Ssu Fmp Italian Foil Questions

Front 1

Name three early seventeenth-century Italian authors of fencing treatises.

Back 1

Ridolfo Capoferro (1610), Nicoletto Giganti (1610), Salvator Fabris (1606)

Front 2

What are the principal parts of the foil

Back 2

The foil is divided into two principal parts: the guard, and the blade.

Front 3

How many elements comprise the Italian foil guard and, and what are their names

Back 3

The guard is composed of six elements: bell guard, cusion, crossbar, arches, grip and pommel.

Front 4

Of how many elements does the Italian foil blade consist, and what are they?

Back 4

The blade consists of three elements: button, ricasso and tang.

Front 5

By regulation what is the maximum length that a foil blade may be?

Back 5

The blade must not exceed 90cm in length.

Front 6

How many different degrees of strength are there in the blade, and what are they?

Back 6

To distinguish the different degrees of strength, the blade is divided into three equal sections: strong, medium and week. The strong is the thrid closest to the bell guard, the medium is the middle third, and the weak is the third nearest the point.

Front 7

How do we know wheather or not a foil is correctly balanced?

Back 7

The foil is correctly balanced when its center of gravit is at the strong of the blade, aproximately four fingers from the bell guard

Front 8

By regulation what isthe maximum weight that a fiol may be?

Back 8

By regulation, the foil must be under 500 grams.

Front 9

By regulation what is the maximum lenth that a foil may be?

Back 9

By regulation, the fiol must not exceed 110 cm in length.

Front 10

How is the Italian foil properly gripped?

Back 10

The Italian foil is gripped by placing the index and middle fingers between the ricasso and left arch, with the first phalanx of the inded finger flexed under the ricasso, fingernail touching the cushion, and the first phalanx of the middle finger resting between the ricasso and the crossbar; the thumb is extended over the crossbar and along the ricasso where it is set in oppostion to the index finger; the ring and little fingers are curled around the grip, holding it firmly in the hollow of the hand, with the pommel centered at the wrist.

Observation: The hold on the weapon can be further secured through the use of a wrist strap. This is worn over the fencing glvoe, and presses the opmmel against the wrist. The strap should be drawn as tight as possible with the pommel inserted under it. To prevent cutting blood circulation, an elastic bandage must be worn under the glove and strap. The strap should be fastened near the hand, with the buckle facing outward in the center of the wrist. If the grip is of propper length, the end of the pommel will project slightly beyond the strap.

Front 11

How many hand positions are there in foil and what are their names?

Back 11

In foil fencing there are six hand positions, For of these are designated principal positions, and two, intermediate positions. The principals positions are first, second, third, and fourth; and the intermediate positions, second in third adn third in fourth.

Front 12

Describe first position.

Back 12

The posture assumed by the fencer with his body and weapon before the salute and during periods of rest is called first position.
In first position the body is held erect, head up eyes fixed on the adversary, shoulders down and level, legs togetehr feet at right angles, heels touching and right toe pointing at the opponent; the armed right hand is placed against the body, a little below the belt, with the blade directed diagonally toward the ground, as though ready to be drawn from its sheath, while the left hand rests on the hip, fingers in front and thumb behind.

Front 13

What is the position of the weapon when it is in line?

Back 13

The weapon sis in line when it forms, with the extended right arm, a straight line parallel with the floor.

Front 14

Describe the movements the salute.

Back 14

The saulute is a traditional act of courtesy directed to the advarsary and spectators, and must always be observed at the beginning and end of the lesson and combat.

From first position the foil is brought into line with a circular movement from low to high. The arm bending at the elbow, is then drawn back toward the body until the forearm and blade form a vertical line, bell guard level with the chin, and blade in front of the right eye, Now the arm is extended and the weapon caried into line again, hand in fourth position; this constitutes the salue to the opponent. Next the observers on the left are saluted: the arm is bent back, and extended again, though not fully, with the hand in third in fourth position. Finally, the viewers on the right are saluted: the arm is drawn back once more, and then extended, elbow slightly flexed hand rotated into second in third position.

The various movements of the salute should be performed smoothly, in a flowing and relaxed manner, with each motion of the blade followed by the eyes.

Front 15

What is the line of direction?

Back 15

The imaginary line connecting to fencers, beginning at the lfeft heel of one and passing through the axis of his right foot, and continuing until it encounters the same points in his adversary's feet, is called the line of direction. This is the normal route the feet must travel in the lesson, in exercise and in combat.

Front 16

What is the purpose of the guard position?

Back 16

The purpose fo the guard position is to be ready for offense, defense and counteroffense.

Front 17

Describe the guard in foil.

Back 17

IN the guard, the weight of the body should be distributed equally between the legs, with the torso profiled, and inclining slightly forward, head up and turned to the right, eyes on the adversary, shoulders down right arm well extended and relaxed, elbow in line with the flank hand in central position on the line of offense, midway between the invitations of third and fourth, and forearm and weapon forming an unbroken line.

