Ralphsmanual Version 6

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IN

LESSONS

ByRalph Whittingham Burgess

FOIL FENCING


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LESSONS IN FOIL FENCING

Page ii 3/2/2010 2010 Ralph Whittingham Burgess and Bath Sword Club

2005 Ralph Whittingham Burgess and Bath Sword Club

The author asserts his moral right of ownership of the text.

Please contact the author with comments:

[email protected]

Or visit the Web site of Bath Sword Club:

www. bathswordclub.co.uk
mailto:[email protected]:[email protected]:[email protected]


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3/2/2010 Page i 2010 Ralph Whittingham Burgess and Bath Sword Club

Contents

FOREWORD............................................................................................................................................. v

S FETY NOTES ........................................................................................................................................ vi

P RT ONE................................................................................................................................................ 1Introduction ...............................................................................................................................1

LESSON 1 ............................................................................................................................................. 2The Grip ....................................................................................................................................2The Stance And Position On Guard........................................................................................3The Salute.................................................................................................................................4Gaining And Breaking Ground..................................................................................................4The Attack - Lunge And Recovery............................................................................................4The Recovery FORWARD........................................................................................................6The Hit ......................................................................................................................................6

LESSON 2 ............................................................................................................................................. 8The Valid Target .......................................................................................................................9Covering..................................................................................................................................10Engagement A Definition.....................................................................................................10Absence Of Blade...................................................................................................................10Fencing Measure ....................................................................................................................11

LESSON 3 ........................................................................................................................................... 12Two Simple Attacks: Direct Thrust and Disengagement ........................................................12Change Of Engagement And Counter Disengage .................................................................13The Four Supinated Guards, A Parry, The Riposte................................................................13Sentiment du Fer ....................................................................................................................14Reminder of HOW to begin fencing an opponent...................................................................14

LESSON 4 ........................................................................................................................................... 14Dimensions Of The Piste and Rules.......................................................................................14Simple Defence The Three Parries .....................................................................................15More Sentiment du Fer...........................................................................................................17

LESSON 5 ........................................................................................................................................... 17Three More Simple Attacks ....................................................................................................17Cut-Over .................................................................................................................................17The Counter Disengagement..................................................................................................18Low Line Simple Attacks.........................................................................................................18

LESSON 6 ........................................................................................................................................... 19Simple Ripostes......................................................................................................................19

The Direct Riposte..................................................................................................................19The Indirect Ripostes..............................................................................................................19

LESSON 7 ........................................................................................................................................... 20The Flche Attack...................................................................................................................20The Balestra............................................................................................................................21

ROUNDUP OF PART ONE ................................................................................................................. 22Summary of what Foil Fencing is all about.............................................................................22Simple Attacks - Summary .....................................................................................................22Simple Ripostes - Summary ...................................................................................................22Notes On Attacks....................................................................................................................22Useful Principles.....................................................................................................................23

REFEREEING AND JUDGING ........................................................................................................... 24


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P RT TWO

.............................................................................................................................................27

LESSON 8............................................................................................................................................27Compound Attacks................................................................................................................. 27The 1-2-3................................................................................................................................ 27The 1-2-3 from Absence of Blade ........................................................................................ 28

The 1-2 Attack........................................................................................................................ 28The Doubl Attack.................................................................................................................. 29

LESSON 9............................................................................................................................................29Successive Parries................................................................................................................. 29Compound Ripostes............................................................................................................... 30Counter Ripostes ................................................................................................................... 30

LESSON 10..........................................................................................................................................31Beginning Attacks - Reminder ............................................................................................... 31Preparations Of Attack........................................................................................................... 31(1) Attacks On The Blade Pressure, Beat, Froissement..................................................... 31

LESSON 11..........................................................................................................................................33(2) Coul (& Graze)................................................................................................................ 33(3) Prises de Fer .................................................................................................................... 33

LESSON 12..........................................................................................................................................33The Crois (or Vertical Bind).................................................................................................. 33The Bind (or Diagonal Bind)................................................................................................... 34Envelop (Envelopment)........................................................................................................ 34Defence Against Prises De Fer Ceding Parries.................................................................. 35

LESSON 13..........................................................................................................................................35(4) Gaining And Breaking Ground As A Preparation ............................................................. 35The Appel............................................................................................................................... 35

LESSON 14..........................................................................................................................................36(5) Combinations of Preparations. ......................................................................................... 36(6) Ripostes using Prises de Fer............................................................................................ 36

ROUNDUP OF PART TWO.................................................................................................................37More Useful Principles ........................................................................................................... 37

P RT THREE ...........................................................................................................................................39

LESSON 15..........................................................................................................................................39Trompement and Drobement............................................................................................... 39

LESSON 16..........................................................................................................................................39Stop Hits................................................................................................................................. 39Counter Time ......................................................................................................................... 40

LESSON 17..........................................................................................................................................41Renewed Attacks ................................................................................................................... 41The Remise............................................................................................................................ 41The Redoublement................................................................................................................. 41The Reprise............................................................................................................................ 41

LESSON 18..........................................................................................................................................42

Avoiding Attacks..................................................................................................................... 42Passata Sotto......................................................................................................................... 42Inquartata ............................................................................................................................... 43Rassemblement ..................................................................................................................... 44


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LESSON 19 ......................................................................................................................................... 44Flick Hitting .............................................................................................................................44Defence Against Flick Hits......................................................................................................45

LESSON 20 ......................................................................................................................................... 46Fencing With Absence Of Blade.............................................................................................46

LESSON 21 ......................................................................................................................................... 49The Pronated Guards And Parries .........................................................................................49Prime and Seconde ................................................................................................................50Tierce ......................................................................................................................................50Quinte .....................................................................................................................................50

ROUNDUP OF PART THREE............................................................................................................. 52Final Useful Principles ............................................................................................................53

APPENDIX A TECHNICAL TERMS............................................................................................... 54

APPENDIX B

FIE GUIDELINES ON REFEREEING...................................................................... 59

APPENDIX C Personal Progress Checklist ................................................................................60

APPENDIX D Fencing Terms Explained......................................................................................61


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3/2/2010 Page v 2010 Ralph Whittingham Burgess and Bath Sword Club

FOREWORD

Foil fencing techniques have evolved during some 400 years of life-preserving sword carrying whichstopped evolving when swords were no longer sharp or used for personal defence or duelling and whenit became a sport or game with conventions and rules formalised by our governing body the FIE

(Federation Internationale Escrime).

As far as possible it was intended to provide a sport as near as possible to real sword fighting withoutthe danger of death or injury. The Epe is the direct descendant of duelling swords whilst the Foil beganlife as a blunted weapon to teach fighting / duelling safely without so much risk of injury or death aswhen using real fighting weapons. Even scratches then could cause death later as we know today bygangrene due to pathogens.

Older, very experienced expert swordsmen became the first Fencing Masters (Professors of today)teaching the use of the weapon and eventually Instruction Manuals were produced to provide printedhelp in this process.

An Instruction Manual, including this one, has to start at a beginning and build layer on layer in asequential, logical and rational manner. This one is based on a pragmatic, need-to-know basis for orderof techniques.

A good Instruction Manual should help an aspiring Coach to teach and enable a keen pupil to self-education, albeit with advice and drilling from an experienced fencer, Fencing Coach or Professor on aregular basis.

Pupils and pupil-teachers learn by a variety of methods, instruction and drilling (repetitions withcorrections as necessary) but these are always more effective and successful with logical reasons,explanations, demonstrations and even humour, to produce a relaxed atmosphere in which learning canoccur more readily. Remember, some learn quicker by physical demonstration and repetition alone,whilst others also need more immediate explanation, logical reasoning and the application of brain

power, though most benefit from a good mix.

