Ralphsmanual Version 6

IN
LESSONS
By Ralph Whittingham Burgess
FOIL FENCING
LESSONS IN FOIL FENCING
Page ii 3/2/2010
2010 Ralph Whittingham Burgess and Bath Sword Club

The author asserts his moral right of ownership of the text.

Please contact the author with comments:

RalphBurgess@jrmason.demon.co.uk

Or visit the Web site of Bath Sword Club:

www. bathswordclub.co.uk
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Contents

FOREWORD............................................................................................................................................. v
SAFETY NOTES........................................................................................................................................ vi
PART ONE................................................................................................................................................ 1
Introduction...............................................................................................................................1
LESSON 1 ............................................................................................................................................. 2
The Grip....................................................................................................................................2
The Stance And Position On Guard........................................................................................3
The Salute.................................................................................................................................4
Gaining And Breaking Ground..................................................................................................4
The Attack - Lunge And Recovery............................................................................................4
The Recovery FORWARD........................................................................................................6
The Hit ......................................................................................................................................6
LESSON 2 ............................................................................................................................................. 8
The Valid Target.......................................................................................................................9
Covering..................................................................................................................................10
Engagement A Definition.....................................................................................................10
Absence Of Blade...................................................................................................................10
Fencing Measure....................................................................................................................11
LESSON 3 ........................................................................................................................................... 12
Two Simple Attacks: Direct Thrust and Disengagement........................................................12
Change Of Engagement And Counter Disengage.................................................................13
The Four Supinated Guards, A Parry, The Riposte................................................................13
Sentiment du Fer ....................................................................................................................14
Reminder of HOW to begin fencing an opponent...................................................................14
LESSON 4 ........................................................................................................................................... 14
Dimensions Of The Piste and Rules.......................................................................................14
Simple Defence The Three Parries .....................................................................................15
More Sentiment du Fer...........................................................................................................17
LESSON 5 ........................................................................................................................................... 17
Three More Simple Attacks ....................................................................................................17
Cut-Over .................................................................................................................................17
The Counter Disengagement..................................................................................................18
Low Line Simple Attacks.........................................................................................................18
LESSON 6 ........................................................................................................................................... 19
Simple Ripostes......................................................................................................................19
The Direct Riposte..................................................................................................................19
The Indirect Ripostes..............................................................................................................19
LESSON 7 ........................................................................................................................................... 20
The Flche Attack...................................................................................................................20
The Balestra............................................................................................................................21
ROUNDUP OF PART ONE ................................................................................................................. 22
Summary of what Foil Fencing is all about.............................................................................22
Simple Attacks - Summary.....................................................................................................22
Simple Ripostes - Summary...................................................................................................22
Notes On Attacks....................................................................................................................22
Useful Principles.....................................................................................................................23
REFEREEING AND JUDGING ........................................................................................................... 24

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PART TWO.............................................................................................................................................27
LESSON 8............................................................................................................................................27
Compound Attacks................................................................................................................. 27
The 1-2-3................................................................................................................................ 27
The 1-2-3 from Absence of Blade ........................................................................................ 28
The 1-2 Attack........................................................................................................................ 28
The Doubl Attack.................................................................................................................. 29
LESSON 9............................................................................................................................................29
Successive Parries................................................................................................................. 29
Compound Ripostes............................................................................................................... 30
Counter Ripostes ................................................................................................................... 30
LESSON 10..........................................................................................................................................31
Beginning Attacks - Reminder ............................................................................................... 31
Preparations Of Attack........................................................................................................... 31
(1) Attacks On The Blade Pressure, Beat, Froissement..................................................... 31
LESSON 11..........................................................................................................................................33
(2) Coul (& Graze)................................................................................................................ 33
(3) Prises de Fer .................................................................................................................... 33
LESSON 12..........................................................................................................................................33
The Crois (or Vertical Bind).................................................................................................. 33
The Bind (or Diagonal Bind)................................................................................................... 34
Envelop (Envelopment)........................................................................................................ 34
Defence Against Prises De Fer Ceding Parries.................................................................. 35
LESSON 13..........................................................................................................................................35
(4) Gaining And Breaking Ground As A Preparation............................................................. 35
The Appel............................................................................................................................... 35
LESSON 14..........................................................................................................................................36
(5) Combinations of Preparations. ......................................................................................... 36
(6) Ripostes using Prises de Fer............................................................................................ 36
ROUNDUP OF PART TWO.................................................................................................................37
More Useful Principles........................................................................................................... 37

PART THREE...........................................................................................................................................39
LESSON 15..........................................................................................................................................39
Trompement and Drobement............................................................................................... 39
LESSON 16..........................................................................................................................................39
Stop Hits................................................................................................................................. 39
Counter Time......................................................................................................................... 40
LESSON 17..........................................................................................................................................41
Renewed Attacks................................................................................................................... 41
The Remise............................................................................................................................ 41
The Redoublement................................................................................................................. 41
The Reprise............................................................................................................................ 41
LESSON 18..........................................................................................................................................42
Avoiding Attacks..................................................................................................................... 42
Passata Sotto......................................................................................................................... 42
Inquartata............................................................................................................................... 43
Rassemblement..................................................................................................................... 44
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LESSON 19 ......................................................................................................................................... 44
Flick Hitting.............................................................................................................................44
Defence Against Flick Hits......................................................................................................45
LESSON 20 ......................................................................................................................................... 46
Fencing With Absence Of Blade.............................................................................................46
LESSON 21 ......................................................................................................................................... 49
The Pronated Guards And Parries .........................................................................................49
Prime and Seconde................................................................................................................50
Tierce......................................................................................................................................50
Quinte .....................................................................................................................................50
ROUNDUP OF PART THREE............................................................................................................. 52
Final Useful Principles ............................................................................................................53

APPENDIX A TECHNICAL TERMS............................................................................................... 54
APPENDIX B FIE GUIDELINES ON REFEREEING...................................................................... 59
APPENDIX C Personal Progress Checklist ................................................................................ 60
APPENDIX D Fencing Terms Explained...................................................................................... 61

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FOREWORD

Foil fencing techniques have evolved during some 400 years of life-preserving sword carrying which
stopped evolving when swords were no longer sharp or used for personal defence or duelling and when
it became a sport or game with conventions and rules formalised by our governing body the FIE
(Federation Internationale Escrime).

As far as possible it was intended to provide a sport as near as possible to real sword fighting without
the danger of death or injury. The Epe is the direct descendant of duelling swords whilst the Foil began
life as a blunted weapon to teach fighting / duelling safely without so much risk of injury or death as
when using real fighting weapons. Even scratches then could cause death later as we know today by
gangrene due to pathogens.

Older, very experienced expert swordsmen became the first Fencing Masters (Professors of today)
teaching the use of the weapon and eventually Instruction Manuals were produced to provide printed
help in this process.

An Instruction Manual, including this one, has to start at a beginning and build layer on layer in a
sequential, logical and rational manner. This one is based on a pragmatic, need-to-know basis for order
of techniques.

A good Instruction Manual should help an aspiring Coach to teach and enable a keen pupil to self-
education, albeit with advice and drilling from an experienced fencer, Fencing Coach or Professor on a
regular basis.

Pupils and pupil-teachers learn by a variety of methods, instruction and drilling (repetitions with
corrections as necessary) but these are always more effective and successful with logical reasons,
explanations, demonstrations and even humour, to produce a relaxed atmosphere in which learning can
occur more readily. Remember, some learn quicker by physical demonstration and repetition alone,
whilst others also need more immediate explanation, logical reasoning and the application of brain
power, though most benefit from a good mix.

So those who learn, teach or just wish to improve to perfection their fencing with more understanding
and logic, start at the beginning and work steadily through to the end which will only be the start of an
enjoyable sport for the whole of a fit, healthy lifetime if you wish.

These lessons are based on Fencing with the Foil(now out of print) by Professor Roger Crosnier,
whose tuition and that of his successor as National Coach, Prof. Bob Anderson, taught me all I know
about Foil tuition since my initial training with Fencing Master Frank Edmonds in Swansea Fencing
Club from 1949 to 1951.

The lessons are presented in a direct, practical and personal way to be as clear and without confusion as
if they were being delivered in person, and with enough explanation. They are intended to pass on the
excitement and pleasure which I have derived from Fencing since 1949 and teaching and coaching foil
as a qualified Coach since 1969 and now a Regional Coach. It is hoped they will help all enthusiastic
readers and students of this challenging weapon to learn and improve their foil play with knowledge and
understanding.

I have been fortunate in having the kind assistance of several friends in Bath Sword Club, in their
encouragement printing and compilation of these lessons: Lorraine Haan, Rod Hansen and especially
John Mason our Club chairman without whom the present completed format would not have been
possible. To all my grateful thanks.

R.W.B.
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SAFETY NOTES

Safety comes under two headings - Passive and Active.

Passive Safety is concerned with EQUIPMENT - which is not a danger unless misused, or allowed to
deteriorate without checking periodically.

All Club equipment is maintained in good condition, so it is most important to see that personal
equipment is kept in good condition, knowing what to look for and to do, to keep it that way. The BFA
Guidelines on Safety pamphlet will give you a very good guide to equipment safety, so get a copy.

Active Safety concerns behaviour, and adherence to the current FIE Rules to do with handling
equipment, and Fencing with it. However, remember that Fencing is Fun and that we all do everything
we can to make sure it stays that way, by our own friendly, polite, courteous and sensible behaviour
with, and to other fencers, -and in care of the equipment!

But basic Safety precautions must be learnt from the start as one begins learning to fence, so:-

How To Handle (Use) A Foil Safely

Take care when collecting and carrying foils, and returning them to their bag, - keep the point down
or carry it by the point, and never wave it about.

Never, ever point a foil at anyone unless they are wearing a mask, and never cross swords with
anyone unless you are BOTH wearing masks.

Learn to put your mask on with one hand, - or put your Foil down when putting your mask on to
avoid hitting someone behind you.

Avoid handling your foil blade, especially when worn, to avoid steel splinters.

How To Fence Safely

Fencing is NOT a body-contact sport. Body contact is called Corps corps and is forbidden in foil
(& sabre!) for a contestant to cause this, even without violence, brutality or jostling. So maintain
proper fencing measure and adjust your hitting to the distance at which you find yourself at any
moment of attack or riposte, especially during Flche or Balestra attacks.

NEVER remove your mask during fencing, until the end is announced and the scores given and you
have saluted your opponent, - or in a friendly bout when both contestants have saluted and lowered
swords at the end and come together to shake hands.

Make sure your equipment is all in good useable condition before starting, (or that borrowed
equipment is likewise,) for your own safety and peace of mind and your opponents.

Know the Rules and what you may and may not do and abide by them strictly, to avoid penalties or
indeed fencing dangerously.

Part ONE LESSONS IN FOIL FENCING
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PART ONE

Introduction

Button Foible Forte
Coquille or
Guard
Hilt or
Handle
Pommel
Finger Pad
The objective of the game is to land a good hit on the valid target of your opponent whilst preventing him/her
from hitting you, as far as possible. (Note that there are no double hits at Foil).

All the lessons following are based on the Classical French School of manipulating the Foil with hand and
fingers and only minimally with the wrist, using a simply shaped sword hilt made to fit the hand and a balanced
in hand blade. It very closely follows the Rules of the Federation Internationale dEscrime, the body which
controls World Fencing, and the well trained, skilled, logical and keenly observant Foilist can succeed to the top
internationally with this.

Modern (AD 2000) foilists in the EU and elsewhere have mainly opted for a more vigorous, physically strong
style which uses blade heavy, unbalanced foils which need a shaped hilt the pistol grip, accurately so
described to hold and operate this blade and with very strong, fast though more obvious and less subtle wrist
and arm actions.

Both styles can be trained to be equally fast, though the French so called finger style is more subtle and
economical in movement and therefore effort and energy need and it can be used by even older veterans to a
ripe old age, to continue very stylish foil play which continues to be effective and successful.

The largely physical modern style can only restrict continued success as one slows down physically with age,
since it is far more tiring and requiring faster reactions.

The following techniques have to be taught and learnt Classically. How each foilist then decides to continue and
compete with foil in competition and in what style, will be entirely a personal choice and a matter of adapting
the teaching to the choice of foil.

N.B.
a) All advice/instruction is for right handed pupils and foils. Left handed pupils need to read instructions and
oppose a right handed foilist oppositely, ie if the opponent is in a high outside guard, the left hander opposes
in high inside guard etc unless otherwise stated, or separately described.

b) As far as possible, a logical reason(s) and/or explanation(s) have been given for the execution and use of
each technique, position or move, since all pupils learn quicker and more thoroughly, (leading to more
intelligent/successful perfection,) if the purpose and timing are added ie the why and when are added
to the how, when being instructed or coached.

c) Each technique must be practised until near perfection is reached and then used against opposition until its
usage is familiar.

If a technique, its purpose or its timing is not clear or still eludes your understanding, persist with enquiry of
instructor or coach until satisfied.
LESSONS IN FOIL FENCING Part ONE

LESSON 1
The Grip

This is the correct way in which the hilt/handle of the foil is held so that the hand remains relaxed and
not cramped, ready to manipulate the blade with ease and full dexterity, without tiring unduly either
hand or fingers.

The Hilt itself is shaped to fit snugly into the hand and has broad surfaces top and bottom and narrower
sides (left handed hilts are similar exactly but mirror image).

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Coquille or
Guard
Finger Pad
Manipulators:
Index Hook

Next, lay your thumb flat along the broader, upper face to hold the sword with finger and thumb firmly
so that the index hook and thumb can manipulate the sword into the small clockwise and anticlockwise
movements required, along with deep, narrow V movements also. These movements will be aided by
the other three fingers pressing and holding the hilt firmly into the palm of the hand.

The index hook and thumb tip are put comfortably against the finger pad inside the coquille and the
hand is tilted, half supinated (half on its back). Keep the thumb FLAT and the palm of your hand FLAT
against the hilt and the aids almost flat, firmly pressing the hilt into the hand. The thumb should be
a)Upper Face b) Left Face
Aides
Position of
Hilt in hand
Thumb
c) Your hand and the hilt
together
To hold your sword, put your hand in front
of you as shown in diag. (c) with your elbow
bent, identify the shape of the hilt of the
sword as in diags (a) and (b) an lay it into
your hand as in (c).

CARRY THE SWORD IN YOUR HAND,
DONT GRIP IT AND RELAX THE
HAND.

straight, flat against the index knuckle alongside it with no gap or hole between them and the pommel
centre wrist.

Practise making the sword tip describe small circles clockwise/anticlockwise about 1ft in diameter and
smaller, with a bent arm and with the arm and sword straight in front. Also make the point describe
deep, narrow vees 4-6 inches across and 9-12 inches deep, at the end of the straight arm. These will
strengthen your finger and thumb and hand in making strong, well co-ordinated, vital fencing
movements with the hand half supinated. The Aids stroke the hilt and give it firm strong controlled
movements and clamp it firm into your hand at the end of a movement.
The Stance And Position On Guard

The stance is the correct position of the feet as the basis for the on guard position. Stand sideways to
the direction you intend to move eventually, with right side or left side leading, depending on your right
or left handedness. Place the feet apart about as wide as shoulder width, turn your leading foot on its
heel to 90 from your rear foot, so keeping your front foot in line with the rear heel (= line of fence) and
bend both knees to a half sitting position.

This will give you balance and mobility equally forwards and backwards. Turn the rear foot about 5
forward at the toes as if about to begin a cross-country run, keep the bottom and abdomen tucked in and
the back straight, and if there is a feeling of falling back, then drop the rear knee slightly more forward
or bent. Maintain the foot separation after movement, as exactly as you can.

The chest and shoulders will, like the hips be at about 45 from where you started (or where you will be
moving,) but a more comfortable position is 50 ie facing slightly more forward than at 45.

The sword and arm are bent at the elbow with the sword pointing forward, elbow a hands width from
the waist, sword and hand in front of the elbow and straight under the shoulder, and the back of the hand
just out of the line of the shoulder (outside it). This makes sure your sword defends (covers) your
shoulder, with the sword and arm in a straight line from the elbow and the point raised to about eye
level of an opponent.

The rear arm is held with upper arm horizontal and in line comfortably with angle of the chest and
shoulders; the forearm is vertical, the hand relaxed, drooped, as if waving good-bye, and relax, holding
all this position of on guard. Your head will look over your forward arm at an opponent.

The function of the rear arm is fourfold to give you balance, direction, penetration when hitting the
opponents target area, and finally lift and balance when recovering from the lunge.

Front

Side

See photographs on page 8

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The Salute

Modern sport fencing came from the traditional need for self-defence with the sword over the last three
hundred years and traditional courtesy has also survived in the salute, to ones opponent, a jury if any,
the referee and spectators. This at the beginning of matches in competition, or friendly encounters, (also
to ones coach/ instructor at the start of lessons) and in each case at the end in reverse after removing the
mask.

