[MUD-Dev] About Fencing (was: mass customisation)

[Christopher Allen]

"Marian Griffith" <gryphon at iaehv.nl> wrote:

> Mainly I am curious to know how the experience of actual fencing
> (which I have done only twice) can be translated to muds. For me
> the actual experience is *vastly* different from watching messages
> scroll by..
 
>   You hit the ugly troll
>   The ugly troll misses you
>   You hit the ugly troll
>   The ugly troll barely scratches you
>   ... and so on.
 
> From what I understand fencing is more about blocking your oppo-
> nent, and moving him into a position where you can strike, and I
> wonder if that can be done in a mud. It would slow down the pace
> but I can not help but think that it would be, in the end, more
> entertaining. And on a graphical mud, where you can actually see
> your opponent, it would look and work even better I think.

You might want to take a look at Marrach's fencing system (trial
accounts are free) -- it is quite sophisicated and outputs very good
prose. It is based on real documents on fencing, and some input from
fencers after it was released.

Basically it is what I call an 'n-dimensional ro-cham-bo' -- each
attack maneuver is paired against a defensive manever, and then
there are 10 possible prose outcomes, from good for attacker to good
for the defender, based on their relative skill and some
chance. Also, we take some advantage of the Skotos proximity system,
where players can approach and retreat from various objects and
people inside a room.

Though our prose is excellent, we've found one of the limitation is
the exponential growth of prose outcomes. For each new manuever we
add, we have to write entries for every existing manuever.

The current limited number of manuevers mean that the output is
somewhat repetive. To quote one of our players, Martel: "The Marrach
system isn't bad for the first dozen duels.  But after a thousand,
its just the same text you've seen before.  You skim the text to see
what's happening, or you recognize the length of the response and
that tells you what it says. Combat tends to be either too terse (in
other games) or too spammy (Marrach).  Finding a balance that is
still interesting to read after a year would be very very hard."

We are working on some ideas on how to prune this exponential growth
of outcomes somehow, but have not come up with a satisfactory answer
that gives as good prose as our existing system. As an alternative
we are also in the process of rewriting our fencing system so that
our players volunteers can build new prose for maneuvers -- at this
point, they understand the fencing system better then we do!

I'll enclose a brief log of a real Marrach duel, some documents
written by our players on fencing, as well as some stuff on the
culture of Code Duello in Marrach.

-- Christopher Allen

------------------------------------------------------------------------
.. Christopher Allen                                 Skotos Tech Inc. ..
..                           1512 Walnut St., Berkeley, CA 94709-1513 ..
.. <http://www.skotos.net>           o510/647-2760x202  f510/647-2761 ..

=====================

A short duel:

  Dame Catharsis bows to you easily.
  Dame Catharsis has challenged you to a duel.
  Type "duel Dame Catharsis" to accept this duel.
  
  You smile at Dame Catharsis, "Alrik has worked with me a bit on my 
  thrust."
  You accept the challenge from Dame Catharsis.
  
  Dame Catharsis slides into a guarding stance.
  You shift into the guard stance.
  
  Dame Catharsis chuckles, "I've noticed..."
  
  You salute Dame Catharsis.
  Dame Catharsis salutes you.
  
  You shift into the guard stance.
  Dame Catharsis shifts into a guarding stance.
  
  With a thrust, you nearly stab Dame Catharsis, who desparately parries 
  from guard.
  
  Dame Catharsis eyes your steel practice sword warily.
  
  You perform an elegant deflection of Dame Catharsis' swing.
  You recover from your attacking.
  
  Dame Catharsis recovers from her attacking.
  
  You drop into the guard stance.
  Dame Catharsis drops into a guarding stance.
  
  You attack Dame Catharsis -- she parries from guard.
  Your blades ring as your attacks are parried.
  You recover from your attacking.
  
  Dame Catharsis recovers from her attacking.
  
  You drop into the guard stance.
  You feint and attack Dame Catharsis; she parries while pulling back her 
  blade.
  
  Dame Catharsis makes a careful attack on you, which you barely succeed 
  in parrying.
  
  You recover from your attacking.
  Dame Catharsis recovers from her attacking.
  
  You shift into the guard stance.
  
  Dame Catharsis moves from the center of the ballroom to you.
  Dame Catharsis shifts into a guarding stance.
  Dame Catharsis makes a feint and cuts at you -- you parry.
  
  Dame Catharsis wildly parries your sword, while launching an attack of 
  her own - which you effortlessly parry.
  Dame Catharsis recovers from her attacking.
  
  You recover from your attacking.
  
  Dame Catharsis shifts into a guarding stance.
  You drop into the guard stance.
  
  >From guard, Dame Catharsis easily parries your uncertain feint and 
  thrust.
  
  Dame Catharsis slides.
  Dame Catharsis makes a careful slice at you, which you barely parry.
  
  You recover from your attacking.
  Dame Catharsis recovers from her attacking.
  
  You shift into the guard stance.
  Dame Catharsis drops into a guarding stance.
  
  Your swords ring as you barely parry Dame Catharsis' thrust.
  You begin resting.
  
  Dame Catharsis recovers from her attacking.
  
  You drop into the guard stance.
  Your swords ring as you barely parry Dame Catharsis' thrust.
  
  Dame Catharsis recovers from her attacking.
  Dame Catharsis nods approvingly.
  Dame Catharsis slides into a guarding stance.
  
  You attack Dame Catharsis -- she parries from guard.
  
  Dame Catharsis makes a quick slash at you, which you barely succeed in 
  parrying.
  
  You recover from your attacking.
  Dame Catharsis recovers from her attacking.
  
  Dame Catharsis slides into a guarding stance.
  
  Even as you pull your blade back, you quickly parry one of Dame 
  Catharsis' thrusts.
  
  Dame Catharsis performs a practiced parry of your jab.
  Dame Catharsis recovers from her attacking.
  
  You recover from your attacking.
  Dame Catharsis drops into a guarding stance.
  
  You parry a cut made by Dame Catharsis while you are pulling back your 
  sword.
  
  You begin resting.
  
  Dame Catharsis recovers from her attacking.
  You shift into the guard stance.
  
  Dame Catharsis drops into a guarding stance.
  Dame Catharsis makes a thrust at you -- you parry.
  
  Dame Catharsis makes an elegant deflection of your sword.
  Dame Catharsis recovers from her attacking.
  
  You recover from your attacking.
  Dame Catharsis drops into a guarding stance.
  
  Even as you pull your blade back, you quickly parry one of Dame 
  Catharsis' jab -- ignoring her feint.
  
  Dame Catharsis makes a practiced deflection of your attack.
  Dame Catharsis recovers from her attacking.
  
  You recover from your attacking.
  Dame Catharsis slides into a guarding stance.
  
  Dame Catharsis frowns.
  
  You parry a cut made by Dame Catharsis while you are pulling back your 
  sword.
  You begin resting.
  
  Dame Catharsis recovers from her attacking.
  
  You shift into the guard stance.
  Dame Catharsis slides into a guarding stance.
  
  Dame Catharsis begins to rest.
  Dame Catharsis drops into a guarding stance.
  
  You attack Dame Catharsis -- she parries from guard.
  
  Dame Catharsis makes a strong slice at you, which you barely parry.
  
  You recover from your attacking.
  You shift into the guard stance.
  
