Gérard Thibault d'Anvers/Plates 12-22

Book 1 - Tableau / Plate XII - Stepping inside the Angle betweeen the Swords.

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE TWELFTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV DOUZIEME.
We follow here, in this twelfth plate, the example of those who are concerned with fortifications. After they have taught to their students the form of ideal designs, they then briefly show them how, in practice, these must be adapted to the particulars of each place. Moreover, it is impossible to have site exactly one would wish. Thus, we do the same for our System, because we have already explained the manner of entering into the sword-angles, which is one of the points of the greatest importance, we shall now show the versatility of this move and the multiplicity of circumstances in which the scholar can prevail. Such contemplation will be very useful and very easy for them, considering the small number of precepts to keep in mind on which we can build, and which dominate even against the most unusual moves. To do this, we propose to examine a few particular examples, where Zachary opens up the angle in diverse ways, of which none are particularly strange. And in fact he allows opportunities of all sorts. Some ones which consist of a simple defence, others which include attempts to attack. At some times he will completely open up the angle, at other times he will do no more than prepare to. But all with such moves as he hopes will will create confusion by their novelty. But why, then, do this? These situations are useless to learn, because they are so rare, you say? On the contrary, the strangest situations are those that are most necessary to learn. For your enemy will not fail to perform any strange action, if he thinks it will confuse and confound you. Furthermore, whether or not he performs these moves with the same intent and the same follow-on exactly as we show here, nevertheless, you will find yourself often enough in similar situations such as these by chance one way or another. Therefore, be prepared for everything. For in the practice of Arms, after a mistake is made, there is neither valid excuse nor available recovery.	Nous enſuivons en ce Tableau XII. l’exemple de ceux qui traitent les matieres des fortifications. Car apres qu’ils ont enſeigné les figures regulieres, ils ſe contentent de monſtrer briefvement à leurs diſciples, qu’en la Pratique il les faut accommoder ſelon les particularitez de chaſcune place; d’autant qu’il eſt impoſſible de les avoir touſiours à ſouhait. Ainſi donc pour faire le meſme en noſtre Exercice, puis que nous venons de declarer la maniere d’entrer dedans les angles, qui eſt un de points de plus grande importance; monſtrons maintenant combien l’uſage en eſt ample, & comme l’Eſcholier s’en pourra prevaloir en pluſieurs occurrences. Contemplation qui luy ſera tresutil, & tresaggreable, conſiderant que le petit Nombre de ſes preceptes eſt baſtant à tenir en devoir voire & à dompter meſme des mouvements ſi extraordinaires. Pour ce faire nous propoſerons icy quelques particularitez d’exemples, ou Zacharie luy fait l’ouverture de l’angle en diverſes manieres, & aucunes d’icelles bien eſtranges. Et de fait il luy en donne des occaſions de toutes ſortes; les unes qui conſiſtent en ſimple defenſe, les autres conjointes avec intention d’offenſer; tantoſt il ouvre l’angle tout à fait, tantoſt il n’en fait que la ſeule preparation; le tout avec de tels mouvements, qu’il eſpere luy en troubler le jugement par la nouveauté meſme. Mais quoy donc? Direz vous, ce ſont des occaſions inutiles, pour ce qu’elles ſont rares? Au contraire, le plus eſtranges ſe ſont les plus neceſſaires. Car l’Ennemy ne manquera pas à faire une aćtion eſtrange, s’il penſe qu’il vous en mettra en deſordre; & d’autrepart combien qu’il ne les face pas avec la meſme intention, & en la meſme ſuite qu’elles ſont icy repreſentées, toutesfois on ſe retrouve aſſez ſouvent en telles & ſemblables ſituations par les changements des occaſions de part & d’autre. Soyons donc preparez à tout. Car au fait des Armes, apres que la faute eſt commiſe, il n’y a ny remede ny excuſe valable.
Circle No 1	Cercle N.1.
Alexander, has subjugated his opponent’s sword at the Second Instance, has stepped with his foot to the Third, in such a way that his left foot is in the process of following along, with the intent to wound his opponent with the length of his blade. At this very moment, Zachary turns his right side to the outside, raising his arm and sword to an obtuse angle above the Inscribed Square X-N, holding it with some force. Alexander sees this, he allows his own tip to rise up, lowering and closing his elbow against his side, and setting his left foot on the ground inside the Quadrangle at the letter O.	Alexandre ayant ſujetté l’eſpee contraire à la Seconde Inſtance, & puis marché avec le pied droit à la Troiſieme, en ſorte que le pied gauche eſt deſia en train à pourſuivre l’autre, avec intention de bleſſer le Contraire au long de ſa lame; en ce meſme temps Zacharie ſe deſtourne le coſté droit en dehors, hauſſant le bras & l’eſpee en angle obtus au deſſus le coſté du Quarré Inſcrit X N, retenant le poids en force. Dequoy s’appercevant Alexandre il laiſſe aller au meſme temps ſa pointe contremont, en abaiſſant & affermiſſant la coude à ſon coſté, & mettant le pied gauche à terre dedans le Quadrangle à la lettre O.
After Alexander has subjugated his opponent’s blade moving from the First to the Second Instance along the Diameter at G, and taken a step with his right foot along the side of the Inside Square to the letter N, intending to slide the point of contact up his opponent’s blade to give him a thrust to the face, he draws his left foot along the path following the other. At this time, Zachary turns his toes forward towards the diameter, without leaving his Quadrangle, in such a way that his right side is withdrawn a quarter turn, bringing his extended arm with his sword up into an obtuse angle along the side of Inscribed Square, X-N, with some force, so that the thrust to the face which his adversary had thought to give him is diverted aside. At the same time, Alexander drops his arm and guard down, while his sword-tip comes up, and he closes his elbow against his right side to protect himself, and he sets his left foot down inside the Quadrangle at the letter O, while keeping his body erect. This is shown by the figures.	Apres qu’Alexandre a ſujetté l’eſpee contraire, de la Premiere Inſtance à la Seconde au deça le Diametre lettre G. & ayant conſequemment cheminé avec le pied droit par la trace du Quarré Inſcrit juſqu’à la Troiſieme à la lettre N, pour en graduant l’eſpee contraire luy donner une eſtocade au viſage, dont le pied gauche eſt deſia en train de cheminer apres l’autre : à ce meſme temps Zacharie ſe tourne les orteils en devant vers le Diametre ſans bouger de ſon Quadrangle, en ſorte que le coſté droit du corps s’en retire à quartier, menant le bras eſtendu avec l’eſpee en haut en angle obtus au deſſus le coſté du Quarré Inſcrit X N avec poids de force; de façon que l’eſtocade, que l’adverſaire luy penſoit donner au viſage, en eſt divertie : Au meſme temps Alexandre s’abaiſſe le bras & la garde, & avec la pointe dreſſée contrement il ſe l’affermiſt coſté droit pour defenſe de la partie inferieure de ſa perſonne, mettant enſemblement le pied gauche à terre, dedans e Quadrangle à a lettre O, avec le corps eſtendu; comme les figures demonſtrent.
Circle No 2	Cercle N.2.
Alexander raises his right foot in the air, while forcing his opponent’s sword down a little, which (while setting his foot down on the ground before the letter S) he subjugates it, turning his left side forward, and leaning his body even further forward on the same foot inside the angle, while simultaneously drawing his left foot along up to the letter N.	Alexandre eſleveant le pied droit en l’air, abaiſſe enſemble quelque peu l’eſpee de ſon Contraire, laquelle (en plantant le meſme à terre devant la lettre S) il aſſujettit, avançant le coſté gauche, & panchant du corps ſur le devant encores ſur le meſme pied au dedans de l’angle, entrainant quand & quand le pied gauche derriere juſqu’à la lettre N.
As soon as Alexander has completed the preceeding action, he pauses briefly, so as to see if his adversary will try to work against him, so he can counter it. But as soon as he sees him waiting, he follows on, moving forward and raising himself with his right foot while lowering the swords with his sense of contact and likewise turning his left side forward, in such a way that the instant his foot lands on the ground in front of the letter S, and his weight comes down on it, he subjugates his opponent’s blade, then leans his body onto the forward foot, drawing his left foot along behind up to the letter N. Thus he puts himself inside the angle of the swords, and inside the lines of his ennemy; As is evident in the portrait of the figures.	Alexandre dés qu’il à parachevé l’aćtion precedente, fait une petite pauſe, afin que ſi l’adverſaire taſche d’avēture à travailler deſſus, il y puiſſe donner order. Mais quand il le voit attendre, il pourſuit, en avançant & hauſſant le corps avec le pied droit, & abaiſſant enſemble un peu les lames au rapport du Sentiment, avec pareil advancement du coſté gauche; en ſorte qu’à l’inſtant que le corps deſcend, & que le pied droit tombe à terre devant la lettre S, il aſſujettit l’eſpee de l’adverſaire, ſe panchant du corps ſur le devant, & entrainant le pied gauche derriere juſqu’au point N. Dont il ſe met par ainſi dedans l’angle, & au dedans des perpendiculaires de l’ennemy; comme il eſt evident au pourtrait des figures.
Circle No 3	Cercle N.3.
Alexander continues the movement by leaning further forward, while raising his left hand between them over the swords. Then, he simultaneously moves forward, shifts his weight entirely onto his right foot, raises his left foot, reaches his left hand above the blades to seize the whole of his opponent’s guard and moves his left side leaning still further forward, as we see portrayed in the figure.	Alexandre continuant l’operation encommencée, ſe panche un peu davantage, hauſſant tout d’un temps en avant ſa main gauche entre deux & à l’egal des lames, puis il s’avance quand & quand en ſautant du pied droit, eſlevant en ſuite le pied gauche, & prenant enſemble par deſſus le long des lames la garde du Contraire avec ſa main gauche, le coſté gauche du corps panché encor davantage; ainſi qu’on le voit pourtrait en la figure.
Circle No 4	Cercle N.4.
Alexander follows on from the previous movements, stabbing his opponent’s right side with the sword-tip.	Alexandre pourſuit les operations precedentes, donnant à ſon contraire un coup de pointe au coſté droit par le fil de ſa lame.
Here the movement carries on, where Alexander suddenly takes his already raised left foot and makes a sudden large circular step outside the Circle, off to the side of his opponent. This he follows with a similar very quick circular move of his right foot, in a volte, taking a large step behind his left foot, he traps his opponent’s sword as he turns his opponent’s hand and pushes the guard away, which creates the opening to stab his opponent’s right side along the line of the blade, as his shown in the figure.	Ceſt encor la continuation du precedent, ou Alexandre pourſuit ſoudainement à faire un grand pas circulaire avec le pied gauche, qui eſtoit deſia eſlevé, au dehors du Cercle à coſté de l’adverſaire; pourſuivant pareillement en cercle avec l’autre pied, aſſavoir le pied droit, qu’il avance & volte de pareille viſteſſe, faiſant un grand pas derriere le pied gauche, pouſſe & tourne cependant le bras & la garde contraire au loing, & luy donne par le fil de la lame un coup de pointe au coſté droit; comme il eſt repreſenté en la figure.
Circle No 5	Cercle N.5.
Alexander completes the final execution of the movement by pushing his thrust with full force through his opponent’s body.	Alexandre faiſant la finale execution pouſſe ſon eſtocade au travers le corps de ſon Contraire de pleine force.
This is the final follow up to the previous moves, done by Alexander immediately raising his left foot and stepping into his opponent, putting his weight down on it, and thereby pushing his thrust with full force through his opponent’s body.	C’eſt la derniere ſuite de la continuation precedente, fait par Alexandre en eſlevant tout à l’inſtant & avançant le pied gauche devers ſon Contraire, en faiſant la charge du corps deſſus, & luy pouſſant par ainſi l’eſtocade à travers le corps de pleine force.
Circle No 6	Cercle N.6.
This action stems from Circle No 1, in the case when his opponent puts more force behind his blade. Thus Alexander continues to work against his opponent, taking a large, deliberate step straight forward with his right foot, moving his body in closer to his sword, and being very attentive to the feel, so to be aware if perchance his opponent comes to change the force he is using and so change the resuting actions as well.	Ceſt aćtion prend ſon origine du Cercle 1. à condition, qu’il y ait plus de poids en la lame contraire. Dont Alexandre pourſuit à travailler, en faiſant un grand pas tout droit en avant lentement avec le pied droit, s’approchant le corps plus pres de ſon eſpee, & prenant fort ſerieuſement garde au ſentiment, ſi daventure le Contraire venoit à changer le poids, pour changer auſſi l’operation.
Circle No 7	Cercle N.7.
This continues from the preceeding Circle, where Alexander takes a further large, deliberate step with his left foot, straight forwards, out beside his adversary. After which he raises his right foot and brings it up near to the left one. As he feels that his opponent’s sword still resists with the same degree of force, he turns on the ball of his left foot, to face him.	C’eſt la continuation du precedent, ou Alexandre marche encor un autre grand pas tout droit en avant & lentement avec le pied gauche à coſté de l’adverſaire; pourſuivant apres à eſlever & avancer le pied droit, lequel il joint tout pres de l’autre; & comme il ſent que la lame contraire continue encor au meſme poids, il ſe tourne ſur le pied gauche qui eſt planté tout droit contre luy pour le regarder.
Circle No 8	Cercle N.8.
Alexander carries on the preceeding actions and, entering in towards his opponent, he aims the tip of his blade into his right side, thrusting with full force.	Alexandre pourſuit les operations precedents, & entrant devers le Contraire luy aſſene ſa pointe au coſté droit, l’executant de pleine force.
Continuing to feel the same degree of force against his blade, Alexander carries on his actions, disengaging the swords (so the other passes over his head) and at the same instant he enters in towards his opponent with the right foot, which was raised and ready, while aiming his sword-tip at the right side, and then driving it in with full force and his body leaning behind it, in accordance with the figures.	Continuant le meſme Sentiment des lames, Alexandre pourſuit l’operation, en deſtachant les eſpees (dont l’eſpee contraire luy paſſe par deſſus la teſte) & au meſme inſtant il entre devers le Contraire avec le pied droit, qui eſtoit deſia preparé, luy aſſenant la pointe au coſté droit, & l’executant à pleine force avec le corps panché de meſme; le tout en conformité des figures.
Circle No 9	Cercle N.9.
Alexander has finished the actions of Circle No 1, and sees his adversary increase the degree of force resisting his blade. After he releases the sword to fly overhead, he wounds his opponent in the right side with his sword-tip.	Alexandre ayant achevé les operations du Cercle 1. voyant que l’adverſaire luy reſiſte en augmentant le poids, apres avoir laiſſé eſchapper l’eſpee contraire il le bleſſe d’un coup de pointe au coſté droit.
This is an action which follows from Circles 1 & 2. Alexander has finished the movement in Circle 1. to the point where he has raised his right foot intending to force down and subjugate his opponent’s blade, as in Circle 2. His adversary resists by greatly increasing the degree of force against his blade, enough to move the swords back. To which Alexander lifts his sword from on top, allowing the other to fly freely overhead from the intensity of the force, and at the same time enters in to the angle, by advancing his right foot, which he sets down where the line crosses the segment S-X. He wounds his opponent’s right side by a strike with his sword-tip and finishes the move with his body leaning forward, and left leg drawn up appropriately behind him, as his shown in the figure.	C’eſt icy une operation qui procede en ſuite des Cercles 1. & 2. Alexandre ayant achevé celle du Cercle 1. apres avoir eſlevé le pied droit pour abaiſſer, & conſequemment pour aſſujettir l’eſpee contraire à l’exemple du Cercle 2. l’Adverſaire luy fait reſiſtance, en augmentant le Poids, & uſant de force pour tranſporter les lames. Qui fait qu’Alexandre en oſte ſon eſpee de deſſus, laiſſant enfuir l’autre, qui luy paſſe outre la teſte par la vehemence de la force, & entrant au meſme temps dedans l’angle par advancement du pied droit, qu’il plant à la ſećtion de la ligne S X, il le bleſſe d’un coup de pointe au coſté droit, & en fait la finale execution avec le corps panché en avant, le pied gauche trainant proportionnellement derriere; comme il eſt repreſenté au pourtrait de ſa figure.
Circle No 10	Cercle N.10.
Zachary resists by increasing the force against his blade. Alexander slides the point of contact down the blade to prepare the next move.	Zacharie faiſant reſiſtance hauſſant le poids des lames, Alexandre deſgradue les lames & ſe prepare à l’execution ſuivante
This action likewise begins from Circle 2, in which Alexander is shown lowering and subjugating his opponent’s blade. Against which Zachary has tried to resist by raising and increasing the force against the blade, however, with a little less than in the previous Circle. So Alexander leans a bit further forward, while making a quick step with his right foot up to the letter S, and with his left hand seizes his opponent’s guard, then slides the point of contact down along the entire length of the blade in such a way that he pulls away as he keeps his grip on the guard, holding it out to the left. He turns his right side forward, raising his left foot, and raises his opponent’s guard up high, while turning the tip of his own blade away behind his back. Thus, he is prepared to perform the following moves, as we can see him making ready in the image.	Ceſte operation prend ſemblablement ſon origine du Cercle 2. auquel Alexandre eſt repreſenté abaiſſant & aſſujettiſſant la lame cōtraire: à quoy Zacharie à voulu faire reſiſtance, en hauſſant & accroiſſant le poids des lames, toutesfois avec un peu moindre effort, qu’au Cercle dernier precedent. Dont Alexandre ſe panche un peu davantage, faiſant au meſme temps avec le pied droit un petit ſaut en avant à la lettre S, & avec la main gauche prend la garde contraire, enluy deſgraduant la lame entier, de ſorte qu’il ſe retire & s’affermit le bras de l’eſpee avec la garde au coſté gauche, en tournant le coſté droit devant avec le pied gauche eſlevé, pouſſant enſemblement ſon bras gauche, qui tient l’eſpee contraire en haut, & conduiſant la pointe de la ſienne contremont par derriere le dos. Voilà comme il s’eſt preparé le corps pour venir conſequemment à l’operation ſuivante; comme on l’y voit tout appreſté en la figure.
Circle No 11	Cercle N.11.
This follows on from the last. Alexander, leaps with a large, circular, forward step with his left foot outside the Circle to a point almost behind his adversary, to whom he gives, by leaning forward with his body and bringing his right foot smoothly around through the air in circular motion, setting it down behind the other, a reverse cut to the thick part of his opponent’s left leg, while pressing his opponent’s arm and sword down and pinning them against his left side, as is portrayed in the figure.	C’eſt la ſuite du prēcedent. Alexandre ſaute avec le pied gauche un grand pas circularement en avant au dehors du Cercle à peu pres derriere l’adverſaire; auquel il donne (en panchant du corps ſur le devant, & continuant à mener circulairement le pied droit en l’air derriere l’autre) un coup de revers au gras de la jambe gauche, pouſſant enſemblement vers le bas le bras & l’eſpee contraire, laquelle il s’affermiſt à ſon coſté gauche; ainſi qu’il eſt pourtraićt en la figure.
Circle No 12	Cercle N.12.
Alexander continues with the same sequence. He suddenly moves backward and sets his foot down right behind himself, then rocks back onto it, leaning backward and lifing his left foot. As he does, he pulls his opponent’s hand and sword off to his left, and draws his own sword back to his right side, as we see represented in the figure.	C’eſt la continuation de la meſme ſuite, faite par Alexandre, en retirant & plantant ſoudainemēt le pied droit en arriere, ſur lequel il ſe redreſſe & ſe panche à l’envers, en eſlevant le pied gauche, & retirant à ſoy le bras & l’eſpee contraire, meſme auſſi la ſienne, laquelle il conduit à coſté de ſa perſonne à main droite, la pointe tournée vers le bas; comme on le voit repreſenté à la figure.
Circle No 13	Cercle N.13.
Here, Alexander executes his strike, and pierces his oppnent with a straight arm through the body.	Alexandre execute icy ſon coup, & perce ſa partie d’un bras roide au travers du corps.
And here is the final move. Alexander steps with his left foot forward into his opponent, & leaning his body, he drives his sword, with a straight and extended arm, through his opponent’s body.	En voicy le finale execution. c’eſt qu’Alexandre marche avec le pied gauche deſſus ſon homme, & en panchant le corps de meſme, il luy pouſſe d’un bras roide & eſtendu l’eſpee au travers du corps.
Circle No 14	Cercle N.14.
Alexander subjugated his opponent’s sword. Zacharie tries to wound his opponent by disengaging his blade. Alexander perceives this move and swiftly follows, sliding his tip along and again subjugates it.	Alexandre ayant aſſujetti l’eſpee contraire, Zacharie taſche de bleſſer ſa partie en deſtachant ſa lame, Alexandre s’en apercevant le pourſuit vivement & graduant ſa pointe l’aſſujettiſt derechef.
Alexander has previously subjugated his opponent’s sword at the Second Instance at the letter G, along the Diameter, according to our precepts and required form. Zachary tries to circularly disengage his blade, which is subjugated underneath the guard, and raise it over Alexander’s, to wound him from above his arm. Alexander feels it is about to disengage, follows it quickly before that can happen, turning it down and outside of the intended path. He does this with his wrist, turning and sliding the point of contact up to the centre of his opponent’s sword, so it cannot escape, at least until the two swords have been raised up at an obtuse angle. Then, with his body upright, he enters in with his left foot forward as he again slides the point of contact up the sword to dominate his opponent’s sword, setting his foot down on the Diameter at the letter Q, bearing the weight of his body on it, over his bent knee, inside the perpendicular lines, as it appears in the figure.	Alexandre ayant preallablement aſſujetti l’eſpee contraire à la Seconde Inſtance lettre G, au deça du Diametre, ſelon les preceptes & en la forme requiſe. Zacharie taſche à luy paſſer circulairement ſa lame, qui eſt aſſujettie par deſſous la garde, pour bleſſer par deſſus le bras. Dont Alexandre, qui recognoiſt au Sentiment, qu’elle commence à ſe vouloir deſtacher de la ſienne, la pourſuit vivement avant qu’elle ſe ſoit delivrée, en tournoyant par le bas & en dehors la meſme chemin q’uelle s’en alloit prendre; ce qu’il fait avec le poignet de la main, tournant & graduant ſa pointe un peu devers le Centre de l’eſpee contraire, afin qu’elle ne luy puiſſe eſchapper, juſqu’à tant que les deux eſpees ſoyent conduites en haut en angle obtus; Lors il entre avec le corps eſtendu, le pied gauche devant, en faiſant derechef deſgraduation en aſſujettiſſant l’eſpee contraire, & plantant le meſme pied au deça le Diametre à la lettre Q, menant la charge du corps deſſus ayant le genoil plié, au dedans des perpendiculaires, ainſi qu’il paroit à la figure.
This same action can be done, even if Alexander has not yet done more than set his right foot down at the Second Instance, before his left foot has come into place, and the subjugation of his opponent’s blade is but half done. However, in this latter case, one will not have the leisure to set the left foot down at the Second Instance, before one must increase the size of his step, and move in one up motion to the letter Q, keeping in mind all the same particulars as above.	Ceſte meſme operation ſe pourra pratiquer, moyennant qu’Alexandre n’ait encor planté que le pied droit à la Seconde Inſtance, avant que le gauche y ſoit arrivé, & que l’aſſujettiſſement ne ſoit qu’à demi fait. Toutsfois en ce dernier cas on n’aura pas le loiſir d’aller planter le pied gauche en terre à la Seconde Inſtance, ains il faudra en aggrandir la demarche, & entrer tout d’un train juſqu’à la lettre Q, en obſervant touſiours le meſmes particularitez que deſſus.
Circle No 15	Cercle N.15.
This is the follow-on from the preceeding action. Alexander momentarily raises his left foot, making little or no forward motion. He leans on it, moves his left side forward, at the same time disengaging his sword, and seizing hold of his opponent’s guard with his left hand, which he pulls towards himself. He puts the tip of his sword on his adversary’s right side, as the figures demonstrate.	Voicy une ſuite de l’operation precedente. aſſavoir qu’Alexandre eſleve tout à l’inſtant un peu le pied gauche avec peu ou point d’avancement, ſe panchant deſſus, le coſté gauche du corps avancé, en deſtachant au meſme tēps les eſpees, & faiſant prinſe de la garde contraire avec ſa main gauche, laquelle il retire à ſoy, en aſſenant ſa pointe au coſté droit de l’edverſaire; comme les figures demonſtrent.
In this action, which proceeds from Circle No 14, where Alexander held his opponent’s blade subjugated with his left foot forward, he follows in Circle No 15 by disengaging the swords while at the same time seizing his opponent’s guard. Note that he could also do the step in with his right foot, and performing the consequent seizure and follow-on without disengaging the blades, as shown in Circles No 2, 3, 4, and 5.	En ceſte opration precedente du Cercle 14, où Alexandre tient l’eſpee contraire aſſujettie avec le pied gauche devant; laquelle il a pourſuivie au Cercle 15. en deſtachant les eſpees, & faiſant au meſme temps prinſe de la garde contraire. Notez qu’il peut auſſi pratiquer la meſme intrade avec le pied droit, en faiſant conſequemment la prinſe avec le ſuite annexées ſans quitter les lames en conformié de ce qui eſt repreſenté es Cercles 2. 3. 4. 5.
This is similar to Circle No 2, when Alexander had his right foot forward, but in any case, nothing impedes him from following on as from Circle No 14 disengaging his sword, seizing his opponent’s guard, and giving his a thrust in the stomach, as is shown in Circle No 15.	Semblable eſt du Cercle N.2. combien qu’Alexandre y ait le pied droit devant, toutesfois rien n’empſche qu’il n’en puiſſe auſſi tirer la ſuite du 14. en deſtachant les eſpees, à faire prinſe, & luy preſenter l’eſtocade à la poitrine; comme il eſt monſtré au Cercle N.15.
The usefulness of seizing the space inside the angle is so obvious, it should require no further proof. Anyone who has entered inside will always have twice the advantage, with regard to timing and distance. For he cannot be hit in a single beat, because he has passed the tip of his opponent’s sword, yet he has not given up the ability to attack however he wishes to. And if his enemy begins to draw back his sword to thrust, he can feel it and wound his enemy before he can pull it far enough, because he is in position, and outside his enemy’s line, and thus has the advantage. Also, note that those who fence in the old style, because they know no better, try to open up the angle, to beat the opposing sword aside. What we do with our sword, they want to do with their left hand. But this is their fault, because, since they always remain face to face against their opponents in a straight line, how is it possible for them to safely open up the angle, when we consider how this is the opposite of the direct line, and cannot happen except when one line crosses the other. This is why they do not know how to engage their enemy’s swords without uncovering their own side at the same time. That is why Alexander always approaches by moving to the side. Because he knows his enemy does not know how to parry the slightest strike without creating an angle. But if he does not create a large enough opening for them, there is nothing that stops him from executing his strike. And if not, he only needs to step inside the angle.	L’uſage de ſaiſir les angles eſt ſi manifeſte, qu’il n’en faut pas demander des preuves. Car celuy qui eſt entré dedans, a touſiours double avantage au regard du temps & de la meſure. Dont il ne peut eſtre touché au Premier Inſtant, par ce qu’il a paſſé la pointe contraire, & pourtant il ne laiſſe pas d’avoir la commodité luy meſme de travailler à touts moments, ſi bon luy ſemble. & ſi l’Ennemy commence à vouloir ramener ſa pointe, il a le ſentiment qui l’advertit de le bleſſer au meſme temps avant qu’il en ſoit venu à bout de ſorte qu’il a l’ennemi en preſence, eſtant luy meſme dehors, tant il a d’avantage. Auſſi voit on que ceux qui tirent à la veille mode, à faute de ne ſçavoir mieux, ils taſchent d’ouvrir les angles pour battre l’eſpee contraire. Ce que nous faiſons avec l’eſpee meſme, ils le veulent faire avec la main gauche. mais c’eſt leur faute. car puis qu’ils demeurent touſiours viz à viz de leurs contraires en ce droite ligne, comment leur ſeroit il poſſible de bien ouvrir les angles, conſideré que l’angle ceſt tout le contraire de la ligne droite, & qu’il n’y en a peut avoir, ſinon que l’une des lignes ſoit miſe en travers de l’autre. Et c’eſt la cauſe pourquoy ils ne ſçauroyent engager les eſpees des Ennemis, qu’ils ne ſe deſcouvrent auſſi de leur coſté pareillement. Voilà donc pourquoy Alexandre a fait touſiours ſes approches en allant de travers. Pour ce qu’il ſçait que l’Ennemi ne ſçauroit parer le moindre coup ſans faire angle. Car s’il ne fait point aſſez d’ouverture, il n’y a rien qui l’empeſche de faire l’execution; & ſi au contraire, il ne tient qu’à luy d’entrer dedans l’angle.

Book 1 - Tableau / Plate XIII - Defeating or Defending With The Guard Raised High to Protect the Face

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE THIRTEENTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV TREIZIEME.
It could be that, instead of presenting his sword in a direct line posture, as was performed by Zachary in the preceeding plates, he changes his approach, and presents to you in the way shown here, in Plate XIII, Circle No 1, not moving far from the same posture, except that he holds his hand a little higher, and his tip little lower. In such a way that he can only see his blade through his guard. In this case, it is inadvisable to try and contact his blade according to the previous instructions, to carry it over and subjugate it at the Second Instance. This is because it would be impossible to do without uncovering the upper part of one’s own body far too much. Which is why, to address the problem of carrying the blade away from this position, refer to the instructions in Plate XIX. For the present, I shall show you how you may thrust against this posture, along his blade, and hit under his arm, where he is the most vulnerable. This is because the shoulder, face, and chest remain covered by the wall made by his guard. Thus, in order to avoid the strong of his blade, and to duly work against the weak, here are the actions Alexander must perform, which, as general principles, will serve you well.	Il ſe pourra faire, qu’au lieu de preſenter l’eſpee en droite ligne, comme il a eſté pratiqué par Zacharie aux Tables precedentes, qu’il changera d’avis, & vous la preſentera à la façon qu’il eſt icy pourtrait en ce Tableau XIII. ſur le Cercle N.1. ne s’eſloignant gueres de la meſme poſture, ſinon qu’il tient la main un peu plus haute, pour ſe couvrir le viſage, & la pointe un peu baſſe, en ſorte qu’il ne la puiſſe voir luy meſme, ſi ce n’eſt à travers la garde. En tel cas, il ne ſeroit pas expedient de vouloir trouver ſa lame ſuivant les inſtrućtions precedentes, pour l’emmener & aſſujettir en dedans du bras à la Seconde Inſtance; à cauſe qu’il ſeroit impoſsible de le faire ſans ſe deſouvrir par trop ſoy meſme en la partie ſuperieure du corps. Parquoy s’il eſt queſtion de l’emmener, voyez-en les inſtrućtions au Tableau XIX. Pour le preſent, il vous ſera monſtré, comment vous luy pourrez tirer ſur ceſte poſture au long de ſa lame un coup de pointe ſous le bras, où il ſe deſcouvre le plus; à raiſon que l’eſpaule, la poitrine, & le viſage luy demeurent couverts du rempart de la garde. Afin d’eviter doncques le fort de ſon eſpee, & pour travailler deuëment ſur le foible, voicy les operations d’Alexandre, qui vous ſerviront de preceptes.
Circle No 1	Cercle N.1.
Zachary presents his sword to his opponent with his arm high and his tip low. Against which Alexander approaches with his left foot forward at the First Instance, and covers his opponent’s sword with his guard.	Zacharie preſente l’eſpee à ſon adverſaire, avec le bras haut & la pointe baſſe; ſur quoy Alexandre s’approche du pied gauche à la Premiere Inſtance, & ſe va pancher en devant ſur le meſme, couvrant la lame contraire avec ſa garde.
Zachary has placed himself in the circle inside his quadrangle, right foot on the circumference at X and left foot on the Pedal Line at Z, body extended upright, and presents his sword at his opponent above the Diameter, with his hand raised up, in such a way as to cover his face with his guard, allowing his tip to point downwards by bending his wrist, in order to strike at his opponent. Alexander approaches, with his left foot forwards, which he sets down at the First Instance on the letter C, keeping his body leaning backwards, and in one motion, circles his sword over to the inside line, down from an obtuse to an acute angle, then continuing the movement around until he has once again brought it upwards to the right hand side, as he shifts his body over his left foot, and finally allows his thumb to slide off and around under the crossguard so that it raises up. After a brief pause, he allows his blade to drop and leans forward, lifting his trailing right foot for balance, extending his arm so his guard covers the end of his opponent’s blade at the 1st or 2nd Span, crossing a bit above it, as the figures demonstrate.	Zacharie s’eſtant planté ſur le Cercle dedans ſon Quadrangle, le pied droit à la Circonference lettre X, & le gauche ſur la ligne Pedale Z, le corps eſtendu perpendiculairement, preſente l’eſpee à ſon Contraire, au deſſus du Diametre, avec le bras eſtendu vers le haut, de façon qu’il ſe couvre le viſage de ſa garde, laiſſant deſcendre la pointe vers le bas à l’aide du poignet de la main, pour attendre ſa partie. Là deſſus Alexandre s’approche premierement du pied gauche, qu’il plante à la lettre C en Premiere Inſtance, retenant le corps panché à l’envers, & menant par meſme voye l’eſpee circulairement de haut en bas en dedans du bras, d’angle obtus en angle aigu; dont par la continuation de meſme mouvement il la ramene derechef en haut à main droite, en ſe dreſſant le corps ſur le meſme pied gauche, & finalement ſe laiſſe eſcouler le poulce de deſſus la brance interieure de la garde, où il eſtoit affermi, en deſſous, de ſorte qu’elle en vient à ſe dreſſer contrement; laiſſant par ainſi deſcendre ſa lame, & panchant tellement du corps ſur le devant, avec le pied de derriere eſlevé & le bras eſtendu, que de ſa garde il couvre la lame contraire avec un petit arreſt, à 1 ou 2 Nombres tout contre la pointe, la croiſant un peu de biais vers le haut; comme les figures demonſtrent.
During the time he is moving his guard above the tip of his opponent’s sword, he should pause briefly, as we said: to always be read to adjust to any action or change his opponent may make while he is performing this move, so, being on guard, he cannot surprise you.	Au temps qu’on porte ſa garde par deſſus la pointe contraire, il faut bien adviſer de le faire avec le petit arreſt, que nous venons de dire: & ce pour eſtre touſiours preſt à rencontrer toutes les aćtions, que l’adverſaire pourroit pratiquer durant le meſme temps. autrement il ne faudra pas à nous ſurprendre, ſi nous ne ſommes bien ſur nos gardes.
Circle No 2	Cercle N.2.
Alexander continues his action, by making contact with his guard against the tip of his opponent’s sword and sliding it up as he steps in with his right foot a little beyond the letter H, following in so as to raise his left foot up, thrusting along his opponent’s blade under his arm and into his right side.	Alexandre pourſuit l’operation encommencée, joignant ſa garde au foible & à la pointe de l’eſpee contraire, laquelle il va graduer en entrant avec le pied droit un peu outre la lettre H, à pourſuivre & eſlever tout d’un train le pied gauche en l’air, & luy donner un coup d’eſtocade au coſté droit deſſus le bras par le fil de ſa lame.
Since Zachary is doing nothing more than waiting, Alexander continues with his action, maintaining contact with the tip of his opponent’s blade at the 1st or 2nd Span, trapping it beneath the external branch of his crossguard by sliding the point of contact up the blade. As he straightens his arm, he lowers his sword-tip, and as moves his right foot forward along the Diameter between the centre and the letter H, he continues to lean forward, raising his left foot into the air, so that he enters into the angle which he has created by turning his opponent’s sword aside to the outside and behind himself with the external branch of his crossguard, which he is using to trap the blade. By the same means, his bladepasses over his opponent’s, and he makes a straight arm thrust into his opponent’s right side, below the armpit, as is shown by the figures.	Puis que Zacharie ne fait rien que attendre, Alexandre commence à pourſuivre l’operation, accouplant par en haut ſa garde à la pointe de l’eſpee contraire à 1 ou 2 Nombres, la ſurprennant par deſſous avec ſa branche exterieure, en uſant de graduation, abaiſſe enſemblement ſa pointe avec le bras eſtendu, & avance le pied droit ſur le Diametre entredeux le centre & la lettre H; continuant à ſe pancher en devant avec le corps tout eſtendu, & le pied gauche eſlevé en l’air par la meſme continuation, de ſorte qu’il entre du coſté droit dedans l’angle, qu’il s’eſt ouvert luy meſme, en deſtournant l’eſpee contraire arriere de ſoy en dehors avec l’aide de la branche exterieure, dequoy il la tient enſerrée, & par meſme voye il le bleſſe par deſſus le fil de ſa lame, luy donnant l’eſtocade d’un bras roide au coſté droit deſſous le bras; ſelon qu’il eſt repreſenté en la figure.
Circle No 3	Cercle N.3.
This follows on from the previous, performed by Alexander without pause, by turning his right foot around to the inside, and spinning the other around so his toes come onto the part of the line L-S just beyond the Perpendicular Diameter. He puts his weight on his left foot and leans further backwards, knee and arm bent, continuing to turn his opponent’s blade aside with the exterior branch of his crossguard, and thereby increasing the power of his thrust, as the figures show.	Ceſt la continuation de la precedente, pratiquée par Alexandre tout de ſuite ſans perdre temps; en tournant le pied droit à l’envers, & voltant l’autre de meſme à tout les orteils ſur la ſećtion de la ligne LS par delà le Diametre; ſur lequel il ſe va charger & pancher le dos plus outre, le genou plié, & le bras courbé, en continuant à deſtourner la lame contraire encores davantage au moyen de ſa branche exterieure, & augmenter par ainſi la vigueur de ſon eſtocade; comme on le voit repreſenté.
Circle No 4	Cercle N.4.
To end the action, Alexander drives his sword-tip further by entering in, stepping with his right foot to the letter V along the Diameter, where he puts his weight onto it, bending his knee and and increasing the full power of his thrust, forcing it through his opponent’s body, so that the two guards come together, but without releasing the blade, so that he forces the tip down to an acute angle, and, as it appears in the portrait of the figures, forces it backwards towards Zachary’s right foot, who, off-balance, has already raised it into the air.	Pour mettre fin à l’execution, Alexandre pourſuit ſa pointe à marcher & entrer tout d’une tire avec le pied droit ſur le Diametre lettre V, où il ſe charge deſſus le meſme genou plié, ravivant la vigueur de ſon eſtocade à pleine force, & la pouſſant à travers le corps du Contraire, en ſorte que les deux gardes ſe rencontrent, ſans luy relaſcher pourtant ſa lame, dont il pouſſe la pointe en angle aigu vers le bas, & l’enforce tellement, qu’il le jette à l’envers, comme il appert aut pourtrait des figures, au pied droit de Zacharie, eſtant deſia eſlevé en l’air à faute de reſiſtance.
Circle No 5	Cercle N.5.
The two adversaries began by establishing their position at the First Instance on the Circle, in direct line postures. Alexander, having set his blade parallel to and beneath the other, steps and subjugates his opponent’s blade along the Oblique Diameter at the Second Instance. His opponent then raises his extended arm up to an obtuse angle, so that he covers his face with his guard, allowing his sword-tip to drop downwards. From here the same operations proceed, performed by Alexander, up to the end, as described as follows.	Les deux Contraires s’eſtans preallablement plantez ſur le Cercle à la Premiere Inſtance en droites lignes; Alexandre ayant mis ſa lame parallele au deſſous de l’autre, il marche & aſſujettit le Contraire en deçà le Diametre à la Seconde Inſtance; iceluy hauſſaunt le bras eſtendu en angle obtus, de ſorte qu’il ſe couvre le viſage avec ſa garde, laiſſant deſcendre la pointe à bas; dequoy procedent derechef les meſmes operations, à pratiquer & continuer par Alexandre juſqu’à la finale execution en la maniere qu’il s’enſuit plus particulierement.
After Zachary established his direct line posture in his quadrangel on the Pedal Line Z and presented his sword, Alexander likewise established his position in the opposite Quadrange, right foot along the Circumference at the letter C, his left along his Pedal Line, and brought his sword up parallel to and beneath the other. That done, he then began to perform the actions which lead to this Circle, stepping with his right foot over to the letter G, on the Oblique Diameter at the Second Instance, drawing his left foot up, and subjugating his opponent’s sword. At this instant, his opponent raises his arm up high, covers his face with his guard, and sets his sword-tip low, as the figures demonstrate.	Apres que Zacharie s’eſt planté ſur le Cercle dedans le Quadrangle Z, preſentant l’eſpee en droite ligne; & qu’Alexandre s’eſt planté pareillement alencontre au Quadrangle oppoſite en Premiere Inſtance, le pied droit à la Circonference lettre C, & le gauche ſur la ligne Pedale, portant l’eſpee en droit ligne parallele au deſſous de l’autre. Cela fait il a pourſuivi à pratiquer les aćtions de ce Cercle preſent, marchant avec le pied droit en deçà le Diametre, à la Seconde Inſtance lettre G, à pourſuivre conſequemment du pied gauche, & y aſſujettir l’eſpee de l’adverſaire, qui eſleve à ce meſme inſtant le bras en haut, ſe couvrant le viſage de ſa garde avec la pointe baſſe; comme les figures demonſtrent.
Thereupon Alexander performs the actions as in Circles No 2, 3, & 4, as follows.	Là deſſus Alexandre pourſuit à pratiquer les operations des Cercles N.2.3.4. ſelon qu’il s’enſuit.
While Zachary is raising his arm and the guard of his still-subjugated sword to cover his face and before he can finsh this movement, Alexander moves forward and steps with his right foot to the centre of the Circle, and then his left foot raised in the air, he slides the point of contact up the blades, so as to hit his opponent with his sword-tip on the right side, beneath the weapons, keeping in mind all the previous considerations explained in Circle No 2.	Durant que Zacharie ſe hauſſe le bras & la garde de ſon eſpee qui eſt aſſujettie, pour s’en couvrir le viſage, avant que le mouvement ſoit àchevé, Alexandre s’avance & marche avec le pied droit ſur le centre du Cercle, en continuant à eſlever le pied gauche en l’air, & graduer le lames, de façon qu’il atteint l’averſaire d’un coup de pointe au coſté droit deſſous les armes, y obſervant toutes les meſme conſiderations, qui en ont eſté ſpecifiées au Cercle N.2.
Now, if Zachary’s movement, that is, to raise the arm and guard, had been completed, Alexander would not have been able to do the same the thing again. But the best and the surest way is to move first.	Or combien que le mouvement de Zacharie, aſſavoir de hauſſer le bras & la garde euſt eſté conduit à fin, Alexandre n’euſt pas laiſſé pourtant de faire encor la meſme choſe; mais c’eſt le meilleur & le plus ſeur de prendre le temps meſme.
The follow-up to this action is that Alexander turns instantly about swinging his left foot around his right foot and behind him, a little beyond the letter Q along the Diameter. He leans back onto it, knee bent, and for the rest follows the particulars described in Circle No 3.	La ſuite de ceſte operation c’eſt, qu’Alexandre ſe volte tout à l’inſtant le pied gauche par derriere & alentour le pied droit, un peu outre la lettre Q par delà le Diametre, ſe panchant à l’envers deſſus le meſme, à tout le genou plié, & obſervant au reſte les particularitez de l’aćtion repreſentée au Cercle N.3.
After which he continues on, turning and stepping to the letter W on the circumference, shifting his weight onto that foot and thus he increases the power of his thrust right through his enemy’s body, as done in Circle No 4.	Ce qu’eſtant fait, il pourſuit l’operation juſqu’à la Circonference lettre W, où il ſe charge le corps deſſus, & par meſme voye augmente ſon eſtocade à pleine force à travers le corps de l’Ennemi, en conformité du Cercle N.4.
When Alexander, as he is portrayed here, has subjugated his opponent’s blade at the same time as his opponent raises his guard to cover his face, he can also enter in with his right foot following the line of the same Interior Collateral from where it was at the letter G, up to the letter Q, following with the left foot, and so wounding his adversary, just the same as before, under the arm by sliding the point of contact up the blades, and, by leaning forward to put himself inside the angle of the sword, which he has trapped and turned away, outside and behind him.	Quand Alexandre fait l’aſſujettiſſement, comme il eſt icy pourtrait, au meſme temps que l’Adverſaire ſe hauſſe le bras avec la garde, pour ſe couvrir le viſage, Il peut auſsi entrer avec le pied droit par la trace de la meſme Collaterale interieur, où il eſt planté, juſqu’à la lettre Q, en pourſuivant du pied gauche, & bleſſant ſa partie adverſe, tout de meſme qu’auparavant, deſſous le bras moyennant la graduation des lames, ſe mettant par l’avancement du corps panché, au dedans l’angle de l’eſpee contraire, laquelle il a ſurprinſe & deſtournée en dehors arriere de ſoy.
So, after Alexander has successfully performed this action in divers ways, without his adversary discovering a counter to it, notwithstanding that he has done his best to turn the sword aside in several sorts of ways, this said adversary comes to persuade himself that he can do the same to Alexander, as long as he presents the same posture. Thus he requests that Alexander do this, to test the premise.	Or apres qu’Alexandre a parachevé ceſte operation à diverſes fois, ſans que l’Adverſaire y ait ſceu donner remede, nonobſtant qu’il ait fait ſon devoir à la divertir en pluſieurs ſortes; ledit Adverſaire ſe va perſuader, qu’il en fera tout le meſme à Alexandre, moyennant qu’il luy preſente ſans plus l’eſpee en la meſme poſture. Dont il le requiert amiablement de ce faire, pour en voir la preuve.
Alexander, not wishing to refuse this challenge, adopts the posture in the A-C Quadrangle, right foot on the letter C, left foot on the Pedal Line, holding his sword as was presented to him in Circle No 1. To attack against this, Zachary sets his left foot down at the First Instance on the letter X in the opposing Quadrangle, and consequently will lean forwards raising his left foot in the air behind him, and covering his opponent’s sword from above, as he has seen Alexander do in the aforesaid Circle No 1.	Par ainſi donc Alexandre ne le voulant eſconduire, ſe va mettre le premier en poſture ſur le Quadrangle AC, le pied droit à la lettre C, & l’autre ſur la ligne Pedale, tenant l’eſpee tout de meſme, qu’elle avoit eſté preſentée par le Contraire au Cercle N.1. Pour travailler donc alencontre Zacharie ſe met le pied gauche en Premiere Inſtance à la lettre X au Quadrangle oppoſite, & conſequemment ſe va pancher ſur le devant, en eſlevant le pied de derriere en l’air, & couvrant de par enhaut l’eſpee contraire, cōme il a veu faire à Alexandre audit Cercle N.1.
To perform the strike, Zachary advances his right foot, to thrust to Alexander’s side underneath his arm, as we see in Circle No 2. But, at the same time that he drops the tip of his sword underneath the guard and the arm, Alexander, keeping the swords in contact, turns the guard and his arm in a circular motion downwards and outside to the right, allowing his sword-tip to rise up against his opponent, so that he crosses and subjugates his opponent’s sword, and thus interrupts his intent, as is shown in Circle No 6.	Pour continuer l’operation Zacharie s’avance avec le pied droit, pour luy donner l’eſtocde au coſté deſſous les armes, comme on le voit repreſenté au Cercle N.2. mais au meſme temps qu’il luy deſcend ſa pointe ſous la garde & le bras, Alexandre, tenant les eſpees accouplées, ſe tourne circulairement le bras & la garde en dehors à main droite vers le bas, laiſſant monter ſa pointe au contraire, dont il va croiſer & aſſujettir l’eſpee contraire, en ſorte qu’il luy rompt le deſſein, comme il eſt repreſenté au Cercle N.6.
After that, he continues a follow on to finish, stepping with his right foot forward along the diameter to E, where he puts his weight against the weak of the blade, hitting with the same thrust to the right side that his opponent intended, as it appears in Circle No 7.	Qui plus eſt, Il en fait la pourſuite juſqu’à l’execution, marchant avec le pied droit en avant ſur le Diametre à la lettre E, où il ſe charge le foible, & tirant le meſme coup d’eſtocade au coſté droit de l’Adverſaire, qu’il avoit penſé à tirer ſu luy, comme il appert au Cercle N.7.
And so Alexander once again readies himself on the Circle, in the A-C Quadrangle, presenting his sword in the straight-line posture. Zacharie sets himself against him at the First Instance in the opposite Quadrangle, then steps with his right foot to the Second Instance, along the Oblique Diameter, with his toes on the letter S and heel at W, and subjugates Alexander’s sword. Alexander has raised his arm and guard up high, covering his face, so Zachary finds himself in the same situation as Alexander, portrayed in Circle No 5.	Alexandre ſe va planter autrefois ſur le Cercle dedans le Quadrangle AC, luy preſentant l’eſpee en droite ligne: Zacharie ſe met alencontre au Quadrangle oppoſite en Premiere Inſtance avec l’eſpee parallele au deſſous; puis marche avec le pied droit à la Second par delà le Diametre lettre S, pourſuivant à avancer le pied gauche, les orteils ſur le Diametre oblic, & le talon à la lettre W, & aſſujettir l’eſpee d’Alexandre; qui eſleve au meſme temps le bras avec la garde en haut, s’en couvrant le viſage; de façon que Zacharie s’en retrouve par delà le Diametre en la meſme ſituation qu’Alexandre eſt pourtrait au Cercle N.5.
Circle No 6	Cercle N.6.
Following the previous described action, Zachary tries to strike his adversary under the arm, by moving his right foot forward to the centre of the Circle, and spinning his left forward behind him. At which point Alexander breaks his strike, turning his arm and guard to the outside, dropping down and subjugating the sword.	En ſuite de l’operation dernierement deſcrite Zacharie taſche à frapper l’Adverſaire deſſous le bras, en avançant le pied droit ſur le Centre du Cercle, & voltant le gauche à l’advenant derriere. Dequoy Alexandre luy rompt le coup, ſe tournant le bras & la garde en dehors de haut à bas, de ſorte qu’il luy aſſujettit l’eſpee.
Thus, Zachary subjugates his opponent’s sword at the Second Instance. At the same time, his adversary raises his arm and guard up to cover his face, sword-tip pointing down. In this way, Zachary works against him, allowing his point to descend, and sliding the point of contact up the swords, advancing his right foot to the centre of the Circle, intending to spin his left foot around behind, and by this motion to wound his opponent from beneath the sword. Because he is doing this close in, that is, at the Second Instance, Alexander moves his left foot a little backwards out of the Quadrangle, where he shifts his weight a little backwards onto it, and drawing his other foot along behind. Without disengaging the blades, Alexander brings his wrist down in a circular motion, while turning his arm and guard to the outside and to the right. Thus he traps and subjugates his opponent’s sword, as shown by the figures.	Faiſant donc Zacharie l’aſſujettiſſement de l’eſpee contraire à la Seconde Inſtance, & que l’Adverſaire ſe hauſſe au meſme temps le bras avec la garde, dont il ſe couvre le viſage, avec la pointe deſcendante: En ſemblable Zacharie travaille au meſme temps alencontre, laiſſant deſcendre ſa pointe, & graduant les lames, en avançant le pied droit juſqu’au Centre du Cercle, avec intention de volter le pied gauche alenvers, & de bleſſer par meſme voye ſon Contraire au coſté droit deſſous les armes. Et puis qu’il fait le tout de fort pres, aſſavoir de la Seconde Inſtance, Alexandre ſe retire au meſme temps le pied gauche un peu en arriere au dehors du Quadrangle, où il fait la charge du corps deſſus à pancher vn peu alenvers, & pourſuivre de l’autre pied à l’advenant; enſemble ſe tournant (ſans deſtacher les lames) le bras droit avec la garde de l’eſpee à l’aide du poignet circulairement de haut à bas en dehors & à main droite: dont il enferme & aſſujettit par en haut l’eſpee contraire; enſuivant le pourtrait des figures.
Circle No 7	Cercle N.7.
Alexander presses his attack, using his wrist to turn his arm together with the interior branch of his crossguard upwards in such a way as to catch and seize his opponent’s blade with the other branch of his crossguard. He then steps forward with his right foot up to the letter E and turns the trapped blade behind him as he slides the point of contact up the blade. He leans onto his right foot, drawing his left foot behind him a little bit forwards. He wounds his adversary with a hit from his sword-tip in the right side underneath the armpit, the very sort of thrust Zachary had thought to do, now turned back on him, as evidenced and demonstrated by the figures.	Alexandre pourſuit ſon advantage, en tournant le bras, & enſemblement la branche interieure de ſa garde contremont à l’aide du poignet, de façon qu’il accueilt & enferme avec l’autre branche la lame contraire, laquelle il pourſuit à destourner arriere de ſoy, & à graduer en marchant avec le pied droit à lettre E, où il fait la charge du corps deſſus, laiſſant trainer le pied gauche un peu à l’advenant, & bleſſant de meſme ſa partie adverſe d’un coup de pointe au coſté droit deſſous l’aixelle, de ſorte qu l’eſtocade que Zacharie avoit pourpenſée à Alexandre, elle retombe ſur luy meſme; comme il eſt evident par la demonſtration des figures.
Circle No 8	Cercle N.8.
Zachary again tries to execute the same attack, taking aim at Alexander from the Second Instance, to wound him underneath the arm. Alexander again prevents him, and subjugates his blade, just the same as in Circle No 6 and consequently, having straightened up after leaning backwards, he seizes the sword with the interior branch of his crossguard, sliding the point of contact up the blade, and setting his sword-point precisely in front of Zachary’s eyes, just as the figures show.	Zacharie taſchant à executer encores la meſme entreprinſe, à tirer ſur Alexandre de la Seconde Inſtance, pour le bleſſer deſſous le bras; Alexandre le previent derechef, & luy aſſujettit la lame, tout de meſme qu’au Cercle N.6. & conſequemment s’eſtant redreſsé le corps, qui eſtoit panché un peu en arriere, il la va graduer & enfermer par deſſous avec ſa branche interieure, luy mettant la pointe en courtoiſie devant les yeux; ainſi que les figures demonstrent.
Circle No 9	Cercle N.9.
This is the final step of the preceeding action, performed with determination by Alexander, who steps with his right foot along the Diameter to the letter E, where he leans his body onto it, sliding the point of contact up the swords with his arm extended out straight, so that the two guards crash together and his opponent is forced to bend his arm and allow the raised sword-tip to drive through his head with full force, as is represented by the figures.	Ceſt la finale execution de la precedente, pourſuivie en rigueur par Alexandre, à marcher avec le pied droit ſur le Diametre lettre E, où il ſe panche le corps deſſus, en graduant les lames d’un bras roide & eſtendu, de ſorte que les deux gardes ſe rencontrent ſi rudement, que le bras du Contraire en eſt forcé à ſe plier, & laiſſer monter ſa pointe en haut, en recevant le coup à pleine force à travers ſa teſte, comme il eſt repreſenté par leurs figures.
Circle No 10	Cercle N.10.
Here, Zachary makes the same attempt to wound his adversary in the same way as above. Alexander has again subjugated the blade as in Circle No 6, but instead of moving backwards, he has advanced with his right foot along the Diameter at letter E, where he leaned his body over it, inside the angle, and follows by drawing his left foot after him in a circular motion, while disengaging his sword, so that he makes a backwards cut to the right side of his opponent’s head, as is shown in the figures.	Voicy Zacharie qui a fait encor la meſme preuve, pour bleſſer l’Adverſaire en la meſme ſorte que deſſus: Alexandre luy aſſujettit derechef la lame en conformité du Cercle N.6. mais au lieu de reculer, is s’eſt avancé avec le pied droit ſur le Diametre lettre E, où il ſe panche le corps deſſus au dedans de l’angle, pourſuivant à trainer circulairement le pied gauche apres, & deſachant au meſme temps les eſpees, en ſorte qu’il luy donne un coup de revers au coſté droit de la teſte; comme les figures demonſtrent.
Circle No 11	Cercle N.11.
Zachary again wishes to perform the same attack on Alexander underneath the arm, from the Second Instance, but is once again trapped through the same action as in Circle No 6. Then Alexander, having trapped and subjugated his blade, continues to work against him, stepping with his right foot a little outside the Circle, between the letters D & F, following along in a circular motion with his left foot, and sliding the point of contact down the blade towards the tip, by giving a light push downwards with his wrist and lowering his arm, at which point he leaves it there, lifting his own, carrying it over his head with a movement of his elbow, spinning his left foot around behind the other, and exactly striking his adversary’s left ear, as is seen in the figure.	Zacharie retournant à vouloir donner encore la meſme atteinte à Alexandre deſſous le bras de la Seconde Inſtance, il y eſt derechef attrapé moyennant l’operation du Cercle N.6. dont Alexandre luy ayant enfermé & aſſujetti la lame, continue à travailler, en marchant avec le pied droit vn peu au dehors du Cercle entre deux les lettres D & F, pourſuivant circulairement avec le pied gauche, & deſgraduant avec ſa lame devers la pointe contraire, y faiſtant vn petit pouſſement deſſus avec le bras deſcendant & à l’aide du poignet, dequoy il amortit le ſentiment, & au meſme inſtant il en oſte la ſienne, la menant par deſſus ſa teſte par le mouvement du coude, en voltant le pied gauche derriere l’autre, & preſentant en courtoiſie un coup de taille à l’oreille gauche de ſon Adverſaire; comme il ſe voit en la figure.
If Alexander had wanted to deliver a more severe blow, he would have spun the left foot around a good deal further, and then added another with his right foot, with which he would have repeated the same blow, again spinning the left foot around, and by this means, have found himself behind his enemy, placing himself entirely out of reach of any danger. But here, he puts his left foot right behind the other in order to control the motion of his body and his sword, so that he can keep the blow precise, which he would not be able to easily do otherwise.	Si Alexandre euſt voulu donner le coup en rigueur, il euſt volté le pied gauche un grand pas plus outre, y adjouſtant par apres encor un autre avec le pied droit; dequoy il redoubleroit le meſme coup, en voltant derechef le pied gauche, & par ce moyen viendroit à gaigner le derriere de l’Ennemi, ſe mettant totalement à l’abri de touts dangers: mais qu’il plante icy le pied gauche droitement derriere l’autre, c’eſt pour en moderer la courſe du corps & de l’eſpee, afin qu’il puiſſe retenir le coup en courtoiſie, ce qu’il ne pourroit faire autrement, ſinon à grand peine.
Circle No 12	Cercle N.12.
It is Zachary’s pleasure to once again test the proposition, which is once again nullified by the same action as in Circle No 6. This time Alexander follows up by stepping with his right foot along the Diameter to letter E, and at the same time that leans his upper body forward over it, he lifts his left foot in the air, and seizes his opponent’s hand and guard with his left hand reaching over the crossed swords and pulls it towards him so that his opponent’s sword-tip lowers towards the ground, as is shown by the figure.	Zacharie ſe plait à repeter encor la meſme preuve, qui luy eſt derechef annullée par la meſme operation du Cercle N.6. dont Alexandre pourſuit à travailler en marchant avec le pied droit ſur le Diametre lettre E, où il ſe panche la partie ſuperieure du corps un peu en avant, eſlevant quand & quand le pied gauche en l’air, & faiſant prinſe de la garde contraire avec la main gauche, à porter par deſſus le long des deux lames croiſées, la retirant devers ſoy en ſorte que la pointe contraire s’en abaiſſe devers la terre; comme la figure demonſtre.
Circle No 13	Cercle N.13.
Alexander carries on, by bringing his left foot, already raised in the air, onto the Perpendicular Diameter at the letter M, then right away spins his right foot around behind himself and, setting it down just outside the Circle near the letter W, he leans back on it, and again raising his left foot and stepping towards his adversary on the point Q, he shifts his body forward onto it, bends his knee, and hits his opponent on the right side beneath the arm, driving through his body, as is shown in the figure.	Alexandre pourſuit l’operation, en menant le pied gauche, qui eſt ià eſlevé, en deça le Diametre à la lettre M, & voltant tout de ſuite le pied droit derriere au dehors du Cercle bien pres de l’W, ſur lequel il ſe va pancher à l’envers, en eſlevant derechef, & cheminant avec le gauche devers l’Adverſaire au point Q, où il ſe charge le corps deſſus en avant à tout le genou plié, luy donnant l’atteinte au coſté droit deſſous le bras & la pouſſant à travers le corps; comme il eſt repreſenté en la figure.
Seeing how effectively each time Alexander has parried Zachary’s attempt to strike under his arm, and how he did this in such a way as to control the blade and then confidently made so many effective strikes, Zachary then decides to imitate him, and arranges with Alexander to have him attack with the actions shown in Circles Nos 1, 2, 3, 4, & 5, convinced he cannot fail to perform the same actions, that is, the subjugate, and wound him, in the same various ways that Alexander has done.	Voyant donc qu’Alexandre a destourné ſi avantageusement & à tant de fois l’entreprinſe de Zacharie, qui eſtoit de le bleſſer ſous le bras; de ſorte qu’il luy a gaigné la lame, & en a tiré tant d’executions ſi avantageuſes, meſme qu’il a fait le tout avec ſi grande aſſeurance; Zacharie ſe propoſe de le vouloir imiter, & ſe fait accroire, que ſi Alexandre le vouluſt derechef attaquer avec les operations de Cercles N.1.2.3.4.5. qu’il ne manqueroit pas à luy rendre pareille, c’eſt aſſavoir de l’aſſujettir, & le bleſſer conſequement en telles & ſemblables ſortes, qu’il a veu pratiquer à Alexandre.
To arrive at a result, they reset themselves in the direct-line posture on the Circle at the First Instance. And Alexander, who has set his blade beneath the other to perform the subjugation stepping with his right foot to the Second Instance, in the same way, and in the same conditions as Circle No 5. followed by raising his right foot to step and wound his opponent under the arm, as in Circle No 2. So Zachary parries the strike, bringing his blade circularly around his opponent’s to the right hand side to trap it, and subjugate it, as in Circle No 6.	Pour en venir à l’effećt, ils ſe vont remettre ſur le Cercle à la Premiere Inſtance en droites lignes. Et Alexandre, qui a mis ſa lame deſſous, à faire l’aſſujettiſſement, en cheminant avec le pied droit à la Seconde Inſtance, en la meſme ſorte, & avec les meſmes circonſtances comme au Cercle N.5. pourſuivant à travailler en eſlevant le pied droit pour bleſſer l’Adverſaire en conformité du Cercle N.2. deſſous le bras. Dont Zacharie en deſtourne le coup, menant ſa lame circulairement à la main droite alentour de l’eſpee contraire, pour l’enfermer, & aſſujettir comme au Cercle N.6.
Circle No 14	Cercle N.14.
At the same time that Zachary works to drop his arm, intending to cross over and subjugate his opponent’s blade, Alexander moves his raised right foot forward from the Second Instance to the letter Q on the Oblique Diameter, turning his tip around under his opponent’s arm over the blade and drawing his left foot up to the letter H while placing his tip exactly in front of his opponent’s eyes. However quickly Zachary tries to bring his arm and sword back over his opponent’s to defend himself, he is too late. As is shown in the figure.	Au meſme temps que Zacharie travaille à deſcendre le bras, pour croiſer & aſſujettir la lame contraire; Alexandre s’avance avec le pied droit, qui eſtoit eſlevé, de la Seconde Inſtance, en deçà le Diametre à la lettre Q, tournoyant ſa pointe par deſſous le bras contraire au deſſus de la lame, & entrainant le pied gauche à la lettre H, & enſemblement luy preſentant la pointe devant les yeux en courtoiſie. Et combien que Zacharie ſe ramene derechef le bras & l’eſpee en haut pour ſe defendre, toutesfois il y vient trop tard; comme on le voit au pourtrait de la figure.
Circle No 15	Cercle N.15.
This is the finish, where Alexander extends his arm with the sword, advancing his right foot along the Interior Collateral about as far as the letter V on the Diameter, where he leans onto it, at the same time drawing his left foot up to the letter M on the Perpendicular Diameter, so that the guards smash together with so much force that his opponent’s arm and sword are forced to bend upwards, driving the thrust through the head. As is shown in the figure.	C’eſt l’execution de la precedente, où Alexandre eſtend le bras avec l‘eſpee, s’avançant le pied droit ſur la ligne collaterale interieure en deçà le Diametre pres la lettre V, où il ſe va pancher deſſus, entrainant quand & quand le pied gauche juſqu’au Diametre perpendiculaire lettre M, dont les gardes ſe rencontrent d’une telle violence, que le bras & l’eſpee contraire en ſont forcez à ſe plier & à monter la pointe en haut, luy pouſſant l’eſtocade à travers la teſte; comme il eſt en la figure.
So now Zachary, confused at seeing his plans so frustrated so many times, beaten when he expected to triumph. But because his action was begun at the Second Instance, he begins to suspect that he had perchance begun to work from too close. Thus he requests another chance to start again at the First Instance, as in Circle No 1. This Alexander accords to him and the both set themselves on the Circle in the same way, and Alexander proceeds as in Circle No 2. So Zachary again seeks to subjugate his blade by circling around the arm and guard. Alexander again gets himself out of trouble moving his sword-tip from beneath he arm, and sets it exactly in front of Zacharys face, as in Circle No 14.	Voilà maintenant Zacharie tout confus de ſe voir tant de fois furſtré en ſon entreprinſe, voire qu’il en a eſté vaincu luy meſme au lieu de vaincre. Mais puis que l’operation a eſté commencée à la Seconde Inſtance, il entre en ſoupçon d’avoir travaillé par adventure de trop pres: dont il requiert à recommencer derechef à la Premiere Inſtance, ſuivant le Cercle N.1. Ce qu’Alexandre luy accorde, & ſe vont mettre touts deux ſur le Cercle ſuivant la meſme repreſentation, & Alexandre à pourſuivre comme au Cercle N.2. Dont Zacharie luy veut derechef aſſujettir la lame par le tour du bras & de la garde. Alexandre luy deſrobbe encor ſa pointe par deſſous le bras, & la luy met en courtoiſie devant le viſage, comme au Cercle N.14.
In sum, to see how Alexander does the actions in Circle No 6, by which he captures and subjugates his opponent’s sword, it seems there is nothing easier. This is because he works from a good foundation. And even though the swords do not always make contact in the same place, at the same Spans, nevertheless the choice of thrust, cuts, and holds which follow are entirely his own. He may freely take whichever pleases him. He will completely upend those ignorant or foolhardy imitators who have the temerity to to copy what they have seen done three or four times by a well trained and able man. From which they can gain only a sense of shame and confusion, when they try to test him, and find all their intentions frustrated at every moment, because they do not know the depth of this science, nor how difficult it is, nor the time, well worth the effort, which it requires to learn, nor the amount of study to bring to the subtleties of these examples. Gentlemen both presumptuous and ridiculous, who, having learned but two or three points, convince themselves that they fully understand the techniques, and that they can deal with any situation with the little that they know. They have no consideration of the full expanse, of the infinity of variation which dailly presents itself in training. Because each one has his own way of striking, different from all others, just as each hour, each minute, each instant changes from one to the next. So I can say, comparing the chamber, where debates are resolved with words, to the promenade where questions are settled with victory in arms, that just as [in logical discourse] arguments are subjected to critiques, critiques to responses, responses to reviews, reviews to commentaries until all evidence the adversaries wish to examine has been discussed, so in the performance of arms there is no stroke, either ordinary, or well examined, or completely grasped, or so secret, or so amazing, that it does not have a counter. As such one must never be too confident of any particular strike. What is good on one occasion will fail in another. It may be the best attack in the world, but nothing prevents someone from defending against it. It should not be that strange if common fencers are always unsure, given that their training, not being founded on general sciences, should fail to prepare them to face all situations, and so it must follow that much of the result of their workings depends in great measure on fortune, where the path of wisdom is closed to them.	En ſomme à voir faire à Alexandre l’operation du Cercle N.6. par laquelle il enferme & aſſujettit l’eſpee contraire, il ſemble, qu’il n’y ait rien plus facile. c’eſt pour autant qu’il travaille avec fondement. Et encores que les eſpees ne s’accouplent pas touſiours aux meſmes endroits, & à meſmes Nombres; toutesfois le chois des eſtocades, coups de taille, & prinſes, qui s’en enſuivent, ne depend que de ſa ſeule elećtion; il en prendra librement celle, qui luy viendra le plus à gré. Tout au rebours en ſera il de ces ignorants & hardis entrepreneurs d’imiter temerairement tout ce qu’ils auront veu pratiquer trois ou quatre fois à vn homme adroit & bien fondé: dequoy ils ne peuvent raporter que honte & confuſion, quand il eſt queſtion d’en venir aux preuves, ſe voyants fruſtrez à touts moments de leurs intentions, à faute de ne cognoiſtre pas l’amplitude de ceſte Science, ne combien elle eſt difficle, le temps qu’elle requiert & merite pour l’apprendre, ne l’eſtude qu’il faut apporter à la ſubtilité de ſes demonſtrations. Gents preſomptueux & ridicules; qui n’ayants apprins, que deux ou trois pointilles, ſe ſont accroire, que rien ne leur manque, ſur l’aſſeurance qu’ils ont de faire ſervir à toutes occaſions le peu qu’ils en ſavent; ſans conſiderer la grande eſtendue, voire l’infinité des variations, qui ſe preſentent journellement en la Pratique; par ce que chaſcun a ſa propre maniere à tirer differemment des autres, voire que les heures, les minutes, les inſtants touſiours ſe changent. Dont je puis dire, en faiſant compariſon du bureau, où les debats ſe finiſſent par paroles, avec le parquet où les queſtions ſe terminent par la victoire des armes, que comme les accuſations ſont ſujettes aux exceptions, les exceptions aux repliques, le repliques aux duplications, triplications, & finalement à toutes les Inſtances que la partie adverſe voudra faire; ainſi au fait des armes il n’y a aucun trait tant ordinaire, tant bien examiné, tant priſé, tant ſecret, ne tant admirable, que n’ait ſon contraire; de ſorte qu’il ne faut jamais fier en aucun trait particulier; tout ce qui eſt bon en l’une des occaſions, eſtant faux en l’autre: ſoit aſſailli le mieux du monde, rien n’empeſche qu’il ne ſoit encore mieux defendu. Dont ſi les vulgaires en demeurent eſtonnez, il ne faut pas le trouver eſtrange; attendu que leur pratique, n’eſtant pas fondée en ſcience generale, qui ſoit baſtante à les preparer contre toutes occurrences, il s’enſuit de neceſſité, que les iſſues de leurs entreprinſes dependent en partie du ſort de la Fortune, qui domine par tout, où la Prudence eſt forcloſe.

