The Complete FENCING-MASTER: In which is fully Described the whole Guards, Parades & Lessons, Belonging to the SMALL-SWORD; AS, ALSO The best RULES for Playing against either Artists or Ignorants, with Blunts or Sharps. TOGETHER With Directions how to Behave in a Single Combat on Horseback: Illustrated with Figures representing the most necessary Postures. By Sir W. HOPE, Kt. LONDON, Printed for Dorman Newman at the King's-Arms in the Poultry, 1691. TO THE YOUNG NOBILITY AND GENTRY Of the KINGDOM of SCOTLAND My Lords and Gentlemen, I HERE present to You a SCOTS Fencing-Master, who going to appear publicly in the World, cannot but at ●is first outsetting expect some Enemies, ●ntil his Art make him more Famous, ●nd therefore he humbly adresseth himself to you, as the fittest persons to defend him from the Censures of these his evil Wishers, because he knoweth that it is by such Young Persons as you, that he and his Art must be Maintained and Defended, for if such hopeful Youths as You are encourage not his Art, it were then altogether in vain for him to offer his Service to the Public; But upon the contrary, if you do, he hopeth that in a short time his Ability in this Art will be so well known, that there shall be but few in the Kingdom who will not inquire after him. And, My Lords and Gentlemen, I the more earnestly recommend him to you, because he is my intimate Acquaintance, and of whose Abilities I have also certain Proofs; therefore if there be any thing to lay to his Charge, let your Complaint be to Me, and if I be not able to answer for him, let not his Ignorance be imputed to him, but to Me, for I am the occasion of it; But I hope I need fear no such Complaints; I am also to let you know that he hath so much Respect for the rest of the Fencing-Masters of this Kingdom, that he pretendeth to do nothing without their Concurrence, for he will accept of no Scholars (except such as are of an extraordinary Capacity) until they be at first grounded by the other Masters of this Kingdom, for I know he hath Lessons which would not be well understood by many altogether ignorant of his Art; & therefore I thought fit to advertise you, that it is fittest to begin with any other Master you please, & to make him your last, who will, I assure you perfect what the others have begun. I might here say something in Commendation of the Art he professeth, but I shall do that in another place; S● all I crave of You now, My Lord's a● Gentlemen, is that You would do me the Favour to receive Him into Your Protection● and take a Trial of Him; If He please You● I have my Design; if not, it will make M● the more warryin time coming, to put either You or Myself to the like trouble; but however at this time I hope You will look Favourably upon Him, and encourage his Employment, seeing he is so earnestly recommended to You by Me, who will take it as one of the greatest Obligations imaginable done to My Lords, and Gentlemen, Your Humble, and Obedient Servant, WIL HOPE. TO THE READER Lest I should be thought singular, I shall say something by way of Preface, wherein I shall answer some Objections which it is like may be made both against the Subject I treat of, and against Me for treating of it, as being a work altogether of no use. The first Objecteth against the Subject I treat of, Object. 1. against the subject. (which is of Fencing, or the Art of Defending Ones self with the Small Sword from their Adversary) and saith, it is not worth the while to understand it; because saith he, if it be a Man's Fate to be killed, his understanding of this Art will never save him. Any Rational Man will laugh at this Objection, and think it not worth the Answering, Answer. but yet I will take the pains to convince them, (if possible) who over they are who will have the confidence to make such an Objection, of the contrary by Reason; I deny not but what ever Providence ordaineth is unevitable, yet we are to use all the means imaginable to preserve our Lives as long as we can; otherwise we should be careless and not provide for our Subsistance, nor in any manner defend ourselves, which is a thing most ridiculous, and the contrary of which we see daily practised; For when one Country or Kingdom cometh against another, do they not now a days endeavour to fortify their Cities, that they think lie most open to be attaqued, with all the Art imaginable; As also, do they not endeavour to bring as well trained Men to the Field as possible, that so they may defend themselves with the more ease by their Art, and fight with the less confusion: I am sure any man that would deny the use of Fortification, or the bringing of well Disciplined Men to the Field; and would maintain that a Company of Rabble would come as soon to their purpose, and defend themselves as well; If I be not deceived, such a person would be accounted very ridiculous. Therefore seeing through all the World almost, Art is allowed to one Kingdom against another, and to one Country against another, I know no reason, and certainly there is no reason, why it should not be allowed to one single Man against another. But saith he, Object. 2d: what Advantage have those who have practised this Art, of others who understand nothing at all of it, seeing that we daily see that the understanding of this Art hath but little effect; for as oft, yea oftener, those who understand this Art, are worsted by Ignorants, than the Ignorants by them, and therefore I think a Man is as well without it as with it? I think no rational Man will deny, but when two Men of equal Courage are engaged one against the other, Answer and the one hath Art and the other none, but it is ten to one, That it is an advantage for a man to understand Fencing. that he that hath no Art be worsted, seeing no rational Man can say, that a Man's Art in any manner taketh away his courage. I confess that a complete Artist will not be so rashly forward as a rude Ignorant, and the reason is, because when he pursueth he doth it with Judgement, and waiteth an apportunity, which the other cannot; for although he did wait for an opportunity of pursuing, yet not having Art, he would be as far to seek after he hath got it, how to make use of it, as if he had not got it at all, and it is upon that account that most part of Ignorants pursue furiously and irregularly, because they know they can have no Advantage by not doing of it, and by chance may have advantage by doing of it, if they have to do with one who is but half an Artist, you may see by this that the Ignorants rash forwardness proceeds from his want of Art; and the Artists deliberation from his having Art: Now seeing Art taketh not away Courage, then certainly the Artist hath this Advantage of the Ignorant (being as I supposed of equal Courage with the Ignorant) that his Art maketh him to defend himself a great deal better, than the other can be expected to do and also to pursue better when he hath an opportunity, which the other being ignorant cannot do; and therefore I say being of equal Courage, it is ten to one but the Artist master the Ignorant, although the contrary may fall out; for there is nothing certain in this World. Now I will reduce the Reasons why that sometimes falleth out unto Three. First, Reason 1. There are but few good Sword Men to be found, and many get the name of Artists who are really but Ignorants; The reasons why ignorants sometimes overcome Artists. For if a Man hath been but a month or six weeks at a Fencing School, presently he is said to understand this Art, and when such a person as this is engaged against an Ignorant, in stead of having any Advantage by what he bathe been taught; I can assure you he hath rather a disadvantage, because what he hath Learned hath put away his Natural and forward Play, and maketh him understand the hazard there is in being too forward; And therefore taking himself to the Defensive part which he is not master of, O he findeth himself in a confusion, because to pursue the little Art he hath maketh him to know the hazard that he runneth, in doing of it, and to Defend he cannot, because he hath not as yet had practice enough to be master of the the Parade, so that he hath the disadvantage of the altogether Ignorant, in so far as he is not so forward, because he knoweth the hazard of it; whereas the others ignorance maketh him more forward, and so is the occasion of his mastering the other, who gett●th the name of an Artist; and indeed is neither altogether ignorant, because of his being a little grounded in the Art, nor an Artist, because he had not the Time, or at least took not the pains to perfect himself in it. And therefore he is rather the worse of that little Art which he hath, than the better, and that for the Reasons I just now told you; and such an accident as this maketh this Art undervalved, because an Ignorant hath overcome one that understood this Art, as they call him. But there is a great difference betwixt a Man that is but grounded, his playing with an Ignorant, and one's playing that really knoweth how to make use of his Art with judgement: I say if an Ignorant meet with such a person, he will find that he hath but too too great Advantage of him, if be come to make use of Sharps: Yet Ignorants will sometimes overcome those who understand this Art very well; and my other two Reasons which I have yet to show you, are the Reasons why that falleth out. 2 If he that hath Art be in drink, and the Ignorant sober, Reason 2. then undoubtedly the Ignorant hath by far the Advantage of him, because although the other hath Art, yet he hath not his Judgement about him, to make use of it; and if they be both in Drink, then still the Ignorant is in equal terms with the other; And so as the Proverb is, Let it fall upon the Feyest; for neither Art nor Conduct can be made use of by persons the one of which is Ignorant, and the other wanteth the use of his Senses. 3 Now the next and last Reason why Ignorants are in equal terms, Reason 3. or have the Advantage of those who have taken the time really to practise this Art, and understand it, (and really this is a chief Reason, and I wish from my Heart that Men could master their Passions more than they do, that so they might prevent it;) is that when it is the humour of such Artists to be passionate, than they are at the very fight of their Adversary so transported by their Passion unto a Fury against him, that they cannot take the time, nor have the Patience to make use of their Art, but rushes headlong to their own Destruction; so that in such a case a Man's Art signifieth just nothing, because being in passion he is not master of himself, and consequently not master at that time of his Art, which upon such an occasion he stands most in need of. For if a Man intent that his Art should do him Service, than his Judgement must go along with it, otherwise his Art will signify unto him but very little. I think what I have now said, sufficient to convince any Rational Man, that it is an advantage, (and that no small one) to have Art, if he that hath it knoweth how to use it. But for such who will undervalue this Art, although they can give no Reason for it, and who will not be convinced of the Advantage a Man hath by it; I wish that one day to their sad Experience and Cost they may not be forced by their Ignorance (when it will be too late to help it,) to acknowledge its usefulness. The following Objections are against myself, and there are three of them; Object. 1. against myself. the first is, that although the Art be very useful, yet this Treatise of mine, is of no use, neither can it be of any, to such as never had a Master. The Second is, Obj. 2. That I should have offered to Treat of a Subject that hath been already fully Explained by others, and who 'tis like understood this Art better than I do. And the Third is, That I should have made it by way of Dialogue, Obj. 3. and not in a continued Discourse. In answering of which Three Objections, I think there is no great difficulty. As to the First then, Answer to the first Object: That this Treatise is of no use to those who never had any Insight in this Art from a Master. I confess it, The design of putting out this Treatise. for the Design of putting out this Treatise is not upon such Persons account, for it is like had I thought, that this Treatise would have supplied the place of a Master to those who never had any Insight in this Art; I never had been at the pains to make it public, seeing all who know me, know that I have a greater kindness for these who profess the Teaching of this Art, then to do any thing to prejudice their Calling: and to tell the Truth, people here are ready enough of their own Accord to neglect, and undervalue a Fencing-Master, without a Man's setting out 〈◊〉 Treatise to show them, that they may be mad● Masters of this Art, without the help of one 〈◊〉 so now the main design, and use of this my small work, is not for those who never had any insight in this Art, although such persons will be a grea● deal the better of having it by them in thei● Chambers, when they are at a Fencing School for when they come home from the School, they will find their Lessons explained in this, which will be a great help to their Memory, and also i● they follow my advice, make them become sooner Masters of this Art, than perhaps otherwise they would My Advice is, that what ever Lesson in this small Treatise they would put in practice, that they would get it exactly by heart; if they observe this Direction, they will in a short time find what advantage they will reap by it: But as I said before, it is not so much for the use of such Persons, as for the improvement of these who are already grounded, or Masters of this Art, who when they have been out of practice a little, will find a great advantage in the very reading of it over, for it will bring the Theory again to them which 'tis like they could not have so well, nor easily attained without the help of a Master, the advantage of which many cannot have in the Country, Yea, nor in many Cities in this Kingdom, there are so few in it, and yet more than are well employed, which is a great does encouragement to them; and the Reason why we have so few of them. Also I thought that such a plain piece as this falling into such persons hands, who far from having ever seen any thing of Fencing, 'tis like perhaps did never so much as know what it meant, this piece I say, falling by chance amongst their hands, I thought it might be a means to cause them be more earnest after the understanding of this Art, and so mind them of enquiring after Fencing Masters of whom we have very able Ones in this Kingdom, so that we need not be beholden to our Neighbouring Nations for the perfecting of our Youth in this Art, seeing we have it most exactly taught in his Kingdom, and although it be not taught perhaps with so good a grace, as abroad, yet I say, if a Man should be forced to make use of Sharps, our Scots play is in my Opinion, far before any I ever saw abroad, as for security; and the Reason why I think it so, is, because all French play runneth upon Falsifying and taking of time, which appeareth to the Eyes of the Spectators to be a far neatter, & Gentiler way of playing than ours but no man that understands what secure Fencing is, will ever call that kind of play sure play, because when a● Man maketh use of such kind of play, he can never so secure himself, but his Adversary (if he design it) may Contre-temps him every Thrust, now our Scots play is quit another thing, for it runneth all upon Binding or securing of your Adversaries Sword, before that you offer to Thrust, which maketh both your Thrust sure, and your Adversary uncapable of giving you a Country temps, if you understand this Method of play, as you should: and I appeal to any rational Man, who hath really been taught, seen, and considered, both Methods of Playing, if what I say be not true as to the security of a Man's Person, which is a main thing to be considered in Playing with Sharps. I shall insist no longer upon this, it only coming in be the by, only I shall tell you ingenuously, that I had really no other Motive, for giving this small piece to the public, but as I have before told you, that I thought it might be a means to cause our Youth ply it more earnestly, & so encourage the Fencing Masters to bring this Art to a greater perfection if possible; That so Our Youth may be perfected in an Art, of which at present (& really it is a disgrace to our Nation) they are so Ignorant of, it being of so great use to Mankind; But more especially to those who pretend to have the Name of Gentlemen. Because, ordinarily they stand more in need of it than others, and therefore it is most proper, that they above all other people should understand it, also it was upon their account, that I was at first moved to writ of this Subject, which I am very sensible deserveth a far abler pen than mine, to Explain it. As for the Second, which is, Answer to the second Objection. That I put myself to an unnecessary trouble, in treating of a Subject that hath been already treated of by others, and who 'tis like understood this Art better than I do. I say it is hard to light on a Subject that hath not been in some manner treated of by others, but I only beg that this small work of mine may be compared with others of this kind, and then I am confident you will find a great difference betwixt them and this, for in them (at least in all of them that ever I saw) you will find a great many things ill Explained, and almost unnecessary, besides that there is such diversity of Lessons, with their contraries, and so many of them, that it is impossible without a great deal of pains, and a vast memory to remember them all; whereas in this there is nothing but the very grounds as it were, and the Lessons upon which this Art depends, so that I account a Man that understands not the Lessons I have here given him, but an Ignorant, because they are in effect the Quintessence of this Art; But upon the contrary, if he understand them, and know exactly how to put them in practice, I account him an Artist, because once knowing the grounds by which he is to walk, he will of himself find out diversity of Lessons, together with their contraries to play upon such as are engaged against him, which will be of greater use to him then if I should have set him down more, which its like would have Emberassed his judgement, whereas his own are more natural to him; and providing he observe the Directions I shall give him, as good. And for those Authors who have treated of this Subject before their understanding of this Art better than I do. I shall not deny it; First, because (as I told you before,) I am perhaps more sensible of my own weakness than you are. Secondly, although I had a better opinion of myself then really I have, yet I have more of good manners then openly either to discommend them, or commend myself; But this much I will say for myself, that what I have here given you in this small Treatise, I am sure will be approven of by all who understand what Fencing is; so that I undervalue what Ignorants can say of it, seeing it was not for such Criticising Ignorants, that I was at the pains to write; For such Ignorants will endeavour to find faults where there are none, neither are they capable of making any amendment, if there were any, and it is upon that account that I undervalue any thing they can say, either against myself, or against what I have here write. But now, Lastly, The Reason of my putting it in a Dialogue, and not in a continued Discourse, was that after I had thought what would be the easiest Method I could take, Answer to the third O ction. for to make those of the meanest Capacity understand my meaning; (which is no small trouble) I found this of Dialogue in my Opinion to be the best and plainest; First, Because young Beginners, or who ever it be, that is to peruse this Treatise, will understand by the Scholars Questions, the Description of the Lessons better than if I had only discoursed of them. Secondly, the Scholar in his Questions, beingeth in many things very pertinently, and useful to a Beginner, which had I used any other Method, could not have been brought in so to the purpose; But to tell the truth it is a matter of indifference, for this Method I thought best, and therefore made use of it. 'Tis like their may be as many of my Opinion, as of the contrary, but however let not such a trivial Matter as this make you undervalue the Work, for if it do, it is a sign that neither Dialogue, nor Discourse, would have pleased you. I need make no Apology for my Style, the Subject of which I treat requiring but a Course, Plain and Easy one, so all that I am to beg of you Gentle Reader, is that when you are perusing this small Work, you would not be too critical, but if you meet with any thing a miss, which I am hopeful you will not, pass it over, considering the pains I have been at, is for your improvement which I am confident will Answer both our Expectations, providing you seriously consider, and observe the Directions which follow. ADVERTISEMENT I Must here before I proceed further let you know, that all the Directions for the Lessons which are described in this following Treatise, especially in the Lessons Offensive, are for one Right handed-Man against another, for the Lessons Defensive, or Parades are to be done the same way by Lest-handed Men as by Right, and therefore the following Directions will serve for both, in the Defensive part: but that you may with the more ease, whither you be either Right or Lefthanded, understand what followeth in the Offensive part, I shall here give you some few Directions which in my Opinion will make the following Discourse of more use to you then otherwise it would. First then, if you are a Right Handed-Man, and are to engaged against another who is Right-Handed, you must as near as possible observe all the following Directions, for the more exact you are in observing of them, the better Swordman will you be. Secondly, if you are a Right Handed-Man, and are to engaged against one who Lefthanded, you must know that that which is called within the Left Handed-mans' Sword, is the distance betwixt his Left-Arm and his Right, when he hath presented his Sword with his Lefthand, and t●at which is called without or above the Sword 〈◊〉 that part of his body, which when he foldeth his Sword towards his Right side is ●bove it the whole breadth of his Body; & ●ou must remember this one general Rule ●hen you are playing against a Left Han●ed-Man, (for I think I need give you no o●her, because by a little practice and experience you will find them out) that when you give in a Thrust within his Sword you must give it with your Nails in Terce, and let your head lie under your Arm as you give in the thrust, when you play the single Faint at the Head, see plate 5. figure 2. and when you give it without the Sword, than you must give it with your Nails in Quart, and Quart your head well, see plate 3. figure 2. This direction is just contrary to what ye are to observe in playing against a Right Handed Man; now what Quart and Terce are you will find explained in page 4th: so that any other difference betwixt playing with a Right-Handed Man and a Left, you will as I said before with a little practice easily find out. Thirdly, If you are a Left-Handed-Man and are to engage against a Right, than you must also observe the preceding Direction, which is, to give the Thrust within the Right-handed-mans' Sword in Terce, and without his Sword in Quart, what within and without the Sword of a Right-Handed-Man is, you will find it explained in Page 5. Any other difference I leave it to your own Judgement to find out, because it would be too Tedious in this place to set them all down, but this one which I have given you is the most important. Fourthly and Lastly, if you are a Lefthanded Man and are To engage against another who is Lefthanded, than you must both of you observe the following Directions as exactly as if you were both Right-Handed, and the Truer you play the following Lessons, in so much less danger will your Body be of being hit by a Contre-Temps, what a Contre-Temps is you have it shown you in page 9 I doubt not but by their few lines you will understand the following Directions better than if I had ommited them, especially if you be Lefthanded. THE ART OF DEFENCE and PURSUIT, With the Small-Sword. Described in a Dialogue between a SCHOLAR and a MASTER, of that ART. Scholar. GOOD morrow Sir, I am glad that I have once found you at home, for I have called several times for you, and till now, could never have the good Fortune to meet with you. Master. I am sorry Sir that you should have been at that trouble, but now, seeing we have met, What Service have you to command me with? Scholar. Sir, I hear you profess the Art of Fencing, and the great love and desire I have for that noble Art, made me desirous to be acquainted, with you, that I might be instructed in it. Ma. Sir, Seeing your enquiring for m● is for that end, I shall with all diligence, and plainess explain, & demonstrate to you the principal grounds, requisite to be exactly understood by any who intent, either to profess, or understand this useful Art, of defending one's self, with the single Rapier from their Enemy. Sch. I pray you do so, and you shall be well rewarded for your pains. Ma. Sir I do not in the least doubt that. Sch. Which is the first thing than you will show me? Ma. The first thing I intent to show you, is the Division of the Sword. Sch. I pray you let me hear it. Ma. A Rapier than is Generally divided into two parts, The general division of the Sword. viz. The Hilt. A. B. C. And the Blade. C. D. E. as you have them marked in the first figure of the first Plate. Plate i For pag 2 Fig i Fig: 2 F Fig: 3 G The Blade is divided into two parts, viz. the Strong part, and the Weak, the Fort, Secondly Of the Blade. and the Feeble, or the Prime, and the Second. The Strong, Fort, or Prime, of the Blade is Measured from the Shell C to the middle of the Blade D, and because it is the storngest part of the Blade it is therefore made use of in Parieing, or putting by thrusts and Blows, the Weak, Feeble, or Second part of the Blade, is measured from the middle D. to the point E. and being the weakest part of the Blade, it is therefore made use of, in offending, or, in giving thrusts, or blows, and this much for the division of the Sword. Sch. What is the next thing you are to show me? Ma. The next thing I will do, will be to Explain some terms belonging to this Art, which otherwise, might seem somewhat difficult to you, or any new beginner to understand. Sch. Which are they? Ma. They are these which follow. A Guard. Is a posture which a Man patteth his body into for the better defending of himself from his Adversaries thrusts, or blows. See the Figures of the Second, Tenth, and Eleventh Plates. To Parie. Is to put by a thrust, or blow, so that you are not touched with it. As you see in the Third Plate where the first Figure is pateing the second, or in the three following plates, where the figures giving in the thrusts are Paried by the figures opposite to them. Quart. When a Man holdeth the Nails of his Sword hand quite upwards, which the 2. Figure of the first Plate representeth at the letter F. then he is said to hold his hand in Quart. Terce. When a Man holdeth the Nails of his Sword hand quite downwards, which the third figure of the first Plate representeth at the letter G. Then he is said to hold his hand in Terce. Within the Sword. It is that part of your Body which (when our rightside is towards your Adversary) 〈◊〉 betwixt your Sword, and your left Breast, ●nd is marked in the first figure of the third ●late with the distance, A. B. Without the Sword. Is that part of your Body, which (when ●o● hold your Sword towards your left side) ●s above your Sword, the whole breadth of your Body, and is marked in the second figure of the eleventh plate with the distance, C. D. To Approach, or Advance. A Man is said to Approach, or Advance, when being out of his Adversaries reach or at a pretty distance from him, he cometh nearer to him. To Retire. A Man is said to Retire, when being within his Adversaries reach, he goeth out of it either by stepping or Jumping backwards from his