Long Sword - Two Hands
This is my interpretation of Fiore's Sword in Two Hands section of The Flower of Battle.
Foot Work
Footwork is the foundation of fencing. Without footwork you cannot move to an advantageous position, or move away from a dangerous one. Fiore boils down footwork into 4 basic types, in two different directions.
The key to good footwork is to make sure that you are up on the balls of your feet. As long as you are on the balls of your feet, with your heels off the ground, it's virtually impossible to move incorrectly. Keep your knees bent, and your back straight. While moving and fighting, it will be nearly impossible to actually keep your heels off the ground, this is the ideal we strive for.
You can move forward, or traverse around the circle. You can advance, or you can pass. You don't even need to take large steps, small steps are faster and easier to make.
Advance / Retreat
An Advance or Retreat moves you forward or backward with out changing which foot is forward. In an Advance you move the front foot forward, and then the back foot to return to the stance. In a Retreat you move the back foot backward, and then the front foot to return to the stance. Advance and Retreat allow you to take smaller steps forward and backward without changing what foot is forward.
Pass Forward / Pass Backward
Passing Forward, and Passing Backward is when you move forwards or backwards by changing what foot is in front. In a Pass Forward you move the back foot forward, and in a Pass Backward you move the front foot backward. Passing Forward, and Passing Backward allow you to take large steps forward and backward while changing what foot is forward.
Traversing
Let's assume that at the center of the cricle to the right, is your opponent. The outer edge of that circle is the maximum distance his sword can extend without stepping. All traversing is done by moving around this circle, and changing the angle at which you face your opponent so that your center is again aligned to your opponents.
In order to make things simple, we'll assume the circle is a clock face. The lines touch the circle at 12, 1:30, 3:00, 4:30, 6, 7:30, 9:00, 10:30. Your standing left foot forward, feet shoulder width apart, and about shoulder deep, facing your opponent at 6:00. A traverse is going to take you to either 4:30 or 7:30 depending on direction, facing your opponent.
The Pass Traverse changes which foot is forward. Assuming your left foot forward you bring your right foot up to the edge of the circle, and then bring your left foot back. You are still facing your opponent. You're range has not changed, but the angle you are at has.
An Advance Traverse follows the same principles. You are still going to traverse around the circle, but your feet aren't going to pass each other. So, again in the left foot forward stance, you move your left foot around the circle. Then move your right foot into line behind the left foot. Your range does not change, but the angle you are at does. You'll notice that as you advance traverse to your right that you cross your feet. If you've studied any type of unarmed combat, they'll tell you that his bade because it leaves you unstable. They're not wrong, however you have 3 feet of nice sharp pointy steel in your hand to keep your opponent far enough away that the temporary instability can't be taken advantage of.
When doing either the Pass or Advance Traverse, you must be careful not to step to far, as this will unbalance you, and take too much time. Once you commit to a deep step it is almost impossible to safely change it's direction or length if you have to. With an Advance Traverse, the danger is that you cross your legs too deeply, leaving you unbalanced. This means that the length of your legs will determine if you can actually end up at 4:30. If you end up at 5, that's good too. Don't get hung up on moving exactly to the right point on the circle.
A fight is a fluid thing, you will not always step perfectly along the circle to the same exact point. This is ok, expected and normal. Sometimes it may be more important to step deeper into the circle then others. Sometimes it may be more important to move more sideways then forward. Adjust your movement to your situation.
Cuts and Thrusts
Most sword systems have 8 cuts, and a thrust. Fiore teaches 6 cuts, and a thrust from 5 different positions. The two missing cuts are the vertical falling and rising cuts. These are somewhat replaced with the angle of the falling cuts that Fiore teaches. These both start at the ear, and end at the opposite knee.
There are a few theories as to why, some involving the armor of the day, others the mechanics of the blow itself. The armor of the day did not normally allow the fighter to raise his hands over his head, or to bend his elbows enough to make the cut cleanly. Since Fiore's is teaching for both armored and un-armored combat, it makes sense that he wouldn't teach a blow that can't be done in armor.
Another reason is an empirical understanding of the laws of physics. In particular the law of reflection, which states that the angle of incidence is equal to the angle of reflection. If you attack at a 45 degree angle, your sword will come off at a 45 degree angle. Now, there is a whole lot of things happening, so this isn't perfect. However, it' easy to see that at steep angle of reflection, it's worse then having your hands and sword deflect off at a 10 degree angle.
As your blade impacts at 45 degrees, and begins to deflect at 45 degrees, the whole blade must turn. This turning action means that you'll be hitting with the side of your blade as well. This will bleed some of the energy into hitting with the flat. A cut done the way Fiore describes minimizes all of that unwanted action, and is easier to do.
Interestingly, you also end up cutting inside your opponents 45 degree cut, and you can use your quillions to catch your opponents blade. All of this leads me to believe that Fiore is right, cutting ear to knee is the right line of a cut.
Mechanics of the Cut
This section deals with the mechanics of making a cut. These mechanics are secondary to good tactics and technique. We include them for the beginning student who has never swung a sword, and therefore needs some idea of how to do it.
Start with both hands on the hilt, with as much space between your hands as the hilt will allow. The right hand up against the quillions, the left hand on the pommel. If you have a wheel pommel, this can be a little uncomfortable, so adjust as you need to. Your legs should be shoulder width apart.
The blade is on your center line, pointed towards the ground. Using your wrists alone, bring the point to as close to the vertical as you can get. Then using your elbows alone, bring the blade higher, still vertical. Last, use your shoulders to raise the blade higher. The blade should now be pointing back over the top of your head. Your joints are now what we call stacked and loaded.
