Glossary

of ye
True Fence

Black = Mr Silver
Red = interpretation
Green = imported
Blue = Mercuriae Veritas
Yellow - provisional

Bold = to be found within the glossary as a subject heading

 AAA

action
Viz:
* a motion (movement), or set of motions, which are undertaken to achieve a set goal upon
there completion.
* interchangeable with motion.
* certain actions may be classed as grounds.
after doer
He who reacts to, or follows an action of another.

afterward [an offensive action]

A type of action which is timed to complete after a specific action of your adversary may also
be viewed as a time (vide the four offensive actions).

agent
The active participant, of times used by Silver to donate an individual who initiates an action.

alliteration of fight, the

The "Mercuriae" understanding that the "purpose" of the true fight is not about devastating one's
enemies with every swash but to achieve the following progression:
* halt
* hurt
* harm
This progression is an expression of time availability - the minimum requirement of the fight
being that one chokes ("halts") the offence of your enemy.

aloft
Of two sorts, namely:
* those lyings that hold the weapon above the head, principally open & guardant, but could
readily incorporate imbrocatta, for instance.
* a lying in which the weapon is aligned in such a fashion that the point is higher than the hilt or
haft [vide the staff fight].

alowe
Of two sorts; to wit:
* a position in which the whole of the weapon is held beneath the head.
* a lying in which the point lies lower than the hilt or haft.

at distance
A span betwixt yourself and your adversary requiring a step or pass to traverse to come to the
place [that is to say within distance].

at the point
A form of lying from the variable fight, in which you lay out your weapon, point foremost,
towards your enemy.

at the thrust
Vide at the point.

art [of fence]

Knowledge that is founded upon study, observation & practise & is to be distinguished from
nature (the natural, innate) which is a priori in principle, as opposed to art (artificial, learnt &
unnatural) which is a posteriori.

artificial plays
A part of the "Veritas" curriculum, in which specific actions are practised to "perfection". The
plays which take two forms; gentle & rough - themselves are played in as naturalistic a
manner as possible, observing [in the rough] true time & force.

BBB

back edge
The blunt back or uppermost facet of a backsword blade.

back sword
A weapon consisting in the main of a single edge & point.
bastard guardant
Any guardant ward in which the hilt is held lower than the head.

bear
To ward or catch using possibly a pushing force.

beat
To strike your opponents weapon forcibly as a defensive measure.

before [an offensive action]

A type of action which is timed to finish before a specific action of your opponents has may
also be viewed as a time [vide the four offensive actions].
bent
That state of a motion in which the arm is positioned in such fashion as being capable of
executing an action. Sometimes referred to as a time or action i.e. the four actions [vide the
four motions].

binarius wards, the

These wards cover both left & right blows to the legs and may take the form of a sweeping
motion from guard; to wit:
* right side thumb uppermost, knuckles down (english grip), point sweeping towards the
ground, cross your opponents blade with the false edge of yours & bear or beat out to the right
of you.
* left side the blade alignment & grip as above but this time ward to the left using the true edge
of your blade.
Nota Bene; these wards may very well be prosecuted with the blade already declined.

blade
That part of the weapon foremost of the hilt comprising edge & point.

blow
An attack using one of the two edges of the sword or hilt.

bob, bobbing
A "Veritas" teaching upon footwork, which teaches the use of a sinking motion when transitioning
from one lye or action to another.

bout
A period of time within the framework of a fight (challenges, prize plays) marked possibly by:
* rest periods
* phrases
* hits

break
The following:
1: a warding action (breaking the thrust/blow), which may be utilized with either a bear or beat
& is designed to utilize a "choking" effect, that has the ability to "arrest the development of
technique". Used mainly against the thrust, to wit:
* the difference betwixt a ward and a break is simply that when warding, you engage your
enemies blade when he is near spent. Whereas with the break, you cross his blade whilst his
action is in the process of unfolding. This probably explains why George, in the main, talks of
breaks in conjunction with the thrust, rather than the blow.
* this "choking" action on your opponents blade [whilst thrusting], gives you time to react, by
virtue of crossing his blade amidst & wide spacing it, with a somewhat smaller motion used by
yourself than when warding.
2: a sudden closing of distance an offensive action.

bridging play
The "Veritas" nomenclature for all practices that centre around choking the breaking of ones
distance by the "runners in" brigade. This is achieved via the use of true space & narrow
space, allowing for the safe control, in or out of first distance & the close fight.
N.B. the purpose of Bridging Play is not the "incressada", but to choke the progress of your
opponent whilst you slip away.

broad ward
A lying from the variable fight, in which the sword or cudgel, is held out to your side at shoulder
height, with either the point held aloft, or horizontally - either towards your opponent, or straight
out [following the line through the shoulders].

broken distance
This defines the situation in which the distance that you or youre enemy have set, has been
compromised by a progression or press.

buckler
Relatively speaking a small shield, hand held & manufactured usually of iron or steel. Used
primarily as a companion weapon [vide double weapons].

buckler grip, strong

Hold the buckler with the knuckles of your hand inverted & comfortably locked. This rotates &
locks the buckler into a rigid, upright position. Ideal for receiving blade shattering blows directly
upon its rim [vide the colliscors inveigle].

buckler grip, weak

Hold the buckler with your knuckles upturned. This is a more relaxed, natural way of holding the
buckler, still giving excellent defensive coverage but receiving blows this time on the bucklers
"face".

CCC

cartistian
A "Mercuriae Veritas" term, describing those that subscribe to an ideology, usually at the expense
of their actual experience (in which, pragmatically speaking, their belief habitually fails them). In
other words, those that "put the cart before the horse".
The reasons for this are varied & include:
* subjugated mindset that is to say; "the teacher/tradition is always right".
* hobbyist mindset play & competition, not reality, is the focus.
* "the establishment" requiring one to follow the vogues & fashions in order to get on.

catch, catches
The technique of "catching hold" of something, whether it be the blade or companion weapon, or
indeed a literal gripping by your hand of your opponent or his weapon.

catholic play, the

A three-fold "Veritas" principle of fight incorporating:
* combat practise that reflect instinctive, naturalistic approaches.
* an approach to fight, that incorporates only those things [whether they be conceptual or
somatic], that are reliable in nature i.e. a collation of grounds only [this in some instances allows
you to drop certain items advocated by Mr Silver himself!].
* a collation of essential principles, rules & actions that Silver [in some cases] does not directly
describe - but may allude to or does not cover at all in his writings and includes the following:
prima ratio
"Occams Somatic Razor"
the foundation of fight
true practice
raking
the choke
the dyad reflex
the duplex defence
the true triggers
the true responses
the graduation of targets
subjective/objective adjustment of distance
the tactical progression
the regressive shift
combative rhythms
"stops & drops"
"eyes tell lies"
a, b, c & d the certainties of offence
ultima proxima distances
idiocrasy
the three cognizant's
natural motion
signature motion
unus exerceo
CHARACTER !!!

The catholic play summation of the fundamental practices of fight

* how defences/offences occur - vide the three offences.
* principal ground: time - your actions must operate via true/due time.
* three principal lye's; guardant, open & forehand ward.
* principal defence; distance - your enemy, in the main, MUST come to you [vide the five
horological traverses].
* principal stratagem; vantage!
~ always seek advantages on your opponent.
~ distance - your enemy, in the main, MUST come to you [vide the five horological traverses].
~ use longer weapons.
~ have a superior combination of weapons.
~ look for advantages in the terrain.
~ recognize his & your psychic strengths & weaknesses etc.

certain
Of two sorts:
* when something e.g. a lying or an action is clearly discernable or predictable.
* when an action performed on your part or your enemies, is reliable in its outcome.
certainties of offence
ABCD = airflow, blood flow, concussion & despoiling ones primary offensive approaches &
concerns. See also the bedrock of unarmed fence.

challenge
A popular form of English entertainment, involving the literal issuing of a challenge to an
individual or organisation, for the express purpose of meeting at a recognised venue to contest at
arms. At the time of Silver writing, the weapons used were deemed to be rebated, and the
contests refereed [see sticklers]. These challenges were often utilized by the masters of
defence, as a way of promoting interest in their business, as well as the private individual for his
own edification.
chapter
Thematic formulations highlighting how to engage in combat, utilizing principles, rules &
actions. Segregated in the main into grounds (brief instructions).

choke, the
A tactical strike (simple/true response), made at your enemies head, from either guardant or
open & used to defend yourself from blows made at your right side, principally from aloft. This
conceptually, may be fitted within the parameters of what Silver refers to as a first action,
operating in either a before or just or afterwards [i.e. 2nd action] time.

cinerea step
The "Veritas" formulated for traversing natural ground.
close
This is when both participants distance is such that they can, if they chose, cross weapons
(N.B. with short weapons) at the half of such. Used in the main to catch an opponents weapon,
giving you the time to decide (judgement), whether to uncross & offend or engage in the time of
the hand with grips/wrestlings.

close fight
The techniques that can be executed when the participants are within distance and are able to
cross both weapons at the half sword. The close fight manifests thusly:
* objectively the close is instigated by or against you, because of an advantage that is
perceived, or simply [from the perspective of your opponent] as an "ingrained" tactic.
* subjectively the close play manifests in the natural flux which is a fight, betwixt defence &
offence. As always, time is the dictator.
Interpretively, the close play, is the central fight in which all the others revolve around & dip in &
out of.

closed hilt
Suggests those designs of hilt, that were made primarily, from a shaped sheet of steel.