Front 18

What is the line of offense?

Back 18

The weapon is considered to be in the line of offense when its point, with the arm naturally extended, menaces some part of the advarsary's valid target.

Front 19

What is the lunge?

Back 19

The lunge is the position the fencer assumed with his body at the end of an offensive action executed from the guard.

Front 20

Describe the execution of the lunge.

Back 20

The right arm is extended smoothly, right hand rising to shoulder height, shoulders relaxed and trunk leaning progressivly foreward; as the foil arm achieves complete extension, and without interrupting the flow of movement, the right foot is lifted, toe first and carried forward, almost grazing or shaving the floor surface as it travels along the line of direction; simultaniously the left leg is straightened vigorously, knee locking, left foot pressed flat against the ground, and left arm thrown forcefully back to a horizontal position, with the palm of the hand facing up, thumb out, and fingers together; the right foot, as it reaches its destination, lands, heel first.

Front 21

What are the prerequisites for an efficient lunge?

Back 21

The prerequisites for an efficient lunge are speed, violence, length, balance and coordination. Speed is necessary to surprise the adversary; violence, to maintain the direction of the thrust even if opposed by a weak parry; length to strike from as far away as possible with minimum risk; balance, to sustain the force of a parry and return safely on guard; and coordination to combine the various elements of the lunge into a single, harmonious, flowing movement.

Front 22

Describe the execution of an advance

Back 22

The advance is a step forward to decrease measure between oneself and the adversary. This movement is also referred to as gaining ground.
From the guard position the advance is executed in two motions.
1) The right foot toe first, is raised slightly off the floor, and carried, one shoe's length forward on the line of direction, and set down, heel first.
2) The Left foot is brought quickly forward the same distance, and placed on the ground, ball of the foot first.
During the advance the trunk should remain balanced and in profile, with the legs bent, and feet barely leaving the surface of the fencing strip. At the conclusion of the step forward both feet must be spaced in the guard position just as they were before the advance was made.

Observation: It must be noted that the step forward should generally be unhurried, so that the antagonist is not alerted to the fact that distance is being closed.

Front 23

Describe the execution of a retreat.

Back 23

The retreat is a step backward to increase measure between oneself and the opponent. This motion is also called breaking ground.
From the guard position the retreat is performed in two movements:
1. The left foot is carried backward, as far as necessary, along the line of direction, and set down, ball of the foot first.
2. The left knee is bent, and the right foot moved rapidly backward, and placed on the ground, heel first.
Throughout the torso should remain balanced and in profile, with the legs flexed, and feet almost gliding over the surface of the floor. At the completion of the step backward both feet must be spaced in the guard position.

Front 24

Describe the execution of a jump back.

Back 24

The jump backward is a movement in which the right foot is brought backward beyond the left foot. Its function is to increase measure, and it can be executed from either the guard position or the lunge. In sequence, the right foot is sent backward past the left foot; the left foot is then shifted a distance behind the right foot, so that at completion of the movement both feet are again in the guard position.

Front 25

What is appel, and how is it used?

Back 25

The appel is a foot stamp that may be employed to give impetus to the thrust in a renewed attack, or to accentuate the feint. It can also be used in the lesson as an instructional device to retard the impulse to lunge early.

Front 26

What is fencing measure, and how many measures are there?

Back 26

Fencing measure is the distance that separates two fencers placed on guard. There are three fencing measures: out of distance, correct distance, and close distance.

1) From out of distance the adversary's chest can be touched by taking a step forward and lunging.
2) From correct distance the opponents chest can be hit by lunging
3) From close distance the adversary's chest can be reached without lunging.

When two fencers are on guard facing one another with weapons in line, they are out of distance if the tips of their foils are at the point where the medium is distinguished from the weak of the blade; they are at correct distance if the points of their weapons extend four fingers beyond the bell guard; and they are at close distance if the tips of their foils can reach the chest.

Front 27

How is the advance lunge performed?

Back 27

From the guard position, the advance lunge consists of there movements:
1) advance the right foot
2) advance the left foot
3) lunge
Properly executed, the step forward and lunge fuse into a smooth flowing uninterrupted flow of motion, which carries the point of the weapon forward at a constant rate of acceleration.

Observation: During the advance the legs should remain flexed, with the body moving forward in a low position. The tendency to rise with the step forward must be kept in check.

Front 28

Describe the execution of the jump lunge.

Back 28

When a jump forward is combined with a lunge, the resulting movement is termed a jump lunge. The purpose of the jump lunge, like that of the advance lunge, is to gain fencing distance.
In its execution the jump should be small, with the feet close to the surface of the floor, the ground serving as a springboard for the lunge. If the jump is performed correctly, the legs stay flexed, and the feet evenly spaced throughout the motion. The landing is accomplished on the balls of the feet, which on touching the fencing strip immediately trigger the lunge.
Again, in the jump lunge, as in the advance lunge, the combination of foot movements must blend into a harmonious flow of motion.