Put on the mask and remain half turned to the opponent with sword and arm pointing groundwards in
his direction. Raise the sword/arm diagonally upwards then bend the elbow and bring the guard close
and level with the chin, sword pointing straight upwards. After the opponent repeat to any jury, any
spectators and then the referee.
At the end of a contest, after the salute remove mask then shake the opponents hand with your unarmed
hand.
A final touch is to thank the Referee even if you have lost.
NB from the FIE seminar, April 1999 on refereeing guidelines:- The salute at the beginning and end of
a fight in competition is MANDATORY. Failure to salute and shake hands at the end will lose hits
scored and you will be fined $500 (300 approx) which if not paid will result in a ban from
International competitions.

So all fencers need to practise the salute and hand shake when fencing to make it an automatic courtesy
habit, since forgetting is not just discourteous but expensive, dramatic and drastic.
Gaining And Breaking Ground

To step forward move the front foot first, followed by the rear foot the same distance exactly, so as to
maintain the spacing between your feet. To step back move the back foot first as near as you can the
same distance you had stepped forward, to standardise stepping forward and backwards as far as
possible. If you need to move further forward, or back, it is better to take more steps than to lengthen
the steps.

Keep stepping smooth, slick, snappy yet slinky, cat like but crisp, so that moving does not take any
longer than necessary and you cannot be caught off guard whilst moving or unbalanced. Maintain the
knees bent (sitting down position) and learn to move from the knees down, if you can whilst keeping the
upper legs in position. Aim for lightness of movement and of foot by keeping slightly on the balls of the
feet whilst moving and lower the heels between moves. Practise up the piste and back.

The Attack - Lunge And Recovery

Otherwise known as the development and return to guard. It is the means of reaching ones
opponent and making a legitimate hit on the valid target area, then returning out of reach. It is composed
of the extension of the sword arm, from on guard, (or following a parry or other offensive or defensive
action), followed by the action of the legs to carry the body and sword to reach the opponent, and back.

First, note the FIE definition and guidelines on the attack:-
The attack is the initial offensive action with the straightening of the arm, (from on guard) and the
point of the weapon continuously menacing the valid target of the opponent. [This is known as point in
line and is in the high line].

There must be no pause in the extending of the arm and no bending of the arm once the attack has
started or the right of attack passes to the opponent. (ie loses priority). The point-in-line is valid whether
the fencer is standing still, going backwards or forwards. It must be fully parried to lose validity.

Straightening The Arm

The straightening of the arm defines you as the attacker giving you priority as well as helping to cover
your target and discourage your opponent from attacking you, and giving you chance to aim accurately
your hit onto your opponent. Your opponent has to parry you fully away from hitting him to remove
your priority. If these 2 rules are not strictly observed refereeing is made virtually impossible.

The Lunge

The lunge is achieved by lifting the front foot just off the floor, then straightening the rear leg to push
the body forward horizontally to reach the opponents target area with your foil point. As the point is
placed/landed raise the hand slightly above the shoulder to compensate for any drop in the body, and to
keep your own target area covered to offer no incentive to the opponent to counter attack you there.

Simultaneously, the rear arm is rapidly dropped to a position parallel with the rear leg, palm uppermost,
- which keeps your shoulder back and keeps you and the sword arm balanced as it is straightened in the
lunge; the rear arm also gives accurate direction to your attack and penetration as you hit and thus bend
your blade slightly, the rear arm almost reaching backwards to equal your sword arm as you hit. Then
on recovering it gives a sense of lifting and balance as you return to guard.

DO NOT OVERLUNGE and allow your front knee to bend beyond your instep, or your foot beyond
your knee.

To recover, use the bounce of the landing into the lunge and the penetration of making the hit to start
your recovery recoil, and by bending the rear leg PULL-BACK with it to get your weight off the front
leg. Then with a flick of the heel return your front leg and body to the on guard position with the hand
and sword trailing in last. This is easier and uses less energy than pushing everything back to on guard
by the effort of the front leg quadriceps (thigh) muscles, and is less strain on the knee.

Remember, the move into the lunge and recovery back is a horizontal movement carrying the on guard
position forward into the lunge and back to the starting position. Think of the lunge and recovery as all
one action and practise it. The straightening of the arm first followed immediately by the lunge is
counted as occurring in one period of fencing time.

3/2/2010 Page 5
The Recovery FORWARD
It is not only possible but often useful, even occasionally necessary, to make recovery forwards instead
of backwards.

It is used where your opponent doesn't defend but has merely retreated and further or faster out of range
than you have attacked. To recover as previously described obviously breaks contact completely and
prevents any continuation of your attack, but you can maintain pressure on your opponent by recovering
forward.

How? - by keeping your sword and arm straight and still threatening it is still your attack. You continue
by pulling up your REAR leg forward under you (keeping knees well bent), into an on guard position,
assisted by lifting your rear arm, then continuing into a further attack with one or more blade
movements as you find necessary.

This ability will be of great use to you when your fencing has progressed to any competition level, -
perfect it now.

The Hit

This is the fixing of the sword point clearly and distinctly and with the character of penetration
anywhere on the opponents body, ie going forward and the blade bending a little on contact, on or off
target.

Hits only score on the valid target area, those off the target area arms, legs, mask including the bib
do not score but will halt any further action from either opponent stopped by the Referee and then
restarted again.

Correct hitting technique is vitally important involving the ability to vary ones co-ordination at any
distance of lunge or riposte, so that one hits accurately, does not risk breaking ones foil too close (or
missing a hit just out of range) and not hitting ones opponent unnecessarily hard and painfully.

Start learning this technique with a partner (or against a suitable wood door), beginning by coming on
guard with the sword point a mere 2 inches (5cm) away from the surface to be hit, then begin to
balance the sword over your index finger, down and up by pushing and pulling gently with the thumb
over finger. Then on a down rapidly push the point onto the target and straighten your arm to bend the
blade in an upwards bend by lifting the hand just above shoulder height as the point strikes.

The Hit

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3/2/2010 Page 7
Keep repeating this action and speed it up as quickly as you feel confident of always hitting the target
aimed at and bending the blade upwards correctly. The blade should never bend downwards and the
point hit lightly and not thump or prod.

This can be done using the wrist but is not so positive or accurate as fingers. When this can be repeated
100% accurately retire 1 foot length and re-learn the co-ordination - as your arm has to be straightened
BEFORE the point is flicked down and placed on the target, with a slight lean forward to bend the blade
up to give penetration.

Then repeat with another foot length retreat requiring a half lunge, then hit; again after 100% success
retire to full lunge length from the target and retrain your co-ordination. You should now be able to hit
correctly from any distance in your fencing measure and have developed a sense of point and point
control. Remember the objective of the game is to land a good hit on the valid target of your
opponent whilst avoiding being hit yourself or preventing your opponent from hitting you, as far as
possible. (N.B. There are no double hits scored in Foil).

The Supinated On-Guard Positions

Quarte Sixte

Octave Septime
Page 8 3/2/2010
LESSON 2

The Valid Target

Foil conventions limit the target to the torso, the legs, arms and head are not valid target, though hits on
these parts will stop play whilst not scoring.

Simply the valid target is from the top of the collar and inside the shoulder seams to the line of the
groins in front, for both men and women. The upper back is in target similarly but only to a straight line
across the top of the pelvic bones (the waist). The bib on the mask covering the collar is currently still
not target area, like the mask to which it is attached, = throat protection!

For safety, the full jacket overlaps the this target area to beyond the groin lines. The front of the target
area is usually divided into 4 sections, right and left, upper and lower for convenience of tuition, named
in the Old French, and based on positions dictated by necessity in defence when attacked by an
opponents sword in duelling or for self-defence.

These sections are also referred to as lines , so we have the high lines and low lines and inside and
outside lines. The high outside line is the side you hold your foil when you come on guard to start
fencing or tuition, whether you are right or left-handed and is the position from which traditional
(classical) teaching starts.

Traditionally there were 8 fencing positions, and these are still used today, called Prime, seconde,
tierce, quarte, quinte, sixte, septime and octave ie first, second and so on. Sixte, quarte, octave and
septime are all with the sword hand held in half supine position (half on its back with the thumb and
finger tips uppermost). The other 4 are pronated positions with the back of the hand uppermost dealt
with later in Lesson 21.

The high outside line referred to earlier is the sixth or SIXTE position, on the upper right side for right-
handers and upper left for left handers.

Despite the historical reasons for traditional French terminology, use English first to eighth if
preferred. But whichever learn thoroughly and the reasons for them, only poor fencing can result
from ignorance due to difficulties learning the game without.

3/2/2010 Page 9

The Target and its quartering into
guard/parry positions
6cm (2) {
Bib
Top of the ilium
(hip bones, pelvis)

Page 10 3/2/2010

Covering

This is basic defensive positioning of ones guard. It is defending your own target by making sure, as far
as you can, that your opponent cannot see anywhere to make a direct attack on you by keeping the
opposing blade outside your guard or your parry.

The forte of your foil (9-12) is your shield, whilst the foible has to bend on hitting to simulate
puncturing your opponents skin. The on guard in sixte has already been dealt with in The Stance, but
it must be emphasised here that that the foil is held pointing over the opponents shoulder in a straight
wall of steel on that side, hand breast high, and point at opponents eye level, with the pommel in the
centre of the wrist and sword straight from the elbow, in order to defend against a straight thrust over, or
around ones foil on guard in sixte. This is being covered.

To take guard in Quarte, the foil is held as the straight steel wall pointing over the opponents other
shoulder to that in Sixte. In changing from Sixte to Quarte (and back again) the foil is carried
ABSOLUTELY PARALLEL from one side to the other (think of parallel railway lines), to oppose the
straight attack or thrust, with ones forte maintained at the on guard angle across the horizontal attack
or threat.

It is vitally important to train oneself to recover from a lunge and to return to guard fully covered and
automatically.

Engagement A Definition

Engagement in foil fencing is to cross swords with the opponent by about 6in or 15cm each. This is
usually in the high lines, Sixte or Quarte (since any other leaves ones whole target exposed) in an
attempt to minimise the risk of a direct thrust. It is in the seeking to close ones line and be fully
covered, by pressing the opponents blade out of the central crossed position, that one receives return
pressure from the adversary seeking to cover in turn again nearly or completely, that fencing starts.

It is quickly obvious that both fencers cannot be fully covered on guard in Sixte or Quarte since:
a) It will not be possible to cross swords and
b) both would be wide open and totally uncovered.

Therefore it is this alternating pressing of blades in and out of covered that ones chance of deceiving
the opponent occurs and fencing gets going. But remember your opponent is doing the same to you,
so watch keenly and carefully and be prepared!

Absence Of Blade

This occurs by the deliberate taking the blade away from contact (detaching) with the opponents blade
during fencing., or by failing to cross swords at the start of a bout, deliberately. This must not become a
habit, since this can give rise to serious consequences and drawbacks which can contribute to a lack of
success even failure to progress in the sport:

Absence of blade causes larger and therefore more obvious signalled movements to deflect an
attack, or threat of one. This necessitates a greater speed of reaction and force resulting in these
larger, wilder movements than otherwise necessary in conventional blades-in-contact mode with its
small, neat and more subtle correct techniques.

More serious the lack of blade contact results in a loss of sensory awareness which should be an
addition to visual perception, that is loss of sentiment du fer, literally the feel of the steel, so that
one is not instantly aware of loss of contact as a warning of some action happening, and therefore
the ability to impose ones mode of play on the adversary, or to be aware of imminent attack which
needs attention.

On occasion, one can deliberately use absence of blade tactically, particularly against heavy-handed
opponents who continually beat ones blade, perhaps on purpose to tire ones arm, - so avoid them and
offer an opening one can control.

Fencing Measure

This is the distance which you try to maintain between yourself and your opponent such that he/she can
only hit you if they lunge FULLY.

It is essential to train yourself to estimate the correct fencing measure with each opponent and to remain
keenly aware of it at all times and in all circumstances.

Gaining and breaking ground (advancing and retiring) is used all the time by you and your adversary to
try and make one another misjudge distance to ones own advantage, or to adjust to relative movement
and play, even more especially if there is a height difference.

So develop this as soon as possible and remember, too close and you can be too easily hit before you
can defend too far and whilst your opponent not be able easily to reach you, you may end up wasting
efforts to attack, or counter attack, when you are out of reach, however slightly.

So finally, you now know how to give pressure on an opponents blade, push it out of the way and make
a simple direct attack with a lunge and hit your opponents target. Also you know how to change your
guard to the opposite side to deflect, or parry, your opponents attack.

Pair off and practice this then come back with questions.

3/2/2010 Page 11
LESSON 3

How to begin fencing? your probable question after practising at the end of Lesson 2.

Two Simple Attacks: Direct Thrust and Disengagement

The Direct Thrust/hit;
The Disengage Indirect hit.

The Direct Thrust. When first you, then your opponent were giving covering pressure from the crossing
of engaged blades, there is a correct moment in time just as pressure is being given to push the
opposing blade out of correct cover, to make a lunge/thrust over the blade and hit, as a complete
surprise. This is correct timing and takes place in one period of fencing time.

The Disengage. An alternative is to avoid the pressure which is pushing your blade out of correct cover
of your guard, by immediately dipping your sword with your finger and thumb under the pressure, this
is called Dis-engaging from their blade. Then your blade is lifted up the other side to make a correct
indirect hit but covered. Some of you may have discovered this already as a deep narrow V. When this
is done as one smooth, swift movement it is also in one period of fencing time.

CORRECT DISENGAGING best explained by breaking it down into the parts of the movement as
follows:

On 1. relax the grip on the hilt, at the same moment pulling with the forefinger under the thumb to rock
the sword down over the forefinger. The point of the weapon will describe the curved left side of a
as it is pushed whilst sliding down under the opponents blade.

On 2. push the hilt back up with the forefinger under the thumb and the straight vertical side of the
can be completed. The other fingers clamp back onto the hilt to firm it into the grip, with the blade now
on the inside of your opponents and covering into attack.

On 3. extend the sword and arm with the blade horizontal at your target.

On 4. lunge hit and bounce and return to guard.

1
st
Progression. On pressure 1 and 2 can be put together to make the disengage to just the other side of
the opposing blade.
On 2. the sword/arm is extended to threaten the opponent.
On 3. lunge, hit and recover.

2
nd
Progression. Again 1 and 2 can be put together on pressure and the point dropped, returned up and
the sword arm extended.
On 2. lunge, hit and recover.

3
rd
Progression. Finally the whole disengagement is put together when triggered by pressure but
REMEMBER :

i) The hand movements are completed and the arm is straightening before the foot moves into the
lunge, hit and recover, when moving fast;
ii) As the lunge is made the hand is raised and the lunge and hit is made covered, so that, despite
starting in Sixte, after disengaging your lunge/hit ends up covered in Quarte. If you start in
Quarte of course then you finish lunging and covering in Sixte after disengaging;
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3/2/2010 Page 13
iii) Success will only happen with correct timing, by your anticipation of the moment that your
covering pressure produces a pressure back.
Change Of Engagement And Counter Disengage

The other way of avoiding your opponents pressure as they cover (or move to make a direct thrust over
the blade) is to change engagement. This is to make a disengagement from your Sixte and retake cover
in your Quarte side to put their blade outside your guard. Covering pressures may continue then in
Quarte, as before in Sixte. It can be strictly what it says and defensive,

Or if used following your opponents change of engagement, it becomes your chance of an
offensive/attack; and if following their disengage attack it could become your counter offensive in a
COUNTER DISENGAGE attack.

The Four Supinated Guards, A Parry, The Riposte

Under Sixte guard position is the eighth or Octave guard in the low line (see Target diagram). Learn this
thoroughly then the other guards of the inside line are the opposites:
Quarte in the high line
Septime in the low line
All four with the fingers uppermost and the hand half on its back. In low line the wrist only is bent to
lower the sword, the arm stays in position.

A Parry

To change your guard from Sixte to Quarte to DEFLECT an attack into your Quarte position is to make
a PARRY of Quarte, which to be correct and successful must completely deflect such an attack from
hitting. This is a simple, instinctive or lateral parry.

Similarly to change back from Quarte into Sixte in defence becomes a parry of Sixte. In low lines you
can have parry of Octave or Septime. A parry is one period of fencing time.

Note:
i) If you fail to deflect completely and are hit on or off target, you have made what is called a
MALPARRY.
ii) You may not use your unarmed hand for defence or offence!

The Riposte

A successful parry gives you the right to counter attack your opponent but immediately, with priority,
this is the RIPOSTE. There is no parry-only, it should be parry and riposte together, instantly, and
according to the Rules a riposte should go directly forward from the position of the parry. Do NOT
detach into a more central position to riposte but go straight forward. Thus your riposte is completed
covered, keeping the opposing blade parried whilst you riposte and away from your target.

Do not delay ripostes longer than necessary or you lose priority to counter-attack, but you may NOT
riposte if your opponent deceived your parry, so that you failed to make contact and deflection, as
another parry is then necessary.

The riposte is also one period of fencing time, so a parry & riposte is in two periods of fencing time.