  Dame Catharsis recovers from her attacking.
  
  Even as she pulls her sword back, Dame Catharsis quickly parries your 
  attack -- ignoring your feint.
  Dame Catharsis drops into a guarding stance.
  
  You and Dame Catharsis make quick parries of each other's attacks.
  You recover from your attacking.
  
  Dame Catharsis recovers from her attacking.
  
  You shift into the guard stance.
  You quickly parry Dame Catharsis' thrust.
  You begin resting.
  
  Dame Catharsis recovers from her attacking.
  
  You take up the guard stance.
  You quickly parry Dame Catharsis' thrust.
  
  Dame Catharsis recovers from her attacking.
  Dame Catharsis moves from Darvius to the center of the ballroom.
  
  Your swords clash as your attack on the advancing Dame Catharsis is 
  parried.
  
  Dame Catharsis shifts into a guarding stance.
  Dame Catharsis easily avoids your attack and cuts you with her own 
  sword.
  
  Dame Catharsis and you stop dueling. Darvius has been declared the 
  loser.
  
  Dame Catharsis bows to you elegantly.
  Dame Catharsis smiles at you warmly, "Excellent!"
  
  You bow to Dame Catharsis formally.
  

=====================

> read swordplay book's cover
Upon the cover of the book is written:

ART OF THE BLADE


> read swordplay book's first page
Upon the first page of the book is written:

ART OF THE BLADE
By ser Daris

I base my system partly on the instruction I received long ago from Lord 
Bernier, and partly on certain lucid works treating on combat and 
swordplay. To the authors of those works, to Lord Bernier, and to my 
many opponents since then, I give thanks for both skill and insight.


> read swordplay book's 2nd page
Upon the second page of the book is written:

THE SWORD

The sword consists of two principal parts - the blade and the hilt.

The Hilt: The hilt of a sword consists, for simplicity, of everything 
not part of the blade forward of the guard. A hilt usually consists of a 
guard, a grip, and a pommel.

The Grip: The handle by which the weapon is held, with the strong hand. 
Usually the grip is made of wood, bone, metal or ivory with leather, 
wire or cord wrapped around it; it is built around the tang, a 
continuation of the blade itself. Wood and horn are preferred for the 
body of the grip, as they absorb some of the shock of combat.

The Pommel: At the extreme end of the sword is the pommel. This item, 
typically a finial, disk or knob of steel, is of sufficient size and 
weight to balance the sword; the tang is welded, bolted or otherwise 
securely fasted to it. It also has minor functions: to protect the 
smaller fingers, to secure the fingers on the grip, and to provide a 
striking surface for some of the more rowdy bludgeoning blows. 

The Guard: This portion of the weapon takes many forms, from a brief 
disc barely larger than the blade itself, to complicated structures or 
shells surrounding the hand and connecting to the pommel. These 
structures have their root at the joint between the grip and the blade. 
The guard is often the most easily discerned difference between various 
types of swords. The weapon used for military purposes within the castle 
has a cross-bar blade, also known as a quillon; with sometimes a few 
smaller curled bars to protect the grip.



> read swordplay book's 3rd page
Upon the third page of the book is written:

The Blade: The blade carries the cutting edge or edges (if any) of the 
sword and serves to move the point to hit the opponent. The blade as a 
worked object is divided into three parts: the tang, which fits within 
the hilt; the forte, the half of the visible blade closest to the guard, 
and the strongest point of the blade; and the foible, the remaining half 
of the visible blade at the outer end, and the weakest section. The 
edges of older swords will be parallel; our more modern weapons taper 
slightly from the ricasso to the point. Some swords are sharpened 
completely, partially or not at all on one or both edges; for a practice 
sword the edges of the blade are neither tapered nor sharpened. Blades 
may bear one or more fullers (grooves) on each face, or they may have 
ridges. At the base of the blade, where it meets the hilt, there is 
usually a short section with an unsharpened - in fact, square - edge: 
the ricasso. The makers mark is usually inscribed or engraved here.

The Point: This is of course located at the far end of the blade, on the 
foible. In a practice or rebated sword the blade is blunted or bent back 
at the very end, or carries a knob.


> read swordplay book's 4th page
Upon the fourth page of the book is written:

Guard [command: guard]

A proper guard position is the root of all proper swordplay. Care must 
be taken not to confuse the term with parry, a distinct defensive motion 
for the purpose of stopping a cut or thrust. The guard position defends 
your strong side from attack and provides the readiest place for a 
switch to any other defensive position or to an attack. 

To take the guard position begin with the feet lined up, about shoulder-
length apart with front foot pointing towards the opponent and the rear 
foot perpendicular to the front foot. Bend at the knees, in a half-
crouch. The torso should remain straight; you should not lean forward, 
back or to either side. Bend the weapon arm at the elbow. The distance 
between the elbow and your body should be one hand length. The 
traditional on guard calls for the blade to be in position for the sixte 
parry. Your strong arm should be positioned so that your blade will 
block an attack to your weapon side from hitting your body. Put your 
weak hand at your hip, or behind your back, or behind the head; unless 
you are armored, or equipped with, and skilled with, some defensive 
weapon such as a shield, cloak or dagger. A common flaw of a poor 
swordsman, experienced or otherwise, is a poorly-learned guard position.

Holding the Sword

The sword is held lightly but firmly with the thumb along the back of 
the grip, and the fingers closed round it so that the center knuckles 
are in line with the edge of the blade. At times the thumb may be 
shifted to encircle the grip, similarly to the fingers, to relieve the 
hand.


> read swordplay book's 5th page
Upon the fifth page of the book is written:

Defense [command: recover]

The parry is a movement of the blade that prevents the opponent's blade 
from hitting your target.

You can be attacked in three basic areas: your guard side, your flank 
side or your head. Accordingly, there are three main parries used in 
sword, one for each attack you need to defend against. The guard parry 
(known as the sixte) has your arm in the guard position with the 
knuckles facing outward and the blade angled at 45 degrees from your 
hand. The blade should be in position to block an incoming blow from 
that angle. When you are in guard this is the parry you should use. The 
flank parry is made by beginning with a guard parry and bending your 
hand at the wrist and your arm at the elbow. Your arm should be across 
your body. Make the head parry by raising your weapon hand bent at the 
elbow with the blade almost horizontal right above your head about a 
foot in front of your face. Check all your parries by making sure an 
attack to that side cannot land. 

[note that the recover command is automatically part of the attacks, and 
thus the command is not often employed in actual play; however, training 
in this important skill will improve a swordsmans defense ability.]


> read swordplay book's 6th page
Upon the sixth page of the book is written:

The Dodge [command: dodge]

Swordsmen in desperate straits may wish to employ any of the variety of 
dodges and tricks which are known of. Of course, one can only rarely 
attack while engaged in a dodge; but sometimes this tactic is called 
for.


> read swordplay book's 7th page
Upon the seventh page of the book is written:

The Rest [command: rest]

In duels of some duration, or when the opponent is out of reach, the 
resting guard may prove useful when recovering ones stamina. Lower the 
sword hand until the pommel rests on the thigh about six or eight inches 
above the knee.

