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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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| class="noline" | 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.
+
 
| class="noline" | 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.
+
|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.
 
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{{master begin
 
  | title = Book 1 - Tableau / Plate XIII - Defeating or Defending With The Guard Raised High to Protect the Face
 
  | title = Book 1 - Tableau / Plate XIII - Defeating or Defending With The Guard Raised High to Protect the Face
 
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{| class="master"
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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|- style="font-family: times, serif; vertical-align:top;"
 
|- style="font-family: times, serif; vertical-align:top;"
| class="noline" | In sum, to see how Alexander does the actions in Circle No 6, by which he captures and subjugates his opponent’s sword, it seems there is nothing easier. This is because he works from a good foundation. And even though the swords do not always make contact in the same place, at the same Spans, nevertheless the choice of thrust, cuts, and holds which follow are entirely his own. He may freely take whichever pleases him. He will completely upend those ignorant or foolhardy imitators who have the temerity to to copy what they have seen done three or four times by a well trained and able man. From which they can gain only a sense of shame and confusion, when they try to test him, and find all their intentions frustrated at every moment, because they do not know the depth of this science, nor how difficult it is, nor the time, well worth the effort, which it requires to learn, nor the amount of study to bring to the subtleties of these examples. Gentlemen both presumptuous and ridiculous, who, having learned but two or three points, convince themselves that they fully understand the techniques, and that they can deal with any situation with the little that they know. They have no consideration of the full expanse, of the infinity of variation which dailly presents itself in training. Because each one has his own way of striking, different from all others, just as each hour, each minute, each instant changes from one to the next. So I can say,  comparing the chamber, where debates are resolved with words, to the promenade where questions are settled with victory in arms, that just as [in logical discourse] arguments are subjected to critiques, critiques to responses, responses to reviews, reviews to commentaries until all evidence the adversaries wish to examine has been discussed, so in the performance of arms there is no stroke, either ordinary, or well examined, or completely grasped, or so secret, or so amazing, that it does not have a counter. As such one must never be too confident of any particular strike. What is good on one occasion will fail in another. It may be the best attack in the world, but nothing prevents someone from defending against it. It should not be that strange if common fencers are always unsure, given that their training, not being founded on general sciences, should fail to prepare them to face all situations, and so it must follow that much of the result of their workings depends in great measure on fortune, where the path of wisdom is closed to them.
+
 
| class="noline" | En ſomme à voir faire à Alexandre l’operation du Cercle N.6. par laquelle il enferme & aſſujettit l’eſpee contraire, il ſemble, qu’il n’y ait rien plus facile. c’eſt pour autant qu’il travaille avec fondement. Et encores que les eſpees ne s’accouplent pas touſiours aux meſmes endroits, & à meſmes Nombres; toutesfois le chois des eſtocades, coups de taille, & prinſes, qui s’en enſuivent, ne depend que de ſa ſeule elećtion; il en prendra librement celle, qui luy viendra le plus à gré. Tout au rebours en ſera il de ces ignorants & hardis entrepreneurs d’imiter temerairement tout ce qu’ils auront veu pratiquer trois ou quatre fois à vn homme adroit & bien fondé: dequoy ils ne peuvent raporter que honte & confuſion, quand il eſt queſtion d’en venir aux preuves, ſe voyants fruſtrez à touts moments de leurs intentions, à faute de ne cognoiſtre pas l’amplitude de ceſte Science, ne combien elle eſt difficle, le temps qu’elle requiert & merite pour l’apprendre, ne l’eſtude qu’il faut apporter à la ſubtilité de ſes demonſtrations. Gents preſomptueux & ridicules; qui n’ayants apprins, que deux ou trois pointilles, ſe ſont accroire, que rien ne leur manque, ſur l’aſſeurance qu’ils ont de faire ſervir à toutes occaſions le peu qu’ils en ſavent; ſans conſiderer la grande eſtendue, voire l’infinité des variations, qui ſe preſentent journellement en la Pratique; par ce que chaſcun a ſa propre maniere à tirer differemment des autres, voire que les heures, les minutes, les inſtants touſiours ſe changent. Dont je puis dire, en faiſant compariſon du bureau, où les debats ſe finiſſent par paroles, avec le parquet où les queſtions ſe terminent par la victoire des armes, que comme les accuſations ſont ſujettes aux exceptions, les exceptions aux repliques, le repliques aux duplications, triplications, & finalement à toutes les Inſtances que la partie adverſe voudra faire; ainſi au fait des armes il n’y a aucun trait tant ordinaire, tant bien examiné, tant priſé, tant ſecret, ne tant admirable, que n’ait ſon contraire; de ſorte qu’il ne faut jamais fier en aucun trait particulier; tout ce qui eſt bon en l’une des occaſions, eſtant faux en l’autre: ſoit aſſailli le mieux du monde, rien n’empeſche qu’il ne ſoit encore mieux defendu. Dont ſi les vulgaires en demeurent eſtonnez, il ne faut pas le trouver eſtrange; attendu que leur pratique, n’eſtant pas fondée en ſcience generale, qui ſoit baſtante à les preparer contre toutes occurrences, il s’enſuit de neceſſité, que les iſſues de leurs entreprinſes dependent en partie du ſort de la Fortune, qui domine par tout, où la Prudence eſt forcloſe.
+
|In sum, to see how Alexander does the actions in Circle No 6, by which he captures and subjugates his opponent’s sword, it seems there is nothing easier. This is because he works from a good foundation. And even though the swords do not always make contact in the same place, at the same Spans, nevertheless the choice of thrust, cuts, and holds which follow are entirely his own. He may freely take whichever pleases him. He will completely upend those ignorant or foolhardy imitators who have the temerity to to copy what they have seen done three or four times by a well trained and able man. From which they can gain only a sense of shame and confusion, when they try to test him, and find all their intentions frustrated at every moment, because they do not know the depth of this science, nor how difficult it is, nor the time, well worth the effort, which it requires to learn, nor the amount of study to bring to the subtleties of these examples. Gentlemen both presumptuous and ridiculous, who, having learned but two or three points, convince themselves that they fully understand the techniques, and that they can deal with any situation with the little that they know. They have no consideration of the full expanse, of the infinity of variation which dailly presents itself in training. Because each one has his own way of striking, different from all others, just as each hour, each minute, each instant changes from one to the next. So I can say,  comparing the chamber, where debates are resolved with words, to the promenade where questions are settled with victory in arms, that just as [in logical discourse] arguments are subjected to critiques, critiques to responses, responses to reviews, reviews to commentaries until all evidence the adversaries wish to examine has been discussed, so in the performance of arms there is no stroke, either ordinary, or well examined, or completely grasped, or so secret, or so amazing, that it does not have a counter. As such one must never be too confident of any particular strike. What is good on one occasion will fail in another. It may be the best attack in the world, but nothing prevents someone from defending against it. It should not be that strange if common fencers are always unsure, given that their training, not being founded on general sciences, should fail to prepare them to face all situations, and so it must follow that much of the result of their workings depends in great measure on fortune, where the path of wisdom is closed to them.
 +
 
 +
|En ſomme à voir faire à Alexandre l’operation du Cercle N.6. par laquelle il enferme & aſſujettit l’eſpee contraire, il ſemble, qu’il n’y ait rien plus facile. c’eſt pour autant qu’il travaille avec fondement. Et encores que les eſpees ne s’accouplent pas touſiours aux meſmes endroits, & à meſmes Nombres; toutesfois le chois des eſtocades, coups de taille, & prinſes, qui s’en enſuivent, ne depend que de ſa ſeule elećtion; il en prendra librement celle, qui luy viendra le plus à gré. Tout au rebours en ſera il de ces ignorants & hardis entrepreneurs d’imiter temerairement tout ce qu’ils auront veu pratiquer trois ou quatre fois à vn homme adroit & bien fondé: dequoy ils ne peuvent raporter que honte & confuſion, quand il eſt queſtion d’en venir aux preuves, ſe voyants fruſtrez à touts moments de leurs intentions, à faute de ne cognoiſtre pas l’amplitude de ceſte Science, ne combien elle eſt difficle, le temps qu’elle requiert & merite pour l’apprendre, ne l’eſtude qu’il faut apporter à la ſubtilité de ſes demonſtrations. Gents preſomptueux & ridicules; qui n’ayants apprins, que deux ou trois pointilles, ſe ſont accroire, que rien ne leur manque, ſur l’aſſeurance qu’ils ont de faire ſervir à toutes occaſions le peu qu’ils en ſavent; ſans conſiderer la grande eſtendue, voire l’infinité des variations, qui ſe preſentent journellement en la Pratique; par ce que chaſcun a ſa propre maniere à tirer differemment des autres, voire que les heures, les minutes, les inſtants touſiours ſe changent. Dont je puis dire, en faiſant compariſon du bureau, où les debats ſe finiſſent par paroles, avec le parquet où les queſtions ſe terminent par la victoire des armes, que comme les accuſations ſont ſujettes aux exceptions, les exceptions aux repliques, le repliques aux duplications, triplications, & finalement à toutes les Inſtances que la partie adverſe voudra faire; ainſi au fait des armes il n’y a aucun trait tant ordinaire, tant bien examiné, tant priſé, tant ſecret, ne tant admirable, que n’ait ſon contraire; de ſorte qu’il ne faut jamais fier en aucun trait particulier; tout ce qui eſt bon en l’une des occaſions, eſtant faux en l’autre: ſoit aſſailli le mieux du monde, rien n’empeſche qu’il ne ſoit encore mieux defendu. Dont ſi les vulgaires en demeurent eſtonnez, il ne faut pas le trouver eſtrange; attendu que leur pratique, n’eſtant pas fondée en ſcience generale, qui ſoit baſtante à les preparer contre toutes occurrences, il s’enſuit de neceſſité, que les iſſues de leurs entreprinſes dependent en partie du ſort de la Fortune, qui domine par tout, où la Prudence eſt forcloſe.
  
 
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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|- style="font-family: times, serif; vertical-align:top;"
 
|- style="font-family: times, serif; vertical-align:top;"
| class="noline" | 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.
+
 
| class="noline" | Voicy une operation qui a auſſi le meſme commencement du Cercle N.14. où <font style="font-variant:small-caps">Alexandre</font> aſſujettit l’eſpee contraire en marchant avec le pied droit devers le Centre pour luy couper le chemin. En ce preſent Cercle <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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.
+
|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 <font style="font-variant:small-caps">Alexandre</font> aſſujettit l’eſpee contraire en marchant avec le pied droit devers le Centre pour luy couper le chemin. En ce preſent Cercle <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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.
  
