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Difference between revisions of "Girard Thibault d'Anvers/Tables 12-22"
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| We follow here, in this Twelfth Table, the example of those who are concerned with fortifications. After they have taught to their students the form of ideal designs, they then briefly show them how, in practice, these must be adapted to the particulars of each place. Moreover, it is impossible to have site exactly one would wish. Thus, we do the same for our System, because we have already explained the manner of entering into the sword-angles, which is one of the points of the greatest importance, we shall now show the versatility of this move and the multiplicity of circumstances in which the scholar can prevail. Such contemplation will be very useful and very easy for them, considering the small number of precepts to keep in mind on which we can build, and which dominate even against the most unusual moves. To do this, we propose to examine a few particular examples, where Zachary opens up the angle in diverse ways, of which none are particularly strange. And in fact he allows opportunities of all sorts. Some ones which consist of a simple defence, others which include attempts to attack. At some times he will completely open up the angle, at other times he will do no more than prepare to. But all with such moves as he hopes will create confusion by their novelty. But why, then, do this? These situations are useless to learn, because they are so rare, you say? On the contrary, the strangest situations are those that are most necessary to learn. For your enemy will not fail to perform any strange action, if he thinks it will confuse and confound you. Furthermore, whether or not he performs these moves with the same intent and the same follow-on exactly as we show here, nevertheless, you will find yourself often enough in similar situations such as these by chance one way or another. Therefore, be prepared for everything. For in the practice of Arms, after a mistake is made, there is neither valid excuse nor available recovery. | | We follow here, in this Twelfth Table, the example of those who are concerned with fortifications. After they have taught to their students the form of ideal designs, they then briefly show them how, in practice, these must be adapted to the particulars of each place. Moreover, it is impossible to have site exactly one would wish. Thus, we do the same for our System, because we have already explained the manner of entering into the sword-angles, which is one of the points of the greatest importance, we shall now show the versatility of this move and the multiplicity of circumstances in which the scholar can prevail. Such contemplation will be very useful and very easy for them, considering the small number of precepts to keep in mind on which we can build, and which dominate even against the most unusual moves. To do this, we propose to examine a few particular examples, where Zachary opens up the angle in diverse ways, of which none are particularly strange. And in fact he allows opportunities of all sorts. Some ones which consist of a simple defence, others which include attempts to attack. At some times he will completely open up the angle, at other times he will do no more than prepare to. But all with such moves as he hopes will create confusion by their novelty. But why, then, do this? These situations are useless to learn, because they are so rare, you say? On the contrary, the strangest situations are those that are most necessary to learn. For your enemy will not fail to perform any strange action, if he thinks it will confuse and confound you. Furthermore, whether or not he performs these moves with the same intent and the same follow-on exactly as we show here, nevertheless, you will find yourself often enough in similar situations such as these by chance one way or another. Therefore, be prepared for everything. For in the practice of Arms, after a mistake is made, there is neither valid excuse nor available recovery. | ||
| − | | Nous ensuivons en ce Tableau XII. l’exemple de ceux qui traitent les matieres des fortifications. Car apres qu’ils ont enseigné les figures regulieres, ils se contentent de monstrer briefvement à leurs disciples, qu’en la Pratique il les faut accommoder selon les particularitez de chascune place; d’autant qu’il est impossible de les avoir tousiours à souhait. Ainsi donc pour faire le mesme en nostre Exercice, puis que nous venons de declarer la maniere d’entrer dedans les angles, qui est un de points de plus grande importance; monstrons maintenant combien l’usage en est ample, & comme l’Escholier s’en pourra prevaloir en plusieurs occurrences. Contemplation qui luy sera tresutil, & tresaggreable, considerant que le petit Nombre de ses preceptes est bastant à tenir en devoir voire & à dompter mesme des mouvements si extraordinaires. Pour ce faire nous proposerons icy quelques particularitez d’exemples, ou Zacharie luy fait l’ouverture de l’angle en diverses manieres, & aucunes d’icelles bien estranges. Et de fait il luy en donne des occasions de toutes sortes; les unes qui consistent en simple defense, les autres conjointes avec intention d’offenser; tantost il ouvre l’angle tout à fait, tantost il n’en fait que la seule preparation; le tout avec de tels mouvements, qu’il espere luy en troubler le jugement par la nouveauté mesme. Mais quoy donc? Direz vous, ce sont des occasions inutiles, pour ce qu’elles sont rares? Au contraire, le plus estranges se sont les plus necessaires. Car l’Ennemy ne manquera pas à faire une | + | | Nous ensuivons en ce Tableau XII. l’exemple de ceux qui traitent les matieres des fortifications. Car apres qu’ils ont enseigné les figures regulieres, ils se contentent de monstrer briefvement à leurs disciples, qu’en la Pratique il les faut accommoder selon les particularitez de chascune place; d’autant qu’il est impossible de les avoir tousiours à souhait. Ainsi donc pour faire le mesme en nostre Exercice, puis que nous venons de declarer la maniere d’entrer dedans les angles, qui est un de points de plus grande importance; monstrons maintenant combien l’usage en est ample, & comme l’Escholier s’en pourra prevaloir en plusieurs occurrences. Contemplation qui luy sera tresutil, & tresaggreable, considerant que le petit Nombre de ses preceptes est bastant à tenir en devoir voire & à dompter mesme des mouvements si extraordinaires. Pour ce faire nous proposerons icy quelques particularitez d’exemples, ou Zacharie luy fait l’ouverture de l’angle en diverses manieres, & aucunes d’icelles bien estranges. Et de fait il luy en donne des occasions de toutes sortes; les unes qui consistent en simple defense, les autres conjointes avec intention d’offenser; tantost il ouvre l’angle tout à fait, tantost il n’en fait que la seule preparation; le tout avec de tels mouvements, qu’il espere luy en troubler le jugement par la nouveauté mesme. Mais quoy donc? Direz vous, ce sont des occasions inutiles, pour ce qu’elles sont rares? Au contraire, le plus estranges se sont les plus necessaires. Car l’Ennemy ne manquera pas à faire une action estrange, s’il pense qu’il vous en mettra en desordre; & d’autrepart combien qu’il ne les face pas avec la mesme intention, & en la mesme suite qu’elles sont icy representées, toutesfois on se retrouve assez souvent en telles & semblables situations par les changements des occasions de part & d’autre. Soyons donc preparez à tout. Car au fait des Armes, apres que la faute est commise, il n’y a ny remede ny excuse valable. |
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| As soon as Alexander has completed the preceding action, he pauses briefly, so as to see if his adversary will try to work against him, so he can counter it. But as soon as he sees him waiting, he follows on, moving forward and raising himself with his right foot while lowering the swords with his sense of contact and likewise turning his left side forward, in such a way that the instant his foot lands on the ground in front of the letter S, and his weight comes down on it, he subjugates his opponent’s blade, then leans his body onto the forward foot, drawing his left foot along behind up to the letter N. Thus he puts himself inside the angle of the swords, and inside the lines of his enemy; As is evident in the portrait of the figures. | | As soon as Alexander has completed the preceding action, he pauses briefly, so as to see if his adversary will try to work against him, so he can counter it. But as soon as he sees him waiting, he follows on, moving forward and raising himself with his right foot while lowering the swords with his sense of contact and likewise turning his left side forward, in such a way that the instant his foot lands on the ground in front of the letter S, and his weight comes down on it, he subjugates his opponent’s blade, then leans his body onto the forward foot, drawing his left foot along behind up to the letter N. Thus he puts himself inside the angle of the swords, and inside the lines of his enemy; As is evident in the portrait of the figures. | ||
| − | | {{sc|Alexandre}} dés qu’il à parachevé | + | | {{sc|Alexandre}} dés qu’il à parachevé l’action precedente, fait une petite pause, afin que si l’adversaire tasche d’avēture à travailler dessus, il y puisse donner order. Mais quand il le voit attendre, il poursuit, en avançant & haussant le corps avec le pied droit, & abaissant ensemble un peu les lames au rapport du Sentiment, avec pareil advancement du costé gauche; en sorte qu’à l’instant que le corps descend, & que le pied droit tombe à terre devant la lettre S, il assujettit l’espee de l’adversaire, se panchant du corps sur le devant, & entrainant le pied gauche derriere jusqu’au point N. Dont il se met par ainsi dedans l’angle, & au dedans des perpendiculaires de l’ennemy; comme il est evident au pourtrait des figures. |
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| This action stems from Circle No 1, in the case when his opponent puts more force behind his blade. Thus Alexander continues to work against his opponent, taking a large, deliberate step straight forward with his right foot, moving his body in closer to his sword, and being very attentive to the feel, so to be aware if perchance his opponent comes to change the force he is using and so change the resulting actions as well. | | This action stems from Circle No 1, in the case when his opponent puts more force behind his blade. Thus Alexander continues to work against his opponent, taking a large, deliberate step straight forward with his right foot, moving his body in closer to his sword, and being very attentive to the feel, so to be aware if perchance his opponent comes to change the force he is using and so change the resulting actions as well. | ||
| − | | Cest | + | | Cest action prend son origine du Cercle 1. à condition, qu’il y ait plus de poids en la lame contraire. Dont {{sc|Alexandre}} poursuit à travailler, en faisant un grand pas tout droit en avant lentement avec le pied droit, s’approchant le corps plus pres de son espee, & prenant fort serieusement garde au sentiment, si daventure le Contraire venoit à changer le poids, pour changer aussi l’operation. |
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| This is an action which follows from Circles 1 & 2. Alexander has finished the movement in Circle 1. to the point where he has raised his right foot intending to force down and subjugate his opponent’s blade, as in Circle 2. His adversary resists by greatly increasing the degree of force against his blade, enough to move the swords back. To which Alexander lifts his sword from on top, allowing the other to fly freely overhead from the intensity of the force, and at the same time enters into the angle, by advancing his right foot, which he sets down where the line crosses the segment S-X. He wounds his opponent’s right side by a strike with his sword-tip and finishes the move with his body leaning forward, and left leg drawn up appropriately behind him, as his shown in the figure. | | This is an action which follows from Circles 1 & 2. Alexander has finished the movement in Circle 1. to the point where he has raised his right foot intending to force down and subjugate his opponent’s blade, as in Circle 2. His adversary resists by greatly increasing the degree of force against his blade, enough to move the swords back. To which Alexander lifts his sword from on top, allowing the other to fly freely overhead from the intensity of the force, and at the same time enters into the angle, by advancing his right foot, which he sets down where the line crosses the segment S-X. He wounds his opponent’s right side by a strike with his sword-tip and finishes the move with his body leaning forward, and left leg drawn up appropriately behind him, as his shown in the figure. | ||
| − | | C’est icy une operation qui procede en suite des Cercles 1. & 2. {{sc|Alexandre}} ayant achevé celle du Cercle 1. apres avoir eslevé le pied droit pour abaisser, & consequemment pour assujettir l’espee contraire à l’exemple du Cercle 2. l’Adversaire luy fait resistance, en augmentant le Poids, & usant de force pour transporter les lames. Qui fait qu’{{sc|Alexandre}} en oste son espee de dessus, laissant enfuir l’autre, qui luy passe outre la teste par la vehemence de la force, & entrant au mesme temps dedans l’angle par advancement du pied droit, qu’il plant à la | + | | C’est icy une operation qui procede en suite des Cercles 1. & 2. {{sc|Alexandre}} ayant achevé celle du Cercle 1. apres avoir eslevé le pied droit pour abaisser, & consequemment pour assujettir l’espee contraire à l’exemple du Cercle 2. l’Adversaire luy fait resistance, en augmentant le Poids, & usant de force pour transporter les lames. Qui fait qu’{{sc|Alexandre}} en oste son espee de dessus, laissant enfuir l’autre, qui luy passe outre la teste par la vehemence de la force, & entrant au mesme temps dedans l’angle par advancement du pied droit, qu’il plant à la section de la ligne S X, il le blesse d’un coup de pointe au costé droit, & en fait la finale execution avec le corps panché en avant, le pied gauche trainant proportionnellement derriere; comme il est representé au pourtrait de sa figure. |
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| This follows on from the last. Alexander, leaps with a large, circular, forward step with his left foot outside the Circle to a point almost behind his adversary, to whom he gives, by leaning forward with his body and bringing his right foot smoothly around through the air in circular motion, setting it down behind the other, a reverse cut to the thick part of his opponent’s left leg, while pressing his opponent’s arm and sword down and pinning them against his left side, as is portrayed in the figure. | | This follows on from the last. Alexander, leaps with a large, circular, forward step with his left foot outside the Circle to a point almost behind his adversary, to whom he gives, by leaning forward with his body and bringing his right foot smoothly around through the air in circular motion, setting it down behind the other, a reverse cut to the thick part of his opponent’s left leg, while pressing his opponent’s arm and sword down and pinning them against his left side, as is portrayed in the figure. | ||
| − | | C’est la suite du prēcedent. {{sc|Alexandre}} saute avec le pied gauche un grand pas circularement en avant au dehors du Cercle à peu pres derriere l’adversaire; auquel il donne (en panchant du corps sur le devant, & continuant à mener circulairement le pied droit en l’air derriere l’autre) un coup de revers au gras de la jambe gauche, poussant ensemblement vers le bas le bras & l’espee contraire, laquelle il s’affermist à son costé gauche; ainsi qu’il est | + | | C’est la suite du prēcedent. {{sc|Alexandre}} saute avec le pied gauche un grand pas circularement en avant au dehors du Cercle à peu pres derriere l’adversaire; auquel il donne (en panchant du corps sur le devant, & continuant à mener circulairement le pied droit en l’air derriere l’autre) un coup de revers au gras de la jambe gauche, poussant ensemblement vers le bas le bras & l’espee contraire, laquelle il s’affermist à son costé gauche; ainsi qu’il est pourtraict en la figure. |
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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 preceding Tables, he changes his approach, and presents to you in the way shown here, in Table 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 Table 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. | | It could be that, instead of presenting his sword in a direct line posture, as was performed by Zachary in the preceding Tables, he changes his approach, and presents to you in the way shown here, in Table 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 Table XIX. For the present, I shall show you how you may thrust against this posture, along his blade, and hit under his arm, where he is the most vulnerable. This is because the shoulder, face, and chest remain covered by the wall made by his guard. Thus, in order to avoid the strong of his blade, and to duly work against the weak, here are the actions Alexander must perform, which, as general principles, will serve you well. | ||
| − | | Il se pourra faire, qu’au lieu de presenter l’espee en droite ligne, comme il a esté pratiqué par Zacharie aux Tables precedentes, qu’il changera d’avis, & vous la presentera à la façon qu’il est icy pourtrait en ce Tableau XIII. sur le Cercle N.1. ne s’esloignant gueres de la mesme posture, sinon qu’il tient la main un peu plus haute, pour se couvrir le visage, & la pointe un peu basse, en sorte qu’il ne la puisse voir luy mesme, si ce n’est à travers la garde. En tel cas, il ne seroit pas expedient de vouloir trouver sa lame suivant les | + | | 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 instructions 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 instructions 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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| 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. | | During the time he is moving his guard above the tip of his opponent’s sword, he should pause briefly, as we said: to always be read to adjust to any action or change his opponent may make while he is performing this move, so, being on guard, he cannot surprise you. | ||
| − | | Au temps qu’on porte sa garde par dessus la pointe contraire, il faut bien adviser de le faire avec le petit arrest, que nous venons de dire: & ce pour estre tousiours prest à rencontrer toutes les | + | | 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 actions, 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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| 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. | | This follows on from the previous, performed by Alexander without pause, by turning his right foot around to the inside, and spinning the other around so his toes come onto the part of the line L-S just beyond the Perpendicular Diameter. He puts his weight on his left foot and leans further backwards, knee and arm bent, continuing to turn his opponent’s blade aside with the exterior branch of his crossguard, and thereby increasing the power of his thrust, as the figures show. | ||
| − | | Cest la continuation de la precedente, pratiquée par {{sc|Alexandre}} tout de suite sans perdre temps; en tournant le pied droit à l’envers, & voltant l’autre de mesme à tout les orteils sur la | + | | Cest la continuation de la precedente, pratiquée par {{sc|Alexandre}} tout de suite sans perdre temps; en tournant le pied droit à l’envers, & voltant l’autre de mesme à tout les orteils sur la section 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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| After Zachary established his direct line posture in his quadrangle on the Pedal Line Z and presented his sword, Alexander likewise established his position in the opposite Quadrangle, 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. | | After Zachary established his direct line posture in his quadrangle on the Pedal Line Z and presented his sword, Alexander likewise established his position in the opposite Quadrangle, right foot along the Circumference at the letter C, his left along his Pedal Line, and brought his sword up parallel to and beneath the other. That done, he then began to perform the actions which lead to this Circle, stepping with his right foot over to the letter G, on the Oblique Diameter at the Second Instance, drawing his left foot up, and subjugating his opponent’s sword. At this instant, his opponent raises his arm up high, covers his face with his guard, and sets his sword-tip low, as the figures demonstrate. | ||
| − | | Apres que {{sc|Zacharie}} s’est planté sur le Cercle dedans le Quadrangle Z, presentant l’espee en droite ligne; & qu’{{sc|Alexandre}} s’est planté pareillement alencontre au Quadrangle opposite en Premiere Instance, le pied droit à la Circonference lettre C, & le gauche sur la ligne Pedale, portant l’espee en droit ligne parallele au dessous de l’autre. Cela fait il a poursuivi à pratiquer les | + | | Apres que {{sc|Zacharie}} s’est planté sur le Cercle dedans le Quadrangle Z, presentant l’espee en droite ligne; & qu’{{sc|Alexandre}} s’est planté pareillement alencontre au Quadrangle opposite en Premiere Instance, le pied droit à la Circonference lettre C, & le gauche sur la ligne Pedale, portant l’espee en droit ligne parallele au dessous de l’autre. Cela fait il a poursuivi à pratiquer les actions 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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| 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. | | 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’{{sc|Alexandre}} se volte tout à l’instant le pied gauche par derriere & alentour le pied droit, un peu outre la lettre Q par delà le Diametre, se panchant à l’envers dessus le mesme, à tout le genou plié, & observant au reste les particularitez de | + | | La suite de ceste operation c’est, qu’{{sc|Alexandre}} se volte tout à l’instant le pied gauche par derriere & alentour le pied droit, un peu outre la lettre Q par delà le Diametre, se panchant à l’envers dessus le mesme, à tout le genou plié, & observant au reste les particularitez de l’action representée au Cercle N.3. |
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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. | | To arrive at a result, they reset themselves in the direct-line posture on the Circle at the First Instance. And Alexander, who has set his blade beneath the other to perform the subjugation stepping with his right foot to the Second Instance, in the same way, and in the same conditions as Circle No 5. followed by raising his right foot to step and wound his opponent under the arm, as in Circle No 2. So Zachary parries the strike, bringing his blade circularly around his opponent’s to the right-hand side to trap it, and subjugate it, as in Circle No 6. | ||
| − | | Pour en venir à | + | | Pour en venir à l’effect, ils se vont remettre sur le Cercle à la Premiere Instance en droites lignes. Et {{sc|Ale}}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 {{sc|Za}}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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| 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 daily presents itself in training. Because each one has his own way of striking, different from all others, just as each hour, each minute, each instant changes from one to the next. So I can say, comparing the chamber, where debates are resolved with words, to the promenade where questions are settled with victory in arms, that just as [in logical discourse] arguments are subjected to critiques, critiques to responses, responses to reviews, reviews to commentaries until all evidence the adversaries wish to examine has been discussed, so in the performance of arms there is no stroke, either ordinary, or well examined, or completely grasped, or so secret, or so amazing, that it does not have a counter. As such one must never be too confident of any particular strike. What is good on one occasion will fail in another. It may be the best attack in the world, but nothing prevents someone from defending against it. It should not be that strange if common fencers are always unsure, given that their training, not being founded on general sciences, should fail to prepare them to face all situations, and so it must follow that much of the result of their workings depends in great measure on fortune, where the path of wisdom is closed to them. | | 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 daily presents itself in training. Because each one has his own way of striking, different from all others, just as each hour, each minute, each instant changes from one to the next. So I can say, comparing the chamber, where debates are resolved with words, to the promenade where questions are settled with victory in arms, that just as [in logical discourse] arguments are subjected to critiques, critiques to responses, responses to reviews, reviews to commentaries until all evidence the adversaries wish to examine has been discussed, so in the performance of arms there is no stroke, either ordinary, or well examined, or completely grasped, or so secret, or so amazing, that it does not have a counter. As such one must never be too confident of any particular strike. What is good on one occasion will fail in another. It may be the best attack in the world, but nothing prevents someone from defending against it. It should not be that strange if common fencers are always unsure, given that their training, not being founded on general sciences, should fail to prepare them to face all situations, and so it must follow that much of the result of their workings depends in great measure on fortune, where the path of wisdom is closed to them. | ||
| − | | En somme à voir faire à Alexandre l’operation du Cercle N.6. par laquelle il enferme & assujettit l’espee contraire, il semble, qu’il n’y ait rien plus facile. c’est pour autant qu’il travaille avec fondement. Et encores que les espees ne s’accouplent pas tousiours aux mesmes endroits, & à mesmes Nombres; toutesfois le chois des estocades, coups de taille, & prinses, qui s’en ensuivent, ne depend que de sa seule | + | | 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 election; 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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| The most obvious, the most energetic action in a fight, and that which creates the loudest clash are the cuts. The reason for this is because they come from larger motions than a thrust. Thus they are more impressive actions. Thrusts are quicker, because they take the shortest path to hit an opponent. Cuts take a circular path which is slower. Cuts only cause injuries to the outside of the body, whereas thrusts penetrate into the vital organs which causes more mortal wounds. This does not mean our Scholars should see cuts as less worthy of study than thrusts. For there will be times when the one is found to be as useful and needed as the other. Furthermore, the cut aimed at a particular target in the right circumstances will disrupt an opponent as much as a thrust, if he does not know how to appropriately counter it. If he does, then your adversary will be able to take the initiative to his own benefit. But it was in the cause of reason we were moved to first show how to work around thrusts, because the hits are faster and the wounds more dangerous. In any case, the skill needed to counter a cut is not less, as shall be seen through this Table. If the manner of encountering thrusts was found to be different from, and almost contrary to, the traditional style, the manner of countering cuts will be even more so. Thus, in order that everything will presented most clearly, we have seen fit to provide several examples in order, beginning again with the subjugation of the sword. | | The most obvious, the most energetic action in a fight, and that which creates the loudest clash are the cuts. The reason for this is because they come from larger motions than a thrust. Thus they are more impressive actions. Thrusts are quicker, because they take the shortest path to hit an opponent. Cuts take a circular path which is slower. Cuts only cause injuries to the outside of the body, whereas thrusts penetrate into the vital organs which causes more mortal wounds. This does not mean our Scholars should see cuts as less worthy of study than thrusts. For there will be times when the one is found to be as useful and needed as the other. Furthermore, the cut aimed at a particular target in the right circumstances will disrupt an opponent as much as a thrust, if he does not know how to appropriately counter it. If he does, then your adversary will be able to take the initiative to his own benefit. But it was in the cause of reason we were moved to first show how to work around thrusts, because the hits are faster and the wounds more dangerous. In any case, the skill needed to counter a cut is not less, as shall be seen through this Table. If the manner of encountering thrusts was found to be different from, and almost contrary to, the traditional style, the manner of countering cuts will be even more so. Thus, in order that everything will presented most clearly, we have seen fit to provide several examples in order, beginning again with the subjugation of the sword. | ||
| − | | Le plus apparent, & le plus furieux d’un combat, & ce qui y fait le plus grand tintamarre, ce sont les coups de taille. La cause en procede de ce qu’ils consistent en de plus grands mouvements, que les estocades; & par tant leurs | + | | Le plus apparent, & le plus furieux d’un combat, & ce qui y fait le plus grand tintamarre, ce sont les coups de taille. La cause en procede de ce qu’ils consistent en de plus grands mouvements, que les estocades; & par tant leurs actions sont plus remarquables. Les estocades sont plus vistes, par ce qu’elles prennent le plus court chemin pour atteinder; les tailles y vont par un destour circulaire qui est plus tardif. Celles cy ne touchent qu’à l’exterieur du corps; celles là penetrent au dedans jusqu’aux parties vitales: dont les playes en sont plus mortelles. Ce n’est pas pourtant que nostre Escholier doive tenir les coups de taille en peu d’estime. Car les occasions luy rendront les vnes autant necessaires, que les autres. Aussi le coup de taille estant tiré à point nommé avec les circonstances requises, le mettra en desordre autant que l’estocade, s’il ne sçait travailler deuëment alencontre. Car l’Adversaire en gaignera le temps de poursuivre son avantage. Mais c’est pour demonstrer la raison, qui nous a esmeus de vous montrer premierement à travailler sur les estocades, pource que les atteints en sont plus vistes, & les playes plus dangereuses. Toutesfois l’artifice de rencontrer la taille ne sera pas moindre, comme on verra par la deduction de ce Tableau present. Et si la maniere d’accueiller les estocades a esté trouvée differente & quasi contraire à la vieille mode, celle des tailles le sera encores davantage. Or afin que le tout vous soit representé plus clairement, nous avons trouvé bon d’en mettre icy plusieurs exemples par ordre, en commenceant derechef par l’assujettissement de l’espee. |
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| Note that this way of subjugating such a blow in the manner we have described is an example of the most refined techniques of our art. This requires one take careful notice of all the particulars, that is, all the movements, and that each be done in its own proper time. Doubt not that this is quite difficult to do, and will cause no small amount of frustration to both scholar and novice. But once one has understood the supremely powerful nature of this act, the time and effort put into learning will not seem a hardship, provided one learns well. In any case, it will be of no practical use unless one has become trained, which cannot happen without spending much time practicing. | | Note that this way of subjugating such a blow in the manner we have described is an example of the most refined techniques of our art. This requires one take careful notice of all the particulars, that is, all the movements, and that each be done in its own proper time. Doubt not that this is quite difficult to do, and will cause no small amount of frustration to both scholar and novice. But once one has understood the supremely powerful nature of this act, the time and effort put into learning will not seem a hardship, provided one learns well. In any case, it will be of no practical use unless one has become trained, which cannot happen without spending much time practicing. | ||
| − | | Notez que ceste | + | | Notez que ceste action d’assujettir un tel coup de taille en la maniere que nous venons de descrire, c’est l’une des plus nobles parties de l’Exercice, qui requiert de fort particulieres observations de plusieurs, voire de touts les mouvements, à faire chascun exactement à son temps. Dont il ne faut pas douter, que la chose ne soit assez difficile, & moleste mesme à l’Escholer & à l’entree. Mais apres qu’il en aura comprins la tresgrande vtilité, le temps & le travail qu’il y mettra ne luy sçauroyent ennuyer, moyennant qu’on luy monstre bien. Toutesfois il ne s’en pourra guere servir en la Pratique, sinon qu’il en ait acquis une habitude, à quoy ne pourra parvenir autrement qu’avec le temps & par de longs exercises. |
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| ''Once again, Zachary begins to aim the same reverse cut to the head. But in the time while his sword is coming down, Alexander moves out of the way, forward, and speedily moving his left foot to the letter S on the Oblique Diameter, and delivers the same reverse cut to the right side of Zachary’s head as he spins on his left foot and moves his right foot around, outside the Circle, behind his left foot.'' | | ''Once again, Zachary begins to aim the same reverse cut to the head. But in the time while his sword is coming down, Alexander moves out of the way, forward, and speedily moving his left foot to the letter S on the Oblique Diameter, and delivers the same reverse cut to the right side of Zachary’s head as he spins on his left foot and moves his right foot around, outside the Circle, behind his left foot.'' | ||
| − | | ''Zacharie recommence à tirer encores le mesme coup de revers à la teste de sa partie. Mais au temps que son espee est en | + | | ''Zacharie recommence à tirer encores le mesme coup de revers à la teste de sa partie. Mais au temps que son espee est en acte te descendre, Alexandre se desrobe de la place, s’avançant & portant le pied gauche de grand vistesse à la lettre S en deça le Diametre, poursuivant quand & quand avec le pied droit à volter dehors le Cercle derriere l’autre, en tirant luy mesme le mesme coup de revers à son Contraire au costé droit de la teste.'' |
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| This is, again, another follow-on from Circle No 1. While Alexander is prevented from performing the action in Circle No 2 and subjugating his opponent’s sword, Zachary again begins to aim the same reverse cut to the right side of the head. But, during the time it takes to raise the sword it begins to descend, Alexander evades the attack by turning and hopping with his left foot, either continuing the movement, or lifting it from the Second Instance, over to the letter S along the Oblique Diameter. Once there, he spins to the right on it, moving his left side forwards and moving his right foot around behind, while using this momentum to strike with reverse cut to the right side of his opponent’s head, as he sets his foot down outside the Circle. In this way, he strikes his opponent with the same cut that was intended for him. This we see portrayed in the figure. | | This is, again, another follow-on from Circle No 1. While Alexander is prevented from performing the action in Circle No 2 and subjugating his opponent’s sword, Zachary again begins to aim the same reverse cut to the right side of the head. But, during the time it takes to raise the sword it begins to descend, Alexander evades the attack by turning and hopping with his left foot, either continuing the movement, or lifting it from the Second Instance, over to the letter S along the Oblique Diameter. Once there, he spins to the right on it, moving his left side forwards and moving his right foot around behind, while using this momentum to strike with reverse cut to the right side of his opponent’s head, as he sets his foot down outside the Circle. In this way, he strikes his opponent with the same cut that was intended for him. This we see portrayed in the figure. | ||
| − | | C’est icy derechef une autre suite du Cercle N.1. Durant qu’{{sc|Alexandre}} est empesché à faire l’operation du Cercle N.2. & à sujetter l’espee contraire, {{sc|Zacharie}} recommence à luy tirer encores le mesme coup de revers, mais au temps que son espee est en | + | | C’est icy derechef une autre suite du Cercle N.1. Durant qu’{{sc|Alexandre}} est empesché à faire l’operation du Cercle N.2. & à sujetter l’espee contraire, {{sc|Zacharie}} recommence à luy tirer encores le mesme coup de revers, mais au temps que son espee est en acte de descendre naturellement de haut à bas pour faire l’execution, {{sc|Alexandre}} abandonne la place où le coup est dressé, en se tournant, & sautant avec le pied gauche, qui estoit encores eslevé, ou mesme qu’il soit planté à la Seconde Instance, jusqu’à la lettre S par deça le Diametre, se tournant sur iceluy le costé gauche du corps en devant, à volter le pied droit derriere, en menant au mesme temps un contrecoup de revers à son Contraire au costé droit de la teste, & à planter le pied droit un pas derriere l’autre dehors du Cercle; de façon qu’il luy donne la mesme atteinte, dont l’Adversaire avoit pensé de le fraper: comme on le voit pourtrait à la figure. |
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| Note well that in this action, that Alexander does not move from the Second Instance until his opponent’s sword has already begun to descend. For then his adversary will have no means to hold back the blow, thus Alexander will be completely assured that his opponent has fully committed and he need not fear any change of course. But if Alexander leaves his place too soon, then he will alert his opponent. For the enemy, having done but the preparatory move of raising his sword on high will still have the power to slow the descent. Without much effort, he could control the blow, to follow the fleeing body of Alexander with a horizontal strike to the same place, in such a way that Alexander would be in danger of being hit. | | Note well that in this action, that Alexander does not move from the Second Instance until his opponent’s sword has already begun to descend. For then his adversary will have no means to hold back the blow, thus Alexander will be completely assured that his opponent has fully committed and he need not fear any change of course. But if Alexander leaves his place too soon, then he will alert his opponent. For the enemy, having done but the preparatory move of raising his sword on high will still have the power to slow the descent. Without much effort, he could control the blow, to follow the fleeing body of Alexander with a horizontal strike to the same place, in such a way that Alexander would be in danger of being hit. | ||
| − | | Notez bien en ceste | + | | Notez bien en ceste action, qu’Alexandre ne partira pas de lieu de la Seconde Instance, que l’espee contraire ne soit desia en acte de descendre. Car ainsi l’Adversaire n’aura plus de moyen de retenir le coup. dont Alexandre en sera tout asseuré d’avoir l’entiere notice de l’entrepinse, & n’y aura plus nul changement a craindre. Mais si Alexandre abandonne plustost sa place, il en aviendra tout le contraire. Car l’Ennemy n’ayant fait qu’vne preparation d’eslever l’espee en haut, & qu’il ait encore en sa puissance de moderer la descente, sans y avoir employé ses forces, il pourra gouverner le coup, à poursuivre le corps frayant avec son espee, en la menant horizontalement vers la mesme place; de façon qu’Alexandre seroit encor en danger d’en estre touché. |
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| This action likewise begins in Circle No 1. Alexander is the act of subjugating his opponent’s sword and has already stepped with his right foot along the Oblique Diameter to the letter Q, and he is in the process of drawing his left foot up behind. Zachary steps with his right foot along the Oblique Diameter to the letter S, followed by drawing his left foot into place along the Circumscribed Square. Then, before this movement can be completed, Alexander puts his left foot down near his right foot, which he quickly lifts, performs a quick-step, and puts his left foot down between the centre of the Circle and the Letter I and so moves into his enemy along the diameter. He leans onto it, and turns his left side forward in such a way as to block Zachary’s path and subjugates his blade, which his arm drawn in and close against his side. As is shown in the figure. | | This action likewise begins in Circle No 1. Alexander is the act of subjugating his opponent’s sword and has already stepped with his right foot along the Oblique Diameter to the letter Q, and he is in the process of drawing his left foot up behind. Zachary steps with his right foot along the Oblique Diameter to the letter S, followed by drawing his left foot into place along the Circumscribed Square. Then, before this movement can be completed, Alexander puts his left foot down near his right foot, which he quickly lifts, performs a quick-step, and puts his left foot down between the centre of the Circle and the Letter I and so moves into his enemy along the diameter. He leans onto it, and turns his left side forward in such a way as to block Zachary’s path and subjugates his blade, which his arm drawn in and close against his side. As is shown in the figure. | ||
| − | | Ceste operation prend pareillemēt son origine au Cercle N.1. {{sc|Alexandre}} estant en | + | | Ceste operation prend pareillemēt son origine au Cercle N.1. {{sc|Alexandre}} estant en acte d’assujettir l’espee contraire, en sorte qu’il ait desia planté le pied droit en deçà le Diametre à la lettre Q, & que le pied gauche soit en train de poursuivre: au mesme temps {{sc|Zacharie}} s’en va marcher avec le pied droit par delà le Diametre à la lettre S, poursuivant à mener proportionnelement le pied gauche sur le Quarré circonscrit. Dont {{sc|Alexandre}}, avant que le mouvement soit achevé, plante le pied gauche tout pres le pied droit, lequel il continue tout soudainement à eslever, en faisant une demi-fleurette, & l’avance devers l’Ennemy par delà le Diametre entre deux le Centre du Cercle & la lettre I. se panchant en avant dessus le mesme, à tout le costé gauche du corps tourné en avant, de façon qu’il luy coupe le chemin, & luy assujettit la lame, avec le bras raccouci & affermi au costé droit du corps; le tout en conformité de la figure. |
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| Through all the preceding Tables, we have learned all the actions which can be done against the subjugation of the sword to the inside, to the point where the scholar has no more to fear, once he has seized this advantage, on condition that the swords remain in contact or that his adversary does no more than a simple disengage against him. If his enemy attacks, he will always have the most appropriate response. If his enemy changes position on him, he will recover, or even alter his approach. If his enemy makes to withdraw, he will pursue. If his enemy would wound him with the edge, or the point, from the direct line posture, or with bent arm, or with a reverse cut, he has counters to them all. He may go forward courageously, yet the way is fraught. One may say to me, that there are a great many more ways to engage which are not shown. To this I reply, there is no need of this, nor is it possible, any more than to count all the grains of sand in the sea, because the number of ways an encounter can change are infinite: the head, the arm, the sword, the foot, all can be a bit further forward or withdrawn, higher, lower, to the side. There are always differences, but not always significant enough that one must expand the precepts to cover them. Which is why, having finished this first part, which is about working on the left-hand side, we shall begin hereafter, to show the way to work on the right-hand side of the Diameter, up to Table XXI. Not that we wish that you master all the preceding lessons before beginning to practice the exercise in this Table XV, that is impossible, for the Tables follow in order of the Theory. But for Practical training, it would be most expedient, after you have well understood by Table IX the different forces against the blade, to pair up the lessons of attacks to the outside line with those to the inside line. That is, from Table IX and those which follow, with Table XV and those which likewise follow, practising each in turn. One must, to the extent possible, teach the arm and the hand which holds the sword to perform the principal parts of our Training, to learn to strengthen them in every way, in order to work favorably and equally well on all sides. | | Through all the preceding Tables, we have learned all the actions which can be done against the subjugation of the sword to the inside, to the point where the scholar has no more to fear, once he has seized this advantage, on condition that the swords remain in contact or that his adversary does no more than a simple disengage against him. If his enemy attacks, he will always have the most appropriate response. If his enemy changes position on him, he will recover, or even alter his approach. If his enemy makes to withdraw, he will pursue. If his enemy would wound him with the edge, or the point, from the direct line posture, or with bent arm, or with a reverse cut, he has counters to them all. He may go forward courageously, yet the way is fraught. One may say to me, that there are a great many more ways to engage which are not shown. To this I reply, there is no need of this, nor is it possible, any more than to count all the grains of sand in the sea, because the number of ways an encounter can change are infinite: the head, the arm, the sword, the foot, all can be a bit further forward or withdrawn, higher, lower, to the side. There are always differences, but not always significant enough that one must expand the precepts to cover them. Which is why, having finished this first part, which is about working on the left-hand side, we shall begin hereafter, to show the way to work on the right-hand side of the Diameter, up to Table XXI. Not that we wish that you master all the preceding lessons before beginning to practice the exercise in this Table XV, that is impossible, for the Tables follow in order of the Theory. But for Practical training, it would be most expedient, after you have well understood by Table IX the different forces against the blade, to pair up the lessons of attacks to the outside line with those to the inside line. That is, from Table IX and those which follow, with Table XV and those which likewise follow, practising each in turn. One must, to the extent possible, teach the arm and the hand which holds the sword to perform the principal parts of our Training, to learn to strengthen them in every way, in order to work favorably and equally well on all sides. | ||
| − | | Par les Tableaux precedents nos avons achevé toutes les operations, qui se presentent contre l’assujetissement de l’espee en dedans du bras, de façon que l’Escholier n’aura plus rien à craindre, apres qu’il aura prins vne fois cest avantage, à condition toutesfois que les espees demeurent accouplées, ou que l’Adversaire ne face qu’vne cavation simple alencontre. Car si l’Ennemy l’attend, il fera tousiours l’execution convenable; s’il luy veut changer la situation, il se redressera, ou mesme en amendera son approche; s’il met peine à se retirer, il le poursuivera; si à le blesser de taille, ou de pointe, en ligne droite, en courbe, ou en revers, sans, ou avec cavation, il a des | + | | Par les Tableaux precedents nos avons achevé toutes les operations, qui se presentent contre l’assujetissement de l’espee en dedans du bras, de façon que l’Escholier n’aura plus rien à craindre, apres qu’il aura prins vne fois cest avantage, à condition toutesfois que les espees demeurent accouplées, ou que l’Adversaire ne face qu’vne cavation simple alencontre. Car si l’Ennemy l’attend, il fera tousiours l’execution convenable; s’il luy veut changer la situation, il se redressera, ou mesme en amendera son approche; s’il met peine à se retirer, il le poursuivera; si à le blesser de taille, ou de pointe, en ligne droite, en courbe, ou en revers, sans, ou avec cavation, il a des instructions à tout. Qu’il marche donc courageusement avant: le chemin est frayé. Si on me dit, qu’il y a bien encores des autres occasions, dont les particularitez n’ont pas esté representées. Ie respons, qu’il n’est ny besoin, ny possible de ce faire, non plus que de comter les sablons de la mer, car les changements sont infinis: la teste, le bras, l’espee, le pied, un peu plus avancé, ou retiré, plus haut, ou plus bas, ou à costé, ce sont tousiours des changements, mais non pas tousiours d’importance, en sorte qu’il faille estrendre les preceptes si avant. Parquoy donc ayant achevé ceste premiere partie, qui est de travailler en allant à main gauche, nous commencerons doresenavant à vous monstrer la maniere, que vous devez tenir pour aller à main droite par delà le Diametre jusqu’au Tableau XXI. Non pas que nous voulions, que vous soyez passé maistre de toutes le leçons precedentes, avant que d’entrer à la pratique de ce Tableau XV. c’est chose impossible, car les Tableaux ensuivent l’ordre de la Theorie. Mais pour la Pratique, il sera plus expedient, apres que vous aurez bien comprins par le IX. les differences de Poids, de vous adonner tout incontinent à conjoindre les leçons en dehors du bras avec celles qui sont en dedans; je di le Tableau IX. & sa suite, avec le XV. & la sienne pareillement, en pratiquant tantost les vnes, & tantost les autres. Car puis que c’est le bras & la main de l’espee, qui doivent effectuer en nostre Exercice les principales parties de toutes les operations, il faut qu’on aprenne à les fortifier en toutes manieres, pour travailler avantageusement & egallement de touts costez, s’il est possible. |
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| Zachary has placed himself on the Circle, with the toes of his right foot on the letter X, his heel on the outside edge of the Quadrangle, and his left foot set on the Pedal Line Z, presenting his sword in the direct line posture. Alexander, to work against him, approaches taking two or three steps forwards, according to the distance which is between them. At the same time as he carefully ensures that his left foot lands in a place where he can reach the Circumference at point C with his right foot, he extends his arm at an acute angle in a line off to his right side. Then, at the same time as he steps with his right foot, he raises his arm and sword, extended up at an obtuse angle. Then, with a look, he determines the distance to the body, arm, and sword of his opponent, he takes care to adjust his next step, so that he can bring his sword-tip as close as he possibly can to his opponent and by this means enter into the First Instance. Following this plan he advances his right side, together with his foot, arm, and sword, bringing them in a circular path down to set the toes of his right foot at C, and the heel on the collateral on the right side of the Quadrangle. With his arm extended, he continues to throw his sword out, raised slightly up by means of his wrist, over the Diameter in the direct line posture, and beneath his opponent’s sword, so that the tip of his sword ends up just in front of his opponent’s guard. So his right side is drawn even further forward, and his right heel is turned along the outside edge of the Quadrangle C-B, his left foot drawn by the nervous tension of his muscles up to the Pedal Line A, his body raised up, perpendicular and erect and in profile, by the same motion, with his sword ending parallel to and beneath his opponent’s sword, in the direct line posture. By this means both are standing in the First Instance at the proper position, so that each has his head and the centre of his body exactly over the centre of his Quadrangle, between his two feet. Every nerve and muscle tensed, knees and arms extended, the handle of the guard held straight in the hand, the two swords in parallel lines, in control, in extension, the tip and the hand in line at shoulder height. In this way they are both set in a natural, easy position, ready and free to move forwards, backwards, and to the sides, both left and right with no hesitation or delay. Each one is in a good position to defend against anything his adversary might try. As is shown in Circle No 1. | | Zachary has placed himself on the Circle, with the toes of his right foot on the letter X, his heel on the outside edge of the Quadrangle, and his left foot set on the Pedal Line Z, presenting his sword in the direct line posture. Alexander, to work against him, approaches taking two or three steps forwards, according to the distance which is between them. At the same time as he carefully ensures that his left foot lands in a place where he can reach the Circumference at point C with his right foot, he extends his arm at an acute angle in a line off to his right side. Then, at the same time as he steps with his right foot, he raises his arm and sword, extended up at an obtuse angle. Then, with a look, he determines the distance to the body, arm, and sword of his opponent, he takes care to adjust his next step, so that he can bring his sword-tip as close as he possibly can to his opponent and by this means enter into the First Instance. Following this plan he advances his right side, together with his foot, arm, and sword, bringing them in a circular path down to set the toes of his right foot at C, and the heel on the collateral on the right side of the Quadrangle. With his arm extended, he continues to throw his sword out, raised slightly up by means of his wrist, over the Diameter in the direct line posture, and beneath his opponent’s sword, so that the tip of his sword ends up just in front of his opponent’s guard. So his right side is drawn even further forward, and his right heel is turned along the outside edge of the Quadrangle C-B, his left foot drawn by the nervous tension of his muscles up to the Pedal Line A, his body raised up, perpendicular and erect and in profile, by the same motion, with his sword ending parallel to and beneath his opponent’s sword, in the direct line posture. By this means both are standing in the First Instance at the proper position, so that each has his head and the centre of his body exactly over the centre of his Quadrangle, between his two feet. Every nerve and muscle tensed, knees and arms extended, the handle of the guard held straight in the hand, the two swords in parallel lines, in control, in extension, the tip and the hand in line at shoulder height. In this way they are both set in a natural, easy position, ready and free to move forwards, backwards, and to the sides, both left and right with no hesitation or delay. Each one is in a good position to defend against anything his adversary might try. As is shown in Circle No 1. | ||
| − | | {{sc|Zacharie}} s’estant placé dessus le Cercle à tout les orteils du pied droit sur la lettre X, le talon sur le costé exterieur du mesme Quadrangle, & le pied gauche reposé dessus la ligne Pedale Z, presente l’espee en droite ligne. {{sc|Alexandre}}, pour travailler alencōtre, le vient approcher en faisant deux ou trois pas en avant, selon la distance, qui est entre deux; observant au mesme tēps qu’il plante le pied gauche à terre en lieu d’où il puisse atteindre avec le pied droit la Circonference au point C, de porter ensemblement le bras estendu avec l’espee en vne ligne à son costé droit en angle aigu; consequement il esleve à ce mesme costé droit le pied ensemble avec le bras & l’espee, estendu pareillement en vne mesme ligne en angle obtus; & comme il recognoist à veuë d’oeil la distance du corps, bras, & espee contraire, il prend sa visee à la garde, pour moderer le pas ensuivant, en sorte qu’il puisse porter sa pointe au plus pres d’icelle, qu’il soit possible, & entrer par ce moyen | + | | {{sc|Zacharie}} s’estant placé dessus le Cercle à tout les orteils du pied droit sur la lettre X, le talon sur le costé exterieur du mesme Quadrangle, & le pied gauche reposé dessus la ligne Pedale Z, presente l’espee en droite ligne. {{sc|Alexandre}}, pour travailler alencōtre, le vient approcher en faisant deux ou trois pas en avant, selon la distance, qui est entre deux; observant au mesme tēps qu’il plante le pied gauche à terre en lieu d’où il puisse atteindre avec le pied droit la Circonference au point C, de porter ensemblement le bras estendu avec l’espee en vne ligne à son costé droit en angle aigu; consequement il esleve à ce mesme costé droit le pied ensemble avec le bras & l’espee, estendu pareillement en vne mesme ligne en angle obtus; & comme il recognoist à veuë d’oeil la distance du corps, bras, & espee contraire, il prend sa visee à la garde, pour moderer le pas ensuivant, en sorte qu’il puisse porter sa pointe au plus pres d’icelle, qu’il soit possible, & entrer par ce moyen exactement sur la Premiere Instance; suivant lequel dessein il avance le costé droit, ensemble avec les mesmes pied, bras, & espee, les conduisant un peu circulairement de haut à bas, à planter le pied à tout les orteils sur le point C, & le talon du mesme sur la collaterale du Quadrangle à droite, continuant à jetter au mesme temps son espee avec le bras estendu, à l’aide du poignet, un peu plus haute en droite ligne au dessus du Diametre, & dessous l’espee contraire, en sorte que la pointe en arrive tout pres de la garde. Dont le costé droit luy est tiré d’autant plus en avant, & le talon du mesme pied en est tourné sur le costé du Quadrangle CB, le pied gauche trainant de soy mesme par l’attraction des nerfs & des muscles sur la ligne Pedale A, le corps se dressant aussi par mesme voye tout droit perpendiculair & en pourfil avec l’espee parallele en droit ligne dessous l’espee de l’Ennemi. Par ainsi les voilà touts deux plantez à la Premiere Instance en bonne proportion, tellement que les testes & les Centres des corps leur viennent à respondre justement dessus l’entredeux des jambes & dessus le centre du Quadrangle, chascun le sien; les nerfs, muscles, genoux, & bras estendus, la manche de la garde estroitement serré au poing, les espees situées en lignes paralleles modereement estenduës, l’espaule, la main, & la pointe en egalle hauteur; de maniere qu’ils sont plantez touts deux naturellement à leur aise en un pas arresté, touts prests & libres à marcher en avant, en arriere, & aux costez, tant à gauche, qu’à droite sans nulle autre preparation; estants chascun d’eux en bonne defense contre tout ce que l’Adversaire pourroit machiner; cōme il est à voir aux figures du Cercle N.1. |
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| As for these last two Circles, because they are set in perspective, and with smaller figures, the foot position of Alexander could not be exactly shown, that the Scholar could thereby obtain sufficient instruction. Because this is a point of very great importance, to understand, then with precision, I would return you to the first Table of all, where you will see the large footprints in Circle No 1, and again in Circle No 4, but smaller. You must place your feet according to these at the Second Instance, to fully achieve the actions described in the second Circle. Likewise for the Third Instance to fully achieve the actions described in this, Circle No 3. And take care to perform them exactly, for otherwise you will do nothing of worth. | | As for these last two Circles, because they are set in perspective, and with smaller figures, the foot position of Alexander could not be exactly shown, that the Scholar could thereby obtain sufficient instruction. Because this is a point of very great importance, to understand, then with precision, I would return you to the first Table of all, where you will see the large footprints in Circle No 1, and again in Circle No 4, but smaller. You must place your feet according to these at the Second Instance, to fully achieve the actions described in the second Circle. Likewise for the Third Instance to fully achieve the actions described in this, Circle No 3. And take care to perform them exactly, for otherwise you will do nothing of worth. | ||
| − | | Quant à ces deux derniers Cercles, puis qu’ils sont mis en la | + | | Quant à ces deux derniers Cercles, puis qu’ils sont mis en la prospective, & en figures de moindre taille, le plantment des pieds d’Alexandre n’y a peu estre representé si exactement, que l’Escholier en puisse tirer suffisante instruction: car c’est un point de tresgrande importance. Pour en comprendre donc la justesse, je vous renvoye au Tableau premier de touts, où vous en verrez les patrons tracez en grande forme au Cercle N.1. & derechef au Cercle N.4. en moindre taille, en conformité desquesl il vous faudra regler la situation de vos pieds tant à la Seconde Instance, pour venir à bout de l’operation de ce Cercle deuxieme, qu’à la troisieme pareillement, pour en venir à l’accomplissement de ce present Cercle N.3. Et prenez garde à les observer bien exactement. car autrement vous ne ferez chose qui vaille. |
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| A final note about these two Circles, where Alexander subjugates his Opponent in the second and third, he sets his sword-tip precisely in front of his opponent’s face, or he thrusts, as powerfully as he can. We have said nothing on the subject of force one would need to perform these actions. Because one may perform them against several different degrees, either Lively, or Strong, or Stronger, or Very Strong. As long as, while subjugating the sword, one slides the point of contact along the swords at the same time, down his and up one’s own, until the 8th Span is in contact with the opponent’s 6th Span. By doing this, with but a little effort, one can hold down against several different degrees of force, without stumbling or opening up the line, if the enemy should perform a circular disengagement. What is more, in the time that Alexander steps towards the Third Instance while sliding the point of contact up the blade, he will do the same against even greater degrees of force than we have said. | | A final note about these two Circles, where Alexander subjugates his Opponent in the second and third, he sets his sword-tip precisely in front of his opponent’s face, or he thrusts, as powerfully as he can. We have said nothing on the subject of force one would need to perform these actions. Because one may perform them against several different degrees, either Lively, or Strong, or Stronger, or Very Strong. As long as, while subjugating the sword, one slides the point of contact along the swords at the same time, down his and up one’s own, until the 8th Span is in contact with the opponent’s 6th Span. By doing this, with but a little effort, one can hold down against several different degrees of force, without stumbling or opening up the line, if the enemy should perform a circular disengagement. What is more, in the time that Alexander steps towards the Third Instance while sliding the point of contact up the blade, he will do the same against even greater degrees of force than we have said. | ||
| − | | Au reste en ces deux mesme Cercles, dont Alexandre assujettit le Contraire au deuxieme & au troisieme il luy met la pointe en courtoisie devant le visage, ou bien qu’il en face l’execution, comme il en a la puissance; nous n’avons rien dit touchant le poids, qui soit requis pour lesdites operations; à cause qu’on les pourra pratiquer sur plusieurs differents degrez, soit Vif, ou Fort, Plus fort, ou Tres-fort; moyennāt qu’en assujettissant l’espee, on l’aille ensemblemēt desgraduant, & graduant au contraire la sienne propre, jusqu’à en accoupler le N.8. au N.6. du Contraire. Car en ce saisant, avec peu de force on pourra tenir en | + | | Au reste en ces deux mesme Cercles, dont Alexandre assujettit le Contraire au deuxieme & au troisieme il luy met la pointe en courtoisie devant le visage, ou bien qu’il en face l’execution, comme il en a la puissance; nous n’avons rien dit touchant le poids, qui soit requis pour lesdites operations; à cause qu’on les pourra pratiquer sur plusieurs differents degrez, soit Vif, ou Fort, Plus fort, ou Tres-fort; moyennāt qu’en assujettissant l’espee, on l’aille ensemblemēt desgraduant, & graduant au contraire la sienne propre, jusqu’à en accoupler le N.8. au N.6. du Contraire. Car en ce saisant, avec peu de force on pourra tenir en sujection plusieurs differents degrez de poids, sans tresbucher ne forligner, s’il advenoit que l’Ennemi vinst à faire cavation durant ce mesme temps. Qui plus est, au temps qu’Alexandre marchera vers la Troisieme Instance en augmentant la graduation, il fera tout le mesme, encores contre de plus grands efforts que ceux que nous avons specifiez. |
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| We drew this circle reversed, so that Alexander works from the side where, in all previous Circles, we placed his adversary. This is to be able to show the follow-on actions in Circles No 5 & 6, as seen in perspective. Alexander has so far arrived at the First Instance, as in Circle No 1. He raises his right foot off the ground and lifts his sword-tip at the same time using his wrist, so as to join his 3rd Span against his opponent’s 8th Span. Having made a short pause, he steps with that foot to the right-hand side over to the Oblique Diameter, following the line of the Inside Square, and slides the point of contact so that his 8th Span joins his opponent’s 6th Span, to subsequently subjugate the blade at the Second Instance. This is the beginning, on which of all the actions which follow depend. | | We drew this circle reversed, so that Alexander works from the side where, in all previous Circles, we placed his adversary. This is to be able to show the follow-on actions in Circles No 5 & 6, as seen in perspective. Alexander has so far arrived at the First Instance, as in Circle No 1. He raises his right foot off the ground and lifts his sword-tip at the same time using his wrist, so as to join his 3rd Span against his opponent’s 8th Span. Having made a short pause, he steps with that foot to the right-hand side over to the Oblique Diameter, following the line of the Inside Square, and slides the point of contact so that his 8th Span joins his opponent’s 6th Span, to subsequently subjugate the blade at the Second Instance. This is the beginning, on which of all the actions which follow depend. | ||
| − | | Nous avons figuré ce Cercle present tout au rebours des autres, en sorte qu’{{sc|Alexandre}} y travaille du costé, où nous avons placé à touts les autres Cercle son Adversaire. Ce qui a esté fait pour accomoder les 5. & 6. qui en procedent, à l’ordonnance de la | + | | Nous avons figuré ce Cercle present tout au rebours des autres, en sorte qu’{{sc|Alexandre}} y travaille du costé, où nous avons placé à touts les autres Cercle son Adversaire. Ce qui a esté fait pour accomoder les 5. & 6. qui en procedent, à l’ordonnance de la prospective. {{sc|Alexandre}} donc estant venu preallablement à la Premiere Instance à la façon du Cercle N.1. il esleve presentemēt le pied droit de terre, & hausse ensemblement la pointe de sa lame à l’aide du poignet, en sorte qu’il en assemble le N.3 au N.8. du Contraire; ayant fait une petite pause, il marche avec le mesme pied à main droite par delà le Diametre, ensuivant la trace du Quarré Inscrit, & faisant la graduation de maniere qu’il joingt son N.8. au N.6. de la partie adverse, pour luy assujettir consequemment l’espee à la Seconde Instance. Et c’est le commencement dequoy toutes les operations suivantes dependent. |
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| Alexander interrupts his action with a hesitant pause as soon as he has raised his right foot in the air, and again, as he steps towards the Second Instance to the right-hand side, he makes a second pause, just before he overbalances. Now we have found it most effective to show this moment in the image, so the student shall be more aware to always do this each time it is necessary to perform this same subjugation. Because these pauses will give him the time to recognize and prevent any of the counters which his adversary might plan to do during this action. In contrast, if he were to step right away from the First Instance to the Second, or from the Second to the Third, without putting in any pause, he would be in grave danger of being wounded. That is all to be said concerning the need to observe the opponent. One should also note that this practice will, from the beginning, not be pleasing to spectators, for the slowness and the interrupted motions of the learner, because of these pauses. Nevertheless, when is well practiced, and can easily adjust his timing to his opponent, instead of slowing him, these pauses will be of great help to him, and as such they will not even be noticeable. But at the beginning, one needs to have the patience to learn this. It may be that, of those who read this, considering how these pauses are quite contrary to the old mode of fighting, where no one knows about making brief pauses, and even less to carefully perform them, or to even to talk of their need, someone might wish to take issue with these instructions, I would ask the suspend judgement until they have fully looked at the usefulness, and self-assurance that they impart to someone who is in a fight, and the degree to which they instil habits that will protect their movements and train him in seeing the true points when actions are most effective. | | Alexander interrupts his action with a hesitant pause as soon as he has raised his right foot in the air, and again, as he steps towards the Second Instance to the right-hand side, he makes a second pause, just before he overbalances. Now we have found it most effective to show this moment in the image, so the student shall be more aware to always do this each time it is necessary to perform this same subjugation. Because these pauses will give him the time to recognize and prevent any of the counters which his adversary might plan to do during this action. In contrast, if he were to step right away from the First Instance to the Second, or from the Second to the Third, without putting in any pause, he would be in grave danger of being wounded. That is all to be said concerning the need to observe the opponent. One should also note that this practice will, from the beginning, not be pleasing to spectators, for the slowness and the interrupted motions of the learner, because of these pauses. Nevertheless, when is well practiced, and can easily adjust his timing to his opponent, instead of slowing him, these pauses will be of great help to him, and as such they will not even be noticeable. But at the beginning, one needs to have the patience to learn this. It may be that, of those who read this, considering how these pauses are quite contrary to the old mode of fighting, where no one knows about making brief pauses, and even less to carefully perform them, or to even to talk of their need, someone might wish to take issue with these instructions, I would ask the suspend judgement until they have fully looked at the usefulness, and self-assurance that they impart to someone who is in a fight, and the degree to which they instil habits that will protect their movements and train him in seeing the true points when actions are most effective. | ||
| − | | Or ceste | + | | Or ceste action d’Alexandre, faisant incontinent la pause du pied droit dés qu’il l’a eslevé en l’air, voire qu’en marchant avec le mesme devers la Seconde Instance à main droite, il en fait encore une autre pause pour la seconde fois, avant qu’il tresbuche; nous avons trouvé expedient de la representer en figure, afin que le Dissciple soit tant mieux averti d’en faire tousiours autant à toutes les fois qu’il fera question de faire ce mesme assujettissement. Car ces pauses luy presteront le loisir de recognoisre & prevenir toutes les traverses, que l’Adversaire pourra machiner durant ce mesme temps. Au contraire, s’il marche tout d’une tire depuis la Premiere Instance jusqu’à la Seconde, ou de la Seconde à la Troisieme, sans nulle entremise du pause, il sera en mille dangers d’y estre blessé. Voilà touchant la necessité de l’observation. Sachez davantage, que la pratique en sera du commmencemēt peu aggreable aux yeux des Spectateurs, pour la tardivité & l’interruption des mouvements de l’apprentif, procedant de ces pauses susdites. Ce neantmoins quand il en aura prins l’habitude & qu’il en saura adjuster les temps, au lieu de retarder elles avanceront le reste de la besoigne, de sorte qu’elles ne pourront estre remarquées; mais pour le commencement il faudra de la patience pour les apprendre. Par adventure aussi que ceux qui viendront à lire ces escrits, considerants que telles pauses sont du tout contraires à la veille mode de tirer des armes, où l’on ne sçait que c’est de faire pauses, & moins encores de les observer si curieusement, ou de les mettre en la description comme necessaires: si quelquun en voulust tirer occasion de reprender les instructions mesmes, je le prie d’en surseoir le jugement jusqu’à tant qu’il en ait examiné l’utilité, & l’assurance qu’elles apportent à celuy qui travaille, puis qu’elles l’engardent de prodiguer ses mouvements & luy monstent d’en adjuster le vray point des occasions convenables. |
(n.b. printing errors in this paragraph were not corrected) | (n.b. printing errors in this paragraph were not corrected) | ||
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| After Alexander has set himself at the Second Instance, holding his opponent’s sword in subjugation (the same way as in Circle No 2) he wishes to perform the action in Circle No 3. While he is in the act of stepping with his right foot along the line of the Inside Square, at the instant he begins to overbalance, Zachary makes a circular disengage, moving the tip of his sword from underneath Alexander’s guard and upwards, moves his right foot forward, and aims a thrust inside the arm towards the face. Alexander, as soon as he feels the blades disengage, immediately arranges his in the direct line posture with his arm extended towards the top of his opponent’s head, and as he sees the sword coming towards him, he meets it with the centre of his blade at about the 3rd or 4th Span of his opponent’s, and slides the point of contact up the blade as he sets his foot down at the intended spot at the Third Instance on the letter N. He then brings his left foot up to the letter K, draws his body upright in profile, thus closing down the direct line. Thus he wounds his opponent in the side of the face. As is shown by the figures. | | After Alexander has set himself at the Second Instance, holding his opponent’s sword in subjugation (the same way as in Circle No 2) he wishes to perform the action in Circle No 3. While he is in the act of stepping with his right foot along the line of the Inside Square, at the instant he begins to overbalance, Zachary makes a circular disengage, moving the tip of his sword from underneath Alexander’s guard and upwards, moves his right foot forward, and aims a thrust inside the arm towards the face. Alexander, as soon as he feels the blades disengage, immediately arranges his in the direct line posture with his arm extended towards the top of his opponent’s head, and as he sees the sword coming towards him, he meets it with the centre of his blade at about the 3rd or 4th Span of his opponent’s, and slides the point of contact up the blade as he sets his foot down at the intended spot at the Third Instance on the letter N. He then brings his left foot up to the letter K, draws his body upright in profile, thus closing down the direct line. Thus he wounds his opponent in the side of the face. As is shown by the figures. | ||
| − | | Apres qu’{{sc|Alexandre}} a esté planté à la Seconde Instance, y tenant l’espee contraire assujettie (en conformité du Cercle N.2.) il est veu à poursuivre l’operation du Cercle N.3. Estant donc en | + | | Apres qu’{{sc|Alexandre}} a esté planté à la Seconde Instance, y tenant l’espee contraire assujettie (en conformité du Cercle N.2.) il est veu à poursuivre l’operation du Cercle N.3. Estant donc en acte de marcher avec le pied droit par la trace du Quarré Inscrit, à l’instant qu’il commence à tresbucher avec le corps; {{sc|Zacharie}} luy fait une cavation, delivrant la point de son espee de dessous la garde contraire vers le haut, en avançant le pied droit, & luy tirant un coup d’estocade en dedans du bras devers le visage. {{sc|Alexandre}}, dés qu’il sent le destachement des lames, dresse incontinent la sienne en droite ligne avec le bras estendu devers le sommet de la teste contraire, & comme il en voit venir l’espee à soy, il l’accueilt avec le centre de la sienne à N.3. ou 4. continuant à la graduer, & à planter le pied au lieu pretendu de la Troisieme Instance lettre N, puis à mener consequemment le pied gauche sur la lettre K, & à dresser le corps en pourfil, fermant par ainsi la droite ligne; dont il blesse le Contraire au costé droit du visage; comme il est monstré par les figures. |
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| Please note that Alexander’s arm and sword-tip in reality would finish this action pointing directly out of the picture at the viewer, which is too difficult to show properly. This is why the arm is shown raised a bit up and the tip a bit lower, so the viewer can see what is happening. | | Please note that Alexander’s arm and sword-tip in reality would finish this action pointing directly out of the picture at the viewer, which is too difficult to show properly. This is why the arm is shown raised a bit up and the tip a bit lower, so the viewer can see what is happening. | ||
| − | | Notez d’autant que le bras & la pointe d’Alexandre viennent à respondre en ceste | + | | Notez d’autant que le bras & la pointe d’Alexandre viennent à respondre en ceste action tout droitement contre les yeux du peintre, qu’il a esté trop difficile de les representer exactement en leur vraye situation. C’est pourquoi le bras y est pourtrait un peu plus eslevé, & la pointe plus basse, pour mettre en veuë au spectateur & au peintre mesme. |
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| This circle also follows on from Circle No 9. Alexander is in the process of forcing his opponent’s to the right-hand side to subjugate it, as in Circle No 11, helped by a step forward with his left foot. Zachary increases the force on his blade to resist against his opponent’s sword, which is already raised up while performing the move. We can see the figures as they struggle. | | This circle also follows on from Circle No 9. Alexander is in the process of forcing his opponent’s to the right-hand side to subjugate it, as in Circle No 11, helped by a step forward with his left foot. Zachary increases the force on his blade to resist against his opponent’s sword, which is already raised up while performing the move. We can see the figures as they struggle. | ||
| − | | Aussi l’operation de ce Cercle present procede en suite de N.9; {{sc|Alexandre}} estant en | + | | Aussi l’operation de ce Cercle present procede en suite de N.9; {{sc|Alexandre}} estant en acte de transporter la lame contraire à main droite pour l’assujettir, comme au Cercle precedente N.11. à l’aide de la demarche du pied gauche: {{sc|Zacharie}} augmente fort le poids de sa lame, pour resister à l’espee contraire qui est ja montée en haut en faisant le transportement; comme on voit en leurs figures qu’ils s’en debattent. |
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| History tells of the Roman General Fabius Maximus, who harassed the army of Hannibal and thus saved the Republic. VNVS HOMO NOBIS CUNCTANDO RESTITVIT REM (“One man, by delaying, restored the state to us”). Our students should take heed to likewise learn above all to manage their attack with patience. There is no reason at all to be hasty during the initial approach, because one does not know how one’s adversary will behave, whether one must work quickly or slowly, attacking forward, or defending backwards. Anything else would be temerity made manifest. It is true that those who hold to the common style agree with this, except when it comes to performing the pauses which we require when in the midst of combat, then they strongly object. They claim that victory is lost whenever one holds back, and that each slight pause is a fault, because, they say, one cannot disrupt an enemy, except by constant speed, so that he does not have time to respond, and it would be useless to even think of doing anything differently; that one could neither offend, nor defend, since pauses cannot be but like a burden that slows a packhorse and would leave one unable to meet the short, fast attacks which strike and strike again, and hit before one could stop them. I reply, to those who value nothing other than that one thing, that in our system we have no intention of only taking our time and disregarding speed, but that each one has its use, as much as the other, and that security comes from caution, as much as strikes succeed through quickness. It is not the back-and-forth motion of the arms, nor the clash of swords, nor the impetus of the body, nor the stamping of the feet which produce hits, these are merely movements. Careful preparations are not in fear, but in order to effectively deliver big hits, one needs to make certain of one’s approach, until one has the range and opportunity to hit with one quick motion. This how to offend your adversary, together with your proper defence, instead of just using speed which leaves you completely uncovered because it does not allow you time to assess your opponent’s actions. | | History tells of the Roman General Fabius Maximus, who harassed the army of Hannibal and thus saved the Republic. VNVS HOMO NOBIS CUNCTANDO RESTITVIT REM (“One man, by delaying, restored the state to us”). Our students should take heed to likewise learn above all to manage their attack with patience. There is no reason at all to be hasty during the initial approach, because one does not know how one’s adversary will behave, whether one must work quickly or slowly, attacking forward, or defending backwards. Anything else would be temerity made manifest. It is true that those who hold to the common style agree with this, except when it comes to performing the pauses which we require when in the midst of combat, then they strongly object. They claim that victory is lost whenever one holds back, and that each slight pause is a fault, because, they say, one cannot disrupt an enemy, except by constant speed, so that he does not have time to respond, and it would be useless to even think of doing anything differently; that one could neither offend, nor defend, since pauses cannot be but like a burden that slows a packhorse and would leave one unable to meet the short, fast attacks which strike and strike again, and hit before one could stop them. I reply, to those who value nothing other than that one thing, that in our system we have no intention of only taking our time and disregarding speed, but that each one has its use, as much as the other, and that security comes from caution, as much as strikes succeed through quickness. It is not the back-and-forth motion of the arms, nor the clash of swords, nor the impetus of the body, nor the stamping of the feet which produce hits, these are merely movements. Careful preparations are not in fear, but in order to effectively deliver big hits, one needs to make certain of one’s approach, until one has the range and opportunity to hit with one quick motion. This how to offend your adversary, together with your proper defence, instead of just using speed which leaves you completely uncovered because it does not allow you time to assess your opponent’s actions. | ||
