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Difference between revisions of "Gérard Thibault d'Anvers"

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(→‎Treatise: Minor edits to Plate 5, full text of Plate 6)
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The ''[[Academie de l'Espée (Gérard Thibault d'Anvers)|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.
 
The ''[[Academie de l'Espée (Gérard Thibault d'Anvers)|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.
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Thibault uses the term ''estocade'' to describe a thrust with the back of the hand upwards and fingers downwards, from the Italian term ''stoccata''. He uses the term ''imbrocade'' to describe a stab with the thumb vertical, or the fingers upward, from the Italian term ''imbroccata''.
  
 
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[[http://www.geheugenvannederland.nl/nl/geheugen/view/proporties%20menselijk%20lichaam%20verhouding%20tot%20cirkel%20lengte%20degen%20gelle%20johann?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-009 | Large Version]]
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[[http://www.geheugenvannederland.nl/nl/geheugen/view/proporties%20menselijk%20lichaam%20verhouding%20tot%20cirkel%20lengte%20degen%20gelle%20johann?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-009| Large Version]]
  
 
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[[http://www.geheugenvannederland.nl/nl/geheugen/view/uiteenzetting%20wijzen%20waarop%20degen%20uit%20schede%20getrokken%20moet%20worden%20lastman%20nicolaes?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-011 | Large Version]]
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[[http://www.geheugenvannederland.nl/nl/geheugen/view/uiteenzetting%20wijzen%20waarop%20degen%20uit%20schede%20getrokken%20moet%20worden%20lastman%20nicolaes?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-011| Large Version]]
  
  
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|Our intention is to examine the advantages of the Direct Line, adopted carefully at the First Instance, and in the form shown in the foreground of the preceeding Plate, and on which all subsequent actions depend. But seeing how fighters most frequently begin to work with feints as soon as they come into range, to try and draw the opponent’s sword a little out of the way before striking with their thrusts, it seems necessary for your satisfaction, and to clarify the Plate, to have here a short discourse on feints, first, before entering into the particular explanations of the examples, that will be presented. Therefore we posit that Alexander, arrived into position first, right foot along the outside edge of the Quadrangle on the line A-C, and the other on the Pedal Line. Zachary has approached, and is at the First Instance on the other side of the Circle, likewise in the Direct Line posture, on the right side of the Quadrangle and left foot on the usual line, putting his sword above the other, and working with feints inside and outside, sometimes with the foot firmly on the ground, somtimes, and more often, with the foot slightly raised off the ground. Never staying exactly at the First Instance, at other times starting from further back or closer, according to his whim. In sum, he is making such a large number and variety of feints that it is impossible for Alexander to work against him, if he cannot distinguish exactly how close each of these will reach. Because the forward movement of the foot and the body, that happens with each of move, can be defined in four degrees, from which we derive four types of feints, which are necessary to recognize, to be able to defend against. The instructions for how to do this are below, and without which, there is no other remedy against these subtle feints, other than a lucky strike, and to open yourself to the enemy, in the hope of hitting him in return, or to break away as a coward, to get away from his strikes.
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|Our intention is to examine the advantages of the Direct Line, adopted carefully at the First Instance, and in the form shown in the foreground of the preceeding Plate, and on which all subsequent actions depend. But seeing how fighters most frequently begin to work with feints as soon as they come into range, to try and draw the opponent’s sword a little out of the way before striking with their thrusts, it seems necessary for your satisfaction, and to clarify the Plate, to have here a short discourse on feints, first, before entering into the particular explanations of the examples, that will be presented. Therefore we posit that Alexander, arrived into position first, right foot along the outside edge of the Quadrangle on the line A-C, and the other on the Pedal Line. Zachary has approached, and is at the First Instance on the other side of the Circle, likewise in the Direct Line posture, on the right side of the Quadrangle and left foot on the usual line, putting his sword above the other, and working with feints inside and outside, sometimes with the foot firmly on the ground, somtimes, and more often, with the foot slightly raised off the ground. Never staying exactly at the First Instance, at other times starting from further back or closer, according to his whim. In sum, he is making such a large number and variety of feints that it is impossible for Alexander to work against him if he cannot distinguish exactly how close each of these will reach. Because the forward movement of the foot and the body, that happens with each move, can be defined in four degrees, from which we derive four types of feints, which are necessary to recognize, to be able to defend against them. The instructions for how to do this are below, and without which, there is no other remedy against these subtle feints, other than a lucky strike, and to open yourself to the enemy, in the hope of hitting him in return, or to break away as a coward, to get away from his strikes.
  
 
|Noſtre intention eſt d’examiner les avantages de la droite ligne, preſentée à la Permiere Inſtance avec jugement, & en la forme, qui eſt monſtée au premier plan du Tableau precedent: du quel auſsi toutes ces operations ſuivantes dependent. Mais voyant que les tireurs d’Armes commencent le plus ſouvent à travailler avec les feintes, ſi toſt qu’ils viennent à meſure, pour faire ſortir l’eſpee contraire un peu de preſence, avant que tirer leurs eſtocades; il nous ſemble neceſſaire pour voſtre plus grand ſatisfaćtion, & pour l’eſclairciſſement du Tableau, de mettre icy un petit diſcours touchant les feintes, premier que d’entrer en la declaration particuliere des exemples, qui ſont icy propoſez. Dont nous preſuppoſerons, qu’Alexandre s’eſtant mis le premier en poſture, le pied droit ſur le coſté exterieure du Quadrangle AC, & l’autre ſur la ligne Pedale; Zacharie l’eſt venu aborder, en ſe mettant à la Premier Inſtance à l’autre bout du Cercle, en pareille poſture de la ligne droite, ſur le coſté droit du Quadrangle & ſur la ligne ordinaire du pied gauche, portant l’eſpee deſſous l’autre, & pourſuivant à travailler avec feintes par dehors, & par dedans, tantoſt à pied ferme, tantoſt, & le plus ſouvent, avec le pied droit un peu levé; aucunesfois demeurant exaćtement ſur la Premiere Inſtance, autresfois commençant de plus loing ou de plus pres, ſelon qu’il luy vient à gré. Somme il fait un ſi grande varieté de feintes, qu’il eſt impoſsible à Alexandre de bien travailler alencontre, s’il ne diſtingue exaćtement la meſure de l’approchement de chaſquune d’icelles. Car l’advancement du pied & du corps, qui les accompagne, peut eſtre distingué en quatre degréz; dont procedent quatre eſpeces de feintes, qui ſont neceſſaires à cognoiſtre, pour ſe fortifier deuement alencontre, ſelon les inſtrućtions qui s’enſuivent, & ſans leſquelles, il n’y à autre remede contre les feintes ſubtiles, que le ſeul hazard de tirer, & de donner ſur l’ennemi à corps perdu, en eſpoir de luy rendre ſon change, ou de rompre touſiours en covard la meſure, pour eſchapper tant ſeulement les coups.
 
|Noſtre intention eſt d’examiner les avantages de la droite ligne, preſentée à la Permiere Inſtance avec jugement, & en la forme, qui eſt monſtée au premier plan du Tableau precedent: du quel auſsi toutes ces operations ſuivantes dependent. Mais voyant que les tireurs d’Armes commencent le plus ſouvent à travailler avec les feintes, ſi toſt qu’ils viennent à meſure, pour faire ſortir l’eſpee contraire un peu de preſence, avant que tirer leurs eſtocades; il nous ſemble neceſſaire pour voſtre plus grand ſatisfaćtion, & pour l’eſclairciſſement du Tableau, de mettre icy un petit diſcours touchant les feintes, premier que d’entrer en la declaration particuliere des exemples, qui ſont icy propoſez. Dont nous preſuppoſerons, qu’Alexandre s’eſtant mis le premier en poſture, le pied droit ſur le coſté exterieure du Quadrangle AC, & l’autre ſur la ligne Pedale; Zacharie l’eſt venu aborder, en ſe mettant à la Premier Inſtance à l’autre bout du Cercle, en pareille poſture de la ligne droite, ſur le coſté droit du Quadrangle & ſur la ligne ordinaire du pied gauche, portant l’eſpee deſſous l’autre, & pourſuivant à travailler avec feintes par dehors, & par dedans, tantoſt à pied ferme, tantoſt, & le plus ſouvent, avec le pied droit un peu levé; aucunesfois demeurant exaćtement ſur la Premiere Inſtance, autresfois commençant de plus loing ou de plus pres, ſelon qu’il luy vient à gré. Somme il fait un ſi grande varieté de feintes, qu’il eſt impoſsible à Alexandre de bien travailler alencontre, s’il ne diſtingue exaćtement la meſure de l’approchement de chaſquune d’icelles. Car l’advancement du pied & du corps, qui les accompagne, peut eſtre distingué en quatre degréz; dont procedent quatre eſpeces de feintes, qui ſont neceſſaires à cognoiſtre, pour ſe fortifier deuement alencontre, ſelon les inſtrućtions qui s’enſuivent, & ſans leſquelles, il n’y à autre remede contre les feintes ſubtiles, que le ſeul hazard de tirer, & de donner ſur l’ennemi à corps perdu, en eſpoir de luy rendre ſon change, ou de rompre touſiours en covard la meſure, pour eſchapper tant ſeulement les coups.
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|The second type is when he begins to lean his body forward, enough so that, doing his feint to the outside, or inside, the tip can just reach his enemy’s hand. The counter is to arouse both the arm and sword-hand at the same time, straightening the body, and lightly raise the heel of the right foot, so that it is ready to work according to circumstances, and raising likewise the tip of the sword upwards to the side of the feint, above the adversary’s sword, to gain a little superiority over it.
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|The second type is when he begins to lean his body forward, enough so that, doing his feint to the outside, or inside, the tip can just reach his enemy’s hand. The counter is to arouse both the arm and sword-hand at the same time, straightening the body, and lightly lift the heel of the right foot, so that it is ready to work according to circumstances,and raising the tip of the sword upwards towards the side of the feint, above the adversary’s sword, to be able to cover it from a superior position.
  
 
|La ſeconde eſpece, c’eſt quand il commence à pancher du corps en avant, ſi bien qu’en faiſant la feinte en dehors, ou en dedans, la pointe puiſſe arriver juſqu’à l’endroit du poignet de la main de l’ennemy. Le contraire, c’est d’aviver au meſme temps le bras & la main de l’eſpee, roidiſſant le corps, & eſlevant le talon du pied droit, afin qu’il ſoit preſt à travailler ſelon les occurrances, & eſlevant enſemblement la poinćte de l’eſpee en haut du coſté de la feinte, par deſſus l’eſpee contraire, pour la couvrir avec un peu de ſuperiorité.
 
|La ſeconde eſpece, c’eſt quand il commence à pancher du corps en avant, ſi bien qu’en faiſant la feinte en dehors, ou en dedans, la pointe puiſſe arriver juſqu’à l’endroit du poignet de la main de l’ennemy. Le contraire, c’est d’aviver au meſme temps le bras & la main de l’eſpee, roidiſſant le corps, & eſlevant le talon du pied droit, afin qu’il ſoit preſt à travailler ſelon les occurrances, & eſlevant enſemblement la poinćte de l’eſpee en haut du coſté de la feinte, par deſſus l’eſpee contraire, pour la couvrir avec un peu de ſuperiorité.
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|The fourth type is when he moves so far forward with the feint, that the tip of his sword can reach the elbow of his adversary. Which is the last and largest movement that he could do without putting his foot down on the ground. Alexander recognizes this extreme approach by his adversary, by the large and noticeably forward movement and way the body leans forward, which he uses. He must be careful if he allows his opponent to follow through with this feint, because there is no remedy against a second motion. Yet he must move from the defense to the attack, moving in at the same time as the enemy moves to try his feint, with a short step along the Diameter, with the body erect, the arm and sword extended, so that he can just hit the opponent’s face with his tip, before the feint can be completed. But all this will be more amply demonstrated in Plate XXVII, which is the proper place to work on feints, and against the left-hand dagger.
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|The fourth type is when he moves so far forward with the feint, that the tip of his sword can reach the elbow of his adversary. Which is the last and largest movement that he could do without putting his foot down on the ground. Alexander recognizes this extreme approach by his adversary, by the large and noticeably forward movement which he uses and way the body leans forward. He must be careful if he allows his opponent to follow through with this feint, because there is no remedy against a second motion. Yet he must move from the defense to the attack, moving in at the same time as the enemy moves to try his feint, with a short step along the Diameter, with the body erect, the arm and sword extended, so that he can just hit the opponent’s face with his tip, before the feint can be completed. But all this will be more amply demonstrated in Plate XXVII, which is the proper place to work on feints, and against the left-hand dagger.
  
 
|La quatrieme eſpece, c’eſt quand il s’avance tellement avec ſa feinte, que la pointe de ſon eſpee pourroit arriver au coude du bras contraire; qui eſt le dernier & le plus grand mouvement qu’il ſçauvit faire, ſans planter le pied à terre. Alexandre recognoiſſant ceſt extreme approchement de ſon Contraire, par le grand & notable avancement & panchement du corps, dequoy il uſe; ſe doibt bien donner garde de luy laiſſer parfaire ceſte feinte encommencée; car au ſecond mouvement il n’y auroit plus de remede. Et pourtant faut, qu’il devienne aſſaillant de defendant qu’il eſtoit, (en entrant, au meſme temps que l’ennemi eſt en aćtion pour faire ſa feinte) d’un petit pas par delà le Diametre, le corps droit, le bras & l’eſpee eſtendues, en ſorte que il touche de ſa poinćte au viſage, avant que la feinte ſoit parachevée. Or toute cecy vous ſera demonſtré plus amplement en la Tableau XXVII. qui eſt le propre lieu ou on travaillera ſur les feintes, & ſur les aſsiſtences de la main gauche.
 
|La quatrieme eſpece, c’eſt quand il s’avance tellement avec ſa feinte, que la pointe de ſon eſpee pourroit arriver au coude du bras contraire; qui eſt le dernier & le plus grand mouvement qu’il ſçauvit faire, ſans planter le pied à terre. Alexandre recognoiſſant ceſt extreme approchement de ſon Contraire, par le grand & notable avancement & panchement du corps, dequoy il uſe; ſe doibt bien donner garde de luy laiſſer parfaire ceſte feinte encommencée; car au ſecond mouvement il n’y auroit plus de remede. Et pourtant faut, qu’il devienne aſſaillant de defendant qu’il eſtoit, (en entrant, au meſme temps que l’ennemi eſt en aćtion pour faire ſa feinte) d’un petit pas par delà le Diametre, le corps droit, le bras & l’eſpee eſtendues, en ſorte que il touche de ſa poinćte au viſage, avant que la feinte ſoit parachevée. Or toute cecy vous ſera demonſtré plus amplement en la Tableau XXVII. qui eſt le propre lieu ou on travaillera ſur les feintes, & ſur les aſsiſtences de la main gauche.
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|These are the notifications that we felt necessary to give you concerning feints and their counters. These will be very userful to Scholars who have achieved some skill, but can be safely ignored by Novices, who will have enough to do learning to control their swords, arms, hands, & legs, without concerning themselves with such subtle observations. They can be content, for the present, to be learn them as part of the Theory, fully practising the examples from this Plate without going into too many circumstances, in order to simply learn thrusts, & counters, which shall be explained with their descriptions, rather than trying to skillfully learn each remedy for each type of feint. Because one cannot fly without wings.
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|These are the notifications that we felt necessary to give you concerning feints and their counters. These will be very userful to Scholars who have achieved some skill, but can be safely ignored by Novices, who will have enough to do learning to control their swords, arms, hands, & legs, without concerning themselves with such subtle observations. They can be content, for the present, to learn of them as part of the Theory, yet still fully practising the examples from this Plate without going into too many circumstances, in order to simply learn thrusts, & counters, which shall be explained with their descriptions, rather than trying to skillfully learn each remedy for each type of feint. Because one cannot fly without wings.
  
 
|Voilà les advertiſſements, que nous  avons jugez neceſſaires de vous propoſer touchant les feintes, & leurs contraires: qui ſeront de tres-grande utilité pour les Eſcholiers qui auront fait quelque advancement notable; mais on s’en pourra paſſer pour le regard des Novices, qui auront aſſes à faire à bien gouverner leurs eſpees, mains, bras, & jambes, ſans qu’ils s’embarques en des obſervations ſi ſubtiles. Qu’ils ſe contentent pour le preſent de les recevoir ſeulement,par maniere the Theorie, en pratiquant les exemples de ce Tableau plus groſsierement, ſans beaucoup de circonſtances, pour y apprendre ſimplement les eſtocades, & les rencontres, qui ſeront expliquées en leurs deſcriptions; pluſtoſt que d’approprier artiſtement chaſque remede à chaſque eſpece de feintes. Car auſsi bien ne peut on voler ſans aiſles.
 
|Voilà les advertiſſements, que nous  avons jugez neceſſaires de vous propoſer touchant les feintes, & leurs contraires: qui ſeront de tres-grande utilité pour les Eſcholiers qui auront fait quelque advancement notable; mais on s’en pourra paſſer pour le regard des Novices, qui auront aſſes à faire à bien gouverner leurs eſpees, mains, bras, & jambes, ſans qu’ils s’embarques en des obſervations ſi ſubtiles. Qu’ils ſe contentent pour le preſent de les recevoir ſeulement,par maniere the Theorie, en pratiquant les exemples de ce Tableau plus groſsierement, ſans beaucoup de circonſtances, pour y apprendre ſimplement les eſtocades, & les rencontres, qui ſeront expliquées en leurs deſcriptions; pluſtoſt que d’approprier artiſtement chaſque remede à chaſque eſpece de feintes. Car auſsi bien ne peut on voler ſans aiſles.
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|''Alexander is waiting in the Direct Line posture, and, attacked by Zachary with a thrust inside his arm towards the face, at the instant the tip passes his elbow, he parries against the 3rd or 4th Span with the strong part of his own sword, and moving a little to the side with the right foot, he closes the straight line, in a way that he wounds him in the face.''
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|''Alexander assumes the Direct Line posture and waits, then, attacked by Zachary with a thrust inside his arm towards the face, at the instant the tip passes his elbow, he parries against the 3rd or 4th Span with the strong part of his own sword, and moving a little to the side with the right foot, he closes the straight line, in a way that he wounds Zachary's face.''
  
 
|''Alexandre ſe tenant en la poſture de la droite ligne, & aſſailli par Zacharie d’un coup de pointe en dedans du bras devers le viſage, à l’inſtant que la pointe luy vient paſſer le coude, il la ſur prend au Nombres 3. ou 4. avec le fort de ſa propre eſpee, & allant un peu à coſté avec le pied droit, il luy ferme la droite ligne, de façon qu’il le bleſſe au viſage.''
 
|''Alexandre ſe tenant en la poſture de la droite ligne, & aſſailli par Zacharie d’un coup de pointe en dedans du bras devers le viſage, à l’inſtant que la pointe luy vient paſſer le coude, il la ſur prend au Nombres 3. ou 4. avec le fort de ſa propre eſpee, & allant un peu à coſté avec le pied droit, il luy ferme la droite ligne, de façon qu’il le bleſſe au viſage.''
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|Alexander is waiting in the Direct Line posture. Zachary threatens him with a feint of the third type outside the arm by lifting his foot, and moving his body and arm forward, until the tip of his sword is about mid-way to Alexander’s elbow as if Zachary were going to thrust at him in the face. He hopes to make him parry the attack, and consequently be able to force Alexander’s sword to the side. All at once, he passes his sword beneath his adversary’s guard, continuing to move his body forward putting the right foot on the ground at R. As he leans his body further forward, he brings the sword back up, drawing his left foot that is lagging behind up to the same distance behind his right foot, at the same time aiming his thrust inside the right arm straight at his opponent’s face, carrying his arm and sword into the direct line. Alexander’s defence consists of working against the feint, and against the thrust. Against the feint, using only his wrist, he turns the outside branch of the crosspiece diagonally upwards, moving the end to the side of the feint to cross and cover a good bit of his opponent’s blade with his own, without touching it, and without moving off the line, not to the right, nor to the left, not with the arm, nor with the sword. That is the counter to the feint. If Zachary had continued to move his tip with the feint to hit on the same side, this preparation would have been the correct way to break the hit outside the arm, as it is also, at present, the correct way to begin to counter the thrust to the inside. Then, as Zachary passes his sword under his opponent’s guard, to hit on the opposite side from where he made his feint, Alexander, as soon as he percieves the first hint of a change, becomes alert, and comes on guard, straightening the arm and the knees, so well that at the instant the tip of his opponent’s sword is near he elbow, he meets the 3rd or 4th Span of his opponent’s blade with the centre of his own guard, and catches it, and locks it between the blade and the inside branch of his crosspiece as he turns it horizontally, while at the same time moving his right foot and body forward, with his arm and sword, progressing up his opponen’ts sword, and in this way closes off the straight line letting the tip of his opponent’s sword pass across his chest, wounding the enemy in the face, and, as he finally puts his right foot down just along the Diameter between the letters C and E, and drawing his left foot behind until he is again erect on his feet in profile and in a perpendicular line. In this way, he increases the force of his thrust so much that he pierces through his opponent’s head.
+
|Alexander assumes the Direct Line posture and waits there. Zachary threatens him with a feint of the third type outside the arm by lifting his foot, and moving his body and arm forward, until the tip of his sword is about mid-way to Alexander’s elbow as if Zachary were going to thrust at him in the face. He hopes to make him parry the attack, and consequently have Alexander move his sword out to the side. All at once, he passes his sword beneath his adversary’s guard, continuing to move his body forward putting the right foot on the ground at R. As he leans his body further forward, he brings the sword back up, drawing his left foot, that is lagging behind, up to the same distance behind his right foot, while at the same time aiming his thrust inside the right arm straight at his opponent’s face, carrying his arm and sword along the direct line. Alexander’s defence consists of working against the feint, and against the thrust. Against the feint, using only his wrist, he turns the outside branch of the crosspiece diagonally upwards, moving the end to the side of the feint to cross and cover a good bit of his opponent’s blade with his own, without touching it, and without moving off the line, not to the right, nor to the left, not with the arm, nor with the sword. That is the counter to the feint. If Zachary had continued to move his tip with the feint to hit on the same side, this preparation would have been the correct way to break the hit outside the arm, as it is also, at present, the correct way to begin to counter the thrust to the inside. Then, as Zachary passes his sword under his opponent’s guard, to hit on the opposite side from where he made his feint, Alexander, as soon as he percieves the first hint of a change, becomes alert, and comes on guard, straightening the arm and the knees, so well that at the instant the tip of his opponent’s sword is near he elbow, he meets the 3rd or 4th Span of his opponent’s blade with the centre of his own guard, and catches it, and locks it between the blade and the inside branch of his crosspiece as he turns it horizontally, while at the same time stepping with his right foot and moving his body forward, with his arm and sword, the point of contact progressing up his opponent’s sword, so in this way he closes off the straight line letting the tip of his opponent’s sword pass across his chest, as he wounds the enemy in the face. He finally puts his right foot down just along the Diameter between the letters C and E, and draws his left foot behind until he is again erect on his feet in profile and in a perpendicular line. In this way, he increases the force of his thrust so much that he pierces through his opponent’s head.
  
 
|<font style="font-variant:small-caps">Alexandre</font> ſe tenant en la poſture de la droite ligne, <font style="font-variant:small-caps">Zacharie</font> le vient menacer d’une feinte a la troiſieme eſpece en dehors du bras en eſlevant le pied droit, & avançant le corps & le bras de l’eſpee, juſqu’à porter ſa pointe environ le milieu du coude contraire quaſi comme s’il luy vouloit tirer une eſtocade an viſage; ſous eſpoir de l’obliger à parer le coup, & conſequēment à eſcarter l’eſpee. Puis tout à l’inſtant il la repaſſe par deſſous la garde contraire, en continuant l’advancement du corps, avec le pied droit: lequel poſant à terre ſur le diametre à la lettre R. avec quelque augmentation du panchement du corps, il remonte l’eſpee en haut, laiſſant ſuivre & trainer le pied gauche proportionellemēt derriere l’autre, en tirant & dreſſant au meſme temps ſon eſtocade en dedans du bras droite au viſage de ſa partie, portant le bras & eſpee eſtendues en ligne droite. La defenſe d’<font style="font-variant:small-caps">Alexandre</font> conſiſte à travailler contre le feinte, & contre l’eſtocade. Contre le feinte, en tournant du ſeul poignet de la main la branche exterieure de ſa garde diagonalement en haut, en montant la pointe du coſté de la feinte pour croiſer & convrir un bien peu la lame de ſon contraire de la ſienne ſans la toucher, & ſans forligner ny à droite, ny à gauche, ny du bras, ny de l’eſpee. Voilà le contraire de la feinte. Si <font style="font-variant:small-caps">Za</font>charie euſt continué d’avancer ſa pointe avec la feinte pour le toucher du meſme coſté, ceſte preparation euſt eſté le vray moyen de luy rompre le coup en dehors du bras, comme elle eſt à preſent le vray commencement de rencontrer l’eſtocade tiree en dedans. Puis donc que <font style="font-variant:small-caps">Zacharie</font> repaſſe l’eſpee par deſſoubs la garde de ſon contraire, pour frapper à l’oppoſite du lieu, ou il avoit dreſſé ſa feinte, <font style="font-variant:small-caps">Alexandre</font>, dés auſſi toſt qu’il apperçoit le premier trait du changement, ſe reſveille, & ſe met ſur ſes gardes, en roidiſſant le bras & les genoux, ſi bien qu’à l’inſtant que la pointe de l’eſpee de ſa partie luy vient à l’endroit du coude, il la reçoit au Nombre 3, ou 4, avec le centre, qui eſt la garde de la ſienne, & la prend & enſerre, entre ſa lame & ſa branche interieure tournée horizontalement, en avançant au meſme temps le pied droit & le corps enſemble, avec le bras & l’eſpee, en graduant l’eſpee contraire & par ce moyen il ferme la droite ligne en laiſſant eſcouler la pointe de ſon contraire à vuide par devant ſa poitrine, bleſſant l’Ennemy au viſage, & abaiſſant finalement le pied droit à terre par delà le Diametre entre les lettres CE, & laiſſant trainer le pied gauche derriere, juſqu’à ce qu’il revienne droit ſur ſes pieds en pourfil, & en ligne perpendiculaire: il accroiſt par ce moyen tellement la vigueur de ſon eſtocade, qu’il le perce au travers la teſte.
 