 
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{| class="master"
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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|- style="font-family: times, serif; vertical-align:top;"
 
|- style="font-family: times, serif; vertical-align:top;"
  
|Through all the preceeding Plates, we have learned all the actions which can be done against the subjugation of the sword to the inside, to the point where the schollar has no more to fear, once he has seized this advantage, on condition that the swords remain in contact or that his adversary does no more than a simple disengage against him. If his enemy attacks, he will always have the most appropriate response. If his ennemy changes position on him, he will recover, or even alter his approach. If his enemy makes to withdraw, he will pursue. If his enemy would wound him with the edge, or the point, from the direct line posture, or with bent arm, or with a reverse cut, he has counters to them all. He may go forward courageously, yet the way is fraught. One may say to me, that there are a great many more ways to engage which are not shown. To this I reply, there is no need of this, nor is it possible, any more than to count all the grains of sand in the sea, because the number of ways an encounter can change are infinite: the head, the arm, the sword, the foot, all can be a bit further forward or withdrawn, higher, lower, to the side. There are always differences, but not always significant enough that one muse extend the precepts to cover them. Which is why, having finished this first part, which is about working on the left hand side, we shall begin hereafter, to show the way to work on the right hand side of the Diameter, up to Plate XXI. Not that we wish that you master all the preceeding lessons before begining to practice the exercise in this Plate XV, that is impossible, for the Plates follow in order of the Theory. But for Practical training, it would be most expedient, after you have well understood by Plate IX the different forces against the blade, to pair up the lessons of attacks to the outside line with those to the inside line. That is, from Plate IX and those which follow, with Plate XV and those which likewise follow, practising each in turn. One must, to the extent possible, teach the arm and the hand which holds the sword to perform the principal parts of our Training, to learn to strengthen them in every way, in order to work favorably and equally well on all sides.
+
|Through all the preceeding Plates, we have learned all the actions which can be done against the subjugation of the sword to the inside, to the point where the schollar has no more to fear, once he has seized this advantage, on condition that the swords remain in contact or that his adversary does no more than a simple disengage against him. If his enemy attacks, he will always have the most appropriate response. If his ennemy changes position on him, he will recover, or even alter his approach. If his enemy makes to withdraw, he will pursue. If his enemy would wound him with the edge, or the point, from the direct line posture, or with bent arm, or with a reverse cut, he has counters to them all. He may go forward courageously, yet the way is fraught. One may say to me, that there are a great many more ways to engage which are not shown. To this I reply, there is no need of this, nor is it possible, any more than to count all the grains of sand in the sea, because the number of ways an encounter can change are infinite: the head, the arm, the sword, the foot, all can be a bit further forward or withdrawn, higher, lower, to the side. There are always differences, but not always significant enough that one must expand the precepts to cover them. Which is why, having finished this first part, which is about working on the left hand side, we shall begin hereafter, to show the way to work on the right hand side of the Diameter, up to Plate XXI. Not that we wish that you master all the preceeding lessons before begining to practice the exercise in this Plate XV, that is impossible, for the Plates follow in order of the Theory. But for Practical training, it would be most expedient, after you have well understood by Plate IX the different forces against the blade, to pair up the lessons of attacks to the outside line with those to the inside line. That is, from Plate IX and those which follow, with Plate XV and those which likewise follow, practising each in turn. One must, to the extent possible, teach the arm and the hand which holds the sword to perform the principal parts of our Training, to learn to strengthen them in every way, in order to work favorably and equally well on all sides.
  
 
|Par les Tableaux precedents nos avons achevé toutes les operations, qui ſe preſentent contre l’aſſujetiſſement de l’eſpee en dedans du bras, de façon que l’Eſcholier n’aura plus rien à craindre, apres qu’il aura prins vne fois ceſt avantage, à condition toutesfois que les eſpees demeurent accouplées, ou que l’Adverſaire ne face qu’vne cavation ſimple alencontre. Car ſi l’Ennemy l’attend, il fera touſiours l’execution convenable; s’il luy veut changer la ſituation, il ſe redreſſera, ou meſme en amendera ſon approche; s’il met peine à ſe retirer, il le pourſuivera; ſi à le bleſſer de taille, ou de pointe, en ligne droite, en courbe, ou en revers, ſans, ou avec cavation, il a des inſtrućtions à tout. Qu’il marche donc courageuſement avant: le chemin eſt frayé. Si on me dit, qu’il y a bien encores des autres occaſions, dont les particularitez n’ont pas eſté repreſentées. Ie reſpons, qu’il n’eſt ny beſoin, ny poſſible de ce faire, non plus que de comter les ſablons de la mer, car les changements ſont infinis: la teſte, le bras, l’eſpee, le pied, un peu plus avancé, ou retiré, plus haut, ou plus bas, ou à coſté, ce ſont touſiours des changements, mais non pas touſiours d’importance, en ſorte qu’il faille eſtrendre les preceptes ſi avant. Parquoy donc ayant achevé ceſte premiere partie, qui eſt de travailler en allant à main gauche, nous commencerons doreſenavant à vous monſtrer la maniere, que vous devez tenir pour aller à main droite par delà le Diametre juſqu’au Tableau XXI. Non pas que nous voulions, que vous ſoyez paſſé maiſtre de toutes le leçons precedentes, avant que d’entrer à la pratique de ce Tableau XV. c’eſt choſe impoſſible, car les Tableaux enſuivent l’ordre de la Theorie. Mais pour la Pratique, il ſera plus expedient, apres que vous aurez bien comprins par le IX. les differences de Poids, de vous adonner tout incontinent à conjoindre les leçons en dehors du bras avec celles qui ſont en dedans; je di le Tableau IX. & ſa ſuite, avec le XV. & la ſienne pareillement, en pratiquant tantoſt les vnes, & tantoſt les autres. Car puis que c’eſt le bras & la main de l’eſpee, qui doivent effećtuer en noſtre Exercice les principales parties de toutes les operations, il faut qu’on aprenne à les fortifier en toutes manieres, pour travailler avantageuſement & egallement de touts coſtez, s’il eſt poſſible.
 
|Par les Tableaux precedents nos avons achevé toutes les operations, qui ſe preſentent contre l’aſſujetiſſement de l’eſpee en dedans du bras, de façon que l’Eſcholier n’aura plus rien à craindre, apres qu’il aura prins vne fois ceſt avantage, à condition toutesfois que les eſpees demeurent accouplées, ou que l’Adverſaire ne face qu’vne cavation ſimple alencontre. Car ſi l’Ennemy l’attend, il fera touſiours l’execution convenable; s’il luy veut changer la ſituation, il ſe redreſſera, ou meſme en amendera ſon approche; s’il met peine à ſe retirer, il le pourſuivera; ſi à le bleſſer de taille, ou de pointe, en ligne droite, en courbe, ou en revers, ſans, ou avec cavation, il a des inſtrućtions à tout. Qu’il marche donc courageuſement avant: le chemin eſt frayé. Si on me dit, qu’il y a bien encores des autres occaſions, dont les particularitez n’ont pas eſté repreſentées. Ie reſpons, qu’il n’eſt ny beſoin, ny poſſible de ce faire, non plus que de comter les ſablons de la mer, car les changements ſont infinis: la teſte, le bras, l’eſpee, le pied, un peu plus avancé, ou retiré, plus haut, ou plus bas, ou à coſté, ce ſont touſiours des changements, mais non pas touſiours d’importance, en ſorte qu’il faille eſtrendre les preceptes ſi avant. Parquoy donc ayant achevé ceſte premiere partie, qui eſt de travailler en allant à main gauche, nous commencerons doreſenavant à vous monſtrer la maniere, que vous devez tenir pour aller à main droite par delà le Diametre juſqu’au Tableau XXI. Non pas que nous voulions, que vous ſoyez paſſé maiſtre de toutes le leçons precedentes, avant que d’entrer à la pratique de ce Tableau XV. c’eſt choſe impoſſible, car les Tableaux enſuivent l’ordre de la Theorie. Mais pour la Pratique, il ſera plus expedient, apres que vous aurez bien comprins par le IX. les differences de Poids, de vous adonner tout incontinent à conjoindre les leçons en dehors du bras avec celles qui ſont en dedans; je di le Tableau IX. & ſa ſuite, avec le XV. & la ſienne pareillement, en pratiquant tantoſt les vnes, & tantoſt les autres. Car puis que c’eſt le bras & la main de l’eſpee, qui doivent effećtuer en noſtre Exercice les principales parties de toutes les operations, il faut qu’on aprenne à les fortifier en toutes manieres, pour travailler avantageuſement & egallement de touts coſtez, s’il eſt poſſible.
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|- style="font-family: times, serif; vertical-align:top;"
| class="noline" | History tells of the Roman General Fabius Maximus, who harassed the army of Hannibal and thus saved the Republic. VNVS HOMO NOBIS CUNCTANDO RESTITVIT REM (“One man, by delaying, restored the state to us”). Our students should take heed to likewise learn above all to manage their attack with patience. There is no reason at all to be hasty during the initial approach, because one does not know how one’s adversary will behave, whether one must work quickly or slowly, attacking forward, or defending backwards. Anything else would be temerity made manifest. It is true that those who hold to the common style agree with this, except when it comes to performing the pauses which we require when in the midst of combat, then they strongly object. They claim that victory is lost whenever one holds back, and that each slight pause is a fault, because, they say, one cannot disrupt an enemy, except by constant speed, so that he does not have time to respond, and it would be useless  to even think of doing anything differently; that one could neither offend, nor defend, since pauses cannot be but like a burden that slows a packhorse and would leave one unable to meet the short, fast attacks which strike and strike again, and hit before one could stop them. I reply, to those who value nothing other than that one thing, that in our system we have no intention of only taking our time and disregarding speed, but that each one has its use, as much as the other, and that security comes from caution, as much as strikes succeed through quickness. It is not the back-and-forth motion of the arms, nor the clash of swords, nor the impetus of the body, nor the stamping of the feet which produce hits, these are merely movements. Careful preparations are not in fear, but in order to effectively deliver big hits, one needs to make certain of one’s approach, until one has the range and opportunity to hit with one quick motion. This how to offend your adversary, together with your proper defense, instead of just using speed which leaves you completely uncovered because it does not allow you time to assess your opponent’s actions.
+
 