| − | | L’histoire tesmoigne de Fabius Maximus General de l’Armee Romaine, qu’en trainant l’Armee de Hannibal il a redressé la Republique: Vnvs homo nobis cunctando restituit rem. Nostre Escholier se doit proposer semblablement d’apprendre sur tout à mesnager ses forces. Aussi n’a il nulle raison de se haster durant les premieres approches, par ce qu’il ne sçait quelle situation l’Adversaire doit prendre, s’il doit travailler viste ou lentement, en avant, ou en arriere. Ce seroit donc une temerité manifeste. Et de vray ceux qui se tiennent à la Pratique vulgaire, confessent le mesme. Mais touchant les pauses que nous requerons au milieu de la bataille, il leur semble qu’ils ont grande occasion d’y contredire. Car ils | + | | L’histoire tesmoigne de Fabius Maximus General de l’Armee Romaine, qu’en trainant l’Armee de Hannibal il a redressé la Republique: Vnvs homo nobis cunctando restituit rem. Nostre Escholier se doit proposer semblablement d’apprendre sur tout à mesnager ses forces. Aussi n’a il nulle raison de se haster durant les premieres approches, par ce qu’il ne sçait quelle situation l’Adversaire doit prendre, s’il doit travailler viste ou lentement, en avant, ou en arriere. Ce seroit donc une temerité manifeste. Et de vray ceux qui se tiennent à la Pratique vulgaire, confessent le mesme. Mais touchant les pauses que nous requerons au milieu de la bataille, il leur semble qu’ils ont grande occasion d’y contredire. Car ils objectent, que la victoire s’envole à touts les fois qu’on la refuse, & que touts les clins d’oeil qu’on se retarde, sont autant de fautes; pour ce qu’on ne peut mettre l’Ennemy en desorder, sinon par la vistesse, de façon qu’il ne sache de quelle part il nous doive attendre: & si nous pensons d’y aller autrement, que nous ne ferons rien qu vaille, ny pour offenser, ny pour defendre, d’autant que la tardiveté ne pourra estre bastante à rencontrer tant de fretillements, qui passent, & repassent, & arrivent avant qu’on le puisse atteindre. Ie respons que ce n’est pas notste intention de priser la seule tardiveté des actions & en desprinser la vistesse: mais que l’une y doit avoir sa place, aussi bien que l’autre, & que les asseurances procedent de la tardiveté, comme les executions de la vistesse; reprenant ceux qui n’estiment rien valable aux prix d’elle seule. Ce ne sont pas les branslements du bras, ny le cliquement des espees, ny les impetuositez du corps, ny le battements des pieds, qui donnent les atteintes, ce sont des simples mouvements: les grandes preparations, ne sont pas à craindre, mais les grands coups, pour lesquels effectuer il ne faut qu’asseurer ses approches, jusqu’à tant qu’on ait le moyen de prendre une seule fois le temps à son avantage. Voilà la maniere d’offenser vostre Adversaire, conjoincte avec vostre propre defense, au lieu de ceste grande vistesse qui en est toute desnuée, par ce qu’elle n’a pas le loisir d’examiner les actions du Contraire. |
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| When we are surprised by some great danger, it is natural thing to stop short, to consider the best means of protection. Before one has accomplished this, one feels as if one’s hands are tied and feet encased in mud. For I believe there is not a man in the world who can consciously commit so completely to his path that he cannot be instantly distracted from it if one were to suddenly place an obstacle in his way, such as a large rock, or a stick thrown between his legs. Who needs to have explained to them the effect of some disconcerting sight, or the rattling of resolve, no matter how firm at first, when unexpected danger crosses one’s path? The same reasons induce us to approach our work with slow, deliberate care, and it cautions us to work with circumspection in the middle of a fight. Dangers which cross our way come from all over and give us pause. But, as much as such pauses are a natural consequence of caution, it is also necessary to know when to instantly, and without hesitation, take advantage of an opening. Because we are not moving slowly merely to take a break, or rest, but to work better, to gather our strength, and to use it well, to seize the opportunity, and not let it pass. So we shall see how Alexander, in this current Table XVI, as he does throughout this book, during the time his hand, his feet, or his body are stopped, prepares himself to take action swiftly and with power, just like those who take two or three steps back in order to leap higher and further. So, let us look at these examples. | | When we are surprised by some great danger, it is natural thing to stop short, to consider the best means of protection. Before one has accomplished this, one feels as if one’s hands are tied and feet encased in mud. For I believe there is not a man in the world who can consciously commit so completely to his path that he cannot be instantly distracted from it if one were to suddenly place an obstacle in his way, such as a large rock, or a stick thrown between his legs. Who needs to have explained to them the effect of some disconcerting sight, or the rattling of resolve, no matter how firm at first, when unexpected danger crosses one’s path? The same reasons induce us to approach our work with slow, deliberate care, and it cautions us to work with circumspection in the middle of a fight. Dangers which cross our way come from all over and give us pause. But, as much as such pauses are a natural consequence of caution, it is also necessary to know when to instantly, and without hesitation, take advantage of an opening. Because we are not moving slowly merely to take a break, or rest, but to work better, to gather our strength, and to use it well, to seize the opportunity, and not let it pass. So we shall see how Alexander, in this current Table XVI, as he does throughout this book, during the time his hand, his feet, or his body are stopped, prepares himself to take action swiftly and with power, just like those who take two or three steps back in order to leap higher and further. So, let us look at these examples. | ||
| − | | A toutes les fois qu’on est surprins d’un grand danger, c’est chose naturelle de s’arrester tout court, pour considerer le moyen de sa defense; & avant que de l’avoir fait, il semble qu’on ait les mains comme liées, & les pieds quasi engourdis. Car je croy, qu’il n’y a homme au monde, qui se puisse adonner si furieusement à la course, qu’il ne la rompe tout à l’instant mesme, qu’on luy jettera à l’impourveu une pierre ou un baston à travers les jambes. Quelle main necessera d’escrire s’il se vient presenter aux yeux un horrible | + | | A toutes les fois qu’on est surprins d’un grand danger, c’est chose naturelle de s’arrester tout court, pour considerer le moyen de sa defense; & avant que de l’avoir fait, il semble qu’on ait les mains comme liées, & les pieds quasi engourdis. Car je croy, qu’il n’y a homme au monde, qui se puisse adonner si furieusement à la course, qu’il ne la rompe tout à l’instant mesme, qu’on luy jettera à l’impourveu une pierre ou un baston à travers les jambes. Quelle main necessera d’escrire s’il se vient presenter aux yeux un horrible spectacle, ou qu’elle resolution si ferme, qui ne soit incontinent troublée, quand le danger non attendu le traverse? La mesme raison qui nous induit à travailler lentement au commencement des approches, c’est celle qui nous advertit pareillement de travailler avec circonspection au milieu du bataille. Tout y est plein de dangers, plein de traverses. Mais autant qu’il est naturel de faires ces pauses, autant est il necessaire de les sçavoir abbreger à l’instant que l’occasion se presente de prendre nouvel avantage. Car ce n’est pas pour reposer qu’on se retarde; c’est pour travailler mieux, pour unir ses forces, pour les dispenser justement, & pour prendre l’occasion, qu’elle ne se passe. Ainsi en verra on faire à Alexandre en ce present Tableau XVI, comme aussi par tout ce livre: Durant l’arrest du pied, de la main, ou du corps, il se prepare à la vistesse de l’action ensuivante, à l’imitation de ceux qui se reculent trois ou quatre pas en arriere pour sauter avec plus de force en avant. Or voyons en les examples. |
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| The two parties stand upon the Circle at the First Instance. Alexander will begin to work first, he raises his right foot, keeps his knee straight, using his wrist to raise the tip of his sword, he then brings it into contact to the outside of his arm, setting his 8th Span against his opponent’s 3rd Span, using but a little force. Next, he raises it a little more and, while sliding the point of contact up the blade, he moves his raised right foot just over to the Oblique Diameter following the line of the Inside Square. When his foot is halfway there, before his body begins to overbalance, he pauses briefly, to be sure his adversary is not about to attempt a strike as he moves on. Following on, he takes a slightly backwards step with his right foot, to set it in place on the letter G at the Second Instance, then, with a circular motion, draws his left foot after it. With his 4th Span pressed against his opponent’s 3rd Span, he subjugates the sword as he sets his foot down on the Circumference at D, turning the heel to lie along the Interior Collateral G-F, as we see portrayed in the figure. | | The two parties stand upon the Circle at the First Instance. Alexander will begin to work first, he raises his right foot, keeps his knee straight, using his wrist to raise the tip of his sword, he then brings it into contact to the outside of his arm, setting his 8th Span against his opponent’s 3rd Span, using but a little force. Next, he raises it a little more and, while sliding the point of contact up the blade, he moves his raised right foot just over to the Oblique Diameter following the line of the Inside Square. When his foot is halfway there, before his body begins to overbalance, he pauses briefly, to be sure his adversary is not about to attempt a strike as he moves on. Following on, he takes a slightly backwards step with his right foot, to set it in place on the letter G at the Second Instance, then, with a circular motion, draws his left foot after it. With his 4th Span pressed against his opponent’s 3rd Span, he subjugates the sword as he sets his foot down on the Circumference at D, turning the heel to lie along the Interior Collateral G-F, as we see portrayed in the figure. | ||
| − | | Les deux parties s’estants placez sur le Cercle en Premiere Instance; {{sc|Alexandre}} s’en va presentement travailler le premier, en eslevant le pied droit avec le genouil roide, & haussant ensemblement la pointe de son espee à l’aide du poignet, dequoy il en accouple avec peu de poids en dehors du bras le N.3. avec le N.8. du contraire; puis en suite il hausse encore un peu d’avantage en graduant, & avançant le pied droit eslevé par delà le Diametre ensuivant la trace du Quarré inscrit; duquel estant venu à my-voye de l’Instance, avant qu’il vienne à tres-bucher avec le corps; il en fait une petite pause, pour estre sur ses gardes si l’adversaire vouloit tirer sur luy durant ce mesme temps: poursuivant | + | | Les deux parties s’estants placez sur le Cercle en Premiere Instance; {{sc|Alexandre}} s’en va presentement travailler le premier, en eslevant le pied droit avec le genouil roide, & haussant ensemblement la pointe de son espee à l’aide du poignet, dequoy il en accouple avec peu de poids en dehors du bras le N.3. avec le N.8. du contraire; puis en suite il hausse encore un peu d’avantage en graduant, & avançant le pied droit eslevé par delà le Diametre ensuivant la trace du Quarré inscrit; duquel estant venu à my-voye de l’Instance, avant qu’il vienne à tres-bucher avec le corps; il en fait une petite pause, pour estre sur ses gardes si l’adversaire vouloit tirer sur luy durant ce mesme temps: poursuivant l’action il marche un peu alenvers avec le mesme pied pour le planter sur l’endroit de la Seconde Instance lettre G, en eslevant & continuant à mener circulairement le pied gauche apres, joignant ensemble ses N.3. à N.4. de l’espee contraire, l’assujettissant & plantant ensemblement le pied eslevé à la Circonference lettre D, & tournant la talon du pied droit sur la collaterale interieure G F; comme en la voit pourtraict à la figure. |
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| This current action again has its beginning in Circle No 3. While Alexander begins to perform the preceding Circle, stepping in with his right foot and sliding the point of contact up the blade, Zachary parries by bending his arm, moving it to the outside right-hand rear, with his pommel raised up and the sword tip, in contrast, pointing downwards. At the same time, Alexander, in the process of stepping, sets his right foot down short along the Diameter at M, and instantly moves his left side forward followed by his foot, together with a circular motion up, over, and down around his opponents guard and raised elbow, so that he brings his point beneath the raised arm, while at the same time he seizes the wrist with his left hand and pushes it upwards and bad. Setting his left foot down where the Exterior Collateral crosses the line V – W, he bends his knee and leans onto it, and wounds his enemy by extending his hand from the right side of his body, and pushing the thrust forcefully through his opponent’s body, as we can see shown in the figure. | | This current action again has its beginning in Circle No 3. While Alexander begins to perform the preceding Circle, stepping in with his right foot and sliding the point of contact up the blade, Zachary parries by bending his arm, moving it to the outside right-hand rear, with his pommel raised up and the sword tip, in contrast, pointing downwards. At the same time, Alexander, in the process of stepping, sets his right foot down short along the Diameter at M, and instantly moves his left side forward followed by his foot, together with a circular motion up, over, and down around his opponents guard and raised elbow, so that he brings his point beneath the raised arm, while at the same time he seizes the wrist with his left hand and pushes it upwards and bad. Setting his left foot down where the Exterior Collateral crosses the line V – W, he bends his knee and leans onto it, and wounds his enemy by extending his hand from the right side of his body, and pushing the thrust forcefully through his opponent’s body, as we can see shown in the figure. | ||
| − | | De ce mesme Cercle N.3. la presente operation en depend encores pareillement. Durant le temps qu’{{sc|Alexandre}} se met à pratiquer celle du Cercle precedente, en faisant l’intrade avec le pied droit, & la graduation de sa lame; {{sc|Zacharie}} pour le parer se courbe le bras en dehors & arriere du corps à main droite, avec le pommeau de l’espee ascendant, & la pointe au contraire descendante. Au mesme temps {{sc|Alexandre}} se plante le pied droit, qui estoit en chemin, par delà le Diametre à la lettre M, en avançant tout à l’instant le costé gauche & poursuivant avec le mesme pied, & faisant ensemblement de son espee un circuit de haut en bas alentour la gare & le bras contraire, de sorte qu’il luy en conduit la pointe dessous le bras haussé, luy faisissant aussi au mesme Instant par le bas avec sa main gauche le poignet de la main, laquelle il pousse arriere de soy vers le haut, en posant le pied gauche à terre sur la derniere | + | | De ce mesme Cercle N.3. la presente operation en depend encores pareillement. Durant le temps qu’{{sc|Alexandre}} se met à pratiquer celle du Cercle precedente, en faisant l’intrade avec le pied droit, & la graduation de sa lame; {{sc|Zacharie}} pour le parer se courbe le bras en dehors & arriere du corps à main droite, avec le pommeau de l’espee ascendant, & la pointe au contraire descendante. Au mesme temps {{sc|Alexandre}} se plante le pied droit, qui estoit en chemin, par delà le Diametre à la lettre M, en avançant tout à l’instant le costé gauche & poursuivant avec le mesme pied, & faisant ensemblement de son espee un circuit de haut en bas alentour la gare & le bras contraire, de sorte qu’il luy en conduit la pointe dessous le bras haussé, luy faisissant aussi au mesme Instant par le bas avec sa main gauche le poignet de la main, laquelle il pousse arriere de soy vers le haut, en posant le pied gauche à terre sur la derniere intersection de la ligne V W, ou il se charge le corps dessus avec le genouil plié, en blessant l’Ennemy avec le bras estendu au costé droit de la poitrine, & luy poussant l’estocade en rigeur à tavers le corps; comme on le voit demonstré par la figure. |
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| This one begins the same way as, and is very like, the preceding action, except that while Alexander enters with his right foot, sliding the point of contact up the sword, as in Circle No 6, Zachary uses a great amount of force to carry the swords over to his right side. At which point Alexander lowers his foot to the letter L, continuing to draw his left foot behind, and performs a circular disengage with his sword, around his opponent’s hand and up, as he presses his right arm against his side, so that his opponent’s unopposed sword overbalances and flies off to his left. Alexander again moves his left side forward, seizes his opponent’s wrist with his left hand, which he then pushes, along with the sword, downwards and away to the left, puts his left foot down where the Interior Collateral crosses the line V – W, bends his knee and leans onto it, and wounds his enemy the same as before, as the figures show. | | This one begins the same way as, and is very like, the preceding action, except that while Alexander enters with his right foot, sliding the point of contact up the sword, as in Circle No 6, Zachary uses a great amount of force to carry the swords over to his right side. At which point Alexander lowers his foot to the letter L, continuing to draw his left foot behind, and performs a circular disengage with his sword, around his opponent’s hand and up, as he presses his right arm against his side, so that his opponent’s unopposed sword overbalances and flies off to his left. Alexander again moves his left side forward, seizes his opponent’s wrist with his left hand, which he then pushes, along with the sword, downwards and away to the left, puts his left foot down where the Interior Collateral crosses the line V – W, bends his knee and leans onto it, and wounds his enemy the same as before, as the figures show. | ||
| − | | Celle-cy procede & est du tout semblable à l’operation precedente, sinon qu’au temps qu’{{sc|Alexandre}} fait l’intrade avec le pied droit, en graduant son espee, comme au Cercle N.6, {{sc|Zacharie}} luy transporte l’espee à main droite usant de force; sur quoy {{sc|Alexandre}} abaisse le pied droit en terre à la lettre L, continuant à poursuivre avec le pied gauche, & menant son espee par cavation contremont, en affermissant le bras au costé droit du corps, dont l’espee contraire vient à tresbucher avec le bras, & {{sc|Ale}}xandre avançant le costé gauche davantage, luy saisit avec la main gauche le poignet du bras, lequel il pousse ensemble avec l’espee plus bas, mettant le pied à terre sur | + | | Celle-cy procede & est du tout semblable à l’operation precedente, sinon qu’au temps qu’{{sc|Alexandre}} fait l’intrade avec le pied droit, en graduant son espee, comme au Cercle N.6, {{sc|Zacharie}} luy transporte l’espee à main droite usant de force; sur quoy {{sc|Alexandre}} abaisse le pied droit en terre à la lettre L, continuant à poursuivre avec le pied gauche, & menant son espee par cavation contremont, en affermissant le bras au costé droit du corps, dont l’espee contraire vient à tresbucher avec le bras, & {{sc|Ale}}xandre avançant le costé gauche davantage, luy saisit avec la main gauche le poignet du bras, lequel il pousse ensemble avec l’espee plus bas, mettant le pied à terre sur l’intersection de la ligne V W, & se chargeant le corps pour se pancher en avant dessus le mesme avec le genouil plié, de maniere qu’il le blesse de sa pointe au visage; en conformité des figures. |
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| Here is another which originates in Circle No 3, where Alexander has entered with his left foot to the letter L, holding the opposing blade subjugated to the outside of his arm on the right-hand side, and is in the act of raising his right foot to perform the action of Circle No 6. Zachary withdraws with a rearward step of his left foot outside the Circle, and thereupon taking another with his right foot, while, at the same time disengaging with his sword underneath his opponent’s blade and rasing his tip so as to aim a thrust at his opponent’s face. Alexander, observing through his sense of feel that his opponent’s blade has lost contact with his own, instantly extends his arm meeting the weak of his opponent’s blade with the strong of his own. He follows up by sliding the point of contact up the blade while moving his body forward, setting his raised right foot down at the letter Q, putting his weight on it, and wounding his opponent by driving the sword-tip through the head; as is shown by the figures. | | Here is another which originates in Circle No 3, where Alexander has entered with his left foot to the letter L, holding the opposing blade subjugated to the outside of his arm on the right-hand side, and is in the act of raising his right foot to perform the action of Circle No 6. Zachary withdraws with a rearward step of his left foot outside the Circle, and thereupon taking another with his right foot, while, at the same time disengaging with his sword underneath his opponent’s blade and rasing his tip so as to aim a thrust at his opponent’s face. Alexander, observing through his sense of feel that his opponent’s blade has lost contact with his own, instantly extends his arm meeting the weak of his opponent’s blade with the strong of his own. He follows up by sliding the point of contact up the blade while moving his body forward, setting his raised right foot down at the letter Q, putting his weight on it, and wounding his opponent by driving the sword-tip through the head; as is shown by the figures. | ||
| − | | En voicy encor une qui prend pareillement son origine du Cercle N.3. ou {{sc|Alexandre}} est entré avec le pied gauche à la lettre L, tenant la lame contraire assujettie en dehors du bras à main droite, & estant en | + | | En voicy encor une qui prend pareillement son origine du Cercle N.3. ou {{sc|Alexandre}} est entré avec le pied gauche à la lettre L, tenant la lame contraire assujettie en dehors du bras à main droite, & estant en acte d’eslever le pied droit pour venir à l’operation du Cercle N.6. {{sc|Zacharie}} se retire faisant un pas en arriere avec le pied gauche au dehors du Cercle, & y en adjoustant encor un autre par dessus avec le pied droit, faisant ensemblement de son espee une cavation de dessous la contraire contremont, en sorte qu’il luy en tire une estocade devers le visage. {{sc|Alexandre}} appercevant par l’observation du Sentiment, que l’espee contraire commence à se destacher, il estend à l’instant le bras de l’espee en accueillant de son fort le foible du Contraire, poursuivant à le graduer en avançant le corps avec le pied droit eslevé pour planter par delà le Diametre à la lettre Q, & en se chargeant le corps dessus le mesme, blesser le Contraire d’un coup de pointe à travers la teste; comme il est representé aux figures. |
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| Alexander continues the motion by keeping his feet in place, left side forwards, and ducking his head beneath his adversary’s arm, keeping his own right arm extended behind him, with his elbow turned down, so that his sword-tip lowers downwards alongside his opponent’s, as portrayed by the figures. | | Alexander continues the motion by keeping his feet in place, left side forwards, and ducking his head beneath his adversary’s arm, keeping his own right arm extended behind him, with his elbow turned down, so that his sword-tip lowers downwards alongside his opponent’s, as portrayed by the figures. | ||
| − | | {{sc|Alexandre}} en poursuit la continuation, se tenant à pieds fermes le costé gauche en avant, & panchant pareillement de la teste dessous le bras de l’adversaire, avec le bras droit estendu en arriere & le coude renversé en dessus, en sorte que la pointe de son espee se coule vers le bas au long de l’espee contraire; selon le | + | | {{sc|Alexandre}} en poursuit la continuation, se tenant à pieds fermes le costé gauche en avant, & panchant pareillement de la teste dessous le bras de l’adversaire, avec le bras droit estendu en arriere & le coude renversé en dessus, en sorte que la pointe de son espee se coule vers le bas au long de l’espee contraire; selon le pourtraict des figures. |
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| Concerning the action in Circle No 11, as this is portrayed and explained, Alexander has moved his sword along and beneath his opponent’s to continue with the action in Circle No 12. Nonetheless, he can perform this action when his opponent drops his sword down instead, by then moving his sword-tip along and over his opponent’s sword, [i.e. not stepping under] then moving it over his left arm and so arrive again in exactly the same position. In summary, to perform this precisely as described, it is necessary to adjust and execute these movements quickly, as well as the spin and duck. This is the beginning the difficult techniques for the scholar to lean. But with continuous study and practice, he will have no fear of achieving his goal. Which is why he must bravely give himself over to his studies. | | Concerning the action in Circle No 11, as this is portrayed and explained, Alexander has moved his sword along and beneath his opponent’s to continue with the action in Circle No 12. Nonetheless, he can perform this action when his opponent drops his sword down instead, by then moving his sword-tip along and over his opponent’s sword, [i.e. not stepping under] then moving it over his left arm and so arrive again in exactly the same position. In summary, to perform this precisely as described, it is necessary to adjust and execute these movements quickly, as well as the spin and duck. This is the beginning the difficult techniques for the scholar to lean. But with continuous study and practice, he will have no fear of achieving his goal. Which is why he must bravely give himself over to his studies. | ||
| − | | Touchant l’operation du Cercle N.11. comme elle est icy | + | | Touchant l’operation du Cercle N.11. comme elle est icy pourtraicte & expliquée en la description. Alexandre y à conduit son espee du long & par le dessous de la contraire, pour en venir à la continuation & execution du Cercle N.12. Aucunefois il la pourra pratiquer; quand l’espee contraire descendra vers le bas en conduisant sa pointe au long & par le dessus de la mesme lame contraire; sur son bras gauche, & ainsi consequemment en venir derechef à la mesme execution. Au reste pour pratiquer le tout justement selon la description, ou il est necessaire d’adjuster & accomplir vistement les temps des mouvements, comme aussi la volte & le pliage du corps; ce sera du commencement chose difficile à l’Escholier; mais par la continuelle estude, & par l’Exercice qu’il s’asseure hardiment d’y parvenir. Parquoy qu’il s’y adonne tant plus courageusement. |
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| This action begins with Circle No 1, where Alexander has subjugated his opponent’s sword. But to perform this more easily he makes this subjugation with his tip raised and the 8th or 9th Span of his blade against the 4th Span of his opponent. He turns the external branch of his crossguard diagonally upwards (trapping his opponent’s blade). He continues to lift his right foot and as he steps, he raises his opponent’s sword up and to his right side, at which point he makes a slight pause, before he allows his body to overbalance and completes the step, entering in with his foot following along the Inside Square to the letter N on the Perpendicular Diameter at the Third Instance. As he brings his left foot along to the letter K on the Outside Square, he uses this motion to increase the force of his shoulder on his extended arm to push his opponent’s sword up, over, and down towards his left side, sliding the point of contact down his blade and up his opponents until they meet about the middle. In this way with the rotation of his arm and the turn of his left foot, he throws his opponent’s sword over so it stops over the line between I and H. This is shown by the figures. | | This action begins with Circle No 1, where Alexander has subjugated his opponent’s sword. But to perform this more easily he makes this subjugation with his tip raised and the 8th or 9th Span of his blade against the 4th Span of his opponent. He turns the external branch of his crossguard diagonally upwards (trapping his opponent’s blade). He continues to lift his right foot and as he steps, he raises his opponent’s sword up and to his right side, at which point he makes a slight pause, before he allows his body to overbalance and completes the step, entering in with his foot following along the Inside Square to the letter N on the Perpendicular Diameter at the Third Instance. As he brings his left foot along to the letter K on the Outside Square, he uses this motion to increase the force of his shoulder on his extended arm to push his opponent’s sword up, over, and down towards his left side, sliding the point of contact down his blade and up his opponents until they meet about the middle. In this way with the rotation of his arm and the turn of his left foot, he throws his opponent’s sword over so it stops over the line between I and H. This is shown by the figures. | ||
| − | | Voicy une operation qui prend son commencement du Cercle N.1. ou {{sc|Alexandre}} à sujetté l’espee contraire; Mais pour | + | | Voicy une operation qui prend son commencement du Cercle N.1. ou {{sc|Alexandre}} à sujetté l’espee contraire; Mais pour effectuer la presente plus commodement, qu’il face l’assujettissement de l’espee contraire avec sa pointe plus haute, accouplant son N.8. ou 9. à N.4. de l’adversaire; avec sa branche exterieure tourné diagonalement contremont; continuant à eslever & avancer le pied droit ensemble aussi à transporter un peu plus haut & à son costé droit l’espee contraire, de laquelle il face une petite pause, avant qu’il se laisse tresbucher le corps; puis continue à entrer avec le mesme pied eslevé par delà le Diametre suivant la trace du Quarré Inscrit à la Troisieme Instance lettre N, pour poursuivre au mesme temps avec le pied gauche, de sorte qu’il prenne de là une nouvelle vigueur & qu’il jette à pleine force avec le bras estendu par le mouvement de l’espaule l’espee contraire de haut à bas devers son costé gauche, en desgraduant la sienne propre & graduant ladite contraire, jusque bien pres du Centre, de façon qu’en luy donnant ce tour du bras & plantant le pied gauche sur le Quarré exterieur lettre K, il la jette avec force, en se tournant le costé droit devant, qu’elle vient à sauter & tresbucher au dessus de la ligne I H; comme il est monstré par les figures. |
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| The majority of those who set themselves to learn fancy manipulations, do so with the intention of learning within a month or two (or so they claim) enough that they may defend themselves. As an intent, in truth, this is such a quite laudable goal, that, having reached it, it would almost be a crime to wish to go any further. But in this they demonstrate that they understand little of the use of arms. They trust so much in a good defence, which is but the first step of an apprentice, as if the superiority of this art consisted in nothing more, that they become proudly arrogant, and feel safely able to give affront to everyone around, confident they can win any quarrel by this means alone. Yet, on the contrary, do we not see clearly how, as in war, defense requires simliar skills, and similar spirit, as offense? Perfection consists of neither just the one nor the other. This is the same principle, and thus the same actions, which both Parties employ, however their intentions may differ: whether they seek to conquer, or to simply avoid being conquered. To the degree by which the attack is governed by more force, or more verve, one must present an equally effective defense, in order to suffice. I admit that, it appears reasonable to be merely be content with defense as such, but this is so only if one could be sure of never facing some new attack other than those which were practised; more so, if one could always fight as one wished. But, the converse is obvious: that this is the only way to able to defend against every attack, and that this can be good only if it is perfected. I say furthermore, that one needs as much skill against those who have no knowledge of swordplay as against those who do. Because one wounds not by dexterous swordplay, but by striking, performed either carefully or carelessly, which one must always be able to meet with the same skill, since we often see those who have no art thrusting and cuting, hither and thither, throwing themselves into the mortal danger they are trying to create for others. Thus one must proceed with prudence so as to not receive a counter-strike which would be sure to come from a more experienced opponent. So because this is the principal point in this case, to learn how to meet cuts, we put these examples here, going to the right-hand side, similar to those we have already shown for the left-hand side, in Table Fourteen. | | The majority of those who set themselves to learn fancy manipulations, do so with the intention of learning within a month or two (or so they claim) enough that they may defend themselves. As an intent, in truth, this is such a quite laudable goal, that, having reached it, it would almost be a crime to wish to go any further. But in this they demonstrate that they understand little of the use of arms. They trust so much in a good defence, which is but the first step of an apprentice, as if the superiority of this art consisted in nothing more, that they become proudly arrogant, and feel safely able to give affront to everyone around, confident they can win any quarrel by this means alone. Yet, on the contrary, do we not see clearly how, as in war, defense requires simliar skills, and similar spirit, as offense? Perfection consists of neither just the one nor the other. This is the same principle, and thus the same actions, which both Parties employ, however their intentions may differ: whether they seek to conquer, or to simply avoid being conquered. To the degree by which the attack is governed by more force, or more verve, one must present an equally effective defense, in order to suffice. I admit that, it appears reasonable to be merely be content with defense as such, but this is so only if one could be sure of never facing some new attack other than those which were practised; more so, if one could always fight as one wished. But, the converse is obvious: that this is the only way to able to defend against every attack, and that this can be good only if it is perfected. I say furthermore, that one needs as much skill against those who have no knowledge of swordplay as against those who do. Because one wounds not by dexterous swordplay, but by striking, performed either carefully or carelessly, which one must always be able to meet with the same skill, since we often see those who have no art thrusting and cuting, hither and thither, throwing themselves into the mortal danger they are trying to create for others. Thus one must proceed with prudence so as to not receive a counter-strike which would be sure to come from a more experienced opponent. So because this is the principal point in this case, to learn how to meet cuts, we put these examples here, going to the right-hand side, similar to those we have already shown for the left-hand side, in Table Fourteen. | ||
| − | | La plus part de ceux qui s’adonnent à manier les fleurets, le font avec intention d’en apprendre seulement en un mois ou deux (comme ils parlent) autant qu’il en faut pour se savoir defendre. Et de vray pour l’intention, elle est si louable, que ce seroit crime, apres l’avoir obtenue, de vouloir passer plus outre. Mais ils demonstrent par là, qu’ils ne s’entendent gueres au fait des Armes, en ce qu’ils estiment la bonne Defense, comme un premier trait d’apprentissage, comme si l’excellence de l’art ne consistoit qu’à faire profession de braver deffier & outrager tout le Monde sous apparence de vaincre tout parforce. Ne voit on pas au contraire en la guerre qu’il y a pareil artifice, & pareille gloire, à bien defendre comme à bien assaillir? la perfeçtion ne consiste non plus en l’un qu’en l’autre. Ce sont touts les mesmes preceptes, les mesmes açtions, dequoy les Parties se servent, combien que les intentions soyent diverses; les uns pour vaincre, les autres pour n’estre vaincus. A mesure que l’assaut est gouverné avec plus de force, ou d’esprit, il faut que la defense le soit aussi à l’advenant, pour estre suffisante. I’advoue bien qu’il y auroit quelque apparance de raison de se content legerement d’une defense telle quelle, si on estoit asseuré de ne rencontrer jamais autre assaut que de son semblable; & encores plus, si on le pouvoir avoir à sa fantasie. Mais le contraire en est tout manifeste; de maniere qu’il faut que la bonne Defense soit munie contre tout, & qu’elle ne peut estre bonne, si elle n’est du tout parfaite. Ie diray plus qu’elle a autant besoin de dexterité contre ceux qui n’entendent pas les maniement des armes, que contre les autres. Parce que ce n’est pas la dexterité qui blesse, mais le coup, soit tiré avec prudence ou à l’aventure, il le faut tousiours rencontrer avec le mesme artifice. Et puis on voit souvent que ceux qui n’ont pas d’art, tirent d’estoc & de taille à tors & à travers, se preciptants eux mesmes à corps perdu au danger, ou ils veulent mettre les autres: de façon qu’il y faut proceder souvent avec plus de | + | | La plus part de ceux qui s’adonnent à manier les fleurets, le font avec intention d’en apprendre seulement en un mois ou deux (comme ils parlent) autant qu’il en faut pour se savoir defendre. Et de vray pour l’intention, elle est si louable, que ce seroit crime, apres l’avoir obtenue, de vouloir passer plus outre. Mais ils demonstrent par là, qu’ils ne s’entendent gueres au fait des Armes, en ce qu’ils estiment la bonne Defense, comme un premier trait d’apprentissage, comme si l’excellence de l’art ne consistoit qu’à faire profession de braver deffier & outrager tout le Monde sous apparence de vaincre tout parforce. Ne voit on pas au contraire en la guerre qu’il y a pareil artifice, & pareille gloire, à bien defendre comme à bien assaillir? la perfeçtion ne consiste non plus en l’un qu’en l’autre. Ce sont touts les mesmes preceptes, les mesmes açtions, dequoy les Parties se servent, combien que les intentions soyent diverses; les uns pour vaincre, les autres pour n’estre vaincus. A mesure que l’assaut est gouverné avec plus de force, ou d’esprit, il faut que la defense le soit aussi à l’advenant, pour estre suffisante. I’advoue bien qu’il y auroit quelque apparance de raison de se content legerement d’une defense telle quelle, si on estoit asseuré de ne rencontrer jamais autre assaut que de son semblable; & encores plus, si on le pouvoir avoir à sa fantasie. Mais le contraire en est tout manifeste; de maniere qu’il faut que la bonne Defense soit munie contre tout, & qu’elle ne peut estre bonne, si elle n’est du tout parfaite. Ie diray plus qu’elle a autant besoin de dexterité contre ceux qui n’entendent pas les maniement des armes, que contre les autres. Parce que ce n’est pas la dexterité qui blesse, mais le coup, soit tiré avec prudence ou à l’aventure, il le faut tousiours rencontrer avec le mesme artifice. Et puis on voit souvent que ceux qui n’ont pas d’art, tirent d’estoc & de taille à tors & à travers, se preciptants eux mesmes à corps perdu au danger, ou ils veulent mettre les autres: de façon qu’il y faut proceder souvent avec plus de circonspection: pour ne recevoir le contrecoup, que contre les plus experimentez qui soyent. Or puis que c’est le principal point en ce cas, de savoir bien rencontrer les coups de taille, nous en mettrons icy les exemples, qui se presentent à faire en allant à main droite, comme nous en avons fait le semblable des autres à main gauche, au precedent Tableau quatorzieme. |
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| We wished to show this figure so that Zachary’s action can be better examined and understood. To which he has been led by Alexander, who did this expressly by using more force to perform the subjugation of his blade. He did this in the hope that this would cause his Enemy to lose his balance with his sword. In any case, Alexander will parry this same blow in several and diverse ways through the actions in the following Circles, until he has overcome, and performed his counter-strikes. | | We wished to show this figure so that Zachary’s action can be better examined and understood. To which he has been led by Alexander, who did this expressly by using more force to perform the subjugation of his blade. He did this in the hope that this would cause his Enemy to lose his balance with his sword. In any case, Alexander will parry this same blow in several and diverse ways through the actions in the following Circles, until he has overcome, and performed his counter-strikes. | ||
| − | | Nous avons voulu representer ceste operation en figure afin qu | + | | Nous avons voulu representer ceste operation en figure afin qu l’action de {{sc|Zacharie}} fust tant mieux examiné & entendue; à la quelle il a esté convié par {{sc|Alexandre}}, qui la fait tout expressement pour attirer l’assujettissement de sa lame avec plus de force; luy ayant reussi de l’avoir executée sous espoir que l’Ennemi viendroit à tresbucher avec sa lame. Toutesfois {{sc|Ale}}xandre luy destournera le mesme coup en plusieurs & diverses manieres moyennant les operations des Cercles suyvants, jusqu’à en avoir le dessus, & faire des executions au contraire. |
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| Continuing from the preceding, Zachary allows his blow to descend diagonally towards his opponent’s face. At this Alexander turns his arm to the inside, the exterior branch of his crossguard upwards, sliding the point of contact up the blade as his had goes downwards, and down his opponent’s blade, so that he connects his 8th Span against the 4th or 5th Span of his opponent’s blade, which he pushes against as his hand descends back towards his left side, as he leans his body forward. He moves his raised left foot near the Diameter on the intersection of the Interior Transverse between I and N. Thus he dominates and subjugates with his strength, his point upwards, as the figures show. | | Continuing from the preceding, Zachary allows his blow to descend diagonally towards his opponent’s face. At this Alexander turns his arm to the inside, the exterior branch of his crossguard upwards, sliding the point of contact up the blade as his had goes downwards, and down his opponent’s blade, so that he connects his 8th Span against the 4th or 5th Span of his opponent’s blade, which he pushes against as his hand descends back towards his left side, as he leans his body forward. He moves his raised left foot near the Diameter on the intersection of the Interior Transverse between I and N. Thus he dominates and subjugates with his strength, his point upwards, as the figures show. | ||
| − | | Continuant la precedēte, {{sc|Zacharie}} lasche le coup de sa lame, pour descendre diagonalement vers le vissage de sa partie; sur quoy {{sc|Alexandre}} se tourne le bras en dedans, & la branche exterieure de sa garde en haut, graduant sa lame avec la main descendante, & desgraduant la contraire, en sorte qu’il en assemble son N.8. au N.4. ou 5. de ladite espee contraire, laquelle il pousse avec la main descendante arriere de soy vers le costé gauche, avec le corps panché en devant, & le pied eslevé qui s’avance pareillement en deça le Diametre sur | + | | Continuant la precedēte, {{sc|Zacharie}} lasche le coup de sa lame, pour descendre diagonalement vers le vissage de sa partie; sur quoy {{sc|Alexandre}} se tourne le bras en dedans, & la branche exterieure de sa garde en haut, graduant sa lame avec la main descendante, & desgraduant la contraire, en sorte qu’il en assemble son N.8. au N.4. ou 5. de ladite espee contraire, laquelle il pousse avec la main descendante arriere de soy vers le costé gauche, avec le corps panché en devant, & le pied eslevé qui s’avance pareillement en deça le Diametre sur l’intersection la traversante interieure entre les deux lettres I & N, ainsi la domte & assujettit avec force & avec sa pointe montante; comme les figures demonstrent. |
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| ''Zachary intends to perform the same slashing cut while his sword is in the process of dropping downwards. Alexandre moves forward and enters with his right foot on the letter M, continuing his turn by spinning his left foot while giving his own cut to his adversary’s left ear.'' | | ''Zachary intends to perform the same slashing cut while his sword is in the process of dropping downwards. Alexandre moves forward and enters with his right foot on the letter M, continuing his turn by spinning his left foot while giving his own cut to his adversary’s left ear.'' | ||
| − | | ''Zacharie voulant pratiquer encores le mesme estramçon durant que son espee est en | + | | ''Zacharie voulant pratiquer encores le mesme estramçon durant que son espee est en action de descendre vers le bas, Alexandre s’avance & entre avec le pied droit sur la lettre M, continuant en suite à volter aussi le gauche, en donnant luy mesme un coup de taille à l’oreille gauche de son adversaire.'' |
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| One must take note and be very careful not to move one’s body from the letter G at the Second Instance until the opponent’s sword is already in the act of naturally descending downwards to execute the strike, at such a point where he can neither stop nor redirect it, but must continue to make the cut. For if one moves too soon from the place, while the sword (which is making its circuit overhead) is still raised high, he would have the strength to redirect his blow, moving his sword towards the Third Instance, where one would be stepping, and could yet be wounded. | | One must take note and be very careful not to move one’s body from the letter G at the Second Instance until the opponent’s sword is already in the act of naturally descending downwards to execute the strike, at such a point where he can neither stop nor redirect it, but must continue to make the cut. For if one moves too soon from the place, while the sword (which is making its circuit overhead) is still raised high, he would have the strength to redirect his blow, moving his sword towards the Third Instance, where one would be stepping, and could yet be wounded. | ||
| − | | Faut noter, & observer serieusement de ne bouger point avec le corps de la Seconde Instance lettre G, que l’espee contraire ne soit desia en | + | | Faut noter, & observer serieusement de ne bouger point avec le corps de la Seconde Instance lettre G, que l’espee contraire ne soit desia en acte de descendre naturellement vers le bas pour faire l’execution, de façon que l’adversaire ne la puisse plus retenir ne divertir, mais qu’il faille necessairement que le coup aille son chemin. Car si on s’oste plus tost de ladite place, durant que l’espee (qui à fait le circuit par dessus la teste) est encores haussée, il auroit encores la puissance de divertir le coup, en menant sa lame vers la Troisieme Instance, où l’on se seroit acheminé, & y pourroit encores blesser. |
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| Here is one more following from the last. Zachary’s cut left his blade too far out of line, so he steps and sets the heel of his right foot a little beyond the Diameter near the letter R, and follows by bringing his left foot in a circle to where the Diameter intersects the Line from N to S thus turning his body, with his sword pulled back and tip towards the ground ready to thrust. Alexander seeing this, steps with his right foot off to his side passing beyond the Circle, and continues by moving his left foot in a circle, thus moving out of the way of his opponent’s blade, and meanwhile, once again having his own, with the aid of his wrist, raised overhead to strike a blow for a third time on the left side of his opponent’s head. This is shown by the figures. | | Here is one more following from the last. Zachary’s cut left his blade too far out of line, so he steps and sets the heel of his right foot a little beyond the Diameter near the letter R, and follows by bringing his left foot in a circle to where the Diameter intersects the Line from N to S thus turning his body, with his sword pulled back and tip towards the ground ready to thrust. Alexander seeing this, steps with his right foot off to his side passing beyond the Circle, and continues by moving his left foot in a circle, thus moving out of the way of his opponent’s blade, and meanwhile, once again having his own, with the aid of his wrist, raised overhead to strike a blow for a third time on the left side of his opponent’s head. This is shown by the figures. | ||
| − | | En voicy encore une à la suite de la derniere precedente. La lame de {{sc|Zacharie}} estant tresbuchée avec le coup, il marche & porte le talon du pied droit un peu en deçà le Diametre pres la lettre R, en poursuivant à mener le pied gauche circulairement à reculons au deçà le Diametre sur | + | | En voicy encore une à la suite de la derniere precedente. La lame de {{sc|Zacharie}} estant tresbuchée avec le coup, il marche & porte le talon du pied droit un peu en deçà le Diametre pres la lettre R, en poursuivant à mener le pied gauche circulairement à reculons au deçà le Diametre sur l’intersection de la ligne N S, se tournant ainsi le corps avec l’espee raccourcie, & la pointe contre terre devers sa partie, pour luy donner une estocade. {{sc|Alexandre}} l’appercevant, marche avec le pied droit à costé, passant en deça le Cercle, continuant à volter le pied gauche en suite, sortant par ainsi de la presence de l’espee contraire, & ayant cependant de nouveau la sienne à laide du poignet par dessus sa teste, il en tire pour a troisiesme fois encor un coup de taille au costé gauche de la teste de son Contraire; ainsi que les figures demonstrent. |
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| This current action again derives from Circle No 14. As Alexandre enters in with his left foot keeping his opponent’s sword subjugated, at the same time, Zachary steps forward against Alexander with his right foot, while with his elbow he moves his sword overhead to draw a cut across his opponent’s head as he sets his right foot down on the ground, just a bit beyond the letter L, then following with his left foot to the intersection of the line Q-N. So, as his sword descends to execute the blow, Alexander moves his left side forwards, seizes his opponent’s guard as it comes down and puts his left foot down on the Oblique Diameter, a bit before the letter H. He shortens his arm back, so his sword rests by his side, tip raised. As is shown by the figures. | | This current action again derives from Circle No 14. As Alexandre enters in with his left foot keeping his opponent’s sword subjugated, at the same time, Zachary steps forward against Alexander with his right foot, while with his elbow he moves his sword overhead to draw a cut across his opponent’s head as he sets his right foot down on the ground, just a bit beyond the letter L, then following with his left foot to the intersection of the line Q-N. So, as his sword descends to execute the blow, Alexander moves his left side forwards, seizes his opponent’s guard as it comes down and puts his left foot down on the Oblique Diameter, a bit before the letter H. He shortens his arm back, so his sword rests by his side, tip raised. As is shown by the figures. | ||
| − | | C’est encor du mesme Cercle N.14. que la presente operation procede. Car ainsi qu’{{sc|Alexandre}} fait l’intrade avec le pied gauche sur l’espee contraire assujettie; au mesme temps {{sc|Zacharie}} marche pareillement alencontre avec le pied droit, conduisant ensemblement son espee à l’aide du coude pare dessus sa teste tirant un coup de taille, à la teste de sa partie en plantant le pied droit à terre par deça le Diametre un peu plus avant que la lettre L, pour poursuivre du pied gauche sur | + | | C’est encor du mesme Cercle N.14. que la presente operation procede. Car ainsi qu’{{sc|Alexandre}} fait l’intrade avec le pied gauche sur l’espee contraire assujettie; au mesme temps {{sc|Zacharie}} marche pareillement alencontre avec le pied droit, conduisant ensemblement son espee à l’aide du coude pare dessus sa teste tirant un coup de taille, à la teste de sa partie en plantant le pied droit à terre par deça le Diametre un peu plus avant que la lettre L, pour poursuivre du pied gauche sur l’intersection de la ligne Q N. Or au mesme temps que son espee vient descendre d’enhaut pour executer le coup, {{sc|Alexandre}} avance le costé gauche du corps, en faisant prinse avec sa main gauche de la garde contraire en la hauteur, plantant le pied gauche encor eslevé sur le Diametre un peu devant la lettre H, & mettant l’espee avec le bras raccourci & la pointe montant au costé droit de son corps; comme il est representé en la figure. |
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| As a general observation of some great consequence, all movements are easily overcome as they first begin. As experience in all things demonstrates, there is nothing strong which was not once weak. Consider, for example, the infancy of trees, of beasts, of men; the foundation of cities, of peoples, and Kingdoms; the general time span of all things which increase by degree, to find at base their point of birth. consider the ease with which these, at that point, could be mastered, taking no great pains. And yet, if one leaves these alone, they shall strengthen over time, some so much that there is no way to rein them back. Take a millstone, grinding at the summit of a mountain, which begins to break away to roll from the top to the bottom. It is possible, at the very first, to hold it with but the force of a hand, ofttimes merely a finger is enough. If it begins to lean, one may still hold it back with one’s body. But if it begins to roll, if it has already made a single turn from top to bottom, what strength has any man to stop, slow, or turn it from its course? It is the same with blows or cuts, as in Circle No 3. If you wait, so that the motion has descended, then all that you would try, to bring it under control, is a lost cause. The force will be too great. But if you act at the beginning, it will be easy. That way, there is little more to do than to quickly align your sword-tip, as it should be, so as to have the swords contact at the instant his unwinds. I am not saying you must chase after his sword, but rather to constrain his so that his must strike along the length of your blade; that your action is founded less on strength and more on skill; that you must aim your sword-tip and connect with the middle of his blade. This is the principle and the source of all his strength. For as long as you have reached the centre of his blade, he must contend against the entirety of your blade, not more nor less than the short part of your blade, in the same way as when one draws near a candle when one wishes to remove the light spread about a room, or when the Sun shines its rays through a small aperture and the light expands, it is easier to block the aperture with a hand than to try and stop it with the entire body at a distance when the light has expanded too much. So there is no point in doing otherwise because when one gives a cut the centre of the sword almost remains in the same place, and so is very easy to find and contact, whereas the tip revolves in a large arc, and so swiftly that it would be impossible to attain. From which, we see, again, as before, that the power begins with the beginning of the motion. | | As a general observation of some great consequence, all movements are easily overcome as they first begin. As experience in all things demonstrates, there is nothing strong which was not once weak. Consider, for example, the infancy of trees, of beasts, of men; the foundation of cities, of peoples, and Kingdoms; the general time span of all things which increase by degree, to find at base their point of birth. consider the ease with which these, at that point, could be mastered, taking no great pains. And yet, if one leaves these alone, they shall strengthen over time, some so much that there is no way to rein them back. Take a millstone, grinding at the summit of a mountain, which begins to break away to roll from the top to the bottom. It is possible, at the very first, to hold it with but the force of a hand, ofttimes merely a finger is enough. If it begins to lean, one may still hold it back with one’s body. But if it begins to roll, if it has already made a single turn from top to bottom, what strength has any man to stop, slow, or turn it from its course? It is the same with blows or cuts, as in Circle No 3. If you wait, so that the motion has descended, then all that you would try, to bring it under control, is a lost cause. The force will be too great. But if you act at the beginning, it will be easy. That way, there is little more to do than to quickly align your sword-tip, as it should be, so as to have the swords contact at the instant his unwinds. I am not saying you must chase after his sword, but rather to constrain his so that his must strike along the length of your blade; that your action is founded less on strength and more on skill; that you must aim your sword-tip and connect with the middle of his blade. This is the principle and the source of all his strength. For as long as you have reached the centre of his blade, he must contend against the entirety of your blade, not more nor less than the short part of your blade, in the same way as when one draws near a candle when one wishes to remove the light spread about a room, or when the Sun shines its rays through a small aperture and the light expands, it is easier to block the aperture with a hand than to try and stop it with the entire body at a distance when the light has expanded too much. So there is no point in doing otherwise because when one gives a cut the centre of the sword almost remains in the same place, and so is very easy to find and contact, whereas the tip revolves in a large arc, and so swiftly that it would be impossible to attain. From which, we see, again, as before, that the power begins with the beginning of the motion. | ||
| − | | C’est une observation fort generale, & de tresgrande consequence, que touts mouvements sont aisez à surmonter en leurs premiers commencements; comme l’experience demonstre en toutes choses, qu’il n’y a rien de fort, qui n’ait esté foible au paravant. Considerez en pour example, l’enfance des arbres, des bestes, & des hommes; la fondation des Villes, des Peuples, & Royaumes; & generalement tous les periodes des choses, qui augmentent par degrez pour atteindre le comble de leur premiere naissance; & combien seroit il facile de les y maistriser tout à souhait, sans nulle peine? Et cependent, si on le laisse, ils se renforcent quelques uns si avant, qu’il ny reste pluy moyen de les retenir davantage en bride. Soit une Pierre de Moulin, gisant au sommet d’une montagne, & qu’elle commence à se destacher pour rouler de haut en bas; il y a moyen au premier commencement de l’arrester avec la main seule, voire souvent avec un doigt sans plus: si elle commence à pancher, encore la peut on retenir avec le corps: mais si elle a prins sa course, & qu’elle ait desia donné un tour de haut à bas, qu’elle force d’homme y a il, qui la puisse empscher, moderer, ou divertir, qu’elle n’aille son train tout à vau de route? Le mesme en est il de ces coups de taille, comme il est representé au Cercle N.3. Si vous attendez tant, que le mouvement soit venu à descendre, tout ce que vous ferez pour l’assujettir sera peine perdue. La force en est trop grande. Mais si vous prenez le commencement du temps, tout sera facile. De façon, qu’il n’y a rien à faire, sinon dresser à temps vostre pointe, comme il faut, pour avoir les lames accouplées tout à l’instant qu’il debande la sienne. Non pas di-je que vous alliez taster apres, mais qu’il soit contraint luy mesme, de frapper au long de la vostre; & que vostre | + | | C’est une observation fort generale, & de tresgrande consequence, que touts mouvements sont aisez à surmonter en leurs premiers commencements; comme l’experience demonstre en toutes choses, qu’il n’y a rien de fort, qui n’ait esté foible au paravant. Considerez en pour example, l’enfance des arbres, des bestes, & des hommes; la fondation des Villes, des Peuples, & Royaumes; & generalement tous les periodes des choses, qui augmentent par degrez pour atteindre le comble de leur premiere naissance; & combien seroit il facile de les y maistriser tout à souhait, sans nulle peine? Et cependent, si on le laisse, ils se renforcent quelques uns si avant, qu’il ny reste pluy moyen de les retenir davantage en bride. Soit une Pierre de Moulin, gisant au sommet d’une montagne, & qu’elle commence à se destacher pour rouler de haut en bas; il y a moyen au premier commencement de l’arrester avec la main seule, voire souvent avec un doigt sans plus: si elle commence à pancher, encore la peut on retenir avec le corps: mais si elle a prins sa course, & qu’elle ait desia donné un tour de haut à bas, qu’elle force d’homme y a il, qui la puisse empscher, moderer, ou divertir, qu’elle n’aille son train tout à vau de route? Le mesme en est il de ces coups de taille, comme il est representé au Cercle N.3. Si vous attendez tant, que le mouvement soit venu à descendre, tout ce que vous ferez pour l’assujettir sera peine perdue. La force en est trop grande. Mais si vous prenez le commencement du temps, tout sera facile. De façon, qu’il n’y a rien à faire, sinon dresser à temps vostre pointe, comme il faut, pour avoir les lames accouplées tout à l’instant qu’il debande la sienne. Non pas di-je que vous alliez taster apres, mais qu’il soit contraint luy mesme, de frapper au long de la vostre; & que vostre action soit fondée sur moins de force, & plus d’adresse: Or pour ce faire dressez & accouplez vostre pointe tout joignant le centre de sa lame; qui est le principe & la source de toute sa force. Tellement qu’avoir gagné le Centre, c’est luy avoir gagne toute l’espee, ne plus ne moins qu’on se contente pour le plus court, de tirer la chandelle, quand on veut oster la lumiere qui reluist dedans une chambre, ou quand le Soleil y jette ses rayons par un petit pertuis, & que la lumiere s’en espard si largement, qu’il seroit plus facile de l’obscurcir à l’entree du mesme pertuis avec la seule main, que de le faire au lieu où la lumiere est espandu avec le corps tout entier. Aussi n’y a il point de moyen de faire autrement car pour donner l’estramaçon le centre de l’Espee demeure quasi en la mesme place, de façon qu’il est beaucoup plus facile à trouver & à prendre, que la pointe, qui fait un grand destour & si viste, qu’il seroit impossible de l’atteindre. Dequoy il appert derechef, comme au paravant, qu’il faut prendre le commencement de la force avec le commencement du temps. |
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| Ordinarily, there is nothing more agreeable than a pleasure garden, which boasts such diversity of grasses, of flowers, and of shrubbery or similar entertainments. For this is something known to all the world, that each man has his own particular delight. So many minds, so many fancies. One finds this pleasing, the other, that. One enjoys the hunt, another touring through various Kingdoms and Provinces. One goes to war, another to his studies. And not only does each experience a different degree of pleasure because their activities are different, but even between those who share similar interests, because men’s imagination always finds a range of differences in the parts and particulars of any subject, and one delights in this aspect, another delights in that. In the end, when he can no longer find anything more in a subject, he drops it. And oftentimes, for the sake of variety, he will change so much he cannot recognize himself, he is drawn to, or takes up things of which he once disapproved, and now disapproves of things to which he was once drawn. It seems that beauty does not last without recreation, and recreation cannot be without change, which the word Recreation implies in its meaning. In the same way, if all of the concepts thus far presented were as roses, yet we should still intersperse here and there some other scented plant, such as lillys, carnations, or violets. So we shall, here in Table XVIII, with regard to both thrusts and cuts. Such techniques as we have shown and explained previously in two preceding Tables, XIV & XVII, in several examples, performed by Alexander in the former moving to the left on this side of the Diameter, and in the latter moving, on the contrary, to the right beyond the Diameter, for the most part, he attacked his adversary’s head. Here we embellish on the work, we shall include cuts, which he may make against a straight arm, whether he steps to the left-hand side, as shown from Circle No 1, up to Circle No 11, or he moves to the right, as he does from there to the end of the Table. | | Ordinarily, there is nothing more agreeable than a pleasure garden, which boasts such diversity of grasses, of flowers, and of shrubbery or similar entertainments. For this is something known to all the world, that each man has his own particular delight. So many minds, so many fancies. One finds this pleasing, the other, that. One enjoys the hunt, another touring through various Kingdoms and Provinces. One goes to war, another to his studies. And not only does each experience a different degree of pleasure because their activities are different, but even between those who share similar interests, because men’s imagination always finds a range of differences in the parts and particulars of any subject, and one delights in this aspect, another delights in that. In the end, when he can no longer find anything more in a subject, he drops it. And oftentimes, for the sake of variety, he will change so much he cannot recognize himself, he is drawn to, or takes up things of which he once disapproved, and now disapproves of things to which he was once drawn. It seems that beauty does not last without recreation, and recreation cannot be without change, which the word Recreation implies in its meaning. In the same way, if all of the concepts thus far presented were as roses, yet we should still intersperse here and there some other scented plant, such as lillys, carnations, or violets. So we shall, here in Table XVIII, with regard to both thrusts and cuts. Such techniques as we have shown and explained previously in two preceding Tables, XIV & XVII, in several examples, performed by Alexander in the former moving to the left on this side of the Diameter, and in the latter moving, on the contrary, to the right beyond the Diameter, for the most part, he attacked his adversary’s head. Here we embellish on the work, we shall include cuts, which he may make against a straight arm, whether he steps to the left-hand side, as shown from Circle No 1, up to Circle No 11, or he moves to the right, as he does from there to the end of the Table. | ||
| − | | Ordinairement il n’y a rien plus aggreable en un Iardin de plaisance, qu’une diversité, d’herbes, de fleurs, & de parterres, ou de semblables artifices. Car c’est chose cognuë à tout le Monde, que chascun homme à son plaisir particulier; autant de testes, autant de fantasies; l’un se plait à cecy, l’autre à cela; l’un s’adonne à la chasse, l’autre à tracasser Royaumes & Provinces; l’un à la guerre, l’autre aux Estudes. Et non seulement le plaisir est different, selon que les choses son differentes, mais aussi en celles qui sont d’une mesme nature; car l’esprit de l’homme y trouve tousiours de si grades dissimilitudes que de toutes les parties & particularitez de chascune profession, l’un se | + | | Ordinairement il n’y a rien plus aggreable en un Iardin de plaisance, qu’une diversité, d’herbes, de fleurs, & de parterres, ou de semblables artifices. Car c’est chose cognuë à tout le Monde, que chascun homme à son plaisir particulier; autant de testes, autant de fantasies; l’un se plait à cecy, l’autre à cela; l’un s’adonne à la chasse, l’autre à tracasser Royaumes & Provinces; l’un à la guerre, l’autre aux Estudes. Et non seulement le plaisir est different, selon que les choses son differentes, mais aussi en celles qui sont d’une mesme nature; car l’esprit de l’homme y trouve tousiours de si grades dissimilitudes que de toutes les parties & particularitez de chascune profession, l’un se delecte plus en celle cy, & l’autre en celle là. Finalement quand il ne trouve plus de difference en la chose mesme, il se lasse; & souventesfois, pour avoir le contement de la Varieté, il se change & devient dissemblable à soy mesme, approuvant, ou prisant ce qu’il avoit rejetté, ou rejettant derechef ce qu’il avoit approuvé & prisé au paravant. Car il semble, que grace ne peut durer, sans recreation; & recreation ne peut estre, s’il n’y a du changement; comme aussi le mot de Recreation le porte, s’il en faut juger par la proprieté. De maniere que si touts nos preceptes, que nous avons baillez jusqu’à present, nestoyent que roses, si ne faudroit il par laisser pourtant, de les parsemer çà & là de quelque autre bonne herbe odorante, ou de fleurs de lis, ou d’oeillets, ou de violettes. Or c’est ce que nous ferons presentement en ce Tableau XVIII, au regard des estramaçons & autres coups de taille; desquels nous avons representé & declaré en deux Tables precedentes, XIV & XVII plusieurs sortes d’exemples, pratiquez par Alexandre en la premiere d’icelles, en allant à gauche par deça; & en la derniere, en allant au contraire à main droite par delà le Diametre: dont la plus part a esté à la teste de l’adversaire; & maintenant pour embellir l’œuvre, nous mettrons icy les coups, qu’il luy peut tirer sur le bras droit, soit qu’il marche par deçà le Diametre à main gauche, comme il est representé depuis le Cercle N.1. jusqu’au Cercle 11. ou qu’il marche à main droite, comme il fait de là en avant jusqu’à la fin du Tableau. |
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| This action begins from Circle No 1. While Alexander steps with his right foot from the Second Instance towards the Third, and as he is just falling forward with his body, to try to perform the actions of the previous Circle, at that moment, Zachary forces the swords over with a lot of strength to his left side. Alexander, allows his opponent’s sword to fly freely, which goes way over from the inertia from amount of force, by moving his own away, downwards in a circular motion then up overhead using his wrist, so that as he sets his raised foot down on the letter N, he strikes a reverse blow (helped by the means of drawing his left foot around suddenly in a circle a good ways beyond the edge of the Circle) to the outside of his adversary’s forward arm. As is shown in the figure. | | This action begins from Circle No 1. While Alexander steps with his right foot from the Second Instance towards the Third, and as he is just falling forward with his body, to try to perform the actions of the previous Circle, at that moment, Zachary forces the swords over with a lot of strength to his left side. Alexander, allows his opponent’s sword to fly freely, which goes way over from the inertia from amount of force, by moving his own away, downwards in a circular motion then up overhead using his wrist, so that as he sets his raised foot down on the letter N, he strikes a reverse blow (helped by the means of drawing his left foot around suddenly in a circle a good ways beyond the edge of the Circle) to the outside of his adversary’s forward arm. As is shown in the figure. | ||
| − | | Ceste operation prend son origine au Cercle N.1. Cependant qu’{{sc|Alexandre}} marche avec le pied droit de la Seconde Instance vers la Troisieme, & qu’il commence à tresbucher ensemble avec le corps, pour mettre a | + | | Ceste operation prend son origine au Cercle N.1. Cependant qu’{{sc|Alexandre}} marche avec le pied droit de la Seconde Instance vers la Troisieme, & qu’il commence à tresbucher ensemble avec le corps, pour mettre a l’effect l’operation du Cercle dernier precedent; au mesme temps {{sc|Zacharie}} transporte les espees avec grand Poids à main gauche. {{sc|Alexandre}} laissant eschapper la contraire, qui s’ensuit au loing par la violence du Poids, conduit la sienne circulairement de bas en haut par dessus sa teste à l’aide du poignet, de façon qu’en plantant le pied eslevé sur la lettre N, il en tire un coup de revers (assisté de la poursuite du pied gauche, quil porte tout soudain & circulairement un bon pas en avant par deçà le Cercle) au dehors de l’avant bras du Contraire; comme la figure montre. |
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| So, after Alexander has made his cut (which was done before his opponent’s sword had finished its upward movement) he withdraws right away by moving his left foot backwards, and drawing his right along with it, such that if his adversary wanted to strike at him with his point out to an obtuse angle, he would have plenty of time to meet it. It is true, this last action is not shown, but this description is enough that one may practise it. | | So, after Alexander has made his cut (which was done before his opponent’s sword had finished its upward movement) he withdraws right away by moving his left foot backwards, and drawing his right along with it, such that if his adversary wanted to strike at him with his point out to an obtuse angle, he would have plenty of time to meet it. It is true, this last action is not shown, but this description is enough that one may practise it. | ||
| − | | Or apres qu’{{sc|Alexandre}} a donné ce coup (qui a esté fait avant que le mouvement de l’espee contraire fuyant & montant eust achevé sa course) il retire tout aussi tost le mesme pied gauche en arriere, entrainant aussi l’autre à l’advenant, de façon que si l’adversaire vouloit tirer sur luy de pointe hors de l’angle obtus, il eust loisir pour le rencontrer. Vray est que ceste derniere | + | | Or apres qu’{{sc|Alexandre}} a donné ce coup (qui a esté fait avant que le mouvement de l’espee contraire fuyant & montant eust achevé sa course) il retire tout aussi tost le mesme pied gauche en arriere, entrainant aussi l’autre à l’advenant, de façon que si l’adversaire vouloit tirer sur luy de pointe hors de l’angle obtus, il eust loisir pour le rencontrer. Vray est que ceste derniere action n’est pay icy representé en figure; mais c’est assez pour la pratiquer d’en avoir donné cest advertissement. |
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| Zachary continues the preceding circular disengage and aims, while moving forward and straightening his body, across his opponent’s arm from the outside, a thrust at his opponent’s face. Alexander, at the same time, steps in, crossing the blades to this outside of his right arm, with that hand and his guard low, pressing it against his right side, point up, and moving his right foot forward along the line of the Inside Square to the line crossing between N & S. He follows with his left foot to the letter O, moving his left side forward, and thus subjugating his opponent’s sword. | | Zachary continues the preceding circular disengage and aims, while moving forward and straightening his body, across his opponent’s arm from the outside, a thrust at his opponent’s face. Alexander, at the same time, steps in, crossing the blades to this outside of his right arm, with that hand and his guard low, pressing it against his right side, point up, and moving his right foot forward along the line of the Inside Square to the line crossing between N & S. He follows with his left foot to the letter O, moving his left side forward, and thus subjugating his opponent’s sword. | ||
| − | | {{sc|Zacharie}} continuant le mouvement de la cavation precedente, en tire (avançant & redressant le corps) un coup d’estocade en dehors du bras vers le visage du Contraire; sur quoy {{sc|Alexandre}} s’avance au mesme temps en dedans, accouplant les espees en dehors du bras, avec le mesme bras & la garde abaissée, l’affermissant à son costé droit avec la pointe montante, & avāçant ensemblement le pied droit sur | + | | {{sc|Zacharie}} continuant le mouvement de la cavation precedente, en tire (avançant & redressant le corps) un coup d’estocade en dehors du bras vers le visage du Contraire; sur quoy {{sc|Alexandre}} s’avance au mesme temps en dedans, accouplant les espees en dehors du bras, avec le mesme bras & la garde abaissée, l’affermissant à son costé droit avec la pointe montante, & avāçant ensemblement le pied droit sur l’intersection du Quarré inscrit, entre es lettres N & S, pour poursuivre du pied gauche sur la lettre O, sujettant ainsi, en avançant le costé gauche, l’espee du Contraire. |
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| Once again we repeat all the actions of the preceding Circle, wherein Alexander strikes his adversary with a slash to the inside of the arm. In this Circle, he turns his wrist so the sword makes a circular path at an obtuse angle above his head, striking downwards with a reverse cut to the outside of his opponent’s arm. Following which he withdraws his raised left foot backwards, outside the Circle and draws his right foot from the Third Instance, to the letter K on the Outside Square, as is shown by the figures. | | Once again we repeat all the actions of the preceding Circle, wherein Alexander strikes his adversary with a slash to the inside of the arm. In this Circle, he turns his wrist so the sword makes a circular path at an obtuse angle above his head, striking downwards with a reverse cut to the outside of his opponent’s arm. Following which he withdraws his raised left foot backwards, outside the Circle and draws his right foot from the Third Instance, to the letter K on the Outside Square, as is shown by the figures. | ||
| − | | Reiterant derechef toutes les | + | | Reiterant derechef toutes les actions du Cercle precedēt, où {{sc|Alexandre}} atteint l’adversaire d’un coup d’estramaçon au dedans du bras; en ce Cercle present il conduit l’espee avec l’aide du poignet circulairement en angle obtus vers sa main gauche par dessus sa teste, frappant de haut en bas un coup de revers au dehors du bras contraire: en suite de quoy il retire le pied gauche qui est eslevé, en arriere par delà le Cercle, entrainant à l’advenant le pied droit de la Troisieme Instance sur le Quarré circonscrit lettre K; en conformité des figures. |
