Benerson Little
"The trident of Neptune is the scepter of the world."*
Patientia Ferox Vincit |
Swordplay
“The fight between Messieurs d’Esparbès and Gégout: directed by M. Rouzier-Dorcières.” Patience was mandatory in a duel, and duelists only occasionally rushed at their adversaries. The “director” is described as the “director of the combat,” and was hit in the chest by one of the adversaries, but the wound was not serious. In the photograph he is bringing his cane down to part the duelists. Today, thanks to the FIE bowing to the IOC, the term "director" is no longer used. The terms referee and (in French) arbitre have taken its place. (Photographs published December 1910)
From commentary I wrote for the recent HFC newsletter: Fencers and referees need to be aware of the recent change to the already ridiculous non-combativity rule: 4. When both fencers make clear their unwillingness to fence, the Referee will immediately call Halt!' If one of the two criteria below is present, there is unwillingness to fight. a) Criterion of time: approximately one minute of fencing without a touch. b) Absence of blade contact or excessive distance (greater than the distance of an advance-lunge) for at least 15 seconds. Individual Events 5. a) If during the first two periods of a direct elimination bout both fencers make clear their unwillingness to fence, the Referee will proceed to the next period, without the minute rest. b) When both fencers make clear their unwillingness to fence during the third period of a direct elimination bout, the Referee will proceed to a last minute of fencing. This last minute, which will be fenced in its entirety, will be decisive and will be preceded by a drawing of lots to decide the winner should the scores be equal at the end of the minute. [My comments:] Although ostensibly designed to prevent fencers from mutually running the clock down, it's principle purpose is to make fencing exciting for the audience. Some years ago the FIE determined that the best way to keep fencing an Olympic sport is to conform to IOC desires and provide long 15 touch bouts in a direct elimination format that leads to a long 15 touch final between two fencers. ("Back in the day," fencing finals were conducted in a round robin format, typically of six fencers, and each fencer in the final had to fence everyone else in the final.) The non-combativity rule is an addition to this mentality and is designed to force fencers to be active, and thus provide excitement during these bouts. However, the rule flies in the face of modern fencing's dueling origins as well as in the face of swordplay itself. One may fence aggressively for several minutes or more without a touch, and also for much longer than fifteen seconds without ever engaging the adversary's blade. This is particularly true in epee, which remains the weapon closest in nature to actual dueling combat. The rule is not likely to be an issue in typical bouts in which nervous fencers often rush to get touches when they should be more careful, but will be a major issue in hard-fought bouts in which fencers are doing their best to do what fencing is all about: to hit and not be hit, the latter being more important than the former. The rule turns the spirit of fencing on its head. How to avoid being penalized by this rule? First, fence at proper distance, never out of distance for long, and ensure that you make periodic blade contact, even foible to foible. Second, fence actively even while being patient, and use second intention actions (or feint-in-time) as necessary to draw out your adversary if it is obvious that a minute may pass without a touch. This is implicit in the club motto, by the way. In other words, be patient but not passive, and hope that the director (referee) is too busy watching what is obviously an active bout to notice that there's been no touch for a minute or no blade contact for 15 seconds. Frankly, most referees at local tournaments will be too busy to keep effective track of these times. I know I will. Or better, hope the director understands the spirit of fencing and thus will not act on the rule unless it is patently obvious that the fencers are refusing to actively engage each other. There's not likely to be much complaint from epee fencers against referees who refuse to enforce the rule except in the case of fencers clearly refusing to fence. Reports from fencers who attended recent NACs indicate that the rule is extremely unpopular. 
(Photo credit: Disney)
Mr. Anderson, a British Olympic fencer, was perhaps most famous for choreographing the swordplay in the first series of Star Wars movies, although my favorite choreography of his was that of The Princess Bride. He worked on a number of other films, including the Spanish film Alatriste and the first Pirates of the Caribbean, always giving Hollywood what it wanted, whether the purely theatrical sword fights in the great tradition of the early film swashbucklers or the historically accurate swordplay demanded by more serious films. His was the first fencing book I ever read, a neat little paperback whose pages you could flip and see basic fencing actions in play. I still have a copy. At CombatCon last summer I met and had a chance to talk to Nick Gillard, his successor on the later Star Wars films. Nick had wonderful words for Mr. Anderson, who, as my first fencing master Dr. Francis Zold might have described him (as indeed he described Douglas Fairbanks), was a gentleman and swordsman. The nytimes obituary can be found here. 
Quevedo and Góngora
I'm no fan of Luis de Góngora's florid, purple poetry, nor indeed is my girlfriend, who is both fluent in Spanish as well as a student of Spanish and Hispanic cultures. Still, the ny times Sunday Book Review today has a good article on the poet and on a recent English translation of his Solitudes. Perhaps the best part of the review by David Orr is a line about poet-swordsman Francisco de Quevedo, who despised Góngora and his poetry: "This approach [overly, even ridiculously ornate poetry] earned Góngora the enmity of perhaps his most talented contemporary, Francisco de Quevedo, whose own work was distinguished by its wit, plain diction, and fencer's balance." 
With the attack on Pearl Harbor seventy years ago today, not only did the world change but also navies, including their tactics and technologies, and even some of their traditions. The photos, of fencing aboard a US warship in the last decade of the 19th century, and aboard a Japanese warship in the first decade of the 20th, are some of the last of sword training aboard modern warships. (The photographs, in very high resolution, are available for free download via the Library of Congress.) 
Statue of d'Artagnan in Paris.
Alexandre Dumas's series of musketeers novels begins with [English titles listed only] The Three Musketeers, originally published as The Three Musketeers and The Four Musketeers. This was followed by Twenty Years After and then by The Vicomte of Bragelone or Ten Years Later. The last has been published in a variety of forms, including in five or even six volumes, sometimes divided into four titles: Ten Years Later, The Vicomte de Bragelone, Louise de la Vallière, and The Man in the Iron Mask. Today, the last book is often divided only into the last three listed titles. Also of note is Courtilz de Sandraz's three volume more-fiction-than-fact "biography" of d'Artagnan, The Memoirs of Monsieur d'Artagnan, from which Dumas took his inspiration. It is a good read, if often slow, given its digressions into period politics. I also suggest the non-fiction d'Artagnan: The Ultimate Musketeer by Geoffrey F. Hall and Joan Sanders, and The Four Musketeers: The True Story of d'Artagnan, Porthos, Aramis, and Athos by Kari Maund and Phil Nanson. The swashbuckling novels of nineteenth century author Paul Feval, featuring d'Artagnan, Cyrano, and even Lagardère are related and fun to read. For more information on related literature, see "The Lives of the Three Musketeers" here. 
