CHAPTER III. THE BROAD-SWORD.

“But swords I smile at, weapons laugh to scorn,

Brandish’d by man that’s of a woman born.”

Macbeth, Act V., Scene vii.

General.

In the early stages of the world’s history our very remote ancestors were unacquainted with the art of forging instruments and weapons from metals; they were not even aware of the existence of those metals, and had to content themselves with sharpened flints and other hard stones for cutting purposes. Many of these weapons were fashioned with considerable skill, and give evidence that even in the dark days of the Stone Age men had a good idea of form and the adaptation of the roughest materials to suit the particular purpose they had in view.

To take an example from the most common forms—the spear and javelin-heads which are found along with the bones and other remains of the cave bear. These are[Pg 18] admirably designed for entering the body of any animal; for, though varying greatly in size, weight, and shape, the double edge and sharp point render them capable of inflicting severe wounds, and of entering into the flesh almost as easily as the point of a modern sword.

As good specimens of these early spear-heads fetched high prices, finding them was at one time quite a profession, like finding bullets, etc., on the field of Waterloo. Forgeries became common, and in many cases the imitations were so perfect that the most experienced antiquary was often puzzled to pick out the genuine article when placed next to the spurious.

For the benefit of those who take an interest in this branch of research, it may be mentioned that the museum at Salisbury is full of excellent specimens both of true spear-heads and the copies “made to meet the demand,” and I may fairly say that the ordinary observer would be utterly incapable of distinguishing the slightest difference between the two.

The genus “cutting instrument,” then, has for its archetype the sharp flint, which was fashioned by dint of hard labour in the very early days of man’s existence on the face of the earth.

When metals were discovered and their malleability had been tested by the application of fire, not only spear and javelin-heads were formed from the new material, but short swords, consisting entirely of metal, were first constructed; and this departure marked a new era in the civilization of the world, termed by geologists and antiquarians the Bronze Age.

In a very short treatise on a cut-and-thrust weapon like the broad-sword, it would be out of place to enter into any speculations as to the probable dates at which the stone,[Pg 19] the bronze, and the iron ages commenced their respective epochs. It seems sufficient to give the order and to mention a few of the early weapons with which we are acquainted, either through actually finding them, or by seeing representations of them on early works of art, such as alto-relievos or frescoes.

One of the earliest forms of sword was the leaf-shaped blade of the early Greeks. It properly belongs to the Bronze Age, as it is found amongst the human remains of that period. It was a short, heavy-bladed weapon, with sharp point and double edge, used, it appears from ancient monuments, for cutting purposes.

Fig. 12.—Early Greek sword.

No doubt the weight of the blade, increased by the heavy deep ridge running almost from point to hilt, made it very serviceable for cutting, but it seems more than probable that the point was also used, and that the idea of the edge was handed down to us because the ancient sculptor or delineator, in his battle-piece representations, placed the swordsman in the most spirited positions he could think of. A figure in the act of delivering a slashing cut, say cut 1 or cut 2, looks much more aggressive and eager for the fray than a similar figure about to give the point.

I only advance this as a suggestion, for it seems hard to believe that people who must have been well acquainted with the use of the point at the end of a pole or staff—as in the case of the spear, which was the very earliest form of thrusting weapon—should abandon it when they came to the sword.

[Pg 20]Be this as it may, there is no doubt that the short Roman sword, which was practically a large heavy dagger, sharp-pointed, double-edged, and straight-bladed, was extensively used for thrusting. For cutting purposes, however, it could not, from the absence of curve in the edge of the blade, have been equal to the early Greek weapon.

Fig. 13.—Short Roman sword.

When iron began to play a prominent part in the construction of articles requiring hardness, strength, and durability, a great stride was made in the production of war-like weapons, and it was then very soon discovered that ordinary forged iron was too soft and easily bent, and it was not until the art of tempering began to be roughly understood that iron, or more correctly speaking steel, swords were brought to a degree of perfection sufficient to entitle them to a higher place than their bronze predecessors.

It is believed that the Egyptians had some method of tempering their bronze chisels, which is now numbered amongst the lost arts; otherwise, how could they have carved the head of the Sphinx and innumerable other works out of the intensely hard stone of which so many of their monuments are cut?

The modern sword blade is constructed of steel, tempered so as to suit the particular kind of work for which it is intended.

