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 THE
COMPLETE BOOK OF
KNIFE FIGHTING
 THE
COMPLETE BOOK OF
KNIFE FIGHTING

The History of Knife Fighting Techniques

and Development of Fighting Knives,
Together With A

PRACTICAL METHOD
OF INSTRUCTION

by
WILLIAM L. CASSIDY
Photographs Copyright (C) 1975 William L. Cassidy, All Rights
Reserved. Material herein identified as the property of ‘‘Knife
Digest’’ Copyright (C) 1973, 1974, 1975 Knife Digest Publishing
me
Company, Incorporated. All Rights Reserved. Used here by per-
mission.

The quotation on page 22, as well as the illustrations appearing on

pages 21 , 23, and 3g are reprinted from Kill or Get Killed, by
Lieutenant Colonel Rex Applegate, by permission of The Stackpole
Company, Harrisburg, Pennsylvania. Copyright (c) 1961 The Stack-
pole Company, All Rights Reserved.

The Complete Book of Knife Fighting

Copyright (c) 1975
William L. Cassidy
All Rights Reserved.

No
Portion of this Book May Be Reproduced Without the Permission of
Copyright Holder.
Library of Congress Cat. No. 75-25207

ISBN: 0 87364 029 2

PALADIN PRESS, Boulder, Colorado

PA, | ae yn |a )] a | Post Office Box 1307

Boulder, Colorado 80302
 This book is respectfully dedicated to the ‘ ‘Soldiers of the Fortress
of Faith,’’ the Ten Dzong Ma Mi — known to the world as the
NEV eA.
Also to Michel Peissel, author of The Secret War in Tibet — a
book that is mightier than any sword.
This book is for those who only reluctantly take up arms; to fight
not for causes, but for what is just.
 TABLE OF CONTENTS

Preface
Introduction
PART I: THE TECHNIQUES
HISTORICAL DEVELOPMENT
THE RENAISSANCE OF KNIFE FIGHTING
W.E. Fairbairn
A.J.D. Biddle
Rex Applegate
John Styers
THE RATIONALE OF TECHNIQUE
THE EASTERN SCIENCE
Iai-jutsu and Kenjutsu
A Method of Practice

PART II: THE TOOLS

HISTORICAL DEVELOPMENT
TOOLS OF THE TRADE
The Fairbairn-Sykes
The Bowie Knife
MISCELLANEOUS TYPES
Knuckle Knives
The Mark I
The Mark III
Custom Knives
Switchblades
Folding Knives
The Push Dirk
Boot and Sleeve Knives
The Kukri and the Kris
The Tactical-Survivor
CONCEALMENT AND METHODS OF CARRY

PART III: THE TACTICS

BY WAY OF INTRODUCTION
The Sneak Attack
BASIC INSTRUCTION
Grip
Stance
Thrusting
Slashing
Mental Discipline
 TACTICAL MOVEMENT
Random Observations
97
102
STYLE AND MANEUVER
104
A Comparison of Form
DEFENSE
112
Bibliography
121
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 LIST OF ILLUSTRATIONS

PART I: THE TECHNIQUES

Figure 1: Title page to Trattato di Scienza d’Arme.
Figure 2: The dagger and rapier, according to Agrippa.
Figure 3: Fairbairn’s ‘“Timetable’’ and body chart.
Figure 4: In-quartata, according to Biddle.
Figure 5: 16th century dagger use.
Figure 6: 16th century underhand guard position.
Figure 7: 17th century overhand fighting.
Figure 8: Colonel Rex Applegate.
Figure 9: Common knife grips, according to Applegate.
Figure 10: John Styers.
Figure 11: 16th century German dagger use.
Figure 12: French Academy Coat of Arms.
Figure 13: Effective Field of Action.

PART II: THE TOOLS

Figure 14: Original design for the Fairbairn-Sykes.
Figure 15: The Fairbairn-Sykes Fighting Knife.
Figure 16: Gerber Mark II Fighting Knife.
Figure 17: English-style Bowie knife.
Figure 18: Bowie knife.
Figure 19: “KA-BAR” knife.
Figure 20: Loveless sub-hilt fighting knife.
Figure 21: Price dirk-knife.
Figure 22: Model 1917 Trench Knife.
Figure 23: Knuckle knives.
Figure 24: M3 Trench Knife.
Figure 25: Chappel Karate Knife.
Figure 26: Knifemakers Guild Directory of the Membership.
Figure 27: Randall-Made knives.
Figure 28: The Randall Model 14.
Figure 29: Case of daggers.
Figure 30: Loveless boot knife.
Figure 31: Component parts of the switchblade.
Figure 32: Custom folding knives.
Figure 33: Price push dirk.
Figure 34: Morseth boot knife.
 Figure 35: Wrist knife.
Figure 36: Kukri
Figure 37: Kris
Figure 38: Cassidy Tactical-Survivor.
Figure 39: Chest Carry.
Figure 40: Chest Carry (draw).
Figure 41: Chest Carry (stance).

PART III: THE TACTICS

Figure 42: Sneak attack.
Figure 43: Sneak attack follow-up.
Figure 44: Sabre Grip and Complete Grip.
Figure 45: Hammer Grip.
Figure 46: Ice Pick Grip.
Figure 47: Slash Attack Grip.
Figure 48: Correct Battery Position.
Figure 49: Battery Position (right profile).
Figure 50: Battery Position (left profile).
Figure 51: Sequence of thrust.
Figure 52: Sequence of thrust.
Figure 53: Sequence of thrust.
Figure 54: Sequence of thrust.
Figure 55: Head thrust.
Figure 56: Hand Cut (vertical cut).
Figure 57: Hand Cut (detail).
Figure 58: Horizontal cut or slash.
Figure 59: Horizontal cut or slash.
Figure 60: Sequence of slash.
Figure 61: Sequence of slash.
Figure 62: Sequence of slash.
Figure 63: Transformation of emotion.
Figure 64: Feint
Figure 65: Follow-up to feint.
Figure 66: Opportunity.
Figure 67: Foundation of tactic.
Figure 68: Maneuver.
Figure 69: Return to foundation.
Figure 70: In-quartata, after Biddle.
Figure 71: In-quartata in fencing.
Figure 72: Stocatta, after Biddle.
Figure 73: Stocatta (right profile).
Figure 74: Stocatta to Passata Sotto, in fencing.
Figure Passata Sotto, after Biddle and Styers.
75:
Figure 76: Outside parry and grab, after Biddle.
Figure 77: Inside parry and grab, after Biddle.
Figure 78: Applegate’s back-hand.
Figure 79: Drawing the boot knife.
Figure 80: Drawing the boot knife (diversion).
Figure 81: Drawing the boot knife (stance).
Figure 82: Stick use (guard).
Figure 83: Stick use (butt-stroke).
Figure 84: Stick use (shift).
Figure 85: Stick use (strike).
Figure 86: Knee kick.
Figure 87: Groin kick.
Figure 88: Forearm parry or block.
Figure 89: Incorrect parry.
Figure 90: Incorrect block.
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 PREFACE

Knives are remarkable instruments. They were, most certainly,

among the first tools of man, and along the way they also evolved into
his first weapon.
There is, indeed, a difference between a weapon and a tool,
although the difference does not lie in the instrument itself.
The difference is of a finer stuff than mere iron or steel. It lies in the
man who uses the instrument, the way he leads his life, and the
choices that he makes.
Through the course of time, knives, their makers and their users
have progressed more or less together. We have seen knives for
survival, knives for decoration, knives for ceremony, knives for
sport, and knives for conflict; depending upon the needs of the times
and the disposition of the parties involved.
This is a book about knives for killing.
Ican make no excuses for killing, as there are none. The practice of
killing is a matter between a man and his conscience, his respect for
life, and his own understanding of right and wrong.
 I write this book with a heavy heart then, for in my own conscience
I know the futility of its aims. To kill, and to keep on killing, is not
only a means of destroying life, but a means of erasing whatever small
good man has accomplished in his tenure on this planet. Yes, there
is some small good in even the worst of men. This is something we
must believe, if only to go on fighting for what we call freedom.
Yet if your purpose in reading this book is to perfect the art of
killing, it will not be I who points an accusing finger, nor will I
question the motives behind your decision. Instead, I will only ask
you to remember.
Remember well a lesson men have continued to learn since time
began, and which, it seems, each man must learn for himself.
Remember that a moment of reckoning must surely come — whether
that moment be as complex as the various judgements of man’s laws,
or as simple as life’s last breath — and in that moment you will come
to the same province as the beings you have killed: fish, fowl,
mammal, or man. Your knife will be of no use to you then, nor your
muscle, wit, or any other fleeting possession. The only thing left to
you will be your deeds, the manner in which you walked upon the
earth, the way you led your life and the choices you made.
This is not a sermon about the taking of life. This is just a brief
appeal for reason and conscience. Were it not for troubled times,
these words need never have been written.
William L. Cassidy
New York, New York
June, 1975

The author wishes to extend his appreciation to the following

individuals, who have in some fashion contributed to the publication
of this book: Alden Amos; Gene Tropp; Walter W. Collins; Peter
J. Buxtun; W.D. Randall, Jr. and Gary Randall; Harold Hance; J.
Phillip Langellier; Richard Merrill; David Waggott; William
Russell; Clyde P. Peters; Sgt. Alfred K. Jayne, and Peder C. Lund,
of Paladin Press. Very special thanks are also given to Dr. William
Wennen — America’s premier plastic surgeon.
The author would also iike to acknowledge the very capable
assistance of Robert W. Loveless and Raymond R. Randall — the two
gentlemen who kindly consented to serve as models for the action
photographs contained in this book. It would be difficult to find two
men more qualified, or indeed, two better friends.

2
 INTRODUCTION

Great are the legends and folklore which surround knife fighting.
Greater still are the ill-conceived notions of its history, technique and
tools. The book you have before you does not seek to add to either the
legends or these misconceptions; rather, it seeks to clarify, digest
and impartially — insofar as it is humanly possible to be impartial —
portray what has become a remarkably confused practice.
The practice of which we speak is Western-style knife fighting; as
distinct from Asian-style or any other differing form. It is a practice
founded on the art of fence — a foundation solid or crumbling,
depending on your point of view — and one which is, in our present
day, enjoying substantial interest and enthusiasm from an ever-
expanding number of practitioners.
In a private conversation with the author, noted American
knifemaker W.D. Randall, Jr. said:
‘*T can see it all around me... something I really never expected to
happen has happened. People from all walks of life are discarding the
gun in favor of the knife. Many responsible persons — ‘pillars of the
society’ you might say — have indicated to me that they now prefer
the knife above all other weapons.’’
 Mr. Randall’s observations are, indeed, quite correct. With the
increase of restrictive firearms legislation, as well as frequent in-
cidents of senseless violence and lawlessness, men and women
everywhere have begun to fall back on mankind’s first weapon: the
knife. ,
To serve this interest, albeit in a specialized fashion, the author
has attempted to strip knife fighting to its bare bones; presenting this
‘*Complete Book of Knife Fighting’’ in the form of three individual
studies.
These studies we have termed The Techniques; The Tools, and
The Tactics. With the first, we will examine the literature of knife
fighting; compare the subtleties of the Western world’s various
techniques; learn more of the foundation upon which these
techniques are based, and launch a brief, slightly evangelistic
examination of the Eastern world’s possible contributions.
In the second division of this book we will watch the pageant of
weaponry. Beginning with a capsule history of fighting knife
development, we will review major classes of design — noting both
the good and bad features of each — and end with a bit of advice
regarding knife concealment and methods of carry. All principal
fighting knife designs or styles will be touched upon: from the justly
famous dagger developed at the Commando Special Training Center
in Achnacarry, Scotland by Fairbairn and Sykes, to the latest entry;
the author’s own Tactical-Survivor, developed for use in Latin
America and the Middle East.
With this background and discussion behind us, we will begin the
study of practical knife fighting. To the reader’s possible dismay, this
third division will not take the form of a course. If anything, our final
area of study is a simple exposition of advice and logic. Methods are
presented which the careful reader is invited to take or leave, ac-
cording to his own abilities, motivations, and sense of reason. Any
‘“pioneer’’ methods introduced in this section will be based upon the
re-interpretation of existing knowledge, blended with techniques and
attitudes introduced from the knife fighting systems of Asia.
With the exception of this Asian influence, the author has at-
tempted to keep the present work on a straight and narrow path of
Western-style knife fighting. For this reason, you will find but few
words regarding bayonets, stick-fighting, or unarmed defense. The
subject of bayonets was treated admirably by the British Small Arms
School, which wrote in 1924:
‘In the war the utility of the bayonet as a cutlass or dagger proved
to be negligible, hence the demand for trench knives, clubs, etc. As a
means of clearing brushwood, etc. it is one of the most futile in-
struments imaginable.

6
 ‘‘As for killing shape it makes a very nasty wound, but is of bad
section for penetration and worse for withdrawal.’’
The practices of stick-fighting and unarmed defense will, it is
hoped, be better able to speak for themselves.
When first you read this book, you may find it a bit too
philosophical for your taste. This is to be expected: knife fighting is
not all glamor and glory, blood and guts. Respect for the practice of
knife fighting breeds serious thought, and serious thought breeds
better knife fighters. Understand this, and you will be well on your
way to mastery of the art. Do not be disappointed with this emphasis
on thought, nor, if you are truly serious about learning to use the
knife, the absence of thrills and chills from these pages. Perfect
physical activity begins with the mind, and in order to master the
body, you must seek to first improve the body’s master.
Beyond philosophy, however, we come to a small moment of
truth: actual use of the knife for &illing. Fine thoughts, com-
prehensive books, and custom-crafted fighting knives are fit com-
panions in the safety of home or barracks. In the field of conflict it is
only man himself who can make final judgement.
This book is a prelude and a preparation: a spring-board for further
research and greater study. Take what you read here, examine it
well, and subject it to your own set of tests. Practice what you will
learn from these pages, or the pages of the other books here
recommended. Practice seriously, before your own moment of truth.
Think deeply before your own final judgement.
To preserve your own life, the life of a loved one, or to further a
goal you believe is just, it is sometimes necessary to take the life of
another. This book, nor any other book cannot teach you to do this.
Books may only tell you what might happen, but never what will.

Note: In the following work, instructions or descriptions have

been written as though all parties involved were right-handed. In
virtually all cases herein, left-handed persons should merely read
these instructions or descriptions as if the reverse had been written.
Where this is not the case, appropriate commentaries have been
appended.
With only minor exceptions, this work has been written in the
masculine gender. This is not meant to imply that women are not
well-suited to knife fighting, or are in any way inferior. It is only a
convenience of the author.
 PART I: THE TECHNIQUES

HISTORICAL DEVELOPMENT
To the student of the sword, or rapier, the responsibility of
scholarship is easily served by a visit to any well-selected library.
There he will find endless references to books, tracts and monographs
treating every facet of his combative discipline. He may, if he so
requires, study his art in any of a dozen languages, and with very
little effort, should be able to compile a bibliography of these works
tracing back to the 14th century.
The student of knife fighting, as a specialized technique, is not so
fortunate. The written history of knife fighting is somewhat more
select and confined; being largely a collection of small booklets and
pamphlets, leaflets and half-finished manuscripts. Although the
practice of conflict with edged weapons encompasses virtually all
countries and civilizations, as far as the written word is concerned,
knife fighting has played but a small role.
The reason for this disparity of information may be found by
discovering the level of esteem to which knife fighting was held in
earliest record. In Trattato di Scienza d’Arme, published in 1604,
M. Camillo Agrippa, the great fencing theorist, makes mention of
the dagger only as asupplementto the rapier. Later writers were less
kindly disposed, declaring the dagger or knife ‘‘suitable only for
sticking frogs,’’ and thus wholly distasteful to the better class of men.

9
 In the days when sword and rapier neid sway, knife fighting was
the realm of peasants and vagabonds. Gentlemen of breeding utilized
the Jagger or knife only as a matter 6f convenience, or as a parrying
weapon in connection with the sword.
By the 18th and 19th centuries, however, the sword was rapidly
falling before the knife. It is in this time period that we begin to see ©
the advent of published works upon the particular subject of knife
fighting. Manual del Baratero 0 Arte de Manejar la Navaja el
Cuchillo y la Tijera de los Jitanos, published in Madrid, in 1849, is
an oft-cited example. This work deals with the techniques of knife and
scissor fighting as practiced by Spanish gypsies.
In 19th century America, schools of knife fighting were
established, inspired by the widely published exploits of James Bowie.
These schools, many of which were situated in or around New
Orleans, purported to teach the art and science of Bowie knife and
‘*Arkansas Toothpick’’ handling. They began, for the most part, in
the late 1820’s and early 1830’s, and apparently enjoyed a sub-
stantial following until restrictive legislation forced their demise.
The introduction of the revolver caused the practice of knife
fighting to retreat from favor, and few published references (other
than the purely anecdotal), can be found from the period of about
1860 to the early 1900’s.
With the beginning of World War I, interest in knife fighting once
again ascended to general popularity. In America, a great deal of
thought and discussion was devoted to equipment and combat
techniques for trench warfare. Naturally, this led to renewed interest
in the knife.
At the close of World War I, interest in knife fighting briefly
subsided, to be kept alive by individuals rather than nations. On the
eve of World War II, however, the practice of knife fighting was
beginning upon what could rightfully be called its renaissance period.
THE RENAISSANCE
OF KNIFE FIGHTING
World War II saw the practice of knife fighting become formalized
into two basic schools of methodology, each having certain
refinements of technique in common with the other. In addition, the
war years also produced a flurry of knife fighting pamphlets and texts,
as never before witnessed in the history of the art.
The two schools mentioned above enjoyed their greatest
development during the decade of 1940-1950. Their creation was the
result of effort put forth by four dedicated edged weapons theorists:
Major W.E. Fairbairn, Lieutenant-Colonel A.J.D. Biddle,
10
Lieutenant-Colonel Rex Applegate, and former U.S. Marine John
Styers.
To Major Fairbairn, we owe the so-called Commando Technique,
with extensive later refinements provided by Lieutenant-Colonel
Applegate. ,This technique, known to some as the ‘‘Shanghai
School,’’ (After the city where Major Fairbairn first developed his
theories), was widely favored by British Commandos, O.S.S.
operatives, and the First Special Service Force. It has since formed the
basis for instruction given to all members of the United States Armed
Forces.
The second school of practice, variously referred to as the Sabre
Technique, or ‘‘Formal School,’’ was developed by Lieutenant-
Colonel Biddle, and was once adopted as the official method of
training the U.S. Marine Corps. This school saw its greatest
refinement at the hands of John Styers, and his collaborator, Karl
Schuon. Styers became quite a proselyte of Biddle’s methods (later
termed the “*Styers Method’’); touring various Marine, Army and
Air Force bases around the United States, conducting special
courses. The Styers Method has, as a result, became quite a favorite
with many U.S. troops, and is reputed to be the method by which this
country’s clandestine operatives are instructed.
We will here begin an individual study of these men and their
works. The author has chosen Fairbairn, Biddle, Applegate and
Styers as a focal point, not only because of their immense con-
tributions to the art of knife fighting, but their published works as
well. By virtue of these published works, they are the instructors
most familiar to the average student of knife fighting. We will discuss
them here in the relative order of their appearance.