Cobs traverse
A technique involving a one hundred and eighty degree pirouette, followed by a succession of
indeterminably rapid passages. Essentially a defensive manoeuvre
colliscors inveigle, the
A technique, from the "veritas" repertoire [e.g. the strong buckler grip], in which you "invite"
individuals to strike out at your "proffered" weapon, with the intention of channelling them into
atavistic behaviour, tiring them out & possibly breaking their blades in the process.

colliscorsdian substance, the

The "veritas" understanding that all that glistens is not gold; that is to say, that anyone
presenting you with a given guard, may have little understanding of how to exploit the rich
offensive/defensive potentials of the given lye. Therefore, do not make the mistake of projecting
your own wisdom onto others & take the path of righteousness instead; follow the precepts of the
tactical progression.
combative balance
The use of pace that promotes balance but not at the expense of time. Vide the quaternarius.

combative power
The use of power in a fight that does not [in its generation] interfere with time. Vide the
quaternarius.

combative rhythm
A form of continual motion that imbibes true pace & true space, allowing for the prosecution of
a higher rate of achievement of due time actions. This may metaphorically be termed, via the
terminology of "Veritas", as a technical shimmering; to whit:
* gathering performed with petit, irregular steps rather than clod hopping paces or running
gambols
* the slip prosecuted in a wave like form.
* framing of the weapon managed with subtle motions, that confuse your enemies timing or
perception of certainty.
* torso/feet flex subtle twisting of the body & feet, promoting true pace and the smooth re-
cycling of the four motions.
* the pivotal pace the transitional lye, allowing for precautious, precocious, balanced play.
Vide treading of ground.

combative speed
The realization that in the pursuit of speed one does not lose power, balance nor time. Vide the
quaternarius.
compass
To go round e.g. the arc that a blade makes in striking, or conversely, circular traverses etc.

continual motion
The process of continual footwork (and possibly hand actions) moving back, forth & circularly with
the possible intention of making yourself uncertain.
The "Veritas" hand constructs of continual motion:
* open jig = a short circular motion, usually anti-clock wise.
* guardant compass = a motion cycling fro either guardant or forehand ward & back [starting
from guardant, the terminus of this action terminates with a "high" version of the forehand
ward].
* variable/broad chop = prosecuted with the hilt shifted to the right & high & then forward into
the chop.
* variable shift = a motioning of the weapon [hilt led], from one side of the body to the other.
All the above are usually prosecuted with a fluid, gentile motion until called upon to perform an
actual true force action.
The purpose of these gentle motions is to:
* promote uncertainty.
* keep the prosecutor loose & untiring.
* to promote true space via motion.

convenient length
Vide perfect length.
convenient time
Vide due time.

cross
To bring the weapons together so that they touch in a manner approximating an X.

cruciform ward
The variable play practise of crossing over ones weapons (sword & dagger), & utilizing the
following lye's:
* aloft
* equal space - including the "flanks".
* alowe
This guard forms an ideal ward to utilize with open hilted swords & short swords of imperfect
length, when one has the intention of prosecuting second actions.

cut
To utilize the sharpness of the edge of a blade to "part" flesh...

DDD

dagger
A type of "knife" comprising in the main a twin edged blade [of varying lengths] & a hilt of
varying complexities.
dagger fight
In accordance with the "Veritas" curriculum, the dagger play is a fight which fulsomely utilizes
distance as your means of defence. There are six fundamental lye's in this fight; to whit:
* hanging lye
* aloft lye
* midst lye
* broad lye
* alowe lye
* reverse grip
~ & from thence deploy the following offences:
* strikes - jugular/carotid, sub-clavicle, brachial, femoral (arteries).
* thrusts - eyes, throat, heart, solar plexus.
* chops
* chop point
* whips
* compasses
* saws

daily practise
* animation - maintain distance, gather, fly out.
* alignment - both your body & weapon in relation to your "opponent".
* weapon watch - envisage your opponents weapon.
dead motion
One who is effectively lying still.

defensive triangle
The "Veritas" practice of endeavouring always to form a "perceptual" triangle when working with
any of the main & companion weapons.

directed
This being where your adversary or his weapon, is orientated towards yourself & vice versa.

discovered
A situation by where your adversary [or indeed yourself], have found an opening of sorts in the
defence of the other.

disordered
A circumstance whereby the agent or patient, is experiencing a manifest breakdown of the four
principles in his fight.
Possible reasons?
* off balance [not true paced]
* fatigue
* injury
* psychological inhibitions (fear)

displace, displacing
Used in all the fights, to wit:
* a changing of line from one side of your adversaries weapon to the other, using a slipping/rolling
motion (variable play).
* a changing of your weapons overall alignment i.e. point up hilt/butt down, to point down
hilt/butt up etc [vide turn, turning].

distance
Of several sorts vide:
* within distance the time of the hand & body.
* at distance the time of the foot.
* without distance the time of the feet .
* first, second & third distance possibly tallying with the above; first doubling within distance.
Nota Bene; the above measures embody at heart a certain degree of graduation, and are not in
reality, specific distances (vide ultima proxima distance). For an example, being at distance
(the time of the foot), does not necessarily require you to step a full pace to reach your
objective. Rather, it simply informs us that an action involving the arm & body in themselves, will
not achieve the desired goal & perhaps, for example, a four or five inch "step" would complete the
distance.
This understanding leads one to be a more accomplished fencer, as it allows one to gauge &
manipulate distance to ones advantage.
"Veritas" forms of distance adjustment:
* subjective adjustment use of the slip, step, pass & fly back.
* objective adjustment utilizing a first or fourth action.
distance play
The "Veritas" term for all play that utilizes distance as the primary defence mechanism.
Vide the three plays.

down right
* possibly a blow travelling from aloft downwards right to left.
* a strong, straight forward blow, an offence that is less "curious".

drawing back
The facet of a motion in which the arm is in the process of returning to a bent state [vide the four
motions].
double
To whit:
* to make two separate attacks once you have won or gained the place - without flying back to
distance.
* to offend utilizing both your principal weapon & your companion weapon.
* to wield a weapon with both hands.
* an action performed in double time.

double hand
To wield a weapon with both hands.

double time
The pursuit of an objective that requires two contiguous actions to complete.

double weapon
To wield both a principal weapon i.e. a sword and a companion weapon i.e. a dagger, buckler
etc.

due time
A term that simply describes whether an action can or cannot, does or does not, complete in an
appropriate time for said action to be efficacious. To understand what contributes to an action
operating in due time, vide true time & true space.

duplex defence, the

to whit:
* defensive inches vs. offensive feet.

dyad reflex, the

The autonomous (ingrained) action of doubling on the offence (subject to judgement), as taught
by "Mercuriae Veritas" - part of what constitutes your responses. Principally:
* as above stated; automatically double up on the offence.
* following a strike that lye's spent, immediately thrust - time allowing.
Vide the catholic play.
 EEE

edge
Those aspects of the sword utilized for strikes & wards.

eight wards the

To be understood in exactly the same way as the four wards, but this time incorporating a
companion weapon (dagger, buckler) & to be comprehended as such; that when the point of
youre sword is up & guarding a certain line of offensive approach, the point of youre dagger
for instance protects a differing line of approach. This line of thinking may also be incorporated
into an understanding of how to utilize the broad head of youre bill weapons. Silver also
describes in this section, as a part of the eight, one of the lyes specifically to be incorporated.

english grip
"Veritas" nomeclature.
The grip described by George Silver, to be used when prosecuting the variable fight; viz:
* "pinch" the handle betwixt the thumb & index finger.
* your thumb lies along the side of the handle.
* the pommel rests in the cleft of the heel of your palm.
Nota Bene; there is a case to be made for the blade to be held horizontally in the fight (primary
variable lye). To recall: Silver admonishes that you cannot lay your point straight to narrow
space properly, without use of the english grip.
Proofs for the primary variable lye:
* vide his rule for thrusting at your enemies hand/arm whilst he is lying aloft, cap. 4 ground 4,
brief instructions.
* vide the binarius wards cap. 8 ground 24, brief instructions.
* vide cap. 5 ground 9, brief instructions.
* vide cap. 8 ground 17, brief instructions.

