Dueling in thirty days: day four

The more I practice the motion, the more it feels natural; a riverso sgualimbro with a step along the circle, followed by a riverso ridoppio to Alicorno, and an imbroccata to the nearest available target with an increase of the right foot. I'm starting to see why Dall'Agocchie was so quick to recommend this very simple action as a good starting point for the non-fencer - you can cover against every attack, and immediately have a counterattack available - but it also apparent why he says it is not enough. Although with practice, the action should be one continuous motion, there is a moment - a tempo - for the opponent to parry. Thankfully, the chances of the opponent over-parrying are particularly high, which leads to a number of interesting plays.

I found it somewhat odd that the Bolognese fencing masters, with the exception of Marozzo in his chapter on dagger defenses, rarely mention presas; from what I've been learning at AEMMA for the past two years, entries happen all the time with swords. So why is it that Dall'Agocchie only mentions four instances of presas? Is it indicative of the style of fencing? That is to say, was grappling strongly frowned upon during the 16th century? Or was it perhaps because of the formal duel setting? Until I read a book that deals specifically with the Italian duel of the Renaissance, my questions will remain unanswered. However, after only a few repetitions of the circle drill, it is quite obvious where the concluding play of the paired form (Variation of the guards) comes in.

1) A provokes by thrusting an imbroccata from Alicorno.

2) B throws any blow.

3) A parries with a riverso sgualimbro while stepping to the left, throws the riverso ridoppio to thrust an imbroccata with an increase of the right foot.

4) B parries with his own riverso sgualimbro (exact same footwork), and throws his own riverso ridoppio somewhat wide.

5) A immediately yields to Guardia di Testa, seizes B's sword hand with the left hand, and cuts a mandritto to either the head or leg.

I don't want to get to far off topic here; it suffices to say that the entire art - every parry, counterattack, half sword technique, etc. - can come directly from Dall'Agocchie's section on how to defend oneself well using only two guards. All of this is purely hypothesis, of course, but one which I wholeheartedly embrace.