W.E. Fairbairn
Perhaps no one man has more influenced the art and science of
close-quarter combat technique than Major W.E. Fairbairn:
Assistant Commissioner (from 1927 to 1940), of the Shanghai
Municipal Police; author of an approved standard Individual Combat
instruction for the British Army, and, with E.A. Sykes, designer of
the now legendary Fairbairn-Sykes Fighting Knife.
Beginning in 1942, with the publication of his book Get Tough/
How to Win in Hand-to-Hand Fighting, (published in England as
All-In Fighting), Fairbairn’s gospel has since spread tovirtually every
military and police force on the face of the globe, and has certainly
influenced such authorities as Biddle, Applegate, Styers, and
others...
This, in itself, is rather surprising, for Get Tough! devotes but
little text to the subject of knife fighting. Presumably, Fairbairn’s
11
 Figure 1
Title page to Trattato
di Scienza d'Arme,
published in 1604,
showing
portrait of Agrippa,
the great
fencing theorist.

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Figure 2 The dagger as adjunct to rapier, according to Agrippa.

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main influence came from the scores of young men he personally
trained in the use of the knife.
What Get Tough! did accomplish, however, was the isolation and
identification of the principal body areas most vulnerable to knife
attack, and the introduction of structure and thought to what had
formerly been the province of street-brawlers.
To Fairbairn’s logical way of thinking, in order to begin upon the
study of knife fighting, it was first necessary to learn the vital areas of
a man’s body, and then proceed to build a system of reaching them.
All else was discarded as unnecessary.
Although there are many nerve ganglia, blood vessels and
ligaments in reach of the ordinary knife blade; from a tactical stand-
point, Fairbairn advocated but six target areas, as follows:
1. Brachial Artery
. Radial Artery
. Carotid Artery
. Subclavian Artery
Heart
KRwWn
DAU. Stomach
These six areas, he felt, were the areas most accessible to the knife
fighter: the areas which, when cut or stabbed with full force, would
be most likely to cause death, and the areas which, when cut or
stabbed with but moderate force would still create the greatest shock.
Fairbairn then carried his research a bit further, and through some
unknown agency, produced a detailed ‘‘Timetable of Death.’’ A cut
or thrust to each respective area was evaluated in terms of the
vulnerable point’s depth below the surface of the epidermis, time
elapsed until loss of consciousness, and time elapsed until death.
Whether Fairbairn’s findings were purely theoretical, being taken
from some medical text, or whether they were the result of more
practical research is a matter for conjecture.
According to Fairbairn’s timetable, we are able to surmise that
strikes to the Carotid Artery, Subclavian Artery, and Heart are the
most effective, while those to the Radial Artery, Brachial Artery,
and Stomach are the least effective, if only in more or less relative
terms. Nevertheless, Fairbairn did advocate cuts and slashes to the
Radial, Brachial and Stomach areas, presumably for their shock
value. As to the Subclavian Artery, Fairbairn gave this sage advice:
‘This is not an easy artery to cut with a knife, but, once cut, your
opponent will drop, and no tourniquet or any help of man can save
him.’”’
Indeed, many latter-day practitioners of knife fighting have all but
discarded the Subclavian cut, as it requires the knife to be held in a
less than satisfactory grip.
13
 As mentioned previously, Major Fairbairn was employed as
Assistant Commissioner of the Shanghai Municipal Police from
1927 to 1940. During this period he necessarily came in contact with
a great many members of the U.S. Marine Corps, stationed in China
in large numbers from about 1927 to 1940. These were the men who
would later be responsible for the enormous spread of Fairbairn’s~
combat methods.

W.E. Fairbairn's Timetable of Death,” from his book Get Tough! This
picture also illustrates the approximate location of vital target areas.
(Used Here by Permission).
Figure 3

Depth be- Loss of

No. Name of Size low Surface |Consciousness Death
Artery in inches in seconds

I Brachial |Medium Vy, 14 14 Min

2 Radial Small Y, 30 2 5
3200 |)Carotid Large 1% 5 £2 eC
4.... |Subclavian |Large 2 Y, 2 3 WA “

5 (Heart) —— 3% Instantaneous | 3 *
6 (Stomach) |—— 5 Depending on
depth of cut

14
 Beginning in the early 1930’s, Major Fairbairn took the op-
portunity to become acquainted with a number of the officers in his
jurisdiction; infecting them with his enthusiasm for the novel
method of close-quarter combat he termed ‘‘Defendu.’’ Defendu
was, actually,. a highly westernized version of Jiu-Jitsu.
One officer so infected was Ist Lieutenant Samuel G. Taxis.
Lieutenant Taxis was Battalion Instructor to the 4th Marines, and
trainer of the Marine Boxing Team which won the Boxing Cham-
pionship of China. More importantly, he was also a former pupil of
Lieutenant-Colonel A.J.D. Biddle; having received his first in-
struction from Biddle while the latter was Individual Combat In-
structor at the U.S.M.C. Basic School for Officers.
Discovering their common interests, Fairbairn and Taxis un-
dertook to instruct large numbers of the 4th Marines in both Defendu
and knife fighting. In at least one instance, it is recorded that Fair-
bairn and Taxis offered this instruction to an armed contingent of
200 Sikh police, then stationed in Shanghai. It would seem from this
that Fairbairn’s methods knew no international boundaries.
Lieutenant Taxis returned to the United States about 1935-’36,
heavily steeped in Fairbairn’s methods. Upon his arrival, Taxis was
able to inform his old instructor, Biddle, of the Fairbairn innovations.
Suitably impressed, Biddle decided to incorporate many of these
methods into his famous book, Do or Die. Thus, to 1st Lieutenant
Samuel G. Taxis, by way of Lieutenant-Colonel Biddle, we owe the
introduction of Major W.E. Fairbairns’ methods to the United States.

A.J.D. Biddle
Lieutenant-Colonel A.J. Drexel Biddle, U.S.M.C.R. was the
classicist of knife fighting, its grandest gentleman and finest scholar.
He is the recognized dean of American close quarter combat in-
struction, and holder of knife fighting’s most impressive credentials.
Biddle began his instruction in knife, sword, and bayonet under
Major William J. Herrmann, an early American Fencing Champion
and World’s Bayonet Fighting Champion. Later, he was to receive
instruction from Britain’s J.H. Hawkins, sword instructor of the
King’s Royal Horse Guards. Other instructors with whom Biddle
studied extensively were Broadsword Champion M. Thomas, In-
ternational Sword Champion Jean-Marie Surget, and fencing master
J. Martinez Castello, of New York.
During the early 1930’s, Biddle served as Individual Combat
Instructor of the U.S.M.C. Basic School for Officers, and as Professor
on the Faculty of the Federal Bureau of Investigation; U.S. Depart-
ment of Justice.
15
 In 1935, Biddle was invited to become Individual Combat In-
structor of the Fifth Regiment, U.S.M.C., stationed in Quantico.
While so engaged, and at the suggestion of his commanding officer,
Biddle began work on his justly famous book, Do or Die: A Sup-
plementary Manual on Individual Combat.
Published in 1937, Do or Die was the culminating effort of over -.
twenty years spent observing, studying and practicing the various
arts of self-defense. As a tribute to Biddle’s work, Do or Die bears the
following citation on its title page:
‘‘This manual has been accepted by the United States Marine
Corps and issued as a guide for training in ‘Individual Combat.’ ’’
By virtue of his extensive training in broadsword and epee, Biddle
felt that classic swordsmanship would form an excellent basis for
improved knife fighting instruction. His belief in the need for such
improvement is underscored by these introductory lines from Part II
of Do and Die, the chapter on knife fighting:
‘‘Considerable space in this treatise is given to knife fighting,
because the Marines serve in many knife fighting countries and are
frequently called upon to capture or fight against the dagger, machete
or bolo ’’

So strong was Biddle’s indoctrination into the use of the sword,

that his entire method of instruction is built upon such maneuvers as
In-quartata, Passata Sotto, and other, similar movements well-
known to the duellist. In spite of his introductory remarks, nowhere
does Biddle acknowledge the fact that the users of ‘‘dagger, machete
or bolo’’ may not have been gentlemen, well-schooled in the tenets
of swordsmanship and fair play.
This was Biddle’s greatest weakness. He was a gentleman in-
structing other gentlemen in the ritual of knife fighting. As such,
many of the methods he advocated come down to us as nothing more
than quaint reminders of an earlier (and perhaps better), age of
conflict.
Biddle’s methods did, however, make a singularly valuable
contribution to the formalized instruction of knife fighting: the hand-
cut. The hand-cut is described in his own words:
‘'The hand-cut is particularly prescribed for use with the bayonet
as knife and is an exquisitely scientific movement, taken from the
sword and known to few others than scienced swordsmen."
For the first time in recent history, the knife fighter was being
counseled not to strike full to the heart, throat, or other killing area,
but to instead concentrate his efforts upon the hand and arm of his
adversary. In this fashion it was felt that the knife fighter would gain
the greatest advantage over the unskilled — although presumably

16
 Figure 4

Die. This picture serves to strengthen the impression that Biddle’s

movements were somewhat out-moded by the 1940's. (Used Here by
Permission).

Dagger fighting in the 16th century. Figure 5

armed — opponent. Biddle acknowledged, and wisely, that it is not
always possible to make the first blow the last.
Biddle advocated the hand-cut as the principal method of
neutralizing what he termed the ‘‘underhand or overhand dagger
fighter.’’ Here, he refers to the two common methods of grasping a
knife or dagger, which in later times we have come to term the Ice-
Pick and Hammer Grip (see Part III: Tactics). As certain of the
accompanying illustrations will show, underhand and overhand
dagger fighting was well established in history; the practice being
encouraged by early-day knife fighting instructors.
Well into his chapter on knife fighting, Biddle abruptly changes
course from the classic to the more mundane. In doing so, he makes
these surprising statements:
“., The following course of instruction teaches the use of the
knife as prescribed by the late Colonel James Bowie, U.S.A.”’
‘.. The following course of instruction is after the teachings of
the Bowtie knife as prescribed by the Colonel himself: he was a
celebrated sword duellist.’’

Underhand guard position of the 16th century. Figure 6

18
 Overhand dagger fighting of the 17th century. Figure 7

These remarks are followed by other, equally ficticious inventions.

As Bowie scholars and historians will readily tell you, there is no
evidence whatsoever to indicate that —
1. Bowie ever gave “‘instruction’’ in the use of the Bowie knife;
2. Bowie was ever considered a ‘‘celebrated sword duellist.’’
Eye-witness accounts published contemporaneous with Bowie’s
most famous ‘‘duel’’ — the rough-and-tumble Vidalia Sandbar Fight
— show that the event was more of a brawl than anything else, and
Bowie certainly carried no sword. Nowhere, in fact, in Bowie’s
history is there any report that he even owneda sword. As to his
supposed instruction: history tells us that Bowie was far too occupied
with land-swindling, slave-running and other mercenary activities to
even consider conducting classes in knife fighting.
Biddie’s grasp of James Bowie’s influence on knife fighting was
wholly incorrect. One supposes he included the above remarks in an
attempt to indoctrinate the reader into believing he was carrying on a
fine tradition of American knife fighting.

19
 In his book, Biddle illustrated but seven basic moves. We will
examine these moves more fully in Part III: Tactics, and include
them here only to quickly familiarize the reader with Biddle’s
principal contributions.
These seven moves are as follows:
1. The Guard Position
. Outside Parry and Grab
. Inside Parry and Grab
. In-quartata
. Stoccata
. Passata Sotto
DN
BW
ND. Defense against overhand attack
In addition, counsel was given on the important aspects of blade
position, foot-work, and arm placement. This matter of arm
placement, or use of the free hand, was a significant development in
its day.
Briefly, the knife fighter was advised to use his knife much in the
manner of a rapier; executing rapier-like thrusts with the knife hand,
while the free arm was thrown straight to the rear. This was thought
to add velocity and balance to the maneuver. Although this is a
classic movement of sword-play, it is not out of place in modern knife
fighting.
In summary, we may say that while not a definitive method of
knife fighting, Biddle’s techniques were a first attempt at formalizing
the practice of knife fighting into an art which could be taught, rather
than acquired. We also credit him with the westernization of knife
fighting, due to his application of sword and rapier technique as
taught by the great French, Italian and English fencing masters.
Biddle’s works did leave a sizeable vacuum, however, and were all
but discarded by the 1940’s. During this critical period in our
nation’s history, another, more practical theorist was to make his
appearance.

Rex Applegate
If we are to characterize Fairbairn as the most influential man in
close-quarter combat technique, and Biddle as its classicist, then we
must certainly characterize Lieutenant-Colonel Rex Applegate as the
most influential man in close-quarter knife fighting. Applegate is the
scientist of knife fighting; its deepest thinker, and best known
strategist.
Applegate’s famous book, Kill or Get Killed, originally published
c July, 1943 by the Military Service Publishing Company, provided
the first really in-depth treatment of the subject of knife fighting ever
published in the United States. As a measure of this book’s
20
 Figure 8

The legendary Rex Applegate, America's most practical knife fighting

instructor, shown here demonstrating the Fence Grip. (reprinted from
Kill or Get Killed, Copyright (C) 1961 The Stackpole Company, Used
Here by Permission).

21
popularity ,it might be well to here mention that it has gone through
four editions and seven printings. This same material, in a sub-
stantially identical form, was later published in Applegate’s Crowd
and Riot Control, John and Robert Ek’s Your Silent Partner, and
The Fighting Knife, by W.D. Randall, Jr., creator of the well-known
Randall-Made knives.
What Applegate accomplished, more than any other writer before
or since, was the systematic exposition of knife fighting in its many
and varied forms. He covered the art in great detail, throwing light
on such arcane areas as methods of attack; sentry killing; con-
cealment; parry defenses; block defenses; racial preferences, and,
more importantly, the over-all psychology of the art.
From Applegate we learn of such niceties as the slash attack, back-
hand assassination techniques, and wrist holsters. All the sort of stuff
that the more romantic notions of knife fighting feed upon, portrayed
in a decidedly unromantic, no-nonsense fashion. When it comes to
knife fighting, Applegate is a practical man, and this practicality
shows throughout all of his writings on the subject.
If we generalize Lieutenant-Colonel Applegate’s contributions to
knife fighting, it will have to be in terms of this practicality. Ap-
plegate systemitized knife fighting, providing the student with a
means to quickly attain proficiency, through an understanding of
knife fighting’s various pro>lems.
Applegate began by assigning categories to knife wielders, as
follows:
1. The Trained Fighter
2. The Unskilled Fighter
3. The Slasher
Next, he proceeded to instruct the student in the best means of
either attacking or defending against each. Applegate was, however,
by no means naive enough to believe that all knife wielders could be
groupd into convenient categories. Under the heading Unskilled
Attack, Applegate had this to say:
“A knowledge of defense against knife attacks of this kind is
necessary, but it is a serious omission by any instructor to place all
knife users in this category and to conduct a training program ac-
cordingly.’’
In our modern day, Applegate’s words may sound like an un-
derstatement of acknowledged fact. A glance at many current
training programs will, however, underscore the urgency of Colonel
Applegate’s words.
Applegate also provided the first true exposition of the Parry
Defense. Where Fairbairn (and others) relied upon blocking
techniques for unarmed defense against the knife, Applegate saw the
22
potential danger in attempting to block unusually strong or fanatical
individuals. Perhaps more than anything else, Applegate wanted his
techniques to rely more upon cunning and deft handling than brute
force.
7

Figure 9

COMMON _ KNIFE GRIPS

DEFENSES APPLICABLE TO A DOWNWARD
KNIFE THRUST CAN BE APPLIED AS
WELL TO OVERHEAD BLOWS STRUCK
WITH A CLUB ETC.

BLOCK DEFENSES PUT INTO

THE UNSKILLED KNIFE EFFECT BEFORE MOMENTUM
WIELDER EITHER GRIPS 1S GAINED Witt BE EFFECTIVE.
HIS WEAPON LIKE THIS HOWEVER, THE PARRY, WHICH
OIVERTS THE DIRECTION OF
OR THIS THE THRUST, 1S THE BEST
INITIAL MOVEMENT AGAINST
Y ATTACK.

