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Difference between revisions of "Gérard Thibault d'Anvers"

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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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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.
 
|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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{{master begin
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| title = Book 1 - Tableau / Plate IIII
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| width = 100%
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}}
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{| class="floated master"
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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|-
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|Colspan="2"|[[file:Thibault L1 Tab 04.jpg|800px]]
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[[http://www.geheugenvannederland.nl/nl/geheugen/view/aanduiding%20verschillende%20wijzen%20waarop%20men%20tegenstander%20kan%20benaderen%20passe%20crispijn%20de?query=Girard+Thibault+espee&page=2&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-012| 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 FOURTH PLATE
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|DECLARATION DES OPERATIONS DV TABLEAV QUATRIEME
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|- style="font-family: times, serif; vertical-align:top;"
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|I believe there will be some who, barely having glanced at Plate IV and its text, who will instantly decide that the topic should have been far too simple for such a long discussion, that we should not have tried earlier to expand the material, that it should be made simple to understand. But I ask them to consider that these are the basic foundations of this science, which will draw after them a long train of incomplete problems, which are impossible to solve if they are not closely examined at the beginning of training. Because, just as effects flow from causes, so there must be neither doubt, nor failure to understand, that all of the teachings which follow are devoid of mistakes and falsehoods. That is why I intend to use very precise descriptions of these initial moves, because  the consequences are so important. Having shown, through the four images of Zachary in Plate III, how to adopt the direct line, on the Circle, or on some other ground wherever it is, we shall now begin to describe Alexander’s actions, which were started and partially explained in Plate III, to show how to approach against the direct line posture and against the obtuse angle posture. Then we shall enter into a discussion of the value of the direct line posture, and the range of the First Instance (i.e. the first step in the fight sequence), to which we shall finally add the means of changing and adapting to different lengths of swords.
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|Ie croy, qu’il y en aura pluſieurs, qui n’auront pas ſi toſt jetté les yeux ſur ce Tableau IV. & ſur ſes eſcrits, qu’ils ne jugent tout à l’inſtant, que le ſujet en euſt eſté trop maigre pour un ſi long diſcours, ſi nous n’euſſions taſché plus toſt d’amplifier la matiere, que de la rendre ſimplement intelligible. Mais je les prie de conſiderer, que ce ſont icy les premiers fondements de la ſcience, qui tireroyent apres eux une trainee de difficultez infinies, & impoſsibles à reſoudre, en cas qu’ils ne fuſſent examinez curieuſement à l’entree de la diſcipline. Car comme les effećts ſe conforment touſiours à leurs cauſes, auſsi il ne faut pas douter, erreur eſtant le premier maiſtre, que toute la doćtrine enſuivante ne fuſt pleine d’abus & de tromperie. C’eſt pourqouy j’entends d’uſer d’une exaćt declaration de ces premiers commencements, puis qu’il en depend de ſi grandes conſequences. Ayant donc enſeigné par les quatre figures de Zacharie au Tabl. III. la maniere de donner la droite ligne, ſur le Cercle, ou ſur quelque autre plan, que ce ſoit; nous commencerons à deſcrire preſentement la pourſuite des operations d’Alexandre, à demi parachevées audit Tabl. III. pour faire ſes approches contre la droite ligne, & contre l’angle obtus; puis entrerons en diſcours touchant l’excellence du ceſte poſture de la droite ligne, & de la meſure de la premiere Inſtance; à quoy nous adjouſterons finalement la maniere de la changer & accommoder ſelon les diverſes meſures des Eſpees.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 1'''
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|'''Cercle N.1.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander began his approach against the direct line, as shown by Circle No 1 in Plate III. Here he proceeds with the rest of it, as he arrives at the First Instance with the sword extended in direct line below his adversary’s sword.''
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|''Alexandre ayant commencé à faire ſes approches contre la droite ligne, en la forme qu’il eſt repreſentée au Tabl. III. Cercle N.1: il en pouſuit icy le reſte, en venant ſur la Permiere Inſtance avec l’eſpee eſtendue en droite ligne au deſſous de l’eſpee contraire.''
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|- style="font-family: times, serif; vertical-align:top;"
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|In Circle No 1, as was explained in the preceding Plate, Zacharie has put himself on guard first, in the direct line posture, his right foot on the line X–Y, his toes touching the end at the circumference, his left foot on the Pedal Line Z, holding his body erect, and showing his profile to the enemy, in such a way that his head and the centre of his body are over the middle of the Quadrangle on which he stands.
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|Touchant le Cercle N.1. il a eſté dit au precedent Tableau, que Zacharie s’eſt mis le premier en campagne, en la posture de la droite ligne, le pied droit ſur la ligne XY, en touchant du bout d’iceluy la Circonference; & le pied gauche ſur la ligne Pedale Z, tenant le corps eſtendu en ligne perpendiculaire, & flanqué en pourfil ſur l’Ennemi; en telle ſorte que la teſte & le centre du corps reſpondent juſtement deſſus le milieu du Quadrangle, où il eſt placé.
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|- style="font-family: times, serif; vertical-align:top;"
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|To reach him, Alexander has taken two, three, or four paces forward, more or less, according to the distance, while freely carrying his sword however he wished. Then as he put his left foot down near the Circle, about one pace distant, so one more step with his right foot to C would put him into range in the First Instance, he straightened his arm and extended his sword out and down to the right. Following that, as he raises his right foot, he lifts the sword high up into an obtuse angle on the same side, as he prepares to make the final step, taking everything into account to precisely guage the distance to his adversary’s body, arm, and sword so he can put the tip of his sword near to the opponent’s guard and just underneath it along the same line, as he comes into range, and which will put him exactly at the First Instance, which will be described shortly.
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|Pour l’aborder, <font style="font-variant:small-caps">Ale</font>xandre fait deux, trois, ou quatre pas en avant, plus ou moins, ſelon la diſtance, & a porté ce temps pendant l’eſpee librement à ſa fantasie: puis en faiſant la demarche du pied gauche, & le venant à planter ſi pres du Cercle, qu’il pouvoit arriver du prochain pas, à faire du pied droit, ſur la Premiere Inſtance au point C, durant icelle demarche il a porté le bras eſtendu enſemble avec l’eſpee, en ligne droite, en bas, à ſon coſté droit; & en pourſuivant à eſlever le pied droit, & porter enſemblement le bras avec l’eſpee en haut, en angle obtus au meſme coſté, il s’eſt preparé pour faire le pas enſuivant tant plus juſte, en prenant la meſure à l’aulne de la veuë, au regard de la diſtance du corps, du bras, & de l’eſpee contraire; afin de porter ſa pointe tout pres de la garde contraire, & juſtement deſſous la meſme ligne, au meſme temps, qu’il entrera en meſure, & qu’il ſe mettra exaćtement ſur la Premiere Inſtance, en la maniere qui ſera tantoſt deſcrite.
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|- style="font-family: times, serif; vertical-align:top;"
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|All of these steps were previously shown and described in Circle No 1, in Plate III. In any case, it seemed necessary to show at this point, so as to explain certain points more fully, and likewise, to  illustrate for you the full approach, rather than one or two disparate images in two Plates, neither of which would sufficiently clarify the other to the satisfaction of the reader. So let us see how he accomplishes this first approach, as shown here.
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|Iuſques icy toutes ſes aćtions ont eſté representées & declarées au Cercle N.1. du Tableau III. dont toutesfous il me ſemble, que la repreſentation a eſté neceſſaire en ceſt endroit, afin d’en expliquer quelques particularitez de plus pres, & pareillement pour vous mettre devant les yeux tout d’une approche, qui autrement reſembleront à un corps deſmembré, comme eſtant diviſé en deux Tableaux, ſans que l’un fuſt ſuffiſamment eſclarcy par l’autre au contentemēt du Lećteur. Voyons donc le parachevement de ceſte premiere approche, qui eſt tel.
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander begins by advancing the entire right side of his body, foot, arm, and sword together, dropping the blade downwards as it makes a circular sweep towards the front. At the same time as he puts his foot down on the circumference of the Circle, his toes at the point C, with his heel along the right hand side of the collateral line of the Quadrangle, he stiffens his arm and wrist, and circles the blade back upwards under the adversary’s sword until it is parallel, with the tip as close as possible to his opponent’s hilt without touching it, as shown by the figure.
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|<font style="font-variant:small-caps">Alexandre</font> commençant à advancer egalement le coſté droit du corps, pied, bras, & eſpee enſemble; abaiſſe tout à l’inſtant ſa lame un peu circulairement vers le devant; & en metant le pied à terre ſur la Circonference du Cercle au point C, le talon d’iceluy ſur la ligne collaterale du Quadrangle à main droite, au meſme temps en roidiſſant le bras & le poignet de la main, il avance ſa lame circulairement en haut deſſous l’eſpee contraire en ligne parallele, en aſſituant la pointe droit à la garde contraire, le plus pres qu’il a peu faire, ſans toucher, ainſi qu’on voit en ſa figure.
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|- style="font-family: times, serif; vertical-align:top;"
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|This last motion of carrying the sword up under the opponent’s sword is made with impetus, so that the right side is pulled forward and so that the right foot easily spins on the ball of the foot onto the line C–B, and drawing the left foot along the ground to its natural place along the Pedal Line. At this instant, he straightens and draws upright, standing in profile, and finishes the movement of the sword in a direct line underneath his opponent’s sword.
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|Ce dernier mourvement de porter l’eſpee en haut deſſous l’eſpee contraire, il le fait avec une certaine impetuoſité, dequoy le coſté droit du corps eſt tiré en avant, & conſequemment le talon du meſme pied ſe gliſſe en dehors ſur la ligne CB, entrainant quand & quand le pied gauche par terre, juſqu’à ſa place ordinaire, qui eſt a ligne Pedale; auquel inſtant il ſe redreſſe le corps perpendiculairement, le mettant en pourfil, & finiſſant le mouvement de l’eſpee en ligne droite au deſſous de l’eſpee contraire.