Now, reverse what you just did slowly. Notice how each joint unloads itself, and transfers motion and power to the blade. Notice how when done correctly, the blade will cut naturally, and in an arc. That arc is important for cutting into your opponent. Equally important is for the bottom hand to pull down on the grip, using the front hand as a pivot and guide.
Next, do the same thing only make the cut from an imaginary opponents ear, to the opposite knee. Start with your opponents right ear, and cut through to his left knee. Do the other side.
The horizontal cuts are done the same way. Except the horizontal cut from left to right, is actually the stacking and loading of your joints for the cut from right to left.
The keys to cutting well are speed, and bio-mechanics. If you're body is properly aligned, then the sword will go where you want it. If you're using your back hand to pull the lever, and your front hand as a pivot, you can generate a lot speed. Speed is important because Force = Mass X Acceleration. Body mechanics help put the mass of the fighter behind the blow, while also creating acceleration in the blade.
Once you've gotten the hang, and feel for the cuts, go ahead and move on. If you ever have trouble figuring out why you don't have power, or are mis-cutting, come back to this section and review what's here, otherwise, it's not necessary.
Falling Cuts
A high starts at your opponents ear, and comes out at your opponents knee. This is about a 10 degree cut, as opposed to the normal 45 degree cut most arts use. This has some very distinct advantages over the 45 degree cut, and some disadvantages as well.
Middle Cuts
This cut travels horizontally, however the blade itself may be angled. The hilt can be higher or lower then the tip, but the arc of travel is horizontal. It can also be done at the head/neck, or torso.
Rising Cut
These are the exact opposite of the Fendente, and are done false edge. You start at the opponents knee, and come out at his ear. The targets are the same as the Fendente.
This is a false edge cut, so you don't turn your hands over. Also you end up in the Long Ward every time, and only after getting there do you go into another ward.
Thrust
There are 5 places where the thrust can come from:
- High Left
- This starts on the Scholars left side, with the hilt up near the ear and thrusts into the Players chest.
- High Right
- This starts on the Scholars right side, with the hilt up near the ear and thrusts into the Players chest.
- Center
- This starts from the Short Ward, and goes into the Players chest.
- Low Left
- This thrust starts from Boars Tooth Ward, and thrusts into the Players chest.
- Low Right
- This thrust starts from Iron door, and thrusts into the Players chest.
There are no high and low center thrusts because they difficult if not impossible to do with both hands on the sword.
The Wards
Posta are body positions. They provide a convenient way to talk about options and things to do. In general you should move from a posta, through a posta and to posta. If you're attacking, then you will almost always cut through Posta Longa. If you're covering (ie defending), then you're most likely going through Posta Frontale. However, you could also find yourself going through Posta Breve just as easily.
The wards themselves are not exact positions. There are variations of Posta di Dona, in particular, throughout the sword in two hands sections of all the manuals. There are key ingredients to distinguishing the poste from each other, and determining the tactical abilities of each wards, but in general, they aren't to be taken exactly as the position pictured.
There is no explanation within Fiore as to why he names some wards Pulsativa, others Instabile, and yet others Stabile. One theory is that you start with Pulsativa, move through Instabile, and end up in a Stabile Posta. The exception to this is Finestra, which is listed between the Pulsativa Posta. One explanation is that this is a ward you end up in when you draw your blade.
However there is another explanation that doesn't appear to have any exceptions. The designation refers to the blade and it's relationship or attitude to the line. This has nothing to do with your attitude/relationship towards the line, or your attitude towards anything. You can decide to make an instable ward stable on the line. Your decisions and attitudes don't affect the poste's attitude however.
Think of the poste as Dennis the Menace, the line as Mr. Wilson, and Dennis's parents, Mrs. Wilson and everyone else in the Dennis the Menace world as various governing factors of a fight. Dennis's attitude towards Mr. Wilson is that Mr. Wilson exists for Dennis's amusement and prank victim. At times the parents will influence Dennis to not annoy Mr. Wilson. That influence of behavior doesn't change Dennis's attitude towards Mr. Wilson. In fact there is nothing that will change Dennis's attitude towards Mr. Wilson, there are lots of things that change his behavior towards him however.
This is the same with the Poste and their attitude towards the line. There are things that will influence what they do, but not their attitude.
Unstable Wards
The swords in these wards should be unstable in their relationship to the line. This means that on the defense, the will generally be better coming off the line, and returning to it then staying on it. Attacks from these wards are also better to come off the line, and return to it as well, thrusts being the exception. When laying in these poste, keeping the blade looser, or even moving it is better then leaving it motionless.
When laying in these wards, I don't advocate movement that endangers you. Some people (especially new ones) will be intimidated by an opponent in Poste Longa waggling their blade like an epileptic weasel on speed. Some people won't. Some people will watch the tip, and so a slower wider movement might be better. Others won't fall for any of these tricks, and so just holding (not in the sense of gripping the sword) the blade loose with regard to the line is better.
The key is the relationship of the sword to the line, not the tactics that you use. The tactics you use should be determined by your situation and your opponent, the governing philosophy of these wards is that they are flexible with regard to the line.
Front Ward
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This is Posta Frontale, called by some masters Posta do Corona, which is good for crossing and for the thrust she is also good that if he gives a high thrust she crosses passing out of the way. And if the thrust is low also she passes out of the way beating the thrust to the ground. Also she can do something else, that in the placing of a thrust turn with the rear foot and come with a fendente through the head and through his arms and she goes to Dente do Cengiaro and quickly throw a thrust or two with an accrease of the foot and return with a fendente to this particular guard. |
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Long Ward
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Posta Longa is filled with deceit. She goes probing the guards if she can trick the companion. if she can wound with the trust then she knows well how to sidestep his blows and injure use more deception than the other guards. |
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Two Horned Ward
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This is the Posta do Bicorno that stays much public that always stays with the point in the middle of the road. And that which Posta Longa can do this can do. And similarly I say this of Posta di Fenestra and of Posta Frontale. |
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After working with some of the German longsword guys, we have an idea on how Bicorno might actually work, and what it's used for. We think it's a defensive ward that you come to when covering a blow. It seems to work against sottani or fendente blows primarily.