|<font style="font-variant:small-caps">Alexandre</font> ſe tenant en la poſture de la droite ligne, <font style="font-variant:small-caps">Zacharie</font> le vient menacer d’une feinte a la troiſieme eſpece en dehors du bras en eſlevant le pied droit, & avançant le corps & le bras de l’eſpee, juſqu’à porter ſa pointe environ le milieu du coude contraire quaſi comme s’il luy vouloit tirer une eſtocade an viſage; ſous eſpoir de l’obliger à parer le coup, & conſequēment à eſcarter l’eſpee. Puis tout à l’inſtant il la repaſſe par deſſous la garde contraire, en continuant l’advancement du corps, avec le pied droit: lequel poſant à terre ſur le diametre à la lettre R. avec quelque augmentation du panchement du corps, il remonte l’eſpee en haut, laiſſant ſuivre & trainer le pied gauche proportionellemēt derriere l’autre, en tirant & dreſſant au meſme temps ſon eſtocade en dedans du bras droite au viſage de ſa partie, portant le bras & eſpee eſtendues en ligne droite. La defenſe d’<font style="font-variant:small-caps">Alexandre</font> conſiſte à travailler contre le feinte, & contre l’eſtocade. Contre le feinte, en tournant du ſeul poignet de la main la branche exterieure de ſa garde diagonalement en haut, en montant la pointe du coſté de la feinte pour croiſer & convrir un bien peu la lame de ſon contraire de la ſienne ſans la toucher, & ſans forligner ny à droite, ny à gauche, ny du bras, ny de l’eſpee. Voilà le contraire de la feinte. Si <font style="font-variant:small-caps">Za</font>charie euſt continué d’avancer ſa pointe avec la feinte pour le toucher du meſme coſté, ceſte preparation euſt eſté le vray moyen de luy rompre le coup en dehors du bras, comme elle eſt à preſent le vray commencement de rencontrer l’eſtocade tiree en dedans. Puis donc que <font style="font-variant:small-caps">Zacharie</font> repaſſe l’eſpee par deſſoubs la garde de ſon contraire, pour frapper à l’oppoſite du lieu, ou il avoit dreſſé ſa feinte, <font style="font-variant:small-caps">Alexandre</font>, dés auſſi toſt qu’il apperçoit le premier trait du changement, ſe reſveille, & ſe met ſur ſes gardes, en roidiſſant le bras & les genoux, ſi bien qu’à l’inſtant que la pointe de l’eſpee de ſa partie luy vient à l’endroit du coude, il la reçoit au Nombre 3, ou 4, avec le centre, qui eſt la garde de la ſienne, & la prend & enſerre, entre ſa lame & ſa branche interieure tournée horizontalement, en avançant au meſme temps le pied droit & le corps enſemble, avec le bras & l’eſpee, en graduant l’eſpee contraire & par ce moyen il ferme la droite ligne en laiſſant eſcouler la pointe de ſon contraire à vuide par devant ſa poitrine, bleſſant l’Ennemy au viſage, & abaiſſant finalement le pied droit à terre par delà le Diametre entre les lettres CE, & laiſſant trainer le pied gauche derriere, juſqu’à ce qu’il revienne droit ſur ſes pieds en pourfil, & en ligne perpendiculaire: il accroiſt par ce moyen tellement la vigueur de ſon eſtocade, qu’il le perce au travers la teſte.
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|This precept is very far from common practice, which says that after striking, one should immediately retire out of range. I shall show you here, that you should follow the tip forward until you are absolute Lord and Master of your enemy. Do not run, nor jump backwards, which would be nothing other than inviting a riposte, it is far better to move in so far as to make his weapons useless. I know well, that those who used to the old mode will not take up this method, and will hold it as being too dangerous. But this is because they themselves do not understand that one must secure the opponent’s sword before hitting them. And they think that we shall try everything we can to adapt to their mode, extending our strikes, leaving swords free, or trying to move them off line by way of feints. Things we we are careful not to do. Because such thrusts happen only by chance, and it would appear they fail as often as they succeed. Even when everything goes as hoped for, they cannot succeed, they negate whatever advantage they had, even without having some manifestly obvious danger, and is nearly as dangerous for the person dominating as it is for his opponent. I would take as a practical witness their own exercises, where one can see they are ordinarily more at pains to withdraw with haste out of range, than they are making sure of their hits. See how they withdraw most often, before even finding out if they are well or poorly placed. Which is, in effect, nothing more than taking lucky shots, with no superiority, nor any advantage. It follows then, that they wave their swords freely about, and the one who hits always needs to take two timings, one to move in, the other to get back out of range. We also see how frequently the wound each other which is an infallable argument that luck dominates, and they themselves know the imperfections of  their system, because they do not know how to attack artfully with their sword.
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|This precept is very far from common practice, which says that after striking, one should immediately retire out of range. I shall show you here, that you should follow the tip forward until you are absolute Lord and Master of your enemy. Do not run, nor jump backwards, which would be nothing other than inviting a riposte. It is far better to move in so far as to make his weapons useless. I know well, that those who are used to the old mode will not take up this method, and will hold it as being too dangerous. But this is because they themselves do not understand that one must secure the opponent’s sword before hitting them. And they think that we shall try everything we can to adapt to their mode, extending our strikes, leaving swords free, or trying to move them off line by way of feints. Things we we are careful not to do. Because such thrusts happen only by chance, and it would appear they fail as often as they succeed. Even when everything goes as hoped for, they cannot succeed, they negate whatever advantage they had, even without having some manifestly obvious danger, and is nearly as dangerous for the person dominating as it is for his opponent. Their own practice speaks for itself, where one can see they are ordinarily more at pains to withdraw with haste out of range, than they are of making sure of their hits. See how they withdraw most often, before even finding out if they are well or poorly placed. Which is, in effect, nothing more than taking lucky shots, with no superiority, nor any advantage. It follows then, that they wave their swords freely about, and the one who hits always needs to take two timings, one to move in, the other to get back out of range. We also see how frequently the wound each other which is an infallable argument that luck dominates, and they themselves know the imperfections of  their system, because they do not know how to attack artfully with their sword.
  
 
|Ce precept eſt grandement eſloigné de la Pratique vulgaire, qui commande, qu’on ſe retire tout à l’inſtant hors de meſure, apres qu’on à donné l’atteinte. Icy vous monſtre, qu’il faut pourſuivre la pointe, juſqu’à ſe rendre tout à fait Maiſtre & Seigneur abſolu de l’Ennemy, non pas fuir ny ſauter en arriere, qui ne ſeroit autre choſe, que de le provoquer à la riposte, il vaut pluſtoſt mieux entrer ſi en avant qu’on luy rende les armes inutiles. Ie ſçay bien, que ceux qui ſont accouſtumez à la veille mode ne laiſſeront pas de reprendre ceſte maniere & de la tenir pour trop dangereuſe: mais c’eſt pource qu’ils n’entendent pas eux meſmes, comme on ſe doit aſſeurer de l’eſpee contraire, avant que de porter l’atteinte: & qu’ils penſent que nous nous efforçions à leur mode allongeant nos bottes, en laiſſant les eſpees libres, ou en taſchāt de les faire ſortir de preſence par le moyen de quelques feintes. Ce que nous n’avons guarde de faire. Car telles eſtocades ſont tirées à l’adventure, & y à tout autant d’apparence quelle reuſſiront mal que bien; au fort quand tout eſt allé à ſouhait, ſi ne peuvent, ils nier encores, que l’avantage qu’ils ont eu, n’ait eſté accompangé de quelque danger manifeſte, & à peu pres autant hazardeux pour celuy qui a eu le deſſus, que pour ſon cōtraire. I’en pren à teſmoin la pratique meſme de leurs exercises, ou on le voit, qu’ils ſont ordinairement plus en peine, pour ſe retirer à la haſte hors de Meſure, qu’ils ne ſont aſſeurez à porter les atteintes, voire qu’ils ſe retirent le plus ſouvent, premier que de ſçavoir, s’ils ont bien ou mal addreſſé. Ce qui n’eſt en effet autre choſe, que de tirer ſes coups à l’adventure, ſans nulle ſuperiorite, ny advantage; procedant de ce qu’ils ont les eſpees de part & d’autre egallement libres; & que celuy qui porte la botte à touſiours beſoing de deux temps aſſez remarquables, le premier pour tirer, & le ſecond pour ſortir de preſence. Auſſi voit on, qu’ils s’entrebleſſent ordinairement les uns les autres, qui eſt un argument infallible, que la fortune y domine; & qu’ils recognoiſſe biē eux meſmes l’imperfećtion, & le danger de leur Pratique, par ce quils ne ſçavent  que c’eſt d’attaquer artiſtement une eſpee.
 
|Ce precept eſt grandement eſloigné de la Pratique vulgaire, qui commande, qu’on ſe retire tout à l’inſtant hors de meſure, apres qu’on à donné l’atteinte. Icy vous monſtre, qu’il faut pourſuivre la pointe, juſqu’à ſe rendre tout à fait Maiſtre & Seigneur abſolu de l’Ennemy, non pas fuir ny ſauter en arriere, qui ne ſeroit autre choſe, que de le provoquer à la riposte, il vaut pluſtoſt mieux entrer ſi en avant qu’on luy rende les armes inutiles. Ie ſçay bien, que ceux qui ſont accouſtumez à la veille mode ne laiſſeront pas de reprendre ceſte maniere & de la tenir pour trop dangereuſe: mais c’eſt pource qu’ils n’entendent pas eux meſmes, comme on ſe doit aſſeurer de l’eſpee contraire, avant que de porter l’atteinte: & qu’ils penſent que nous nous efforçions à leur mode allongeant nos bottes, en laiſſant les eſpees libres, ou en taſchāt de les faire ſortir de preſence par le moyen de quelques feintes. Ce que nous n’avons guarde de faire. Car telles eſtocades ſont tirées à l’adventure, & y à tout autant d’apparence quelle reuſſiront mal que bien; au fort quand tout eſt allé à ſouhait, ſi ne peuvent, ils nier encores, que l’avantage qu’ils ont eu, n’ait eſté accompangé de quelque danger manifeſte, & à peu pres autant hazardeux pour celuy qui a eu le deſſus, que pour ſon cōtraire. I’en pren à teſmoin la pratique meſme de leurs exercises, ou on le voit, qu’ils ſont ordinairement plus en peine, pour ſe retirer à la haſte hors de Meſure, qu’ils ne ſont aſſeurez à porter les atteintes, voire qu’ils ſe retirent le plus ſouvent, premier que de ſçavoir, s’ils ont bien ou mal addreſſé. Ce qui n’eſt en effet autre choſe, que de tirer ſes coups à l’adventure, ſans nulle ſuperiorite, ny advantage; procedant de ce qu’ils ont les eſpees de part & d’autre egallement libres; & que celuy qui porte la botte à touſiours beſoing de deux temps aſſez remarquables, le premier pour tirer, & le ſecond pour ſortir de preſence. Auſſi voit on, qu’ils s’entrebleſſent ordinairement les uns les autres, qui eſt un argument infallible, que la fortune y domine; & qu’ils recognoiſſe biē eux meſmes l’imperfećtion, & le danger de leur Pratique, par ce quils ne ſçavent  que c’eſt d’attaquer artiſtement une eſpee.
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|Alexander waits in the same position as in Circle No 1. Zachary comes at him in the old style  with a feint, either high or low, taken from a rigid arm to the outside, at the instant he arrives at the circumference of the Circle. Then, moving his left foot closer, he raises his other foot, he begins a circular disengage, which he continues to do while moving his body forward, so that at the same instant he puts his right foot on the ground at the letter R, he thrusts with all his strength at his adversary’s face. Alexander seeing that the feint does not go past the crosspiece of his guard, does not move at all, until Zachary moves forward a little, and begins to bend at the waist with his right foot raised. Then he gets ready, tensing his body, his feet, his hand, and the sword, in the way described, above, in the third type of feints. So that when the enemy enters, and aims the tip of his sword towards his face on the inside line, as the tip comes near his elbow, he catches the sword with the inside branch of his crosspiece at about the 4th or 5th Span, progresses up the blade by moving his body forward, he hits Zachary in the face with a straight thrust, putting his foot down further along the Diameter between the letters E and H, continuing to move towards him, and bending his knee to increase the power of his strike, as described above.
+
|Alexander waits in the same position as in Circle No 1. Zachary comes at him in the old style  with a feint, either high or low, taken from a rigid arm to the outside, at the instant he arrives at the circumference of the Circle. Then, moving his left foot closer, he raises his other foot, he begins a circular disengage, which he continues to do while moving his body forward, so that at the same instant he puts his right foot on the ground at the letter R, he thrusts with all his strength at his adversary’s face. Alexander seeing that the feint does not go past the crosspiece of his guard, does not move at all, until Zachary moves forward a little, and begins to bend at the waist with his right foot raised. Then he gets ready, tensing his body, his feet, his hand, and the sword, in the way described, above, against the third type of feint. So that when the enemy enters, and aims the tip of his sword towards his face on the inside line, as the tip comes near his elbow, he catches the sword with the inside branch of his crosspiece at about the 4th or 5th Span, and progresses up the blade by moving his body forward. He hits Zachary in the face with a straight thrust, putting his foot down further along the Diameter between the letters E and H, continuing to move towards him, and bending his knee to increase the power of his strike, as described above.
  
 
|<font style="font-variant:small-caps">Alexandre</font> ſe tenant tout de meſme, qu’au Cercle N.1; <font style="font-variant:small-caps">Zacharie</font> le vient aborder  à la mode ancienne avec une feinte, haute, ou baſſe, tiree d’un bras roide par dehors l’eſpee, à l’inſtant qu’il arrive à la Circonference du Cercle: puis en approchant le pied gauche, & eſlevant l’autre, il commence à faire la cavation; laquelle il continue durant l’avancement du corps, ſi bien qu’au meſme inſtant qu’il met le pied en terre ſur le Diametre à la lettre R, il tire de toute ſa force une eſtocade vers le viſage de ſon Contraire. <font style="font-variant:small-caps">Alexandre</font> s’appercevant, que la feinte ne paſſe point la branche de ſa garde, ne ſe bouge nullement, juſqu’à tant que <font style="font-variant:small-caps">Za</font>charie s’avance un peu d’avantage, & commence à faire la cavation avec le pied droit eſlevé. Car lors il ſe prepare, s’avivant le corps, le pied, le bras, & l’eſpee, en la façon, qui eſt deſcrite en la troiſieme eſpece des feintes; de ſorte que l’ennemi entrant, & dreſſant la pointe de l’eſpee vers ſon viſage en dedans le bras, à l’inſtant qu’elle vient à l’endroit de ſon coude, il la reçoit de la branche interieure de ſa garde au Nombre 4. ou 5. & en la graduant avec un avancement du corps, il luy donne le coup en droite ligne au viſage, abaiſſant le pied un peu au delà le Diametre entre les lettres EH. continuant  à charger le corps ſur iceluy, en pliant le genouil, pour augmenter la vigueur de l’eſtocade, en la maniere & pour les conſiderations declarées cy deſſus.
 
|<font style="font-variant:small-caps">Alexandre</font> ſe tenant tout de meſme, qu’au Cercle N.1; <font style="font-variant:small-caps">Zacharie</font> le vient aborder  à la mode ancienne avec une feinte, haute, ou baſſe, tiree d’un bras roide par dehors l’eſpee, à l’inſtant qu’il arrive à la Circonference du Cercle: puis en approchant le pied gauche, & eſlevant l’autre, il commence à faire la cavation; laquelle il continue durant l’avancement du corps, ſi bien qu’au meſme inſtant qu’il met le pied en terre ſur le Diametre à la lettre R, il tire de toute ſa force une eſtocade vers le viſage de ſon Contraire. <font style="font-variant:small-caps">Alexandre</font> s’appercevant, que la feinte ne paſſe point la branche de ſa garde, ne ſe bouge nullement, juſqu’à tant que <font style="font-variant:small-caps">Za</font>charie s’avance un peu d’avantage, & commence à faire la cavation avec le pied droit eſlevé. Car lors il ſe prepare, s’avivant le corps, le pied, le bras, & l’eſpee, en la façon, qui eſt deſcrite en la troiſieme eſpece des feintes; de ſorte que l’ennemi entrant, & dreſſant la pointe de l’eſpee vers ſon viſage en dedans le bras, à l’inſtant qu’elle vient à l’endroit de ſon coude, il la reçoit de la branche interieure de ſa garde au Nombre 4. ou 5. & en la graduant avec un avancement du corps, il luy donne le coup en droite ligne au viſage, abaiſſant le pied un peu au delà le Diametre entre les lettres EH. continuant  à charger le corps ſur iceluy, en pliant le genouil, pour augmenter la vigueur de l’eſtocade, en la maniere & pour les conſiderations declarées cy deſſus.
Line 3,185: Line 3,187:
 
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|But if he has previously moved his body closer during the feint, as soon as he makes his thrust from closer in, and the tip of his sword could pass beyond his adversary’s elbow without any lowering or weakening of his body, arm, or sword, Alexander will first straighten right up, with the right foot lifted, without leaning his body forward, until just as the adversary’s blade (which he has caught with the strong of his own) is a little off to the side, caused by Zachary’s body moving forward. Then he suddenly closes in, leaning his body forward, and with his arm straight, wounds him as he slides along the sword, as shown by the figure.
+
|But if he has previously moved his body closer during the feint, as soon as he makes his thrust from closer in, and the tip of his sword could pass beyond his adversary’s elbow without any lowering or weakening of his body, arm, or sword, Alexander will first straighten right up, with the right foot lifted, without leaning his body forward, until just as the adversary’s blade (which he has caught with the strong of his own) is a little off to the side, caused by Zachary’s body moving forward. Then he suddenly closes in, leaning his body forward, and, with his arm out straight, wounds him as he slides along the sword, as shown by the figure.
  
 
|Mais s’il a fait preallablement quelque approachment du corps, durant la feinte; ſi bien qu’il tire ſon eſtocade de plus pres, & qu’il puiſſe paſſer de ſa pointe plus avant que le coude du bras de ſon contraire, ſans aucun abaiſſemēt ou affoibliſſement du corps, bras, ou eſpee, <font style="font-variant:small-caps">Ale</font>xandre ſe dreſſera premierement tout droit, avec le pied droit eſlevé, ſans pancher du corps en avant, juſques à tant que la lame contraire (eſtant accueillie du fort de la ſienne) ſe ſoit un peu eſcoulée, moyennant l’avancement du corps: & lors il entrera tout ſubitement en panchant ſur le devant, & le bleſſera en luy graduāt l’eſpee avec le bras eſtendu, ſuivant la demonſtration du figure.
 
|Mais s’il a fait preallablement quelque approachment du corps, durant la feinte; ſi bien qu’il tire ſon eſtocade de plus pres, & qu’il puiſſe paſſer de ſa pointe plus avant que le coude du bras de ſon contraire, ſans aucun abaiſſemēt ou affoibliſſement du corps, bras, ou eſpee, <font style="font-variant:small-caps">Ale</font>xandre ſe dreſſera premierement tout droit, avec le pied droit eſlevé, ſans pancher du corps en avant, juſques à tant que la lame contraire (eſtant accueillie du fort de la ſienne) ſe ſoit un peu eſcoulée, moyennant l’avancement du corps: & lors il entrera tout ſubitement en panchant ſur le devant, & le bleſſera en luy graduāt l’eſpee avec le bras eſtendu, ſuivant la demonſtration du figure.
Line 3,191: Line 3,193:
 
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|This manner of receiving a thrust is somewhat different from that of Circle No 1, because this one counters with a single move, whereas the other takes two. This one executes the strike by a bend of the knee, the other requires one to prepare the body by becoming erect in the direct line posture with knees straightened. So it may seem to some that this way of giving a hit and a finish all at once, with the legs wide and the knees bent, is quite daring, more active, and more noble than the other because  it appears to be much more like the furiously active method of fighting commonly used. Whereas the other is so far removed it could not be used this way. However, you may besure, that the method shown in Circle No 1 is the more sure, being more ready to respond to any changes, and stronger, since all the parts of the body are extended and tensed, and all forces work in conjunction. This gives their movements a vigour and internal liveliness that is not apparent, for the reason that as the movements become smaller, they become more powerful. Moreover, as they come from a body that is extended perpendicularly, they are superior to the other. Notably when we employ skill in proportion to the requirements of the situation. Even so, his body is thus ready as much to move and fight on all sides, as it is to engage, stop, and moderate its actions appropriately, for he holds most of his ability in reserve. This is why it is very useful to perform these thrusts and the like in two motions, rather than one, which is also never necessary, as shall be shown in the following Circle. Alexander shall be constrained to stand up on his legs, with his body erect and straight, according to our style, to protect himself against the thrust, and so force his opponent to attack from the outside of his arm. If he wished to meet this attack by leaning his body forward over his forward knee, by this lowering of his body, arm, and sword, he would, of necessity, find himself lower than his adversary, who would not be far from taking full advantage of the superior position of his body, which he has kept by being upright.
+
|This manner of receiving a thrust is somewhat different from that of Circle No 1, because this one counters with a single move, whereas the other takes two. This one executes the strike by a bend of the knee, the other requires one to prepare the body by becoming erect in the direct line posture with knees straightened. So it may seem to some that this way of giving a hit and a finish all at once, with the legs wide and the knees bent, is quite daring, more active, and more noble than the other because  it appears to be much more like the furiously active method of fighting commonly used. Whereas the other is so far removed it could not be used this way. However, you may be sure, that the method shown in Circle No 1 is the more sure, being more ready to respond to any changes, and stronger, since all the parts of the body are extended and tensed, and all forces work in conjunction. This gives their movements a vigour and internal liveliness that is not apparent, for the reason that the movements become smaller as they become more powerful. Moreover, as they come from a body that is extended perpendicularly, they are superior to the other. Notably when we employ skills in proportion to the requirements of the situation. Even so, his body is thus ready as much to move and fight on all sides, as it is to engage, stop, and moderate its actions appropriately, for he holds most of his ability in reserve. This is why it is very useful to perform these thrusts and the like in two motions, rather than one, which is also never necessary, as shall be shown in the following Circle. Alexander shall be constrained to stand up on his legs, with his body erect and straight, according to our style, to protect himself against the thrust, and so force his opponent to attack from the outside of his arm. If he wished to meet this attack by leaning his body forward over his forward knee, by this lowering of his body, arm, and sword, he would, of necessity, find himself lower than his adversary, who would not be long in taking full advantage of the superior position of his body, which he has kept by staying upright.
  
 
|Ceſte maniere de rencontrer une eſtocage, eſt aſſez differente de celle du Cercle N.1. Car celle cy fait l’execution de ſon coup en un ſeul temps, & l’autre en deux: celle cy l’execute en pliant le genouil, & l’autre veut que le corps ſoit preallablement dreſſé en ligne perpendiculaire avec les genoux roides. Or il ſemblera bien à pluſieurs, que ceſte façon de donner & achever tout enſemble avec les jambes larges & le genou plié, ſoit plus gaillarde, plus aćtive, & plus noble, que l’autre, par ce qu’elle a en apparance quelque choſe de commun avec les plus furieuſes Aćtions de la Pratique vulgaire; dont l’autre eſt ſi fort eſloignée, qu’elle ne le pourroit eſtre davantage. Cependant ſoyez ſeur, que celle du Cercle N.1. eſt la plus ſeure, plus preſte à prevenir touts les changements, & meſme auſſi plus robuſte, par ce que touts les membres du corps y ſont tendus & reſveillez, & tiennent leurs forces plus unies; ce qui donne à leurs mouvements une vigueur & vie interieur, qui ne paroiſt pas en l’exterieur; à raiſon qu’ils ſont d’autant plus petits, que la force en eſt plus grande. En outre, pour ce qu’ils procedent d’un corps eſtendu perpendiculairement, ils ſe font avec plus de ſuperiorité, que les autre; notamment quand on y employe l’artifice & la proportion, que les occaſions requierent; meſme que le corps eſt alors preparé tant pour ſe trāſporter & travailler à touts coſtez, qu’à pourſuivre, arreſter, & moderer ſes aćtions tout ainſi que bon luy ſemble; pour ce qu’il a tout en reſerve. C’eſt pourquoy il eſt tres utile de pratiquer les executions de telles & ſemblables eſtocades en deux temps, plustoſt qu’en un: & aucunesfois il eſt du tout neceſſaire, comme il ſera monſtré par la deſcription du Cercle ſuivant: ou <font style="font-variant:small-caps">Ale</font>xandre ſera contraint de ſe mettre droit ſur ſes jambes, pour s’aſſeurer contre l’eſtocade, que ſa partie luy tire en dehors du bras, avec le corps haut & droit, enſuivant le ſtile de noſtre Pratique. Car s’il vouloit rencontrer en panchant du corps en avant ſur le genouil de la jambe anterieure, par l’abaiſſemēt du corps, du bras, & de l’eſpee, il deviendroit neceſſairement inferieur à ſa partie, qui ne s’eſloigne guerre de prendre l’avantage de ſuperiorité, par la hauteur du corps qu’il ſe reſerve.
 
