Hypotheses or assumptions are not principles per se, nor are they clear to everyone, but only to those who make them, and they can also be false, as demonstrated by the rule in Arithmetic known as False Position. In Astronomy, the hypotheses that have been crafted about the heavens, the one by Ptolemy is accepted as true; but many others are not true, like the one by Copernicus, which assumes that the Earth moves and that the Sun is fixed at the center of the Universe: however, the conclusions drawn from it are true. In our work, and specifically in this one on the management of the weaponized instrument known as the Sword, we will adhere mostly to the Definitions, Requests, Axioms, and Hypotheses as accepted by the venerable authority of the ancients, whose understanding we will begin to explain in alphabetical order.
ABSTRACT
Abstract, this term is clarified with the above; in such a way that it is something common to many particulars, special or general. Pedro is good, the Sword is good, the movement is good; goodness is attributed to these subjects. And because they all agree in having goodness, this term, Goodness, is abstracted from the more particular subjects in which it is found.
ACTION
Action is an emanation through which the effect derives from its cause while it is being produced; this is considered even in the instantaneous. The fencer refers to it as instantaneous (because it truly isn’t) as it happens over time; however, due to its brief duration, it is termed so (in contrast to other actions termed permanent), or because the pose or posture needs to be quickly dissolved or removed. In this scenario, the action is considered not in the principal act but in what follows it. This term is transcendent and encompasses all.
Action of the active potency is an accident dependent on the substantial form, by which the doer moves towards the receiver. It’s a movement directed to produce some form: if substantial, it’s called generation; if accidental, it’s alteration. It divides into intensification or remission, or it’s termed augmentation if related to quantity, or local movement if it’s the acquisition of a new place alone. This movement, as it emerges from the operator, is termed Passion; thus, action and passion are the same movement. In fencing, it is regarded as a genre, with species being the accidental action, emanating, and immanent, intrinsic and extrinsic, voluntary, and necessary.
Accidental action is any movement outside of natural. Emanating action is that which passes onto another, like pressing, forcing, subjecting, diverting, and perfect attacks. Immanent action is that which remains within the doer, such as the movements of inviting, providing an opportunity, feints, and steps. Extrinsic action is that which is visible to us, like raising the arm, moving the sword, or moving the body from one place to another. Intrinsic action is that of the animal virtue in the mobile, in all internal operations: in humans, it divides into two - the first being spiritual, which is understanding, loving, and remembering; the second, which is common, is that of the muscles, tendons, and cords, which compose and organize the human body. Voluntary action is what the man does for some end, purely by his will. Necessary action is the natural movement, following the violent one.
ASSAULT
In general, an assault is a limited act, without final resolution from itself. It’s a feigned idea, cloaked in deception. It’s a cunning stratagem, a threat without execution, and the wound that results from it most of the time isn’t of its same kind. It has two distinctions, perfect and imperfect; and by types, circular, semicircular, and straight. A perfect assault is one that has parts proportioned to wound, forcing the opponent to change posture; it’s when the fencer draws a diagonal line squared to the opponent’s face, and the stance corresponds; and by the union it then has with the opponent’s sword, passes below it to form a reverse cut, with a concluding movement. An imperfect assault is made directly to the face when the stance is given by the line of the common diameter, and the same effects will follow. It’s also termed impertinent when, regardless of the type executed from the outside, it’s attempted without breaking the distance of proportion.
Circular assault is when a slashing wound is formed, and without executing it, a reverse cut is formed and executed; and an assault of a reverse cut, but a slash is executed. Semicircular assault is that which is made with half a circle, or a portion of the larger or smaller one, from top to bottom, or vice versa; it can be imperfect if executed with a lack of distance or disposition, and perfect if it has distance and disposition. Straight assault is when, with accidental movement, a thrust is made directly from the line of contingency to the face and no further below; it can be either perfect or imperfect, depending on the beginning and end of such movement.
ACT
An Act is a connection between power and object, and arises from both. It is distinguished as intrinsic and extrinsic (as mentioned in the action) and as active and passive. In Fencing, it’s categorized as a genre, and its species are: active, common, corruptive, dispositional, generative, passive, privative, permanent, instantaneous, particular, mixed, of union, proximate, and remote. Active Act is the manner in which the fencer prepares to strike, based on a proportional medium, and deprives the opponent of the ability to strike by controlling their sword; and everything else where he does not suffer from another or resists their actions. Common Act is that which, when performed by one of the combatants, gives the opponent the same disposition they took for themselves. This is found in the middle of proportion of equal weapons, and likewise, in the common distance. It is both active and passive. Corruptive Act is the one that approaches another entirely in non-being, and in both considerations is active. Passive Act is what one does being propelled by the force of another. Privative Act is a form in which the fencer deprives their opponent of the general power to act or the particular one, or reduces them from general to particular, and from particular to none. Permanent Act is when one strikes the opponent prematurely or after the time; either by the posture of the sword, arm jurisdiction, or by gaining degrees to the profile, through the shortcut, the right angle, or the concluding movement. With these, one can continue to strike. It’s called this way because one can remain in any of these positions, as the opposing sword remains where, without new movements, it can’t strike. It’s both active and passive. Instantaneous Act is when one strikes the opponent at the beginning of the slow movement, or the primary natural movement, when the sword is removed from the one controlling it, swiftly moving to the proportional medium. Particular Act is dispositional, and what any of the combatants do, without transferring it to the opponent. Mixed Act, both active and passive, is what the dominated sword does, resisting the action or impulse of the one dominating it. Act of Union, both active and passive, is when a movement that the opponent begins is matched with another of its kind, causing it to finish earlier than it would have, if it were just by its mover’s action. Proximate Act is when there’s nothing mediated between it and the power, like between sight and light, or between the end of a violent movement and the start of a natural unimpeded one. In Fencing, it’s when the proportional medium of a trick has been chosen, and there’s no impediment to execution.
Remote Act is one that follows from a distant power, and something mediates between the two, without which it wouldn’t exist. Like the ability to reach Spain, where between the power and the act of arriving is the mediated aspect, which is navigation. In Fencing, it’s when there’s neither distance nor a proportional medium for a certain strike.
AGENT
An Agent is the one who produces the action, according to how it produces it, and the one who actively operates in another. In this way, the active production is the action that comes from the agent. In another sense, an agent is an impulse that drives the actor to the point where he acts and through which potential is converted into action, and the act comes out of the potential. The agent is also the one that acts on another either actively or passively, such that in a subject there can be active action and passive reception. For the use and understanding of Fencing, it is distinguished as strong, weak, greater, lesser, minimum, active, and passive.
Strong Agent refers to the back edges of the sword, in relation to the other parts in which its quantity or length is divided. Weak Agent is the tip of the sword, in relation to the back edges or any other part, from them to the tip. Greater Agent is the body, which we call the Whole, in relation to the arm and the hand. Lesser Agent is the arm, in relation to the body and the arm of each, of which it is a part. Active Agent in Fencing is when one controls with greater degrees of force of their sword, that of the opponent, and the latter is not powerful enough to resist. Passive Agent is the sword that, with fewer degrees of force, wants to act on the greater force of the opponent’s by controlling or diverting it, which then suffers more than it acts. Both Active and Passive Agent is the inferior sword, which due to reinforced touch, can withstand the impulse of the one controlling it. At that moment, it both acts and suffers, by virtue of the aggregation, which is the act of the aggregative power.
AGGREGATION
Aggregation is the combination of some things while they remain distinct from each other, as when two swords are aggregated. This concept can be applicable or is evident in desires, increases, and other ends. From the material aspect of the aggregation of instruments, there arise aggregations of virtue contained within them, which a fencer can utilize if they recognize it. This is because often, aggregation is about power added to power; from such action, one’s desire can receive an increase, guiding them to act more, or to perform the same action with greater security or firmness. If a fencer does not recognize this, they will fail in their technique, for we would say that in the aggregation they found no power to act.
ANGLE
An Angle is formed from the touch or inclination of two lines that meet at a point and are not straight. These lines can both be straight, both curved, or one straight and the other curved. Based on these differences, specific names are given to the angle, calling it rectilinear, curvilinear, or mixed.
A Right Angle in a person occurs when one aligns the arm straightly, without involving any of the extremes from top to bottom. This encompasses its domain from the direct vertical to the chest’s diameter. A fencer will be positioned in a right angle in any part of its jurisdiction, in relation to themselves and their opponent, whenever they imagine a straight line passing from the direction line through the arm’s center, the sword’s hilt center, to its tip, or by the line imagined to pass through the hilt’s center (moved as far as possible from the body) occupies the common intersection of the primary vertical plane with the upper plane parallel to the horizon.
An Upper Right Angle in a person is formed when the body and right arm are positioned at the point where the shoulder meets the neck, also referred to as the arm’s jurisdiction. A Lower Right Angle in a person is formed by the arm’s straight line with the body’s vertical side. An Obtuse Angle is larger than a right angle, and in this position, the arm and body form a straight line. An Acute Angle is smaller than a right angle and is formed in low stances, where the arm is not entirely close to the body, nor the hand to the thigh. A Mixed Angle is formed from the touch of a straight and a curved line; in a person, when the arm is bent, and with the straight line considered in the chest (which we call contingent), it forms an angle in the right collateral line. An Upper Angle in swords refers to the sword that dominates above the one being dominated. Conversely, a Lower Angle refers to the sword that is dominated by the one dominating. An internal angle refers to the angle formed by the swords touching, corresponding to the body of each of the fighters. An external angle is formed when one sword is placed over another, corresponding to the outside part of each fighter. A corresponding angle faces the right arm and sword of the attacker. To open the angle means that when a sword is in touch with another, either dominating or being dominated, without disengaging from it, with only the movement of the arm or hand, it moves its lesser degrees of force away from the greater degrees of the opponent. As a result, the angles formed by the touch either have larger sides or change in kind.
See Closing.
DESIRE
Desire is an inclination towards one’s own good, according to the nature of each thing, and in any case, it is necessary to find it non-contingent. It is an abstract term from all particular, special, and general desires, and when narrowed down, it is considered in terms like increase, action, aggregation, accident, the appropriate, and other things, viewed as more specific than the mentioned name or as subordinates, even if they aren’t individuals.
ASPECT
Aspect in Fencing refers to the correspondence of faces, bodies, and lines of the combatants after having executed a blow or while in position. Equality is a form in which one thing is equal to another, in power, in discrete or continuous quantity, and its dimensions, in its own, appropriate, or accidental qualities; in the arrangement of places, or in the aspects, etc. Its manifestations are proportion, measurement, dimension, and weight. In Fencing, where we use it with particular principles and diverse ends, it is with four differences: one of opposition, juxtaposition, equality of equal aspects, equality of opposite aspects.
Opposition of aspects in Fencing occurs when both fighters are at a right angle, and their right feet touch the line that forms the circle’s diameter. This means they face each other directly, even if their bodies don’t precisely align this way. Juxtaposition is when one fighter looks straight at the other’s sword. Equality of equal aspects is when the fencer reaches the infinite line of his opponent, and occupying it, without cutting it off, their left side corresponds with the right or the right with the left, and both faces look in the same direction.
INCREASE
Increase is any majority that comes to the entity, either from the Art, nature, or exercise. This can either come to the body and its physical actions or the soul and its powers. This term, as a potential contingent, is also an abstract term that encompasses the desire mentioned above (since it is possible to increase) and other internal terms if it contracts with them.
GOODNESS
Goodness is the perfection that is considered in any thing. This is found in all things, because some perfections compose any subject, as integral parts in its physical being, while others adorn and illuminate it, like external qualities or accidents, making it more powerful for various acts.
QUANTITY
Quantity is a form whose subject is ‘how much’, and it is the reason things are said to be large or small, many or few. It is distinguished as continuous, discrete, and proportional: the continuous has two types, one of time and the other of space. Continuous quantity is the sword and all other things that have length, and the movement or movements of the technique, and the compass that is given by it. Discrete quantity is the number with which swords, compasses, movements, and angles are graded. Proportional quantity is one that, with another of its kind, has the same proportion. Continuous quantity in perpetual succession is also Time by which movement is measured, according to which in one and the other there are primary parts and postures that precede and follow. In another way, it is a Being in which created Beings are started and moved and have their beginning and end. It’s the novelty of things made up of many nows (called Now) according to before and after: it doesn’t have species, only parts, like centuries, years, etc. In Fencing, it is taken in two ways: the first by the very time in which all work has to be done, the other by the cut or reverse, resembling the year, which they signify by a circle that joins its end with the beginning.
CAPACITY
Capacity is a clear term and is properly considered in the agent and the passive; and often, the agent has more capacity to act than the passive has to receive, and vice versa. On occasions, they may have equality. Being more or less capable happens due to the accidents of place, instrument, time, quantity, and others. This capacity is also considered in angles, lines, movements, and compasses, taking them as subjects, although they are partial elements of the tactic.
CAUSE
Cause is where the effect depends on, so the cause is always before the effect, and always distinct and essential in its own right, because nothing created exists without a cause. However, there is a cause of causes, as Aristotle exclaimed. Natural causes in Philosophy are four: Material, Formal, Efficient, and Final; these are applied in Fencing, and the Instrumental cause is added.
In Fencing, the Material Cause is the movement, or movements, of both the sword and the body. The Formal Cause is the tactics and wounds that the fencer forms. The Efficient Cause of all movements in Fencing is the man. The Final Cause is the ultimate end (which is first in intention) of the movements of the tactics and wounds, encompassing and ending the other causes. The Instrumental Cause is the sword or any other weapon.
CENTER
Center is a term, or place, from which various effects originate and arise. In the physical and material sense, they arise from lines, movements, compasses, and angles. But in common terms that are explained, species are considered centers for the same reason. This name, or term, Appetite, is considered to be the center of all the others, because each one, according to its nature, has an appetite: in increase, there’s an appetite or inclination, which will be an appetite for increase: in the abstract, an appetite for the abstract: in action, an appetite for action: in aggregation, an appetite for aggregation: in the absolute, an absolute appetite, and in the accident, and all the others. And because appetite is predicated of these, they are said to have a center, which is the common Appetite, where they converge, like many lines to an end. If we talk about action, it’s the same, because appetite is action; and in increase, and the others, as long as they are acting or producing. Because of this affinity they have with the name Action, when considered as actions, their center is the action, since they converge and gather there. The same applies to increase, and the others, and in mathematical terms, the center of the circle; and for Fencing there are other considerations, and it is regarded as a genus, with its species being the common accidental, specific accidental, own accidental, of interval, of the arm, of the body, common of the combatants, common of the specific angles, and of gravity.
In mathematical terms, the center is a point that is in the middle of the circle, from which lines drawn to the circumference are equal among themselves. The accidental center of the Sword is any part of the opponent’s body where it stops to strike, also known as the place of choice or intention. The common accidental center of the Sword is the base of the arm, at any angle it might be; and it forms various movements, sometimes in kind, other times in number, distinct angles of the same quality, and lines.