"entered into his action"

Intimating that the agent has commenced an action that is in the process of enfolding.

equal space
The framing of a ward in such manner that it is equally able to defend both aloft & alowe
quarters [and possibly left & right sides] in due time.
ethereal fourth, the
Vide time.

exercising of arms
The term donating the practise of martial technique with any given weapon.

eyes tell lies

An aspect from the catholic play that understands that the physiognomy can be used to deceive
as to true intentions. As an antidote, this rule advises that one should focus ones attention on the
actual spatial location of your opponents weapon, as this is the reality of its position & can only be
moved in proscribed, observable ways, taking discernable times to do so.
 FFF

false
A deceit, something that is manifestly untrue.

false edge
The back or upper line of a sword blade [vide true edge].

false fight
A fight strategy which uses principles, times, rules & actions which may compromise your
defence.
false pace
The "Veritas" understanding concerning the incorrect usage of footwork, whilst engaging in fight.
This could incorporate:
* too large a pace.
* too narrow a pace.
* too great a "number of the feet" i.e. too many individual steps taken, or too many motions of
the feet whilst treading ground.

false place, the

This is the setting of being framed in such a manner that inhibits true/due time actions
whether they be defensive or offensive.
false space
A lye of sorts in which you are framed in such a manner as to be not able to perform actions in
due time; e.g.:
* widespace
* indirected

false teacher
A tutor who teaches a false fight.

false times
They delineate, time wise, inefficient ways in which to perform a series of motions, principally
that body motions other than the hand complete first.

field
Short for field of honour, a place where a duel is fought.

fence & fencing

A contraction/corruption of the word that donates the art or science that is defence, whether it be
armed or unarmed.

fencer
One who fences.
fetch
To perform.

fight
* combat per se.
* a form of lying that due to either space or hilt complexity, in the main utilises first & third
actions and where possible first time pre-emptive offences.

fighting
Ones natural impulses & motivations for aggression, preferably groomed & trammelled by art.

first [an offensive action]

A type of action which comprises an assault which completes before a defensive or offensive
action of the opponent commences [vide the four offensive actions]. Can also be known as a
time.

first distance
Vide time of the hand - within distance narrow distance.

first mover
He who initiates an action.

five horological traverses of defence, the

The catholic play (prima ratio) principle for the maintenance of one safety via always (with
obvious exceptions) regressing on the defence/offence by any one of the following directions: 4,
5, 6, 7 & 8 of the clock. This is deemed to be a ground of fight, because it is one of the statistical
answers against the "runners in" [vide the regressive shift].

fly back
The last of the four governors which points out that once an attack on your part has been
discharged (you being spent & in the place), must immediately return back to or without
distance.

fly out
Same as fly back.
forehand ward
viz:
* a ward in which the weapon is positioned forward of the body, the point [lying out] being "high"
& the hilt being "low" & used to ward an attack to either the upper or lower quarters when using
the variable fight.
* possibly an actual lying (using the above alignments) from the variable fight.

foundation of fight, the

a concept from the catholic play, namely:
* the establishing & maintenance of ones psychic & somatic equilibrium.
~ against
* the continual disruption of your enemies.
four actions, the
The four aspects (motions) that make up an action. Sometimes referred to in context of a time
as well as the four motions.
* bent lying in a fashion that allows for the prosecution of either a defensive or offensive action.
* spent the opposite of bent, your weapon now lying in a state of completion at the end of its
intended function - literally spent.
* lying spent the state of being in which a weapon lies betwixt being spent & drawing back
[think in terms of the effects that a strong ward has on a powerful blow & vice versa] and
requires a double time action in order to draw back.
* drawing back the re-cycling back of a weapon from a spent position to its bent aspect.
fourth action, the (additional)
Vide striking short.

four especial marks, the

* they seldom fight without wearing armour.
* that when they do fight both masters & scholars are either sore hurt or slain.
* they do not set down perfect length of weapons.
* the crosses of their rapiers are imperfect for the true carriage of the guardant fight.

four general fights, the

George's catalogue of fundamental combative approaches, to be used in fight, to whit; the open,
guardant, variable & close fights.
four governors, the
These are tactical observations which have been derived from the four grounds and principles -
they are:
* judgement the capacity to infer from your opponents shape & weapons handled what he may
or may not do in due time.
* measure the adoption of a lying & the setting of distance that acts as a specific "antidote" to
counteract the strengths of your adversaries lyings & enables you in due time to exploit its
weaknesses.
* press in to directly close in order to offend or grapple.
* fly back a peregrination back to distance after one finds oneself within distance & spent.
four grounds, the
A set of principles delineating the fundamentals of true fight, to wit:
* judgement the capacity to infer your opponents somatic capacity or intention.
* distance with judgement you can set yourself at an appropriate distance with regards to your
enemies offensive reach (your time of the hand vs. his time of the foot or feet).
* time with distance set, you may cultivate time advantages for yourself [vide true space].
* place with the utilizing of true time you may win or gain the true place.

four invincible advantages, the

That a tall man hath against a man of mean stature consists:
* long reach
* short course
* length of weapon
* large pace

four motions, the

The four motions (sometimes called actions or times) describe the cycle of motions of the arm
that make up an action. Vide bent, spent, lying spent & drawing back [vide the four actions].

four offences, the

A delineation of the four modes in which an offence may be performed; to wit:
active
first mover - pre-emptive
* directly
* indirectly
1. via your enemies weapon (cross, catch, beat & bear).
2. via striking short (2nd intention).
3. via falsies & flourishes.
reactive
* via Georges three actions & the additional fourth action.

four offensive actions, the

Vide first, before, just & afterwards [may also be referred to as times].

four principles, the

Vide true place, true time, true space & true pace.
If your pace & space be true, then you will be able to operate in true/due time. If you are able to
manoeuvre in due time, then you will win or gain the true place of your enemy. If your pace or
space (or both) be false, then you cannot consciously operate in true/due time and so therefore
you will have won or gained the place but not the true place.

four true times, the

The true times describe two-fold, the body motions needed to be used in crossing ever
expanding distances & the order in which each aspect ought to complete.
* the time of the hand - being of the shortest distance (within distance) and therefore the
quickest action; the objective reached, by simply extending one's arm.
* the time of the hand & body - whereby the motion of the hand, completes either marginally
before (or realistically, at the same time as the motion of the body) the extra distance [still
within distance] achieved, by declining your body towards your opponent.
* the time of the hand, body & foot - whereby the motion of the hand & body complete, either
marginally before, or at the same time as the motion of the foot the extra distance [this now at
distance], covered via a step or pass.
* the time of the hand, body & feet - as above but incorporating two or more steps and/or
passes [this now from without distance].

four wards, the

George defines this (for single weapon) as two with the point up & two with the point down.
This may be understood in terms of warding, via means of a true cross, which may only be
undertook (statistically speaking), when ones blade/weapon is aligned either with the point up or
down. If you then take into account that there are two sides of you to protect [youre left & right
sides], then readily does that number become four [vide the eight wards].

frame/framed
How you position your weapon.

full force
* an action performed with the true intent of an actual fight, as opposed to play.
* a description of an action, coming to the end of its course i.e. "put by your adversaries weapon
before it be in full force".

full hilt
A design of hilt, allowing for a comprehensive protection of the hand from strikes.
 GGG

gaining the place

Achieving the place, due to the motions, initiated by your opponent.

guard
Interchangeable with lye & ward.

guardant fight
The principles, rules and actions to be used when lying in guardant.
gathering
Intimates either a gradual closing in on your opponent, or possibly, is simply a means of
maintaining distance via moving in a circular, compassing manner.

gathering ward, the

A "Veritas" addition to the variable fight for all manner of weapons; of two sorts viz:
* lying variable at the point either single or double & utilizing a circular blade action to "gather"
(cross/catch) your opponents blade. In single form (single in the sense of the weapon rather
than single/double handed), it may be used both to the right or left against either thrust or blow &
against the staff.
* may be used double with the use of a main & companion weapon gathering both from aloft
& from alowe.
general motion
The way in which one moves within a combative context, utilising various forms of cadence via
the arms body & foot.

gentle play
A form of play, where the accent is perhaps on the perfection of form as opposed to the realism
of the fight. Either way, this is a form of play with an absence of true force & true time.

"gladius fight" the

The lye's:
* open
* pendant
* double forehand ward
* cruciform x2 (forward & flanks)
this fight [because of the equal length of weapons involved], strives to combine offence with
defence; one endeavours to strike as one wards.

glance
A term used by Silver, to donate the effect of a blade or shaft, bouncing off youre weapon when
warded.

Golden Rule of Lengths, the

viz:
* imperfectly long weapons - the shorter hath the advantage.
* imperfectly short weapons - the longer hath the advantage.

graduation of targets
Firstly the blow, to wit:
* primary - hands, forearms & head.
* secondary - upper arms, shoulders.
* tertiary - the rest of the body
secondly the thrust:
* primary - the face [vide below].
* secondary - the pelvic triangle [vide below].
The above two are dependant upon the "ideal" & your certainty to reach these parts; the tertiary
is overall, the truer option.
* tertiary - the rest of the body.
Note that all of these, as taught via the "Veritas" curriculum, are relative to the attire of your
adversary.

grip
To grab hold of your opponent, their clothing, or weapon.

grounds
Comprising the following:
* those universal & indispensable facets of a fight: irrespective of whether they be of the
conceptual or somatic spheres.
* the individual numbered sections beneath the chapter headings, that make up Silvers "Bref
Instructions". Each ground comprises a "lesson" of sorts, with regards to the particular subject
matter of the chapter heading. These "illustrations" are composed of teachings in technique
(action), combined with an underlining of the rules & principles supportive of that technique.
* ground literally the ground you fight on.

HHH

half staff
The technique of holding a staff equidistantly in the midst of its length.

half staffing
The actions issuing forth from the technique of holding at the half staff.

half sword
The halfway point of the sword blade.

half swording
The technique & actions consummate with gripping a sword via both the handle & blade.

half rapier
The halfway point of the rapier blade.

high ward
Vide imbrocata.

higher function approach, the

The Veritas recognition, that the vast amount of fence taught is of little use in combat, because
the actions are learnt in a stress free environment & are therefore the product of the higher
functioning centres, rather than the much reduced, more primitive mind available in a fight.

hilt
That facet of the sword in which the fencer grips in order to wield such.

hook
The technique of using aspects of a bill head to catch & hook a weapon out of line. May also be
used against the body, as in hooking behind an enemies leg & taking it out from under him.