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|- style="font-family: times, serif; vertical-align:top;"
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|In this way, they both stand in the same posture, with feet planted on the same lines, head and body centred over the same point, each on their own end, standing upright and tall and sideways, their nerves and muscles extended, their knees and sword-arms straight, the handle held firmly in the fist, both blades parallel, side-by-side, above and below. The tip, the hilt, and the shoulder extending out in as straight a line as possible, parallel to the ground. A natural posture, which is very advantageous and convenient for both remaining in place and for moving, right, left, forwards, or backwards, without any hindrance. This is not true of other postures, such as they are. Because whatever advantages they have, they are outweighed by disadvantages. Only the direct line is a posture equiped equally well for attacking in all directions and also for defending against all attacks.
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|Par ainſi les voilà touts deux en pareille poſture, ayants les pieds plātez ſur meſmes lignes, la teſte & le centre du corps reſpondants au deſſus du meſme centre, chaſcun au ſien, les corps eſtendus perpendiculairemēt, & en flanc, touts les nerfs & muſcles tendus, les genoux, & le bras de l’eſpee roides, la poignee bien fort ſerrée dedans le poing, les deux lames colloquées en lignes paralleles deſſous & deſſus; la pointe, la garde, & l’eſpaule droite, tant qu’il eſt poſſible, en egale hauteur. Poſture du tout naturelle, qui a l’aſſituation des pieds, du corps, & de l’eſpee grandement favorable & avantageuſe, tant pour demeurer, que pour ſe bouger, à droite, à gauche, en avant, & en arriere, ſans nulle incommodité. Ce qui ne ſe rencontrera pas en des autres poſtures, quelles quelles ſoyent. Car pour les avantages qu’elles donnent, touſiours elles donnent pareillement autant ou plus de deſavantage en contreſchange. La ſeule droite ligne eſt une poſture à tout faire, munie de touts coſtez egalement, & egalement preparée de touts coſtez à ſa defenſe.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 2'''
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|'''Cercle N.2.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander follows the initial approach against the obtuse angle posture, which he started and half-completed in Circle N0 2 in the preceeding Plate, where he had just put the sword up beside his head, with his right foot raised and slightly ahead. As he is about to step to the First Instance, he will likewise adopt the obtuse posture against the opponent’s sword to the inside of the arm. ''
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|''Alexandre pourſuit la premiere approche contre l’angle obtus, par luy commencé & à demi faite au Tableau precedent Cercle N.2. où il eſtoit venu juſqu’à ſe mettre l’eſpee à coſté de la teſte, avec le pied droit un peu avancé en l’air: maintenant en venant ſur la Premiere Inſtance, il la met pareillement en angle obtus contre l’autre en dedans du bras.''
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|- style="font-family: times, serif; vertical-align:top;"
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|On Circle No 2, Zachary presents his sword in the obtuse angle posture, the rest of his body held the same as the previous Circle, so that these two postures are almost the same. Observe now how Alexander works against him. Having turned his toso to face him, he has approached with two, three, or four paces, more or less, according to the distance between them. He held his sword in the meantime in the crux of his left arm while stepping with the right foot. Again advancing,and putting his left foot on the ground about one pace away from the Circle, he turned the sword diagonally down at an acute angle towards his right side. As he lifted his right foot to step forward, he then raised the sword again, up beside his head, over his right shoulder, with the hilt in front of and about even with the shoulder and the tip up behind his head.
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|Sur le Cercle N.2. <font style="font-variant:small-caps">Zacharie</font> preſente l’eſpee en angle obtus, tenant au reſte le corps tout de meſme, qu’au Cercle precedent; de façon que ces deux poſtures reviennent quaſi en une. Voyons comment c’eſt que <font style="font-variant:small-caps">Alexandre</font> travaille alencontre. Ayant tourné la poitrine contre ſa partie, il s’eſt acheminé tout droit a luy, en faiſant deux, trois, ou quatre pas, plus ou moins, à meſure de la diſtance, qui eſt entre deux; ſe mettant cependant l’eſpee ſur le coude du bras gauche in avançant le pied droit; & derechef avançant, & mettant le gauche en terre, ſi pres du Cercle, qu’il peut atteindre la Circonference au premier pas enſuivant; il l’a portée diagonalement en avant vers ſa main droite en angle aigu: & puis l’a remontée encor pour la ſeconde fois, durant l’elevation & l’avancemēt du pied droit, à coſté de ſa teſte par deſſus l’eſpaule droite; tenant la garde un peu avancée ſur la hauteur d’icelle eſpaule, & la pointe un peu contremont par derriere la teſte.
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|- style="font-family: times, serif; vertical-align:top;"
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|All his actions to this point were described in the preceeding Plate. The rest follows here.
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|Iuſques à icy ſes aćtions on eſté deſcrites au Tableau precedent: s’en enſuit maintenant le reſte.
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|- style="font-family: times, serif; vertical-align:top;"
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|He advances the right side of his body, bringing the foot, his arm, and the sword forward at the same time. He places his foot on the side of the Quadrangle line C–B (Not on the collateral line as in the previous demonstration) drawing the left foot after, up to the Pedal Line. At the same time, he carries the sword forward, towards the enemy, raising it to an obtuse angle, and crossing both swords to the inside, with his 5th Span against Zachary’s 5th Span, but without doing anything against the sword. By this means, he readys himself to move in this way along the Diameter, by forcing the opponent’s sword aside at the Second Instance, which shall be explained in another chapter.
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|Il avance le coſté droit du corps, menant egalement au meſme tēps le pied, le bras, & l’eſpee; dont il plante le pied ſur le coſté du Quadrangle CB. (non pas ſur la collaterale, comme il a fait en la demonſtration precedente) laiſſant trainer le pied gauche apres, ſur la ligne Pedale; & au meſme temps, il porte l’eſpee en avant droit à l’Ennemi, la mettant contre icelle en angle obtus, en dedans du bras, Nombre 5. contre Nombre 5, ſans faire aucun effort alencontre; s’appreſtant par ce moyen à marcher par deçà le Diametre, en aſſujettiſſant l’eſpee contraire à la Seconde Inſtance, comme il ſera declaré autrepart.
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|- style="font-family: times, serif; vertical-align:top;"
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|Of all the postures which one might adopt, the Obtuse Angle is the strongest. No one wishes to give their adversary any advantage when he uses this one, so one must bring his sword to the same obtuse angle against it, and particularly if he intends to attack. If he were to try anything else, say, an attack along the direct line, the adversary would drop his blade down and interrupt the stoccata thrust along the direct line by taking a similar direct line, but over top of the other, and in a more natural and more powerful position. This is because movments which descend from above are assisted by forces of Nature. We call them natural moves. The other movements are unnatural and consequently weaker, however more or less. This can be manfestly seen when one person drops a rock from high up, and another person throws a rock upwards from below. One loses energy at every instant until it starts to fall back to the ground, as if exhausted from work. The other, falling from above, continuously gains energy. If the one should happen to hit the other, everyone knows that the one falling from above will affect the other more than the one thrown from below can affect the one falling, because the unnatural cannot resist natural forces any more than the weak can resist the strong, any more than one who is missing limbs can against someone fit,  vigorous, and able.
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|Entre toutes ces poſtures, qui puiſſent eſtre, celle de l’angle obtus eſt la plus forte. Partant quiconque ne veut donner à ſa partie adverſe de l’avantage, lors qu’il en uſe; il faut qu’il porte ſon eſpee de meſme en angle obtus alencontre, & principalemēt s’il pretend de luy donner l’aſſaut. Car s’il y veut aller autrement, comme poſé qu’il le veuille attaquer avec la droite ligne, l’Adverſaire pourra laiſſer deſcendre au meſme temps l’eſpee de haut à bas, d’angle obtus en angle droit, & par ainſi rencontrer l’eſtocade de la ligne droite inferieure d’une ſemblable ligne droite, mais ſuperieur, & par conſequent plus naturelle, & plus puiſſante. Car les mouvements qui viennent de haut, ont la nature en aide; nous les appellons naturels. Les auſtres ſont violents, & par conſequent auſſi plus foibles, qui plus, & qui moins. Cela ſe voit manifeſtement par exemple, quand une pierre eſt jettée de haut en bas, & une autre jettée de la main d’une perſonne contremont. L’une perd à touts moments de ſa vigeur, de plus en plus juſqu’à tant qu’elle retombe d’elle meſme à terre, comme laſſée du travail, & opprimée de ſa propre charge. L’autre qui vient de haut, augmente continuellement ſa force. S’il advient, que ces deux pierres ſe rencontrent & choquent en l’air l’une contre l’autre, tout le monde ſait, que celle d’enhaut enforcera l’autre, & que le Violent ne pourra reſiſter au Naturel, non plus, que le foible au fort, ne celuy qui ſeroit perclus de ſes membres à un qui fuſt diſpoſt, gaillard, & habile.
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|- style="font-family: times, serif; vertical-align:top;"
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|It is the same with the practice of arms. The strong overcomes the weak, the natural defeats the unnatural. The superior and descending dominates the lower and ascending. To conclude, when the enemy has his sword at an obtuse angle, it is always necessary for us to adopt the same angle against him, so his moves are not more powerful than ours.