The specific accidental center of the Sword is the elbow or wrist joint, in any position it may be found. The proper center is the heel of the right foot of each of the combatants when they are affirmed on a right angle. The common interval center is the midpoint of the distance between the combatants when they position themselves equally and directly on a diameter line. The specific interval center is the midpoint of the distance chosen by the fencer between himself and his opponent, gaining the degrees of the profile. The center of the body, considered in itself, corresponds to the groin because from there the two legs or material lines originate, and at their junction is the center, and on the floor where it corresponds: and this point on the floor is the center of the compasses that can be given to one side, another, backward, and forward, and their compounds and mixtures; the same is considered in the opponent. The common center is the one considered between the two combatants, in the middle of a circle imagined in the reality of the floor. The common center of the angles is the touch of the Swords, from where the lines they will form originate; and the specific centers are the fencers, with their arms and swords, causing them in their bodies: in many parts of it, various centers can be considered, which are easily omitted. The center of gravity is the earth, where everything heavy rests.
CLOSING THE ANGLE
Closing the angle is when the sword that is being subjected, or subjecting, passes (through the compasses) from the lesser degrees of force of the opposing sword to the greater ones; with this, all angles change their type at that moment, or become with smaller sides, always leading to a concluding movement.
CIRCLE
In Geometry, a Circle is a surface contained by a single line, called the Circumference, drawn from a point in its center. Any straight lines that emanate from this point and touch the circumference are equal and are called Radii. In Fencing, we refer to them as the Inner Circle, Outer Circle, Common Circle, Particular Circle, Own Circle, etc.
Inner Circle is considered between the two combatants when they stand at a right angle in the middle of proportion, its circumference touching the heels of their right feet. The Outer Circle is the one in which, when standing as previously described, its circumference touches the heels of their left feet. Common Circle is the one considered between the two combatants when they stand equally and directly on the Diameter line, and this is the same as the Inner Circle. The Particular Circle of the fencer is the one considered between him and his opponent after having gained profile degrees, even if it’s by another lesser degree. Own Circle is the one considered in the distance the fencer has from one heel to another when he stands.
COMMUNICATION
Communication is an action through which the fencer often makes his opponent aware of his sword, the lines corresponding to him, the angles, and other resulting aspects. However, he should avoid sharing his power equally so that both can act; it should be more like a step, in which this specific case will be perfection.
COMPASS
Compass is the means by which we approach or move away from something. A compass in general is when the body moves from place to place with both feet, starting with one and followed by the other. They are measured like the step from the center of one heel to the center of the other, those taken with the right foot from the center of the left, and those taken with the left foot from the center of the right. In Fencing, its variations and types are Straight, Strange, Trembling, Transversal, Mixed of Trembling and Strange, Curved, and Mixed of Transversal and Curved.
Straight Compass is when any of the combatants move along the common or particular Diameter line of the fencer, which is always the shortest considered between him and his opponent, in order to approach him; it starts with the right foot followed by the left. Strange Compass is when either combatant moves backward in a straight line along the common Diameter, to distance themselves; it starts with the left foot followed by the right.
Trepidation Compass is taken between the inner tangent and the common Diameter, on either side of it. D. Luis de Narvaez defined it as Transversal. Even though this definition has been criticized as improper, there’s no reason to condemn it since the names given to things don’t alter their essence. And Don Luis focused on differentiating the terms and being concise without overlooking that this compass is a mix of trepidation and straight.
Mixed Compass of Trepidation and Strange is taken along any of the lines imagined between the tangent of the common Orb’s outer circle and its Diameter, extended on either side of it. Curved Compass is taken along the circumference of the circles of the common Orb and the largest Orbs of the means of proportion. Each combatant takes it on his opponent’s side. It’s also taken with the left foot for the concluding movement, as will be explained later. And there are cases when it’s taken starting with either foot, inside or outside the common Orb. Even though, strictly speaking, the compass taken along these circle circumferences is from point to point in a straight line, as nature always works in the shortest way, it is named Curved because the heel touches these circles.
Mixed Compass of Transversal and Curved, as defined by D. Luis, is taken for the concluding movement. Even though this definition has been seen as improper, it isn’t because it consists of genus and difference. This compass is taken along a straight and curved line with the right foot. For this reason, he called it a mix of both, emulating many mathematicians who, when a straight line joins a curved one, call it a mix of straight and curved.
COMPLEMENT
A Complement is something whose power lacks nothing in order to carry out the actions inherent to its being. This can be observed in all subjects mentioned in this treatise and in its parts when taken as subjects. Thus, it is the final form given to things or the one that ensues either in preparatory actions or in final or executive ones.
COMPOSITION
A composition or compound refers to any subject that isn’t simple and anything that has parts. In metaphysics, the species is composed of individuals, and the genus of species. Thus, desire, growth, abstraction, action, aggregation, and other terms previously mentioned, when considered universally, have a composition. Physical and material individuals also have it; since the initial, middle, and final parts constitute any line. Different movements in species, the strategy of movements, lines, compasses, and angles, and the art of fencing strategies.
COMMON
Common refers to what is applicable to many. This term significantly elucidates the essence of the art of fencing; because when choosing any strategy, movement, compass, angle, or line, the opponent tries to make it uniquely theirs. Meanwhile, the fencer, in the interim of this decision-making, recognizing what is common, chooses it for themselves and aims to make it uniquely theirs with a new operation and form. If the opponent is also a skilled fencer, they recognize that what their adversary is trying to make uniquely theirs, has common power for both defense and offense, and they utilize it. Among such skilled fencers, the battle continues for a long time without either being wounded unless there’s an oversight or a similar incident. All these choices are of transferred or appropriated means, as previously mentioned.
CONCORDANCE
Concordance is the similarity of two things in some aspect, or the agreement of two agents in a material action. However, among fencers (Diestros), the agreement should not be total, since this would result in equality, and the fencer (Diestro) should be superior. Thus, if the sword lowers and the opponent’s intention is to wound me, aiding it to descend aligns with his intention in this, which is to lower it. But it does so in a different manner and for a different purpose, whether to avoid being wounded or to wound him or to prepare for that. Therefore, there’s an agreement in lowering, a difference in the way of lowering, as it descends differently just as the two combatants are different. But in the terms they present, the Diestro’s action will be in complete proportion if there’s agreement; for perfection perfects it, fullness fills it, duration gives it existence according to its nature, power makes it powerful, order makes it ordered; and so on. All this with such proportion that, even though the operations performed by these terms are different, they are equal, as the power is as great as perfection, and duration is like both, and order is like all, and also fullness; because each one is considered as resulting from all, as there’s duration of perfection, fullness, power, and order. Thus, the universality of duration is a result of the other terms, and the same goes for any of the others.
CONSERVATION
Conservation in the art of fencing is a term that extends to many aspects. It can be the conservation of a means in an individual or the conservation of superiority when taken generally, even if the means initially chosen deteriorates. The fencer who manages to always maintain superiority over his opponent, despite changing specific strategies, will have reached the highest understanding and execution of Destreza. In this way, one can consider that it’s possible to conserve distance with different steps numerically and with different types of steps, and similarly in aggregation, regarding movements, and in other specific matters.
CONTINUATION
Continuation is the action carried out without interruption in time or intention. In any material action, even if it ends in a certain place without reaching its perfect end, as it had a beginning, middle, and end, it is said that there was a continuation between them. If it achieves a perfect end, the continuation is perfect. If various types of movements intervene in them, they are said to be done with a continuation from one to another. As they involve various means and dispositions, according to the paths where the sword goes, even if they are distinct from each other, if they are used with continuous actions and movements, it will be found that their means and dispositions are continuous, if there was no interruption from one to another, because they are strung on the same line, not materially broken. The same is considered for the lines formed with movements, where one will find that the oblique, and so on, are continuous; the same goes for angles, which also have a continuation from one to another since the lines and touchpoints that form them and the movements that cause them have continuity. They cannot exist without the interruption of time, which makes them continuous. In terms of purpose and the agent’s will, they can be continuous even if the movements are not. The same is considered for steps and other things. Thus, even in one species, if it is erased or ceases, it cannot be said that there is a continuation of that species, as it ceases to exist; there is in the genus, as when the six species of movements are made by one or two agents without interruption, the movement taken in genus, and as it is common to all, was continuous. The same goes for increase and decrease caused by an agent without interruption. The continuous is distinct from the contiguous, in that the contiguous is just one body being adjacent to another, each maintaining its distinctness without a connection that gives them unity: two men standing next to each other are only said to have contiguity, not continuity; the same goes for two swords, and this is called aggregation in Destreza, not continuation.
CONTRACTIVE
Contractive refers to the differences of contracted things in terms that differentiate them. Thus, it is something that joins the superior to the inferior, considering it as part of itself, whether from universal to genus, from genus to species, or from species to individual. For instance, if we say the term Action that we’ve discussed is very universal, it encompasses the action of the sword, the arm, and its movements, the angles caused by the contact of the swords, and the increases and decreases that can be newly made after being created. The consistency or lack thereof of lines that form the steps they make, all are actions, and all fall under this term Action, and all are products of the intellect. The word Action is universal, as the Logician says, and narrowing it down to the action of movement is discussing something that encompasses less than the term action by itself. The movement that approaches the term differentiates it from other actions that aren’t movements. Human understanding only operates by considering; however, it’s God who gave them the natures that man considers. Dive deeper, and one finds that movement can be done by the body, using the feet, or by the arm without moving the body. The first is movement of a part that changes places through the air but not the ground. In contrast, foot movement always changes both the ground and air. Given this significant difference, some are called steps, and others are called movements due to the diversity of partial agents since some are caused by the arm and others by the feet. But all are movements of more specific types or more specific genres; considering one as an arm movement and the other as a foot movement, what makes them contractive is the arm and the feet, which differentiates them. Following this, the understanding narrows it further. Speaking of arm movement, it says there are natural, violent, remissive, reduction, strange, and accidental movements. Speaking of each individually refers to movement narrowed down to species, with the genre common to all, as each one is a movement. They thus concur in genre, and the intellect contracts it, and what makes it contractive are the differences: violent, natural, remissive, reduction, strange, and accidental. For foot movements, the understanding recognizes that there is movement about the center and movement by steps; one is movement of part of the foot, and the other is movement of the feet and the whole, leaving the ground it occupied. This division is contracting the general concept of foot movement to a less general one. Here, what makes it contractive is the whole and part of the feet, which differentiate their modes of movement. From here, one descends to individuals. As these require material operations, though the intellect recognizes them, it is necessary for the body to enact them, subjecting them to many accidents. In these individual actions, if they are imperfect, one considers and observes if their beginning, middle, or end, whether in quantity, instrument, method, or if it comes from the step, line, angle, or movement, or in time and its duration, where its greater or lesser power arises. If they are perfect, it is necessary for all the parts owed to it to come together for the action to achieve fullness. In all these material actions, it is the man who contracts them, acting as the efficient cause from specific to numeric, and the difference, which is the contractive, is the form given to them. Even if these actions are transitory (thus erasing these contractive forms) this is in the material aspect, the memory of how they were is kept, and the intellect considers it and makes a judgment, either to imitate or to improve. This is contractive, which is a term opposed to the abstract, and has been explained with the above. It is no more than observing in which common reason specific individuals or genres agree and considering it with the understanding, which gives it being, although based on real things.
OPPOSITION
Opposition is everything that opposes the appetite of the opposite, or the appetite of its action; and there is a line that opposes a line, angle to angle, movement to movement, and compass to compass: and many times they come together, although preserving their distinct power and action; and in the aggregation there can be opposition, and it can cease to exist, because if one moves the Sword, and the other follows it with aggregation, there is no opposition of movements; although there can be of intentions, if I oppose its intention with aggregation, as powerful to impede its own, because in the material of movement, everything is a single movement; but if it remains when lowering, I oppose it by raising, and by moving away from reducing myself; and as this is recognized by touch, and perceived by sight, and remains almost in the same place, because the opposition is from movement to opposite movement perfectly between them, the actions are more perceptible, easier to recognize their powers, and what should be done: but following the Sword with aggregation, it seems to be subject to more accidents, because I oppose it to its intention, this, neither do I see it, nor touch it, although I conjecture it, and the Swordsman must recognize, whether it is orderly, or disorderly in its action; but the changing so many places in the air, makes the action of the opposition more difficult, to remain, and achieve its end. And finally, it is to recognize in the abstract the power of its will, when its intention takes it contracted in concrete, and for a single end: from which it follows that the wounds, tricks, or actions that are done with opposition of movements, or angles or the actual, are more perfect and safe, than in the future; in this way you can make considerations in the other terms with the opposition, which is a term very apt for great discourse. Example: I want to make a perfect movement, being the Agent, I understand that a diversion can oppose me, to vanish the line, which corresponds to its left eye; but this possible, I find that it is contingent, not necessary, because it depends on its will. If it does not oppose the diversion, this wound is thrown at the said eye, which is the touch that corresponds to it; but the intention of the Swordsman, or his desire is, or should be, that he opposes it, because then he opens an angle, which is occupiable, and entering, and subjecting the instrument with the left hand, he wounds where he wants: and in this he must recognize many things. First, that he only has to oppose a diversion. Second, that although this is contingent, in the same contingency he finds that it is more necessary to oppose it, than to stop opposing it, as it is more necessary to remedy the immediate and visible evil, than the future and more unknown. Third, that it is not contingent, but necessary for the opposite to do one of the two things. Fourth, that the contingency in the action of the opposite, or oppose the diversion, makes it contingent in the Swordsman, if he will wound through the line, or the angle. Fifth, that it is more contingent to miss the eye, than to miss the whole body; and thus has more security this second, than the first, particularly depriving him of the instrument. Sixth, that if the opposition of the diversion deprived him of one medium, it disposed another with more parts, and perfections for his defense, and offense of the opposite. Seventh, that if the diversion was opposition of a line, to the said diversion the Swordsman opposes a movement of conclusion, in which compasses concur, and the operation of both hands, for which it is more powerful and perfect, because it is common power, to more partial powers: and in this way other discourses can be made.
CONVENIENCE
Convenience is when two or more things share a similarity in something: it’s a participation in a single nature. In this sense, it’s more than resemblance. When convenience exists between two things, it can’t be numerical, and they can’t be considered two unless they are different, at least in number. The convenience will be in species; and species also have convenience in their genus. For instance, two straight, different lines don’t agree in number because one straight line isn’t the other. But in being straight lines, they have a convenience because each is described as rectilinear. A straight line and a curved or tortuous line don’t agree in species because a straight line isn’t described by the curve or tortuous attributes or vice versa. But they all agree in being a line, which is the genus, as all are described as lines. The same consideration applies to compasses, movements, angles, places, times, accidents, instruments, plans, actions, aggregations, accidents, abstracts, communications, conservations, and all the rest. Among all, some convenience is found, and it’s necessary to identify it.