I'll pass on a critique of Syfy's Neverland except to note once more an issue or two with the swordplay. (Viewers interested in reviews should check out those in the New York Times and the LA Times.) I've already commented below on the idea, promoted in Neverland, that a fencer should look into his adversary's eyes, a proposition most fencing teachers past and present, myself included, do not agree with, for reasons already noted. My real peeve is with the way Rhys Ifans as "Jimmie" Hook is holding his sword--in sixte, that is. Granted, if "Jimmy" learned his swordplay in Victorian England he would be well-familiar with sixte as the common en garde with the hand in the outside position--for a thrusting weapon, that is. Although sixte is noted in saber and other cutting sword texts of the nineteenth century, it's use was sorely limited, particularly in opposition to other cutting or cut-and-thrust weapons. There is a mid-18th century reference to an old Irish "gladiator" named Perkins who from the stiffness of age and inability to move much used the sixte guard, wrist raised, effectively with the backsword in gladiatorial prize fighting on stage, but he was the rare exception. (See Godfrey, 1747). His guard differed from "Jimmy" Hook's in that it was carried well to the outside with the basket turned inside, and certainly not in full supination, impossible if the hand is positioned wide. In the illustration, Hook is holding a "mortuary" sword, that is, a broadsword from the English Civil War era. Tierce (third), as well as what today is known as second, and also the "hanging guard" are the proper outside guard positions with a broadsword, cutlass, saber, or "cut-and-thrust" sword. With all the serious study of historical swordplay going on, is it too much to ask for Hollywood to get this right? The same issue cropped up in the recent Three Musketeers, with rapier-wielding musketeers coming on guard in sixte as if they were modern foilists. On a positive note, in line with commentary on swordswomen below, Anna Friel as "Elizabeth Bonny" was by far the most convincing actor in the show, providing a realistic sense of a pirate captain who could and would indeed gut anyone who stood in her way. Her demise in the final episode was anticlimactic: her character and acting deserved better. 
What modern competitive fencing may soon be reduced to: "tag with rods" where a novice with a real sword would fare better than a "modern" fencer would.
An example of why modern fencing may be doomed (and I do love the sport, at least epee fencing, that is): "Non-combativity: If one of the two criteria below is present, there is unwillingness to fight. a) Criterion of time: approximately one minute of fencing without a touch. b) Absence of blade contact or excessive distance (greater than the distance of an advance-lunge) for at least 15 seconds." (From the USFA Rule Book) Some of the greatest fencing bouts have few touches, little blade engagement, and periods much greater than a minute without a touche. This rule, which ultimately derives from the need to impress the non-existent audience, is a travesty, is in no way in the spirit of fencing, and is the sort of nonsense that will ultimately doom modern fencing as a form of legitimate swordplay. Fencers may move aggressively without blade contact and without a touch and still be fencing. To recall an old curse, may the lives of the FIE rule makers who made this rule, and those of anyone who agrees with this rule, be filled with lawyers forever. Or better yet, may they all fall upon their broken swords. (The illustration is for Molière's Le Bourgeois Gentilhomme.) October 17, 2011: The Cat and the Sword
Very likely, but almost certainly enjoyably as well, the forthcoming Puss in Boots will display more accurate swordplay, period or otherwise, than the forthcoming Three Musketeers, promotional comments on the accuracy of the new musketeer swordplay notwithstanding. That being said, most viewers aren't interested in the quality or reality of screen swordplay. Fencers of all ilk interested in cats and swordplay should read Neko no Myojutsu (The Mysterious Technique of the Cat) in Tengu Geijutsuron (The Demon’s Sermon on the Martial Arts) by Issai Chozanshi [Niwa Jurozaemon Tadaaki], translated by William Scott Wilson, 2006. 
AKA "D'Artagnan's Daughter" or "The Daughter of d'Artagnan," released in the US as Revenge of the Musketeers, an unfortunately incorrect title. The film is a swashbuckling romp, as only the French can make, focusing on Eloïse, the daughter of aging musketeer d'Artagnan. The French are still producing the best swashbucklers, or films de cape et d'épée. Eloïse, put into a convent by her protective father, departs, hoping to solve the mystery of an attack on the convent and of the murder of the Mother Superior. Along the way are enjoyable, well-choreographed swordplay, inside jokes about fencing, running jokes about aging, plus good fellowship and witty verbal engagements, the latter especially in regard to the war between the sexes. Appropriately gratuitous bared flesh is present as well. After all, it is a French film. The 1994 film Stars Sophie Marceau as Eloïse, and Philippe Noiret as her father.
September 30, 2011: On the Positive Side...
Although it's still too early to judge the quality of the forthcoming version of The Three Musketeers, already the aerial combat (ships with balloons instead of sails) and other liberties taken have understandably come under criticism. I've already noted apparent issues with the film's swordplay, not that many viewers care all that much about historical authenticity in an action film. Recent trailers do nothing to dispel the impression that the swordplay in the film is all flash and nothing real. Nor do recent trailers do anything to dispel the notion that we have to put up with yet another of a recent spate of d’Artagnans defined largely by their insipid arrogance, reminiscent of a teenage video gamer’s ideal self, which is, alas, that of a pixel warrior who has no concept of the real world—of real violence, of real sweat and blood, of real consequences. The Brat Pack mentality infected The Three Musketeers in 1993 and, unfortunately, remains, although there are modern exceptions, most notably the 1994 La Fille de d'Artagnan (more on this film in the next post) and the flawed but well-intentioned and watchable 1998 The Man in the Iron Mask. Doubtless Hollywood is playing to a specific demographic, rather than giving the audience the d'Artagnan Dumas intended. As ever, Hollywood often underestimates the film viewer. Still, the film may turn out to be an enjoyable distraction, and on the positive side, it does put a swordswoman, however Hollywood, in the forefront. For this, all non-chauvinists among lovers of the sword can be thankful, and, given that this swordswoman is Milla Jovovich, the chauvinists probably won't mind either.
