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{{master begin
 
{{master begin
  | title = Book 1 - Tableau / Plate XII - Stepping inside the Angle betweeen the Swords.
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  | title = Book 1 - Tableau / Plate XII - Stepping inside the Angle between the Swords.
 
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  | width = 60em
 
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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" | 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
 
  | width = 60em
 
  | width = 60em
 
}}
 
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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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{| class="floated master"
  
 
! 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.
  
 
|}
 
|}
 
{{master end}}
 
{{master end}}
__NOTOC__
 
  
[[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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 +
 
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 2'''
 +
 
 +
|'''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.''
 +
 
 +
|''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;"
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 +
|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 at a Disadvantage.
 +
| 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
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|- style="font-family: times, serif; vertical-align:top;font-variant:small-caps;"
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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 <font style="font-variant:small-caps">Alexandre</font> 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 <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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 <font style="font-variant:small-caps">Ale</font>xandre 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’<font style="font-variant:small-caps">Ale</font>xandre 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’<font style="font-variant:small-caps">Ale</font>xandre 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 <font style="font-variant:small-caps">Ale</font>xandre 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, <font style="font-variant:small-caps">Ale</font>xandre 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;"
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 +
|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’<font style="font-variant:small-caps">Ale</font>xandre 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 <font style="font-variant:small-caps">Za</font>charie 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 <font style="font-variant:small-caps">Ale</font>xandre, 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, <font style="font-variant:small-caps">Ale</font>xandre 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 <font style="font-variant:small-caps">Ale</font>xandre plantera le pied droit pareillement en Premiere Inſtance un peu par delà ſur la Circonference du Cercle, & obligera l’eſpee contraire, l’emportant quant & ſoy à la Seconde Inſtance du meſme coſté. Que ſi l’Ennemi met la pointe de ſon eſpee un peu par deçà, auſſi <font style="font-variant:small-caps">Ale</font>xandre 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 <font style="font-variant:small-caps">Ale</font>xandre a obligé l’eſpee Contraire à la Seconde Inſtance, par ce que l’Adverſaire demeure pour en attendre nouvelle pourſuite. Sur quoy <font style="font-variant:small-caps">Ale</font>xandre 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;"
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 +
|''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’<font style="font-variant:small-caps">Alexandre</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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.''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|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.
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|L’operation du Cercle N.1. eſtant accomplie, où les deux parties ſe ſont plantez en Premiere Inſtance en droite ligne, lors <font style="font-variant:small-caps">Alexandre</font> 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, <font style="font-variant:small-caps">Zacharie</font> 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. <font style="font-variant:small-caps">Alexandre</font> 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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Circle No 5'''
 +
 
 +
|'''Cercle N.5.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|- 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 <font style="font-variant:small-caps">Alexandre</font> 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, <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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 <font style="font-variant:small-caps">Zacharie</font> le pare en portant le bras avec l’eſpee vers le haut; auſſi <font style="font-variant:small-caps">Alexandre</font> 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.
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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.'''
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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 <font style="font-variant:small-caps">Zacharie</font> ne fait point de parade par l’operation precedente, <font style="font-variant:small-caps">Alexandre</font> 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;"
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 +
|''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.''
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 +
|''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.''
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 +
|- 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 <font style="font-variant:small-caps">Alexandre</font> a preſenté ſa pointe devant le viſage du Contraire, en hauſſant & courbant le bras. Car ainſi que <font style="font-variant:small-caps">Zacharie</font> luy va parer l’eſtocade, en allant plus haut avec le bras & l’eſpee; au meſme temps <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|<font style="font-variant:small-caps">Alexandre</font> 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.'''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Here Alexander carries the action to its end. That is, he moves his sword with a flourish from below and aims his point upwards. Spinning leftwards on his right foot, he raises his left foot as he turns, then steps towards his opponent. As he lowers his sword, which was raised upwards above his head, down onto his left arm, bringing it against his side so as to shorten the distance, he sets his left foot on the letter S, moves towards his enemy, and strikes to his left with a thrust, aided and reinforced by leaning his body, through his opponent. As represented by the figures.
 +
 
 +
|Voicy comment <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- 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;"
 +
 
 +
|''While Alexander moves himself from the First Instance to the Second, to oblige his opponent’s blade, Zachary moves forward and enters with his right foot, to dominate and subjugate his opponent’s blade with a strong force. Then Alexander makes a circular disengagement, and sets the tip of his sword exactly in front of his opponent’s face.''
 +
 
 +
|''Durant qu’Alexandre ſe tranſporte de la Premiere Inſtance devers la Seconde, pour obliger la lame contraire, Zacharie s’avance & entre avec le pied droit, pour domter & aſſujettir l’eſpee contraire avec un fort poids, dont Alexandre fait au meſme temps cavation avec a ſienne, luy mettant pointe en courtoiſie devant le viſage.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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.
 +
 
 +
|La preſente provient du Cercle N.1. où les parties ſon placez ſur le Cercle en Premiere Inſtance, <font style="font-variant:small-caps">Alexandre</font> 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, <font style="font-variant:small-caps">Zacharie</font> 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 <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- 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;"
 +
 
 +
|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.
 +
 
 +
|Voicy la ſuite & cōtinuation dela precedente, executée par <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- 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;"
 +
 
 +
|''This has the same beginning as the earlier Circle No 10, where Alexander has set his point in front of his opponent’s face. The difference with the current Circle comes from, having set his feet down at the Second Instance, he enters in with his left to the Centre of the Circle, while removing his blade from beneath the other, and cutting at the face.''
 +
 
 +
|''C’eſt tout le meſme commencement que le precedent Cercle N.10. où Alexandre à mis ſa pointe devant le viſage du Contraire; la difference giſt en ce qu’au Cercle preſent, ayant planté le pied droit ſur la Seconde Inſtance, il entre avec le gauche ſur le Centre du Cercle, delivrant enſemblement ſa lame de deſſous la ſuperieure, & luy en donnant au viſage un coup de taille.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This Circle begins and proceeds the same as Circle No 10, up to when Zachary moves forward to subjugate his opponent’s blade, using a degree of force. While he does this, Alexander has set his right foot at the letter G on the Oblique Diameter, at the Second Instance. He makes a sudden quick move to put his left foot down at the Centre of the Circle, while withdrawing his sword from beneath and along his opponent’s blade, which is carried by the inertia of his force downwards. As Alexander raises his right foot, he delivers a cut (across the face) to his opponent’s inside, supported by leaning forward. This is as demonstrated by the picture.
 +
 
 +
|L’origine & la procedure de ce Cercle preſent s’accorde en tout avec celuy du N.10. juſqu’à tant que <font style="font-variant:small-caps">Zacharie</font> s’avance pour aſſujettir la lame contraire, ce qu’il fait preſentement avec plus de Poids. & durant ce meſme temps <font style="font-variant:small-caps">Alexandre</font> 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.
 +
 
 +
|- 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 proceeds immediately from Circle 12, passing with his right foot and setting it down at the letter W near the Oblique Diameter along the edge of the Outside Square, on which he pivots turning his left side forward, while he uses his elbow to bring his sword around overhead as he turns and passes behind his adversary. He sets his left foot down beyond the Circle, about as far as the letter Z, then bends his left knee and shifts his body onto it while giving a second cut to the back of his opponent’s head. As is shown by the figures.
 +
 
 +
|Ceſt icy encor une dependance de la precedente, pourſuivie tout à l’inſtant par <font style="font-variant:small-caps">Alexandre</font>, 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.
 +
 
 +
|-
 +
|Colspan="2"|
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|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.
 +
 
 +
|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.
 +
 
 +
|}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Book 1 - Tableau / Plate XX - More on Working to the Right Hand Side at a Disadvantage
 +
| width = 60em
 +
}}
 +
{| class="floated master"
 +
 
 +
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 +
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 +
 
 +
|-
 +
 
 +
|Colspan="2"|[[file:Thibault L1 Tab 20.jpg|600px]]
 +
 
 +
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 +
 
 +
|EXPLANATION OF THE ACTIONS IN THE TWENTIETH PLATE
 +
 
 +
|DECLARATION DES OPERATIONS DV TABLEAV VIGNTIEME
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Any advantage one may take of an adversary must perforce be either against the body or the sword. Because one ordinarily defends the body, and this makes it difficult to reach, in contrast to the sword, which, of course, doing nothing more that it’s job of protecting the person, must remain within range. It has no defense for itself (nor does it need any) but only for the person. As such, it cannot avoid being attacked. Those who think they would keep it free, when they hold it drawn back, or down, or who make feints high, low, straight, or with bent arm in order to fool their adversary, are only fooling themselves, in that they give over to their opponent all the advantage, that he may confidently choose at his pleasure the best time and means to close in, as the sword in guard is enough to defend the body but when not in guard, cannot. It is obvious, that eventually they must perforce seek to contact the blade they sought to avoid. And yet, the most sure and safest way to engage against a sword is never to flee from it, but rather, once engaged, to never lose that contact, so that the sense of feel can tell us right away when the opponent is preparing to parry or to counter our attacks. For in all these cases, one must continue to work upon one’s opponent, as long as one can maintain sufficient control. And to do this, one must absolutely understand the different degrees of Force, to apply the proper counters, as the responses to different pressures are quite different, as we can see beginning in this Plate after the first five Circles, and later on in others. Therefore, one must always be attentive to subjugate the opponent’s blade, far enough from the tip that on is protected from disengagements, and near enough that one is out of danger from Imbrocatta thrusts.
 +
 
 +
|Tout l’avantage qu’on ſçauroit prendre ſur l’Adverſaire il le faut cercher neceſſairement ou au corps, ou bien à l’eſpee. Et puis que le corps eſt ordinairement en defenſe, auſſi eſt it plus ſouvent de difficile approche; au contraire de l’eſpee, qui ne peut faire ſon office de garantir la perſonne, ſi elle ne demeure en preſence. N’ayant nulle defenſe pour ſoy meſme (auſſi n’en a elle que faire) mais ſeulement pour la perſonne; de façon qu’elle ne ſe peut garder d’eſtre attaquée. Ceux qui penſent la tenir bien libre, quand ils la retirent en arriere ou en bas, ou qu’ils font des feintes, hautes, baſſes, droites, courbes, pour tromper l’Adverſaire, ſe trompent eux meſmes, en ce qu’ils luy accordent l’avantage, de prendre à ſa fantaſie la meilleure ſituation & la place que bon luy ſemble, pour faire ſes approches avec plus d’aſſeurance, s’il eſt vray que l’eſpee eſt ſuffiſante à defendre le corps, quand on la tient en bonne guarde. Choſe ſi evidente, qu’ils en ſont contraints à la longue de recercher eux meſmes l’eſpee la quelle il penſoyent avoit evitée. Et partant c’eſt le plus ſeur, quand elle ſe preſente, de ne la fuir jamais, & l’ayant une fois attouchée, jamais ne la quitter tandis que le Sentiment nous dit, qu’elle eſt toute preſte à deſtourner & empeſcher nos entrprinſes. Car en ces cas, il faut touſiours continuer à travailler deſſus, tant qu’on la puiſſe commander à ſuffiſance. Et pour ce faire, faut ſur tout entendre la difference des Poids, pour y appliquer les vrais remedes, à meſure que les effets en ſon grandement diſſemblables; comme on voit à l’entrée de ce preſent Tableau à la ſuite des cincq premiers Cercles, & à l’advenant auſſi és autres; où il faut touſious obſerver de tenir l’eſpee Contraire en ſujećtion, ſi loing de la pointe, qu’on ſoit affranchi de ſes cavations, & ſi pres, qu’on ſoit hors le danger des Imbrocades.
 +
 
 +
|- 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;"
 +
 
 +
|''Alexander has previously obliged his opponent’s blade on the Diameter at the Second Instance. He continues by stepping to the Third, carrying the opponent’s blade to the inside of his arm, and subjugating it above the Diameter.''
 +
 
 +
|''Alexandre ayant auparavant obligé la lame Contraire par delà le Diametre à la Seconde Inſtance, il pourſuit à marcher preſentement à la Troiſieme, en tranſportant l’eſpee contraire en dedans du bras & l’aſſujettiſſant au deſſus du Diametre.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This current action comes from Circle No 2 of the preceeding Plate, where Alexander has obliged his opponent’s sword on the Diameter at the Second Instance. As Zachary calmly waits for the follow-up, Alexander moves with his right foot to the Perpendicular Diameter, along the Inscribed Square, at which (midway to the Instance) he hesitates briefly, before he overbalances, during which time he raises the obliged sword upward with his own, and consequently, as he sets his right foot on the section crossing the transverse interior line Q N, he carries it over to his left hand side, such that it comes down exactly above the Diameter in the direct line posture, where he subjugates it with an Alive degree of Force with his 2nd Span against his opponent’s 1st Span, tip slightly raised, and his arm lowered with the guard, by which he covers his lower body and guarantees his safety from a hit, as shown by the figures, with the sword positions marked on the plane of the Circle.
 +
 
 +
|La preſente operation depend du Cercle N.2. de la Table precedente, où <font style="font-variant:small-caps">Alexandre</font> a obligé l’eſpee contraire par delà le Diametre à la Seconde Inſtance; & comme <font style="font-variant:small-caps">Zacharie</font> demeure en attendant la pourſuite, <font style="font-variant:small-caps">Alexandre</font> s’avance le pied droit par delà le Diametre, au long du Quarré Inſcrit, duquel (eſtant à my-voye de l’Inſtance) il fait une petite pauſe, avant qu’il vienne à tresbucher, durant laquelle il ſouſleve l’eſpee obligée avec la ſienne vers le haut, & conſequemmēt, en plantant le pied droit eſlevé à la ſećtion de la traverſante interieure Q N, il la tranſporte à main gauche, de ſorte qu’elle reviēt juſtemēt au deſſus du Diametre en droite ligne, où il l’aſſujettit d’un Poids vif au N.1. avec ſon N.2. la pointe un peu aſcendante, & le bras deſcentāt avec la garde, dont il ſe garentit & couvre la partie inferieure du corps, pour n’y eſtre touché, ſelon la repreſentation de leurs figures, & des eſpees qui ſont marquées ſur le plain du Cercle.
 +
 
 +
|- 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;"
 +
 
 +
|This follows from the preceeding. As Alexander has subjugated the previously obliged sword, as just described, Zachary leaves it hanging with a Deadweight degree of Force, with no feel. At which Alexander, who has percieved this from the contact, turns his right side forward, presenting his profile to his opponent, sets his feet on the ground, he disengages his sword from his opponent, and adopts the Direct Line posture, arm extended, his point exactly in front of his opponent’s face, so he is just ready to strike, as shown.
 +
 
 +
|Voicy une ſuite de l’operation precedente. Car ainſi qu’<font style="font-variant:small-caps">Alexandre</font> viēt d’aſſujettir l’eſpee obligée, ſelon qu’il eſt dit dernierement; <font style="font-variant:small-caps">Zacharie</font> la laiſſe decheoir morte ſans nul ſentiment; ſur quoy <font style="font-variant:small-caps">Alexandre</font>, qui l’apperçoit par l’attouchement, ſe tourne au meſme temps le coſté droit du corps devant en pourfil à pieds fermes, ſans bouger, quittant enſemblement l’eſpee contraire, & mettant la pointe de la ſienne en droite ligne, avec le bras eſtendu & le corps tout droit, devant le viſage de ſa partie adverſe, uſant de courtoiſie, combien qu’il ne tienne qu’à luy d’en faire l’execution; commes les figures monſtrent.
 +
 
 +
|- 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 had moved his opponent’s sword aside as in Circle No 1. Zachary allows it to overbalance, now with a Slight degree of Force. At this, Alexander enters with his right foot, leans forward and strikes his opponent with a reverse blow to the left side of the head.''
 +
 
 +
|''Alexandre ayant tranſporté l’eſpee Contraire, comme au Cercle N.1, Zacharie la laiſſe tresbucher maintenant au poids de Sentiment; ſur quoy Alexandre s’avance & entre avec le pied droit, frappant l’Adverſaire d’un coup de revers avec le corps panché en avant, au coſté gauche de la teſte.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Alexander forced his opponent’s blade over and subjugated it, as shown in Circle No `1. This time Zachary weakens this motion by resisting with a Slight degree of Force, to some small advantage. At this, Alexander enters in with his right foot on the Diameter, between the Inside and Outside Squares near the letter T, whereon he moves his right side forward and diagonally in front of his opponent while he gives a little shove down to force his opponent’s blade down, which allows him to detach. He bends his right knee, leans forward onto hit, draws his left foot up behind, turning his left side forward slightly, and puts his blade exactly by the left* side of his opponent’s head, edge turned to make a reverse cut. As is shown by the figures.
 +
*He has confused left and right in this description.
 +
 