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| Now, as we have proposed in these examples to draw cuts on the adversary’s arm, where previously in other Tables we always struck to the head, it may be, dear reader, that you find yourself curious to know, if we hold one or the other as better or both equal, and does it matter when to use which or can either be used at any time, much like it is not enough to imagine oneself in a beautiful garden, full of plants, of flowers, and of fruits, but one must know which, if any, one may pick, and if so, are there any conditions as to when? In response to these good and thoughtful considerations, the circumstances where Alexander aims a thrust at Zachary are shown in Circle No 2 to the inside and in Circle No 12 to the outside of the arm. So, when Zachary parries with strength and force, Alexander not only has a choice to strike at either the head or the arm, as he would, but the ability to take advantage of several other actions, such as to further dominate and subjugate the sword, to deliver ''Imbrocata'' strikes, or other actions which are shown in similar situations in other parts of this book. In truth, it is a veritable garden of delights, enriched with a very great diversity of options, to one who is capable. But the student should always be warned so that he does not, at the very beginning, try all of these at once. Because what are various options to a man of skill, are but a source of confusion to the novice. Now, as to which is most expedient, striking the the arm or the head, I hold the one good, the other better. The usual act is to strike the head, either with the point or the edge. Because for the adversary, when he is struck in the head, and particularly in the face, he will be so stunned in that instant, that he will be unable to do anything until he has had the time to recover his wits and gather his thoughts. In which time, the assailant will well know to profit by taking full advantage of the situation. Of this, you shall be be given better examples, with more complete reasoning, in the discussions on swordplay which follow. And it happens that even Julius Ceasar, as the history books attest, gave the order to his men-at-arms to always strike the face of their enemies, and that the reason he gave was the same, or something very similar. For the truth is this: a blow to the head is at once offensive and defensive, and for this reason we hold it as the more secure of the two choices. | | Now, as we have proposed in these examples to draw cuts on the adversary’s arm, where previously in other Tables we always struck to the head, it may be, dear reader, that you find yourself curious to know, if we hold one or the other as better or both equal, and does it matter when to use which or can either be used at any time, much like it is not enough to imagine oneself in a beautiful garden, full of plants, of flowers, and of fruits, but one must know which, if any, one may pick, and if so, are there any conditions as to when? In response to these good and thoughtful considerations, the circumstances where Alexander aims a thrust at Zachary are shown in Circle No 2 to the inside and in Circle No 12 to the outside of the arm. So, when Zachary parries with strength and force, Alexander not only has a choice to strike at either the head or the arm, as he would, but the ability to take advantage of several other actions, such as to further dominate and subjugate the sword, to deliver ''Imbrocata'' strikes, or other actions which are shown in similar situations in other parts of this book. In truth, it is a veritable garden of delights, enriched with a very great diversity of options, to one who is capable. But the student should always be warned so that he does not, at the very beginning, try all of these at once. Because what are various options to a man of skill, are but a source of confusion to the novice. Now, as to which is most expedient, striking the the arm or the head, I hold the one good, the other better. The usual act is to strike the head, either with the point or the edge. Because for the adversary, when he is struck in the head, and particularly in the face, he will be so stunned in that instant, that he will be unable to do anything until he has had the time to recover his wits and gather his thoughts. In which time, the assailant will well know to profit by taking full advantage of the situation. Of this, you shall be be given better examples, with more complete reasoning, in the discussions on swordplay which follow. And it happens that even Julius Ceasar, as the history books attest, gave the order to his men-at-arms to always strike the face of their enemies, and that the reason he gave was the same, or something very similar. For the truth is this: a blow to the head is at once offensive and defensive, and for this reason we hold it as the more secure of the two choices. | ||
| − | | Maintenant puis que nous avons proposé ces exemples, de tirer les coups de taille sur le bras de l’Adversaire, & au paravant és autres tables on luy en a tousiours donné sur la teste; peut estre | + | | Maintenant puis que nous avons proposé ces exemples, de tirer les coups de taille sur le bras de l’Adversaire, & au paravant és autres tables on luy en a tousiours donné sur la teste; peut estre Lecteur, que vous serez curieux de sçavoir, si nous estimons l’un & l’autre egalemēt, & si les occasions sont semblables ou differentes; d’autant que ce n’est pas assez de s’imaginer d’estre en un beau jardin, où il y croist tout sorte d’herbes, de fleurs, & de fruits; mais qu’il faut aussi savoir, s’il est permis d’en cueillir, & à quelle condition. Pour responce à ceste consideration, qui est belle & utile, les occasions vous sont representés au Cercle N.2. en dedans & N.12. en dehors du bras; contenant l’estocade qu’Alexandre tire à la Troisieme Instance au long des espees devers la teste de Zacharie. Et quand Zacharie la pare avec bon Poids & avec quelque force, Alexandre n’aura par seulement le choix, de luy tirer le coup d’estramaçon sur la teste, ou sur le bras selon qu’il voudra, mais encore d’avantage de se prevaloir de plusieurs autres actions, comme de luy redompter & assujettir derechef l’espee, ou de donner Imbrocades, ou faire autres operations, qui sont representées sur les mesmes occasions en autres endroits de ce Livre. De façon que c’est la verité un jardin de plaisance, enrichi d’une tresgrande diversité d’operations pour celuy qui en est capable. Mais que le Disciple soit tousiours adverti qu’il ne se hazarde pas de commencement, à vouloir faire tout ensemble. Car ce qui est Varieté pour l’homme adroit, ce seroit confusion pour luy. Au reste, s’il faut parler de ce qui est plus expedient, de frapper à la teste, ou au bras, je tiens, que l’un est bon, l’autre encor meilleur, & que c’est ordinairement le plus seur de frapper à la teste, soit de pointe soit de taille. Pour ce que l’adversaire, quand il est touché à la teste, & notamment au visage, il en est tellement estourdi au mesme instant, qu’il ne sauroit quasi rien faire, jusqu’à tant qu’il ait eu loisir de se raviser & de reprendre ses cogitations. Dequoy l’assaillant saura bien faire son profit, & poursuivre tant mieux son avantage. Or de cecy vous seront donnez de plus nobles examples, & de plus amples raisons, en ce qui sera discouru cy apres sur les esees libres. Et paradventure que Iules Cesar, duquel les histoires desmoignent, qu’il commandoit à ses gens darmes de tirer tousiours à la face des Ennemis, y avoit aussi remarqué telle ou semblable cause. Quoy qu’il en soit la verité est telle; le coup qui est donné à la teste, fait offense & defense tout ensemble; & pour tant nous le tenons pour le plus seur. |
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| On this occasion, Alexander has duly set himself first on the Circle, in Quadrangle A, presenting his sword to his adversary (body erect) in the direct line posture, to allow his opponent to work upon him. At which Zachary approaches, stepping two or three paces forward, and sets his foot on the ground in the Quadrangle opposite, on the letter X, at the same time throwing his sword from an obtuse angle (as he draws his left foot up to the Pedal Line Z) to rest parallel and beneath his opponent’s sword. This has been amply described in other Tables, where they perform the same actions, and which is effectively shown by the figures in the Circle. | | On this occasion, Alexander has duly set himself first on the Circle, in Quadrangle A, presenting his sword to his adversary (body erect) in the direct line posture, to allow his opponent to work upon him. At which Zachary approaches, stepping two or three paces forward, and sets his foot on the ground in the Quadrangle opposite, on the letter X, at the same time throwing his sword from an obtuse angle (as he draws his left foot up to the Pedal Line Z) to rest parallel and beneath his opponent’s sword. This has been amply described in other Tables, where they perform the same actions, and which is effectively shown by the figures in the Circle. | ||
| − | | En ceste occasion {{sc|Alexandre}} s’est planté le premier sur le Cercle en forme deuë, dedans le Quadrangle A, presentant l’espee à son adversaire (avec le corps tout droit) en droite ligne, pour le laisser travailler dessus. Qui fait que {{sc|Zacharie}} le vient approcher, en marchant deux ou trois pas en avant, met le pied droit à terre dedans le Quadrangle opposite sur la lettre X, jettant ensemblement son espee de l’angle obtus (entrainant le pied gauche sur la ligne Pedale Z) en droite ligne, parallele au dessous de l’espee contraire; selon qu’il en est faite plus ample declaration és autres Tables, où ils ont pratiqué la mesme operation; & | + | | En ceste occasion {{sc|Alexandre}} s’est planté le premier sur le Cercle en forme deuë, dedans le Quadrangle A, presentant l’espee à son adversaire (avec le corps tout droit) en droite ligne, pour le laisser travailler dessus. Qui fait que {{sc|Zacharie}} le vient approcher, en marchant deux ou trois pas en avant, met le pied droit à terre dedans le Quadrangle opposite sur la lettre X, jettant ensemblement son espee de l’angle obtus (entrainant le pied gauche sur la ligne Pedale Z) en droite ligne, parallele au dessous de l’espee contraire; selon qu’il en est faite plus ample declaration és autres Tables, où ils ont pratiqué la mesme operation; & l’effect en est representé par les propres figures de ce present Cercle. |
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| This one derives from Circle No 1. where both are set on the Circle at the First Instance Alexander holding his sword above his opponent’s. So, he proceeds further, stepping with his right foot towards the Second Instance, attacking from beneath to oblige his opponent’s sword, as in Circle No 2. At the moment his right foot reaches the point where his body begins to overbalance, Zachary moves forward and enters in with his right foot on the Diameter at the second intersection of the Interior Collateral and leans his body forward onto his foot, to dominate and subjugate the lower sword with a degree of force. Alexander perceives this from the contact. He sets his right foot down, which has moved to the letter G on the Diameter at the Second Instance, followed by his left foot with a circular motion to the letter D. Standing with his body erect, he makes a circular disengage from beneath his opponent’s sword, which overbalances downwards, and, with his arm bent (to keep the point from touching) sets his point exactly in front of the face. As shown by the figures. | | This one derives from Circle No 1. where both are set on the Circle at the First Instance Alexander holding his sword above his opponent’s. So, he proceeds further, stepping with his right foot towards the Second Instance, attacking from beneath to oblige his opponent’s sword, as in Circle No 2. At the moment his right foot reaches the point where his body begins to overbalance, Zachary moves forward and enters in with his right foot on the Diameter at the second intersection of the Interior Collateral and leans his body forward onto his foot, to dominate and subjugate the lower sword with a degree of force. Alexander perceives this from the contact. He sets his right foot down, which has moved to the letter G on the Diameter at the Second Instance, followed by his left foot with a circular motion to the letter D. Standing with his body erect, he makes a circular disengage from beneath his opponent’s sword, which overbalances downwards, and, with his arm bent (to keep the point from touching) sets his point exactly in front of the face. As shown by the figures. | ||
| − | | La presente provient du Cercle N.1. où les parties son placez sur le Cercle en Premiere Instance, {{sc|Alexandre}} tenant l’espee parallele par dessus la contraire. Or comme il procede plus outre, en marchant avec le pied droit devers la Seconde Instance, pour attaquer par dessous, & obliger l’espee contraire, comme au Cercle N.2. au temps que ledit pied luy commence à tresbucher avec le corps, {{sc|Zacharie}} s’avance & entre là dessus avec le pied droit, par delà le Diametre sur la seconde | + | | La presente provient du Cercle N.1. où les parties son placez sur le Cercle en Premiere Instance, {{sc|Alexandre}} tenant l’espee parallele par dessus la contraire. Or comme il procede plus outre, en marchant avec le pied droit devers la Seconde Instance, pour attaquer par dessous, & obliger l’espee contraire, comme au Cercle N.2. au temps que ledit pied luy commence à tresbucher avec le corps, {{sc|Zacharie}} s’avance & entre là dessus avec le pied droit, par delà le Diametre sur la seconde intersection de la collaterale interieure, & se panche du corps en avant dessus le mesme, pour dompter & assujettir la lame inferieure avec Poids de Force; De quoy s’appercevant {{sc|Alexandre}} par l’attouchement, il plante le pied droit, qui chemine par delà le Diametre sur la Seconde Instance lettre G, pour poursuivre circulairement du pied gauche sur la lettre D, mettant le corps tout droit dessus, cavant ensemblement sa lame par dessous a contraire en tresbuche vers le bas, luy mettant la point en courtoisie avec le bras courbé (pour ne le toucher) devant le visage; selon la representation des figures. |
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| If it were possible to always subjugate the opponent’s sword, one would never need to oblige one’s opponent, nor have any reason to need to regain an advantage lost. But because we are sometimes overpowered, either by force, or his quickness, or our inattention, we must learn to recover and execute good strikes, even when at a disadvantage, strikes we have seen Alexander perform, which we know how to do when our opponent’s blade is subjugated. And for those who would take us to task for having repeated lessons given in other parts of this book, as if it were a crime to say the same thing again, I would say, on the contrary, that it was the custom of even the sage Socrates to repeat lessons for his students, and he left it to the Sophists the vain pride of never repeating themselves. Yet we have not repeated these lessons for no good cause, because otherwise it would be impossible to demonstrate how, the actions taken after controlling the opponent’s sword are very similar to those we perform after subjugating it. For those who would say that it should suffice to have merely introduced the fundamentals of the System before now, without exploring all the possible variations, because these become self-evident over time, I would respond, again, that the usefulness of these examples is too important to be neglected and that these are too essential to the System to leave them out for the sake of brevity, which would be a mistake, rather than being prolific, where prolific means that which fully explains the material. To conclude, without this repetition, it would be impossible to properly present the greatness and usefulness of the foundations of our system, which are small in number, and yet serve to dominate so many different possible actions of our adversary. One may imagine an infinite variety of ways in which our enemy might engage us. | | If it were possible to always subjugate the opponent’s sword, one would never need to oblige one’s opponent, nor have any reason to need to regain an advantage lost. But because we are sometimes overpowered, either by force, or his quickness, or our inattention, we must learn to recover and execute good strikes, even when at a disadvantage, strikes we have seen Alexander perform, which we know how to do when our opponent’s blade is subjugated. And for those who would take us to task for having repeated lessons given in other parts of this book, as if it were a crime to say the same thing again, I would say, on the contrary, that it was the custom of even the sage Socrates to repeat lessons for his students, and he left it to the Sophists the vain pride of never repeating themselves. Yet we have not repeated these lessons for no good cause, because otherwise it would be impossible to demonstrate how, the actions taken after controlling the opponent’s sword are very similar to those we perform after subjugating it. For those who would say that it should suffice to have merely introduced the fundamentals of the System before now, without exploring all the possible variations, because these become self-evident over time, I would respond, again, that the usefulness of these examples is too important to be neglected and that these are too essential to the System to leave them out for the sake of brevity, which would be a mistake, rather than being prolific, where prolific means that which fully explains the material. To conclude, without this repetition, it would be impossible to properly present the greatness and usefulness of the foundations of our system, which are small in number, and yet serve to dominate so many different possible actions of our adversary. One may imagine an infinite variety of ways in which our enemy might engage us. | ||
| − | | S’il estoit possible d’assuiettier tousiours l’espee contraire, il ne seroit jamais besoing de l’obliger, ne raison de perdre un advantage pour le reprendre apres. Mais puis qu’on y est aucunesfois surprins, ou par force, ou par vistesse, ou par mesgardre, il faut apprendre à se remettre, & à tirer du desavantage mesme des bonnes executions, semblables à celles, qu’on a sceu tirer de l’assujettissement; comme nous voyons qu’Alexandre vient de pratiquer. Et c’est ce qui servira de responce à ceux, qui nous voudront par adventure reprendre; d’avoir representé en ce Tableau present quelques operations, qui ont esté descrites autrepart, comme si c’estoit un crime de redire la mesme chose. Ie leur diray au contraire, que le sage Socrates avoit de coustume de redir tousiours le mesme à ses desciples, & qu’il laissoit aux Sophistes la vanterie de ne repeter jamais rien. Et cependant, que nous n’avons pas usé de ceste repetition sans cause, puis qu’autrement il eust esté impossible de demonstrer, les appendances de l’obligation estre semblables à celles de l’assuettissement. s’Ils disent, qu’il nous devroit suffire d’avoir touché par cy devant les fondements de la Pratique en general, sans recercher touts les particularitez, qui en dependent, & qui se manifestent peu a peu d’elles mesmes; je respondray derechef, que l’Vtilité de ces demonstrations est trop notoire, & que ce sont des parties trop essentielles de la Pratique, pour les omettre sous couleur debrieveté, en laquelle il y peut avoir des fautes, aussi bien qu’en la prolixité, si prolixité se doit nommer, ce qui esclarcit grandement la matiere. Et pour conclusion, que sans ceste repetition, il seroit impossible de vous representer l’amplitude & le grand usage de nos fondements, qui sont petits en Nombre, & servent cependant à domter tant de diverses | + | | S’il estoit possible d’assuiettier tousiours l’espee contraire, il ne seroit jamais besoing de l’obliger, ne raison de perdre un advantage pour le reprendre apres. Mais puis qu’on y est aucunesfois surprins, ou par force, ou par vistesse, ou par mesgardre, il faut apprendre à se remettre, & à tirer du desavantage mesme des bonnes executions, semblables à celles, qu’on a sceu tirer de l’assujettissement; comme nous voyons qu’Alexandre vient de pratiquer. Et c’est ce qui servira de responce à ceux, qui nous voudront par adventure reprendre; d’avoir representé en ce Tableau present quelques operations, qui ont esté descrites autrepart, comme si c’estoit un crime de redire la mesme chose. Ie leur diray au contraire, que le sage Socrates avoit de coustume de redir tousiours le mesme à ses desciples, & qu’il laissoit aux Sophistes la vanterie de ne repeter jamais rien. Et cependant, que nous n’avons pas usé de ceste repetition sans cause, puis qu’autrement il eust esté impossible de demonstrer, les appendances de l’obligation estre semblables à celles de l’assuettissement. s’Ils disent, qu’il nous devroit suffire d’avoir touché par cy devant les fondements de la Pratique en general, sans recercher touts les particularitez, qui en dependent, & qui se manifestent peu a peu d’elles mesmes; je respondray derechef, que l’Vtilité de ces demonstrations est trop notoire, & que ce sont des parties trop essentielles de la Pratique, pour les omettre sous couleur debrieveté, en laquelle il y peut avoir des fautes, aussi bien qu’en la prolixité, si prolixité se doit nommer, ce qui esclarcit grandement la matiere. Et pour conclusion, que sans ceste repetition, il seroit impossible de vous representer l’amplitude & le grand usage de nos fondements, qui sont petits en Nombre, & servent cependant à domter tant de diverses actions du Contraire; au lieu que ce seroit chose infinie, s’il falloit imaginer autant de diverses rencontres, comme il y a de variations de la part de l’Ennemy. |
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| Any advantage one may take of an adversary must perforce be either against the body or the sword. Because one ordinarily defends the body, and this makes it difficult to reach, in contrast to the sword, which, of course, doing nothing more that it’s job of protecting the person, must remain within range. It has no defence for itself (nor does it need any) but only for the person. As such, it cannot avoid being attacked. Those who think they would keep it free, when they hold it drawn back, or down, or who make feints high, low, straight, or with bent arm in order to fool their adversary, are only fooling themselves, in that they give over to their opponent all the advantage, that he may confidently choose at his pleasure the best time and means to close in, as the sword in guard is enough to defend the body but when not in guard, cannot. It is obvious, that eventually they must perforce seek to contact the blade they sought to avoid. And yet, the most sure and safest way to engage against a sword is never to flee from it, but rather, once engaged, to never lose that contact, so that the sense of feel can tell us right away when the opponent is preparing to parry or to counter our attacks. For in all these cases, one must continue to work upon one’s opponent, as long as one can maintain sufficient control. And to do this, one must absolutely understand the different degrees of Force, to apply the proper counters, as the responses to different pressures are quite different, as we can see beginning in this Table after the first five Circles, and later on in others. Therefore, one must always be attentive to subjugate the opponent’s blade, far enough from the tip that on is protected from disengagements, and near enough that one is out of danger from ''Imbrocatta'' thrusts. | | Any advantage one may take of an adversary must perforce be either against the body or the sword. Because one ordinarily defends the body, and this makes it difficult to reach, in contrast to the sword, which, of course, doing nothing more that it’s job of protecting the person, must remain within range. It has no defence for itself (nor does it need any) but only for the person. As such, it cannot avoid being attacked. Those who think they would keep it free, when they hold it drawn back, or down, or who make feints high, low, straight, or with bent arm in order to fool their adversary, are only fooling themselves, in that they give over to their opponent all the advantage, that he may confidently choose at his pleasure the best time and means to close in, as the sword in guard is enough to defend the body but when not in guard, cannot. It is obvious, that eventually they must perforce seek to contact the blade they sought to avoid. And yet, the most sure and safest way to engage against a sword is never to flee from it, but rather, once engaged, to never lose that contact, so that the sense of feel can tell us right away when the opponent is preparing to parry or to counter our attacks. For in all these cases, one must continue to work upon one’s opponent, as long as one can maintain sufficient control. And to do this, one must absolutely understand the different degrees of Force, to apply the proper counters, as the responses to different pressures are quite different, as we can see beginning in this Table after the first five Circles, and later on in others. Therefore, one must always be attentive to subjugate the opponent’s blade, far enough from the tip that on is protected from disengagements, and near enough that one is out of danger from ''Imbrocatta'' thrusts. | ||
| − | | Tout l’avantage qu’on sçauroit prendre sur l’Adversaire il le faut cercher necessairement ou au corps, ou bien à l’espee. Et puis que le corps est ordinairement en defense, aussi est it plus souvent de difficile approche; au contraire de l’espee, qui ne peut faire son office de garantir la personne, si elle ne demeure en presence. N’ayant nulle defense pour soy mesme (aussi n’en a elle que faire) mais seulement pour la personne; de façon qu’elle ne se peut garder d’estre attaquée. Ceux qui pensent la tenir bien libre, quand ils la retirent en arriere ou en bas, ou qu’ils font des feintes, hautes, basses, droites, courbes, pour tromper l’Adversaire, se trompent eux mesmes, en ce qu’ils luy accordent l’avantage, de prendre à sa fantasie la meilleure situation & la place que bon luy semble, pour faire ses approches avec plus d’asseurance, s’il est vray que l’espee est suffisante à defendre le corps, quand on la tient en bonne guarde. Chose si evidente, qu’ils en sont contraints à la longue de recercher eux mesmes l’espee la quelle il pensoyent avoit evitée. Et partant c’est le plus seur, quand elle se presente, de ne la fuir jamais, & l’ayant une fois attouchée, jamais ne la quitter tandis que le Sentiment nous dit, qu’elle est toute preste à destourner & empescher nos entrprinses. Car en ces cas, il faut tousiours continuer à travailler dessus, tant qu’on la puisse commander à suffisance. Et pour ce faire, faut sur tout entendre la difference des Poids, pour y appliquer les vrais remedes, à mesure que les effets en son grandement dissemblables; comme on voit à l’entrée de ce present Tableau à la suite des cincq premiers Cercles, & à l’advenant aussi és autres; où il faut tousious observer de tenir l’espee Contraire en | + | | Tout l’avantage qu’on sçauroit prendre sur l’Adversaire il le faut cercher necessairement ou au corps, ou bien à l’espee. Et puis que le corps est ordinairement en defense, aussi est it plus souvent de difficile approche; au contraire de l’espee, qui ne peut faire son office de garantir la personne, si elle ne demeure en presence. N’ayant nulle defense pour soy mesme (aussi n’en a elle que faire) mais seulement pour la personne; de façon qu’elle ne se peut garder d’estre attaquée. Ceux qui pensent la tenir bien libre, quand ils la retirent en arriere ou en bas, ou qu’ils font des feintes, hautes, basses, droites, courbes, pour tromper l’Adversaire, se trompent eux mesmes, en ce qu’ils luy accordent l’avantage, de prendre à sa fantasie la meilleure situation & la place que bon luy semble, pour faire ses approches avec plus d’asseurance, s’il est vray que l’espee est suffisante à defendre le corps, quand on la tient en bonne guarde. Chose si evidente, qu’ils en sont contraints à la longue de recercher eux mesmes l’espee la quelle il pensoyent avoit evitée. Et partant c’est le plus seur, quand elle se presente, de ne la fuir jamais, & l’ayant une fois attouchée, jamais ne la quitter tandis que le Sentiment nous dit, qu’elle est toute preste à destourner & empescher nos entrprinses. Car en ces cas, il faut tousiours continuer à travailler dessus, tant qu’on la puisse commander à suffisance. Et pour ce faire, faut sur tout entendre la difference des Poids, pour y appliquer les vrais remedes, à mesure que les effets en son grandement dissemblables; comme on voit à l’entrée de ce present Tableau à la suite des cincq premiers Cercles, & à l’advenant aussi és autres; où il faut tousious observer de tenir l’espee Contraire en sujection, si loing de la pointe, qu’on soit affranchi de ses cavations, & si pres, qu’on soit hors le danger des Imbrocades. |
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| This current action comes from Circle No 2 of the preceding Table, where Alexander has obliged his opponent’s sword on the Diameter at the Second Instance. As Zachary calmly waits for the follow-up, Alexander moves with his right foot to the Perpendicular Diameter, along the Inscribed Square, at which (midway to the Instance) he hesitates briefly, before he overbalances, during which time he raises the obliged sword upward with his own, and consequently, as he sets his right foot on the section crossing the transverse interior line Q N, he carries it over to his left hand side, such that it comes down exactly above the Diameter in the direct line posture, where he subjugates it with an Alive degree of Force with his 2nd Span against his opponent’s 1st Span, tip slightly raised, and his arm lowered with the guard, by which he covers his lower body and guarantees his safety from a hit, as shown by the figures, with the sword positions marked on the plane of the Circle. | | This current action comes from Circle No 2 of the preceding Table, where Alexander has obliged his opponent’s sword on the Diameter at the Second Instance. As Zachary calmly waits for the follow-up, Alexander moves with his right foot to the Perpendicular Diameter, along the Inscribed Square, at which (midway to the Instance) he hesitates briefly, before he overbalances, during which time he raises the obliged sword upward with his own, and consequently, as he sets his right foot on the section crossing the transverse interior line Q N, he carries it over to his left hand side, such that it comes down exactly above the Diameter in the direct line posture, where he subjugates it with an Alive degree of Force with his 2nd Span against his opponent’s 1st Span, tip slightly raised, and his arm lowered with the guard, by which he covers his lower body and guarantees his safety from a hit, as shown by the figures, with the sword positions marked on the plane of the Circle. | ||
| − | | La presente operation depend du Cercle N.2. de la Table precedente, où {{sc|Alexandre}} a obligé l’espee contraire par delà le Diametre à la Seconde Instance; & comme {{sc|Zacharie}} demeure en attendant la poursuite, {{sc|Alexandre}} s’avance le pied droit par delà le Diametre, au long du Quarré Inscrit, duquel (estant à my-voye de l’Instance) il fait une petite pause, avant qu’il vienne à tresbucher, durant laquelle il sousleve l’espee obligée avec la sienne vers le haut, & consequemmēt, en plantant le pied droit eslevé à la | + | | La presente operation depend du Cercle N.2. de la Table precedente, où {{sc|Alexandre}} a obligé l’espee contraire par delà le Diametre à la Seconde Instance; & comme {{sc|Zacharie}} demeure en attendant la poursuite, {{sc|Alexandre}} s’avance le pied droit par delà le Diametre, au long du Quarré Inscrit, duquel (estant à my-voye de l’Instance) il fait une petite pause, avant qu’il vienne à tresbucher, durant laquelle il sousleve l’espee obligée avec la sienne vers le haut, & consequemmēt, en plantant le pied droit eslevé à la section de la traversante interieure Q N, il la transporte à main gauche, de sorte qu’elle reviēt justemēt au dessus du Diametre en droite ligne, où il l’assujettit d’un Poids vif au N.1. avec son N.2. la pointe un peu ascendante, & le bras descentāt avec la garde, dont il se garentit & couvre la partie inferieure du corps, pour n’y estre touché, selon la representation de leurs figures, & des espees qui sont marquées sur le plain du Cercle. |
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| This proceeds from Circle No 2 from the preceding Table (XIX). Once having obliged his opponent’s sword (following the aforesaid instructions of the previous Table) along the Diameter, at the Second Instance, and as his opponent is holding his blade against his with an Alive Degree of Force, Alexander then brings it over in a circular motion to the other side, moving his body forwards, stepping into the angle of his opponent’s blade with his left foot, which was mid-way towards the Second Instance, then, just before he was at the point of balance, he paused, changed direction and set it down at the letter R. At the same time, he subjugates to his left his opponent’s sword, No 2 to No 1, according to the figures. | | This proceeds from Circle No 2 from the preceding Table (XIX). Once having obliged his opponent’s sword (following the aforesaid instructions of the previous Table) along the Diameter, at the Second Instance, and as his opponent is holding his blade against his with an Alive Degree of Force, Alexander then brings it over in a circular motion to the other side, moving his body forwards, stepping into the angle of his opponent’s blade with his left foot, which was mid-way towards the Second Instance, then, just before he was at the point of balance, he paused, changed direction and set it down at the letter R. At the same time, he subjugates to his left his opponent’s sword, No 2 to No 1, according to the figures. | ||
| − | | C’est de la Table Precedente Cercle N.2. que la presente operation procede. Car ayant obligé l’espee Contraire (selon lesdites | + | | C’est de la Table Precedente Cercle N.2. que la presente operation procede. Car ayant obligé l’espee Contraire (selon lesdites instructions de la Table precedente) par delà le Diametre à la Seconde Instance; & que l’Adversaire la tient en Poids Vif; {{sc|Alexandre}} la transporte circulairement à l’autre costé, en avançant le corps, & entrant du pied gauche, duquel, estant à my-voye de l’Instance, avant qu’il tresbuche, il fait un peu de pause, consequemment avançant le costé gauche au dedans des perpendiculaires de l’espee Contraire, & le plante sur le Diametre à la lettre R, assujettissant ensemblement à son costé gauche l’espee Contraire du N.2. à N.1 selon la representation des figures. |
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| Several who wish to catch us out, might think they have come across the perfect opportunity in this Table XX, because, when they look at the figures they might believe that these are but contrived situations, which resemble more a theatrical display than the reality of a fight, and that the persons here are shown with such calm demeanour that it would be impossible to perform other than in this way, that is, with delicate precision, as a form of rehearsed spectacle, by mutually agreement to allow each other to approach so close beside and to such a favourable position as could only exist in the imagination. That is, to have a fight that went exactly according to one’s wishes. There their objection in fact has a fault in the point they would make. For those who are unknowing usually mistake the circumstances for the thing itself. One might tell them, in response, that if they could have a fight according to their wishes, then it would be enough to learn how to strike, and maybe two or three other lessons, which would serve in all cases, without any concern for the rest of it. But as that is an impossibility, and that the true Practitioner must be equipped to face a great number of circumstances, so variable, and so sudden, that it goes without saying that the scholar must first learn a great deal. We have not neglected to set these lessons here in proper order, each following those previous ones which are most similar. But even if these lessons are not useful in this particular order, it does not follow they will never be used at all. If those who object say that it is only by chance or by improvisation that these situations will come about, I say there is even more reason to equip oneself and to prepare for them, because on cannot expect to have a fight that goes only according to ones wishes. Any yet, occasions such as these are not as unfamiliar or rare as some might think. They are quite ordinary and even occur as often as any other, when one is passing another. Because then one always finds oneself beside and close to the opponent and in the same, or similar situations as those represented here. To the degree they do not understand the usefulness of our principles because their perception is coloured by others that they perceive as typical, the fault is still their own, that they do not adopt what they do not seek to understand. Because, as for the figures which, as they feel, do not display sufficiently angry faces or wide actions, it would be folly to give such moves more action than they require. To the degree they would wish to do that, it would mean there would be no point to choosing one posture or another. The way it is, is the most safe, to set the persons in the direct line posture, which is the most natural posture of all, and from which one must always approach as close as is possible. Thus they are obliged to admit, despite themselves, that anyone who can perform these actions with ease, as our figures show, will be just as at ease using them in any other situation in which they find themselves, to the degree it is appropriate. The second reason, which is also the principal one, is that that the examination of these precepts should be done calmly, especially if used when the situation is otherwise. Just as performed in all the branches of knowledge, even those which seem to have no accordance in the world with abodes of the Muses. Behold the doings of war: can we not say the actions, which are horribly chaotic and tumultuous, yet can be described calmly? The finest arts of lively dances and of music, both vocal and instrumental, do they not require such an alacrity and grace in practice, that it would be an extreme folly for one just learning to try to imitate? The same is with other disciplines. Habit cannot be acquired without a solid understanding of the precepts, which cannot be learned without careful study, nor yet study without patience, nor patience without much time, effort, and consideration. And we cannot help but lay blame to a great degree, on popular practices, which are done in such a way that encourage the practice of wild abandon, with no consideration at all for ultimate goals, except to become used to working very quickly, in the hope of somehow finding favourable circumstances, as if there were nothing more to consider having seen a lesson two or three times, as if one could overcome the Art through brute force. And in fact, they arrive sooner at the end of their art than we do of ours, but with much less secure a foundation. Also our precise consideration cannot be compatible with such precipitous haste. In a word, that which is most important of all, as our figures appear calm and poised, so the effect of our Art is to create such grace in those who practice, in place of more common practices which train others to be crude. | | Several who wish to catch us out, might think they have come across the perfect opportunity in this Table XX, because, when they look at the figures they might believe that these are but contrived situations, which resemble more a theatrical display than the reality of a fight, and that the persons here are shown with such calm demeanour that it would be impossible to perform other than in this way, that is, with delicate precision, as a form of rehearsed spectacle, by mutually agreement to allow each other to approach so close beside and to such a favourable position as could only exist in the imagination. That is, to have a fight that went exactly according to one’s wishes. There their objection in fact has a fault in the point they would make. For those who are unknowing usually mistake the circumstances for the thing itself. One might tell them, in response, that if they could have a fight according to their wishes, then it would be enough to learn how to strike, and maybe two or three other lessons, which would serve in all cases, without any concern for the rest of it. But as that is an impossibility, and that the true Practitioner must be equipped to face a great number of circumstances, so variable, and so sudden, that it goes without saying that the scholar must first learn a great deal. We have not neglected to set these lessons here in proper order, each following those previous ones which are most similar. But even if these lessons are not useful in this particular order, it does not follow they will never be used at all. If those who object say that it is only by chance or by improvisation that these situations will come about, I say there is even more reason to equip oneself and to prepare for them, because on cannot expect to have a fight that goes only according to ones wishes. Any yet, occasions such as these are not as unfamiliar or rare as some might think. They are quite ordinary and even occur as often as any other, when one is passing another. Because then one always finds oneself beside and close to the opponent and in the same, or similar situations as those represented here. To the degree they do not understand the usefulness of our principles because their perception is coloured by others that they perceive as typical, the fault is still their own, that they do not adopt what they do not seek to understand. Because, as for the figures which, as they feel, do not display sufficiently angry faces or wide actions, it would be folly to give such moves more action than they require. To the degree they would wish to do that, it would mean there would be no point to choosing one posture or another. The way it is, is the most safe, to set the persons in the direct line posture, which is the most natural posture of all, and from which one must always approach as close as is possible. Thus they are obliged to admit, despite themselves, that anyone who can perform these actions with ease, as our figures show, will be just as at ease using them in any other situation in which they find themselves, to the degree it is appropriate. The second reason, which is also the principal one, is that that the examination of these precepts should be done calmly, especially if used when the situation is otherwise. Just as performed in all the branches of knowledge, even those which seem to have no accordance in the world with abodes of the Muses. Behold the doings of war: can we not say the actions, which are horribly chaotic and tumultuous, yet can be described calmly? The finest arts of lively dances and of music, both vocal and instrumental, do they not require such an alacrity and grace in practice, that it would be an extreme folly for one just learning to try to imitate? The same is with other disciplines. Habit cannot be acquired without a solid understanding of the precepts, which cannot be learned without careful study, nor yet study without patience, nor patience without much time, effort, and consideration. And we cannot help but lay blame to a great degree, on popular practices, which are done in such a way that encourage the practice of wild abandon, with no consideration at all for ultimate goals, except to become used to working very quickly, in the hope of somehow finding favourable circumstances, as if there were nothing more to consider having seen a lesson two or three times, as if one could overcome the Art through brute force. And in fact, they arrive sooner at the end of their art than we do of ours, but with much less secure a foundation. Also our precise consideration cannot be compatible with such precipitous haste. In a word, that which is most important of all, as our figures appear calm and poised, so the effect of our Art is to create such grace in those who practice, in place of more common practices which train others to be crude. | ||
| − | | Plusieurs qui nous voudront reprendre, en penseront avoir rencontré en ce Tableau XX. la plus juste occasion, qu’ils sauroyent pretendre: par ce qu’en examinant les figures, il leur sera peut estre advis, que ce ne sont que des occasions controuvées, qui ressemblent plustost à la Parade d’une pompeuse magnificance, qu’à la verité d’une bataille, & que les personnes y tiennent une gravité si modeste, qu’il seroit impossible de la pratiquer autrement qu’à nostre mode, c’est a dire en courtoisie, en forme de | + | | Plusieurs qui nous voudront reprendre, en penseront avoir rencontré en ce Tableau XX. la plus juste occasion, qu’ils sauroyent pretendre: par ce qu’en examinant les figures, il leur sera peut estre advis, que ce ne sont que des occasions controuvées, qui ressemblent plustost à la Parade d’une pompeuse magnificance, qu’à la verité d’une bataille, & que les personnes y tiennent une gravité si modeste, qu’il seroit impossible de la pratiquer autrement qu’à nostre mode, c’est a dire en courtoisie, en forme de spectacle, & par convenance mutuelle de laisser venir l’un l’autre si avant, & à costé, & avec tel avantage qui ne consiste qu’en imagination. En somme que ce seroyent des belles choses, si on pouvoit avoir la bataille à sa fantasie. Voilà ce qu’on nous objectera sans point de faute. Car les ignorants se prennent ordinairement plustost aux circonstances, qu’aux choses mesmes. Disons leur donc pour response, que si on pouvoit avoir la bataille à sa fantasie, que ce seroit assez de bien porter la botte, & puis encor deux ou trois petites leçons, qu’on seroit servir à touts propos, sans se soucier du reste. Mais d’autant que cela est impossible, & que la vraye Pratique doit estre munie contre un si grand nombre d’occurrences, si variables & si soudaines, qu’il est sans contredit necessaire que l’Escholier ait au paravant estudié une bonne partie; nous n’avons pas voulu manquer à les mettre icy en leur ordre; & selon la suite des autres operations, avec les quelles elles ont plus de similitude. Or si elles ne viennent pas en usage en ceste mesme sorte, il ne s’ensuit pas pourtant qu’elles n’y viennent jamais? Et s’ils disent que c’est par fortune ou à l’improviste qu’on s’y retrouve, je diray qu’il y a d’autant plus de raison de s'armer & preparer alencontre, pource qu’il ne faut pas attendre d’avoir la bataille à sa fantasie. Et cependant, que ces occasions ne sont nullement si estranges ny rares comme ils pensent; car elles sont fort ordinaires, & mesmes il ne s’en presente quasi nulles autres, quand ce vient à faire des passades. Car alors on se retrouve tousiours à costé, fort pres de l’Adversaire, & en ces mesmes ou semblables situations qui sont icy representées. De sorte que s’ils ne comprennent pas l’utilité de nos preceptes pource qu’ils sont agencez de quelques autres couleurs, que de celles qui leur semblent ordinaires, qu’ils s’en attribuent la faute à eux mesmes, sans reprendre ce qu’ils n’ont pas comprins. Car quant aux figures qui ne font pas assez de mauvaises mines, comme il leur semble, ce seroit folie de leur attribuer plus de mouvements que les operations ne requierent. Et combien qu’on le voulust ainsi faire, toutesfois il n’y auroit point de raison de choisir plustost l’une posture que l’autre. De maniere que c’a esté le plus seur de mettre les personnes en posture de la droite ligne qui est la plus naturelle de toutes, & de laquelle on se doit tousiours approcher le plus qu’il est possible. Aussi sont ils contraints de confesser, malgré qu’ils en ayent, que celuy qui saura pratiquer ces operations avec tant de facilité, que nos figures demonstrent, aussi en fera il le mesme en quelque autre situation qu’il se retrouve, moyennant qu’elle soit propre. La seconde raison, qui est aussi la principale, c’est que l’examen des preceptes doit estre modeste, encores que l’usage en fust autre. Comme il se pratique en toutes les Sciences, mesme en celles qui ne semblent avoir nulle accoinstance du Monde au repos des Muses. Voyez le fait de la guerre, Les actions, combien en sont elles horribles & tumultueuses, & cependant les instructions combien paisibles? L’art de sauter danser & la Musique Vocale & instrumentalle, ne requierent ils pas une si grande promptitude & vistesse en la pratique, que ce seroit une folie extreme de la vouloir imiter au commencement de l’apprentissage? Le semblable en est il aussi des autres disciplines. L’habitude ne se peut acquerir sans une solide cognoissance des preceptes, qui ne peut este sans examen, ny l’examen sans patience, ny la patience sans temps, sans industrie, sans modestie. Et c’este ce que nous ne pouvons laisser de blasmer grandement en l’Exercise vulgaire, qui est façonné de telle sorte, qu’on s’y adonne tout incontinent à la pratique, sans nulle consideration ulterieure, sinon de s’accoustumer à travailler fort viste, en esperance de rencontrer aucunesfois les occasions favorables, comme s’il n’y avoit rien à considerer d’avantage, apres qu’on a veu monstrer une leçon deux ou trois fois, comme s’il faloit emporter l’Art par violence. Et de fait ils arrivent plustost à leur pratique, que nous à la noste, mais c’est avec moins de fondement. Aussi nostre consideration si exacte ne peut compatir avec une hastivité si preciptée. Et pour dire en un mot ce qui importe plus que tout le reste, comme nos figures se demonstrent paisible & modestes, aussi l’effet de nostre Art est de rendre telles les personnes qui s’y adonnent, au lieu que l’Exercice Vulgaire les rend plus farouches par l’accoustumance du contraire. |
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| From here on, we shall discuss Strikes of Primary Intent, which are more aggressive than the others, and which are closer in nature to the older style of giving a hit. Not because they are founded on other axioms, but because the timing is faster, and they are performed with larger motions. A style, if I am not mistaken, more appealing and satisfying to the common fighter than the preceding sequences of moves, which are slower, because they are done in a more reserved, deliberate manner. No doubt they would rather choose to learn these moves before the others, if they could, to mix a few of our precepts into their own lessons or contrivances. They delude themselves, and not just a little bit, if they value these lessons above the earlier ones. They might scramble the order of lessons, and try to learn these before those which must, of necessity, come first. But the following movements cannot give protection unless they are building upon a solid foundation of the preceding exercises and actions. Since the timing of these is faster, the distance further, and the movements greater, so the sense of feel must be more finely developed to compensate and thereby succeed in making the approach and strike with a single motion. Therefore, before one can learn these, one must learn the others first, for if one cannot do the parts themselves well, that is, to subjugate a sword without necessarily hitting, then to hit, it will be even more difficult to learn these two things at the same time. Furthermore, since the term Primary Intent may perhaps appear to be strange to one who has not fully considered its implications, I must give a quick explanation that the Primary Intent is that goal which takes precedence before all others. Consequently the Strike of Primary Intent is that which comes directly at the enemy from the First Instance, without first trying to subjugate his blade. In the end, it seems to be the best description. If to you, dear reader, it seems otherwise, then I beg of you to take a moment to consider the thing, not the word. | | From here on, we shall discuss Strikes of Primary Intent, which are more aggressive than the others, and which are closer in nature to the older style of giving a hit. Not because they are founded on other axioms, but because the timing is faster, and they are performed with larger motions. A style, if I am not mistaken, more appealing and satisfying to the common fighter than the preceding sequences of moves, which are slower, because they are done in a more reserved, deliberate manner. No doubt they would rather choose to learn these moves before the others, if they could, to mix a few of our precepts into their own lessons or contrivances. They delude themselves, and not just a little bit, if they value these lessons above the earlier ones. They might scramble the order of lessons, and try to learn these before those which must, of necessity, come first. But the following movements cannot give protection unless they are building upon a solid foundation of the preceding exercises and actions. Since the timing of these is faster, the distance further, and the movements greater, so the sense of feel must be more finely developed to compensate and thereby succeed in making the approach and strike with a single motion. Therefore, before one can learn these, one must learn the others first, for if one cannot do the parts themselves well, that is, to subjugate a sword without necessarily hitting, then to hit, it will be even more difficult to learn these two things at the same time. Furthermore, since the term Primary Intent may perhaps appear to be strange to one who has not fully considered its implications, I must give a quick explanation that the Primary Intent is that goal which takes precedence before all others. Consequently the Strike of Primary Intent is that which comes directly at the enemy from the First Instance, without first trying to subjugate his blade. In the end, it seems to be the best description. If to you, dear reader, it seems otherwise, then I beg of you to take a moment to consider the thing, not the word. | ||
| − | | Voicy que nous irons parler doresnavant des coups de Premiere Intention, qui sont plus furieux en apparence, que les autres, & s’approchent de plus pres à la maniere ancienne de porter la botte: non pas qu’ils soyent fondez sur autres axiomes, mais que les temps en sont plus vistes, & qu’ils se pratiquent en des plus grandes Mesures. De maniere que les vulgaires s’en tiendront pour mieux satisfaits, si je ne me trompe, que des operations precedentes; qui estoyent plus tardives, pource qu’elles travailloyent avec plus de reserve. Aussi ne faut il pas douter, qu’ils ne choisissent plustost celles cy, que celles là, s’il leur vient en la fantasie, de vouloir mesler un peu de nos preceptes parmy leurs propres leçons ou inventions. En quoy ils ne s’abuseront pas gueres, d’estimer ces dernieres operations plus nobles; mais peut estre, en ce qu’ils voudront pervertir l’ordre, d’apprendre devant, ce qui doit aller necessairement derriere. Car ceste derniere asseurance ne peut consister sans estre bastie sur le fondement de ces autres operations preallables; voir autant que les temps sont icy plus vistes, les mesures plus larges, & les mouvements plus grands, autant faut il en recompense que le Sentiment du Poids soit plus habile, pour gaigner l’approche avec le coup mesme. Et pourtant, s’ils veulent apprendre celles cy, qu’ils apprennent les autres devant. car s’il leur est impossible de faire une chose seule et à part, assavoir d’assujettir l’espee, sans donner l’atteinte, à plus forte raison leur sera il difficile, de faire touts les deux ensemble. Au reste, pource que le nom de Premiere Intention semblera paradventure estrange, à un qui ne l’aura pas consideré de pres, il faut que je die un mot, que la Premiere Intention est celle, qui va devant toutes les autres; & par consequent nous qualifions le coup de Premiere Intention, celuy qui est porté sur l’Ennemy dés la Premiere Instance, sans tascher preallablement d’assujettir sa lame. En fin le mot nous semble estre fort propre: & à vous | + | | Voicy que nous irons parler doresnavant des coups de Premiere Intention, qui sont plus furieux en apparence, que les autres, & s’approchent de plus pres à la maniere ancienne de porter la botte: non pas qu’ils soyent fondez sur autres axiomes, mais que les temps en sont plus vistes, & qu’ils se pratiquent en des plus grandes Mesures. De maniere que les vulgaires s’en tiendront pour mieux satisfaits, si je ne me trompe, que des operations precedentes; qui estoyent plus tardives, pource qu’elles travailloyent avec plus de reserve. Aussi ne faut il pas douter, qu’ils ne choisissent plustost celles cy, que celles là, s’il leur vient en la fantasie, de vouloir mesler un peu de nos preceptes parmy leurs propres leçons ou inventions. En quoy ils ne s’abuseront pas gueres, d’estimer ces dernieres operations plus nobles; mais peut estre, en ce qu’ils voudront pervertir l’ordre, d’apprendre devant, ce qui doit aller necessairement derriere. Car ceste derniere asseurance ne peut consister sans estre bastie sur le fondement de ces autres operations preallables; voir autant que les temps sont icy plus vistes, les mesures plus larges, & les mouvements plus grands, autant faut il en recompense que le Sentiment du Poids soit plus habile, pour gaigner l’approche avec le coup mesme. Et pourtant, s’ils veulent apprendre celles cy, qu’ils apprennent les autres devant. car s’il leur est impossible de faire une chose seule et à part, assavoir d’assujettir l’espee, sans donner l’atteinte, à plus forte raison leur sera il difficile, de faire touts les deux ensemble. Au reste, pource que le nom de Premiere Intention semblera paradventure estrange, à un qui ne l’aura pas consideré de pres, il faut que je die un mot, que la Premiere Intention est celle, qui va devant toutes les autres; & par consequent nous qualifions le coup de Premiere Intention, celuy qui est porté sur l’Ennemy dés la Premiere Instance, sans tascher preallablement d’assujettir sa lame. En fin le mot nous semble estre fort propre: & à vous Lecteur s’il vous semble autrement, soyez prié de vous arrester plustost à considerer la chose, que les paroles. |
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| And here we come to the finish, which Alexander does immediately, with a step in with his right foot falling beyond the letter Q where the line intersects the Interior Collateral. He leans his body forward, knee bent, arm extended, sliding the point of contact up the swords, so that the two guards connect forcibly, bending his opponent’s arm back, forcing his tip to fly upwards as he wounds his opponent through the head. As the figures show. | | And here we come to the finish, which Alexander does immediately, with a step in with his right foot falling beyond the letter Q where the line intersects the Interior Collateral. He leans his body forward, knee bent, arm extended, sliding the point of contact up the swords, so that the two guards connect forcibly, bending his opponent’s arm back, forcing his tip to fly upwards as he wounds his opponent through the head. As the figures show. | ||
| − | | En voicy à cest heure l’execution, qu’Alexandre pratique tout en suite, avec l’intrade du pied droit tombant à terre outre la lettre Q sur | + | | En voicy à cest heure l’execution, qu’Alexandre pratique tout en suite, avec l’intrade du pied droit tombant à terre outre la lettre Q sur l’intersection de la Collaterale Interieure, sur lequel il se panche le corps en devant, le bras estendu, graduant les espees, avec le genou plié, de façon que les deux gardes s’entretouchent à grande force, en blessant le Contraire au travers de la teste, luy faisant plier le bras avec la pointe de l’espee ascendante; ainsi que les figures demonstrent. |
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| Here Alexander has already stepped in, with his right foot at the letter I along the Oblique Diameter and is already in the act of following with his left foot, as in the preceding action. Against this, Zachary raises the level of his arm and sword slightly, parrying the strike, in such a way as to cover his face. So, Alexander, alerted by the feel of the blade, at the same time drops his point with a twist of the wrist, at the same time raising his guard up, which he presses upwards against his opponent’s sword, and continues to slide the point of contact up the sword, as he sets his left foot down at the letter G, and enters further with his right foot onto the Interior Collateral between L & Q. He shifts his weight onto his right foot and leans onto bent his knee as he thrusts his opponent underneath his raised arm on his right side, in accord with the figures. | | Here Alexander has already stepped in, with his right foot at the letter I along the Oblique Diameter and is already in the act of following with his left foot, as in the preceding action. Against this, Zachary raises the level of his arm and sword slightly, parrying the strike, in such a way as to cover his face. So, Alexander, alerted by the feel of the blade, at the same time drops his point with a twist of the wrist, at the same time raising his guard up, which he presses upwards against his opponent’s sword, and continues to slide the point of contact up the sword, as he sets his left foot down at the letter G, and enters further with his right foot onto the Interior Collateral between L & Q. He shifts his weight onto his right foot and leans onto bent his knee as he thrusts his opponent underneath his raised arm on his right side, in accord with the figures. | ||
| − | | Voicy qu’Alexandre s’est avancé preallablement en dedans, avec le pied droit par delà le Diametre à la lettre I, graduant l’espee, & estant desia en | + | | Voicy qu’Alexandre s’est avancé preallablement en dedans, avec le pied droit par delà le Diametre à la lettre I, graduant l’espee, & estant desia en acte de poursuivre aved le pied gauche, comme en l’operation precedente; sur quoy Zacharie se hausse un petit à niveau le bras avec l’espee, & luy pare le coup, en sorte que c’est tout qu’il se couvre le visage. Or Alexandre en ayant l’advertissement du Sentiment, au mesme temps devalle sa pointe à l’aide du poignet, s’esleveant aussi un peu le bras avec la garde, laquelle il accouple par dessous à l’espee contraire, & continue à en faire la graduation, en mettant le pied gauche à la lettre G, & entrant du pied droit sur la Collaterale Interieure entre les deux lettres L & Q, où il se va charger & pancher le corps dessus avec le genou plié, en donnant ensemble une estocade au Contraire dessous le mesme bras & l’espee qu’il hausse au costé droit; en conformité des figures. |
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| So we see the advantage of our Art consists of, and is founded upon, small actions and subtle movements, by which on gains time and preserves one’s strength, until the opportunity comes to use them without restraint. Thus it is also necessary to be able to distinguish small preparatory moves of of one’s adversary to be able to form and execute our own plans against them. Thereby we shall find a great sense of comfort from the cautions which follow. | | So we see the advantage of our Art consists of, and is founded upon, small actions and subtle movements, by which on gains time and preserves one’s strength, until the opportunity comes to use them without restraint. Thus it is also necessary to be able to distinguish small preparatory moves of of one’s adversary to be able to form and execute our own plans against them. Thereby we shall find a great sense of comfort from the cautions which follow. | ||
| − | | Ainsi que l’advantage de nostre Art consiste & est fondé totalement en de petites | + | | Ainsi que l’advantage de nostre Art consiste & est fondé totalement en de petites actions & en des mouvement subtils, par lesquels on gagne temps, & reserve on ses forces, jusqu’à tant qu’il se presente occasion de les employer avec entiere resolution: aussi & il necessaire de sçavoir exactement distinguer les petits mouvments, & les preparations d’icuex de la partie adverse, pour former à l’advenant les nostres. En quoy nous trouverons un grand soulagement par les advertissements qui s’ensuivent. |
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| Zachary has set himself on the Circle in his Quadrangle, right foot on the Circumference at X, left on the Pedal line, his body upright. He awaits his opponent, presenting his sword over the Diameter, with his arm extended in the Straight Line Posture. Alexander, to begin his work against this, begins his approach with his left foot forward, bringing his sword from behind in a circle to his right side, up into an obtuse angle. He sets his left foot down at the letter C on the Circumference, his right foot a pace behind, a bit beyond the Quadrangle along the line of the Circumscribed Square. He contacts his opponent’s sword at the 2nd or 3rd Span with the 9th Span of his own, with his arm moderately extended, and his shoulder slightly forward, as he leans his body onto his bent left knee, as the figures show. | | Zachary has set himself on the Circle in his Quadrangle, right foot on the Circumference at X, left on the Pedal line, his body upright. He awaits his opponent, presenting his sword over the Diameter, with his arm extended in the Straight Line Posture. Alexander, to begin his work against this, begins his approach with his left foot forward, bringing his sword from behind in a circle to his right side, up into an obtuse angle. He sets his left foot down at the letter C on the Circumference, his right foot a pace behind, a bit beyond the Quadrangle along the line of the Circumscribed Square. He contacts his opponent’s sword at the 2nd or 3rd Span with the 9th Span of his own, with his arm moderately extended, and his shoulder slightly forward, as he leans his body onto his bent left knee, as the figures show. | ||
| − | | {{sc|Zacharie}} s’estant planté sur le Cercle dedans son Quadrangle, le pied droit sur la Circonference à la lettre X, le gauche sur la ligne pedale, le corps dressé perpendiculairement; il presente son espee a son contraire au dessous du Diametre, d’un bras estandu en ligne droite; attandant ainsi sa partie. {{sc|Alexandre}} pour travailler à l’encontre, s’aproche premieremēt du pied gauche en avant, menant son espee par derriere, d’une circonference en haut en Angle obtus a son costé | + | | {{sc|Zacharie}} s’estant planté sur le Cercle dedans son Quadrangle, le pied droit sur la Circonference à la lettre X, le gauche sur la ligne pedale, le corps dressé perpendiculairement; il presente son espee a son contraire au dessous du Diametre, d’un bras estandu en ligne droite; attandant ainsi sa partie. {{sc|Alexandre}} pour travailler à l’encontre, s’aproche premieremēt du pied gauche en avant, menant son espee par derriere, d’une circonference en haut en Angle obtus a son costé droict, & plantant le pied eslevé sur la lettre C en Premiere Instance, (le droit estant un pas en arriere estandu, un peu au dessus du coin du Quadrat circonscript,) il met le N.9. de son espee d’un bras estandu moderement (& l’espaule un peu presentée en avant penchant le corps sur le genou gauche ployé) outre le N.2. ou 3. de celle de sa partie, comme les figures presentent. |
[sic] | [sic] | ||
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| During the time he brings the strong part of his sword beneath his opponent’s point, he must take great care to do this slowly, as if pausing, so as to always be aware of all the actions his opponent might take. Otherwise he could surprise you if one is not careful. | | During the time he brings the strong part of his sword beneath his opponent’s point, he must take great care to do this slowly, as if pausing, so as to always be aware of all the actions his opponent might take. Otherwise he could surprise you if one is not careful. | ||
| − | | Au tēps qu’ō porte le fort de son espée par dessus la pointe du contraire, il faut bien prendre garde de le faire lentement en façon de pause, afin de pouvoir tousiours prevenir, toutes les | + | | Au tēps qu’ō porte le fort de son espée par dessus la pointe du contraire, il faut bien prendre garde de le faire lentement en façon de pause, afin de pouvoir tousiours prevenir, toutes les actions que l’adversaire pourroit entreprendre durant ce temps! autrement il ne faudroit de vous surprendre si on nestoit sur ses gardes. |
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| This Circle draws its source from the action of Circle No 4, and is very similar to Circles Nos 8 & 9, except in this one, Zachary brings his opponent’s sword down to his right side with a push, thus preventing the actions previously discussed in Circles 8 & 9. Alexander, perceiving by the strong parry, passes around the tip of his opponent’s sword, setting his right foot down in front of the Perpendicular Diameter, spins on it to put his left foot down behind him, beyond the Diameter, as he uses the force of his opponent’s push to bring his sword around and up high between them as he moves his right foot beyond the letter Q. As the figures show. | | This Circle draws its source from the action of Circle No 4, and is very similar to Circles Nos 8 & 9, except in this one, Zachary brings his opponent’s sword down to his right side with a push, thus preventing the actions previously discussed in Circles 8 & 9. Alexander, perceiving by the strong parry, passes around the tip of his opponent’s sword, setting his right foot down in front of the Perpendicular Diameter, spins on it to put his left foot down behind him, beyond the Diameter, as he uses the force of his opponent’s push to bring his sword around and up high between them as he moves his right foot beyond the letter Q. As the figures show. | ||
| − | | Ce Cercle tire sa source de l’operation du Cercle N.4, estant en tout aussi semblable à celles du N.8. & 9. exepté que {{sc|Zacharie}} en cestuy cy, porte l’espee de sa partie en bas a son costé droit avec un heurt, empeschant par ce moyen les operations declarees | + | | Ce Cercle tire sa source de l’operation du Cercle N.4, estant en tout aussi semblable à celles du N.8. & 9. exepté que {{sc|Zacharie}} en cestuy cy, porte l’espee de sa partie en bas a son costé droit avec un heurt, empeschant par ce moyen les operations declarees audicts Cercle 8. & 9, {{sc|Alexandre}} sapercenant du fort parement de sa partie, passe au mesme temps oultre la poinde de son Contraire, plantant le pied droit eslevé au Devant du Diametre perpendiculaire, voltāt le gauche par derriere oultre le Diametre, & sur le heurt de son Contraire, ayant passé son espee entre eux deux en haut, il plante le pied droit oultre la lettre Q; comme les figures monstrent. |
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Latest revision as of 03:03, 2 December 2025
Draft Translation |
First Edition (1628-30) |
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_1-12.jpg) | |
| EXPLANATION OF THE ACTIONS IN THE TWELFTH TABLE. | DECLARATION DES OPERATIONS DV TABLEAV DOUZIEME. |
| We follow here, in this Twelfth Table, the example of those who are concerned with fortifications. After they have taught to their students the form of ideal designs, they then briefly show them how, in practice, these must be adapted to the particulars of each place. Moreover, it is impossible to have site exactly one would wish. Thus, we do the same for our System, because we have already explained the manner of entering into the sword-angles, which is one of the points of the greatest importance, we shall now show the versatility of this move and the multiplicity of circumstances in which the scholar can prevail. Such contemplation will be very useful and very easy for them, considering the small number of precepts to keep in mind on which we can build, and which dominate even against the most unusual moves. To do this, we propose to examine a few particular examples, where Zachary opens up the angle in diverse ways, of which none are particularly strange. And in fact he allows opportunities of all sorts. Some ones which consist of a simple defence, others which include attempts to attack. At some times he will completely open up the angle, at other times he will do no more than prepare to. But all with such moves as he hopes will create confusion by their novelty. But why, then, do this? These situations are useless to learn, because they are so rare, you say? On the contrary, the strangest situations are those that are most necessary to learn. For your enemy will not fail to perform any strange action, if he thinks it will confuse and confound you. Furthermore, whether or not he performs these moves with the same intent and the same follow-on exactly as we show here, nevertheless, you will find yourself often enough in similar situations such as these by chance one way or another. Therefore, be prepared for everything. For in the practice of Arms, after a mistake is made, there is neither valid excuse nor available recovery. | Nous ensuivons en ce Tableau XII. l’exemple de ceux qui traitent les matieres des fortifications. Car apres qu’ils ont enseigné les figures regulieres, ils se contentent de monstrer briefvement à leurs disciples, qu’en la Pratique il les faut accommoder selon les particularitez de chascune place; d’autant qu’il est impossible de les avoir tousiours à souhait. Ainsi donc pour faire le mesme en nostre Exercice, puis que nous venons de declarer la maniere d’entrer dedans les angles, qui est un de points de plus grande importance; monstrons maintenant combien l’usage en est ample, & comme l’Escholier s’en pourra prevaloir en plusieurs occurrences. Contemplation qui luy sera tresutil, & tresaggreable, considerant que le petit Nombre de ses preceptes est bastant à tenir en devoir voire & à dompter mesme des mouvements si extraordinaires. Pour ce faire nous proposerons icy quelques particularitez d’exemples, ou Zacharie luy fait l’ouverture de l’angle en diverses manieres, & aucunes d’icelles bien estranges. Et de fait il luy en donne des occasions de toutes sortes; les unes qui consistent en simple defense, les autres conjointes avec intention d’offenser; tantost il ouvre l’angle tout à fait, tantost il n’en fait que la seule preparation; le tout avec de tels mouvements, qu’il espere luy en troubler le jugement par la nouveauté mesme. Mais quoy donc? Direz vous, ce sont des occasions inutiles, pour ce qu’elles sont rares? Au contraire, le plus estranges se sont les plus necessaires. Car l’Ennemy ne manquera pas à faire une action estrange, s’il pense qu’il vous en mettra en desordre; & d’autrepart combien qu’il ne les face pas avec la mesme intention, & en la mesme suite qu’elles sont icy representées, toutesfois on se retrouve assez souvent en telles & semblables situations par les changements des occasions de part & d’autre. Soyons donc preparez à tout. Car au fait des Armes, apres que la faute est commise, il n’y a ny remede ny excuse valable. |
| Circle No 1 | Cercle N.1. |
| Alexander, has subjugated his opponent’s sword at the Second Instance, has stepped with his foot to the Third, in such a way that his left foot is in the process of following along, with the intent to wound his opponent with the length of his blade. At this very moment, Zachary turns his right side to the outside, raising his arm and sword to an obtuse angle above the Inscribed Square X-N, holding it with some force. Alexander sees this, he allows his own tip to rise up, lowering and closing his elbow against his side, and setting his left foot on the ground inside the Quadrangle at the letter O. | Alexandre ayant sujetté l’espee contraire à la Seconde Instance, & puis marché avec le pied droit à la Troisieme, en sorte que le pied gauche est desia en train à poursuivre l’autre, avec intention de blesser le Contraire au long de sa lame; en ce mesme temps Zacharie se destourne le costé droit en dehors, haussant le bras & l’espee en angle obtus au dessus le costé du Quarré Inscrit X N, retenant le poids en force. Dequoy s’appercevant Alexandre il laisse aller au mesme temps sa pointe contremont, en abaissant & affermissant la coude à son costé, & mettant le pied gauche à terre dedans le Quadrangle à la lettre O. |
| After Alexander has subjugated his opponent’s blade moving from the First to the Second Instance along the Diameter at G, and taken a step with his right foot along the side of the Inside Square to the letter N, intending to slide the point of contact up his opponent’s blade to give him a thrust to the face, he draws his left foot along the path following the other. At this time, Zachary turns his toes forward towards the diameter, without leaving his Quadrangle, in such a way that his right side is withdrawn a quarter turn, bringing his extended arm with his sword up into an obtuse angle along the side of Inscribed Square, X-N, with some force, so that the thrust to the face which his adversary had thought to give him is diverted aside. At the same time, Alexander drops his arm and guard down, while his sword-tip comes up, and he closes his elbow against his right side to protect himself, and he sets his left foot down inside the Quadrangle at the letter O, while keeping his body erect. This is shown by the figures. | Apres qu’Alexandre a sujetté l’espee contraire, de la Premiere Instance à la Seconde au deça le Diametre lettre G. & ayant consequemment cheminé avec le pied droit par la trace du Quarré Inscrit jusqu’à la Troisieme à la lettre N, pour en graduant l’espee contraire luy donner une estocade au visage, dont le pied gauche est desia en train de cheminer apres l’autre : à ce mesme temps Zacharie se tourne les orteils en devant vers le Diametre sans bouger de son Quadrangle, en sorte que le costé droit du corps s’en retire à quartier, menant le bras estendu avec l’espee en haut en angle obtus au dessus le costé du Quarré Inscrit X N avec poids de force; de façon que l’estocade, que l’adversaire luy pensoit donner au visage, en est divertie : Au mesme temps Alexandre s’abaisse le bras & la garde, & avec la pointe dressée contrement il se l’affermist costé droit pour defense de la partie inferieure de sa personne, mettant ensemblement le pied gauche à terre, dedans e Quadrangle à a lettre O, avec le corps estendu; comme les figures demonstrent. |
| Circle No 2 | Cercle N.2. |
| Alexander raises his right foot in the air, while forcing his opponent’s sword down a little, which (while setting his foot down on the ground before the letter S) he subjugates it, turning his left side forward, and leaning his body even further forward on the same foot inside the angle, while simultaneously drawing his left foot along up to the letter N. | Alexandre esleveant le pied droit en l’air, abaisse ensemble quelque peu l’espee de son Contraire, laquelle (en plantant le mesme à terre devant la lettre S) il assujettit, avançant le costé gauche, & panchant du corps sur le devant encores sur le mesme pied au dedans de l’angle, entrainant quand & quand le pied gauche derriere jusqu’à la lettre N. |
| As soon as Alexander has completed the preceding action, he pauses briefly, so as to see if his adversary will try to work against him, so he can counter it. But as soon as he sees him waiting, he follows on, moving forward and raising himself with his right foot while lowering the swords with his sense of contact and likewise turning his left side forward, in such a way that the instant his foot lands on the ground in front of the letter S, and his weight comes down on it, he subjugates his opponent’s blade, then leans his body onto the forward foot, drawing his left foot along behind up to the letter N. Thus he puts himself inside the angle of the swords, and inside the lines of his enemy; As is evident in the portrait of the figures. | Alexandre dés qu’il à parachevé l’action precedente, fait une petite pause, afin que si l’adversaire tasche d’avēture à travailler dessus, il y puisse donner order. Mais quand il le voit attendre, il poursuit, en avançant & haussant le corps avec le pied droit, & abaissant ensemble un peu les lames au rapport du Sentiment, avec pareil advancement du costé gauche; en sorte qu’à l’instant que le corps descend, & que le pied droit tombe à terre devant la lettre S, il assujettit l’espee de l’adversaire, se panchant du corps sur le devant, & entrainant le pied gauche derriere jusqu’au point N. Dont il se met par ainsi dedans l’angle, & au dedans des perpendiculaires de l’ennemy; comme il est evident au pourtrait des figures. |
| Circle No 3 | Cercle N.3. |
| Alexander continues the movement by leaning further forward, while raising his left hand between them over the swords. Then, he simultaneously moves forward, shifts his weight entirely onto his right foot, raises his left foot, reaches his left hand above the blades to seize the whole of his opponent’s guard and moves his left side leaning still further forward, as we see portrayed in the figure. | Alexandre continuant l’operation encommencée, se panche un peu davantage, haussant tout d’un temps en avant sa main gauche entre deux & à l’egal des lames, puis il s’avance quand & quand en sautant du pied droit, eslevant en suite le pied gauche, & prenant ensemble par dessus le long des lames la garde du Contraire avec sa main gauche, le costé gauche du corps panché encor davantage; ainsi qu’on le voit pourtrait en la figure. |
| Circle No 4 | Cercle N.4. |
| Alexander follows on from the previous movements, stabbing his opponent’s right side with the sword-tip. | Alexandre poursuit les operations precedentes, donnant à son contraire un coup de pointe au costé droit par le fil de sa lame. |
| Here the movement carries on, where Alexander suddenly takes his already raised left foot and makes a sudden large circular step outside the Circle, off to the side of his opponent. This he follows with a similar very quick circular move of his right foot, in a volte, taking a large step behind his left foot, he traps his opponent’s sword as he turns his opponent’s hand and pushes the guard away, which creates the opening to stab his opponent’s right side along the line of the blade, as his shown in the figure. | Cest encor la continuation du precedent, ou Alexandre poursuit soudainement à faire un grand pas circulaire avec le pied gauche, qui estoit desia eslevé, au dehors du Cercle à costé de l’adversaire; poursuivant pareillement en cercle avec l’autre pied, assavoir le pied droit, qu’il avance & volte de pareille vistesse, faisant un grand pas derriere le pied gauche, pousse & tourne cependant le bras & la garde contraire au loing, & luy donne par le fil de la lame un coup de pointe au costé droit; comme il est representé en la figure. |
| Circle No 5 | Cercle N.5. |
| Alexander completes the final execution of the movement by pushing his thrust with full force through his opponent’s body. | Alexandre faisant la finale execution pousse son estocade au travers le corps de son Contraire de pleine force. |
| This is the final follow up to the previous moves, done by Alexander immediately raising his left foot and stepping into his opponent, putting his weight down on it, and thereby pushing his thrust with full force through his opponent’s body. | C’est la derniere suite de la continuation precedente, fait par Alexandre en eslevant tout à l’instant & avançant le pied gauche devers son Contraire, en faisant la charge du corps dessus, & luy poussant par ainsi l’estocade à travers le corps de pleine force. |
| Circle No 6 | Cercle N.6. |
| This action stems from Circle No 1, in the case when his opponent puts more force behind his blade. Thus Alexander continues to work against his opponent, taking a large, deliberate step straight forward with his right foot, moving his body in closer to his sword, and being very attentive to the feel, so to be aware if perchance his opponent comes to change the force he is using and so change the resulting actions as well. | Cest action prend son origine du Cercle 1. à condition, qu’il y ait plus de poids en la lame contraire. Dont Alexandre poursuit à travailler, en faisant un grand pas tout droit en avant lentement avec le pied droit, s’approchant le corps plus pres de son espee, & prenant fort serieusement garde au sentiment, si daventure le Contraire venoit à changer le poids, pour changer aussi l’operation. |
| Circle No 7 | Cercle N.7. |
| This continues from the preceding Circle, where Alexander takes a further large, deliberate step with his left foot, straight forwards, out beside his adversary. After which he raises his right foot and brings it up near to the left one. As he feels that his opponent’s sword still resists with the same degree of force, he turns on the ball of his left foot, to face him. | C’est la continuation du precedent, ou Alexandre marche encor un autre grand pas tout droit en avant & lentement avec le pied gauche à costé de l’adversaire; poursuivant apres à eslever & avancer le pied droit, lequel il joint tout pres de l’autre; & comme il sent que la lame contraire continue encor au mesme poids, il se tourne sur le pied gauche qui est planté tout droit contre luy pour le regarder.
