quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
the point of the	34
at the same time	26
with the left hand	16
the back of the	15
that is to say	15
the use of the	14
see the th plate	14
point of the sword	13
by reason of the	12
if he parrys with	12
to take the time	12
in order to be	11
the centre of the	11
he takes the time	11
you must parry and	11
you must make a	10
in the direction of	10
on a level with	10
if with his feeble	9
which is done by	9
the opposition of the	9
the length of the	9
opposing with the left	9
he parrys with his	9
in order to make	8
from the inside to	8
you must cut under	8
in the case of	8
centre of the target	8
the middle of the	8
the edge of the	8
a level with the	8
opposition of the hand	8
must parry and risposte	8
the inside to the	8
in order to take	8
at right angles to	8
the weight of the	8
if he takes the	8
and if with his	7
with the point of	7
close to the body	7
as soon as the	7
which is to be	7
the direction of the	7
the wrist must be	7
and if he parrys	7
it is as well	7
oppose with the left	7
the art of fencing	7
with the hand in	6
from left to right	6
inside to the outside	6
edge to the left	6
parrys with his fort	6
the inside of the	6
with your fort to	6
in the hands of	6
the guard of his	6
it will be seen	6
a line with the	6
with the true edge	6
or take the time	6
edge of the sword	6
cut under in seconde	6
it is necessary that	6
beat of the foot	6
guard of his sword	6
you must either parry	6
the wrist in quart	6
cut over the point	5
as in a lunge	5
in the same way	5
a man who is	5
the height of the	5
must cut under in	5
you must disengage and	5
in case of the	5
with the right foot	5
be made with the	5
the wrist so that	5
the left side of	5
the position of attention	5
point of the right	5
you are to observe	5
motion of the wrist	5
at the time that	5
the outside of the	5
on a line with	5
be made on the	5
from right to left	5
will be seen that	5
bloodstone on his finger	5
is to be done	5
the bloodstone on his	5
in order to avoid	5
to the engaging guard	5
turn the wrist so	5
comes to your sword	5
the upper part of	5
must make a half	5
in a line with	5
draw back the right	5
the case of a	5
to take a counter	5
it is better to	5
right angles to the	5
it is necessary to	5
with the left foot	5
and the point of	5
the end of the	5
order to be in	5
your fort to his	4
back of the hilt	4
feet at right angles	4
in order to push	4
outside to the inside	4
fort to his feeble	4
be seen that the	4
which may be done	4
the hand in seconde	4
the body on the	4
and come to the	4
the swiftness of the	4
as high as the	4
in the first instance	4
the case of the	4
parts of the body	4
quarte under the wrist	4
in order to parry	4
from time to time	4
without the assistance of	4
from the outside to	4
to have a good	4
to be in a	4
take a counter to	4
parrys with his feeble	4
towards the centre of	4
in the same place	4
the edge to the	4
at an angle of	4
the thumb on the	4
of the small sword	4
and at the same	4
with sword in hand	4
the body should be	4
a good plan to	4
the position of the	4
the point to the	4
in a better condition	4
you must redouble in	4
take the time upon	4
he does not stir	4
in addition to the	4
use of the small	4
and lowering the body	4
advance the right foot	4
to the left and	4
is as well to	4
is the effect of	4
wrist so that the	4
point of the stick	4
come to your blade	4
some masters teach to	4
edge to the right	4
to keep the body	4
the hand in quarte	4
in a pass in	4
fort to your feeble	4
edge to the rear	4
of the right foot	4
are to be made	4
as i have said	4
if he disengages and	4
at the left side	4
it would not be	4
the figure of the	4
drawing back the right	4
the motion of the	4
weight of the body	4
seize the guard of	4
under the wrist in	4
the point of your	4
back of the sword	4
discernment of the eye	4
at the end of	4
edge face to the	4
case of the first	4
in a condition to	4
the outside to the	4
with the fort to	4
in order to get	4
the sword of conquest	4
from within to without	4
elbow close to the	4
it is well to	4
that you may be	3
disengage and push tierce	3
have the liberty of	3
take advantage of the	3
thrust a greater length	3
turn the wrist in	3
sword on the outside	3
if on the engagement	3