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|De meſme en eſt il en la Pratique des armes. Le fort a l’avantage par deſſus le foible, le naturel vainc le violent: le ſuperieur & deſcendant, domine l’inferieur, & aſcendant. Concluons donc, quand c’eſt qu l’Ennemi tient ſon eſpee en angle obtus, ſoit qu’il eſt touſiours neceſſaire de nous ſervir du meſme angle obtus alencontre, afin que ſes mouvements ne ſoyent ſuperieurs aux noſtres.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 3'''
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|'''Cercle N.3.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander has placed his left foot on the circumference at point C, and has moved his sword under the opponent’s sword, as shown in Circle No 3, in Plate III. He follows on by coming into the First Instance, crossing swords in an obtuse angle, on the outside of the arm.''
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|''Alexandre eſtant venu à planter le pied gauche à la Circonference au C, & enſemblement à mettre l’eſpee en angle aigu deſſous de l’eſpee contraire, ſuivant la Representation du Tabl. III. Cercle N.3. il pouſuit icy le reſte de ceſte ſeconde approche, en venant ſur la Premiere Inſtance, & accouplant derechef les eſpees en angle obtus en dehors du bras.''
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|- style="font-family: times, serif; vertical-align:top;"
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|In Circle No 3, Zachary’s posture has not changed from the one before. But Alexander’s approach has, as described, below.
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|En ce Cercle N.3. la poſture de <font style="font-variant:small-caps">Za</font>charie ne differe en rien de la precedente: mais bien l’approche d’<font style="font-variant:small-caps">Ale</font>xandre, comme il apparoiſtra par la deſcription ſuivante.
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|- style="font-family: times, serif; vertical-align:top;"
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|As I say, Alexander has taken three or four steps according to the distance, holding the sword across the stomach, as described before after drawing the sword, or having rested it in the crook of his left arm. Finally, as he as come close enough to the circle with his right foot that one more pace will bring him to the First Instance, he raised his arm with the sword up at an obtuse angle a bit to the right. Again, as he raised, moved, and placed his left foot on the ground at the Circumference point C, he dropped the sword down to an acute angle, swinging it diagonally under his opponent’s sword, with his body leaning slightly back on the right knee, which is also bent.
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|Ie di donc, qu’<font style="font-variant:small-caps">Alexandre</font> a marché trois ou quatre pas en avant, à meſure de la diſtance; tenant du commencement l’eſpee de travers par devant ſa poitrine, en la maniere, qu’il a eſté dit cy deſſus apres le deſgainement, ou l’ayant couchée ſur le coude du bras gauche, & que finalement en approchant le pied droit ſi pres du Cercle, qu’il ne reſtoit qu’un pas à faire, pour venir à la Premiere Inſtance, il a hauſſé egalement le bras avec l’eſpee, en angle obtus un peu à coſté: & derechef en levant, avançant, & abaiſſant le pied gauche à terre, à la Circonference lettre C. il les a deſcendus egalemēt de haut en bas, portant l’eſpee diagonalement deſſous l’eſpee contraire en angle aigu, avec le corps panché un peu à l’envers ſur le genouil droit, iceluy eſtant plié.
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|- style="font-family: times, serif; vertical-align:top;"
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|Because this action will be used frequently at various occasions, I must warn you, when stepping into the First Instance with the left foot, and bringing the sword underneath the opposing blade at an acute angle, as much for attacking the enemy as for awaiting his attack, to always lean back on the right leg, with the right knee bent, to stay out of range this way, so he must take a larger step and take a longer time if he wishes to take advantage of his present superior position and attack, which is, at this point on his side. You, on the contrary, will find it easier to defend.
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|Puis que l’uſage de ceſte operation viendra ſouvant à point en pluſieurs occaſions, je vous averti, en mettant le pied gauche en terre, à la Premiere Inſtance, & portant l’eſpee deſſous l’eſpee contraire en angle aigu, tant pour travailler ſur l’Ennemi, que pour attendre ſa charge, de ce faire en toutes occaſions avec le ſuſdit panchement du corps ſur la jambe droite, le genouil d’icelle plié, pour demeurer tant plus hors de preſence, afin que s’il vouluſt travailler ſur vous avec l’avantage de la ſuperiorité, qui eſt pour le preſent de ſon coſté, il euſt beſoin d’un plus grand temps pour vous atteindre; & vous, au contraire plus de commodité pour faire la defence.
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|- style="font-family: times, serif; vertical-align:top;"
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|Everything Alexander has done up to this point was explained fully in the description of Plate III. Here is the rest.
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|Tout ce qu’Alexandre a fait juſques icy, a eſté declaré aſſez particulierement en la deſcription du Tableau III. En voicy donc à ceſte heure la pourſuite.
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|- style="font-family: times, serif; vertical-align:top;"
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|After having put his left foot on the Circumference at point C, he begins to shift his weight onto it, while lifting and moving his right foot forward, he raises his arm and sword at the same time into an obtuse angle. He contacts the opponent’s blade on the outside of the arm, his 6th Span against Zachary’s 5th Span, as shown in the picture. Thus having prepared to step with the right foot, which is at this moment in the air, with the right hand he casts the opponent’s sword aside to the Second Instance, as shall be shown in several places, below.
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|Ayant mis le pied gauche à la Circonference au point C, il commence à ſouſlever ſur iceluy ſon corps, en eſlevant & avancant le pied droit, & hauſſant au meſme temps le bras avec l’eſpee en angle obtus; l’accouplant avec l’eſpee contraire en dehors du bras Nombre 6. au Nombre 5: ainſi qu’il eſt demonſtré à ſa pourtraiture. S’eſtant par ainſi appreſté à marcher du pied droit, qui eſt à preſent en l’air, à main doite, en aſſujettiſſant l’eſpee contraire à la Seconde Inſtance; comme il ſera monſtré cy apres en pluſieurs endroits.
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|- style="font-family: times, serif; vertical-align:top;"
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|A note to the reader concerning this portrait of Alexander, that is does not match the description exactly. The left foot, which should be on the Circumference, is only about the middle of the Quadrangle. This was deliberate, so that it would not obscure the view of the figure behind, on the fourth Circle.
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|Cependent Lećteur ſoyez adverti touchant la pourtrait de ceſt figure d’Alexandre, qu’elle n’accorde pas du tout à noſtre deſcription: car le pied gauche, qui devoit eſtre toucher la Circonference, ne vient qu’environ le milieu du Quadrangle; ce qui a eſté fait out expres, afin qu’il n’empeſchaſt la veüe de la figure, qui ſe tient derriere, ſur le plan quatrieme.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 4'''
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|'''Cercle N.4.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexandre has, once again, started to make his second approach against the direct line posture, and proceeded to the point where he has raised his sword up next to his head, with the right foot raised to step (as shown in the previous Plate, Circle No 4). He is about to enter into range in the First Instance, turning, and advancing his sword in a line parallel to and above his opponent’s.''
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|''Alexandre ayant recommencé à faire une ſeconde approche contre la droite ligne, & icelle pourſuivie juſqu’à porter l’eſpee à coſté de ſa teſte, avec le pied droit eſlevé (comme il eſt repreſenté au Tableau precedent Cercle N.4.) il entre icy en meſure à Premiere Inſtance, en tournant & avancant l’eſpee en ligne parallele au deſſus de l’autre.''
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|- style="font-family: times, serif; vertical-align:top;"
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|<font style="font-variant:small-caps">Zacharie</font> is again waiting in the direct line posture. <font style="font-variant:small-caps">Alexandre</font> came up to him in the following way, that is, he took three or four steps and held the sword at an acute angle, down and forward until he took a step with his left foot, which brought him within one pace of the Circle, so that the next step would put him into the First Instance. As he raised his right foot and stepped forward, he brought the sword up high, beside his head, holding the hilt in front of his shoulder, and the tip up behind. This is according to the explanation in Plate III. I shall now explain how he proceeds.
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|Zacharie ſe tenant derechef en la posture de la droite ligne, Alexandre le vient aborder en la maniere ſuivante; c’eſt aſſavoir, qu’en ayant preallablement fait trois, ou quatre pas, & porté l’eſpee en avant en angle aigu, durant la demarche du pied gauche, par laquelle il s’eſt approché ſi pres du Cercle, qu’il pouvoit arriver deſormais en un pas à la Permiere Inſtance; conſequemment en eſlevant & avançant le pied droit, il a ramené l’eſpee en haut, à coſté de ſa teſte, tenant le pommeau d’icelle au devant, à la hauteur de l’eſpaule, & la pointe en derriere un peu hauſſée. Le tout ſuivant la declaration plus particuliere du Tableau III. Diſons maintenant comment il pourſuit à parachever le ſurplus.
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|- style="font-family: times, serif; vertical-align:top;"
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|He puts his right foot down at the letter C, turning the tip of his blade behind. He turns his wrist with a slight drop of the arm, until he brings it parallel to and above his opponent’s sword.
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|Le pied droit il met en terre à la lettre C, voltant la pointe de ſa lame en arriere: en touranant le poignet avec quelque petite deſcente du bras, juſques à la porter finalement par deſſus l’eſpee contraire en ce ligne parallele.
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|- style="font-family: times, serif; vertical-align:top;"
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|So, we have two ways of approaching against a direct line position: one is shown in the first circle, the other in the fourth; of the two, the first is safest. Because what else is it, to hold the sword-tip behind or to the side at the moment one moves the right foot to step into First Instance in range of an enemy already on guard, if not to give him a clear chance to try a good stoccata thrust, a natural opening, close up, on someone who has put himself into a position to have to make an unnatural, rising defence with slower, bigger movements?  This is why I say, that this last method of approach by Alexander is quite a graceful way to move into First Instance, but too dangerous when coming into range, and that the first method is the best in all sorts of circumstances.