Then there's this article from Guy Windsor, that makes even more sense.
Window Ward
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This is the Position of the Window that is always ready with malice and deceit. And of covering and of wounding it is Master. And with all guards it can question and with the high and the low. And from one guard to the other she often goes for she deceives the companion. And places great thrusts and knows how to break and to exchange these plays which she can can do well. |
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Pulsing Wards
These wards are attitudinally ambiguous with regard to the line. You can hold (not referring to how you grip the sword) them rigid or loose with regard to the line.
Both di Dona for instance have an alternate form where the blade is pointing right down the line. Porta di Fero can be done with the blade anywhere in the front right between 12:30 and 3:00. The blade, in terms of where it is on the line, is fluid. It can be held on the line. It can be off the line.
The name is also suggestive I think. Pulsativa, pulsive or impulsive. A pump fake of the blade could be considered a pulse. If you just want to react to your opponent, that's impulsive. Again these types of things are dictated by the situation, and skill of all the fighters involved.
Iron Door
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This ward is good against any hand held weapon, as long as your blade is not too long. You can pass with a cover, to close the distance. This is also an excellent ward for exchanging the thrust, and thrusting yourself. You can also break the thrust easily from this ward. Any cut you make from this ward, is also a cover, and you should always move with a step when doing so.
This is an excellent ward for defense, and threatening the attack.
Left Woman's Ward
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This is Posta di Donna la Senestra that of covering and of striking she is always read. She makes great blows and breaks the thrust and beats them to the ground. And enters to the Gioco Stretto plays of she knows how to traverse. These plays this guard knows how to do them well. |
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Woman's Ward
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This is the most common ward seen in the sword in 2 hands section of the getty manual. He shows it with both feet pointing to the rear, and sword behind the head pointing at the opponent. He shows it with the left arm up over the head, with the sword straight down the back. The one thing that they all have in common is that the tip is past the rear shoulder, and that the quillon are either at the shoulder, or above it. They all pretty much work the same.
Attack
You can make all 6 blows and thrust from here. Most wards, and covers can be broken because of the power generation.
In general, you want to advance traverse when making a cut. While you have a lot of power, it also takes a longer tempo to reach your target.
Defense
You can cover every line of attack. It's also easy to exchange, or break the thrust.
Stabile Wards
These wards have a rigid attitude towards their relationship to the line. They either have to be on the line, or off the line, and they don't change their minds about this.
Poste's Breve, Dente di Cenghiaro, Porta di Ferro Mezana and Dente di Cenghiaro all need to have their points on the line. They're at a disadvantage if they're off the line, even the slightest degree.
Coda Longa, on the other hand wants to keep it's point off the line. This gives it maximum time to react, and get the blade in play. It keeps the blade length hidden. It maximizes the distance from the opponent. In addition the fastest way to get it moving is to simply push down on the pommel, while throwing the quillons forward, if it's off line, this will cause the attack to be off line. Coda Longa has the same attitude towards the line, it's just in the opposite direction.
Boar's Tooth
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This is Dent di Zengiaro because this is the way that the wild boar strikes. She places great thrusts from below to end at the face and does not move with a step and returns with a fendente through the arms. And sometimes delivering a thrust at the face and goes with the point upright, and in that act of thrusting she accreases the foot that is in front and returns with a fendente to the head and the arms and it returns to its guard and quickly does another thrust with and accrease of the foot and it defends well from the Gioco Stretto. |
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Long Tail
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This is the position of the long tail that is extended backwards to the ground, it can place thrusts and in front it can cover and strike. And if it passes forward and strikes through with Fendente, to the Giocco Stretto it enters without failure, because this guard is good for waiting because it can quickly go into other ones. |
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Middle Boar's Tooth
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This is the Dente di Zengiaro lo Mezano and because there are two Denti di Zengiaro the one is Tutta, the other is Mezani therefor is named middle, because she stays int he middle o the body and that which the said tooth can the middle tooth can do. And in the same way of the Wild Boar does the traverse in this way he does it with the sword which always wound with the sword traversing the sword of the companion. And it always throws thrusts and discovers his companion and always destroys his hands and sometimes the head and the arms. |
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Middle Iron Door
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This is Mezana Porta di Ferro because she stays in the middle and is a strong guard but she requires a long sword. She throws strong thrusts and beats with force the sword upwards and returns with the Fendente for the head or for the arms and also she returns to her guard. But she is called porta because she is strong and moreover is a strong guard who is evil and can break without peril and coming to close. |
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Short Point
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The key to this ward is footwork and keeping moving. Keep the blade on-line, and use the thrust to constantly probe your opponents defenses. The blade's point staying on the line keeps you opponent from closing. This is why it's a stable ward, that has no stability. The blades attitude towards the line, is that it must stay on the line, however body's attitude towards the line is that it must get off the line.
Use footwork and the thrust to keep your opponent off guard. Constantly moving and thrusting keeps your opponent off balance and adjusting to what you do, allowing you to confuse your opponent and hide your real attack.
Think of the way a boxer uses the jab. Jab, move. Move, Jab. Jab, right cross. The jab probes and creates a hole for the right. The thrust probes and creates a hole for the cut. Just standing their and jabbing leaves you a target, and not threat. So does just standing their and thrusting.
