COLD STEEL

by JOHN STYERS

... _Text prepared by Karl Schuon Photographs by Louis Lowery

Foreword
Copyright 1952 by Leatherneck Association A sudden realization of the thorough preparation for combat which will become an integral part of a Marine recruit's life strikes grimly home when he arrives at Parris Island and reads its motto -"Let's be damned sure that no boy's ghost will ever say, 'If your training program had only done its job.' " But that training program doesn't end with boot camp nor does it end as long as the man is a Marine. Training develops specialists, and every Marine is a fighting specialist, equipped with the knowledge necessary to Qualify him for his important role on one of the world's deadliest teams. Wherever he may be, he is kept abreast of the warfare times, taught the battle techniques of tomorrow, and given confidence in his own proficiency-the proficiency of his Corps .. He is part of a team, trained to do his job in a coldly calculated war of 'Scientific weapons and mass destruction. But the touted push button warfare has limitations, and they demand the individual's ability to meet his enemy face to face. steel to steel, hand to hand. Whether he is a radar operator, a communications man or a truck driver, he must be prepared to defend his own life in any eventuality. Close combat has been skillfully developed into a science of self-preservation-and the advance of death-dealing devices does not preclude the necessity for a basic knowledge of hand to hand principles and confidence in their application.

All rights reserved. No part of this book may be reproduced in any form without permission. For information address The Leatherneck, P.O. Box 1918, Washlngton 13. D. C

FIRST EDITION
First Printing May 1'952

PRINT.ED IN THE UNITED STATES OF AMERICA

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TARGETS
Your targets in bayonet fighting are, of course, any targets you call hit, but there is a preferable target. One thrust of only thr-ee inches of blade in the THROAT or CENTl:R CHEST area will abruptly end that particular personal engagement. The major veins and arteries IICC blanched, practically unprotected, in these two areas. They are fairly close to the surface, therefore, more easily severed than in other portions of the body, Place your fist on your chest, between the left nipple and the center breast hone; this is the location of your heart which is j LIst about the size of your fist. Above tile heart lies the largest artery of the body. From this artery, which is as thick as a garden hose, spring nmnerous smaller arteries. Along both sides of the windpipe are large arteries which supply the blood being pumped to the head. Their pulsation can he felt by placing the fingers all each side of the windpipe and applying slight
pressure,

TOE IN.QUARTATA OR OUT OF LINE
This is the only prescribed movement which is purely delensise. It is 'used most ellective1y against any running attack coming in your direction. Wait, or halt momentarily in the guard position, until your opponent comes within range. At this moment, snap your wh?le body ~oyour left, pivoting on tine left foot, propelled by a Llimst WIth your ng,ht leg which, crosses behind We left foot. . Your spin has removed your whole body from the line of your enemy's attack. HE WILL MISS YOU BY ABOUT ~HRE~ FE~~. As you spin, the point of your piece will swing into direct line with your opponent's attack. You may thrust or just leav: yo~r blade there; the momentum of his attack will force him to run mto It.

The neck area contains in addition, four large jugular veins which calTy the blood down from the head. The spine is the only bone in the neck but it is located in the rear, leaving the front of the throat vulnerable to atlack~and an instantly fatal target for a thrust or cut. In spite of aU the speculation about the blade becoming lodged or catching the bone when it is thrust into the chest area, YOUR BLADE WILL NOr GET CAUGHT IN A BONE! The framework in that area is composed mostly of cartilage; the small percentage of none in that portion of the body is very thin. It takes little effort to thrust through. DON'T thrust throllgh to the shoulder blades.

28

29

If your opp~nen~ ~u$h.e, yQ,~1 in a. wild plung'B, instantly snap to the guard position In a direct line, with Ih'isheadlong attack 30

The instant that your cppenenl

bea" and, at the same time, propell body to left with rear foot

comes ln+o range execute the

31

As you execu+a the full beat" your body, well balanced on the forward foot, will pivot Qu.t of lirle with your opponent"sattacl

You hav·e removed yours'elt from your enemy's li~e of attack. Execute a full thrust' into his onrushing! body as If passes you

32

33

YELLING
The value of YELLI G when making an attack cannot he over. emphasized. A lusty shout at the right moment Can distract your opponent, momentarily paralyzing his ability to think. It is an established fact that yelling will harden the muscles of your stomach and chest, increasing the power of your auack, ~I

THE VOLT
Pivoting to change direction is callc{] VOLTING. LEAP into the air and land in the desired direction at the guard position, Practice will make your VOLT simple, fast and effective.