[note also the command: health]


> read swordplay book's 8th page
Upon the eighth page of the book is written:

Advance & Retire [commands: advance, retire]

If guard is the root of swordplay, the advance and the retire are the 
main branches of movement. A well executed advance will press your 
attack against your opponent and force them to react rather then lead, 
and the best defense against this is a careful retreat. 

To execute an advance, begin by keeping your body in on guard position. 
Lift the front foot, toe first, then heel, and put it down one step 
forward, heel first and then toe. Your upper body should remain still. 
Next, you should pick up your back foot and place it so that you are 
again in on guard position. Bring your upper torso forward with your 
back foot. 

Retire is essentially like the advance in reverse. Move your feet like 
in the advance except in the reverse direction and order. Begin by 
moving your back foot backwards, and then bring back your torso and 
front foot (toes picked up first, heel put down first. One must conduct 
a proper retire in order to gain the distance for conducting some 
maneuvers, such as the lunge.

In both the advance and retire, it is important to keep the upper torso 
perfectly straight. Also make sure that your heels remain lined up and 
your feet perpendicular. Many beginners have a tendency to let their 
feet drift out of line, watch this carefully. 

To practice the advance and retire, go to a place where there is a 
straight line on the ground, which you can follow. Advance or retreat 
along that line over and over again. You should get to the point where 
you don't need to look at the line to keep going straight.


> read swordplay book's 9th page
Upon the ninth page of the book is written:

The Thrust [command: thrust, jab]

The thrust is the quickest way to get close to your opponent and allows 
you to move into a defensive position quickly if your attack does not 
land. For the skilled swordsman, the thrust is the best form of attack, 
speedy and safe. 

To thrust, begin in an on guard position. There are two parts to the 
thrust: the attack and the recovery. The attack delivers the blade to 
your opponent, and the recovery will bring you back to the guard 
position. To begin the attack, extend your arm forward pointing towards 
the center of your opponent's chest. Finish by throwing out your front 
leg forward so that your knee is at a right angle and when you look 
down, your leg eclipses your foot. Your back foot should remain firmly 
planted. Many swordsmen prefer to throw their weak arm out behind them 
to help channel their momentum into the lunge; this is a matter of 
preference. 

The recovery is the simple act of returning to on guard position. Pull 
back your leg, bringing your torso back, but leave your arm extended. It 
will make it easier for you to move to a parry (described below). This 
whole lunge, the attack and the recovery, should be one continuous, 
swift movement. If there is a pause or a break between movements you 
will open yourself to attack.


> read swordplay book's 10th page
Upon the tenth page of the book is written:

The Slash [command: slash, cut]

The slash, an attack performed with the edge of the blade, is not so 
quickly performed as the thrust; nor is it as safe for the swordsman. 
However, for a swordsman of superior strength, or a desperate one, this 
attack may prove useful, as it may can quickly overcome an opponent. 

To slash, begin in an on guard position. Slashes may be made vertically, 
horizontally upwards or downwards, or horizontally. The common slash, 
downward horizontally from your strong side, is made as follows: extend 
the sword arm somewhat, the hand to be in quarte, and the point a little 
raised, the hilt of the sword being about the height of the chin, and 
the edge directed obliquely downwards towards your weak side. Then, drop 
the point diagonally downwards from your strong side to your weak side, 
taking care that the edge leads during the passage of the blade along 
the line on the target; then allow the wrist to revolve so as to bring 
the thumb downwards, and the back of the hand and the flat of the blade 
opposite your weak side, and cause the sword to describe a complete 
circle, thus bringing it again to the position of guard. These movements 
are carried out continuously, and when done well is a useful tool of the 
swordsman.


> read swordplay book's 11th page
Upon the eleventh page of the book is written:

Advanced Attacks: The Feint [command: feint]

Many times a thrust or lunge attack will not be enough to strike your 
opponent. They only have to move their blade a short distance to execute 
a parry while the point of your sword needs to travel a much greater 
distance before that parry can be made. Because of this compound attacks 
were created. These are attacks of at least two parts that make it 
harder for your opponent to parry. The most common compound attack is 
the feint attack. To perform a feint, extend your point towards one side 
of your opponent, and then switch your line to the other side in the 
middle of the lunge. If your feint was convincing, then your opponent 
will try to parry it as if it were an attack. When you attack to their 
other side, they will have to work harder to parry it. You can feint 
many times with one action. You perform an attack, starting with your 
blade towards one line on the advance, then another at the beginning of 
the thrust and finishing with a different line. If you can do it well, 
the opponent will have no idea where to parry.


> read swordplay book's 12th page
Upon the twelfth page of the book is written:

Advanced Attacks: The Lunge [command: lunge]

The lunge is a combination move beginning with an advance and ending 
with a thrust as the attack; two of the most basic moves in swordplay. 
But the advance lunge itself is so much more than basic; it is a 
distance gaining move and powerful attack, and a strategy to get the 
advantage of an opponent. It can lend great power to quick movement. 
Many complex bladework moves can be executed during the advancing lunge 
such as the pris de fer (taking of the iron), a move that shows total 
control of the situation and beautiful finesse of movement. In short, 
the advance lunge can stand for everything that is beautiful about the 
art of the sword. 

To conduct a lunge, one must first gain the proper distance from ones 
opponent; the opponent might first retreat, or the swordsman may retire 
to the correct measure.


> read swordplay book's 13th page
Upon the thirteenth page of the book is written:

Advanced Attacks: The Slip [command: slip]

The slip is a very sophisticated combination attack, in which the 
swordsman dodges aside, defending against the opponent's blade, and 
makes a thrust. The slip is somewhat slow to recover from -- a period of 
great danger. Few novices at swordplay can succeed in a slip; but for 
the skilled, it is a powerful tool.


> read swordplay book's 14th page
Upon the fourteenth page of the book is written:

