Entered,
according to the Act of Congress, In the year 1852, by
GEORGE B. MCCLELLAN,
In the Office of the
Clerk of the District
Court of the United States In and
for the Eastern
District of Pennsylvania.
HEAD-QUARTERS
OF THE ARMY,
Washington,
D. C., Dec. 31,
1861.
HON.
C. M. CONRAD,
Secretary
of War.
Sir:
Herewith I have the honor to submit a System of Bayonet Exercise,
translated from
the French, by Capt. Geo. B. McClellan, Corps Engineers, U. S. Army.
I
strongly recommend its being printed for distribution to the
Army; and that it
be made, by regulation, a part of the “System of
Instruction.”
The
inclosed extracts from reports of the Inspector General, etc., show the
value.
I have the honor to
be, sir,
With high respect,
Your most
obed’t serv’t,
(Signed)
WINFIELD
SCOTT.
_______________________
APPROVED.
(Signed)
C.
M. CONRAD,
Secretary
of War.
January
2,
1862.
_________________________
Copy.
R. JONES,
Adjutant
General.
PREFACE.
THE
Bayonet Exercise
presented in the following pages is chiefly from the French of M.
Gomard, an eminent
French teacher of the art of fencing.
After
an examination of the systems of
Selmnitz, Pinette, Miller, etc., the superiority of Gomard’s
was very evident.
It is, in its arrangement, very analogous to the Infantry Tactics, and
of such
a nature that it can readily be taught by the non-commissioned officers.
In
addition, it is far the simplest system
of all. In the others are to be found many different
“guards,” very inefficient
thrusts, and an almost infinite number of parries, against the lancer,
dragoon,
hussar, cuirassier, infantry soldier, etc., ad
infinitum.
PREFACE
Gomard
lays it down as a principle, that
the most formidable antagonist an infantry soldier can encounter is an
infantry
soldier; that the bayonet is more formidable than either the lance or
the
sabre. This assertion may seem surprising, but trial will convince any
one of
its truth, and of the consequent fact that an infantry soldier who can
parry
the attacks of a well-drilled infantry soldier has nothing to fear from
a
cavalry soldier, because simple variations of the parries against
infantry are
perfectly effective against the sabre and lance, e.g. the
parries in
high tierce and high quarte.
The
work of Gomard was translated by the
author of the present work about two years ago, and taught by him to
the noncommissioned
officers of the company of sappers with which he was then on
duty. The
non-commissioned officers soon became competent to instruct
the men, and the
system was in successful operation when the author was relieved from
duty with
the company.
It
proved to be an excellent gymnastic
exercise, a useful amusement, and gave the men great additional
confidence in
themselves and their weapons. The French system has been
somewhat modified, in
order to make it conform more closely to our infantry tactics.
It
will be proper to remark that any system
of fencing with the bayonet can, in service, have its fall and
direct
application only when the men are isolated, or in very open order; as,
for instance,
when employed as skirmishers, in assaulting breaches, field-works, or
batteries, or when broken by cavalry, etc. etc. When in the
habitual formation,
as infantry of the line, the small interval allowed each file,
and the method
of action of masses, will prevent the possibility, or necessity, of the
employment of much individual address; but even then, in the shock of a
charge,
or when awaiting the attack of cavalry, the men will surely be
more steady and
composed, from the consciousness
of the fact that they can
make good use of their
bayonets, and easily protect their persons against everything
but balls.
There
is an instance on record of a French
grenadier, who, in the battle of Polotsk, defended himself,
with his bayonet,
against the simultaneous attack of eleven Russian grenadiers,
eight of whom he
killed. In the battle of Sanguessa, two soldiers of Abbe’s
division defended
themselves, with their bayonets, against twenty-five Spanish cavalry,
and,
after having inflicted several severe wounds, rejoined their regiment
without a
scratch. At that period there was little or no regular instruction in
the use
of the bayonet.
THERE
are three methods of instructing the
soldier in fencing with the bayonet, viz., the lessons with
the plastron; the
mutual lessons; the figurative
lessons.
The
lessons with the plastron are those in
which the instructor is the adversary of his pupil: this is the best
method of
instruction, but is not applicable in the army,
because it is impossible to
provide an instructor for every soldier.
The
mutual lessons are those in which the
men are told off by pairs, and oppose each other. On account of the
expense of
the necessary masks, plastrons, etc., this can hardly be relied upon as
the
sole method of instruction.
The
figurative lesson is that in which the
2
(13)
14
scholar has no antagonist,
and in which the
direction of the thrust and parries must be taken with reference to his
own
person. On account of the simplicity of the bayonet exercise, and the
impossibility of introducing in it that extreme sensibility of touch,
and
quickness of hand and eye, so necessary with the foil, it will be found
that
the figurative lesson will fully enable the soldier to provide for his
personal
defence. If, in addition, he have the advantage of a few lessons with
the
plastron, and can occasionally fence with well-instructed men, under
the
direction of an instructor, all reasonable and desirable
proficiency can soon
be acquired.
In
the remarks upon the lessons with the
plastron (Part II.), will be found a short summary of such general
principles
as ought to be well understood by the instructor, not only before be
gives
lessons with the plastron, but before he attempts to teach the
figurative
lessons.
The
instruction in the bayonet exercise
15
should
commence as soon as the recruit is proficient in the squad
drill. In
three months a man may be taught to handle his piece quite
well—well enough for
ordinary exigencies of service; in a year he will be quite a skilful
fencer.
In
the instruction in the figurative
lessons the men should be in undress, without
belts; their clothes
should fit loosely. When they are well drilled they may be practised
occasionally, with their belts and knapsacks on.
For
the lessons with the plastron, and the
mutual lessons, the following equipments, etc. will be necessary, viz.
A
brown linen jacket, fitting loosely, the
breast and left side of double buckskin, or pliable leather, buttoning
on the
right side, the arms reinforced with buckskin from the elbows up: this
jacket
is not indispensable.
A
plastron of stuffed buckskin, covering
the left side and breast from the throat to the groin.
A
very strong close mask, with wings to
protect the ears and side face.
A
pair of ordinary fencing gloves, stuffed
on the back of the hand.
An
old musket, with the
bayonet arranged as follows, viz.: cut off the blade two inches from
the elbow;
drill a hole through the heel of the blade in the direction of its
axis; fit a
thumb-screw to it—see Plate 24. Replace the blade by
a piece of whalebone of
the same length, which shall fit in the hole drilled in the heel of the
blade,
and be secured by the thumb-screw. This whalebone must be
sufficiently
flexible to prevent the blows from hurting, and yet have enough
elasticity to
straighten itself after each blow. Notches should be cut near the end,
for the
purpose of binding on a light button of leather or India
rubber. If no old
muskets can be had, cover those used with strong leather.
