Dusack, Chapter 4: The Secondary Cuts

[1] About the secondary cuts, which have their origin in the four primary cuts, and how one should use them in the work

Chapter 4

Because the four primary cuts have been laid as a foundation for all other cuts, I also want to set down as much as is necessary for you about the secondary cuts (which grow out of the same), and firstly the reason for their existence and to show how they differ from the others.

Namely and firstly, you should know that the cuts explained above are not only cut straight (as taught previously) but are also cut curved. This was also mentioned in the Sword [Section], as then the hands are turned or reversed in cutting so that you don’t hit with the (front) long edge but with the (rear) short edge or with the flat. Therefore, as the cuts are cut differently in this reversal [of the hands], they are also named differently, regardless of whether they are cut from above, slantwise, across, or from below, as this will be seen in the Crooked Cut, which alone of them is also called this in dusack, because the curved edge leads in the reversal and it hits with the same. Thus, this reversal is the first and most common reason for the many names of the cuts.

[2] However, some cuts are not reversed when cut and are still named differently. This is the reason and it arises from this: firstly, according to the intent of the one who cuts with it, as occurs with the Missed Cut and the Ramming Cut. Even if they are High Cuts, they are named like this because my intention with the one is to miss and with the other is to ram (if an opening were exposed to me).

Some names are linked to the external movement of one’s body language, like the Wrath or Rage Cut.

Some also receive their names from the shape, which is viewed as identical to their cutting action, like the Rose Cut. Likewise, some are named for the limbs at which they are aimed, as you will see in the Rapier [Section] in the Hand Cuts and the like.

From these reasons listed above, you can easily understand the subsequently listed cuts, and notice how far they differ from the others. The secondary cuts are fifteen in number, namely:

[3] Plummet Cut is brought into motion from the High Cut and Wrath Cut

[The] Plummet Cut: this is most often used in the Onset. Thus, in the Onset, cut a High Cut from your right (including the step) back through next to your left, so that your dusack shoots or plummets around back over your head so that the front end faces toward your opponent’s face at the end of the plummet around. [This is] not dissimilar from the left Bull, except that you must thrust the point forward and longer away from you and toward your opponent’s face. It has its name from this plummet over, otherwise, it is itself merely a High Cut, except that you allow the front end to drop downward over the hand toward your right.

[Then] Indesly pull your hilt upward around the head and simultaneously lift your left foot (stepping forward with the same) in that moment in which you pull upward, and cut from your left back through next to your right, so that your front end plummets around over your head so that the front end faces toward your opponent’s face (just as previously). Then, let it drop down again toward your left, and cut from one side to the other until you can arrive at your appropriate placement.

[4] Crooked Cut

[The] Crooked Cut is executed like this: rotate the grip of your dusack so that the curved edge leads and hits in cutting. Then cut from above or below with the curved edge according to opportunity.

[5] Short Cut

[The] Short Cut: in the Onset, when you perceive that they want to cut from above, pay attention. In that moment in which they lift their dusack for the cut: pull your weapon toward your left shoulder during that moment. From there, cut across simultaneously with them (through with the short edge) above their arm at their face, so that your [palm] faces upward in the cut.

Thus, you take their strike from them and simultaneously hit, etc. [The] Short Cut is also carried out at the sides and short under their weapon. You were taught about this in the Sword [Section].

[6] Overwhelming Cut

[The] Overwhelming Cut is completed in two ways.

Firstly, when you stand in Middle Guard on the left and from there cut your counterpart’s cut in front of you away with the long edge. Regarding this, see the Middle Guard.

[7] Secondly, it is now executed like this: namely, stand with the right foot forward, hold your dusack with arm extended in front of you in the Slice or Simple Brace. If your counterfencer cuts at you from their right and guides their cut high: let your point drop downward and simultaneously pull through with your hilt toward your left under their dusack, so that they cut in vain above your dusack. Cut quickly from the outside over their right arm (in that moment in which their dusack still falls downward toward the ground) at their head.

Ensure that you have withdrawn your head under your counterposture by bending your body, so that they cannot reach you as they pass through.

