Part 3

“Manchett is generally used against an adversary whose guard is defective. By merely extending the arm with a turn of the wrist, this attack may readily succeed should the opponent neglect to provide against it.

“One of the most dangerous guards against Manchett is Tierce; the surest is High Seconde, which indeed is also the best parry adapted to this system of attack.”

The first member of the last paragraph is sensible; the second is thoroughly fallacious. As has been stated, the right-handed man must always engage in Tierce, and, as will presently appear, Tierce is the safest, indeed the only safe guard against Manchette cuts. Another Italian writer of our day describes and figures the “Position of the weaponed arm to escape the arm-cut” (_Colpo di braccio_), with the elbow-joint left clean open. The ‘Infantry Sword Exercise’ limits itself (p. 30) to these few lines: “If opposed to the Small Sword (_sic_, meaning straight sword or rapier) have recourse to Cuts _Three_ (No. 13 of this system) and _Four_ (No. 11), directing them at the arm, by which means there is every probability of the cuts taking effect, as it must always come within range of the edge, before the point can be sufficiently advanced to reach your body: if the above cuts are quickly given and continued, they will also be found advantageous in advancing against the Small Sword, as they constitute an attack and form a defence at the same moment; but should the opponent be the most skilful and quickest (_sic_) in his movements, then it is best to retire whilst giving them, cautiously preserving the proper distance, so that each cut may just reach the fore part of his arm.” The French content themselves with single oppositions of Tierce and Carte. But why multiply instances of ignorance?--they would fill many a useless page.

Finally I meditated upon the comparative humanity of “Manchette,” of disabling the opponent by an arm-cut, rather than laying open his flank or his head. During single rencontres in the field, especially at the end of Indian battles, it is so often necessary to put _hors de combat_ some unfortunate, whose pluck or sense of honour induces him to prolong the hopeless attack.

These considerations led me to reflect seriously for a number of years upon the Jeu de Manchette, the Colpi all’ avambraccio, or fore-arm play, which has been so much neglected by master-swordsmen. At last an unlooked-for opportunity, a short study in the _Salle d’armes_ of Herr Balthasar Reich of Trieste, enabled me to reduce it to a system, and present it to the public.

I should premise, however, that the following observations are intended for professional men. It is therefore necessary only to name and number the Direct Cuts, the Guards and the Feints, the Reverse Cuts, and the Time Cuts of Manchette, as in most cases the simplest mention will suffice. The proficient will at once perceive that I offer a mere outline of the system whose many details must be learned by long practice. It is enough to give first principles: the minutiæ could not even be noticed without stretching description to a wearisome length.

There is no objection, I have said, to teaching squads of recruits all the simpler preparatory matter: the Three Positions; the Moulinet; the Engaging Guard, and the Guards or Parries. At a certain stage of progress, however, especially when beginning Manchette, the quick and intelligent soldier, who is likely to qualify himself as a master, must be instructed singly.

§ 2. _The Direct Cuts in Manchette._

The following are the direct attacks in Manchette, simple and compound; all are done from the “Engaging Guard,” the Lunge being here inadmissible.

I. _Carte de Manchette._--Extend the sword-arm to the full length and deliver the cut, with a flip as it were, at the opponent’s fore-arm, between the elbow and the wrist. This can be done with the back of the blade (Reverse Cut) under circumstances presently to be described. No. I. is useful if the adversary unwisely engages you in Carte otherwise (from Tierce) it must be avoided, as he easily parries by withdrawing the arm and replies with a Tierce Cut.

II. _Carte de Manchette and Cut Tierce._--This movement is No. I. followed by a close rotation of the point (“Tierce Moulinet”); if, however, the circle be too small, it will not clear the sword-guard.

III. _Double Carte de Manchette and Cut Carte._--No. III. is to be done when the opponent, as he generally will after an attack of No. II., successively parries Carte and Tierce. It is simply the double of No. I., and thus the “Tierce Moulinet” cuts, of course, inside the arm.