Blunt
lances and wooden sabres should also
be provided.
17
To
accustom the men to
give an accurate aim to their thrusts, balls of wood, lead, or canvas
stuffed
with straw, may be suspended by cords as targets. Of course, this
target
practice must be combined with the volts, parries, etc.
EACH
lesson contains particular directions
for the guidance of the instructor.
There
are two kinds of commands—the cautionary
commands, and those of execution. The
cautionary commands are
printed in italics; the commands of execution are
in small CAPITALS.
They have been made to conform as closely as possible to the
commands in the
Infantry Tactics. The remarks made therein (Scott’s
Inf. Tact., vol. i.,
paragraph 81, et seq.,) on the subject of
commands, are equally
applicable to those of the Bayonet Exercise.
The
instructor will
conform as strictly as possible to the text, in all definitions and
instructions, lie will occasionally, when instructing recruits, execute
the
movements
(21)
22
himself,
in order to exemplify his instructions. When learning
difficult movements, or indeed
any for the first time, each man will execute such separately, while
the others
are at rest.
The
instructor will sometimes cause one
man to step to the front, and engage his piece with his own, in order
to
facilitate the explanations.
Too
rigorous exactness
need not be required at first, but the men will be brought to
the proper point
by degrees. Each lesson must be properly comprehended and well executed
by the
men before the next is taken up. For instruction in the Bayonet
Exercise, the
men should be divided into squads of three or four each; a greater
number
should not be placed in one squad, when it is possible to avoid it.
At
the command “ATTENTION!” given when the
men are at guard, or at rest, they
will, when without muskets,
assume the position of the soldier; when with
muskets, they will
23
assume
the position of Shoulder arms. Frequent short rests
must be allowed the
men: this is particularly necessary at first. All the
movements should be
made with great rapidity.
This
system is applicable not only to the
ordinary musket and bayonet, but also to the rifle or musketoon with
the sword
bayonet.
1.First
motion. —Atthe word guard, the
recruit will turn on the left
heel, bring the left toes to the front, carry the right foot to the
rear, the
hollow opposite to, and three inches from the left heel, the feet
square to
each other, the arms hanging naturally by the sides.—Fig. 1.
(28)
29
Second
motion. —
Move the right foot,
quickly, twice its length, to the rear and about three inches to the
right; at the
same time bend the knees so that the weight of the body shall rest
equally on
both legs, the upper part of the body leaning a little
forward, the heels on
the same line, the feet at right angles to each other, and the left
knee
vertically over the ankle.—Fig.
2.
NOTE.—The
word GUARD is the command of
execution for the first motion; and Two that for the second motion. The
command
Two should not be given until the first motion has been
properly executed by
all the men. The prescribed length of the guard, twice
the length of the
foot, may vary slightly with different men.
To
execute the remaining movements of the
first lesson, the soldier is first placed in the position of guard.
30
ADVANCE!
One
time and one motion.
2.Move the
left foot quickly forward its own length, raising it but slightly from
the
ground, and follow it at once with the right foot, thus resuming the
position
of guard.— Fig. 3.
3.Move
the right foot quickly, at least its length, to the rear, following it
immediately
with the left, thus resuming the position of guard.—Fig. 4.
4.
Face square to the right by turning on
the toes of the left foot, and describing, to the left, aquarter
of a circle with the right foot. During the movement the weight of the
body
rests on the left leg, the knees remain bent, and the feet at the usual
distance
apart. This direction applies to all the volts.—Fig. 5.
7.Face
to the rear by turning on the toes of the left foot, and describing, by
the
front, a half circle with the right foot.—Fig. 8.
OBSERYATIONS.—The
instructor will find it necessary
to take pains to make the men understand that, in the right rear volt,
the
right foot is moved by the side of the back;
33
and
in the left rear volt, by the side of the breast. He may, with
recruits,
indicate by a motion of the hand the direction in which the right foot
is to
move.
8.Straighten
strongly the right knee, and advance quickly the left foot close along
the
ground twice its length. The left knee should be vertically over the
ankle; the
right foot flat on the ground; the body erect on the haunches, and the
arms
hanging naturally by the sides.—Figs.
9, 10.
(34)
35
GUARD!
One
time and one motion.
9.Move
back the left foot to the
position it occupied before the development; bend the right knee, and
replace
the body in its original position.
10.
Move
the right foot twice its length in front of the left, parallel to its
first
position; at once follow this movement by the development 0f
the left foot,
moving it four times its length in front of the right; the right knee
is
straightened and the position in all respects that of the development.—
Figs. 11,
12.
36
GUARD!
One
time and one motion.
11.
As from the development, No. 9.
NOTE.—Upon
resuming the guard, the
soldier is five times the length of his foot in advance of the
position he
occupied before the passade.
12.
First motion.—Lean forward and rest the
weight of the body on the
left leg.— Fig. 13.
Second
motion.—By a
spring from the left
leg, leap with both feet as far to the rear as possible; alight in the
position
of guard, the left foot touching the ground first.—Fig.
14.
Having
brought the men to the position of shoulder
arms, the instructor commands—
GUARD!
One
time and two motions.
13. First
motion.—Make a half face
to the right on the left heel, bring the left toes to the front; place,
at the
same time, the right foot behind, and at right angles with the left,
the hollow
of the right foot opposite to, and about three inches from the left
heel; turn
the piece with the left hand, the lock
4
(37)
38
outwards, and seize the
handle at the same time with
the right hand, the musket perpendicular and detached from the
shoulder; leave
the left hand under the butt.—Fig.
15.
Second
motion.—Bringthe
feet and
legs into the position of the second motion of guard without
arms; at
the same time bring down the piece with the hand into the left, the
latter
seizing it just below the tail band; the lock plate to the right and
half turned
up; the right hand on a level with and four inches from the navel; the
point of
the bayonet opposite the chin; the arms detached
from the body.—Fig. 17.
Looking
at the soldier from the side, the
right hand should be seen a little in front of the body.
If
the instructor be drilling sergeants or
riflemen, he will bring them to the sergeant’s
shoulder (Inf. Tact.,
page 180), and command—
39
GUARD!
One
time and two motions.
13*.
First motion.—Raisethe piece with the
right hand, in half
facing to the right on the left heel, and bring the hollow of the right
foot
opposite to, and three inches from the left heel.—Fig. 16.