Page 14 3/2/2010
Sentiment du Fer

Literally the feel of the iron, where as you parry and feel contact with the attacking blade, you know
you may riposte with priority. No contact no riposte just another parry.

This feel of the opponents blade gives another sense of awareness, other than sight, of your opponents
actions. It is most important since it will give you that edge of success over those who havent got this
awareness.

Practice this with a partner, taking turns of 5 attempts each, making simple disengagements and indirect
attacks to give them chance to make a parry and riposte when contact is made, with at least 2 occasions
when the attacking blade is lowered or withdrawn and ripostes must not be made!

Next, repeat the whole of this in turn, with each fencer practising parry and riposte (or not!) doing so
with eyes shut to become aware of Sentiment du Fer.

Next, recap Change Of Engagement (see earlier in this lesson) and give covering pressures in turn so
that each partner can practise this also with eyes shut, to get the sentiment du fer.
Reminder of HOW to begin fencing an opponent

Use one of the following:
a) by Simple Direct attack on returning a pressure from your opponent, you do so with a strong
deflecting pressure to surprise him/her with your attack over the top of their blade;

b) by Simple Indirect attack by disengagement on your opponent's pressure, you initiate a threat with
straightening arm and sword in-line, having dipped under his/her blade and follow through into the
lunge, covered, but immediately and fast;

c) by defensive Change of engagement on pressure an your blade. (Then if your opponent presses your
blade back in a parry you can instantly disengage and lunge.);

d) by Counter disengage attack if your pressure on your opponents blade has produced a change of
engagement. You must anticipate this and have already begun your counter disengage and lunge to hit.;

e) in absence of blade (refusal to cross swords), always use Second Intentions - feint of the attack into
their open target to draw a parry and then disengage in advance of it, lunge and hit.

Note:
i) Second Intentions - your feint of attack is deliberately never intended to be completed - used only for
deception, followed by a second action taking advantage of the opponents response uncovering
himself.
ii) Beware, your opponent may well be attempting to build up his attack similarly on you.
LESSON 4
Dimensions Of The Piste and Rules
Fencing takes place on a Piste with dimensions as shown for all weapons.

It begins by contestants toeing to the on guard lines so that fencers are out of reach until the Referee
starts the bout. Then fencers move closer to engage by crossing swords (or with absence of blade,
making feints and attacks). Movement is by gaining and breaking ground, only straight up and down the
piste, employing all the techniques learned until a hit is scored by either side and play stops for analysis
by the referee and scoring.


3/2/2010 Page 15

3m 2m 2m 2m
1.5-2m wide
Centre Line
3m 2m
OnGuard Lines Warning Line
Rules

i) While ducking under attacks and stepping aside is allowed, if a contestant steps off the piste
with one or both feet a HALT is called, the opponent steps forward 1 metre and both
contestants come back on guard centre piste and play is restarted.
ii) A hit by the fencer who crosses the lateral boundary of the piste with one foot remains valid if
the action was launched before the command HALT.
iii) If one of the fencers leaves the piste with both feet, again a HALT is called and any hit he made
is annulled. Only a hit made by the fencer who remains on the piste, with at least one foot, is
counted even in the case of a double hit. If the opponent left on the piste made a hit, then after
scoring play is restarted back at the on guard lines as usual. But if he made no hit then both
contestants are replaced centrally on piste where they are and play is restarted.
iv) The 2m Warning Line is to indicate the end of the piste is close, and if the 1 metre step forward
by one fencer puts the one who stepped off the piste over the end of the piste when resuming a
correct fencing measure, then a hit is awarded against the latter.
v) Should a competitor cross the rear limit of the piste with both feet a hit will be scored against
him.

Note: It is forbidden on pain of penalty to go off the piste with both feet deliberately to avoid being hit.
Simple Defence The Three Parries

There are 3 parries and ripostes:
a) Simple, instinctive, lateral
b) Semi-circular the low or indirect parry
c) Circular the counter or acquired parry.

The simple, instinctive, lateral parry has been covered in an earlier lesson.

The Semi-circular Parry

This is a parry usually taken from a high line to deflect an attack aimed at the hip or abdomen in low
line, and when necessary back again into the high line. Classically executed from engaging in the high
line to the guard below in the low line on the same side, by describing a semi-circle inwards with the
sword point to gather the attacking blade and take it back out and away from the low target area

Thus from Sixte you semicircle inwards and downwards to Octave guard and the point of your weapon
points to about the level of your opponents knee and just outside it.

From Quarte similarly in and down to Septime.

This is achieved with a slight wrist rotation, the hand only bending backwards and downwards, still half
supinated, the arm remaining exactly in position, not being lowered in each case. In Quarte there is a
little more supination to end the move.

Should the attacking blade be making only a feint into low line and then be redirected back up into the
high line as you begin your parry, then merely by reversing your semi-circular parry back into your high
line by raising your hand bending the wrist back up it was essential the arm was not moved your
high line parry will then be still correct and effective!

Page 16 3/2/2010

Riposting from low parries as for parries in high lines riposte straight forward from Octave or
Septime, lifting the hand and sword point to place the riposte on the low target that is nearest and
quickest, and whilst keeping the point on low target, continue to raise the hand to discourage any
attempt to counter parry.
Quarte to
Septime
Sixte to
Octave

Circular Parries

These involve a circular movement of the blade which is intended to put the attacking blade back into
the line from which it started. Also called Counter Parries or Acquired Parries.

In Sixte this is a clockwise circle made with the manipulators thumb and forefinger the thumb
pushes while the forefinger pulls, to drop the blade down under the attacking blade, then gathering it
and rotating back, taking the attack back into the Sixte position it started from. The movement is aided
by the other 3 fingers which first relax and follow the grip around, then quickly and firmly closing them
on the hilt to help pull it round and back firmly into the hand and correct guard, covered.

In Quarte the circling is similar to Sixte but anti-clockwise.

In Low lines this parry is rarely used, if ever, since there is so much open target above.

In Sixte
Clockwise
In Quarte
Anti-Clockwise

3/2/2010 Page 17

Note:

i) Do not use wrist or forearm for these circular parries as neither can be sure of accuracy or
covering at the end of the parry because the thumb along the top of the grip directs the accuracy
of the parry and riposte and the thumb is attached to the wrist which must therefore not move
during the circling action for the parry/riposte to remain accurate.
ii) Occasionally fencers need a little more time or space for any of these 3 parries and it is
perfectly in order to lean back or step back whilst making a parry (sometimes jokingly referred
to as the 4
th
parry).

More Sentiment du Fer

Recap: Giving covering pressures, and changing engagements on pressures.

Then, taking turns to lead, REPEAT but MIXING them for several minutes and always in opposites as
follows:

Whoever leads can give pressure or change engagement at random, even repeating a technique several
times as they please, but keeping fairly steady and not too fast and always remaking blade contact the
partner (be serious and dont laugh!) always has to do the OPPOSITE if pressured, change
engagement if engagement is changed give covering pressure.

When both have had turns leading and have got the idea REPEAT but the partner following does so
WITH EYES CLOSED!

This might be tried with both partners with eyes closed and speeded up?

Finally you should have learned to be aware of an opponents blade position purely by feel which
should improve your fencing no end!

LESSON 5
Three More Simple Attacks

a) The Cut-Over
b) The Counter Disengagement
c) Low line Simple Attacks
Cut-Over

Also known as the Coup. On receiving pressure on ones blade in Quarte, into ones Sixte, keep
opposition to it whilst lifting the sword and arm slightly to slide up the opponents blade. At the same
time twist the INSIDE of the wrist to bend down forward with the hand up, so that the fingers face
forward towards the opponent to produce slightly more twisting to Quarte. Your blade will be more
vertical, momentarily, and pommel down under the wrist.

This has 2 effects of sliding to the top of the opposing blade pressing on yours, at the same time a
flicking the bow of your blade round the top of the opposing one which when released flicks out of
your way on to your Sixte side. Immediately bring your forearm back down and twisting forward again,
extending arm and sword to put point in line with hand again properly supinated covering into your
Sixte to complete and hit.

Page 18 3/2/2010
Effectively it is the one move in French finger style fencing where the wrist is twisted, from the on-
guard supinated position and back to hit, a double twist.
In Sixte, on receiving pressure the actions have to be opposite on raising the arm slightly, to achieve the
same result at the same time the back of the wrist is bent down as the hand is bent up, fingers facing
backwards, and the pommel is down inside the wrist. Then the arm and sword extend, point in line, and
hand back in supination covering into Quarte to complete the hit.

Note:
The Coup succeeds by being a surprise! Over use in any one contest loses the surprise element so
avoid frequent repetitions or, worse, allowing it to become a habit. Remember that in lifting and
drawing back the arm, however slightly, leaves you exposed to a counter offensive action do not
encourage this!

The Counter Disengagement

This is used to deceive an adversarys change of engagement it is an answer to it, or to his attempt to
parry with a circular parry and then attacking.

The counter disengagement begins and ends in the same line in which one starts and must be completed
before the final movement with the foot into the lunge.

Used in the deception of a circular (counter) parry the counter disengagement can form part of a
COMPOUND attack which will be covered in a later lesson.

Low Line Simple Attacks

The attack begins in the usual way but ends up being directed, from a disengage or counter
disengagement, into the low line by just not completing lifting the blade back into the high line whilst
making those disengage movements. The hand also must not be raised above waist level in completing
the hit.

Note:
i) In low line attacks it is important to pronate or supinate ones hand on making the hit
(whichever is more convenient) to make the bend of the blade sideways and not vertical as
usual to avoid it being broken in contact with the opponents arm, or at least being bent or
parried off by the elbow movement. If pronated, remember it is essential to be accurate in
hitting on the hip, or the bend of the blade could cause the point to skate past the opponents
Octave and Septime target and not make a hit.
ii) Attacks in low line are unexpected and not well parried so often give more successful, surprise
hits scored.
iii) When fencing left handed opponents, attacks/hits in the low or the high line are always
delivered with a good pronation to ensure accuracy of fixing a good hit. Similarly if you are a
left handed fencer the pronation when hitting is essential in low and high lines except of
course when hitting another left hander.
3/2/2010 Page 19
LESSON 6
Simple Ripostes.

Direct
Indirect - by disengagement
by Cut over
by Counter disengagement

Simple ripostes are the counter offensive action following a successful parry, the dual purpose to
prevent being hit then launching a counter attack with the riposte if successful.

Ripostes can be immediate OR delayed depending on the actions of your adversary when parried. If
they are attempting to continue to force their attack on you, you can only continue to hold your parry
until they begin their withdrawal and recovery.

Again, ripostes can be made with or without a lunge depending on the speed of your attackers
recovery.

Simple ripostes ie only one blade movement, - can be direct, in the same line as the parry, or
indirect into the line opposite to the parry by disengagement, cut over or by counter disengagement.
They can end in high or low line.

The Direct Riposte

This should be made going straight forward from the parry and hit the opponent without leaving the line
in which the parry was made, so that you are riposting covered along the blade you are keeping parried.

Remember - do NOT try to riposte too quickly before your parry is successful,
- do NOT delay a riposte longer than necessary or you lose priority and/or initiative,
- do NOT lift your hand too quickly riposting - a low riposte may be needed.

The Indirect Ripostes

a) By Disengagement

Made into the line opposite to that of the parry by passing under the opponents blade as they anticipate
your direct riposte and make a parry. After a parry Quarte the disengage must be made in the parry
position - with the arm bent, before straightening rapidly into the riposte, - this is to avoid the
opponents arm as the point has to come back up and over their arm first, then cover in Sixte.

After a parry in Sixte the disengage riposte can be rapidly extended sooner as there is an open target and
no arm in the way to avoid, - then cover in Quarte.

b) By Cut Over

Made into the line opposite to that of the parry by passing over the opponents blade as they anticipate
your direct riposte and make a parry.

Revise the Cut Over instructions and realise the riposte by cutover has more blade to clear than in an
attack against an opponents pressure. If you remember to pronate firmly, holding their return to a parry
which anticipates your direct riposte, they will feel the urgent need to parry more strongly. Then, as you
bring your blade more vertical momentarily and twist it round the top of their opposing blade, it will
Page 20 3/2/2010
spring more quickly into their parry out of your way. Instantly twisting your wrist back to full
supination and covering to your opposite line, you riposte and hit as quickly as possible.

This is the nearest you will come in classical foil to making a flick hit, - but the riposte following the
cutover must be this fast.

Make sure your arm extension is no quicker than necessary however or you will risk hitting flat before
your point has come in line on target.

c) By Counter Disengagement

The riposte to deceive the attackers change of engagement as he recovers after attacking your Sixte and
being parried there.

Action is either:
your opponent attacks from engagement in Sixte, by feint into your Quarte and
disengagement to your Sixte, - being parried in Quarte and then Sixte;
OR the attack is from absence of blade by feint into your Quarte and disengage and is
parried similarly, as in the previous example.

Anticipating your direct riposte to his Sixte your opponent makes a change of engagement into his
Quarte rather than return to his Sixte.

You deceive this by following his change of engagement round, - still in the bent arm position of your
parry of Sixte, using only your fingers, - with your counter disengagement. Then hit with a rapid arm
extension once your point arrives to your covered position of Sixte, - if up and over his arm to hit in
Sixte. If you decide to make your riposte even quicker by a low riposte, which does not need the up and
over the arm into the high line, so much the better and a more likely successful hit into his Octave line,
- but pronate or supinate your blade to bend sideways flat.

Note:
i) your point action must always precede your arm extension;
ii) do not start your counter disengage too soon when you think there is a change of engagement
starting or you signal your intentions by pushing at his blade and spoiling your chances. You
can only react to an adversarys defensive action(s) not determine them.
iii) counter disengagement riposte is the answer to change of engagement or to a counter parry.

LESSON 7
Two Fast Offensive Actions are the Flche and the Balestra.

The Flche Attack

(French for Arrow). A fast means of attacking an opponent slightly out of reach of a lunge because of
his advantage in reach or because he steps back when attacked, so, like an arrow, it must waste no
time reaching its target. It is used most effectively with simple direct/indirect attacks. The arm must be
straightening and sword in line, in a feint of attack threatening the opponents target. Simultaneously
with the following action:
Firstly the rear leg thrusts the body forward over the front leg (1) which remains anchored so that the
body is overbalanced forward, then the rear leg must be rapidly brought through to the front on which to
land as in a lunge but on to the rear leg (2).

The hit should arrive as this rear leg hits the ground in front, or if not, (and to regain balance), the hit is
landed with a second step forward with the original front leg, but a little out to the side of the
opponents Quarte side. The Rules forbid forcing body to body (corps corps) or jostling ones
opponent on pain of penalty. There may be a need for a third or a fourth step depending on the speed of
the action, and all the steps should be short and rapid, but they must go around the opponent, not at
him and not off the piste.

3/2/2010 Page 21

(2) (1)
A flche must be successful. Failure to hit leaves the flcheur at the mercy of his opponent and needing
a parry from a most difficult position and on the move.

DO NOT USE against left-handed fencers. Left handed fencers can follow these instructions exactly as
written, - only against other left handed fencers. But DO NOT USE against right-handed fencers, - into
their open Quarte side leaves you with impossible defence if you are parried.
The Balestra

(From ballista an ancient Roman war engine for hurling missiles at their enemies).

Another fast method of attack, of Italian origin, whose feint gains speed and momentum thereby. Its
purpose, similar to the Flche is to reach an opponent whose fencing measure is more than ones own,
or who steps back on being attacked.

The move consists of a short HOP forward on the rear foot whilst simultaneously raising the front foot
in the air with a kicking forward action which helps the hop forward and the sword/arm straightened
in a feint of attack, usually combined with an attack on the blade to pre-empt a stop hit.

On landing, the weight of the body is taken on the rear foot, whilst the front foot beats downwards and
backward HARD to land close to the rear foot at the same moment. When this is done correctly and
with force it must be followed by the lunge with the front foot which is the object of this method of
forward propulsion or you fall on your face since you are going forward off balance.

If done without force it can be used as a feint alone, followed by a further foot movement and second
intention blade movement ie it is a preparation of attack.

Page 22 3/2/2010
ROUNDUP OF PART ONE
Summary of what Foil Fencing is all about
According to the Rules and the conventions of Foil there can be said to be 3 BASIC PRINCIPLES for
Foil Fencing and Refereeing to be possible and to make sense:
i) The Attack is the initial offensive action made by straightening the sword arm forward from on
guard sword in line and point continuously threatening the opponents target, fractionally
PRECEDING the launching of the lunge, flche or Balestra. This is correct PREPARATION AND
DEVELOPMENT and is one period of fencing time.

ii) The Parry is the defensive action made with the weapon to prevent an offensive action arriving. To
gain the right to riposte it must deflect the attack COMPLETELY from arriving and the riposte
should be as immediate as possible and go straight forward from where the parry was made without
detaching from the parried blade to give, and keep, your priority.

iii) The Disengagement from the start of a classical, crossed swords, situation or the opponents
attempt to make contact with your blade, is made, correctly, by using fingers (or less correctly
wrist,) to dip under the opposing blade in a deep enough V to avoid pressure or other attack on your
own blade. This is usually the start of a simple, indirect, or a compound, or a counter attack.