Adversary upon a Straight line. Measure. Is the distance betwixt a Man and his Adversary, which should be exactly observed, that when he is Thrusting at you, You may be without his Measure or Reach, as the first figure of the third Plate is without the Reach of the second figure, and when you are Thrusting at him, that your thrust may be home, and not short of him when you are at your Elonge, as for example, the distance betwixt the right foot of the first, and the right foot of the second figure of the second Plate, is called the Measure betwixt these two Figures. To Break Measure. Is just as your Adversary is thrusting at you, so to judge the distance he is from you as that his Thrust when he is at his full Elonge, may be short of you, because you are out of, his Measure or reach as the first Figure of the third Plate, is without the reach of the second Figure, for I suppose that the first Figure, to make the Thrust of the second short of him, hath broke his Measure; the way of doing it shall be taught you hereafter. To Elonge. Is to Stretch forward ones right Arm, and Legg, and to keep a closely left Foot. This a Man doth, when he giveth in a Thrust; and when he doth it, he is then said to make an Elonge, which is represented by the second Figure of the third Plate. Respost. Is when a Man hath given in a Thrust, and before he recovereth his Body receiveth a Thrust after his Adversary hath Paried his, than he is said to receive a Thrust upon the respost or back of the Parrade, which is the Safest thrust that a Man can give, for it is not possible for him, upon that Thrust to receive a Contre-Temps, which shall be immediately explained what is. Feinting, or, Falsifying. Is the deceiving of your Adversary, by causing him believe that you are to give your Thrust in one place, when you design really to give it him in another. Beating. Is the striking of the Feeble of your Adversaries sword with the edge, and Fort of yours, either with one hand, or with the help of your left hand, joined to the blade about a foot from the Hilt, as in the second figure of the 11. plate, to cause the Beat have the greater spring or force. Battery. The difference between Beating, and Battery, is, that Battery is the striking with the edge & Feeble of your sword, upon the edge, and Feeble of your Adversaries, whereas beating as I just now told, is done with the fort of your sword upon the feeble of your adversaries, and therefore secureth your Adversaries sword a great deal better than Battery doth. Binding. Is the securing your Adversaries sword, with 8. or 10. Inches of yours, upon 5. or 6. of your Adversaries. Caveating, or Dis-engaging. Is the slipping of your Adversaries sword, when it is going to bind or secure yours. To take time. Is either never to thrust, but when you have a fit opportunity, or otherwise it is the thrusting at your Adversary just as he is making of a Faint, or the slipping of him and giving him the thrust when he is either going to bind, or beat your sword; as you may see in plate 9 where the second figure hath taken time upon the first. Contre-Temps. Is when a man thrusts without having a good opportunity, or when he thrusts at the same time his Adversary thrusts, and that each of them at that time receive a thrust. Quarting upon the straight Line. Is the keeping very much back of your head and shoulders from your Adversaries sword, when you are giving in a thrust within the sword, which is represented by the second figure of the third plate. Dequarting, Or Quarting off the straight Line. Is the throwing of your left foot and body, backwards off the strait Line towards your Adversary, and keeping your right foot fast, which is represented by the second figure of the 9 plate. Volting. Is the leaping by your Adversaries left side, quite out of his measure. These are the terms of Art which ordinarily young beginners understand not. Sch. Are those all the terms of Art you have to explain to me? Ma. Yes these are all the terms which I think need explaining, any other being easily understood without it. Sch. What then do you intent to teach me in the next place? Ma. Because you are still ask me that question, and that you may not put yourself to the trouble of ask it again, I will show you the method I intent to follow in teaching you this Art. And first I will teach you how to hold your sword in your hand, secondly, how many Guards there are, and how you are to stand to your Guard, Thirdly I shall explain to you the lessons defensive, which are called the Parade, Fourthly the Lessons offensive, together with their contraries, by showing you how they must be played, Fiftly I shall teach you how each of the Guards are kept & how every one of them is to be pursued, your Adversary keeping any of them, or defended your Adversary pursuing you after you have taken yourself to any of them, Sixtly, I shall set you down some general rules to be observed, when you are playing either with blunts, or sharps, against those who understand, or against those who are altogether Ignorant of this Art. Sch. Sir you have thought upon a very good Method, and I beg that you would be as plain in the discribing of the lessons you are to teach me as possible. Ma. Sir I shall to the outmost of my power obey your desire. Sch. As to the first then, how am I to hold my Sword in my hand? CHAP. I. How a Man is to hold his Sword. See Plate I. Figure 2d. Of holding the Sword. Ma. You must hold your Sword after this manner; hold your Thumb upon the broad side of the Handle with your Fingers quite round it, as in the second Figure of the first Plate marked F. and not as some do, who put their foremost and middle Fingers thorough the two arms of the Hilt, thinking that by doing that, they hold their Sword firmer, some use only to put their foremost Finger through, which the Spainards' did of old, and many even to this day do it; but both ways are most ridiculous, and dangerous. Sch. I think any Man of common sense may perceive that, for when a Man holdeth his Sword in that fashion, with his Fingers through the arms of the Hilt, he is in danger of having his Fingers broken, if his Adversary should enclose with him, and offer to force the Sword out of his band, for holding it that way he cannot so easily quit with it, as he should, and therefore will infallibly in my opinion be in hazard of losing his Fingers, if not his life in the cause. Ma. Sir, You have found out exactly the hazard that a Man is in, in holding his Sword after that manner, but when you hold it, as I have before told you, you must hold it fast and firm, and not gently, so that your Adversary with the least sudden beat or twist may force it out of your hand. Sch. What is the hazard if I should hold it loosely in my hand? Ma. The hazard of holding it loosely is this, The Reasons why a Man should not hold his Sword too loosely in his hand. that when once you get a habit of holding your sword so, if you should have occasion to play with sharps, you will be in hazard of having it struck out of your hand, which may put your life in hazard. This I think a sufficient reason to cause you hold your Sword firm in your hand, but not so as to weary it. Sch. Indeed it is so, and now when I consider it; Although a Man had not such a Strong reason as that you have given me to cause him hold his Sword fast, yet People's very laughing at men when they are playing with blunts, because they see at every other Thrust their Flurett beat out of their Hand, should be a sufficient argument to them to cause them hold it fast, and I myself when I have seen them quite with their Flurett so easily, although I understood nothing of this Art myself, yet I thought it very un-handsome, and laughed at them as being as Ignorant of this Art as myself. Ma. You had good reason to do so, and yet I have seen some who understood little or nothing of this Art, beat the Flurett out of their Adversaries hand, although he was very far above their play. Sch. What should be the Reason of that? Ma. The Reason why that sometimes falleth out, is because he that is playing with such an Ignorant, knoweth himself to be far above his play and therefore trusting too much to his Adversaries, That an Ignorant may sometimes beat the Fluret out of an Artists hand, and yet that it is no reflection upon this Art. Ignorance neglects that which he should, and certainly would most if he were playing with one he thought understood as well as himself, take notice of, so that by the least sudden twist o● Beat, that his Adversary giveth his flurett● (although more perhaps by chance the● Art) he and it is separate, and it is sometimes for such reasons as this, that bystanders who understand not this Art. Cry it down and undervalue it as not worth the understanding, when they see one that getteth the Name of a Sword man, baffled by an Ignorant, never considering that it is the others inadvertancie. Therefore, to prevent all such inconveniencies, let a man always hold his sword as firm in his hand as possibly he can, without wearieing himself, and then he will be but in little hazard as to that: for I can assure him he will but find few unless it be such as are very expert in this Art, that will be able to Beat his sword with such a spring, as to cause it go out of his hand, but let us go to the next thing I am to teach you, which is. CHAP. TWO Of keeping a Guard. Sch How am I to keep a Guard? Ma. Before I show you how to keep a ●ard, you must know how many there 〈◊〉. Sch. How many are there? Ma. There are generally but two Guards, 〈◊〉. the Quart-Guard, and the Terce. Generally but two Guards. ●ut these two Guards, are again subdivided to other Guards. Sch. How? Ma. The Quart-Guard is subdivided in 〈◊〉 two, viz. the Quart with a Straight point, ●d the Quart with a Sloping point near to the ●ound: Particularly five Guards. The Terce is likewise sub-di●ded into two, viz. The Terce with the ●nt higher than the Hilt, and the Terce ●th the point lower than the Hilt, There is ●ewise another kind of Guard (but I have ●t a proper Name to it,) in which you 〈◊〉 to hold your Sword with both your ●ands. Now I shall teach you, how all ●ose several Guards must be kept when I come to the Chapter that treateth of the● But because the Quart Guard with a Straight point, How to keep the Quart Guard, with a straight point. See Plate 2. Fig. 1. is most commonly made use of, 〈◊〉 shall in this place show you how it is kept. And first you must keep a thin Body which is done by only showing your right side to your Adversary, let your Feet be i● a Straight line from him, so that when h● looketh to your Right Leg, it may hinder him to see the left, but let them not be too far asunder, for that will make your Elonge the shorter, nor yet too closely, for than you cannot stand Firm, but keep them at a competent distance, and let the point of your right Foot be turned a little outwards from the Straight Line, but the broadside of your Left must look towards your Adversary, As in the first figure of the second Plate. Sch. What good doth the turning of my right Toe a Little outwards do? Ma. The turning of your Toe a little outwards from the Straight Line, Maketh you both Stand Firmer, and handsomelyer, you are also to sink with both your Thighs, but your left Knee must be a little more Bend than your Right, which is done by leaning a little Back upon your left thigh: when you present your Sword, you must hold the Plate 2 For pag i6 Fig: i The French way of Keeping the Quart Guard with a straight Point, see pag: i6 Fig 2 The best way in my opinion of keeping the quart guard with a straight point, see pag: i7 Nails of your Sword Hand in Quart: (and ●t is from that, that this Guard hath its Name) the Hilt of your Sword as high as your right Pap, your Arm must be a little ●ent, For the better pursuing, or for giving in a Thrust the quicker, and the point of your Sword must look towards your Adversaries Right Side, and about two or three Inches lower than your Hilt, your left Hand must be held as high as your left Ear, and some more than half a Foot from it with the palm of it looking Straight towards your Adversary, and the points of your Fingers must not look upwards, but pointing towards your Adversary. All which Directions are represented to you, by the first Figure of the Second Plate. The best way in my opinion of keeping the Quart-guard with a straight point; see plate 2. figure 2. Sch. Sir your Directions are so plain, that I understand them very well, but is their no other way of keeping this Quart Guard? Ma. Yes, that there is, for the way I have been showing you is that which is ordinarily used by the French, but I shall show you a way which is somewhat different from it, & which in my opinion is by far the best, & safest, and it is as followeth: you know in the foregoing Guard, you are to set your left foot with the broad side of it towards your Adversary but in this, you must turn your left toe as far out as conveniently you can. As in the Second Figure of the Second Plat. Sch. What Good doth that? Ma. The good it doth is, that of necessity it causeth you turn out your left Thigh, and therefore maketh your Body so much the thinner, for when the Broad side of your Foot is towards your Adversary, you can by no means turn out your left Thigh, and so consequently it will be seen, or open to your Adversary to thrust at, and therefore in hazard of being wounded, which your would have prevented had you turned out your left Toe; you must remember also when you stand to your Guard this way to Sink as closely to the Ground with your breech as possible, without Thrusting of it out. As in the Second figure of the Second Plate. Sch. I am convinced of the Advantage I have in turning out of my left Toe, but I do not understand any advantage I have by Sinking so closely to the Ground with my Breech as you desire me. Ma. The Advantage you have by Sinking is also considerable, for when you Sink as I desire you, that part of your Body which is betwixt the Hilt of your Sword & your right thigh is quite covered, which, when you keep your Guard after the French way is quite discovered and open: You must also remember when you Stand to your Guard this way, to bow both your Knees alike, and rest equally with your Body upon both your Thighs, as in the Second Figure of the second Plate; you are to keep the rest your Body, according to the Directions I gave you for the French way: At first this Guard is a little uneasy, but a little custom will make it become as easy to the Body, as the foregoing Posture. Sch. I am now convinced by the Reasons you give me, of the advantage this Latter way hath of the former. Ma. Sir I am glad that you both understand my meaning so well, and are convinced by reason, of what is wrong, and what right, for that will encourage me to take the more pains to Instruct you: but you must now to the next thing I promised to teach you. Sch. What was that? Ma. You see I have taught you how to hold your Sword, and keep a Guard, the next thing I promised to teach you was the Lessons, which accordingly I will do, now I think the first thing a Man should learn, after that he can hold his Sword, and keep a Guard is to defend himself, for certainly it is a great deal more necessary, and honourable, for a Man to defend himself and save his Enemy if possible, than fo● him either to kill his Enemy and have himself likewise killed, or, eve● kill his Enemy, and save himself, for th● design of teaching this Art, is not so muc● for to teach a man to offend, as to defend himself handsomely, and with ease, whe● it may be his Fortune to be attached, fo● this Art is called Fencing, or the A● of Defence. Therefore I think it fittest to begin with the Lessons Defensive, which are commonly called the Parade. CHAP. III. Of the Lessons Defensive. Sch. How am I then to defend myself? Ma. Before I show you how to defend yourself, you must know how many Parades, Generally but 2 Parades. or ways of defending there are. Sch. How many Parades than are there? Ma: There are generally but two Parades the Parade in Quart and the Parade in Terce. but they are again subdivided into other Parades, to wit, the Parade in Quart is subdivided into two, viz. Parti-Pcularly five Parades. The Parade in Quart with the point a little higher than the Hilt, and the Parade in Quart, with the point Sloping towards our Adversaries right Thigh, & a thought without 〈◊〉. The Parade in Terce is likewise subdivided into two, viz. The Parade in Terce with the point 〈◊〉 little higher than the Hilt, and the Parade in ●erce with the point Sloping towards the Left side ●f your Adversaries Thigh. Sch. You have no other Parades, than those you have named to me, have you? Ma. Yes, I have yet another which although ●t end always in one of the four former Parades, yet there is a great difference betwixt the doing of them, and the doing of it, and I can give no other name to this Parade but the Conter-Caveating Parade, because, let your Adversary make use of what lesson he pleaseth, or thrust upon what side He listeth, if you make use of this Parade as you should, you will infallibly meet with his Sword, & so cross all his designs the easilier, which making use of any of the four former, you might find somewhat more difficult to do. Sch. I would have you show me why those Parades are called the Quart, and Terce Parades, because I know not for what Reason they are so called. Ma. I shall, Why the Parades are called the Quart & Terce Parades. the First Parade than is either called the Quart Parade, or the Parade within the Sword, because when you put by the thrust, you put it by upon the inside of your Sword, or upon that side the Nails of your Hand look to, and that Side is called Quart, or within the Sword: see the first Figure of the third Plate who is pareing the Thrust of the second Figure with the first Parade in Quart, and remember always when I desire you to hold your hand, or Nails in Quart, that I mean you should hold your Nails quit upwards, as in the second figure of the first plate marked F. The second Parade, is called the Terce Parade, or the Parade without the Sword, because you put by the thrust upon that side which is without your Sword, and as the other is called Quart, because it is within your Sword, or upon that side your Nails look too, so this is called Terce, because it is without your Sword, or upon that side the back of your hand looks too. See the second Figure of the 4th. Plate who is Pareing the thrust of the first figure with the first Parade in Terce. And remember also that when I desire you to hold your hand, or Nails in Terce, that I mean you should hold your Nails quite downwards as in the Third Figure of the first Plate marked G. Sch. Sir I now by this Explanation understand you very well. Ma. Sir, any doubt you have, or any thing that I show you which seemeth difficult to you, mind me of it, and according to my power I shall explain it to you. Sch. I shall not fail to do it, but I pray you show me how I must Parie after those five several ways. Ma. I shall show you orderly one by one how you are to do them, How the first Parade in Quart is to be done; see plate 3. figure ● you must do the first Parade in Quart, with the point a little higher than the Hilt after this manner, when you are Standing to your Guard, and your Adversary offers to give you a Thrust home upon that side his Sword lieth, which I suppose to be within your Sword, for this Thrust is done without Disengaging (which I shall explain to you hereafter) and is the plainest, and simplest Thrust which can be given with the small Sword, and yet a Man will sometimes be surprised with it; How a man is to perceive the coming in of a thrust, I say when you perceive Him offer to give Home the Thrust, which is known by looking Steadfastly to the Hilt of his Sword, and not as Ignorants do who look to their Adversaries eye, for I pray you how can a Man Judge, either upon what side of the Sword, or when the Thrust will be given, if he look to the Eve, when he is playing with one that Squints, certainly it is very uncertain; and therefore as a most certain Rule, and which will never fail you, Look always to the Hilt of your Adversaries Sword, when you expect that he is going to Thrust. And when you see it moving towards you, (which will be in the Twinkling of an Eye, if he that giveth in the Thrust have a swift hand.) You must Immediately turn your wrist, with a little motion of the Arm, but so little that it may scarcely be perceived, to your Jest side, and so put his Sword by, (always with the Fort of yours.) Upon your Left-side, Still keeping the point of your Sword after your Parade towards his right Shoulder, which is represented by the first Figure of the Third Plate who is Pareing his Adversaries Thrust given within his Sword, The best way in my opinion of doing the first Parade in Quart. with the first Parade in Quart. But I would have you, when you put by your Adversaries Sword, to do it with a little Beat, or Spring towards the Ground, which in my opinion is absolutely the best way of doing this Parade. When I say a Spring, I mean a little Beat, and immediately bring your Sword to its Plate 3 For pag 24 Fig: i One Pareing his Adversaries thrust given within his sword 〈◊〉 first parrad in quart see pag: 23 Fig: 2 One giving in A thrust within The sword see pag: 39 ●ght Posture again: when you Parie after this way, you must not at all turn your wrist, but keep your hand when you Parie in the same posture, as when you presented your Sword, which most ordinarily will be neither altogether Quart, nor altogether Teree, but betwixt the two, because it is painful for a Man to hold his hand long in Quart, yet the nearer you hold your hand to Quart, the better is it; for there never was yet a Master who could in common practice observe all the exact directions to an Ace, which I give you, therefore there must be always some allowance given, but as I told you, the nearer you observe them, the better will it be for you, because the Directions I give you are most exact. Sch. Why think you this last way of doing this Parade, better than the former? Ma Because it is done with a Spring, and the former is not, so that using this last way as you should, you may often in the Pareing, Beat your Adversaries Sword out of his hand, which is no small Advantage; also this last way secureth your Adversaries Sword better than the Former doth, if you had a mind to give him a Thrust upon the Respost, or back of your Parade, but as I told you before, you must by any means remember to bring up your Sword to its right posture again, otherwise your Body would lie too open without your Sword for your Adversary to Thrust at. And therefore I say again, by any means forget not the bringing up of your Sword, instantly after your Beat, and then I doubt not in the least, but you will rather approve of this last way of pareing then of the former. Sch. It's very like I may, but in both their Parades what advantage have I by keeping my Sword's point towards my Adversaries right shoulder and not farther aside. Ma. The Advantage you have by it is this, The advantage a man hath in not letting his Swords. point go too far aside when he parieth. that when you keep your Sword's point towards your Adversaries right shoulder, after you have Paried him, you are readier to go to the Parade again if he should offer to Disengage, and Thrust upon the other Side, whereas if you kept your Swords point farther aside, you would have a greater way to make with it, if he should Immediately after his Thrust Disengage, and Thrust upon the other side, or without your Sword, and therefore you would be in Hazard of receiving the Thrust before you could meet with his Sword to put it by, also the keeping of your point, as Straight as possible upon your Adversary when you Parie in some manner aweth him, and hindereth him to thrust so Furiously (for fear of his receiving a Contre-temps) as otherwise he might do. Sch. But why am I to make such a little Motion with my Arm when I Parie. For one would think that the greater Motion one maketh with their Arm the farther they would put by their Adversaries Sword. Ma. You are right, The disadvantage a Man hath in making too great a motion with his Arm when he parieth. in that you would put by your Adversaries Sword the farther, as you make the motion of your Arm the greater, but you perceive not the great disadvantage you have in so doing; For do you not see? That if you should make so great a Motion with your Arm, when you are Pareing, you would be infar greater hazard of being hit, if your Adversary should make a Faint within your Sword, because than your Body would be quite discovered upon that side, upon which he is to give in his Thrust, which would have been in a manner secured, had you made as little a motion with your Arm as I before desired you, besides that the making of so great a Motion with your Arm, disordereth your Body, which should be kept in as good a posture for defence as possible. Sch. I am now convinced by the Reasons you give, of the Advantage a Man hath by making a little motion with the Arm when he is Par●ing, as also by keeping of his Sword's point, as Straight to his adversary as he can, after that he hath Paried him. Ma. How the 2d. Parade in Quart is to be done. I am glad of it, but now Secondly, you must do the second Parade in Quart. with the point sloping towards your Adversaries right Thigh, and a thought without it, as followeth; when you perceive that he is Thrusting within your Sword, turn the Nails of your hand in Quart, with a Stretched Arm, and your hand as high as your Face, see Plate 5. Figure first. And at the very same time you do this, Slop your point as low as your Adversaries Thigh, and so put by his Thrust with the Fort of your Sword upon the weak of his. As I told you before in Page twenty four; for if a Man Parie right, he must always do it, with the Fort of his Sword, The danger that a Man is in, in not pareing with the Fort of his Sword. and not with the Feible. Sch. Why, may not a Man sometimes Parie with the Feible of his Sword? Ma. Yes, but then he runneth the risk of having the Thrust forced in upon him, which if his Adversaries Arm, or wrest, be stronger than his, may easily be done, and which is almost impossible to be done, if he hath the Parade right, and Parie with the Fort of his Sword, as he should. Sch. I see now indeed that there can no Man be sure of the Parade, if he offer to Parie with the Feible of his Sword. Ma. It is very true, and you must likewise when you make use of this Parade, Quart. your Head well, and look as it were by the outside of your Sword. Sch. What Advantage have I by Quarting of my Head? The advantage o●quarting the head well. Ma. The Advantage you have by Quarting of your Head, is, that it will hinder your Adversary to hit you so easily in the Face by way of Contre-temps, as otherwise he might do. Sch. I see so indeed, but how am I to do the first Parade in Terce, or without the Sword, with the point a little higher than the Hilt. Ma. You are to do the first Parade in Terce, or without the Sword, How the first Parade in Terce is to be done. with the point a little higher than the Hilt, after this Manner, when you perceive your Adversary giving in the Thrust without your Sword, immediately turn your wrist: (With a little motion also of the Arm, as in the first Parade in Quart,) to that side until your Nails be in Terce, and so Parie his Thrust, see Plate 4th. figure second, you must remember in this Parade, to keep the point of your Sword, after you have Paried him towards his left Shoulder, The best way in my opinion of doing the first Parade in Terce. as in the first Parade in Quart you keep it towards his right, and that for the Reasons shown you in page. 26. I would also have you to do this Parade with a kind of a Spring, as I told you in the first Parade in Quart, and that same very way, as you have it set down to you there, which as I told you before is in my opinion the best way of doing this Parade, therefore I pray you to mind it. Sch. I shall endeavour to do so, seeing you recommend it so earnestly to me, but how am I to d● the second Parade in Terce, with a sloping point? Ma. The second Parade in Terce, or without the Sword, with the point sloping towards your Adversaries