Second
motion.—Same
as that for
private, under No. 13.—Fig.
17.
NoTE.—The
guard, as described
above, is called the “Middle Guard,” because in it
the musket has the middle
position between the different directions it assumes in the
movements of
attack and defence, as will be seen hereafter. Before proceeding to the
subsequent
movements, the men must now be well drilled in the first two lessons,
taking
care always to keep the piece in the position of the middle guard.
Before
executing this and all the subsequent
movements, the instructor will place his men in the position of middle
guard.
THRUST!
One
time and one motion.
14.
Thrust the piece quickly forward to the full length of the left
arm,
and at the same time give it a rotary movement so as to bring the guard
underneath towards the ground. The hands maintain their
respective positions
on the piece; the point of the bayonet at the height of the breast.
Neither the
body nor the legs change position.— Fig.18.
One
time and one motion.
15.
Bring back the piece to the position of middle guard, as
in No.
13.
41
NOTE.-
It is a general rule, which will
not be repeated, that in all the thrusts and lunges, (except the
shortened
thrust, Nos. 44 to 49), at the same time that the blow is made, a
rotary motion
is given to the piece so as to bring the guard directly towards the
ground and
the lock plate square to the right. This rotary motion is of great
importance,
giving additional force and accuracy to the blow; and it is to obtain
it that
the lock plate is half turned up in the position
of guard.
16.Thrust
the piece quickly forward to the
full length of the right arm; at the same time
slide back the left hand
along the sling until it covers the guard; straighten the right
4*
42
knee,
and throw forward the right shoulder upon the same line with the left.
The
point of the bayonet is at the height of the breast.
18.
Thrust the piece quickly forward to the full length of the right arm,
momentarily abandoning it with the left hand; at the same time
straighten the
right knee, raise the right foot on the toes and throw forward the
right
shoulder in advance of the Ieft.—Fig.
20.
OBSERVATIONS.—As
it is important that the soldier should accustom himself to the middle
guard, to which he returns after each
44
movement,
the instructor should watch that this position is taken with accuracy;
that the
arms are detached from the body and do not rest against it. It is in
consequence of this detached and isolated position, that the
musket can be
easily and rapidly moved to defend any point threatened: but,
as it is rather
fatiguing at first, frequent short rests, in place, should
be allowed
the men until they become accustomed to the weight of the weapon.
The lunge
being a difficult and
fatiguing motion, should at first be taught to the men separately.
The lunge-out
being still more
difficult, this precaution is more particularly to be observed.
From
the lunge-out the men may, at first,
be allowed to come back to the middle guard, waiting for the
command— Guard.
In
this, and all subsequent lessons, the
intervals between the men must be a little more than doubled, that the
volts,
etc. may
45
be
executed. Where the squad is large, and the space limited, the men may
be
formed in two ranks seven or eight feet apart, the rear rank men
opposite the
intervals of the front rank.
20.
First
motion.—Drop the point of the bayonet and move it
slightly to the right
until it is opposite the right loin.
Second
motion.—Thrust,
as in No. 14,
except that the bayonet, instead of being opposite
the breast, is opposite
the right loin.
GUARD!
One
time and one motion.
21.
Resume the middle guard, as in No. 13.
47
In
Seconde.
In
Seconde—THRUST!
One
time and two motions.
22.
First motion.—Drop the point of the
bayonet and move it slightly
to the left until it is opposite the left loin.
Second
motion.—Thrust,
as in No.
14, except that the bayonet is opposite the left loin.
GUARD!
One
time and one motion.
23.
Resume the middle
guard, as in No. 13.
In
Tierce.
In
tierce—THRUST!
One
time and two motions.
24.
First motion.—Movethe point of the bayonet
opposite the
left shoulder.
48
Second
motion.—Thrust,
as in No. 14,
except that the bayonet is opposite the left shoulder.
GUARD!
One
time and one motion.
25.
Resume the middle guard, as in No. 13.
In
Quarte.
In
quarte—THRUST!
One
time and two motions.
26.
First motion.—Movethe point of the bayonet
opposite the
right shoulder.
Second
motion.—Thrust,
as in
No. 14, except that the point of the bayonet is opposite the
right shoulder.
One
time and one motion.
27.
Resume the middle guard as, No. 13.
49
The
men being expert in these movements,
the instructor will combine the thrust with the development,
or passade,
by the following commands-
1. In
prime—THRUST!
2. DEVELOP!
3.
GUARD!
1. In
prime—-THRUST! 2. PASSADE!
3.
GUARD!
Similar
combinations will be made with the
directions in Seconde, Tierce, and Quarte.
The lunge
and lunge-out will
be combined with the four directions of attack, thus
1. In
prime—LUNGE!
2. GUARD!
1. In prime—-LUNGE-OUT!
2. GUARD!
The development
and passade will
also be combined with lunge, and, occasionally,
with lunge-out.
OBSERVATIONS.—The
instructor will inform the men that the change of direction
represents a
disengagement. (See Part II. page 80.)
50
To enable them to understand
this, he will engage
his weapon with each of them in succession, and execute the
different
disengagements. He will require that the position of the
weapon, in the
different directions of attack, shall vary, from that of the middle
guard, only
in the direction of its point.
28.
Carry, rapidly, the point of the bayonet
opposite the right knee, describing an arc (the convexity to the left)
from
above to below, and at the same time give the piece a rotary movement,
which
turns the rammer square to the right. The hammer is opposite
the pit of the
stomach; the flat of the stock under, and against the right forearm;
the left
elbow near the loin, and the right elbow as high as the
shoulder.—Figs. 24, 25.
30.
Carry, rapidly, the point of the bayonet about one foot
outside of the
left knee, describing an arc (the convexity to the right) from above to
below,
and at the same time give the piece a rotary movement, so as to turn
the barrel
square to the left. At the same time draw in both arms towards the
body, so
that the hammer rests on the left breast; the flat of the stock under,
and
against the right forearm; the left elbow at the left side; the right
elbow at
the height of the shoulder.—Figs.
26, 27.
32.
Move the piece quickly to the left,
giving it a rotary movement, which turns the rammer to the left; the
butt of
the piece near the left loin; the left hand opposite, and twenty inches
from
the left shoulder. As the parry is made, bring up the right shoulder on
the
same line with the left.— Figs.
28,
29.
34.
Move the piece quickly to the right,
turning the rammer towards the right, and placing the left hand at the
height of
the breast, and about five inches to the right of its original
position. In
this parry the right arm does not move; the left alone acts.—
Figs. 30, 31.
GUARD!
One
time and one motion.
35.