| class="noline" | L’hiſtoire teſmoigne de Fabius Maximus General de l’Armee Romaine, qu’en trainant l’Armee de Hannibal il a redreſſé la Republique: Vnvs homo nobis cunctando restituit rem. Noſtre Eſcholier ſe doit propoſer ſemblablement d’apprendre ſur tout à meſnager ſes forces. Auſsi n’a il nulle raiſon de ſe haſter durant les premieres approches, par ce qu’il ne ſçait quelle ſituation l’Adverſaire doit prendre, s’il doit travailler viſte ou lentement, en avant, ou en arriere. Ce ſeroit donc une temerité manifeſte. Et de vray ceux qui ſe tiennent à la Pratique vulgaire, confeſſent le meſme. Mais touchant les pauſes que nous requerons au milieu de la bataille, il leur ſemble qu’ils ont grande occaſion d’y contredire. Car ils objećtent, que la vićtoire s’envole à touts les fois qu’on la refuſe, & que touts les clins d’oeil qu’on ſe retarde, ſont autant de fautes; pour ce qu’on ne peut mettre l’Ennemy en desorder, ſinon par la viſteſſe, de façon qu’il ne ſache de quelle part il nous doive attendre: & ſi nous penſons d’y aller autrement, que nous ne ferons rien qu vaille, ny pour offenſer, ny pour defendre, d’autant que la tardiveté ne pourra eſtre baſtante à rencontrer tant de fretillements, qui paſſent, & repaſſent, & arrivent avant qu’on le puiſſe atteindre. Ie reſpons que ce n’eſt pas notſte intention de priſer la ſeule tardiveté des aćtions & en desprinſer la viſteſſe: mais que l’une y doit avoir ſa place, auſsi bien que l’autre, & que les aſſeurances procedent de la tardiveté, comme les executions de la viſteſſe; reprenant ceux qui n’eſtiment rien valable aux prix d’elle ſeule. Ce ne ſont pas les branſlements du bras, ny le cliquement des eſpees, ny les impetuoſitez du corps, ny le battements des pieds, qui donnent les atteintes, ce ſont des ſimples mouvements: les grandes preparations, ne ſont pas à craindre, mais les grands coups, pour leſquels effećtuer il ne faut qu’aſſeurer ſes approches, juſqu’à tant qu’on ait le moyen de prendre une ſeule fois le temps à ſon avantage. Voilà la maniere d’offenſer voſtre Adverſaire, conjoinćte avec voſtre propre defenſe, au lieu de ceſte grande viſteſſe qui en eſt toute deſnuée, par ce qu’elle n’a pas le loiſir d’examiner les aćtions du Contraire.
+
|History tells of the Roman General Fabius Maximus, who harassed the army of Hannibal and thus saved the Republic. VNVS HOMO NOBIS CUNCTANDO RESTITVIT REM (“One man, by delaying, restored the state to us”). Our students should take heed to likewise learn above all to manage their attack with patience. There is no reason at all to be hasty during the initial approach, because one does not know how one’s adversary will behave, whether one must work quickly or slowly, attacking forward, or defending backwards. Anything else would be temerity made manifest. It is true that those who hold to the common style agree with this, except when it comes to performing the pauses which we require when in the midst of combat, then they strongly object. They claim that victory is lost whenever one holds back, and that each slight pause is a fault, because, they say, one cannot disrupt an enemy, except by constant speed, so that he does not have time to respond, and it would be useless  to even think of doing anything differently; that one could neither offend, nor defend, since pauses cannot be but like a burden that slows a packhorse and would leave one unable to meet the short, fast attacks which strike and strike again, and hit before one could stop them. I reply, to those who value nothing other than that one thing, that in our system we have no intention of only taking our time and disregarding speed, but that each one has its use, as much as the other, and that security comes from caution, as much as strikes succeed through quickness. It is not the back-and-forth motion of the arms, nor the clash of swords, nor the impetus of the body, nor the stamping of the feet which produce hits, these are merely movements. Careful preparations are not in fear, but in order to effectively deliver big hits, one needs to make certain of one’s approach, until one has the range and opportunity to hit with one quick motion. This how to offend your adversary, together with your proper defense, instead of just using speed which leaves you completely uncovered because it does not allow you time to assess your opponent’s actions.
 +
 
 +
|L’hiſtoire teſmoigne de Fabius Maximus General de l’Armee Romaine, qu’en trainant l’Armee de Hannibal il a redreſſé la Republique: Vnvs homo nobis cunctando restituit rem. Noſtre Eſcholier ſe doit propoſer ſemblablement d’apprendre ſur tout à meſnager ſes forces. Auſsi n’a il nulle raiſon de ſe haſter durant les premieres approches, par ce qu’il ne ſçait quelle ſituation l’Adverſaire doit prendre, s’il doit travailler viſte ou lentement, en avant, ou en arriere. Ce ſeroit donc une temerité manifeſte. Et de vray ceux qui ſe tiennent à la Pratique vulgaire, confeſſent le meſme. Mais touchant les pauſes que nous requerons au milieu de la bataille, il leur ſemble qu’ils ont grande occaſion d’y contredire. Car ils objećtent, que la vićtoire s’envole à touts les fois qu’on la refuſe, & que touts les clins d’oeil qu’on ſe retarde, ſont autant de fautes; pour ce qu’on ne peut mettre l’Ennemy en desorder, ſinon par la viſteſſe, de façon qu’il ne ſache de quelle part il nous doive attendre: & ſi nous penſons d’y aller autrement, que nous ne ferons rien qu vaille, ny pour offenſer, ny pour defendre, d’autant que la tardiveté ne pourra eſtre baſtante à rencontrer tant de fretillements, qui paſſent, & repaſſent, & arrivent avant qu’on le puiſſe atteindre. Ie reſpons que ce n’eſt pas notſte intention de priſer la ſeule tardiveté des aćtions & en desprinſer la viſteſſe: mais que l’une y doit avoir ſa place, auſsi bien que l’autre, & que les aſſeurances procedent de la tardiveté, comme les executions de la viſteſſe; reprenant ceux qui n’eſtiment rien valable aux prix d’elle ſeule. Ce ne ſont pas les branſlements du bras, ny le cliquement des eſpees, ny les impetuoſitez du corps, ny le battements des pieds, qui donnent les atteintes, ce ſont des ſimples mouvements: les grandes preparations, ne ſont pas à craindre, mais les grands coups, pour leſquels effećtuer il ne faut qu’aſſeurer ſes approches, juſqu’à tant qu’on ait le moyen de prendre une ſeule fois le temps à ſon avantage. Voilà la maniere d’offenſer voſtre Adverſaire, conjoinćte avec voſtre propre defenſe, au lieu de ceſte grande viſteſſe qui en eſt toute deſnuée, par ce qu’elle n’a pas le loiſir d’examiner les aćtions du Contraire.
  
 
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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|- style="font-family: times, serif; vertical-align:top;"
| class="noline" | There is no question but physical strength is of very great importance , when it comes to fighting. Nature herself imprints this, with I cannot say what degree of terror, such that we are often stunned, not just by the sight of those who are blessed with huge size, but at the mere mention of such. However, we can see that even the strength of lions, bears, and tigers are of no use against man’s agility and cleverness. Where does this come from, if not that great power is always accompanied by some weakness by which one can exploit? The same thing is in our System. If our opponent’s appearance seems to be intimidating, yet they still have their  weaknesses, through which we can master and overcome them and against which they will never have the luxury of enough time to work out a counter-move. Having seen the benefits of Alexander’s agility, we should do likewise. We may hold our physical strength in high regard, but we will lose all benefit should we try to resort to that too early. That is why Alexander remains content to contain his adversary with small movements, reserving his strength until the proper time to make use of it presents itself so perfectly that is impossible not to take full advantage of the chance. Which we can manifestly see in all the examples in this current Plate.
+
 
| class="noline" | 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.
+
|There is no question but physical strength is of very great importance , when it comes to fighting. Nature herself imprints this, with I cannot say what degree of terror, such that we are often stunned, not just by the sight of those who are blessed with huge size, but at the mere mention of such. However, we can see that even the strength of lions, bears, and tigers are of no use against man’s agility and cleverness. Where does this come from, if not that great power is always accompanied by some weakness by which one can exploit? The same thing is in our System. If our opponent’s appearance seems to be intimidating, yet they still have their  weaknesses, through which we can master and overcome them and against which they will never have the luxury of enough time to work out a counter-move. Having seen the benefits of Alexander’s agility, we should do likewise. We may hold our physical strength in high regard, but we will lose all benefit should we try to resort to that too early. That is why Alexander remains content to contain his adversary with small movements, reserving his strength until the proper time to make use of it presents itself so perfectly that is impossible not to take full advantage of the chance. Which we can manifestly see in all the examples in this current Plate.
 +
 
 +
Il eſt certain que les forces corporelles ſont de tres-grande importance, quand il eſt queſtion de ſe battre. Nature meſme leur a empraint, je ne ſay quelle marque effroyable, par laquelle nous ſommes eſtonnez non ſeulement en regardant entre les yeux ceux qui en ſont douez par deſſus les autres, mais encore aſſez de fois, à les ouir nommer tant ſeulement. Cependant on voit qu’aux  Lions, Ours, & Tigres toute leur force ne profite de rien contre la dexterité des hommes. D’ou vient cela? Sinon de ce que la force eſt touſiours accompagnée de quelque foibleſſe, où on l’attrappe. Le meſme en eſt il en noſtre Exercice. Si les mouvements du Contraire ſont terribles en apparance, ils ne laiſſent pas pourtant d’avoir leur foibleſſe, durant laquelle on les peut maiſtriſer & prevenir, qu’ils n’ayent jamais le loiſir de ſe renforcer à leur avantage. Voylà la dexterité de noſtre Alexandre faiſons en de meſme. Eſtimons grandement nos forces corporelles; mais ſachons que nous en perdrons le fruit, ſi nous en voulons avoir l’uſage avant le temps. C’eſt pourquoy Alexandre ſe contente d’entretenir l’Adverſaire avec de petits mouvements, reſervant ſes forces juſqu’à tant que l’occaſion de s’en prevaloir ſe preſente ſi belle, qu’il ſoit impoſsible quelle luy eſchappe: comme on voit manifeſtement en touts les Exemples de ce preſent Tableau.
  
 
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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| class="noline" | As a general obeservation of some great consequence, all movements are easily overcome as they first begin. As experience in all things demonstrates, there is nothing strong which was not once weak. Consider, for example, the infancy of trees, of beasts, of men; the foundation of cities, of peoples, and Kingdoms; the general time span of all things which increase by degree, to find at base their point of birth. consider the ease with which these, at that point, could be mastered, taking no great pains. And yet, if one leaves these alone, they shall strangthen over time, some so much that there is no way to rein them back. Take a millstone, grinding at the summit of a mountain, which begins to break away to roll from the top to the bottom. It is possible, at the very first, to hold it with but the force of a hand, oftimes merely a finger is enough. If it begins to lean, one may still hold it back with one’s body. But if it begins to roll, if it has already made a single turn from top to bottom, what strength has any man to stop, slow, or turn it from its course? It is the same with blows or cuts, as in Circle No 3. If you wait, so that the motion has descended, then all that you would try, to bring it under control, is a lost cause. The force will be too great. But if you act at the beginning, it will be easy. That way, there is little more to do than to quickly align your sword-tip, as it should be, so as to have the swords contact at the instant his unwinds. I am not saying you must chase after his sword, but rather to constrain his so that his must strike along the length of your blade; that your action is founded less on strength and more on skill; that you must aim your sword-tip and connect with the middle of his blade. This is the principle and the source of all his strength. For as long as you have reached the centre of his blade, he must contend against the entirety of your blade, not more nor less than the short part of your blade, in the same way as when one draws near a candle when one wishes to remove the light spread about a room, or when the Sun shines its rays through a small aperture and the light expands, it is easier to block the aperture with a hand than to try and stop it with the entire body at a distance when the light has expanded too much. So there is no point in doing otherwise because when one gives a cut the centre of the sword almost remains in the same place, and so is very easy to find and contact, whereas the tip revolves in a large arc, and so swiftly that it would be impossible to attain. From which, we see, again, as before, that the power begins with the beginning of the motion.
+
 