Book 1 - Tableau / Plate XIIII - Cuts

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE FOURTEENTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV QUATORZIEME.
The most obvious, the most energetic action in a fight, and that which creates the loudest clash are the cuts. The reason for this is because they come from larger motions than a thrust. Thus they are more impressive actions. Thrusts are quicker, because they take the shortest path to hit an opponent. Cuts take a circular path which is slower. Cuts only cause injuries to the outside of the body, whereas thrusts penetrate into the vital organs which causes more mortal wounds. This does not mean our Scholars should see cuts as less worthy of study than thrusts. For there will be times when the one is found to be as useful and needed as the other. Furthermore, the cut aimed at a particular target in the right circumstances will disrupt an opponent as much as a thrust, if he does not know how to appropriately counter it. If he does, then your adversary will be able to take the initiative to his own benefit. But it was in the cause of reason we were moved to first show how to work around thrusts, because the hits are faster and the wounds more dangerous. In any case, the skill needed to counter a cut is not less, as shall be seen through this Table. If the manner of encountering thrusts was found to be different from, and almost contrary to, the tradional style, the manner of countering cuts will be even more so. Thus, in order that everything will presented most clearly, we have seen fit to provide several examples in order, beginning again with the subugation of the sword.	Le plus apparent, & le plus furieux d’un combat, & ce qui y fait le plus grand tintamarre, ce ſont les coups de taille. La cauſe en procede de ce qu’ils conſiſtent en de plus grands mouvements, que les eſtocades; & par tant leurs aćtions ſont plus remarquables. Les eſtocades ſont plus viſtes, par ce qu’elles prennent le plus court chemin pour atteinder; les tailles y vont par un deſtour circulaire qui eſt plus tardif. Celles cy ne touchent qu’à l’exterieur du corps; celles là penetrent au dedans juſqu’aux parties vitales: dont les playes en ſont plus mortelles. Ce n’eſt pas pourtant que noſtre Eſcholier doive tenir les coups de taille en peu d’eſtime. Car les occaſions luy rendront les vnes autant neceſſaires, que les autres. Auſſi le coup de taille eſtant tiré à point nommé avec les circonſtances requiſes, le mettra en deſordre autant que l’eſtocade, s’il ne ſçait travailler deuëment alencontre. Car l’Adverſaire en gaignera le temps de pourſuivre ſon avantage. Mais c’eſt pour demonſtrer la raiſon, qui nous a eſmeus de vous montrer premierement à travailler ſur les eſtocades, pource que les atteints en ſont plus viſtes, & les playes plus dangereuſes. Toutesfois l’artifice de rencontrer la taille ne ſera pas moindre, comme on verra par la dedućtion de ce Tableau preſent. Et ſi la maniere d’accueiller les eſtocades a eſté trouvée differente & quaſi contraire à la vieille mode, celle des tailles le ſera encores davantage. Or afin que le tout vous ſoit repreſenté plus clairement, nous avons trouvé bon d’en mettre icy pluſieurs exemples par ordre, en commenceant derechef par l’aſſujettiſſement de l’eſpee.
Circle No 1	Cercle N.1.
The two parties have again come together beginning in the direct line posture, with swords parallel. Alexander steps with his right foot to the letter G on the Diameter at the Second Instance, at the same time drawing his left foot along the Inscribed Square, between the points D & F, setting his toes along the Oblique Diameter, while subjugating his opponent’s sword.	Les deux parties s’eſtants colloquez preallablement en droites lignes, avec les eſpees paralleles; Alexandre s’achemine avec le pied droit en deça le Diametre à la Seconde Inſtance, lettre G, menant quand & quand le pied gauche ſur le Quarré circonſcrit, entre les points D & F, à mettre les orteils ſur le Diametre Oblicq, en aſſujettiſſant l’eſpee contraire.
We begin after the two parties have met at the First Instance, each in his own Quadrangle, adopted the direct line posture, Alexander’s sword parallel to and beneath the other. He begins to work, raising his right foot, together with the sword-tip by using his wrist, so that he contacts the 8th Span of his opponent’s blade with the 3rd Span of his own. This he then forces over, bit by bit, as his right foot moves forward to where the Oblique Diameter crosses the Inside Square. As he reaches the midway point, just as he begins to overbalance, he pauses briefly, to see that his opponent is not making any movement with his blade to attack. But, as he percieves nothing, he continues his forward step with his raised right foot, and sets it down along the Inside Square, at the letter G, while sliding the point of contact up the blades, so his 8th Span contacts his opponent’s 5th Span. Instantly afterwards, he brings his left foot around in a circular motion and sets it along the Outside Square, all his toes on the Oblique Diameter between the letters D and F. At the same time, he turns the heel of his right foot backwards onto the line G-D, and moves his left side slightly forwards, while subjugating his opponents sword, and turning the exterior branch of his crossguard diagonally upwards, as shown in the figure. In any case, this action and all variations has been fully described in Circle No.1. of Plate VII, and its subsequent paragraphs.	Apres que les Parties ſe ſon colloquez en Premiere Inſtance en droites lignes, chaſcun en ſon Quadrangle, l’eſpee d’Alexandre parallele deſſous l’autre; il commence à travailler, en hauſſant le pied droit, & enſemblement la pointe de l’eſpee à l’aide du poignet de la main, en ſorte qu’il en joint le N.3.au N.8.de la lame contraire; laquelle il emporte peu à peu à l’advenant que le pied droit s’avance en deça le Diametre par la trace du Quarré inſcrit; duquel eſtant venu à my-chemin de l’Inſtance, avant qu’il tresbuche, il en fait une petite pauſe, pour obſerver ſi l’Adverſaire ne fait pas de mouvement à tout ſa lame pour tirer. Mais puis qu’il ne s’apperçoit de rien, il pourſuit à marcher avec le pied eſlevé, & à le planter ſur le Quarré inſcrit, lettre G, en graduant les lames, la ſienne à N.8.& la contraire à N.5. En quoy faiſant il pourſuit tout à l’inſtant à mener circulairement et à planter le pied gauche ſur le Quarré circonſcrit, à tout les orteils ſur le Diametre oblicq entre deux les lettres D & F. & durant ce meſme temps, il ſe tourne le talon du pied droit en arriere ſur la ligne GD, & le coſté gauche du corps un peu en avant, en faiſant l’aſſujettiſſement de la lame contraire, & tournant la branche exerieure de la ſienne diagonalement en haut; comme il eſt repreſenté par la figure. Toutesfois ceſte operation eſt deſcrite plus amplement avec toutes ſes circonſtances au Tabl. VII. Cercle N.1. & aux annotations annexes.
Circle No 2	Cercle N.2.
While Alexander sets his feet down at the Second Instance, subjugating his opponent’s sword, at that moment Zachary advances his left foot to the letter Q, and strikes with a backwards blow to the right side of the head.	Durant qu’Alexandre plante les pieds à la Seconde Inſtance en aſſujettiſſant l’eſpee contraire; au meſme temps Zacharie s’avance avec le pied gauche à la lettre Q, & luy tire un coup de revers au coſté droit de la teſte.
What happens is the opposite of the preceeding circle. In which Alexander has given an opening to his opponent by subjugating the sword with more force than usual, as if he were about to trip over himself. While he moving so crudely, and he sets his feet down at the Second Instance along the Oblique Diameter, at the same time Zachary moves his right foot forward, with a circular disengage underneath the sword, up above his head on the left side, and, as he sets his foot down along the Oblique Diameter at the letter Q, and strikes a backwards blow diagonally downward on the right side of his head. This is shown in the figure.	C’eſt icy l’oppoſite de la precedente; à quoy Alexandre a convié luy meſme ſa partie adverſe, en luy aſſujettiſſant l’eſpee avec plus de poids, qu’à l’ordinaire, comme s’il s’en allaſt tresbucher à tout la ſienne. Cependant qu’il y va donc ſi rudement, & qu’il ſe plante les pieds à la Seconde Inſtance, en deçà le Diametre; au meſme temps Zacharie s’avance avec le pied gauche, conduiſant circulairement l’eſpee par deſſus ſa teſte à la main gauche, & en abaiſſant le pied à terre par delà le Diametre à la lettre Q, il luy tire un coup de revers diagonal au coſté droit de la teſte; comme il ſe voit en la figure.
Zachary’s action, as shown in the figure, will thus be easily recognized, and will allow you to understand more easily the various means Alexander will employ to overcome this attack, which will be shown in the following Circles.	Ceſte operation de Zacharie, vous eſt repreſentée en figure, afin qu’eſtant bien cognue, vous en comprenez auſſi tant plus toſt comment Alexandre la domte en pluſieurs manieres par les operations, qui ſont repreſentées aux Cercles ſuivants.
Circle No 3	Cercle N.3.
Alexander has set his feet down at the Second Instance, and there holds his opponent’s sword subjugated. Zachary moves his left foot forward, bringing his sword circularly overhead, as before. At which, Alexander likewise moves his left foot and side forward at the same time, while hitting him with a thrust to through the head. Just as has been fully described.	Alexandre eſtant planté à tout ſes deux pieds à la Seconde Inſtance, & y tenant l’eſpee contraire aſſujettie; Zacharie s’avance avec le pied gauche, menant l’eſpee circulairement par deſſus la teſte, comme au paravant: ſur quoy Alexandre s’avance pareillement au meſme temps le coſté & le pied gauche, en luy donnant un coup d’eſtocade à travers la teſte; comme il eſt declaré plus amplement en la deſcription.
This action follows from Circle No 1, where Alexander has set both his feet down at the Second Instance, having forcefully subjugated his opponent’s sword. Thus Zachary advances with his left foot, once again moving his blade circularly above his head to the left side, so as to strike his opponent’s right ear with a downwards, reverse, diagonal cut, at the moment he sets his foot down along the Diameter on the letter Q, just the same as in the preceeding Circle. Alexander, who is paying close attention, perceives through his sense of feel, the instant that the previously subjugated blade has begun to disengage, he likewise raises his left foot and steps, while turning and moving the left side of his body forwards, so that he moves away from where his ennemy’s blow was aimed, and sets his foot down on the Oblique Diameter at the letter Q, shifting his weight onto it while keeping both knees straight, and wounding his opponent with a thrust through the head, as is shown in the figure.	Ceſte operation procede en ſuite du Cercle N.1. où Alexandre eſt planté à tout ſes deux pieds à la Seconde Inſtance, ayant aſſujetti l’eſpee contraire avec force. Dont Zacharie s’avance avec le pied gauche, conduiſant derechef ſa lame circulairement de deſſous l’eſpee contraire par deſſus ſa teſte à main gauche, & en tirant meſme voye un coup de revers diagonal à l’oreille droit de l’Averſaire, à planter le pied eſlevé à la lettre Q, par delà le Diametre; tout de meſme qu’au Cercle precedent. Alexandre qui prend de fort pres garde au temps, s’appercevant par le ſentiment, que la lame aſſujettie commence à ſe deſtacher, il eſleve auſſi pareillement & chemine avec le pied gauche, en tournant & avançant le meſme coſté du corps, de façon qu’il abandonne la place, où le coup de l’Ennemy eſt dreſsé, venant à planter le pied en deçà le Diametre à la lettre Q, ſe chargeant meſme le corps deſſus en avant à tout les genoux roides, & bleſſant ſa partie adverſe d’un coup d’eſtocade à travers la teſte; ainſi qu’il eſt repreſenté en la figure.
Circle No 4	Cercle N.4.
This happens as Alexander is prevented from subjugating the blade, before he has set his feet down at the Second Instance. Zachary again tries the same reverse strike to the right side of his head. But at the instant that the sword begins to come downwards from up high, Alexander parries it to the outside, with his tip connecting near the guard, moving forward, stepping with his left foot, he subjugates the blade by sliding the point of contact down the blade, as he sets his foot down at the letter Q.	Cependant qu’Alexandre eſt empeſché à faire l’aſſujettiſſement, devant qu’il ait planté les pieds à la Seconde Inſtance; Zacharie luy va tirer encores le meſme coup de revers au coſté droit de la teſte: mais à l’inſtant que ſon eſpee commence à deſcendre de l’angle obtus vers le bas, Alexandre l’accueilt en dehors du bras, y aſſemblant la pointe de la ſienne tout joignant la garde, & en avançant le corps & le pied gauche, il l’aſſujettit par la desgraduation en mettant le pied à terre en deçà le Diametre à la lettre Q.
Both parties have again begun by setting themselves into position at the First Instance, and Alexander has followed on by subjugating his opponent’s blade, so that he has now set his right foot at the Second Instance and then raised his left foot. At the same instant, Zachary pulls his sword from beneath and makes a circular path above his head, to give Alexander the same backwards cut as before, stepping forward with his left foot towards his ennemy. Alexander works against this, as soon as he feels the subjugated blade has disengaged, by turning his body and moving his raised left foot forwards, he extends his arm with his sword up as high as the top of his opponent’s head at the exact time his opponent begins to bring his blade down for the blow. Alexander receives this to the outside, with the first or second Span of his blade against the 9th or 10th Span of his opponent’s blade. Zachary’s blade continues to descend forcefully, as he sets his foot down at the letter Q along the Oblique Diameter. Likewise Alexander continues to slide the point of contact along the blades, up his own, and at the same time shortens his right arm, which he draws into himself, and turns his left side further forward, closes his elbow against his right side, so that he dominates and parries his opponent’s sword with the aid of his body subjugating it along the Diameter, and setting his raised left foot down at the letter Q, as we see in the picture.	Parties s’eſtants derechef plantez preallabement en Premiere Inſtance, & Alexandre ayant pourſuivi à ſujetter la lame contraire, en ſorte qu’il eſt venu à planter le pied droit à la Seconde Inſtance, & à eſlever conſequemment le pied gauche; au meſme inſtant Zacharie luy oſte ſa lame de deſſous, & la va mener circulairement avec le bras par deſſus ſa teſte à main gauche, pour luy en donner encores le meſme coup de revers, comme deſſus, en marchant avec le pied gauche en avant contre l’Ennemi. C’eſt là deſſus qu’Alexandre travaille. Dés qu’il apperçoit par le ſentiment, que la lame aſſujettie commence à ſe deſtacher, en tournant le corps & avançant le pied gauche en l’air, il s’eſtend le bras avec l’eſpee en haut à l’egal du ſommet de la teſte contraire, & au meſme inſtant, que l’Adverſaire commence à mener ſa lame de haut en bas pour donner le coup; Alexandre l’accueilt avec la ſienne en dehors du bras, en mettant la ſienne à N.1. ou 2. ſur le 9. ou 10.de l’eſpee contraire. Et à l’advenant qu’elle continue à deſcendre avec force, durant que le pied gauche luy tombe à terre à la lettre Q par delà le Diametre; auſſi Alexandre en fait la deſgraduation à l’advenant, en graduant la ſienne, & accourciſſant par meſme voye ſon bras droit, lequel il retire à ſoy, & en avançant un peu davantage le coſté gauche, il s’en l’affermit le coude au coſté droit, de façon qu’il en domte & divertit l’eſpee contraire à l’aide du corps, l’aſſujettiſſant par delà le Diametre, & plantant le pied eſlevé par deçà à lettre Q; comme on voit en la figure.
While it is true that Zachary’s movement, where he brings his sword above his head to the point where he is about to bring it down to strike, is not shown in this current plate, it is shown in Plate XVII, in Circles Nos 3 & 4, which also shows the means of receiving the incoming sword with the sword-point, to dominate and subjugate it. There is only this difference, that Alexander is shown moving to the right hand side along the Diameter, so that he receives his opponent’s blade to the inside of his arm instead of the outside, as shown here. The particulars are more fully explained in that Plate.	Il eſt vray que ce mouvement de Zacharie, dequoy il mene l’eſpee par deſſus ſa teſte, eſtant ſur le point de la laiſſer deſcendre à bas pour achever le coup, n’eſt pas repreſenté en figure en ce Tableau preſent, mais is eſt mis au Tabl. XVII. Cercle N.3. & au Cercle N.4. du meſme repreſentée la maniere de recevoir l’eſpee qui vient deſcendre avec la pointe, pour la domter & aſſujettir. Il y a ſeulement ceſte difference, qu’Alexandre y eſt repreſenté cheminant à main droite par delà le Diametre, dont il accueilt l’eſpee contraire en dedans du bras, au lieu qu’il le fait icy en dehors. Or les particularitez en ſont plus amplement deduites au lieu meſme.
NOTICE	ADVERTISSEMENT
Note that this way of subjugating such a blow in the manner we have described is an example of the most refined techniques of our art. This requires one take careful notice of all the particulars, that is, all the movements, and that each be done in its own proper time. Doubt not that this is quite difficult to do, and will cause no small amount of frustration to both scholar and novice. But once one has understood the supremely powerful nature of this act, the time and effort put into learning will not seem a hardship, provided one learns well. In any case, it will be of no practical use unluess one has become trained, which cannot happen without spending much time practicing.	Notez que ceſte aćtion d’aſſujettir un tel coup de taille en la maniere que nous venons de deſcrire, c’eſt l’une des plus nobles parties de l’Exercice, qui requiert de fort particulieres obſervations de pluſieurs, voire de touts les mouvements, à faire chaſcun exaćtement à ſon temps. Dont il ne faut pas douter, que la choſe ne ſoit aſſez difficile, & moleſte meſme à l’Eſcholer & à l’entree. Mais apres qu’il en aura comprins la tresgrande vtilité, le temps & le travail qu’il y mettra ne luy ſçauroyent ennuyer, moyennant qu’on luy monſtre bien. Toutesfois il ne s’en pourra guere ſervir en la Pratique, ſinon qu’il en ait acquis une habitude, à quoy ne pourra parvenir autrement qu’avec le temps & par de longs exercises.
The old way of receiving a blow is to put the strong of the blade up in front of the head, sword-tip upwards, to take the blow coming with full force near or on the guard. This is quite dangerous and leaves you vulnerable. For example, your opponent can wound you by driving you sword into your head, or it may break, or he may instead switch to a thrust, by moving forward while leaning his upper body, so that he slips under your weapon and inside the lines, so that he can hit you in the chest or stomach. And even if you have safely parried the blow, in any case you will have in no way improved your position, not that of your body, nor that of your sword, in any way that would allow you to overcome your opponent.	La veille mode de parer vn coup de taille, c’eſt de mettre le fort de l’eſpee devant la teſte avec la pointe montate, pour recevoir le coup venant à pleine force deſſus ou alenviron de la garde. Choſe qui eſt fort dangereuſe & ſujette à beaucoup d’incommoditez; par example, que le Contraire ne vous bleſſe en vous enfonçant l’eſpee, ou qu’il ne la mette en pieces, ou qu’il ne change la taille en eſtocade, en avançant & ſe panchant enſemblement la partie ſuperieure du corps, en ſorte qu’il vous vienne deſſous les armes au dedans des perpendiculaires, don’t il auroit moyen de vous toucher en la poitrine, ou au ventre. Et encores que vous euſſiez paré le coup tout à ſouhait, toutesfois vous n’en auriez nullement amendé voſtre ſituation ny de corps ny d’eſpee, dequoy vous pourriez tirer aucun avantage pour vaincre.
Circle No 5	Cercle N.5.
This then is the follow-on by Alexander and completion of the actions of the preceeding Circle, by turning the right side to the inside with a forward motion of the hand and sword. He turns external branch of the crossguard upwards, sliding the point of contact the length of the opposing sword with a bent arm, and gives him (with a small forward shuffle of the left foot, onto which, while keeping his knee straight, he bends his body forward) a thrust to the head. Thus as this is shown in the figure.	Or voicy maintenant la ſuite & execution de la precedente, continuée par Alexandre, en tournant le coſté droit en dedans, avec avancement du bras & l’eſpee, de laquelle il tourne la branche exterieure en haut, en graduant au long de l’eſpee contraire en ligne courbe, & luy donnant (avec vne petite intrade du pied gauche, ſur lequel, tenant le genour roide, il ſe va pancher du corps en avant) un coup d’eſtocade par la teſte; ainſi qu’il eſt montſtré à la figure.
Circle No 6	Cercle N.6.
Once again, Zachary begins to aim the same reverse cut to the head. But in the time while his sword is coming down, Alexander moves out of the way, forward, and speedily moving his left foot to the letter S on the Oblique Diameter, and delivers the same reverse cut to the right side of Zachary’s head as he spins on his left foot and moves his right foot around, outside the Circle, behind his left foot.	Zacharie recommence à tirer encores le meſme coup de revers à la teſte de ſa partie. Mais au temps que ſon eſpee eſt en aćte te deſcendre, Alexandre ſe deſrobe de la place, s’avançant & portant le pied gauche de grand viſteſſe à la lettre S en deça le Diametre, pourſuivant quand & quand avec le pied droit à volter dehors le Cercle derriere l’autre, en tirant luy meſme le meſme coup de revers à ſon Contraire au coſté droit de la teſte.
This is, again, another follow-on from Circle No 1. While Alexander is prevented from performing the action in Circle No 2 and subjugating his opponent’s sword, Zachary again begins to aim the same reverse cut to the right side of the head. But, during the time it takes to raise the sword it begins to descend, Alexander evades the attack by turning and hopping with his left foot, either continuing the movement, or lifting it from the Second Instance, over to the letter S along the Oblique Diameter. Once there, he spins to the right on it, moving his left side forwards and moving his right foot around behind, while using this momentum to strike with reverse cut to the right side of his opponent’s head, as he sets his foot down outside the Circle. In this way, he strikes his opponent with the same cut that was intended for him. This we see portrayed in the figure.	C’eſt icy derechef une autre ſuite du Cercle N.1. Durant qu’Alexandre eſt empeſché à faire l’operation du Cercle N.2. & à ſujetter l’eſpee contraire, Zacharie recommence à luy tirer encores le meſme coup de revers, mais au temps que ſon eſpee eſt en aćte de deſcendre naturellement de haut à bas pour faire l’execution, Alexandre abandonne la place où le coup eſt dreſſé, en ſe tournant, & ſautant avec le pied gauche, qui eſtoit encores eſlevé, ou meſme qu’il ſoit planté à la Seconde Inſtance, juſqu’à la lettre S par deça le Diametre, ſe tournant ſur iceluy le coſté gauche du corps en devant, à volter le pied droit derriere, en menant au meſme temps un contrecoup de revers à ſon Contraire au coſté droit de la teſte, & à planter le pied droit un pas derriere l’autre dehors du Cercle; de façon qu’il luy donne la meſme atteinte, dont l’Adverſaire avoit penſé de le fraper: comme on le voit pourtrait à la figure.
Note well that in this action, that Alexander does not move from the Second Instance until the his opponent’s sword has already begun to descend. For then his adversary will have no means to hold back the blow, thus Alexander will be completely assure that his opponent has fully committed and he need not fear any change of course. But if Alexander leaves his place too soon, then he will alert his opponent. For the ennemy, having done but the preparatory move of raising his sword on high will still have the power to slow the descent. Without much effort, he could control the blow, to follow the fleeing body of Alexander with a horizontal strike to the same place, in such a way that Alexander would be in danger of being hit.	Notez bien en ceſte aćtion, qu’Alexandre ne partira pas de lieu de la Seconde Inſtance, que l’eſpee contraire ne ſoit deſia en aćte de deſcendre. Car ainſi l’Adverſaire n’aura plus de moyen de retenir le coup. dont Alexandre en ſera tout aſſeuré d’avoir l’entiere notice de l’entrepinſe, & n’y aura plus nul changement a craindre. Mais ſi Alexandre abandonne pluſtoſt ſa place, il en aviendra tout le contraire. Car l’Ennemy n’ayant fait qu’vne preparation d’eſlever l’eſpee en haut, & qu’il ait encore en ſa puiſſance de moderer la deſcente, ſans y avoir employé ſes forces, il pourra gouverner le coup, à pourſuivre le corps frayant avec ſon eſpee, en la menant horizontalement vers la meſme place; de façon qu’Alexandre ſeroit encor en danger d’en eſtre touché.
Circle No 7	Cercle N.7.
This is the follow-on from the preceeding Circle, where Alexander has, without a pause, withdrawn his left foot as he raises his sword on high, set it down beside his right foot, which he then steps by the Quadrangle Z behind his opponent, hitting him again with a cut on the head, as is shown by the figures.	C’eſt la continuation de la precedente, qu’Alexandre y adjouſte ſans nulle pauſe, en retirant à coſté le pied gauche, en ſorte, qu’en ramenant l’eſpee en haut, il le plante joignant le pied droit; duquel il pourſuit à marcher par delà le Quadrangle Z derriere l’Adverſaire, luy donnant derechef un coup d’eſtramaçon à la teſte; ainſi qu’il eſt monſtré par les figures.
Circle No 8	Cercle N.8.
Zachary moves forward with his right foot to the letter V, drawing his left foot up behind which again bringing the same revers cut towards his opponent’s head, but this time horizontally. Then he sets his left foot down beyond the Diameter on the Interior Collateral between M & I. Alexander sees the blow coming in this way, subjugates his opponent’s sword by sliding the point of contact along the blade to the outside, and steps with his left foot to the letter Q. As he did in Circle No 4.	Zacharie s’avance avec le pied droit à la lettre V, à pourſuivre proportionellement avec le gauche, en menant derechef le meſme coup de revers vers la teſte de ſa partie, toutesfois horizontalement, & à planter le pied gauche eſlevé par delà le Diametre ſur la collaterale interieure entre les points M & I. Alexandre qui voit venir le coup à ſoy en ceſte ſorte, aſſujettit l’eſpee contraire en la deſgraduant d’avantage en dehors du bras, portant le pied gauche à la lettre Q; comme au Cercle N.4.
Zachary sees that his adversary has adroitly avoided every reverse cut he has aimed at him from the Second Instance. In this present Circle No 8, he advances with his right foot on the Diameter to the letter V, his left foot following along, and as he aims a horizontal reverse cut, he sets his left foot down along the Interior Collateral between the two points M & I. He does this, believing that, even if his opponent moves from the spot, he will be able to follow and hit with his reverse blow. Alexander seeing the blow coming at him this way, receives his opponent’s blade to the outside of his arm with the tip of his own, as he turns his left side forward, stepping with his left foot and setting it down on the letter Q along the Oblique Diameter. Once again, he dominates and subjugates his opponent’s sword with a larger slide of the point of contact along the blade than in Circle No 4, while at the same time he puts his left hand on top to seize the guard. This is shown in the figure.	Zacharie voyant que l’Adverſaire a eſquivé touts les coups de revers qu’il a tirez ſur luy à la Seconde Inſtance, preſentement en ce Cercle N.8. il s’avance avec le pied droit ſur le Diametre à la lettre V, pourſuivant avec le gauche, & luy tirant cependant un coup de revers horizontal, à planter le pied gauche eſlevé par delà le Diametre ſur le collaterale entre deux les points M & I. ſe faiſant à croire, encores que le corps de l’Adverſaire ſe departe de la place, qu’il ne laiſſera pourtant de le pourſuivre & atteindre à tout ſon revers. Alexandre voyant le coup venir en ceſte ſorte, il accueilt la lame contraire en dehors du bras avec la point de la ſienne, ſe tournant enſemblement le coſté gauche en avant avec le meſme pied avancé, à planter en deçà le Diametre à la lettre Q, domtant & aſſujettiſſant derechef avec une plus grande deſgraduation, que non pas au Cercle N.4. l’eſpee contraire, en faiſant enſemblement prinſe de la garde, à mettre la main deſſus; comme il eſt repreſenté à la figure.
Circle No 9	Cercle N.9.
This is the follow-on from the previous Circle, as Alexander continues in the same vein, moving his right foot and side forward, and pressing his opponent’s guard, which he seized before, down and behind himself, and in this opening, he strikes with a cut inside to the face, as he sets his foot down at the letter X. As is shown in the figure.	C’eſt la pourſuite de l’operation precedente, continuée par Alexandre tout d’un meſme train, en avançant le coſté & le pied droit, & pouſſant à bas arriere de ſoy la garde contraire, qu’il avoit prinſe, & par ainſi luy donne un coup d’eſtramaçon au viſage en dedans du bras, plantant le pied eſlevé à lettre X; comme on voit à la figure.
This last cut being given, one can repeat the strike, using his left foot to spin around on his right foot, turning the left side of his body forwards, shifting his weight back while raising his right foot, then again stepping in and cutting again to the right side of this head, with almost the same action as shown in the following Circle No 13.	Ce dernier coup d’eſtramaçon eſtant donné, on le peut redoubler, en voltant le pied gauche par derriere le pied droit, puis en tournant le corps à main gauche ſe charger deſſus, en eſlevant derechef le pied droit & l’avancer devers le Contraire, & luy donner derechef un eſtramaçon au coſté droit de la teſte; quaſi comme l’operation du Cercle N.13. Enſuivant.
Circle No 10	Cercle N.10.
This one begins in Circle No 4, where Alexander has dominated and subjugated the reverse cut which his opponent has aimed at him. Following which, he performed the action in Circle No 5 with a thrust. Now he will work in a different way, as follows. While his opponent steps with his right foot up to the letter Q, he subjugates his opponent’s sword, at the same time he takes ahold of the guard with his left hand, which he draws toward him along with his opponent’s sword as he turns the right side of his body away and spins his right foot circularly around taking a large step behind his other foot outside of the Circle. At the same time, he extends his arm down by his side with his sword pointing downwards. He leans backward and raises his left foot. As is portrayed in the image.	Ceſtuy-cy a ſon origine au Cercle N.4. où Alexandre a domté & aſſujetti le coup de revers, que l’Adverſaire avoit tiré ſur luy: en ſuite de quoy il en a fait l’execution au Cercle N.5. avec une eſtocade. Maintenant il va travailler d’une autre façon; comme s’enſuit. Durant qu’il marche avec le pied droit à la lettre Q, en aſſujettiſſant l’eſpee contraire, au meſme temps il luy prend la garde avec ſa main gauche, laquelle il retire à ſoy enſemblement avec l’eſpee contraire, en ſe tournant le coſté droit alenvers, & voltant le meſme pied circulairement à un grand pas derriere l’autre dehors le Cercle en deçà, ſe mettant pareillement ſon eſpee à coſté avec le bras eſtendu & la pointe baiſſée; ce que faiſant, il eſleve le pied gauche, & ſe panche le corps un peu alenvers ſur le pied droit; comme il appert au pourtrait de la figure.
This action can also be done following Circle No 8, where Alexander has already come so far forward that he has already grabbed the guard.	Ceſte operation peut auſſi eſtre pratiquée en ſuite du Cercle N.8. où Alexandre en eſt venu deſia ſi avant, que d’avoir fait la prinſe.
Circle No 11	Cercle N.11.
This is the follow-on and final action of the preceeding, done by Alexander advancing and moving his raised foot along the Circle to the letter W, behind the back of his opponent, then leaning forward and shifting his weight onto it, drawing his right foot along behind, and by this same means thrusting his sword with straight arm into the right side of and through his opponent, as we see in the figure.	C’eſt la continuation & l’execution de la precedente, pourſuivie par Alexandre à avancer & porter le pied eſlevé par delà le Cercle, lettre W derriere le dos de l’Adverſaire, en ſe chargeant & panchant le corps deſſus, trainant le pied droit derriere, & pouſſant par meſme voye ſon eſpee d’un bras roide par le coſté droit de l’Adverſaire à tavers le corps; comme on le voit à la figure.
Circle No 12	Cercle N.12.
Alexander subjugates his opponent’s sword at the Second Instance. Zacharie again aims the same reverse cut stepping inside with the left foot. Alexander evades by likewise stepping with his left foot to the letter Q, moving the sword in a circle above his head and then follows on by stepping with his right foot to the letter X, and cuts inside the arm at the left leg of his adversary.	Alexandre aſſujetiſſant l’eſpee contraire à la Seconde Inſtance, Zacharie luy va tirer derechef le meſme coup de revers en marchant dedans avec le pied gauche. Alexandre l’eſquive en marchant pareillement avec le pied gauche à la letter Q, conduiſant l’eſpee circulairement par deſſus ſa teſte, & en pourſuivant à marcher avec le pied droit à la lettre X, il en donne un coup d’eſtramaçon en dedans du bras à la jambe gauche de ſa partie adverſe.
This derives from Circle No 1 where Alexander subjugates the blade. At which Zachary again aims a reverse cut, as in Circle No 2, towards the head, stepping with the heel of his left foot to the letter L, drawing his right foot up behind. But in the time that his blade takes to descend from on high to made the cut, Alexander evades the blow by moving his body forward. As he enters in with his left foot to the letter Q along the Diameter, he uses his wrist to turn his blade in a circle to the left and above his head. He then continues by stepping with his right foot to the letter X. At the same time as he draws his left foot up behind, he delivers an inwards cut to his opponent’s left shin. This is shown in the figure.	La preſente depend du Cercle N.1. où Alexandre travaille en faiſant l’aſſujetiſſement. Sur quoy Zacharie luy tire derechef un coup de revers, comme au Cercle N.2, devers la teſte, en marchant avec le pied gauche le talon à la lettre L, & laiſſant trainer le pied droit proportionellement apres. Or au temps que ſa lame vient deſcendre de haut à bas pour executer le coup, Alexandre l’eſquive, en avançant le corps, & entrant avec le pied gauche à la lettre Q en deçà le Diametre, voltant cependant ſa lame à l’aide du poignet circulairement à la main gauche par deſſus ſa teſte; puis en pourſuivant tout d’un train à marcher avec le pied droit à la lettre X, & trainant quand & quand le pied gauche apres, il luy porte un coup de taille en dedans du bras à la greve de la jambe gauche; comme il appert à la figure.
Circle No 13	Cercle N.13.
Here is the follow-on, which Alexander adds to his strike. (The literal description is unclear.) He turns to the right by spinning his left foot around behind his other, over to the edge of the circle between T & W. The instant he sets his left foot down, he raises his right foot and continues his turn to the right, and sets his right foot down behind him slightly off to the side beyond the Circle. As he turns, he raises his sword in a circle above his head. Then, as if dancing a demi-fleurette, he quickly raises his left foot, then puts it down at S, and with this move he redoubles his cut to the right side of his opponent’s head. As we can see in the image.	En voicy la ſuite, laquelle Alexandre y adjouſte en voltant le pied gauche à droite par derriere l’autre, lequel il eſleve de la terre tout au meſme inſtant qu’il plante ledit pied gauche, & en mettant derechef à terre un peu à coſté en deçà le Cercle, il en fait cōme une fleurette en eſlevant derechef le pied gauche; & comme ainſi ſoit qu’il ait conduit durant ce meſme temps ſon eſpee circulairement par deſſus ſa teſte, il en redouble le coup d’eſtramaçon au coſté droit de la teſte de ſa partie adverſe, en plantant le pied eſlevé dedans le Cercle à la lettre S; comme on le voit repreſenté.
Often, after having made a move very quickly, the second blow happens differently, that is, simply turning the left foot around and then stepping with only the right foot, which is done as in Circle No 7.	Il viendra ſouvent à point apres avoir viſtement travaillé, de redoubler ce deuxieme coup à la teſte de l’Adverſaire, un peu autrement; aſſavoir en voltant le pied gauche, & puis eſlever & avancer tant ſeulement le pied droit. Ce qui ſera fait en conformité du Cercle N.7.
Zachary has tried up to now in several way to hit his adversary with a reverse cut, and Alexander has always overcome and dominated in various ways according to the different situations, so that Zachary has been repeatedly wounded instead. Thus, he decides to no longer allow himself to be subjugated at the Second Instance. He tries to overcome this in the following action.	Or puis que Zacharie à taſché juſqu’à preſent en tant de ſortes de frapper ſon Adverſaire de ce coup de revers, & qu’Alexandre l’a touſiours prevenu & dompté en divers manieres ſuivant la diverſité des occaſions, en ſorte qu’il en a eſté bleſſé luy meſme; ce voyant il ſe propoſe de ne laiſſer plus aſſujettir ſa lame à la Seconde Inſtance; ce qu’il taſche à prevenir par l’operation ſuivante.
Circle No 14	Cercle N.14.
In the time during which Alexander is stepping with his right foot from the First Instance to the Second, to subjugate his opponent’s sword, and is about to follow up with his left, Zachary moves in, stepping with his right foot on the diameter at the letter S, to be followed by bringing his left foot behind onto the Circumscribed Square. At the same time Alexander brings his left foot up to his right doing a demi-fleurette-step & enters in on his opponent with his left side forward, subjugating his blade.	Au temps qu’Alexandre chemine avec le pied droit de la Permiere inſtance à la Seconde, pour aſſujettir l’eſpee contraire, & qu’il vient à pourſuivre avec le pied gauche; Zacharie ſe tranſporte avec le pied droit par delà le Diametre à la lettre S, pourſuivant à mener le pied gauche en ſuit ſur le Quarré circonſcrit. Durant le meſme temps Alexandre ayant planté le pied gauche tout joignant le pied droit, en fait une demi-fleurette, & entre deſſus l’Adverſaire avec le coſté gauche du corps avancé, en luy aſſujettiſſant la lame.
This action likewise begins in Circle No 1. Alexander is the act of subjugating his opponent’s sword and has already stepped with his right foot along the Oblique Diameter to the letter Q, and he is in the proces of drawing his left foot up behind. Zachary steps with his right foot along the Oblique Diameter to the letter S, followed by drawing his left foot into place along the Circumscribed Square. Then, before this movement can be completed, Alexander puts his left foot down near his right foot, which he quickly lifts, performs a quick-step, and puts his left foot down between the centre of the Circle and the Letter I and so moves into his ennemy along the diameter. He leans onto it, and turns his left side forward in such a way as to block Zachary’s path and subjugates his blade, which his arm drawn in and close against his side. As is shown in the figure.	Ceſte operation prend pareillemēt ſon origine au Cercle N.1. Alexandre eſtant en aćte d’aſſujettir l’eſpee contraire, en ſorte qu’il ait deſia planté le pied droit en deçà le Diametre à la lettre Q, & que le pied gauche ſoit en train de pourſuivre: au meſme temps Zacharie s’en va marcher avec le pied droit par delà le Diametre à la lettre S, pourſuivant à mener proportionnelement le pied gauche ſur le Quarré circonſcrit. Dont Alexandre, avant que le mouvement ſoit achevé, plante le pied gauche tout pres le pied droit, lequel il continue tout ſoudainement à eſlever, en faiſant une demi-fleurette, & l’avance devers l’Ennemy par delà le Diametre entre deux le Centre du Cercle & la lettre I. ſe panchant en avant deſſus le meſme, à tout le coſté gauche du corps tourné en avant, de façon qu’il luy coupe le chemin, & luy aſſujettit la lame, avec le bras raccouci & affermi au coſté droit du corps; le tout en conformité de la figure.
Circle No 15	Cercle N.15.
This follow from the previous Circle, in the time it takes Alexander to enter in with his right foot to subjugate the blade. Zachary withdraws a large step backwards with his left foot. He also leans backwards onto the foot, and raises his sword from underneath his opponent’s by shortening his arm, in such a way as to feint to the outside, hoping to have Alexander parry his blade, and so move his sword aside, so that he would be able to hit at the same time to the inside. Alexander feels that his opponent’s blade begins to disengage, so at that moment, he aims his own in a direct line with his arm extended, while stepping forward with his right foot on the Diameter very close to the Centre, in such a way as to wound his ennemy with a thrust to the face before he has a chance to perform the said feint. He follows by pushing right through by leaning his body forwards. Just as is shown in the figure.	Voicy une ſuite de la precedente. Au temps qu’Alexandre s’achemine à tout le pied droit en dedans, pour luy aſſujettir la lame; Zacharie ſe recule un grand pas en arriere à tout le pied gauche; ſe panchant auſſi le corps deſſus à l’envers, & oſtant ſa lame aſſujettie de deſſous la contraire, moyennant l’accourciſſement du bras, de façon qu’il en fait vne feinte à l’Adverſaire en dehors, ſous eſpoir de le faire parer & eſcarter ſon eſpee, en ſorte qu’il auroit moyen de le toucher au meſme temps en dedans. Alexandre s’apperçoit par le ſentiment, que l’eſpee contraire commence à ſe deſtacher, dont il dreſſe au meſme temps la ſienne en droite ligne avec le bras eſtendu, cheminant enſemblement avec le pied droit ſur le Diametre à bien pres du Centre de ſorte qu’il bleſſe l’Ennemy au viſage d’un coup d’eſtocade avant qu’il ait le loiſir de parfaire la ſudite feinte; pourſuivant à la pouſſer tout outre, en panchant du corps ſur le devant; comme il eſt repreſenté en la figure.
It is understood that, when Zachary disengages his blade from Alexander’s, withdrawing and raising it for the aforesaid feint, and he receives at the same time a thrust to the face, even though his blade is free, nevertheless he cannot use it to wound his opponent. This is because, as experience shows, that a man is put into a state of confusion when he receives a wound to the face. His intent is interrupted, his mind is distracted, and his senses are diverted. Thus feints done closer than at the Second Instance can all be overcome in this same way, by extending the arm in a direct line, and wounding the opponent at the same time without any condern for where his blade is, neither to the right, nor to the left.	Il faut entendre, quand Zacharie ſe deſtache de la lame d’Alexandre, en retirant & oſtant la ſienne pour faire la ſuſdite feinte, & qu’il reçoit au meſme temps l’eſtocade au viſage; encores que ſa lame ſoit tout libre, ſi eſt il toutesfois, que’il ne s’en peut nullement ſervir en ce meſme temps pour bleſſer l’Adverſaire: par ce que l’experience monſtre, que l’homme eſt mis en confuſion quand il reçoit une bleſſure au viſage, l’intention luy eſtant rompue, la memoire troublée, les ſens divertis. Or les feintes qui ſeront faites de plus pres que de la Seconde Inſtance, vous les pourrez maiſtriſer toutes en ce meſme ſorte, en eſtendāt le bras en droite ligne, & bleſſant l’Adverſaire au meſme temps ſans vous ſoucier en rien qui ſoit de cercher ſa lame, ny à droite, ny à gauche.
Circle No 16	Cercle N.16.
This action also follows from Circle No 14, where Alexander has cut off his adversary’s path by stepping in against him with his right foot, and subjugating his blade. Here, he follows this action by moving his right foot forward with a quick jump to the letter L on the Oblique Diameter. He then leans forward and moves his left side forward, taking his blade from on top of his opponent’s with a push, then he seizes the guard with his left hand, pulling it towards him, and presenting the tip of his own to the chest of his adversary. As the figures demonstrate.	L’operation preſente procede auſſi en ſuite du Cercle N.14, où Alexandre a coupé le chemin à l’Adverſaire en marchant contre luy avec le pied droit, & qu’il luy aſſujettit la lame. Preſentement il pourſui l’operation, en avançant le pied droit avec un petit ſaut par delà le Diametre à la lettre L; puis en panchant le corps en devant, & avançant davantage le coſté gauche, il oſte ſa lame de deſſus la contraire avec un pouſſement, dont il en fait prinſe de la garde avec la main gauche, la tirant à ſoy, & preſentant la pointe de la ſienne à la poitrine de l’Adverſaire; comme les figures demonſtrent.
Circle No 17	Cercle N.17.
Here, again, is another follow-on from Circle No 14. Alexander enters in with his right foot and takes ahold of the opponent’s guard with his left hand, as in the preceeding action, however here he seizes from above the two blades, keeping them in contact, the follows by pulling the guard to his left side, stepping with his left foot to the letter X, and turning his right side to the outside with his foot raised, as it appears in the image.	Voicy derechef une autre ſuite du Cercle N.14. Alexandre faiſant l’intrade avec le pied droit, & prenant la garde contraire avec la main gauche, cōme en l’operation dernierement precedente, ſinon qu’il fait icy la prinſe par deſſus les deux lames, en les retenant accouplées, pourſuit à tirer la meſme garde à ſon coſté gauche, en marchant avec le pied gauche à lettre X, & deſtournant le coſté droit en dehors avec le pied eſlevé; comme il appert aux figures.
Circle No 18	Cercle N.18.
This is a continuation of the same sequence. Alexander spins on his left foot, so his raised foot goes behind him, and his left side is turned to the front, while raising his opponent’s guard and with it his arm. He pushes it behind his opponent, so that he can move the tip of his sword against his opponent’s right side. This is shown in the figure.	C’eſt la continuation de la meſme ſuite. Alexandre ſe volte le pied eſlevé derriere le pied gauche, qu’il eſleve au meſme inſtant, en tournant le coſté gauche du corps en avant, avec eſlevation du bras & de la garde contraire à pouſſer arriere de ſoy, en ſorte qu’il luy met la pointe au coſté droit; comme on le voit repreſenté en la figure.
Circle No 19	Cercle N.19.
And here is the final action, which Alexander follows through in the same way, closing with his opponent by setting his raised left foot along the Oblique Diameter near the letter T. He leans his body forward, and so pushes the sword right through his opponent’s body. As we can see in the image.	En voicy l’execution, qu’Alexandre pourſuit tout d’un meſme train, en accoſtant le Contraire avec le pied gauche eſlevé, à planter par delà le Diametre tout pres de la lettre T, & à pancher le corps deſſus en avant; dont il luy pouſſe l’eſpee à pleine force à travers le corps; comme il ſe voit en la figure.
Circle No 20	Cercle N.20.
Here we have another action that has the same beginning in Circle No 14, where Alexander subjugates the opposing sword by stepping with his right foot towards the Centre, to block his path. In this Circle, Zachary advances and enters at the same time with his left side and foot, set down at the letter M along the Perpendicular Diameter, drawing the right foot along behind, and grasping with his left hand to grab his opponent’s guard. While he is making these moves, Alexander withdraws his arm and the guard back and to the left side, while putting his left foot on the Outside Square on the Oblique Diameter. He then proceeds to move his sword in a circle above over his head to cut at his opponent’s left ear, while withdrawing his right foot to the letter I on the Oblique Diameter. As we can see in the image.	Voicy une operation qui a auſſi le meſme commencement du Cercle N.14. où Alexandre aſſujettit l’eſpee contraire en marchant avec le pied droit devers le Centre pour luy couper le chemin. En ce preſent Cercle Zacharie s’avance & entre au meſme temps avec le coſté & le pied gauche à planter à la lettre M par delà le Diametre, entrainant & voltant auſſi le pied droit derriere, & gripant avec la main gauche pour prendre la garde contraire. Durant ces dit mouvements Alexandre ſe retire le bras & la garde à main gauche & vers le bas, en reculant auſſi le meſme pied ſur le Quarrè Circonſcrit, à planter ſur le Diametre Oblicq, conduiſant à l’advenant ſa lame circulairement en haut par deſſus ſa teſte, & en donnant un coup de taille au contraire à l’oreille gauche, en retirant le pied droit en deçà le Diametre à la lettre I; comme on le voit en la repreſentation des figures.