at the same instant	3
as shown in fig	3
which i have described	3
as well by reason	3
and if he takes	3
it is to be	3
cut from the inside	3
the left foot to	3
and if instead of	3
swiftness of the thrust	3
the time of your	3
keeping back the body	3
at the time of	3
turning on the edge	3
the second and third	3
retention of the body	3
without stirring the foot	3
to make a half	3
a counter to your	3
hand about on a	3
in front of the	3
if with the feeble	3
your point a little	3
of the sword is	3
from the line of	3
one and the same	3
to the end of	3
is a good plan	3
and if it were	3
which gives it a	3
cut quarte under the	3
and if he volts	3
about on a level	3
the parts of the	3
must be done with	3
beat with the foot	3
the hilt of the	3
little beat of the	3
foot to the side	3
the low guard is	3
of time between the	3
for the sake of	3
is not sufficient to	3
the reader is referred	3
from hilt to point	3
circumference of the circle	3
or half nearest the	3
the discernment of the	3
he lets you engage	3
where you have light	3
and the left hand	3
the level of the	3
by lifting and carrying	3
beat of the right	3
to cover the body	3
above the level of	3
the side of the	3
a line with your	3
the left hand and	3
i will be glad	3
if the low guard	3
in the position of	3
extension of the arm	3
a little beat of	3
the right foot back	3
a cut at his	3
wrist must be raised	3
be out of place	3
made with the fort	3
he parrys with the	3
as far as the	3
come to the engaging	3
right hand about on	3
the feeble with your	3
and edge to the	3
back to the position	3
to be done only	3
well by reason of	3
at the military tournament	3
drawing back the body	3
the butt of the	3
the place of the	3
to turn aside the	3
as soon as you	3
if upon the half	3
the object aimed at	3
flat upon the ground	3
in the keeping of	3
order to take the	3
it will be either	3
your sword with his	3
for the greater safety	3
the flat of the	3
the palm of the	3
on the outside of	3
by drawing back the	3
part of the body	3
the sword before you	3
you must close the	3
opposing with the fort	3
back of the blade	3
say that it is	3
hilt of the sword	3
by means of a	3
by extending the arm	3
feeble with your fort	3
the body to the	3
if the thrust be	3
returning to the sword	3
if you want to	3
it is not a	3
by annie fellows johnston	3
a low hanging guard	3
and for the greater	3
the circumference of the	3
weight of the blade	3
the feeble of his	3
of using the point	3
the keeping of his	3
you may also make	3
bringing the right foot	3
opposition of the sword	3
by the bloodstone on	3
in order to hit	3
of the left foot	3
if he lets you	3
not be so much	3
not in the keeping	3
the eye and the	3
of the blade from	3
parry and risposte in	3
the hands of a	3
with the edge of	3
or cut over the	3
upper part of the	3
to be able to	3
you must oppose with	3
is done by a	3
which you do not	3
and carrying the right	3
disagreeable to the sight	3
must oppose with the	3
to the parade with	3
and if the enemy	3
and edge face to	3
at the time you	3
inside of the right	3
must close the measure	3
with as little reason	3
in the matter of	3
to the side of	3
order to make the	3
the fort of the	3
thrust he takes the	3
use of the point	3
is nothing to be	3
get hold of a	3
opposing with the hand	3
thrust in order to	3
you must parry with	3
with the foot firm	3
fort of the sword	3
you must push at	3
the plane of the	3
with a little beat	3
take the advantage of	3
face to the front	3
you may be covered	3
the advantage of the	3
and the same time	3
more forward than in	3
which is very dangerous	3
the feeble of the	3
that it is only	3
in order to disengage	3
a favourable opportunity of	3
the beat of the	3
quart under the wrist	3
knuckles and edge face	3
the time that you	3
and let the edge	3
the time in seconde	3
the science of using	3
of the left hand	3
is not to be	3
there is nothing to	3
waits for your thrust	3
left hand and arm	3
the thrust a greater	3
of the left shoulder	3
feeble of his sword	3
from above to below	3
the front of the	3
an angle of about	3
which can be made	3
reader is referred to	3
on the other hand	3
as much as possible	3
is not the same	3
it is a good	3
and under the wrist	3
the first is the	3
a pass in quarte	3
side of the right	3
