XIII. Directing: The Right of Way (3)
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XIII. Directing: The Right of Way (3)
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February 11, 1937
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XIII. DIRECTING
The Right of Way (3)
In my opinion, there is no single notion which is susceptible of more general misunderstanding in its relation to the theory of the right of way than the stop-thrust. Generally, the difficulty arises out of the fact that most fencers and directors have a tendency to regard any forward action of the attacker as a correct attack, and any movement after the parry as a correct riposte. Consequently, they regard any counter-action which breaks the order or sequence of the phrase d’armes as invariably wrong. This is an erroneous view which has been thoroughly exploded both in theory and practice in international contests. Let us look at the rules.
The stop-thrust is defined internationally as a simple counter-attack which arrives clearly before the final thrust of the attack. Most frequently it is made against advancing attacks (patinando or ballestro), when the attacker exposes an open line. Under such circumstances, if the stop-thrust arrives on the "march," it must be ahead of the final movement of the attack, and sufficiently "in time" to overcome the attacker's advantage of the right of way. But obviously, if A, the attacker, does not expose an open line, a stop-thrust by B cannot be executed.
Somewhat the same principle applies to actions which are fundamentally similar to the stop-thrust, such as the "remise" and "redoublement of attack" after the opponent's parry.
Conventionally, as we have seen, when B parries A’s attack, he acquires the right of riposte—that is, his riposte has the right of way. But the rules say that the riposte must be made "immediately, without indecision or delay." And unless the riposte is correctly and rapidly executed it does not have the right of way, as against a simple counter-attack.
For example, the most common fault of beginners in executing a riposte in quarte is to bring the hand back to the middle of the body or clear over to sixte before starting the forward motion of the riposte. Consequently, they "open the line" in quarte after the parry while the opponent’s blade is threatening that particular portion of the target. If, as the line is opened, the attacker "remises" (that is, continues the attack immediately by straight thrust), the attacker is right, and must be given the touch even if the riposte lands. In effect, B is executing a delayed riposte (two tempos) and A is scoring with a remise on the first tempo, even though objectively there may be almost simultaneous hits on the movements.
Another frequent fault is to "hold" the parry, which is another phase of delaying the riposte, and which indicates that B is unsure of the parry. In that case, A is entitled to "redouble" (either in the same line or in another). In other words, A has the right of way—his action is a new attack entitled to the privileges of any other attack.
Summarizing briefly, the remise is a counter-attack against the riposte and is valid on the same principle that a stop-thrust would be valid against an attack. The redoublement of attack is valid against the fencer who holds the parry, as a new attack started at that moment.
The same principles govern counter-attacks against the counter-riposte, and redoublements against the counter-riposte, when the attacker A has avoided the riposte and fails to counter-riposte correctly and immediately.
A strict observance of the rules in this connection on the part of the director is essential to the development of the sport up to the levels of European fencers. An understanding and firm application of the principles which have been discussed in this article must place a premium on a faster tempo in the bout, and upon decisive actions on the part of both fencers.
Slow tempo on the attack, delayed ripostes, and counter-attacks have their important place in the tactics of the bout. They are like a baseball pitcher’s change of pace. But if they are to be effective, they must be a change of pace rather than a substitute for a fast, decisive, normal tempo of competition.
M. A. de C.