| class="noline" | C’eſt une obſervation fort generale, & de tresgrande conſequence, que touts mouvements ſont aiſez à ſurmonter en leurs premiers commencements; comme l’experience demonſtre en toutes choſes, qu’il n’y a rien de fort, qui n’ait eſté foible au paravant. Conſiderez en pour example, l’enfance des arbres, des beſtes, & des hommes; la fondation des Villes, des Peuples, & Royaumes; & generalement tous les periodes des choſes, qui augmentent par degrez pour atteindre le comble de leur premiere naiſſance; & combien ſeroit il facile de les y maiſtriſer tout à ſouhait, ſans nulle peine? Et cependent, ſi on le laiſſe, ils ſe renforcent quelques uns ſi avant, qu’il ny reſte pluy moyen de les retenir davantage en bride. Soit une Pierre de Moulin, giſant au ſommet d’une montagne, & qu’elle commence à ſe deſtacher pour rouler de haut en bas; il y a moyen au premier commencement de l’arreſter avec la main ſeule, voire ſouvent avec un doigt ſans plus: ſi elle commence à pancher, encore la peut on retenir avec le corps:  mais ſi elle a prinſ ſa courſe, & qu’elle ait deſia donné un tour de haut à bas, qu’elle force d’homme y a il, qui la puiſſe empſcher, moderer, ou divertir, qu’elle n’aille ſon train tout à vau de route? Le meſme en eſt il de ces coups de taille, comme il eſt repreſenté au Cercle N.3. Si vous attendez tant, que le mouvement ſoit venu à deſcendre, tout ce que vous ferez pour l’aſſujettir ſera peine perdue. La force en eſt trop grande. Mais ſi vous prenez le commencement du temps, tout ſera facile. De façon, qu’il n’y a rien à faire, ſinon dreſſer à temps voſtre pointe, comme il faut, pour avoir les lames accouplées tout à l’inſtant qu’il debande la ſienne. Non pas di-je que vous alliez taſter apres, mais qu’il ſoit contraint luy meſme, de frapper au long de la voſtre; & que voſtre aćtion ſoit fondée ſur moins de force, & plus d’adreſſe: Or pour ce faire dreſſez & accouplez voſtre pointe tout joignant le centre de ſa lame; qui eſt le principe & la ſource de toute ſa force. Tellement qu’avoir gagné le Centre, c’eſt luy avoir gagne toute l’eſpee, ne plus ne moins qu’on ſe contente pour le plus court, de tirer la chandelle, quand on veut oſter la lumiere qui reluiſt dedans une chambre, ou quand le Soleil y jette ſes rayons par un petit pertuis, & que la lumiere s’en eſpard ſi largement, qu’il ſeroit plus facile de l’obſcurcir à l’entree du meſme pertuis avec la ſeule main, que de le faire au lieu où la lumiere eſt eſpandu avec le corps tout entier. Auſsi n’y a il point de moyen de faire autrement car pour donner l’eſtramaçon le centre de l’Eſpee demeure quaſi en la meſme place, de façon qu’il eſt beaucoup plus facile à trouver & à prendre, que la pointe, qui fait un grand deſtour & ſi viſte, qu’il ſeroit impoſsible de l’atteindre. Dequoy il appert derechef, comme au paravant, qu’il faut prendre le commencement de la force avec le commencement du temps.
+
|As a general obeservation of some great consequence, all movements are easily overcome as they first begin. As experience in all things demonstrates, there is nothing strong which was not once weak. Consider, for example, the infancy of trees, of beasts, of men; the foundation of cities, of peoples, and Kingdoms; the general time span of all things which increase by degree, to find at base their point of birth. consider the ease with which these, at that point, could be mastered, taking no great pains. And yet, if one leaves these alone, they shall strangthen over time, some so much that there is no way to rein them back. Take a millstone, grinding at the summit of a mountain, which begins to break away to roll from the top to the bottom. It is possible, at the very first, to hold it with but the force of a hand, oftimes merely a finger is enough. If it begins to lean, one may still hold it back with one’s body. But if it begins to roll, if it has already made a single turn from top to bottom, what strength has any man to stop, slow, or turn it from its course? It is the same with blows or cuts, as in Circle No 3. If you wait, so that the motion has descended, then all that you would try, to bring it under control, is a lost cause. The force will be too great. But if you act at the beginning, it will be easy. That way, there is little more to do than to quickly align your sword-tip, as it should be, so as to have the swords contact at the instant his unwinds. I am not saying you must chase after his sword, but rather to constrain his so that his must strike along the length of your blade; that your action is founded less on strength and more on skill; that you must aim your sword-tip and connect with the middle of his blade. This is the principle and the source of all his strength. For as long as you have reached the centre of his blade, he must contend against the entirety of your blade, not more nor less than the short part of your blade, in the same way as when one draws near a candle when one wishes to remove the light spread about a room, or when the Sun shines its rays through a small aperture and the light expands, it is easier to block the aperture with a hand than to try and stop it with the entire body at a distance when the light has expanded too much. So there is no point in doing otherwise because when one gives a cut the centre of the sword almost remains in the same place, and so is very easy to find and contact, whereas the tip revolves in a large arc, and so swiftly that it would be impossible to attain. From which, we see, again, as before, that the power begins with the beginning of the motion.
 +
 
 +
|C’eſt une obſervation fort generale, & de tresgrande conſequence, que touts mouvements ſont aiſez à ſurmonter en leurs premiers commencements; comme l’experience demonſtre en toutes choſes, qu’il n’y a rien de fort, qui n’ait eſté foible au paravant. Conſiderez en pour example, l’enfance des arbres, des beſtes, & des hommes; la fondation des Villes, des Peuples, & Royaumes; & generalement tous les periodes des choſes, qui augmentent par degrez pour atteindre le comble de leur premiere naiſſance; & combien ſeroit il facile de les y maiſtriſer tout à ſouhait, ſans nulle peine? Et cependent, ſi on le laiſſe, ils ſe renforcent quelques uns ſi avant, qu’il ny reſte pluy moyen de les retenir davantage en bride. Soit une Pierre de Moulin, giſant au ſommet d’une montagne, & qu’elle commence à ſe deſtacher pour rouler de haut en bas; il y a moyen au premier commencement de l’arreſter avec la main ſeule, voire ſouvent avec un doigt ſans plus: ſi elle commence à pancher, encore la peut on retenir avec le corps:  mais ſi elle a prinſ ſa courſe, & qu’elle ait deſia donné un tour de haut à bas, qu’elle force d’homme y a il, qui la puiſſe empſcher, moderer, ou divertir, qu’elle n’aille ſon train tout à vau de route? Le meſme en eſt il de ces coups de taille, comme il eſt repreſenté au Cercle N.3. Si vous attendez tant, que le mouvement ſoit venu à deſcendre, tout ce que vous ferez pour l’aſſujettir ſera peine perdue. La force en eſt trop grande. Mais ſi vous prenez le commencement du temps, tout ſera facile. De façon, qu’il n’y a rien à faire, ſinon dreſſer à temps voſtre pointe, comme il faut, pour avoir les lames accouplées tout à l’inſtant qu’il debande la ſienne. Non pas di-je que vous alliez taſter apres, mais qu’il ſoit contraint luy meſme, de frapper au long de la voſtre; & que voſtre aćtion ſoit fondée ſur moins de force, & plus d’adreſſe: Or pour ce faire dreſſez & accouplez voſtre pointe tout joignant le centre de ſa lame; qui eſt le principe & la ſource de toute ſa force. Tellement qu’avoir gagné le Centre, c’eſt luy avoir gagne toute l’eſpee, ne plus ne moins qu’on ſe contente pour le plus court, de tirer la chandelle, quand on veut oſter la lumiere qui reluiſt dedans une chambre, ou quand le Soleil y jette ſes rayons par un petit pertuis, & que la lumiere s’en eſpard ſi largement, qu’il ſeroit plus facile de l’obſcurcir à l’entree du meſme pertuis avec la ſeule main, que de le faire au lieu où la lumiere eſt eſpandu avec le corps tout entier. Auſsi n’y a il point de moyen de faire autrement car pour donner l’eſtramaçon le centre de l’Eſpee demeure quaſi en la meſme place, de façon qu’il eſt beaucoup plus facile à trouver & à prendre, que la pointe, qui fait un grand deſtour & ſi viſte, qu’il ſeroit impoſsible de l’atteindre. Dequoy il appert derechef, comme au paravant, qu’il faut prendre le commencement de la force avec le commencement du temps.
  
 
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|}
 
{{master end}}
 
{{master end}}
__NOTOC__
 
{{DEFAULTSORT:Thibault d'Anvers/Plates 12-22, Gérard}}
 
  
[[Category:Old format]]
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{{master begin
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| title = Book 1 - Tableau / Plate XVIII - Strikes to the Arm moving to the Right
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| width = 60em
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}}
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{| class="floated master"
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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|-
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|Colspan="2"|[[file:Thibault L1 Tab 18.jpg|600px]]
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|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|EXPLANATION OF THE ACTIONS IN THE EIGHTEENTH PLATE
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|DECLARATION DES OPERATIONS DV TABLEAV DIXHUITIEME
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|- style="font-family: times, serif; vertical-align:top;"
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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 Plate XVIII, with regard to both thrusts and cuts. Such techniques as we have shown and explained previously in two preceeding Plates, XIV & XVII, in several examples, performed by Alexander in the former moving to the left on this side of the Diameter, and in the latter moving, on the contrary, to the right beyond the Diameter, for the most part, he attacked his adversary’s head. Here we embellish on the work, we shall include cuts, which he may make against a straight arm, whether he steps to the left hand side, as shown from Circle No 1, up to Circle No 11, or he moves to the right, as he does from there to the end of the Plate.
 +
 
 +
|Ordinairement il n’y a rien plus aggreable en un Iardin de plaiſance, qu’une diverſité, d’herbes, de fleurs, & de parterres, ou de ſemblables artifices. Car c’eſt choſe cognuë à tout le Monde, que chaſcun homme à ſon plaiſir particulier; autant de teſtes, autant de fantaſies; l’un ſe plait à cecy, l’autre à cela; l’un s’adonne à la chaſſe, l’autre à tracaſſer Royaumes & Provinces; l’un à la guerre, l’autre aux Eſtudes. Et non ſeulement le plaiſir eſt different, ſelon que les choſes ſon differentes, mais auſſi en celles qui ſont d’une meſme nature; car l’eſprit de l’homme y trouve touſiours de ſi grades diſſimilitudes que de toutes les parties & particularitez de chaſcune profeſſion, l’un ſe delećte plus en celle cy, & l’autre en celle là. Finalement quand il ne trouve plus de difference en la choſe meſme, il ſe laſſe; & ſouventesfois, pour avoir le contement de la Varieté, il ſe change & devient diſſemblable à ſoy meſme, approuvant, ou priſant ce qu’il avoit rejetté, ou rejettant derechef ce qu’il avoit approuvé & priſé au paravant. Car il ſemble, que grace ne peut durer, ſans recreation; & recreation ne peut eſtre, s’il n’y a du changement; comme auſſi le mot de Recreation le porte, s’il en faut juger par la proprieté. De maniere que ſi touts nos preceptes, que nous avons baillez juſqu’à preſent, neſtoyent que roſes, ſi ne faudroit il par laiſſer pourtant, de les parſemer çà & là de quelque autre bonne herbe odorante, ou de fleurs de lis, ou d’oeillets, ou de violettes. Or c’eſt ce que nous ferons preſentement en ce Tableau XVIII, au regard des eſtramaçons & autres coups de taille; deſquels nous avons repreſenté & declaré en deux Tables precedentes, XIV & XVII pluſieurs ſortes d’exemples, pratiquez par Alexandre en la premiere d’icelles, en allant à gauche par deça; & en la derniere, en allant au contraire à main droite par delà le Diametre: dont la plus part a eſté à la teſte de l’adverſaire; & maintenant pour embellir l’œuvre, nous mettrons icy les coups, qu’il luy peut tirer ſur le bras droit, ſoit qu’il marche par deçà le Diametre à main gauche, comme il eſt repreſenté depuis le Cercle N.1. juſqu’au Cercle 11. ou qu’il marche à main droite, comme il fait de là en avant juſqu’à la fin du Tableau.
 +
 