IV. _Double Carte de Manchette and Cut Tierce._--Useful when the adversary parries Carte, Tierce and Carte; it is the double of No. II. and thus cuts outside the arm.

No. II. guards the arm and is therefore unexceptionable. Nos. III. and IV. are dangerous, because, like No. I., when opposed to an agile hand, they may lay the wrist open to a Time Cut.

The two first and all four against a slow unready swordsman may be varied by combinations with _coupés_, or passing the blade sharply over the adversary’s point. For instance, if the adversary come too wildly to the Tierce parade of your double Carte and Tierce (No. III.), _a coupé_ will reach his arm in Carte.

A golden rule which cannot be repeated too often is that all the Manchette-Cuts in Tierce (outside), either from above or from below, must be as nearly vertical as possible, whilst all the Cuts in Carte (inside) should be as horizontal as they can be made. The reason is simply that these positions cover the arm and render the attack less dangerous.

§ 3. _The Guards (Parries) and Feints in Manchette._

The Guards of the Target will be found sufficient for parrying all attacks in Manchette. The soldier, however, should especially practise the retrograde parades, that is withdrawing the right fore-arm with and without the right leg.

Feinting with the broadsword is necessarily more simple than with the foil, being generally confined to _Coupés_ and _Secondes_. The neo-Italian school of sabre uses, I have said, the fencing movements, but it is at best a bastard style. If the opponent attempts to “degage,” that is to pass his point under your blade from Tierce to Carte, or _vice versâ_, retire by withdrawing the right heel to the left, and cut at the arm which his movement has exposed.

The _Coupé_, the reverse of the degagement, passes the point over, not under, the opposing blade; this legitimate feint, used in every school, may be effected in four several ways.

I. _One._ From the usual engagement in Tierce pass the blade over the opposite point, just clearing it, and cut inside. The two movements raising and dropping the point should be as rapid as possible.

II. _One, Two_, a double _Coupé_, with the cut in Tierce.

III. _One, Two, Three_: as with the foil; against a nervous opponent the cut should be made at the face with a dart and a jerk (the Italian _Slancio_); against a slow player the cut may be Carte de Manchette.

IV. _One, Two, Three, Four_; like the former, but cutting in Tierce: to be attempted only with the most unready of opponents.

The two latter may be combined with a breast (inside) or shoulder (outside) “Moulinet” between the penultimate and the last (cut) movement; but these long feints are radically vicious, because they lay the swordsman open to Time Cuts. They are, however, useful, as will appear in making the Reverse Cuts.

Perhaps the Seconde-feints are better than the _Coupés_.

I. _One_: the simple Seconde Cut.--Make a little more opposition in Tierce, sweep the blade past and along the breast; (inside Moulinet, or the _brisé à gauche_) and, lowering the hand a little, cut upwards with a jerk and a flip. The nearer the swordsman’s own body his blade circles the better, because the cut will be more in the vertical line: if it be much out of the perpendicular the opponent can “take a time” in Carte. The Moulinet serves also to embarrass the adversary and to add strength to the cut. This simple and most valuable movement must not be confounded with the old-fashioned Seconde cut at the leg: the latter is objected to, as I have said, by swordsmen; the parry is too easy, and the ripost far too dangerous.

II. _Feint Seconde._--From Tierce make a short and sharp movement to Seconde with the knuckles turned upwards; the opponent will probably come to the Seconde-parry, thereby exposing the fore-arm. You then cut Tierce perpendicularly as usual, from above downwards (the _enlevé_), either without or with a breast “Moulinet.”

III. _Feint Seconde, Feint Tierce and Cut Carte_, with two short, sharp movements, and deliver the horizontal cut in Carte.

IV. _Feint Seconde, feint Tierce and Cut Seconde_, from downwards upwards, always with a breast “Moulinet.”

At times the two first feinting movements in Nos. III. and IV. may be done more emphatically: this of course makes the movement slower, but it is a variety which embarrasses an adversary accustomed only to short, quick action.