Book 1 - Tableau / Plate XV - Working to the Right Hand Side - Resistance and Degrees of Force

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE FIFTEENTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV QUINZIEME.
Through all the preceeding Plates, we have learned all the actions which can be done against the subjugation of the sword to the inside, to the point where the schollar has no more to fear, once he has seized this advantage, on condition that the swords remain in contact or that his adversary does no more than a simple disengage against him. If his enemy attacks, he will always have the most appropriate response. If his ennemy changes position on him, he will recover, or even alter his approach. If his enemy makes to withdraw, he will pursue. If his enemy would wound him with the edge, or the point, from the direct line posture, or with bent arm, or with a reverse cut, he has counters to them all. He may go forward courageously, yet the way is fraught. One may say to me, that there are a great many more ways to engage which are not shown. To this I reply, there is no need of this, nor is it possible, any more than to count all the grains of sand in the sea, because the number of ways an encounter can change are infinite: the head, the arm, the sword, the foot, all can be a bit further forward or withdrawn, higher, lower, to the side. There are always differences, but not always significant enough that one must expand the precepts to cover them. Which is why, having finished this first part, which is about working on the left hand side, we shall begin hereafter, to show the way to work on the right hand side of the Diameter, up to Plate XXI. Not that we wish that you master all the preceeding lessons before begining to practice the exercise in this Plate XV, that is impossible, for the Plates follow in order of the Theory. But for Practical training, it would be most expedient, after you have well understood by Plate IX the different forces against the blade, to pair up the lessons of attacks to the outside line with those to the inside line. That is, from Plate IX and those which follow, with Plate XV and those which likewise follow, practising each in turn. One must, to the extent possible, teach the arm and the hand which holds the sword to perform the principal parts of our Training, to learn to strengthen them in every way, in order to work favorably and equally well on all sides.	Par les Tableaux precedents nos avons achevé toutes les operations, qui ſe preſentent contre l’aſſujetiſſement de l’eſpee en dedans du bras, de façon que l’Eſcholier n’aura plus rien à craindre, apres qu’il aura prins vne fois ceſt avantage, à condition toutesfois que les eſpees demeurent accouplées, ou que l’Adverſaire ne face qu’vne cavation ſimple alencontre. Car ſi l’Ennemy l’attend, il fera touſiours l’execution convenable; s’il luy veut changer la ſituation, il ſe redreſſera, ou meſme en amendera ſon approche; s’il met peine à ſe retirer, il le pourſuivera; ſi à le bleſſer de taille, ou de pointe, en ligne droite, en courbe, ou en revers, ſans, ou avec cavation, il a des inſtrućtions à tout. Qu’il marche donc courageuſement avant: le chemin eſt frayé. Si on me dit, qu’il y a bien encores des autres occaſions, dont les particularitez n’ont pas eſté repreſentées. Ie reſpons, qu’il n’eſt ny beſoin, ny poſſible de ce faire, non plus que de comter les ſablons de la mer, car les changements ſont infinis: la teſte, le bras, l’eſpee, le pied, un peu plus avancé, ou retiré, plus haut, ou plus bas, ou à coſté, ce ſont touſiours des changements, mais non pas touſiours d’importance, en ſorte qu’il faille eſtrendre les preceptes ſi avant. Parquoy donc ayant achevé ceſte premiere partie, qui eſt de travailler en allant à main gauche, nous commencerons doreſenavant à vous monſtrer la maniere, que vous devez tenir pour aller à main droite par delà le Diametre juſqu’au Tableau XXI. Non pas que nous voulions, que vous ſoyez paſſé maiſtre de toutes le leçons precedentes, avant que d’entrer à la pratique de ce Tableau XV. c’eſt choſe impoſſible, car les Tableaux enſuivent l’ordre de la Theorie. Mais pour la Pratique, il ſera plus expedient, apres que vous aurez bien comprins par le IX. les differences de Poids, de vous adonner tout incontinent à conjoindre les leçons en dehors du bras avec celles qui ſont en dedans; je di le Tableau IX. & ſa ſuite, avec le XV. & la ſienne pareillement, en pratiquant tantoſt les vnes, & tantoſt les autres. Car puis que c’eſt le bras & la main de l’eſpee, qui doivent effećtuer en noſtre Exercice les principales parties de toutes les operations, il faut qu’on aprenne à les fortifier en toutes manieres, pour travailler avantageuſement & egallement de touts coſtez, s’il eſt poſſible.
Circle No 1	Cercle N.1.
Où les parties ſe ſont plantez ſur le Cercle en Premiere Inſtance, avec les eſpees parallels en droite ligne. Alexandre ayant mis la ſienne deſſous la contraire.	Here the two parties are set in the Circle at the First Instance, with swords parallel, in the direct line posture. Alexander has put his underneath his opponent’s.
Zachary has placed himself on the Circle, with the toes of his right foot on the letter X, his heel on the outside edge of the Quadrangle, and his left foot set on the Pedal Line Z, presenting his sword in the direct line posture. Alexander, to work against him, approaches taking two or three steps forwards, according to the distance which is between them. At the same time as he carefully ensures that his left foot lands in a place where he can reach the Circumference at point C with his right foot, he extends his arm at an acute angle in a line off to his right side. Then, at the same time as he steps with his right foot, he raises his arm and sword, extended up at an obtuse angle. Then, with a look, he determines the distance to the body, arm, and sword of his opponent, he takes care to adjust his next step, so that he can bring his sword-tip as close as he possibly can to his opponent and by this means enter into the First Instance. Following this plan he advances his right side, together with his foot, arm, and sword, bringing them in a circular path down to set the toes of his right foot at C, and the heel on the collateral on the right side of the Quadrangle. With his arm extended, he continues to throw his sword out, raised slightly up by means of his wrist, over the Diameter in the direct line posture, and beneath his opponent’s sword, so that the tip of his sword ends up just in front of his opponent’s guard. So his right side is drawn even further forward, and his right heel is turned along the outside edge of the Quadrangle C-B, his left foot drawn by the nervous tension of his muscles up to the Pedal Line A, his body raised up, perpendicular and erect and in profile, by the same motion, with his sword ending parallel to and beneath his opponent’s sword, in the direct line posture. By this means both are standing in the First Instance at the proper position, so that each has his head and the centre of his body exactly over the centre of his Quadrangle, between his two feet. Every nerve and muscle tensed, knees and arms extended, the handle of the guard held straight in the hand, the two swords in parallel lines, in control, in extension, the tip and the hand in line at shoulder height. In this way they are both set in a natural, easy position, ready and free to move forwards, backwards, and to the sides, both left and right with no hesitation or delay. Each one is in a good position to defend against anything his adversary might try. As is shown in Circle No 1.	Zacharie s’eſtant placé deſſus le Cercle à tout les orteils du pied droit ſur la lettre X, le talon ſur le coſté exterieur du meſme Quadrangle, & le pied gauche repoſé deſſus la ligne Pedale Z, preſente l’eſpee en droite ligne. Alexandre, pour travailler alencōtre, le vient approcher en faiſant deux ou trois pas en avant, ſelon la diſtance, qui eſt entre deux; obſervant au meſme tēps qu’il plante le pied gauche à terre en lieu d’où il puiſſe atteindre avec le pied droit la Circonference au point C, de porter enſemblement le bras eſtendu avec l’eſpee en vne ligne à ſon coſté droit en angle aigu; conſequement il eſleve à ce meſme coſté droit le pied enſemble avec le bras & l’eſpee, eſtendu pareillement en vne meſme ligne en angle obtus; & comme il recognoiſt à veuë d’oeil la diſtance du corps, bras, & eſpee contraire, il prend ſa viſee à la garde, pour moderer le pas enſuivant, en ſorte qu’il puiſſe porter ſa pointe au plus pres d’icelle, qu’il ſoit poſſible, & entrer par ce moyen exaćtement ſur la Premiere Inſtance; ſuivant lequel deſſein il avance le coſté droit, enſemble avec les meſmes pied, bras, & eſpee, les conduiſant un peu circulairement de haut à bas, à planter le pied à tout les orteils ſur le point C, & le talon du meſme ſur la collaterale du Quadrangle à droite, continuant à jetter au meſme temps ſon eſpee avec le bras eſtendu, à l’aide du poignet, un peu plus haute en droite ligne au deſſus du Diametre, & deſſous l’eſpee contraire, en ſorte que la pointe en arrive tout pres de la garde. Dont le coſté droit luy eſt tiré d’autant plus en avant, & le talon du meſme pied en eſt tourné ſur le coſté du Quadrangle CB, le pied gauche trainant de ſoy meſme par l’attraćtion des nerfs & des muſcles ſur la ligne Pedale A, le corps ſe dreſſant auſſi par meſme voye tout droit perpendiculair & en pourfil avec l’eſpee parallele en droit ligne deſſous l’eſpee de l’Ennemi. Par ainſi les voilà touts deux plantez à la Premiere Inſtance en bonne proportion, tellement que les teſtes & les Centres des corps leur viennent à reſpondre juſtement deſſus l’entredeux des jambes & deſſus le centre du Quadrangle, chaſcun le ſien; les nerfs, muſcles, genoux, & bras eſtendus, la manche de la garde eſtroitement ſerré au poing, les eſpees ſituées en lignes paralleles modereement eſtenduës, l’eſpaule, la main, & la pointe en egalle hauteur; de maniere qu’ils ſont plantez touts deux naturellement à leur aiſe en un pas arreſté, touts preſts & libres à marcher en avant, en arriere, & aux coſtez, tant à gauche, qu’à droite ſans nulle autre preparation; eſtants chaſcun d’eux en bonne defenſe contre tout ce que l’Adverſaire pourroit machiner; cōme il eſt à voir aux figures du Cercle N.1.
Circle No 2	Cercle N.2.
Alexander continues his action, moving his right foot along the line of the Inside Square to the letter G, at the Second Instance, subjugating his opponent’s sword to the outside.	Alexandre pourſuit l’operation, en allant avec le pied droit par la trace du Quarré Inſcrit à la Seconde Inſtance lettre G, aſſujettiſſant l’eſpee contraire en dehors du bras.
Here, Zachary awaits the follow-on. Alexander raises his right foot, keeping his knee straight, likewise uses his wrist to raise the tip of his sword. He contacts his opponent’s blade to the outside with a small amount of force his 3rd Span in contact with his opponent’s 8th Span. At this moment, he pauses briefly (as we can see pictured in Circle No 4), following which, he turns the exterior branch of his crossguard diagonally upwards, and by the same means raises his tip further. Sliding the point of contact along the sword, he advances his raised foot to the right side, along the line of the Inside Square. Before he begins to overbalance, he again pauses briefly to check if his adversary will attempt to wound him at this time. But, as Zachary remains in place, he continues, leaning slightly back with his foot raised, then sets it down at the letter G at the Second Instance. He lifts his left foot and follows along with a circular motion, setting it down at the letter D, turning his heel straight on the Interior Collateral G-F, and putting his 8th Span in contact against his opponent’s 6th Span, and so fully subjugates it, as is shown in the figure.	Or puis que Zacharie en attend la pourſuite; Alexandre eſleve le pied droit avec le genou roide, en hauſſant pareillement à l’aide du poignet la pointe de ſa lame, de laquelle il va toucher en dehors avec peu de force du N.3 le N.8. contraire, y adjouſtant à ce meſme inſtant une bien petite pauſe (comme on le voit repreſenté au Cercle N.4.) en ſuite de laquelle, tournant la branche exterieure de ſa garde diagonalement contremont, & par meſme voye hauſſant un peu davantage ſa pointe, & graduant ſa lame, il avance le pied eſlevé par la trace du Quarré Inſcrit à main droite; & devant que le meſme vienne à tresbucher avec le corps, il en fait derechef une petite pauſe, pour remarquer, ſi l’Adverſaire ne taſchera point de le bleſſer durant ce meſme temps. Mais comme il demeure encores, il chemine un peu alenvers avec ledit pied eſlevé, le plantant à la Seconde Inſtance lettre G, en eſlevant & pourſuivant circulairemēt à tout le pied gauche, & accouplant les eſpees environ N.8. à N.6. de la contraire, dequoy il l’aſſujettit tout à plein, plantant ledit pied gauche ſur la Circonference à la lettre D, & enſemblement tournant le talon du pied droit ſur la collaterale interieure GF; comme il eſt repreſenté à la figure.
Circle No 3	Cercle N.3.
Alexander continues to step with his right foot, following the same line, to the letter N at the Third Instance. He follows up with his left foot, which he sets down at the letter K on the same Quadrangle, while sliding the point of contact up the blade, further subjugating his adversary’s so that he presents his sword-tip precisely in front of his face.	Alexandre pourſuit à marcher avec le pied droit par la meſme trace à la Troiſieme Inſtance lettre N, & à pourſuivre à tout le pied gauche, lequel il plante ſur le meſme Quadrangle à la lettre K, en graduant les deux lames, & aſſujettiſſant davantage celle de l’Adverſaire, en ſorte qu’il luy preſente la pointe en courtoiſie devant le viſage.
Because Zachary continues to wait, Alexander works further, by first lifting his right foot, then stepping along the line of the Inside Square, making a quick pause midway to the Third Instance, just before he overbalances, to check that his adversary is not about to strike at him. Then, as he slides the point of contact up the blades to subjugate Zachary’s blade even further, he moves to the letter N at the Third Instance, drawing his left foot up behind with a circular movement to the outside, and sets it down flat at the letter K, turning his body sideways to his opponent, and turning his right heel along the outside along the Interior Transverse I-N. Together with this, he turns the exterior branch of the crossguard upwards while sliding the point of contact so the centre of his blade is further down his opponent’s. Thus he increases the subjugation, and puts the point of his sword precisely in front of his opponent’s face before striking. As we see in the figures.	Puis que Zacharie demeure encores à en attendre la pourſuite; Alexandre travaille, en eſlevant premierement le pied droit, qu’il porte en avant par la meſme trace du Quarré Inſcrit, & en fiat une petite pauſe à my-chemin de l’Inſtance avant qu’il tresbuche avec le corps, pour obſerver ſi l’Adverſaire ne fera rien pour tirer ſur luy; conſequemment en graduant les lames il le porte encores plus outre à la Troiſieme Inſtance lettre N, à pourſuivre avec le pied gauche circulairement en dehors, & à planter tout à plat ſur la lettre K, en pourſilant le corps & deſtournant le talon du pied droit en dehors ſur la traverſante interieure IN, enſemblement auſſi ſe tournant la branche exterieure de la garde diagonalement contremont moyennant la graduation, & par la meſme accouplant le Centre de ſa lame à moins de Nombres du Contraire; dont il luy met en augmentant l’aſſujettiſſement, la pointe en courtoiſie tout contre le viſage, avant pouvoir d’en faire l’execution; comme on le voit aux figures.
As for these last two Circles, because they are set in perspective, and with smaller figures, the foot position of Alexander could not be exactly shown, that the Scholar could thereby obtain sufficient instruction. Because this is a point of very great importance, to understand, then with precision, I would return you to the first Plate of all, where you will see the large footprints in Circle No 1, and again in Circle No 4, but smaller. You must place your feet according to these at the Second Instance, to fully achieve the actions described in the second Circle. Likewise for the Third Instance to fully achieve the actions described in this, Circle No 3. And take care to perform them exactly, for otherwise you will do nothing of worth.	Quant à ces deux derniers Cercles, puis qu’ils ſont mis en la proſpećtive, & en figures de moindre taille, le plantment des pieds d’Alexandre n’y a peu eſtre repreſenté ſi exaćtement, que l’Eſcholier en puiſſe tirer ſuffiſante inſtrućtion: car c’eſt un point de treſgrande importance. Pour en comprendre donc la juſteſſe, je vous renvoye au Tableau premier de touts, où vous en verrez les patrons tracez en grande forme au Cercle N.1. & derechef au Cercle N.4. en moindre taille, en conformité deſquesl il vous faudra regler la ſituation de vos pieds tant à la Seconde Inſtance, pour venir à bout de l’operation de ce Cercle deuxieme, qu’à la troiſieme pareillement, pour en venir à l’accompliſſement de ce preſent Cercle N.3. Et prenez garde à les obſerver bien exaćtement. car autrement vous ne ferez chose qui vaille.
A final note about these two Circles, where Alexander subjugates his Opponent in the second and third, he sets his sword-tip precisely in front of his opponent’s face, or he thrusts, as powerfully as he can. We have said nothing on the subject of force one would need to perform these actions. Because one may perform them against several different degrees, either Lively, or Strong, or Stronger, or Very Strong. As long as, while subjugating the sword, one slides the point of contact along the swords at the same time, down his and up one’s own, until the 8th Span is in contact with the opponent’s 6th Span. By doing this, with but a little effort, one can hold down against several different degrees of force, without stumbling or opening up the line, if the enemy should perform a circular disengagement. What is more, in the time that Alexander steps towards the Third Instance while sliding the point of contact up the blade, he will do the same against even greater degrees of force than we have said.	Au reſte en ces deux meſme Cercles, dont Alexandre aſſujettit le Contraire au deuxieme & au troiſieme il luy met la pointe en courtoiſie devant le viſage, ou bien qu’il en face l’execution, comme il en a la puiſſance; nous n’avons rien dit touchant le poids, qui ſoit requis pour leſdites operations; à cauſe qu’on les pourra pratiquer ſur pluſieurs differents degrez, ſoit Vif, ou Fort, Plus fort, ou Tres-fort; moyennāt qu’en aſſujettiſſant l’eſpee, on l’aille enſemblemēt deſgraduant, & graduant au contraire la ſienne propre, juſqu’à en accoupler le N.8. au N.6. du Contraire. Car en ce ſaiſant, avec peu de force on pourra tenir en ſujećtion pluſieurs differents degrez de poids, ſans tresbucher ne forligner, s’il advenoit que l’Ennemi vinſt à faire cavation durant ce meſme temps. Qui plus eſt, au temps qu’Alexandre marchera vers la Troiſieme Inſtance en augmentant la graduation, il fera tout le meſme, encores contre de plus grands efforts que ceux que nous avons ſpecifiez.
We have already explained in Plate VII the ways in which Adversary can increase or diminish the degree of resistance over the time that we have his sword subjugated at the Second Instance, until we wound him at the Third Instance, in the way we have shown in the figures. There is but this difference, that the subjugation was done before to the inside going to the left hand side, and here, in contrast, it is going to the outside to the right. All other observations with respect to the Instance, the forces, and timings are just the same.	Or comment l’Adverſaire peut augmenter ou diminuer ſes degrez de force, durant le temps qu’on luy aſſujettit l’eſpee à la Seconde, ou qu’on le bleſſe à la Troiſieme Inſtance, en la forme que nous venons de repreſenter en nos figures; nous l’avons ſpecifié aſſez amplement au Tableau VII. où il n’y a que ceſte difference, que l’aſſujettiſſement ſe fait là en dedans du bras en allant à main gauche, & icy au contraire en allant à droite en dehors. toutesfois au regard de l’Inſtance, des poids, & des temps, ce ſont toutes les meſmes obſervations.
Circle No 4	Cercle N.4.
Alexander raises his right foot from the ground, at the same time, using his wrist, he raises his sword and brings the swords together, higher up his opponent’s blade, then advancing his foot over to the Oblique Diameter, he will slide the point of contact up his and down his opponent’s blade to subjugate it at the Second Instance.	Alexandre eſleve le pied droit de terre, hauſſant enſemblement à l’aide du poignet & aſſemblant la pointe de ſa lame à plus de Nombres du Contraire, puis avançant le meſme pied par delà le Diametre, il va graduant la ſienne & deſgraduant la contraire pour aſſujettir à la Seconde Inſtance.
We drew this circle reversed, so that Alexander works from the side where, in all previous Circles, we placed his adversary. This is to be able to show the follow-on actions in Circles No 5 & 6, as seen in perspective. Alexander has so far arrived at the First Instance, as in Circle No 1. He raises his right foot off the ground and lifts his sword-tip at the same time using his wrist, so as to join his 3rd Span against his opponent’s 8th Span. Having made a short pause, he steps with that foot to the right hand side over to the Oblique Diameter, following the line of the Inside Square, and slides the point of contact so that his 8th Span joins his opponent’s 6th Span, to subsequently subjugate the blade at the Second Instance. This is the beginning, on which of all the actions which follow depend.	Nous avons figuré ce Cercle preſent tout au rebours des autres, en ſorte qu’Alexandre y travaille du coſté, où nous avons placé à touts les autres Cercle ſon Adverſaire. Ce qui a eſté fait pour accomoder les 5. & 6. qui en procedent, à l’ordonnance de la proſpećtive. Alexandre donc eſtant venu preallablement à la Premiere Inſtance à la façon du Cercle N.1. il eſleve preſentemēt le pied droit de terre, & hauſſe enſemblement la pointe de ſa lame à l’aide du poignet, en ſorte qu’il en aſſemble le N.3 au N.8. du Contraire; ayant fait une petite pauſe, il marche avec le meſme pied à main droite par delà le Diametre, enſuivant la trace du Quarré Inſcrit, & faiſant la graduation de maniere qu’il joingt ſon N.8. au N.6. de la partie adverſe, pour luy aſſujettir conſequemment l’eſpee à la Seconde Inſtance. Et c’eſt le commencement dequoy toutes les operations ſuivantes dependent.
Alexander interrupts his action with a hesitant pause as soon as he has raised his right foot in the air, and again, as he steps towards the Second Instance to the right hand side, he makes a second pause, just before he overbalances. Now we have found it most effective to show this moment in the image, so the student shall be more aware to always do this each time it is necessary to perform this same subjugation. Because these pauses will give him the time to recognize and prevent any of the counters which his adversary might plan to do during this action. In contrast, if he were to step right away from the First Instance to the Second, or from the Second to the Third, without putting in any pause, he would be in grave danger of being wounded. That is all to be said concerning the need to observe the opponent. One should also note that this practice will, from the beginning, not be pleasing to spectators, for the slowness and the interrupted motions of the learner, because of these pauses. Nevertheless, when is well practiced, and can easily adjust his timing to his opponent, instead of slowing him, these pauses will be of great help to him, and as such they will not even be noticeable. But at the beginning, one needs to have the patience to learn this. It may be that, of those who read this, considering how these pauses are quite contrary to the old mode of fighting, where no one knows about making brief pauses, and even less to carefully perform them, or to even to talk of their need, someone might wish to take issue with these instructions, I would ask the suspend judgement until they have fully looked at the usefulness, and self-assurance that they impart to someone who is in a fight, and the degree to which they instil habits that will protect their movements and train him in seeing the true points when actions are most effective.	Or ceſte aćtion d’Alexandre, faiſant incontinent la pauſe du pied droit dés qu’il l’a eſlevé en l’air, voire qu’en marchant avec le meſme devers la Seconde Inſtance à main droite, il en fait encore une autre pauſe pour la ſeconde fois, avant qu’il tresbuche; nous avons trouvé expedient de la repreſenter en figure, afin que le Disſciple ſoit tant mieux averti d’en faire touſiours autant à toutes les fois qu’il fera queſtion de faire ce meſme aſſujettiſſement. Car ces pauſes luy preſteront le loiſir de recognoiſre & prevenir toutes les traverſes, que l’Adverſaire pourra machiner durant ce meſme temps. Au contraire, s’il marche tout d’une tire depuis la Premiere Inſtance juſqu’à la Seconde, ou de la Seconde à la Troiſieme, ſans nulle entremiſe du pauſe, il ſera en mille dangers d’y eſtre bleſſé. Voilà touchant la necessité de l’obſervation. Sachez davantage, que la pratique en ſera du commmencemēt peu aggreable aux yeux des Spećtateurs, pour la tardivité & l’interruption des mouvements de l’apprentif, procedant de ces pauſes ſuſdites. Ce neantmoins quand il en aura prins l’habitude & qu’il en ſaura adjuſter les temps, au lieu de retarder elles avanceront le reſte de la beſoigne, de ſorte qu’elles ne pourront eſtre remarquées; mais pour le commencement il faudra de la patience pour les apprendre. Par adventure auſſi que ceux qui viendront à lire ces eſcrits, conſiderants que telles pauſes ſont du tout contraires à la veille mode de tirer des armes, où l’on ne ſçait que c’eſt de faire pauſes, & moins encores de les obſerver ſi curieuſement, ou de les mettre en la deſcription comme neceſſaires: ſi quelquun en vouluſt tirer occaſion de reprender les inſtrućtions meſmes, je le prie d’en ſurſeoir le jugement juſqu’à tant qu’il en ait examiné l’utilité, & l’aſſurance qu’elles apportent à celuy qui travaille, puis qu’elles l’engardent de prodiguer ſes mouvements & luy monſtent d’en adjuster le vray point des occaſions convenables. (n.b. printing errors in this paragraph were not corrected)
Circle No 5	Cercle N.5.
This is the follow-on from the previous Circle. As Alexander subjugates the opposing sword at the Second Instance to the right hand side, at the instant he overbalances and his right foot falls to the ground, Zachary makes a circular disengagement from underneath his sword, around the guard and up, and steps forward with his right foot to the letter V, together with a thrust to the face with his extended arm. As soon as Alexander senses that the blade is no longer in contact with his, he aims his own sword towards his opponent, setting his foot down at the letter G at the Second Instance, and immediately follows with his left foot in a circular motion, setting it on the Circumference at the letter D. In this way, he turns the left side of his body outwards and the middle of his blade makes contact with his opponent’s at the 3rd or 4th Span. He continues by sliding the point of contact up, extending his arm, and putting his erect body into profile, so that he seizes control of the direct line with his blade, and sets his sword-tip exactly in front of his opponent’s face, where he can now finish the move. This is shown in the figure.	C’eſt icy la pourſuite de la precedente. Alexandre faiſant l’aſſujettiſſement de l’eſpee contraire à la Seconde Inſtance à main droite, à l’inſtant qu’il commence à tresbucher avec le pied droit; Zacharie luy fait une cavation, en deſrobant ſon eſpee de deſſous & alentour de la garde contraire en haut, marchant avec le pied droit en avant à la letter V, & enſemblement luy tire un coup d’eſtocade avec le bras eſtendu vers le viſage. Alexandre, dés qu’il apperçoit par le ſentiment, que la lame inferieure commence à ſe deſtacher, dreſſe au meſme temps la pointe de la ſienne vers le front de l’Adverſaire, en plantant le pied eſlevé à la pretendue Seconde Inſtance lettre G, & pourſuivant circulairement à tout le pied gauche, à mettre ſur la Circonference au point D, au moyen dequoy il ſe deſtourne le coſté gauche du corps en dehors, & accouple le centre de ſa lame à N.3. ou 4. de la contraire, continuant à la graduer en eſtendant le bras & mettant le corps eſtendu en pourfil, de façon qu’il prend & ferme la droite ligne avec ſa lame, & en met la pointe en courtoiſie devant le coſté droit du viſage de l’Adverſaire, ayant pouvoir d’en faire l’execution; comme il eſt repreſenté en la figure.
Circle No 6	Cercle N.6.
After Alexander has set himself at the Second Instance, holding his opponent’s sword in subjugation (the same way as in Circle No 2) he wishes to perform the action in Circle No 3. While he is in the act of stepping with his right foot along the line of the Inside Square, at the instant he begins to overbalance, Zachary makes a circular disengage, moving the tip of his sword from underneath Alexander’s guard and upwards, moves his right foot forward, and aims a thrust inside the arm towards the face. Alexander, as soon as he feels the blades disengage, immediately arranges his in the direct line posture with his arm extended towards the top of his opponent’s head, and as he sees the sword coming towards him, he meets it with the centre of his blade at about the 3rd or 4th Span of his opponent’s, and slides the point of contact up the blade as he sets his foot down at the intended spot at the Third Instance on the letter N. He then brings his left foot up to the letter K, draws his body upright in profile, thus closing down the direct line. Thus he wounds his opponent in the side of the face. As is shown by the figures.	Apres qu’Alexandre a eſté planté à la Seconde Inſtance, y tenant l’eſpee contraire aſſujettie (en conformité du Cercle N.2.) il eſt veu à pourſuivre l’operation du Cercle N.3. Eſtant donc en aćte de marcher avec le pied droit par la trace du Quarré Inſcrit, à l’inſtant qu’il commence à tresbucher avec le corps; Zacharie luy fait une cavation, delivrant la point de ſon eſpee de deſſous la garde contraire vers le haut, en avançant le pied droit, & luy tirant un coup d’eſtocade en dedans du bras devers le viſage. Alexandre, dés qu’il ſent le deſtachement des lames, dreſſe incontinent la ſienne en droite ligne avec le bras eſtendu devers le ſommet de la teſte contraire, & comme il en voit venir l’eſpee à ſoy, il l’accueilt avec le centre de la ſienne à N.3. ou 4. continuant à la graduer, & à planter le pied au lieu pretendu de la Troiſieme Inſtance lettre N, puis à mener conſequemment le pied gauche ſur la lettre K, & à dreſſer le corps en pourfil, fermant par ainſi la droite ligne; dont il bleſſe le Contraire au coſté droit du viſage; comme il eſt monſtré par les figures.
Circle No 7	Cercle N.7.
This action derives from Circle No 2, where Alexander, on the Oblique Diameter, has subjugated his opponent’s sword at the Second Instance to the outside of the arm. He begins to step towards the Third, to execute the actions as in Circle No 3. At this moment, Zachary increases the force on the blade, and, sliding the point of contact up the blade, and tries to force his opponent’s sword to his own outside, back towards the centre of the circle. Alexander feels this as he sets his foot down, as intended, at the letter N at the Third Instance, so he performs a dance quick-step putting his left foot down beside his right foot and raising his right foot in the air and moves it over to the Outside Square between P & T, while, at the same time, he completely releases his opponent’s sword, allowing his own blade to pass underneath his opponent’s as it jumps uncontrollably to the left, the brings his up, over, and down to make a reverse cut to the head as he swings his left foot around and behind him, as the figures demonstrate.	L’operation de ceſtuy-cy provient du Cercle N.2. où Alexandre a tenu l’eſpee contraire aſſujettie à la Seconde Inſtance en dehors du bras par delà le Diametre, & qu’il ait commencé à marcher avec le pied droit devers la Troiſieme, pour accomplir l’execution du Cercle pareillement 3. en Nombre. En ce meſme temps Zacharie augmente le poids, & en graduant ſa lame tranſporte la contraire à main droite en dehors du bras. Sur quoy Alexandre, qui en eſt adverti par le ſentiment, plante au meſme inſtant le pied droit à la pretendue Troiſieme Inſtance lettre N, & pourſuit tout continuellement avec le pied gauche, à planter en forme d’une demie-fleurette tout joignant l’autre; lequel eſlevant derechef, il porte de grand viſteſſe ſur le Quarré Circonſcrit entre les points P&T, & au meſme temps laſchant l’eſpee contraire, qui en vient aucunement à tresbucher par la force du pois, il conduit la ſienne de deſſous vers le haut, & luy en tire un coup de revers (en voltant le pied gauche) au coſté droit de la teſte; ainſi que les figures demonſtrenet.
So, having delivered the blow, it is possible to give a second one, by taking another step across in front of the opponent with the right foot, and repeating the step with the left foot, while using the wrist to bring the sword around in a circular motion overhead and down to cut across the left side of his head. An action which the figure and description will be examined in following Plates.	Or ayant donné le coup, il a moyen de le redoubler encores, en continuant à marcher avec le pied droit par devant le corps de l’Adverſaire, & iterant la volte du pied gauche, durant laquelle il ſe tournera l’eſpee circulairement par deſſus ſa teſte à l’aide du poignet, & en donnera un coup d’eſtramaçon à l’Adverſaire au coſté gauche de la teſte. Operation de laquelle la figure & la deſcription ſeront propoſées aux Tables ſuivantes.
Circle No 8	Cercle N.8.
Here is another action, which also derives from Circles Nos 2 & 3, beginning exactly the same way as before, except that this time Zachary uses a more violent amount of force to resist and push against his opponent’s blade. Thus when Alexander releases his blade, it flies even further over. Alexander works with this larger opening when he steps in, as in the previous Circle, and using his elbow, brings his blade overhead to cut at his opponent’s left ear. This is shown by the figures.	Il s’enſuit encores une autre, qui procede auſſi des meſmes Cercles N.2. & 3. accordant en toutes les particularitez avec la precedente, horsmis que Zacharie fait icy le tranſportement de l’eſpee contraire en dehors du bras avec plus de violence, qu’au Cercle dernier precedent, dont ſa lame eſtant laſchée en fera un plus grand tresbuchement. Alexandre donc travaillant là deſſus, & faiſant l’intrade, comme au Cercle precedent, conduit ſa lame à l’aide du coude par deſſus ſa teſte, pour en mener un coup d’eſtramaçon à l’oreille gauche de l’Adverſaire; comme les figures demonſtrent.
Having made the blow, he can likewise repeat the same cut, as we noted before.	Le coup eſtant achevé, il le pourra ſemblablement redouble en la meſme ſorte, que nous venons de dire en l’annotation precedente.
Circle No 9	Cercle N.9.
And here is another which likewise derives from when Alexander has stepped to the Third Instance to perform a thrust as shown in Circle No 3. Thereupon, Zachary forces Alexander’s sword over and subjugates it on the right hand side above the Perpendicular Diameter, aligning his with moderate force over the Principal Diameter. At the same time, Alexander sets his right foot at the letter N at the Third Instance, following along with his left foot, which, as he turns his left side outwards, he puts on the angle of the Inscribed Square, at the letter O. At the same time, with his arm extended and his sword-tip slightly lowered, he turns the interior branch of his crossguard upwards to protect his face, so that his opponent cannot hit him with a single move into into the direct line posture, but he must move his blade in a circle around the guard. So he would need to take more time if he wanted to hit him. Alexander, in contrast, would find it easier to engage him, by maintaining his sense of contact between the blades and thus carrying the swords over and performing a subjugation to his right hand side.	En voicy derechef un autre, qui procede pareillemēt de ce qu’Alexandreeſt venu à marcher devers la Troiſieme Inſtance pour faire l’execution de l’eſtocade repreſenté au Cercle N.3. Là deſſus Zacharie luy tranſporte & aſſujettit l’eſpee à main droite par deſſus le Diametre perpendiculaire, en mettant la ſienne avec moderation de force par deſſus le Diametre principal. Au meſme temps Alexandre ſe plante le pied droit à la Troiſieme Inſtance lettre N, en faiſant la pourſuite avec le pied gauche, lequel en ſe deſtournant un peu le coſté gauche en dehors, il aſſeoit ſur l’angle du Quarré circonſcrit marqué de la lettre O, en tournant enſemblement, avec le bras eſtendu & la pointe un peu deſcendante, ſa branche interieur cōtrement à la defenſe du viſage; de ſorte que l’Adverſaire ne l’y puiſſe toucher en en ſeul temps en droite ligne, mais qu’il ſoit contraint de faire un circuit entour la garde, à cauſe de la branche; dont il auroit beſoin de plus de temps s’il y vouluſt toucher, & Alexandre au contraire plus de commodité pour l’en engarder, en pourſuivant touſIours le ſentiment & l’aſſemblage des lames & en faiſant derechef le tranſport & l’aſſujetiſſement à ſa main droite.
Please note that Alexander’s arm and sword-tip in reality would finish this action pointing directly out of the picture at the viewer, which is too difficult to show properly. This is why the arm is shown raised a bit up and the tip a bit lower, so the viewer can see what is happening.	Notez d’autant que le bras & la pointe d’Alexandre viennent à reſpondre en ceſte aćtion tout droitement contre les yeux du peintre, qu’il a eſté trop difficile de les repreſenter exaćtement en leur vraye ſituation. C’eſt pourquoi le bras y eſt pourtrait un peu plus eſlevé, & la pointe plus baſſe, pour mettre en veuë au ſpećtateur & au peintre meſme.
Circle No 10	Cercle N.10.
This is the follow-on. Zachary holds his sword over his opponent’s sword with the same degree of force. Alexander increases the force on his, attempting to move them to the outside (as we can see in Circle No 11). At which point Zachary prevents this, by likewise increasing the force of his resistance against it. Alexander, who realizing what is happening, drops the contact, releasing Zarhary’s blade so it flies out of control. He uses this opening to perform a circular disengagement around his opponent’s guard to bring his blade upwards. He takes a short step to the right, turning his right side towards his opponent, and, with his arm out straight, aims his sword tip precisely at his opponent’s face. As is shown by the figures.	C’eſt icy la ſuite de l’operation precedente. Puis que Zacharie tient ſon eſpee deſſus l’eſpee contraire avec telle moderation, qu’il eſt dit; Alexandre augmente le poids de la ſienne, en taſchant de les tranſporter en dehors du bras (cōme on voit au Cercle enſuyvant N.11.) Dequoy Zacharie luy empeſche l’execution, en augmentant pareillement le ſien alencontre, pour luy reſiſter. Alexandre qui en a l’advertiſſement, luy laſche ſa lame, laquelle en vient à treſbucher plus ou moins, en faiſant cependant avec la ſienne un circuit d’embas vers le haut, à l’aide d’un deſtournement du coſté droit du corps à tourner en dehors à pieds fermes, en ſorte qu’il luy preſente la pointe en courtoiſie devant les yeux avec le bras eſtendu; comme il eſt repreſenté aux figures.
Circle No 11	Cercle N.11.
This begins in the preceeding Circle No 9 where we come to be start of the action in the last circle, that is, that Alexander begins to increase the force of his blade against his opponent to force the swords over, which was prevented before. Here his opponent, using only a light force against him, allows the blades to be moved. Alexander then moves his left side forwards, closes his right arm against his side, and continues to move his left foot along the Interior Transverse between the letters S & R. By this move, he forces his opponent’s sword over, which he subjugates to the outside, as the figures show.	Il prend ſon origine au precedent Cercle N.9. eſtant venu au commencement de l’operation du dernier precedent, aſſavoir, qu’Alexandre commence à augmenter le poids de ſa lame inferieure pour tranſporter les eſpees, dont il a eſté empeſché au precedent de faire l’execution; preſentement le Contraire, en uſant d’un poids mediocre alencontre, le luy accorde. Alexandre donc avançant le coſté gauche, s’affermit le bras au coſté droit, cōtinuant à porter le pied gauche en avant ſur la ligne traverſante interieure entre les lettres S & R, accompliſſant par ce moyen le tranſport de l’eſpee contraire, qu’il aſſujettit en dehors du bras, comme les figures monſtrent.
Circle No 12	Cercle N.12.
This depends on the previous Circle, the move continued by Alexandre, entering in with his right foot and at the same time turning his bent arm with the exterior branch of his crossguard turned up, sliding the point of contact along the swords, so that the two guards smash together so hard that his opponent is driven back, allowing him to raise his sword-tip and striking him with his arm bent, as his raised foot comes down along the Outside Square at the letter W. From here he finishes, driving his thrust through the head, as we can see in the figures. Some will observe that Alexander’s foot is shown along the Oblique Diameter. You should know that it is better to set it on the Outside Square, as described.	C’eſt la dependance de la precedente; continuée par Alexandre, en faiſant l’intrade avec le pied droit, & au meſme temps tournant le bras courbé avec la branche exterieure contremont, & faiſant la graduation des eſpees, en ſorte que les deux gardes ſe rencontent ſi rudement, que le bras du Contraire en eſt forcé à ceder, & à laiſſer monter la pointe en haut, en luy donnant par ainſi l’atteinte avec le bras courbe, en plantant le pied eſlevé ſur le Quarré circonſcrit lettre W, dequoy il en fait l’execution, en luy pouſſant l’eſtocade à travers la teſte; comme on le voit aux figures; eſquelles ſi vous trouvez le pied droit d’Alexandre planté ſur le Diametre, ſachez toutesfois qu’il eſt plus convenient de le mettre ſur le Quarré circonſcrit, ſuivant la deſcription.
Circle No 13	Cercle N.13.
This circle also follows on from Circle No 9. Alexander is in the process of forcing his opponent’s to the right hand side to subjugate it, as in Circle No 11, helped by a step forward with his left foot. Zachary increases the force on his blade to resist against his opponent’s sword, which is already raised up while performing the move. We can see the figures as they struggle.	Auſſi l’operation de ce Cercle preſent procede en ſuite de N.9; Alexandre eſtant en aćte de tranſporter la lame contraire à main droite pour l’aſſujettir, comme au Cercle precedente N.11. à l’aide de la demarche du pied gauche: Zacharie augmente fort le poids de ſa lame, pour reſiſter à l’eſpee contraire qui eſt ja montée en haut en faiſant le tranſportement; comme on voit en leurs figures qu’ils s’en debattent.
Circle No 14	Cercle N.14.
Here is the follow-on. Alexander feels the increased force from his opponent’s sword, which resists against being moved. He suddenly disengages so that the sword flies, uncontrolled, over to his left side. At the same time he enters with his left foot along the Diameter to the letter V, following up with his right foot, and grabbing his opponent’s guard with his left hand. He turns his own sword from pointing down to pointing upwards, and presses his right arm against his side as he sets his sword-tip against his opponent’s neck. As he sets his right foot down at the letter I on the Diameter, he leans back, shifting his weight onto it, as we can see in the figure.	C’en eſt icy la pourſuite. Alexandre ſentent l’augmentation de force en l’eſpee cōtraire, qui reſiſte au tranſportement, la quitte en ſorte qu’elle tresbuche à ſon coſté gauche; au meſme temps il entre avec le pied gauche ſur le Diametre lettre V, pourſuivant à l’advenant avec le pied droit, & faiſant enſemblement avec ſa main gauche prinſe de la garde contraire, & tournant ſa propre eſpee d’embas vers le haut, laquelle il affermit à ſon coſté droit, & en met la pointe au col de l’Adverſaire, en mettant le pied droit à terre par delà le Diametre à la lettre I, & faiſant la charge du corps panché alenvers ſur le meſme; comme on le voit repreſenté en la figure.
Circle No 15	Cercle N.15.
Alexander completes the action, pulling the guard and his opponent’s sword to him with his own body leaning backwards and his left foot raised. He sets it down on the Diameter at R, entering in and shifting his weight with his right foot. He wounds his opponent at the same time with a forceful thrust through the head, as we can see in the figures.	Alexandre pourſuit l’operation, en tirant la garde & l’eſpee cōtraire à ſoy avec le corps panché à l’envers, & le pied gauche eſlevé, lequel il va planter à reculons ſur le Diametre au point R, en faiſant l’intrade & la charge du corps avec le pied droit, & bleſſant le Contraire au meſme temps d’un coup d’eſtocade à pouſſer en rigueur à travers la teſte; ainſi qu’on voit aux figures.
History tells of the Roman General Fabius Maximus, who harassed the army of Hannibal and thus saved the Republic. VNVS HOMO NOBIS CUNCTANDO RESTITVIT REM (“One man, by delaying, restored the state to us”). Our students should take heed to likewise learn above all to manage their attack with patience. There is no reason at all to be hasty during the initial approach, because one does not know how one’s adversary will behave, whether one must work quickly or slowly, attacking forward, or defending backwards. Anything else would be temerity made manifest. It is true that those who hold to the common style agree with this, except when it comes to performing the pauses which we require when in the midst of combat, then they strongly object. They claim that victory is lost whenever one holds back, and that each slight pause is a fault, because, they say, one cannot disrupt an enemy, except by constant speed, so that he does not have time to respond, and it would be useless to even think of doing anything differently; that one could neither offend, nor defend, since pauses cannot be but like a burden that slows a packhorse and would leave one unable to meet the short, fast attacks which strike and strike again, and hit before one could stop them. I reply, to those who value nothing other than that one thing, that in our system we have no intention of only taking our time and disregarding speed, but that each one has its use, as much as the other, and that security comes from caution, as much as strikes succeed through quickness. It is not the back-and-forth motion of the arms, nor the clash of swords, nor the impetus of the body, nor the stamping of the feet which produce hits, these are merely movements. Careful preparations are not in fear, but in order to effectively deliver big hits, one needs to make certain of one’s approach, until one has the range and opportunity to hit with one quick motion. This how to offend your adversary, together with your proper defense, instead of just using speed which leaves you completely uncovered because it does not allow you time to assess your opponent’s actions.	L’hiſtoire teſmoigne de Fabius Maximus General de l’Armee Romaine, qu’en trainant l’Armee de Hannibal il a redreſſé la Republique: Vnvs homo nobis cunctando restituit rem. Noſtre Eſcholier ſe doit propoſer ſemblablement d’apprendre ſur tout à meſnager ſes forces. Auſsi n’a il nulle raiſon de ſe haſter durant les premieres approches, par ce qu’il ne ſçait quelle ſituation l’Adverſaire doit prendre, s’il doit travailler viſte ou lentement, en avant, ou en arriere. Ce ſeroit donc une temerité manifeſte. Et de vray ceux qui ſe tiennent à la Pratique vulgaire, confeſſent le meſme. Mais touchant les pauſes que nous requerons au milieu de la bataille, il leur ſemble qu’ils ont grande occaſion d’y contredire. Car ils objećtent, que la vićtoire s’envole à touts les fois qu’on la refuſe, & que touts les clins d’oeil qu’on ſe retarde, ſont autant de fautes; pour ce qu’on ne peut mettre l’Ennemy en desorder, ſinon par la viſteſſe, de façon qu’il ne ſache de quelle part il nous doive attendre: & ſi nous penſons d’y aller autrement, que nous ne ferons rien qu vaille, ny pour offenſer, ny pour defendre, d’autant que la tardiveté ne pourra eſtre baſtante à rencontrer tant de fretillements, qui paſſent, & repaſſent, & arrivent avant qu’on le puiſſe atteindre. Ie reſpons que ce n’eſt pas notſte intention de priſer la ſeule tardiveté des aćtions & en desprinſer la viſteſſe: mais que l’une y doit avoir ſa place, auſsi bien que l’autre, & que les aſſeurances procedent de la tardiveté, comme les executions de la viſteſſe; reprenant ceux qui n’eſtiment rien valable aux prix d’elle ſeule. Ce ne ſont pas les branſlements du bras, ny le cliquement des eſpees, ny les impetuoſitez du corps, ny le battements des pieds, qui donnent les atteintes, ce ſont des ſimples mouvements: les grandes preparations, ne ſont pas à craindre, mais les grands coups, pour leſquels effećtuer il ne faut qu’aſſeurer ſes approches, juſqu’à tant qu’on ait le moyen de prendre une ſeule fois le temps à ſon avantage. Voilà la maniere d’offenſer voſtre Adverſaire, conjoinćte avec voſtre propre defenſe, au lieu de ceſte grande viſteſſe qui en eſt toute deſnuée, par ce qu’elle n’a pas le loiſir d’examiner les aćtions du Contraire.

