I can wound with both a cut and a thrust. Also if I advance the foot which is front of me, I can put you in the middle bind which is shown previously on the third play of the first master of dagger. Also I could do the play which comes after me and in this way I can both wound you and also bind you.
Having beaten your opponents sword aside as described in the master play, use your left hand to control their sword hand. This action has been decribed in detail in the 1st master of dagger. Keeping your elbow in close to your body, lead with your thumb to catch your opponents hand. Once you make contact, roll your hand smoothly over, grabbing and controlling their wrist. This will turn your opponents sword to the left slightly, leaving you an open line on the inside.
With your sword in posta fenestra, and controlling your opponents weapon, you have a variety of options at your disposal.
By pushing forward with your right hip, you can stab your opponent in the face, as demonstrated by the 1st scholar. You could also make a cut to their head or neck.
Another option is to step forward with your left foot, spiralling your left arm along your opponents right arm. This will put them in a ligadura mezana (middle bind) as first demonstrated by the 1st scholar of the 1st master of dagger.
As mentioned, the 4th scholar of sword in one hand continues by both binding and striking at the same time.
The 5th scholar of the 3rd master of sword in two hands finds themselves in the same situation as presented here. They go on as the 6th scholar of the 3rd master to bind the weapon by grabbing the swords cross bar and locking the blade against the arm.
Always bear in mind that none of these responses should be formulaic. Although the entire book is written in the structure of ‘in situation a, perform technique b, followed by technique c,’ in truth, they are simpy options which would reasonably flow on. By learning the base actions that the plays are built upon, your aim is to be able to respond instinctively.