|Ceſte maniere de rencontrer une eſtocage, eſt aſſez differente de celle du Cercle N.1. Car celle cy fait l’execution de ſon coup en un ſeul temps, & l’autre en deux: celle cy l’execute en pliant le genouil, & l’autre veut que le corps ſoit preallablement dreſſé en ligne perpendiculaire avec les genoux roides. Or il ſemblera bien à pluſieurs, que ceſte façon de donner & achever tout enſemble avec les jambes larges & le genou plié, ſoit plus gaillarde, plus aćtive, & plus noble, que l’autre, par ce qu’elle a en apparance quelque choſe de commun avec les plus furieuſes Aćtions de la Pratique vulgaire; dont l’autre eſt ſi fort eſloignée, qu’elle ne le pourroit eſtre davantage. Cependant ſoyez ſeur, que celle du Cercle N.1. eſt la plus ſeure, plus preſte à prevenir touts les changements, & meſme auſſi plus robuſte, par ce que touts les membres du corps y ſont tendus & reſveillez, & tiennent leurs forces plus unies; ce qui donne à leurs mouvements une vigueur & vie interieur, qui ne paroiſt pas en l’exterieur; à raiſon qu’ils ſont d’autant plus petits, que la force en eſt plus grande. En outre, pour ce qu’ils procedent d’un corps eſtendu perpendiculairement, ils ſe font avec plus de ſuperiorité, que les autre; notamment quand on y employe l’artifice & la proportion, que les occaſions requierent; meſme que le corps eſt alors preparé tant pour ſe trāſporter & travailler à touts coſtez, qu’à pourſuivre, arreſter, & moderer ſes aćtions tout ainſi que bon luy ſemble; pour ce qu’il a tout en reſerve. C’eſt pourquoy il eſt tres utile de pratiquer les executions de telles & ſemblables eſtocades en deux temps, plustoſt qu’en un: & aucunesfois il eſt du tout neceſſaire, comme il ſera monſtré par la deſcription du Cercle ſuivant: ou <font style="font-variant:small-caps">Ale</font>xandre ſera contraint de ſe mettre droit ſur ſes jambes, pour s’aſſeurer contre l’eſtocade, que ſa partie luy tire en dehors du bras, avec le corps haut & droit, enſuivant le ſtile de noſtre Pratique. Car s’il vouloit rencontrer en panchant du corps en avant ſur le genouil de la jambe anterieure, par l’abaiſſemēt du corps, du bras, & de l’eſpee, il deviendroit neceſſairement inferieur à ſa partie, qui ne s’eſloigne guerre de prendre l’avantage de ſuperiorité, par la hauteur du corps qu’il ſe reſerve.
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|''Zachary again attacks with resolve using a straight thrust to the outside of the arm, towards the face, with the body so upright that he does not pass beyond the letter V. Against this Alexander prepared, meets the 4th Span of his opponent’s sword with the strong of his own, raising himself slightly on his toes, by which means he retains his superiority, and progressing along his opponent’s sword with a small step, keeping his arm straight, to turn his head and his back towards the thrust, he wounds Zachary in the face instead, recovering into the same posture that he had before.''
+
|''Zachary again attacks with resolve using a straight thrust to the outside of the arm, towards the face, with the body so upright that he does not pass beyond the letter V. Against this Alexander, having made ready, meets the 4th Span of his opponent’s sword with the strong of his own, raising himself slightly on his toes, by which means he retains his superiority, and progressing along his opponent’s sword, keeping his arm straight, with a small step to turn his head and his back towards the thrust, he wounds Zachary in the face instead, recovering into the same posture that he had before.''
  
 
|''Zacharie luy tire encore ſur la meſme poſture une autre eſtocade reſolue en droite ligne, dehors du bras, & devers le viſage, avec le corps touſiours ſi haut qu’il ne passe point la lettre V, ſur quoy Alexandre ayant fait ſa preparation, accueile l’eſpee contraire du ſort de la ſienne au Nombre 4, avec un petit ſouſlevement du corps ſur les orteils de ſes pieds, de quoy il retient la ſuperiorité, & en graduant l’eſpee contraire d’un bras roide avec une petite demarche, pour tourner la teſte & le dos devers l’eſtocade, il le bleſſe luy meſme au viſage, en revenant tout droit debout en la meſme poſture qu’il s’eſtoit au paravant.''
 
|''Zacharie luy tire encore ſur la meſme poſture une autre eſtocade reſolue en droite ligne, dehors du bras, & devers le viſage, avec le corps touſiours ſi haut qu’il ne passe point la lettre V, ſur quoy Alexandre ayant fait ſa preparation, accueile l’eſpee contraire du ſort de la ſienne au Nombre 4, avec un petit ſouſlevement du corps ſur les orteils de ſes pieds, de quoy il retient la ſuperiorité, & en graduant l’eſpee contraire d’un bras roide avec une petite demarche, pour tourner la teſte & le dos devers l’eſtocade, il le bleſſe luy meſme au viſage, en revenant tout droit debout en la meſme poſture qu’il s’eſtoit au paravant.''
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|Both parties are facing each other in the First Instance. Zachary has his sword below the other parallel, in a direct line, he begins his move by straightening his arm to feint to the inside of his opponent’s arm, moving forward a little by raising his right foot. Then, continuing the same forward motion, he passes his sword back beneath his opponent’s guard and makes a resolute thrust to his opponent’s face outside the arm, putting his right foot down at the letter V, with the arm extended and the body erect, following with his left foot, as much as he needs to remain upright. Alexander again percieves that the feint does not come any closer than the crosspiece of his sword, and so remains still, waiting until his adversary makes his circular disengage with an obvious forward movement of his body. Then he gets ready to receive the attack, tenses himself, raises his right foot, and moves his sword as previously described. At the instant his opponent’s blade reaches his elbow, he catches the sword at the 4th Span with his strong part of his, but it is enough for him to remain erect, if he raises himself a little, by lifting his left heel and going up onto his left toes, at the same time looking backwards over his shoulder towards the tip of his enemy’s blade. He progresses up this blade by stiffening his arm so that, with a small step forward and to the right, putting his food down near the letter E, he forces his opponent off the straight line and wounds him in the face. He allows his left foot to follow, drawing it behind in a circular path, until he returns to face his opponent in profile, in the natural way he was when in the First Instance inside the perpendicular lines.
+
|Both parties stand facing each other in the First Instance. Zachary has his sword below the other, parallel, in a direct line. He begins to move his straightened arm to feint to the inside of his opponent’s arm, raising his right foot and moving it slightly forward. Then, continuing the same forward motion, he passes his sword back beneath his opponent’s guard and makes a resolute thrust to his opponent’s face from the outside of the arm, putting his right foot down at the letter V, with the arm extended and the body erect, following with his left foot, as much as he needs to remain upright. Alexander again percieves that the feint does not come any closer than the crosspiece of his sword, and so remains still, waiting until his adversary makes his circular disengage with an obvious forward movement of his body. Then he gets ready to receive the attack, tenses himself, raises his right foot, and moves his sword as previously described. At the instant his opponent’s blade reaches his elbow, he catches the sword at the 4th Span with his strong part of his, but it is enough for him to remain erect, if he raises himself a little, by lifting his left heel and going up onto his left toes, at the same time looking backwards over his shoulder towards the tip of his enemy’s blade. He slides up this blade by stiffening his arm so that, with a small step forward and to the right, putting his food down near the letter E, he forces his opponent off the straight line and wounds him in the face. He allows his left foot to follow, drawing it behind in a circular path, until he returns to face his opponent in profile, in the natural way he was when in the First Instance inside the perpendicular lines.
  
 
|S’eſtants plantez les deux parties à la Premiere Inſtance; l’eſpee de <font style="font-variant:small-caps">Zacharie</font> deſſous l’autre en ligne droite & parallele, il commence incontinent à faire avec le bras roide une feinte à ſon Contraire par dedans le bras, en eſlevant & advançant quelque peu le pied droit; puis en continuant le meſme advancement du pied enſemble avec le corps, il repaſſe ſon eſpee par deſſous la garde de ſa partie, & en tire une eſtocade reſolue tout droit vers le viſage d’iceluy en dehors le bras, abaiſſant le pied droit à terre à la lettre V, avec le bras eſtendu & le corps haut, laiſſant trainer le pied gauche derriere, autant qu’il eſt beſoing pour ſe tenir touſiours perpendiculaire. <font style="font-variant:small-caps">Alexandre</font> s’appercevant derechef, que la feinte ne paſſe pas les branches de ſa garde, attend ſans bouger juſqu’à tant que l’Adversaire face la cavation avec quelque approachement notable du corps; & lors il ſe preſente à le recevoir, en avivant le corps, eſlevant le pied droit, & conduiſant l’eſpee ſelon les inſtrućtions precedentes; & à l’inſtant que la lame contraire luy vient à l’endroit du coude, il la reçoit du centre de la ſienne au Nombre 4. ne luy ſuffiſant pas de ſe tenir droit, ſi ce n’eſt qu’il y adjouſte encor un petit ſouſlevement du corps, pour ſe hauſſer un peu davantage ſur les orteils du pied gauche, en tournant au meſme temps la teſte vers le dos devers la pointe ennemie; laquelle il va graduer en roidiſſant le bras, de telle ſorte, qu’avec un petit pas, poſant le pied droit un peu à coſté environ la lettre E, il le contraint de quitter la droite ligne, & le bleſſe au viſage, laiſſant ſuivre le pied gauche  derriere en trainant un peu circulairement, juſqu’à venir en pourfil en la ſituation naturelle de la Premiere Inſtance au dedans de perpendiculaires.
 
|S’eſtants plantez les deux parties à la Premiere Inſtance; l’eſpee de <font style="font-variant:small-caps">Zacharie</font> deſſous l’autre en ligne droite & parallele, il commence incontinent à faire avec le bras roide une feinte à ſon Contraire par dedans le bras, en eſlevant & advançant quelque peu le pied droit; puis en continuant le meſme advancement du pied enſemble avec le corps, il repaſſe ſon eſpee par deſſous la garde de ſa partie, & en tire une eſtocade reſolue tout droit vers le viſage d’iceluy en dehors le bras, abaiſſant le pied droit à terre à la lettre V, avec le bras eſtendu & le corps haut, laiſſant trainer le pied gauche derriere, autant qu’il eſt beſoing pour ſe tenir touſiours perpendiculaire. <font style="font-variant:small-caps">Alexandre</font> s’appercevant derechef, que la feinte ne paſſe pas les branches de ſa garde, attend ſans bouger juſqu’à tant que l’Adversaire face la cavation avec quelque approachement notable du corps; & lors il ſe preſente à le recevoir, en avivant le corps, eſlevant le pied droit, & conduiſant l’eſpee ſelon les inſtrućtions precedentes; & à l’inſtant que la lame contraire luy vient à l’endroit du coude, il la reçoit du centre de la ſienne au Nombre 4. ne luy ſuffiſant pas de ſe tenir droit, ſi ce n’eſt qu’il y adjouſte encor un petit ſouſlevement du corps, pour ſe hauſſer un peu davantage ſur les orteils du pied gauche, en tournant au meſme temps la teſte vers le dos devers la pointe ennemie; laquelle il va graduer en roidiſſant le bras, de telle ſorte, qu’avec un petit pas, poſant le pied droit un peu à coſté environ la lettre E, il le contraint de quitter la droite ligne, & le bleſſe au viſage, laiſſant ſuivre le pied gauche  derriere en trainant un peu circulairement, juſqu’à venir en pourfil en la ſituation naturelle de la Premiere Inſtance au dedans de perpendiculaires.
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|Those who hold to ordinary fencing are greatly astonished at such a precept. Because moving your head and back towards the tip of your adversary’s sword while he is thrusting seems to be rash action that defies Nature herself, given it is natural to try and preserve oneself before attacking one’s Adversary. This is the reason they are accustomed to avoiding the attacking sword, leaning their head and body away from the menacing tip. In response, I must confess, that our exercises are exactly opposite to theirs, and I say they are making a great mistake trying to evade the tip in this way. Because the more they believe they are avoiding the tip by moving their head out of the way, the more they remain in danger of being hit. And on the contrary, the closer one gets, following the instructions in this and similar manoeuvres, the more secure one will be, and one will enter even more forward between the perpendicular lines. Because if Alexander had  evaded his opponent’s tip by pulling his head back, I ask you, what would have prevented his opponent’s sword, which is free, from changing direction to pursue his advantage by another means? It is therefore better to meet the strike with superiority, than to wait for him to come and to make his move, with the risk of being hit. And it is better to break his strike than to leave him free. We conclude, then, that the skill and confidence goes to the one who knows how to dominate his adversary’s intentions, and chance and surprise to the one who fears the approach of a tip, as if it was invincible.
+
|Those who hold to ordinary fencing are greatly astonished at such a precept. Because moving your head and back towards the tip of your adversary’s sword while he is thrusting seems to be rash action that defies Nature herself, given it is natural to try and preserve oneself before attacking one’s Adversary. This is the reason they are accustomed to avoiding the attacking sword, leaning their head and body away from the menacing tip. In response, I must confess, that our exercises are exactly opposite to theirs, and I say they are making a great mistake trying to evade the tip in this way. Because the more they believe they are avoiding the tip by moving their head out of the way, the more they remain in danger of being hit. And on the contrary, the closer one gets, following the instructions in this and similar manoeuvres, the more secure one will be, and one will enter even more forward between the perpendicular lines. Because if Alexander had  evaded his opponent’s tip by pulling his head back, I ask you, what would have prevented his opponent’s sword, which is free, from changing direction to pursue his advantage by another means? It is therefore better to counter the attack decisively, than to wait for him to come in to make his move, with the risk of being hit. And it is better to break his thrust than to leave him free. We conclude, then, that the skill and confidence goes to the one who knows how to dominate his adversary’s intentions, and chance and surprise to the one who fears the approach of a tip, as if it was invincible.
  
 
|Ceux qui tiennent l’Eſcrime vulgaire s’eſtonneront grandement d’un tel precepte. Car porter la teſte & le dos vers la pointe de l’Adverſaire, durant le temps qu’il eſt en aćte de tirer ſon eſtocade, il leur ſemblera que ce ſoit une temerité qui deffie la Nature meſme, laquelle taſche touſiours de ſe conſerver ſoy meſme, avant que d’offenſer le Contraire. Et c’eſt la raiſon pouquoy ils s’acouſtument quant à eux de fuir l’eſpee qui vient contre eux, en panchant de la teſte & du corps à l’oppoſite du poinćt qu’elle menace. Pour reſponce, je confeſſe, que nos exercises ſont direćtement contraires aux leurs, & dis qu’ils font une bien grande faute d’eſquiver la poinćte en ceſte ſorte. Car d’autant plus qu’ils la penſent eviter, en portant la teſte hors de preſence, dautant plus demeurent ils en danger d’en eſtre touchez. Et au contraire d’autant plus qu’on s’en approchera, ſuivant l’inſtrućtion de ceſte & de ſemblables operations, d’autant plus en ſera on aſſeuré, & entrera on plus avant dedans les perpendiculaires. Car ſi Alexandre euſt voulu eviter la poinćte contraire en ſe retirant la teſte, je vous prie, qu’eſt ce qui auroit empeſché l’eſpee contraire, qui eſt libre, de changer le trait, & de pourſuivre ſon advantage en quelque autre ſorte? Il vaut mieux doncq de rencontrer le coup avec ſuperiorité, que d’attendre, qu’il vienne & qu’il aille à ſa poſte, avec hazard d’en recevoir l’atteinte; & mieux vaut le rompre que le laiſſer libre. Concluons donc, que l’Art & l’aſſeurance eſt à celuy qui ſçait domter les pretentions de ſon contraire; le hazard & l’eſpouvante à celuy, qui redoute la venue d’une pointe, comme ſi elle eſtoit invincible.
 
|Ceux qui tiennent l’Eſcrime vulgaire s’eſtonneront grandement d’un tel precepte. Car porter la teſte & le dos vers la pointe de l’Adverſaire, durant le temps qu’il eſt en aćte de tirer ſon eſtocade, il leur ſemblera que ce ſoit une temerité qui deffie la Nature meſme, laquelle taſche touſiours de ſe conſerver ſoy meſme, avant que d’offenſer le Contraire. Et c’eſt la raiſon pouquoy ils s’acouſtument quant à eux de fuir l’eſpee qui vient contre eux, en panchant de la teſte & du corps à l’oppoſite du poinćt qu’elle menace. Pour reſponce, je confeſſe, que nos exercises ſont direćtement contraires aux leurs, & dis qu’ils font une bien grande faute d’eſquiver la poinćte en ceſte ſorte. Car d’autant plus qu’ils la penſent eviter, en portant la teſte hors de preſence, dautant plus demeurent ils en danger d’en eſtre touchez. Et au contraire d’autant plus qu’on s’en approchera, ſuivant l’inſtrućtion de ceſte & de ſemblables operations, d’autant plus en ſera on aſſeuré, & entrera on plus avant dedans les perpendiculaires. Car ſi Alexandre euſt voulu eviter la poinćte contraire en ſe retirant la teſte, je vous prie, qu’eſt ce qui auroit empeſché l’eſpee contraire, qui eſt libre, de changer le trait, & de pourſuivre ſon advantage en quelque autre ſorte? Il vaut mieux doncq de rencontrer le coup avec ſuperiorité, que d’attendre, qu’il vienne & qu’il aille à ſa poſte, avec hazard d’en recevoir l’atteinte; & mieux vaut le rompre que le laiſſer libre. Concluons donc, que l’Art & l’aſſeurance eſt à celuy qui ſçait domter les pretentions de ſon contraire; le hazard & l’eſpouvante à celuy, qui redoute la venue d’une pointe, comme ſi elle eſtoit invincible.
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|Alexander follows through and executes his thrust, achieving and increasing it by raising and advancing his right foot, his whole body, his right hand, and his sword. He finally puts his foot down on the Diameter beyond the letter H, shifting the weight of his body to the bent forward knee, while progressing up his opponent’s sword with his arm straight until he runs into his opponent’s guard, with such force that that his enemy is forced to bend his arm, let the tip of his sword go up at an obtuse angle and have his opponent’s sword go through his head.
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|Alexander follows through and executes his thrust, powering and increasing it by stepping forward with his right foot, putting his whole body weight behind his right hand and his sword. He finally puts his foot down on the Diameter beyond the letter H, shifting the weight of his body to the bent forward knee, while sliding up his opponent’s sword keeping his arm straight until he runs into his opponent’s guard, with such force that that his enemy must bend his arm, let the tip of his sword go up at an obtuse angle as Alexander’s sword goes through his head.
  
 
|<font style="font-variant:small-caps">Alexandre</font> pourſuit & execute ſon eſtocade, l’augmentant & parachevant avec eſlevation & avancemēt du pied droit, enſemble du corps, du bras, & de l’eſpee; en abaiſſant finallement le pied ſur le diametre outre la lettre H, menant la charge du corps ſur le genouil anterieur plié, & graduant cependant la lame contraire avec le bras roide, juſqu’à en rencontrer la garde, avec telle violence, que l’ennemy eſt forcé, de ſe courber le bras, laiſſer aller ſa poinćte en angle obtus, & recevoir l’eſpee de l’Adverſaire à travers la teſte.
 
|<font style="font-variant:small-caps">Alexandre</font> pourſuit & execute ſon eſtocade, l’augmentant & parachevant avec eſlevation & avancemēt du pied droit, enſemble du corps, du bras, & de l’eſpee; en abaiſſant finallement le pied ſur le diametre outre la lettre H, menant la charge du corps ſur le genouil anterieur plié, & graduant cependant la lame contraire avec le bras roide, juſqu’à en rencontrer la garde, avec telle violence, que l’ennemy eſt forcé, de ſe courber le bras, laiſſer aller ſa poinćte en angle obtus, & recevoir l’eſpee de l’Adverſaire à travers la teſte.
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|''Zachary advances and again aims another thrust from outside the arm at the face in a broken line, moving his right foot up to the letter R.Which means Alexander avoids the hit by moving his left side forward, and bringing his right foot along the diameter inside the circumference, and, at the same time, crossing the 7th Span of his blade against the 5th or 6th Span of his adversary’s, sliding up the blade, lowering the hand, and keeping his elbow close to the side to protect the lower part of his body, as he steps forward with his left foot up to the letter I.''
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|''Zachary advances and again aims a thrust from outside the arm to the face with a bent arm, moving his right foot up to the letter R. Which means Alexander avoids the hit by moving his left side forward, and puts his right foot along the diameter inside the circumference, and, at the same time, crosses the 7th Span of his blade against the 5th or 6th Span of his adversary’s, slides up the blade, lowers the hand, and keeping his elbow close to the side to protect the lower part of his body, he steps forward with his left foot up to the letter I.''
  
 
|''Zacharie s’avance, & luy tire derechef une eſtocade par de hors le bras devers le viſage en ligne courbe, portant le pied droit juſqu’à la lettre R; qui faićt qu’Alexandre eſquive le coup en avançant le coſté gauche, & poſant le pied droit ſur le Diametre au dedans de la circonference, & acceuillant au meſme temps du Nombre 7, le 5 ou 6 de l’eſpee contraire, avec quelque deſgraduation, abiſſement de la main, & le coude affermi contre le flanc, en ſorte que la partie inferieure du corps eſtant affranchie, il fait là deſſus ſon intrade, en allant du pied gauche juſqu’à la lettre I.''
 
|''Zacharie s’avance, & luy tire derechef une eſtocade par de hors le bras devers le viſage en ligne courbe, portant le pied droit juſqu’à la lettre R; qui faićt qu’Alexandre eſquive le coup en avançant le coſté gauche, & poſant le pied droit ſur le Diametre au dedans de la circonference, & acceuillant au meſme temps du Nombre 7, le 5 ou 6 de l’eſpee contraire, avec quelque deſgraduation, abiſſement de la main, & le coude affermi contre le flanc, en ſorte que la partie inferieure du corps eſtant affranchie, il fait là deſſus ſon intrade, en allant du pied gauche juſqu’à la lettre I.''
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|After the two adversaries have adopted their direct line postures in the First Instance, holding their swords parallel to each other, that of Alexander above, Zachary once again tries to thrust from the outside, but this time not with a direct line, as in Circle No 4, because Alexander can block him with a similar direct line, beating and wounding him at the same time. Therefore, he prefers to strike with his arm bent, as follows. He first moves forward with a feint of the second type inside the arm, moving both he foot and body with the sword-arm extended, until the tip reaches about even with his opponent’s wrist. Then, still moving forward, he turns his wrist up, bends his arm, passes the tip above his opponent’s sword, and strikes from outside his opponent’s arm with a powerful thrust to his enemy’s face. His right foot comes down on the Diameter, at the letter R, leaning his body forward over his right knee, and allowing the left foot to come up in balance to the letter X. Alexander first defends against the feint, tensing and straightening up his body, while raising his right foot, and extending his right arm, his sword-tip moving against the feint as shown before (Circle No 4). He waits in this superior position, a universally applicable response against every move the adversary might try after his feint, either continuing the same move, or making a circular disengagement to try some change of position, or something else, as may be. Determining the intention of his adversary, at the first motion of the change by the turning of his shoulder and his arm, before the tip can even pass the level of his elbow, he clearly sees that it is aimed towards his face in a bent line. In one motion, he avoids this blow by placing his raised right foot down on the Diameter, just inside the Circumference, while dropping his hand down, contacting his adversary’s blade at about the 7th Span with the 5th or 6th Span of his own blade, and moving his head off the line by turning in a circular motion while stepping forward with his left foot. At the same time as he slides his blade along his adversary’s he bends his elbow and brings it down to his side as protection to defend the lower part of his body, continuing to turn his left side forward in a circular motion until his left foot comes down to the left of the Diameter, on the letter I (at the crossing of the Interior Collaterals and the Oblique Diameter), putting his body weight over his bent knee while forcing his opponent’s sword away to the side, exactly as shown by the figures in the image.
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|After the two adversaries have adopted their direct line postures at the First Instance, holding their swords parallel to each other, that of Alexander above the other, Zachary once again tries to thrust from the outside, but this time not with a direct line, as in Circle No 4, because Alexander can block him with a similar direct line, overpowering and wounding him at the same time. Therefore, he prefers to strike with his arm bent, as follows. He first moves forward with a feint of the second type inside the arm, moving both his foot and body, with the sword-arm extended, until the tip reaches about even with his opponent’s wrist. Then, still moving forward, he turns his wrist up, bends his arm, passes the tip above his opponent’s sword, and strikes from outside his opponent’s arm with a powerful thrust to his enemy’s face. His right foot comes down on the Diameter, at the letter R, he leans his body forward over his right knee, and allows the left foot to come up in balance to the letter X. Alexander first defends against the feint, tensing and straightening up his body, while raising his right foot, and extending his right arm, his sword-tip moving against the feint as shown before (Circle No4). He waits in this superior position, a universally applicable response against every move the adversary might try after his feint, who will either continue the same move, or make a circular disengagement to try some change of position, or yet something else, as may be. He determines his adversary’s intent, from the first motion of the change by the turning of his shoulder and his arm, and before the tip can even pass the level of his elbow, he clearly sees that it is aimed towards his face in a bent line. In one motion, he avoids this blow by moving his head off the line to the left, as he sets his right foot down along the Diameter just inside the circumference, lowerss his right hand down while raising the tip of his blade so that the 5th or 6th Span of his blade makes contact with the 7th Span of Zachary’s blade, and he bends his elbow and moves it down against his right side to protect against any cuts. He continues the left-forward motion with a circular step with his left foot up to the letter I (at the crossing of the Interior Collaterals and the Oblique Diameter). While he does this, the point of contact slides up Zachary’s blade, and forces it away to the side. Then he sets his left foot down, bends his knee and puts his weight on it while forcing his opponent’s sword further away, exactly as shown by the figures in the image.
  