Analyzing the Posta
We mentioned in the beginning of the sword section that knowing the posta was the key to winning without coming to the cross. This section analyzes the various posta for strengths and weaknesses.
Once again, for the sake of discussion we divide the posta pairings into two types. The first are the contrary posta, and the others are the non-contrary wards. While there are more non-contrary ward pairings then contrary pairings, we start with the contrary pairings in a fight. The first thing you need to do is figure out your opponent, and doing so from a contrary ward provides the safest way to do this. If you already know your opponent, then this is much less important.
Contrary Posta
Some wards are naturally contrary, and by this we mean that neither ward has an advantage to the other. All wards are contrary to themselves (di Dona vs di Dona offers no tactical advantages), except wards where the point is forward. Posta where the point is forward, the more extended blade has the advantage.
An extended blade is one that is closer to your opponent. The sword itself could be longer, the arms holding the sword could be longer as well. The heights of the opponents can make difference as well. Then you have sword position, even though your opponent may have a longer sword, and longer arms, if you're both point forward, and your point is closer, your more extended.
The existing manuals all have different pairings. In some cases all three have at least one ward in common, and just pair it with something else. I think they all have the same purpose, they are contrary to each other.
| Wards | Manuals Found in | ||
|---|---|---|---|
| Getty | Pissani-Dosi | Morgan | |
Bicorno vs Choda Longa |
Y | ||
Breve vs Dente di Cenghiaro |
Y | ||
| Breve vs di Dona Senestra | |||
| Breve vs Finestra | |||
de Donna Destraza vs Porta di Ferro |
Y | Y | Y |
de Donna Senestra vs Finestra |
Y | N | N |
Dente de Zenchiaro Mezana vs Frontale |
Y | ||
Finestra vs Porta di Ferro |
N | Y | Y |
| Frontale vs Longa |
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Longa vs Porta di Ferro Mezana |
Y | ||
My interpretation of these "pairings" as being contrary, and that they are done on purpose, is not the only one. There are those who say that the wards had to be listed in some order, and this is the order that came up. Some people believe that the order is the order of the most common wards to least common (and di Dona is seen a lot, as is Porta di Fero).
My argument for these being "paired" is based on this passage from the beginning of the manual:
The guards, or "positions" are easy to recognize. Some guards will be set against one another and will not touch one another, studying each other to see what the opponent may do. These are called poste, or guards, or First Masters of the fight. They will be wearing a crown, meaning that the position in which they wait is optimal for defense.
You can find this quote in Tom Leoni's excellent translation of the Getty manual, here. If you're serious about studying Fiore, you have to have this translation.
In all three manuals the pictures of the poste have crowns on their head. They are optimal for defense. They are set against one another, don't touch, and are suited to studying the other and seeing what they will do. I take this last part to mean that your offering an invitation to the other ward to do what it does best. I think that's why the poste are front or back weighted the way they are. I also believe that a large part of these "pairings", is selling the invitation.
If you're opponent is comfortable in the poste, and they aren't taking the invitation, you know something about them. If they appear to be thinking about taking the invitation, you know something else. You study your opponent by studying their reaction to the ward you're in. If you pick a ward, watch which ward your opponent picks. You study their reactions. You gauge skill and knowledge in this way.
At the very least, they give us a place to talk about analyzing wards and how they're used, and opposed.
Bicorno vs Choda Longa
The key to understanding this pairing is in the description for Coda Longa and Bicorno. Fiore says that Coda Longa is good at coming to the close play, while Bicorno is good at preventing the close play. These two oppose each other quite nicely, just by their very nature. However with Bicorno sitting at a 45 degree angle up, dangling the torso and legs in front of Coda Longa, it also shows the nature of long tempo vs short tempo wards as well.
If Coda Longa makes any attack, Bicorno thrusts. Coda Longa's long tempo attacks are a detriment attacking into Bicorno's short tempo thrusts. On the other hand if Bicorno attacks with a thrust, the long tempo nature of Coda Longa allows it to easily Exchange Points, or Break the Thrust easily. Against any other Bicorno attack, Coda Longa can counter with a powerful Fendente counter cut, or a Sottani. Attacking first with either ward is not good.
Fiore also states that whatever Longa can do, Bicorno can do. So you can substitute Longa here, however remember that Longa is by it's nature a Longer Ward, and so does not offer the same tempting body and leg targets that Bicorno does. In order to entice Coda Longa into attacking, Longa will have to offer a tempting target. This is the chief difference between these two wards, and this pairing shows that off nicely. While they both can do many of the same things, they do them in slightly different ways, and those differences are crucial to understanding the wards themselves.
Breve vs Dente di Cenghiaro
Two aggressive wards, that cancel each other out. Breve must move, while keeping it's point on the line, while Dente di Cenghiaro waits coiled, ready to launch a devastating thrust. Breves movement is what keeps Dente di Cenghiaro from attacking, if Dente di Cenghiaro can shift his blade over to come from the low right, he moves Breves sword out of the war in what is essentially Exchange of the points. If Dente di Cenghiaro makes a straight thrust then Breve can exchange points.
It would seem that Breve can edge in, and end up with it's point closer to Dente di Cenghiaro, but this is not necessarily true. Both wards have to be aware of their hands and arms. Breve's arms are leading it's body, while Dente di Cenghiaro on the other hand, has one arm tightly wrapped around it's body and the other at the side of it's hip. This means that Dente di Cenghiaro will almost always have it's point closer to Breve's hands, then Breve is to Dente di Cenghiaro. Both thrusts, from either ward can be in the time of the hand. This makes it very dangerous for Breve to try to edge closer. Things like body size, and exact position as well as other factors can influence this, but it will be generally true.