So those who learn, teach or just wish to improve to perfection their fencing with more understandingand logic, start at the beginning and work steadily through to the end which will only be the start of anenjoyable sport for the whole of a fit, healthy lifetime if you wish.

These lessons are based on Fencing with the Foil(now out of print) by Professor Roger Crosnier,whose tuition and that of his successor as National Coach, Prof. Bob Anderson, taught me all I knowabout Foil tuition since my initial training with Fencing Master Frank Edmonds in Swansea FencingClub from 1949 to 1951.

The lessons are presented in a direct, practical and personal way to be as clear and without confusion asif they were being delivered in person, and with enough explanation. They are intended to pass on theexcitement and pleasure which I have derived from Fencing since 1949 and teaching and coaching foilas a qualified Coach since 1969 and now a Regional Coach. It is hoped they will help all enthusiasticreaders and students of this challenging weapon to learn and improve their foil play with knowledge andunderstanding.

I have been fortunate in having the kind assistance of several friends in Bath Sword Club, in theirencouragement printing and compilation of these lessons: Lorraine Haan, Rod Hansen and especiallyJohn Mason our Club chairman without whom the present completed format would not have been

possible. To all my grateful thanks.

R.W.B.


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Page vi 3/2/2010 2010 Ralph Whittingham Burgess and Bath Sword Club

S FETY NOTES

Safety comes under two headings - Passive and Active.

Passive Safety is concerned with EQUIPMENT - which is not a danger unless misused, or allowed todeteriorate without checking periodically.

All Club equipment is maintained in good condition, so it is most important to see that personalequipment is kept in good condition, knowing what to look for and to do, to keep it that way. The BFAGuidelines on Safety pamphlet will give you a very good guide to equipment safety, so get a copy.

Active Safety concerns behaviour, and adherence to the current FIE Rules to do with handlingequipment, and Fencing with it. However, remember that Fencing is Fun and that we all do everythingwe can to make sure it stays that way, by our own friendly, polite, courteous and sensible behaviourwith, and to other fencers, -and in care of the equipment!

But basic Safety precautions must be learnt from the start as one begins learning to fence, so:-

How To Handle (Use) A Foil Safely

Take care when collecting and carrying foils, and returning them to their bag, - keep the point downor carry it by the point, and never wave it about.

Never, ever point a foil at anyone unless they are wearing a mask, and never cross swords withanyone unless you are BOTH wearing masks.

Learn to put your mask on with one hand, - or put your Foil down when putting your mask on toavoid hitting someone behind you.

Avoid handling your foil blade, especially when worn, to avoid steel splinters.

How To Fence Safely

Fencing is NOT a body-contact sport. Body contact is called Corps corps and is forbidden in foil(& sabre!) for a contestant to cause this, even without violence, brutality or jostling. So maintain

proper fencing measure and adjust your hitting to the distance at which you find yourself at anymoment of attack or riposte, especially during Flche or Balestra attacks.

NEVER remove your mask during fencing, until the end is announced and the scores given and youhave saluted your opponent, - or in a friendly bout when both contestants have saluted and lowered

swords at the end and come together to shake hands.

Make sure your equipment is all in good useable condition before starting, (or that borrowedequipment is likewise,) for your own safety and peace of mind and your opponents.

Know the Rules and what you may and may not do and abide by them strictly, to avoid penalties orindeed fencing dangerously.


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Part ONE LESSONS IN FOIL FENCING

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PART ONE

Introduction

Button Foible ForteCoquille orGuard

Hilt orHandle

Pommel

Finger Pad

The objective of the game is to land a good hit on the valid target of your opponent whilst preventing him/her

from hitting you, as far as possible. (Note that there are no double hits at Foil).

All the lessons following are based on the Classical French School of manipulating the Foil with hand andfingers and only minimally with the wrist, using a simply shaped sword hilt made to fit the hand and a balancedin hand blade. It very closely follows the Rules of the Federation Internationale dEscrime, the body whichcontrols World Fencing, and the well trained, skilled, logical and keenly observant Foilist can succeed to the topinternationally with this.

Modern (AD 2000) foilists in the EU and elsewhere have mainly opted for a more vigorous, physically strongstyle which uses blade heavy, unbalanced foils which need a shaped hilt the pistol grip, accurately sodescribed to hold and operate this blade and with very strong, fast though more obvious and less subtle wristand arm actions.

Both styles can be trained to be equally fast, though the French so called finger style is more subtle andeconomical in movement and therefore effort and energy need and it can be used by even older veterans to aripe old age, to continue very stylish foil play which continues to be effective and successful.

The largely physical modern style can only restrict continued success as one slows down physically with age,since it is far more tiring and requiring faster reactions.

The following techniques have to be taught and learnt Classically. How each foilist then decides to continue andcompete with foil in competition and in what style, will be entirely a personal choice and a matter of adaptingthe teaching to the choice of foil.

N.B.a) All advice/instruction is for right handed pupils and foils. Left handed pupils need to read instructions and

oppose a right handed foilist oppositely, ie if the opponent is in a high outside guard, the left hander opposesin high inside guard etc unless otherwise stated, or separately described.

b) As far as possible, a logical reason(s) and/or explanation(s) have been given for the execution and use ofeach technique, position or move, since all pupils learn quicker and more thoroughly, (leading to moreintelligent/successful perfection,) if the purpose and timing are added ie the why and when are addedto the how, when being instructed or coached.

c) Each technique must be practised until near perfection is reached and then used against opposition until its

usage is familiar.If a technique, its purpose or its timing is not clear or still eludes your understanding, persist with enquiry ofinstructor or coach until satisfied.

2010 Ralph Whittingham Burgess and Bath Sword Club


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LESSONS IN FOIL FENCING Part ONE

LESSON 1

The Grip

This is the correct way in which the hilt/handle of the foil is held so that the hand remains relaxed andnot cramped, ready to manipulate the blade with ease and full dexterity, without tiring unduly eitherhand or fingers.

The Hilt itself is shaped to fit snugly into the hand and has broad surfaces top and bottom and narrowersides (left handed hilts are similar exactly but mirror image).

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Coquille orGuard

Finger Pad

Manipulators:Index Hook

Next, lay your thumb flat along the broader, upper face to hold the sword with finger and thumb firmlyso that the index hook and thumb can manipulate the sword into the small clockwise and anticlockwisemovements required, along with deep, narrow V movements also. These movements will be aided bythe other three fingers pressing and holding the hilt firmly into the palm of the hand.

The index hook and thumb tip are put comfortably against the finger pad inside the coquille and the

hand is tilted, half supinated (half on its back). Keep the thumb FLAT and the palm of your hand FLATagainst the hilt and the aids almost flat, firmly pressing the hilt into the hand. The thumb should be

a)Upper Face b) Left Face

Aides

Position ofHilt in hand

Thumb

c) Your hand and the hilttogether

To hold your sword, put your hand in frontof you as shown in diag. (c) with your elbow

bent, identify the shape of the hilt of thesword as in diags (a) and (b) an lay it intoyour hand as in (c).

CARRY THE SWORD IN YOUR HAND,

DONT GRIP IT AND RELAX THEHAND.


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straight, flat against the index knuckle alongside it with no gap or hole between them and the pommelcentre wrist.