“Mechanical invention has not,” says the “Encyclopædia Britannica,” “been able to supersede or equal handwork in the production of good sword blades. The swordsmiths’ craft is still, no less than it was in the Middle Ages, essentially a handicraft, and it requires a high order of skill. His[Pg 21] rough material is a bar of cast and hammered steel, tapering from the centre to the ends; when this is cut in two each half is made into a sword. The ‘tang,’ which fits into the handle, is not part of the blade, but a piece of wrought iron welded on to its base. From this first stage to the finishing of the point it is all hammer and anvil work. Special tools are used to form grooves in the blade, according to the regulation or other pattern desired, but the shape and weight of the blade are fixed wholly by the skilled hand and eye of the smith. Measuring tools are at hand, but are little used. Great care is necessary to avoid over-heating the metal, which would produce a brittle crystalline grain, and to keep the surface free from oxide, which would be injurious if hammered in. In tempering the blade the workman judges of the proper heat by the colour. Water is preferred to oil by the best makers, notwithstanding that tempering in oil is much easier. With oil there is not the same risk of the blade coming out distorted and having to be forged straight again (a risk, however, which the expert swordsmith can generally avoid); but the steel is only surface-hardened, and the blade therefore remains liable to bend. Machinery comes into play only for grinding and polishing, and to some extent in the manufacture of hilts and appurtenances. The finished blade is proved by being caused to strike a violent blow on a solid block, with the two sides flat, with the edge, and lastly with the back; after this the blade is bent flatwise in both directions by hand, and finally the point is driven through a steel plate about an eighth of an inch thick. In spite of all the care that can be used, both in choice of materials and in workmanship, about forty per cent. of the blades thus tried fail to stand the proof and are rejected. The process we have briefly described is that of making a really good sword; of course[Pg 22] plenty of cheaper and commoner weapons are in the market, but they are hardly fit to trust a man’s life to. It is an interesting fact that the peculiar skill of the swordsmith is in England so far hereditary that it can be traced back in the same families for several generations.

“The best Eastern blades are justly celebrated, but they are not better than the best European ones; in fact, European swords are often met with in Asiatic hands, remounted in Eastern fashion. The ‘damascening’ or ‘watering’ of choice Persian and Indian is not a secret of workmanship, but is due to the peculiar manner of making the Indian steel itself, in which a crystallizing process is set up; when metal of this texture is forged out, the result is a more or less regular wavy pattern running through it. No difference is made by this in the practical qualities of the blade.”

The above-quoted description, though short and superficial, is sufficient to indicate some of the chief difficulties of the swordsmith’s art, and it sets one thinking, too, as to the various uses to which cutting instruments are put, and gradations of hardness, from the high temper of razors and certain chisels to the low temper of hunters’ and sailors’ knives, which should always be of rather soft steel, for they are sharpened more easily, and the saw-like edge is better suited for cutting flesh, ropes, etc., than a very fine edge would be.

A comparatively soft steel does well enough for the heavy cutlass used for cutting lead or dividing a sheep, and the edge, though sharp and keen, need not, and, indeed, cannot, approach the razor-edge necessary for cutting a silk pocket-handkerchief or a feather.

Every edge, when closely examined by a microscope, presents a more or less saw-like and jagged appearance. It[Pg 23] is merely a question of degree, and, in a sword to be used for ordinary cutting and thrusting, you want to secure hardness sufficient to produce a good edge and an instant return to its former shape after any reasonable bending, and you want to avoid anything like brittleness or liability to snap. If the disposition of the molecules is such as to give too great hardness, the blade, though capable of taking a fine edge, will probably snap, or the edge will crack and shiver on meeting any hard obstacle. For example, if you put razor steel into a cutlass, and then try to cut lead, the blade will either snap off or the edge will break away in large pieces. If, on the other hand, you make the blade of too soft steel, the edge will be readily dented or turned on one side.

Though there are wonderful reports of the excellence of Eastern blades manufactured at Damascus, it is probable that European work was quite as good, and that the tempering of steel was quite as well understood at Toledo, in Spain, where, in the sixteenth and seventeenth centuries, splendid rapiers were produced. It seems highly probable that the rapier was an extension or refinement of the earlier heavy cut-and-thrust sword, because, though the superior value of the point was beginning then to assert itself, there was an evident attempt to preserve in the rapier the strength and cutting properties of the long straight sword of a previous time.

The Italian and Spanish rapiers were sometimes of great length, three feet or three feet six inches and more in the blade, and they were often beautifully finished, the work of the hilts being frequently both elaborate and costly. The blade itself, which was double-edged and inclined to be flat, tapered gradually from hilt to point, and was strengthened by a ridge running almost its entire length.

[Pg 24]The French duelling-sword of modern days is sometimes spoken of as a “rapier;” but this is incorrect, as the popular Gallic dispute-settler is three-sided, and is, as it has no edge, exclusively used for pointing.

For details of historical research, and other particulars, the reader is referred to Mr. Egerton Castle’s work on the sword.

The Modern Cut-and-Thrust Sword.

The word “Broad-sword” may be taken to include all kinds of cut-and-thrust swords. It is the generic term for ship’s cutlass, infantry sword, and heavy cavalry sabre, which are all cutting weapons, and, though varying in length and curvature of blade, can be used for pointing.

Fig. 14.—Grip for the light cutlass.

