English Master of Defence
The Gentleman's Al-a-mode Accomplish,
The true Art of Single-Rapier or Small-Sword with
all the curious parries, and many more than vulgar Terms of Art
plainly expressed; with the Nature of every particular pass, and
the true performance thereof; withal the exquisite Ways of Disarming
All the guards at Broad - Sword and Quarter-Staff,
perfectly demonstrated; showing how the Blow, Strokes, Chops, Throws,
Flirts, Slips and Darts, are Performed; with the true Method of
The exact Rules of Wrestling, explaining all the
nice Holds, both out and in. Catches, Hugs, Trips and Locks, after
what manner they are Taken, and how to be broken. The like was never
Published before by man in England, but
By ZACH. WYLDE
Printed by John White, for the Author,
To the most worthy
Mr. Wm. Marshall
The great - veneration and esteem I honour you
the Obligation of presenting to your hands this specimen of my Art,
I'm fully assured the like was never so plainly Exerted before by
any man, which if my Life is run and I'm gone Posterity will receive
a Memorial of my Skill & Testimony of my Industry, I don't Address
this tract to any but my inestimable Friends, particular Acquaintance,
and to such as I've had the honour of communicating my Art, now
should I have left a Gentleman of the Worth and Merit out of the
Select Number I should never have pardoned my self during Life.
Adding no more but I sincerely wish the great God, Master &
Sovereign Moderator of all Things to grant you Health together with
your worthy Offspring may be of Eternal duration, Shall ever be
the friendly Prayers of ---
Your most humble servant -
- to command -
TO THE READERS
Prefaces, I confess, are become
so common to every little Treatise, that I wonder there is not one
to the Horn - Book; and indeed, often times like Women's Faces,
are found the most promising and inviting Part of the whole Piece:
But when a thing is usual, those never so Ridiculous in the Eye
of Reason, yet a Man (like him that spoils his stomach with a mess
of Porridge before Dinner) may plead Customs to excuse his Error.
I therefore hope it will be no offence to conform with others, and
show myself a Fool in Fashion.
Some Authors are such Fantastical Beau's in
Writing, that they dress up each maggoty Fly flirt, that creeps
from their mouldy Fancy, with a fine Dedication, and a long Preface
to a little Matter; like an Alderman's Grace to a Scholar's Commons;
thinking their Pigmy Production looks as Naked without these Ornaments,
as a Puritan without his Band, or a Whore without her Patches.
For my part, I only use this Preamble, as a
Sow-Gender does his Horn, that as by hearing of the latter, you
may give a shrewd guess at his Business; so by reading of the former,
you may rightly understand my design: Which is only to declare and
publish what Experience I have gained in the Art of Small-Sword,
Broad- Sword, Quarter-Staff, and Wrestling.
Where as I'm at the Cost and Charge myself of
Printing this work, upon Consideration, I have quite altered my
measure and design in Publishing it to the view of all, only have
such a Number printed, as I shall think will be suitable to my Purpose;
by which means, I shall cut of the great Gain and Advantage the
juggling Stationers would reap by it, and transfer it to myself.
Now in this Case, all Men of Art and Learning, are highly obliged
to our Magnanimous and Wise Parliament, in taking Cognizance of
the grand Shams, Cheats, Tricks, and Abuses has been put
upon Authors by knavish printers: Therefore their great discerning
Eyes in Judicature, has thought fit to make an Act to correct such
Injuries done to the Proprietors, and confine them within the Bounds
of Justice, with a great Penalty for every Offence committed.
I have omitted Cuts of the Postures, because
several Books of this kind his done it before, although in my opinion,
to little or no purpose; for where I give an Explanation of the
Postures, I think it is sufficient to satisfy the curiosity of anyone,
and to save an unnecessary Expense. If this Parvo, which I Publish,
meet with a free Acceptance from such worthy Gentlemen, as I presume
to give the Dedication to, (whom I'm assured are most competent
judges of all difficulties that lies in this Nature) I shall not
in the least concerned what others will say about it, nor value
the Censure of any carping, scurvy, scurrilous Critic.
Every art and Science has it peculiar Terms,
which are obscure to all who are not versed in them: Here you will
find inserted several Terms of Art, that was never Published before,
which are very necessary and material to the design, and proper
to be known, which without them, it becomes but a confused Notion
of something done or acted, without any distinct judicious Knowledge
of the Method: But I have taken such care, as to clear all those
Difficulties that may arise from such Terms of Art, as are not commonly
known; for here they are all explained, not in obscure Words, but
in Such a plain familiar Method, as may render them ease to all
Rapier or Small-Sword, which is the first Subject
I design to treat on: We find it according to some Historians, has
its original from the proud Spaniards, stately Italians,
modish French, or truly I know not who, however we borrow
it from some Foreign Place or other. And now it has become so common,
that I suppose it is practised throughout Christendom, all Nations
making such a wonderful improvement of the Art, that I believe it
has grown near to perfection (if a Man may so express it) especially
in the Metropolis of this Kingdom. Back or Broad-Sword, is a true
English Weapon, and first made use of in this nation, so
is Quarter-Staff, and likewise Wrestling; all which being highly
necessary and convenient to be Understood, I need not speak in their
Commendations, for their Merits will give them Praise enough.
THE English MASTER
The Gentleman's Al-a-mode Accomplishment,
Nothing can give a greater Lustre and Ennoblement
to the most Excellent and Bravest Persons, than an absolute and
perfect Qualification in the true Knowledge and skill in Weapons:
In order to which, for Gentlemen's further Accomplishment, I Publish
this Book, which declares the whole secret of Art, contained in
Small-Sword, Broad-Sword, Quarter-Staff, and Wrestling, &c.
It is altogether improper, neither is it consistent
with my Design in these Affairs, to make a long Harangue of Discourse,
to embroider and set of this small Treatise, but immediately come
home to my intended Purpose. Therefore, I shall consume no more
time, but give the Reader, the Dimension, Definition, or Division
of a Small-Sword, Rapier or Foil: In order there unto, I will begin
with the Hilt, which I divide into Three Parts, thus nominated:
1st. The Pummel or end of the Hilt.
2nd. The Handle or Middle.
3rd. The Shell or Front.
The Blade, I likewise divide into Three Parts thus:
1st. From the Shell to the middle, I call the Fort
or Strength of the Weapon.
2nd. The middle is the equal Part between the Shell
and the Point.
3rd. From the middle to the end, I call the Feeble
THUS having given the Definition of a Small-Sword,
before I nominate the Terms, by way of Caution, I shall declare
to the Reader, Nine principal Observations, which ought continually
to be kept in Memory, being the chief Rudiments and Grounds of the
Art mentioned, as follows, (viz.) Posture, Place, Compass,
Step, Time, Distance, Patience, Intention, and Practice.
Imprimis, I shall begin with the Posture,
thus demonstrated, Stand upon a true half Body, or edge wise, which
I call, lie narrow your leading or right Foot, two Foot or more
distance from the left, being in a direct Line from the same, then
your right and left Foot will resemble a Roman "I"; your Hand fast
gripped about the hand of your Foil or Rapier, then put your Thumb
long ways or forward upon it, your Arm quite extended from the Center
of your Body, the Point of the Weapon being directed in a true Line
against your Opponent's right Pap, sinking somewhat low with your
Body, your right Knee bowing or bent over the Toes of your right
Foot, (although some Masters teaches a strait Knee,) your left Knee
more bent, inclining towards the Toes of your left Foot; lying in
this Order is the Posture, which I call, Stand your Line, the Medium
Guard then is fixed.
2nd. Place is thus explained, when you stand
your Line or Order as aforesaid, be sure you observe never to alter
your Arm from its Place; that is, from the Center of your Body,
(although your Opponent uses all means to make you,) if you do,
you certainly open and expose yourself to his Advantage.