|
| Circle No 8 | Cercle N.8. |
| Alexander carries on the preceding actions and, entering in towards his opponent, he aims the tip of his blade into his right side, thrusting with full force. | Alexandre poursuit les operations precedents, & entrant devers le Contraire luy assene sa pointe au costé droit, l’executant de pleine force. |
| Continuing to feel the same degree of force against his blade, Alexander carries on his actions, disengaging the swords (so the other passes over his head) and at the same instant he enters in towards his opponent with the right foot, which was raised and ready, while aiming his sword-tip at the right side, and then driving it in with full force and his body leaning behind it, in accordance with the figures. | Continuant le mesme Sentiment des lames, Alexandre poursuit l’operation, en destachant les espees (dont l’espee contraire luy passe par dessus la teste) & au mesme instant il entre devers le Contraire avec le pied droit, qui estoit desia preparé, luy assenant la pointe au costé droit, & l’executant à pleine force avec le corps panché de mesme; le tout en conformité des figures. |
| Circle No 9 | Cercle N.9. |
| Alexander has finished the actions of Circle No 1, and sees his adversary increase the degree of force resisting his blade. After he releases the sword to fly overhead, he wounds his opponent in the right side with his sword-tip. | Alexandre ayant achevé les operations du Cercle 1. voyant que l’adversaire luy resiste en augmentant le poids, apres avoir laissé eschapper l’espee contraire il le blesse d’un coup de pointe au costé droit. |
| This is an action which follows from Circles 1 & 2. Alexander has finished the movement in Circle 1. to the point where he has raised his right foot intending to force down and subjugate his opponent’s blade, as in Circle 2. His adversary resists by greatly increasing the degree of force against his blade, enough to move the swords back. To which Alexander lifts his sword from on top, allowing the other to fly freely overhead from the intensity of the force, and at the same time enters into the angle, by advancing his right foot, which he sets down where the line crosses the segment S-X. He wounds his opponent’s right side by a strike with his sword-tip and finishes the move with his body leaning forward, and left leg drawn up appropriately behind him, as his shown in the figure. | C’est icy une operation qui procede en suite des Cercles 1. & 2. Alexandre ayant achevé celle du Cercle 1. apres avoir eslevé le pied droit pour abaisser, & consequemment pour assujettir l’espee contraire à l’exemple du Cercle 2. l’Adversaire luy fait resistance, en augmentant le Poids, & usant de force pour transporter les lames. Qui fait qu’Alexandre en oste son espee de dessus, laissant enfuir l’autre, qui luy passe outre la teste par la vehemence de la force, & entrant au mesme temps dedans l’angle par advancement du pied droit, qu’il plant à la section de la ligne S X, il le blesse d’un coup de pointe au costé droit, & en fait la finale execution avec le corps panché en avant, le pied gauche trainant proportionnellement derriere; comme il est representé au pourtrait de sa figure. |
| Circle No 10 | Cercle N.10. |
| Zachary resists by increasing the force against his blade. Alexander slides the point of contact down the blade to prepare the next move. | Zacharie faisant resistance haussant le poids des lames, Alexandre desgradue les lames & se prepare à l’execution suivante |
| This action likewise begins from Circle 2, in which Alexander is shown lowering and subjugating his opponent’s blade. Against which Zachary has tried to resist by raising and increasing the force against the blade, however, with a little less than in the previous Circle. So Alexander leans a bit further forward, while making a quick step with his right foot up to the letter S, and with his left hand seizes his opponent’s guard, then slides the point of contact down along the entire length of the blade in such a way that he pulls away as he keeps his grip on the guard, holding it out to the left. He turns his right side forward, raising his left foot, and raises his opponent’s guard up high, while turning the tip of his own blade away behind his back. Thus, he is prepared to perform the following moves, as we can see him making ready in the image. | Ceste operation prend semblablement son origine du Cercle 2. auquel Alexandre est representé abaissant & assujettissant la lame cōtraire: à quoy Zacharie à voulu faire resistance, en haussant & accroissant le poids des lames, toutesfois avec un peu moindre effort, qu’au Cercle dernier precedent. Dont Alexandre se panche un peu davantage, faisant au mesme temps avec le pied droit un petit saut en avant à la lettre S, & avec la main gauche prend la garde contraire, enluy desgraduant la lame entier, de sorte qu’il se retire & s’affermit le bras de l’espee avec la garde au costé gauche, en tournant le costé droit devant avec le pied gauche eslevé, poussant ensemblement son bras gauche, qui tient l’espee contraire en haut, & conduisant la pointe de la sienne contremont par derriere le dos. Voilà comme il s’est preparé le corps pour venir consequemment à l’operation suivante; comme on l’y voit tout appresté en la figure. |
| Circle No 11 | Cercle N.11. |
| This follows on from the last. Alexander, leaps with a large, circular, forward step with his left foot outside the Circle to a point almost behind his adversary, to whom he gives, by leaning forward with his body and bringing his right foot smoothly around through the air in circular motion, setting it down behind the other, a reverse cut to the thick part of his opponent’s left leg, while pressing his opponent’s arm and sword down and pinning them against his left side, as is portrayed in the figure. | C’est la suite du prēcedent. Alexandre saute avec le pied gauche un grand pas circularement en avant au dehors du Cercle à peu pres derriere l’adversaire; auquel il donne (en panchant du corps sur le devant, & continuant à mener circulairement le pied droit en l’air derriere l’autre) un coup de revers au gras de la jambe gauche, poussant ensemblement vers le bas le bras & l’espee contraire, laquelle il s’affermist à son costé gauche; ainsi qu’il est pourtraict en la figure. |
| Circle No 12 | Cercle N.12. |
| Alexander continues with the same sequence. He suddenly moves backward and sets his foot down right behind himself, then rocks back onto it, leaning backward and lifting his left foot. As he does, he pulls his opponent’s hand and sword off to his left, and draws his own sword back to his right side, as we see represented in the figure. | C’est la continuation de la mesme suite, faite par Alexandre, en retirant & plantant soudainemēt le pied droit en arriere, sur lequel il se redresse & se panche à l’envers, en eslevant le pied gauche, & retirant à soy le bras & l’espee contraire, mesme aussi la sienne, laquelle il conduit à costé de sa personne à main droite, la pointe tournée vers le bas; comme on le voit representé à la figure. |
| Circle No 13 | Cercle N.13. |
| Here, Alexander executes his strike, and pierces his opponent with a straight arm through the body. | Alexandre execute icy son coup, & perce sa partie d’un bras roide au travers du corps. |
| And here is the final move. Alexander steps with his left foot forward into his opponent, & leaning his body, he drives his sword, with a straight and extended arm, through his opponent’s body. | En voicy le finale execution. c’est qu’Alexandre marche avec le pied gauche dessus son homme, & en panchant le corps de mesme, il luy pousse d’un bras roide & estendu l’espee au travers du corps. |
| Circle No 14 | Cercle N.14. |
| Alexander subjugated his opponent’s sword. Zacharie tries to wound his opponent by disengaging his blade. Alexander perceives this move and swiftly follows, sliding his tip along and again subjugates it. | Alexandre ayant assujetti l’espee contraire, Zacharie tasche de blesser sa partie en destachant sa lame, Alexandre s’en apercevant le poursuit vivement & graduant sa pointe l’assujettist derechef. |
| Alexander has previously subjugated his opponent’s sword at the Second Instance at the letter G, along the Diameter, according to our precepts and required form. Zachary tries to circularly disengage his blade, which is subjugated underneath the guard, and raise it over Alexander’s, to wound him from above his arm. Alexander feels it is about to disengage, follows it quickly before that can happen, turning it down and outside of the intended path. He does this with his wrist, turning and sliding the point of contact up to the centre of his opponent’s sword, so it cannot escape, at least until the two swords have been raised up at an obtuse angle. Then, with his body upright, he enters in with his left foot forward as he again slides the point of contact up the sword to dominate his opponent’s sword, setting his foot down on the Diameter at the letter Q, bearing the weight of his body on it, over his bent knee, inside the perpendicular lines, as it appears in the figure. | Alexandre ayant preallablement assujetti l’espee contraire à la Seconde Instance lettre G, au deça du Diametre, selon les preceptes & en la forme requise. Zacharie tasche à luy passer circulairement sa lame, qui est assujettie par dessous la garde, pour blesser par dessus le bras. Dont Alexandre, qui recognoist au Sentiment, qu’elle commence à se vouloir destacher de la sienne, la poursuit vivement avant qu’elle se soit delivrée, en tournoyant par le bas & en dehors la mesme chemin q’uelle s’en alloit prendre; ce qu’il fait avec le poignet de la main, tournant & graduant sa pointe un peu devers le Centre de l’espee contraire, afin qu’elle ne luy puisse eschapper, jusqu’à tant que les deux espees soyent conduites en haut en angle obtus; Lors il entre avec le corps estendu, le pied gauche devant, en faisant derechef desgraduation en assujettissant l’espee contraire, & plantant le mesme pied au deça le Diametre à la lettre Q, menant la charge du corps dessus ayant le genoil plié, au dedans des perpendiculaires, ainsi qu’il paroit à la figure. |
| This same action can be done, even if Alexander has not yet done more than set his right foot down at the Second Instance, before his left foot has come into place, and the subjugation of his opponent’s blade is but half done. However, in this latter case, one will not have the leisure to set the left foot down at the Second Instance, before one must increase the size of his step, and move in one up motion to the letter Q, keeping in mind all the same particulars as above. | Ceste mesme operation se pourra pratiquer, moyennant qu’Alexandre n’ait encor planté que le pied droit à la Seconde Instance, avant que le gauche y soit arrivé, & que l’assujettissement ne soit qu’à demi fait. Toutsfois en ce dernier cas on n’aura pas le loisir d’aller planter le pied gauche en terre à la Seconde Instance, ains il faudra en aggrandir la demarche, & entrer tout d’un train jusqu’à la lettre Q, en observant tousiours le mesmes particularitez que dessus. |
| Circle No 15 | Cercle N.15. |
| This is the follow-on from the preceding action. Alexander momentarily raises his left foot, making little or no forward motion. He leans on it, moves his left side forward, at the same time disengaging his sword, and seizing hold of his opponent’s guard with his left hand, which he pulls towards himself. He puts the tip of his sword on his adversary’s right side, as the figures demonstrate. | Voicy une suite de l’operation precedente. assavoir qu’Alexandre esleve tout à l’instant un peu le pied gauche avec peu ou point d’avancement, se panchant dessus, le costé gauche du corps avancé, en destachant au mesme tēps les espees, & faisant prinse de la garde contraire avec sa main gauche, laquelle il retire à soy, en assenant sa pointe au costé droit de l’edversaire; comme les figures demonstrent. |
| In this action, which proceeds from Circle No 14, where Alexander held his opponent’s blade subjugated with his left foot forward, he follows in Circle No 15 by disengaging the swords while at the same time seizing his opponent’s guard. Note that he could also do the step in with his right foot, and performing the consequent seizure and follow-on without disengaging the blades, as shown in Circles No 2, 3, 4, and 5. | En ceste opration precedente du Cercle 14, où Alexandre tient l’espee contraire assujettie avec le pied gauche devant; laquelle il a poursuivie au Cercle 15. en destachant les espees, & faisant au mesme temps prinse de la garde contraire. Notez qu’il peut aussi pratiquer la mesme intrade avec le pied droit, en faisant consequemment la prinse avec le suite annexées sans quitter les lames en conformié de ce qui est representé es Cercles 2. 3. 4. 5. |
| This is similar to Circle No 2, when Alexander had his right foot forward, but in any case, nothing impedes him from following on as from Circle No 14 disengaging his sword, seizing his opponent’s guard, and giving him a thrust in the stomach, as is shown in Circle No 15. | Semblable est du Cercle N.2. combien qu’Alexandre y ait le pied droit devant, toutesfois rien n’empsche qu’il n’en puisse aussi tirer la suite du 14. en destachant les espees, à faire prinse, & luy presenter l’estocade à la poitrine; comme il est monstré au Cercle N.15. |
| The usefulness of seizing the space inside the angle is so obvious, it should require no further proof. Anyone who has entered inside will always have twice the advantage, with regard to timing and distance. For he cannot be hit in a single beat, because he has passed the tip of his opponent’s sword, yet he has not given up the ability to attack however he wishes to. And if his enemy begins to draw back his sword to thrust, he can feel it and wound his enemy before he can pull it far enough, because he is in position, and outside his enemy’s line, and thus has the advantage. Also, note that those who fence in the old style, because they know no better, try to open up the angle, to beat the opposing sword aside. What we do with our sword, they want to do with their left hand. But this is their fault, because, since they always remain face to face against their opponents in a straight line, how is it possible for them to safely open up the angle, when we consider how this is the opposite of the direct line, and cannot happen except when one line crosses the other. This is why they do not know how to engage their enemy’s swords without uncovering their own side at the same time. That is why Alexander always approaches by moving to the side. Because he knows his enemy does not know how to parry the slightest strike without creating an angle. But if he does not create a large enough opening for them, there is nothing that stops him from executing his strike. And if not, he only needs to step inside the angle. | L’usage de saisir les angles est si manifeste, qu’il n’en faut pas demander des preuves. Car celuy qui est entré dedans, a tousiours double avantage au regard du temps & de la mesure. Dont il ne peut estre touché au Premier Instant, par ce qu’il a passé la pointe contraire, & pourtant il ne laisse pas d’avoir la commodité luy mesme de travailler à touts moments, si bon luy semble. & si l’Ennemy commence à vouloir ramener sa pointe, il a le sentiment qui l’advertit de le blesser au mesme temps avant qu’il en soit venu à bout de sorte qu’il a l’ennemi en presence, estant luy mesme dehors, tant il a d’avantage. Aussi voit on que ceux qui tirent à la veille mode, à faute de ne sçavoir mieux, ils taschent d’ouvrir les angles pour battre l’espee contraire. Ce que nous faisons avec l’espee mesme, ils le veulent faire avec la main gauche. mais c’est leur faute. car puis qu’ils demeurent tousiours viz à viz de leurs contraires en ce droite ligne, comment leur seroit il possible de bien ouvrir les angles, consideré que l’angle cest tout le contraire de la ligne droite, & qu’il n’y en a peut avoir, sinon que l’une des lignes soit mise en travers de l’autre. Et c’est la cause pourquoy ils ne sçauroyent engager les espees des Ennemis, qu’ils ne se descouvrent aussi de leur costé pareillement. Voilà donc pourquoy Alexandre a fait tousiours ses approches en allant de travers. Pour ce qu’il sçait que l’Ennemi ne sçauroit parer le moindre coup sans faire angle. Car s’il ne fait point assez d’ouverture, il n’y a rien qui l’empesche de faire l’execution; & si au contraire, il ne tient qu’à luy d’entrer dedans l’angle. |
Draft Translation |
First Edition (1628-30) |
|---|---|
_1-13.jpg) | |
| EXPLANATION OF THE ACTIONS IN THE THIRTEENTH TABLE. | DECLARATION DES OPERATIONS DV TABLEAV TREIZIEME. |
| It could be that, instead of presenting his sword in a direct line posture, as was performed by Zachary in the preceding Tables, he changes his approach, and presents to you in the way shown here, in Table 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 Table XIX. For the present, I shall show you how you may thrust against this posture, along his blade, and hit under his arm, where he is the most vulnerable. This is because the shoulder, face, and chest remain covered by the wall made by his guard. Thus, in order to avoid the strong of his blade, and to duly work against the weak, here are the actions Alexander must perform, which, as general principles, will serve you well. | Il se pourra faire, qu’au lieu de presenter l’espee en droite ligne, comme il a esté pratiqué par Zacharie aux Tables precedentes, qu’il changera d’avis, & vous la presentera à la façon qu’il est icy pourtrait en ce Tableau XIII. sur le Cercle N.1. ne s’esloignant gueres de la mesme posture, sinon qu’il tient la main un peu plus haute, pour se couvrir le visage, & la pointe un peu basse, en sorte qu’il ne la puisse voir luy mesme, si ce n’est à travers la garde. En tel cas, il ne seroit pas expedient de vouloir trouver sa lame suivant les instructions 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 instructions au Tableau XIX. Pour le present, il vous sera monstré, comment vous luy pourrez tirer sur ceste posture au long de sa lame un coup de pointe sous le bras, où il se descouvre le plus; à raison que l’espaule, la poitrine, & le visage luy demeurent couverts du rempart de la garde. Afin d’eviter doncques le fort de son espee, & pour travailler deuëment sur le foible, voicy les operations d’Alexandre, qui vous serviront de preceptes. |
| Circle No 1 | Cercle N.1. |
| Zachary presents his sword to his opponent with his arm high and his tip low. Against which Alexander approaches with his left foot forward at the First Instance, and covers his opponent’s sword with his guard. | Zacharie presente l’espee à son adversaire, avec le bras haut & la pointe basse; sur quoy Alexandre s’approche du pied gauche à la Premiere Instance, & se va pancher en devant sur le mesme, couvrant la lame contraire avec sa garde. |
| Zachary has placed himself in the circle inside his quadrangle, right foot on the circumference at X and left foot on the Pedal Line at Z, body extended upright, and presents his sword at his opponent above the Diameter, with his hand raised up, in such a way as to cover his face with his guard, allowing his tip to point downwards by bending his wrist, in order to strike at his opponent. Alexander approaches, with his left foot forwards, which he sets down at the First Instance on the letter C, keeping his body leaning backwards, and in one motion, circles his sword over to the inside line, down from an obtuse to an acute angle, then continuing the movement around until he has once again brought it upwards to the right hand side, as he shifts his body over his left foot, and finally allows his thumb to slide off and around under the crossguard so that it raises up. After a brief pause, he allows his blade to drop and leans forward, lifting his trailing right foot for balance, extending his arm so his guard covers the end of his opponent’s blade at the 1st or 2nd Span, crossing a bit above it, as the figures demonstrate. | Zacharie s’estant planté sur le Cercle dedans son Quadrangle, le pied droit à la Circonference lettre X, & le gauche sur la ligne Pedale Z, le corps estendu perpendiculairement, presente l’espee à son Contraire, au dessus du Diametre, avec le bras estendu vers le haut, de façon qu’il se couvre le visage de sa garde, laissant descendre la pointe vers le bas à l’aide du poignet de la main, pour attendre sa partie. Là dessus Alexandre s’approche premierement du pied gauche, qu’il plante à la lettre C en Premiere Instance, retenant le corps panché à l’envers, & menant par mesme voye l’espee circulairement de haut en bas en dedans du bras, d’angle obtus en angle aigu; dont par la continuation de mesme mouvement il la ramene derechef en haut à main droite, en se dressant le corps sur le mesme pied gauche, & finalement se laisse escouler le poulce de dessus la brance interieure de la garde, où il estoit affermi, en dessous, de sorte qu’elle en vient à se dresser contrement; laissant par ainsi descendre sa lame, & panchant tellement du corps sur le devant, avec le pied de derriere eslevé & le bras estendu, que de sa garde il couvre la lame contraire avec un petit arrest, à 1 ou 2 Nombres tout contre la pointe, la croisant un peu de biais vers le haut; comme les figures demonstrent. |
| During the time he is moving his guard above the tip of his opponent’s sword, he should pause briefly, as we said: to always be read to adjust to any action or change his opponent may make while he is performing this move, so, being on guard, he cannot surprise you. | Au temps qu’on porte sa garde par dessus la pointe contraire, il faut bien adviser de le faire avec le petit arrest, que nous venons de dire: & ce pour estre tousiours prest à rencontrer toutes les actions, que l’adversaire pourroit pratiquer durant le mesme temps. autrement il ne faudra pas à nous surprendre, si nous ne sommes bien sur nos gardes. |
| Circle No 2 | Cercle N.2. |
| Alexander continues his action, by making contact with his guard against the tip of his opponent’s sword and sliding it up as he steps in with his right foot a little beyond the letter H, following in so as to raise his left foot up, thrusting along his opponent’s blade under his arm and into his right side. | Alexandre poursuit l’operation encommencée, joignant sa garde au foible & à la pointe de l’espee contraire, laquelle il va graduer en entrant avec le pied droit un peu outre la lettre H, à poursuivre & eslever tout d’un train le pied gauche en l’air, & luy donner un coup d’estocade au costé droit dessus le bras par le fil de sa lame. |
| Since Zachary is doing nothing more than waiting, Alexander continues with his action, maintaining contact with the tip of his opponent’s blade at the 1st or 2nd Span, trapping it beneath the external branch of his crossguard by sliding the point of contact up the blade. As he straightens his arm, he lowers his sword-tip, and as moves his right foot forward along the Diameter between the centre and the letter H, he continues to lean forward, raising his left foot into the air, so that he enters into the angle which he has created by turning his opponent’s sword aside to the outside and behind himself with the external branch of his crossguard, which he is using to trap the blade. By the same means, his blade passes over his opponent’s, and he makes a straight arm thrust into his opponent’s right side, below the armpit, as is shown by the figures. | Puis que Zacharie ne fait rien que attendre, Alexandre commence à poursuivre l’operation, accouplant par en haut sa garde à la pointe de l’espee contraire à 1 ou 2 Nombres, la surprennant par dessous avec sa branche exterieure, en usant de graduation, abaisse ensemblement sa pointe avec le bras estendu, & avance le pied droit sur le Diametre entredeux le centre & la lettre H; continuant à se pancher en devant avec le corps tout estendu, & le pied gauche eslevé en l’air par la mesme continuation, de sorte qu’il entre du costé droit dedans l’angle, qu’il s’est ouvert luy mesme, en destournant l’espee contraire arriere de soy en dehors avec l’aide de la branche exterieure, dequoy il la tient enserrée, & par mesme voye il le blesse par dessus le fil de sa lame, luy donnant l’estocade d’un bras roide au costé droit dessous le bras; selon qu’il est representé en la figure. |
| Circle No 3 | Cercle N.3. |
| This follows on from the previous, performed by Alexander without pause, by turning his right foot around to the inside, and spinning the other around so his toes come onto the part of the line L-S just beyond the Perpendicular Diameter. He puts his weight on his left foot and leans further backwards, knee and arm bent, continuing to turn his opponent’s blade aside with the exterior branch of his crossguard, and thereby increasing the power of his thrust, as the figures show. | Cest la continuation de la precedente, pratiquée par Alexandre tout de suite sans perdre temps; en tournant le pied droit à l’envers, & voltant l’autre de mesme à tout les orteils sur la section de la ligne LS par delà le Diametre; sur lequel il se va charger & pancher le dos plus outre, le genou plié, & le bras courbé, en continuant à destourner la lame contraire encores davantage au moyen de sa branche exterieure, & augmenter par ainsi la vigueur de son estocade; comme on le voit representé. |
| Circle No 4 | Cercle N.4. |
| To end the action, Alexander drives his sword-tip further by entering in, stepping with his right foot to the letter V along the Diameter, where he puts his weight onto it, bending his knee and and increasing the full power of his thrust, forcing it through his opponent’s body, so that the two guards come together, but without releasing the blade, so that he forces the tip down to an acute angle, and, as it appears in the portrait of the figures, forces it backwards towards Zachary’s right foot, who, off-balance, has already raised it into the air. | Pour mettre fin à l’execution, Alexandre poursuit sa pointe à marcher & entrer tout d’une tire avec le pied droit sur le Diametre lettre V, où il se charge dessus le mesme genou plié, ravivant la vigueur de son estocade à pleine force, & la poussant à travers le corps du Contraire, en sorte que les deux gardes se rencontrent, sans luy relascher pourtant sa lame, dont il pousse la pointe en angle aigu vers le bas, & l’enforce tellement, qu’il le jette à l’envers, comme il appert aut pourtrait des figures, au pied droit de Zacharie, estant desia eslevé en l’air à faute de resistance. |
| Circle No 5 | Cercle N.5. |
| The two adversaries began by establishing their position at the First Instance on the Circle, in direct line postures. Alexander, having set his blade parallel to and beneath the other, steps and subjugates his opponent’s blade along the Oblique Diameter at the Second Instance. His opponent then raises his extended arm up to an obtuse angle, so that he covers his face with his guard, allowing his sword-tip to drop downwards. From here the same operations proceed, performed by Alexander, up to the end, as described as follows. | Les deux Contraires s’estans preallablement plantez sur le Cercle à la Premiere Instance en droites lignes; Alexandre ayant mis sa lame parallele au dessous de l’autre, il marche & assujettit le Contraire en deçà le Diametre à la Seconde Instance; iceluy haussaunt le bras estendu en angle obtus, de sorte qu’il se couvre le visage avec sa garde, laissant descendre la pointe à bas; dequoy procedent derechef les mesmes operations, à pratiquer & continuer par Alexandre jusqu’à la finale execution en la maniere qu’il s’ensuit plus particulierement. |
| After Zachary established his direct line posture in his quadrangle on the Pedal Line Z and presented his sword, Alexander likewise established his position in the opposite Quadrangle, right foot along the Circumference at the letter C, his left along his Pedal Line, and brought his sword up parallel to and beneath the other. That done, he then began to perform the actions which lead to this Circle, stepping with his right foot over to the letter G, on the Oblique Diameter at the Second Instance, drawing his left foot up, and subjugating his opponent’s sword. At this instant, his opponent raises his arm up high, covers his face with his guard, and sets his sword-tip low, as the figures demonstrate. | Apres que Zacharie s’est planté sur le Cercle dedans le Quadrangle Z, presentant l’espee en droite ligne; & qu’Alexandre s’est planté pareillement alencontre au Quadrangle opposite en Premiere Instance, le pied droit à la Circonference lettre C, & le gauche sur la ligne Pedale, portant l’espee en droit ligne parallele au dessous de l’autre. Cela fait il a poursuivi à pratiquer les actions de ce Cercle present, marchant avec le pied droit en deçà le Diametre, à la Seconde Instance lettre G, à poursuivre consequemment du pied gauche, & y assujettir l’espee de l’adversaire, qui esleve à ce mesme instant le bras en haut, se couvrant le visage de sa garde avec la pointe basse; comme les figures demonstrent. |
| Thereupon Alexander performs the actions as in Circles No 2, 3, & 4, as follows. | Là dessus Alexandre poursuit à pratiquer les operations des Cercles N.2.3.4. selon qu’il s’ensuit. |
| While Zachary is raising his arm and the guard of his still-subjugated sword to cover his face and before he can finish this movement, Alexander moves forward and steps with his right foot to the centre of the Circle, and then his left foot raised in the air, he slides the point of contact up the blades, so as to hit his opponent with his sword-tip on the right side, beneath the weapons, keeping in mind all the previous considerations explained in Circle No 2. | Durant que Zacharie se hausse le bras & la garde de son espee qui est assujettie, pour s’en couvrir le visage, avant que le mouvement soit àchevé, Alexandre s’avance & marche avec le pied droit sur le centre du Cercle, en continuant à eslever le pied gauche en l’air, & graduer le lames, de façon qu’il atteint l’aversaire d’un coup de pointe au costé droit dessous les armes, y observant toutes les mesme considerations, qui en ont esté specifiées au Cercle N.2. |
| Now, if Zachary’s movement, that is, to raise the arm and guard, had been completed, Alexander would not have been able to do the same the thing again. But the best and the surest way is to move first. | Or combien que le mouvement de Zacharie, assavoir de hausser le bras & la garde eust esté conduit à fin, Alexandre n’eust pas laissé pourtant de faire encor la mesme chose; mais c’est le meilleur & le plus seur de prendre le temps mesme. |
| The follow-up to this action is that Alexander turns instantly about swinging his left foot around his right foot and behind him, a little beyond the letter Q along the Diameter. He leans back onto it, knee bent, and for the rest follows the particulars described in Circle No 3. | La suite de ceste operation c’est, qu’Alexandre se volte tout à l’instant le pied gauche par derriere & alentour le pied droit, un peu outre la lettre Q par delà le Diametre, se panchant à l’envers dessus le mesme, à tout le genou plié, & observant au reste les particularitez de l’action representée au Cercle N.3. |
| After which he continues on, turning and stepping to the letter W on the circumference, shifting his weight onto that foot and thus he increases the power of his thrust right through his enemy’s body, as done in Circle No 4. | Ce qu’estant fait, il poursuit l’operation jusqu’à la Circonference lettre W, où il se charge le corps dessus, & par mesme voye augmente son estocade à pleine force à travers le corps de l’Ennemi, en conformité du Cercle N.4. |
| When Alexander, as he is portrayed here, has subjugated his opponent’s blade at the same time as his opponent raises his guard to cover his face, he can also enter in with his right foot following the line of the same Interior Collateral from where it was at the letter G, up to the letter Q, following with the left foot, and so wounding his adversary, just the same as before, under the arm by sliding the point of contact up the blades, and, by leaning forward to put himself inside the angle of the sword, which he has trapped and turned away, outside and behind him. | Quand Alexandre fait l’assujettissement, comme il est icy pourtrait, au mesme temps que l’Adversaire se hausse le bras avec la garde, pour se couvrir le visage, Il peut aussi entrer avec le pied droit par la trace de la mesme Collaterale interieur, où il est planté, jusqu’à la lettre Q, en poursuivant du pied gauche, & blessant sa partie adverse, tout de mesme qu’auparavant, dessous le bras moyennant la graduation des lames, se mettant par l’avancement du corps panché, au dedans l’angle de l’espee contraire, laquelle il a surprinse & destournée en dehors arriere de soy. |
| So, after Alexander has successfully performed this action in divers ways, without his adversary discovering a counter to it, notwithstanding that he has done his best to turn the sword aside in several sorts of ways, this said adversary comes to persuade himself that he can do the same to Alexander, as long as he presents the same posture. Thus he requests that Alexander do this, to test the premise. | Or apres qu’Alexandre a parachevé ceste operation à diverses fois, sans que l’Adversaire y ait sceu donner remede, nonobstant qu’il ait fait son devoir à la divertir en plusieurs sortes; ledit Adversaire se va persuader, qu’il en fera tout le mesme à Alexandre, moyennant qu’il luy presente sans plus l’espee en la mesme posture. Dont il le requiert amiablement de ce faire, pour en voir la preuve. |
| Alexander, not wishing to refuse this challenge, adopts the posture in the A-C Quadrangle, right foot on the letter C, left foot on the Pedal Line, holding his sword as was presented to him in Circle No 1. To attack against this, Zachary sets his left foot down at the First Instance on the letter X in the opposing Quadrangle, and consequently will lean forwards raising his left foot in the air behind him, and covering his opponent’s sword from above, as he has seen Alexander do in the aforesaid Circle No 1. | Par ainsi donc Alexandre ne le voulant esconduire, se va mettre le premier en posture sur le Quadrangle AC, le pied droit à la lettre C, & l’autre sur la ligne Pedale, tenant l’espee tout de mesme, qu’elle avoit esté presentée par le Contraire au Cercle N.1. Pour travailler donc alencontre Zacharie se met le pied gauche en Premiere Instance à la lettre X au Quadrangle opposite, & consequemment se va pancher sur le devant, en eslevant le pied de derriere en l’air, & couvrant de par enhaut l’espee contraire, cōme il a veu faire à Alexandre audit Cercle N.1. |
| To perform the strike, Zachary advances his right foot, to thrust to Alexander’s side underneath his arm, as we see in Circle No 2. But, at the same time that he drops the tip of his sword underneath the guard and the arm, Alexander, keeping the swords in contact, turns the guard and his arm in a circular motion downwards and outside to the right, allowing his sword-tip to rise up against his opponent, so that he crosses and subjugates his opponent’s sword, and thus interrupts his intent, as is shown in Circle No 6. | Pour continuer l’operation Zacharie s’avance avec le pied droit, pour luy donner l’estocde au costé dessous les armes, comme on le voit representé au Cercle N.2. mais au mesme temps qu’il luy descend sa pointe sous la garde & le bras, Alexandre, tenant les espees accouplées, se tourne circulairement le bras & la garde en dehors à main droite vers le bas, laissant monter sa pointe au contraire, dont il va croiser & assujettir l’espee contraire, en sorte qu’il luy rompt le dessein, comme il est representé au Cercle N.6. |
| After that, he continues a follow on to finish, stepping with his right foot forward along the diameter to E, where he puts his weight against the weak of the blade, hitting with the same thrust to the right side that his opponent intended, as it appears in Circle No 7. | Qui plus est, Il en fait la poursuite jusqu’à l’execution, marchant avec le pied droit en avant sur le Diametre à la lettre E, où il se charge le foible, & tirant le mesme coup d’estocade au costé droit de l’Adversaire, qu’il avoit pensé à tirer su luy, comme il appert au Cercle N.7. |
| And so Alexander once again readies himself on the Circle, in the A-C Quadrangle, presenting his sword in the straight-line posture. Zacharie sets himself against him at the First Instance in the opposite Quadrangle, then steps with his right foot to the Second Instance, along the Oblique Diameter, with his toes on the letter S and heel at W, and subjugates Alexander’s sword. Alexander has raised his arm and guard up high, covering his face, so Zachary finds himself in the same situation as Alexander, portrayed in Circle No 5. | Alexandre se va planter autrefois sur le Cercle dedans le Quadrangle AC, luy presentant l’espee en droite ligne: Zacharie se met alencontre au Quadrangle opposite en Premiere Instance avec l’espee parallele au dessous; puis marche avec le pied droit à la Second par delà le Diametre lettre S, poursuivant à avancer le pied gauche, les orteils sur le Diametre oblic, & le talon à la lettre W, & assujettir l’espee d’Alexandre; qui esleve au mesme temps le bras avec la garde en haut, s’en couvrant le visage; de façon que Zacharie s’en retrouve par delà le Diametre en la mesme situation qu’Alexandre est pourtrait au Cercle N.5. |
| Circle No 6 | Cercle N.6. |
| Following the previous described action, Zachary tries to strike his adversary under the arm, by moving his right foot forward to the centre of the Circle, and spinning his left forward behind him. At which point Alexander breaks his strike, turning his arm and guard to the outside, dropping down and subjugating the sword. | En suite de l’operation dernierement descrite Zacharie tasche à frapper l’Adversaire dessous le bras, en avançant le pied droit sur le Centre du Cercle, & voltant le gauche à l’advenant derriere. Dequoy Alexandre luy rompt le coup, se tournant le bras & la garde en dehors de haut à bas, de sorte qu’il luy assujettit l’espee. |
| Thus, Zachary subjugates his opponent’s sword at the Second Instance. At the same time, his adversary raises his arm and guard up to cover his face, sword-tip pointing down. In this way, Zachary works against him, allowing his point to descend, and sliding the point of contact up the swords, advancing his right foot to the centre of the Circle, intending to spin his left foot around behind, and by this motion to wound his opponent from beneath the sword. Because he is doing this close in, that is, at the Second Instance, Alexander moves his left foot a little backwards out of the Quadrangle, where he shifts his weight a little backwards onto it, and drawing his other foot along behind. Without disengaging the blades, Alexander brings his wrist down in a circular motion, while turning his arm and guard to the outside and to the right. Thus he traps and subjugates his opponent’s sword, as shown by the figures. | Faisant donc Zacharie l’assujettissement de l’espee contraire à la Seconde Instance, & que l’Adversaire se hausse au mesme temps le bras avec la garde, dont il se couvre le visage, avec la pointe descendante: En semblable Zacharie travaille au mesme temps alencontre, laissant descendre sa pointe, & graduant les lames, en avançant le pied droit jusqu’au Centre du Cercle, avec intention de volter le pied gauche alenvers, & de blesser par mesme voye son Contraire au costé droit dessous les armes. Et puis qu’il fait le tout de fort pres, assavoir de la Seconde Instance, Alexandre se retire au mesme temps le pied gauche un peu en arriere au dehors du Quadrangle, où il fait la charge du corps dessus à pancher vn peu alenvers, & poursuivre de l’autre pied à l’advenant; ensemble se tournant (sans destacher les lames) le bras droit avec la garde de l’espee à l’aide du poignet circulairement de haut à bas en dehors & à main droite: dont il enferme & assujettit par en haut l’espee contraire; ensuivant le pourtrait des figures. |
| Circle No 7 | Cercle N.7. |
| Alexander presses his attack, using his wrist to turn his arm together with the interior branch of his crossguard upwards in such a way as to catch and seize his opponent’s blade with the other branch of his crossguard. He then steps forward with his right foot up to the letter E and turns the trapped blade behind him as he slides the point of contact up the blade. He leans onto his right foot, drawing his left foot behind him a little bit forwards. He wounds his adversary with a hit from his sword-tip in the right side underneath the armpit, the very sort of thrust Zachary had thought to do, now turned back on him, as evidenced and demonstrated by the figures. | Alexandre poursuit son advantage, en tournant le bras, & ensemblement la branche interieure de sa garde contremont à l’aide du poignet, de façon qu’il accueilt & enferme avec l’autre branche la lame contraire, laquelle il poursuit à destourner arriere de soy, & à graduer en marchant avec le pied droit à lettre E, où il fait la charge du corps dessus, laissant trainer le pied gauche un peu à l’advenant, & blessant de mesme sa partie adverse d’un coup de pointe au costé droit dessous l’aixelle, de sorte qu l’estocade que Zacharie avoit pourpensée à Alexandre, elle retombe sur luy mesme; comme il est evident par la demonstration des figures. |
| Circle No 8 | Cercle N.8. |
| Zachary again tries to execute the same attack, taking aim at Alexander from the Second Instance, to wound him underneath the arm. Alexander again prevents him, and subjugates his blade, just the same as in Circle No 6 and consequently, having straightened up after leaning backwards, he seizes the sword with the interior branch of his crossguard, sliding the point of contact up the blade, and setting his sword-point precisely in front of Zachary’s eyes, just as the figures show. | Zacharie taschant à executer encores la mesme entreprinse, à tirer sur Alexandre de la Seconde Instance, pour le blesser dessous le bras; Alexandre le previent derechef, & luy assujettit la lame, tout de mesme qu’au Cercle N.6. & consequemment s’estant redressé le corps, qui estoit panché un peu en arriere, il la va graduer & enfermer par dessous avec sa branche interieure, luy mettant la pointe en courtoisie devant les yeux; ainsi que les figures demonstrent. |
| Circle No 9 | Cercle N.9. |
| This is the final step of the preceding action, performed with determination by Alexander, who steps with his right foot along the Diameter to the letter E, where he leans his body onto it, sliding the point of contact up the swords with his arm extended out straight, so that the two guards crash together and his opponent is forced to bend his arm and allow the raised sword-tip to drive through his head with full force, as is represented by the figures. | Cest la finale execution de la precedente, poursuivie en rigueur par Alexandre, à marcher avec le pied droit sur le Diametre lettre E, où il se panche le corps dessus, en graduant les lames d’un bras roide & estendu, de sorte que les deux gardes se rencontrent si rudement, que le bras du Contraire en est forcé à se plier, & laisser monter sa pointe en haut, en recevant le coup à pleine force à travers sa teste, comme il est representé par leurs figures. |
| Circle No 10 | Cercle N.10. |
| Here, Zachary makes the same attempt to wound his adversary in the same way as above. Alexander has again subjugated the blade as in Circle No 6, but instead of moving backwards, he has advanced with his right foot along the Diameter at letter E, where he leaned his body over it, inside the angle, and follows by drawing his left foot after him in a circular motion, while disengaging his sword, so that he makes a backwards cut to the right side of his opponent’s head, as is shown in the figures. | Voicy Zacharie qui a fait encor la mesme preuve, pour blesser l’Adversaire en la mesme sorte que dessus: Alexandre luy assujettit derechef la lame en conformité du Cercle N.6. mais au lieu de reculer, is s’est avancé avec le pied droit sur le Diametre lettre E, où il se panche le corps dessus au dedans de l’angle, poursuivant à trainer circulairement le pied gauche apres, & desachant au mesme temps les espees, en sorte qu’il luy donne un coup de revers au costé droit de la teste; comme les figures demonstrent. |
| Circle No 11 | Cercle N.11. |
| Zachary again wishes to perform the same attack on Alexander underneath the arm, from the Second Instance, but is once again trapped through the same action as in Circle No 6. Then Alexander, having trapped and subjugated his blade, continues to work against him, stepping with his right foot a little outside the Circle, between the letters D & F, following along in a circular motion with his left foot, and sliding the point of contact down the blade towards the tip, by giving a light push downwards with his wrist and lowering his arm, at which point he leaves it there, lifting his own, carrying it over his head with a movement of his elbow, spinning his left foot around behind the other, and exactly striking his adversary’s left ear, as is seen in the figure. | Zacharie retournant à vouloir donner encore la mesme atteinte à Alexandre dessous le bras de la Seconde Instance, il y est derechef attrapé moyennant l’operation du Cercle N.6. dont Alexandre luy ayant enfermé & assujetti la lame, continue à travailler, en marchant avec le pied droit vn peu au dehors du Cercle entre deux les lettres D & F, poursuivant circulairement avec le pied gauche, & desgraduant avec sa lame devers la pointe contraire, y faistant vn petit poussement dessus avec le bras descendant & à l’aide du poignet, dequoy il amortit le sentiment, & au mesme instant il en oste la sienne, la menant par dessus sa teste par le mouvement du coude, en voltant le pied gauche derriere l’autre, & presentant en courtoisie un coup de taille à l’oreille gauche de son Adversaire; comme il se voit en la figure. |
| If Alexander had wanted to deliver a more severe blow, he would have spun the left foot around a good deal further, and then added another with his right foot, with which he would have repeated the same blow, again spinning the left foot around, and by this means, have found himself behind his enemy, placing himself entirely out of reach of any danger. But here, he puts his left foot right behind the other in order to control the motion of his body and his sword, so that he can keep the blow precise, which he would not be able to easily do otherwise. | Si Alexandre eust voulu donner le coup en rigueur, il eust volté le pied gauche un grand pas plus outre, y adjoustant par apres encor un autre avec le pied droit; dequoy il redoubleroit le mesme coup, en voltant derechef le pied gauche, & par ce moyen viendroit à gaigner le derriere de l’Ennemi, se mettant totalement à l’abri de touts dangers: mais qu’il plante icy le pied gauche droitement derriere l’autre, c’est pour en moderer la course du corps & de l’espee, afin qu’il puisse retenir le coup en courtoisie, ce qu’il ne pourroit faire autrement, sinon à grand peine. |
| Circle No 12 | Cercle N.12. |
| It is Zachary’s pleasure to once again test the proposition, which is once again nullified by the same action as in Circle No 6. This time Alexander follows up by stepping with his right foot along the Diameter to letter E, and at the same time that leans his upper body forward over it, he lifts his left foot in the air, and seizes his opponent’s hand and guard with his left hand reaching over the crossed swords and pulls it towards him so that his opponent’s sword-tip lowers towards the ground, as is shown by the figure. | Zacharie se plait à repeter encor la mesme preuve, qui luy est derechef annullée par la mesme operation du Cercle N.6. dont Alexandre poursuit à travailler en marchant avec le pied droit sur le Diametre lettre E, où il se panche la partie superieure du corps un peu en avant, eslevant quand & quand le pied gauche en l’air, & faisant prinse de la garde contraire avec la main gauche, à porter par dessus le long des deux lames croisées, la retirant devers soy en sorte que la pointe contraire s’en abaisse devers la terre; comme la figure demonstre. |
| Circle No 13 | Cercle N.13. |
| Alexander carries on, by bringing his left foot, already raised in the air, onto the Perpendicular Diameter at the letter M, then right away spins his right foot around behind himself and, setting it down just outside the Circle near the letter W, he leans back on it, and again raising his left foot and stepping towards his adversary on the point Q, he shifts his body forward onto it, bends his knee, and hits his opponent on the right side beneath the arm, driving through his body, as is shown in the figure. | Alexandre poursuit l’operation, en menant le pied gauche, qui est ià eslevé, en deça le Diametre à la lettre M, & voltant tout de suite le pied droit derriere au dehors du Cercle bien pres de l’W, sur lequel il se va pancher à l’envers, en eslevant derechef, & cheminant avec le gauche devers l’Adversaire au point Q, où il se charge le corps dessus en avant à tout le genou plié, luy donnant l’atteinte au costé droit dessous le bras & la poussant à travers le corps; comme il est representé en la figure. |
| Seeing how effectively each time Alexander has parried Zachary’s attempt to strike under his arm, and how he did this in such a way as to control the blade and then confidently made so many effective strikes, Zachary then decides to imitate him, and arranges with Alexander to have him attack with the actions shown in Circles Nos 1, 2, 3, 4, & 5, convinced he cannot fail to perform the same actions, that is, the subjugate, and wound him, in the same various ways that Alexander has done. | Voyant donc qu’Alexandre a destourné si avantageusement & à tant de fois l’entreprinse de Zacharie, qui estoit de le blesser sous le bras; de sorte qu’il luy a gaigné la lame, & en a tiré tant d’executions si avantageuses, mesme qu’il a fait le tout avec si grande asseurance; Zacharie se propose de le vouloir imiter, & se fait accroire, que si Alexandre le voulust derechef attaquer avec les operations de Cercles N.1.2.3.4.5. qu’il ne manqueroit pas à luy rendre pareille, c’est assavoir de l’assujettir, & le blesser consequement en telles & semblables sortes, qu’il a veu pratiquer à Alexandre. |
| To arrive at a result, they reset themselves in the direct-line posture on the Circle at the First Instance. And Alexander, who has set his blade beneath the other to perform the subjugation stepping with his right foot to the Second Instance, in the same way, and in the same conditions as Circle No 5. followed by raising his right foot to step and wound his opponent under the arm, as in Circle No 2. So Zachary parries the strike, bringing his blade circularly around his opponent’s to the right-hand side to trap it, and subjugate it, as in Circle No 6. | Pour en venir à l’effect, ils se vont remettre sur le Cercle à la Premiere Instance en droites lignes. Et Alexandre, qui a mis sa lame dessous, à faire l’assujettissement, en cheminant avec le pied droit à la Seconde Instance, en la mesme sorte, & avec les mesmes circonstances comme au Cercle N.5. poursuivant à travailler en eslevant le pied droit pour blesser l’Adversaire en conformité du Cercle N.2. dessous le bras. Dont Zacharie en destourne le coup, menant sa lame circulairement à la main droite alentour de l’espee contraire, pour l’enfermer, & assujettir comme au Cercle N.6. |
| Circle No 14 | Cercle N.14. |
| At the same time that Zachary works to drop his arm, intending to cross over and subjugate his opponent’s blade, Alexander moves his raised right foot forward from the Second Instance to the letter Q on the Oblique Diameter, turning his tip around under his opponent’s arm over the blade and drawing his left foot up to the letter H while placing his tip exactly in front of his opponent’s eyes. However quickly Zachary tries to bring his arm and sword back over his opponent’s to defend himself, he is too late. As is shown in the figure. | Au mesme temps que Zacharie travaille à descendre le bras, pour croiser & assujettir la lame contraire; Alexandre s’avance avec le pied droit, qui estoit eslevé, de la Seconde Instance, en deçà le Diametre à la lettre Q, tournoyant sa pointe par dessous le bras contraire au dessus de la lame, & entrainant le pied gauche à la lettre H, & ensemblement luy presentant la pointe devant les yeux en courtoisie. Et combien que Zacharie se ramene derechef le bras & l’espee en haut pour se defendre, toutesfois il y vient trop tard; comme on le voit au pourtrait de la figure. |
| Circle No 15 | Cercle N.15. |
| This is the finish, where Alexander extends his arm with the sword, advancing his right foot along the Interior Collateral about as far as the letter V on the Diameter, where he leans onto it, at the same time drawing his left foot up to the letter M on the Perpendicular Diameter, so that the guards smash together with so much force that his opponent’s arm and sword are forced to bend upwards, driving the thrust through the head. As is shown in the figure. | C’est l’execution de la precedente, où Alexandre estend le bras avec l‘espee, s’avançant le pied droit sur la ligne collaterale interieure en deçà le Diametre pres la lettre V, où il se va pancher dessus, entrainant quand & quand le pied gauche jusqu’au Diametre perpendiculaire lettre M, dont les gardes se rencontrent d’une telle violence, que le bras & l’espee contraire en sont forcez à se plier & à monter la pointe en haut, luy poussant l’estocade à travers la teste; comme il est en la figure. |
| So now Zachary, confused at seeing his plans so frustrated so many times, beaten when he expected to triumph. But because his action was begun at the Second Instance, he begins to suspect that he had perchance begun to work from too close. Thus he requests another chance to start again at the First Instance, as in Circle No 1. This Alexander accords to him and they both set themselves on the Circle in the same way, and Alexander proceeds as in Circle No 2. So Zachary again seeks to subjugate his blade by circling around the arm and guard. Alexander again gets himself out of trouble moving his sword-tip from beneath he arm, and sets it exactly in front of Zacharys face, as in Circle No 14. | Voilà maintenant Zacharie tout confus de se voir tant de fois furstré en son entreprinse, voire qu’il en a esté vaincu luy mesme au lieu de vaincre. Mais puis que l’operation a esté commencée à la Seconde Instance, il entre en soupçon d’avoir travaillé par adventure de trop pres: dont il requiert à recommencer derechef à la Premiere Instance, suivant le Cercle N.1. Ce qu’Alexandre luy accorde, & se vont mettre touts deux sur le Cercle suivant la mesme representation, & Alexandre à poursuivre comme au Cercle N.2. Dont Zacharie luy veut derechef assujettir la lame par le tour du bras & de la garde. Alexandre luy desrobbe encor sa pointe par dessous le bras, & la luy met en courtoisie devant le visage, comme au Cercle N.14. |
| In sum, to see how Alexander does the actions in Circle No 6, by which he captures and subjugates his opponent’s sword, it seems there is nothing easier. This is because he works from a good foundation. And even though the swords do not always make contact in the same place, at the same Spans, nevertheless the choice of thrust, cuts, and holds which follow are entirely his own. He may freely take whichever pleases him. He will completely upend those ignorant or foolhardy imitators who have the temerity to to copy what they have seen done three or four times by a well trained and able man. From which they can gain only a sense of shame and confusion, when they try to test him, and find all their intentions frustrated at every moment, because they do not know the depth of this science, nor how difficult it is, nor the time, well worth the effort, which it requires to learn, nor the amount of study to bring to the subtleties of these examples. Gentlemen both presumptuous and ridiculous, who, having learned but two or three points, convince themselves that they fully understand the techniques, and that they can deal with any situation with the little that they know. They have no consideration of the full expanse, of the infinity of variation which daily presents itself in training. Because each one has his own way of striking, different from all others, just as each hour, each minute, each instant changes from one to the next. So I can say, comparing the chamber, where debates are resolved with words, to the promenade where questions are settled with victory in arms, that just as [in logical discourse] arguments are subjected to critiques, critiques to responses, responses to reviews, reviews to commentaries until all evidence the adversaries wish to examine has been discussed, so in the performance of arms there is no stroke, either ordinary, or well examined, or completely grasped, or so secret, or so amazing, that it does not have a counter. As such one must never be too confident of any particular strike. What is good on one occasion will fail in another. It may be the best attack in the world, but nothing prevents someone from defending against it. It should not be that strange if common fencers are always unsure, given that their training, not being founded on general sciences, should fail to prepare them to face all situations, and so it must follow that much of the result of their workings depends in great measure on fortune, where the path of wisdom is closed to them. | En somme à voir faire à Alexandre l’operation du Cercle N.6. par laquelle il enferme & assujettit l’espee contraire, il semble, qu’il n’y ait rien plus facile. c’est pour autant qu’il travaille avec fondement. Et encores que les espees ne s’accouplent pas tousiours aux mesmes endroits, & à mesmes Nombres; toutesfois le chois des estocades, coups de taille, & prinses, qui s’en ensuivent, ne depend que de sa seule election; 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. |
Draft Translation |
First Edition (1628-30) |
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| EXPLANATION OF THE ACTIONS IN THE FOURTEENTH TABLE. | DECLARATION DES OPERATIONS DV TABLEAV QUATORZIEME. |
| The most obvious, the most energetic action in a fight, and that which creates the loudest clash are the cuts. The reason for this is because they come from larger motions than a thrust. Thus they are more impressive actions. Thrusts are quicker, because they take the shortest path to hit an opponent. Cuts take a circular path which is slower. Cuts only cause injuries to the outside of the body, whereas thrusts penetrate into the vital organs which causes more mortal wounds. This does not mean our Scholars should see cuts as less worthy of study than thrusts. For there will be times when the one is found to be as useful and needed as the other. Furthermore, the cut aimed at a particular target in the right circumstances will disrupt an opponent as much as a thrust, if he does not know how to appropriately counter it. If he does, then your adversary will be able to take the initiative to his own benefit. But it was in the cause of reason we were moved to first show how to work around thrusts, because the hits are faster and the wounds more dangerous. In any case, the skill needed to counter a cut is not less, as shall be seen through this Table. If the manner of encountering thrusts was found to be different from, and almost contrary to, the traditional style, the manner of countering cuts will be even more so. Thus, in order that everything will presented most clearly, we have seen fit to provide several examples in order, beginning again with the subjugation of the sword. | Le plus apparent, & le plus furieux d’un combat, & ce qui y fait le plus grand tintamarre, ce sont les coups de taille. La cause en procede de ce qu’ils consistent en de plus grands mouvements, que les estocades; & par tant leurs actions sont plus remarquables. Les estocades sont plus vistes, par ce qu’elles prennent le plus court chemin pour atteinder; les tailles y vont par un destour circulaire qui est plus tardif. Celles cy ne touchent qu’à l’exterieur du corps; celles là penetrent au dedans jusqu’aux parties vitales: dont les playes en sont plus mortelles. Ce n’est pas pourtant que nostre Escholier doive tenir les coups de taille en peu d’estime. Car les occasions luy rendront les vnes autant necessaires, que les autres. Aussi le coup de taille estant tiré à point nommé avec les circonstances requises, le mettra en desordre autant que l’estocade, s’il ne sçait travailler deuëment alencontre. Car l’Adversaire en gaignera le temps de poursuivre son avantage. Mais c’est pour demonstrer la raison, qui nous a esmeus de vous montrer premierement à travailler sur les estocades, pource que les atteints en sont plus vistes, & les playes plus dangereuses. Toutesfois l’artifice de rencontrer la taille ne sera pas moindre, comme on verra par la deduction de ce Tableau present. Et si la maniere d’accueiller les estocades a esté trouvée differente & quasi contraire à la vieille mode, celle des tailles le sera encores davantage. Or afin que le tout vous soit representé plus clairement, nous avons trouvé bon d’en mettre icy plusieurs exemples par ordre, en commenceant derechef par l’assujettissement de l’espee. |
| Circle No 1 | Cercle N.1. |
| The two parties have again come together beginning in the direct line posture, with swords parallel. Alexander steps with his right foot to the letter G on the Diameter at the Second Instance, at the same time drawing his left foot along the Inscribed Square, between the points D & F, setting his toes along the Oblique Diameter, while subjugating his opponent’s sword. | Les deux parties s’estants colloquez preallablement en droites lignes, avec les espees paralleles; Alexandre s’achemine avec le pied droit en deça le Diametre à la Seconde Instance, lettre G, menant quand & quand le pied gauche sur le Quarré circonscrit, entre les points D & F, à mettre les orteils sur le Diametre Oblicq, en assujettissant l’espee contraire. |
| We begin after the two parties have met at the First Instance, each in his own Quadrangle, adopted the direct line posture, Alexander’s sword parallel to and beneath the other. He begins to work, raising his right foot, together with the sword-tip by using his wrist, so that he contacts the 8th Span of his opponent’s blade with the 3rd Span of his own. This he then forces over, bit by bit, as his right foot moves forward to where the Oblique Diameter crosses the Inside Square. As he reaches the midway point, just as he begins to overbalance, he pauses briefly, to see that his opponent is not making any movement with his blade to attack. But, as he perceives nothing, he continues his forward step with his raised right foot, and sets it down along the Inside Square, at the letter G, while sliding the point of contact up the blades, so his 8th Span contacts his opponent’s 5th Span. Instantly afterwards, he brings his left foot around in a circular motion and sets it along the Outside Square, all his toes on the Oblique Diameter between the letters D and F. At the same time, he turns the heel of his right foot backwards onto the line G-D, and moves his left side slightly forwards, while subjugating his opponent's sword, and turning the exterior branch of his crossguard diagonally upwards, as shown in the figure. In any case, this action and all variations have been fully described in Circle No.1. of Table VII, and its subsequent paragraphs. | Apres que les Parties se son colloquez en Premiere Instance en droites lignes, chascun en son Quadrangle, l’espee d’Alexandre parallele dessous l’autre; il commence à travailler, en haussant le pied droit, & ensemblement la pointe de l’espee à l’aide du poignet de la main, en sorte qu’il en joint le N.3.au N.8.de la lame contraire; laquelle il emporte peu à peu à l’advenant que le pied droit s’avance en deça le Diametre par la trace du Quarré inscrit; duquel estant venu à my-chemin de l’Instance, avant qu’il tresbuche, il en fait une petite pause, pour observer si l’Adversaire ne fait pas de mouvement à tout sa lame pour tirer. Mais puis qu’il ne s’apperçoit de rien, il poursuit à marcher avec le pied eslevé, & à le planter sur le Quarré inscrit, lettre G, en graduant les lames, la sienne à N.8.& la contraire à N.5. En quoy faisant il poursuit tout à l’instant à mener circulairement et à planter le pied gauche sur le Quarré circonscrit, à tout les orteils sur le Diametre oblicq entre deux les lettres D & F. & durant ce mesme temps, il se tourne le talon du pied droit en arriere sur la ligne GD, & le costé gauche du corps un peu en avant, en faisant l’assujettissement de la lame contraire, & tournant la branche exerieure de la sienne diagonalement en haut; comme il est representé par la figure. Toutesfois ceste operation est descrite plus amplement avec toutes ses circonstances au Tabl. VII. Cercle N.1. & aux annotations annexes. |
| Circle No 2 | Cercle N.2. |
| While Alexander sets his feet down at the Second Instance, subjugating his opponent’s sword, at that moment Zachary advances his left foot to the letter Q, and strikes with a backwards blow to the right side of the head. | Durant qu’Alexandre plante les pieds à la Seconde Instance en assujettissant l’espee contraire; au mesme temps Zacharie s’avance avec le pied gauche à la lettre Q, & luy tire un coup de revers au costé droit de la teste. |
| What happens is the opposite of the preceding circle. In which Alexander has given an opening to his opponent by subjugating the sword with more force than usual, as if he were about to trip over himself. While he moving so crudely, and he sets his feet down at the Second Instance along the Oblique Diameter, at the same time Zachary moves his right foot forward, with a circular disengage underneath the sword, up above his head on the left side, and, as he sets his foot down along the Oblique Diameter at the letter Q, and strikes a backwards blow diagonally downward on the right side of his head. This is shown in the figure. | C’est icy l’opposite de la precedente; à quoy Alexandre a convié luy mesme sa partie adverse, en luy assujettissant l’espee avec plus de poids, qu’à l’ordinaire, comme s’il s’en allast tresbucher à tout la sienne. Cependant qu’il y va donc si rudement, & qu’il se plante les pieds à la Seconde Instance, en deçà le Diametre; au mesme temps Zacharie s’avance avec le pied gauche, conduisant circulairement l’espee par dessus sa teste à la main gauche, & en abaissant le pied à terre par delà le Diametre à la lettre Q, il luy tire un coup de revers diagonal au costé droit de la teste; comme il se voit en la figure. |
| Zachary’s action, as shown in the figure, will thus be easily recognized, and will allow you to understand more easily the various means Alexander will employ to overcome this attack, which will be shown in the following Circles. | Ceste operation de Zacharie, vous est representée en figure, afin qu’estant bien cognue, vous en comprenez aussi tant plus tost comment Alexandre la domte en plusieurs manieres par les operations, qui sont representées aux Cercles suivants. |
| Circle No 3 | Cercle N.3. |
| Alexander has set his feet down at the Second Instance, and there holds his opponent’s sword subjugated. Zachary moves his left foot forward, bringing his sword circularly overhead, as before. At which, Alexander likewise moves his left foot and side forward at the same time, while hitting him with a thrust to through the head. Just as has been fully described. | Alexandre estant planté à tout ses deux pieds à la Seconde Instance, & y tenant l’espee contraire assujettie; Zacharie s’avance avec le pied gauche, menant l’espee circulairement par dessus la teste, comme au paravant: sur quoy Alexandre s’avance pareillement au mesme temps le costé & le pied gauche, en luy donnant un coup d’estocade à travers la teste; comme il est declaré plus amplement en la description. |
| This action follows from Circle No 1, where Alexander has set both his feet down at the Second Instance, having forcefully subjugated his opponent’s sword. Thus Zachary advances with his left foot, once again moving his blade circularly above his head to the left side, so as to strike his opponent’s right ear with a downwards, reverse, diagonal cut, at the moment he sets his foot down along the Diameter on the letter Q, just the same as in the preceding Circle. Alexander, who is paying close attention, perceives through his sense of feel, the instant that the previously subjugated blade has begun to disengage, he likewise raises his left foot and steps, while turning and moving the left side of his body forwards, so that he moves away from where his enemy's blow was aimed, and sets his foot down on the Oblique Diameter at the letter Q, shifting his weight onto it while keeping both knees straight, and wounding his opponent with a thrust through the head, as is shown in the figure. | Ceste operation procede en suite du Cercle N.1. où Alexandre est planté à tout ses deux pieds à la Seconde Instance, ayant assujetti l’espee contraire avec force. Dont Zacharie s’avance avec le pied gauche, conduisant derechef sa lame circulairement de dessous l’espee contraire par dessus sa teste à main gauche, & en tirant mesme voye un coup de revers diagonal à l’oreille droit de l’Aversaire, à planter le pied eslevé à la lettre Q, par delà le Diametre; tout de mesme qu’au Cercle precedent. Alexandre qui prend de fort pres garde au temps, s’appercevant par le sentiment, que la lame assujettie commence à se destacher, il esleve aussi pareillement & chemine avec le pied gauche, en tournant & avançant le mesme costé du corps, de façon qu’il abandonne la place, où le coup de l’Ennemy est dressé, venant à planter le pied en deçà le Diametre à la lettre Q, se chargeant mesme le corps dessus en avant à tout les genoux roides, & blessant sa partie adverse d’un coup d’estocade à travers la teste; ainsi qu’il est representé en la figure. |
| Circle No 4 | Cercle N.4. |
| This happens as Alexander is prevented from subjugating the blade, before he has set his feet down at the Second Instance. Zachary again tries the same reverse strike to the right side of his head. But at the instant that the sword begins to come downwards from up high, Alexander parries it to the outside, with his tip connecting near the guard, moving forward, stepping with his left foot, he subjugates the blade by sliding the point of contact down the blade, as he sets his foot down at the letter Q. | Cependant qu’Alexandre est empesché à faire l’assujettissement, devant qu’il ait planté les pieds à la Seconde Instance; Zacharie luy va tirer encores le mesme coup de revers au costé droit de la teste: mais à l’instant que son espee commence à descendre de l’angle obtus vers le bas, Alexandre l’accueilt en dehors du bras, y assemblant la pointe de la sienne tout joignant la garde, & en avançant le corps & le pied gauche, il l’assujettit par la desgraduation en mettant le pied à terre en deçà le Diametre à la lettre Q. |
| Both parties have again begun by setting themselves into position at the First Instance, and Alexander has followed on by subjugating his opponent’s blade, so that he has now set his right foot at the Second Instance and then raised his left foot. At the same instant, Zachary pulls his sword from beneath and makes a circular path above his head, to give Alexander the same backwards cut as before, stepping forward with his left foot towards his enemy. Alexander works against this, as soon as he feels the subjugated blade has disengaged, by turning his body and moving his raised left foot forwards, he extends his arm with his sword up as high as the top of his opponent’s head at the exact time his opponent begins to bring his blade down for the blow. Alexander receives this to the outside, with the first or second Span of his blade against the 9th or 10th Span of his opponent’s blade. Zachary’s blade continues to descend forcefully, as he sets his foot down at the letter Q along the Oblique Diameter. Likewise Alexander continues to slide the point of contact along the blades, up his own, and at the same time shortens his right arm, which he draws into himself, and turns his left side further forward, closes his elbow against his right side, so that he dominates and parries his opponent’s sword with the aid of his body subjugating it along the Diameter, and setting his raised left foot down at the letter Q, as we see in the picture. | Parties s’estants derechef plantez preallabement en Premiere Instance, & Alexandre ayant poursuivi à sujetter la lame contraire, en sorte qu’il est venu à planter le pied droit à la Seconde Instance, & à eslever consequemment le pied gauche; au mesme instant Zacharie luy oste sa lame de dessous, & la va mener circulairement avec le bras par dessus sa teste à main gauche, pour luy en donner encores le mesme coup de revers, comme dessus, en marchant avec le pied gauche en avant contre l’Ennemi. C’est là dessus qu’Alexandre travaille. Dés qu’il apperçoit par le sentiment, que la lame assujettie commence à se destacher, en tournant le corps & avançant le pied gauche en l’air, il s’estend le bras avec l’espee en haut à l’egal du sommet de la teste contraire, & au mesme instant, que l’Adversaire commence à mener sa lame de haut en bas pour donner le coup; Alexandre l’accueilt avec la sienne en dehors du bras, en mettant la sienne à N.1. ou 2. sur le 9. ou 10.de l’espee contraire. Et à l’advenant qu’elle continue à descendre avec force, durant que le pied gauche luy tombe à terre à la lettre Q par delà le Diametre; aussi Alexandre en fait la desgraduation à l’advenant, en graduant la sienne, & accourcissant par mesme voye son bras droit, lequel il retire à soy, & en avançant un peu davantage le costé gauche, il s’en l’affermit le coude au costé droit, de façon qu’il en domte & divertit l’espee contraire à l’aide du corps, l’assujettissant par delà le Diametre, & plantant le pied eslevé par deçà à lettre Q; comme on voit en la figure. |
| While it is true that Zachary’s movement, where he brings his sword above his head to the point where he is about to bring it down to strike, is not shown in this current Table, it is shown in Table XVII, in Circles Nos 3 & 4, which also shows the means of receiving the incoming sword with the sword-point, to dominate and subjugate it. There is only this difference, that Alexander is shown moving to the right-hand side along the Diameter, so that he receives his opponent’s blade to the inside of his arm instead of the outside, as shown here. The particulars are more fully explained in that Table. | Il est vray que ce mouvement de Zacharie, dequoy il mene l’espee par dessus sa teste, estant sur le point de la laisser descendre à bas pour achever le coup, n’est pas representé en figure en ce Tableau present, mais is est mis au Tabl. XVII. Cercle N.3. & au Cercle N.4. du mesme representée la maniere de recevoir l’espee qui vient descendre avec la pointe, pour la domter & assujettir. Il y a seulement ceste difference, qu’Alexandre y est representé cheminant à main droite par delà le Diametre, dont il accueilt l’espee contraire en dedans du bras, au lieu qu’il le fait icy en dehors. Or les particularitez en sont plus amplement deduites au lieu mesme. |
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| Note that this way of subjugating such a blow in the manner we have described is an example of the most refined techniques of our art. This requires one take careful notice of all the particulars, that is, all the movements, and that each be done in its own proper time. Doubt not that this is quite difficult to do, and will cause no small amount of frustration to both scholar and novice. But once one has understood the supremely powerful nature of this act, the time and effort put into learning will not seem a hardship, provided one learns well. In any case, it will be of no practical use unless one has become trained, which cannot happen without spending much time practicing. | Notez que ceste action d’assujettir un tel coup de taille en la maniere que nous venons de descrire, c’est l’une des plus nobles parties de l’Exercice, qui requiert de fort particulieres observations de plusieurs, voire de touts les mouvements, à faire chascun exactement à son temps. Dont il ne faut pas douter, que la chose ne soit assez difficile, & moleste mesme à l’Escholer & à l’entree. Mais apres qu’il en aura comprins la tresgrande vtilité, le temps & le travail qu’il y mettra ne luy sçauroyent ennuyer, moyennant qu’on luy monstre bien. Toutesfois il ne s’en pourra guere servir en la Pratique, sinon qu’il en ait acquis une habitude, à quoy ne pourra parvenir autrement qu’avec le temps & par de longs exercises. |
| The old way of receiving a blow is to put the strong of the blade up in front of the head, sword-tip upwards, to take the blow coming with full force near or on the guard. This is quite dangerous and leaves you vulnerable. For example, your opponent can wound you by driving you sword into your head, or it may break, or he may instead switch to a thrust, by moving forward while leaning his upper body, so that he slips under your weapon and inside the lines, so that he can hit you in the chest or stomach. And even if you have safely parried the blow, in any case you will have in no way improved your position, not that of your body, nor that of your sword, in any way that would allow you to overcome your opponent. | La veille mode de parer vn coup de taille, c’est de mettre le fort de l’espee devant la teste avec la pointe montate, pour recevoir le coup venant à pleine force dessus ou alenviron de la garde. Chose qui est fort dangereuse & sujette à beaucoup d’incommoditez; par example, que le Contraire ne vous blesse en vous enfonçant l’espee, ou qu’il ne la mette en pieces, ou qu’il ne change la taille en estocade, en avançant & se panchant ensemblement la partie superieure du corps, en sorte qu’il vous vienne dessous les armes au dedans des perpendiculaires, don’t il auroit moyen de vous toucher en la poitrine, ou au ventre. Et encores que vous eussiez paré le coup tout à souhait, toutesfois vous n’en auriez nullement amendé vostre situation ny de corps ny d’espee, dequoy vous pourriez tirer aucun avantage pour vaincre. |
| Circle No 5 | Cercle N.5. |
| This then is the follow-on by Alexander and completion of the actions of the preceding Circle, by turning the right side to the inside with a forward motion of the hand and sword. He turns external branch of the crossguard upwards, sliding the point of contact the length of the opposing sword with a bent arm, and gives him (with a small forward shuffle of the left foot, onto which, while keeping his knee straight, he bends his body forward) a thrust to the head. Thus as this is shown in the figure. | Or voicy maintenant la suite & execution de la precedente, continuée par Alexandre, en tournant le costé droit en dedans, avec avancement du bras & l’espee, de laquelle il tourne la branche exterieure en haut, en graduant au long de l’espee contraire en ligne courbe, & luy donnant (avec vne petite intrade du pied gauche, sur lequel, tenant le genour roide, il se va pancher du corps en avant) un coup d’estocade par la teste; ainsi qu’il est montstré à la figure. |
| Circle No 6 | Cercle N.6. |
| Once again, Zachary begins to aim the same reverse cut to the head. But in the time while his sword is coming down, Alexander moves out of the way, forward, and speedily moving his left foot to the letter S on the Oblique Diameter, and delivers the same reverse cut to the right side of Zachary’s head as he spins on his left foot and moves his right foot around, outside the Circle, behind his left foot. | Zacharie recommence à tirer encores le mesme coup de revers à la teste de sa partie. Mais au temps que son espee est en acte te descendre, Alexandre se desrobe de la place, s’avançant & portant le pied gauche de grand vistesse à la lettre S en deça le Diametre, poursuivant quand & quand avec le pied droit à volter dehors le Cercle derriere l’autre, en tirant luy mesme le mesme coup de revers à son Contraire au costé droit de la teste. |
| This is, again, another follow-on from Circle No 1. While Alexander is prevented from performing the action in Circle No 2 and subjugating his opponent’s sword, Zachary again begins to aim the same reverse cut to the right side of the head. But, during the time it takes to raise the sword it begins to descend, Alexander evades the attack by turning and hopping with his left foot, either continuing the movement, or lifting it from the Second Instance, over to the letter S along the Oblique Diameter. Once there, he spins to the right on it, moving his left side forwards and moving his right foot around behind, while using this momentum to strike with reverse cut to the right side of his opponent’s head, as he sets his foot down outside the Circle. In this way, he strikes his opponent with the same cut that was intended for him. This we see portrayed in the figure. | C’est icy derechef une autre suite du Cercle N.1. Durant qu’Alexandre est empesché à faire l’operation du Cercle N.2. & à sujetter l’espee contraire, Zacharie recommence à luy tirer encores le mesme coup de revers, mais au temps que son espee est en acte de descendre naturellement de haut à bas pour faire l’execution, Alexandre abandonne la place où le coup est dressé, en se tournant, & sautant avec le pied gauche, qui estoit encores eslevé, ou mesme qu’il soit planté à la Seconde Instance, jusqu’à la lettre S par deça le Diametre, se tournant sur iceluy le costé gauche du corps en devant, à volter le pied droit derriere, en menant au mesme temps un contrecoup de revers à son Contraire au costé droit de la teste, & à planter le pied droit un pas derriere l’autre dehors du Cercle; de façon qu’il luy donne la mesme atteinte, dont l’Adversaire avoit pensé de le fraper: comme on le voit pourtrait à la figure. |
| Note well that in this action, that Alexander does not move from the Second Instance until his opponent’s sword has already begun to descend. For then his adversary will have no means to hold back the blow, thus Alexander will be completely assured that his opponent has fully committed and he need not fear any change of course. But if Alexander leaves his place too soon, then he will alert his opponent. For the enemy, having done but the preparatory move of raising his sword on high will still have the power to slow the descent. Without much effort, he could control the blow, to follow the fleeing body of Alexander with a horizontal strike to the same place, in such a way that Alexander would be in danger of being hit. | Notez bien en ceste action, qu’Alexandre ne partira pas de lieu de la Seconde Instance, que l’espee contraire ne soit desia en acte de descendre. Car ainsi l’Adversaire n’aura plus de moyen de retenir le coup. dont Alexandre en sera tout asseuré d’avoir l’entiere notice de l’entrepinse, & n’y aura plus nul changement a craindre. Mais si Alexandre abandonne plustost sa place, il en aviendra tout le contraire. Car l’Ennemy n’ayant fait qu’vne preparation d’eslever l’espee en haut, & qu’il ait encore en sa puissance de moderer la descente, sans y avoir employé ses forces, il pourra gouverner le coup, à poursuivre le corps frayant avec son espee, en la menant horizontalement vers la mesme place; de façon qu’Alexandre seroit encor en danger d’en estre touché. |
| Circle No 7 | Cercle N.7. |
| This is the follow-on from the preceding Circle, where Alexander has, without a pause, withdrawn his left foot as he raises his sword on high, set it down beside his right foot, which he then steps by the Quadrangle Z behind his opponent, hitting him again with a cut on the head, as is shown by the figures. | C’est la continuation de la precedente, qu’Alexandre y adjouste sans nulle pause, en retirant à costé le pied gauche, en sorte, qu’en ramenant l’espee en haut, il le plante joignant le pied droit; duquel il poursuit à marcher par delà le Quadrangle Z derriere l’Adversaire, luy donnant derechef un coup d’estramaçon à la teste; ainsi qu’il est monstré par les figures. |
| Circle No 8 | Cercle N.8. |
| Zachary moves forward with his right foot to the letter V, drawing his left foot up behind which again bringing the same revers cut towards his opponent’s head, but this time horizontally. Then he sets his left foot down beyond the Diameter on the Interior Collateral between M & I. Alexander sees the blow coming in this way, subjugates his opponent’s sword by sliding the point of contact along the blade to the outside, and steps with his left foot to the letter Q. As he did in Circle No 4. | Zacharie s’avance avec le pied droit à la lettre V, à poursuivre proportionellement avec le gauche, en menant derechef le mesme coup de revers vers la teste de sa partie, toutesfois horizontalement, & à planter le pied gauche eslevé par delà le Diametre sur la collaterale interieure entre les points M & I. Alexandre qui voit venir le coup à soy en ceste sorte, assujettit l’espee contraire en la desgraduant d’avantage en dehors du bras, portant le pied gauche à la lettre Q; comme au Cercle N.4. |
| Zachary sees that his adversary has adroitly avoided every reverse cut he has aimed at him from the Second Instance. In this present Circle No 8, he advances with his right foot on the Diameter to the letter V, his left foot following along, and as he aims a horizontal reverse cut, he sets his left foot down along the Interior Collateral between the two points M & I. He does this, believing that, even if his opponent moves from the spot, he will be able to follow and hit with his reverse blow. Alexander seeing the blow coming at him this way, receives his opponent’s blade to the outside of his arm with the tip of his own, as he turns his left side forward, stepping with his left foot and setting it down on the letter Q along the Oblique Diameter. Once again, he dominates and subjugates his opponent’s sword with a larger slide of the point of contact along the blade than in Circle No 4, while at the same time he puts his left hand on top to seize the guard. This is shown in the figure. | Zacharie voyant que l’Adversaire a esquivé touts les coups de revers qu’il a tirez sur luy à la Seconde Instance, presentement en ce Cercle N.8. il s’avance avec le pied droit sur le Diametre à la lettre V, poursuivant avec le gauche, & luy tirant cependant un coup de revers horizontal, à planter le pied gauche eslevé par delà le Diametre sur le collaterale entre deux les points M & I. se faisant à croire, encores que le corps de l’Adversaire se departe de la place, qu’il ne laissera pourtant de le poursuivre & atteindre à tout son revers. Alexandre voyant le coup venir en ceste sorte, il accueilt la lame contraire en dehors du bras avec la point de la sienne, se tournant ensemblement le costé gauche en avant avec le mesme pied avancé, à planter en deçà le Diametre à la lettre Q, domtant & assujettissant derechef avec une plus grande desgraduation, que non pas au Cercle N.4. l’espee contraire, en faisant ensemblement prinse de la garde, à mettre la main dessus; comme il est representé à la figure. |
| Circle No 9 | Cercle N.9. |
| This is the follow-on from the previous Circle, as Alexander continues in the same vein, moving his right foot and side forward, and pressing his opponent’s guard, which he seized before, down and behind himself, and in this opening, he strikes with a cut inside to the face, as he sets his foot down at the letter X. As is shown in the figure. | C’est la poursuite de l’operation precedente, continuée par Alexandre tout d’un mesme train, en avançant le costé & le pied droit, & poussant à bas arriere de soy la garde contraire, qu’il avoit prinse, & par ainsi luy donne un coup d’estramaçon au visage en dedans du bras, plantant le pied eslevé à lettre X; comme on voit à la figure. |
| This last cut being given, one can repeat the strike, using his left foot to spin around on his right foot, turning the left side of his body forwards, shifting his weight back while raising his right foot, then again stepping in and cutting again to the right side of this head, with almost the same action as shown in the following Circle No 13. | Ce dernier coup d’estramaçon estant donné, on le peut redoubler, en voltant le pied gauche par derriere le pied droit, puis en tournant le corps à main gauche se charger dessus, en eslevant derechef le pied droit & l’avancer devers le Contraire, & luy donner derechef un estramaçon au costé droit de la teste; quasi comme l’operation du Cercle N.13. Ensuivant. |
| Circle No 10 | Cercle N.10. |
| This one begins in Circle No 4, where Alexander has dominated and subjugated the reverse cut which his opponent has aimed at him. Following which, he performed the action in Circle No 5 with a thrust. Now he will work in a different way, as follows. While his opponent steps with his right foot up to the letter Q, he subjugates his opponent’s sword, at the same time he takes ahold of the guard with his left hand, which he draws toward him along with his opponent’s sword as he turns the right side of his body away and spins his right foot circularly around taking a large step behind his other foot outside of the Circle. At the same time, he extends his arm down by his side with his sword pointing downwards. He leans backward and raises his left foot. As is portrayed in the image. | Cestuy-cy a son origine au Cercle N.4. où Alexandre a domté & assujetti le coup de revers, que l’Adversaire avoit tiré sur luy: en suite de quoy il en a fait l’execution au Cercle N.5. avec une estocade. Maintenant il va travailler d’une autre façon; comme s’ensuit. Durant qu’il marche avec le pied droit à la lettre Q, en assujettissant l’espee contraire, au mesme temps il luy prend la garde avec sa main gauche, laquelle il retire à soy ensemblement avec l’espee contraire, en se tournant le costé droit alenvers, & voltant le mesme pied circulairement à un grand pas derriere l’autre dehors le Cercle en deçà, se mettant pareillement son espee à costé avec le bras estendu & la pointe baissée; ce que faisant, il esleve le pied gauche, & se panche le corps un peu alenvers sur le pied droit; comme il appert au pourtrait de la figure. |
| This action can also be done following Circle No 8, where Alexander has already come so far forward that he has already grabbed the guard. | Ceste operation peut aussi estre pratiquée en suite du Cercle N.8. où Alexandre en est venu desia si avant, que d’avoir fait la prinse. |
| Circle No 11 | Cercle N.11. |
| This is the follow-on and final action of the preceding, done by Alexander advancing and moving his raised foot along the Circle to the letter W, behind the back of his opponent, then leaning forward and shifting his weight onto it, drawing his right foot along behind, and by this same means thrusting his sword with straight arm into the right side of and through his opponent, as we see in the figure. | C’est la continuation & l’execution de la precedente, poursuivie par Alexandre à avancer & porter le pied eslevé par delà le Cercle, lettre W derriere le dos de l’Adversaire, en se chargeant & panchant le corps dessus, trainant le pied droit derriere, & poussant par mesme voye son espee d’un bras roide par le costé droit de l’Adversaire à tavers le corps; comme on le voit à la figure. |
| Circle No 12 | Cercle N.12. |
| Alexander subjugates his opponent’s sword at the Second Instance. Zacharie again aims the same reverse cut stepping inside with the left foot. Alexander evades by likewise stepping with his left foot to the letter Q, moving the sword in a circle above his head and then follows on by stepping with his right foot to the letter X, and cuts inside the arm at the left leg of his adversary. | Alexandre assujetissant l’espee contraire à la Seconde Instance, Zacharie luy va tirer derechef le mesme coup de revers en marchant dedans avec le pied gauche. Alexandre l’esquive en marchant pareillement avec le pied gauche à la letter Q, conduisant l’espee circulairement par dessus sa teste, & en poursuivant à marcher avec le pied droit à la lettre X, il en donne un coup d’estramaçon en dedans du bras à la jambe gauche de sa partie adverse. |
| This derives from Circle No 1 where Alexander subjugates the blade. At which Zachary again aims a reverse cut, as in Circle No 2, towards the head, stepping with the heel of his left foot to the letter L, drawing his right foot up behind. But in the time that his blade takes to descend from on high to make the cut, Alexander evades the blow by moving his body forward. As he enters in with his left foot to the letter Q along the Diameter, he uses his wrist to turn his blade in a circle to the left and above his head. He then continues by stepping with his right foot to the letter X. At the same time as he draws his left foot up behind, he delivers an inwards cut to his opponent’s left shin. This is shown in the figure. | La presente depend du Cercle N.1. où Alexandre travaille en faisant l’assujetissement. Sur quoy Zacharie luy tire derechef un coup de revers, comme au Cercle N.2, devers la teste, en marchant avec le pied gauche le talon à la lettre L, & laissant trainer le pied droit proportionellement apres. Or au temps que sa lame vient descendre de haut à bas pour executer le coup, Alexandre l’esquive, en avançant le corps, & entrant avec le pied gauche à la lettre Q en deçà le Diametre, voltant cependant sa lame à l’aide du poignet circulairement à la main gauche par dessus sa teste; puis en poursuivant tout d’un train à marcher avec le pied droit à la lettre X, & trainant quand & quand le pied gauche apres, il luy porte un coup de taille en dedans du bras à la greve de la jambe gauche; comme il appert à la figure. |
| Circle No 13 | Cercle N.13. |
| Here is the follow-on, which Alexander adds to his strike. (The literal description is unclear.) He turns to the right by spinning his left foot around behind his other, over to the edge of the circle between T & W. The instant he sets his left foot down, he raises his right foot and continues his turn to the right, and sets his right foot down behind him slightly off to the side beyond the Circle. As he turns, he raises his sword in a circle above his head. Then, as if dancing a demi-fleurette, he quickly raises his left foot, then puts it down at S, and with this move he redoubles his cut to the right side of his opponent’s head. As we can see in the image. | En voicy la suite, laquelle Alexandre y adjouste en voltant le pied gauche à droite par derriere l’autre, lequel il esleve de la terre tout au mesme instant qu’il plante ledit pied gauche, & en mettant derechef à terre un peu à costé en deçà le Cercle, il en fait cōme une fleurette en eslevant derechef le pied gauche; & comme ainsi soit qu’il ait conduit durant ce mesme temps son espee circulairement par dessus sa teste, il en redouble le coup d’estramaçon au costé droit de la teste de sa partie adverse, en plantant le pied eslevé dedans le Cercle à la lettre S; comme on le voit representé. |
| Often, after having made a move very quickly, the second blow happens differently, that is, simply turning the left foot around and then stepping with only the right foot, which is done as in Circle No 7. | Il viendra souvent à point apres avoir vistement travaillé, de redoubler ce deuxieme coup à la teste de l’Adversaire, un peu autrement; assavoir en voltant le pied gauche, & puis eslever & avancer tant seulement le pied droit. Ce qui sera fait en conformité du Cercle N.7. |