The method of holding the broad-sword depends entirely upon the weight and length of the blade. If you have a light cutlass weighing, say, about one and a half pound, and measuring about thirty-four inches in the blade, you may hold it in the same way as in single-stick play, viz. with the thumb on the back of the hilt, as in the sketch, and you will probably find that in this way the guards are made with[Pg 25] greater facility. At the same time, when guarding, say, with the hanging guard (see Fig. 15), the thumb is liable to a severe sprain; and this is more particularly the case when the opposing blade meets the foible, or half nearest the point of your blade, at right angles, or nearly so.

To be more explicit. If A B C, in Fig. 16, represent your blade lying flat on the paper, d o the intersection of a plane at right angles to the plane of the paper and also at right angles to the tangent to the curve at the point o, where we will suppose the edges of the blades to meet, it will be seen at a glance that the leverage from o to C is considerable, and that a great strain is thrown upon the thumb which is endeavouring to keep the guard in position.

Fig. 15—Low hanging guard.

In this case the cut has been received on the “foible,” or half of the blade nearest the point. All guards should, if possible, be made with the “forte,” or half nearest the hilt.

It is important to bear in mind that the cut should be received with the guard as much as possible on the slant; i.e. you should endeavour to make the opponent’s blade glance off yours at an angle such as d´ o. The difficulty of bringing about this “glance off” is certainly increased by[Pg 26] having the thumb on the hilt, because your hanging guard—which is perhaps the most important and constantly recurring of all the guards—is apt to be higher, so far as the point is concerned, and there is the chance of letting in cuts 3 or 5 at the left side, which is exposed by an elevated point.

If, in the hanging guard, the arm is well extended, with the hand slightly above the level of the shoulder, the point dropped well to the left, and the edge turned outwards to the left, as in the illustration (Fig. 15), a very good general guard will be formed. Remember, too, that in all cuts, points, or guards, the second knuckles of the fingers should be in a line with the edge. The only exception to this rule is, perhaps, to be found in the third point, where a shifting of the hand, so as to enable the edge to be more completely directed upwards, is sometimes recommended.

Fig. 16—The broad-sword.

The hanging guard, or modifications thereof, is capable of warding off all cuts made at the left side of the head and body, and is also effective against cut 7. Then, by[Pg 27] bringing the hand slightly to the right, with the elbow held well in to the right side, it is extremely easy to come into the position for guarding cut 2.

We may, I think, assume that, on the whole, the thumb held at the back of the hilt gives, in the case of a very light sword, an advantage in speed, especially with short quick cuts and points.

Turning to the heavy sabre used by the cavalry of this and other countries, we observe that to keep the thumb on the back of the hilt would lead to constant sprains. No man is strong enough to wield with effect a blade weighing about two and a half pounds and measuring little short of three feet—thirty-five inches is the regulation length of the British cavalry sabre—unless he holds it as indicated in Fig. 17.

Fig. 17.—Grip for the heavy sabre.

Most cuts made with the heavy sword are more sweeping in their nature, more “swinging,” so to speak, than the short quick cuts which can be effected with the lighter and more handy weapon; indeed, it is only to be expected that the weight of the blade and length of the sweep should give[Pg 28] great force to the sabre; but it must not be forgotten that what is thus gained in power is lost in speed, and that in nine cases out of ten a well-directed “point” would be immeasurably superior both in speed and effect than the most sweeping cut.

Such very different weapons are required to be thoroughly effective in different circumstances. A light, thin-bladed sword, though admirable for a man on foot, would not be of nearly so much use to a cavalry man, whose slashing cut through shield or helmet renders weight an absolute necessity. The light blade might be brought to bear with all the speed and force of the strongest man, but would be of no avail in those cases where hard, dense, and heavy substances have to be cut through.

A fly may dash against a pane of plate-glass with the utmost speed and yet fail to break the glass; but a cricket-ball thrown with a tenth part of the velocity will smash the window to pieces. This is only an analagous case, which indicates very fully the existence of the two factors in the vis-viva necessary to produce a certain result.

If you get your blade too light it will not be serviceable for heavy-cutting work, whatever the speed of the cut; and if you get the blade too heavy, it will be impossible to use it effectively on account of its weight.

Everything depends upon what a sword is expected to do; and in selecting a blade this cannot be too carefully borne in mind.

The Easterns have not, and indeed never had, any idea of using the point; but they are far and away our superiors at edge work, and their curved scimitars are admirably adapted for effective cutting, because the edge, meeting the object aimed at on the slant, has great cutting or slicing power.

[Pg 29]This brings us to the most important matter in connection with cutting weapons—the “draw.”

If you take a razor in one hand and hit the palm of the other hand a smart blow with the edge, no harm will be done; but if you vary this hit, by making it lighter and putting the slightest possible draw into it, a cut will be the result, and blood will flow freely. That is to say, anything like drawing the edge along the skin will produce a cut.