§ 4. _The Reverse or Back Cuts in Manchette._

As the Manchette system has been strangely neglected, so the Reverse or Back Cut may be pronounced unknown to the majority of the profession: the latter, instead of utilizing the “false edge” of the blade, still lose time and incur great danger by turning hand and wrist in using the true edge, especially when “Cutting within the Sword.”[16] More extraordinary still, although almost all the civilized world prefers what is technically called the “flat-backed and spear-pointed” sabre, yet no one seems to think of employing, or even of sharpening one of the most important parts of the weapon.

The Regulation blade with the false edge, that is to say, the blade sharpened from the point to the Centre of Percussion, about one-third of the length, was introduced into England about 1844, and the first specimens were made by the late Henry Wilkinson, acting with the late Henry Angelo, then Superintendent of Sword Exercise.[17] This back-edge of the blade should be ground to the sharpness of a razor. When practising the Reverse Cuts (_Revers_ or _Rovescio_), the handle is held loosely with the thumb and the two first fingers, and the wrist and fore-arm should bring the blade up with a jerk, the grip being at the same time sharply tightened. Practice will soon enable the swordsman to deliver a strong “drawing” cut, equal to the Thrust-cut of the so-called “Damascus” blades. This valuable movement has the immense merit of not uncovering the swordsman, and what makes the sabre so rude a weapon is that every movement of attack, in the old systems, lays the body open by raising hand and point when a blow is to be given. With the Reverse Cut no such dangerous process is necessary; the point is still directed at the opponent whilst the cut is being delivered. Finally, it is always unexpected by the opponent who has not practised it, and although it rarely begins an assault, except against the inexperienced, nor should it be done alone as a rule, it may either follow or conclude every attack, feint or “time.”

I. _The Half-Feint_ (_Revers de dessous_, _Rovescio di sotto_, or _Revers von unten_) is done thus.--When in Tierce extend the arm as if intending to cut Tierce; the opponent makes an opposition of Tierce; drop the point, and cut sharply upwards with the false edge at his fingers, wrist, or fore-arm, drawing the blade towards you and keeping the point opposite the adversary’s breast. This movement is one of the neatest known, and it is sure to succeed with one who does not expect it. The first part of the feint, or dropping the point, may lead to a cut with the true edge, but this movement, which is still practised in the schools, involves delay by turning the hand. Again, it may be combined with the inside (breast) or outside (shoulder) Moulinet.

II. _Feint Seconde and Cut upwards._--This movement may be varied by feinting Tierce and cutting upwards.

III. _One-two-three._--This is not the succession of simple _Coupés_, the dangerous movement before described. No. 1 _Coupé_ shifts the hand from Tierce to Carte with the nails up; No. 2 turns the nails down, still remaining in Carte; and No. 3 delivers the Reverse Cut, of course in Carte, where it is least expected.

When the point is passed well under and within the sword-arm it is very difficult to parry the horizontal Reverse Cut in Carte. The true edge may be used, but again it wastes time by turning the hand.

IV. _The Pass_, properly called “_en passant_.”--From Tierce make a feint-movement in Seconde, and, when the adversary attempts to parry it by lowering the point, turn the knuckles up (in old Tierce), sweep the blade over his sword-arm and as close as possible to your right leg from left to right with the arm well raised, and, returning from right to left with a similar sweep, but with the blade held higher, cut, in Carte, with the false edge and close to the point, inside his wrist. Unskilfully attempted, this feint is equally dangerous to both, but it will do yeoman’s service in the hands of a practised swordsman. The true edge may be used, but that involves a change of position and the delay of turning the hand with the knuckles downwards. Some make a double sweep, and, after the second movement, cut outside or in Tierce--the exposure is too great, unless confronted by an unusually phlegmatic temperament.

§ 5. _The Time Cuts in Manchette._

The Time Cut is the flower of the Manchette system, as the Manchette is of the broadsword; and it is, perhaps, the part least capable of being taught in books. When well mastered it never allows the opponent to raise his arm without imminent risk, and, even if it fail, the intention, once recognized, tends greatly to cramp and embarrass the adversary’s play. The natural man cuts as if he were using a stick or a club, and the preliminary movement lays open the whole of his body; indeed, exposure, I have said, is the main danger of every attack with the sabre, however closely and skilfully conducted. A cut through the muscles of the fore-arm, either inside or outside, causes the sword instantly to be relaxed and dropped; the man in fact is hamstrung in the upper works.

