sword

Pronated Parries

Session Five dealt with the-pronated parries of Tierce, Prime, Seconde and Quinte. Coaches must first understand each action and be able to demonstrate it well.

Advantages

  1. Surprise.
  2. They are strong parries and therefore can be used against strong thrusts.
  3. In some cases they are easier to do i.e. seconde and octave.
  4. As the wrist is involved, these parries collect the blade firmly, especially when taken from sixte to seconde, They eliminate the chance of a remise or an accidental push through.
  5. They give an unusual line for the riposte.

Disadvantages

  1. They are slower than supinated parries.
  2. The point leaves the target area., thus the riposte becomes more difficult.
  3. The indirect riposte is often very difficult.

Prime This was covered previously. I believe it to be a much abused parry. Too many fencers substitute prime for quarte, thus making a basic mistake.

Quinte Here the hand is pronated over the blade, and when it is completed the pupil has complete dominance. Quinte forces the opponent's blade well clear of the legs. The riposte can be direct or by coupé to the low line. Quinte can be used against an attack to the high line with the riposte made in the low line. It takes effect more quickly on a compound attack (one/two), thus making the deception much harder. It is an excellent stroke to use against a flèche attack, as it collects and holds the blade. Quinte can be developed into an effective time thrust. It is of great value when used against a left-hander.

Tierce Here the hand is dropped slightly. It is excellent when used. against attacks in the low line especially when the fencer is caught in quarto. The riposte can be made in pronation (i.e. to the back.)

SecondeThis parry can be taken with the hand in the high or low position. As the wrist is used, it collects the blade strongly and a fast direct riposte can be devastating. The riposte can be made to the back. This is also useful against left-handers. All of these can be taught as beats, making the classical opponent uncertain of his strokes.

Advanced Attacking

It is important to remember that the standard of the lesson must be geared to the level and style of the fencer. As much of modern fencing is with absence of blade, coaches must understand this situation. Absence of blade is quite a simple condition. Both fencers are en-guard; their blades are not in contact. This is where the first mistake is made. Many young fencers adopt the absence of blade position, with the hand in a very low line, thus making any movement much too large. I would suggest, that when teaching absence of blade, the coach insists his pupil adopts the correct en-guard position. ie. as most fencers adopt octave, then ensure that this is in the correct position, not with the foil on the knee cap and the point on the floor. Most coaches only teach absence of blade with themselves-in sixte and their pupil in octave. Remember that this can be reversed.

Typical Lesson

Pupil en-guard in Sixte - Coach en-guard in Octave.

  1. The coach steps in and attempts to collect the pupils blade in sixte. The pupil deceives the attempted taking and hits. It should first be practised, with the pupil deceiving the blade in either direction. When the pupil is proficient the coach varies the speed, thus making the pupil concentrate.
  2. In this variation, action as above, but with the lunge.
  3. In this variation, the coach does not make his action in an arc from octave, but lifts the blade vertically and makes his attempt to take the blade much smaller. This makes the pupil decide quickly on the deception. The coach must keep his action well forward so that the pupil does not get a false sense of distance and his ability to hit. ie. the coach attempts to take the blade in quarte - the pupil deceives but must avoid hitting the sword arm (a natural hazard).
  4. The coach now gives the pupil a choice of target i.e. low, high, etc.
  5. When footwork is added the coach should ensure that the deception and the back foot movement are completed together. If the pupil is caught out, even though the deception is clear, he does not attack but remains perfectly balanced.
  6. The coach then adds feints to take the blade. The pupil must only deceive the intended taking. The coach can also introduce beats, but the pupil still waits for the action which he can deceive.
  7. In some cases the pupil. may deceive the taking and use his first action as a feint, especially if his distance is wrong.

The lesson can now be changed by putting the pupil on guard in octave and the coach on guard in sixte. Now the pupil must make the first move, and rely more on "sentiment-de-fer". This type of advanced work on one aspect of fencing is vital, but the coach must remember;

  1. His distance.
  2. Moving as a fencer.
  3. Smooth movement.
  4. Neat bladework.
  5. Cadence.
  6. Timing.
  7. Speed.
  8. The pupil should be allowed to rest.
  9. Explain the stroke clearly.
  10. Use as a selection exercise.

Another example of an advanced lesson is that on the straight thrust. The problem might be that a fencer is unsuccessful with a simple action, thus the coach must try to find out why the action is not working, then improve it.

  1. Check the en-guard position, as this may affect the lunge. Many coaches forget to do this.
  2. Ensure that the pupil lunges correctly. It is surprising, how few fencers, actually do. Many drive from the wrong part of the back foot i.e. from the toes or the inside of the foot. Ensure that the pupil drives from the outside of the back foot, because the hit must arrive before the front foot hits the ground.
  3. Ensure that the speed of the lunge is faster at the end than at the beginn ing.LI
  4. The lunge should not be telegraphed by mannerisms i.e. a slight lift of the body before the lunge starts.
  5. If the coach can improve the pupils` timing, then speed will improve as well as his confidence to go for simple actions. Often it is only the lack of confidence which makes a fencer hold back or be indecisive.

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