August 25, 2011: Photography & Swordswomen
The title notwithstanding, it's really two separate issues I'm discussing here. Regarding fencing photographs, they are in fact difficult to take, and we're lucky to have one of our fencers, Amy Hitchcock, to shoot photographs at our tournaments. Fencing action shots are difficult to take, and Amy does an excellent job, both of capturing action as well as the classical beauty of the sport. Most photos in fencing books are posed, and for good reason: not only is it difficult to capture fencing action shots, but most fencers are not nearly so "classical" in form as they'd like to believe. (Not even "classical fencers" are as gracefully classical as most would like to believe.) Fencing is best viewed in motion, and a photographer who can capture its grace in a still shot is an excellent photographer indeed. Of the few other fencers at our club who can shoot decent fencing photos, they're invariably fencing or directing. ("Directing" = "refereeing" to those of you relatively new to fencing, the name change came about because--wait for it--the foolish powers that be determined that fencing would be more audience-friendly if we called the director a referee instead. The term derives from dueling: the directeur de combat "directed" a duel, ensuring fair play.) Regarding women's epee, when I started fencing in 1977 there were only four weapons: foil, epee, saber, and women's foil. (Many men considered there to have really been only two: men's epee and men's saber, given that these are the dueling arms.) As women's epee was added to the panel of modern fencing weapons, there was the usual chauvanistic concern over whether women could handle the stiffer epee, which is both heavier and which often inflicts respectable bruises. Even supporters considered that women epeeists needed a critical mass of women epeeists, given that many epeeists, especially younger males, tend to emphasize physical strength and speed rather than technique, especially when fencing women, fearing to lose to them. This being said, today many women epeeists are holding their own with men, especially those swordswomen brought up on the epee, as opposed to converting to it from foil later in life. Our HFC women epeeists not only do not want to be coached during 15 touch bouts (but then, neither do our men), but want to be judged not as women fencers, but simply as fencers. We've done away with the practice of awarding a "highest placing woman" medal for this reason. At our recent La Maupin, one of our women fencers placed 5th of 25 in a tournament more than two thirds male. I'm sure we'll soon see one or more of our woman winning some of these tournaments. La Maupin routinely defeated swordsmen; I have no doubt that her spirit still lives. 
An illustration from an 1897 limited edition English translation of Gautier's work.
This past weekend the Huntsville Fencing Club held its second annual La Maupin Open in celebration of women's fencing. Mlle. d'Aubigny, better known as La Maupin, was selected as our namesake, given her well-noted proficiency with the sword, not to mention her swashbuckling inclinations. Primarily an opera singer, she was active during the late 17th and early 18th century, and learned to fence at the court of Louis XIV, thanks to her father. She took numerous lovers, both men and women, including a novice, a musketeer, a fencing master, and the Elector of Bavaria. She was fond of dressing as a man, and even fought and defeated three men, one after the other, when they challenged her for having the affrontery to kiss a woman they were courting. She died in 1707. She was immortalized in Théophile Gautier's early 19th century novel, Mademoiselle de Maupin, scandalous at the time, at least to the French bourgeoisie. The best available biography is La Maupin (1670-1707): Sa Vie, Ses Duels, Ses Aventures by G. Letainturier-Fradin (Paris: Ernest Flammarion, 1904), available for free at Google Books. 
Military swords from Gaya's 1678 work. From A to G, "Epee dans un baton" used primarily for beating peasants while foraging; an "epee de rencontre" or smallsword; a Swiss broadsword; an "estoc" or rapier; a Spanish cuphilt rapier, still in use in 1678 by the Spanish, Portuguese,and some Italians; a "braquemart," knife, or short sword; and a hunting hanger. In another illustration, Gaya shows a saber and a scimitar. Note that the smallsword has a blade, per Gaya, of roughly 34 inches, and that he notes that the rapier has been out of use in France for three decades. D'Artagnan would have begun his military life bearing a rapier, but by the time of his death, and for 25 years prior, he carried a lighter sword, ranging from what is today known as a transitional rapier to a true smallsword. Doubtless the smallsword he carried in the field was a heavier-bladed weapon that what he may have worn at court. 
Statue of d'Artagnan at Maestricht, the place of his valiant death.
D'Artagnan was made world famous by Alexandre Dumas and his musketeer novels, but was in fact famous during his lifetime, and became even more so soon after by the highly fictionalized purported Memoirs de d'Artagnan written by Courtilz de Sandraz. Dumas based his famous series of novels on this memoir, thankfully altering the details as necessary, and thankfully especially for only using "the good parts." Charles de Batz-Castlemore, seigneur d'Artagnan, commonly known as d'Artagnan, commanding the First Company of the King's Musketeers, known as the Gray Musketeers for the color of their horses, was killed in action by a musket ball to the throat at the siege of Maestricht in 1673. More than 80 of his musketeers were killed in the siege, and 50 more severely wounded. Four were killed while carrying his body from the field after the entire company searched under heavy fire for him. His death was immortalized in Le Siege de Maestrik par le Roy, published in 1674. "Artagnan digne Chef des braves Mousquetaires" is proclaimed a hero: "Dans ce combat sanglant, Artagnan ta vaillance / Te fait trouver un tombeau glorieux; / Mais ta mort, qui te fait encor des envieux, / Loin d'étonner les tiens les porte à la vengeance, / Chacun de plus en plus void croiftre son ardeur..." Biographer Geoffrey F. Hall quotes a line from the Journal du siège et prise de Maëstricht: "D'Artagnan et la gloire ont le même linceul."
August 5, 2011: A New Take on The Three Musketeers.
Aerial 17th century ship-to-ship combat, from the new trailer to The Three Musketeers, perhaps more Steampunk or Jules Verne (or the real Cyrano de Bergerac) than Alexandre Dumas. I've already commented on the film's apparent swordplay below. Stars Milla Jovovich among others. 