NB: All other fencing moves, actions, techniques are dependant on and build on these Basic Principles,
and all Fencers, coaches and Referee must maintain them impeccably or Foilplay becomes a nonsense.
Simple Attacks - Summary

The straight thrust DIRECT
The simple disengagement INDIRECT
The Cutover or Coup INDIRECT
The Counter disengagement INDIRECT
Attacks in low lines DIRECT or INDIRECT

When done without delay or hesitation each is considered to occur in one period of fencing time.
Simple Ripostes - Summary

The simple DIRECT riposte - only 1 blade movement, in the same line as the parry.
The simple INDIRECT riposte - only 1 blade movement, into the opposite line to the parry
(by disengagement, cut-over or counter disengagement).
Ripostes into the LOW LINE
Notes On Attacks

The straightening of the sword and arm from on guard defines you as the Attacker and gives you
priority and precedence since your opponent must react to it or be hit (as in reverse positions so must
you) by parry/riposting or other counter attack. It is in effect a threat which must be responded to
and we call this a FEINT of whichever attack, which may continue into the lunge and hit, or be
followed by a 2
nd
or even 3
rd
Feint, first, before a final lunge/hit. This makes so-called 2
nd
and 3
rd

INTENTIONS of compound attacks.
Simple Attacks are those which have single movements of the blade or arm which may be DIRECT or
INDIRECT. When executed FAST and up to speed these produce so-called EXPLOSIVE attacks.

Compound Attacks are ALL other attacks that involve one or more feints or blade movements. These
cannot be explosive lunges as they need time for the feints to build up to speed and are aptly called
ACCELERATING attacks.
3/2/2010 Page 23
Useful Principles

1. LEARN
Learn the HOW, WHEN and WHY of every stroke which you are taught ie Technique,
Timing and Tactics. Practice them until perfect.

2. BE FIRM BUT LIGHT HANDED
Carry your sword firmly but lightly in hand, dont grip it and relax.

3. KEEP THE POINT ON TARGET
Aim to keep your point within the opponents target area when parrying or attacking. Your
play will be more accurate and less energetic.

4. STAY COVERED
Always attack covered and riposte covered ie never expose your target area unnecessarily
or you invite a stop hit or get double/simultaneous counter attacks. Only leave yourself
exposed tactically when you are fairly certain of your opponents response.

5. CONTROL YOUR OPPONENT
Always try to put your opponents weapon outside your guard, away from your target area.
Having got it there, keep it there, under your control.

6. FEEL THE BLADE
Remember the sentiment de fer the feel of the blade that important contact with the
opponents blade which gives another dimension of awareness of the opponents actions. It
can give a sense of taking control of the opposing blade especially when parrying or the
knowledge when you have lost control or failed to get it.

7. HAND FIRST
Always move the hand before the foot in preparation otherwise you leave yourself exposed
to a legitimate and justified STOP HIT and have difficulty in avoiding your opponents
arm/leg or changing your attack when too close.

8. CONTROL YOUR SPEED
Always take your opponents timing in your fencing movements. It is possible to be too
slow, or too fast, so do not try to force your timing on your opponent.

9. USE THE LOW LINE
Learn to riposte direct into LOW lines (pronated or supinated to avoid opponents arm).
You will get more ripostes in low lines than high because they are unexpected.

10. INTELLIGENT ATTACKING
Never attack into an open line you cannot make it since a parry has less far to travel than
the attack.

Attack only into an opening line, after a feint into the open line to put you one move ahead
in a compound attack.

REFEREEING AND JUDGING
Everyone learning foil should learn to observe each opponent and to analyse foil play by taking turns
judging and refereeing, from early in their training certainly by this end of Part 1.

To become an expert foilist it is not enough to learn the techniques of Simple and Compound attacks
and defence, plus Timing and Tactics etc. It is essential to know and understand all terminology and
phraseology in analysing play and the judging and priority and validity of hits, - found on P2-4 and P20-
24 of the FIE Rules, OR in Appendix A of this manual, and in Appendix B, also P44/45 of FIE Rules
for Offences and Penalties. Without this knowledge and understanding mistakes will occur, unfair
refereeing and scoring happen and false ideas develop and spread concerning refereeing and the correct
way to fence foil.

There is no better way to help a foilists ability to observe their opponents style, to learn the Rules
above mentioned and to be able to take advantage of this to beat them, - really the ability to READ
YOUR OPPONENT - than to make up a group of seven foilists on a piste taking turns with two
fencing, each with two judges watching only their hits, and one refereeing, preferably with a senior
experienced fencer/coach/Prof. as adviser on method, style and wording, (over the shoulder) and
helping with observing and scoring until each is familiar with and capable with it.

NB. Absolutely NO electric Box to be used yet,- this must come later.

The two contestants fence best of 5 hits, the loser comes off and the judges and Referee all move
round one position; the judge next to the Piste in the circulation plan replaces the loser who takes up the
empty judge spot. This gives each practice at refereeing, and judging at , open and closed target-
(with the contestants sword arm not in, or in, the way of seeing hits easily).

Keep the circulation the same way each time and it all works out that each tries each position and
fences.

NB. The Referee and judges have to move up and down the Piste FAST to keep up with the action.
If both fencing are left-handed it is the same as for both right-handed but if only one is left-handed the
referee must observe on the open side.

Strictly, according to the rule book, the judges are there to assist the Referee in deciding scoring and
must raise an arm instantly they see only their contestant make a hit on target. The Referee must call
HALT as soon as this happens and analyse out loud who did what and in what order, that is - he
describes the phrasing.

During his analysis the Referee asks the judge(s) with an arm raised was there a good hit? OR did it
arrive?., and all the judge may say is yes or no. If the judge is doubtful, or having second thoughts
as to what he/she saw the answer must be I abstain. The Referee then allots the score.

NB. Practise at Refereeing/Judging should NOT be a one-off but must be frequent until each is
conversant with the processes involved, only then will ones powers of concentration, observation and
fluency in reporting and analysing improve noticeably and become totally familiar. Also it is an intrinsic
and basic part of training and greatly improves your foil fencing since you then know what the Referee
is looking for.

Learn Appendices A and B and practise all assiduously!
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Part TWO LESSONS IN FOIL FENCING
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PART TWO

LESSON 8
Compound Attacks

A Compound attack is one which has one or more feints (threats), and all such attacks must involve
accelerating lunges into the final hit. They are used when simple attacks fail because of ones
opponents correct anticipation or correct reading of your intentions in attack.

Compound attacks involve nothing new - merely a combination of several simple attack movements
already learned - direct thrust, disengagement, coup and counter disengagement, together with re-
coordinating the foot movement with these to deceive the opposing defence.

To explain why simple attacks can fail and the need for compound attacks remember that at correct
fencing measure ones foil tip must travel a blades length plus 6-10 cms to reach ones opponent in a
lunge, while the parry takes less than half a blades length to deflect the attack

So if your opponent is alert you cannot win, giving us a Fencers Golden- Rule:
never attack into an open line (see p21, no 10)
Therefore the feint must be made convincing enough to resemble yet another simple attack to draw their
parry- -which you then deceive, and continue with another movement.

Thus a feint or feints enable one to start moving closer to gain time or distance and to close the margin
of difference between attack and parry, producing the so-called progressive attack (with an accelerating
lunge), and keeping you one move ahead of your opponents defensive moves. This is best illustrated as
follows:

The 1-2-3

This is two feints by simple disengagement followed by yet another disengagement. It is used on an
opponent who is using simple, lateral parries.

Classically, from pressure on your blade disengage and make your first feint, with your sword in line as
you straighten your arm and your point threatening their target nearly as far as their coquille, (giving
you priority as the attacker.)

Anticipating your opponents first parry, immediately begin your second disengagement as their first
parry begins - so deceiving it.

Next, - still anticipating their second parry, begin your third disengagement as their second parry is
beginning. Then completing your lunge place your point to hit on target.

But, - if this was all you did from starting from on guard until you lunge you will not have gained any
time or distance more than your first feint, - and therefore NOT progressive in any way - and lucky if it
landed before being parried!

To make it a PROGRESSIVE ATTACK :

With your first feint put your arm fairly straight and point closer, as far as their coquille and no
higher;
LESSONS IN FOIL FENCING Part TWO
with your second feint lean forward to put it even closer, still horizontal;
finally complete your lunge - and hit from 10 cms (4 ins) away, lifting your hand and covered.

Think of this as feint - lean lunge with tempo like a dance rhythm slow - quick quick. Your
point will describe a curving zig-zag:

getting closer with each zig and zag. Keep these disengagements no bigger than necessary to avoid
your opponents parries, blade or arm, and neatly done with finger and thumb making the
disengagements. This is now a progressive attack and as you see, getting quicker -making the
accelerating lunge,

Note:
i) You must keep a straight arm all through and never bend it or you lose priority.
ii) Your foot must not move into the lunge until the third disengagement

The 1-2-3 from Absence of Blade

Here you begin by having to feint into the open line, - since your adversarys blade will be on your
quarte side, make your feint by beginning to straighten your arm/sword across towards target-dead-
centre and hand covering into your quarte and their blade outside yours.

But anticipate their first parry even quicker watching keenly whether it will be simple or circular, and
already beginning to make your first disengage or counter disengage - depending on which parry they
use - as you are making your second feint.

As they fail to find your blade and begin to make their second parry back to their Sixte by lateral parry,
(or by counter disengage of quarte), make your second disengage, or counter disengage, and hit - still
covering, depending on their parry.

So this goes - straight feint - disengage -disengage (or counter disengage- counter disengage probably,)
and as before feint -lean lunge, and to a quick -quick quick rhythm in this case.

Practise both Classical and with Absence of Blade.

The 1-2 Attack

This is a feint by disengage, followed by a second disengagement back.

If you have followed the previous 1-2-3 attack and practiced it you will now have got the idea of
progressive attacks. So the 1-2 attack will be easy to make progressive also, though of shorter duration
being one disengage less.

But remember - in a 1-2 attack the -2 needs to come up and over the opponents arm to hit in the high
line, so your foot lunges on the 2nd disengagement.

The 1-2 and 1-2-3 are only used against simple lateral parries.

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The Doubl Attack

This is a feint by disengagement followed by a counter disengage.

If in the previous examples of 1-2 and 1-2-3 the opponent does not use lateral parries but his first parry
is a circular parry then a Doubl is the answer.

Effectively you follow your first disengage with another the same, going round in the same direction -
the counter disengage to his circular parry and your attack is simply a 1-1.

If the response is yet another circular parry then repeat the counter disengage, continuing progressively
of course into a 1-1-1(or more as needed).

You might try also - a feint and cut over followed by disengage on simple parries; OR a doubl and
disengage - on a circular parry followed by a simple parry OR even a beat cutover disengage OR a
beat - doubl cutover ( nearly a flick hit!).

Note:
It is difficult and therefore dangerous to try to fit in more than two feints while lunging as you are
getting too close to do so.

LESSON 9
Successive Parries

The practical description of two or more parries used one after another, obviously in response to failing
to make contact with the first.

If , responding to your adversarys initial feint of his attack, you make a simple lateral parry and find no
contact because he is making a 1-2 attack, then a second parry is suddenly essential to avoid being hit.
This could be a return to where you began, with another lateral parry, -or it could be a circular (counter)
parry, or even a Septime, even with a step back.

However the attack starts you have a choice of parries simply to deflect the attack, or to deflect and
surprise the attacker, giving you a better chance of succeeding with a riposte. Whichever, there are
several important considerations which follow - to be noted :-

do NOT make a habit of using one sort of parry regardless - it will be quickly spotted - to your
disadvantage in hits scored against you;
you can begin by making your first parry one way but make a different second parry. In other words
mix your parries in different ways to confuse the attacker.
next time use two counter parries, to gather up the attack and keep confusion in the mind of the
attacker perhaps.
if fencing with absence of blade even try pronated Prime - Seconde, or Prime - Sixte before
riposting low or low-high.

Remember - varying your defence greatly handicaps an attacker attempting to anticipate your
parries, - to the greater success of your ripostes.
- with French hilts pronated parries are far stronger against pistol grips, - and consider
why Prime and Seconde were the first two parries, then today how they could help in
absence of blade fencing.

Finally, the danger in using pistol-grip hilts and no finger play is that the wrist has to be used for
circular parries and counter disengages far more and makes accuracy more problematical in repetitions
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of circular movements. It also causes larger whipping, slashing movements when parrying - so less
accurate counter attacks and ripostes.

Try out your own ideas of successive parries and these suggestions here and practise them as usual.
Compound Ripostes
The counter offensive movements following a successful parry and composed of one or more feints. But
these are still only combinations of the simple offensive movements of direct thrust, disengagement, cut
over or counter disengagement already learnt.

A compound riposte is used when your adversary is expecting a direct riposte after being parried.

Keep contact and pressure against his blade while lowering your blade and beginning your riposte to
ensure his complete return to say his parry of quarte. Then make your complete lowering of your blade
for your disengage - in the bent arm position to avoid his arm/blade not yet out of your way.
Then complete straightening your arm into your first feint, - drawing his second parry to his Sixte -
which you deceive with your second disengage and hit into his Quarte. This is a 1-2 riposte on two
lateral parries.

If his second parry from his Quarte should be a counter(circular) Quarte then your response would be a
second similar disengage to your first - a 1-1 or Doubl, a feint disengage - disengage.

If you think a compound riposte is going to be needed then it is essential you do not move your foot on
the first feint and put yourself too close to make your second disengage. If the opponent stays on the
lunge and parries there you then make both disengagements with a bent arm before putting in your
riposte, still not moving your foot since a lunge is not needed for the riposte.

There are a varied combination of movements in compound ripostes which you can work out and
practise for yourself; but whilst in compound attacks you are defined as the attacker by the priority of
your straight arm, in compound ripostes it is only with the last movement you straighten your arm into
the open target from the beginning of your second feint (and hit).

But if your second feint has to come up and over the opponents arm to hit in his Sixte then you must
still make your second disengage with a bent arm to some extent according to his stage or state of
recovery. This also applies to fencing against a left hander into his Sixte.
Counter Ripostes

These are offensive movements by an attacker or a defender after successfully parrying ripostes.
An attackers counter riposte(s) can be made while still on the lunge, or while recovering or after
recovery. So they can be done with or without a lunge, as necessary, and by either fencer. Like all
ripostes they can be simple or compound.

Thus an attack can be successfully parried and a riposte made. The original attacker can also parry then
begin his first counter riposte and the original defender will parry and make the second counter riposte -
and so on, with the attacker making the odd numbered counter ripostes, each in succession of offensive
and defensive.

It should be noted that an initial attack can be premeditated - with second intention - ie the original
attack was not to hit but to draw the parry of a strong defender/riposter and surprise him with the first
counter riposte, the attacker deliberately remaining on the lunge for this, to be within reach.

Counter parrying and riposting on the lunge are not easy due to the proximity of your own thigh and
the opponent - which tends to restrict arm movement. This can cause incorrect sword alignment and
therefore parrying and riposting. Do not lift the elbow nor draw your hand back too close to your body,
either could risk putting your sword out of line for a correct and successful riposte.
3/2/2010 Page 31

To parry correctly on the lunge think you are parrying with the heel of your hand in Quarte and the
back of your wrist in Sixte, while keeping your hand level in front of you and point up, with forte well
angled across the opposing blade.

LESSON 10
Beginning Attacks - Reminder
You learned three or four ways to begin an attack, after the initial attempts to begin fencing an opponent
showed up the problem of how to start:

a) By pressure, to deflect the opposing blade as you correct your guard, and immediately
straightening your arm, point threatening the opponents target area with sword in line, followed
by the completed development into the lunge and hit, ie from your pressure into a direct hit; or

b) By disengagement from your opponents return pressure in a covering reaction to your (a) ie
into an opening line by indirect attack with disengagement; or

c) By change of engagement, on a return pressure from your opponent, into a direct, or
indirect attack depending on the opposing reaction to your change; or

d) In the absence of blade (refusal to engage blade) a feint (threat) of attack into the open line
(target) exposed with immediate development (lunge) and hit, or by disengagement and hit (2
nd

intention ie indirect attack) on the opponents attempt to parry.
This is a Trompement (deception) example.
Preparations Of Attack

Any one movement of blade/body/foot which opens the way for an attack. Mostly these preparations of
attack prepare for your following offensive action by deflecting the opposing blade, or by getting a
reaction to it and each is in one period of Fencing Time.

They are made with arm bent, or straightening from on guard, to prepare the way for a subsequent
attack in which your arm is straight, sword point threatening the opponent, and reacting to the responses
- if any of your opponent to that preparation.