Turn to the case of the scimitar. It will be seen that the curved form of the blade from hilt to point renders it impossible for a sweeping cut, given with the arm extended its full length and with the shoulder as centre of the circle, which the hand traces out in making the cut, to be other than a “draw,” because the edge must meet the object to be severed on the slant.

Fig. 18.—The scimitar.

Excellent examples of this kind of cutting are to be found in the circular saw and the chaff-cutting machine.

But this is not the case with a nearly straight-bladed broad-sword, which requires what may be termed an artificial draw, either backward or forward, in order that the cut may have its full effect. Of course the draw back is by far the most common form of the “draw;” and on reference to the accompanying sketch (Fig. 19) it will be seen that the edge, if the hand retains its position throughout the entire sweep, on the circumference of the circle B D, will meet[Pg 30] the object to be cut simply as a hit, and not as a cut. This is just what we want to avoid.

Fig. 19.

Suppose the cut is being made parallel to the plane of the paper, and that the hilt of the sword is, in the first part of the sweep, moving on the circumference of the circle from B to D. Suppose, too, that the edge first meets the obstacle to be cut at the point n. Then slightly before n is reached the “draw” should commence, the hand coming into position at F, and the point n being necessarily drawn down[Pg 31] to n´ by the time the object has been severed. That is to say, the portion of the blade between m and n will have been made effective in the drawing cut, the point n having travelled in the direction of the dotted lines till it arrives at n´.

The point n is taken at random: it might be nearer the hilt or nearer the point, according to the distance of the object aimed at. It may also be observed that the “draw” might continue during the entire sweep from B to F, but a very slight consideration will show clearly the advantage of keeping the arm fully extended until the edge is quite close to the object, as, by this means, the reach is increased and the power of the cut gains considerably. The dynamical proof of this latter advantage would take up too much space, and I regret that it is rather outside the scope of this little work.

No matter how extended the arm may be when commencing the cut—and the more extended the better in the case of a long heavy sword—the “draw” should always come in towards the end of the sweep, the first part of which is merely intended to give the required impetus to the effective portion of the cut.

How is it that an apple or potato can be divided by a straight cut when placed in the folds of a silk pocket-handkerchief, which remains uninjured? Simply because there is a complete absence of “draw,” and the apple or potato is broken or split in two, much as the flesh is indented by the edge of the razor whilst the skin escapes without the slightest mark.

In cavalry charges, etc., our soldiers too often forget that they have in their hands pointing and cutting weapons, and make slashing hits, which lead to a large percentage of broken blades. I should myself always place the point before the edge, as it is quicker and far more deadly; but[Pg 32] as there are numerous instances where cutting is necessary, it is as well to remember that a mere hit with the true edge of a straight-bladed sword is little better than a blow from a heavy stick having an oval section.

This brings us to another very important part of the subject, viz. the consideration of the best form of weapon for ordinary practice.

To many it may seem that in these few pages on swordsmanship the cart has been placed before the horse, and that a discussion on cuts and guards should have preceded the somewhat intricate questions we have been considering. I have, however, thought it advisable to leave what may be termed the “drudgery” to the end of the chapter, in the hope of thereby creating a more lively interest in the subject. It must, nevertheless, be remembered that, to attain to any sort of proficiency with the sword, a long apprenticeship must be served.

Though stick-play is invaluable as an aid to work with the sword, it may be remarked that there are two reasons, and those important ones, why the single-stick should not be first placed in the hands of the beginner, and why it should never altogether usurp the place of the more lethal weapon. The reasons are—

(a.) The stick is very light, and short smart hits can be made, which are impossible with a sword.

(b.) The hit with the stick is really a hit, and there need be no draw, which, as already explained, is so important in sword-play.

To these may be added a third reason. With the stick there is always the temptation not to cut with the true edge, and it is very hard to detect faults in this direction—faults which are hard to cure, and which may quite spoil good swordsmanship.

[Pg 33]Remembering, then, that every cut and guard must be made with the true edge, and with the second or middle knuckles of the fingers in the direction of the edge, a navy cutlass may be placed in the beginner’s hand, and he may be gradually taught all the cuts and guards by means of the target, a sketch of which is here given.

Fig. 20.—The target.

In the manual on sword-exercises at present in use in the army, it is stated that there are “four cuts and four[Pg 34] guards, so arranged for the sake of clearness, though practically there are only two cuts—from right to left and from left to right, high and low—and two guards, one a variation of the ‘hanging’ or ‘engaging guard,’ formed high or low, right or left, according to the part attacked, and the other the ‘second guard,’ where the point of the sword is necessarily directed upwards, to guard the right cheek and shoulder.”