Dente di Cenghiaro must get Breve to either commit to an attack, or in moving step close to close. If Breve gets close enough that Dente di Cenghiaro can advance even to, or past Breves point, Dente di Cenghiaro has the Exchange of Points. Dente di Cenghiaro has a good thrust, and an okay rising cut from here. Breve's point being forward makes either of those attacks vulnerable to an Exchange of the Thrusts. However, if Breve stays in one place and waits too long, Dente di Cenghiaro can actually attack using Exchange of the Thrusts. Should Breve's point wander from the line, not only does that allow Dente di Cenghiaro to Exchange, but the Exchange can be Dente di Cenghiaro's strong to Breve's weak.
Breve must move, the point must stay on the line. These two things seem contradictory, but they aren't. If Breve can convince Dente di Cenghiaro to make it's thrust too early, it can Exchange the Point. If Dente di Cenghiaro's point drifts to far from the line, or crosses it, it can find it's hand victim to a fast Fendente, followed by a fatal thrust. Breve uses footwork to keep from being Exchangted, and to convince Dente di Cenghiaro to attack
de Donna Destraza vs Porta di Ferro
de Donna Senestra vs Finestra
This particular pairing pits a ward suited for thrusting, against a ward suited for breaking the thrust. Posta di Dona Senestra can also make excellent Fendente's, but takes a longer tempo to get the blade around to attack, in this long tempo Finestra can thrust. However, with the blade cranked around the back of the head, di Dona Senestra is also nicely suited to deliver it's own thrust should Finestra takes it's point off line to deliver it's own fendente, mezzana or sottani. In their response to any cut, both wards do the same thing, deliver a thrust before the cut can materialize.
Where they differ is in their responses to the thrust. Both can, and should, respond to a thrust with either Breaking the Thrust, or Exchange of the Point. However, Finestra has some very bad obvious responses, that di Dona Senestra does not have. Finestra is back-weighted, but the sword remains forward. As di Dona moves to attack with a thrust, there is a temptation to simply set the incoming thrust aside, with Finestras point, and wheel the blade into a Fendente. This would tend to keep Finestra's blade inside di Dona's, and therefore gives the appearance of safety.
The first problem with doing this, is that Finestra's blade is trapped on the inside, when the blades Cross at the Tip. The only option here is for di Dona to cut to the other side, and with a traverse to cut Fendente to the other side. If di Dona misses the crossing at the tips, then the two will end up crossed at the middle, again, since Finestra's blade is trapped inside of di Dona's, there is little Finestra can do to stop Finestra from either grabbing the blade, or more likely aiming a fendente at Finestra's hands. Finally, if di Dona misses both the crossing at the tips, and the crossing at the middle plays, di Dona can simply push the exposed Finestra elbow.
As with all the contrary Posta, both these Posta have the exact same options, and responses. What makes this pairing different, is the particularly bad response Finestra has to a thrust. It should also be pointed out that contrary posta are used to see what you're opponent will do. One of the things you can test, especially from di Dona with this pairing, is what your opponent will do when di Dona thrusts, as long as you're prepared if Finestra decides to Exchange, or Break the thrust.
Also, looking at how these two are paired, they are both back weighted with the sword as far back as you can get it. Posta di Dona is cranked around to expose the back to a thrust, while Finestra is also back weighted and inviting the Fendente that di Dona wants to deliver with such power. Since Finestra's blade is withdrawn so far back, Finestra is also guarded against the possibility that di Dona Sinestra can come the narrow plays, as di Dona Sinestra is so good at.
Dente de Zenchiaro Mazana vs Frontale
Frontale threatens the fast cut, while Dente de Zenchiaro Mazana threatens a quick thrust to the hands. This keeps the two from immediately attacking. If the middle boars tooth takes the point off line, Frontale will deliver a quick fendente to the head, followed by a thrust, in classic Fiore. On the other hand if Frontale extends to far, or otherwise exposes the hands, they'll receive a point through them quickly.
Range is also a key player here, too close and Dente de Zenchiaro Mazana can end up with the point closer to the hands, then Frontale is to the head. In addition to range, if either player is off the line, Frontale has an advantage.
If Middle Boars Tooth attacks first, the point is easy to slip with an advance traverse, and uncovering the head. Should Frontale attack first, it exposes the hands to attack. Even if Frontale leads with a traverse, the hands are exposed during the transition, and it's easy for middle boars tooth to adjust as well.
Both wards can be considered aggressive wards in and of themselves. However, should either player be overly aggressive, they'll expose themselves to the other. Controlled deliberate aggression may also seem to be an avenue, however, a slight mistake, or misjudgment can bring disaster. Again we see that the way to win is to be patient, and encourage your opponent to make the mistake.
Finestra vs Porta di Ferro
This pairing is interesting because of what Fiore says about di Fenestra: "And of covering and of wounding it is Master", while of Porta di Fero he says "This is also an excellent ward for exchanging the thrust, and thrusting yourself.". So the obvious thrust that di Findestra has will not work against Porta di Fero. Porta di Fero will easily be able to exchange the point or break the thrust.
Fiore also says "that it is always ready with malice and deceit. And of covering and of wounding it is Master." of Finestra, and this is the key to winning vs Porta di Fero, deceit. The key for Porta di Fero to win is to not be deceived into moving too early. While it may seem that Porta di Fero has the ability to exchange the points while the opponent is lying in di Finestra, this is not the case. Posta di Finestra is an instabile ward, and so any attempt at the point can easily be deceived.
If Posta di Finestra can advance traverse, while Porta di Fero's blade is too close to the line, Porta di Fero can easily be defeated here. Keeping the blade off the line for Porta di Fero is the opposite of what di Finestra must do. Finestra taking it's point off line removes the threat, and can give Porta di Fero an opportunity for it's own thrust.