to disengage and push	3
it will be observed	3
take him by a	3
an extension of the	3
a better condition to	3
if he does not	3
point of the bayonet	3
not only to avoid	3
the elbow close to	3
the lowering the body	3
by reason of their	3
to take advantage of	3
edge inclined to the	3
the thrust is made	3
push strait in quarte	3
the parade with the	3
left foot to the	3
and if he pushes	3
wrist and edge to	3
the line of the	3
taking the feeble with	3
upwards to the right	3
the guard for the	3
a great deal of	3
the effect of a	3
your fort to the	2
with the fort or	2
and drawing back the	2
of the right shoulder	2
opposite actions at one	2
to the plane of	2
worthy of your steel	2
the sword in both	2
and by the bloodstone	2
and swiftness of the	2
of the blade are	2
foot the length of	2
to the right foot	2
side of their heads	2
of all the parts	2
fencing with the foils	2
the edge inclined to	2
and risposte in flanconnade	2
erect position of the	2
between the beginning and	2
take care to avoid	2
place from whence you	2
of the opposition of	2
and that the adversary	2
and quickness of the	2
is made after having	2
present him the point	2
i may be allowed	2
a distance as to	2
in making the thrust	2
left side of the	2
beginning of a thrust	2
a short pace to	2
comes to your blade	2
that i shall say	2
the grasp of the	2
fort to the feeble	2
you must take the	2
also be observed that	2
would take care of	2
turn on the edge	2
between the second and	2
sweep of the sword	2
right angles to it	2
on the first motion	2
sword with his fort	2
you may also parry	2
not to be acquired	2
position of carry swords	2
aldebaran the star shines	2
as in quart within	2
of the wrist and	2
seems to me that	2
swiftness of the wrist	2
to be used when	2
sword with your fort	2
level with the mouth	2
to avoid a sudden	2
the measure in parrying	2
cuts over the point	2
be on a line	2
though it may seem	2
has been so much	2
it is absolutely necessary	2
in the desert of	2
hand should be opposite	2
bringing back the right	2
back the body on	2
if the enemy pushes	2
or lowering the body	2
than to keep the	2
sword in both hands	2
takes the time pushing	2
must parry with your	2
the muzzle of the	2
forms the position of	2
disengage or cut over	2
from the central sun	2
making a little motion	2
manner of returning to	2
for this very reason	2
must redouble in seconde	2
from the beginning to	2
is made by lifting	2
to suit the particular	2
inside and outside of	2
in order to facilitate	2
between the first and	2
the sweep until the	2
the sword in the	2
in regard to the	2
butt of the staff	2
on account of the	2
a counter to his	2
to push and parry	2
you an opportunity of	2
cutting over or under	2
left foot a little	2
impossible to make a	2
barrel with the left	2
front of the body	2
in the upright guard	2
order to disengage and	2
to the front with	2
need only turn the	2
if he disengages giving	2
to make the most	2
right cheek and shoulder	2
about eighteen or twenty	2
must disengage and push	2
so much the more	2
if he disengages breaking	2
of the right leg	2
out into the third	2
pushing and parrying at	2
and bringing the right	2
a thrust in quart	2
parry crossing the sword	2
opposite time or motion	2
the star shines in	2
he disengages and comes	2
the same way as	2
present him your point	2
from the enemy to	2
order to parry and	2
other side of the	2
the left and the	2
arm straight and knuckles	2
in which you are	2
to show the world	2
his fort to your	2
or with the feeble	2
you must seize the	2
after you have parryed	2
in recovering to guard	2
a thrust is made	2
over the point in	2
you may consider yourself	2
foot behind the right	2
shall say no more	2
is to be scored	2
the first part of	2
upon the left shoulder	2
order to take a	2
must cut under the	2
grasp of the last	2
he would have done	2
four inches from the	2
to avoid his thrusts	2
it was found that	2
and a good disposition	2
high as in quart	2
a good idea of	2
his bone and strength	2
well to remember that	2
he stood and gazed	2
the enemy abandons himself	2
produce a vigorous action	2
thrust under the wrist	2
a matter of fact	2
lifting and carrying the	2
support of the wrist	2
is the science of	2
feinting from quart to	2
hand which is at	2
shines in the heavens	2