3rd. Compass may be taken in two senses,
that is, Compass in Defence, which is called the Parr,
and Compass in Offence: Compass in Defence or the Parr,
I define thus, When a Man Thrusts or Passes at you, the Point of
your Weapon should move about four Inches crossways from the Line,
the Motion performed by the Wrist, your Arm kept in its certain
Place, this Compass will assuredly Parr or Defend you: Compass in
Offence or Offending, is thus, Never make or perform any Pass or
Thrust, but within the Killing part; if you fall your Point in a
Thrust, you lose a great Measure of your Length, besides you extremely
4th. Step is no more than when you shoot
yourself extended, or to your full stretch or length, which I call
5th. Time is taken in two Senses or two
Ways, that if a Man Assaults at you, you must not Thrust at the
same juncture, if you do, you Counter-Tang, break Time and Hazard
yourself: Otherwise, when you perceive a Man lies open, you may
by the Quickness of your Thrust hit him before he Parres you, which
is falling within Time: Or when a Man sinks his Arm in making a
Feint, especially if he makes his Feint wide, you may easily fall
6th. Distance is thus explained, You must
stand such a Measure or Distance from the Party you are engaged
with, as when you perform your Lunge, you can reach his Body to
do Execution: Or thus, Admit your Weapons be upon equal length,
if the Point of your Weapon reaches the Shell of your Opponents,
you are then within Distance.
7th. Patience is defined thus, Let not Passion,
Fury, nor Choler, which are absolute Enemies to skill, in no Case
prevail, if you do, it will destroy your Judgement.
8th. Intention is to embrace an Opportunity
when it presents, by making Remarks where your Opponent lies most
open; or by Feigning a Thrust to make him expose, then perform your
Finally, Practice is the Marrow and Quintessence
of the Art, for without that, a Papist may soon forget his Paternoster;
but by frequent Practice, a Man gains much experience daily, and
is continually improving his skill. This being the last Observation,
and one of the chief, no Opportunity of Practising ought to be neglected.
THUS having given a Caution, to keep in Memory
these Observations: In the next Place, I shall define what I mean
by a Parr, which Note, That which is called a Guard or Defence
at Broad-Sword, is the same and equivalent to a Parr at Small-Sword;
Broad and Small-Sword has a certain dependence one upon another,
in reference to the Guard, Parr or Defence, but not in the manner
of Offence. For at Broad-Sword, all the Blows, Chops, Strokes, Pitches,
Throws, Flirts and Slips, are performed over the Point of the Sword,
unless you fall to the Leg: but at Small-Sword, all Thrusts, Passes,
Pushes, Assaults, Essays and Passages, are commonly made under the
Shell, (unless it be Cart or Ters over Arm,) close to the Fort of
your Opponents Weapon, with a Lunge, or you cannot reach to do Execution.
1st. The Parr or Parrade at Small-Sword,
is performed thus, Stand your Line as directed, and if your Opponent
makes an Assault or Thrust at you, wave or move your Weapons point
Crosswise, the Compass of four Inch, from the Line downwards and
upwards, according as the nature of the Pass is made and so requires;
this motion is performed by the Wrist, about the Center of your
Weapon, your Arm kept in its certain Place; this I call the common
Cross way of Parring, and is the strongest Parr that can be made.
Observe that you make a Parr against every pretended Thrust, for
no Man knows any one else's Intention, or whether he designs to
make his Pass true or false.
2nd. If your Opponent makes a Ters thrust
at you, you may Parr it with the same Edge you do Cart, and is so
taught by most Masters: however I don't in the least approve of
it, because you give a great light to your Body; if your Opponent
should happen to Feint upon you; in my Opinion, the other way is
much the better, and far the quicker.
3rd. Another way of Parring, I call, The
Orbicular Circular, or round Way or Manner, which is thus, Keep
your Arm firm in its Place, as before directed, and if your Opponent
discharges, or presents a Thrust at you, follow his Weapon round,
by that means you may engage him continually. As for Example, If
his Weapon engages or lies inside yours, and if he makes a Pass
at you, either true or false, then turn your Point Circularly outward.
If he engages or lies outside your Weapon, and Passes at you, then
turn your Point Circularly inward; these two ways, Parres all Passes
true or false made, if rightly timed.
4th. You may Parr two Ways more Circularly,
by a different way of lying; that is, dipping your Point near the
Ground, half a Yard wide inside of your Opponent's right Foot; then
if he Passes at you, recover towards the inside, which will engage
his Weapon, and complete a Parr. If you lay your Point wide on the
outside of his Foot when he Passes at you, then recover towards
the outside, which will make an absolute Parr, if you lie in either
of these Ways or Order, a Man can't Feint upon you; for no Man can
Feint, unless you lie in a Line somewhat advanced with your Weapon.
5th. Another way of Parring, I call, The
Semicircular, or half Moon Parr, which is thus, Lie in your Order,
according to your first Direction, in a true Line; then lower or
dip the Point of your Weapon about two Inch, lying inside your Opponent's;
then if he Thrusts at you, make a half Circle, which will meet his
Thrust, and Parr him. If you lie with your Weapon's Point outside
his, in like manner as aforesaid, and he Thrusts at you, return
your Weapon into its first Place, and you'll re-engage him with
the Blade of your Weapon, and perfect a Parr. This Parr is the most
absolute and most complete Parr that ever was invented; and without
Ostentation, I can truly say, I was the first person that Taught
it; and I dare further affirm, that there are many Professors of
this Noble Art, that know no more of the half Moon Parr, than they
do of the Man in the Moon.
6th. Another different Way of Parring, is
thus, Stand upon a full Body, and extend your Sword Arm straight
from you; then turn your Wrist Ters-wise, and dip or hang the Point
of your Weapon, but observe to see your Opponent's Head under the
Hilt of it. Then if he Thrusts to your open, engage upon him with
the Blade of your Weapon, which makes a full Parr; but if he should
make a second Assault in Ters, return your Weapon into its Place
from whence it came, and it will re-engage him and Parr his Thrusts;
this I call, The Falloon Posture with its Parr.
7th. Another way of Parring, I call Palming,
thus demonstrated, Stand your direct Line as before said, and lie
with your Weapon full Ters, hold your left Hand in manner of a half
Moon against your Chin, or Clap the back of it upon your right Pap;
then if your Opponent Pushes at you, instead of Parring with your
Sword, Palm with your left Hand, and quicker than I can speak, perform
your Pass in Cart.
8th. Lie fully guarded in Cart, and when
your Opponent pushes at you in Ters, Palm, and make a return of
your Thrust in Cart.
9th. Lie in Falloon Posture, and when your
Opponent assaults at you, Palm with your left Hand, and immediately
return your Thrust Cart-ways.
10th. You may drop or defend your Point
near the ground; then you give a clear open to your Body, and when
your Opponent makes his Pass at you, Palm, and answer in a direct
11th. Otherwise, you may stand upon a true
half Body, with your left Foot foremost; then extend your left Arm
out straight from you, and lay the Point of your Sword upon the
Back of your left Hand, but discover your Opponent's Head under
your left Arm; then if he Passes at you, Palm, and immediately step
forward with your right Foot, and put in your Pass with the greatest
Celerity imaginable, in a direct Line. Thus much as to Parring and
THE next thing I shall proceed to, is to the Terms
of Art and Variety of Assaults, Pushes, Thrusts, Essays, Passes
and Passages, all which are lodged under the Notion of True and
False Play. True Play is a clean made Pass, Push, Assault or Thrust,
directly performed, without change or alteration of the Point of
your Weapon at any part or place of your Opponent you discover lies
most open, or in answering your Opponent from his Assault. False
Play or Falsifying, I call Quibbles, Dazzles, Feints, Fallacies,
Shams, Decoy's and Enganuo's, all which I shall explain in their
Therefore I shall begin with the two fundamental,
supreme, and head Terms of Art, Cart and Ters, from whence all other
Springs have their Origin and Derivation. Although Note,
That I can but thrusts Cart and Ters, or Cart in Ters place properly;
yet not withstanding, in change and course of Play, Springs variety
of other Terms, that I give Names to according as the Assaults,
Passes and Thrusts are Performed. Take notice, That the only Observation,
Experience teaches me in reference, to know or apprehend how a Man
pushes at you, whether it be in Cart or in Ters, is to fix your
Eye, not upon his Eye, which is a vulgar Error, but upon the Shell
of his Weapon; for by making a diligent Remark there, it will plainly
discover to you the Intent and Purport of any Man's Push or Assault.