!

Knife Fighting
Part III

NOTES
SHOOT if you can. DON'T get "POSE HAPPY" in learning the technique of the bayonet. Master the fundamental principles and learn to execute them efficiently. RELAX. Remain at ease; avoid stiffness. Keep your mind and body functioning smoothly and alertly by sizing up the situation and making quick decisions. Knowing what to do; and when to do it will eliminate dangerous tension .. Practice PULLl G YOUR PUNCH when you Geat. Beat vigorously hut STOP when your point is LIl\'ED UP with ),our opponent's throat or chest.

I

I

34

35

Knife Fighting
The sight of sharp, cold steel in your enemy's hand is not a. pleasant sight. Knife fighting is an ugly business; it means steel against steel; then steel against Aesh-and death. Let's lake a look at your enemy's blood. That's one thing you can't draw from the quartermaster by signing a chit. nut it's a lot easier to draw than size 13 booudockere= you know that your enemy has it ... You're far behind the lines, maybe you're a communications man operating yom switchboard. Your carbine is propped against a tree nearby. Your outfit is in the area hut out of sight. You're alone, and you're intent on your job. You've been warned that there is the possibility of guerrilla activity and infiltration. Yom: knife is constantly at your side. It gives you a great deal of confidence, but your real assurance comes from your confidence in your own ability to save your own life with that knife b~ carving out a heavenly military career for your enemy in whatever partiedar Valhalla he happens to believe exists. A twig snaps! You. look lip fr0111 the switchboard. An enemy is rushing at you .. both bands raised-s-in each a knife! He's got One objective: To drive them downward into your chest! "lVl0VE, BOY!" You move. You whip up your knife: you leap into Iht! guard position. Yonr enemy slows his advance; immediately he realizes Ihat before him 18 no frigl1tencd schoolboy. Instead, he sees a calm, fighting ,rnanpoised, ready for instantaneous action. armed with deadly steel. its point directed menacingly at his throat. 37

You advance cautiously into your proper range, your knife never wavering from his throat. Both of his fists are out in front of him .. They are your first targets. Too late, he realizes that your range is greater than his, and that he hasaUowed you to come in too close. Like the fangs ofa cobra your blade strikes out in a full cut and you are back in your guard position, your blade again pointed at his throat. There is a dull thud all the ground and a mild ping as the knife falls from your opponent's left hand, along with parts of his fingers if your cut has been accurate and hard. You have stunned your opponent; you can afford a split second before pressing the atlack. From your guard position you lower yourseU quickly, and with your blade 8ti11 pointed at his thruat, you scoop up a handful of dirt and return to the guard position. You are ready for the kill. Your enemy is now in a do or die rage; his only thought is to kill YOU any way he can. He raises his blade beslde his head! andl charges. You heave' the dirt, execute an in-quaruua, and yell. Your target is his heart. As he hurtles hy the spot you vacated a moment before, your blade is almost wrenched from your hand as it cuts its way out of his hody. Y QUI' opponent is now I.ying about five yards beyond the spot in which he had intended to leave YOUR lifeless form. Cautiously you inspect the corpse of your enemy. Your job was clean, There was no need for in-fighting. "Just like that?" you ask cynically. We nod. "But that wasn't me in that knife fight," you insist. "It must have heen some other guy, an expert, maybe ... " You don't need to be an expert to stand your ground in the guard position and. engage an ellemy with confidence. A sound KNOWI,EDGE of knife fighting and PRACTICE of its basic PRINCIPLES will make you It dangerous opponent for any knife-wielding enemy. Knife fighting is based on the age-old science of swordsmanship. These principles of swordplay were utilized by Jamc:; Bowie in his :fine technique with his Bowie knife-making Bowie and the Bowie Knife one of the deadliest blade combinations the world l1as ever known. 38

HOLDING THE KNIFE
Here- take this knife. Now: hold it straight, NOT cocked upward, Put your thumb directly on top of the handle, on the SAM~ side as the FLAT EDGE of the blade-that's right, the cutting edge faces DOWNW AHD. Now, clamp the fingers securely UPWARD around the handle. Lock your wrist when the ~LBOW and the lC)OINT of the knife are in a STRAIGHT LINE. THE K IFE IS MERELY AN EXTEl\~SION OF

THE FOREARlVI.