Resume the middle guard, as in No. 13.
Repetition
and combination of movements.
The
parries in prime, seconde, tierce, and
quarte, followed by the thrust.
1.In
prime—.PARRY, as in No. 28.
2.THRUST,
as in No. 14.
3.GUARD,
as in No. 13.
55
In
the same manner follow the parries in Seconde,
Tierce, and Quarte.
It
is to be observed that the direction of
the thrust will be determined by the position of the point of the
bayonet after
the parry. It will be in prime, seconde, tierce, or quarte, as the case
may be
(Lesson 4th).
OBSERVATIONS.—This
lesson is very important:
the instructor cannot be too rigid in exacting an accurate execution of
the
movements. The parries in seconde and tierce, which are the most
difficult, should,
at first, be executed by the men individually. In seconde, care must be
taken
that the hammer and stock rest against the breast, and that
the point is not
thrown too far to the left.
In
tierce, the instructor must see that
the right hand brings the butt on a level with the groin, in order that
that
part of the body may be well protected; also that the knees are well
bent, and
the upper part of the body
56
inclined
forward, to facilitate the movement of the butt.
It
must be remembered that the rammer
receives the blow in prime, tierce, and quarte; and that it is in
seconde alone
that the barrel parries the blow.
As
soon as the soldier is familiar with
the motions of the four parries, he must always be made to follow them
by a
thrust, which represents a riposte (see Part II. page 91), the surest
blow in
fencing, and he must be careful to thrust in the direction of the body
of his
supposed antagonist.
36.
Move the piece quickly to the left, bringing
the right hand against the left elbow; at the same time give the piece
a rotary
movement, which, while placing it obliquely in front and to the left of
the
head, turns the rammer towards the left; the left hand about eight
inches from
the neck.—Figs. 32, 33.
38.
Move the piece rapidly to the right,
bringing the left hand to the height of the neck and the forearm near
the
breast; at the same time turn the piece so as to bring the rammer to
the right,
and the piece obliquely in front and to the right of the head.
Figs. 34, 35.
GUARD!
One
time and one motion.
39.
Resume the middle guard, as in No. 13.
NOTE:—The
instructor will inform his men
that the parries in high tierce and high quarte are intended to protect
the
head against sabre blows. High quarte covers the top and right side of
the
head; high tierce the left.
59
When the soldier can, with
facility, execute these
parries, as described above, his attention will be called to the fact
that,
when his hands are particularly in danger, he can easily secure them by
lowering the parry, and sliding the left hand to the end of the sling,
thus
approaching it to the right hand: the parries will occasionally be
executed in
this manner.
Repetition
and combination of the movements.
1.In
high tierce—PARRY, as in No. 36.
2.THRUST,
as in No. 14, except that the point of the bayonet is kept at the
height of the
head, or about the height of the waist of a horseman.
40.
As the parry in seconde (No. 30), except that, during the movement of
the weapon, the soldier turns on the toes of the right foot, the heel
of which
describes a quarter of a circle outwards, and at the same time
carries the
left foot twice its length in rear of the right; keeping the knees
bent, and
the feet at right angles.—Figs. 36, 37.
GUARD!
One
time and one motion.
41.
Replace
the left foot in front of the right, and resume in all respects the
position of
middle guard.
42.
As the parry in tierce (No. 32), with
the difference that the left foot is thrown to the rear, as in the
seconde in
retreat (No. 40) .—Figs.
38,
39.
GUARD!
One
time and one motion.
43.
As
in No.41.
NOTE.—The
object of the two parries in
retreat is to withdraw the body and the left leg from the reach of a
sudden and
rapid attack, directed at the left of the fencer. They are difficult,
and
should at first be taught to the men one by one. The
instructor will, at
first, cause the men to execute the movement of the
legs alone,without
muskets.
62
Repetition
and combination of the movements.
1.In
seconde in retreat—PARRY!
2.
THRUST, as the thrust after the parry in seconde, except that, as the
thrust is
made, the left foot is thrown in front of the right.
3.GUARD—Resume
the middle guard.
Make
the same combination with the parry in tierce in retreat.
44.
First motion.—Turn on the toes of the
right foot, describing with
the heel a quarter of a circle outwards, and move the left foot rapidly
twice
its length in rear of the right foot, straightening the left knee; at
the same
time raise the muzzle of the piece until the barrel is nearly vertical,
turn
the barrel to the front, pass the butt outside of the left thigh, and
rest the
right band against the left loin.—Fig.
40.
Second
motion.—Let go
the piece with the
(63)
64
right
hand, which seizes it again at the muzzle, after the left hand has
rapidly
thrown it back to the full extremity of the left arm.—Fig. 41.
THRUST!
One
time and one motion.
45.
Thrust the piece forward to the full length of the right arm, the point
of the bayonet at the height of the breast. —.Fig. 44.
GUARD!
One
time and one motion.
46.
Carry back the right hand to the handle, advance the piece, and bring
it
back to the middle guard; at the same time turn a quarter of a circle
on the
toes of the right foot, advance the left, and resume in all respects
the middle
guard.
NOTE.—It
will be observed that in this
thrust the barrel is underneath.
47. First
motion.—Move the piece
quickly to the rear, let go the handle with the right hand, and with it
seize
the piece just above the left hand.—Fig. 42.
Second
motion .—Let
go the piece with
the left hand, and throw it back to the full extension of the
right arm; at the
same time seize it at the muzzle with the left hand.— Fig.
43.
THRUST!
One
lime and one motion.
48.
Thrust the piece quickly forward to
the full length of the left arm, the point of the bayonet at the height
of the
breast.— Fig.45.
66
GUARD!
One
time and one motion.
49.
Carry back the left hand to the tail
band just below the right hand, which then seizes the handle, and
resume the
position of middle guard.
NOTE.—The
instructor will explain that these two
shortened thrusts are only used at very close quarters. To make this
the more
readily understood, he will cause one man to step out, and, standing
close to
him, will execute against him the two thrusts.
In
the thrust shortened on the left, when
the piece is moved to the left across the body, it must pass as close
as
possible to the body.
Repetition
and combination of the movements.
The
shortened thrusts in riposte.
1.In
prime—PARRY!
2.
On the right—SHORTEN!
67
3.
THRUST!
4. GUARD!
Make
the same combination with the parries of seconde, quarte, and seconde
in
retreat.
1.In
tierce—PARRY!
2.On
the left—SHORTEN!
3. THRUST!
4.
GUARD!
Same
with tierce in retreat.
OBSERVATIONS.—When
the soldier is
sufficiently well drilled to use the shortened thrusts in riposte, the
two
motions will be united and executed together.