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|Voilà donc deux manieres de faire ses approches contre la droite ligne: l’une qui est demonſtrée ſur le cercle premier, & l’autre ſur le quatrieme; dont la premiere eſt la plus ſeure. Car de porter ſa pointe derriere le dos, ou à coſté, cependant qu’on entre avec le pied droit en meſure, eſtant l’Ennemi ſur ſes gardes à la Premiere Inſtance, qu’eſt ce, ſinon luy donner un franc avantage de hazarder au meſme temps une bonne eſtocade, à tirer naturellement & de pres, ſur celuy qui ſe met en eſtat de faire ſa defenſe violentement contremont, avec des mouvements plus grands, & de plus loing? C’eſt ce qui me fait dire, que ceſte derniere operation d’Alexandre eſt aſſez gratieuſe pour ſe mettre le premier en poſture; mais trop dangereuſe pour entrer en meſure: & que la premiere c’eſt la meilleure en toute ſorte d’occurrences.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|A DISCUSSION ON THE SUPERIORITY OF THE DIRECT LINE
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|DISCOVRS SUR L'EXCELLENCE DE LA DROITE LIGNE
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|- style="font-family: times, serif; vertical-align:top;"
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|This Direct Line posture that we have described is flawless and superior to all other postures. For this reason, throughout the book, Zachary will usually adopt it for his defence. We give Alexander, who is his adversary, an infinity of opportunities to start from this, because it is the most adaptable, and consequently most useful for instruction, and for exercises for Scholars, than any other. I assure you, that anyone who knows how to handle himself against this posture will,  as well, fully understand how to face various other styles, whether against a single sword, or with weapons in the left-hand. By the end of the first book, we shall have seen so many of these postures and their counters, that all the rest can be easily worked out from the same lessons.
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|C’eſt poſture de la Droite ligne, que nous venons de deſcrir, eſt la plus noble; & la plus parfaite, de toutes: à raiſon dequoy Zacharie s’en ſervira ordinairement en ce livre pour defenſe, en donnant à Alexandre, qui eſt ſa partie adverſe, une infinité de differentes occaſions, dont elle eſt plus capable, & conſequemment auſsi plus utile aux inſtrućtions, & aux exercises des Eſcholiers, que nulle autre. Vous aſſeurant, que celuy qui ſe ſçaura bien gouverner alencontre d’icelle, comprenra auſsi bien tant de diverſes manieres, ſoit qu’ils ſe ſervent de l’eſpee ſeule, ou qu’ils l’aſsiſtent auſsi de la main gauche. Deſquelles poſtures, & de leurs contraires, nous avons inſeré ſur la fin du premier livre telle quantité, que tout le reſte s’en pourra facilement rapporter aux meſmes leçons.
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|- style="font-family: times, serif; vertical-align:top;"
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| Concerning the use of postures, it is my estimation that, in the case of a friendly bout, that someone who knows how to properly present a Direct Line posture, needs no other, for his defence, as far as defense depends on posture. One can see how much this burdens an attacker, when used skillfully, to wait, to beat back, and to dominate even the most forceful attacks, even from the greatest swordsman, if he practises only the old styles. But when it comes to serious swordplay, and above all when life is in danger, there is no guard, neither high nor low, neither distant or close, no body position, no special way of gripping the sword, that could make this better. It is true that this book is filled with examples of Direct Line postures, but this is for instruction. When it comes to practice, I wish that our scholar should abandon all that, and that he take upon himself the same expessions and attitudes as those who have elegant fighting styles, whether his enemy is standing in a posture, advancing, or using his sword. He shall continue to move, using a frank, natural pace, to one or the other of the two sides, always avoiding the Diameter Line, where the Enemy stands erect, and always keeps, to the extent possible, the bodies, the Diameters, the positions, and movements in an unequal state. Because to work against an adversary, one must have an advantage, and to have an advantage, one must have inequality. Between things that are equal, being equal, there is no prerogative. As soon as he comes into range, he must make sure of his adversary’s sword, attacking it to throw it aside, or control it, or to cover it, or using it to conveniently guide his critical thrusts. He must continually step without interruption. Of course he must adapt to different circumstances, but never plant his feet on the ground as if in a posture, except when safely and securely inside his opponent’s line while at the same time executing an opportunistic strike. Then, and only then, he may break the continuous flow of motion, but absolutely not before this. Because a body in motion is also quicker to change and adapt its movements to all occasions, than one frozen in a posture, and because, as much as to take command of the situation, one must first begin to take action, which makes you ready to turn, return, step aside, avoid, and, in sum, make all the required moves promptly, with swiftness and ease.
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| Touchant l’uſage des poſtures, j’eſtime, s’il eſt queſtion de tirer des armes par courtoiſie, celuy qui ſçaura bien preſenter la droite ligne, n’en avoir beſoin de nulle autre, pour ſa defenſe, ſi la defenſe depend deſ poſtures; voire qu’elle ſera baſtante à celuy, qui en ſçaura dextrement uſer, pour attendre, rabatre, & domter touts les plus rudes aſſauts, meſme du plus grād tireur d’armes, moyennant qu’il ne pratique que le vieil ſtile. Mais quand il ſeroit queſtion de tirer à bon, & ſur tout, quand il y iroit de la vie, il n’y a nulle garde, haute ne baſſe, longue ne courte, nulle poſture de corps, nulle tenue d’eſpee, & fuſt elle qualifiée de touts les avantages poſsibles, en laquelle on ſe doive arreſter pour attendre. Il eſt vray, que ce livre eſt grandement rempli des poſtures de la droite ligne; mais ce n’eſt que pour donner inſtrućtion. Quand ce viendra à l’a Pratique, je veux que noſtre Eſcholier abandonne tout celà; & qu’il tienne, quant à luy, la meſme contenance & les mines de ceux qui ſe donnent l’aſſaut à bon eſcient, ſoit que l’Ennemi ſe tienne arreſté en poſture, ſoit qu’il s’avance, ou qu’il travaille. Il continuera touſiours à cheminer, en uſant d’une demarche franche & naturelle, vers l’un ou l’autre des deux coſtez, fuyant ſur tout la ligne du Diametre, où le corps de l’Ennemi eſt dreſſé, & tenant perpetuellement, tant qu’il ſera poſsible, les corps, les diametres, inſtances, & mouvements en deſgalité. Car pour bien travailler ſur l’Adverſaire, il faut de l’avantage; & pour avoir de l’avantage il faut de la deſgalité; eſtant impoſſible qu’entre choſes egales, entant qu’egales, il y ait aucune prerogative. Si toſt qu’il viendra à meſure, il s’aſſeurera de l’eſpee contraire, en l’attaquant pour l’aſſujettir, ou obliger, ou en la couvrant, ou en tirant au long d’icelle des eſtocades de premiere intention, s’il en a la commodité; continuant touſiours ſa demarche ſans nulle interruption: vray eſt qu’il ſe comportera diverſement ſelon la diverſité des occaſions; mais jamais ne plantera les deux pieds enſemble en terre en forme de poſture, ſi ce n’eſt quand il ſe mettra dedans la ligne de l’eſpee contraire en lieu ſeur & libre, en executant au meſme temps le coup qui ſera donné ſelon l’exigence. Là luy eſt permis de rompre aucunement la courſe de ſes aćtions, mais point devant; à raiſon que le corps qui eſt en aćte de ſe mouvoir, eſt auſsi plus prompt à changer & accommoder ſes mouvements à toutes occaſions, que non pas quand il ſe tient arreſté en poſture. Car auſsi bien pour l’avoir à commandement, on eſt contraint de le met~re premierement en branſle, qui luy ſert d’une preparation pour ſe diſpoſer à ſe tourner, retourner, virer, & en ſomme à faire toutes ſes affaires avec viſteſſe, promptitude, & facilité requiſe.
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|- style="font-family: times, serif; vertical-align:top;"
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|Enough concerning postures in general. Let us return now to the subject of the Direct Line. As I have said, it is the best posture of all, and I shall now prove how True this statement is. All the postures that try to avoid contact with the blade before striking (these are the ones which get away from presenting the sword in a straight line) can be made useless, by taking aim at them when you make the first strike. Thus the enemy is hit, or he is forced to parry, and in parrying, he uncovers some new part of himself. This way, if one threatens with the tip it will force him out of his posture, and enter into a labyrinth of strikes and counters. This is also the reason why those who use these postures, recognizing through experience their defects, only half-trust them, relying on the dagger in their left hand to fight. Which shows how little confidence they have, and how little knowledge, of the power of the sword. They do not know it is sufficient by itself, it is all that is needed to attack and defend. But what am I saying? One should not be surprised, if those who have no interest in the science of fighting with weapons try to become very fast only through long and continual practice, and so they may succeed by overcoming and beating their opponents, rather than constraining them, not understanding the secrets of such an impressive shield.  Nothing they do is founded on true reason and solid theory, but in simple and badly-founded practice, so that comparing their Fencing to the True Art of Wielding Arms, is like elevating a manual of mechanics to be equal to mathematical ingeniousness. The first are content merely to produce an effect, even if it is by chance, and the others champion nothing that is not built upon infallable rules.