Thigh, How the 2. Parade in Terce is to be done. and a thought within it, is done as followeth; when you perceive your Adversary giving in his thrust without and below your Sword, as it were at your arm pit, see plate fifth, figure 2. Immediately let the point of your sword fall as low as his thigh, & turn your Nails quite round to your right side until they look from you, and keep your hand as high as your head, and put his thrust by upon your right side, & in the time of your Parade let your head lie close almost under your arm. see plate 6. figure 1. Sch. What advantage have I by holding my head so? Ma. As in the second Parade in Quart, the Quarting of your head preserveth you from being hirt in the face, so the holding of your head close under your arm, when you make use of this second Parade in Terce preserveth your face from your Adversaries Scattering, or Country temps thrusts: How a Man is to parie with the 2d. parade in Terce when his Adversary thrusts, without and above his Sword. you may also make use of this Parade in Terce with a sloping point, if your Adversary should offer to thrust without and above your Sword, by putting by his thrust upon your left side, but then your point most not slop towards your Adversaries thigh, but by his right side; also in Pareing this way, you must Quart your Head well, whereas in the foregoing way, you are to hold it closely almost under your Arm. This is all, I have to say of the Quart and Terce Parades, either with the point a little higher than the Hilt, or with a sloping point, but I must tell you, that this last way of Pareing with the second Parade in Terce, with a sloping point, is seldom made use of except your Adversary hath so gained the Feeble of your sword, that you could not Parie him with the first Parade in Terce. Sch. I understand their four ways of Pareing which you have been showing me very well, bu● their is yet another, which you call the Contr● caveating Parade, the way of doing it, you hav● not as yet shown me. Ma. How the Country caveating Parade is to be done. I am just going to show you it, it i● the last Parade I named to you in page 〈◊〉 and is absolutely the best, and safest a ma● can make use of, the way of doing it is thu● when you perceive your Adversaries thru● coming home within your Sword, then Instantly slop the point of your sword an● bring it up again on the other side of you● Adversaries, which will be without hi● sword, and parie his thrust without you● sword, that was to be given within your Sword and in parieing neither turn your Nails i● Quart nor Terce, but keep them in the samposture as when you presented your Sword this parade must also be done with a spring In like manner if you think that he is to giv● in his thrust without your sword, you must In stantly slop your point and bring it up again, upon the inside of his Sword, and so paric his thrust that was to be given without your sword, within your Sword, this Sloping of your point, and bringing of it up again upon the other side of your Adversary Sword, must be done in the twinkling of a● Eye, otherwise your Adversaries Thru● will be home upon you, and so your Parade will signify nothing: Therefore to prevent the coming in of any Thrust, make use of this Parade, or of any other Parade you intent to use, with as quick a Motion as possibly you can, which if you do, and judge exactly of the coming in of your Adversaries Thrust, you will be but very seldom hit. Sch. I see I must so indeed, but I pray you let me know what advantage this Parade hath of the other four. The advantage the Contre-caveating Parade hath of any other. Ma. The advantage a man hath in making use of this Contre-caveating Parade is very great, by what it is when he maketh use of any of the four former, because when a man maketh use of any of the other four Parades, he may be hit with a Faint by Reason of his judging that the Thrust will be given without the Sword, when it is designed to be given within the sword, or within the sword, when it is to be given without the sword; & so although he hath a quick enough Parade, and a good Eye, yet you see he may be hit by reason of his wrong Judging of the coming in of the Thrust, which would have been prevented had he made use of this Contre-caveating Parade, for ●his Parade crosseth and confoundeth all Feints, yea not only Feints, but in a manner all Lessons that can be played with the Small Sword, so that certainly it is by far the best and safest Parade, and therefore I would advise you, that when once you can make use of it, never, (unless it be very seldom) to make use of another, and you will find it to be as I told you, the absolutely safest Parade, and the Parade which should be most exactly understood, and frequently practised, by those who intent to be Masters of this Art. Sch. Sir you have convinced me of the advantage a Man hath in making use of this Contre-caveating Parade, and therefore I shall endeavour never to make use of any other, seeing it is so general a Parade. Ma. Your resolution Sir is good, and I am confident if you keep it, you will confess that all that I have said, in commendation of this Parade, is but little in respect of what it deserveth. Sch. I shall to the outmost of my power endeavour to ●●●p it, but have you no more to say of the Parades? Ma. No, and what I have said concerning the T●fensive part, or Parade, I am sure is so plain, and easy to be understood that the meanest capacity may be able to put it in practice, if the Directions which have given be seriously considered, and observed: we will now proceed to the Offensive part, in which I shall endeavour to be as distinct, and easy in my Directions to you, as I have been in the Defensive. The End of the Defensive part, or Parades. CHAP. 4. Of the Lessons Offensive. Sch. Which is your first Lesson in the Offensive part? Lesson 1. Of Approaching or Advancing. Ma. My first Lesson is of Approaching, or Advancing. Sch. How many ways are there of Approaching? Ma. Two. Sch. Show me how I am to approach these two ways? Ma. The first way than is with a single step and is done thus, How a Man is to approach with the single step. when you are standing to your Guard, and your Adversary without your measure, so that your Thrust cannot reach him, without Approaching, then lift your right foot forewards about a foot, and immediately let your left foot follow clos● by the Ground, and keeping your left knee bowed, observing always at the end of every step, that your feet be at the same distance they were at when you first presented your Sword, or rather nearer. Sch. Why nearer? Ma. You must understand that in your appreaching with the single step the nearer you bring your feet together, (yea even so closely that your heels almost touch one another) your advantage is the greater, because your Elonge will come as much nearer to your Adversary, as you brought your left foot, nearer to your right. Sch. I see so indeed? Ma: And you must remember always to Redouble this step, or any other you intent to make use of, until you come so near to your Adversary that you think he is within your Measure, or that your Elonge will reach him. Sch. Can a man make use of this single step in ragged Ground. Ma. Not easily, for this single step is only to be made use of in plain Ground, The use of the single & do●ble steps. where there is nothing that may occasion a Man's falling, but the double step, which I am going to show you is most proper to be made use of, in stony or ragged Ground, where a man cannot make use of the single step, without being in hazard of falling; for with the double step, you may step over a little furrow, or a rickle of stones, which is almost impossible for you to do, with the single step, without being in hazard of falling, which is as much as your life is worth. Sch. Let me see how the double step is done? Ma. The double step is done as followeth, How a Man is to appreach with the double step. you must first throw your left foot, before your right (By raising of your Body a little on your right foot to do it with the better grace,) about a foot, then bring forewards your right foot again, as far before the left, as it was when you presented your Sword, their two Motions must be done immediately after other, otherwise the doing of this step, will appear very unhandsome. Remember when you make use of this double step, to keep as thin a Body as possible, because the throwing of your left foot before your right, casts your Body open, and therefore you must guard against it. You must also as I told you before redouble this step, according to the distance you are from your Adverlary. Sch. Since I now know how this double step is done, I perceive that it is indeed, properest to use it in uneven Ground, and the single in a plain field. But which is your second Lesson? Lesson 2. Of Retireing. Ma. My second Lesson is of Retireing. Sch. How many ways can a man Retire? Ma. Three ways. Sch. Show me them? Ma. The first is with a single step and is done the same way, How a Man is to retire with the single step. as you approach with the single step, only whereas in Approaching with the single step, you lift your right foot first, in Retireing with the single step you must lift your left foot first, you must observe the rest of the Directions given you in Approaching with the single step. The second way is with a double step; How a Man is to retire with the double step. and is also done the same way as the Advancing with the double step, only whereas in Approaching with the double step you throw your lest Foot before your Right in Retiring with the Double step, you throw your right foot backwards, behind your le●t, the rest is to be done, as in Advancing with the double step. Sch. The Retiring with the Single and Double Steps, is made use of, upon the same Occasions and in the same Grounds, that the Advancing with the Single and Double Stepp is, is it not? Ma. Yes, that it is, but the Third way of Retireing is done by jumping backwards upon the straight Line: The Reason why I call it the straight Line is, because you Jump straight back from your Adversary, How a Man is to retire by jumping. as it were in a Straight Line, for there is play which must be played off the Straight Line, called Quarting, and Volting, which shall be taught you in its proper place, I say it is done by Jumping backwards upon the straight Line, with both your feet in the Air at once, but you must lift your Right Foot first, and after your Jump is done, stand to your Guard again, unless you intent to Redouble your Jump, that you may go farther out of your Adversaries Measure. Sch. Which is your Third Lesson? Lesson 3. Of giving in a Thrust. Ma. My Third Lesson is of giving in a Thrust, or making of an Elonge. Sch. How am I to give in a Thrust? Ma. You are to do it thus, when you are standing to your Guard, How a Man is to give in a Thrust. and your Adversary within your Measure, your Sword being presented either within or without your Adversaries Sword as you please, but I suppose it be within, then stretch forth your Right Arm, and step forward with your Right Foot, as far as you can, keeping the point of it straight forewards, and let the Motion of your Arm begin a thought before you move your Foot. see Plate 3. figure 2. For a thrust that is right given, may be compared to the shot of a Gun or Pistol, for as he that is wounded with the shot of a Pistol receiveth his wound, before he hear the report of the Pistol, so he that is wounded with a Sword receiveth his wound before he hear his Adversaries Right Foot touch the ground when he is giving in his Thrust, and the Reason of it is, because the Motion of his hand is begun, before that he move his right Foot, but the difference is so little, that it can scarcely be perceived, but by a very quick Eye, or Ear: when you are at your full stretch, keep your left hough stretched, and by any means keep a closely and couched left Foot, which is done by keeping your left heel and broad side of your foot closely to the Ground, without the least drawing it after you, the keeping of a closely left foot, is one of the Chiefest things to be most exactly observed in all the Art of Fencing, when you give in your Thrust, throw your left hand behind your back as in Plate 3 figure 2. Plat. 4 For pag. 40 Fig: i One giving in a Thrust without and above The sword see pag: 4i Fig: 2 One Parieing his Adversaries thrust given without his sword with the first Parade in ●orce see pag: 2● ●r stretch it out upon your left Side, so that your two Arms, Body and Sword, make one straight Line from your Adversary, as in Plate 4. Figure 1. you must do this with your left Hand; when you intent not to make use of it for a Parade, but if you in●end to make use of it for a Parade, than you must in the very time of giving your thrust, throw your left Arm forwards, as ●ar as you can, without disordering the rest ●f your Body, turning the Palm of it from ●ou, by turning down your Thumb, and ●p your little Finger, as in Plate 6. Figure 〈◊〉, and so Parrie his Thrust, if you judged ●e was to thrust upon the same time you ●rust; and you must remember always ●hen you give in a Thrust within the Sword, 〈◊〉 give it with your Nails in Quart, and Quart your Head and Shoulders well; but when ●ou Thrust without the Sword, then give it ●ith your Nails in Terce, and keep your ●ilt a good deal lower than your Point, and ●our head from your Adversaries Sword, ●d remember as a General Rule, that 〈◊〉 all Lessons in which you do not first ●ure, or bind your Adversaries Sword, ●n are to Thrust closely by the Weak of his word, with the Fort of yours, but the ●atter is far different in Lessons where you first secure your Adversaries Sword, so● after your securing, or binding, you quite his Sword, and giveth the Thrust straight home, without so much as touching it, after you have bound it, which shall be taught in its proper place. Sch. But what advantage have I by observing all those Rules, in giving in a Thrust, as when I thrust without the Sword, the holding of my Hilt lower than my Point, and the holding of my Head from my Adversaries Sword; as also the thrusting closely by the Feible of my Adversaries Sword; I pray you let me see, what Advantage I have by observing all those Directions. Ma. As the Quarting of your head when you Thrust within the Sword, The advantage a Man hath in giving in a Thrust according to Art. preserveth you from your Adversaries Contre-temps Thrusts in the face. So also doth your Thrusting closely by the Fieble of his Sword, and the holding of your Hilt lower than the Point, when you Thrust without the sword, as also the holding of your head always to the contrary side your Adversaries Sword is on, preserve you from Contre-temps. And observe this as a General Rule always to keep your head to the contrary side your Adversaries Sword is on, upon whatever side you Thrust, for this will oftentimes preserve your face from being hit, when otherwise it would, for a Man that in giving a Thrust receiveth another at the same time, cannot be accounted 〈◊〉 Master of this Art, for this Art is called the Art of Defence, and therefore the great use of it is to Defend ones self, and save their Adversary, (which a Man that is Master of ●t, may easily do.) and not to hurt their Adversary, and have themselves likewise wounded, for any Man that never had a Sword in his Hand can do that: After that you have let in your Thrust, recover your Body instantly to the posture it was in when you stood to your Guard, and in the recovering, whither or not you think your Adversary intends to Thrust upon the Respost, go to his Sword or to the Parade, accordingly as you judge he will give in his Thrust, if you think within the Sword, then Parie in Quart, if without the Sword, then Parie in Terce, or you may make use of the Contre-Caveating Parade which if you make use of it right will never fail you, let your Adversary Thrust as he pleaseth; this recovering of the Body is one of the chiefest things in the Small Sword, for many a Man for not recovering of his Body quickly enough, after the giving in of a Thrust, hath received one, which had he recovered his Body quickly he would have shuned; Therefore I pray you by any means, mind to recover you● Body as quickly as possible after every thr● and when you do recover, go to his Swor● and either Beat it or Bind it, as shall be taught you in its place. Sch. I shall, and I also was convinced of t● Excellency of this Country eaveating Parade before, but cannot a Man give in a Thrust unless he observe exactly all the Directions which you have here given? Ma. Yes that he may, and not observe one of them, but then his Thrust will not be given according to the Rules of this Art, and so it cannot be expected, but his Body will be exposed to a great deal of more hazard, then if he had exactly observed the foregoing directions. Sch. Sir you are very far in the right, but go on to your next Lesson? Lesson 4. Of Caveating or Dis-engaging. How a Man is to disengage with his Adversaries Sword. Ma. My fourth Lesson is of Caveating or Disengaging, with your Adversaries Sword. Sch. How am I to do it? Ma. You must do it thus, when your Sword is presented within your Adversaries Sword, and you would have it without his Sword, you must (keeping your Nails in Quart,) sloap your Swords point so low, that you may bring it up upon the outside, of your Adversaries, this sloping must be done only with the wrist, and not with any motion at all of the Arm. Sch. Why so? Ma. Because, if you should move your Arm, when you Dis-engade, as some Ignorants do, you would discover so much of your Body, in the time of your Dis-engaging, that your Adversary would have a very good time to give in a Thrust, which he would want, had you only moved your wrist, this sloping of your Point with the wrist, and bringing of it up again on the other side, resembleth somewhat the Motion of the Contre-caveating Parade, and it must be done very quickly. Sch. It doth so indeed, but is this all I must do, when I intent to Disengage? Ma. Yes, for if once you can Disengage, and go from the inside of your Adversaries Sword, to the outside, and then back again to the inside, you will know how to disengage, and slip your Adversaries Sword, as oft as you please. Sch. Which is your fifth Lessen? Lesson. 5. Of Feinting or Falsifying. Ma. My fifth Lesson is of Feinting, or Falsifying. Sch How am I to make a Faint? Ma. Before I show you how to make Faint, you must know that there are se● rall kinds of Feints. Sch. I pray you show me them? How many kinds of Feints there are. Ma. There is then the Ordinary single, Fein● and the Ordinary double Faint; the single Fei● at the Head; and the double Faint at the be● the low Faint, single, and double; the single and double Faint upon Battery; Volt-coupe, sing and double; all which Feints I shall show y● orderly, as I have here set them down how they must be played. Sch. I pray you do so, and let your Explanation of them be as distinct, How a man is to play the ordinary single Faint, being within distance. and easy, as possible that so I may the better understand your meaning. Ma. I shall, you are to make your Ordinary single Faint then, after this manner (I suppose that you are always standing 〈◊〉 a Guard, before you offer to play any Lesso● when you are within your Adversaries Swor● disengage and make your Faint without, which is done by giving a beat with your right fo● upon the ground, just as you disengage and your Sword upon the outside of your Adversaries, and instantly after you have dis-engaged, if you perceive him answer your Faint, by offering to Parie, disengage again, and give him the Thrust within the Sword, some use to make their Faint without any beat with their Right Foot, but I am wholly against it, unless you were playing against those who are expert in this Art. Sch. What is your Reason for that? Ma. My Reason is this, Reason's showing that a Man should always give a beat with his Foot when he is making a Faint, except when he is playing against great Artists. that if you should give a beat with your Foot, when you are playing against such as understand this Art well, they would immediately know it to be a Faint, and therefore would not answer it. Now to make your Faint, without any Motion of your Foot to them, is most reasonable, because the making of it, as quick as you can, without any beat of your Foot will cause them believe that it is really a Thrust, coming in upon that side on which you make your Faint, and so cause them answer it, and then you have your design. But the matter is far different, when you are playing with Ignorants, or with such who are in a manner but just grounded in this Art, for if you should make a Faint to them without giving a beat with your Foot, upon the ground, they would not answer it, not because they should not, (for observe this as a General Rule, never to answer a Faint, unless you do it upon some design,) but because they have not as yet come the length of discerning such quick play. For your Faint without a beat of your Foot with it, would appear to them as no Faint at all, because of the quickness of the Motion, whereas upon the contrary, if you gave a beat with your Faint, you would surprise them, and in a manner make them start, when you made your Faint, and so make them go to the Parade, which was your design. Sometimes also a beat with ones Foot, without any Motion at all of the Sword, will make some Ignorants brangle, which is no small advantage to their Adversary. Sch: I am now fully convinced of the necessity of Beating with the Foot, except when I am playing as you say, with such as are in a manner Masters of this Art. Ma. I am glad you are convinced that what I say is true, for that will encourage me to take the more pains to instruct you in the rest of this Art, but let us now speak of the double Faint. Sch. Show me first how I am to play the single Faint, being without distance. Ma. You must approach with your Faint. How the ordinary single Faint is to be played, being without distance. Sch. And with what step am I to approach whither with the single or double? Ma. With the single, for if you approached with the double, you would discover your Body too much in the time of your approaching, and so be in hazard of being hit by your Adversary, besides that the double step is ordinarily never made use of, neither in approaching, nor Retiring, But upon the occasions I before told you in page 37. where I treated of them. Sch. I indeed thought otherwise, but show me now how I must play the ordinary double Faint. Lesson 6. Of the Double-Feint. Ma. Before I show you how to play it, you must know what difference there is betwixt all Single Feints and Double Feints. Sch. I am very well satisfied that you show me it. Ma. You are then in all single Feints to make two Motions, The difference betwixt all single and double Feints. with the first Motion you make your Faint, and with the next you give in the Thrust, and the Thrust in all Single Feints, (except when you make your Faint upon that Side your Sword lieth, which is done without Dis-engaging, and i● the simplest of all Feints) is given in upon the side your Sword lay before you made your Faint, whereas in all Double Feints, you make 3. Motions, and the Thrust (Except when you make your first Motion on that side your sword was presented) is given in upon the other side, and not in that side your Sword lay immediately before you began to make your Faint. This is the difference betwixt Single and Double Feints. Sch. you have shown me the difference betwixt them, pray show me how I must play the ordinary Double Faint? How a Man is to play the ordinary double Faint being within distance. Ma. There are then two ways of playing your ordinary Double Faint, for when your Adversary is within your Measure, you play it one way, and when he is without your measure you are to play it another; when you are within distance, your Sword being presented within your Adversaries Sword, you must Disengage, and make your first Motion without his Sword, and stand a thought upon it to see if he answereth you, by offering to go to the Parade, if he do not answer you, your Lesson will have no effect, and therefore in such a case, you must try another: But if he answer your first Motion, then instantly make your second Motion within his Sword, and your Third without the Sword again, by giving the Thrust, their two last Motions must be as quick as possible, and remember at every Motion to give a beat with your Foot, and Dis engage always with your Nails in Quart. Sch. How am I to play it being without distance? Ma. When you are without distance, How the double faint it is to be played being without distance. you must first make a Motion to try if he will answer your Faint, and if you perceive him answer you, then begin again, and make your first Motion just as you did when you was within distance (but you must approach with it) and you must make your second Motion, and Third also as you did before. Sch. Which is your contrary to the ordinary Single and Double Feints? Ma. My Contrary to them is this, The Parade, and contraries against the ordinary single and double Feints. when I perceive my Adversary make use of them against me, I then either make use of the Country caveating Parade, or otherwise, I keep my Swords point immovable towards his face, with my Arm as stretched as Possible, and when I do that, I recover my Body, by drawing my right Foot closely to my left, & standing as it were upon my tipptoes; and if for all his seeing me do that, he give home the Thrust, than I Contre-temps him in the Face, and Parie his Thrust with my left Hand, or otherwise when I see him make variety of Feints, then in the very time of his making them, I make a half Thrust at him, that is I Thrust but I go not home with it. This will make him go to the Parade, and so if I please, I may take the Pursuit, or when he maketh such variety of Feints, I give home a plain thrust as smartly as possible, and in the time I give it, I endeavour to defend my Body from a Contre-temps with my left Hand, as in Plate 5. fig. 1. or Plate 6. fig. 2. That the best contrary against Feints is the Contre-caveating. Parade, also that the making use of the Lefthand is very necessary. Sch. But which of these Contraries is the best, and safest? Ma. In my Opinion the Contre-caveating Parade, for if you make right use of it you may defy his Feints, but making use of any of the other two Contraries you may be hit, because you trust all to your left Hand. Not that I am against the making use of it, for upon the contrary, I think a Man can never give home a Thrust without being in hazard of receiving a Contre-temps (if his Adversary design it,) unless he make use of his Left Hand, and therefore I advise you never to give in a Thrust but when you make use of your Left Hand, and if you make right use of it, you will find it save you from a great many Contre-temps, which otherwise you would have received; But let not this cause you trust all to your Left Hand, and nothing to your Sword, for if you do that, it had been better for you that I had not given you the foregoing Advice: Which, nevertheless I can assure you is very good, if you only make use of it as a help to your Parade with the Sword, and not alone, for alone it is dangerous, but together with your Sword most safe and excellent. Sch. Truly, Sir, I am much of your mind, and I shall endeavour first to come to a Parade with my Sword alone, and when I am Master of the Parade that way, than I think I may venture to make use of my Left Hand, without spoiling of myself? Ma. That is the very Method you should take, for once being Master of the Parade with the Sword alone, you will then find the making use of your Left Hand very useful to you, and you will I am confident, confess that it is of as great use to you, as I before told you it would. Sch. It's like I may; But which is your seventh Lesson? Lesson 7. Of the Single Faint at the Head. Ma. My seventh Lesson is the Single Faint, a la Teste, or single Faint at the Head. Sch. How am I to play it? Ma. When you are within distance play it after this manner, How a man is to Play the single Faint at the Head. you may either present your Sword within or without your Adversaries