Book 1 - Tableau / Plate XVI - More on Resistance and Degrees of Force Working to the Right Hand Side

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE SIXTEENTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV SEIZIEME.
When we are surprised by some great danger, it is natural thing to stop short, to consider the best means of protection. Before one has accomplished this, one feels as if one’s hands are tied and feet encased in mud. For I believe there is not a man in the world who can consciously commit so completely to his path that he cannot be instantly distracted from it if one were to suddenly place an obstacle in his way, such as a large rock, or a stick thrown between his legs. Who needs to have explained to them the effect of some disconcerting sight, or the rattling of resolve, no matter how firm at first, when unexpected danger crosses one’s path? The same reasons induce us to approach our work with slow, deliberate care, and it cautions us to work with circumspection in the middle of a fight. Dangers which cross our way come from all over and give us pause. But, as much as such pauses are a natural consequence of caution, it is also necessary to know when to instantly, and without hesitation, take advantage of an opening. Because we are not moving slowly merely to take a break, or rest, but to work better, to gather our strength, and to use it well, to seize the opportunity, and not let it pass. So we shall see how Alexander, in this current Plate XVI, as he does throughout this book, during the time his hand, his feet, or his body are stopped, prepares himself to take action swiftly and with power, just like those who take two or three steps back in order to leap higher and further. So, let us look at these examples.	A toutes les fois qu’on eſt ſurprins d’un grand danger, c’eſt choſe naturelle de s’arreſter tout court, pour conſiderer le moyen de ſa defenſe; & avant que de l’avoir fait, il ſemble qu’on ait les mains comme liées, & les pieds quaſi engourdis. Car je croy, qu’il n’y a homme au monde, qui ſe puiſſe adonner ſi furieuſement à la courſe, qu’il ne la rompe tout à l’inſtant meſme, qu’on luy jettera à l’impourveu une pierre ou un baſton à travers les jambes. Quelle main neceſſera d’eſcrire s’il ſe vient preſenter aux yeux un horrible ſpećtacle, ou qu’elle reſolution ſi ferme, qui ne ſoit incontinent troublée, quand le danger non attendu le traverſe? La meſme raiſon qui nous induit à travailler lentement au commencement des approches, c’eſt celle qui nous advertit pareillement de travailler avec circonſpećtion au milieu du bataille. Tout y eſt plein de dangers, plein de traverſes. Mais autant qu’il eſt naturel de faires ces pauſes, autant eſt il neceſſaire de les ſçavoir abbreger à l’inſtant que l’occaſion ſe preſente de prendre nouvel avantage. Car ce n’eſt pas pour repoſer qu’on ſe retarde; c’eſt pour travailler mieux, pour unir ſes forces, pour les diſpenſer juſtement, & pour prendre l’occaſion, qu’elle ne ſe paſſe. Ainſi en verra on faire à Alexandre en ce preſent Tableau XVI, comme auſsi par tout ce livre: Durant l’arreſt du pied, de la main, ou du corps, il ſe prepare à la viſteſſe de l’aćtion enſuivante, à l’imitation de ceux qui ſe reculent trois ou quatre pas en arriere pour ſauter avec plus de force en avant. Or voyons en les examples.
Circle No 1	Cercle N.1.
Alexander subjugates his opponent’s sword to the outside, moving across to the Oblique Diameter to the right hand side from the First Instance to the Second.	Alexandre aſſujettit l’eſpee contraire en dehors du bras, en allant par delà le Diametre & à main droite de la Premiere Inſtance à la Seconde.
The two parties stand upon the Circle at the First Instance. Alexander will begin to work first, he raises his right foot, keeps his knee straight, using his wrist to raise the tip of his sword, he then brings it into contact to the outside of his arm, setting his 8th Span against his opponent’s 3rd Span, using but a little force. Next, he raises it a little more and, while sliding the point of contact up the blade, he moves his raised right foot just over to the Oblique Diameter following the line of the Inside Square. When his foot is halfway there, before his body begins to overbalance, he pauses briefly, to be sure his adversary is not about to attempt a strike as he moves on. Following on, he takes a slightly backwards step with his right foot, to set it in place on the letter G at the Second Instance, then, with a circular motion, draws his left foot after it. With his 4th Span pressed against his opponent’s 3rd Span, he subjugats the sword as he sets his foot down on the Circumference at D, turning the heel to lie along the Interior Collateral G-F, as we see portrayed in the figure.	Les deux parties s’eſtants placez ſur le Cercle en Premiere Inſtance; Alexandre s’en va preſentement travailler le premier, en eſlevant le pied droit avec le genouil roide, & hauſſant enſemblement la pointe de ſon eſpee à l’aide du poignet, dequoy il en accouple avec peu de poids en dehors du bras le N.3. avec le N.8. du contraire; puis en ſuite il hauſſe encore un peu d’avantage en graduant, & avançant le pied droit eſlevé par delà le Diametre enſuivant la trace du Quarré inſcrit; duquel eſtant venu à my-voye de l’Inſtance, avant qu’il vienne à tres-bucher avec le corps; il en fait une petite pauſe, pour eſtre ſur ſes gardes ſi l’adverſaire vouloit tirer ſur luy durant ce meſme temps: pourſuivant l’aćtion il marche un peu alenvers avec le meſme pied pour le planter ſur l’endroit de la Seconde Inſtance lettre G, en eſlevant & continuant à mener circulairement le pied gauche apres, joignant enſemble ſes N.3. à N.4. de l’eſpee contraire, l’aſſujettiſſant & plantant enſemblement le pied eſlevé à la Circonference lettre D, & tournant la talon du pied droit ſur la collaterale interieure G F; comme en la voit pourtraićt à la figure.
Circle No 2	Cercle N.2.
Zachary holds his blade with dead weight, or with only a slight degree of force. Alexander moves forward with his right foot to the letter Q, and follows up with his left foot, driving a thrust through the head.	Zacharie tenant ſa lame morte, ou en peu de poids, Alexandre s’avance avec le pied droit pour le planter ſur la lettre Q, & pour trainer en ſuite le gauche, luy pouſſant un coup d’eſtocade à travers la teſte.
Here we have one possible follow-on from the preceding. Alexander feels that his his opponent’s subjugated sword presses back with only dead weight, or with but a slight degree of force. He advances his right foot (while disengaging his blade) onto the Oblique Diameter at the letter Q, while at the same time he hits his opponent with a direct thrust to the face, which he reinforces and pushes right through by leaning his body forward, and drawing his left foot behind up to the External Collateral between the points G & M, as we can see in the figure.	Voicy une ſuite de l’operation precedente. Alexandre s’appercevant par le ſentiment, que l’eſpee du contraire aſſujettie devient morte ou en petit Poids, il s’avance avec tout le corps & avec le pied droit, lequel il plante (en deſtachant les lames) par delà le Diametre à lettre Q, donnant par meſme voye une atteinte en droite ligne au viſage du contraire, laquelle il renforce & pouſſe tout outre ne panchant le corps en avant; de ſorte que le pied gauche en eſt trainé derriere juſqu’à la collaterale exterieure entre les deux points G & M; ſelon qu’on voit en la figure.
This same action can also be done when the subjugated sword is pressing back with a Sensitive degree of force, or even a bit more, as long as Alexander does a small push down on it, before his blade leaves the other, so that he lowers it and confuses his opponent’s sense of feeling, while putting himself inside the lines, and consequently performs the same action.	Ceſte meſme operation pourra auſſi eſtre pratiquée, quand l’eſpee aſſujettie tiendra le poids de ſentiment ou un peu plus, à condition qu’Alexandre face un petit pouſſement deſſus avant qu’il l’abandonne, de façon qu’il l’abbaiſſe & en trouble le ſentiment, ſe mettant cependant au dedans de ſes perpendiculaires, & ainſi conſequemment en venir à la meſme execution.
Circle No 3	Cercle N.3.
Here is another follow-on proceeding from Circle No 1. This time Zachary has increased the degree of force of his subjugated blade to Strong, Stronger, or Very-Strong. Which Alexander resists by matching his own force, and at the same time bringing his left foot and side slowly forward, pressing his right arm against his side, and lowering his right hand below his navel, to guard against overbalancing if his adversary suddenly disengages, thus forcing his opponent’s sword a bit lower as he sets his raised left foot along the Diameter at the letter L. He puts his body entirely inside the angle and lines of his opponent, as we can see in the figure.	Voicy encor une autre ſuite de la precedente Cercle N.1. aſſavoire que Zacharie augmente à ceſte heure le ſentiment de ſa lame aſſujettie en Poids fort, plus fort, ou tresfort, à quoy Alexandre luy reſiſte en moderant le ſien à l’advenant, & portant à ce meſme temps le coſté & le pied gauche lentement en avant, s’affermiſſant auſſi le bras droit au coſté, avec la main abbaiſſé au deſſous de nombril, pour s’engarder de tresbucher s’il advenoit que l’Adverſaire fiſt cavation, luy ſujettant ainſi l’eſpee un peu plus bas, & plantant le pied eſlevé par delà le Diametre à lettre L, & ſe mettant tout le corps au dedans de l’angle & des perpendiculaires du Contraire; comme on le voit repreſenté en la figure.
Circle No 4	Cercle N.4.
C’eſt icy une dependance de la derniere precedente. Ainſi qu’Alexandre s’avance le coſté & le pied gauche, pour aſſujettir derechef comme auparavant, l’eſpee contraire; Zacharie luy fait unc cavation pour le bleſſer en dedans au coſté gauche; Alexandre à l’inſtant qu’il s’apperçoit par le ſentiment du deſtachement des eſpees, s’avance le coſté droit avec le meſme bras eſtendu en deſtournant le coſté gauche, & aſſemblant le Centre de ſon eſpee au foible de la Contraire, laquelle il pourſuit à graduer en avançant & plantant le pied gauche eſlevé par delà le Diamettre à la lettre Q, & pourſuivant à bleſſer enſemble le Contraire d’un coup d’eſtocade à travers la teſte, avec le corps panché en avant; comme la figure demonſtre.	This follows directly from the previous, in that as Alexander moves his left foot and side forwards, to again subjugate his opponent’s sword, Zachary makes a circular disengage to the inside to wound his left side. Alexander, at the instant he feels the swords disconnect, twists his right side forward with his right arm extended, which turns his left side away, and brings the centre of his sword against the weak of his opponent’s, after which he proceeds to slide the point of contact up the blade, forcing it away to the side, and then continues to set his raised left foot down along the Oblique Diameter at Q, and proceeds to wound his opponent with a thrust through the head, leaning his body forwards, as demonstrated in the figure.
Circle No 5	Cercle N.5.
N.B. Gerard has made an error. His discription reverses the footwork from what is shown in the drawing. The drawing makes sense, the description does not. I have corrected this in the translation. This is another move which likewise follows from Circle No 3. Alexander has stepped in with his left foot to the letter L and subjugated his opponent’s sword. His opponent lessens the pressure against him to Deadweight or very little feeling. At this, Alexander, leaving his opponent’s sword, extends his own moving his right arm and side forward, in such a way as to wound him with the tip, while stepping forward with his left foot, setting it down along the Diameter at V, drawing his right foot behind, up to the letter I. He leans his body forward, driving his sword wth full force through the head. This is demonstrated by the figures.	C’eſt icy encore une autre, qui depend pareillement de ce Cercle N.3. Car Alexandre ayant failt l’intrade du pied gauche à la lettre L, & aſſujetti l’eſpee contraire, ſa partie en amoindrit le Poids juſqu’à tomber morte ou en peu de Sentiment. Là deſſus Alexandre s’avance avec le pied gauche en quittant l’eſpee contraire, & eſtendant la ſienne enſemble avec le bras & le coſté droit avancé, en ſorte qu’il le bleſſe d’un coup de pointe, en mettant le pied à terre ſur le Diamettre lettre V, trainant le gauche apres à la lettre I, & avec le corps panché en avant, il luy pouſſe l’eſpee à pleine force à travers la teſte; comme les figures demonstrent.
Circle No 6	Cercle N.6.
This action also follows from Circle No 3, differing not at all from the preceeding one, save that where Zachary in the last one weakened the force from his blade to the degree of Slight Sensation, or Deadweight, from which the aforesaid action proceeded, in this present Circle, he does exactly the opposite, increasing to Lively or Strong. Thus Alexander moves forward with his right foot, turning in circular motion to the right hand side, bending his arm while turning the exterior branch of his crossguard upwards, while sliding the point of contact up the blade to the same Span, where he holds it subjugated, until he sets his right foot down along the Perpendicular Diameter on the Outside Square at the letter T, and drawing his left foot along just beyond the letter Q, and giving a hit with the tip of his sword to the face, still with his arm bent, as we see shown in the figure.	L’operation preſente procede auſſi de ce meſme Cercle N.3. ne differant en rien de la precedente, ſinon que Zacharie qui avoit dernierement affoibli ſa lame juſqu’au Poids de ſentiment, ou juſqu’à mort, de quoy s’en eſt enſuivie ladite execution; preſentement il fait tout le Contraire, car il l’augmente juſqu’au Vif ou fort; dont Alexandre s’avance avec le pied droit, allant circulairement à main droite en ſe courbant le bras en portant l’eſpee avec la branche exterieure contremont, enſemble faiſant la graduation de ſa lame par le meſme Nombre, ou it tenoit la contraire aſſujettie, juſqu’à planter le pied droit qui marche par delà le Diametre ſur le Quarré circonſcrit lettre T, & trainant le pied gauche à l’advenant circulairement un peu outre la lettre Q, en luy portant au long de la lame un coup de pointe au viſage avec le bras touſiours courbé; comme on le voit repreſenté à la figure.
Circle No 7	Cercle N.7.
This current action again has its beginning in Circle No 3. While Alexander begins to perform the preceeding Circle, stepping in with his right foot and sliding the point of contact up the blade, Zachary parries by bending his arm, moving it to the outside right hand rear, with his pommel raised up and the sword tip, in contrast, pointing downwards. At the same time, Alexander, in the process of stepping, sets his right foot down short along the Diameter at M, and instantly moves his left side forward followed by his foot, together with a circular motion up, over, and down around his opponents guard and raised elbow, so that he brings his point beneath the raised arm, while at the same time he seizes the wrist with his left hand and pushes it upwards and bad. Setting his left foot down where the Exterior Collatoral crosses the line V – W, he bends his knee and leans onto it, and wounds his enemy by extending his hand from the right side of his body, and pushing the thrust forcefully through his opponent’s body, as we can see shown in the figure.	De ce meſme Cercle N.3. la preſente operation en depend encores pareillement. Durant le temps qu’Alexandre ſe met à pratiquer celle du Cercle precedente, en faiſant l’intrade avec le pied droit, & la graduation de ſa lame; Zacharie pour le parer ſe courbe le bras en dehors & arriere du corps à main droite, avec le pommeau de l’eſpee aſcendant, & la pointe au contraire deſcendante. Au meſme temps Alexandre ſe plante le pied droit, qui eſtoit en chemin, par delà le Diametre à la lettre M, en avançant tout à l’inſtant le coſté gauche & pourſuivant avec le meſme pied, & faiſant enſemblement de ſon eſpee un circuit de haut en bas alentour la gare & le bras contraire, de ſorte qu’il luy en conduit la pointe deſſous le bras hauſſé, luy faiſiſſant auſſi au meſme Inſtant par le bas avec ſa main gauche le poignet de la main, laquelle il pouſſe arriere de ſoy vers le haut, en poſant le pied gauche à terre ſur la derniere interſećtion de la ligne V W, ou il ſe charge le corps deſſus avec le genouil plié, en bleſſant l’Ennemy avec le bras eſtendu au coſté droit de la poitrine, & luy pouſſant l’eſtocade en rigeur à tavers le corps; comme on le voit demonſtré par la figure.
Circle No 8	Cercle N.8.
This one begins the same way as, and is very like, the preceeding action, except that while Alexander enters with his right foot, sliding the point of contact up the sword, as in Circle No 6, Zachary uses a great amount of force to carry the swords over to his right side. At which point Alexander lowers his foot to the letter L, continuing to draw his left foot behind, and performs a circular disengage with his sword, around his opponent’s hand and up, as he presses his right arm against his side, so that his opponent’s unopposed sword overbalances and flies off to his left. Alexander again moves his left side forward, seizes his opponent’s wrist with his left hand, which he then pushes, along with the sword, downwards and away to the left, puts his left foot down where the Interior Collateral crosses the line V – W, bends his knee and leans onto it, and wounds his enemy the same as before, as the figures show.	Celle-cy procede & eſt du tout ſemblable à l’operation precedente, ſinon qu’au temps qu’Alexandre fait l’intrade avec le pied droit, en graduant ſon eſpee, comme au Cercle N.6, Zacharie luy tranſporte l’eſpee à main droite uſant de force; ſur quoy Alexandre abaiſſe le pied droit en terre à la lettre L, continuant à pourſuivre avec le pied gauche, & menant ſon eſpee par cavation contremont, en affermiſſant le bras au coſté droit du corps, dont l’eſpee contraire vient à tresbucher avec le bras, & Alexandre avançant le coſté gauche davantage, luy ſaiſit avec la main gauche le poignet du bras, lequel il pouſſe enſemble avec l’eſpee plus bas, mettant le pied à terre ſur l’interſećtion de la ligne V W, & ſe chargeant le corps pour ſe pancher en avant deſſus le meſme avec le genouil plié, de maniere qu’il le bleſſe de ſa pointe au viſage; en conformité des figures.
Circle No 9	Cercle N.9.
Here is another which originates in Circle No 3, where Alexander has entered with his left foot to the letter L, holding the opposing blade subjugated to the outside of his arm on the right hand side, and is in the act of raising his right foot to perform the action of Circle No 6. Zachary withdraws with a rearward step of his left foot outside the Circle, and thereupon taking another with his right foot, while, at the same time disengaging with his sword underneath his opponent’s blade and rasing his tip so as to aim a thrust at his opponent’s face. Alexander, observing through his sense of feel that his opponent’s blade has lost contact with his own, innstantly extends his arm meeting the weak of his opponent’s blade with the strong of his own. He follows up by sliding the point of contact up the blade while moving his body forward, setting his raised right foot down at the letter Q, putting his weight on it, and wounding his opponent by driving the sword-tip throught the head; as is shown by the figures.	En voicy encor une qui prend pareillement ſon origine du Cercle N.3. ou Alexandre eſt entré avec le pied gauche à la lettre L, tenant la lame contraire aſſujettie en dehors du bras à main droite, & eſtant en aćte d’eſlever le pied droit pour venir à l’operation du Cercle N.6. Zacharie ſe retire faiſant un pas en arriere avec le pied gauche au dehors du Cercle, & y en adjouſtant encor un autre par deſſus avec le pied droit, faiſant enſemblement de ſon eſpee une cavation de deſſous la contraire contremont, en ſorte qu’il luy en tire une eſtocade devers le viſage. Alexandre appercevant par l’obſervation du Sentiment, que l’eſpee contraire commence à ſe deſtacher, il eſtend à l’inſtant le bras de l’eſpee en accueillant de ſon fort le foible du Contraire, pourſuivant à le graduer en avançant le corps avec le pied droit eſlevé pour planter par delà le Diametre à la lettre Q, & en ſe chargeant le corps deſſus le meſme, bleſſer le Contraire d’un coup de pointe à travers la teſte; comme il eſt repreſenté aux figures.
Circle No 10	Cercle N.10.
This one now follows from Circle No 1. We see Alexander has done the subjugation at the Second Instance, at letter G, and has begun to step towards the Third in order to strike as shown in the 3rd circle of the preceeding Plate (XV). At the instant when his right foot is about to overbalance, Zachary prevents the strike by raising his arm and extending his blade upwards. Therefore Alexander likewise extends his upwards, such that the two guards meet, which pushes his opponent’s arm and sword higher, while, at the same time, he changes course with his foot so it comes down on the Diameter at the letter L . He pivots very quickly on this foot, bringing his left foot around and setting it down along the line V-W, shifts his weight onto his left foot so that he enters in between he lines and under the weapons, always keeping his face turned to the right so as to keep his opponent in sight. This is as shown in the figure.	Il s’enſuit maintenant une qui procede en ſuite du Cercle N.1. Car Alexandre ayant fait l’aſſujettiſſement à la Seconde Inſtance lettre G, & commençant à marcher du pied droit devers la Troiſieſme, pour y donner l’atteinte repreſentée au Tableau precedent Cercle N.3. à l’inſtant que le pied droit s’en va tresbucher avec le corps, Zacharie luy pare le coup en hauſſant le bras avec l’eſpee eſtendue pareillement en haut; dont Alexandre eſtend ſemblablement le ſien en haut avec l’eſpee, de ſorte que les deux gardes ſe rencontrent, qui pouſſe le bras avec l’eſpee contraire plus haute, deſtournant cependant le pied qui chemine de ſa courſe pour le planter par delà le Diametre à la lettre L, tournoyant le corps deſſus le meſme, & voltant de grand viſteſſe le pied gauche avec les orteils ſur l’interſeçtion de la ligne V W, ſur lequel il ſe charge le corps en avant, de façon qu’il luy entre dedans les perpendiculaires & deſſous les armes tenant touſiours le viſage tourné à main droite pour regarder ſon homme entre les deux yeux; comme il eſt repreſenté à la figure.
Circle No 11	Cercle N.11.
Alexander continues the motion by keeping his feet in place, left side forwards, and ducking his head beneath his adversary’s arm, keeping his own right arm extended behind him, with his elbow turned down, so that his sword-tip lowers downwards alongside his opponent’s, as portrayed by the figures.	Alexandre en pourſuit la continuation, ſe tenant à pieds fermes le coſté gauche en avant, & panchant pareillement de la teſte deſſous le bras de l’adverſaire, avec le bras droit eſtendu en arriere & le coude renverſé en deſſus, en ſorte que la pointe de ſon eſpee ſe coule vers le bas au long de l’eſpee contraire; ſelon le pourtraićt des figures.
Circle No 12	Cercle N.12.
Here we see the final execution of the movement, having allowed his point to drop along, then below his opponent’s sword and with a twist o his wrist brought it down and over his left arm, which he closes up against his chest, as he turns his left side a bit further forward, moving his left foot to the Diameter at the letter X, shifting his weight onto it, and wounds his adversary in the right side, driving his sword through him, as is shown by the figures.	Il en fait icy l’execution, laiſſant deſcendre ſa pointe au long & deſſous l’eſpee contraire, & la jettant à l’aide du poignet de haut en bas ſur ſon bras gauche, lequel il s’affermit contre la poitrine, en avançant un peu le coſté gauche, pour le replanter ſur le Diametre lettre X, ou il ſe charge le corps en avant, & beſſe l’adverſaire au coſté droit, en luy pouſſant l’eſpee à travers le corps; comme il eſt repreſenté en leurs figures.
Two renowned Sword Masters of this country travelled one day to see Alexander, having leafed through the Plates from this book, determined to demonstrate a counter to the action presented in Circle No 10, declaring that they would absolutely be able to hit him if he were to perform this spin while working against them. Alexander agreed to prove to both of them, one after the other, that however they did their best by whatever means, under whatever conditions they chose, that they, themselves, would be caught and that the action in these 3 Circles could be done many different ways, until they could no longer conceive of any further attacks against it.	Deux des principaux Maiſtres de ce pays, qui furent un jour pour voir Alexandre, ayants feuilletté les Tableaux de ce livre, ſe prindrent fort à contrerooller la repreſentation de ceſte operation preſente du Cercle N.10. ſouſtenants fort & ferme qu’ils toucheroyent infalliblement quand on travailleroit ſur eux en ceſte ſorte, à volter ainſi le pied gauche. Alexandre permit volontiers faire la preuve à touts deux, l’un apres l’autre, & combien qu’ils fiſſent leur extreme devoir & en diverſes manieres pour le toucher, ſi les vint il touſiours à rencontrer ſi avantageuſement, qu’ils en reſterent attrapez eux meſmes, & que les operations de ces 3. Cercles furent à diverſes fois executées en la meſme ſuite. Et quand ils ne ſceurent plus rien faire alencontre.
Alexander offered to both to arrange himself as seen in Circle No 10, without any knowledge of how they would proceed, and he would pause his action to allow them the initiative. To which, they readily agreed. But as he was working from his sense of feel, he was able to respond to his own advantage, in such a way that nothing they tried worked. This took place in the presence of several interested parties aside from myself, who are eyewitnesses willing to testify to this story.	Alexandre leur offrit à touts deux de ſe mettre en la propre ſituation de ce Cercle N.10. à condition de ne ſe prevaloir plus de la meſme continuation qu’il venoit de pratiquer; mais qu’il s’arreſteroit pour les laiſſer travailer les premiers. A quoy ils s’accorerent tres volontiers, & recommencerent à luy donner pluſierus traverſes. Mais comme il travailloit ſur le Sentiment, il les prevint touſiours à la faveur d’iceluy, de maniere que rien ne leur reuſſit. Or ce fut en la preſence de pluſieurs amateurs de l’Exercice, & entre autres de moy, qui en recite & certifie ceſt hiſtoire comme teſmoin oculaire.
Concerning the action in Circle No 11, as this is portrayed and explained, Alexander has moved his sword along and beneath his opponent’s to continue with the action in Circle No 12. Nonetheless, he can perform this action when when his opponent drops his sword down instead, by then moving his sword-tip along and over his opponent’s sword, [i.e. not stepping under] then moving it over his left arm and so arrive again in exactly the same position. In summary, to perform this precisely as described, it is necessary to adjust and execute these movements quickly, as wel as the spin and duck. This is the beginning the difficult techniques for the scholar to lean. But with continuous study and practice, he will have no fear of achieving his goal. Which is why he must bravely give himself over to his studies.	Touchant l’operation du Cercle N.11. comme elle eſt icy pourtraićte & expliquée en la deſcription. Alexandre y à conduit ſon eſpee du long & par le deſſous de la contraire, pour en venir à la continuation & execution du Cercle N.12. Aucunefois il la pourra pratiquer; quand l’eſpee contraire deſcendra vers le bas en conduiſant ſa pointe au long & par le deſſus de la meſme lame contraire; ſur ſon bras gauche, & ainſi conſequemment en venir derechef à la meſme execution. Au reſte pour pratiquer le tout juſtement ſelon la deſcription, ou il eſt neceſſaire d’adjuster & accomplir viſtement les temps des mouvements, comme auſſi la volte & le pliage du corps; ce ſera du commencement choſe difficile à l’Eſcholier; mais par la continuelle eſtude, & par l’Exercice qu’il s’aſſeure hardiment d’y parvenir. Parquoy qu’il s’y adonne tant plus courageuſement.
Circle No 13	Cercle N.13.
Alexander, moving from the Second Instance to the Third, abruptly sweeps his opponent’s sword aside, stepping outside the arm and inside the line, so that it flies over the line between I and H, as is fully described below.	Alexandre cheminant de la Seconde Inſtance à la Troiſieſme, donne à l’eſpee contraire un tour de ſecouſſe, allant dehors le bras en dedans de l’eſpee, de façon qu’elle en ſaute & tresbuche ſur la ligne I H, comme il eſt declaré plus particularement cy deſſous.
This action begins with Circle No 1, where Alexander has subjugated his opponent’s sword. But to perform this more easily he makes this subjgation with his tip raised and the 8th or 9th Span of his blade against the 4th Span of his opponent. He turns the external branch of his crossguard diagonally upwards (trapping his opponent’s blade). He continues to lift his right foot and as he steps, he raises his opponent’s sword up and to his right side, at which point he makes a slight pause, before he allows his body to overbalance and completes the step, entering in with his foot following along the Inside Square to the letter N on the Perpendicular Diameter at the Third Instance. As he brings his left foot along to the letter K on the Outside Square, he uses this motion to increase the force of his shoulder on his extended arm to push his opponent’s sword up, over, and down towards his left side, sliding the point of contact down his blade and up his opponents until they meet about the middle. In this way with the rotation of his arm and the turn of his left foot, he throws his opponent’s sword over so it stops over the line between I and H. This is shown by the figures.	Voicy une operation qui prend ſon commencement du Cercle N.1. ou Alexandre à ſujetté l’eſpee contraire; Mais pour effećtuer la preſente plus commodement, qu’il face l’aſſujettiſſement de l’eſpee contraire avec ſa pointe plus haute, accouplant ſon N.8. ou 9. à N.4. de l’adverſaire; avec ſa branche exterieure tourné diagonalement contremont; continuant à eſlever & avancer le pied droit enſemble auſſi à tranſporter un peu plus haut & à ſon coſté droit l’eſpee contraire, de laquelle il face une petite pauſe, avant qu’il ſe laiſſe tresbucher le corps; puis continue à entrer avec le meſme pied eſlevé par delà le Diametre ſuivant la trace du Quarré Inſcrit à la Troiſieme Inſtance lettre N, pour pourſuivre au meſme temps avec le pied gauche, de ſorte qu’il prenne de là une nouvelle vigueur & qu’il jette à pleine force avec le bras eſtendu par le mouvement de l’eſpaule l’eſpee contraire de haut à bas devers ſon coſté gauche, en deſgraduant la ſienne propre & graduant ladite contraire, juſque bien pres du Centre, de façon qu’en luy donnant ce tour du bras & plantant le pied gauche ſur le Quarré exterieur lettre K, il la jette avec force, en ſe tournant le coſté droit devant, qu’elle vient à ſauter & tresbucher au deſſus de la ligne I H; comme il eſt monſtré par les figures.
Circle No 14	Cercle N.14.
Alexander continues the preceeding action. Keeping hs feet fixed in place, he immediaely turns his right side to his opponent, while raising his blade up from below, keeping his arm straight, presenting himself in profile and in the direct line posture and putting his point precisely in front of his face, before he can make any other move to defend himself. As we see represented by the figures.	Alexandre continuant l’operation precedente, ſe tourne incontinent à pieds fermes le coſté droit du corps vers ſa partie, conduiſant enſemblement ſa lame avec le bras eſtendu d’en bas & haut, la preſentant ave le corps eſtendu & pourfilé en droite ligne en courtoiſie devant le viſage de l’adverſaire, avant qu’il puiſſe faire aucun autre mouvement pour ſe defendre; comme on voit repreſenté aux figures.
There is no question but physical strength is of very great importance , when it comes to fighting. Nature herself imprints this, with I cannot say what degree of terror, such that we are often stunned, not just by the sight of those who are blessed with huge size, but at the mere mention of such. However, we can see that even the strength of lions, bears, and tigers are of no use against man’s agility and cleverness. Where does this come from, if not that great power is always accompanied by some weakness by which one can exploit? The same thing is in our System. If our opponent’s appearance seems to be intimidating, yet they still have their weaknesses, through which we can master and overcome them and against which they will never have the luxury of enough time to work out a counter-move. Having seen the benefits of Alexander’s agility, we should do likewise. We may hold our physical strength in high regard, but we will lose all benefit should we try to resort to that too early. That is why Alexander remains content to contain his adversary with small movements, reserving his strength until the proper time to make use of it presents itself so perfectly that is impossible not to take full advantage of the chance. Which we can manifestly see in all the examples in this current Plate. Il eſt certain que les forces corporelles ſont de tres-grande importance, quand il eſt queſtion de ſe battre. Nature meſme leur a empraint, je ne ſay quelle marque effroyable, par laquelle nous ſommes eſtonnez non ſeulement en regardant entre les yeux ceux qui en ſont douez par deſſus les autres, mais encore aſſez de fois, à les ouir nommer tant ſeulement. Cependant on voit qu’aux Lions, Ours, & Tigres toute leur force ne profite de rien contre la dexterité des hommes. D’ou vient cela? Sinon de ce que la force eſt touſiours accompagnée de quelque foibleſſe, où on l’attrappe. Le meſme en eſt il en noſtre Exercice. Si les mouvements du Contraire ſont terribles en apparance, ils ne laiſſent pas pourtant d’avoir leur foibleſſe, durant laquelle on les peut maiſtriſer & prevenir, qu’ils n’ayent jamais le loiſir de ſe renforcer à leur avantage. Voylà la dexterité de noſtre Alexandre faiſons en de meſme. Eſtimons grandement nos forces corporelles; mais ſachons que nous en perdrons le fruit, ſi nous en voulons avoir l’uſage avant le temps. C’eſt pourquoy Alexandre ſe contente d’entretenir l’Adverſaire avec de petits mouvements, reſervant ſes forces juſqu’à tant que l’occaſion de s’en prevaloir ſe preſente ſi belle, qu’il ſoit impoſsible quelle luy eſchappe: comme on voit manifeſtement en touts les Exemples de ce preſent Tableau.

Book 1 - Tableau / Plate XVII - Responding to Cuts on the Right Hand Side.