[8] Roaring Cut

[The] Roaring Cut therefore has this name because it moves in one sweeping motion so quickly that it has an effect like a blustering wind. Execute it like this: observe how you [can] drive your opponent high with their counterposture. Indesly rotate your grip so that you hold your dusack curved [edge outward]. Pull your hilt with hanging dusack around your head and cut next to your right from below across with the curved edge—with a step forward of your right foot toward their right—under their dusack at the bone of the forearm or inwardly at the tendons, depending on how high they have lifted. Let your dusack shoot back in front of your face to the counterposture.

You will be taught more about this Roaring Cut in subsequent sequences, because it is used and fenced in many ways.

[9] Awakening Cut

Perform the Awakening Cut like this in the Onset: cut in at them with a powerful High Cut. If they counteract the cut, take note: in that moment in which it glances off or touches on their counteraction: turn the cut into a thrust, pushing your dusack around onto theirs at their face (as the two tenants on the right side in this Figure [P] teach you).

If they rise up: cut upward through their arm with the curved edge (as you can see in the larger tenants [in Figure P]).

[10] Rose Cut

Rose Cut; if you find an opponent tarrying in Arch: act as if you wanted to cut from above at their head. Don’t let the cut touch, but instead move through and around from outside and under their right arm so that you move in a circle around their dusack. Let it drop down again in the air next to their right side and cut at their face. Thus, you can also move in a circle around their counteraction on the other side and cut in, wherever you find them open.

[11] Dangerous Cut

Perform the Dangerous Cut like this: when you approach your opponent in the Onset, pay attention. As soon as you trust that you can reach them, take diligent note of when they want to cut. In that moment in which they pull their dusack up to strike: cut at them from above next to their hilt at their face or chest (in that moment in which they have lifted their dusack up high).

This Dangerous Cut must be carried out with caution, otherwise it is dangerous; therefore, it is named the Dangerous Cut.

[12] Rage Cut

[The] Rage Cut is completed in many ways, [and] also named with two names: as the Armored Cut because it catches the High Cut in the air and holds it like a lance rest on armor; and it is named Rage because it comes so seriously and unpredictably, as if you had become unpredictably enraged [and filled] with wrath toward them. Execute it like this to oppose their cuts: if an opponent cuts at you from above, take note. In that moment in which they pull their dusack into the air to strike, pull quickly around your head Indesly and cut across a little from below and upward toward their cut, so that you catch their cut still high in the air with the long edge and with the dusacks horizontal (so that your dusack faces horizontally between you and them, as the larger portrait to the right shows in this Figure [G]).

In that moment in which the dusacks thus touch together, you can carry out many lovely sequences, etc.

[13] Furthermore, it is also performed in this way: stand with your left foot forward and hold your dusack in Boar (as you will subsequently learn). If they cut at you from above: raise both arms to the counteraction, so that your dusack comes to lie with its back on your left arm and leap in under their strike. In that moment in which it glances off, thrust outside of their right arm at their face, step away, and cut across toward their left and through their face (as you can see in the Figure designated with the letter O, in the small tenants on the left).

[14] Missed Cut

[The] Missed Cut: in the Onset, if you find your counterfencer in Arch or Simple Brace, step and cut outwardly at their right arm from above. In that moment in which you notice that they want to counteract: let your short edge drop strongly downward in front of their arm and simultaneously pull your hilt back upward so that your cut doesn’t hit. Instead let it run in front of their arm and miss, so that they vainly move to counteract. Step quickly outward to their left and cut at them straight through their face.

You can thus let this cut miss near any opening of those who move against the cut to counteract it.

[15] Obscured Cut

[The] Obscured Cut is carried out in many ways; however, take note of this technique: if an opponent cuts from above, catch their strike high over your head in the air on your long edge, with your dusack horizontal so that your point projects toward their left (as taught above about the Rage Cut). As soon as it beats or touches: turn the short edge inward in a flick in at their face. Immediately after the flick: turn your dusack with the hilt upward toward their left. Pull quickly back toward your right and cut with the long edge forward at their face. In addition to this cut, step well around toward their left in this strike and away from their strike.