 
|Apres que les deux Contraires ont eſté plantez à la Premiere Inſtance en poſtures de la droite ligne, tenants les eſpees paralleles l’une à l’autre, celle d’<font style="font-variant:small-caps">Alexandre</font> deſſus & l’autre deſſous; <font style="font-variant:small-caps">Zacharie</font> entreprend de luy tirer derechef une eſtocade en dehors du bras, non toutesfois en ligne droite, comme au Cercle N.4. à cauſe qu’<font style="font-variant:small-caps">Ale</font>xandre la luy avoit rencontrée avec pareille ligne droite; domté, & bleſſé au meſme temps; dont il aime mieux de luy porter le coup avec le bras courbé, en la maniere ſuivante. Il s’advance premierement avec une feinte de la ſeconde eſpece en dedans du bras, portant egalement le pied & le corps avec le bras eſtendu, juſques à tant que ſa poinćte arrive alendroit du poignet de la main contraire; & puis en continuant encor le meſme advancement, il la repaſſe par deſſous, & en tir en dehors du bras avec pleine force une eſtocade, au viſage de l’Ennemi en ligne courbe; poſant le pied droit ſure le Diametre à la lettre R, en accommodant le corps en avant ſur le genouil de la jambe droite, & laiſſant trainer le pied gauche proportionnellement derriere juſqu’à la lettre X. <font style="font-variant:small-caps">Alexandre</font> ſe prepare premierement cōtre la feinte, s’avivant & eſtendant au meſme temps le corps avec eſlevation du pied droit, en eſtendāt le bras avec l’eſpee, la poinćte dreſſée contrement du coſté de la feinte, comme il à eſté monſtré cy deſſus; en attendant avec ceſte ſuperiorité, comme avec un remede univerſel, tout ce que l’Adverſaire luy peut machiner en ſuite de la feinte, ſoit en continuant le trait encommencé, ou en uſant de quelque changement par maniere de cavation, ou de quelque autre ſorte, que ce puiſſe eſtre. S’appercevant donc au premiere trait du changemēt, de l’intention de ſon Adverſaire, par le torſement de l’eſpaule & du bras d’iceluy; avant que la pointe luy paſſe l’endroit du coude, il voit clairemēt, qu’elle eſt dreſſé devers ſon viſage en ligne courbe: à l’occaſion dequoy il eſquive le coup en oſtant ſa teſte hors de preſence, par le moien d’un tournoyement & avancement du coſté gauche qu’il veut faire en poſant le pied droit, à preſent eſlevé, ſur le Diametre au dedans de la Circonference, en acceuillant au meſme temps avec le Nombre 7. de ſa lame dreſſée contremont le 5. ou 6. de l’eſpee contraire, ſur laquelle il fait quelqeu petite deſgraduation avec quelque abaiſſement de la main, s’affermiſſant le coude contre le flanc, pour la defenſe de la partie inferieure du corps; & continuant à ſe tourner & avancer ſur le meſme pied circulairemēt le coſté gauche, juſqu’à en poſer le pied à la lettre I. par deçà le Diametre, pliant le genouil & accommodant le corps deſſus, en aſſujettant l’eſpee contraire; le tout en conformité de ce qui eſt repreſenté par les figures.
 
|Apres que les deux Contraires ont eſté plantez à la Premiere Inſtance en poſtures de la droite ligne, tenants les eſpees paralleles l’une à l’autre, celle d’<font style="font-variant:small-caps">Alexandre</font> deſſus & l’autre deſſous; <font style="font-variant:small-caps">Zacharie</font> entreprend de luy tirer derechef une eſtocade en dehors du bras, non toutesfois en ligne droite, comme au Cercle N.4. à cauſe qu’<font style="font-variant:small-caps">Ale</font>xandre la luy avoit rencontrée avec pareille ligne droite; domté, & bleſſé au meſme temps; dont il aime mieux de luy porter le coup avec le bras courbé, en la maniere ſuivante. Il s’advance premierement avec une feinte de la ſeconde eſpece en dedans du bras, portant egalement le pied & le corps avec le bras eſtendu, juſques à tant que ſa poinćte arrive alendroit du poignet de la main contraire; & puis en continuant encor le meſme advancement, il la repaſſe par deſſous, & en tir en dehors du bras avec pleine force une eſtocade, au viſage de l’Ennemi en ligne courbe; poſant le pied droit ſure le Diametre à la lettre R, en accommodant le corps en avant ſur le genouil de la jambe droite, & laiſſant trainer le pied gauche proportionnellement derriere juſqu’à la lettre X. <font style="font-variant:small-caps">Alexandre</font> ſe prepare premierement cōtre la feinte, s’avivant & eſtendant au meſme temps le corps avec eſlevation du pied droit, en eſtendāt le bras avec l’eſpee, la poinćte dreſſée contrement du coſté de la feinte, comme il à eſté monſtré cy deſſus; en attendant avec ceſte ſuperiorité, comme avec un remede univerſel, tout ce que l’Adverſaire luy peut machiner en ſuite de la feinte, ſoit en continuant le trait encommencé, ou en uſant de quelque changement par maniere de cavation, ou de quelque autre ſorte, que ce puiſſe eſtre. S’appercevant donc au premiere trait du changemēt, de l’intention de ſon Adverſaire, par le torſement de l’eſpaule & du bras d’iceluy; avant que la pointe luy paſſe l’endroit du coude, il voit clairemēt, qu’elle eſt dreſſé devers ſon viſage en ligne courbe: à l’occaſion dequoy il eſquive le coup en oſtant ſa teſte hors de preſence, par le moien d’un tournoyement & avancement du coſté gauche qu’il veut faire en poſant le pied droit, à preſent eſlevé, ſur le Diametre au dedans de la Circonference, en acceuillant au meſme temps avec le Nombre 7. de ſa lame dreſſée contremont le 5. ou 6. de l’eſpee contraire, ſur laquelle il fait quelqeu petite deſgraduation avec quelque abaiſſement de la main, s’affermiſſant le coude contre le flanc, pour la defenſe de la partie inferieure du corps; & continuant à ſe tourner & avancer ſur le meſme pied circulairemēt le coſté gauche, juſqu’à en poſer le pied à la lettre I. par deçà le Diametre, pliant le genouil & accommodant le corps deſſus, en aſſujettant l’eſpee contraire; le tout en conformité de ce qui eſt repreſenté par les figures.
Line 3,295: Line 3,297:
 
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|- style="font-family: times, serif; vertical-align:top;"
  
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|Note that we presume, in Circle 6, that Zachary has made his thrust with full intent to harm, which is the real situation that prompts the first contact, the continuation, and final execution of the thrusts shown in Circles 6, 7 , and 8. But let us suppose he has not made this thrust with resolute determination, that he moves his tip a little slower, or that he does not move his body forward as much as a determined thrust requires, moving his right foot forward only as far as the letter V. What is the solution? Because if one tried to turn the left side forward and try to throw his sword aside as shown in Circle 6 would be very dangerous, because Zachary can still change his actions and make a circular disengage to wound Alexander inside the arm. Which would be impossible if he were fully committed to the outside thrust. The difference between these two attacks is what Alexander must learn to distinguish, through his adversary’s preparations, and initial motions. Whether he is attacking with intent, or reserved. Having recognized this, he moves his right foot forward beside the Diameter to about the letter E, closing his elbow by his side as he his body moves forward, and, with a slight drop of the hand and wrist movement, aims his tip against his adversary towards his adversary’s sword, to be able to turn his adversary’s point aside, whether the blades are in contact or not. He is careful not to move his left foot forward, but keeps it slightly raised behind or to the side, and if his enemy continues with his initial movement, he will also continue with his left foot, more slowly than before, in order to maintain the correct amount of contact, to be able to work confidently against any changes his enemy might make. These must be met with the strong going against his weak, and then giving a hit to the face when stepping forward with the left foot. This will be fully explained in the appropriate chapter. So, having prepared, it sometimes happens that the swords touch, and sometimes not, or at least much later than they should. In the first case, you already know what to do, to move in relatively slowly with the left side and foot, maintaining the sensibility of the contact. In the second case, when the opponent does not touch your blade, it is absolutely certain he does not intent to wound you with his bent-arm attack, that he is only pretending to in order to get you to move your sword aside, away from defending the centre line, so he can more easily disengage around your arm. To prevent this, you must take advantage of this feint, by leaning further forward while lowering your hand and guard, catch the weak of his blade, at the 3rd, 4th, or 5th Span, with the strong of your blade as he moves upward from beneath your blade. Continue to move up his blade, aiming the tip of your sword towards his face to wound him following along the line of the blade, stepping forward with the left foot beyond the perpendicular diameter, if he is not fast enough with his disengagement. If he does it at all, considering that he can do this only with a circular motion.
+
|Note that we presume, in Circle 6, that Zachary has made his thrust with full intent to harm, which is the real situation that prompts the first contact, the continuation, and final execution of the thrusts shown in Circles 6, 7 , and 8. But let us suppose he has not made this thrust with resolute determination, that he moves his tip a little slower, or that he does not move his body forward as much as a determined thrust requires, moving his right foot forward only as far as the letter V. What is the solution? Because if one tried to turn the left side forward and try to throw his sword aside as shown in Circle 6 would be very dangerous, because Zachary can still change his actions and make a circular disengage to wound Alexander inside the arm. Which would be impossible if he were fully committed to the outside thrust. The difference between these two attacks is what Alexander must learn to distinguish, through his adversary’s preparations, and initial motions. Whether he is attacking with intent, or reserved. Having recognized this, he moves his right foot forward beside the Diameter to about the letter E, closing his elbow by his side as he his body moves forward, and, with a slight drop of the hand and wrist movement, aims his raised tip towards his adversary’s sword, to be able to turn his adversary’s point aside, whether the blades are in contact or not. He is careful not to move his left foot forward, but keeps it slightly raised behind or to the side, and if his enemy continues with his initial movement, he will also continue with his left foot, more slowly than before, in order to maintain the correct amount of contact, to be able to work confidently against any changes his enemy might make. These must be met with the strong going against his weak, and then giving a hit to the face when stepping forward with the left foot. This will be fully explained in the appropriate chapter. So, having prepared, it sometimes happens that the swords touch, and sometimes not, or at least much later than they should. In the first case, you already know what to do, to move in relatively slowly with the left side and foot, maintaining the sensibility of the contact. In the second case, when the opponent does not touch your blade, it is absolutely certain he does not intent to wound you with his bent-arm attack, that he is only pretending to in order to get you to move your sword aside, away from defending the centre line, so he can more easily disengage around your arm. To prevent this, you must take advantage of this feint, by leaning further forward while lowering your hand and guard, catch the weak of his blade, at the 3rd, 4th, or 5th Span, with the strong of your blade as he moves upward from beneath your blade. Continue to move up his blade, aiming the tip of your sword towards his face to wound him following along the line of the blade, stepping forward with the left foot beyond the perpendicular diameter, if he is not fast enough with his disengagement. If he does it at all, considering that he can do this only with a circular motion.
  
 
|Or notez que on preſuppoſe au Cercle 6. que <font style="font-variant:small-caps">Za</font>charie ait tiré ſon eſtocade avec pleine reſolution, qui eſt la vraye occaſion, de laquelle ceſte rencontre, continuation, & execution des ſuſdites Cercles 6. 7. 8. depend. Mais poſé le cas, qu’il ne tiraſt pas avec ceſte reſolution & hardieſſe, ains qu’il portaſt ſa pointe plus lentemēt, ou qu’il n’avançaſt pas le corps, tant que la proportion d’une eſtocade reſolue demande, n’entrant du pied droit que juſqu’à la lettre V. peu plus ou moins. Quel remede? Car de vouloir icy tourner le coſté ſeneſtre devant, & aſſujettir ſa lame à la mode du Cercle 6. c’eſt choſe treſdangereuſe: pource qu’il s’eſt reſervé de pouvoir changer l’operation encommencée, & de faire la cavation pour bleſſer au dedans du bras: ce qui luy ſeroit impoſsible s’il eſtoit en aćte  de tirer avec reſolution. La rencontre, c’eſt qu’il faut qu’<font style="font-variant:small-caps">Ale</font>xandre ſache distinguer, par les commencemens & preparations des mouvemens du contraire, s’il tire avec reſolution, ou avec reſerve. Et l’ayant recognu, qu’il entre du pied droit environ la lettre E. par deça le Diametre, en s’affermiſſant le coude du bras droit contre le coſté, avec avancement du corps, & quelque petite deſcente de la main, & accomodation du poignet, par laquelle il dreſſera ſa pointe contremont devers l’eſpee contraire, pour en deſtourner la poinćte au temps convenable, ſoit que les lames s’entretouchent, ou non: ſe gardant cependant d’avancer le pied gauche, mais qu’il le tienne en l’air derriere ou à coſté, & ſi l’Ennemi continue ſon premier mouvement, il continuera auſſi à l’egal d’entrer du pied gauche, pluſtoſt lentement qu’autrement, afin de retenir le ſentiment juſte, pour travailler avec plus d’aſſeurance ſure les cavations qu’on luy pourroit faire; leſquelles il faudra rencōtrer en accueillant le foible de l’eſpee contraire du ſort de la ſienne, & luy donner le coup au viſage avec avancemēt du meſme pied gauche: ainſi qu’il ſera deſcript plus particulierement en ſon lieu. Or en faiſant ceſte preparation, il advient aucunefois que les eſpees s’entretouchent, & aucunefois point, ou pour le moins plus tard, qu’elles ne devroyent. Quand la premiere occurrence ſe preſentera, vous avez deſia voſtre inſtrućtion, d’entrer lentement avec le coſté, & le pied gauche, moyennant l’aſſeurance du ſentiment: Quand la ſeconde ſe preſente; & que l’adverſaire ne touche pas voſtre lame, c’eſt un argument infallible, qu’il n’a pas intention de bleſſer avec ſa courbe; ains ſeulement d’en faire le ſembāt, pour faire ſortir voſtre eſpee hors du centre de ſa defenſe, afin de ſe ſervir en apres de la cavation avec plus d’apparence. Pour y obvier, il faut que vous prenniez ſur ceſte feinte un nouvel amendement de voſtre avantage; en augmentant le panchement du corps en avant, enſemble avec la deſcente de la main & de la garde, en dreſſant la pointe en haut devers ſon viſage pour le bleſſer ſuivant le fil de ſa lame, s’il ne fait aſſez toſt la cavation. Et s’il la fait, conſiderant qu’il ne la peut faire autre, que circulairement; vous accueillirez du fort de voſtre eſpee le foible de la ſienne, Nombre 3, 4, ou 5, cependant qu’elle montera de deſſous voſtre garde en haut: & continuerez à la graduer, & à le bleſſer au viſage, en avançant le coſté gauche, & entrant avec le meſme pied dedans ſes perpendiculaires.
 
|Or notez que on preſuppoſe au Cercle 6. que <font style="font-variant:small-caps">Za</font>charie ait tiré ſon eſtocade avec pleine reſolution, qui eſt la vraye occaſion, de laquelle ceſte rencontre, continuation, & execution des ſuſdites Cercles 6. 7. 8. depend. Mais poſé le cas, qu’il ne tiraſt pas avec ceſte reſolution & hardieſſe, ains qu’il portaſt ſa pointe plus lentemēt, ou qu’il n’avançaſt pas le corps, tant que la proportion d’une eſtocade reſolue demande, n’entrant du pied droit que juſqu’à la lettre V. peu plus ou moins. Quel remede? Car de vouloir icy tourner le coſté ſeneſtre devant, & aſſujettir ſa lame à la mode du Cercle 6. c’eſt choſe treſdangereuſe: pource qu’il s’eſt reſervé de pouvoir changer l’operation encommencée, & de faire la cavation pour bleſſer au dedans du bras: ce qui luy ſeroit impoſsible s’il eſtoit en aćte  de tirer avec reſolution. La rencontre, c’eſt qu’il faut qu’<font style="font-variant:small-caps">Ale</font>xandre ſache distinguer, par les commencemens & preparations des mouvemens du contraire, s’il tire avec reſolution, ou avec reſerve. Et l’ayant recognu, qu’il entre du pied droit environ la lettre E. par deça le Diametre, en s’affermiſſant le coude du bras droit contre le coſté, avec avancement du corps, & quelque petite deſcente de la main, & accomodation du poignet, par laquelle il dreſſera ſa pointe contremont devers l’eſpee contraire, pour en deſtourner la poinćte au temps convenable, ſoit que les lames s’entretouchent, ou non: ſe gardant cependant d’avancer le pied gauche, mais qu’il le tienne en l’air derriere ou à coſté, & ſi l’Ennemi continue ſon premier mouvement, il continuera auſſi à l’egal d’entrer du pied gauche, pluſtoſt lentement qu’autrement, afin de retenir le ſentiment juſte, pour travailler avec plus d’aſſeurance ſure les cavations qu’on luy pourroit faire; leſquelles il faudra rencōtrer en accueillant le foible de l’eſpee contraire du ſort de la ſienne, & luy donner le coup au viſage avec avancemēt du meſme pied gauche: ainſi qu’il ſera deſcript plus particulierement en ſon lieu. Or en faiſant ceſte preparation, il advient aucunefois que les eſpees s’entretouchent, & aucunefois point, ou pour le moins plus tard, qu’elles ne devroyent. Quand la premiere occurrence ſe preſentera, vous avez deſia voſtre inſtrućtion, d’entrer lentement avec le coſté, & le pied gauche, moyennant l’aſſeurance du ſentiment: Quand la ſeconde ſe preſente; & que l’adverſaire ne touche pas voſtre lame, c’eſt un argument infallible, qu’il n’a pas intention de bleſſer avec ſa courbe; ains ſeulement d’en faire le ſembāt, pour faire ſortir voſtre eſpee hors du centre de ſa defenſe, afin de ſe ſervir en apres de la cavation avec plus d’apparence. Pour y obvier, il faut que vous prenniez ſur ceſte feinte un nouvel amendement de voſtre avantage; en augmentant le panchement du corps en avant, enſemble avec la deſcente de la main & de la garde, en dreſſant la pointe en haut devers ſon viſage pour le bleſſer ſuivant le fil de ſa lame, s’il ne fait aſſez toſt la cavation. Et s’il la fait, conſiderant qu’il ne la peut faire autre, que circulairement; vous accueillirez du fort de voſtre eſpee le foible de la ſienne, Nombre 3, 4, ou 5, cependant qu’elle montera de deſſous voſtre garde en haut: & continuerez à la graduer, & à le bleſſer au viſage, en avançant le coſté gauche, & entrant avec le meſme pied dedans ſes perpendiculaires.
Line 3,307: Line 3,309:
 
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|''Alexander is waiting in the Direct Line, Zacharie tries a thrust to the stomach, with the intention of stepping with his right foot up to the letter R, but Alexander prevents him, by turning the changing the direction of the right side, with the same arm held forward and extended and hits him in the right shoulder, which holds him back and forces him to stop his step at the letter V on the Diameter.''
+
|''Alexander is waiting in the Direct Line posture, Zacharie tries a thrust to the stomach, with the intention of stepping with his right foot up to the letter R, but Alexander prevents him, turning his right side away with his arm still fully extended and forward to give a hit on Zachary’s own right shoulder, which forces him to shorten his pace and set his foot down on the Diameter at the letter V.''
  
 
|''Alexandre eſtant planté en droite ligne, Zacharie luy va tirer un coup d’eſtocade devers le ventre, en avançant le corps avec intention de porter le pied droit juſques à la lettre R. mais comme Alexandre le previent, en deſtournant le coſté droit avec le meſme bras eſtendu & avancé, & luy donne l’atteinte en l’eſpaule droite à luy meſme, il eſt retenu en arriere & contraint de raccourcir le pas à lettre V ſur le Diametre.''
 
|''Alexandre eſtant planté en droite ligne, Zacharie luy va tirer un coup d’eſtocade devers le ventre, en avançant le corps avec intention de porter le pied droit juſques à la lettre R. mais comme Alexandre le previent, en deſtournant le coſté droit avec le meſme bras eſtendu & avancé, & luy donne l’atteinte en l’eſpaule droite à luy meſme, il eſt retenu en arriere & contraint de raccourcir le pas à lettre V ſur le Diametre.''
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|After having taken a look at the thrusts to Alexander’s face that Zachary might make, to the inside and outside of the sword, it is a good idea to likewise add the thrusts that he could also make towards the stomach, beneath the arm, so that by these proofs one can judge as one should the superiority of the direct line, which he has, once again, adopted in Circle No 9, on the ordinary lines of the Quadrangle A-C. Zachary has likewise approached, by adopting the direct line, setting himself with his blade parallel and beneath the other, in the usual way of our style. Or, he may have approached up to the First Instance in the old style, with his body bent over. Having arrived there, he strikes outside with a feint of the second type, reaching to the wrist, and moves in closer. Continuing the same advance, swiftly he drops his tip with a circular motion and keeping his arm straight. Advancing, he intends to put his foot as far forward as the letter R along the Diameter, and at the same time he aims the tip of his sword at the lower part of his enemy’s body. These are the actions made by the attacker. The instructions for the defender follows.
+
|After having taken a look at the thrusts to Alexander’s face that Zachary might make, to the inside and outside of the sword, it is a good idea to likewise add the thrusts that he could also make towards the stomach, beneath the arm, so that by these proofs one can judge as one should the superiority of the direct line posture, which he has, once again, adopted in Circle No 9, on the ordinary lines of the Quadrangle A-C. Zachary has likewise approached, by adopting the direct line posture, setting his blade parallel to and beneath the other, in the usual way of our style. Or, he may have approached up to the First Instance in the old style, with his body bent over. Having arrived there, he strikes outside with a feint of the second type, reaching to the wrist, and moves in closer. Continuing the same advance, swiftly he drops his tip with a circular motion, keeping his arm straight. Advancing as he does this, he intends to put his foot as far forward as the letter R along the Diameter, and at the same time he aims the tip of his sword at the lower part of his enemy’s body. These are the actions made by and goals of the attacker. The instructions for the defender follows. Alexander first responded to the feint. Tensing his body, raising his right heel up, and working with his sword, as has been described, above. He recognises, as his opponent begins to make the second part of the movement,  that his opponent is going to wound him in the stomach or in the right side and as he does this his opponent lowers his arm and sword, so much that he leaves his right shoulder uncovered. At the same time, Alexander turns his right side outwards, his feet pointing forward and moves the upper part of his torso forward by leaning his upper body while holding his sword out straight in front, so that he hits his opponent in the right shoulder, which is the closest part of his body, and by this hit, he forces him to shorten his step, putting his foot down at about the letter V, rather than the letter R, as he intended.
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|Apres avoir propoſé les eſtocades, qui pourroyent eſtre tirées par <font style="font-variant:small-caps">Za</font>charie en dehors & en dedans l’eſpee vers le viſage d’<font style="font-variant:small-caps">Ale</font>xandre, il ſera bon d’y adjouſter paeillemēt celles qu’il pourroit tirer vers le ventre au deſſoubs des armes, afin que par ces preuves on puiſſe dignement juger de l’excellence de la droite ligne, en laquelle il s’eſt derechef arreſté en ce Cercle 9. ſur les lignes ordinaires du quadrangle AC. <font style="font-variant:small-caps">Zacharie</font> l’eſt pareillement venu aborder avec la meſme droite ligne, en aſſeoyant ſa lame parallele au deſſous de l’autre, ſuivant l’ordinaire de noſtre ſtyle: ou bien il eſt venu à la premiere Inſtance avec le corps courbé, ſelon la couſtume ancienne; & y eſtant arrivé, il à tiré par dehors une feinte de la ſeconde eſpece juſqu’au poignet de la main contraire, en levant le pied droit, & commençant à s’avancer: puis continuant le meſme avancement, il à rabaiſſé ſa pointe circulairement avec le bras roide, & avec grande viſteſſe; avançant quand & quand le corps d’avantage, en intention de porter le pied juſques à la lettre R. ſur le Diametre, & d’aſſener au meſme temps le coup de ſa pointe en la partie inferieure du corps de ſon Ennemi. Voilà les aćtions, & l’intention de l’aſſaillant. S’enſuit l’inſtrućtion pour le defendant.
 
