But probably I have already transgressed the limits of my paper. What remains to be taught, and I know full well that it is everything except the merest rudiments, must be learned stick in hand. I can only wish the beginner luck, and envy him every hour which he is able to devote to acquiring a knowledge of sword-play.
The Salute.
Although the salute is a mere piece of sword drill, of no use for practical purposes, it is still worth learning, as being the preliminary flourish common at all assaults-at-arms, and valuable in itself as reminding the players that they are engaged in a knightly game, and one which insists on the display of the greatest courtesy by one opponent to the other. Even if you are playing with bare steel, it is expected of you that you should kill your enemy like a knight, and not like a butcher; much more then, when you are only playing a friendly bout with him, should you show him all possible politeness. On entering the ring you should have all your harness on except your mask; this you should carry in your left hand until you are face to face with your antagonist. When in the ring, lay your helmet down on your left hand and come to the slope swords—your blade upon your right shoulder, your elbow against your side and your hilt in a line with your elbow, your knuckles outwards. Your body should be erect, your head up, your heels together, your right foot pointing straight to your front, your left foot at right angles to it pointing to the left.
Both men acting together now come to the engaging guard, and beat twice, stick against stick; they then come back to the “recover” by bringing the right foot back to the left, and bringing the stick into an upright position in front of the face, basket outwards, and thumb on a level with the mouth.
After a slight pause, salute to the left in quarte, i.e. extend the stick to your left front across the body, keeping the elbow fairly close to the side and the finger-nails upwards; then pause again for a second, and salute to the right in tierce (the back of the hand up); pause again, and salute to the front, by extending the arm in that direction, the point of the stick towards your left front. Now step forward about two feet with the right foot and come to the engaging guard, beat twice, draw the left foot up to the right, draw yourself up to your full height, and come again to the recover, drop your stick to the second guard (i.e. low hanging guard for the outside of the leg), making a slight inclination of the body at the same time (probably this is meant for a bow ceremonious), and then you may consider yourself at liberty to put on your mask and begin.
Don’t forget, when you cross sticks, to step out of distance again at once. This salute, of course, is only usual at assaults-at-arms, which are modern tournaments arranged for the display of the men’s skill and the entertainment of their friends. At the assault-at-arms, as we understand it generally, there is no element of competition, there are no prizes to be played for, and therefore, so long as a good display is made, every one is satisfied, and nobody cares who gets the most points in any particular bout.
In competitions this is not so, and time is an object; so that as soon as the men can be got into the ring they are told to put their masks on and begin.
In assaults and in general play you cannot be too careful to acknowledge your adversary’s hits. In a competition do nothing of the kind. The judges will see that every point made is scored, and you may safely relieve your mind from any anxiety on that ground. But in general play it is different, and you cannot be too careful in scoring your adversary’s points, or be too liberal in allowing them, even if some of them are a little bit questionable.