CORRESPONDENCE
Correspondence is a relative term and must be in relation to another. It’s commonly said to have correspondence of places with respect to lines, either imagined or physical. Through these lines, one intellectually determines if there is a corresponding point of contact in their counterpart, based on their current disposition, and sight is the register of this. If the current disposition isn’t present, one considers and identifies the place from where it will come. This looks at whether it corresponds to their power to occupy it or if there is an obstacle in between. This is the means or mediated correspondence that one looks at to acquire the current state. The terms from where and to where have mutual correspondence, but they should not be equal in virtue. The expert should seek or choose it in a way that the contact point is prepared to receive and the expert’s point is ready to act, removing from the opponent all the terms and points that can signify correspondence, so that their opponent acts immediately. In the angles formed by the crossed swords, correspondence is considered, as in profiles and positions, such as if they were shoulder to shoulder, occupying the same line. Among compasses and movements, many correspondences will be found, and among all the other parts that make up a trick.
DEFENSE
Defense is what preserves one from being injured, thwarting the enemy’s tactics. Sometimes it’s at the beginning, sometimes in the middle, and sometimes at the end: without the beginning, it’s a defense of the disposition; in the middle, the same consideration applies; if at the end, it’s of execution. Defense can sometimes be caused by posture, other times by the movement of the arm and sword, sometimes by angles, and sometimes by compasses. All of these either erase the forms of the opponent or hinder their dispositional capabilities so they cannot come into effect. For this, knowledge of the power that immediately corresponds to the enemy in any position where body, arm, and sword are found, and the desires they may have to act, is necessary. Sometimes the advance defends, other times the knowledge of things in the abstract, and always the action, whether it’s relative aggregation, absolute action, or accidental action, such as using the appropriate means. Everything that causes defense contains goodness, and this can be complete or incomplete. Even though there can’t be defense without offense, often this offense is only from the power of the opponent communicated to the action, not a personal offense, and it’s not complete but partial. There’s also offense that isn’t defense, if both are injured at the same time or can injure. There’s also defense with offense that isn’t complete but incomplete; if being temporarily defended, a minor wound is given or such that doesn’t prevent further action, or if a concluding movement is made with a wound that doesn’t result in death, because even if it deprives the opponent of the instrument, it’s temporary defense, and the enemy remains standing. Thus, complete defense regarding that enemy consists in the deprivation of life; and so, one can elaborate with the other terms.
DEMONSTRATION
Demonstration is the proof made to verify if what has been proposed or conceived is true, to firmly establish the truth and recognize if the observed effect was necessary and what causes it had, even though here we talk about physical actions. The metaphysical also has its demonstrations and verifications; and some terms of this Treatise serve as means to demonstrate the truth of others through reason: and all, or most of them, to verify or demonstrate any tactic, its theoretical truth, and the practical truth of the theory; and when everything comes together to demonstrate anything, if it’s without dissonance, with such conformity, the understanding is firmly established in the truth that it contains, and with great assurance of correctness.
DEPENDENCY
Dependency is the perceived need that one thing has on another, either in its production, emanation, or after being produced and emanated. In this manner, it’s considered that effects depend on their causes. While being produced or while they are in the making (in fieri), they depend on the efficient cause and the end; for if either is missing, the production will cease. But after the act is done and perfected, even if the cause and the end cease, the effect will not. Yet in the effect, there are two other causes on which it depends; and whenever these cease, the effect will cease, which are the material and the formal. The absence of either causes the effect to cease, and this change can be made by the efficient cause or another.
DIGNITY
Dignity is a quality that makes the subject superior to, or equal to, others. Some of these terms have greater dignity than others if they encompass more. Some tactics have more dignity than others if they have greater power or greater security. This must be considered in the means, lines, movements, compasses, and angles, as it exists in all of them; and between the beginning, middle, and end of operations, and the remedies corresponding to each one.
DISPOSITION
Disposition is a means that the fencer recognizes as necessary or useful to achieve his defense or offense against his opponent. This can be chosen by him or given by his opponent. This disposition is found in actions while they are being carried out and in many already operated acts, at the beginning, middle, and end of operations. Disposition can be found in the freedom of the instrument and in its subjection, in width, length, and depth, and in all the components of the swordsmanship. A common disposition is when, between two battling, both can wound each other at the same time.
DIVISION
Division is a breakdown that the fender makes from the common or the whole to its constituent parts that it encompasses or contains. For instance, movement is divided into six types, and steps into another six. This same division applies to angles and lines. The primary division of the lines states that there are physical and mathematical ones. Then, each of these parts is considered if it can be further divided, and it is done so. Since the swordsman performs the aforementioned tasks, it is considered to whom each of the mentioned things belongs: movements to the arm, steps to the feet, angles to the body, and the swords. Thus, the swordsman is divided into parts, making it easier to consider in each one its power, the order it says to act or receive, and the desire of each part. This is to divide the power, order, and desire collectively. Some swordsmen will be found in the movements of increase or decrease, some in abstraction, some in transferring means, others in the action of aggregation, others in the use and leveraging of appropriate means, others in preserving a means, others in understanding the centers, others in opposing, either by contradiction or difference, others in arranging, others in demonstrating, both dimensions, and the dignity and duration of maneuvers, and so on for the rest.
CHOICE
Choice is an act of will, in which one embraces one of the means presented to them. If this choice is based on what is perceived as better, the will follows the understanding, which recognizes it, as a faithful adviser. If one chooses the worse option, it is purely an act of will since the approval of the understanding concurs in the harm. The most disorderly action of the will in choosing is said to be more voluntary and free, as it deviates from the conveniences that reason and understanding propose in the most perfect way. In this disorder of choosing, the sinfulness of the action lies, and punishment follows sinfulness. These choices can be considered in all terms, or in each one of them.
EXTENSION
Extension: This term contrasts with intensity, and the opposites are qualities, knowing one, both are known. What is extensive is a power divided into many parts, with each part possessing little. Intensity occurs when a part corresponds with more degrees of power or is repeated many times. Nature provides some of these qualities, while Art provides others. The strength at the tip of the sword is given by the arm, and the longer the sword, the weaker it becomes because the power is distributed among more parts, and the size of the instrument weakens the arm’s ability to move it. United virtue is stronger than when it is divided, because in unity it is intense, and when separated it becomes extensive. The part, or arm, attached to the whole, or body, is more powerful with intense force than if it were separated and upright; because in this form, if it wishes to dominate, it applies little depth. But if the fist were placed in the groin with depth from the fist to the shoulder, it would have more intensity because extension is not considered in depth, but in width and length. Thus, profound knowledge in a skill, science, or Art is the one that delves deeper into its subjects, and it is aptly said that one has a deep understanding. However, someone knowledgeable in more subjects is said to have greater extensive knowledge. As this extension is considered in terms of length and width, which are on the surface of the entity, it is said that their knowledge is greater on the superficial or extensive level.
EXTERIOR
The Exterior is what is manifest to all; however, there are external signs that indicate the internal ones and reveal intention. For this, the exterior must indicate more than one thing. By recognizing this, the hidden aspect will be what the opponent’s will inclines to or chooses. There are external things that greatly hide intention, and the fencer should choose these so that their opponent doesn’t anticipate the remedy. Some are hidden in the action of desire, and others in the action of increase, etc.
EXTREME
Extreme is the last part of anything, or its end. For example, the ends of a sword (when viewed on its own, and without being held by a person) are the tip and the hilt. When considering its greatest length, and in width, you can consider the extremes from edge to edge. The same consideration applies to its depth. What is the end of a straight line can become the end of a curve or its extremity. Conversely, a body standing upright is a straight line, and its extremities are the head and feet. If this column or cylinder collapses, it takes the shape of a curved line, and the same head and feet, which were previously the ends of a physical straight line, become the ends of a physical curved line, drawing a mathematical straight line from the head to the foot. With this change, the human body creates new lines, but materially, the feet and head do not change because they remain as the head and feet. They are now extremities of a different thing, different in shape. Thus, it is said that a man reaches an extreme when he collapses, and further details will be discussed elsewhere. In compasses, angles, movements, and the rest, the extremities are considered. The perfection or imperfection of them will be based on the distances from one to another, their size, location, and others. Both extremities can collapse equally, or just one, but it will always produce a curve, even if not completely, as part of the line can remain straight and part curved. However, the imagined line will always touch both ends, and these are always straight in themselves, even if not in relation to their location because they can fall downwards. In the general terms that have been discussed, the extremities are the lowest and highest points, the beginning and end of the line. The first and last in terms of length, width, and depth of a composite are the beginning and end of distance, and one of the terms farthest from the center. The one that makes it evident is the most distant from the beginning, more than any other part of the composite. In fencing, it’s considered a category, and its distinctions or differences are the extremes of proportional distance, length, width, depth, near, and far.
Proportional distance extremes relate to two fencers, either on the plane considered above, between shoulder to shoulder or between foot to foot on the flat surface. It’s like the two points that are the ends of a straight line; it’s when the fencer, in terms of a right angle, reaches his opponent at only one point.
The length extreme in a person extends from the head to the feet, and in the distance between the two fighters, it touches each of the infinite lines on the common circumference, and on each of their right feet. The breadth extreme in a person is one shoulder to the other, or any of the collateral lines that form a quadrangle or parallelogram. The depth extreme is in two ways. The first is any of the two points or lines that in that dimension are equally distant from its center. The second (applied to Fencing) is the inclination that the body makes forward, moving the chest away without moving the feet from the right angle, and this inclination is only until the forehead aligns with the tip of the right foot, and the sword and arm are straight. The near extreme of proportionate distance is the position the fencer assumes when making a concluding movement, and when striking in opposition on the vertical line of the back. The far extreme of this same distance is from where the fencer strikes due to the length of the sword and right angle, touching only at one point.
END
The End is where the beginning and middle rest. It’s a formality that caps the existence, power, and actions of something, either perfecting it, concluding it, or correcting it; all of which are executed in Fencing. Emanations of the end are perfection, effect, extremity, last, ultimate, tranquility, and the culmination of everything. We consider it as a category, and its variations or differences are of absolute deprivation, particular, detention, termination, perfect, imperfect, potential, and finalized.
ABSOLUTE END
The absolute end, or end of absolute deprivation, comes in two ways: by destroying the subject or subduing the instrumental cause, which is the sword, with a concluding movement. The end of particular deprivation occurs when we prevent an injury by moving aside, diverting, or subduing the opposing sword, remaining free for other actions. The end of detention is the concluding movement made to stop a descending sword strike at the beginning of its motion, when the fencer, being in a close distance, uses the left hand for the concluding movement without the need of his sword. The end of termination ensures the opponent can’t choose a proportionate method for any strike. The end of diversion is to divert the opponent’s sword when it comes to strike or, if stationary, to move it aside to strike him. The perfect end is when the fencer strikes his opponent and remains defended, or remains defended without striking if his decision was to use a common deprivation method. The imperfect end is when one strikes his opponent and is also struck by him. The potential and finalized end of movements is the extreme that each belongs to according to its kind: the high to the forceful movement, the low to the natural, the sides to the remiss, the back to the strange, and the front to the accidental.
FINITE
Finite is what has an end and is the opposite of infinite. The actions of the fencer, in the material aspect of Fencing, are always finite because the forces are finite. There’s an end of termination, and this is considered in relation to the Agent, or the recipient, or the end viewed as motive or intention. Regarding the Agent, for instance, if the fencer conveys a limited thing to another, marking an end where it was truly the beginning of Fencing and its contents, this is an end of termination. Concerning the power of the fencer, it is also an end, as he set a limit to his power, having the ability to go beyond. And in relation to the student, who is the recipient, if their capacity can accommodate more, what’s acquired or the boundary they don’t cross, is viewed as the end of termination. If the intention was to communicate more by the Agent or to receive more in the process, the interruption of not doing what can be done due to various reasons, is an end of termination concerning the end as an intention. And the end of perfection is when something is entirely and perfectly finished. This is even considered in the limited, because if the intention was not to give more, in relation to that intention it reached an end of perfection, even if not in relation to the recipient and the knowledge. The same is considered regarding the power of the Agent, if he communicated everything he knew but didn’t know everything. Here, there was an end of perfection concerning the Agent’s intention and power, though not in relation to the recipient if they had a greater capacity to receive more. However, if they didn’t have that capacity and were filled, it will have an end of perfection concerning what it is, but not concerning what it should be, because then the capacity itself is said to be limited by a poor temperament or disposition of the brain. These factors limit or end the capacity itself, and hence, it’s said to have a limited capacity. The end of deprivation is what makes something cease to exist, like death in a person, depriving them of what was due. This is considered in Fencing, in all actions that deprive the opponent of some desire, ceasing to exist, like an increase makes a decrease cease to exist, blocking, and the addition of free movements. And any difference that’s caused in the operation of the opponent makes the form they had cease to exist, and this is called the end of deprivation, considering them as ceasing to exist.
FORCE
Force is in two ways: natural and accidental. The first is a virtue present in all things, both spiritual and physical, whether they are animate or inanimate. With this force, each acts out its own purpose, objectifying, animating, generating, producing, conserving, preserving, or corrupting, according to the activity of the active things, and the disposition, the course, and assigned limit of the passive ones. The accidental force, located in the limbs, is what we use to push or to overcome resistance, and with which we alter actions, shortening their duration, and placing the parts of the body that can be seized. In Fencing, we consider it in five ways: operative, resistant, intense, extensive, and reserved.
Operative Force is every action of natural movement, where one sword is placed over another, controlling it. Resistant Force is every action of violent movement, where the controlled sword resists the one controlling it. Extensive Force is when the person communicates the force they have to movements or tricks until it is exhausted, reaching the movement’s designated endpoint, and sometimes going beyond it and cannot be stopped. Intense Force is when the fencer distributes their own force in such a way that they can control any movement before reaching its ultimate straightness. Reserved Force is the same as the intense or moderated force.
GENERATION
Generation, when taken broadly, refers to any production where the Agent brings into the process, giving a new form to the matter upon which it acts. Hence, it is said that the generation of one thing is the corruption of another because, for the matter to receive the new form given by the efficient cause, it is necessary to lose the previous form it had. This loss is called corruption. These new forms, be they in the creation of lines, angles, compasses, movements, desires, increases, aggregations, or any intellectual or material operations, are all products, though from different causes.
GREATNESS
Greatness refers to the fullness that each thing possesses. This is a positive or absolute term when simply considered in any subject. However, if one considers whether its greatness is in relation to another subject, then it’s about viewing majority, equality, or minority. These are relative terms, and the greatness in which they are based will be so. But when considered without relation to another, it aligns with the aforementioned explanation. In this manner, one can consider the greatness of the desire of the Sword, of the arm, of the body, of movement, of increase, of decrease, of intention, of interval, of width, of length, of depth, and so on. This is viewing each thing as it is, without comparison to others. It’s like looking at the greatness of desire in each of these mentioned things, where the desire is limited to more specific things. One can also consider the greatness of desire in general, and the greatness will always be absolute. However, the majority of these great aspects, which is a relative term, will be possessed by the general desire.