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|Voilà touchant les poſtures en general; retournons à la Droite ligne; & puis que nous venons de dire, que c’eſt la plus parfaite de toutes, faiſons paroiſtre ceſte verité par bonnes preuves. Toutes les poſtures qui ne contraignent pas de toucher la lame, avant que de tirer, (ce ſont celles qui s’eſloignent de preſenter l’eſpee en ligne droite) on les peut rendre inutiles, en tirant deſſus pour fraper tout du premier abord; dont l’Ennemi en demeure atteint, ou il eſt contraint de parer, & en parant il ſe deſcouvre touſiours en quelque nouvel endroit du corps; de façon que ſi on dreſſe là ſa pointe, on le fera ſortir de ſa poſture, & entrer en un labirinthe de parades. C’eſt auſsi la cauſe, pourquoy ceux qui uſent de ces poſtures, en recognoiſſants par experience l’imperfećtion, ne s’y fient qu’à demi prennants recours à l’aſsiſtance de la main gauche. En quoy ils demonſtrent bien le peu d’eſtime, & le peu de cognoiſſance, qu’ils ont, du grand pouvoir de l’eſpee; ne ſachants pas qu’elle eſt ſuffiſament qualifiée d’elle meſme, de tout ce qui eſt requis & à donner l’aſſaut, & à faire la defence. Mais que di-je? Il ne ſe faut pas eſtonner, ſi ceux qui n’aſpirent à aucune ſcience des armes, ains ſeulement taſchent de parvenir par longs & continuels exercices à une viſteſſe du corps, & du bras, dont ils ſe puiſſent prevaloir, en prevenant & abuſant leurs Contraires, plus toſt que de les contraintre, ne comprennent pas les ſecrets d’une Armure ſi noble; & que tout ce qu’ils font n’eſt fondé en aucune raiſon de vraye & ſolide Theorie, mais en ſimple & mal aſſeurée Pratique, de façon que de vouloir comparer leur Eſcrime au vray Art de manier les armes, c’eſt tout autant que de mettre en parangon le manuel des œuvres Mechaniques avec les inventions des Mathematiques; dont les unes ſe contentent d’obtenir ſeulement l’effećt, encor que ce fuſt par hazard; & les autres n’advouent rien pour bon qui ne ſoit fondé ſur des regles infallibles.
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|- style="font-family: times, serif; vertical-align:top;"
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|Thus, to understand the superiority of the Direct Line, the foremost of all the postures, let us consider that the body is in an entirely natural position, convenient and ready to work, to move in all directions equally: forward, backwards, left, and right, extending, or shortening the paces as needed, with no other preparation, having the arm and sword out in front in a straight line, and ready to parry all sorts of thrusts, cuts, and back-cuts, without using any excessive motions against them. Observe how the head, shoulders, and trunk down to the pectorals are covered by the guard. So well, that the enemy cannot attack them, not in passing the tip, which is the weak part of the sword, over the guard, which is the strongest part of the sword. It can be compared to a town’s boulevard, or a fortress, built to withstand a large army with a small garrison. Because if your enemy should chance to take aim at these above-listed body parts, as soon as your eye catches the beginning of his movement, you prepare to defend against him, to receive the weak part of his blade with the crosspiece of your guard, at about the 3rd or 4th Span, before the point can pass or reach your elbow. As you continue to progress along the blade, you move forward and flank him from a little bit aside the Diameter. In this way he will be forced to withdraw from the direct line which you will now control, and all you will need to do is put the point between his eyes, stopping out of courtesy or driving home in anger, as you desire.
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|Pour donc comprendre l’excellence de ceſte Droite ligne, la premiere de toutes les poſtures; conſiderons qu’elle retient le corps en une ſituation du tout naturelle, & commode, & diſpoſée à travailler, & à ſe tranſporter de toutes parts egalement; en avant, en arriere, à droite, & à gauche, en allongeant, ou en raccouciſſant la demarche, ainſi que bon luy ſemble, ſans nulle autre preparation: ayant le bras & l’eſpee avancez en ligne droite, & appreſtez à parer toute ſorte d’eſtocades, eſtramaçons, & revers, ſans uſer alencontre d’aucuns mouvements extremes. Voire que la teſte, & les eſpaules, & la poitrine juſqu’à l’endroit des tetins, y ſont couverts de la garde; ſi bien que l’Ennemi ne les peut offenſer, ſi non en paſſant de ſa pointe, qui eſt le foible de l’eſpee, du long de la garde, qui en eſt le fort: & à bon droit ſe compare à un boulevart de ville, ou à une fortereſſe, baſtante à ſouſtenir l’effort d’une grande armee avec bien peu de gens. Que s’il advient donc, que l’Ennemi ſe hazarde de tirer vers les parties ſuſdites, tout à l’inſtant que vous appercevrez à veue d’œil le commencement de ſon mouvement, vous ferez voſtre preparation alencontre, pour accueillir de la branche voſtre garde le foible ſa lame à Nombre 3. ou 4. avant que ſa pointe puiſſe arriver, ou paſſer l’endroit de voſtre coude; en continuant à la graduer, & vous avancer & flancquer ſur luy un peu à coſté le Diametre; en ſorte qu’il ſera contraint de vous quitter la droite ligne, laquelle vous demeurera franche, & ne tiendra qu’à vous, de luy mettre la pointe devant les yeux, en l’arreſtant par courtoiſie, ou de l’executer par rigueur, ſelon voſtre appetit.
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|For one who percieves the lack of advantage he would have by coming so close to your guard, either to the inside or the outside of the arm, he might try to hit you in the stomach, by dropping the point. He would not be considering the fact that the more he moves off the straight line towards the closest open place, the more he loses from the length of his sword, which is why by doing this, he is giving you more time to see, observe, and judge all his moves. You will have little other to do than fold the stomach while leaning the torso forward, and placing the tip of your sword on his shoulder. Because by doing this, if you are equals, if you have likewise equal swords, your Direct line will be able to hit him, while his tip will still be at least a foot away from you. Thus all these operations, along with several others, which demonstrate so clearly the advantages of this posture, are shown in Plate V, which shall serve in this regard as proof of the Direct Line, as it shall be, in the majority of the Plates that follow, the principal subject of the exercises.
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|Que ſi en recognoiſſant le peu d’avantage, qu’il auroit à venir ſi pres de voſtre garde, tant en dehors, comme en dedans du bras, il taſche à vous fraper au ventre, en abaiſſant la pointe; ſans conſiderer qu’autant qu’il s’eſloigne de la droite ligne, & du plus prochain endroit de l’attouchement, qui eſt voſtre eſpaule droite, autant il perd ſur la longueur de ſon eſpee, à raiſon dequoy il vous donne auſsi plus de loiſir de voir, diſcerner, & juger touts ſes mouvements: vous n’aurez autre choſe à faire, ſinon de creuſer au meſme temps un peu le ventre, en panchant de la poitrine ſur le devant, & aſſituant la pointe de voſtre eſpee à ſon eſpaule. Car en ce faiſant, ſi vous eſtes egauz, & que vous ayez pareillement les eſpees egales, voſtre droite ligne le pourra toucher, lors que ſa pointe ſera encor eſloignée de vous de plus d’un pied de diſtance. Or toutes ces operations avec quelques autres, qui demonſtrent ſi clairement les avantages de ceſte poſture, ſeront repreſentées au Tabl.V. qui nous ſervira pour ceſt eſgard d’une preuve de la droite ligne, comme de celle qui ſera en la pluspart des Tables ſuivantes le principal ſujet de l’exercice.
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|Some wish to approach this posture with feints from a distance and out of range, following the ordinary practice of the old mode, and trying, by these means, to confuse the Adversary, to be able to hit him while he is uncovered. All of this is nothing, as much as the Direct line is sufficient to defend oneself, such that one does not need to move oneself against these feints, any more than a horse stops at the yapping of a small beast. But if he dares come into range with his feints, and his blade passes your guard as far as Span 2, 3, or 4, either inside or outside, thinking to make you parry and move your sword to the side, he, himself, runs the risk of receiving rather than giving, if you, yourself, approach him in a Direct Line, at the same instant that he approaches, keeping your sword moving forward in a straight line. He can hardly keep from being wounded himself.
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|De voulouir aborder ceſte poſture avec des feintes tirées de loing & hors de meſure, ſuivant l’ordinaire de la vieille mode, en taſchant par icelles de mettre l’Averſaire en confuſion, pour le fraper au deſcouvert de ſes arme: tout cela n’en eſt rien, d’autant que la droite ligne eſt ſuffiſante à s’en defendre d’elle meſme, de ſorte qu’elle ne ſe doit mouvoir à l’occaſion de telles feintes, non plus qu’un cheval ne s’arreſte à l’abbayement temeraire de quelque petite beſtiole. Mais s’il oſe entrer avec ſes feintes en meſure, & paſſer de ſa lame voſtre garde juſqu’aux Nombres 2. 3. ou 4. ſoit en dehors, ſoit en dedans, penſant de vous faire parer & eſcarter voſtre eſpee; il courra luy meſme grand fortune de recevoir au lieu de donner, ſi vous vous approchez devers luy à meſme grand inſtant qu’il s’approche, en continuant à advancer ſeulement voſtre eſpee en droite ligne: car à peine ſe pourra il garder de ne ſe bleſſer luy meſme.
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|If, to clear your sword from the line, he attacks in the ancient style, either inside or outside, to engage he advances, one foot or the other, at the same time, along the Diameter, so as to come within range to hit you, in order to do this, he will need to create some great opening by moving his tip so far away from you, that he will deprive himself of all defense, and will make himself a target for various thrusts and cuts, as shall be satisfactorily shown, below.
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|Si pour faire ſortir voſtre eſpee de la ſituation, il la vient attaquer à la mode ancienne, en dehors ou en dedans, pour l’engager, en avançant quand & quand l’un ou l’autre des pieds ſur le Diametre, afin de gagner la meſure de vous pouvoir toucher; il luy ſera beſoing pour trouver ceſt effećt de faire avec ſon eſpee une grande ouverture, en eſcartant la pointe ſi loing de vous, qu’il ſe prive luy meſme de toute defenſe, & ſe mette en bute à pluſieurs coups de pointe & de taille, comme il ſera monſtré en la dedućtion de ces eſcrits, à voſtre entier contentement.