Front 29

What is gaining on the lunge?

Back 29

Another method for closing distance is gaining on the lunge. This is accomplished by drawing the left foot forward until the left heel touches the right heel and then lunging.
The ground covered in this way may be equal to, or even greater than, that obtained by means of the advance lunge.

Front 30

Describe the execution of the running attack.

Back 30

The running attack is a rapid advance with the left foot passing the right.
To execute the movement from the guard position, the right arm is extended completely, torso profiled and inclining forward, weight shifting to the right foot, heel lifting, and right knee bent; the left arm is straightened out behind, and the left foot brought forward, left knee flexed; the right leg is extended vigorously, right knee locking, and right foot pushing off the ground.
In the final phase of the motion both feet are elevated above the floor, the left knee projects forward, and the body and right leg stretch out in an almost horizontal position.

Observation: Only when the student has mastered the lunge should he be permitted to execute the running attack. This movement must never become a substitute for the lunge; rather, is should be treated as a surprise action to be used on rare occasions.

Front 31

How many placements of the weapon are there and what are they?

Back 31

There are three placements of the weapon, and they are designated: invitation, engagement, and blade in line.
1) In the position of invitation, the foil is placed so that a portion of the target is exposed
2) In the position of engagement, blade contact ismade, and the opposing steel dominated and deviated from the line of offence
3) In the position with the blade in line, the arm is naturally extended, and the point directed to the opponent's chest.

Observation: In a general sense, both the position of engagement and the position with the blade in line constitute invitations. With the opposing steel engaged the adversary is invited to disengage; with the blade in line he is invited to perform an action on the blade.

Front 32

Describe the limits of the foil target.

Back 32

The foil target is restricted to the torso; it extends in front from the upper limit of the collar out to the arm seams and down to the front lines of the groin, and in back from the upper limit of the collar out to the arm seams and down to a horizontal line that passes across the top of the hip bones.

Front 33

How many lines of attack are there are how are they designated?

Back 33

To describe the lines of attack the opponent's body is divided into four quarters 1) inside 2) outside 3) high and 4) low.
With the opponent in the correct guard position, all assaults will pass to the right or left of his sword arm, and above or below it. An attack to the right of the arm is said to enter the outside line; to the left of the arm, the inside line; above the arm, the high line; and below the arm, the low line.

Front 34

What are invitations, how many are there in foil and what are their names?

Back 34

Invitations are positions taken with the weapon, exposing a specific line, to induce the opponent to attack. There are four foil engagements: first, second, third and fourth.

Front 35

How do the Italian and Frenchg numbering systems for invitations correspond?

Back 35

First corresponds to French high septime

Second in second corresponds to french seconde.

Second in fourth corresponds to French octave

Third in third corresponds to French tierce

Third in fourth corresponds to French sixte

Fourth corresponds to French quarte

Front 36

What are engagements, how many are there in foil, and what are their names?

Back 36

Engagements are contact invitations in which the opposing steel is dominated and deviated from the line of offense. There are four engagements: first, second, third and fourth. In these the hand and weapon assume exactly the same position as they did in the invitations.

The function of engagements is also the same as that of invitations: they open a particular line for the attack. Engagements are effected with the strong against the weak, if taken at correct or lunging distance; and with the medium against the weak, if made from out of distance.

Observation: The opposing steel is properly engaged when the adversary cannot force an entry in the line of engagement; the blade must be placed exactly as in the invitation, with the point and hang in the same line.

Front 37

Describe single and double changes of engagement.

Back 37

In single changes of engagement the blade is shifted so that engages the adversary's steel in a line opposite the original engagement. Single changes maybe made from first to second and vice versa, or from third to forth and vice versa. Single changes of engagement are identified by the line in which they finish: thus, the change from first to second is called the single change of engagement to second.

Observation: Changes of engagement from second to third and vice versa are also possible; however these changes of engagement are less commonly used because they are more difficult to perform

In double changes of engagement the opponents steel is carried to an opposite line, and then back again to the original line of engagement. Double changes may be effected from first to second to first, second to first to second, third to fourth to third, and fourth to third to fourth. Double changes of engagement are designated by the line of engagement in which they begin and end; thus, the changes from first to second to first are termed the double change of engagement to first.

Observation: same as above.

Front 38

What are transports and how are they designated?

Back 38

Transports carry the blade, strong against weak, without a break in contact, from one line of engagement to the other. They may be executed from first to third and vice versa, and from second to fourth and vice versa. Transports are identified by the line of engagement in which they terminate.

Front 39

What are envelopments and how are they named?

Back 39

Envelopments are movements that encircle the opposing steel, so that the blade, in a continuous motion and without a loss of contact, returns to the original line of engagement. Envelopments may be accomplished in all lines. Envelopments are designated by the line of engagement in which they begin and end.

Front 40

Define offense

Back 40

The offense is the act of attacking the adversary.

Front 41

What is a simple attack, how many are there and what are their names?