Imprimis, Cart is performed thus, Stand your Line
as aforesaid, and let all the Weight of your Body depend upon the
left Foot; then present your Pass the inside your Opponents Weapon,
as near as possible you can to the Fort of it, your Finger Nails
looking upwards, your Blade then will be Flat, with a Stiff extended
Arm, timing your step with the Motion of your Body forward, shooting
your self to your full stretch or length; and upon terminating your
Thrust, your Face ought to lie as low as the Hilt of your Rapier,
which is the only safety in your Thrust; but keep the inside of
your left Foot fast on the Ground like an Anchor, to pluck home
your Body and right Foot into their Place and Distance again, this
is called your Lunge in Cart.
2nd. Ters is performed contrary to Cart, for it's
pushed over the right Arm, the outside you Opponents Weapon, your
Wrist turned outward almost round from you, (then your Finger Nails
looks downwards,) with a stiff Arm.
The most absolute and truest way of thrusting Cart
and Ters, is to perform your Pass as close to the Fort of your Opponents
Weapon as you can; for in so doing, it will in a great Measure preserve
you, if he happen to Counter Tang: but if your Push fails hitting,
be sure to make your recovery strongly engaged upon his Weapon,
or spring yourself backward with all the Celerity imaginable out
of his distance, in a true Line; I call this Revoltier, or a Retrograde
from an Assault.
Note, That you may push Cart in Ters with
safety, but not Ters in Carts place; if you do, you certainly expose
yourself in the performance of your Thrust: I deny making any Answer
with your Wrist turned Ters, (although it is taught by most Professors,
especially in the Performance of a Sacoon; but I'll vindicate it
to be a grand Error, before the best Master in Christendom; and
I do affirm that Ters ought not be thrust, but single in its own
Place,) unless it be a Sequence in Ters; never Feint it, by reason
you lose so much time in turning your Wrist.
3rd. A Response or Answer, is performed
when a Man pushes to you in Cart; then Parr and return in like manner,
with the greatest Celerity that can be.
4th. A Flancanade pass, is performed when
a Man pushes to you in Cart; then Parr and Answer Cart-way engaging,
or locking his Weapon as you finish your Pass.
5th. A Reverse is made, when a Man pushes
to you in Cart, Parr and bring your Point round his Shell, and conclude
you Pass Cart in Ters a Gee.
6th. A Passage is a clean twist Thrust,
put in like a Dart, either in Cart or Ters.
7th. A Sequence in Ters, is made when a
Man Pushes in Ters, Parr and Answer strongly engaged in Ters.
8th. A Second or Sacoon direct is made,
when a Man Pushes to you in Ters, or Cart in Ters; then Part and
shoot in your Pass Cart-ways under his Armpit.
9th. A Counter Cavating Thrust, is made
thus, Engage the Center of your Opponents Weapon in Cart; then perform
your Pass fully engaged, or locking his Weapon as you terminate
your Thrust, there is but a little difference between this and a
Flancanade; only this is made Volunteer, and the other upon an Answer.
10th. You may perform the like Thrust by engaging
the Feeble of your Opponents Weapon in Ters, then shoot your Pass
in entirely engaged; there can be no better or safer Thrust made,
than either of these to an ignorant Person, for your engaging of
him Prevents his breaking Time, and thrusting with you: (But this
I declare, there's no Man living can promise a safety in his Thrust,
if his Opponent Counters Tangs, that is, Pushes at the same juncture,
it is not in the Power of Art to elude, but you may both be hit.)
You may perform either of these above specified Passes upon a Response
or Answer to any Man.
11th. A Mountanto, is performed by laying the Point
of your Weapon on the Ground, sinking very low with your Body; and
when your Opponent Pushes at you by a sudden spring, raise yourself
into a good Posture, strike up his Weapon in the Parr to make you
a free Passage, and conclude your Pass in order of a Sacoon.
12th. A clear free Flancanade or low Cart,
is made when your Opponent lies advanced with his Weapon, then shoot
your Pass in, in a direct Line, quick as an Arrow out of a Bow Cart-ways,
to the Bottom of the Belly.
13th. A Stockata, is made thus, Lean back with
your Body, and by a sudden shoot, put in your Pass in Cart; or you
may Coopee, which is Reversing, and it will prove a Cheating thrust.
14th. A Falloon, is thus made, Stand upon a full
Body, and extend your Arm out Ters way, dipping or hanging the Point
of your Weapon, but observe to see you Opponent's Head under the
Hilt of your Rapier; then if he Passes at you, Parr and Answer in
Cart or Coopee.
15th. A Battery, is made thus, Strike or
Batter on the inside of your Opponent's Weapon, and Push from the
Battery quick as Lightning in Cart or Coopee.
16th. So to the contrary, Batter on the
outside a Man's Weapon, and push Sacoon ways.
17th. A Roul, is made thus, Twist or turn
your Weapon round, by the Motion of your Wrist Cart-ways, then Push
18th. Roul in Ters and Push in Cart.
19th. Engage strongly in Cart, and Push
from Engagement or Coopee.
20th. Engage like ways in Ters, and Push
Note, That every Pass, Push, Assault, or
Thrust you make, be in a direct Line, (which I call true Planting
of a Thrust) with a stiff extended Arm, and in the same Posture
make your Recovery. So much as to True Play, or single or plain
Take notice, That if I join Touch, Engage, Embogue,
Stringer, Bind, Caveat, or Rely upon your Weapon, it is all one
and the same thing; but in all Cases observe, That if you do Engage,
or Caveat a Man's Weapon, let it be with the greatest Ease imaginable,
then you may with freedom Disengage.
That nothing might seem obscure to the Eye of Reason,
in this small Volume, I think it may be proper to give and explain
a Methodical Lesson, which comprehensively Sums up the Heads of
all the Terms of Art, and the Performances of Assaults and Responses,
according to the Rule of True Play.
Imprimis, Stand your Line as directed, and
Lie in Cart, then Assault in Ters.
2nd. Lie in Ters, and Assault in Cart.
3rd. Lie in Cart, and Push low Cart.
4th. Lie in Ters, and Push full in Ters.
5th. Lie in Cart or Coopee, Cart in Ters
a Gee, or Cart over Shell.
6th. Batter in Cart, and Push in Cart.
7th. Batter in Cart and Coopee.
8th. Batter in Ters, and Push Sacoon ways.
9th. Engage in Cart, and Push from Engagement
10th. Engage in Ters, and Push Sacoon ways.
11th. Lie engaged Ters ways in Ters place,
and shoot your Cart in with great Celerity.
12th. Lie engaged Cart in Ters, and wheel
in your Ters.
13th. Roul in Cart, and Push in Ters.
14th. Roul in Ters, and Push in Cart. (Thus
much for single Assaulting.)
15th. If your Opponent Pushes to you in
Cart, Parr and Answer Flancanad ways.
16th. If he thrusts again in Cart, Parr
and make a Response.
17th. If he thrusts a third time in Cart,
Parr and Reverse, or Coopee.
18th. If he thrusts a fourth time in Cart,
thrust Flancanade at the same juncture.