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|He might use another means, to attack you. He will try to bring his blade under yours, by bending his body and moving the right arm forward, together with the left hand, hoping to get close enough to your tip to beat it, and then hit you with a thrust in second time. If he makes his approach in this manner, here is the solution. At the same instant that he moves into place, where he hopes to beat aside your tip, you must likewise close on him, stepping a bit outside on the right hand side, putting yourself on the right side, the tip up, the guard down, to protect your lower areas. When this preparation is skillfully done, whether he follows up with an attack or whether he stays on guard, you will have the means to hit your target. These and other such proofs will be explored in Plate XXVII, where you will likewise find the reasons, drawn from fine, clear, and self-evident demonstrations.
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|Il pourra uſer d’encor une autre pratique, pour vous aſſaillir. c’eſt qu’il viendra porter ſa lame deſſous la voſtre, en courbant le corps, & avançant le bras droit, enſemble avec la main gauche, en eſpoir de l’approcher aſſez pres de voſtre pointe, pour le battre, & puis vous tirer une eſtocade au ſecond temps. S’il fait ſon approche en ceſte maniere, en voycy le remede. Au meſme inſtant qu’il entre ſur le lieu, où il s’attend de vous battre la pointe, il faut que vous entriez pareillement deſſus luy, en marchant un peu en dehors à main droite, vous mettant ſur le coſté droit, la pointe montante, & la garde baſſe, pour vous en couvrir les parties inferieures. ceſte  preparation eſtant d’extrement faite, ſoit qu’il pourſuive à travailler ſur vous, ſoit qu’il demeure ſur la parade, vous aurez moyen de le toucher à voſtre poſte. Telles & ſemblables preuves ſeront propoſées au Tabl. XXVII. où vous en trouverez pareillement les raiſons, tirées de demonſtrations autant evidentes, & certaines, que belles, & admirables.
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|One could suggest even more proofs of the Direct Line if these are not obvious enough to let you know that this is the finest, and most secure of all the positions with regard to defense. It is true that those who are not adept at this Exercise, cannot use this to defend themselves against the above-described proofs, but the imperfection of their ignorance should not become a prejudice against the perfection of this posture. The fault is in those who do not know how to apply this at the proper timing and distance, which is easy for others. However much we praise and applaud this, that is not to say that there aren’t a number of ways to work against it, even gaining some advantage. But I conclude it would be very difficult, even impossible, for all those who have not seriously trained in the principles that make up our system. The principal reason comes from the fact that the tip of the sword, when in the Direct line, is so strong in the face of the adversary, that he does not know how to work against it, except by diverting from his situation. For this reason he is constrained to cross swords, and thereby give you the means to know his intent by the feel of the weight and force he uses. This is an advertisement of his plans, and a rule for contrary actions. By this way, this posture is like a closed room, where one cannot enter without the goodwill of the master of the house. So one is constrainted to strike against him, to come in. All the other positions, as they all are, even that of the obtuse angle, are like open rooms, where one can rummage around however one likes. For one can hit their body, without running into their sword. It follows then, that the difficulty of working against the Direct line is entirely evident. Thus one must also conclude that one’s adversaries will need to be very talented and able, which is why, as much because one is able to use it in a wide variety of occasions, we chose it to train our scholar. So that, having first learned to overcome this difficult point, he will be even easily able to work through the rest, which will be for him but the least amount of effort.
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|L’on pourroit propoſer encore d’autres preuves de la Droite ligne, ſi celles cy ne fuſſent baſtantes pour donner à cognoiſtre, qu’elle eſt la premiere, & la plus ſeure de toutes au regard de la defenſe. Il eſt vray que ceux qui ne ſont pas adroits en l’Exercice, ne ſe pourront pas defendre avec icelle contre les ſuſdites preuves; mais l’imperfećtion de leur ignorance ne doit tourner en prejudice à la perfećtion de la poſture. la faute en ſera en ce qu’ils ne la ſçauront appliquer aux temps & aux diſtances, qu’elle demande; ce qui ſera facile aux autres. Or quoy que nous la priſons & exaltions tant, ce n’eſt pas pourtant à dire, qu’il ne ſe trouve aſſez de moyens de travailler alencontre, meſmes avec avantage: mais nous jugeons que cela ſera tres difficile, voire impoſſible à touts ceux qui ne ſe ſeront exercez ſerieuſement en la meſme pratique de nos preceptes. Dont la cauſe principale giſt en ce, que la pointe de l’eſpee ſituée en ligne droite, eſt ſi fort en preſence à l’Adverſaire, qu’il ne ſçauroit travailler, ſinon en la divertiſſant de ſa ſituation. à raiſon dequoy il eſt contraint de venir à l’attouchement, & de vous preſenter le moyen de cognoiſtre par le ſentiment le poids & la force, dequoy il uſe. qui eſt un advertiſſement de touts les deſſeins, & une reigle de toutes les aćtions contraires. De maniere que ceſte poſture reſſemble à une chambre fermée, où lon ne peut entrer ſans congé du maiſtre de la maiſon; ains eſt on contraint de fraper à l’huis, pour entrer avec permiſſion. Toutes les autres, tant qu’il y en a, meſmes celle de l’angle obtus, reſemblent à une chambre ouverte, où on ſe peut fourrer dedans maugré qu’ils en ayent: car on leur peut toucher le corps, ſans venir à l’eſpee. S’enſuit donc que la difficulté de travailler ſur la droite ligne eſt toute evidente. dont il faut auſſi conclure, que ſes contraires ont beſoing de plus grand artifice: pour laquelle cauſe, comme auſſi pour ce qu’elle eſt capable d’une grande varieté de diverſifier ſes occaſions, nous l’avons choiſie, pour y exercer noſtre Eſcholier; afin que ayant premierement rompu ceſte pointe de difficultez, il ſe rende en apres tant plus aiſement capable de foncer tout le ſurplus, qui ne ſera que la moindre partie de la beſogne.
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|All that we have discussed up until this point has been concerned with the superiority of the Direct line with respect to the sword. We now shall speak more particularly with regard to the feet. Because the feet [moderate] all movement, extending or shortening steps, speeding them up or slowing them down, the lift, raise, lower, and straighten the body, there is nothing more necessary than to understand how they are used in the most convenient and natural way, so as to always be at the closest possible distance at all times. This is the situation: Zachary is waiting, right foot on the outside edge of the Quadrangle that runs X-Y with his toes on the circumference of the Circle at X and the left foot along the Pedal Line. Alexander is also standing with his feet at the opposite end of the diagram, his right foot on the side of the Quadrangle that runs C-B, likewise with his toes at C and his left foot on the Pedal Line at A. All this is clearly is clearly shown in the diagram of Circle No 1 in Plate I where we have shown through the footprints how the two adversaries should stand in the First Instance. This is what we call the true foundation of all the ranges, and the single beginning of all attacks and defenses. This arrangement of the feet is not only correct to present your sword while in the Direct Line posture, but also to keep your body slightly tense, naturally ready for any changes, and to move easily (which is the function of the feet) from one place to another.
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|Par ce qui a eſté diſcouru juſqu’à preſent, a eſté demonſtrée l’excellence de la Droite ligne au regard de la tenue de l’eſpee: maintenant nous en parlerons auſsi plus particulierement au regard de la ſituation des pieds. Car puis que les pieds moderent touts les mouvements, allongent les pas, les raccourciſſent, les haſtent, ou les retardent, ils ſouſlevent, hauſſent, baiſſent, redreſſent le corps, il n’eſt rien plus neceſſaire, que de bien entendre, quelle en eſt la ſituation la plus commode & naturelle, afin de s’en eſloigner le moins, qu’il eſt poſsible, en toutes ſes aćtions. Or voicy la ſituation dont nous parlons: Zacharie ſe tient planté, le pied droit ſur le coſté exterieure du Quadrangle XY. en touchant de ſes orteils la Circonference du Cercle à la lettre X. & le pied gauche ſur la ligne Pedale. Alexandre tenant auſſi les pieds de meſme à l’autre bout du plan: le pied droit ſur le coſté du Quadrangle CB. en touchant pareillement la lettre C. & le pied gauche ſur la Pedale A. le tout ſe voit plus clairement tracé en figure plane au premier Cercle du Tabl. I. où nous avons exprimé par la repreſentation des pieds, comment parties ſe doivent mettre ſur la Premiere Inſtance: laquelle nous tenons pour le vray fondement de toutes les meſures, & pour l’unique entree de touts aſſauts & defenſes. Ceſte ſituation de pieds n’eſt pas ſeulement propre pour l’effećt de preſenter l’eſpee en ligne droite, mais auſsi pour tenir les forces touſiours unies & le corps naturellement preſt à touts changemens, & à ſe tranſporter aiſement (qui eſt le propre office des pieds) de l’une place en l’autre.
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|If you wish to see the proof, leave the left foot where it is, on the Pedal Line, and turn the heel of your right foot inside, along the extended Diameter, leaving your toes at C without changing anything, the sword and arm extended in a straight line above the Diameter. I tell you that you will find the limbs of the upper body straining against the limbs of the lower body. You will find it very difficult to keep the sword in the same line. Furthermore, when trying to move the right foot to the Second Instance, either to the left or to the right, it cannot be done without being forced to turn the foot in mid-step, into its true aspect, as it was at first. Otherwise the pace would be cramped and slow. It is true that if you change the foot as just described you will increase the force of the sword to the outside. If the enemy tries to cross your sword from that side, either to carry it away or throw it off, you can resist him with less force, if you are holding your sword as we described. But as much as it is useful against the outside line, it is that much less useful to the inside, because as much as the force is increased to one side, it is weakened on the other.
