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

Revision as of 13:05, 13 May 2020