They are NOT the attack and taking a period of fencing time to perform, are therefore open to a possibly
successful counter offensive movement, which you as the attacker need to watch out keenly for in your
preparation in order to prevent it.
1. Attacks on the blade
2. Coul ( & Graze)
3. Takings of the blade (Prises de Fer) and DEFENCE against Prises de Fer
4. Gaining and breaking ground
5. Combinations of preparations
6. Takings of the blade preceding ripostes
These are examples also of imposing your will on your opponent making them react to you so that you
can take advantage of their reaction.
(1) Attacks On The Blade Pressure, Beat, Froissement

a) Pressure, to deflect the opposing blade to obtain a reaction to it. Today since engagement is
with absence of blade, this is best used following the opponents recovery from a failed attack
when recovering is being covered by a parry, - which is the only opportunity to engage their
blade and a crucial moment to counter attack with this pressure.
Note: Both blades should be crossed about halfway up, and by wrist flexion the pressure is
Page 32 3/2/2010
applied horizontally/laterally, the point not dropping and the arm remaining nearly in its
guard/parry position, then straighten/lunge.

b) The Beat, a sharp, crisp knock against the opponents blade with your own to knock it aside, or
obtain a reaction to the threat, thus producing two ways of doing this depending on ones
intentions, and the response expected. The object when preparing to attack is to move ahead of
the adversarys defence as always.

So the beat and direct attack is intended to gain time by first knocking the opposing blade out of
the way and the straight arm and lunge follows immediately.

To begin your beat if your blade is against the opposing blade in quarte, take your blade away
rapidly, unexpectedly with forefinger and thumb whilst relaxing the other three fingers. (Or,
with absence of blade, move to quarte with the opposing one, do so suddenly as if parrying, but
hand first leaving the blade behind, by using thumb and forefinger whilst relaxing and opening
the other three fingers).

In either case, even more rapidly, snap the hilt back into the palm of the hand, with a shake of
the forearm, to whip your blade hard against the middle of your opponents blade at the same
instant as you straighten your arm to put the sword in line and lunge.

This should only be used once in a fight next time use beat/disengage.

c) The Beat Disengage is used when you know you will get a return beat from your opponent. By
anticipation the disengage must be immediate in the on guard position before straightening the
arm with the attack after disengaging.

NB An experienced opponent may well expect the disengage after the beat and not beat back
but execute a circular parry then your beat has to be followed by a double effectively or
change of engagement, and a lunge to hit.

d) The Change Beat or reverse beat is to make a change of engagement (or a disengage)
BEFORE executing the beat or beat disengage. This is more difficult into the sixte side and
needs much practice (as for a straight beat in sixte) to be able to make a strong back beat.

To make a beat in sixte, or a reverse beat in to sixte effectively, keep hold of the hilt with thumb
and forefinger but relax the grip of the other fingers while pushing the hilt away from the hand
with the forefinger and thumb. As you snap the hilt back into the hand with a firm grip, make
the beat against the opposing blade with a sideways shake of the forearm, stopping suddenly to
give a whip to your blade and a very firm beat. Instantly straighten the arm covering in sixte as
you lunge and hit.

e) The Froissement like a very forceful pressure, but with the forte of your weapon graze
diagonally down from your opponents foible to the middle of his blade very sharply and
strongly, to deflect it right away. This can be made even more forceful if done with a pronation
of the hand to give an even stronger push, in quarte or in sixte, and end in the hit.

This can be made effective from absence of blade into quarte, or as an opponent is recovering
from a failed attack, into quarte by disengagement into his sixte side, especially where the guard
is rather central during recovery, or even following a coupe, ending in completing arm
straightening and hit.

NB Attacks on the blade largely rely for success on surprise so do not use them too often, they have
become no longer a surprise, and are a difficult habit to break.

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LESSON 11
(2) Coul (& Graze)

[From the French verb meaning to flow.]

This can be considered as:- a feint and/or a preparation; an attack on the blade; or a taking of the blade.
It depends on the circumstances and conditions which dictate its use and the manner in which it is
executed.

At its simplest it is a very gentle, subtle, flowing movement in which your blade slips along your
opponents blade to make him cover properly.

Used on an incorrect guard, at worst one in a central stance, followed by a direct hit if covering is slow,
or a disengage/hit if the coul causes the opponent to correct his guard (or even a disengage one/two,
etc). On a badly held sixte the coul is on the sixte side, in quarte on quarte side.

Used on a well covered opponent with a correct guard but weakly held and with enough pressure
(opposition) to push the blade away and hold it to a direct hit = a GRAZE and is perhaps the simplest
form of prise de fer or taking of the blade.

NB Today never try this latter against pistol grip opposition as it is too strongly held.

(3) Prises de Fer

[French = takings of the iron] or takings of the blade

In the classical on guard and crossing swords with an opponent, ie being in a state of engagement,
both cannot be correctly covered, but in attempting to be each is alternately taking ones opponent blade
in the simplest form by pushing the opponents blade whilst trying to correct ones guard to covered.
Therefore a change of engagement is also a simple prise de fer.

Definition when engaged, or in anyway in contact, with the opponents blade, any movement which
deflects it whilst keeping contact, is called a Prise de fer. There are 3 of these:-
a) The Crois
b) The Bind
c) The Envelop
and these are only executed against a straightening arm, sword in line and point threatening your
target area, ie a feint/threat.

LESSON 12
The Crois (or Vertical Bind)

Takes the opponents blade from high line to low line on the same side as the engagement, ie it crosses
the line from high to low without any sideways movement (this is one period of fencing time).

Classically, on your opponent disengaging to feint into your quarte side, or today with absence of blade,
making a threat into your quarte/open target, engage with their blade, forte to foible and pivot your
blade over theirs, keeping well in quarte and point towards their hip.

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At the same time bear down on their blade to keep control of it between your guard and forte whilst
thrusting forward to hit on their hip (on target) with the hand turning into pronation and angulating the
blade to a well directed hit on hip (or flank) but arm and wrist must keep lowering.

The Crois also makes a useful surprise riposte after a quarte parry!

The Bind (or Diagonal Bind)

The action of taking the opposing blade from high line sixte or quarte, diagonally across and down to
the low opposite side.

The action begins, as for the Crois by being in contact or making contact with the opposing blade
threatening your own target area and pivoting over the top of it whilst bearing down on it with sword
and arm. At the same moment carrying the opposing blade diagonally across to the low line opposite
side. This must become one fast movement with practice, and end in a hit on abdomen, supinated
completely to turn foible bend and point onto target.

N.B. The bind must be nearly completed before any forward movement of sword/ arm or body to
complete the hit, or you may hit off target on opponents leg. Beware an experienced opponents
drobement (evasion) or his ceding parry!

Envelop (Envelopment)

The action of taking the foible of the opposing blade with ones own forte and describing a circle
around it, with a wrist movement, keeping both blades in contact to return to the line of engagement, -
in sixte, clockwise rotation and anticlockwise in quarte. This is followed immediately by the lunge and
hit but beginning on the rising second half of the rotation with the straightening of the arm into the
attack.

Classically when engaged in sixte with an opponent who, having the top of your blade momentarily,
lowers his point enough when beginning to straighten his sword/arm in a threat/feint the action is again
to pivot rapidly over the top of his foible with ones forte but then to continue round in a complete circle
in constant contact with his blade, (ie clockwise) to return to the original sixte line of engagement but
on top (& in control) of the opposing blade which was lost when it was being thrust over yours. This is
followed sooner than immediately with your lunge-hit or lunge disengage hit and maybe even
Low!

Today with absence of blade (not engaged opposition) feints/threats/attacks either break a fencers
golden role of never attack into an open line or do so deliberately to draw your parry in which case a
simple or circular parry is the response. But if an engagement is sought to proceed their attack then this
gives the opportunity on their straightening sword arm to envelop and make your counter attack and
hit.

NB
a) Remember prises de fer cannot be done on a feebly held sword nor on one held too high (eg a tall
opponent). Opponents with pistol grip hilts may be too strong to use envelop on.
b) Keep the circular movement small yet large enough to maintain contact of fort to foible
throughout and use wrist not fingers or forearm. If you can learn it a sideways flick at the end of
the circling can deflect the opposing blade even more efficiently in envelop.

Do not confuse the preparation for attack by prises with defensive circular parries. Keep them utterly
separate in your mind.
3/2/2010 Page 35
Defence Against Prises De Fer Ceding Parries
On your blade-in-line threat/feint your opponent attempts:
a) Crois from quarte on your straight blade parry by withdrawing your threat into a simple
octave parry well pulled back on their foible & riposte instantly, low or high.
b) a Bind into their octave parry by ceding into your low quarte by allowing their bind to
succeed only so far to keep them committed, then roll your forte over their foible to end up
with your hand/ hilt dropping inside to quarte. Reverse this heading into their septime by
rolling your blade similarly (reversed) into Tierce & instantly riposte
c) Envelop dont resist, allow it to nearly succeed then resist with a strong sixte/quarte.

N.B. Keep arm/sword straight long enough to bluff attack into continuing resist at end.

LESSON 13
(4) Gaining And Breaking Ground As A Preparation
Used normally for maintaining fencing measure and to reach an opponent in attacking or retreating from
attacks by taller opponents or those flching or from balestras. But these can be a subtle preparation of
attack due to this naturalness and not being thought of as a preparation for an offensive action,
especially retreating. This is Tactics and not Technique but needs to be practised for perfection!

a) Step forward as preparation:- essential on the adversary who is in the habit of stepping back on the
first sign of an attack. But classically with swords crossed, to step forward correctly covering in
sixte or quarte means a threat to your opponent where you are now holding the top of his blade and
could attack with a direct thrust. So the step forward covering, with even a slight pressure to
emphasise his anticipation of your direct attack is then wickedly followed by the indirect
disengage attack and hit!

Today with absence of blade, lack of engagement, there is often a feint of attack into your open
line or will be if you take a slight step forward (or from out of range a good step), whereupon you
follow with a beat direct/beat disengage or parry and riposte with opposition, or even a counter stop
hit with opposition and hit since they are within hitting distance!

N.B. Remember preparation and attack are two separate movements (two periods of fencing time).

b) Step back as a preparation an even more crafty and subtle move! With an eager opponent
determined to maintain correct fencing measure and following up your every step, if you do two
steps back he will anticipate your third step back. But if this third step is scarcely suggested but
followed immediately by a step FORWARD instead and your sword point dropping to just below
high line and straightening only for a close-quarter hit in mid line a good hit can be scored on target
maybe with an avoiding movement of body.

N.B.
(1) Remember, in close-quarter fencing be prepared to pull your punch/hit broken blades are
dangerous and at least expensive!
(2) This is a useful, even essential tactic on a tall opponent who is out of your fencing measure
all/most of the time and will help to get him into your fencing measure without him realising it, but it is
also essential to make your attack whilst he is moving!
The Appel
(Fr Literally a call) In fact calling the opponents bluff with a step preparation that goes nowhere
but convinces them you are attacking and hopefully surprises or shocks them into a reaction which
you must then instantly take advantage of.
It consists of a light stamp of the front foot as if starting a step and with a slight forward jerk or twitch
of the sword and arm as if starting a feint. But make it convincing and use it very rarely, for surprise,
and dont waste the opportunity made unless the Appel is ignored.
Page 36 3/2/2010
LESSON 14
(5) Combinations of Preparations.
These are sometimes necessary eg where the adversary is offering a straight arm-blade feint, maybe not
too high, but not following it up. This is an obvious trap inviting a prise de fer which they hope to evade
(drobement), so that you complete your attack running on to their straight blade (their hit!).

But to discover their intentions - try a feint counter offensive yourself first, say with a beat and
straighten sword and arm, being ready to step back out of range if evaded after all, then return to your
attack after mentally organising a different and double preparation of attack next time.

The imperative response is to take not one but two successive Prises essentially, making sure you
maintain blade contact all the time and not losing it up to your final hit ie keeping control of your
opponents blade.

The other essential is nearly to complete your two successive prises before moving your foot into the
lunge - after making sure you will not run onto his blade during your two prises by their near
completion before lunging; eg an envelop repeated; an envelop and a bind ; or a bind and a crois.
These then all make COMPOUND PRISES de FER.

Note:

If you lose contact between the first and second prise the two then become a DOUBLE PRISE de FER.

Today with so much fencing with Absence of Blade it becomes difficult to use prises de fer, so an
alternative would be to try double attacks on the blade for example:

On a feint - often/frequently high - try an upward beat, your sword diagonally across under
theirs, followed by a down beat in Seconde (or Quinte) depending on response, - often this
could be an attempt at flick hit into your quarte, or perhaps your octave, or maybe a heavy
attempt to parry and riposte down into septime or octave. So be fast with your final hit after
your second attack on their blade.

On a held, straight blade feint - offer a straight beat feint, then:
if the response is to attempt an opposition parry/riposte, or a beat back and direct attack
take a step back, and try a Crois into their octave and lunge and hit on hip;

if their response is a drobement ( evasion) of your attempted beat, again step back and
repeat your beat as a change (reverse) beat and hit.

In the event of it being necessary to gain distance while making such takings or attacks on the blade
then a beat, pressure or crois with a step forward would together make a compound preparation.

You can think up and work out many more similar possibilities! But it is essential to test your
opponents responses - see if they are consistent/habitual or not and decide alternative strategies to
outwit their possible responses. So keep observant and THINK!
(6) Ripostes using Prises de Fer

Useful particularly to deal with habitual remisers, or those who try to force their way through a parry,
raising the danger of being hit whilst riposting.
So the idea is to carry their point away from your own target area whilst you are riposting by using
prises. Any will do though binds and croiss are the most obvious, as they are most likely to surprise the
opponent in being out of expected position. As usual practise makes perfect!
3/2/2010 Page 37
ROUNDUP OF PART TWO

The success of any action - Preparations, Attacks, Parries, ripostes etc - lies in the correct selection of
your informed responses to your adversarys actions, which requires your initial careful observations
and noting the opponents usual reactions and style of play, so that you can arrange traps for them.

But success in foil fencing also depends on your own technical perfection, self discipline and speed of
reaction to be able to seize opportunities when presented with them, and particularly with your ability to
observe and so anticipate correctly and thus produce correct timing.

Do NOT fence rapidly/frenetically regardless of your opponents actions and reactions, but with thought
and purpose based on your observations and your confidence in your ability to fence effectively against
each opponent - use your brain!

Practise all the techniques outlined in Part 1&2 against others of your own standard and also more
experienced fencers, and do not be afraid to be analytical - discuss what occurs and enlist their help in
correcting your mistakes/failures and improving them. Dont let them just use you for target practice.

Also use visualisation this is an exceedingly valuable self-training, mostly mental and slightly
physical process used by all highly successful top athletes, gymnasts, high-divers and fencers, in
addition to physical repetition drill.

It is the process of repeatedly rehearsing any technique in the mind, during lessons or after fencing, to
help train mind and muscles and to fix a technique in the mind to perfection. It greatly assists rapid
learning and greater success in perfect execution of individual movements to the point of becoming
instinctive in time.

DO IT, USE IT, it will help you.

More Useful Principles

11. IMPOSE YOUR WILL

Always try to impose your will on your opponents play by feints of attack to produce known,
expected and conventional responses that you can take advantage of. Never pause on a feint
unless you planned it, so react quickly if you do pause - or withdraw the feint.

12. DONT BECOME PREDICTABLE

Be ready to mix your parries and reverse the order so as to leave your opponent guessing your
next parry. Avoid developing easily spotted habits.

13. RELAX

Always try to be cool, calm and calculating - but determined and devastating in your responses
and RELAX - it is less exhausting. A tense uptight fencer is fractionally slower and more
jerky in response and movement and tires more quickly!

14. HANDLE AGGRESSIVE OPPONENTS

Discourage aggressive/pushy constant attacks by making threats/feints of your own at crucial
moments with straight arm and foil point under their nose. Be ready yourself to attack with
second intentions or counter parries of their parries, and ripostes.

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15. OBSERVE

Try to observe an opponent fencing before you have to fence them and spot any habits,
favourite attacks or defensive movements; otherwise read their moves and habits on the hoof
when testing with feints and use this information to launch attacks yourself.

16. PREPARE AND PLAN

In fencing there is an answer for every move your opponent makes. Train yourself to work
out answers on the hoof to deal successfully with each one.
Part THREE LESSONS IN FOIL FENCING
3/2/2010 Page 39
PART THREE
LESSON 15
Trompement and Drobement

Deception or evasion?

Trompement (Fr. Tromper - to deceive) is a deception, and in fencing refers to YOUR blade action
avoiding an opponents attempt to parry your first feint of a compound attack, (ie an attack of one or
more feints) and completely avoiding any blade contact.

Thus ALL attacks, other than a straight thrust, are attacks by trompement whether they are by attacks on
the blade or takings of the blade as preparations of attacks, or by one or more disengages or a doubl or
a coup and disengage.

Drobement (Fr. drober -to evade) is an evasion, - YOUR evasion of an opponents attempt to attack
or to take your blade. The latter will only occur if your arm is extended and your point is threatening
your opponents target - making you the attacker since your arm is straight first. As long as you do not
bend your arm during your evading their attempts on your blade then you remain the attacker.

