WARFARE OF MODERN TIMES. 75 



(fg. 36b) is given with hand advanced, so that the bow, with fingers 

 directed downwards, is pressed down, and the blade turned, edge down, 

 towards the antagonist's right side, wherefrom you go rapidly back to the 

 extension. Tierce parade (Jig. 37 a) : the bow and the forte of the blade 

 are pushed out of the extension a little towards the right ; the foible 

 remains upwards. Quarte parade (fig. 38 b) requires that the blade be so 

 held, with hand laid back, that the bow comes on the inside, and the cut 

 falls exactly in the angle of blade and basket. The point is directed 

 towards the antagonist's right hip, the flat towards his breast. Steep quarte 

 parade (Jig. 39 b) is like the preceding, only the hand must be held higher, 

 and a sharp counter cut made. Half outside seconde parade (Jig. 40 a) 

 is the seconde parade, but the guard is pushed somewhat to the outside. 

 Steep tierce parade (Jig- 41 a) is the tierce parade, but must be pushed 

 upwards and outwards. Half inside seconde parade (Jig. 42 b) is seconde 

 parade, only the hostile cut must be met from within and underneath. 

 Polish quarte parade (Jig. 43 a) is so given, with the foible hanging down 

 and the hand somewhat raised, that you can see your antagonist with your 

 right eye through the angle of the bell and back of the blade^ High quarte 

 parade (Jig. 44 b) is made from the quarte motion, with foible somewhat 

 less depending, but must be strongly pushed forward. Low quarte parade 

 (Jig. 45 b) is the preceding, but more hanging, and sharper pushed. High 

 tierce parade (Jig. 46 b) is the chief tierce parade, only the bell is more 

 sharply upwards, and you push sideways with the forte of the blade or the 

 bow, whereby you see your antagonist under the blade. In low tierce 

 parade the bell is pushed sideways and downwards to the right. After the 

 teacher has shown the out or assault cuts, after cuts, and double cuts, he 

 passes to the feints. Direct feints are those where the feint and the real 

 cut lie opposite to each other; angle feints, where they lie perpendicular 

 upon each other. In circle feints, the blade goes rapidly over the blade 

 and then under the sword-arm of the antagonist, describes a circle there- 

 fore, and then delivers the purposed cut. Time or stop cuts are given in 

 all positions of the hand, and fall at the same instant with the cut of the 

 opponent, if in cutting he uncovers, or makes too much preparation. It is 

 further to be remarked in time cuts, that the body turns away from the 

 opponent as soon as he steps in (pi. 27, Jig. 47 b), and consequently the 

 right foot steps from its place, as much behind the left as it was before in 

 front of it (passade). Fig. 47 a, cuts steep quarte "a tempo" in the pas- 

 sade. Vaultings are used in cut-and-thrust also, whereby the combatants 

 in this movement describe a circle, the diameter of which is always an 

 engagement. In right hand vaultings, the right foot, in short cutting, is set 

 as far sideways as possible ; in long cutting, forwards and sideways. The 

 left foot must follow the right. In after cuts, however, the body is brought, 

 by setting the left foot sideways, to extension distance behind the right 

 foot. The right foot goes rapidly over to extension in the standing line of 

 the opponent, or, vaulting wider, forward to a long or short after cut 

 (Jig. 48, a, b). After the pupil is finally taught to make the cuts out of 

 succession, he passes to counter-cutting, where attack and defence alter- 



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