| Zachary has tried up to now in several way to hit his adversary with a reverse cut, and Alexander has always overcome and dominated in various ways according to the different situations, so that Zachary has been repeatedly wounded instead. Thus, he decides to no longer allow himself to be subjugated at the Second Instance. He tries to overcome this in the following action. | Or puis que Zacharie à tasché jusqu’à present en tant de sortes de frapper son Adversaire de ce coup de revers, & qu’Alexandre l’a tousiours prevenu & dompté en divers manieres suivant la diversité des occasions, en sorte qu’il en a esté blessé luy mesme; ce voyant il se propose de ne laisser plus assujettir sa lame à la Seconde Instance; ce qu’il tasche à prevenir par l’operation suivante. |
| Circle No 14 | Cercle N.14. |
| In the time during which Alexander is stepping with his right foot from the First Instance to the Second, to subjugate his opponent’s sword, and is about to follow up with his left, Zachary moves in, stepping with his right foot on the diameter at the letter S, to be followed by bringing his left foot behind onto the Circumscribed Square. At the same time Alexander brings his left foot up to his right doing a demi-fleurette-step & enters in on his opponent with his left side forward, subjugating his blade. | Au temps qu’Alexandre chemine avec le pied droit de la Permiere instance à la Seconde, pour assujettir l’espee contraire, & qu’il vient à poursuivre avec le pied gauche; Zacharie se transporte avec le pied droit par delà le Diametre à la lettre S, poursuivant à mener le pied gauche en suit sur le Quarré circonscrit. Durant le mesme temps Alexandre ayant planté le pied gauche tout joignant le pied droit, en fait une demi-fleurette, & entre dessus l’Adversaire avec le costé gauche du corps avancé, en luy assujettissant la lame. |
| This action likewise begins in Circle No 1. Alexander is the act of subjugating his opponent’s sword and has already stepped with his right foot along the Oblique Diameter to the letter Q, and he is in the process of drawing his left foot up behind. Zachary steps with his right foot along the Oblique Diameter to the letter S, followed by drawing his left foot into place along the Circumscribed Square. Then, before this movement can be completed, Alexander puts his left foot down near his right foot, which he quickly lifts, performs a quick-step, and puts his left foot down between the centre of the Circle and the Letter I and so moves into his enemy along the diameter. He leans onto it, and turns his left side forward in such a way as to block Zachary’s path and subjugates his blade, which his arm drawn in and close against his side. As is shown in the figure. | Ceste operation prend pareillemēt son origine au Cercle N.1. Alexandre estant en acte d’assujettir l’espee contraire, en sorte qu’il ait desia planté le pied droit en deçà le Diametre à la lettre Q, & que le pied gauche soit en train de poursuivre: au mesme temps Zacharie s’en va marcher avec le pied droit par delà le Diametre à la lettre S, poursuivant à mener proportionnelement le pied gauche sur le Quarré circonscrit. Dont Alexandre, avant que le mouvement soit achevé, plante le pied gauche tout pres le pied droit, lequel il continue tout soudainement à eslever, en faisant une demi-fleurette, & l’avance devers l’Ennemy par delà le Diametre entre deux le Centre du Cercle & la lettre I. se panchant en avant dessus le mesme, à tout le costé gauche du corps tourné en avant, de façon qu’il luy coupe le chemin, & luy assujettit la lame, avec le bras raccouci & affermi au costé droit du corps; le tout en conformité de la figure. |
| Circle No 15 | Cercle N.15. |
| This follows from the previous Circle, in the time it takes Alexander to enter in with his right foot to subjugate the blade. Zachary withdraws a large step backwards with his left foot. He also leans backwards onto the foot, and raises his sword from underneath his opponent’s by shortening his arm, in such a way as to feint to the outside, hoping to have Alexander parry his blade, and so move his sword aside, so that he would be able to hit at the same time to the inside. Alexander feels that his opponent’s blade begins to disengage, so at that moment, he aims his own in a direct line with his arm extended, while stepping forward with his right foot on the Diameter very close to the Centre, in such a way as to wound his enemy with a thrust to the face before he has a chance to perform the said feint. He follows by pushing right through by leaning his body forwards. Just as is shown in the figure. | Voicy une suite de la precedente. Au temps qu’Alexandre s’achemine à tout le pied droit en dedans, pour luy assujettir la lame; Zacharie se recule un grand pas en arriere à tout le pied gauche; se panchant aussi le corps dessus à l’envers, & ostant sa lame assujettie de dessous la contraire, moyennant l’accourcissement du bras, de façon qu’il en fait vne feinte à l’Adversaire en dehors, sous espoir de le faire parer & escarter son espee, en sorte qu’il auroit moyen de le toucher au mesme temps en dedans. Alexandre s’apperçoit par le sentiment, que l’espee contraire commence à se destacher, dont il dresse au mesme temps la sienne en droite ligne avec le bras estendu, cheminant ensemblement avec le pied droit sur le Diametre à bien pres du Centre de sorte qu’il blesse l’Ennemy au visage d’un coup d’estocade avant qu’il ait le loisir de parfaire la sudite feinte; poursuivant à la pousser tout outre, en panchant du corps sur le devant; comme il est representé en la figure. |
| It is understood that, when Zachary disengages his blade from Alexander’s, withdrawing and raising it for the aforesaid feint, and he receives at the same time a thrust to the face, even though his blade is free, nevertheless he cannot use it to wound his opponent. This is because, as experience shows, that a man is put into a state of confusion when he receives a wound to the face. His intent is interrupted, his mind is distracted, and his senses are diverted. Thus feints done closer than at the Second Instance can all be overcome in this same way, by extending the arm in a direct line, and wounding the opponent at the same time without any concern for where his blade is, neither to the right, nor to the left. | Il faut entendre, quand Zacharie se destache de la lame d’Alexandre, en retirant & ostant la sienne pour faire la susdite feinte, & qu’il reçoit au mesme temps l’estocade au visage; encores que sa lame soit tout libre, si est il toutesfois, que’il ne s’en peut nullement servir en ce mesme temps pour blesser l’Adversaire: par ce que l’experience monstre, que l’homme est mis en confusion quand il reçoit une blessure au visage, l’intention luy estant rompue, la memoire troublée, les sens divertis. Or les feintes qui seront faites de plus pres que de la Seconde Instance, vous les pourrez maistriser toutes en ce mesme sorte, en estendāt le bras en droite ligne, & blessant l’Adversaire au mesme temps sans vous soucier en rien qui soit de cercher sa lame, ny à droite, ny à gauche. |
| Circle No 16 | Cercle N.16. |
| This action also follows from Circle No 14, where Alexander has cut off his adversary’s path by stepping in against him with his right foot, and subjugating his blade. Here, he follows this action by moving his right foot forward with a quick jump to the letter L on the Oblique Diameter. He then leans forward and moves his left side forward, taking his blade from on top of his opponent’s with a push, then he seizes the guard with his left hand, pulling it towards him, and presenting the tip of his own to the chest of his adversary. As the figures demonstrate. | L’operation presente procede aussi en suite du Cercle N.14, où Alexandre a coupé le chemin à l’Adversaire en marchant contre luy avec le pied droit, & qu’il luy assujettit la lame. Presentement il poursui l’operation, en avançant le pied droit avec un petit saut par delà le Diametre à la lettre L; puis en panchant le corps en devant, & avançant davantage le costé gauche, il oste sa lame de dessus la contraire avec un poussement, dont il en fait prinse de la garde avec la main gauche, la tirant à soy, & presentant la pointe de la sienne à la poitrine de l’Adversaire; comme les figures demonstrent. |
| Circle No 17 | Cercle N.17. |
| Here, again, is another follow-on from Circle No 14. Alexander enters in with his right foot and takes ahold of the opponent’s guard with his left hand, as in the preceding action, however here he seizes from above the two blades, keeping them in contact, the follows by pulling the guard to his left side, stepping with his left foot to the letter X, and turning his right side to the outside with his foot raised, as it appears in the image. | Voicy derechef une autre suite du Cercle N.14. Alexandre faisant l’intrade avec le pied droit, & prenant la garde contraire avec la main gauche, cōme en l’operation dernierement precedente, sinon qu’il fait icy la prinse par dessus les deux lames, en les retenant accouplées, poursuit à tirer la mesme garde à son costé gauche, en marchant avec le pied gauche à lettre X, & destournant le costé droit en dehors avec le pied eslevé; comme il appert aux figures. |
| Circle No 18 | Cercle N.18. |
| This is a continuation of the same sequence. Alexander spins on his left foot, so his raised foot goes behind him, and his left side is turned to the front, while raising his opponent’s guard and with it his arm. He pushes it behind his opponent, so that he can move the tip of his sword against his opponent’s right side. This is shown in the figure. | C’est la continuation de la mesme suite. Alexandre se volte le pied eslevé derriere le pied gauche, qu’il esleve au mesme instant, en tournant le costé gauche du corps en avant, avec eslevation du bras & de la garde contraire à pousser arriere de soy, en sorte qu’il luy met la pointe au costé droit; comme on le voit representé en la figure. |
| Circle No 19 | Cercle N.19. |
| And here is the final action, which Alexander follows through in the same way, closing with his opponent by setting his raised left foot along the Oblique Diameter near the letter T. He leans his body forward, and so pushes the sword right through his opponent’s body. As we can see in the image. | En voicy l’execution, qu’Alexandre poursuit tout d’un mesme train, en accostant le Contraire avec le pied gauche eslevé, à planter par delà le Diametre tout pres de la lettre T, & à pancher le corps dessus en avant; dont il luy pousse l’espee à pleine force à travers le corps; comme il se voit en la figure. |
| Circle No 20 | Cercle N.20. |
| Here we have another action that has the same beginning in Circle No 14, where Alexander subjugates the opposing sword by stepping with his right foot towards the Centre, to block his path. In this Circle, Zachary advances and enters at the same time with his left side and foot, set down at the letter M along the Perpendicular Diameter, drawing the right foot along behind, and grasping with his left hand to grab his opponent’s guard. While he is making these moves, Alexander withdraws his arm and the guard back and to the left side, while putting his left foot on the Outside Square on the Oblique Diameter. He then proceeds to move his sword in a circle above over his head to cut at his opponent’s left ear, while withdrawing his right foot to the letter I on the Oblique Diameter. As we can see in the image. | Voicy une operation qui a aussi le mesme commencement du Cercle N.14. où Alexandre assujettit l’espee contraire en marchant avec le pied droit devers le Centre pour luy couper le chemin. En ce present Cercle Zacharie s’avance & entre au mesme temps avec le costé & le pied gauche à planter à la lettre M par delà le Diametre, entrainant & voltant aussi le pied droit derriere, & gripant avec la main gauche pour prendre la garde contraire. Durant ces dit mouvements Alexandre se retire le bras & la garde à main gauche & vers le bas, en reculant aussi le mesme pied sur le Quarrè Circonscrit, à planter sur le Diametre Oblicq, conduisant à l’advenant sa lame circulairement en haut par dessus sa teste, & en donnant un coup de taille au contraire à l’oreille gauche, en retirant le pied droit en deçà le Diametre à la lettre I; comme on le voit en la representation des figures. |
Draft Translation |
First Edition (1628-30) |
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| EXPLANATION OF THE ACTIONS IN THE FIFTEENTH TABLE. | DECLARATION DES OPERATIONS DV TABLEAV QUINZIEME. |
| Through all the preceding Tables, we have learned all the actions which can be done against the subjugation of the sword to the inside, to the point where the scholar has no more to fear, once he has seized this advantage, on condition that the swords remain in contact or that his adversary does no more than a simple disengage against him. If his enemy attacks, he will always have the most appropriate response. If his enemy changes position on him, he will recover, or even alter his approach. If his enemy makes to withdraw, he will pursue. If his enemy would wound him with the edge, or the point, from the direct line posture, or with bent arm, or with a reverse cut, he has counters to them all. He may go forward courageously, yet the way is fraught. One may say to me, that there are a great many more ways to engage which are not shown. To this I reply, there is no need of this, nor is it possible, any more than to count all the grains of sand in the sea, because the number of ways an encounter can change are infinite: the head, the arm, the sword, the foot, all can be a bit further forward or withdrawn, higher, lower, to the side. There are always differences, but not always significant enough that one must expand the precepts to cover them. Which is why, having finished this first part, which is about working on the left-hand side, we shall begin hereafter, to show the way to work on the right-hand side of the Diameter, up to Table XXI. Not that we wish that you master all the preceding lessons before beginning to practice the exercise in this Table XV, that is impossible, for the Tables follow in order of the Theory. But for Practical training, it would be most expedient, after you have well understood by Table IX the different forces against the blade, to pair up the lessons of attacks to the outside line with those to the inside line. That is, from Table IX and those which follow, with Table XV and those which likewise follow, practising each in turn. One must, to the extent possible, teach the arm and the hand which holds the sword to perform the principal parts of our Training, to learn to strengthen them in every way, in order to work favorably and equally well on all sides. | Par les Tableaux precedents nos avons achevé toutes les operations, qui se presentent contre l’assujetissement de l’espee en dedans du bras, de façon que l’Escholier n’aura plus rien à craindre, apres qu’il aura prins vne fois cest avantage, à condition toutesfois que les espees demeurent accouplées, ou que l’Adversaire ne face qu’vne cavation simple alencontre. Car si l’Ennemy l’attend, il fera tousiours l’execution convenable; s’il luy veut changer la situation, il se redressera, ou mesme en amendera son approche; s’il met peine à se retirer, il le poursuivera; si à le blesser de taille, ou de pointe, en ligne droite, en courbe, ou en revers, sans, ou avec cavation, il a des instructions à tout. Qu’il marche donc courageusement avant: le chemin est frayé. Si on me dit, qu’il y a bien encores des autres occasions, dont les particularitez n’ont pas esté representées. Ie respons, qu’il n’est ny besoin, ny possible de ce faire, non plus que de comter les sablons de la mer, car les changements sont infinis: la teste, le bras, l’espee, le pied, un peu plus avancé, ou retiré, plus haut, ou plus bas, ou à costé, ce sont tousiours des changements, mais non pas tousiours d’importance, en sorte qu’il faille estrendre les preceptes si avant. Parquoy donc ayant achevé ceste premiere partie, qui est de travailler en allant à main gauche, nous commencerons doresenavant à vous monstrer la maniere, que vous devez tenir pour aller à main droite par delà le Diametre jusqu’au Tableau XXI. Non pas que nous voulions, que vous soyez passé maistre de toutes le leçons precedentes, avant que d’entrer à la pratique de ce Tableau XV. c’est chose impossible, car les Tableaux ensuivent l’ordre de la Theorie. Mais pour la Pratique, il sera plus expedient, apres que vous aurez bien comprins par le IX. les differences de Poids, de vous adonner tout incontinent à conjoindre les leçons en dehors du bras avec celles qui sont en dedans; je di le Tableau IX. & sa suite, avec le XV. & la sienne pareillement, en pratiquant tantost les vnes, & tantost les autres. Car puis que c’est le bras & la main de l’espee, qui doivent effectuer en nostre Exercice les principales parties de toutes les operations, il faut qu’on aprenne à les fortifier en toutes manieres, pour travailler avantageusement & egallement de touts costez, s’il est possible. |
| Circle No 1 | Cercle N.1. |
| Here the two parties are set in the Circle at the First Instance, with swords parallel, in the direct line posture. Alexander has put his underneath his opponent’s. | Où les parties se sont plantez sur le Cercle en Premiere Instance, avec les espees parallels en droite ligne. Alexandre ayant mis la sienne dessous la contraire. |
| Zachary has placed himself on the Circle, with the toes of his right foot on the letter X, his heel on the outside edge of the Quadrangle, and his left foot set on the Pedal Line Z, presenting his sword in the direct line posture. Alexander, to work against him, approaches taking two or three steps forwards, according to the distance which is between them. At the same time as he carefully ensures that his left foot lands in a place where he can reach the Circumference at point C with his right foot, he extends his arm at an acute angle in a line off to his right side. Then, at the same time as he steps with his right foot, he raises his arm and sword, extended up at an obtuse angle. Then, with a look, he determines the distance to the body, arm, and sword of his opponent, he takes care to adjust his next step, so that he can bring his sword-tip as close as he possibly can to his opponent and by this means enter into the First Instance. Following this plan he advances his right side, together with his foot, arm, and sword, bringing them in a circular path down to set the toes of his right foot at C, and the heel on the collateral on the right side of the Quadrangle. With his arm extended, he continues to throw his sword out, raised slightly up by means of his wrist, over the Diameter in the direct line posture, and beneath his opponent’s sword, so that the tip of his sword ends up just in front of his opponent’s guard. So his right side is drawn even further forward, and his right heel is turned along the outside edge of the Quadrangle C-B, his left foot drawn by the nervous tension of his muscles up to the Pedal Line A, his body raised up, perpendicular and erect and in profile, by the same motion, with his sword ending parallel to and beneath his opponent’s sword, in the direct line posture. By this means both are standing in the First Instance at the proper position, so that each has his head and the centre of his body exactly over the centre of his Quadrangle, between his two feet. Every nerve and muscle tensed, knees and arms extended, the handle of the guard held straight in the hand, the two swords in parallel lines, in control, in extension, the tip and the hand in line at shoulder height. In this way they are both set in a natural, easy position, ready and free to move forwards, backwards, and to the sides, both left and right with no hesitation or delay. Each one is in a good position to defend against anything his adversary might try. As is shown in Circle No 1. | Zacharie s’estant placé dessus le Cercle à tout les orteils du pied droit sur la lettre X, le talon sur le costé exterieur du mesme Quadrangle, & le pied gauche reposé dessus la ligne Pedale Z, presente l’espee en droite ligne. Alexandre, pour travailler alencōtre, le vient approcher en faisant deux ou trois pas en avant, selon la distance, qui est entre deux; observant au mesme tēps qu’il plante le pied gauche à terre en lieu d’où il puisse atteindre avec le pied droit la Circonference au point C, de porter ensemblement le bras estendu avec l’espee en vne ligne à son costé droit en angle aigu; consequement il esleve à ce mesme costé droit le pied ensemble avec le bras & l’espee, estendu pareillement en vne mesme ligne en angle obtus; & comme il recognoist à veuë d’oeil la distance du corps, bras, & espee contraire, il prend sa visee à la garde, pour moderer le pas ensuivant, en sorte qu’il puisse porter sa pointe au plus pres d’icelle, qu’il soit possible, & entrer par ce moyen exactement sur la Premiere Instance; suivant lequel dessein il avance le costé droit, ensemble avec les mesmes pied, bras, & espee, les conduisant un peu circulairement de haut à bas, à planter le pied à tout les orteils sur le point C, & le talon du mesme sur la collaterale du Quadrangle à droite, continuant à jetter au mesme temps son espee avec le bras estendu, à l’aide du poignet, un peu plus haute en droite ligne au dessus du Diametre, & dessous l’espee contraire, en sorte que la pointe en arrive tout pres de la garde. Dont le costé droit luy est tiré d’autant plus en avant, & le talon du mesme pied en est tourné sur le costé du Quadrangle CB, le pied gauche trainant de soy mesme par l’attraction des nerfs & des muscles sur la ligne Pedale A, le corps se dressant aussi par mesme voye tout droit perpendiculair & en pourfil avec l’espee parallele en droit ligne dessous l’espee de l’Ennemi. Par ainsi les voilà touts deux plantez à la Premiere Instance en bonne proportion, tellement que les testes & les Centres des corps leur viennent à respondre justement dessus l’entredeux des jambes & dessus le centre du Quadrangle, chascun le sien; les nerfs, muscles, genoux, & bras estendus, la manche de la garde estroitement serré au poing, les espees situées en lignes paralleles modereement estenduës, l’espaule, la main, & la pointe en egalle hauteur; de maniere qu’ils sont plantez touts deux naturellement à leur aise en un pas arresté, touts prests & libres à marcher en avant, en arriere, & aux costez, tant à gauche, qu’à droite sans nulle autre preparation; estants chascun d’eux en bonne defense contre tout ce que l’Adversaire pourroit machiner; cōme il est à voir aux figures du Cercle N.1. |
| Circle No 2 | Cercle N.2. |
| Alexander continues his action, moving his right foot along the line of the Inside Square to the letter G, at the Second Instance, subjugating his opponent’s sword to the outside. | Alexandre poursuit l’operation, en allant avec le pied droit par la trace du Quarré Inscrit à la Seconde Instance lettre G, assujettissant l’espee contraire en dehors du bras. |
| Here, Zachary awaits the follow-on. Alexander raises his right foot, keeping his knee straight, likewise uses his wrist to raise the tip of his sword. He contacts his opponent’s blade to the outside with a small amount of force his 3rd Span in contact with his opponent’s 8th Span. At this moment, he pauses briefly (as we can see pictured in Circle No 4), following which, he turns the exterior branch of his crossguard diagonally upwards, and by the same means raises his tip further. Sliding the point of contact along the sword, he advances his raised foot to the right side, along the line of the Inside Square. Before he begins to overbalance, he again pauses briefly to check if his adversary will attempt to wound him at this time. But, as Zachary remains in place, he continues, leaning slightly back with his foot raised, then sets it down at the letter G at the Second Instance. He lifts his left foot and follows along with a circular motion, setting it down at the letter D, turning his heel straight on the Interior Collateral G-F, and putting his 8th Span in contact against his opponent’s 6th Span, and so fully subjugates it, as is shown in the figure. | Or puis que Zacharie en attend la poursuite; Alexandre esleve le pied droit avec le genou roide, en haussant pareillement à l’aide du poignet la pointe de sa lame, de laquelle il va toucher en dehors avec peu de force du N.3 le N.8. contraire, y adjoustant à ce mesme instant une bien petite pause (comme on le voit representé au Cercle N.4.) en suite de laquelle, tournant la branche exterieure de sa garde diagonalement contremont, & par mesme voye haussant un peu davantage sa pointe, & graduant sa lame, il avance le pied eslevé par la trace du Quarré Inscrit à main droite; & devant que le mesme vienne à tresbucher avec le corps, il en fait derechef une petite pause, pour remarquer, si l’Adversaire ne taschera point de le blesser durant ce mesme temps. Mais comme il demeure encores, il chemine un peu alenvers avec ledit pied eslevé, le plantant à la Seconde Instance lettre G, en eslevant & poursuivant circulairemēt à tout le pied gauche, & accouplant les espees environ N.8. à N.6. de la contraire, dequoy il l’assujettit tout à plein, plantant ledit pied gauche sur la Circonference à la lettre D, & ensemblement tournant le talon du pied droit sur la collaterale interieure GF; comme il est representé à la figure. |
| Circle No 3 | Cercle N.3. |
| Alexander continues to step with his right foot, following the same line, to the letter N at the Third Instance. He follows up with his left foot, which he sets down at the letter K on the same Quadrangle, while sliding the point of contact up the blade, further subjugating his adversary’s so that he presents his sword-tip precisely in front of his face. | Alexandre poursuit à marcher avec le pied droit par la mesme trace à la Troisieme Instance lettre N, & à poursuivre à tout le pied gauche, lequel il plante sur le mesme Quadrangle à la lettre K, en graduant les deux lames, & assujettissant davantage celle de l’Adversaire, en sorte qu’il luy presente la pointe en courtoisie devant le visage. |
| Because Zachary continues to wait, Alexander works further, by first lifting his right foot, then stepping along the line of the Inside Square, making a quick pause midway to the Third Instance, just before he overbalances, to check that his adversary is not about to strike at him. Then, as he slides the point of contact up the blades to subjugate Zachary’s blade even further, he moves to the letter N at the Third Instance, drawing his left foot up behind with a circular movement to the outside, and sets it down flat at the letter K, turning his body sideways to his opponent, and turning his right heel along the outside along the Interior Transverse I-N. Together with this, he turns the exterior branch of the crossguard upwards while sliding the point of contact so the centre of his blade is further down his opponent’s. Thus he increases the subjugation, and puts the point of his sword precisely in front of his opponent’s face before striking. As we see in the figures. | Puis que Zacharie demeure encores à en attendre la poursuite; Alexandre travaille, en eslevant premierement le pied droit, qu’il porte en avant par la mesme trace du Quarré Inscrit, & en fiat une petite pause à my-chemin de l’Instance avant qu’il tresbuche avec le corps, pour observer si l’Adversaire ne fera rien pour tirer sur luy; consequemment en graduant les lames il le porte encores plus outre à la Troisieme Instance lettre N, à poursuivre avec le pied gauche circulairement en dehors, & à planter tout à plat sur la lettre K, en poursilant le corps & destournant le talon du pied droit en dehors sur la traversante interieure IN, ensemblement aussi se tournant la branche exterieure de la garde diagonalement contremont moyennant la graduation, & par la mesme accouplant le Centre de sa lame à moins de Nombres du Contraire; dont il luy met en augmentant l’assujettissement, la pointe en courtoisie tout contre le visage, avant pouvoir d’en faire l’execution; comme on le voit aux figures. |
| As for these last two Circles, because they are set in perspective, and with smaller figures, the foot position of Alexander could not be exactly shown, that the Scholar could thereby obtain sufficient instruction. Because this is a point of very great importance, to understand, then with precision, I would return you to the first Table of all, where you will see the large footprints in Circle No 1, and again in Circle No 4, but smaller. You must place your feet according to these at the Second Instance, to fully achieve the actions described in the second Circle. Likewise for the Third Instance to fully achieve the actions described in this, Circle No 3. And take care to perform them exactly, for otherwise you will do nothing of worth. | Quant à ces deux derniers Cercles, puis qu’ils sont mis en la prospective, & en figures de moindre taille, le plantment des pieds d’Alexandre n’y a peu estre representé si exactement, que l’Escholier en puisse tirer suffisante instruction: car c’est un point de tresgrande importance. Pour en comprendre donc la justesse, je vous renvoye au Tableau premier de touts, où vous en verrez les patrons tracez en grande forme au Cercle N.1. & derechef au Cercle N.4. en moindre taille, en conformité desquesl il vous faudra regler la situation de vos pieds tant à la Seconde Instance, pour venir à bout de l’operation de ce Cercle deuxieme, qu’à la troisieme pareillement, pour en venir à l’accomplissement de ce present Cercle N.3. Et prenez garde à les observer bien exactement. car autrement vous ne ferez chose qui vaille. |
| A final note about these two Circles, where Alexander subjugates his Opponent in the second and third, he sets his sword-tip precisely in front of his opponent’s face, or he thrusts, as powerfully as he can. We have said nothing on the subject of force one would need to perform these actions. Because one may perform them against several different degrees, either Lively, or Strong, or Stronger, or Very Strong. As long as, while subjugating the sword, one slides the point of contact along the swords at the same time, down his and up one’s own, until the 8th Span is in contact with the opponent’s 6th Span. By doing this, with but a little effort, one can hold down against several different degrees of force, without stumbling or opening up the line, if the enemy should perform a circular disengagement. What is more, in the time that Alexander steps towards the Third Instance while sliding the point of contact up the blade, he will do the same against even greater degrees of force than we have said. | Au reste en ces deux mesme Cercles, dont Alexandre assujettit le Contraire au deuxieme & au troisieme il luy met la pointe en courtoisie devant le visage, ou bien qu’il en face l’execution, comme il en a la puissance; nous n’avons rien dit touchant le poids, qui soit requis pour lesdites operations; à cause qu’on les pourra pratiquer sur plusieurs differents degrez, soit Vif, ou Fort, Plus fort, ou Tres-fort; moyennāt qu’en assujettissant l’espee, on l’aille ensemblemēt desgraduant, & graduant au contraire la sienne propre, jusqu’à en accoupler le N.8. au N.6. du Contraire. Car en ce saisant, avec peu de force on pourra tenir en sujection plusieurs differents degrez de poids, sans tresbucher ne forligner, s’il advenoit que l’Ennemi vinst à faire cavation durant ce mesme temps. Qui plus est, au temps qu’Alexandre marchera vers la Troisieme Instance en augmentant la graduation, il fera tout le mesme, encores contre de plus grands efforts que ceux que nous avons specifiez. |
| We have already explained in Table VII the ways in which Adversary can increase or diminish the degree of resistance over the time that we have his sword subjugated at the Second Instance, until we wound him at the Third Instance, in the way we have shown in the figures. There is but this difference, that the subjugation was done before to the inside going to the left-hand side, and here, in contrast, it is going to the outside to the right. All other observations with respect to the Instance, the forces, and timings are just the same. | Or comment l’Adversaire peut augmenter ou diminuer ses degrez de force, durant le temps qu’on luy assujettit l’espee à la Seconde, ou qu’on le blesse à la Troisieme Instance, en la forme que nous venons de representer en nos figures; nous l’avons specifié assez amplement au Tableau VII. où il n’y a que ceste difference, que l’assujettissement se fait là en dedans du bras en allant à main gauche, & icy au contraire en allant à droite en dehors. toutesfois au regard de l’Instance, des poids, & des temps, ce sont toutes les mesmes observations. |
| Circle No 4 | Cercle N.4. |
| Alexander raises his right foot from the ground, at the same time, using his wrist, he raises his sword and brings the swords together, higher up his opponent’s blade, then advancing his foot over to the Oblique Diameter, he will slide the point of contact up his and down his opponent’s blade to subjugate it at the Second Instance. | Alexandre esleve le pied droit de terre, haussant ensemblement à l’aide du poignet & assemblant la pointe de sa lame à plus de Nombres du Contraire, puis avançant le mesme pied par delà le Diametre, il va graduant la sienne & desgraduant la contraire pour assujettir à la Seconde Instance. |
| We drew this circle reversed, so that Alexander works from the side where, in all previous Circles, we placed his adversary. This is to be able to show the follow-on actions in Circles No 5 & 6, as seen in perspective. Alexander has so far arrived at the First Instance, as in Circle No 1. He raises his right foot off the ground and lifts his sword-tip at the same time using his wrist, so as to join his 3rd Span against his opponent’s 8th Span. Having made a short pause, he steps with that foot to the right-hand side over to the Oblique Diameter, following the line of the Inside Square, and slides the point of contact so that his 8th Span joins his opponent’s 6th Span, to subsequently subjugate the blade at the Second Instance. This is the beginning, on which of all the actions which follow depend. | Nous avons figuré ce Cercle present tout au rebours des autres, en sorte qu’Alexandre y travaille du costé, où nous avons placé à touts les autres Cercle son Adversaire. Ce qui a esté fait pour accomoder les 5. & 6. qui en procedent, à l’ordonnance de la prospective. Alexandre donc estant venu preallablement à la Premiere Instance à la façon du Cercle N.1. il esleve presentemēt le pied droit de terre, & hausse ensemblement la pointe de sa lame à l’aide du poignet, en sorte qu’il en assemble le N.3 au N.8. du Contraire; ayant fait une petite pause, il marche avec le mesme pied à main droite par delà le Diametre, ensuivant la trace du Quarré Inscrit, & faisant la graduation de maniere qu’il joingt son N.8. au N.6. de la partie adverse, pour luy assujettir consequemment l’espee à la Seconde Instance. Et c’est le commencement dequoy toutes les operations suivantes dependent. |
| Alexander interrupts his action with a hesitant pause as soon as he has raised his right foot in the air, and again, as he steps towards the Second Instance to the right-hand side, he makes a second pause, just before he overbalances. Now we have found it most effective to show this moment in the image, so the student shall be more aware to always do this each time it is necessary to perform this same subjugation. Because these pauses will give him the time to recognize and prevent any of the counters which his adversary might plan to do during this action. In contrast, if he were to step right away from the First Instance to the Second, or from the Second to the Third, without putting in any pause, he would be in grave danger of being wounded. That is all to be said concerning the need to observe the opponent. One should also note that this practice will, from the beginning, not be pleasing to spectators, for the slowness and the interrupted motions of the learner, because of these pauses. Nevertheless, when is well practiced, and can easily adjust his timing to his opponent, instead of slowing him, these pauses will be of great help to him, and as such they will not even be noticeable. But at the beginning, one needs to have the patience to learn this. It may be that, of those who read this, considering how these pauses are quite contrary to the old mode of fighting, where no one knows about making brief pauses, and even less to carefully perform them, or to even to talk of their need, someone might wish to take issue with these instructions, I would ask the suspend judgement until they have fully looked at the usefulness, and self-assurance that they impart to someone who is in a fight, and the degree to which they instil habits that will protect their movements and train him in seeing the true points when actions are most effective. | Or ceste action d’Alexandre, faisant incontinent la pause du pied droit dés qu’il l’a eslevé en l’air, voire qu’en marchant avec le mesme devers la Seconde Instance à main droite, il en fait encore une autre pause pour la seconde fois, avant qu’il tresbuche; nous avons trouvé expedient de la representer en figure, afin que le Dissciple soit tant mieux averti d’en faire tousiours autant à toutes les fois qu’il fera question de faire ce mesme assujettissement. Car ces pauses luy presteront le loisir de recognoisre & prevenir toutes les traverses, que l’Adversaire pourra machiner durant ce mesme temps. Au contraire, s’il marche tout d’une tire depuis la Premiere Instance jusqu’à la Seconde, ou de la Seconde à la Troisieme, sans nulle entremise du pause, il sera en mille dangers d’y estre blessé. Voilà touchant la necessité de l’observation. Sachez davantage, que la pratique en sera du commmencemēt peu aggreable aux yeux des Spectateurs, pour la tardivité & l’interruption des mouvements de l’apprentif, procedant de ces pauses susdites. Ce neantmoins quand il en aura prins l’habitude & qu’il en saura adjuster les temps, au lieu de retarder elles avanceront le reste de la besoigne, de sorte qu’elles ne pourront estre remarquées; mais pour le commencement il faudra de la patience pour les apprendre. Par adventure aussi que ceux qui viendront à lire ces escrits, considerants que telles pauses sont du tout contraires à la veille mode de tirer des armes, où l’on ne sçait que c’est de faire pauses, & moins encores de les observer si curieusement, ou de les mettre en la description comme necessaires: si quelquun en voulust tirer occasion de reprender les instructions mesmes, je le prie d’en surseoir le jugement jusqu’à tant qu’il en ait examiné l’utilité, & l’assurance qu’elles apportent à celuy qui travaille, puis qu’elles l’engardent de prodiguer ses mouvements & luy monstent d’en adjuster le vray point des occasions convenables.
(n.b. printing errors in this paragraph were not corrected) |
| Circle No 5 | Cercle N.5. |
| This is the follow-on from the previous Circle. As Alexander subjugates the opposing sword at the Second Instance to the right hand side, at the instant he overbalances and his right foot falls to the ground, Zachary makes a circular disengagement from underneath his sword, around the guard and up, and steps forward with his right foot to the letter V, together with a thrust to the face with his extended arm. As soon as Alexander senses that the blade is no longer in contact with his, he aims his own sword towards his opponent, setting his foot down at the letter G at the Second Instance, and immediately follows with his left foot in a circular motion, setting it on the Circumference at the letter D. In this way, he turns the left side of his body outwards and the middle of his blade makes contact with his opponent’s at the 3rd or 4th Span. He continues by sliding the point of contact up, extending his arm, and putting his erect body into profile, so that he seizes control of the direct line with his blade, and sets his sword-tip exactly in front of his opponent’s face, where he can now finish the move. This is shown in the figure. | C’est icy la poursuite de la precedente. Alexandre faisant l’assujettissement de l’espee contraire à la Seconde Instance à main droite, à l’instant qu’il commence à tresbucher avec le pied droit; Zacharie luy fait une cavation, en desrobant son espee de dessous & alentour de la garde contraire en haut, marchant avec le pied droit en avant à la letter V, & ensemblement luy tire un coup d’estocade avec le bras estendu vers le visage. Alexandre, dés qu’il apperçoit par le sentiment, que la lame inferieure commence à se destacher, dresse au mesme temps la pointe de la sienne vers le front de l’Adversaire, en plantant le pied eslevé à la pretendue Seconde Instance lettre G, & poursuivant circulairement à tout le pied gauche, à mettre sur la Circonference au point D, au moyen dequoy il se destourne le costé gauche du corps en dehors, & accouple le centre de sa lame à N.3. ou 4. de la contraire, continuant à la graduer en estendant le bras & mettant le corps estendu en pourfil, de façon qu’il prend & ferme la droite ligne avec sa lame, & en met la pointe en courtoisie devant le costé droit du visage de l’Adversaire, ayant pouvoir d’en faire l’execution; comme il est representé en la figure. |
| Circle No 6 | Cercle N.6. |
| After Alexander has set himself at the Second Instance, holding his opponent’s sword in subjugation (the same way as in Circle No 2) he wishes to perform the action in Circle No 3. While he is in the act of stepping with his right foot along the line of the Inside Square, at the instant he begins to overbalance, Zachary makes a circular disengage, moving the tip of his sword from underneath Alexander’s guard and upwards, moves his right foot forward, and aims a thrust inside the arm towards the face. Alexander, as soon as he feels the blades disengage, immediately arranges his in the direct line posture with his arm extended towards the top of his opponent’s head, and as he sees the sword coming towards him, he meets it with the centre of his blade at about the 3rd or 4th Span of his opponent’s, and slides the point of contact up the blade as he sets his foot down at the intended spot at the Third Instance on the letter N. He then brings his left foot up to the letter K, draws his body upright in profile, thus closing down the direct line. Thus he wounds his opponent in the side of the face. As is shown by the figures. | Apres qu’Alexandre a esté planté à la Seconde Instance, y tenant l’espee contraire assujettie (en conformité du Cercle N.2.) il est veu à poursuivre l’operation du Cercle N.3. Estant donc en acte de marcher avec le pied droit par la trace du Quarré Inscrit, à l’instant qu’il commence à tresbucher avec le corps; Zacharie luy fait une cavation, delivrant la point de son espee de dessous la garde contraire vers le haut, en avançant le pied droit, & luy tirant un coup d’estocade en dedans du bras devers le visage. Alexandre, dés qu’il sent le destachement des lames, dresse incontinent la sienne en droite ligne avec le bras estendu devers le sommet de la teste contraire, & comme il en voit venir l’espee à soy, il l’accueilt avec le centre de la sienne à N.3. ou 4. continuant à la graduer, & à planter le pied au lieu pretendu de la Troisieme Instance lettre N, puis à mener consequemment le pied gauche sur la lettre K, & à dresser le corps en pourfil, fermant par ainsi la droite ligne; dont il blesse le Contraire au costé droit du visage; comme il est monstré par les figures. |
| Circle No 7 | Cercle N.7. |
| This action derives from Circle No 2, where Alexander, on the Oblique Diameter, has subjugated his opponent’s sword at the Second Instance to the outside of the arm. He begins to step towards the Third, to execute the actions as in Circle No 3. At this moment, Zachary increases the force on the blade, and, sliding the point of contact up the blade, and tries to force his opponent’s sword to his own outside, back towards the centre of the circle. Alexander feels this as he sets his foot down, as intended, at the letter N at the Third Instance, so he performs a dance quick-step putting his left foot down beside his right foot and raising his right foot in the air and moves it over to the Outside Square between P & T, while, at the same time, he completely releases his opponent’s sword, allowing his own blade to pass underneath his opponent’s as it jumps uncontrollably to the left, the brings his up, over, and down to make a reverse cut to the head as he swings his left foot around and behind him, as the figures demonstrate. | L’operation de cestuy-cy provient du Cercle N.2. où Alexandre a tenu l’espee contraire assujettie à la Seconde Instance en dehors du bras par delà le Diametre, & qu’il ait commencé à marcher avec le pied droit devers la Troisieme, pour accomplir l’execution du Cercle pareillement 3. en Nombre. En ce mesme temps Zacharie augmente le poids, & en graduant sa lame transporte la contraire à main droite en dehors du bras. Sur quoy Alexandre, qui en est adverti par le sentiment, plante au mesme instant le pied droit à la pretendue Troisieme Instance lettre N, & poursuit tout continuellement avec le pied gauche, à planter en forme d’une demie-fleurette tout joignant l’autre; lequel eslevant derechef, il porte de grand vistesse sur le Quarré Circonscrit entre les points P&T, & au mesme temps laschant l’espee contraire, qui en vient aucunement à tresbucher par la force du pois, il conduit la sienne de dessous vers le haut, & luy en tire un coup de revers (en voltant le pied gauche) au costé droit de la teste; ainsi que les figures demonstrenet. |
| So, having delivered the blow, it is possible to give a second one, by taking another step across in front of the opponent with the right foot, and repeating the step with the left foot, while using the wrist to bring the sword around in a circular motion overhead and down to cut across the left side of his head. An action which the figure and description will be examined in following Tables. | Or ayant donné le coup, il a moyen de le redoubler encores, en continuant à marcher avec le pied droit par devant le corps de l’Adversaire, & iterant la volte du pied gauche, durant laquelle il se tournera l’espee circulairement par dessus sa teste à l’aide du poignet, & en donnera un coup d’estramaçon à l’Adversaire au costé gauche de la teste. Operation de laquelle la figure & la description seront proposées aux Tables suivantes. |
| Circle No 8 | Cercle N.8. |
| Here is another action, which also derives from Circles Nos 2 & 3, beginning exactly the same way as before, except that this time Zachary uses a more violent amount of force to resist and push against his opponent’s blade. Thus when Alexander releases his blade, it flies even further over. Alexander works with this larger opening when he steps in, as in the previous Circle, and using his elbow, brings his blade overhead to cut at his opponent’s left ear. This is shown by the figures. | Il s’ensuit encores une autre, qui procede aussi des mesmes Cercles N.2. & 3. accordant en toutes les particularitez avec la precedente, horsmis que Zacharie fait icy le transportement de l’espee contraire en dehors du bras avec plus de violence, qu’au Cercle dernier precedent, dont sa lame estant laschée en fera un plus grand tresbuchement. Alexandre donc travaillant là dessus, & faisant l’intrade, comme au Cercle precedent, conduit sa lame à l’aide du coude par dessus sa teste, pour en mener un coup d’estramaçon à l’oreille gauche de l’Adversaire; comme les figures demonstrent. |
| Having made the blow, he can likewise repeat the same cut, as we noted before. | Le coup estant achevé, il le pourra semblablement redouble en la mesme sorte, que nous venons de dire en l’annotation precedente. |
| Circle No 9 | Cercle N.9. |
| And here is another which likewise derives from when Alexander has stepped to the Third Instance to perform a thrust as shown in Circle No 3. Thereupon, Zachary forces Alexander’s sword over and subjugates it on the right-hand side above the Perpendicular Diameter, aligning his with moderate force over the Principal Diameter. At the same time, Alexander sets his right foot at the letter N at the Third Instance, following along with his left foot, which, as he turns his left side outwards, he puts on the angle of the Inscribed Square, at the letter O. At the same time, with his arm extended and his sword-tip slightly lowered, he turns the interior branch of his crossguard upwards to protect his face, so that his opponent cannot hit him with a single move into the direct line posture, but he must move his blade in a circle around the guard. So he would need to take more time if he wanted to hit him. Alexander, in contrast, would find it easier to engage him, by maintaining his sense of contact between the blades and thus carrying the swords over and performing a subjugation to his right-hand side. | En voicy derechef un autre, qui procede pareillemēt de ce qu’Alexandreest venu à marcher devers la Troisieme Instance pour faire l’execution de l’estocade representé au Cercle N.3. Là dessus Zacharie luy transporte & assujettit l’espee à main droite par dessus le Diametre perpendiculaire, en mettant la sienne avec moderation de force par dessus le Diametre principal. Au mesme temps Alexandre se plante le pied droit à la Troisieme Instance lettre N, en faisant la poursuite avec le pied gauche, lequel en se destournant un peu le costé gauche en dehors, il asseoit sur l’angle du Quarré circonscrit marqué de la lettre O, en tournant ensemblement, avec le bras estendu & la pointe un peu descendante, sa branche interieur cōtrement à la defense du visage; de sorte que l’Adversaire ne l’y puisse toucher en en seul temps en droite ligne, mais qu’il soit contraint de faire un circuit entour la garde, à cause de la branche; dont il auroit besoin de plus de temps s’il y voulust toucher, & Alexandre au contraire plus de commodité pour l’en engarder, en poursuivant tousIours le sentiment & l’assemblage des lames & en faisant derechef le transport & l’assujetissement à sa main droite. |
| Please note that Alexander’s arm and sword-tip in reality would finish this action pointing directly out of the picture at the viewer, which is too difficult to show properly. This is why the arm is shown raised a bit up and the tip a bit lower, so the viewer can see what is happening. | Notez d’autant que le bras & la pointe d’Alexandre viennent à respondre en ceste action tout droitement contre les yeux du peintre, qu’il a esté trop difficile de les representer exactement en leur vraye situation. C’est pourquoi le bras y est pourtrait un peu plus eslevé, & la pointe plus basse, pour mettre en veuë au spectateur & au peintre mesme. |
| Circle No 10 | Cercle N.10. |
| This is the follow-on. Zachary holds his sword over his opponent’s sword with the same degree of force. Alexander increases the force on his, attempting to move them to the outside (as we can see in Circle No 11). At which point Zachary prevents this, by likewise increasing the force of his resistance against it. Alexander, who realizing what is happening, drops the contact, releasing Zachary's blade so it flies out of control. He uses this opening to perform a circular disengagement around his opponent’s guard to bring his blade upwards. He takes a short step to the right, turning his right side towards his opponent, and, with his arm out straight, aims his sword tip precisely at his opponent’s face. As is shown by the figures. | C’est icy la suite de l’operation precedente. Puis que Zacharie tient son espee dessus l’espee contraire avec telle moderation, qu’il est dit; Alexandre augmente le poids de la sienne, en taschant de les transporter en dehors du bras (cōme on voit au Cercle ensuyvant N.11.) Dequoy Zacharie luy empesche l’execution, en augmentant pareillement le sien alencontre, pour luy resister. Alexandre qui en a l’advertissement, luy lasche sa lame, laquelle en vient à tresbucher plus ou moins, en faisant cependant avec la sienne un circuit d’embas vers le haut, à l’aide d’un destournement du costé droit du corps à tourner en dehors à pieds fermes, en sorte qu’il luy presente la pointe en courtoisie devant les yeux avec le bras estendu; comme il est representé aux figures. |
| Circle No 11 | Cercle N.11. |
| This begins in the preceding Circle No 9 where we come to be start of the action in the last circle, that is, that Alexander begins to increase the force of his blade against his opponent to force the swords over, which was prevented before. Here his opponent, using only a light force against him, allows the blades to be moved. Alexander then moves his left side forwards, closes his right arm against his side, and continues to move his left foot along the Interior Transverse between the letters S & R. By this move, he forces his opponent’s sword over, which he subjugates to the outside, as the figures show. | Il prend son origine au precedent Cercle N.9. estant venu au commencement de l’operation du dernier precedent, assavoir, qu’Alexandre commence à augmenter le poids de sa lame inferieure pour transporter les espees, dont il a esté empesché au precedent de faire l’execution; presentement le Contraire, en usant d’un poids mediocre alencontre, le luy accorde. Alexandre donc avançant le costé gauche, s’affermit le bras au costé droit, cōtinuant à porter le pied gauche en avant sur la ligne traversante interieure entre les lettres S & R, accomplissant par ce moyen le transport de l’espee contraire, qu’il assujettit en dehors du bras, comme les figures monstrent. |
| Circle No 12 | Cercle N.12. |
| This depends on the previous Circle, the move continued by Alexandre, entering in with his right foot and at the same time turning his bent arm with the exterior branch of his crossguard turned up, sliding the point of contact along the swords, so that the two guards smash together so hard that his opponent is driven back, allowing him to raise his sword-tip and striking him with his arm bent, as his raised foot comes down along the Outside Square at the letter W. From here he finishes, driving his thrust through the head, as we can see in the figures. Some will observe that Alexander’s foot is shown along the Oblique Diameter. You should know that it is better to set it on the Outside Square, as described. | C’est la dependance de la precedente; continuée par Alexandre, en faisant l’intrade avec le pied droit, & au mesme temps tournant le bras courbé avec la branche exterieure contremont, & faisant la graduation des espees, en sorte que les deux gardes se rencontent si rudement, que le bras du Contraire en est forcé à ceder, & à laisser monter la pointe en haut, en luy donnant par ainsi l’atteinte avec le bras courbe, en plantant le pied eslevé sur le Quarré circonscrit lettre W, dequoy il en fait l’execution, en luy poussant l’estocade à travers la teste; comme on le voit aux figures; esquelles si vous trouvez le pied droit d’Alexandre planté sur le Diametre, sachez toutesfois qu’il est plus convenient de le mettre sur le Quarré circonscrit, suivant la description. |
| Circle No 13 | Cercle N.13. |
| This circle also follows on from Circle No 9. Alexander is in the process of forcing his opponent’s to the right-hand side to subjugate it, as in Circle No 11, helped by a step forward with his left foot. Zachary increases the force on his blade to resist against his opponent’s sword, which is already raised up while performing the move. We can see the figures as they struggle. | Aussi l’operation de ce Cercle present procede en suite de N.9; Alexandre estant en acte de transporter la lame contraire à main droite pour l’assujettir, comme au Cercle precedente N.11. à l’aide de la demarche du pied gauche: Zacharie augmente fort le poids de sa lame, pour resister à l’espee contraire qui est ja montée en haut en faisant le transportement; comme on voit en leurs figures qu’ils s’en debattent. |
| Circle No 14 | Cercle N.14. |
| Here is the follow-on. Alexander feels the increased force from his opponent’s sword, which resists against being moved. He suddenly disengages so that the sword flies, uncontrolled, over to his left side. At the same time he enters with his left foot along the Diameter to the letter V, following up with his right foot, and grabbing his opponent’s guard with his left hand. He turns his own sword from pointing down to pointing upwards, and presses his right arm against his side as he sets his sword-tip against his opponent’s neck. As he sets his right foot down at the letter I on the Diameter, he leans back, shifting his weight onto it, as we can see in the figure. | C’en est icy la poursuite. Alexandre sentent l’augmentation de force en l’espee cōtraire, qui resiste au transportement, la quitte en sorte qu’elle tresbuche à son costé gauche; au mesme temps il entre avec le pied gauche sur le Diametre lettre V, poursuivant à l’advenant avec le pied droit, & faisant ensemblement avec sa main gauche prinse de la garde contraire, & tournant sa propre espee d’embas vers le haut, laquelle il affermit à son costé droit, & en met la pointe au col de l’Adversaire, en mettant le pied droit à terre par delà le Diametre à la lettre I, & faisant la charge du corps panché alenvers sur le mesme; comme on le voit representé en la figure. |
| Circle No 15 | Cercle N.15. |
| Alexander completes the action, pulling the guard and his opponent’s sword to him with his own body leaning backwards and his left foot raised. He sets it down on the Diameter at R, entering in and shifting his weight with his right foot. He wounds his opponent at the same time with a forceful thrust through the head, as we can see in the figures. | Alexandre poursuit l’operation, en tirant la garde & l’espee cōtraire à soy avec le corps panché à l’envers, & le pied gauche eslevé, lequel il va planter à reculons sur le Diametre au point R, en faisant l’intrade & la charge du corps avec le pied droit, & blessant le Contraire au mesme temps d’un coup d’estocade à pousser en rigueur à travers la teste; ainsi qu’on voit aux figures. |
| History tells of the Roman General Fabius Maximus, who harassed the army of Hannibal and thus saved the Republic. VNVS HOMO NOBIS CUNCTANDO RESTITVIT REM (“One man, by delaying, restored the state to us”). Our students should take heed to likewise learn above all to manage their attack with patience. There is no reason at all to be hasty during the initial approach, because one does not know how one’s adversary will behave, whether one must work quickly or slowly, attacking forward, or defending backwards. Anything else would be temerity made manifest. It is true that those who hold to the common style agree with this, except when it comes to performing the pauses which we require when in the midst of combat, then they strongly object. They claim that victory is lost whenever one holds back, and that each slight pause is a fault, because, they say, one cannot disrupt an enemy, except by constant speed, so that he does not have time to respond, and it would be useless to even think of doing anything differently; that one could neither offend, nor defend, since pauses cannot be but like a burden that slows a packhorse and would leave one unable to meet the short, fast attacks which strike and strike again, and hit before one could stop them. I reply, to those who value nothing other than that one thing, that in our system we have no intention of only taking our time and disregarding speed, but that each one has its use, as much as the other, and that security comes from caution, as much as strikes succeed through quickness. It is not the back-and-forth motion of the arms, nor the clash of swords, nor the impetus of the body, nor the stamping of the feet which produce hits, these are merely movements. Careful preparations are not in fear, but in order to effectively deliver big hits, one needs to make certain of one’s approach, until one has the range and opportunity to hit with one quick motion. This how to offend your adversary, together with your proper defence, instead of just using speed which leaves you completely uncovered because it does not allow you time to assess your opponent’s actions. | L’histoire tesmoigne de Fabius Maximus General de l’Armee Romaine, qu’en trainant l’Armee de Hannibal il a redressé la Republique: Vnvs homo nobis cunctando restituit rem. Nostre Escholier se doit proposer semblablement d’apprendre sur tout à mesnager ses forces. Aussi n’a il nulle raison de se haster durant les premieres approches, par ce qu’il ne sçait quelle situation l’Adversaire doit prendre, s’il doit travailler viste ou lentement, en avant, ou en arriere. Ce seroit donc une temerité manifeste. Et de vray ceux qui se tiennent à la Pratique vulgaire, confessent le mesme. Mais touchant les pauses que nous requerons au milieu de la bataille, il leur semble qu’ils ont grande occasion d’y contredire. Car ils objectent, que la victoire s’envole à touts les fois qu’on la refuse, & que touts les clins d’oeil qu’on se retarde, sont autant de fautes; pour ce qu’on ne peut mettre l’Ennemy en desorder, sinon par la vistesse, de façon qu’il ne sache de quelle part il nous doive attendre: & si nous pensons d’y aller autrement, que nous ne ferons rien qu vaille, ny pour offenser, ny pour defendre, d’autant que la tardiveté ne pourra estre bastante à rencontrer tant de fretillements, qui passent, & repassent, & arrivent avant qu’on le puisse atteindre. Ie respons que ce n’est pas notste intention de priser la seule tardiveté des actions & en desprinser la vistesse: mais que l’une y doit avoir sa place, aussi bien que l’autre, & que les asseurances procedent de la tardiveté, comme les executions de la vistesse; reprenant ceux qui n’estiment rien valable aux prix d’elle seule. Ce ne sont pas les branslements du bras, ny le cliquement des espees, ny les impetuositez du corps, ny le battements des pieds, qui donnent les atteintes, ce sont des simples mouvements: les grandes preparations, ne sont pas à craindre, mais les grands coups, pour lesquels effectuer il ne faut qu’asseurer ses approches, jusqu’à tant qu’on ait le moyen de prendre une seule fois le temps à son avantage. Voilà la maniere d’offenser vostre Adversaire, conjoincte avec vostre propre defense, au lieu de ceste grande vistesse qui en est toute desnuée, par ce qu’elle n’a pas le loisir d’examiner les actions du Contraire. |
Draft Translation |
First Edition (1628-30) |
|---|---|
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| EXPLANATION OF THE ACTIONS IN THE SIXTEENTH TABLE. | DECLARATION DES OPERATIONS DV TABLEAV SEIZIEME. |
| When we are surprised by some great danger, it is natural thing to stop short, to consider the best means of protection. Before one has accomplished this, one feels as if one’s hands are tied and feet encased in mud. For I believe there is not a man in the world who can consciously commit so completely to his path that he cannot be instantly distracted from it if one were to suddenly place an obstacle in his way, such as a large rock, or a stick thrown between his legs. Who needs to have explained to them the effect of some disconcerting sight, or the rattling of resolve, no matter how firm at first, when unexpected danger crosses one’s path? The same reasons induce us to approach our work with slow, deliberate care, and it cautions us to work with circumspection in the middle of a fight. Dangers which cross our way come from all over and give us pause. But, as much as such pauses are a natural consequence of caution, it is also necessary to know when to instantly, and without hesitation, take advantage of an opening. Because we are not moving slowly merely to take a break, or rest, but to work better, to gather our strength, and to use it well, to seize the opportunity, and not let it pass. So we shall see how Alexander, in this current Table XVI, as he does throughout this book, during the time his hand, his feet, or his body are stopped, prepares himself to take action swiftly and with power, just like those who take two or three steps back in order to leap higher and further. So, let us look at these examples. | A toutes les fois qu’on est surprins d’un grand danger, c’est chose naturelle de s’arrester tout court, pour considerer le moyen de sa defense; & avant que de l’avoir fait, il semble qu’on ait les mains comme liées, & les pieds quasi engourdis. Car je croy, qu’il n’y a homme au monde, qui se puisse adonner si furieusement à la course, qu’il ne la rompe tout à l’instant mesme, qu’on luy jettera à l’impourveu une pierre ou un baston à travers les jambes. Quelle main necessera d’escrire s’il se vient presenter aux yeux un horrible spectacle, ou qu’elle resolution si ferme, qui ne soit incontinent troublée, quand le danger non attendu le traverse? La mesme raison qui nous induit à travailler lentement au commencement des approches, c’est celle qui nous advertit pareillement de travailler avec circonspection au milieu du bataille. Tout y est plein de dangers, plein de traverses. Mais autant qu’il est naturel de faires ces pauses, autant est il necessaire de les sçavoir abbreger à l’instant que l’occasion se presente de prendre nouvel avantage. Car ce n’est pas pour reposer qu’on se retarde; c’est pour travailler mieux, pour unir ses forces, pour les dispenser justement, & pour prendre l’occasion, qu’elle ne se passe. Ainsi en verra on faire à Alexandre en ce present Tableau XVI, comme aussi par tout ce livre: Durant l’arrest du pied, de la main, ou du corps, il se prepare à la vistesse de l’action ensuivante, à l’imitation de ceux qui se reculent trois ou quatre pas en arriere pour sauter avec plus de force en avant. Or voyons en les examples. |
| Circle No 1 | Cercle N.1. |
| Alexander subjugates his opponent’s sword to the outside, moving across to the Oblique Diameter to the right hand side from the First Instance to the Second. | Alexandre assujettit l’espee contraire en dehors du bras, en allant par delà le Diametre & à main droite de la Premiere Instance à la Seconde. |
| The two parties stand upon the Circle at the First Instance. Alexander will begin to work first, he raises his right foot, keeps his knee straight, using his wrist to raise the tip of his sword, he then brings it into contact to the outside of his arm, setting his 8th Span against his opponent’s 3rd Span, using but a little force. Next, he raises it a little more and, while sliding the point of contact up the blade, he moves his raised right foot just over to the Oblique Diameter following the line of the Inside Square. When his foot is halfway there, before his body begins to overbalance, he pauses briefly, to be sure his adversary is not about to attempt a strike as he moves on. Following on, he takes a slightly backwards step with his right foot, to set it in place on the letter G at the Second Instance, then, with a circular motion, draws his left foot after it. With his 4th Span pressed against his opponent’s 3rd Span, he subjugates the sword as he sets his foot down on the Circumference at D, turning the heel to lie along the Interior Collateral G-F, as we see portrayed in the figure. | Les deux parties s’estants placez sur le Cercle en Premiere Instance; Alexandre s’en va presentement travailler le premier, en eslevant le pied droit avec le genouil roide, & haussant ensemblement la pointe de son espee à l’aide du poignet, dequoy il en accouple avec peu de poids en dehors du bras le N.3. avec le N.8. du contraire; puis en suite il hausse encore un peu d’avantage en graduant, & avançant le pied droit eslevé par delà le Diametre ensuivant la trace du Quarré inscrit; duquel estant venu à my-voye de l’Instance, avant qu’il vienne à tres-bucher avec le corps; il en fait une petite pause, pour estre sur ses gardes si l’adversaire vouloit tirer sur luy durant ce mesme temps: poursuivant l’action il marche un peu alenvers avec le mesme pied pour le planter sur l’endroit de la Seconde Instance lettre G, en eslevant & continuant à mener circulairement le pied gauche apres, joignant ensemble ses N.3. à N.4. de l’espee contraire, l’assujettissant & plantant ensemblement le pied eslevé à la Circonference lettre D, & tournant la talon du pied droit sur la collaterale interieure G F; comme en la voit pourtraict à la figure. |
| Circle No 2 | Cercle N.2. |
| Zachary holds his blade with dead weight, or with only a slight degree of force. Alexander moves forward with his right foot to the letter Q, and follows up with his left foot, driving a thrust through the head. | Zacharie tenant sa lame morte, ou en peu de poids, Alexandre s’avance avec le pied droit pour le planter sur la lettre Q, & pour trainer en suite le gauche, luy poussant un coup d’estocade à travers la teste. |
| Here we have one possible follow-on from the preceding. Alexander feels that his opponent’s subjugated sword presses back with only dead weight, or with but a slight degree of force. He advances his right foot (while disengaging his blade) onto the Oblique Diameter at the letter Q, while at the same time he hits his opponent with a direct thrust to the face, which he reinforces and pushes right through by leaning his body forward, and drawing his left foot behind up to the External Collateral between the points G & M, as we can see in the figure. | Voicy une suite de l’operation precedente. Alexandre s’appercevant par le sentiment, que l’espee du contraire assujettie devient morte ou en petit Poids, il s’avance avec tout le corps & avec le pied droit, lequel il plante (en destachant les lames) par delà le Diametre à lettre Q, donnant par mesme voye une atteinte en droite ligne au visage du contraire, laquelle il renforce & pousse tout outre ne panchant le corps en avant; de sorte que le pied gauche en est trainé derriere jusqu’à la collaterale exterieure entre les deux points G & M; selon qu’on voit en la figure. |
| This same action can also be done when the subjugated sword is pressing back with a Sensitive degree of force, or even a bit more, as long as Alexander does a small push down on it, before his blade leaves the other, so that he lowers it and confuses his opponent’s sense of feeling, while putting himself inside the lines, and consequently performs the same action. | Ceste mesme operation pourra aussi estre pratiquée, quand l’espee assujettie tiendra le poids de sentiment ou un peu plus, à condition qu’Alexandre face un petit poussement dessus avant qu’il l’abandonne, de façon qu’il l’abbaisse & en trouble le sentiment, se mettant cependant au dedans de ses perpendiculaires, & ainsi consequemment en venir à la mesme execution. |
| Circle No 3 | Cercle N.3. |
| Here is another follow-on proceeding from Circle No 1. This time Zachary has increased the degree of force of his subjugated blade to Strong, Stronger, or Very-Strong. Which Alexander resists by matching his own force, and at the same time bringing his left foot and side slowly forward, pressing his right arm against his side, and lowering his right hand below his navel, to guard against overbalancing if his adversary suddenly disengages, thus forcing his opponent’s sword a bit lower as he sets his raised left foot along the Diameter at the letter L. He puts his body entirely inside the angle and lines of his opponent, as we can see in the figure. | Voicy encor une autre suite de la precedente Cercle N.1. assavoire que Zacharie augmente à ceste heure le sentiment de sa lame assujettie en Poids fort, plus fort, ou tresfort, à quoy Alexandre luy resiste en moderant le sien à l’advenant, & portant à ce mesme temps le costé & le pied gauche lentement en avant, s’affermissant aussi le bras droit au costé, avec la main abbaissé au dessous de nombril, pour s’engarder de tresbucher s’il advenoit que l’Adversaire fist cavation, luy sujettant ainsi l’espee un peu plus bas, & plantant le pied eslevé par delà le Diametre à lettre L, & se mettant tout le corps au dedans de l’angle & des perpendiculaires du Contraire; comme on le voit representé en la figure. |
| Circle No 4 | Cercle N.4. |
| This follows directly from the previous, in that as Alexander moves his left foot and side forwards, to again subjugate his opponent’s sword, Zachary makes a circular disengage to the inside to wound his left side. Alexander, at the instant he feels the swords disconnect, twists his right side forward with his right arm extended, which turns his left side away, and brings the centre of his sword against the weak of his opponent’s, after which he proceeds to slide the point of contact up the blade, forcing it away to the side, and then continues to set his raised left foot down along the Oblique Diameter at Q, and proceeds to wound his opponent with a thrust through the head, leaning his body forwards, as demonstrated in the figure. | C’est icy une dependance de la derniere precedente. Ainsi qu’Alexandre s’avance le costé & le pied gauche, pour assujettir derechef comme auparavant, l’espee contraire; Zacharie luy fait unc cavation pour le blesser en dedans au costé gauche; Alexandre à l’instant qu’il s’apperçoit par le sentiment du destachement des espees, s’avance le costé droit avec le mesme bras estendu en destournant le costé gauche, & assemblant le Centre de son espee au foible de la Contraire, laquelle il poursuit à graduer en avançant & plantant le pied gauche eslevé par delà le Diamettre à la lettre Q, & poursuivant à blesser ensemble le Contraire d’un coup d’estocade à travers la teste, avec le corps panché en avant; comme la figure demonstre. |
| Circle No 5 | Cercle N.5. |
| N.B. Gerard has made an error. His description reverses the footwork from what is shown in the drawing. The drawing makes sense, the description does not. I have corrected this in the translation.
This is another move which likewise follows from Circle No 3. Alexander has stepped in with his left foot to the letter L and subjugated his opponent’s sword. His opponent lessens the pressure against him to Deadweight or very little feeling. At this, Alexander, leaving his opponent’s sword, extends his own moving his right arm and side forward, in such a way as to wound him with the tip, while stepping forward with his left foot, setting it down along the Diameter at V, drawing his right foot behind, up to the letter I. He leans his body forward, driving his sword wth full force through the head. This is demonstrated by the figures. |
C’est icy encore une autre, qui depend pareillement de ce Cercle N.3. Car Alexandre ayant failt l’intrade du pied gauche à la lettre L, & assujetti l’espee contraire, sa partie en amoindrit le Poids jusqu’à tomber morte ou en peu de Sentiment. Là dessus Alexandre s’avance avec le pied gauche en quittant l’espee contraire, & estendant la sienne ensemble avec le bras & le costé droit avancé, en sorte qu’il le blesse d’un coup de pointe, en mettant le pied à terre sur le Diamettre lettre V, trainant le gauche apres à la lettre I, & avec le corps panché en avant, il luy pousse l’espee à pleine force à travers la teste; comme les figures demonstrent. |
| Circle No 6 | Cercle N.6. |
| This action also follows from Circle No 3, differing not at all from the preceding one, save that where Zachary in the last one weakened the force from his blade to the degree of Slight Sensation, or Deadweight, from which the aforesaid action proceeded, in this present Circle, he does exactly the opposite, increasing to Lively or Strong. Thus Alexander moves forward with his right foot, turning in circular motion to the right hand side, bending his arm while turning the exterior branch of his crossguard upwards, while sliding the point of contact up the blade to the same Span, where he holds it subjugated, until he sets his right foot down along the Perpendicular Diameter on the Outside Square at the letter T, and drawing his left foot along just beyond the letter Q, and giving a hit with the tip of his sword to the face, still with his arm bent, as we see shown in the figure. | L’operation presente procede aussi de ce mesme Cercle N.3. ne differant en rien de la precedente, sinon que Zacharie qui avoit dernierement affoibli sa lame jusqu’au Poids de sentiment, ou jusqu’à mort, de quoy s’en est ensuivie ladite execution; presentement il fait tout le Contraire, car il l’augmente jusqu’au Vif ou fort; dont Alexandre s’avance avec le pied droit, allant circulairement à main droite en se courbant le bras en portant l’espee avec la branche exterieure contremont, ensemble faisant la graduation de sa lame par le mesme Nombre, ou it tenoit la contraire assujettie, jusqu’à planter le pied droit qui marche par delà le Diametre sur le Quarré circonscrit lettre T, & trainant le pied gauche à l’advenant circulairement un peu outre la lettre Q, en luy portant au long de la lame un coup de pointe au visage avec le bras tousiours courbé; comme on le voit representé à la figure. |
| Circle No 7 | Cercle N.7. |
| This current action again has its beginning in Circle No 3. While Alexander begins to perform the preceding Circle, stepping in with his right foot and sliding the point of contact up the blade, Zachary parries by bending his arm, moving it to the outside right-hand rear, with his pommel raised up and the sword tip, in contrast, pointing downwards. At the same time, Alexander, in the process of stepping, sets his right foot down short along the Diameter at M, and instantly moves his left side forward followed by his foot, together with a circular motion up, over, and down around his opponents guard and raised elbow, so that he brings his point beneath the raised arm, while at the same time he seizes the wrist with his left hand and pushes it upwards and bad. Setting his left foot down where the Exterior Collateral crosses the line V – W, he bends his knee and leans onto it, and wounds his enemy by extending his hand from the right side of his body, and pushing the thrust forcefully through his opponent’s body, as we can see shown in the figure. | De ce mesme Cercle N.3. la presente operation en depend encores pareillement. Durant le temps qu’Alexandre se met à pratiquer celle du Cercle precedente, en faisant l’intrade avec le pied droit, & la graduation de sa lame; Zacharie pour le parer se courbe le bras en dehors & arriere du corps à main droite, avec le pommeau de l’espee ascendant, & la pointe au contraire descendante. Au mesme temps Alexandre se plante le pied droit, qui estoit en chemin, par delà le Diametre à la lettre M, en avançant tout à l’instant le costé gauche & poursuivant avec le mesme pied, & faisant ensemblement de son espee un circuit de haut en bas alentour la gare & le bras contraire, de sorte qu’il luy en conduit la pointe dessous le bras haussé, luy faisissant aussi au mesme Instant par le bas avec sa main gauche le poignet de la main, laquelle il pousse arriere de soy vers le haut, en posant le pied gauche à terre sur la derniere intersection de la ligne V W, ou il se charge le corps dessus avec le genouil plié, en blessant l’Ennemy avec le bras estendu au costé droit de la poitrine, & luy poussant l’estocade en rigeur à tavers le corps; comme on le voit demonstré par la figure. |
| Circle No 8 | Cercle N.8. |
| This one begins the same way as, and is very like, the preceding action, except that while Alexander enters with his right foot, sliding the point of contact up the sword, as in Circle No 6, Zachary uses a great amount of force to carry the swords over to his right side. At which point Alexander lowers his foot to the letter L, continuing to draw his left foot behind, and performs a circular disengage with his sword, around his opponent’s hand and up, as he presses his right arm against his side, so that his opponent’s unopposed sword overbalances and flies off to his left. Alexander again moves his left side forward, seizes his opponent’s wrist with his left hand, which he then pushes, along with the sword, downwards and away to the left, puts his left foot down where the Interior Collateral crosses the line V – W, bends his knee and leans onto it, and wounds his enemy the same as before, as the figures show. | Celle-cy procede & est du tout semblable à l’operation precedente, sinon qu’au temps qu’Alexandre fait l’intrade avec le pied droit, en graduant son espee, comme au Cercle N.6, Zacharie luy transporte l’espee à main droite usant de force; sur quoy Alexandre abaisse le pied droit en terre à la lettre L, continuant à poursuivre avec le pied gauche, & menant son espee par cavation contremont, en affermissant le bras au costé droit du corps, dont l’espee contraire vient à tresbucher avec le bras, & Alexandre avançant le costé gauche davantage, luy saisit avec la main gauche le poignet du bras, lequel il pousse ensemble avec l’espee plus bas, mettant le pied à terre sur l’intersection de la ligne V W, & se chargeant le corps pour se pancher en avant dessus le mesme avec le genouil plié, de maniere qu’il le blesse de sa pointe au visage; en conformité des figures. |
| Circle No 9 | Cercle N.9. |
| Here is another which originates in Circle No 3, where Alexander has entered with his left foot to the letter L, holding the opposing blade subjugated to the outside of his arm on the right-hand side, and is in the act of raising his right foot to perform the action of Circle No 6. Zachary withdraws with a rearward step of his left foot outside the Circle, and thereupon taking another with his right foot, while, at the same time disengaging with his sword underneath his opponent’s blade and rasing his tip so as to aim a thrust at his opponent’s face. Alexander, observing through his sense of feel that his opponent’s blade has lost contact with his own, instantly extends his arm meeting the weak of his opponent’s blade with the strong of his own. He follows up by sliding the point of contact up the blade while moving his body forward, setting his raised right foot down at the letter Q, putting his weight on it, and wounding his opponent by driving the sword-tip through the head; as is shown by the figures. | En voicy encor une qui prend pareillement son origine du Cercle N.3. ou Alexandre est entré avec le pied gauche à la lettre L, tenant la lame contraire assujettie en dehors du bras à main droite, & estant en acte d’eslever le pied droit pour venir à l’operation du Cercle N.6. Zacharie se retire faisant un pas en arriere avec le pied gauche au dehors du Cercle, & y en adjoustant encor un autre par dessus avec le pied droit, faisant ensemblement de son espee une cavation de dessous la contraire contremont, en sorte qu’il luy en tire une estocade devers le visage. Alexandre appercevant par l’observation du Sentiment, que l’espee contraire commence à se destacher, il estend à l’instant le bras de l’espee en accueillant de son fort le foible du Contraire, poursuivant à le graduer en avançant le corps avec le pied droit eslevé pour planter par delà le Diametre à la lettre Q, & en se chargeant le corps dessus le mesme, blesser le Contraire d’un coup de pointe à travers la teste; comme il est representé aux figures. |
| Circle No 10 | Cercle N.10. |
| This one now follows from Circle No 1. We see Alexander has done the subjugation at the Second Instance, at letter G, and has begun to step towards the Third in order to strike as shown in the 3rd circle of the preceding Table (XV). At the instant when his right foot is about to overbalance, Zachary prevents the strike by raising his arm and extending his blade upwards. Therefore Alexander likewise extends his upwards, such that the two guards meet, which pushes his opponent’s arm and sword higher, while, at the same time, he changes course with his foot so it comes down on the Diameter at the letter L . He pivots very quickly on this foot, bringing his left foot around and setting it down along the line V-W, shifts his weight onto his left foot so that he enters in between he lines and under the weapons, always keeping his face turned to the right so as to keep his opponent in sight. This is as shown in the figure. | Il s’ensuit maintenant une qui procede en suite du Cercle N.1. Car Alexandre ayant fait l’assujettissement à la Seconde Instance lettre G, & commençant à marcher du pied droit devers la Troisiesme, pour y donner l’atteinte representée au Tableau precedent Cercle N.3. à l’instant que le pied droit s’en va tresbucher avec le corps, Zacharie luy pare le coup en haussant le bras avec l’espee estendue pareillement en haut; dont Alexandre estend semblablement le sien en haut avec l’espee, de sorte que les deux gardes se rencontrent, qui pousse le bras avec l’espee contraire plus haute, destournant cependant le pied qui chemine de sa course pour le planter par delà le Diametre à la lettre L, tournoyant le corps dessus le mesme, & voltant de grand vistesse le pied gauche avec les orteils sur l’interseçtion de la ligne V W, sur lequel il se charge le corps en avant, de façon qu’il luy entre dedans les perpendiculaires & dessous les armes tenant tousiours le visage tourné à main droite pour regarder son homme entre les deux yeux; comme il est representé à la figure. |
| Circle No 11 | Cercle N.11. |
| Alexander continues the motion by keeping his feet in place, left side forwards, and ducking his head beneath his adversary’s arm, keeping his own right arm extended behind him, with his elbow turned down, so that his sword-tip lowers downwards alongside his opponent’s, as portrayed by the figures. | Alexandre en poursuit la continuation, se tenant à pieds fermes le costé gauche en avant, & panchant pareillement de la teste dessous le bras de l’adversaire, avec le bras droit estendu en arriere & le coude renversé en dessus, en sorte que la pointe de son espee se coule vers le bas au long de l’espee contraire; selon le pourtraict des figures. |
| Circle No 12 | Cercle N.12. |
| Here we see the final execution of the movement, having allowed his point to drop along, then below his opponent’s sword and with a twist o his wrist brought it down and over his left arm, which he closes up against his chest, as he turns his left side a bit further forward, moving his left foot to the Diameter at the letter X, shifting his weight onto it, and wounds his adversary in the right side, driving his sword through him, as is shown by the figures. | Il en fait icy l’execution, laissant descendre sa pointe au long & dessous l’espee contraire, & la jettant à l’aide du poignet de haut en bas sur son bras gauche, lequel il s’affermit contre la poitrine, en avançant un peu le costé gauche, pour le replanter sur le Diametre lettre X, ou il se charge le corps en avant, & besse l’adversaire au costé droit, en luy poussant l’espee à travers le corps; comme il est representé en leurs figures. |
| Two renowned Sword Masters of this country travelled one day to see Alexander, having leafed through the Tables from this book, determined to demonstrate a counter to the action presented in Circle No 10, declaring that they would absolutely be able to hit him if he were to perform this spin while working against them. Alexander agreed to prove to both of them, one after the other, that however they did their best by whatever means, under whatever conditions they chose, that they, themselves, would be caught and that the action in these 3 Circles could be done many different ways, until they could no longer conceive of any further attacks against it. | Deux des principaux Maistres de ce pays, qui furent un jour pour voir Alexandre, ayants feuilletté les Tableaux de ce livre, se prindrent fort à contrerooller la representation de ceste operation presente du Cercle N.10. soustenants fort & ferme qu’ils toucheroyent infalliblement quand on travailleroit sur eux en ceste sorte, à volter ainsi le pied gauche. Alexandre permit volontiers faire la preuve à touts deux, l’un apres l’autre, & combien qu’ils fissent leur extreme devoir & en diverses manieres pour le toucher, si les vint il tousiours à rencontrer si avantageusement, qu’ils en resterent attrapez eux mesmes, & que les operations de ces 3. Cercles furent à diverses fois executées en la mesme suite. Et quand ils ne sceurent plus rien faire alencontre. |
| Alexander offered to both to arrange himself as seen in Circle No 10, without any knowledge of how they would proceed, and he would pause his action to allow them the initiative. To which, they readily agreed. But as he was working from his sense of feel, he was able to respond to his own advantage, in such a way that nothing they tried worked. This took place in the presence of several interested parties aside from myself, who are eyewitnesses willing to testify to this story. | Alexandre leur offrit à touts deux de se mettre en la propre situation de ce Cercle N.10. à condition de ne se prevaloir plus de la mesme continuation qu’il venoit de pratiquer; mais qu’il s’arresteroit pour les laisser travailer les premiers. A quoy ils s’accorerent tres volontiers, & recommencerent à luy donner plusierus traverses. Mais comme il travailloit sur le Sentiment, il les prevint tousiours à la faveur d’iceluy, de maniere que rien ne leur reussit. Or ce fut en la presence de plusieurs amateurs de l’Exercice, & entre autres de moy, qui en recite & certifie cest histoire comme tesmoin oculaire. |
| Concerning the action in Circle No 11, as this is portrayed and explained, Alexander has moved his sword along and beneath his opponent’s to continue with the action in Circle No 12. Nonetheless, he can perform this action when his opponent drops his sword down instead, by then moving his sword-tip along and over his opponent’s sword, [i.e. not stepping under] then moving it over his left arm and so arrive again in exactly the same position. In summary, to perform this precisely as described, it is necessary to adjust and execute these movements quickly, as well as the spin and duck. This is the beginning the difficult techniques for the scholar to lean. But with continuous study and practice, he will have no fear of achieving his goal. Which is why he must bravely give himself over to his studies. | Touchant l’operation du Cercle N.11. comme elle est icy pourtraicte & expliquée en la description. Alexandre y à conduit son espee du long & par le dessous de la contraire, pour en venir à la continuation & execution du Cercle N.12. Aucunefois il la pourra pratiquer; quand l’espee contraire descendra vers le bas en conduisant sa pointe au long & par le dessus de la mesme lame contraire; sur son bras gauche, & ainsi consequemment en venir derechef à la mesme execution. Au reste pour pratiquer le tout justement selon la description, ou il est necessaire d’adjuster & accomplir vistement les temps des mouvements, comme aussi la volte & le pliage du corps; ce sera du commencement chose difficile à l’Escholier; mais par la continuelle estude, & par l’Exercice qu’il s’asseure hardiment d’y parvenir. Parquoy qu’il s’y adonne tant plus courageusement. |
| Circle No 13 | Cercle N.13. |
| Alexander, moving from the Second Instance to the Third, abruptly sweeps his opponent’s sword aside, stepping outside the arm and inside the line, so that it flies over the line between I and H, as is fully described below. | Alexandre cheminant de la Seconde Instance à la Troisiesme, donne à l’espee contraire un tour de secousse, allant dehors le bras en dedans de l’espee, de façon qu’elle en saute & tresbuche sur la ligne I H, comme il est declaré plus particularement cy dessous. |
| This action begins with Circle No 1, where Alexander has subjugated his opponent’s sword. But to perform this more easily he makes this subjugation with his tip raised and the 8th or 9th Span of his blade against the 4th Span of his opponent. He turns the external branch of his crossguard diagonally upwards (trapping his opponent’s blade). He continues to lift his right foot and as he steps, he raises his opponent’s sword up and to his right side, at which point he makes a slight pause, before he allows his body to overbalance and completes the step, entering in with his foot following along the Inside Square to the letter N on the Perpendicular Diameter at the Third Instance. As he brings his left foot along to the letter K on the Outside Square, he uses this motion to increase the force of his shoulder on his extended arm to push his opponent’s sword up, over, and down towards his left side, sliding the point of contact down his blade and up his opponents until they meet about the middle. In this way with the rotation of his arm and the turn of his left foot, he throws his opponent’s sword over so it stops over the line between I and H. This is shown by the figures. | Voicy une operation qui prend son commencement du Cercle N.1. ou Alexandre à sujetté l’espee contraire; Mais pour effectuer la presente plus commodement, qu’il face l’assujettissement de l’espee contraire avec sa pointe plus haute, accouplant son N.8. ou 9. à N.4. de l’adversaire; avec sa branche exterieure tourné diagonalement contremont; continuant à eslever & avancer le pied droit ensemble aussi à transporter un peu plus haut & à son costé droit l’espee contraire, de laquelle il face une petite pause, avant qu’il se laisse tresbucher le corps; puis continue à entrer avec le mesme pied eslevé par delà le Diametre suivant la trace du Quarré Inscrit à la Troisieme Instance lettre N, pour poursuivre au mesme temps avec le pied gauche, de sorte qu’il prenne de là une nouvelle vigueur & qu’il jette à pleine force avec le bras estendu par le mouvement de l’espaule l’espee contraire de haut à bas devers son costé gauche, en desgraduant la sienne propre & graduant ladite contraire, jusque bien pres du Centre, de façon qu’en luy donnant ce tour du bras & plantant le pied gauche sur le Quarré exterieur lettre K, il la jette avec force, en se tournant le costé droit devant, qu’elle vient à sauter & tresbucher au dessus de la ligne I H; comme il est monstré par les figures. |
| Circle No 14 | Cercle N.14. |
| Alexander continues the preceding action. Keeping his feet fixed in place, he immediately turns his right side to his opponent, while raising his blade up from below, keeping his arm straight, presenting himself in profile and in the direct line posture and putting his point precisely in front of his face, before he can make any other move to defend himself. As we see represented by the figures. | Alexandre continuant l’operation precedente, se tourne incontinent à pieds fermes le costé droit du corps vers sa partie, conduisant ensemblement sa lame avec le bras estendu d’en bas & haut, la presentant ave le corps estendu & pourfilé en droite ligne en courtoisie devant le visage de l’adversaire, avant qu’il puisse faire aucun autre mouvement pour se defendre; comme on voit representé aux figures. |
| There is no question but physical strength is of very great importance, when it comes to fighting. Nature herself imprints this, with I cannot say what degree of terror, such that we are often stunned, not just by the sight of those who are blessed with huge size, but at the mere mention of such. However, we can see that even the strength of lions, bears, and tigers are of no use against man’s agility and cleverness. Where does this come from, if not that great power is always accompanied by some weakness by which one can exploit? The same thing is in our System. If our opponent’s appearance seems to be intimidating, yet they still have their weaknesses, through which we can master and overcome them and against which they will never have the luxury of enough time to work out a counter-move. Having seen the benefits of Alexander’s agility, we should do likewise. We may hold our physical strength in high regard, but we will lose all benefit should we try to resort to that too early. That is why Alexander remains content to contain his adversary with small movements, reserving his strength until the proper time to make use of it presents itself so perfectly that is impossible not to take full advantage of the chance. Which we can manifestly see in all the examples in this current Table.
