Agrippa discusses these topics in his text.

• why the point dominates the edge in fencing
• how to break into the opponent’s guard position
• footwork (in a surprising amount of detail)
• how to invite/provoke an opponent to make an attack you such that you can defeat it and counter-attack
• second intention actions
• how to escape if maneuvered into the corner of an arena

These topics are not discussed.

• how to approach a fight and anything that happens before one combatant acting against another
• strategies for handling different types of opponent (except that he is continually calling out that a physically weaker fencer should be able to defeat a stronger fencer using his techniques)

Key 1: The point is faster and surer than the edge.

Agrippa is at great pains to show that the thrust is quicker than the cut, even a “wrist cut” (stramazzone, estramaçon, etc). While he does not dismiss completely striking with the edge, he subordinates it to the strike with the point. Cuts are attacks of opportunity and to be made when all else has failed.

Key 2: Do not fight strength with strength. Always avoid and evade.

Using the techniques and “scientific” principles outlined in his text, says Agrippa, the physically weaker and defeat the physically stronger, contrary to the popular notion both in his day and ours. The key to this is to always give way and withdrawn in the face of strength rather than trying to compete with it. For instance, if your blade is gained, refuse to play the bind game and withdraw, reassess and approach the opponent anew.

Also, Agrippa is very clear in his admonition to avoid parrying. Parries can be deceived. The only sure way to not be hit is to get out of the way and not be in the location where the opponent’s attack will land.

Key 3: Stance F is the pivot point. Stance F is the ball.

Stances C and D (wide third and fourth) are considered the best “utility” stances, suitable for most situations. However, these are static defences or “waiting” guards.

The preferred stance is F (narrow third) with the point lowered so the opponent cannot grab or beat it. This is especially true for the fender of smaller stature facing a larger opponent.

Stance F is also the key mid-way stance. It is the decision point where you determine your next action based on circumstances and the opponent’s actions. This requires decisions to be made almost immediately based on fine distinctions of relative position, sentiment-de-fer, etc.

This is the core glory which is Agrippa. It is also his downfall. This is where it all falls apart – no one can choose from the menu easily or quickly at this point.

For instance, from Stance C, contract forward into F to provoke the opponent and from there either withdraw into A/B before counter-attacking or sidestep using Action G or Action K.

References:

• Book I, chapter XXIV
• Book I, chapters XXIX

From Stance F extending your arm to feint at the nearest opening, then:

• If the opponent does nothing, advance and strike with Action H/I, using a “pause” (cavazzione, cavare) if required.
• If the opponent attacks, withdraw into Stance C or further into Stance A/B and counter-attacking.
• If the opponent parries or counter-attacks to your outside line, strike with Action K.
• If the opponent parries or counter-attacks to your inside line, strike with Action G/P.

The key concept for footwork is expansion and contraction, changing from wide stand to narrow stance in either direction.

Move to a narrow stance to break into distance then expand once in distance to attack.

• Eg: C/D → F to break into distance safely then
  • withdraw into C/D if the opponent counter attacks,
  • strike with Action I/H if the opponent does nothing,
  • mutate into Action G or Action K depending on which side the opponent counters to.

On the other side of the fence, maintaining distance rather than parrying with strength is the key to defense.

• Eg: C/D → A/B (contracting backwards) to maintain distance in defence then beat the opponent’s sword away and counter-attack

Agrippa considers a single action from beginning to end, regardless of its absolute duration, to be a single tempo. Single, simple actions cannot be broken into smaller units of action. So for him, an action in counter-time means that you do something during while your opponent is in the middle of doing something.

• Attack into the opponent’s preparation (break the opponent’s timing)
• Defend using distance and measure (break the opponent’s measure)

Time is distance. Distance is time. This is why the thrust is faster – therefore preferable – to the larger, longer cutting strike.

References

• Book I, chapter V
• Book I, chapters XII-XIII
• Book I, chapter XXI
• Book II, chapter V
• Book II, chapter IX

Strike or feint. When the opponent makes to parry or otherwise counter against what he supposes is your attack, pause then disengage and continue the attack. This is Agrippa’s version of the cavazzione or cavare.

• Eg 1: F → I → pause → I
• Eg 2: F → H → pause → H
• Eg 3: F → I → pause → G/P
• Eg 4: F → I → pause → K

Note: This is a variation of the typical Italian semi-circular thrust to draw out the opponent’s parry.

References

• Book II, chapters IX-XI

The weaker defeats the stronger by using the sidestep. It is preferred that you disengage (over or under) then use the action which puts your true edge towards the opponent’s weapon.

• Against an attack to your right, respond with Action K [Book II, chapter XI]
• Against an attack to your left, respond with Action G [Book II, chapter XII]

Do not fight strength with strength. Always either withdraw or sidestep.

Against an opponent who cuts, drop the point and withdraw the hand then counter attack when the threat has passed by[Book I, chapter VI].

Do not parry as parries can be deceived or powered through. Always avoid and evade.

References

• Book I, chapter VI
• Book II, chapter I
• Book II, chapter VI-VII
• Book II, chapter XI-XII

When bound, withdraw. This may be by withdrawing your body entirely or simply withdrawing the weapon into a stance such as E or L.