III

idiocrasy
A ground from the catholic play. This particular version instructs us, that what ever we are
taught, ultimately, must be transformed into our own peculiar form of expression. This process
covers all the somatic aspects of fence and can also determine to what level we pursue, the
strictures of any given ground or rule. Examples of idiocrasy:
* town & country weapons.
* individual assignation of weapon use.
* length of weapons.
* weight of weapons.
* hilt styles.
* hilt grips.
* curriculum of actions.

imbrocata
A lying from the variable fight, possibly the same as a "high ward".

imperfect fight
When the actions or motions of a fight do not incorporate true principles of fight.

imperfect guardant
An imperfect lying of guardant, when either the body is leaning too far forwards, or the point of
the sword is presented.

imperfect lengths
This concept pre-disposes, that there are lengths of weapons that inhibit it being able to be
deployed in due time. The primary causes being thus:
* too long
* too short
* too heavy
Vide the perfect length.

indirected
The opposite of directed.

interpretative approaches
The "Veritas" interpretive process, to whit:
firstly, apropos Silver
* direct interpreting exactly what Mr Silver states.
* indirect transcribing something, from one technique, principle or description of Georges &
applying it to another section; to "prop up" a description that is perhaps deficient in some way
[vide the loquacious Mr Hand's "guardant fight"].
* fabrication exactly that. Manufacturing something to prop up an incomplete description.

SCRIPTURAL RULES
primary declaration look for:
* reiteration (a form of confirmation)
* expansion (a form of confirmation)
* contradiction ?
* word entomology

extrapolative - imaginative extrapolation does your experience allow you to construe, working
examples of a declaration?
SOMATIC RULES
* text note well his descriptions (especially the minutiae!)
* bio-mechanics does it somatically feel right?
* efficaciousness does your interpretation work?
Nota Bene; non of the above constitute truly viable interpretations on their own.
secondly
* natural interpretation the approach of "naturalizing" a too literalistic interpretation; the ability
to make something practicable, via experience & intuition - common sense (e.g. "straightness &
narrowness of space").
* eisegesic interpretation - a classical case of projection, in which one bends the interpretation
for subjective ends.
thirdly, in general
* historical texts subject specific per se e.g. treatises etc,.
* historical anecdotal texts - e.g. Silvers commentary on the rapier
* modification principle vide such.
* personal experience last but by no means least!
 JJJ

judgement
judgement is a knowledge base, comprising of extensive experience of the manifold aspects that
make up the fight; there by allowing you to prosecute a true fight based upon art.

just [an offensive action]

A type of action or time, which completes at the same time as an opponents specific offensive
action.

just length
The maximum or minimum lengths, of any given weapon that corresponds to your individual
stature, allowing you to manoeuvre your weapon in due time [vide perfect length].

Silver provides for the enquirer the following approaches to ascertaining the perfect length of
weapon for ourselves; to wit:
* via his woodcut demonstrations.
* via his declaration, that weapon lengths on average, fall out at specified lengths.
* that weapons be not too long nor too heavy, so as to make them unwieldy.
* the determination that from the uncrossing of weapons, effective offences must operate in due
time, without the need for distance adjustment via footwork.
 KKK

LLL

large distance
Equates with standing without distance.

large space
A situation in which it is difficult to effect an offensive or defensive due time action, because of
the "wide" position of your weapon. The opposite of lying in true space.

last quarter
As designated by "Veritas"; that quarter of the blade measured from the point rearwards.

lofty fight
See aloft.

long point
The "Veritas" nomenclature for any of the lye's that have the point lying out e.g. forehand ward.

long sword
Any sword blade, that is above the just lengths, as advocated by Mr Silver.

loss of time
This refers to those actions by a fencer, which unfold slowly (long time). This could be because
they are in wide space, indirected, not true paced, or operating via a false time.

low ward
A ward from the variable fight, by where you hold the hilt of your sword (point out), either some
what in front or alongside your hips, with either your point elevated, declined or held in a straight
out position.

lunge
A form of pace, in which the presiding leg steps out, whilst the rearmost leg remains rooted.
Usually performed in a vigorous manner.
lye - lying
This is possibly the position, of being in either a ward or a fight, or simply positioned in neither
(something neutral perhaps). Interchangeable with guard. Each lye further more has an
attendant series of elemental techniques & tactics attached to them [witness the guardant fight].
This may further be understood in context of these two expressions:
* formal a specific lye e.g. guardant.
* informal e.g. a nonchalant lye.

lying spent
The state of a motion, in which the arm is in the process of changing its momentum from spent
(completion of an action) to drawing back [vide the four motions]. This interpretation makes
the most sense, if viewed from the context of your experience of recovering from the effects of
applied true force, from either warding or being warded, or from a successful offence being
made on your part.

MMM

master
Vide prize plays.

masters of defence
A company of teachers based in London [but affiliated elsewhere], professing tutorage in arms &
possibly stretching back far into English history. Granted "letters patent" by Henry VIII in 1540.
measure
Of two sorts:
* a measurement e.g. length or weight.
* the conscious & intelligent aligning of yourself and your weapon, via the mediums of true pace
& true space, so as to efficaciously defend the anticipated lines of attack and offensively exploit
openings, weaknesses & '"false lyings" (of your antagonist); all in due time [vide the four
governors]. In the "Veritas" scheme of things, one can be in true space, but not necessarily, in
measure.

modification principle
Very few statements stand alone. In the course of a conversation, most declarations are
"modified" for example:
Usher: offences committed to your right side from aloft, may be dealt with via "the choke";
resulting in your enemy being struck upon the head.
Obdurate: in all instances them, offences dealt to you from aloft, to your right side, will result in
they being striken upon the loaf?
Usher: not necessarily, mitigating factors such as:
* the relative weights of the weapons being used, may nullify ones capacity to bear through onto
your opponent.
* angles of crossing - the same.
* your opponents intended target, i.e., if your enemy is attacking your thigh, your choke will
striken his noodle before his offence lands, but not necessarily so if his intended target is your
head.
* The relative lengths of the blades; if your blade is shorter than his, then a blow to your
opponents head may not be feasible, but a strike to his arm, may instead, ensue."
Obdurate: this then, surely, is a contradiction of your original statement?
The answer to the above question, for most of the community, is a most definite yes. One can
understand this readily, by reading off the page the original statement. But in real life "original
statements", in the course of a discussion, do experience modification; theyre expanded upon &
further clarified.
Sadly though, in literature especially Tudor writings, this further clarification does not occur,
declarative statements remain unchanged for the most part, sadly leaving a somewhat black &
white description for the "authoritative" among us to champion.

motion
Any movement per se. Interchangeable with action.
mountanta
A lying from the variable fight, whereby the weapon is held with the palm up, hand & hilt held
over the left breast, with the point in line. Also known as a reverse thrust. Possibly also a form of
"inside high ward" derived perhaps, from the Italians "montante".

NNN

narrow distance
Equates with standing within distance.

narrow paced
viz:
* a stance in which your feet, are too close together, to allow for proper combative balance.
* nor allows for movement in due time.

narrow space
The true space tactic, of laying out your point in alignment with your adversaries weapon so as
to:
* reduce the time required to defend successfully in due time.
* allows for the implied tactical desire to cross instantly the moment that you are in narrow
space [vide very narrow space], so as to break the thrust or blow of your enemies offence.
Nota Bene; narrow space lyes [with the single hand short sword] have to be prosecuted with
the "english grip".
nature
The natural tendencies within all of us - instinctual responses.

natural fight
A combination of
* ones own instinctual disposition to fight.
* to use naturally, copious amounts of force.
* to be simple & direct in your technique, rather than curious.
* a fight that engenders ones natural responses to combat i.e. to flight when afeared, retaliate
when it is safe to do so.
* the use of natural motion.
* the natural tendency towards animosity etc.

natural motion
To move with, only a slightly more polished manner, than nature naturally would have you do so.

natural pass
A form of pass that has you leading [via a half step], with the foot that is nearest the direction that
you are traversing.

noble science, the

The title given to all things of a defensive nature, as taught by the masters of defence in
England.
nonchalant lye, the
A form of lying, in which the weapon lies in an affectedly blas manner essentially an
apparently non-threatening form of lying, which puts you in an able position of readiness for
offence; to wit:
* aloft your weapon (of reach) lies on your shoulder.
* alowe your weapon lies to your rear (in full view), the point resting on the ground - essentially
a lye for a cudgel.

number of his feet, the

* the traversing of distance via steps & passes.
* the need to use several foot manoeuvres to direct yourself [vide false pace].
 OOO

Occams Somatic Razor

The "Veritas" concept of stripping ones fight down to the bare functional, technical minimum.
Thus having at hand, a profoundly practised art, ingrained witness our pugilistic brethren for the
parallel [vide the catholic play].

off & on
Terminology that describes the interplay of the third & fourth governors, namely press upon &
fly back.
open
This form of lying is fundamentally a fight, where the sword hilt is held higher than the head, the
tip of the sword pointing straight up, or inclined backwards.
Properties of this lying:
* positions you in a paradigm bent lying.
* proffers no advanced target.
* offensively, allows you full striking coverage of your opponent - thrust wise, somewhat limited,
due to the wide space position of the point (this though does not apply in the "crush" on a battle
field).
* defensively speaking, can only effect defences against the like i.e. aloft lyings.
Also donates a position, in which an aspect of you is undefended.
open fight
The observations and techniques to be used when lying in open.

open hilt
Any hilt design, not encompassing a complex protective bar arrangement e.g. a simple cruciform
quillion set up.

open hilt fight

As prosecuted by "Mercuriae Veritas":
* predominant actions practised; (a) first actions [regrettably not the choke], (b) third actions,
(c) pre-emptive offences (time allowing).
* safe second actions limited to: (a) warding blows via the cruciform ward, (b) if fighting
without a companion weapon, having a leathern stopper fitted to your hilt, (c) warding against
thrusts only, (d) utilizing imperfect guardant; left foot predominant & warding via the pendant
ward.

