In previous articles in this series, I have described First Position, the basic body position from which the salute and guarding flow in classical fencing. So far, I have identified three variants, the most common, with the blade held to the front, one appropriate for a saber with the broadsword or the saber resting on the front shoulder, and an Italian variant with the blade held inside with the tip. . to the rear. Now is the time to consider the First Position in which the blade is not held on the weapon, but with the disarmed hand.

In 1883 George H. Benedict (Boxing Manual, Club Swing, and Men’s Sports) describes a First Position as part of a sequence that leads to a simulated foil drawing that becomes a salute:

• The foot of the weapon arm points forward, toward the opponent, with the rear foot pointing 90 degrees inward and moving closer so that the heel touches the lead foot.

• The legs are straight and the torso erect, the hips slightly back and turned inwards at an angle of approximately 45 degrees.

• The head is upright and looking at the opponent.

• The arms hang freely at the sides, with the non-dominant hand holding the foil at the back of the hip.

• To draw the sword, the shooter bends the front arm at the elbow, bringing the hand in supination along the body to grip the thumb grip downwards.

• Both hands separate as they rise above the head, ending with the unarmed hand holding the foil button. This drawing of the weapon then becomes the salute.

Regis and Louis Senac’s The art of fencing (first published 1904 and reprinted until 1926) shows a similar sequence for drawing the plate:

• The body is supported as described by Benedict, with the exception that the foil is held with the non-dominant hand at the top of the hip with the arm bent and the elbow pulled back at waist level.

• The shooter extends the arm of the weapon upward at approximately a 45-degree angle, with the palm open and the thumb facing upward. This is described as a greeting.

• The arm of the weapon is brought back to grasp the hilt of the weapon, the elbow out and the forearm crossing the body at the waist.

• The arm is then extended by pulling the blade out of the imaginary sheath and rotating forward through a full extension of the arm and blade, again at a 45 degree upward angle directly forward. This becomes the beginning of the transition to guard.

It is important to note that, like the multiple steps of putting on guard practiced in a number of variations in the classical period, drawing the foil from an imaginary scabbard does not in itself perform a technically useful fencing function. However, it should not be immediately ruled out. It is part of a ceremony of courteous recognition of the dignity of the opponent and honors fencing as an activity, something that was valued in classical times. Thats not all; an intelligently executed sequence conveys to the opponent that you are a skilled opponent in subtle psychological warfare. Finally, the ritual serves a valuable purpose to help focus and center the fencer on the impending task of fighting the match.