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
N.B., The coat of arms at the top belongs to Dedication and Arms of [Simon VII] (1587-1627), Count of Lippe (1613-1627), and his brother [Otto] (1589 – 1657), Count of Lippe-Brake (1621-1657)
EXPLANATION OF THE ACTIONS IN THE SEVENTEENTH PLATE	DECLARATION DES OPERATIONS DV TABLEAV DIX-SEPTIEME
The majority of those who set themselves to learn fancy manipulations, do so with the intention of learning within a month or two (or so they claim) enough that they may defend themselves. As an intent, in truth, this is such a quite laudable goal, that, having reached it, it would almost be a crime to wish to go any further. But in this they demonstrate that they understand little of the use of arms. They trust so much in a good defence, which is but the first step of an apprentice, as if the superiority of this art consisted in nothing more, that they become proudly arrogant, and feel safely able to give affront to everyone around, confident they can win any quarrel by this means alone. Yet, on the contrary, do we not see clearly how, as in war, defense requires simliar skills, and similar spirit, as offense? Perfection consists of neither just the one nor the other. This is the same principle, and thus the same actions, which both Parties employ, however their intentions may differ: whether they seek to conquer, or to simply avoid being conquered. To the degree by which the attack is governed by more force, or more verve, one must present an equally effective defense, in order to suffice. I admit that, it appears reasonable to be merely be content with defense as such, but this is so only if one could be sure of never facing some new attack other than those which were practised; more so, if one could always fight as one wished. But, the converse is obvious: that this is the only way to able to defend against every attack, and that this can be good only if it is perfected. I say furthermore, that one needs as much skill against those who have no knowledge of swordplay as against those who do. Because one wounds not by dexterous swordplay, but by striking, performed either carefully or carelessly, which one must always be able to meet with the same skill, since we often see those who have no art thrusting and cuting, hither and thither, throwing themselves into the mortal danger they are trying to create for others. Thus one must proceed with prudence so as to not receive a counter-strike which would be sure to come from a more experienced opponent. So because this is the principal point in this case, to learn how to meet cuts, we put these examples here, going to the right-hand side, similar to those we have already shown for the left-hand side, in Plate Fourteen.	La plus part de ceux qui s’adonnent à manier les fleurets, le font avec intention d’en apprendre ſeulement en un mois ou deux (comme ils parlent) autant qu’il en faut pour ſe ſavoir defendre. Et de vray pour l’intention, elle eſt ſi louable, que ce ſeroit crime, apres l’avoir obtenue, de vouloir paſſer plus outre. Mais ils demonſtrent par là, qu’ils ne s’entendent gueres au fait des Armes, en ce qu’ils eſtiment la bonne Defenſe, comme un premier trait d’apprentiſſage, comme ſi l’excellence de l’art ne conſiſtoit qu’à faire profeſſion de braver deffier & outrager tout le Monde ſous apparence de vaincre tout parforce. Ne voit on pas au contraire en la guerre qu’il y a pareil artifice, & pareille gloire, à bien defendre comme à bien aſſaillir? la perfeçtion ne conſiſte non plus en l’un qu’en l’autre. Ce ſont touts les meſmes preceptes, les meſmes açtions, dequoy les Parties ſe ſervent, combien que les intentions ſoyent diverſes; les uns pour vaincre, les autres pour n’eſtre vaincus. A meſure que l’aſſaut eſt gouverné avec plus de force, ou d’eſprit, il faut que la defenſe le ſoit auſsi à l’advenant, pour eſtre ſuffiſante. I’advoue bien qu’il y auroit quelque apparance de raiſon de ſe content legerement d’une defenſe telle quelle, ſi on eſtoit aſſeuré de ne rencontrer jamais autre aſſaut que de ſon ſemblable; & encores plus, ſi on le pouvoir avoir à ſa fantasie. Mais le contraire en eſt tout manifeſte; de maniere qu’il faut que la bonne Defenſe ſoit munie contre tout, & qu’elle ne peut eſtre bonne, ſi elle n’eſt du tout parfaite. Ie diray plus qu’elle a autant beſoin de dexterité contre ceux qui n’entendent pas les maniement des armes, que contre les autres. Parce que ce n’eſt pas la dexterité qui bleſſe, mais le coup, ſoit tiré avec prudence ou à l’aventure, il le faut touſiours rencontrer avec le meſme artifice. Et puis on voit ſouvent que ceux qui n’ont pas d’art, tirent d’eſtoc & de taille à tors & à travers, ſe preciptants eux meſmes à corps perdu au danger, ou ils veulent mettre les autres: de façon qu’il y faut proceder ſouvent avec plus de circonſpećtion: pour ne recevoir le contrecoup, que contre les plus experimentez qui ſoyent. Or puis que c’eſt le principal point en ce cas, de ſavoir bien rencontrer les coups de taille, nous en mettrons icy les exemples, qui ſe preſentent à faire en allant à main droite, comme nous en avons fait le ſemblable des autres à main gauche, au precedent Tableau quatorzieme.
Circle No 1	Cercle N.1.
Alexander steps from the First Instance on the Diameter to the Second, subjugating his opponent’s sword to the outside of the arm with a Strong degree of force.	Alexandre marche de la Premiere Inſtance au delà de le Diametre à la Seconde, ſujettant l’eſpee contraire en dehors du bras avec poids de force.
Both parties are established on the Circle, each in his own Quadrangle, holding the sword in the direct line posture, that of Alexander parallel to and beneath his opponent’s. He proceedes with the action of this Circle, moving his right foot from the Diameter along the Inscribed Square, while crossing the blades to the outside, then setting his foot down on the letter G at the Second Instance, to follow along with his left foot to the letter D on the Outside Square, and subjugating at the same time his opponent’s sword with a Strong degree of force, which would be required to give him ample opportunity to practise against in the action of the following Circle.	S’eſtants plantez les deux Parties ſur le Cercle, chaſcun en ſon Quadrangle avec l’eſpee en droite ligne, celle d’Alexandre parallele au deſſous de la contraire; il pourſuit l’operation du Cercle preſent, en avançant le pied droit par delà le Diametre par la trace du Quarré Inſcrit, & accouplant enſemblement ſa lame en dehors du bras à l’eſpee contraire, plantant le pied eſlevé ſur la Seconde Inſtance lettre G, pour pourſuivre avec le pied gauche ſur le Quarré Circonſcrit lettre D, & ſujjeter au meſme temps l’eſpee contraire avec plus de force, que l’ordinaire ne requiert, pour luy donner tant plus d’occaſion de pratiquer alencontre l’operation du Cercle ſuivant.
Circle No 2	Cercle N.2.
While Alexander moves to accompish the said subjugation, Zachary moves himself by stepping with his right foot up to the letter S on the Diameter, delivering a slash (followed by moving his left foot to the letter W) to his opponent’s face.	Cependant qu’Alexandre s’avance pour accomplir le dit aſſujetiſsement; au meſme temps Zacharie ſe transporte avec le pied droit au deça le Diametre ſur la lettre S, vienant un coup d’eſtramaçon (pourſuivant avec le pied gauche ſur le point W) au viſage de ſon Contraire.
While Alexander advances, as described above, to the Second Instance, to subjugate his opponent’s blade with a Strong degree of force, Zachary steps at the same time to the letter S along the Oblique Diameter, while bending his elbow to move his blade around and above his head, in such a way that he finishes with a slash (while moving his left foot along the Circumference to the letter W) to his opponent’s face. As is represented by the figures.	Durant qu’Alexandre s’avance, en la ſuſdite maniere, à la Seconde Inſtance, pour aſſujettir l’eſpee contraire en dehors du bras avec force; Zacharie marche au meſme temps avec le pied droit par la trace du Quarré Inſcrit au deça le Diametre ſur la lettre S, conduiſant ſa lame avec l’aide du coude à la ronde par deſſus ſa teſte, de façon qu’il en tire un coup d’eſtramaçon diagonal (en pourſuivant avec le pied gauche ſur la circonference lettre W) au viſage de l’adverſaire; comme il eſt repreſenté aux figures.
We wished to show this figure so that Zachary’s action can be better examined and understood. To which he has been led by Alexander, who did this expressly by using more force to perform the subjugation of his blade. He did this in the hope that this would cause his Enemy to lose his balance with his sword. In any case, Alexander will parry this same blow in several and diverse ways through the actions in the following Circles, until he has overcome, and performed his counter-strikes.	Nous avons voulu repreſenter ceſte operation en figure afin qu l’aćtion de Zacharie fuſt tant mieux examiné & entendue; à la quelle il a eſté convié par Alexandre, qui la fait tout expreſſement pour attirer l’aſſujettiſſement de ſa lame avec plus de force; luy ayant reuſſi de l’avoir executée ſous eſpoir que l’Ennemi viendroit à tresbucher avec ſa lame. Toutesfois Alexandre luy deſtournera le meſme coup en pluſieurs & diverſes manieres moyennant les operations des Cercles ſuyvants, juſqu’à en avoir le deſſus, & faire des executions au contraire.
Circle No 3	Cercle N.3.
Alexander again steps with his right foot to the Second Instance to perform the subjugation. Zacharay advances likewise against him to execute the same blow one more time. But Alexander meets his blade with his point, crossing over the centre, as his left foot is raised in the air.	Alexandre marchant derechef avec le pied droit devers la Seconde Inſtance pour faire l’aſſujettiſſement; Zacharie s’avance pareillement alencontre pour executer une autrefois le meſme coup, mais Alexandre luy acceuile au meſme temps ſa lame, y accouplant la pointe de la ſienne tout joignant le centre en eſlevant le pied gauche en l’air.
The two parties have set themselves at the First Instance, and Alexander moves forward with his right foot towards the Second. At the instant he begins to fall forward to subjugate his opponent’s sword as in Circle No 1, Zachary sets out again to perform the slash of the preceeding Circle against him, stepping with his right foot to the letter S, together with the circular movement of his sword over his head with a bent elbow. Thus as Alexander preceives by his sense of feel, that his opponent’s sword has detached, he extends his arm so his tip is above his opponent’s head, he sets his right foot down at the letter G, and as he raises his left foot, he makes contact with the 2nd or 3rd Span of his blade against the 10th Span of his opponent’s sword while his opponent’s sword is still raised in the air and before he begins to unwind the blow as it descends. This is shown by the figures.	Les parties ayants eſté plantez en Premiere Inſtance, & Alexandre s’avançant avec le pied droit devers la Seconde, à l’inſtant qu’il commence à tresbucher avec le corps, pour aſſujettir l’eſpee contraire, comme au Cercle N.1. Zacharie ſe met derechef à pratiquer là deſſus l’eſtramaçon du Cercle precedent, en marchant avec le pied droit à la lettre S, & conduiſant enſemblement ſon eſpee à la ronde par deſſus ſa teſte à l’aide du coude. Dont Alexandre dés qu’il apperçoit par le Sentiment, que l’eſpee contraire commence à ſe deſtacher, eſtend la ſienne avec le bras un peu au deſſus du ſommet de la teſte contraire, plantant le pied droit à terre pres la lettre G, & hauſſant le gauche en avant & attouchant au meſme temps du N.2. ou 3. de ſa lame le N.10. de l’eſpee contraire, durant que la pointe en eſt encor eſlevée en haut, & avant qu’elle desbande le coup par le mouvement naturel de la deſcente; ainſi qu’il eſt repreſenté aux figures.
Circle No 4	Cercle N.4.
Zachary takes aim towards Alexander’s face. Who, at the same time slides the point of contact up the blade, entering in with a step with his left foot to the Diameter, dominating him and subjugating his sword.	Zacharie tire vers le viſage d’Alexandre; qui le deſgradue au meſme temps, entrant avec le pied gauche par deça le Diametre, luy domte & aſſujettit l’eſpee.
Continuing from the preceeding, Zachary alows his blow to descend diagonally towards his opponent’s face. At this Alexander turns his arm to the inside, the exterior branch of his crossguard upwards, sliding the point of contact up the blade as his had goes downwards, and down his opponent’s blade, so that he connects his 8th Span against the 4th or 5th Span of his opponent’s blade, which he pushes against as his hand descends back towards his left side, as he leans his body forward. He moves his raised left foot near the Diameter on the intersection of the Interior Transverse between I and N. Thus he dominates and subjugates with his strength, his point upwards, as the figures show.	Continuant la precedēte, Zacharie laſche le coup de ſa lame, pour deſcendre diagonalement vers le visſage de ſa partie; ſur quoy Alexandre ſe tourne le bras en dedans, & la branche exterieure de ſa garde en haut, graduant ſa lame avec la main deſcendante, & deſgraduant la contraire, en ſorte qu’il en aſſemble ſon N.8. au N.4. ou 5. de ladite eſpee contraire, laquelle il pouſſe avec la main deſcendante arriere de ſoy vers le coſté gauche, avec le corps panché en devant, & le pied eſlevé qui s’avance pareillement en deça le Diametre ſur l’interſećtion la traverſante interieure entre les deux lettres I & N, ainſi la domte & aſſujettit avec force & avec ſa pointe montante; comme les figures demonſtrent.
Note that Alexander must make contact with his point against his opponent’s sword with his arm extended, at the instant he finishes he sweep over his head, and while his point is still raised high. As soon as he begins to drop his sword to strike, Alexander must also slide the point of contact at the same time, with his body leaning forwards, and his left foot raised to set it down as directed. Because he will need considerable skill to get the timing of these movements, which are very quick, one must not doubt that a Schollar will find himself confounded at first, trying to get this right. Nonetheless, one can be assured that anyone can achieve the timing through practise, if one applies the diligence that that this technique merits.	Notez qu’Alexandree doit accoupler ſa pointe à l’eſpee contraire avec le bras eſtendu, à l’inſtant qu’elle a fait le tour par deſſus ſa teſte, & durant que la pointe en eſt encor eſlevée en haut; & auſſi toſt qu’ell vient à deſcendre naturellement pour donner le coup, il faut qu’il face auſſi la deſtraduation au meſme temps, avec le corps panché de meſme en avant, & le pied gauche eſlevé, pour planter ſelon que nous venons de ſpecifier. Or puis qu’il eſt icy beſoin de fort grande addreſſe pour compaſſer les temps de ces mouvements, qui ſont ſi viſtes, il ne faut douter que l’Eſcholier ne s’y trouve grandement embrouillé du commencement, pour le pratiquer juſtement: toutesfois je l’aſſeure, qu’il y pourra parvenir par l’uſage, s’il y apporte la diligence que la choſe merite.
Circle No 5	Cercle N.5.
Alexander taking advantage of this, moves his left foot a bit forward, onto which (while raising his other foot) he leans forward, while, at the same time he reaches with his left hand over the two swords to seize his opponent’s guard, which he he draws and pushes away upwards and to his left side, while spinning with his raised right foot. He makes a circular motion and sets his foot down by the Diameter on the Circumference, near the letter N. He then raises his left foot again, and pushes his sword-tip above the line of his opponent’s sword, under the arm, and into his enemy’s right side. As we see in the figure.	Alexandre pourſuivant ſon avantage, avance un peu le pied gauche, ſur lequel (en eſlevant l’autre) il ſe panche en devant, & ſaiſit enſemblement avec ſa main gauche, qu’il porte par deſſus les deux lames, la garde contraire, laquelle il attire & pouſſe au loing vers le haut à ſon coſté gauche, en voltant le pied droit, qui eſt eſlevé, circulairement entour le gauche au deçà le Diametre ſur la Circonference bien pres de la lettre N, en eſlevant derechef le pied gauche, & pouſſant la pointe de ſa lame par deſſus le fil de l’eſpee contraire deſſous le bras au coſté droit de l’Ennemi; comme on le voit en la figure.
Alexander’s follow-on and final execution of this action is to move forward with his raised left foot to the letter Q on the Diameter, shift his weight onto it, and drive the sword right through the body with full force. As this has already been shown in previous other Plates, so it is not necessary to reiterate it here.	La ſuite & l’execution de ceſte operation pour Alexandre, c’eſt qu’il s’avance avec le pied gauche eſlevé à la lettre Q par deça le Diametre, ſur lequel (en pourſuivant la pointe) il ſe charge le corps en avant, & luy pouſſe l’eſpee tout outre le corps avec pleine force. Or de cecy la repreſentation en a eſté faite en d’autes Tableaux precedents; de ſorte qu’il n’a pas eſté beſoin de la reiterer icy.
Circle No 6	Cercle N.6.
Alexander, has subjugated his opponent’s blade and set his feet down at the Second Instance. Zachary again tries the same overhead strike. At the same time that he brings his sword over his head, Alexander moves his right foot to the letter I, setting the point of his sword in front of his opponent’s face.	Alexandre ayant aſſujetti l’eſpee contraire, en mettant les pieds à la Seconde Inſtance; Zacharie luy va tirer encores le meſme coup que deſſus; & au meſme temps qu’il mene l’eſpee par deſſus ſa teſte Alexandre s’avance avec le pied droit ſur la lettre I, luy preſentant la pointe de l’eſpee devant le viſage.
This action comes from Circle No 1, where Alexander has subjugated his opponent’s blade to the outside of his arm at the Second Instance. Thus Zachary moves forward, putting his right foot on the letter S and following with his left. He tries once again to give the same strike, as shown in Circle No 2, and to do this, he raises his sword high above his head at close range that Alexander, by advancing his right foot onto the letter I on the Oblique Diameter, and drawing his left foot behind to the letter G, sets his point exactly in front of his opponent’s face.	L’operation preſente depend du Cercle N.1. où Alexandre a fait l’aſſujettiſſement de l’eſpee contraire en dehors du bras en plantant ſes pieds à la Seconde Inſtance; dont Zacharie s’avançant du pied droit ſur la lettre S, & pourſuivant avec le gauche, taſche à luy donner derechef le meſme coup, qui eſt repreſenté au Cercle N.2. & comme il porte à ceſte fin ſon eſpee en haut par deſſus ſa teſte en ſi eſtroit meſure; au meſme temps Alexandre avançant le pied droit par delà le Diametre ſur la lettre I, pourſuivant avec le pied gauche ſur le point G, luy met la pointe de l’eſpee en courtoiſie devant le viſage.
If Alexander had wished to perform this move with determination, he would have entered in with his right foot to the Centre of the Circle, while his adversary brings his sword over his head, and leaned forward onto that foot, such that his extended arm would have pushed his sword through his opponent’s head almost to the hilt.	Si Alexandre en euſt voulu faire l’execution par rigeur, il euſt peu entrer avec le pied droit ſur le Cenre du Cercle, durant que l’adverſaire mene l’eſpee par deſſus ſa teſte, & pancher du corps en avant ſur le meſme, de maniere qu’il luy auroit paſſé l’eſpee avec le bras eſtendu à travers la teſte, quaſi juſqu’à la garde.
Circle No 7	Cercle N.7.
Zachary intends to perform the same slashing cut while his sword is in the process of dropping downwards. Alexandre moves forward and enters with his right foot on the letter M, continuing his turn by spinning his left foot while giving his own cut to his adversary’s left ear.	Zacharie voulant pratiquer encores le meſme eſtramçon durant que ſon eſpee eſt en aćtion de deſcendre vers le bas, Alexandre s’avance & entre avec le pied droit ſur la lettre M, continuant en ſuite à volter auſsi le gauche, en donnant luy meſme un coup de taille à l’oreille gauche de ſon adverſaire.
Here, Zachary has once again attempted to execute the same slash as in Circle No 2. During the time his sword is above his head, following the natural line of descent to cut diagnally at his opponent’s face, he steps forward with his right foot onto the Oblique Diameter to the letter S. At the same time Alexander avoids him, moving forward and moving away from the letter G, where he was standing and where the blow was aimed, to step in with his right foot on the Perpendicular Diameter at the letter M, followed by spinning his left foot around behind the other, while he has turned his wrist so that his sword passed above his own head, by which means he cuts (as he sets his left foot down on the Circumference at the letter T) to the left side of his opponent’s head, giving him the same cut that he would have recieved.	Voicy que Zacharie à entreprins derechef d’executer le meſme eſtramaçon du Cercle N.2. au temps que ſon eſpee a fait le tour par deſſus ſa teſte, deſcendant naturellement de haut en bas, pour donner le coup diagonal au viſage de l’adverſaire, le pied droit marchant par deçà le Diaetre ſur la lettre S; au meſme temps Alexandre l’eſquive, s’avāçant & divertiſſant le corps de la lettre G, où il eſtoit planté, & ou le coup eſtoit dreſſé, pour marcher en dedans avec le pied droit par delà le Diametre ſur la lettre M, pour pourſuivre & volter le pied gauche derriere l’autre, ayant conduit ce temps pendant ſon eſpee à l’aide du poignet par deſſus ſa teſte, dequoy il tire un coup de taille (en plantant le pied volté ſur la Circonference lettre T) au coſté gauche de la teſte de l’adverſaire, luy donnant par ainſi le meſme coup duquel il avoit penſé faire ſon avantage.
One must take note and be very careful not to move one’s body from the letter G at the Second Instance until the opponent’s sword is already in the act of naturally descending downwards to execute the strike, at such a point where he can neither stop nor redirect it, but must continue to make the cut. For if one moves too soon from the place, while the sword (which is making its circuit overhead) is still raised high, he would have the strength to redirect his blow, moving his sword towards the Third Instance, where one would be stepping, and could yet be wounded.	Faut noter, & obſerver ſerieuſement de ne bouger point avec le corps de la Seconde Inſtance lettre G, que l’eſpee contraire ne ſoit deſia en aćte de deſcendre naturellement vers le bas pour faire l’execution, de façon que l’adverſaire ne la puiſſe plus retenir ne divertir, mais qu’il faille neceſſairement que le coup aille ſon chemin. Car ſi on s’oſte plus toſt de ladite place, durant que l’eſpee (qui à fait le circuit par deſſus la teſte) eſt encores hauſſée, il auroit encores la puiſſance de divertir le coup, en menant ſa lame vers la Troiſieme Inſtance, où l’on ſe ſeroit acheminé, & y pourroit encores bleſſer.
Likewise take note, in every instance which involves cuts, whether a slash, or a reverse, for those who hold the sword according to our manner, that during the time when one moves it up to arc overhead, that one must let the thumb slide from on top of the interior branch of the crossguard to underneath it, so that the exterior branch points vertically down, and the blade is aligned on the edge. Then the cuts, slashes, and reverse cuts, will be very much easier to execute.	Semblablement faut noter, en toutes occurrences où il ſera question de donner coups de taille; ſoyent eſtramaçon, ſoyent revers, pour ceux qui empoigneront l’eſpee à noſtre mode, qu’au temps qu’on l’aura portée en haut, pour tourner par deſſus ſa teſte, qu’il fault laiſſer gliſſer deſſous le poulce qui ſe repoſe deſſus la brāche interieure de la garde, de ſorte que la branche exterieure en viene à ſe dreſſer verticalement, & la lame à en tomber ſur le trenchant. Dont lesdits coups d’eſtramaçons & de revers en ſeront d’autant plus faciles à executer.
Circle No 8	Cercle N.8.
Alexander continues to pass in front of his adversary’s body, repeating again the preceeding strike to the head.	Alexandre pourſuit à paſſer par devant le corps de l’adverſaire, en luy edoublant encor le precedent eſtramaçon ſur la teſte.
Alexander continues from the preceeding, adding another step, quickly entering in moving his right foot backwards and towards his opponent, to continue with his left. As he raises his left foot, he again turns his wrist to bring his sword overhead and as he spins his raised left foot a bit in front of the letter W, he again strikes with a slash to the back of the head. This is demonstrated by the figure. N.B. Not described in the text, but Zachary’s position has also changed.	Alexandre continuant la precedente, y adjouſte encor un pas, entrant viſtement avec le pied droit alenvers & en avant, pour continuer avec le gauche, lequel eſlevant de terre, il mene derechef ſon eſpee à l’aide du poignet par deſſus ſa teſte, & en voltant le pied eſlevé un peu plus avant que la lettre W, il luy tire derechef un coup d’eſtramaçon au derriere de la teſte; comme il eſt demonſtré en la figure.
Circle No 9	Cercle N.9.
Following from Circle No 4, Alexander moves his left foot a little forward, leaving his opponent’s sword as he seizes the hilt, which he pulls towards him, while he steps in with his right foot, and points his sword straight at the chest.	Suite du Cercle N.4. Alexandre avançant un petit le pied gauche, delaiſſe l’eſpee contraire, & luy ſaiſit enſemblement la garde, laquelle il tire à ſoy en entrant du pied droit, & luy preſente l’eſpee droit à la poitrine.
This present circle follows on from the action of Circle No 4, where Alexander dominates and subjugates his adversary’s cut. Just as he follows on in Circle No 5, seizing his opponent’s hilt by reaching over the two blades, here he also follows similarly with this action, where he steps slightly forward with his left foot, leaning onto it while rasising his left hand at the moment he disengages his sword, lifting it up and reaching under it to seize his opponent’s guard, which he then pulls towards him, moving his right side forwards, He closes his sword-arm against his side, and with this, enters in with a step with his right foot to the letter M on the Perpendicular Diameter and setting his point exactly against his adversary’s chest, in conformity with the figures.	Ce Cercle preſent ſuit l’operation du Cercle N.4. où Alexandre dompte & aſſujettit le coup d’eſtramaçon de ſon adverſaire. Et comme il s’en eſt enſuivi au Cercle N.5. la prinſe de la garde contraire en avançant la main par deſſus les deux lames; il s’en enſuit auſſi ſemblablement l’operation que voicy preſentement, où Alexandre avance un peu le pied gauche, ſe panchant deſſus le meſme en hauſſant un bien peu la main gauche, & deſtachant enſemblement les eſpees oſtant la ſienne de deſſus, & faiſant par deſſous prinſe de la garde contraire avec ſa main gauche, laquelle il tire à ſoy, avançant le coſté droit du corps, & y affermiſſant le bras avec l’eſpee, parainſi entrant avec le meſme pied par delà le Diametre ſur la lettre M, il preſente la pointe de ſon Eſpee en courtoiſie contre la poitrine de l’adverſaire, en conformité des figures.
Circle No 10	Cercle N.10.
Zachary again uses the cut from Cercle No 2, where he cut diagonally, this time he strikes horizontally at his opponent’s head. Alexander has therefore turned aside from his progress to perform the blow from Circle No 7. I sees his opponent’s sword cominghorizontally, and is thus constrained to change his blow to catch his opponent’s blade, to subjugate and dominate it.	Zacharie ſe voulant derechef aider de l’eſtramaçon du Cercle N.2. ou il a tiré le coup diagonalement, maintenant il frappe horizontalement vers lat teſte de ſa partie. Alexandre donc ayant deſtourné ſa demarche, pour pratiquer le coup du Cercle N.7. il voit venir l’eſpee contraire horizontalement, & pour cela eſt contraint de divertir ſon coup, en attachant la lame contraire, pour l’aſſujettir, & domter.
Zachary percieved that his diagonally-aimed cut at his opponent, as shown in Circle No 2, was avoided by Alexander by removing his body from the path of the blade, moving from the Second Instance to the Third in such a way as to give him a counter-cut, as in Circle No 7. To avoid this, here we have Zachary tries to make the same blow, but horizontally, by which means (as he is going around in a circular motion) he cannot fail to hit his man, whether he stays at the Second Instance, or removes himself to the Third. Alexander, therefore, having again entered in with his right foot, and raised his sword above his head to execute the cut from Circle No 7, sees that his opponent’s blow, which is moving along a horizontal path, will not let him counter-strike before he is, himself, struck, and diverts his blow, as soon as he as finished the movement above his head, and brings his blade in front of himself, drawn back, connecting with the middle of the two blades, which he then slides the point of contact down, in a circular motion, in such a way as to break and stop the blow. We can see in the portrait of the figures.	D’autant que Zacharie remarque, que ſon coup d’eſtramaçon, tiré diagonalement ſur le contraire comme il eſt repreſenté au Cercle N.2. à eſté eſquivé par Alexandre en oſtant le corps de preſence, & allant de la Seconde Inſtance à la Troiſieme de façon qu’il luy en a donné luy meſme un contrecoup, comme au Cercle N.7. Pour y obvier, preſentement Zacharie entreprend de faire le meſme coup horizontalement, duquel (allant circulairement en rond) il toucheroit ſon homme ſans point de faute, ſoit qu’il demeure à la Seconde Inſtance, ou qu’il ſe retire devers la Troiſieſme. Alexandre donc eſtant derechef entré avec le pied droit, & ayant mené l’eſpee par deſſus ſa teſte en voltant le pied gauche en arriere pour executer le coup du Cercle N.7. voyant que le coup de l’adverſaire, qui prend ſa route horizontale, ne laiſſeroit pas de contrebleſſer, encores qu’il executſt deſſus luy, il divertit le coup, dés qu’il a achevé le mouvement par deſſus ſa teſte, & porte ſa lame en avant avec retenue, l’accouplant tout pres le centre à la contraire, laquel il deſgradue circulairement, de façon qu’il luy en rompt & arreſte le coup; ſuivant le pourtrait des figures.
Circle No 11	Cercle N.11.
Alexandre continues the preceeding by stepping quickly further backwards with his right foot, drawing his left foot circularly around, having meanwhile brought his sword, once again, above his head, and so gives a cut to the left side of the head.	Alexandre pourſuit la precedente, en marchant viſtement plus outre alenvers avec le pied droit, pour volter en ſuite le gauche, ayant conduit ce pendant ſon eſpee derechef par deſſus ſa teſte, de quoy il luy donne un coup d’eſtramaçon au coſté gauche de la teſte.
Continuing the preceding action, Alexander, having slid the point of contact along his opponent’s blade in a circular motion, now uses his wrist to raise his blade above his head, while stepping with his right foot onto the Diameter at the letter S, and drawing his left foot around in a circular motion very close to the angle, hits his opponent with a strike to the left side of his head. As is represented by the figures.	Continuant l’operation precedente, Alexandre venant de deſgraduer circulairement l’eſpee contraire avec la ſienne, il la porte tout d’un trait à l’aide du poignet par deſſus ſa teſte, en marchant egallement avec le pied droit en avant par delà le Diametre ſur la lettre S, & voltant le gauche derriere ſoy au delà le Cercle tout pres de l’angle, frappant le contraire d’un coup de taille au coſté gauche, de la teſte; ſelon qu’il eſt repreſenté par la figure.
Circle No 12	Cercle N.12.
Here we see Alexander performing the action even further out, again, in an instant, taking a backwards step with his right foot outside the Circle, and likewise using hs wrist to move his sword in a circle above his head as he turns his left foot around behind, and again hitting his opponent, on the back of his head, before he has a chance to make the slightest movement. This is portrayed in the figure.	Voicy qu’Alexandre pourſuit l’operation encores plus outre, faiſant derechef tout à l’inſtant un pas du pied droit à reculons dehors le Cercle, & conduiſant pareillement l’eſpee pare deſſus ſa teſte à l’aide du poignet, en voltant le pied gauche, & bleſſant derechef le Contraire d’un coup de taille au derriere de la teſte, avant qu’il ait moyen de faire aucun mouvement; comme il eſt pourtrait en la figure.
Circle No 13	Cercle N.13.
Here is one more following from the last. Zachary’s cut left his blade too far out of line, so he steps and sets the heel of his right foot a little beyond the Diameter near the letter R, and follows by bringing his left foot in a circle to where the Diameter intersects the Line from N to S thus turning his body, with his sword pulled back and tip towards the ground ready to thrust. Alexander seeing this, steps with his right foot off to his side passing beyond the Circle, and continues by moving his left foot in a circle, thus moving out of the way of his opponent’s blade, and meanwhile, once again having his own, with the aid of his wrist, raised overhead to strike a blow for a third time on the left side of his opponent’s head. This is shown by the figures.	En voicy encore une à la ſuite de la derniere precedente. La lame de Zacharie eſtant tresbuchée avec le coup, il marche & porte le talon du pied droit un peu en deçà le Diametre pres la lettre R, en pourſuivant à mener le pied gauche circulairement à reculons au deçà le Diametre ſur l’interſećtion de la ligne N S, ſe tournant ainſi le corps avec l’eſpee raccourcie, & la pointe contre terre devers ſa partie, pour luy donner une eſtocade. Alexandre l’appercevant, marche avec le pied droit à coſté, paſſant en deça le Cercle, continuant à volter le pied gauche en ſuite, ſortant par ainſi de la preſence de l’eſpee contraire, & ayant cependant de nouveau la ſienne à laide du poignet par deſſus ſa teſte, il en tire pour a troiſieſme fois encor un coup de taille au coſté gauche de la teſte de ſon Contraire; ainſi que les figures demonſtrent.
Circle No 14	Cercle N.14.
This Circle is another follow on by Alexander from Circle No 1. Having subjugated his opponent’s sword to the outside, and his opponent resisted with a Strong degree of force, Alexander enters thereon with his left foot to gently move it forward and approach the right hand, which he holds in place with his guard low and point high to the same side, in such a way as to subjugate his opponent’s sword lower down.	Ce Cercle contient une ſuite de l’operation d’Alexandre N.1. ayant aſſujetti l’eſpee du contraire en dehors du bras, & pource que ledit contraire luy reſiſte avec un fort ſentiment, Alexandre entre là deſſus avec le pied gauche pour le porter lentment en avant, & approcher le corps du bras droit, lequel il ſerre avec la garde deſcendante & la pointe montante un peu davantage contre le meſme coſté, de maniere qu’il en aſſujettit l’eſpee contraire plus bas.
This action follows from Circle No 1, where Alexander has subjugated his opponent’s sword to the outside of his arm across the Diameter at the Second Instance. But now his opponent intends to hold fast against him with a powerful force against his blade, so that it would be very difficult to strike him by going to the Third Instance. Being thus forced by the exigencies of his action and the force of resistance of his opponent’s blade, Alexander steps and enters therein, increasing the force of his blade as he moves forward with his left foot, which he gently moves forward and sets it down, with his knee straight, along the Perpendicular Diameter at the letter L. At the same time he moves his body forward and squeezes his right arm against his side with the guard lower and the tip slightly higher, such that he subjugates his opponent’s blade a bit lower. As shown by the figures.	Ceſte operation ſuit le Cercle N.1. où Alexandre a fait l’aſſujettiſſement de l’eſpee contraire en dehors du bras par delà le Diametre à la Seconde Inſtance; or maintenant l’adverſaire veut tenir bon alencontre en uſant de grande force avec la lame, de maniere qu’à grand peine le pourroit il atteindre en allant à la Troiſieme Inſtance; travaillant donc ſelon l’exigence de l’operation & du ſentiment de la lame contraire, Alexandre marche & entre là deſſus en augmentant à l’advenant le ſien avec le pied gauche, lequel in porte lentement en avant & le plante avec le genouil tendu par deçà le Diametre à la lettre L en avançant enſemblement le corps & ſerrant le bras à ſon coſté droit avec la garde deſcendante & la pointe montant un peu davantage, de ſorte qu’il en aſſujettit l’eſpee contraire un peu plus bas; ſelon le pourtrait des figures.
Circle No 15	Cercle N.15.
This is the follow-on from the preceeding action, Zachary’s blade which is subjugated only lifts with a little bit of force, as if with only Slight or Deadweight degree of force. At which Alexander turns on the balls of his feet, so his right side moves forward, disengaging his sword from his opponent’s, which moves only slightly if at all, and sets the rising tip of his sword precisely before his opponent’s face. As is shown in the figure.	Ceſt icy une ſuite de l’operation precedente, la lame de Zacharie qui eſt aſſujettie, un peu de Poids, comme en ſimple Sentiment, ou mort vient a tresbucher. Sur quoy Alexandre ſe tourne à pieds fermes le coſté droit du corps en avant, quittant l’eſpee contraire, qui ne ſe meut point ou bien peu, luy preſentant par couroiſie la point de la ſienne montante tout contre la partie droite du viſage; comme il eſt pourtrait en la figure.
Circle No 16	Cercle N.16.
Here is another follow-on from Circle No 14, in a different way. Alexander having, in the aforesaid Circle, subjugated his opponent’s sword, enters in with his left foot. Presently, Zachary pushes firmly with his blade against that of his opponent with a Strong or Stronger degree of force, such that the actions of Circle No 15 cannot be carried out. Alexander, thus constrained to work against the exigency of this resistance, moves his right side forward, moving his same foot along the Oblique Diameter at the letter Q, at the same time turning his bent arm a little upwards, with the exterior branch of his crossguard likewise turned diagonally upward, at the same time lowering the tip of his sword, he organises the Centre by slideing the point of contact from the Number where he held his opponent subjugated, by drawing his left foot behing him acoss the Diameter with a circular motion onto the line I-N, and thus wounding his opponent (with his body leaning forward) with a thrust the length of his blade into the upper part of his chest, as the figures demonstrate.	Voicy encore une ſuite du Cercle N.14. en un autre ſens. Car Alexandre ayant fait ſur ledit dernier aſſujettiſſement de l’eſpee contraire intrade avec le pied gauche; preſentement Zacharie pouſſe avec ſa lame contre celle de ſa partie, avec Poids Vif, fort, our tresfort, de ſorte que l’operation du Cercle N.15. ne s’en peut enſuivre. Alexandre donc travaillant ſelon l’exigence de ceſdits Poids, avance le coſté droit devers l’eſpee aſſujettie en entrant avec le meſme pied par delà le Diametre ſur la lettre Q, enſemble tourne le bras courbé un peu vers le haut avec la branche exterieure de ſa garde tournée pareillement en haut diagonale, & au meſme temps abaiſſant un peu la pointe de ſa lame, il en aſſemble le Centre en graduant au Nombre où il tenoit la contraire aſſujettie, entrainant circulairement le pied gauche derriere ſoy par delà le Diametre ſur la ligne I N, & bleſſant par ainſi le contraire (avec le corps panché en devant) d’un coup d’eſtocade tiré au long de ſa lame en la partie ſuperieure de la poitrine; comme les figures demonſtrent.
From the same action in Circle No 14, follows another likewise, during the time Alexander steps in with his left foot. If his adversary employs a powerful force to move the blades to his right, then Alexander uses a circular disengage with his blade, allowing his opponent’s to escape off to his left carried away by the force of inertia. At the same time he sets his raised left foot down on the Perpendicular Diameter at M, grasps his opponent’s guard with his left hand, and moves his right foot forward, he hits his point in the chest, which is the same action as in Circle No 9.	De ceſte meſme operation du Cercle N.14. s’en enſuivra une autre pareillement, au temps qu’Alexandre fait l’intrade avec le pied gauche, ſi l’adverſaire luy tranſporte l’eſpee à main droite avec grande force, qu’Alexandre, fera cavation avec ſa lame, en laiſſant eſchapper & tresbucher la contraire par la violence du Poids, poſant enſemblement à terre le pied gauche encor eſlevé par deça le Diametre pres de la lettre M, faiſant prinſe de la garde contraire avec ſa main gauche, & en avançant le pied droit, le touchera de ſa pointe en la poitrine, qui eſt la meſme operation du precedent Cercle N.9.
Circle No 17	Cercle N.17.
Alexander, once again, enters in with the left foot on the subjgated sword. Zachary enters thereon further forward, bringing his sword about his head to draw a cut to the head of his opponent. Alexander, being aware of the close distance, sets his raised foot down and leans on it, while at the same time seizes his opponent’s guard with his left hand by which he stops the blow.	Alexandre faiſant derechef en la meme ſorte l’intrade du pied gauche ſur l’eſpee aſſujettie, Zacharie entre là deſſus plus avant, menant l’eſpee par deſſus ſa teſte, pour tirer un coup de taille à la teſte de ſa partie; Alexandre, ayant eſgard à la meſure ſi eſtroite, plante le pied eſlevé & ſe panche deſſus, & ſaiſit au meſme temps en haut la garde contraire avec ſa main gauche, dequoy il lu rompt le coup.
This current action again derives from Circle No 14. As Alexandre enters in with his left foot keeping his opponent’s sword subjugated, at the same time, Zachary steps forward against Alexander with his right foot, while with his elbow he moves his sword overhead to draw a cut across his opponent’s head as he sets his right foot down on the ground, just a bit beyond the letter L, then following with his left foot to the intersection of the line Q-N. So, as his sword descends to execute the blow, Alexander moves his left side forwards, seizes his opponent’s guard as it comes down and puts his left foot down on the Oblique Diameter, a bit before the letter H. He shortens his arm back, so his sword rests by his side, tip raised. As is shown by the figures.	C’eſt encor du meſme Cercle N.14. que la preſente operation procede. Car ainſi qu’Alexandre fait l’intrade avec le pied gauche ſur l’eſpee contraire aſſujettie; au meſme temps Zacharie marche pareillement alencontre avec le pied droit, conduiſant enſemblement ſon eſpee à l’aide du coude pare deſſus ſa teſte tirant un coup de taille, à la teſte de ſa partie en plantant le pied droit à terre par deça le Diametre un peu plus avant que la lettre L, pour pourſuivre du pied gauche ſur l’interſećtion de la ligne Q N. Or au meſme temps que ſon eſpee vient deſcendre d’enhaut pour executer le coup, Alexandre avance le coſté gauche du corps, en faiſant prinſe avec ſa main gauche de la garde contraire en la hauteur, plantant le pied gauche encor eſlevé ſur le Diametre un peu devant la lettre H, & mettant l’eſpee avec le bras raccourci & la pointe montant au coſté droit de ſon corps; comme il eſt repreſenté en la figure.
Circle No 18	Cercle N.18.
Alexander continues the preceeding action by leaning his body backwards onto his right foot, drawing his left hand, which holds his opponent’s guard, downwards and towards him, keeping his opponent’s sword-tip downwards. At the same time, he closes his right hand against his side, and sets the point against his opponent’s face. As is in the figure.	Alexandre pourſuit l’operation encommencée, à pancher du corps alenvers deſſus le pied droit, en attirant à ſoy vers le bas avec ſa main gauche au meſme coſté la garde de l’eſpee contraire avec la pointe abaiſſée, & enſemblement ſerrant le bras raccouci au coſté droit de ſon corps, en preſentant ſa pointe tout contre le viſage de l’adverſaire; comme il eſt en la figure.
Circle No 19	Cercle N.19.
This is another follow-up to Circle No 17. After Alexander has seized his opponent’s raised guard with his left hand, this time, as he pulls it down towards his left side, he turns his hand to the outside and pulls towards him, taking the sword away from his opponent’s grasp. As he does this, he closes his right hand against his side, leaving his point down, to have his sword ready should he need it. As is shown in the figure.	Voicy une autre pourſuite du Cercle N.17. Suivant lequel Alexandre ayant ſaiſi par deſſous avec ſa main gauche la garde contraire encor eſlevée; maintenant il la tire en bas à ſon coſté gauche, & en tournant ſa main gauche en dehors, & l’attirant à ſoy il emporte l’eſpee contraire, raccouciſſant la ſienne avec la pointe baſſe en la ſerrant contre le coſté droit, pour l’avoir à commandement en cas qu’il vouluſt executer; ainſi qu’il eſt monſtré par la figure.
You must know that, whenever you have siezed your opponent’s guard in the aforesaid manner, that by turning your hand in this way, you can always take his sword from him.	Or ſachez, qu’à toutes les fois que vous aurez faint prinſe de la garde contraire en la maniere dernierement dite, en tournant la main de ceſte façon, vous luy pourrez touſiours oſter l’eſpee.
As a general obeservation of some great consequence, all movements are easily overcome as they first begin. As experience in all things demonstrates, there is nothing strong which was not once weak. Consider, for example, the infancy of trees, of beasts, of men; the foundation of cities, of peoples, and Kingdoms; the general time span of all things which increase by degree, to find at base their point of birth. consider the ease with which these, at that point, could be mastered, taking no great pains. And yet, if one leaves these alone, they shall strangthen over time, some so much that there is no way to rein them back. Take a millstone, grinding at the summit of a mountain, which begins to break away to roll from the top to the bottom. It is possible, at the very first, to hold it with but the force of a hand, oftimes merely a finger is enough. If it begins to lean, one may still hold it back with one’s body. But if it begins to roll, if it has already made a single turn from top to bottom, what strength has any man to stop, slow, or turn it from its course? It is the same with blows or cuts, as in Circle No 3. If you wait, so that the motion has descended, then all that you would try, to bring it under control, is a lost cause. The force will be too great. But if you act at the beginning, it will be easy. That way, there is little more to do than to quickly align your sword-tip, as it should be, so as to have the swords contact at the instant his unwinds. I am not saying you must chase after his sword, but rather to constrain his so that his must strike along the length of your blade; that your action is founded less on strength and more on skill; that you must aim your sword-tip and connect with the middle of his blade. This is the principle and the source of all his strength. For as long as you have reached the centre of his blade, he must contend against the entirety of your blade, not more nor less than the short part of your blade, in the same way as when one draws near a candle when one wishes to remove the light spread about a room, or when the Sun shines its rays through a small aperture and the light expands, it is easier to block the aperture with a hand than to try and stop it with the entire body at a distance when the light has expanded too much. So there is no point in doing otherwise because when one gives a cut the centre of the sword almost remains in the same place, and so is very easy to find and contact, whereas the tip revolves in a large arc, and so swiftly that it would be impossible to attain. From which, we see, again, as before, that the power begins with the beginning of the motion.	C’eſt une obſervation fort generale, & de tresgrande conſequence, que touts mouvements ſont aiſez à ſurmonter en leurs premiers commencements; comme l’experience demonſtre en toutes choſes, qu’il n’y a rien de fort, qui n’ait eſté foible au paravant. Conſiderez en pour example, l’enfance des arbres, des beſtes, & des hommes; la fondation des Villes, des Peuples, & Royaumes; & generalement tous les periodes des choſes, qui augmentent par degrez pour atteindre le comble de leur premiere naiſſance; & combien ſeroit il facile de les y maiſtriſer tout à ſouhait, ſans nulle peine? Et cependent, ſi on le laiſſe, ils ſe renforcent quelques uns ſi avant, qu’il ny reſte pluy moyen de les retenir davantage en bride. Soit une Pierre de Moulin, giſant au ſommet d’une montagne, & qu’elle commence à ſe deſtacher pour rouler de haut en bas; il y a moyen au premier commencement de l’arreſter avec la main ſeule, voire ſouvent avec un doigt ſans plus: ſi elle commence à pancher, encore la peut on retenir avec le corps: mais ſi elle a prinſ ſa courſe, & qu’elle ait deſia donné un tour de haut à bas, qu’elle force d’homme y a il, qui la puiſſe empſcher, moderer, ou divertir, qu’elle n’aille ſon train tout à vau de route? Le meſme en eſt il de ces coups de taille, comme il eſt repreſenté au Cercle N.3. Si vous attendez tant, que le mouvement ſoit venu à deſcendre, tout ce que vous ferez pour l’aſſujettir ſera peine perdue. La force en eſt trop grande. Mais ſi vous prenez le commencement du temps, tout ſera facile. De façon, qu’il n’y a rien à faire, ſinon dreſſer à temps voſtre pointe, comme il faut, pour avoir les lames accouplées tout à l’inſtant qu’il debande la ſienne. Non pas di-je que vous alliez taſter apres, mais qu’il ſoit contraint luy meſme, de frapper au long de la voſtre; & que voſtre aćtion ſoit fondée ſur moins de force, & plus d’adreſſe: Or pour ce faire dreſſez & accouplez voſtre pointe tout joignant le centre de ſa lame; qui eſt le principe & la ſource de toute ſa force. Tellement qu’avoir gagné le Centre, c’eſt luy avoir gagne toute l’eſpee, ne plus ne moins qu’on ſe contente pour le plus court, de tirer la chandelle, quand on veut oſter la lumiere qui reluiſt dedans une chambre, ou quand le Soleil y jette ſes rayons par un petit pertuis, & que la lumiere s’en eſpard ſi largement, qu’il ſeroit plus facile de l’obſcurcir à l’entree du meſme pertuis avec la ſeule main, que de le faire au lieu où la lumiere eſt eſpandu avec le corps tout entier. Auſsi n’y a il point de moyen de faire autrement car pour donner l’eſtramaçon le centre de l’Eſpee demeure quaſi en la meſme place, de façon qu’il eſt beaucoup plus facile à trouver & à prendre, que la pointe, qui fait un grand deſtour & ſi viſte, qu’il ſeroit impoſsible de l’atteindre. Dequoy il appert derechef, comme au paravant, qu’il faut prendre le commencement de la force avec le commencement du temps.