,

Keep the thumb about a quarter of all inch from the thumb guard. This space is allowed to take up the shock caused by the impact when your knife strikes its target. Tips 1. Keep the wrist LOCKED at aU limes.
2. DON'T arch the thumb on the thumb guard. 3. Keep the blade ON LINE wilh the FOREARM.

The hold. Fingers are wrapped securel:y around the handle. thumb on top, point of your blade is on a line with the elbow
39

TOE STANCE
The pl"Oper fighting G ~ARD position is taken directly from the There are only two changes. These changes are made, only when learning, after the proper SABRE STANCE has been assumed. In actual combat you snap IMMEDIATELY into the KNIFE FIGHTING GUARD POSiTIO

stance of the skilled swordsman.

The Sabre Saance atattention. 2. Execute a LEFT FACE. S. Execute a "dose interval DRESS RIGHT." (Glance at yom opponent, placing the left hand on the hip at the same tirne.) 4. Point your RIGHT FOOT at your opponent and advance it about TWO FEET in his direction. S. Raise your RIGHT FOREARM, aiming the point of your knife directly at your opponent's throat. Your ELBOW will be approximately six inches [orward hom your HlP .. 6. The knees are slightly bent until the lower part of the RIGHT LEG is straight up and down-ready for instantaneous advance or withdrawal. 7. The CUTTING EDGE of the hlade should be Iaeing DOWN and to the RIGHT in an unstrained, natural position,
L Face youI' opponent

S. YOUR WRlST IS LOCKED.
9. Keep the upper part of the hody ERECT at all times.
easily you are able to advance and 'withdraw-forward and backward. Movement to the left or right is more diffiou It. In practice, a knife, bayonet or stick may represent the sabre.

Thi8 is the proper SABRE STANCE. Notice how

To assume the knife duelist stanee from the salu'c stance 1. Assume that there is a STRAIGHT Ll E between you and your opponent, Move your REAR foot from one to two feet LEFT of this line, forming a 90 degree angle to yOl11' opponent with your feet. IN THIS POSITION YOt; HAVE COMPLETE STABILITY. You CRn 40

The guard position. Left ,arm free. Knife arm drawn back 41

The thrust. Blade drives into tar'get. Free arm snaps bald

propel yourself easily and quickly either BACKWARD or FORWARD or to tile LEFT or RIGHT. 2. Draw the ann which holds the knife BACK, CLOSE TO THE BODY and, at the same time, square your shoulders to yOUl' o])ponent. In sabre fighting the ann can be safely extended because the weapon is long and the handle is equipped with a hand guard. In knife fighting you have a lightning. fast blade but there is little protection for the hand. 3. The LEFT ARM swings FREE of the body. Your body should be relaxed WITH THE EXCEPTION of the LOCKED WRIST and the THIGHS which arc taut because of the bent knees. Your shoulders face your opponent squarely. In this position there will be no lead with your shoulder and knife betraying the nature of your attack. The guard position will become a natural reaction. Place a sabre or a rapier in the hand of an experienced duelist and he will immediately snap into the guard position with a reflex action almost as strong as drawing the hand from a hot surface. This may be difficult to understand at first, but be assured, it is true and after a moderate amount of knife-fighting practice, you'll find yourself assuming the guard position without thinking about it, the moment )'01.1. have a knife in your hand.
Tip!! L Keep your feet at about a 90 degree angle. 2. The blade is drawn in, dose to the body, and held in an unbroken line from yonI' elbow to the point. 3. Shoulders face the opponent squarely. 4. Torso and head are lleld erect. 5. The arm on hip should swing free, but care must be taken to prevent it from extending beyond the hand which holds the knife. 6. Your blade points directly at your opponent's throat. PRACTICE all the points of the proper stance until you call draw your blade on command of "On Guard!" and instantaneously snap into the perfect positionw:ifuollt losing a. second to make major adjustments. 42

The side view of the guard position. Major portions of the body will not be extended inro an opponent's range

The straight thrust, side view. The torso pivots on axis o·f spine. Your legs provide added range
PRACTICE until ALL of the puints in the O~ GUARD position become coordinated into 0 E natural movement,

ALL OF THE ATTACKS AND DEFE SES OF THE SKILLED KNIFE FIGHTER ORIGINATE FROM THIS GUARD POSITION.
43

THE THRUST
From the guard position, the blade is thrust forward with explosive force DIRECTLY at the target The free arm is whipped back to add power and velocity to this POINT.AT·TARGET attack, The

BLADE

POINT

travels

straight

to the TARGET,

backed

by the

full power of the forearm

and shoulder.