Common knife grips acknowledged by Applegate. (reprinted from Kill

or Get Killed, Copyright (C) 1961 The Stackpole Company, Used Here
by Permission).

23
 Figure 10

The great John Styers, here demonstrat

ing perfect guard position. A
large measure of credi t is due Styers
for his excellent work with the
military. (reprinted from Cold Steel,
Used Here by Permission).

24
John Styers
Through Fairbairn we arrived at Applegate. Through Biddle, we
arrive at former Marine John Styers: the fourth member of
America’s great quartet of knife fighting experts.
It is evident that Styers was a star pupil of the late Lieutenant-
Colonel Biddle, for the former’s now-famous book Cold Steel, is
liberally infused with the latter’s theories. There are, however, but
few of the quaint archaisms proposed by Biddle, for like Rex Ap-
plegate, John Styers seems to be an eminently practical man.
Briefly, Styers divided his course of instruction into five major,
and nine minor categories. An outline of his technique would look
like this:
I. Grip
II. Stance
1. The Sabre Stance
2. The Knife Duellist Stance
Il. The Thrust
IV. The Cut
1. The Vertical Cut
2. The Horizontal Cut
3. The Hand Cut
V. Technique
1. Distance (between opponents)
2. Targets
3. In-quartata
4. Passata Sotto
When we examine this outline, we of course realize the extent to
which Styers was influenced by Biddle, due to the emphasis placed on
sword technique. Basically, Styers’ work may be thought of as an
extension, or amplification of Biddle’s work in this area.
What Styers attempted to do, however, was to integrate this sword
technique iuto the practice of knife fighting somewhat more fully;
modifying it (where necessary), to allow for the technical
peculiarities of the weapon he advocated: the Bowie knife.
For this reason, Styers devotes considerable space to what he calls
the ‘‘natural whipping action’’ of the knife, observing that this
momentum of the blade may be used to greatest advantage when
making the vertical, or hand cuts. In this case, ‘‘whip action’’ is
defined as the Bowie knife’s natural inclination to bob up and down
(somewhat like a diving board), when extended in a full-length,
abruptly terminated thrust.
Styers continues, to give valuable insight to the physical
relationship between muscle and steel. This relationship may be

25
thought of in terms of the natural, physical tensions which develop
when the weapon is used. To illustrate, Styers offers the following
advice: ;
‘\ The blade must avoid making circles at the full extension of
the arm. These circles are the result of forced action of the wrist or
forearm, preventing the natural action of the blade.’’ :
This obviously is the statement of a man greatly in harmony with
his weapon, and bespeaks a painstaking examination of knife use. To
further illustrate, consider Styers’ advice regarding proper grip,
stated briefly and clearly:
‘1, Keep the wrist locked at all times; 2. Don’t arch the thumb on
the thumb guard, 3. Keep the blade on line with the forearm. ”’
Again, this advice is based on Styers’ observations of the
relationship between man and knife. This, the author believes, is
Styers’ principal contribution to the art of knife fighting. To him we
owe the introduction of weapon consciousness, something which —
while not altogether lacking from previous methods — was never-
theless glossed over.
Styers has placed his greatest emphasis on agility and
maneuverability. Quickness and deft handling are, to him, the
qualities most highly prized in modern knife fighting. With this we
must agree. Whether this agility and deftness should be based upon
the European system of sword science, is a question we will take up in
the succeeding paragraphs.

THE RATIONALE OF TECHNIQUE

Up until this point, we have been concerned with a discussion of
knife fighting as it is taught in America today. Now we will examine
the base upon which these methods of instruction have been founded.
At the same time, we will launch an investigation into the great
edged weapons systems of the East, particularly those of Japan.
‘In the history of the dagger and its use in combat, we can see
many of the principles governing the development and use of the
sword.’’
So writes Arthur Wise, in his excellent book The Art and History
of Personal Combat. It is an accurate statement, for it seems that
much of what we know about the techniques of knife fighting has
come to us through the many and varied practices of swordsmanship.
We may further qualify this statement by adding that the principles in
questions are large European, or Western in origin.
Egerton Castle, writing in Schools and Masters of Fence: From the
Middle Ages to the End of the Eighteenth Century (London, 1892),
makes the following statement:

26
 Figure 11

c
ida
E «
i Ncrafia
Va a)
HePy Oty
if

These two worthies illustrate what is meant by “closing in and

wrestling," as practiced in 16th century Germany.

‘The dagger has been at most times, and in all countries, the
natural companion of the sword, and for obvious reasons: a reversion
to ‘natural fighting,’ by closing in and wrestling, was always a likely
termination to a more civilized and scientific combat.’’
The clue here, as we shall soon see, is the word ‘ ‘civilized.’’ Knife
or dagger fighting, as pointed out earlier, was never very highly
regarded among early edged weapons systems. How then did knife
fighting come to be governed by the principles of swordsmanship? To
answer this question, and to illustrate the ‘‘westernization’’ of knife
fighting, it is necessary for us to briefly return to the period of the
sword’s decline.
Many scholars trace the decline of the sword to the abolishment of
Compagnie des Maitres en fait d’Arme des Acadmies du Roi en la
Ville et Faubourg de Paris, (the supreme authority on matters of
sword science), during the French Revolution. The Revolution
spelled the doom not only of the leisured class of gentlemen, many of
them devoted hAabitues of the French Academy, but of the ‘‘gen-
tleman’s weapon,’’ the sword.
Prior to the Revolution, a great and vast system of sword use had
covered the whole of Europe. Sword use had become more of a sport
than a means of combat, with fencing taking on all the characteristics
of a parlour diversion. Each country boasted their national hero, their
Sword Academy, and each locality their favored instructor. Duels
were fought purely for the knowing of which school or technique was

27
 Figure 12

Coat of Arms granted to the French Academy in 1656 by Louis XIV.

(Author's collection)
‘‘better’’ and for no other reason. Thus, we can see where sharp
distinctions were made between mere conflicts, and conflicts where
honor, or skill were involved. This is the notion of ‘‘civilized’’ sword
use mentioned earlier.
After the Revolution, with the great French Academy in disarray,
similar traditions, such as those of the Spanish and Italian sword
masters, soon ceased to exist. Public focus shifted to weapons a bit
more practical, or military in nature.
Naturally, the dagger and knife, being weapons of the populace,
received wide favor in the Socialistic climate of post-Revolution
Europe. As with most Socialistic endeavors, however, one badge of
rank was removed merely to be replaced by another. The dagger,
knife, or stiletto, once the weapons of vagabonds, and, perversely,
gentlemen, again became de rigueur. As before, methods of in-
struction were erected around their use.
In searching for appropriate methods of instruction, those who
favored the knife were forced to return to the sword sciences of pre-
Revolution days! The logic here demanded that if the knife were,
indeed, an edged weapon, it behooved the knife fighter to base his art
upon the maneuvers of the Queen of Edged Weapons: the sword.
Thus, the cycle of edged weapons instruction was complete, after
much sound and fury which, in the end, signified really nothing.

28
THE EASTERN SCIENCE
As we have seen, each of the four great instructors, Fairbairn,
Biddle, Applegate and Styers, were men well-schooled in the art of
fence. Because of this schooling, and because of the influence each
brought to the other, it is extremely difficult for us to separate their
techniques from the rich fabric of European swordsmanship.
With the possible exception of Fairbairn, it is doubtful that any of
these men were ever exposed to the purely Eastern or Oriental
methods of blade-handling.In Fairbairn’s case it may be supposed
that like all good Colonialists, what little exposure he might have had
was quickly passed over as imperfect. Witness, for example, the
Oriental art of jiu-jitsu quickly becoming ‘‘Defendu’’ at his hands.
Be this as it may, it is the author’s belief that the Oriental science
of blade use is far superior to the European, and the art of knife
fighting would receive much benefit from a careful investigation of
the Oriental techniques. Accordingly, we will here include the brief
exposition of a few specifics gleaned from the Japanese. Why Japan
you ask? Why not India, Persia, Arabia or China? We choose Japan
for the simple reason that history has shown us well the Japanese
Samurai were the greatest masters of live steel who ever lived.
Tai-jutsu and Kenjutsu
The two major disciplines whereby Samurai were instructed in the
use of edged weapons are known as Iai-jutsu and Kenjutsu. lai-jutsu
is the study of drawing the sword, while Kenjutsu is the study of
actual conflict. Both of these disciplines, if properly utilized, bring an
entirely new dimension to our primarily westernized practice of knife
fighting.
The Japanese hold a number of concepts which should be regarded
as extremely important by the modern knife fighter. These concepts
are as follows:
1. Combative-engagement distance (ma-at)
2. Opportunity (suki)
3. Domination (zanshin)
4. Continuity of Action
To the above we will add a fifth concept: that of kobo-ichi, defined
by the great martial arts scholar Donn F. Draeger as ‘‘the
phenomena by which offensive and defensive actions are basically
one.’’ As we will see, all these concepts act together, forming a
larger, cohesive whole.
Combat-engagement distance is the distance from one another at
which two opponents will clash. In its elemental sense, it is a concept
which has been acknowledged by all swordsmen and knife fighters. In
29
our present day, we see it presented by John Styers, under the
relative heading ‘“Distance.”’
It is not, however, a predetermined distance, nor, ideally, should
it be measured in feet or inches. Combat distance is a mental attitude
of the man in harmony with his own forces: forces like fear, decision-
making, emotional response and aggression. ~
In a gross physical sense, combat distance is supposed to be
determined by the particular weapon one is facing. Spiritually,
however, the author believes it is the spontaneous unleashing of wil]
upon reaching the correct crescendo of all emotional and physical
focus. In this sense, combat distance would involve the seizure of
opportunity (suki), although it is the author’s belief that this seizure
should not involve the decision-making process.
In any given conflict, one’s goal should be that of gaining
maximum advantage through every physical and mental action. This
goal may be achieved in one of two ways —
1. Immediately establishing superiority over the situation;
2. Allowing each and every mental and physical action to build
upon the other, until a climax is reached and the adversary falls.
Inherent in this last is the idea of all defensive and offensive actions
being principally the same thing. Obviously, if you are to gain
maximum advantage or superiority, your every action must be
perfect and blameless. Every motion must defend you, weaken your
opponent’s defense, and establish your domination, all at the same
time.
Here too, we may see what is meant by continuity of action. This
is not a purely Japanese concept, but is well established in the causual
sciences of all Asia. Briefly, and very basically, we can illustrate this
concept by using the example of a hypothetical knife fight:
In our imaginary fight, one adversary directs a thrust to the other
adversary’s throat. To our western way of thinking, this single thrust
would constitute but a single activity, complete in itself, You will
notice that all of the methods previously discussed, whether authored
by Fairbairn, Biddle, Applegate or Styers, gave primary emphasis to
such singular actions, and each action was treated separately, as a
thing apart from the total conflict.
Continuity, on the other hand, demands that the thrust be con-
sidered as merely one small element of a larger action —
1. The fight itself;
2. The opportunity to direct thrusts;
3. The thrusts themselves;
4. The return to battery position.
Each element acts upon the other, but they do not act in-
dependently. Quite the contrary: the above four elements are taken
collectively, and thus represent the whole of the fight.
30
 One can easily see that knife fighting is somewhat like playing
pocket billiards: it is only possible to ‘‘run the table’’ (or kill one’s
opponent), if one correctly sets up each successive ‘‘shot’’ (the strike
or thrust), through the use of proper ‘‘english’’ (the awareness of
continuity of action). Any movement on the part of the figher must
immediately place him in a position where —
1. He is not open to counter-attack;
2. He is firmly grounded to continue the conflict.
For this process to be achieved spontaneously, or without formal,
concentrated mental effort, obviously requires a great deal of training
in the more practical aspects of conflict. In essence, the ability to
‘“‘act without thinking,’’ is best gained through actual, mortal
combat.
To many of us, the opportunities for actual engagement are slight,
and this is really as it should be. To achieve the purpose at hand then,
it has been necessary to devise methods by which this experience may
be gained, without the necessity of bloodshed. The Japanese call their
particular method sotai renshu; the development of the habit of
resourcefulness in combat through training against a partner. As any
student of the marital arts will recognize, this is a method built upon
the practice of the ‘“‘pulled punch.’’ Here we are not dealing with
bare fists, however, but the prospect of live steel, which is an ideal
way to quicken anyone’s wits.
The practice of sotai renshu is very formal, and involves a great
deal of prior training. As such, it would be a mistake for us to here
consider the specifics of how it is done. We may, however, quickly
outline a method by which the interested knife fighter may gain many
of the benefits of sotai renshu.
To practice this method, which we will call sparring, it is
necessary to have wooden practice knives, and a suitable partner. A
large bed-sheet is also needed, and a well-lighted, properly ventilated
area to work in. It should be noted that the wooden practice knives
must closely approximate the size and weight of the knives which
would be used in actual combat. This may be accomplished by
duplicating the combat knife in wood, and then filling the blade and
handle with lead as needed.
First, the bed-sheet is laid smooth upon the ground, and each
sparring partner takes up his position at either edge. Next, the knife
arm is extended full length, from the shoulder, at right angles to the
body. With the knife in the hand, the distance to which the arm is
extended is noted, and a semi-circle is drawn upon the bed sheet,
with the feet being used as the pivotal point. (See illustration). This
process is repeated for each partner, and the purpose of it is to
graphically represent the effective field of action each player enjoys.

31
 Figure 13

’ Effective Field of Action is, in essence, nothing more than "reach."

Proper awareness of EFA is crucial, however, and should be developed.
At this point, the preliminaries are over, and it is time to begin
actual practice. Each partner is resolved to strike as many telling
blows on the other as he possibly can: at the same time taking care
not to be struck himself. The partners take up their positions, and at a
pre-arranged signal —
1. Knives are drawn;
2. Stance is taken;
3. Engagement is made;
4. Return to battery position is made.
Briefly, the process works something like this: You are faced with
a situation requiring engagement. You face your opponent, draw
your weapon, strike him, and return to battery (correct stance), a/l in
one continuous motion. Your opponent attempts to retaliate, but you
are, to him, seemingly always in the most defensible position. Your
strikes should not be merely one-point strikes to a particular target.
Instead, you should seek to inflict maximum damage at the time
when you are most vulnerable — when you are inside your partner’s
field of action.
Thus sparring strikes should be made with force, and with the
intention of letting your opponent know he’s been hit. Partners are
warned not to take turns being the ‘‘aggressor,’’ or ‘‘defender,’’ as
in a knife fight, both parties are the aggressor! The only sacrifice
made to form in the early stages of this sparring is that after every
engagement, both partners must return to battery position. After
practice has progressed to the point where both partners are confident
of their abilities, this rule is broken, and action continues for timed
intervals of three to five minutes, five such intervals making a bout.

32
 The quick return to battery after engagement has the following
beneficial qualities —
1. The partners are better able to count the number of blows each
has landed;
2. The partners are constantly developing the notion of continuity,
and cultivating awareness.
It should be mentioned here that the above is merely one method of
knife training, and several other methods are available to the in-
terested student. These may be found by studying the various Field
Manuals of the Armed Forces, or from the martial arts academies.

33
 PART IT: THE TOOLS

HISTORICAL DEVELOPMENT
In 1966, Harold L. Peterson wrote his now well known book,
Daggers G Fighting Knives of the Western World, which almost
immediately gained a wide following among U.S. and British edged
weapons enthusiasts. Many of the popular beliefs regarding the
development of the dagger and fighting knife may be traced directly to
this book, and rightfully so, for it is among the finest ever written
on the subject.
According to Peterson, although copper knives and daggers were
being made in Egypt, Mesopotamia, and other areas of the Near East
by about 6500 B.C., the true fighting knife did not appear until
approximately 4500-3500 B.C. It is in this context that we begin our
brief studyof the early development of the fighting knife on a world-
wide basis.
Among the first so-called fighting knives were those crafted by the
Egyptians, approximately 3500 B.C. These were followed by the
bronze daggers of the Sumerians in about 2500 B.C., and those of the
Scandanavians, which appeared during the great ‘‘Dagger Period’’ of
1800-1500 B.C.
The Hittites are credited with the first iron-bladed fighting knives,
which made their appearance c. 1500 B.C. The Hittite methods of
blade-smithing were subsequently lost to the Philistines, and then to
35
the Jews, in the period from 1025 to 975 B.C. By 700 B.C., iron
daggers and fighting knives had extended to both Greece and Egypt,
and within the next century, to Britain and India.
In about 400 B.C., the double-edged dagger began to die out, to be
replaced by the single-edged knife. The popularity of both dagger and 2
fighting knife continued to decline until the 9th and 10th centuries
A.D., when they were revived by the Viking culture. Part of the
reason for this decline was the forenamed introduction of the single-
edged blade, which relegated the knife to more utilitarian purposes.
In spite of this, it was through the agency of one particular single-
edged weapon that fighting knives once again ascended to general
favor. This weapon was the Viking scramasax, a very formidable
instrument, thought by many to be the ancient ancestor of the Bowie
knife. The scramasax proved to be among the world’s most popular
fighting knives until the beginning of the Middle Ages.
Thereafter, during the period of about 1200 to 1500 A.D., seven
major dagger families made their appearance. Of these, Peterson has
characterized the Rondel, Baselard, Quillion Dagger, Ballock Knife,
Earred Daggerand Cinequedaas the most influential types.
The 17th century saw the introduction of the bayonet, with the
dirk following in the 18th century. To the 19th century we owe
that prince of fighting blades, the Bowie knife; in its first or earliest
form, more of a short sword than a true knife.
Thus it is that the fighting knife, or dagger, possesses within itself
a history reaching back almost eighty centuries. A proper ap-
preciation of this history is essential to any study of the fighting
blade, especially because we are now (and have been for the past three
centuries), in an era of derivative design. Although many
modifications and minor refinements have been made in the past —
and continue to be made in the present — in a very general sense,
nothing really new has been introduced to the design of fighting
knives in at least a century.