This is very brief, and, to my mind, the effort to be concise has tended to somewhat confuse. It may, however, be well enough for the army, where there are plenty of instructors ready to explain the meanings of terms, etc. For ordinary beginners it is certainly better to take the old target and thoroughly master the seven cuts and three points, with the corresponding guards and parries, as by so doing the learner will more readily acquire a thorough appreciation of true edge-cutting. The general statement that there are two cuts—viz. variations from right to left, and variations from left to right—is correct enough, and a swordsman understands it; but it is bad for beginners to start with loose notions on the subject. Better far learn all the cuts, and learn them well, in the first instance. By this means a man and his sword become one, as it were, and the point and edge of the weapon are in time brought so completely under control that they can be directed as easily as the pencil and brush are directed by the hand of a skilful draughtsman.

As the reader will have surmised, the lines drawn through the centre of the circle indicate the directions of the cuts; but a little further explanation is necessary, for it must not be supposed that a mere following of these lines with the point of the sword is all that is required. The flat of the blade (or, more accurately, a plane passing through the edge[Pg 35] and a line drawn down the centre of the back of the blade from hilt to point) should, throughout the entire cut, coincide with the plane intersecting the plane of the target at right angles in the particular line in which the cut is being made.

Careful attention to this will ensure cutting with the true edge, and, in the first instance, all the cuts should be made slowly and deliberately, so that errors may be instantly corrected. This may be somewhat tedious to the impetuous learner, but it really saves time in the end.

The target should be hung up on a wall with the centre about the height of a man’s shoulder from the ground. Directly below the centre a straight line should be drawn on the ground from the wall, and at right angles to it.

The beginner should be stationed on this line in the position of “Attention,” at about nine or ten feet from the wall, so that when he comes into the first position of the exercise his right foot may be on the line, and may point directly towards the wall.

Instructions as to drawing swords, etc., will be given later on with the Extension Motions and rules for loose play (vide p. 44). At this stage it may possibly be less confusing to merely give the following positions, leaving to the concluding portions of the chapter a few amplifications which may materially assist the swordsman when he has begun to take a genuine interest in the subject.

Attention.—Having taken the cutlass in the right hand, stand facing the target, body and head erect, and the heels close together and meeting at an angle of sixty degrees on the line drawn from the wall.

With the sword hand in front of, and on a level with, the elbow, which should be close to the body, and with the blade pointing perpendicularly upwards with the edge to[Pg 36] the front, you will be in the position of “Carry swords.” Now relax the grasp of the last three fingers, and, without altering the position of the hand, let the back of the blade fall on the shoulder half-way between the neck and the point of the shoulder. This forms the position of “Slope swords,” with which the exercise begins.

First Position.—Bring the right heel before the left; feet at right angles, right foot pointing towards target; shoulders square to left, and weight of body chiefly resting on left leg.

Second Position.—Bend both knees, keeping them well apart, without raising the heels or altering the erect position of the body. Step out with the right foot along the line for about eighteen or twenty inches straight in direction of the target, still retaining most of the weight of the body on the left leg.

Third Position.—Step out still further along the line—about a yard or so (according to the height of the individual)—keeping the shin-bone as nearly as possible perpendicular to the instep. The left leg should be straight and the left heel should not leave the ground. The heels should be both on the line, and the shoulders should be square to the left; i.e. the right shoulder should be well extended and the left held back. The weight is now, of course, principally on the right leg.

At the word “Attention,” then, the pupil should come into the position of “Slope swords,” already described.

Prepare for Sword Exercise.—Turning on the heels, come into the “first position,” with the left forearm well behind the back and the hand closed.

Right, Prove Distance.—Bring the upper part of the hilt of the sword on a level with the mouth, blade pointing perpendicularly upwards, edge to the left, and the elbow close to the side. This forms the position “Recover swords.”[Pg 37] Now extend the arm to the right, and lower the blade in a horizontal position straight out from the right shoulder, edge to the rear, shoulders square to the front, and the head and eyes turned to the right in the direction in which the sword is pointing.

Return to the position “Slope swords.”

Front, Prove Distance.—“Recover swords” as before, and, extending the arm with the point of the sword directed towards the centre of the target, step out into the third position, taking care that the edge is towards the right.

Return to the position “Slope swords.”

In proving distance Right and Front, the forefinger and thumb may be stretched along the handle of the hilt, the thumb being on the back and the pommel of the hilt in the palm of the hand.

Assault.—Come into First Position; raise the right arm to the front with the wrist opposite No. 1 and the elbow rather bent, and inclining towards the centre of the target, the back of the blade, near the point, resting on the shoulder, with the edge inclined to the right.

Cut One.—With an extension of the arm direct the cut diagonally from No. 1 to No. 4 (remembering in this, and all the following cuts, to use the true edge), and as the point clears the circle, turn the knuckles upwards, continuing the sweep of the sword until the point comes to the rear of the left shoulder, with edge to the left and the wrist opposite No. 2.

