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Difference between revisions of "Gérard Thibault d'Anvers"

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| title = Book 1 - Tableau / Plate III
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{| class="floated master"
  
===== Copyright and License Summary =====
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! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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|Colspan="2"|[[file:Thibault L1 Tab 03.jpg|600px]]
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[[http://www.geheugenvannederland.nl/nl/geheugen/view/uiteenzetting%20wijzen%20waarop%20degen%20uit%20schede%20getrokken%20moet%20worden%20lastman%20nicolaes?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-011 | Large Version]]
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|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|EXPLANATION OF THE ACTIONS IN THE THIRD PLATE
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|DECLARATION DES OPERATIONS DV TABLEAV TROISIEME
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|- style="font-family: times, serif; vertical-align:top;"
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|Having described in Plate I the proper size of the sword for each person, and in the description of Plate II the length and size of the hanger, which is likewise proportional to the the individual, it follows that next topic of discussion is the Draw, which is the first action that anyone does with a sword. About which we shall now discuss at some length, as this is of greater importance than many realize. I have seen in different ways how unpleasant it can be for those who do not know the proper way to draw, so that when they were surprised by their Adversaries, their swords were useless. To remedy this, one must learn to draw skillfully, so well that one does not get in one’s own way, nor can anyone else. There are two principal ways of drawing: moving forwards and moving backwards.
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|Ayant demonſtré par la declaration du Tableau I. la iuſte meſure de l’Eſpee de chaſquune perſonne; & en la deſcription du II. la vraye longueur & largeur du pendant, qui luy ſoit pareillement proportionné: il s’enſuit par ordre à parler du Deſgainement, qui eſt la premiere aćtion de toutes celles de l’eſpee: de laquelle nous traitterons icy un peu au large, comme de choſe, qui eſt de plus grande importance, que pluſieurs ne penſent; & de laquelle on a veu à diverſes fois advenir de grands inconvenients à ceu qui n’en ſavoyent pas la vraye maniere, de ſorte qu’ils y ont eſté ſurprins par leurs Adverſaires, tellement que l’eſpee leur a eſté rendue inutile. Pour y remedier, il faut qu’on la ſache tirer dextrement, ſi bien qu’on ne s’y empeſche pas ſoy meſme, ou qu’on ne le puiſſe eſtre par autruy. Or il y a deux manieres principales de le faire; l’une en avançant, & l’autre en reculant.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|HOW TO DRAW THE SWORD
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while advancing
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|LA MANIERE DE TIRER L'E-
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spee en avanceant
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|- style="font-family: times, serif; vertical-align:top;"
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|The time to draw sword when moving forwards is when the enemy is in front at a reasonable distance, and there is a pressing need for self-defence. Moving backwards at such a moment would encourage the adversary by an apparent retreat, he would take it to mean he has the advantage, as if one is too frightened to approach. This is why one should move forward boldly and directly, to face the attack with firm resolve. It is far better to do what one must with courage than by constraint. So, march forward, draw the sword as illustrated by the four smaller figures on the left side of the Plate, labelled A, B, C, & D.
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|L’occaſion de tirer l’eſpee en avançant ſe preſente, quand l’Ennemi eſt au devant de nous en raiſonnable diſtance, & que la neceſſité nous preſſe à noſtre defenſe. Car de reculer en arriere en une occurrence ſi neceſſaire & ſi evidente que ſeroit ce, ſinon allumer d’autant plus le courage de la partie adverſe par une eſpece de retirade, qu’il pourroit prendre à ſon advantage, comme ſi on ne l’oſaiſt point approcher. C’eſt pourquoy il luy faut aller hardiment au devant & alencontre, pour le recevoir avec une reſolution animeuſe; car mieux vaut faire ſon devoir par courage, que par contrainte. Allez donc, marchez, & tirez l’eſpee ſelon la maniere, que nous pretendons de monſtrer, par la repreſentation de ces quatre figures de moindre taille à gauche de la Table, marquées A.B.C.D.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|Figure A
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|Figvre A
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|- style="font-family: times, serif; vertical-align:top;"
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|First, after having taken two, three, or four paces, as you find convenient, as the left foot steps forward, grab the hanger and scabbard in the left hand, and as the foot lands on the ground, take the sword in your other hand, putting your index finger around the outside branch of the crosspiece, and inside the guard.
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|Premierement, apres avoir marché deux, trois, ou quatre pas en avant ſelon voſtre commodité, vous empoignerez de la main gauche le pendent avec le fourreau de l’eſpee, joignant la garde, durant la demarche du pied gauche, & quand il tombe à terre, de l’autre main vous prendez voſtre eſpee, entourant avec le doight indice la brāche exterieure par dedans la garde.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|Figure B
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|Figvre B
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|- style="font-family: times, serif; vertical-align:top;"
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|As you take another step forward, at the same time as you raise your right leg, increase your grip on the scabbard and draw it slightly downwards and to the rear. Raise the right foot slightly more than usual (to help the right side of the body, and especially the right arm to reach higher) and at the same time draw the sword from the scabbard using the index finger that is wrapped around the outside of the crosspiece and open the hand to raise the blade more easily, until the sword is clear of the scabbard. This way the foot, the right and left hands, the shoulder, the arm, and every part of the body works together. This is in contrast to those who have learned to draw the sword while keeping the right foot planted on the ground because this way one is never inconvenienced. After having drawn the sword in this way, pause with the right foot in the air to make the following actions easier and smoother. This is what the figure shows, as you can see, his sword is barely drawn from the scabbard, yet his foot is still in the air.
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|Pourſuivant à marcher plus outre, à meſme temps que vous leverez le pied droit, vous fermerez bien for la main gauche, à ce que l’eſpee & le fourreau ne s’entreſuivent; & en en continuant à la reſtraindre en arriere & vers le bas, comme auſſi à porter le pied en l’air à coſté, un peu plus haut qu’en la demarche ordinaire, (afin qu’à l’aide & à l’advenant d’iceluy tout le coſté droit du corps, & notamment le bras puiſſe monter plus haut) au meſme temps vous tirerez l’eſpee avec le doigt, qui enſerre la branche exterieure; en ouvrant la main, afin qu’elle monte plus aiſemēnt, juſqu’à tant que la lame ſoit dehors le fourreau. De ſorte qu’en ceſte aćtion, le pied, la main, gauche, & droite, l’eſpaule, le bras, & en ſomme touts les membres ſe donnent mutuelle aſſtence, l’un à l’autre. Ce qui advient au contraire à ceux qui s’accouſtument à deſainer l’eſpee en laiſſant le pied droit en terre, car il eſt impoſſible qu’ils ne s’en trouvent incommodez. Apres donc que vous aurez tiré l’eſpee en ceſte maniere, vous arreſterez un bien peu le pied droit en l’air à coſté de vous, pour en continuer plus aiſement les aćtions ſuivantes. Et c’eſt proprement ce qu la figure repreſente: car vous voyez, qu ſon pied droit eſt encor eſlevé en haut, & l’eſpee à peine eſt elle hors du fourreau.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|Figure C
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|Figvre C
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|- style="font-family: times, serif; vertical-align:top;"