19th. If he thrusts a fifth time in Cart,
make an half Moon Parr, and return your thrust, I call this cutting
a Cart; which, I'll assure you, is a great Masterpiece of Art; and
I do positively Affirm, I was the first Man that taught it.
20th. If your Opponent Assaults a sixth
time in Cart, make a Falloon Parr, and return your Thrust or Coopee.
21st. If your Opponent Assaults in Ters
at you, Parr and Answer strongly engaged in Ters, which is commonly
called a Sequence.
22nd. If he Assaults again in Ters, Parr
and Push in the Sacoon.
23rd. If he Assaults a third time in Ters,
thrust Ters at the same time you have locked his Weapon, for your
Security. Observe, That you may make the same Returns from the Circular
Parr, as you do from the Cross; which truly performed, your Opponent
will find it a difficult thing to escape from being hit by such
24th. If your Opponent Assaults you at any
time with a Cart thrust, Parr, then seize the Feeble of his Weapon,
with your left Hand, and Answer in a direct Line.
25th. If he thrusts to you in Ters, Parr,
then step in with your left Foot, seize the Fort of his Weapon,
and withdraw your Weapon, or Plant a thrust upon him.
26th. Make a full and home thrust to your Opponent
in Cart, and at the same time as he Parres, step into an enclosure,
and seize his Weapon, then use your Discretion.
27th. Thrust full in Ters, and as soon as
he Parres, enclose, and perform as aforesaid.
28th. Engage your Opponents Weapon in Cart,
then enclose, by seizing the Feeble of his Weapon, with your left
Hand; so you'll have him at your Mercy.
29th. Engage your Opponents Weapon in Ters,
then seize the Fort of his Weapon, with your left Hand; enclose,
and perform as aforesaid.
30th. Lie lose or disengage in Ters, then
engage in Cart, and enclose.
31st. Lie disengaged in Cart, then engage
in Ters, and enclose and perform as aforesaid. You may easily enclose
upon any Engagement, either in Cart or Ters; but lying lose is most
surprising to your Adversary.
THE next thing that I shall explain, is False Play,
Feinting or Falsifying; which is performed from Engagement, or clearly
quitted or disengaged.
1st. A Falsifying Pass, is made by a quick
change of the Point of your Weapon, in and outside your Opponent's,
as thus, Engage or join Weapon on the inside his, then pretend to
Push or Thrust in Ters, and finish in Cart; this I call a single
Feint or Falsify.
2nd. Engage in Ters, and pretend in Cart,
then conclude in Ters, is another single Feint.
3rd. You may perform these two different
Ways of Feinting, when your Weapons is free from Engagement.
4th. Another Feint is made by Battering
the inside a Man's Weapon, and Feint from the Battery.
5th. Batter on the outside a Man's Weapon,
and Feint from the Battery.
6th. Engage strongly in Cart, and Feint.
7th. Engage likewise in Ters, and Feint.
8th. A Feint - Semi, is made thus, Let your
first Pretence be in Ters, then in Cart, so end in Ters.
9th. Otherwise, pretend in Cart, then in
Ters, and finish in Cart.
10th. A Fine Pass is no more than a Treble
change of your Weapon.
11th. A Super - Fine Pass, is made by multiplying,
so several times changing your Point in and outside the Fort of
you Opponent's Weapon, to disorder his Parr, and so performed according
as you find him exposed.
12th. A Feintelaeteight, is no more than
a treble Fallacy or Feint.
13th. An Imbrocata, is the same as Super-
14th. A Roul feinted in a different manner,
is a grand surprising Cheat.
15th. A Counter-change, is made thus, Stand
upon a stretch, or extended with your Leg, then draw your left Foot
up to the right, and terminate your Lunge with a Feint; this may
be done in different manner, viz. First performed in Cart,
then in Ters.
16th. A False Battery is made, by Battering
the inside a Man's Weapon, then Feint from your Battery.
17th. Batter on the outside your Opponent's
Weapon, from whence you Feint.
18th. A Super-fine Tozure, is performed
by turning or wheeling the Point of your Weapon several times round
your Opponents, then vary it two or three times, and finish in Cart
19th. A Fallacy from a double Engagement,
is made thus, Engage in Cart, then in Ters, and make a single Feint.
20th. Engage in Ters, then in Cart, from
where you Feint.
21st. A Ran' Counter, is made thus, Engage
in Cart, then in Ters, and double your Feint.
22nd. An Enganuo, is made much like to a
Falsifying Pass or Feint; only made treble, in order to discompose
your Opponent's Parr, then conclude in Cart or Ters.
23rd. A Catastraphoon, is Composed of a
Falsifying, Quibbling, Dazzling, Feinting Pass, made Super - fine,
or as often as your Fancy directs, and finishes according as you
find your Opponent exposed.
24th. A Feint Royal, is comprehended of
the Excellency and Quintessence of Superfine Passes, most dextrously,
accurately and vigorously performed, with all the Life, Vivacity,
Quickness and Celerity, that can be imagined or expressed.
NOW I present to the Reader, an absolute and perfect
Lesson, comprehending False Play, Feinting and Falsifying.
Imprimis, Posture your Body narrow, or in
an exact Line, engage the Center of your Opponent's Weapon, with
the Feeble of your Weapon in Cart; then Feint, single from Engagement.
2nd. Engage in Ters, with the Feeble of
your Weapon, from whence you make a single Feint.
3rd. Lie in Cart clearly quitted or disengaged,
then perform a single Feint.
4th. Lie disengaged in Ters, and make a
5th. Batter in Cart and Feint.
6th. Batter in Ters and Feint.
7th. Engage strongly in Cart and Feint.
8th. Engage likewise in Ters and Feint.
9th. Roul in Cart and Feint.
10th. Roul in Ters and Feint.
11th. Lie in Cart, and make a fine Pass,
a Super- fine Pass, or an Enganuo.
12th. Lie in Ters, and perform the Like.
13th. Lie in a Falloon Posture, and Feint.
14th. Lie in Cart, and make a Counter-change.
15th. Perform the like, by lying in Ters.
16th. Make a single Feint, from a double
17th. Make an Enganuo from a Roul.
18th. Make a Super- fine Tozure from a Battery,
or a Feint Royal.
19th. If you Opponent Assaults upon you,
Answer with a Feint, or a Fine Pass.
20th. If he makes a second Assault, Palm,
and make your Answer quicker than I can speak.
21st. If he Assaults again Disarm. All these
Passes and Answers are to be performed, according to the Directions
'Tis a grand Surprise, when a Man Pushes in Cart
to you, then Parr, but before you quit Engagement, seize the Feeble
of his Weapon, with your left Hand, then perform your Pass, in a
direct Line, quick as thought; if this be done with great Celerity,
it is much odds you may Push or hit any Man. Otherwise, If a Man
makes a full Thrust in Ters at you, Parr and at the same time step
in with your left Foot, with all the Life and Quickness imaginable,
seizing the Fort of his Weapon, with your left Hand; then you have
him at your Mercy (I've given a hint of this in my first Lesson,
but not so fully.) Some Gentlemen, that I've showed this Piece of
Art, counts it not fair Play, but I'm not in the least of their
Opinion: (my Reason is this) Admit that I have imprudently drawn
my self into a Quarrel, then my Life lies at Stake; therefore, I
think it no Point of Dishonour to assure all the Advantage I can,
in my own Defence, against my Enemy.
Take notice, That in Feinting or Falsifying, I
would advise never to exceed a treble, lest your Opponent should
break Time, and thrust with you, for in such a Case, you extremely
hazard: And further, Observe, That when you Feint, keep your Arm
in its Place, don't fall it, if possible, an Hairs breadth; If you
do, you likewise hazard. A Close or Small-Sword is performed thus,
Make a full Thrust in Cart, and at the same juncture, as your Opponent
Parres, step in with your left Foot, with all Expedition, and with
your left Hand seize his Weapon, hold it fast, and with draw yours
so far back that the Point thereof reach but the Center of your
Body, then use your most merciful Discretion. You may perform the
like by thrusting full in Ters, and perform as aforesaid.