PPP

pace
The techniques when using your feet, especially when traversing.
Forms of pace are:
* steps
* passes
* the pivotal pace the pedagogically speaking, fundamental, transitional stance, in which the
feet are placed comfortably together & in-line, neither foot predominant - not a lye to remain in.
* straight pace - legs positioned in a more linear fashion - to be used as the fundamental lye,
especially when two handed weapons or when narrow spaced.
* shifting pace - legs positioned off line from the pivotal pace - to be used predominantly whilst
passing upon your enemy.
Nota Bene; in the main, footwork in fence, is best pursued with:
* loading up on the leg opposite the direction you wish to traverse.
* an overall continual shifting.
* flat footed at the front, on your toes at the rear & vice a versa.
* a comfortable (not rigid) upright stance, but transitioning with a bobbing motion (vide bobs).
* traverses to be prosecuted with the cinerea pace.
Partridge Hill style
An approach to pugilism utilizing short, half & long arm styles but rooted in the principles of the
true fight i.e. grounds, rules, principles, and those of the catholic play.
The overall look of this style is fashioned around the practise of:
* framed in the straight pace.
* the arms "setted in".
* narrow space (principally the half arm/long arm) & the attendant motions that follow on from
such.
* the hands are held centrally in equal space.
* principal blows thrown from the sternum.
* blows launched after the "walk off" commences.
* lye's prosecuted with either the hands open or closed - as the individual prefers.
Further more, the line of the striking knuckles (horizontal/vertical) to be dictated by:
* the motions of the shoulders (pivoting, rolling & swinging).
* the position of the elbow: down, out & up.

pass
A type of footwork in which the rear leg passes in front of the leading one [vide natural pass].

passage
As above.

passata
A lying from the variable fight, whereby the non-sword side leg is leading and therefore one has
to pass with the sword side leg, in order to execute a thrust or blow.

patient
In the main, used by Mr Silver, to donate one who tactically awaits events i.e. defensive.

patient agent
Donates someone who operates tactically, both offensively & defensively in a fight in accordance
with the principles of the true fight.

pedagogy
* discuss offensive/defensive; surviving.
* discuss the four principles; the goal: the true place.
* discuss the relationship betwixt time & force accent (initially) on time.
* display via clapping hands.
Demonstrate the difference betwixt the place & the true, how to achieve such: via true space &
pace, which in turn generates the true time actions in order to acquire the true place.

pendant ward
Another term for Silver's imperfect guardant; used by "Veritas" as a non-derogatory description
for this type of ward.

perceptual cross
Essentially an approach for when one can readily see (from your perspective), that your
opponents blade or shaft is overlapped by yours, either to one side or the other, or above/below
it. This in itself forming the firm basis as a trigger, for a cross and or catch. Nota Bene; for the
response to be effective, your enemies blade has to be fairly extended.

perfect
Used in the Tudor period to donate accomplishment, skilled or skilful.

perfect fight
A fight strategy or tactic, that is executed without mistake. Also known as the perfection of fight.

perfect guardant
Vide true guardant.
perfect length
This incorporates the concept that there are maximum & minimum lengths to a weapon,
corresponding to your personal stature, that contributes to it being able to be used in due time
(vide just length).

pivotal pace
The pedagogically speaking, fundamental, transitional stance, in which the feet are placed
comfortably together & in-line, neither foot predominant - not a lye to remain in.

place, the
That distance whereby you can offensively reach your opponent, without having to make any
motions of the foot.
Mr Silver also includes specific body parts having their place i.e. the place of the hand, or the
place of the foot. These particular positions in themselves, are not specific placements, but are
references to whether that particular body part lies, in either true or false space (vide the true
place).

play & playing

Terms donating the various kinds of practise, required to develop the requisite skills in arms &
falling into two forms:
* general play an all encompassing practise, operating in either its gentle or rough formats &
utilizing patient & agent role plays.
* artificial play in which a particular action or tactic is focused upon.
point
That aspect of a weapon, used to penetrate via the thrust.

pommel
The counterbalance of the blade, secured at the end of the hilt.

pre-emptive defence
This would be prosecuted via:
crossing, catching & indirecting your enemies weapon.

pre-emptive offences
Generally speaking, difficult to prosecute against a like protagonist except, when you have a
discernable time advantage over your opponent. This may manifest because of:
* reach
* space
* pace

press in
When you move in to attempt to win the place, or come to the close (vide the four governors).

press upon
Kindly refer to press in.

prima ratio
A collation of catholic tactics to be relied upon (with liberal injections of uncertainty) when
engaging with combat.
The short sword:
* to intrinsically have your enemy to come to you.
* maintain distance via:
~ setting distance.
~ use of the straight & shifting pace.
~ use of the additional 4th; of two sorts: swashing & stops to the opponents face.
* maintain true space/narrow space with your weapon.
* utilizing the three actions - primarily the 1st & 3rd [by far the safest options].
* if your enemy is a "runner in" engage in:
~ bridging play & all of the above.
The two hand sword...
The short staff...
The above approaches endeavour to assure that your enemy does not break distance first
before launching an offence against you, thereby placing him in a position that he is offensively
engaging you at the requisite time of the hand, body & foot or feet [preferably].

principles
The principles are those psychic constructs that reflect any given concept, philosophy etc of
fight which seeks to explain the why's & wherefores - irrespective (as in innumerable cases) of
there relationship to the reality of such! In Silver's writings they rank as the summum veritas &
conceptually underpin ye true fight. In several instances they may be classified as grounds.
principle of NOW
Sourced courtesy of George & utilized by "Veritas" as a hierarchy of offensive targets; namely:
* those aspects nearest to us.
* or are open to us.
* or appear weak - est to us.

private fight
A duel.

prize plays
A public venue devised by the masters of defence, for the express purpose of demonstrating to
the masses at large, the integrity and virtue of their practises via public "gradings", for those
scholars desirous of becoming masters, or professionals themselves. The grading system of the
London Masters of Defence, was supposedly spanned over seven year periods of an
"apprentices" life & possibly comprised of five levels:
* scholar possibly the entry term for all individuals practising fence, regardless of whether they
are desirous of being professionals or no.
* free scholar the first rung so to speak, of being a professional teacher of fence.
* provost the second rung; able to teach independently with his masters approval.
* master top professional, capable of independent teaching [within the confines of Company
law].
* ancient master possibly the administrative & arbitrative aspect of the Company, probably
sourced from the company via long or capable service to such.
progression
To move forward, especially towards your opponent.

progressive lye
A variation of the straight or shifting pace in which one's weight is "nudged" rearward for the
purpose of stepping forward.

professionals syndrome
The understanding that in the main, professionals have an agenda & that that agenda is the
creation of one's daily crust. Therefore, because this is the uppermost criteria, in the case of
fencing masters, the veracity of fence per se, is of secondary importance. This lack of truth
towards fence may manifest thusly:
* a dogmatic approach to tradition (cultivates an unquestioning attitude in the scholar).
* having a curriculum of "10,000" techniques as opposed to only "10" (cultivates endless &
profitable lessons).
* the belief/teaching that "practice makes perfect" - a dogma that covers an endless vista of false
teachings.
* the refuge of supposed "gentlemanly conduct"; oft covers up a masters lack of ability.
What is of primary importance to the professional however, is what ever encourages bodies to
repeatedly enter through their portals

provost
Vide prize plays.
public fight
* a civilian self defence scenario.
* a prize play.
* a challenge.

purring
The art of using ones legs [principally the feet] for general offences; primarily to the shins.

put by
To either ward or cross (usually a thrust).
 QQQ

quaternarius (of action the ethereal fourth), the

The ternarius (the somatic three) of speed, balance & power are all compromised by the
fourth principle of time. Mercuriae Veritas refers to this as the "squaring of ye triangle".

quarters
Possibly the splitting of the body, into discernable sections.

quartering principle, the

The "Veritas" principle of quartering the body into an aloft & alowe, left side & right side & then
endeavouring to reduce your opponents lines of offensive approach to the bare practicable
minimum. This is hoped to be achieved via:
* leftward gatherings - this reduces your opponent to offensive contemplations of [in the main]
your right side.
* first actions (especially "the choke") - this hopefully preoccupies your enemy with your aloft
quarters only.

In summation then: with use of the "quartering principle", it is to be hoped that your enemy will
concern himself with both striking & the foin, to predominantly your right side & upper quarter;
thereby giving you less to worry about in your fight.

quarter sword
The first quarter of the blade nearest the hilt.
quick hand & foot
* this may donate actions operating in due time.
* or is literally the conscious use of speed to implement a technique.