TOOLS OF THE TRADE

While it is not the primary purpose of this book to give an
exhaustive study of fighting knife development, it is central to our
purposes to provide a sound overview of the ‘ ‘tools of the trade.’’ To
accomplish this, we will place our principal emphasis upon present
day knives which have —
1. had a profound effect upon the means by which the art of knife
fighting is taught;
2. had a profound effect upon the design of later fighting knives, in
general.
36
 It may be said that the whole of current fighting knife design
revolves around two basic types, or styles, which in themselves owe
their greater origins to antiquity: the Fairbairn-Sykes Fighting
Knife, and the Bowie knife.
To be sure, there are such types as the U.S. Mark III trench knife,
the Mark I trench knife, the Gurkha &ukri and others, but the
Fairbairn-Sykes and the Bowie still continue to exert the greatest
influence over both the design of fighting knives, and the practice of
knife fighting.

The Fairbairn-Sykes
Until quite recently, the F-S Fighting Knife was thought by many
to be the ultimate in fighting knife design. Of course, we are im-
mediately troubled by nomenclature here, as the F-S is, more ac-
curately, a fighting daggerrather than a fighting knife.
Originally developed by W.E. Fairbairn and E.A. Sykes for the use
of the British Combined Operations Command, this weapon was also
briefly issued to operatives of the Office of Strategic Services, and to
members of the American forces (designated variously as the V-42,
which was used by the lst S.S.F., and the ‘‘Camillus Stiletto,’’
issued to Marine units in 1943). The F-S reached its greatest level of
popularity during World War II, and has lately enjoyed a good deal of
recognition from the Studies and Observation Groups of the 5th
Special Forces.
In its first, or purest form, the F-S was an excellent weapon indeed.
The author’s own specimen, acquired by way of a former O.S:S.
operative, is a notable example. Originally issued to a member of the
No. 6 Commando (a group which served with distinction in the long-
remembered Raid of Vaagso, Norway, December, 1941), it is of the
type manufactured in Britain during the very early stages of the war;
probably about 1940. The handle is of brass, bearing the rare form of
‘*beads and ridges’’ tooling; the blade is blued, and the weapon is
perfectly balanced. This knife is, no doubt, a perfect example of what
Fairbairn and Sykes had in mind when the weapon was designed.
There is evidence which leads one to believe that this particular
specimen is from a lot manufactured under Fairbairn’s direct
supervision.
The Fairbairn-Sykes rapidly deteriorated from this ideal form,
however, as brass was quickly found to be a strategic material. Later
handles were fashioned of aluminum, wood, and in certain cases,
even leather. With this change in handle material naturally came a
change in the weapon’s weight. Asa result, later examples of the F-S
will often have a severe balance problem. Indeed, although the
original specifications for this weapon called for an over-all weight of
37
 Figure 14 Figure 15

end
Peen
over

thisshaft
of
end
Thread

shaft.
Dia. Handle

Ye"shaft
Blade
andpiece.
are
one Checkered
»

9/64”
hole
Die.
handle
in

The original design for the Fairbairn-Sykes Fighting Knife; developed

at the Commando Special Training Center in Achnacarry, Scotland by
W.E. Fairbairn and E.A. Sykes. (reprinted from Kill or Get Killed,
Copyright (C) 1961 The Stackpole Company, Used Here by Permission).

The rare beads and ridges" form of the Fairbairn-Sykes, manufactured

during the early stages of World War II. (Author's collection)

38
but six ounces, the author has examined supposedly ‘‘original’’
models weighing up to a pound!
Fairbairn no doubt designed this weapon with the fencing foil in
mind, in keeping with his ideas of a darting, thrusting, parrying knife
attack. Wefe knife fighting confined to two-man frontal assault
situations, the F-S would rank among the world’s most efficient
weapons. But most knife fighting is not a man-to-man practice, and
the F-S has therefore, been found tod be somewhat limited in ap-
plication. In addition, a number of design defficiencies have been
discovered during the years of its use.
Points to consider in choosing the F-S as your weapon are as
follows:
1. The blade is long, slim, and sharply tapered to an extreme
point, thus rendering it liable to breakage.
2. The blade of the F-S is of the ‘‘round tang’’ design, which may,
in certain cases, result in weakness at the junction of blade and
handle.
3. The weapon’s handle is cylindrical, and difficult to orient in the
hand by “‘feel’’ or tactile sense. This cylindrical design also makes
the knife subject to twisting or rolling from the hand.
4. The knife bears a cross-guard, which can be snagged on clothing
during penetration or withdrawal.
The above is, by no means, meant to read as an indictment of the
F-S. Rather than follow the normal course of presentation favored by
most guides, and present a weapon only in its most favorable light,
the author believes it will better serve the interests of the reader if a
point is made of these defficiencies, rather than ignoring them
altogether. After all, you may one day stake your /ife on this weapon.
If you do, it is best to have some idea of the weapon’s limitations
firmly in mind, so you will not expect the impossible.

The F-S has directly influenced a number of other fighting knives.

Among these are several of the all-purpose combat knives made by
today’s cutlery manufacturers and custom knifemakers.
A particularly excellent fighting /survival knife which has a great
deal in common with the F-S is Gerber’s Mark II, designed by Mr.
Al Mar, resident design engineer with Gerber Legendary Blades,
Portland, Oregon. The Gerber Mark II is made from the low-alloy
grade L6 tool steel also known as Reading Double Service Steel, and
shipped from the factory with a relative hardness of approximately 58
on the Rockwell ‘‘C’’ scale. The handle, which is semi-cylindrical, is
covered with a ground thermosetting vinyl material, and- is per-
manently bonded to the blade’s tang.
39
 Figure 16

'
‘
u
‘
t
uto
t
+
4
'
J
t
'
4
u
4 te
u
’
¢
u
U

The Gerber Mark Il Fighting Survival Knife. A great favorite among

U.S. troops overseas and at home. (Knife Digest Photo)

40
 While not a true Fairbairn-Sykes in the strictest sense (the blade
possesses a series of saw-teeth), the influence is nonetheless apparent.
The Mark II became a great favorite of ground troops during the
Vietnam conflict, and continues to be a popular choice among
servicemen.” At a retail price of approximately $45., the author
believes the Mark II to represent a good zac and is thus able to
recommend its purchase.
Among custom knifemakers, Johm Cooper, W.D. Randall, Jr.,
John Smith, James Lile and Ralph Bone have all crafted blades in-
fluenced by the Fairbairn-Sykes. In each case, however, these
custom-crafted blades will bear the mark of the maker’s own ideas
regarding the perfect knife. Because of this, the interested reader is
advised to shop around.
One final word about the Fairbairn-Sykes: numerous published
references have termed the F-S as ‘‘Sykes-Fairbairn,’’ ‘‘Fair-
birn, Fairborn, Fairbern Knife,’’ and etcetera. In his book Get
Tough!, Major Fairbairn termed his blade the Fairbairn-Sykes
Fighting Knife. We have accepted Major Fairbairn as the best
possible authority.

The Bowie Knife

Modern edged weapons historians now believe that the Bowie knife
was not original with James Bowie. Rather, it was the Bowie family’s
imterpretation of a much earlier form of fighting knife: the so-called
Spanish Dagger. )
The false edge and double quillion guard which we have come to
associate with the typical Bowie knife are thought to have been in-
troduced by a cutler named Henry Schively, who worked in
Philadelphia, Pennsylvania during the 1820’s and 1830’s.
In the words of Bowie biographer Lucy Bowie, writing in 1916:
‘In 1832, the brothers went North. Rezin wished to consult the
celebrated Doctor Pepper, of Philadelphia about his eyes. On that
same northern trip he gave into the hands ofaPhiladelphia cutler the
model of the Bowie knife. The cutler improved it and placed them on
the market. The blade was shortened to eight inches; a curve was
made in one side of the point and both edges were sometimes shar-
pened.’’
According to theory, Schively was the cutler visited by James
Bowie’s brother Rezin on that trip to Philadelphia. This theory is
based on the fact that Dr. Pepper’s office was located at number 225
Chestnut Street, Philadelphia, while Henry Schively’s shop was
located at number 75 Chestnut Street.
But no matter who is responsible for the ‘‘invention’’ of the Bowie
knife, it has certainly endured to become America’s most influential
41
 Figure 17

This is a modern reproduction of a relatively late form

of Bowie knife:
one which exhibits English influence by virtue of its "coffin
handle."
(Knife Digest Photo)

42
 Figure 18

Figure 19

Figure 20

NZ Z
IS

The weapon pictured here was made by custom knifemaker Bob Dozier
to resemble a typical Bowie knife of the 1830-1850 era. It is this style
that collectors have come to regard as ''classic."” (Knife Digest Photo)

The "KA-BAR" fighting-utility knife, much favored by American forces

since World War Il. Shown here with type MK-2 scabbard. (Knife Digest
Photo)

The first of the modern sub-hilt fighting knives, made in 1957 by noted
custom knifemaker Robert W. Loveless. Loveless pioneered the sub-hilt
treatment, but has abandoned the Bowie blade style illustrated here
for the ‘dual grind'' form shown elsewhere (Photo courtesy R.W.
Loveless)

43
edged weapon. During the period of its most frequent use, and well
into the Civil War years, the Bowie was highly prized as a fighting
knife by scores of combatants. Over the course of these years the
Bowie developed into a form which we have come to regard as
typical: a heavy bladed weapon, approximately a foot in length;
bearing cross-guard and clip point; used for stabbing, thrusting, and “
the over-hand slash.
Among latter day fighting knives which have been influenced by
the Bowie are such famous makes as the Randall Model 1; Randall
Model 14; Loveless 612’’ Fighting Knife; Dan Dennehy’s Green
Beret Model; the Navy’s Mark II; and the U.S. Marine Corps’
fighting-utility knife. (Better known as the ‘‘KA-BAR,”’ after the
tang-mark of its maker, the Union Cutlery Company.)
Another fighting knife which may be thought of as Bowie in-
fluenced — although not in the strict Bowie style — is the combat
and survival weapon manufactured for Argentina’s forces. Marked
Fabrica Militar De Armas Portatilies ‘‘DM’’ Rosario D.G.F.M.
Industria Argentina, this particular knife must certainly rank among
the world’s best military designs. This knife has a serious draw-back,
however: it is a bit heavy in the handle, owing to the formidable
‘*skull-crusher’’ affixed to the pommel. Otherwise, the Argentine
knife is an excellent weapon in many respects.
How efficient is the Bowie style when it comes to actual use? This
is a question which has plagued experts for years. To some, the
Bowie is much too limited a design to be a truly effective fighting
weapon. Others swear by it, and would possess no other form of
blade.
Much of the criticism of the Bowie revolves around its clip point,
and the fact that the average Bowie knife is best held via the Hammer
Grip (see Part III: Tactics). This, it is felt, severely limits its
maneuverability. It is also believed that the clip point makes it dif-
ficult to instinctively direct precision thrusts — whether in the dark,
or in the heat of battle — as the tip of the point seems ‘‘lower’’ than
it actually is.
Another criticism is the Bowie’s sharpening scheme: the knife is
sharpened on but a single edge. At least one maker, Robert W.
Loveless, of Riverside, California, solved this problem by sharpening
both edges of his Bowie-influenced fighting knife all the way back to
the hilt. The Loveless Fighting Knife was designed according to the
principles of use set forth in Styers’ Cold Steel, and as such, it is an’
extremely popular weapon among knowledgeable users.

The above criticisms notwithstanding, Bowie Knives remain the

first choice of countless knife fighters the world over. Perhaps this is a

44
result of the Bowie style’s reputation for dependability, as well as the
reputation of its most famous wielder.

MISCELLANEOUS TYPES
e

There is another class of fighting knife which bears no resemblance

to either the Fairbairn-Sykes or the Bowie. Among these we find
many and diverse attempts at the ideal fighting weapon; products of
man’s never-ending struggle to ‘‘build a better mouse-trap.’’ In
order to completely familiarize the reader with as many different
fighting knives as is possible, we will here examine a few of the more
notable types, which we have characterized as ‘‘miscellaneous.’’

Knuckle Knives
With the advent of World War I, there came a reawakening of
interest in the fighting knife; doubtless inspired by the terrible
spectre of trench warfare. This renewed interest led to the
development of America’s intriguing Model 1917 trench knife,
designed by the Henry Disston & Sons firm, of Philadelphia.
The Model 1917 (and the later Model 1918 — virtually identical
in design), was restricted to use as a stabbing weapon. Its nine-inch
blade was triangular, much like a file, and tapered narrowly to an
extreme point. This point, it is noted, frequently broke in the heat of
battle.
The knuckle-bow of the Model 1917 strongly resembled that of a
cutlass. This ‘‘cutlass bow’’ was modified by a series of pyramidal
knobs, intended to have lethal effect.
The problem with the 1917 and 1918 trench knives stemmed from
the fact that they could be grasped in only one of but two ways: the
Ice-Pick Grip, or the Hammer Grip (see Part III: Tactics). To
change his grip, the soldier was required to release his weapon
altogether!
The model 1917 and Model 1918 trench knives were never very
highly regarded by the troops who were forced to use them, and
production was curtailed after approximately 123,000 were made.

The Mark I
By the summer of 1918, it was apparent that the Model 1917 and
Model 1918 trench knives were a dismal failure. Accordingly, on
June 1, 1918, the American Expeditionary Forces conducted a series
of tests in order to evaluate the several different trench knife designs
then in use. As a result, and with the cooperation of the Ordnance
Department, the A.E.F. designed the MarkI trench knife.
45
 Figure 21

Figure 22

Figure 23

The justly famous California style dirk-knife of noted San Francisco

maker Michael Price. This knife was made circa 1860, and is
of a type
popular with early-day duellists. (Author's collection)

The model 1917 Trench Knife, shown here virtually silhouet

te to
emphasize triangular blade form. (Author's collection)

Five typical "knuckle knives'' of the first and second

World Wars. All
serve to illustrate this particular style's limitations
with regard to
grip. (Knife Digest Photo)

46
 The Mark I was, actually, borrowed from the French, who had
enjoyed some success with a similar design. Indeed, the first Mark I
trench knives were procured from a French manufacturer. Later
knives were manufactured by the U.S. firm of Landers, Frary and
Clark. Dueto the Armistice, L.F. & C. was only able to manufacture
approximately 120,000 of these knives before all orders were can-
celled. As a side note: although it did not see widespread use during
World War II, the Mark I was not declared obsolete until January,
1945.
Like the Model 1917 and Model 1918, the Mark I was a knuckle
knife: in this case, the knuckles being cast of bronze rather than
stamped from sheet iron. The finger grips were contoured, much in
the manner of typical ‘‘brass knucks,’’ and there was a sharp nut at
the pommel.
If the Model 1917 was limited in application, the Mark I was even
more-so! Although the blade had been changed from triangular to a
more conventional dagger form, the soldier was still prevented from
using the blade to its maximum potential by the confining handle
design. As with the Model 1917, the Mark I’s advantages were
largely psychological, and the weapon was never widely used.
Despite the acknowledged limitations of knuckle knives as effective
fighting weapons, they still persist. Among later forms are the knives
of the 1st Ranger Battalion, and the countless ‘‘home-made’’ jobs
which have found their way to the front lines of every conflict from
Korea to Cambodia. The serious knife figher is cautioned against
their use, as they are better kept for collection, and are today highly
prized.

The Mark III

“The Trench Knife M3 has been developed to fill the need in
modern warfare for hand-to-hand fighting. While designated for issue
to soldiers not armed with the bayonet, it was especially designed for
such shock units as parachute troops and rangers."’
Thus the Catalog of Standard Ordnance Items heralded the
development of America’s M3 trench knife. Production of this slim
fighting blade began in 1943, and continues, in limited quantities, to
the present. (In actual issue it has largely been supplanted by the
bayonet-knife M4.)
Unlike its predecessors, the M3 is not encumbered by either
knuckle grips or overly-radical blade form. The M3 is a more or less
conventional dagger-like weapon, owing much to the Fairbairn-Sykes
school of design. The M3 has a cylindrical handle and straight false
edge, ground back 2 3/4’’ from the point. The bottom edge is
ground all the way to the hilt.
47
 Figure 24

RA PD 71445
Illustration of ‘Knife, Trench, M3" as depicted in Army Service Forces
Catalog, March 24, 1944. Knife is unaccountably pictured upside-down.
The M3 is a fighting weapon, of that we can be certain, and has
certain points to recommend itself. By the same token, it has certain
design points which may be thought of as possible defficiencies.
One wonders why the top edge is ground back for so brief a
distance, and also why the blade is so thin. With a partial grind, the
blade is somewhat limited in multiple slash situations, and again,
being thin the blade is liable to breakage. As with the F-S, the M3
also has the problems of cylindrical handle and cross-guard. In ad-
dition to the above, the M3 as issued does not take the keenest edge.