Sword, if your Sword be presented without, make a Motion or Faint, at your Adversaries Face, by stretching out of your right Arm a little, and turning your nails upwards towards your Adversary, when you make the Motion give a beat with your Right Foot, and if you perceive him answer your Faint, then instantly give in your Thrust at your Adversaries Arm-pitt with your Head under your Right Arm, as I show you in the second Parade in Terce, Page 30, and for the same reasons there given, the Motion at the Face, stretching of your Arm, turning of your Nails, and beat with your Right Foot, must be all done together, your Thrust must be given with your Nails in Terce, and you must hold your left Hand before you, with the palm of it, looking towards your Right Plate 5 For pag: 54 Fig i One Pareing his Adversaries thrust give●● without & below his sword with the second para in quart see pag: 28 Fig 2 One giving in a thrust without & below the sword after his making a faint at the head see pag: 54 side, and that part of your Arm from your elbow to the points of your Fingers, must stand in a manner straight upwards, this you are always to do when you give in this thrust, to preserve you from a Contre-temps. see Plate 5 fig. 2. Sch. Why must I stretch out my Arm, and make my Nails look upwards from myself towards my Adversary. Ma. Because the doing of it defends you from your Adversaries thrust, if he should Thrust without and above your sword, at the same time you are making the Motion at his Face. Sch. Would I not also if I kept my Nails in Quart, when I make that Motion, Parie his Thrust, if he should Thrust at the same time I am making it? Ma. Not at all, for do you not see, that if you made your Faint with your nails in Quart, your Body would be quite open without and above your sword, which making your Faint with your Nails in Terce, is quite Guarded. Sch. I see so indeed, but how must I play this Lesson, if at the first I had presented my Sword, within my Adversaries? Ma. Just as I have been showing you, but you must Disengage with the first Motion. Sch. And how am I to play it being without distance? Ma. Also just as I have been showing you, only you must approach with your Faint. Sch. Which is your Contrary to this single Faint at the Head? Ma. When I perceive my Adversary make use of this Lesson against me, The Parade and contraries to the single Faint at the Head. than I either give him the Thrust upon time, which is just as he is making his Faint at my Face, than I give him the Thrust at that same very time, and that same way he should have given it me, or otherwise I Parie him with the second Parade in Terce, or with the Contre-caveating Parade, by making half a Circle with it, from my Right to my left side, which at last, will end in the second Parade in Quart. see Plate 5. fig. 1. Sch. I understand you very well, but is their no contraries whereby a Man may win at his Adversary although he make use of these Parades, when this Lesson is played upon him? Ma. Yes, for each of these Parades, have a contrary, which you may make use of, when you perceive your Adversary, make use of any of those two foregoing Parades against this Lesson. Sch. I pray you show me them? Lesson 8. Of the Double Faint at the Head. Ma. My Contrary to the first Parade, How the double faint at the head is to be played, which is the contrary to the first parade of the single faint at the head. is called the Double Faint, at the Head, and is done thus, when you are within distance, make your first Motion or Faint at the face as in the foregoing Lesson, then make your second Motion low towards your Adversaries Belly without his Sword, and with the Third Motion give in the Thrust without and above your Adversaries Sword with the Nails of your Hand in Quart, and let your Head, Hand, and Foot, mark every Motion: also when you make your second Motion towards your Adversaries Belly, you must hold your Lefthand as I told you when you was shown to play the single Faint at the Head see Plate 5. figure 2. when you give in your Thrust above the Sword, you must Quart your Head well, because you are to give it in with your Nails in Quart. Sch. Why am I in this Lesson to give in my Thrust without, and above my Adversaries Sword with my Nails in Quart, whereas in all other Thrusts without and above the Sword, I am to give in my Thrust, with my Nails in Terce? Ma. The reason is this, that after you have made your second Motion, towards your Adversaries Belly, it lieth more naturally to your Hand, to give in the Thrust with your Nails in Quart, then in Terce, and besides, you can give in your Thrust quicker this way than if you should Aim at the turning of your Nails in Terce, which if you did, your Body would be open to your Adversary within your Sword, if he should offer to Disengage and give you a Contre-temps, but when you give in your thrust with your Nails in Quart, your Body within your Sword is kept secure, especially if you Quart your Head well, and make use of your Left Hand as in Plate 5. Figure 2. Sch. I perceive so indeed, but must I not when I am without distance, or my Sword presented within my Adversaries, and intends to play this Lesson, observe your Directions given me in playing the single Faint, at the Head, without distance? Ma. Yes, and approach with your first Motion. The Parade of the double Faint at the Head. Sch. How is this Contrary to be Paried? Ma. Either with the Country caveating Parade, or by answering every Motion, and so you will fall to Parie him with the first Parade, in Terce, see Plate 4 figure 2. Sch. Which is your Contrary to the second Parade of the Single Faint at the Head? Lesson 9 Of the Faint at the Head, upon the true Parade. Ma. My Contrary to the second Parade is called the Faint at the Head, How the Faint at the head, upon the true Parade is to be played, which is the contrary to the second Parade, of the single Faint at the Head. upon the true Parade, and is to be done as followeth first you make your Motion at your Adversaries Fa●e, and then if you think that he intends to Parie you with the second or Contre-caveating parade, go quit round his Sword, by making as it were a circle with your Sword, and so give him in the Thrust at his Armpit, as in the Single Faint at the Head, and preserve yourself with your Left Hand, from a Country temps as you do in it, see Plate 5. Figure 2. And if you be without distance, approach with your first Motion. Sch. I understand not what good that going round my Adversaries Sword doth Ma. Do you not see that by so doing you Caveat his sword and shun his parade. Sch. I now see so indeed? Ma. You may if you please make one, two or three circles as your Adversary followeth your sword, until you have the opportunity of letting in your Thrust. Sch. And how is this Contrary paried? Ma You may either parie it as you do the single Faint at the Head, The Parade of the Faint at the head, upon the true parade. or you may make one or two Circles with the Contre-caveating parade, until you meet with his sword, but if your Adversary still Caveat you, by going about, then make your Circle the Contrary way, and then certainly you will meet with his sword, and so prevent the giving in of the Thrust. Sch. Which is your next Lesson? Lesson 10. Of the Low Faint. Ma. My next Lesson is, How the single low Faint, is to be played the Low Faint, and when you intent to play it, you must remember to have your sword without your Adversaries, and when it is so, make exactly the second Motion of the Double Faint, at the Head, and give in the Thrust above as you did in it, & when you are without distance, approach with the Faint, or first Motion, and give the Thrust with the second. Sch. May not a Man make a Double Faint upon this Lesson? Ma. Yes very well, How the double low Faint is to be played. by only making the Motion with which you was to give in your Thrust above the Sword, a Faint, and give in your Thrust as in the single Faint at the Head, at your Adversaries Arm-Pitt, and when you are without distance, approach with your first Faint or Motion. Sch. Which is the Parade of this Lesson? Ma. You may Parie it either by answering every Motion, The Parade of the Low Faint. or otherwise make use of the Contre-caveating Parade. Sch. Have you a Contrary to this Lesson? Ma. Yes, you may whon your Adversary is making his Low Faint, take time, The contraries to the Low Faint. and give him the Thrust above his Sword, with your Nails in Quart, or you may Quart, or Volt, which I shall show you hereafter. Sch. Which is your next Lesson? Lesson 11. Of Battery. Ma My next Lesson is called Battery. Sch. Why hath it that name? Ma. I know no other reason for its having that name, but because it is done with a kind of Beat. But before I proceed further, I will tell you that there are many Names of Lessons in this Art, the meaning of which cannot be easily explained in English, to make the name, and the Lesson answer other, and therefore you need not trouble yourself to ask a reason for their having such Names. Sch. I shall not; But pray tell me why you ha● not English Names to them? Ma. I can give you no other reason then this, that it is like those who brought this A● first to this Kingdom, out of other Countries, have still given the Lessons the proper names, which they had in their own country, and now those Lessons are so well known by the same names they give them at their first coming to this Kingdom, that they need no other. Sch. I think indeed that must he the reason of it, but how must I play this Battery? Ma. When you make use of this Lesson (for it is a kind of Beat) you may present your sword either without, How the single Battery is to be played. or within your Adversaries, if you present within his sword, and he within your-measure, you must lie with your sword about half a Foot from his, and when you intent to play the Lesson, give a little stroke with the Edge, and Feible of your sword, upon the Edge and Feible of your Adversaries, and in the very time you give the stroke give a beat with your Foot to surprise him: if he doth not in the least answer your stroke by offering to parie, give him the Thrust straight home to his Right Pap, as you give in a plain Thrust within the Sword, remember when you give the stroke, to make the Motion only with the wrist, for by so doing you keep your Body closely, and doth not disorder yourself. Sch. I understand you, but if he offer to answer my stroke, what must I do in that ease? Ma. If you perceive him offer to go to the parade, then slip him, and give him the thrust without, and above the sword. Sch. May not a man make a Double Faint upon this Lesson? Ma. Yes very well. Sch. How I pray you? Ma. Thus, How the double Battery is to be played. when you perceive him going to the Parade, immediately slip, and make your Faint in the other side, and give in the Thrust upon that side on which you gave the Beat. Sch. Must I give a Beat with my Foot, at every Motion? Ma. You may either give a beat at every Motion you make, or otherwise, only at the first, just as you please, and when you are without distance, approach with the first Motion, and give the Beat with the Feible of your Sword, upon the Feible of your Adversaries. Sch. And how am I to play this Lesson, my Sword being presented without my Adversaries? Ma. You must observe exactly the same rules, your Sword being presented without your Adversaries, as you do your Sword being presented within it, for you may play this Lesson upon any side, without disengaging, after you have presented your Sword. Sch. Which is your Contrary to this Battery? Ma. My Contrary is this, you may either Park it with the Contre-caveating parade, The Parade and contrary to Battery. or otherwise, you may meet his stroke, and make a half Thrust at him, which will make him go to the parade, and so you become the Pursuer. Sch. Which is your next Lesson? Lesson 12. Of Volt Coupe. Ma. My next Lesson is Volt Coupe. Sch. How is it to be played? Ma. You are to play it thus, when your Sword is presented within your Adversaries, How the single volt-coupe is to be played. and he within your measure, make a Faint at his Face, with your Nails in Quart, and when you do it, give a Beat with your Foot, and Quart your Head well, and if he answer your Faint by offering to parie, and parieth high, then give him the Thrust in the Belly with your Nails in Terce, as in the single Faint at the Head, and hold your Left hand that same way, to defend yourself from a contre-temps as you do in it. see Plate 5. fig. 2. Sch. But what if be parie Low? How the double volt-coupe is to be played. Ma. If he parie you with the first parade in Quart and very low, then make use of the Double Volt-coupe, which is done thus, after you have made your Faint, instead of giving him the Thrust in the Belly, you Slip his parade, and give him the Thrust without and above the Sword which resembleth something the Double Battery, and when you are without distance, approach with the first Motion, or Faint. Sch. How must I play this Lesson when my sword is presented without my Adversaries? Ma. You must first Disengage. Sch. Which is your contrary to this Lesson? Ma. It is this, you may either Parie it with the second Parade in Quart, or you may take time, The Parade and contrary to volt-Coupe. and give him the Thrust, that same very way he was to give it you, just when he is making the Motion at your face or you may pass with your Thrust, which shall be shown you when I come to speak of passing. Sch. You have now described to me very plainly the Feints, which you told me a little before of: as also their Contraries, I pray you now go on to your other Lessons, and be as plain in the discribing of them. Lesson 13. Of Binding. Ma. I shall, my next Lesson than is the Binding, or securing of your Adversaties' Sword, which certainly is the chiefest Lesson, belonging to this Art. For a Man that can play it exactly, needeth almost no other. Sch. Because you commend this Lesson so much, I shall hear you describe it with the more attentiveness, that I may the better understand it. Ma. You will do well to do so, for it is the only secure play, belonging to the small Sword. Sch. I shall, therefore I pray you, let me hear how it is done? Ma. Take notice to me then, How a man is to hind, or secure his Adversaries sword. when you keep the Quart Guard, the first thing that ever you should do, should be to secure or Bind your Adversaries sword, which if it be well done, you will be but in little hazard of being hurt by him, and it is done after this manner, after your sword is presented either within, or without your Adversaries, immediately overlapp Six, or seven Inches of your Adversaries Sword, with 8: or 10: of yours, the doing of with secureth his Sword: this Binding must always be done with the edge of your Sword, whither it be presented within or without your Adversaries, and immediately after you have Bound his Sword, give him the Thrust straight home, keeping a closely Left Foot, and remember always when you bind, to give a beat with your Foot, and Bind with a spring, that is to say, press his Sword almost to the Ground, but stay not with it, but instantly bring up your Sword again, and give in the Thrust. Sch. I begin to think that when a Man maketh use of this Lesson, he indeed secureth his Adversaries Sword better, and is in less hazard of being bit by a Contre-temps, then when be maketh use of any of the preceding Lessons. Ma. That is most certain, otherwise I could not have had the confidence, to recommend it so earnestly to you. Sch. Sir I am obliged to you, for the pain● you take to inform me; but which is your parade against this Lesson? The parade against binding. Ma. The best Parade absolutely against this Lesson, is the Contre-caveating Parade. Sch. Which is your contrary to binding? Ma. My Contrary is Caveating, or Slipping, The contrary to binding. and you must do it before your Adversary feel your Sword, for your must understand, that this binding is done by feeling, and not by seeing, as the Lessons before shown you are. Sch. I pray you let me understand this way of playing by feeling. Ma. It is known thus, when you overlap your Adversaries Sword, if he slip you before you touch his Sword, (which is the feeling of it.) than your offering to bind is in vain, because he hath prevented it by Caveating your sword, but if you feel his sword before he Caveat you, than you may safely give home the thrust, because you did first secure it. Which you knew by your feeling, or touching of his sword, and which you, nor no man else, could have so well discerned by your sight. Sch. But what must I do to prevent my Adversaries slipping of my Sword when I am going to seeure his? Ma. You must (if you intent to Bind his Sword within, The contrary to the caveating or slipping of the Sword. and he slip you) rebind his Sword again, either without, by making use of the first Parade in Terce, or within by making use of the Contre-caveating Parade, & after you have rebound him, give him home the Thrust, or if you intent to bind his sword without, and he slip you, than either rebind him again within his sword, by making use of the first Parade in Quart, or without his sword, by making use of the Contre-caveating Parade, and remember that Binding or the Country caveating parade, are only the contraries to slipping, and that slipping is absolutely the best Contrary, either against the Country caveating-Parade, or binding. Sch. I understand you very well, but may I not play a Faint with Binding? Ma. That you may, for you may make the ordinary single, and double Faint upon it, which resembleth very near the single, and double Faint upon battery, or you may bind his sword without, & give in your Thrust as you do when you play the single Faint at the Head. Sch. When I am without distance and intends to bind my Adversaries sword, must I not approach with the binding? Ma. Yes, that you must. Sch. I find this to be a very useful Lesson, and therefore I will endeavour to practise it as much as lieth in my power, that so I may become master of it. Ma. If you do that, I am confident you will confess to me, that what I have said in commendation of it, is far less than it deserveth. Sch. It may be so, but which is your Next Lesson? Lesson 14. Of Flancanade. Ma. My next Lesson is called Flancanade. Sch. How am I to play this Lesson? Ma. How Flantanade is to be played. You must play it thus, (for it is a kind of binding) when you have presented within your Adversaries sword, than overlapp his sword within with about a foot of yours upon 8. Inches of his, and give him the Thrust in his right Flank, upon the outside of his sword, and beneath it, with your Plate 6 For pag: 70 Fig i One Parieing his Adversaries thrust with the 2d parade in ●orce see pag: 30 Fig 2 One giving in: Flanconade see pag: ●● Nails sidewise, and when you give in the Thrust, throw forward your Lefthand, turning the palm of it from you, and the points of your Fingers towards the Ground, and with it keep off your Adversaries Sword from giving you a Contre-temps in the Belly, see plat: 6: Fig: 2. You must also when you give in the Thrust, keep your Hilt a good deal lower than your Point, the doing of which likewise secureth your Adversaries sword; you must also remember when you overlapp, to do it with the broad side of your blade, and not with the Edge, as you do when you bind. Sch. What Contrary have you to this Lesson? Ma. There are only two Contraries to this Lesson, the first is by Parieing, The contraries of Flancanade. and the other by slipping, and the Parade is with the second Parade in Terce, when your Adversary is giving in the Thrust. Sch. Which is your contrary to the Parade? Ma. If I perceive him offer to Parie, The contraries to the Parade and slipping of Flancanade. than I give him the thrust without, and above the sword, as in the double Faint at the Head, & if he slip my overlapping, than I either make use of Binding, or the Contre-caveating Parade. Sch. When I am without distance must I not approach, with the overlapping or Binding? Ma. Yes, that you must, and if your Sword be at first presented without your Adversaries, then before you can play this Lesson, you must first disengage. Sch. Which is your next Lesson? Lesson 15. Of Vnder-Counter. Ma. My next Lesson is Vnder-Counter. Sch. How do you play it? Ma. It is almost played like Flancanade, How under-counter is to be played. only whereas in it, after you have overlapped your Adversaries Sword, you give him the Thrust in his Flank, in this you must go quite under his Sword, turning your hand in Terce, & bring up his Sword, and give him the Thrust, as you give it when you play the single Faint at the Head, and hold your left hand that same very way also, as you do in it. Sch. Which is your Contrary to this Lesson. The contraries to under-counter. Ma. There are also only two Contraries against this Lesson, the first is by Parieing, and is done by making use of the second Parade in Quart, when he hath overlapped your Sword, and is giving in the Thrust, the second is by slipping, when he is overlapping your Sword, and giving the Thrust without and above his sword, by De-querting or Quarting off the straight Line, which shall be shown you in its proper place, and is represented by the second figure of the ninth plate. Sch. Which is your contrary to this parade? Ma. My contrary to this Parade, The contraries to the parade, and slipping of under-counter. is the Faint at the Head upon the true parade, and my contrary to his slipping, is either binding, or the Country caveating Parade, when you are without distance, you must also approach with your overlapping, and if at first your sword be presented without your Adversaries, you must before you offer to play this Lesson disengage, because this Lesson is surer to be played when your Sword is presented within your Adversaries, then when it is presented without, for when you have presented within, you have the Advantage of overlapping your Adversaries Sword, which in some Manner secureth it, Which you cannot at all do, when you have presented without, unless you first disengage. Sch. Is this all you have to say of this Lesson? Ma. Yes. Sch. Which is your Next then? Lesson. 16. of Beating. Ma. My next Lesson is, of the beating of your Adversaries Sword, with one or both hands. Sch. I pray you show me how that is done? Ma. A Man should never offer to make use of this Lesson, until he be almost Master of this Art, because the doing of it disordereth his Body, besides that a Man is in hazard of being hit, if he should miss his Beat, but because you are curious to know how it is done, I shall satisfy you. Sch. I pray you do so? Ma. You must do it after this manner, How a man is to beat his Adversaries sword, with one, or both hands. when you intent to make use of this Lesson, you must let your Adversaries Sword be within yours, & then either only with your right hand, or otherwise, with your Left, joined to your sword about 8. or 10. Inches from the hilt, as in Plate 11. Fig. 2. (To do it with the greater Force,) Dis engage, and beat your Adversaries Sword strongly, and smartly, upon the outside, with the strong of yours, upon the Feible of his, and do it with a spring, that is when you beat, let not the point of your sword follow your Adversaries, but keep your point as near straight towards your Adversary as possible, the doing of which will less disorder your Body, then if ●e followed your Adversaries sword, for then your Body would be discovered within your sword, and so you would give your Adversary, an opportunity to thrust at you, if you happened to miss his sword. Sch. I take you up very well, But what signifieth this beating? Ma. It is very useful, for if you beat your Adversaries sword smartly, The usefulness of beating. and with a spring, as I before told you, you will hardly ever fail, either to beat it, (unless he be all the better skilled in this Art, and take the more notice to himself;) out of his hand, or if he keep his sword very firm, you may infallibly give him the Thrust, but remember if you intent to give the Thrust, to give it upon the straight Line, by keeping a Closs Left Foot, unless you intent to Pass with your beat, as I shall teach your hereafter. Sch. Well, but can I never make use of this Lesson, but when my Adversary hath presented his sword within mine? Ma. Yes, that you may very well. Sch. Show me then upon what occasions, The occasions upon which a Man may make use of beating. I should make use of it? Ma. You may do it upon their occasions, First, if your Adversary offer to give in a plain Thrust, either within, or, without your sword, then before his Thrust come home to you, recovering your Body a little, Disengage, and beat his sword, if he Thrust within your sword, Disengage, and beat his sword, upon the outside, and if he Thrust without, Disengage, and beat within, and instantly after the beat, give him home the Thrust. Secondly, if he should offer to make a Faint, within your sword, then immediately in the time of his making the Faint, Disengage, and beat his sword, and give him home the Thrust. Thirdly, if you should offer to make a Faint within his sword, and he should take time, and Thrust just as you are making your Faint, then instantly Disengage and before his Thrust be home at you, beat his sword, and give him the Thrust, always with a closely Left Foot; this I think as good a time for Beating of your Adversaries sword this way, as can be, but you must be sure not to miss his sword, for if you do, he is but an ignorant, if he miss you, And therefore, I think a man should be very Expert in the Parade, and judging of his Adversaries Measure, before he should offer to make use of this Lesson. Sch. I am much of your opinion, considering what difficulty there is in playing of it well. Ma. I can assure you, the more you practise this Lesson, the more you will find out the hazard a man is in, if he happen to miss his Adversaries Sword. Sch. I believe it indeed, but can a Man never play this Lesson without Disengaging? Ma. Yes you may Beat your Adversaries Sword, after this same manner, without Disengaging, when he offereth to give in a plain Thrust, without your Sword, but then your Beat hath not such a spring with it, to cause him part with his Sword, as when he offereth to Thrust, either without or within your Sword, and you Disengage, and Beat upon that time, which certainly is the best. Sch. You are in the right now when I consider it. But is their no other way, to Beat the sword, Two other ways of beating the sword out of a Man's hand. to cause it go out of my Adversaries Hand? Ma. Yes, there are yet two ways which I have not as yet shown you? Sch. I pray you show me them? Ma. The first way than is done thus, when your Adversary hath his sword presented within yours, The 1. way of beating your Adversaries sword out of his hand. then on a sudden give a smart Beat, with the strong and edge of your sword, upon the Feible, and outter edge of his, and let your Beat be very strong, and quick. Sch Which is your second way? Ma. The second way is done by a twist, and is just done as you play under-counter, only you must do it with a spring, The 2. way. by throwing of your point smartly up towards your Adversaries left side? Sch. What contraries have you to this Beating of the sword? Ma. A man must of necessity either slip the Beat, The contraries to beating. or otherwise hold his Sword so fast, that his Adversary Beat it not out of his Hand. I have no other contraries against it, but the slipping is absolutely the best, you must also remember that you can never make use of Beating, but when you are within distance. Sch. I shall, but is this all you have to say of the Beating of the sword? Ma. Yes. Sch. Which is your next Lesson then? Lesson 17. Of Passing. Ma. My next Lesson is of Passing, or making of a pass. Sch. Show me how I am to do that? Ma. Before I show you the way of doing it, What is properly called a Pass. you must know that there are two kinds of Passes, the first kind, (and that which most properly deserveth the name of a Pass) is that with which a man goeth quite by, and behind his Adversary, the second kind which is called a Pass, (but improperly,) is that with which a Man goeth only closely