 +
|Ainſi qu’<font style="font-variant:small-caps">Alexandre</font> a transporté & ſujetté l’eſpee Contraire, comme il eſt repreſenté au Cercle N.1. preſentemēt <font style="font-variant:small-caps">Zacharie</font> l’affoiblit en Poids de Sentiment, ou un peu d’avantage; ſur quoy <font style="font-variant:small-caps">Alexandre</font> pourſuivant à travailler, entre avec le pied droit par delà le Diametre, entre les deux Quarrez interieure & exterieur un peu en deçà la lettre T, dont il avance le coſté droit au dedans de l’angle & des perpendiculaires de l’eſpee ennemie, à laquelle il donne enſemble un petit heurt avec la ſienne vers le bas, de façon qu’il luy amortit le Sentiment, & par meſme voye il la quitte, en pliant le genou, ſur lequel il ſe panche le corps en devant, & entraine le pied gauche en ſuite, en avançant un peu le coſté gauche, & enſemblement mettant ſa lame en courtoiſie en forme de revers au coſté droit de la teſte Contraire; ſelon qu’il eſt repreſenté aux figures.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Note that Alexander must keep his left foot held back if he wishes to moderate or stop his blow. But if he wishes to make the blow powerful, he must spin and take a large step with his left foot behind the other, then again advance another step with his right foot and again spin with his left, during which time, he brings his sword around in a circle overhead, stiking with cut to the back of his opponent’s head, partly as shown in the two following Circles, Nos 4 & 5.
 +
 
 +
|Notez qu’<font style="font-variant:small-caps">Alexandre</font> doit tenir le pied gauche en arriere, s’il veut moderer & arreſter le coup; mais s’il en veut faire l’execution par rigueur, qu’il doit volter & jetter en avant un grand pas derriere l’autre, & puis avancer encor une autrefois un pas avec le pied droit, & volter derechef avec le pied gauche, durāt lequel tēps il conduira l’eſpee à l’aide du poignet par deſſus ſa teſte, en tirant un coup de taille au derriere de la teſte de l’Adverſaire, en partie ſelon qu’il eſt repreſenté par les deux ſuyvants Cercles N.4. & 5.
 +
 
 +
|- 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;"
 +
 
 +
|''In this current Circle, Zachary holds his blade with an Alive degree of Force. Against which Alexander moves forward with his right foot from the Third Instance, giving a push down with his sword, and then moves it overhead, and, while he spins his left foot, gives a cut to the left side of his opponent’s head.''
 +
 
 +
|''En ce Cercle preſent la lame de Zacharie tient le poids vif; ſur quoy Alexandre s’avance avec le pied droit de la Troiſieme Inſtance, en luy donnant un pouſſement avec la ſienne vers le bas, & conſequemment la conduit par deſſus ſa teſte, en tirant avec la volte du pied gauche, un coup de taille au coſté gauche de la teſte Contraire.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|The subjugation of the opponent’s sword has proceeded according to Circle No 1, and Zachary is holding it with an Alive Degree of Force. Alexander advances, and enters in with his right foot near the Oblique Diameter on the Outside Square at the letter T, giving a small shove with his sword so that it forces it down and confuses his opponent’s sense of feel, and allows him to bring his sword around overhead, and give a cut (as he spins his left foot outside the Circle and forwards) to the left side of his opponent’s head. As we can see in the figure.
 +
 
 +
|L’aſſujettiſſement de l’eſpee Contraire, ayant precedé en conformité du Cercle N.1. & <font style="font-variant:small-caps">Zacharie</font> la tenant en Poids vif; <font style="font-variant:small-caps">Alexandre</font> s’avance & entre là deſſus avec le pied droit par delà le Diametre ſur le Quarré Circonſcrit à la lettre T, en luy donnant un petit branſle avec la ſienne, de ſorte qu’il l’abaiſſe en deſgraduant & luy trouble le Sentiment, au moyen dequoy il va conduire la ſienne par deſſus ſa teſte, en tirant un coup de taille (durant qu’il avance & volte le pied gauche dehors du Cercle) au coſté gauche de la teſte du Contraire; comme on voit à la figure.
 +
 
 +
|- 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;"
 +
 
 +
|Continuing his action, Alexander makes an easy move forwards, with a large step further on, then spinning his left foot around behind, as he again brings his sword overhead, to strike his opponent with a cut to the back of the head. According to the image shown.
 +
 
 +
|Continuant l’operation precedente, <font style="font-variant:small-caps">Alexandre</font> s’avance incontinent un grand pas plus outre à l’envers, conduiſant derechef ſon eſpee par deſſus ſa teſte, en voltant le pied gauche, pour frapper derechef en ce meſme temps de la taille au derriere de la teſte du Contraire; ſelon la repreſentation des figures.
 +
 
 +
|- 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;"
 +
 
 +
|''The subjugated blade here is held with a Strong or Stronger Degree of Force. Against which Alexander has moved forward and entered from the Third Instance on the Diameter with his right foot, increasing his momentum to leap forward with his left foot beyond the Diameter. While this is still raised, he detaches his sword from his opponent’s and grabs the guard with his left hand as he sets his left foot down on the Inside Square. He raises his right foot and spins around while giving a reverse cut to his opponent’s head.''
 +
 
 +
|''L’Eſpee aſſujettie a tenu en ce preſent Cercle du poids fort ou plus-fort, ſur quoy Alexandre s’eſt un peu avancé & entré de la Troiſieme Inſtance devers le Diametre avec le pied droit, en prenant courſe pour ſauter en avant avec le pied gauche par deça le Diametre, lequel eſtant encor eſlevé, il quitte l’eſpee contraire, en luy prenant la garde avec la main gauche, à ce meſme temps abaiſſant le pied gauche enterre ſur le Quarré Inſcrit, il volte le pied droit par haut, en tirant un coup de revers au coſté droit de la teſte du contraire.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Here is another action which follows from Circle No 1, where Alexander subjugated his opponent’s sword, which resists his with a Strong or Stronger Degree of Force. Against this Alexander makes a small entrance, moving his right foot towards the Diameter along the Interior Transverse. He then lightly jumps further on, stepping with his left foot and turning his left side forwards, lifts his sword away from his opponent’s and grabs his opponent’s guard with his left hand, drawing it away so the sword points down and to his left. As he does this, with his wrist he brings his own sword around overhead. As he sets his left foot down where the Exterior Transverse crosses the Inside Square he raises his right foot to spin around with momentum while he delivers a reverse cut to the right side of his opponent’s head. As the illustration demonstrates.
 +
 
 +
|Voicy encor une autre operation, qui procede du Cercle N.1. où <font style="font-variant:small-caps">Alexandre</font> à fait l’aſſujettiſſement de l’eſpee Contraire; qui ſouſtient preſentemēt la ſienne avec Poids fort ou plus fort. Là deſſus <font style="font-variant:small-caps">Alexandre</font> fait une petite intrade, en avançant le pied droit devers le Diametre ſur la Traverſante interieure, dont il ſe ſouſleve en l’air & ſaute incontinent plus outre, en tournant le coſté & le pied gauche devant, enſemble quitte l’eſpee aſſujettie, & luy prend la garde avec ſa main gauche, la tirant vers le bas avec la pointe deſcendante à ſon coſté gauche, conduiſant enſemble ſon eſpee à la ronde par deſſus ſa teſte à l’aide du poignet, pour planter le pied gauche au deçà le Diametre ſur le Quarré Inſcrit à l’entrecoupure de la traverſante exterieure, auquel temps il tire un coup de revers, (en voltant le pied droit par haut,) au coſté droit de la teſte du Contraire; ainſi qu’il eſt demonſtré par la figure.
 +
 
 +
|- 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 continues the preceeding action, moving forward and spinning his right foot with a large step outside and beyond the Circle, after which he raises his left foot in the air, straightens and leans a bit backwards, drawing his opponent’s captured guard and blade to his left side, holding his own low on his right side, with the tip down, near his adversary, and ready to wound without hesitation; as we can clearly see in the figure.
 +
 
 +
|<font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation precedente, en avançant & voltant le pied droit d’un grand pas dehors & au deçà le Cercle, ſur lequel, en eſlevant le pied gauche en l’air, il ſe dreſſe & panche un peu alenvers, en attirant la garde captive enſemble avec la lame à ſon coſté gauche, mettant la ſienne à ſon coſté droit avec le bras deſcendant, & la pointe baſſe, en preſence du contraire, & en eſtat de le pouvoir bleſſer ſans nulle reſiſtance; comme on le voit clairement à la figure.
 +
 
 +
|- 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;"
 +
 
 +
|''This derives again from Circle No 1 when the subjugates sword resists with a Very Strong Degree of Force. Against this Alexander, having previously stepped in with his right foot to the letter M, jumps with his left foot onto the Diameter at the letter Q, while seizing ahold of  his opponent’s guard, by leaning his body forward, and reaching over the crossed swords with his left hand.''
 +
 
 +
|''Voicy qui ſourd encores du meſme Cercle N.1. lors que l’eſpee aſſujettie uſe du poids tresfort; ſur quoy <font style="font-variant:small-caps">Alexandre</font>, ayant preallablement entré avec le pied droit à la lettre M, il ſaute du pied gauche au deçà le Diamettre à la lettre Q, faiſant prinſe de la garde contraire, avec le corps panché en avant, & la main gauche allant par deſſus les deux lames croiſées.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Following from the actions of Circle No 1 where Alexander has moved to the Third Instance and controlled and subjugated his opponent’s sword. Now Zachary increases the force of his resistance to a Very Strong Degree of Force. Alexander works against it by opposing and increasing his own, stepping with his right foot forward to the letter M, and from there, leading with his left foot and side, springs across the centre to the letter Q on the Oblique Diameter.  With his body leaning forward, he reaches over the crossed swords and, as he raises his right foot and begins to spin around behind, he grabs his opponent’s guard with his left hand. As shown by the figures.
 +
 
 +
|En ſuite de l’operation du Cercle N.1. où <font style="font-variant:small-caps">Alexandre</font> à fait le tranſport & aſſujettiſſement de l’eſpee contraire à la Troiſieme Inſtance, & que <font style="font-variant:small-caps">Zacharie</font> en augmente preſentement la force en Poids tres-fort; <font style="font-variant:small-caps">Alexandre</font> travaille alencontre, en y oppoſant & moderant à l’advenant le ſien, marche avec le pied droit à la lettre M, duquel il ſaute en haut, avec le coſté & le pied gauche devant, pour planter au deçà le Diametre à la lettre Q, & enſemble avec le corps panché ſur le devant, & le pied droit faiſant la volte par haut en derriere, il avance la main gauche par deſſus les deux lames croiſées & accouplées, de façon qu’il fait en ce meſme temps prinſe de la garde contraire; en conformité des figures.
 +
 
 +
|- 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;"
 +
 
 +
|This follows from the preceeding, where Alexander spins his raised right foot around behind his other, so that his toes land on the Outside Square at the letter T. He shifts his body onto it, lifts his left foot into the air, while pushing his opponent’s guard and arm away from him with his left hand, setting his tip under the right arm. As is represented by the figures.
 +
 
 +
|C’eſt icy la continuation de la precedente, pourſuivie par <font style="font-variant:small-caps">Alexandre</font> en voltant le pied droit eſlevé derriere l’autre, de ſorte que les orteils en viennent à toucher le Quarre circonſcrit à la lettre T, ſe dreſſant le corps deſſus, en eſlevant le pied gauche en l’air, & enſemble pouſſant au loing de ſoy en avant avec ſa main gauche la garde & le bras du Contraire, luy aſſenant ſa pointe deſſous le bras au coſté droit; ainſi qu’il eſt repreſenté par les figures.
 +
 
 +
|- 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 is the final follow-on, and finish done by Alexander, by closing with his adversary with his raised left foot. He shifts his weight onto it and leans his body forward, pushing his thrust with full force through his opponent’s body, so that he easily forces him backwards to the ground. In accordance with the figures.
 +
 
 +
|Voicy la derniere continuation, avec l’execution, faite par <font style="font-variant:small-caps">Alexandre</font> en accoſtant ſa partie adverſe du pied gauche qui eſtoit eſlevé, ſur lequel il ſe charge & ſe panche du corps en avāt, pouſſant l’eſtocade precedente à pleine force par le coſté à travers du corps du contraire, de ſorte qu’il ne tient qu’à luy de le reverſer par terre; en conformité des figures.
 +
 
 +
|- 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;"
 +
 
 +
|''Alexander has obliged his opponent’s blade along the Diameter at the Second Instance. Since he finds it resisting with an Alive Degree of Force, he brings it over and subjugates it to the inside on the left hand side, stepping with his left foot up to the letter'' R.
 +
 
 +
|''Alexandre ayant obligé l’eſpee Contraire par delà le Diametre à la Seconde Inſtance; comme il la retrouve en Poids vif, il la tranſporte & aſſujettit en dedans à main gauche, en marchant du pied gauche à la lettre'' R.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This proceeds from Circle No 2 from the preceeding Plate (XIX). Once having obliged his opponent’s sword (following the aforesaid instructions of the previous Plate) along the Diameter, at the Second Instance, and as his opponent is holding his blade against his with an Alive Degree of Force, Alexander then brings it over in a circular motion to the other side, moving his body forwards, stepping into the angle of his opponent’s blade with his left foot, which was mid-way towards the Second Instance, then, just before he was at the point of balance, he paused, changed direction and set it down at the letter R. At the same time, he subjugates to his left his opponent’s sword, No 2 to No 1, according to the figures.
 +
 
 +
|C’eſt de la Table Precedente Cercle N.2. que la preſente operation procede. Car ayant obligé l’eſpee Contraire (ſelon leſdites inſtrućtions de la Table precedente) par delà le Diametre à la Seconde Inſtance; & que l’Adverſaire la tient en Poids Vif; <font style="font-variant:small-caps">Alexandre</font> la tranſporte circulairement à l’autre coſté, en avançant le corps, & entrant du pied gauche, duquel, eſtant à my-voye de l’Inſtance, avant qu’il tresbuche, il fait un peu de pauſe, conſequemment avançant le coſté gauche au dedans des perpendiculaires de l’eſpee Contraire, & le plante ſur le Diametre à la lettre R, aſſujettiſſant enſemblement à ſon coſté gauche l’eſpee Contraire du N.2. à N.1 ſelon la repreſentation des figures.
 +
 
 +
|- 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;"
 +
 
 +
|''Against the preceeding action, Zachary withdraws his arm with his sword backwards, to wound Alexander in his left side, which is turned forward. Alexander prevents this this, and parries, setting his left foot down at the Centre, his right side turned forwards, with his arm lowered and point rising to his left beside him.''
 +
 
 +
|''Contre l’operation precedente Zacharie ſe retier le bras avec l’eſpee en arriere, faiſant intrade avec le pied droit, pour bleſſer l’Adverſaire au coſté gauche qui s’avance, Alexandre le previent & pare, en plantant le pied gauche ſur le Centre, le coſté droit tourné en devant, avec le bras deſcendant, & la pointe montant à coſté de luy.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This happens while Alexander moves his left foot and side forward, carrying the obliged sword over to subjugate it to the left hand side, as shown in the previous Circle. As he does, Zachary suddenly shortens his arm and draws his sword backwards, as he steps with his right foot onto the letter R on the Diameter, in order to wound his adversary in his left side, which is turned towards him. Alexander, feeling this, turns his right side forward, draws his left side away, and sets his left foot down at the centre of the Circle, bends his kneed and leans forward onto it, inside the lines of his opponent’s sword. Thus he closes off  his left outside by placing his sword in between, his arm and guard lowered, point raised, holding the blades together with his 3rd Span against the 4th Span of his opponent, and in this way prevents him from giving his thrust. As is shown by the figures.
 +
 