Il est certain que les forces corporelles sont de tres-grande importance, quand il est question de se battre. Nature mesme leur a empraint, je ne say quelle marque effroyable, par laquelle nous sommes estonnez non seulement en regardant entre les yeux ceux qui en sont douez par dessus les autres, mais encore assez de fois, à les ouir nommer tant seulement. Cependant on voit qu’aux Lions, Ours, & Tigres toute leur force ne profite de rien contre la dexterité des hommes. D’ou vient cela? Sinon de ce que la force est tousiours accompagnée de quelque foiblesse, où on l’attrappe. Le mesme en est il en nostre Exercice. Si les mouvements du Contraire sont terribles en apparance, ils ne laissent pas pourtant d’avoir leur foiblesse, durant laquelle on les peut maistriser & prevenir, qu’ils n’ayent jamais le loisir de se renforcer à leur avantage. Voylà la dexterité de nostre Alexandre faisons en de mesme. Estimons grandement nos forces corporelles; mais sachons que nous en perdrons le fruit, si nous en voulons avoir l’usage avant le temps. C’est pourquoy Alexandre se contente d’entretenir l’Adversaire avec de petits mouvements, reservant ses forces jusqu’à tant que l’occasion de s’en prevaloir se presente si belle, qu’il soit impossible quelle luy eschappe: comme on voit manifestement en touts les Exemples de ce present Tableau. | |
Draft Translation |
First Edition (1628-30) |
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_1-17.jpg) N.B., The coat of arms at the top belongs to Dedication and Arms of [Simon VII] (1587-1627), Count of Lippe (1613-1627), and his brother [Otto] (1589 – 1657), Count of Lippe-Brake (1621-1657) | |
| EXPLANATION OF THE ACTIONS IN THE SEVENTEENTH TABLE | DECLARATION DES OPERATIONS DV TABLEAV DIX-SEPTIEME |
| The majority of those who set themselves to learn fancy manipulations, do so with the intention of learning within a month or two (or so they claim) enough that they may defend themselves. As an intent, in truth, this is such a quite laudable goal, that, having reached it, it would almost be a crime to wish to go any further. But in this they demonstrate that they understand little of the use of arms. They trust so much in a good defence, which is but the first step of an apprentice, as if the superiority of this art consisted in nothing more, that they become proudly arrogant, and feel safely able to give affront to everyone around, confident they can win any quarrel by this means alone. Yet, on the contrary, do we not see clearly how, as in war, defense requires simliar skills, and similar spirit, as offense? Perfection consists of neither just the one nor the other. This is the same principle, and thus the same actions, which both Parties employ, however their intentions may differ: whether they seek to conquer, or to simply avoid being conquered. To the degree by which the attack is governed by more force, or more verve, one must present an equally effective defense, in order to suffice. I admit that, it appears reasonable to be merely be content with defense as such, but this is so only if one could be sure of never facing some new attack other than those which were practised; more so, if one could always fight as one wished. But, the converse is obvious: that this is the only way to able to defend against every attack, and that this can be good only if it is perfected. I say furthermore, that one needs as much skill against those who have no knowledge of swordplay as against those who do. Because one wounds not by dexterous swordplay, but by striking, performed either carefully or carelessly, which one must always be able to meet with the same skill, since we often see those who have no art thrusting and cuting, hither and thither, throwing themselves into the mortal danger they are trying to create for others. Thus one must proceed with prudence so as to not receive a counter-strike which would be sure to come from a more experienced opponent. So because this is the principal point in this case, to learn how to meet cuts, we put these examples here, going to the right-hand side, similar to those we have already shown for the left-hand side, in Table Fourteen. | La plus part de ceux qui s’adonnent à manier les fleurets, le font avec intention d’en apprendre seulement en un mois ou deux (comme ils parlent) autant qu’il en faut pour se savoir defendre. Et de vray pour l’intention, elle est si louable, que ce seroit crime, apres l’avoir obtenue, de vouloir passer plus outre. Mais ils demonstrent par là, qu’ils ne s’entendent gueres au fait des Armes, en ce qu’ils estiment la bonne Defense, comme un premier trait d’apprentissage, comme si l’excellence de l’art ne consistoit qu’à faire profession de braver deffier & outrager tout le Monde sous apparence de vaincre tout parforce. Ne voit on pas au contraire en la guerre qu’il y a pareil artifice, & pareille gloire, à bien defendre comme à bien assaillir? la perfeçtion ne consiste non plus en l’un qu’en l’autre. Ce sont touts les mesmes preceptes, les mesmes açtions, dequoy les Parties se servent, combien que les intentions soyent diverses; les uns pour vaincre, les autres pour n’estre vaincus. A mesure que l’assaut est gouverné avec plus de force, ou d’esprit, il faut que la defense le soit aussi à l’advenant, pour estre suffisante. I’advoue bien qu’il y auroit quelque apparance de raison de se content legerement d’une defense telle quelle, si on estoit asseuré de ne rencontrer jamais autre assaut que de son semblable; & encores plus, si on le pouvoir avoir à sa fantasie. Mais le contraire en est tout manifeste; de maniere qu’il faut que la bonne Defense soit munie contre tout, & qu’elle ne peut estre bonne, si elle n’est du tout parfaite. Ie diray plus qu’elle a autant besoin de dexterité contre ceux qui n’entendent pas les maniement des armes, que contre les autres. Parce que ce n’est pas la dexterité qui blesse, mais le coup, soit tiré avec prudence ou à l’aventure, il le faut tousiours rencontrer avec le mesme artifice. Et puis on voit souvent que ceux qui n’ont pas d’art, tirent d’estoc & de taille à tors & à travers, se preciptants eux mesmes à corps perdu au danger, ou ils veulent mettre les autres: de façon qu’il y faut proceder souvent avec plus de circonspection: pour ne recevoir le contrecoup, que contre les plus experimentez qui soyent. Or puis que c’est le principal point en ce cas, de savoir bien rencontrer les coups de taille, nous en mettrons icy les exemples, qui se presentent à faire en allant à main droite, comme nous en avons fait le semblable des autres à main gauche, au precedent Tableau quatorzieme. |
| Circle No 1 | Cercle N.1. |
| Alexander steps from the First Instance on the Diameter to the Second, subjugating his opponent’s sword to the outside of the arm with a Strong degree of force. | Alexandre marche de la Premiere Instance au delà de le Diametre à la Seconde, sujettant l’espee contraire en dehors du bras avec poids de force. |
| Both parties are established on the Circle, each in his own Quadrangle, holding the sword in the direct line posture, that of Alexander parallel to and beneath his opponent’s. He proceeds with the action of this Circle, moving his right foot from the Diameter along the Inscribed Square, while crossing the blades to the outside, then setting his foot down on the letter G at the Second Instance, to follow along with his left foot to the letter D on the Outside Square, and subjugating at the same time his opponent’s sword with a Strong degree of force, which would be required to give him ample opportunity to practise against in the action of the following Circle. | S’estants plantez les deux Parties sur le Cercle, chascun en son Quadrangle avec l’espee en droite ligne, celle d’Alexandre parallele au dessous de la contraire; il poursuit l’operation du Cercle present, en avançant le pied droit par delà le Diametre par la trace du Quarré Inscrit, & accouplant ensemblement sa lame en dehors du bras à l’espee contraire, plantant le pied eslevé sur la Seconde Instance lettre G, pour poursuivre avec le pied gauche sur le Quarré Circonscrit lettre D, & sujjeter au mesme temps l’espee contraire avec plus de force, que l’ordinaire ne requiert, pour luy donner tant plus d’occasion de pratiquer alencontre l’operation du Cercle suivant. |
| Circle No 2 | Cercle N.2. |
| While Alexander moves to accomplish the said subjugation, Zachary moves himself by stepping with his right foot up to the letter S on the Diameter, delivering a slash (followed by moving his left foot to the letter W) to his opponent’s face. | Cependant qu’Alexandre s’avance pour accomplir le dit assujetissement; au mesme temps Zacharie se transporte avec le pied droit au deça le Diametre sur la lettre S, vienant un coup d’estramaçon (poursuivant avec le pied gauche sur le point W) au visage de son Contraire. |
| While Alexander advances, as described above, to the Second Instance, to subjugate his opponent’s blade with a Strong degree of force, Zachary steps at the same time to the letter S along the Oblique Diameter, while bending his elbow to move his blade around and above his head, in such a way that he finishes with a slash (while moving his left foot along the Circumference to the letter W) to his opponent’s face. As is represented by the figures. | Durant qu’Alexandre s’avance, en la susdite maniere, à la Seconde Instance, pour assujettir l’espee contraire en dehors du bras avec force; Zacharie marche au mesme temps avec le pied droit par la trace du Quarré Inscrit au deça le Diametre sur la lettre S, conduisant sa lame avec l’aide du coude à la ronde par dessus sa teste, de façon qu’il en tire un coup d’estramaçon diagonal (en poursuivant avec le pied gauche sur la circonference lettre W) au visage de l’adversaire; comme il est representé aux figures. |
| We wished to show this figure so that Zachary’s action can be better examined and understood. To which he has been led by Alexander, who did this expressly by using more force to perform the subjugation of his blade. He did this in the hope that this would cause his Enemy to lose his balance with his sword. In any case, Alexander will parry this same blow in several and diverse ways through the actions in the following Circles, until he has overcome, and performed his counter-strikes. | Nous avons voulu representer ceste operation en figure afin qu l’action de Zacharie fust tant mieux examiné & entendue; à la quelle il a esté convié par Alexandre, qui la fait tout expressement pour attirer l’assujettissement de sa lame avec plus de force; luy ayant reussi de l’avoir executée sous espoir que l’Ennemi viendroit à tresbucher avec sa lame. Toutesfois Alexandre luy destournera le mesme coup en plusieurs & diverses manieres moyennant les operations des Cercles suyvants, jusqu’à en avoir le dessus, & faire des executions au contraire. |
| Circle No 3 | Cercle N.3. |
| Alexander again steps with his right foot to the Second Instance to perform the subjugation. Zacharay advances likewise against him to execute the same blow one more time. But Alexander meets his blade with his point, crossing over the centre, as his left foot is raised in the air. | Alexandre marchant derechef avec le pied droit devers la Seconde Instance pour faire l’assujettissement; Zacharie s’avance pareillement alencontre pour executer une autrefois le mesme coup, mais Alexandre luy acceuile au mesme temps sa lame, y accouplant la pointe de la sienne tout joignant le centre en eslevant le pied gauche en l’air. |
| The two parties have set themselves at the First Instance, and Alexander moves forward with his right foot towards the Second. At the instant he begins to fall forward to subjugate his opponent’s sword as in Circle No 1, Zachary sets out again to perform the slash of the preceding Circle against him, stepping with his right foot to the letter S, together with the circular movement of his sword over his head with a bent elbow. Thus as Alexander perceives by his sense of feel, that his opponent’s sword has detached, he extends his arm so his tip is above his opponent’s head, he sets his right foot down at the letter G, and as he raises his left foot, he makes contact with the 2nd or 3rd Span of his blade against the 10th Span of his opponent’s sword while his opponent’s sword is still raised in the air and before he begins to unwind the blow as it descends. This is shown by the figures. | Les parties ayants esté plantez en Premiere Instance, & Alexandre s’avançant avec le pied droit devers la Seconde, à l’instant qu’il commence à tresbucher avec le corps, pour assujettir l’espee contraire, comme au Cercle N.1. Zacharie se met derechef à pratiquer là dessus l’estramaçon du Cercle precedent, en marchant avec le pied droit à la lettre S, & conduisant ensemblement son espee à la ronde par dessus sa teste à l’aide du coude. Dont Alexandre dés qu’il apperçoit par le Sentiment, que l’espee contraire commence à se destacher, estend la sienne avec le bras un peu au dessus du sommet de la teste contraire, plantant le pied droit à terre pres la lettre G, & haussant le gauche en avant & attouchant au mesme temps du N.2. ou 3. de sa lame le N.10. de l’espee contraire, durant que la pointe en est encor eslevée en haut, & avant qu’elle desbande le coup par le mouvement naturel de la descente; ainsi qu’il est representé aux figures. |
| Circle No 4 | Cercle N.4. |
| Zachary takes aim towards Alexander’s face. Who, at the same time slides the point of contact up the blade, entering in with a step with his left foot to the Diameter, dominating him and subjugating his sword. | Zacharie tire vers le visage d’Alexandre; qui le desgradue au mesme temps, entrant avec le pied gauche par deça le Diametre, luy domte & assujettit l’espee. |
| Continuing from the preceding, Zachary allows his blow to descend diagonally towards his opponent’s face. At this Alexander turns his arm to the inside, the exterior branch of his crossguard upwards, sliding the point of contact up the blade as his had goes downwards, and down his opponent’s blade, so that he connects his 8th Span against the 4th or 5th Span of his opponent’s blade, which he pushes against as his hand descends back towards his left side, as he leans his body forward. He moves his raised left foot near the Diameter on the intersection of the Interior Transverse between I and N. Thus he dominates and subjugates with his strength, his point upwards, as the figures show. | Continuant la precedēte, Zacharie lasche le coup de sa lame, pour descendre diagonalement vers le vissage de sa partie; sur quoy Alexandre se tourne le bras en dedans, & la branche exterieure de sa garde en haut, graduant sa lame avec la main descendante, & desgraduant la contraire, en sorte qu’il en assemble son N.8. au N.4. ou 5. de ladite espee contraire, laquelle il pousse avec la main descendante arriere de soy vers le costé gauche, avec le corps panché en devant, & le pied eslevé qui s’avance pareillement en deça le Diametre sur l’intersection la traversante interieure entre les deux lettres I & N, ainsi la domte & assujettit avec force & avec sa pointe montante; comme les figures demonstrent. |
| Note that Alexander must make contact with his point against his opponent’s sword with his arm extended, at the instant he finishes he sweep over his head, and while his point is still raised high. As soon as he begins to drop his sword to strike, Alexander must also slide the point of contact at the same time, with his body leaning forwards, and his left foot raised to set it down as directed. Because he will need considerable skill to get the timing of these movements, which are very quick, one must not doubt that a Scholar will find himself confounded at first, trying to get this right. Nonetheless, one can be assured that anyone can achieve the timing through practise, if one applies the diligence that that this technique merits. | Notez qu’Alexandree doit accoupler sa pointe à l’espee contraire avec le bras estendu, à l’instant qu’elle a fait le tour par dessus sa teste, & durant que la pointe en est encor eslevée en haut; & aussi tost qu’ell vient à descendre naturellement pour donner le coup, il faut qu’il face aussi la destraduation au mesme temps, avec le corps panché de mesme en avant, & le pied gauche eslevé, pour planter selon que nous venons de specifier. Or puis qu’il est icy besoin de fort grande addresse pour compasser les temps de ces mouvements, qui sont si vistes, il ne faut douter que l’Escholier ne s’y trouve grandement embrouillé du commencement, pour le pratiquer justement: toutesfois je l’asseure, qu’il y pourra parvenir par l’usage, s’il y apporte la diligence que la chose merite. |
| Circle No 5 | Cercle N.5. |
| Alexander taking advantage of this, moves his left foot a bit forward, onto which (while raising his other foot) he leans forward, while, at the same time he reaches with his left hand over the two swords to seize his opponent’s guard, which he draws and pushes away upwards and to his left side, while spinning with his raised right foot. He makes a circular motion and sets his foot down by the Diameter on the Circumference, near the letter N. He then raises his left foot again, and pushes his sword-tip above the line of his opponent’s sword, under the arm, and into his enemy’s right side. As we see in the figure. | Alexandre poursuivant son avantage, avance un peu le pied gauche, sur lequel (en eslevant l’autre) il se panche en devant, & saisit ensemblement avec sa main gauche, qu’il porte par dessus les deux lames, la garde contraire, laquelle il attire & pousse au loing vers le haut à son costé gauche, en voltant le pied droit, qui est eslevé, circulairement entour le gauche au deçà le Diametre sur la Circonference bien pres de la lettre N, en eslevant derechef le pied gauche, & poussant la pointe de sa lame par dessus le fil de l’espee contraire dessous le bras au costé droit de l’Ennemi; comme on le voit en la figure. |
| Alexander’s follow-on and final execution of this action is to move forward with his raised left foot to the letter Q on the Diameter, shift his weight onto it, and drive the sword right through the body with full force. As this has already been shown in previous other Tables, so it is not necessary to reiterate it here. | La suite & l’execution de ceste operation pour Alexandre, c’est qu’il s’avance avec le pied gauche eslevé à la lettre Q par deça le Diametre, sur lequel (en poursuivant la pointe) il se charge le corps en avant, & luy pousse l’espee tout outre le corps avec pleine force. Or de cecy la representation en a esté faite en d’autes Tableaux precedents; de sorte qu’il n’a pas esté besoin de la reiterer icy. |
| Circle No 6 | Cercle N.6. |
| Alexander, has subjugated his opponent’s blade and set his feet down at the Second Instance. Zachary again tries the same overhead strike. At the same time that he brings his sword over his head, Alexander moves his right foot to the letter I, setting the point of his sword in front of his opponent’s face. | Alexandre ayant assujetti l’espee contraire, en mettant les pieds à la Seconde Instance; Zacharie luy va tirer encores le mesme coup que dessus; & au mesme temps qu’il mene l’espee par dessus sa teste Alexandre s’avance avec le pied droit sur la lettre I, luy presentant la pointe de l’espee devant le visage. |
| This action comes from Circle No 1, where Alexander has subjugated his opponent’s blade to the outside of his arm at the Second Instance. Thus Zachary moves forward, putting his right foot on the letter S and following with his left. He tries once again to give the same strike, as shown in Circle No 2, and to do this, he raises his sword high above his head at close range that Alexander, by advancing his right foot onto the letter I on the Oblique Diameter, and drawing his left foot behind to the letter G, sets his point exactly in front of his opponent’s face. | L’operation presente depend du Cercle N.1. où Alexandre a fait l’assujettissement de l’espee contraire en dehors du bras en plantant ses pieds à la Seconde Instance; dont Zacharie s’avançant du pied droit sur la lettre S, & poursuivant avec le gauche, tasche à luy donner derechef le mesme coup, qui est representé au Cercle N.2. & comme il porte à ceste fin son espee en haut par dessus sa teste en si estroit mesure; au mesme temps Alexandre avançant le pied droit par delà le Diametre sur la lettre I, poursuivant avec le pied gauche sur le point G, luy met la pointe de l’espee en courtoisie devant le visage. |
| If Alexander had wished to perform this move with determination, he would have entered in with his right foot to the Centre of the Circle, while his adversary brings his sword over his head, and leaned forward onto that foot, such that his extended arm would have pushed his sword through his opponent’s head almost to the hilt. | Si Alexandre en eust voulu faire l’execution par rigeur, il eust peu entrer avec le pied droit sur le Cenre du Cercle, durant que l’adversaire mene l’espee par dessus sa teste, & pancher du corps en avant sur le mesme, de maniere qu’il luy auroit passé l’espee avec le bras estendu à travers la teste, quasi jusqu’à la garde. |
| Circle No 7 | Cercle N.7. |
| Zachary intends to perform the same slashing cut while his sword is in the process of dropping downwards. Alexandre moves forward and enters with his right foot on the letter M, continuing his turn by spinning his left foot while giving his own cut to his adversary’s left ear. | Zacharie voulant pratiquer encores le mesme estramçon durant que son espee est en action de descendre vers le bas, Alexandre s’avance & entre avec le pied droit sur la lettre M, continuant en suite à volter aussi le gauche, en donnant luy mesme un coup de taille à l’oreille gauche de son adversaire. |
| Here, Zachary has once again attempted to execute the same slash as in Circle No 2. During the time his sword is above his head, following the natural line of descent to cut diagonally at his opponent’s face, he steps forward with his right foot onto the Oblique Diameter to the letter S. At the same time Alexander avoids him, moving forward and moving away from the letter G, where he was standing and where the blow was aimed, to step in with his right foot on the Perpendicular Diameter at the letter M, followed by spinning his left foot around behind the other, while he has turned his wrist so that his sword passed above his own head, by which means he cuts (as he sets his left foot down on the Circumference at the letter T) to the left side of his opponent’s head, giving him the same cut that he would have recieved. | Voicy que Zacharie à entreprins derechef d’executer le mesme estramaçon du Cercle N.2. au temps que son espee a fait le tour par dessus sa teste, descendant naturellement de haut en bas, pour donner le coup diagonal au visage de l’adversaire, le pied droit marchant par deçà le Diaetre sur la lettre S; au mesme temps Alexandre l’esquive, s’avāçant & divertissant le corps de la lettre G, où il estoit planté, & ou le coup estoit dressé, pour marcher en dedans avec le pied droit par delà le Diametre sur la lettre M, pour poursuivre & volter le pied gauche derriere l’autre, ayant conduit ce temps pendant son espee à l’aide du poignet par dessus sa teste, dequoy il tire un coup de taille (en plantant le pied volté sur la Circonference lettre T) au costé gauche de la teste de l’adversaire, luy donnant par ainsi le mesme coup duquel il avoit pensé faire son avantage. |
| One must take note and be very careful not to move one’s body from the letter G at the Second Instance until the opponent’s sword is already in the act of naturally descending downwards to execute the strike, at such a point where he can neither stop nor redirect it, but must continue to make the cut. For if one moves too soon from the place, while the sword (which is making its circuit overhead) is still raised high, he would have the strength to redirect his blow, moving his sword towards the Third Instance, where one would be stepping, and could yet be wounded. | Faut noter, & observer serieusement de ne bouger point avec le corps de la Seconde Instance lettre G, que l’espee contraire ne soit desia en acte de descendre naturellement vers le bas pour faire l’execution, de façon que l’adversaire ne la puisse plus retenir ne divertir, mais qu’il faille necessairement que le coup aille son chemin. Car si on s’oste plus tost de ladite place, durant que l’espee (qui à fait le circuit par dessus la teste) est encores haussée, il auroit encores la puissance de divertir le coup, en menant sa lame vers la Troisieme Instance, où l’on se seroit acheminé, & y pourroit encores blesser. |
| Likewise take note, in every instance which involves cuts, whether a slash, or a reverse, for those who hold the sword according to our manner, that during the time when one moves it up to arc overhead, that one must let the thumb slide from on top of the interior branch of the crossguard to underneath it, so that the exterior branch points vertically down, and the blade is aligned on the edge. Then the cuts, slashes, and reverse cuts, will be very much easier to execute. | Semblablement faut noter, en toutes occurrences où il sera question de donner coups de taille; soyent estramaçon, soyent revers, pour ceux qui empoigneront l’espee à nostre mode, qu’au temps qu’on l’aura portée en haut, pour tourner par dessus sa teste, qu’il fault laisser glisser dessous le poulce qui se repose dessus la brāche interieure de la garde, de sorte que la branche exterieure en viene à se dresser verticalement, & la lame à en tomber sur le trenchant. Dont lesdits coups d’estramaçons & de revers en seront d’autant plus faciles à executer. |
| Circle No 8 | Cercle N.8. |
| Alexander continues to pass in front of his adversary’s body, repeating again the preceding strike to the head. | Alexandre poursuit à passer par devant le corps de l’adversaire, en luy edoublant encor le precedent estramaçon sur la teste. |
| Alexander continues from the preceding, adding another step, quickly entering in moving his right foot backwards and towards his opponent, to continue with his left. As he raises his left foot, he again turns his wrist to bring his sword overhead and as he spins his raised left foot a bit in front of the letter W, he again strikes with a slash to the back of the head. This is demonstrated by the figure.[1] | Alexandre continuant la precedente, y adjouste encor un pas, entrant vistement avec le pied droit alenvers & en avant, pour continuer avec le gauche, lequel eslevant de terre, il mene derechef son espee à l’aide du poignet par dessus sa teste, & en voltant le pied eslevé un peu plus avant que la lettre W, il luy tire derechef un coup d’estramaçon au derriere de la teste; comme il est demonstré en la figure. |
| Circle No 9 | Cercle N.9. |
| Following from Circle No 4, Alexander moves his left foot a little forward, leaving his opponent’s sword as he seizes the hilt, which he pulls towards him, while he steps in with his right foot, and points his sword straight at the chest. | Suite du Cercle N.4. Alexandre avançant un petit le pied gauche, delaisse l’espee contraire, & luy saisit ensemblement la garde, laquelle il tire à soy en entrant du pied droit, & luy presente l’espee droit à la poitrine. |
| This present circle follows on from the action of Circle No 4, where Alexander dominates and subjugates his adversary’s cut. Just as he follows on in Circle No 5, seizing his opponent’s hilt by reaching over the two blades, here he also follows similarly with this action, where he steps slightly forward with his left foot, leaning onto it while raising his left hand at the moment he disengages his sword, lifting it up and reaching under it to seize his opponent’s guard, which he then pulls towards him, moving his right side forwards, He closes his sword-arm against his side, and with this, enters in with a step with his right foot to the letter M on the Perpendicular Diameter and setting his point exactly against his adversary’s chest, in conformity with the figures. | Ce Cercle present suit l’operation du Cercle N.4. où Alexandre dompte & assujettit le coup d’estramaçon de son adversaire. Et comme il s’en est ensuivi au Cercle N.5. la prinse de la garde contraire en avançant la main par dessus les deux lames; il s’en ensuit aussi semblablement l’operation que voicy presentement, où Alexandre avance un peu le pied gauche, se panchant dessus le mesme en haussant un bien peu la main gauche, & destachant ensemblement les espees ostant la sienne de dessus, & faisant par dessous prinse de la garde contraire avec sa main gauche, laquelle il tire à soy, avançant le costé droit du corps, & y affermissant le bras avec l’espee, parainsi entrant avec le mesme pied par delà le Diametre sur la lettre M, il presente la pointe de son Espee en courtoisie contre la poitrine de l’adversaire, en conformité des figures. |
| Circle No 10 | Cercle N.10. |
| Zachary again uses the cut from Cercle No 2, where he cut diagonally, this time he strikes horizontally at his opponent’s head. Alexander has therefore turned aside from his progress to perform the blow from Circle No 7. I sees his opponent’s sword coming horizontally, and is thus constrained to change his blow to catch his opponent’s blade, to subjugate and dominate it. | Zacharie se voulant derechef aider de l’estramaçon du Cercle N.2. ou il a tiré le coup diagonalement, maintenant il frappe horizontalement vers lat teste de sa partie. Alexandre donc ayant destourné sa demarche, pour pratiquer le coup du Cercle N.7. il voit venir l’espee contraire horizontalement, & pour cela est contraint de divertir son coup, en attachant la lame contraire, pour l’assujettir, & domter. |
| Zachary perceived that his diagonally-aimed cut at his opponent, as shown in Circle No 2, was avoided by Alexander by removing his body from the path of the blade, moving from the Second Instance to the Third in such a way as to give him a counter-cut, as in Circle No 7. To avoid this, here we have Zachary tries to make the same blow, but horizontally, by which means (as he is going around in a circular motion) he cannot fail to hit his man, whether he stays at the Second Instance, or removes himself to the Third. Alexander, therefore, having again entered in with his right foot, and raised his sword above his head to execute the cut from Circle No 7, sees that his opponent’s blow, which is moving along a horizontal path, will not let him counter-strike before he is, himself, struck, and diverts his blow, as soon as he as finished the movement above his head, and brings his blade in front of himself, drawn back, connecting with the middle of the two blades, which he then slides the point of contact down, in a circular motion, in such a way as to break and stop the blow. We can see in the portrait of the figures. | D’autant que Zacharie remarque, que son coup d’estramaçon, tiré diagonalement sur le contraire comme il est representé au Cercle N.2. à esté esquivé par Alexandre en ostant le corps de presence, & allant de la Seconde Instance à la Troisieme de façon qu’il luy en a donné luy mesme un contrecoup, comme au Cercle N.7. Pour y obvier, presentement Zacharie entreprend de faire le mesme coup horizontalement, duquel (allant circulairement en rond) il toucheroit son homme sans point de faute, soit qu’il demeure à la Seconde Instance, ou qu’il se retire devers la Troisiesme. Alexandre donc estant derechef entré avec le pied droit, & ayant mené l’espee par dessus sa teste en voltant le pied gauche en arriere pour executer le coup du Cercle N.7. voyant que le coup de l’adversaire, qui prend sa route horizontale, ne laisseroit pas de contreblesser, encores qu’il executst dessus luy, il divertit le coup, dés qu’il a achevé le mouvement par dessus sa teste, & porte sa lame en avant avec retenue, l’accouplant tout pres le centre à la contraire, laquel il desgradue circulairement, de façon qu’il luy en rompt & arreste le coup; suivant le pourtrait des figures.
|
| Circle No 11 | Cercle N.11. |
| Alexandre continues the preceding by stepping quickly further backwards with his right foot, drawing his left foot circularly around, having meanwhile brought his sword, once again, above his head, and so gives a cut to the left side of the head. | Alexandre poursuit la precedente, en marchant vistement plus outre alenvers avec le pied droit, pour volter en suite le gauche, ayant conduit ce pendant son espee derechef par dessus sa teste, de quoy il luy donne un coup d’estramaçon au costé gauche de la teste. |
| Continuing the preceding action, Alexander, having slid the point of contact along his opponent’s blade in a circular motion, now uses his wrist to raise his blade above his head, while stepping with his right foot onto the Diameter at the letter S, and drawing his left foot around in a circular motion very close to the angle, hits his opponent with a strike to the left side of his head. As is represented by the figures. | Continuant l’operation precedente, Alexandre venant de desgraduer circulairement l’espee contraire avec la sienne, il la porte tout d’un trait à l’aide du poignet par dessus sa teste, en marchant egallement avec le pied droit en avant par delà le Diametre sur la lettre S, & voltant le gauche derriere soy au delà le Cercle tout pres de l’angle, frappant le contraire d’un coup de taille au costé gauche, de la teste; selon qu’il est representé par la figure. |
| Circle No 12 | Cercle N.12. |
| Here we see Alexander performing the action even further out, again, in an instant, taking a backwards step with his right foot outside the Circle, and likewise using his wrist to move his sword in a circle above his head as he turns his left foot around behind, and again hitting his opponent, on the back of his head, before he has a chance to make the slightest movement. This is portrayed in the figure. | Voicy qu’Alexandre poursuit l’operation encores plus outre, faisant derechef tout à l’instant un pas du pied droit à reculons dehors le Cercle, & conduisant pareillement l’espee pare dessus sa teste à l’aide du poignet, en voltant le pied gauche, & blessant derechef le Contraire d’un coup de taille au derriere de la teste, avant qu’il ait moyen de faire aucun mouvement; comme il est pourtrait en la figure. |
| Circle No 13 | Cercle N.13. |
| Here is one more following from the last. Zachary’s cut left his blade too far out of line, so he steps and sets the heel of his right foot a little beyond the Diameter near the letter R, and follows by bringing his left foot in a circle to where the Diameter intersects the Line from N to S thus turning his body, with his sword pulled back and tip towards the ground ready to thrust. Alexander seeing this, steps with his right foot off to his side passing beyond the Circle, and continues by moving his left foot in a circle, thus moving out of the way of his opponent’s blade, and meanwhile, once again having his own, with the aid of his wrist, raised overhead to strike a blow for a third time on the left side of his opponent’s head. This is shown by the figures. | En voicy encore une à la suite de la derniere precedente. La lame de Zacharie estant tresbuchée avec le coup, il marche & porte le talon du pied droit un peu en deçà le Diametre pres la lettre R, en poursuivant à mener le pied gauche circulairement à reculons au deçà le Diametre sur l’intersection de la ligne N S, se tournant ainsi le corps avec l’espee raccourcie, & la pointe contre terre devers sa partie, pour luy donner une estocade. Alexandre l’appercevant, marche avec le pied droit à costé, passant en deça le Cercle, continuant à volter le pied gauche en suite, sortant par ainsi de la presence de l’espee contraire, & ayant cependant de nouveau la sienne à laide du poignet par dessus sa teste, il en tire pour a troisiesme fois encor un coup de taille au costé gauche de la teste de son Contraire; ainsi que les figures demonstrent. |
| Circle No 14 | Cercle N.14. |
| This Circle is another follow on by Alexander from Circle No 1. Having subjugated his opponent’s sword to the outside, and his opponent resisted with a Strong degree of force, Alexander enters thereon with his left foot to gently move it forward and approach the right hand, which he holds in place with his guard low and point high to the same side, in such a way as to subjugate his opponent’s sword lower down. | Ce Cercle contient une suite de l’operation d’Alexandre N.1. ayant assujetti l’espee du contraire en dehors du bras, & pource que ledit contraire luy resiste avec un fort sentiment, Alexandre entre là dessus avec le pied gauche pour le porter lentment en avant, & approcher le corps du bras droit, lequel il serre avec la garde descendante & la pointe montante un peu davantage contre le mesme costé, de maniere qu’il en assujettit l’espee contraire plus bas. |
| This action follows from Circle No 1, where Alexander has subjugated his opponent’s sword to the outside of his arm across the Diameter at the Second Instance. But now his opponent intends to hold fast against him with a powerful force against his blade, so that it would be very difficult to strike him by going to the Third Instance. Being thus forced by the exigencies of his action and the force of resistance of his opponent’s blade, Alexander steps and enters therein, increasing the force of his blade as he moves forward with his left foot, which he gently moves forward and sets it down, with his knee straight, along the Perpendicular Diameter at the letter L. At the same time he moves his body forward and squeezes his right arm against his side with the guard lower and the tip slightly higher, such that he subjugates his opponent’s blade a bit lower. As shown by the figures. | Ceste operation suit le Cercle N.1. où Alexandre a fait l’assujettissement de l’espee contraire en dehors du bras par delà le Diametre à la Seconde Instance; or maintenant l’adversaire veut tenir bon alencontre en usant de grande force avec la lame, de maniere qu’à grand peine le pourroit il atteindre en allant à la Troisieme Instance; travaillant donc selon l’exigence de l’operation & du sentiment de la lame contraire, Alexandre marche & entre là dessus en augmentant à l’advenant le sien avec le pied gauche, lequel in porte lentement en avant & le plante avec le genouil tendu par deçà le Diametre à la lettre L en avançant ensemblement le corps & serrant le bras à son costé droit avec la garde descendante & la pointe montant un peu davantage, de sorte qu’il en assujettit l’espee contraire un peu plus bas; selon le pourtrait des figures. |
| Circle No 15 | Cercle N.15. |
| This is the follow-on from the preceding action, Zachary’s blade which is subjugated only lifts with a little bit of force, as if with only Slight or Deadweight degree of force. At which Alexander turns on the balls of his feet, so his right side moves forward, disengaging his sword from his opponent’s, which moves only slightly if at all, and sets the rising tip of his sword precisely before his opponent’s face. As is shown in the figure. | Cest icy une suite de l’operation precedente, la lame de Zacharie qui est assujettie, un peu de Poids, comme en simple Sentiment, ou mort vient a tresbucher. Sur quoy Alexandre se tourne à pieds fermes le costé droit du corps en avant, quittant l’espee contraire, qui ne se meut point ou bien peu, luy presentant par couroisie la point de la sienne montante tout contre la partie droite du visage; comme il est pourtrait en la figure. |
| Circle No 16 | Cercle N.16. |
| Here is another follow-on from Circle No 14, in a different way. Alexander having, in the aforesaid Circle, subjugated his opponent’s sword, enters in with his left foot. Presently, Zachary pushes firmly with his blade against that of his opponent with a Strong or Stronger degree of force, such that the actions of Circle No 15 cannot be carried out. Alexander, thus constrained to work against the exigency of this resistance, moves his right side forward, moving his same foot along the Oblique Diameter at the letter Q, at the same time turning his bent arm a little upwards, with the exterior branch of his crossguard likewise turned diagonally upward, at the same time lowering the tip of his sword, he organises the Centre by sliding the point of contact from the Number where he held his opponent subjugated, by drawing his left foot behind him across the Diameter with a circular motion onto the line I-N, and thus wounding his opponent (with his body leaning forward) with a thrust the length of his blade into the upper part of his chest, as the figures demonstrate. | Voicy encore une suite du Cercle N.14. en un autre sens. Car Alexandre ayant fait sur ledit dernier assujettissement de l’espee contraire intrade avec le pied gauche; presentement Zacharie pousse avec sa lame contre celle de sa partie, avec Poids Vif, fort, our tresfort, de sorte que l’operation du Cercle N.15. ne s’en peut ensuivre. Alexandre donc travaillant selon l’exigence de cesdits Poids, avance le costé droit devers l’espee assujettie en entrant avec le mesme pied par delà le Diametre sur la lettre Q, ensemble tourne le bras courbé un peu vers le haut avec la branche exterieure de sa garde tournée pareillement en haut diagonale, & au mesme temps abaissant un peu la pointe de sa lame, il en assemble le Centre en graduant au Nombre où il tenoit la contraire assujettie, entrainant circulairement le pied gauche derriere soy par delà le Diametre sur la ligne I N, & blessant par ainsi le contraire (avec le corps panché en devant) d’un coup d’estocade tiré au long de sa lame en la partie superieure de la poitrine; comme les figures demonstrent. |
| From the same action in Circle No 14, follows another likewise, during the time Alexander steps in with his left foot. If his adversary employs a powerful force to move the blades to his right, then Alexander uses a circular disengage with his blade, allowing his opponent’s to escape off to his left carried away by the force of inertia. At the same time he sets his raised left foot down on the Perpendicular Diameter at M, grasps his opponent’s guard with his left hand, and moves his right foot forward, he hits his point in the chest, which is the same action as in Circle No 9. | De ceste mesme operation du Cercle N.14. s’en ensuivra une autre pareillement, au temps qu’Alexandre fait l’intrade avec le pied gauche, si l’adversaire luy transporte l’espee à main droite avec grande force, qu’Alexandre, fera cavation avec sa lame, en laissant eschapper & tresbucher la contraire par la violence du Poids, posant ensemblement à terre le pied gauche encor eslevé par deça le Diametre pres de la lettre M, faisant prinse de la garde contraire avec sa main gauche, & en avançant le pied droit, le touchera de sa pointe en la poitrine, qui est la mesme operation du precedent Cercle N.9. |
| Circle No 17 | Cercle N.17. |
| Alexander, once again, enters in with the left foot on the subjugated sword. Zachary enters thereon further forward, bringing his sword about his head to draw a cut to the head of his opponent. Alexander, being aware of the close distance, sets his raised foot down and leans on it, while at the same time seizes his opponent’s guard with his left hand by which he stops the blow. | Alexandre faisant derechef en la meme sorte l’intrade du pied gauche sur l’espee assujettie, Zacharie entre là dessus plus avant, menant l’espee par dessus sa teste, pour tirer un coup de taille à la teste de sa partie; Alexandre, ayant esgard à la mesure si estroite, plante le pied eslevé & se panche dessus, & saisit au mesme temps en haut la garde contraire avec sa main gauche, dequoy il lu rompt le coup. |
| This current action again derives from Circle No 14. As Alexandre enters in with his left foot keeping his opponent’s sword subjugated, at the same time, Zachary steps forward against Alexander with his right foot, while with his elbow he moves his sword overhead to draw a cut across his opponent’s head as he sets his right foot down on the ground, just a bit beyond the letter L, then following with his left foot to the intersection of the line Q-N. So, as his sword descends to execute the blow, Alexander moves his left side forwards, seizes his opponent’s guard as it comes down and puts his left foot down on the Oblique Diameter, a bit before the letter H. He shortens his arm back, so his sword rests by his side, tip raised. As is shown by the figures. | C’est encor du mesme Cercle N.14. que la presente operation procede. Car ainsi qu’Alexandre fait l’intrade avec le pied gauche sur l’espee contraire assujettie; au mesme temps Zacharie marche pareillement alencontre avec le pied droit, conduisant ensemblement son espee à l’aide du coude pare dessus sa teste tirant un coup de taille, à la teste de sa partie en plantant le pied droit à terre par deça le Diametre un peu plus avant que la lettre L, pour poursuivre du pied gauche sur l’intersection de la ligne Q N. Or au mesme temps que son espee vient descendre d’enhaut pour executer le coup, Alexandre avance le costé gauche du corps, en faisant prinse avec sa main gauche de la garde contraire en la hauteur, plantant le pied gauche encor eslevé sur le Diametre un peu devant la lettre H, & mettant l’espee avec le bras raccourci & la pointe montant au costé droit de son corps; comme il est representé en la figure. |
| Circle No 18 | Cercle N.18. |
| Alexander continues the preceding action by leaning his body backwards onto his right foot, drawing his left hand, which holds his opponent’s guard, downwards and towards him, keeping his opponent’s sword-tip downwards. At the same time, he closes his right hand against his side, and sets the point against his opponent’s face. As is in the figure. | Alexandre poursuit l’operation encommencée, à pancher du corps alenvers dessus le pied droit, en attirant à soy vers le bas avec sa main gauche au mesme costé la garde de l’espee contraire avec la pointe abaissée, & ensemblement serrant le bras raccouci au costé droit de son corps, en presentant sa pointe tout contre le visage de l’adversaire; comme il est en la figure. |
| Circle No 19 | Cercle N.19. |
| This is another follow-up to Circle No 17. After Alexander has seized his opponent’s raised guard with his left hand, this time, as he pulls it down towards his left side, he turns his hand to the outside and pulls towards him, taking the sword away from his opponent’s grasp. As he does this, he closes his right hand against his side, leaving his point down, to have his sword ready should he need it. As is shown in the figure. | Voicy une autre poursuite du Cercle N.17. Suivant lequel Alexandre ayant saisi par dessous avec sa main gauche la garde contraire encor eslevée; maintenant il la tire en bas à son costé gauche, & en tournant sa main gauche en dehors, & l’attirant à soy il emporte l’espee contraire, raccoucissant la sienne avec la pointe basse en la serrant contre le costé droit, pour l’avoir à commandement en cas qu’il voulust executer; ainsi qu’il est monstré par la figure. |
| You must know that, whenever you have seized your opponent’s guard in the aforesaid manner, that by turning your hand in this way, you can always take his sword from him. | Or sachez, qu’à toutes les fois que vous aurez faint prinse de la garde contraire en la maniere dernierement dite, en tournant la main de ceste façon, vous luy pourrez tousiours oster l’espee. |
| As a general observation of some great consequence, all movements are easily overcome as they first begin. As experience in all things demonstrates, there is nothing strong which was not once weak. Consider, for example, the infancy of trees, of beasts, of men; the foundation of cities, of peoples, and Kingdoms; the general time span of all things which increase by degree, to find at base their point of birth. consider the ease with which these, at that point, could be mastered, taking no great pains. And yet, if one leaves these alone, they shall strengthen over time, some so much that there is no way to rein them back. Take a millstone, grinding at the summit of a mountain, which begins to break away to roll from the top to the bottom. It is possible, at the very first, to hold it with but the force of a hand, ofttimes merely a finger is enough. If it begins to lean, one may still hold it back with one’s body. But if it begins to roll, if it has already made a single turn from top to bottom, what strength has any man to stop, slow, or turn it from its course? It is the same with blows or cuts, as in Circle No 3. If you wait, so that the motion has descended, then all that you would try, to bring it under control, is a lost cause. The force will be too great. But if you act at the beginning, it will be easy. That way, there is little more to do than to quickly align your sword-tip, as it should be, so as to have the swords contact at the instant his unwinds. I am not saying you must chase after his sword, but rather to constrain his so that his must strike along the length of your blade; that your action is founded less on strength and more on skill; that you must aim your sword-tip and connect with the middle of his blade. This is the principle and the source of all his strength. For as long as you have reached the centre of his blade, he must contend against the entirety of your blade, not more nor less than the short part of your blade, in the same way as when one draws near a candle when one wishes to remove the light spread about a room, or when the Sun shines its rays through a small aperture and the light expands, it is easier to block the aperture with a hand than to try and stop it with the entire body at a distance when the light has expanded too much. So there is no point in doing otherwise because when one gives a cut the centre of the sword almost remains in the same place, and so is very easy to find and contact, whereas the tip revolves in a large arc, and so swiftly that it would be impossible to attain. From which, we see, again, as before, that the power begins with the beginning of the motion. | C’est une observation fort generale, & de tresgrande consequence, que touts mouvements sont aisez à surmonter en leurs premiers commencements; comme l’experience demonstre en toutes choses, qu’il n’y a rien de fort, qui n’ait esté foible au paravant. Considerez en pour example, l’enfance des arbres, des bestes, & des hommes; la fondation des Villes, des Peuples, & Royaumes; & generalement tous les periodes des choses, qui augmentent par degrez pour atteindre le comble de leur premiere naissance; & combien seroit il facile de les y maistriser tout à souhait, sans nulle peine? Et cependent, si on le laisse, ils se renforcent quelques uns si avant, qu’il ny reste pluy moyen de les retenir davantage en bride. Soit une Pierre de Moulin, gisant au sommet d’une montagne, & qu’elle commence à se destacher pour rouler de haut en bas; il y a moyen au premier commencement de l’arrester avec la main seule, voire souvent avec un doigt sans plus: si elle commence à pancher, encore la peut on retenir avec le corps: mais si elle a prins sa course, & qu’elle ait desia donné un tour de haut à bas, qu’elle force d’homme y a il, qui la puisse empscher, moderer, ou divertir, qu’elle n’aille son train tout à vau de route? Le mesme en est il de ces coups de taille, comme il est representé au Cercle N.3. Si vous attendez tant, que le mouvement soit venu à descendre, tout ce que vous ferez pour l’assujettir sera peine perdue. La force en est trop grande. Mais si vous prenez le commencement du temps, tout sera facile. De façon, qu’il n’y a rien à faire, sinon dresser à temps vostre pointe, comme il faut, pour avoir les lames accouplées tout à l’instant qu’il debande la sienne. Non pas di-je que vous alliez taster apres, mais qu’il soit contraint luy mesme, de frapper au long de la vostre; & que vostre action soit fondée sur moins de force, & plus d’adresse: Or pour ce faire dressez & accouplez vostre pointe tout joignant le centre de sa lame; qui est le principe & la source de toute sa force. Tellement qu’avoir gagné le Centre, c’est luy avoir gagne toute l’espee, ne plus ne moins qu’on se contente pour le plus court, de tirer la chandelle, quand on veut oster la lumiere qui reluist dedans une chambre, ou quand le Soleil y jette ses rayons par un petit pertuis, & que la lumiere s’en espard si largement, qu’il seroit plus facile de l’obscurcir à l’entree du mesme pertuis avec la seule main, que de le faire au lieu où la lumiere est espandu avec le corps tout entier. Aussi n’y a il point de moyen de faire autrement car pour donner l’estramaçon le centre de l’Espee demeure quasi en la mesme place, de façon qu’il est beaucoup plus facile à trouver & à prendre, que la pointe, qui fait un grand destour & si viste, qu’il seroit impossible de l’atteindre. Dequoy il appert derechef, comme au paravant, qu’il faut prendre le commencement de la force avec le commencement du temps. |
Draft Translation |
First Edition (1628-30) |
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| EXPLANATION OF THE ACTIONS IN THE EIGHTEENTH TABLE | DECLARATION DES OPERATIONS DV TABLEAV DIXHUITIEME |
| Ordinarily, there is nothing more agreeable than a pleasure garden, which boasts such diversity of grasses, of flowers, and of shrubbery or similar entertainments. For this is something known to all the world, that each man has his own particular delight. So many minds, so many fancies. One finds this pleasing, the other, that. One enjoys the hunt, another touring through various Kingdoms and Provinces. One goes to war, another to his studies. And not only does each experience a different degree of pleasure because their activities are different, but even between those who share similar interests, because men’s imagination always finds a range of differences in the parts and particulars of any subject, and one delights in this aspect, another delights in that. In the end, when he can no longer find anything more in a subject, he drops it. And oftentimes, for the sake of variety, he will change so much he cannot recognize himself, he is drawn to, or takes up things of which he once disapproved, and now disapproves of things to which he was once drawn. It seems that beauty does not last without recreation, and recreation cannot be without change, which the word Recreation implies in its meaning. In the same way, if all of the concepts thus far presented were as roses, yet we should still intersperse here and there some other scented plant, such as lillys, carnations, or violets. So we shall, here in Table XVIII, with regard to both thrusts and cuts. Such techniques as we have shown and explained previously in two preceding Tables, XIV & XVII, in several examples, performed by Alexander in the former moving to the left on this side of the Diameter, and in the latter moving, on the contrary, to the right beyond the Diameter, for the most part, he attacked his adversary’s head. Here we embellish on the work, we shall include cuts, which he may make against a straight arm, whether he steps to the left-hand side, as shown from Circle No 1, up to Circle No 11, or he moves to the right, as he does from there to the end of the Table. | Ordinairement il n’y a rien plus aggreable en un Iardin de plaisance, qu’une diversité, d’herbes, de fleurs, & de parterres, ou de semblables artifices. Car c’est chose cognuë à tout le Monde, que chascun homme à son plaisir particulier; autant de testes, autant de fantasies; l’un se plait à cecy, l’autre à cela; l’un s’adonne à la chasse, l’autre à tracasser Royaumes & Provinces; l’un à la guerre, l’autre aux Estudes. Et non seulement le plaisir est different, selon que les choses son differentes, mais aussi en celles qui sont d’une mesme nature; car l’esprit de l’homme y trouve tousiours de si grades dissimilitudes que de toutes les parties & particularitez de chascune profession, l’un se delecte plus en celle cy, & l’autre en celle là. Finalement quand il ne trouve plus de difference en la chose mesme, il se lasse; & souventesfois, pour avoir le contement de la Varieté, il se change & devient dissemblable à soy mesme, approuvant, ou prisant ce qu’il avoit rejetté, ou rejettant derechef ce qu’il avoit approuvé & prisé au paravant. Car il semble, que grace ne peut durer, sans recreation; & recreation ne peut estre, s’il n’y a du changement; comme aussi le mot de Recreation le porte, s’il en faut juger par la proprieté. De maniere que si touts nos preceptes, que nous avons baillez jusqu’à present, nestoyent que roses, si ne faudroit il par laisser pourtant, de les parsemer çà & là de quelque autre bonne herbe odorante, ou de fleurs de lis, ou d’oeillets, ou de violettes. Or c’est ce que nous ferons presentement en ce Tableau XVIII, au regard des estramaçons & autres coups de taille; desquels nous avons representé & declaré en deux Tables precedentes, XIV & XVII plusieurs sortes d’exemples, pratiquez par Alexandre en la premiere d’icelles, en allant à gauche par deça; & en la derniere, en allant au contraire à main droite par delà le Diametre: dont la plus part a esté à la teste de l’adversaire; & maintenant pour embellir l’œuvre, nous mettrons icy les coups, qu’il luy peut tirer sur le bras droit, soit qu’il marche par deçà le Diametre à main gauche, comme il est representé depuis le Cercle N.1. jusqu’au Cercle 11. ou qu’il marche à main droite, comme il fait de là en avant jusqu’à la fin du Tableau. |
| Circle No 1 | Cercle N.1. |
| Both adopt the direct-line posture at the First Instance. Alexander moves to the Second Instance on the Diameter, subjugating his opponent’s sword. | Ayants touts deux esté plantez en Premiere Instance, avec les espees en droite ligne, Alexandre marche à la Seconde au deça le Diametre, y assujettissant l’espee contraire. |
| This takes place after both have set themselves on the Circle, swords in direct-line posture, Alexander’s sword beneath his opponent’s. He follows on by raising his right foot, crossing swords with the weak of his blade against a higher-numbered Span of his opponent, then stepping with his right foot onto the letter G on the Diameter at the Second Instance, then drawing his left foot along to the Oblique Diameter between the two points F & D, at the same time subjugating his opponent’s sword, in accordance with the instructions described in previous Tables. | Apres qu’ils ont touts deux esté plantez sur le Cercle, avec les espees en droite ligne, celle d’Alexandre parallele au dessous de la contraire; il poursuit à travailler en eslevant le pied droit, & accouplant les lames avec le foible de la sienne à plus de Nombres de la contraire, en marchant consequemment avec le pied droit au deçà le Diametre à la Seconde Instance lettre G, & le pied gauche poursuivant pour venir sur le Diametre oblicq entre les deux points F & D, sujettant en se mesme temps l’espee contraire, selon les observations qui en ont esté descrites en d’autres Tableaux.
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| Circle No 2 | Cercle N.2. |
| Alexander continuing on from the previous Circle, advances further to the Third Instance on the Diameter, sliding the point of contact up the blades, and bringing his sword-tip to the base of his adversary’s neck. | Alexandre pousuivant la precedente, s’avance plus outre à la Troisiesme Instance au deça le Diametre, en graduant les lames, & menant la pointe de la sienne au bas du col de l’adversaire. |
| Since Zachary delays his response, Alexander follows the preceding action by advancing from the Second Instance to the Third, stepping with his right foot to the letter N on the Diameter, sliding the strong of his blade to the lower-numbered Spans of his opponent’s subjugated blade. He follows with his left foot to the letter K on the Circumscribed Square at the same time deliberately sliding the point of contact up his opponent’s blade with his arm extended, and setting his sword-tip slightly lowered against the right side of his opponent’s neck. As we can see in the figure. | Puis que Zacharie demeure; Alexandre poursuit la precedente operation, s’avançant de la Seconde Instance au deçà le Diametre avec le pied droit à la troisiesme lettre N, coulant aussi egallement le fort de sa lame à moins de Nombres de l’espee assujettie, le pied gauche poursuivant à venir sur le Quarré circonscrit lettre K, en ce mesme temps il gradue avec le bras estendu lentement l’espee contraire, luy mettant la pointe de la sienne un peu abaissée tout contre le costé droit du col; ainsi qu’on voit en la figure.
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| Take note that one must perform this action with arm kept extended, and likewise the body erect and knees straight, lowering the sword-tip a little towards the enemy. So that if he wished to move the swords over, he would have to apply a high degree of force, at which point Alexander would simply disengage, and allow his opponent’s sword to fly up and off to the side. This will make it easier to deliver strikes and cuts to the arms. | Or notez qu’il faut pratiquer ceste operation avec retenue du bras estendu, pareillement le corps droit & les genouils foides, en abaissant un peu la pointe vers l’Ennemy; afin que s’il nous vouloit transporter l’espee, qu’il soit contraint d’y appliquer grande force, dequoy quand Alexandre l’abandonnera, elle s’ensuira tant plus loing en haut & à costé. Ce qui luy donnera plus de commodité de luy porter les suivants coups d’estramaçons sur le bras. |
| Also note that Alexander, because he has slid the point of contact along the blades using more force than he would ordinarily, must pay close attention to the sense of feel, that he is not hit on his outside line, over his arm. | Mais notez aussi, pour Alexandre puis qu’il y fait la graduation des lames avec plus de Poids, qu’à l’ordinaire, qu’il prenne bien garde au Sentiment, afin que l’adversaire ne touche en dehors par dessus le bras. |
| Circle No 3 | Cercle N.3. |
| Alexander steps towards the Third Instance with his right foot. At the point where his balance tips, while sliding his point of contact up the blades, Zachary forces them to his inside using a lot of effort. Thus Alexander lets them go free, as he sets his foot down near the letter N, abruptly moving his left foot in a circular motion a good way forward and beyond the Circle, and so strikes with a backwards cut to the outside of Zachary’s arm. | Alexandre marchant vers la Troisiesme Instance avec le pied droit qui luy commence à tresbucher durant la graduation des lames; Zacharie les transporte en dedans, faisant un grand effort avec la sienne; dont Alexandre la laisse ensuir, pour planter le pied droit eslevé bien pres de la lettre N, en poursuivant tout soudain à porter le pied gauche circulairement un bon pas en avant par deçà le Cercle, ainsi il luy tire un coup de revers au dehors du bras. |
| This action begins from Circle No 1. While Alexander steps with his right foot from the Second Instance towards the Third, and as he is just falling forward with his body, to try to perform the actions of the previous Circle, at that moment, Zachary forces the swords over with a lot of strength to his left side. Alexander, allows his opponent’s sword to fly freely, which goes way over from the inertia from amount of force, by moving his own away, downwards in a circular motion then up overhead using his wrist, so that as he sets his raised foot down on the letter N, he strikes a reverse blow (helped by the means of drawing his left foot around suddenly in a circle a good ways beyond the edge of the Circle) to the outside of his adversary’s forward arm. As is shown in the figure. | Ceste operation prend son origine au Cercle N.1. Cependant qu’Alexandre marche avec le pied droit de la Seconde Instance vers la Troisieme, & qu’il commence à tresbucher ensemble avec le corps, pour mettre a l’effect l’operation du Cercle dernier precedent; au mesme temps Zacharie transporte les espees avec grand Poids à main gauche. Alexandre laissant eschapper la contraire, qui s’ensuit au loing par la violence du Poids, conduit la sienne circulairement de bas en haut par dessus sa teste à l’aide du poignet, de façon qu’en plantant le pied eslevé sur la lettre N, il en tire un coup de revers (assisté de la poursuite du pied gauche, quil porte tout soudain & circulairement un bon pas en avant par deçà le Cercle) au dehors de l’avant bras du Contraire; comme la figure montre. |
| Again, I would remind you, in every case where one must perform cuts, either straight or reverse blows, to allow the thumb to slide off of the interior arm of the crosspiece to the underside while the sword passes overhead. Thus the exterior arm will be aimed downwards, and will guide the cutting edge of the sword. In this way, the aforesaid cuts and reverse cuts will be much more effective. | Soyez derechef averti en toutes occurrences, ou il se presentera à tirer coups de taille, tant estramaçons que revers, de faire glisser le poulce, qui est arresté sur la branche interieure en dessous d’icelle, durant que l’espee passe en haut par dessus la teste; dont la branche exerieure en viendra à se dresser contremont, & le trenchat de l’espee en devant. Et par ainsi les dits estramaçons & revers vous en reussiront tant mieux. |
| Circle No 4 | Cercle N.4. |
| The two parties having previously repeated the action of the preceding Circle, up until the point where Alexander has entered in with his left foot, to give the reverse cut to his adversary’s arm, in this current Circle, he enters in further forward by leaping beyond the edge of the Circle with his left foot by the letter W, while using his elbow to allow his sword to pass overhead, and striking with a reverse cut to the outside of the upper arm, as he takes a large step with his right foot so that it comes down behind his opponent’s back. As we can see in the image. | Les parties ayants preallablement reiteré l’operation du Cercle precedent, jusqu’à qu’Alexandre soit venu à entrer du pied gauche, en donnant le coup de revers au bras de l’Adversaire; en ce present Cercle il entre plus avant dedans en sautant en deçà le Cercle du pied gauche vis à vis la lettre W, laissant cependant aller l’espee à l’aide du coude par dessus sa teste, & voltant le pied droit un pas plus avant derriere le dos de l’Adversaire, luy donnant un coup de revers au dehors du bras en la partie superierure; selon qu’on le voit representé. |
| Circle No 5 | Cercle N.5. |
| The beginning of this current Circle likewise depends on the same Circle No 2, where Alexander steps with his right foot from the Second Instance to the Third, intending to slide the point of contact up the blades and execute his thrust. But at the very instant that his foot and body begin to fall to the ground, Zachary parries, using a powerful force to carry his opponent’s sword up and over to his left. At this same time, Alexander disengages, moving his in a circular path downwards then up, so that the path ends with a downwards cut to the elbow of his opponent. He sets his right foot on the ground a bit beyond the Letter N, leans his body slightly forward onto his bent knee, and follows by lightly raising his left foot up. Just as the figures show. | L’origine de la presente depend aussi pareillemēt de ce mesme Cercle N.2. où Alexandre marche avec le pied droit de la Seconde Instance vers la Troisiesme, pour en graduant les lames y executer son estocade, mais à l’instant que le pied luy commence à tresbucher avec le corps; Zacharie la destourne, en usant de grand Poids pour transporter la lame contraire vers sa main gauche & vers le haut. En ce mesme tēps Alexandre la destache, en conduisant la sienne circulairement de bas en haut, de façon qu’il luy donne couse à frapper de taille par dessous au coude de l’Adversaire. (en mettant le pied droit à terre un peu par delà la lettre N, sur lequel il se panche le corps un peu en devāt, avec le genouil plié, & poursuivant à eslever le pied gauche en l’air avec retenue; en conformité des figures. |
| So, after Alexander has made his cut (which was done before his opponent’s sword had finished its upward movement) he withdraws right away by moving his left foot backwards, and drawing his right along with it, such that if his adversary wanted to strike at him with his point out to an obtuse angle, he would have plenty of time to meet it. It is true, this last action is not shown, but this description is enough that one may practise it. | Or apres qu’Alexandre a donné ce coup (qui a esté fait avant que le mouvement de l’espee contraire fuyant & montant eust achevé sa course) il retire tout aussi tost le mesme pied gauche en arriere, entrainant aussi l’autre à l’advenant, de façon que si l’adversaire vouloit tirer sur luy de pointe hors de l’angle obtus, il eust loisir pour le rencontrer. Vray est que ceste derniere action n’est pay icy representé en figure; mais c’est assez pour la pratiquer d’en avoir donné cest advertissement. |
| Circle No 6 | Cercle N.6. |
| Alexander again performs the action of Circle No 2 & his opponent again forces the blades over. He sets his right foot at the letter N, follows by stepping forward with his left foot & then again with his right, taking three paces, and making a cut to the right leg. | Alexandre faisant derechef l’operation du Cercle N.2. & comme sa partie transporte derechef les lames; il plante le pied droit à la lettre N, en poursuivant à marcher en avant avec le gauche, & puis encor avec le pied droit jusqu’à trois pas, luy tirant un coup de taille à la jambe droite. |
| This action, here, proceeds again, like the preceding, up until Zachary parries and moves his opponent’s sword to the inside. Which Alexander uses to turn, having set his right foot down on the Third Instance at the letter N, so his left foot comes all the way around to the letter P on the Outside Square. He continues on in the same way, taking another small step outside the Circle with his right foot, allowing his opponent’s sword to go wide, brings his own down in a circular path, to draw a cut inside his opponent’s arm to the calf of his opponent’s right leg, while passing by again with the right foot and finishing up behind his back, to deliver this cut by drawing his sword towards him as one would a flower from the earth. Such as we can see in the figure. | L’operation que voicy presentement procede encore, & est semblable à la precedēte, jusqu’à ce que Zacharie destourne & transporte l’espee contraire en dedans; au moyen dequoy Alexandre plantant au mesme temps le pied droit en terre sur la Troisiesme Instance lettre N, poursuit à marcher en avant du pied gauche sur le Quarré circonscrit lettre P, continuant en semble à adjouster encor un petit pas au deçà le Cercle avec le pied droit, en eslargissant l’espee contraire, & laissant descendre là sienne de haut en bas circulairemēt, pour tirer un coup de taille, avec la demarche ensuivante du pied gauche, au dedans du bras au gras de la jambe droite de l’Adversaire, en passant derechef avec le pied droit & luy venant derriere le dos, pour delivrer sa lame en la retirant comme à fleur de terre; ainsi qu’il se voit en la figure. |
| After he has struck, Alexander can repeat with another slash to the head of his adversary. He does this by raising his left foot, pivoting on his other to turn his left side again towards his man, and at the same time bringing his sword up above his elbow. From here he can hit the right side of the head, as he spins and sets his raised foot down behind his opponent. | Apres le coup fait, Alexandre le peut redoubler d’un autre estramaçon, à la teste de l’adversaire; moyennant qu’en eslevant le pied gauche, il se volte le corps sur l’autre pied à main gauche, pour revenir droit contre son homme, menant en ce mesme temps sa lame en haut au dessus de l’espaule; d’où il le peut frapper au costé droit de la teste, en voltant & plantant le pied eslevé en derriere. |
| Likewise, he can also repeat with a thrust, by bringing his blade directly upwards, then spinning his body around on the right foot, so his left side comes forward towards his opponent, while putting his sword over his left arm, pulling both in close to his body, so as to push it through his adversary’s back by advancing with his left foot. | Semblablement il le peut aussi redoubler d’un coup d’estocade, en menant sa lame tout droit en haut, & voltant le corps sur le pied droit à main gauche devers sa partie, jettant ensemblement l’espee sur le bras gauche, les serrant touts deux contre sa poitrine, & ainsi la pousser en avançant le pied gauche à travers le dos de son Adversaire. |
| We shall suffice to merely describe these last two actions, because they have been shown elsewhere. | Or nous y contentons icy de la seule description de ces deux dernieres operations, par ce qu’elles on esté representées autrepart. |
| Circle No 7 | Cercle N.7. |
| Alexander again steps with his right towards the Third Instance. Zachary steps back with his left foot, putting his weight back onto it, raising his sword to feint to the outside of his adversary’s arm. At which Alexander moves forward, and sets his right foot at the letter N, followed by his left foot, and covers his opponent’s sword with his from above, in the form of a cross. | Alexandre allant derechef devers la Troisieme Instance avec le pied droit; Zachary marche en arriere avec le pied gauche, faisant la charge du corps dessus ensemble avec une feinte ascendante en dehors du bras contraire; sur quoy Alexandre s’avance & plante le pied droit à la lettre N pour poursuivre avec le pied gauche, & couvrir l’espee contraire avec la sienne par en haut, en forme croisée. |
| This has again the same beginning as the previous ones. Alexander steps with his right foot from the Second Instance to the Third to hit again, as in Circle No 2. Zachary steps back with his left foot, and leans backwards so his weight is on it. As he does this, he makes a circular disengage with his blade under his opponent and feints upwards, outside of his opponent’s arm. At the same time, Alexander moves his raised right foot forward to the Third Instance and sets it on the letter N, leaning forward over it, following with his left foot to the letter K, his arm partially extended, so the he crosses over his opponent's blade to cover it, as is represented by the shadows on the floor of their Circle, along with the image of the figures. | C’est encor icy le mesme commencemēt, que la precedente: Alexandre faisant la demarche du pied droit de la Seconde Instance devers la Troisieme pour executer comme au Cercle N.2. Zacharie marche à reculons avec le pied gauche, sur lequel il se retire panchant du corps alenvers, & faisant par cavation une feinte montante en dehors le bras du Contraire; du mesme temps Alexandre avance le pied droit eslevé sur la Troisieme Instance lettre N, se panchant un peu en avant dessus le mesme, avec le pied gauche poursuivant à la lettre K, & le bras moderement estendu, de façon qu’avec sa pointe croisée il courvre l’espee contraire par dessus; selong qu’il est representé sur le plain de leur Cercle; jouxte la demonstration des figures. |
| Circle No 8 | Cercle N.8. |
| Zachary continues the preceding circular disengage and aims, while moving forward and straightening his body, across his opponent’s arm from the outside, a thrust at his opponent’s face. Alexander, at the same time, steps in, crossing the blades to this outside of his right arm, with that hand and his guard low, pressing it against his right side, point up, and moving his right foot forward along the line of the Inside Square to the line crossing between N & S. He follows with his left foot to the letter O, moving his left side forward, and thus subjugating his opponent’s sword. | Zacharie continuant le mouvement de la cavation precedente, en tire (avançant & redressant le corps) un coup d’estocade en dehors du bras vers le visage du Contraire; sur quoy Alexandre s’avance au mesme temps en dedans, accouplant les espees en dehors du bras, avec le mesme bras & la garde abaissée, l’affermissant à son costé droit avec la pointe montante, & avāçant ensemblement le pied droit sur l’intersection du Quarré inscrit, entre es lettres N & S, pour poursuivre du pied gauche sur la lettre O, sujettant ainsi, en avançant le costé gauche, l’espee du Contraire. |
| Circle No 9 | Cercle N.9. |
| Here is another following from Circle No 7, where Zachary withdraws backwards, while at the same time making a circular disengagement and feint with his blade from the outside of the arm. And as his opponent counters this, as described before, he makes another circular disengage to hit him to the inside. Alexander, then, at the same moment his opponent’s sword passes under his, moves his body forward with his arm and sword extended, into the opening of the angle, stepping with his right foot straight forward to the letter T, and, helped by the step with his left foot to bring it beyond and outside the Circle, he drives his point through his enemy's neck. As shown by the figures. | Voicy maintenante une suite du Cercle N.7. où Zacharie se retire en arriere, faisant ensemblement cavation & feinte avec la lame en dehors du bras. Et comme le Contraire se met à faire alencontre l’opposite cy devant specifiée; il fait derechef une autre cavation pour le toucher en dedans. Alexandre donc au mesme temps que l’espee contraire passe par dessous la sienne durant sa cavation, s’avance du corps avec le bras & l’espee estendue, dedans l’ouverture de l’angle, cheminant avec le pied droit en avant sur la lettre T, & poussant la pointe de son espee (assistée de la pursuite du pied gauche, pour mener en deçà & au dehors du Cercle) à travers le col de l’Ennemi; selon demonstration des figures. |
| Circle No 10 | Cercle N.10. |
| This Circle follows from Circle No 8, where Alexander subjugated the attempted thrust from the outside of his arm. Now he continues, advancing his right foot to the letter T, and bringing his left foot outside of the Circle, while hitting his adversary with his point through the head, from the outside of his arm. As is represented by the figure. | Ce Cercle present est la poursuite de l’operation du Cercle N.8. où Alexandre à assujetti l’estocade; qui luy avoit esté tirée en dehors du bras. Maintenant il va poursuivre, à avancer le pied droit sur la lettre T, & mener le pied gauche en suite à l’advenant au deçà le Cercle, en touchant l’adversaire d’un coup de pointe au dehors du bras à travers la teste; comme il est representé en la figure. |
| Concerning the opposition to feints, which can be performed in various ways, to cover more fully the possible actions of Alexander, we shall delve more fully later in this book. | Touchant les opposites des feintes, qui se peuvent Pratiquer en diverses manieres, pour traverser les operations d’Alexandre, il en sera fait plus ample declaration en la suite de ce mesme livre. |
| We have thus shown in preceding Circles, and explained in their descriptions, means of striking against an opponent’s arm, along with other actions which might serve one to enable an approach along the circumference up to the Oblique Diameter. We now look into the same from the other side, along with some new actions, notably some slashes, which can be made to the adversary’s arm, by going up to the Oblique Diameter along the right-hand side. | Or ayant representé par les precedents Cercles, & expliqué en leurs descriptions, les manieres de donner coups de taille sur le bras de l’adversaire, avec quelques autres operations, de quoy on se peut servir, en faisant ses approches par la voye de la Circonference au deçà le Diametre; nous poursuivrons maintenant à en faire le mesme à l’autre costé du Diametre, assavoir quelques nouvelles operations & notament les estramaçons, qui se pourront presenter à donner sur le bras de l’adversaire, en allant par delà le Diametre à main droite. |
| Circle No 11 | Cercle N.11. |
| Both parties having begun at the First Instance, Alexander now works against his opponent, stepping to the Second on the Oblique Diameter with his right foot, followed by his left foot and, at that point, subjugating his opponent’s sword. | Ayants touts deux esté à la Premeiere Instance, Alexandre travaille, & marche avec le Pied droit à la Seconde par delà le Diametre, pour poursuivre du pied gauche, y assujettissant l’espee Contraire. |
| After both have set themselves on the Circle at the First Instance, each in his Quadrangle, swords held in the Direct Line posture, that of Alexander beneath the other, Alexander begins to work against his opponent, by raising his right foot and, using his wrist, he contacts the 8th Span of his opponent’s blade with the 3rd Span of his own. He then sets his foot down at the Second Instance on the letter G along the Oblique Diameter, while sliding the point of contact up his blade so where his 4th or 5th Span connects with the 8th Span of his opponent. As is shown in the figure. | En suite de ce qu’ils on esté touts deux plantez sur le Cercle en Premiere Instance, chascun en son Quadrangle, avec les espees en droit ligne, celle d’Alexandre parallele au dessous de l’autre; Alexandre travaille au Cercle present, en eslevant le pied droit de terre, & accouplant par ensemble les espees en dehors du bras à l’aide du poignet, son N.3. au N.8. de l’adversaire; marchant consequemment avec le pied eslevé en dedans par delà le Diametre sur la Seconde Instance lettre G, en desgraduant la sienne, de maniere qu’il en assemble le N.4. ou 5. à son N.8.; comme il est en la figure. |
| Circle No 12 | Cercle N.12. |
| Alexander continues to step with his right foot further out to the Third Instance, which he follows with his left foot, sliding the point of contact up the blades, and sets his point exactly before his opponent’s face. | Alexandre poursuit à marcher avec le pied droit plus outre sur la Troisieme Instance, dont en poursuivant avec le pied gauche, & graduant les lames, il presente la pointe de la sienne par courtoisie devant le visage du Contraire. |
| Here, Zachary waits for the follow-up. Alexander steps from the Second to the Third Instance with his body leaning slightly backwards, following the line of the Inside Square with his right foot to the letter N on the Perpendicular Diameter, drawing his left foot along behind with a circular movement to the letter K. So he slides the point of contact up the blades, his arm straight with a bit more strength, pushing them slightly downwards with an increase of force, and thus sets his sword-tip exactly before his opponent’s face. As demonstrated by the figures. | D’autant que Zacharie attend la poursuite; Alexandre marche de la Seconde Instance avec le corps un peu panché à l’envers, suivant du pied droit la trace du Quarré inscrit jusqu’à la Troisieme Instance sur la lettre N par delà le Diametre, menant le pied gauche circulairement apres sur la lettre K, ainsi il gradue les lames avec le bras estendu, & un peu plus de retenue, les poussant un peu davantage vers le bas avec quelque force, & luy met ainsi la pointe par couroisie tout devant le bas du visage; comme les figures demonstrent. |
| Circle No 13 | Cercle N.13. |
| Alexander seeks to again perform the preceding action, as he steps in with his right foot. Zachary moves the blades over to his right with a good amount of force. At the same time, Alexander sets his raised foot down a bit further beside the Third Instance, while slashing at the inside of his opponent’s lower arm as his left foot is in the air. | Alexandre voulant une autrefois pratiquer la precedente operation, durant qu’il entre avec le pied droit; Zacharie transporte avec force les lames à main droite; au mesme temps, Alexandre plante le pied eslevé au peu plus outre à costé de la Troisiesme Instance, frappant ensemblement d’un coup d’estramaçon par le bas (le pied gauche poursuiant en l’air) au dedans du bras de l’Adversaire. |
| This action begins in Circle No 11. Alexander enters in with his right foot to perform the action of Circle No 12. At the instant his raised foot and body begins to overbalance, Zachary defends himself by forcing the swords up and over to his right-hand side. Meanwhile, Alexander, after he set his raised foot down just beside the letter N at the Third Instance, and as he raises his left foot to bring it forward, uses his wrist to perform a circular disengage down and up again, allowing his opponent’s blade to fly freely off to his left, and cuts to the inside of his opponent’s forearm, just above the wrist, according to the figures. | Le commencement de ceste operation depend du Cercle N.11. Alexandre faisant l’intrade avec le pied droit pour executer celle du N.12. à l’instant que son pied eslevé s’en va tresbucher avec le corps, Zacharie pour se defendre transporte les lames avec force vers le haut à main droite; Ce temps pendant Alexandre, ayant planté le pied eslevé un peu plus avant à costé de la Troisieme Instance lettre N, & le pied gauche poursuivant semblablement de monter en haut avec retenue, il destache en ce mesme temps l’espee contraire, laquelle il laisse enfuir, conduit la sienne à l’aide du poignet circulairement de bas vers le haut, luy donnant course, en frappant d’un coup de taille au dedans du bras de l’adversaire un peu outre le poignet, suivant la representation des figures. |
| One should know that Alexander, having made his cut at such a close distance and while his opponent’s sword was still moving away, will set his left foot down behind him and shift his body back and onto it, while at the same instant drawing his right foot back. So that if his adversary tried to aim a thrust downwards at him, he would have the time to meet it. This is simple enough to describe that it did not need to be shown with an image. | Il faut sçavoir, qu’Alexandre, donnant le coup en mesure si estroite, durant que l’espee contraire s’enfuyt & avant qu’elle ait achevé sa course, marchera du pied gauche qui est eslevé, en arriere, retirant aussi le corps à l’advenant dessus le mesme, & entrainant quand & quand le pied droit en suite; afin que si l’Adversaire entreprenoit de tirer sur luy une estocade de haut en bas, qu’il eust le temps de le rencontrer. Or pour ce faire, il nous semble qu’il suffira d’en avoir donné seulement la description, sans estre besoin de le representer en figure. |
| Circle No 14 | Cercle N.14. |
| Once again we repeat all the actions of the preceding Circle, wherein Alexander strikes his adversary with a slash to the inside of the arm. In this Circle, he turns his wrist so the sword makes a circular path at an obtuse angle above his head, striking downwards with a reverse cut to the outside of his opponent’s arm. Following which he withdraws his raised left foot backwards, outside the Circle and draws his right foot from the Third Instance, to the letter K on the Outside Square, as is shown by the figures. | Reiterant derechef toutes les actions du Cercle precedēt, où Alexandre atteint l’adversaire d’un coup d’estramaçon au dedans du bras; en ce Cercle present il conduit l’espee avec l’aide du poignet circulairement en angle obtus vers sa main gauche par dessus sa teste, frappant de haut en bas un coup de revers au dehors du bras contraire: en suite de quoy il retire le pied gauche qui est eslevé, en arriere par delà le Cercle, entrainant à l’advenant le pied droit de la Troisieme Instance sur le Quarré circonscrit lettre K; en conformité des figures. |
| Circle No 15 | Cercle N.15. |