Advance: a movement forward by step, cross, or balestra. 
Attack: the initial offensive action made by extending the sword arm and 
continuously threatening the opponent. 
Attack au Fer: an attack that is prepared by deflecting the opponent's 
blade, e.g. beat, froissement, pressure. 
Balestra: a forward hop or jump, typically followed by an attack such as 
a lunge or fleche. 
Beat: an attempt to knock the opponent's blade aside or out of line by 
using one's foible against the opponent's foible. 
Bind: an action in which the opponent's blade is forced into the 
diagonally opposite line. 
Bout: swordplay practice at which the score is kept; or, a single 
conversation without a wound being inflicted. 
Broadsword: an older military sword; any straight-bladed, double-edged, 
single-handed cutting sword. 
Broken Time: a sudden change in the tempo of one swordsman's actions, 
used to fool the opponent into responding at the wrong time. 
Button: the blunted tip on the end of some practice swords. 
Change of Engagement: engagement of the opponent's blade in the opposite 
line. 
Compound: also composed; an attack or riposte incorporating one or more 
feints to the opposite line that the action finishes in. 
Conversation: the back-and-forth play of the blades in a bout, composed 
of phrases punctuated by gaps of no blade action. 
Counter-attack: an attack made against the right-of-way, or in response 
to the opponent's attack. 
Counter-disengage: a disengage in the opposite direction, to deceive the 
counter-parry. 
Counter-parry: a parry made in the opposite line to the attack; i.e. the 
defender first comes around to the opposite side of the opponent's 
blade. 
Counter-riposte: an attack that follows a parry of the opponent's 
riposte. 
Counter-time: an attack that responds to the opponent's counter-attack, 
typically a riposte following the parry of the counter-attack. 
Coupe': also cut-over; an attack or deception that passes around the 
opponent's tip. 
Croise: also semi-bind; an action in which the opponent's blade is 
forced into the high or low line on the same side. 
Cross: an advance or retreat by crossing one leg over the other; also 
either a forward cross or backwards cross. 
Cut: an attack made with a chopping motion of the blade, landing with 
the edge or point. 
Deception: avoidance of an attempt to engage the blades; see disengage, 
coupe' 
Derobement: deception of the attack au fer or prise de fer. 
Direct: an attack or riposte that finishes in the same line in which it 
was formed, with no feints out of that line. 
Disengage: a circular movement of the blade that deceives the opponent's 
parry, removes the blades from engagement, or changes the line of 
engagement. 
Displacement: moving the target to avoid an attack; dodging. 
Double': an attack or riposte that describes a complete circle around 
the opponent's blade, and finishes in the opposite line. 
Dry: a bout with practice weapons, as opposed to wet, a bout or duel of 
where there is risk of blood. 
Engagement: when the blades are in contact with each other, e.g. during 
a parry, attack au fer, prise de fer, or graze. 
En Garde: also on guard; the basic position; the stance that swordsmen 
assume when preparing to engage; the guard position subsequent to the 
salute. 
Envelopment: an engagement that sweeps the opponent's blade through a 
full circle. 
False: an action that is intended to fail, but draw a predicted reaction 
from the opponent; also, the back edge of a blade with only one sharp 
edge. 
Feint: attacking into one line with the intention of switching to 
another line before the attack is completed. 
Finta in tempo: lit. "feint in time"; a feint of counter-attack that 
draws a counter-time parry, which is deceived. 
Fleche: lit. "arrow"; an attack in which the aggressor leaps off his 
leading foot, attempts to make the hit, and then passes the opponent at 
a run.


> read swordplay book's 15th page
Upon the fifteenth page of the book is written:

Flying Parry or Riposte: a parry with a backwards glide and riposte by 
cut-over. 
Foible: the upper, weaker part of the blade. 
Forte: the lower, strong part of the blade. 
Froissement: an attack that displaces the opponent's blade by a strong 
grazing action. 
Graze: also glissade; an attack or feint that slides along the 
opponent's blade. 
Guard: the metal cup, ba, bars or bow that protects the hand from being 
hit. Also, the defensive position assumed when not attacking. 
Hilt: the handle of a sword, consisting of guard, grip, and pommel. 
In Quartata: an attack made with a quarter turn to the inside, 
concealing the front but exposing the back. 
In Time: when a stop-hit arrives at least one time before the original 
attack. 
Indirect: an attack or riposte that finishes in the opposite line to 
which it was formed, by means of a disengage or coupe'. 
Insistence: forcing an attack through the parry. 
Interception: a counter-attack that intercepts and checks an indirect 
attack or other disengagement. 
Invitation: a line that is intentionally left open to encourage the 
opponent to attack. 
Line: the main direction of an attack (e.g., high/low, inside/outside), 
often equated to the parry that must be made to deflect the attack; also 
point in line. 
Longsword: the ordinary military and duelling weapon of the castle, with 
a tapering double-edged blade useable for both cut and thrust work; 
normally having a simple crossbar guard. 
Lunge: a thrusting attack made by extending the rear leg and landing on 
the bent front leg. 
Mal-parry: a parry that fails to prevent the attack from landing. 
Measure: the distance between opponents. 
Neuvieme: an unconventional parry sometimes described as blade behind 
the back, pointing down (a variant of octave), other times similar to 
elevated sixte. 
Octave: parry with the blade down and to the outside, wrist supinated. 
Opposition: holding the opponent's blade in a non-threatening line; a 
time-hit; any attack or counter-attack with opposition. 
Parry: a block of the attack, made with the forte of one's own blade. 
Pass: an attack made with a cross; e.g. fleche. Also, the act of moving 
past the opponent. 
Passata-sotto: a lunge made by dropping one hand to the floor. 
Passe': an attack that passes the target without hitting; also a cross-
step (see cross). 
Phrase: a set of related actions and reactions in a conversation. 
Plaque': a point attack that lands flat. 
Point: a valid touch; the tip of the sword. 
Point in Line: also line; an extended arm and blade that threatens the 
opponent. 
Pommel: the weight and guard at the extreme end of the blade, opposite 
the point. 
Presentation: offering one's blade for engagement by the opponent. 
Press: an attempt to push the opponent's blade aside or out of line; 
depending on the opponent's response, the press is followed by a direct 
or indirect attack. 
Prime: a parry with the blade down and to the inside, wrist pronated. 
Principle of Defence: the use of forte against foible when parrying. 
Prise de Fer: also taking the blade; an engagement of the blades that 
forces the opponent's weapon into a new line. See: bind, croise, 
envelopment, opposition. 
Pronated: when referring to the hand or wrist, facing downwards or 
backwards; as opposed to supinated. 
Quarte: a parry with the blade up and to the inside, wrist supinated. 
Quinte: a parry with the blade up and to the inside, wrist pronated. The 
blade is held above the head to protect from head cuts. 
Rapier: a long narrow-bladed thrusting sword, with a complicated guard 
and little or no edge on the blade. Only recently introduced to the 
Castle. 
Redoublement: a new action that follows an attack that missed or was 
parried; see also reprise.


> read swordplay book's 16th page
Upon the sixteenth page of the book is written:

Remise: immediate replacement of an attack that missed or was parried, 
without withdrawing the arm. 
Reprise: renewal of an attack that missed or was parried, after a return 
to en-garde; see also redoublement. 
Retreat: step back; opposite of advance. 
Riposte: an attack made immediately after a parry of the opponent's 
attack. 
Salle: a hall for the practice of swordplay. 
Salute: with the weapon, a customary acknowledgement of one's opponent 
and audience at the start and end of the bout. 
Second Intention: a false action used to draw a response from the 
opponent, which will open the opportunity for the intended action that 
follows, typically a counter-riposte. 
Seconde: a parry with the blade down and to the outside, wrist pronated. 
Septime: a parry with the blade down and to the inside, wrist supinated. 
Simple: an attack or riposte that involves no feints. 
Single Stick: a form of sword practice with wooden sticks; the sticks 
themselves. 
Sixte: a parry with the blade up and to the outside, wrist supinated. 
Slip: an attack maneuver beginning with a dodge, and culminating in a 
thrust. 
Stop Hit: a counter-attack that hits; also a counter-attack whose touch 
is valid by virtue of its timing. 
Stop Cut: a stop-hit with the edge. 
Stop Thrust: a stop-hit with the point. 
Supinated: when referring to the hand or wrist, facing upwards or 
forwards; as opposed to pronated. 
Thrust: an attack made by moving the sword parallel to its length and 
landing with the point. 
Tierce: a parry with the blade up and to the outside, wrist pronated. 
Time: the time required to complete a single, simple action. 
Time Hit: also time-thrust; old name for stop hit with opposition. 
Trompement: deception of the parry.


====================


> read swordplay book's cover
Upon the cover of the book is written:

.................Combat, Theory and Practice.................. 
...........................July 2001..........................