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|To continue, during the brief pause while the foot is in the air, close your hand again on the grip and turning the wrist over, bring the blade circularly upwards, so it follows a half-circle in the air, until it is above your right shoulder, about even with and to one side of the head, tip pointing backwards, pommel towards the front, the arm bent, as shown in the figure.
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|Pour continuer ce qui s’enſuit, durant la pauſe du pied droit vous fermerez derechef la main droite, & tournant le poignet du bras porterez la pointe de voſtre la lame circulairement en haut, de ſorte qu’elle face une demie circonference en l’air, juſqu’à ce qu’elle vienne au deſſus de voſtre eſpaule droite, ſur la hauteur & à coſté de la teſte, ayant la pointe en arriere, & le pommeau en avant, avec le bras un peu courbé; comme il ſe voit en la figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|Figure C
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|Figvre C
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|- style="font-family: times, serif; vertical-align:top;"
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|Continuing from the preceeding action, bring the sword down from above the shoulder as the right foot touches the ground. As the left foot moves deliberately forward, bring your arm with the sword down across your front so the arm reaches full extension downwards at the same time as the left foot touches the ground. The left foot is now forward and the right arm is extended, with the sword pointing forward at the height of the thigh. At the same time, turn the inside branch of the crosspiece towards you and wrap your thumb over it and around the blade. In this way you will be holding the sword according the manner used in this System, and this will make all your actions prompt, vigourous, elegant, and easy to keep walking without interruption.
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|Continuant l’operation precedente, vous ramenerez l’eſpee de haut en bas, comme d’un arriere main, par devant voſtre teſte, en mettant quand & quād le pied droit en terre; & durant que le gauche ſera en aćtion de cheminer, continuerez à porter le bras & l’eſpee par devant voſtre poitrine, tellement que la demarche du pied, & la deſcente de l’eſpee finiſſent au meſme inſtant; mettant le pied en terre, & laiſſant deſcendre le bras eſtendu enſemble avec l’eſpee à coſté de la cuiſſe droite, en tournant au meſme temps la branche interieure en dedans, & mettant le poulce alencontre. Par ainſi vous aurez l’eſpee dans la main ſelon la maniere de noſtre Pratique, & ſeront toutes vos aćtions promptes, gaillardes, bien-ſeants, & convenables à marcher touſiours avant ſans nulle interruption.
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|- style="font-family: times, serif; vertical-align:top;"
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|This action done, you will again advance the right foot, and keep the arm straight, slightly higher than the belt, and the blade held level and flat in front of the body across the lower chest, the tip slightly raised. This is how to walk towards your opponent, until you reach the distance where you can just touch each other, carefully, depending on the opportunities as they present themselves. There are plenty of examples in this book, with plenty of advice and instructions, as much for attack as defence.
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|L’operation eſtant achevée, vous avancerez derechef le pied droit, & porterez au meſme temps le bras aucunement courbé, un peu plus haut que la ceinture, & la lame de travers par devant le corps, en croiſant de biaiz la poitrine, avec la pointe un peu montante. Voilà comment il faudra marcher tout droit à voſtre homme, juſqu’à ce qu’eſtants venus à meſure des vous pouvoir toucher l’un l’autre, vous vous alliez, gouverner ſelon que les occaſions ſe preſenteront. Dequoy, vous trouverez aſſez d’exemples en ce livre, avec ſuffiſantes regles & inſtrućtions, tant pour l’aſſaut, que pour la defenſe.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|HOW TO DRAW THE SWORD
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while stepping backwards
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|LA MANIERE DE TIRER L'E-
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spee en recvleant
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|- style="font-family: times, serif; vertical-align:top;"
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|Now we shall describe how to draw the sword while moving backwards. Because it happens often, when in the company of several persons, instead of engaging in pleasant conversation, the mood sours and you are forced to draw your sword. This is dangerous and difficult enough to do, but more so when it is usual to be standing close to others that one could easily jump on you, grab your arm, or the hilt of your sword, so that one is forced to use any means for self-defence. To this situation, the only solution is to draw your sword while moving backwards. This is illustrated by the four smaller figures on the right side of the Plate, labelled E, F, G, & H.
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|Il s’enſuit que nous deſcrivions maintenant la maniere de tirer l’eſpee en reculant. Car il advient ſouvant, quād on ſe trouve en companie avec pluſieurs perſonnes, qu’au lieu de converſer honneſtemēt enſemble, il s’y eſmeut des queſtions, par leſquelles on eſt contraint de mettre la main aux armes, ce qui eſt aſſez difficile & dangereux à faire, d’autant que c’eſt l’ordinaire de ſe tenir en compagnie les uns ſi pres des autres, qu’on nous pourroit aiſement ſauter au corps, ou prendre le bras, ou la garde de l’eſpee, en ſorte que’on nous oſteroit tout moyen de nous defendre. A cela il n’y a autre remede qu’une bonne façon de deſgainer l’eſpee en reculant: laquelle iſt icy repreſentée par les quatre figures ſuivantes E.F.G.H.qui ſont à l’oppoſite des quatre precedentes.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|Figure E
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|Figvre E
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|- style="font-family: times, serif; vertical-align:top;"
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|Taking two or three steps backwards, beginning with either foot, as the left foot takes a backwards step, grab the hanger and scabbard with the left hand. As the foot falls on the ground, reach across with the right hand and grab the hilt, as shown in the picture, putting the right index finger around the crossbar and into the guard.
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|Faiſant deux ou trois pas en arriere, ſoit qu’on ait commencé avec le pied droit ou le gauche, faut aviſer d’empoigner de la main gauche le pendent de l’eſpee, enſemble avec le fourreau, tout joignant la garde, durant la demarche du pied gauche; & en le mettant à terre, de l’autre main on prendra l’eſpee, en embraſſant avec le doigt indice la branche exterieure par dedans la garde; comme la figure demonſtre.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|Figure F
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|Figvre F
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|- style="font-family: times, serif; vertical-align:top;"
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|With the sword firmly in hand and the left foot firmly on the ground, grab the hanger and scabbard with the left hand, pulling down and back, while stepping backwards with the right foot, step a bit slower and raise the foot a little higher than normal to make it easier to draw the sword, as similarly described for Figure B. These are the same movements, the only difference being that one is done moving forward, the other moving backwards.
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|L’eſpee donc prinſe, & le pied gauche planté en terre, tout à l’inſtant on eſlevera l’autre, pour continuer la meſme retirade, en ſerrant cependant bien fort la main gauche, qui tient le pendant avec le fourreau de l’eſpee, la pouſſant meſmes un peu vers le bas, pour tirer l’eſpee tant plus aiſement, durant la continuation de monter le pied droit en l’air à coſté, un peu plus qu’en la demarche ordinaire; ſuivant au reſte en tout & par tout les obſervations qui en ſont dechifrées en a deſcription de la figure B. Car ce ſont toutes les meſmes aćtions, & n’y que ceſte difference, que l’une des figures travaille en avançant, & l’autre en reculant.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|Figure G
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|Figvre G