Practise making the sword tip describe small circles clockwise/anticlockwise about 1ft in diameter andsmaller, with a bent arm and with the arm and sword straight in front. Also make the point describedeep, narrow vees 4-6 inches across and 9-12 inches deep, at the end of the straight arm. These willstrengthen your finger and thumb and hand in making strong, well co-ordinated, vital fencing

movements with the hand half supinated. The Aids stroke the hilt and give it firm strong controlledmovements and clamp it firm into your hand at the end of a movement.

The Stance And Position On Guard

The stance is the correct position of the feet as the basis for the on guard position. Stand sideways tothe direction you intend to move eventually, with right side or left side leading, depending on your rightor left handedness. Place the feet apart about as wide as shoulder width, turn your leading foot on itsheel to 90from your rear foot, so keeping your front foot in line with the rear heel (= line of fence) and

bend both knees to a half sitting position.

This will give you balance and mobility equally forwards and backwards. Turn the rear foot about 5forward at the toes as if about to begin a cross-country run, keep the bottom and abdomen tucked in andthe back straight, and if there is a feeling of falling back, then drop the rear knee slightly more forwardor bent. Maintain the foot separation after movement, as exactly as you can.

The chest and shoulders will, like the hips be at about 45from where you started (or where you will bemoving,) but a more comfortable position is 50ie facing slightly more forward than at 45.

The sword and arm are bent at the elbow with the sword pointing forward, elbow a hands width fromthe waist, sword and hand in front of the elbow and straight under the shoulder, and the back of the hand

just out of the line of the shoulder (outside it). This makes sure your sword defends (covers) yourshoulder, with the sword and arm in a straight line from the elbow and the point raised to about eye

level of an opponent.

The rear arm is held with upper arm horizontal and in line comfortably with angle of the chest andshoulders; the forearm is vertical, the hand relaxed, drooped, as if waving good-bye, and relax, holdingall this position of on guard. Your head will look over your forward arm at an opponent.

The function of the rear arm is fourfold to give you balance, direction, penetration when hitting theopponents target area, and finally lift and balance when recovering from the lunge.

FrontSide

See photographs on page 8

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The Salute

Modern sport fencing came from the traditional need for self-defence with the sword over the last threehundred years and traditional courtesy has also survived in the salute, to ones opponent, a jury if any,the referee and spectators. This at the beginning of matches in competition, or friendly encounters, (alsoto ones coach/ instructor at the start of lessons) and in each case at the end in reverse after removing themask.

Put on the mask and remain half turned to the opponent with sword and arm pointing groundwards inhis direction. Raise the sword/arm diagonally upwards then bend the elbow and bring the guard closeand level with the chin, sword pointing straight upwards. After the opponent repeat to any jury, anyspectators and then the referee.At the end of a contest, after the salute remove mask then shake the opponents hand with your unarmedhand.A final touch is to thank the Referee even if you have lost.

NB from the FIE seminar, April 1999 on refereeing guidelines:- The salute at the beginning and end ofa fight in competition is MANDATORY. Failure to salute and shake hands at the end will lose hitsscored and you will be fined $500 (300 approx) which if not paid will result in a ban from

International competitions.

So all fencers need to practise the salute and hand shake when fencing to make it an automatic courtesyhabit, since forgetting is not just discourteous but expensive, dramatic and drastic.

Gaining And Breaking Ground

To step forward move the front foot first, followed by the rear foot the same distance exactly, so as tomaintain the spacing between your feet. To step back move the back foot first as near as you can thesame distance you had stepped forward, to standardise stepping forward and backwards as far as

possible. If you need to move further forward, or back, it is better to take more steps than to lengthenthe steps.

Keep stepping smooth, slick, snappy yet slinky, cat like but crisp, so that moving does not take anylonger than necessary and you cannot be caught off guard whilst moving or unbalanced. Maintain theknees bent (sitting down position) and learn to move from the knees down, if you can whilst keeping theupper legs in position. Aim for lightness of movement and of foot by keeping slightly on the balls of thefeet whilst moving and lower the heels between moves. Practise up the piste and back.

The Attack - Lunge And Recovery

Otherwise known as the development and return to guard. It is the means of reaching ones

opponent and making a legitimate hit on the valid target area, then returning out of reach. It is composedof the extension of the sword arm, from on guard, (or following a parry or other offensive or defensiveaction), followed by the action of the legs to carry the body and sword to reach the opponent, and back.

First, note the FIE definition and guidelines on the attack:-The attack is the initial offensive action with the straightening of the arm, (from on guard) and the

point of the weapon continuously menacing the valid target of the opponent. [This is known as point inline and is in the high line].

There must be no pause in the extending of the arm and no bending of the arm once the attack hasstarted or the right of attack passes to the opponent. (ie loses priority). The point-in-line is valid whetherthe fencer is standing still, going backwards or forwards. It must be fully parried to lose validity.


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Straightening The Arm

The straightening of the arm defines you as the attacker giving you priority as well as helping to coveryour target and discourage your opponent from attacking you, and giving you chance to aim accuratelyyour hit onto your opponent. Your opponent has to parry you fully away from hitting him to removeyour priority. If these 2 rules are not strictly observed refereeing is made virtually impossible.

The Lunge

The lunge is achieved by lifting the front foot just off the floor, then straightening the rear leg to pushthe body forward horizontally to reach the opponents target area with your foil point. As the point is

placed/landed raise the hand slightly above the shoulder to compensate for any drop in the body, and tokeep your own target area covered to offer no incentive to the opponent to counter attack you there.

Simultaneously, the rear arm is rapidly dropped to a position parallel with the rear leg, palm uppermost,- which keeps your shoulder back and keeps you and the sword arm balanced as it is straightened in thelunge; the rear arm also gives accurate direction to your attack and penetration as you hit and thus bendyour blade slightly, the rear arm almost reaching backwards to equal your sword arm as you hit. Thenon recovering it gives a sense of lifting and balance as you return to guard.

DO NOT OVERLUNGE and allow your front knee to bend beyond your instep, or your foot beyondyour knee.

To recover, use the bounce of the landing into the lunge and the penetration of making the hit to startyour recovery recoil, and by bending the rear leg PULL-BACK with it to get your weight off the frontleg. Then with a flick of the heel return your front leg and body to the on guard position with the handand sword trailing in last. This is easier and uses less energy than pushing everything back to on guard

by the effort of the front leg quadriceps (thigh) muscles, and is less strain on the knee.

Remember, the move into the lunge and recovery back is a horizontal movement carrying the on guardposition forward into the lunge and back to the starting position. Think of the lunge and recovery as all

one action and practise it. The straightening of the arm first followed immediately by the lunge iscounted as occurring in one period of fencing time.



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The Recovery FORWARD

It is not only possible but often useful, even occasionally necessary, to make recovery forwards insteadof backwards.

It is used where your opponent doesn't defend but has merely retreated and further or faster out of rangethan you have attacked. To recover as previously described obviously breaks contact completely and

prevents any continuation of your attack, but you can maintain pressure on your opponent by recoveringforward.

How? - by keeping your sword and arm straight and still threatening it is still your attack. You continueby pulling up your REAR leg forward under you (keeping knees well bent), into an on guard position,assisted by lifting your rear arm, then continuing into a further attack with one or more blademovements as you find necessary.

This ability will be of great use to you when your fencing has progressed to any competition level, -perfect it now.

The Hit

This is the fixing of the sword point clearly and distinctly and with the character of penetrationanywhere on the opponents body, ie going forward and the blade bending a little on contact, on or offtarget.

Hits only score on the valid target area, those off the target area arms, legs, mask including the bib do not score but will halt any further action from either opponent stopped by the Referee and thenrestarted again.