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 1'''
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|'''Cercle N.1.'''
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|- style="font-family: times, serif; vertical-align:top;"
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 +
|''Both adopt the direct-line posture at the First Instance. Alexander moves to the Second Instance on the Diameter, subjugating his opponent’s sword.''
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 +
|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This takes place after both have set themselves on the Circle, swords in direct-line posture, Alexander’s sword beneath his opponent’s. He follows on by raising his right foot, crossing swords with the weak of his blade against a higher-numbered Span of his opponent, then stepping with his right foot onto the letter G on the Diameter at the Second Instance, then drawing his left foot along to the Oblique Diameter between the two points F & D, at the same time subjugating his opponent’s sword, in accordance with the instructions described in previous Plates.
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|Apres qu’ils ont touts deux eſté plantez ſur le Cercle, avec les eſpees en droite ligne, celle d’<font style="font-variant:small-caps">Alexandre</font> 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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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Circle No 2'''
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 +
|'''Cercle N.2.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander 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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Since Zachary delays his response, Alexander follows the preceeding action by advancing from the Second Instance to the Third, stepping with his right foot to the letter N on the Diameter, sliding the strong of his blade to the lower-numbered Spans of his opponent’s subjugated blade. He follows with his left foot to the letter K on the Circumscribed Square at the same time deliberately sliding the point of contact up his opponent’s blade with his arm extended, and setting his sword-tip slightly lowered against the right side of his opponent’s neck. As we can see in the figure.
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|Puis que <font style="font-variant:small-caps">Zacharie</font> demeure; <font style="font-variant:small-caps">Alexandre</font> 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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|- style="font-family: times, serif; vertical-align:top;"
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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 ennemy. So that if he wished to move the swords over, he would have to apply a high degree of force, at which point Alexander would simply disengage, and allow his opponent’s sword to fly up and off to the side. This will make it easier to deliver strikes and cuts to the arms.
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|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 <font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|Mais notez auſſi, pour <font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 3'''
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|'''Cercle N.3.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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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 stikes a reverse blow (helped by the means of drawing his left foot around suddenly in a circle a good ways beyond the edge of the Circle) to the outside of his adversary’s forward arm. As is shown in the figure.
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|Ceſte operation prend ſon origine au Cercle N.1. Cependant qu’<font style="font-variant:small-caps">Alexandre</font> marche avec le pied droit de la Seconde Inſtance vers la Troiſieme, & qu’il commence à tresbucher enſemble avec le corps, pour mettre a l’effećt l’operation du Cercle dernier precedent; au meſme temps <font style="font-variant:small-caps">Zacharie</font> tranſporte les eſpees avec grand Poids à main gauche. <font style="font-variant:small-caps">Alexandre</font> 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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|- style="font-family: times, serif; vertical-align:top;"
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 +
|Again, I would remind you, in every case where one must perform cuts, either straight or reverse blows, to allow the thumb to slide off of the interierior arm of the crosspiece to the underside while the sword passes overhead. Thus the exterior arm will be aimed downwards, and will guide the cutting edge of the sword. In this way, the aforesaid cuts and reverse cuts will be much more effective.
 +
 
 +
|Soyez derechef averti en toutes occurrences, ou il ſe preſentera à tirer coups de taille, tant eſtramaçons que revers, de faire gliſſer le poulce, qui eſt arreſté ſur la branche interieure en deſſous d’icelle, durant que l’eſpee paſſe en haut par deſſus la teſte; dont la branche exerieure en viendra à ſe dreſſer contremont, & le trenchat de l’eſpee en devant. Et par ainſi les dits eſtramaçons & revers vous en reuſſiront tant mieux.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 4'''
 +
 
 +
|'''Cercle N.4.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|The two parties having previously repeated the action of the preceeding Circle, up until the point where Alexander has entered in with his left foot, to give the reverse cut to his adversary’s arm, in this current Circle, he enters in further forward by leaping beyond the edge of the Circle with his left foot by the letter W, while using his elbow to allow his sword to pass overhead, and striking with a reverse cut to the outside of the upper arm, as he takes a large step with his right foot so that it comes down behind his opponent’s back. As we can see in the image.
 +
 
 +
|Les parties ayants preallablement reiteré l’operation du Cercle precedent, juſqu’à qu’<font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 5'''
 +
 
 +
|'''Cercle N.5.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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 <font style="font-variant:small-caps">Alexandre</font> 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; <font style="font-variant:small-caps">Zacharie</font> la deſtourne, en uſant de grand Poids pour tranſporter la lame contraire vers ſa main gauche & vers le haut. En ce meſme tēps <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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’<font style="font-variant:small-caps">Alexandre</font> a donné ce coup (qui a eſté fait avant que le mouvement de l’eſpee contraire fuyant & montant euſt achevé ſa courſe) il retire tout auſſi toſt le meſme pied gauche en arriere, entrainant auſſi l’autre à l’advenant, de façon que ſi l’adverſaire vouloit tirer ſur luy de pointe hors de l’angle obtus, il euſt loiſir pour le rencontrer. Vray eſt que ceſte derniere aćtion n’eſt pay icy repreſenté en figure; mais c’eſt aſſez pour la pratiquer d’en avoir donné ceſt advertiſſement.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 6'''
 +
 
 +
|'''Cercle N.6.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''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.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This action, here, proceeds again, like the preceeding, up until Zachary parries and moves his opponent’s sword to the inside. Which Alexander uses to turn, having set his right foot down on the Third Instance at the letter N, so his left foot comes all the way around to the letter P on the Outside Square. He continues on in the same way, taking another small step outside the Circle with his right foot, allowing his opponent’s sword to go wide, brings his own down in a circular path, to draw a cut inside his opponent’s arm to the calf of his opponent’s right leg, while passing by again with the right foot and finishing up behind his back, to deliver this cut by drawing his sword towards him as one would a flower from the earth. Such as we can see in the figure.
 +
 
 +
|L’operation que voicy preſentement procede encore, & eſt ſemblable à la precedēte, juſqu’à ce que <font style="font-variant:small-caps">Zacharie</font> deſtourne & tranſporte l’eſpee contraire en dedans; au moyen dequoy <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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, <font style="font-variant:small-caps">Ale</font>xandre 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.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 7'''
 +
 
 +
|'''Cercle N.7.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''Alexander again steps with his right towards the Third Instance. Zachary steps back wth his left foot, putting his weight back onto it, raising his sword to feint to the outside of his adversary’s arm. At which Alexander moves forward, and sets his right foot at the letter N, followed by his left foot, and covers his opponent’s sword with his from above, in the form of a cross.''
 +
 
 +
|''Alexandre allant derechef devers la Troiſieme Inſtance avec le pied droit; Zachary marche en arriere avec le pied gauche, faiſant la charge du corps deſſus enſemble avec une feinte aſcendante en dehors du bras contraire; ſur quoy Alexandre s’avance & plante le pied droit à la lettre N pour pourſuivre avec le pied gauche, & couvrir l’eſpee contraire avec la ſienne par en haut, en forme croiſée.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This has again the same beginning as the previous ones. Alexander steps with his right foot from the Second Instance to the Third to hit again, as in Circle No 2. Zachary steps back with his left foot, and leans backwards so his weight is on it. As he does this, he makes a circular disengage with his blade under his opponent and feints upwards, outside of his opponent’s arm. At the same time, Alexander moves his raised right foot forward to the Third Instance and sets it on the letter N, leaning forward over it, following with his left foot to the letter K, his arm partially extended, so the he crosses over his oppoent’s blade to cover it, as is represented by the shadows on the floor of their Circle, along with the image of the figures.
 +
 
 +
|C’eſt encor icy le meſme commencemēt, que la precedente: <font style="font-variant:small-caps">Alexandre</font> faiſant la demarche du pied droit de la Seconde Inſtance devers la Troiſieme pour executer comme au Cercle N.2. <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 8'''
 +
 
 +
|'''Cercle N.8.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Zachary continues the preceeding circular disengage and aims, while moving forward and straightening his body, across his opponent’s arm from the outside, a thrust at his opponent’s face. Alexander, at the same time, steps in, crossing the blades to this outside of his right arm, with that hand and his guard low, pressing it against his right side, point up, and moving his right foot forward along the line of the Inside Square to the line crossing between N & S. He follows with his left foot to the letter O, moving his left side forward, and thus subjugating his opponent’s sword.
 +
 
 +
|<font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> s’avance au meſme temps en dedans, accouplant les eſpees en dehors du bras, avec le meſme bras & la garde abaiſſée, l’affermiſſant à ſon coſté droit avec la pointe montante, & avāçant enſemblement le pied droit ſur l’interſećtion du Quarré inſcrit, entre es lettres N & S, pour pourſuivre du pied gauche ſur la lettre O, ſujettant ainſi, en avançant le coſté gauche, l’eſpee du Contraire.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 9'''
 +
 
 +
|'''Cercle N.9.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Here is an other following from Circle No 7, where Zachary withdraws backwards, while at the same time making a circular disengagement and feint with his blade from the outside of the arm. And as his opponent counters this, as described before, he makes another circulear disengage to hit him to the inside. Alexander, then, at the same moment his opponent’s sword passes under his, moves his body forward with his arm and sword extended, into the opening of the angle, stepping with his right foot straight forward to the letter T, and, helped by the step with his left foot to bring it beyond and outside the Circle, he drives his point through his ennemy’s neck. As shown by the figures.
 +
 
 +
|Voicy maintenante une ſuite du Cercle N.7. où <font style="font-variant:small-caps">Zacharie</font> 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. <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 10'''
 +
 
 +
|'''Cercle N.10.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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 <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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’<font style="font-variant:small-caps">Ale</font>xandre, il en ſera fait plus ample declaration en la ſuite de ce meſme livre.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|We have thus shown in preceeding Circles, and explained in their descriptions, means of striking against an opponent’s arm, along with other actions which might serve one to enable an approach along the circumference up to the Oblique Diameter. We now look into the same from the other side, along with some new actions, notably some slashes, which can be made to the adversary’s arm, by going up to the Oblique Diameter along the right hand side.
 +
 
 +
|Or ayant repreſenté par les precedents Cercles, & expliqué en leurs deſcriptions, les manieres de donner coups de taille ſur le bras de l’adverſaire, avec quelques autres operations, de quoy on ſe peut ſervir, en faiſant ſes approches par la voye de la Circonference au deçà le Diametre; nous pourſuivrons maintenant à en faire le meſme à l’autre coſté du Diametre, aſſavoir quelques nouvelles operations & notament les eſtramaçons, qui ſe pourront preſenter à donner ſur le bras de l’adverſaire, en allant par delà le Diametre à main droite.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 11'''
 +
 
 +
|'''Cercle N.11.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''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.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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’<font style="font-variant:small-caps">Alexandre</font> parallele au deſſous de l’autre; <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 12'''
 +
 