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|Alexander first responded to the feint. Tensing his body, raising his right heel up, and working with his sword, as has been described, above. He recognises, as his opponent begins to make the second part of the movement,  that his opponent is going to wound him in the stomach or in the right side and as he does this his opponent lowers his arm and sword, so much that he leaves his right shoulder uncovered. At the same time, Alexander turns his right side outwards, his feet pointing forward and moves the upper part of his torso forward by leaning his upper body while holding his sword out straight in front, so that he hits his opponent in the right shoulder, which is the closest part of his body, and by this hit, he forces him to shorten his step, putting his foot down at about the letter V, rather than the letter R, as he intended.
 
  
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|<font style="font-variant:small-caps">Alexandre</font> à fait premierement ſa preparation contre la feinte; s’avivant le corps, avec eſlevation du talon du pied droit, & travaillant de l’eſpee, ſelon ce qui a eſté dit plus particulierement cy deſſus. Puis recognoiſſant au ſecond mouvement le changement, que l’Adverſaire commence, pour le bleſſer au ventre, ou au coſté droit du corps; & que pour ce faire, il s’abaiſſe le bras & l’eſpee, tant qu’il ſe deſcouvre luy meſme l’eſpaule droite; il ſe deſtourne à meſme temps le coſté droit en dehorsavec les pointes des deux pieds devant, & avance la partie ſuperieure du corps en la panchant avec le bras eſtendu, de ſorte qu’il luy donne l’atteinte en l’eſpaule droite, qui eſt le plus prochain endroit de lattouchement, le prenant & prevenant par ceſte rencontre, en ſorte qu’il le contraint de raccourcir le pas, & abaiſſer le pied environ la lettre V. au lieu de l’avancer juſques à R. comme il avoit deſſeing.
+
|Apres avoir propoſé les eſtocades, qui pourroyent eſtre tirées par Zacharie en dehors & en dedans l’eſpee vers le viſage d’Alexandre, il ſera bon d’y adjouſter pareillemēt celles qu’il pourroit tirer vers le ventre au deſſoubs des armes, afin que par ces preuves on puiſſe dignement juger de l’excellence de la droite ligne, en laquelle il s’eſt derechef arreſté en ce Cercle 9. ſur les lignes ordinaires du quadrangle AC. Zacharie l’eſt pareillement venu aborder avec la meſme droite ligne, en aſſeoyant ſa lame parallele au deſſous de l’autre, ſuivant l’ordinaire de noſtre ſtyle: ou bien il eſt venu à la premiere Inſtance avec le corps courbé, ſelon la couſtume ancienne; & y eſtant arrivé, il à tiré par dehors une feinte de la ſeconde eſpece juſqu’au poignet de la main contraire, en levant le pied droit, & commençant à s’avancer: puis continuant le meſme avancement, il à rabaiſſé ſa pointe circulairement avec le bras roide, & avec grande viſteſſe; avançant quand & quand le corps d’avantage, en intention de porter le pied juſques à la lettre R. ſur le Diametre, & d’aſſener au meſme temps le coup de ſa pointe en la partie inferieure du corps de ſon Ennemi. Voilà les aćtions, & l’intention de l’aſſaillant. S’enſuit l’inſtrućtion pour le defendant. <font style="font-variant:small-caps">Alexandre</font> à fait premierement ſa preparation contre la feinte; s’avivant le corps, avec eſlevation du talon du pied droit, & travaillant de l’eſpee, ſelon ce qui a eſté dit plus particulierement cy deſſus. Puis recognoiſſant au ſecond mouvement le changement, que l’Adverſaire commence, pour le bleſſer au ventre, ou au coſté droit du corps; & que pour ce faire, il s’abaiſſe le bras & l’eſpee, tant qu’il ſe deſcouvre luy meſme l’eſpaule droite; il ſe deſtourne à meſme temps le coſté droit en dehors avec les pointes des deux pieds devant, & avance la partie ſuperieure du corps en la panchant avec le bras eſtendu, de ſorte qu’il luy donne l’atteinte en l’eſpaule droite, qui eſt le plus prochain endroit de lattouchement, le prenant & prevenant par ceſte rencontre, en ſorte qu’il le contraint de raccourcir le pas, & abaiſſer le pied environ la lettre V. au lieu de l’avancer juſques à R. comme il avoit deſſeing.
  
 
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|But let’s suppose, either by his speed, or because Alexander is behind, he is now so far forward that there is no longer any means of stopping him, or to break his step. In this case, it is not advisable for Alexandre to try to reach him with a simple twist of the body. So he must, from time to time, use a small backwards step, out of fear that the adversary’s sword-tip (which is nearby, is free to move, and approaching, and cannot be stopped by a straight line counter-thrust) will wound him at the same instant, or just afterwards. In this case, he must draw his feet backwards a little bit, about as much as his adversary’s approach, so that there is no part of his body where Zachary intends to strike, or, if Zachary wants to reach further, he will be forced to make extremely long moves, and to unbalance his body so that he cannot recover in time. One should meet him at this point, when he is weakest, when he has abandoned himself to the mercy of his adversary, having abandoned his position of superiority in such a way that one can easily use the direct line to hit the nearest open target, as long as one leans a little forward. To accomplish this, being in the correct Instance is very advantageous to Alexander, because he is attacking from the direct line posture, which has the longest range, leaning the upper body forwards, having withdrawn the lower part, which is where his adversary aimed the tip of his sword, and his enemy has moved himself off of the dirct line by attacking downwards at an acute angle. Finally, which is very important, he works from a position of superiority, and he can surprise the enemy at the very instant that he has expended all his effort, leaving nothing for his defense.
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|But let’s suppose, either by his speed, or because Alexander is inattentive, that Zachary is now so far forward that there is no longer any means of stopping him, or breaking his step. In this case, it is not advisable for Alexandre to try to reach him with a simple twist of the body. So he must, at the same time, take a small backwards step, out of fear that the adversary’s sword-tip (which is nearby, is free to move, approaching, and cannot be stopped by a straight line counter-thrust) will wound him at the same instant, or just afterwards. In this case, he must draw his feet backwards a little bit, about as much as his adversary’s approach, so that there is no part of his body is left where Zachary intends to strike, or, if Zachary wants to reach even further, he will be forced to make extremely long moves, and to unbalance himself so that he cannot recover quickly, in which case ne should meet him at this point, when he is weakest, when he has abandoned himself to the mercy of his adversary, having abandoned his position of superiority in such a way that one can easily use the direct line to hit the nearest open target, as long as one leans a little forward. To accomplish this, being in the Instance is very advantageous for Alexander, because he attacks from the direct line posture, which has the longest range, by leaning his upper body forwards, while withdrawing the lower part, which is where his adversary aimed the tip of his sword, and his enemy has moved himself off of the dirct line by attacking downwards at an acute angle. Finally, which is very important, Alexander works from a position of superiority, and he can surprise the enemy at the very instant that he has expended all his effort, leaving nothing for his defense.
  
 
|Mais poſons le cas, que par ſa viſteſſe, ou par l’inadvertance d’<font style="font-variant:small-caps">Ale</font>xandre, il ſoit venu ſi avant qu’il n’y ait plus de moyen de l’arreſter, ou de luy rompre le pas. En ceſte occaſion il n’eſt pas loiſible à <font style="font-variant:small-caps">Ale</font>xandre de l’attendre avec un ſimple tournement du corps; ais il eſt contraint de ſe ſervir quand & quand d’une petite retirade; de peur que la pointe contraire, (que eſt en preſence, & libre, & en aćte d’approcher, ni ne peut eſtre arreſtée par l’eſtocade de la droite ligne) ne le bleſſe au meſme inſtant, ou bien peu apres. Il faut donc en ce cas qu’il retire les pieds un peu en arriere, plus ou moins à l’advenant de l’approchement de l’Adverſaire, afin qu’il ny ait point de corps au lieu qu’il pretend de frapper, ou s’il veut pourſuivre ſa poinćte plus avāt, qu’il ſoit contraint à faire des mouvements extremes, & à tresbucher du corps, dequoy il ne ſe peut redreſſer à temps, ſi on adviſe bien de l’accueillir durant le meſme affoibliſſement, au quel il s’eſt comme abandonné à la mercy de l’Adverſaire, luy quittant tout l’advantage de la ſuperiorité. en ſorte qu’on le peut aiſement toucher en droit ligne au plus prochan lieu deſcouvert, moyennāt qu’on ſe panche un peu ſur le devant. Or pour ce faire les Inſtances ſont grandement advantageuſes pour <font style="font-variant:small-caps">Ale</font>xandre, par ce qu’il travaille avec la droite ligne, qui eſt la plus longue meſure, avec panchement de la partie ſuperieure du corps, en ayant en outre retiré la partie inferieure où l’Adverſaire avoit dreſſé ſa poinćte, & que l’ennemi s’eſt eſloigné de luy meſme de la droite ligne, en tirāt le coup vers le bas en angle aigu: & finalement, ce qui importe beaucoup, qu’il travaille avec ſuperiorité, & qu’il ſurprend l’Ennemy à l’inſtant qu’il n’a plus nulle reſerve de force pour ſa defenſe.
 
|Mais poſons le cas, que par ſa viſteſſe, ou par l’inadvertance d’<font style="font-variant:small-caps">Ale</font>xandre, il ſoit venu ſi avant qu’il n’y ait plus de moyen de l’arreſter, ou de luy rompre le pas. En ceſte occaſion il n’eſt pas loiſible à <font style="font-variant:small-caps">Ale</font>xandre de l’attendre avec un ſimple tournement du corps; ais il eſt contraint de ſe ſervir quand & quand d’une petite retirade; de peur que la pointe contraire, (que eſt en preſence, & libre, & en aćte d’approcher, ni ne peut eſtre arreſtée par l’eſtocade de la droite ligne) ne le bleſſe au meſme inſtant, ou bien peu apres. Il faut donc en ce cas qu’il retire les pieds un peu en arriere, plus ou moins à l’advenant de l’approchement de l’Adverſaire, afin qu’il ny ait point de corps au lieu qu’il pretend de frapper, ou s’il veut pourſuivre ſa poinćte plus avāt, qu’il ſoit contraint à faire des mouvements extremes, & à tresbucher du corps, dequoy il ne ſe peut redreſſer à temps, ſi on adviſe bien de l’accueillir durant le meſme affoibliſſement, au quel il s’eſt comme abandonné à la mercy de l’Adverſaire, luy quittant tout l’advantage de la ſuperiorité. en ſorte qu’on le peut aiſement toucher en droit ligne au plus prochan lieu deſcouvert, moyennāt qu’on ſe panche un peu ſur le devant. Or pour ce faire les Inſtances ſont grandement advantageuſes pour <font style="font-variant:small-caps">Ale</font>xandre, par ce qu’il travaille avec la droite ligne, qui eſt la plus longue meſure, avec panchement de la partie ſuperieure du corps, en ayant en outre retiré la partie inferieure où l’Adverſaire avoit dreſſé ſa poinćte, & que l’ennemi s’eſt eſloigné de luy meſme de la droite ligne, en tirāt le coup vers le bas en angle aigu: & finalement, ce qui importe beaucoup, qu’il travaille avec ſuperiorité, & qu’il ſurprend l’Ennemy à l’inſtant qu’il n’a plus nulle reſerve de force pour ſa defenſe.
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|In any case, to perform this, be very careful not to take a step backwards too early, or you will allow your adversary to move halfway to the next Instance, where he will pursue his thrust with the tip even more forcefully, encouraged to expect that it will succeed, as your arms and legs will be vulnerable to attack. Because if he has time to observe your transitions, he will likewise transition in response against it, either by making a circular disengage, or crossing swords, or changing the range. Thus, a retreat made too soon will alert him to his advantage.
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|An observation, at all times, when performing this, take care that you do not withdraw your foot too early, and so allow your adversary come halfway to the next Instance, and so he will continue to press his point even more forcefully, encouraged to expect that it will succeed, which will leave your arms and legs vulnerable to attack. Because otherwise if he has time to observe your change of position, he will likewise change his position in response against it, either by making a circular disengage, or attacking your sword, or moving out of range. Thus, a retreat made too soon will alert him to his advantage.
  
 
|Toutesfois pour pratiquer ceſt obſervation prenez bien garde, que vous ne faciez pas la retirade du pied avant qu’il ſoit temps, ains que vous laiſſiez venir l’Adverſaire juſqu’à la moitié de l’Inſtance, afin qu’il continue plus furieuſement à pourſuivre ſa poinćte, en eſperance, & avec apparence de la mettre à execution; ce qui luy ſera faire des extremitez à luy prejudiciables. Car autrement s’il adviſe à temps du changement, que vous faites, il changera pareillement alencontre, ſoit en uſant de cavation, ou en affrontant les eſpees, ou en rompant la meſure; de façon, que la retraite, qui ſera faite avant le temps, luy ſervira d’un advertiſſement pour ſon advantage.
 
|Toutesfois pour pratiquer ceſt obſervation prenez bien garde, que vous ne faciez pas la retirade du pied avant qu’il ſoit temps, ains que vous laiſſiez venir l’Adverſaire juſqu’à la moitié de l’Inſtance, afin qu’il continue plus furieuſement à pourſuivre ſa poinćte, en eſperance, & avec apparence de la mettre à execution; ce qui luy ſera faire des extremitez à luy prejudiciables. Car autrement s’il adviſe à temps du changement, que vous faites, il changera pareillement alencontre, ſoit en uſant de cavation, ou en affrontant les eſpees, ou en rompant la meſure; de façon, que la retraite, qui ſera faite avant le temps, luy ſervira d’un advertiſſement pour ſon advantage.
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|Because Alexander leaned the upper part of his body forward to hit, it follows that his arm and hand were lowered by the same degree as a result, and it follows that his guard can contact and block his adversary’s blade, before the tip has time to reach his own body. So that, by the lowering of his arm, that accompanied the forward lean of his torso, he holds the lower blade in subjugation, pushing it further down and away. At the same time as he steps forward with his left foot, to close with his adversary, he keeps his right foot, which is supporting the counter-thrust, in place behind. He puts his left foot down at the Letter I, or near it beside the Diameter, leaning and moving his right shoulder forward, while forcing the guard downwards, and moving it up the adversary’s blade, until his opponent’s sword tip is almost into the ground. All while piercing further into the shoulder and neck of his opponent, so he cannot defend against it.
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|Because Alexander leaned the upper part of his body forward to hit, it follows that his arm and hand were lowered by the same degree as a result, and it follows that his guard can contact and block his adversary’s blade, before the tip has time to reach his own body. So that, by the lowering of his arm, that accompanied the forward lean of his torso, he holds the lower blade in subjugation, pushing it further down and away, moving in closer while keeping his body bend over. Combined with raising his left foot to enter in against his adversary, he steps forward with his lower left side, while keeping his right side (which is the block against his opponent’s thrust) to the rear. He puts his left foot down at or near the Letter I, beside the Diameter, leaning and moving his right shoulder forward, while keeping his arm straight to force his guard downwards, and moving it up his adversary’s blade, until his opponent’s sword tip is almost into the ground. All while piercing further into the shoulder and neck of his opponent, in a way that he cannot defend against it.
  
 
|Puis qu’<font style="font-variant:small-caps">Alexandre</font> a donné l’atteinte avec panchement du corps, dont la partie ſuperieure, le bras, & la main, deſcendent tout enſemble proportionnellement, il s’enſuit que ſa garde viendra toucher & empeſcher la lame contraire, avant que la poinćte ait le loiſir de parvenir juſqu’à ſon corps: de ſorte que par la deſcente du bras (qui accompagne le panchement de la partie ſuperieure du corps) il tiendra la lame inferieure en ſubjećtion, l’abaiſſant plus loing de ſoy & pluſtoſt, qu’il ne s’en approche par la continuation de ſon panchement encommencé. Ioint auſſi qu’en eſlevant le pied gauche, il entrera ſur ſa partie adverſe, avec la partie inferieure du coſté gauche tant ſeulement, demeurant cependant le coſté droit, (qui eſt le blanc de l’eſtocade contraire) en arriere; & plantera le pied en terre au poinćt I ou environ par deça le Diametre, panchant & avançant davantage la partie ſuperieure du coſté droit, deſcendant touſiours ſa garde avec le bras eſtendu ſur l’eſpee contraire, la graduant juſqu’à la garde, de ſorte que la poinćte viendra quaſi à toucher la terre: pourſuivant au reſte à percer l’eſpaule & le col de ſon Adverſaire, de façon qu’il ne luy reſte plus aucune defenſe.
 
|Puis qu’<font style="font-variant:small-caps">Alexandre</font> a donné l’atteinte avec panchement du corps, dont la partie ſuperieure, le bras, & la main, deſcendent tout enſemble proportionnellement, il s’enſuit que ſa garde viendra toucher & empeſcher la lame contraire, avant que la poinćte ait le loiſir de parvenir juſqu’à ſon corps: de ſorte que par la deſcente du bras (qui accompagne le panchement de la partie ſuperieure du corps) il tiendra la lame inferieure en ſubjećtion, l’abaiſſant plus loing de ſoy & pluſtoſt, qu’il ne s’en approche par la continuation de ſon panchement encommencé. Ioint auſſi qu’en eſlevant le pied gauche, il entrera ſur ſa partie adverſe, avec la partie inferieure du coſté gauche tant ſeulement, demeurant cependant le coſté droit, (qui eſt le blanc de l’eſtocade contraire) en arriere; & plantera le pied en terre au poinćt I ou environ par deça le Diametre, panchant & avançant davantage la partie ſuperieure du coſté droit, deſcendant touſiours ſa garde avec le bras eſtendu ſur l’eſpee contraire, la graduant juſqu’à la garde, de ſorte que la poinćte viendra quaſi à toucher la terre: pourſuivant au reſte à percer l’eſpaule & le col de ſon Adverſaire, de façon qu’il ne luy reſte plus aucune defenſe.
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|This operations begins the same way as the previous, that is, the two adversaries face each other at the First Instance. Zachary makes a feint to the inside. This was likewise met, as in Circle No 9, but with the difference that the thrust in Circle No 9 was made so low that his shoulder was exposed, so he guards against this now. So, in moving his body forward while making a circular disengage, to attack and move his foot forward to the Letter R, he carries his arm a bit higher, so as to cover his shoulder with his guard. Which is why, as soon as Alexander, having already made ready, becoming alert and tensing his body, extending his arm and sword with the tip up at an obtuse angle, as fully described in the previous example, percieves the first indication of a move from the feint, at the instant his adversary’s sword begins to drop down, to aim the tip at his lower body, he likewise drops his own, bringing the tip, with his arm extended, to about the height of his adversary’s head, again intending to use the direct line posture to wound him in the shoulder. But seeing that his shoulder is covered by the guard, he immediately turns his right side to the outside, so the toes of his feet point forward, he draws his right hip and foot back slightly, leaning further forward with his upper body. This motion brings his arm down at the same time, dropping the guard onto his opponent’s sword. As he continues to lower it further, he is presented with the opportunity to wound him in the face, as is shown in the figure.
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|This action begins the same way as the previous, that is, the two adversaries face each other at the First Instance. Zachary makes a feint to the inside. This was likewise met, as in Circle No 9, but with the difference that the thrust in Circle No 9 was made so low that his shoulder was exposed, so he guards against that this time. So, as he moves his body forward while making a circular disengagement, in order to attack and move his foot forward to the Letter R, he carries his hand a bit higher, so as to cover his shoulder with his guard. Which is why, as soon as Alexander, having made ready by becoming alert and tensing his body, extended his arm and brought the tip of his sword up at an obtuse angle, as fully described in the previous example, percieves the first indication of a move from the feint, at the instant his adversary’s sword begins to drop down, to aim the tip at his lower body, he likewise drops his own, bringing the tip, with his arm extended, to about the height of his adversary’s head, again intending to use the direct line posture to wound him in the shoulder. But seeing that his shoulder is covered by the guard, he immediately turns his right side to the outside, so the toes of his feet point forward, he draws his right hip and foot back slightly, leaning further forward with his upper body. This motion brings his arm down at the same time, dropping the guard onto his opponent’s sword. As he continues to lower it further, he is presented with the opportunity to wound him in the face, as is shown in the figure.
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|Le commencement de ceſte operation eſt de meſme, que la precedente: aſſavoir, que les deux contraires eſtās venus à meſure de la Premiere Inſtance, <font style="font-variant:small-caps">Zacharie</font> a tiré ſur <font style="font-variant:small-caps">Alexandre</font> une feinte en dedans du bras: laquelle à pareillement eſté recontrée, comme au Cercle 9. mais la difference conſiſte en l’eſtocade & en la rencontre a propriée: car l’eſtocade a eſté tirée au dit Cercle 9. en abaiſſant ſi avant le bras & l’eſpee qu’il s’eſt deſcouvert luy meſme l’eſpaule, dont il ſe garde en ceſte operation preſente. Car en avançant le corps avec la cavation, pour tirer & marcher du pied droit juſqu’à la lettre R. il porte le bras un peu plus haut, de ſorte, qu’il ſe couvre l’eſpaule avec ſa garde. Parquoy ſi toſt qu’<font style="font-variant:small-caps">Alexandre</font> apperçoit le premier trait du changement de la feinte (ayant preallablement fait ſa preparation; enſavivant le corps, eſlevant le pied droit, & eſtendant le bras avec l’eſpee, la pointe d’icelle en angle obtus, comme il a eſté deſcrit plus amplement en l’operation precedente) à l’inſtant que l’eſpee de ſa partie commence à deſcendre, pour luy aſſener la pointe au bas du corps; il abaiſſe pareillement la ſienne, en conduiſant la pointe avec le bras eſtendu environ la hauteur de la teſte de ſon contraire, pour le bleſſer derechef avec la droite ligne, en l’eſaule. Mais la voyant couverte de la garde, à l’inſtant il deſtourne ſon coſté droit un peu en dehors, avec les pointes des deux pieds en devant, & quelque retirade du pied droit, & de a partie inferieure du meſme coſté, panchant d’autant plus en avant de la partie ſuperieure. ce qui luy fait deſcendre au meſme inſtant le bras, & la garde ſur la lame cōtraire; & en continuant à l’abaiſſe d’avantage, luy preſte la commodité de bleſſer ſon Contraire au viſage: ainſi qu’on voit en la figure.
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|What we just described, that is, Zachary’s feints that are made in two moves in Circles 9 & 11 and likewise in 12 which follows, are more often made to the inside rather than the outside. This is because they are more advantageous and easier to do this way, and more common amongst those who take shots at the lower part of the body. In any case, if they wish to aim elsewhere, because anyone is free to aim wherever they imagine, there would be no difference in the result, but in Alexander’s preparation, which will always be to seize the upper hand over his opponent’s blade by moving over to the side of the feint. This way he will meet the thrust in the same way, whether it comes from the outside or the inside line.
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|Ce que nous avons deſcrit, que les feintes de Zacharie ſont tirées en ces deux operations des Cercles N.9. & 11. & pareillement encor du 12. enſuivant, pluſtoſt en dedans du bras, qu’en dehors; c’eſt pour autant quelles ſont plus avantageuſes & plus aiſées à faire en ceſte ſorte, & plus communes entre ceux qui portent les bottes en la partie inferieure du corps. Toutesfois s’il les veut tirer autrement, puis qu’il eſt libre à chaſcun de faire à ſa fantaſie, il n’en reſourdra autre difference, que de la preparation d’Alexandre, qui prendra touſiours la ſuperiorité des lames du coſté de la feinte: car pour rencontrer l’eſtocade il travaillera touſiours de la meſme ſorte, ſoit qu’elle vienne par dehors, ou par dedans.
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|One must also be careful in this action and all similar ones, withdraw one’s body and feet away a precise distance from the approaching adversary and the tip of his sword, in accordance with the warnings in Circle 9.
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|Faut auſſi obſerver en ceſte operation, & en toute autre ſemblable, de meſurer & moderer le retirement du corps & des pieds, à l’advenant de l’approchement du corps & de la pointe Contraire, ſuivant l’advertiſſement du Cercle 9.
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|But as the final action of this hit requires that one add at least one more step beyond what we see demonstrated by the figures, note that when Zachary’s blade ends up below the outside branch of Alexander’s while his guard is above it, then he must step in with his left foot while sliding the contact up the blade as seen in Circle 10. And when it is below [above] the outside branch he must enter in and slide up the blade by stepping forward with his right foot.
  