 +
|Durant qu’<font style="font-variant:small-caps">Alexandre</font> s’avance le coſté gauche, avec le pied du meſme, en tranſportant l’eſpee obligée, pour l’aſſujettir à main gauche, en conformité du Cercle precedente; à ce meſme temps <font style="font-variant:small-caps">Zacharie</font> retire tout ſoudain l’eſpee en arriere, accourciſſant le bras, & marchant enſemble avec le pied droit en avant ſur le Diametre lettre R, pour bleſſer l’Adversaire de ſa pointe, au coſté gauche qui s’avance; <font style="font-variant:small-caps">Alexandre</font>, qui l’apperçoit par le Sentiment, ſe tourne incontinent le coſté droit en devant, deſtournant le coſté gauche, & plantant le meſme pied ſur le Centre du Cercle, ſur lequel il ſe panche, enpliant le genou, dedans les perpendiculaires de l’Eſpee Contraire; laquelle il forclot à ſon coſté gauche en dehors, par l’entremiſe de la ſienne, le bras avec la garde abaiſſé, & la pointe hauſſée, tenant les lames accouplées de ſon N.3. le N.4. du Contraire, luy empeſchant en ceſte ſorte de venir à l’execution de ſon eſtocade; comme il eſt demonſtré par les figures.
 +
 
 +
|- 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 continues to follow his action before his opponent can complete his movement, by stepping suddenly in with his right foot, along the Diameter at the Inside Square on the letter S, bending his knee, leaning his body forward onto it, and his right hand in no way lowered, but held against his body. As the figures demonstrate.
 +
 
 +
|<font style="font-variant:small-caps">Alexandre</font> continue icy à pourſuivre l’operation precedente, avant que le mouvement du Contraire ſoit achevé, en marchant ſoudain avec le pied droit dedans, par deçà le Diametre ſur le Quarré Inſcrit lettre S, avec pliement du genou, le corps panché deſſus en avant, & le bras droit aucunement abaiſſé contre le corps; ainſi que les figures demonſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|Here we have the last follow-on, added to the last without any pause between them whatsoever, in such a way that Alexander suddenly turns his body to the left on his stopped feet, without moving them, disengaging from his opponent’s blade, by means of a push of his own blade right backwards with one hand extended out, bringing his tip down over his left arm, holding his blade against his chest, and coupled with the left side of his body leaning forward, he hits with the point on his ennemy’s right side. According to the figures.
 +
 
 +
|Icy vous voyez la derniere pourſuite annexée à la precedente ſans nulle pauſe entremoyenne, de façon qu’<font style="font-variant:small-caps">Alexandre</font> pourſuit tout ſoudain à tourner le corps à main gauche ſur les pied arreſtez, ſans qu’ils bougent de leur place, quittant enſemblement la lame Contraire, par le moyen qu’il jette la ſienne à la faveur du ſeul poignet, avec le bras eſtendu tout droit en arriere, de haut à bas ſur le bras gauche, la ſerrant contre ſa poitrine, & enſemble avec le coſté gauche du corps panché en avant, il donne l’atteinte de pointe au coſté droit de l’Ennemy; ſuivant la repreſentation des figures.
 +
 
 +
|- 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;"
 +
 
 +
|Finally, here we see the final move which Alexander makes without any pause at all, stepping with his right foot onto the letter X on the Circumference. He shifts his weight onto it and leans forward on bent knee, bringing the previous thrust to full force and pushing forcefully through his opponent’s body, enough to force him to fall backwards onto the ground. As we can see by the figures.
 +
 
 +
|Finalement voicy l’execution, qu’<font style="font-variant:small-caps">Alexandre</font> pourſuit tout d’un meſme train ſans nul arreſte quelconque, en marchant ſur la Circonference lettre X, ſur lequel il ſe charge & panche en devant, avec le genou plié, ravivant l’eſtocade precedent à pleine force, & la puſſant en rigueur à travers du corps de l’Adverſaire, de ſorte qu’il a le pouvoir de le jetter meſme à l’envers par terre; comme il ſe peut voir aux figures.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|So these movements, which Alexander performs one after the other such that that they form a single action, must be done so quickly and smoothly that one’s opponent has no time at all to do anything to counter them.
 +
 
 +
|Or ces precedentes operations, qu’<font style="font-variant:small-caps">Alexandre</font> vient de pratiquer toutes en ſuite juſqu’à l’execution, il faut qu’elles s’entreſuivent ſi viſte & ſi continuellement, qu’on ne donne point de loiſir a l’Adverſaire de faire aucune autre choſe alencontre.
 +
 
 +
|-
 +
|Colspan="2"|
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Several who wish to catch us out, might think they have come across the perfect opportunity in this Plate XX, because, when they look at the figures they might believe that these are but contrived situations, which resemble more a theatrical display than the reality of a fight, and that the persons here are shown with such calm demeanour that it would be impossible to perform other than in this way, that is, with delicate precision, as a form of rehearsed spectacle, by mutually agreement to allow each other to approach so close beside and to such a favourable position as could only exist in the imagination. That is, to have a fight that went exactly according to one’s wishes. There their objection in fact has a fault in the point they would make. For those who are unknowing usually mistake the circumstances for the thing itself. One might tell them, in response, that if they could have a fight according to their wishes, then it would be enough to learn how to strike, and maybe two or three other lessons, which would serve in all cases, without any concern for the rest of it. But as that is an impossibility, and that the true Practitioner must be equipped to face a great number of circumstances, so variable, and so sudden, that it goes without saying that the scholar must first learn a great deal. We have not neglected to set these lessons here in proper order, each following those previous ones which are most similar. But even if these lessons are not useful in this particular order, it does not follow they will never be used at all. If those who object say that it is only by chance or by improvisation that these situations will come about, I say there is even more reason to equip oneself and to prepare for them, because on cannot expect to have a fight that goes only according to ones wishes. Any yet, occasions such as these are not as unfamiliar or rare as some might think. They are quite ordinary and even occur as often as any other, when one is passing another. Because then one always finds oneself beside and close to the opponent and in the same, or similar situations as those represented here. To the degree they do not understand the usefulness of our principles because their perception is coloured by others that they perceive as typical, the fault is still their own, that they do not adopt what they do not seek to understand. Because, as for the figures which, as they feel, do not display sufficiently angry faces or wide actions, it would be folly to give such moves more action than they require. To the degree they would wish to do that, it would mean there would be no point to choosing one posture or another. The way it is, is the most safe, to set the persons in the direct line posture, which is the most natural posture of all, and from which one must alway approach as close as is possible. Thus they are obliged to admit, despite themselves, that anyone who can perform these actions with ease, as our figures show, will be just as at ease using them in any other situation in which they find themselves, to the degree it is appropriate. The second reason, which is also the principal one, is that that the examination of these precepts should be done calmly, especially if used when the situation is otherwise. Just as performed in all the branches of knowledge, even those which seem to have no accordance in the world with abodes of the Muses. Behold the doings of war: can we not say the actions, which are horribly chaotic and tumultuous, yet can be described calmly? The finest arts of lively dances and of music, both vocal and instrumental, do they not require such an alacrity and grace in practice, that it would be an extreme folly for one just learning to try to imitate? The same is with other disciplines. Habit cannot be acquired without a solid understanding of the precepts, which cannot be learned without careful stucy, nor yet study without patience, nor patience without much time, effort, and consideration. And we cannot help but lay blame to a great degree, on popular practices, which are done in such a way that encourage the practice of wild abandon, with no consideration at all for ultimate goals, except to become used to working very quickly, in the hope of somehow finding favorable circumstances, as if there were nothing more to consider having seen a lesson two or three times, as if one chould overcome the Art through brute force. And in fact, they arrive sooner at the end of their art than we do of ours, but with much less secure a foundation. Also our precise consideration cannot be compatible with such precipitous haste. In a word, that which is most important of all, as our figures appear calm and poised, so the effect of our Art is to create such grace in those who practice, in place of more common practices which train others to be crude.
 +
 
 +
|Pluſieurs qui nous voudront reprendre, en penſeront avoir rencontré en ce Tableau XX. la plus juſte occaſion, qu’ils ſauroyent pretendre: par ce qu’en examinant les figures, il leur ſera peut eſtre advis, que ce ne ſont que des occaſions controuvées, qui reſſemblent pluſtoſt à la Parade d’une pompeuſe magnificance, qu’à la verité d’une bataille, & que les perſonnes y tiennent une gravité ſi modeſte, qu’il ſeroit impoſſible de la pratiquer autrement qu’à noſtre mode, c’eſt a dire en courtoiſie, en forme de ſpećtacle, & par convenance mutuelle de laiſſer venir l’un l’autre ſi avant, & à coſté, & avec tel avantage qui ne conſiſte qu’en imagination. En ſomme que ce ſeroyent des belles choſes, ſi on pouvoit avoir la bataille à ſa fantaſie. Voilà ce qu’on nous objećtera ſans point de faute. Car les ignorants ſe prennent ordinairement pluſtoſt aux circonſtances, qu’aux choſes meſmes. Diſons leur donc pour reſponſe, que ſi on pouvoit avoir la bataille à ſa fantaſie, que ce ſeroit aſſez de bien porter la botte, & puis encor deux ou trois petites leçons, qu’on ſeroit ſervir à touts propos, ſans ſe ſoucier du reſte. Mais d’autant que cela eſt impoſsible, & que la vraye Pratique doit eſtre munie contre un ſi grand nombre d’occurrences, ſi variables & ſi ſoudaines, qu’il eſt ſans contredit neceſſaire que l’Eſcholier ait au paravant eſtudié une bonne partie; nous n’avons pas voulu manquer à les mettre icy en leur ordre; & ſelon la ſuite des autres operations, avec les quelles elles ont plus de ſimilitude. Or ſi elles ne viennent pas en uſage en ceſte meſme ſorte, il ne s’enſuit pas pourtant qu’elles n’y viennent jamais? Et s’ils diſent que c’eſt par fortune ou à l’improviſte qu’on s’y retrouve, je diray qu’il y a d’autant plus de raiſon de s'armer & preparer alencontre, pource qu’il ne faut pas attendre d’avoir la bataille à ſa fantaſie. Et cependant, que ces occaſions ne ſont nullement ſi eſtranges ny rares comme ils penſent; car elles ſont fort ordinaires, & meſmes il ne s’en preſente quaſi nulles autres, quand ce vient à faire des paſſades. Car alors on ſe retrouve touſiours à coſté, fort pres de l’Adverſaire, & en ces meſmes ou ſemblables ſituations qui ſont icy repreſentées. De ſorte que s’ils ne comprennent pas l’utilité de nos preceptes pource qu’ils ſont agencez de quelques autres couleurs, que de celles qui leur ſemblent ordinaires, qu’ils s’en attribuent la faute à eux meſmes, ſans reprendre ce qu’ils n’ont pas comprins. Car quant aux figures qui ne font pas aſſez de mauvaiſes mines, comme il leur ſemble, ce ſeroit folie de leur attribuer plus de mouvements que les operations ne requierent. Et combien qu’on le vouluſt ainſi faire, toutesfois il n’y auroit point de raiſon de choiſir pluſtoſt l’une poſture que l’autre. De maniere que c’a eſté le plus ſeur de mettre les perſonnes en poſture de la droite ligne qui eſt la plus naturelle de toutes, & de laquelle on ſe doit touſiours approcher le plus qu’il eſt poſſible. Auſſi ſont ils contraints de confeſſer, malgré qu’ils en ayent, que celuy qui ſaura pratiquer ces operations avec tant de facilité, que nos figures demonſtrent, auſſi en fera il le meſme en quelque autre ſituation qu’il ſe retrouve, moyennant qu’elle ſoit propre. La ſeconde raiſon, qui eſt auſſi la principale, c’eſt que l’examen des preceptes doit eſtre modeſte, encores que l’uſage en fuſt autre. Comme il ſe pratique en toutes les Sciences, meſme en celles qui ne ſemblent avoir nulle accoinſtance du Monde au repos des Muſes. Voyez le fait de la guerre, Les aćtions, combien en ſont elles horribles & tumultueuſes, & cependant les inſtrućtions combien paiſibles? L’art de ſauter danſer & la Muſique Vocale & inſtrumentalle, ne requierent ils pas une ſi grande promptitude & viſteſſe en la pratique, que ce ſeroit une folie extreme de la vouloir imiter au commencement de l’apprentiſſage? Le ſemblable en eſt il auſsi des autres diſciplines. L’habitude ne ſe peut acquerir ſans une ſolide cognoiſſance des preceptes, qui ne peut eſte ſans examen, ny l’examen ſans patience, ny la patience ſans temps, ſans induſtrie, ſans modeſtie. Et c’eſte ce que nous ne pouvons laiſſer de blaſmer grandement en l’Exercise vulgaire, qui eſt façonné de telle ſorte, qu’on s’y adonne tout incontinent à la pratique, ſans nulle conſideration ulterieure, ſinon de s’accouſtumer à travailler fort viſte, en eſperance de rencontrer aucunesfois les occaſions favorables, comme s’il n’y avoit rien à conſiderer d’avantage, apres qu’on a veu monſtrer une leçon deux ou trois fois, comme s’il faloit emporter l’Art par violence. Et de fait ils arrivent pluſtoſt à leur pratique, que nous à la noſte, mais c’eſt avec moins de fondement. Auſſi noſtre conſideration ſi exaćte ne peut compatir avec une haſtivité ſi preciptée. Et pour dire en un mot ce qui importe plus que tout le reſte, comme nos figures ſe demonſtrent paiſible & modeſtes, auſſi l’effet de noſtre Art eſt de rendre telles les perſonnes qui s’y adonnent, au lieu que l’Exercice Vulgaire les rend plus farouches par l’accouſtumance du contraire.
 +
 
 +
|}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Book 1 - Tableau / Plate XXI - Direct Attacks (Actions of Primary Intention)
 +
| width = 60em
 +
}}
 +
{| class="floated master"
 +
 
 +
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 +
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 +
 
 +
|-
 +
 
 +
|Colspan="2"|[[file:Thibault L1 Tab 21.jpg|600px]]
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 +
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 +
 
 +
|EXPLANATION OF THE ACTIONS IN THE TWENTY-FIRST PLATE
 +
 
 +
|DECLARATION DES OPERATIONS DV TABLEAV VINGT ET VNIEME
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|From here on, we shall discuss Strikes of Primary Intent, which are more aggressive than the others, and which are closer in nature to the older style of giving a hit. Not because they are founded on other axioms, but because the timing is faster, and they are performed with larger motions. A style, if I am not mistaken, more appealing and satisfyingto the common fighter than the preceeding sequences of moves, which are slower, because they are done in a more reserved, deliberate manner. No doubt they would rather choose to learn these moves before the others, if they could, to mix a few of our precepts into their own lessons or contrivances. They delude themselves, and not just a little bit, if they value these lessons above the earlier ones. They might scramble the order of lessons, and try to learn these before those which must, of necessity, come first. But the following movements cannot give protection unless they are building upon a solid foundation of the preceeding exercises and actions. Since the timing of these is faster, the distance further, and the movements greater, so the sense of feel must be more finely developed to compensate and thereby succeed in making the approach and strike with a single motion. Therefore, before one can learn these, one must learn the others first, for if one cannot do the parts themselves well, that is, to subjugate a sword without necessarily hitting, then to hit, it will be even more difficult to learn these two things at the same time. Furthermore, since the term Primary Intent may perhaps appear to be strange to one who has not fully considered its implications, I must give a quick explanation that the Primary Intent is that goal which takes precedence before all others. Consequently the Strike of Primary Intent is that which comes directly at the enemy from the First Instance, without first trying to subjugate his blade. In the end, it seems to be the best description. If to you, dear reader, it seems otherwise, then I beg of you to take a moment to consider the thing, not the word.
 +
 
 +
|Voicy que nous irons parler doresnavant des coups de Premiere Intention, qui ſont plus furieux en apparence, que les autres, & s’approchent de plus pres à la maniere ancienne de porter la botte: non pas qu’ils ſoyent fondez ſur autres axiomes, mais que les temps en ſont plus viſtes, & qu’ils ſe pratiquent en des plus grandes Meſures. De maniere que les vulgaires s’en tiendront pour mieux ſatisfaits, ſi je ne me trompe, que des operations precedentes; qui eſtoyent plus tardives, pource qu’elles travailloyent avec plus de reſerve. Auſſi ne faut il pas douter, qu’ils ne choiſiſſent pluſtoſt celles cy, que celles là, s’il leur vient en la fantaſie, de vouloir meſler un peu de nos preceptes parmy leurs propres leçons ou inventions. En quoy ils ne s’abuſeront pas gueres, d’eſtimer ces dernieres operations plus nobles; mais peut eſtre, en ce qu’ils voudront pervertir l’ordre, d’apprendre devant, ce qui doit aller neceſſairement derriere. Car ceſte derniere aſſeurance ne peut conſiſter ſans eſtre baſtie ſur le fondement de ces autres operations preallables; voir autant que les temps ſont icy plus viſtes, les meſures plus larges, & les mouvements plus grands, autant faut il en recompenſe que le Sentiment du Poids ſoit plus habile, pour gaigner l’approche avec le coup meſme. Et pourtant, s’ils veulent apprendre celles cy, qu’ils apprennent les autres devant. car s’il leur eſt impoſſible de faire une choſe ſeule et à part, aſſavoir d’aſſujettir l’eſpee, ſans donner l’atteinte, à plus forte raiſon leur ſera il difficile, de faire touts les deux enſemble. Au reſte, pource que le nom de Premiere Intention ſemblera paradventure eſtrange, à un qui ne l’aura pas conſideré de pres, il faut que je die un mot, que la Premiere Intention eſt celle, qui va devant toutes les autres; & par conſequent nous qualifions le coup de Premiere Intention, celuy qui eſt porté ſur l’Ennemy dés la Premiere Inſtance, ſans taſcher preallablement d’aſſujettir ſa lame. En fin le mot nous ſemble eſtre fort propre: & à vous Lećteur s’il vous ſemble autrement, ſoyez prié de vous arreſter pluſtoſt à conſiderer la choſe, que les paroles.
 +
 