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|Si vous en demandez la preuve. Laiſſez le pied gauche, ainſi qu’il eſt, ſur la ligne ordinaire; & tournez ſeulement le talon du pied droit en dedans ſur le Diametre prolongé, laiſſant les orteils à la lettre C. ſans varier, le bras eſtendu avec l’eſpee en ligne droite au deſſus du Diametre. je di qu’en ce faiſant vous ſentirez que les membres de la partie ſuperieure du corps conteſteront contre les membres de la partie inferieure; & qu’à grand peine pourrez vous continuer à tenir l’eſpee en la meſme ligne. D’avantage en cheminant avec le pied droit vers la Deuxieme Inſtance, ſoit à main droite, ſoit à gauche, il ne ſe pourra faire, que vous ne ſoyez contraint de tourner le pied environ la mi voye en ſa vraye ſituation, où il avoit premierement eſté. autrement la demarche en ſera plus moleſte, & plus tardive. Il eſt vray que le changement du pied, eſtant fait en la forme dernierement dite, vous augmentera la force de l’eſpee par dehors; & que ſi l’Ennemi la vient toucher de ce coſté là, pour l’emmener, ou pour l’aſſujetir, vous luy pourrez faire reſiſtence avec moins de force, qu’en le tenant ſelon la forme de noſtre deſcription: mais autant que cela vous ſera profitable en dehors, autant il ſera nuiſible en dedans: car à meſure que la vigueur ſe reforce de l’un des coſtez, autant elles s’affoiblit de l’autre.
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|For the second proof, do like this. Leave the left foot where itis, turning the heel of the right foot outwards, until it is on the Circumference of the Circle. By doing this, I tell you, that if the Enemy tries to contact your sword to the inside to throw it off, or move it aside, it will be very easy for you to resist, because of the increased force to the inside. But in exchange, you will be equally weakened to the outside. In summary, the situation is exactly the opposite of the previous one, and the effects are exactly opposite.
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|Pour la ſeconde preuve, faites ainſi. Laiſſez le pied gauche, & tournez ſeulement le talon du pied droit en dehors juſqu’à la Circonference du Cercle. En ce faiſant, je di, que ſi l’Ennemi vient toucher voſtre eſpee en dedans pour l’aſſujetir, ou pour la tranſporter, il vous ſera tres-facile de luy reſiſter, à cauſe de l’accroiſſement de la force en dedans: mais en eſchange vous ſerez d’autant plus affoibli en dehors. Somme ceſte ſituation du pied eſtant direćtement contraire à la precedente, auſſi les effećts en ſont du tout contraires.
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|Another proof. Leave the right foot where it is, and turn the toes of the left foot inwards onto the  Extended Diameter, without moving the sword off the Direct Line. I tell you that by doing this, apart from the discomfort to the body that comes from the twisting of the limbs, if the Enemy tries to attack you from inside, he will have the advantage. For, just as the position of the feet weakens the sword, it also turns the whole body rightwards, to the outside.
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|Autre preuve. Laiſſez le pied droit immobile, & tournez ſeulement les orteils du pied gauche en dedans ſur le Diametre prolongé, ſans ſortir l’eſpee de la droite ligne; je di qu’en ce faiſant, outre le mal-aiſe du corps, procedant du retorſement des membres; ſi l’Ennemi vous vient attaquer par dedans, il ye trouvera de l’avantage: d’autant que le dedans de l’eſpee eſt affoibli par la ſituation des pieds, eſtant le corps incliné de luy meſme à ſe tourner en dehors à la main droite.
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|The contrary will happen if you turn the left foot outwards, with the toes back along the Extended Diameter, while leaving the sword in the direct line, as before. For apart from the discomfort of the posture, the sword will be weakened to the outside, which means you cannot resist on that side, except with difficulty. Because the arm of the sword will be forced by the location of the foot and the tension on the muscles of the left leg, to turn to the left.
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|Le contraire en aviendra, ſi vous tournez le pied gauche en dehors, avec les orteils en arriere ſur le Diametre prolongé, laſſant l’eſpee en ligne droite, comme au paravant. Car outre le malaiſe de la poſture, l’eſpee ſera tellement affoiblie par dehors, que vous n’en pourrez faire aucune reſiſtence de ce coſté là ſi ce n’eſt avec grand travail: à cauſe que le bras de l’eſpee ſera comme forcé, par la collocation du pied & des muſcles de la jambe gauche, à ſe tourner devers le coſté gauche.
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|We have described situations that are, admittedly, extreme. It would be unusual if someone placed their feet down in such a disorderly way that we have described. But that is not really the problem. Anyone who fully understands the greater possible faults will be able to understand as well the subtler ones, providing they can be shown through the same means. What we have done is to make obvious the difference in strengthening and weakening according to the position of the feet. As to the use of these proofs and even the precepts, it is completely obvious: the knowledge of how to attack the adversary’s sword on the side which will be weakest. Furthermore that the weak can not resist, and will be overcome by its opponent. The strong can modify all its actions with a little work, the weak is restricted to giving up chances to be hit in various ways, to anyone who knows the value of sensitivity, as shall be explained further in our Plates.
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|Nous avons deſcrit ces examples aſſez extremes. car de vray il aviendra peu ſouvent, que quelquun plante ſes pieds ſi deſordonnement, comme nous venons de prepreſenter. mais il n’y a point de difficulté en cela; car qui entendra bien les fautes plus lourdes, il comprendra auſſi bien toſt les plus ſubtiles, moyennant qu’elles puiſſent eſtre deſcouvertes par les meſmes preuves: ce que nous en avons fait, c’à eſté afin que la difference du renforcement & de l’affoibliſſement en fuſt d’autant plus evidente. Quant à l’uſage de ces preuves & des preceptes meſmes, il eſt tout manifeſte: c’eſt aſſavoir, de monſtrer la maniere d’attaquer l’eſpee contraire par le coſté qui ſera plus foible. d’autant que le foible eſt incapable de reſiſter, & preſt à eſtre ſurmonté de ſon contraire. le fort peut moderer toutes ſes aćtions avec un peu de travail: le foible eſt contraint ſomme à donner occaſions de bleſſer en pluſieurs manieres, pour celuy qui cognoiſt la valeur du ſentiment: comme il ſera declaré en la ſuite de nos Tableaux.
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|- style="font-family: times, serif; vertical-align:top;"
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|One must also observe the correct space between the two feet. This is shown clearly enough by the lines in the Quadrangle. If one stands otherwise, for example, with feet together  and one tries to raise the right foot to take a step forward, the centre of mass must stay on the left foot, and will be forced to perform some other preparation (for example leaning the body forward) to give his pace impetus before he moves.  Which is a superfluous move and noticeable warning to the enemy who can see what you are about to try.
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|Il faut auſſi obſerver en ceſte ſituation des pieds la juſte eſpace qui eſt entre deux; qui eſt repreſentée aſſez clairement par les lignes du Quadrangle. Car ſi on met autrement, par exemple à pieds joints, & qu’on commence à lever le pied droit pour marcher, le centre du corps demeurera ſur le gauche, & ſera on contraint d’y adjouſter encor quelque autre preparation (comme depancher le corps un peu en avant) pour luy donner ſa courſe, devant qu’il chemine. Qui eſt un mouvement ſuperflu, & un remarquable advertiſſement à l’Ennemi pour deſcouvrir & prevenir toutes vos entrepriſes.
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|- style="font-family: times, serif; vertical-align:top;"
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|All this is without considering how firmly the body stands when the feet are the proper distance apart. When they are, one need only lift the forward foot when one wishes to take a step forward. The body will move of its own accord, so that, rather than needing to be moved, it needs instead to be stopped from moving.
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|Sans compter que le corps ſe tient encores beaucoup plus ferme, quand on a les pieds en juſte diſtance; laquelle eſtant prinſe, il ne faut que lever tant ſeulement le pied de devant, quand on veut marcher. car le corps ſe preparera de luy meſme à partir du lieu, de ſorte qu’il ſera pluſtoſt beſoing de le retenir, que de l’inciter d’avantage.
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|- style="font-family: times, serif; vertical-align:top;"
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|The basis of all this discussion consists of that the position of the feet is entirely natural. I admit that, one might, nonetheless, object that at the beginning of the exercise, one needs to carefully place the feet on their lines, in the required form. But this is at the beginning of the exercise, and for those who are not accustomed to it. The difficulty is not from the fact that this is not entirely in accordance with a natural posture, as much as the fact that these actions are not customarily practised in this way, and accompanied by such movements. Thus it is easy to prove, following the way I practised myself several times with those who steadfastly held to a contrary opinion. In the middle of the dispute, I  stepped away, five or six paces. Then, I immediately called them over, as if I wanted to show them something new, then asked them to stop, suddenly, in place, without moving their feet. They always found that the majority of those who held their bodies erect and with knees straight, had their feet placed exactly as I have described. Often, this was enough to end our disputes.
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|Le fondement de tout ce diſcours conſiſte en ce, que ceſte ſituation des pieds eſt toute naturelle. On me pourra cependant objećter, qu’au commencement de l’exercice, on y trouve bien de la beſoigne, tant pour bien porter & tenir l’eſpee en ligne droite, comme auſſi à planter chaſcun des pieds ſur ſa ligne, & en ſa forme requiſe. Ie le confeſſe; mais c’eſt au commencement de l’exercice, & à ceux qui n’y ſont pas accouſtumez. La difficulté ne depend point de ce que la choſe ne ſoit du tout accordante à la nature, ains de ce que ces aćtions ne ſont point accouſtumées d’eſtre pratiquées en telles occurrences, & accompagnées de tels mouvements. Dont il eſt aiſé de faire la preuve, ſuivant ce que j’en ay pratiqué moy meſme à pluſieurs fois entre ceux qui ſouſtenoyent fort & ferme le contraire de ceſte ſituation. Au milieu de la diſpute je me retiray cinq ou ſix pas à l’eſcart; puis à l’improviſte je les appellay à moy, en faiſant ſembland de vouloir dire ou monſtrer quelque choſe nouvelle, les priant de s’arreſter tout court en leurs places, ſans bouger des pieds. Fut touſiours touvé que la plus part de ceux qui tenoyent le corps perpendiculaire, & les genoux roides, avoyent les pieds ſituez ſelon la forme de noſtre deſcription: de ſorte que ceſte preuve a ſouvent terminé nos diſputes.