Back 41

Offensive actions consisting of a single blade movement are called simple attacks.
In foil fencing there are four simple attacks: 1) the straight thrust, 2) the disengagement, 3) the glide, and 4) the cut-over

Observation: Simple and compound attacks may terminate in either a lunge or a running attack. However, during the early phases of a fencers development all offensive actions should be executed with a lunge.

Front 42

Describe in detail the execution of a straight thrust

Back 42

The sword arm is extended soothly, with the hand rising gradually to shulder level, thumb and index finger squeezing the blade as it advances, and attaining maximum pressure just before the lunge is completed, and the point reaches its destination. Throughout the action the right shoulder must be relaxed, so that the motion flows forward freely.
With the thrust the hand is shifted progressivly to the right or left, depending on the line of entry. These displacements are called oppositions, and their function is to provide protection by closing the line.

Front 43

Describe in detail the execution of a disengagement.

Back 43

A tiny semicircular motion of the point is effected with the fingers, foil arm extending easily, and hand rising gradually to shoulder height. Hand, wrist, arm and right shoulder should not moove; the fingers alone must guide the point in a closely controlled, spiral motion. As the point is liberated, and chainging lines, it should penetrate steadily forward without wobbling. Correctly executed, the disengagement, arm extension, and lunge are accomplished in a single, unbroken movement.
With the disengagement the hand is moved progressivly into opposition, closing to the right or left, depending on the line of entry.
The disengagement first travels downard, the disengagement from second upard, and the disengagements from third and fourth, in a lateral direction, respectively from left to right, and vice versa.

Front 44

Describe in detail the execution of the glide.

Back 44

The sword arm is extended smoothly, blades touching hand in opposition, and rising gradually to shoulder level. as the steel slips along the hostile blade it maintains constant contact, dominating and forcing it progressivly to one side. Properly executed, the glide and lunge blend into a single, rapid motion.

Front 45

Describe in detail the execution of the flanconade in fourth.

Back 45

From the engagement in fourth, employind the point of blade contact as a fulcrum, the hand is simultaniously rotated in a helical motion to fourth position, and lowered slightly to dominate better the opposing steel; as the blade slips around the opponent's weapon, the point, in a small counterclockwise movement, passes to the outside low line, where, without a break in continuity or blade contact, the thrust is effected with opposition to the left.

Front 46

Describe in detail the execution of the cut-over

Back 46

To liberate the blade from the opponent's engagement, the point is lifted over the opposing steel, and dropped in line opposite the original engagement; as the point nears the line of assault the sword arm is extended, hand rising graudally to shoulder height, and the thrust deleiverd. Blade mostion is accomplished primarily through the finger and wrist action, with some assiatance from the elbow. Timing of the lunge is critical: to ensure correct placement of the point the lunge must be delayed until the arm is completely straight. When the cut-over is properly executed, there is little point vibration, and the thrust terminates with the point of the weapon fixed on the target.

Front 47

By what other name is the flanconade in fourth known?

Back 47

The Flanconade in fourth is also known as the external flanconade.

Front 48

What are forced glides?

Back 48

Glides used in opposition to the adversary's imperfect or weak engagements are called forced glides. Their purpose is to regain opposition. In order to open the line, blade contact must be maintained and pressure exerted upon the opposing steel.

Front 49

When is the thrust in low fourth used?

Back 49

Blade motions that deviate the adversary's point before it reaches the target, or foot movements that remove the body from the range of attack, are called, the defense.
The first of these is called the defense of steel, the second, the defence of measure.

Front 50

Define defense.

Back 50

Defensive movements of the blade that deflect the incoming steel are termed parries. These can be simple, circular, half circular and ceding.

Front 51

What are parries, how many kinds are there and what are they called?

Back 51

Simple, Circular and Half Circular parries may be executed either as opposition or beating motions; ceding parries can only be performed through opposition. In the one instance the adversary's steel is deviated merely by closing the line; in the other it is deflected by striking it to one side. From this it follows that opposition parries always terminate with blades in contact, and beating parries with blades seperated.

Front 52

What are simple parries, how many are there in foil, what are their names and against which attacks are they employed?

Back 52

Simple Parries are protective displacements of the blade that cover exposed target areas by traveling the shortest route from one invitation to another.
In foil fencing there are four simple parries, each defending a certain portion or portions of the valid target: thus, the parry of first protects the inside high and low lines, the parry of second, the outside low line, the parry of third the outside high line, and the parry of fourth the inside high line.

Front 53

What are ceding parries, how many are there, what are their names and against which attacks are they employed?

Back 53

Ceding parries are used in opposition to gliding actions in the low lines. There are two ceding parries in foil fencing: the ceding parry of third, and the ceding parry of fourth. The ceding parry of third is employed against the glide in first and the internal flanconade; the ceding parry of fourth, in opposition to the glide in second, flaconade in second, and the flaconade in fourth.

Front 54

What is the repost?

Back 54

The repost is the thrust delivered immediately after the adversary's attack has been parried.