 +
|'''Cercle N.12.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''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.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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 <font style="font-variant:small-caps">Zacharie</font> attend la pourſuite; <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 13'''
 +
 
 +
|'''Cercle N.13.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''Alexander seeks to again perform the preceeding action, as he steps in with his right foot. Zachary moves the blades over to his right with a good amount of force. At the same time, Alexander sets his raised foot down a bit further beside the Third Instance, while slashing at the inside of his opponent’s lower arm as his left foot is in the air.''
 +
 
 +
|''Alexandre voulant une autrefois pratiquer la precedente operation, durant qu’il entre avec le pied droit; Zacharie tranſporte avec force les lames à main droite; au meſme temps, Alexandre plante le pied eſlevé au peu plus outre à coſté de la Troiſieſme Inſtance, frappant enſemblement d’un coup d’eſtramaçon par le bas (le pied gauche pourſuiant en l’air) au dedans du bras de l’Adverſaire.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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. <font style="font-variant:small-caps">Alexandre</font> 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, <font style="font-variant:small-caps">Zacharie</font> pour ſe defendre tranſporte les lames avec force vers le haut à main droite; Ce temps pendant <font style="font-variant:small-caps">Alexandre</font>, 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.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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’<font style="font-variant:small-caps">Ale</font>xandre, 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 14'''
 +
 
 +
|'''Cercle N.14.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Once again we repeat all the actions of the preceeding Circle, wherein Alexander strikes his adversary with a slash to the inside of the arm. In this Circle, he turns his wrist so the sword makes a circular path at an obtuse angle above his head, striking downwards with a reverse cut to the outside of his opponent’s arm. Following which he withdraws his raised left foot backwards, outside the Circle and draws his right foot from the Third Instance, to the letter K on the Outside Square, as is shown by the figures.
 +
 
 +
|Reiterant derechef toutes les aćtions du Cercle precedēt, où <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 15'''
 +
 
 +
|'''Cercle N.15.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''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.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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. <font style="font-variant:small-caps">Alexandre</font> 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, <font style="font-variant:small-caps">Zacharie</font> 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. <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 16'''
 +
 
 +
|'''Cercle N.16.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''This is the follow-on from the preceeding Circle. Alexander steps quickly with his right foot and takes a step backwards, to again continue his spin on the left foot while at the same time cutting his opponent on the left side of the head.''
 +
 
 +
|''C’eſt la pourſuit du precedent; Alexandre des marche tout ſoudainement du pied droit, & en fait un pas en arriere, pour continuer derechef en volte avec le pied gauche, donnant enſemblement un coup de taille à ſon Contraire au coſté gauche de la teſte.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Alexander follows on from the preceeding Circle. He instantly draws his right foot back out of the circle, and continues to circle his left around. As he does this, he again brings his sword in a circle above his head and wounds his adversary with a cut to the left side of the head.
 +
 
 +
|<font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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’<font style="font-variant:small-caps">Ale</font>xandre, 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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 17'''
 +
 
 +
|'''Cercle N.17.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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. <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|-
 +
|Colspan="2"|
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Now, as we have proposed in these examples to draw cuts on the adversary’s arm, where previously in other Plates we always struck to the head, it may be, dear reader, that you find yourself curious to know, if we hold one or the other as better or both equal, and does it matter when to use which or can either be used at any time, much like it is not enough to imagine oneself in a beautiful garden, full of plants, of flowers, and of fruits, but one must know which, if any, one may pick, and if so, are there any conditions as to when? In response to these good and thoughtful considerations, the circumstances where Alexander aims a thrust at Zachary are shown in Circle No 2 to the inside and in Circle No 12 to the outside of the arm. So, when Zachary parries with strength and force, Alexander not only has a choice to strike at either the head or the arm, as he would, but the ability to take advantage of several other actions, such as to further dominate and subjugate the sword, to deliver imbrocata strikes, or other actions which are shown in similar situations in other parts of this book. In truth, it is a veritable garden of delights, enriched with a very great diversity of options, to one who is capable. But the student should always be warned so that he does not, at the very beginning, try all of these at once. Because what are various options to a man of skill, are but a source of confusion to the novice. Now, as to which is most expedient, striking the the arm or the head, I hold the one good, the other better. The usual act is to strike the head, either with the point or the edge. Because for the adversary, when he is struck in the head, and particularly in the face, he will be so stunned in that instant, that he will be unable to do anything until he has had the time to recover his wits and gather his thoughts. In which time, the assailant will well know to profit by taking full advantage of the situation. Of this, you shall be be given better examples, with more complete reasoning, in the discussions on swordplay which follow. And it happens that even Julius Ceasar, as the history books attest, gave the order to his men-at-arms to always strike the face of their ennemies, and that the reason he gave was the same, or something very similar. For the truth is this: a blow to the head is at once offensive and defensive, and for this reason we hold it as the more secure of the two choices.
 +
 
 +
|Maintenant puis que nous avons propoſé ces exemples, de tirer les coups de taille ſur le bras de l’Adverſaire, & au paravant és autres tables on luy en a touſiours donné ſur la teſte; peut eſtre Lećteur, que vous ſerez curieux de ſçavoir, ſi nous eſtimons l’un & l’autre egalemēt, & ſi les occaſions ſont ſemblables ou differentes; d’autant que ce n’eſt pas aſſez de s’imaginer d’eſtre en un beau jardin, où il y croiſt tout ſorte d’herbes, de fleurs, & de fruits; mais qu’il faut auſſi ſavoir, s’il eſt permis d’en cueillir, & à quelle condition. Pour reſponce à ceſte conſideration, qui eſt belle & utile, les occaſions vous ſont repreſentés au Cercle N.2. en dedans & N.12. en dehors du bras; contenant l’eſtocade qu’Alexandre tire à la Troiſieme Inſtance au long des eſpees devers la teſte de Zacharie. Et quand Zacharie la pare avec bon Poids & avec quelque force, Alexandre n’aura par ſeulement le choix, de luy tirer le coup d’eſtramaçon ſur la teſte, ou ſur le bras ſelon qu’il voudra, mais encore d’avantage de ſe prevaloir de pluſieurs autres aćtions, comme de luy redompter & aſſujettir derechef l’eſpee, ou de donner Imbrocades, ou faire autres operations, qui ſont repreſentées ſur les meſmes occaſions en autres endroits de ce Livre. De façon que c’eſt la verité un jardin de plaiſance, enrichi d’une treſgrande diverſité d’operations pour celuy qui en eſt capable. Mais que le Diſciple ſoit touſiours adverti qu’il ne ſe hazarde pas de commencement, à vouloir faire tout enſemble. Car ce qui eſt Varieté pour l’homme adroit, ce ſeroit confuſion pour luy. Au reſte, s’il faut parler de ce qui eſt plus expedient, de frapper à la teſte, ou au bras, je tiens, que l’un eſt bon, l’autre encor meilleur, & que c’eſt ordinairement le plus ſeur de frapper à la teſte, ſoit de pointe ſoit de taille. Pour ce que l’adverſaire, quand il eſt touché à la teſte, & notamment au viſage, il en eſt tellement eſtourdi au meſme inſtant, qu’il ne ſauroit quaſi rien faire, juſqu’à tant qu’il ait eu loiſir de ſe raviſer & de reprendre ſes cogitations. Dequoy l’aſſaillant ſaura bien faire ſon profit, & pourſuivre tant mieux ſon avantage. Or de cecy vous ſeront donnez de plus nobles examples, & de plus amples raiſons, en ce qui ſera diſcouru cy apres ſur les eſees libres. Et paradventure que Iules Ceſar, duquel les hiſtoires deſmoignent, qu’il commandoit à ſes gens darmes de tirer touſiours à la face des Ennemis, y avoit auſſi remarqué telle ou ſemblable cauſe. Quoy qu’il en ſoit la verité eſt telle; le coup qui eſt donné à la teſte, fait offenſe & defenſe tout enſemble; & pour tant nous le tenons pour le plus ſeur.
 +
 
 +
|}
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{{master end}}
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 +
{{master begin
 +
| title = Book 1 - Tableau / Plate XIX - Working to the Right Hand Side from a Disadvantage.
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| width = 60em
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}}
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{| class="floated master"
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 +
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 +
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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 +
|-
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|Colspan="2"|[[file:Thibault L1 Tab 19.jpg|600px]]
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|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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 +
|EXPLANATION OF THE ACTIONS IN THE NINETEENTH PLATE
 +
 
 +
|DECLARATION DES OPERATIONS DV TABLEAV DIXNEVFIEME
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|Of all the preceeding Plates, there is not one which demonstrates more clearly the superiority of this True Method, than this, which here follows. Because Alexander has before now always worked with the advantage of having subjugated his opponent’s sword, now it is to the contrary. He has always tried to adopt a superior position, and this time he will adopt an inferior position. Just as the skill of a mariner is most evidently manifest in a storm, so ours shall be more apparent when most disadvantaged. Not only is it no small thing to work well against any sword in an engagement (for there are an infinity of possible moves), but the advantage is so great and so obvious, that the enemy will be on his guard by any means possible to keep it from you. Once in contact, he is no longer free to play with his sword, unless he frees it, as before, by means of a circular disengage, which is a very bad play. Now it is your turn, to put yourself in his place, going from the First Instance to the Second, in such a way that you will give him every advantage he could wish for. This we shall refer to henceforth as obliging him. In that you oblige him to work first, and with without much apparent risk, as you present to him a beautiful opportunity. In any case, if he does not wish to avail himself of the opening, we do not want you to again withdraw in order to break the distance, which is the usual way of those who work without a good foundation, in the hope that the ennemy will give them the advantage by making a mistake, so when he does nothing, they find themselves constrained to quit their plans, to begin anew. These are useless provocations, which merely confuse the swordsman himself instead of his enemy. We shall leave these withdrawings to those who must admit to having started badly. One who has apprehended the proper path needs not withdraw to find another way. Thus Alexander, even though he began his attack intending a different plan, has nevertheless not left the proper path, and he will still reach his intended end. This shall become clear in the examples.
 +
 