Most of us who fence, no matter in what form of swordplay, were originally inspired by swashbuckling literature and film, by the ideas of “sword fighting” and honorable swashbuckling. Not by sport aspects of modern fencing were we inspired (a rant for another day) but by our imaginations. We grew up on books and movies in which heroes with swords battled enemies for justice and, usually, a lady’s hand. (Only recently has the literature of swordswomen come of age.) Discovering old books of adventure and swordplay remains an pastime for many of us, and my love for digging through bookstores has been passed on to my daughters. One of them, Courtney, returned from Canada yesterday with an old book for my birthday: With Drake on the Spanish Main by Herbert Strang, illustrated in color by Archibald Webb, a story much in the mold of Charles Kingsley's Westward Ho! Part of a series of Strang’s stories for boys, the book, published in 1908, has a beautiful cloth color cover with a surely Pyle-inspired illustration of a rover approaching the stern of a galleon, plus two maps, and several color illustrations—novels are seldom put together like this anymore. The inscription reads “W. Williamson / Prize for Latin / Xmas Term 1907 / Elenhurst. St. Marychurch / J. F. W. Little M.A.” Courtney found the book in a small bookstore, Reeve & Clark Books, Glen Williams, Ontario, Canada. Flipping through the pages (here comes a more notable swordplay angle) I found the illustration depicted here, with a written description proving the author did his homework. He describes the Englishman, on the right, wrestling with his Spanish adversary who hasn’t time to shorten his long rapier—a description surely based on George Silver’s Paradoxes of Defense, published in 1599. Silver loathed the long rapier and excoriated the Spanish and Italian styles of rapier play. He pointed out the dangers of long swords at close quarters, and considered that “true play” consisted of everything: not only attacks and parries, but wrestling, disarming, pummeling, and so forth. He reflected the English mentality, one entirely suited to a sea dog like Francis Drake. 
I meant to post this a week ago on the Dumas birthday (July 24) as an excuse to recommend two of his lesser-known works, The Women's War and Georges. The former takes place in the 17th century during the French civil war commonly known as the "Fronde" and the latter in the early 19th century. In the first, a swashbuckling gentlemen loves two women, leaders in the civil war, and in the latter, a swashbucking mixed-race gentlemen returns to the plantation island he grew up on. Dumas was of mixed-race ancestry, and today would probably be referred to as African-American or black. He is best known for his series of books featuring the musketeers d'Artagnan, Athos, Porthos, and Aramis. Dumas was also a fencer, and makes brief homages to swordsmen and swordplay in many of his novels.
August 1, 2011: Baldric
A quick plug for a friend of mine, Jim Cromwell aka "Sutler John," and his 17th century baldrics. For re-enactors as well as those who suddenly, like myself, find themselves having to create a pirate costume, the baldric is perfect. Hand-sewn, the baldric is copied from 17th century examples, and is the sort typically seen as well in swashbuckling films such as Captain Blood. This baldric appears to have been taken from an English Civil War example, but the style remained common from then until 1690. Re-enactors should note that, with a few exceptions, the baldric was being phased out by the 1690s, replaced by a belt. Baldrics were considered too cumbersome for infantry, especially at close quarters. This being said, baldrics did provide some protection to soldiers on the battlefield, especially against sword cuts. The image links to the Sutler John website.
July 29, 2011: "Pirate" Cutlasses
Cutlasses depicted in most pirate films are typically anachronistic. Although there were a variety of hilts used during the late 17th and early 18th centuries, the shell hilt, as depicted here in the hand of Rock or "Rocky" Brasiliano, was likely the most common. It typically consisted of a single shell, curved quillons/knuckle guard, and often a thumb ring on the inside if the hilt had only a single shell. Some had shells inside and out, some only on the outside, and some single shell hilts lacked a thumb ring entirely. Blades tended to be short and heavy, and many were clip-pointed, as is Rocky's blade. The cutlass--an original--worn by Captain Teague (played by Keith Richards) in the 3rd and 4th Pirates of the Caribbean films is similar. Loyalist Arms sells a replica shell hilt cutlass.
July 26, 2011: Pirate Boarding Tactics
Currently scheduled for Saturday, September 17, I'll be lecturing in St. Augustine on pirate boarding tactics. The lecture will include a broad overview of pirate and sea rover tactics in general, followed by specific tactics used in boarding, a short discussion of pirate swordplay in fiction, film, and reality, and the debunking of a few related myths, ranging from pirate flags to dueling for command. St. Augustine is, of course, an ideal location, being not only the target of pirate raids but also the place of execution of a noted filibuster as well. The lecture will last almost two hours and is, as far as I know, open to the public as well as to Talk Like a Pirate Day / Hot Pirate Babes Calendar Release party attendees. See here for details.
July 26, 2011: Pirate Swordplay
On Sunday, September 18, as part of the Talk Like a Pirate Day / Hot Pirate Babes Release Party in St. Augustine, is the "Cutlass Boarding Action Seminar" taught by maritime combat expert John Lennox. If you want to learn how to fight at close quarters like a buccaneer, here's the place to do it.
July 25, 2011: Robert Heinlein's Lady Vivamus
FilmSwords (see below) is also forging Robert Heinlein's Lady Vivamus, made famous in his novel Glory Road. See this link for a John Carter of Mars/Barsoom related quotation from the book, as well as much more information on the (pricey) sword. Heinlein, a prolific science fiction author whose works ranged from those intended for young adults to those entirely adult, was also a fencer at the United States Naval Academy, where he was awarded the Epee Medal in 1927. He graduated and was commissioned into the U. S. Navy in 1929. The sword's name is taken from an Epicurean motto: "Dum vivimus, vivamus," or "We must live while we live." I'd say it's an obvious statement, yet far too many forget that it's too late to live after you're dead. One need not be an Epicurean to appreciate the motto. A life of adventure, hazard, and hardship quickly reminds its participants to cherish and enjoy every moment, for each might be the last--not to mention that such a life provides a lifetime of enjoyment in itself.