to his Adversary, and when he is closely at him commandeth his Sword, and this most properly is called an enclosing or commanding of your Adversaries Sword, and shall be the next Lesson I shall show you. Sch. Show me then the way of making a true Pass? Ma. The true Pass is done by running quite by your Adversaries right side until you be behind him, How a Man is to pass. and when you are running by, give him the Thrust at his right pap, if you give him the Thrust above the Sword but if you give it him below at his Arm Pitt, than you must in the time of you passing keep your head that same very way as you do when you play the single Faint 〈◊〉 the Head, and that to preserve your Fa● from a blow, or join your left hand 〈◊〉 your Sword, about half a Foot from th● point, and give him the thrust the very sam● way as it is represented by the 2d: figure o● the seventh plate. And when you think yo● are far enough past your Adversary (which is that if he should turn about to you, yo● would be out of his measure,) You mu● then turn about, and stand to your ow● defence again, and remember always whe● you intent to pass, to go quite thorough wit● it. And not (if you should chance not 〈◊〉 take the time exactly,) to stop in the middle and offer to recover your Body. For the● is far less hazard in going forward, a● though you have not taken the occasion altogether so exactly as you should, the● to offer to recover yourself. Sch. Sir I think there is a great deal of reason for what you say, for when a man offereth to pas● it surpriseth his Adversary, if he go quite thorough with it, although he should miss the giving 〈◊〉 the Thrust, but when a man offereth to pass, an● doth it not freely, it both disordereth himself Plate 7 For pag: 80 Fig i One receiving a thrust after his adversary hath beat his sword see pag: 80. Fig 2 One passing below the sword after a beat given with both his hands see pag: 80. and encourageth his Adversary to pursue him the brisklyer upon the back of it, but I pray you, Sir, upon what occasions am I to make use of this passing? Ma. You may Pass upon the very same occasions that you can beat your Adversaries sword. The occasions upon which a Man may pass. (I mean not the two last ways of beating of it.) But than you must first beat, and immediately after your beat, Pass, or you may pass without beating, with the single Faint at the Head, Volt-coupe, and Vnder-counter, those are the best times which I know for Passing, but you will by frequent practice know all the occasions, upon which you may either Beat, or Pass, according to your pleasure. Sch. Which is your contrary to passing? Ma. If your Adversary make use of Passing after his beat, The contraries to passing then prevent his Passing by using the contrary to beating, for by preventing his beating, you prevent his passing after his beat, but if he offer to pass upon any other occasion, than the best contraries I know, are either to parie him, or otherwise to break his Measure, or go off the straight Line, as shall be taught you here. after. Sch. Which is your next Lesson? Lesson 18. of Commanding the Sword. Ma. I told you before that my next Lesson should be of Enclosing, or commanding your Adversaries Sword. Sch. Which way do you that. Ma. There are two kinds of Enclosing, the first kind is done, by running close to your Adversary, How the first kind of enclosing as it were, with half a pass is to be done. as it were with half a Pass. Which I before said was improperly called a Pass, the second kind is done without running, Now I shall begin with the Enclosing, with half a Pass as it were, and show you First how that is done, afterwards I shall go to the second kind, and also show you the occasions you are to take to do it: as for the first kind than it is done thus, when you intent to Command your Adversaries sword, or enclose with him, you must run close to his right side, and take hold of the Hilt of his Sword, and not of his Arm, (as Ignorants do,) so that their Adversary to be in a manner in equal terms with them again, hath nothing to do but to change his Sword, from his right hand to his Left, and then I pray you for what serveth the securing of the hand, seeing the Sword is not secured. Sch. Certainly a man should always endeavour to secure the Sword rather as the Arm, but I think this a very dangerous kind of Lesson, for if I should run so upon my Adversary as you tell me, be hath no more to do, but to catch me upon the point of his Sword. Ma. There will be no fear of that, if you but observe the directions which I shall give you. Sch. Sir to the outmost of my power I shall, pray let me hear them? Ma. They are these then which follow, The ways a man is to take for to enclose with half a pass. first when you intent to Command or Inclose this way, you must try if your Adversary answereth Feints, if he do not answer them, than it will be hard to enclose with him this way, but if he do Answer and offereth to go to the Parade, then immediately Inclose with a plain thrust within his sword, at his belly, Way first. by turning the point of your sword, towards the right side of his Belly, for the better resisting of his Parade if he should meet with your sword, before that you hit him, and when you are running to give your Thrust, let your Nails be turned in Terce. Secondly, you may Inclose with an ordinary single, Way 2. or double Faint: Thirdly you may enclose the same way, Way 3 with Volt-Coupe. Fourthly you may also Inclose with half a Pass, Way 4. when you have secured your Adversaries sword without, and when you Pass, carry the point of your sword, towards your Adversaries Left pap, as when you give in the Thrust within the sword, you was to carry it towards the right side of his belly, and that also for the better resisting of his Parade, and when you Inclose with this thrust without the sword, carry your hilt low, to prevent his slipping of your sword, and giving you the Thrust, when you are running to Inclose. Sch. I understand you, but yet I see that a man in making use of this kind of enclosing, may be in a great deal of bazard, if he be not all the Experter in this Art. Ma. Sir I tell you again that a Man should never offer to play any of their Difficult Lessons, when he is assaulting, until by practice upon a Master's breast, he hath become Master of them. Sch. I see so indeed, but are there no ways to prevent this kind of enclosing? Ma. Yes that there are. Sch. I would very gladly know them? Ma. You may then prevent your Adversaries Commanding of your sword after this kind, as followeth, first then, The contrary to the First, Second, and Third ways of enclosing with half a pass as it were. if your Adversary maketh use of the First, Second, or Third ways, you may shun his Commanding, by throwing back your right Foot, and when you do it, Parie his Pass with the second parade in Terce. But secondly, if he make use of the Fourth way, than you may prevent his Commanding Three ways, First you may when he is Passing, if he hath not secured your sword all the better, throw back your right Leg, The contraries to the Fourth way of enclosing, with half a pass as it were. and Parie his Pass with the First Parade in Terce, and in the mean time you may with your left hand secure his sword, Secondly, if he hath win the Feible of your sword, so that you cannot Parie him with the First Parade in Terce, then without moving your right Foot, Parie him with the second Parade in Terce, which I show you in the Parade in page 31 if your Adversary should Thrust without, and above the sword. Thirdly, you may prevent him by (just as he is going to run) giving him the thrust, by dequarting, or quarting off the straight Line, which shall be shown you in its proper place, and so I go on to the second kind of enclosing, which I told you of. Sch. How am I to enclose after this second kind? Ma. There are several occasions in which a man may make use of this Second kind of enclosing, The several occasions in which a man may use the second kind of commanding. Occasion 1. which is done without running, as first if your Adversary keep a high point and your sword be presented without his, & he within your measure; then with the Fort of your sword, and your Naills turned upwards from you, put up the point of his sword, and keeping your right soot close, throw forward your left almost close to your Adversaries right Foot, and then secure his sword, as I have before told you. Secondly, if your Adversary keep a low point, Occasion 2. than you may overcross his sword, with your strong upon his weak, and so pressing down the point of his sword, near the ground, throw forward your left hand, and take hold of his sword with it, just at the hilt, and so wrist it out of his hand, when you make use of this occasion, you must keep a close left Foot. Occasion 3. Thirdly, when your Adversary giveth in a Thrust, within your sword, parie him with the first parade in Quart, and take hold of his sword that same very way you was to do it before. Occasion 4. Fourthly, when your Adversary giveth in a Thrust at you, without your sword, immediately Parie him with the first Parade in Terce, and in the very time of your Parade, throw your left Foot Plat. 8 For pag 86 Fig i One commanding his Adversaries sword by taking the fifth occasion see pag: 87 Fig 2 One commanded by the fifth occasion forward near to his right, and then secure his sword, when you do this, you must keep a close Right Foot, and remember always, after you have taken hold of your Adversaries sword, to draw back your right Leg, and Arm, and hold your swords point to his Breast, as in Plat. 8. Fig. 1. So that if he do not immediately yield you his sword, Occasion 5 you may either give him the Thrust, or spare him, as you please. Fiftly, you may Command your Adversaries sword after this fashion, which is a very good time for Commanding, and that is immediately after you have given in a Thrust without the sword, and that your Adversary hath paried it, you must then immediately, leap half about to the right, changing your Feet, by putting the Left where the Right was, and the right where the Left was, and in the very time you are changing your Feet, bring your sword which was under your Adversaries, quite over your head, and in the mean time you do this, throw your left arm over your Adversaries sword and so secure it, under your Left arm as in Plat. 8. Fig. 1. The changing of your Feet, bringing your sword over your head, and securing of your Adversaries sword under your Arm must be all done together, otherwise, the offering to take this occasion of Commanding, will signify nothing. I now go to show you, how you are to prevent a man's taking of these occasions to Inclose with you? Sch. Pray do so, for I was just going to desire it of you. Ma. You may then prevent your Adverlaries Commanding of your sword, How to prevent the first occasion for enclosing. as followeth; first if your Adversary should make use of the first occasion, you may shun his Commanding, by throwing back your right Foot, and in the time you throw it back, give him a blow upon the Left hand; this must be done, just as he is throwing in his Left Foot to command or you may, when you perceive him offer to Command, leap quite out of his measure. How to prevent the second occasion for enclosing Secondly,. if your Adversary make use of the second occasion of Commanding, you may shun him thus, immediately when he hath overcrossed your Sword, and you perceive him bringing forward his left Hand to secure yours, either with a leap half about to the right, change your Feet, by putting the left, where the right was, and the right where the left was, and instantly take hold of his Sword, and so long as you keep it in your hand, hold the point of yours to his Breast, you may perceive the advantage, of making use of this contrary, providing you take the right time, for if you do it right, you not only shun his Commanding of you, but you at one time both prevent his enclosing with you, and you become the pursuer, by Commanding of his Sword, whereas he should have Commanded yours, but as I said before, you must be sure, to take the right time, otherwise you will be disappointed. Sch. But what is to be done, if he should catch hold of my Sword, before that I command his? Ma. Truly, if that happen you must either yield him your sword, or if you will not do that, but rather run the hazard of receiving a Thrust, you must instantly when you find that your sword is secured, turn your Hand in Terce, and strive to secure his sword likewise, before that he can get his sword free of you to harm you, but if you take this method, you must do it very quickly. Sch. But although I turn my hand in Terce, may not my Adversary force my sword from me, before that I can take hold of his? Ma. Yes that he may, by only (when you have turned your hand,) drawing your sword sidewise out of it, by raising of your Point, and pressing down your Hilt. Sch. I understand all you say very well, but only that of taking the right time I understand not. Ma. I shall explain it to you then, The taking of right time explained. there are two times, viz. A right and a wrong, for the wrong I have nothing to do with it in this place, because most commonly all people take it, but to take the right time, is that which at this time I am to explain to you, and show you upon what occasions a man is said to take it, there are then two occasions in which a man is said to take the right time, Occasion 1. of taking right time. first, when a man hath an opportunity of playing of a Lesson, commanding, or giving in a Thrust, and neglecteth not that occasion, than he is said to take the right time. Occasion 2. of taking right time. The second is when a man preventeth his Adversary, by playing the same or the like Lesson upon his Adversary, which his Adversary designed to play upon him, and to make use of this second occasion right, a man must be sure to be before his Adversary, that is to say, whatever Lesson he designs to prevent his Adversaries Lesson with, he must have it played before his Adversary hath played his, otherwise it will be a Contre-temps, as for example, if your Adversary should offer to give you in a Plain Thrust, and you in the very time of his giving of it in, should give him a plain Thrust, before that his be home at you, by Quarting your head, and shoulders upon the straight Line; then I say you are Before him, because although he pursued first, yet you prevented him▪ and was Before him, in so far as your Thrust, was sooner home at him, then his at you, which had it not been so, it would have been a Contre-temps, because you would have been hit, had you not Quarted all the better upon the straight Line; In like manner if a man should offer to command your sword, by taking the second occasion, and you should offer to prevent him, by the contrary to it, which I just before show you, I say, you must then have your Contrary played, and his sword Commanded, before that he hath yours Commanded, otherwise you have neither taken the right time nor been Before him, and therefore your endeavouring to prevent him signified nothing. I think I have now sufficiently Explained to you, what the taking of the right time is. Sch. You have so Sir and I understand you very well, but I pray you go on in what you was saying, Concerning the shuning of my Adversaries commanding my sword. Ma. I shall, Thirdly then, if your Adversary should take the Third occasion you may prevent him thus, How to prevent the third occasion for enclosing. either by recovering of your Body, before that he catch hold of your sword, or if he do catch hold of it before that you can recover your Body, you must then Instantly turn your hand in Terce, and before that he can have the time either to disarm you, or to get his sword free of you to command you, throw in your left foot & command his sword likewise, and then he that is strongest must carry it. Fourthly, if your Adversary take the fourth occasion for Commanding, How to prevent the fourth occasion for enclosing. you may either prevent him, by making use of the 5th occasion as in Plate 8. fig. 1. & so you command his sword, whereas he should have commanded yours, or you may when he is throwing in his left foot, & going to take hold of your sword, immediately throw your Left Foot behind you, towards your Adversary, and upon it, as a Centre make a whole turn to the Left, and in the time you are turning, clapp the Feible of your sword, under your Left Arm Pitt, and so you both eat his Commanding of your sword, and you give him the Thrust, with your sword being placed as I told you, in his Left shoulder as you are turning, if you do this contrary right, the turn that you make upon your left Foot, will put you quite behind your Adversary, and as I said in the very turning, you give him the Thrust, and after you have given it him, you must jump out of his Measure, and then stand to your Guard again, By this contrary you may see how ridiculous some people are, in thinking that a Man cannot be fairly wouned in the back, I am sure, there is no rational Man that will deny the faireness of this Thrust, and yet you see it is given at your Adversaries back. Sch. I see so indeed, and till now, I thought so myself, but now I see the contrary both of this, and other things, which before I could not, because of my Ignorance, but I think this turning? pretty kind of contrary. Ma. It is so, but you would take heed that you play it not to your knowledge, upon any who know the contrary to it, for if you do, it is ten to one, but you meet with a reward, for your folly. Sch. Why so, is their any hazard, in this turning? Ma. Yes that there is, The contrary to the prevening of The 4. occasion for enclosing by turning. for if your Adversary should but thrust you off him with his Left Hand upon your left shoulder when you are turning, he may either certainly give you the thrust in the Back, or cause you fall if he thrust you off him with a little force, and in the mean time trip you with his left Foot. Sch. I see now indeed that there is more hazard in the making use of this turning, then at first I thought there was. Ma. Sir if you were not convinced with the reasons I give you, How to preven the 5. occasion for enclosing. that what I say is right, I would think my labour lost: But to the purpose, if your Adversary should offer to command your sword, by taking the Fifth occasion for Enclosing, you may then make use of the contrary to the First occasion, but you must do it very quickly, otherwise you will not be Before him, and so he will have you commanded, before that you could prevent him with your contrary. Sch. These are all the contraries to the several occasions a man can have to enclose, or command, are they not? Ma. Yes, they are all which I think Necessary to show you, and therefore I will proceed to my next Lesson. Sch. Concerning what is it? Lesson 19 Of Breaking of Measure. Ma. It is of Breaking of Measure, which is a thing as Necessary to be understood, as any Lesson I have as yet shown you, and it showeth a Man's art very much, if he do it neatly. Sch. I pray you show me then how it is done? Ma. It is done thus, How a man is to judge his Adversaries distance, or Measure. when you perceive your Adversary thrusting at you, and you are not very certain of the Parade, then Break his measure, or make his thrust short of you, by either stepping a Foot, or half a foot back, with the single step, for if you Judge your Adversaries distance or measure well, half a foot will Break his measure as well as ten els: You are to Judge the distance your Adversary is from you by First considering the Distance his right Foot is from you, Secondly the Distance that there is betwixt his Feet. Now you must observe their two Directions for although his right Foot be at a reasonable distance from you, yet if his Feet be near to other, than he will reach you as far of, as if his right Foot had been nearer to you, and his Feet at a greater Distance, because the nearer that his Feet are together, the farther will his ●orge reach: this needs no demonstration if you will but seriously consider it. So now in Judging of Distance, there are two things to be observed, first the Distance his right Foot is from you, Secondly, the distance betwixt his Feet, if you observe their two Directions you cannot but judge your Adversaries distance exactly, which is a chief point, in the Art of the small Sword, but as I said, How a manis to break his Adversaries measure. after you have Judged it, then to break it, you must when he is thrusting break it according to the Distance you think he is from you, by either throwing your Body backwards, and drawing your right foot a little to your left, which you must keep fast, this way of breaking of measure, is sore for ones back, and is not used, but when your Adversaries Thrust would not go far by you; or you may, as I told you before, go back half a foot, a foot, o● as you Judge your Adversaries Distance, with the single step. This is the most ordinary, and, in my opinion, the best way of breaking of measure; or you may break your Adversaries measure, by Jumping backwards from him upon the straight line, but this way of breaking of measure is not much made use of, except just after you have given in a thrust yourself, because it hindereth extremely your Adversaries pursuit upon the respost, and therefore is a great deal more proper to be used upon that occasion, then upon any other, for in the ordinary breaking of Measure, if people should jump always so far out of their Adversaries reach, people would have really ground to cry out against the breaking of Measure, for it would indeed look too like yielding of ground, which I am very far against, it looking some what like cowardliness, but upon the contrary, I am altogether for Judging of distance, and breaking of Measure. For I never account a Man a complete Sword Man, until he both know how to Judge distance, and break Measure, and also putteth them in practice, but I am altogether against yielding ground, unless it be done out of a good design which no Coward can do. Sch. Sir this is an extraordinary fine Lesson you have been explaining to me, and I am very much convinced of the usefulness of it. Ma. Sir, people may talk what they please of breaking of Measure, but I assure you, it showeth a Man's art, as much as any thing in all this art I have been explaining to you. Sch. Really it doth so, and upon that aocount, I will endeavour to become Master of it, but which is your next Lesson? Lesson 20. Of Redoubling of Thrusts. Ma. It is of Redoubling of Thrusts, and Gathering up of your left Foot, which is to be done thus, after you have let in your Thrust, and that your Adversary hath broken your Measure, How a man is to Redouble his Thrust, which is the contrary to the breaking of Measure. and you at your Elonge, keeping your right Foot closely, draw your left so near to it, that you can either approach, or make another Elonge, just as you please, and when you Redouble or give in another Thrust, First Bind, for it is the securest way, and then give in your Thrust, it you can play this Lesson well, you may pursue your Adversary, by this Redoubling, (although he should break your Measure) half a pair or more according to your strength, and when you Redouble, remember as a general rule, always either to Beat, or Bind your Adversaries sword, before you offer to give the Thrust, for it will preserve you from a great many Contre-temps. Sch. I think this a very useful Lesson, for I perceive it is just the contrary to retireing, or breaking of measure, which is a great preventer of all thrusts. Ma. It is so, and if you learn not to do this Redoubling exactly, your Adversary may many a time shun your thrust, which (had you known how to Redouble) he might certainly have gotten. Sch. I perceive so indeed, but show me your next Lesson? Lesson 21. Of raising or gathering up of the sword. Ma. How a man is to raise, or gather up, his Adversaries sword, when the point of it is sloping towards the ground. My next Lesson is of Raising or Gathering up of your Adversaries sword, and I do it thus, when my Adversary either presenteth his sword, with a very low point, so that I cannot easily bind it, or that he maketh use of the Quart Guard, with a sloping point near to the Ground, than I present my sword within his, and brings his up with the edge of my sword, not far from his point, and when I have raised it as high as my middle than I bind him in the outside, and so I give him the thrust, either straight home without his sword, or I make a Faint without, and give the thrust within, you must know that this raising and binding of my Adversaries sword, is done with two Motions, with the first I bring up his sword, and with the second I Bind, when you are without distance, you must approach with the raising or gathering up of the sword, Sch. The contrary to the gather,ing up of the sword. Is this all you have to say of this Lesson? Ma. Yes, only that the contrary to it, is slipping. Sch. Which is your next Lesson? Lesson 22. Of Quarting and Volting. Ma. My next and last Lesson is called Quarting and Volting, and is to be played off the straight line. Sch. I entreat you show me how this lesson is to be played? Ma. You must play it after this manner, How a man is either to Quart or volt, or to Quart and Volt immediately after other, as also the times in which a man may make use of them. you may either only Quart, or Volt, or Quart and Volt immediately after other, if you only Quart, you must when your Adversary offereth to bind your sword without, immediately before he touch your sword, give him the thrust, by slipping him, and in the very time you slip him, throw your left foot behind you off the straight line backwards towards your adversary, & give him the thrust at his breast, by keeping your right leg close and stretched, this is called Dequarting or Quarting off the straight line; see plat: 9 fig: 2. and if you intent to Volt, you may either take the same very time, or when he is going to Bind you within, but this time is not so safe as the former, or you may Volt after you have Bound his sword, this is a very good time, but whatsoever time you take, you must Volt, or leap with both your feet in the Air at once, quite by your Adversaries left shoulder, and in the time you Volt, Quart your head well, to prevent a Contre-temps, and give him the thrust at his left pap, and Volt quite out of his Measure, and then stand to your Guard again, and remember when you either Quart or Volt, always to make use of your left hand for fear of a Contre-temps. But if you intent to Quart, and Volt immediately after other; than you must first quart as I have shown you, but give not your thrust with your quarting, and afterwards volt, I say you must first quart, and secure his sword within, by binding in the very time you quart, and immediately after give him the thrust at his left Pap, by volting as I told you, now the properest time, of Quarting, and volting, immediately after other, is when your Adversary giveth in a thrust within your Sword, or when he goeth to bind your Sword without, then immediately you Quart, and with the Quarting secureth and Parieth his thrust as it were, although the Quarting of itself shuneth it sufficiently, yet it is far surer first to secure his Sword, in the time you Quart, and then with your volt you give the thrust, as I before show you. Sch I see this is a difficult Lesson, and should not be played, but when one hath a very fair opportunity for in playing of it, a man throweth his body wholly open to his Adversary. Ma Sir your observation is good, and I am glad to see you reflect upon the security, and hazard a man may be in when he maketh use of such, and such a lesson, for it is a great sign that you will reap advantage, from what I have at present been teaching you. Sch. I pray you if you have a Contrary to this Quarting and Volting, show me it? Ma. There is no other contrary to this Lesson, The contrary to quarting and volting. but when you perceive that your Adversary is either going to quart, or Volt, to Rebind him without his sword, by making use of the contre caveating Parade, and give him the Thrust straight home, or you may take time and Volt upon him. Sch. And are you now Sir at an end with your Lessons? Ma. Yes. Sch. But have you no more to say, before you go on to the pursuing and defending of the several Guards? Ma. No, for although there might be a great deal more said, yet I think what I have taught you, sufficient to make you a Master of this Art, providing you practise it exactly, for the Lessons which I have shown you, are those upon which this Art depends, so that a Man that can once play them exactly, in my opinion needeth no other, besides that a Man when once he knoweth the common grounds, may according to his own fancy, invent very good Lessons, together with their contraries, for his own practice, for all Lessons that can be invented, depend upon their that I have been showing you. Sch. Sir I think there is a great deal of reason for what you say, but now let us go to the several Guards, and see how they must be pursued and defended CHAP. V How the several Guards, are to be kept, pursued, and defended, and First, Of the Quart Guard with a straight point. Ma. I shall begin then with the quart guard with a straight point, for a man that can pursue, or defend well upon that Guard, will easily pursue, or defend, upon any of the rest: Now because I have shown you already in the beginning of our discourse, in Page 16. and 17. How this Guard was to be kept, I shall not in this place trouble you with the repetition of it, but shall refer you to the Page and Plate wherein it is described. viz. Page 16. and Plat. 2. Fig. 1. or 2. but for my own part I prefer the second figure of the same Plate far before the first but you may take your choice of either. Sch. You say well Sir, but how am I to pursue this Quart Guard with a straight point? How the Quart Guard, with a straight point, is to be Pursued. Ma. Before I show you how to pursue it particularly, you must know that all Guards as well as this, are Generally pursued by ●●ther, falsifying, Binding, Bearing, or a Plain Thrust, now if you intent to pursue your Adversary, he keeping this Quart Guard, with a straight point, you may first try him with Feints, and if you perceive that he answer your Feints, than you need make use of no other Lesson against him, but if he do not answer your ordinary single, and Double Feints, ●hen try him with your other Feints, viz, the ●ingle, and Double Faint at the head, Battery ●ngle, and Double, or volt-coupe, and if you ●e that none of those Lessons will have ●flect; the second pursuit you must make ●se of, must be by Binding of his sword, for 〈◊〉 you can do that well, you will force Thrusts upon him, whereas by the for●er, you strive first to deceive him, and ●en to give him the Thrust, Thirdly you ●ay pursue him by striking of his sword, ●ith one, or both your Hands, and either ●ive him the Thrust with a closely left Foot, 〈◊〉 if you see a fit oppurtunity Pass immedi●ly after your stroke, & either give him the thrust, or Command him: Fourthly, if he ●pp you when you are either going to Bind, or Beat his sword, then immediately Rebind him by making use of the Contre-caveating-Parade, Fifthly, you may try him with all sorts of Lessons, and what Lesso●s you find have most effect, those use most frequently against him, if he Break your Measure, then Redouble your Thrust again, and wha● ever Lesson you design to play upon him, by any means remember to have a care that he take not time upon it, you would mind this Rule well, for it is of great importance to a sword Man, I might fill a Volume with the description of Lessons with their contraries together with their contraries, as also with the contraries of those contraries, all which would in a manner signify nothing to you● but to Embarasse your Judgement. Therefore I think what I have said to you, concerning the Pursuit of this Guard sufficient seeing you understand all the Lessons, and may make use of any of them as you think fit. Sch. I think Sir you are in the right, f●● if a Man once know the grounds, he may easi●● of himself invent Lessons, to win at, and cros● his Adversary. Ma. 