RRR

raking
A defensive action from the catholic play; especially effective in the variable play or with pole
arms, or indeed, unarmed fence. This action starts aloft & wards downwards; in the manner of a
raking motion along the lines of an isosceles triangle - somewhat!
rapier
At the time of Silvers writing, a weapon consisting primarily of a point (with or without edges),
designed primarily for thrusting offences.

refutations of the "steadfast" pace, the

As understood via "Veritas":
* not naturalistic.
* compromises time.
* not suitable for rough ground.
* maximized balance & power detrimental for due time actions.
* contemporary comments.
regression
To move backwards, especially away from your opponent.

regressive lye
A variation of the straight or shifting pace in which one's weight is "nudged" forward for the
purpose of stepping rearward.

regressive shift, the

The tactical action of allowing either of the feet to pass, or step rearwards, following on
immediately from a spent blow. This action increases your enemies space of offence, whilst
allowing you, to operate in the time of the hand & foot, with either a double or dyad action
[vide the five horological traverses].
reverse play
A type of play incorporating counter clockwise traverses.

ring grip
The term used by "Veritas" to describe the method of holding a rapier.

rough play
A form of play, where the accent is upon en-capturing the realism of a fight, without actually
harming someone. Performed in true time & true force.

rules
Observations on how your fight can be improved. These are specific to the tools & approaches
being employed - as opposed to the grounds of ye true fight, which are universal in nature.
Note also that on occasion, these rules may be ignored without dire consequences ensuing -
unlike the grounds of true fight.

SSS

scholar
Vide prize plays.

science (of fence)

The use of principles & rules, to enable you to engage in perfect fight, the knowledge thereof
being divined from study, observation & practise (a posteriori).

second distance
Vide time of the hand, body & foot at distance.

service of the prince

To serve either your King or Queen Majesties, in the pursuit of war.

setted in
The concept of being prepared & aligned, in a muscular & skeletal sense (vide true lying).

setted in his feet

Appropriating true pace & direction, before implementing an action.

shape
How you are stood & positioned in a fight.

shift, shifts
An altering act; viz:
* either from defence to offence & vice versa.
* to change your hand positions on a weapon.
* to change from lying to lying.
* to change ones foot orientations.
* to change from fight to fight.
* to move regressively & circular wise to aid ones defence.

shifting pace
Legs positioned wide, off line from the pivotal lye - used predominantly whilst gathering or
regressing from your enemy.

short sword
A sword that imbibes the just lengths advised by George Silver.

short ward
A variation of the low ward, where by the point is held back by positioning your hilt behind your
breeches (if lying with your sword leg predominant).
signature motion
The "Veritas" understanding that individuals require idiosyncratic motions [based perhaps,
around specific techniques], to make any given play work comfortably [vide the five & fifteen].

simple responses
A ground courtesy of the catholic play - those ingrained, simple actions or reactions, to simple
triggers.

simple triggers
The obvious cues that trigger simple responses. Again a ground courtesy of the catholic play.
single
The word employed for the usage of a weapon singularly, that is, without a companion weapon.

single hand
To wield a weapon one handed.

single sword
Exactly that, a sword used without the back-up of a companion weapon.

single time
Any action that completes its offensive/defensive objective, in one overall action (this "one
action" may be composed of several smaller actions or motions).
single weapon
To use a weapon without a companion weapon.

six chief causes, the

The chief reasons for being unskilled:
* the lack of the governors.
* a lack of knowledge & due observance of the four motions.
* being untutored in the four true times.
* the unskilled, answer the variable fight with variable, which ought not to be, except at first
distance & when short vs. long.
* their weapons are too long to uncross, without going back with the feet.
* their weapons are too heavy, to defend & offend in due time.

sliding
Kindly refer to slip's & slipping.

slip & slipping

* defensive methods of using your feet, to position & orientate yourself to your opponent when
dealing with his offence.
* this would appear to involve in every instance, a small rearward motion of the foot.
* also used in reference, to moving somewhat out of range of your opponents offence, e.g. if
being offended to the head, moving both that & your upper body out of range rather than using a
full blown action of the feet.
slow hand & foot
The use of slow motion to deceive an opponent.

slow motion
A situation by where an individual, is not performing an action in due time. The reasons possibly
being:
* tactics (falsing)
* wide spaced
* indirected
* fatigue
* injury
space
The physical distances, in which you & your weapons move in to effect actions.

space of defence
The space which your weapon has to traverse, in order to defend against an attack.

space of offence
The space which your weapon has to traverse, in order to offend your opponent.

spent
A state of motion, in which the arm is at the terminus of its purposed action [vide the four
motions].

staff
Asimple form of pole arm coming in a range of lengths; to whit:
* long staff = 12 14 feet
* short staff = 8 9 feet
* EDC staff = 6 feet

step
Possibly footwork involving a leading with your foremost leg.

stickler
The name given to a referee of sorts, utilized by the masters of defence in their prize plays &
challenges. The name is possibly derived from the fact, that they carried with them staffs on the
scaffolds.

stocata
A lying, by where you are sword leg predominant, your weapon held by your thigh, with the
choice of having your point up, level or lowered.

stops & drops

A facet of the catholic play, that deals specifically with the ground that ones offensive focus
must primarily, be on stopping an opponent rather than killing them or rendering them insensible.
This ground reflects the fact that "stops" are more readily available to you time wise, rather than
in "drops" i.e. killing/rendering your enemy unconscious, which by their very nature, require more
setting up & precision in order to perform well.

stop (narrow space/true space versions)

The expedient action of throwing the point into your enemies face, when faced with uncertainty.
The prosecution of this technique is as follows:
* from what ever lye your weapon is in, throw the point into your opponents face - full
grip/english grip not withstanding.
* when throwing the point, angle your body forward - time of the hand & body.
* this action of the body loads your weight predominantly over the lead leg; use this to spring
backwards at nearly the same time as the point completes it's action [the stop & bob].
The purposive of this technique is not to stab your adversary, but to choke them in there
progression.

straight pace
Consisting of:
* the principle lye of the feet.
* a linear form of lying with one's legs.
* ideal for all forms of narrow space framings.

strike
As a blow.
strike short
To strike or thrust out of distance, either through fear or policy.

swash, swashing
To fetch a large blow.

sword
A weapon consisting of two edges, a point & a hilt. Used primarily for striking.

TTT

T&T
All actions - with a sliding scale accepted - should require little "teaching & training" to be
practicable.

tactical progression, the

The "veritas" two-fold process, by where in the first instance you gather data concerning your
enemies approaches to the fight an essential facet for judgement of such; comprising:
* commence large distance & assess - psychology, technical ability & tactical approach.
* gather to the threshold of distance & assess more of the above (ultima dyftance).
* gather to at distance & nipping in & out of distance, put your adversary to the test via wide
space actions.
In the second instance; the pursuit of the quartering principle.
technical shimmering
The collection of subtle actions, that when allied to true pace & space, assist in engendering
true time actions.
vide combative rhythm & treading ground.

technical subduction
The principle & practice of offsetting an opponents technical approach, with cruder & more
savage approaches.

ternarius (of action), the

Viz the somatic three:
speed, balance & power (vide the quaternarius).
ternary principle, the
* principles
* rules
* actions
From the knowledge of the true principles of fight, come sound tactics (rules) & the appropriate
due time actions. The prosecution of these principles naturally follow on from your analysis, via
the tactical progression.

technical analysis
A process by where you may define an actions value i.e. whether it be fit for combat, to whit:
* does it reflect the ground of measure.
* is any given action mechanically sound?
* does the action meet the demands of the twin dilemma?

third distance
Vide time of the hand, body & feet without distance large distance.

third mark, the

That false teachers do not set rules down for the appropriate lengths of weapons, thusly:
* they find it much harder to avoid a cross, with a long weapon.
* they cannot cross strongly.
* they struggle to uncross in due time.
three actions, the
1: to offend at the agents initial coming within distance (operating in first, before or just time).
2: to ward and return (operating in afterwards time).
3: to slip and return (operating in afterwards time).
Addendus Mercuriae Veritas
4: striking short

three cognizant's, the

The "Veritas" technical valuation process, to wit - does any concept or technique work in:
* true time ?
does it withstand & prosecute seemingly with:
* true force?
 are you allowing for the exposure of falsehoods via the potential of:
* personal suffering?

three fold defence, the

Viz
1: warding the blow
2: breaking or putting by the thrust
3: sliding back under your hanging ward

three fights, the

As defined by Mercuriae Veritas:
* the actuality of fight what can be achieved consistently: reliable.
* the potential of fight what can be achieved but only inconsistently: unreliable/serendipitous.
* the myth of fight improbable.

three offences, the

The format & order of frequency (from least to most) in which offensive actions fall out:
* consciously - this is the recognition on your part, that your opponent is exhibiting a behaviour
that you can capitalize upon.
* serendipity - a play falls out in such a manner, that although you had no notion of implementing
any given action; you recognize in the instant, that you are able to enact an action by the virtue
of being (unconsciously) in the right place at the right time.
* automata - by implementing the ternary principle & such approaches as the dyad reflex; you
find that offences pan out statistically in your favour; whilst remaining safe.
three plays, the
To whit;
* distance play
* bridging play
* close play

three progressions, the

1: pressing in & flying out.
2: coming to the place & standing fast.
3: coming to the place & pressing in.
thrust
The action of "pushing" the point of a weapon at or into your adversary.