Correct hitting technique is vitally important involving the ability to vary ones co-ordination at anydistance of lunge or riposte, so that one hits accurately, does not risk breaking ones foil too close (ormissing a hit just out of range) and not hitting ones opponent unnecessarily hard and painfully.

Start learning this technique with a partner (or against a suitable wood door), beginning by coming onguard with the sword point a mere 2 inches (5cm) away from the surface to be hit, then begin to

balance the sword over your index finger, down and up by pushing and pulling gently with the thumbover finger. Then on a down rapidly push the point onto the target and straighten your arm to bend the

blade in an upwards bend by lifting the hand just above shoulder height as the point strikes.

The Hit



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Keep repeating this action and speed it up as quickly as you feel confident of always hitting the targetaimed at and bending the blade upwards correctly. The blade should never bend downwards and the

point hit lightly and not thump or prod.

This can be done using the wrist but is not so positive or accurate as fingers. When this can be repeated100% accurately retire 1 foot length and re-learn the co-ordination - as your arm has to be straightenedBEFORE the point is flicked down and placed on the target, with a slight lean forward to bend the blade

up to give penetration.

Then repeat with another foot length retreat requiring a half lunge, then hit; again after 100% successretire to full lunge length from the target and retrain your co-ordination. You should now be able to hitcorrectly from any distance in your fencing measure and have developed a sense of point and pointcontrol. Remember the objective of the game is to land a good hit on the valid target of youropponent whilst avoiding being hit yourself or preventing your opponent from hitting you, as far as

possible. (N.B. There are no double hits scored in Foil).


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The Supinated On-Guard Positions

QuarteSixte

Octave Septime



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LESSON 2

The Valid Target

Foil conventions limit the target to the torso, the legs, arms and head are not valid target, though hits onthese parts will stop play whilst not scoring.

Simply the valid target is from the top of the collar and inside the shoulder seams to the line of thegroins in front, for both men and women. The upper back is in target similarly but only to a straight lineacross the top of the pelvic bones (the waist). The bib on the mask covering the collar is currently stillnot target area, like the mask to which it is attached, = throat protection!

For safety, the full jacket overlaps the this target area to beyond the groin lines. The front of the targetarea is usually divided into 4 sections, right and left, upper and lower for convenience of tuition, namedin the Old French, and based on positions dictated by necessity in defence when attacked by anopponents sword in duelling or for self-defence.

These sections are also referred to as lines , so we have the high lines and low lines and inside andoutside lines. The high outside line is the side you hold your foil when you come on guard to startfencing or tuition, whether you are right or left-handed and is the position from which traditional(classical) teaching starts.

Traditionally there were 8 fencing positions, and these are still used today, called Prime, seconde,tierce, quarte, quinte, sixte, septime and octave ie first, second and so on. Sixte, quarte, octave andseptime are all with the sword hand held in half supine position (half on its back with the thumb andfinger tips uppermost). The other 4 are pronated positions with the back of the hand uppermost dealtwith later in Lesson 21.

The high outside line referred to earlier is the sixth or SIXTE position, on the upper right side for right-handers and upper left for left handers.

Despite the historical reasons for traditional French terminology, use English first to eighth ifpreferred. But whichever learn thoroughly and the reasons for them, only poor fencing can resultfrom ignorance due to difficulties learning the game without.


The Target and its quartering intoguard/parry positions

6cm (2) {Bib

Top of the ilium(hip bones, pelvis)


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Covering

This is basic defensive positioning of ones guard. It is defending your own target by making sure, as far

as you can, that your opponent cannot see anywhere to make a direct attack on you by keeping theopposing blade outside your guard or your parry.

The forte of your foil (9-12) is your shield, whilst the foible has to bend on hitting to simulatepuncturing your opponents skin. The on guard in sixte has already been dealt with in The Stance, butit must be emphasised here that that the foil is held pointing over the opponents shoulder in a straightwall of steel on that side, hand breast high, and point at opponents eye level, with the pommel in thecentre of the wrist and sword straight from the elbow, in order to defend against a straight thrust over, oraround ones foil on guard in sixte. This is being covered.

To take guard in Quarte, the foil is held as the straight steel wall pointing over the opponents othershoulder to that in Sixte. In changing from Sixte to Quarte (and back again) the foil is carriedABSOLUTELY PARALLEL from one side to the other (think of parallel railway lines), to oppose thestraight attack or thrust, with ones forte maintained at the on guard angle across the horizontal attackor threat.

It is vitally important to train oneself to recover from a lunge and to return to guard fully covered andautomatically.

Engagement A Definition

Engagement in foil fencing is to cross swords with the opponent by about 6in or 15cm each. This is

usually in the high lines, Sixte or Quarte (since any other leaves ones whole target exposed) in anattempt to minimise the risk of a direct thrust. It is in the seeking to close ones line and be fullycovered, by pressing the opponents blade out of the central crossed position, that one receives return

pressure from the adversary seeking to cover in turn again nearly or completely, that fencing starts.

It is quickly obvious that both fencers cannot be fully covered on guard in Sixte or Quarte since:a) It will not be possible to cross swords and

b) both would be wide open and totally uncovered.

Therefore it is this alternating pressing of blades in and out of covered that ones chance of deceivingthe opponent occurs and fencing gets going. But remember your opponent is doing the same to you,so watch keenly and carefully and be prepared!

Absence Of Blade

This occurs by the deliberate taking the blade away from contact (detaching) with the opponents bladeduring fencing., or by failing to cross swords at the start of a bout, deliberately. This must not become ahabit, since this can give rise to serious consequences and drawbacks which can contribute to a lack ofsuccess even failure to progress in the sport:

Absence of blade causes larger and therefore more obvious signalled movements to deflect anattack, or threat of one. This necessitates a greater speed of reaction and force resulting in these

larger, wilder movements than otherwise necessary in conventional blades-in-contact mode with itssmall, neat and more subtle correct techniques.


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More serious the lack of blade contact results in a loss of sensory awareness which should be anaddition to visual perception, that is loss of sentiment du fer, literally the feel of the steel, so thatone is not instantly aware of loss of contact as a warning of some action happening, and thereforethe ability to impose ones mode of play on the adversary, or to be aware of imminent attack whichneeds attention.

On occasion, one can deliberately use absence of blade tactically, particularly against heavy-handedopponents who continually beat ones blade, perhaps on purpose to tire ones arm, - so avoid them andoffer an opening one can control.

Fencing Measure

This is the distance which you try to maintain between yourself and your opponent such that he/she canonly hit you if they lunge FULLY.

It is essential to train yourself to estimate the correct fencing measure with each opponent and to remain

keenly aware of it at all times and in all circumstances.

Gaining and breaking ground (advancing and retiring) is used all the time by you and your adversary totry and make one another misjudge distance to ones own advantage, or to adjust to relative movementand play, even more especially if there is a height difference.

So develop this as soon as possible and remember, too close and you can be too easily hit before youcan defend too far and whilst your opponent not be able easily to reach you, you may end up wastingefforts to attack, or counter attack, when you are out of reach, however slightly.

So finally, you now know how to give pressure on an opponents blade, push it out of the way and makea simple direct attack with a lunge and hit your opponents target. Also you know how to change yourguard to the opposite side to deflect, or parry, your opponents attack.

Pair off and practice this then come back with questions.



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LESSON 3

How to begin fencing? your probable question after practising at the end of Lesson 2.

Two Simple Attacks: Direct Thrust and Disengagement

The Direct Thrust/hit;The Disengage Indirect hit.

The Direct Thrust. When first you, then your opponent were giving covering pressure from the crossingof engaged blades, there is a correct moment in time just as pressure is being given to push theopposing blade out of correct cover, to make a lunge/thrust over the blade and hit, as a completesurprise. This is correct timing and takes place in one period of fencing time.