'Tis very true he may so, and it 〈◊〉 upon that account, I have cut my discourse so short, thinking any more concerning the Pursuit of this Guard altogether unnecessary. Sch. But how am I to defend myself, if my Adversary should pursue me, I keeping this Guard? Ma. You must Defend yourself two ways, either by parieing, How a man is to Defend himself upon the Quart Gurad with a straight point. or by using contraries to the Lessons your Adversary plays upon you, if you intent to Defend yourself by parieing, which certainly is the best way, when once a Man is Master of it, then use any of the five Parades I show you in the Defensive part according to your discretion, and Judgement, but if you intent to use Contraries, then make use of the Contraries which belongeth to the Lessons you Judge your Adversary is to play upon you, the which Contraries you know, all alongst, I have set down, immediately after the Lessons they belong to, and therefore, I think a repetition of them in this place, altogether unnecessary, seeing it is but your pains to look back to the pages, where they are set down, and that you may make use of them according to your Judgement, and pleasure. Sch. It is so, but which is your next Guard? Secondly Of the Quart Guard, with the point sloping near to the ground. Ma. My second Guard, How the Quart Guard, with a sloping point, is to be kept. is the Quart Guard, with a sloping point, and is to be kept thus, you must stand a great deal straighter than you did in the Quart Guard, with a straight point, and you must slop the point of your sword within half a Foot of the ground, or nearer if you please, your Hilt as low as your fore pocket, with a bend Arm, and your Nails betwixt Quart, and Terce, you are in this Guard to make use of your left Hand, and therefore to make use of it with the more case, it will be fit to advance your left shoulder, almost as far forward as your right, and keep in your belly well, and out your breast, and hold your left Hand, as high as your Head, just as one doth that putteth up his Hand, to save the Sun from his Face, but whereas he holdeth his closely to his brow, yours must be held somewhat more than half a Foot from it, this is a very Open Guard, but yet very surprising to those who know not how to Pursue it. See Plat. 11. Fig. 1. Sch. How is it to be pursued? Ma. There are only Four ways of pursuing this Guard, the First is by Raising, How the Quart Guard, with a Low point, is to be Pursued and defended. or Gathering up of your Adversaries sword, as is shown you in Lesson the 21. the Second is by striking at his sword, and making half Thrusts at his Body, and so make him doubtful when you will give in the Thrust, and when you think you have an opportunity, then give it home, and always when you Pursue this Guard, have your left hand in readiness to Parie your Adversaries thrust, if he should thrust just as you at thrusting; for that is only his design, to thrust when you are thrusting, and to Parie your thrust with his left hand; or sometimes with his sword, just as he pleaseth, Which is all the defence upon this Guard: Thirdly you may also after you Beat at his sword, give a Stroke at his left hand, and see if you can force him by so doing to take himself to another Guard, or Fourthly, you may Volt, and give him the thrust in the time of your Volting, which if neatly done, will easily surprise him; this is all the Pursuit, and Defence, can be used upon this Guard. Sch Which is your next Guard? Thirdly, Of the Terce Guard, with the Point higher than the Hilt. Ma. My Third Guard, is the Terce Guard with the point higher than the Hilt, How the Terce Guard, with the point, higher than the Hilt, is to be kept. and is to be kept thus: you must hold your Nails in Terce, and your hand some lower then in the Quart Guard, with a straight point, the point of your Sword must be presented towards your Adversaries left shoulder 〈◊〉 he be a tall man, but if little, then to his left eye, you must keep your arm a little bent, as in the Quart Guard, for the better pursuing: you are also to lean a little forward with your body, as in the foregoing Guard and to make use of your left hand for a Parade, but it must be held lower than you hold it in the foregoing Guard, the rest o● your body must be kept after the same manner, as in the Quart Guard, with 〈◊〉 straight point. See Plat. 10: fig: 1. Sch How is this Guard to be pursued? How the Terce Guard, with the point higher than the Hilt is to be Pursued and Defended. Ma It is to be pursued either with striking Binding, Volting, or Passing, for your faint upon this Guard will signify nothing, i● your Adversary understand it, for, as i● Plate i0 For pag ii0 Fig i One keeping the terce guard with the point a little higher than the hilt see pag: ii0 Fig 2 One keeping the Terce guard with a sloping point see pag: ii0 ●one of the Guards a man is to answer feints, so far less in this; for the right Defence of this Guard is to secure yourself without your sword, which you do by presenting your ●oint to your Adversaries left shoulder, or ●ye, so that your body is quite covered ●itheut your sword, and seeing you are by ●o means to Answer his Feints, but to keep yourself secured upon that side, you are ●hen certain, that if he Thrust he must of necessity Thrust within your sword, and ●hen you are to Parie him with your left Hand, and give him the Thrust upon the Respost; or, you may, if you please, Parie with your Sword, or take time, for seeing you are not to answer his Feints, you may the easilier judge of the coming ●n of his Thrusts; and therefore may either make use of Sword, or hand, as you think fit. Now seeing Feints, against this Guard, signify nothing, therefore it must be pursued, according to your fancy, by Binding, or Beating, you may also if you please, try your Adversary with Feints, and if he answer them, they may do well enough, but than it is a certain sign, that he understandeth not the Defence of this Guard, as he should, but if your Adversary should pursue you upon this Guard, the most proper way to defend your sel● upon it, is to make use of your left hand although it be left to your choice, either to make use of it, of your sword, or any other Contrary you think fit, this is all 〈◊〉 think needful to say of this Guard. Sch. Which is your fourth Guard? Fourthly, Of the Terce Guard, with the point Lower than the Hilt. Ma. My Fourth Guard is the Terce Guard, with the point lower than the Hilt, How the Terce Guard with the point Lower than the Hilt, is to be kept, Pursued, and Defended. and is just Kept with your body in that posture, as when you give in the Thrust, when you play the single Faint at the Head, but only your Feet must be at their just distance, and not as when you are at your full Elonge, and your left hand must be also just held after that same manner, as it is held when you play that Lesson, but your sword's point must be presented towards your Adversaries left side, and make use of your left hand, for a Parade: it is to be pursued and defended, just as the preceding Terce Guard, only when you defend it, you need not make so much use of your left Hand, as in the foregoing, but more of your sword, you may make use of either, according to your Fancy. See Plat. 10. Fig. 2. Sch. Which is your Fifth Guard? Fifthly, Of a Guard, in which a Man is to hold his sword, with both hands. Ma. To my Fifth and last Guard I have no proper Name, How the 5. kind of Guard, is to be kept, pursued, and defended. but as I told you in the beginning of this Treatise, Page-15-you are to hold your sword with both your hands, and you are to do it thus, keep your body Exactly in the posture of the Quart Guard, with a straight point, but for your sword, you are to join your left hand to it, about 8. or 10. Inches from the Hilt, and hold the Blade betwixt your formest finger and thumb, just as you do, when you are going to beat your Adversaries sword with both hands, as in page 7, and Plat. 11. Fig. 2. and secure yourself within your sword immediately when you present it, that is, present your swords point towards your Adversaries right thigh, and a thought without it, with your point sloping, a little towards the ground For to Pursue this Guard, you must First strive to take away your Adversaries left hand, by striking at it, and immediately after the stroke, offer to Thrust at his body, and so make him doubtful when you will give your Thrust: the Pursuit of this Guard, is somewhat like the Pursuit of the Quart Guard, with a sloping point; you may try him with Feints, but if he understand the Defence of this Guard as he should, they will signify nothing, because he will not answer them: any other way of Pursuing their Five Guards, than what I have set you down, is left wholly to your own discretion, which you may easily, with a little consideration find out, but these which I have given you are the safest, and most proper Persuites, belonging to each Guard: if you take yourself to this Guard, and your Adversary Pursue you upon it, you know you are secured upon one side, so that if he give you a Thrust, it must certainly be upon that side in which you are discovered, unless it be your own Fault, by answering of his falsifies, I say if he Pursue you upon it, your Defence is only to wait his Thrust, and when he is giving it, Beat his sword, and give him home the Thrust, and prevent as much as you can his Hitting you upon the left hand, which you must do, by sometimes making half Thrusts at him, and other times, drawing back your sword near your Body, by doing of which you slip his stroke; the judging of your Adversaries measure in this Guard, as well as in all the rest, is most requisite, therefore, I entreat you to remember it. I have now explained to you the Five several Guards, with their defences and Pursuits, which you may make use of; according to your own fancy, the next and last thing I will show you, will be some Rules to be observed, (As I told you in page eleventh) when you are playing with either Blunts, or Sharps, against those who understand this Art, or against those who are altogether Ignorant of it. Sch. Sir before you do that, I would gladly have you show me, which of their five Guards, is the best, and safest to be made use of, if a man were going to venture his life. Which of the Guards a man should make choice of as the best and safest. Ma. This is a very pertinent Question, and I shall quickly according to my own opinion resolve it to you; I think then either for Pursuing or Defending, the Quart Guard, with a straight point, absolutely without comparison the best. For if you intent to be the pursuer, then without debate this Guard is the best, because when you keep it, you are in a readier posture for offending, then when you keep any of the other four; and if you intent to be the defender, than also is it the best, both because you are in as ready a posture to defend, as when you keep any of the other, and also because in it as well as in any of the other, you may make use of your Left Hand, so it hath this advantage of the rest, that when you keep it, your Body is more at liberty, and not so constrained to observe one posture, and one Parade, as you must do for the most part, when you keep any of the rest, for they are more proper for the Defensive part, then for the pursuit; yet next the Quart Guard with a straight point, I esteem the Terce Guard, with the point higher than the Hilt, next to it is the Terce Guard with the point lower than the Hilt, to be chosen, next to it is the Quart Guard, with the point sloping towards the Ground, and last of all, is the Fifth Guard, which is only for the Defensive part, especially when a Man's sword-hand is wearied, this is my opinion as to the choice of a guard for safety, yet there may be some of another opinion, but every Man chooseth the guard he hath most liking to: and so I leave it to you, to make your choose also; according to your Fancy; although I think in reason you should choose that which I have recommended to you as the best. Sch. Sir, I think there is all the reason imaginable that I should, for seeing I am not so able to judge of the goodness, and badness of them as you are, why should I not then approve of your choice? But Sir, I will yet put you to the trouble, of answering me one Question, before you proceed to those rules, you were just now speaking of; and that is, if two men of equal Art, and courage, were engaged against other, the one with a Broad Sword, and the other with a Small, which of them, That the Small sword hath the advantage of the Broad. in your opinion would have the advantage? Ma. Sir there is very little difficulty in answering of this Question, for there is no rational man that understandeth both the Art of the Small Sword, and the Broad, but will confess that the Small hath a very great advantage of the other, if these who are to make use of those different kinds of swords be engaged for their lives, and the reason is this, that a man with a Small Sword, may Contre-Temps with him that hath the Broad, so that each of them receiveth a wound, but he that had the Broad Sword shall be killed, because there can be but few wounds given with the small Sword, in a man's Body, but what prove mortal, whereas a man may receive many cuts in the Body, yea, even in the Head, with a Broad Sword, which will not be mortal, yea even hardly so disabling, as that a Man with a small sword may not (betwixt the time of his receiving his wound, and being disabled) kill his Adversary, but I assure you, if a Man be run thorough with a small-Sword, it either immediately killeth him or disableth him so, that he can hardly keep his feet, let alone to resist any longer. Sch. Truly Sir your argument is very strong, and in my opinion, there can little be said against it, yet I have heard those in their Schools, who taught the Broad-Sword, say that they would hit a Man oftener with the Broad Sword, or Cudgel, than a Man could hit them with a small sword or Flourret? Ma. I shall likewise easily answer you as to that, First every Man endeavoureth to maintain the excellency of the Art he professeth above other Arts of that nature, as much as possible, that so he may be the better employed, and really a Man can hardly be condemned for so doing, Secondly in playing with Blunts, I think the Cudgel hath as far the advantage of the Flourret, as in sharps the small-sword, hath of the broad, and my reason is, because one good smart blow, of a bazle stick is worth a dozen of Thrusts given with a Flourret, and so is a Thrust with a small-sword, which is right planted, worth half a dozen, yea I may say a dozen of such wounds as ordinarily people who understand the broad sword receive when they are playing with sharps: But Thirdly, as for a Man's hitting oftener with the cudgel then another who understandeth the Art of the small-sword, will with a Flourret, I altogether deny it, unless a Man can hit oftener with the Broad-sword, or cudgel without being hit by his Adversary, than his Adversary with a small-sword, or Flourret can hit him without being hit himself, I say unless he hit without being hit himself with a Contre-temps, or upon the respost, he cannot be said to hit oftener. Now if he be playing with one that is Master of the small-sword. I positivelydeny, that ever he will hit him without receiving a Thrust, either by way of Contre-temps or upon the respost, if he with the small-sword have a mind for it; which if he do, he cannot be said to hit oftener, and so consequently, his Art is not better: I know that the grounds of the Art of the Broad Sword are almost the same, with the grounds of this Art, but still when a man cometh to practise with sharps, the small sword hath the advantage, both because of the reasons I just now gave you, and also because its Motions are a great deal more Subtle, and quicker, than those of the Broad Sword, and I appeal to any rational indifferent person, if what I say be not grounded upon Reason, but for all this, I am so far from undervaluing the Art of the Broad Sword, that upon the contrary I think it both very profitable, and pleasant, and hath it's own use as well as the Small, for as upon Foot the Small is most commonly used (although it be also very useful upon Horseback,) so upon Horseback is the Broad most ordinarily to be made use of, and I really think that all Gentlemen should understand, how to Defend themselves with both, for a Man can never be called a complete Swordman, until he can Defend himself with all kinds of Swords, against all sorts his Adversary can choose against him. Sch. Indeed Sir I agree with you in that, now this question, I have heard many times debated, and till now could never be resolved of it, so that by the reasons you have given me in favours of the small-sword against the broad, I am fully of your opinion, and I think they are of such force, that no rational Man will deny them; but seeing you mention the usefulness of the sword upon horseback, I earnestly beg that before you proceed farther, you would do me the favour to show me how to make use of it that way, which will be to me a singular obligation. Ma. Sir at your earnest desire I shall not much care, to put a little stop to our present discourse▪ that so I may inform you in what you desire to know concerning the fight with the sword upon horseback. Sch. In doing that Sir, I shall be so much beholden to you, that I am afraid I shall never be able to recompense it. Ma. Sir I earnestly beg of you to leave your compliments, for seeing at present I am in the station of a Master to you, it is but rational, that I should answer according to my ability any question you can put to me, either concerning the small or broadsword, upon Foot or Horseback: To begin then, although the directions which I am to give you be mostly (according to your desire) designed for the sword upon horseback, yet I think I cannot well shun saying something of the Pistol, because now a day's people seldom fight upon horseback with the sword alone, but ordinarily with sword & Pistol, I should rather say Pistol and sword, because before they come to make use of their swords they first discharge their Pistols, so that in my opinion it is properest to put the Pistol before the sword, and therefore following that method, I shall in the first place (before I say any thing of the sword) teach you how to discharge your Pistols against your Adversary with the greatest advantage, which you may learn by the following directions if you seriously consider them. Sch. Sir you need not in the least fear my not taking notice to them, for there is nothing that I would so gladly know. First, Directions for fight upon horseback with Pistols. Ma. You must then in the first place provide yourself if possible with a well mouthed horse, How a man is to make use of his Pistols upon that is to say with a Horse that will answer your Bridle-Hand, and spurs, as you shall please to make use of them, so that with the least touch of them he will go whither you direct him, he would also be bold and forward, and not affrighted at the report or fire of the Pistol, now after you have provided yourself with a Horse having those qualities, and that you know how to govern him, for that is a chief point, because a good Horse without a good Rider signifieth not much; I say then if you have a Horse with the forenamed qualities, and yourself also Master of him, you may (if you be not a Coward yourself) very confidently venture to engage against any Man. When you are come to the field then, and have all in order viz. Your Pistols charged, Touch holes cleared and Primed, and good flints, by any means neglect not that, for upon the goodness, orbadness of them may your life almost depend, therefore be sure to be well provided as to them; you would also have your stirrups shorter than ordinary, in case you should be forced after the discharging of your Pistols to make use of your sword, that so you may pitch yourself upon them, to make your Blows or Thrusts reach the farther: being thus provided of all, and after that you have passed your last compliment upon your Adversary, so that you are both of you to do the best you can to Master other, then step, Trot or put your Horse into a gentle Hand-gallop until you be without Pistol shot of him, and in the mean time you are going from him draw your sword being tied about the plumet with a strong ribbon, and hang it upon your right wrest, this you must always ways do to have it in readiness after your Pistols are discharged, for it is always supposed that a Man may have to do with his sword after that his Pistols are discharged, and therefore it is fit to have it in readiness, after you have done that, then draw your right Pistol and Bending her put her into your bridle-hand, holding her near the work betwixt your formest finger and thumb, then immediately draw your left, and bend her likewise holding her in your right hand with her muzel upwards, this you are all to do in the going from your Adversary, therefore it must be all done in a minute, and when you are at the distance I before spoke of, which I suppose to be about fifty or sixty paces, then gently turn your Horse and come at a Hand-gallop until you be within a pair, or less of your Adversary, keeping still up the muzell of your Pistol till then, when you are about a pair from him, make a brusch closely by him so that you may almost touch his leg with yours in the passing, and after the time that you begin your brusch, let the muzel of your Pistol fall so by degrees, that it may at your coming at him, or passing him be level with the middle of his Body, so that in passing you may almost touch him with it, and then fire upon him, this they call (in French, Tirer a Brule pourpoint, or) to fire so near that you may almost with the fire of your Pistol, sing your Adversaries Doublet or Coat, for you must know that one shot given this near may be reckoned worth two or three shot at a greater distance, & so consequently not so dangerous being shot in a manner at random, whereas a shot given this near, if your Pistol be in order as she should, will hardly ever fail to do execution, immediately when you are passed him, drop the Pistol you fired, and take the Pistol which is already Cocked in your Lefthand, into your right, and in the mean time you are taking your Pistol into your right-hand, change your Horse to the right, and so Gallop on at a hand-gallop until you be within a pair again of your adversary (if you have gone so far by him) and then behave just as you did with the first Pistol remembering always after you have passed your Adversary instantly to turn your Horse to the right, that so you may shun his Gaining of your Crupper (which is called in French, Gainer la croup) if after both your Pistols are fired, you have done no Execution upon neither side, which will seldom fall out if you fire so near as I desire you, especially if you have accustomed yourself to Shoot at a mark with your Pistols, and that you know how they shoot, this is an Exercise which all Gentlemen should practise; and therefore I earnestly recommend it to you: But I say if it should happen that there be no execution done upon neither side, than you will both of you be necessitat to decide the quarrel with your Swords, the which that you may with the more Art and Advantage against your Adversary do, their few following Directions will not be unnecessary. Sch Sir, I am extremely well pleased with what ye have been saying, therefore pray go on. Secondly, Directions for the shearing Sword upon . Ma. Both your Pistols being Discharged, How a man is to make use of the Sheering sword, upon . and no execution upon neither side done, drop your last fired Pistol also, and then (your stirrups being as I said before, somewhat shorter than ordinary) take hold of your sword, which I suppose all this time to have been hanging at your wrist, and pitch yourself exactly to the Terce Guard with a sloping point, see page 112 and plat: 10 fig. 2. It cannot be expected that you can make use of your left hand with this Guard upon horseback, as you do upon Foot, because you are to hold your bridle with it, but excepting that, keep exactly the posture of the forementioned Figure and lean with your body a