Custom Knives
Since the late 1960’s, there has been a marked increase in the
number of ‘‘custom,’’ or one-of-a-kind, hand-made knives. The
custom knifemakers now form a very vocal and influential minority of
the cutlery industry, and many of their designs are finding acceptance
by major manufacturers.
Many readers will no doubt be familiar with such well-known
custom knifemakers as W.D. ‘‘Bo’’ Randall, Jr., of Orlando,
Florida, and Robert W. Loveless, former president of the prestigious
Knifemakers Guild — a fraternal and professional organization of
custom knifemakers. However, for those of you who have, as yet,
had no experience with custom knifemaking, the author can suggest
no better introduction than the Knifemakers Guild Directory of the
Membership, available for $3.00 through R.W. Loveless, P.O. Box
7836, Riverside, California 92503.
This 105 page book (for which the author was privileged to write
an introduction), lists every member of the Knifemakers Guild,
illustrates popular models of their various knives, and gives you full
information regarding where you may write for catalogs and price-
lists.
Besides the Randall and Loveless knives previously recommended,
the reader is advised to seriously investigate the knives of two other
makers: Dan Dennehy, of Yuma, Arizona, and Walter ‘‘Blackie’’
Collins, of Rock Hill, South Carolina.

48
 Figure 25

Custom knifemaker Roderick Caribou Chappel's Karate Knife." An

extremely radical design — not for everyone — but definitely worthy
of notice. (Knife Digest Photo)

49
 Figure 27
The first — and many
think the best — of
the modern fighting
knives,
handmade by
"Bo" Randall, Jr.,
the acknowledged
"Dean" of
custom knifemaking.

Shown here are

Model 1 and
Model 2
eight-inch
fighting weapons;
two designs which
have proved
themselves
in battle
time and time again.

(Photo courtesy
W.D. Randall, Jr.)
Figure 26

Cover of the Knifemakers Guild Directory of the Membership. Book is a

valuable introduction to custom knifemaking. (Photo courtesy The
Knifemakers Guild)

50
The author's favorite Randall-Made knife: the 7/2 inch Model
14 "Attack".
It has been said, and rightfully so, that no serious knife fighter's
armory is
complete without a Randall knife. (Photo courtesy W.D. Randall,
Jr.)

Figure 28

Figure 29
A case of fighting daggers by custom knifemaker John Cooper, of
Burbank, California. Primarily for the collector, this case of blades
might also serve an extremely belligerant knife fighter! (Knife Digest
Photo)
Ey
 Figure 30

A current-production five in boot knife by R.W. Loveless.

Many veterans of the Pacific theatre in World War II may recall

purchasing knives from then-Chief Petty Officer Dan Dennehy, who
has since retired from the Navy to pursue the knifemaking profession
in earnest. Dennehy’s Recon Special model is a particular favorite
with many service personnel, and warmly recommended.
‘*Blackie’’ Collins will be instantly recognized by many readers as
Smith & Wesson’s resident cutlery designer. Mr. Collins also has the
distinction of being America’s most prolific creator of patentable
cutlery designs; at present holding over thirty U.S. patents. By virtue
of his work with both Smith & Wesson and the military, Mr. Collins’
knives are also recommended.

Switchblades
Senator Kefauver to the contrary, the switchblade, gravity knife,
or spring-driven folding knife is not a very effective combat weapon. If
anything, they are more suited to theatrical purposes than conflict.
Federal legislation banning their use is much like Gun Control:
restrictive, rather than beneficial. Switchblades may be easily
thought of as the ‘‘Saturday Night Specials’’ of the cutlery world —
a token piece of less than desirable meat thrown to a pack of howling
wolves.
A spring-driven blade (‘‘spring-driven’’ here to mean a blade
which is opened by releasing a spring under tension), does not make a
spring-back folding knife any more or less deadly than it already is.
(“"Spring-back’’ here to mean all common folding knives.) The only
viable distinction between folding knives which may be used as
weapons and folding knives which may not, has to do with whether
or not the knife’s blade may be locked in the open position.

32
 The common switchblade, as currently manufactured in Italy,
Japan, Germany, and, in certain cases, the United States, does not
possess a truly servicable locking mechanism. By and large, these
locking mechanisms are of the ‘‘blockage’’ variety, i.e. a lock
prevents the push-button from releasing the blade. To be completely
safe, a locking mechanism must positively affect both the blade and
the back-spring, rather than operating on a chain effect, or a cam
principle.
The next problem of many switchblades has to do with weak or
easily broken spring mechanisms, many of which are inclined to bea
conglomeration of many small components. Add to this the amount
of care needed to keep a switchblade in top working order: even the
slightest pocket trash, bits of brush, or other intrusions can be
enough to foul the best-quality switchblade.
Most switchblade drive-springs are of undesirable quality, being
batch tempered and of a poor grade of steel. Often they are bent, or
A page from the Norvell-Shapleigh Hardware Company's knife catalog
of 1910, illustrating the component paris of a common switchblade.
Cut Shows Full View of Knife with Safety Slides Released, Allowing Blades
Sections of Coverings Removed. to Open when Buttons are Pressed. *

Fig. 7—Showing Black Celluloid Covering Removed

Fig, &—Locking Device which slides under the Button

Fig. 9—Spring which throws the Lever, Locking the Blade

Fig, 10—Shows Locking Lever
Fig. L1—Shows the Brass Lining of the Knife with Rivet Perforations

Fig. 12—Back Spring of the Knife

Fig. 13 —Ply Spring which throws open either Blade

Pig, ld Re se Lockfur the hecend Blade in the Knife
Big, 1&—The SpringlorLocking
the Lever

Fig, 10—Solid Rivet Rusning through Covering, Blade and Lining of

Tacnih
Fig. 17-11 how Ri ts, going Chrough Blades a» well as Linings of Kaives
(extra Sire Met dung to Nate)

Fig. 18—Seoond Mack Ceflutoal Covering or Handle of Kaife, showing

Depressions for Locking Deview

Fig. 19—Showing Scale cut off for a Th oe Belstered Knife Dry

sions showing the place forthe Mechaniam of the Locking Device

5 oa king Leverfor Made

Button for releasing Lock of Blade
Spa Locking Device
Fig. 23—Tips or German Silver Bolsters for Knives

Fig. 24—Showing colarged Sotid Rivet and adding extra strength to Knife
No other Spring Knife mads ia this way
Fig. seal aco Kivet runaing throngh Covering, Blade and Lining of
Kai
eon ok Prees Button, releasing
Lack or Lever
Fig. 27—Showing enlarged Locking Device
Fig. 28—Shows Lover Locking Spring
Fig. 20-—Showing enlarged Locking Lever

Figure 31
 Figure 32

Two custom folding knives by a maker no longer in business. Any

folding knife, no matter how simple or complex, is a poor second to the
fixed-blade fighting knife. (Knife Digest Photo)

canted, at a bad angle, to the point where frequent use causes the
spring to rupture and break at the stress point. For the most part,
switchblade springs examined by the author suffered from being too
flimsy, with a resulting lack of power, or too heavy, and improperly
tempered for their volume. It must also be remembered that the
typical switchblade has but one blade, and thus the width allowance
for the drive-spring is quite small.
34
 Should you use a switchblade for combat purposes? Only if you’re
dealing with an adversary who is easily impressed, and there is no
other weapon handy. Strange as it may seem, the switchblade is a
very poor weapon: a device better suited to the parachutist or
agriculturist than the knife fighter.

Folding Knives
The problem with non-switchblade type folding knives is one of
time, It requires two moves to get the average well-made folding knife
into action, and for many of us, it’s not worth the added effort. First,
you have to retrieve the folder from the pocket; second, you have to
open it with vour free hand. No matter how quickly you can make
this move, it is a poor second to quickly pulling a fixed-blade knife
from a speed-break sheath.
As before, unless you have a truly solid locking mechanism,
you're asking for real trouble. There is nothing worse than a folding
knife which unexpectedly closes, as the author knows from bitter,
personal experience. To the serious knife fighter, pocketknives or
folding knives are best left in the pocket, and should be used only
when there is no other edged weapon available.
If you are forced to bring a folding knife into play, unless it’s one
you have confidence in, the author advises you to confine your moves
to upward, sweeping slashes. Do otrely on either the blade’s lock or
joint. A blade which closes on the fingers of the wielder during a
thrust or slash has the effect of paralyzing the hand, as the blade will
almost invariably sever at least one of the finger tendons. In this case,
the knife would drop from your crippled hand, and you would find
yourself at the mercy of your enemy.

The Push Dirk

Push dirks (or ‘‘push daggers’’ as they are sometimes improperly
termed), were a popular weapon of America’s frontier days; prin-
cipally used by riverboat gamblers and waterfront thugs. They are
possibly East Indian in origin, and came to this country by way of the
French cutlers of old New Orleans. Today, they have their coun-
terpart in the ‘‘buckle-knife’’ designed by Walter ‘‘Blackie’’
Collins, the noted edged weapons designer from South Carolina.
The push dirk is used with a short, punching stab, and is thus
severely limited in application. The knife fighter may, however,
desire to carry one as a back-up to his main blade. In its buckle-knife
form, the push dirk is quite popular with law enforcement personnel,
and those who frequently find themselves in dangerous urban
situations.
39
 Figure 33

A typical push dirk by early California knifemaker Michael Price.

(Collection of Peter Buxtun)

Boot and Sleeve Knives

The boot and sleeve knives, each requiring their own special
sheath equipment, are becoming increasingly popular. Virtually
every custom knifemaker in the United States now offers a version of
the ‘‘hide-out’’ knife, at prices ranging from fifty to five hundred
dollars.
Among the best of these are the boot and sleeve knives hand made
by the Morseth firm, of Springdale, Arkansas. The Morseth boot
knife has a 42’’ blade, is available with a variety of handle materials,
and comes complete with a ‘‘speed-break’’ sheath. This sheath may
either be attached to the belt, or affixed to the inside of the boot by
means of Velcro strips. The author has carried this knife for a number
of years now, and it well satisfied with its performance.
The Morseth sleeve knife comes complete with but one variety of
sheath, that being a straight pouch type, which is held in place by
Velcro. The blade of this knife is a rather stubby dagger type, and is
best suited to use as a stabbing weapon. This particular knife sells for
around sixty dollars.
Generally speaking, boot and sleeve knives are recommended as a
back-up weapon. It should be remembered that they are not ex-
clusively designed for combat use, being, by their very nature, rather
small and compact. Still, they are an excellent choice for street wear,
or similar situations where small, easily concealable knives are in-
dicated.
56
 Figure 34

Author's own boot knife, shown here with "speed-break" sheath, set
up for belt wear. Knife is manufactured by the Morseth firm, in
Springdale, Arkansas. (Author's collection)

Figure 35

This is but one example of the wrist, or sleeve style knife. Knife here
shown is no longer in production. (Knife Digest Photo)

57
The Kukri and the Kris
A word should be said here about two very popular Asian knives;
the kukri (pronounced ‘‘kook-ree’’), and the &ris (pronounced
‘*Kreease’’). :
The kukri is the favored weapon of Nepal’s Gurkha tribe, and has
ascended to a great degree of popularity owing to the legends
surrounding its use. Contrary to popular belief, however, the kukri is
a rather recent development in Northern Indian edged weaponry,
owing its origins to approximately the 18th century.
In the hands of the Gurkha, the kukri is used much in the manner
of an intrenching tool, and also as a decapitating weapon. Its curved,
swelling blade makes it unsuitable for all but the swinging chop, or
slash. In Nepal today, one sees the kukri worn with its scabbard
extending down the left side of the body — frequently beneath the
waistband — its hilt roughly to the right-center of the wearer’s
stomach. From this position the kukri is drawn with a peculiar up-
ward slice to the victim’s throat. Although a formidable weapon in
Asia, particularly in Nepal, the kukri is not well suited to modern
knife fighting.
As to the kris: several works have been written on this weapon of
Indonesia, mostly notably, Donn F. Draegar’s Weapons & Fighting
Arts of the Indonesian Archipelagos. As Mr. Draegar is the world’s
greatest English language authority on the subject of Asian fighting
arts, the interested reader is directed to his book for further study.

The kris is a highly evolved weapon, considering its polyglot

origins, and with minor modifications of grip, could become an
excellent choice for modern knife fighting.
The kris, as it is usually encountered, has a blade ranging in length
from ten to seventeen inches, and is frequently formed from
meteorite iron. Two basic blade styles are known: the ‘‘wavy’’ form,
bearing up to seven radical curves along its edges, and the ‘‘arc’’
form, which is a great deal more common. This last style has a
gradual downward curve along its entire length, and is the style best
suited to modern use.
Kris fittings and hilt furniture are frequently very ornate, and are
fashioned variously of bone, horn (the most common), precious
woods, and thin metal. The scabbard of the typical kris has a feature
known as the ‘‘*boat’’ which is used to secure the weapon to the
wearer’s waist by means of a sash or cord. These ‘‘boats’’ are
frequently decorated with a very high degree of intricate carving, as
are the hilts.
38
 Figure 36

The Gurkha kukri; an 18th century development in Nepalese

weaponry. Center specimen is, perhaps, the more typical form. (Photo
courtesy Dr. Luis Blanco-Hernandez)

59
 Figure 37
The ornate form of Indonesia's kris, illustrated here with ''wavy" blade
style. Although unconventional to Western eyes, in the hands of a
skilled user the kris is a formidable weapon. (Photo courtesy Dr. Luis
Blanco-Hernandez)

The Tactical-Survivor
We come now the last fighting knife to be considered in this study,
one which was designed by the author, and one which is now en-
joying a certain degree of acceptance from various world military
forces.
Possessing a knowledge of the various difficulties encountered with
other knife designs, and in an attempt to put theory into practice, the
author has developed a combination fighting/survival knife
designated the ‘‘Cassidy Tactical-Survivor Combat Knife.’’
At present, prototypes of this weapon are being seriously con-
sidered by the procurement officers of two foreign nations, and as of
this writing, a third foreign government has authorized procurement
for experimental issue to special intelligence units. It is doubtful that
this mass-produced military version of the Cassidy Tactical-Survivor
will ever be obtainable by non-military personnel.
There is, however, a completely hand-made version which is
available to civilians. Anticipating civilian interest in this weapon,
the author has granted a license to make the Tactical-Survivor to
custom knifemaker Blackie Collins. This particular model, which is
illustrated in the accompanying photographs, sells for seventy-five

60
 Figure 38

The Cassidy Tactical-Survivor. Weight fully assembled is 12 ounces;

over-all length is 12 inches; blade length is 6-3/8 inches
blade width is
1-1/8 inches; blade stock is 1/4 inch; handles are
of black Micarta.
Version here shown is available for civilian purchas
e. (Author's
collection)

61
dollars. The only design difference between this version and the
mass-produced version has to do with the method of affixing the
special handle-scales. On the military version, the handles bear a
quick-release latching mechanism. The hand-made model bears
short-throw, coin-slotted screws. ;
The blade of the Tactical-Survivor is an improved ‘“‘four-grind’’
type. It presents an effective cutting surface of six inches on the
bottom edge and five and one-half inches on the top edge. This grind
lends balance to the center of the weapon, added strength at this
balance, or control point, and provides for ease in rapid manufacture.
The blade is a full one and one-quarter inches wide, and possesses
but one inch of ‘‘taper’’ to the point. This one inch taper is par-
ticularly critical to the knife’s function as a weapon, in that it
provides for ease of penetration and withdrawal, and its function as a
utilitarian tool is vastly improved. It should also be added that the
blade is ground and machined from quarter-inch stock, rather than
the more common three-sixteenths. As the Cassidy Tactical-Survivor
may be applied to rough use, the added strength this provides is well
worth the added expense in manufacture.
When used as a thrusting weapon, initial resistance to penetration
is absorbed immediately upon striking, due to the short taper point
design. Secondary resistance to penetration is eliminated, as the first
inch of blade rapidly establishes a drag-free full blade-width entry
wound. Full-length taper blades often present tissue resistance, or
““drag’’ along their entire length, as they present a consistently
wider surface from point to hilt. In addition, their radically tapered
points often prevent easy withdrawal, due to the point becoming
momentarily ‘‘frozen’’ when bone is struck. The blade of the Cassidy
Tactical-Survivor presents none of these problems. As it is sharpened
on both edges, it may also be used to effect both right and left-hand
slashes, according to the approved technique of modern knife
fighting.
The Tactical-Survivor utilizes scale-tang construction, and thus
provides for a unique method of ‘‘cavity-handle’’ design. Due to its
novel outline, this cavity-handle presents none of the structural
weaknesses of tubular hollow-handle, or slot-handle designs. When
the knife is completely disassembled, the special design of the tang
cavity allows the knife to be used as a pry bar, bottle opener, or
emergency wrench. The knife will handle any bolt from seven-eights
to one quarter of an inch.
In addition to the abilities common to any well-designed survival
weapon ; such as storage, suitability for lashing to a pole, or use in a
man-trap, the Cassidy Tactical-Survivor also bears removable handle
scales. While essential to the knife’s over-all design, these removable
62
scales have an added benefit: they provide the opportunity for
substitution of material without requiring extensive re-design. They
may be fashioned of wood, aluminum, high-impact plastic,
vulcanized. rubber, fibre, or resin-impregnated cloth. Any material
which can be molded, turned, shaped, or cast is ideal for the Tactical-
Survivor.
The basic shape of the Tactical-Survivor’s handle promotes correct
grip and deft handling. It is possible to quickly orient the blade in the
hand in total darkness, strictly by ‘‘feel’’ or tactile sense. The handle
design also acts as a safety device, in that it prevents against the hand
slipping down the knife and being cut on the blade. Conversely, it is
also extremely difficult to pull the knife from the hand, when the
correct grip on the handle is maintained. The handle’s over-all shape.
helps guard against the knife dropping when wet, or rolling from the
hand in combat situations.
Currently, many different design improvements are being in-
corporated into the Cassidy Tactical-Survivor ;such improvements as
bead-blasting the blade to guard against reflection without the
problems of bluing or parkerizing, and special forms of checkering
and surfacing for the handle scales. The basic idea of the knife,
however, remains the same, with U.S. and world patents pending.
There are also plans to offer a scaled down version of this knife,
suitable for wear in the boot or within the sleeve, designated the
‘““Cassidy Strategic-Survivor.’’ Readers who may be interested in
obtaining the Tactical-Survivor or the Strategic-Survivor are advised
to contact MEWD Corp., P.O. Box 4596, Sather Gate Station,
Berkeley, California 94704. ‘‘MEWD”? is the acronym for Military
Edged Weapons Development Corporation, for which the author
serves as a consultant and designer.