Remember, regardless of the importance of immediately seizing any opportunity you create or get, it is
even more vitally important not to anticipate your own intentions by tensing up and slowing up your
speed off the mark and distance, by contraction, so be a cool customer and RELAX at all times - you
will be quicker, more precise and on the target.

Practise drobement by offering say, a feint by disengagement. Evade your opponents attempts at a
beat, bind or crois - by disengagement back again and maintain your point in line and hit as your
opponent runs on to it in completing their action and hitting you.

The drobement with straight arm retains priority and scores even though both hit.

LESSON 16
Stop Hits

The Stop Hit, - a counter attack made into the opponents attack, to hit the adversary in the development
of their attack. To be valid it must arrive one period of fencing time before their final movement, - so it
must be fast, accurate and preferably covering, OR by avoiding the attack be the first to arrive.

Therefore you stop hit when your adversary is attacking in two or more periods of fencing time such as:
a) on a bent arm attack where the foot movement occurs before the arm straightening, or
b) on wide, badly directed blade actions, or
c) on the feint beginning a compound attack such as a 1-2 or a 1-1, or
d) on flick hits badly made with bent arm and step-forward preparation.

Stop hits in time.

For your stop hit to be legitimate, as defined, in any of these attacks made in two or more periods of
fencing time your point has to land in time:
a) while the arm was bent before it straightened with point in line, or
b) on the first feint of your opponents badly directed point, or
c) on the first feint of the attack in two-time as in a 1-l or 1-2 attack
LESSONS IN FOIL FENCING Part THREE
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d) on a flick-hit step forward where the arm is bent and sword pointing up at a steep angle or vertical,
but in this case, if you hit on target, often the flick is so fast it arrives and registers on the Box at
almost the some time. This can make difficulties in refereeing!

BUT - strictly, according to the FIE Refereeing Guidelines of April 1999 (see appendix B), bent arm
attacks lose priority/right of way and it is a refereeing fault to allow such an attack which is NOT an
attack nor even part of a preparation, - no referee should allow it, especially peer-group refs in friendly
bouts (See refereeing faults e. and f.).

Therefore perhaps a stop hit - off target but in time, - on their bent forearm stops play and flick (but no
score) is a better and more convincing way to emphasize the FIE ruling, the poor refereeing and your
opponents futility in making silly incorrect attacks! Certainly this is more easily arguable Rule-wise
and more referee friendly.

Stop hits with Opposition or Opposition Stop-Hits (the old Time-hit)

ie covered can be made if you correctly anticipate and close the line in which your opponents attack
will be completed. In this case it is being made out of time on the final move of the attack except for
your correct anticipation and closing against the final end of their attack. One of the most difficult
strokes in Fencing to do successfully; it needs correct observation and anticipation, timing and
precision, since it intercepts the final line of the attack and lands on a small target area where an attacker
has failed to lift his arm and sword adequately to cover his own target area.

Straight Stop hit

regardless of correct timing - there are times when this can succeed, for example:
a) on a wide progressive 1-2-3 attack made too slowly when your immediate fast stop hit on the
observed slowness could arrive in time.
b) by taking action at the same time as the attack your stop hit can be made successful by taking
avoiding action simultaneously, to dodge being hit.

Note: Considering which conditions most favour successful Stophitting, it appears your best chances are
on opponents preparations with a step forward, including flick hits, with a bent arm.

Counter Time

Every action made by the attacker against a stop hit made by his opponent, - or if you prefer it a
premeditated second intention action taken against a provoked stop hit, that is - the action of drawing
the opponents stop hit, parrying it and riposting from it.

It is used against those prone to making stop hits as a habit or tactic or to counter attacking direct into
any feint you make. Their intention maybe, if not habit or tactic, only to cause your hesitation in
continuing your intended attack to improve their own chance of a hit.

How to provoke a stop hit? Check back to the beginning of this Lesson to see why you might use a stop
hit. Put briefly - on wide or low feints; on attacks with half a step forward and bent arm; on a half lunge
with half feint; any one of these could draw your opponents stop hit - and could be very fast - so be
ready with your second intention which must start with a parry to avoid being hit by their stop hit, - also
be ready to lean back while parrying.

Your second intention after parrying could be a direct riposte high, or low, or by disengage or cut over.

Note: Counter time is a basic tactic of Epe fencing and Sabre, where the arm is in target and vulnerable
as the nearest bit of target in reach.

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LESSON 17
Renewed Attacks

The Remise (To remake an attack) ) Both executed while on the
The Redoublement (To renew an attack) ) lunge with no parry between.
The Reprise (To retake an attack) Executed immediately after a
return to guard, backwards or forwards.

Each of these follows immediately after an original attack and is a second offensive action,
premeditated following observation of opponents habits / style!

The Remise

The remise is the replacing of the point on the target while on the lunge, in the line in which your attack
has been parried, with no bending of the arm or making any additional arm or blade movement, ie by a
slight sideways movement.

Used against an opponent who
parries incompletely and fails to riposte;
parries and delays the riposte;
parries and uses an indirect or compound riposte

To be valid the remise must arrive one period of fencing time ahead of any final riposte. It is generally
a premeditated, second intention move, pre-decided as a result of ones observation of the opponents
style, ie reading ones opponent!

The Redoublement

This is the renewal of the attack while on the lunge and can be direct, indirect or compound, ie preceded
by another movement of blade or arm.

Used against an opponent who parries well, but pauses before riposting or fails to riposte! Your
attack has been parried, but held the riposte is delayed, or will not happen, so eg staying on the lunge
make a beat/direct continuation of your attack; or make a disengage, or cut-over continuation of attack
with a lean back to give room to pass ones sword point over or under the opponents parry and lean
forward again to complete point placement.

Having replaced the point raise the hand and guard in covered position to discourage a delayed riposte,
or counter parry or counter attack into yours. REMEMBER; the straight arm with sword-in-line defines
you as the attacker, so keep your arm straight for the first two (beat & disengage) to maintain you as
attacker.

The Reprise

An immediate renewal of attack preceded by a return to guard and by recovering forward or backward
to guard depending whether the opponent retreats following your first attack, or not.

So it is used against an opponent who;

a) parries and fails to riposte; or
b) parries and retreats without riposting
and either can be simple or compound.

Therefore your reprise could be by simple direct attack in a new line, by one/two, or doubl by
beat/direct or disengage, by froissement or froissement/disengage or by coul or coul disengage etc,
the choice is yours.

If contact is maintained firmly on the opponents blade during recovery to ensure the continuation of
their parry then a cut-over is a good, fast surprise alternative, also making full recovery unnecessary and
therefore quicker.

LESSON 18
Avoiding Attacks
Within the limits of the piste it is permitted under the FIE Rules to attempt to avoid being hit by body
movements to dodge attacks. But, before describing the possibilities, note the FIE Rules concerning hits
off target :-
A hit made on a part of the body other than the target (whether directly or as result of a parry)
is not counted as a valid hit ,but it stops the phrase and therefore annuls all hits scored
immediately thereafter before a halt is called.

However, hits arriving off target are counted valid whenever, by reason of an abnormal
position, the fencer has substituted this non valid target for the valid target.

So, if by ducking you put your head and mask where your chest is normally, and are hit on the mask, it
probably will count as a hit against you, depending on circumstances and the Referee's analysis.
Similarly, hits on legs when jumping or arms when turning, this Rule could apply - so take care!

Passata Sotto
( Ital, literally a glance underneath) - or in English DUCK!

Passato Sotto (front) Passato Sotto (side)

The usual way this is seen to be achieved is a squat-down,- with quick and extreme knees bend and hips
between ankles, and foil aimed upwards at the adversarys target. It achieves the object only IF you are
not hit in the mask which is then at about lower target region and a correct hit.

Classically, very rapidly bend your front knee, extending your rear leg diagonally right backwards to
drop your body (target) fast out of direct line of attack, while straightening your sword arm, angled
upwards towards your opponents low target. Your unarmed hand goes on the floor/piste for balance
Page 42 3/2/2010
and your head (in mask)is removed sideways out of normal target position, - so if hit it does not count
as valid target.

This can be very effective on the odd occasion when being pressured , by a tall opponent, or by attacks
in the high line or to the right hip or shoulder by a left hander, - remembering to pronate as you hit.

Inquartata
( Ital, literally a quarter turn out of line)

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A twisting movement away from line of attack by a step sideways
with the rear leg only, to your sixte side whilst you stop-hit very
fast regardless of the attack on you.

Used in correct time when your opponent is attacking your inside
high or low line (ie into your Quarte or Septime), OR is seen, or
known to feint to the inside line and not follow it up, -but then
withdraws the feint.

Not easily used against Left handers; in this case it might be used
in counter attack on a disengage attack or a beat-disengage attack
on you.

Simply swing your rear leg 45 across behind you to your Sixte side and the attack ends at the position
where you were hopefully!

If you make your stop hit with opposition, - or at least covered as far as possible, on your Quarte side as
you stop hit, this should discourage any attempt at redirection of point by the attacker.

Note: Make sure you do NOT put a foot off piste as you do this. Be prepared to renew your parrying if
necessary, and leaning back also.

Inquartata

Rassemblement

(Fr. literally , gathering together / collecting up, - effectively, gathering yourself together.

Page 44 3/2/2010

This is an avoiding action usually used when attacked
by an opponent smaller than yourself, OR on one
ending up in a low line attack on you from a badly
performed, over-low lunge, OR on some attempt to
arrive under your guard, say by Passata Sotto.

The action is to pull up the front foot smartly to touch
the rear foot, straighten both legs upwards to the fullest
extent, while leaning as far forward as you dare and
straightening the arm and sword over the opponents
attack to hit on the upper target, simultaneously
avoiding being hit by having pulled your lower half
back out of the way.

This is done fast and like a stop
hit, without a parry, beat or
opposition on the opposing blade.
The feet might even be slid back a
little at the same moment, further
out of the way, - but gently - or
you suffer the fate of this author
who, in one contest being too energetic on a slippery floor,
landed horizontal and outstretched - having made the final
successful hit before gravity took over!

LESSON 19
Flick Hitting

This curious and controversial phenomenon, looking like fly-swatting or fly fishing for trout, has arisen
in the last 5-10 years, along with very whippy blades to make it easier to achieve.

As seen generally at Club level it is usually done with a step forward, either to close the full point-lunge
distance to where the flick hit can reach from a bent arm start &/or without a lunge. OR because their
opponent foolishly steps back on seeing the flick attack starting.

The action is too frequently made with their blade drawn back to point vertically at the ceiling and arm
bent up as the step forward is made, or with the blade angled outwards sideways with the wrist and from
the elbow, beyond the guard of Sixte line or Quarte line. This is done to give more whiplash to the
blade, over the opponents head, or around normal parries of Sixte or Quarte, to hit as the arm is
straightened from either direction, very rapidly, (rather in the style of a badly executed Sabre cut, or as
if fly-fishing for Trout.)

With a pistol grip hilt the force, strength and power used is often very strong and intended to be
unstoppable - and is frequently beyond sense or reason and, if fencing measure is misjudged, frequently
very painful to the recipient.

3/2/2010 Page 45
The FIE Rules do not recognise this action but state:

The attack is the initial offensive action made by extending the arm (forward from on guard)
and continuously threatening the opponents target, preceding the launching of the lunge,
fleche or balestra.

The simple attack, direct or indirect, is correctly executed when the straightening of the arm,
(from on guard), the point threatening the valid target, precedes the initiation of the lunge,
fleche or balestra.

Further - in the FIE Seminar on Refereeing Guidelines 1999 it was very clearly stated that in their view
Referees were at fault because:
a) Lack of knowledge of the Rules and knowing them by heart (& applying them strictly);
e) Failure to notice a bent arm during the attack which loses right of way (or any priority)
f) Allowing attacks where attackers arm is vertical and foil pointing at the ceiling, (which is
not any kind of preparation, nor an attack), (& is not continuously in-line threatening the
opponents target). For the full list see Appendix B. in which is also restated and redefined
what is an attack.

It is only Referees, (International, National or peer group) who can accept or reject and rule out of
order, any infringement of the Rules,- if they learn them and if they apply them fairly at any level of
competition. this will ease difficulty in refereeing and help ensure the survival of Foil fencing as a
recognisable sport. (FIE please note!).

Therefore, to correctly perform a flick hit, following FIE Rules and Refereeing Guidelines, until flick-
hitting is eliminated, it should begin from on guard with arm straightening, point in line, continuously
menacing the valid target, and with no arm bending at any point.

Only when somewhere beyond half way should the blade be taken out of line sideways momentarily by
hand and wrist action to be returned with the flick action to whiplash the point around the occurring
parry.

This action does not facilitate a flick hit over the head to hit the back,- which, as the Rules stand, should
not be possible - ruled out!
Defence Against Flick Hits

As with all foil fencing there is an answer to each and every action and it is up to foilists to work out the
best one to use, - but on the premise that the best defence is attack, since flick hitters most frequently
step forward with a bent arm try:
a) On their step forward - Stop hit them, - since their attack is in two periods of fencing time, the
step forward then their fly swat hit - if your stop hit is instant on their step forward, this is
technically the correct moment for it and in time and will stop play and score a hit - if the
Referee knows and applies the rules of foil fencing fairly and correctly
b) If their bent arm preparation has their foil pointing at the ceiling for a hit over your mask to
back - a stop hit on their vertical forearm has to be in correct time and your hit regardless, even
if off target and non-scoring it stops them scoring.
c) If the bent arm preparation is out sideways, Sixte or Quarte, - for a flick round any Sixte or
Quarte parry you make, - then a backwards beat a bit diagonal into the whip of the blade should
take out the whip effect, followed instantly by your riposte by twisting your wrist and foil, in
situ, back to put your point toward them to run on to, - your hit!
d) Alternatively a hard down-beat on top of their attack in c) could deflect it down off target on to
leg, - Stops play/no score.

Finally consider:- Flick hits/fly swatting is in no early Fencing manuals since advocates and
practitioners of such would have been quickly dead, - so by Natural Selection the practice could not
survive as a viable technique.
Page 46 3/2/2010

It has no place in modern Foil or else most techniques become literally pointless and Foil will disappear
- to end up as a simple Fly-fishing contest. However it is the decision of the FIE after their Havana
Plenary Session on 3/10/2003 to apply the following changes at Foil and sabre to all Junior World Cup
Competitions of the 2004-5 season:
The blocking times for the lights have been set at 300 msec for Foil and 120 msec for
Sabre; duration of contact time at Foil is set at 14-16 msec; increase of pressure on points
darrt to 750 gm and max curve of blade reduced to 1cm all effectively eliminating
flicks at Foil. If effective this may well be continued and applied to Senior Competitions.
LESSON 20
Fencing With Absence Of Blade
If you are going to fence with absence of blade, or find yourself in that position, try to decide:

Whether to adopt a central position of hand and sword, with blade horizontal and point about level with
and aimed at your opponents navel. This gives you least distance to cover, to parry or attack,
deceive or evade;
or whether you attempt to oppose your opponents blade wherever it is held, keeping it in contact
outside whichever guard you adopt. This will give you blade contact and awareness of touch
as well as sight.
Note:
a) The first option of central guard is a very unwise and dangerous position for novice and
inexperienced foilists and must only be deliberately considered by fully trained and highly
experienced fencers as a purposeful position.
b) In the second option be ready to resist attacks on the blade or prise de fer, or to use ceding parries.

If experienced you may decide to use both and change about, or reject these ideas and work out one of
your own. But try different ideas and use what best suits you and is successful - which you keep.

Always remember that in fencing there is an answer to every attack or defence your opponent produces
- it is up to you to work it out if you wish to succeed and beat them. So observe, deduce and apply the
best stroke or answer that you can.
Practise each style and choose your response.

NB Dont put up with absence of blade fencing, unless you are happy to fence without sentiment de fer.

- use parry of quinte on a horizontally held blade
- use prime on a blade held in low octave by opponent
- use seconde on a left handed opponent using his octave ie in your octave

- if the opponent then keeps his blade out of your way by not being horizontal, or in octave by pointing
to the floor near his front foot, just low, then his open target asks for the fastest simple direct high attack
you have ever made, central and strong.

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Seconde Prime

Quinte Tierce

LESSON 21
The Pronated Guards And Parries
(See Target diagram P.9).

Consideration of these four pronated guards and parries has been left until now not to confuse the
learning process so far, since they have some disadvantages - to be avoided,- but some advantages
which should be seriously used, all to be examined here.

Prime (First).
The sword arm is held horizontal from shoulder to hand across in front of the chest, with the
foil point outside vertical and the fingers on the hilt showing forward. Prime is like an upside
down Quarte covering the high inside line.

Seconde
A low outside guard - effectively a pronated Octave, - with point downwards and slightly out
and fingers showing outwards sideways, forearm horizontal from the elbow.

Tierce (Third)
A pronated Sixte with forearm horizontal, point lower than Sixte and slightly outside straight
forward.

Quinte (Fifth)
A pronated Quarte with arm and point lowered slightly and point a little outside straight
forward.