[16] Flicking Cut

[The] Flicking Cut: take note when you stand in Arch in front of an opponent. If they don’t want to cut: pull upward into the Watchtower as if you wanted to cut from above; however, don’t do that. Instead, turn in the air and cut with the long edge up from below at their right arm in a flick and twist the dusack back toward your left shoulder. From there, cut a Defensive strike through their right (either above or below their arms) through their face.

Item, if an opponent stands before you in Arch and doesn’t want to work: flick at them above their dusack at their head with the short edge. Or if they hold their dusack high in a counterposture: flick under their counterposture at their face.

[17] Twisting Cut

[The] Twisting Cut is a cut that twists [and] is nothing other than you cut in (regardless of side) and you move back out toward that same side.

Thus, if you cut in from your high left, pull and turn the dusack downward toward your left and outward, all in one smooth motion (as if you wanted to cut a piece from their side equal to half a man) and this works on both sides.

[18] Ramming Cut

Perform the Ramming Cut like this: when you two stand in front of each other in a high counterposture in Arch and neither wants to cut Before the other, but instead waits for the other’s strike: drop down before them and cut straight in front of you at their dusack so that you touch their chest with your hilt so strongly that their dusack rams against their face once or twice. You thus force them to work.

And take note, as soon as they lift up: step out to their left side and cut in next to their hilt at their face, or undertake other appropriate sequences after you have thus driven them upward.

[19] Change Cut

[The] Change Cut is among the five cuts initially taught to students [and] which fundamentally does not differ (in itself) from changing through the cuts from one side to the other. However, because the alternation of the cuts and sequences is often considered in this [Dusack Section], it is unnecessary to introduce this here.

[20] Cross Cut

[The] Cross Cut is (in itself) two Wrath Cuts from both sides which are completed through the two slanted and hanging lines; thus, strike through your opponent slantwise from both sides and cross the strikes over one another in this way.

[Execute] the cut like this: stand with the right foot forward and cut the first from your right through their left and the second from your left through their right (both slantwise through their face).

Practice this cut four, five, or six times (backwards and forwards), yet so that you always remain with the right foot forward so that, when you want to step, you recover with the rear foot so that you can step forward with the right—because you should always take at least one step for both cuts (thus cut through the cross from both sides).

[21] You should learn to cut this Cross Cut, including the abovementioned four cuts, with extended arms in a free-flying, powerful, and quick way. In the cuts, don’t keep your arms in the chest (as they say), that is close to yourself, because that person who fences short and keeps their arms close to themselves is easy to mislead and to touch. However, the extension must remain within bounds according to the opportunity at that time.

Therefore, I want to especially remind you, so that even if you wanted to make use of this book in no other way, then before everything else, you would want to learn to cut the cuts long, free, and well. And if you can cut the Principal Cuts well, the others will all be easy for you. Because when you fence whatever sequences you want, regardless of how good [the sequences] are, if you can’t cut these cuts well individually (in and of themselves and each according to their art) and execute the sequences correctly, you will not perform much of use, because as is often said, all fencing is based on the cuts.

[22] Finally, take note of how the cuts counter one another, thus a rule in brief: namely and for the first, the High Cut (if you guide it against your opponent’s dusack at the Strong toward their right hand) counters all other cuts which are cut at you, whether from below, slantwise, or across. In contrast, the Wrath Cut or the Crossing Middle Cut counters or takes the High Cut.

Correspondingly, also take note that two identical cuts which are cut against one another (with their steps) always move one another aside and counteract. However, the one whose cut directs the other’s farthest outward is the one who comes above the other with their weapon during the cuts. Therefore, as often as an opponent cuts at you from below [or] across (regardless of whether from the left or right), oppose them with High Cuts. If they cut at you from above, take away their High Cut with crossing or slanted Wrath Cuts. This rule is truly to be observed in all fencing and especially applied with respect to the Before and the After, the Strong and the Weak.