 +
|- 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;"
 +
 
 +
|''Zachary takes his place on the Circle, presenting his sword to his opponent in the Straight Line posture. Thus Alexander sets himself opposite at the First Instance, throwing his sword out into the Straight Line posture, parallel to and beneath his opponent’s.''
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 +
|''Zacharie, s’eſtant planté premier ſur le Cercle, preſente l’eſpee à ſa partie avec le bras eſtendu, en droite ligne, afin qu’il travaille deſſus. Dont Alexandre ſe plante à l’oppoſite en Premiere Inſtance, jettant l’eſpee en ligne droite parallele deſſous le Contraire.''
 +
 
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|- style="font-family: times, serif; vertical-align:top;"
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 +
|Zachary has set himself in position in his Quadrangle, the toes of his right foot on the letter X on the Circumference, his heel on the line XY, and his left foot on the Pedal Line in front of the letter Z, and standing upright and erect, presents his sword with his arm extended, in the Straight Line posture, awaiting his enemy. Against this Alexander approaches, taking two or three paces according to the distance between them, so as to set his right foot on the ground in the Quadrangle opposite, his toes on the letter C along the Circumference, at the same time throwing out his sword from on high, that is, an obtuse angle, to rest in the same Straight Line posture, his blade parallel to and beneath his opponent’s, drawing his left foot behind, as if pulled forward by his sword, guided by the nerves and muscles of his arm, up to the Pedal Line before the letter A, as he turns the heel of his right foot onto the line CB, such that he presents himself, straight and standing properly at the First Instance, as is shown by the figures.
 +
 
 +
|Zacharie s’eſtant mis en poſture dedans ſon Quadrangle, les oretils du pied droit ſur la Circonference lettre X, le talon du meſme ſur la ligne XY, & le pied gauche ſur la ligne Pedale devant le Z, ſe tenant ainſi perpendiculairement droit & proportionné, preſente l’eſpee, d’un bras eſtendu, en droite ligne, pour attendre que l’Ennemy travaille. Sur quoy Alexandre l’approche de deux ou trois pas, ſelon la diſtance qui eſt entre deux, met le pied droit en terre au Quadrangle oppoſite, le bout d’iceluy ſur la Circonference lettre C, jettant au meſme tēps l’eſpee de haut, aſſavoir de l’angle obtus, en pareille droite ligne, parallele au deſſous de la contraire, avec le pied gauche trainé à la ſuite, qui eſt comme tiré en avant, à l’occaſion du jettement de l’eſpee par les nerfs & muſcles du corps, ſur la ligne Pedale devant la lettre A, comme le talon du pied droit en eſt tourné ſur la ligne CB, de façon qu’il revient ainſi tout droit & bien proportionné à la Premiere Inſtance; ainſi qu’il eſt repreſenté en leurs figures.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 2'''
 +
 
 +
|'''Cercle N.2.'''
 +
 
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|- style="font-family: times, serif; vertical-align:top;"
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 +
|''While Alexander has his foot raised, together with his arm, in order to perform the action of the following circle, Zachary enters in on his right foot aiming hit point towards his opponent’s face. At which Alexander advanes and enters in with already-raised foot, contacting the centre of his sword to his opponent’s blade, sliding the point of contact along, he thrusts through his head.''
 +
 
 +
|''Cependant qu’Alexandre eſleve le pied droit, enſemble le bras avec l’eſpee, pour faire l’operation du Cercle ſuivant; Zacharie entre avec le pied droit deſſus, tirant de pointe vers le viſage de ſa partie; à l’occaſion de quoy Alexandre s’avance & entre avec le meſme pied eſlevé, accouplant le Centre de ſon eſpee à la lame contraire, laquelle graduant, il luy donne une eſtocade à travers la teſte.''
 +
 
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|- style="font-family: times, serif; vertical-align:top;"
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 +
|So, as Alexander begins the sequence of actions which conclude with those shown in Circle No 3, at the instant he raises his right foot, together with his arm and sword, intending to cover his opponent’s blade from above, Zachary seizes the time and enters in with his right foot along the Diameter to the letter R, and, his arm extended, body leaning forward, knee bent, takes aim at his opponent’s face. At which Alexander, at the same time as his opponent’s point passes beside his hilt, catches it with the centre of his sword at the 3rd or 4th Span, and, sliding the point of contact up the blade as he steps in with his right foot near the Oblique Diameter to the second line crossing the Interior Collateral, his left foot following with a proportional step, thereby closing the direct line and forcefully wounding his opponent in the face and driving through his head. As we can see by their figures.
 +
 
 +
|Or ainſi qu’Alexandre ſe met en train de pourſuivre l’operation encommencée, pour venir à l’execution, qui eſt repreſentée au Cercle N.3. à l’inſtant qu’il eſleve le pied droit, enſemble avec le bras, & l’eſpee, pour couvrir la contraire par en haut avec la ſienne; Zacharie prend le temps, & entre avec le pied droit ſur le Diametre à la lettre R, en tirant avec le bras eſtendu, le corps panché en devant, & le genou plié, vers le viſage de ſa partie; ſur quoy Alexandre, au meſme temps que la pointe contraire luy vient paſſer à coſté de la garde, il la ſurprend avec le Centre de la ſienne au N.3. ou 4. en graduant avec l’intrade du pied droit, qui marche par delà le Diametre ſur la ſeconde entrecoupure de la Collaterale Interieure, le pied gauche le ſuivant proportionnellement, fermant ainſi la droite ligne, de ſorte qu’il le bleſſe en rigueur au viſage & luy paſſe la teſte; comme on le voit en leurs figures.
 +
 
 +
|- 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;"
 +
 
 +
|''This is the continuation from Circle No 1, where Alexander, having raised his right foot, his right arm and his sword, crosses the blades and sets his guard above his adversary’s sword-tip, and follows by entering with his raised foot, setting the centre of his blade under the other, slides the point of contact up the blade, and, as he draws his left foot up, aims his point directly at his opponent’s face.''
 +
 
 +
|''C’eſt icy la purſuite du Cercle N.1. ou Alexandre eslevant le pied droit, avec le bras & l’eſpee, emporte la garde, croiſant les lames, au deſſus de la pointe contraire, pourſuivant à entrer avec le pied eslevé, en mettant le centre de ſa lame deſſous l’autre, laquelle graduant, il dreſſe ſa pointe, moyennant la pourſuite du pied gauche, contre le viſage de la partie adverſe.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This action follows from Circle No 1, where the two set themselves at the First Instance, swords extended in the Straight Line posture, that of Alexander beneath his opponent’s sword. So, in this Circle, he will raise his right foot and, at the same time, his arm and sword, he turns the exterior branch of his crossguard upwards, and with his interior branch beneath his opponent’s blade, he makes contact just beyond the tip. He continues this action by sliding the point of contact up the blade, to the 1st or 2nd Span, catching it from beneath while he steps forward onto the Oblique Diameter at the letter I, directing the sword away to the side. He draws his left foot up behind with a circular motion to the letter G on the Inside Square, where he sets himself upright on it, his left side slightly more forward, and puts his sword-tip in front of his opponent’s face. According to the figures.
 +
 
 +
|Ceſte operation procede de la ſuite du Cercle N.1. ou ils ſont plantez touts deux en Premiere Inſtance, avec les eſpees en droite ligne, celle d’Alexandre parallele au deſſous de l’eſpee contraire. Or en ce preſent Cercle il va pourſuivre,  en eſlevant le pied droit en haut, enſemble avec le bras et l’eſpee, en mettant la branche interieure de la garde tout pres & deſſous la point ennemie, pour tourner la branche exterieure diagonalement vers le haut, & croiſer de la pointe un peu outre l’eſpee contraire, laquelle il pourſuit enſemble à graduer avec le bras eſtendu, en la ſurprennant par deſſous avec ſa branche interieure à 1. ou 2. Nombres, & entrer avec le pied droit eſlevé par deçà le Diametre lettre I, le pied gauche pourſuivant circulairement ſur le Quarré Inſcrit lettre G, où il ſe dreſſe le corps deſſus, avec le coſté gauche un peu avancé, luy mettant ſa pointe devant le viſage; ſelon la repreſentation des figures.
 +
 
 +
|- 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;"
 +
 
 +
|And here we come to the finish, which Alexander does immediately, with a step in with his right foot falling beyond the letter Q where the line intersects the Interior Collateral. He leans his body forward, knee bent, arm extended, sliding the point of contactd up the swords, so that the two guards connect forceably, bending his opponent’s arm back, forcing his tip to fly upwards as he wounds his opponent through the head. As the figures show.
 +
 
 +
|En voicy à ceſt heure l’execution, qu’Alexandre pratique tout en ſuite, avec l’intrade du pied droit tombant à terre outre la lettre Q ſur l’interſećtion de la Collaterale Interieure, ſur lequel il ſe panche le corps en devant, le bras eſtendu, graduant les eſpees, avec le genou plié, de façon que les deux gardes s’entretouchent à grande force, en bleſſant le Contraire au travers de la teſte, luy faiſant plier le bras avec la pointe de l’eſpee aſcendante; ainſi que les figures demonſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|''While Alexander is entering in with his right foot to perform the action of Circle No 3, Zachary parries the blow, shifting the swords to his left hand side. At the same time, Alexander sets his raised right foot down on the Diameter at the letter I, followed by bringing his left almost to the letter S, while setting the tip of his sword in front of his opponent’s face.''
 +
 
 +
|''Durant q’Alexandre entre avec le pied droit, poour faire l’operation precedente du Cercle N.3. Zacharie en pare le coup, en tranſportant les eſpees à main gauche; au meſme temps Alexandre plante le pied droit eslevé par deçà le Diametre à la lettre I, pourſuivant à mener le gauche quaſi à la lettre S, mettant enſemble la pointe de ſa lame devant le viſage du Contraire.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Beginning with the action from Circle No 1, while Alexander moves forward and enters with his right foot to perform the actions of Circle No 3, Zachary parries his blow, by increasing his force on the blade upwards, to move it over to his left side. Alexander resists against this, responding with equal force against him and setting his right foot at the letter I on the Diameter, while following along quickly with his left foot. While his foot is raised to move forward, he hesitates a moment, before falling forward. At this, Zachary again increases the force on his blade, so that he moves his opponent’s over to his left hand side. As his sword passes safely over Alexander’s head, Alexander turns the exterior branch of his crossguard downwards, with his arm bent so as turn the tip of his sword inside towards his opponent, whose blade falls against the strong part of his, as he turns his left side forward and sets his left foot down on the Oblique Diameter between the letters Q and S, and thereby sets the tip of his sword, with arm bent and held high, precisely in front of his opponent’s face. As the figures show.
 +
 
 +
|Apres l’operation du Cercle N.1. cependant qu’Alexandre s’avance & entre avec le pied droit, pour mettre en effet celle du precedent Cercle N.3. Zacharie luy va parer le coup, en augmentant le poids de ſa lame vers le haut, pour les tranſporter à main gauche; En quoy Alexandre luy reſiſte, y appliquant auſſi tant plus de poids à l’advenant, & plantant le pied droit par deçà le Diametre à la lettre I, en pourſuivant ſoudainement avec le pied gauche, duquel durant l’avancement qui va un peu par haut, il fait un peu de pauſe, avant qu’il tresbuche. Sur quoy Zacharie renforce derechef ſa lame, de façon qu’il tranſporte la Contraire à ſon coſté gauche. Or ainſi que ſon eſpee paſſe outre la teſte d’Alexandre, iceluy tourne la branche exterieure de ſa garde, avec le bras courbé, contremont, tournant enſemble la pointe de ſa lame en dedans devers le Contraire, de qui la lame s’en eſcoule au fort de la ſienne, plantant le pied gauche eſlevé, en avançant le coſté gauche ſur le Diametre oblique entre les deux lettre Q & S, ainſi luy met la pointe de ſa lame, avec bras courbé en haut, devant le viſage, en courtoiſie; ſelon qu’il eſt moſtré par les figures.
 +
 
 +
|- 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;"
 +
 
 +
|As Alexander has set his tip, with his arm bent, in front of his opponent’s face, in this Circle, Zachary turns it aside, and pushes down using a Very-Strong Degree of Force. Therefore, Alexander disengages from his opponent’s blade, twisting his wrist so as to move his blade backwards and down, so his opponent’s blade falls forward. Keeping his body upright, he then continues to bring his blade around and up, cutting at his opponent’s face as he moves his arm forward. He redirects his step with his right foot a bit to the side, in order to make a large step  outside the Circle, so that he moves further forward, behind his opponent’s back. This is not shown here for lack of space.
 +
 
 +
|Comme Alexandre a mis ſa pointe, avec le bras courbé; devant le viſage de ſa partie; en ce Cercle preſent Zacharie la deſtourne, & pouſſe vers le bas, en uſant de Poids tresfort: dont Alexandre quitte la lame contraire, en jettant avec l’aide du poignet & delivrant au meſme temps la ſienne de par deſſous en arriere, en ſorte que la contraire en tresbuche, lors il continue à ramener la ſienne en haut, frapant de taille, avec le corps droit, & le bras avancé, au viſage de ſa partie, en deſtournant la demarche du pied droit un peu à coſté, pour faire un grand pas par deçà & au dehors du Cercle, de façon qu’il ſe met plus avant, derriere le dos de l’Adverſaire, qu’il n’eſt icy repreſenté en la figure à faute de place.
 +
 
 +
|- 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;"
 +
 
 +
|To finish, Alexander completes his handiwork by extending his arm so the tip of his blade passes beyond his adversary’s head and down at an acute angle. Leaning his body forward onto his right foot firmly on the ground, he then suddenly spins around, bringing his left foot forward as he moves his sword up, across the front of his head, and onto his left arm, so that he grabs it and holds it against himself, as he draws the tip in close. He then immediately continues his step pointing his left foot towards his adversary, shifts his weight onto it and swings his right foot behind him. With his body leaning forward, he sets his point precisely against his opponent’s back, so that he could easily thrust through and throw him to the ground. This is easily seen by the figures.
 +
 
 +
|En fin Alexandre pourſuit la beſogne, en menant ſa pointe outre la teſte de l’Adverſaire, avec le bras eſtendu, deſcendant en angle aigu, le corps panché en avant ſur le pied droit planté à terre, ſur lequel il ſe volte ſoudain à main gauche, & ſe dreſſe, en eſlevant & conduiſant le pied gauche devers le corps, enſemble auſſi conduiſant l’eſpee de bas en haut par devant ſa teſte ſur ſon bras gauche, qu’il ſerre à ſon coſté, en raccourciſſant la pointe, & puis continue à marcher tout ſoudain avec le pied gauche eſlevé en avant devers le Contraire, luy mettant, avec le corps panché ſur le devant, la pointe en courtoiſie contre le dos, de façon qu’il eſt en luy de le tranſpercer, & le jetter par terre; comme il eſt aiſé à voir par les figures.
 +
 
 +
|- 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;"
 +
 
 +
|''While Alexander advances and enters in with his right foot, sliding the point of contact up the sword to hit the face, as in Circle No 3, in this Circle, Zachary parries him and forces his sword upwards. He uses such force, that Alexander allows this, as his right foot comes down at the letter I. He enters with the left foot setting it on the line between the letters V & W, and then hits Zachary’s right side.''
 +
 
