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Gio: There is no doubt in this. I want you to know that every turn that the enemy strikes your
sword with the true edge or the false for disordering the guard, that is to say to be most secure in
offense, the counter is that when he strikes said sword to your right side you will immediately turn
a riverso tramazzone retiring in that time the foot that is forward to the rear or in a traverse. But
when he strikes to your left side you will immediately turn a dritto tramazzone, pur trahendo il
piede , that makes the behind a step. Because doing so interrupts his designs.
Lep: Now I know that many are shamed. Which say that the retreat is a big shame. Rather, it is
the contrary, that is, that this other is not but a mutation of the guard. Which is a secure defense
and most necessary.
Gio: If this is not done it is an imperfect art. Because there are many attacks that are not able to
be parried without taking a step back. But leaving is nevertheless in his opinion and following the
reason of provoking the enemy, when he remains firm in the cinghiale porta di ferro and that you
will similarly find yourself in said guard wanting to be the first to provoke, I say that it is possible
to push a thrust to the face stepping forward with the right foot and turning a mandritto tondo to
the head. Or after having done said thrust, turn a dritto tramazzone. Still you will be able to in
the increase of the foot push a punta riversa to the face. When he has raised his sword to defend,
you will immediately step with the left foot opposite his right side pushing an imbroccata to the
flank followed by a dritto tramazzone which will stop in the cinghiale porta di ferro. This is the
manner of provoking the enemy in said guard. Now the counter is as the enemy pushes the thrust
with the right foot forward you will defend with a falso. But when he attacks with a mandritto
tondo or a tramazzone immediatelyt go into the guardia di faccia pushing a thrust to the face or
throw the left foot behind the right offending his sword arm with a mezzo mandritto. But when
he pushes a thrust to attack with an imbroccata to the flank you will be able to step forward with
the right foot and strike with the true edge of the sword, but in the step that he makes to push a
thrust to the flank you will parry with a riverso ridoppio and immediately attack to the chest with
a punta sopramano and for your defense you will turn a riverso sgualimbro taking the right foot
back and the sword stops in the coda lunga alta. These are the counters to the said provocations
in the cinghiale porta di ferro.
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Lep: These counters are beautiful. But because much has been mentioned of the mezzo
mandritto, I would know why they are and why they are called thus and I want to follow the
reason of the provocations that are made possible in other guards.
Gio: I will say. The mandritto sgualimbrato starts at at the left shoulder and ends at the right knee of the
enemy and for this reason it is a completed attack. The half mandritto is of the same nature but it is not a
completed attack and so is of less time. This is made most when you find the enemy close and is
most secure. Now follows the provocations of the fifth and last guard, that is the alicorno with
the right foot forward. I say that when you find yourself firm in this guard and you want to be the
provoker, you will increase the right foot opposite his left side making the left follow and in that
time turn a mandritto sgualimbro to the sword and immediately slice the face with a riverso tondo
accompanied with a riverso sgualimbro which stops in a coda lunga stretta. Or having provoked a
response you will push a punta sopramano without moving the feet which ends in a porta di ferro
and with these provocations you will draw him.
Lep: Follow with his counters.
Gio: As the enemy turns the mandritto to your sword hurlthe right foot behind the left turning in
that time a riverso tramazzone which goes into a coda lunga alta. Mut when he pushes the punta
sopramano without the increae of the foot you will be able to make a gesture of following with an
imbrocatta to the face and in case he raises his sword to defend you will immediately lower the
point of your sword under that of the enemy and all in one time push a thrust to the flank,
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returning to the porta di ferro stretta. With this we have the end of the provocations and the
counters to the above said fifth guard most necessary.
Lep: Now that I have an understanding of the manner that one provokes the enemy and in
attacking together with the counters, finding myself in whichever guard given above, I desire to
know of these guards, which is best?
Gio: I maintain that all are good and secure. Because in them is the foundation of all the art of
fencing: For this cause all are taught. Nevertheless, that which is best, is that which one is more
accustomed to and made with the most practice.
Lep: What consists of this practice?
Gio: In practicing much, as I said, and with variedty. For the reasson that in practicing many
talents you will come to judiciousness, shrewdness and good experience. However, I exhort you
to not do as many that have learned but a month and that have not exercised with others, wanting
that they think for being exercised with a master they know much. Worse is that they say they
have learned secret blows which cannot be parried and with this abuse they do not know good
things.
Lep: Is it not true that many times I have meant to say that masters that have secret attacks are
inevitable?
Gio: Do not believe them. For the reason that I have converse with other than my masters wityh
infinite intentions of this art. Never have I seen those that have learned such a thing. Rather have
I said that I have remained clear through experience that every dritto has a riverso and that every
blow has a parry. For this creed that if this were the true one, this art would be held in much
reputation of what is kept. But leaving the part of this reasoning I give the sixth principle.
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