little forewards that so you may the better Defend your Horse's head, as for your Defence upon this Guard, if you lean well forewards by standing upon your stirrups to Defend your horse's head, your Adversary will but have little variety of play to make use of against you, for he can but strike at you two ways, and that is either without and above the sword, by striking at your Head, and then you are to Defend yourself with the second parade in Terce, as is shown you in page 31, or he must strick at you without and below the sword at your wrist, and then you are also to parie him with the second parade in Terce, but not as you was to do it before, but as it is shown you in the preceding page viz. pag: 30: There is no other pursuit upon horseback that is any thing worth except this, and the gaining of your Crupper, or left band, which is almost all your Adversary can do against you, you must indeed take good notice that your Adversary gain not your Crupper, for if he gain that, he will have the greatest advantage imaginable, but you may easily prevent it by keeping your right side always towards him, and as he turneth to go behind you, turn you also your horse always that way, and then it will not be possible for him to gain it, the gaining of the crupper, is one of the greatest advantages that can be gotten upon horse back, and therefore you must by any means prevent it, whither you be either making use of pistol, or sword, for if once your crupper be gained, and your Adversary behind you upon your left hand, he is absolutely master of you, if by great chance it happeneth not otherwise; you must also endeavour as much as possible to defend your horse's face, and his bridle reins, because when once a horse getteth a smart blow in the face, it maketh him afterwards instead of advaneing, to retire, which will be a great disadvantage to you, also if your bridle reins should be cut, you would be but in a bad condition, but if you pitch yourself to a right Guard as I desired you, you may easily defend both, and that you may the better do it, as you advance upon your Adversary, keep your horse's head always from your Adversary, by making your horse go side wise towards him, and always keep your Adversary upon your sword hand, that so he gain not your crupper. Any other pursuit upon horseback, as enclosing, dismounting, or the like, I altogether disapprove, because it is not possible to do them without both disordering yourself, and also very often giving your Adversary as good an opportunity, of either Dismounting, or wounding yourself as you thought to have got of him, and therefore the only Pursuit upon Horseback is a plain stroke either at your Adversary or his horse, then parie his stroke and do you Redouble upon the back of your parade, for Feints upon horseback are worth nothing, especially if you pitch yourself to the Guard I before desired you, this is all I think necessary to say of Fight upon horseback, either with Pistol or sword, and had it not been upon your earnest entreaty, I had not in the least at this time spoken of it, seeing it did not at all concern our present discourse. Sch. Sir I shall only trouble you with one other question, and then we shall go on where we left. Ma. Let me hear it then, and if I can, I shall answer it. Sch. It this is, you know you ordered me to provide a well mouthed horse, but I pray you what shall a Man do that in such a case is not master of such a horse, neither can perhaps for money have one? Ma. Really Sir if that happen, I would advise you to provide yourself with one that can but stand still, and turn about in one place as you would have him, without offering to Run away, for let your Horse be never so stiff, if he be not a Runn-away-jade, you may always turn as soon in the ground your horse is standing upon, as your Adversary can make a tour about you, so that what ever part of the Gircumference your Adversaries Horse maketh, let him be never so nimble, you may at the same time with your Horse (being as it were the Centre) in a great deal less time make the same, and by consequence keep always your Horse's head towards your Adversary, which will hinder him to Gain your Crupper, and you are to defend yourself that same very way as if your horse were well managed; you must also know that when you come to make use of your sword, A Carrier, or Brushing, are altogether unnecessary, for they are properest to be made use of when you are to discharge your Pistols, but when you come to make use of your Sword, than there is nothing necessary but a gentle Hand-gallop, except it fall out that you have a horse which will not answer you, and then you are as I told you before, to stand still in one place with him, always keeping his head towards your Adversary, that by so doing you may hinder him to gain your Crupper. Sch. Sir all which you have been saying I think extreme good, but you seem to me at the beginning of this discourse to give an unnecessary advice, which is the providing of a well mouthed Horse, whereas afterwards you say that a Man may descend himself as well, if his Horse will but stand still in one place with him, which in my opinion is as much as to say, that there is no difference in a single combat upon Horseback, betwixt a well managed, and nimble Horse, and a Horse that can but stand still in one place, which is contrary almost to the opinion of all the World, there fore I would gladly hear what your opinion is as to that? Ma. I shall likewise Sir seeing you desire it, That a managed Horse is but of little advantage in a single combat upon Horse-Pack with Swords only. give you my Opinion as to that, First then in a Single Combat only with Swords upon Horseback, and also where there is but one Man engaged against another, I realy think that there is but little, or no advantage at all in having a Managed Horse, for suppose I were upon a well Managed Horse and you upon another, who will hardlle stir out of his place, where I pray lieth my advantage in having mine Managed? for you know it is supposed that we are only to make use of our Swords, now that being supposed; where lieth my advantage? For before I can strick at you to do you any harm, I must first come within reach of you, and if I be within reach of you, you will also be within reach of me; for it is not to be expected, that a man can Judge his Adversaries Measure as exactly upon Horseback, as he can do upon Foot, to cause himself be within reach of his Adversary, and yet his Adversary without reach of him, which if he be an Artist he may do upon Foot but not upon Horse back; therefore if I must before I can touch you, be within reach of you, and when I am within reach of you, you are also within reach of me; then certainly who ever is the best Sword Man should carry it, so that my Mastering of you dependeth not somuch upon the goodness of my Horse as upon the swiftness of my Parade and Stroak, then suppose after I have given a stroke at you, I should go off you again, I may if I please make my Horse go from hand to hand twenty times, but what signifieth it, seeing before that I can do you any harm I must have you within my reach, and when you are so, I am within yours, so as I said before, our Mastering of each other dependeth upon our own Art, and not upon our Horses being Well or ill Managed, I conclude then that in a single fight upon horseback only with the sword, and that also only between two persons, a Managed horse is but little if any advantage at all; Wherein the advantage of having a Managed Horse consisteth But I will now let you see wherein the advantage of having a Managed Horse consisteth; A Managed Horse then is absolutely necessary either in time of war, for it may then happen that you may be surrounded with two or three persons against yourself alone, and in such a case a well mouthed Horse, and one that answereth the Spurs is very useful, for if your Horse in such a case will not answer you, you are certainly undone, whereas if he did answer your Hand and Spurs, you might perhaps find a way to get yourself rid of them, which if your Horse stand still with you is impossible: Or he is also very useful in a single Combat with pistols, because if both your Pistols be Discharged, and your Adversary should have yet one of his to Discharge against you, you may if you have a good Horse, make such motions and turn with him as may readily make your Adversary miss you, whereas if your Horse cannot stir with you, you are in a manner in the same condition as if you were tied to a Post, because your Adversary can come closely, and Discharge his Pistol upon you, and you can make no kind of motion, which may occasion his missing of you, which had you had a Managed Horse you could have done; so now the great use of a Managed Horse, is either in a Battle, or where you are to make use of your Pistols, for if you are to make use of your Sword only, then there will be no great miss of him, and that for the reasons I before told you; Now the reason why I desired you at first to provide a well mouthed Horse, was because as I told you in the beginning of this discourse, people now adays seldom or never make only use of their swords upon , but first of their Pistols, and then of their swords, therefore that being the custom, I think a Managed Horse absolutely necessary, but were it not upon that account, I think the want of one might be dispensed with, I have now I suppose satisfied you as to that doubt. Sch. You have so Sir, but you have not as yet shown me how I am to behave upon Horseback with the . How a man is to make use of the smalsword upon . Ma. I indeed forgot that, but now seeing you have put me in mind of it, I shall give you some directions for it also, you are then if you have a yourself, to observe what fashion of sword your adversary hath, if he have a Broad sword and you a Small, then when you Pursue him, instead of striking at him, Thrust, and that must only be a plain Thrust beneath the sword, as you give in the Single Faint at the head, upon Foot; see page 54, and Plat: 5. Fig. 2. If he Pursue you with his Broad sword, defend his Blows as you was taught with your Sheiring sword, for you must pitch yourself to the same Guard with your Small sword, as you do with your Broad, and also defend yourself the same very way as you do with it, and be sure to Parie with the Fort of your sword, because if you do it not, he may easily wound your Sword-hand, for when you have a Small-sword, you have neither a Basket-hilt, nor a Back Wand to Defend your hand, which ordinarily Sheering swords have, and therefore you must supply the want of them with your Parade, by Pareing his strokes alwise with the Fort of your sword cross your head: but if both your adversary and you have Small-swords, than you are in your pursuit only to make use of Binding, as it is shown you in pag 67. And in your Defence only of the Country caveating-Parade as is shown you in pag. 32 This is all that is needful to be said of the Defence, or pursuit of the , either against the Broad, or upon Horseback, and therefore let us fall on to our old discourse where we left. Sch. Withal my heart Sir, for I bringing in this discourse but be the by, it will not now be amiss (having said all you think necessary anent it) to fall on and show me those rules, which cerqinly cannot but be very necessary, and useful. CHAP. VI General Rules to be observed, when a Man is playing either with Blunts or Sharps, against those who understand this Art, or against those who are altogether Ignorant of it. Ma. I shall, and I must advertise you, that all that I have shown you will signify but just nothing, if you do not exactly both remember, and put in practice the Rules which I am going to show you, for as I told you in the Epistle to the Reader, that what I was to show you in this Treatise was the Quintessence of this art, so I assure you that what I am now going to show you is in effect the Quintessence not only of this Treatise, but Plate two For pag i36 Fig i One keeping the quart guard with a sloping point see pag: i08 Fig 2 One keeping the fifth kind of guard which hath no proper name see pag: iii of what can be practised by the Small-sword, therefore you would do well to take good notice, and resolve never either to present Flurret, or Sword, without having all their Rules in your memory at once, and if you do it, you will both reap the advantage yourself, and deserve the name of an understanding sword Man, of whom (to my great regrate) there are but few in this Kingdom, but I hope as we improve in other things, so we will improve in this Noble Art. Sch. Sir I shall to the outmost of my power endeavour to observe them all, seeing you say they are of so great importance. Ma. I earnestly entreat you for your own good that you would do so, they are those which follow. In the First place then, Rules to be observed in playing with blunt's, against those who understand this Art. whither you be to play with Blunts, or Sharps, endeavour as much as you can to play Calmly, and without passion, or anger, for besides that it appears to bystanders very unhandsome, it also disordereth yourself, and for my part I would scarcely desire a greater advantage of a man, then when I am playing with him that he should be passionate, for it putteth him quit from using any kind of Art; but you must not mistake Vigorous and Brisk playing for Passionate playing, I assure you there is a vast difference betwixt them for a Passionate man can hardly ever be a good Swordman, and upon the contrary, a Man can hardly ever be a good Swordman, without playing Vigorously, and Briskly, this is a great property in a Swordman, the other a great imperfection, and therefore I shall end this Rule with that saying of Seneca when he speaketh of anger, and it is a very true one, I shall therefore here give you it verbatim, The Hunt's man is not angry with the wild Boar, when he either pursues, or receives him; a good sword Man watches his opportunity, and keeps himself upon his Guard, whereas Passion lays a Man open: nay, (sayeth he) it is one of the prime Lessons in a Fencing School to learn not to be angry. And certainly without any manner of doubt, it is one of the disadvantagiousest faults that a Swordman can be guilty of: Therefore you would do well to guard against it, as much as possible. Secondly, 2ly. Remember always to keep your sword fast and firm in your hand, after you have presented it, but not so as to weary it. Thirdly, What ever Guard you stand to, keep as thin a body as possible, 3ly. & the nearer you can (without constraining yourself) sink to the ground, so much the better. Fourthly, 4ly. Always when you give in a thrust within the sword, give it with your nails in Quart, and when without the sword, then with your nails in Terce, except when you play the Double Faint at the Head, and Flancanade, for in the first you must give your thrust without the sword, with your nails in Quart, and in the other you must give it with your nails looking sideways, see Plate 6, Fig. 2: the Quarting of your Head, and holding your hand in Quart, when you thrust within the sword, and the holding your hand in Terce, and your head from your Adversaries sword, when you thrust without the sword, preserveth you from your Adversaries Contre-temps thrusts. Fifthly, 5ly. When you give in a thrust either without the sword, or within, thrust always closely by the Feible of your Adversaries sword, this is most proper when you give in a plain thrust, or make an Ordinar single or double Faint; and when you thrust by any means keep a closely left Foot, and a stretched hough, which will hinder you to fall amongst your Adversaries feet, and also help you to recover yourself the quicklyer; which you must not neglect to do instantly after every thrust, by first drawing back of your right foot a little when you are at your full Elonge, and going to your Adversaries sword both at one time, and either Beat, or Bind it, which will preserve you from his thrust upon the Respost or back of his Parade; For not observing of this fifth Rule many a Man getteth a thrust, which otherwise he would have shuned, therefore mind it well. Sixthly, 6ly. The first thing you are ordinarily to do after you have presented your Sword, is to Secure your Adversaries by Binding of it, which if it be neatly done as it should, will infallibly cross all his designs, and hinder the violentness of his pursuit. Seventhly, 7ly. Never let your Adversary secure your sword, if you can by any means hinder him, which is done by always Slipping of him, and Dis-engaging with his sword. Eighthly, 8ly. Never answer a Faint unless you do it upon some design. Ninthly, 9ly. Play with Hand and Foot together, when you are either Falsifying, Binding, or Striking your Adversaries Sword, especially when you are playing with Ignorants, for the Motion you make with your Foot in a manner surpriseth them, and maketh them answer your Feints the better, which nevertheless they should by no means do, for when a Man answereth Feints, it is a great token of his ignorance. Tenthly, 10ly Parie. most frequently with the Contre-caveating Parade, for by so doing you will cross all your Adversaries designs. Eleventhly, 11ly. when you are playing, look always to your Adversaries Hilt, and never to his Eye, for by looking to his Hilt you may perceive where he intends to give his thrust, which you cannot so easily do, when you look to his Eye. Twelfthly, 12ly. Before you play home any Lesson on your Adversary, endeavour first to sift and find him out, by trying him with Feints, or any other Lesson you think fit, but offer not to play them home upon him, until by sifting of him, you find out whither or not they will have effect; and have a special care that when you are trying him with these Lessons he take not time upon you. Thirteenthly, When you are playing, 13ly. you ●re to judge both your own, and your Adversaries measure exactly, this is a chief Rule to be observed by any Sword Man, for the breaking of Measure Parieth more thrusts then the Parade doth, and showeth more of Art. Fourtheenthly, 14ly. When you intent to make any kind of Pass, go quite by, or closely to your Adversary, according as your design is, and do not as some who stop in the very middle of their Pass, because they did not take exactly the Right time upon their Adversary, for by so doing, they put themselves in a great deal of more hazard, then if they went quite forward with it. Fifthteenthly, 15ly. Never offer to give home a Thrust unless you find a fit opportunity for I assure you, the plainest Thrust you ca● give, in some manner disordereth you● body, and therefore you should not thru● in vain, but wait until your Adversari● give you that opportunity. Sixthteenthly. 16ly. If your Adversary Break you Measure, then Redouble upon him, this Redoubling is most to be practised with blunt's although you may sometimes of necessity be forced to make use of it with Sharps, Rules to be observed in playing with Sharps, against those who understand this art. bu● I am for as little making use of it then a possible, because a man disordereth himself in doing of it too often. When you have occasion t● make use of Sharps, observe all the for● going Rules, in so far as they are no contradictory to these I am going to she● you, but where you find them not agree th●u observe those which follow, I say you are to make use of Sharps. First, First, When you play with Sharps make not your Elonge too long, for fear of your feet slipping, which may put your life in hazard: Secondly, 2ly. In playing with Sharps play not too difficult Lessons, for they disorder your body, and serve most to show 〈◊〉 Man's art when he is playing with blunt's, but they are not proper to be made use of when Men are playing with Sharps; Therefore make most ordinary use of a single Thrust, and Binding, together with the Con●re-caveating-Parade, or if you have the Pa●ade exactly, you may take yourself to the Defensive part, and Pursue upon the Respost, which is also a most secure kind of playing, if a Man be exactly master of the Parade, but not otherwise; Now this play, and no other kind of play but this, can be called the secure play of the Small sword, therefore mark it well. Thirdly, In playing with sharps, 3ly. keep as straight a point towards your Adversary as possible, with a stretched arm, but be sure to keep your point dis-engaged and always moving, that so you may hinder his securing of it; if you observe this Rule well, you will find a great advantage by it. Fourthly, 4ly. In playing with Sharps, have always your left hand in readinesss to put by your Adversaries scattering, or Contre-temps Thrusts; if you make use of your left hand with Judgement, you will also find a great advantage in it, but trust not all to it, for it is only to be used as a help to your sword. Fifthly, 5ly. When you are playing with sharpes, be not too desirous of giving many Thrusts upon the back one of another, without recovering of your body, and Jumping out of your Adversaries Measure, but rather be satisfied with the giving of one wound, although it should be neve● so slight, and immediately jump out of your Adversaries Measure, which will preserve you mightily from his Thrusts upon the Respost. Sixthly, 6ly. In playing with Sharps, if your Adversary chance to Command your sword, delay not the delivering of it, unless you think you may grapple with him without being in hazard of your life, but rather yield it to him and come in his Mercy, for you can expect no good but rather evil by the delaying of it, as many one to their sad experience have found, for there is no stoutness, but rather rashneis and folly, in struggling for your sword, when you know your Adversary is master of it, and so consequently of you. Therefore I advice you as a Friend, to follow my advice, seeing it is no disparagement to any man, to deliver his sword, after his Adversary hath commanded it. For there is no man invincible, and although we must, and do use the means, yet it is Providence that ruleth all. Now the reason why I give you this Advice, is because there is almost no Swordman, that will after he hath Commanded your Sword, stand and debate the matter with you anent the delivering of it, but he will instantly after the Commanding of it, if you quite not with it, give you a Thrust, and the reason of it is, because by his delaying, he may lose his advantage, and you may, if you be very quick, and nimble, grapple and come in equal terms with him, therefore people ordinarily, for fear of running that hazard, after they have got the advantage immediately after their securing of the sword if it be not instantly delivered to them, they give the Thrust, and therefore, that you may not run this risk if it should happen that your sword should be Commanded, I have given you this foregoing Advice, which seemeth to me not altogether impertinent although to others it may. But if you are to play against Ignorants, than you must know, that there are only Two Humours of them, the First is a forward Humour, Two humours of Ignorants described. and that you will easily find out, at your very first engaging with him, for he will immediately run full upon you, always Thrusting irregularly, and not caring whither you hit him or not, providing that he can but give you thrust for thrust Contre-temps ways, this first Humour in Ignorants is most crossing; The second is of an Humour not so forward, and therefore not so troublesome, for his design will be to let you pursue him, and when you give in a thrust, he will receive it, when he can do no better, and endeavour in the mean time to give you a Contre-temps. You see both their Humours have one and the same design, but to put their designs in execution, they use two different Methods, for the first humour to effectuate his design becometh the pursuer, although he knoweth not in the least how to defend himself upon his pursuit, the second again to have his design, he taketh himself to the Defensive part, although he knoweth as little, yea perhaps less to defend himself then the former, and it is a very great token when an Ignorant taketh himself to the Defensive part against ●an Artist, that he understandeth not in the least what is any ways for his advantage, An advice to Ignorants. for I must in this place (although it belongeth not to our discourse, and is as it were a Rule for Ignorants against Artists) give such Ignorants an advice, and that is, that for an Ignorant to offer to take himself to the Defensive part against an Artist is most ridicoulous, therefore all that they can do, must be to pursue as violently as possible, to see if they can any ways put the Artist in a confusion, so that he knoweth not what Contrary to use against them, and so force him to take his hazard of receiving one Thrust, and giving another, but if he be a complete Artist that such an Ignorant hath to deal with, this will not do the business, although it be all that an Ignorant can possibly do to win at one who understandeth this Art, yet I say that will not do against a Complete Swordman; therefore, I would wish that such Ignorants would rather apply themselves a little to the understanding of what I have been teaching you, that so they might by Art both endeavour to Defend themselves, and master their Adversaries, that if it should be their fate to do it, they may be said to overcome by Art, and not by Ignorance: this only coming in be the by I shall leave it, and fall on to show you what I promised; the First of these Two humours which I told you of, it being by far the most troublesome and worst to cross, I will therefore show you first how to behave against it. Seventhly, 7ly. when you see your Adversary Pursuing violently, and without any kind of Art, First, either enclose upon him with Half a pass, if you think you are strong enough to struggle with him, or if you think you are too weak for him, Rules to be observed in playing with either Blunts or Sharps against the First, or Forward Humour of Ignorants. than Secondly keep a straight point towards his face with a stretched arm, and make use of your Left hand with it fo● a Parade, by drawing back of your right foot to your left, and standing as it were upon your Tiptoes as in page 51. Where I spoke of the Contraries to Feints. Or Thirdly, you may play Off the straight line upon him, which is excellent against Ignorants of the First humour; But if all that take not away the violentness of his Pursuit; Then Fourthly, you must Break his Measure until you see an opportunity of Thrusting or Enclosing: If you make use of their Contraries as you should, I doubt not in the least but you will Master him; But some I know will think this Last Advice I give you of Breaking his Measure (or giving ground as they call it) looketh too like a Coward; If they be rational Men who have that opiniof Breaking of Measure, which showeth a Man's Art as much as any thing that is practised with the Small Sword, I think I may easily convince them of their error, but if they be such as will not be convinced by reason, but will be obstinate in their opinion, in GOD'S Name let them enjoy it, which it is like they may repent, if they ever happen to receive a thrust, which they would have shuned, had they broken their Adversaries measure. But to the purpose, I say when a Man is engaged for his life, Reason's demonstrating the usefulness of breaking of Measure. he should use all the Art imaginable to preserve it, now if he do that, he must of necessity allow the Breaking of Measure, because it is of as great use as the Parade, for why doth a Man make use of the Parade, is it not to save himself from being Killed? I say if that be his design, which I believe no Man will deny, then say I, they must allow the Breaking of Measure, for that Defendeth them yet better: but say they, when a Man retireth it looketh as if he were afraid that his Adversary should Kill him if he did it not, I deny not in the least that, and I pray for what end doth a Man endeavour to Parie his Adversaries thrust, is it not also for fear he should hit him? I am sure no Man will deny that; therefore if they allow the Parade, they must of necessity allow the Breaking of measure, otherwise they must allow a Man no Defenee at all; because according to their Argument, it looketh as if