CONCEALMENT AND
METHODS OF CARRY

How best to carry the fighting knife you have chosen? To most of
us, this question is easily answered by personal preference. There is,
however, one method of carrying which should be given serious
consideration before seeking an alternative.
This method calls for a sheath of specialized design, which may
either be affixed to the clothing of the wearer by sewing, or strapped
securely in place. We call this method the Chest Carry.
With the Chest Carry, the knife is held diagonally across the
wielder’s chest — across the heart in the case of right-handed persons
— the blade pointed over the shoulder and away from the head. In
63
 Figure 39

R.W. Loveless demonstrates the Chest Carry, using special shoulder

holster of his own design.

64
 2
ie $
&

*
*
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Ps -

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al? %
a

Figure 40

Loveless quickly pulls the knife from the speed-break

sheath.

65
 Figure 41

Loveless naturally shifts into Battery Position, with no wasted motion.

66
this position it requires but a brief, short movement before the knife
is in a firm en garde, or Battery Position, at the waist. (See Part III:
Tactics). Should the wearer be subjected to a fall, or become engaged
in an unexpected grapple, he will be in no danger of being injured by
his own “blade.
This method has the added benefit of making it difficult for an
adversary to remove one’s knife unassailed. Another benefit is that
the knife may be kept concealed beneath a jacket, coat, heavy shirt,
or any similar garment. Perhaps the only drawback to this method is
that it is not easily used by women, owing to their pleasing anatomy.
A word of caution: when utilizing the Chest Carry, it is important
to have a sheath scabbard arrangement which prevents the knife
from accidentally dropping, and does not easily snag on brush.
Sheaths and scabbards fall into two basic categories: those with
keeper straps, or similar devices, and those with the so-called
‘“speed-break’’ feature. Sheaths with keeper straps, while the most
secure, do not lend themselves well to quick use. Speed-break
sheaths, on the other hand, are usually somewhat lacking when it
comes to preventing the knife from being accidentally lost. If you do
not wish to have a specially designed sheath made, or if cost is a
problem, it will then become a question of which feature you feel is
most important: speed or security? To the author’s way of thinking,
the type of sheath or scabbard you choose should depend on the
environment in which you contemplate using it. For street, or urban
wear, the speed-break sheaths are ideal. For jungle, or diverse combat
situations, the most secure sheath will probably be your choice.
Besides the Chest Carry mentioned above, knife fighters have
favored every conceivable method of carry from belt to boot, to the
back of the neck. Methods of concealment are equally legion. There is
a certain problem with concealment, however, and that is speed.
While the inside of the thigh is, perhaps, an ideal place to hide a
blade, it is extremely difficult to get the blade into action from this
position. To summarize: no matter where you choose to wear your
knife, or how you choose to conceal it, be certain to temper your
choice with common sense, rather than fashion. Too many would-be
knife users choose methods of concealment and carry on the basis of
rumor and fantasy, rather than a serious survey of the knife’s in-
tended use and their own safety.

67
 PART III: THE TACTICS

BY WAY OF INTRODUCTION

Knife fighting has nothing of the ‘‘Field of Honor’’ about it. It is

instead a mean, dirty business that, unfortunately, sometimes needs
doing, either in war or on special assignment.
Contrary to persistent, popular belief, knife fighting is not a
glamorous face-to-face duel — both opponents of equal height and
build, cold of eye and sure of manner, squared off in a jungle clearing
at high noon.
Use of the knife is nothing more than an expedient means whereby
one man or woman may put an end to another man or woman’s life.
Let’s face it: killing with a knife is what we’re talking about. As any
experienced combat instructor will tell you, it is best accomplished in
darkness, the enemy taken by surprise, and then stabbed in the back.
Backstabbing . . . How distasteful that phrase is to all civilized
people. Yet it is the best possible method by which one person may
kill another person with a knife. Any man who claims that the
prospect of stabbing another human being in the back is not
repugnant, either lies to himself or is morally out of joint. Still, it is
supposed that there are situations where no other course of action is
possible, and thus the action has been justified.

69
 F igure 42

The Sneak Attack. Here our model Bob Loveless directs a thrust to
k dney area of model Ray Randall's back at the same time pulling him
backwards into the thrust.

70
 To quickly acclimate the reader to the realities of knife use, and by
way of introduction, we will here include a digest of the methods
employed in the tactic known as the Sneak Attack.
Fairbairn- has suggested variations on the sneak attack, all
workable, some more-so than others. Applegate has also treated this
subject, in greater detail than many of his contemporaries. Various
methods are as follows:
1. Strike to the kidneys.
. Strike to the ‘‘small’’ of the back.
. Slash or strike to the throat.
Strike between collar-bones to Subclavian Artery.
Strike to temple.
. strike toear.
. Strike to eyes or nose.
8. Strike to base of skull.
Among knowledgable backstabbers (and the author will, perhaps,
be forgiven his sarcasm at this point) an initial strike to the kidney
area(s), followed by an immediate slash to the Carotid Artery (throat)
is the method most in vogue. This attack is accomplished as follows:
Drop on your belly, and crawl to a distance of 8 to 10 feet away
from the subject, or whatever is practical under the circumstances.
This phase of your movement should be accomplished as silently as
possible, as your primary goal is to take the subject completely by
surprise. Crawling is advocated for the simple reason that you are less
likely to be seen, and should some noise betray your movement, a
‘*snap-shot’’ on the part of the subject will, in many cases, be
directed toward an erect target. (Note: To be perfectly objective, we
should here mention that the all-fours crawl or belly crawl may not be
the best way to approach a subject who is armed with an automatic
weapon. Current training demands that such an individual fire an arc
burst with his weapon — immediately stepping back — should he for
any reason believe he may be molested. Such a burst would have a
reasonable chance of striking any immediate target, whether on the
ground, crouching, or standing. The counter-move to this would
require the attacker to maintain strict silence, and draw the subject’s
attention to another quarter, by throwing a stone or some similar
ruse. It may also be helpful to know that the subject armed with an
automatic weapon will be trained to look above the line of his fire, in
order to prevent temporary ‘‘light blindness’’ due to the muzzle-
flash of his weapon.)
Upon reaching a satisfactory distance behind your enemy, you
should rise to a half crouch, swiftly tread a silent step, and then
spring upon him with great force. Five feet is the recommended
distance from which you should begin this spring. As you strike the
71
 Figure 43

The follow-up to the kidney thrust, as taught to special operatives of

America's clandestine services. Knife is pushed forward against the
throat, severing the jugular vein.

subject, your left hand should tightly close over his nose and mouth,
pulling him backwards, off balance. Simultaneously, with your right
hand, you plunge your knife upwards, into the subject’s kidney area.
At this point, recommended procedure demands that you count to
ten, as steadily as you can, given the circumstances. The knife is then
sharply withdrawn, and the throat slashed from ear to ear. An
alternative to the slash is a straight stab to a point just beneath the
ear, followed by a sawing motion which cuts the throat. Tissue
resistance in this area is negligible, and death will occur in ap-
proximately twelve to fifteen seconds. This is not a pretty way to killa
man, and is best described as cold-blooded murder. Properly
executed, there is absolutely no defense to this form of knife attack.
Historically speaking, knife attacks of this kind have most
frequently gone awry due to real or supposed animal cunning, or
instinct on the part of the subject, who somehow senses he is being
watched. Individuals possessed of this faculty are few and far between.
The more common among us suffer from either a lack of training in
this faculty, or from dulled senses. Thus, the rearward attack is,
more realistically, betrayed by a lack of stealth on the part of the
attacker.
72
BASIC INSTRUCTION
Before continuing with our study of specific tactics, we will now
stop and consider the basics of knife fighting. Traditionally, these
fundamerftals include the study of grip, stance, thrusting and
slashing. To these we will append another area of study too long
neglected: Mental Discipline.

Grip
Grip is, to a large measure, determined by the particular knife
being used. With knives possessed of a cylindrical, or fencing foil-
type handle (such as the Fairbairn-Sykes), the so-called Fence Grip is
employed.
With the Fence Grip, the knife is first laid across the palm; the
blade protruding from the thumb side of the hand. The guard of the
knife is parallel to the edge of the hand.
Next, the extreme forward portion of the handle — that nearest
the guard — is grasped by the thumb and index finger. The thumb is
pushed forward, toward the quillion of the guard, and the index
finger is curled about the handle, just beneath the thumb. The
middle, ring, and small fingers are also curled about the handle. This
grip provides for ease of control and extremely deft handling. Control
is maintained by the index finger and the thumb, while the middle
finger provides for shifts in the position of the blade.
The fighter who utilizes this grip is able to effect right-hand
slashes, left-hand slashes, and upward, downward, or straight-in
thrusts, much in the manner of the fencer with his foil.
Possible drawbacks to this grip are the unnatural positions to
which the wrist is driven when slashing. According to Applegate,
when using this grip, the palm should be up and the blade pointed
slightly toward the opponent’s fore-leg. States Applegate:
‘With the palm up it is possible to slash to the right. When the
palm is turned down, itis possible to slash to the left.’’
With the knife held in this position, however, right-hand slashes to
the inside of the opponent’s left arm, or wrist, require a short,
snapping, upward motion, which leaves the knife wielder at a slight
disadvantage. To prove this, it is suggested that the reader attempt
these slashing movements against an imaginary target, to discover
for himself the position to which his wrist and hand will be forced.
The next type of grip is the Hammer Grip. According to early
accounts, this was the grip most favored by 19th century wielders of
the Bowie knife. Historically appealing as this type of grip may be, it
is to be shunned by all serious knife fighters. The problem here is that
only upward slashes and thrusts may be executed, thus limiting the
73
 Figure 44
Shown here in detail are the Sabre Grip and Complete Grip. (Refer to
Figure 8 for demonstration of the Fence Grip). Knife at left is held with
the Complete grip. Knife at right is held with the Sabre Grip.

The Hammer Grip in action. Model Ray Randall (at left) is well
prepared to launch arm cut against Loveless, who here demonstrates a
grip which the intelligent knife fighter must avoid.

Figure 45
 Figure 46

Loveless (at right) demonstrates the Ice Pick Grip.

figher’s arsenal of tricks. The Hammer Grip is a frequent choice of

the inexperienced or disraught blade wielder.
A variation on the Hammer Grip, and one which possesses none of
the latter’s weak points, is one where the handle of the knife is held
according to the Fence Grip, but the blade is held at right angles to
the ground. This is, apparently, the type of grip favored by John
Styers.
The Styers Grip represents a vast improvement over the Hammer
Grip, and offers additional improvements to the palm-up palm-down
grips advocated by Applegate and Fairbairn. With the Styers Grip
(usually known as the Sabre Grip), it is possible for the fighter to
make better use of the snap thrust — a particular tactic which the
seasoned fighter will find most practical.
The third type of grip to be discussed here is really nothing more
than an improvement of the Fence Grip. Unlike the Sabre Grip, the
blade is held horizontally, rather than vertically. We will call this
particular style the Complete Grip.
With the Complete Grip, the thumb is placed upon the handle in
juxtaposition to the blade, just behind the guard. To quickly visualize
this grip, imagine a ‘“T’’ in which the guard forms the cross-stroke,
75
and the thumb forms the descending stroke. With the knife thus
grasped, the fighter may execute snap thrusts up, down, to the left
and to the right; without the wrist being placed in an unusual or
tense position. In addition, with the blade held horizontally, it 1s
somewhat easier to stab an opponent, as the dangers of striking-bone
or rib are substantially lessened. The Complete Grip is the grip most “
favored by the author.
Another form of grip, and one which should be avoided at all costs,
is the Ice Pick Grip. As in the case of the Hammer Grip, the Ice Pick
Grip is a frequent choice of unskilled or deranged persons, and most
particularly women, who in nine cases out of ten will instinctively
use this grip.
The final form of grip to be discussed here is the type Applegate
characterizes as the Slash Attack Grip. Another variant on this grip
is the Tjimande style of holding the large golok, or cleaver knife, of
the West Java area.
With the Slash Attack Grip, the knife is held with all fingers
wrapped around the handle; the blade protruding from the little
finger edge of the hand, palm down. In the Tjimande style, the blade
is held in much the same fashion, except the palm is up, and the blade
protrudes from the thumb edge of the hand. This is a rather poor
form of grip, but nonetheless effective in the hands of a determined
individual. Certain ethnic groups seem to have a particular affinity for
this grip.

Loveless (at right) demonstrates the Slash Attack Grip.

Figure 47
Stance
Stance is perhaps the most important area of concern in the entire
art of knife use. Incorrect stance is more than mere bad form — it is
deadly, often leaving the knife wielder open to counter-thrusts,
physical over-powering, and ultimately, death at the hands of a
skilled enemy.
Correct stance is simple, easily’learned, and should never be
improvised upon. It is the result of a great deal of study, effort, and
practical trial.
In the pages of this book, we refer to correct stance as Battery
Position: a term borrowed from artillery nomenclature, which
nevertheless manages to effectively portray what is meant by
“SCORTECES
Battery Position is as follows: the body is held erect, the chin is
tucked slightly in, and the eyes are focused on the opponent. The
right foot is extended in front of the body, and the knees are slightly
bent in a semi-crouch. The knife is held in the right hand, with the
Complete Grip (or grip of your choice); level at the waist. The
pommel of the knife should almost touch the body, and the point of
the knife should be in line with the cap of the right knee. The left
hand is extended slightly forward, with the palm held toward the
opponent. Care should be taken to avoid ‘‘telegraphing’’ moves with
the shoulders.
The practice of holding the left palm facing the opponent may seem
a bit unconventional to some, but rest assured there is a good reason.
Assuming your opponent has a knife, and you instinctively attempt
to block it (a totally incorrect move, but one we cannot rule out), you
will probably be cut. If you are to be cut on the hand, it is preferable
to be cut in the palm rather than the back of the hand. If you are cut
in the palm, your ‘‘Extending Tendons’’ may be severed, but you
will still be able to make a fist. If you are cut on the back of the hand,
the ‘‘Flexing Tendons’’ may be severed, and the hand will be
useless.
The best thing to remember is to avoid blocking with the hand,
and thus avoid being cut. If you forget, and are cut, take steps to
maximize your chances of retaliation. It’s better to risk even a
crippling injury than to risk death.
Various other forms of stance have been recommended, all of them
having something, at least, in common with what we have here
described as Battery Position; a few having minor differences. At the
risk of making this book incomplete, the author has refrained from
including them, for the simple reason that correct Battery Position
cannot be improved upon. This may sound like a strong statement,

17
 Figure 48
Correct Battery Position. Knife is pulled well into body, knees
are
slightly bent, left arm is barely extended, chin is tucked in and eyes
are level.

78
Right profile of Battery Position. Chin could
be tucked in a bit more.

Figure 49

79
 | Figure 50

Left profile of Battery Position. Knife hand is too far extended here,
but notice how wrist is slightly cocked in preparation for cut.

80
and it’s meant to be. The practice of knife fighting does not allow
room for mistakes, and it is not the author’s wish to cloud the
reader’s mind with useless, mistake-provoking information.
e

Thrusting
Thrusts from Battery Position should take the form of lightening-
quick bursts of action. After each thrust, the knife should be snapped
back into battery. While thrusting, take care not to fully commit the
body’s weight and momentum, but instead rely upon the strength of
the arm and shoulder muscles. Avoid being drawn off balance during
the thrust, as a skilled opponent may attempt to use your own force
against you.
Use foot work to press against your opponent, rather than leaning
into him. Attempt to move yourself in the manner of a fencer,
allowing the right foot to, in essence, slide the left foot forward.

John Styers, in particular, has written an excellent exposition of

the proper thrusting technique, and offers this bit of advice:
‘On the thrust, the free arm has been whipped back, turning the
full body with a snap. Instead of the full spread of the shoulders and
chest which had been exposedtoyour opponent, you now present the
narrowest view of your body. The upper portion on the body has
pivoted forming a straight line from your blade point back along your
arm, across the shoulders and down the free arm in the rear.’’
You will quickly notice that the thrust, when properly executed,
does not cause you to shift the position of your right foot. The torque
of the body’s snap is taken up by the right knee, and the body trunk
slightly lowered. When you practice this thrust, you will also find
that it does not cause you to fully commit your body weight to an
irretrievable movement. You can parry, press forward, or shift
position easily.
Try this exercise: first, take up the Battery Position; second,
effect a snap thrust, and while the arm is fully extended, take a slight
‘*hop’’ forward with the right foot, allowing the left foot to slide
along behind.
This exercise is an alternative to the quick return to Battery
Position, and is beneficial in that it will help you to understand how it
is possible to press forward against an opponent without sacrificing
balance and mobility.
The quick return to Battery Postition does have its own benefits,
as well. The quick return helps you to present a seemingly invincible
front to your enemy, and constantly leaves you in a position from
which to launch further attacks.
81
 Figure 51

Preparing for the thrust. The body begins

to twist.

82
 } Figure 52

The thrust in progress. Notice how the left arm is being thrown back,
and how the left foot begins to travel.

83
 Figure 53

Knife arms is extended, left arm is well back, body is still twisting and
the left foot is still traveling.