refer to the th	2
that there is no	2
is to be acquired	2
or to make a	2
the face of one	2
part of the blade	2
diagonally upwards from no	2
and the point low	2
on the same side	2
two opposite actions at	2
the blade from hilt	2
almost as soon as	2
for want of the	2
position of the hand	2
the side on which	2
it is most important	2
the right hand at	2
would not be amiss	2
come into the position	2
of the weapon which	2
his parade and rispost	2
the heels close together	2
in order not only	2
reason of their height	2
you may disengage and	2
at the back of	2
return to the position	2
outside of the body	2
and strength of the	2
must disengage and thrust	2
until the hand is	2
of returning to the	2
the turning on the	2
thrust be made on	2
and the other with	2
seven cuts and three	2
and take the advantage	2
lowering the body on	2
have a mind to	2
the case with a	2
his face within his	2
in use in the	2
which is done after	2
a couple of inches	2
to the right in	2
nothing to be done	2
and closing the measure	2
draw back the arm	2
is apt to be	2
the desert of waiting	2
of the same stature	2
made with the quarter	2
you cannot be too	2
eighteen or twenty inches	2
say that if they	2
time lowering his body	2
the enemy to you	2
the fun of the	2
the knowing how to	2
the position of carry	2
take the time opposing	2
be acquired by practice	2
of the last three	2
give the thrust a	2
deadly than the edge	2
on the circumference of	2
where you see light	2
over the point of	2
of the sword to	2
the situation in guard	2
prominent part in the	2
to the rear until	2
with the upright guard	2
to the sword on	2
as aldebaran the star	2
as soon as possible	2
may be made on	2
the rules which are	2
directed towards the centre	2
in a position from	2
to your full height	2
are far more likely	2
to help the body	2
blade pointing perpendicularly upwards	2
adversary is going to	2
and to give the	2
the hand must be	2
order not only to	2
must push at a	2
he disengages and pushes	2
may be done in	2
raising or carrying the	2
been so much said	2
can be turned to	2
and the manner of	2
and more forward than	2
be delivered with the	2
the scope of this	2
short pace to the	2
to show that the	2
to push at the	2
drawing back your sword	2
with your arm straight	2
the disorder of the	2
this forms the position	2
the left foot a	2
of an old chair	2
you want to be	2
shine among his fellows	2
in which he may	2
a more or less	2
then carrying the left	2
as dangerous as keeping	2
upper and lower parts	2
the hands of the	2
the hand to the	2
in order to guide	2
far from the line	2
to come to the	2
on the infantry sword	2
rudiments of any game	2
inclined to the right	2
forms the position recover	2
an opportunity of taking	2
as a matter of	2
necessary to make an	2
you may also upon	2
the first and second	2
it may be said	2
we shall find it	2
on his finger the	2
beginning to the end	2
line with the left	2
the erect position of	2
be done only by	2
to form his parade	2
gives an opportunity of	2
others say that it	2
cut at his right	2
at the same distance	2
to the first you	2
pointing upwards and the	2
be turned to the	2
to acknowledge a hit	2
may be very effective	2
mean the use of	2
of attack and defence	2
are necessary to make	2
of his bone and	2
for the benefit of	2
straight in the direction	2
value of the point	2
the old king knew	2
part of the hilt	2
you need only turn	2
but when you have	2
and present the point	2
done by advancing the	2
he waits for your	2
come to the parade	2
according to the rules	2
he forces your sword	2
in their proper places	2
what a lot of	2
must parry crossing the	2
or make a half	2
make an assault well	2
carrying your sword from	2
to give the thrust	2
being to be made	2
is done by advancing	2
or to take the	2
to the middle of	2
must make a false	2
was made in the	2
you have to do	2
time lowering the body	2
into the first position	2
position in front of	2
by a low hanging	2
the adversary carries his	2
time between the beginning	2
wander far from the	2
and parry to the	2
to judge of the	2
lean a little forward	2
there is no better	2
a right and a	2
be brought to bear	2
you are far more	2
cut diagonally downwards from	2
method of holding the	2
keeping of his oath	2
of the facility of	2
