A New System of Sword Exercise for Infantry

by Sir Richard Francis Burton

The ‘Infantry Sword Exercise’ is nought but a snare and a delusion. Except in pagination, it is the same as the “Revised Edition” of 1845—the only difference or revision that I can detect is the omission of a short sentence in p. 26 of the older issue; it even retains the General Order of Lord Hill, 23rd April, 1842. Thus “Revision” is confined to the plates. In 1845 the figures wear the milk-pail shako widening at the top, the frock coat and the scales; the last edition, dated April, 1874, dons the tall modern chimney-pot, the tightly buttoned tunic with stiff collar and, like its predecessor, the sash and the scabbard. It is no wonder that the figures display an exceeding gêne, the stiffness of pokers, as the phrase is: here we might with profit borrow from the French or Italian artist.

I am opposed to almost every page of this unhappy brochure, especially to the “Seven Cuts and Guards” of the target; to the shape of the target—I never yet saw a man absolutely circular; to the grip of the sword; to the position in guard; to the Guards or Parades, especially the inside engaging guard (Carte); to the Lunge; to the angle of the feet, and to the system of “loose practice.”

The “Cuts” will be noticed in a future page. Of the grip I may remark that the one essential, the position of the thumb, both in attacks and parries is, as a rule, neglected by the ‘Sword Exercise.’[1] As early as 1828, Müller made his point d’appui a grasp of the handle with the four fingers, the thumb being stretched along the back, in order to direct the edge, and to avoid the possibility of striking with the “flat.” The only exception to this universal law is when doing the “Moulinet” movements, which will be explained farther on. Some professors, both with broadsword and small-sword, would stretch the index, when pointing, along the right of the handle. I have objected to this practice in the rapier and the foil: except when done to change position for relief, it serves merely to fatigue the wrist. But the proper use of the thumb, “le pouce allongé sur le dos de la poignée,” which is troublesome at first, and which demands some study, especially from those who have acquired bad habits, is the base of all superior “counterpoint.”[2]

The position on guard is a debated point. Many, indeed I may say most, of the moderns follow the rule of all the older swordsmen, namely, reposing two-thirds of the body-weight (as in p. 19 of the ‘Exercise,’ which, however, is an exaggeration) upon the left leg. The reasons usually given are that in this position the person is not so much exposed; moreover, that the centre of gravity being thrown back adds spring and impetus to the Lunge. We may remember how Cordelois (1862) made a step towards change in his fencing-schools at Paris. My objection to the old style is that the farther you are from your opponent, the longer and slower will be your attack; moreover, I have ever found, in personal practice, that it is easier and more convenient to “sit on guard” with the weight equally distributed on both haunches and legs. In fact, that the backward position is not natural any pair of thighs can ascertain for itself after trying it for five minutes: whilst the muscles of the right or forward limb are relaxed as much as possible, those of the left are tight strung, so as to do double work and threaten cramp. This single objection is serious enough to counterbalance any other claims to superiority.

First Guard. (Prime.)

(“What to avoid.”)

Again, there is no excuse for the guards in the ‘Exercise.’ The “Hanging guard” (p. 18, in the older issue p. 21) is the worst that can be imagined—a painful spectacle, a lesson of “what to avoid.” The head ignobly cowers, and the eyes look up, in a forced and wearying position, when the former should be held upright, and the glance should be naturally fixed upon the opponent’s eye and blade-point; the body is bent so as to lose our national advantage of height and strength, and the right fore-arm in such a position is, and ever must be, clean uncovered. Let the recruit, however strong may be his haunches, stand a few minutes in this “Hanging guard,” and he will soon feel by his fatigue how strange, awkward, and strained it is. The Carte or inside Engaging Guard (pp. 19, 22), again, endangers the fore-arm. The Tierce or outside Engaging Guard (pp. 20, 23) holds the hand too low, and unduly shortens the arm, thus offering an undesirable amount of exposure; it is in fact not a Guard, but a bad parry in “low Tierce.” Worse still is the Lunge (pp. 14, 17): here the body is placed bolt upright, instead of being easily bent, without exaggeration, to the fore, prolonging, as every man instinctively would do at his first attempt, the line of the left leg. The former position is not only fatiguing and “against the grain;” also shortens the reach and carefully places the opponent safely out of measure. Many swordsmen still contend for the stiffly upright position in Lunge:[3] I am disposed to consider it a mere survival of the classical and artificial French school of arms, which aimed at opposing nature as sedulously as the Italian, who always leans to the fore, attempted to follow her dictates. Moreover, their arguments are founded upon the abuse, not the use, of the inclined pose which the body naturally assumes. In teaching the recruit it is well to see that he does not fall into the dangerous habit of throwing the chest forward (poitriner) to meet his opponent’s point; but the truth of muscular motion must be consulted.

Finally, I would note the mistake of “loose practice” with the single-stick instead of the sabre; it probably arose from a mistaken economy in saving swords and paddings. Single-stick is a different weapon, a cane or light cudgel with a basket-hilt covering the back of the hand, like the imperfect guard of the Highland Clay-more; it is straight, not curved, and, as the rod has no edges, so in practice every blow equally represents a cut. Single-stick has merits of its own, but its practice is fatal to excellence with the broadsword, and even the ‘Exercise’ seems to recognize the fact, for the guindés figures are armed with officers’ Regulation swords.

Inside Guard—(Carte).