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|Le commencement de ceſte operation eſt de meſme, que la precedente: aſſavoir, que les deux contraires eſtās venus à meſure de la Premiere Inſtance, <font style="font-variant:small-caps">Zacharie</font> a tiré ſur <font style="font-variant:small-caps">Alexandre</font> une feinte en dedans du bras: laquelle à pareillement eſté recontrée, comme au Cercle 9. mais la difference conſiſte en l’eſtocade & en la rencontre a propriée: car l’eſtocade a eſté tirée au dit Cercle 9. en abaiſſant ſi avant le bras & l’eſpee qu’il s’eſt deſcouvert luy meſme l’eſpaule, dont il ſe garde en ceſte operation preſente. Car en avançant le corps avec la cavation, pour tirer & marcher du pied droit juſqu’à la lettre R. il porte le bras un peu plus haut, de ſorte, qu’il ſe couvre l’eſpaule avec ſa garde. Parquoy ſi toſt qu’Alexandre apperçoit le premier trait du changement de la feinte (ayant preallablement fait ſa preparation; enſavivant le corps, eſlevant le pied droit, & eſtendant le bras avec l’eſpee, la pointe d’icelle en angle obtus, comme il a eſté deſcrit plus amplement en l’operation precedente) à l’inſtant que l’eſpee de ſa partie commence à deſcendre, pour luy aſſener la pointe au bas du corps; il abaiſſe pareillement la ſienne, en conduiſant la pointe avec le bras eſtendu environ la hauteur de la teſte de ſon contraire, pour le bleſſer derechef avec la droite ligne, en l’eſaule. Mais la voyant couverte de la garde, à l’inſtant il deſtourne ſon coſté droit un peu en dehors, avec les pointes des deux pieds en devant, & quelque retirade du pied droit, & de a partie inferieure du meſme coſté, panchant d’autant plus en avant de la partie ſuperieure. ce qui luy fait deſcendre au meſme inſtant le bras, & la garde ſur la lame cōtraire; & en continuant à l’abaiſſe d’avantage, luy preſte la commodité de bleſſer ſon Contraire au viſage: ainſi qu’on voit en la figure.
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|Mais d’autant que la finale execution de ceſte atteinte, requiert quon y adjouſte encor un pas par deſſus ce qu’on voit en la demonſtration des figures, notez, que quand la lame de Zacharie ſe retrouve deſſoubs la branche exterieure d’Alexandre, cependant qu’il tient ſa garde deſſus, qu’alors il entrera ſur luy avec le pied gauche, en luy graduant l’eſpee, à l’imitation de ce qui eſt repreſenté au Cercle 10. Et en cas qu’elle ſe retrouve deſſous la branche exterieure, qu’il entrera & fera la graduation en marchant du pied droit devant.
  
 
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|In this Circle, it is not enough for Zachary to protect only his shoulder, as he makes the same feint to the inside, followed by a strike at the lower body, he must also cover his head. He raised his foot, with a slight forward movement of his body during his feint. Now he follows on, continuing to move his body forward, aiming to strike with his arm extended, his hand raised high, and his tip low, stepping along the Diameter almost to the centre, drawing his left foot behind him into the circle.
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|In this Circle, it is not enough for Zachary, as he makes the same feint to the inside as above, to protect his shoulder as he strikes at his adversary’s right side, he must also raise his guard high enough to cover his head as well. He raised his foot, with a slight forward movement of his body, during his feint. Now he carries on, continuing to move his body forward, aiming to strike with his arm extended, his hand raised high, and his tip low, stepping along the Diameter almost to the centre, drawing his left foot behind him into the circle.
  
 
|Il ne ſuffit pas à <font style="font-variant:small-caps">Zacharie</font> en ce preſent Cercle, apres avoit fait encor la meſme feinte que deſſus, en dedans du bras contraire, de ſe couvrir l’eſpaule en tirant le coup d’eſtocade vers le coſté droit de ſa partie, ſi ce n’eſt qu’il porte la garde de ſon eſpee ſi haute, qu’il s’en couvre auſſi toute la teſte. Car ayant levé le pied, avec un petit avancement du corps durant la feinte: il pourſuit preſentement, en continuant ledit avancemēt du corps & du pied, à tirer le coup, avec le bras eſtendu, la main haute, & la pointe baſſe, abaiſſant finalement le pied à terre ſur le Diametre bien pres du centre, trainant l’autre derriere juſqu’au dedans du Cercle.
 
|Il ne ſuffit pas à <font style="font-variant:small-caps">Zacharie</font> en ce preſent Cercle, apres avoit fait encor la meſme feinte que deſſus, en dedans du bras contraire, de ſe couvrir l’eſpaule en tirant le coup d’eſtocade vers le coſté droit de ſa partie, ſi ce n’eſt qu’il porte la garde de ſon eſpee ſi haute, qu’il s’en couvre auſſi toute la teſte. Car ayant levé le pied, avec un petit avancement du corps durant la feinte: il pourſuit preſentement, en continuant ledit avancemēt du corps & du pied, à tirer le coup, avec le bras eſtendu, la main haute, & la pointe baſſe, abaiſſant finalement le pied à terre ſur le Diametre bien pres du centre, trainant l’autre derriere juſqu’au dedans du Cercle.
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|Alexander has prepared against the feint, raising his foot, straightening his body, extending his arm, and raising the tip as fully described, previously. As soon as he can see that his Enemy has begun to drop his blade with his body noticeably leaning forward to hit the lower part of his body, Alexander keeps his arm extended, and he moves the tip of his sword up to about the level of his adversary’s head. But as he cannot see any place to hit, because his opponent has covered his head with his guard, and because the tip of his ennemy’s sword is closing with him below, he turns slightly to the outside, points his toes forward towards the Enemy, withdraws his right side, including his sword and arm, back and to the right, lowering his sword and arm by leaning with his torso, crossing his adversary’s sword and sliding up to throw it aside while controlling it by drawing his guard back towards his side as he turns the crosspiece diagonally so the outer branch is upwards.  
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|Alexander has prepared against the feint, raising his right foot, straightening his body, extending his arm, and raising the tip, as previously explained in detail. As soon as he can see that his Enemy has begun to drop his blade with his body noticeably leaning forward to hit the lower part of his body, Alexander keeps his arm extended and he moves the tip of his sword up to about the level of his adversary’s head. But as he cannot see any place to hit, because his opponent has covered his head with his guard, and because the tip of his ennemy’s sword is closing with him below, he turns slightly to the outside, points his toes forward towards the Enemy, withdraws his right side, including his sword and arm, back and to the right, lowering his sword and arm by leaning with his torso, crossing his adversary’s sword and sliding up to throw it aside while controlling it by drawing his guard back towards his side as he turns the crosspiece diagonally so the outer branch is upwards.
  
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|<font style="font-variant:small-caps">Alexandre</font> ayant fait ſa preparation contre la feinte, en eſlevant le pied droit, & dreſſant le corps, eſtendant le bras, & hauſſant la pointe, en la maniere qu’il eſt ſpecifié plus amplement és autres operations: dés qu’il remarque, que l’Ennemi commence à deſcentre ſa lame avec un notable approchement du corps, pour frapper en la partie inferieure, laiſſant le bras eſtendu, il conduit ſa pointe d’en haut juſques environ la hauteur de la teſte contraire: mais comme il ne voit point d’apparence de la toucher, à cauſe qu’elle eſt converte de la garde, & que la pointe ennemie le vient ſerrer par en bas, il s’en deſtourne un peu en dehors dreſſant les orteils de ſes deux pieds en devāt droit devers l’Ennemi, en retirant par ainſi le coſté droit, enſemble le bras & l’eſpee en arriere un peu à coſté, les abaiſſant par le moyen du panchement de la partie ſuperieure, ſur l’eſpee contraire, la croiſant & deſgraduant pour l’aſſujettir & domter parfaitment, en retirant le bras avec la garde à ſon coſté, ſes branches tournées diagonalement.
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|<font style="font-variant:small-caps">Alexandre</font> ayant fait ſa preparation contre la feinte, en eſlevant le pied droit, & dreſſant le corps, eſtendant le bras, & hauſſant la pointe, en la maniere qu’il eſt ſpecifié plus amplement és autres operations: dés qu’il remarque, que l’Ennemi commence à deſcendre ſa lame avec un notable approchement du corps, pour frapper en la partie inferieure, laiſſant le bras eſtendu, il conduit ſa pointe d’en haut juſques environ la hauteur de la teſte contraire: mais comme il ne voit point d’apparence de la toucher, à cauſe qu’elle eſt converte de la garde, & que la pointe ennemie le vient ſerrer par en bas, il s’en deſtourne un peu en dehors dreſſant les orteils de ſes deux pieds en devāt droit devers l’Ennemi, en retirant par ainſi le coſté droit, enſemble le bras & l’eſpee en arriere un peu à coſté, les abaiſſant par le moyen du panchement de la partie ſuperieure, ſur l’eſpee contraire, la croiſant & deſgraduant pour l’aſſujettir & domter parfaitment, en retirant le bras avec la garde à ſon coſté, ſes branches tournées diagonalement.
  
 
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|As was explained above, that one must not be hasty and retire backwards too quickly, likewise in this situation one must not withdraw too quickly, seeing as how one must lean forward and drop the hand and sword much lower than before to thow aside the adversary’s sword. This cannot be done without dropping quite far, and without uncovering, which is considerably dangerous, especially to the outside, if one is too early. Which is why it is necessary to allow the attack to come as close as possible while still being able to step back, in order to encourage him to fully commit to the thrust onto the target, so as to be more assured of meeting his blade at the end of his movement, when he can no longer defend himself against the counter, and he can no longer change his actions. This precept will be repeated here, every time that a dangerous move makes this warning is necessary.
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|The caution, as was explained above, that one must not be hasty and retire backwards too quickly, applies likewise in this present action. Seeing as how one must lean forward and drop the hand and sword much lower than before to force the adversary’s sword aside. If one moves too early, this means the hand drops quite far down, leaving one uncovered, and with considerable danger from the outside line. Which is why it is necessary to allow the attack to come as close as possible while still being able to step back, in order to encourage him to fully commit to the thrust onto the target, so as to be more assured of meeting his blade at the end of his movement, when he can no longer defend himself against the counter, and he can no longer change his actions. This precept is repeated here, as much as the danger is even greater now than previously, so this warning becomes even more necessary.
  
 
|Or comme il a eſté dit cy deſſus, qu’il ne ſe faut pas trop haſter de ſe retirer en arriere, ainſi le faut il pratiquer pareillement en ceſte operation preſente. Voyant qu’il eſt icy beſoing de pancher du corps en avant, avec un plus grand abaiſſement du bras & de l’eſpee qu’auparavāt, pour aſſujettir la lame contraire: choſe qui ne peut eſtre fait ſans deſcendre aſſez notablement, & ſans ſe deſcouvrir avec treſgrand danger en dehors du bras, ſi on ſe precipité à le faire devant le temps. Parquoy ſera beſoin de laiſſer venir le coup ſi pres qu’il eſt poſſible, pourveu ſeulement qu’on ne perde pas le moyen de ſe retirer, afin de luy donner occaſion de pourſuivre ſa pointe, pour l’accueillir aſſeurement ſur la fin du mouvement, quand il n’aura plus de reſerve pour ſa defenſe; tant s’en faut qu’il auroit le moyen de faire & executer de nouveaux deſſeings. Ce precepte vous eſt repeté en ce lieu cy; d’autant que le danger y eſtant plus grand qu’au paravant, auſſi l’advertiſſement en eſtoit plus neceſſaire.
 
|Or comme il a eſté dit cy deſſus, qu’il ne ſe faut pas trop haſter de ſe retirer en arriere, ainſi le faut il pratiquer pareillement en ceſte operation preſente. Voyant qu’il eſt icy beſoing de pancher du corps en avant, avec un plus grand abaiſſement du bras & de l’eſpee qu’auparavāt, pour aſſujettir la lame contraire: choſe qui ne peut eſtre fait ſans deſcendre aſſez notablement, & ſans ſe deſcouvrir avec treſgrand danger en dehors du bras, ſi on ſe precipité à le faire devant le temps. Parquoy ſera beſoin de laiſſer venir le coup ſi pres qu’il eſt poſſible, pourveu ſeulement qu’on ne perde pas le moyen de ſe retirer, afin de luy donner occaſion de pourſuivre ſa pointe, pour l’accueillir aſſeurement ſur la fin du mouvement, quand il n’aura plus de reſerve pour ſa defenſe; tant s’en faut qu’il auroit le moyen de faire & executer de nouveaux deſſeings. Ce precepte vous eſt repeté en ce lieu cy; d’autant que le danger y eſtant plus grand qu’au paravant, auſſi l’advertiſſement en eſtoit plus neceſſaire.
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|As to what we have said, that one must dominate and cast aside the adversary’s sword by leaning the body forward as the arm goes downwards, you must understand that your arm moves independently, but that it can reach further down by leaning forward with the torso, while turning the wrist to turn the outside branch of the crosspiece diagonally upwards to the right, and the tip across the the left, to cross over, force down and away, while moving the point of contact up the opponent’s blade, as shown by the shadows on the ground of the Circle. There is nothing more important than this precept to avoid the danger of a circular disengagement, as well as in all the other possible situations that may come up. Because by observing this, as soon as the enemy begins to do anything, the arm is already free, and able to do whatever work it must to defend and attack. Which would not be done, except in the case where he is descending. Because it is impossible to raise up and to lower at the same time, nor to accomplish a two-beat move in one instant. This admonishment will be very useful on several occasions, and so it is important to understand this.
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|As to what we have said, that one must control and cast the adversary’s sword aside by leaning the body forward as the arm goes downwards, you must understand that while your arm moves independently, it can reach further down by leaning forward with the torso, while turning the wrist to turn the outside branch of the crosspiece diagonally upwards to the right, and the tip across the the left, to cross over the opponent’s blade, force it down and aside, while moving the point of contact up to the hilt, as indicated by the shadows on the ground of the Circle. There is nothing more important than this precept to avoid the danger of a circular disengagement, as well as in all the other possible situations that may come up. Because by observing this, as soon as the enemy begins to do anything, the arm is already free, and able to do whatever work it must to defend and attack. Which would not be done, except in the case where he is descending. Because it is impossible to raise up and to lower at the same time, nor to accomplish a two-beat move in one instant. This admonishment will be very useful on several occasions, and so it is important to understand this.
  
 
|Quant à ce que nous avons dit, qu’il faut domter & aſſujettir l’eſpee contraire, en panchant du corps ſur le devant avec deſcente du bras, cela ne ſe doibt pas entendre en telle ſorte, que le bras face aucun mouvement en ſon particulier pour accomplir la dite deſcente, ains ſeulement qu’il ſoit tiré plus bas par l’accommodation du corps, ne travaillant cependant qu’un bien peu du ſeul poignet, en tournant la branche exterieure diagonalement en haut vers le coſté droit, & la pointe traverſée vers le coſté gauche, pour croiſer, aſſujettir, & deſgraduer, comme il eſt repreſenté ſur le plan du Cercle. Pour eviter le danger de cavation, enſemble avec touts les autres changements qui pourroyent ſurvenir; il n’y a rien ſi neceſſaire que ce precepte. Car en l’observant, dés que l’ennemy commence pour peu que ce ſoit, le bras eſt deſia libre, & diſpoſé à travailler en ſon particulier pour defendre & pour offenſer. Ce qui ne ſeroit, en cas qu’il fuſt en aćte de deſcendre: car il eſt impoſſible de le hauſſer & abaiſſer tout enſemble, ny d’accomplir deux temps en un meſme inſtant. Cet advertiſſement aura fort grand uſage en pluſieurs occaſions; & partant il le faut bien comprendre.
 
|Quant à ce que nous avons dit, qu’il faut domter & aſſujettir l’eſpee contraire, en panchant du corps ſur le devant avec deſcente du bras, cela ne ſe doibt pas entendre en telle ſorte, que le bras face aucun mouvement en ſon particulier pour accomplir la dite deſcente, ains ſeulement qu’il ſoit tiré plus bas par l’accommodation du corps, ne travaillant cependant qu’un bien peu du ſeul poignet, en tournant la branche exterieure diagonalement en haut vers le coſté droit, & la pointe traverſée vers le coſté gauche, pour croiſer, aſſujettir, & deſgraduer, comme il eſt repreſenté ſur le plan du Cercle. Pour eviter le danger de cavation, enſemble avec touts les autres changements qui pourroyent ſurvenir; il n’y a rien ſi neceſſaire que ce precepte. Car en l’observant, dés que l’ennemy commence pour peu que ce ſoit, le bras eſt deſia libre, & diſpoſé à travailler en ſon particulier pour defendre & pour offenſer. Ce qui ne ſeroit, en cas qu’il fuſt en aćte de deſcendre: car il eſt impoſſible de le hauſſer & abaiſſer tout enſemble, ny d’accomplir deux temps en un meſme inſtant. Cet advertiſſement aura fort grand uſage en pluſieurs occaſions; & partant il le faut bien comprendre.
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|- style="font-family: times, serif; vertical-align:top;"
 
|- style="font-family: times, serif; vertical-align:top;"
  
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|This is the completion of the preceding Circle. Alexander has acquired a great advantage, by having forced aside his adversary’s sword, sliding up the blade, with the outside limb of his crossguard diagonally upwards to allow this. At this point, he turns the crossguard back to horizontal and turns his tip towards his adversary’s side, underneath the guard and arm, moving his entire body, arm, and sword forward, and seizing his adversary’s blade by trapping it with the exterior branch of his crossguard, and sliding up to the hilt, and stepping with his right foot up to the letter H, putting his weight on it and drawing his other foot behind, up to the circumference. At the same time, he exploits the strike through his enemy’s body, driving forward, hitting with the guard, and forcing him to bend his arm, almost knocking his opponent’s sword from his hand, leaving his opponent at his mercy, as shown by the figures.
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|This is the completion and final action from the preceding Circle. Alexander has acquired a great advantage, by having forced aside his adversary’s sword, sliding up the blade, with the outside branch of his crossguard diagonally upwards. At this point, he turns the crossguard back to horizontal and aims his tip towards his adversary’s side, underneath the guard and arm. He moves his entire body, arm, and sword forward, and seizes his adversary’s blade by trapping it with the exterior branch of his crossguard, as he slides up to the hilt, and steps with his right foot up to the letter H, putting his weight on it and drawing his other foot behind, up to the circumference. At the same time, he exploits the strike through his enemy’s body, driving forward, hitting with the guard, and forcing him to bend his arm, almost knocking his opponent’s sword from his hand, leaving his opponent at his mercy, as shown by the figures.
  
 
|Ceſt la pourſuite & l’execution du precedent. Car Alexandre s’eſtant acquis un ſi grand avantage, comme d’avoir aſſujetti l’eſpee contraire, avec deſgraduation, & accomodation de la branche exterieure dreſſée diagonalement en haut: il retourne icy ſes branches horizontales, & ſa poinćte devers le coſté de l’ennemy deſſoubs la garde & le bras, s’avançant tout le corps enſemble avec bras & l’eſpee, & prenant ſubitement avec ſa branche exterieure la lame contraire, en la graduant. & portant le pied droit juſqu’à la lettre H. en menant la charge du corps deſſus, & trainant l’autre par terre juſqu’à la circonference; & au meſme temps il exploite le coup de ſa poinćte à travers le corps de l’ennemy, ſi avant qu’il vient choquer ſa garde, & le contraint de plier le bras, & de laiſſer quaſi tomber l’eſpee hors du poing, à la mercy de ſon Contraire. Comme les figures demonſtrent.
 
|Ceſt la pourſuite & l’execution du precedent. Car Alexandre s’eſtant acquis un ſi grand avantage, comme d’avoir aſſujetti l’eſpee contraire, avec deſgraduation, & accomodation de la branche exterieure dreſſée diagonalement en haut: il retourne icy ſes branches horizontales, & ſa poinćte devers le coſté de l’ennemy deſſoubs la garde & le bras, s’avançant tout le corps enſemble avec bras & l’eſpee, & prenant ſubitement avec ſa branche exterieure la lame contraire, en la graduant. & portant le pied droit juſqu’à la lettre H. en menant la charge du corps deſſus, & trainant l’autre par terre juſqu’à la circonference; & au meſme temps il exploite le coup de ſa poinćte à travers le corps de l’ennemy, ſi avant qu’il vient choquer ſa garde, & le contraint de plier le bras, & de laiſſer quaſi tomber l’eſpee hors du poing, à la mercy de ſon Contraire. Comme les figures demonſtrent.
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|To summarize, these are examples which show the great utility of our First Instance, and of the direct line when presented from this distance. One is fortified against all sorts of feints, and assured against all strikes, whether long and determined, or tentative and slow, high or low, made from a direct line or a bent line, on the inside or outside of the arm, to meet probes in one beat, and attacks in two beats, sometimes with the body erect, sometimes bent slightly forward or backwards, always striking with with small movements, which have more force than they seem, with more audacity and assurance than one thinks possible, quite the reverse of what we see in the typical styles. If you were to tell me that it appears effortless to achieve a high degree of skill, I would answer that nothing in life worth having comes easily. In any case, I can assure anyone who has not yet acquired the skills, that the more they put these precepts to the test, the more prefect they will become. Because, just as gold purified in a furnace acquires greater luster, so with our exercises. When looked at closely, examined, attentively inspected, practiced, with each repetition appears more elegant and beautiful. Careful and thorough exploration of these techniques will show they do not depend in any way on chance; there is no uncertainty in their execution. There is only the rules of science in their perfection. Any amateur, if he is capable, will find in them courage and confidence in the use of arms, and what he lacks in strength, he will soon make up for in dexterity.
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|To summarize, these are examples which show the great utility of our First Instance, and of the direct line posture when presented from this distance. One is fortified against all sorts of feints, and assured against all strikes, whether long and determined, or tentative and slow, high or low, made from a direct line or a bent line, on the inside or outside of the arm, to meet probes in one beat, and attacks in two beats, sometimes with the body erect, sometimes bent slightly forward or backwards, always striking with with small movements, which have more force than they seem, with more audacity and assurance than one thinks possible, quite the reverse of what we see in the typical styles. If you were to tell me that it appears effortless to achieve a high degree of skill, I would answer that nothing in life worth having comes easily. In any case, I can assure anyone who has not yet acquired the skills, that the more they put these precepts to the test, the more prefect they will become. Because, just as gold purified in a furnace acquires greater luster, so with our exercises. When looked at closely, examined, attentively inspected, practiced, with each repetition they will appear more elegant and beautiful. Careful and thorough exploration of these techniques will show they do not depend in any way on chance; there is no uncertainty in their execution. There is only the rules of science in their perfection. Any amateur, if he is capable, will find in them courage and confidence in the use of arms, and what he lacks in strength, he will soon make up for in dexterity.
  
 
|En fin, voilà les exemples, qui demonſtrent le grand uſage de noſtre Premiere Inſtance, & de la droite ligne preſentée en icelle: fortifiée contre toute ſorte de feintes, aſſeurée contre toutes bottes, tant longues & reſolues, que tardives & lentes, hautes, baſſes, tirées en ligne droite ou courbe, en dehors ou en dedans du bras, pour rencontrer otes en un temps & ores en deux, tantoſt avec le corps dreſſé, tantoſt un peu courbe en avant ou en arriere, en donnant touſiours le coup avec des petits mouvements, qui ont plus de force, que d’apparance, & en faiſant l’execution avec les plus hardis & aſſeurez, qu’il eſt poſsible, au rebours de ce que la Pratique vulgaire en monſtre. Si vous me dites, qu’il n’y a pas grande apparence de venir aiſement à ceſte perfećtion d’en monſtrer les effets; ſachez pour reſponſe, que tout ce qui eſt louable ne s’acquiert ordinairement, qu’à grand travail. toutesfois, je m’aſſeure encores pour le regard de ceux qui n’en auront encores nulle habitude, que d’autant plus qu’ils mettront les preceptes à l’eſpreuve, d’autant plus y trouveront ils de perfećtion. Car ainſi que l’or eſtant mis à la fournaiſe, en reçoit un plus grand luſtre, par l’approbation de ſa pureté; tout de meſme nos inſtrućtions, eſtants regardées de pres, examinées, contrerollées, pratiquées, & repetées en paroiſtront touſiours plus belles. Car quand on aura fait une digne recerche de leur Verité, & de leur importance, on verra que l’incertitude de la fortune n’y a nulle part, & que les ſeules regles de la ſcience y dominent en telle perfećtion, quel Amateur, qui s’en ſera rendu capable, empruntera meſme le courage & l’aſſeurance des armes, qui manque à la foibleſſe des ſes forces de la certitude & dexterité de leur uſage.
 
