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PREFACE.
PREFACE.
In the pages of this Manual an attempt is made to give full and practical instruction in Sabre and Singlestick Play, and in the use of Sabre against Bayonet, and also to explain the course of practice that is necessary for those who wish to perform the difficult sword feats which require at once strength and lightness of hand. How far I have succeeded in what I have sought to do it will be for the readers of these pages to judge; but I may perhaps be permitted to say that the book which I now ve
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HOW TO HOLD A SABRE.
HOW TO HOLD A SABRE.
In holding a light sabre, place the fingers round the grip so that the middle knuckles are in a line with the edge, and let the thumb lie on the back to enable you to direct the point. With a heavy sabre, the thumb should be placed round the grip, or you maybe disarmed by a strong beat made with a sword of the same weight. In singlestick, do not let the end of the thumb touch the hilt, or a hard blow on the hilt might seriously injure it. Hold the sword securely, but do not grasp it tightly, or
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PLATE I. Preliminary Position before going on Guard.
PLATE I. Preliminary Position before going on Guard.
Turn the left foot to the left, and place the right in front of it, so that the back of the right heel touches the inside of the left. The feet will then be at right angles. Easing the grip, let the back of the sword rest in the hollow of the right shoulder, the sword-elbow touching the right hip, and the hand in a direct line in front of it. Close the left hand, and place it on the back of the left hip (so that it cannot be seen from the front), with the elbow thrown back. Body half turned to t
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PLATE II. Engaging Guard.
PLATE II. Engaging Guard.
Move the sword-arm to the front until the hand is directly opposite the hollow of the right shoulder, bend the elbow slightly and raise it, sink the wrist, and turn up the middle knuckles and edge of the sword. Advance, and lower the point until it is nearly opposite and level with the left hip. Then advance the right foot about twice its own length straight to the front, and at the same time bend both knees well . Keep the body and head upright, and divide their weight equally between both legs
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PLATE III. Feinting.
PLATE III. Feinting.
A feint is a threatened attack made to induce your adversary to guard one part while you deliver the real attack on another. It is made by suddenly straightening the arm, without any movement of the body or feet, and directing the point at the place you wish him to guard. Feints are also made to find out a man’s method of defence and general style of play; when done for that purpose you should watch carefully what he does, and instantly return to your guard, but when it is your intention to foll
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PLATE IV. A Direct Lead Off at the Head and Guard.
PLATE IV. A Direct Lead Off at the Head and Guard.
This is the only direct cut in leading off that can be made with any degree of safety on a man who forms the engaging guard, shown in Plate II . It can be given in five different directions, viz.:— I prefer the cuts on the left side of the head, for the reasons that the extra turn of the wrist necessary for their execution adds considerable force to them, and that when the opposition is correctly formed the whole of the head is defended from a counter, which is not the case when the cuts are del
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PLATE V. Feint at the Head and Cut at the Left Cheek and Guard.
PLATE V. Feint at the Head and Cut at the Left Cheek and Guard.
This can only be done when a man forms his head guard with the point too high. Feint a cut at the head by straightening the arm and directing the point to a little above the centre of the forehead, edge of the sword turned downwards. Then, with the action of the wrist, and without touching your adversary’s blade, pass the sword to your right until you have cleared his point, and with a longe deliver a cut on his left cheek just below the ear, the edge of the sword slightly turned up so that the
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PLATE VI. Feint at the Head and Cut at the Left Breast, and Guard.
PLATE VI. Feint at the Head and Cut at the Left Breast, and Guard.
This is done under the same circumstances and in the same manner as “The Feint at the Head and Cut at the Left Cheek,” except that the cut is aimed at the left nipple. Opposition the same as when cutting at the head. The guard, also, is the same, except that the hand should be a little lower when forming the quarte. In this illustration the guard is formed with the point down (prime). PLATE VII.—FEINT AT THE HEAD AND CUT AT THE INSIDE OF THE WRIST....
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PLATE VII. Feint at the Head and Cut Inside the Wrist.
PLATE VII. Feint at the Head and Cut Inside the Wrist.
This is also done under the same circumstances and in the same manner as “The Feint at the Head and Cut at the Left Cheek,” except that you only make a half longe, and aiming at the inside of the wrist, make a retrograde cut by drawing your hand towards your body, and at the same time retire out of distance to avoid the counter. The guard for this attack is the same as the one for “The Feint at the Head and Cut at the Left Cheek.” None of the three preceding attacks can be made on a man who keep
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PLATE VIII. Feint at the Head and Cut under the Right Arm, and Guard.