a Man were afraid of being hit, which is altogether ridiculous. But besides this there would also two inconveniences follow upon the not allowing the Breaking of measure to Artists. The first is, that all Art with the Sword hand alone would almost signify nothing against a forward Ignorant, for here I also suppose that a Man is not to make use of his left hand for a Parade, because allowing the left hand to be made use of by an Artist, then certainly the Ignorant let him take himself to what Pursuit he pleaseth would have the disadvantage, because of his not understanding how to make use of his left hand as well as the Artist, but I say allowing the Artist only the use of the sword-hand against a Forward Ignorant, his Art then will signify to him but little, the Breaking of Measure not being allowed him, this is the First Inconveniency, and the Second is, that all Weak Men let them have never so much Art, would almost always have the worst, if they were to engage against stronger than themselves, if the use of the left hand, and Breaking of Measure, be not allowed to them, which two Inconveniences I prove as followeth, First that all Art with the Sword-Hand alone would signify but little, is most evident thus, let the ablest Fencing Master in Christendom be engaged against a Forward Ignorant, and the Fencing Master neither allowed to Parie the Ignorants thrusts with his Left hand, nor to Break his Measure, then in an instant they either Contre-temps upon other, or Inclose, and if they do either, than the Ignorant may be said to have as much the Advantage as the other, for if they Contre-tempts, there is no reason why the Ignorants thrust should not be as mortal as the Fencing Masters: And if they Inclose then still the strongest must carry it, which proveth the Second Inconveniency, in not allowing the use of the left hand, and the Breaking of Measure to Weak men against Strong, for they have nothing to Defend themselves with, against those who are Stronger than them but their Art, which can signify almost nothing to them if the Breaking of Measure, and the use of their left hand be not allowed, and so it is ten to one, but the Strongest Man carry it, unless by chance the Weak Man Contre-Temps the Strong in a more dangerous part of the Body than he doth the Weak, for if they enclose, undoubtedly the Strongest must carry it, and if they Contre-temps, than whose soever thrust is severest he must carry it, which cannot be said to be by Art, but mere Fortune; I know some will object that an expert Fencing-Master will not suffer an Ignorant to Contre-temps upon him, because he will first Parie the Ignorants thrust, and then give him a Thrust upon the Respost. I answer, that if the Breaking of Measure, and the use of the lefthand be not allowed, no Fencing Master can hinder an Ignorant either to Contre-temps, or Inclose, for if he be a Forward Ignorant, (as I supposed) then if the Fencing-Master should offer to Parie his thrust with his Sword, before ever that he could well get him Paried, the Ignorant would run in and Inclose with him, because that he would just run to Inclose in the very time that he thrusteth, so that the Fencing-Master must of necessity, either hazard a Contre-temps, or an Enclosing, any of which maketh the Ignorant in equal terms with him, which, had the Fencing-Master been allowed the Breaking of Measure, or the use of his lefthand, he could have easily prevented, but to the best of my knowledge hardly any other way. But here I am afraid some persons may be so far mistaken, as to think that what I have here said reflecteth somewhat upon the usefulness of this Art, because that I am in a manner letting them see, that a Man having no Art may be almost as safe when he is attacked, either by an Ignorant or Artist, as one who understandeth this Art exactly can be when he is attacked by either, and that by reason of the Ignorants Contre-temping, or Enclosing; but let not such persons be deceived, for if they but reflect a little upon what I have been saying, they will find that to make the Ignorant in equal terms with the Artist, I have supposed two of the chiefest Defences in the Art of the , not to be allowed the Artist, which almost no rational Man will but allow him, and those are the Breaking of Measure, and the use of the lefthand for a Parade, now although I know that many will yet stickle at the allowing the breaking of measure, notwithstanding of all that I have said, both to show the reasonableness of allowing it, and the ridiculousness of crying out against it, yet there is no Man I am sure so unreasonable, as not to allow the other, which is the Parieing with the lefthand, for if he allow not that, he may as well allow no defence at all, and if he allow it, than Art will still be serviceable to any Man, against Ignorants of what ever Humour they be, because those who have Art will by it know how to make use of their lefthand, which the others being Ignorant cannot, and so consequently let an Artist be engaged against an Ignorant in never so little bounds, where perhaps he cannot Break measure although he would, yet still by his art he hath an advantage of the Ignorant, because by it he knoweth both to Defend himself with his Sword, and lefthand, a great deal better than the Ignorant can be supposed to do, never having been taught it. I thought fit to set down their few lines, to hinder such persons from thinking that by what I was saying before, in favours of the Ignorant against the Artist, I intended to prove the uselessness of this Art, you see both my opinion, and design are far Contrary to it, and therefore I again desire both you and them, not to mistake me. But that I may return to my former discourse, although there can no Man be a greater friend to the Breaking of Measure than I am, both because I know the advantages Artists have in making right use of it, and the disadvantages which would of necessity (as I have been demonstrating to you) happen to Artists in not allowing it; yet notwithstanding of all I have been saying in commendation of it, and for as much as I approve of it, I allow not a man's still going back, and losing of his ground, no, not at all, because there is a great difference betwixt yielding of much ground, and the breaking of measure. For a Man may break Measure very handsomely without losing much ground, as I before told you in page 96, where I taught you how to break measure; besides when a Man's Adversary pursueth hotly, if he get not immediately his Design, he groweth soon out of Breath, and then the other may do with him what he pleaseth: Therefore I maintain that a Man when he is engaged for his Life against one who is of a Forward, Hasty, or Passionate Humour, should yield a little Ground to him, for a● People ordinarily say, he will find the first Brunt of the Battle to be the worst, and when that is once over, he will have time enough to consider what to do with him next. This which I have been saying putteth me in mind of a very good Story I heard of a Famous Fencing Master, and a Gentleman of this Country, whose name at present I forbear to mention; it is as followeth, and in my opinion cometh in very fitly in this place; It seemeth the Gentleman came to the Fencing Masters School, upon whom the Feneing Master passed the ordinar Compliment of all Fencing Schools, viz. That he would play a Thrust, the Gentleman at the first refused, because said he, I know nothing of your Art; the Fencing Master then desired that he would take the Flurret and play his Natural Play, as he would do if he were to play with Sharps, which at last the Gentleman condescended to do, so when they fell a playing the Gentleman pursued furiously and ignorantly, and by all probability as he would have done had he been making use of Sharps, in the mean time the Fencing Master took himself to the Parade, and broke the Gentleman's measure; so after they had played a while, the Gentleman's Arm wearied with his too violent pursuing, which the Fencing Master perceiving, said to him, Now Sir have at you, the Gentleman cried out, O you now take me at a disadvantage, because you see I am out of Breath; Saith the Fencing Master to him, now Sir is my only time of pursuing you when you are so, and then its like he gave him a Thrust or two. I think you may easily apply this Story to what I was before saying, That a Man may break his Adversaries Measure, and that as often as he thinketh it conv●nient for his own safety, without being any ways accounted a Coward. I know very well that those who understand this Art will be of my opinion, because they know that the Judging of Distance exactly is one of the hardest things to be acquired in all the Art of the ; and when once it is acquired it is one of the usefulest things, and showeth a Man's Art as much as any Lesson in it; but I am for no Man's Retiring too much, unless upon a very good Design, and that hardly any Ignorant of this Art can have, because what he doth (as the common Proverb is) he doth by rule of Thumb, and not by Art. Eighthly, 2ly. But if it be your Fortune to have to do with an Ignorant of the second humour I before told you of, which is not so forward, for he will let you be the Pursuer, How a man is to behave against the second Humour of Ignoranit. you may then assure yourself, that the only prejudice he can do you, is to endeavour to give you a Contre-temps, for he will never offer to Parie a Thrust, and good reason why, because he cannot; Now to win at this Ignorant, you must be sure always to make use of Binding, and your left hand to preserve you from his Contre-temps thrusts, and Thrust some times at his Face, if any thing make him endeavour to Parie as he can, that will: This is all I have to say, of this Humour of Ignorants, so that I think I have now omitted no Rule, which may be any ways necessary to you in playing either with Blunts, or Sharps, against either Ignorants, or those who understand this Art, except this one which followeth, 'tis true it is against the Broad-sword, but however, that you may be ignorant of nothing which belongeth to ● Master of the small-sword; I therefore think fit that you should know it, and if I be not deceived you will think it very well worth your pains to understand it; It is this. Of a Man's Defending himself with a small-sword, against a Broad. Plate i2 For pag i58 Fig i 〈…〉 Fig 2 The posture which a Man is to stand to with the small sword against a Broad see pag: i59 Now Sir, There is one thing which I would never have you want, and that is a well mounted sword by your side, that is to say, How to know when a Sword is well mounted. which is light before the Hand, you may easily try if it be so, by only laying it cross your foremost Finger about three inches from the Shell, and then if the Hilt contrepoise the Blade, it is well mounted, otherwise not; and also let it be of an indifferent good length which is about three quarters of an eln long in the Blade, this is a middle betwixt the two extremes, for it is neither too long, which would be unhandsome; nor too short, which is very inconvenient: For I can assure you that if a Man's Arm be longer than his Adversaries, he hath by it some Advantage, although their Swords be of equal length, so seeing there is Advantage in a long Arm, certainly there is more in a long Sword against a short. I will now give you my last Advice which I know many People will treat en ridicule; But I assure you, let People think or talk what they please, it is of greater importance than they imagine, and were it not out of Kindness to you, perhaps I would not so expose myself to their Censure; But seeing I know it will be for your Advantage, I will proceed in giving it you, and undervalue what People may talk of me for it, An advice not altogether so unnecessary as some people may imagine. especially seeing you nor no Man is forced to observe more of what I have been saying to you, than what you think is for your Advantage. Now my Advice is this, That you would never go to the Field in drink; but rather if you can by any means (without putting a tash upon your Honour) delay it until you be sober; For to Drunk and Passionate Men this Art signifieth but little or nothing, because neither of them have their Judgement about them to know how they should make use of it; And so I end. Sch. Sir It is a very good one, and I thank you most hearty for it; But have you no more to show me of this Art, but what you have already explained to me? Ma. No Sir, and I am sure if what I have explained to you be exactly understood, and put in practice, whoever is able to do it, I say without vanity, that he will deserve the name of Master. Sch. There is no doubt of that; But now Sir seeing we are at a close with our discourse, I think it my duty to give you hearty thanks for the great Pains and Trouble you have taken t● instruct me; And that you may not think your labour lost, I promise to you that I shall endeavour to put in Practice according to my power, what you have taught me; neither shall I ever be wanting to do you all the Service lieth in my Power, either in recommending of Scholars to you, or making your Ability in this Art more public; So Sir, wishing You all Health and Happiness, I bid You farewell. Ma. Farewell, Dear Sir, and may you never have Occasion (but with blunt's) to Practise what I have taught you. THE END. POSTSCRIPT I Have now kind Reader, (for I cannot well other ways call you, who have done me the favour to peruse this small Piece) if I be not deceived, made good the Tittle Page, and if you seriously consider it, somewhat more; therefore if you reap not Advantage by what you have read, blame not me, for I have given you the Directions, which is all lieth in my Power to make you a Swordman, and if you put them not in practice the fault is your own; for you must not expect that the simple reading of what I have here given you, will ever make you a Swordman; No no, it is practice that must do that; its true your reading of this little Piece may make you talk, and discourse learnedly enough of Fencing; But what will that avail a Man, when he is either to make use of Blunts or Sharps? Certainly in such a case Theory without Practice will serve but for little: It is therefore Practise joined with it which in such a case must do the business; Reading therefore will as I said give you the Theory, which is also absolutely necessary for a Swordman, but it is Practice which must make you Act those things I have here given you, so that without it your Reading will signify but very little: Therefore I again give you the Advice which I once gave you before, and that is, That you would get exactly by heart any Lesson you intent to Practise, and when you have it so, then fall to the practising of it, either upon a Fencing Masters Breast, which certainly is the best way if you can have one, or otherwise upon a Comerads. This is the only way to reap Advantage by the Scots-Fencing-Master, you may therefore observe it if you please; And if observing it exactly it answer not your expectation, I shall then willingly acknowledge my putting you to unnecessary trouble: But upon the other hand I earnestly beg that you would not condemn me before you have made a trial, and even then if all should not answer your expectation as you imagined, yet in such a case I desire a favourable censure, seeing I have imparted to you the small knowledge I have myself of this Art, and that it is not to be expected that a Man can give more than he hath to himself. I therefore expect of those who are not competent Judges of what I have here written, that they will keep their Judgement to themselves, until they be able first to find a Fault if there be any, and then to amend it, for I know many will endeavour to find Faults, which they are not able to prove such, and far less capable to amend them if they were really so, and upon that account I expect of such persens the foregoing Favour; But for those again who really understand this Art, if they shall happen to find any thing amiss in it, I shall indeed be so far from either expecting, or desiring them to be silent, that upon the contrary I earnestly beg they would make their knowledge in it more public, that by so doing they may both advance the Practice of this so Gentile, and useful an Art, and also make me sensible, either of the Errors I have committed, or of things Essential I have omitted, and if they think not that worth their pains, then give me Leave to say with the Poet, Carpere vel nolinostra, etc. But till then I hope none will undervalue this small Piece of mine, but upon the contrary, look favourably upon it, especially seeing my design is free from any mean by-end, and merely for the good, and improvement, of the Youth of this Kingdom whom I wish all to be good Sword Men, otherwise I had never been at the pains to give them this Piece, which I am confident if rightly used, will be a great help to the improving of them, for there is nothing in it, but what by a little consideration, may be easily taken up, and understood, for I have all alongst endeavoured as much as lay in my power to be plain, and distinct in my directions; and that I may likewise end so, I have here given an Index of the most Material things treated of in this book, which will certainly be a great help for finding the Pages, where such things are described. ADIEU. THE CONTENTS Of the SCOTS FENCING MASTER, OR COMPLETE SMAL-SWORD-MAN. IN the Epistle to the Reader, Objection first against the Subject of the Book: The Answer, Page 9 Second Objection Page 10 The Answer. That it is an advantage for a Man to understand Fencing, Page 11 Reason first, why Ignorants sometimes overcome Artists, Page 12 Reason second, Page 13 Reason third, Page 14 The first, second and third Objection against myself; Together with the Answer to the first Objection; Page 15 The design of putting out this Treatise, Page 15 and 16 Answer to the second Objection, Page 19 Answer to the third Objection, Page 21 Advertisement to both Right and Lefthanded Men, Page 22, 23, and 24 THE INTRODUCTION THe Division of the Sword, Page 2, 3 All the Terms of Art belonging to the Small— Sword, explained, Page 4, 5, 6, 7, 8, 9 and 10. CHAP. I. Of Holding the Sword. HOw a Man is to hold his Sword, Page 11, 12 The Reasons why a Man should not hold his Sword too loosely in his hand, Page 13 That an Ignorants beating of the Fluret out of an Artists hand, is no reflection upon this Art. Page 14 CHAP. II. Of keeping a Guard. HOw many Guards there are. Page 15 How to keep the Quart Guard with a straight point. pag. 16 The best way in my opinion of keeping the Quart Guard with a straight Point, as also the Reasons why I think it the best. pag. 17, 18, and 19 CHAP. III. Of the Lessons Defensive, or Parades. HOw many Parades there are. pag. 20, and 21. Why the Parades, are called the Quart, and Terce Parades. pag. 22 How the First Parade in Quart is to be done, pag. 23 How a Man is to perceive the coming in of a Thrust, pag. 23, and 24. The best way in my opinion of doing the First Parade in Quart, as also the Reasons why I think it so. pag. 24, and 25. The Advantage that a man hath in not letting his swords-point go too far aside when he Parieth. pag. 26 The disadvantage that a Man hath in making too great a Motion with his Arm when be Parieth. pag. 27 How the second Parade in Quart with a sloping point is to be done pag. 28 The danger that a Man is in, in not Parieing with the Fort of his Sword pag. 28 The advantage of Quarting the Head well. pag. 29 How the First Parade in Terce is to be done. pag. 29 The best way in my opinion of doing the First Parade in Terce pag. 30 How the Second Parade in Terce with a sloping point is to be done, pag. 30 How a man is to Parie with the Second Parade in Terce, when his Adversary Thrusteth without and above his Sword, pag. 31 How the Contre-Caveating-Parade, is to be done. pag. 32 The Advantage the Contre-Caveating-Parade hath of any other. pag. 33, and 34. CHAP iv Of the Lessons Offensive. Lesson I. Of Approaching or Advancing. HOw many ways there are of Approaching, pag. 35 How a Man is to approach with the single step Page 35, and 36. The use of the single and Double Steps. Page 36, and 37. How a man is to Approach with the Double step. Page 37 Lesson 2 Of Retiring. How many ways there are of Retiring. Page 38 How a man is to Retire with the Single-Stepp. Page 38 How a man is to Retire with the Double-Stepp. Page 38 How a man is to Retire by Jumping, Page 39 Lesson 3. Of Giving in a Thrust. HOw a man is to Give in a Thrust Page 39, 40, and 41, The Advantage that a man hath in Giving in a Thrust according to Art. Page 42, and 43. Lesson 4. Of Caveating, or Dis-ingageing. HOw a man is to Disengage, or slip his Adversaries sword. pag. 44, and 45. Lesson 5. Of Feinting, or Falsifying. HOw many kinds of Feints there are. pag. 46 How a man is to play the ordinary single Faint being within distance, pag. 46, and 47 That a man should always give a Beat with his Foot at every Faint he maketh, except when he is playing against Great Artists, pag. 47, and 48. How the Ordinary single Faint is to be played being without Distance, pag. 49. Lesson 6. Of the ordinary Double Faint. THe difference betwixt all Single and Double Feints explained, pag. 49, and 50. How a man is to play the Ordinary double Faint being within Distance, pag. 50, and 51. How it is to be played being without Distance. pag. 51 The Parade and Contraries against the Ordinary Single and Double Feints pag. 51, and 52. That the making use of the Lefthand for a Parade is very necessary. pag. 52, and 53. Lesson 7. Of the Single Faint at the Head. HOw a man is to play the Single Faint at the Head. pag. 54, and 55. The Parade and Contraries to the Single Faint at the Head. pag. 56 Lesson 8. Of the Double Faint at the Head. HOw the Double Faint at the Head is to be played. pag. 57, and 58. The Parade of the Double Faint at the Head, pag. 58 Lesson 9 Of the Faint at the Head upon the true Parade. HOw the Faint at the Head upon the true Parade is to be played, pag. 59 The Parade of the Faint at the Head upon the true Parade. pag. 60 Lesson 10. Of the Low Faint. HOw the Single Low Faint is to be played. pag. 60 How the Double Low Faint is to be played. pag. 61 The Parade of the Low Faint. pag. 61 The Contraries to the Low Faint. pag. 61 Lesson 11. Of Batery. THe Reason why we have not English Names to all the Lessons, pag. 61, and 62. How the Single Batery is to be played pag. 62, and 63. How the Double Batery is to be played. Page 63, and 64. The Parade and Contrary to Batery. Page 64 Lesson 12. Of Volt-coupe. How the Single Volt-coupe is to he played, pag. 65 How the Double Volt-coupe is to be played. pag. 65 The Parade and Contraty to Volt-coupe. pag. 66 Lesson 13. Of Binding. How a man is to Bind or Secure his Adversaries sword; Page 67 The Parade against Binding, Page 68 The Contrary to Binding: Page 68 The playing by Feeling explained. Page 68 The Contrary to the Caveating, or Slipping, of the Sword. Page 69 Lesson 14. Of Flancanade. HOw Flancanade is to be played pag. 70, and 71. The Parade and Contrary to Flancanade. pag. 71 The Contraries to the Parade, and slipping, of Flancanade. pag. 71 Lesson 15. Of Under-Counter. HOw Under. Counter is to be played, pag. 72 The Contraries to Under-Counter. pag. 72 The Contraries to the Parade, and slipping, of Under-Counter. pag. 73 Lesson 16. Of Beating. HOw a man is to Beat his Adversaries sword with one or both-Hands pag. 74, & 75 The usefulness of Beating, pag. 75 The Occasions upon which a man may make use of Beating; pag. 76, and 77. Two other ways of Beating the sword out of a man's hand. pag. 77, and 78. The Contraries to Beating. pag. 78 Lesson 17. Of Passing. WHat is Properly called a Pass, pag. 79 How a man is to Pass; pag. 79 The Occasions upon which a man may Pass. pag. 81 The Contraries to Passing. pag. 81 Lesson. 18. Of Enclosing, or Commanding TWo ways of enclosing explained, pag. 82 How the First kind of enclosing, as it were with Half a Pass, is to be done. pag. 82 The several ways that a man is to take for to Inclose with Half a Pass; pag. 83, and 84. The Contraries, to the First, Second and Third ways of enclosing with Half a pass. pag. 85 The Contraries to the Fourth way of enclosing with Half a pass. pag. 85 The several Occasions in which a man may use the Second kind of Commanding. pag. 86, and 87. How to Prevent the First occasion for enclosing. pag. 88 How to Prevent the Second occasion for Enclosing. pag. 88, and 89. The Taking of right time explained. pag. 90 The Occasions in which a man is said to Take the right time. pag. 90, and 91 How to Prevent the Third occasion for Enclosing, pag. 92 How to Prevent the Fourth occasion for Enclosing. pag. 92, and, 93 The Contrary to the Preventing of the Fourth occasion by Turning, pag. 93, and 94 How to Prevent the Fifth occasion for Enclosing: pag. 94 Lesson 19 Of Breaking of Measure. HOw a man is to Judge his Adversaries Distance or Measure, pag. 95, and 96. How a man is to Break his Adversaries Measure. pag. 96, and 97. Lesson 20. Of Redoubling of Thrusts. HOw a man is to Redouble his Thrust, which is the Contrary to the Breaking of Measure. pag. 98, and 99 Lesson 21. Of Raising or Gathering up of the Sword. HOw a man is to Raise, or Gather up his Adversaries Sword, when the point of it is sloping towards the Ground. pag. 99, and 100 The Contrary to the Gathering up of the Sword. pag. 100 Lesson 22. Of Quarting and Volting. HOw a man is either to Quart, Volt, or Quart and Volt, immediately after other, as also the Times in which a man may use them. pag. 101, and 102. he Contrary to Quarting and Volting. pag. 103. CHAP. V Now the several Guards are to be kept, pursued, and Defended. First, HOw the Quart Guard with a straight point is to be Pursued. pag. 105, and 106. How a man is to Defend himself upon the Quart Guard with a straight point. pag. 107 Secondly, How the Quart Guard with a sloping point is to he Kept. pag. 108. How the Quart Guard with a sloping point is to be Pursued and Defended. pag. 109. Thirdly, How the Terce Guard with the point higher than the Hilt, is to be Kept. pag. 110. How the Terce Guard with the point higher than the Hilt, is to be Pursued and Defended. pag. 110, 111, and 112. Fourthly, How the Terce Guard with the point lower than the Hilt is to be Kept, Pursued, and Defended. pag. 112, and 113. Fifthly, How the Fifth kind of Guard is 〈◊〉 Kept, Pursued, and Defended, pag. 113, 114, and 115. Which of the Guards a man should make choice of as the Best and Safest pag. 115, 116, and 117. That the Small-Sword hath the Advantage of the Broad, and the reasons for it pag. 117, 118, 119, and 120. Directions for fight upon , with Pistols. How a man is to make use of his Pistols upon Horseback. pag. 122, 123, 124, 155, and 126. Directions for the Sheering sword, upon : How a man is to make use of the Sheering-Sword, upon Horseback. from Page 126, to 130 That a Managed-Horse, is but of little advantage in a single Combat upon Horseback with Swords only, Page 131, and 132. Wherein the advantage of having a Managed-Horse consisteth. Page 133, and 134. How a man is to make use of the , upon . Page 134, and 135. CHAP. VI General Rules to be observed when a Man is playing either with Blunts, or Sharps, against those who understand this Art, or against those who are altogether Ignorant of it. RUles to be observed in playing with blunt's, against those who understand this Art. pag. from 137, to 142. R●les to be observed in playing with Sharps, against those who understand this art. from pag. 142, to 145. T●o Humours of Ignorants described, pag. 146. A● advice to Ignorants. pag. 147 R●les to be observed 〈◊〉 playing with either Blunts, or Sharps, against the First or Forward Humour of Ignorants. pag. 148 Reasons demonstrating the usefulness of Breaking of Measure. from pag. 149, to 157. How a man is to behave against the Second Humour of Ignorants. pag. 157, and 158. How a man is to Defend himself with a , against a Broad. pag. 158, & 159, The Posture which a man is to stand to with a against a Broad. pag. 159 How to know when a Sword is well Mounted. pag. 161 An Advice not altogether so unnecessary as some People may imagine pag. 162 The Postscript to the Reader from Page 164, to the end. FINIS.