advance the left foot	2
which is the best	2
a little with the	2
the edges of the	2
the beginning of a	2
play is the science	2
might just as well	2
the point at the	2
may be allowed to	2
much as possible to	2
likeness of the beginning	2
point of the shoulder	2
not being able to	2
plane of the paper	2
of the length of	2
manual on the infantry	2
to draw back the	2
to chuse a good	2
cutting over the point	2
make a half thrust	2
he disengages breaking measure	2
toe is turned in	2
is to be made	2
proper opposition of the	2
face within his hands	2
on the edge of	2
facility of taking the	2
then go on to	2
at very close quarters	2
and outside of the	2
you must push quarte	2
to oblige the adversary	2
counter to your thrust	2
and the other in	2
of one of his	2
at an irish fair	2
the eye of taurus	2
the right arm to	2
half of the blade	2
that the knuckles and	2
there are three ways	2
and strength of his	2
as in all thrusts	2
must take the time	2
with the body low	2
his sword in the	2
i have spoken of	2
the advantage of keeping	2
by placing your sword	2
to the position of	2
to be in guard	2
that with sword in	2
must not be so	2
foot in the same	2
from point to hilt	2
to communicate freedom and	2
position of slope swords	2
most of the weight	2
which is due to	2
i shall say no	2
the fort to your	2
with his fort to	2
bring the right heel	2
as i have already	2
form his parade and	2
the proper opposition of	2
the other side of	2
so that the point	2
the sword resting upon	2
the motions of the	2
the right cheek and	2
at the german gymnasium	2
of the line of	2
with the right hand	2
soon as you have	2
a condition to avoid	2
down the centre of	2
position of the body	2
but this is a	2
must be made with	2
on the other side	2
foot about two foot	2
to make an assault	2
which forms the position	2
the facility of deceiving	2
the last three fingers	2
good against a man	2
little beat with the	2
be found in the	2
a little in quart	2
must yeild the feeble	2
for want of being	2
so as to avoid	2
if the enemy parrys	2
with the whole foot	2
crossing the sword in	2
must be taken from	2
outside the scope of	2
to the art of	2
lunge out and cut	2
the forte of your	2
hand across the body	2
that there are two	2
into the third position	2
you must go off	2
and the other the	2
of the point is	2
is made with the	2
your arm straight and	2
right and a left	2
his thrust is not	2
of the same time	2
advance of the right	2
not give them time	2
the bend of the	2
such a distance as	2
the name of a	2
tierce with the fort	2
thumb nail must be	2
quart within the sword	2
corresponding guards and parries	2
which must be done	2
then bring the right	2
is done by feinting	2
cases out of ten	2
when he is out	2
may not be out	2
to lower the body	2
meet the object to	2
it is the most	2
if you have a	2
chuse a good blade	2
in case he should	2
cuts and three points	2
but it is better	2
is done by lifting	2
as if he were	2
to the rules of	2
the art of self	2
be observed that the	2
ought not to be	2
of the beginning of	2
if you are not	2
a few of the	2
the beginning and end	2
when you have pushed	2
say no more of	2
for the same reason	2
be taken from the	2
the situation of the	2
right foot must be	2
of a good master	2
taught to use the	2
to grasp it with	2
right side of the	2
nine cases out of	2
what i have said	2
little lower than the	2
order to hit him	2
you advance the left	2
from the cradle it	2
for your thrust in	2
act of delivering a	2
is too far from	2
there is just enough	2
oblige the enemy to	2
the hilt to the	2
length of the staff	2
defence if the adversary	2
not be out of	2
to the th plate	2
then you may consider	2
has not fenced much	2
edge to the front	2
point from low guard	2
the right presenting the	2
cut horizontally from no	2
to take a time	2
the close of the	2
is the same as	2
the portion of the	2
to avoid the thrusts	2
direct the cut diagonally	2
the body must be	2
of the seventeenth century	2
as often as you	2
you must push strait	2
be in possession of	2
on the right leg	2
part of his body	2
to the place from	2
it is not sufficient	2
must either parry and	2
with the hanging guard	2
is a point which	2
to avoid the thrust	2
show the world a	2
thumb on the back	2
you must begin with	2
thrust is not good	2