PLATE VIII. Feint at the Head and Cut under the Right Arm, and Guard.
This attack, when well executed, is most difficult to judge and guard. Feint at the head by suddenly straightening the arm and directing the point to a little above your adversary’s forehead, with the edge of the sword turned down, then, without drawing back the arm, but with the action of the wrist only, longe and deliver a cut on the right armpit, the edge slightly turned up so that the arm may be covered with the hilt. Always aim this cut high, so that should your adversary form his guard a l
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PLATE IX. Feint at the Head and Cut outside the Leg, and Guard.
PLATE IX. Feint at the Head and Cut outside the Leg, and Guard.
This is done under the same circumstances and in the same manner as “The Feint at the Head and Cut under the Right Arm,” except that you aim the cut at the leg a little below the knee, or you may make the feint by threatening a thrust at the breast over the blade. Opposition to your right, and as high as possible. Drop the hand as low as the right hip and a little to the right of it. Point advanced as in the other guards and about 16 inches from the ground. Edge upwards. PLATE X.—FEINT AT THE BR
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PLATE X. A Feint at the Breast and Cut inside the Leg.
PLATE X. A Feint at the Breast and Cut inside the Leg.
Feint a thrust at your adversary’s breast over his blade, and as he raises his guard, pass your point to your right, and without touching his blade, clear his point and deliver a cut inside his leg above the knee with a longe. Opposition to your left and as high as possible. Beat your adversary’s sword to your right, then suddenly straighten your arm, and turning the edge inwards, longe and deliver a cut on the inside of his leg. Opposition to your left, and as high as possible. The same as for
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PLATE XI. Shifting the Leg to avoid a Cut, and Countering on the Head.
PLATE XI. Shifting the Leg to avoid a Cut, and Countering on the Head.
As your adversary cuts at your leg, draw it quickly back and assume the first position shown in Plate I ., and at the same time deliver a diagonal cut on his head or arm, with good opposition, so that should your adversary feint at your leg and cut at the head, the opposition will guard his attack. Be careful not to raise the hand in making the counter. This manœuvre may also be used against attacks made at the left breast. PLATE XII.—SHIFTING THE LEG WHEN A MAN ATTACKS WITH HIS HAND BELOW THE S
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PLATE XII. Shifting the Leg when a Man Attacks with his Hand Below the Shoulder, and Counter on the Arm.
PLATE XII. Shifting the Leg when a Man Attacks with his Hand Below the Shoulder, and Counter on the Arm.
The above manœuvre may be executed on any cut or thrust given with the hand below the shoulder, except that the counter should be aimed at the inside of the arm and the left foot moved back about eight inches before drawing up to the first position, so that you are out of distance. The counter will act as a half circular parry should you not reach the arm. The counter on the head or arm can also be given when a man returns at the leg after guarding his head. In this case you must recover in one
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PLATE XIII. A Draw and Guard for Shifting the Leg to avoid a Cut and Counter on the Head or Arm.
PLATE XIII. A Draw and Guard for Shifting the Leg to avoid a Cut and Counter on the Head or Arm.
Feint a cut at outside leg, then longe, and forming the head guard, receive his counter on your sword and deliver a return under his right arm. PLATE XIV.—A DRAW AND STOP FOR SHIFTING THE LEG AND COUNTER ON THE HEAD OR ARM....
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PLATE XIV. A Draw and Stop for Shifting the Leg to avoid a Cut and Counter on the Head or Arm.
PLATE XIV. A Draw and Stop for Shifting the Leg to avoid a Cut and Counter on the Head or Arm.
Feint at outside of leg, and as your adversary tries to counter, make a half longe, and, aiming at the inside of his wrist, make a retrograde cut by drawing your hand towards your body, and at the same time retire out of distance. Attacks at the leg should never be made without being preceded by a feint or a beat to divert your adversary’s attention, and even when done in that manner you should be chary of their use. The man on the defensive has the advantage of either guarding and returning or
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PLATE XV. Guard for an Upward Cut at the Fork.
PLATE XV. Guard for an Upward Cut at the Fork.