The THRUST starts with the knife, poised and ready in the guard position. NO PRELIMINARY MOVEMEl\T IS NECESSARY. The blade is snapped directly to the target, If the target is yOUT opponent's throat Y0ul' point should strike in a direct line to the throat. On the thrust, the free arm has been whipped back, TURNr G THE FULL BODY WITH A SNAP. Instead of the full spread of the shoulders and chest which had been exposed to your opponent, you now present the NARROWEST view of your body .. The upper portion of the body has pivoted fanning a straight line from your blade point back along your arm, across the shoulders and down the free arm in the rear. In executing the thrust, the beginner will have a tendency to lean forward and push. The result of a push is usually an UNEVEN and weak action, Your attack should he instantaneous. From the front, your opponent should see only the blur of a point 011 the extended arm, and the sudden disappearance of the broadside view of your UPIJer body; in jts place, your enemy will find only the thin silhouette of the NARROWEST portion of the torso. The attitude of your blade: well back and pointed at your opponent's throat, is like a pistol leveled at a target-ammo in the chamber. tho hammer back, your finger on the trigger. The point is your bullet .. THE THRUST, when properly executed with your opponent within range, will he so swift that he'll never see it. He won't know what hit him. He won't see it coming. Nor can he PREVE T getLing HIT. This is true in professional boxing. If an opponent in range of a left jab, he's going to be hit. is open and

H an opponent trie$ to make an underhanded attack he will come within your range but you will still be out of hi5 reach

Your advantage over your opponent is a range of eighteen to twenty-four inches. ,If the enemy attacks. he comes, into range 45

44

The only way to avoid getting hit is NOT to be THERE to get hit.

scie.J]tifically designed by James

Bowie for the control of this natural

Simply explained-later. But here's It hint: nIST ANCE is of utmost impnrtance. It is INSURA1'~CE aga:inst NOT heing THERE to get hit, fu\JD STILL BEING IN A POSITION TO run your opponent through.

Simply said.

TIps
L When THE THRUST is executed in practice and the blade is not driven into human flesh; the blade completes its thrust in mid ail' where it stops abruptly with a NATURAL WHIPPING ACTION. It is the conviction of the writer that the Bowie-shaped blade was

whip. 2. The THRUSTING HAND, when fully extended, should have the KNUCKLES UP, the THUMB LEFT and the knife arching slightly downward into the target. The FULL thrust is executed regardless of your opponent's distance-as long as he is IN RA TGE. 3. Do not be too anxious to draw the weapon back prematurely. Let the eXltended arm SNAP OUT TO' THE FULLEST. 4. Only in a well-executed thrust which does NOT strike home, will you find the whip-like movement of the blade. Wben the point reaches its target, penetrating flesh or bone, the whip is taken up by the substance which is hit.

cl'oSE!: your straight

If your opponent trie$ an
thrust

overhand stroke he must come 'in pivots your cnest out of his range
l

An enemy's overhand stroke leaves him wide open for your thrust. He can be stopped before he reaches effective r,ange 47

46

THE CUT
The thrust is the foundation of the CUT. With the thrust you lake your knife to the target. 1£ a FULL thrust does not strike the target the natural whipping action will take place. This whip is THE CUT. The Vel·tical Cut The VERTICAL CUT is a thrust which ends abruptly THUMB UP. the NAILS to the LEFT. with the

The ver+icel ·cut-fast and effective for a 10n91 range slash. Whip down

When this thrusting cut g:oes sfraight to its target instead of ending in mid.air, this same whipping action wiH tah piace
48

The natu!ral whipping: action of the frhrusting cut makes the blade drop
49

An extended extremity, such as a prorruding arm, is an excellent target for the VERTICAL CUT. In this cut the blade Hashce DOWN and UP, hitill.g gashes into the flesh or lobbing off fingers. The blade, when executing this action does not only whip DOWN and UP, hut when it is viewed from the side, the observer will notice that it also RIPS FOR WARD. Where a stiletto or narrow pointed knife would penetrate like an ice pick and leave a puncture wound, the Bowie-shaped blade will whip down into the target, ride forward, then snap UP. THIS IS ONE CONTINUOUS ACTION. The movement has heen completed in one ninety-fourth ot a second when recorded hy a highspeed camera. All tissues, muscles, veins or tendons caught in the path of the scimitar-like book: of the Bowie blade will be sliced clean through.

The vertical preparation

thrusting cut to the hand .. The bl(!de is cocked for a wrist action to supp'leme'nt the natural whip

!"