DEGREES
Degrees refer to the initial and final parts that are considered in things, which are like steps, where some give way to others. These can be either of quantity or of perfection. Techniques have degrees of dignity, which is the same as degrees of perfection. Terms have degrees relative to each other, as some are more supreme, either because they encompass more or because they refer to the substance and essence, which represents their highest dignity. In each, there are these degrees in relation to the lowest and highest of each that has been considered, and in bodies, swords, movements, and the rest. Sometimes, attaining these degrees is perfection, while at other times it is about diminishing them, but it’s always about gaining degrees of power.
HABIT
A Habit is described as something acquired through many actions, and it facilitates operations. This is a very general term that can encompass others, such as the habit of thinking, the habit of desiring, the habit of acting, the habit of joining, the habit of moving, the habit of generating new forms, and so on.
WOUND
A Wound is the highest universal or category and doesn’t necessarily refer specifically to a slash, a reverse blow, their variants, a thrust, or its differences. It encompasses any rupture in the human body, made with any instrument like iron, stone, or wood, and their likes. Strictly speaking, a wound is not a technique, but rather the result of one. Although in common usage and for the sake of understanding, we make different considerations about it. We describe wounds as being inflicted before time, in time, and after time, which are of the first and second intention, of a full circle, half-circle, quarter circle, greater and smaller portion, of circle by the jurisdiction of the arm, the sword, and the profile. Within these categories are included the vertical, diagonal, decreasing, or tangent slash and reverse blows.
Wound before time is executed before the opponent starts any technique or voluntary movement. It’s said to be of the first intention. Wound in time is executed when the opponent begins some movement, before the end of the technique with which they intend to offend. It’s said to be of the second intention. Wound after time This is executed when the opponent has made all the movements of their technique, or is in the midst of the last of those movements. It’s said to be of the second intention.
Full circle wound refers to a slash or reverse blow of any kind that, in its execution, forms a perfect circle (as much as an arm can allow), connecting the end of the movement with the beginning. The same applies to the thrust, which, due to the sword being free, is executed from the inside or outside, making it a full circle.
Quarter-circle wound is the thrust executed above the opponent’s sword on the right vertical line, with the sword tip traveling no more than a quarter of the circle considered across the chest. Even though other wounds might follow this composition and limit, only this one is given this particular name, much like a metonymy. A wound that covers more than a half-circle but does not complete a full circle is described as covering a greater portion of the circle. A wound that extends beyond a quarter-circle but does not reach a half-circle is described as covering a lesser portion of the circle. A Wound by the jurisdiction of the arm is executed from the infinite right line of the opponent, inflicted after time on their right side and upper right angle, which is above where the arm begins, without reaching their sword. A Wound by jurisdiction of the sword occurs when, through the sword, one enters and exits the technique, either from the inside or the outside, always controlling it.
Wound by the profile of the body is when, having gained advantage over the opponent’s position, one strikes on the diametral lines, or left collateral, or on the vertical of the same side, leaving the opposing sword free because it’s too distant and out of reach. Sagita thrust wound is the one that’s executed against the natural, remiss, or violent movements that the sword makes when it’s poised to slash, reverse, thrust, or to escape its confinement. Instantaneous wound is the same as the sagita thrust, it’s named this way because of the swiftness with which the wound must be executed and then return to a balanced position to avoid danger. It emphasizes the speed required, as nothing really happens instantly without any time passing. Permanent wound is a situation where the right-handed fighter can continue inflicting damage without the opponent being able to do anything, by any means, either to attack or defend, nor even to drop the sword to flee, as if they were tied up by their hands and feet. Diagonal thrust wound is the one that’s executed on the diagonal line of the square considered on the opponent’s chest, when the sword is pulled from the oppression placed by their adversary, and it is done with a concluding movement from the outside, and it’s also done with diagonal deviation. Vertical slash wound is the one executed on any of the vertical lines, descending straight down. Vertical reverse wound is the one executed on any of the vertical lines considered in the human figure. Diagonal slash wound is the one executed on the diagonal line that crosses the square considered on the face, or on the left side’s diagonal that touches on that side. Diagonal reverse wound is the one executed on the diagonal opposite to the slash, both on the face and on its right side. Tangential slash wound is executed on the tangential or cutting line that’s considered in the larger or smaller square of the human; and the reverse of the same kind, on the opposite line of the back or on the nape. Half-slash wound is executed on any of the diagonal lines of the squares considered on the face and its left side. Half-reverse wound is executed on any of the diagonal lines of the face, opposite to those of the half-slashes: they are also executed on the arm, inside and outside.
EQUALITY
Equality can be considered at the same time or at different times. If at the same time, it can either be at the beginning of the operation, in the middle, or at the end. If at the beginning, when taking a stance, there can be equality, though many things must converge for this equality to be complete: equal arms, equal instruments, equal strengths, equal speeds, equal bodies, and touching points, equal correspondence, equal foot positions, equal angles. From these equalities, equal effects can arise in actions, so no one would be deemed a skilled swordsman, because to be one, there must be an inequality with the opponent from the beginning, always being superior, not equal. If in the middle, when the swords are engaged, equality is even harder to achieve, because in addition to the aforementioned, the touching of the swords must involve equal parts of the instruments, and the engagement must be of the widths or depths. If width were joined to depth or edge (which are the same), equality would cease. It’s essential that one sword isn’t submissive, nor the other dominating because that too would end the equality. The tips and guards must also be on the same plane, and there must be equality in the angles they form. Since movements and changes of position make this impossible, it’s said that achieving such equality in the middle at the same time is unattainable. At the end, equality should also be avoided because if the results were equal and these results were wounds, they wouldn’t be skilled swordsmen. If there are no wounds and the focus is merely on neither party being injured, then there’s equality in not getting wounded. But in this equality, one can still be superior to the other, considering the intention. If one’s intention was to strike and the other’s to defend, the defender is superior, having achieved his intention and thwarting the opponent’s, so there isn’t true equality. If equality is considered over the different times that occur in the course of a duel, it takes on a different perspective, seen in repeated actions, either of opposing or varying types. For example, if one makes a diminishing movement and the other counters by increasing, then the first diminishes again, and the second increases; in this back and forth, there’s equality, but at different times. The same is seen in free and engaged states during engagement and separation. In other differing or diverse situations, equality can arise, seen as resulting from different times. For instance, if one opposes a spontaneous movement with a natural one, and to the natural movement, the other opposes a lax one. Similarly, if to the movement of repositioning, be it violent, spontaneous, or natural for wanting to strike, they oppose a step and the other things involved in the beginning, middle, and end of tactics, to counteract the means chosen by each swordsman. If this persists such that neither party strikes (even though both intended to), then there’s considerable equality in opposing, continuing, arranging, differentiating, preserving, choosing, recovering, corrupting, and defending, and in the intention to strike. Equality of positions is when one swordsman opposes the curve or transversal of the other on the opposite side. The equality of aspects was discussed in the letter A.
IMITATION
This is a relative term because it has to be in relation to another. Acting through imitation is not to act scientifically, nor to have a fundamental understanding of the matter. For this, one must seek the most perfect; and in choosing, there can be great deception, as one is prone to believe in something that isn’t born from a directive or advice, or advice from someone who can neither deceive themselves nor deceive us. This is exclusive to God. And even if one chooses the best, it’s a significant weakness to rely on someone who could deceive, not sharing the perfection they know, and assuming they are so perfect that they share without deceit. If one learns through imitation, they can only know specific things without understanding the reason behind their actions; otherwise, it wouldn’t be imitation. While universality can arise from specifics, one can’t attain it through imitation, because the specifics are infinite. Any minute difference can change a particular thing, denoting a new vision, which, even if not essential in substance, can be accidental in quality or circumstance. Since any of these things can make an individual different from what they were before, it can produce different effects. Therefore, there’s a lot to learn about a single particular through imitation. Hence, no swordsman, no matter how great, can have acted on every specific detail that needs action. Thus, they encounter new situations to address daily. But if they possess the universality of the Art, with general precepts encompassing infinite specifics, it gives them knowledge to act on every occasion, unhampered by what will undoubtedly hinder someone who acts through imitation. However, we don’t dismiss the method of learning by imitation. Even if one lacks comprehension to understand scientifically, the Art has found this method to elevate even the most unrefined, making them superior to what they once were, and more potent than those who neither know scientifically nor by imitation. We merely state that compared to a scientific swordsman, the imitator will always be far inferior. Those who are truly at fault are the ones who, having the capability, inclination, and time, avoid undertaking such a heroic task simply to avoid effort.
INSEPARABLE
Inseparable is a quality or accident attached to the subject, uninterrupted by time, for as long as the subject endures. This union is properly called inherence. The line is inseparable from the angle; the angle is inseparable from the arm and sword when in combat. From the body, shape and dimensions are inseparable. For a fencer, the skill is inseparable, or they cease to be a fencer. Intention is inseparable from the fencer; such that, if they act without intention, they cease to be one, and so it is for the rest.
INSTANTANEOUS
Instantaneous refers to something of very brief duration, in which the fencer cannot persist. Not because anything material can be done in an instant but due to its extreme brevity. In the same inseparable concept mentioned above, this is verified, because although acting with intention is an inseparable quality of the fencer; acting with this or that specific intention can be instantaneous, just as changes in forms that arise and corrupt in any battle are. The more instantaneous these changes of forms are, and the change in the corresponding particular intentions, the faster the understanding, and it demonstrates a more perfect skill.
INTENTION
Intention is the will directed towards a certain end, or it is the end for which the will moves. Thus, one might ask: what is the intention of the one who adds, of the one who increases, of the one who diminishes, of the one who opens, of the one who accompanies, of the one who abstracts, of the one who shortens, of the one who attacks, of the one who waits, of the one who alters, of the one who assists, of the one who cuts off, of the one who coincides, of the one who opposes, of the one who concludes, of the one who contrasts, of the one who corrupts, of the one who disturbs, of the one who breaks, of the one who repeats, of the one who unites, and so on for others.
INTERIOR
Interior is a hidden and concealed virtue. Here, we’re not discussing moral virtues, but natural things that possess this quality to produce their effects and imprint their forms. To uncover this virtue, one must be very skilled, because in this case, the exterior that is seen corresponds to various things. If the exterior only alluded to one thing, then the interior would be as exterior as the exterior itself. If the fencer recognizes all the actions that can be made from any stance, he observes all of them. Thus, none are hidden from him, and only the intention of the opponent regarding the chosen method remains concealed and interior to him. With a hidden virtue of the same nature, he prepares for the remedy. For this, it’s necessary to know the purposes that any stance might address. To make one’s intent more interior and concealed, one often assumes a stance such that it doesn’t immediately indicate its purpose but rather entices the opponent to strike at the exposed part. Knowing that approaching that part will be at a time when he can act on his hidden intention. However, this strategy is for those with little knowledge, upon whom such deceptions can work.
INTERMEDIATE
Intermediate is what is found to intervene or can intervene between the beginning and end of anything that has parts; and the same between the start and end of the beginning, the start and end of the middle, and the start and end of the end. If the action received a comfortable division, any of the aforementioned parts could be further subdivided: there are intermediate appetites, intermediate increases, intermediate actions, intermediate additions, intermediate accidents, intermediate intervals, there’s an intermediate in appetite, and there’s an intermediate in the increase, there’s an intermediate in the action, there’s an intermediate in the addition, there’s an intermediate in the accident, and there’s an intermediate in the interval; and so, it can be considered in other things.
INTERVAL
Interval is the duration of time that exists while one thing is done, or the time from one action to another; and this interval of time is the measure of all things that are done, whether they are material or imagined. These latter, although they cannot be thought without an interval of time, must be so swift and anticipated to the future act that, as much as possible, there is no interval from action to action but continuity, without giving the opponent time to think about what to do; because the time, or interval, that the fencer takes to consider what to do from any position, is common to his opponent, who can act before him and bring his intentions into confusion. From particular appetite to particular appetite, there’s an interval of time because the act of the will at the same time cannot work on two things, nor can imagination think of them unless successively; and the time from one to the other must have an interval unless two different types of increase are joined in one action, such as material increase and virtue; but even then, although they occur at the same time, considering them as they are cannot be without interval. The same applies to actions, additions, and the rest. The common interval is the line of the Diameter where the two combatants stand when they are equal in bodies, arms, and swords. The particular interval is the line of the Diameter of the particular circle chosen by the fencer, in which his opponent has no part, and the excess of the larger sword over the smaller.
JURISDICTION
Jurisdiction is a power that gives order to its own subjects; and this jurisdiction can either be considered in the free cause, without obstacles, or it can be considered in the cause that is subject to or limited by some accident, or resulting from the actions of its counterpart. When considered in a free cause, it’s ordinary for any part to have greater jurisdiction, and the reason is that there’s no opposition to impede it. If the cause is subject to or limited, the power is limited; thus, the jurisdiction that belonged to it is suppressed and limited to less. There is also resultant jurisdiction or power, which comes from the disordered actions of the counterpart, giving it jurisdiction it wouldn’t have if it acted with knowledge. The parts that make up a man have partial jurisdictions, and it’s necessary to know what belongs to each: the jurisdiction of the feet, the arm, and sword, and in the arm, the elbow’s jurisdiction, the wrist’s, and the shoulder’s, the body’s jurisdiction, the sight’s, and its visual lines, the whole’s jurisdiction when all its parts work in the proper order, and the whole’s jurisdiction when some part fails in the operation it was meant for, or in the way it should’ve been done; the intellect’s jurisdiction, which regulates actions and recognizes defects; and ultimately, there is no term that doesn’t have jurisdiction: the jurisdiction of appetite, of increase, of the abstract, of action, of aggregation, of the absolute, of accident, of the appropriate; so there’s jurisdiction of appetite, jurisdiction of increase, jurisdiction of the abstract, which has it over its inferiors, jurisdiction of action, jurisdiction of aggregation, jurisdiction by accident or of accidents, appropriate jurisdiction or of the appropriate medium: thus, the term jurisdiction is very universal since it encompasses universal terms.
Jurisdiction of the arm, in addition to its entire length, is the upper right angle formed at the touch or joint of the shoulder, like the neck, when it stands upright in an acute angle. The jurisdiction of the sword is defined by its length, without considering the arm. The profile’s jurisdiction is everything from the straight vertical line to the left.
SIDES
Sides are those considered in relation to a fixed place, where one puts their consideration or sight. For example, in swords, when angles are formed by looking at their point of contact, one observes if the four angles formed from the point of contact have equal sides, or if they are short or long. From this observation, one gains knowledge if they can be occupied, if they hinder future action, if one can remain in the aggregation of swords while the other follows, if, on the contrary, it does not want to, if it subjects even if it’s superior, or if it becomes subjected by adding the weakness of its sword to the strength of the opponent. There are also sides concerning each fencer, with respect to the place they occupy, since they can move to one side or another, for which there are measures. In swords, there aren’t only sides regarding their length, as mentioned, but also concerning the movements that one can or should make to one side or another, depending on where they find themselves. When making an aggregation of swords, there are sides; and if there is an increase or decrease, the sides change because the quantity is different, and the quality of the power is different. The sides must be formed by the fencer with intention, not by chance.