Front 55

Specify where the simple repost can be directed after each parry.

Back 55

After the parry of first the repost can be directed to the inside low line by detaching the blade, or by maintaining contact.
After the parry of second the repost may be aimed at the high line by detaching the blade, or at the outside low line by maintaining contact.
After the parry of third the repost may be directed to the low line by detaching the blade, or to the outside high line by maintaining contact.
After the parry of fourth the repost may be aimed at the inside high line by detaching the blade, or by my maintaining contact, or it can be directed to the outside low line with the flanconade in fourth.

Front 56

What are compound attacks, and into which groups may they be divided?

Back 56

Offensive actions consisting of two or more blade movements are called compound or composed attacks.

Observation: Compound or composed attacks may be divided into three group: 1) feints, 2) actions on the blade, and 3) renewed attacks

Front 57

What is the feint?

Back 57

The feint is a simulated thrust or menace that resembles so closely a genuine assault that the adversary is forced to parry. In contrast to a real attack, it does not end in a lunge or running attack.

Front 58

How many parries does simple feint elude?

Back 58

Single or simple feints elude one parry

Front 59

Describe the execution of the feint direct and disengagement in opposition to the invitation of first, indicating both the master and student's movements.

Back 59

Master
Pupil
Invites in First
First Movement: simulates a thrust to the outside low line
Parries second
Second Movement: eludes the parry of second with a disengagement clockwise to the high line
Receives the touch

Front 60

Describe the execution of the feint by disengagement and disengagement in opposition to the engagement of second, indicating both the master and student's movements.

Back 60

Master
Pupil
Engages in Second
First Movement: simulates a disengagement to the high line
Parries first or third
Second Movement: eludes the parry of first with a disengagement counterclockwise to the outside low line; or eludes the parry of third with a disengagement counterclockwise to the low line or the outside high line.
Receives the touch

Front 61

Describe the execution of the feint by glide and disengagement from the engeagement of third, indicating both the master and student's movements.

Back 61

Master
Pupil

First Movement: From his own engagement in third simulates a thrust to the outside high line
Parries third
Second Movement: eludes the parry of third with a disengagement counterclockwise to outside high line
Receives the touch

Front 62

Describe the execution of the feint by flanconade in fourth and disengagement from engagement in fourth, indicating both the master and student's movements.

Back 62

Master
Pupil

First Movement: From his own engagement in fourth, simulates a glide to the outside low line (flanconade in fourth)
Parries second
Second Movement: eludes the parry of second with a disengagement clockwise to the high line
Receives the touch

Front 63

What are compound reposts and how are they used?

Back 63

Reposts consisting of two or more blade motions are termed compound reposts; their function is to elude one or more counterparries, that is parries opposed to reposts.

Front 64

How many parries does a double feint elude?

Back 64

Double Feints elude two parries.

Front 65

How is an advance coordinated with a double feint?

Back 65

When a double feint is coordinated with an advance, the two feints are completed with the step forward. The first feint should coincide with the motion of the right foot, the second with the movement of the left foot, and the final thrust with the lunge.

Front 66

Describe the execution of the double feint direct and disengagement in opposition to the invitation in first, indicating both the master's and student's movements.

Back 66

Master
Pupil
Invites in First
First movement: simulates a thrust to the outside low line
Parries second
Second movement: eludes the parry of second with a disengagement clockwise to the high line.
Parries first or third
Third movement: eludes the parry of first with a disengagement counterclockwise to the outside low line, or eludes the parry of third with a disengagement to the outside high line.
Receives the Touch


Observation: Again, particular care must be taken that the point motion is effected with the fingers, not the wrist or shoulder. Once the action begins,the point should advance progressively through extension of the arm. Under no circumstances may the arm be withdrawn.

Front 67

62. Describe the execution of the double feint by disengagement and disengagement in opposition to the engagement in second, indicating both the teacher's and student's movements.

Back 67

Teacher
Student
Engages in Second
First Movement: simulates a disengagement to the high line.
Parries First or Third
Second Movement: eludes the parry of First with a disengagement counterclockwise to the outside low line, or eludes the parry of Third with a disengagement counterclockwise to the low line or inside high line.
Parries second or fourth
Third Movement: eludes the parry of second with a disengagement clockwise to the high line, or eludes the parry of fourth with a disengagement clockwise to the outside high line.
Receives the touch.

Front 68

63. Describe the execution of the double feint by glide and disengagement from engagement in third, indicating both the master's and student's movements.

Back 68

Master
Pupil

First Movement: from the student's engagement in third, simulates a glide to the outside high line.
Parries third
Second Movement: eludes the parry of third with a disengagement clockwise to the low line or inside high line.
Parries Second or Fourth
Third Movement: eludes the parry of second with a disengagement clockwise to the high line; or eludes the parry of fourth with a disengagement clockwise to the outside high line
Receives the touch

Front 69

64. Describe the double feint by flanconade in fourth and disengagement from engagement in fourth, indicating both the teacher's and student's movements.

