Glossary

Foundational structure

guardia guard, posture

A defined sword-and-body configuration from which actions are generated. In Fabris, guards are not static poses; they are functional positions whose value depends on line, point placement, measure, and what actions they allow or forbid.

prima first guard

The first of the four canonical hand positions. Fabris ties it to the position reached when drawing the sword; it is real but not the safest all-purpose ward in its initial form.

seconda second guard

The second canonical hand position, heavily associated with low, forceful, extended thrusting actions and with certain invitations and evasive body placements.

terza third guard

The third canonical hand position and one of the principal working guards. Structurally strong, tactically flexible — the natural starting point for finds on either side.

quarta fourth guard

The fourth canonical hand position, one of the main inside-line positions. Appears often in feints, changes of line, and thrusting actions.

guardie legittime legitimate guards

Fabris' four canonical guards. He notes intermediary positions exist but treats the four main ones as the proper doctrinal framework.

guardie bastarde bastard, mixed guards

Intermediate positions between the four canonical guards. Fabris acknowledges them but explains the system through the four principal guards.

guardia lunga long guard

A more extended form of a guard. In Fabris, "long" affects reach, timing, safety, and what openings are created or denied — not just extension.

guardia ritirata withdrawn guard

A more retracted version of a guard. It trades immediate reach for reserve, safety, or tactical preparation.

guardia alta / bassa high, low guard

Vertical variants of a guard. Height changes alter line coverage, opening creation, and the geometry of thrusting and parrying.

Blade relation and line

forte strong of the sword

The stronger part of the blade, nearer the hand. Best suited to safely oppose, parry, and govern the adversary's blade.

debole weak of the sword

The weaker part of the blade, farther from the hand. More vulnerable to being dominated when opposed by the adversary's strong.

parte forte / parte debile strong part, weak part

The practical application of forte and debole in blade contact. Strong on weak is advantageous; weak against strong is dangerous.

presenza presence, direct threatening line

The space in which the point is truly in play against the body. To be "out of presence" is to have removed the body or point from the adversary's immediate threatening line.

linea retta straight line

The direct line to the target. Fabris favors thrusts that preserve or recover the most direct efficient path while keeping the body safe.

linea obliqua oblique line

An angled line of attack or motion. Fabris values oblique delivery because it can deceive hand-parries and alter blade relations during the strike.

di dentro / di fuori inside, outside

The two principal lateral lines relative to the opponent's blade. Much of Fabris' tactical language depends on whether an action is taken on the inside or outside.

di sopra / di sotto above, below

The vertical lines of action. Fabris treats these as primary dimensions of attack and defense alongside inside/outside.

Measure and distance

misura measure, striking distance

Effective distance. In Fabris, this is a technical condition that determines whether a movement is a true time and whether an action is certain, doubtful, or suicidal.

misura larga wide measure

Longer distance where an adversary's movement may not yet be punishable with certainty. Fabris warns against assuming every motion at wide distance is a true opportunity.

misura stretta close measure

Shorter distance where very small movements can become actionable times. In close measure one may often strike without waiting for a conventional offered tempo.

rompere di misura break measure

To escape measure rather than remain in danger. A real defensive resource, but one that depends on whether it can be completed before the opponent's action arrives.

stringersi in misura close into measure

To approach into effective fencing distance. Fabris insists this be done with line, angle, and body placement disciplined — not by merely walking forward.

Time and tactical opportunity

tempo time, actionable opening

The adversary's movement within effective distance that creates an opportunity to strike or gain advantage. Not abstract rhythm; a practical, measurable opening tied to distance and action length.

contratempo counter-time

An action taken against the adversary's intended time, often by exploiting his movement or his attempt to exploit yours.

tempo buono good time, true time

A time in which your action can complete before the opponent can recover, parry, or escape. Fabris' system is built around recognizing and taking these.

tempo falso false time

An apparent opportunity that is in fact deceptive, because distance, line, or the adversary's intention makes your action late or vulnerable.

tempo finto feigned time

A false invitation offered to deceive the opponent into acting at the wrong moment, so you can answer him with counter-time.

