I. _The Half-Feint_ (_Revers de dessous_, _Rovescio di sotto_, or _Revers von unten_) is done thus.--When in Tierce extend the arm as if intending to cut Tierce; the opponent makes an opposition of Tierce; drop the point, and cut sharply upwards with the false edge at his fingers, wrist, or fore-arm, drawing the blade towards you and keeping the point opposite the adversary’s breast. This movement is one of the neatest known, and it is sure to succeed with one who does not expect it. The first part of the feint, or dropping the point, may lead to a cut with the true edge, but this movement, which is still practised in the schools, involves delay by turning the hand. Again, it may be combined with the inside (breast) or outside (shoulder) Moulinet. II. _Feint Seconde and Cut upwards._--This movement may be varied by feinting Tierce and cutting upwards. III. _One-two-three._--This is not the succession of simple _Coupés_, the dangerous movement before described. No. 1 _Coupé_ shifts the hand from Tierce to Carte with the nails up; No. 2 turns the nails down, still remaining in Carte; and No. 3 delivers the Reverse Cut, of course in Carte, where it is least expected. When the point is passed well under and within the sword-arm it is very difficult to parry the horizontal Reverse Cut in Carte. The true edge may be used, but again it wastes time by turning the hand. IV. _The Pass_, properly called “_en passant_.”--From Tierce make a feint-movement in Seconde, and, when the adversary attempts to parry it by lowering the point, turn the knuckles up (in old Tierce), sweep the blade over his sword-arm and as close as possible to your right leg from left to right with the arm well raised, and, returning from right to left with a similar sweep, but with the blade held higher, cut, in Carte, with the false edge and close to the point, inside his wrist. Unskilfully attempted, this feint is equally dangerous to both, but it will do yeoman’s service in the hands of a practised swordsman. The true edge may be used, but that involves a change of position and the delay of turning the hand with the knuckles downwards. Some make a double sweep, and, after the second movement, cut outside or in Tierce--the exposure is too great, unless confronted by an unusually phlegmatic temperament. § 5. _The Time Cuts in Manchette._