July 15, 2011: Martian Longsword
The Martian longsword, as imagined by fantasy artist Frank Frazetta and as forged by FilmSwords.com, a division of Albion Armorers, Inc. As with all of Albion's swords, the Martian longsword is finely crafted. July 15, 2011: John Carter [of Mars]
Forthcoming, March 2012, based on Edgar Rice Burroughs's century old novels about a Confederate soldier who finds himself sword-in-hand battling exotic races and wooing a scantily-clad princess on Mars. Regarding swordplay (this is a swordplay page, after all), Mr. Burroughs's character in at least one of the novels notes that he does not parry with the edge, therefore preserving it. This is an area of disagreement--whether the edge was used in parries or not--among a number of historians of swordplay. I cannot speak expertly of swordplay prior to the 17th century, but there is, based on numerous documents, not to mention on swordplay of the past century, descended as it is from the past two, no reason to believe that parries were not made with the edge. Parries, by all evidence, were typically made with the edge at the forte, where the blade was thicker and the edge typically unsharpened. Note also that it is virtually impossible to prevent damage to the edge even in attacks--the adversary's parry, with whatever part of the blade, will strike the edge. Indeed, there are numerous accounts, going all the way back to the age of the Viking, of blades terribly notched along the edge from long hard battle. This being said, I am aware of parries in Filipino arts being made with the flat.
July 11, 2011: Don Francisco de Quevedo
Francisco de Quevedo, whose full name was Francisco Gómez de Quevedo y Santibáñez Villegas, was a renowned Spanish poet, perhaps the greatest of his age, and also a politician and writer who went in and out of royal favor. He was also a swordsman, and a critic of the popular destreza verdadera (true art) style of Spanish rapier play, in which mathematical circles and philosophical wanderings that played on a student's desire for "secret knowledge" and "secret thrusts," had a prominent role. The "true art" was based on the works of don Jeronimo de Carranza and don Luis Pacheco y Narvaez, the latter of whom Quevedo fought a duel with, using his rapier to remove Narvaez's hat in the process. Quevedo apparently preferred the destreza común (common art). Although surely unnecessary to become a redoubtable swordsman, the destreza verdadera was doubtless quite lucrative for fencing masters. Quevedo lampooned the "true art" in his famous picaresque novel El Buscón or Vida del Buscón (The Swindler). He was in many ways true to the ideal of "pen and sword," using both to advantage. He also led a swashbuckling lifestyle, smoking and drinking much and seeking women in brothels. Yet he was not without a certain Quixotic honor: he once attacked a man for slapping a woman in front of a church. Each drew his sword: Quevedo ran his adversary through, killing him, for which Quevedo was forced to seek protection against charges of murder. The swordsman-poet was born on September 14, 1580, and died on September 8, 1645. He is featured prominently in Arturo Perez-Reverte's excellent Alatriste novels.
July 11, 2011: The Viper Vixens
A plug for the Viper Vixens--"Topless Girls, Dangerous Weapons"--who both gave a demonstration at CombatCon, and helped sponsor the convention as well. The most dangerous part of the five women, one man act is not with swords but with a powerful crossbow (no cheating here), in which husband and wife make risque shots at each other. At O'Shea's Monday though Saturday. 
On the "Weapons and Wounds" panel with David Baker and Steaphen Fick.
Overall, CombatCon 2011, organized by Jared Kirby (longtime student of the rapier and of swordplay in general, as well as translator and editor of the excellent 2004 edition of Capo Ferro's masterpiece), succeeded very well in bringing Hollywood fight choreographers together with other experts in Western martial arts. Participants spending two solid days there could only sample the large number of demonstrations, expert panels, and classes. Perhaps most comforting to me was the fact that Hollywood choreographers, altough bound by the conventions and requirements of film, are indeed excellent swordsmen, and not mere imitators. I was also very pleased to see so many serious students of traditional Western martial arts, swordplay especially. Although modern competitive foil and saber fencing (and in some cases, epee as well) have deviated too far from practical swordplay, "real" swordplay, whether Medieval, Renaissance, or early modern, is in no danger of disappearing. In particular, I'd like to thank Jared Kirby and Steve Huff for inviting me, Steve Huff and John Lennox for our discussions and especially for the outstanding work they're doing in Age of Sail close combat, and David Baker (prop fabricator for Deadliest Warriors), Steaphen Fick (Davenriche Martial Artes School), Luke LaFontaine (fight choreographer and swordsman, including during the filming of Master and Commander), and Nick Gillard (Star Wars fight choreographer for films I, II, and III) for our conversations and especially for all I learned from them. Here's hoping that there will be a convention next year--I highly recommend it to all swordsmen and swordswomen, and to those who so aspire. Modern fencers should especially attend, so that they may be reminded of what swordplay should be, and perhaps then help rein it in from its lost path. As an addendum I should add that the convention included a demonstration by the Viper Vixens--"Topless Girls, Dangerous Weapons"--and the Time Traveler's Ball. As a footnote, all three members of the panel shown above strongly agreed--and without hesitation--that women warriors are by nature the deadlier of the two sexes. July 6, 2011: Some Useful Links
An incomplete list of useful links derived from CombatCon 2011: Art of Combat Historically accurate combat for stage and screen. Cold Steel Excellent, reasonably-priced, combat swords and knives, not to mention instructional DVDs. Davenriche European Martial Artes School Western martial arts taught by Steaphen Fick. Historical Martial Study Society 17th to 19th century Western martial arts. Hollywood Combat Center Prop, training, and battle-ready swords by Deadliest Warrior prop-maker David Baker. Kult of Athena The best prices and service for quality swords on the market. Lennox Studios Historical swordplay, including martime swordplay and close combat during boarding. Martinez Academy of Arms Classical and historical fencing instruction and research, including in the Spanish rapier (destreza verdadera as opposed to destreza comun). Pirate Fashions N Photos Hot Pirate Babes calendar, pirate fashions, photography and more by Tiger Lee. Purpleheart Armoury Excellent wooden and other training swords. Rancho Indalo Private action training by fight director and swordmaster Anthony De Longis. Rockwell Classical Fencing Equipment Italian foils and epees, even points d'arrêt! War Studios Fight choreography and weapons training by Luke Lafountaine. 
A romanticized image of a 17th century pirate, surely Spanish, armed with a rapier, which indeed many were, although the cutlass was also a common Spanish weapon at sea. Seamen, however, did not wear riding boots, although doubtless some Spanish soldiers at sea did. Note the similarity to the images from the forthcoming Puss in Boots (see below) and also to the images in the Spanish film Alatriste. The rapier hilt appears to be a Norman type 83, similar to that used in Alatriste. During CombatCon 2011 (see above), I sat on panels that included discussion of pirate boarding tactics and swordplay, and Ramón Martínez and company gave demonstrations and lectures on Spanish rapier play. The illustration is of the painting "The Pirate" by Irishman Arthur David McCormick (1860-1943).