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|- style="font-family: times, serif; vertical-align:top;"
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|When you draw the sword from the scabbard, again, pause slightly with the right foot, holding it raised and off to the side, while doing this, move the tip of the blade circularly outside the arm, so it rises diagnoally in front of the chest, with a turn of the wrist, helped a bit by the arm, until the hilt is at the height of the head, a little to one side, the blade above the shoulder, with the point above and behind you. At this instant begin to lean slightly forward, pull the right foot back, as shown in the picture.
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|Quand l’eſpee ſera hors du fourreau, on fera derechef une petite pauſe du pied droit, le tenant eſlevé à coſté, & durant icelle on menera la pointe de ſa lame circulairement en haut dehors le bras, en ſorte qu’on la face monter diagonalement par devant la poitrine, avec un tour de la main, aſſiſté de quelque petite accommodation du bras, juſqu’à tant que la garde arrive à l’endroit du ſommet de la teſte un peu à cartier, la lame reſpondant par deſſus l’eſpaule, avec la pointe un peu hauſſée derriere le dos; auquel inſtant on commencera enſemblement à pancher du corps ſur le devant, & à retirer en arriere le pied droit, qui eſt pour le preſent encore eſlevé; ſuivant ce qu’on voit en la figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|Figure H
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|Figvre H
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|- style="font-family: times, serif; vertical-align:top;"
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|Finally, after bringing the blade over the head from the left side and continuing to lean slightly forward bring the hand downwards, as if you were striking, diagonally across the chest, and as it passes the chest and the upper body, step back onto the right foot with as large a step as possible. As the foot touches the ground, straighten the arm down by your side, and draw the left foot back towards you as you straighten up. At the same time, turn the crossguard from vertical to horizontal, and move the thumb over the crosspiece, so as to hold the sword in hand as it should be according to the manner used in this System.
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|Finalement on pourſuivra à mener la lame circulairement par deſſus ſa teſte devers le coſté gauche, & en continuant à pancher du corps, on fera comme un coup de revers en l’air, deſcendant diagonalement par devant la poitrine; & à l’inſtant qu’il paſſe ladite poitrine: & la partie ſuperieure du corps, on ſe retirera avec le pied droit, qui eſt encores eſlevé, en arriere, autant qu’un grand pas ſe peut eſtendre; & à l’inſtant qu’il ſe mettra en terre, on retirera pareillement le bras droit eſtendu à coſté; & laiſſera on ſuivre le pied gauche en trainant, laſchant au meſme temps la main, & tournant la branche interieure de la garde horizontale, de verticale qu’elle eſtoit, & enſemblement retirant le poulce de deſſous icelle en deſſus. Ce qu’eſtant fait, on aura l’eſpee à la main, ainſi qu’on la doit tenir, ſelon la mode de noſtre Pratique.
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|- style="font-family: times, serif; vertical-align:top;"
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|You may find these actions difficult or even impossible at first, as there are so many points to pay attention to in such a short time, but after a bit of practice, it will seem, on the contrary, to natural and easy.
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|Il eſt bien certain que ces operations vous ſembleront du commencement fort difficiles ou meſme impoſſibles à faire, à cauſe de tant de petits points à obſerver en ſi peu de temps, mais l’accouſtumance vous en fera paroiſtre le contraire, de ſorte que vous recognoiſtrez à la fin, que ce ſont toutes choſes naturelles & faciles.
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|- style="font-family: times, serif; vertical-align:top;"
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|As for the backwards blow, which was mentioned in the discription of this figure, it is not a useless gesture. On the contrary, it is very useful to keep men from following too closely and to keep them back, to gain space to adopt a defensive posture. After this last step, you must decide if you still need to step back further, or if you need to step in. This is done in the same way as described above, that is, putting the right foot forward again, and placing the sword across your front, the arm strait, with the right hand and guard about level with the belt, the tip slightly raised.
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|Touchant le coup de revers, dont nous faiſons mention en la declaration de ceſte figure, il faut ſavoir, qu’il n’eſt pas inutile: car au contraire il ſert grandement à tenir les gens tant plus eſloignez, & pour ſe faire largue, au moyen dequoy on a plus e commodité de ſe mettre en defenſe. Ayant donc achevé ceſte derniere aćtion, il faudra juger, s’il eſt deſormais beſoing de reculer encores davantage, ou s’il eſt temps de faire ſes approches. Leſquelles il faudra faire en la meſme ſorte qu’il eſt dit cy deſſus, aſſavoir en avançant derechef le pied droit, & ſe mettant au meſme temps l’eſpee de travers par devant le corps, le bras aucunement courbé, la main droite, avec la garde, environ la hauteur de la ceinture; en ſe croiſant la poitrine avec la pointe un peu aſcendante.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|HOW TO PRESENT THE SWORD
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to your opponent in the direct line posture
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|LA MANIERE DE PRESENTER A SON
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contraire l’espee en droite ligne
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|- style="font-family: times, serif; vertical-align:top;"
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|That, in essence, is what seems to me to be important about drawing the sword. Now to the practical exercises and we start with the Direct Line posture. What must be learned before anything else is how to present yourself deftly to your adversary, through precise and suitable motions. At the same time, you must know the proper way to approch the adversary. I shall leave aside an infinity of other postures, and choose this one, which is the most suitable for demonstrating the precepts of my system, as well as being superior to all others. I admit that there are more delicate and more ferocious postures, But if these appear more polished, or present a hostile expression, this one has the advantage of both caution and strength. So, I leave these other postures to those who wish to adopt them, and content myself for the moment with the Direct Line. In this Plate, I shall describe the manner and steps to adopt the posture, and shall discuss its worthiness and its advantages in the next section.
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|Voilà en ſomme ce qui m’a ſemblé neceſſaire de vous propoſer touchant le deſgainement de l’eſpee. Venons à la Pratique de l’Exercice, & commençons  par la Droite Ligne, laquelle il faut apprendre avant toute autre choſe à preſenter dextrement à voſtre partie adverſe, avec geſtes propres & convenables pour l’attendre; & la meſme eſtant pareillement preſentée, que vous ſachiez auſſi la maniere de faire vos approches alencontre. Nous laiſſons à part une infinité d’autres postures, & en choiſiſſons ceſte ſeule, qui eſt la plus convenable pour la demonſtration de nos precepts, voire auſſi la meilleure de toutes. I’advoue bien qu’il y en a de plus mignardes, & de plus furieuses en apparence: mais ſi celles-là ſont accompagnées de plus de luſtre, ou de mauvaiſes mines, ceſte-cy l’eſt davantage de prudence & de force. Parquoy laiſſant les autres à ceux qui s’y plaiſent, nous nous contenterons pour le preſent de ceſte droite ligne, de laquelle nous deſcrirons en ce Tableau la maniere & l’ordre, comme il y faut proceder, nous remettants à diſcourir de ſa noblesse & de ſes avantages au prochain enſuivant.
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|A final note, which holds for all the examples throughout the book, that the swordsman who is on the Circle on the side of the letter A will always be called Alexander and his opponent Zachary. Alexander will normally be the one who follows my principles, but never Zachary, except as he is in this Plate III, where he is shown by four figures moving through consecutive actions, that show the means and steps by which you move into the Circle and adopt the direct line posture, which is explained, below.
 +
 