LIBERTY
Liberty is the quality of the choice of means, and its opposite is necessity; and liberty is considered when the sword is not subjected with natural movement, taking this narrowly, as has been mentioned so far. But speaking of what fits within this term, it is certain that there is no free cause, having an opponent affirmed; and this even at the beginning of the battle, because if he affirms by occupying the right angle, which has the longest reach, being the longest line of the circle imagined between the two combatants, he doesn’t leave me the freedom to occupy it, if both have equal skill, because it’s easier to maintain than to acquire; and if he affirms revealing the inner part, he doesn’t leave me the freedom to go on the outside if he tries to maintain that posture: he’ll do it more easily, as said, moving over the center, whose motion cannot win by going around the circumference of the superior circle: and the same will be if he were to affirm revealing the outside, for the same reason, I won’t have the freedom to act on the inside if the opponent doesn’t want; and I will only have freedom in the attempt, or in the desire, but absolute necessity in not achieving: and although it seems that the opponent freely performs all the mentioned actions; but considering that the will has contracted to a particular, such as being attacked from outside or inside, to maintain that intent; wanting and opposing it, the motions on the center that have been mentioned are necessary, because with others he couldn’t achieve it: so he had freedom in choosing, and necessity in the way of acting, so that I wouldn’t achieve the opposite of his intention; and in this struggle (if it perseveres) which is a preamble to the battle, there’s great equality, because if the opponent manages not to go outside, which is what I want, I prevent him from going inside, which is what he desires: and if he deprives me of one act of will, I deprive him of another act of will; and in this, neither his will nor mine have freedom in achieving, but only in attempting. All this is in the preamble of where to attack the opponent; but then in the course of the battle, one must consider, in any position the opponent is in, that it limits the Diestro’s power, so that he cannot freely choose among all the tricks, and means of the Skill, which immediately seems to him; and the more it limits the power, the more it deprives him of the freedom to choose, as he has no jurisdiction over that posture. And speaking of the Atajo, which is what seems to most contradict this, it is said that there’s subjection: the Sword that is below is subjected, and the one that is above is subjecting; and what we say is that the Sword that is below is subjected, and the one that’s above is also, if there’s consistency; because the operation of the one above is that the lower one does not rise; and the operation of the one below is that the superior one does not descend, which is why they are consistent: and the freedom that the superior one has to rise, and move away, the inferior one has to lower, and move away; and the freedom that the superior one has to follow the inferior that descends, preserving the aggregation that it had with it, impeding its freedom to stop the movements wherever it wants, the same has the inferior, if the superior wants to rise to preserve the aggregation, and exclude it from the end where it directs its action, depriving it of the freedom of that act: so it is concluded that in the course of the battle between two Diestros, one never has total freedom, because it is deprived, and impeded in many parts; but speaking relatively, most of the time one is freer than the other, and when there is no aggregation, there’s more freedom: and freedom is also said in relation to what remains in what can be chosen; and the more the Diestro deprives his opponent of common freedom, it’s a more perfect way of acting, especially if he limits him to the necessity of only following one path.
LIBERATING
Liberating the Sword with a thrust is when the fencer (having previously diverted) passes their own sword, through a portion of a circle, below the other, until they leave the tip directed towards the point of greatest reach. Liberating the Sword twice is the same as making two semicircles, one from the inside to the outside, and the other from the outside to the inside, and vice versa.
LINE
A line is understood in two ways: Mathematical or mental, abstracted from matter, or Physical and real, objectified within it. The first is imagined as the flow of an imagined point; thus, both are invisible and indivisible. The Physical one is a quantity divisible solely by its length. It arises from the flow of the point and consists of many points continuous to it, using two as its extremities. It is the second part of a body, considering the first part consists of two points. Geometers consider lines in three ways: finite on one side and infinite on the other, finite on both sides, and infinite on both sides. In Fencing, where we use both types in various ways, the line serves as a genus, and we consider as its species or differences: the Cateta or Perpendicular, Circular, Collateral, Curved, Demicient, Diagonal, Diametral or common Diameter, particular, superior, inferior, Eliaca, Spiral, Finite, Infinite, Infinite-Finite, Physical-Flexible, Intellectual, Intermediate, Mathematical, Material, Mixed, Horizontal, Straight, Vertical, Hyperbolic, Ellipsis, Contingency, Touch, and Parallel lines. All of these will be explained in order as species of the Genus of Line that encompasses them.
Cateta Line, also called Perpendicular, is a straight line that falls onto another straight line, making the angles on both sides equal. In Fencing, it is the arm at the joint where it attaches to the body when held straight, making two equal and right angles, one below the arm and one above, at the neck. Circular Line is that which, after making a full circle, joins the end with the beginning, within which the circle is contained, and this is called the circumference or Periphery. For Fencing, it is considered greater and lesser, being the reverse and the cut. The human circular line touches at the feet and hands, with the legs and arms outstretched, and also made by the body when leaning far forward. The lesser circular line is considered in the chest or face. The Collateral Line in humans is considered at the origin of each of the arms and the chest, which perpendicularly goes down to the ground. Curved Line is the one that travels twisted, not situated evenly between two points, such as the turn of the circumference. Demicient Line is drawn in the parallelogram space, having taken on the longer sides, outside the angles where the diagonal should be, two equal quantities. Diagonal Line crosses the square and the rectangle or parallelogram from one angle to another, dividing them into two equal parts. For Fencing, it is considered in the square imagined on a fencer’s chest or face, where the cut and reverse of the species are executed.
Diametral Line is the one that, passing through the center of the circle and applying itself to its extremities of the concave circumference, divides it into two equal parts and is the longest that can be drawn within it, the other lines being parallel to it. The Diametral Line in a human is the one that passes through the middle of the forehead, mouth, and chest, and drops perpendicularly from the head to the feet. We also refer to it as the Vertical Line of the chest, of the sword, of the right and left sides, depending on which of the four mentioned parts it is situated. The Common Diametral Line divides the circumference or circle, imagined between the two combatants, and touches directly on the heels of both their right feet and corresponds to the heels of both their left feet when they assert themselves on right angles. The Particular Diametral Line is the one that, with a particular circumference, separates the fencer from the common one, on either side of it, in which the opponent has no part. The Upper Diametral Line of the circle, considered between the right shoulders of the two combatants, is when the arm and sword are asserted in a right angle. The Lower Diametral Line is the circle imagined on the ground between the two combatants and where the straight step and the increased step are given.
Eliaca Line is the one that encircles a column; and in Fencing, it is the one that encircles the sword with a movement that the sword makes against the opposite one, in the manner of a spiral. This is to make a revolution, starting at the tip of the sword and ending near the guard, as in the two general weaknesses, below or above the strength when they start to tighten or in a cross line. The Spiral Line, which some call Eliaca, is the one with which, in the manner of a snail, the sword encircles the opposite one, spinning around, without returning to the point where it began, until it reaches the body of the opponent where it ends.
A finite line is one that is contained within two endpoints, such as the Diametral in a circle, the Diagonal in a square, or the side of any figure. In Fencing, it refers to the sword of a combatant that touches the body of his opponent, making a right angle with the right arm and the right collateral line, so that the arm serves as one side and the tip as the other. An infinite line is a straight line that touches the circumference only at one point. It is called infinite because it can be extended infinitely in both directions if there were an infinite quantity. For Fencing, it is considered in two parts; the first touches the common circumference of the heel of the right foot, and the other touches the proper circumference and they serve for the trembling steps or tremors: the first serves the right foot, and the second serves the left. A line that is both infinite and finite is one that is contained by some endpoint on one side and can be extended or elongated on the other, like the sword in the hand, which cannot be elongated on the handle side, but can be infinitely extended from the tip if its quantity or material allowed.
A Physical Line is a material line that is tangible and can be divided because it is contained in matter: it is also called real and material. A wavy line is one that, on a flat surface, winds and turns, like a river on its journey or a snake on its path. In Fencing, it’s used to divert the thrust that’s aimed above the sword at the chest of the fencer. An intellectual, mental, or abstract line is the same as a mathematical or imaginary line. The Hypotenuse Line is the side of the right triangle that is opposite the right angle. In Fencing, it’s applied to the opponent when the arm is bent at the elbow, which in common Fencing is called Curled Posture or Iron Gate. The fencer, by the position of the sword, joins this posture, applying the force of his sword to the opponent’s weakness, striking him in the chest or face, thus forming a triangle with both swords. The arm and sword of the fencer is the Hypotenuse, opposite the right angle made by the opponent’s bleeding arm. The intermediate line is the one considered between any of the collateral lines and the diametral of the chest. It causes the right angle in the circumference and is also called transversal, falling between the diametral and a quarter of the circumference.
A Mathematical Line is an imagined one, which cannot be divided or even touched with the imagination because it is abstracted from all matter. Its understanding is crucial in Fencing, so much so that many times in some situations one couldn’t be defended without it. When combined with the Physical Line in the right way, they both create defense and offense with wonder. A Material Line is the same as the tangible Physical Line, as it exists in matter. In Fencing, this refers to the Sword, Dagger, Montante, and any other pole weapon. The Horizontal Line is the circular one that divides the lower hemisphere from the upper; and in man (as a microcosm) it bisects him in terms of his length. A Straight Line is the shortest extension from one point to another, the smallest of all lines with the same endpoints. In Fencing, we consider the Sword, Dagger, Montante, among others. A Vertical Line is one that directly corresponds to the head from the zenith; and in man, for Fencing, it goes down from the head to the feet. The Direction Line in the body is what we call the line that falls directly onto the foot supporting him; if balanced equally on both feet, we consider it to fall in the interval between them. We also call Direction Lines those that can be drawn unobstructed from one combatant to another. A Hyperbolic Line is one that is similar or analogous to a hill, or more precisely to a heap of wheat. It is used in Fencing in the description of the steps, both in the curved step mixed with trembling and strangeness, and in the transverse mixed with trembling and strangeness, and in the revolutions of the Sword. An Elliptical Line resembles an oval shape, divided into two parts with a diametric line. In Fencing, we see it in man, in the arch made by the thickness of the body and chest, since the back is almost flat. A Contingency Line, or Tangent, is a straight line that touches the convex circumference of a circle at one point. In the shoulder, it’s the one that crosses the chest, from the origin of one arm to the other, touching the circumference of the circle that is considered there. The Touch Line is when one of the swords manages to strike, touching one of the lines considered in the body of its opponent, which is also called the touch point.
PLACE
The Place is where the fighters and swords are situated, as well as the proximity they can occupy. Contemplating this, before taking action, can be of significant importance to understand what potential can be achieved based on the location. Often, the position itself becomes the potential, restricting the freedom of choice and compelling action out of necessity. There are places of Origin, Through, and Destination. The place of Origin is occupied by the fencer and his arm, from where he intends to perform a maneuver or where it emerges. Through is the space between one fencer to another, through which he directs his sword, either based on the plans considered or with a particular aspect. In the Destination, the touchpoints come into play, and their considerations: whether the fencer occupies a rightful place or not, if the place is suitable for occupation, and if it is more contingent or necessary to occupy it. This can be understood by the size of the place because if it is tiny or indivisible, the outcome will have less necessity and more contingency, such as occupying the right angle on the opponent’s chest, which should be the longest line. Given that this line, in our imaginary circle, is considered indivisible, it becomes challenging to occupy. The wound of the quarter circle is in such a narrow place that it’s hard to occupy. This can be rationalized by understanding that as the spot where one tries to direct the sword has different parts of length – some at the beginning, others at the end – which have to be occupied along a physical line (and in a specific time frame). Given the narrowness of this place, even if the beginning of that spot is occupied, the opponent can divert the sword in the middle or end, pushing it out of that place, making it hard to achieve the intended action. Therefore, whether it’s a single touchpoint or the Through space, achieving the intended result becomes highly contingent. If both the Through and Destination places are both narrow in a single maneuver, the difficulty multiplies. These two factors converge in the wound of the quarter circle, making it more challenging than the right-angle wound. While no body can avoid occupying space, it’s essential to recognize the nature of the places being occupied, whether a place is chosen solely for defense or for both defense and offense. In this case, one must consider if the occupation is meant to be permanent or temporary. In the space occupied by the swords, it’s crucial to discern whether to occupy a place by extending or reducing, with or without addition, if it’s a place set up for intermediate action, or if it’s meant for direct and immediate action. Based on where they stand, the measurements of the distance between both tools or their tips, up to the touchpoints on the opposing bodies, need to be considered, observing where they need to pass and the space between. The amount of movements to be made and which will occupy the chosen place first need to be decided. Not just the occupied place (Destination) but also the intermediate spaces (Through) and the touchpoints need to be assessed for their security or danger. In another sense, a place is where things are positioned according to their nature. Or, a place can be a surface that surrounds and immediately contains the internal parts of a body. For Fencing, this is considered in the ways that follow: A place, or the end of elective or intentional choice, is where the sword is positioned for a wound, deflection, or subjugation, but hasn’t reached the spot where, according to the nature of the movement, it should end and rest. A place, or the ultimate end, is any of the extremities of the straight paths, where movements end, each according to its type, and its inherent or incidental action.
MATHEMATICIAN
A Mathematician is a term that encompasses many categories, and the primary ones we use in this context are Geometry and Arithmetic. One contains measurements and the other numbers, and they are the main foundations of the art of fencing. However, due to their similarities or resemblances, we also refer to Astrology, as far as it includes aspects, and it is also relevant as it can aid a fencer’s understanding of Physiognomy. From music, we also draw upon the concept of consonance in many actions, without displeasing the ear, which perceives them better than the eye.
MEANS
Means. A mean is an entity through which the end influences the beginning, and the beginning reciprocates to the end, sharing equally in the nature of both. In essence, it is the likeness of the influence and reciprocity of the two extremes that it represents, constituting the substance of both and marking the union of form and matter. There’s a mean of union, mean of measurement, and mean of extremes.
Mean of Measurement refers to the standard by which any quantity is measured, such as the rod, the span, the arroba, the pound, the azumbre, the quart, and the pint. The mind measures the quantity of virtue, considering between two or more, which has the majority, to whom more rules and reasons apply. Often where there is greater material quantity, virtue is lesser, which the mind also measures. Virtue is also a mean of measurement between two things, although in this, the mind plays a role as it makes a judgment about what the eye presents. The sword is also a mean of measurement. Mean of Extremes is that which equally distances from the two, or many extremes, and that which makes them known, like the common circle in the middle of the two combatants, and the center of the circle in between extremes, in relation to the points of the circumference, or that which partakes of two natures: like lukewarm water, or the compass, and mixed movements, which also share two natures. In the art of fencing, it is considered a genus and is differentiated by species or differences into common means of the combatants, common of movements, of common deprivation, of particular deprivation, dispositional, privative, of proportion, proportional, proportioned; and this is further categorized as absolute, particular, proper, appropriated, transferred, and universal or supreme.