July 5, 2011: Puss in Boots
Forthcoming, November 4, 2011, well in time for the Thanksgiving holidays. Of course, the original Puss, well-booted and as described by the late 17th century Perrault, was clever but not a swordsman, or swordscat to be more correct, although his cleverness was certainly suitable to swordplay. In the film will also be Kitty Softpaws (voice of Salma Hayek), a thief and swordskitty, so to speak, armed of course with a sword, although not a cup-hilt rapier as her amante is. Perhaps Puss will rank among my favorite Spanish swordsmen, fictional and real: Diego Alatriste, Francisco de Quevedo, and Inigo Montoya. 
Eugene Hamori (Olympic gold medalist, team saber, Hungary, 1956) forwarded some photographs of Hungarian saber fencers from the era before Italo Santelli introduced the Italian dueling saber to Hungary, changing Hungarian saber forever, not mention sending Hungary on to dominate international saber fencing for half a century. Note the heavy realistic blade, and especially the heavy gauntlet and mask necessary for protection. This was saber fencing for the battlefield! The modern fencing saber introduced by Santelli was, in its bloodletting capacity, purely a dueling weapon. It was too light for anything else but sport. The Hungarian style is gone now, destroyed by the electrification of the saber (even hits with the flat of the blade are now allowed), which in turn was the result of a desire by some FIE officials to destroy Hungarian fencing, which, due to its strict but beautiful technique, limited the number of nations who could successfully compete in it. That is, it was too difficult to acquire the sufficient level of technique without a "critical mass" of expert masters and fencers. The IOC, and thus the FIE, wants the Olympics to draw audiences, and an easy way to draw audiences is by increasing the drama, for example by making it less certain who the likely winners will be. A photo from a history of Transylvanian fencing. 
Nineteenth or early 20th century illustration of the mensur or German collegiate "duel."
A BBC article reports on the controversary surrounding the admission of an Asian student to a German "dueling" society. Many of the societies are opposed to the admission, but claim they are not being racist, but nationalist, although the member in question did in fact serve in the German army. Known as the mensur, the German collegiate duel consists of cuts aimed solely at the head. The schlager blade tip is blunted, and "duelists" are well-padded and their eyes protected. The principal aim is to gain a "dueling" scar, ideally on the cheek or forehead.
June 18, 2011: 2nd Annual Joe Dabbs Open and HFC 40th Anniversary
Besides the virtues of competition and cameradery found at fencing tournaments, one can add those of history and of honoring veteran fencers. At the 2nd annual Joe Dabbs tournament, the Huntsville Fencing Club honored the founders of fencing in Huntsville, encouraged younger fencers to meet them and learn from them, and encouraged the old veterans to write their fencing memoirs, which the HFC in turn will publish on its website. (One of these memoirs, by John Jordan, is already posted.) The knowledge--and adventures!--of veteran fencers should not be lost. Naturally, we followed up with an anything-but-dull party. 
Books by Szabo, Vass, Castello, Barbasetti, Nadi, Crosnier, and Cléry. The foil, mounted with a Solingen blade, dates to the late 19th century.
Although fencing cannot be learned well from reading fencing books--proper instruction and diligent practice are mandatory--much about the subject can be learned from them, ranging from footwork and technique to tactics and tempo. In general, fencers should not rely solely on a single fencing book. For those with an interest in historical fencing, texts, preferably the originals as opposed to modern interpretations (unless the complete original text is also included, the exceptions being cases in which there essentially are no period texts, as with the cutlass and other armes blanches used at sea for example), are mandatory, as is a solid foundation in "modern classical" fencing--that is, fencing as it was routinely taught prior to the past two decades. The Huntsville Fencing Club maintains a thorough, albeit incomplete, list of fencing titles, ranging from modern fencing to classical fencing to historical fencing, here. (The club does not sell fencing books, it simply maintains a list of suggested titles. Information on acquiring fencing books is given at the foot of the books page.) June 14, 2011: Barlois Vs Flessel, 1996
Excellent technical epee fencing, brought to my attention by Danielle Green. The principal difference between this bout and a typical male bout are the absence of powerful "macho" prise de fer and actions on the blade, and the occasional use of exceptionally long lunges, facilitated by the generally greater flexibility of women fencers. But don't be fooled in regard to powerful actions: these women make powerful beats and oppositions during this bout! June 13, 2011: Good Advice for Epeeists and Duelists
"In epee, one must know how to wait." —Claude la Marche, The Dueling Sword, 1884. "'Prevail by patience,' is the motto of my house, and I have taken it for the guiding maxim of my life." —de Bernis, in Rafael Sabatini’s The Black Swan, 1931. "Patience is the first virtue of an épée fencer." —Luigi Barbasetti, The Art of the Sabre and the Épée, 1936. This being said, note the words of Dr. Francis Zold to me during a lesson in 1977: "Never hesitate!" Note also, in my words, that patience need not be passive! Far too many fencers equate patience with passivity. One may fence aggressively yet patiently, and in epee should. Note also that patience was often precluded on the battlefield or during a boarding action. 
Although more Hollywood than realistic, Arya Stark's fencing lessons nonetheless capture the wonder, even thrill, of receiving a good fencing lesson (and, in my case, of giving lessons to my daughters as well). However, I can't judge the book's descriptions of her lessons, not having read the series in spite of the strong suggestion to do so from my older daughter as well as from several employees at the Jones Valley B&N (several of whom say they want me to lead them on a venture of modern piracy, the sea-going kind, of course).