 +
|Il faut que je die en paſſant, & une fois pour toutes, que celuy des deux Contraires qui commence à travailler ſur le Cercle du coſté de la lettre A, ſera touſiours appellé Alexandre, & l’autre Zacharie: dont Alexandre ſera ordinairement l’observateur de no precepts, & aucunefois pareillement Zacharie: comme il l’eſt auſſi preſentement en ce Tableau III. où il repreſente en quatre figures & aćtions conſecutives, en quelle maniere & avec quels geſtes on ſe mettra ſur le Cercle en la poſture de la droite ligne; dont voicy l’explication qui s’eſuit.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 +
 
 +
|''FIRST ACTION''
 +
 
 +
|''PREMIERE ACTION''
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 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''Zachary is right in front of Circle No 1, facing the Z-X Quadrangle, carrying his sword in the crook of his left arm, and his left hand resting on the hilt.''
 +
 
 +
|''Zacharie ſe met droit evant le Cercle N.1. viz à viz du Quadrangle ZX, tenant l’eſpee ſur le coude du bras gauche, & en empoignant la garde par deſſous avec la main gauche.''
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 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|To show this action as simply as possible, Zachary is standing straight, facing front along the Diameter, about one blade-length away from the Circle. He can check this by putting his blade on the ground. If he were to put his tip at the letter X, the crossguard would be exactly between his two feet. However, there is another method of checking and adjusting the distance, by extending the arm and the sword in a straight line and bringing the tip down to just touch the ground. If you stand up straight, and do not bend over or twist, or change your posture, the tip will just touch the ground at X on the Circumference. Zachary thus waits, in this relaxed posture,  sword in the left arm, left hand over the hilt, hands resting on his stomach, so the tip of the sword is behind his shoulder, until he sees his adversary in order to present the direct line.
 +
 
 +
|Pour repreſenter ceſte aćtion le plus ſimplement qu’il ſoit poſſible, Zacharie ſe met icy tout droit ſur ſes jambes viz à viz du Diametre, les pieds egalement avancez, s’en tenant eſloigné de la juſte meſure de ſa lame. Dequoy il peut prendre la meſure avec l’eſpee meſme, en la mettant à terre. Car s’il en met la point ſur la Circonference à la lette X, les branches de la garde luy en reviendront juſtement entre le creux des ſes deux pieds. Toutesfois il y a encore une autre maniere, plus facile pour examiner & adjuster ceſte meſme distance, aſſavoir en eſtendant le bras avec l’eſpee droitement en une ligne, & la menant de haut en bas juſqu’à toucher la terre. Car le point d’attouchement viendra touſiours au meſme endroit de la Circonference à la lettre X, moyennant que la ſituation du corps ne ſoit point changée, & qu’on ne le plie, ny en avant, ny en arriere, mais qu’il demeure droitement debout & perpendiculaire. Zacharie donc ſe tenant eſloigné en ceſte bras gauche, empoignant auſſi de la main  gauche la garde par deſſous, ſe laiſſant prendre & repoſer les bras ſur le ventre, en ſorte que la pointe de l’eſpee luy va derriere l’eſpaule. Et voilà comme il s’eſt mis en eſtat d’attendre, juſqu’à tant qu’il voye ſa partie adverſe en ordre, pour luy donner la droite ligne.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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 +
|''SECOND ACTION''
 +
 
 +
|''SECONDE ACTION''
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 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''In front of Circle No 2, he moves his left foot forward with a small step, bringing the sword circularly down in front until he holds it to the side, arm out straight, in an acute angle, point down.''
 +
 
 +
|''Devant le Cercle N.2. il s’avance avec le pied gauche d’un pas moderé, en menant l’eſpee circulairement par devant ſoy avec le bras raide, & la mettant à ſon coſté droit en angle aigu, la pointe baiſsée.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|As he approaches the Circle, he first moves his left side and foot a medium step directly forward and at the same time straightens his sword arm,  swinging it through a semi-circle diagnoally downwards across his chest and down into an acute angle off to his right side, the tip about one hand width off the ground. All of the movements, of the arm, of the hand, of the sword must begin and finish at the same time as the step, to keep everything together. Be aware of a common mistake by novices, which is to cross-step and put the left foot in front of the right foot, instead of moving the left foot straight ahead, and so find themselves instantly entangled when performing the next actions.
 +
 
 +
|En approchant donc du Cercle, il avance premierement le coſté, & le pied gauche d’un pas mediocre en ligne droite, & cependent roidit le bras de l’eſpee, la menant par une demie-circonference diagonale par devant ſa poitrine, de haut en bas, en angle aigu à ſon coſté droit, & en mettant la pointe environ à la meſure d’une paume de la terre. Au reſte toutes ces aćtions, tant du bras, que de la main, & de l’eſpee, ſe doivent commencer & terminer enſemble avec le pas du pied, afin qu’il n’y ait rien de mal proportionné. Faut auſſi ſe donner garde, en apprenant ceſte demarche, d’une faute aſſez ordinaire & commune à la plus part des Eſcholiers; qui eſt de croiſer le pas, & porter le pied gauche en avant à la main droite, au lieu de marcher en droite ligne tout droit devant eux, dont ils ſe trouvent tout à l’inſtant embrouillez à faire les operations ſuivantes.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 +
 