 +
|''Durant qu’Alexandre s’avance & entre avec le pied droit, en graduant l’eſpee contraire, pour donner le coup au viſage, comme au Cercle N.3. Zacharie le pare & deſtourne en ce Cercle preſent vers le haut, en uſant de force, de maniere qu’Alexandre le laiſſe aller, plantant le pied droit eslevé à la lettre I, & faiſant l’intrade avec le gauche ſur la ligne entre les lettres V & W, en luy donnant l’atteinte au coſté droit.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This begins in Circle No 3, where Alexander advances and enters in with his right foot from the First Instance, sliding the point of contact up the sword to hit the face, but, as we see here, Zachary has parried his blow upwards, using considerable force. As Alexander lowers his right foot to the ground at the letter I, he disengages from his opponent’s sword, so that it continues to fly upwards, and then makes a sudden entrance with his left foot. He brings his sword down, pressing his arm firmly against his right side, and moving his left side forwards he steps a bit beside the letter V on the Diameter. There he leans forward, his knee bent, followed by drawing his right foot a bit after, while, at the same time, he wounds his Adversary on the right side beneath his raised arm. As the figures demonstrate.
 +
 
 +
|La preſente à ſon origine du Cercle N.3. où Alexandre s’avance & entre avec le pied droit de la Premiere Inſtance, en graduant l’eſpee contraire, pour le toucher au viſage, mais comme il eſt repreſenté en ce Cercle preſent, Zacharie luy pare le coup vers le haut, en uſant de force; ſui qu’Alexandre abaiſſe au meſme temps le pied droit en terre à la lettre I, en deſtachant l’eſpee contraire, de ſorte qu’elle s’enſuit vers le haut, continuant ſoudain à faire intrade avec le pied gauche, en affermiſſant le bras, avec l’eſpee deſcēdante, à ſon coſté gauche du corps, il plante le pied eſlevé un peu par deçà le Diametre lettre V, où il ſe pance en avant ſur le genou plié, pourſuivant du pied droit le trainant un peu apres, en bleſſant à meſme temps ſon Adverſaire deſſous le bras envolé, au coſté droit; ainſi que les figures demonſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|''This is very much like the previous action, except Zachary’s steps were before done after turning aside the thrust upwards, but now done downwards. Against which Alexander, again stepping in with his left foot, wounds him in the face from across the arm.''
 +
 
 +
|''Ceſte cy eſt du tout ſemblable à l’operation precedente, berſmis[unclear?] que la parade de Zacharie a eſté faite auparavant en deſtournant l’eſtocade en haut, & maintenant en bas; à l’occaſion de quoy Alexandre, faiſant derechef l’intrade avec le pied gauche, le bleſſe par deſſus le bras au viſage.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Here is yet another move, which also begins in Circle No 3, where Alexander advances and steps in with his right foot, sliding the point of contact up his opponent’s sword, and aiming a thrust towards his face. This is turned aside, in this Circle, by Zachary by forceably pushing his opponent’s sword with his own to the left side and downwards. Therefore, Alexander steps in with his left foot, bringing the blade back with a circular disengage underneath, pressing his hand against his right side, allowing his opponent’s sword to overbalance and drop. He sets his toes down a bit further along the Diameter at the letter V. He leans forward, bending his left knee and drawing his right foot along behind as he delivers a thrust, his point raised above his opponent’s arm, to his face. As rhe figures show.
 +
 
 +
|Enſuite encor une autre, qui a le meſme commencement du Cercle N.3. où Alexandre s’avance & entre avec le pied droit, en graduant l’eſpee contraire, & luy tirant une eſtocade devers le viſage; laquelle eſt deſtourné en ce preſent Cercle par Zacharie, en pouſſant l’eſpee contraire d’un grand effort avec la ſienne à main gauche vers le bas. Dont Alexandre faiſant l’intrade avec le pied gauche, rameine ſa lame par cavation de deſſous en deſſus, l’affermiſſant avec le bras à ſon coſté droite, en laiſſant eſchapper & tresbucher la contraire, ainſi il plante les orteils du pied eſlevé un peu en deçà le Diametre  lettre V, ſur lequel, tant par la pliure du meſme genou, comme par l’entrainement de l’autre pied, il ſe panche en devant, & enſemble porte un coup d’eſtocade, avec ſa pointe montante au deſſus du bras contraire, au viſage d’iceluy; ſelon qu’il eſt repreſenté par les figures.
 +
 
 +
|- 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;"
 +
 
 +
|''After both are holding their swords in the Straight Line posture at the First Instance, Alexander moves his right foot forward and raises his arm a little, such that he moves the exterior branch of his crossguard into contact with the 1st or 2nd Span of his opponents sword, which he then crosses over from above with his blade, then slides the point of contact along as he sets his foot down at the letter I on the Oblique Diameter. By leaning slightly backwards and drawing his left foot up in a circular path, he sets his point in front of his opponent’s eyes.''
 +
 
 +
|''En ſuite de ce que touts deux ont tenu les eſpees en droite ligne à la Premiere Inſtance; Alexandre avance le pied droit, & hauſſe enſemble un petit le bras, en ſorte qu’il en joint la branche exterieure de ſa garde par deſſous au 1. ou 2. Nombre de la lame contraire, laquelle croiſant & couvrant par en haut avec la ſienne, il va graduer, & planter le pied eſlevé par delà le Diametre à la lettre I, aſsiſté avec un panchement du corps à l’envers, de la pourſuite circulaire du pied gauche, en luy mettant la pointe devant les yeux.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|The two opponents have faced each other at the First Instance, swords in the Straight Line posture, with Alexander’s sword below his opponent, as in Circle No 1. Now, in this current Circle, he raises his right foot, together with his arm and the tip of his sword up. As he advances, he makes contact by raising the outside branch of his crossguard to catch his opponent’s sword at the 2nd Span, crossing his blade over his opponent’s as he slides the point of contact up the blade, keeping his arm extended. As he enters with his right foot to the letter I on the Oblique Diameter, by leaning back slightly (assisted by a circular motion of his left foot to the letter G and straightening his body on it) he presents the point of his sword precisely at his opponent’s face. As we can see represented by the figures.
 +
 
 +
|Les deux Contraires s’eſtants plantez preallablement en Premiere Inſtance, avec les eſpees en droite ligne; celle d’Alexandre paralelle au deſſous de la Contraire, comme au Cercle N.1. Maintenant en ce Cercle preſent, il eſleve le pied droit, avec le bras enſemble, & la pointe de ſon eſpee montante, de laquelle, en avançant le corps, il couvre & croiſe l’eſpee contraire, la ſurprenant en dehors du bras avec ſa branche exterieure au N.2. & graduant avec le bras eſtendu, de ſorte qu’en panchant le corps a lenvers, durant l’intrade du pied droit par delà le Diametre à la lettre I, il preſente enſemble la pointe de ſa lame (l’aſſiſtant de la pourſuite circulaire du pied gauche, pour mener ſur la lettre G, & dreſſer le corps deſſus) en courtoiſie droit au viſage de l’Adverſaire; comme on voit en la repreſentation des figures. [sic]
 +
 
 +
|- 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;"
 +
 
 +
|''Alexander again performs the same action, as he enters in with his right foot, followed by the left, sliding the point of contact up his opponent’s blade. Zachary raises his arm and sword slightly so that he protects his face. As he does this, Alexander, at the same time, lowers the point of his blade while he uses his guard underneath his opponent’s sword to push it up as he slides the point of contact up the blade, forced by his step in with his right foot, and thus wounding his opponent under his arm on his right side.''
 +
 
 +
|''Alexandre faiſant derechef la meſme operation, comme il fait l’intrade du pied droit, avec la pourſuite du gauche, en graduant l’eſpee de ſon Contraire; Zacharie leve un peu le bras avec l’eſpee, ſi qu’il encouvre le viſage; ſur quoy Alexandre au meſme temps abaſſe la pointe de ſa lame, en mettant enſemble le garde par deſſous contre l’eſpee de l’Adverſaire qui monte, laquelle il pourſuit à graduer ainſi par deſſous, moyennant l’intrade du pied droit, en bleſſant le contraire deſſous le meſme bras au coſté droit.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Here Alexander has already stepped in, with his right foot at the letter I along the Oblique Diameter and is already in the act of following with his left foot, as in the preceeding action. Against this, Zachary raises the level of his arm and sword slightly, parrying the strike, in such a way as to cover his face. So, Alexander, alerted by the feel of the blade, at the same time drops his point with a twist of the wrist, at the same time raising his guard up, which he presses upwards against his opponent’s sword, and continues to slide the point of contact up the sword, as he sets his left foot down at the letter G, and enters further with his right foot onto the Interior Collateral between L & Q. He shifts his weight onto his right foot and leans onto bent his knee as he thrusts his opponent underneath his raised arm on his right side, in accord with the figures.
 +
 
 +
|Voicy qu’Alexandre s’eſt avancé  preallablement en dedans, avec le pied droit par delà le Diametre à la lettre I, graduant l’eſpee, & eſtant deſia en aćte de pourſuivre aved le pied gauche, comme en l’operation precedente; ſur quoy Zacharie ſe hauſſe un petit à niveau le bras avec l’eſpee, & luy pare le coup, en ſorte que c’eſt tout qu’il ſe couvre le viſage. Or Alexandre en ayant l’advertiſſement du Sentiment, au meſme temps devalle ſa pointe à l’aide du poignet, s’eſleveant auſſi un peu le bras avec la garde, laquelle il accouple par deſſous à l’eſpee contraire, & continue à en faire la graduation, en mettant le pied gauche à la lettre G, & entrant du pied droit ſur la Collaterale Interieure entre les deux lettres L & Q, où il ſe va charger & pancher le corps deſſus avec le genou plié, en donnant enſemble une eſtocade au Contraire deſſous le meſme bras & l’eſpee qu’il hauſſe au coſté droit; en conformité des figures.
 +
 
 +
|- 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;"
 +
 
 +
|''As Alexander steps in with his right foot, sliding the contact up his opponent’s blade, as in Circle No 10, Zachary forces his sword outside to the right hand side. Then Alexander, at the same time, with a turn of the wrist, does a circular disengage, making contact again from the inside further down the blade, then sliding up, he sets his foot down at the letter I, to be followed by his left foot, and presents his point in front of his opponent’s face.''
 +
 
 +
|''Ainſi qu’Alexandre marche dedans avec le pied droit, en graduant l’eſpee contraire, comme au Cercle N.10. Zacharie luy tranſporte l’eſpee en dehors du bras à main droite. Dont Alexandre fait en ce meſme temps une cavation au contraire avec ſa lame à l’aide du poignet, l’accouplant en dedans du bras à moins de Nombres de l’eſpee contraire, laquelle graduant, il plante le pied eſlevé à la lettre I, pour pourſuivre avec le pied gauche, & luy preſenter ſa pointe devant le viſage.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|While Alexander steps with his right foot and enters in from the First Instance along the Diameter, sliding the opponent’s sword to the outside or the arm, intent on a first attack to the face, as has been described in Circle No 10, to parry to blow, Zachary uses a powerful force to redirect the sword to his right hand side. At this, Alexander, through his sense of feel, at the same time, with a turn of the wrist, makes a circular disengage underneath to the inside resuming contact at the 4th or 5th Span of his opponent’s blade. He then slides the contact up the blade as he moves forward to set his right foot down at the letter I and set the point with precision, as he brings his left foot up in a circular motion to the letter G, right in the face of his adversary, barely touching him. As the figures show.
 +
 
 +
|Durant qu’Alexandre marche & entre de la Premiere Inſtance avec le pied droit par delà le Diametre, graduant l’eſpee contraire par dehors le bras, pour le bleſſer de prime intention au viſage, comme il a eſté dit & repreſenté au Cercle N.10. Pour parer le coup, Zacharie luy deſtourne l’eſpee avec grand poids à main droite. Sur quoy Alexandre, qui l’appercoit par le Sentiment, fait au meſme temps avec ſa lame une cavation de dehors le bras en dedans, à l’aide du poignet, en accouplant le Centre au N.4. ou 5. de la Contraire, laquelle il gradue, en avançant le corps, pour planter le pied droit eſlevé à la lettre I, & preſenter ſa pointe en couroiſie (avec pourſuite cirulaire du pied gauche allant à la lettre G) droit au viſage de l’Averſaire ne tenant qu’à luy de le toucher; ſelong la repreſentation des figures.
 +
 
 +
|- 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;"
 +
 
 +
|So, as Zachary sees the point of his opponent’s blade up close to his face, as in the preceeding action, he turns it aside here, bringing his arm and sword upwards. At this, Alexander turns on his right foot so his left side is forward and at the same time bends his arm and lifts his sword up above his head, entering in with his left foot to the letter Q on the Oblique Diameter. He stands erect and again aims his sword, point downwards, precisely at his opponent’s face. As the figures demonstrate.
 +
 
 +
|Or ainſi que Zacharie voit la pointe contraire tout contre ſon viſage, commme l’operation precedente porte; il la deſtourne en ce Cercle preſent, en menant le bras avec l’eſpee vers la haut. A l’occaſion dequoy Alexandre ſe tourne au meſme temps ſur le pied droit le coſté gauche du corps en avant, & ſe hauſſe pareillement l’eſpee avec le bras courbé plus haut que la teſte, & entre enſemble avec le pied gauche au deçà le Diametre à la lettre Q, preſentant derechef avec le corps eſtendu ſa pointe deſcendante en coutoiſie droit au viſage de l’averſaire; ſelon qu’il eſt demonſtré par les figures.
 +
 
 +
|- 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;"
 +
 
 +
|Here is the follow-on, from when Alexander has presented his sword-tip in front of his opponent’s face, which he did with the previous action. Zachary parries this, by raising his sword higher. Alexander, taking note of this movement, disengages his blade, and brings it down to cut at his opponent’s lower thigh, by sliding his thumb around, underneath the inside branch of his crossguard, and, at the same time as he passes his right foot beyond the Circle, he makes the cut. As we can see from the figures.
 +
 
 +
|Voicy maintenant la ſuite, de ce qu’Alexandre a preſenté ſa pointe devant le viſage du Contraire, ſelong qu’il vient de faire en l’operation dernierement precedente: ce que Zacharie pare icy, en hauſſant le bras avec l’eſpee d’avantage. Alexandre prennant bonne garde à ce meſme mouvement quitte ſa lame, menant de la ſienne un coup de taille de haut à bas, en gliſſant le poulce deſſous ſa branche interieure, & paſſant avec le pied droit à ſon coſté en deçà au dehors du Cercle, luy donnant au meſme temps l’atteinte à los de la jambe droite; comme on le voit aux figures.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Once this action is completed, Alexander can use a modified version of Circle No 7, where he spins around on his right foot until he is facing his opponent. He swings his sword from just above the ground, up, around, and down over his head and drops it onto his left arm, which he then holds against his body, his other hand drawn back behind (to shorten the blade)* and thus, stepping with his left foot towards his opponent, he sets the point against his back. Having his body leaning forward, he has the power to throw his ennemy to the ground. This can be easily understood from the figures.
 +
*Ref: Plate I, images G & H
 +
 
 +
|Or ceſte operation achevée, Alexandre y pourra adjouſter pour ſuite dernier celle du Cercle N.7. où il ſe volte ſur le pied droit à main gauche, revenant droit avec le pied gauche eſlevé, delivrant & ramenant ſon eſpee à fleur de terre, laquelle il conduit à ce meſme temps tout droit en haut, & d’en haut de par deſſus ſa teſte la jette ſur ſon bras gauche, qu’il ſe ſerre contre le corps, ayant l’autre bras (pour tenir l’eſpee courte) eſtendu en arriere, ainſi marchant avec le pied gauche eſlevé devers ſa partie, il le touche de ſa pointe au dos, ayant le corps panché en avant, & le pouvoir de jetter l’Ennemy à terre; ſuivant ce qui eſt aiſé à comprendre par la repreſentation des figures.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Finally, revisiting the action of Circle No 5, wherein Alexander presented his point with precision before his opponent’s face with his arm bent, which Zachary parried by forcing the blades downwards, was followed by Circle No 6, where Alexander wounded him with a cut to the head coming over the arm and consequently finished with a thrust to his opponent’s back, as in Circle No 7.
 +
 
 +
|Au reſte comme l’operation du Cercle N.5. où Alexandre a preſenté ſa pointe en courtoiſie devant le viſage de ſa partie, avec le bras courbé, a eſté ſuivie du Cercle N.6. où Zacharie la pare en pouſſant les eſpees vers le bas, dont Alexandre l’a bleſſé de taille à la teſte par deſſus le bras, & conſequemment fini l’operation avec l’eſtocade, à preſenter au dos de l’Adverſaire, comme au Cercle N.7.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|It might also frequently happen that Zachary will choose to parry the attack in Circle No 5 upwards. To which Alexander will again bend his arm to present his sword the same way (as in Circle No 13) by bringing his arm up above the head, and consequently cut at his opponent’s right leg (as in Circle No 14) to continue the action as in Circle No 7.
 +
 