 +
|De toutes les Tables precedentes il n’y a pas une, qui demonſtre plus clairement l’excellence de la vraye Pratique, que celle qui s’eſuit maintenant; puis qu’Alexandre a travaillé touſiours par cy devant avec l’avantage de tenir l’eſpee de l’adverſaire aſſujettie, & maintenant c’eſt tout le contraire, il a touſiours taſché de prendre la ſuperiorité, & a ceſt’heure il ſe va faire inferieur luy meſme. Or ainſi que la ſuffiſance du marinier s’eſpreuve, & ſe cognoit principalement en la tempeſte, ainſi la noſtre ſe fera voir plus illuſtre, à meſure qu’elle ſemblera comme eſtre plus abbatue. Non pas que ce ſoit peu de choſe de bien travailler ſur l’eſpee engagée (car il ſe faut aſſeurer contre une infinité de changements) mais que l’advantage en eſt ſi grand & ſi manifeſte, que l’Ennemy ſe gardera par touts moyens poſſibles de le vous premettre. Car s’il l’accorde, il fait qu’il ne peut plus travailler librement de ſon eſpee, ſinon qu’il la delivre auparavant par le moyen de la cavation, qui eſt un fort mauvais parti. Maintenant c’eſt vous meſmes, qui allez vous mettre en ſa place, en allant de la Premiere Inſtance à la Seconde; de ſorte que vous luy donner quaſi tout l’avantage, qu’il demande. Et c’eſt ce que nous appellerons doreſenavant obliger; d’autant que vous l’obligez à travailler le premier & avec peu de courage, par l’occaſion, que vous luy en preſentez ſi belle. Et toutesfois s’il ne s’en vouloit point ſervir, ce n’eſt pas noſtre intention, qu’il vous faille retirer derechef en arriere pour rompre la meſure; comme c’eſt l’ordinaire de ceux qui travaillent ſans fondement, ſous eſperence que l’Ennemy fera quelque faute à leur avantage; & quand il ne fait rien, ils ſont contraints eux meſmes de quitter l’entrprinſe, pour en faire une autre nouvelle. Ce ſont des provocations inutiles, qui confondent l’autheur meſme au lieu de confondre l’Ennemy. Laiſſons faire ces retirades à ceux qui confeſſent avoir mal commencé: Car celuy qui à prins le droit chemin n’a que faire de reculer en arriere, pour en cercher un autre. Ainſi Alexandre quoy qu’il ait commencé à travailler un peu autrement, que de couſtume; il n’a pas pourtant quitté le droit chemin; de façon qu’il en ſçaura bien venir à bout; comme il paroiſtra clairement par les exemples.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 1'''
 +
 
 +
|'''Cercle N.1.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''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.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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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 Plates, where they perform the same actions, and which is effectively shown by the figures in the Circle.
 +
 
 +
|En ceſte occaſion Alexandre s’eſt planté le premier ſur le Cercle en forme deuë, dedans le Quadrangle A, preſentant l’eſpee à ſon adverſaire (avec le corps tout droit) en droite ligne, pour le laiſſer travailler deſſus. Qui fait que Zacharie le vient approcher, en marchant deux ou trois pas en avant, met le pied droit à terre dedans le Quadrangle oppoſite ſur la lettre X, jettant enſemblement ſon eſpee de l’angle obtus (entrainant le pied gauche ſur la ligne Pedale Z) en droite ligne, parallele au deſſous de l’eſpee contraire; ſelon qu’il en eſt faite plus ample declaration és autres Tables, où ils ont pratiqué la meſme operation; & l’effećt en eſt repreſenté par les propres figures de ce preſent Cercle.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 2'''
 +
 
 +
|'''Cercle N.2.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''Alexander follows from the preceeding, going to the Second Instance on the Oblique Diameter, at the same time using his wrist to lower his point to the outside of his arm, such that he attacks his opponent’s sword from beneath, and obliges him to the right hand side.''
 +
 
 +
|''Alexandre pourſuit la precedente, en allant par delà le Diametre devers la Seconde Inſtance, abaiſſant enſemblement un peu la pointe de ſa lame en dehors du bras à l’aide du poignet, de maniere qu’il en attaque l’eſpee contraire par deſſous, & l’oblige à ſa main droite.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Because Zachary has arranged his blade in the direct line posture, parallel and beneath the other, it is to him to begin to work further. This he has not done for, simply deigning to wait. At which Alexander instantly begins, raising his right foot off the ground, while using his wrist to slightly lower the tip of his sword to the outside of his [opponent’s] arm, and so raises the inside branch of his crossguard and likewise takes his opponent’s sword from above, with his opponent’s 3rd Span on his 8th, at the same time stepping with with his right foot to the letter G on the Oblique Diameter at the Second Instance. He follows with his left foot to the letter D on the Circumference, and moves the swords to his right hand side with his extended arm, sliding the point of contact against an Alive Degree of Force, his 7th Span against his opponent’s 5th or 6th, engaging his sword, constraining him to work from above.
 +
 
 +
|Puis que Zacharie avoit colloqué ſa lame en droite ligne, parallele deſſous la contraire, c’eſoit bien à luy, de commencer & pourſuivre à travailler plus outre; ce qu’il a toutesfois laiſſé de faire pour le preſent, & a ſeulement voulu demeurer pour attendre. Sur quoy Alexandre travaille tout à l’inſtant, en eſlevant le pied droit de terre, & abaiſſant enſemblement un peu la pointe de ſa lame en dehors du bras à l’aide du poignet, de ſorte qu’il tourne la branche interieure de ſa garde contremont, & pareillement ſurprend l’eſpee contraire par deſſous, avec ſon Nombre 3. au N.8. marchant quand & quand du pied droit eſlevé, par delà le Diametre à la Seconde Inſtance lettre G, pour pourſuivre du pied gauche ſur la Circonference lettre D, emenant egalement les eſpees à main droite avec le bras eſtendu, leſquelles deſgraduant avec Poids Vif, il aſſemble ſon N.7. au N.5. ou 6. du Contraire, le convivant & obligeant par l’inferiorité de ſa lame, à travailler deſſus luy.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Note that when Alexander obliges his opponent’s sword, he must take scrupulous care to pay attention to the sensation, and cannot perform this except against a sword resisting with an Alive, Lively, or Livelier Degree of Force.* If his opponent changes the sense of his resistance, more or less, to a Degree of Force such as Deadweight, or Slight, then it would not be possible to count on the action of his opponent. But as soon as he percieves a slight contact, he must act first, working from below, along his opponent’s constrained sword, he moves forward and enters in, stepping with his feet, and closing the direct line to the inside of his arm. But, on the contrary, if the upper sword is Deadweight or has only a Slight Degree of Force, and Alexander allows him to move first, he, Alexander, can be easily hit by a straight line to the face. Because in this case, his sword will not have enough vigour to quickly follow and defend against the thrust of his opponent’s sword. But he can well do this in the case where his opponent’s constrained sword is above his, with an Alive, Lively, or Livelier degree of force. Because then, to hold it up, he must use an equal amount of force, Alive, Lively, or Livelier, to resist his opponent’s advance. In this way, should his opponent undertake to disengage his blade in order to wound him with a straight thrust, Alexander’s own blade would, through the tension in his arm, be able to follow of its own accord, before he could lift it off. Should the constrained sword ever come back to a sense of little or no feeling, in this case Alexander must be first to act on it, without waiting for his opponent’s action. Also, it may often be, on the contrary, that his opponent increases the pressure, using a Strong, Stronger, or even Very-Strong Degree of Force, stepping in with his right foot, to dominate and subjugate the lower sword and thus keep from being wounded. Upon this occasion, Alexander simply performs a circular disengage with his blade, so his opponent’s suddenly overbalances, and so strikes him in the face from the outside, either a thrust with the tip, or a cut along the edge. This is shown in following Circles Nos 10, 11, and 12, where these actions are described in detail.
 +
 
 +
*it is apparent from the discussion that he has mis-named these not in accordance with his original descriptions introduced in Plate IX.
 +
 
 +
|Or notez que quand Alexandre fait ceſte operation d’obliger l’eſpee contraire, il y doit proceder en prennant fort ſoigneuſe garde au Sentiment, & ne la peut pratiquer ſinon ſur le Poids Vif, Fort, ou Plus-Fort, de l’eſpee qu’il oblige. Car ſi elle vient à changer en peu ou prou de Sentiment, comme à Mort, ou au Poids, que nous appellons Sentiment, alors il ne luy ſera point loiſible d’attendre l’operation de l’adverſaire. Mais ſi toſt qu’il s’en appercevra par l’attouchement, it faudra qu’il pourſuive luy meſme le premier à travailler deſſus au long de l’eſpee obligée, en avançant & entrant du corps avec les pieds, & luy fermant la droite ligne au dedans du bras. Car au contraire, ſi l’eſpee ſuperieure eſt morte ou avec petit Sentiment, & qu’Alexandre luy accorde de travailler le premier, il en pourra eſtre touché fort aiſement en droite ligne au viſage; parce qu’en ceſte occaſion la ſienne n’aura pas aſſez de vigueur à pourſuivre l’eſtocade de l’eſpee contraire pour ſa defenſe. Mais bien le pourra il faire, en cas que l’eſpee obligée ſe retrouve deſſus la ſienne, comme nous venons de dire, ayant le Sentiment Vif, Fort, ou Plus-Fort. Car alors il faudra, pour la ſouſtenir, qu’il luy reſiſte en uſant d’un poids Vif ou Fort à l’advenant du Contraire; de maniere que ſi l’Adverſaire entreprend de vouloir deſtacher ſa lame, pour le bleſſer en droite ligne, celle d’Alexandre par la vigueur du bras, &  par l’influence de ce meſme Poids la pourſuivra d’elle meſme, avant qu’il la puiſſe oſter de deſſus. Or ainſi que l’eſpee obligée revient aucunesfois à peu ou point de Sentiment, en laquelle occaſion Alexandre a beſoin de travailler le premier deſſus, ſans attendre l’operation; auſſi adviendra il ſouvent au rebours que l’Adverſaire augmentera le Poids, en uſant de Force, ou de Violence, ou meſme de tresgrande Violence, marchant avec le pied droit en dedans, pour dompter & aſſujettir l’eſpee inferieure & conſequemment ne venir à la bleſſure. Quand telle occaſion ſe preſente, Alexandre fera cavation avec ſa lame, laiſſant tresbucher la contraire, & luy donner par dehors le bras un coup au viſage, ſoit de pointe, ſoit de taille; comme il eſt repreſenté par les figures des Cercles enſuivants N.10.11.12. où leſdites operations ſeront declarées chaſqune en particulier.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Furthermore, as Alexander has obliged his opponent’s sword, in this occurrence as in the preceeding, as it was presented to him in the Direct Line posture, beneath his own, most times, he must do the same in a differenty way, as his opponent will present his sword at an acute angle, with extended arm and tip pointed towards the ground. In this manner, it will be easier work for Alexander to advance further from the First Instance, by attacking the sword to the outside line from beneath, and then stepping to the Second Instance, moving both to the left and to the right. From there he will proceed to the actions which follow in this Plate and in other Plates, which begin with and then derive from the obliging of the opponent’s blade, for which we shall provide ample explanation.
 +
 
 +
|En outre, combien qu’Alexandre oblige en ceſte occaſion preſente, comme auſſi en la precedente, l’eſpee contraire, qui a eſté miſe en droite ligne deſſous la ſienne: toutesfois il ſe preſentera le plus ſouvent de faire le meſme, en une autre ſorte, aſſavoir quand Zacharie luy preſentera ſon eſpee du premier abord avec le bras & la pointe eſtendue vers la terre en angle aigu. Et en icelle maniere il ſera plus facile à travailler pour Alexandre, pour avancer ſes approches de la Premiere Inſtance plus outre, en luy attaquant l’eſpee en dehors du bras par deſſous, & conſequement l’obliger, en marchant plus outre devers la Seconde Inſtance, tant à main gauche, comme à droite; & parvenir en ſuite aux operations ſuivantes de ceſte meſme Table, ou des autres enſuivantes, qui ſont fondées & contiennent la ſuite de l’obligation de l’eſpee contraire, eſquelles il en ſera auſſi faite plus ample declaration.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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 planteral 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,
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 3'''
 +
 