Book 1 - Tableau / Plate XVIII - Strikes to the Arm moving to the Right

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE EIGHTEENTH PLATE	DECLARATION DES OPERATIONS DV TABLEAV DIXHUITIEME
Ordinarily, there is nothing more agreeable than a pleasure garden, which boasts such diversity of grasses, of flowers, and of shrubbery or similar entertainments. For this is something known to all the world, that each man has his own particular delight. So many minds, so many fancies. One finds this pleasing, the other, that. One enjoys the hunt, another touring through various Kingdoms and Provinces. One goes to war, another to his studies. And not only does each experience a different degree of pleasure because their activities are different, but even between those who share similar interests, because men’s imagination always finds a range of differences in the parts and particulars of any subject, and one delights in this aspect, another delights in that. In the end, when he can no longer find anything more in a subject, he drops it. And oftentimes, for the sake of variety, he will change so much he cannot recognize himself, he is drawn to, or takes up things of which he once disapproved, and now disapproves of things to which he was once drawn. It seems that beauty does not last without recreation, and recreation cannot be without change, which the word Recreation implies in its meaning. In the same way, if all of the concepts thus far presented were as roses, yet we should still intersperse here and there some other scented plant, such as lillys, carnations, or violets. So we shall, here in Plate XVIII, with regard to both thrusts and cuts. Such techniques as we have shown and explained previously in two preceeding Plates, XIV & XVII, in several examples, performed by Alexander in the former moving to the left on this side of the Diameter, and in the latter moving, on the contrary, to the right beyond the Diameter, for the most part, he attacked his adversary’s head. Here we embellish on the work, we shall include cuts, which he may make against a straight arm, whether he steps to the left hand side, as shown from Circle No 1, up to Circle No 11, or he moves to the right, as he does from there to the end of the Plate.	Ordinairement il n’y a rien plus aggreable en un Iardin de plaiſance, qu’une diverſité, d’herbes, de fleurs, & de parterres, ou de ſemblables artifices. Car c’eſt choſe cognuë à tout le Monde, que chaſcun homme à ſon plaiſir particulier; autant de teſtes, autant de fantaſies; l’un ſe plait à cecy, l’autre à cela; l’un s’adonne à la chaſſe, l’autre à tracaſſer Royaumes & Provinces; l’un à la guerre, l’autre aux Eſtudes. Et non ſeulement le plaiſir eſt different, ſelon que les choſes ſon differentes, mais auſſi en celles qui ſont d’une meſme nature; car l’eſprit de l’homme y trouve touſiours de ſi grades diſſimilitudes que de toutes les parties & particularitez de chaſcune profeſſion, l’un ſe delećte plus en celle cy, & l’autre en celle là. Finalement quand il ne trouve plus de difference en la choſe meſme, il ſe laſſe; & ſouventesfois, pour avoir le contement de la Varieté, il ſe change & devient diſſemblable à ſoy meſme, approuvant, ou priſant ce qu’il avoit rejetté, ou rejettant derechef ce qu’il avoit approuvé & priſé au paravant. Car il ſemble, que grace ne peut durer, ſans recreation; & recreation ne peut eſtre, s’il n’y a du changement; comme auſſi le mot de Recreation le porte, s’il en faut juger par la proprieté. De maniere que ſi touts nos preceptes, que nous avons baillez juſqu’à preſent, neſtoyent que roſes, ſi ne faudroit il par laiſſer pourtant, de les parſemer çà & là de quelque autre bonne herbe odorante, ou de fleurs de lis, ou d’oeillets, ou de violettes. Or c’eſt ce que nous ferons preſentement en ce Tableau XVIII, au regard des eſtramaçons & autres coups de taille; deſquels nous avons repreſenté & declaré en deux Tables precedentes, XIV & XVII pluſieurs ſortes d’exemples, pratiquez par Alexandre en la premiere d’icelles, en allant à gauche par deça; & en la derniere, en allant au contraire à main droite par delà le Diametre: dont la plus part a eſté à la teſte de l’adverſaire; & maintenant pour embellir l’œuvre, nous mettrons icy les coups, qu’il luy peut tirer ſur le bras droit, ſoit qu’il marche par deçà le Diametre à main gauche, comme il eſt repreſenté depuis le Cercle N.1. juſqu’au Cercle 11. ou qu’il marche à main droite, comme il fait de là en avant juſqu’à la fin du Tableau.
Circle No 1	Cercle N.1.
Both adopt the direct-line posture at the First Instance. Alexander moves to the Second Instance on the Diameter, subjugating his opponent’s sword.	Ayants touts deux eſté plantez en Premiere Inſtance, avec les eſpees en droite ligne, Alexandre marche à la Seconde au deça le Diametre, y aſſujettiſſant l’eſpee contraire.
This takes place after both have set themselves on the Circle, swords in direct-line posture, Alexander’s sword beneath his opponent’s. He follows on by raising his right foot, crossing swords with the weak of his blade against a higher-numbered Span of his opponent, then stepping with his right foot onto the letter G on the Diameter at the Second Instance, then drawing his left foot along to the Oblique Diameter between the two points F & D, at the same time subjugating his opponent’s sword, in accordance with the instructions described in previous Plates.	Apres qu’ils ont touts deux eſté plantez ſur le Cercle, avec les eſpees en droite ligne, celle d’Alexandre parallele au deſſous de la contraire; il pourſuit à travailler en eſlevant le pied droit, & accouplant les lames avec le foible de la ſienne à plus de Nombres de la contraire, en marchant conſequemment avec le pied droit au deçà le Diametre à la Seconde Inſtance lettre G, & le pied gauche pourſuivant pour venir ſur le Diametre oblicq entre les deux points F & D, ſujettant en ſe meſme temps l’eſpee contraire, ſelon les obſervations qui en ont eſté deſcrites en d’autres Tableaux.
Circle No 2	Cercle N.2.
Alexander continuing on from the previous Circle, advances further to the Third Instance on the Diameter, sliding the point of contact up the blades, and bringing his sword-tip to the base of his adversary’s neck.	Alexandre pouſuivant la precedente, s’avance plus outre à la Troiſieſme Inſtance au deça le Diametre, en graduant les lames, & menant la pointe de la ſienne au bas du col de l’adverſaire.
Since Zachary delays his response, Alexander follows the preceeding action by advancing from the Second Instance to the Third, stepping with his right foot to the letter N on the Diameter, sliding the strong of his blade to the lower-numbered Spans of his opponent’s subjugated blade. He follows with his left foot to the letter K on the Circumscribed Square at the same time deliberately sliding the point of contact up his opponent’s blade with his arm extended, and setting his sword-tip slightly lowered against the right side of his opponent’s neck. As we can see in the figure.	Puis que Zacharie demeure; Alexandre pourſuit la precedente operation, s’avançant de la Seconde Inſtance au deçà le Diametre avec le pied droit à la troiſieſme lettre N, coulant auſſi egallement le fort de ſa lame à moins de Nombres de l’eſpee aſſujettie, le pied gauche pourſuivant à venir ſur le Quarré circonſcrit lettre K, en ce meſme temps il gradue avec le bras eſtendu lentement l’eſpee contraire, luy mettant la pointe de la ſienne un peu abaiſſée tout contre le coſté droit du col; ainſi qu’on voit en la figure.
Take note that one must perform this action with arm kept extended, and likewise the body erect and knees straight, lowering the sword-tip a little towards the ennemy. So that if he wished to move the swords over, he would have to apply a high degree of force, at which point Alexander would simply disengage, and allow his opponent’s sword to fly up and off to the side. This will make it easier to deliver strikes and cuts to the arms.	Or notez qu’il faut pratiquer ceſte operation avec retenue du bras eſtendu, pareillement le corps droit & les genouils foides, en abaiſſant un peu la pointe vers l’Ennemy; afin que s’il nous vouloit tranſporter l’eſpee, qu’il ſoit contraint d’y appliquer grande force, dequoy quand Alexandre l’abandonnera, elle s’enſuira tant plus loing en haut & à coſté. Ce qui luy donnera plus de commodité de luy porter les ſuivants coups d’eſtramaçons ſur le bras.
Also note that Alexander, because he has slid the point of contact along the blades using more force than he would ordinarily, must pay close attention to the sense of feel, that he is not hit on his outside line, over his arm.	Mais notez auſſi, pour Alexandre puis qu’il y fait la graduation des lames avec plus de Poids, qu’à l’ordinaire, qu’il prenne bien garde au Sentiment, afin que l’adverſaire ne touche en dehors par deſſus le bras.
Circle No 3	Cercle N.3.
Alexander steps towards the Third Instance with his right foot. At the point where his balance tips, while sliding his point of contact up the blades, Zachary forces them to his inside using a lot of effort. Thus Alexander lets them go free, as he sets his foot down near the letter N, abruptly moving his left foot in a circular motion a good way forward and beyond the Circle, and so strikes with a backwards cut to the outside of Zachary’s arm.	Alexandre marchant vers la Troiſieſme Inſtance avec le pied droit qui luy commence à tresbucher durant la graduation des lames; Zacharie les tranſporte en dedans, faiſant un grand effort avec la ſienne; dont Alexandre la laiſſe enſuir, pour planter le pied droit eſlevé bien pres de la lettre N, en pourſuivant tout ſoudain à porter le pied gauche circulairement un bon pas en avant par deçà le Cercle, ainſi il luy tire un coup de revers au dehors du bras.
This action begins from Circle No 1. While Alexander steps with his right foot from the Second Instance towards the Third, and as he is just falling forward with his body, to try to perform the actions of the previous Circle, at that moment, Zachary forces the swords over with a lot of strength to his left side. Alexander, allows his opponent’s sword to fly freely, which goes way over from the inertia from amount of force, by moving his own away, downwards in a circular motion then up overhead using his wrist, so that as he sets his raised foot down on the letter N, he stikes a reverse blow (helped by the means of drawing his left foot around suddenly in a circle a good ways beyond the edge of the Circle) to the outside of his adversary’s forward arm. As is shown in the figure.	Ceſte operation prend ſon origine au Cercle N.1. Cependant qu’Alexandre marche avec le pied droit de la Seconde Inſtance vers la Troiſieme, & qu’il commence à tresbucher enſemble avec le corps, pour mettre a l’effećt l’operation du Cercle dernier precedent; au meſme temps Zacharie tranſporte les eſpees avec grand Poids à main gauche. Alexandre laiſſant eſchapper la contraire, qui s’enſuit au loing par la violence du Poids, conduit la ſienne circulairement de bas en haut par deſſus ſa teſte à l’aide du poignet, de façon qu’en plantant le pied eſlevé ſur la lettre N, il en tire un coup de revers (aſſiſté de la pourſuite du pied gauche, quil porte tout ſoudain & circulairement un bon pas en avant par deçà le Cercle) au dehors de l’avant bras du Contraire; comme la figure montre.
Again, I would remind you, in every case where one must perform cuts, either straight or reverse blows, to allow the thumb to slide off of the interierior arm of the crosspiece to the underside while the sword passes overhead. Thus the exterior arm will be aimed downwards, and will guide the cutting edge of the sword. In this way, the aforesaid cuts and reverse cuts will be much more effective.	Soyez derechef averti en toutes occurrences, ou il ſe preſentera à tirer coups de taille, tant eſtramaçons que revers, de faire gliſſer le poulce, qui eſt arreſté ſur la branche interieure en deſſous d’icelle, durant que l’eſpee paſſe en haut par deſſus la teſte; dont la branche exerieure en viendra à ſe dreſſer contremont, & le trenchat de l’eſpee en devant. Et par ainſi les dits eſtramaçons & revers vous en reuſſiront tant mieux.
Circle No 4	Cercle N.4.
The two parties having previously repeated the action of the preceeding Circle, up until the point where Alexander has entered in with his left foot, to give the reverse cut to his adversary’s arm, in this current Circle, he enters in further forward by leaping beyond the edge of the Circle with his left foot by the letter W, while using his elbow to allow his sword to pass overhead, and striking with a reverse cut to the outside of the upper arm, as he takes a large step with his right foot so that it comes down behind his opponent’s back. As we can see in the image.	Les parties ayants preallablement reiteré l’operation du Cercle precedent, juſqu’à qu’Alexandre ſoit venu à entrer du pied gauche, en donnant le coup de revers au bras de l’Adverſaire; en ce preſent Cercle il entre plus avant dedans en ſautant en deçà le Cercle du pied gauche vis à vis la lettre W, laiſſant cependant aller l’eſpee à l’aide du coude par deſſus ſa teſte, & voltant le pied droit un pas plus avant derriere le dos de l’Adverſaire, luy donnant un coup de revers au dehors du bras en la partie ſuperierure; ſelon qu’on le voit repreſenté.
Circle No 5	Cercle N.5.
The beginning of this current Circle likewise depends on the same Circle No 2, where Alexander steps with his right foot from the Second Instance to the Third, intending to slide the point of contact up the blades and execute his thrust. But at the very instant that his foot and body begin to fall to the ground, Zachary parries, using a powerful force to carry his opponent’s sword up and over to his left. At this same time, Alexander disengages, moving his in a circular path downwards then up, so that the path ends with a downwards cut to the elbow of his opponent. He sets his right foot on the ground a bit beyond the Letter N, leans his body slightly forward onto his bent knee, and follows by lightly raising his left foot up. Just as the figures show.	L’origine de la preſente depend auſſi pareillemēt de ce meſme Cercle N.2. où Alexandre marche avec le pied droit de la Seconde Inſtance vers la Troiſieſme, pour en graduant les lames y executer ſon eſtocade, mais à l’inſtant que le pied luy commence à tresbucher avec le corps; Zacharie la deſtourne, en uſant de grand Poids pour tranſporter la lame contraire vers ſa main gauche & vers le haut. En ce meſme tēps Alexandre la deſtache, en conduiſant la ſienne circulairement de bas en haut, de façon qu’il luy donne couſe à frapper de taille par deſſous au coude de l’Adverſaire. (en mettant le pied droit à terre un peu par delà la lettre N, ſur lequel il ſe panche le corps un peu en devāt, avec le genouil plié, & pourſuivant à eſlever le pied gauche en l’air avec retenue; en conformité des figures.
So, after Alexander has made his cut (which was done before his opponent’s sword had finished its upward movement) he withdraws right away by moving his left foot backwards, and drawing his right along with it, such that if his adversary wanted to strike at him with his point out to an obtuse angle, he would have plenty of time to meet it. It is true, this last action is not shown, but this description is enough that one may practise it.	Or apres qu’Alexandre a donné ce coup (qui a eſté fait avant que le mouvement de l’eſpee contraire fuyant & montant euſt achevé ſa courſe) il retire tout auſſi toſt le meſme pied gauche en arriere, entrainant auſſi l’autre à l’advenant, de façon que ſi l’adverſaire vouloit tirer ſur luy de pointe hors de l’angle obtus, il euſt loiſir pour le rencontrer. Vray eſt que ceſte derniere aćtion n’eſt pay icy repreſenté en figure; mais c’eſt aſſez pour la pratiquer d’en avoir donné ceſt advertiſſement.
Circle No 6	Cercle N.6.
Alexander again performs the action of Circle No 2 & his opponent again forces the blades over. He sets his right foot at the letter N, follows by stepping forward with his left foot & then again with his right, taking three paces, and making a cut to the right leg.	Alexandre faiſant derechef l’operation du Cercle N.2. & comme ſa partie tranſporte derechef les lames; il plante le pied droit à la lettre N, en pourſuivant à marcher en avant avec le gauche, & puis encor avec le pied droit juſqu’à trois pas, luy tirant un coup de taille à la jambe droite.
This action, here, proceeds again, like the preceeding, up until Zachary parries and moves his opponent’s sword to the inside. Which Alexander uses to turn, having set his right foot down on the Third Instance at the letter N, so his left foot comes all the way around to the letter P on the Outside Square. He continues on in the same way, taking another small step outside the Circle with his right foot, allowing his opponent’s sword to go wide, brings his own down in a circular path, to draw a cut inside his opponent’s arm to the calf of his opponent’s right leg, while passing by again with the right foot and finishing up behind his back, to deliver this cut by drawing his sword towards him as one would a flower from the earth. Such as we can see in the figure.	L’operation que voicy preſentement procede encore, & eſt ſemblable à la precedēte, juſqu’à ce que Zacharie deſtourne & tranſporte l’eſpee contraire en dedans; au moyen dequoy Alexandre plantant au meſme temps le pied droit en terre ſur la Troiſieſme Inſtance lettre N, pourſuit à marcher en avant du pied gauche ſur le Quarré circonſcrit lettre P, continuant en ſemble à adjouſter encor un petit pas au deçà le Cercle avec le pied droit, en eſlargiſſant l’eſpee contraire, & laiſſant deſcendre là ſienne de haut en bas circulairemēt, pour tirer un coup de taille, avec la demarche enſuivante du pied gauche, au dedans du bras au gras de la jambe droite de l’Adverſaire, en paſſant derechef avec le pied droit & luy venant derriere le dos, pour delivrer ſa lame en la retirant comme à fleur de terre; ainſi qu’il ſe voit en la figure.
After he has struck, Alexander can repeat with another slash to the head of his adversary. He does this by raising his left foot, pivoting on his other to turn his left side again towards his man, and at the same time bringing his sword up above his elbow. From here he can hit the right side of the head, as he spins and sets his raised foot down behind his opponent.	Apres le coup fait, Alexandre le peut redoubler d’un autre eſtramaçon, à la teſte de l’adverſaire; moyennant qu’en eſlevant le pied gauche, il ſe volte le corps ſur l’autre pied à main gauche, pour revenir droit contre ſon homme, menant en ce meſme temps ſa lame en haut au deſſus de l’eſpaule; d’où il le peut frapper au coſté droit de la teſte, en voltant & plantant le pied eſlevé en derriere.
Likewise, he can also repeat with a thrust, by bringing his blade directly upwards, then spinning his body around on the right foot, so his left side comes forward towards his opponent, while putting his sword over his left arm, pulling both in close to his body, so as to push it through his adversary’s back by advancing with his left foot.	Semblablement il le peut auſſi redoubler d’un coup d’eſtocade, en menant ſa lame tout droit en haut, & voltant le corps ſur le pied droit à main gauche devers ſa partie, jettant enſemblement l’eſpee ſur le bras gauche, les ſerrant touts deux contre ſa poitrine, & ainſi la pouſſer en avançant le pied gauche à travers le dos de ſon Adverſaire.
We shall suffice to merely describe these last two actions, because they have been shown elsewhere.	Or nous y contentons icy de la ſeule deſcription de ces deux dernieres operations, par ce qu’elles on eſté repreſentées autrepart.
Circle No 7	Cercle N.7.
Alexander again steps with his right towards the Third Instance. Zachary steps back wth his left foot, putting his weight back onto it, raising his sword to feint to the outside of his adversary’s arm. At which Alexander moves forward, and sets his right foot at the letter N, followed by his left foot, and covers his opponent’s sword with his from above, in the form of a cross.	Alexandre allant derechef devers la Troiſieme Inſtance avec le pied droit; Zachary marche en arriere avec le pied gauche, faiſant la charge du corps deſſus enſemble avec une feinte aſcendante en dehors du bras contraire; ſur quoy Alexandre s’avance & plante le pied droit à la lettre N pour pourſuivre avec le pied gauche, & couvrir l’eſpee contraire avec la ſienne par en haut, en forme croiſée.
This has again the same beginning as the previous ones. Alexander steps with his right foot from the Second Instance to the Third to hit again, as in Circle No 2. Zachary steps back with his left foot, and leans backwards so his weight is on it. As he does this, he makes a circular disengage with his blade under his opponent and feints upwards, outside of his opponent’s arm. At the same time, Alexander moves his raised right foot forward to the Third Instance and sets it on the letter N, leaning forward over it, following with his left foot to the letter K, his arm partially extended, so the he crosses over his oppoent’s blade to cover it, as is represented by the shadows on the floor of their Circle, along with the image of the figures.	C’eſt encor icy le meſme commencemēt, que la precedente: Alexandre faiſant la demarche du pied droit de la Seconde Inſtance devers la Troiſieme pour executer comme au Cercle N.2. Zacharie marche à reculons avec le pied gauche, ſur lequel il ſe retire panchant du corps alenvers, & faiſant par cavation une feinte montante en dehors le bras du Contraire; du meſme temps Alexandre avance le pied droit eſlevé ſur la Troiſieme Inſtance lettre N, ſe panchant un peu en avant deſſus le meſme, avec le pied gauche pourſuivant à la lettre K, & le bras moderement eſtendu, de façon qu’avec ſa pointe croiſée il courvre l’eſpee contraire par deſſus; ſelong qu’il eſt repreſenté ſur le plain de leur Cercle; jouxte la demonſtration des figures.
Circle No 8	Cercle N.8.
Zachary continues the preceeding circular disengage and aims, while moving forward and straightening his body, across his opponent’s arm from the outside, a thrust at his opponent’s face. Alexander, at the same time, steps in, crossing the blades to this outside of his right arm, with that hand and his guard low, pressing it against his right side, point up, and moving his right foot forward along the line of the Inside Square to the line crossing between N & S. He follows with his left foot to the letter O, moving his left side forward, and thus subjugating his opponent’s sword.	Zacharie continuant le mouvement de la cavation precedente, en tire (avançant & redreſſant le corps) un coup d’eſtocade en dehors du bras vers le viſage du Contraire; ſur quoy Alexandre s’avance au meſme temps en dedans, accouplant les eſpees en dehors du bras, avec le meſme bras & la garde abaiſſée, l’affermiſſant à ſon coſté droit avec la pointe montante, & avāçant enſemblement le pied droit ſur l’interſećtion du Quarré inſcrit, entre es lettres N & S, pour pourſuivre du pied gauche ſur la lettre O, ſujettant ainſi, en avançant le coſté gauche, l’eſpee du Contraire.
Circle No 9	Cercle N.9.
Here is an other following from Circle No 7, where Zachary withdraws backwards, while at the same time making a circular disengagement and feint with his blade from the outside of the arm. And as his opponent counters this, as described before, he makes another circulear disengage to hit him to the inside. Alexander, then, at the same moment his opponent’s sword passes under his, moves his body forward with his arm and sword extended, into the opening of the angle, stepping with his right foot straight forward to the letter T, and, helped by the step with his left foot to bring it beyond and outside the Circle, he drives his point through his ennemy’s neck. As shown by the figures.	Voicy maintenante une ſuite du Cercle N.7. où Zacharie ſe retire en arriere, faiſant enſemblement cavation & feinte avec la lame en dehors du bras. Et comme le Contraire ſe met à faire alencontre l’oppoſite cy devant ſpecifiée; il fait derechef une autre cavation pour le toucher en dedans. Alexandre donc au meſme temps que l’eſpee contraire paſſe par deſſous la ſienne durant ſa cavation, s’avance du corps avec le bras & l’eſpee eſtendue, dedans l’ouverture de l’angle, cheminant avec le pied droit en avant ſur la lettre T, & pouſſant la pointe de ſon eſpee (aſſiſtée de la purſuite du pied gauche, pour mener en deçà & au dehors du Cercle) à travers le col de l’Ennemi; ſelon demonſtration des figures.
Circle No 10	Cercle N.10.
This Circle follows from Circle No 8, where Alexander subjugated the attempted thrust from the outside of his arm. Now he continues, advancing his right foot to the letter T, and bringing his left foot outside of the Circle, while hitting his adversary with his point through the head, from the outside of his arm. As is represented by the figure.	Ce Cercle preſent eſt la pourſuite de l’operation du Cercle N.8. où Alexandre à aſſujetti l’eſtocade; qui luy avoit eſté tirée en dehors du bras. Maintenant il va pourſuivre, à avancer le pied droit ſur la lettre T, & mener le pied gauche en ſuite à l’advenant au deçà le Cercle, en touchant l’adverſaire d’un coup de pointe au dehors du bras à travers la teſte; comme il eſt repreſenté en la figure.
Concerning the opposition to feints, which can be performed in various ways, to cover more fully the possible actions of Alexander, we shall delve more fully later in this book.	Touchant les oppoſites des feintes, qui ſe peuvent Pratiquer en diverſes manieres, pour traverſer les operations d’Alexandre, il en ſera fait plus ample declaration en la ſuite de ce meſme livre.
We have thus shown in preceeding Circles, and explained in their descriptions, means of striking against an opponent’s arm, along with other actions which might serve one to enable an approach along the circumference up to the Oblique Diameter. We now look into the same from the other side, along with some new actions, notably some slashes, which can be made to the adversary’s arm, by going up to the Oblique Diameter along the right hand side.	Or ayant repreſenté par les precedents Cercles, & expliqué en leurs deſcriptions, les manieres de donner coups de taille ſur le bras de l’adverſaire, avec quelques autres operations, de quoy on ſe peut ſervir, en faiſant ſes approches par la voye de la Circonference au deçà le Diametre; nous pourſuivrons maintenant à en faire le meſme à l’autre coſté du Diametre, aſſavoir quelques nouvelles operations & notament les eſtramaçons, qui ſe pourront preſenter à donner ſur le bras de l’adverſaire, en allant par delà le Diametre à main droite.
Circle No 11	Cercle N.11.
Both parties having begun at the First Instance, Alexander now works against his opponent, stepping to the Second on the Oblique Diameter with his right foot, followed by his left foot and, at that point, subjugating his opponent’s sword.	Ayants touts deux eſté à la Premeiere Inſtance, Alexandre travaille, & marche avec le Pied droit à la Seconde par delà le Diametre, pour pourſuivre du pied gauche, y aſſujettiſſant l’eſpee Contraire.
After both have set themselves on the Circle at the First Instance, each in his Quadrangle, swords held in the Direct Line posture, that of Alexander beneath the other, Alexander begins to work against his opponent, by raising his right foot and, using his wrist, he contacts the 8th Span of his opponent’s blade with the 3rd Span of his own. He then sets his foot down at the Second Instance on the letter G along the Oblique Diameter, while sliding the point of contact up his blade so where his 4th or 5th Span connects with the 8th Span of his opponent. As is shown in the figure.	En ſuite de ce qu’ils on eſté touts deux plantez ſur le Cercle en Premiere Inſtance, chaſcun en ſon Quadrangle, avec les eſpees en droit ligne, celle d’Alexandre parallele au deſſous de l’autre; Alexandre travaille au Cercle preſent, en eſlevant le pied droit de terre, & accouplant par enſemble les eſpees en dehors du bras à l’aide du poignet, ſon N.3. au N.8. de l’adverſaire; marchant conſequemment avec le pied eſlevé en dedans par delà le Diametre ſur la Seconde Inſtance lettre G, en deſgraduant la ſienne, de maniere qu’il en aſſemble le N.4. ou 5. à ſon N.8.; comme il eſt en la figure.
Circle No 12	Cercle N.12.
Alexander continues to step with his right foot further out to the Third Instance, which he follows with his left foot, sliding the point of contact up the blades, and sets his point exactly before his opponent’s face.	Alexandre pourſuit à marcher avec le pied droit plus outre ſur la Troiſieme Inſtance, dont en pourſuivant avec le pied gauche, & graduant les lames, il preſente la pointe de la ſienne par courtoiſie devant le viſage du Contraire.
Here, Zachary waits for the follow-up. Alexander steps from the Second to the Third Instance with his body leaning slightly backwards, following the line of the Inside Square with his right foot to the letter N on the Perpendicular Diameter, drawing his left foot along behind with a circular movement to the letter K. So he slides the point of contact up the blades, his arm straight with a bit more strength, pushing them slightly downwards with an increase of force, and thus sets his sword-tip exactly before his opponent’s face. As demonstrated by the figures.	D’autant que Zacharie attend la pourſuite; Alexandre marche de la Seconde Instance avec le corps un peu panché à l’envers, ſuivant du pied droit la trace du Quarré inſcrit juſqu’à la Troiſieme Inſtance ſur la lettre N par delà le Diametre, menant le pied gauche circulairement apres ſur la lettre K, ainſi il gradue les lames avec le bras eſtendu, & un peu plus de retenue, les pouſſant un peu davantage vers le bas avec quelque force, & luy met ainſi la pointe par couroiſie tout devant le bas du viſage; comme les figures demonstrent.
Circle No 13	Cercle N.13.
Alexander seeks to again perform the preceeding action, as he steps in with his right foot. Zachary moves the blades over to his right with a good amount of force. At the same time, Alexander sets his raised foot down a bit further beside the Third Instance, while slashing at the inside of his opponent’s lower arm as his left foot is in the air.	Alexandre voulant une autrefois pratiquer la precedente operation, durant qu’il entre avec le pied droit; Zacharie tranſporte avec force les lames à main droite; au meſme temps, Alexandre plante le pied eſlevé au peu plus outre à coſté de la Troiſieſme Inſtance, frappant enſemblement d’un coup d’eſtramaçon par le bas (le pied gauche pourſuiant en l’air) au dedans du bras de l’Adverſaire.
This action begins in Circle No 11. Alexander enters in with his right foot to perform the action of Circle No 12. At the instant his raised foot and body begins to overbalance, Zachary defends himself by forcing the swords up and over to his right hand side. Meanwhile, Alexander, after he set his raised foot down just beside the letter N at the Third Instance, and as he raises his left foot to bring it forward, uses his wrist to perform a circular disengage down and up again, allowing his opponent’s blade to fly freely off to his left, and cuts to the inside of his opponent’s forearm, just above the wrist, according to the figures.	Le commencement de ceſte operation depend du Cercle N.11. Alexandre faiſant l’intrade avec le pied droit pour executer celle du N.12. à l’inſtant que ſon pied eſlevé s’en va tresbucher avec le corps, Zacharie pour ſe defendre tranſporte les lames avec force vers le haut à main droite; Ce temps pendant Alexandre, ayant planté le pied eſlevé un peu plus avant à coſté de la Troiſieme Inſtance lettre N, & le pied gauche pourſuivant ſemblablement de monter en haut avec retenue, il deſtache en ce meſme temps l’eſpee contraire, laquelle il laiſſe enfuir, conduit la ſienne à l’aide du poignet circulairement de bas vers le haut, luy donnant courſe, en frappant d’un coup de taille au dedans du bras de l’adverſaire un peu outre le poignet, ſuivant la repreſentation des figures.
One should know that Alexander, having made his cut at such a close distance and while his opponent’s sword was still moving away, will set his left foot down behind him and shift his body back and onto it, while at the same instant drawing his right foot back. So that if his adversary tried to aim a thrust downwards at him, he would have the time to meet it. This is simple enough to describe that it did not need to be shown with an image.	Il faut ſçavoir, qu’Alexandre, donnant le coup en meſure ſi eſtroite, durant que l’eſpee contraire s’enfuyt & avant qu’elle ait achevé ſa courſe, marchera du pied gauche qui eſt eſlevé, en arriere, retirant auſſi le corps à l’advenant deſſus le meſme, & entrainant quand & quand le pied droit en ſuite; afin que ſi l’Adverſaire entreprenoit de tirer ſur luy une eſtocade de haut en bas, qu’il euſt le temps de le rencontrer. Or pour ce faire, il nous ſemble qu’il ſuffira d’en avoir donné ſeulement la deſcription, ſans eſtre beſoin de le repreſenter en figure.
Circle No 14	Cercle N.14.
Once again we repeat all the actions of the preceeding Circle, wherein Alexander strikes his adversary with a slash to the inside of the arm. In this Circle, he turns his wrist so the sword makes a circular path at an obtuse angle above his head, striking downwards with a reverse cut to the outside of his opponent’s arm. Following which he withdraws his raised left foot backwards, outside the Circle and draws his right foot from the Third Instance, to the letter K on the Outside Square, as is shown by the figures.	Reiterant derechef toutes les aćtions du Cercle precedēt, où Alexandre atteint l’adverſaire d’un coup d’eſtramaçon au dedans du bras; en ce Cercle preſent il conduit l’eſpee avec l’aide du poignet circulairement en angle obtus vers ſa main gauche par deſſus ſa teſte, frappant de haut en bas un coup de revers au dehors du bras contraire: en ſuite de quoy il retire le pied gauche qui eſt eſlevé, en arriere par delà le Cercle, entrainant à l’advenant le pied droit de la Troiſieme Inſtance ſur le Quarré circonſcrit lettre K; en conformité des figures.
Circle No 15	Cercle N.15.
While Alexander is moving towards the Third Instance, at the very moment he sets his foot down, his adversary forces the blades over to his right hand side. Alexander immediately moves his left foot up, sets it down and lifts his right foot in a quick-step, to move further forward. He brings his sword in a circle overhead (as he spins his left foot behind) to deliver a slash to the inside of his adversary’s arm.	Cependant qu’Alexandre s’avance devers la Troiſieme Inſtance, l’adverſaire tranſporte les lames à main droite; à ce meſme temps il plante le pied droit ſur la pretendue Troiſieme Inſtance, pour pourſuivre & planter tout à l’inſtant le pied gauche aupres, & eſlever derechef le droit en forme d’une demi fleurette, de maniere qu’il en marche plus avant, menant au meſme temps l’eſpee par deſſus ſa teſte pour tirer un coup d’eſtramaçon (en voltant le pied gauche en derriere) au dedans du bras de l’Adverſaire.
This, here, also follows from Circle No 11. Alexander steps from the Second Instance to the Third, intending to attack as in Circle No 12. At the instant his foot begins to overbalance and come down, Zachary parries by forcing the swords off to his right, but without raising them up as previously, so that Alexander would be unable to perform the same slices and cuts to his arm. Alexander thus continues to step to the Third Instance, then suddenly switches feet, using a dance quick-step to bring his left foot in to replace his right, with which he enters in suddenly, stepping again, over the Oblique Diameter on the line M-S, inside the angle of his opponent’s sword, while in the same motion, he brings his own sword in a circular motion over his head, and, as he spins on his right foot and sends his left foot behind him, aims a slash at the inside of Zachary’s arm. Just as it is shown in the figure.	Celle cy procede encor pareillement du Cercle N.11. Alexandre marchant de la Seconde Inſtance devers la Troiſieſme, pour executer comme au Cercle N.12. à l’inſtant que le pied droit luy commence à tresbucher, Zacharie pare le coup, tranſporte les lames avec force à main droite, toutesfois ſans mener la ſienne vers le haut, comme il à fait en ſes deux operations precedentes, de maniere qu’il n’y auroit pas de moyen de luy donner ces meſmes eſtafilades ſur le bras. Alexandre donc marche avec le pied droit eſlevé ſur la Troiſieme Inſtāce, pourſuivant ſoudaniement a planter le pied gauche tout joignant le precedent, du quel il entre & marche derechef tout ſoudainement, en forme d’une demi-fleurette, au delà le Diametre ſur la ligne M S, dedans l’angle de l’eſpee contraire, ayant cependant conduit la ſienne à l’aide du poignet circulairement par deſſus ſa teſte, il en tire (en voltant le corps & le pied gauche en derriere par delà le Cercle) un eſtramaçon au dedans du bras de l’Adverſaire; ſelon qu’il eſt repreſenté en la figure.
Circle No 16	Cercle N.16.
This is the follow-on from the preceeding Circle. Alexander steps quickly with his right foot and takes a step backwards, to again continue his spin on the left foot while at the same time cutting his opponent on the left side of the head.	C’eſt la pourſuit du precedent; Alexandre des marche tout ſoudainement du pied droit, & en fait un pas en arriere, pour continuer derechef en volte avec le pied gauche, donnant enſemblement un coup de taille à ſon Contraire au coſté gauche de la teſte.
Alexander follows on from the preceeding Circle. He instantly draws his right foot back out of the circle, and continues to circle his left around. As he does this, he again brings his sword in a circle above his head and wounds his adversary with a cut to the left side of the head.	Alexandre purſuit la precedēte, en deſmarchāt derechef à l’inſtāt le pied droit à reculons par delà le Cercle, pour pourſuivre pareillement la volte du pied gauche, ayant à ce meſme temps conduit l’eſpee à l’aide du poignet par deſſus ſa teſte, dont il bleſſe l’averſaire de taille au coſté gauche de la teſte; en conformité des figures.
Alexander ought to have his body a bit further forward when he makes his cut, to the point where he is hidden behind his opponent. We chose not to do that in the figure, so as to be able to show the action.	Or eſt il que le corps d’Alexandre, en donnant le coup, deveroit eſtre un peu plus avancé de maniere qu’il ſeroit tout cache derriere le corps de ſon Contraire; ce que nous n’avons pas voulu ſuivre en la figure, pour vous mettre l’operation en veuë.
Circle No 17	Cercle N.17.
Finally, here we have the follow on from the last Circle. Zachary moves his right foot a bit further along the Diameter to the letter V, followed by a spin moving his left foot to the letter W, and turns his body towards his opponent, bringing his sword in, which he holds against his right side with the tip down, to strike with a thrust. At the same time, Alexander passes with his right foot to the end of the Quadrangle at Z, then spins so he can take a large step with his left foot backwards outside and beyond the Circle. So he withdraws out of reach of his opponent’s sword, while again slashing him to the left side of the head. This is illustrated by the figures.	Finalement voicy la ſuite de la derniere precedente. Zacharie tranſportant le pied droit un peu outre le Diametre lettre V, pour pourſuivre du pied gauche en forme de volte au deça le Diametre à la lettre W, puis ſe tourne le corps devers ſa partie raccourciſſant l’eſpee, qu’il met à ſon coſté droit avec la pointe abaiſſée, pour luy tirer une eſtocade. A ce meſme temps Alexandre paſſe avec le pied droit ſur bout du Quadrangle marqué Z, ſe voltant deſſus le meſme avec le pied gauche un grand pas à reculons au dehors & au deçà le Cercle; ainſi ſe retire de la preſence de l’Eſpee du Contraire, luy donnant derechef en ce meſme temps un autre coup d’eſtramaçon au coſté gauche de la teſte; ſelon le pourtait des figures.
Now, as we have proposed in these examples to draw cuts on the adversary’s arm, where previously in other Plates we always struck to the head, it may be, dear reader, that you find yourself curious to know, if we hold one or the other as better or both equal, and does it matter when to use which or can either be used at any time, much like it is not enough to imagine oneself in a beautiful garden, full of plants, of flowers, and of fruits, but one must know which, if any, one may pick, and if so, are there any conditions as to when? In response to these good and thoughtful considerations, the circumstances where Alexander aims a thrust at Zachary are shown in Circle No 2 to the inside and in Circle No 12 to the outside of the arm. So, when Zachary parries with strength and force, Alexander not only has a choice to strike at either the head or the arm, as he would, but the ability to take advantage of several other actions, such as to further dominate and subjugate the sword, to deliver imbrocata strikes, or other actions which are shown in similar situations in other parts of this book. In truth, it is a veritable garden of delights, enriched with a very great diversity of options, to one who is capable. But the student should always be warned so that he does not, at the very beginning, try all of these at once. Because what are various options to a man of skill, are but a source of confusion to the novice. Now, as to which is most expedient, striking the the arm or the head, I hold the one good, the other better. The usual act is to strike the head, either with the point or the edge. Because for the adversary, when he is struck in the head, and particularly in the face, he will be so stunned in that instant, that he will be unable to do anything until he has had the time to recover his wits and gather his thoughts. In which time, the assailant will well know to profit by taking full advantage of the situation. Of this, you shall be be given better examples, with more complete reasoning, in the discussions on swordplay which follow. And it happens that even Julius Ceasar, as the history books attest, gave the order to his men-at-arms to always strike the face of their ennemies, and that the reason he gave was the same, or something very similar. For the truth is this: a blow to the head is at once offensive and defensive, and for this reason we hold it as the more secure of the two choices.	Maintenant puis que nous avons propoſé ces exemples, de tirer les coups de taille ſur le bras de l’Adverſaire, & au paravant és autres tables on luy en a touſiours donné ſur la teſte; peut eſtre Lećteur, que vous ſerez curieux de ſçavoir, ſi nous eſtimons l’un & l’autre egalemēt, & ſi les occaſions ſont ſemblables ou differentes; d’autant que ce n’eſt pas aſſez de s’imaginer d’eſtre en un beau jardin, où il y croiſt tout ſorte d’herbes, de fleurs, & de fruits; mais qu’il faut auſſi ſavoir, s’il eſt permis d’en cueillir, & à quelle condition. Pour reſponce à ceſte conſideration, qui eſt belle & utile, les occaſions vous ſont repreſentés au Cercle N.2. en dedans & N.12. en dehors du bras; contenant l’eſtocade qu’Alexandre tire à la Troiſieme Inſtance au long des eſpees devers la teſte de Zacharie. Et quand Zacharie la pare avec bon Poids & avec quelque force, Alexandre n’aura par ſeulement le choix, de luy tirer le coup d’eſtramaçon ſur la teſte, ou ſur le bras ſelon qu’il voudra, mais encore d’avantage de ſe prevaloir de pluſieurs autres aćtions, comme de luy redompter & aſſujettir derechef l’eſpee, ou de donner Imbrocades, ou faire autres operations, qui ſont repreſentées ſur les meſmes occaſions en autres endroits de ce Livre. De façon que c’eſt la verité un jardin de plaiſance, enrichi d’une treſgrande diverſité d’operations pour celuy qui en eſt capable. Mais que le Diſciple ſoit touſiours adverti qu’il ne ſe hazarde pas de commencement, à vouloir faire tout enſemble. Car ce qui eſt Varieté pour l’homme adroit, ce ſeroit confuſion pour luy. Au reſte, s’il faut parler de ce qui eſt plus expedient, de frapper à la teſte, ou au bras, je tiens, que l’un eſt bon, l’autre encor meilleur, & que c’eſt ordinairement le plus ſeur de frapper à la teſte, ſoit de pointe ſoit de taille. Pour ce que l’adverſaire, quand il eſt touché à la teſte, & notamment au viſage, il en eſt tellement eſtourdi au meſme inſtant, qu’il ne ſauroit quaſi rien faire, juſqu’à tant qu’il ait eu loiſir de ſe raviſer & de reprendre ſes cogitations. Dequoy l’aſſaillant ſaura bien faire ſon profit, & pourſuivre tant mieux ſon avantage. Or de cecy vous ſeront donnez de plus nobles examples, & de plus amples raiſons, en ce qui ſera diſcouru cy apres ſur les eſees libres. Et paradventure que Iules Ceſar, duquel les hiſtoires deſmoignent, qu’il commandoit à ſes gens darmes de tirer touſiours à la face des Ennemis, y avoit auſſi remarqué telle ou ſemblable cauſe. Quoy qu’il en ſoit la verité eſt telle; le coup qui eſt donné à la teſte, fait offenſe & defenſe tout enſemble; & pour tant nous le tenons pour le plus ſeur.

Book 1 - Tableau / Plate XIX - Working to the Right Hand Side at a Disadvantage.