| While Alexander is moving towards the Third Instance, at the very moment he sets his foot down, his adversary forces the blades over to his right-hand side. Alexander immediately moves his left foot up, sets it down and lifts his right foot in a quick-step, to move further forward. He brings his sword in a circle overhead (as he spins his left foot behind) to deliver a slash to the inside of his adversary’s arm. | Cependant qu’Alexandre s’avance devers la Troisieme Instance, l’adversaire transporte les lames à main droite; à ce mesme temps il plante le pied droit sur la pretendue Troisieme Instance, pour poursuivre & planter tout à l’instant le pied gauche aupres, & eslever derechef le droit en forme d’une demi fleurette, de maniere qu’il en marche plus avant, menant au mesme temps l’espee par dessus sa teste pour tirer un coup d’estramaçon (en voltant le pied gauche en derriere) au dedans du bras de l’Adversaire. |
| This, here, also follows from Circle No 11. Alexander steps from the Second Instance to the Third, intending to attack as in Circle No 12. At the instant his foot begins to overbalance and come down, Zachary parries by forcing the swords off to his right, but without raising them up as previously, so that Alexander would be unable to perform the same slices and cuts to his arm. Alexander thus continues to step to the Third Instance, then suddenly switches feet, using a dance quick-step to bring his left foot in to replace his right, with which he enters in suddenly, stepping again, over the Oblique Diameter on the line M-S, inside the angle of his opponent’s sword, while in the same motion, he brings his own sword in a circular motion over his head, and, as he spins on his right foot and sends his left foot behind him, aims a slash at the inside of Zachary’s arm. Just as it is shown in the figure. | Celle cy procede encor pareillement du Cercle N.11. Alexandre marchant de la Seconde Instance devers la Troisiesme, pour executer comme au Cercle N.12. à l’instant que le pied droit luy commence à tresbucher, Zacharie pare le coup, transporte les lames avec force à main droite, toutesfois sans mener la sienne vers le haut, comme il à fait en ses deux operations precedentes, de maniere qu’il n’y auroit pas de moyen de luy donner ces mesmes estafilades sur le bras. Alexandre donc marche avec le pied droit eslevé sur la Troisieme Instāce, poursuivant soudaniement a planter le pied gauche tout joignant le precedent, du quel il entre & marche derechef tout soudainement, en forme d’une demi-fleurette, au delà le Diametre sur la ligne M S, dedans l’angle de l’espee contraire, ayant cependant conduit la sienne à l’aide du poignet circulairement par dessus sa teste, il en tire (en voltant le corps & le pied gauche en derriere par delà le Cercle) un estramaçon au dedans du bras de l’Adversaire; selon qu’il est representé en la figure. |
| Circle No 16 | Cercle N.16. |
| This is the follow-on from the preceding Circle. Alexander steps quickly with his right foot and takes a step backwards, to again continue his spin on the left foot while at the same time cutting his opponent on the left side of the head. | C’est la poursuit du precedent; Alexandre des marche tout soudainement du pied droit, & en fait un pas en arriere, pour continuer derechef en volte avec le pied gauche, donnant ensemblement un coup de taille à son Contraire au costé gauche de la teste. |
| Alexander follows on from the preceding Circle. He instantly draws his right foot back out of the circle, and continues to circle his left around. As he does this, he again brings his sword in a circle above his head and wounds his adversary with a cut to the left side of the head. | Alexandre pursuit la precedēte, en desmarchāt derechef à l’instāt le pied droit à reculons par delà le Cercle, pour poursuivre pareillement la volte du pied gauche, ayant à ce mesme temps conduit l’espee à l’aide du poignet par dessus sa teste, dont il blesse l’aversaire de taille au costé gauche de la teste; en conformité des figures. |
| Alexander ought to have his body a bit further forward when he makes his cut, to the point where he is hidden behind his opponent. We chose not to do that in the figure, so as to be able to show the action. | Or est il que le corps d’Alexandre, en donnant le coup, deveroit estre un peu plus avancé de maniere qu’il seroit tout cache derriere le corps de son Contraire; ce que nous n’avons pas voulu suivre en la figure, pour vous mettre l’operation en veuë. |
| Circle No 17 | Cercle N.17. |
| Finally, here we have the follow on from the last Circle. Zachary moves his right foot a bit further along the Diameter to the letter V, followed by a spin moving his left foot to the letter W, and turns his body towards his opponent, bringing his sword in, which he holds against his right side with the tip down, to strike with a thrust. At the same time, Alexander passes with his right foot to the end of the Quadrangle at Z, then spins so he can take a large step with his left foot backwards outside and beyond the Circle. So he withdraws out of reach of his opponent’s sword, while again slashing him to the left side of the head. This is illustrated by the figures. | Finalement voicy la suite de la derniere precedente. Zacharie transportant le pied droit un peu outre le Diametre lettre V, pour poursuivre du pied gauche en forme de volte au deça le Diametre à la lettre W, puis se tourne le corps devers sa partie raccourcissant l’espee, qu’il met à son costé droit avec la pointe abaissée, pour luy tirer une estocade. A ce mesme temps Alexandre passe avec le pied droit sur bout du Quadrangle marqué Z, se voltant dessus le mesme avec le pied gauche un grand pas à reculons au dehors & au deçà le Cercle; ainsi se retire de la presence de l’Espee du Contraire, luy donnant derechef en ce mesme temps un autre coup d’estramaçon au costé gauche de la teste; selon le pourtait des figures. |
| Now, as we have proposed in these examples to draw cuts on the adversary’s arm, where previously in other Tables we always struck to the head, it may be, dear reader, that you find yourself curious to know, if we hold one or the other as better or both equal, and does it matter when to use which or can either be used at any time, much like it is not enough to imagine oneself in a beautiful garden, full of plants, of flowers, and of fruits, but one must know which, if any, one may pick, and if so, are there any conditions as to when? In response to these good and thoughtful considerations, the circumstances where Alexander aims a thrust at Zachary are shown in Circle No 2 to the inside and in Circle No 12 to the outside of the arm. So, when Zachary parries with strength and force, Alexander not only has a choice to strike at either the head or the arm, as he would, but the ability to take advantage of several other actions, such as to further dominate and subjugate the sword, to deliver Imbrocata strikes, or other actions which are shown in similar situations in other parts of this book. In truth, it is a veritable garden of delights, enriched with a very great diversity of options, to one who is capable. But the student should always be warned so that he does not, at the very beginning, try all of these at once. Because what are various options to a man of skill, are but a source of confusion to the novice. Now, as to which is most expedient, striking the the arm or the head, I hold the one good, the other better. The usual act is to strike the head, either with the point or the edge. Because for the adversary, when he is struck in the head, and particularly in the face, he will be so stunned in that instant, that he will be unable to do anything until he has had the time to recover his wits and gather his thoughts. In which time, the assailant will well know to profit by taking full advantage of the situation. Of this, you shall be be given better examples, with more complete reasoning, in the discussions on swordplay which follow. And it happens that even Julius Ceasar, as the history books attest, gave the order to his men-at-arms to always strike the face of their enemies, and that the reason he gave was the same, or something very similar. For the truth is this: a blow to the head is at once offensive and defensive, and for this reason we hold it as the more secure of the two choices. | Maintenant puis que nous avons proposé ces exemples, de tirer les coups de taille sur le bras de l’Adversaire, & au paravant és autres tables on luy en a tousiours donné sur la teste; peut estre Lecteur, que vous serez curieux de sçavoir, si nous estimons l’un & l’autre egalemēt, & si les occasions sont semblables ou differentes; d’autant que ce n’est pas assez de s’imaginer d’estre en un beau jardin, où il y croist tout sorte d’herbes, de fleurs, & de fruits; mais qu’il faut aussi savoir, s’il est permis d’en cueillir, & à quelle condition. Pour responce à ceste consideration, qui est belle & utile, les occasions vous sont representés au Cercle N.2. en dedans & N.12. en dehors du bras; contenant l’estocade qu’Alexandre tire à la Troisieme Instance au long des espees devers la teste de Zacharie. Et quand Zacharie la pare avec bon Poids & avec quelque force, Alexandre n’aura par seulement le choix, de luy tirer le coup d’estramaçon sur la teste, ou sur le bras selon qu’il voudra, mais encore d’avantage de se prevaloir de plusieurs autres actions, comme de luy redompter & assujettir derechef l’espee, ou de donner Imbrocades, ou faire autres operations, qui sont representées sur les mesmes occasions en autres endroits de ce Livre. De façon que c’est la verité un jardin de plaisance, enrichi d’une tresgrande diversité d’operations pour celuy qui en est capable. Mais que le Disciple soit tousiours adverti qu’il ne se hazarde pas de commencement, à vouloir faire tout ensemble. Car ce qui est Varieté pour l’homme adroit, ce seroit confusion pour luy. Au reste, s’il faut parler de ce qui est plus expedient, de frapper à la teste, ou au bras, je tiens, que l’un est bon, l’autre encor meilleur, & que c’est ordinairement le plus seur de frapper à la teste, soit de pointe soit de taille. Pour ce que l’adversaire, quand il est touché à la teste, & notamment au visage, il en est tellement estourdi au mesme instant, qu’il ne sauroit quasi rien faire, jusqu’à tant qu’il ait eu loisir de se raviser & de reprendre ses cogitations. Dequoy l’assaillant saura bien faire son profit, & poursuivre tant mieux son avantage. Or de cecy vous seront donnez de plus nobles examples, & de plus amples raisons, en ce qui sera discouru cy apres sur les esees libres. Et paradventure que Iules Cesar, duquel les histoires desmoignent, qu’il commandoit à ses gens darmes de tirer tousiours à la face des Ennemis, y avoit aussi remarqué telle ou semblable cause. Quoy qu’il en soit la verité est telle; le coup qui est donné à la teste, fait offense & defense tout ensemble; & pour tant nous le tenons pour le plus seur. |
Draft Translation |
First Edition (1628-30) |
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| EXPLANATION OF THE ACTIONS IN THE NINETEENTH TABLE | DECLARATION DES OPERATIONS DV TABLEAV DIXNEVFIEME |
| Of all the preceding Tables, there is not one which demonstrates more clearly the superiority of this True Method, than this, which here follows. Because Alexander has before now always worked with the advantage of having subjugated his opponent’s sword, now it is to the contrary. He has always tried to adopt a superior position, and this time he will adopt an inferior position. Just as the skill of a mariner is most evidently manifest in a storm, so ours shall be more apparent when most disadvantaged. Not only is it no small thing to work well against any sword in an engagement (for there are an infinity of possible moves), but the advantage is so great and so obvious, that the enemy will be on his guard by any means possible to keep it from you. Once in contact, he is no longer free to play with his sword, unless he frees it, as before, by means of a circular disengage, which is a very bad play. Now it is your turn, to put yourself in his place, going from the First Instance to the Second, in such a way that you will give him every advantage he could wish for. This we shall refer to henceforth as obliging him. In that you oblige him to work first, and with without much apparent risk, as you present to him a beautiful opportunity. In any case, if he does not wish to avail himself of the opening, we do not want you to again withdraw in order to break the distance, which is the usual way of those who work without a good foundation, in the hope that the enemy will give them the advantage by making a mistake, so when he does nothing, they find themselves constrained to quit their plans, to begin anew. These are useless provocations, which merely confuse the swordsman himself instead of his enemy. We shall leave these withdrawings to those who must admit to having started badly. One who has apprehended the proper path needs not withdraw to find another way. Thus Alexander, even though he began his attack intending a different plan, has nevertheless not left the proper path, and he will still reach his intended end. This shall become clear in the examples. | De toutes les Tables precedentes il n’y a pas une, qui demonstre plus clairement l’excellence de la vraye Pratique, que celle qui s’esuit maintenant; puis qu’Alexandre a travaillé tousiours par cy devant avec l’avantage de tenir l’espee de l’adversaire assujettie, & maintenant c’est tout le contraire, il a tousiours tasché de prendre la superiorité, & a cest’heure il se va faire inferieur luy mesme. Or ainsi que la suffisance du marinier s’espreuve, & se cognoit principalement en la tempeste, ainsi la nostre se fera voir plus illustre, à mesure qu’elle semblera comme estre plus abbatue. Non pas que ce soit peu de chose de bien travailler sur l’espee engagée (car il se faut asseurer contre une infinité de changements) mais que l’advantage en est si grand & si manifeste, que l’Ennemy se gardera par touts moyens possibles de le vous premettre. Car s’il l’accorde, il fait qu’il ne peut plus travailler librement de son espee, sinon qu’il la delivre auparavant par le moyen de la cavation, qui est un fort mauvais parti. Maintenant c’est vous mesmes, qui allez vous mettre en sa place, en allant de la Premiere Instance à la Seconde; de sorte que vous luy donner quasi tout l’avantage, qu’il demande. Et c’est ce que nous appellerons doresenavant obliger; d’autant que vous l’obligez à travailler le premier & avec peu de courage, par l’occasion, que vous luy en presentez si belle. Et toutesfois s’il ne s’en vouloit point servir, ce n’est pas nostre intention, qu’il vous faille retirer derechef en arriere pour rompre la mesure; comme c’est l’ordinaire de ceux qui travaillent sans fondement, sous esperence que l’Ennemy fera quelque faute à leur avantage; & quand il ne fait rien, ils sont contraints eux mesmes de quitter l’entrprinse, pour en faire une autre nouvelle. Ce sont des provocations inutiles, qui confondent l’autheur mesme au lieu de confondre l’Ennemy. Laissons faire ces retirades à ceux qui confessent avoir mal commencé: Car celuy qui à prins le droit chemin n’a que faire de reculer en arriere, pour en cercher un autre. Ainsi Alexandre quoy qu’il ait commencé à travailler un peu autrement, que de coustume; il n’a pas pourtant quitté le droit chemin; de façon qu’il en sçaura bien venir à bout; comme il paroistra clairement par les exemples. |
| Circle No 1 | Cercle N.1. |
| The two Parties stand in the Circle at the First Instance, each in his own Quadrangle, swords held in the straight-line posture, Zachary’s sword beneath his opponent’s. | Les parties plantez sur le Cercle en Premiere Instance, chascun en son Quadrangle, avec les espees en droite ligne, celle de Zacharie parallele au dessous de la Contraire. |
| On this occasion, Alexander has duly set himself first on the Circle, in Quadrangle A, presenting his sword to his adversary (body erect) in the direct line posture, to allow his opponent to work upon him. At which Zachary approaches, stepping two or three paces forward, and sets his foot on the ground in the Quadrangle opposite, on the letter X, at the same time throwing his sword from an obtuse angle (as he draws his left foot up to the Pedal Line Z) to rest parallel and beneath his opponent’s sword. This has been amply described in other Tables, where they perform the same actions, and which is effectively shown by the figures in the Circle. | En ceste occasion Alexandre s’est planté le premier sur le Cercle en forme deuë, dedans le Quadrangle A, presentant l’espee à son adversaire (avec le corps tout droit) en droite ligne, pour le laisser travailler dessus. Qui fait que Zacharie le vient approcher, en marchant deux ou trois pas en avant, met le pied droit à terre dedans le Quadrangle opposite sur la lettre X, jettant ensemblement son espee de l’angle obtus (entrainant le pied gauche sur la ligne Pedale Z) en droite ligne, parallele au dessous de l’espee contraire; selon qu’il en est faite plus ample declaration és autres Tables, où ils ont pratiqué la mesme operation; & l’effect en est representé par les propres figures de ce present Cercle. |
| Circle No 2 | Cercle N.2. |
| Alexander follows from the preceding, going to the Second Instance on the Oblique Diameter, at the same time using his wrist to lower his point to the outside of his arm, such that he attacks his opponent’s sword from beneath, and obliges him to the right hand side. | Alexandre poursuit la precedente, en allant par delà le Diametre devers la Seconde Instance, abaissant ensemblement un peu la pointe de sa lame en dehors du bras à l’aide du poignet, de maniere qu’il en attaque l’espee contraire par dessous, & l’oblige à sa main droite. |
| Because Zachary has arranged his blade in the direct line posture, parallel and beneath the other, it is to him to begin to work further. This he has not done for, simply deigning to wait. At which Alexander instantly begins, raising his right foot off the ground, while using his wrist to slightly lower the tip of his sword to the outside of his [opponent’s] arm, and so raises the inside branch of his crossguard and likewise takes his opponent’s sword from above, with his opponent’s 3rd Span on his 8th, at the same time stepping with his right foot to the letter G on the Oblique Diameter at the Second Instance. He follows with his left foot to the letter D on the Circumference, and moves the swords to his right-hand side with his extended arm, sliding the point of contact against an Alive Degree of Force, his 7th Span against his opponent’s 5th or 6th, engaging his sword, constraining him to work from above. | Puis que Zacharie avoit colloqué sa lame en droite ligne, parallele dessous la contraire, c’esoit bien à luy, de commencer & poursuivre à travailler plus outre; ce qu’il a toutesfois laissé de faire pour le present, & a seulement voulu demeurer pour attendre. Sur quoy Alexandre travaille tout à l’instant, en eslevant le pied droit de terre, & abaissant ensemblement un peu la pointe de sa lame en dehors du bras à l’aide du poignet, de sorte qu’il tourne la branche interieure de sa garde contremont, & pareillement surprend l’espee contraire par dessous, avec son Nombre 3. au N.8. marchant quand & quand du pied droit eslevé, par delà le Diametre à la Seconde Instance lettre G, pour poursuivre du pied gauche sur la Circonference lettre D, emenant egalement les espees à main droite avec le bras estendu, lesquelles desgraduant avec Poids Vif, il assemble son N.7. au N.5. ou 6. du Contraire, le convivant & obligeant par l’inferiorité de sa lame, à travailler dessus luy. |
| Note that when Alexander obliges his opponent’s sword, he must take scrupulous care to pay attention to the sensation, and cannot perform this except against a sword resisting with an Alive, Lively, or Livelier Degree of Force.[2] If his opponent changes the sense of his resistance, more or less, to a Degree of Force such as Deadweight, or Slight, then it would not be possible to count on the action of his opponent. But as soon as he perceives a slight contact, he must act first, working from below, along his opponent’s constrained sword, he moves forward and enters in, stepping with his feet, and closing the direct line to the inside of his arm. But, on the contrary, if the upper sword is Deadweight or has only a Slight Degree of Force, and Alexander allows him to move first, he, Alexander, can be easily hit by a straight line to the face. Because in this case, his sword will not have enough vigour to quickly follow and defend against the thrust of his opponent’s sword. But he can well do this in the case where his opponent’s constrained sword is above his, with an Alive, Lively, or Livelier degree of force. Because then, to hold it up, he must use an equal amount of force, Alive, Lively, or Livelier, to resist his opponent’s advance. In this way, should his opponent undertake to disengage his blade in order to wound him with a straight thrust, Alexander’s own blade would, through the tension in his arm, be able to follow of its own accord, before he could lift it off. Should the constrained sword ever come back to a sense of little or no feeling, in this case Alexander must be first to act on it, without waiting for his opponent’s action. Also, it may often be, on the contrary, that his opponent increases the pressure, using a Strong, Stronger, or even Very-Strong Degree of Force, stepping in with his right foot, to dominate and subjugate the lower sword and thus keep from being wounded. Upon this occasion, Alexander simply performs a circular disengage with his blade, so his opponent’s suddenly overbalances, and so strikes him in the face from the outside, either a thrust with the tip, or a cut along the edge. This is shown in following Circles Nos 10, 11, and 12, where these actions are described in detail. | Or notez que quand Alexandre fait ceste operation d’obliger l’espee contraire, il y doit proceder en prennant fort soigneuse garde au Sentiment, & ne la peut pratiquer sinon sur le Poids Vif, Fort, ou Plus-Fort, de l’espee qu’il oblige. Car si elle vient à changer en peu ou prou de Sentiment, comme à Mort, ou au Poids, que nous appellons Sentiment, alors il ne luy sera point loisible d’attendre l’operation de l’adversaire. Mais si tost qu’il s’en appercevra par l’attouchement, it faudra qu’il poursuive luy mesme le premier à travailler dessus au long de l’espee obligée, en avançant & entrant du corps avec les pieds, & luy fermant la droite ligne au dedans du bras. Car au contraire, si l’espee superieure est morte ou avec petit Sentiment, & qu’Alexandre luy accorde de travailler le premier, il en pourra estre touché fort aisement en droite ligne au visage; parce qu’en ceste occasion la sienne n’aura pas assez de vigueur à poursuivre l’estocade de l’espee contraire pour sa defense. Mais bien le pourra il faire, en cas que l’espee obligée se retrouve dessus la sienne, comme nous venons de dire, ayant le Sentiment Vif, Fort, ou Plus-Fort. Car alors il faudra, pour la soustenir, qu’il luy resiste en usant d’un poids Vif ou Fort à l’advenant du Contraire; de maniere que si l’Adversaire entreprend de vouloir destacher sa lame, pour le blesser en droite ligne, celle d’Alexandre par la vigueur du bras, & par l’influence de ce mesme Poids la poursuivra d’elle mesme, avant qu’il la puisse oster de dessus. Or ainsi que l’espee obligée revient aucunesfois à peu ou point de Sentiment, en laquelle occasion Alexandre a besoin de travailler le premier dessus, sans attendre l’operation; aussi adviendra il souvent au rebours que l’Adversaire augmentera le Poids, en usant de Force, ou de Violence, ou mesme de tresgrande Violence, marchant avec le pied droit en dedans, pour dompter & assujettir l’espee inferieure & consequemment ne venir à la blessure. Quand telle occasion se presente, Alexandre fera cavation avec sa lame, laissant tresbucher la contraire, & luy donner par dehors le bras un coup au visage, soit de pointe, soit de taille; comme il est representé par les figures des Cercles ensuivants N.10.11.12. où lesdites operations seront declarées chasqune en particulier. |
| Furthermore, as Alexander has obliged his opponent’s sword, in this occurrence as in the preceding, as it was presented to him in the Direct Line posture, beneath his own, most times, he must do the same in a different way, as his opponent will present his sword at an acute angle, with extended arm and tip pointed towards the ground. In this manner, it will be easier work for Alexander to advance further from the First Instance, by attacking the sword to the outside line from beneath, and then stepping to the Second Instance, moving both to the left and to the right. From there he will proceed to the actions which follow in this Table and in other Tables, which begin with and then derive from the obliging of the opponent’s blade, for which we shall provide ample explanation. | En outre, combien qu’Alexandre oblige en ceste occasion presente, comme aussi en la precedente, l’espee contraire, qui a esté mise en droite ligne dessous la sienne: toutesfois il se presentera le plus souvent de faire le mesme, en une autre sorte, assavoir quand Zacharie luy presentera son espee du premier abord avec le bras & la pointe estendue vers la terre en angle aigu. Et en icelle maniere il sera plus facile à travailler pour Alexandre, pour avancer ses approches de la Premiere Instance plus outre, en luy attaquant l’espee en dehors du bras par dessous, & consequement l’obliger, en marchant plus outre devers la Seconde Instance, tant à main gauche, comme à droite; & parvenir en suite aux operations suivantes de ceste mesme Table, ou des autres ensuivantes, qui sont fondées & contiennent la suite de l’obligation de l’espee contraire, esquelles il en sera aussi faite plus ample declaration. |
| Therefore, if his opponent presents his sword as we have described at an acute angle, right above the Diameter, Alexander must set his foot down at the First Instance also on the same Diameter, on the Circumference at the letter C, bringing his blade down to attack from the outside of the arm, and holding it there, stepping to the Second Instance, whether this way to the right or that way to the left onto the Oblique Diameter, whichever way is most appropriate at the time. But if his adversary sets himself with his sword at an acute angle in such as way as it inclines a bit to one side of the Diameter, then Alexander will set his foot down a bit to that side along the Circumference, such that he comes to the First instance a little ways along the Circumference and obliges his opponent’s sword as he moves to the Second Instance on that side. So if his opponent puts the tip of his sword to that side, Alexander will likewise move his right foot forward to the First Instance on the Circumference of the Circle, a bit to that side of the Diameter, such that his body is exactly opposite his opponent’s sword tip, and, having surprised him and attacked from below, he controls him again at the Second Instance, to the same side. | Davantage, si l’Adversaire luy presente l’espee, comme nous venons de dire, en angle aigu, tout justement au dessus du Diametre, Alexandre mettra le pied droit en Premiere Instance aussi sur le mesme Diametre, & sur la Circonference du Cercle à la lettre C, menant sa lame de haut en bas, & en attaquer par dehors le bras la lame contraire, & la tenant marchera à la SecondeInstance, tant à main droite par delà le Diametre, comme à main gauche par deça, & ainsi obliger, selon qu’il luy sera plus commode. Mais si l’Adversaire se met en posture avec l’espee en angle aigu, de façon qu’elle s’incline un peu par delà le Diametre, aussi Alexandre plantera le pied droit pareillement en Premiere Instance un peu par delà sur la Circonference du Cercle, & obligera l’espee contraire, l’emportant quant & soy à la Seconde Instance du mesme costé. Que si l’Ennemi met la pointe de son espee un peu par deçà, aussi Alexandre avancera pareillement son pied droit en Premiere Instance un peu en deçà le Diametre sur la Circonference du Cercle, de maniere que le corps soit tout viz à viz de la pointe contraire, & l’ayant surprinse & attaquée par dessous, qu’il l’aille obliger derechef à la Seconde Instance du mesme costé, |
| Circle No 3 | Cercle N.3. |
| Alexander continues the preceding action, stepping from the Second Instance to the Third, raising his point, while sliding the point of contact up the two blades, the Centre of his a few Spans up his opponent’s, giveing him a thrust to the face. | Alexandre poursuivant l’operation precedente, marche de la Seconde Instance à la Troisieme, haussant sa pointe, & ensemble graduant les deux lames, le Centre de la sienne par moindres Nombres de la Contraire, luy donnant un coup d’estocade au visage. |
| This action follows from the preceding Circle, where Alexander has obliged his opponent’s sword at the Second Instance, because his adversary waited for him to follow up. Alexander works against this and, in this current Circle, steps with his right foot along the line of the Inscribed Square, over to the Diameter at the Third Instance, at the letter N, while raising the point of his blade. He then brings his left foot along the Outside Square to the letter K. At the same time, with his extended arm, he slides the centre of his blade up his opponent’s blade by a few Spans, forcing him to give to the inside and so open up an angle, such that he can stand upright and put his tip precisely in front of the face, with power to strike. As is shown in the figure. | Ceste operation suit le Cercle precedent, ou Alexandre a obligé l’espee Contraire à la Seconde Instance, par ce que l’Adversaire demeure pour en attendre nouvelle poursuite. Sur quoy Alexandre travaille, & marche en ce Cercle present avec le pied droit par la trace du Quarré Inscrit, par delà le Diametre à la Troisieme Instance lettre N, haussant egalement un peu la pointe de sa lame, & poursuivant à mener le pied gauche sur le Quarré Circonscrit lettre K, au mesme temps avec le bras estendu il va graduer le Centre de sa lame en dedans du bras par moins de Nombres de l’espee obligée, la forçant à luy ceder en dedans & à ouvrir un angle, de façon qu’il luy met la pointe avec le corps estendu par courtoisie devant le visage, ayant pouvoir d’en faire l’execution; comme il est representé à la figure. |
| Circle No 4 | Cercle N.4. |
| This happens while Alexander is stepping from the First Instance toward the Second, to oblige his opponent’s sword. Zachary moves forward and enters with his right foot, while aiming a strong thrust at his opponent’s chest. At the same time Alexander sets himself at the Second Instance, he meets his opponent’s 3rd or 4th Span with the centre of his sword and by sliding this contact up the blade he thrusts inside the arm through the head. | Durant qu’Alexandre marche de la Premiere Instance devers la Seconde, pour obliger l’espee contraire; Zacharie s’avance & entre avec le pied droit, tirant ensemble une grande estocade vers la poitrine de son Contraire; au mesme temps Alexandre se plante à la Seconde Instance, joignant le Centre de son espee à N.3.ou 4. de la contraire, & par ce moyen la graduant, il luy donne une estocade en dedans du bras à travers la teste. |
| Both parties have set themselves at the First Instance in the direct line posture in accordance with the actions of Circle No 1. From there, Alexander proceeds further, entering in and stepping with his right foot, to the Second Instance, controlling his opponent’s sword, which he has attacked and seized from below. As soon as he has begun to overbalance with his foot raised, Zachary advances and enters in with his right foot, a bit further along the Diameter than the letter V, aiming a swift and forceful thrust in a direct line at his opponent’s chest, bending his knee and leaning onto it. Alexander, as soon as he perceives from his sense of feel that his opponent’s blade is about to detach, moves his own forward, contacting the centre of his own blade with the 3rd or 4th Span of his opponent’s, as he sets his right foot down at the Second Instance on the Diameter at the letter G, he extends his arm to slide the point of contact up his opponent’s sword, holds his body upright, and, drawing his left foot up behind, forces his blade through his opponent’s head. As shown by the figures. | L’operation du Cercle N.1. estant accomplie, où les deux parties se sont plantez en Premiere Instance en droite ligne, lors Alexandre procede en outre à marcher & entrer du pied droit, pour obliger par delà le Diametre à la Seconde Instance l’espee contraire, laquelle il a surprinse & attaquée par dessous avec la sienne, aussi tost que le pied eslevé luy commence à tresbucher avec le corps, au mesme temps, Zacharie s’avāce & entre avec le pied droit, un peu delà le Diametre plus avant que la lettre V, tirant viste & rudement en droite ligne (en pliant le genou & panchant le corps dessus le mesme en avant) devers la poitrine de l’Adversaire. Alexandre dés qu’il apperçoit par le Sentiment que la lame contraire se va destacher, il avance la sienne, en joignant le Centre au N.3. ou 4. de celle du contraire, laquelle (en plantant le pied droit, qui chemine, sur la Deuxiesme instance lettre G par delà le Diametre) il gradue avec le bras & le corps estendu, poussant sa lame (avec poursuite du pied gauche proportionnée) à travers la teste de son Contraire; en conformité des figures. |
| Circle No 5 | Cercle N.5. |
| While Alexander obliges his opponent’s blade at the Second Instance, Zachary advances and enters in to subjugate him. At which Alexander likewise advances his left foot at the same time, bending his arm upwards, and sets his point exactly in front of his opponent’s face. | Cependant qu’Alexandre oblige l’espee contraire à la Seconde Instance, Zacharie s’avance la dessus & entre pour l’assujettir; sur quoy Alexandre avance pareillement au mesme temps le pied gauche, se courbant le bras vers le haut, & luy met la pointe par courtoisie devant le visage. |
| Both parties start at the First Instance, as shown in Circle No 1 , Alexander moves his right foot towards the Second Instance, controlling his opponent’s sword, as in Circle No 2. At the instant begins to overbalance with his foot raised, Zachary advances his right foot to the letter R along the diameter, drawing his left up to the letter X, to master and subjugate his opponent’s blade with a degree of force. At which Alexander, having set his right foot on the letter G on the Oblique Diameter, enters in, setting his left foot at the Centre of the Circle, inside the opening of the angle which his opponent’s sword makes, turning his sword to the inside and bending his arm, to wound him in the face. Zachary parries by bringing his arm and sword upwards. So Alexander does the same at the same time, raising his sword with his arm bend back, and setting his sword-tip exactly in front of the face. As the figures demonstrate. | Ayant esté plantez les deux parties, comme au Cercle N.1. en Premiere Instance, cōme Alexandre s’avance presentement avec le pied droit devers la Seconde, pour obliger l’espee contraire, comme au Cercle N.2. à l’instant que le pied eslevé tresbuche avec le corps, Zacharie s’avance là dessus avec le pied droit sur le Diametre lettre R, trainant le gauche à l’advenant sur la lettre X pour maistriser & assujettir la lame contraire avec Poids de force: sur quoy Alexandre ayant planté le pied droit à la lettre G par delà le Diametre, entre avec le pied gauche, pour planter sur le Centre du Cercle dedans l’ouverture de l’angle, que l’espee contraire luy donne, en tournant l’espee en dedans & courbant le bras, pour le blesser au visage; & comme Zacharie le pare en portant le bras avec l’espee vers le haut; aussi Alexandre fait le semblable au mesme temps, haussant l’espee avec le bras courbé en arriere, & luy presentant la pointe en courtoisie devant le visage, comme la figure demonstre. |
| Circle No 6 | Cercle N.6. |
| Inasmuch as Zachary does nothing to parry the previous action, Alexander will carry on, pushing his sword forward with his bent arm, through his opponent’s head, so powerfully that the two guards crash together, which will force Zachary to bend his arm and his tip will go up into the void above. | D’autant que Zacharie ne fait point de parade par l’operation precedente, Alexandre la va poursuivre, en poussant l’espee avec le bras courbé en avant, à travers la teste contraire, de façon que les deux gardes s’entre-heurtent avec force, ce qu’il le contraint de plier le bras, & laisser monter sa pointe en l’air à vuide. |
| Circle No 7 | Cercle N.7. |
| So Zachary parries the strike from preceding Circle No 5, by lifting and raising further his arm and sword. At the same time, Alexander raises his body, likewise lifting his arm and sword further, and from there leans forward, raises his right foot in the air, and aims a cut to the calf of his adversary’s right leg. | Ainsi que Zacharie s’atend de parer le coup du Cercle precedente N.5. en haussant & eslevant encor d’avantage le bras avec l’espee; Alexandre se susleve au mesme temps le corps, en haussant aussi pareillement le bras avec l’espee d’avantage, dequoy en panchant du corps en avant & eslevant le pied droit en l’air il tire un coup de taille au gras de la jambe droite de l’Adversaire. |
| This follows from the action of previous Circle No 5, where Alexander set his sword-tip before his opponent’s face, by raising and bending his arm. Zachary will parry the thrust, by raising his arm and sword even higher. Alexander straightens up his body, while raising his sword higher, turning his arm and bending it further, with the outside branch of the crossguard raised upwards, and then steps with his left foot to the letter L on the Diameter, leans his body forward onto it, while raising his other foot, and, slipping his thumb under the inside branch of the crossguard, delivers a downwards cut at the calf of his opponent’s left leg. Such as is shown in the figure. | La presente est la suite de l’operation du Cercle precedente N.5. ou Alexandre a presenté sa pointe devant le visage du Contraire, en haussant & courbant le bras. Car ainsi que Zacharie luy va parer l’estocade, en allant plus haut avec le bras & l’espee; au mesme temps Alexandre s’estend le corps, montant aussi pareillement avec l’espee plus haut, en tournant & courbant le bras davantage, la branche exterieure contremont, marche avec le pied gauche en decà le Diametre sur la lettre L, pour pancher le corps dessus en avant, durant qu’il esleve l’autre pied, & ensemble (laissant glisser le poulce dessous la branche interieure) luy tire un coup de taille de haut en bas sur le gras de la jambe gauche; selon qu’il est monstré à la figure. |
| Circle No 8 | Cercle N.8. |
| Alexander continues the cutting action as he takes a further step with his right foot beyond the Circle, behind his opponent’s back, and leans forward onto it, drawing his left foot up onto his toes. As the figures show. | Alexandre poursuit l’operation precedente, & marche plus outre avec le pied droit esleve à sa main gauche par deçà le Cercle, se panchant le corps dessus derriere le dos de sa partie, & entrainant le pied gauche apres sur les orteils; comme la figure montre. |
| Circle No 9 | Cercle N.9. |
| Here Alexander carries the action to its end. That is, he moves his sword with a flourish from below and aims his point upwards. Spinning leftwards on his right foot, he raises his left foot as he turns, then steps towards his opponent. As he lowers his sword, which was raised upwards above his head, down onto his left arm, bringing it against his side so as to shorten the distance, he sets his left foot on the letter S, moves towards his enemy, and strikes to his left with a thrust, aided and reinforced by leaning his body, through his opponent. As represented by the figures. | Voicy comment Alexandre poursuit la mesme operation plus outre, assavoir qu’il delivre sa lame à fleur de terre, de laquelle dressant la pointe vers le haut, il se volte le corps sur le pied droit, qui est planté à main gauche, en eslevant le mesme pied, lequel il tourne & avance devers son Contraire, abaissant ensemblement sa lame, qui est dressée contremont, par dessus sa teste sur le bras gauche, l’affermissant bien pour accoucir contre sa poitrine, & ainsi marcher avec le pied gauche contre l’Ennemi sur la lettre S, & luy donner au mesme temps un coup d’estocade, (assisté & renforcé du panchement du corps en avant,) au costé gauche à travers le corps; selon la representation des figures. |
| Circle No 10 | Cercle N.10. |
| While Alexander moves himself from the First Instance to the Second, to oblige his opponent’s blade, Zachary moves forward and enters with his right foot, to dominate and subjugate his opponent’s blade with a strong force. Then Alexander makes a circular disengagement, and sets the tip of his sword exactly in front of his opponent’s face. | Durant qu’Alexandre se transporte de la Premiere Instance devers la Seconde, pour obliger la lame contraire, Zacharie s’avance & entre avec le pied droit, pour domter & assujettir l’espee contraire avec un fort poids, dont Alexandre fait au mesme temps cavation avec a sienne, luy mettant pointe en courtoisie devant le visage. |
| This one derives from Circle No 1. where both are set on the Circle at the First Instance Alexander holding his sword above his opponent’s. So, he proceeds further, stepping with his right foot towards the Second Instance, attacking from beneath to oblige his opponent’s sword, as in Circle No 2. At the moment his right foot reaches the point where his body begins to overbalance, Zachary moves forward and enters in with his right foot on the Diameter at the second intersection of the Interior Collateral and leans his body forward onto his foot, to dominate and subjugate the lower sword with a degree of force. Alexander perceives this from the contact. He sets his right foot down, which has moved to the letter G on the Diameter at the Second Instance, followed by his left foot with a circular motion to the letter D. Standing with his body erect, he makes a circular disengage from beneath his opponent’s sword, which overbalances downwards, and, with his arm bent (to keep the point from touching) sets his point exactly in front of the face. As shown by the figures. | La presente provient du Cercle N.1. où les parties son placez sur le Cercle en Premiere Instance, Alexandre tenant l’espee parallele par dessus la contraire. Or comme il procede plus outre, en marchant avec le pied droit devers la Seconde Instance, pour attaquer par dessous, & obliger l’espee contraire, comme au Cercle N.2. au temps que ledit pied luy commence à tresbucher avec le corps, Zacharie s’avance & entre là dessus avec le pied droit, par delà le Diametre sur la seconde intersection de la collaterale interieure, & se panche du corps en avant dessus le mesme, pour dompter & assujettir la lame inferieure avec Poids de Force; De quoy s’appercevant Alexandre par l’attouchement, il plante le pied droit, qui chemine par delà le Diametre sur la Seconde Instance lettre G, pour poursuivre circulairement du pied gauche sur la lettre D, mettant le corps tout droit dessus, cavant ensemblement sa lame par dessous a contraire en tresbuche vers le bas, luy mettant la point en courtoisie avec le bras courbé (pour ne le toucher) devant le visage; selon la representation des figures. |
| Circle No 11 | Cercle N.11. |
| This Circle continues the preceding action, which Alexander executes by moving his right foot forward to the letter L on the Diameter where he will lean forward with bent knee as he pushes his blade forcefully through his opponent’s head. As we see from the figures. | Voicy la suite & cōtinuation dela precedente, executée par Alexandre en avançant le pied droit par delà le Diametre à la lettre L, où il se va pancher en avant avec le genou plié, poussant au mesme temps sa lame en rigueur à travers la teste de l’Adversaire; comme on voit aux figures. |
| Circle No 12 | Cercle N.12. |
| This has the same beginning as the earlier Circle No 10, where Alexander has set his point in front of his opponent’s face. The difference with the current Circle comes from, having set his feet down at the Second Instance, he enters in with his left to the Centre of the Circle, while removing his blade from beneath the other, and cutting at the face. | C’est tout le mesme commencement que le precedent Cercle N.10. où Alexandre à mis sa pointe devant le visage du Contraire; la difference gist en ce qu’au Cercle present, ayant planté le pied droit sur la Seconde Instance, il entre avec le gauche sur le Centre du Cercle, delivrant ensemblement sa lame de dessous la superieure, & luy en donnant au visage un coup de taille. |
| This Circle begins and proceeds the same as Circle No 10, up to when Zachary moves forward to subjugate his opponent’s blade, using a degree of force. While he does this, Alexander has set his right foot at the letter G on the Oblique Diameter, at the Second Instance. He makes a sudden quick move to put his left foot down at the Centre of the Circle, while withdrawing his sword from beneath and along his opponent’s blade, which is carried by the inertia of his force downwards. As Alexander raises his right foot, he delivers a cut (across the face) to his opponent’s inside, supported by leaning forward. This is as demonstrated by the picture. | L’origine & la procedure de ce Cercle present s’accorde en tout avec celuy du N.10. jusqu’à tant que Zacharie s’avance pour assujettir la lame contraire, ce qu’il fait presentement avec plus de Poids. & durant ce mesme temps Alexandre plante le pied droit par delà le Diametre à la Seconde Instance lettre G, avec une soudaine poursuite du pied gauche, pour porter & planter sur le Centre du Cercle, en retirant & delivrant sa lame de dessous & au long de la contraire, qui tresbuche par la force du Poids en dessus, don en eslevant le pied droit, il luy porte un coup de taille en dedans du bras, assisté du panchement de corps au visage; ainsi qu’il est monstré par la pourtraiture. |
| Circle No 13 | Cercle N.13. |
| Alexander proceeds immediately from Circle 12, passing with his right foot and setting it down at the letter W near the Oblique Diameter along the edge of the Outside Square, on which he pivots turning his left side forward, while he uses his elbow to bring his sword around overhead as he turns and passes behind his adversary. He sets his left foot down beyond the Circle, about as far as the letter Z, then bends his left knee and shifts his body onto it while giving a second cut to the back of his opponent’s head. As is shown by the figures. | Cest icy encor une dependance de la precedente, poursuivie tout à l’instant par Alexandre, en passant avec le pied droit au deçà le Diametre sur le Quarré Circonscrit lettre W, sur lequel il se tourne le corps à main gauche, ensemblement conduit sa lame avec l’aide du coude à la roude par dessus sa teste en voltant & passant derriere l’Adversaire avec le pied gauche pour planter au deçà le Cercle viz à viz de l’angle Z, sur lesquel il se panche le corps en avant avec le genou plié, en donnant derechef un second coup de taille au derriere de la teste du Contraire; comme il est representé par les figures. |
| If it were possible to always subjugate the opponent’s sword, one would never need to oblige one’s opponent, nor have any reason to need to regain an advantage lost. But because we are sometimes overpowered, either by force, or his quickness, or our inattention, we must learn to recover and execute good strikes, even when at a disadvantage, strikes we have seen Alexander perform, which we know how to do when our opponent’s blade is subjugated. And for those who would take us to task for having repeated lessons given in other parts of this book, as if it were a crime to say the same thing again, I would say, on the contrary, that it was the custom of even the sage Socrates to repeat lessons for his students, and he left it to the Sophists the vain pride of never repeating themselves. Yet we have not repeated these lessons for no good cause, because otherwise it would be impossible to demonstrate how, the actions taken after controlling the opponent’s sword are very similar to those we perform after subjugating it. For those who would say that it should suffice to have merely introduced the fundamentals of the System before now, without exploring all the possible variations, because these become self-evident over time, I would respond, again, that the usefulness of these examples is too important to be neglected and that these are too essential to the System to leave them out for the sake of brevity, which would be a mistake, rather than being prolific, where prolific means that which fully explains the material. To conclude, without this repetition, it would be impossible to properly present the greatness and usefulness of the foundations of our system, which are small in number, and yet serve to dominate so many different possible actions of our adversary. One may imagine an infinite variety of ways in which our enemy might engage us. | S’il estoit possible d’assuiettier tousiours l’espee contraire, il ne seroit jamais besoing de l’obliger, ne raison de perdre un advantage pour le reprendre apres. Mais puis qu’on y est aucunesfois surprins, ou par force, ou par vistesse, ou par mesgardre, il faut apprendre à se remettre, & à tirer du desavantage mesme des bonnes executions, semblables à celles, qu’on a sceu tirer de l’assujettissement; comme nous voyons qu’Alexandre vient de pratiquer. Et c’est ce qui servira de responce à ceux, qui nous voudront par adventure reprendre; d’avoir representé en ce Tableau present quelques operations, qui ont esté descrites autrepart, comme si c’estoit un crime de redire la mesme chose. Ie leur diray au contraire, que le sage Socrates avoit de coustume de redir tousiours le mesme à ses desciples, & qu’il laissoit aux Sophistes la vanterie de ne repeter jamais rien. Et cependant, que nous n’avons pas usé de ceste repetition sans cause, puis qu’autrement il eust esté impossible de demonstrer, les appendances de l’obligation estre semblables à celles de l’assuettissement. s’Ils disent, qu’il nous devroit suffire d’avoir touché par cy devant les fondements de la Pratique en general, sans recercher touts les particularitez, qui en dependent, & qui se manifestent peu a peu d’elles mesmes; je respondray derechef, que l’Vtilité de ces demonstrations est trop notoire, & que ce sont des parties trop essentielles de la Pratique, pour les omettre sous couleur debrieveté, en laquelle il y peut avoir des fautes, aussi bien qu’en la prolixité, si prolixité se doit nommer, ce qui esclarcit grandement la matiere. Et pour conclusion, que sans ceste repetition, il seroit impossible de vous representer l’amplitude & le grand usage de nos fondements, qui sont petits en Nombre, & servent cependant à domter tant de diverses actions du Contraire; au lieu que ce seroit chose infinie, s’il falloit imaginer autant de diverses rencontres, comme il y a de variations de la part de l’Ennemy. |
Draft Translation |
First Edition (1628-30) |
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| EXPLANATION OF THE ACTIONS IN THE TWENTIETH TABLE | DECLARATION DES OPERATIONS DV TABLEAV VIGNTIEME |
| Any advantage one may take of an adversary must perforce be either against the body or the sword. Because one ordinarily defends the body, and this makes it difficult to reach, in contrast to the sword, which, of course, doing nothing more that it’s job of protecting the person, must remain within range. It has no defence for itself (nor does it need any) but only for the person. As such, it cannot avoid being attacked. Those who think they would keep it free, when they hold it drawn back, or down, or who make feints high, low, straight, or with bent arm in order to fool their adversary, are only fooling themselves, in that they give over to their opponent all the advantage, that he may confidently choose at his pleasure the best time and means to close in, as the sword in guard is enough to defend the body but when not in guard, cannot. It is obvious, that eventually they must perforce seek to contact the blade they sought to avoid. And yet, the most sure and safest way to engage against a sword is never to flee from it, but rather, once engaged, to never lose that contact, so that the sense of feel can tell us right away when the opponent is preparing to parry or to counter our attacks. For in all these cases, one must continue to work upon one’s opponent, as long as one can maintain sufficient control. And to do this, one must absolutely understand the different degrees of Force, to apply the proper counters, as the responses to different pressures are quite different, as we can see beginning in this Table after the first five Circles, and later on in others. Therefore, one must always be attentive to subjugate the opponent’s blade, far enough from the tip that on is protected from disengagements, and near enough that one is out of danger from Imbrocatta thrusts. | Tout l’avantage qu’on sçauroit prendre sur l’Adversaire il le faut cercher necessairement ou au corps, ou bien à l’espee. Et puis que le corps est ordinairement en defense, aussi est it plus souvent de difficile approche; au contraire de l’espee, qui ne peut faire son office de garantir la personne, si elle ne demeure en presence. N’ayant nulle defense pour soy mesme (aussi n’en a elle que faire) mais seulement pour la personne; de façon qu’elle ne se peut garder d’estre attaquée. Ceux qui pensent la tenir bien libre, quand ils la retirent en arriere ou en bas, ou qu’ils font des feintes, hautes, basses, droites, courbes, pour tromper l’Adversaire, se trompent eux mesmes, en ce qu’ils luy accordent l’avantage, de prendre à sa fantasie la meilleure situation & la place que bon luy semble, pour faire ses approches avec plus d’asseurance, s’il est vray que l’espee est suffisante à defendre le corps, quand on la tient en bonne guarde. Chose si evidente, qu’ils en sont contraints à la longue de recercher eux mesmes l’espee la quelle il pensoyent avoit evitée. Et partant c’est le plus seur, quand elle se presente, de ne la fuir jamais, & l’ayant une fois attouchée, jamais ne la quitter tandis que le Sentiment nous dit, qu’elle est toute preste à destourner & empescher nos entrprinses. Car en ces cas, il faut tousiours continuer à travailler dessus, tant qu’on la puisse commander à suffisance. Et pour ce faire, faut sur tout entendre la difference des Poids, pour y appliquer les vrais remedes, à mesure que les effets en son grandement dissemblables; comme on voit à l’entrée de ce present Tableau à la suite des cincq premiers Cercles, & à l’advenant aussi és autres; où il faut tousious observer de tenir l’espee Contraire en sujection, si loing de la pointe, qu’on soit affranchi de ses cavations, & si pres, qu’on soit hors le danger des Imbrocades. |
| Circle No 1 | Cercle N.1. |
| Alexander has previously obliged his opponent’s blade on the Diameter at the Second Instance. He continues by stepping to the Third, carrying the opponent’s blade to the inside of his arm, and subjugating it above the Diameter. | Alexandre ayant auparavant obligé la lame Contraire par delà le Diametre à la Seconde Instance, il poursuit à marcher presentement à la Troisieme, en transportant l’espee contraire en dedans du bras & l’assujettissant au dessus du Diametre. |
| This current action comes from Circle No 2 of the preceding Table, where Alexander has obliged his opponent’s sword on the Diameter at the Second Instance. As Zachary calmly waits for the follow-up, Alexander moves with his right foot to the Perpendicular Diameter, along the Inscribed Square, at which (midway to the Instance) he hesitates briefly, before he overbalances, during which time he raises the obliged sword upward with his own, and consequently, as he sets his right foot on the section crossing the transverse interior line Q N, he carries it over to his left hand side, such that it comes down exactly above the Diameter in the direct line posture, where he subjugates it with an Alive degree of Force with his 2nd Span against his opponent’s 1st Span, tip slightly raised, and his arm lowered with the guard, by which he covers his lower body and guarantees his safety from a hit, as shown by the figures, with the sword positions marked on the plane of the Circle. | La presente operation depend du Cercle N.2. de la Table precedente, où Alexandre a obligé l’espee contraire par delà le Diametre à la Seconde Instance; & comme Zacharie demeure en attendant la poursuite, Alexandre s’avance le pied droit par delà le Diametre, au long du Quarré Inscrit, duquel (estant à my-voye de l’Instance) il fait une petite pause, avant qu’il vienne à tresbucher, durant laquelle il sousleve l’espee obligée avec la sienne vers le haut, & consequemmēt, en plantant le pied droit eslevé à la section de la traversante interieure Q N, il la transporte à main gauche, de sorte qu’elle reviēt justemēt au dessus du Diametre en droite ligne, où il l’assujettit d’un Poids vif au N.1. avec son N.2. la pointe un peu ascendante, & le bras descentāt avec la garde, dont il se garentit & couvre la partie inferieure du corps, pour n’y estre touché, selon la representation de leurs figures, & des espees qui sont marquées sur le plain du Cercle. |
| Circle No 2 | Cercle N.2. |
| This follows from the preceding. As Alexander has subjugated the previously obliged sword, as just described, Zachary leaves it hanging with a Deadweight degree of Force, with no feel. At which Alexander, who has perceived this from the contact, turns his right side forward, presenting his profile to his opponent, sets his feet on the ground, he disengages his sword from his opponent, and adopts the Direct Line posture, arm extended, his point exactly in front of his opponent’s face, so he is just ready to strike, as shown. | Voicy une suite de l’operation precedente. Car ainsi qu’Alexandre viēt d’assujettir l’espee obligée, selon qu’il est dit dernierement; Zacharie la laisse decheoir morte sans nul sentiment; sur quoy Alexandre, qui l’apperçoit par l’attouchement, se tourne au mesme temps le costé droit du corps devant en pourfil à pieds fermes, sans bouger, quittant ensemblement l’espee contraire, & mettant la pointe de la sienne en droite ligne, avec le bras estendu & le corps tout droit, devant le visage de sa partie adverse, usant de courtoisie, combien qu’il ne tienne qu’à luy d’en faire l’execution; commes les figures monstrent. |
| Circle No 3 | Cercle N.3. |
| Alexander had moved his opponent’s sword aside as in Circle No 1. Zachary allows it to overbalance, now with a Slight degree of Force. At this, Alexander enters with his right foot, leans forward and strikes his opponent with a reverse blow to the left side of the head. | Alexandre ayant transporté l’espee Contraire, comme au Cercle N.1, Zacharie la laisse tresbucher maintenant au poids de Sentiment; sur quoy Alexandre s’avance & entre avec le pied droit, frappant l’Adversaire d’un coup de revers avec le corps panché en avant, au costé gauche de la teste. |
| Alexander forced his opponent’s blade over and subjugated it, as shown in Circle No `1. This time Zachary weakens this motion by resisting with a Slight degree of Force, to some small advantage. At this, Alexander enters in with his right foot on the Diameter, between the Inside and Outside Squares near the letter T, whereon he moves his right side forward and diagonally in front of his opponent while he gives a little shove down to force his opponent’s blade down, which allows him to detach. He bends his right knee, leans forward onto hit, draws his left foot up behind, turning his left side forward slightly, and puts his blade exactly by the left[3] side of his opponent’s head, edge turned to make a reverse cut. As is shown by the figures. | Ainsi qu’Alexandre a transporté & sujetté l’espee Contraire, comme il est representé au Cercle N.1. presentemēt Zacharie l’affoiblit en Poids de Sentiment, ou un peu d’avantage; sur quoy Alexandre poursuivant à travailler, entre avec le pied droit par delà le Diametre, entre les deux Quarrez interieure & exterieur un peu en deçà la lettre T, dont il avance le costé droit au dedans de l’angle & des perpendiculaires de l’espee ennemie, à laquelle il donne ensemble un petit heurt avec la sienne vers le bas, de façon qu’il luy amortit le Sentiment, & par mesme voye il la quitte, en pliant le genou, sur lequel il se panche le corps en devant, & entraine le pied gauche en suite, en avançant un peu le costé gauche, & ensemblement mettant sa lame en courtoisie en forme de revers au costé droit de la teste Contraire; selon qu’il est representé aux figures. |
| Note that Alexander must keep his left foot held back if he wishes to moderate or stop his blow. But if he wishes to make the blow powerful, he must spin and take a large step with his left foot behind the other, then again advance another step with his right foot and again spin with his left, during which time, he brings his sword around in a circle overhead, striking with cut to the back of his opponent’s head, partly as shown in the two following Circles, Nos 4 & 5. | Notez qu’Alexandre doit tenir le pied gauche en arriere, s’il veut moderer & arrester le coup; mais s’il en veut faire l’execution par rigueur, qu’il doit volter & jetter en avant un grand pas derriere l’autre, & puis avancer encor une autrefois un pas avec le pied droit, & volter derechef avec le pied gauche, durāt lequel tēps il conduira l’espee à l’aide du poignet par dessus sa teste, en tirant un coup de taille au derriere de la teste de l’Adversaire, en partie selon qu’il est representé par les deux suyvants Cercles N.4. & 5. |
| Circle No 4 | Cercle N.4. |
| In this current Circle, Zachary holds his blade with an Alive degree of Force. Against which Alexander moves forward with his right foot from the Third Instance, giving a push down with his sword, and then moves it overhead, and, while he spins his left foot, gives a cut to the left side of his opponent’s head. | En ce Cercle present la lame de Zacharie tient le poids vif; sur quoy Alexandre s’avance avec le pied droit de la Troisieme Instance, en luy donnant un poussement avec la sienne vers le bas, & consequemment la conduit par dessus sa teste, en tirant avec la volte du pied gauche, un coup de taille au costé gauche de la teste Contraire. |
| The subjugation of the opponent’s sword has proceeded according to Circle No 1, and Zachary is holding it with an Alive Degree of Force. Alexander advances, and enters in with his right foot near the Oblique Diameter on the Outside Square at the letter T, giving a small shove with his sword so that it forces it down and confuses his opponent’s sense of feel, and allows him to bring his sword around overhead, and give a cut (as he spins his left foot outside the Circle and forwards) to the left side of his opponent’s head. As we can see in the figure. | L’assujettissement de l’espee Contraire, ayant precedé en conformité du Cercle N.1. & Zacharie la tenant en Poids vif; Alexandre s’avance & entre là dessus avec le pied droit par delà le Diametre sur le Quarré Circonscrit à la lettre T, en luy donnant un petit bransle avec la sienne, de sorte qu’il l’abaisse en desgraduant & luy trouble le Sentiment, au moyen dequoy il va conduire la sienne par dessus sa teste, en tirant un coup de taille (durant qu’il avance & volte le pied gauche dehors du Cercle) au costé gauche de la teste du Contraire; comme on voit à la figure. |
| Circle No 5 | Cercle N.5. |
| Continuing his action, Alexander makes an easy move forwards, with a large step further on, then spinning his left foot around behind, as he again brings his sword overhead, to strike his opponent with a cut to the back of the head. According to the image shown. | Continuant l’operation precedente, Alexandre s’avance incontinent un grand pas plus outre à l’envers, conduisant derechef son espee par dessus sa teste, en voltant le pied gauche, pour frapper derechef en ce mesme temps de la taille au derriere de la teste du Contraire; selon la representation des figures. |
| Circle No 6 | Cercle N.6. |
| The subjugated blade here is held with a Strong or Stronger Degree of Force. Against which Alexander has moved forward and entered from the Third Instance on the Diameter with his right foot, increasing his momentum to leap forward with his left foot beyond the Diameter. While this is still raised, he detaches his sword from his opponent’s and grabs the guard with his left hand as he sets his left foot down on the Inside Square. He raises his right foot and spins around while giving a reverse cut to his opponent’s head. | L’Espee assujettie a tenu en ce present Cercle du poids fort ou plus-fort, sur quoy Alexandre s’est un peu avancé & entré de la Troisieme Instance devers le Diametre avec le pied droit, en prenant course pour sauter en avant avec le pied gauche par deça le Diametre, lequel estant encor eslevé, il quitte l’espee contraire, en luy prenant la garde avec la main gauche, à ce mesme temps abaissant le pied gauche enterre sur le Quarré Inscrit, il volte le pied droit par haut, en tirant un coup de revers au costé droit de la teste du contraire. |
| Here is another action which follows from Circle No 1, where Alexander subjugated his opponent’s sword, which resists his with a Strong or Stronger Degree of Force. Against this Alexander makes a small entrance, moving his right foot towards the Diameter along the Interior Transverse. He then lightly jumps further on, stepping with his left foot and turning his left side forwards, lifts his sword away from his opponent’s and grabs his opponent’s guard with his left hand, drawing it away so the sword points down and to his left. As he does this, with his wrist he brings his own sword around overhead. As he sets his left foot down where the Exterior Transverse crosses the Inside Square he raises his right foot to spin around with momentum while he delivers a reverse cut to the right side of his opponent’s head. As the illustration demonstrates. | Voicy encor une autre operation, qui procede du Cercle N.1. où Alexandre à fait l’assujettissement de l’espee Contraire; qui soustient presentemēt la sienne avec Poids fort ou plus fort. Là dessus Alexandre fait une petite intrade, en avançant le pied droit devers le Diametre sur la Traversante interieure, dont il se sousleve en l’air & saute incontinent plus outre, en tournant le costé & le pied gauche devant, ensemble quitte l’espee assujettie, & luy prend la garde avec sa main gauche, la tirant vers le bas avec la pointe descendante à son costé gauche, conduisant ensemble son espee à la ronde par dessus sa teste à l’aide du poignet, pour planter le pied gauche au deçà le Diametre sur le Quarré Inscrit à l’entrecoupure de la traversante exterieure, auquel temps il tire un coup de revers, (en voltant le pied droit par haut,) au costé droit de la teste du Contraire; ainsi qu’il est demonstré par la figure. |
| Circle No 7 | Cercle N.7. |
| Alexander continues the preceding action, moving forward and spinning his right foot with a large step outside and beyond the Circle, after which he raises his left foot in the air, straightens and leans a bit backwards, drawing his opponent’s captured guard and blade to his left side, holding his own low on his right side, with the tip down, near his adversary, and ready to wound without hesitation; as we can clearly see in the figure. | Alexandre poursuit l’operation precedente, en avançant & voltant le pied droit d’un grand pas dehors & au deçà le Cercle, sur lequel, en eslevant le pied gauche en l’air, il se dresse & panche un peu alenvers, en attirant la garde captive ensemble avec la lame à son costé gauche, mettant la sienne à son costé droit avec le bras descendant, & la pointe basse, en presence du contraire, & en estat de le pouvoir blesser sans nulle resistance; comme on le voit clairement à la figure. |
| Circle No 8 | Cercle N.8. |
| This derives again from Circle No 1 when the subjugates sword resists with a Very Strong Degree of Force. Against this Alexander, having previously stepped in with his right foot to the letter M, jumps with his left foot onto the Diameter at the letter Q, while seizing ahold of his opponent’s guard, by leaning his body forward, and reaching over the crossed swords with his left hand. | Voicy qui sourd encores du mesme Cercle N.1. lors que l’espee assujettie use du poids tresfort; sur quoy Alexandre, ayant preallablement entré avec le pied droit à la lettre M, il saute du pied gauche au deçà le Diamettre à la lettre Q, faisant prinse de la garde contraire, avec le corps panché en avant, & la main gauche allant par dessus les deux lames croisées. |
| Following from the actions of Circle No 1 where Alexander has moved to the Third Instance and controlled and subjugated his opponent’s sword. Now Zachary increases the force of his resistance to a Very Strong Degree of Force. Alexander works against it by opposing and increasing his own, stepping with his right foot forward to the letter M, and from there, leading with his left foot and side, springs across the centre to the letter Q on the Oblique Diameter. With his body leaning forward, he reaches over the crossed swords and, as he raises his right foot and begins to spin around behind, he grabs his opponent’s guard with his left hand. As shown by the figures. | En suite de l’operation du Cercle N.1. où Alexandre à fait le transport & assujettissement de l’espee contraire à la Troisieme Instance, & que Zacharie en augmente presentement la force en Poids tres-fort; Alexandre travaille alencontre, en y opposant & moderant à l’advenant le sien, marche avec le pied droit à la lettre M, duquel il saute en haut, avec le costé & le pied gauche devant, pour planter au deçà le Diametre à la lettre Q, & ensemble avec le corps panché sur le devant, & le pied droit faisant la volte par haut en derriere, il avance la main gauche par dessus les deux lames croisées & accouplées, de façon qu’il fait en ce mesme temps prinse de la garde contraire; en conformité des figures. |
| Circle No 9 | Cercle N.9. |
| This follows from the preceding, where Alexander spins his raised right foot around behind his other, so that his toes land on the Outside Square at the letter T. He shifts his body onto it, lifts his left foot into the air, while pushing his opponent’s guard and arm away from him with his left hand, setting his tip under the right arm. As is represented by the figures. | C’est icy la continuation de la precedente, poursuivie par Alexandre en voltant le pied droit eslevé derriere l’autre, de sorte que les orteils en viennent à toucher le Quarre circonscrit à la lettre T, se dressant le corps dessus, en eslevant le pied gauche en l’air, & ensemble poussant au loing de soy en avant avec sa main gauche la garde & le bras du Contraire, luy assenant sa pointe dessous le bras au costé droit; ainsi qu’il est representé par les figures. |
| Circle No 10 | Cercle N.10. |
| This is the final follow-on, and finish done by Alexander, by closing with his adversary with his raised left foot. He shifts his weight onto it and leans his body forward, pushing his thrust with full force through his opponent’s body, so that he easily forces him backwards to the ground. In accordance with the figures. | Voicy la derniere continuation, avec l’execution, faite par Alexandre en accostant sa partie adverse du pied gauche qui estoit eslevé, sur lequel il se charge & se panche du corps en avāt, poussant l’estocade precedente à pleine force par le costé à travers du corps du contraire, de sorte qu’il ne tient qu’à luy de le reverser par terre; en conformité des figures. |
| Circle No 11 | Cercle N.11. |
| Alexander has obliged his opponent’s blade along the Diameter at the Second Instance. Since he finds it resisting with an Alive Degree of Force, he brings it over and subjugates it to the inside on the left-hand side, stepping with his left foot up to the letter R. | Alexandre ayant obligé l’espee Contraire par delà le Diametre à la Seconde Instance; comme il la retrouve en Poids vif, il la transporte & assujettit en dedans à main gauche, en marchant du pied gauche à la lettre R. |
| This proceeds from Circle No 2 from the preceding Table (XIX). Once having obliged his opponent’s sword (following the aforesaid instructions of the previous Table) along the Diameter, at the Second Instance, and as his opponent is holding his blade against his with an Alive Degree of Force, Alexander then brings it over in a circular motion to the other side, moving his body forwards, stepping into the angle of his opponent’s blade with his left foot, which was mid-way towards the Second Instance, then, just before he was at the point of balance, he paused, changed direction and set it down at the letter R. At the same time, he subjugates to his left his opponent’s sword, No 2 to No 1, according to the figures. | C’est de la Table Precedente Cercle N.2. que la presente operation procede. Car ayant obligé l’espee Contraire (selon lesdites instructions de la Table precedente) par delà le Diametre à la Seconde Instance; & que l’Adversaire la tient en Poids Vif; Alexandre la transporte circulairement à l’autre costé, en avançant le corps, & entrant du pied gauche, duquel, estant à my-voye de l’Instance, avant qu’il tresbuche, il fait un peu de pause, consequemment avançant le costé gauche au dedans des perpendiculaires de l’espee Contraire, & le plante sur le Diametre à la lettre R, assujettissant ensemblement à son costé gauche l’espee Contraire du N.2. à N.1 selon la representation des figures. |
| Circle No 12 | Cercle N.12. |
| Against the preceding action, Zachary withdraws his arm with his sword backwards, to wound Alexander in his left side, which is turned forward. Alexander prevents this this, and parries, setting his left foot down at the Centre, his right side turned forwards, with his arm lowered and point rising to his left beside him. | Contre l’operation precedente Zacharie se retier le bras avec l’espee en arriere, faisant intrade avec le pied droit, pour blesser l’Adversaire au costé gauche qui s’avance, Alexandre le previent & pare, en plantant le pied gauche sur le Centre, le costé droit tourné en devant, avec le bras descendant, & la pointe montant à costé de luy. |
| This happens while Alexander moves his left foot and side forward, carrying the obliged sword over to subjugate it to the left hand side, as shown in the previous Circle. As he does, Zachary suddenly shortens his arm and draws his sword backwards, as he steps with his right foot onto the letter R on the Diameter, in order to wound his adversary in his left side, which is turned towards him. Alexander, feeling this, turns his right side forward, draws his left side away, and sets his left foot down at the centre of the Circle, bends his kneed and leans forward onto it, inside the lines of his opponent’s sword. Thus he closes off his left outside by placing his sword in between, his arm and guard lowered, point raised, holding the blades together with his 3rd Span against the 4th Span of his opponent, and in this way prevents him from giving his thrust. As is shown by the figures. | Durant qu’Alexandre s’avance le costé gauche, avec le pied du mesme, en transportant l’espee obligée, pour l’assujettir à main gauche, en conformité du Cercle precedente; à ce mesme temps Zacharie retire tout soudain l’espee en arriere, accourcissant le bras, & marchant ensemble avec le pied droit en avant sur le Diametre lettre R, pour blesser l’Adversaire de sa pointe, au costé gauche qui s’avance; Alexandre, qui l’apperçoit par le Sentiment, se tourne incontinent le costé droit en devant, destournant le costé gauche, & plantant le mesme pied sur le Centre du Cercle, sur lequel il se panche, enpliant le genou, dedans les perpendiculaires de l’Espee Contraire; laquelle il forclot à son costé gauche en dehors, par l’entremise de la sienne, le bras avec la garde abaissé, & la pointe haussée, tenant les lames accouplées de son N.3. le N.4. du Contraire, luy empeschant en ceste sorte de venir à l’execution de son estocade; comme il est demonstré par les figures. |
| Circle No 13 | Cercle N.13. |
| Alexander continues to follow his action before his opponent can complete his movement, by stepping suddenly in with his right foot, along the Diameter at the Inside Square on the letter S, bending his knee, leaning his body forward onto it, and his right hand in no way lowered, but held against his body. As the figures demonstrate. | Alexandre continue icy à poursuivre l’operation precedente, avant que le mouvement du Contraire soit achevé, en marchant soudain avec le pied droit dedans, par deçà le Diametre sur le Quarré Inscrit lettre S, avec pliement du genou, le corps panché dessus en avant, & le bras droit aucunement abaissé contre le corps; ainsi que les figures demonstrent. |
| Circle No 14 | Cercle N.14. |
| Here we have the last follow-on, added to the last without any pause between them whatsoever, in such a way that Alexander suddenly turns his body to the left on his stopped feet, without moving them, disengaging from his opponent’s blade, by means of a push of his own blade right backwards with one hand extended out, bringing his tip down over his left arm, holding his blade against his chest, and coupled with the left side of his body leaning forward, he hits with the point on his enemy's right side. According to the figures. | Icy vous voyez la derniere poursuite annexée à la precedente sans nulle pause entremoyenne, de façon qu’Alexandre poursuit tout soudain à tourner le corps à main gauche sur les pied arrestez, sans qu’ils bougent de leur place, quittant ensemblement la lame Contraire, par le moyen qu’il jette la sienne à la faveur du seul poignet, avec le bras estendu tout droit en arriere, de haut à bas sur le bras gauche, la serrant contre sa poitrine, & ensemble avec le costé gauche du corps panché en avant, il donne l’atteinte de pointe au costé droit de l’Ennemy; suivant la representation des figures. |
| Circle No 15 | Cercle N.15. |
| Finally, here we see the final move which Alexander makes without any pause at all, stepping with his right foot onto the letter X on the Circumference. He shifts his weight onto it and leans forward on bent knee, bringing the previous thrust to full force and pushing forcefully through his opponent’s body, enough to force him to fall backwards onto the ground. As we can see by the figures. | Finalement voicy l’execution, qu’Alexandre poursuit tout d’un mesme train sans nul arreste quelconque, en marchant sur la Circonference lettre X, sur lequel il se charge & panche en devant, avec le genou plié, ravivant l’estocade precedent à pleine force, & la pussant en rigueur à travers du corps de l’Adversaire, de sorte qu’il a le pouvoir de le jetter mesme à l’envers par terre; comme il se peut voir aux figures. |
| So these movements, which Alexander performs one after the other such that that they form a single action, must be done so quickly and smoothly that one’s opponent has no time at all to do anything to counter them. | Or ces precedentes operations, qu’Alexandre vient de pratiquer toutes en suite jusqu’à l’execution, il faut qu’elles s’entresuivent si viste & si continuellement, qu’on ne donne point de loisir a l’Adversaire de faire aucune autre chose alencontre. |
| Several who wish to catch us out, might think they have come across the perfect opportunity in this Table XX, because, when they look at the figures they might believe that these are but contrived situations, which resemble more a theatrical display than the reality of a fight, and that the persons here are shown with such calm demeanour that it would be impossible to perform other than in this way, that is, with delicate precision, as a form of rehearsed spectacle, by mutually agreement to allow each other to approach so close beside and to such a favourable position as could only exist in the imagination. That is, to have a fight that went exactly according to one’s wishes. There their objection in fact has a fault in the point they would make. For those who are unknowing usually mistake the circumstances for the thing itself. One might tell them, in response, that if they could have a fight according to their wishes, then it would be enough to learn how to strike, and maybe two or three other lessons, which would serve in all cases, without any concern for the rest of it. But as that is an impossibility, and that the true Practitioner must be equipped to face a great number of circumstances, so variable, and so sudden, that it goes without saying that the scholar must first learn a great deal. We have not neglected to set these lessons here in proper order, each following those previous ones which are most similar. But even if these lessons are not useful in this particular order, it does not follow they will never be used at all. If those who object say that it is only by chance or by improvisation that these situations will come about, I say there is even more reason to equip oneself and to prepare for them, because on cannot expect to have a fight that goes only according to ones wishes. Any yet, occasions such as these are not as unfamiliar or rare as some might think. They are quite ordinary and even occur as often as any other, when one is passing another. Because then one always finds oneself beside and close to the opponent and in the same, or similar situations as those represented here. To the degree they do not understand the usefulness of our principles because their perception is coloured by others that they perceive as typical, the fault is still their own, that they do not adopt what they do not seek to understand. Because, as for the figures which, as they feel, do not display sufficiently angry faces or wide actions, it would be folly to give such moves more action than they require. To the degree they would wish to do that, it would mean there would be no point to choosing one posture or another. The way it is, is the most safe, to set the persons in the direct line posture, which is the most natural posture of all, and from which one must always approach as close as is possible. Thus they are obliged to admit, despite themselves, that anyone who can perform these actions with ease, as our figures show, will be just as at ease using them in any other situation in which they find themselves, to the degree it is appropriate. The second reason, which is also the principal one, is that that the examination of these precepts should be done calmly, especially if used when the situation is otherwise. Just as performed in all the branches of knowledge, even those which seem to have no accordance in the world with abodes of the Muses. Behold the doings of war: can we not say the actions, which are horribly chaotic and tumultuous, yet can be described calmly? The finest arts of lively dances and of music, both vocal and instrumental, do they not require such an alacrity and grace in practice, that it would be an extreme folly for one just learning to try to imitate? The same is with other disciplines. Habit cannot be acquired without a solid understanding of the precepts, which cannot be learned without careful study, nor yet study without patience, nor patience without much time, effort, and consideration. And we cannot help but lay blame to a great degree, on popular practices, which are done in such a way that encourage the practice of wild abandon, with no consideration at all for ultimate goals, except to become used to working very quickly, in the hope of somehow finding favourable circumstances, as if there were nothing more to consider having seen a lesson two or three times, as if one could overcome the Art through brute force. And in fact, they arrive sooner at the end of their art than we do of ours, but with much less secure a foundation. Also our precise consideration cannot be compatible with such precipitous haste. In a word, that which is most important of all, as our figures appear calm and poised, so the effect of our Art is to create such grace in those who practice, in place of more common practices which train others to be crude. | Plusieurs qui nous voudront reprendre, en penseront avoir rencontré en ce Tableau XX. la plus juste occasion, qu’ils sauroyent pretendre: par ce qu’en examinant les figures, il leur sera peut estre advis, que ce ne sont que des occasions controuvées, qui ressemblent plustost à la Parade d’une pompeuse magnificance, qu’à la verité d’une bataille, & que les personnes y tiennent une gravité si modeste, qu’il seroit impossible de la pratiquer autrement qu’à nostre mode, c’est a dire en courtoisie, en forme de spectacle, & par convenance mutuelle de laisser venir l’un l’autre si avant, & à costé, & avec tel avantage qui ne consiste qu’en imagination. En somme que ce seroyent des belles choses, si on pouvoit avoir la bataille à sa fantasie. Voilà ce qu’on nous objectera sans point de faute. Car les ignorants se prennent ordinairement plustost aux circonstances, qu’aux choses mesmes. Disons leur donc pour response, que si on pouvoit avoir la bataille à sa fantasie, que ce seroit assez de bien porter la botte, & puis encor deux ou trois petites leçons, qu’on seroit servir à touts propos, sans se soucier du reste. Mais d’autant que cela est impossible, & que la vraye Pratique doit estre munie contre un si grand nombre d’occurrences, si variables & si soudaines, qu’il est sans contredit necessaire que l’Escholier ait au paravant estudié une bonne partie; nous n’avons pas voulu manquer à les mettre icy en leur ordre; & selon la suite des autres operations, avec les quelles elles ont plus de similitude. Or si elles ne viennent pas en usage en ceste mesme sorte, il ne s’ensuit pas pourtant qu’elles n’y viennent jamais? Et s’ils disent que c’est par fortune ou à l’improviste qu’on s’y retrouve, je diray qu’il y a d’autant plus de raison de s'armer & preparer alencontre, pource qu’il ne faut pas attendre d’avoir la bataille à sa fantasie. Et cependant, que ces occasions ne sont nullement si estranges ny rares comme ils pensent; car elles sont fort ordinaires, & mesmes il ne s’en presente quasi nulles autres, quand ce vient à faire des passades. Car alors on se retrouve tousiours à costé, fort pres de l’Adversaire, & en ces mesmes ou semblables situations qui sont icy representées. De sorte que s’ils ne comprennent pas l’utilité de nos preceptes pource qu’ils sont agencez de quelques autres couleurs, que de celles qui leur semblent ordinaires, qu’ils s’en attribuent la faute à eux mesmes, sans reprendre ce qu’ils n’ont pas comprins. Car quant aux figures qui ne font pas assez de mauvaises mines, comme il leur semble, ce seroit folie de leur attribuer plus de mouvements que les operations ne requierent. Et combien qu’on le voulust ainsi faire, toutesfois il n’y auroit point de raison de choisir plustost l’une posture que l’autre. De maniere que c’a esté le plus seur de mettre les personnes en posture de la droite ligne qui est la plus naturelle de toutes, & de laquelle on se doit tousiours approcher le plus qu’il est possible. Aussi sont ils contraints de confesser, malgré qu’ils en ayent, que celuy qui saura pratiquer ces operations avec tant de facilité, que nos figures demonstrent, aussi en fera il le mesme en quelque autre situation qu’il se retrouve, moyennant qu’elle soit propre. La seconde raison, qui est aussi la principale, c’est que l’examen des preceptes doit estre modeste, encores que l’usage en fust autre. Comme il se pratique en toutes les Sciences, mesme en celles qui ne semblent avoir nulle accoinstance du Monde au repos des Muses. Voyez le fait de la guerre, Les actions, combien en sont elles horribles & tumultueuses, & cependant les instructions combien paisibles? L’art de sauter danser & la Musique Vocale & instrumentalle, ne requierent ils pas une si grande promptitude & vistesse en la pratique, que ce seroit une folie extreme de la vouloir imiter au commencement de l’apprentissage? Le semblable en est il aussi des autres disciplines. L’habitude ne se peut acquerir sans une solide cognoissance des preceptes, qui ne peut este sans examen, ny l’examen sans patience, ny la patience sans temps, sans industrie, sans modestie. Et c’este ce que nous ne pouvons laisser de blasmer grandement en l’Exercise vulgaire, qui est façonné de telle sorte, qu’on s’y adonne tout incontinent à la pratique, sans nulle consideration ulterieure, sinon de s’accoustumer à travailler fort viste, en esperance de rencontrer aucunesfois les occasions favorables, comme s’il n’y avoit rien à considerer d’avantage, apres qu’on a veu monstrer une leçon deux ou trois fois, comme s’il faloit emporter l’Art par violence. Et de fait ils arrivent plustost à leur pratique, que nous à la noste, mais c’est avec moins de fondement. Aussi nostre consideration si exacte ne peut compatir avec une hastivité si preciptée. Et pour dire en un mot ce qui importe plus que tout le reste, comme nos figures se demonstrent paisible & modestes, aussi l’effet de nostre Art est de rendre telles les personnes qui s’y adonnent, au lieu que l’Exercice Vulgaire les rend plus farouches par l’accoustumance du contraire. |