THE Way, Method, and Manner of Disarming, which
is performed by engaging the Weapon, or encroaching upon your Opponent
to an enclosure.
Imprimis, Engage in Cart, with the Fort
of your Weapon upon the Center of your Opponents, then by a sudden
spring or jerking Twist, force it towards his Elbow, so you may
cast or throw it out of his Hand: You may perform the like, by engaging
his Weapon in Ters in like manner, but its not to easily done as
aforesaid. This I call a single lose Disarm.
2nd. If a Man pushes to you in Cart, Parr,
and bind or engage firm upon his Weapon with yours; then with your
left Hand make seizure of the Fort of his Blade near the Shell,
so you'll have him upon a Lock; then by putting your right Arm from
you, and by a sudden Twitch, pluck your left Hand to you, you may
Disarm; You may perform this way of your own free Will, that is,
join your Weapon on the inside your Opponents, and Disarm as aforesaid.
3rd. Make a full and home Thrust Cart in
Ters, directly to your Opponent's Face, and as soon as he Parre's,
rest upon Engagement; then step in with your left Foot, and with
your left Hand, the back there of being turned towards your Face,
you may seize his Weapon; then by putting your right Hand stiffly
up, and pull down your left, with the greatest Force and Quickness
imaginable, so Disarm.
4th. Join your Weapon on the outside your
Opponent's, then wheel or turn round his with the Blade of your
Weapon, and with your left Hand take hold of the middle of his Blade,
under your Arm, then twist it out Backward. This I call the wheeling
Disarm, which is a most excellent way, if truly performed.
5th. Join or engage Flancanade ways in Cart,
then step in with your left Foot, and with your left Arm in the
bent of it, seize the Fort of his Weapon, pluck your left Arm strongly
to you, and put your right Hand stiffly from you, so Disarm.
6th. Join the edge of your Weapon against
the flat of your Opponent's Center, then take hold upon his Fort,
with your left Hand, force your right Hand forward, and suddenly
pluck your left Hand to you; so with great facility, but with all
use agility, you may Disarm.
Finally, Join your Cart edge on the middle of your
Opponent's Cart, press or poise his Weapon towards his Back, then
clasp your left Hand upon the Fort of it, a little above your Weapon,
pluck your left Hand to you, and forcibly put your right Hand from
you; so if I be not mistaken, you may Disarm, &c.
Rules and Directions to be observed
at Back or Broad-Sword.
Imprimis, The Guards in Number are Five, commonly
called, dignified, or distinguished by the Names of the Outside,
Inside, Medium, George, or Hanging: Otherwise called the Dexter,
or right Guard, Sinister or left Guard, Center Unicorn or Medium,
Diameter or George, Pendent or the Hanging Guard. Having declared
to the Reader the Names of the Guards, I'll begin with the Outside
or Dexter, thus demonstrated, Stand upon a true half Body, and extend
your Sword - Hilt out at the Arms end stiff, without bowing the
Elbow - joint, your Point leaning or sloping towards your left Shoulder,
or your Opposer's right Eye, lying as hollow as you can with your
Body; then you may see your Opposer the inside your Sword, so long
as you keep this Guard: You lying on this manner, if your Opposer
charge you with a Blow, Pitch, Stroke, Flirt, or Chop on the out
or right Side, which is all one, you are then defended, or upon
a sure Guard: But if strikes at your left Ear, or inside commonly
called, then you must prepare an inside or left Guard, which is
to be made on this manner, Cross the outside Guard, that is, a little
twist or turn your Wrist towards your left Shoulder, your Arm kept
straight from you; then your Point will be sloping towards your
Opposer's left Eye, and you may see his Body on the outside your
Sword, while you keep the Guard. Note, That as you move your
Sword either to the out or inside, carry your Point almost erect,
but sloping a little; these two Guards will Guard you securely,
if rightly timed, so long as you keep out at length. The Medium
Unicorn or Center Guard, is made thus, Extend your Arm straight
out at length, and your Sword placed between your Opposer's Eyes,
lying true half Body, your Sword - Hilt as high as your Chin, keeping
it out at the Arms end stiff; then if he charge you with a Blow
or Strike either to the in or outside, cross his Sword, which makes
a perfect Guard: This Guard keeps your Opposer from encroaching
upon you, if he does, he endangers himself. The George is seldom
used, but when a down right Blow or Pitch is made at the Head, then
prepare the George thus, Extend your Arm out stiff, and with your
Sword cross your own or your Opposer's Forehead, then your Point
will be level with the Hilt; but be sure that your Pitch be to that
height, that you can see your Opposer's Head eight Inch under your
Guard; I don't esteem this a good Guard to lie on, by reason I am
exposed in two Places. The last is the Pendent or Hanging Guard,
which is the surest and best Guard that can be made, a Man can't
come up to half - Sword, without this Guard, it's made on this manner,
Extend your Arm stiffly out, and turn your Knuckles outward, then
hold your Hilt half a Foot or more, higher than your Head, then
the Point of your Weapon must slope or hang dipping towards the
outside of your Opposer; but before you look just under the Hilt,
and observe to see your Opposer's Head six or seven Inch under it
continually, or else you can not be safe: When you lie on this manner,
you then will be exposed or lie open on the outside, which may be
Guarded by pitching your Point to the outside of your Body, or coming
to an outside Guard: I approve of this to be the best of Guards,
especially if you meet with a Rustic, down right Striker, for it
almost saves the whole Body; whereas any other Guard saves but half
at one time. So much for Defence or Guards at Sword.
You may raise or throw your Guards on this manner,
Stand upon a full or entire Body, and Ground your Sword Point at
or upon the Toes of your right Foot, then advance your Arm, and
bring the Point of your Sword by your left Arm, round the back side
of your Head, so by a little twist of the Wrist, you come to an
inside Guard; but observe, That at the same juncture that you raise
your Sword, step with right Foot half a Yard or more distant from
the left, being in the direct Line from the middle of your left
Foot, the Toes of your right Foot turned a little outwards, then
you may see your Opposer's Body the outside your Sword: From thence
you may come to an outside Guard thus, by returning your Sword the
same way it came, likewise your Foot, and come to the Place of an
outside: From your outside you may come to a Medium, by dropping
your Point, and bring it by your left Ear, then place it between
your Opposer's Eyes: From there you may come to a George, by returning
your Sword round the back of your Head, then come to the Place of
a George: From the George cast or throw your Point upon a Level
from you, then by a great Compass round, you may come to the Hanging
Guard, &c. To practise Raising or Throwing the Guards on this
manner, you'll find them to be your true Grounds and Rudiments of
Falsifying: Without boasting, I was the first Man that ever taught
or showed the Method of Raising or Throwing the Guards.
Offence or Offending is performed thus, When your
Opposer makes an inside Blow or Pitch at you, Guard him with an
inside, and Pitch quick to his outside, which upon the fall of his
Blow will be exposed. When he strikes to your outside, Chop quick
to his open on the inside, according to the Rule of True Play; and
in this Case, let all your Answers be made as quick as the Hand
can perform them. If you Exercise with any Man, before you make
your False Play, prove him with True Play, to know what Guards he'll
make, then your False Play or Falsifying will happen better in the
1st. Let your first Assault be a quarter Blow and
a half, or a quick Chop, performed by the Wrist, upon a Medium,
directly to your Opposer's Face, there you'll apprehend whether
he'll make an inside Guard or no: But Note, That as soon
as you have delivered either Pitch, Blow, or Chop, be sure to recover
your Sword into its Place again, lest your Opposer hits you before
True Play is to Pitch or Strike at the Place you
see lies most open, whether it be in or outside: So that when you've
proved your Opposer with True Play, then you may offer a feigned
Pitch or Blow at the place you discover lies open; and as he endeavours
to Guard his open, then Pitch your Blow or Chop into the contrary.