The Disengage. An alternative is to avoid the pressure which is pushing your blade out of correct coverof your guard, by immediately dipping your sword with your finger and thumb under the pressure, this

is called Dis-engaging from their blade. Then your blade is lifted up the other side to make a correctindirect hit but covered. Some of you may have discovered this already as a deep narrow V. When thisis done as one smooth, swift movement it is also in one period of fencing time.

CORRECT DISENGAGING best explained by breaking it down into the parts of the movement asfollows:

On 1. relax the grip on the hilt, at the same moment pulling with the forefinger under the thumb to rock

the sword down over the forefinger. The point of the weapon will describe the curved left side of aas it is pushed whilst sliding down under the opponents blade.

On 2. push the hilt back up with the forefinger under the thumb and the straight vertical side of thecan be completed. The other fingers clamp back onto the hilt to firm it into the grip, with the blade nowon the inside of your opponents and covering into attack.

On 3. extend the sword and arm with the blade horizontal at your target.

On 4. lunge hit and bounce and return to guard.

1stProgression. On pressure 1 and 2 can be put together to make the disengage to just the other side ofthe opposing blade.

On 2. the sword/arm is extended to threaten the opponent.

On 3. lunge, hit and recover.

2nd Progression. Again 1 and 2 can be put together on pressure and the point dropped, returned up andthe sword arm extended.

On 2. lunge, hit and recover.

3rd Progression. Finally the whole disengagement is put together when triggered by pressure butREMEMBER :

i) The hand movements are completed and the arm is straightening before the foot moves into thelunge, hit and recover, when moving fast;

ii) As the lunge is made the hand is raised and the lunge and hit is made covered, so that, despite

starting in Sixte, after disengaging your lunge/hit ends up covered in Quarte. If you start inQuarte of course then you finish lunging and covering in Sixte after disengaging;



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iii) Success will only happen with correct timing, by your anticipation of the moment that yourcovering pressure produces a pressure back.

Change Of Engagement And Counter Disengage

The other way of avoiding your opponents pressure as they cover (or move to make a direct thrust over

the blade) is to change engagement. This is to make a disengagement from your Sixte and retake coverin your Quarte side to put their blade outside your guard. Covering pressures may continue then inQuarte, as before in Sixte. It can be strictly what it says and defensive,

Or if used following your opponents change of engagement, it becomes your chance of anoffensive/attack; and if following their disengage attack it could become your counter offensive in aCOUNTER DISENGAGE attack.

The Four Supinated Guards, A Parry, The Riposte

Under Sixteguard position is the eighth or Octave guard in the low line (see Target diagram). Learn thisthoroughly then the other guards of the inside line are the opposites:

Quarte in the high lineSeptime in the low line

All four with the fingers uppermost and the hand half on its back. In low line the wrist only is bent tolower the sword, the arm stays in position.

A Parry

To change your guard from Sixte to Quarte to DEFLECT an attack into your Quarte position is to makea PARRY of Quarte, which to be correct and successful must completely deflect such an attack fromhitting. This is a simple, instinctive or lateral parry.

Similarly to change back from Quarte into Sixte in defence becomes a parry of Sixte. In low lines youcan have parry of Octave or Septime. A parry is one period of fencing time.

Note:i) If you fail to deflect completely and are hit on or off target, you have made what is called a

MALPARRY.ii) You may not use your unarmed hand for defence or offence!

The Riposte

A successful parry gives you the right to counter attack your opponent but immediately, with priority,this is the RIPOSTE. There is no parry-only, it should be parry and riposte together, instantly, andaccording to the Rules a riposte should go directly forward from the position of the parry. Do NOTdetach into a more central position to riposte but go straight forward. Thus your riposte is completedcovered, keeping the opposing blade parried whilst you riposte and away from your target.

Do not delay ripostes longer than necessary or you lose priority to counter-attack, but you may NOTriposte if your opponent deceived your parry, so that you failed to make contact and deflection, asanother parry is then necessary.

The riposte is also one period of fencing time, so a parry & riposte is in two periods of fencing time.


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Sentiment du Fer

Literally the feel of the iron, where as you parry and feel contact with the attacking blade, you knowyou may riposte with priority. No contact no riposte just another parry.

This feel of the opponents blade gives another sense of awareness, other than sight, of your opponents

actions. It is most important since it will give you that edge of success over those who havent got thisawareness.

Practice this with a partner, taking turns of 5 attempts each, making simple disengagements and indirectattacks to give them chance to make a parry and riposte when contact is made, with at least 2 occasionswhen the attacking blade is lowered or withdrawn and ripostes must not be made!

Next, repeat the whole of this in turn, with each fencer practising parry and riposte (or not!) doing sowith eyes shut to become aware of Sentiment du Fer.

Next, recap Change Of Engagement (see earlier in this lesson) and give covering pressures in turn sothat each partner can practise this also with eyes shut, to get the sentiment du fer.

Reminder of HOW to begin fencing an opponent

Use one of the following:a) by Simple Direct attack on returning a pressure from your opponent, you do so with a strongdeflecting pressure to surprise him/her with your attack over the top of their blade;

b) by Simple Indirect attack by disengagement on your opponent's pressure, you initiate a threat withstraightening arm and sword in-line, having dipped under his/her blade and follow through into thelunge, covered, but immediately and fast;

c) by defensive Change of engagement on pressure an your blade. (Then if your opponent presses yourblade back in a parry you can instantly disengage and lunge.);

d) by Counter disengage attack if your pressure on your opponents blade has produced a change ofengagement. You must anticipate this and have already begun your counter disengage and lunge to hit.;

e) in absence of blade (refusal to cross swords), always use Second Intentions - feint of the attack intotheir open target to draw a parry and then disengage in advance of it, lunge and hit.

Note:i) Second Intentions - your feint of attack is deliberately never intended to be completed - used only fordeception, followed by a second action taking advantage of the opponents response uncovering

himself.ii) Beware, your opponent may well be attempting to build up his attack similarly on you.

LESSON 4

Dimensions Of The Piste and Rules

Fencing takes place on a Piste with dimensions as shown for all weapons.

It begins by contestants toeing to the on guard lines so that fencers are out of reach until the Refereestarts the bout. Then fencers move closer to engage by crossing swords (or with absence of blade,making feints and attacks). Movement is by gaining and breaking ground, only straight up and down the

piste, employing all the techniques learned until a hit is scored by either side and play stops for analysisby the referee and scoring.


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3m 2m2m2m

1.5-2m wide

Centre Line

3m 2m

OnGuard Lines Warning Line

Rules

i) While ducking under attacks and stepping aside is allowed, if a contestant steps off the pistewith one or both feet a HALT is called, the opponent steps forward 1 metre and bothcontestants come back on guard centre piste and play is restarted.

ii) A hit by the fencer who crosses the lateral boundary of the piste with one foot remains valid if

the action was launched before the command HALT.iii) If one of the fencers leaves the piste with both feet, again a HALT is called and any hit he made

is annulled. Only a hit made by the fencer who remains on the piste, with at least one foot, iscounted even in the case of a double hit. If the opponent left on the piste made a hit, then afterscoring play is restarted back at the on guard lines as usual. But if he made no hit then bothcontestants are replaced centrally on piste where they are and play is restarted.

iv) The 2m Warning Line is to indicate the end of the piste is close, and if the 1 metre step forwardby one fencer puts the one who stepped off the piste over the end of the piste when resuming acorrect fencing measure, then a hit is awarded against the latter.

v) Should a competitor cross the rear limit of the piste with both feet a hit will be scored againsthim.

