Building upon the basics

This text contains items relevant to both ranks 2 and 3

The two lower targets of foil:
The two lower targets are octave (lower outer target) and septime (the lower inner target).
Defence of octave is derived from sixte and is simply a lowering of the point by relaxing the wrist.  The positions of the thumb, wrist and elbow remain unchanged, as does the levelness of the forearm.  Septime is derived from quarte in the same way.
Being able to change from the high guards to the lower guards is important and a few basic concepts will ensure proper execution.
When the change of guard takes place as a parry, the movement is executed as a semi circle.  The semi circle poits to the opposite side of the guard you were in, thus when you were in sixte, the blade is swept down and towards the inside line and back out to end in octave.
The fencer should first train the straight change to octave to get familiarised with the position and then perform it as a semi circle and strive to end in the exact lower position. 
Changing from the lower guard back to the upper guard simply follows the same path outlined by the semi circle.  This introduces the concept of semi-circular parries.
The ripostes from octave and septime are performed along the line of sixte for octave and quarte for septime.

 

Feint, deception:
In order to draw a defensive response from the defender, the fencer will extend the arm as though attacking.  He thus creates a line but does not close the distance.  As the defender closes the line in a parry, the attacker merely disengages without any other movement from the arm or body and then finishes the attack.  It is important for the attacker to avoid any contact with the defender’s blade as this causes him to lose right of way.

Regarding the closing of the line- Since the attacker knows that he will change to the other side of the defender’s blade he will not close the line during the initial creation of the line of attack as doing so will only waste time. 

The simple feint is performed within lunging distance.  From the long distance the fencer will perform a double feint.  This is initiated from the position of octave.  The fencer creates a line of attack during the approaching step and changes as his opponent parries.  As the step is completed the defender will have time to parry the second line of attack and this is also avoided.  Due to the relative position of the opponent’s blade as the attacker finishes the attack, the line is closed during the delivery of the attack.  This is a simple concept and easy to train, but must not be neglected.

 

The beat attack:

The beat attack is a percussive attack on the opponent’s blade in order to open a line to attack.  It is also used to draw reactions from which to work off.  In essence the beat is a rapid lateral change of guard.  It should not be preceded by a twitch or any other movement that will give away your intentions.  Care should be taken not to allow the tip to deviate off line as this removes your threat to your opponent’s target area.  Beat attacks can be performed from sixte to quarte and in reverse.  Later they are also performed from the high line to the lower line and in reverse.

 

Coupé:
The coupé or cut-over is a form of disengagement that passes over the opponent’s blade.  The tip of the blade is rapidly raised until clearing the opponent’s blade and this is then normally followed by the attack.  This rapid movement is executed with both fingers and wrist.  Care should be taken not to move the rest of the arm.

 

Dérobement:
The evasion of the opponent’s attempt to take the blade by executing a circular movement, much like a simple disengagement.

Double:
Evading the opponent’s attempt to intercept the blade with a circular parry by performing an evasive circle in the same direction during the attack.  This is not premeditated, but the fencer must take note of the opponent’s response to the attack and then evade if needed.  It is also used in the situation where the counter parry and riposte of the opponent is avoided by disengaging during the riposte, thus evading the parry.

Jump:

The fencer can also perform jumps in order to break the rhythm of footwork.  There should be no change in elevation.  It builds on the basics of the firm step in that the leading foot kicks out strongly.  In this case both feet leave the ground at the same time and also land the same way.  Posture before and after a jump remains the same.  Before fencers are taught to jump forward and backwards, they should perform stationary jumps in which the body does not move at all.  Thus the jump merely consists of pulling the legs up to the body and allowing them to reach the floor again.
The jump can later be combined with the lunge and this creates the foundation for the ballestra.

 

Cross stepping:
As the name implies the step is performed by allowing the front leg to pass beyond the rear leg and the other way around.  This is very simple, but care must be taken not to change elevation and the step should be delivered in a quick and crisp action.  Delivering steps of varying length is part of the technique.

Circular parries:

The circular parry is executed by describing a clockwise circle with the tip of the blade when in the guard of sixte and if the fencer is right-handed.  For the left-handed fencer it is anti-clockwise.  In the guard of quarte the direction of movement is reversed.   Movement is controlled by the fingertips with no movement of the arm at all.  At the end of the parry the position should be the same as before the parry.

Passata de Sotto:
This is an esquive or displacement of the target area.  It is important to have the back upright while going down.  The fencer is allowed to place the non-weapon hand on the floor for balance.  The drop of target area is accompanied by extension into a line of attack.

Backward Lunge:

The backward lunge is simply half a firm step backwards as the lunge is half a firm step forward.
It can be used as defence by displacement and is also used to deliver a counter attack without closing the distance, important when the opponent is already rapidly closing the distance.

Remise:
This is simply a renewed attack performed after a failed attack without any further movement of the body or blade.  The tip is simply returned to the line after a beat or parry took it off line.

Reprise:
The attack is renewed by first returning to the en garde position either forward or backward.  This is then followed immediately be the new attack.

Redoublement:
The attack is renewed without recovering from the lunge.  There is only action of the blade by changing lines of attack.

The Line:
This is the extension of the arm in the high attacking line of either sixte, quarte or in the long line.
The tip should threaten the valid target of the opponent at all times as right of way is lost as soon as the tip no longer threatens  the valid target area, either by the tip being moved, or by the opponent moving off line.  This is used to hit an approaching opponent that launches disorganised attacks and attacks without preparation.  It can also be used to draw a response to react to.  Attempts by the opponent to take or contact the blade are avoided by disengagement without breaking the line of extension.  Care must also be taken not to move the tip so far that it no longer threatens.
The use of dérobement in this situation is more difficult as the arm is extended.  This must be practiced frequently to fine-tune the crispness and accuracy of the movement.

Marius Titus
Maître