A Falsify is made single, double, treble, quadruple, quintuple,
or as often as your Fancy directs; for as you apprehend your Opposer
changes his Guard, change with him, and being more quick than he,
you may Pitch into an open. If you come to Engage with any Man,
lie upon a full outside, and wade your Weapon in the Place you lie
in, by the Motion of the Wrist, but keep your Arm in its Place,
then Chop it home to his inside: so perform the same from an In
to an Outside. From your wading upon out or inside, you may make
a falsify single, double, or treble; but be sure you don't alter
your Arm, but keep it in its certain Place.
A Blow I call the Swoop, is made when you lie upon
an outside thus, Let your Point drop Hanging wise, and bring it
round the Point of your Opponent's Sword, and Pitch it home to his
face: Or otherwise, you may turn his Swoop into a Falsify, by feinting
to come on the inside, then change it quick, and finish your Stroke
on the outside. It is a grand Cheat to make a full Thrust to your
Opponent's Face, the inside his Sword, and when his Sword Answers
or Guards your Weapon, turn your Stroke round over his Point to
the right Ear or outside: So to the contrary, Thrust to his Face
the outside his Sword, and conclude your Blow on the inside; it
is a difficult thing to Guard either of these Assaults, if the Hand
is quick that performs them. A single falsify, is made by feigning
or offering a Blow or Stroke on the inside, and conclude it on the
outside; or pretend to make a Blow on the out, and finish up on
the inside. Another Falsify, is made by feigning a Blow to the outside
of the Head, and immediately fall it to the inside of the right
Leg; or pretend to strike at his left Ear, then conclude upon the
outside of his right Leg; but be sure you consume no time in your
Recovery. Likewise, you may offer a Blow at the inside of the Leg,
and turn it over to the outside of the Head: Another deluding Cheat
at Sword, is made thus, Lie upon a Medium, then turn to the Hanging;
but at the same juncture approach or encroach one Step, then finish
with a single Falsify. Another grand Deceit, is to make a Falsify
with a step, which you make in different manner; that is, lie upon
an outside Guard and inside Step, then offer a Blow with your Step
to the in, but end it on the outside: so pretend to Strike with
your Step to the out, then conclude it on the inside.
The chief Rule you are to observe at Sword, is
first your True Play as aforesaid; the next in course of Play, have
a special regard to a Slip, thus explained, Lie as hollow as you
can, with your Body upon a full outside, then if your Opponent Pitches
or Throws to your inside, by a quick Spring, or sudden Advance of
your Arm, quite out of his reach, being exactly timed as he delivers
his Pitch, he missing your Guard, the strength of his Blow will
carry his Sword beyond distance of Guard, so that you may easily
hit him before Recovering; but let your Answer be Pitched in directly
upon a Medium, with all the Life and Quickness imaginable. You may
slip from lying upon any Guard whatever, but be sure that you observe
your Distance; if you don't you may be hit in making of a slip;
then, in my Opinion, you'll make but a bad Piece of work of it:
Your Distance is, if the Point of your Sword reach ten or twelve
Inch over your Opponent's Hilt, you may slip with safety; or in
making of a slip, you may break Measure, by falling back with your
Body. You may make a double Slip thus, When you Observe that your
Opponent understands a Slip and Slips, you then time it right, and
Slip him; I count this the excellency of Play, which may be acquired
by frequent Practice: Without vain Glory, I was the first Person
that ever Taught or Performed the double Slip: (Although if one
Man had the Excellency of all Men, yet not with standing, he would
be neither valued or esteemed in some Places, especially amongst
the Ignorant and Ignoble.) Observe, That when you make either Blow,
Pitch, Stroke, or Chop, True or False, let them be performed as
quick as the Hand can throw them in; then recover upon the Hanging
Guard, which is your greatest safety: Suppose that you be slipped
just as you perceive that you lose your Point, turn your Wrist to
the Hanging, which is in all Cases the most absolute and surest
Guard or Defence.
Note, That your Play at Broad-Sword is different
from Small-Sword, for Broad-Sword is played Circularly, that is
upon Traverse, in which, if you be cunning, you may pick several
Advantages. Observe, That if your Opponent drops to your
Leg, at the same time slip your Leg back out of his reach, then
return your Stroke as speedily as possible: If you fall to the Leg,
let it be by a Falsify, that is, offer a Pitch to the outside of
his Head, or right Ear, then fall to the inside of his Leg; this
will concern him so much with his Guard, that you cannot hazard.
A Close at Broad-Sword is performed thus, Engage
your Opponent's Sword on the inside with all your Strength, then
force it backward as low as his Knee, and at the same time step
in with your left Foot, and seize the Feeble of his Blade with your
left Hand, then execute your Intention: You may perform the like
by engaging on the outside of his Sword, and perform as aforesaid:
You may Disarm either of these Ways, after the same manner as you
do at Small-Sword. Otherwise, lie upon a low Guard, or rather no
Guard; that is, hold your Sword as low as your middle, so that all
the upper Part of your Body be bare, or clearly exposed; and when
your Opponent strikes at your Head, Pitch to the Hanging Guard,
and at the same juncture step in with your left Foot, and with your
left Hand, the back there of being turned towards your Face, make
seizure of his Sword, then use your most merciful Discretion. Take
notice, That if your Opponent strikes at the same time as you do,
I call it a Counter Tempt, which be careful to avoid.
Ever since I have Taught this noble Art of Fencing,
it has been my Observation, that many Gentlemen; especially some
topping Masters in their own Conceits, that only teaches Small-Sword,
will not in the least allow one Man to understand, or be an Artist
in three Sorts of Weapons, to wit, Small-Sword, Broad-Sword &
Quarter-Staff, (adding Wrestling,) these are them that are the Subject
of my Discourse: Truly, I much wonder at their great Ignorance,
for it may be as well said, that an Eminent and Excellent Physician,
whose universal Knowledge and Fame is extended through the whole
Kingdom, knows but a single Medicine, or can Prescribe but one way
to Cure a Distemper, (which doubtless has twenty:) Or that a very
Famous and Able Musician can but Play or Teach of one Instrument;
truly, in my Opinion, there is as much Reason for one as the other:
Therefore I shall not in the least trouble myself to undeceive their
incredulity, &c. Whereas I have made it plainly appear, that
Small-Sword and Broad-Sword, has such a dependence one upon another,
in sundry Respects ought to be linked together, for the Cross Parr
at Small-Sword, is the same and equivalent to the in and outside
Guard at Broad-Sword: The Falloon Parr is the same as the Pendent
or Hanging Guard, there is no difference in the least, as to the
Ways of Parring and Guarding. Further, give me leave to State a
Case, Suppose I have a Sword that will not only Cut but likewise
Thrust, do one as well as the other (as in my time I've had several:)
I dare under take to answer the bravest Small-Sword Man in the Universe,
by reason I have a double Advantage: In the first Place, I'm upon
equal Terms with him, as to Thrusting; then for cutting, I have
ten times more odds, for if he Thrusts in Cart at me, I'll but Strike
or Cut at the same time as he presents his Thrust, and I will lay
my Life I can disable him upon the Wrist, he can in no way evade
it. Otherwise, If he Thrusts again at me, then I'll Parr him, and
in spite of Fate Cut his Arm in his Recovery. Further, I affirm
that there is no Man living can lie in any Posture whatever at Small-Sword,
but without fail I can cut the Wrist of his Arm, and no hazard to
myself; it is impossible for any Man to Parr a Stroke or Cut, unless
he truly understood Broad-Sword: What I've said, I think is sufficient
to convince a rational Man in this Matter, &c.
