LITMIR.BIZ

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complete and parries intermediate and so forth, understands more clearly the materials that are available for his combinations, and the measures that he must take to meet the adverse attack.

      “The lucidity of his mind is reflected even in the movement of his hand which goes straight to its mark without hesitation or confusion. Speed and freedom of delivery follow as a matter of course. And we must not forget that quickness of hand, combined with what may be called fencing judgment, is of all qualifications the most important, the most necessary, the most vitally indispensable.

      IV

      “We may as well follow up the turn our conversation has taken, and pass under review without further preface the three watch-words of swordsmanship: —

Judgment Control Speed

      The man who should master these three would be the pattern of the perfect fencer.

      “Well, what of fencing judgment? Why in the world should you be afraid of it, as though it were the hundred-headed hydra that guards the sacred portals? What is it but that part of the understanding that we all bring to bear on the conduct of everyday life? Nothing in human affairs however trivial or however great can be done without it.

      “Fencing judgment implies more especially distrust, cunning, a wise caution, the power of interpreting the dumb language of the sword, the faculty of drawing correct inferences. These faculties are in the first instance directly stimulated by the master’s lessons, and natural intelligence, acting without any conscious effort on your part, combined with experience, will make the good seed grow. Do not concern yourself about it. Over-anxiety always has a most disturbing effect on the mind.

      “The other night when I spoke of the alphabet of fencing, I had a special object in view. There is a language of the sword, by which questions are asked and answered. As soon as you have learnt the words you can speak and understand it. To admit that it is necessary to make a separate study of every possible phrase implies that a simple and straightforward method of instruction, which I hold to be of the highest importance, is unattainable.

      V

      “In like manner the faculty of control is a thing that may be gradually acquired by practice. It is the result of imparting a supple ‘temper’ to the wrist and body, and consists in the knitting up of the various operations into one continuous movement. But, as in the case of fencing judgment, so here, the desired result cannot be obtained all at once. It is the first and most natural consequence of your master’s instructions. It comes of daily practice and you must patiently watch and wait for it, as you might wait for a peach slowly ripening on a sunny wall. Let it grow upon you like a habit, by slow degrees, till it becomes a second nature.

      “Speed, not of course mere quickness of hand, but the rapid execution of every movement, is one of the fencer’s great resources, whether in attack, parry, or retreat. It is to my mind the main point to be insisted on from the very first.

      “And, accordingly, I think that the master should be careful not to overdo the sort of teaching, that consists in delivering a running commentary such as this: – ‘Steady now: not too fast: take your time about it: think what you are doing: keep your hand in order: mark each motion: at the word one, – and so forth: don’t hurry, you will go fast enough by and by.’

      “It is certainly useful to practise the hand by exercising it on the master’s jacket, but it is useless to practise it by slow movements. First explain how the stroke is to be executed, and then without more ado make your pupil get into the way of taking it quickly. Slowness is convenient, because it renders execution easy, but the ease of execution that is derived from it is dangerous, because it reacts on the judgment and accustoms the mind to lazy ways. Your object is, no doubt, to bring the hand under control and analyse the stroke in detail, but if the result of your teaching is that your pupil falls into a sluggish habit you are sowing the seeds of a vice, which you will probably never succeed in extirpating.

      “Suppose you are teaching a child to walk, you are not surprised that his first steps are wavering and unsteady, and that he cannot plant his feeble feet firmly on the ground. You hold him up, but you let him walk. In due time he learns to use his strength, as a bird learns to fly. The young fencer is the child learning to walk. As his knowledge and experience gradually expand, many faults will disappear of themselves, or will be more easily seen and corrected by his maturer judgment.

      “Speed is a mechanical force, unreasoning, unconscious, but a force capable of development. You must add fuel to the fire and not allow it to go out. Do you suppose that all you have to do is to change the word of command: – ‘Now do quickly what you have done slowly hitherto’? Your new command introduces a new idea and creates new difficulties.

      “Such, speaking generally, are the essential principles of fencing. I cannot say whether I have succeeded in showing you clearly how simple the lesson on these lines may be made, or how far I have been able to reassure those, who have inadvertently opened a treatise on sword-play and have fought shy of the subject ever since, but I am convinced that a course of instruction such as I suggest would produce very good results.

      “To explain myself more fully, as I am talking among friends and there are no professors present, I will go on to tell you briefly how I should set about teaching the use of the sword.

      VI

      “I should expect my scholar during the first month to give up half an hour a day to foil practice, and after that to keep it up three times a week. My first lesson would be devoted to showing him theoretically and practically the vital importance of establishing a perfect concert or balance between the various movements. This is the fundamental principle of all athletic exercises, and applies equally to riding, swimming, gymnastics, and to fencing.

      “I should make him advance and retire, lunge and recover, taking care not to lose his balance. This first lesson is sufficient to enable the least intelligent to understand the mechanism of the different movements, which are based on the natural and instinctive faculties of the human body.

      “Come, C – ,” I said, rising from my chair, “unless I am mistaken, you have never attempted to fence. Will you allow me to make use of you by way of illustration?”

      “I shall be delighted,” replied C – , “but I shall be very awkward.”

      “Perhaps you will be for the first five minutes. It is the common lot from which no one can escape. Now place yourself ‘On guard’; the words explain themselves: – to be on guard, to protect yourself, that is to say to hold yourself equally ready for attack or defence.

      “Bend your legs. Let me use an expression which is perhaps incorrect but which explains my meaning clearly: – Sit well down.

      “Your right arm must be half extended. As a general rule the wrist should be at the height of the breast. You will be able later to modify these elementary studies, by adapting them to suit the position which comes to you most naturally. The important thing is to acquire an uncramped easy style, and to keep the body evenly balanced. In this position the sword can most easily traverse the various openings that are offered to it.

      “I advance on you. In order to get back and always keep your distance you have only to carry the left foot to the rear, and let the right foot follow it immediately. To advance on me, simply reverse these movements. Bring the right foot forward and follow it up with the left.

      “Bravo! you advance like a professor. See that you keep your legs bent and the body upright, so as to be always ready for advance or retreat. If you cannot avoid stooping, lean forward rather than backward. By carrying the body forward you are no more exposed than you were before; for the body by its inclined position protects itself, presents a smaller surface, and makes it more difficult for your opponent to fix his point, when he might otherwise hit you; but if you throw the body back, you lose the power of making a quick attack and a quick riposte. Are you tired?”

      “No.”

      “Good! That shows that your position is correct, and that it does not cramp your muscles or paralyse any of your movements. You understand, of course, that by standing sideways you present a smaller target to your adversary.

      “So

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