In the thrust shortened on
the left, after the
tierce in retreat, as the soldier already has his left foot to the
rear, he has
merely to straighten the left knee.
In
the thrust shortened on the right, after the seconde in retreat, the
left foot
remains
68
in
rear during the thrust; it is moved to the front at the command Guard.
The
instructor will explain that the
riposte, by the shortened thrust, is delivered only when the adversary,
in
making his attack, has advanced breast to breast.
50.
Lower the right hand to nearly the
full length of the arm, at the same time raising the muzzle until the
left hand
is on the breast; straighten the right knee, and advance the right
shoulder to
the same line with the left.—Fig.
46.
2.
STRIKE!
One
time and one motion.
51.
Throw the butt rapidly forward until
the barrel rests upon the right shoulder.— Fig. 47.
70
3.
GUARD!
One
time and one motion.
52.
Resume the middle guard.
NOTE.—This
blow
is directed against the belly of the antagonist, and should only be used
when he presses close up and throws up the barrel of our piece.
53.
Describe with the left foot a quarter of
a circle towards the
left, placing it twice its length
behind, and at right angles to the right
foot, which does
not move; at the same time turn the head to the right, and move the
piece
rapidly as far to the left as
possible, keeping
it horizontal and at the height of the shoulders, the lock-plate up;
the right
71
hand
near the body; the butt to the
right.— Fig. 48.
2.
STRIKE!
One
time and one motion.
54.
Move the piece violently to the right,
advancing the hands in that direction to the full
length of the right
arm; at the same time straighten the
left knee.—Figs. 50, 51.
3.
GUARD!
One
time and one motion.
65. Bring
back the left foot to its original position, and resume in all respects
the
middle guard.
heels
90 degrees to the right, and turning
the head to the right; at the same time move the piece to the left as
far as
possible, holding it horizontally and at the height of the shoulders,
the lock
up, the right hand near the body.—Fig.
49.
2.
STRIKE!
One
time and one motion.
57.
As in No.
64.
3.
GUARD!
One
time and one motion.
68.
Turn on both heels 90 degrees to the left,
and resume the position of middle guard.
NOTE.—The
blows
to the right and rear are to be used in case of a sudden and close
attack in
those directions.
Repetition
and
combination of the movements.
73
The
blows with the Butt followed by
the Development.—PLATE XXI.
1. Stock
to the—RIGHT,
as
in No. 53.
2.
STRIKE, as in
No. 54.
3. DEVELOP,
as
in No. 8, except that the development is made
with the right foot instead of the left.
4.
GUARD, as
in No. 65, except that the right foot is first brought back to the
position it
occupied before the development.
Make
the same
combination with the blow of the butt, to the rear.
NOTE.—When
recovering the guard, after the blow and development, the piece should
be drawn
back at the same time with the right foot, so that the two motions may
facilitate
each other.
The
advance, the retreat, the leap to the
rear, combined with the movements of attack and defence.
1. ADVANCE!
. . . . . .
1. RETREAT! . . . . . .
.
1. ADVANCE! . . . . .
.
1. RETREAT! . . . . . .
.
1. ADVANCE! . . . . .
.
1. RETREAT! . . . . . .
.
1. ADVANCE! . . . . .
.
1. RETREAT! . . . . . .
.
1. ADVANCE! . . . . .
.
1. RETREAT!
. . . . . . .
1. Leap to the—REAR!
1. Leap to the—REAR!
2. In prime—PARRY! . . . . . . .
. . .
2. THRUST!. . . . . . . . . . .
. . . . . .
2. In seconde—PARRY! . . . . . . .
.
2. THRUST!. . . . . . . . . . .
. . . . . .
2. In tierce—PARRY! . . . . . . .
. . .
2. LUNGE! . . . . . . . . . . .
. . . . . .
2. In quarte—PARRY! . . . . . . .
. .
2. LUNGE-OUT! . . . .
. . . . . . . . .
2. In
seconde in retreat—PARRY!
2. In tierce
in retreat—PARRY! . .
2. THRUST! . . . . . . .
. . . . . . . . .
2. THRUST! . . . . . .
. . . . . . . . . .
3. THRUST!
3. DEVELOP!
3. THRUST!
3. PASSADE!
3. THRUST!
3. GUARD!
3. THRUST!
3. GUARD!
3. THRUST!
3. THRUST!
3. DEVELOP!
3. PASSADE
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
75
OBSERVATIONS.—The
movements
of the legs, accompanied by the
movements of attack and defence, contribute to give
steadiness to the men,
and to strengthen them on their legs.
When a
fencer advances, it is to be feared that he may be attacked during the
movement; he must, therefore, carefully preserve the guard.
On
the contrary,
when he retreats, it is probable that his antagonist will advance; he
must then
be prepared to attack him.
The
Ninth Lesson
is intended to accomplish this double object.
The
leap to the
rear is an excellent exercise; it gives elasticity to the legs and
ankles: may
save a soldier when in a dangerous position.
The
volts and leap to the rear, combined
with the movements of attack and defence.
1. Right—VOLT!. . . . . .
1. Left—VOLT! . . . . . . .
1. Right—VOLT!
. . . . . .
1. Left—VOLT! . . . . . . .
1. Left rear—VOLT! . . .
1. Right
rear—VOLT!. .
1. Left
rear—VOLT!. . .
1. Right
rear—VOLT! . .
1. Left
rear—VOLT! . . .
1. Leap to the—REAR!
1. Leap to the—REAR!
2.THRUST! . . . . . . .
. . . . . . . .
.
2.In prime—PARRY! . . . . . . . . .
2.In seconde
in retreat—PARRY!
2.In tierce—PARRY!. . . . . . . . .
2.THRUST! . . . . . . .
. . . . . . . .
.
2.In seconde—PARRY!. . . . . . . .
2.in tierce in
retreat—PARRY! . .
2.In quarte—PARRY!. . . . . . . . .
2.In high
tierce—PARRY! . . . . . .
2.LUNGE! . . . . . .
. . . . . . . . . .
.
2.LUNGE-OUT! . . . .
. . . . . . . . .
3.DEVELOP!
3. THRUST!
3. THRUST!
3. THRUST!
3. PASSADE!
3. THRUST!
3. THRUST!
3. THRUST!
3. THRUST!
3. GUARD!
3. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
4. GUARD!
77
OBSERVATIONS.—The
object
of this lesson is to habituate the soldier
to be equally prepared for attack and defence, after the volts.