a feint being a	2
be opposite to the	2
as this is a	2
bone and strength of	2
you will find that	2
point to the rear	2
figure of the body	2
of the sword directed	2
stick play is a	2
to guard the right	2
face to face with	2
you advance the right	2
to draw you on	2
to parry with the	2
anything else you please	2
the sword in quarte	2
so that the knuckles	2
the left hand should	2
the knuckles and edge	2
there is no doubt	2
of a sufficient support	2
what is called a	2
as well to avoid	2
on entering the ring	2
cut diagonally upwards from	2
which you are not	2
is well to practise	2
about the height of	2
gives you an opportunity	2
they are in the	2
distance as to be	2
according to the rule	2
be made on a	2
heel before the left	2
in your right hand	2
in spite of all	2
turn of the wrist	2
or to take a	2
to the position slope	2
that a man of	2
proper line and distance	2
eighteen inches or so	2
the other in engagements	2
or cutting over or	2
the retention of the	2
of the sword resting	2
the eyesight and quickness	2
of the right heel	2
that in order to	2
it must be done	2
in order to see	2
would not have it	2
swiftness to the thrust	2
fun of the fair	2
the time pushing strait	2
cannot be perfect without	2
it with the right	2
to disorder the enemy	2
the wrist and the	2
he goes to the	2
to score a point	2
there is no motion	2
blade from hilt to	2
the back and the	2
for if it were	2
to stop this cut	2
lets you engage him	2
the wrist in tierce	2
the head should be	2
and on a level	2
be used when you	2
one of the three	2
used exclusively for thrusting	2
after having parryed with	2
far from the lines	2
by a little circle	2
knee a little bent	2
fail not in the	2
you must yeild the	2
back of the hand	2
greater facility of taking	2
it may perhaps be	2
shall keep eternal vigil	2
scope of this little	2
the fort and the	2
it may seem that	2
should invariably be worn	2
step out of distance	2
length of the blade	2
the cut from the	2
as the question of	2
finger the old king	2
his sword with your	2
of court school of	2
his fort cut quarte	2
the other with the	2
in order to acquire	2
made by lifting and	2
length of the shoe	2
level with the left	2
to be acquired by	2
that portion of the	2
to make a thrust	2
parryed with his feeble	2
up to your full	2
to be made in	2
as to the stick	2
knuckles of the fingers	2
if your adversary is	2
branch of a tree	2
his foot in lunging	2
so that when he	2
cuts which can be	2
the recovery in guard	2
is necessary that every	2
much in the same	2
to be ready to	2
come back to the	2
to which you do	2
if the adversary makes	2
i am going to	2
if he goes to	2
he is able to	2
and in case of	2
the body or to	2
star shines in the	2
the heel of the	2
order to avoid the	2
and a half feet	2
upper part of your	2
directly opposite to the	2
which are apt to	2
body or to volt	2
when you push with	2
back the body to	2
there are several other	2
it would be a	2
engages to make you	2
relax the grasp of	2
freedom and vigour to	2
to be found in	2
to draw him on	2
with your feeble to	2
this brings us to	2
from quart to tierce	2
the directions of the	2
the hand a little	2
right foot pointing to	2
if he were the	2
adversary does not stir	2
the wrist turned in	2
which can be turned	2
of its length from	2
its length from the	2
i may as well	2
for the most part	2
a time to his	2
inches from the guard	2
that the point of	2
shoulders square to the	2
the right foot must	2
to see if he	2
the left hand at	2
when a thrust is	2
by the help of	2
to oblige the enemy	2
beginning and end of	2
the body on a	2
must seize the guard	2
is also a good	2
half nearest the hilt	2
to step out of	2
after having pushed tierce	2
the shortness of time	2
he disengages giving light	2
foeman worthy of your	2
let the blade be	2
counter to his time	2
parade with the fort	2
it seems to me	2
parry and thrust strait	2
a little beat with	2
down upon his twisted	2
of your sword on	2
that the point was	2
it must be more	2
put into his hands	2
be in a better	2
and if upon the	2
well in to the	2
at one and the	2
you must push seconde	2
be effected with the	2
of the sword before	2
as if it were	2
by bringing the right	2
there has been so	2
the weight of a	2
of the target at	2
you must return in	2