 +
|''THIRD ACTION''
 +
 
 +
|''TROISIEME ACTION''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''In front of Circle No 3, he raises his right foot as he steps and raises the sword up with his straight arm, so it points up at an obtuse angle.''
 +
 
 +
|''Devant le Cercle N.3.il eſleve & hauſſe le pied droit à coſté, enſemble auſsi l’eſpee de meſme avec le bras roide, en ſorte qu’ils viennent à y faire une ligne montante en angle obtus.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Here he raises the right foot to take the second step, and at the same time he raises his extended arm to the side, upwards at an obtuse angle. Since he intends to put the tip of his foot at the letter X, having already moved forward, together with his arm and sword, he looks down at the Circle to check his foot will land where he intends to place it, so the rest of the steps can flow uninterrupted, as shall be worked out in the next Circle.
 +
 
 +
|Voicy qu’il leve le pied droit pour faire le ſecond pas, & au meſme temps il porte auſſi le bras eſtendu avec l’eſpee en haut en angle obtus, juſtement à coſté. Et puis que c’eſt ſon intention de mettre le bout du pied droit à lettre X; l’ayant preallablement un peu avancé, enſemble auſſi le bras & l’eſpee meſme; il tourne les yeux en bas ſur la figure du Cercle, pour y prendre l’adreſſe du pas, qui luy reſte à faire, au point qu’il pretend de toucher: pourſuivant au reſte à marcher & à continuer ſans interruption, comme il ſera deduit au Cercle ſuivant.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Note that I said to lift the right foot at the same time as your arm and sword, so they are raised to the side, in profile. If they were raised to the front, it would cause difficulties in the following actions, and something badly started cannot end well.
 +
 
 +
|Notez bien ce que nous diſons de porter le pied droit avec le bras & l’eſpee, cependant qu’ils montent, juſtement à coſté reſpondants ſur le pourfil du corps. Car ſi on les avance du commencement, on en ſera fort incommodé à la continuation des aćtions ſuivantes, ce qui eſt mal commencé ne pouvant avoir bonne fin.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 +
 
 +
|''FOURTH ACTION''
 +
 
 +
|''QUATRIEME ACTION''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''In Circle No 4, he has stepped forward with right foot, and planted it at the point X, thrusting his sword out in a straight line over the Diameter, with the left foot following at the same time to arrive on the Pedal Line.''
 +
 
 +
|''Au Cercle N.4. il a marché du pied droit, & l’a planté à la Circonference au point X, jettant enſemblement l’eſpee en droite ligne au deſſus du Diametre, avec le pied gauche trainant à meſme temps derriere juſqu’à venir deſſus la ligne Pedale.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|While on the left foot, his other moving forward, along with his arm and his sword, & looking at the ground to adjust his step, he proceeds as follows: he carries the sword forward, with his arm extended, in a slightly downward circular motion. At the same time as his right foot comes down, his toes on the point X, and his heel along the Collateral inside the Quadrangle on the right hand side. Continuing the circular motion with the sword, keeping his arm and sword extended and straight, he brings it up not quite overhead, forward, and down until his arm and sword are horizontal over the Diameter and perpendicular to his torso. As he places his foot on the ground, and as he carries the sword circularly overhead, it is done with an impetus from the arm, with tension from all the nerves and muscles of the body, so that the right side is pulled forward, the heel of his right foot is turned to follow the line X-Y, and finally his left foot is drawn forward into balance until it rests on the Pedal Line at Z. Once planted, the he stands erect and in profile, sword and arm extended in a straight line parallel to the Diameter, shoulder, arm, the hilt, and the point held horizontally.
 +
 
 +
|Eſtant ſur le pied gauche, & ayant avancé l’autre, enſemble avec le bras & l’eſpee, & regardé en terre, pour adjuster le pas, il pourſuit en ceſte ſorte: c’eſt qu’il porte l’eſpee avec le bras eſtendu, circulairement en avant, un peu vers le bas; mettant au meſme temps le pied en terre, les orteils ſur le point X, & le talon ſur la collaterale dedans le Quadrangle à main droite. Et en continuant touſiours le ſuſdit mouvement circulaire de l’eſpee, il la ramene en haut avec quelque petite accommodation du poignet, en finiſſant le mouvement du bras (qui demeure touſiours eſtendu avec l’eſpee en droite ligne) juſtement au deſſus du Diametre, en angle droit & ligne perpendiculaire au regard du corps, & au regard du Diametre en ligne parallele. Or quand il plante le pied à terre, & qu’il porte l’eſpee circulairement en haut, celà ſe fait avec une impetuoſité du bras; dont touts les nerfs & muſcles du corps ſe tendent, le coſté droit en eſt tiré en avant, le talon du pied droit s’en tourne en dehors ſur la ligne XY, & finalement le pied gauche en eſt contraint & comme forcé à ſuivre & ſe laiſſer entrainer apres l’autre juſqu’à tant qu’il vienne ſur la ligne Pedale Z, où il doit demeurer, & redreſſer au meſme temps, qu’il y arrive, le corps droit & en pourfil, l’eſpee enſemble avec le bras eſtendus en ligne droite parallele au Diametre, en ſorte que l’eſpaule, & le bras, la garde, & la pointe de l’eſpee ſe retrouvent toutes en egale hauteur.
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 +
|- style="font-family: times, serif; vertical-align:top;"
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|After all these actions are done, if there is any doubt about the posture, to check that it is correct, he need only extend the left arm in the same way towards the rear, at the same height. If his posture is correct, then the two arms and the sword will be on a straight line, while all the rest of his body is relaxed, so there is no tension and no deformation, since this is the most natural posture in the world. If there is any fault, either in the position of the body or the sword, it is easily determined because the line of the arms is not straight, or because the body is not upright, or because of the discomfort caused by contortions, as can be seen in all other postures, when they are forced to present the sword in the direct line.
 +
 