It
is, therefore,
important to watch that the guard be not disarranged during the volt;
that the
feet remain at the proper distance apart, etc. etc.
The
volt places
the soldier facing in a new direction, and may bring him in front of a
new
antagonist, therefore he should be equally ready for attack and defence.
The Directions of
Attack combined with
each other.
1. QUARTE!
1. QUARTE!
1. QUARTE!
1. SECONDE!
1. SECONDE!
1. SECONDE!
1. TIERCE!
1. TIERCE!
1. TIERCE!
1. PRIME!
1. PRIME!
1. PRIME!
2. TIERCE!
2. PRIME!
2. SECONDE!
2. TIERCE!
2. QUARTE!
2. PRIME!
2. QUARTE!
2. SECONDE!
2. PRIME!
2. QUARTE!
2. SECONDE!
2. TIERCE!
3. THRUST!
3. THRUST!
3. LUNGE!
3. LUNGE-OUT!
3. THRUST!
3. THRUST!
3. LUNGE!
3. LUNGE-OUT!
3. THRUST!
3. THRUST!
3. LUNGE!
3. LUNGE-OUT!
4. DEVELOP!
4. PASSADE!
4. GUARD!
4. GUARD!
4. PASSADE!
4. DEVELOP!
4. GUARD!
4. GUARD!
4. DEVELOP!
4. PASSADE!
4. GUARD!
4. GUARD!
5. GUARD!
5. GUARD!
5. GUARD!
5. GUARD!
5. GUARD!
5. GUARD!
79
OBSERVATIONS.—The
instructor
will explain that the first movement
of direction is only a feint, whilst the second is a real blow, since
it is at
once followed by a thrust or other movement of attack.
When the
soldier has executed the exercises of this lesson several
times, and is quite
familiar with them, the instructor may increase the rapidity of
execution by
uniting the commands for the two directions, as well as those for the
thrust
and development, thrust and passade, etc. He will then
command:—
1.Quarte
and—PRIME!
2.Thrust
and—PASSADE!
3.GUARD!
1.Tierce
and—PRIME!
2.Thrust
and—DEVELOP!
3.
GUARD!
In
the same
manner for the others.
In
these cases
the thrust and development, or the thrust and passade, will be
simultaneous.
OBSERVATIONS.—The
instructor will explain that when two panes
are made in succession, it is because the weapon of the antagonist is
not met
by the first parry, but is by the second, which is at once followed by
a
riposte.
The last lesson is
very important. All the combinations of
parries necessary to make the soldier a good fencer, are here exhausted.
The same observations
will apply to the commands in this lesson
as were made upon the Eleventh Lesson; the instructor will, therefore,
command
THE guard
is the position most
suitable for attack and defence. To be properly on guard, the position
of the
fencer should be such that he can make any movement of attack or
defence,
without indicating his intention to his adversary by any preliminary
movement.
The most important conditions of a good fencer are, that the hands and
arms
should be detached from the body, and the knees well bent. If the knees
are too
straight, the development cannot be rapidly made;
8
(85)
86
and with a slow development
an attack can but rarely
succeed.
The measure
is the proper distance
at which a fencer can touch his adversary; he should choose his mode of
attack
according to this distance.
The
measure varies with the height and
make of the fencer. He should learn to know his own measure, and judge
of that
of his opponent as quickly as possible; he should always place himself
on guard
beyond the measure. When the distance which separates two adversaries
permits
them to engage only with the middle of their bayonets, they
can reach each
other by the thrust and development, or by lunge alone. If they can
only engage
with the points, they can still touch by means of the lunge-out.
In
the lessons with the plastron, the engagement
should be formed by crossing the bayonets—never nearer.
In
this exercise it is necessary to be
able to turn rapidly in every direction, as well as to advance
and retreat.
When
a fencer advances upon his antagonist,
it must be by short steps, watching his motions, and being prepared to
parry.
He should advance only when he is too far from his antagonist to reach
him; to
approach within the measure is useless, and may be dangerous.
The
measure is broken to avoid an antagonist
who presses too close, to induce him to advance, in order to attack him
during
the movement; to obtain a little rest out of reach of his thrusts; or,
finally,
to avoid an attack received in an unguarded moment.
The leap
to the rear is intended to
remove a fencer, by a rapid movement, from an antagonist who
presses too
closely.
The volts
are employed to turn in
the direction whence one is threatened, or to facili
88
tate the attack and defence.
The volt is not only of
use in facing a new enemy, but may be resorted to in order to avoid the
shock
of a horse at full speed; it is therefore proper, in the lessons with
the
plastron, to unite the volts with the advance, retreat, and leap to the
rear,
besides combining them with the movements of attack and defence.
If,
in the lessons with the plastron, the
instructor wishes to unite, for instance, a right volt with
any movement of
attack or defence, he will, the pupil being at guard, and facing him,
first
cause him to execute the left volt, and then bring him back by the
right volt,
which will at once be followed by the desired movement. In the same
manner for
the other volts.
The
use of the arms is independent
of the use of the legs; the first is often
sufficient to reach the body
of the adversary. There are three methods of using the
arms—the thrust, the
lunge, the lunge-out.
Of
these three the thrust is the
best, because, since the hands retain their usual
position on the piece, the
aim is more certain, and the parry of a riposte easier; the thrust
should,
therefore, be used whenever the distance of the antagonist
will permit it.
The lunge
reaches as far as the
thrust with the development; it is a very rapid and quite sure
blow—far
preferable to the lunge-out; it, however, exposes the fencer to a quick
riposte, which would be difficult to parry, especially on the outside.
The
lunge-out reaches farther than either
of the preceding, but it throws the piece so completely out of control,
that it
should only
8~
90
be
used against an antagonist who cannot riposte, or is endeavoring to
escape; it
may be used with advantage against the horse of a cavalry soldier, to
keep him
at a distance.
When
the thrust alone will not reach the
adversary, it must be accomplished by the development or
passade, according
to the distance. In the assault, or against an enemy, the
lunge and lunge-out may
be accompanied by the development or passade; but the recovery of the
guard,
and the parry of a riposte, are so difficult after these combined
movements,
that they should only be resorted to against an unskilful or flying
antagonist.
In
the lesson with the plastron, the
instructor will usually employ the thrust and the development,
or the lunge
alone. Occasionally he will cause the pupil to attack him by
the thrust and
passade; in this case he
91
will, in the first place,
suitably regulate the
distance.
In
order to exercise the arms and legs of
the pupil, he will sometimes cause him to execute the lunge and
lunge-out with
the development or passade.
The recover
is the action of
resuming the guard, after the development or passade. As a general
rule, the
guard should be recovered immediately after a thrust is made.