June 12, 2011: The Dueling Sword
A late 19th century work by Claude La Marche, translated and edited by Brian House, the book is worth reading by all epeeists. As the translator noted to me in an email, one can fence classical epee today even to the highest levels, although it is probably unlikely--as Imre Vass pointed out--that one can win internationally using classical techniques alone. ("Outstripping" is the problem--many elite fencers are interested only in hitting first, rather than "giving and not receiving.") The popularity of "modern" interpretations notwithstanding, the foundation of epee remains classical. (The most notable "modern" interpretive work is Epee 2.0, which, although an interesting and occasionally controversial work, doesn't reveal anything truly novel except in the minds of epee fencers grasping at any straw or "secret thrust" in the hope of improving their game. Also, the technique described in the book is suitable largely to a "hit first" mentality, not a "hit and don't get hit" mentality.) La Marche reads well, and the translator has done an excellent job. The technique, of course, is classical French: a good companion piece would be a book on the Italian dueling sword or spada. Highly recommended. June 12, 2011: Swordplay in Neverland
The recently released trailer for the Syfy channel mini-series Neverland looks good, with what appear to be good acting and high production values--and even Kieira Knightly as the voice of Tinkerbell. Naturally, we have to ignore its Hollywood plot devices inconsistent with Barrie's original work--Neverland, for example, is entered as one falls asleep, and not via a crystal ball as in the series. Of course, this being a swordplay page, I have to note my disagreement with the fencing instructor's admonition not to watch your adversary's blade. Hollywood, ever in love with a good-sounding line (the truth is less important than the story), probably approves of the line, however. And, in the writers' defense, there have been a few notable fencing masters, East and West, who recommended focusing one's central vision on the adversary's eyes. (Of course, the line may well be linked to later plot development as well. Note also that a similar line is used in HBO's Game of Thrones during one of Arya Stark's fencing lessons, see above.) Even so, most masters past and present recommend focusing central vision on the weapon hand/hilt or the point, and not on the eyes. Critics will suggest that the eyes can't be seen through a fencing mask (though they typically can), but the advice against looking into the eyes comes not only from masters in the past when there were no fencing masks, but also from modern teachers quite familiar with fencing with lexan masks. (By the way, the real reason for lexan masks is so the non-existent audience can see fencers' faces--in other words, the masks appease the IOC.) Although the eyes might be the window to the soul, they are also easily deceptive--and the real threat comes not from the eyes but from the point or edge of the sword, thus from the hand holding it. Fencing master John Godrey, a practical man, considered the issue settled in 1757: that is, don't watch the eyes. Watch the weapon hand or the weapon point, use your peripheral vision to pick up everything else. (The mini-series will be released on TV in December 2011.) May 26, 2011: Fencing at the 1956 Olympics
Eugene Hamori, friend and my second fencing master, was a member of the Hungarian saber team depicted in this Olympic summary. (In the brief gold medal saber team footage, he is fourth in line, wearing black shoes.) In general, note the clean fencing and its exceptional speed--by no means are fencers quicker today. Epee looks little changed, foil right-of-way (although still artificial) makes sense and is easily judged, and saber technique is impeccable, not sloppy at all, unlike the often ugly mish-mash of modern technique. This video was brought to my attention by Julio Cesar Montoya Polanco.
March 15, 2011: The Three Musketeers and Swordplay on the Screen
(Originally posted January, 2011.) New photos from the forthcoming film The Three Musketeers, directed by Paul W. S. Anderson (Mortal Kombat, Resident Evil). To date, no recent film versions of the book have managed to live up to Richard Lester's 1973-1974 version, released as two films, the second entitled The Four Musketeers. One of the two photos from the forthcoming film shows d'Artagnan and his musketeer friends surrounded by the Cardinal's guard. Unfortunately, for those with an interest in authentic swordplay, the three visible musketeers, not to mention the Cardinal's guards, are all on guard in sixte. Tierce, with the hand in pronation, is the appropriate position with the rapier in an outside guard. All look more like 19th or 20th century foilists, rather than rapier-wielding musketeers. None even has his parrying dagger drawn. This may seem a small matter, yet in terms of history and swordplay is egregious. Let's hope the film itself will overwhelm such inaccuracies. In reality, few films correctly depict period swordplay, although this rarely detracts from the viewers' enjoyment. Most accurate is probably that depicted in The Duellists (1977). The swordplay in Alatriste (2006) and Rob Roy (1995) is fairly accurate, expertly choreographed, and thoroughly engaging, although the light blade on broadsword actions in the latter film do not quite ring true (no pun intended) to anyone versed in historial swordplay. The swordplay in D'Artagnan's Daughter (La Fille de D'Artagnan) and On Guard (Le Bossu) is well done, and often tongue-in-cheek in the former. Surprising to some, the smallsword play in Casanova (2005) was quite well done. For another recent decent depiction of historical swordplay, see the Russian film 1612 (2007). Film itself imposes some limitations, particularly that the viewer must be able to follow the action, thus, as fencer and actor Cornel Wilde pointed out, screen swordplay actions must be made larger and slower. Similarly, famous Belgian fencing master and screen swordplay choreographer Fred Cavens noted that all movements must be "magnified." Screen swordplay is not real swordplay, but choreographed swordplay intended to convey drama via action to the audience. Each fencing phrase is carefully rehearsed, both for safety as well as to get the shots necessary for the scene. Actor Basil Rathbone, the fencing nemesis of both Errol Flynn in Captain Blood and Tyrone Power in The Mark of Zorro, noted how long it takes to film a swordplay scene: five minutes of swordplay might take two days to film. The photos can be viewed here. For a thorough, if abbreviated, list of books on swordplay history, as well as of historical manuals of swordplay, see the Fencing Books page at the Huntsville Fencing Club website. Update, July 11, 2011: A new trailer is available online. 
"I mention these to caution you on all occasions to be on your Guard, and not to trust any man whatever who is your adversary. For many have been deceived by not taking care of themselves in these cases, tho’ their adversaries have been men of strict honour, as they thought, and that they would not be so base and villainous as to be guilty of any thing below the character of Brave Men and Gentlemen. Experientiæ Docet [Experience teaches]." —Donald McBane, Expert Sword-man’s Companion, 1728. Good advice for all areas of life even today, not just for the now unlikely circumstance of a duel with sharps. McBane, left, was a soldier, swordsman, duelist, fencing teacher, prize fighter, and pimp, as well as the man for whom “Soldier’s Leap” is named in Scotland. 