Back 69

Teacher
Student

First Movement: from the student's own engagement in fourth simulates a glide to the outside low line (flanconade in fourth)
Parries Second
Second Movement: eludes the parry of second with a disengagement clockwise to the high line.
Parries first or third
Third Movement: eludes the parry of first with a disengagement counterclockwise to the outside low line; or eludes the parry of third with a disengagement counterclockwise to the low line or the inside high line
Receives the touch

Front 70

65. What are conventional exercises, and what is their purpose?

Back 70

Conventional exercises consist of pre-established actions executed by two fencers alternately assuming the role of attacker and defender. The purpose of conventional exercises is to perfect the various offensive and defensive movements studied in the lesson, and to develop, through practice , a sense of fencing measure and time.

Observation: During these exercises, care must be taken that the guard position and lunge are correct in every detail.

Front 71

66. What are circular parries, how many are there in foil, what are their names, and which target areas do they protect?

Back 71

Circular parries are defensive blade movements in which the point describes a tight, complete circle around the incoming steel, intercepting and transferring it to the opposite line.
In foil fencing there are four circular parries, each protecting a certain area or areas of the valid target: thus, the parry of counter of first defends the outside low line, the parry of counter of second, the high and inside low lines; the counter of third, the inside high line; and the counter of fourth, the outside high line.

Front 72

67. What are half circular parries, and how are the executed in foil?

Back 72

Half circular parries are defensive displacements of the blade along a diagonal semicircular route from a high to a low line and vice-versa. They represent one half of a circular parry.
In foil fencing half circular parries are formed by moving from second to fourth, and from third to first.

Observation: The movement from fourth to second in opposition to the cut-over to the flank may also be considered a half circular parry.

Front 73

How are circular parries opposed?

Back 73

Circular attacks are used in opposition to circular parries. In these compound offensive actions the feint provokes a circular parry, which is then deceived by a circular thrust moving in the same direction as the parry.

Front 74

69. Describe the execution of the feint direct and deceive in opposition to the invitation in third, indicating both the master's and pupil's movements.

Back 74

Master
Pupil
Invites in Third
First Motion: Simulates a thrust to the inside high line
Parries Counter of Third
Second Motion: eludes the parry of counter of third with a deceive counterclockwise to the inside high line
Receives the touch

Front 75

70. How are one circular and one simple parry eluded?

Back 75

One circular and one simple parry are eluded by a feint direct, feint by disengagement, or feint by glide depending upon placement of the adversary's weapon, followed by deceive, and disengagement.

Front 76

How are one simple and one circular parry eluded?

Back 76

One simple and one circular parry are eluded by a double feint plus a deceive.

Front 77

How are two circular parries eluded?

Back 77

Two circular parries are eluded by a feint direct, feint by disengagement, or a feint by glide, depending on the placement of the opponent's weapon, followed by a feint by deceive and deceive. The final deceive terminates in the same line as the initial feint.

Front 78

How are one simple, one circular, and one simple parry eluded?

Back 78

One simple, one circular and one simple parry can be eluded by a double feint followed by deceive and disengagement.

Front 79

74. How are one circular, one simple, and one circular parry eluded?

Back 79

One circular one simple and one circular parry can be eluded by a feint direct, feint by disengagement, or a feint by glide, depending on the placement of the opponent's weapon, succeeded by a feint by deceive, feint by disengagement, and deceive

Front 80

When are circular reposts used?

Back 80

Circular reposts, like circular attacks, are used in opposition to circular parries.

Front 81

What is the cut-over and how is it used?

Back 81

The cut-over is a disengagement over the blade; it is an indirect attack executed in one movement, and may be used when the adversary engages in third or fourth. The cut-over can be directed to the inside and outside high lines, and to the outside low line.

Front 82

Describe the execution of the feint direct and cut-over in opposition to the invitation in third, indicating both the teacher's and student's movements.

Back 82

Master
Student
Invites in third
First Movement: Simulates a straight thrust to the inside high line.
Parries fourth
Second Movement: eludes the parry of fourth with a cut-over to the outside high line or to the low line.
Receives the touch

Front 83

Describe the execution of the feint by cut-over and disengagement in opposition to the engagement in fourth, indicating both the master's and pupil's movements.

Back 83

Master
Pupil
Engages in fourth
First Movement: simulates a cut-over to the outside high or low line.
Parries third or second.
Second Movement: eludes the parry of third with a disengagement counterclockwise to the low line or inside high line; or eludes the parry of second with a disengagement counterclockwise to the high line.
Receives the touch.

Front 84

Define actions on the blade and list those that are used in foil.

Back 84

Actions on the blade are movements that deviate or deflect the opposing steel during the attack. For example, the glide is an action on the blade accomplished in one movement.
Blade seziure, changes of engagement, transports, envelopments, beats, expulsions, pressures, blade cover, and disarmaments are actions on the blade used in attacks of two or more blade motions to deviate or deflect the opposing steel so that a thrust or feint may be executed.