This is not a good cut, and I do not recommend its use. To guard it, draw the right leg up to the first position, and at the same time form the outside leg guard. When on guard, the point of your sword is under the forte of your adversary’s, and a straight thrust may be given should he quit the engagement, by suddenly straightening the arm and directing the point at his breast; deliver it with a longe. A good time to make this thrust is when he prepares for his attack or dwells on his feint at y
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PLATE XVI. To Deceive the Beat under the Blade (Quarte Thrust).
PLATE XVI. To Deceive the Beat under the Blade (Quarte Thrust).
As your adversary advances with a beat, pass your point over the forte of his blade, and thus avoiding his beat, longe and deliver the thrust. Instead of beating under the blade as you advance, pass your point over the blade and beat down. PLATE XVII.—STOP CUT AFTER DECEIVING THE BEAT OVER THE BLADE....
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PLATE XVII. Stop Cut after Deceiving the Beat over the Blade.
PLATE XVII. Stop Cut after Deceiving the Beat over the Blade.
As he advances with a beat over your blade, draw your arm back, and, avoiding his sword, deliver a cut at his head, or a thrust at his breast, with a longe. [4] This may also be done on a man who attacks your sword, or who makes short cuts at your head. On such occasions you must be careful to draw your hand towards your right temple, so that should he make a real attack your head would be guarded. 4 . If it should unfortunately occur that you have to defend yourself with an ordinary stick again
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PLATE XVIII. Another Stop Thrust used against a Man who Longes with his Arm Bent, or who Draws his Hand Back when Attacking.
PLATE XVIII. Another Stop Thrust used against a Man who Longes with his Arm Bent, or who Draws his Hand Back when Attacking.
PLATE XVIII.—STOP THRUST (TIERCE) WHEN A MAN DRAWS HIS HAND BACK TO ATTACK. Immediately you see him move, longe and deliver a straight thrust, or you may give the thrust without longing, by merely straightening the arm. I prefer, however, to longe with the thrust, as it is more certain to stop the attack. Stop thrusts, to be successful, should be given without hesitation and with the greatest boldness. A remise is a sort of time hit made on the longe, when a man after guarding delays his return.
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PLATE XIX. Time Thrust with Opposition.
PLATE XIX. Time Thrust with Opposition.
A time thrust can be made when a man feints at your head and tries to deliver a cut under your right arm, or on any part of the right side down to the foot. As he raises his point to feint, make a straight thrust at his breast with a longe, keeping your hand as high as your right shoulder and a little to the right of it. Palm turned down. Should you be quick enough, your point will fix on his breast, and his cut will fall on the forte of your sword. If you are too slow, your thrust will guard hi
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PLATE XX. A Time Cut.
PLATE XX. A Time Cut.
PLATE XX.—TIME CUT WHEN A MAN RAISES HIS HAND TO ATTACK. When a man raises his hand or draws it back to lead off, hit him on the outside of the wrist and get away out of distance. In using the stop thrusts, remises, and time thrusts, great judgment is required. They should never be attempted until the swordsman has had considerable experience. When given at the proper time, they are beautiful and effective strokes, but when badly timed, great danger attends their use, and mutual hitting is often
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PLATE XXI. Engaging Guard.
PLATE XXI. Engaging Guard.
A bayoneteer, therefore, engages in tierce or quarte, from which he can make the following attacks:— A straight thrust. A disengagement. Feint a straight thrust and disengage. “One, Two” (feint a disengagement into one line and disengage into another). All his straight thrusts or disengagements over your blade may be parried with prime, and all those under your blade with seconde. These parries are stronger than tierce and quarte, and are, therefore, better adapted for parrying such a heavy weap
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RETURNS.
RETURNS.
The best returns from the different parries are the following, placed in the order of their comparative merits; but their application should greatly depend on the adversary’s defence. PLATE XXII.—PARRY OF TIERCE....
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PLATE XXIII. PARRY OF QUARTE.
PLATE XXIII. PARRY OF QUARTE.
A man thus armed engages in quarte or tierce, but standing with his left foot in front, his quarte will be your tierce and his tierce your quarte; that is, his right side is his quarte and your right side is your tierce, and vice versâ . He will parry attacks made at the right side of his head or body with quarte, and those made at the left side of the head or body with tierce. He will defend the top of his head with prime and his leg with half-circle. In both of these guards his left arm is ver
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PLATE XXIV. To Deceive his Prime.
PLATE XXIV. To Deceive his Prime.