...........................Author............................. 
.........................ser Martel........................... 
...........................Duelist............................


> read white book's first page
Upon the first page of the book is written:

I would first wish to thank ser Daris, for his tomes.  His work has 
inspired me to write these books, and I believe in giving credit where 
it is due.

Second, the purpose of these tomes is to pass what knowledge I have 
gained onto a future generation of duelists.  To help in the education 
of new Guests, and to act a place for others to go.  To see what has 
been said and done before.

Lastly, but never last, I write these tomes in the hopes that they will 
please Her Majesty and the Court of Honor.  My views on some things may 
be different than what has gone before, but I will attempt to defend the 
practical knowledge I place here with my interpretations of what is 
correct and good.


> read white book's 2nd page
Upon the second page of the book is written:

..........Table of Contents
Page..1 - Preface
Page..2 - Table of Contents
Page..3 - Openings - Weapons, Blade kiss
Page..4 - Openings - Examine and Bow
Page..5 - Openings - Salute and Guard
Page..6 - Attacks - Thrust and Cut
Page..7 - Attacks - Feint and Lunge
Page..8 - Attacks - Slip and Advice
Page..9 - Attacks - Skill and Timing
Page.10 - Attacks - Dishonor and Recovery
Page.11 - Defense - Guard and Dodge
Page.12 - Defense - Dodge and Recover
Page.13 - Defense - Rest,  Movement - Opening
Page.14 - Movement - Advance and Retire
Page.15 - Conclusions - Honor and Respect
Page.16 - Issues and Problems



> read white book's 3rd page
Upon the third page of the book is written:

OPENINGS

Before a duel is to take place, there is as much to be done as during 
the duel, if you wish to proceed with courtesy and honor.

The first step is to procure your weapon and move to the center of 
whatever space is being used for the duel, either practice or in Ernest. 
It is appropriate if you duel with a weapon out of the ordinary to seek 
approval and permission from your opponent.  If objections are raised, 
tis good to offer to utilize a more standard long sword, but this is not 
required.  But, if one insists on using a different weapon, tis possible 
that allusions will be placed upon the skill of the victor.  Tis also at 
this point that any examinations of the weapons should be made.

A newer custom, but one I advocate for formal duels is the chaste 
kissing of the blade before combat ensues.  With the obvious use of 
poisons so vile as to be unseeable, this acts as another check to insure 
proper behavior.  Any poisons on the blade would effect the sword's 
wielder, and thus show that person to be the cad they are for the use of 
poison.  


> read white book's 4th page
Upon the fourth page of the book is written:

A second custom that I have seen beginning is the extending of the 
swords to make examinations of them easier.  I find this a well and good 
thing for a formal duel, but in a long practice, it should be dispensed 
with after some time.  Unless the swords are changed of course.  For it 
takes too long, and slows the proceedings.

Once both duelists are girded and ready, they should bow or curtsey to 
each other, to show respect for their opponent.  As to whether to bow or 
curtsey, I am of the opinion that any wearing a dress or skirt should 
curtsey, while any in a man's pants or hose should bow, no matter their 
sex.

After the bow, both parties should take up a defensive stance, and 
inform their opponent that they are ready to proceed.  Upon hearing 
this, tis time to start the proceedings in earnest.




> read white book's 5th page
Upon the fifth page of the book is written:

As all know, once the proceedings begin, both parties should salute the 
other and then move into a guarding stance.  To attack during or before 
the salute tis a sorry accident, but it does occur.  One or both parties 
should shout 'Hold', and hold their blows.  If either party refuses to 
hold, he shows himself a most dishonorable sort. Once held, tis up to 
the attacked party to either continue with salutes and guards and 
proceed, or demand a surrender.  If a surrender is demanded, tis the 
aggrieved parties decision in a formal affair to allow another duel, or 
to declare the match over by forfeit.


> read white book's 6th page
Upon the sixth page of the book is written:

ATTACKS

The modern schools of dueling use five main attacking styles.  The two 
most basic, thrust and cut, the more complex offenses of a feint, and 
the combinations of lunge and slip.

The thrust or jab is the most basic attack form in the inventory of a 
new duelist.  It consists simply of a quick extension of the blade of 
the sword, generally from either a guard low or guard high position. Tis 
one of the fastest attacks, but also one of the attacks that most leaves 
the duelist open to counter attack, unless he can recover quickly.

The next most basic attack is the long cut or slash.  Tis a slower 
attack than the thrust, but with more power behind the sword, and thus 
requiring a greater exertion to parry.  The attack also results in a 
more solid defensive posture because of the more compact body 
positioning when executing the maneuver.  Also, because of the ability 
of a sword to cut along its entire edge, and the ease with which it can 
be swung, tis possible to lash out in this way from many more positions 
than the more contained thrust.  Thus while off balance, this is the 
maneuver of choice.


> read white book's 7th page
Upon the seventh page of the book is written:

Now we venture into the more complex maneuvers.  I start with the feint, 
as it is a self contained maneuver, and not a combination as the others 
are.  Feints are hard to master, but when you can do so, they make a 
deadly attack.  Some believe that while your opponent is off balance, as 
in rest or after a poor attack, they may be more susceptible to the 
deceptions of this attack, but I believe this not. I do believe though 
that a poorly executed feint doth leave you more open than almost any 
other attack, and thus it should be only attempted when you are 
knowledgeable or fresh.  To feint when you are unskilled or tired is to 
invite defeat.

Now for the first of the combination moves, the lunge.  A lunge is a 
rapid advance across the floor, culminating in a vicious thrust backed 
up by the weight and speed of the moving duelist.  This gives a lunge a 
fair degree of punch should it land, but because of the movement leading 
up to it, it can be easier to avoid or sidestep in a more open environ. 
If the defender needs to prevent the entry or a room or the passing of 
his opponent though, he sacrifices this mobility.  Because of the pieces 
of a lunge, if you wish to perfect this maneuver, you need to study both 
the aspects of thrust and advancing toward your enemy.




> read white book's 8th page
Upon the eighth page of the book is written:

The last maneuver is the slip, or the dodge feint.  Tis one of my 
favorite combinations, but like a feint, hard to execute well.  The 
maneuver involves sidestepping your opponents attack, and then pushing 
your blade down along his attack when he can not defend against it. This 
works well against the thrust or feint, which have a more direct line of 
attack, but is a poor response to a slash which may catch even one 
excellent in moving themselves from harms way.  As a final caution, this 
maneuver is a slow one, so if you be not an expert with the feinting 
forms you may wish to train more before relying upon this.

These different offensive styles and collections of positions do each 
have their advantages and disadvantages.  I have attempted to point some 
out within the texts speaking on each, but I will include some more 
within this section.




> read white book's 9th page
Upon the ninth page of the book is written:

The biggest advice I will give is to stick with your skills.  If you 
find the wide slash to be your most proficient, then do rely upon it. 
Little will make up for a lack of skill.  And while I will endeavor to 
discuss some of the finer points of the maneuvers, this is secondary to 
relying on your natural talents.

After skill though, there are a few things that lead one to shift into 
different maneuvers.  The most important of which is timing.  As you 
exchange blows with your opponent, if you can attack while they are just 
recovering from an attack of their own, their blade will be likely to be 
out of position, and thus they will be more vulnerable. This leads to 
the use of the quicker thrusting attacks, as you have the flexibility to 
attack quickly, and the advantage that you will recover quicker.