must return in seconde	2
held close to the	2
cannot be made without	2
masters teach to make	2
same way as in	2
of the reach of	2
in the production of	2
to make the adversary	2
if it were with	2
of the hand to	2
in advance of the	2
for the middle of	2
upon his twisted limbs	2
a game in which	2
the case when the	2
a regular way of	2
with the sword or	2
of his foot in	2
have to do with	2
time opposing with the	2
one can imagine what	2
of the more important	2
which are to be	2
six and a half	2
with which you can	2
made by drawing back	2
as far as possible	2
cut under the wrist	2
not only to make	2
the sweep of the	2
edge of the left	2
and to form his	2
they ought not to	2
without stirring the feet	2
and comes to your	2
placed in the hands	2
by one of the	2
it is in the	2
sword being near the	2
the rudiments of any	2
the advantage of his	2
when it comes to	2
only in their figure	2
to observe that the	2
let you engage him	2
bend of the arm	2
the left behind the	2
the time opposing with	2
the sword being near	2
of taking the feeble	2
the sword directed towards	2
without knowing how to	2
as the adversary is	2
in nine cases out	2
eyesight and quickness of	2
then it is that	2
it must not be	2
to the distance of	2
motion of the enemy	2
the line must be	2
the left in guard	2
the shoulder and the	2
he is out of	2
that is to be	2
his finger the old	2
the cut is being	2
i would not have	2
see that your right	2
until the blade is	2
if the wrist is	2
the posture of the	2
and salute to the	2
gives a greater length	2
situation of the guard	2
which ought not to	2
is to be used	2
and if with the	2
goes to the parade	2
the left foot and	2
that if a man	2
outside the right knee	2
the hollow of the	2
is very difficult to	2
a position from which	2
is no doubt that	2
the position recover swords	2
in order to teach	2
a bout with the	2
the wrist in seconde	2
according as you have	2
for the use of	2
only turn the hand	2
be placed in the	2
hand and arm should	2
or that the enemy	2
fort cut quarte under	2
the distance of the	2
to avoid anything like	2
and it is as	2
you must parry crossing	2
he was born in	2
and as the adversary	2
your sword on the	2
or the edge will	2
essential to the art	2
as easily as the	2
goes to his parade	2
is not a bad	2
by making a half	2
in the midling guard	2
or under the wrist	2
level with the shoulders	2
thing is to get	2
volting and lowering the	2
cannot help thinking that	2
and push strait in	2
the position slope swords	2
now deliver the point	2
must be done at	2
will be observed that	2
to make a feint	2
great deal of skill	2
let me illustrate my	2
of the head and	2
that it is not	2
neck and the point	2
which may be made	2
court school of arms	2
in the hanging guard	2
body on the left	2
engagements or single feints	2
palm of the hand	2
of the sword only	2
with the edge inclined	2
a little lower than	2
to have the liberty	2
it were with the	2
is extremely likely to	2
i have already said	2
in to the right	2
going to the parade	2
be done at the	2
direction of the target	2
the hilt in the	2
firmly with both hands	2
as if he had	2
when he does not	2
with blade pointing vertically	2
in order to return	2
sufficient to cover the	2
of the blade of	2
science of using the	2
the thumb nail must	2
sword directed towards the	2
may also make a	2
a man on foot	2
the stick should be	2
are to observe the	2
left behind the right	2
between the neck and	2
a greater facility of	2
it nearer to you	2
as to hit him	2
being more careful of	2
parrying at the wall	2
to the right side	2
the manner of returning	2
hand a little in	2
parry with the sword	2
hollow of the left	2
at a distance of	2
cannot produce a vigorous	2
lower the body or	2
parrys with the feeble	2
up to the right	2
square to the front	2
inside to the out	2
far more likely to	2
a time contrary to	2
the wrist opposite no	2
side of the head	2
with the elbow held	2
well to avoid his	2
of the body at	2
the adversary is going	2
we have the point	2
let me say that	2
by an extension of	2
it must have its	2
there are only two	2
to do with one	2
the front with the	2
in which case the	2
the result is a	2
better condition to parry	2
and sword to the	2
may rest assured that	2
and parrying at the	2
and push tierce over	2