 +
|Apres toutes les aćtions faites, s’il eſt queſtion d’examiner la poſture, pour voir s’il y a de la faute; il ne faut qu’eſtentre pareillement le bras gauche en droite ligne, en arriere à la meſme hauteur. Car ſi la poſture eſt juſte, les deux bras enſemble avec l’eſpee, ne feront qu’une droite ligne, & en ſeront touts les membres du corps tellemēt à leur aiſe, qu’il n’y en aura de contraint ny de contrefait, d’autant qu c’eſt la poſture du Monde la plus naturelle. En ſomme, s’il y a faute, ſoit en la ſituation du corps, ou en la tenue de l’eſpee, elle ſe deſcouvrira d’elle meſme par l’inegalité de la ligne, qui devoit eſtre droite, ou par la meſſeance du corps qui ſe devoit tenir perpendiculaire, ou par le malaiſe procedant de la contorſion des membres, comme il en prend à toutes le autres poſtures, quand elles s’efforcent de preſenter l’eſpee en droite ligne.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|HOW TO APPROACH AGAINST THE DIRECT LINE POSTURE
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 +
and against the Obtuse Angle posture
 +
 
 +
|COMMENT IL FAVT FAIRE SES AP-
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 +
proches contre la droite ligne, et contre l’angle obtvs
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|- style="font-family: times, serif; vertical-align:top;"
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 +
|Having explained the actions of Zachary, I shall now likewise describe those of Alexander, as shown by the four figures, showing the different means of approaching against an opponent who has adopted the posture of a sword held in the direct line and the obtuse angle. But these postures are not shown by Zachary in this Plate, but rather in the fourth Plate, which follows this one. In each Circle of Plate IV, Zachary has adopted his posture, with the sword either in the direct line or at an obtuse angle. Alexander’s approaches to each posture begins on the numbered Circle in this Plate, and finishes in the same numbered Circle in the next Plate.
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|Ayant ores declaré les operations de Zacharie, il ſera bien que nous commencions pareillement à deſcrire celles d’Alexandre; qui nous monſtre par ſes quatre figures, autant de differentes manieres de faire ſes approches contre la droite ligne & contre l’angle obtus. Mais puis que ces dites poſtures ne luy ſont pas preſentées en ce preſent Tableau par Zacharie, il faut ſavoir qu’elles ſeront repreſentées au quatrieme, qui eſt le prochain enſuivant, chaſcune à tour, ſur les Cercles, marquez de meſme nombre. Auſſi que les approches d’Alexandre ne ſont icy repreſentées à plein; mais que le ſurplus en eſt reſervé pour le meſme Tableau quatrieme, chaſcun à repreſenter ſur ſon propre Cercle. Cependant ſachez que les poſtures de Zacharie ſont telles.
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|- style="font-family: times, serif; vertical-align:top;"
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|On Circle No 1, Zachary  presents his sword in the direct line, as in Circle No 4 in this Plate.
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|Sur le Cercle N.1. il preſente la droite ligne, tout ainſi qu’au Cercle N.4. de ce Tableau preſent.
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|- style="font-family: times, serif; vertical-align:top;"
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|On Circle No 2, he presents his sword at an obtuse angle.
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 +
|Sur le N.2. il preſente l’eſpee en angle obtus.
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|- style="font-family: times, serif; vertical-align:top;"
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|On No 3, he is doing the same.
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 +
|Sur le N.3. il fait le meſme
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|- style="font-family: times, serif; vertical-align:top;"
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|It is against these postures the Alexander must approach, the first half of which are shown here, and the finish will be shown against those postures.
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|C’eſt alencontre de ces poſtures qu’Alexandre ſe met icy en devoir de faire ſes approches, qui n’y ſont toutesfois repreſentées qu’à demi, dont l’accompliſſement ſera veu, là où les poſtures ſe voyent alencontre.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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 +
|''FIRST ACTION''
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|''PREMIERE ACTION''
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|- style="font-family: times, serif; vertical-align:top;"
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 +
|''Alexander has advanced two or three paces towards Circle No 1, at the moment he placed his left foot on the ground, he set his sword at an acute angle to his right side, and is now raising his right foot to land outside of the circle, and has raised his arm and sword up to an obtuse angle. The ending to this move will be shown in Circle No 1 in the following Plate.''
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|''Alexandre s’eſtant preallablement avancé deux ou  trois pas devers le Cercle N.1. en plantant le pied gauche en terre, il a mis l’eſpee en angle aigu à ſon coſté droit, ce qu’eſtant fait, il hauſſe le pied droit en dehors, comme auſsi le bras avec l’eſpee, les mettant en ange obtus; le ſurplus de ceſte approche ſera repreſenté au Cercle N.1. du Tableau ſuivant.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Supposing Zacharie has adopted the fighting posture of the direct line to receive Alexander’s attack. Here we see Alexander making his approach against him. While he was out of range, he walked as far forwards as the distance required, carrying his sword freely, however he wishes, neither concerned about starting on the right or left foot, nor with the exact distance to his adversary. But when he puts his left foot down within one pace of the Circumference, he moves his sword off to his right side in a circular motion until it forms an acute angle, using the same motions at the same distance as Zachary before Circle N0 2. This done, as he raises his right foot, he raises his sword and straight arm up to an obtuse angle, just as Zachary before Circle No 3. There is only one difference, that is, when Zachary approached, he looked to the ground to check the distance so as to place his right foot along the Collateral line on the right side of the Quadrangle, with his toes exactly on the circumference at X, which he must do to be first in position on the Circle, and  which can do as he has no opponent to face. But Alexander cannot do this, as he must focus during all his actions, in his approach, in his comportment, and in assessing his distance, the long and short of it, on his adversary who is waiting for him, without ever looking away. If he did otherwise, he would never be able to put his sword into the direct line, parallel to and below the other, as is shown in the following Plate. This is why Alexander keeps his eyes fixed on his enemy.
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|Preſuppoſant donc que Zacharie ſe ſoit mis le premier en campagne in la poſture de la droite ligne, pour attendre. Voicy Alexandre qui commence à faire ſes approches alencontre, en ceſte ſorte. Durant qu’il a eſté hors de meſure, il a marché autant de pas en avant, que la diſtane requeroit, menant l’eſpee librement à ſa fantaſie, ſans eſtre en peine de commencer la demarche avec le pied droit ou avec le gauche, ny de ſçavoir exaćtemēt la diſtance de l’Adverſaire. Mais quand il a mis le pied gauche en terre ſi pres du Cercle, qu’il pouvoit arriver en un ſeul pas à la Circonference; c’eſt alors qu’il a porté ſon eſpee circulairement avec une demie-circonference diagonale à ſon coſté droit en angle aigu, uſant des meſmes aćtions, & ſe mettant à la meſme diſtance, qu’il a eſté dit cy devant en la perſonne de Zacharie N.2. Ce fait, il leve le pied droit, & hauſſe enſemblement le bras avec l’eſpee en angle obtus; tout ainſi qu’en a fait Zacharie devant le Cercle N.3. Il n’y a que ceſte difference, que Zacharie regarde la terre pour compaſſer la demarche, & mettre le pied droit juſtement ſur la collaterale droite de ſon Quadrangle, avec les orteils touchants la Circonference; ce qu’il peut & doit faire pour ſe mettre le premier en poſture ſur le Cercle, d’autant qu’il n’a null autre adreſſe. Mais à Alexandre il n’eſt permis de ce faire; d’autant qu’il doit prendre l’adreſſe de toutes ſes aćtions, & de ſon approche, au comportement & à la diſtance de ſon Contraire qui l’attend, & la dite diſtance à l’aulne de la veuë, ſans jamais en deſtourner ſes yeux; car autrement il ne pourroit porter l’eſpee au ſuivant mouvement en ligne droite & parallele deſſous l’autre, comme il ſe voit en la Table ſuivante. C’eſt la cauſe, pourquoy Alexandre tient icy les yeux fichez ſur l’Ennemy.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 +
 