If' nearest t,&rqet is hand' or forearm, 50

Keep fuJI t~rust's distance

from opponent's nearest elltremity. execute a thrusting) cut

Vertical thrusting cut ,ends with t.he bla~e biting ~own, ripp!ng forward, then snapping up agalll-ali In a continuous action

51

The Hurizontal

Cut C-CT; straight across and back, is purely an

unfulfilled normal thrust.

The HORIZONTAL

The Lendency of the average knife fighter to croucl; usually places his head and face in such a position that they present excellent targets for the HORIZONTAL CUT ..

The horizon,tal thrusting cut. side of your target. Slightly

A fuH thrust is dirededto right coded bl:ad,e assists whip action

The blade will whip across its target automat,icallv when the arm is fully extended. Try for cuts on enemy s head or face 53

52

Wben the hand alone is used, the fingers should he extended and joined; the edge of the hand oppoaite the thumb becomes the imaginary cutting edge of the knife, The hand is thrust out vigorously; coming to an abrupt halt at thefullest extension of the arm. A whip-like snap of the hand will take place. This practice will be valuable if you are ever confronted hy an opponent when you arc unarmed, for the edge of the hand, ill this position, is used like an axe; the fingers joined at the tip are like the point of a blade. After mastering the cut as directed, you may then increase the effectiveness of the blade by a snapping WRIST action in a whip-like manner, directing the cutting edge of Y0ll" blade to its target with greater velocity. This sharp wrist-snapping cut is of utmost importance when the target is So close that it must he reached without fully extending your arm.

Tips
J. When learning the full extended cut, which is a result of the unfulfilled thrust, there will he a marked tendency to assist the action with wrist movement. AVOID THIS WHEN LEARNINC. The cut is a completely natural action of the ann. Later when you understanr] this natural action, you may add additional wrist action to supplement the natural whip. 2. Draw the blade hack to the guard position immediately after the cut is made. 3. Keep the blade pointed at the throat at aU times except when making definite attacks to other targets. 4_ Practice executing the full VERTICAL and HORlZONTAL CUT until the action is dean. The blade must avoid making circles at the full extension of the arm. These circles are the result of forced action of the wrist or forearm, preventing the" ATURAL ACTION of the blade. 5. Begin your practice with the hand so that you may Letter understand and control the whip action. 6. Continue your practice until you work out the stiffness in the elbow joint. The tendons in this area will feel the strain while you're learning the thrust and cut.

The finj~h of your horizontal thrustingl cut. rhe blade whips back across target. achieving two cuts with only one thrust

The Hand Cut
The HAND CUT can be an exquisitely ex-ecuted attack. From the hand of a skilled knife duelist this cut, practically unknown to the overhand 01" underhand knife fighter, can usually he relied upon to effectively strike the first blow, A deeply sliced hand will greatly reduce the strength of your opponent's knife hand, hut if you hack off a few fingers with your initial HA D CUT you have it made! Practice These cut may be practiced with an actual or simulated weapon, but when learning, the use of the hand in lieu of the weapon is advised. Master the whip of the HAND and you will develop a hetter understanding of the action of the blade,

55

The in'Guartata or out-of-line starts from the guard position. Conceal the nature of your attack until opponent is in range

When opponent rushes into r.ange, thrust home and apply power with the rear leg, directing the body to the right side

IN-QVARTATA OR OUT-OF-LINE
in fencillg known as in-quartata or OUTof the feet which dHOWS the body approximately t"ln'ee feet out of the line of your opponent's attack if 11e attacks with so much force that you do 1101 choose to be there 10 meeL it with a slop thrust. The defensive movement

OF-LJ::\fE is a fil1e movement

baclc. You ~\ill also utilize the FULL POWER of your REAR leg to pivot the whule body on the FORWARD leg. Your rear leg swings arolmJ ill an arc and lands on the opposite side, Your entire stance shoulcl now look likc a full sabre thrust from a sabre stance, but YOU

ARE AT AN A CLE TO YOUR OPPONK\lT.
Your opponeut's momentum will carry him over, our original positiulJ. by about 1m 0 or three Ieet, There will be no need for you to "ithdraw your blade from your opponent. his momentum \\ ill carry hilS BOny OUT OF THE BLADE!