As a short side thought.  I have during my time witnessed many who 
during a duel insist on demandingly following the rigors of exact 
timing.  To the point that I have watched two duelists stop during an 
exchange and simply stare at each other, waiting for the other to act. 
To those people who follow this school I say fie.  To behave so is to 
dishonor your skills and teachers.  To show that you have not enough 
skill to control a flurry of blows, but must use a crutch such as this.




> read white book's 10th page
Upon the tenth page of the book is written:

If you find yourself fighting such a dishonorable opponent, I would 
suggest finishing the match if possible, and then simply declining to 
face that person in a practice again.  In a formal duel though, I would 
give them the benefit of the doubt the first few times.  But if it 
becomes apparent who is behaving such, I would simply ask the Marshal or 
second of the duel to intervene.  If you opponent will not engage, tis 
not your place to force things upon him.  Tis obvious that he wishes not 
to actually duel, and thus the duel should end so he or she can get on 
with whatever activity they feel is that much more important than 
defending their honor.

Now, as a last note on the various attacking styles, I have witnessed 
long debates on whether tis better to resume a guarding posture after 
such things as a rest before pressing your attack, or to use a slower 
slashing attack from the slightly off balance positions one finds 
themselves in.  To this, I say tis mostly to the preference of the 
dueler.  I who tend toward a very aggressive style to prefer to get back 
to the offensive, but I have seen others who can guard and then lunge 
forward in the blink of an eye utilize this combination quite well.



> read white book's 11th page
Upon the eleventh page of the book is written:

DEFENSE

Now that we have covered the main attacking forms, we will shift our 
attention to the defensive maneuvers.  The Guard and Dodge. Recovering 
from an attack and resting from the exertion of battle.

I shall start with the most basic defensive posture, the guard stance. I 
have seen many such stances.  Chest on or turned away.  Swords held 
high, low, or to the side.  Alternate arm held back for balance, or to 
the side to distract and take advantage of openings.  But all these 
stances have in common the desire to parry the opponent quickly and 
effortlessly, and open them to return attacks.  The slashing attacks and 
feints tend to end in a more stable position than the thrusts, thus the 
ability to actively parry instead of simply recover quickly is more 
valued.

The next stance is that of actively avoiding attacks instead of parrying 
them.  The bob and sway of a mobile opponent, using a quick move to 
leave their opponent facing an empty space, while their blade comes in 
for a devastating slash.  Dodging is also an inherent part of the slip 
or dodge feint, allowing your opponent to attack, then quickly following 
up into that opening.  




> read white book's 12th page
Upon the twelth page of the book is written:

For most duelists, to dodge their opponents attacks will tire them more 
quickly than a simple parry, as it involves more effort.  But if what 
you must do is cross open ground, or deal with bows and crossbows, the 
dodge may be your only option.  To parry a crossbow bolt is something 
attempted only be the true grand masters.

Now, defense is not all in prepared stances, but tis also in being able 
to use an attacking weapon to turn the next attack of your opponent. 
And to be able to attack quickly and be ready for the riposte that is 
sure to follow.  To recover well is an art form practiced most by those 
who focus on the devastating lunge and thrust. For while fast, the 
thrust leaves the body more open, and there is little chance to properly 
guard.  

One technique I have well learned is after the thrust, to rapidly raise 
or lower the arm to bring the blade tip backwards, and use the blade to 
cover more of the body. Another technique is to swing the sword point to 
the side, toward the sword arm of your opponent.  Thus threatening this 
limb, and requiring your opponent to forestall his own attack.



> read white book's 13th page
Upon the thirteenth page of the book is written:

Lastly, for each fighter can not fight forever, all must know how and 
when to breathe.  How to quickly take a step back from your opponent, 
catch but a moments extra wind, then pounce back with a slash, or even 
let them come and feint toward their legs.  As well, breathe not to 
long, for most can defend better when their minds are upon it, than when 
they try to force back the colored lights in their vision.  Now, one 
topic I have heard some debate on is how best to return t the fray from 
these brief breaks.  Many advocate the slash, as it is easy to launch 
from the slightly off balanced position, and thus re-engage quickly. 
But for those who's skills are in the fast and quick thrusts, to simply 
bring the sword to a guard position and from there launch into a thrust 
or lunge.

MOVEMENT

Now, while I espouse the 'mountain does not move' style of fighting, 
letting you opponents dance about you and tire themselves out, while you 
hold your ground and only follow if they refuse to engage, not all do 
this.  Some prefer a more mobile combat, and for those the art of 
advance and retreat takes a great deal of interest.


> read white book's 14th page
Upon the fourteenth page of the book is written:

To advance toward your opponent is a difficult thing.  For you needs 
approach carefully and not run upon your opponents blade, but still make 
forward progress.  Advancing can be especially important if your 
opponent does wish to give ground in exchange for time or some such. If 
he has friends coming to his aid, or needs just delay you, and thus your 
need to advance upon him.

In response, tis the retreat.  To give ground to either gain a bit of 
wind, or to exchange ground for time.  If you needs just delay your 
attackers, or fall back to a better position, then the retreat is for 
you.  The problem is frequently that backing away, you need spend your 
attention on your opponent, and not where to place your feet.  Thus you 
should know the ground you will backing across if possible. Else, if you 
do not, be very careful, and be prepared to act quickly should the 
unexpected occur.  But tis rarely a good idea to glance back over ones 
shoulder during a fight to oversee the ground, for that doth leave you 
the most open.

But again, these are not maneuvers I use in the most.  While they be 
fancy, and interesting to watch, I find them little us during a formal 
duel.  There the goal tis not to avoid your opponent, but to face them 
and triumph.  Therefore, leave off the movement over much, and simply 
face your opponent and do the deed.



> read white book's 15th page
Upon the fifteenth page of the book is written:

CONCLUSIONS

Once the duel is done, one person having fallen, there are still things 
to do to show your respect.  First, always acknowledge your opponent. 
With a bow or nod at least.  This shows that you have respect for your 
foe, for in victory of defeat, your opponent has still served his Honor 
by defending it and himself in duel.  Even in a duel to the death, if 
you can physically manage it you should acknowledge your opponent after 
each round.

Another thing to recall is that duels and even practices are a matter of 
honor.  Never cackle or laugh at your opponent.  Treat them with respect 
and honor, as you would them treat you.  To do otherwise is to call 
question on your own honor, and may well reflect badly upon you.

And lastly, tis generally appropriate to close with some words of 
encouragement in a practice, but less so in a formal duel.  If the 
matter was close, or your opponent did especially well, let them know 
that.  To respect and admire skill is a good thing, even in an opponent.



> read white book's 16th page
Upon the sixteenth page of the book is written:

ISSUES AND PROBLEMS

Now, during a duel, many problems and issues may arise, and tis good to 
treat them with honor as well.  If either duelist or a second does cry 
'Hold!', tis appropriate to do so, and drop back into a guard stance. 
Tis not honorable to immediately being to rest and pant during the pause 
though.  Tis also well to pause if a bystander does cry this, but if any 
abuse this, they should be ejected from the practice or duel, and 
reported to the Court of Honor.