time
Of two sorts:
* the concept that all actions operate, within the framework of time & that some actions or
motions, take longer to perform then others.
* the understanding that the prosecution of an action, is an event; an event that has its specific
moment in which to be utilized: a second before or after the required moment & the effectiveness
of any given motion is lost [vide the four principles].

time of the body (time of the hand & body)

The time of the body reflects the distance that literally the trunk of your body traverses [via
flexing at the waist] & the time taken to do so, in order to achieve either an offensive or defensive
objective.

time of the feet (time of the hand, body & feet)

The time of the feet reflects the distance covered by steps, paces, passages (two or twenty
two!) & the time taken to do so, in order to achieve either an offensive or defensive objective.

time of the foot (time of the hand, body & foot)

The time of the foot reflects the distance covered by a step (or pass) & the time taken in order
to achieve either an offensive or defensive objective.
time of the foot & hand
Is defined when using both actions of the hand & feet in slow motion (perhaps meaning a false
or too long a time?).

time of the hand

The time of the hand reflects the distance the hand traverses & the time taken to do so, in
order to achieve either an offensive or defensive objective.

time of the hand & foot

Depicts traversing at the place, the actions of the foot or feet not interfering with the intended
action, nor with the time of the hand.
too large space
When you or your weapon are framed such, that you cannot travel across any given space in
due time.

too long a time

The situation in which an action may not be completed in due time, because of the distance
needing to be traversed. This may be because of being:
* wide space
* indirected
* disordered
* false pace
traverse
To step & passage about the fighting area, at all points of the compass.

tread
Viz:
step, pace & pass.

treading of ground
Localised movement on the spot i.e. positioning, alignment etc.
Vide technical shimmering.

true carriage
The framing of your weapon in true space.

true cross
To cross weapons such, that your opponent cannot displace his point nor beat, bear or break
your weapon in due time.

true edge
The lower or leading edge to your blade. That aspect of the blade used most oft (vide false
edge).

true force
To commit actions with appropriate combative vigour. Vide the alliteration of fight.
true fight, the
Comprises those understandings & practices that are rooted in the reality of combat.

true guardant
A lying which constitutes a ward as well as a fight, the hilt being held comfortably above and out
from the head, with the blade sloping marginally rearward towards the left knee.
Properties of this ward:
* positioned in a primal bent attitude.
* the hilt forms an integral part of the defence of your head, as well as your hand.
* defensively, very effective & encompassing against strikes & thrusts.
* offensively, very effective for blows & proffers a decent enough form of thrust (short range).
true lying
The skilful craft of setting up & utilizing your body, in such a manner as to prosecute actions, in
as bio-mechanically & ergonomically sound a fashion as is artfully possible (vide setted in). Not
to be confused with measure - measure is action specific, true lying is about general body
mechanics.

true pace
Comprising the following aspects:
* the separation between your feet, is not so large nor too narrow, nor too square as to make you
incapable of operating in due time.
* to traverse in ways (actions of the feet), that do not compromise your capacity to operate in
due time e.g. the problems caused via crossing you legs at distance.
* load your weight on to the soles of your feet.
* load your weight marginally on to that leg opposite the direction you plan to go e.g. load up
frontally to regress & on the back for progression [vide the regressive/progressive lye's].
* when moving in any direction of the compass; move that leg first nearest the desired point of the
compass - even when passaging.
* shifting - subjective distance control.
* slip/slide - think in terms of an "ebb & flow".
* pass - passage rearwards in instances when you suspect that the quartering principle is not
having the desired effect upon your enemy.

true place, the

Of two forms:
* the place of offence; being in place where you can offend your opponent, but they cannot - in
that specific instance - offend you in return.
* the place of defence; being in place to readily defend yourself in due time.

true progress, the

A "Veritas" term derived from Silvers the four principles, to whit:
~ true space + true pace = true time = the true place

true practise
Ones practise ought to revolve around the following:
* true tools - properly weighted & length pieces.
* true attire - practise in clothing & footwear appropriate to the period being replicated.
* true ground - practise on surfaces other than parquet floors!
* true application - considerable time must be allocated to play in true time & force.

true responses, the

the catholic play approach; to whit:
* measure in all instances.
* true force against the graduation of targets, or your opponents weapon.
* offences primarily from aloft (a striking fight!).
* follow the shortest line (your opponents weapon in the way notwithstanding).
* inculcate the dyad reflex.
* utilize the five horological traverses.
* above all else, responses must be SIMPLE!

true triggers, the

What you
* see - are you in measure for one of the four offensive actions to be made? Are there any
open or weak parts presented to you? Are they in place of your reach? What side of your
body/blade is your enemies blade incoming? How does his pace look is he gearing up for a
lunge or pass etc?
* hear - the "tone" of the clash; can readily tell you of a true cross being made.
* feel - the "quality" of the cross, as above, can inform you of a true cross being made.
* experience & intuition trust your hard won understandings!
above all else, triggers must be SIMPLE & OBVIOUS!
true space
A triumvirate concept, pursued via the positioning of your self and your weapon (the weapon has
to have perfect length), so as to facilitate both defensive & offensive actions in due time, to wit:
* the proper usage of distance.
* the true carriage of a weapon.
* the true length of a weapon.
The mastering of space culminates via the principle of measure.

true time
The principle behind your ability to commit actions in due time. This incorporates the grounds
of:
* judgement
* true pace
* true space
* just lengths
* the four true times
* measure (perfection of fight)

true ward
true wards consist of the following:
* due time application - shifting inches rather than feet.
* forming a true cross.
* the use of true force.
twin dilemma, the
The "Veritas" precept that stipulates that defensive actions (2nd actions), in the main, must
guard against the indirect (false), as well as the direct offensive action of your enemy.
This is to be accomplished in as simple a fashion as is possible - bring to mind, the exemplary
nature of the choke & the wonderful knock on effect that it has defensively for the right side of
the head from guardant.

twenty first century art

The application of the principles & actions of fence, suitable for the England of the 21st Century;
to wit:
* tools - weapons of the early 21st Century consist (in the main) of short reach: knives,
screwdrivers, "Stanley" knives, hammers etc.
* mind set decision to fight, traffic light codes (with attendant weapons), physical & verbal
stories set in place.
* understanding your enemies:
- primary enemy anyone who wishes to physically abuse you
- secondary enemy the Police, the Judiciary (initially the CPS).
* armed vs. unarmed foregone conclusion!
* weapons of reach foregone conclusion?
Consideration of what actions may be used primarily first & third actions against short
weapons, fighting both single & double. When encountering similar length weapons of reach;
adopt the open hilted sword fight as your model.
Vide; the nonchalant lye, weapons of reach.
two-fold formula, the (the "Veritas" learning curve)
the five & fifteen

two hand sword, the

A sword that blade length wise, conforms to your just length, but that incorporates a handle that
allows a two handed grip. Mr Silver delineates this tool as a weapon of vantage; even against his
beloved sword & buckler the reasons? Probably speed, power, uncertainty & in some
instances, reach.

two hand sword (plays)

As practised by "Veritas", namely:
* open held high & centrally above the head. A fight.
* aloft held point aloft, the hilt by your jowl. A fight.
* pendant both double & single. A ward.
* at the thrust two handed version of the single play played both formally & informally (vide
wards). The only true ward when using an open hilted weapon (vide the open hilt fight).
* mounted at the thrust a high, slanting, offset placing of the weapon, point foremost.
* close - as the single play.
Offences of the two hand sword:
* strikes - prosecuted with a V when spent.
* thrusts
* compasses - true & false edge.
* whips
* chops
* chop point
Nota Bene; the prosecution of the two hand sword is best played uncertain; consciously
alternating betwixt single handed & double handed use, when suited.

UUU

ultima proxima distance

This is the catholic recognition, that any of the dogma distances as described by Mr Silver, have
in reality a sliding scale quality about them, rather than being specific expressions of any given
distance to be covered - vide distance.
unarmed fence
lyings (vide Partridge Hill style) each lye requires a tactical database of elemental defences &
offences; to whit:
* short arm a universal lye; nicely balancing defensive & offensive tactics. Prone though to
damage, courtesy of defensive stops.
defence slipping, raking, true guardant & shielding.
offence immediate range of all offences.
* half arm pivotal lye
defence slipping, raking (rear hand), true guardant, shielding (rear) & cross wards.
offence immediate range of all offences.
* long arm the ideal ward (and the most natural of lye's); true space achieved via narrow
space & of three forms:
1. aloft - excellent for raking.
2. equal space - excellent for all round offences.
3. alowe - superior position for cross wedges & wide space attacks.
defence wedge wards, slips, raking, paddling & defensive stops with the left.
offence full range of offensives.
Nota Beneoffensive/defence actions from the legs remain constant for all three lyings.
wards:
primary tactic for defence of the head the slip.
* beats
* bears
* stops
* paddling
* raking
* left & right wedges & cross wedges.
* low left & right X wards primary comeback for kicks.
* shield wards
offences - hands - "The Rule of Thumb"! This principal instructs us how to 'angle' the fist for
striking, based upon the three modes of shoulder action that may be deployed; namely:
* pivoting
* rolling
* swinging
which in turn creates...
* the "vertical" fist knuckles diagonally angled.
* horizontal fist utilized from a rolling shoulder action with a wave motion (elbow mounted)
primarily crosses, hooks & swings.
* chops edge of hand, back of hand & on occasion the primary knuckles.
* heeling - the "offensive triangle".
offences legs - purring
primary tactic; the Rocky Sullivan:
* whips - velociter strikes with the toes; in the main of a linear fashion.
* scythes - linear & lateral kicks with the toes (alla football kicks).
* stomps - with the heel or edge of the shoe.
* presses - planting of the soul of the foot & pushing (i.e. press).
* kneeing
* striking up the heels
offences miscellaneous
* head butts
* elbows
* gouging
* biting
* fish hooking
* wrestling
Distances
* striking time of the foot
* catching time of the hand
* grappling time of the gnashers
Misc
* walk off's primary offensive body motions.
* elliptical trajectory - primary arm motion.
The bedrock of unarmed fence:
* G ouging
* B iting
* G roin (any form of strike to this area)
uncertain
Of two sorts:
* when something e.g. a lying or an action, is not clearly discernable or predictable.
* when an action performed on your part or your enemies, is not reliable in its outcome.

uncross
To disengage from a cross.

unus exerceo, the

A recognition of & striving to, apply the principle of "Occams Razor" to your action cache. This is
the conscious pursuit to fit "an action", for as many scenarios & distances as possible (think in
terms of the left guardant ward & of the several distances involved in the return from such).
Vide the catholic play.

usher
A leftenant of sorts to the master of a fencing school.