Cut Two.—Now cut diagonally from left to right from No. 2 to No. 3. Continue the motion till the arm is extended to the right, on a level with the shoulder, edge to the rear.

Cut Three.—Now turn the wrist so that the knuckles and edge face to the front, and cut diagonally upwards from No. 3 to No. 2, and continue the sweep until the[Pg 38] wrist rests in the hollow of the left shoulder, with the point of the sword pointing upwards and the edge to the rear; turn the wrist so that the edge faces to the front, and drop the point until the blade is in the position for the next cut.

Cut Four.—Cut diagonally upwards from No. 4 to No. 1 until the blade is nearly perpendicular, edge and knuckles to the rear. Bring the arm, still fully extended, to the position of “Right, prove distance,” and turn the wrist so that the knuckles and edge face to the front, the blade being horizontal and on a level with the shoulders.

Cut Five.—Cut horizontally from No. 5 to No. 6. The edge will now be to the left and the point to the rear, over the left shoulder.

Cut Six.—Turn the wrist so that knuckles and edge face to the front, and cut horizontally from No. 6 to No. 5. Continuing the sweep until the hand is nearly over the head and in the direction of No. 7, the sword being on the same line over the head, point lowered to the rear, and the edge directed vertically upwards.

Cut Seven.—Cut vertically downwards from No. 7 to the centre of the target, and remain with the arm extended.

First Point.—Turn the wrist, with the edge of the sword upwards, to the right. Bring the hand upwards on a level with the eyes, elbow bent and raised, the point of the sword directed towards the centre of the target, and the left shoulder advanced. Now, by an extension of the arm, deliver the point smartly to the front, with the edge of the sword still inclined upwards to the right and the point accurately directed to the centre. The right shoulder should now be well advanced and the left drawn back—this motion of the shoulders being applicable to all the points.

Second Point.—Turn the edge upwards to the left, draw[Pg 39] the elbow close to the body and let the wrist be as high as, and in front of, the left breast. Now deliver the point, as before directed, accurately towards the centre of the target, the wrist inclining towards No. 2.

Third Point.—Draw in the arm till the inside of the wrist touches the right hip, the edge being raised upwards to the right, the left shoulder slightly advanced and the hips well thrown back. Now deliver the point accurately towards the lowest point on the target, the edge being carefully directed upwards to the right throughout the motion.

Guards.—Having gone through the cuts and points, the pupil should now give his attention to the guards and parries.

A reference to Fig. 20, in which the directions of the blade are indicated by means of the hilt and dotted lines, will make it easy for the beginner to place his sword in the seven guarding positions which follow.

Guard One.—Grasp the hilt as shown in Fig. 17, turn the edge to the left with the elbow held close to the body, the wrist well to the front. Let the blade be as nearly as possible parallel to the direction of cut 1, and let it slope in the direction of the target at an angle of about forty-five degrees with the ground: i.e. let the point in this, and indeed all the guards, be well advanced to the front.

Guard Two.—Turn the knuckles up, draw the elbow nearer the right side and let the edge face to the right, and let the blade be parallel to cut 2. In this guard the forearm will be more directly pointing towards the target.

Guard Three.—Turn wrist and edge to the left, the hand being rather below the left shoulder, and the blade following the dotted lines marked “third guard.”

Guard Four.—Bring the wrist and hand across the body[Pg 40] to the right, edge to right and blade following dotted line marked “fourth guard.”

Guard Five.—Wrist and edge to the left, with blade pointing vertically downwards.

Guard Six.—Wrist and edge to the right, with blade pointing vertically downwards. [It will be observed that these two guards, five and six, are but extensions of guards three and four, the difference being merely in the height of the hand and inclination of the blade.]

Guard Seven.—Raise the hand well above the level of the eyes, so that the target can be seen under the wrist; let the arm be extended, the point of the sword dropped forward to the left and parallel to dotted lines marked “seventh guard,” and let the edge face vertically upwards.

It may be here again mentioned that with all guards and parries in actual practice, the “forte,” or half nearest the hilt, should be the portion of the blade which meets the opponent’s sword when the attack is made.

Left Parry.—Let the wrist be drawn back to within eight or ten inches of the right shoulder, the blade pointing in the direction of the perpendicular line on the target, and let the edge be turned to the right. Now, by a second motion, turn the wrist so that the point drops to the left and forms a circle from left to right and then returns to the former position.

Right Parry.—Drop the point to the rear and form the circle from right to left of your body, the sword returning to its position as before.

Both these circular parries should be learnt and practised for the sake of adding to the strength and suppleness of the wrist; but for actual use it is better to turn the point aside by one of the simple guards, remembering not to let the hand wander far from the line of attack. In other words, you should let your “forte” catch the “foible” of the[Pg 41] adversary’s blade just sufficiently to turn aside the point, and then instantly give your point or come back to whatever guard you may have assumed in the first instance.