Core tactical principles

contrapostura counter-posture, counter-position

One of Fabris' central ideas: a superior relation of body and sword that denies the opponent's direct line without needing to touch his blade, while your own sword is better placed to defend and strike.

vantaggio advantage

The aggregate tactical superiority created by line, measure, stronger blade relation, safer body placement, and better timing.

scoperto opening, uncovered target

A part left exposed by the opponent's position or movement. An opening matters only insofar as it is reachable in the right time and measure.

guadagnare la spada gain the sword

To acquire a superior relation over the enemy's blade, usually by line, strength, or engagement. A structural goal in Fabris, not a decorative contact.

parare e ferire in un tempo parry and hit in one tempo

Defensive and offensive actions should, where possible, be united so the opponent does not regain initiative between them.

ferire di tempo strike in time

To hit during the opponent's movement, before he can finish what he intended. Central to Fabris' tactical method.

ferire senza aspettare tempo strike without waiting for a time

In close measure with sufficient positional superiority, one may strike even without a conventional offered tempo, because the opponent's ability to defend is already overmatched.

Blade actions and deceptions

cavazione disengagement

A change of line made before the enemy can beat or engage your sword. Not just a blade circle; a timed tactical evasion of control.

contracavazione counter-disengagement

Following the adversary's disengagement to recover control in the same line as before. The answer to a simple disengagement.

ricavazione double disengagement

A second deception of the blade after the first disengagement has been answered. Used when the opponent follows or regains the line.

mezza cavazione half disengagement

An incomplete disengagement used to save time and remain threatening when a full change of line would leave the point out of presence or too slow.

finta feint

A false offensive indication used to draw a predictable defense or counter. Fabris uses feints to generate real openings, not as flourish.

chiamata invitation, provocative opening

A deliberate exposure meant to induce the adversary to attack where you want, so you can parry and strike or take him in time. An intentional trap.

Offensive actions

punta thrust, point

The principal offensive mode in Fabris. Consistently treated as faster, safer, more recoverable, and more deadly than the cut.

taglio cut

A real but secondary attack mode. Fabris does not ignore cuts, but clearly subordinates them to thrusting logic.

mandritto forehand cut

A descending or lateral cut from the dominant side. Fabris includes such cuts, though they are not the center of his method.

riverso backhand cut

A cut from the reverse side. Appears in examples, often as something to be defended or exploited through stronger linear play.

mandritto in sgualembro diagonal forehand cut

A cut delivered diagonally, typically to the face, driven with the wrist rather than the elbow. Play [56] shows the correct answer to this attack.

Footwork and body method

passare to pass

To advance one foot past the other. Fabris often uses passing actions in deep attacks and close actions, especially when the body must penetrate safely beyond the point.

passata passing attack

An attack executed with a passing step, often very deep and low. A major tactic in Fabris, not just a casual advance.

corpo basso low body position

A deeply lowered body used to increase reach, evade the opposing point, and strengthen thrusting geometry. One of Fabris' most visually distinctive traits.

portarsi oltre carry oneself beyond

Not just hitting, but carrying the body past the enemy's threatening line so the point is no longer in danger as the hit lands.

fuori di presenza out of presence

A body placement in which the enemy's point no longer directly threatens you. Often achieved by rotation, lowering, or passing.

sfuggita di vita escape of the body, body evasion

A bodily escape achieved by turning the toes outward and rotating the flank away from the enemy's threatening line during an attack.

Resolution and initiative

risolutione resolution

Fabris' advanced doctrine of proceeding assertively once the tactical relation is understood. Not recklessness; disciplined initiative grounded in superior line, step, sword placement, and judgment.

andare senza fermarsi go without stopping

A principle of advancing continuously rather than halting in static guard, when conditions allow. Requires control of body, feet, and point.

triplice unione threefold union

The coordinated union of sword, foot, and body in offensive action.

fare ogni cosa di proprio volere do everything by your own will

A principle: the fencer should move by judgment and intention, not be driven into reactions by the enemy. A mark of true skill.