However, in order for Finestra to make any cut other then a thrust, it's point must move off line. Combining that cut with footwork could deceive Porta di Fero into making a mistake. This is the game, di Finestra must deceive while Porta di Fero must be iron willed to not be deceived.
Frontale vs Longa
This pairing, out of all of them, is the most likely to happen by accident. Mostly by having one person attempt to cover a cut. At that point one person is in Frontale, while the other is in Longa. Granted both players have to make a mistake in judging range for this to happen, so among experienced players, not as likely. Another way would be for someone to be stepping back when the other was thinking they were coming forward.
Like every other point forward ward pairing range is a critical issue. If Longa is to close, Longa will end up with his weak, against Frontale's strong. However, Longa can use this to entice Frontale to the attack. If Longa doesn't commit to the thrust, then it is easy for Longa to deceive Frontale.
As with every pairing we've seen with Longa, Longa must use it's range to draw an attack so it can counter it. Just as with any other ward paired with Longa, Frontale must see through the deceptions and encourage Longa to more commitment his attempts to draw a response.
Longa vs Porta di Fero Mezana
Both of these are point forward, and so one would assume that Longa has the advantage here, because it is the most extended blade, however it has the same distance to travel as Porta di Fero Mezana. This means that Longa is not in fact more extended then Porta di Fero Mezana. More extended also means, closer. That's why these two posta are contrary.
If Longa attacks Porta di Fero Mezana with a cut, Porta di Fero Mezana retaliates with a sottani deflection, stepping off the line and return with a Fendente to the arms. If Longa attacks with a thrust, then Porta di Fero Mezana will break the thrust, and return it's own.
If Porta di Fero Mezana thrusts or cuts, then Longa can traverse, and cut, or directly wound the arms. Which Longa chooses depends on circumstances. If Longa can, the fastest thing to is to directly attack the arms, and then step off the line. Most of the time, sidestepping the blow and returning a cut of it's own is better.
Longa really needs to probe against the other wards, and get them to make a mistake, and then retaliate. This is also true vs Porta di Fero Mezana. This companion ward can easily stop anything Longa tries directly. This means being somewhat more active the Porta di Fero Mezana. Porta di Fero Mezana on the other hand needs to be patient, and invite Longa to over commit on a probe, or to actually attack. If Porta di Fero Mezana attempts to move to early, then Longa will deceive it, and win.
Beginning Skill Building
This section is about getting a student used to moving, wards and cutting correctly. Emphasis is on learning one single skill at a time, while the advanced skill building exercises will work more on combining these skills.
Some of these exercises will require a partner, others will not.
If you have exercises that you use to teach, or improve skills, the add them in the comments section!
Tag - Paired Footwork and Measure Drill
This exercise emphasizes correct footwork and using it to control measure. Both students start at Gioco Stretto, in Posta Breve. Both move at the same time, with about 2 seconds in between each move. The idea is to be able to tag your opponent with a thrust or cut from Breve, without being touched in turn. If either student moves incorrectly, or out of short ward, then that student loses.
The 2 second lag between movements is to give the students time to think about what they're going to do next, as well the instructor time to make sure that everyone is still correct. As students increase in their skills, you can reduce the time as well, increasing the difficulty.
Fiore Dance
This is a Bob Charon creation, and he gets the praise and blame for it. This was originally found on Sword Forum International
- Begin in tutta porta di ferro. Facing north.
- Look to your left and make a tutta volta into posta di donna (variant with arm over the head, sword sloped down your back). Back weighted. Facing south.
- Transition into posta finestra destra. (Just raise your hands over your head.)Almost all of your weight in on your back foot. Facing South
- Volta stabile into posta di donna sinistra. Back Weighted. Facing north-west.
- Volta stabile and cut out into posta longa. Forward weighted. Facing south.
- Pass forward into porta di ferro mezzana. Forward weighted. Facing south.
- Pass back into posta breve. Neutral weight, or slightly forward. Facing south.
- Pass back into dente di cenghiaro. Facing south.
- Volta stabile into coda longa. Forward weighted. Facing north-east.
- Volta stabile back the way you came and then pass into posta bicornu. Facing south-west
- Transition (with weight shift) into posta frontale. Forward weighted. Facing southwest
- Pass back with slight volta stabile into dente di cenghiaro mezzana. Facing south.
- Volta stabile into tuttta porta di ferro (full iron gate). Facing north.
Drills for Posta Porta di Ferro
Here is a list of various things to work on from this ward.
- Exchanging the thrust
- Breaking the thrust
- Delivering thrusts with a step
- Fendente defending against Fendente
- Sottani defending against Fendente
- Mezzano defending against Fendent
- Fendente/Sottani/Mezaano cuts defending against Mezzano
- Fendente/Sottani/Mezzano cuts defending against Sottani
- Sottani cuts vs a Fendente are in particular a good thing to work on.
When defending against a cut make sure aht you are passing forward as you do so, slightly off the line. Remember that with with every blow you should pass or step. Also not all of these combinations are good, some are better then others. However, don't take our word for it. Try it yourself. Whether things work for you, depend on your arm length, leg length, torso length, strength and other attributes that make it difficult to say that anything works the same way 100% of the time.
Drills for Posta di Dona
The first skill to master, is the foot work. Practice stepping off the line with your front foot and then passing forward. You should be able to do this in either direction.
The first footwork drill
- Left foot forward
- With the front foot, step forward and to the right
- Then with the back foot, pass forward and end up 45 degrees to where you started.
The second footwork drill
- Left foot forward
- With the front foot, step forward and to the left
- Then with the back foot, circle it around behind and end up 45 degrees to where you started.