I finally got around to watching this famous, engrossing film. Although for the sake of storytelling it falls into the myth of depicting large numbers of assailants as incapable of attacking simultaneously, it remains an excellent depiction of the "homicidal austerity of mood" required of the duelist, as Joseph Conrad put it in "The Duel." Regarding attacks by multiple assailants, two adversaries is one too many, as the saying goes. Similarly, "there is no Hercules against the multitude." As far as samurai films go, The Seven Samurai remains perhaps the finest of the genre, as well as one of the best films ever made. One of the most evocative cinematic samurai duels is that depicted in the finale of Goyokin. It takes place amidst sea, fire, and snow. 
Cold Steel members demonstration double knife fighting techniques. Cold Steel president Lynn Thompson is on the right.
As the organizers put it, "The times that were, the times that are, and the times that may be...and how to kick butt in all of them!" Western martial arts, pirates, fantasy, science fiction, steampunk, and horror, with classes and presentations by experts in their fields. I'll be presenting as a 'Featured Guest' on the subject of piracy. In Las Vegas, June 24-26, 2011. Check out the CombatCon website and see also the posts above, including a post op for 2011. The convention covered everything from Medieval techniques to those of the Renaissance and Early Modern eras, and even, as shown left, modern techniques, little different from those of past eras. 
"The Black Fencer in Western Swordplay" by Benerson Little, forthcoming, in American Fencing magazine, Spring 2011. The illustration is "A Pass in Tierce With the Knuckles Up," from The Art of Fencing. Represented in Proper Figures..., circa 1750. Similar illustrations of black fencers date to circa 1700. The fencer on the left is making a pass in tierce, and is using the unarmed hand to parry or oppose his adversary's blade. January 30, 2011: On Ancient Swordplay
"It is a prideful and patronizing modern myth that all forms of Western swordplay prior to the Renaissance were inferior. Rather, their technique was much simpler, given the weights of their various swords and that defense was usually provided primarily by a shield. However, to learn any of their forms demanded just as much diligent practice, and in their timing, tactics, strategy, courage, and cunning of use, all of these forms were almost certainly as sophisticated as Western swordplay of the past four centuries. Evolutionary changes in swordplay have primarily occurred with the introduction of new forms of sword that arose in response to changes in warfare or social customs, to improvements in metallurgy, or to take advantage of a weakness in existing arms, armor, or tactics, and seldom because a better way was found to wield an existing sword." From Pirate Hunting: The Fight Against Pirates, Privateers, and Sea Raiders from Antiquity to the Present, chapter 2.
January 29, 2011: The Rafael Sabatini Society
For anyone with an interest in Rafael Sabatini's historical and swashbuckling works! Update, March 1, 2011. The Society it seems is not particularly active, and recommends the Rafael Sabatini discussion group. 
Numerous articles appeared this week regarding the release of a photograph of a sword hilt from the likely wreck of Blackbeard's Queen Anne's Revenge. The hilt, given the shape of the handle and the quillons, is that of a hunting hanger, a form of short-bladed sword used not only by gentlemen during the hunt, but often by gentlemen at sea, including naval officers and subordinates. It would be a fairly common pirate sword, or at least fairly commonly available. The sword indicated here would have had only a chain for a knuckle guard, poor protection in a fight. Given the size of crew when the Queen Anne's Revenge was lost (often estimated at 150, although the precise figure is uncertain), it is unlikely the hanger belonged to Blackbeard. Certainly, it is not the sword he carried when he was cut down in action by Lieutenant Maynard and his doughty naval seamen. Given that the wreck was probably deliberate, Blackbeard probably escaped with his sword and pistols intact. (Also posted on the Sea News page.) November 29, 2008: More Fencing Gripes, Some Also Ultimately Courtesy of the IOC
Over the last three decades we participants in modern fencing have seen quite a few rule changes, many of them purportedly designed to make the sport of fencing easier to comprehend to audiences--in the Queen's English, to make them "televisual." Many of the following rules changes are directly or in part due to attempts to make the sport more appealing to an ignorant or naive audience. To date, all have failed to make the sport more appealing to the spectator. Epee and saber strips have been shortened from eighteen to fourteen meters, making them equal with the foil strip--epee and saber, being dueling weapons, were originally granted more ground to maneuver on. Five touch bouts have been shortened from six minutes to three minutes in an effort to reduce competition time and to force fencers to be more active and aggressive. The double defeat in epee has been eliminated, taking the weapon further away from the duel it was designed to emulate. Non-violent contact in epee now draws a halt (another step away from the emulation of the duel), although thankfully not (yet at least) a yellow card. Pool competitions have been eliminated, primarily due to cheating at the elite level, and have been replaced by a fifteen touch DE table, which can give skewed results. At the Olympic level, the size of the competitor field has been reduced to such a degree that it is no longer a truly broad international field (the US qualified only one epee fencer this past Olympics, for example). The world championships are now the best indicator of a nation's fencing prowess, as they permit a much larger, broader field. The rules changes and right-of-way interpretations in foil and saber deserve their own separate rant, saved for another day. Update, January 30, 2011: It appears that the excuse of cheating in 5-touch round robins was a mere pretense, and in fact the 15-touch bouts and DE table were put in place solely to build drama toward a final of two fencers, with a bout long enough to engage television audiences (a vain attempt in fencing). The fact that the DE table often gives skewed results is not seen as a detriment, but as building even more potential drama, in that weaker fencers have a chance of making it farther along than in the round robin format. (More on this subject later!) November 30, 2008 11:58 PM EST It seems more and more things these days are being shortened and changed in ways that harm their quality. Sorry to hear fencing is part of this trend. Rant on! - Ann Marie November 29, 2008: The UIPM, Under Pressure from the IOC, Alters the Modern Pentathlon
In yet another bid at making sports more appealing to a television audience, pressure from the International Olympic Committee (IOC) has once again diminished the original nature and spirit of a sport. In the case of the Modern Pentathlon (riding, one touch epee fencing, shooting, swimming, and cross country running), the Union Internationale de Pentathlon Moderne has combined the shooting and running events, primarily in order to sustain the sport at the Olympic level. Recently the IOC has been considering eliminating the event, which has been in every modern Olympics since their inception, and the UIPM's action is doubtless in response. Read the sordid details at http://www.nytimes.com/2008/11/27/sports/olympics/27pentathlon.html. The "Questions" section that previously appeared on this page is archived at the foot of the "Commentary & News" page. |
|
-330.jpg)