Now according to Order, I
shall proceed to Quarter-Staff, the common Length is seven Foot,
I divide it into three Parts thus, The Part which you take first
hold on, I call the Handle or Butt end of the Staff, the Middle
is half Part of the Staff, the Remaining completes the Length of
the Staff. It is a true British Weapon, of great Antiquity,
much Practised and Admired in former Days; to give it its due Praise,
it is a most Noble Weapon, and very useful in several Respects,
it is in the Nature of a double Weapon, by reason when you Exercise
it, you make use of both Hands: I wonder that it is not more in
Vogue in this Nation, considering its Excellency, for a Man that
rightly understands it, may bid defiance, and laugh at any other
Weapon, for it has a double Advantage in many kinds of all others;
the long Pike, half Pike, or Pitchfork, may be termed Fools to it,
no, they can't in the least come in Competition with it. As to the
Grounds and Rudiments there of, folly depends both of Broad and
Small-Sword, upon the Broad-Sword, more in reference to the Blows,
Chops, Strikes, Slips and Traverses; It only borrows from the Small-Sword
the Lunge, Thrusts and
Darts: No Weapon is learnt or understood so soon as this, because
there is so little Variety in it, and the Method so easy and plain.
Therefore I don't design to make a long Preamble to a little Matter,
but explain the Guards, which are the Inside, Outside, Medium, and
Pendent. You Advance or Raise the Guards on this Manner, Stand upon
a full or entire Body, some two Foot spare with your Legs, and Lay
your Staff at length upon the Ground; then take hold of the Butt
end with your left Hand, advance it middle height, and take hold
forward with your right Hand, about a Foot distance from your left;
so bring the middle of your Staff by your left Ear, round the back
of your head, stepping at the same time with your right Foot, an
equal distance from the left, so you come to an inside Guard; the
Butt end of your Staff then will be against your left Side, both
your Arms being stiffly extended, the other Part of your Staff will
cross your Opposer's Eyes: Lying on this manner, if your Opposer
makes a Blow or Stroke to your left Ear or inside, you are then
prepared with a true Guard. In order to come an outside, you must
return your Staff by your right Ear, likewise your Foot into the
Place from whence it came, and you may come to an outside Guard;
the Butt end of your Staff then will be against
your right Side, and the other Part will cross your Opposer's Eyes
the contrary way: Lying on this manner, if your Opposer strikes
at your right Ear, you are then upon a secure Guard. From there
you may come to a Medium, by dropping the Point of your Staff, and
bringing it by your left Ear, and with all step with your right
Foot, the same distance you did before, then place it between your
Opposer's Eyes, this is the Medium Guard: Now if your Opposer charge
you with a Blow or Stroke at your Head, Cross his Staff and it will
make a perfect Guard. From the Medium you may come to the Pendent,
which I call the high Guard thus, Slip your right Hand almost to
the left, and return your Staff round the back of your Head, then
your Point will slope or hang dipping; but observe that you see
your Opposer's Head twelve Inches under the Butt end of your Staff,
or you can in no measure be safe: I do not approve of this Guard,
although it was in much esteem formerly, but it is not valued; the
Reason is, Because the Point of your Staff being dipped, your Defence
is weak: The in or outside Guard at length, which I call the low
Guard, is much the stronger, and far the better.
Imprimis. Admit that you come to exercise
with any Man, lie upon a low outside Guard, then if your Opposer
strikes at your open on the inside, cross his Staff, which makes
an absolute Guard, and with all the Life and Quickness imaginable,
return your Blow to his inside: If you lie upon an outside, when
he strikes at your outside, then Guard and Answer quick to the inside.
2nd. Come to the outside order again, and
if your Opposer strikes at your inside open, Guard and Answer with
a Dart; that is, make a full and home Thrust with a Lunge,
like Cart in Ters at Small-Sword, to his outside.
3rd. Lie again upon the inside order, and
when your Opposer strikes to your outside, Guard and Answer with
a Dart to his outside: I have been a Professor of the Noble Science
above this thirty Years, and I never yet saw the Artist that could
defend himself from either of these Darts; but no Man can perform
them, unless he be a great Proficient in the Art of Small-Sword,
because they folly depend upon the true Planting of a Thrust.
4th. Lie again upon the outside, and when
your Opposer strikes to the inside, Guard and return your Blow over
his Point, to the outside of his right Leg
5th. If you lie upon the inside, and your
Opposer strikes at the outside Guard, then fall your Blow to the
inside of his right Leg; there is no ways to escape being hit by
either of these Answers, but to withdraw your Leg out of Distance.
6th. A Slip at Staff is performed thus,
Lie upon an outside, and when your Opposer strikes at you, instead
of Guarding, Slip him; that is, withdraw the Butt end of the Staff,
as far as your right Ear, and fall back with your Body; then Pitch
your Stroke in with a Lunge, directly upon a Medium to his Head,
and you may easily knock any Man down to the ground; but be sure
you lapse no time in the performance of the Slip, you may Slip thus
from either Inside or Medium.
7th. Engage your Opposer's Staff strongly
with your Weapon on the inside about the middle, press his Staff
down as low as his Waste, then slide your Blow along the Staff to
his Face: you may perform the like, by engaging your Opposer's Staff
on the outside, and perform as before directed.
8th. Lie upon a Medium, and engage the middle
of his Staff on the inside, advance one Step, disengage, slide or
slip your Hands together along the Staff, and make your Blow on
his Arm, or right side of the Head, or put in the Dart.
9th. Engage again on the inside of your
Opposer's Staff, then slip your Staff as aforesaid, and strike full
upon the outside of his Staff, and so you may with great ease throw
it out of his Hand, then make your Blow with all Expedition imaginable:
you may easily strike a Staff out of any Man's Hand, when you lie
out at length, without slipping your Hands.
10th. You come up to half Staff, on this
manner, Lie upon a Medium, engage your Opposer's Staff about the
middle, with the end of your Staff, upon either in or outside, advance
one step, and slip your Hands along the Staff, then both ends of
your Staff will be upon a Level, your Hands two Foot distance from
each other, your Arms extended, holding your Staff half a Foot higher
than your Head, being upon a full Body, I call this the Level Guard,
but I don't like it: Indeed, if your Opposer makes a down right
Pitch at you, you are safe; but if he should Strike sliding along
the Staff, it is ten to one but he may hit your Knuckles; but to
prevent that, Guard him with one end of your Staff, that is, according
as he makes his Blow, you must prepare your Guard.
It is a very nice thing to Play half Staff well,
because it depends so much upon the quick slipping of your Hands
on the Staff; your cunning in Traversing,
(whereby you may gain several Advantages,) and the right putting
in of the Dart, which I can't express in Words, but it is soon done
in Action. Take notice, That the falsifies at Staff are like to
them at Broad-Sword, made over the Point of the Staff; you can make
but a single Falsify at Staff, it will not allow doubling of it,
by reason you consume so much time in Performance. A Falsify at
Staff when you are out of Length with a Step, is a grand Cheat;
you may make it in different manner, that is, pretend to Strike
on the inside, and conclude on the outside, or pretend to make a
Blow on the out, and finish on the inside: You may Falsify after
the same manner at half Staff, as you do at Length, without using
a step. A False Dart at Staff, is a most excellent thing, and very
dangerous to the Opposer; it is performed after the same way as
Feint at Small-Sword, with a Lunge,
either to your In, or outside; and if your chance or by design hit
your Opposer in the Face, with a Dart or Thrust, it
is much odds you'll
Eclipse on of his Eyes: You now find that Quarter-Staff has its
dependence both of Broad-Sword and Small-Sword, as I have explained
Concise Rules at Wrestling, plainly
1st. The Holds that are taken, are commonly called,
dignified or distinguished by Loose or Fast, out or in Holds, thus
explained, Lose is performed on this manner, viz. Approach
to your Opposer upon an entire Body, and when you are within Distance,
that is, two Foot from him; with all the Quickness imaginable, Trip
or Strike with your right Foot the back of his left, and at the
same juncture as your right Foot hit his, let the Palm of your Hand
fall forcibly upon his Breast; so Hand and Foot being timed together,
you may make it a clear fall. The out Holds are taken thus, Seize
or take Hold of the Parties right Elbow with your left Hand, then
with your right Hand take fast hold on his left Shoulder, and immediately
twist or bring him with all the Strength and Force you have, striking
at the same time, if you please, with your right Foot the outside
his left Ham, and you may throw or cast him towards your right Side.