Once your comfortable with the footwork, you can begin working with the cuts and thrusts. You should be able to comfortably make any of the cuts or thrusts from this ward.
Using Posta di Bicorno
Start in Posta di Donna Destraza, begin making a Fendente, only pull the blow short moving directly into Posta di Bicorno. Since your tip is at a 45 degree angle, raise the pommel (which will drop the sword point), and either accressere or pass into your opponent.
Doing this against a Fendente results in your opponents blade being stopped, and trapped under the false edge of the blade. It leaves you in a really nice position with your point in your opponents face, and your opponent has to scramble to deal with it.
High Line Sequence
This sequence is designed to teach you to move, cut and transition through wards staying in the high line. Each cut assumes you stop at Posta Longa, before you transition to the ending ward. Also remember that this assumes that you move as each ward is supposed to. In particular, Di Dona always starts with a pass traverse.
| Starting Ward | Cut | Ending Ward |
|---|---|---|
| Posta Di Dona | Fendente | Sinestra Di Dona |
| Sinestra Posta Di Dona | Punte | Posta Finestra |
| Posta Finestra | Punte | Posta Sinestra Finestra |
| Posta Sinestra Finestra | Mezani | Posta Longa |
| Posta Longa | Fednente | Frontale |
| Posta Frontale | Reverso Mezani | Posta Di Dona |
| Posta di Dona | Punte | Posta Longa |
| Posta Longa | Reverso Fendente | Posta Di Dona |
Zohgo Largo - Wide Play
Wide play is defined as both the Scholar and the Player right shoulder back ( or left, if you're left handed), and may need an advancing step to come into range. This section deals with the things that can happen at this measure.
There are in essence three things that can happen as the result of a cut. The first is that you can succeed, in which case, the fight is over. The second is that you miss, and the fight starts again, only in different wards this time since you both moved. The third thing that can happen is that you can end up with crossed blades. This is where you need to know what to do.
There are only a limited number of crosses. If you are crossed with your strong (bottom half of the blade) to your opponents weak (top half of the blade), you have a mechanical advantage, and can immediately launch your own attack, or improve your position. You can also end up so that your opponents strong, is against your weak, in which case you need to do a hail mary retreat and cover yourself as best you can. Finally you can end up crossed at the tips, the middle of the blades, or the back of the blades.
We deal with being crossed at the tips, and the middle part of the blades in this section. Getting crossed at the back of the blade is dealt with in Zhogo Stretto ( narrow measure) section.
Since you can also attack with a thrust, this section shows you two different ways to deal with that possibility. Finally, we cover some things that don't exactly fit neatly into being crossed, or thrusting.
Dealing with the Cross
This section deals with what happens at wide play, when you and your opponents blades cross.
Crossed at the Tip
This play teaches that when you are crossed at the tips in wide measure, you must immediately do 1 of two things, you either slip the blade and cut, or thrust to the face. If you feel pressure, you slip and cut, otherwise thrust. If you hesitate, even to make the decision, you'll end up with the thrust to the face. This play can be symmetrical, depending on wards, blade position and measure. How you got crossed at the tips, also doesn't matter, merely that you are crossed at the tips.
| Tempo | Performer | Starting Ward | Cut/Action | Footwork | Ending Ward |
|---|---|---|---|---|---|
| 1 | Player | Posta Di Donna | Fendente | Right Pass Traverse | Posta Longa1 |
| 1.5 | Scholar | Porta Ferro | Fendente | Left Advance Traverse | Posta Breve2 |
| 2 | Player | Posta Longa | After going into Posta Breve, presses the Scholars blade to regain the line | Posta Breve |
| Tempo | Performer | Starting Ward | Cut/Action | Footwork | Ending Ward |
|---|---|---|---|---|---|
| 2 | Player | Posta Breve | Presses Scholars blade to regain the line | Posta Breve | |
| 2.5 | Scholar | Posta Breve | Slips around Players blade, and makes a falling cut | Advance (optional) | Posta Breve |
| Tempo | Performer | Starting Ward | Cut/Action | Footwork | Ending Ward |
|---|---|---|---|---|---|
| 2 | Player | Posta Breve | Hesitates or drops his blade under the Scholars | Posta Breve | |
| 2.5 | Scholar | Posta Breve | Punte | Advance (optional) | Posta Longa |
Explanation
The Player (left), and the Scholar (right) square off in Posta di Donna vs Posta di Ferro. As Fiore states when attacking from Posta di Donna, that if the attack steps off the line they'll find their opponent open. So, the Player pass traverses and begins his fendente. The Scholar, not liking this at all, does her own advance traverse and fendente.
Both the Player and Scholar are crossed at the tips. However the Player is in Posta Longa, while the Scholar is in Posta Breve. The Scholars left advance traverse has caused the tip of his blade to be pointing at the Players shoulder. While the Scholar does not have a mechanical advantage, he does have a tactical one.
The Player has lost a tempo, and her point is offline. If she moves into any other ward, the Scholar will attack, and with his blade inside hers, and her spent in Breve, she has few options to defend. If she attempts to fall back into Posta Coda Longa, she may not be able to move back fast enough to void the Scholars thrust. If she attempts to move into Posta Porta di Ferro, again she will get a thrust in the face. She can move into Posta Breve, or through Posta Breve to Posta Cenghiaro. Moving into Posta Breve, still leaves her sword offline, and his sword inside hers however. So, she presses his blade in attempt to regain the line. If she attempts the move through Posta Breve to Posta de Cenghiaro, she still has to press his blade, and so the result is the same.