Note: It is forbidden on pain of penalty to go off the piste with both feet deliberately to avoid being hit.

Simple Defence The Three Parries

There are 3 parries and ripostes:a) Simple, instinctive, lateral

b) Semi-circular the low or indirect parryc) Circular the counter or acquired parry.

The simple, instinctive, lateral parry has been covered in an earlier lesson.

The Semi-circular Parry

This is a parry usually taken from a high line to deflect an attack aimed at the hip or abdomen in lowline, and when necessary back again into the high line. Classically executed from engaging in the highline to the guard below in the low line on the same side, by describing a semi-circle inwards with thesword point to gather the attacking blade and take it back out and away from the low target area

Thus from Sixte you semicircle inwards and downwards to Octave guard and the point of your weaponpoints to about the level of your opponents knee and just outside it.

From Quarte similarly in and down to Septime.

This is achieved with a slight wrist rotation, the hand only bending backwards and downwards, still halfsupinated, the arm remaining exactly in position, not being lowered in each case. In Quarte there is alittle more supination to end the move.


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Should the attacking blade be making only a feint into low line and then be redirected back up into thehigh line as you begin your parry, then merely by reversing your semi-circular parry back into your highline by raising your hand bending the wrist back up it was essential the arm was not moved yourhigh line parry will then be still correct and effective!


Riposting from low parries as for parries in high lines riposte straight forward from Octave orSeptime, lifting the hand and sword point to place the riposte on the low target that is nearest andquickest, and whilst keeping the point on low target, continue to raise the hand to discourage anyattempt to counter parry.

Quarte toSeptime

Sixte toOctave

Circular Parries

These involve a circular movement of the blade which is intended to put the attacking blade back intothe line from which it started. Also called Counter Parries or Acquired Parries.

In Sixte this is a clockwise circle made with the manipulators thumb and forefinger the thumbpushes while the forefinger pulls, to drop the blade down under the attacking blade, then gathering itand rotating back, taking the attack back into the Sixte position it started from. The movement is aided

by the other 3 fingers which first relax and follow the grip around, then quickly and firmly closing themon the hilt to help pull it round and back firmly into the hand and correct guard, covered.

In Quarte the circling is similar to Sixte but anti-clockwise.

In Low lines this parry is rarely used, if ever, since there is so much open target above.

In SixteClockwise

In QuarteAnti-Clockwise


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Note:

i) Do not use wrist or forearm for these circular parries as neither can be sure of accuracy orcovering at the end of the parry because the thumb along the top of the grip directs the accuracyof the parry and riposte and the thumb is attached to the wrist which must therefore not moveduring the circling action for the parry/riposte to remain accurate.

ii) Occasionally fencers need a little more time or space for any of these 3 parries and it isperfectly in order to lean back or step back whilst making a parry (sometimes jokingly referredto as the 4thparry).

More Sentiment du Fer

Recap: Giving covering pressures, and changing engagements on pressures.

Then, taking turns to lead, REPEAT but MIXING them for several minutes and always in opposites asfollows:

Whoever leads can give pressure or change engagement at random, even repeating a technique severaltimes as they please, but keeping fairly steady and not too fast and always remaking blade contact the

partner (be serious and dont laugh!) always has to do the OPPOSITE if pressured, changeengagement if engagement is changed give covering pressure.

When both have had turns leading and have got the idea REPEAT but the partner following does soWITH EYES CLOSED!

This might be tried with both partners with eyes closed and speeded up?

Finally you should have learned to be aware of an opponents blade position purely by feel which

should improve your fencing no end!

LESSON 5

Three More Simple Attacks

a) The Cut-Overb) The Counter Disengagementc) Low line Simple Attacks

Cut-Over

Also known as the Coup. On receiving pressure on ones blade in Quarte, into ones Sixte, keepopposition to it whilst lifting the sword and arm slightly to slide up the opponents blade. At the sametime twist the INSIDE of the wrist to bend down forward with the hand up, so that the fingers faceforward towards the opponent to produce slightly more twisting to Quarte. Your blade will be morevertical, momentarily, and pommel down under the wrist.

This has 2 effects of sliding to the top of the opposing blade pressing on yours, at the same time aflicking the bow of your blade round the top of the opposing one which when released flicks out ofyour way on to your Sixte side. Immediately bring your forearm back down and twisting forward again,extending arm and sword to put point in line with hand again properly supinated covering into yourSixte to complete and hit.


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Effectively it is the one move in French finger style fencing where the wrist is twisted, from the on-guard supinated position and back to hit, a double twist.In Sixte, on receiving pressure the actions have to be opposite on raising the arm slightly, to achieve thesame result at the same time the back of the wrist is bent down as the hand is bent up, fingers facing

backwards, and the pommel is down inside the wrist. Then the arm and sword extend, point in line, andhand back in supination covering into Quarte to complete the hit.

Note:The Coup succeeds by being a surprise! Over use in any one contest loses the surprise element soavoid frequent repetitions or, worse, allowing it to become a habit. Remember that in lifting anddrawing back the arm, however slightly, leaves you exposed to a counter offensive action do notencourage this!

The Counter Disengagement

This is used to deceive an adversarys change of engagement it is an answer to it, or to his attempt toparry with a circular parry and then attacking.

The counter disengagement begins and ends in the same line in which one starts and must be completedbefore the final movement with the foot into the lunge.

Used in the deception of a circular (counter) parry the counter disengagement can form part of aCOMPOUND attack which will be covered in a later lesson.

Low Line Simple Attacks

The attack begins in the usual way but ends up being directed, from a disengage or counterdisengagement, into the low line by just not completing lifting the blade back into the high line whilstmaking those disengage movements. The hand also must not be raised above waist level in completingthe hit.

Note:i) In low line attacks it is important to pronate or supinate ones hand on making the hit

(whichever is more convenient) to make the bend of the blade sideways and not vertical asusual to avoid it being broken in contact with the opponents arm, or at least being bent or

parried off by the elbow movement. If pronated, remember it is essential to be accurate inhitting on the hip, or the bend of the blade could cause the point to skate past the opponentsOctave and Septime target and not make a hit.

ii) Attacks in low line are unexpected and not well parried so often give more successful, surprise

hits scored.iii) When fencing left handed opponents, attacks/hits in the low or the high line are alwaysdelivered with a good pronation to ensure accuracy of fixing a good hit. Similarly if you are aleft handed fencer the pronation when hitting is essential in low and high lines except ofcourse when hitting another left hander.


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LESSON 6

Simple Ripostes.

Direct

Indirect - by disengagementby Cut overby Counter disengagement

Simple ripostes are the counter offensive action following a successful parry, the dual purpose toprevent being hit then launching a counter attack with the riposte if successful.

Ripostes can be immediate OR delayed depending on the actions of your adversary when parried. Ifthey are attempting to continue to force their attack on you, you can only continue to hold your parryuntil they begin their withdrawal and recovery.

Again, ripostes can be made with or without a lunge depending on the speed of your attackers

recovery.

Simple ripostes ie only one blade movement, - can be direct, in the same line as the parry, orindirect into the line opposite to the parry by disengagement, cut over or by counter disengagement.They can end in high or low line.

The Direct Riposte

This should be made going straight forward from the parry and hit the opponent without leaving the linein which the parry was made, so that you are riposting covered along the blade you are keeping parried.

Remember - do NOT try to riposte too quickly beforeyour parry is successful,- do NOT delay a riposte longer than necessary or you lose priority and/or initiative,- do NOT lift your hand too quickly riposting - a low riposte may be needed.