I. _Carte de Manchette._--When the opponent from Tierce makes a _Coupé_ or any attack in Carte, stop further movement by a Carte de Manchette, a horizontal Cut in Carte. The same may be done with the false edge, in which case the blade should be advanced as far as is possible; and this is to be preferred because it loses less time.

II. _Parade Retrograde and Cut Tierce._--When the opponent from Tierce attempts a Manchette in Carte withdraw the arm (_parade retrograde_) and deliver the vertical Cut in Tierce downwards at his extended arm; both movements being combined in one. It is not necessary even with the tallest man to withdraw the right leg; the Cut will amply suffice. This Tierce Cut serves to defend from all attacks when the Guard does not cover the adversary; and it has lopped off many a careless arm. If slowly done it becomes a mere parade and ripost.

III. _The Reverse Cut-upwards_, _Revers en montant_, _Rovescio montante_, Ger. _Revers montant_.--You feint in Seconde; the opponent comes to its parry and replies in Tierce; you withdraw the arm, leaving the heels as they were, and cut upwards with the false edge, tightening the grasp of thumb and fore-fingers as much as possible. This movement is especially useful; it is one of the best of Time Cuts, when the adversary indulges in long and complicated feints and false attacks. It may be done with the true edge, but the latter is less safe.

IV. _The Time Pass_; which is merely “The Pass” turned into a Time Cut. When the opponent attempts a “Manchette” or any movement in Seconde, and expects you to reply by a time Cut in Tierce with the true edge, turn the knuckles up (in old Tierce), sweep the blade over his sword-arm as close as possible to your right leg, from left to right, with the arm well raised, and returning from right to left with a similar sweep, but with the blade held higher, cut in Carte with the false edge and close to the point inside his wrist. The true edge may be used, but, again, it wastes time. The double sweep possible as in “The Pass,” but it causes too much exposure.

This Time Pass may also be done with the hand held high in Prime or rather “demi-circle” with the nails turned up, the arm outstretched, and the point lowered. In this case the leg must be shifted till the fore heel touches the rear heel, so as to give additional height to the hand. This is not a Reverse or Back Cut as you use the true edge; it is in fact one of the old movements called “Cutting within the Sword.”

§ 6. _Résumé._

The following is a synoptical table of Manchette or Fore-arm play, showing the Cuts, the Guards (Parries) for the Cuts, and the Riposts or replies that should follow each Parade. The Instructor will remember that instead of Prime we use High Tierce or High Carte, and for Seconde Low Tierce or withdrawing the leg.

_Direct Cuts._

CUT. PARRY. RIPOST.

1. Carte de Manchette. IV. (Carte). II. (Seconde).

2. Ditto and cut Tierce. IV. and III. (Tierce). III.

3. Double Carte de Manchette IV., III. and IV. II. and cut Carte.

4. Double Carte de Manchette Parade Retrograde by III. or IV. and cut Tierce. withdrawing arm.

_Reverse Cuts._

1. Half-feint. II. or III. III. or IV.

2. Feint Seconde and cut II. Cut with false upwards. edge upwards.

3. Feint Tierce and cut III. and II. II. upwards.

4. One-two-three, and cut Parade Retrograde. III. or IV. upwards.

5. The Pass. II. and I. (Prime). III.

_Time Cuts._

1. On all Cuts in Carte. Parry with time in IV. IV. (Carte de Manchette).

2. On feints in Carte ending Parade Retrograde. III. or IV. with Cuts in Tierce.

3. On Cuts in Tierce. Reverse Cut upwards. III.

4. On Reverse Cut upwards. II. and III. IV.

5. On Cuts in Seconde. The Time Pass. III.

Feints of _Coupé_ in Manchette.