 +
|''SECOND ACTION''
 +
 
 +
|''SECONDE ACTION''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''Alexander has advanced two or three paces towards Circle No 2 at the moment he placed his left foot on the ground, he swung his sword out and down at an acute angle, then, as he lifted his right foot to step forward, he raised his hand up and rested his sword on his right shoulder, with the point behind him.''
 +
 
 +
|''Alexandre s’eſtant preallablement avancé deux ou trois pas, devers le Cercle N.2. en plantant le pied gauche, il a jetté l’eſpee deſcendante en angle aigu, puis en eſlevant le pied droit en avant, il porte le bras avec leſpee en haut, le mettant par deſſus ſes eſpaule droite à coſté de la teſte avec la pointe en arriere.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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|In Circle No 2, let us suppose Zachary is waiting with his sword raised to an obtuse angle, as shown in the next Plate. To approach, Alexander has placed himself in front and taken two, three or more steps forward, as needed, to close the distance, carrying his sword freely, however he wants. But, when he puts his left foot down no more than a pace from the edge of the Circle, about to come into range, at the same time he moves his right hand forward and points the sword down at an acute angle in front. Then, as he raises his right foot to take a careful step, he brings the sword up and beside his head onto his right shoulder with the tip a little behind. As he takes his next step, he brings his sword forward and into contact with his opponent’s sword to the inside, as shall be more fully explained in Plate IV.
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|En ce Cercle N.2. nous preſuppoſons, que Zacharie luy preſente l’eſpee en angle obtus, comme il ſera repreſenté au Tableau ſuivant. Pour travailler alencontre, Alexandre s’eſt mis tout droit devant; puis a marché deux, trois, ou quatre pas en avant, plus, ou moins, ſelon la diſtance, menant librement l’eſpee ſelon qu’il luy eſt venu à gré. Mais en venant ſi pres du Cercle avec le pied gauche, qu’il ne reſte plus qu’un pas, pour venir en meſure; en meſme temps il avance l’eſpee un peu à main droite, la portant de haut en bas en angle aigu; puis en eſlevant tout à l’inſtant le pied doit, & commençant à cheminer, il la ramene en haut à coſté de ſa teſte à la hauteur de l’eſpaule, la pointe d’icelle un peu montante en arriere. Leſquelles aćtions il a faites, en intention d’avancer l’eſpee avec le pas enſuivant, & la mettre au meſme inſtant qu’il viendra en meſure, contre la lame contraire en dedans, comme il ſera dit plus amplement en la declaration du Tableau IV.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|''THIRD ACTION''
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|''TROISIEME ACTION''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander has advanced two or three paces before Circle No 3, and, at the same moment he has placed his right foot close enough that his left foot is one pace from the Circumference, he points his sword down towards his right side at an acute angle. As he moves his left foot forward to place it at the Circumference, he again raises his sword to an obtuse angle under the opponent’s blade and above the Diameter, with his body leaning backwards.''
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|''Alexandre s’eſtant avancé deux, ou trois pas devant le Cercle N.3. au meſme inſtant qu’il plante le pied droit ſi pres, qu’il peut atteindre la Circonference avec l’autre, il avance l’eſpee devers ſon coſté droit en angle aigu; laquelle il porte derechef en haut en angle obtus en avancant le pied gauche; & en le mettant à terre à la Circonference, derechef il la ramene de haut en bas en angle aigu deſſous l’eſpee contraire & au deſsus du Diametre, avec le corps panché à l’envers.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Coming to Circle No 3, suppose Zachary is again waiting in the same posture, presenting his sword at an obtuse angle, as shown in the following Plate. To approach, Alexander has again walked forward the same way as in the previous Circle, until his right foot is one pace from the Circumference, at the same time he moved his sword and arm down at an acute angle, off to the right side. Again, as he raises his left foot and steps forward, he again brings his sword upwards to an obtuse angle. At the instant his foot touches the ground with the toes on the Circumference at C, he brings the sword diagonally beneath his opponent’s sword at an acute angle, his body leaning slightly backwards. That much is shown here; the next step will be described later.
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|Touchant le Cercle N.3. il faut preſuppoſer, que Zacharie l’attend derechef en la meſme poſture, luy preſentant l’eſpee en angle obtus, comme on le voit depeint au Tableau ſuivant. Pour l’aborder, Alexandre a marché encores tout de meſme, qu’au Cercle precedēt, juſqu’à ce qu’en approchant le pied droit ſi pres, qu’il ne reſte plus qu’un pas pour atteindre la Circonference, il a avancé au meſme temps le bras avec l’eſpee vers le bas en angle aigu, tirant un peu à main droite; & derechef, il l’a ramenée circulairement en haut en angle obtus, durant l’eſlevation & l’avancement du pied gauche, lequel en venant à planter en terre ſur la Circonference au point C, au meſme inſtant il porte ſon eſpee diagonalement deſſous la contraire in angle aigu le corps un peu renverſé. Voilà tout ce qu’il fait juſqu’icy: la ſuite ſera declarée en ſon lieu.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|''FOURTH ACTION''
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|''QUATRIEME ACTION''
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|- style="font-family: times, serif; vertical-align:top;"
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|''In Circle No 4, he has stepped forward with right foot, and planted it at the point X, thrusting his sword out in a straight line over the Diameter, with the left foot following at the same time to arrive on the Pedal Line.Alexander has advanced two or three paces and as he placed his left foot in front of Circle No 4, he moved his sword forward at an acute angle, which he then raised back up while stepping with the right foot, and brought it up beside his head over his right shoulder, with the point behind.''
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|''Alexandre apres s’eſtre avancé deux ou trois pas, en venant à planter le pied gauche devant le Cercle N.4. avance l’eſpee en angle aigu, laquelle il ramene derechef en haut durant la demarche du pied droit, & la porte à coſté de ſa teſte au deſſus de l’eſpaule droite, avec la pointe tournée en arriere.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Here, in Circle No 4, suppose Zachary has adopted the direct line posture. Alexander again approaches in the same way, having taken two or three paces, as he puts his left foot down by the point of the Circumscribed Square, he moves the sword downwards at an acute angle. As he continues to step with his right foot into range, as he raises it and moves it forward, he brings the sword back up beside his head, over his right shoulder, with the tip pointing behind, and the guard about the height of the shoulder, and a little forward, as shown in the figure.
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|Icy en ce Cercle N.4.preſuppoſant que Zacharie ſe ſoit mis en la poſture de la droite ligne. Alexandre vient derechef alencontre, ayant preallablement fait deux, trois, ou quatre pas en la meſme ſorte que deſſus, à la fin deſquels en mettant le pied gauche en terre devant l’angle du Quarré circonſcrit, il avance l’eſpee vers le bas an angle aigu; puis en continuant à marcher du pied droit pour entrer en meſure, durant l’eſlevation & l’avancement d’iceluy, il la raporte en haut à coſté de ſa teſte au deſſus de l’eſpaule droite, la pointe hauſſée en derriere, & la garde environ la hauteur de l’eſpaule, un peu en avant; comme il eſt repreſenté en la figure.
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|- style="font-family: times, serif; vertical-align:top;"
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|These are the actions he has done as shown in this Plate. The next will contain how he moves into range, advancing the right foot to the Circumference of the Circle, meanwhile swinging the tip of sword inversely from high to low, which he does with a twist of the wrist and a little motion of the arm and continuing on until he has put his blade underneath his opponent’s in parallel and in a direct line. But as these things are shown in the following Plate, I shall finish my explanation of the Third Plate and move on.
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|Telles ſont les aćtions qu’il a faites en ce Tableau preſent; la ſuite contiendra cōment c’eſt qu’il entre en meſure, en avançant le pied droit juſqu’à la Circonference du Cercle, & tournant ce temps pendant la pointe de ſa lame circulairement à l’envers du haut en bas à ſon coſté; ce qu’il fait du poignet de la main avec quelque petite accommodation du bras, en continuant le meſme tour juſqu’à tant qu’il ait mis ſa lame deſſous l’eſpee contraire en ligne droite & parallele. Mais puis que ces choſes ſeront repreſentées au Tableau ſuivant, faiſons icy la fin du Troiſieme, & paſſons outre.
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|}
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{{master end}}
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== Copyright and License Summary ==
  