84
 ee

Figure 54

The thrust complete. Although complete, however, notice how body's

momentum is not irretrievably committed. Figures 51 through 54 were
taken in a sequence-burst with a fully motorized camera at ap-
proximately three frames per second. This gives you an idea of the
speed involved in a proper thrust.

85
 Figure 55
Loveless (at right) times a thrust to opponent's head. From this
position he can immediately effect an arm cut, or rapidly pull back.
Were the opponents closer together, Loveless would throw more
momentum into the thrust for a killing blow.

The quick return demands that you keep your body loose and
limber; almost relaxed. The waist and hips are kept in fluid motion,
while the arm and shoulders are tense with activity. Correct form is
only gained afer considerable practice, but is well worth the added
effort required.
When thrusting, is it proper to direct blows against specific
targets? This is a question that may be on your mind, but un-
fortunately, there is no true pat answer. Frequently, it will be im-
possible to direct your thrusts to specific, carefully chosen target
areas of your opponent’s body. The reason for this is simple: any
normal adult male, when faced with the probability of a knife fight,
will be dealing with a natural amount of fear. Fear, unfortunately,
leads to panic, and panic leads to a loss of discipline. Loss of discipline
promotes blind thrusting to the main trunk area of the opponent’s
body.

86
 How do we deal with this problem? Simply by making it work for
us, rather than against us. Controlled loss of discipline (a con-
tradiction in terms, but nevertheless valid), also has the tendency to
create ary almost unnatural speed, or agility. Because of this, the
fighter well trained in the quick return thrust will be able to direct his
attacks in a veritable barrage against his enemy. Instead of con-
sciously picking and choosing targets; wasting valuable mental
energy in the middle of a bad situation, the trained fighter will act,
and act fast. His only thought will be the thrust that hits, rather than
the thrust which may or may not reach its target.
Should thrusts be directed against specific targets? If there is a pat
answer to this question, you may gather from the above that the
answer could be ‘‘No.’? Remember that you are a human being,
complete with all human emotions. Don’t become obsessed with
targets, and you won’t become filled with blind fear and panic if you
‘““miss’’ one. Concentrate on the thrust that hits the body, and keep
thrusting until you master the conflict. When you are master of the
conflict, only then can you afford the time it takes to direct the final,
killing blow.

Slashing
A slash with the knife may be thought of as an adjunct to the tactic
of thrusting. Often, a thrust that is harmless can turn into a slash that
acts with telling effect.
Cutting and slashing are the tactics most often used in the
preliminary moments of a knife fight. They are frequently directed
against the face, arms, hands, legs or throat of the enemy. While it is
difficult to slash a man to death, a steady barage of such blows will
have the effect of destroying the enemy’s ability to retaliate, and
allow the figher time to direct his final blow.
Cuts and slashes are of two kinds: vertical and horizontal. To be
sure, it is also possible to direct diagonal slashes, but these will, in
the main, be employed against the chest and stomach of the enemy,
and are better avoided. With the vertical slashes your aim is to sever
vital tendons and blood vessels of the arm, wrist, hand or shoulders.
With horizontal slashes you concern yourself against the face, throat,
or legs of your enemy.
When executing the slash or cut, try to cock your hand slightly
backward at the wrist, and allow the force of the falling blade to
provide momentum. Avoid assisting this natural momentum with
the wrist.
Try this exercise: first, cock the hand; next, snap it forward, and
at the same time, when the blade is in line with the arm, lock the
hand, wrist and forearm into a mass of tension. Train yourself to
87
 Figure 56
The Hand Cut (or Vertical Cut) in progress. Notice how Loveless (at
right) has wrist slightly cocked just before contact.

place the greatest tension and control in the forearm and wrist,
gradually relaxing your arm in the area between elbow and shoulder.
This practice of tensing the forearm and wrist while relaxing the
elbow, biceps and shoulder was taught to the author by an Asian
instructor who used the following reasoning to back up his
argument:
“‘When the arm is tense along its entire length, it is like the limb
of a tree. It does not bend when assailed, it only breaks.’’
What is meant here is that the slash should not place the fighter in
an untenable position; one in which a trained opponent could use the
stiffly extended arm as a means to throw, or disarm him. It will also
be discovered that the method here recommended will allow the
spring of the slashing blade to be controlled from the elbow, rather
than the wrist, adding greater power to the movement.
A common defense against the extended arm is to break it at the
elbow. Should your opponent be aware of this defense, and attempt to
parry your slash, he will find himself quite surprized when you again
cock your hand and again slash or chop at him. This is particularly
important when executing a horizontal slash. If you miss, or if the
opponent dodges, he can move against your extended arm, using

88
your Own momentum against you, and break your arm over his knee.
Unlike the thrust, the slash is better directed against a target. The
target in this case is rather loosely defined, however, being the area of
your opponent’s body which happens to be most accessible to you:
his arms and hands.
The key here is to remember our previous statements, back in Part
I; the statements which counseled you to inflict maximum damage
when you are inside your enemy’s field of action. The slash or cut
(and, indeed, the thrust), will place you well inside this field of ac-
tion. Thus, if you miss with a slash to your enemy’s left hand, it will
be best if your slash was aimed in such a manner as will allow you to
carry your movement over to his right hand.
The message here is simple: don’t ‘‘aim’’ for just one target,
‘“‘aim’’ for two, three, four, or as many as you can hit. Never
commit yourself to a single area of your opponent’s body. Always
make every single action do double duty.
Arms and hands make the best targets for slashing, for the simple
reason there are two of them. You need not panic or lose your
composure if a slash to one is ineffectual, as you’ll usually have a
second chance. Anything that gets in the way of your knife during a
slash is going to be cut. If your hand, wrist and forearm are properly

Detail of hand cut. Notice how forearm is tense while bicep is relaxed.

Figure 57
held, and the knife cocked before each slash, the cut is going to be
deep and damaging. You’ll be well on your way to leaving the contest
alive.

Mental Discipline ~ ee
A while back we mentioned something called ‘‘controlled loss of
discipline.’’ We also mentioned that this might be a contradiction in
terms, but is nevertheless a valid phenomena.
What we’re doing here is creating discipline on the foundations of
an undisciplined situation: a fight or conflict in which life is at stake.
We’re accepting the fact that normal men are going to have to deal
with normal emotions: emotions like fear, rage, blind anger, panic
or hysteria. If you think you might be different, you’re only kidding
yourself. Men with experience in actual close quarter combat
situations will readily attest that it’s no joke when death stares you in
the face, or when men are dying around you.
The natural reaction of most individuals to negative emotions is to
attempt to control these emotions by force, or will-power. The
tendency is to cut off negative emotions; to bottle them up, or deny
they exist. Indeed, this is the tactic employed in most training
programs: negative emotions and emotional reactions are ‘‘covered

Horizontal slash directed to the arm.

Figure 58
 .

Of ar enie ae
—_ Niu PD ‘ae

Figure 59
Horizontal slash to arm is immediately followed by horizontal slash to
throat. Notice how Loveless keeps well away from Randall's blade.

up’’ by alledgedly instilling the trainee with confidence. This con-

fidence is supposed to come from a sound knowledge of the tactics,
and the experience that comes from training.
While this method has a great deal to recommend itself, it isn’t
foolproof, as a glance at casualty lists will tell us. It’s a particularly
poor tactic when the trainee is faced with the prospect of a fanatical
enemy; one who is pumped up on ideals, drugs, or a combination of
both. We’re living in an era where old rules of combat no longer
apply. Today, particularly in areas where guerilla activity is
prevalent, we have to realize that the opponent we face may care little
for his own life.
So what do we do when we’re faced with an enemy on a suicide
mission? Does all our training and confidence fly out the window?
The answer to these questions is not a simple one, as the over-all
question is one which only a few training programs are now coming
to grips with. This is an area of comparitively recent thought;
principally confined to the tactic of counter-ambush.
For the purposes of this book, we’re going to examine a method of
mental discipline which attempts to use negative emotions, rather
than cover them up. We’re not talking about counter-ambush per se
91
 | Figure 60

Another sequence-burst with the motorized camera, illustrating the

slash, here beginning.

92
%

Figure 61

The slash in mid-position.

93
 The slash at peak of movement.

94
 — which is really only another exercise in confidence-building and
saturation training. Instead we’re talking about the transformation of
negatives into strengths.
Part of, what we’re talking about may be better understood by re-
reading the comments regarding the tactic of thrusting. There, in-
stead of becoming obsessed with fear, we learned of possible ad-
vantages, i.e. the tendency for the normal human to act with haste in
a fearful situation. Of course training played its part, and with that
training came a certain amount of new confidence.
Beyond that, however, we may begin to realize that it is possible
not to be afraid of fear. Instead of denying the existence of fear and
becoming rigid, we can learn to accept its presence and thus become
flexible. If we are faced with a fanatical opponent, or if we are taken
by surprise, we’re not overwhelmed by the appearance of our own
emotional response. Instead we act.
Fear is by no means the only emotion the knife figher has to deal
with. The other, possibly more difficult emotion is anger or rage. As
in the case of fear, rage has the quality of promoting blind action. A
man caught by anger doesn’t use his mind, he only uses his body. His
senses are dulled by the intensity of his feelings, and he becomes an
easy mark for the skilled opponent.
In order to help us deal with anger, it will be beneficial to divide it ”
into two categories —
ie hots anger:
2. “*Cold’’ anger.

Briefly, we will characterize the first category as the type of anger

which causes a man to lose control of himself. The second category
we will characterize as something which helps the fighter dominate
the conflict.
Our goal here is to transform ‘‘hot’’ anger into ‘‘cold’’ anger. We
can achieve this goal by realizing and appreciating the power of anger
as a means for focusing energy.
Assume for a moment you are a party to a knife fight. You op-
ponent cuts you, you become enraged at him, and seek to kill him
quickly. Your anger builds, you rush at your opponent and in your
fury knock him down, falling upon him with your knife. It does not
matter to you that he is armed, or that you may again be injured by
him. You seek only to kill him by any means, no matter the cost to
yourself.
To carry our assumptions a bit further, we will suppose that your
opponent is indeed well armed, and when you fall upon him you fall
upon his knife, thus dealing yourself a killing blow. In your rage you
did not think of this possibility, or if you did, you didn’t care. This is,
95
 Figure 63
Transform negative emotions into tactic. Do anything to keep your
own mind clear, and don't worry about how you might or might not
appear. The fighter here grits his teeth and turns anger into action.

perhaps, an extreme example, but it serves to illustrate what is meant

by ‘‘hot’’ anger: the careless spending of energy.
To illustrate how this “‘hot’’ anger may be transformed, let us
now suppose another knife fight: again, you are angry at your op-
ponent, but this time instead of allowing the anger to control you,
you control it.
You transform anger into tactic, and that is the key. Each snap
thrust directed to your enemy is filled with anger, and you visualize
the anger flowing through your arms into your knife. You allow
emotion to show in your face, and present your enemy with a
fearsome spectacle. You attempt to convince youself that the anger
you may feel is being manifested in your carefully learned tactics of
grip, stance, thrust and slash. Anger is no longer an emotion. It is,
instead, an activity. It is not blind activity, but a skilled activity:
knife fighting — something in which you are trained, and clearly
understand.
Lest the reader believe that these remarks are the result of the
author’s idle musings, or that this course of study is unimportant, it
would be well to point out that what we are here discussing is a
practice which dates back thousands of years, and forms the nucleus
of many of the world’s great combat systems. If there is any ‘‘secret’’
to Asia’s fighting styles, this is it: mental discipline.

96
 Mental discipline and the study of emotion is not mumbo-jumbo. It
is what separates men from animals, and is the deciding factor
between the novice knife fighter and the master. Understand this
well: in a knife fight you are seeking to control your opponent in
order to defeat him. To do this, you must learn to control yourself.
To put it another way: if you don’t control yourself, you may find
that your enemy will do it for you.
The reader who is interested in furthering his studies along these
lines is advised to obtain a copy of Asian Fighting Arts, by Donn. F.
Draeger and Robert W. Smith (New York: Berkeley Publishing
Corporation, 1974). This book is an excellent introduction to the
various martial disciplines of the East, and provides much valuable
commentary on the subject of mental discipline and the fighting man.

TACTICAL MOVEMENT
With the basics of knife fighting behind us, we may again continue
with our study of specific tactics. To do this properly, we must first
learn to distinguish between movement and maneuver.
Movement is the exertion of physical and mental energy.
Maneuver is made up of tactical movement: movement according to
plan, with a definite goal in mind. Knife fighting is tactical
movement, but we must not learn to think of it in terms of pure
maneuver. Although we do have a goal (to kill our enemy), we
cannot proceed to this goal by means of an orderly plan. Knife
fighting is not the same as fencing. It is not a formal, structured
situation into which set maneuvers may be introduced. Thus, we
concentrate upon refining action. We learn a number of specific
tactical movements, which we string together according to the
demands of each encounter.
Earlier, we advanced the theory that all offensive and defensive
actions are basically the same thing. Accordingly, we will examine
tactical movement in this context.
Gripping your knife correctly, standing correctly, thrusting and
slashing correctly are all tactical movements of a primary order. They
are the foundation upon which the fight is built. It is upon this
foundation that we begin:
We begin with the absence of any preconceived notions about our
adversary ;a willingness to accept any movement on his part without
letting it affect our original intention, and the absence of a planned
‘*first strike.’’ Momentary stillness is to be favored over immediate
aggression.
The active opponent is the easiest to kill. His mind is made up, his
course of action decided upon, and he usually has only brute strength
97
 Figure 64
Loveless (at right) feints low to draw Randall.

Loveless times slash to Randall's throat and face while springing from
feint. ~

Figure 65
 Figure 66

The fighter following a low feint or pulled slash puts his head and arm
well within your reach.

99
and force to accomplish his aims. Your first tactic is to wait for him to
move, or to goad him into movement by means of the feint.
He may be running at you, screaming at the top of his lungs,
waving his blade wildly, or he may be silently creeping toward you,
his blade firmly in hand and a set look in his eyes. In either case, his
movement indicates mental activity, i.e., a ‘““decision’’ or com-
mitment to a course of action. Speed of his movement is of little
relevance, but your replying tactic is essential. He is attacking you
and he expects you to attempt evasion. If at all possible, do mot evade
him. Instead, strike for the opening his movement has created. This
then is your second tactic: counter-attack.
Remember — a man cannot harm you if —
1. He doesn’t know your next move;
2. He has the wrong ‘‘information’’ about your next move;
3. He has a preconceived notion about your next move ;
4. He is firmly and blindly commited to his own move.
We have before us two tactics: the feint and the counter-attack.
How do we execute these movements? Simply by building upon the
tactical movements of correct grip, correct stance, the thrust and
the slash. We feint from correct stance with our knee or shoulder,
knife hand or free hand. Feinting movement to the right, our attacker
thrusts to the right. We strike him with a thrust or slash to his un-
protected left. If our attacker is already in motion, committed to a
certain course of action, we do not feint. Instead, we remain
motionless until he reaches the perimeter of our effective field of
action. Then we employ the thrust or slash with telling effect.
At no time do we allow the adversary to enter our effective field of
action unassailed. This is our third tactic: a defined area of
movement, At all times when the adversary is within our field of
action we are on the offensive! It is a case of the best defense being a
strong offense.
Our fourth tactic is as follows: when the adversary leaves our field
of action, we immediately return to battery. In many cases, this will
have the effect of drawing him into pressing his attack. If it does not,
and only if our opponent is sufficiently weakened, we employ our fifth
tactic: we enter his field of action. This entry should, ideally, be
introduced by the tactic of feinting, followed by a combination of
slashes. Thrusts should be with-held until the concluding moments
of the fight. The purpose of withdrawing to battery is easily ex-
plained: by doing so, you are always in a position to deal with any
further activity on the part of your adversary, and are well-prepared
to make your counter-moves.
Let’s pause for a moment, reflect upon these tactics, and then go
on to a few random observations regarding actual combat.

100
 “Teepe
co 2 Tig. ;
™~\ <ibai

NS aN
Figure 67
Loveless (at right) illustrates the beginning of all tactics the Battery
Position. Here, he senses that Randall is about to throw a thrust, and is
within his field of action.

Loveless executes Passata Sotto in response to Randall's thrust.

Figure 68

101
 Figure 69
Following Passata Sotto Battery Position is immediately regained.
Figures 67 through 69 illustrate how defense and offense are virtually
the same.

The five building blocks of tactical movement are —

Correct Grip;
Battery Position;
Snap Thrusts;
Multiple Slashes;
Ooo
SUN
Se . Mental Discipline.
ire tactical movements to learn and practice are —
1. Wait for an opening (Let your enemy move first);
2. Feint to create an opening (Make him move);
3. Counter-attack (Cut and thrust);
4. Move within a defined area (Learn your effective field of action);
}. Return to Battery Position (When enemy leaves your field of
action) ;
6. Take the offense (When enemy is weakened, attack with
slashes) ;
7. Kill with the thrust.