Observation: The glide is a simple attack when it commences from engagement and is effected in one movement; it is a compound attack when it is preceded by the act of engagement, and is accomplished in two or more motions.

Front 85

From which engagements may blade seizure be effected?

Back 85

Blade seizure can be effected in each of the four engagements.

Front 86

How are the internal flanconade and flanconade in second executed?

Back 86

The transport to first and glide to the inside low line is called the internal flanconade; the transport to second and glide is called the flanconade in second. Correctly executed the transport and glide fuse in a rapid and continuous motion. The hand is shifted so that the blade pivots, strong against weak, in a tight, spiral movement around the opponent's steel, transporting it to the new line of engagement, arm moving gradually to full extension; then, without intercepting the flow of motion, the thrust is effected along the adversary's blade.
In the internal flanconade the hand stays in fourth position, and the blade glides along the inside of the opposing steel; in the flanconade in second it may remain in fourth position, or it can be rotated to second position, and the blade glides along the outside of the opposing steel.

Front 87

Why should the internal flanconade and the flanconade in second not be employed as reposts.

Back 87

The internal flanconade and flanconade in second must not be employed as reposts since, during the transporting action, they can easily carry the opponent's point to one's own leg.

Front 88

What are beats and how are they identified?

Back 88

Beats are blows of measured violence delivered with the strong of the blade against the medium of the adversary's steel to dislodge it form engagement or it's position in line. The line in which the attacking blade encounters the opposing steel identifies the beat. There are four classifications of beats: simple beats, change beats, circular beats, and grazing beats.

Front 89

What are false beats?

Back 89

False beats are beats that are executed from one's own engagement, or the adversary's engagement.

Front 90

85a, Describe the execution of the simple beat in fourth followed by a straight thrust.

Back 90

First Movement: from the invitation in third the hand is turned to third in fourth position, and the hostile blade deviated with a blow to the left.
Second Movement: the sword arm is extended promptly, and a straight thrust directed to the inside high line, hand in fourth position.

Front 91

Describe the execution of the change beat in fourth followed by a straight thrust.

Back 91

First Movement: from engagement in third the point is carried counterclockwise under the hostile blade, hand turned to third in fourth position, and the opposing steel deviated with a blow to the left.
Second Movement: the sword arm is straightened promptly, and a straight thrust directed to the inside high line, hand in fourth position.

Front 92

Describe the execution of the circular beat in fourth followed by a straight thrust.

Back 92

First Movement: from the invitation or engagement in fourth the point is carried counterclockwise under the hostile blade, and the opposing steel deviated with a blow to the left.
Second Movement: the sword arm is straighted promptly, and a straight thrust directed to the inside high line, hand in fourth position.

Front 93

86. What is a grazing beat?

Back 93

Grazing beats are sliding beats in which the point is withdrawn, and the line changed by passing over the opposing steel.

Front 94

87. What are expulsions and how are they performed?

Back 94

Expulsions are powerful sliding beats in which the strong of the attacking weapon is forced along the opposing steel, expelling it from its position in engagement or line. Expulsions can be effected in any of the four lines but they are most commonly used in third and fourth.
Attacks with expulsions are performed in two or more movements with the sliding beat representing the first motion, and the straight thrust or feint the second.
Expulsions are executed by flexing the elbow, raising the point slightly in engagements in third and fourth, or lowering the point a little in engagements in first and second, or lowering the point in engagements in third and fourth, and then, with sudden violence, pressing the strong of the blade forward against the weak and medium of the opposing steel, driving it diagonally to one side. Care must be taken that the point of the attacking blade does not pass beyond the limits of the target area, otherwise time will be lost in returning to line for the thrust or feint.

Front 95

What advantage to expulsions have over beats?

Back 95

The principal advantage of expulsions over beats in which blade contact is broken is that expulsions cannot be countered with the disengagement in time.

Front 96

What are pressures and how are they executed?

Back 96

Pressures are gradual applications of force with the strong or medium of the blade against the adversary's weak to deviate it from its position in line. Like beats, they are identified by the line in which they encounter the opposing steel: first, second, third and fourth. From correct distance pressures are effected strong against weak, and from out of distance, medium against weak.
Attacks with pressures are made in two or more movements, with the pressure representing the first motion, and the straight thrust, disengagment , glide, or feint the second.
Blade movement in pressures is accomplished through finger an wrist action, with some assistance from the forearm. The sword arm should begin to extend with the pressure, so that the point of the weapon moves progressively forward. As opposition is gained, and the opposing steel forced aside, the target is exposed. Throughout the action, the point must recmain close to the hostile blade.

Front 97

What is blade cover and how is it accomplished?