Certain developments in Foils and Foil fencing practices now seem to suggest these older and once
outdated prone guard/parry positions could be usefully reinstated, albeit by well trained foilists
judiciously using them in certain specific circumstances.

Consider! - why were guards/parries of pronated Prime and Seconds so named and used originally?

Obviously because on drawing your sword for defence, they were the first two positions which could be
taken, quickly and effectively, to deflect an already drawn sword threatening your life.

Today this strength can be used to help French-hilt users deal with pistol-grip forcefulness and absence
of blade fencing.

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Prime and Seconde

Advantages

a) Strongly held parries which can safely hold forceful/insistent actions a by pistol-grip foilists, -
where Septime and Octave with French hilts can result in painful, crippling injuries to the
forefinger against such force as is put against those parries, - to which this Author can testify!

b) It is quick and easy to riposte, low or high, from Prime or Seconde, with a flick or twist of the
wrist straight up on to target

c) From Seconde it is equally quick to change to a supinated parry of Sixte by semi-circular parry
against a low-high attack, - as with Octave to Sixte.

d) Prime can cause hesitation or even confusion in the opponent if they are not used to seeing or
dealing with the parry of Prime, - which is difficult to disengage from or to Coup, - and gives
an opportunity of a quick riposte LOW, or a sneaky counter-attack by Prise de fer.

Disadvantages

a) Prime causes too much wrist rotation to arrive accurately at other guard positions and with less
accuracy of point, except to Seconde, and finger manipulation of the foil is not really possible.

b) When in Prime or Seconde it is difficult to disengage or coupe.

c) From either it is difficult to use any attack on the blade or prise de fer.

d) Seconde is weak to a beat from above which can knock a French hilt out of the hand.

Tierce

Advantages

a) A strong blade contact in place of Sixte and a sense of awareness of opponents blade actions,
in otherwise absence of blade fencing.

b) Almost as easy as from Sixte to fence as usual.

Disadvantages

a) More wrist rotation for some actions and resulting inaccuracies from this - from the point
starting outside the line of guard/parry.

b) Difficult to use finger play for neat, accurate manipulation of foil.

c) Vulnerable to a downward beat disarming

Quinte

Advantages

a) Quinte used as a guard position unexpectedly in absence of blade fencing can give strong
blade contact with consequent awareness of opponents actions not otherwise available, also an
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invite to a prise de fer as a tactical move to enable pre-empting of opponents attack and use
of ceding parries.

b) As a parry the riposte by disengagement or coup is as possible and easy as with Quarte,
followed by any of the usual simple or compound actions.

c) Can be used as a strong downward beat-preparation for a counter-attack against the threat of a
flick hit into your Quarte inside target.

Disadvantages

a) Disengagements need wrist work with consequent danger of inaccuracy of point and wider,
wilder play signalling intentions, - but Coup is as normal.

b) Difficult to use finger work for neat, accurate manipulation of foil.

c) Vulnerable to down beat disarming.

Notes:

When Fencing Sport was being re-established world-wide post war, 1946 onwards, the supinated guards
and parries became considered superior to the pronated ones, - Tierce was considered a bad Sixte
position and Quinte a bad Quarte, while supinated Octave and Septime could do all that Prime and
Seconde did and better. The whole guard/parry teaching became simplified at a stroke.

In the latter half of the last century, Electric Foils and scoring equipment first gave us clumsier, heavier
foils followed by adoption of pistol grip hilts to help wield them, rather than more logically using
the existing proper orthopaedic hilt - the Gardre hilt, - and weighting the pommel to re-balance.

Then lighter electric blades and later more whippy blades, bring us to this century and the present mixed
position of the traditional French hilts finding pistol grip hilts heavy physical opposition, and fast, light
blades causing potentially dangerous, physical problems which could be prevented by the use of these
pronated guards/parries.

There are increasingly numerous opinions that pistol grip hilts are no longer needed with lighter blades,
- that we should be getting back to traditional French hilts, also that fencing with pistol hilts should
not be mixed fencing against French hilts.

Certainly pistol grips cramp hand function and inhibit good, neat finger style fencing as can be found
with French hilts, and they give rise to wilder, less accurate foil fencing, with abundant risks of some
slashing actions, - injuries are not unknown from this.

A better lead and ruling from the FIE is long overdue.
Page 52 3/2/2010

ROUNDUP OF PART THREE
The finest and most successful Foilists have always been those whose techniques and timing have been
near perfection and whose tactics have been more imaginative and innovative and practiced till near
instinctive.

These are the 3 Ts of fencing, - Techniques, Timing and Tactics, each is of vital and equal importance,
being the How, When and Why of Fencing, and each is no use alone without the others. You ignore any
one of them to your cost in hits against you.

The Techniques must be learned and practiced to as near perfection as possible by each individual who
wishes for top success in the sport. This should preferably be against more experienced opposition
occasionally, to learn from and test oneself against, even losing every point - as long as you learn what
beat you and why, and where you failed. Ask! Then work out how to improve and correct oneself.

Aim for correctness of techniques before speed. You can always speed up a correct technique when
necessary, but incorrect techniques are not improved by speeding up and will only become bad habits
causing repeated failure and disillusionment.

Timing is knowing when to deploy the right technique at the vital, crucial moment when it can result in
success and this is usually learnt in training and by practice - training correct habits, and usage.

Every movement of blade, hand or foot takes a certain short period of time to enact, referred to as a
period of fencing time, which is important as part of the correct timing of whole movements

Tactics, - procedures calculated to gain some end.

In Fencing, tactics is making decisions before OR during play, determining on various actions to use,
based on observations and/or knowledge of the play, habits, style and behaviour of each opponent, in
order to outwit them and score hits.

It is using a plan of action, or selecting the right action to use, in the right circumstances, at the right
moment and is largely based on wisdom borne of experience and expertise and the ability to make
opportunities successful in each situation.

It is the direct consequence of training, experience, observation, opportunism and instinctive reactions.

Remember:- top fencers arent just very good fencers and lucky, they use their brains and outwit
opponents with well thought out TACTICS.

Simple basic tactics can be taught as in Lesson 13, but you can make your own opportunities since
tactics are concerned with Fencing measure, gaining and breaking ground and the psychology of
persuasion and bluff.

For example, any fencer who steps forward with their attack, or who is tall - good reach, good lunge - is
one who needs space to operate (and so often is used to getting it by their intimidating actions). Your
tactical answer is to deny them that space by gently stepping forward into their offensive action and
making an opposition stop hit, or parrying and fencing at close quarters, that is with arm bent close and
point kept within the opponents target area whatever your actions.
3/2/2010 Page 53
Final Useful Principles

17. CONCEAL YOUR INTENTIONS

Never waste time or energy in large, unnecessary movements which signal your intentions.
Keep parries and preparations for attacks and counter-attacks no larger than necessary to
make quick efficient defence and counter attacks and to avoid opposing defence or counter
defence.

18. NO HISTRIONICS!

Do not indulge in histrionics - stage/film swash and buckle! You will score more hits
keeping movements small and neat. Use brains not muscle if you wish to win.

19. PENULTIMATE THOUGHT!

Fencing is only a game, someone wins, someone loses on the day. What really matters is
HOW and WHY you won or lost and with what good grace.

20. CONFUCIUS!

He say: pleasant to win! But win or lose it is more pleasurable and satisfying to outwit the
opponent even on one hit only, playing the game as it should be played strictly according to
the Rules.
LESSONS IN FOIL FENCING Appendices
Page 54 3/2/2010
APPENDIX A TECHNICAL TERMS
Taken from FIE Rules for competitions 1998.

All text in CAPITALS has been added by the author to assist in clarity.

Explanation of some technical terms and TECHNIQUES - NECESSARY FOR
JUDGING, REFEREEING, FENCING AND COACHING.

1. Fencing time is the time required to perform one simple fencing action of
BLADE/HAND/FOOT, = STRAIGHT ARM FEINT, LUNGE, PARRY, SIMPLE RIPOSTE,
DISENGAGE, CUT OVER, CHANGE OF ENGAGEMENT, COUNTER DISENGAGE, STEP,
APPEL, PRISE DE FER, CROIS, BIND, ENVELOPEMENT, ATTACKS ON BLADE,
PRESSURE, BEAT, FROISSEMENT, COUL. These are Preparations for your following offensive
actions.

2 Offensive And Defensive Actions.

The Offensive Actions are the attack, the riposte and counter riposte.

Bottom of P.3. It is stressed that this section B in no way replaces a treatise on fencing and is only
included in order to help the reader to understand the Rules.

The attack is the initial offensive action made by extending the arm FORWARD FROM ON GUARD,
POINT IN LINE continuously threatening the opponents target preceding the launching of the lunge,
flche OR BALESTRA. [A DIRECT/INDIRECT ATTACK IS ONE PERIOD OF FENCING TIME,
SO IF TWO LIGHTS COME UP THE ATTACK WAS SUCCESSFUL AND ANY PARRY IS A
MALPARRY, THE RIPOSTE UNJUSTIFIED AND OUT OF TIME.]

The riposte is the offensive action made by the fencer who has FULLY parried the attack. [ONLY
ONE LIGHT SHOWS IF THIS RIPOSTE WAS SUCCESSFUL].

The counter-riposte is the offensive action made by the fencer who has SUCCESSFULLY parried the
riposte. [ONLY ONE LIGHT SHOWS IF THIS WAS SUCCESSFUL.]

The Defensive Actions are the parries.

The parry is the defensive action made with the weapon FULLY TO A NEW GUARD POSITION, TO
OPPOSE AND to prevent an offensive action arriving.

NOTE: TO BE SUCCESSFUL IT MUST FULLY DEFLECT THE ATTACK FROM ARRIVING ON
ITS TARGET, THIS THEN GIVES PRIORITY TO THE RIPOSTE, - AND ONE LIGHT ONLY
ON THE BOX.

THE MALPARRY. AN INADEQUATE/INCORRECT PARRY WHICH HAS FAILED TO
DEFLECT AWAY FULLY AN ATTACK FROM HITTING ITS TARGET. [NOTE: IF 2 LIGHTS
COME UP - THE ATTACK SUCCEEDED, THE PARRY BEING INADEQUATE THE
FOLLOWING RIPOSTE IS NOT JUSTIFIED, HOWEVER FAST]. A MALPARRY GAINS NO
PRIORITY TO RIPOSTE.

3. Explanation.

Offensive actions.

(a) The Attack. The action is simple when executed in one movement, and is
- either direct (in the same line)
Appendices LESSONS IN FOIL FENCING
3/2/2010 Page 55
- - or indirect ( in another line)

- NOTE: THE ARM SHOULD EXTEND FORWARD FROM ON GUARD WITH POINT
IN LINE AND PRECEDE FOOT MOVEMENTS FRACTIONALLY. The action is
compound when it is executed in several movements.

(b) The Riposte can be immediate or delayed depending on what action takes place and the speed at
which it is carried out.

Examples.

1. The simple direct riposte, MUST hit the opponent without leaving the line in which the
parry was made. IT IS NOT JUSTIFIED IF THE PARRY WAS NOT FULL AND
SUCCESSFUL, AND IF IMMEDIATE AND FAST IT WILL GRAZE ALONG THE
PARRIED BLADE, - AS IT SHOULD FOR THE RIPOSTER TO BE COVERED AND
SAFE FROM AN ATTEMPT AT A REMISE.
2. The simple, indirect ripostes -

Riposte by disengagement: a riposte which hits the opponent in the opposite line to that in
which the parry was formed (by passing under the opponents blade if the parry was formed
in the high line, and over the blade if it was formed in the low line.)

EXAMPLE: A PARRY OF QUARTE FOLLOWED BY A DISENGAGE RIPOSTE, WITH
COVERING IN SIXTE.

Riposte with a coup: as for disengagement but the riposting blade always passing over the
opponents point.

EXAMPLE: A PARRY OF QUARTE THEN WITH PRONATION TWISTING THE
PARRY UP AND OVER AND ROUND THE TIP OF THE OPPOSING BLADE, THEN
TWISTING BACK TO HIT AND COVERING IN SIXTE.

3. The compound riposte.

Riposte with a doubl: a riposte which hits the opponent in the opposite line to that in which
the parry was formed, but after having described a complete circle round the opponent's
blade. EFFECTIVELY, YOUR OPPONENT HAVING HIS ATTACK PARRIED
RETURNS TO GUARD MAKING A SIMPLE PARRY THEN A CIRCULAR PARRY AS
YOU RIPOSTE WITH DISENGAGE AND COUNTER DISENGAGE.(l-1).

Riposte with a one-two: a riposte which hits the opponent in the same line as that in which
the parry was formed but after the blade has first been into the opposite line by passing under
the opponent's blade.

EFFECTIVELY, YOUR OPPONENT HAVING HIS ATTACK PARRIED RETURNS TO
GUARD MAKING TWO SUCCESSIVE SIMPLE PARRIES AS YOU RIPOSTE
WITH DISENGAGE - DISENGAGE(l-2).

(c) Counter attacks are offensive or offensive-defensive actions made during the offensive
action of the opponent.

1. The stop hit. A counter-attack made into an attack, - BUT ONLY JUSTIFIED ON A
SLOW, OR A WIDE, BADLY DIRECTED BLADE ACTION, OR A STEP WITHOUT OR
BEFORE A FEINT OF ATTACK. (SAFEST MADE WITH COVERED COMPLETION).

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2 The stop hit made with opposition - a counter attack made while closing the line in which
the opponents attack will be completed. THAT IS ANTICIPATING AND INTERCEPTING
THE FINAL LINE OF ATTACK WHILE BEING COVERED.

3. The stop hit made within a period of fencing time, ie in time. THE CLASSIC
EXAMPLE INTENDED TO ARREST A PERCEIVED ATTACK IN ITS PREPARATION
AND BEFORE ITS FINAL DEVELOPMENT, - ON A BENT ARM ATTACK WITH, OR
WITHOUT A STEP; ON A FEINT OF ATTACK BEFORE A DISENGAGE LUNGE etc.

(d) Other offensive actions.

1. The Remise - a simple, immediate CONTINUATION OF AN offensive action WITH
IMMEDIATE PLACEMENT OF THE POINT ON TARGET WHILE ON THE LUNGE,
without withdrawing the arm OR MAKING ADDITIONAL BLADE/ARM MOVEMENT,
after the opponent has MALparried or retreated, OR PARRIED and quitted contact with the
blade without riposting, or has made a riposte which is delayed, indirect or compound.

2. The Redoublement, - A RENEWAL OF AN ATTACK WHILE ON THE LUNGE,
simple or compound, made against an opponent who has parried and delays or fails to riposte,
or who has merely avoided the first action by retreating or displacing target.

3. The Reprise of the attack, - a RENEWAL of attack executed immediately after a return to
on guard' EITHER BACKWARD OR FORWARD, AND SIMPLE OR COMPOUND,
AGAINST AN OPPONENT AS IN THE REDOUBLEMENT.

4. Counter time. Every action made by the attacker against a stop hit made by his opponent
ie A PREMEDITATED, SECOND INTENTION ACTION TAKEN AGAINST A
PROVOKED STOP HIT FROM THE OPPONENT.

4. Defensive actions. Parries are simple, direct, when they are made in the same line as the attack.

They are circular (counter-parries) when they are made in the opposite line to that of the attack.

5. The in-line position. (See APPENDIX B - FINAL PARAGRAPH). The position of a fencer in
which his sword arm is straight and the point of his weapon threatens his opponents valid target ie
A FEINT OR THREAT OF THE ATTACK
a) AS PART OF A DIRECT, INDIRECT, OR SECOND INTENTION ATTACK; OR
b) A TENTATIVE ACTION TO DISCOVER/ASSESS THE OPPONENTS RESPONSE, (THEN
USUALLY WITHDRAWN FAIRLY QUICKLY); OR
c) AS PART OF A TACTICAL INTENTION ENABLING A DEROBEMENT AND COUNTER
ATTACK; OR
d) TO PROVOKE A PRISE DE FER TO ENABLE A CEDING PARRY AND COUNTER
ATTACK RIPOSTE.

VALIDITY OR PRIORITY OF THE HIT.

The Referee alone decides as to the validity or the priority of the hit by applying the following basic
rules which are the conventions applicable to foil fencing.

Respect of the fencing phrase.

a) Every attack, that is every initial offensive action, which is correctly executed must be
FULLY/COMPLETELY parried or completely avoided and the phrase must be followed through -
that is to say, co-ordinated.

In order to judge the correctness of an attack the following points must be considered:
3/2/2010 Page 57

1) The simple attack, direct or indirect, is correctly executed when the straightening of the
arm FROM ON GUARD, POINT IN LINE, threatening the valid target, PRECEDES the
initiation of the lunge, flche or BALESTRA, ie FOOT MOVEMENT(S).
2) The compound attack is correctly executed when the arm is straightened in the presentation
of the first feint, with the point threatening the valid target, and the arm is not bent during
the successive actions of the attack and the initiation of the lunge, flche or balestra.

