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|EXPLANATION OF THE ACTIONS IN THE TWELFTH PLATE.
 
|EXPLANATION OF THE ACTIONS IN THE TWELFTH PLATE.
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|C’eſt la continuation du precedent, ou <font style="font-variant:small-caps">Alexandre</font> 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.
 
|C’eſt la continuation du precedent, ou <font style="font-variant:small-caps">Alexandre</font> 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.
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|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.
 
|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.
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{{master end}}
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{{master begin
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| title = Book 1 - Tableau / Plate XIII - Defeating or Defending With The Guard Raised High to Protect the Face
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| width = 60em
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}}
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{| class="floated master"
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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|-
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|Colspan="2"|[[file:Thibault L1 Tab 13.jpg|600px]]
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|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|EXPLANATION OF THE ACTIONS IN THE THIRTEENTH PLATE.
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|DECLARATION DES OPERATIONS DV TABLEAV TREIZIEME.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 1'''
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|'''Cercle N.1.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|<font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 2'''
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|'''Cercle N.2.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander 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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Puis que <font style="font-variant:small-caps">Zacharie</font> ne fait rien que attendre, <font style="font-variant:small-caps">Alexandre</font> commence à pourſuivre l’operation, accouplant par en haut ſa garde à la pointe de l’eſpee contraire à 1 out 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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 3'''
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|'''Cercle N.3.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Ceſt la continuation de la precedente, pratiquée par <font style="font-variant:small-caps">Alexandre</font>  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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 4'''
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|'''Cercle N.4.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Pour mettre fin à l’execution, <font style="font-variant:small-caps">Alexandre</font> 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 <font style="font-variant:small-caps">Zacharie</font>, eſtant deſia eſlevé en l’air à faute de reſiſtance.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 5'''
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|'''Cercle N.5.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Apres que <font style="font-variant:small-caps">Zacharie</font> s’eſt planté ſur le Cercle dedans le Quadrangle Z, preſentant l’eſpee en droite ligne; & qu’<font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|Thereupon Alexander performs the actions as in Circles No 2, 3, & 4, as follows.
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|Là deſſus <font style="font-variant:small-caps">Alexandre</font> pourſuit à pratiquer les operations des Cercles N.2.3.4. ſelon qu’il s’enſuit.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Durant que <font style="font-variant:small-caps">Zacharie</font> ſe hauſſe le bras & la garde de ſon eſpee qui eſt aſſujettie, pour s’en couvrir le viſage, avant que le mouvement ſoit àchevé, <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
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|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.
 +
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|Or combien que le mouvement de <font style="font-variant:small-caps">Zacharie</font>, aſſavoir de hauſſer le bras & la garde euſt eſté conduit à fin, <font style="font-variant:small-caps">Alexandre</font> n’euſt pas laiſſé pourtant de faire encor la meſme choſe; mais c’eſt le meilleur & le plus ſeur de prendre le temps meſme.
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|- style="font-family: times, serif; vertical-align:top;"
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|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’<font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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 +
|- style="font-family: times, serif; vertical-align:top;"
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|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.
 +
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|Quand <font style="font-variant:small-caps">Ale</font>xandre 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Par ainſi donc <font style="font-variant:small-caps">Ale</font>xandre 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 <font style="font-variant:small-caps">Za</font>charie 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Pour continuer l’operation <font style="font-variant:small-caps">Za</font>charie 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, <font style="font-variant:small-caps">Ale</font>xandre, 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
 +
 +
|<font style="font-variant:small-caps">Ale</font>xandre ſe va planter autrefois ſur le Cercle dedans le Quadrangle AC, luy preſentant l’eſpee en droite ligne: <font style="font-variant:small-caps">Za</font>charie 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’<font style="font-variant:small-caps">Ale</font>xandre; qui eſleve au meſme temps le bras avec la garde en haut, s’en couvrant le viſage; de façon que <font style="font-variant:small-caps">Za</font>charie s’en retrouve par delà le Diametre en la meſme ſituation qu’Alexandre eſt pourtrait au Cercle N.5.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 6'''
 +
 +
|'''Cercle N.6.'''
 +
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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. ''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Faiſant donc <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Zacharie</font> 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, <font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 7'''
 +
 +
|'''Cercle N.7.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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 +
|<font style="font-variant:small-caps">Alexandre</font> 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.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 8'''
 +
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|'''Cercle N.8.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|<font style="font-variant:small-caps">Zacharie</font> taſchant à executer encores la meſme entreprinſe, à tirer ſur Alexandre de la Seconde Inſtance, pour le bleſſer deſſous le bras; <font style="font-variant:small-caps">Alexandre</font> 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.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 9'''
 +
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|'''Cercle N.9.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 10'''
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|'''Cercle N.10.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Voicy <font style="font-variant:small-caps">Zacharie</font> qui a fait encor la meſme preuve, pour bleſſer l’Adverſaire en la meſme ſorte que deſſus: <font style="font-variant:small-caps">Alexandre</font> 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.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 11'''
 +
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|'''Cercle N.11.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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 +
|<font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 12'''
 +
 +
|'''Cercle N.12.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
 +
 +
|<font style="font-variant:small-caps">Zacharie</font> ſe plait à repeter encor la meſme preuve, qui luy eſt derechef annullée par la meſme operation du Cercle N.6. dont <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Circle No 13'''
 +
 +
|'''Cercle N.13.'''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|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.
 +
 +
|<font style="font-variant:small-caps">Alexandre</font> 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.
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Voyant donc qu’<font style="font-variant:small-caps">Ale</font>xandre a destourné ſi avantageusement & à tant de fois l’entreprinſe de <font style="font-variant:small-caps">Za</font>charie, 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Pour en venir à l’effećt, ils ſe vont remettre ſur le Cercle à la Premiere Inſtance en droites lignes. Et <font style="font-variant:small-caps">Ale</font>xandre, 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 <font style="font-variant:small-caps">Za</font>charie 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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 14'''
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|'''Cercle N.14.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Au meſme temps que <font style="font-variant:small-caps">Zacharie</font> travaille à deſcendre le bras, pour croiſer & aſſujettir la lame contraire; <font style="font-variant:small-caps">Alexandre</font> 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 <font style="font-variant:small-caps">Zacharie</font> 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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 15'''
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|'''Cercle N.15.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|C’eſt l’execution de la precedente, où <font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Voilà maintenant <font style="font-variant:small-caps">Za</font>charie 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, & <font style="font-variant:small-caps">Ale</font>xandre à pourſuivre comme au Cercle N.2. Dont <font style="font-variant:small-caps">Za</font>charie luy veut derechef aſſujettir la lame par le tour du bras & de la garde. <font style="font-variant:small-caps">Ale</font>xandre luy deſrobbe encor ſa pointe par deſſous le bras, & la luy met en courtoiſie devant le viſage, comme au Cercle N.14.
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|-
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|Colspan="2"|
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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 ripostes, ripostes to secondaries, secondaries to tertiaries 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.
  