 +
|Auſſi adviendra il ſouvēt, que la dite operation du Cercle N.5. ſera parée de Zacharie vers le haut; dont Alexandre luy preſentera pareillement ſa courbe (comme au Cercle N.13) en menant le bras plus haut que ſa teſte, & conſequēment en tirera le coup de taille à la jambe droite de ſa partie, (comme au Cercle N.14.) pour continuer la ſuite de l’operation du Cercle N.7.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|In Circle No 12, we see something similar, as Alexander is shown there, setting the tip of his sword right in front of his adversary’s eyes. Zachary parries, bringing his arm and sword upwards (as shown in Circle No 13) and from there we see the actions in Circles Nos 14 & 7.
 +
 
 +
|Le ſemblable en eſt du Cercle N.12. Car ainſi qu’Alexandre eſt repreſenté la, preſentant ſa pointe en dedans du bras droit aux yeux de l'Adverſaire; ce que Zacharie pare, en menant le bras & l’eſpee vers le haut, (comme on le voit au Cercle N.13.) dequoy s’en ſont enſuivies les operations des Cercles N.14. & N.7.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|It sometimes happens that the adversary will step while forcing the blade down. Against this (as in Circle No 6) the response is a cut to the head, followed by the action of Circle No 7.
 +
 
 +
|Ainſi adviendra il quelques fois, que l’Adverſaire  fera là deſſus ſa parade, en pouſſant les lames vers le bas (comme au Cercle N.6.) ſur quoy ſera donné le coup de taille à la teſte; & en ſuite, l’operation du Cercle N.7.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|In conclusion, one must be prepared to use pell-mell any of these actions, one after another, according to the situation as it appears, without being constrained by the order of our examples, governed by judgement and circumstance.
 +
 
 +
|De ſorte qu’il faudra ſe ſervir peſle meſle de toutes ces operations, l’une parmy l’autre, ſelon que les occaſions s’en preſenteront, ſans s’attacher preciſement à l’ordre de nos examples qui doivent eſtre gouvernez par jugement, & ſelon les exigences.
 +
 
 +
|-
 +
|Colspan="2"|
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|So we see the advantage of our Art consists of, and is founded upon, small actions and subtle movements, by which on gains time and preserves one’s strength, until the opportunity comes to use them without restraint. Thus it is also necessary to be able to distinguish small preparatory moves of of one’s adversary to be able to form and execute our own plans against them. Thereby we shall find a great sense of comfort from the cautions which follow.
 +
 
 +
|Ainſi que l’advantage de noſtre Art conſiſte & eſt fondé totalement en de petites aćtions & en des mouvement ſubtils, par leſquels on gagne temps, & reſerve on ſes forces, juſqu’à tant qu’il ſe preſente occaſion de les employer avec entiere reſolution: auſſi & il neceſſaire de ſçavoir exaćtement diſtinguer les petits mouvments, & les preparations d’icuex de la partie adverſe, pour former à l’advenant les noſtres. En quoy nous trouverons un grand ſoulagement par les advertiſſements qui s’enſuivent.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|Firstly, what comes about frequently, is that an adversary, setting his feet in his Quadrangle, and presenting his sword in the Straight Line posture, sets his left foot (which should be exactly on the Pedal line) with his heel drawn back, outside his Quadrangle, so that his left shoulder is inclined so as to be behind him and appears on the outside of his profile. In this case, if Alexander presses against the blade from the outside, he will find the resistance on that side much stronger, but, in contrast, pressing against the inside will be that much weaker. From this we see that if he intends to peform any act of Primary Intent, he must work along the blade from the inside, moving his feet to the Oblique Diameter to his left, in order to hit his opponent.
 +
 
 +
|Premierement qu’il advient ſouventesfois, que la partie adverſe, en plantant les pieds dedans ſon Quadrangle, & preſentant l’eſpee en droite ligne, tient le pied gauche (qui devoit eſtre tout à plat ſur la ligne Pedale) du tout ou en partie au dehors de ſon Quadrangle, le talon d’iceluy reculé en arriere, de ſorte que l’eſpaule gauche en decline dehors de pourfil en arriere. Or en ceſte occaſion, ſi Alexandre pouſſe avec ſa lame en dehors du bras contre celle de l’Adverſaire, il la trouvera de ce coſté la plus forte; & en pouſſant alencontre en dedans, autant plus foible. Parquoy s’il entend faire là deſſus quelque operation de Premiere Intention, il doit travailler par le long de l’eſpee contraire en dedans, en portant les pieds par deçà le Diametre à main gauche, pour le bleſſer en ceſte ſorte.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Sometimes, an adversary will present his sword in the Straight Line posture with his left foot forward, toes outside the Quadrangle, in such a way that his left side will be forward, and appears on the inside of his profile. And so, if Alexander presses against the inside of the sword, he will find the resistance much stronger, but if he presses from the outside at the same Span, it will be, again, that much weaker. So, if he wishes to have some advantage as does his Primary Intent work agains it, he will attack from the First Instance to the outside of the arm, where it is weaker, stepping [right] over to the Oblique Diameter and aiming his initial attack either at the left shoulder, which is pushed forward, and which is the closest target, or at the face.
 +
 
 +
|Aucunesfois l’Adverſaire preſentera l’eſpee en droite ligne, ayant le pied gauche avancé au dehors de ſon Quadrangle, de maniere que le coſté gauche ſortira de pourfil en devant. Et alors ſi Alexandre attouch ſon eſpee avec la ſienne, il la trouvera renforcée en dedans du bras; mais s’il la touche en dehors avec Nobres egaux, il la trouvera derechef autant plus foible. S’il veut donc travailler de Permiere Intention là deſſus avec quelque avantage, il l’attaquera de la Premiere Inſtance en dehors du bras, où elle eſt plus foible, en marchant avec les pieds par delà le Diametre, & luy aſſenant le coup de Premiere Intention en l’eſpaule gauche, comme celle qu’il avance, & qui eſt le plus prochain point d’attouchement, ou bien au viſage.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|There is also a difference in how the sword is held. Sometimes he will present in a Straight Line posture, inclining a little along the Diameter. So if Alexander sets himself there at the First Instance at the letter C on the Diameter contacting his opponent’s sword to the inside, he will find this will be from the start below his opponent. In this way Zachary could work against him from a position of advantage, if he took his time. And so, in order to work effectively at the First Instance against a sword, at such an incline above the Diameter, Alexander must set himself likewise at the First Instance, at the Circumference of the Circle along the Diameter, very close to his opponent’s point, but with his sword making contact to the outside, whether he sets his right foot forward or his left, and then continues to enter in against his adversary along the Diameter and attacking him, aiming a Primary Intention strike to the face.
 +
 
 +
|Il y a auſſi de la difference en la tenue de l’eſpee meſme; aſſavoir qu’il la preſente aucunesfois en droite ligne, inclinant un peu par delà le Diametre. Dont ſi Alexandre ſe vient planter là deſſus à la Premiere Inſtance ſur le Diametre à lettre C, en attouchant l’eſpee contraire en dedans du bras, il trouvera que la ſienne ſera du commencement inferieure à l’eſpee contraire, de façon que Zacharie pourroit travailler en ceſte occaſion contre luy avec avantage, s’il prennoit bien le temps. Et pourtant afin de bien travailler de Premiere Intention ſur une telle eſpee, qui s’incline par delà le Diametre, il ſe doit planter pareillement en Premiere Inſtance à la Circonference du Cercle par delà le Diametre, tout droit en preſence à la pointe contraire, ſoit qu’il mette le pied droit devant, ou le pied gauche, & continuer ainſi d’entrer ſur l’Adverſaire par delà le Diametre, en luy attaquant l’eſpee par dehors le bras, & luy tirer un coup de Premiere Intention au viſage.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|If it should happen that his opponent presented his sword slightly outside from the Diameter, Alexander must still be deliberately choose to adopt his his Straight Line Posture at the First Instance, to set his feet likewise along the same Diameter, even if close to the tip of his opponent’s sword, and to do his Primary Intention work against it by attacking and sliding the point of contact to the inside by entering in with his right foot.
 +
 
 +
|Et s’il advenoit qu’il preſentaſt ſon eſpee, forlignant un peu par deçà le Diametre; auſſi faut il qu’Alexandre ſache alors eſlire ſa Premiere Inſtance, & planter les pieds en deçà le meſme Diametre pareillement, ſe mettant tout droit en preſence à la pointe de l’eſpee, qu’on luy preſente; & travailler deſſus de Premiere Intention, l’attaquant & graduant par dedans le bras avec l’intrade du pied droit.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|These cautions are of greater importance now than they were before, which is why we discuss them here, and one must take all possible care to observe them in practice, not only in these actions of Primary Intention, but also in the previously shown actions of Secondary Intention, to duly subjugate the opponent’s sword.
 +
 
 +
|Ces advertiſſements ſont de fort grande importance, & les doit on obſerver en la pratique le plus curiuſement, qu’il eſt poſſible, non ſeulement en ces operations de Premiere intention, mais auſſi en celles de la Seconde, pour aſſujettir deüement l’eſpee contraire, combien qu’ils ſont beaucoup plus neceſſaires en celles cy, que nous traittons maintenant, qu’ils n’ont eſté és autres precedentes.
 +
 
 +
|}
 +
{{master end}}
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 +
{{master begin
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| title = Book 1 - Tableau / Plate XXII - Variations on a Single Movement; Left Foot Forward
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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 22.jpg|600px]]
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N.B., the coat of arms at the top belongs to [https://en.wikipedia.org/wiki/George_William,_Elector_of_Brandenburg George William] (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619.
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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 TWENTY-FIRST PLATE
 +
 
 +
|DECLARATION DES OPERATIONS DV TABLEAV VINGT ET VNIEME
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|- style="font-family: times, serif; vertical-align:top;"
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|The usual way to learn to use any part of one’s body, first of all, is to repeat various movements deliberately, until they become habitual, so that later one may use them as needed, and according to the particular requirements of any situation, with fluidity and freedom, without any hesitation, or extra awkward motions. So, following our system, we have taught, in the preceeding Plates, how followers of this art can acquire, through the graceful practise of various movements, the ability to quickly employ these powerful techniques as needed, and to easily, and with agility, adapt to the variations shown in the Plates which follow. This is why, once one has learned these skills well, and can sustain their effort, and are even able to forsee the dangers from Primary Intention attacks, as shown in previous Plates, particularly in Plate XXI, one can be allowed to perform them at speed, and to press their adversary with them, as we shall learn in this Plate XXII. Therefore, one should not find it strange that in this Plate we instruct Alexander to use divers means of meeting his counterpart, while Zachary presents himself in almost the same posture which he held in the previous Plate. It is only here, in this Plate, that we instruct and show how to execute the techniques to oppose actions of Primary Intention in all the ways an adversary might attempt them. Alexander will not set himself in his Quadrangle, as above, but seeing his adversary is in the same posture, he will approach the same way, and with his sword held at his right side, as he did in Plate XXI. But by contrast, however, he sets his left foot on the Circumference, leaving his right foot behind, and follows with the rest of his actions as we shall show below.
 +
 
 +
|Tout ainſi qu’en tous exercices des membres du corps, on a couſtume de s’acquerir avant toutes choſes, une habitude par divers & lents mouvements, afin que par apres, on les puiſſe adminiſtrer quand le beſoin & l’occaſion le requiert, avec la liberté & facilité neceſſaire, ſans aucune vacillation ou movement indecent du corps. Auſſi pourſuivant noſtre exercise, nous avons enſeigné aux Tableaux precedents, comment les amateurs de noſtre art, peuvent s’acquerir premierement par une commode adreſſe des divers mouvements des membres, une prompte puiſſance de les agiter, & s’en ſervir agilement aux mutations exprimé aux Tableaux ſuivants. Voila pourquoy auſſi toſt qu’ils ſe ſeront rendus fermes, & quils porront ſoubſtenir l’effort, meſmes prevenir le hazard des operations de premiere intention, repreſentées es Tableaux precedents, & notemment au XXI, nous leur permetons de les pourſuivre tout d’un train, & preſſer ſur icelles leur adverſaire, comme il eſt enſeigné en ce Tableau XXII. A ces cauſes on ne trouvera pas eſtrange, ſi nous enſeignons en ce Tableau noſtre Alexandre, d’uzer de diverſes manieres de rencontrer ſa partie, encores que Zacharie ſe preſente preſque en la meſme poſture qu’il avoit tenue au Tableau precedent. Car nous avons ſeulement monſtré en iceluy Tableau, en quelle façon on peut oppoſer les operations de premiere intention a toutes les entrepriſes de l’adverſaire, & icy nous enſeignerons comment elles peuvent eſtre executées. Alexandre ne ſe met donc pas dedans ſon Quadrat comme cy deſſus; mais voyant que ſon adverſaire ſe preſente en meſme poſture; il ſe ſert de la meſme demarche, & du meſme tous d’eſpee à ſon ſon coſté droit comme il avoit fait au Tableau XXI, mettant toutefois d’une contraire façon ſon pied gauche ſur la Circonference, laiſſant le droit un pas en arriere; il pourſuit le reſte de ſon operation comme il ſe verra en la ſuite de ce Tableau.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Circle No 1'''
 +
 
 +
|'''Cercle N.1.'''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|''Zachary has set himself in his posture on the Circumference, presenting his sword with his arm extended in a straight line, and waits. Alexander works against this, approaching him and, with a moderately extended arm, sets the 9th Span of his sword against the 3rd or 4th of his opponent.''
 +
 
 +
|''Zacharie s’eſtant mis en poſture ſur la Circonference, preſantant d’un bras eſtendu ſon eſpee à ſa partie en droite ligne, en l’attandant; Alexandre travaillant à l’encontre s’aproche d’iceluy mettant le N.9. de ſon eſpee d’un bras moderement eſtendu, au N.3. ou 4. de celle de ſa partie.''
 +
 
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|- style="font-family: times, serif; vertical-align:top;"
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|Zachary has set himself on the Circle in his Quadrangle, right foot on the Circumference at X, left on the Pedal line, his body upright. He awaits his opponent, presenting his sword over the Diameter, with his arm extended in the Straight Line Posture. Alexander, to begin his work against this, begins his approach with his left foot forward, bringing his sword from behind in a circle to his right side, up into an obtuse angle. He sets his left foot down at the letter C on the Circumference, his right foot a pace behind, a bit beyond the Quadrangle along the line of the Circumscribed Square. He contacts his opponent’s sword at the 2nd or 3rd Span with the 9th Span of his own, with his arm moderately extended, and his shoulder slightly forward, as he leans his body onto his bent left knee, as the figures show.
 +
 
 +
|<font style="font-variant:small-caps">Zacharie</font> s’eſtant planté ſur le Cercle dedans ſon Quadrangle, le pied droit ſur la Circonference à la lettre X, le gauche ſur la ligne pedale, le corps dreſſé perpendiculairement; il preſente ſon eſpee a ſon contraire au deſſous du Diametre, d’un bras eſtandu en ligne droite; attandant ainſi ſa partie. <font style="font-variant:small-caps">Alexandre</font> pour travailler à l’encontre, s’aproche premieremēt du pied gauche en avant, menant ſon eſpee par derriere, d’une circonference en haut en Angle obtus a ſon coſté droićt, & plantant le pied eſlevé ſur la lettre C en Premiere Inſtance, (le droit eſtant un pas en arriere eſtandu, un peu au deſſus du coin du Quadrat circonſcript,) il met le N.9. de ſon eſpee d’un bras eſtandu moderement (& l’eſpaule un peu preſentée en avant penchant le corps ſur le genou gauche ployé) outre le N.2. ou 3. de celle de ſa partie, comme les figures preſentent.
 +
[sic]
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 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|During the time he brings the strong part of his sword beneath his opponent’s point, he must take great care to do this slowly, as if pausing, so as to always be aware of all the actions his opponent might take. Otherwise he could surprise you if one is not careful.
 +
 
 +
|Au tēps qu’ō porte le fort de ſon eſpée par deſſus la pointe du contraire, il faut bien prendre garde de le faire lentement en façon de pauſe, afin de pouvoir touſiours prevenir, toutes les aćtions que l’adverſaire pourroit entreprendre durant ce temps! autrement il ne faudroit de vous ſurprendre ſi on neſtoit ſur ſes gardes.
 +
 
