CHAP. XXIX.

Of the Necessity of some Qualities in a Master.

In order to teach well, it's necessary to have a perfect Idea of the Means which conduce from the Beginning to the End of the Matter proposed, I mean to it's Perfection, or to what comes nearest it, if our Age has not as yet arrived to it.

In Fencing, as well as in other Exercises, there should be Judgment and Knowledge how to act and how to Teach: The first is the Effect of a long and good Theory; the second, of a good Theory, long Practice, and a good Disposition; and the third, besides the Theory and Practice, is the Effect of a good Genius, or of a particular Talent.

It is as necessary in this Art that a Master's Motions shou'd be regular, and that he shou'd hold the Foil properly in his Hand, as it is for a Writing Master to draw the Example well that he would have copied; so that the Scholar of the one, or of the other, may learn a better Motion, or a finer Character. It is also proper that when a Scholar commits a Fault, the Master shou'd shame him by imitating it, the seeing the Fault making a greater Impression than the hearing of it.

A Master in his Lesson shou'd give a Time to the Scholar to make him push, in order to teach him to take the Enemy's Time. He shou'd likewise sometimes beat back his Body, and parry him from time to time, that he may accustom him to be firm on his Legs, to oppose his Sword well, and to recover well: It is good sometimes to let him make several Thrusts following, and then remaining firm all of a sudden, to shew him, that he shou'd always be ready to thrust

In order to make him take the Time well, and to form his Parade and Rispost properly, the Time that the Master gives must have a Regard to Rule, and sometimes to the Disorder of an unskilful Enemy, that he may be equally fortifyed for both; and to form his Parade and Rispost the Master must push in the Manner the most like to an Assault.

Though most Masters give Lessons with shorter and stiffer Foils than are used in assaulting or playing loose, I esteem it better always to use the same Foils that they may not be deceived in an Assault.

A Master's Play shou'd be neat, subtle agreeable, and useful, as fit for Combat as for the School.

The Art of Fencing being to make the most of a good or bad Disposition, when 'tis good 'tis capable of being made perfectly dexterous, and when bad, the Defect of Nature is to be repaired by Art.

By saying that 'tis no hard Matter to perfect such Men as are naturally of a very

A good Disposition is seldom to be met with, for there is generally a Mixture of bad Parts with the good. Some have a supple, light and vigorous Body, and with these Qualities a heavy or ill adjusted Hand; and others that have as good a Disposition as is desirable, have a narrow Genius, fearing to undertake any thing, or are hot and inconsiderate, which shews that it is only be a perfect Accord of the Parts and Understanding that a Man can be perfectly dexterous.

In short an able Master does not only shew the Fault, and whence it proceeds, but also the Danger to which it exposes, and the Means to leave it. A Master whose Play is regular, or who has the best Foundation, may properly be said to be a good Master.

Rules for pushing and parrying at the Wall, and for making an Assault.

Though 'tis absolutely necessary to begin by way of Lesson, and to continue in it a long Time, in order that Practice growing to a Habit, may give Liberty to the Parts to form themselves: nevertheless however well you may take your Lessons, some other Means are necessary to make an Assault well, than those which the Master gives at his Plastron: This Rule must be supported by pushing and parrying at the Wall, and in the Manner I am going to lay down.

When you have laboured a certain Time at Lessons, you must push at a Cushion which is fixed against the Wall for that Purpose, observing the Guard, and the Measure or Extention of the Thrust; and that the Hand display itself in Quart, not only according to the Rule, but first, adjusting

After having lunged for some Days on the Cushion, to fix the Wrist and Body a little, you must push at a Scholar, who Being placed at the Wall will parry your Thrusts; you shou'd be in Measure, and to see if it be just, you must lunge in Quart, placing the Button softly on the Body, at the same time taking off your Hat, having taken the Measure you must recover in Guard, and place yourself on the Outside of his Sword in order to disengage and push Quart, being more careful of pushing justly than hitting; he that parrys shou'd from time to time drop his Foil, which will shew whether he that pushes follows the Blade or the Line of the Body; having remain'd some Time upon the Lunge to form the Support of the Wrist and the Posture of the Body you recover to Guard. When you lunge pretty well in Quart, you may disengage and push Tierce, and when the Thrust is pushed and parryed, you may recover and push Seconde under.