1. Single _Coupé_. III. or IV. II.

2. One-two ( „ ). IV. and III. III.

3. One-two-three. II., III. and II. III. or IV.

4. One-two-three-four. Parade Retrograde. III.

Feints of _Seconde_ in Manchette.

1. Simple Seconde. II. III.

2. Feint Seconde and cut II. and III. III. or IV. Tierce

3. Feint Seconde, feint II., III. and II. III. or IV. Tierce, and cut Carte.

4. Feint Seconde, feint Parade Retrograde. III. or IV. Tierce, and cut Seconde.

CONCLUSION.

I will end this system of Manchette with the words of old Achille Marozzo, written some three centuries and a half ago: “I would that ye swear upon your sword-hilts never to use this knowledge against me, your master.” But, in lieu of insisting that my readers never teach it without obtaining formal permission, I only hope that they will favour me by spreading it far and wide.

APPENDIX.

In p. 26 allusion has been made to an improved form of sabre handle; it was first attempted by the Capitano Settimo del Frate in the work before alluded to. The gallant officer’s Plates show that in the Italian cavalry-sword the upper portion of the handle is at least horizontal, whereas in ours it droops backwards and downwards, giving the grip additional facility for slipping out of the swordsman’s grasp. The author’s remarks[18] being even more applicable to the English military sabre; I give them at full length.

“The equilibrium of the sabre, and the facility of firmly grasping the handle, are the two prime requisites for a good weapon.

“When properly balanced and easily held, the sword calls for less exertion of strength; and the quickness and true direction of the Cuts are greatly facilitated. In direct proportion to the economy of force, we find the swordsman enabled to continue his exertion.

“However well made and scientifically poised be the blade, it is subject to several variations of equilibrium according to the position in which it is held.

“The nearer the centre of gravity approaches the hilt, the lighter and the better balanced will be the weapon, and _vice versâ_.[19] Therefore:

“_It should be our principal object to effect this improvement without changing the proper centre of percussion and the other requisites for offence and defence._”

The following Plates fully explain the author’s meaning.

I would further modify his Fig. 1, so as to give more fulcrum to the hand. The thumb-plate should be made weighty and the guard light, otherwise the blade will be over-balanced, that is, heavier on one side than on the other. It need hardly be said that the grip before going into battle should be whipped round with thin whipcord, or better still, with web-cloth.

LONDON: PRINTED BY WM. CLOWES AND SONS, STAMFORD STREET AND CHARING CROSS

FOOTNOTES

[1] The exceptions are in “_Right Prove Distance_” (p. 13) and No. _Seven_ Cut (p. 16). In the other Cuts the thumb “grasps the handle.”

[2] The French divide _l’Escrime_ into two parts: (1) _Escrime à l’épée_, or _Escrime pointe_; and (2) _Escrime au sabre_, or _Escrime contrepointe_.

[3] The question is considered at great length in my forthcoming volume entitled ‘The Sword:’ here it is sufficient simply to state results.

[4] When every regiment shall have its _salle d’armes_, the fencer will modify his own fencing thrusts to suit the clumsier weapon. I do not, however, see any reason why the three Points of the Infantry Sword Exercise should not be delivered in the _posizione media_ of the Italian school, with the thumb upwards and extended along the back of the sword-handle: nor why, as in the French _Manuel_, they should not be reduced to a single _Coup de Pointe_ (p. 239), which is thus described. “_Baisser la pointe du sabre à hauteur de la poitrine et déployer le bras en tournant la main, le pouce en dessous, le tranchant du sabre en dessus._”

[5] As Mr. John Latham justly says (“The Shape of Sword-blades,” ‘Journal of the Royal United Service Institution,’ vol. vi.):--“The proper shape for a thrusting sword is pre-eminently straight.” The Clay-more, for instance, moving in a direct line, cuts a hole exactly the size of the blade; the Regulation sword, slightly curved, widens it to about double, and the bent scimitar and the Talwár, to five or six times, thus meeting with five or six times the resistance to its penetration. Mr. Latham is again quoted in another part of this System.

[6] My only objections to this volume are the two following:--