From your
thrust

gUlll

d position, knees slightly bent. you execute
pivots.

a full

as the torso vig oruuslj

assi,;lecl h) the free arm whipping

56

57

Your rear ,leg will push off anc! swing to' the right, pivoting the body out, of I'ine with the oncoming rush of your opponent 58

The full pivot out of 'line, with your rear foot solidly planted. Retain YOlJrfull thrust, letting the opponent cut the blade out 59

DISTANCE
1\01\ we're going 10 Iry lo dear up soruc of those doubts

ill your

min d.
Sure, your opponent' got a knife -may be he's got two knives,
011

And maybe he knows how to use them. But. here and now, we want l.o cut you in

a big slice of scoop--

IF YOU'VE GOT A l:WWfF: KNiFE IN YOUH HAND you're armed Vl'ith a BETTER W ~APOl\ than any oilier nation in the world has
ever devised. Ann that's

PRIKCIPLES

only half the sr,oop. A KNOWLEDGE of the BASIC of the use of the Bowie knife or MY BLADE simply
hc able to save your blood basic [or a SLateside blood hank pr inuiplcs :

means that. yuull

instead of leaving it un the battlefield, L p to this point you've learned three

TnE GUARD POSITlQ [. TIlE THRUST.

THE CUT.
"All of [hI5," ) ou will say, "is fine 011 the drill oeM or in a gYJll, but whut do I do when 1"111 in combat and a crazy enemy comes chargir.' at me with a wicked Iookin' dagger? The guy's gOlllla kill me if I don't do something to stop him!" You're right. HI,;'U kill YOll if you don't to discourage him. jn YOUHSELF is your ]Hil11ary flo somethinu immediately attack.

CONFIDENCE

:vlENT1\L

A bucketful of his wild zest will chain Irom him when he sees ) 0\1 plant yourself in the guau1 position and DEFY him. Re-U slop in hi!'> track" ami think things over. Y uu ba\ e won part o l the 1111'11la1 duel but the physical bout has just beguFl.

SIZE UP YOUR OPPONENT.
Yuu \I ill be able to judge the EFFECTIVE itA GE of your opponent i.lllmedlately hy the way he holds his blade and the stance be takes. U ) our opponent has his blade jJ1 his RIGHT hand and has his J.EFT fool Iorward, he will telegraph his attack with a body movement, 1'\ en if he holds the blade in the subre mallJ1er. If lle holds the blade in the OVEBIEAND or 1 NDBRHA position. Dr in anr position other than that of a: sabre, he will definitely LlM1T

If you attack en ene~y thrust to the t.hroat with blade. Ilmmedl~.tely draw edge of the knife across

from the rear or flank. Try a straight the ful! edge, not the point, of your the knife ~ac:k. snapping the cutting opponent s throat, making two cuts

-n

60

61

(A) Keep your.self ,ou,t o~ ra~ge o! your opponent's full thrust. If heaHacks. you II be forcmg him to come into your range the efle~ti.veness 01 his ilANGE. This is the predominant stance of most knife fighters throughout the world ill spite of the fact that it is contrary to the 400.year·old fencing principle of keeping the RIGHT FOOT FORWARD, If.he e:ctends ,his knife-holding hand to any marked degree, regardless of his gr: p, he IS also LIJ\!HTr G his range, With practice, you will IMMEDIATELY notice these errors in your opponent and TAKE ADVANTAGE OF THE1\i(. If ?'Oll. are confronted by an opponent who displays these errors, the
rule
1S

IB) Above picture shows your opponent in the same po'Sition as in {Aj on opposite page, but you have been able toa.dvance

simple:

STAY ONE FULL THRUST'S DISTAl\KE AWAY FROM YOUR OPPO ENT'S NEARE T EXTREMITY. , F~om ~is range, you "~ill in II position to continually SNIPE v: he at him with LIGHll I:"l'G·LIKE cuts. Y OLl will be amazed to find that ,

although he is in range of getting cut by your blade, he cannot try for a cut on you without missing by ONE or TWO FEET. If your opponent should BODILY ADVANCE ill an attack, MAKE IMMEDIATE USE OF YOUR LEGS: they are slightly bent in the guard position and ready for instantaneous action. If your enemy's advance is slow, you merely STEP BACK-REAR foot FIRST, followed by the FORWARD foot. H you arc pressing the attack and are advancing, your first step will be made by the FORWARD foot; bring the REAR foot up BEFORE taking a second step with the FORWARD foot. H your opponent assumes a skilled knife duelist's stance you will recognlze it immedlately-A.~D BECOME EXTREMELY CAunOUS. He will be OUT OF RANGE. You will have NO immediate TARGET, and you will have to work hard to GET one. 63

62

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