Common Mean of the Combatants is where, after having broken the mean of proportion, they remain in equal disposition. It’s called not a proportioned mean, but a common distance. Common Mean of Movements Violent, Natural, Remiss, and Strange is the position where the sword stands at a right angle. Common Deprivation Mean is chosen by the fencer to not be under the subjection of the sword, or while gaining degrees to the profile. Dispositional Mean can either be appropriated by the opponent, or chosen by the fencer to be unassailable, and to attack if necessary. Privative Mean is precisely where the fencer makes it impossible for his opponent due to the instrumental cause, which is achieved by means of some shortcuts. Proportional Mean is when the bodies are upright and the arms are fully extended, this is to measure the swords, or any other weapon, ensuring the opponent’s weapon does not exceed the guard of the fencer’s sword. Intermediate Proportional Mean is a distance that lies between the means of proportion and proportioned, approached by any side of the circumference. Determined Proportional Mean is the specific distance required by any kind of technique from where it is executed, according to its kind, and the length of the weapon that is to execute it, and the one that is to receive it. Absolute Mean is one that has no relation to another; and in fencing it is that from where the fencer can execute all techniques and strikes within his capability, without the opponent being able to stop him. Particular Mean is a necessary position that the fencer chooses, from where he can only execute one of the five particular wounds, and no more. Own Mean is chosen by the fencer, independent of his opponent, and without the opponent having a say in its choice. Appropriated Proportional Mean is offered by the opponent with his movements and steps to be able to strike or make a concluding move. Transferred Proportional Mean is when the fencer takes it away from his opponent and claims it for himself. Universal or Supreme Mean in fencing, this is from where a concluding move is made on the opponent’s sword, with all the requirements of the Art, depriving him both of the instrumental cause and the efficient one.
MOVEMENTS
Movement is an act of the motivating power that man possesses, both as a whole and in his parts, to move towards himself or away from himself. Thus, it’s an imperfect act that is perfected in its end and rest. In fencing, we make various considerations with the distinction of natural, violent, accidental, circular, strange, oblique, mixed, remiss, cardinal, simple, compound, reduction, augmentation, diminution, diversion, corruptive, generative, concluding, and underway movements.
Natural Movement is the movement of the sword that descends directly to its center and is one of the cardinal movements. Violent Movement is the one with which one rises to the top from any term; and the second act for the cut or reverse, if free; and third, if it’s subject and one of the four cardinal movements. Accidental Movement: It’s with which some chance is removed from its center. An accidental movement is the one made with one sword on another, to move it, of whatever kind it may be. Accidental movement is the change from one place to another, forward, in a straight line, and one of the four cardinal movements.
Circular Movement is the one that perfectly, as much as the material of the arm allows, constitutes a circle, joining the end with the beginning, which is the formation of the cut or reverse of any kind. Strange Movement is the one made by the arm moving backward, moving on the shoulder joint or bending the elbow joint, and the one that one sword makes with the impulse of the other, of whatever kind it may be.
Oblique Movement is the mixture of natural and remiss movements, with which, from either side, it descends and moves away; and conversely, rises and moves away. However, if it only moves from one side to the other parallel to the horizon, without rising or descending, it is horizontal. Mixed Movement is the one that consists of more than one type.
Mixed Natural and Strange Movement is when it descends and the arm bends; and so with the others, where with a single action, it partakes of more than one straightness. Movement of Union, or Aggregation of Weapons, is when they together descend and ascend, move away, or return to the center, taking its name according to the natural kind, violent, remiss, or of reduction, with one aiding the other. Remiss Movement is when one moves away to any side, and the first act for the interception or reverse if it’s free, and second if it’s subject, and one of the cardinal ones. Cardinal Movement is the one that begins at one of the four main points, straight lines, or positions, that are considered in the person from top to bottom, one side or the other, and the front. Simple Movement is any of those made without the intervention of another. In fencing, we consider as simple the one that falls directly, the one that rises, the one that moves forward, the one that moves backward, the one that moves away, and the one that returns to align itself at a right angle, without mixing or combining with another. Compound Movement is that which is not singular because it partakes of another or others with which it mixes or combines.
A Movement of Reduction is with which from any of the sides the sword returns to the center and the right angle. A Movement of Increase in swords is one in which, having restraint or aggregation between them, one rises from lesser degrees of force to greater ones, and the internal angle then becomes of larger sides. A Movement of Decrease is with which the subject sword or only aggregated descends from greater degrees of force to lesser ones, and the internal angle of the agent becomes of smaller sides. A Movement of Diversion is with which the sword that is subjected moves away from the one holding it when, over it, it makes an accidental movement for a thrust, removing the movement in via. A Movement of Corruption is caused when the fencer thrusts and the opponent diverts, corrupting that form. Generative Movement is understood as the one that is caused when, having thrust and been diverted by the opponent, it generates or aids the fencer in the initial movements for the formation of a reverse or cut. Movement of Conclusion is to subject the guard of the opponent’s sword with the left hand, destroying the acts and tricks that are under its jurisdiction, and deprives the power to repeat them, sometimes removing from the hand the instrumental cause, and others (if appropriate and necessary for total defense) finishing with the efficient.
Movement in via is when the tip of the sword that is subject or subjecting directly points at the opponent’s body; so much so that with only the accidental movement it can wound with a thrust. Killing the movement is when, to the one the opponent begins, another of its kind is applied (if it allows mixture), bringing the sword to the end of the straightness that belongs to it, and when the natural movement opposes the accidental and violent one.
NATURE
Nature is the principle of movement and stillness in the subject, without there being priority in origin or distinct time; although there is a natural priority, such as being and duration, which according to nature, first considers the being, and its natural quality is duration, which is as ancient as the being of anything: and in this way, the figure is considered to be the nature of quantity. And appetite can be the natural quality of growth, taking growth as the subject; since it is not possible for there to be an increase in anything, to which the nature of desire does not also accompany, depending on the increase; and conversely, the increase can be the nature of the appetite if the appetite is taken as the subject: and thus one can reason in the other principles.
NECESSITY
Necessity is what is precise and cannot be missing in things or actions: there is a necessity in which one voluntarily places oneself to achieve the act that determines their will, like if one decides to make a cut and the sword is on the lower plane, there is a necessity to make a violent and natural movement, among others that intervene in its formation: and there is a necessity that arises from the actions of the opponent, which limits and constrains in such a way that it becomes necessary to do something specific, which we have discussed above in another term: and this is what is most important for the fencer to know, to put their opponent in this necessity so that they do not act by will, and their actions are not free.
NOVELTY
Novelty is any change for our subject or matter. Any change that occurs in the figure caused by the swords, arms, bodies, angles, places, and the rest brings about a novelty in the powers and in intellectual acts. This is because if one mind desires to make a movement of increase, it is different from the one that desires to aggregate: and the one who defends differs from the one who seeks to injure, in which it differs in terms of the acts, which is the matter it informs; and so it is with the rest.
OPPOSITION
Opposition: We have discussed this in the term Contrariety. Truly, not all oppositions are made with things that are perfectly contrary to each other. Even though the combatants are contrary and their intentions are, lowering and aiding in lowering isn’t opposing one movement to another, but rather aiding and harmonizing with it with another movement of the same type. The same is true for rising and aiding in rising, moving away and aiding in moving away; but it is to oppose its desire and to thwart its intention. For this, perfect contrariety isn’t necessary, but it is enough to make the action that wanted to produce different. With this consideration, it will be found that angles oppose movements, lines, and compasses; on the contrary, defense opposes offense, which is to oppose the part to the whole, and sometimes the whole opposes the part. In perfect opposition, which is contrariety, this is clearer, hence it isn’t discussed further. Opposition is when one strikes the opponent face-to-face, as much as the disposition of the body’s profile allows. Opposition of angles is when one opposes another of its kind and prevents the sword from making the movement it intended to make from that place. Opposition of compasses is when one opposes another of its kind or different.
ORBS
In fencing, we call Orbs the distance contained between different concentric circles that are considered in the lower plane with the distinction of Maximum Orb, Common Orb, Sword Orb, and Orbs of the means proportioned from the remote and near end, among others. Since in mathematical demonstrations, both universal and particular, we have to give an individual account of these Orbs and their description, no specification of each one is made here.
ORDER
Order is what power dictates in acting, or receiving, communicating, or the term in every kind of cause. This order is found in all the mentioned terms and in those that will be mentioned. The reason is clear because there is power in everything, in each one as it is, and these powers dictate the said order. This order is natural from the power, and they have an ancientness; so, among them, there is no priority of time, although there is one by nature, as we mentioned before. Parts are what compose the whole, be it physical or metaphysical.
PART
Part refers to the arm and the hand concerning the body, which is called the whole. The inner part is the capacity that exists from the line of the common upper or lower diameter to the vertical line of the opponent’s back, on the side of the circumference of the right hand of the fencer and the opponent’s left. The outer part is everything up to the same vertical line, on the side of the circumference of the left hand.
PARTICIPATION
Participation is communion with the opponent’s actions. So, in what the opponent chooses as his particular means, the fencer must see what there is in that action or means that can benefit him because there’s always something, especially in the beginnings or means of operations. It is essential that there’s something to take advantage of, and taking advantage of it is participation in that action. Whether it’s participation in the angle, the line, the movement, or the compass, or everything mentioned; to achieve this, profound knowledge is necessary.
STEP
Step in Fencing refers to the distance between the two centers imagined at the heels of the feet. This distance is created by the movement of one foot from one spot to another, without the other foot following. Therefore, a Step in its simplest form is taken with any foot from one place to another without moving the other foot from its spot. The measurement of these steps is determined from the center of one heel to the other. Steps in general are those taken alternately, walking with both feet in such a way that the body rests, moving the direction line over the center of one heel as the other steps. The most perfect and natural steps, in which the body is considered whole, strong, and of good posture, are those taken in such a way that the length of each foot creates a right angle on both sides of the vertical plane of the chest, which is imagined to run from the top of the head through the center of the chest. Moreover, a straight angle is formed at the intersection of these extended lines, between the foot taking the step and the other foot on which the body rests simultaneously. Less perfect steps are those in which, on either side of the vertical plane of the chest, the length of each foot creates an acute angle of twenty-two and a half degrees. At the intersection of these lines, a right angle forms between the foot that takes the step and the other foot that the body rests upon simultaneously. More imperfect steps are those taken on both sides of the vertical plane of the chest, moving the feet in parallel lines.
The most imperfect steps of all are those that, due to natural constitution, bad habits, or other subsequent incidents, are taken on either side of the vertical plane of the chest. They form an angle of sixty-seven and a half degrees with the length of each foot, and where these lines meet, an obtuse angle of 135 degrees is formed between the foot taking the step and the other foot on which the body rests at the same time.
PERFECTION
Perfection is anything that suits the subject well. In the fencer’s case, intention is his perfection because it suits him. Desire, if for a good thing, is perfection. Increase can be perfection on some occasions and decrease on others. Action can be perfection at times and imperfection at others. Allowing the other to act or begin to act is what suits him, so it’s his perfection. Joining can be perfection, and distancing can also be, depending on the situation. The same reasoning applies to other cases. See Goodness.
PLANES
After the main planes, which are the superior one, where one sword is higher than another, whether free or held; the upper horizontal, which is considered from one shoulder to another; the middle horizontal, which is considered to pass through the waist; and the lower horizontal, which is considered on the ground (where we also divide into another eight planes, for the use of compasses, dividing in them the Orb, which is described with the arm and Sword, as will be explained in its demonstration), we consider other planes, which we imagine in the delineation of the bodies of the fighters, dividing them, both in their length and in their width and depth. We refer to some as perpendicular to the Horizon, others parallel to the Horizon, and others oblique to the Horizon; and they are explained in the following way:
The first perpendicular plane, which we call the Primary Vertical, is the one that is considered to pass the two direction lines of the two fighters, or by the axes of the cylinders in which they are imagined, when they affirm at an Angle. The second perpendicular plane, which we call the right-hand side Collateral, is the one represented by the line coming out from the center of the arm until it corresponds in the lower plane to the transversal of the common circle inside. The third perpendicular plane, which we call Diametric, is the one that is represented by the line that goes down through the middle of the forehead and chest until it corresponds in the lower plane to the tangent of the common Orb. The fourth perpendicular plane, which we call the left Collateral, is the one represented by the line that goes down from the left side until it corresponds in the lower plane to the middle line between the infinite line and the one that goes backwards in the common circle. The fifth perpendicular plane, which we call the left Vertical, is the one represented by the line that goes down by the left side until it corresponds in the lower plane with the straight line going backwards in the common circle. The sixth perpendicular plane, which we call the left Sword Collateral, is the one represented by the line that goes down from the left arm, on the outside, until it corresponds with the lower plane with the other middle line, between the infinite and the foreign line. The seventh perpendicular plane, which we call the back Vertical, is the one represented by the line that goes down through the middle of the back until it meets the infinite line on the right hand of the common circle in the lower plane. The eighth and last of the perpendicular planes, which we call the right Collateral, also of the back, is the one represented by the line that comes out from the right arm on the outside, and goes down to meet the transversal line, which by the profile side is in the common Orb.
The first parallel plane to the Horizon is the lower plane, or the ground where the Swordsman is. The second parallel plane to the Horizon is the one imagined to pass between the lower plane and the knees. The third parallel plane to the Horizon is the one imagined to pass through the knees. The fourth parallel plane to the Horizon is the one imagined to pass between the knees and waist. The fifth parallel plane to the Horizon is the one imagined to pass through the waist. The sixth parallel plane to the Horizon is the one imagined to pass between the waist and the centers of the arms. The seventh parallel plane to the Horizon is the one imagined to pass through the centers of the arms. The eighth parallel plane to the Horizon is the one imagined to pass through the mouth or nose. The ninth and last of the parallel planes to the Horizon is the one imagined to pass through the top of the head.
The first oblique plane is the one imagined to pass from the left side of the head to the center of the right arm. In this plane, cuts and half cuts, or Diagonal slashes, are executed.The second oblique plane is imagined to pass from the right side of the head to the center of the left arm. In this plane, reverse cuts and half reverse cuts, or Diagonal reverse slashes, are executed.The third oblique plane is imagined to pass from the center of the left arm to the right side of the waist. It represents the motion of the Sword in the formation of the Diagonal thrust. It also corresponds to this plane the formation that the Sword makes for cuts in the arm on the inside.The fourth oblique plane corresponds to the obliquity with which the Sword moves when attacking from the inside and executes the outside cuts on the arm, also called elbow cuts. Note that the most secure and strongest cuts will be when executed perpendicular to the elbow and wrist.The fifth oblique plane is imagined to pass from the left side of the waist to the right side of the knees. Although it doesn’t serve to execute wounds in it, it’s very important because it prevents the Sword that cannot immediately wound from the upper or lower part.The sixth oblique plane is imagined to pass from the right side of the waist to the left side of the knees. Like the previous one, it doesn’t serve to give wounds but has the same importance because it prevents the opponent from giving wounds immediately from the upper or lower part.The seventh oblique plane is imagined from the left side of the knees to the right foot and the lower plane. It serves to direct the cuts of slashes to the legs.The eighth and last oblique plane is imagined from the right knee to the left foot and the lower plane. It also serves to direct the reverse cuts to the legs.
