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Title
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en
Teaching Young Girls How to Use the Foils
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Date
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March 24, 1901
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volume
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87
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issue
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114
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page start
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2
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page end
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2
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content
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en
Teaching young girls how to use the foils
Avous, mademoiselle, said her adversary as he settled into position after the sweeping, graceful salute. With a courteous of her head the woman’s slight sinuous body straightened a bit and then there was the keen ring and the quivering echo of steel on steel.
The “sport of kings” is only spasmodically pursued here in this city – that is, among women – and for no other object than that of amusement. Yet there is no other form of exercise in the whole gymnastic category at once so beneficial, so inspiring and so sure of visible results.
In almost every school of acting the very first time thing that looms in large type on the curriculum of study is “the training of the body.” This goes far to prove the paramount importance of fencing as a means to a graceful bearing. Besides that, the testimony of prominent, actors and actresses who have not made their first appearance at a dramatic students’ matinee will add a long list of names to those who hold a course in fencing as an essential to stage training.
Hanging upon the walls in the sale d’armes of a well-known master are photographs of Mrs. Langtry, Sarah Bernhardt, Marie Tempest, E. H. Sothern, James K. Hackett and others, all garbed and gauntleted ready for the fray.
Fencing is by all odds the surest means of attaining control of one’s muscles and of adding a graceful bearing to one’s list of attractions. It develops and brings into play those muscles which have most to do with the outline of the feminine figure, it gives a quickness to the glance of the eye and acts as a spur to the most sluggish temperament.
The costumes worn by the feminine fencers are really very attractive. The accordion pleated skirt falls into such pretty lines as the wearer advances or retreats with the quick, decisive movement of the foot and knee. The waists, buttoning up on the left side and leaving smooth the expanse of cloth over the chest, are most businesslike and appropriate. Gymnasium shoes, or the popular fad of last summer, the white rubber soled “sneakers,” are best for footgear, for the risk of slipping on a smooth floor is not to be lightly thought of.
There are only three position in the list of fencing postures. There are: First, the attitude taken by the fencer as he steps to the center of the floor, just before placing himself on guard. In detail this is as follows: Standing with heels touching, the right toe in a straight line with one’s opponent, and the left foot at a sharp angle to the other. The body is turned slight to the right, in order to present a three-quarter view to the adversary, and the sword hand held at about the height of the head. The left arm falls naturally by the side.
The second position is that of “on guard.” The right hand, with knuckles turned downward, is lowered from the first position, and the blade is moved so that the left hand grasps it lightly. Then both hands are raised slowly and gracefully above the head, the left hand loosens its grasp and falls in to position at the back of the head, the arm bent and half outstretched, with the open hand o the level with the masked head. The right hand moves to the front, a little below the breast, to the right, elbow close to the hand, and the foil held horizontally, so that the tip is on a level with the eyes. Advance the right foot about eighteca (?) inches, keeping the right heel on a line with the left, and let the weight divide itself equally, not putting any strain on one limb more than on the other.
The third position is the extension, or lunge, and is attained by stretching the right arm from its position close to the body, straight out about the shoulder’s height. The body is not rigid, and is not bent with the movement, and the right foot is advanced a trifle with the knee kept directly in line above the right instep. One’s bearing is a positive one and upright, learning neither forward nor backward, except in the advance or retreat.
When on guard and the fencer desires to step forward always start with the right foot and follow with the left; never stride forward; small steps are always advisable, the position being shifted generally by bending.
The salute is the most imposing position, or series of positions, and is always given before the conflict is begun. The fencers assume the first position at the correct distance, one from the other, and their arms fall gracefully at their sides, the buttons on the foils touching the floor in front and to the left of the right foot. Both step forward, raising the right arm to a level with the top of the head, blades extended, the hands then descend to the chin, close, but not touching, blades upright. Then they are swept down and to the right with a full, graceful movement.
Then the blade is grasped lightly by the left hand, both arms elevated above the head. The left hand falls slowly to position, arm half bent and hand on a level with top of the left ear. The right hand drops into position of “on guard” and the struggle begins.
There are sundry terms in connection with the noble art of fencing. When the swords of the fencers are crossed with points upward and the blades to the right of each other the fencers are engaged in “tierce.” When the same is true with points of swords to the left of each other they are engaged in “quarte.” To lunge I tierce is to thrust high and to the right. To lunge in quarte is to follow the same movement, going to the left.
Just a word, though by rights it should have been an introductory one, on how to grasp the foil. Let the thumb be flat on the convex part of the hilt, forefinger extended, and the other fingers curved about the hilt and flat against the left side, touching each other lightly. Grasp the foil firmly, so that a quick strain cannot loosen the hold, but do not clutch at the hilt or strain the wrist and forearm with a too close hold.
Pliability is one of the greatest qualities of a thoroughly good fencer, and he must be able to feel the blade what thrust his adversary will next attempt.
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depicts
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Illustration : "Ready for the fray—the salute"
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Illustration : "Engagement"
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Illustration : "Time thrust"
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Illustration : "A simple parry"
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Illustration : "On guard"