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE NINETEENTH PLATE	DECLARATION DES OPERATIONS DV TABLEAV DIXNEVFIEME
Of all the preceeding Plates, there is not one which demonstrates more clearly the superiority of this True Method, than this, which here follows. Because Alexander has before now always worked with the advantage of having subjugated his opponent’s sword, now it is to the contrary. He has always tried to adopt a superior position, and this time he will adopt an inferior position. Just as the skill of a mariner is most evidently manifest in a storm, so ours shall be more apparent when most disadvantaged. Not only is it no small thing to work well against any sword in an engagement (for there are an infinity of possible moves), but the advantage is so great and so obvious, that the enemy will be on his guard by any means possible to keep it from you. Once in contact, he is no longer free to play with his sword, unless he frees it, as before, by means of a circular disengage, which is a very bad play. Now it is your turn, to put yourself in his place, going from the First Instance to the Second, in such a way that you will give him every advantage he could wish for. This we shall refer to henceforth as obliging him. In that you oblige him to work first, and with without much apparent risk, as you present to him a beautiful opportunity. In any case, if he does not wish to avail himself of the opening, we do not want you to again withdraw in order to break the distance, which is the usual way of those who work without a good foundation, in the hope that the ennemy will give them the advantage by making a mistake, so when he does nothing, they find themselves constrained to quit their plans, to begin anew. These are useless provocations, which merely confuse the swordsman himself instead of his enemy. We shall leave these withdrawings to those who must admit to having started badly. One who has apprehended the proper path needs not withdraw to find another way. Thus Alexander, even though he began his attack intending a different plan, has nevertheless not left the proper path, and he will still reach his intended end. This shall become clear in the examples.	De toutes les Tables precedentes il n’y a pas une, qui demonſtre plus clairement l’excellence de la vraye Pratique, que celle qui s’eſuit maintenant; puis qu’Alexandre a travaillé touſiours par cy devant avec l’avantage de tenir l’eſpee de l’adverſaire aſſujettie, & maintenant c’eſt tout le contraire, il a touſiours taſché de prendre la ſuperiorité, & a ceſt’heure il ſe va faire inferieur luy meſme. Or ainſi que la ſuffiſance du marinier s’eſpreuve, & ſe cognoit principalement en la tempeſte, ainſi la noſtre ſe fera voir plus illuſtre, à meſure qu’elle ſemblera comme eſtre plus abbatue. Non pas que ce ſoit peu de choſe de bien travailler ſur l’eſpee engagée (car il ſe faut aſſeurer contre une infinité de changements) mais que l’advantage en eſt ſi grand & ſi manifeſte, que l’Ennemy ſe gardera par touts moyens poſſibles de le vous premettre. Car s’il l’accorde, il fait qu’il ne peut plus travailler librement de ſon eſpee, ſinon qu’il la delivre auparavant par le moyen de la cavation, qui eſt un fort mauvais parti. Maintenant c’eſt vous meſmes, qui allez vous mettre en ſa place, en allant de la Premiere Inſtance à la Seconde; de ſorte que vous luy donner quaſi tout l’avantage, qu’il demande. Et c’eſt ce que nous appellerons doreſenavant obliger; d’autant que vous l’obligez à travailler le premier & avec peu de courage, par l’occaſion, que vous luy en preſentez ſi belle. Et toutesfois s’il ne s’en vouloit point ſervir, ce n’eſt pas noſtre intention, qu’il vous faille retirer derechef en arriere pour rompre la meſure; comme c’eſt l’ordinaire de ceux qui travaillent ſans fondement, ſous eſperence que l’Ennemy fera quelque faute à leur avantage; & quand il ne fait rien, ils ſont contraints eux meſmes de quitter l’entrprinſe, pour en faire une autre nouvelle. Ce ſont des provocations inutiles, qui confondent l’autheur meſme au lieu de confondre l’Ennemy. Laiſſons faire ces retirades à ceux qui confeſſent avoir mal commencé: Car celuy qui à prins le droit chemin n’a que faire de reculer en arriere, pour en cercher un autre. Ainſi Alexandre quoy qu’il ait commencé à travailler un peu autrement, que de couſtume; il n’a pas pourtant quitté le droit chemin; de façon qu’il en ſçaura bien venir à bout; comme il paroiſtra clairement par les exemples.
Circle No 1	Cercle N.1.
The two Parties stand in the Circle at the First Instance, each in his own Quadrangle, swords held in the straight-line posture, Zachary’s sword beneath his opponent’s.	Les parties plantez ſur le Cercle en Premiere Inſtance, chaſcun en ſon Quadrangle, avec les eſpees en droite ligne, celle de Zacharie parallele au deſſous de la Contraire.
On this occasion, Alexander has duly set himself first on the Circle, in Quadrangle A, presenting his sword to his adversary (body erect) in the direct line posture, to allow his opponent to work upon him. At which Zachary approaches, stepping two or three paces forward, and sets his foot on the ground in the Quadrangle opposite, on the letter X, at the same time throwing his sword from an obtuse angle (as he draws his left foot up to the Pedal Line Z) to rest parallel and beneath his opponent’s sword. This has been amply described in other Plates, where they perform the same actions, and which is effectively shown by the figures in the Circle.	En ceſte occaſion Alexandre s’eſt planté le premier ſur le Cercle en forme deuë, dedans le Quadrangle A, preſentant l’eſpee à ſon adverſaire (avec le corps tout droit) en droite ligne, pour le laiſſer travailler deſſus. Qui fait que Zacharie le vient approcher, en marchant deux ou trois pas en avant, met le pied droit à terre dedans le Quadrangle oppoſite ſur la lettre X, jettant enſemblement ſon eſpee de l’angle obtus (entrainant le pied gauche ſur la ligne Pedale Z) en droite ligne, parallele au deſſous de l’eſpee contraire; ſelon qu’il en eſt faite plus ample declaration és autres Tables, où ils ont pratiqué la meſme operation; & l’effećt en eſt repreſenté par les propres figures de ce preſent Cercle.
Circle No 2	Cercle N.2.
Alexander follows from the preceeding, going to the Second Instance on the Oblique Diameter, at the same time using his wrist to lower his point to the outside of his arm, such that he attacks his opponent’s sword from beneath, and obliges him to the right hand side.	Alexandre pourſuit la precedente, en allant par delà le Diametre devers la Seconde Inſtance, abaiſſant enſemblement un peu la pointe de ſa lame en dehors du bras à l’aide du poignet, de maniere qu’il en attaque l’eſpee contraire par deſſous, & l’oblige à ſa main droite.
Because Zachary has arranged his blade in the direct line posture, parallel and beneath the other, it is to him to begin to work further. This he has not done for, simply deigning to wait. At which Alexander instantly begins, raising his right foot off the ground, while using his wrist to slightly lower the tip of his sword to the outside of his [opponent’s] arm, and so raises the inside branch of his crossguard and likewise takes his opponent’s sword from above, with his opponent’s 3rd Span on his 8th, at the same time stepping with with his right foot to the letter G on the Oblique Diameter at the Second Instance. He follows with his left foot to the letter D on the Circumference, and moves the swords to his right hand side with his extended arm, sliding the point of contact against an Alive Degree of Force, his 7th Span against his opponent’s 5th or 6th, engaging his sword, constraining him to work from above.	Puis que Zacharie avoit colloqué ſa lame en droite ligne, parallele deſſous la contraire, c’eſoit bien à luy, de commencer & pourſuivre à travailler plus outre; ce qu’il a toutesfois laiſſé de faire pour le preſent, & a ſeulement voulu demeurer pour attendre. Sur quoy Alexandre travaille tout à l’inſtant, en eſlevant le pied droit de terre, & abaiſſant enſemblement un peu la pointe de ſa lame en dehors du bras à l’aide du poignet, de ſorte qu’il tourne la branche interieure de ſa garde contremont, & pareillement ſurprend l’eſpee contraire par deſſous, avec ſon Nombre 3. au N.8. marchant quand & quand du pied droit eſlevé, par delà le Diametre à la Seconde Inſtance lettre G, pour pourſuivre du pied gauche ſur la Circonference lettre D, emenant egalement les eſpees à main droite avec le bras eſtendu, leſquelles deſgraduant avec Poids Vif, il aſſemble ſon N.7. au N.5. ou 6. du Contraire, le convivant & obligeant par l’inferiorité de ſa lame, à travailler deſſus luy.
Note that when Alexander obliges his opponent’s sword, he must take scrupulous care to pay attention to the sensation, and cannot perform this except against a sword resisting with an Alive, Lively, or Livelier Degree of Force.* If his opponent changes the sense of his resistance, more or less, to a Degree of Force such as Deadweight, or Slight, then it would not be possible to count on the action of his opponent. But as soon as he percieves a slight contact, he must act first, working from below, along his opponent’s constrained sword, he moves forward and enters in, stepping with his feet, and closing the direct line to the inside of his arm. But, on the contrary, if the upper sword is Deadweight or has only a Slight Degree of Force, and Alexander allows him to move first, he, Alexander, can be easily hit by a straight line to the face. Because in this case, his sword will not have enough vigour to quickly follow and defend against the thrust of his opponent’s sword. But he can well do this in the case where his opponent’s constrained sword is above his, with an Alive, Lively, or Livelier degree of force. Because then, to hold it up, he must use an equal amount of force, Alive, Lively, or Livelier, to resist his opponent’s advance. In this way, should his opponent undertake to disengage his blade in order to wound him with a straight thrust, Alexander’s own blade would, through the tension in his arm, be able to follow of its own accord, before he could lift it off. Should the constrained sword ever come back to a sense of little or no feeling, in this case Alexander must be first to act on it, without waiting for his opponent’s action. Also, it may often be, on the contrary, that his opponent increases the pressure, using a Strong, Stronger, or even Very-Strong Degree of Force, stepping in with his right foot, to dominate and subjugate the lower sword and thus keep from being wounded. Upon this occasion, Alexander simply performs a circular disengage with his blade, so his opponent’s suddenly overbalances, and so strikes him in the face from the outside, either a thrust with the tip, or a cut along the edge. This is shown in following Circles Nos 10, 11, and 12, where these actions are described in detail. it is apparent from the discussion that he has mis-named these not in accordance with his original descriptions introduced in Plate IX.	Or notez que quand Alexandre fait ceſte operation d’obliger l’eſpee contraire, il y doit proceder en prennant fort ſoigneuſe garde au Sentiment, & ne la peut pratiquer ſinon ſur le Poids Vif, Fort, ou Plus-Fort, de l’eſpee qu’il oblige. Car ſi elle vient à changer en peu ou prou de Sentiment, comme à Mort, ou au Poids, que nous appellons Sentiment, alors il ne luy ſera point loiſible d’attendre l’operation de l’adverſaire. Mais ſi toſt qu’il s’en appercevra par l’attouchement, it faudra qu’il pourſuive luy meſme le premier à travailler deſſus au long de l’eſpee obligée, en avançant & entrant du corps avec les pieds, & luy fermant la droite ligne au dedans du bras. Car au contraire, ſi l’eſpee ſuperieure eſt morte ou avec petit Sentiment, & qu’Alexandre luy accorde de travailler le premier, il en pourra eſtre touché fort aiſement en droite ligne au viſage; parce qu’en ceſte occaſion la ſienne n’aura pas aſſez de vigueur à pourſuivre l’eſtocade de l’eſpee contraire pour ſa defenſe. Mais bien le pourra il faire, en cas que l’eſpee obligée ſe retrouve deſſus la ſienne, comme nous venons de dire, ayant le Sentiment Vif, Fort, ou Plus-Fort. Car alors il faudra, pour la ſouſtenir, qu’il luy reſiſte en uſant d’un poids Vif ou Fort à l’advenant du Contraire; de maniere que ſi l’Adverſaire entreprend de vouloir deſtacher ſa lame, pour le bleſſer en droite ligne, celle d’Alexandre par la vigueur du bras, & par l’influence de ce meſme Poids la pourſuivra d’elle meſme, avant qu’il la puiſſe oſter de deſſus. Or ainſi que l’eſpee obligée revient aucunesfois à peu ou point de Sentiment, en laquelle occaſion Alexandre a beſoin de travailler le premier deſſus, ſans attendre l’operation; auſſi adviendra il ſouvent au rebours que l’Adverſaire augmentera le Poids, en uſant de Force, ou de Violence, ou meſme de tresgrande Violence, marchant avec le pied droit en dedans, pour dompter & aſſujettir l’eſpee inferieure & conſequemment ne venir à la bleſſure. Quand telle occaſion ſe preſente, Alexandre fera cavation avec ſa lame, laiſſant tresbucher la contraire, & luy donner par dehors le bras un coup au viſage, ſoit de pointe, ſoit de taille; comme il eſt repreſenté par les figures des Cercles enſuivants N.10.11.12. où leſdites operations ſeront declarées chaſqune en particulier.
Furthermore, as Alexander has obliged his opponent’s sword, in this occurrence as in the preceeding, as it was presented to him in the Direct Line posture, beneath his own, most times, he must do the same in a differenty way, as his opponent will present his sword at an acute angle, with extended arm and tip pointed towards the ground. In this manner, it will be easier work for Alexander to advance further from the First Instance, by attacking the sword to the outside line from beneath, and then stepping to the Second Instance, moving both to the left and to the right. From there he will proceed to the actions which follow in this Plate and in other Plates, which begin with and then derive from the obliging of the opponent’s blade, for which we shall provide ample explanation.	En outre, combien qu’Alexandre oblige en ceſte occaſion preſente, comme auſſi en la precedente, l’eſpee contraire, qui a eſté miſe en droite ligne deſſous la ſienne: toutesfois il ſe preſentera le plus ſouvent de faire le meſme, en une autre ſorte, aſſavoir quand Zacharie luy preſentera ſon eſpee du premier abord avec le bras & la pointe eſtendue vers la terre en angle aigu. Et en icelle maniere il ſera plus facile à travailler pour Alexandre, pour avancer ſes approches de la Premiere Inſtance plus outre, en luy attaquant l’eſpee en dehors du bras par deſſous, & conſequement l’obliger, en marchant plus outre devers la Seconde Inſtance, tant à main gauche, comme à droite; & parvenir en ſuite aux operations ſuivantes de ceſte meſme Table, ou des autres enſuivantes, qui ſont fondées & contiennent la ſuite de l’obligation de l’eſpee contraire, eſquelles il en ſera auſſi faite plus ample declaration.
Therefore, if his opponent presents his sword as we have described at an acute angle, right above the Diameter, Alexander must set his foot down at the First Instance also on the same Diameter, on the Circumference at the letter C, bringing his blade down to attack from the outside of the arm, and holding it there, stepping to the Second Instance, whether this way to the right or that way to the left onto the Oblique Diameter, whichever way is most appropriate at the time. But if his adversary sets himself with his sword at an acute angle in such as way as it inclines a bit to one side of the Diameter, then Alexander will set his foot down a bit to that side along the Circumference, such that he comes to the First instance a little ways along the Circumference and obliges his opponent’s sword as he moves to the Second Instance on that side. So if his opponent puts the tip of his sword to that side, Alexander will likewise move his right foot forward to the First Instance on the Circumference of the Circle, a bit to that side of the Diameter, such that his body is exactly opposite his opponent’s sword tip, and, having surprised him and attacked from below, he controls him again at the Second Instance, to the same side.	Davantage, ſi l’Adverſaire luy preſente l’eſpee, comme nous venons de dire, en angle aigu, tout juſtement au deſſus du Diametre, Alexandre mettra le pied droit en Premiere Inſtance auſſi ſur le meſme Diametre, & ſur la Circonference du Cercle à la lettre C, menant ſa lame de haut en bas, & en attaquer par dehors le bras la lame contraire, & la tenant marchera à la SecondeInſtance, tant à main droite par delà le Diametre, comme à main gauche par deça, & ainſi obliger, ſelon qu’il luy ſera plus commode. Mais ſi l’Adverſaire ſe met en poſture avec l’eſpee en angle aigu, de façon qu’elle s’incline un peu par delà le Diametre, auſſi Alexandre plantera le pied droit pareillement en Premiere Inſtance un peu par delà ſur la Circonference du Cercle, & obligera l’eſpee contraire, l’emportant quant & ſoy à la Seconde Inſtance du meſme coſté. Que ſi l’Ennemi met la pointe de ſon eſpee un peu par deçà, auſſi Alexandre avancera pareillement ſon pied droit en Premiere Inſtance un peu en deçà le Diametre ſur la Circonference du Cercle, de maniere que le corps ſoit tout viz à viz de la pointe contraire, & l’ayant ſurprinſe & attaquée par deſſous, qu’il l’aille obliger derechef à la Seconde Inſtance du meſme coſté,
Circle No 3	Cercle N.3.
Alexander continues the preceeding action, stepping from the Second Instance to the Third, raising his point, while sliding the point of contact up the two blades, the Centre of his a few Spans up his opponent’s, giveing him a thrust to the face.	Alexandre pourſuivant l’operation precedente, marche de la Seconde Inſtance à la Troiſieme, hauſſant ſa pointe, & enſemble graduant les deux lames, le Centre de la ſienne par moindres Nombres de la Contraire, luy donnant un coup d’eſtocade au viſage.
This action follows from the preceeding Circle, where Alexander has obliged his opponent’s sword at the Second Instance, because his adversary waited for him to follow up. Alexander works against this and, in this current Circle, steps with his right foot along the line of the Inscribed Square, over to the Diameter at the Third Instance, at the letter N, while raising the point of his blade. He then brings his left foot along the Outside Square to the letter K. At the same time, with his extended arm, he slides the centre of his blade up his opponent’s blade by a few Spans, forcing him to give to the inside and so open up an angle, such that he can stand upright and put his tip precisely in front of the face, with power to strike. As is shown in the figure.	Ceſte operation ſuit le Cercle precedent, ou Alexandre a obligé l’eſpee Contraire à la Seconde Inſtance, par ce que l’Adverſaire demeure pour en attendre nouvelle pourſuite. Sur quoy Alexandre travaille, & marche en ce Cercle preſent avec le pied droit par la trace du Quarré Inſcrit, par delà le Diametre à la Troiſieme Inſtance lettre N, hauſſant egalement un peu la pointe de ſa lame, & pourſuivant à mener le pied gauche ſur le Quarré Circonſcrit lettre K, au meſme temps avec le bras eſtendu il va graduer le Centre de ſa lame en dedans du bras par moins de Nombres de l’eſpee obligée, la forçant à luy ceder en dedans & à ouvrir un angle, de façon qu’il luy met la pointe avec le corps eſtendu par courtoiſie devant le viſage, ayant pouvoir d’en faire l’execution; comme il eſt repreſenté à la figure.
Circle No 4	Cercle N.4.
This happens while Alexander is stepping from the First Instance toward the Second, to oblige his opponent’s sword. Zachary moves forward and enters with his right foot, while aiming a strong thrust at his opponent’s chest. At the same time Alexander sets himself at the Second Instance, he meets his opponent’s 3rd or 4th Span with the centre of his sword and by sliding this contact up the blade he thrusts inside the arm through the head.	Durant qu’Alexandre marche de la Premiere Inſtance devers la Seconde, pour obliger l’eſpee contraire; Zacharie s’avance & entre avec le pied droit, tirant enſemble une grande eſtocade vers la poitrine de ſon Contraire; au meſme temps Alexandre ſe plante à la Seconde Inſtance, joignant le Centre de ſon eſpee à N.3.ou 4. de la contraire, & par ce moyen la graduant, il luy donne une eſtocade en dedans du bras à travers la teſte.
Both parties have set themselves at the First Instance in the direct line posture in accordance with the actions of Circle No 1. From there, Alexander proceeds further, entering in and stepping with his right foot, to the Second Instance, controlling his opponent’s sword, which he has attacked and siezed from below. As soon as he has begun to overbalance with his foot raised, Zachary advances and enters in with his right foot, a bit further along the Diameter than the letter V, aiming a swift and forceful thrust in a direct line at his opponent’s chest, bending his knee and leaning onto it. Alexander, as soon as he percieves from his sense of feel that his opponent’s blade is about to detach, moves his own forward, contacting the centre of his own blade with the 3rd or 4th Span of his opponent’s, as he sets his right foot down at the Second Instance on the Diameter at the letter G, he extends his arm to slide the point of contact up his opponent’s sword, holds his body upright, and, drawing his left foot up behind, forces his blade through his opponent’s head. As shown by the figures.	L’operation du Cercle N.1. eſtant accomplie, où les deux parties ſe ſont plantez en Premiere Inſtance en droite ligne, lors Alexandre procede en outre à marcher & entrer du pied droit, pour obliger par delà le Diametre à la Seconde Inſtance l’eſpee contraire, laquelle il a ſurprinſe & attaquée par deſſous avec la ſienne, auſſi toſt que le pied eſlevé luy commence à tresbucher avec le corps, au meſme temps, Zacharie s’avāce & entre avec le pied droit, un peu delà le Diametre plus avant que la lettre V, tirant viſte & rudement en droite ligne (en pliant le genou & panchant le corps deſſus le meſme en avant) devers la poitrine de l’Adverſaire. Alexandre dés qu’il apperçoit par le Sentiment que la lame contraire ſe va deſtacher, il avance la ſienne, en joignant le Centre au N.3. ou 4. de celle du contraire, laquelle (en plantant le pied droit, qui chemine, ſur la Deuxieſme inſtance lettre G par delà le Diametre) il gradue avec le bras & le corps eſtendu, pouſſant ſa lame (avec pourſuite du pied gauche proportionnée) à travers la teſte de ſon Contraire; en conformité des figures.
Circle No 5	Cercle N.5.
While Alexander obliges his opponent’s blade at the Second Instance, Zachary advances and enters in to subjugate him. At which Alexander likewise advances his left foot at the same time, bending his arm upwards, and sets his point exactly in front of his opponent’s face.	Cependant qu’Alexandre oblige l’eſpee contraire à la Seconde Inſtance, Zacharie s’avance la deſſus & entre pour l’aſſujettir; ſur quoy Alexandre avance pareillement au meſme temps le pied gauche, ſe courbant le bras vers le haut, & luy met la pointe par courtoiſie devant le viſage.
Both parties start at the First Instance, as shown in Circle No 1 , Alexander moves his right foot towards the Second Instance, controlling his opponent’s sword, as in Circle No 2. At the instant begins to overbalance with his foot raised, Zachary advances his right foot to the letter R along the diameter, drawing his left up to the letter X, to master and subjugate his opponent’s blade with a degree of force. At which Alexander, having set his right foot on the letter G on the Oblique Diameter, enters in, setting his left foot at the Centre of the Circle, inside the opening of the angle which his opponent’s sword makes , turning his sword to the inside and bending his arm, to wound him in the face. Zachary parries by bringing his arm and sword upwards. So Alexander does the same at the same time, raising his sword with his arm bend back, and setting his sword-tip exactly in front of the face. As the figures demonstrate.	Ayant eſté plantez les deux parties, comme au Cercle N.1. en Premiere Inſtance, cōme Alexandre s’avance preſentement avec le pied droit devers la Seconde, pour obliger l’eſpee contraire, comme au Cercle N.2. à l’inſtant que le pied eſlevé tresbuche avec le corps, Zacharie s’avance là deſſus avec le pied droit ſur le Diametre lettre R, trainant le gauche à l’advenant ſur la lettre X pour maiſtriſer & aſſujettir la lame contraire avec Poids de force: ſur quoy Alexandre ayant planté le pied droit à la lettre G par delà le Diametre, entre avec le pied gauche, pour planter ſur le Centre du Cercle dedans l’ouverture de l’angle, que l’eſpee contraire luy donne, en tournant l’eſpee en dedans & courbant le bras, pour le bleſſer au viſage; & comme Zacharie le pare en portant le bras avec l’eſpee vers le haut; auſſi Alexandre fait le ſemblable au meſme temps, hauſſant l’eſpee avec le bras courbé en arriere, & luy preſentant la pointe en courtoiſie devant le viſage, comme la figure demonſtre.
Circle No 6	Cercle N.6.
Insasmuch as Zachary does nothing to parry the previous action, Alexander will carry on, pushing his sword forward with his bent arm, through his opponent’s head, so powerfully that the two guards crash together, which will force Zachary to bend his arm and his tip will go up into the void above.	D’autant que Zacharie ne fait point de parade par l’operation precedente, Alexandre la va pourſuivre, en pouſſant l’eſpee avec le bras courbé en avant, à travers la teſte contraire, de façon que les deux gardes s’entre-heurtent avec force, ce qu’il le contraint de plier le bras, & laiſſer monter ſa pointe en l’air à vuide.
Circle No 7	Cercle N.7.
So Zachary parries the strike from preceeding Circle No 5, by lifting and raising further his arm and sword. At the same time, Alexander raises his body, likewise lifting his arm and sword further, and from there leans forward, raises his right foot in the air, and aims a cut to the calf of his adversary’s right leg.	Ainſi que Zacharie s’atend de parer le coup du Cercle precedente N.5. en hauſſant & eſlevant encor d’avantage le bras avec l’eſpee; Alexandre ſe ſuſleve au meſme temps le corps, en hauſſant auſsi pareillement le bras avec l’eſpee d’avantage, dequoy en panchant du corps en avant & eſlevant le pied droit en l’air il tire un coup de taille au gras de la jambe droite de l’Adverſaire.
This follows from the action of previous Circle No 5, where Alexander set his sword-tip before his opponent’s face, by raising and bending his arm. Zachary will parry the thrust, by raising his arm and sword even higher. Alexander straightens up his body, while raising his sword higher, turning his arm and bending it further, with the outside branch of the crossguard raised upwards, and then steps with his left foot to the letter L on the Diameter, leans his body forward onto it, while raising his other foot, and, slipping his thumb under the inside branch of the crossguard, delivers a downwards cut at the calf of his opponent’s left leg. Such as is shown in the figure.	La preſente eſt la ſuite de l’operation du Cercle precedente N.5. ou Alexandre a preſenté ſa pointe devant le viſage du Contraire, en hauſſant & courbant le bras. Car ainſi que Zacharie luy va parer l’eſtocade, en allant plus haut avec le bras & l’eſpee; au meſme temps Alexandre s’eſtend le corps, montant auſſi pareillement avec l’eſpee plus haut, en tournant & courbant le bras davantage, la branche exterieure contremont, marche avec le pied gauche en decà le Diametre ſur la lettre L, pour pancher le corps deſſus en avant, durant qu’il eſleve l’autre pied, & enſemble (laiſſant gliſſer le poulce deſſous la branche interieure) luy tire un coup de taille de haut en bas ſur le gras de la jambe gauche; ſelon qu’il eſt monſtré à la figure.
Circle No 8	Cercle N.8.
Alexander continues the cutting action as he takes a further step with his right foot beyond the Circle, behind his opponent’s back, and leans forward onto it, drawing his left foot up onto his toes. As the figures show.	Alexandre pourſuit l’operation precedente, & marche plus outre avec le pied droit eſleve à ſa main gauche par deçà le Cercle, ſe panchant le corps deſſus derriere le dos de ſa partie, & entrainant le pied gauche apres ſur les orteils; comme la figure montre.
Circle No 9	Cercle N.9.
Here Alexander carries the action to its end. That is, he moves his sword with a flourish from below and aims his point upwards. Spinning leftwards on his right foot, he raises his left foot as he turns, then steps towards his opponent. As he lowers his sword, which was raised upwards above his head, down onto his left arm, bringing it against his side so as to shorten the distance, he sets his left foot on the letter S, moves towards his enemy, and strikes to his left with a thrust, aided and reinforced by leaning his body, through his opponent. As represented by the figures.	Voicy comment Alexandre pourſuit la meſme operation plus outre, aſſavoir qu’il delivre ſa lame à fleur de terre, de laquelle dreſſant la pointe vers le haut, il ſe volte le corps ſur le pied droit, qui eſt planté à main gauche, en eſlevant le meſme pied, lequel il tourne & avance devers ſon Contraire, abaiſſant enſemblement ſa lame, qui eſt dreſſée contremont, par deſſus ſa teſte ſur le bras gauche, l’affermiſſant bien pour accoucir contre ſa poitrine, & ainſi marcher avec le pied gauche contre l’Ennemi ſur la lettre S, & luy donner au meſme temps un coup d’eſtocade, (aſſiſté & renforcé du panchement du corps en avant,) au coſté gauche à travers le corps; ſelon la repreſentation des figures.
Circle No 10	Cercle N.10.
While Alexander moves himself from the First Instance to the Second, to oblige his opponent’s blade, Zachary moves forward and enters with his right foot, to dominate and subjugate his opponent’s blade with a strong force. Then Alexander makes a circular disengagement, and sets the tip of his sword exactly in front of his opponent’s face.	Durant qu’Alexandre ſe tranſporte de la Premiere Inſtance devers la Seconde, pour obliger la lame contraire, Zacharie s’avance & entre avec le pied droit, pour domter & aſſujettir l’eſpee contraire avec un fort poids, dont Alexandre fait au meſme temps cavation avec a ſienne, luy mettant pointe en courtoiſie devant le viſage.
This one derives from Circle No 1. where both are set on the Circle at the First Instance Alexander holding his sword above his opponent’s. So, he proceeds further, stepping with his right foot towards the Second Instance, attacking from beneath to oblige his opponent’s sword, as in Circle No 2. At the moment his right foot reaches the point where his body begins to overbalance, Zachary moves forward and enters in with his right foot on the Diameter at the second intersection of the Interior Collateral and leans his body forward onto his foot, to dominate and subjugate the lower sword with a degree of force. Alexander percieves this from the contact. He sets his right foot down, which has moved to the letter G on the Diameter at the Second Instance, followed by his left foot with a circular motion to the letter D. Standing with his body erect, he makes a circular disengage from beneath his opponent’s sword, which overbalances downwards, and, with his arm bent (to keep the point from touching) sets his point exactly in front of the face. As shown by the figures.	La preſente provient du Cercle N.1. où les parties ſon placez ſur le Cercle en Premiere Inſtance, Alexandre tenant l’eſpee parallele par deſſus la contraire. Or comme il procede plus outre, en marchant avec le pied droit devers la Seconde Inſtance, pour attaquer par deſſous, & obliger l’eſpee contraire, comme au Cercle N.2. au temps que ledit pied luy commence à tresbucher avec le corps, Zacharie s’avance & entre là deſſus avec le pied droit, par delà le Diametre ſur la ſeconde interſećtion de la collaterale interieure, & ſe panche du corps en avant deſſus le meſme, pour dompter & aſſujettir la lame inferieure avec Poids de Force; De quoy s’appercevant Alexandre par l’attouchement, il plante le pied droit, qui chemine par delà le Diametre ſur la Seconde Inſtance lettre G, pour pourſuivre circulairement du pied gauche ſur la lettre D, mettant le corps tout droit deſſus, cavant enſemblement ſa lame par deſſous a contraire en tresbuche vers le bas, luy mettant la point en courtoiſie avec le bras courbé (pour ne le toucher) devant le viſage; ſelon la repreſentation des figures.
Circle No 11	Cercle N.11.
This Circle continues the preceeding action, which Alexander executes by moving his right foot forward to the letter L on the Diameter where he will lean forward with bent knee as he pushes his blade forcefully through his opponent’s head. As we see from the figures.	Voicy la ſuite & cōtinuation dela precedente, executée par Alexandre en avançant le pied droit par delà le Diametre à la lettre L, où il ſe va pancher en avant avec le genou plié, pouſſant au meſme temps ſa lame en rigueur à travers la teſte de l’Adverſaire; comme on voit aux figures.
Circle No 12	Cercle N.12.
This has the same beginning as the earlier Circle No 10, where Alexander has set his point in front of his opponent’s face. The difference with the current Circle comes from, having set his feet down at the Second Instance, he enters in with his left to the Centre of the Circle, while removing his blade from beneath the other, and cutting at the face.	C’eſt tout le meſme commencement que le precedent Cercle N.10. où Alexandre à mis ſa pointe devant le viſage du Contraire; la difference giſt en ce qu’au Cercle preſent, ayant planté le pied droit ſur la Seconde Inſtance, il entre avec le gauche ſur le Centre du Cercle, delivrant enſemblement ſa lame de deſſous la ſuperieure, & luy en donnant au viſage un coup de taille.
This Circle begins and proceeds the same as Circle No 10, up to when Zachary moves forward to subjugate his opponent’s blade, using a degree of force. While he does this, Alexander has set his right foot at the letter G on the Oblique Diameter, at the Second Instance. He makes a sudden quick move to put his left foot down at the Centre of the Circle, while withdrawing his sword from beneath and along his opponent’s blade, which is carried by the inertia of his force downwards. As Alexander raises his right foot, he delivers a cut (across the face) to his opponent’s inside, supported by leaning forward. This is as demonstrated by the picture.	L’origine & la procedure de ce Cercle preſent s’accorde en tout avec celuy du N.10. juſqu’à tant que Zacharie s’avance pour aſſujettir la lame contraire, ce qu’il fait preſentement avec plus de Poids. & durant ce meſme temps Alexandre plante le pied droit par delà le Diametre à la Seconde Inſtance lettre G, avec une ſoudaine pourſuite du pied gauche, pour porter & planter ſur le Centre du Cercle, en retirant & delivrant ſa lame de deſſous & au long de la contraire, qui tresbuche par la force du Poids en deſſus, don en eſlevant le pied droit, il luy porte un coup de taille en dedans du bras, aſſiſté du panchement de corps au viſage; ainſi qu’il eſt monſtré par la pourtraiture.
Circle No 13	Cercle N.13.
Alexander proceeds immediately from Circle 12, passing with his right foot and setting it down at the letter W near the Oblique Diameter along the edge of the Outside Square, on which he pivots turning his left side forward, while he uses his elbow to bring his sword around overhead as he turns and passes behind his adversary. He sets his left foot down beyond the Circle, about as far as the letter Z, then bends his left knee and shifts his body onto it while giving a second cut to the back of his opponent’s head. As is shown by the figures.	Ceſt icy encor une dependance de la precedente, pourſuivie tout à l’inſtant par Alexandre, en paſſant avec le pied droit au deçà le Diametre ſur le Quarré Circonſcrit lettre W, ſur lequel il ſe tourne le corps à main gauche, enſemblement conduit ſa lame avec l’aide du coude à la roude par deſſus ſa teſte en voltant & paſſant derriere l’Adverſaire avec le pied gauche pour planter au deçà le Cercle viz à viz de l’angle Z, ſur leſquel il ſe panche le corps en avant avec le genou plié, en donnant derechef un ſecond coup de taille au derriere de la teſte du Contraire; comme il eſt repreſenté par les figures.
If it were possible to always subjugate the opponent’s sword, one would never need to oblige one’s opponent, nor have any reason to need to regain an advantage lost. But because we are sometimes overpowered, either by force, or his quickness, or our inattention, we must learn to recover and execute good strikes, even when at a disadvantage, strikes we have seen Alexander perform, which we know how to do when our opponent’s blade is subjugated. And for those who would take us to task for having repeated lessons given in other parts of this book, as if it were a crime to say the same thing again, I would say, on the contrary, that it was the custom of even the sage Socrates to repeat lessons for his students, and he left it to the Sophists the vain pride of never repeating themselves. Yet we have not repeated these lessons for no good cause, because otherwise it would be impossible to demonstrate how, the actions taken after controlling the opponent’s sword are very similar to those we perform after subjugating it. For those who would say that it should suffice to have merely introduced the fundamentals of the System before now, without exploring all the possible variations, because these become self-evident over time, I would respond, again, that the usefulness of these examples is too important to be neglected and that these are too essential to the System to leave them out for the sake of brevity, which would be a mistake, rather than being prolific, where prolific means that which fully explains the material. To conclude, without this repetition, it would be impossible to properly present the greatness and usefulness of the foundations of our system, which are small in number, and yet serve to dominate so many different possible actions of our adversary. One may imagine an infinite varieity of ways in which our enemy might engage us.	S’il eſtoit poſsible d’aſſuiettier touſiours l’eſpee contraire, il ne ſeroit jamais beſoing de l’obliger, ne raiſon de perdre un advantage pour le reprendre apres. Mais puis qu’on y eſt aucunesfois ſurprins, ou par force, ou par viſteſſe, ou par meſgardre, il faut apprendre à ſe remettre, & à tirer du desavantage meſme des bonnes executions, ſemblables à celles, qu’on a ſceu tirer de l’aſſujettiſſement; comme nous voyons qu’Alexandre vient de pratiquer. Et c’eſt ce qui ſervira de reſponce à ceux, qui nous voudront par adventure reprendre; d’avoir repreſenté en ce Tableau preſent quelques operations, qui ont eſté deſcrites autrepart, comme ſi c’eſtoit un crime de redire la meſme choſe. Ie leur diray au contraire, que le ſage Socrates avoit de couſtume de redir touſiours le meſme à ſes deſciples, & qu’il laiſſoit aux Sophiſtes la vanterie de ne repeter jamais rien. Et cependant, que nous n’avons pas uſé de ceſte repetition ſans cauſe, puis qu’autrement il euſt eſté impoſſible de demonſtrer, les appendances de l’obligation eſtre ſemblables à celles de l’aſſuettiſſement. s’Ils diſent, qu’il nous devroit ſuffire d’avoir touché par cy devant les fondements de la Pratique en general, ſans recercher touts les particularitez, qui en dependent, & qui ſe manifeſtent peu a peu d’elles meſmes; je reſpondray derechef, que l’Vtilité de ces demonſtrations eſt trop notoire, & que ce ſont des parties trop eſſentielles de la Pratique, pour les omettre ſous couleur debrieveté, en laquelle il y peut avoir des fautes, auſſi bien qu’en la prolixité, ſi prolixité ſe doit nommer, ce qui eſclarcit grandement la matiere. Et pour concluſion, que ſans ceſte repetition, il ſeroit impoſſible de vous repreſenter l’amplitude & le grand uſage de nos fondements, qui ſont petits en Nombre, & ſervent cependant à domter tant de diverſes aćtions du Contraire; au lieu que ce ſeroit choſe infinie, s’il falloit imaginer autant de diverſes rencontres, comme il y a de variations de la part de l’Ennemy.

Book 1 - Tableau / Plate XX - More on Working to the Right Hand Side at a Disadvantage

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE TWENTIETH PLATE	DECLARATION DES OPERATIONS DV TABLEAV VIGNTIEME
Any advantage one may take of an adversary must perforce be either against the body or the sword. Because one ordinarily defends the body, and this makes it difficult to reach, in contrast to the sword, which, of course, doing nothing more that it’s job of protecting the person, must remain within range. It has no defense for itself (nor does it need any) but only for the person. As such, it cannot avoid being attacked. Those who think they would keep it free, when they hold it drawn back, or down, or who make feints high, low, straight, or with bent arm in order to fool their adversary, are only fooling themselves, in that they give over to their opponent all the advantage, that he may confidently choose at his pleasure the best time and means to close in, as the sword in guard is enough to defend the body but when not in guard, cannot. It is obvious, that eventually they must perforce seek to contact the blade they sought to avoid. And yet, the most sure and safest way to engage against a sword is never to flee from it, but rather, once engaged, to never lose that contact, so that the sense of feel can tell us right away when the opponent is preparing to parry or to counter our attacks. For in all these cases, one must continue to work upon one’s opponent, as long as one can maintain sufficient control. And to do this, one must absolutely understand the different degrees of Force, to apply the proper counters, as the responses to different pressures are quite different, as we can see beginning in this Plate after the first five Circles, and later on in others. Therefore, one must always be attentive to subjugate the opponent’s blade, far enough from the tip that on is protected from disengagements, and near enough that one is out of danger from Imbrocatta thrusts.	Tout l’avantage qu’on ſçauroit prendre ſur l’Adverſaire il le faut cercher neceſſairement ou au corps, ou bien à l’eſpee. Et puis que le corps eſt ordinairement en defenſe, auſſi eſt it plus ſouvent de difficile approche; au contraire de l’eſpee, qui ne peut faire ſon office de garantir la perſonne, ſi elle ne demeure en preſence. N’ayant nulle defenſe pour ſoy meſme (auſſi n’en a elle que faire) mais ſeulement pour la perſonne; de façon qu’elle ne ſe peut garder d’eſtre attaquée. Ceux qui penſent la tenir bien libre, quand ils la retirent en arriere ou en bas, ou qu’ils font des feintes, hautes, baſſes, droites, courbes, pour tromper l’Adverſaire, ſe trompent eux meſmes, en ce qu’ils luy accordent l’avantage, de prendre à ſa fantaſie la meilleure ſituation & la place que bon luy ſemble, pour faire ſes approches avec plus d’aſſeurance, s’il eſt vray que l’eſpee eſt ſuffiſante à defendre le corps, quand on la tient en bonne guarde. Choſe ſi evidente, qu’ils en ſont contraints à la longue de recercher eux meſmes l’eſpee la quelle il penſoyent avoit evitée. Et partant c’eſt le plus ſeur, quand elle ſe preſente, de ne la fuir jamais, & l’ayant une fois attouchée, jamais ne la quitter tandis que le Sentiment nous dit, qu’elle eſt toute preſte à deſtourner & empeſcher nos entrprinſes. Car en ces cas, il faut touſiours continuer à travailler deſſus, tant qu’on la puiſſe commander à ſuffiſance. Et pour ce faire, faut ſur tout entendre la difference des Poids, pour y appliquer les vrais remedes, à meſure que les effets en ſon grandement diſſemblables; comme on voit à l’entrée de ce preſent Tableau à la ſuite des cincq premiers Cercles, & à l’advenant auſſi és autres; où il faut touſious obſerver de tenir l’eſpee Contraire en ſujećtion, ſi loing de la pointe, qu’on ſoit affranchi de ſes cavations, & ſi pres, qu’on ſoit hors le danger des Imbrocades.
Circle No 1	Cercle N.1.
Alexander has previously obliged his opponent’s blade on the Diameter at the Second Instance. He continues by stepping to the Third, carrying the opponent’s blade to the inside of his arm, and subjugating it above the Diameter.	Alexandre ayant auparavant obligé la lame Contraire par delà le Diametre à la Seconde Inſtance, il pourſuit à marcher preſentement à la Troiſieme, en tranſportant l’eſpee contraire en dedans du bras & l’aſſujettiſſant au deſſus du Diametre.
This current action comes from Circle No 2 of the preceeding Plate, where Alexander has obliged his opponent’s sword on the Diameter at the Second Instance. As Zachary calmly waits for the follow-up, Alexander moves with his right foot to the Perpendicular Diameter, along the Inscribed Square, at which (midway to the Instance) he hesitates briefly, before he overbalances, during which time he raises the obliged sword upward with his own, and consequently, as he sets his right foot on the section crossing the transverse interior line Q N, he carries it over to his left hand side, such that it comes down exactly above the Diameter in the direct line posture, where he subjugates it with an Alive degree of Force with his 2nd Span against his opponent’s 1st Span, tip slightly raised, and his arm lowered with the guard, by which he covers his lower body and guarantees his safety from a hit, as shown by the figures, with the sword positions marked on the plane of the Circle.	La preſente operation depend du Cercle N.2. de la Table precedente, où Alexandre a obligé l’eſpee contraire par delà le Diametre à la Seconde Inſtance; & comme Zacharie demeure en attendant la pourſuite, Alexandre s’avance le pied droit par delà le Diametre, au long du Quarré Inſcrit, duquel (eſtant à my-voye de l’Inſtance) il fait une petite pauſe, avant qu’il vienne à tresbucher, durant laquelle il ſouſleve l’eſpee obligée avec la ſienne vers le haut, & conſequemmēt, en plantant le pied droit eſlevé à la ſećtion de la traverſante interieure Q N, il la tranſporte à main gauche, de ſorte qu’elle reviēt juſtemēt au deſſus du Diametre en droite ligne, où il l’aſſujettit d’un Poids vif au N.1. avec ſon N.2. la pointe un peu aſcendante, & le bras deſcentāt avec la garde, dont il ſe garentit & couvre la partie inferieure du corps, pour n’y eſtre touché, ſelon la repreſentation de leurs figures, & des eſpees qui ſont marquées ſur le plain du Cercle.
Circle No 2	Cercle N.2.
This follows from the preceeding. As Alexander has subjugated the previously obliged sword, as just described, Zachary leaves it hanging with a Deadweight degree of Force, with no feel. At which Alexander, who has percieved this from the contact, turns his right side forward, presenting his profile to his opponent, sets his feet on the ground, he disengages his sword from his opponent, and adopts the Direct Line posture, arm extended, his point exactly in front of his opponent’s face, so he is just ready to strike, as shown.	Voicy une ſuite de l’operation precedente. Car ainſi qu’Alexandre viēt d’aſſujettir l’eſpee obligée, ſelon qu’il eſt dit dernierement; Zacharie la laiſſe decheoir morte ſans nul ſentiment; ſur quoy Alexandre, qui l’apperçoit par l’attouchement, ſe tourne au meſme temps le coſté droit du corps devant en pourfil à pieds fermes, ſans bouger, quittant enſemblement l’eſpee contraire, & mettant la pointe de la ſienne en droite ligne, avec le bras eſtendu & le corps tout droit, devant le viſage de ſa partie adverſe, uſant de courtoiſie, combien qu’il ne tienne qu’à luy d’en faire l’execution; commes les figures monſtrent.
Circle No 3	Cercle N.3.
Alexander had moved his opponent’s sword aside as in Circle No 1. Zachary allows it to overbalance, now with a Slight degree of Force. At this, Alexander enters with his right foot, leans forward and strikes his opponent with a reverse blow to the left side of the head.	Alexandre ayant tranſporté l’eſpee Contraire, comme au Cercle N.1, Zacharie la laiſſe tresbucher maintenant au poids de Sentiment; ſur quoy Alexandre s’avance & entre avec le pied droit, frappant l’Adverſaire d’un coup de revers avec le corps panché en avant, au coſté gauche de la teſte.
Alexander forced his opponent’s blade over and subjugated it, as shown in Circle No `1. This time Zachary weakens this motion by resisting with a Slight degree of Force, to some small advantage. At this, Alexander enters in with his right foot on the Diameter, between the Inside and Outside Squares near the letter T, whereon he moves his right side forward and diagonally in front of his opponent while he gives a little shove down to force his opponent’s blade down, which allows him to detach. He bends his right knee, leans forward onto hit, draws his left foot up behind, turning his left side forward slightly, and puts his blade exactly by the left* side of his opponent’s head, edge turned to make a reverse cut. As is shown by the figures. He has confused left and right in this description.	Ainſi qu’Alexandre a transporté & ſujetté l’eſpee Contraire, comme il eſt repreſenté au Cercle N.1. preſentemēt Zacharie l’affoiblit en Poids de Sentiment, ou un peu d’avantage; ſur quoy Alexandre pourſuivant à travailler, entre avec le pied droit par delà le Diametre, entre les deux Quarrez interieure & exterieur un peu en deçà la lettre T, dont il avance le coſté droit au dedans de l’angle & des perpendiculaires de l’eſpee ennemie, à laquelle il donne enſemble un petit heurt avec la ſienne vers le bas, de façon qu’il luy amortit le Sentiment, & par meſme voye il la quitte, en pliant le genou, ſur lequel il ſe panche le corps en devant, & entraine le pied gauche en ſuite, en avançant un peu le coſté gauche, & enſemblement mettant ſa lame en courtoiſie en forme de revers au coſté droit de la teſte Contraire; ſelon qu’il eſt repreſenté aux figures.
Note that Alexander must keep his left foot held back if he wishes to moderate or stop his blow. But if he wishes to make the blow powerful, he must spin and take a large step with his left foot behind the other, then again advance another step with his right foot and again spin with his left, during which time, he brings his sword around in a circle overhead, stiking with cut to the back of his opponent’s head, partly as shown in the two following Circles, Nos 4 & 5.	Notez qu’Alexandre doit tenir le pied gauche en arriere, s’il veut moderer & arreſter le coup; mais s’il en veut faire l’execution par rigueur, qu’il doit volter & jetter en avant un grand pas derriere l’autre, & puis avancer encor une autrefois un pas avec le pied droit, & volter derechef avec le pied gauche, durāt lequel tēps il conduira l’eſpee à l’aide du poignet par deſſus ſa teſte, en tirant un coup de taille au derriere de la teſte de l’Adverſaire, en partie ſelon qu’il eſt repreſenté par les deux ſuyvants Cercles N.4. & 5.
Circle No 4	Cercle N.4.
In this current Circle, Zachary holds his blade with an Alive degree of Force. Against which Alexander moves forward with his right foot from the Third Instance, giving a push down with his sword, and then moves it overhead, and, while he spins his left foot, gives a cut to the left side of his opponent’s head.	En ce Cercle preſent la lame de Zacharie tient le poids vif; ſur quoy Alexandre s’avance avec le pied droit de la Troiſieme Inſtance, en luy donnant un pouſſement avec la ſienne vers le bas, & conſequemment la conduit par deſſus ſa teſte, en tirant avec la volte du pied gauche, un coup de taille au coſté gauche de la teſte Contraire.
The subjugation of the opponent’s sword has proceeded according to Circle No 1, and Zachary is holding it with an Alive Degree of Force. Alexander advances, and enters in with his right foot near the Oblique Diameter on the Outside Square at the letter T, giving a small shove with his sword so that it forces it down and confuses his opponent’s sense of feel, and allows him to bring his sword around overhead, and give a cut (as he spins his left foot outside the Circle and forwards) to the left side of his opponent’s head. As we can see in the figure.	L’aſſujettiſſement de l’eſpee Contraire, ayant precedé en conformité du Cercle N.1. & Zacharie la tenant en Poids vif; Alexandre s’avance & entre là deſſus avec le pied droit par delà le Diametre ſur le Quarré Circonſcrit à la lettre T, en luy donnant un petit branſle avec la ſienne, de ſorte qu’il l’abaiſſe en deſgraduant & luy trouble le Sentiment, au moyen dequoy il va conduire la ſienne par deſſus ſa teſte, en tirant un coup de taille (durant qu’il avance & volte le pied gauche dehors du Cercle) au coſté gauche de la teſte du Contraire; comme on voit à la figure.
Circle No 5	Cercle N.5.
Continuing his action, Alexander makes an easy move forwards, with a large step further on, then spinning his left foot around behind, as he again brings his sword overhead, to strike his opponent with a cut to the back of the head. According to the image shown.	Continuant l’operation precedente, Alexandre s’avance incontinent un grand pas plus outre à l’envers, conduiſant derechef ſon eſpee par deſſus ſa teſte, en voltant le pied gauche, pour frapper derechef en ce meſme temps de la taille au derriere de la teſte du Contraire; ſelon la repreſentation des figures.
Circle No 6	Cercle N.6.
The subjugated blade here is held with a Strong or Stronger Degree of Force. Against which Alexander has moved forward and entered from the Third Instance on the Diameter with his right foot, increasing his momentum to leap forward with his left foot beyond the Diameter. While this is still raised, he detaches his sword from his opponent’s and grabs the guard with his left hand as he sets his left foot down on the Inside Square. He raises his right foot and spins around while giving a reverse cut to his opponent’s head.	L’Eſpee aſſujettie a tenu en ce preſent Cercle du poids fort ou plus-fort, ſur quoy Alexandre s’eſt un peu avancé & entré de la Troiſieme Inſtance devers le Diametre avec le pied droit, en prenant courſe pour ſauter en avant avec le pied gauche par deça le Diametre, lequel eſtant encor eſlevé, il quitte l’eſpee contraire, en luy prenant la garde avec la main gauche, à ce meſme temps abaiſſant le pied gauche enterre ſur le Quarré Inſcrit, il volte le pied droit par haut, en tirant un coup de revers au coſté droit de la teſte du contraire.
Here is another action which follows from Circle No 1, where Alexander subjugated his opponent’s sword, which resists his with a Strong or Stronger Degree of Force. Against this Alexander makes a small entrance, moving his right foot towards the Diameter along the Interior Transverse. He then lightly jumps further on, stepping with his left foot and turning his left side forwards, lifts his sword away from his opponent’s and grabs his opponent’s guard with his left hand, drawing it away so the sword points down and to his left. As he does this, with his wrist he brings his own sword around overhead. As he sets his left foot down where the Exterior Transverse crosses the Inside Square he raises his right foot to spin around with momentum while he delivers a reverse cut to the right side of his opponent’s head. As the illustration demonstrates.	Voicy encor une autre operation, qui procede du Cercle N.1. où Alexandre à fait l’aſſujettiſſement de l’eſpee Contraire; qui ſouſtient preſentemēt la ſienne avec Poids fort ou plus fort. Là deſſus Alexandre fait une petite intrade, en avançant le pied droit devers le Diametre ſur la Traverſante interieure, dont il ſe ſouſleve en l’air & ſaute incontinent plus outre, en tournant le coſté & le pied gauche devant, enſemble quitte l’eſpee aſſujettie, & luy prend la garde avec ſa main gauche, la tirant vers le bas avec la pointe deſcendante à ſon coſté gauche, conduiſant enſemble ſon eſpee à la ronde par deſſus ſa teſte à l’aide du poignet, pour planter le pied gauche au deçà le Diametre ſur le Quarré Inſcrit à l’entrecoupure de la traverſante exterieure, auquel temps il tire un coup de revers, (en voltant le pied droit par haut,) au coſté droit de la teſte du Contraire; ainſi qu’il eſt demonſtré par la figure.
Circle No 7	Cercle N.7.
Alexander continues the preceeding action, moving forward and spinning his right foot with a large step outside and beyond the Circle, after which he raises his left foot in the air, straightens and leans a bit backwards, drawing his opponent’s captured guard and blade to his left side, holding his own low on his right side, with the tip down, near his adversary, and ready to wound without hesitation; as we can clearly see in the figure.	Alexandre pourſuit l’operation precedente, en avançant & voltant le pied droit d’un grand pas dehors & au deçà le Cercle, ſur lequel, en eſlevant le pied gauche en l’air, il ſe dreſſe & panche un peu alenvers, en attirant la garde captive enſemble avec la lame à ſon coſté gauche, mettant la ſienne à ſon coſté droit avec le bras deſcendant, & la pointe baſſe, en preſence du contraire, & en eſtat de le pouvoir bleſſer ſans nulle reſiſtance; comme on le voit clairement à la figure.
Circle No 8	Cercle N.8.
This derives again from Circle No 1 when the subjugates sword resists with a Very Strong Degree of Force. Against this Alexander, having previously stepped in with his right foot to the letter M, jumps with his left foot onto the Diameter at the letter Q, while seizing ahold of his opponent’s guard, by leaning his body forward, and reaching over the crossed swords with his left hand.	Voicy qui ſourd encores du meſme Cercle N.1. lors que l’eſpee aſſujettie uſe du poids tresfort; ſur quoy Alexandre, ayant preallablement entré avec le pied droit à la lettre M, il ſaute du pied gauche au deçà le Diamettre à la lettre Q, faiſant prinſe de la garde contraire, avec le corps panché en avant, & la main gauche allant par deſſus les deux lames croiſées.
Following from the actions of Circle No 1 where Alexander has moved to the Third Instance and controlled and subjugated his opponent’s sword. Now Zachary increases the force of his resistance to a Very Strong Degree of Force. Alexander works against it by opposing and increasing his own, stepping with his right foot forward to the letter M, and from there, leading with his left foot and side, springs across the centre to the letter Q on the Oblique Diameter. With his body leaning forward, he reaches over the crossed swords and, as he raises his right foot and begins to spin around behind, he grabs his opponent’s guard with his left hand. As shown by the figures.	En ſuite de l’operation du Cercle N.1. où Alexandre à fait le tranſport & aſſujettiſſement de l’eſpee contraire à la Troiſieme Inſtance, & que Zacharie en augmente preſentement la force en Poids tres-fort; Alexandre travaille alencontre, en y oppoſant & moderant à l’advenant le ſien, marche avec le pied droit à la lettre M, duquel il ſaute en haut, avec le coſté & le pied gauche devant, pour planter au deçà le Diametre à la lettre Q, & enſemble avec le corps panché ſur le devant, & le pied droit faiſant la volte par haut en derriere, il avance la main gauche par deſſus les deux lames croiſées & accouplées, de façon qu’il fait en ce meſme temps prinſe de la garde contraire; en conformité des figures.
Circle No 9	Cercle N.9.
This follows from the preceeding, where Alexander spins his raised right foot around behind his other, so that his toes land on the Outside Square at the letter T. He shifts his body onto it, lifts his left foot into the air, while pushing his opponent’s guard and arm away from him with his left hand, setting his tip under the right arm. As is represented by the figures.	C’eſt icy la continuation de la precedente, pourſuivie par Alexandre en voltant le pied droit eſlevé derriere l’autre, de ſorte que les orteils en viennent à toucher le Quarre circonſcrit à la lettre T, ſe dreſſant le corps deſſus, en eſlevant le pied gauche en l’air, & enſemble pouſſant au loing de ſoy en avant avec ſa main gauche la garde & le bras du Contraire, luy aſſenant ſa pointe deſſous le bras au coſté droit; ainſi qu’il eſt repreſenté par les figures.
Circle No 10	Cercle N.10.
This is the final follow-on, and finish done by Alexander, by closing with his adversary with his raised left foot. He shifts his weight onto it and leans his body forward, pushing his thrust with full force through his opponent’s body, so that he easily forces him backwards to the ground. In accordance with the figures.	Voicy la derniere continuation, avec l’execution, faite par Alexandre en accoſtant ſa partie adverſe du pied gauche qui eſtoit eſlevé, ſur lequel il ſe charge & ſe panche du corps en avāt, pouſſant l’eſtocade precedente à pleine force par le coſté à travers du corps du contraire, de ſorte qu’il ne tient qu’à luy de le reverſer par terre; en conformité des figures.
Circle No 11	Cercle N.11.
Alexander has obliged his opponent’s blade along the Diameter at the Second Instance. Since he finds it resisting with an Alive Degree of Force, he brings it over and subjugates it to the inside on the left hand side, stepping with his left foot up to the letter R.	Alexandre ayant obligé l’eſpee Contraire par delà le Diametre à la Seconde Inſtance; comme il la retrouve en Poids vif, il la tranſporte & aſſujettit en dedans à main gauche, en marchant du pied gauche à la lettre R.
This proceeds from Circle No 2 from the preceeding Plate (XIX). Once having obliged his opponent’s sword (following the aforesaid instructions of the previous Plate) along the Diameter, at the Second Instance, and as his opponent is holding his blade against his with an Alive Degree of Force, Alexander then brings it over in a circular motion to the other side, moving his body forwards, stepping into the angle of his opponent’s blade with his left foot, which was mid-way towards the Second Instance, then, just before he was at the point of balance, he paused, changed direction and set it down at the letter R. At the same time, he subjugates to his left his opponent’s sword, No 2 to No 1, according to the figures.	C’eſt de la Table Precedente Cercle N.2. que la preſente operation procede. Car ayant obligé l’eſpee Contraire (ſelon leſdites inſtrućtions de la Table precedente) par delà le Diametre à la Seconde Inſtance; & que l’Adverſaire la tient en Poids Vif; Alexandre la tranſporte circulairement à l’autre coſté, en avançant le corps, & entrant du pied gauche, duquel, eſtant à my-voye de l’Inſtance, avant qu’il tresbuche, il fait un peu de pauſe, conſequemment avançant le coſté gauche au dedans des perpendiculaires de l’eſpee Contraire, & le plante ſur le Diametre à la lettre R, aſſujettiſſant enſemblement à ſon coſté gauche l’eſpee Contraire du N.2. à N.1 ſelon la repreſentation des figures.
Circle No 12	Cercle N.12.
Against the preceeding action, Zachary withdraws his arm with his sword backwards, to wound Alexander in his left side, which is turned forward. Alexander prevents this this, and parries, setting his left foot down at the Centre, his right side turned forwards, with his arm lowered and point rising to his left beside him.	Contre l’operation precedente Zacharie ſe retier le bras avec l’eſpee en arriere, faiſant intrade avec le pied droit, pour bleſſer l’Adverſaire au coſté gauche qui s’avance, Alexandre le previent & pare, en plantant le pied gauche ſur le Centre, le coſté droit tourné en devant, avec le bras deſcendant, & la pointe montant à coſté de luy.
This happens while Alexander moves his left foot and side forward, carrying the obliged sword over to subjugate it to the left hand side, as shown in the previous Circle. As he does, Zachary suddenly shortens his arm and draws his sword backwards, as he steps with his right foot onto the letter R on the Diameter, in order to wound his adversary in his left side, which is turned towards him. Alexander, feeling this, turns his right side forward, draws his left side away, and sets his left foot down at the centre of the Circle, bends his kneed and leans forward onto it, inside the lines of his opponent’s sword. Thus he closes off his left outside by placing his sword in between, his arm and guard lowered, point raised, holding the blades together with his 3rd Span against the 4th Span of his opponent, and in this way prevents him from giving his thrust. As is shown by the figures.	Durant qu’Alexandre s’avance le coſté gauche, avec le pied du meſme, en tranſportant l’eſpee obligée, pour l’aſſujettir à main gauche, en conformité du Cercle precedente; à ce meſme temps Zacharie retire tout ſoudain l’eſpee en arriere, accourciſſant le bras, & marchant enſemble avec le pied droit en avant ſur le Diametre lettre R, pour bleſſer l’Adversaire de ſa pointe, au coſté gauche qui s’avance; Alexandre, qui l’apperçoit par le Sentiment, ſe tourne incontinent le coſté droit en devant, deſtournant le coſté gauche, & plantant le meſme pied ſur le Centre du Cercle, ſur lequel il ſe panche, enpliant le genou, dedans les perpendiculaires de l’Eſpee Contraire; laquelle il forclot à ſon coſté gauche en dehors, par l’entremiſe de la ſienne, le bras avec la garde abaiſſé, & la pointe hauſſée, tenant les lames accouplées de ſon N.3. le N.4. du Contraire, luy empeſchant en ceſte ſorte de venir à l’execution de ſon eſtocade; comme il eſt demonſtré par les figures.
Circle No 13	Cercle N.13.
Alexander continues to follow his action before his opponent can complete his movement, by stepping suddenly in with his right foot, along the Diameter at the Inside Square on the letter S, bending his knee, leaning his body forward onto it, and his right hand in no way lowered, but held against his body. As the figures demonstrate.	Alexandre continue icy à pourſuivre l’operation precedente, avant que le mouvement du Contraire ſoit achevé, en marchant ſoudain avec le pied droit dedans, par deçà le Diametre ſur le Quarré Inſcrit lettre S, avec pliement du genou, le corps panché deſſus en avant, & le bras droit aucunement abaiſſé contre le corps; ainſi que les figures demonſtrent.
Circle No 14	Cercle N.14.
Here we have the last follow-on, added to the last without any pause between them whatsoever, in such a way that Alexander suddenly turns his body to the left on his stopped feet, without moving them, disengaging from his opponent’s blade, by means of a push of his own blade right backwards with one hand extended out, bringing his tip down over his left arm, holding his blade against his chest, and coupled with the left side of his body leaning forward, he hits with the point on his ennemy’s right side. According to the figures.	Icy vous voyez la derniere pourſuite annexée à la precedente ſans nulle pauſe entremoyenne, de façon qu’Alexandre pourſuit tout ſoudain à tourner le corps à main gauche ſur les pied arreſtez, ſans qu’ils bougent de leur place, quittant enſemblement la lame Contraire, par le moyen qu’il jette la ſienne à la faveur du ſeul poignet, avec le bras eſtendu tout droit en arriere, de haut à bas ſur le bras gauche, la ſerrant contre ſa poitrine, & enſemble avec le coſté gauche du corps panché en avant, il donne l’atteinte de pointe au coſté droit de l’Ennemy; ſuivant la repreſentation des figures.
Circle No 15	Cercle N.15.
Finally, here we see the final move which Alexander makes without any pause at all, stepping with his right foot onto the letter X on the Circumference. He shifts his weight onto it and leans forward on bent knee, bringing the previous thrust to full force and pushing forcefully through his opponent’s body, enough to force him to fall backwards onto the ground. As we can see by the figures.	Finalement voicy l’execution, qu’Alexandre pourſuit tout d’un meſme train ſans nul arreſte quelconque, en marchant ſur la Circonference lettre X, ſur lequel il ſe charge & panche en devant, avec le genou plié, ravivant l’eſtocade precedent à pleine force, & la puſſant en rigueur à travers du corps de l’Adverſaire, de ſorte qu’il a le pouvoir de le jetter meſme à l’envers par terre; comme il ſe peut voir aux figures.
So these movements, which Alexander performs one after the other such that that they form a single action, must be done so quickly and smoothly that one’s opponent has no time at all to do anything to counter them.	Or ces precedentes operations, qu’Alexandre vient de pratiquer toutes en ſuite juſqu’à l’execution, il faut qu’elles s’entreſuivent ſi viſte & ſi continuellement, qu’on ne donne point de loiſir a l’Adverſaire de faire aucune autre choſe alencontre.
Several who wish to catch us out, might think they have come across the perfect opportunity in this Plate XX, because, when they look at the figures they might believe that these are but contrived situations, which resemble more a theatrical display than the reality of a fight, and that the persons here are shown with such calm demeanour that it would be impossible to perform other than in this way, that is, with delicate precision, as a form of rehearsed spectacle, by mutually agreement to allow each other to approach so close beside and to such a favourable position as could only exist in the imagination. That is, to have a fight that went exactly according to one’s wishes. There their objection in fact has a fault in the point they would make. For those who are unknowing usually mistake the circumstances for the thing itself. One might tell them, in response, that if they could have a fight according to their wishes, then it would be enough to learn how to strike, and maybe two or three other lessons, which would serve in all cases, without any concern for the rest of it. But as that is an impossibility, and that the true Practitioner must be equipped to face a great number of circumstances, so variable, and so sudden, that it goes without saying that the scholar must first learn a great deal. We have not neglected to set these lessons here in proper order, each following those previous ones which are most similar. But even if these lessons are not useful in this particular order, it does not follow they will never be used at all. If those who object say that it is only by chance or by improvisation that these situations will come about, I say there is even more reason to equip oneself and to prepare for them, because on cannot expect to have a fight that goes only according to ones wishes. Any yet, occasions such as these are not as unfamiliar or rare as some might think. They are quite ordinary and even occur as often as any other, when one is passing another. Because then one always finds oneself beside and close to the opponent and in the same, or similar situations as those represented here. To the degree they do not understand the usefulness of our principles because their perception is coloured by others that they perceive as typical, the fault is still their own, that they do not adopt what they do not seek to understand. Because, as for the figures which, as they feel, do not display sufficiently angry faces or wide actions, it would be folly to give such moves more action than they require. To the degree they would wish to do that, it would mean there would be no point to choosing one posture or another. The way it is, is the most safe, to set the persons in the direct line posture, which is the most natural posture of all, and from which one must alway approach as close as is possible. Thus they are obliged to admit, despite themselves, that anyone who can perform these actions with ease, as our figures show, will be just as at ease using them in any other situation in which they find themselves, to the degree it is appropriate. The second reason, which is also the principal one, is that that the examination of these precepts should be done calmly, especially if used when the situation is otherwise. Just as performed in all the branches of knowledge, even those which seem to have no accordance in the world with abodes of the Muses. Behold the doings of war: can we not say the actions, which are horribly chaotic and tumultuous, yet can be described calmly? The finest arts of lively dances and of music, both vocal and instrumental, do they not require such an alacrity and grace in practice, that it would be an extreme folly for one just learning to try to imitate? The same is with other disciplines. Habit cannot be acquired without a solid understanding of the precepts, which cannot be learned without careful stucy, nor yet study without patience, nor patience without much time, effort, and consideration. And we cannot help but lay blame to a great degree, on popular practices, which are done in such a way that encourage the practice of wild abandon, with no consideration at all for ultimate goals, except to become used to working very quickly, in the hope of somehow finding favorable circumstances, as if there were nothing more to consider having seen a lesson two or three times, as if one chould overcome the Art through brute force. And in fact, they arrive sooner at the end of their art than we do of ours, but with much less secure a foundation. Also our precise consideration cannot be compatible with such precipitous haste. In a word, that which is most important of all, as our figures appear calm and poised, so the effect of our Art is to create such grace in those who practice, in place of more common practices which train others to be crude.	Pluſieurs qui nous voudront reprendre, en penſeront avoir rencontré en ce Tableau XX. la plus juſte occaſion, qu’ils ſauroyent pretendre: par ce qu’en examinant les figures, il leur ſera peut eſtre advis, que ce ne ſont que des occaſions controuvées, qui reſſemblent pluſtoſt à la Parade d’une pompeuſe magnificance, qu’à la verité d’une bataille, & que les perſonnes y tiennent une gravité ſi modeſte, qu’il ſeroit impoſſible de la pratiquer autrement qu’à noſtre mode, c’eſt a dire en courtoiſie, en forme de ſpećtacle, & par convenance mutuelle de laiſſer venir l’un l’autre ſi avant, & à coſté, & avec tel avantage qui ne conſiſte qu’en imagination. En ſomme que ce ſeroyent des belles choſes, ſi on pouvoit avoir la bataille à ſa fantaſie. Voilà ce qu’on nous objećtera ſans point de faute. Car les ignorants ſe prennent ordinairement pluſtoſt aux circonſtances, qu’aux choſes meſmes. Diſons leur donc pour reſponſe, que ſi on pouvoit avoir la bataille à ſa fantaſie, que ce ſeroit aſſez de bien porter la botte, & puis encor deux ou trois petites leçons, qu’on ſeroit ſervir à touts propos, ſans ſe ſoucier du reſte. Mais d’autant que cela eſt impoſsible, & que la vraye Pratique doit eſtre munie contre un ſi grand nombre d’occurrences, ſi variables & ſi ſoudaines, qu’il eſt ſans contredit neceſſaire que l’Eſcholier ait au paravant eſtudié une bonne partie; nous n’avons pas voulu manquer à les mettre icy en leur ordre; & ſelon la ſuite des autres operations, avec les quelles elles ont plus de ſimilitude. Or ſi elles ne viennent pas en uſage en ceſte meſme ſorte, il ne s’enſuit pas pourtant qu’elles n’y viennent jamais? Et s’ils diſent que c’eſt par fortune ou à l’improviſte qu’on s’y retrouve, je diray qu’il y a d’autant plus de raiſon de s’armer & preparer alencontre, pource qu’il ne faut pas attendre d’avoir la bataille à ſa fantaſie. Et cependant, que ces occaſions ne ſont nullement ſi eſtranges ny rares comme ils penſent; car elles ſont fort ordinaires, & meſmes il ne s’en preſente quaſi nulles autres, quand ce vient à faire des paſſades. Car alors on ſe retrouve touſiours à coſté, fort pres de l’Adverſaire, & en ces meſmes ou ſemblables ſituations qui ſont icy repreſentées. De ſorte que s’ils ne comprennent pas l’utilité de nos preceptes pource qu’ils ſont agencez de quelques autres couleurs, que de celles qui leur ſemblent ordinaires, qu’ils s’en attribuent la faute à eux meſmes, ſans reprendre ce qu’ils n’ont pas comprins. Car quant aux figures qui ne font pas aſſez de mauvaiſes mines, comme il leur ſemble, ce ſeroit folie de leur attribuer plus de mouvements que les operations ne requierent. Et combien qu’on le vouluſt ainſi faire, toutesfois il n’y auroit point de raiſon de choiſir pluſtoſt l’une poſture que l’autre. De maniere que c’a eſté le plus ſeur de mettre les perſonnes en poſture de la droite ligne qui eſt la plus naturelle de toutes, & de laquelle on ſe doit touſiours approcher le plus qu’il eſt poſſible. Auſſi ſont ils contraints de confeſſer, malgré qu’ils en ayent, que celuy qui ſaura pratiquer ces operations avec tant de facilité, que nos figures demonſtrent, auſſi en fera il le meſme en quelque autre ſituation qu’il ſe retrouve, moyennant qu’elle ſoit propre. La ſeconde raiſon, qui eſt auſſi la principale, c’eſt que l’examen des preceptes doit eſtre modeſte, encores que l’uſage en fuſt autre. Comme il ſe pratique en toutes les Sciences, meſme en celles qui ne ſemblent avoir nulle accoinſtance du Monde au repos des Muſes. Voyez le fait de la guerre, Les aćtions, combien en ſont elles horribles & tumultueuſes, & cependant les inſtrućtions combien paiſibles? L’art de ſauter danſer & la Muſique Vocale & inſtrumentalle, ne requierent ils pas une ſi grande promptitude & viſteſſe en la pratique, que ce ſeroit une folie extreme de la vouloir imiter au commencement de l’apprentiſſage? Le ſemblable en eſt il auſsi des autres diſciplines. L’habitude ne ſe peut acquerir ſans une ſolide cognoiſſance des preceptes, qui ne peut eſte ſans examen, ny l’examen ſans patience, ny la patience ſans temps, ſans induſtrie, ſans modeſtie. Et c’eſte ce que nous ne pouvons laiſſer de blaſmer grandement en l’Exercise vulgaire, qui eſt façonné de telle ſorte, qu’on s’y adonne tout incontinent à la pratique, ſans nulle conſideration ulterieure, ſinon de s’accouſtumer à travailler fort viſte, en eſperance de rencontrer aucunesfois les occaſions favorables, comme s’il n’y avoit rien à conſiderer d’avantage, apres qu’on a veu monſtrer une leçon deux ou trois fois, comme s’il faloit emporter l’Art par violence. Et de fait ils arrivent pluſtoſt à leur pratique, que nous à la noſte, mais c’eſt avec moins de fondement. Auſſi noſtre conſideration ſi exaćte ne peut compatir avec une haſtivité ſi preciptée. Et pour dire en un mot ce qui importe plus que tout le reſte, comme nos figures ſe demonſtrent paiſible & modeſtes, auſſi l’effet de noſtre Art eſt de rendre telles les perſonnes qui s’y adonnent, au lieu que l’Exercice Vulgaire les rend plus farouches par l’accouſtumance du contraire.