 +
|- 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 proceeds with the action setting his blade before his opponent’s eyes, and continues his strike, piercing him through the head with his extended arm, pressing his opponent’s guard back with his own.''
 +
 
 +
|''Alexandre  pourſuivant l’operation precedente, preſente ſa lame aux yeux de ſa partie, & continuant ſon coup, le perce d’un bras eſtendu au travers la teſte, preſſant en arriere de ſa garde celle de ſa partie.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This Circle contains the follow-on from the preceeding Circle, wherein Zachary and Alexander were both set at the First Instance, with their swords crossed, the 9th Span of Alexander’s obliquely against the 3rd Span of his opponent. Here Alexander continues by raising his right foot which was planted on the ground behind him, while causing his blade to lower (by leaning his body forward) by a half-circle, and sliding the contact of the blades, he lowers his to just in front of his opponent’s right eye. He sets his right foot down on the Diameter about the letter L, allowing his left to follow up the the line E-G, and with this move, pierces his opponent through the head by extending his arm so that his guard presses his opponent’s guard back. As the figures show.
 +
 
 +
|Ce Cercle contient la pourſuite du Cercle precedent, ou <font style="font-variant:small-caps">Zacharie</font> & <font style="font-variant:small-caps">Alexandre</font> ſont tous deux plantés en Premiere Inſtance, avec leurs eſpées croiſées l’une ſur l’autre, le N.9. de celle d’<font style="font-variant:small-caps">Alexandre</font> obliquement au N.3. de celle de ſon Contraire, icy <font style="font-variant:small-caps">Alexandre</font> pourſuit eſlevant le pied droit qui eſtoit planté derriere, faiſant deſcendre (en penchant le corps en avāt) ſa lame d’en haut par une demie circonference, & en graduant les lames, il baiſſe la ſienne au devant de l’œil droit de ſa partie, & plantant le pied eſlevé au deſſous du Diametre environ la lettre L, laiſſant ſuivre le gauche en arriere juſques a la ligne EG, il perce eſtandant le bras ſon Contraire à travers la teſte en ſorte que ſa garde preſſe en arriere l’eſpee d’iceluy, comme les figures monſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|''Zachary once again sets himself in the Straight Line posture in his quadrangle, erect and holding his sword with extended arm. Alexander approaches bringing his sword from high above down into a straight line passing over his opponent’s then moving his body forward he brings his sword (so it rises from below up over to the left side) to cross against his opponent.''
 +
 
 +
|''Zacharie ſe met en poſture derechef dedans son Quadrangle, & ſe tenant droit preſante ſon eſpee d’un bras eſtandu preſque en ligne droite, Alexandre l’aproche, portant ſon eſpee en droite ligne de hault en bas la paſſant celle de ſa partie, puis avançant le corps, il la mene (l’avançant de deſſoubs plus en haut à ſon coſté gauche) d’un bras eſtendu contre celle de ſa partie en croix.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Zachary has adopted his posture, and is standing upright and in balance in his Quadrangle, his right foot along the line X-Y and his left foot along the Pedal Line in front of the letter Z. He presents his sword, arm extended almost in a direct line, so that his point slightly crosses the Diameter towards his left side, and awaits his opponent. Alexander approaches his opponent from two or three paces away, according to how far apart they are, and, reaching about one pace from the Circumference, with his right foot in line with the Diameter, he moves his sword and his left foot together, bringing his sword and right arm in a straight line, down in a circular motion from an obtuse angle up high to an acute angle below, passing below his opponent’s sword, setting his left foot forward, knee straight, on the Diameter just beyond the letter C on the Circumference, and shifting his body from leaning backwards on his bent knee forward onto his left, he proceeds to bring his sword, forward and upward to the side into a straight line, arm extended and right shoulder pushed forward, crossing against his opponent’s sword with the outside edge. As the figures show.
 +
 
 +
|<font style="font-variant:small-caps">Zacharie</font> s’eſtant mis en poſture au dedans ſon Quadrangle, le pied droit ſur la ligne XY, & le gauche devant la lettre Z ſur la ligne pedale, ſe tenant ainſi perpendiculairement droit & proportionné; il preſente ſon eſpee d’un bras eſtandu preſque en ligne droite, en ſorte que la pointe d’icelle croiſe un peu le Diametre vers ſon coſté gauche, pour attendre ainſi ſa partie. <font style="font-variant:small-caps">Alexandre</font> approche ſa partie de deux ou trois pas ſelon la diſtance qui eſt entre deux, & eſtant venu à la diſtance d’un pas devant la Circonference, ayant le pied droit par delà la continuation du Diametre, il s’approche avec ſon eſpee & ſon pied gauche enſemble, portant l’eſpee & bras de ſon coſté droit en droite ligne de l’angle obtus d’en haut en Circonference en Angle aigu en bas, la paſſant au deſſous celle de ſa partie, plantant le pied gauche (le genou roide) en avant, au deſſus du Diametre outre la lettre C ſur la Circonference, & portant le corps penché derriere ſur le genou ployé, en avāt ſur le gauche, il pourſuit à mener ſon eſpee, l’avançant de deſſous plus haut à coſté, la mettant en ligne droite, d’un bras eſtandu & l’eſpaule droite avancee, avec le taillant exterieure contre celle de ſa partie, la croiſant; comme les figures monſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|''Zachary waits in the same posture, as described in the previous Circle. Alexander follows up, and after increasing the Degree of Force of his blade, and sliding the contact up, with a firm hand, he thrusts through the head.''
 +
 
 +
|''Comme Zacharie attend en la poſture declarée en l’autre Cercle, Alexandre pourſuit, & apres avoir augmenté le Poids de ſa lame en graduant il le bleſſe d’une eſtocade tirée d’une main ferme à travers la teſte.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This Circle continues from the preceeding Circle No 3, where the two parties were set at the First Instance, holding their blades crossed against one another. Here, Zachary waits for his opponent in the Straight Line Posture, his tip slightly crossing the Diameter to the inside. Alexander is beyond the letter C, his knee bent, and his right foot a pace behind him. He sets his left shoulder forward, extends his arm and makes a cross with his sword against the outside edge of his opponent’s. Seeing how, though Zachary is attacked from the outside he does not reset his position, Alexander straightens onto his left foot and moves his right foot forward, he increases the force on the blade, keeping his sword and arm in place, bringing his right side up to his elbow, so that the tip of his sword, supported by the right side, is in front of his opponent’s face. Finally, as his right foot passes over the Oblique Diameter, he takes a firm grip, adopts the Straight Line Posture, and, sliding the point of contact up the blade, he thrusts through his opponent’s head as he sets his right foot down at the letter L on the Diameter. As the figures show.
 +
 
 +
|Ce Cercle contient la pourſuite du Cercle precedent N.3; ou les deux parties ſont plantées en Premiere Inſtance, tenants les lames croiſées l’une contre l’autre: <font style="font-variant:small-caps">Zacharie</font> attend icy ſa partie, tenant ſon eſpee en droite ligne, la pointe un peu croiſée outre le Diametre en dedans; <font style="font-variant:small-caps">Alexandre</font> eſtant outre la lettre C, tenant le genou ployé, & le pied droit un pas en arriere, panchant le haut du corps en avant, avec l’eſpaule gauche avancée, mettant d’un bras eſtādu ſon eſpee en croix en droite ligne adcente contre le taillant exterieure de celle de ſa partie, remarquant que <font style="font-variant:small-caps">Zacharie</font> eſtant attaqué en dehors ne ſe renue point, dreſſe le corps ſur le pied gauche & avançant le droit, il augmente ſon pois, laiſſant le bras & l’eſpee en leur place, joignant le coſté droit au coude, en ſorte que la pointe de l’eſpee dreſſée par le coſté avancé, vient à reſpondre au viſage de ſa partie, finalement ayant avancé le pied droit oultre le Diametre; il tire d’une main fermement cloſe en ligne droite en graduant les lames, à travers la teſte d’iceluy, plantant le pied avancé ſur la lettre L deſſus le Diametre; comme les figures monſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|''Because Zachary has raised his arm to cover himself  with his guard, Alexander changes his action to wound his right side beneath his raised arm, aiming along the sword.''
 +
 
 +
|''Comme Zacharie eſleve le bras pour ſe courvrir de ſa garde, Alexandre changeant d’operation bleſſe ſa partie deſſoubs le bras eſlevé au coſté droit, luy tirant au long de l’eſpee.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
| This Circle has its beginnings in the preceeding Circle No 2, where Zachary, percieving Alexander begin his approach, raises his arm as he does, to protect his face with his guard, in such a way that the tip of his sword goes downwards. But while Zachary raises his arm and guard to protect his face, Alexander changes his attack, allowing his own tip to drop lower, and, sliding his thumb around the interior branch of his crossguard from where it was, so that he raises it up, he traps the 3rd or 4th Span of his opponent’s blade between his own and the exterior branch of his crossguard. He moves his right foot forward, slides the contact up the blade, and wounds his opponent underneath his raised right arm as he sets his foot down near the Centre, allowing his left to follow to the letter E. As the figures show.
 +
 
 +
|Ce Cercle icy tient ſon origine du cōmencement de l’operation precedente du Cercle N.2. ou <font style="font-variant:small-caps">Zacharie</font> s’apercevant au commencement de l’aproche d’<font style="font-variant:small-caps">Alexandre</font>, eſleve au meſme tēps le bras, couvrant ſon viſage avec ſa garde, de ſorte que la pointe de ſon eſpée baiſſe un peu vers la terre, mais pendant que Zacharie eſleve le bras & la garde pour ſe couvrir le viſage, <font style="font-variant:small-caps">Alexandre</font> change ſon operation, laiſſant baiſſer ſa pointe, & gliſſer le poulce outre la brāche interieur de la garde ou il eſoit premierement, de ſorte qu’elle monte en haut, enfermant les N.3. ou 4. de l’eſpee contraire entre ſa lame & branche exterieure, il avance le pied droit, & en graduant les lames, il bleſſe ſa partie deſſous le bras eſlevé au coſté droit du long de l’eſpee, mettant le pied eſlevé pres du Centre, laiſſant ſuivre le gauche devant la lettre E; comme les figures enſeignent.
 +
 
 +
|- 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 continues with his action without a break, parrying his opponent’s blade, which is raised before his face, and increases the vigour of his thrust.''
 +
 
 +
|''Alexandre continue icy l’operation precedente ſans intermeſsion, & parant la lame de ſa partie eſlevé devant ſon viſate, augmente ſa vigueur de ſa precedente eſtocade, ''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|Here Alexander continues the preceeding action, which he does without interruption, by turning his right foot around backwards, allowing his left to spin around him by itself, setting his toes on the line M-S below the Oblique Diameter, and leans back onto it. With his extended arm, he continues to push his opponent’s blade aside, by means of the exterior branch of his crossguard, while increasing the vigour of his thrust. As the figures demonstrate.
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 +
|Celuy cy contient la pourſuite de la precedente operation faite par <font style="font-variant:small-caps">Alexandre</font>, laquelle il continue tout d’un temps ſans intermiſſion, en tournant le pied droit à l’envers, & laiſſant volter l’autre de ſoy meſme, mettant les orteils d’iceluy ſur la ligne MS. deſſus le Diametre, ſur lequel il penche le corps en arriere, & d’un bras eſtandu il cōtinue à deſtourner la lame de ſa partie, par le moyen de la branche exterieure de ſa garde en augmentant la vigeur de ſon eſtocade; comme il eſt demonſtré par les figures.
 +
 
 +
|- 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 completes his action, and, by leaning forward, pushes his thrust right through his opponent’s body, using his guard to push his opponent’s away to the right side.''
 +
 
 +
|''Alexandre pourſuit plus à plein ſon operation precedente, & en ſe panchant en avant, pouſſe ſon eſtocade au travers du corps de ſon Contraire, preſſant de ſa garde celle de ſa partie aupres de ſon coſté droit.''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|To fully complete the preceeding action, Alexander continues right away to step with his right foot to the letter W on the Diameter, leans forward on his bent right knee, increasing the power of his trust with all his strength, pushing it through his opponent’s body, so that his guard presses Zachary’s guard up against his right side, without releasing the blade. As is shown by the figures.
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 +
|<font style="font-variant:small-caps">Alexandre</font> pour executer l’operation precedente plus à plein pourſuit marchāt tout d’un train du pied droit deſſus le Diametre à la lettre W, ſe pēchant ſur le genou droit ployé, augmentant la vigeur de ſon eſtocade de toute ſa force, la pouſſant au travers du corps de ſon Contraire, de ſorte que ſa garde preſſe celle de <font style="font-variant:small-caps">Zacharie</font> aupres de ſon coſté droit, ſans toutesfois relaſcher ſa lame; comme il eſt demonſtré par les figures.
 +
 
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 
 +
|'''Circle No 8'''
 +
 
 +
|'''Cercle N.8.'''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|''This Circle has a new action based on that of Circle No 4. Where Alexander intended to execute that move, here his opponent parries his sword upwards. He bends his arm to bring his point in front of his opponent’s eyes. Finally, having seized his opponent’s sword with his left hand, he gives him a backwards cut to the right ear.''
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 +
|''Ce Cercle contient une nouvelle-operation en ſuite de celle contenue au Cercle N.4; mais comme Alexandre ayant en intention de l’executer voit que ſa partie pare ſon eſpee vers le haut, il tourne par une courbe ſa pointe devant les yeux d’iceluy; & en fin ayant ſaiſi ſon eſpee de la main gauche, il le bleſſe d’un revers ſur l’oreille droite.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|This Circle originates from the beginning action of Circle No 4, as soon as Zachary becomes aware of Alexander’s attack, as described in the aforesaid Circle. He parries, this time, with a moderate force, raising his blade at the start a bit upwards and to his right side, and from there, continually with a large motion to the outside, pushing with his arm. This gives Alexander the chance to use the following moves. Alexander intended to execute the action as in Circle No 4, as he closes in, he percieves Zachary has parried his sword up and to Zachary’s right side. He bends his arm so as to keep the tip of his sword pointed right in front of his opponent’s eyes, twisting the interior branch of his crossguard upwards. (See Plate XXIII, Circle 6.) He then moves his right shoulder forwards against the resistance he feels, as he sets his right foot down at the letter I, and encouraging Zachary to continue his parry upwards and to the side with even more force. He raises his guard a little bit (which causes his point to go down), and using the increased force of Zachary’s parry, he passes the tip of his sword down between their two bodies, in a circular move down, over, then upwards. He makes a quick jump with his left foot towards his opponent’s sword, which guard he seizes with his left hand, and as his body falls over forward, he keeps moving his sword along the circular path until he makes a reverse cut to his opponent’s right ear. As the figures show.
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 +
|Ce Cercle tire ſon origine du commencement des operations du Cercle N.4. auſſi toſt que <font style="font-variant:small-caps">Zacharie</font> commence à remarquer l’approche d’Alexandre contenue audit Cercle N.4. il pare l’eſpee d’iceluy d’une force moderée, portant ſa lame au commencement un peu en haut a ſon coſté droit, & de la continuellement avec plus grand mouvement plus en dehors, la preſſant en bas, qui donne occaſion à <font style="font-variant:small-caps">Alexandre</font> de ſe ſervir des operations ſuivantes. Alexandre ayant intention d’executer l’operation declarée au Cercle N.4; comme en approchant il s’apperçoit que Zacharie pare ſon eſpee vers le haut ſur ſon coſté droit, il tourne avec la main fermée par une courbe, la pointe de ſa lame au devant des yeux de ſa partie, portant la branche interieure de ſa garde en haut; (voyes Tableau XXIII.Cercle 6.) puis avançant l’eſpaule droite ſur le ſentiment, ayant planté le pied droit à la lettre I, & ayant donné occaſion à <font style="font-variant:small-caps">Zacharie</font>, de continuer ſon parement encommencée en bas vers le ſuſdit coſté avec plus de force, il leve (la pointe baiſſante) un pue ſa garde, & paſſant la pointe de ſon eſpee, (parée par le dernier effort de Zacharie) en bas entre les deux corps, en Circonference du bas en haut, il ſaulte du pied gauche vers l’eſpee de ſon Contraire, outre la lettre S, la garde de laquelle il ſaiſiſt avec la main gauche, en tresbuchant & baiſſant le corps, & cōtinuant le cours de ſon eſpee, il le bleſſe d’un revers ſur l’oreille droite; comme les figures monſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|''The action of this Circle also begins in Circle No 4, but Alexander doesn’t have time to perform the previous cut, so he puts the tip of his sword in front of his opponent’s eyes, trying to hit him, but unable because of Zachary’s continuous parry. He jumps with his left foot, and, as he seizes his opponent’s guard with his left hand, slashes at his opponent’s calf.''
 +
 