If the attack
has been parried, and a riposte is made, the assailant must rise as he
parries
the riposte. The parries during the recover should be frequently
practised. The
assailant whose attack is parried is in one of the worst
possible situations;
the means for escaping from it cannot be too thoroughly taught.
weapon.
The two principal lines are the outside and inside
lines. The
outside line is the space on the side of the weapon towards
the back of the
fencer, viz., the left. The inside line is that on the side of his
breast,
viz., the right. Each of these two lines is divided into two other
lines, respectively
above and below the weapon; they are called the upper and
under, or
the high and low, lines.
There
are thus, in all, four lines: the low
inside, the low outside, the high
outside, and the highinside, corresponding, respectively, with the
directions prime,
aeconde, tierce, and quarte.
The engagement
is the act of
crossing weapons with an adversary. This may occur when the points are
high, in
the lines high outside, or high inside; with the points low, it may be
in the
lines low outside, or low inside. There are, then,
93
four engagements, which are
named as follows:-
In
prime, when the
engagement is the low inside line.
Inseconde,
when the engagement is the low outside line.
In
tierce, when the
engagement is the high outside line.
Inquarte,
when the engagement is the high inside line.
Of
these, but two should be used in the
lessons with the plastron—tierce and quarte; the others will
occur in the
course of an assault, in consequence of certain thrusts and parries;
but tierce
and quarte should be regarded as the starting-points for all attacks,
and
should be returned to as soon as possible after every attack.
In
this exercise the fencers are near
enough to touch, as soon as the bayonets can cross.
When
the weapons cross, each fencer
94
should
endeavor to close against his opponent, the line of the direct
thrust; this is
called having the engagement. He effects this by
holding his weapon far
enough to the right or left, according to the engagement, to
protect his body
from a direct blow; the obstacle thus presented is called the opposition.
The
opposition is necessary in all thrusts made—he who attacks or
ripostes should
be careful to have it. To have the opposition, or to be covered, is an
advantage which both fencers cannot possess at the same time;
they must,
therefore, strive for it in turn.
For
the outside lines the opposition is
obtained by moving the piece to the left; for the inside, to the right.
The
opposition should never be carried beyond the right or left of the body.
The
position of the piece is the same in
the engagements of tierce and quarte, as in the middle guard, with the
exceptions of the position of the point, and that the opposition
95
is
more or less marked, according as the fencer has, or has not, the
engagement.
The lock-plate must be turned at an angle of 450,
so that the piece
may have a motion of rotation both in thrusting and parrying.
The blow
is the “ensemble” of
the attack; it is the method employed, the route followed, to
reach the body
of the opponent.
The point
is the termination of the
blow, the manner of finishing it. The blow is the action of an attack;
the
point is the aim. To express completely an attack — to
explain, on the one
hand, the method employed and the route followed to reach the
body; and, on
the other hand, to indicate the line in which it terminated, and the
96
respective positions of the
weapons at that
moment—we must name both the blow and the point, thus: The
direct blow in
tierce, the disengagement in quarte, etc.
There
are four points, or ways, of terminating
a blow, viz., prime, seconde, tierce, and quarte. They are effected in
the
lines having the same names.
A simple
blow is one in which the
point of the weapon makes only the movement necessary to direct itself
towards
the body; it admits of no feint. It may be effected by a direct
blow, or
by a disengagement.
The direct
blow is the action of
directing the point in a straight line towards the body of the
opponent; it is
the movement which finishes all the blows. There are four
distinct direct
blows, because one may be made in each line. When a feint precedes a
direct
blow, they form a compound blow;
97
the direct blow which
follows a parry is a simple
blow.
The disengagement
is the act of passing
the point of the weapon from one line into another, in order to reach
the body
in the latter line. Two disengagements can be made from each
line—into the one
just above or below it, and into that on the same level, but never into
the one
diagonally opposite—so there are eight disengagements in all.
From
an upper line into an upper line, the
point of the bayonet moves under that of the
adversary. From a lower
line into a lower line, it moves over his point.
By
the term disengagement is to be
understood, not only the action of passing the point from one
line into
another, but also that of thrusting it towards the body. The mere act
of
passing from one line into another, without thrusting, should
be called a feint
of a disengagement.
A parry
is the action of turning
aside the weapon of the antagonist from the direction of the body, when
he
attacks. As there are four directions of attack, there are four
corresponding
parries, viz., prime, seconde, tierce, and quarte. The parries in high
tierce
and quarte, seconde and tierce in retreat, are mere variations
of those whose
names they bear. There are two kinds of parries—the simple
parries, and the
parries in opposition.
A simple
parry is one which throws
off the opponent’s point in the same line as that in which it
presents itself
to reach the body; for instance, if a thrust be made at the left
breast, the
parry in tierce (No. 32) throws off the point to the left of the body,
and is a
simple parry. The parries in prime, seconde, and quarte (Nos. 28, 30,
and 34),
are all simple parries, and serve both against direct blows and
disengagements.
99
A parry
in opposition is one which
throws off the point of the antagonist into a different line
from that in
which it presents itself to reach the body. They are of two kinds, the half
counter, which is made against a direct thrust, and the counter,
against
a disengagement.
In
the half counter, the point describes a
semicircle; it will be best described by an example. Suppose the
antagonists
are engaged in tierce; one of them makes a direct thrust at
his opponent’s
right breast; the latter parries by dropping his point under his
adversary’s, and then bringing it up on the right, in
quarte; and at the
same time, by moving his piece to the left, he throws off the point to
the high
outside line, or to his own left. The half counter for the other
engagements is
similar to the one described; in prime and seconde the point passes over
that
of the assailant.
In
the counter, the point describes a
circle. Let the antagonists be engaged as before, in
100
tierce;
one disengages and thrusts in
quarte at his opponent’s left breast; the latter
parries by following the
movement, passing his point under his assailant’s and
bringing it up on the
left, in tierce, as they were in the first place, thus throwing off the
point
to his right.
From
this the remaining counters will
readily be understood; recollecting that in prime and seconde the point
passes over
the opponent’s.
The
parries in opposition are very useful
in the lessons with the plastron, as increasing the quickness of the
eye and
hand; but in actual combat, the simple parries should alone be used,
for they
are quicker and more certain.
In
order to accustom the soldier to varying
the high parries according to the direction of the attack, the
instructor will
use a wooden sabre, and cause the soldier to pay particular attention
to
protecting his hands. The German system of placing the soldier
101
inside
of a circular platform, at such a height that the instructor, when on
it, will
be at the height of a man on horseback, seems to merit adoption. They
also
provide the instructor with a lance.
