Book Two, Single Rapier, Rule Two!

We've made it through the holidays, the holiday funk, the post-holiday illnesses, and the post-holiday funk and here we are, back at it and looking at the second rule of Book Two!

This one is where we start to get a little weird. Fabris describes it by saying that "[t]he principal guard pertaining to this rule is a third formed with the body positioned squarely toward the opponent, the chest wide open and the feet pointing forward. The body is curved and the sword-hand is held near the face. The sword-point is suspended in the air and kept somewhat forward, but not so far forward as to enable the opponent to find it without coming into the misura stretta." The description is pretty straightforward, but just because the first time I read it my reaction was something like, "Okay, I can picture this pretty well but that can't be right..." here's the plate from later on in this rule which illustrates it:

Nope. I wasn't kidding. It's a little weird, right?

Yup. Just like that - squared off, your hilt and forte up by your face, and your off-hand up by the other side of your face.

We still have the signature hip hinge, with the lower body voided back. We might square off a little if we're using a dagger or cloak, but not at all to this extent. So what is Fabris thinking with this? What's his plan?



The clutch piece of information for using this initial guard for proceeding with resolution is that you initially want to do your best to move towards your opponent on the outside. Circle a bit if you need but try very hard to be on that outside line to the point that "even your sword is out of presence to that side." As you approach your opponent lower your body while keeping your arm in the same position relative to your body, such that when your hilt is by their point, your blade should be in line with them. Do not extend your arm to strike, but keep it in that position and wound them by stepping forward and passing your blade through them that way. (We'll go into why this is a thing later on in another post.)

What if you can't move to the outside because your opponent just won't give you that line? In that case, place your sword to the inside but don't extend the arm in there, either. You'll stay more squared up than not, kind of, but turn your body from the hips to get your blade to cover the inside line. Lower your body, but again, keep your arm in the same position relative to your torso.

Finally, if your opponent keeps their sword really low, just (ha ha, "just") drop your body low enough such that your sword can close theirs out on either line. Fabris does note that if they're positioned to the inside of your blade, you should turn your right side away in a void as you lower yourself.

Fabris goes on to note that you should not use cavazione in this guard save for if your opponent tries to bring his point high to find your blade. In this case, you perform a cavazione of sorts, but not through a motion of the hand or arm - rather, you withdraw your right side similar to what he described in the previous action, which pulls your sword back and keeps it free. As you do this, advance and step off-line with your left foot, which will turn you such that your opponent is now on your outside, and you can proceed in to wound them.

If your opponent tries to parry you, turn your hand to wound them underneath their sword, similar to the previous rule.

Fabris finally notes that while your face and inside are somewhat open, your left hand will protect your face, and if your opponent feints to the inside, you again cover yourself by turning the body rather than moving your arm.

We'll take a look at the additional plates in the next post, which will help illustrate why keeping your arm in the same position is helpful in this rule. They'll also help show us what is to be gained by turning our bodies to cover ourselves, rather than moving the arm. Spoiler: they help us move our torso (which is filled with squishy organs which should not be pierced) around our opponent's point.