|En fin, voilà les exemples, qui demonſtrent le grand uſage de noſtre Premiere Inſtance, & de la droite ligne preſentée en icelle: fortifiée contre toute ſorte de feintes, aſſeurée contre toutes bottes, tant longues & reſolues, que tardives & lentes, hautes, baſſes, tirées en ligne droite ou courbe, en dehors ou en dedans du bras, pour rencontrer otes en un temps & ores en deux, tantoſt avec le corps dreſſé, tantoſt un peu courbe en avant ou en arriere, en donnant touſiours le coup avec des petits mouvements, qui ont plus de force, que d’apparance, & en faiſant l’execution avec les plus hardis & aſſeurez, qu’il eſt poſsible, au rebours de ce que la Pratique vulgaire en monſtre. Si vous me dites, qu’il n’y a pas grande apparence de venir aiſement à ceſte perfećtion d’en monſtrer les effets; ſachez pour reſponſe, que tout ce qui eſt louable ne s’acquiert ordinairement, qu’à grand travail. toutesfois, je m’aſſeure encores pour le regard de ceux qui n’en auront encores nulle habitude, que d’autant plus qu’ils mettront les preceptes à l’eſpreuve, d’autant plus y trouveront ils de perfećtion. Car ainſi que l’or eſtant mis à la fournaiſe, en reçoit un plus grand luſtre, par l’approbation de ſa pureté; tout de meſme nos inſtrućtions, eſtants regardées de pres, examinées, contrerollées, pratiquées, & repetées en paroiſtront touſiours plus belles. Car quand on aura fait une digne recerche de leur Verité, & de leur importance, on verra que l’incertitude de la fortune n’y a nulle part, & que les ſeules regles de la ſcience y dominent en telle perfećtion, quel Amateur, qui s’en ſera rendu capable, empruntera meſme le courage & l’aſſeurance des armes, qui manque à la foibleſſe des ſes forces de la certitude & dexterité de leur uſage.
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| title = Book 1 - Tableau / Plate VI
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{| class="floated master"
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! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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|-
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|Colspan="2"|[[file:Thibault L1 Tab 06.jpg|600px]]
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[[http://www.geheugenvannederland.nl/nl/geheugen/view/drie%20grote%20tien%20kleinere%20schermduo%20%20lastman%20nicolaes?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-014| 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 SIXTH PLATE.
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|DECLARATION DES OPERATIONS DV TABLEAV SIXIEME.
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|- style="font-family: times, serif; vertical-align:top;"
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|Zachary, having found himself, in the previous table, so thoroughly dominated and contained by the power of the Direct Line posture, now tries to imitate it and use it to his own advantage, expecting to be able to be as successful as Alexander, just as he has seen him do. So he hopefully presents Alexander with the same posture, to force him to come against it the same way. As he has the opportunity of being first in place, he steps onto the Circle, right foot along the line X-Y, toes on the Circumference at X, and the left foot on the Pedal Line, as described previously in Plates III & IV, placing his blade into the Direct Line posture, to await his adversary to come against him. Thus in place, Alexander approaches, also using the Direct Line posture, moving into the First Instance at the other side of the Circle, the toes of his right foot on the letter C, the left foot on the other Pedal line in the Quadrangle, his sword held in the Direct Line posture underneath his opponent’s in the same way as shown in Circle No 1 of Plate IV, on which all the of the present actions of this Plate depend, just as all of those in the Fifth Plate.
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|Par les preuves de la droite ligne, qui ont eſté faites au Tableau precedent, en prevenant & domtant ſi avantageuſement toutes les intreprinſes de Zacharie, il s’en tient ſi à plein contenté, qu’il ſe diſpoſe preſentement à la vouloir imiter, s’aſſeurant de s’en prevaloir auſsi bien qu’Alexandre, en conforomité de ce qu’il luy a veu faire. Dont il le requiert amiablement de travailler à ſon tour ſur la meſme poſture, qu’il entend luy preſenter à la pareille. Ce que luy eſtant volontiers accordé, il ſe va mettre ſur le Cercle, le pied droit ſur la ligne XY, en touchant la Circonference à la lettre X, & le pied gauche ſur la ligne Pedale, ſuivant les deſcriptions plus particulieres des Tableau III. & IV. aſſituant ſa lame en droite ligne, pour attendre que ſon Contraire vienne travailler alencontre. Eſtant donc ainſi placé en poſture, Alexandre le vient aborder avec pareille ligne droite, ſe mettant à la Premiere Inſtance à l’autre bout du Cercle, le pied droit à la lettre C, le gauche ſur l’autre ligne ordinaire au dedans du Quadrangle, l’eſpee en ligne droite parallele au deſſous de l’eſpee contraire, en la meſme ſorte qu’il eſt repreſenté au Tableau IV. Cercle N.1. dont toutes les operations de ce preſent Tableau dependent, auſſi bien que celles du cinquieme.
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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 must work against the Direct Line posture, after he has moved to the First Instance, he raises his right foot, together with the tip of his blade, crossing swords with his 8th Span against his opponent’s 3rd Span, with a subtle pause of the body, intending to cast his opponent’s blade aside in the Second Instance.''
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|''Alexandre ayant à travailler ſur la poſture de la Droite ligne, apres eſtre venu à la Premiere Inſtance, il level le pied droit, enſemble avec la pointe de ſa lame, en accouplant les eſpees en dedans du bras, Nombre 3, à Nombre 8, avec un arreſt du corps fort ſubtil, en intention d’aſſujettir ſon Contraire à la Seconde Inſtance.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander has arrived at the First Instance, and plans to cast his adversary’s sword aside when he moves to the Second Instance, along the Oblique Diameter. To do this, as he begins his move, he raises his right foot, keeping the knee straight, without making any general movement of his body, or of his arm, except a rotation of the wrist to raise his tip up, contacting the inside of his opponents sword at the 3rd Span with the 8th Span of his own, with a slight pause of his body, very subtle and imperceptible because it lasts no longer that the time it takes to raise his tip and make contact with the sword, just in case his Adversary tries to hit him with a thrust, high or low, inside or outside. At that very instant he has his right foot ready and he is able to set it down wherever he needs.
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|<font style="font-variant:small-caps">Alexandre</font> eſtant arrivé à la Premiere Inſtance, ſe propoſe d’aſſujettir l’eſpee contraire à la Seconde, par deçà le Diametre, Et pour ce faire, en commençant à travailler, il leve le pied droit, avec le genouil roide, ſans aucun mouvement general du corps, ny du bras in particulier; ſinon que par quelque petite accomodation du poignet, il fait monter ſa poinćte en haut, en touchant l’eſpee contraire en dedans, du Nombre 3. le Nombre 8. avec quelque petite pauſe du corps, tres-ſubtile & fort difficile à recognoiſtre, parce qu’elle ne doit durer non plus, que l’aſcenſion de la poinćte, & l’inſtant de l’attouchement des eſpees, afin que s’il advenoit d’aventure, que l’Adverſaire entreprinſt de luy vouloir tirer au meſme inſtant quelque eſtocade, haute, ou baſſe, en dedans, ou en dehors, qu’il euſt le pied droit tout preſt, & à commandement pour le planter ſelon l’exigence.
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|- style="font-family: times, serif; vertical-align:top;"
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|This is the beginning of all the actions in this table and should be studied closely, each and every time it is a question of casting a blade aside, whether to the inside or to the outside. Since the interval between C and the Second Instance, whether to one side or the other is a quite large step to take, and to take it, one must have the initiative in both time and movement. I would say it is quite noticeable and obvious, if one tries to do this in one single motion without out the pause, that the Enemy will observe the beginnings of this action and can interrupt it very advantageously, and while performing his own counerattack. All of which can be prevented by means of this raising of the right foot and adding this pause. Of this we shall see several proofs in this book and singularly in the next Plate VII.
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|Voilà la premiere entree de toutes les operations du Tableau, laquelle il faudra fort curieuſement obſerver, toutes & quantes fois qu’il ſera queſtion d’aſſujettir la lame, ſoit par dedans, ou par dehors. Car l’intervalle, qui eſt depuis la lettre C juſqu’à la Seconde Inſtance, tant de l’un coſté que de l’autre, c’eſt une grande eſpace de chemin, & pour l’achever, il faut que le temps & le mouvement ſoit auſſi à l’advenant. Ie veux dire, qu’il ſera ſi notoire & manifeſte, ſi on entreprend de l’accomplir en un ſeul temps ſans la ſuſdite pauſe, que l’Ennemi en obſervant les commencements de l’operation, la pourra deſtourber fort avantageuſement, & avec apparence de mettre ſon entreprinſe à execution. Ce qu’on pourra prevenir par le moyen de ceſte eſlevation du pied droit, & de la pauſe annexe: dequoy on verra pluſieurs preuves en ce Livre, & ſingulierement au prochain Tableau VII.
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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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|''Zachary continues to maintain his posture; Alexander continues to force the sword aside, carrying his right foot towards the Second Instance, while sliding the point of contact up the sword, followed by a slight halt of the foot, while he makes sure of his superior position, and, having put his foot down at G, he brings the other along in a slow, circular motion to the Circumscribed Square at the Oblique Diameter.''
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|''Puis que Zacharie continue à ſe tenir en la poſture; Alexandre pourſuit à luy aſsujettir l’eſpee, en portant le pied droit devers la Seconde Inſtance, avec deſgraduation, ſuivie d’un petit arreſt du pied, durant lequel il prend l’aſſeurance de la ſuperiorité, & ayant mis ledit pied baſtivement à terre à lettre G, il porte l’autre apres lent & circulairement juſqu’à le mettre ſur le Quarré circonſcrit & ſur le Diametre oblique.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Zachary made no movement against the preceeding action, and so waits, alert, waiting to see what follows. Alexander stays on his left foot and advances his right foot towards the Second Instance, sliding his sword up his adversary’s blade so that his 8th Span now contacts the 5th Span of his adversary’s blade, and pauses for a slight moment. When his body, travelling over and carrying the blades forward reaches the edge of his balance and is at the point of tripping, he hastily puts his right foot down at the Second Instance, his toes on the letter G, and his heel along the line of the Inside Square. He instantly follows this by raising his left foot and advancing it deliberately in a circular path and finally places it parallel to the right foot, with the toes where the Oblique Diameter crosses the Circumference and heels along the Outside Square at the letter D. From this pose, he draws his left side slightly forward, and the heel of his right foot naturally slides inwards onto the Colateral G-M in such a way as to naturally straighten his body, to stand easily, legs straight, to maintain a sense of contact and be able to swiftly respond and defend against an attack.
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|Puis que <font style="font-variant:small-caps">Zacharie</font> ne fait aucun mouvemēt contre l’aćtion precedente, ains qu’il demerure ſur la parade, en attendant la pourſuite; <font style="font-variant:small-caps">Alexandre</font> demeure ſur le pied gauche, & avance un peu le droit devers la Seconde Inſtance, graduant les eſpees de telle ſorte, qu’il met ſon Nombre 8. contre le Nombre 5. de ſa partie adverſe, peu plus ou moins, avec une petite pauſe. Et quand le corps, en cheminant, & tranſportant à l’advenāt les eſpees, vient ſur le point de tresbuſcher, il plante haſtivement le pied à la Seconde Inſtance, les orteils à la lettre G, & le talon ſur le meſme coſté du Quarré inſcrit; pourſuivant à eſlever tout à l’inſtant le pied gauche, & à l’advancer lentement & circulairement, & de le planter finalement parallel avec le pied droit, les orteils ſur le Diametre Oblique, & le talon ſur la lettre D; par laquelle collocation des pieds le coſté gauche du corps eſt tiré un peu en avāt, & le talon du pied droit ſemblablement s’en gliſſe en dedans ſur la collaterale GM. de façon qu’elle met le corps naturellement droit, & à ſon aiſe, avec les jambes roides, pour avoir le ſentiment plus exaćte, & pour eſtre plus prompt à travailler ſelon qu’il ſera de beſoing pour ſa defenſe.
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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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|''Zachary awaits the follow-up to being pushed aside; Alexander will strike with a thrust, sliding up and trapping his blade while his right foot falls to the ground and while he moves his left foot quickly and in a circular motion forward to the letter K. He then adjusts himself to stand erect, body slightly forward as he brings his tip up in a circular motion, keeping his arm straight, until the tip is in front of his adversary’s face.''
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|''Zacharie attendant la pourſuite de l’aſsujettiſſement; Alexandre luy va tirer une eſtocade, en graduant & enſerrant ſa lame, durant que le pied droit tombe à terre, & durant qu’il continue à porter le pied gauche aſſez viſte & un peu circulairement en avant ſur la lettre K, il ſe dreſſe le corps deſsus, un peu de front, conduiſant cependent ſa pointe circulairement avec le bras roide juſqu’à devant le viſage de ſa partie adverſe.''
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|- style="font-family: times, serif; vertical-align:top;"
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|While Zachary’s sword has been pushed aside (which is to his adversary’s advantage), if he simply waits, figuring that he only needs to bring the sword in line with the Collateral G-X, and push it forward. His opponent must bypass the strong part of his blade, he can meet this with his strong part and take the direct line, and only needs to prevent his opponent’s move with a counter-thrust. This is his plan.
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|Encores que l’eſpee de <font style="font-variant:small-caps">Zacharie</font> ſoit aſſujettie, (qui eſt un grand avantage pour ſon Contraire) ſi ne laiſſe il pas pourtant de l’attendre, eſtimant qu’il en fera la pourſuite par la trace de la ligne Collateralle GX, en pouſſant l’eſpee droitement ſur luy; laquelle eſtant contrainte de paſſer par le fort de la ſienne, il la rencontreroit fort à propos, en prennant la droite ligne, & ne faudroit à prevenir ſon Contraire au meſme temps d’un contrecoup d’eſtocade. Voila donc ſon intention.
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander, knowing full well the danger, wants to avoid the strong of his opponent’s blade, so he makes his way sideways, raising his right foot and moving it slowly forward, knee straight, towards the Third Instance along the same line of the Inside Square, until, just as he is about to lose his balance, he swiftly slides his sword up his opponent’s blade from the 4th or 5th Span where he pushed it aside. He ensures that, at the same moment as he beings to lean, that he turns the inside arm of the crosspiece horizontally upward, to trap his opponent’s blade from beneath, and moves his own tip circularly towards his enemy, then he puts his foot down on the same line at the letter N. At the same time, he draws his left foot along in a circular motion to put it down at the letter K, half in the Quadrangle, along the line of the Outside Square. At which point he turns his left side slightly forward, so the right foot turns inward, his heel moving to the Circumference line, he stands erect, and, by the same means, hits with a thrust, sliding his opponent’s sword behind the guard with his straight arm, until the tip is in front of the left side of his opponent's face, where he could hit by exending his arm, as shown by the figures.
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|<font style="font-variant:small-caps">Alexandre</font>, qui cognoiſt tres bien le danger, voulant eviter le fort de l’eſpee contraire, chemine en travers, eſlevant & avançant le pied droit lentement, avec le genouil roide vers la Troiſieme Inſtance, au long de la meſme ligne du Quarré Inſcrit, juſqu’à ce qu’eſtant le corps ſur le poinćt de tresbucher, il entre plus viſtement en graduant la lame contraire depuis le Nombre 4. ou 5. où elle eſtoit aſſujettie, en avant; en adviſant au meſme inſtant qu’il commence à ſe pancher, de tourner ſa branche interieure horizontale, de façon qu’il en prenne & enſerre la lame contraire par deſſous, & en conduiſe ſa propre pointe circulairement vers l’Ennemi, pourſuivant d’abaiſſer le pied à terre à la lettre N ſur la meſme ligne; & auſſi quand & quand à entrer du pied gauche quelque peu circulairement, juſqu’à le planter parallel au pied droit à la lettre K, moitié dedans, moitié dehors; ſur lequel pied droit, en ſe tournant le coſté gauche un peu en devant, & le talon en gliſſant en dedans ſur la Circonference, il ſe dreſſe le corps perpendiculairement, & pourſuit par meſme voye ſon eſtocade, en graduant l’eſpee contraire par derriere la garde avec le bras roide, juſqu’à luy preſenter la pointe devant le coſté droit du viſage, retenant le pouvoir d’en faire l’execution par rigueur; comme les figures demonſtrent.
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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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|''Zachary parries the previous thrust to the inside with medium force. Alexander switches to stab, by stepping forward with the left side while bending his arm, so he continues to hold his point in front of Zachary’s face.''
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|''Zacharie parant le coup de l’eſtocade precedente en dedans, avec un poids mediocre; Alexandre la change en Imbrocade, ſe mettant le coſté gauche du corps devant avec le bras courbé, en ſorte qu’il continue à luy tenir la pointe arreſtée devant le viſage.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Zachary sees the tip of his opponent’s blade in front of his face and uses moderate force to parry it away to his left. Alexander feels this and in response, he instantly lifts his left foot and tilts the branches of his crosspiece inwards so the tip of his blade stays in front of his adversary’s face. Before moving the sword, he adjusts the angle of his position by moving his left side forwards, setting his foot down at the letter S, the heel along the Exterior Transverse, and bending the elbow, all at the same time. He continues to tilt the crossguard so the external branch points diagonally upwards and inwards, and slides his sword so the weak of his opponent’s blade is caught and trapped between the exterior branch of the crossguard and the strong of his own blade. Again, with an elegant motion, he puts the tip of his blade in front of his adversary’s eyes, with a bent arm, leaning forward, left knee slightly bent.
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|<font style="font-variant:small-caps">Zacharie</font> ſe voyant la pointe contraire devant le viſage, il la pare en dedans du bras devers le coſté gauche, en uſant d’un poids mediocre. Ce qu’<font style="font-variant:small-caps">Alexandre</font> apperçoit par le ſentiment dont il leve au meſme inſtant le pied gauche, & en tournant les branches de ſa garde en dedans, tellement que ſa pointe demeure continuellement devant le coſté droit du viſage de ſa partie adverſe; accommodant ſes aćtions à l’advenant du tranſport de ſon eſpee, & ſe mettant par ainſi dedans les angles avec le coſté gauche devant, en avançant & poſant le pied à terre à la lettre S, le talon d’iceluy ſur la traverſante exterieure, & pourſuivant à courber au meſme inſtant le bras, & à tourner les branches de ſa garde ſi avant, que l’exterieure s’en tourne diagonalement en dedans; de façon que le foible de l’eſpee contraire ſe gliſſe au fort de la ſienne entre deux la lame & la branche: dont it la prend & enſerre au meſme temps, & derechef en uſant de courtoiſie, il luy preſente la pointe devant les yeux en ligne courbe, panchant du corps en avant, avec le genouil de la jambe gauche plié.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 5.'''
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|'''Cercle N.5.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary continues his parry further away. Alexander lets him carry the two swords, angling even further around, right foot raised, and the crosspiece turned back vertically.''
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|''Zacharie continuant à parer plus outre; Alexandre luy laiſſe emporter les eſpees, ſe mettant plus avant dedans l’angle, avec le pied droit levé, & la branche interieure de la garde tournée verticalement.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Zachary continues his parry, turning his opponent’s sword even further away, dropping his arm slightly downwards. Alexander feels this and at the same moment raises his right foot, and moves his whole right side, including his arm, forward, straightening himself up, pivoting on his left foot, and twisting his wrist so the inside branch of his crosspiece points vertically upwards, while allowing his blade to slide up his opponent’s while turning, until the tips are near each other, as shown in the figure.
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|Zacharie continuant à parer, en deſtournant l’eſpee contraire encores plus outre, avec un petit abaiſſement du bras devers le meſme coſté; Alexandre s’en apperçoit par le ſentiment, & leve à l’inſtant meſme le pied droit, lequel il avance enſemble avec le meſme coſté, bras, & eſpee, tournant cependant la branche interieure verticalement en haut: dont la pointe s’en eſcoule avec deſgraduation des deux eſpees un peu en arriere, bien pres à egal de la pointe contraire; le tout en tournant & dreſſant le corps droit ſur la jambe gauche: comme on voit en la figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 6.'''
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|'''Cercle N.6.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander disengages his blade and delivers a cut to his opponent’s face as he steps across and to the side, behind him.''
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|''Alexandre desgage ſa lame, & en donne un coup d’eſtramaçon au viſage de l’Adverſaire, en paſſant à ſon coſté, & luy venant derriere le dos.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander follows this, continuing to pivot on his left foot, stepping across with his right foot, turning to the left, while, at the same time, he slips his sword out from under his opponent’s, by allowing his thumb, which was pressed against the crosspiece, to slide against the crosspiece, turning his wrist over, and moving the tip up from beneath his opponent’s sword, and moving in more forward and to the side by leaning his body, and, going outside the Circle, cuts across his opponent’s face.
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|<font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation, en continuant à tourner le coſté droit devant, enſemble avec le bras de l’eſpee, laquelle il delivre au meſme tēps à la faveur du poignet de la main de deſſous l’eſpee contraire, en laiſſant gliſſer le poulce, qui eſtoit affermi contre la branche interieure, deſſous, de ſorte qu’il en entoure au meſme inſtant la poignee, & en mettant l’eſpee ſur le trenchant, il en conduit la pointe en haut par deſſus l’eſpee contraire, & en entrant plus avant à coſté avec quelque panchement du corps, allant dehors le Cercle, il en donne à ſon Contraire un coup d’eſtramaçon au viſage.
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|- style="font-family: times, serif; vertical-align:top;"
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|The actions in the three Circles No 4, 5, & 6, are shown separately, almost as if there is a short pause between them. We did this for the benefit of our learners. Because in fact the entire sequence should follow so smoothly that it would be difficult to distinguish one step from the next so there is no interruption between any two. But to keep Scholars from being confused, and to explain the real basics that they are learning, they must learn this movement in parts, slowly, so they do not become examples of the proverb: Who grasps too much, catches very little.
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|Les aćtions de ces Cercles N.4.5.6. ſont icy repreſentées chaſcune à part, quaſi comme s’il y intercedoit quelque petite pauſe. Ce que nous avons fait pour le regard des apprentiſs. Car autrement le tout ſe doint entreſuivre de ſi pres, qu’à grand peine y pourroit on diſtinguer le precedent d’avec le ſubſequent, tant s’en faut qu’il y aye de l’interruption entre deux. Mais pour n’embrouiller pas l’entendement des Eſcholiers, & pour leur declarer les vrais fondements de ce qu’ils apprennent, il faut que le tout ſoit monſtré par articles, ſans ſe haſter, de peur qu’il ne leur advienne ſelon le commun proverbe: Qui trop embraſſe peu eſtraint.
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|- style="font-family: times, serif; vertical-align:top;"
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|A note concerning Circle No 4. That Alexander, when moving to the bent-arm position, is not required to put his foot down exactly at the letter S on the Inside Square, since he must accomodate his appoach to the following step, according to how much he senses his sword is forced away. So it happens that sometimes he will put his foot down beside the Outside Square, and at other times even outside the Circle. This will make it easier for him to follow on to Circle No 5 and to the cut in No 6, which is shown in the figure as being exactly executed on Zachary’s head. But to perform with precision, he must keep the blade in front of Zachary’s face, before putting his foot down, and to bring it in a circular motion around to the head, at the moment when he is about to lose his balance, then step, and then, as shown in the figure, bend the right knee, put his weight on it, leaning slightly forward, with the the arm and sword extended forward at an acute angle.
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|Notez touchant le Cercle N.4. qu’Alexandre, en donnant la courbe, n’eſt pas tenu d’abaiſſer preciſement le pied gauche à terre ſur le coſté du Quarré inſcrit à la lettre S: car il doit accomoder ſon intrade à l’advenant, qu’il ſe ſent eſtre conduit par le tranſport des eſpees: dont il adviendra meſme aucunesfois, qu’il le plantera ſur le coſté du Quarré circonſcrit. & autresfois meſme au dehors. Ce qui luy donnera tant plus de commodité devenir à la pourſuite du Cercle N.5. & à l’eſtramaçon du 6. qui eſt repreſenté en la figure d’eſtre executé par rigeur ſur la teſte de Zacharie: mais pour jouer en courtoiſie, il luy faut preſenter la lame devant le viſage, premier que d’abaiſſer le pied en terre, & la mener circulairement outre ſa teſte, quand on commence à tresbucher. & à le planter, & puis, comme il eſt repreſenté en la figure, ployer le genouil droit & charger le corps deſſus, en panchant un peu vers le devant, avec le bras & l’eſpee eſtendus au devant en angle aigu.
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|- style="font-family: times, serif; vertical-align:top;"
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|Then, as he is leaning forward, he follows with a second cut, as follows: he lightly pushes off the ground with his left foot to straighten up, and uses this to pivot around on his right foot, so that, by raising the sword above his shoulder, keeping the hand forward and the tip raised behind him, he turns around to face his opponent, ready to strike while stepping forward with his left foot. (See Circle No 7.) Or he can put his blade in front of the right side of his opponent’s face and again raise it circularly about his opponent’s head, as he puts his foot down behind him a little off to the side. Then he again bends his forward knee to put his weight on it, with his arm and sword extended upwards at an acute angle, just as in the preceeding action, and which will be further explored in subsequent Plates, where it will be repeated.