Some diversity of opinion exists as to the best “Engaging Guard” to take up. In the two Figs., 21 and 22, I am inclined to favour the former for use when opposed either to the small sword or the bayonet, and give preference to the latter when facing another broad-swordsman. In Fig. 21, it will be observed, the point is well forward, and it is easy with a light pressure to turn aside the opposing point and instantly lunge out in the return. The engagement is here in Tierce, but it might just as well be in Quarte, in which case the edge would be turned to the left instead of to the right.

[Pg 42]

Fig. 21.—Engaging guard, A.

At the same time, the more common engaging guard, the very low hanging guard in Fig. 22, has many merits not possessed by the other. It will be better to constantly practise both these guarding positions and then come to a decision as to which you can do best in. Two things are certain, viz., you can, if proficient at both, puzzle an opponent who is at home only in one, and the change of position is a great rest in a long succession of bouts.

Fig. 22.—Engaging guard, B.

It will now be well to combine the cuts and guards, and, for this, take up the second position in front of the target, and in making each cut lunge well out into the third position, not allowing the blade to cut further than the centre of the target. Then spring back to the position from which you lunged and form the guard for the cut you have just made. For instance, having made cut 1 as far as the centre of the target, return to the second position and form guard 1. Similarly for cut 2 and all the other cuts.

In the same way make the points in the lunge, in position three, and the corresponding parries in the second position.

In many works on the subject, the foregoing exercises are given with the return in each case to the first position instead of, as above, to the second. It is, however, advisable to accustom yourself as much as possible to rapid returns from the lunge to the engaging position in which you habitually face an opponent. The change from position[Pg 43] one to position three involves a long stretch out, and the return is, of course, harder than the return to position two, and, for this very reason, it is well to practise the exercises from both initial positions—one and two.

Fig. 23.—Point, with lunge.

[Pg 44]At the risk of being considered old-fashioned, I have given the sword exercise with seven cuts and three points, with corresponding guards and parries, and it is my conviction that the beginner will do well to follow the advice given on p. 34.

The following instructions are taken from the Manual on the Infantry Sword, now used in the army.

Instructions for Drawing the Sword (Long).

Draw Swords.—Take hold of the scabbard of the sword, with the left hand below the hilt, which should be raised as high as the hip, then bring the right hand smartly across the body, grasping the hilt and turning it at the same time to the rear, raise the hand the height of the elbow, the arm being close to the body.

Two.—Draw the sword from the scabbard, the edge being to the rear, and lower the hand until the upper part of the hilt is opposite the mouth, the blade perpendicular, edge to the left, elbow close to the body, which forms the position “Recover swords.”

Three.—Bring the sword smartly down until the hand is in front of the elbow and little finger in line with it, the elbow close to the body, blade perpendicular, edge to the front; which forms the position of “Carry swords;” the left hand resumes the position of “Attention” directly the sword is drawn.

Slope Swords.—Relax the grasp of the last three fingers, and, without disturbing the position of the hand, allow the[Pg 45] back of the sword to fall lightly on the shoulder, midway between the neck and the point of the shoulder.

Return Swords.—Carry the hilt to the hollow of the left shoulder (the left hand, as before, raising the scabbard), with the blade perpendicular and the back of the hand to the front, then by a quick turn of the wrist drop the point into the scabbard, turning the edge to the rear until the hand and elbow are in line with each other square across the body.

Two.—Replace the sword in the scabbard, keeping the hand upon the hilt.

Three.—The hands are brought back to the position of “Attention.”

Draw Swords.—As before.

Slope Swords.—As before.

Stand at Ease.—Keeping the sword at the “Slope,” draw back the right foot six inches, and bend the left knee.

The Four Cuts (from Second Position).

Assault.—Raise the hand and sword to the rear, arm bent, wrist rounded, the back of the sword resting upon the shoulder, with the edge inclined to the right.

One.—Extend the arm, and direct the cut diagonally downwards from right to left, and, continuing the sweep of the sword, prepare for cut “two,” the back of the sword upon the left shoulder, edge inclined to the left.

Two.—Cut diagonally downwards from left to right, and turning the wrist let the sword continue its motion until it rests upon the right shoulder, edge to the right.

Three.—Cut horizontally from right to left, and prepare for cut “four,” the flat of the sword resting upon the left shoulder.

[Pg 46]Four.—Cut horizontally from left to right, and come to the “Engaging Guard” (vide Fig. 22).

The Four Guards.

First.—Raise the hand smartly above the head, and a little in advance of it, the point of the sword lowered to the left front, edge upwards.

Second.—Draw back the elbow to the right, and bring the sword to a diagonal position, covering the right cheek and shoulder, point upwards, inclining to the left, edge to the right.

Third.—Bring the hand across the body towards the left shoulder, edge of the sword to the left, point down and inclining to the front.