PLATE XXIV.—CUT INSIDE OF WRIST AFTER FEINT AT HEAD TO DECEIVE PRIME. Feint at head and thrust under his guard. (Hand in tierce and opposite your right shoulder.) Ditto, and cut inside his left wrist ( vide Plate XXIV .). Ditto, ditto, inside his leg. PLATE XXV.—CUT AT HEAD AFTER FEINT AT INSIDE LEG TO DECEIVE HALF-CIRCLE....
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PLATE XXV. To Deceive his Half-Circle.
PLATE XXV. To Deceive his Half-Circle.
Feint at inside of leg, and thrust at left breast over the guard. (Hand in quarte and opposite your left shoulder.) Ditto, and cut at his head ( vide Plate XXV .). Ditto, ditto, at his left wrist. PLATE XXVI.—THRUST IN QUARTE AFTER FEINT IN TIERCE. “ONE, TWO” TO DECEIVE TIERCE....
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PLATE XXVI. To Deceive his Tierce.
PLATE XXVI. To Deceive his Tierce.
Feint a thrust in tierce (his left breast) and disengage with a thrust into quarte “One, Two.” (Hand in tierce and opposite your right shoulder, vide Plate XXVI .) Feint a cut at his left side and cut at his right. Ditto, ditto, at his left cheek and cut at his right. PLATE XXVII.—THRUST UNDER LEFT ARM AFTER FEINT IN QUARTE TO DECEIVE QUARTE....
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PLATE XXVII. To Deceive his Quarte.
PLATE XXVII. To Deceive his Quarte.
Feint a thrust in quarte (his right breast) and disengage with a thrust in tierce “One, Two.” (Hand in quarte and opposite your left shoulder.) Feint a thrust in quarte, and disengage under his left arm “One, Two, Low.” (Hand in quarte and opposite your left shoulder, vide Plate XXVII .) Feint a cut at his right side and cut at his left arm. Ditto at his right cheek and cut at his left. All the above-named attacks may be preceded by a beat or an advance and beat. The stop thrusts, time thrusts w
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GENERAL OBSERVATIONS.
GENERAL OBSERVATIONS.
The bayoneteer has the longer weapon. You have the handier one. You must therefore use such tactics as will give it the advantage. On taking guard, keep out of distance, and by feinting, endeavour to find out whether, if you attack him, he will parry or counter with a thrust, which some men, relying on the superior length of the rifle and bayonet, do when attacked. If you think that the latter is his intention, make false attacks, as described in page 76 , and draw out his thrust, which, having
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PLATE XXVIII. How to Seize the Rifle after Parrying Prime.
PLATE XXVIII. How to Seize the Rifle after Parrying Prime.
If you at any time have an opportunity of parrying his thrusts with your left hand, or of seizing the barrel of his rifle with it, do so. You must not then struggle and try to get it out of his hands, but must deliver a cut or thrust as quickly as possible. In an actual combat you would then have little difficulty in getting his weapon should you want it. A good time to attempt this is when, after you have parried prime, he does not recover quickly to his guard. You should then step forward quic
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PLATE XXIX. How to Seize the Rifle after Parrying Quarte.
PLATE XXIX. How to Seize the Rifle after Parrying Quarte.
Or you may sometimes get hold of it after your parry of quarte, when he is slow in recovering. It will not then be necessary to step forward with the left foot, as your parry will almost send his weapon into your left hand. Some men when thrusting leave go of the rifle with the left hand. When your adversary does this and you get hold of it, a quick and sudden pull will draw it out of his other hand, or perhaps pull him on his knees. The dress should be the same as that worn when practising with
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SCABBARD.
SCABBARD.
The scabbard should be lined with leather or laths of wood, and the mouthpiece with German silver, which is softer than steel, to preserve the edge when drawing and returning the sword....
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EDGE.
EDGE.
Various edges are put on swords, but the best and most serviceable one, in my opinion, is a short chopper edge. It is the one put on swords used for cutting bars of lead, carcases of sheep and legs of mutton. The bone of a leg of mutton, which is almost as hard as any substance the edge is likely to come in contact with, will not turn it. I have now swords with this edge in my possession with which hundreds of bars of lead, numerous carcases of sheep and legs of mutton and other substances have
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SOME REMARKS CONCERNING SWORD HILTS.
SOME REMARKS CONCERNING SWORD HILTS.