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|Puis eſtant ainſi avec le corps panché en avant, il pourſuivera d’en tirer encor un redoublement d’eſtramaçon, en la maniere ſuivante: c’eſt qu’il fera du pied gauche un petit pouſſement contre la terre, pour ſe redreſſer, & volter à l’aide d’iceluy ſur le pied droit, en telle ſorte, qu’en hauſſant l’eſpee par deſſus ſon eſpaule, la main quelque peu avancée, & la pointe montant en derriere le dos, il ſe tournera de front contre ſa partie adverſe, tout preſt à luy donner le coup avec l’avancement du pied gauche; ou à luy preſenter la lame devant le coſté droit du viſage, & à la monter derechef circulairement alentour de la teſte contraire, au temps qu’il plantera le pied derriere luy un peu à quartier; en apres il pliera derechef le genou de devant pour faire la charge du corps deſſus, avec le bras & l’eſpee pareillement eſtendus en angle aigu, tout ainſi qu’en l’operation precedente, & comme il en ſera parlé plus particulairement en d’autres Tableaux, où il ſera queſtion de la repeter, & d’en faire plus ample declaration.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 7.'''
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|'''Cercle N.7.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander is behind his adversary, and does an about turn on his right foot. Zachary has also turned towards him at the same time, to defend with his sword. But before he can achieve this maneuver, Alexander cuts him across the face a second time. ''
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|''Alexandre eſtant derriere ſon Adverſaire, & faiſant la volte ſur le pied droit; Zacharie s’eſt auſsi tourné devers luy au meſme temps, pour luy preſenter l’eſpee; mais avant qu’il ait parachevé l’œuvre, Alexandre luy donne encor une ſeconde touche d’eſtramaçon au viſage.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Here, again, we have the same second cut, which differs from the previous description only in that one was made against an enemy who had stayed still and not moved at all. But in Circle No 7, at the instant that Alexander raises his left foot and begins to turn about on his right foot, the Enemy also spins on his right foot, barely moving his left foot from its place, and bending his arm to bring his sword up and over in front of him, to put it between himself and Alexander. Alexander sees this, before he can complete the mouvement, he cuts him in the face. Or he gracefully puts his blade in front of Zachary’s eyes, then sets his left foot down towards his enemy, as is shown in the image.
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|Voicy encor le meſme eſtramaçon redoublé, qui  ne differre qu’un bien peu d’avec celuy que nous venons de deſcrire: c’eſt aſſavoir que ceſtuy-là a eſté donné ſur l’Ennemy qui ne bouge point un rien de ſa place. Mais en ce Cercle N.7. à l’inſtant qu’<font style="font-variant:small-caps">Alexandre</font> commence à faire la volte du corps ſur le pied droit, en eſlevant le gauche; l’Ennemy ſe tourne pareillement ſur ſes pieds, ne bougeant qu’un bien peu de ſa place à tout le pied gauche, en avançant l’eſpee devers luy avec le bras courbe. Ce que voyant Alexandre, avant qu’il ait parachevé le mouvement, il luy donne le coup au viſage: ou bien, il luy met la lame devant les yeux en courtoiſie, plantant conſecutivement le pied gauche en terre devers l’Ennemy; comme on le voit pourtrait en la figure.
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|- style="font-family: times, serif; vertical-align:top;"
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|That is the follow-on from Circle No 4, which develops when Zachary turns the point of his adversary’s sword away from his face to the inside of his arm, after Alexander had arrived at the Third Instance, as shown in Circle No 3. Now, it is reasonable to show likewise what happens after this thrust if Zachary instead parries while his opponent is still stepping towards the Third Instance.
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|Voilà donc la ſuite du Cercle N.4. procedante de ce que Zacharie a deſtourné la pointe contraire de ſon viſage en dedans du bras, apres qu’Alexandre eſt arrivé à la Troiſieme Inſtance, ainſi que le Cercle N.3. demonſtre. Maintenant il eſt raiſonnable de vous repreſenter pareillement la pourſuite de ceſte meſme eſtocade, en occaſion que Zacharie la pare pluſtoſt, durant que ſa partie eſt encor en aćte de cheminer vers la Troiſieme Inſtance.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle no 8.'''
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|'''Cercle N.8.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander again moves to thrust from the Third Instance, the same as in Cercle No 3. Zachary parries to the inside, but with more force than he does in Circle No 4. Thus Alexander is constrained to follow the force against his sword, moving towards the centre to L, and adjusting his left side to allow him to stab.''
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|''Alexandre tirant encores l’eſtocade à la Troiſieme Inſtance, tout de meſme le Cercle N.3; Zacharie la deſtourne en dedans du bras, mais avec plus de force, qu’il ne fit au Cercle N.4. Dont Alexandre eſt contraint de ſeconder le tranſport des eſpees, en allant devers le Centre juſqu’à L, & accommodant le corps avec le coſté gauche pour luy donner l’imbrocade.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This stab comes from the advantage of the sword being cast aside, as shown in Circle No 2. While he is moving again to thrust from the Third Instance, at the instant his foot comes down to step on the letter N, Zachary defends himself and moves the sword forcefully away to the inside. Alexander recognizes this from the feel, and, from the beginning, makes use of the resistance to slow his movement, while he quickly moves his left foot across close to his right foot, as if making a dance move. Then he straightens up, by raising the right foot and moving it quickly along the Perpendicular Diameter to the letter L, remembering to turn and adjust his hand according to the movement of the swords. He then leans slightly to the right side and puts his weight on his right foot, and drawing the left to the letter N, At the same moment, he bends his entire arm and turns the exterior branch of his crosspiece diagonally downwards so the opponent’s blade slides down to rest against the strong of his blade, outside the crosspiece. At this instant, he turns his left side forward, aims the tip of his blade at his opponent’s face, carefully holding it in front of his eyes, as shown in the figure.
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|Ceſte imbrocade provient de l’avantage de l’aſſujettiſſement, repreſenté au Cercle N.2. Car cependant qu’il chemine derechef pour donner l’eſtocade à la Troiſieme Inſtance, à l’inſtant que le pied droit s’abaiſſe, pour ſe planter à la lettre N. <font style="font-variant:small-caps">Zacharie</font> ſe defend, & luy tranſporte l’eſpee avec force au dedans du bras. Ce que recognoiſſant <font style="font-variant:small-caps">Alexandre</font> par le ſentiment, il taſche du commencement, à y reſiſter, en ſe ſervant d’une petite retenue, & cependant il approche le pied gauche haſtivement bien pres de l’autre, quaſi comme un demi fleuret; dont le corps ſe dreſſe, en eſlevant le pied droit, & le portant devers le Centre le long du Diametre perpēdiculaire, ſans oublier à tourner & accommoder cependant la main à l’advenant du tranſport des eſpees; & à faire la charge du corps en panchant un peu de coſté ſur le pied droit, iceluy poſant à terre à la lettre L, & trainant proportionnellement l’autre juſqu’au point N, & en parachevant au meſme inſtant de ſe courber entierement le bras, & tourner ſa branche exterieure en dedans diagonalement, de ſorte que la lame contraire en vient à s’eſcouler, en deſgraduant, au fort de la ſienne, & au dehors de la branche; auquel inſtant il tourne le coſté gauche en devant, en aſſituant ſa pointe au viſage de l’Ennemi, & l’y tenant par courtoiſie arreſtée devant les yeux; ſuivant la figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle no 9.'''
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|'''Cercle n.9.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary increases the force of his sword even more, to parry the preceding thrust from Circle No 3. So Alexander moves forward against this with his right foot to the Centre, thereby accomplishing the same action as above.''
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|''Zacharie augmentant encor davantage le poids de ſa lame, pour parer l’eſtocade precedente du Cercle N.3. auſsi Alexandre s’avance là deſſus avec le pied droit juſqu’au Centre, en accompliſſant derechef la meſme operation, que deſsus.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Here, again, is the same action, differing only in the degree of force used in defense. For at the instant Alexander put his foot down in the Third Instance, Zacharie parries his strike with even more effort than before. So Alexander, to work around the movement of the swords, must move his front foot further in towards the Centre, drawing his left foot behind him to the letter M, while performing the same actions as above, to keep the tip of his blade pointing in the face of his adversary.
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|Voicy derechef la meſme operation, ne differant, qu’au poids de la defenſe. Car à l’inſtant qu’Alexandre a abaiſſé le pied droit à la Troiſieme Inſtance, <font style="font-variant:small-caps">Zacharie</font> a paré le coup avec plus d’effort, qu’au precedēt; dont <font style="font-variant:small-caps">Alexandre</font>, pour ſeconder le tranſport des eſpees, eſt contraint d’entrer du pied droit plus avant juſques au Centre, en trainant proportionnellement le pied gauche apres juſques à l’M. en accompiſſant cependant les meſmes aćtions que deſſus, juſques à preſenter ſa pointe en ligne courbe devant le viſage de ſon Contraire.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle no 10.'''
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|'''Cercle n.10.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander’s stab is parried even further outwards, so he lets the swords flow away by extending his arm, with the interior branch of the crosspiece vertical, and his right foot raised.''
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|''L’imbrocade d’Alexandre eſtant parée encores plus outre il laiſſe eſcouler les eſpees, en allongeant meſmes le bras, avec la branche interieure verticale, & le pied droit eſlevé.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Zachary sees the tip of the sword in front of his face, he continues his defense of parrying it again to the inside. Alexander percieves this through his sense of feel, and he extends his arm, along with the sword, out to the side, raising his left foot lightly off the ground and immediately setting it back down in the same place, or even a bit further out, shifting his weight back onto this foot by pushing back with his right foot and raising it off the ground. At the same time, his right arm turns so the guard moves outwards, his 7th Span against his opponent’s 4th Span, with the inside branch of the crosspiece upwards, so as to prevent his enemy from drawing into the Direct Line posture towards his face. So if he wanted to straighten his tip, he would be forced to move circularly in a bent-arm posture, to arc around this branch. This would take longer to do than to strike horizontally in a straight line. Consequently, this gives Alexander more time to percieve and respond to any movements his enemy makes. Ordinarily he would follow the moves made in this 10th Circle with with one of the actions in Circle No 11 or No 13. That is to say, he would try to hit his opponent directly in the face dropping contact with his opponent’s sword. Or he may decide to increase the force on the sword because he wants to push it further away before trying anything else. These actions, and their counters, will be explained fully in following Plates. Nonetheless, it is good to give this little warning now, so that you will remember these actions, which we will explore shortly, every time an occasion to use them presents itself.
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|Continuant la defenſe, & la ſuite des deux Cercles precedēts, <font style="font-variant:small-caps">Zacharie</font> qui voit la pointe contraire devant ſes yeux, la pare derechef en dedans du bras. Ce qu’appercevant <font style="font-variant:small-caps">Alexandre</font> par le ſentiment, il allonge le bras enſemble avec l’eſpee à ſon coſté, en eſlevant le pied gauche à fleur de terre, & le rabaiſſant derechef tout à l’inſtant au meſme endroit, ou bien un peu en dehors, en revenant droit ſur iceluy à l’aide du pied droit, qui fait en s’eſlevant un petit pouſſement contre la terre; & au meſme temps le bras droit ſe tourne avec la garde de l’eſpee en dehors, ſon Nombre 7. au Nombre 4. de l’eſpee contraire, avec la branche interieure dreſſée en haut, de ſorte qu’elle empeſche l’Ennemi de tirer en droite ligne & en un temps à ſon viſage. Car s’il y vouloit dreſſer ſa pointe, il ſeroit contraint d’aller circulairement en ligne courbe, en forme d’arc alentour de ladite branche: ce qui requiert plus de temps, que de fraper horizontalement en ligne droite: & par conſequent il donne auſſi plus de loiſir à Alexandre, pour juger, & rencontrer exaćtement la diverſité du ſentiment, que l’Ennemi luy donne. Lequel eſtant en termes de ce dixieme Cercle, ordinairement il attentera l’une ou l’autre des deux operations, du Cercle 11. ou 13. c’eſt aſſavoir qu’il taſchera de fraper ſa partie au viſage en deſtachant les eſpees; ou qu’il accroiſtra le ſentiment pour l’aſujettir à ſa fantaſie, avant que de rien attenter plus outre. deſquelles operations, & de leurs contraires, en ſera donné ſuffiſante inſtrućtion és demonſtrations ſuivantes. Toutesfois il n’eſt que bon d’en donner cependant ce petit advertiſſement, afin que toutes les fois, qu’il ſe preſentera telle ou ſemblable occaſion, il vous ſouviene de vous tenir preſt à les rencontrer, en la maniere que vous entendrez tout à l’heure.
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|- style="font-family: times, serif; vertical-align:top;"
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|In order to provide a better view of the crossed swords, Alexander is shown with his right foot and hand slightly more forward than they should be, the tip turned behind him. Which would be the preparation for striking the blow shown in Circle No 13. However, it may be that your opponent would content himself to hold the swords in this position, with a lighter contact, neither pressing, nor forcing your blade away, so that you cannot perform any of the following actions. Then you must repeat the step in with the right foot along the Perpendicular Diameter, drawing the left behind, and once again putting the tip of your blade in his face, exactly as in Circles No 8 & 9.
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|Pour vous mettre en veuë les eſpees croiſées, a proſpećtive du corps d’Alexandre eſt icy repreſentée avec le pied & la main droite un peu avancez, plus qu’ils ne devroyent, & la pointe tournée en arriere; qui eſt comme une preparation pour donner le coup du Cercle N.13. Que s’il advenoit cependant, que voſtre partie adverſe ſe contentaſt, de retenir les eſpees ainſi accouplées avec un ſentiment temperé, ſans pouſſer, ne ſans oſter ſa lame de la voſtre, de ſorte que vous ne pourriez venir aux operations ſuivantes; alors il faudroit reprenre l’entree du pied droit, ſuivant le Diametre perpendiculaire, en avançant le gauche, & luy preſentant derechef la pointe devant le viſage en ligne courbe, tout de meſme les Cercles N.8. & 9.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 11'''
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|'''Cercle N.11.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''From the previous Circle No 10, Zachary thrusts horizontally to the face. Alexander follows his movement keeping the swords in contact, in such a way that he gracefully adopts the Direct Line posture, with his sword-tip before the face.''
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|''Zacharie luy tirant une eſtocade horizontale devers le viſage, en ſuite du Cercle N.10.; Alexandre la pourſuit avec les eſpees accouplées, en ſorte qu’il prend luy meſme la droite ligne, & luy met la pointe en courtoiſie devant le viſage.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This follows on from the preceeding action. Zachary makes a thrust horizontally at his opponent’s face, taking his sword off of the other, and turning slightly to the outside. Alexander feels this movement as his enemy begins to pull his sword away, does not wait until he can lift it or push it away, but continuously keeps contact, so his opponent cannot circle around his guard to make his thrust to the face. As soon as his opponent’s sword moves across, he closes the Direct Line, meeting the weak of his opponent’s blade with the strong of his own, and precisely sets his tip in front of his opponent’s eyes, putting his foot down by the other one at the same instant, about one short pace apart.
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|C’eſt la pourſuite de la demonſtration precedente. <font style="font-variant:small-caps">Zacharie</font> tire un coup de pointe horizontal vers le viſage de ſa partie, en oſtant ſa lame de deſſus la contraire, & tournant le coſté droit du corps un peu en dehors. <font style="font-variant:small-caps">Alexandre</font> s’appercevant par le ſentiment de ce mouvement, que l’Ennemi commence à faire, pour deſtacher ſa lame, il n’attend pas ſi long temps, qu’il la puiſſe lever ou oſter, mais ſans l’abandonner il la pourſuit continuellement, & comme elle ne peut laiſſer de venir alentour de ſa garde, pour donner l’eſtocade au viſage; à l’inſtant qu’elle y arrive, il luy ferme la droite ligne, en accueillant le foible du fort de la ſienne, & luy mettant ſa pointe en courtoiſie devant les yeux, & abaiſſant au meſme inſtant le pied à terre à coſté de l’autre, à la diſtance d’un pas arreſté.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle no 12'''
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|'''Cercle n.12.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|Here is the final execution of the preceeding thrust. This is done by suddenly raising the right foot and stepping, with the body forward, and with the arm and sword extended, to the letter S. Continue on by putting weight on the forward knee, and pierce the head of your Adversary, who is forced to bend his arm and let his tip go up against his opponent’s sword.
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|Voicy la finale execution de l’eſtocade precedente; laquelle il pourſuit en eſlevant ſoudainement le pied droit, & cheminant avec le corps avancé, & avec le bras & l’eſpee eſtendus, juſqu’à la lettre S; continuant à faire la charge ſur le genou de devant, & percer la teſte à ſon Contraire, qui en eſt contraint de courber le bras, & laiſſer aller ſa poinćte en haut au gré de l’eſpee contraire.
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|- style="font-family: times, serif; vertical-align:top;"
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|Those who are a little versed in this exercise, will be able to prepare and execute this thrust in one single movement. But it is better to practice as we have shown, in two parts, to instruct Novices. To whom I counsel and shall always counsel to take pains to do it a few times well, rather than repeating it often.
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|Ceux qui ſeront un peu verſez en l’exercice, pourront donner & executer ceſte eſtocade en un ſeul temps; mais il vaut mieux de la pratiquer, comme nous l’avons repreſentée, en deux, pour donner inſtrućtion aux Novices; auxquels je conſeille & conſeilleray touſiours de mettre pluſtoſt peine à faire bien, qu’à faire beaucoup.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle no 13'''
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|'''Cercle n.13.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary wants to force his opponent’s sword further away, following Circle No 10. Alexander will pass to the side with a double-size step, freeing his sword, and hitting him with a cut to the head.''
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|''Zacharie voulant aſſujetir l’eſpee contraire davantage, en ſuite du Cercle N.10; Alexandre luy va paſſer à coſté avec un pas double, en delivrant ſa lame, & luy en donnant un coup d’eſtramaçon à la teſte.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This action comes from the position shown in Circle No 10, where Zachary’s sword can be seen above the other. In this case to further force the sword away as he would like to, with more power, he increases the force on the blade. Alexander percieves this as his blade is in contact, he moves his raised foot forwards, turns his right side towards Zachary, along with his arm and the sword-guard, so that he disengages from his opponent’s sword, by moving his tip behin him in a circular motion down, around his opponent’s, and upwards. As he moves his body, stepping with his foot, he delivers a cut diagonally across the face, finishing his motion with a double-length step outside the Circle, even with the letter X, with the knee bent.
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|Ceſte operation provient de la demonſtration du Cercle N.10. où l’eſpee de <font style="font-variant:small-caps">Zacharie</font> ſe voit deſſus l’autre: toutesfois pour l’aſſujettir à ſa fantaſie & avec plus d’avantage, il accroiſt le ſentiment. Ce qu’<font style="font-variant:small-caps">Alexandre</font> appercevant par l’attouchement, il avance au meſme temps le pied, qui eſt eſlevé, en tournant le coſté droit du corps en avant, enſemble avec le bras & la garde de l’eſpee, ſi bien qu’elle ſe deſgage de l’eſpee contraire, en faiſant de ſa poinćte un circuit en arriere & alentour de la poinćte d’icelle de bas en haut, & en continuant l’advancement du corps & du pied, qui chemine, il luy porte un coup d’eſtramaçon diagonal au viſage, pourſuivant à faire avec le pied droit un pas double en ligne droite, à planter dehors le Cercle vis à vis de la lettre X, avec le genou plié, pour y faire la charge.
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|- style="font-family: times, serif; vertical-align:top;"
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|One could also make use of this action when making the cut to the face from the Third Instance. While putting the foot down at the letter N, the enemy made his defence, carrying the swords down to the inside much more forcefully than in Circles No 4, 8, & 9, so that one could not hold it with the bent arm, and one would be forced to let it go, giving it free rein.
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|On pourra auſſi ſervir de ceſte meſme operation, quand on ſera venu pour donner le coup de l’eſtocade à la Troiſieme Inſtance, & qu’en abaiſſant le pied droit à la lettre N, l’Ennemi aura fait ſa defenſe, en tranſportant les eſpees en dedans du bras avec plus de force, qu’il n’a fait és Cercles N.4.8.& 9. de ſorte qu’on ne le puiſſe moderer avec la courbe, & qu’on ſoit contraint de le laiſſer aller, comme à bride avallée.
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander percieves, on this occasion, the powerful force being used to parry his thrust, and makes a half pirouette with the left foot, bringing his right foot in as quickly as possible to raise it up and and bring his right side forward with his arm and sword, in the same way as above, into the angle that is open before him. He continues with the rest, the cut and the double-length step, as is shown in the figure.
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|<font style="font-variant:small-caps">Alexandre</font> donc s’appercevant, en ceſte occaſion, de la grande force avec laquelle on luy pare ſon eſtocade, il fait une demi-fleurette avec le pied gauche, l’approchant le plus viſtement qu’il eſt possible au pied droit, pour l’eſlever, & ſe tranſporter en toute promptitude le coſté droit devant, enſemble auſſi en avançant le bras & l’eſpee, en la meſme ſorte, que deſſus, au dedans de l’angle qu’on luy ouvre: en continuant le reſte, de l’eſtramaçon, & du pas double, à l’imitation de ce qui eſt repreſenté en la figure.
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|- style="font-family: times, serif; vertical-align:top;"
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|The real blow is made severely, but in any case, nothing prevents it from being practiced carefully, simply putting the blade in front of the face, while stepping, and moving the sword about the head as the foot comes down.
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|Il eſt vray, que le coup y eſt executé par rigueur: toutesfois il n’y a rien qui empeſche de le pratiquer auſſi en courtoiſie; en luy preſentant la lame devant le viſage, cependant que le pied chemine, & cependant qu’il s’abaiſſe en terre, la mener circulairement outre ſa teſte.
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|- style="font-family: times, serif; vertical-align:top;"
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|That being done, one could again make a second strike, either carefully or severely, as in the example of Circle No 6, following the same instructions.
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|Celà fait, on le pourra redoubler encore en courtoiſie, ou en rigueur, à l’exemple de la pourſuite du Cercle N.6. ſuivant les meſmes inſtrućtions.
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|- style="font-family: times, serif; vertical-align:top;"
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||
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|- style="font-family: times, serif; vertical-align:top;"
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|It is apparent from these examples that before one can hit the person who is holding the Direct Line posture, one must first overcome the sword. Because the large distance at the First Instance is advantageous and good for the defender, as much, in contrast, as it is difficult and inconvenient for the attacker. In fact, if you paid close attention to the demonstrations in the previous Plate V, all of Zachary’s thrusts were made from the First Instance, all of their counters were made by Alexander from the Second. As much as he never stayed in place without moving, nonetheless his hits were only begun at the instant when his enemy had closed in to the Second Instance. If someone is out of range, he is also out of danger; when at long range, he is likewise out of danger from smaller and more subtle moves. Thus is follows that, when the enemy is standing in the Direct Line posture, that one must move in closer to put him in danger, but confidently. Good foot, good eye. Believe that neither the speed of the body, nor the quickness of the arm, are nothing compared to the benefit of a good approach. Thus all the practicality of our Training is that we are always moving towards the enemy to come into the range that is most convenient and proper to the execution of our attacks. That is, if he does not bring himself into range and save us the trouble. This is what we wanted to present here, in Plate VI. More specific observations and confidence in how to proceed, shall be explained hereafter, each in its proper place.
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|Il appert par ces exemples, qu’il faut neceſſairement venir à l’eſpee, premier que d’attenter ſur la perſonne, qui ſe tient en ceſte poſture de la Droite ligne. Car la meſure large de la Premiere Inſtance, luy eſt avantageuſe & propre pour les defenſes, autant qu’elle eſt au contraire incommode & dangereuſe pour celuy qui la veut aſſaillir. Et de fait ſi vous avez prins bonne garde aux demonſtrations de la Table V. precedente, toutes les eſtocades de Zacharie, qu’il y eſt repreſenté d’avoir tirées de la Premiere Inſtance, elles ont eſté rencontrees par Alexandre à la Seconde. Car encores qu’il ſoit demeuré aucunesfois ſans bouger de ſa place, toutesfois les atteintes, qu’il a données, n’ont eſté commencées, ſinon à l’inſtant que l’Ennemi s’eſt avancé juſqu’à ceſte Seconde Inſtance. Car ſi celuy qui eſt hors de meſure, eſt auſſi hors de danger, auſſi qui eſt en meſure large, eſt hors du danger des plus petits & plus ſubtils mouvements. S’enſuit donc, quand l’Ennemi ſe tient en la Droite ligne, qu’il le faut aborder plus pres, pour le mettre en danger; mais avec aſſeurance, Bon pied, bon œil. Et croyez hardiment, que ny la viſteſſe du corps, ny la promptitude du bras, ne ſont rien au prix d’une bonne approche. Dont toute la Pratique de ceſtuy noſtre Exercice ſera telle, qu’on ira touſiours ſerrant l’Ennemy, juſqu’à venir à la meſure, qui ſoit convenable & juſte aux executions, qui ſe preſentent à faire; ſi ce n’eſt que luy meſme nous vienne au devant, pour nous relever de la peine. Voilà ce que nous avons voulu repreſenter en general en ce Tableau VI. Les obſervations plus particulieres, & l’aſſeurance, comment il y faut proceder, ſeront declarées cy apres, chaſcune en ſon lieu.
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|}
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Revision as of 21:19, 27 March 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.

Thibault uses the term estocade to describe a thrust with the back of the hand upwards and fingers downwards, from the Italian term stoccata. He uses the term imbrocade to describe a stab with the thumb vertical, or the fingers upward, from the Italian term imbroccata.

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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