two” above and below your blade with prime and seconde.

If he should deceive your quarte by feinting in quarte and thrusting in tierce, parry tierce.

If he deceive your tierce by “One, Two,” parry seconde.

Should you at any time foresee that he is going to attack with “One, Two,” do not answer the feint, but wait and parry his last movement.

Your parries, which should be made with the edge of the forte of the sword, must be close, and finished with firmness, without stiffness or too much force.