VVV

variable fight
Mr Silver didactically approaches the variable fight via three aspects, namely description, rules
& actions.
DESCRIPTIONS
* variable fight is any form of lying, other than the open lye or true guardant.
* that there are principally four lyings that make up the popular bulk of the variable fight [viz.
imbrocata, stocata, passata & montante].
* that tactically one changes from lying to lying, in order to be uncertain in your fight (Nota
Bene; this change of lying may be in the form of subtle shifts rather than from ward to ward
etc.).
RULES
* variable fight to be utilized solely (rule anomaly), when at first distance, you are presented
with a short sword whose point is laid out, or when (at distance), you face a much longer weapon
than yours, whose point too is presented to you. In all instances set large distance (for both
short & long) & narrow space upon your opponents blade.
* the object of narrow space is to cross & in general to cross the instant that you are narrow
spaced (vide variable shifts).
* endeavour to put his point out of line (indirect/wide space), either with a beat or bear -
utilizing a thrusting action - crossing [if possible] at the midst of your enemies blade.
* from the cross & indirection, then offend either in the time of the hand or foot.
ACTIONS
Vide "Bref Instructions"
Pertinent points to remember:
* with a view to the above statement made by Silver, that the bulk of lyings utilized in the
variable fight be namely imbrocata, stocata, pasata & montante, the author believes that this
statement may be viewed from the perspective of judgement - all the fights share the same
principles, but have differing rules as how to prosecute individual plays therefore it is
important to be able to recognise what classification of fight you are presented with & what rules
to follow. So the above declaration, need not necessarily mean that YOUR variable fight will
utilize a multitude of lyings [especially the above one's], only that it may as always judgement
be the key.
So to follow on from the above, each fight (vide the four fights) may be viewed either objectively
or subjectively;
objectively to classify what fight is being presented to you & the rules & actions attendant to
that fight.
subjectively; the rules & actions you now need to employ, to prosecute a successful fight.
* the principle tactic of the variable fight, is to narrow space upon your adversaries weapon.
* the sword, for the proper prosecution of narrow space, must be held via the english grip (vide
english grip).
* a key feature of the variable fight, is the admonition from Mr Silver that variable does not meet
variable, except in the first distance, or when a short sword meets a long sword. Why is this
& how is it to be appraised?
Why:
* from the perspective of first distance (within distance), due time second actions, are the
only actions reliably prosecutable from such a narrow space; offensive actions prosecuted by
yourself in order to keep oneself safe (first actions), cannot be reliably executed at this range
because of time = hand vs. hand.
* in a short vs. short scenario & at large distance, whether it be from aloft or alowe lyings, it is
quite possible to utilise all of the three actions against your adversary [that is to say you can
reach past his weapon & directly & comfortably offend your opponent, or ward/slip & with the
time of the hand offend], whereas, when short meets long [in which one cannot directly &
comfortably reach your adversary], the short almost invariably has to deal with the long blade
firstly, before enabling an offence. If narrow space is not employed on your part, this allows for
your enemy to be able to stand in place & operate in false times, or the time of the hand (this
without any form of guard) & safely get away with it.
How to appraise then:
* from your cross (within distance at the last quarter/half sword of your adversaries blade),
can you uncross & offend in the time of the hand & body? If not, then you have found yourself
in a position by where you are engaging with a long weapon & may well encounter the above
scenarios.

Anomalism; as with most things to do with Mr Silver, there are exceptions to the rules. As an
anomalism to the above primary declaration, that short does not meet short in the variable
play, George recognises that there are instances in which this same self scenario will come
about vide the variable play rules.

variable lyings
Viz., of two sorts:
variable actions at the point
* hold the weapon via the english grip, the blade horizontally planed.
* when your opponents blade is inclined lye out straight & directly alowe. This allows for true
crossing of his blade left or right, via the true & false edge.
* when your enemies blade is lying out straight you have several choices; to whit:
~ lye out straight yourself, but adjacently. Ward from this via guardant and catch via the
back/false edge towards your left.
~ you may align yourself above his blade & cross his by declining yours.
~ you may align yourself below his blade & cross his by inclining yours.
* when your enemies blade is declined decline your blade also adjacently. Again, ward &
catch via guardant.
(vide variable shifts).
variable lyings per se:
* St George
* pendant ward
* broad ward
* high ward
* low ward
* the nonchalant lye
* cruciform ward (sword in conjunction with a poinard).

variable in measure
Silvers term for his approach when lying at the point. This tactic extemporises around the
technique of narrow spacing upon your enemies weapon.

variable shifts
This concept revolves around Georges statements concerning the continued changing of lyings
whilst engaging in the variable fight. This statement may be taken to imply two forms:
* that one changes from ward to ward & fight to fight to be uncertain. This version, is literally
to be seen as a change from guard to guard e.g. St. George to broad ward.
* or, that one cultivates uncertainty, by a more subtle shifting from position to position. This
version is closely allied to a view, that the variable play is concerned primarily with point work &
so the changing of lyings would take the form of small shifts in the placement of your weapon
e.g. low ward to narrow space & back again (N.B. not to be confused with continual motion).
Viewing this, from this second position then, Silvers admonition that the primary tactic of the
variable fight is to narrow space on your opponents weapon; two forms of narrow spacing arise:
* in general which would utilise in the main, a subtle but continual shifting from low ward to
narrow space (vide variable lyings at the point).
* fixed in which for specific actions one fixes ones blade in narrow space.

veney
A fencing bout or turn.

venue
A term used by the MoD to acknowledge a hit (also donates an assault or thrust).
very narrow space
A type of lying found in variable play, by where you are virtually crossing blades with your
opponent, or seeking to.

Vincentio
Mr Silvers nomenclature for one of his contemporaries namely Vincentio Saviolo, a fencing
Maestro teaching in Blackfriars in the latter part of the "nineties". Apparently "called out" by
George and his brother Toby via a challenge, on the grounds that the brothers Silver deemed
him to be a false teacher. The goodly maestro - for reasons best beknown to himself, deigned
not to participate
 WWW

walk off, the

The "Veritas" approach to unarmed fencing footwork when initiating blows. Rather than develop
power via driving off the toes; the "Veritas" driven naturalistic approach, is to step off (walk off)
into the direction of the blow whilst delivering said offence.

ward
* to align your weapon in such a way, as to effect a suitable cross & coupled with the use of
physical force (true force), to stop a blow or thrust from offending you; this could be done by
bearing or beating the incoming blow or thrust. Wards may be edge or point lead.
* a form of lying, that effectively allows for the use of all of the three actions in due time, as well
as (where possible) pre- emptive offensive/defensive actions.
Furthermore, under the banner of "Veritas" we have:
* formal the collection of classic poses, e.g. guardant.
* informal vide the nonchalant lye, or indeed may refer to lyings that are mobile, e.g. the
expressive hands lye from unarmed fence.

warding
The act of defending oneself via a cross.

ward double
To use both your primary weapon and companion weapon when performing a ward.
weapons of reach
In a 21st century context - given the legal tools available, the greater the reach of your weapon the
better.

weapons of weight
Appertaining to such weapons that are of primary use on the battle field, their strength in the
main, lying in their capacity to crush the enemy via dealing heavy blows. Weapons of weight are
black bills, battle axes, halberds etc.

weight
Three possible interpretations:
* actual weight (unambiguous).
* not able to move in due time (implied).
* strength (probably).

wide paced
A stance in which your feet are too far apart to cultivate movement in due time.

wide spaced
A situation in which your weapon is positioned in such a fashion, that it cannot be brought into
play in due time.

wining the place

actions initiated by yourself, such that you achieve the place.
within distance
A span of distance betwixt your self and your opponent, that can be bridged by an action of the
hand and/or body. Footwork at this distance is not required.

without distance
A span of distance betwixt you and your opponent, that requires more than one pace or passage
to breach.

wrastle/wrastling
Once you have grabbed your opponent or their weapon, to move or arrest your enemy by
unarmed technique and force.
wrist blow
A blow delivered by a small movement of the arm and of the wrist.

XXX
YYY
ZZZ

zeitgeist perception
The phenomenon of perceiving or translating phenomena, in context of the "current" time & place
world view.