Other ways, Take hold on the Parties right Elbow as aforesaid, then
put your right Arm over his left Shoulder, and take fast hold on
his Back with your right Hand, about the height of his Waste, hold
fast your holds, stand about two Foot distant with your Legs, in
this Capacity you may close a Lock, called, The In turn; that is,
put your Leg the inside his left, and clap the Lock in the Ham of
his left Leg, secure fast your Holds, and you may throw or cast
the Party backwards, by winding your Body close to his, and fall
with him; still holding your Holds with your Hands, and lose the
Lock you have taken in his Ham, then put your Leg up his Loins,
so wind or bring him forward. From thence you may come to a Cross-Buttock,
that is, continue the Holds that you have taken with your Hands,
and place your right Leg equally between his, then wind your Buttock
under his Belly, bend or incline your Head forward, raise him from
the Ground, hit the outside of his right Ankle with the Heel of
your right Foot, and you may make a sore Fall.
2nd. If you would take another over or out
Hold, secure the right Elbow with your left Hand as aforesaid, then
put your right Arm over his right Shoulder, and take fast hold on
his Waste with your right Hand, about the middle of his back, then
clasp or take the Lock with your right Leg in the Ham of his right,
wind your Body forwards, and you may cast or throw the Party Backwards:
From this Hold you may take the In turn upon his left Leg, and throw
him backward; still securing your Holds with your Hands, and by
losing the Lock, you may come to a Cross-Buttock, that is, wind
your Buttock under his Belly, in like manner as aforesaid, and throw
him in manner as aforesaid.
3rd. Another out Hold is taken thus, Seize
upon the Wrist of your Opposer's right Arm with your right Hand,
keep his Arm upon the stretch or extended, then clap your left Shoulder
under the Elbow of his right Arm, and cast or throw the Party over
your Head; by this means you may easily break his Arm: Or thus,
Seize the Wrist of his left Arm with your left Hand, and clap your
right Shoulder under the Elbow of his left Arm, and Pitch him likewise
over your Head; by either of these Ways, you may, with great ease,
break any Man's Arm; for it is moral impossible, any Persons Arm
should bear the weight of his Body without breaking.
4th. To take an in Hold or under Hold, which
is all one, secure the right Elbow as aforesaid, then clap your
right Hand upon his left Side, and by degrees, or with what Expedition
you can, move it three Parts round his waste, then clap the Point
of your right Shoulder against his left Breast, and that preserves
you from being lifted; in this Order you may come to several Holds,
viz. The In turn backwards and forwards, and perform as aforesaid:
Or thus, lose the Lock, and hold fast your Hands, and place your
right Leg equally between his, then you may come to the Cross-Buttock,
which is taken with greater ease by an in Hold than an out, performed
as aforesaid; which being exquisitely done, it's the sorest Fall
that can be thrown: Securing still your Holds with your Hands, you
may come to a Lock, I call the Hitch, that is, put your right Leg
between his, and clap the Heel of your Foot on the back of the Ankle
of his right Leg, then poise or press him backward; still securing
the right Elbow, you may come to a back Lock thus, Clap your right
Foot upon the outside his left, so that your Toe will be against
his Heel, then lock the Knee, by keeping your right Foot in its
place, and putting your Knee the inside his, so you may easily throw
him backward over your Knee; still securing the right Elbow, then
clap your right Leg level upon the bottom of his Belly, and you
may Lock upon his left Thigh with your right Foot, the right Arm
over his left Shoulder, holding fast on his Neck, and if he raises
you from the Ground, continue your Holds, and when he sets you down,
then you may Cross-Buttocks him in like manner as before; this dextrously
performed, will puzzle a good Gamester to avoid being thrown, The
next Hold that you may take, is called the Cornish Hug, which may
be taken with the one Arm under, the other over, but both Arms under
is the best and easiest way, thus, Lose the Hold that you've taken
on the Parties right Elbow, and with both your Arms quite environs,
his Waste being fast gripped about him, Hug or close him fast to
your Breast, lean a little back with your Body, raise him from the
Ground, and cast or throw him over your right or left Thigh, which
you find best for your Advantage; I do really believe, the Cornish
Men performs this Hold the best of any Men in Christendom, we borrow
it from them. Another curious Hold may be taken thus, Take fast
Hold on the Parties Wrist of his right Hand with your left, then
quicker than I can speak, clap your right Shoulder under his right
Armpit, sink a little with your Body, and clap your right Hand upon
his Back to hold close to you, then raise him from the Ground, and
throw him over your Head; this, if truly performed, may be made
the worst Fall that can be thrown, I call this the Flying Mare,
Still secure your Hold that you've taken to his Wrist, put your
right Arm under his right, and half encompass his Waist with it,
then clap your right Thigh outside his left Ham, so bring or cast
him backward over your right Thigh.
I have known some Men so stupidly vain glorious,
and self conceited of their Abilities, as to say, they will give
a Man leave to take hold wherever he pleases, yet lay any Wager
they can throw him: To convince their Ignorance, take this Method,
Let him stand upon a full Body, step behind him, and put both your
Arms between his Legs, then let him stoop or bend with his Body
forward, so low that you can take hold of the Wrists of both his
Hands with your grip, hold fast your Holds, and you are secure from
being thrown your self, but its the Devil to a Boodle, you may Pitch
him upon his Head. I shall hint another subtle Piece of Art, and
so conclude, Whereas, I'm to take what Hold or Holds I please, to
my best Advantage, Let a Man stand as aforesaid, step behind him,
then extend both your Arms, and put them under his Armpits; he must
stoop some what low with his Head to give Advantage; then you must
take fast hold upon the back of his Neck, with both your Fingers
gripped one within another, by that means you may fix him in a pretty
becoming Posture, vulgarly called the Pillory.
The most excellent way or manner
of breaking Holds that can be taken of you.
Imprimis, If your Opposer takes an In turn
of you, Spring the Lock, that is, keep your Leg, that which he takes
the Lock upon, fast on the Ground, your Foot being turned a little
outward, then stiffen starken, or stretch you Ham stiff, by a sudden
spring, and it will break the Lock; then raise him from the Ground,
and cast him from you, in manner of a Cornish Hug; all In
turns may be broken so. The Cross-Buttock is broken by turning your
Buttock to the Parties you are engaged with, and quitting your Holds;
or rather thus, When your Opposer does Cross-Buttock you, before
he has raised you from the Ground, (be sure to time that) clap the
edge of your Hand very hard under his Chin, or the Palm of your
Hand upon his Nose; these ways will break all Holds that can be
taken. How to disengage from the Holds taken of your Collar, If
your Opposer takes hold on your Collar, with his left Hand, and
keeps you stiffly out at length, then seize fast hold with your
left Hand, on the upper part of his Wrist; then twist or turn his
Wrist inward with your full Strength, and at the same juncture Strike
forcibly upon the Elbow of his Arm, which will much endanger to
break it: If the Party should take hold of your Collar with his
right Hand, then lay hold of his Wrist with your right Hand, and
perform as aforesaid, &c.
F I N I S.