He was at least as fast. He had slapped the book down on the bench and drawn sword himself, advanced toward me, while I was popping out of that hole. He stopped, knees bent, wrist straight, left arm back, and point for me, perfect as a fencing master, and looked me over, not yet engaged by three or four feet between our steels.
I did not rush him. There is a go-for-broke tactic, "the target," taught by the best swordmasters, which consists in headlong advance with arm, wrist, and blade in full extension—all attack and no attempt to parry. But it works only by perfect timing when you see your opponent slacken up momentarily. Otherwise it is suicide.
This time it would have been suicide; he was as ready as a tomcat with his back up. So I sized him up while he looked me over. He was a smallish neat man with arms long for his height—I might or might not have reach on him, especially as his rapier was an old style, longer than Lady Vivamus (but slower thereby, unless he had a much stronger wrist) -- and he was dressed more for the Paris of Richelieu than for Karth-Hokesh. No, that's not fair; the great black Tower had no styles, else I would have been as out of style in my fake Robin Hood getup. The Iglis we had killed had worn no clothes.
He was an ugly cocky little man with a merry grin and the biggest nose west of Durante—made me think of my first sergeant's nose, very sensitive he was about being called "Schnozzola." But the resemblance stopped there; my first sergeant never smiled and had mean, piggish eyes; this man's eyes were merry and proud.
"Are you Christian?" he demanded.
"What's it to you?"
"Nothing. Blood's blood, either way. If Christian you be, confess. If pagan, call your false gods. I'll allow you no more than three stanzas. But I'm sentimental, I like to know what I'm killing."
"I'm American."
"Is that a country? Or a disease? And what are you doing in Hoax?"
" ‘Hoax'? Hokesh?"
He shrugged only with his eyes, his point never moved. "Hoax, Hokesh—a matter of geography and accent; this chateau was once in the Carpathians, so ‘Hokesh' it is, if ‘twill make your death merrier. Come now, let us sing."
He advanced so fast and smoothly that he seemed to apport and our blades rang as I parried his attack in sixte and riposted, was countered—remise, reprise, beat-and-attack—the phrase ran so smoothly, so long, and in such variation that a spectator might have thought that we were running through Grand Salute.
But I knew! That first lunge was meant to kill me, and so was his every move throughout the phrase. At the same time he was feeling me out, trying my wrist, looking for weaknesses, whether I was afraid of low line and always returned to high or perhaps was a sucker for a disarm. I never lunged, never had a chance to; every part of the phrase was forced on me, I simply replied, tried to stay alive.
I knew in three seconds that I was up against a better swordsman than myself, with a wrist like steel yet supple as a striking snake. He was the only swordsman I have ever met who used prime and octave—used them, I mean, as readily as sixte and carte. Everyone learns them and my own master made me practice them as much as the other six—but most fencers don't use them; they simply may be forced into them, awkwardly and just before losing a point.
I would lose, not a point, but my life—and I knew, long before the end of that first long phrase, that my life was what I was about to lose, by all odds.
Yet at first clash the idiot began to sing!
"Lunge and counter and thrust,
"Sing me the logic of steel!
"Tell me, sir, how do you feel?
"Riposte and remise if you must
"In logic long known to be just.
"Shall we argue, rebut and refute
"In enthymeme clear as your eye?
"Tell me, sir, why do you sigh?
"Tu es fatigue, sans doute?
"Then sleep while I'm counting the loot."
The above was long enough for at least thirty almost successful attempts on my life, and on the last word he disengaged as smoothly and unexpectedly as he had engaged.
"Come, come, lad!" he said. "Pick it up! Would let me sing alone? Would die as a clown with ladies watching? Sing! -- and say good-bye gracefully, with your last rhyme racing your death rattle." He banged his right boot in a flamenco stomp. "Try! The price is the same either way."
I didn't drop my eyes at the sound of his boot; it's an old gambit, some fencers stomp on every advance, every feint, on the chance that the noise will startle opponent out of timing, or into rocking back, and thus gain a point. I had last fallen for it before I could shave.
But his words gave me an idea. His lunges were short—full extension is fancy play for foils, too dangerous for real work. But I had been retreating, slowly, with the wall behind me. Shortly, when he re-engaged, I would either be a butterfly pinned to that wall, or stumble over something unseen, go arsy-versy, then spiked like wastepaper in the park. I didn't dare leave that wall behind me.
Worst, Star would be coming out of that rat hole behind me any moment now and might be killed as she emerged even if I managed to kill him at the same time. But if I could turn him around—My beloved was a practical woman; no "sportsmanship" would keep her steel stinger out of his back.
But the happy counter-thought was that if I went along with his madness, tried to rhyme and sing, he might play me along, amused to hear what I could do, before he killed me.
But I couldn't afford to stretch it out. Unfelt, he had pinked me in the forearm. Just a bloody scratch that Star could make good as new in minutes—but it would weaken my wrist before long and it disadvantaged me for low line: Blood makes a slippery grip.
"First stanza," I announced, advancing and barely engaging, foible-a-foible. He respected it, not attacking, playing with the end of my blade, tiny counters and leather-touch parries.
That was what I wanted. I started circling right as I began to recite—and he let me:
"Tweedledum and Tweedledee
"Agreed to rustle cattle.
"Said Tweedledum to Tweedledee
"I'll use my nice new saddle."
"Come, come, my old!" he said chidingly. "No stealing. Honor among beeves, always. And rhyme and scansion limp. Let your Carroll fall trippingly off the tongue."
"I'll try," I agreed, still moving right. "Second stanza—
"I sing of two lasses in Birmingham,
"Shall we weep at the scandal concerning them?"
and I rushed him.
It didn't quite work. He had, as I hoped, relaxed the tiniest bit, evidently expecting that I would go on with mock play, tips of Hades alone, while I was reciting.
It caught him barely off guard but he failed to fall back, parrying strongly instead and suddenly we were in an untenable position, corps-a-corps, forte-a-forte, almost tete-a-tete.
He laughed in my face and sprang back as I did, landing us back en garde. But I added something. We had been fencing point only. The point is mightier than the edge but my weapon had both and a man used to the point is sometimes a sucker for a cut. As we separated I flipped my blade at his head.
I meant to split it open. No time for that, no force behind it, but it sliced his right forehead almost to eyebrow.
"Touche" he shouted. "Well struck. And well sung. Let's have the rest of it."
"All right," I agreed, fencing cautiously and waiting for blood to run into his eyes. A scalp wound is the bloodiest of flesh wounds and I had great hopes for this one. And swordplay is an odd thing; you don't really use your mind, it is much too fast for that. Your wrist thinks and tells your feet and body what to do, bypassing your brain—any thinking you do is for later, stored instructions, like a programmed computer.