If you have cast your spear and he still retains his, put yourself into the Third Guard so that your sword is over your left knee. When he thrusts, step forward with your right foot using a passing step as you raise your sword and parry to your left with the point of your sword so that his spear point passes to your left side; make sure you raise your hilt higher than your point so that the spear has a tendency to slide off. This will make the parry much faster and prevent a "stop" from happening. To work correctly the parry has to be a mere flick of the point and nothing more—any hesitation or stopping and it won’t work. Now step forward with your left foot, again using the passing step, and assume the first guard as you thrust into his face. Again, see the section on footwork: This double step has to be done in one smooth, continuous motion in order to work at all.
In figure 2, Hugh lifts his sword up to deflect Christina’s spear with the point
while he passes forward on a 45-degree angle to his right and as deeply as he can.
Hugh’s hands move first to ensure the spear thrust is diverted in time. Remember,
this isn’t a block, it’s merely a "pinning action" to prevent Christina from moving
her point onto Hugh while he gets inside her range. Note that this is the same
pinning technique Hugh used to close in from the throw.
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In figure 4 we see the end of the play: Hugh winds up into the Fourth Guard and
drives his point into the mail covering Christina’s armpit.
copyright 2009 Hugh T. Knight, Jr. All rights reserved.