Draft Translation |
First Edition (1628-30) |
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| EXPLANATION OF THE ACTIONS IN THE TWENTY-FIRST TABLE | DECLARATION DES OPERATIONS DV TABLEAV VINGT ET VNIEME |
| From here on, we shall discuss Strikes of Primary Intent, which are more aggressive than the others, and which are closer in nature to the older style of giving a hit. Not because they are founded on other axioms, but because the timing is faster, and they are performed with larger motions. A style, if I am not mistaken, more appealing and satisfying to the common fighter than the preceding sequences of moves, which are slower, because they are done in a more reserved, deliberate manner. No doubt they would rather choose to learn these moves before the others, if they could, to mix a few of our precepts into their own lessons or contrivances. They delude themselves, and not just a little bit, if they value these lessons above the earlier ones. They might scramble the order of lessons, and try to learn these before those which must, of necessity, come first. But the following movements cannot give protection unless they are building upon a solid foundation of the preceding exercises and actions. Since the timing of these is faster, the distance further, and the movements greater, so the sense of feel must be more finely developed to compensate and thereby succeed in making the approach and strike with a single motion. Therefore, before one can learn these, one must learn the others first, for if one cannot do the parts themselves well, that is, to subjugate a sword without necessarily hitting, then to hit, it will be even more difficult to learn these two things at the same time. Furthermore, since the term Primary Intent may perhaps appear to be strange to one who has not fully considered its implications, I must give a quick explanation that the Primary Intent is that goal which takes precedence before all others. Consequently the Strike of Primary Intent is that which comes directly at the enemy from the First Instance, without first trying to subjugate his blade. In the end, it seems to be the best description. If to you, dear reader, it seems otherwise, then I beg of you to take a moment to consider the thing, not the word. | Voicy que nous irons parler doresnavant des coups de Premiere Intention, qui sont plus furieux en apparence, que les autres, & s’approchent de plus pres à la maniere ancienne de porter la botte: non pas qu’ils soyent fondez sur autres axiomes, mais que les temps en sont plus vistes, & qu’ils se pratiquent en des plus grandes Mesures. De maniere que les vulgaires s’en tiendront pour mieux satisfaits, si je ne me trompe, que des operations precedentes; qui estoyent plus tardives, pource qu’elles travailloyent avec plus de reserve. Aussi ne faut il pas douter, qu’ils ne choisissent plustost celles cy, que celles là, s’il leur vient en la fantasie, de vouloir mesler un peu de nos preceptes parmy leurs propres leçons ou inventions. En quoy ils ne s’abuseront pas gueres, d’estimer ces dernieres operations plus nobles; mais peut estre, en ce qu’ils voudront pervertir l’ordre, d’apprendre devant, ce qui doit aller necessairement derriere. Car ceste derniere asseurance ne peut consister sans estre bastie sur le fondement de ces autres operations preallables; voir autant que les temps sont icy plus vistes, les mesures plus larges, & les mouvements plus grands, autant faut il en recompense que le Sentiment du Poids soit plus habile, pour gaigner l’approche avec le coup mesme. Et pourtant, s’ils veulent apprendre celles cy, qu’ils apprennent les autres devant. car s’il leur est impossible de faire une chose seule et à part, assavoir d’assujettir l’espee, sans donner l’atteinte, à plus forte raison leur sera il difficile, de faire touts les deux ensemble. Au reste, pource que le nom de Premiere Intention semblera paradventure estrange, à un qui ne l’aura pas consideré de pres, il faut que je die un mot, que la Premiere Intention est celle, qui va devant toutes les autres; & par consequent nous qualifions le coup de Premiere Intention, celuy qui est porté sur l’Ennemy dés la Premiere Instance, sans tascher preallablement d’assujettir sa lame. En fin le mot nous semble estre fort propre: & à vous Lecteur s’il vous semble autrement, soyez prié de vous arrester plustost à considerer la chose, que les paroles. |
| Circle No 1 | Cercle N.1. |
| Zachary takes his place on the Circle, presenting his sword to his opponent in the Straight Line posture. Thus Alexander sets himself opposite at the First Instance, throwing his sword out into the Straight Line posture, parallel to and beneath his opponent’s. | Zacharie, s’estant planté premier sur le Cercle, presente l’espee à sa partie avec le bras estendu, en droite ligne, afin qu’il travaille dessus. Dont Alexandre se plante à l’opposite en Premiere Instance, jettant l’espee en ligne droite parallele dessous le Contraire. |
| Zachary has set himself in position in his Quadrangle, the toes of his right foot on the letter X on the Circumference, his heel on the line XY, and his left foot on the Pedal Line in front of the letter Z, and standing upright and erect, presents his sword with his arm extended, in the Straight Line posture, awaiting his enemy. Against this Alexander approaches, taking two or three paces according to the distance between them, so as to set his right foot on the ground in the Quadrangle opposite, his toes on the letter C along the Circumference, at the same time throwing out his sword from on high, that is, an obtuse angle, to rest in the same Straight Line posture, his blade parallel to and beneath his opponent’s, drawing his left foot behind, as if pulled forward by his sword, guided by the nerves and muscles of his arm, up to the Pedal Line before the letter A, as he turns the heel of his right foot onto the line CB, such that he presents himself, straight and standing properly at the First Instance, as is shown by the figures. | Zacharie s’estant mis en posture dedans son Quadrangle, les oretils du pied droit sur la Circonference lettre X, le talon du mesme sur la ligne XY, & le pied gauche sur la ligne Pedale devant le Z, se tenant ainsi perpendiculairement droit & proportionné, presente l’espee, d’un bras estendu, en droite ligne, pour attendre que l’Ennemy travaille. Sur quoy Alexandre l’approche de deux ou trois pas, selon la distance qui est entre deux, met le pied droit en terre au Quadrangle opposite, le bout d’iceluy sur la Circonference lettre C, jettant au mesme tēps l’espee de haut, assavoir de l’angle obtus, en pareille droite ligne, parallele au dessous de la contraire, avec le pied gauche trainé à la suite, qui est comme tiré en avant, à l’occasion du jettement de l’espee par les nerfs & muscles du corps, sur la ligne Pedale devant la lettre A, comme le talon du pied droit en est tourné sur la ligne CB, de façon qu’il revient ainsi tout droit & bien proportionné à la Premiere Instance; ainsi qu’il est representé en leurs figures. |
| Circle No 2 | Cercle N.2. |
| While Alexander has his foot raised, together with his arm, in order to perform the action of the following circle, Zachary enters in on his right foot aiming hit point towards his opponent’s face. At which Alexander advances and enters in with already-raised foot, contacting the centre of his sword to his opponent’s blade, sliding the point of contact along, he thrusts through his head. | Cependant qu’Alexandre esleve le pied droit, ensemble le bras avec l’espee, pour faire l’operation du Cercle suivant; Zacharie entre avec le pied droit dessus, tirant de pointe vers le visage de sa partie; à l’occasion de quoy Alexandre s’avance & entre avec le mesme pied eslevé, accouplant le Centre de son espee à la lame contraire, laquelle graduant, il luy donne une estocade à travers la teste. |
| So, as Alexander begins the sequence of actions which conclude with those shown in Circle No 3, at the instant he raises his right foot, together with his arm and sword, intending to cover his opponent’s blade from above, Zachary seizes the time and enters in with his right foot along the Diameter to the letter R, and, his arm extended, body leaning forward, knee bent, takes aim at his opponent’s face. At which Alexander, at the same time as his opponent’s point passes beside his hilt, catches it with the centre of his sword at the 3rd or 4th Span, and, sliding the point of contact up the blade as he steps in with his right foot near the Oblique Diameter to the second line crossing the Interior Collateral, his left foot following with a proportional step, thereby closing the direct line and forcefully wounding his opponent in the face and driving through his head. As we can see by their figures. | Or ainsi qu’Alexandre se met en train de poursuivre l’operation encommencée, pour venir à l’execution, qui est representée au Cercle N.3. à l’instant qu’il esleve le pied droit, ensemble avec le bras, & l’espee, pour couvrir la contraire par en haut avec la sienne; Zacharie prend le temps, & entre avec le pied droit sur le Diametre à la lettre R, en tirant avec le bras estendu, le corps panché en devant, & le genou plié, vers le visage de sa partie; sur quoy Alexandre, au mesme temps que la pointe contraire luy vient passer à costé de la garde, il la surprend avec le Centre de la sienne au N.3. ou 4. en graduant avec l’intrade du pied droit, qui marche par delà le Diametre sur la seconde entrecoupure de la Collaterale Interieure, le pied gauche le suivant proportionnellement, fermant ainsi la droite ligne, de sorte qu’il le blesse en rigueur au visage & luy passe la teste; comme on le voit en leurs figures. |
| Circle No 3 | Cercle N.3. |
| This is the continuation from Circle No 1, where Alexander, having raised his right foot, his right arm and his sword, crosses the blades and sets his guard above his adversary’s sword-tip, and follows by entering with his raised foot, setting the centre of his blade under the other, slides the point of contact up the blade, and, as he draws his left foot up, aims his point directly at his opponent’s face. | C’est icy la pursuite du Cercle N.1. ou Alexandre eslevant le pied droit, avec le bras & l’espee, emporte la garde, croisant les lames, au dessus de la pointe contraire, poursuivant à entrer avec le pied eslevé, en mettant le centre de sa lame dessous l’autre, laquelle graduant, il dresse sa pointe, moyennant la poursuite du pied gauche, contre le visage de la partie adverse. |
| This action follows from Circle No 1, where the two set themselves at the First Instance, swords extended in the Straight Line posture, that of Alexander beneath his opponent’s sword. So, in this Circle, he will raise his right foot and, at the same time, his arm and sword, he turns the exterior branch of his crossguard upwards, and with his interior branch beneath his opponent’s blade, he makes contact just beyond the tip. He continues this action by sliding the point of contact up the blade, to the 1st or 2nd Span, catching it from beneath while he steps forward onto the Oblique Diameter at the letter I, directing the sword away to the side. He draws his left foot up behind with a circular motion to the letter G on the Inside Square, where he sets himself upright on it, his left side slightly more forward, and puts his sword-tip in front of his opponent’s face. According to the figures. | Ceste operation procede de la suite du Cercle N.1. ou ils sont plantez touts deux en Premiere Instance, avec les espees en droite ligne, celle d’Alexandre parallele au dessous de l’espee contraire. Or en ce present Cercle il va poursuivre, en eslevant le pied droit en haut, ensemble avec le bras et l’espee, en mettant la branche interieure de la garde tout pres & dessous la point ennemie, pour tourner la branche exterieure diagonalement vers le haut, & croiser de la pointe un peu outre l’espee contraire, laquelle il poursuit ensemble à graduer avec le bras estendu, en la surprennant par dessous avec sa branche interieure à 1. ou 2. Nombres, & entrer avec le pied droit eslevé par deçà le Diametre lettre I, le pied gauche poursuivant circulairement sur le Quarré Inscrit lettre G, où il se dresse le corps dessus, avec le costé gauche un peu avancé, luy mettant sa pointe devant le visage; selon la representation des figures. |
| Circle No 4 | Cercle N.4. |
| And here we come to the finish, which Alexander does immediately, with a step in with his right foot falling beyond the letter Q where the line intersects the Interior Collateral. He leans his body forward, knee bent, arm extended, sliding the point of contact up the swords, so that the two guards connect forcibly, bending his opponent’s arm back, forcing his tip to fly upwards as he wounds his opponent through the head. As the figures show. | En voicy à cest heure l’execution, qu’Alexandre pratique tout en suite, avec l’intrade du pied droit tombant à terre outre la lettre Q sur l’intersection de la Collaterale Interieure, sur lequel il se panche le corps en devant, le bras estendu, graduant les espees, avec le genou plié, de façon que les deux gardes s’entretouchent à grande force, en blessant le Contraire au travers de la teste, luy faisant plier le bras avec la pointe de l’espee ascendante; ainsi que les figures demonstrent. |
| Circle No 5 | Cercle N.5. |
| While Alexander is entering in with his right foot to perform the action of Circle No 3, Zachary parries the blow, shifting the swords to his left-hand side. At the same time, Alexander sets his raised right foot down on the Diameter at the letter I, followed by bringing his left almost to the letter S, while setting the tip of his sword in front of his opponent’s face. | Durant q’Alexandre entre avec le pied droit, poour faire l’operation precedente du Cercle N.3. Zacharie en pare le coup, en transportant les espees à main gauche; au mesme temps Alexandre plante le pied droit eslevé par deçà le Diametre à la lettre I, poursuivant à mener le gauche quasi à la lettre S, mettant ensemble la pointe de sa lame devant le visage du Contraire. |
| Beginning with the action from Circle No 1, while Alexander moves forward and enters with his right foot to perform the actions of Circle No 3, Zachary parries his blow, by increasing his force on the blade upwards, to move it over to his left side. Alexander resists against this, responding with equal force against him and setting his right foot at the letter I on the Diameter, while following along quickly with his left foot. While his foot is raised to move forward, he hesitates a moment, before falling forward. At this, Zachary again increases the force on his blade, so that he moves his opponent’s over to his left-hand side. As his sword passes safely over Alexander’s head, Alexander turns the exterior branch of his crossguard downwards, with his arm bent so as turn the tip of his sword inside towards his opponent, whose blade falls against the strong part of his, as he turns his left side forward and sets his left foot down on the Oblique Diameter between the letters Q and S, and thereby sets the tip of his sword, with arm bent and held high, precisely in front of his opponent’s face. As the figures show. | Apres l’operation du Cercle N.1. cependant qu’Alexandre s’avance & entre avec le pied droit, pour mettre en effet celle du precedent Cercle N.3. Zacharie luy va parer le coup, en augmentant le poids de sa lame vers le haut, pour les transporter à main gauche; En quoy Alexandre luy resiste, y appliquant aussi tant plus de poids à l’advenant, & plantant le pied droit par deçà le Diametre à la lettre I, en poursuivant soudainement avec le pied gauche, duquel durant l’avancement qui va un peu par haut, il fait un peu de pause, avant qu’il tresbuche. Sur quoy Zacharie renforce derechef sa lame, de façon qu’il transporte la Contraire à son costé gauche. Or ainsi que son espee passe outre la teste d’Alexandre, iceluy tourne la branche exterieure de sa garde, avec le bras courbé, contremont, tournant ensemble la pointe de sa lame en dedans devers le Contraire, de qui la lame s’en escoule au fort de la sienne, plantant le pied gauche eslevé, en avançant le costé gauche sur le Diametre oblique entre les deux lettre Q & S, ainsi luy met la pointe de sa lame, avec bras courbé en haut, devant le visage, en courtoisie; selon qu’il est mostré par les figures. |
| Circle No 6 | Cercle N.6. |
| As Alexander has set his tip, with his arm bent, in front of his opponent’s face, in this Circle, Zachary turns it aside, and pushes down using a Very-Strong Degree of Force. Therefore, Alexander disengages from his opponent’s blade, twisting his wrist so as to move his blade backwards and down, so his opponent’s blade falls forward. Keeping his body upright, he then continues to bring his blade around and up, cutting at his opponent’s face as he moves his arm forward. He redirects his step with his right foot a bit to the side, in order to make a large step outside the Circle, so that he moves further forward, behind his opponent’s back. This is not shown here for lack of space. | Comme Alexandre a mis sa pointe, avec le bras courbé; devant le visage de sa partie; en ce Cercle present Zacharie la destourne, & pousse vers le bas, en usant de Poids tresfort: dont Alexandre quitte la lame contraire, en jettant avec l’aide du poignet & delivrant au mesme temps la sienne de par dessous en arriere, en sorte que la contraire en tresbuche, lors il continue à ramener la sienne en haut, frapant de taille, avec le corps droit, & le bras avancé, au visage de sa partie, en destournant la demarche du pied droit un peu à costé, pour faire un grand pas par deçà & au dehors du Cercle, de façon qu’il se met plus avant, derriere le dos de l’Adversaire, qu’il n’est icy representé en la figure à faute de place. |
| Circle No 7 | Cercle N.7. |
| To finish, Alexander completes his handiwork by extending his arm so the tip of his blade passes beyond his adversary’s head and down at an acute angle. Leaning his body forward onto his right foot firmly on the ground, he then suddenly spins around, bringing his left foot forward as he moves his sword up, across the front of his head, and onto his left arm, so that he grabs it and holds it against himself, as he draws the tip in close. He then immediately continues his step pointing his left foot towards his adversary, shifts his weight onto it and swings his right foot behind him. With his body leaning forward, he sets his point precisely against his opponent’s back, so that he could easily thrust through and throw him to the ground. This is easily seen by the figures. | En fin Alexandre poursuit la besogne, en menant sa pointe outre la teste de l’Adversaire, avec le bras estendu, descendant en angle aigu, le corps panché en avant sur le pied droit planté à terre, sur lequel il se volte soudain à main gauche, & se dresse, en eslevant & conduisant le pied gauche devers le corps, ensemble aussi conduisant l’espee de bas en haut par devant sa teste sur son bras gauche, qu’il serre à son costé, en raccourcissant la pointe, & puis continue à marcher tout soudain avec le pied gauche eslevé en avant devers le Contraire, luy mettant, avec le corps panché sur le devant, la pointe en courtoisie contre le dos, de façon qu’il est en luy de le transpercer, & le jetter par terre; comme il est aisé à voir par les figures. |
| Circle No 8 | Cercle N.8. |
| While Alexander advances and enters in with his right foot, sliding the point of contact up the sword to hit the face, as in Circle No 3, in this Circle, Zachary parries him and forces his sword upwards. He uses such force, that Alexander allows this, as his right foot comes down at the letter I. He enters with the left foot setting it on the line between the letters V & W, and then hits Zachary’s right side. | Durant qu’Alexandre s’avance & entre avec le pied droit, en graduant l’espee contraire, pour donner le coup au visage, comme au Cercle N.3. Zacharie le pare & destourne en ce Cercle present vers le haut, en usant de force, de maniere qu’Alexandre le laisse aller, plantant le pied droit eslevé à la lettre I, & faisant l’intrade avec le gauche sur la ligne entre les lettres V & W, en luy donnant l’atteinte au costé droit. |
| This begins in Circle No 3, where Alexander advances and enters in with his right foot from the First Instance, sliding the point of contact up the sword to hit the face, but, as we see here, Zachary has parried his blow upwards, using considerable force. As Alexander lowers his right foot to the ground at the letter I, he disengages from his opponent’s sword, so that it continues to fly upwards, and then makes a sudden entrance with his left foot. He brings his sword down, pressing his arm firmly against his right side, and moving his left side forwards he steps a bit beside the letter V on the Diameter. There he leans forward, his knee bent, followed by drawing his right foot a bit after, while, at the same time, he wounds his Adversary on the right side beneath his raised arm. As the figures demonstrate. | La presente à son origine du Cercle N.3. où Alexandre s’avance & entre avec le pied droit de la Premiere Instance, en graduant l’espee contraire, pour le toucher au visage, mais comme il est representé en ce Cercle present, Zacharie luy pare le coup vers le haut, en usant de force; sui qu’Alexandre abaisse au mesme temps le pied droit en terre à la lettre I, en destachant l’espee contraire, de sorte qu’elle s’ensuit vers le haut, continuant soudain à faire intrade avec le pied gauche, en affermissant le bras, avec l’espee descēdante, à son costé gauche du corps, il plante le pied eslevé un peu par deçà le Diametre lettre V, où il se pance en avant sur le genou plié, poursuivant du pied droit le trainant un peu apres, en blessant à mesme temps son Adversaire dessous le bras envolé, au costé droit; ainsi que les figures demonstrent. |
| Circle No 9 | Cercle N.9. |
| This is very much like the previous action, except Zachary’s steps were before done after turning aside the thrust upwards, but now done downwards. Against which Alexander, again stepping in with his left foot, wounds him in the face from across the arm. | Ceste cy est du tout semblable à l’operation precedente, bersmis[unclear?] que la parade de Zacharie a esté faite auparavant en destournant l’estocade en haut, & maintenant en bas; à l’occasion de quoy Alexandre, faisant derechef l’intrade avec le pied gauche, le blesse par dessus le bras au visage. |
| Here is yet another move, which also begins in Circle No 3, where Alexander advances and steps in with his right foot, sliding the point of contact up his opponent’s sword, and aiming a thrust towards his face. This is turned aside, in this Circle, by Zachary by forcibly pushing his opponent’s sword with his own to the left side and downwards. Therefore, Alexander steps in with his left foot, bringing the blade back with a circular disengage underneath, pressing his hand against his right side, allowing his opponent’s sword to overbalance and drop. He sets his toes down a bit further along the Diameter at the letter V. He leans forward, bending his left knee and drawing his right foot along behind as he delivers a thrust, his point raised above his opponent’s arm, to his face. As rhe figures show. | Ensuite encor une autre, qui a le mesme commencement du Cercle N.3. où Alexandre s’avance & entre avec le pied droit, en graduant l’espee contraire, & luy tirant une estocade devers le visage; laquelle est destourné en ce present Cercle par Zacharie, en poussant l’espee contraire d’un grand effort avec la sienne à main gauche vers le bas. Dont Alexandre faisant l’intrade avec le pied gauche, rameine sa lame par cavation de dessous en dessus, l’affermissant avec le bras à son costé droite, en laissant eschapper & tresbucher la contraire, ainsi il plante les orteils du pied eslevé un peu en deçà le Diametre lettre V, sur lequel, tant par la pliure du mesme genou, comme par l’entrainement de l’autre pied, il se panche en devant, & ensemble porte un coup d’estocade, avec sa pointe montante au dessus du bras contraire, au visage d’iceluy; selon qu’il est representé par les figures. |
| Circle No 10 | Cercle N.10. |
| After both are holding their swords in the Straight Line posture at the First Instance, Alexander moves his right foot forward and raises his arm a little, such that he moves the exterior branch of his crossguard into contact with the 1st or 2nd Span of his opponents sword, which he then crosses over from above with his blade, then slides the point of contact along as he sets his foot down at the letter I on the Oblique Diameter. By leaning slightly backwards and drawing his left foot up in a circular path, he sets his point in front of his opponent’s eyes. | En suite de ce que touts deux ont tenu les espees en droite ligne à la Premiere Instance; Alexandre avance le pied droit, & hausse ensemble un petit le bras, en sorte qu’il en joint la branche exterieure de sa garde par dessous au 1. ou 2. Nombre de la lame contraire, laquelle croisant & couvrant par en haut avec la sienne, il va graduer, & planter le pied eslevé par delà le Diametre à la lettre I, assisté avec un panchement du corps à l’envers, de la poursuite circulaire du pied gauche, en luy mettant la pointe devant les yeux. |
| The two opponents have faced each other at the First Instance, swords in the Straight Line posture, with Alexander’s sword below his opponent, as in Circle No 1. Now, in this current Circle, he raises his right foot, together with his arm and the tip of his sword up. As he advances, he makes contact by raising the outside branch of his crossguard to catch his opponent’s sword at the 2nd Span, crossing his blade over his opponent’s as he slides the point of contact up the blade, keeping his arm extended. As he enters with his right foot to the letter I on the Oblique Diameter, by leaning back slightly (assisted by a circular motion of his left foot to the letter G and straightening his body on it) he presents the point of his sword precisely at his opponent’s face. As we can see represented by the figures. | Les deux Contraires s’estants plantez preallablement en Premiere Instance, avec les espees en droite ligne; celle d’Alexandre paralelle au dessous de la Contraire, comme au Cercle N.1. Maintenant en ce Cercle present, il esleve le pied droit, avec le bras ensemble, & la pointe de son espee montante, de laquelle, en avançant le corps, il couvre & croise l’espee contraire, la surprenant en dehors du bras avec sa branche exterieure au N.2. & graduant avec le bras estendu, de sorte qu’en panchant le corps a lenvers, durant l’intrade du pied droit par delà le Diametre à la lettre I, il presente ensemble la pointe de sa lame (l’assistant de la poursuite circulaire du pied gauche, pour mener sur la lettre G, & dresser le corps dessus) en courtoisie droit au visage de l’Adversaire; comme on voit en la representation des figures. [sic] |
| Circle No 11 | Cercle N.11. |
| Alexander again performs the same action, as he enters in with his right foot, followed by the left, sliding the point of contact up his opponent’s blade. Zachary raises his arm and sword slightly so that he protects his face. As he does this, Alexander, at the same time, lowers the point of his blade while he uses his guard underneath his opponent’s sword to push it up as he slides the point of contact up the blade, forced by his step in with his right foot, and thus wounding his opponent under his arm on his right side. | Alexandre faisant derechef la mesme operation, comme il fait l’intrade du pied droit, avec la poursuite du gauche, en graduant l’espee de son Contraire; Zacharie leve un peu le bras avec l’espee, si qu’il encouvre le visage; sur quoy Alexandre au mesme temps abasse la pointe de sa lame, en mettant ensemble le garde par dessous contre l’espee de l’Adversaire qui monte, laquelle il poursuit à graduer ainsi par dessous, moyennant l’intrade du pied droit, en blessant le contraire dessous le mesme bras au costé droit. |
| Here Alexander has already stepped in, with his right foot at the letter I along the Oblique Diameter and is already in the act of following with his left foot, as in the preceding action. Against this, Zachary raises the level of his arm and sword slightly, parrying the strike, in such a way as to cover his face. So, Alexander, alerted by the feel of the blade, at the same time drops his point with a twist of the wrist, at the same time raising his guard up, which he presses upwards against his opponent’s sword, and continues to slide the point of contact up the sword, as he sets his left foot down at the letter G, and enters further with his right foot onto the Interior Collateral between L & Q. He shifts his weight onto his right foot and leans onto bent his knee as he thrusts his opponent underneath his raised arm on his right side, in accord with the figures. | Voicy qu’Alexandre s’est avancé preallablement en dedans, avec le pied droit par delà le Diametre à la lettre I, graduant l’espee, & estant desia en acte de poursuivre aved le pied gauche, comme en l’operation precedente; sur quoy Zacharie se hausse un petit à niveau le bras avec l’espee, & luy pare le coup, en sorte que c’est tout qu’il se couvre le visage. Or Alexandre en ayant l’advertissement du Sentiment, au mesme temps devalle sa pointe à l’aide du poignet, s’esleveant aussi un peu le bras avec la garde, laquelle il accouple par dessous à l’espee contraire, & continue à en faire la graduation, en mettant le pied gauche à la lettre G, & entrant du pied droit sur la Collaterale Interieure entre les deux lettres L & Q, où il se va charger & pancher le corps dessus avec le genou plié, en donnant ensemble une estocade au Contraire dessous le mesme bras & l’espee qu’il hausse au costé droit; en conformité des figures. |
| Circle No 12 | Cercle N.12. |
| As Alexander steps in with his right foot, sliding the contact up his opponent’s blade, as in Circle No 10, Zachary forces his sword outside to the right-hand side. Then Alexander, at the same time, with a turn of the wrist, does a circular disengage, making contact again from the inside further down the blade, then sliding up, he sets his foot down at the letter I, to be followed by his left foot, and presents his point in front of his opponent’s face. | Ainsi qu’Alexandre marche dedans avec le pied droit, en graduant l’espee contraire, comme au Cercle N.10. Zacharie luy transporte l’espee en dehors du bras à main droite. Dont Alexandre fait en ce mesme temps une cavation au contraire avec sa lame à l’aide du poignet, l’accouplant en dedans du bras à moins de Nombres de l’espee contraire, laquelle graduant, il plante le pied eslevé à la lettre I, pour poursuivre avec le pied gauche, & luy presenter sa pointe devant le visage. |
| While Alexander steps with his right foot and enters in from the First Instance along the Diameter, sliding the opponent’s sword to the outside or the arm, intent on a first attack to the face, as has been described in Circle No 10, to parry to blow, Zachary uses a powerful force to redirect the sword to his right hand side. At this, Alexander, through his sense of feel, at the same time, with a turn of the wrist, makes a circular disengage underneath to the inside resuming contact at the 4th or 5th Span of his opponent’s blade. He then slides the contact up the blade as he moves forward to set his right foot down at the letter I and set the point with precision, as he brings his left foot up in a circular motion to the letter G, right in the face of his adversary, barely touching him. As the figures show. | Durant qu’Alexandre marche & entre de la Premiere Instance avec le pied droit par delà le Diametre, graduant l’espee contraire par dehors le bras, pour le blesser de prime intention au visage, comme il a esté dit & representé au Cercle N.10. Pour parer le coup, Zacharie luy destourne l’espee avec grand poids à main droite. Sur quoy Alexandre, qui l’appercoit par le Sentiment, fait au mesme temps avec sa lame une cavation de dehors le bras en dedans, à l’aide du poignet, en accouplant le Centre au N.4. ou 5. de la Contraire, laquelle il gradue, en avançant le corps, pour planter le pied droit eslevé à la lettre I, & presenter sa pointe en couroisie (avec poursuite cirulaire du pied gauche allant à la lettre G) droit au visage de l’Aversaire ne tenant qu’à luy de le toucher; selong la representation des figures. |
| Circle No 13 | Cercle N.13. |
| So, as Zachary sees the point of his opponent’s blade up close to his face, as in the preceding action, he turns it aside here, bringing his arm and sword upwards. At this, Alexander turns on his right foot so his left side is forward and at the same time bends his arm and lifts his sword up above his head, entering in with his left foot to the letter Q on the Oblique Diameter. He stands erect and again aims his sword, point downwards, precisely at his opponent’s face. As the figures demonstrate. | Or ainsi que Zacharie voit la pointe contraire tout contre son visage, commme l’operation precedente porte; il la destourne en ce Cercle present, en menant le bras avec l’espee vers la haut. A l’occasion dequoy Alexandre se tourne au mesme temps sur le pied droit le costé gauche du corps en avant, & se hausse pareillement l’espee avec le bras courbé plus haut que la teste, & entre ensemble avec le pied gauche au deçà le Diametre à la lettre Q, presentant derechef avec le corps estendu sa pointe descendante en coutoisie droit au visage de l’aversaire; selon qu’il est demonstré par les figures. |
| Circle No 14 | Cercle N.14. |
| Here is the follow-on, from when Alexander has presented his sword-tip in front of his opponent’s face, which he did with the previous action. Zachary parries this, by raising his sword higher. Alexander, taking note of this movement, disengages his blade, and brings it down to cut at his opponent’s lower thigh, by sliding his thumb around, underneath the inside branch of his crossguard, and, at the same time as he passes his right foot beyond the Circle, he makes the cut. As we can see from the figures. | Voicy maintenant la suite, de ce qu’Alexandre a presenté sa pointe devant le visage du Contraire, selong qu’il vient de faire en l’operation dernierement precedente: ce que Zacharie pare icy, en haussant le bras avec l’espee d’avantage. Alexandre prennant bonne garde à ce mesme mouvement quitte sa lame, menant de la sienne un coup de taille de haut à bas, en glissant le poulce dessous sa branche interieure, & passant avec le pied droit à son costé en deçà au dehors du Cercle, luy donnant au mesme temps l’atteinte à los de la jambe droite; comme on le voit aux figures. |
| Once this action is completed, Alexander can use a modified version of Circle No 7, where he spins around on his right foot until he is facing his opponent. He swings his sword from just above the ground, up, around, and down over his head and drops it onto his left arm, which he then holds against his body, his other hand drawn back behind (to shorten the blade)[4] and thus, stepping with his left foot towards his opponent, he sets the point against his back. Having his body leaning forward, he has the power to throw his enemy to the ground. This can be easily understood from the figures. | Or ceste operation achevée, Alexandre y pourra adjouster pour suite dernier celle du Cercle N.7. où il se volte sur le pied droit à main gauche, revenant droit avec le pied gauche eslevé, delivrant & ramenant son espee à fleur de terre, laquelle il conduit à ce mesme temps tout droit en haut, & d’en haut de par dessus sa teste la jette sur son bras gauche, qu’il se serre contre le corps, ayant l’autre bras (pour tenir l’espee courte) estendu en arriere, ainsi marchant avec le pied gauche eslevé devers sa partie, il le touche de sa pointe au dos, ayant le corps panché en avant, & le pouvoir de jetter l’Ennemy à terre; suivant ce qui est aisé à comprendre par la representation des figures. |
| Finally, revisiting the action of Circle No 5, wherein Alexander presented his point with precision before his opponent’s face with his arm bent, which Zachary parried by forcing the blades downwards, was followed by Circle No 6, where Alexander wounded him with a cut to the head coming over the arm and consequently finished with a thrust to his opponent’s back, as in Circle No 7. | Au reste comme l’operation du Cercle N.5. où Alexandre a presenté sa pointe en courtoisie devant le visage de sa partie, avec le bras courbé, a esté suivie du Cercle N.6. où Zacharie la pare en poussant les espees vers le bas, dont Alexandre l’a blessé de taille à la teste par dessus le bras, & consequemment fini l’operation avec l’estocade, à presenter au dos de l’Adversaire, comme au Cercle N.7. |
| It might also frequently happen that Zachary will choose to parry the attack in Circle No 5 upwards. To which Alexander will again bend his arm to present his sword the same way (as in Circle No 13) by bringing his arm up above the head, and consequently cut at his opponent’s right leg (as in Circle No 14) to continue the action as in Circle No 7. | Aussi adviendra il souvēt, que la dite operation du Cercle N.5. sera parée de Zacharie vers le haut; dont Alexandre luy presentera pareillement sa courbe (comme au Cercle N.13) en menant le bras plus haut que sa teste, & consequēment en tirera le coup de taille à la jambe droite de sa partie, (comme au Cercle N.14.) pour continuer la suite de l’operation du Cercle N.7. |
| In Circle No 12, we see something similar, as Alexander is shown there, setting the tip of his sword right in front of his adversary’s eyes. Zachary parries, bringing his arm and sword upwards (as shown in Circle No 13) and from there we see the actions in Circles Nos 14 & 7. | Le semblable en est du Cercle N.12. Car ainsi qu’Alexandre est representé la, presentant sa pointe en dedans du bras droit aux yeux de l'Adversaire; ce que Zacharie pare, en menant le bras & l’espee vers le haut, (comme on le voit au Cercle N.13.) dequoy s’en sont ensuivies les operations des Cercles N.14. & N.7. |
| It sometimes happens that the adversary will step while forcing the blade down. Against this (as in Circle No 6) the response is a cut to the head, followed by the action of Circle No 7. | Ainsi adviendra il quelques fois, que l’Adversaire fera là dessus sa parade, en poussant les lames vers le bas (comme au Cercle N.6.) sur quoy sera donné le coup de taille à la teste; & en suite, l’operation du Cercle N.7. |
| In conclusion, one must be prepared to use pell-mell any of these actions, one after another, according to the situation as it appears, without being constrained by the order of our examples, governed by judgement and circumstance. | De sorte qu’il faudra se servir pesle mesle de toutes ces operations, l’une parmy l’autre, selon que les occasions s’en presenteront, sans s’attacher precisement à l’ordre de nos examples qui doivent estre gouvernez par jugement, & selon les exigences. |
| So we see the advantage of our Art consists of, and is founded upon, small actions and subtle movements, by which on gains time and preserves one’s strength, until the opportunity comes to use them without restraint. Thus it is also necessary to be able to distinguish small preparatory moves of of one’s adversary to be able to form and execute our own plans against them. Thereby we shall find a great sense of comfort from the cautions which follow. | Ainsi que l’advantage de nostre Art consiste & est fondé totalement en de petites actions & en des mouvement subtils, par lesquels on gagne temps, & reserve on ses forces, jusqu’à tant qu’il se presente occasion de les employer avec entiere resolution: aussi & il necessaire de sçavoir exactement distinguer les petits mouvments, & les preparations d’icuex de la partie adverse, pour former à l’advenant les nostres. En quoy nous trouverons un grand soulagement par les advertissements qui s’ensuivent. |
| Firstly, what comes about frequently, is that an adversary, setting his feet in his Quadrangle, and presenting his sword in the Straight Line posture, sets his left foot (which should be exactly on the Pedal line) with his heel drawn back, outside his Quadrangle, so that his left shoulder is inclined so as to be behind him and appears on the outside of his profile. In this case, if Alexander presses against the blade from the outside, he will find the resistance on that side much stronger, but, in contrast, pressing against the inside will be that much weaker. From this we see that if he intends to perform any act of Primary Intent, he must work along the blade from the inside, moving his feet to the Oblique Diameter to his left, in order to hit his opponent. | Premierement qu’il advient souventesfois, que la partie adverse, en plantant les pieds dedans son Quadrangle, & presentant l’espee en droite ligne, tient le pied gauche (qui devoit estre tout à plat sur la ligne Pedale) du tout ou en partie au dehors de son Quadrangle, le talon d’iceluy reculé en arriere, de sorte que l’espaule gauche en decline dehors de pourfil en arriere. Or en ceste occasion, si Alexandre pousse avec sa lame en dehors du bras contre celle de l’Adversaire, il la trouvera de ce costé la plus forte; & en poussant alencontre en dedans, autant plus foible. Parquoy s’il entend faire là dessus quelque operation de Premiere Intention, il doit travailler par le long de l’espee contraire en dedans, en portant les pieds par deçà le Diametre à main gauche, pour le blesser en ceste sorte. |
| Sometimes, an adversary will present his sword in the Straight Line posture with his left foot forward, toes outside the Quadrangle, in such a way that his left side will be forward, and appears on the inside of his profile. And so, if Alexander presses against the inside of the sword, he will find the resistance much stronger, but if he presses from the outside at the same Span, it will be, again, that much weaker. So, if he wishes to have some advantage as does his Primary Intent work against it, he will attack from the First Instance to the outside of the arm, where it is weaker, stepping [right] over to the Oblique Diameter and aiming his initial attack either at the left shoulder, which is pushed forward, and which is the closest target, or at the face. | Aucunesfois l’Adversaire presentera l’espee en droite ligne, ayant le pied gauche avancé au dehors de son Quadrangle, de maniere que le costé gauche sortira de pourfil en devant. Et alors si Alexandre attouch son espee avec la sienne, il la trouvera renforcée en dedans du bras; mais s’il la touche en dehors avec Nobres egaux, il la trouvera derechef autant plus foible. S’il veut donc travailler de Permiere Intention là dessus avec quelque avantage, il l’attaquera de la Premiere Instance en dehors du bras, où elle est plus foible, en marchant avec les pieds par delà le Diametre, & luy assenant le coup de Premiere Intention en l’espaule gauche, comme celle qu’il avance, & qui est le plus prochain point d’attouchement, ou bien au visage. |
| There is also a difference in how the sword is held. Sometimes he will present in a Straight Line posture, inclining a little along the Diameter. So if Alexander sets himself there at the First Instance at the letter C on the Diameter contacting his opponent’s sword to the inside, he will find this will be from the start below his opponent. In this way Zachary could work against him from a position of advantage, if he took his time. And so, in order to work effectively at the First Instance against a sword, at such an incline above the Diameter, Alexander must set himself likewise at the First Instance, at the Circumference of the Circle along the Diameter, very close to his opponent’s point, but with his sword making contact to the outside, whether he sets his right foot forward or his left, and then continues to enter in against his adversary along the Diameter and attacking him, aiming a Primary Intention strike to the face. | Il y a aussi de la difference en la tenue de l’espee mesme; assavoir qu’il la presente aucunesfois en droite ligne, inclinant un peu par delà le Diametre. Dont si Alexandre se vient planter là dessus à la Premiere Instance sur le Diametre à lettre C, en attouchant l’espee contraire en dedans du bras, il trouvera que la sienne sera du commencement inferieure à l’espee contraire, de façon que Zacharie pourroit travailler en ceste occasion contre luy avec avantage, s’il prennoit bien le temps. Et pourtant afin de bien travailler de Premiere Intention sur une telle espee, qui s’incline par delà le Diametre, il se doit planter pareillement en Premiere Instance à la Circonference du Cercle par delà le Diametre, tout droit en presence à la pointe contraire, soit qu’il mette le pied droit devant, ou le pied gauche, & continuer ainsi d’entrer sur l’Adversaire par delà le Diametre, en luy attaquant l’espee par dehors le bras, & luy tirer un coup de Premiere Intention au visage. |
| If it should happen that his opponent presented his sword slightly outside from the Diameter, Alexander must still be deliberately choose to adopt his Straight Line Posture at the First Instance, to set his feet likewise along the same Diameter, even if close to the tip of his opponent’s sword, and to do his Primary Intention work against it by attacking and sliding the point of contact to the inside by entering in with his right foot. | Et s’il advenoit qu’il presentast son espee, forlignant un peu par deçà le Diametre; aussi faut il qu’Alexandre sache alors eslire sa Premiere Instance, & planter les pieds en deçà le mesme Diametre pareillement, se mettant tout droit en presence à la pointe de l’espee, qu’on luy presente; & travailler dessus de Premiere Intention, l’attaquant & graduant par dedans le bras avec l’intrade du pied droit. |
| These cautions are of greater importance now than they were before, which is why we discuss them here, and one must take all possible care to observe them in practice, not only in these actions of Primary Intention, but also in the previously shown actions of Secondary Intention, to duly subjugate the opponent’s sword. | Ces advertissements sont de fort grande importance, & les doit on observer en la pratique le plus curiusement, qu’il est possible, non seulement en ces operations de Premiere intention, mais aussi en celles de la Seconde, pour assujettir deüement l’espee contraire, combien qu’ils sont beaucoup plus necessaires en celles cy, que nous traittons maintenant, qu’ils n’ont esté és autres precedentes. |
Draft Translation |
First Edition (1628-30) |
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_1-22.jpg) N.B., the coat of arms at the top belongs to George William (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619. | |
| EXPLANATION OF THE ACTIONS IN THE TWENTY-FIRST TABLE | DECLARATION DES OPERATIONS DV TABLEAV VINGT ET VNIEME |
| The usual way to learn to use any part of one’s body, first of all, is to repeat various movements deliberately, until they become habitual, so that later one may use them as needed, and according to the particular requirements of any situation, with fluidity and freedom, without any hesitation, or extra awkward motions. So, following our system, we have taught, in the preceding Tables, how followers of this art can acquire, through the graceful practise of various movements, the ability to quickly employ these powerful techniques as needed, and to easily, and with agility, adapt to the variations shown in the Tables which follow. This is why, once one has learned these skills well, and can sustain their effort, and are even able to foresee the dangers from Primary Intention attacks, as shown in previous Tables, particularly in Table XXI, one can be allowed to perform them at speed, and to press their adversary with them, as we shall learn in this Table XXII. Therefore, one should not find it strange that in this Table we instruct Alexander to use divers means of meeting his counterpart, while Zachary presents himself in almost the same posture which he held in the previous Table. It is only here, in this Table, that we instruct and show how to execute the techniques to oppose actions of Primary Intention in all the ways an adversary might attempt them. Alexander will not set himself in his Quadrangle, as above, but seeing his adversary is in the same posture, he will approach the same way, and with his sword held at his right side, as he did in Table XXI. But by contrast, however, he sets his left foot on the Circumference, leaving his right foot behind, and follows with the rest of his actions as we shall show below. | Tout ainsi qu’en tous exercices des membres du corps, on a coustume de s’acquerir avant toutes choses, une habitude par divers & lents mouvements, afin que par apres, on les puisse administrer quand le besoin & l’occasion le requiert, avec la liberté & facilité necessaire, sans aucune vacillation ou movement indecent du corps. Aussi poursuivant nostre exercise, nous avons enseigné aux Tableaux precedents, comment les amateurs de nostre art, peuvent s’acquerir premierement par une commode adresse des divers mouvements des membres, une prompte puissance de les agiter, & s’en servir agilement aux mutations exprimé aux Tableaux suivants. Voila pourquoy aussi tost qu’ils se seront rendus fermes, & quils porront soubstenir l’effort, mesmes prevenir le hazard des operations de premiere intention, representées es Tableaux precedents, & notemment au XXI, nous leur permetons de les poursuivre tout d’un train, & presser sur icelles leur adversaire, comme il est enseigné en ce Tableau XXII. A ces causes on ne trouvera pas estrange, si nous enseignons en ce Tableau nostre Alexandre, d’uzer de diverses manieres de rencontrer sa partie, encores que Zacharie se presente presque en la mesme posture qu’il avoit tenue au Tableau precedent. Car nous avons seulement monstré en iceluy Tableau, en quelle façon on peut opposer les operations de premiere intention a toutes les entreprises de l’adversaire, & icy nous enseignerons comment elles peuvent estre executées. Alexandre ne se met donc pas dedans son Quadrat comme cy dessus; mais voyant que son adversaire se presente en mesme posture; il se sert de la mesme demarche, & du mesme tous d’espee à son son costé droit comme il avoit fait au Tableau XXI, mettant toutefois d’une contraire façon son pied gauche sur la Circonference, laissant le droit un pas en arriere; il poursuit le reste de son operation comme il se verra en la suite de ce Tableau. |
| Circle No 1 | Cercle N.1. |
| Zachary has set himself in his posture on the Circumference, presenting his sword with his arm extended in a straight line, and waits. Alexander works against this, approaching him and, with a moderately extended arm, sets the 9th Span of his sword against the 3rd or 4th of his opponent. | Zacharie s’estant mis en posture sur la Circonference, presantant d’un bras estendu son espee à sa partie en droite ligne, en l’attandant; Alexandre travaillant à l’encontre s’aproche d’iceluy mettant le N.9. de son espee d’un bras moderement estendu, au N.3. ou 4. de celle de sa partie. |
| Zachary has set himself on the Circle in his Quadrangle, right foot on the Circumference at X, left on the Pedal line, his body upright. He awaits his opponent, presenting his sword over the Diameter, with his arm extended in the Straight Line Posture. Alexander, to begin his work against this, begins his approach with his left foot forward, bringing his sword from behind in a circle to his right side, up into an obtuse angle. He sets his left foot down at the letter C on the Circumference, his right foot a pace behind, a bit beyond the Quadrangle along the line of the Circumscribed Square. He contacts his opponent’s sword at the 2nd or 3rd Span with the 9th Span of his own, with his arm moderately extended, and his shoulder slightly forward, as he leans his body onto his bent left knee, as the figures show. | Zacharie s’estant planté sur le Cercle dedans son Quadrangle, le pied droit sur la Circonference à la lettre X, le gauche sur la ligne pedale, le corps dressé perpendiculairement; il presente son espee a son contraire au dessous du Diametre, d’un bras estandu en ligne droite; attandant ainsi sa partie. Alexandre pour travailler à l’encontre, s’aproche premieremēt du pied gauche en avant, menant son espee par derriere, d’une circonference en haut en Angle obtus a son costé droict, & plantant le pied eslevé sur la lettre C en Premiere Instance, (le droit estant un pas en arriere estandu, un peu au dessus du coin du Quadrat circonscript,) il met le N.9. de son espee d’un bras estandu moderement (& l’espaule un peu presentée en avant penchant le corps sur le genou gauche ployé) outre le N.2. ou 3. de celle de sa partie, comme les figures presentent.
[sic] |
| During the time he brings the strong part of his sword beneath his opponent’s point, he must take great care to do this slowly, as if pausing, so as to always be aware of all the actions his opponent might take. Otherwise he could surprise you if one is not careful. | Au tēps qu’ō porte le fort de son espée par dessus la pointe du contraire, il faut bien prendre garde de le faire lentement en façon de pause, afin de pouvoir tousiours prevenir, toutes les actions que l’adversaire pourroit entreprendre durant ce temps! autrement il ne faudroit de vous surprendre si on nestoit sur ses gardes. |
| Circle No 2 | Cercle N.2. |
| Alexander proceeds with the action setting his blade before his opponent’s eyes, and continues his strike, piercing him through the head with his extended arm, pressing his opponent’s guard back with his own. | Alexandre poursuivant l’operation precedente, presente sa lame aux yeux de sa partie, & continuant son coup, le perce d’un bras estendu au travers la teste, pressant en arriere de sa garde celle de sa partie. |
| This Circle contains the follow-on from the preceding Circle, wherein Zachary and Alexander were both set at the First Instance, with their swords crossed, the 9th Span of Alexander’s obliquely against the 3rd Span of his opponent. Here Alexander continues by raising his right foot which was planted on the ground behind him, while causing his blade to lower (by leaning his body forward) by a half-circle, and sliding the contact of the blades, he lowers his to just in front of his opponent’s right eye. He sets his right foot down on the Diameter about the letter L, allowing his left to follow up the line E-G, and with this move, pierces his opponent through the head by extending his arm so that his guard presses his opponent’s guard back. As the figures show. | Ce Cercle contient la poursuite du Cercle precedent, ou Zacharie & Alexandre sont tous deux plantés en Premiere Instance, avec leurs espées croisées l’une sur l’autre, le N.9. de celle d’Alexandre obliquement au N.3. de celle de son Contraire, icy Alexandre poursuit eslevant le pied droit qui estoit planté derriere, faisant descendre (en penchant le corps en avāt) sa lame d’en haut par une demie circonference, & en graduant les lames, il baisse la sienne au devant de l’œil droit de sa partie, & plantant le pied eslevé au dessous du Diametre environ la lettre L, laissant suivre le gauche en arriere jusques a la ligne EG, il perce estandant le bras son Contraire à travers la teste en sorte que sa garde presse en arriere l’espee d’iceluy, comme les figures monstrent. |
| Circle No 3 | Cercle N.3. |
| Zachary once again sets himself in the Straight Line posture in his quadrangle, erect and holding his sword with extended arm. Alexander approaches bringing his sword from high above down into a straight line passing over his opponent’s then moving his body forward he brings his sword (so it rises from below up over to the left side) to cross against his opponent. | Zacharie se met en posture derechef dedans son Quadrangle, & se tenant droit presante son espee d’un bras estandu presque en ligne droite, Alexandre l’aproche, portant son espee en droite ligne de hault en bas la passant celle de sa partie, puis avançant le corps, il la mene (l’avançant de dessoubs plus en haut à son costé gauche) d’un bras estendu contre celle de sa partie en croix. |
| Zachary has adopted his posture, and is standing upright and in balance in his Quadrangle, his right foot along the line X-Y and his left foot along the Pedal Line in front of the letter Z. He presents his sword, arm extended almost in a direct line, so that his point slightly crosses the Diameter towards his left side, and awaits his opponent. Alexander approaches his opponent from two or three paces away, according to how far apart they are, and, reaching about one pace from the Circumference, with his right foot in line with the Diameter, he moves his sword and his left foot together, bringing his sword and right arm in a straight line, down in a circular motion from an obtuse angle up high to an acute angle below, passing below his opponent’s sword, setting his left foot forward, knee straight, on the Diameter just beyond the letter C on the Circumference, and shifting his body from leaning backwards on his bent knee forward onto his left, he proceeds to bring his sword, forward and upward to the side into a straight line, arm extended and right shoulder pushed forward, crossing against his opponent’s sword with the outside edge. As the figures show. | Zacharie s’estant mis en posture au dedans son Quadrangle, le pied droit sur la ligne XY, & le gauche devant la lettre Z sur la ligne pedale, se tenant ainsi perpendiculairement droit & proportionné; il presente son espee d’un bras estandu presque en ligne droite, en sorte que la pointe d’icelle croise un peu le Diametre vers son costé gauche, pour attendre ainsi sa partie. Alexandre approche sa partie de deux ou trois pas selon la distance qui est entre deux, & estant venu à la distance d’un pas devant la Circonference, ayant le pied droit par delà la continuation du Diametre, il s’approche avec son espee & son pied gauche ensemble, portant l’espee & bras de son costé droit en droite ligne de l’angle obtus d’en haut en Circonference en Angle aigu en bas, la passant au dessous celle de sa partie, plantant le pied gauche (le genou roide) en avant, au dessus du Diametre outre la lettre C sur la Circonference, & portant le corps penché derriere sur le genou ployé, en avāt sur le gauche, il poursuit à mener son espee, l’avançant de dessous plus haut à costé, la mettant en ligne droite, d’un bras estandu & l’espaule droite avancee, avec le taillant exterieure contre celle de sa partie, la croisant; comme les figures monstrent. |
| Circle No 4 | Cercle N.4. |
| Zachary waits in the same posture, as described in the previous Circle. Alexander follows up, and after increasing the Degree of Force of his blade, and sliding the contact up, with a firm hand, he thrusts through the head. | Comme Zacharie attend en la posture declarée en l’autre Cercle, Alexandre poursuit, & apres avoir augmenté le Poids de sa lame en graduant il le blesse d’une estocade tirée d’une main ferme à travers la teste. |
| This Circle continues from the preceding Circle No 3, where the two parties were set at the First Instance, holding their blades crossed against one another. Here, Zachary waits for his opponent in the Straight Line Posture, his tip slightly crossing the Diameter to the inside. Alexander is beyond the letter C, his knee bent, and his right foot a pace behind him. He sets his left shoulder forward, extends his arm and makes a cross with his sword against the outside edge of his opponent’s. Seeing how, though Zachary is attacked from the outside he does not reset his position, Alexander straightens onto his left foot and moves his right foot forward, he increases the force on the blade, keeping his sword and arm in place, bringing his right side up to his elbow, so that the tip of his sword, supported by the right side, is in front of his opponent’s face. Finally, as his right foot passes over the Oblique Diameter, he takes a firm grip, adopts the Straight Line Posture, and, sliding the point of contact up the blade, he thrusts through his opponent’s head as he sets his right foot down at the letter L on the Diameter. As the figures show. | Ce Cercle contient la poursuite du Cercle precedent N.3; ou les deux parties sont plantées en Premiere Instance, tenants les lames croisées l’une contre l’autre: Zacharie attend icy sa partie, tenant son espee en droite ligne, la pointe un peu croisée outre le Diametre en dedans; Alexandre estant outre la lettre C, tenant le genou ployé, & le pied droit un pas en arriere, panchant le haut du corps en avant, avec l’espaule gauche avancée, mettant d’un bras estādu son espee en croix en droite ligne adcente contre le taillant exterieure de celle de sa partie, remarquant que Zacharie estant attaqué en dehors ne se renue point, dresse le corps sur le pied gauche & avançant le droit, il augmente son pois, laissant le bras & l’espee en leur place, joignant le costé droit au coude, en sorte que la pointe de l’espee dressée par le costé avancé, vient à respondre au visage de sa partie, finalement ayant avancé le pied droit oultre le Diametre; il tire d’une main fermement close en ligne droite en graduant les lames, à travers la teste d’iceluy, plantant le pied avancé sur la lettre L dessus le Diametre; comme les figures monstrent. |
| Circle No 5 | Cercle N.5. |
| Because Zachary has raised his arm to cover himself with his guard, Alexander changes his action to wound his right side beneath his raised arm, aiming along the sword. | Comme Zacharie esleve le bras pour se courvrir de sa garde, Alexandre changeant d’operation blesse sa partie dessoubs le bras eslevé au costé droit, luy tirant au long de l’espee. |
| This Circle has its beginnings in the preceding Circle No 2, where Zachary, perceiving Alexander begin his approach, raises his arm as he does, to protect his face with his guard, in such a way that the tip of his sword goes downwards. But while Zachary raises his arm and guard to protect his face, Alexander changes his attack, allowing his own tip to drop lower, and, sliding his thumb around the interior branch of his crossguard from where it was, so that he raises it up, he traps the 3rd or 4th Span of his opponent’s blade between his own and the exterior branch of his crossguard. He moves his right foot forward, slides the contact up the blade, and wounds his opponent underneath his raised right arm as he sets his foot down near the Centre, allowing his left to follow to the letter E. As the figures show. | Ce Cercle icy tient son origine du cōmencement de l’operation precedente du Cercle N.2. ou Zacharie s’apercevant au commencement de l’aproche d’Alexandre, esleve au mesme tēps le bras, couvrant son visage avec sa garde, de sorte que la pointe de son espée baisse un peu vers la terre, mais pendant que Zacharie esleve le bras & la garde pour se couvrir le visage, Alexandre change son operation, laissant baisser sa pointe, & glisser le poulce outre la brāche interieur de la garde ou il esoit premierement, de sorte qu’elle monte en haut, enfermant les N.3. ou 4. de l’espee contraire entre sa lame & branche exterieure, il avance le pied droit, & en graduant les lames, il blesse sa partie dessous le bras eslevé au costé droit du long de l’espee, mettant le pied eslevé pres du Centre, laissant suivre le gauche devant la lettre E; comme les figures enseignent. |
| Circle No 6 | Cercle N.6. |
| Alexander continues with his action without a break, parrying his opponent’s blade, which is raised before his face, and increases the vigour of his thrust. | Alexandre continue icy l’operation precedente sans intermession, & parant la lame de sa partie eslevé devant son visate, augmente sa vigueur de sa precedente estocade, |
| Here Alexander continues the preceding action, which he does without interruption, by turning his right foot around backwards, allowing his left to spin around him by itself, setting his toes on the line M-S below the Oblique Diameter, and leans back onto it. With his extended arm, he continues to push his opponent’s blade aside, by means of the exterior branch of his crossguard, while increasing the vigour of his thrust. As the figures demonstrate. | Celuy cy contient la poursuite de la precedente operation faite par Alexandre, laquelle il continue tout d’un temps sans intermission, en tournant le pied droit à l’envers, & laissant volter l’autre de soy mesme, mettant les orteils d’iceluy sur la ligne MS. dessus le Diametre, sur lequel il penche le corps en arriere, & d’un bras estandu il cōtinue à destourner la lame de sa partie, par le moyen de la branche exterieure de sa garde en augmentant la vigeur de son estocade; comme il est demonstré par les figures. |
| Circle No 7 | Cercle N.7. |
| Alexander completes his action, and, by leaning forward, pushes his thrust right through his opponent’s body, using his guard to push his opponent’s away to the right side. | Alexandre poursuit plus à plein son operation precedente, & en se panchant en avant, pousse son estocade au travers du corps de son Contraire, pressant de sa garde celle de sa partie aupres de son costé droit. |
| To fully complete the preceding action, Alexander continues right away to step with his right foot to the letter W on the Diameter, leans forward on his bent right knee, increasing the power of his trust with all his strength, pushing it through his opponent’s body, so that his guard presses Zachary’s guard up against his right side, without releasing the blade. As is shown by the figures. | Alexandre pour executer l’operation precedente plus à plein poursuit marchāt tout d’un train du pied droit dessus le Diametre à la lettre W, se pēchant sur le genou droit ployé, augmentant la vigeur de son estocade de toute sa force, la poussant au travers du corps de son Contraire, de sorte que sa garde presse celle de Zacharie aupres de son costé droit, sans toutesfois relascher sa lame; comme il est demonstré par les figures. |
| Circle No 8 | Cercle N.8. |
| This Circle has a new action based on that of Circle No 4. Where Alexander intended to execute that move, here his opponent parries his sword upwards. He bends his arm to bring his point in front of his opponent’s eyes. Finally, having seized his opponent’s sword with his left hand, he gives him a backwards cut to the right ear. | Ce Cercle contient une nouvelle-operation en suite de celle contenue au Cercle N.4; mais comme Alexandre ayant en intention de l’executer voit que sa partie pare son espee vers le haut, il tourne par une courbe sa pointe devant les yeux d’iceluy; & en fin ayant saisi son espee de la main gauche, il le blesse d’un revers sur l’oreille droite. |
| This Circle originates from the beginning action of Circle No 4, as soon as Zachary becomes aware of Alexander’s attack, as described in the aforesaid Circle. He parries, this time, with a moderate force, raising his blade at the start a bit upwards and to his right side, and from there, continually with a large motion to the outside, pushing with his arm. This gives Alexander the chance to use the following moves. Alexander intended to execute the action as in Circle No 4, as he closes in, he perceives Zachary has parried his sword up and to Zachary’s right side. He bends his arm so as to keep the tip of his sword pointed right in front of his opponent’s eyes, twisting the interior branch of his crossguard upwards. (See Table XXIII, Circle 6.) He then moves his right shoulder forwards against the resistance he feels, as he sets his right foot down at the letter I, and encouraging Zachary to continue his parry upwards and to the side with even more force. He raises his guard a little bit (which causes his point to go down), and using the increased force of Zachary’s parry, he passes the tip of his sword down between their two bodies, in a circular move down, over, then upwards. He makes a quick jump with his left foot towards his opponent’s sword, which guard he seizes with his left hand, and as his body falls over forward, he keeps moving his sword along the circular path until he makes a reverse cut to his opponent’s right ear. As the figures show. | Ce Cercle tire son origine du commencement des operations du Cercle N.4. aussi tost que Zacharie commence à remarquer l’approche d’Alexandre contenue audit Cercle N.4. il pare l’espee d’iceluy d’une force moderée, portant sa lame au commencement un peu en haut a son costé droit, & de la continuellement avec plus grand mouvement plus en dehors, la pressant en bas, qui donne occasion à Alexandre de se servir des operations suivantes. Alexandre ayant intention d’executer l’operation declarée au Cercle N.4; comme en approchant il s’apperçoit que Zacharie pare son espee vers le haut sur son costé droit, il tourne avec la main fermée par une courbe, la pointe de sa lame au devant des yeux de sa partie, portant la branche interieure de sa garde en haut; (voyes Tableau XXIII.Cercle 6.) puis avançant l’espaule droite sur le sentiment, ayant planté le pied droit à la lettre I, & ayant donné occasion à Zacharie, de continuer son parement encommencée en bas vers le susdit costé avec plus de force, il leve (la pointe baissante) un pue sa garde, & passant la pointe de son espee, (parée par le dernier effort de Zacharie) en bas entre les deux corps, en Circonference du bas en haut, il saulte du pied gauche vers l’espee de son Contraire, outre la lettre S, la garde de laquelle il saisist avec la main gauche, en tresbuchant & baissant le corps, & cōtinuant le cours de son espee, il le blesse d’un revers sur l’oreille droite; comme les figures monstrent. |
| Circle No 9 | Cercle N.9. |
| The action of this Circle also begins in Circle No 4, but Alexander doesn’t have time to perform the previous cut, so he puts the tip of his sword in front of his opponent’s eyes, trying to hit him, but unable because of Zachary’s continuous parry. He jumps with his left foot, and, as he seizes his opponent’s guard with his left hand, slashes at his opponent’s calf. | L’operation de ce Cercle vient aussi du Cercle N.4, Alexandre n’ayant pas le temps de se servir du coup precedent, presente sa pointe aux yeux de sa partie, s’efforcant de le blesser mais estant empesché par le continuel parement de Zacharie; il saute & saisist à la cheute du corps la garde de son Contraire, & le blesse d’un estramaçon au gras de la jambe. |
| The action of this Circle also starts at the beginning of Circle No 4, and is very similar to Circle No 8, except that now Zachary does his parry more deliberately and more securely to his right and not downwards, which leaves Alexander no time to make the cut as before. But Alexander still avails himself of this change, to use Zachary’s own parry to wound him, keeping his point as long as possible in front of his face, threatening him. Zachary prevents this by continuing to parry, so Alexander jumps with his left foot to the letter T, seizing, as he comes down, his opponent’s guard with his left hand, and slashes at the back of his opponent’s calf. As shown by the figures. | L’operation de ce Cercle resourd aussi du commencement du Cercle N.4, estant en tout semblable à celle du Cercle N.8, exepte que Zacharie en ce Cercle faisant son parement, en menant les espees plus l’entemēt & avec plus de seureté à son costé droit moins en bas, ne donne pas le temps à Alexandre de se pouvoir servir du coup du Cercle precedent N.8: mais Alexandre ne laisse pourtant pas de se servir de ce changement, pour pouvoir blesser Zacharie seurement sur son parement, luy presentant sa pointe tant qu’il est posible au visage s’essayant de le blesser: or parce que Zacharie le previent par son continuel parement, il saute de son pied gauche joignant la lettre T soubs le Diametre, saisistant de sa main gauche (à la cheute du corps) la garde de son Contraire, & le blesse d’un coup d’estramaçon par derriere au gras de la jambe; comme il est monstré par les figures. |
| Circle No 10 | Cercle N.10. |
| After Alexander has performed the actions in Circles 8 & 9 and wounded his opponent, he withdraws his sword, passes it across and holds it with a straight arm by his right side. | Alexandre poursuivant l’operation des Cercle N.8.& 9. apres l’avoir blesse retire son espée à soy la passant au travers la playé, & la met d’un bras estendu à son costé droit. |
| This Circle follows from Circles No 8 & 9, either of which lead to this action, after Zachary has parried upwards and to the right and Alexander has immediately responded and wounded Zachary on the right ear (or leg). Alexander then spins and takes a step backwards with his raised right foot, setting it down on the Circle, shifting his body onto it. He holds his opponent’s guard in front of himself to the inside as he leans slightly backwards, as a guard against anything Zachary might try. After his strike, he withdraws his sword across the space between them, and brings it to his right side, with his arm extended, tip downwards. As it appears in the image. | Ce Cercle contient la poursuite du Cercle N.8. & 9, qui peuvent tout deux estre poursuivis par Alexandre en ceste maniere, apres que Zacharie à paré en haut a son costé droit l’espee de sa partie, & que Alexandre la aussi tost poursuivi le blessant à l’oreille droite, Alexandre desmarche icy un pas en arriere en volte du pied esleve, le plantant sur le Cercle, mettant le corps sur iceluy, se panchant un peu en arriere, eslevant le gauche apres avoir mis la garde de son Contraire un peu devant luy en dedans, contre toutes les entreprises que Zacharie pourroit faire, & ayant apres le coup retiré son espee à soy la traisnant autravers la playe, il la met d’un bras estandu (la pointe en bas) à son costé droit; comme il apert par les figures. |
| Circle No 11 | Cercle N.11. |
| Alexander completes the preceding action, he raises his sword, and, after drawing the guard, that he seized before, towards himself, he pierces his opponent through the torso. | Alexandre excutant l’operation precedente esleve son espee, & apres avoir retire à soy la garde de sa partie saisie cy dessus, il le perce à travers la poitrine. |
| This contains the final execution of the actions from Circle No 10. Alexander is balanced on his right foot, left foot raised and sword at Zachary’s stomach. After pulling the guard towards himself, he pierces Zachary through the torso as he sets his left foot down. As the figures show. | Cetuy cy contient l’execution du Cercle precedente N.10, Alexandre estant planté sur son pied droit, tenāt le gauche eslevé & l’espee à la hauteur de la poitrine de Zacharie, & ayant retiré la garde de Zacharie a soy, il le perce à travers la poitrine en plantant le pied; comme les figures monstrent. |
| Circle No 12 | Cercle N.12. |
| Alexander moves forward to perform the action of Circle No 2. Zachary parries his strike upwards and aside. But Alexander, after having slowed the movement, and increased the force on his blade, finishes by putting his sword-tip in front of Zachary’s face. | Alexandre s’estant avance pour executer l’operation du Cercle N.2, Zacharie luy pare le coup a costé vers le haut: mais Alexandre apres luy avoir retarde le mouvement, & augement le pois de sa lame, luy met finalement la pointe de son espee devant le visage. |
| The two adversaries proceed exactly as before starting in Circle No 1, where Alexander has advanced, entering with his right foot to execute the action of Circle No 2. This time, Zachary parries his strike, by increasing the Degree of Force on the blade, upwards to move the blades over to the left. But Alexander slows this movement, immediately increasing his force on the blades accordingly and setting his right foot on the Diameter between the Centre and letter L, following with his left foot. Then Zachary, increasing again the Degree of Force on his blade moves his opponent’s blade over to his left, but his blade finishes beyond his opponent’s head. Alexander bends his arm to turn the exterior branch of his crossguard upwards. He turns the point of his sword inwards towards his opponent, whose blade slides off the strong of his, then, moving his left side forward, he sets his foot down between the letters V & S, using his bent arm to point the point of his sword directly in front of his opponent. As shown by the figures.[5] | Les parties ayant observé les choses contenue au Cercle N.1, comme Alexandre s’avance entrant du pied droit afin d’executer l’operation du Cercle N.2, Zacharie luy va parer son coup (en augmentant le Poids) à costé vers le haut, pour transporter les lames à main gauche, mais Alexandre luy retarde le mouvement, augmentant aussi tost le poids de la lame a l’advenant, plantant le pied droit dessous le Diametre entre le Centre & la lettre L, le pied gauche suivant soudainement; lors Zacharie renforçant derechef le Poids de sa lame, transporte celle de son Contraire à son costé gauche, mais comme son espee passe oultre la teste de sa partie; Alexandre tourne la branche exterieure de sa garde contremont d’un bras courbé, tournant ensemble la pointe de sa lame endedans devers son Contraire, la lame du quel s’escoule au fort de la sienne, puis avançant le costé gauche il plante le pied eslevé entre les deux lettres V & S, mettant la pointe de sa lame d’un bras courbé devant le visage de sa partie; selon qu’il est representé par les figures. |
| Circle No 13 | Cercle N.13. |
| Zachary turns Alexander’s point down and away from in front of his face, using a Very-Strong Degree of Force. At this Alexander pulls his blade from his opponent’s, and slashes him on the ear with the outside edge of his blade. | Zacharie destourne la pointe d’Alexandre mise devant son visage vers le bas, usant de Poids tresfort; sur cela Alexandre quite la lame de sa partie, & delivrant la sienne, il le blesse d’un estramaçon donné du tailland exterieur sur l’oreille droite. |
| Alexander has bent his arm to put the tip of his sword in front of his opponent’s face, as described in the previous Circle. Zachary turns this away and down by pushing with a Very-Strong Degree of Force, and taking a pace forward with his right foot just before the letter Q. Alexander at this point abandons his opponent’s sword while lifting his right foot up and, with a twist of his wrist, draws his own out from beneath and around to above his opponent’s, so that his opponent’s sword flies away downward. Then stepping with his right foot forward between the Quadrant and the letter W, he brings his sword around and slashes at his opponent’s right ear. As the figures show. | Comme Alexandre a mis sa pointe d’un bras courbé devant le visage de sa partie, ainsi qu’il est represanté au Cercle percedant, Zacharie la destourne icy vers le bas usant de Poids tresfort, en faisant du pied droit un pas jusques devant la lettre Q. Alexandre quite lors la lame de sa partie eslevant le pied droit, jettant à laide du poignet la sienne de dessous en dessus celle de sa partie, (en laissant glisser le poulce de la branche interieure) la delivrant au mesme tēps, de sorte que celle de sa partie tresbusche; lors avançant le pied droit eslevé, il frape la partie d’un estramaçon, avec le tailland exterieur de son espee sur l’oreille droite, plantant le pied droit eslevé hors du Quadrat pres de la lettre W; comme les figures monstrent. |
| Circle No 14 | Cercle N.14. |
| Zachary tries to parry his opponent’s blade with more subtlety than in Circle No 12. He leaves his side uncovered, which Alexander wounds, after he abandoned his opponent’s sword and raised his right foot during the parry. | Zacharie s’essayant de parer avec plus de sutilité qu’au Cercle N.12.la lame de sa partie, descouvre son costé, auquel Alexandre le blesse, apres avoir abandonné la lame de sa partie & eslevé le pied droit durant le parement. |
| This Circle, like the preceding one, comes from the beginning of the action of Circle No12, but here, as Zachary tries to parry his opponent’s blade to the inside on his left-hand side with more subtlety, he uncovers his right side. Alexander raises his right foot as Zachary parried. He then left the contact with his opponent’s blade and, as forcefully as he can, he thrusts into his opponent’s right side as he steps with his right foot to the letter Y. As the figures show. | Ce Cercle vient aussi bien que le precedent du commencement de l’operation du Cercle N.12, ou Zacharie s’essayent de parer avec plus de subtilité la lame de sa partie en dedans à son costé gauche descouvre sō costé droit, Alexandre ayant eslevé le pied droit durant le parement; abandonne la lame de son Contraire, & le blesse au costé droit, puis plantant le pied eslevé soubs le Diametre sur la lettre Y, il execute son coup de toute sa force; comme il est represanté par les figures. |
| Circle No 15 | Cercle N.15. |
| Alexander perceives the strong parry of his opponent, passes beyond the end of his sword, using opponent’s push to bring his sword up high between the two. | Alexandre s’apercevant du sort parement de sa partie, passe oultre la pointe d’iceluy portant sur le heurt de son Contraire son espée entre eux deux en hault. |
| This Circle draws its source from the action of Circle No 4, and is very similar to Circles Nos 8 & 9, except in this one, Zachary brings his opponent’s sword down to his right side with a push, thus preventing the actions previously discussed in Circles 8 & 9. Alexander, perceiving by the strong parry, passes around the tip of his opponent’s sword, setting his right foot down in front of the Perpendicular Diameter, spins on it to put his left foot down behind him, beyond the Diameter, as he uses the force of his opponent’s push to bring his sword around and up high between them as he moves his right foot beyond the letter Q. As the figures show. | Ce Cercle tire sa source de l’operation du Cercle N.4, estant en tout aussi semblable à celles du N.8. & 9. exepté que Zacharie en cestuy cy, porte l’espee de sa partie en bas a son costé droit avec un heurt, empeschant par ce moyen les operations declarees audicts Cercle 8. & 9, Alexandre sapercenant du fort parement de sa partie, passe au mesme temps oultre la poinde de son Contraire, plantant le pied droit eslevé au Devant du Diametre perpendiculaire, voltāt le gauche par derriere oultre le Diametre, & sur le heurt de son Contraire, ayant passé son espee entre eux deux en haut, il plante le pied droit oultre la lettre Q; comme les figures monstrent. |
| Circle No 16 | Cercle N.16. |
| Alexander fully completes the previous action, wounding his opponent in the right side of his face with a slash. | Alexandre execute à plein l’operation precedente, blessant d’un estramaçon sa partie au costé droit du visage. |
| This is the finish of the previous action of Circle No 15. Alexander spins his raised left foot behind his right, and wounds his opponent with a slash to the right side of the face. As it appears in the figure. | Cetuy cy contient l’execution du precedent Cercle N.15. Alexandre voltant le pied eslevé derriere le droit, il blesse son Contraire d’un coup d’estramaçon au costé droit du visage; comme il apert par les figures. |
| It must be noted here, that Alexander must execute this move without the slightest pause, continuing from Circle No 15. | Il faut icy noter, qu’Alexandre doit faire ceste execution sans aucune pause, en continuant l’operation du Cercle N.15. |
| Here we have the proof of how Alexander can use his dexterity to respond to various attacks which start from the same beginning posture and press his opponent without disadvantage. To many, it may seem that most of the actions in this Table are useless, having been shown before. But other than the idea that nothing of importance can be repeated too often, they are wrong to think that these are the same. All straight lines can be drawn with a ruler, yet they are given different names and are considered to be different types according to their various functions and positions in different diagrams, so too the actions in this Table are different from others, in that they are products of different set-ups under various intentions. That can be clearly seen here. | Voila la preuve que nostre Alexandre à fait de sa d’exterité changeant à propos d’operation sur diverses occasions sortants d’une mesme posture de sa partie, & le pressant sans desavantage: au reste il semblera à plusieurs, que la plus part des operations de ce Tableau sont inutiles, comme ayant esté representées aux precedents: mais oultre que rien d’impoortance ne sçauroit estre trop souvent repeté, ils se pourroyent bien tromper d’estimer le mesme ce qui est semblable, car combien que toutes lignes droites soyent faites sur une mesme riegle, si est ce quelles ne laissent pas de prendre divers noms, & de constituer diverses especes, selon les diverses situations & places quelles tiennent en leur figure aussi les operations de ce Tableau, seront differentes à celles des autres, en ce quelles auront esté produites sur d’autres occasions, & sur divers desseins; comme cela s’est peu voir à clair en iceluy. |
References
- ↑ N.B. Not described in the text, but Zachary’s position has also changed.
- ↑ It is apparent from the discussion that he has mis-named these not in accordance with his original descriptions introduced in Table IX.
- ↑ He has confused left and right in this description.
- ↑ Ref: Table I, images G & H.
- ↑ The image does not match the description, or fit the following action. The sword should reach around beneath his opponent’s, not cross over.
