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.

I went on:

"They're now in the dock

"For lifting the—"

I got him in the forearm, the way he got me, but worse. I thought I had him and pressed home. But he did something I had heard of, never seen: He retreated very fast, flipped his blade and changed hands.

No help to me—A right-handed fencer hates to take on a southpaw; it throws everything out of balance, whereas a southpaw is used to the foibles of the right-handed majority—and this son of a witch was just as strong, just as skilled, with his left hand. Worse, he now had toward me the eye undimmed by blood.

He pinked me again, in the kneecap, hurting like fire and slowing me. Despite his wounds, much worse than mine, I knew I couldn't go on much longer. We settled down to grim work.

There is a riposte in seconde, desperately dangerous but brilliant—if you bring it off. It had won me several matches in 6pee with nothing at stake but a score. It starts from sixte; first your opponent counters. Instead of parrying to carte, you press and bind, sliding all the way down and around his blade and corkscrewing in till your point finds flesh. Or you can beat, counter, and bind, starting from sixte, thus setting it off yourself.

Its shortcoming is that, unless it is done perfectly, it is too late for parry and riposte; you run your own chest against his point.

I didn't try to initiate it, not against this swordsman; I just thought about it.

We continued to fence, perfectly each of us. Then he stepped back slightly while countering and barely skidded in his own blood.

My wrist took charge; I corkscrewed in with a perfect bind to seconde—and my blade went through his body.

He looked surprised, brought his bell up in salute, and crumpled at the knees as the grip fell from his hand. I had to move forward with my blade as he fell, then started to pull it out of him.

He grasped it. "No, no, my friend, please leave it there. It corks the wine, for a time. Your logic is sharp and touches my heart. Your name, sir?"

"Oscar of Gordon."

"A good name. One should never be killed by a stranger. Tell me, Oscar of Gordon, have you seen Carcassonne?"