 +
|''L’operation de ce Cercle vient auſsi du Cercle N.4, Alexandre n’ayant pas le temps de ſe ſervir du coup precedent, preſente ſa pointe aux yeux de ſa partie, s’efforcant de le bleſſer mais eſtant empeſché par le continuel parement de Zacharie; il ſaute & ſaiſiſt à la cheute du corps la garde de ſon Contraire, & le bleſſe d’un eſtramaçon au gras de la jambe.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|The action of this Circle also starts at the beginning of Circle No 4, and is very similar to Circle No 8, except that now Zachary does his parry more deliberately and more securely to his right and not downwards, which leaves Alexander no time to make the cut as before. But Alexander still avails himself of this change, to use Zachary’s own parry to wound him, keeping his point as long as possible in front of his face, threatening him. Zachary prevents this by continuing to parry, so Alexander jumps with his left foot to the letter T, seizing, as he comes down, his opponent’s guard with his left hand, and slashes at the back of his opponent’s calf. As shown by the figures.
 +
 
 +
|L’operation de ce Cercle reſourd auſſi du commencement du Cercle N.4, eſtant en tout ſemblable à celle du Cercle N.8, exepte que <font style="font-variant:small-caps">Zacharie</font> en ce Cercle faiſant ſon parement, en menant les eſpees plus l’entemēt & avec plus de ſeureté à ſon coſté droit moins en bas, ne donne pas le temps à <font style="font-variant:small-caps">Alexandre</font> de ſe pouvoir ſervir du coup du Cercle precedent N.8: mais Alexandre ne laiſſe pourtant pas de ſe ſervir de ce changement, pour pouvoir bleſſer <font style="font-variant:small-caps">Zacharie</font> ſeurement ſur ſon parement, luy preſentant ſa pointe tant qu’il eſt poſible au viſage s’eſſayant de le bleſſer: or parce que Zacharie le previent par ſon continuel parement, il ſaute de ſon pied gauche joignant la lettre T ſoubs le Diametre, ſaiſiſtant de ſa main gauche (à la cheute du corps) la garde de ſon Contraire, & le bleſſe d’un coup d’eſtramaçon par derriere au gras de la jambe; comme il eſt monſtré par les figures.
 +
 
 +
|- 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;"
 +
 
 +
|''After Alexander has performed the actions in Circles 8 & 9 and wounded his opponent, he withdraws his sword, passes it across and holds it with a straight arm by his right side.''
 +
 
 +
|''Alexandre pourſuivant l’operation des Cercle N.8.& 9. apres l’avoir bleſſe retire ſon eſpée à ſoy la paſſant au travers la playé, & la met d’un bras eſtendu à ſon coſté droit.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This Circle follows from Circles No 8 & 9, either of which lead to this action, after Zachary has parried upwards and to the right and Alexander has immediately responded and wounded Zachary on the right ear (or leg). Alexander then spins and takes a step backwards with his raised right foot, setting it down on the Circle, shifting his body onto it. He holds his opponent’s guard in front of himself to the inside as he leans slightly backwards, as a guard against anything Zachary might try. After his strike, he withdraws his sword across the space between them, and brings it to his right side, with his arm extended, tip downwards. As it appears in the image.
 +
 
 +
|Ce Cercle contient la pourſuite du Cercle N.8. & 9, qui peuvent tout deux eſtre pourſuivis par <font style="font-variant:small-caps">Alexandre</font> en ceſte maniere, apres que <font style="font-variant:small-caps">Zacharie</font> à paré en haut a ſon coſté droit l’eſpee de ſa partie, & que Alexandre la auſſi toſt pourſuivi le bleſſant à l’oreille droite, <font style="font-variant:small-caps">Alexandre</font> deſmarche icy un pas en arriere en volte du pied eſleve, le plantant ſur le Cercle, mettant le corps ſur iceluy, ſe panchant un peu en arriere, eſlevant le gauche apres avoir mis la garde de ſon Contraire un peu devant luy en dedans, contre toutes les entrepriſes que <font style="font-variant:small-caps">Zacharie</font> pourroit faire, & ayant apres le coup retiré ſon eſpee à ſoy la traiſnant autravers la playe, il la met d’un bras eſtandu (la pointe en bas) à ſon coſté droit; comme il apert par les figures.
 +
 
 +
|- 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;"
 +
 
 +
|''Alexander completes the preceeding action, he raises his sword, and, after drawing the guard, that he siezed before, towards himself , he pierces his opponent through the torso.''
 +
 
 +
|''Alexandre excutant l’operation precedente eſleve ſon eſpee, & apres avoir retire à ſoy la garde de ſa partie ſaiſie cy deſſus, il le perce à travers la poitrine.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This contains the final execution of the actions from Circle No 10. Alexander is balanced on his right foot, left foot raised and sword at Zachary’s stomach. After pulling the guard towards himself, he pierces Zachary through the torso as he sets his left foot down. As the figures show.
 +
 
 +
|Cetuy cy contient l’execution du Cercle precedente N.10, <font style="font-variant:small-caps">Alexandre</font> eſtant planté ſur ſon pied droit, tenāt le gauche eſlevé & l’eſpee à la hauteur de la poitrine de <font style="font-variant:small-caps">Zacharie</font>, & ayant retiré la garde de <font style="font-variant:small-caps">Zacharie</font> a ſoy, il le perce à travers la poitrine en plantant le pied; comme les figures monſtrent.
 +
 
 +
|- 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 moves forward to perform the action of Circle No 2. Zachary parries his strike upwards and aside. But Alexander, after having slowed the movement, and increased the force on his blade, finishes by putting his sword-tip in front of Zachary’s face.''
 +
 
 +
|''Alexandre s’eſtant avance pour executer l’operation du Cercle N.2, Zacharie luy pare le coup a coſté vers le haut: mais Alexandre apres luy avoir retarde le mouvement, & augement le pois de ſa lame, luy met finalement la pointe de ſon eſpee devant le viſage.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|The two adversaries proceed exactly as before starting in Circle No 1, where Alexander has advanced, entering with his right foot to execute the action of Circle No 2. This time, Zachary parries his strike, by increasing the Degree of Force on the blade, upwards to move the blades over to the left. But Alexander slows this movement, immediately increasing his force on the blades accordingly and setting his right foot on the Diameter between the Centre and letter L, following with his left foot. Then Zachary, increasing again the Degree of Force on his blade moves his opponent’s blade over to his left, but his blade finishes beyond his opponent’s head. Alexander bends his arm to turn the exterior branch of his crossguard upwards. He turns the point of his sword inwards towards his opponent, whose blade slides off the strong of his, then, moving his left side forward, he sets his foot down between the letters V & S, using his bent arm to point the point of his sword directly in front of his opponent. As shown by the figures.*
 +
The image does not match the description, or fit the following action. The sword should reach around beneath his opponent’s, not cross over.
 +
 
 +
|Les parties ayant obſervé les choſes contenue au Cercle N.1, comme <font style="font-variant:small-caps">Alexandre</font> s’avance entrant du pied droit afin d’executer l’operation du Cercle N.2, <font style="font-variant:small-caps">Zacharie</font> luy va parer ſon coup (en augmentant le Poids) à coſté vers le haut, pour tranſporter les lames à main gauche, mais <font style="font-variant:small-caps">Alexandre</font> luy retarde le mouvement, augmentant auſſi toſt le poids de la lame a l’advenant, plantant le pied droit deſſous le Diametre entre le Centre & la lettre L, le pied gauche ſuivant ſoudainement; lors <font style="font-variant:small-caps">Zacharie</font> renforçant derechef le Poids de ſa lame, tranſporte celle de ſon Contraire à ſon coſté gauche, mais comme ſon eſpee paſſe oultre la teſte de ſa partie; <font style="font-variant:small-caps">Alexandre</font> tourne la branche exterieure de ſa garde contremont d’un bras courbé, tournant enſemble la pointe de ſa lame endedans devers ſon Contraire, la lame du quel s’eſcoule au fort de la ſienne, puis avançant le coſté gauche il plante le pied eſlevé entre les deux lettres V & S, mettant la pointe de ſa lame d’un bras courbé devant le viſage de ſa partie; ſelon qu’il eſt repreſenté par les figures.
 +
 
 +
|- 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;"
 +
 
 +
|''Zachary turns Alexander’s point down and away from in front of his face, using a Very-Strong Degree of Force. At this Alexander pulls his blade from his opponent’s, and slashes him on the ear with the outside edge of his blade.''
 +
 
 +
|''Zacharie deſtourne la pointe d’Alexandre miſe devant ſon viſage vers le bas, uſant de Poids tresfort; ſur cela Alexandre quite la lame de ſa partie, & delivrant la ſienne, il le bleſſe d’un eſtramaçon donné du tailland exterieur ſur l’oreille droite.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Alexander has bent his arm to put the tip of his sword in front of his opponent’s face, as described in the previous Circle. Zachary turns this away and down by pushing with a Very-Strong Degree of Force, and taking a pace forward with his right foot just before the letter Q. Alexander at this point abandons his opponent’s sword while lifting his right foot up and, with a twist of his wrist, draws his own out from beneath and around to above his opponent’s, so that his opponent’s sword flys away downward. Then stepping with his right foot forward between the Quadrant and the letter W, he brings his sword around and slashes at his opponent’s right ear. As the figures show.
 +
 
 +
|Comme <font style="font-variant:small-caps">Alexandre</font> a mis ſa pointe d’un bras courbé devant le viſage de ſa partie, ainſi qu’il eſt repreſanté au Cercle percedant, <font style="font-variant:small-caps">Zacharie</font> la deſtourne icy vers le bas uſant de Poids tresfort, en faiſant du pied droit un pas juſques devant la lettre Q. <font style="font-variant:small-caps">Alexandre</font> quite lors la lame de ſa partie eſlevant le pied droit, jettant à laide du poignet la ſienne de deſſous en deſſus celle de ſa partie, (en laiſſant gliſſer le poulce de la branche interieure) la delivrant au meſme tēps, de ſorte que celle de ſa partie tresbuſche; lors avançant le pied droit eſlevé, il frape la partie d’un eſtramaçon, avec le tailland exterieur de ſon eſpee ſur l’oreille droite, plantant le pied droit eſlevé hors du Quadrat pres de la lettre W; comme les figures monſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|''Zachary tries to parry his opponent’s blade with more subtlety than in Circle No 12. He leaves his side uncovered, which Alexander wounds, after he abandoned his opponent’s sword and raised his right foot during the parry.''
 +
 
 +
|''Zacharie s’eſſayant de parer avec plus de ſutilité qu’au Cercle N.12.la lame de ſa partie, deſcouvre ſon coſté, auquel Alexandre le bleſſe, apres avoir abandonné la lame de ſa partie & eſlevé le pied droit durant le parement.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This Circle, like the preceeding one, comes from the beginning of the action of Circle No12, but here, as Zachary tries to parry his opponent’s blade to the inside on his left hand side with more subtlety, he uncovers his right side. Alexander raises his right foot as Zachary parried. He then left the contact with his opponent’s blade and, as forcefully as he can, he thrusts into his opponent’s right side as he steps with his right foot to the letter Y. As the figures show.
 +
 
 +
|Ce Cercle vient auſſi bien que le precedent du commencement de l’operation du Cercle N.12, ou <font style="font-variant:small-caps">Zacharie</font> s’eſſayent de parer avec plus de ſubtilité la lame de ſa partie en dedans à ſon coſté gauche deſcouvre ſō coſté droit, <font style="font-variant:small-caps">Alexandre</font> ayant eſlevé le pied droit durant le parement; abandonne la lame de ſon Contraire, & le bleſſe au coſté droit, puis plantant le pied eſlevé ſoubs le Diametre ſur la lettre Y, il execute ſon coup de toute ſa force; comme il eſt repreſanté par les figures.
 +
 
 +
|- 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;"
 +
 
 +
|''Alexander percieves the strong parry of his opponent, passes beyond the end of his sword, using opponent’s push to bring his sword up high between the two.''
 +
 
 +
|''Alexandre s’apercevant du ſort parement de ſa partie, paſſe oultre la pointe d’iceluy portant ſur le heurt de ſon Contraire ſon eſpée entre eux deux en hault.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This Circle draws its source from the action of Circle No 4, and is very similar to Circles Nos 8 & 9, except in this one, Zachary brings his opponent’s sword down to his right side with a push, thus preventing the actions previously discussed in Circles 8 & 9. Alexander, perceiving by the strong parry, passes around the tip of his opponent’s sword, setting his right foot down in front of the Perpendicular Diameter, spins on it to put his left foot down behind him, beyond the Diameter, as he uses the force of his opponent’s push to bring his sword around and up high between them as he moves his right foot beyond the letter Q. As the figures show.
 +
 
 +
|Ce Cercle tire ſa ſource de l’operation du Cercle N.4, eſtant en tout auſſi ſemblable à celles du N.8. & 9. exepté que <font style="font-variant:small-caps">Zacharie</font> en ceſtuy cy, porte l’eſpee de ſa partie en bas a ſon coſté droit avec un heurt, empeſchant par ce moyen les operations declarees audićts Cercle 8. & 9, <font style="font-variant:small-caps">Alexandre</font> ſapercenant du fort parement de ſa partie, paſſe au meſme temps oultre la poinde de ſon Contraire, plantant le pied droit eſlevé au Devant du Diametre perpendiculaire, voltāt le gauche par derriere oultre le Diametre, & ſur le heurt de ſon Contraire, ayant paſſé ſon eſpee entre eux deux en haut, il plante le pied droit oultre la lettre Q; comme les figures monſtrent.
 +
 
 +
|- 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;"
 +
 
 +
|''Alexander fully completes the previous action, wounding his opponent in the right side of his face with a slash.''
 +
 
 +
|''Alexandre execute à plein l’operation precedente, bleſſant d’un eſtramaçon ſa partie au coſté droit du viſage.''
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|This is the finish of the previous action of Circle No 15. Alexander spins his raised left foot behind his right, and wounds his opponent with a slash to the right side of the face. As it appears in the figure.
 +
 
 +
|Cetuy cy contient l’execution du precedent Cercle N.15. <font style="font-variant:small-caps">Alexandre</font> voltant le pied eſlevé derriere le droit, il bleſſe ſon Contraire d’un coup d’eſtramaçon au coſté droit du viſage; comme il apert par les figures.
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|It must be noted here, that Alexander must execute this move without the slightest pause, continuing from Circle No 15.
 +
 
 +
|Il faut icy noter, qu’<font style="font-variant:small-caps">Ale</font>xandre doit faire ceſte execution ſans aucune pauſe, en continuant l’operation du Cercle N.15.
 +
 
 +
|-
 +
|Colspan="2"|
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 
 +
|Here we have the proof of how Alexander can use his dexterity to respond to various attacks which start from the same beginning posture and press his opponent without disadvantage. To many, it may seem that most of the actions in this Plate are useless, having been shown before. But other than the idea that nothing of importance can be repeated too often, they are wrong to think that these are the same. All straight lines can be drawn with a ruler, yet they are given different names and are considered to be different types according to their various functions and positions in different diagrams, so too the actions in this Plate are different from others, in that they are products of different set-ups under various intentions. That can be clearly seen here.
 +
 
 +
|Voila la preuve que noſtre Alexandre à fait de ſa d’exterité changeant à propos d’operation ſur diverſes occaſions ſortants d’une meſme poſture de ſa partie, & le preſſant ſans deſavantage: au reſte il ſemblera  à pluſieurs, que la plus part des operations de ce Tableau ſont inutiles, comme ayant eſté repreſentées aux precedents: mais oultre que rien d’impoortance ne ſçauroit eſtre trop ſouvent repeté, ils ſe pourroyent bien tromper d’eſtimer le meſme ce qui eſt ſemblable, car combien que toutes lignes droites ſoyent faites ſur une meſme riegle, ſi eſt ce quelles ne laiſſent pas de prendre divers noms, & de conſtituer diverſes eſpeces, ſelon les diverſes ſituations & places quelles tiennent en leur figure auſſi les operations de ce Tableau, ſeront differentes  à celles des autres, en ce quelles auront eſté produites ſur d’autres occaſions, & ſur divers deſſeins; comme cela s’eſt peu voir à clair en iceluy.
 +
 
 +
|}
 +
{{master end}}

Latest revision as of 19:55, 26 January 2024