Back 97

Blade cover is an action in which the blade slides over the opposing steel, gaining in opposition, and deviating it from its position in line.
The attack with blade cover is accomplished in two or more movements, with the covering action representing the first motion, and the straight thrust or feint the second.
In the first movement the hand is rotated to second position, sword arm extending so that the weapon slides on the opposing steel, strong against weak and medium, pressing it lightly to the left and downward, with the point of the attacking blade a little higher than the hand, and aimed at the adversary's right shoulder; in the second motion the hand is turned quickly to fourth position, and the thrust or feint directed to the inside high line.

Front 98

What are disarmaments and how are they effected?

Back 98

Disarmaments are violent attacks on the opposing steel to disarm the adversary, or to make him loose control of his weapon, so that he is no longer able to defend himself. The blade motion during the disarmament is either vertical or spiral.

Front 99

What are renewed attacks and how are they executed?

Back 99

Renewed attacks are second offensive actions launched against an opponent who, having parried the initial assault, either hesitates or fails to respond. The second thrust is executed in opposition to the placement of the adversary's weapon at the completion of the parry.
Depending upon fencing measure, renewed attacks may be effected from the lunge, with a second lunge, or with a step forward and lunge.
1) If the opponent parries from a stationary positon, the renewed assault is accomplished from the lunge with an appel of the right foot, and second thrust to the target area opposite the line in which the orignal attack was parried.
2) If the advarsary retreats with his parry, the renewed assault is preformed by recovering foreward to the guard position, and then attacking with a second lunge. The renewed assault may also consist of a single or double feint, or an action on the blade if the opposing steel is in line.
3) If the opponent, after parrying, uses the defense of measure, and steps out of distance, the renewed attack is made by recovering forward to the guard position, and then attacking with a step forward and lunge.

Front 100

Define time, velocity and measure.

Back 100

Time in fencing signifies the favorable moment at which an offensive action will catch the adversary off guard.
Velocity refers to the minimum time necessary to complete an offensive, defensive, or counteroffensive movement.
Measure, is the distance that must be covered to reach the target with a thrust.

Front 101

What is fencing time?

Back 101

Each fencing movement represents one unit of fencing time; consequently, the straight thrust requires, in execution, one unit; the feint direct and disengagement two movements; and the double feint direct and disengagement, two units. The number of units of fencing time establishes the priority of hits.

Front 102

List the counterattacks used by the Italian school, and indicate how each is employed.

Back 102

There are seven counterattacks in foil fencing: 1)the arrest, 2) the disengagement in time, 3) the appuntata, 4) the imbroccata, 5) the inquartata, 5) the passata soto, and 7) the time thrust.
The arrest is a counterattack that interrupts completion of a compound attack with feints.
The Disengagement in time is a counterattack against actions on the blade
The Appuntata is a counterattack in opposition to the compound repost
the imbroccata is a counterattack against gliding attacks and reposts that end in the outside low line.
The Inquartata is a counterattack in opposition to both simple and compound actions terminating in the inside high line.
The Passata sotto is a counterattack against both simple and compound actions ending in the outside high line
The time thrust is a counterattack the precedes the final movement of the attack. It is accomplished from the guard position and maybe executed in all lines against simple and compound attacks.

Front 103

What is countertime and how is it used?

Back 103

Actions in countertime are movements used in opposition to counterattacks. They simulate attacks designed to provoke the opponent's counterthrusts, thus exposing him to a parry and repost, or to the counterattack into the counterattack.

Front 104

How may countertime be opposed?

Back 104

The feint in time is a movement opposed to countertime.

Front 105

98. When is the arrest in countertime employed?

Back 105

The arrest in countertime is an action opposed to the single or double feint in time.

Front 106

99. What are probing actions and actions of concealment?

Back 106

Probing actions are feigned attacks that test the adversary's defensive and counteroffensive responses.
Actions of concealment are movements used to confuse the opponent and hide one's own intentions.

Front 107

What are actions in time?

Back 107

Actions in time are offensive actions effected while the adversary is in the act of changing the placement of his weapon.

Front 108

When does a straight thrust become an action in time?

Back 108

The straight thrust becomes an action in time if it is accomplished the instant the hostile blade is shifted from an engagement to an invitation.

Front 109

How is the counter-disengagement executed?

Back 109

The counter-disengagement is accomplished in one movement with a lunge. As the opponent disengages, a complete circle is made, following the direction of disengagement, and returning the blades to their original positions. Correctly executed, the counter-disengagement penetrates forward in a tight, spiral movement, arm extending smoothly, and hand shifting in opposition.

Front 110

What is the distinction between second intention and countertime?

Back 110

The distinction between second intention and countertime is that second intention prompts a parry and repost which is opposed with the counterparry and repost, while countertime provokes a counterattack which is opposed with the parry and repost or with another counterattack.

Front 111

What is the basic principle of fencing?

Back 111

The basic principal of fencing is to hit the adversary without being touched by him.

Front 112

What is tempo comune?

Back 112

Tempo comune is when both foilists launch attack at exactly the same moment.

Front 113

When a right-handed fencer executes the inquartata against a left-handed adversary, where does he direct his thrust?

Back 113

The inquartata, rather than being directed to the inside high line, is amed at the low line.