POSTURE
Posture is a position of the body, arm, and sword of either of the combatants relative to their opponent. The posture of greatest power is in which the fencer has the most universal disposition for defense against the actions of the opponent, and to defend themselves if necessary, more than in any other disposition. Perfect posture is when the swordsman is based on a right angle, and makes another with the arm and body in its right vertical line; and from the tip of the sword to the left shoulder, it fits the definition of a straight line, with which everything is profiled. High posture is when the sword rises from the right angle to the obtuse directly, or leaning to any side. Low posture is when from the right angle it declines to the acute angle directly or leaning to either side.
POWER
Power is the virtue of the cause to act, receive, communicate, or terminate, as appropriate. It is a form by which an act exists and proceeds, and through which the understanding touches the object. Alternatively, power is the ability to actualize that which lies in the possibility ordered to the Agent who is to act, to act, and to the object that has to receive, to receive. Thus, power is both active and passive, and is considered and named by its acts, such as active when it acts, motivational when it moves, generative when it generates, corruptive when it corrupts, productive when it produces, dispositive when it arranges, privative when it deprives, determinative when it stops, subjunctive when it subjects, diversive when it diverts, impulsive when it pushes, expulsive when it expels, aggregative when it aggregates, segregative when it segregates: all being in the active, both proximate and remote. And for Fencing beyond what is mentioned, it is common, general, specific, and universal: and in common fencing, it is both active and passive.
Active Power is that strength, disposition, or natural virtue, which the Agent has, to act on its object from the active to the passive: and in Fencing, when through the appropriate means he strikes or subdues the swordsman, without being struck or subdued. Passive Power is the disposition the object has to receive the action of the Agent that works on it, doing on its part nothing more than resisting, more than wood, and wax less than both: and in Fencing, when a man is struck, unable to defend himself or strike. Proximate or next-to Power to the operation is when, by reason of the appropriate means, the swordsman can strike his opponent, setting a trap for him, not with more movements than necessary, without any contradiction between the power of the Agent to act and the object to receive, but it immediately finishes the work. Remote Power is when one has the sword free to act, but has no appropriate means for any wound; and if it has to execute any, it has to be mediate, not immediately. Common active and passive Power is when both equally act on each other; thus, both are agents and patients equally: this is found in the tricks of common Fencing. Specific Power is when the sword is subdued or diverted, and can be taken to any part desired; and leaving where it is to strike requires more movements than the trick demands. General Power in Fencing is when the sword is free, and it makes any trick (not with more movements than its kind requires) without considering this execution: it is also considered in the object, which must receive to receive, as in the agent to act, through the dispositions of the posture, and the profile of the body, or the jurisdiction of the arm. Universal Power is when the swordsman, having made a concluding movement, by subduing the opposing sword, can form and execute all the strikes he wishes.
PRINCIPLE
Principle refers to the order of an actual effect, and it is from whom the effect emanates. It is distinguished from Power in that Power indicates the ability to produce, and is considered as it is; but Principle refers to the order of an effect, and actual, as mentioned. Therefore, the former is relative, and the latter an absolute term; and when talking about a principle, it is in relation to some effect that has proceeded from it, and is actual. Accordingly, as many causes as there are, so many are the Principles; and since there are primarily four causes, so many will be the Principles that intervene in the formation of anything. If one gives a compass, it is considered who gave it, in whom it was given, the form that was communicated to it, and the purpose for which it was done; and these are the principles of that effect: thus, man as the agent, the ground as the receptive matter, what is straight, curved, transversal, of trepidation, or strange, is the form; and the end, what primarily moved him to it. The same is considered in movement: who moves, what is moved, or where the movement is received, which is who is informed, what form was given to it, and for what end? The same is true for lines and angles; and the same is true, even if the movement is a very small part, since smallness does not take away its being an effect, and thus it must have causes and principles, as in the movement of increase, where the efficient principle is the arm, and who receives it is the opposing sword; and the being of increase is the form, because it is the difference, and in the end, it will be according to the occasion. The principle is also considered without looking at the causes, without seeing if the effect has first and last parts; without then considering with respect to the means, nor the end, even if it is mentioned. Speaking in this sense, the beginning is the material for the means, and the means for the end, since the means is made in continuation of the beginning, and the end of the means; and otherwise, neither the means nor the end will be achieved. Dividing the act into these parts is to consider it as composed of it, not as simple; and the understanding does this, gives it, or partial forms: and the purpose for which this is done is for the great effects that result from recognizing the power that corresponds to it at the beginning of the action of its opponent, in the middle, or the end; and the ways it must have to achieve participation in it, both in offense and defense.
PRODUCTION
Production is the dependence that the effect has on its cause internally as it is being made, which is referred to as emanation or production. This is not only found in material effects but also in the emanations or productions of the understanding. Thus, it can be considered in all terms.
PROPERTY
Property is what differentiates one species from another. The property of humans is to be inquisitive and capable of laughter, while the physical and material body is characterized by gravity. There are also acquired properties, by which individual entities are distinguished from others: and the habit of any thing acquired with effort causes it to be considered its property if it has dissimilarity in it from others and not convenience; although this is more properly an accident.
PROPORTION
Proportion is a perfection of a part that speaks to its relationship to the whole, never straying from its end goal. The proportion of a Sword, and each of its dimensions, must be considered in relation to the person who will handle it, and to the end for which its actions are directed. A heavy instrument and a weak subject are not in proportion: thus, the swordsman with it won’t achieve his goal, which is defense and offense. A wide, soft sword isn’t designed for thrusting, and so it’s not suited for that purpose. A rapier isn’t designed for slashing, so it’s not proportioned for that. All the specific perfections that come together in a maneuver – movements, steps, angles, lines – they must all be in proportion to the end goal: thus it’s the function of a form to properly proportion it. In the art of fencing, it’s about the equality between two lines of the same type, in terms of quantity: so, in terms of length, none should exceed or be exceeded; this is divided into proportion of equality, and of inequality, as well as greater and lesser inequality. Proportion of equality exists between two quantities or numbers that are equal: in fencing, this refers to the balanced use of equal weapons, and the common point of deprivation. Proportion of inequality is between two unequal quantities or numbers: in fencing, this refers to the balanced use of unequal weapons, like a long sword against a short sword, or a very large body against a small one. Greater inequality is when comparing a larger quantity with a smaller one, whether continuous or discrete: in fencing, it’s the appropriate method chosen by the swordsman for the posture of the sword, either by blocking or by the profile of the body. Lesser inequality is when comparing the smaller quantity with the larger: in fencing, it’s the method of using a short weapon against a long one, and when for certain moves by the degrees of profile one moves slightly away from the common diameter line, or when with lesser degrees of force from one sword, one wants to control the greater force of another.
PROSECUTION
Prosecution is advancing what has been started; and this prosecution can either be of one’s own action or someone else’s separately, or of one’s own and someone else’s action together. For example, the opponent’s sword drops, and mine does too, and I join it to continue its action of dropping; upon seeing it, it’s a prosecution of its action of dropping, and mine, which began before joining, even though the gap was so brief, it’s sometimes barely perceptible. There is the prosecution of one’s own action; and this can be a prosecution from the beginning, middle, or end, or it can be a prosecution of desire or intention, varying means when the first ones are not effective: even if these had their particular ends so perfect that their essence asks for no more, but since the intention is not achieved with them, the second ones chosen are in prosecution of the desire, which does not rest until its appetite is fulfilled; and once this is achieved, as the cause remains at rest, there the prosecution is made. Hence, if the fencer decides to strike someone with three blows, a slash, a backhand, and a thrust, even if the first has its particular end and therefore its consequent rest, the desire is only partly settled; thus, the second and third are a continuation of the appetite and total rest. There is prosecution in increasing and decreasing, prosecution of intervals, actions, joinings; there is prosecution in agreeing and in opposing, in differentiating, in arranging, in demonstrating; and the perfect prosecution is the one that always keeps the swordsman superior: so that, as the efficient cause, he produces the effects he intends on his opponent, as if on matter, or a receptive step of his forms.
POINT
Point is in two ways, Mathematical and Physical. The former is that which has no parts, is indivisible, and cannot be touched, not even in the imagination; and in this way, it is considered by the Mathematician. The Physical point, material and objective, is an essence of the natural term that is in the smallest part of the body; it is perceived by sight and imagination; it serves to gain knowledge and through it ascend to the understanding of the natural point. Otherwise said: Point is a real accidental quality, which does not make a species of quantity, but reduces itself to the species of Line, as its continuation, and is neither an essential nor intrinsic part: and because it is truly distinguished from the line, God and the Angel can separate it from the line, leaving a perfect Line. In another way: Point is that which signifies discrete quantity, whose terms are common; because when dividing a line by its length, it would be into Points, and each would not be the end of one part and the beginning of the other.
SQUARE
A Square is a figure enclosed by four equal sides and four right angles. For the purpose of the fencing, there are universal considerations of it, both in place and in the quantity of greater or lesser, and being common to both fighters, or particular to just one, and this being superior or inferior. The square in a person is the breadth or width of the chest, affirming itself as square, or aligning the body by its breadth. The common square is that which is considered in the common circumference of the flat surface, constituting the right angles because both fighters can equally use and benefit from it. The particular square of the fencer is that which is considered in the particular circumference he chooses, in which the opponent has no part. The greater square is the one that is considered in the circle of the chest, and where diagonal and descending cuts and reverses are executed. The lesser square is the one considered in the face, leading the thrusts towards it when it is in the closest touch point, due to some end point where the opponent positions himself; and in it, the half cuts and reverses are executed, as well as the diagonal cuts and reverses.
UPRIGHTNESS
Uprightness is each of the positions or extreme points that are considered in a person, where it is possible for him to stand firm. General uprightness are six: up, down, to one side and the other, front and back, and there can be no others except the intermediate or mixed ones. Mixed uprightness is when the sword is high and to one side; low and to one side; behind and to one side; and so on for the rest.
RECOVERY
Recovery is to regain something that has been lost; and this can occur at the beginning, in the middle, or at the end of some action. Recovering from increase, decrease, aggregation, differentiation, correspondence, disposition, reach, and other things (which due to oversight tend to depend more on the fencer) if this is done before they are completely lost, being easier to obtain, indicates greater knowledge.
BLOCKING
Blocking, materially this term is understood as blocking the blow of the opponent by placing in front of it the upper part of the body, the Dagger, Sword, or Shield, to terminate the action on these or similar instruments, which he intended to execute on the body, either as a slash or thrust. And this is as if receiving like receptive material. However, due to the contingency that this may not result in the blow being executed on these instruments, but on another part of the body, since it depends on the will of the one who shapes it, or because natural movement could overcome the forced one, or the perfection of the instrument and strength of the operator could break or penetrate the blocking instrument. Since the one who blocks only focuses on defense, not offense at that time, it is considered a weak action in good Fencing, something that does not aim to put the opponent on guard, forcing him to defend. Therefore, it is rejected and not used; and the damage that threatens is remedied with a diversion movement and other means that indicate defense and offense at the same time, removing the aforementioned contingencies, only by the addition of instruments, helping to lower, though not to the same part, which is diverting the place, nor resisting the force, but assisting or merely diverting the accidental movement, without assistance, as no more vigor is given to it. Since the blocking, in the common sense, is defense, and this is achieved by the fencer with diversion and assistance, they can be called blocks since they prevent the offense that the opponent intends to cause.
Universal block is the concluding movement, with which, in addition to depriving the effect of the opposing trick put into action, those in the will are deprived, and it gives general power to the one who performs it for all his actions. Block in general is the prevention of injury, by stopping, assisting, holding, deflecting, or diverting the sword that wants to wound. A perfect block must arise from the wound and can be of the species that the opponent forms, and it can be contrary. It is necessary to be so in the diagonal cuts, and in the half-reverses, and in the half-cuts.
REITERATION
Reiteration is the act of repeating an action once or multiple times. This is understood to be of the same type, but not the same in number. Because once the numeric form is corrupted, there’s no regression back to it in its potency, but rather towards its essence and species. This reiteration can be considered in the aforementioned terms, which provide a reason to consider it in specific matters.
SATISFACTION
Satisfaction is a state of contentment that the swordsman enjoys, being certain that what they know is firm and true. This satisfaction can be purely theoretical, or combined with practical, with the former being partial and the latter total. This complete satisfaction is difficult to attain because one with knowledge of the terms and the science realizes that no one can be perfect. The potential indicates more external acts of fencing than the fencer can achieve in the short span of their life. Any slightest variation in any action makes it different. As seen in a movement of increase or decrease, any point causes a difference. In circular movements or parts of circles, there can be considerations of them being larger or smaller, resulting in almost innumerable differences. The difference in causes necessarily results in different effects, even if the difference is only accidental. The effect will correspond to the same accident as its cause; if it’s essential, then it’s essential. Those with more knowledge, though they aren’t satisfied that they know all there is to know practically since they haven’t practiced everything, enjoy satisfaction in defeating others who haven’t reached this knowledge. However, those who know less often feel more satisfaction because they’re unaware of what they lack, and this satisfaction only serves to place them in danger.
SECTION
Section (equivalent to segment or cut) is the point where the swords touch when one constrains the other or is aligned with it. Common section is when the point where the swords touch, constraining or aligning with each other, is equidistant from both opponents. Particular section is when it’s closer to one than the other.
SECURITY
Security is a clear term, but how it is to be achieved is difficult. Recognizing what is done, the duration it lasts, and which action is the safest to choose when there are many options, indicates great skill. Among the highest levels of security is depriving the opponent of their weapon, and the ultimate security is taking their life.
RESEMBLANCE
Resemblance is when two things look alike in some way, yet they aren’t the same. They can also appear identical in every aspect but remain distinct in number. It’s very challenging for things to resemble each other in every aspect due to the diversity of locations, the strength of the operator, and other factors intervening in the formation of tactics, lines, angles, tools, etc.
SEPARABLE
Separable is a quality that denotes an accident, in which it is accurately verified, which can be separated from its subject without it being corrupted. It relates to the more and the less in quantities, lines, angles, movements, and compasses, and the lines of the angles. Because right angles are indivisible; if it’s even a point greater than a right angle, it will be obtuse and acute. Thus, what’s separable from the right or accident is only in the sides. This is what we call separable. However, in fencing, in terms of its purpose, which is offense and defense, many times these accidents constitute the preservation of the goal. Thus, in good fencing, such accidents aren’t separable. Also, the form can be separated from the matter, as the soul can be from the body, and this is the corruption of being, born from its separation.