 
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Revision as of 09:46, 30 April 2019

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

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

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

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

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

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

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

Treatise

The Academie de l'Espée (1630) is presented in two books. Book 1 consists of a short introduction, populated with plates showing the coats of arms of several nobles who were prominent in and around the court of the low countries at the time he wrote this book, and then introduces training in the use of his system of swordplay.

Thibault, although he does not explain until Plate 8, uses the term estocade to describe a thrust to the near, right side, and the term imbrocade to describe a thrust to the far, left side, from the Italian terms stoccata and imbroccata. English has a single term thrust to mean either, but did borrow the Italian term imbroccata to specifically refer to the latter type of thrust.

Plate I begins with a long philosophical discussion of his worldview. It is a good insight into the late Renaissance worldview relating mathematics and Christian religious beliefs to an idealized human figure. It then explains how to construct his Mysterious Circle. This includes a lengthy discussion of how the circle relates geometrically to the ideal body size, based on Vitruvius, and notes about how the lines and crossing points of the circle will be used. This is the basic reference diagram for the entire system. It also includes explanations of how to measure for the correct sword size for any given person, and some explanation of why this is so, and some introductory explanation of appropriate ranges for swordplay.

Plate II compares his ideal body measurements against a figure by Albrecht Durer. Part 2 discusses his ideal sword scabbard and how to construct and wear it.

Plates III & IV deal with how to properly draw a sword and how to approach an adversary.

Plate V introduces his fighting system. First, how to deal with feints (typical of the schools of the time) and defend against typical thrusts.

Plate VI introduces several basic concepts. The importance of maintaining contact between swords, not typical of schools of the time, and the basic steps to close with and thrust into an opponent. The first steps show the attack as if he were to make no defense. Then he assumes the opponent will try to disrupt the attack, and discusses how to deal with interruptions if they occur at various points during the movement.

Plate VII introduces an opponent using circular disengagements and counterthrusts to disrupt an attack, and how to counter them.

Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.

Plates IX & X introduces the idea of blade control and various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force.

Plate XI continues the exploration of how to deal with different degrees of force against the blade.

Plate XII shows how to create an angle between blades to move in against the opponent

Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.

The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on [www.geheugenvannederland.nl]. Search on Girard Thibault.


Additional Resources

References

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