Also, while tis a strange thing here, I have seen a few duelists 
suddenly pause in their duel and just hold, barely defending themselves. 
If this does happen, I would feel perfectly fine in attacking once or 
twice, for you can not tell if they pause for strategy, or this other 
thing.  But if they stand rigid for too long, tis honorable and polite 
to hold and wait for them to return from whatever far off land they have 
gone.

That brings to a close what I have to relate on the basics of the art of 
combat.  May this book find its way into good hands, and allow you to 
learn from it.  If there be comments or questions upon these words, I 
would be happy to hear and answer them, while Her Majesty wills that I 
take breath in her realm.

===============================

> read duelling book's cover
Upon the cover of the book is written:

THE CODE DUELLO


> read duelling book's 1st page
Upon the first page of the book is written:

THE CODE DUELLO

CONTENTS

2. - Introduction
3. - How Duels Are Begun
4. - When Duelling Is Impermissible
5. - Conditions For A Duel
6. - On Seconds
7. - Sanction For Formal Duels
8. - Putting One's Affairs In Order
9. - Beginning The Duel
10. - The Duel Itself
11. - Finish Of The Duel
12. - Practice
13. - Informal And Unsanctioned Duels
14. - Masters Of The Court Of Honor
15. - A Toast
16. - Updates


> read duelling book's 2nd page
Upon the second page of the book is written:

Never draw your sword without good reason; never sheath it without your 
honor. 

INTRODUCTION

Inhabitants of Castle Marrach may decide to resolve their serious 
disputes by a duel (also known as an encounter, or passage of arms). A 
duel is one-on-one combat between persons of honor, with a specific set 
of conditions agreed to by both parties. Duelling is governed by the 
Duelling Code, sometimes known as the Code Duello. Duels are fought to 
express, protect and restore ones honor, the honor of someone one feels 
bound to protect, or (unofficially) to build a reputation as a duelist. 
A duel is only possible when there has been an insult or a slight to 
someones honor. Any word, action, intention, or gesture, which injures 
the self-esteem, sensibility, or reputation of another, is for this 
person an affront. Duels are most emphatically not acts of revenge or 
retribution - at least not according to the Duelling Code. Duelling is 
sometimes considered a ceremony of the cult of honor, an entirely 
unofficial, un-organized but real group nebulously composed of all 
persons with the right - and the duty - of demanding satisfaction in a 
duel. Allegations of misconduct by prospective or actual duelists and 
seconds, with regard to their participation in a duel, may be inquired 
into by the Masters of the Court of Honor, three respected, perceptive 
and impartial persons. These Masters are skilled with weapons, fully 
conversant with the rules, precedents, and spirit of the Duelling Code, 
and have some not-well-defined authority in the area of personal honor. 
If someone issues a challenge and is refused, the Court of Honor can be 
appealed to for a ruling on the honor of the refusal. The Court also 
answers questions touching on the manner and practice of duelling; their 
decisions may be appealed to the Lord Chancellor. Violations of the 
spirit and rules of the Duelling Code will (if detected and reported) 
result in censure by (at least) the Masters of the Court of Honor. 
Appeals to the Queen may be made regarding the decisions of the Lord 
Chancellor. Within Castle Marrach, the Queen, the Lord Chancellor, the 
Lord Marshal, the Lord Treasurer, and the Lord Chamberlain are the 
premier honor lords of the Court.


> read duelling book's 3rd page
Upon the third page of the book is written:

HOW DUELS ARE BEGUN

Two persons have or imagine a quarrel upon some point. One of them, 
feeling their honor to be insufferably transgressed upon, says something 
like, Sir, a gentle person cannot accept that insult - there are any 
number of acceptable phrasings for the challenge. Persons issuing a 
challenge are termed the injured party or person, as they claim to have 
suffered some damage to their reputation, veracity, pedigree, person, 
etc; they are also said to have requested or demanded satisfaction. 
Being manhandled without permission is often considered the minimum 
insult that will lead to a duel, but each person is the best judge of 
his or her own honor. For a challenge to be made, the challenger must 
consider whoever is challenged to be worthy of it - specifically, in a 
position to provide satisfaction in a duel. Stating that one will not 
issue a challenge due to the unworthy nature of the person giving 
offense is tantamount to saying the person is not honorable (and hence 
not worthy of attending Her Majestys court, as an honored guest, 
courtier, knight, noble, or otherwise). Challenges need not be delivered 
in person. In fact, if the challenge does not follow immediately upon 
the act that gave offense, the offended party (i.e., the challenger) 
should obtain the services of one or more seconds, to convey his or her 
challenge - rather than delivering it in person. Challenges may not be 
delivered in writing; written challenges have many opportunities for 
error. The seconds may convey written statements by the principals, but 
they themselves must confirm that the challenge has been received, and 
whether it has been accepted. The challenged party may accept or reject 
the challenge. If the challenge is accepted, then from that point until 
the duel is fought the two parties to the dispute should avoid each 
other socially. They are both parties to the dispute, in rather the same 
sense that litigants in a court of law are parties to a suit.


> read duelling book's 4th page
Upon the fourth page of the book is written:

WHEN DUELLING IS IMPERMISSIBLE

The Queen or Her Lords may forbid persons to make or receive challenges 
for some period of time, or from some person, or from a category of 
persons, etc. Encounters with persons of widely (OOC: OB denizens 
challenging Lords, for instance)different social rank are possible, but 
may result in loss of favor or even punishment for one or both parties; 
certainly persons of high rank are under no obligation to accept 
challenges from those of a widely lower rank. Persons married to each 
other; persons not physically fit; and persons in close family relation 
to each other may not enter into a duel. The Queen may from time to time 
issue restrictions upon encounters by her subjects; for instance, in 
time of war, duelling may be forbidden entirely.


> read duelling book's 5th page
Upon the fifth page of the book is written:

CONDITIONS FOR A DUEL

There are several conditions to be met before a duel can be fought:

Approval or sanction by the authorities is not required; however, 
duelling without approval can result in social disfavor, censure by the 
Court of Honor, or actual punishment (loss of status, position, rank, or 
privileges). The consent of both parties is absolutely required. Deadly 
combat without the consent of all parties is regarded as murder. Seconds 
or friends must make at least a pro forma attempt at reconcilement, and 
must arrange the conditions of the duel. The offer and acceptance of an 
apology brings the challenge to an end. A delay of at least one day 
(from the challenge to the actual combat); duels fought with less than a 
days delay are viewed with disfavor. Challenges must be issued or 
communicated within two days of the challenging party becoming aware of 
the offense (which might, of course, be years after the commission of 
the offense itself). If more time passes, the nature of the offense 
cannot have been unbearable, and the affront is said to have expired.


> read duelling book's 6th page
Upon the sixth page of the book is written:

ON SECONDS

No duel may be fought in Castle Marrach without at least one second for 
each party. A second is some other person, also capable of providing 
satisfaction, who agrees to act on behalf of one (and only one) of the 
parties to a duel. The terms representative or friend are sometimes also 
used to designate seconds. The second has two duties: to the person he 
or she is seconding, and to the Duelling Code. This censure can fall 
equally heavily - or in some cases, more heavily - upon the seconds. If 
a second cannot not both fairly represent his or her principal, and also 
the Duelling Code, he or she should withdraw, and the duel should be re-
arranged with a new second. There is no requirement that a second 
actually be a friend, or even an acquaintance, of his or her principal. 
Persons should not serve as seconds if there would be some substantial 
conflict of interest involved; also, the spouses, parents, and children 
of a duelist should not serve as his or her second.