3) The attack with a step-forward-lunge or a step-forward-flche or balestra is correctly
executed when the straightening of the arm PRECEDES the end of the step forward and
the initiation of the lunge, flche or balestra.

4) Actions, simple or compound, steps or feints which are executed with a bent arm are not
considered as attacks but as preparations, laying themselves open to the initiation of the
offensive or defensive/offensive action of the opponent,- AN ATTACK OR A STOP HIT.

To judge the priority of an attack when analysing the fencing phrase, it should be noted
that:

5) If the attack is initiated when the opponent is not point in line it may be executed either
with a direct thrust, or by a disengage, or by a cut-over, or may even be preceded by a beat
or successful feints obliging the opponent to parry.

6) If the attack is initiated when the opponent is point in line the attacker must first
completely deflect the opponents blade. Referees must ensure that a mere contact of the
blades is not considered as sufficient to deflect the opponents blade, WHETHER BY
PARRY OR BEAT.

7) If the attacker, when attempting to deflect the opponents blade BY BEAT OR PRISE DE
FER fails to find it (BY OPPONENTS derobement), the right of attack passes to the
opponent.

8) 8. Continuous steps forward, with the legs crossing one another, constitute a preparation
and on this preparation any simple attack, OR A STOP HIT, has priority.

b) The SUCCESSFUL parry gives the right to riposte: the simple riposte may be direct- or indirect,
but to annul any subsequent action by the attacker, it must be executed AS SOON AS POSSIBLE ,
without indecision or delay.

c) When a compound attack is made, if the opponent finds the blade during one of the feints, he has
the right to riposte.

d) When compound attacks are made, the opponent has the right to stop hit; but to be valid the stop
hit must precede the conclusion of the attack by an interval of fencing time; that is to say that the
stop hit must arrive before the attacker has begun the final movement of the attack.

Judging of hits

In applying these basic conventions of foil fencing, the Referee should judge as follows:

When during a phrase, both fencers are hit simultaneously, there is either a simultaneous action or a
double hit;

The first of these conditions is due to simultaneous conception and execution of an attack by both
fencers; in this ease the hits exchanged are annulled for both fencers even if one of them has been hit
off the target.

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The double hit, on the other hand, is the result of a faulty action on the part of one of the fencers - or
often both.

Therefore, when there is not a period of fencing time between the hits:

1 Only the fencer who is attacked is counted as hit:

a) If he makes a stop hit on his opponent's simple attack, OR A TOO FAST MALPARRY -
RIPOSTE WHICH FAILS TO DEFLECT IT FULLY/COMPLETELY.

b) If , instead of parrying, he attempts to avoid the hit and does not succeed in so doing.

c) If ,after making a successful parry, he makes a momentary pause which gives his opponent the
right to renew the attack (remise, redoublement or reprise).

d) If ,during a compound attack, he makes a stop hit without being in time.

e) If, having his point in line and being subjected to a beat or a taking of the blade (prise de fer)
which deflects his blade, he attacks or places his point in line again instead of parrying a direct
thrust made by his opponent.

2 Only the fencer who attacks is counted as hit:

a) If he initiates his attack when his opponent has his point in line without deflecting
COMPLETELY the opponents weapon. Referees must ensure that a mere contact of the
blades is not considered as sufficient to deflect the opponents blade TOTALLY AWAY
FROM THE TARGET.

b) If he attempts to find the blade WITH A BEAT ATTACK OR PRISE DE FER, does not
succeed (ie the object of a derobement) and continues his attack.

c) If, during a compound attack, his opponent finds the blade, but he continues the attack and his
opponent ripostes immediately.
d) If, during a compound attack, he makes a momentary pause, during which time the opponent
makes a stop hit, while the attacker continues his attack.

e) If, during a compound attack, he is stop hit in time before he begins his final movement.

f) If he makes a hit by a remise, redoublement or reprise when his original attack has been
parried and his opponent has made a riposte which is immediate, simple, and executed in one
period of fencing time without withdrawing the arm.

3. The Referee must replace the competitors on guard each time that there is a double hit and he is
unable to judge clearly on which side the fault lies.

One of the most difficult cases to judge arises when a stop hit is made and there is doubt as to whether
it was made sufficiently in time in relation to the final movement of a compound attack. Generally, in
such cases, the double hit occurs through the fault of both fencers concerned, which justifies the
Referee replacing them on guard.

(The fault of the attacker consists of indecision, slowness of execution or the making of feints which
are not sufficiently effective. The fault of the defender lies in delay or slowness in making the stop
hit.)

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APPENDIX B FIE GUIDELINES ON REFEREEING

The following guidelines were given in a seminar in April 1999.

The attack is again defined as the initial offensive action, with the straightening of the arm (from the
on guard) and the point of the weapon continuously menacing the valid target of the opponent. Any
pause in the extending of the arm (from on guard), or any bending of the arm once the attack has been
started, allows the right of attack to pass to the opponent. It was stressed that the arm does have to be
continuously straightening and proceeding towards the valid target of the opponent. (See Referee faults
e & f below).

Foil referees are the worst at refereeing because of confusion over the attack so the FIE have asked foil
referees to be as strict in interpretation of the attack as sabre referees.

Too many fencers and coaches are unaware of the rules and conventions of their weapon.

Referees to tighten up the rules in various areas:-

Corps a corps is allowed too much at all weapons - a common fault which must cease.
Simple body contact = yellow card. (at foil & sabre; pe ref. calls halt).
Jostling or causing (physical) shock to opponent = red card.
Intentional violence = black card!

Referees not enforcing this rule will not be used by the FIE!

Going off the piste - one foot off the piste = referee calls halt!
A second time in the fight one foot off = yellow card.
A third time = red card.

The salute at the beginning and end of the fight is MANDATORY.
Failure to salute and shake hands at end will lose hits scored and will be fined $500 (330) which if not
paid = a ban from International Competition.

Shoulder Inversion & hand, arm or shoulder covering of target will be strictly warned against.

Referee faults include:
a) Lack of knowledge of Rules & knowing them by heart.
b) Lack of correct terminology (& hand signals).
c) Lack of rigour in applying the penalties.
d) Mistakes (inability) to define who made the attack, especially at foil.
e) Failure to notice bent arm during the attack which loses the right of way.
f) Allowing attacks where attackers arm is vertical and foil pointing at ceiling (this is NOT a
preparation NOR an attack!)
g) Failure to separate attack and counter attack.
h) Failure to penalise corps a corps.

The Attack. The following definition was also given to clarify the FIEs intentions as to how this
rule is to be applied:-
The point -in-line is when a fencer has a straight arm with the point of the weapon threatening the
valid target of his opponent in the high line. The arm must not bend otherwise the point in line loses
priority. The point-in-line is valid if the fencer is standing still, going backwards or going forwards &
must be fully parried to lose validity.

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APPENDIX C PERSONAL PROGRESS CHECKLIST

No Technique
1 The Grip; parts of the foil

2 The Stance and position On guard

3 The Salute

4 Gaining and breaking ground

5 The Attack lunge and recovery; recovery forward

6 The Hit and co-ordination

7 The valid target and fencing positions

8 Covering, engagement and absence of blade

9 Fencing measure

10 Two simple attacks: Direct Thrust and Disengage; Change of
Engagement and Counter Disengage

11 The four supinated guards; a Parry; the Riposte. Sentiment de
Fer

12 The Piste and its rules

13 Simple defence =Parries lateral, semi-circular, circular

14 More Sentiment du Fer

15 Three more simple attacks the cut-over, counter disengage
and low line attacks

16 Simple ripostes direct, indirect by disengagement, cutover,
counter disengage - riposte

17 The Flche attack; the Balestra

18 Compound attacks; 1-2-3, 1-2, doubl

19 Successive parries; compound ripostes, counter ripostes

20 Preparations of attack; attacks on the blade =Pressure, Beat,
Froissement

21 Coul and Graze

22 Prises de fer: Crois, Bind

23 Envelop; defence against prises the ceding parries

24 Using advance and retire as preparations

25 Combinations of preparations; ripostes using prises de fer

26 Trompement and Drobement

27 Stop hits, counter time

28 Renewed attacks; the Remise, Redoublement, the Reprise

29 Avoiding actions: Passato Sotto, Inquartata, Rassemblement

30 Flick hitting and defence; FIE ruling

31 Fencing with absence of blade

32 Pronated guards and parries

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APPENDIX D FENCING TERMS EXPLAINED

THE AIDS The last three fingers of the sword hand used to firm and speed the action of the
manipulators q.v.
ABSENCE OF BLADE refusal to cross swords in engagement, or to contact opposing blade
ASSAULT a non-scoring friendly combat between two fencers.
ATTACK ON THE BLADE a preparation of attack by pressure, beat or froissement.
BALESTRA a fast method of attack with a HOP before lunging so extending reach.
BEAT a preparation of attack which deflects opposing blade, or provokes a reaction by
knocking it hard.
BIND a preparation of attack which takes the in-line opposing blade out of line
before making the final attack, vertically or diagonally.
BOUT a friendly combat between two fencers where the score is kept for a purpose.
BREAKING GROUND - or retiring -by stepping back one or more steps as necessary.
BROKEN TIME when two movements are deliberately made not to follow immediately one upon the
other.
CADENCE rhythm in which a sequence of movements ie made.
CEDE partially to give way to an opposition.
CENTRAL GUARD one in the middle between Sixte and Quarte or Octave and Septime.
CHANGE OF ENGAGEMENT the action of engaging in a new line.
CLOSE QUARTERS FENCING - when two fencers are close together but can still wield their swords
correctly.
COMPOUND ATTACKS attacks composed of one or more feints.
COMPOUND PRISES DE FER an uninterrupted succession of takings of the blade.
COMPOUND RIPOSTES ripostes composed of one or more feints.

COUNTER-ACTION PARRIES ( CONTRACTION PARRIES) a circular parry taken in the wrong line.
COUNTER DISENGAGEMENT a simple offensive action deceiving a change of engagement or a
circular (counter) parry.
COUNTER OFFENSIVE ACTIONS stop-hits, = in time, early, just straight with or without avoidance, or,
with opposition.
COUNTER PARRY a circular parry.
COUNTER RIPOSTE the offensive action following the successful parry of a riposte.
COUNTER TIME a premeditated second intention action taken against a provoked stop-hit.
COVERED a position which closes the line of engagement with the foil from forte to point
(button).
CROIS - or vertical bind - a taking of the blade from high to low on the same side as the
engagement.
CUT-OVER a disengagement over the top of the opponents blade as an attack, a preparation of
attack, or riposte.
DELAYED PARRY only risked by experts, often leaning backward; done to observe or to cause
commitment and/or completion by an opponent to his particular attack before being
parried late - but fast, and a direct riposte.
DELAYED RIPOSTE one usually caused by insistent attack necessitating a held parry before riposting as
the opponent recovers
DROBEMENT an evasion of an opponent's attempts to beat or take the blade of a straight arm
threat/feint preparation by disengagement or by dropping, still straight, into low
line.
DETACHMENT a riposte not straight to target from where the parry was made but bounced off and
more central, ie not covered and open to a remise.
DEVELOPMENT the combined actions in an attack, of straightening the sword and arm with the
following instant foot movement to complete the lunge.
DIRECT term denoting an attack/riposte delivered in the line of the engagement.
DISENGAGEMENT a simple indirect attack or riposte in which the sword point is passed under the
opposing sword from the line of engagement into the opposite one
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DOUBLE PRISE DE FER a succession of takings of the blade where contact is lost between each one.
ENGAGEMENT the crossing of the swords at start of an assault or a bout.
ENVELOPEMENT a circular taking of the blade with both blades in contact and returning to the
original line of engagement.

FALSE ATTACK a mock attack not intended to land but to reveal an opponents likely response.
FEINT OF ATTACK - or threat, - a blade movement as a part of an attack to get a reaction enabling
the completion of a compound attack.
FENCING MEASURE the practical distance which every fencer has to estimate and remember in
relation to each different opponent such that each opponent cannot hit him
without lunging fully.
FENCING POSITIONS any of the 8 classical defensive positions of guards/parries in which a fencer
can place arm and sword depending on the attack point.
FENCING TIME see Period of Fencing Time
FIE Fdration International d'Escrime. International Federation of Fencing.
FINGER PLAY a method of manipulating the foil more quickly, precisely and accurately using
fingers rather than the wrist.
FIRST COUNTER RIPOSTE the attackers first riposte.
FLCHE a fast, surprise form of lunging, effectively landing on the rear leg brought to
the front and starting a running attack around the open side.
FOIBLE the half of the foil blade nearest the point.
FOIL originally the training/practice weapon for the dangerous duelling pe. Today
the basic and competitive weapon.
FORTE the half of the blade nearest the guard; your defence in the parry.
FROISSEMENT a preparation of attack which deflects the opposing blade forcefully from point
to guard.
GAINING GROUND(Advancing) stepping forward one or more steps as necessary.
GRIP the manner in which the foil is held.
GUARD a) coquille/shell -the cupped metal protection for the hand/fingers between
handle and blade
b) any one of the defensive positions a fencer can adopt.
IMMEDIATE usually used referring to a riposte following a parry without pause.
INDIRECT any single offensive action of blade which is not direct, ending not in line of
the engagement eg disengagement, coup or stop hit.
IN LINE the position of the sword blade when making a feint or threat of action, in
which the sword arm and sword is straight and level with the point close to and
threatening the opponents valid target.
IN TIME the arrival of an attack or counter-attack before the opposition defence is
successfully completed.
JUDGES non-competing fencers whose duty is to watch for hits in non-electric
matches/competitions, and/or to assist the Referee.
LINES theoretical areas corresponding to the fencing positions.
LUNGE the means of making an attack by straightening the arm forward from on guard,
with sword in line, point threatening the opponent's target, then driving this
forward horizontally by straightening the rear leg.
MALPARRY a badly executed or incomplete parry not successfully deflecting the attack
from hitting.
MANIPULATORS the index finger and thumb of the hand holding the foil.
ON GUARD the position of body, arms and feet preparing a fencer for offensive or
defensive actions.
ORTHOPAEDIC strictly = helping deformity (Med). Prof. Gardre invented a moulded plastic
handle to help his crippled hand. Colloquially today refers to all moulded
plastic handles.
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PARRY defensive action which opposes the forte of the defenders foil against
the foible of the attackers in order to deflect it completely from hitting its
target.
PATINANDO (skating) a Continental technique of a very rapid small step by rear leg first,
put into a developed lunge, to lengthen it when made short by ones opponent
stepping or leaning back when attacked.
PISTE the 1.5 2m long strip of phosphor-bronze mesh, or floor on which Fencing
and Competitions are Fenced.
PERIOD OF FENCING TIME the time it takes to make ONE movement of blade, body or foot -
parry, riposte, lunge etc.
POMMEL the heavy, inverted/truncated cone shaped metal locking knob holding foil
parts together at handle end, and also acts as counter-weight to the blade.
PRECEDENCE priority in time or correct succession.
PREPARATION OF ATTACK any blade, body or foot movement which opens the way for an attack.
PRESSURE a preparation of attack.
PRINCIPLE OF DEFENCE opposition of Forte to Foible.
PROGRESSIVE ATTACKS the method of accelerating certain compound attacks.
RECOVERY (or return to Guard) - using the bounce at lunge end & the bending of the
rear leg to pull one back from the lunge with bent knees back into the on
guard position.
REDOUBLEMENT a renewal of attack while on the lunge comprising one or more blade actions.
REFEREE new name for the president who directs all bouts at Fencing and has many
duties, including analysing the last fencing phrase and the validity, priority
and materiality and awarding of the hits &/or penalties.
REMISE a renewal of attack while on the lunge, made by replacing the point on
target in the line of the parry.
REPRISE a renewal of attack preceded by a return to guard.
RIPOSTE the offensive action following a successful parry.
SECOND COUNTER-RIPOSTE the defender's second riposte.
SECOND INTENTION a premeditated action taken to deal with a provoked movement.
SEMICIRCULAR PARRY a parry describing a half circle from high to low line or vice versa.
SITTING DOWN the bending of the knees in the on-guard position.
SIMPLE ATTACK one single action which is direct or indirect, with immediate lunge.
STANCE the position of the body, feet, arm and sword when on-guard.
STOP HIT a counter offensive action into a simultaneous attack to stop it before its
development is complete, or with opposition to its completion.
STRAIGHT THRUST the direct and simplest form of attack.
SUCCESSIVE PARRIES several parries one after another until the attacking blade is found.
TAKING OF THE BLADE (Prise de Fer) - one of the preparations of attack.
TO TIME seizing an opportunity and executing an action at the correct moment.
TROMPEMENT offensive blade actions which deceive the opponents parries, eg
disengagements, coups, 1/1, 1/2, 1/2/3 etc.
TWO-TIME actions executed in two periods of fencing time.
UNCOVERED a position where the line of engagement is not closed.
WARNING LINES lines drawn two metres from the rear limit of the piste which warns fencers
they are nearing the end of the piste.
Page 64 3/2/2010
(This space left for your own notes)

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