Longsword, Chapter 9: Introduction to the Sequences

[1] Introduction to the sequences, how they can and should be formed from the techniques explained previously

Chapter 9

Because these techniques discussed and explained previously are actually nothing more than a beginning and an elemental foundation from which all fencing sequences of the sword can be gathered, it is thus necessary that I first demonstrate in what way this should occur before deriving any sequences from them. If you want to write a word correctly so that the letters that are useful and proper for this flow in an orderly way, one after the other from your pen, then you need to hold all of the letters in your thoughts and memory and fundamentally know the type and property of each one. Likewise, you should grasp the previously-described techniques well and hold them in your mind to such an extent that, whenever you approach another to fence, these appear then in your mind when they are needed. However, because not all letters can be used for each and every word, it is also impossible to want to make use of all of the techniques in each sequence as they have been explained.

[2] For that reason, you should pay attention to how your counterpart positions themselves against you (as events require). Also observe how the person is—whether they are fast or slow, large or small—and know how to use your work accordingly and to oppose them. Each entire fencing sequence is, as indicated above, divided into three parts—namely, into the Onset, Middle, and Withdrawal—and these three pieces have been explained in order and I have indicated what is to be observed in each.

Thus, in the Onset, you must initially use any cut through the stances with which you opine that you can best attack and quickly overwhelm your counterpart. And when you then attack in the first part and have approached them, or perhaps have come under their sword, then you must additionally have more techniques so that the entire sequence is completed. You learned these from the second part of this book, namely the Handwork, at which point you forcefully push at all four openings and they are not able to approach you with damaging work or any similar techniques, since you then have a sufficient excess of the same.

[3] And so that you then bring the sequence to a close, you must have even more letters for this word and you must seek them in the third part of the book—how the sequence can be completed and you can Withdraw without injury or leaving your counterfencer with a reversal.

[4] Therefore, see that you push them forcefully in the Middle work so that you can arrive at the Withdrawal before they are aware of it (as will be taught in specific sequences). Or you provoke them to cut down at you so that you can simultaneously cut from above over their sword (while stepping outward) and can properly make your Withdrawal and recover. In order that you can understand this in its entirety, I will present to you an entire sequence made from all three things.

[5] In the Onset: move into the right Change [Guard]. Pay attention: as soon as they raise their sword to strike, strike through, quickly and upwardly, before them and cut a Crosswise Cut from your right simultaneously with them. Step well to their left side in the cut. If they move straight toward your head with their cut: You hit them with the Crosswise Cut at their left ear. If, however, you take note that they do not cut straight at your head, but instead turn their cut with the long edge toward your Crosswise Cut to counteract it, quickly cut at their right ear with the long Crosswise Cut before [their cut] touches. Step Indesly with your left foot well around to their right. You have now attacked from the Change [Guard] with two Crosswise Cuts at both sides, one after the other. This moves you out of the first part with this attack.

You subsequently want to move into the Middle work; the second part helps you in this way: if they strike from your sword around to the other side, pursue them with a slice at their arm. Push them with the Strong of your blade or with your ricasso in a shove away from you. In that moment in which they are still stumbling from the impact and have not yet recovered: hastily lift your crossed arms and hit them with the short edge, over their right arm and at their head (as this has been mentioned) before they have recovered from the impact. If they have recovered and swipe upward to counteract: let your sword fly up again and cut a Crosswise Cut at their left ear, with a with a step backward with your left foot. Or, if they do not rise up or strike around, but instead remain with the slice or the long edge on your sword: turn your sword so that your half edge contacts theirs and rip their sword out to your right side. Let [your sword] snap around in the air Indesly, so that your hands rise, crossed together, high over your head again and then hit them like before.

Before they recover from the rip with the short edge at their head: step back following this with your left foot and cut a Middle Cut across with the long edge, from your right at their neck, and, in that moment in which it glances off, pull up to your right with High Strikes. Thus, you now see how one technique always has to be used in series, according to opportunity and necessity, and must be set together until an entire fencing sequence is created.

And remember this as not least: that an entire sequence can also be completed with only two or three strikes, especially if you hastily attack with the first strike and cut away with the second, or if you carry out three strikes: namely, attack with the first, follow after with the second. In these strikes, you either hit with the first or last, whichever can occur most properly.

Whenever and at whichever opportune time such must occur is not important to discuss here; after you have understood all other fencing sequences in this book and learned them diligently, then (as they say), ‘the marketplace will teach you’.