 
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].
 
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].

Revision as of 15:10, 24 February 2018

Gérard Thibault d'Anvers
Born 1574
Died 1629
Occupation Fencing master
Nationality Dutch
Movement La Verdadera Destreza
Influences
Genres Fencing manual
Language French
Notable work(s) Academie de l'Espée (1630)

Gérard Thibault d'Anvers (ca. 1574–1629)[1] was a 17th century Dutch fencing master and author of the 1628 rapier manual Academie de l'Espée, one of the most detailed and elaborate sources ever written on fencing. Details about Thibault's life are sparse and what we know is based on his book and his album amicorum.[2] The latter contains handwritten notes and celebratory poems from Thibault's friends, relatives, pupils, and colleagues, included among whom are several contemporary fencing masters.[3]

Thibault was born in or around 1574 in Antwerp, son of Hendrick Thibaut and Margaretha van Nispen.[4] Although his father used the surname "Thibaut," Gérard used the French form "Thibault."[4] Hendrick Thibaut came from a well-known family in Ypres, living in Ghent and Antwerp before going into exile in the northern Netherlands.[4] Henrick's eldest son, Christiaen, founded the noble family Thibaut van Aegtekerke.[5]

Thibault first studied swordsmanship in Antwerp under Lambert van Someron, who taught between the years of 1564 and 1584.[6] In 1605, Thibault was a wool merchant in Sanlúcar de Barrameda, south of Seville on the Guadalquivir river, and the hometown of Jerónimo Sánchez de Carranza.[2] There, he took an interest in swordsmanship, studying the Spanish rapier system of Destreza.[2]

Thibault left Spain to return to the Netherlands, and was in Amsterdam as early as 1610.[2] In or around 1611, he presented his system to an assembly of Dutch masters at a competition in Rotterdam.[7] Thibault won first prize, earning an invitation to the court of Prince Maurice of Nassau, where the Prince observed Thibault's system in a multi-day demonstration.[6]

Although initially met with skepticism, Thibault convinced his fellow Dutch fencing masters, including Johannes Damius of Haarlem, Dirck van Stervergen of Leiden, Cornelis Cornelisz van Heusden of Amsterdam, and Thibault's former teacher Lambert von Someron.[6] In 1615, Thibault was invited to the court at Cleves and left Amsterdam, where he once again demonstrated his system successfully.[8] Over the next several years, Thibault traveled from Cleves, Amsterdam, to Spain, back to Amsterdam, and finally to Leiden in 1622.[9] There, Thibault studied mathematics at Leiden University.[10] It is unclear whether Thibault taught his system at the university.[10] It is during his time in Leiden that Thibault likely began working on Academie de l'Espée and employed a team of sixteen master engravers.[11]

Thibault died in 1629, a year before his masterpiece was finally published (despite the date on the title page of 1628, it was not published until 1630).[12]

Treatise

The Academie de l'Espée (1630) is presented in three parts, a short introduction, populated with plates showing the coats of arms of several nobles who were prominent in and around the court of the low countries at the time he wrote this book, Book 1, which deals with training in the use of his system of swordplay, and Book 2 which shows how to use his system against other systems and weapons, including shields, longsword, and firearms.

Copyright and License Summary

For further information, including transcription and translation notes, see the discussion page.

Images free for non-commercial re-use with attribution, courtesy of Reinier van Noort http://www.bruchius.com/img/Thibault.zip

Transcription by Bruce G. Hearns Copyright is Public Domain Contribution

Public Domain Contribution.png

Translation by Bruce G. Hearns, all rights reserved.

Copyrighted.png

Additional Resources

References

  1. de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.288, 297
  2. 2.0 2.1 2.2 2.3 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.289
  3. de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.297
  4. 4.0 4.1 4.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288
  5. de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288-289
  6. 6.0 6.1 6.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290
  7. de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.289-290
  8. de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.294
  9. de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.294-296
  10. 10.0 10.1 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.296
  11. de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.296, 310
  12. Thibault, Gérard. Academy of the Sword. Trans. John Michael Greer. Highland Park, TX: The Chivalry Bookshelf, 2006. pp 1-2.