References

• Book I, chapter IX
• Book I, chapter XVI
• Book I, chapter XXIII

The aim is to draw your opponent out of guard into an extended position from which recovery is difficult.

Strike without intending to hit or extend forward to provoke the opponent to react. Withdraw before the opponent’s response then beat or dominate the blade and counter attack. The withdrawal is usually into a high stance such as A or B but may be a withdrawn stance such as E or L (or F). From this narrow stance, pivot into whichever counter-attack is useful. The counter attack will generally be Action G, H, I, or K.

At its simplest, Agrippa’s strategy in provoking is no different to other masters.

• Feint/strike to your left and the opponent parries to your left. Respond by disengaging under the opponent’s blade and striking with Action I or G/P.
• Feint/strike to your right and the opponent parries to your right. Respond by disengaging under the opponent’s blade and striking with Action H or K.
• Feint/strike straight then withdraw into a narrow stance such as A/B so that the opponent becomes “disordered” in delivering his or her response. Beating the opponent’s weapon away and launch your own counter.

References

• Book II, chapter II
• Book II, chapter IV
• Book II, chapter XIII

The arm position refers to the typical Italian fencing hand positionswith the exception of “second”, in which the weapon is held in the hand position of first with the hand lowered to the height of the shoulder.

The columns show which foot is forward for the right-handed fencer. Reverse this for the left-hander.

Wide and narrow refer to whether the feet are a compfortable walking pace or shoulder width apart or whether they are very close together if not touching each other.

These are the key actions used by Agrippa. Regardless of what else is performed in order to set up one of these actions, such as beating the opponent’s weapon away with the left hand, the fencer strikes the opponent with one of these actions.

Some other strikes are noted in the text and are merely a response to exceptional circumstances. The importance of these to Agrippa’s system is minimised.

In Action G, I move offline to the right by stepping in that direction with my right foot, keeping my sword online in fourth position (fingernails up) [Book I, chapter XI, Book II, chapter IX].

The difference between Action G and Action P is merely the height on my sword hand; P is held and/or targets higher than G.

Action H is a thrust with the sword hand held at shoulder height. It is assumed and makes sense that this is delivered as a thrust in second (fingernails down) [Book I, chapter XII].

Action I is “beat and enter,” separating it from the simple thrust in fourth (fingernails up) which is stance D as an action [Book I, chapter XIII].

Action K is the counterpart to G. I move offline to the left by stepping in that direction with my right foot, keeping my sword online in second (fingernails down). Agrippa calls out that I must look to the ground and not at the opponent while making this movement [Book I, chapter XIV].

This sequence is used against an opponent stepping into measure in second. I avoid the blade engagement by withdrawing my weapons the make a feint into stance F before reactions to the opponent’s response to this.

As I move C → E, the opponent pushes forward into E/F then thrusts in D/I, acting in counter-time against me [Book I, chapter XII].

As I am about to act from my intermediary stance E/F, the opponent acts in counter-time against me with Action I [Book I, chapter XIII].

I provoke the opponent to threading in an extend D stance. If the opponent reacts, I withdraw back into stance B before counter attacking. If the opponent does nothing, I move forward into stance L then attack as appropriate.

This sequence is replicated in modified form in Book II, chapter X using a withdrawal into F and counter attacking wit Action G.

If the opponent is in a narrow stance, I move forward into stance A to threaten with a high thrust. Depending on the opponent’s response to this feint, I can either grab and grapple,or thrust in second or fourth.

When the opponent and I stand with blades engaged, my options are summarised in this sequence.

Enter into distance in Stance C. Bind with the long edge (against any possible reaction by the opponent) then turn your weapon into A and thrust [Book I, chapter IV].

When standing in Stance A and the opponent makes any move to beat your sword away with either the sword or the left hand, withdraw your point and mutate into a cutting strike [Book I, chapter IV].

When standing in Stance A and the opponent makes any move to beat your sword away with either the Sword or the left hand, withdraw your point then extend it again either to allow the opponent to run onto it or to mutate into Action G [Book I, chapter IV].

Against Stance N, I adopt D. From there, I contract forward into F looking to strike with Action H. The opponent can drop the point to sweep away my strike, in which case I withdraw [Book I, chapter XXV, XXVII].

Against Stance O, I adopt F with my point lowered. I lift to strike with Action H. I deceive the opponent’s dagger parry and mutate into Action G [Book I, chapter XXVI, XXVIII].

Feint into H “with strength” then pause. When the opponent makes to disengage, withdraw, etc, mutate into an attack with Action G/P [Book II, chapter IX].

When the opponent attempts to use their sword to engagement bind yours, withdraw, re-assess and return in more favourable circumstances. Do not fight the engagement as the outcome is uncertain. Agrippa provides Stance E for this purpose – in effect, pulling the sword arm back out of the opponent’s range. Stance L may be another look at this tactic but it is not called out in this way in the text [E: Book I, chapter 9. L: Book I, chapter 16.]

When cornered or forced onto the list ropes (an automatic loss of the bout in Agrippa’s day), stance in Stance F or Stance L to invite the opponent to push further forward. When the opponent moves to attack or otherwise presents the opportunity, step to the right with the right foot, in effect, performing Action G or Action P to escape the location and work quickly around the opponent [Book II, chapter 7].