Chapter 14: On Disengaging Your Weapon

Comment/Interpretation:

Chapter 14 is about what to do if your opponent has placed a bind on your blade. As de Brea points out, if you do not free yourself, any defense will be impossible. He describes three ways of freeing your blade. In every case, you need to make a circular movement of the wrist. This may need to be accompanied by a movement of the arm or indeed the whole body. It depends on how strong the bind is. He also describes shifting your weight onto the back leg at the same time as you move your blade – this will have the effect of raising it and then as you place your weight back onto both feet, your blade will be naturally lowered again. The idea is that not only can you free your own blade, but you can place a bind on your opponent. It is worth noting that de Brea states that if the bind on your blade is strong, then you may need to make a cutting movement to free yourself – moving hard and fast. I think this emphasizes a) the danger that the fencer is in but also b) how important a string bind is in the system.

Translation:

Chapter XIV

On disengaging your weapon

There are three ways of disengaging your weapon or removing it from danger. These are with the wrist, the arm and with the shoulder. No other ways are possible.

The first way to free your weapon uses a movement of the wrist. This is possible when the opponent has imposed a weak bind on either the inside or outside line. The fencer can free his weapon by making a small, circular wrist movement.

The second way can be used when there is a normal bind of the beginning of the opponent’s highest third of their blade on to the middle third of your blade. In this case, the fencer will need to perform a light, sideways movement to free the blade. At the same time, the fencer needs to shift his weight back onto his left leg. As he returns his weight to both legs, a natural downwards movement of the sword will now control the opponent’s blade. All movements of body, arm and weapon need to be done at the same time. This will not only free the fencer’s weapon but also impose a bind on the opponent’s blade.

The third way needs to be used when the adversary has placed a strong bind on your blade. As the fencer is exposed to considerable risk, he will need to free himself because if he does not, then disengaging his weapon or indeed any defence will be impossible. To free his weapon, the fencer will need to move his blade sharply as if to perform a cut or backhand – using his arm and shoulder. How to do this will depend on where the opponent is holding the blade. If the fencer’s body is low, he should also raise it at the same time. If his body is upright, he should take a step backwards with his left foot and move into second position. All of these movements should be carried out at the same time and if they are, then the fencer should be able to free his weapon and be able to defend himself.

These three ways of disengaging a weapon all involve circular movements. The first is with the wrist alone. The second is with the arm and involves rebalancing the body and moving backwards. The third involves moving body and the arm from the shoulder to ensure that the blade is freed.

Original Text:

CAPITU LO    XIV.·

Modos de poner  el arma en libertad.

Los modos de poner  el  arma ·en  libertad , 6 sacarla  del peligro en que se halle sujeta , son tres, librandola, tran-!Ji,ri#nda 6formand-0- , y no hay mas, ni es posible. Pa­ra  mayor  daridad e inteligencia , se  ha  de suponer  que el adversario tiene puesto el ataio , y que este es en el prin cipio , sea por dentro 6 por defuera ; en esta disposicion podra el diestro. poner la suya en libertad con solo el  jue­ go de la muiieca , haciendo con el arma una corta porcion de cfrculo , que es el primer  modo.

Si la sujecion 6 atajo fuese con el prfocipio del  tercer tercio sobre el segundo (:ontrario, en·ese -Caso le ser:i pre­ ciso al diestro una  evolucion  para  rransferir , y  esta  ha  do ser equilibrando el coerpo hacia atras , cargandole sobre la columna izquierda , y al mism() tiei:npo _desgraduar el ar• n1a  por  medio  del  movimiento  remiso  y violento,  y   on el natural caer a sujetar la conttaria i de modo que todos los  movimientos  de  cuerpo,  brazo   y arm.a   sean   hechos a un tiempo. Hadendolo en los terminos dichos , se lograra poner el arma en libertad ,y privacion a su contrario, y el segundo modo. Tercero, formando: este  se  executa  quan• do  el adversario  pasa  al   fin  del  atajo ,  que conociendo el diestro el mucho riesgo  en  que se halla , para  defen.ierse le es preciso forntar reves o ta io t s,egun por la: -parte <JUe le tuviese hecha la -sujeciun;  pues, de no ·hacerlo. le seria imposiblc  la defrma ‘ni  poner  el arm;i  en  libertad ;y para m:iyor  seguridad , si cl cuerpo cstuviese  baxo , levantarle, y si levantado , b.ixarlc a su segunJ:.1 planta , disminuyen­ do con el pie izquierdo. Hic”1′ ros u n ticm po todos los movimientos , se lograra d fin de su defensa , y ei de po­ ner  el  arma  en   libertad. Estos trcs modos  de  poner  el  arma  en  libertad son ir.ulares ; el primero  le corresponde  a la mulieca ,  in au­ xilio de o_tro alguno ; el segund.o de trAAsferir al todo , y.cquilibrio  del  cuerpa , y el tercero de formar   al hombro ayudado del todo.

 

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s