Book 1 - Tableau / Plate XXI - Direct Attacks (Actions of Primary Intention)

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE TWENTY-FIRST PLATE	DECLARATION DES OPERATIONS DV TABLEAV VINGT ET VNIEME
From here on, we shall discuss Strikes of Primary Intent, which are more aggressive than the others, and which are closer in nature to the older style of giving a hit. Not because they are founded on other axioms, but because the timing is faster, and they are performed with larger motions. A style, if I am not mistaken, more appealing and satisfyingto the common fighter than the preceeding sequences of moves, which are slower, because they are done in a more reserved, deliberate manner. No doubt they would rather choose to learn these moves before the others, if they could, to mix a few of our precepts into their own lessons or contrivances. They delude themselves, and not just a little bit, if they value these lessons above the earlier ones. They might scramble the order of lessons, and try to learn these before those which must, of necessity, come first. But the following movements cannot give protection unless they are building upon a solid foundation of the preceeding exercises and actions. Since the timing of these is faster, the distance further, and the movements greater, so the sense of feel must be more finely developed to compensate and thereby succeed in making the approach and strike with a single motion. Therefore, before one can learn these, one must learn the others first, for if one cannot do the parts themselves well, that is, to subjugate a sword without necessarily hitting, then to hit, it will be even more difficult to learn these two things at the same time. Furthermore, since the term Primary Intent may perhaps appear to be strange to one who has not fully considered its implications, I must give a quick explanation that the Primary Intent is that goal which takes precedence before all others. Consequently the Strike of Primary Intent is that which comes directly at the enemy from the First Instance, without first trying to subjugate his blade. In the end, it seems to be the best description. If to you, dear reader, it seems otherwise, then I beg of you to take a moment to consider the thing, not the word.	Voicy que nous irons parler doresnavant des coups de Premiere Intention, qui ſont plus furieux en apparence, que les autres, & s’approchent de plus pres à la maniere ancienne de porter la botte: non pas qu’ils ſoyent fondez ſur autres axiomes, mais que les temps en ſont plus viſtes, & qu’ils ſe pratiquent en des plus grandes Meſures. De maniere que les vulgaires s’en tiendront pour mieux ſatisfaits, ſi je ne me trompe, que des operations precedentes; qui eſtoyent plus tardives, pource qu’elles travailloyent avec plus de reſerve. Auſſi ne faut il pas douter, qu’ils ne choiſiſſent pluſtoſt celles cy, que celles là, s’il leur vient en la fantaſie, de vouloir meſler un peu de nos preceptes parmy leurs propres leçons ou inventions. En quoy ils ne s’abuſeront pas gueres, d’eſtimer ces dernieres operations plus nobles; mais peut eſtre, en ce qu’ils voudront pervertir l’ordre, d’apprendre devant, ce qui doit aller neceſſairement derriere. Car ceſte derniere aſſeurance ne peut conſiſter ſans eſtre baſtie ſur le fondement de ces autres operations preallables; voir autant que les temps ſont icy plus viſtes, les meſures plus larges, & les mouvements plus grands, autant faut il en recompenſe que le Sentiment du Poids ſoit plus habile, pour gaigner l’approche avec le coup meſme. Et pourtant, s’ils veulent apprendre celles cy, qu’ils apprennent les autres devant. car s’il leur eſt impoſſible de faire une choſe ſeule et à part, aſſavoir d’aſſujettir l’eſpee, ſans donner l’atteinte, à plus forte raiſon leur ſera il difficile, de faire touts les deux enſemble. Au reſte, pource que le nom de Premiere Intention ſemblera paradventure eſtrange, à un qui ne l’aura pas conſideré de pres, il faut que je die un mot, que la Premiere Intention eſt celle, qui va devant toutes les autres; & par conſequent nous qualifions le coup de Premiere Intention, celuy qui eſt porté ſur l’Ennemy dés la Premiere Inſtance, ſans taſcher preallablement d’aſſujettir ſa lame. En fin le mot nous ſemble eſtre fort propre: & à vous Lećteur s’il vous ſemble autrement, ſoyez prié de vous arreſter pluſtoſt à conſiderer la choſe, que les paroles.
Circle No 1	Cercle N.1.
Zachary takes his place on the Circle, presenting his sword to his opponent in the Straight Line posture. Thus Alexander sets himself opposite at the First Instance, throwing his sword out into the Straight Line posture, parallel to and beneath his opponent’s.	Zacharie, s’eſtant planté premier ſur le Cercle, preſente l’eſpee à ſa partie avec le bras eſtendu, en droite ligne, afin qu’il travaille deſſus. Dont Alexandre ſe plante à l’oppoſite en Premiere Inſtance, jettant l’eſpee en ligne droite parallele deſſous le Contraire.
Zachary has set himself in position in his Quadrangle, the toes of his right foot on the letter X on the Circumference, his heel on the line XY, and his left foot on the Pedal Line in front of the letter Z, and standing upright and erect, presents his sword with his arm extended, in the Straight Line posture, awaiting his enemy. Against this Alexander approaches, taking two or three paces according to the distance between them, so as to set his right foot on the ground in the Quadrangle opposite, his toes on the letter C along the Circumference, at the same time throwing out his sword from on high, that is, an obtuse angle, to rest in the same Straight Line posture, his blade parallel to and beneath his opponent’s, drawing his left foot behind, as if pulled forward by his sword, guided by the nerves and muscles of his arm, up to the Pedal Line before the letter A, as he turns the heel of his right foot onto the line CB, such that he presents himself, straight and standing properly at the First Instance, as is shown by the figures.	Zacharie s’eſtant mis en poſture dedans ſon Quadrangle, les oretils du pied droit ſur la Circonference lettre X, le talon du meſme ſur la ligne XY, & le pied gauche ſur la ligne Pedale devant le Z, ſe tenant ainſi perpendiculairement droit & proportionné, preſente l’eſpee, d’un bras eſtendu, en droite ligne, pour attendre que l’Ennemy travaille. Sur quoy Alexandre l’approche de deux ou trois pas, ſelon la diſtance qui eſt entre deux, met le pied droit en terre au Quadrangle oppoſite, le bout d’iceluy ſur la Circonference lettre C, jettant au meſme tēps l’eſpee de haut, aſſavoir de l’angle obtus, en pareille droite ligne, parallele au deſſous de la contraire, avec le pied gauche trainé à la ſuite, qui eſt comme tiré en avant, à l’occaſion du jettement de l’eſpee par les nerfs & muſcles du corps, ſur la ligne Pedale devant la lettre A, comme le talon du pied droit en eſt tourné ſur la ligne CB, de façon qu’il revient ainſi tout droit & bien proportionné à la Premiere Inſtance; ainſi qu’il eſt repreſenté en leurs figures.
Circle No 2	Cercle N.2.
While Alexander has his foot raised, together with his arm, in order to perform the action of the following circle, Zachary enters in on his right foot aiming hit point towards his opponent’s face. At which Alexander advanes and enters in with already-raised foot, contacting the centre of his sword to his opponent’s blade, sliding the point of contact along, he thrusts through his head.	Cependant qu’Alexandre eſleve le pied droit, enſemble le bras avec l’eſpee, pour faire l’operation du Cercle ſuivant; Zacharie entre avec le pied droit deſſus, tirant de pointe vers le viſage de ſa partie; à l’occaſion de quoy Alexandre s’avance & entre avec le meſme pied eſlevé, accouplant le Centre de ſon eſpee à la lame contraire, laquelle graduant, il luy donne une eſtocade à travers la teſte.
So, as Alexander begins the sequence of actions which conclude with those shown in Circle No 3, at the instant he raises his right foot, together with his arm and sword, intending to cover his opponent’s blade from above, Zachary seizes the time and enters in with his right foot along the Diameter to the letter R, and, his arm extended, body leaning forward, knee bent, takes aim at his opponent’s face. At which Alexander, at the same time as his opponent’s point passes beside his hilt, catches it with the centre of his sword at the 3rd or 4th Span, and, sliding the point of contact up the blade as he steps in with his right foot near the Oblique Diameter to the second line crossing the Interior Collateral, his left foot following with a proportional step, thereby closing the direct line and forcefully wounding his opponent in the face and driving through his head. As we can see by their figures.	Or ainſi qu’Alexandre ſe met en train de pourſuivre l’operation encommencée, pour venir à l’execution, qui eſt repreſentée au Cercle N.3. à l’inſtant qu’il eſleve le pied droit, enſemble avec le bras, & l’eſpee, pour couvrir la contraire par en haut avec la ſienne; Zacharie prend le temps, & entre avec le pied droit ſur le Diametre à la lettre R, en tirant avec le bras eſtendu, le corps panché en devant, & le genou plié, vers le viſage de ſa partie; ſur quoy Alexandre, au meſme temps que la pointe contraire luy vient paſſer à coſté de la garde, il la ſurprend avec le Centre de la ſienne au N.3. ou 4. en graduant avec l’intrade du pied droit, qui marche par delà le Diametre ſur la ſeconde entrecoupure de la Collaterale Interieure, le pied gauche le ſuivant proportionnellement, fermant ainſi la droite ligne, de ſorte qu’il le bleſſe en rigueur au viſage & luy paſſe la teſte; comme on le voit en leurs figures.
Circle No 3	Cercle N.3.
This is the continuation from Circle No 1, where Alexander, having raised his right foot, his right arm and his sword, crosses the blades and sets his guard above his adversary’s sword-tip, and follows by entering with his raised foot, setting the centre of his blade under the other, slides the point of contact up the blade, and, as he draws his left foot up, aims his point directly at his opponent’s face.	C’eſt icy la purſuite du Cercle N.1. ou Alexandre eslevant le pied droit, avec le bras & l’eſpee, emporte la garde, croiſant les lames, au deſſus de la pointe contraire, pourſuivant à entrer avec le pied eslevé, en mettant le centre de ſa lame deſſous l’autre, laquelle graduant, il dreſſe ſa pointe, moyennant la pourſuite du pied gauche, contre le viſage de la partie adverſe.
This action follows from Circle No 1, where the two set themselves at the First Instance, swords extended in the Straight Line posture, that of Alexander beneath his opponent’s sword. So, in this Circle, he will raise his right foot and, at the same time, his arm and sword, he turns the exterior branch of his crossguard upwards, and with his interior branch beneath his opponent’s blade, he makes contact just beyond the tip. He continues this action by sliding the point of contact up the blade, to the 1st or 2nd Span, catching it from beneath while he steps forward onto the Oblique Diameter at the letter I, directing the sword away to the side. He draws his left foot up behind with a circular motion to the letter G on the Inside Square, where he sets himself upright on it, his left side slightly more forward, and puts his sword-tip in front of his opponent’s face. According to the figures.	Ceſte operation procede de la ſuite du Cercle N.1. ou ils ſont plantez touts deux en Premiere Inſtance, avec les eſpees en droite ligne, celle d’Alexandre parallele au deſſous de l’eſpee contraire. Or en ce preſent Cercle il va pourſuivre, en eſlevant le pied droit en haut, enſemble avec le bras et l’eſpee, en mettant la branche interieure de la garde tout pres & deſſous la point ennemie, pour tourner la branche exterieure diagonalement vers le haut, & croiſer de la pointe un peu outre l’eſpee contraire, laquelle il pourſuit enſemble à graduer avec le bras eſtendu, en la ſurprennant par deſſous avec ſa branche interieure à 1. ou 2. Nombres, & entrer avec le pied droit eſlevé par deçà le Diametre lettre I, le pied gauche pourſuivant circulairement ſur le Quarré Inſcrit lettre G, où il ſe dreſſe le corps deſſus, avec le coſté gauche un peu avancé, luy mettant ſa pointe devant le viſage; ſelon la repreſentation des figures.
Circle No 4	Cercle N.4.
And here we come to the finish, which Alexander does immediately, with a step in with his right foot falling beyond the letter Q where the line intersects the Interior Collateral. He leans his body forward, knee bent, arm extended, sliding the point of contactd up the swords, so that the two guards connect forceably, bending his opponent’s arm back, forcing his tip to fly upwards as he wounds his opponent through the head. As the figures show.	En voicy à ceſt heure l’execution, qu’Alexandre pratique tout en ſuite, avec l’intrade du pied droit tombant à terre outre la lettre Q ſur l’interſećtion de la Collaterale Interieure, ſur lequel il ſe panche le corps en devant, le bras eſtendu, graduant les eſpees, avec le genou plié, de façon que les deux gardes s’entretouchent à grande force, en bleſſant le Contraire au travers de la teſte, luy faiſant plier le bras avec la pointe de l’eſpee aſcendante; ainſi que les figures demonſtrent.
Circle No 5	Cercle N.5.
While Alexander is entering in with his right foot to perform the action of Circle No 3, Zachary parries the blow, shifting the swords to his left hand side. At the same time, Alexander sets his raised right foot down on the Diameter at the letter I, followed by bringing his left almost to the letter S, while setting the tip of his sword in front of his opponent’s face.	Durant q’Alexandre entre avec le pied droit, poour faire l’operation precedente du Cercle N.3. Zacharie en pare le coup, en tranſportant les eſpees à main gauche; au meſme temps Alexandre plante le pied droit eslevé par deçà le Diametre à la lettre I, pourſuivant à mener le gauche quaſi à la lettre S, mettant enſemble la pointe de ſa lame devant le viſage du Contraire.
Beginning with the action from Circle No 1, while Alexander moves forward and enters with his right foot to perform the actions of Circle No 3, Zachary parries his blow, by increasing his force on the blade upwards, to move it over to his left side. Alexander resists against this, responding with equal force against him and setting his right foot at the letter I on the Diameter, while following along quickly with his left foot. While his foot is raised to move forward, he hesitates a moment, before falling forward. At this, Zachary again increases the force on his blade, so that he moves his opponent’s over to his left hand side. As his sword passes safely over Alexander’s head, Alexander turns the exterior branch of his crossguard downwards, with his arm bent so as turn the tip of his sword inside towards his opponent, whose blade falls against the strong part of his, as he turns his left side forward and sets his left foot down on the Oblique Diameter between the letters Q and S, and thereby sets the tip of his sword, with arm bent and held high, precisely in front of his opponent’s face. As the figures show.	Apres l’operation du Cercle N.1. cependant qu’Alexandre s’avance & entre avec le pied droit, pour mettre en effet celle du precedent Cercle N.3. Zacharie luy va parer le coup, en augmentant le poids de ſa lame vers le haut, pour les tranſporter à main gauche; En quoy Alexandre luy reſiſte, y appliquant auſſi tant plus de poids à l’advenant, & plantant le pied droit par deçà le Diametre à la lettre I, en pourſuivant ſoudainement avec le pied gauche, duquel durant l’avancement qui va un peu par haut, il fait un peu de pauſe, avant qu’il tresbuche. Sur quoy Zacharie renforce derechef ſa lame, de façon qu’il tranſporte la Contraire à ſon coſté gauche. Or ainſi que ſon eſpee paſſe outre la teſte d’Alexandre, iceluy tourne la branche exterieure de ſa garde, avec le bras courbé, contremont, tournant enſemble la pointe de ſa lame en dedans devers le Contraire, de qui la lame s’en eſcoule au fort de la ſienne, plantant le pied gauche eſlevé, en avançant le coſté gauche ſur le Diametre oblique entre les deux lettre Q & S, ainſi luy met la pointe de ſa lame, avec bras courbé en haut, devant le viſage, en courtoiſie; ſelon qu’il eſt moſtré par les figures.
Circle No 6	Cercle N.6.
As Alexander has set his tip, with his arm bent, in front of his opponent’s face, in this Circle, Zachary turns it aside, and pushes down using a Very-Strong Degree of Force. Therefore, Alexander disengages from his opponent’s blade, twisting his wrist so as to move his blade backwards and down, so his opponent’s blade falls forward. Keeping his body upright, he then continues to bring his blade around and up, cutting at his opponent’s face as he moves his arm forward. He redirects his step with his right foot a bit to the side, in order to make a large step outside the Circle, so that he moves further forward, behind his opponent’s back. This is not shown here for lack of space.	Comme Alexandre a mis ſa pointe, avec le bras courbé; devant le viſage de ſa partie; en ce Cercle preſent Zacharie la deſtourne, & pouſſe vers le bas, en uſant de Poids tresfort: dont Alexandre quitte la lame contraire, en jettant avec l’aide du poignet & delivrant au meſme temps la ſienne de par deſſous en arriere, en ſorte que la contraire en tresbuche, lors il continue à ramener la ſienne en haut, frapant de taille, avec le corps droit, & le bras avancé, au viſage de ſa partie, en deſtournant la demarche du pied droit un peu à coſté, pour faire un grand pas par deçà & au dehors du Cercle, de façon qu’il ſe met plus avant, derriere le dos de l’Adverſaire, qu’il n’eſt icy repreſenté en la figure à faute de place.
Circle No 7	Cercle N.7.
To finish, Alexander completes his handiwork by extending his arm so the tip of his blade passes beyond his adversary’s head and down at an acute angle. Leaning his body forward onto his right foot firmly on the ground, he then suddenly spins around, bringing his left foot forward as he moves his sword up, across the front of his head, and onto his left arm, so that he grabs it and holds it against himself, as he draws the tip in close. He then immediately continues his step pointing his left foot towards his adversary, shifts his weight onto it and swings his right foot behind him. With his body leaning forward, he sets his point precisely against his opponent’s back, so that he could easily thrust through and throw him to the ground. This is easily seen by the figures.	En fin Alexandre pourſuit la beſogne, en menant ſa pointe outre la teſte de l’Adverſaire, avec le bras eſtendu, deſcendant en angle aigu, le corps panché en avant ſur le pied droit planté à terre, ſur lequel il ſe volte ſoudain à main gauche, & ſe dreſſe, en eſlevant & conduiſant le pied gauche devers le corps, enſemble auſſi conduiſant l’eſpee de bas en haut par devant ſa teſte ſur ſon bras gauche, qu’il ſerre à ſon coſté, en raccourciſſant la pointe, & puis continue à marcher tout ſoudain avec le pied gauche eſlevé en avant devers le Contraire, luy mettant, avec le corps panché ſur le devant, la pointe en courtoiſie contre le dos, de façon qu’il eſt en luy de le tranſpercer, & le jetter par terre; comme il eſt aiſé à voir par les figures.
Circle No 8	Cercle N.8.
While Alexander advances and enters in with his right foot, sliding the point of contact up the sword to hit the face, as in Circle No 3, in this Circle, Zachary parries him and forces his sword upwards. He uses such force, that Alexander allows this, as his right foot comes down at the letter I. He enters with the left foot setting it on the line between the letters V & W, and then hits Zachary’s right side.	Durant qu’Alexandre s’avance & entre avec le pied droit, en graduant l’eſpee contraire, pour donner le coup au viſage, comme au Cercle N.3. Zacharie le pare & deſtourne en ce Cercle preſent vers le haut, en uſant de force, de maniere qu’Alexandre le laiſſe aller, plantant le pied droit eslevé à la lettre I, & faiſant l’intrade avec le gauche ſur la ligne entre les lettres V & W, en luy donnant l’atteinte au coſté droit.
This begins in Circle No 3, where Alexander advances and enters in with his right foot from the First Instance, sliding the point of contact up the sword to hit the face, but, as we see here, Zachary has parried his blow upwards, using considerable force. As Alexander lowers his right foot to the ground at the letter I, he disengages from his opponent’s sword, so that it continues to fly upwards, and then makes a sudden entrance with his left foot. He brings his sword down, pressing his arm firmly against his right side, and moving his left side forwards he steps a bit beside the letter V on the Diameter. There he leans forward, his knee bent, followed by drawing his right foot a bit after, while, at the same time, he wounds his Adversary on the right side beneath his raised arm. As the figures demonstrate.	La preſente à ſon origine du Cercle N.3. où Alexandre s’avance & entre avec le pied droit de la Premiere Inſtance, en graduant l’eſpee contraire, pour le toucher au viſage, mais comme il eſt repreſenté en ce Cercle preſent, Zacharie luy pare le coup vers le haut, en uſant de force; ſui qu’Alexandre abaiſſe au meſme temps le pied droit en terre à la lettre I, en deſtachant l’eſpee contraire, de ſorte qu’elle s’enſuit vers le haut, continuant ſoudain à faire intrade avec le pied gauche, en affermiſſant le bras, avec l’eſpee deſcēdante, à ſon coſté gauche du corps, il plante le pied eſlevé un peu par deçà le Diametre lettre V, où il ſe pance en avant ſur le genou plié, pourſuivant du pied droit le trainant un peu apres, en bleſſant à meſme temps ſon Adverſaire deſſous le bras envolé, au coſté droit; ainſi que les figures demonſtrent.
Circle No 9	Cercle N.9.
This is very much like the previous action, except Zachary’s steps were before done after turning aside the thrust upwards, but now done downwards. Against which Alexander, again stepping in with his left foot, wounds him in the face from across the arm.	Ceſte cy eſt du tout ſemblable à l’operation precedente, berſmis[unclear?] que la parade de Zacharie a eſté faite auparavant en deſtournant l’eſtocade en haut, & maintenant en bas; à l’occaſion de quoy Alexandre, faiſant derechef l’intrade avec le pied gauche, le bleſſe par deſſus le bras au viſage.
Here is yet another move, which also begins in Circle No 3, where Alexander advances and steps in with his right foot, sliding the point of contact up his opponent’s sword, and aiming a thrust towards his face. This is turned aside, in this Circle, by Zachary by forceably pushing his opponent’s sword with his own to the left side and downwards. Therefore, Alexander steps in with his left foot, bringing the blade back with a circular disengage underneath, pressing his hand against his right side, allowing his opponent’s sword to overbalance and drop. He sets his toes down a bit further along the Diameter at the letter V. He leans forward, bending his left knee and drawing his right foot along behind as he delivers a thrust, his point raised above his opponent’s arm, to his face. As rhe figures show.	Enſuite encor une autre, qui a le meſme commencement du Cercle N.3. où Alexandre s’avance & entre avec le pied droit, en graduant l’eſpee contraire, & luy tirant une eſtocade devers le viſage; laquelle eſt deſtourné en ce preſent Cercle par Zacharie, en pouſſant l’eſpee contraire d’un grand effort avec la ſienne à main gauche vers le bas. Dont Alexandre faiſant l’intrade avec le pied gauche, rameine ſa lame par cavation de deſſous en deſſus, l’affermiſſant avec le bras à ſon coſté droite, en laiſſant eſchapper & tresbucher la contraire, ainſi il plante les orteils du pied eſlevé un peu en deçà le Diametre lettre V, ſur lequel, tant par la pliure du meſme genou, comme par l’entrainement de l’autre pied, il ſe panche en devant, & enſemble porte un coup d’eſtocade, avec ſa pointe montante au deſſus du bras contraire, au viſage d’iceluy; ſelon qu’il eſt repreſenté par les figures.
Circle No 10	Cercle N.10.
After both are holding their swords in the Straight Line posture at the First Instance, Alexander moves his right foot forward and raises his arm a little, such that he moves the exterior branch of his crossguard into contact with the 1st or 2nd Span of his opponents sword, which he then crosses over from above with his blade, then slides the point of contact along as he sets his foot down at the letter I on the Oblique Diameter. By leaning slightly backwards and drawing his left foot up in a circular path, he sets his point in front of his opponent’s eyes.	En ſuite de ce que touts deux ont tenu les eſpees en droite ligne à la Premiere Inſtance; Alexandre avance le pied droit, & hauſſe enſemble un petit le bras, en ſorte qu’il en joint la branche exterieure de ſa garde par deſſous au 1. ou 2. Nombre de la lame contraire, laquelle croiſant & couvrant par en haut avec la ſienne, il va graduer, & planter le pied eſlevé par delà le Diametre à la lettre I, aſsiſté avec un panchement du corps à l’envers, de la pourſuite circulaire du pied gauche, en luy mettant la pointe devant les yeux.
The two opponents have faced each other at the First Instance, swords in the Straight Line posture, with Alexander’s sword below his opponent, as in Circle No 1. Now, in this current Circle, he raises his right foot, together with his arm and the tip of his sword up. As he advances, he makes contact by raising the outside branch of his crossguard to catch his opponent’s sword at the 2nd Span, crossing his blade over his opponent’s as he slides the point of contact up the blade, keeping his arm extended. As he enters with his right foot to the letter I on the Oblique Diameter, by leaning back slightly (assisted by a circular motion of his left foot to the letter G and straightening his body on it) he presents the point of his sword precisely at his opponent’s face. As we can see represented by the figures.	Les deux Contraires s’eſtants plantez preallablement en Premiere Inſtance, avec les eſpees en droite ligne; celle d’Alexandre paralelle au deſſous de la Contraire, comme au Cercle N.1. Maintenant en ce Cercle preſent, il eſleve le pied droit, avec le bras enſemble, & la pointe de ſon eſpee montante, de laquelle, en avançant le corps, il couvre & croiſe l’eſpee contraire, la ſurprenant en dehors du bras avec ſa branche exterieure au N.2. & graduant avec le bras eſtendu, de ſorte qu’en panchant le corps a lenvers, durant l’intrade du pied droit par delà le Diametre à la lettre I, il preſente enſemble la pointe de ſa lame (l’aſſiſtant de la pourſuite circulaire du pied gauche, pour mener ſur la lettre G, & dreſſer le corps deſſus) en courtoiſie droit au viſage de l’Adverſaire; comme on voit en la repreſentation des figures. [sic]
Circle No 11	Cercle N.11.
Alexander again performs the same action, as he enters in with his right foot, followed by the left, sliding the point of contact up his opponent’s blade. Zachary raises his arm and sword slightly so that he protects his face. As he does this, Alexander, at the same time, lowers the point of his blade while he uses his guard underneath his opponent’s sword to push it up as he slides the point of contact up the blade, forced by his step in with his right foot, and thus wounding his opponent under his arm on his right side.	Alexandre faiſant derechef la meſme operation, comme il fait l’intrade du pied droit, avec la pourſuite du gauche, en graduant l’eſpee de ſon Contraire; Zacharie leve un peu le bras avec l’eſpee, ſi qu’il encouvre le viſage; ſur quoy Alexandre au meſme temps abaſſe la pointe de ſa lame, en mettant enſemble le garde par deſſous contre l’eſpee de l’Adverſaire qui monte, laquelle il pourſuit à graduer ainſi par deſſous, moyennant l’intrade du pied droit, en bleſſant le contraire deſſous le meſme bras au coſté droit.
Here Alexander has already stepped in, with his right foot at the letter I along the Oblique Diameter and is already in the act of following with his left foot, as in the preceeding action. Against this, Zachary raises the level of his arm and sword slightly, parrying the strike, in such a way as to cover his face. So, Alexander, alerted by the feel of the blade, at the same time drops his point with a twist of the wrist, at the same time raising his guard up, which he presses upwards against his opponent’s sword, and continues to slide the point of contact up the sword, as he sets his left foot down at the letter G, and enters further with his right foot onto the Interior Collateral between L & Q. He shifts his weight onto his right foot and leans onto bent his knee as he thrusts his opponent underneath his raised arm on his right side, in accord with the figures.	Voicy qu’Alexandre s’eſt avancé preallablement en dedans, avec le pied droit par delà le Diametre à la lettre I, graduant l’eſpee, & eſtant deſia en aćte de pourſuivre aved le pied gauche, comme en l’operation precedente; ſur quoy Zacharie ſe hauſſe un petit à niveau le bras avec l’eſpee, & luy pare le coup, en ſorte que c’eſt tout qu’il ſe couvre le viſage. Or Alexandre en ayant l’advertiſſement du Sentiment, au meſme temps devalle ſa pointe à l’aide du poignet, s’eſleveant auſſi un peu le bras avec la garde, laquelle il accouple par deſſous à l’eſpee contraire, & continue à en faire la graduation, en mettant le pied gauche à la lettre G, & entrant du pied droit ſur la Collaterale Interieure entre les deux lettres L & Q, où il ſe va charger & pancher le corps deſſus avec le genou plié, en donnant enſemble une eſtocade au Contraire deſſous le meſme bras & l’eſpee qu’il hauſſe au coſté droit; en conformité des figures.
Circle No 12	Cercle N.12.
As Alexander steps in with his right foot, sliding the contact up his opponent’s blade, as in Circle No 10, Zachary forces his sword outside to the right hand side. Then Alexander, at the same time, with a turn of the wrist, does a circular disengage, making contact again from the inside further down the blade, then sliding up, he sets his foot down at the letter I, to be followed by his left foot, and presents his point in front of his opponent’s face.	Ainſi qu’Alexandre marche dedans avec le pied droit, en graduant l’eſpee contraire, comme au Cercle N.10. Zacharie luy tranſporte l’eſpee en dehors du bras à main droite. Dont Alexandre fait en ce meſme temps une cavation au contraire avec ſa lame à l’aide du poignet, l’accouplant en dedans du bras à moins de Nombres de l’eſpee contraire, laquelle graduant, il plante le pied eſlevé à la lettre I, pour pourſuivre avec le pied gauche, & luy preſenter ſa pointe devant le viſage.
While Alexander steps with his right foot and enters in from the First Instance along the Diameter, sliding the opponent’s sword to the outside or the arm, intent on a first attack to the face, as has been described in Circle No 10, to parry to blow, Zachary uses a powerful force to redirect the sword to his right hand side. At this, Alexander, through his sense of feel, at the same time, with a turn of the wrist, makes a circular disengage underneath to the inside resuming contact at the 4th or 5th Span of his opponent’s blade. He then slides the contact up the blade as he moves forward to set his right foot down at the letter I and set the point with precision, as he brings his left foot up in a circular motion to the letter G, right in the face of his adversary, barely touching him. As the figures show.	Durant qu’Alexandre marche & entre de la Premiere Inſtance avec le pied droit par delà le Diametre, graduant l’eſpee contraire par dehors le bras, pour le bleſſer de prime intention au viſage, comme il a eſté dit & repreſenté au Cercle N.10. Pour parer le coup, Zacharie luy deſtourne l’eſpee avec grand poids à main droite. Sur quoy Alexandre, qui l’appercoit par le Sentiment, fait au meſme temps avec ſa lame une cavation de dehors le bras en dedans, à l’aide du poignet, en accouplant le Centre au N.4. ou 5. de la Contraire, laquelle il gradue, en avançant le corps, pour planter le pied droit eſlevé à la lettre I, & preſenter ſa pointe en couroiſie (avec pourſuite cirulaire du pied gauche allant à la lettre G) droit au viſage de l’Averſaire ne tenant qu’à luy de le toucher; ſelong la repreſentation des figures.
Circle No 13	Cercle N.13.
So, as Zachary sees the point of his opponent’s blade up close to his face, as in the preceeding action, he turns it aside here, bringing his arm and sword upwards. At this, Alexander turns on his right foot so his left side is forward and at the same time bends his arm and lifts his sword up above his head, entering in with his left foot to the letter Q on the Oblique Diameter. He stands erect and again aims his sword, point downwards, precisely at his opponent’s face. As the figures demonstrate.	Or ainſi que Zacharie voit la pointe contraire tout contre ſon viſage, commme l’operation precedente porte; il la deſtourne en ce Cercle preſent, en menant le bras avec l’eſpee vers la haut. A l’occaſion dequoy Alexandre ſe tourne au meſme temps ſur le pied droit le coſté gauche du corps en avant, & ſe hauſſe pareillement l’eſpee avec le bras courbé plus haut que la teſte, & entre enſemble avec le pied gauche au deçà le Diametre à la lettre Q, preſentant derechef avec le corps eſtendu ſa pointe deſcendante en coutoiſie droit au viſage de l’averſaire; ſelon qu’il eſt demonſtré par les figures.
Circle No 14	Cercle N.14.
Here is the follow-on, from when Alexander has presented his sword-tip in front of his opponent’s face, which he did with the previous action. Zachary parries this, by raising his sword higher. Alexander, taking note of this movement, disengages his blade, and brings it down to cut at his opponent’s lower thigh, by sliding his thumb around, underneath the inside branch of his crossguard, and, at the same time as he passes his right foot beyond the Circle, he makes the cut. As we can see from the figures.	Voicy maintenant la ſuite, de ce qu’Alexandre a preſenté ſa pointe devant le viſage du Contraire, ſelong qu’il vient de faire en l’operation dernierement precedente: ce que Zacharie pare icy, en hauſſant le bras avec l’eſpee d’avantage. Alexandre prennant bonne garde à ce meſme mouvement quitte ſa lame, menant de la ſienne un coup de taille de haut à bas, en gliſſant le poulce deſſous ſa branche interieure, & paſſant avec le pied droit à ſon coſté en deçà au dehors du Cercle, luy donnant au meſme temps l’atteinte à los de la jambe droite; comme on le voit aux figures.
Once this action is completed, Alexander can use a modified version of Circle No 7, where he spins around on his right foot until he is facing his opponent. He swings his sword from just above the ground, up, around, and down over his head and drops it onto his left arm, which he then holds against his body, his other hand drawn back behind (to shorten the blade)* and thus, stepping with his left foot towards his opponent, he sets the point against his back. Having his body leaning forward, he has the power to throw his ennemy to the ground. This can be easily understood from the figures. Ref: Plate I, images G & H	Or ceſte operation achevée, Alexandre y pourra adjouſter pour ſuite dernier celle du Cercle N.7. où il ſe volte ſur le pied droit à main gauche, revenant droit avec le pied gauche eſlevé, delivrant & ramenant ſon eſpee à fleur de terre, laquelle il conduit à ce meſme temps tout droit en haut, & d’en haut de par deſſus ſa teſte la jette ſur ſon bras gauche, qu’il ſe ſerre contre le corps, ayant l’autre bras (pour tenir l’eſpee courte) eſtendu en arriere, ainſi marchant avec le pied gauche eſlevé devers ſa partie, il le touche de ſa pointe au dos, ayant le corps panché en avant, & le pouvoir de jetter l’Ennemy à terre; ſuivant ce qui eſt aiſé à comprendre par la repreſentation des figures.
Finally, revisiting the action of Circle No 5, wherein Alexander presented his point with precision before his opponent’s face with his arm bent, which Zachary parried by forcing the blades downwards, was followed by Circle No 6, where Alexander wounded him with a cut to the head coming over the arm and consequently finished with a thrust to his opponent’s back, as in Circle No 7.	Au reſte comme l’operation du Cercle N.5. où Alexandre a preſenté ſa pointe en courtoiſie devant le viſage de ſa partie, avec le bras courbé, a eſté ſuivie du Cercle N.6. où Zacharie la pare en pouſſant les eſpees vers le bas, dont Alexandre l’a bleſſé de taille à la teſte par deſſus le bras, & conſequemment fini l’operation avec l’eſtocade, à preſenter au dos de l’Adverſaire, comme au Cercle N.7.
It might also frequently happen that Zachary will choose to parry the attack in Circle No 5 upwards. To which Alexander will again bend his arm to present his sword the same way (as in Circle No 13) by bringing his arm up above the head, and consequently cut at his opponent’s right leg (as in Circle No 14) to continue the action as in Circle No 7.	Auſſi adviendra il ſouvēt, que la dite operation du Cercle N.5. ſera parée de Zacharie vers le haut; dont Alexandre luy preſentera pareillement ſa courbe (comme au Cercle N.13) en menant le bras plus haut que ſa teſte, & conſequēment en tirera le coup de taille à la jambe droite de ſa partie, (comme au Cercle N.14.) pour continuer la ſuite de l’operation du Cercle N.7.
In Circle No 12, we see something similar, as Alexander is shown there, setting the tip of his sword right in front of his adversary’s eyes. Zachary parries, bringing his arm and sword upwards (as shown in Circle No 13) and from there we see the actions in Circles Nos 14 & 7.	Le ſemblable en eſt du Cercle N.12. Car ainſi qu’Alexandre eſt repreſenté la, preſentant ſa pointe en dedans du bras droit aux yeux de l'Adverſaire; ce que Zacharie pare, en menant le bras & l’eſpee vers le haut, (comme on le voit au Cercle N.13.) dequoy s’en ſont enſuivies les operations des Cercles N.14. & N.7.
It sometimes happens that the adversary will step while forcing the blade down. Against this (as in Circle No 6) the response is a cut to the head, followed by the action of Circle No 7.	Ainſi adviendra il quelques fois, que l’Adverſaire fera là deſſus ſa parade, en pouſſant les lames vers le bas (comme au Cercle N.6.) ſur quoy ſera donné le coup de taille à la teſte; & en ſuite, l’operation du Cercle N.7.
In conclusion, one must be prepared to use pell-mell any of these actions, one after another, according to the situation as it appears, without being constrained by the order of our examples, governed by judgement and circumstance.	De ſorte qu’il faudra ſe ſervir peſle meſle de toutes ces operations, l’une parmy l’autre, ſelon que les occaſions s’en preſenteront, ſans s’attacher preciſement à l’ordre de nos examples qui doivent eſtre gouvernez par jugement, & ſelon les exigences.
So we see the advantage of our Art consists of, and is founded upon, small actions and subtle movements, by which on gains time and preserves one’s strength, until the opportunity comes to use them without restraint. Thus it is also necessary to be able to distinguish small preparatory moves of of one’s adversary to be able to form and execute our own plans against them. Thereby we shall find a great sense of comfort from the cautions which follow.	Ainſi que l’advantage de noſtre Art conſiſte & eſt fondé totalement en de petites aćtions & en des mouvement ſubtils, par leſquels on gagne temps, & reſerve on ſes forces, juſqu’à tant qu’il ſe preſente occaſion de les employer avec entiere reſolution: auſſi & il neceſſaire de ſçavoir exaćtement diſtinguer les petits mouvments, & les preparations d’icuex de la partie adverſe, pour former à l’advenant les noſtres. En quoy nous trouverons un grand ſoulagement par les advertiſſements qui s’enſuivent.
Firstly, what comes about frequently, is that an adversary, setting his feet in his Quadrangle, and presenting his sword in the Straight Line posture, sets his left foot (which should be exactly on the Pedal line) with his heel drawn back, outside his Quadrangle, so that his left shoulder is inclined so as to be behind him and appears on the outside of his profile. In this case, if Alexander presses against the blade from the outside, he will find the resistance on that side much stronger, but, in contrast, pressing against the inside will be that much weaker. From this we see that if he intends to peform any act of Primary Intent, he must work along the blade from the inside, moving his feet to the Oblique Diameter to his left, in order to hit his opponent.	Premierement qu’il advient ſouventesfois, que la partie adverſe, en plantant les pieds dedans ſon Quadrangle, & preſentant l’eſpee en droite ligne, tient le pied gauche (qui devoit eſtre tout à plat ſur la ligne Pedale) du tout ou en partie au dehors de ſon Quadrangle, le talon d’iceluy reculé en arriere, de ſorte que l’eſpaule gauche en decline dehors de pourfil en arriere. Or en ceſte occaſion, ſi Alexandre pouſſe avec ſa lame en dehors du bras contre celle de l’Adverſaire, il la trouvera de ce coſté la plus forte; & en pouſſant alencontre en dedans, autant plus foible. Parquoy s’il entend faire là deſſus quelque operation de Premiere Intention, il doit travailler par le long de l’eſpee contraire en dedans, en portant les pieds par deçà le Diametre à main gauche, pour le bleſſer en ceſte ſorte.
Sometimes, an adversary will present his sword in the Straight Line posture with his left foot forward, toes outside the Quadrangle, in such a way that his left side will be forward, and appears on the inside of his profile. And so, if Alexander presses against the inside of the sword, he will find the resistance much stronger, but if he presses from the outside at the same Span, it will be, again, that much weaker. So, if he wishes to have some advantage as does his Primary Intent work agains it, he will attack from the First Instance to the outside of the arm, where it is weaker, stepping [right] over to the Oblique Diameter and aiming his initial attack either at the left shoulder, which is pushed forward, and which is the closest target, or at the face.	Aucunesfois l’Adverſaire preſentera l’eſpee en droite ligne, ayant le pied gauche avancé au dehors de ſon Quadrangle, de maniere que le coſté gauche ſortira de pourfil en devant. Et alors ſi Alexandre attouch ſon eſpee avec la ſienne, il la trouvera renforcée en dedans du bras; mais s’il la touche en dehors avec Nobres egaux, il la trouvera derechef autant plus foible. S’il veut donc travailler de Permiere Intention là deſſus avec quelque avantage, il l’attaquera de la Premiere Inſtance en dehors du bras, où elle eſt plus foible, en marchant avec les pieds par delà le Diametre, & luy aſſenant le coup de Premiere Intention en l’eſpaule gauche, comme celle qu’il avance, & qui eſt le plus prochain point d’attouchement, ou bien au viſage.
There is also a difference in how the sword is held. Sometimes he will present in a Straight Line posture, inclining a little along the Diameter. So if Alexander sets himself there at the First Instance at the letter C on the Diameter contacting his opponent’s sword to the inside, he will find this will be from the start below his opponent. In this way Zachary could work against him from a position of advantage, if he took his time. And so, in order to work effectively at the First Instance against a sword, at such an incline above the Diameter, Alexander must set himself likewise at the First Instance, at the Circumference of the Circle along the Diameter, very close to his opponent’s point, but with his sword making contact to the outside, whether he sets his right foot forward or his left, and then continues to enter in against his adversary along the Diameter and attacking him, aiming a Primary Intention strike to the face.	Il y a auſſi de la difference en la tenue de l’eſpee meſme; aſſavoir qu’il la preſente aucunesfois en droite ligne, inclinant un peu par delà le Diametre. Dont ſi Alexandre ſe vient planter là deſſus à la Premiere Inſtance ſur le Diametre à lettre C, en attouchant l’eſpee contraire en dedans du bras, il trouvera que la ſienne ſera du commencement inferieure à l’eſpee contraire, de façon que Zacharie pourroit travailler en ceſte occaſion contre luy avec avantage, s’il prennoit bien le temps. Et pourtant afin de bien travailler de Premiere Intention ſur une telle eſpee, qui s’incline par delà le Diametre, il ſe doit planter pareillement en Premiere Inſtance à la Circonference du Cercle par delà le Diametre, tout droit en preſence à la pointe contraire, ſoit qu’il mette le pied droit devant, ou le pied gauche, & continuer ainſi d’entrer ſur l’Adverſaire par delà le Diametre, en luy attaquant l’eſpee par dehors le bras, & luy tirer un coup de Premiere Intention au viſage.
If it should happen that his opponent presented his sword slightly outside from the Diameter, Alexander must still be deliberately choose to adopt his his Straight Line Posture at the First Instance, to set his feet likewise along the same Diameter, even if close to the tip of his opponent’s sword, and to do his Primary Intention work against it by attacking and sliding the point of contact to the inside by entering in with his right foot.	Et s’il advenoit qu’il preſentaſt ſon eſpee, forlignant un peu par deçà le Diametre; auſſi faut il qu’Alexandre ſache alors eſlire ſa Premiere Inſtance, & planter les pieds en deçà le meſme Diametre pareillement, ſe mettant tout droit en preſence à la pointe de l’eſpee, qu’on luy preſente; & travailler deſſus de Premiere Intention, l’attaquant & graduant par dedans le bras avec l’intrade du pied droit.
These cautions are of greater importance now than they were before, which is why we discuss them here, and one must take all possible care to observe them in practice, not only in these actions of Primary Intention, but also in the previously shown actions of Secondary Intention, to duly subjugate the opponent’s sword.	Ces advertiſſements ſont de fort grande importance, & les doit on obſerver en la pratique le plus curiuſement, qu’il eſt poſſible, non ſeulement en ces operations de Premiere intention, mais auſſi en celles de la Seconde, pour aſſujettir deüement l’eſpee contraire, combien qu’ils ſont beaucoup plus neceſſaires en celles cy, que nous traittons maintenant, qu’ils n’ont eſté és autres precedentes.