As soon as the Scholar feels the pressure on his blade, he slips his blade over hers, and cuts fendente into the arms, or head depending on whats available. The Scholar needs to take care the he stays as close to the Players blade as possible, without touching it. Any pressure on the Players blade, and the Player can turn the tables on him. If the Scholar winds up with a cut to the arms, then he should immediately turn that into a thrust.
It's possible that the player could hesitate, or drop his blade in attempt to get under the Scholars blade. Either of these gets the same response, a quick thrust to the face. Depending on range, and exactly what the Player moves, some footwork might be necessary to increase the safety of the Scholar. In addition the thrust is with the blade horizontal, so the quillons provide protection for the hand.
If you take Fiore's statement to "Turn the blade and cut to the other side" literally, you are not safe. Your opponent can drop his blade and cut into you at the same time your cutting him. You also don't really end up on the other side, even though you've gone from a right fendente to a left fendente. The solution is to have the Scholar slip around the Players blade into a fendente. This is a tear drop shaped motion of the blade, that should make as little contact as possible with the players blade, and is not a move into Posta Frontale.
Notes
- The player should be cutting through Posta Longa into Porta di Ferro Mezana, but gets interrupted by the Scholar. When practicing for the first time, go ahead and stop in Posta Long to give the Scholar time to do his action. You eventually want to do everything at full speed.
- The Scholars tip should pointed toward the Players outside shoulder, and clearly have a line of attack
Crossed in the middle
This play teaches what happens when you're crossed at the middle of the blade. You have 2 options again, either traverse and cut to the arms, or if your opponents blade is close enough, grab his blade, and attack.
| Tempo | Performer | Starting Ward | Cut/Action | Footwork | Ending Ward |
|---|---|---|---|---|---|
| 1 | Scholar | Short Ward | Falling Cut to Players Arms | Advance Traverse1 | Short Ward |
| 2 | Scholar | Short Ward | Thrust | Pass or Advance2 | Long Ward |
| Tempo | Performer | Starting Ward | Cut/Action | Footwork | Ending Ward |
|---|---|---|---|---|---|
| 1 | Scholar | Short Ward | Left hand grabs opponents blade, gripping it above his own. | Short Ward | |
| 2 | Scholar | Short Ward | Falling cut or Thrust, Kick if close enough after3 | Pass | Long Ward |
Explanation
First Solution
The player and scholar have started as they did in the first play, only they are crossed at the middle of their blades. Their hands and arms are closer then in the first play.
The scholar takes a traversing step and gets a very nice line at both arms of the Player. The scholar cuts fendente into the arms. The scholar is prevented from the thrust by the closeness of the hands, and the angle of the blades themselves. The scholar has to only grab the Scholars blade and counter attack herself.
The traversing step can be either a passing, or advancing traverse, depending on range, and other circumstances. The farther along your opponents circle you go, the better a line you get at the arms and hands. However, the longer it takes as well. You need to move far enough that the Players quillons are out of the way, but not so far that the Player has time to do something else.
As always a cut to the hands or arms leads to a thrust to the body or face.
Second Solution
The second solution is to simply grab the blade, cut or thrust, and kick your opponents leg. When you grab the opponents blade, you do so with the palm out, and thumb down. If you grab it any other way, you risk getting your hand cut. After you grab it, you can rotate the grabbing hand palm in, while bringing it to your hip. You can also leave it in place, as shown.
Now you can immediately launch an attack of your own.
Or, if you like, kick your opponent.
Notes
- If you take a wider step, this gives you a better line to the players arms, and you're able to cut both.
- Whether the Scholar advances, or passes will depend on the measure between the Scholar and the Player.
- Once you have grabbed the blade immediately make your thrust or cut, then if you're close enough, you can kick into the Players knee/shin area.
The Scholar starts in Posta Coda Longa, while the Player starts in Posta Breve. The player makes a thrust from the center. 
The Scholar defends this with an advance traverse, and cuts Fendente into Posta Breve. This cut into Fendente is not strong enough to beat the thust into the ground. This can be intentional
With an advance ( or possibly a left advance traverse, depending on positions)the Scholar can easily place a thrust into the Players face. The finish (not shown), should be with a Fendente, and a Pass Traverse off the line. If the Player is armored, or the thrust misses for some reason, the Fendente and pass traverse will make the situation safer.
If the Player hesitates in beginning the first solution, this becomes the solution. The Scholar grabs the middle of the handle of the players blade, and pulls.
You can only break a thrust when your hands are higher then your opponents, so the Scholar starts in Posta di Dona, while the Player starts in breve. This creates the situation we're looking for. The Player makes the thrust, while the Scholar immediately advance traverses his right, and cuts Fendente to breve, aiming for the middle of the Players blade.
The Scholar start as if this is a normal attack, and makes the same defense as in Plays 1 and 2. Namely, a left advance traverse, and a fendente into Posta Breve. The player starts in a ward that Fiore doesn't teach, Posta di Falcone. The ward that the player starts in isn't important to the Scholar, however it keeps the Player from training a very bad habit in performing this cut.
It's at the moment that the cross happens that the Scholar recognizes something is wrong. The Player is too deep, and the cross is not happening at the tip, or the middle, but deeply into the strong of both blades. The Scholar risks being overpowered. 
The Scholar must immediately pass traverse to the left. The Scholar simultaneously moves into a Left Posta Finestra. This gets the Scholars body out of the way as quickly as possible, while deflecting the Players blade away from him. If you advance traverse to the left, the Scholar will not get far enough away from the blade to be safe, either from another cut, or a grapple.
Now the Scholar rotates his back leg around, and has his choice of cuts or thrusts. How many targets the Player has will depend on how deep the Player has stepped, and how overbalanced the Player is. Even if the Player is just overpowering, and not overstepping, the Scholar still ends up with very nice lines of attack.