Fourth.—Square the upper arm with the shoulder, the forearm to be in front line with the elbow, and wrist slightly below it, point of the sword inclined to the front, edge to the right.

Engage.—As before.

Points and Parries.

First.—With a quick motion, direct the point to the front by extending the arm, the arm moving in a straight line to the front of the “First Guard” position, and without altering the direction of the edge.

Parry.—Brace up the arm quickly and parry upwards by forming “First Guard.”

Second.—Deliver the point quickly by extending the arm and sword to the front.

Parry.—Draw back the arm and parry to the right, by forming “Second Guard.”

Third.—Lowering the point, extend the arm.

[Pg 47]Parry.—Draw back the arm, and parry to the left by forming “Third Guard.”

Fourth.—Raise the point and deliver the thrust.

Parry.—Parry downwards to the right by forming “Fourth Guard.”

It will be worth the reader’s while to compare carefully the preceding four cuts and points and their guards and parries, with the earlier exercises, the description of which commences on p. 37.

It will be seen that the third and fifth guards (old style) are merged in one, that the fourth and sixth are also merged in one, and the first guard—the old guard in quarte—is dispensed with altogether, and its place taken by a low hanging guard, which is a variation of the old seventh guard, formed with the hand held rather more to the left.

It will also be observed that the parries for the points are also very different. My advice is, “Learn in the old style and then glean all you can from the new.”

Extension Motions.

It is a good plan to practise the following movements every morning before beginning the sword exercises. To avoid confusion they are here given as in the little Manual on the Infantry Sword; they are effected without any accessories, and you commence by being in the position of “Attention,” i.e. stand with the heels close together at an angle of about sixty degrees, arms hanging down by the sides, chest expanded, back straight, shoulders back, and head well up.

First Extension Motions.

One.—Bring the hands, arms, and shoulders to the front, the fingers lightly touching at the points, nails downwards;[Pg 48] then raise them in a circular direction well above the head, the ends of the fingers still touching, the thumbs pointing to the rear, the elbows pressed back and shoulders kept down.

Two.—Separate and extend the arms and fingers upwards, forcing them obliquely back until they are extended on a line with the shoulders, and as they fall gradually from thence to the original position of “Attention,” endeavour as much as possible to elevate the neck and chest.

Three.—Turn the palms of the hands to the front, press back the thumbs with the arms extended, and raise them to the rear until they meet above the head, the fingers pointing upwards and the thumbs locked, with the left thumb in front.

Four.—Keep the knees and arms straight, and bend over until the hands touch the feet, the head being brought down in the same direction, and resume the “Third motion” slowly by raising the arms to the front.

Five.—Resume the position of “Attention,” as directed in “Second motion.”

The whole of these motions should be done very slowly, so as to feel the exertion of the muscles throughout.

First Position in Three Motions.

One.—Move the hands smartly to the rear, the left grasping the right just above the elbow, and the right supporting the left arm under the elbow.

Two.—Half turn to the left, turning on the heels, so that the back of the left touches the inside of the right heel, the head retaining its position to the front.

Three.—Bring the right heel before the left, the feet at right angles, the right foot pointing to the front.

[Pg 49]

Second Position in Two Motions.

One.—Bend the knees gradually, keeping them as much apart as possible without raising the heels, or changing the erect position of the body.

Two.—Step out smartly with the right foot about eighteen inches in line with the left heel, bringing the foreleg to the perpendicular, and retaining the left as in preceding motion, the weight of the body resting equally upon both legs.

Third Position in One Motion.

One.—Step forward to about thirty-six inches, the right knee remaining perpendicular to the instep, the left knee straight and firm, and foot flat upon the ground, the body upright, and the shoulders square to the left.

Loose Practice.

In practising with broadswords the blades should be as light as possible, and I believe an eminent firm has brought out a special sword for the purpose. The following rules and suggestions may be of use in independent practice.

1. Helmets, jackets, gauntlets, body pads, and leg pads should invariably be worn.

2. No hits or points to be attempted until the swords have been crossed. The parties should engage out of distance, i.e. after crossing the blades, step back about eight inches and come to the “Engage” just out of distance.

3. All cuts and thrusts must be delivered lightly and with the true edge or point. Heavy sweeping cuts should not, under any pretence whatever, or however thickly the parties may be padded, be allowed.

4. Only one cut or thrust should be made on the same lunge.

[Pg 50]5. In case the opponents both attack at once, the hit counts to the one in the third position, or on the lunge. If both parties lunge simultaneously, and both bring the hit home at the same instant, no hit is to be scored to either.

6. If one party is disarmed, a hit is scored to his opponent.

7. Care should be taken to protect the inside of the right knee with an extra pad, as this is a particularly tender spot, and a hard hit there may cause serious injury.

When the beginner has established some command over the cutlass he should learn the cavalry sword-exercise, for a description of which the reader is referred to Colonel Bowdler Bell’s Manual.