The shape of the grip in the regulation infantry sword is not bad generally, but the metal back is unnecessary, and is apt to cause the hand to slip. The grip of Japanese swords, but for the fact of their having the curve presented the wrong way, strikes me as exceedingly good. Were I having a fighting sword made to my own fancy, without regard to the regulation of any service, I should direct it to be made with a grip of shark’s skin or leather, with a strong twist of wire wound round at half-i
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PLATE XXX. Lead Cutting.
PLATE XXX. Lead Cutting.
To cut a bar of lead in two at one stroke. This feat is sometimes called the “Cœur de Lion,” deriving its name from the feat said to have been performed by Richard I. when he met Saladin the Saracen at the station of the Diamond of the Desert, vide Sir Walter Scott’s “Talisman.” It is one which every sabre-player ought to practise more or less. It teaches how to apply force and edge, and to finish your cuts with quickness, by which they are more effective. It also shows the power of a sword-cut
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PLATE XXXI. To Cut a Sheep in Two at One Stroke.
PLATE XXXI. To Cut a Sheep in Two at One Stroke.
Get the carcase of a sheep dressed in the ordinary way, as you see them hanging in a butcher’s shop before they are cut up into joints. Suspend it on a gallows by the hind legs with the belly towards you, then standing with your right toes in a line with the spine of the sheep, and so near that the centre of percussion of your sword will reach the back bone, and aiming at the part where the butcher separates the neck from the loin, deliver your cut as at the lead. Take care to throw the point of
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PLATE XXXII. To Cut a Broom handle or Wand on Two Glasses of Water without Breaking The Glasses or Spilling the Water.
PLATE XXXII. To Cut a Broom handle or Wand on Two Glasses of Water without Breaking The Glasses or Spilling the Water.
PLATE XXXII.—CUTTING A BROOM HANDLE ON WINE GLASSES. Take your lead-cutting stool and another of exactly the same height. Place a tumbler filled with water on the top of each, then lay an ordinary broom handle on the glasses, so that the ends will rest on the inside edges, each end projecting about half an inch over the water. With your lead-cutter deliver a downward chop with great suddenness and quickness, striking as near the centre as possible. This feat may also be done with a thinner wand
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To Cut a Silk Cushion in Two at One Stroke.
To Cut a Silk Cushion in Two at One Stroke.
Hang a silk cushion, stuffed with feathers or down, so high that the centre of it would be a few inches higher than the top of your lead-cutting stool, then, aiming at the most acute edge, deliver as at the lead. On account of the inconvenience caused by the escape of the feathers from the cushion when cut, this feat has of late years been left unperformed at public assaults-of-arms. The last time I saw it executed was many years ago by my esteemed friend, Mr. Alfred Shury, at that time one of t
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PLATE XXXIII. To Cut a Veil in Two at One Stroke.
PLATE XXXIII. To Cut a Veil in Two at One Stroke.
Fold a veil neatly lengthways and lay it on the edge of the sword, almost close to the hilt. Place your feet together, with your sword hand resting on the bend of the left arm, the edge of the sword turned up. Take two quick steps to your front, beginning with the left foot, and as you make the second, deliver an upward cut with a good edge, throwing the point of the sword high in the air, so that when the veil separates the two parts will have some distance to fall. A good effect will thus be p
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PLATE XXXIV. To Cut an Apple in Two on a Man’s Hand Without Injuring Him.
PLATE XXXIV. To Cut an Apple in Two on a Man’s Hand Without Injuring Him.
This is called the “Napier Feat,” from the fact that it was done on Sir Charles Napier’s hand when in India by a native swordsman. It is very dangerous and difficult, and none but those who have great command over a sword should attempt it. The man who holds the apple should have good nerve, and should keep his hand very steady. He must raise the palm of his hand as much as possible, and, keeping the four fingers close together, bend them back. The thumb must also be pressed back, and kept as fa
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CHAPTER VII. Duel with Sabres.
CHAPTER VII. Duel with Sabres.
1st.—Each combatant must have two seconds for this sort of duel, and one of the two must have a sabre. They must, if possible, get sabres with curved blades for the two antagonists, as being less fatal. 2nd.—When arrived on the ground there must be no discussion between the two combatants, their seconds being their plenipotentiaries. 3rd.—The seconds having agreed upon the choice of the ground the most proper for the combat—level and equal for the two opponents—must mark the two places, the dist
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