The Indirect Ripostes

a) By Disengagement

Made into the line opposite to that of the parry by passing under the opponents blade as they anticipateyour direct riposte and make a parry. After a parry Quarte the disengage must be made in the parry

position - with the arm bent, before straightening rapidly into the riposte, - this is to avoid theopponents arm as the point has to come back up and over their arm first, then cover in Sixte.

After a parry in Sixte the disengage riposte can be rapidly extended sooner as there is an open target andno arm in the way to avoid, - then cover in Quarte.

b) By Cut Over

Made into the line opposite to that of the parry by passing over the opponents blade as they anticipateyour direct riposte and make a parry.

Revise the Cut Over instructions and realise the riposte by cutover has more blade to clear than in anattack against an opponents pressure. If you remember to pronate firmly, holding their return to a parrywhich anticipates your direct riposte, they will feel the urgent need to parry more strongly. Then, as you

bring your blade more vertical momentarily and twist it round the top of their opposing blade, it will


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spring more quickly into their parry out of your way. Instantly twisting your wrist back to fullsupination and covering to your opposite line, you riposte and hit as quickly as possible.

This is the nearest you will come in classical foil to making a flick hit, - but the riposte following thecutover must be this fast.

Make sure your arm extension is no quicker than necessary however or you will risk hitting flat before

your point has come in line on target.

c) By Counter Disengagement

The riposte to deceive the attackers change of engagement as he recovers after attacking your Sixte andbeing parried there.

Action is either: your opponent attacks from engagement in Sixte, by feint into your Quarte and

disengagement to your Sixte, - being parried in Quarte and then Sixte; OR the attack is from absence of blade by feint into your Quarte and disengage and is

parried similarly, as in the previous example.Anticipating your direct riposte to his Sixte your opponent makes a change of engagement into hisQuarte rather than return to his Sixte.

You deceive this by following his change of engagement round, - still in the bent arm position of yourparry of Sixte, using only your fingers, - with your counter disengagement. Then hit with a rapid armextension once your point arrives to your covered position of Sixte, - if up and over his arm to hit inSixte. If you decide to make your riposte even quicker by a low riposte, which does not need the up andover the arm into the high line, so much the better and a more likely successful hit into his Octave line,- but pronate or supinate your blade to bend sideways flat.

Note:i) your point action must always precede your arm extension;ii) do not start your counter disengage too soon when you think there is a change of engagement

starting or you signal your intentions by pushing at his blade and spoiling your chances. Youcan only react to an adversarys defensive action(s) not determine them.

iii) counter disengagement riposte is the answer to change of engagement or to a counter parry.

LESSON 7

Two Fast Offensive Actions are the Flche and the Balestra.

The Flche Attack

(French for Arrow). A fast means of attacking an opponent slightly out of reach of a lunge because ofhis advantage in reach or because he steps back when attacked, so, like an arrow, it must waste notime reaching its target. It is used most effectively with simple direct/indirect attacks. The arm must bestraightening and sword in line, in a feint of attack threatening the opponents target. Simultaneouslywith the following action:Firstly the rear leg thrusts the body forward over the front leg (1) which remains anchored so that the

body is overbalanced forward, then the rear leg must be rapidly brought through to the front on which toland as in a lunge but on to the rear leg (2).

The hit should arrive as this rear leg hits the ground in front, or if not, (and to regain balance), the hit islanded with a second step forward with the original front leg, but a little out to the side of theopponents Quarte side. The Rules forbid forcing body to body (corps corps) or jostling ones


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opponent on pain of penalty. There may be a need for a third or a fourth step depending on the speed ofthe action, and all the steps should be short and rapid, but they must go around the opponent, not athim and not off the piste.


(2) (1)

A flche must be successful. Failure to hit leaves the flcheur at the mercy of his opponent and needinga parry from a most difficult position and on the move.

DO NOT USE against left-handed fencers. Left handed fencers can follow these instructions exactly aswritten, - only against other left handed fencers. But DO NOT USE against right-handed fencers, - intotheir open Quarte side leaves you with impossible defence if you are parried.

The Balestra

(From ballista an ancient Roman war engine for hurling missiles at their enemies).

Another fast method of attack, of Italian origin, whose feint gains speed and momentum thereby. Itspurpose, similar to the Flche is to reach an opponent whose fencing measure is more than ones own,or who steps back on being attacked.

The move consists of a short HOP forward on the rear foot whilst simultaneously raising the front foot

in the air with a kicking forward action which helps the hop forward and the sword/arm straightenedin a feint of attack, usually combined with an attack on the blade to pre-empt a stop hit.

On landing, the weight of the body is taken on the rear foot, whilst the front foot beats downwards andbackward HARD to land close to the rear foot at the same moment. When this is done correctly andwith force it must be followed by the lunge with the front foot which is the object of this method offorward propulsion or you fall on your face since you are going forward off balance.

If done without force it can be used as a feint alone, followed by a further foot movement and secondintention blade movement ie it is a preparation of attack.


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ROUNDUP OF PART ONE

Summary of what Foil Fencing is all about

According to the Rules and the conventions of Foil there can be said to be 3 BASIC PRINCIPLES forFoil Fencing and Refereeing to be possible and to make sense:i) The Attackis the initial offensive action made by straightening the sword arm forward from on

guard sword in line and point continuously threatening the opponents target, fractionallyPRECEDING the launching of the lunge, flche or Balestra. This is correct PREPARATION ANDDEVELOPMENT and is one period of fencing time.

ii) The Parryis the defensive action made with the weapon to prevent an offensive action arriving. Togain the right to riposte it must deflect the attack COMPLETELY from arriving and the riposteshould be as immediate as possible and go straight forward from where the parry was made withoutdetaching from the parried blade to give, and keep, your priority.

iii) The Disengagement from the start of a classical, crossed swords, situation or the opponentsattempt to make contact with your blade, is made, correctly, by using fingers (or less correctlywrist,) to dip under the opposing blade in a deep enough V to avoid pressure or other attack on yourown blade. This is usually the start of a simple, indirect, or a compound, or a counter attack.

NB: All other fencing moves, actions, techniques are dependant on and build on these Basic Principles,and all Fencers, coaches and Referee must maintain them impeccably or Foilplay becomes a nonsense.

Simple Attacks - Summary

The straight thrust DIRECTThe simple disengagement INDIRECTThe Cutover or Coup INDIRECTThe Counter disengagement INDIRECT

Attacks in low lines DIRECT or INDIRECT

When done without delay or hesitation each is considered to occur in one period of fencing time.

Simple Ripostes - Summary

The simple DIRECT riposte - only 1 blade movement, in the same line as the parry.The simple INDIRECT riposte - only 1 blade movement, into the opposite line to the parry

(by disengagement, cut-over or counter disengagement).Ripostes into the LOW LINE

Notes On Attacks

The straightening of the sword and arm from on guard defines you as the Attacker and gives youpriority and precedence since your opponent must react to it or be hit (as in reverse positions so mustyou) by parry/riposting or other counter attack. It is in effect a threat which must be responded to and we call this a FEINT of whichever attack, which may continue into the lunge and hit, or befollowed by a 2nd or even 3rd Feint, first, before a final lunge/hit. This makes so-called 2 nd and 3rdINTENTIONS of compound attacks.Simple Attacksare those which have single movements of the blade or arm which may be DIRECT orINDIRECT. When executed FAST and up to speed these produce so-called EXPLOSIVE attacks.

Compound Attacks are ALL other attacksthat involve one or more feints or blade movements. These

cannot be explosive lunges as they need time for the feints to build up to speed and are aptly calledACCELERATING attacks.