no hard matter to	2
the rifle and bayonet	2
blade pointing vertically downwards	2
what may be termed	2
that you have not	2
bear in mind that	2
and in the other	2
the hand which is	2
the point from guard	2
of the barrel with	2
the head and body	2
would fail not in	2
and advancing the right	2
the object to be	2
be out of the	2
is of no use	2
is within your sword	2
in order to lower	2
done by lifting and	2
to that which is	2
opposing with the sword	2
with his fort cut	2
you must oppose his	2
the sword to the	2
out of the way	2
best way is to	2
the area of the	2
in any of the	2
to avoid being surprised	2
disengages and comes to	2
parryed with the sword	2
grasp it with the	2
by so much the	2
which in this case	2
to your sword with	2
you draw back the	2
a lunge or pass	2
continuing the sweep of	2
the sword on the	2
with the arm extended	2
perpendicular to the instep	2
to bind the sword	2
to your blade without	2
body should be more	2
elbow against your side	2
back the right presenting	2
the right heel before	2
a variation of the	2
your sword to the	2
the effect of the	2
and then you may	2
the upper and lower	2
because it is more	2
your thrust in order	2
the reach of the	2
your right foot pointing	2
interest in the subject	2
the sword upon the	2
straight to your front	2
the right side of	2
he is not in	2
close to the side	2
and in the direction	2
hid his face within	2
out and cut at	2
a lunge in quart	2
it is very difficult	2
from quart to quart	2
wrist must be turned	2
your feet at right	2
the cuts and guards	2
of an equal height	2
leg of an old	2
more deadly than the	2
he comes to your	2
advancing the left foot	2
it is obvious that	2
posture of the body	2
point of the foot	2
are in the right	2
hold the sword in	2
is indicated by the	2
you must recover in	2
was found that the	2
cut is being made	2
play a prominent part	2
out of place to	2
let the wrist be	2
a good deal of	2
actions at one and	2
adversary carries his wrist	2
on the left foot	2
game in which he	2
one kind of sword	2
you will find it	2
keep your point a	2
to be scored to	2
by the opposition of	2
square to the left	2
have spoken of before	2
on the back of	2
almost on a line	2
line must be taken	2
with the left shoulder	2
as you have parryed	2
that if they had	2
it is true that	2
oblige the adversary to	2
is made by a	2
him by a contrary	2
want of a sufficient	2
on the subject of	2
the right shoulder should	2
shortness of time between	2
i am inclined to	2
get out of the	2
of this little work	2
by which means the	2
with the left heel	2
the place from whence	2
the beginning to the	2
must recover in guard	2
you must turn the	2
on your thrust in	2
on the same line	2
cannot be too careful	2
several masters teach to	2
is necessary that the	2
that it is as	2
out of the reach	2
the barrel with the	2
point of the left	2
a foeman worthy of	2
he makes a feint	2
sword resting upon the	2
the leg of an	2
at such a distance	2
of the weight of	2
either parry and risposte	2
is to be regretted	2
as nearly as possible	2
have the point from	2
could not even draw	2
give them time to	2
close the measure in	2
are three ways of	2
the display of the	2
well enough for the	2
the right foot to	2
the length of your	2
in quart under the	2
be made without a	2
the best way is	2
oblige him to push	2
without raising the heels	2
because he was born	2
by means of the	2
an effect of the	2
the fort to the	2
if you wish to	2
it is not so	2
and length of the	2
the inside and outside	2
of the parade of	2
an infinite number of	2
having parryed with the	2
are more used to	2
i have laid down	2
the neck and the	2
advantage of keeping the	2
portion of the blade	2
must have its proper	2
the ends of the	2
turned to the right	2
point a little low	2
the most out of	2
the cradle it was	2
to be out of	2
inns of court school	2
button of the foil	2
turning on the heels	2
centre of the circle	2
and to the other	2
the position of slope	2
right heel before the	2
out of distance again	2
to the parade above	2
the right hand about	2
if with his fort	2
bone of his bone	2
in order to prevent	2
there is not the	2
let the edge face	2
in a very short	2
in danger of being	2
or a cut under	2
may do three things	2
direction of the edge	2
strength of his sinew	2