Random Observations
Perhaps the most glaring fault of modern knife fighting instruction
— and this applies to many systems — is that it presupposes the
opponent to possess the same psychology as the trainee.
This can be fatal. There are no ‘‘absolutes’’ in knife fighting.
When any tactic other than the Sneak Attack is brought into play,
102
knife fighting becomes equally lethal to both parties involved. Avoid
pre-conceived notions about your opponent, save one: always
imagine he is better than you.
Physically slight men often have the advantage over those of more
impressive build. This is largely due to the small man being
frequently underestimated by his opponent; the small man’s ability
to move rapidly, and his knowledge of his own inequality of physique.
Although it is often sheer suicide to make general statements about
potential adversaries, I will risk here the judgement that larger men,
even while engaged in quick movements, have a unique tendency
toe
1. Leave substantial openings in their defense;
2. Bring both hands into action.
A larger man’s ego is often his own worst enemy. A smaller man’s
awareness of his own deficiencies is often his strongest defense.
By this I do not mean to say that the smaller man should ex-
perience other than normal caution at the sight of a formidable op-
ponent. Quite the contrary. The smaller individual should cultivate
an attitude of satisfaction at the sight of a large adversary, if only for
the simple reason that there is so much more to strike against. We are
not talking about brute strength here; we’re talking about guts,
speed, and brain power.
A physically large man’s best defense is to resist the impulse to
‘““crush’’ an opponent. Leave bear-like grappling holds, ‘‘hugs’’ and
strikes to the bears. Use brain instead of muscle, and the chances are
you'll come out of your encounter alive.
Speech is very deadly. When engaging an opponent keep your
mouth shut! Do not attempt to inspire fear, caution, or create
subterfuge by words. Seek only to inflict maximum physical damage.
The very act of speaking presupposes mental activity, and wastes
precious mental energy and awareness. Remember that actions speak
louder than words.
Here’s an observation you may find surprising: women are among
the most dangerous adversaries a knife fighter may face. Because
women are generally thought of as the ‘‘weaker sex’’ a man will be
less inclined to use maximum force or tactical advantage. Women
are, as arule, more prone to use the knife as an offensive weapon,
frequently without warning. Most women are also capable of greater
emotional focus than men. This may take the form of blind rage or
cold-blooded cunning, and both are equally dangerous. In Asia, some
parts of the Middle East and in Latin America, women have been
skilled in the use of the knife for generations and are proud of this
fact. Behave as a gentleman would when dealing with ladies, but
remember that the female with knife in hand can be deadlier than the
male.
103
STYLE AND MANEUVER
We come now to an examination of the various commentaries and
recommendations put forth by Fairbairn, Biddle, Applegate and_
Styers — in a strictly practical sense. We’ll be looking at the specific
tactics of these gentlemen, impartially, and the reader is advised to
draw his own conclusions as to the merits of each.
We separate the techniques of these gentlemen from the
techniques outlined in the previous chapter by refering to them as
‘‘maneuver.’” Why? You will remember that we defined maneuver
as ‘‘tactical movement: movement according to plan.’’ As you will
readily see, the following methods are complete within themselves,
and thus fall into the category of maneuver rather than pure tactical
movement. In many cases, these maneuvers are built of two or more
moves.

A Comparison of Form
In certain instances, the difference between a given maneuver
advocated by one instructor and that of another, is only a matter of
style, or form. To examine the subtle nuances of each, by way of
comparison, actually serves no good purpose. If we are to make any
comparison of these forms, it would be much more beneficial to
compare them in terms of maximum advantages gained by their
execution, i.e., which particular maneuver is ““best’’ or most ef-
fective? Which maneuver will we add to our arsenal of tactics?
As grip, stance, thrusting and slashing have been treated
separately, we will here examine only that which is left to us: the
remaining tactics or maneuvers of attack and defense.
Elsewhere in this book we have mentioned the terms In-quartata,
Stoccata, and Passata Sotto. These are terms from fencing which
have been adopted by Western instructors to refer to knife fighting
maneuvers which combine the elements of feint and attack, or thrust.
Biddle and Styers are the two most notable proponents of these
maneuvers.
In-quartata is accomplished by executing a full thrust-type
movement, at the same time throwing the rear, or left leg to the rear
and right of the right foot, which is used as a pivotal point. It is done
in response to a thrust by your enemy, placing you at an angle to
him, and thus safe from his thrust. At the point when you are
executing In-quartata, it is recommended that you use your knife to
effect either a hand-cut or a full thrust to the head or throat.
This movement is essentially a dodge, which allows your enemy’s
blade to pass by you harmlessly, followed by an offensive action, such
104
 Figure 70

In-Quartata. Loveless (at right) perfectly illustrates the form of this

move recommended by Biddle.

This photo was not posed. It was taken during the course of action at a
fencing tournament. The fencer at left is beginning to execute In-
Quartata. Notice how his left foot is well up and off the ground,
traveling to the rear and right of his right foot. As this fencer's
movement progressed, his left arm was thrown well back. Notice also
how his opponent's sword is at this point harmlessly by-passed.

Figure 71

105
 Figure eRe

Stocatta, in the style of Biddle.

Right view of Stocatta, showing how the adversary's blade is avoided.

Figure 73
as the thrust or cut. It is stated that your enemy’s momentum will
probably cause him to be carried to, or past, your original position,
and thus it will be difficult for him to dodge your blade. He will be
well within arm’s length, and a prime target. In practicing In-
quartata it might be well for you to observe whether or not you are
firmly grounded and balanced, with the left foot to the right of the
right foot. It will help if you keep your knees slightly bent during this
maneuver, as with the feet in this position, a strong enemy may be
able to topple you to the side, or cause you to become tangled by your
own legs.

Stoccatais merely the opposite of In-quartata, although it does not

require as much of an unnatural foot position. It is used when your
enemy directs a high, wheeling thrust to your head — slightly
turning his body — presenting a portion of his back to you.
Again using your right foot as a pivotal point, instead of crossing
your left foot behind, you throw it well in front of your right foot —
keeping your body at an angle — and direct a thrust to your enemy’s
side or kidney. It is best if you accompany this thrust by throwing
your free arm slightly over your head. From this position, you may be
able to launch a ‘‘chop’’ or blow against your enemy’s neck.
Another form of Stoccatais where you throw your left foot to the
left, in a line with your right foot, rather than in front of it. From this
position you strike to your enemy’s mid-section. Your free arm is
thrown to the rear, as with /n-quartata, and your body turned at the
waist to present less of a target to your enemy. It should be noted that
both forms of Stoccata are accompanied by a rapid lowering of the
body by bending at the knees.
The second form of Stoccatapresented above is the type thought to
be the most beneficial. As you will learn from piactice, this move
allows you to keep your balance at all times, as both feet are firmly
planted and a certain ‘‘spring’’ is retained in the legs. It is recom-
mended that you learn and study both forms, practicing them until
you are proficient. With many opponents, they will be found to be
quite beneficial. A trained knife fighter, on the other hand, may be
prepared for such manuevers, and may not allow himself to be drawn
into executing wild thrusts.
Passata Sotto is another response to the high thrust, as well as a
means to bring your enemy’s head into range for the horizontal slash
or a thrust.
With this maneuver, you suddenly drop your torso extremely low
and to the left of Battery Position. It has been recommended that the
left hand be placed upon the ground to steady the body, or alter-
natively, that the left arm be thrown back on a line with the left leg.
107
 Figure 74

Again, this photo was not posed. It was taken in the heat of an Olympic
try-out. The fencer at right is captured in the middle of executing
Stocatta. Although his form is adequate for fencing purposes, his left
foot is a bit too far backward for modern knife fighting. The instant
after this photograph was taken, however, the fencer's strategy
became apparent. His was a ''false" Stocatta, which allowed him to slip
into a beautifully executed Passata Sotto. He scored his point and won
the match.

In Passata Sotto, the left knee should almost touch the ground, but
never should it be allowed to come to rest.
When executed against a thrust, your counter-thrust should be
timed to reach the enemy’s lower right chest, stomach, or groin. If
your enemy follows your sudden dip, attempt a horizontal slash to
the head. He will, in all probability, be in a somewhat guarded
position when reacting to your Passata Sotto, so care must be taken
to avoid his counter-tactic.
108
 Figure 75
Full Passata Sotto. The left knee does not touch the ground, and the
fighter may immediately spring back.

Outside parry and grab, according to Biddle.

Figure 76

SPS
Te ac .

—
 Figure 77
Inside parry and grab (after Biddle), here illustrated with a quick
thrust to the opponent's throat.

Rex Applegate's famous back-hand assassin's trick. Knife is thrust

backwards into victim's kidney as assassin strides past.

Figure 78

110
Randall throws the dust to distra
ct hi $ Opponent, and at the same
draws his blade. time

Figure 79
Figure 81

Randall immediately gains Battery Position, and begins

to launch
attack.

Ray Randall here illustrates the method of drawing

a boot knife. He
crouches for the draw, and at the same time reaches for a handful of
dust or dirt.
 Figure 82

Use of the stick in Object'' Defense. Ray Randall holds the stick in
guard position recommended by Fairbairn.

An excellent variation on Passata Sotto is to rapidly ““bob up and

down.’’ Execute the maneuver to draw your opponent to a low, or
crouching position, then spring back to your original height. When
making this spring, simultaneously execute a horizontal slash to his
face, and pull back rapidly. The simultaneous slash, spring and pull
back will help guard against a thrust being directed toward your
abdomen. When practicing Passata Sotto, become conscious of the
possibility of being over-powered while in a low position. It is well to
extend your knife arm to discouarge kicks and make thrusts, but take
care not to fall into the habit of allowing it to remain fully extended
for long periods. Your arm will be quite vulnerable in this position, as
it is somewhat difficult to return to Battery Position quickly while
executing Passata Sotto.

DEFENSE
We come now to the final area of maneuver to be considered in this
book: defense. Actually, the study of defense against the knife is
better confined to books covering the martial arts of Rarate-do, silat,
wu shu, aiki-do or others, rather than books treating the field of knife
fighting. The reason is a simple one: the best defense against the
knife is a strong offense with the knife (or gun, or club, or chain,
etcetera). The man or woman who contemplates facing the knife
while unarmed would do well to run. If running isn’t in your nature,
or is impossible, and if you do not choose to go armed yourself, then
112
 Figure 83

Randall times a butt-stroke to his opponent's head.

by all means take up the study of one of the martial arts listed above.
Silat, the Indonesian art, is a particularly effective system for
unarmed defense against the knife; perhaps the best yet devised. This
is because Indonesia, unlike many other areas, has a strong tradition
of small-blade knife fighting (in versus of sword fighting). It is only
natural then, that Si/at would have developed excellent counter-knife
measures.
The reader interested in furthering his research along these lines,
as well as the reader who is interested in all forms of martial culture,
weaponry, and tactic is strongly advised to obtain a subscription to
Martial Arts International. M.A.I. is, without question, the best
magazine ever published in this field. Subscriptions are U.S. $10.00
per year, and may be purchased by writing to M.A.I. at P.O. Box
1241, Kealakekua, Hawaii 96750. Malaysian readers should forward
their subscription orders to M.A.I. at P.O. Box 550, Penang,
Malaysia. As this magazine is produced in Asia by recognized
authorities, the reader is assured of receiving accurate, responsible
information and advice. Thus, Martial Arts International is an in-
dispensable addition to every serious knife fighter’s library.
To return to our discussion of defense: as virtually all previous
books on the subject of knife fighting have included chapters on
unarmed defense against the knife, the author has decided not to
‘‘break step,’’ and here includes a digest of the various methods
employed.
113
 Figure 84

Randall's left hand is sliding down the stick as he immediately pulls

back following the butt-stroke,

Applegate, who has done the greatest amount of work along these
lines, has delineated four basic forms of defense —
1. ‘‘Object’’ defense (chairs, sticks, etcetera);
2. Knee kicks;
3.0Patry;
4. Block.
These four methods will, by and large, be suitable for dealing with
most situations. Although various other forms of knife defense have
been advocated by different instructors, their methods will, in the
main, be based upon these same four categories.
The use of an object as a means of defense is well established. To
many, the proper response to a knife attack is a coat artfully wrapped
about the arm. This is a technique acquired from motion pictures and
television, and a virtual waste of time. The more proper method of
using an article of clothing for defense copies the bull-fighter, or
matador. Instead of wrapping the coat about the arm, the defender
seeks to entagle the attacker’s blade, throw the coat in his eyes, or
make some similar maneuver. These last techniques have their basis
in 17th and 18th century rapier play, and owe their greater origins to
the mesh net used by Roman gladiators.
In close, urban quarters where a coat is not available, a chair is
recommended. The defender in this case uses his chair in the manner
of the circus lion-tamer; seeking to tangle the attacker’s arms and
hands in the chair’s legs.
114
 Figure 85

Now well away from his opponent, Randall executes a downward

strike to the collarbone. This is a particularly effective method of using
the stick.

If a chair is not available, anything which comes to hand may be of

value, the primary object being to prevent the attacker from ef-
fectively using his knife. When this has been accomplished, the
defender proceeds to belabour the attacker with fists and feet, at all
times remaining wary of the blade.
In addition to coats, chairs, or any large objects, the use of dust
and dirt is also advocated. The defender stoops quickly, grabs a
handful of dirt and throws it into the attacker’s eyes. This is followed
by either a hasty retreat, or a series of blows, depending entirely upon
the nature of the situation.
The military man’s helmet also makes an effective defense object
only in this case it should be used as a small shield rather than a
projectile. Throwing your helmet at your attacker leaves you empty
handed. Grasping your helmet by the liner or webbing and using it as
a parrying shield at least gives you a fighting chance.
The final object to be mentioned here is the stick, or cane. The
stick is, perhaps, the best method of dealing with a knife when a gun,
chain, or other knife is not available. Stick or staff fighting is, in-
deed, an art unto itself, and well-timed blows with the stick are
capable of inflicting serious injury and death. Against the knife, the
stick is first used to parry the attacker’s thrust, and then to deliver a
blow to his temple, nose or jaw. These blows are followed by
chopping stabs and punches to the throat — using the end of the stick
— and the attacker is finished off by kicks or strangulation.
115
 eta cnNoa

Figure 86

Kicks to the knee should place the defender well away from the op-
ponent's blade.

Kicks-to the groin area need not be described to be appreciated.

Figure 87

116
 Figure 88

Always parry with the forearm.

Do not try to parry or block with the hand! A strong opponent may
“tear” past your thumb.

Figure 89

117
 Figure 90

Although it is well to block with both arms, the block shown here is not
completely correct. The attacker is already well into his downward
thrust. This thrust should have been blocked before it gained
momentum.

Again, with all forms of object defense, the idea is to first thwart or
disarm the attacker, and only then to finish him off with kicks or
blows. As each situation tends to breed its own rules, further
generalizations are not practically possible.
Knee kicks are the second form of defense to be considered. Also
included here are all forms of foot-work, whether directed against the
knee, instep, groin or other targets. The object in using the feet
SON
1. Throw the trunk of the body out of range,
2. Kick the attacker off balance, keeping him away.
A well-timed forceful kick will frequently be enough to down an
attacker of average build, or at least give him pause. Take the ad-
vantage this pause provides to stamp on the knife hand, kick him in
the ribs or in the head, or attempt to gouge his eyes. Sharply
delivered blows with the point of the toe are best directed to the base
of the spine, or to the groin. Both can disable even the strongest
attacker.
The third form of defense, that of the parry, is best effected by
using the forearm ; the hand being balled into a fist. The parry may be
used against downward thrusts; upward thrusts, and both right or
left hand slashes, when directed from the ‘‘outside’’ in a wheeling,
or circular motion.
You may use either the inside of your forearm or the outside,
depending upon the demands of the situation. The object is, first and

118
foremost, to divert your opponent’s thrust harmlessly away from
your body.
Using the inside of your forearm, you hook the attacker’s knife
arm — pushing it backwards — and at the same time knee him in the
groin. With your left, or free hand, you firmly grasp his wrist —
pushing the blade even further away from you — and attempt to
break the attacker’s arm at the elbow or dislocate his shoulder. It is
also possible to break or sprain his wrist.
Although there are methods where the left hand is used to parry or
grab the attacker’s knife arm, they are fraught with danger and better
avoided. A good, general rule is to always parry with the same arm as
the attacker’s knife arm. Thus, if your attacker is right handed, parry
with your right arm instead of grabbing with your left.
The final method to be discussed is the block. The first general rule
is to always time your block to contact the attacker’s arm before his
thrust commences. The second general rule is to avoid the use of the
hand, and the third rule is to always follow every block with im-
mediate offensive action.
The block is best used against the downward thrust, and, as in the
case of parrying, the forearm is the recommended portion of your
anatomy to be used. The hand is to be avoided for the simple reason
that a formidable enemy may be able to push past your thumb with
the momentum of this thrust.
It is for this same reason that you attempt to block your attacker
before he builds up momentum. Upon blocking his arm, waste no
time in following with a knee or kick to the groin, and you will be
able to quell whatever force he may still possess.
Blocks may also be followed by foot throws or arm locks. When
effecting a block with the right arm, reach well into your attacker
with the left arm and hand; directing a chop to his throat. Slide your
blocking arm to the point where you can grasp his wrist with your
right hand, and while keeping your left arm locked over the at-
tacker’s right shoulder — in front of his throat — place your left leg
behind his right knee; throwing him backwards.
As with the three other basic forms of defense we have discussed,
the block lends itself well to experimentation and practice. Continual
training in these defenses will assist the knife fighter should he
become accidentally disarmed. They are also useful for developing
expertise with the left, or free arm. It must be stressed, however, that
defense against the knife forms a study apart from the study of knife
fighting. It is well to know how to parry and block with coat, chair,
arm or hand, but the truly effective fighter must also know how to
finish the contest with further movements. It is for these movements
that we must return to the martial arts.

119
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Cassidy, William L. The Fighting Knife in Modern Warfare: Notes on the
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Periodicals
American Blade. William L. Cassidy ,editor. New Orleans: Southern House
Publications, Inc.
Martial Arts International. Quinton T.G. Chambers, editor. Kealakekua,
Hawaii: Martial Arts International.

Military Documents
War Department. 1942. Unarmed Defense for the American Soldier. Basic
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Department of the Army. 1953. Bayonet. Department of the Army Field
Manual FM 23-25 (Restricted). Washington.
Navy Department. 1950. Landing Party Manual, 1950, United States Navy.
Washington.
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