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|- style="font-family: times, serif; vertical-align:top;"
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|This, then, is how we intend to use Nature as our guide everywhere, rejecting all unnatural movements and all extreme postures, which have been used in the past among those who practised the profession of arms. All our precepts are drawn from observations of Nature herself, to benefit from the help she offers, and so follow the path to the highest degree of perfection.
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|Et voilà comment nous pretendons de ſuivre partout la Nature pour guide, rejettants touts movements violents, & toutes les poſtures extremes, qui ont eſté pratiquées par le paſsé entre ceux qui faiſoyent profeſſion des armes. Touts nos preceptes ſeront tirez des obſervations de la Nature meſme, pour l’aſſiſter du ſecours qu’elle meſme nous offre, & l’acheminer au plus haut degré de ſa perfećtion.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
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|A DISCUSSION ON THE USE AND SUPERIORITY OF THE FIRST POSITION,
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along with the means of changing it to accommodate various sizes of swords.
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|DISCOVRS DE L'VSAGE ET EXCELLENCE DE LA
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premiere instance, avec la maniere de la changer et accommoder selon les diverses mesvres des espees.
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|- style="font-family: times, serif; vertical-align:top;"
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|This is enough about the posture. Now let us speak briefly of the range, at which the two parties stand on the four Circles of this Plate. The distance is such that when they each present their swords in the Direct Line, they are both the same distance. This is the First Instance, the true start of the play, at which the two parties are at a proper distance, and totally propotioned to their bodies and weapons. Not too far, because they can hit the enemy in slow time, not too close because they have enough time to defend against an attack from their adversary. Those who ignore this range, who hold themselves further away than they should, who, if they wish to move in closer inevitably put themselves into danger before they can reach their intended distance. This is why in all the discussion about this exercise, knowledge of this range will be our guide, to reach the distances proportional to our intended actions. As such it will be like a turret from which we may discover the intended actions of our adversary. Of course it is understood that any actions of the sword must pass through this First Instance before they can reach the body. All of the thousands of sequences of moves, the ways in which the play can go, start, properly speaking, from this position. In the end, this is the compass which shows us, amid the tempestuous waves of this sea, the course we must take, to arrive at the port of Victory. But that is enough for the present, without engaging in further discussion. The properties of the First Instance, just like the Second and Third, cannot be listed in a menu, without listing at the same time the situations that bring us there, which are so many. And yet they must be found in the Plates which follow.
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|Or c’eſt aſſez dit de la poſture: parlons à cette heure & briefvement de la meſure, en quoy les parties ſe tiennent ſur les quatre Cercles de ce Tableau: qui eſt telle, que quand ils s’entrepreſentent leurs eſpees en lignes droites, elles viennent à ſe meſurer les unes les autres. C’eſt la Premiere Inſtance, vray commencement du jeu, tenant les parties en une diſtance juſte & totalement proportionnée aux corps & aux armes: non trop large; car on y peut toucher l’Ennemi en un temps mediocre; & not trop eſtroite; car en icelle on ſe peut aſſez defendre à temps de touts les aſſauts du Contraire. Ceux qui ignorent ceſte meſure, ſe tiennent plus eſloignez de ce qu’ils ne devroyent: ou, s’ils ſe veulent approcher d’avantage, ils ſe mettent en un danger inevitable, avant que d’arriver à la meſure pretendue. C’eſt pourquoy en tout le diſcours de ceſt exercice, la cognoiſſance de ceſte meſure nous ſervira de guide, pour arriver aux diſtances proportionnées à nos deſſeins: en ſorte qu’elle nous ſera comme une eſchaugette, de laquelle on deſcouvre toutes les entriprinſes contraires; attendu que toutes les operations de l’eſpee ſont contraintes de paſſer le paſſage de ceſte Premiere Inſtance, avant qu’elles puiſſent attenter ſur le corps. Toutes les aćtions, par leſquelles le jeu ſe peut diverſifier en mille & mille manieres, prennent icy, à proprement parler, leur origine. En fin c’eſt le compas, qui nous monſtre parmy les vagues impetueuſes de ceſte mer, la courſe, qu’on doit prendre, pour arriver au port de Vićtoire. Mais c’eſt aſſez pour le preſent, ſans entrer en ce diſcours plus avant; car les proprietez de la Premiere Inſtance, comme auſſi de la Seconde, & Troiſieme, ne ſe peuvent declarer par le menu, ſans declarer quand & quand les occaſions, qui nous y ameinent, leſquelles ſont en grand nombre: & partant les faudra chercher és Tables ſuivantes.
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|- style="font-family: times, serif; vertical-align:top;"
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|Note that we are supposing that these two people are equal, and their weapons are likewise equal, and proportional to their bodies. In this way it is the bodies and swords which give the true distance of this First Instance. For if the weapons were unequal, it would change the Instance. If the Enemy has a longer sword than yours, watch out that the tip of his sword does not go past the crosspiece of your guard, so that there is always an arms-length between you and the tip, which is a reasonable distance, and large enough for you to defend yourself. If you were to move closer, to put your tip at his guard, he would have the advantage, because the length of the weapons favours him, such that at a wide distance he can hit, without risk of being hit back. This is why we must offset this advantage, as soon as he makes contact with his blade, to try to throw it off, or to control him, to get inside blade or to move in to a distance so close that he cannot overcome you, or manipulate his weapons as he needs to. If his sword is shorter than yours, or is not proportional to his body, you adopt the First Instance a bit closer, so that your tip is past his guard, making sure his tip does not pass yours, the reasons for this are self-evident. In sum, there is nothing more sure than to have properly proportioned weapons, because the ones too long or too short, if they are of some advantage in certain situations, they are also disadvantageous in others. Proportional weapons are, by contrast, equally useful at large or close range.
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|Notez, que nous preſuppoſons, que les perſonnages ſoyent egaux, & qu’ils ayent pareillement les armes egales, proportionnées à leurs corps; de maniere que ce ſont les corps & les eſpees, qui donnent la vraye meſure de ceſte Premiere Inſtance. Car les armes eſtants inegales, il faut changer l’Inſtance à l’advenant. Si l’Ennemi a l’eſpee plus longue, que la voſtre, gardez vous bien, que ſa poinćte ne paſſe outre les branches de voſtre garde, afin qu’i y demeure touſiours entre deux la meſure du bras entier, qui eſt une raiſonnable diſtance, & aſſez grande pour vous preparer à temps à la defenſe. Car ſi vous taſchez de vous avancer plus pres, pour mettre la voſtre tout joignant la ſienne garde, il aura de l’avantage, à raiſon de la longueur de ſes armes qui le favoriſe, tellement qu’en meſure large il peut donner des atteints, ſans qu’il ſe mette en hazard d’en recevoir. C’eſt pourquoy on luy doit oſter c’eſt avantage, dés auſſi toſt qu’il preſente ſa lame à toucher, en taſchant de l’aſſujettir, ou de l’obliger, pour entrer dedans ſes angles, ou pour venir en meſure eſtroite, en laquelle il ne s’en puiſſe prevaloir, ny manier ſi promtemēt ſes armes, comme il ſeroit de beſoin. Si ſon eſpee eſt plus courte, que la voſtre, ou que la proportion de ſon corps ne requiert, la voſtre ayant ſa juſte meſure, vous predrez la Premiere Inſtance un peu plus pres, en ſorte que voſtre poinćte pourra paſſer outre ſa garde, moyennant que la ſienne ne paſſe pas la voſtre; dont les raiſons ſont toutes evidentes. En ſomme il n’eſt rien plus certain que d’avoir les armes proportionnées. car les trop longues, & les trop courtes, ſi elles portent quelque avantage en d’aucuns endroits, elles ſont auſſi accompagnées de pareilles imperfećtions en contreſchange: les proportionnées ſont au contraire egalement utiles en la meſure large & en l’eſtroite.
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|- style="font-family: times, serif; vertical-align:top;"
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|In sum, this is the superiority of the Direct Line posture, presented at the distance of the First Instance. We could list even more reasons, if these were not self-evident enough, to persuade those who are open to the Truth. I truly believe that we have not unnecessarily repeated anything, but the usefulness of this subject shall serve as an excuse. Considering that such an important matter merits being treated with thoroughness. At this point, I shall leave the reader who can expect to shortly receive even more, just like a landlord who, allowing the rent to be uncollected one month, expects double the next.
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|Voilà en ſomme, qu’elle eſt la perfećtion de la Droite ligne, à preſenter ſur la Premiere Inſtance. On en pourroit alleguer encore d’autres raiſons, ſi celles-cy n’eſtoyent aſſez evidentes pour perſuader la Verité à ceux, qui la veulent recevoir. Ie croy bien, que nous avons uſé aucunefois de quelques redites: mais l’utilité du ſujet en fera noſtre excuſe; conſiderant qu’une matiere de ſi grande importance ne meritoit, que d’eſtre traitée bien exaćtement; eſtant expedient d’y arreſter la contemplation du Lećteur, pour imiter en ceſt endroit les avaricieux, qui laiſſent longuement courrir leurs rentes, afin qu’ils les reçoivent par apres avec double uſure.
  
 
|}
 
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Revision as of 19:30, 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.


Early Iberian traditions
Esgrima común Destreza.png
Verdadera
destreza
Carrancista
Pachequista
Indeterminate
Others
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