Still they demanded of the performers skill of a peculiar kind, great
physical endurance and ceaseless activity. The combat-sword was an
unlikely-looking weapon, very short in the blade, with a protuberant
hilt of curved bars to protect the knuckles of the combatant. The
orchestra supplied a strongly-accentuated tune, and the swords clashed
together in strict time with the music. The fight raged hither and
thither about the stage, each blow and parry, thrust and guard, being
a matter of strict pre-arrangement. The music was hurried or slackened
accordingly as the combat became more or less furious. "One, two,
three, and under; one, two, three, and over;" "robber's cuts;"
"sixes"--the encounter had an abundance of technical terms. And each
performer was allowed a fair share of the feats accomplished: the
combatants took turns in executing the strangest exploits. Alternately
they were beaten down on one knee, even lower still, till they crawled
serpent-wise about the boards; they leaped into the air to avoid
chopping blows at their lower members; they suddenly span round on
their heels, recovering themselves in time to guard a serious blow,
aimed with too much deliberation at some vital portion of their
frames; occasionally they contrived an unexpected parry by swiftly
passing the sword from the right hand to the left.
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