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Useful Principles

1. LEARNLearn the HOW, WHEN and WHY of every stroke which you are taught ie Technique,Timing and Tactics. Practice them until perfect.

2. BE FIRM BUT LIGHT HANDEDCarry your sword firmly but lightly in hand, dont grip it and relax.

3. KEEP THE POINT ON TARGETAim to keep your point within the opponents target area when parrying or attacking. Your

play will be more accurate and less energetic.

4. STAY COVEREDAlways attack covered and riposte covered ie never expose your target area unnecessarilyor you invite a stop hit or get double/simultaneous counter attacks. Only leave yourselfexposed tactically when you are fairly certain of your opponents response.

5. CONTROL YOUR OPPONENTAlways try to put your opponents weapon outside your guard, away from your target area.Having got it there, keep it there, under your control.

6. FEEL THE BLADERemember the sentiment de fer the feel of the blade that important contact with theopponents blade which gives another dimension of awareness of the opponents actions. Itcan give a sense of taking control of the opposing blade especially when parrying or theknowledge when you have lost control or failed to get it.

7. HAND FIRSTAlways move the hand before the foot in preparation otherwise you leave yourself exposed

to a legitimate and justified STOP HIT and have difficulty in avoiding your opponentsarm/leg or changing your attack when too close.

8. CONTROL YOUR SPEEDAlways take your opponents timing in your fencing movements. It is possible to be tooslow, or too fast, so do not try to force yourtiming on your opponent.

9. USE THE LOW LINELearn to riposte direct into LOW lines (pronated or supinated to avoid opponents arm).You will get more ripostes in low lines than high because they are unexpected.

10. INTELLIGENT ATTACKING

Never attack into an open line you cannot make it since a parry has less far to travel thanthe attack.

Attack only into an opening line, after a feint into the open line to put you one move aheadin a compound attack.


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REFEREEING AND JUDGING

Everyone learning foil should learn to observe each opponent and to analyse foil play by taking turnsjudging and refereeing, from early in their training certainly by this end of Part 1.

To become an expert foilist it is not enough to learn the techniques of Simple and Compound attacksand defence, plus Timing and Tactics etc. It is essential to know and understand all terminology and

phraseology in analysing play and the judging and priority and validity of hits, - found on P2-4 and P20-24 of the FIE Rules, OR in Appendix A of this manual, and in Appendix B, also P44/45 of FIE Rulesfor Offences and Penalties. Without this knowledge and understanding mistakes will occur, unfairrefereeing and scoring happen and false ideas develop and spread concerning refereeing and the correctway to fence foil.

There is no better way to help a foilists ability to observe their opponents style, to learn the Rulesabove mentioned and to be able to take advantage of this to beat them, - really the ability to READYOUR OPPONENT - than to make up a group of seven foilists on a piste taking turns with twofencing, each with two judges watching only their hits, and one refereeing, preferably with a seniorexperienced fencer/coach/Prof. as adviser on method, style and wording, (over the shoulder) andhelping with observing and scoring until each is familiar with and capable with it.

NB. Absolutely NO electric Box to be used yet,- this must come later.

The two contestants fence best of 5 hits, the loser comes off and the judges and Referee all moveround one position; the judge next to the Piste in the circulation plan replaces the loser who takes up theempty judge spot. This gives each practice at refereeing, and judging at , open and closed target-(with the contestants sword arm not in, or in, the way of seeing hits easily).

Keep the circulation the same way each time and it all works out that each tries each position andfences.

NB. The Referee and judges have to move up and down the Piste FAST to keep up with the action.If both fencing are left-handed it is the same as for both right-handed but if only one is left-handed thereferee must observe on the open side.

Strictly, according to the rule book, the judges are there to assist the Referee in deciding scoring and

must raise an arm instantly they see only their contestant make a hit on target. The Referee must callHALT as soon as this happens and analyse out loud who did what and in what order, that is - hedescribes the phrasing.

During his analysis the Referee asks the judge(s) with an arm raised was there a good hit? OR did itarrive?., and all the judge may say is yes or no. If the judge is doubtful, or having second thoughtsas to what he/she saw the answer must be I abstain. The Referee then allots the score.

NB. Practise at Refereeing/Judging should NOT be a one-off but must be frequent until each isconversant with the processes involved, only then will ones powers of concentration, observation andfluency in reporting and analysing improve noticeably and become totally familiar. Also it is an intrinsicand basic part of training and greatly improves your foil fencing since you then know what the Referee

is looking for.

Learn Appendices A and B and practise all assiduously!



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Part TWO LESSONS IN FOIL FENCING


PART TWO

LESSON 8

Compound Attacks

A Compound attack is one which has one or more feints (threats), and all such attacks must involveaccelerating lunges into the final hit. They are used when simple attacks fail because of onesopponents correct anticipation or correct reading of your intentions in attack.

Compound attacks involve nothing new - merely a combination of several simple attack movementsalready learned - direct thrust, disengagement, coup and counter disengagement, together with re-coordinating the foot movement with these to deceive the opposing defence.

To explain why simple attacks can fail and the need for compound attacks remember that at correct

fencing measure ones foil tip must travel a blades length plus 6-10 cms to reach ones opponent in alunge, while the parry takes less than half a blades length to deflect the attack

So if your opponent is alert you cannot win, giving us a Fencers Golden- Rule:never attack into an open line(see p21, no 10)

Therefore the feint must be made convincing enough to resemble yet another simple attack to draw theirparry- -which you then deceive, and continue with another movement.

Thus a feint or feints enable one to start moving closer to gain time or distance and to close the marginof difference between attack and parry, producing the so-called progressive attack (with an acceleratinglunge), and keeping you one move ahead of your opponents defensive moves. This is best illustrated asfollows:

The 1-2-3

This is two feints by simple disengagement followed by yet another disengagement. It is used on anopponent who is using simple, lateral parries.

Classically, from pressure on your blade disengage and make your first feint, with your sword in line asyou straighten your arm and your point threatening their target nearly as far as their coquille, (givingyou priority as the attacker.)

Anticipating your opponents first parry, immediately begin your second disengagement as their firstparry begins - so deceiving it.

Next, - still anticipating their second parry, begin your third disengagement as their second parry isbeginning. Then completing your lunge place your point to hit on target.

But, - if this was all you did from starting from on guard until you lunge you will not have gained anytime or distance more than your first feint, - and therefore NOT progressive in any way - and lucky if itlanded before being parried!

To make it a PROGRESSIVE ATTACK :

With your first feint put your arm fairly straight and point closer, as far as their coquille and nohigher;


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LESSONS IN FOIL FENCING Part TWO

with your second feint lean forward to put it even closer, still horizontal; finally complete your lunge - and hit from 10 cms (4 ins) away, lifting your hand and covered.

Think of this as feint - lean lunge with tempo like a dance rhythm slow - quick quick. Yourpoint will describe a curving zig-zag:

getting closer with each zig and zag. Keep these disengagements no bigger than necessary to avoidyour opponents parries, blade or arm, and neatly done with finger and thumb making thedisengagements. This is now a progressive attack and as you see, getting quicker -making theaccelerating lunge,

Note:i) You must keep a straight arm all through and never bend it or you lose priority.

ii) Your foot must not move into the lunge until the third disengagement

The 1-2-3 from Absence of Blade

Here you begin by having to feint into the open line, - since your adversarys blade will be on yourquarte side, make your feint by beginning to straighten your arm/sword across towards target-dead-centre and hand covering into your quarte and their blade outside yours.

But anticipate their first

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