BEING
Being is a level considered in every subject, first by nature, than by capability, and then by the action of the same thing, although there is no temporal priority among them. For as soon as something exists, it has the potential to exist, which is called inner potential. And the capacity for external actions arises at the same time, as it has an internal or entitative action, since it exists in actuality. There are other specific end actions, such as those of duration, perfection, and others. For at the very moment of existence, and it can last, there is potential, and it perfects the subject. These are internal actions corresponding to it, and without which no subject can exist. But the external actions of the potential of being, and the order it suggests, don’t arise simultaneously, hence they are called external. As each of the said terms is a thing, it will have being, power, and action. Recognizing these levels and the order they suggest in the external actions, each one of them, is the essence of the fencer, and the power to carry out their external actions accurately.
SIMPLICITY
Simplicity, in strict terms, is what lacks composition of parts. In this sense, nothing in fencing is simple, because even if only the sword is considered and said to be a line, this line is composed of many parts. Any move, even if made with primary intention, isn’t simple, because lines, angles, movements, and compasses intervene in it, composing it, and they are necessary parts for its formation. Some are made up of various movements, essential preliminaries for the striker. But since in fencing there are general moves, and others taught separately from any combat, without the opponent defending, so that the prospective fencer gets used to where and how they should be executed, by which planes they pass, so that when in real combat they find themselves in those dispositions, they know what to do. In the midst of combat, considering the great variety of things intervening, knowing how to execute those moves is vital. It’s said that they should recall how and from where they executed them when taught separately from combat, reducing them to that primary simplicity. So, it’s a relative simplicity, not a proper and strict one.
SINGULARITY
Singularity is the act of distancing oneself from others in something, or in many things, being unique in those aspects. For example, the inventor of this Fencing was singular. Even though he used the same tools as those from common Fencing, as well as movements, angles, lines, and compasses, he applied and shaped them in a highly singular manner, inventing unknown moves. If there were only one person with a perfect understanding of what he taught and intended to convey in his writings, that person would be his unique disciple. If the explanations of these terms, as interconnected as they are, bring forth something new, the author of them would be singular, as would anyone in whom these properties are found. And if these properties are superior, their possessor will be singular in that superior capability.
SUFFICIENCY
Sufficiency is a qualified potential. While potential refers to the capacity to act, receive, communicate, or conclude, depending on its nature, it can be specific or total, complete or incomplete. However, sufficiency is an unlimited power, neither partial nor limited but complete, and requires nothing else for its external actions.
SURFACE A Surface is that which only has length and width. Its endpoints, limits, or extremes are lines when the surface is finite and not oval or elliptical. It is conceived or imagined to emerge or be generated by the movement of a line from one side to the other. Likewise, it is conceived in two ways: abstracted or separate from matter. Within it, there are concave, convex, and flat surfaces, all of which are of consideration in Fencing.
A flat surface is one that lies evenly within its lines (just as a straight line lies between its points). For the purposes of Fencing, it is the ground, where the circumference between the two fighters is considered, along with everything contained within it, and the specific surface of each one and the particular one chosen by the fencer.
A concave surface occurs when the fencer, without moving his feet, aims to reach his adversary by pushing. In such a way, while maintaining a precise touch in terms of a right angle, he aims to topple his opponent’s body, making him adopt the convex surface, its opposite. For if the fencer creates a concave surface at the front, he makes a convex one at the back; and the opponent, by forming a convex surface at the front, creates a concave one at his back. Thus, it will always be observed in the concave and convex surfaces that they go hand in hand; in a way that, being concave on the inside, it has to be necessarily convex on the outside.
TERMINATION
Termination is an action that is not perfect or completed with respect to the purpose of the operator. It can sometimes be voluntary and other times necessary. Voluntary, as in when one can execute the techniques and only marks them by ending the actions at the end. The same can be done at the beginning or in the middle, but this doesn’t fall within the skill of fencing, as it changes the means different from the chosen ones. Actions are also terminated out of necessity, as can be seen when the opponent rises with violent movement, and upon blocking him, he stops against his will, which is to end his action of rising. The same applies to the downward movement, catching the natural movement very early, not in the act of descending, because resisting with the violent movement won’t be possible, or it will be very difficult. What is terminated is the action of descending to the body, which, when assisted, diverts to a different place. The same applies to the accidental movement with which the thrust is formed, as it ends with the diverting movement, not that the Sword does not move forward, but the straight line that it formed in the air, which was directed straight at the body, making it deviate its path and go in an oblique line away from the body. The same can be considered in many other things.
TERM
A term is called that which is the end of something and that which separates it from another. According to philosophers, it is that in which the proposition is resolved. In Fencing, it serves as a Genre, and has species like terms of Where, To Whom, From Where, Of Which, Of the Sword, Of the Lines, Of the Movements, Of the Width, Of the Length, and Common Term.
Term Adonde, which is the same as term To Where, is the point where the line ends, and the target where techniques are directed and their effects occur. Term to where and Adonde: the first one is common, which is the body where all the lines are aimed at, etc. as mentioned. The second is specific, which is the point where the sword should make contact, and where it should be directed, according to the type of technique or strike. Term from where and Dedonde: the first is common, which is the body from which all movements must be executed; and the second is specific, which is the point from which they originate, without which it would be impossible for them to exist. Term Adonde is the same as term to where.
Term Common in Fencing is the right angle, from which the beginning of movements is considered. Term of the sword is the right angle, or any other position where it can be touched, or to be able to act through it or with it, with addition, diversion, or control. Term of the lines is the body where they end by reaching it, making them finite on both sides. Term of the movements is each of the straightnesses or general positions, each according to its type, and the action that belongs to it. The terms of Width and Length are explained under Quantity. Term is each of the combatants for their opponent, from where the lines come out and where they are meant to end.
TIME
No matter how brief, anything done in fencing must be done in Time; because as it has to have first and last parts, just as it is divisible, it is done in time, which is said to be the measure of movements. However, some are so swift and of such short duration that they are called instantaneous actions, due to the brevity of the time in which they are executed and their short duration; this is unlike some wounds that are permanent and have assurance. Circular time is the same as a cut or reverse.
In fencing, everything is a thing composed of parts, and the total perfection of this is regulated by looking to see if any part that should be there according to its purpose is missing: such as looking at a tactic as a whole, a battle as a whole, and other things in this way. It is then necessary to look at the simple elements that make up the tactic, the lines, each movement individually, the steps, the angles, and the rest, through which one recognizes what was lawful, or the success.
TRANSCENDENCE
Transcendence is a term that signifies something very general and encompassing of everything else. In the abstract term, which has been explained, one will notice the nature of this term: also Perfection, Goodness, Appetite, Power, Order, Sufficiency, Action, Nature; and many of the aforementioned can be considered transcendental terms.
TACTIC
Tactic. This term is universal or general, because it doesn’t necessarily pertain to cuts, reverses, thrusts, half-cuts, or half-reverses; but to everything that is a crafty technique to harm a man without him realizing or being able to remedy it, and to defend oneself against it. It’s the same as a ruse or stratagem, and thus, a tactic is not a wound (as many authors claim), but a cause from which that effect or act originates. By definition, it is a concept from the understanding of the fencer, whose aim is their own defense and the offense of their opponent. It is the supreme genre, distinguished by the four precepts or general rules, which have jurisdiction and superiority over specific wounds, simple and complex, of first and second intention, through the choice of one of the four means of proportion: common, proportional, proportioned, and absolute. The first is solely for defense using the common means of deprivation. The second is to gain advantages over the opponent and wound him with first intention securely, and to take advantage of the movements initiated by the opponent and wound him with second intention if appropriate. The third, with its own proportioned means for wounding, without waiting for the opponent’s movements or delaying even for a moment; it has the strength of a specific cut, as it is known, that the proportioned means causes, at the very least, a disposition in the fencer, and deprivation in the opponent, or it wouldn’t be a proportioned means. The fourth has an absolute means, with the strength of a powerful cut, as he who has chosen it is disposed to wound with the injury he wishes; and the opponent, with such deprivation, subjects both the instrumental cause and the efficient one, as he is found concluded; in such a way that even if he wishes to abandon the instrumental cause and flee, he won’t be able to remain defended if the Diestro doesn’t allow it.
Each of the precepts or general rules has four distinctions, and each can be executed by the fencer using one of the aforementioned four means; and in addition to this, there are tactics, simple and complex, of first and second intention, due to the sword’s posture, the body’s profile, and the jurisdiction of the arm, of the far end and of the near end, in which its generality is recognized.
Tactic, or general rule, is one that encompasses under its jurisdiction the specific strikes of cut, reverse, thrust, half-cut, and half-reverse, of first or second intention, simple or complex, due to the sword’s posture, the body’s profile, or the jurisdiction of the arm. There are four of these, as mentioned before: the line in cross, narrowing, weakness below strength, and weakness above strength.
General Rule of Line in Cross is to form a portion of a pyramid below in order to join the opponent’s sword from the outer plane, to the extent that it can be communicated, bringing the swords to their direct right alignment, removing the direction of the opponent’s sword from the correspondence of the Diestro’s body; in such a way that he cannot be wounded on that path. It’s a rule that begins with the sword and ends with it; it can be executed in both first and second intention, as much through the degrees of profile as by the posture of the sword.
General Rule of Weakness Below Strength is to join the opponent’s sword from the outer side and, continuing (as in the general rule of the cross line) without stopping the revolution of a conical pyramid, the swords are brought to the Diestro’s left alignment, with his weak side below the strength of the opponent’s, to then strike with a thrust to the chest by the shortest path, leaving the opponent’s sword free, through the degrees of the profile that the Diestro would have gained to remain defended. It’s a rule that begins with the sword and ends with the body; but if the opponent moves on his center, he can strike and finish with the sword. This general rule is executed in both first and second intention by the two jurisdictions, depending on the position or alignment in which the opponent’s sword is found.
General Rule of Narrowing is to approach the plane of the opponent’s sword from the inside, making a revolution only with the center or axis of the wrist, forming a conical pyramid, and pushing the opponent’s sword towards the Diestro’s right alignment. As a result, the weakness of the opponent’s sword is positioned above the strength of the Diestro’s sword, without a direct line to immediately strike from that side. This tactic starts and finishes with the opponent’s sword and can be executed in both first and second intention across both jurisdictions.
General Rule of Weakness Above Strength is to approach the plane of the opponent’s sword from the inside; and by performing the same pyramid revolution as in the narrowing, one continues successively with another portion of the pyramid, separating the swords to the Diestro’s left alignment. Here, the Diestro will position the weakness of his sword over the opponent’s strength, to then strike with a thrust to the chest by the shortest path, leaving the opponent’s sword free, thanks to the degrees of the profile that the Diestro would have gained to remain defended. It’s a rule that begins with the sword and ends with the body; but if the opponent moves on his center, he can strike and finish with the sword. This general rule is executed in both first and second intention by the two jurisdictions, depending on the position or alignment in which the opponent’s sword is found.
A Second Intention Tactic is executed after the opponent has made one or more voluntary movements, and it’s performed at the time when these are being executed or have just been completed, and the one which helps to form them. A Simple Tactic (in terms of the singularity of movement) is the thrust of the first intention by the sword’s posture, which is executed in the right collateral line, and also the one that doesn’t consist of more movements than those required by its form. A Compound Tactic exists in two ways: the first is the cut or backhand strike, and others that involve more than one movement, even for a thrust; the second is when the opponent prepares it, and the Diestro executes it, achieving it with the same movements. A Counterposed Tactic is one that the opponent helps to form, through the slow movements of weapon union (whom Don Luis called Mixed), even if it doesn’t consist of more movements or involvement of more angles than its kind requires: and when the opponent forms a cut and is struck with a reverse; and when a reverse and is struck with a cut; and against any of these, a thrust; and when he’s struck in the vertical line of the back. A Tactic to the Sword is when the opponent’s sword is outside the right angle, in one of the half divisions, and is sought after with the general rule that dominates the rectitude of that half division it’s in. A Tactic with the Sword is executed by leading the opponent’s sword with one of the general rules until having gained a degree of profile or arm jurisdiction. A Tactic by the Sword’s Posture of first or second intention with any weapon type starts with the opponent’s and strikes while holding it, until reaching the point of proportion or for the concluding movement if it reaches the near end. A True Tactic is a scientific composition of body, arm, and sword movement that the Diestro makes according to its kind, in order to defend and attack the opponent, if suitable.
TRUTH
In fencing, truth is the act that reveals the virtue of the cause and makes it undeniable, because it unveils it to the eyes. It is found in the productions or emanations of effects and in their purposes. Even after these have been acquired, what results is stillness; but truth is also found in that stillness.
VIRTUALITY
Virtual is what substitutes in place of another, and after having become so, it enjoys its power as if it were. Weakness below strength, according to Pacheco’s rule, is understood with the aggregation of the sword, and virtually the same thing is done without aggregation, and the same effect arises from both positions. The angle is occupied virtually without the body having occupied it, and it produces effects as if it were occupied. The atajo is done with restraint, and virtually it forms without aggregation of the sword, and creates effects of restraint, impediment, and binding, which is called virtual. Increases and decreases can be made virtually without aggregation, which is how we consider them; and in many other cases, this term can be considered, running through the rest that have been mentioned, and it may be that in the virtual, some higher perfections and greater powers are found than in the actual.
UNITY
Unity is the primary foundation of the numeral, whether the numeral is of individuals, species, or genres; and unity sometimes consists of parts of the same species, like the natural movement that descends from above or higher up to the ground. It is one movement if it was continuous; but with parts, it could be divided into two or three, as determined by the Agent; but these component parts of this unity, or integrals, are of one species, and in the actual, it is one, being continuous; but potentially two or three. Unity can also be formed from different species, as seen in mixed movements, in which two natures come together to compose a unity, or a single movement with two virtues. And a tactic, which contains unity in terms of tactic, is composed of parts that belong to different genres, such as lines, angles, movements, measures, etc.
UNION
Union refers to the aggregation or adherence that one instrument has with another when they join, which is why it is said to have contiguity. In this sense, the hand is with the Sword: with this, increases and decreases are caused, and the opponent’s Sword is followed wherever it goes, as the movement arises from this mixture, union, or aggregation. Sometimes this is actual, and at other times only virtual. The virtual can even have greater perfections than the actual, as it is not so easily followed by the opponent. There is also a proper union, which is what unites two things making them one; and in this sense, there is no form applied to any material without this union, which they call the mode of union. To this material and form, external or accidental qualities are often united by the fencer, which are highly considered perfections since the victory often lies within them, achieving the intended goal. It is considered that when the movement of the arm and Sword, which forms a cut, is joined with the movement of the body with an external compass to spread the force; and the downward cut is something that joins it, and the application of more degrees of force is something that joins the act of descending, as it could be with fewer degrees, and moving to a safe place is a union. From these material and formal unions results a union of metaphysical degrees because it is a union of perfections of partial potencies, and of differences more sufficient for the task, causing greater stillness and security, as they all align towards the end.
UNIVERSAL
Universal is a complete understanding of everything related to fecning, both the material of tactics and forms, efficient purposes, instruments, timings of their operations; both in their principles, means, and ends of each tactic, as in the prosecution for the rest of the actual battle. It not only serves the aforementioned but also for the possible quality of the planes or places, contingency, or necessity of partial causes, and everything else that has been said.