When you have pushed for some Time in this Manner, you may practise to parry,

Most young Beginners endeavour to hit at any Rate, instead of practising what would be beneficial to them, but instead of deceiving others they deceive themselves, by practising less how to form themselves and push according to Rule, than how to spoil their Bodies, and destroy the Solidity of the Principles: Some use themselves to push with the Wrist only, without the Foot, which is dangerous, by reason of the too great Measure; others with as little Reason, and as much Danger, place themselves without binding the Blade, and thrust under the Wrist; in the one the Situation of the Guard is good for nothing, and in the other there is no Defence if the Adversary thrusts at that time: Others deceive by making a Time or Motion when they are placed, but the pushing at the Wall requires only the Justness and Swiftness of the Thrust; others

When you have for some time used yourself to push and parry at the Wall, according to the Rules that I have laid down, you must, (tho' 'tis not the Rule of Schools, especially when you push with Strangers,) you must I say, when you push with a Scholar of your own Master, push and parry a Thrust alternately, disengaging, and then do the same Feinting, and sometime afterfort and feeble, whether he attack or defend; if he attack it will be either by plain Thrusts strait, or disengaged, or by Feints or Engagements, which may be opposed by Time, or Ripostes: if he keeps on his Defence, it is either to take the Time or to Riposte. In case of the first; you shou'd, by half Thrusts, oblige him to push in order to take a Counter to his Time, and if he sticks to his Parade you must serve

It would fill a whole Volume to describe the Thrusts that may be made, according to the Difference of Persons, as well to surprise as to avoid being surprised; besides the many Repetitions wou'd be extremely puzzling, for which Reason, I have, instead of them, laid down the following Advices, which contain chiefly, what I cou'd not otherwise have communicated without a long Treatise.

Don't put yourself in Guard within the Reach of the Enemy.

Make no wry Faces, or Motions that are disagreeable to the Sight.

Be not affected, negligent, nor stiff.

Don't flatter yourself in your Lessons, and still less in Assaults.

Be not angry at receiving a Thrust, but take care to avoid it.

Be not vain at the Thrusts you give, nor shew Contempt when you receive them.

Do not endeavour to give many Thrusts, running the Risque of receiving one.

Don't think yourself expert, but that you may become so.

When you present the Foils, give the Choice without pressing.

If you are much inferiour, make no long Assaults.

Do nothing that's useless, every Action shou'd tend to your Advantage.

Lessons and Assaults are only valuable when the Application and Genius make them so.

Too good an Opinion spoils many People, and too bad a one still more.

A natural Disposition and Practice are necessary in Lessons, but in Assaults there must be a Genius besides.

The Goodness of Lessons and of Assaults does not consist so much in the Length as in the Manner of them.

When you have to do with one that's bold and forward, it is necessary to seem apprehensive in order to get a favourable Opportunity.

If you act against one that's fearful, attack him briskly to put him in Disorder.

Before you applaud a Thrust given, examine if Chance had no Hand in it.

Thrusts of Experience, and those of Chance are different, the first come often, the others seldom or never happen, you may depend on one, but not on the other.

In Battle let Valour and Prudence go together, the Lyon's Courage with the Fox's Craft.

To be in Possession of what you know, you must be in Possession of yourself.

Undertake nothing but what your Strength and the Capacity of the Enemy will admit of in the Execution.

The Beauty of an Assault appears in the Execution of the Design.

Make no Thrust without considering the Advantage and the Danger of it.

If the Eye and Wrist precede the Body, the Execution will be good.

Be always cautious, Time lost cannot be regained.

If you can hit without a Feint, make none, two Motions are more dangerous than one.

To know what you risque, you must know what you are worth.

If you would do well, acquire the agreeable and useful.

Twenty good Qualities will not make you perfect, and one bad one will hinder your being so.

Judge of a Thrust, rather by Reason than by it's Success; the one may fail, but the other cannot.

To parry well is much, but it is nothing when you can do more.

Let your Guard, and your Play be always directly opposite to the Enemy.

Practice is either a Good or an Evil; all consists in the Choice of it.

When you think yourself skilful and dexterous, 'tis then you are not so.

'Tis not enough that your Parts agree, they must also answer the Enemy's Motions.

The knowing a Good without practising it, turns to an Evil.

Two skilful Men acting together, fight more with their Heads than with their Hands.

If you are superiour to your Enemy, press him close, and if you are inferiour, break Measure to keep him moving.

Endeavour both to discover the Enemy's Design, and to conceal your own.

When the Eye and the Hand agree in the same instant, you are perfectly right.

Draw not your Sword, but to serve the King, preserve your Honour, or defend your Life.