 +
|'''Cercle N.3.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''Alexander continues the preceeding action, stepping from the Second Instance to the Third, raising his point, while sliding the point of contact up the two blades, the Centre of his a few Spans up his opponent’s, giveing him a thrust to the face.''
 +
 
 +
|''Alexandre pourſuivant l’operation precedente, marche de la Seconde Inſtance à la Troiſieme, hauſſant ſa pointe, & enſemble graduant les deux lames, le Centre de la ſienne par moindres Nombres de la Contraire, luy donnant un coup d’eſtocade au viſage.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This action follows from the preceeding Circle, where Alexander has obliged his opponent’s sword at the Second Instance, because his adversary waited for him to follow up. Alexander works against this and, in this current Circle, steps with his right foot along the line of the Inscribed Square, over to the Diameter at the Third Instance, at the letter N, while raising the point of his blade. He then brings his left foot along the Outside Square to the letter K. At the same time, with his extended arm, he slides the centre of his blade up his opponent’s blade by a few Spans, forcing him to give to the inside and so open up an angle, such that he can stand upright and put his tip precisely in front of the face, with power to strike. As is shown in the figure.
 +
 
 +
|Ceſte operation ſuit le Cercle precedent, ou Alexandre a obligé l’eſpee Contraire à la Seconde Inſtance, par ce que l’Adverſaire demeure pour en attendre nouvelle pourſuite. Sur quoy Alexandre travaille, & marche en ce Cercle preſent avec le pied droit par la trace du Quarré Inſcrit, par delà le Diametre à la Troiſieme Inſtance lettre N, hauſſant egalement un peu la pointe de ſa lame, & pourſuivant à mener le pied gauche ſur le Quarré Circonſcrit lettre K, au meſme temps avec le bras eſtendu il va graduer le Centre de ſa lame en dedans du bras par moins de Nombres de l’eſpee obligée, la forçant à luy ceder en dedans & à ouvrir un angle, de façon qu’il luy met la pointe avec le corps eſtendu par courtoiſie devant le viſage, ayant pouvoir d’en faire l’execution; comme il eſt repreſenté à la figure.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 4'''
 +
 
 +
|'''Cercle N.4.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''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.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Both parties have set themselves at the First Instance in the direct line posture in accordance with the actions of Circle No 1. From there, Alexander proceeds further, entering in and stepping with his right foot, to the Second Instance, controlling his opponent’s sword, which he has attacked and siezed from below. As soon as he has begun to overbalance with his foot raised, Zachary advances and enters in with his right foot, a bit further along the Diameter than the letter V, aiming a swift and forceful thrust in a direct line at his opponent’s chest, bending his knee and leaning onto it. Alexander, as soon as he percieves from his sense of feel that his opponent’s blade is about to detach, moves his own forward, contacting the centre of his own blade with the 3rd or 4th Span of his opponent’s, as he sets his right foot down at the Second Instance on the Diameter at the letter G, he extends his arm to slide the point of contact up his opponent’s sword, holds his body upright, and, drawing his left foot up behind, forces his blade through his opponent’s head. As shown by the figures.
 +
 
 +
|L’operation du Cercle N.1. eſtant accomplie, où les deux parties ſe ſont plantez en Premiere Inſtance en droite ligne, lors Alexandre procede en outre à marcher & entrer du pied droit, pour obliger par delà le Diametre à la Seconde Inſtance l’eſpee contraire, laquelle il a ſurprinſe & attaquée par deſſous avec la ſienne, auſſi toſt que le pied eſlevé luy commence à tresbucher avec le corps, au meſme temps, Zacharie s’avāce & entre avec le pied droit, un peu delà le Diametre plus avant que la lettre V, tirant viſte & rudement en droite ligne (en pliant le genou & panchant le corps deſſus le meſme en avant) devers la poitrine de l’Adverſaire. Alexandre dés qu’il apperçoit par le Sentiment que la lame contraire ſe va deſtacher, il avance la ſienne, en joignant le Centre au N.3. ou 4. de celle du contraire, laquelle (en plantant le pied droit, qui chemine, ſur la Deuxieſme inſtance lettre G par delà le Diametre) il gradue avec le bras & le corps eſtendu, pouſſant ſa lame (avec pourſuite du pied gauche proportionnée) à travers la teſte de ſon Contraire; en conformité des figures.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Circle No 5'''
 +
 
 +
|'''Cercle N.5.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''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.''
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 +
|''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.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|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.
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 +
|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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 6'''
 +
 
 +
|'''Cercle N.6.'''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|Insasmuch as Zachary does nothing to parry the previous action, Alexander will carry on, pushing his sword forward with his bent arm, through his opponent’s head, so powerfully that the two guards crash together, which will force Zachary to bend his arm and his tip will go up into the void above.
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 +
|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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 7'''
 +
 
 +
|'''Cercle N.7.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|''So Zachary parries the strike from preceeding Circle No 5, by lifting and raising further his arm and sword. At the same time, Alexander raises his body, likewise lifting his arm and sword further, and from there leans forward, raises his right foot in the air, and aims a cut to the calf of his adversary’s right leg.''
 +
 
 +
|''Ainſi que Zacharie s’atend de parer le coup du Cercle precedente N.5. en hauſſant & eſlevant encor d’avantage le bras avec l’eſpee; Alexandre ſe ſuſleve au meſme temps le corps, en hauſſant auſsi pareillement le bras avec l’eſpee d’avantage, dequoy en panchant du corps en avant & eſlevant le pied droit en l’air il tire un coup de taille au gras de la jambe droite de l’Adverſaire.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 8'''
 +
 
 +
|'''Cercle N.8.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 9'''
 +
 
 +
|'''Cercle N.9.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 10'''
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|'''Cercle N.10.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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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 percieves this from the contact. He sets his right foot down, which has moved to the letter G on the Diameter at the Second Instance, followed by his left foot with a circular motion to the letter D. Standing with his body erect, he makes a circular disengage from beneath his opponent’s sword, which overbalances downwards, and, with his arm bent (to keep the point from touching) sets his point exactly in front of the face. As shown by the figures.
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|La preſente provient du Cercle N.1. où les parties ſon placez ſur le Cercle en Premiere Inſtance, Alexandre tenant l’eſpee parallele par deſſus la contraire. Or comme il procede plus outre, en marchant avec le pied droit devers la Seconde Inſtance, pour attaquer par deſſous, & obliger l’eſpee contraire, comme au Cercle N.2. au temps que ledit pied luy commence à tresbucher avec le corps, Zacharie s’avance & entre là deſſus avec le pied droit, par delà le Diametre ſur la ſeconde interſećtion de la collaterale interieure, & ſe panche du corps en avant deſſus le meſme, pour dompter & aſſujettir la lame inferieure avec Poids de Force; De quoy s’appercevant Alexandre par l’attouchement, il plante le pied droit, qui chemine par delà le Diametre ſur la Seconde Inſtance lettre G, pour pourſuivre circulairement du pied gauche ſur la lettre D, mettant le corps tout droit deſſus, cavant enſemblement ſa lame par deſſous a contraire en tresbuche vers le bas, luy mettant la point en courtoiſie avec le bras courbé (pour ne le toucher) devant le viſage; ſelon la repreſentation des figures.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 11'''
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|'''Cercle N.11.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|This Circle continues the preceeding action, which Alexander executes by moving his right foot forward to the letter L on the Diameter where he will lean forward with bent knee as he pushes his blade forcefully through his opponent’s head. As we see from the figures.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 12'''
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|'''Cercle N.12.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 13'''
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|'''Cercle N.13.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|-
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|Colspan="2"|
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|- style="font-family: times, serif; vertical-align:top;"
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|If it were possible to always subjugate the opponent’s sword, one would never need to oblige one’s opponent, nor have any reason to need to regain an advantage lost. But because we are sometimes overpowered, either by force, or his quickness, or our inattention, we must learn to recover and execute good strikes, even when at a disadvantage, strikes we have seen Alexander perform, which we know how to do when our opponent’s blade is subjugated. And for those who would take us to task for having repeated lessons given in other parts of this book, as if it were a crime to say the same thing again, I would say, on the contrary, that it was the custom of even the sage Socrates to repeat lessons for his students, and he left it to the Sophists the vain pride of never repeating themselves. Yet we have not repeated these lessons for no good cause, because otherwise it would be impossible to demonstrate how, the actions taken after controlling the opponent’s sword are very similar to those we perform after subjugating it. For those who would say that it should suffice to have merely introduced the fundamentals of the System before now, without exploring all the possible variations, because these become self-evident over time, I would respond, again, that the usefulness of these examples is too important to be neglected and that these are too essential to the System to leave them out for the sake of brevity, which would be a mistake, rather than being prolific, where prolific means that which fully explains the material. To conclude, without this repetition, it would be impossible to properly present the greatness and usefulness of the foundations of our system, which are small in number, and yet serve to dominate so many different possible actions of our adversary. One may imagine an infinite varieity of ways in which our enemy might engage us.
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|S’il eſtoit poſsible d’aſſuiettier touſiours l’eſpee contraire, il ne ſeroit jamais beſoing de l’obliger, ne raiſon de perdre un advantage pour le reprendre apres. Mais puis qu’on y eſt aucunesfois ſurprins, ou par force, ou par viſteſſe, ou par meſgardre, il faut apprendre à ſe remettre, & à tirer du desavantage meſme des bonnes executions, ſemblables à celles, qu’on a ſceu tirer de l’aſſujettiſſement; comme nous voyons qu’Alexandre vient de pratiquer. Et c’eſt ce qui ſervira de reſponce à ceux, qui nous voudront par adventure reprendre; d’avoir repreſenté en ce Tableau preſent quelques operations, qui ont eſté deſcrites autrepart, comme ſi c’eſtoit un crime de redire la meſme choſe. Ie leur diray au contraire, que le ſage Socrates avoit de couſtume de redir touſiours le meſme à ſes deſciples, & qu’il laiſſoit aux Sophiſtes la vanterie de ne repeter jamais rien. Et cependant, que nous n’avons pas uſé de ceſte repetition ſans cauſe, puis qu’autrement il euſt eſté impoſſible de demonſtrer, les appendances de l’obligation eſtre ſemblables à celles de l’aſſuettiſſement. s’Ils diſent, qu’il nous devroit ſuffire d’avoir touché par cy devant les fondements de la Pratique en general, ſans recercher touts les particularitez, qui en dependent, & qui ſe manifeſtent peu a peu d’elles meſmes; je reſpondray derechef, que l’Vtilité de ces demonſtrations eſt trop notoire, & que ce ſont des parties trop eſſentielles de la Pratique, pour les omettre ſous couleur debrieveté, en laquelle il y peut avoir des fautes, auſſi bien qu’en la prolixité, ſi prolixité ſe doit nommer, ce qui eſclarcit grandement la matiere. Et pour concluſion, que ſans ceſte repetition, il ſeroit impoſſible de vous repreſenter l’amplitude & le grand uſage de nos fondements, qui ſont petits en Nombre, & ſervent cependant à domter tant de diverſes aćtions du Contraire; au lieu que ce ſeroit choſe infinie, s’il falloit imaginer autant de diverſes rencontres, comme il y a de variations de la part de l’Ennemy.
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|}
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{{master end}}

Latest revision as of 09:59, 4 August 2020