This
is a parry in tierce against
thrusts at the upper part of the breast. It is made by
turning the
lock-plate upwards, drawing the barrel to the left, and throwing the
stock in
towards the body.—See Plate 23.
This
cannot be used against thrusts directed
at the lower part of the breast; and, therefore, was not introduced
into the
school of the soldier. But, as it is a very rapid parry, it would
frequently be
of great service in the hands of a good fencer; it should,
therefore, be
taught in the lessons with the plastron.
A feint
is a pretended blow made
for the purpose of attracting the opponent’s piece into one
line, and then
making a real attack in another. It may be made either by feigning a
direct
blow, and then, at the instant the proper parry is commenced,
suddenly
disengaging and making a real blow in another line; or else, by making
the
feint of a disengagement, and, as soon as it is answered, rapidly
making
another disengagement, followed instantly by a real blow.
An appel
is the act of striking the
ground with the left foot when at guard; it should be a very rapid
motion. Its
object is to disconcert the antagonist by the noise, and to
withdraw his
attention from his defence.
This
should be practised occasionally in
figurative lessons, and may be frequently used in the lessons with the
plastron.
To attack
the weapon of an opponent
is to exert some action upon it with our own. The object is to
disconcert him
by attracting his piece where we do not intend
attacking him, or to displace
his point from a threatening position. This is done by
pressing upon his piece
so as to displace it, either to open the direct line to his body, or
else to
call forth a resistance which will facilitate an attack, made in the
opposite
line, by a sudden disengagement. Another method is to strike his piece
so as
either to throw it out of opposition, or else derange his guard, in
order to
render his parry more difficult. This last method is particularly
efficacious
in the engagement in tierce.
The riposte
is an attack which
follows a parry. It is the best blow that can be made; it is safer than
any
other for the
104
one
who executes it, and more dangerous to his opponent. It should be made
instantly after the parry, and with such rapidity as to touch the
opponent at
the same time his foot reaches the ground in his development. The
parry,
according to the direction given to the weapon, opens a passage either
in the
direct line, or in that above or below it; it is then only in one of
these two
lines that the immediate riposte can be given. If the riposte does not
follow the
parry instantaneously, its direction will be determined by the
movements of
the assailant, and will generally be given by a disengagement, as he
recovers
his guard.
In
the immediate riposte the development
will seldom be necessary; a simple extension of the arms will generally
be
sufficient to reach the opponent’s body.
A repeat
is a blow given, without
recovering the guard, immediately after one which
105
is
parried. It should only be used when it is evident that the parry will
not be
followed by an immediate riposte. It should never be made in
the line in which
the attack terminated, but by a disengagement into the one above, or
below. It
should be but sparingly used; it may sometimes be used as a time-thrust
before
a riposte.
A time-thrust
is a blow by means of
which we anticipate an adversary who is slow or awkward in his attack.
When
delivered, we should be certain that we have the opposition
perfectly. It is,
at the best, an unsafe attack.
A stop-thrust
is one delivered
against an adversary who attacks advancing. It should be given at the
very
instant he raises his foot to advance and attack. If given at that
moment, the
opposition is not so neces-
106
sary
as in the time-thrust, but, if delayed, it becomes a simple time-thrust.
The
object of the shortened thrust is
to stab an antagonist who presses up breast to breast. It is the action
of
throwing the musket to the rear, or either side of the body, so that
the
bayonet may be used as a poniard.
This
blow may be used in riposte as well
as in attack. After the parries in prime, seconde, quarte, and seconde
in
retreat, the riposte should be made by the thrust shortened on
the right.
After the parries in tierce, and tierce in retreat, the riposte will be
made by
shortening on the left. The panes against the shortened thrusts are
made with
the stock of the piece; and the blow to the front, with the butt, will
be given
in riposte.
The
men should be carefully drilled at
107
these parries, which will at
once suggest themselves
to the instructor.
The
bayonet is undoubtedly more effective
than the butt. Yet it may occur that the soldier
is so completely
surprised on his right, or in rear, that he cannot volt, so as to use
his
bayonet; in this case, he must, according to circumstances, parry and
strike
with the butt.
To
cause the blow to the rear, the
instructor will command—
“Right
(or left)
rear—VOLT!“—then
“Stock to the—REAR!”
which will be followed either by a blow, or by a
movement of the butt, which will parry such thrusts as the
instructor may
make.
For
the blow to the right, the instructor will command—
“Left—VOLT
!“ then “Stock to the—RIGHT!”
etc.
etc.
108
No
blow to the left is given, for the
reason that, from the position of the guard, it will always be easier
to use
the point, in that direction, than the butt.
When
the men are proficient in the “school
of the soldier” (Bayonet Exercise, Part I.), they should be
made to fence with
each other, or with the instructor. They will be told off by
pairs, and
numbered in each pair, as one and two.
At
first they will execute the different
movements at the commands of the instructor, who will give
those of attack only,
cautioning the men attacked as to the parry they are to use, e.g.—
“Numbers
one, In prime—THRUST !“
informing numbers two, before he gives
the
commands, that they will parry in seconde.
In
the lessons with the plastron, the movements
will be taught in the order in which they occur in the school of the
soldier;
that
109
is,
commencing with the most simple thrusts and parries.
When
the men are sufficiently adroit in
executing the attacks and parries, by the words of command, they will
be
allowed to choose their own thrusts, parties, etc., the instructor
giving no
commands, but merely watching that the movements are properly made, and
in
strict conformity with the directions.
An
“assault” in fencing, whatever may be
the weapon used, should be preceded by a salute.
it
is a compliment paid by the
fencers to spectators, and to each other. The salute is made
simultaneously by
both fencers.
FORMULA
OF THE SALUTE.
1.
Assume the position of guard, and
engage, in quarte, with the middle of the
bayonets.
2.
Make two appels, then rise, by
straightening both knees, and bring the left heel against the
right, the feet
at right angles; at the same time raise the musket to a
vertical position
against the right shoulder, the rammer to the front, the left arm on
the
breast, and the left hand at the height of
111
3.
Salute to the right by turning the rammer,
and advancing the hands in that direction, keeping the piece
vertical; the
feet do not move, but the head is turned to the right.
4.
Salute to the left by a similar movement,
advancing the right hand as far as possible in that direction, and
bringing up
the right shoulder upon the same line with the left.
5.
Salute the antagonist by a similar movement
to the front, lowering the hands slightly at the same time.
6.
Resume the position of guard, and
make two appels.