> read duelling book's 7th page
Upon the seventh page of the book is written:

SANCTION FOR FORMAL DUELS

Each party to the dispute chooses a second (presumably a friend); the 
seconds call together upon some competent authority-an honor lord of the 
Queens Court, or the Queen herself. The Chamberlain is most often 
conveniently available for this, but the Chancellor, the Lord Marshal, 
or the Lord Treasurer are each also empowered to sanction duels. The 
Chamberlain (or other sanctioning authority): 
-- asks the seconds who the parties to the duel are; asks whether any 
attempt has been made for reconcilement; 
-- ensures the parties are not barred from duelling (due to 
hierarchical, social, legal, physical, etc. conditions); 
-- enquires and consents as to the form of the duel (the weapons to be 
used, any strange variant rules, and the desired outcome-death or 
wounding, or some number of wounds, a cry for quarter, or some other 
measurable or detectable finish); 
-- enquires and consents to any victory or defeat conditions involving 
Castle Marrachs court or society (i.e., changes to official positions); 
-- enquires and consents to the time and place of the encounter and 
issues instructions to prepare the site if need be; 
-- instructs and charges the seconds to see that no chicanery takes 
place, and to carry out their duties as representatives of the Court of 
Honor at the duel; 
-- instructs and charges the seconds to contact an authority as soon as 
possible if there is some obstacle to the duel proceeding, or if one of 
the parties wishes to withdraw; formally approves the duel, with the 
restrictions agreed to previously; 
-- advises the seconds to have the principals put their affairs in 
order; causes some form of notice of the duel to be made public. This 
notice will include the names of the participants, and their seconds; 
the time and date of the duel; and some of the elements of form. 

Persons may wish, as suggested, to put their affairs in order prior to 
taking part in a duel. They should certainly not carry items of great 
personal value into a duel, as there is a chance they may lose them if 
the duel is lost.


> read duelling book's 8th page
Upon the eighth page of the book is written:

PUTTING ONE'S AFFAIRS IN ORDER

Persons wishing to produce registered wills should arrange to have their 
testament taken down and filed with a Court Clerk (or the Royal 
Archivist). Other wills and testaments, not filed in the archives, may 
not be enforced by the Chancery. The Court Clerk may also be willing to 
hold messages for delivery after a persons demise.


> read duelling book's 9th page
Upon the ninth page of the book is written:

BEGINNING THE DUEL

If the parties to the quarrel, and their seconds, are present at the 
time and place agreed, someone will bring weapons to the seconds 
(although the parties may possess and use weapons of their own, if they 
agree). The seconds and all other parties should avoid standing in the 
middle before the duel begins, and the armed duelists should stand in 
the middle of the area, room, or whatever. The seconds may (or may not) 
keep things organized, advise spectators to step back, etc.; they should 
(but dont have to) ask the duelists if they can yet be reconciled, etc.; 
but their duties are not enforced - they must merely be present in the 
room. Once the duelists have taken up their positions [command: duel 
name], and each saluted the other with their weapons, the duel begins, 
and cannot be interrupted by the spectators; the spectators and seconds 
should not enter the middle of the area. Duelists may, if they wish, 
conduct a full salute - a bow to the audience, followed by a salute to 
the opponent. The duel as an affair of honor still begins from when both 
duelists have saluted their opponent.


> read duelling book's 10th page
Upon the tenth page of the book is written:

THE DUEL ITSELF

During the duel, the combatants must remain in the room, but they may 
move about the room. Duels are normally assumed to be conducted with the 
generic sword; some persons possess and may use rapiers, sabers, 
cutlasses, short swords, backswords, schiavone, small swords, two-handed 
swords, bastard swords, etc. The Court of Honor can decide if the use of 
unequal or unusual weapons in a duel is a violation of the Duelling 
Code. The Court of Honor might admit other weapons that might be become 
available; these might include the foil, scimitar, single-stick, great 
stick, etc.

In a duel to first blood, a single wound ends the bout and the duel 
itself. In duels of a more serious nature, the fighting ceases 
momentarily when a wound is received; the seconds may wish to enquire if 
the principals can or wish to continue. If a continuation is agreed to, 
the duellists re-engage [duel and salute as usual; a duel to the death 
might thus consist of as many as eight bouts].


> read duelling book's 11th page
Upon the eleventh page of the book is written:

FINISH OF THE DUEL

In a formal duel, the passage of arms is completed when either the 
agreed-upon conditions are met, one of the combatants surrenders 
[command: surrender], one of the combatants leaves the room, or both of 
the seconds agree to end the duel [although this is not enforced by the 
system]. [A bad connection should not result in a lost duel. The seconds 
are responsible for observing their principals; if they think too much 
time has gone by without any communication, they may wish to call out 
some notice of this. Honorable duelists should not take advantage of 
inconvenienced opponents in this situation.]


> read duelling book's 12th page
Upon the twelfth page of the book is written:

PRACTICE

For the practice of swordplay within the Castle, the practice room, 
armory, and various open courtyards are normally employed. Practice may 
also take place in the guard rooms, the quarters of the Winter Watch, or 
the personal room of any guest. Blunted or rebated weapons are normally 
used in practice. Opponents move to the middle of the room, salute, and 
begin; no seconds are required. In a practice bout conducted with blunt 
or rebated weapons, the duelists may acknowledge a hit ( Your point, ser 
) by extending their empty hand, palm uppermost, to their opponent [OOC: 
possible command: extend my left hand briefly ]. Challenges from newly-
arrived guests may be honorably refused until they prove themselves able 
to give and receive satisfaction - Duelling is for those worthy of it, 
my dear ; however, non-fatal duelling is certainly possible before then, 
if only as practice.


> read duelling book's 13th page
Upon the thirteenth page of the book is written:

INFORMAL AND UNSANCTIONED DUELS

If an immediate or sub rosa duel is felt to be needed, the parties to 
the dispute should still choose seconds. The seconds negotiate the 
nature of the duel - when and where, and to what lengths; they also will 
have to obtain weapons by some method or other. An informal or 
unsanctioned duel may incur the wrath of the Queens officials, or the 
Court of Honor, or both, or neither. Much depends on the circumstances, 
and on how much the affair deviated from fair and traditional duelling. 
Combat without seconds is almost never recognized as a proper duel; it 
is no more or no less than combat, proper in some circumstances but not 
in others. The Queen and the Court of Honor do not look with favor on 
common murder.


> read duelling book's 14th page
Upon the fourteenth page of the book is written:

MASTERS OF THE COURT OF HONOR

Currently, the Masters of the Court of Honor are:

Lord Bernier;
Sir Anselm; and
Dame Petronille.


> read duelling book's 15th page
Upon the fifteenth page of the book is written:

"Stand now and raise your glasses, let us by the world be seen, Good 
health and heaven's grace attend you, VIVIENNE OUR QUEEN."


> read duelling book's 16th page
Upon the sixteenth page of the book is written:

UPDATES

As rulings are made by Her Majesty or the Court of Honor respecting the 
conduct of encounters of honor, the text of this book will be 
mysteriously updated.







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