tag:blogger.com,1999:blog-11782626882262373172024-03-20T14:38:55.038-07:00The School of BattleRamblings on various matters pertaining to the practice of medieval martial artsHugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.comBlogger74125tag:blogger.com,1999:blog-1178262688226237317.post-53754182372731505712022-11-23T13:13:00.003-08:002022-11-23T21:27:32.877-08:00 Arrows Can Penetrate Mail—How You’re Looking at This Incorrectly<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjBP0xUEiR0poVxTM2tM2NQ5EnVghMnGhRDI4owwqimDxBIMNF1ycMrEGXlndAxqlgODZK4HtVbpRhZSaKGRYgxDBmDUofoPLNc8jX-QneGGeA--fJjDzRBwlVYmNke8Z0IwONnhQtjxf59KoBg1jwn_J7UPv87b2eq3SwJvrKi7cbZN09uF9iIrLhg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="426" data-original-width="640" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEjBP0xUEiR0poVxTM2tM2NQ5EnVghMnGhRDI4owwqimDxBIMNF1ycMrEGXlndAxqlgODZK4HtVbpRhZSaKGRYgxDBmDUofoPLNc8jX-QneGGeA--fJjDzRBwlVYmNke8Z0IwONnhQtjxf59KoBg1jwn_J7UPv87b2eq3SwJvrKi7cbZN09uF9iIrLhg=w400-h266" width="400" /></a></div><br />Todd Cutler et al. just presented a video proving what every serious scholar of the period already knows: That arrows rarely injured men at arms in plate. The records of the period make this extremely clear, and only the confirmation bias of the archery fan boys combined with the general ignorance about the actual function of archery in late-period medieval battles made this video necessary at all. If you seriously don’t understand what archery was for, ask me privately and I will reluctantly explain it again, but when you are finally forced to admit that it wasn’t about killing men at arms (and after this video, no one with even a shred of intellectual honesty can possibly doubt that), it should be obvious.<p></p><p>This essay is really about a separate issue: Arrows penetrating mail (if you’re ignorant enough to think there’s such a thing as “chain mail,” don’t bother reading this, you need more education first). When you finally prove to the archery fan boys that arrows didn’t penetrate plate, they immediately harp on the false notion that only a few men at arms had plate, and arrows could still penetrate mail, so archery stilled RULED! So there, you mean old pedant! Of course, how much plate was worn depended upon the period, but here we’re discussing the Age of Plate (roughly c. 1375 until the end of the period), and more specifically the Hundred Years War; after that things changed quite a bit as men at arms became less important on the battlefield because they were replaced by common soldiers (NB: A man at arms was anyone who was able to arm and equip himself as a knight in full armor—get over your mistaken belief that the term refers to common soldiery with an iron cap and ratty-looking leather armor).</p><p>The simple truth is that arrows of a certain type could penetrate mail, but most people miss the most important fact about that seemingly simple statement. The arrows that could penetrate mail were those of the bodkin type—slender points with little or no blade. Anyone who has ever looked at hunting arrows, however, will immediately notice that they are invariably broadheads—wide blade-shaped points, not narrow spiked points. That’s because arrows kill by causing blood loss, not through the percussive effects we associate with firearms. The wider the blade, the more it cuts, and the more blood loss it causes, so the faster the target dies.</p><p>We start seeing these bodkin points in the early 14th century, coincidental with the development of the Age of Transition when men at arms started adding plate armor to their mail. We have plenty of accounts from the period prior to this in which arrows had almost no effect on men at arms in full mail; in one famous episode, King Louis IX of France wrote that after fighting a battle in their hauberks on one day, he and his men elected to fight in just their aketons and gambesons (another word almost everyone gets wrong) on the next day because the pinprick wounds caused by (broad-headed) arrows against their mail made the mail painful to wear—which means that they were hit a lot and didn’t die. The reason the bodkin point was developed may have been to solve this problem, or it may have been to pass more easily between plates of Transitional armor, or (probably) both.</p><p>But think about this: If arrows killed by causing wide cuts that led to severe blood loss, how did that change with the transition to bodkin points? Ah, comprehension starts to dawn in those readers not utterly blinded by confirmation bias! Right, they no longer did a very good job of killing at all. Wounding, certainly, possibly even rendering combatants <i>hors de combat</i>, but rarely killing except in exceptional and unlikely circumstances.</p><p>So yes, arrows could penetrate mail, but the key point is that mail forced archers to use a type of point which would rarely cause a fatal wound (barring long-term infection, of course). That’s the important lesson to take from this: Armor worked, even when it didn’t fully protect the wearer.</p><p>Readers of this blog may wonder why this subject is even being discussed since it has absolutely no relevance to Fechtbuch combat, which has nothing to do with archery or to war (Fiore’s hubristic claims to the contrary notwithstanding). The reason is that the same revelation applies to swords (and, to a lesser extent, spears) in Harnischfechten. When people look at early-period swords they are often struck by the very broad points exhibited by such weapons, comparing them unfavorably to the more acute points on later swords (starting with the Type XV). In fact, as with arrows, those earlier points were intended for use against unarmored targets and were actually far more deadly than the narrower later style points, just as broadheads are more lethal than bodkins.</p><p>As armor changed through the Transitional Period, the old percussive blows favored in the Age of Mail were discarded in favor of thrusts into the gaps of the plates, just as Ringeck taught (NB: Percussive blows didn’t normally penetrate mail, but they could break and damage the parts under it). They first tried to overcome plate defenses with bigger, heavier swords (e.g., Types XII and XIII), but these proved inadequate to the task, so narrower points that were capable of passing into the small gaps between plates and then penetrating the links of mail underneath were required.</p><p>So when people studying Harnischfechten today wonder about the lack of effectiveness of mail at stopping sword thrusts from 15th-century swords, they entirely miss the point, just as the archery fan boys miss the point about arrows penetrating mail: The mail forced the use of less-effective points on swords, thus making combat safer despite not being able to stop the pointier sword types. Armor worked—get over your misconceptions.</p><p>Note: If this essay (or others on this blog) seems harsh or angry, blame the confirmation-bias plagued idiots who keep shouting false information to push their notions of how things “must have been.” If not for literal decades of having to correct them endlessly only to have them throw screaming tantrums when exposed to facts which disprove their ignorant and baseless theories, this essay would no doubt have been far more gentle and mild, but enough is enough.</p><div><br /></div>Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com2tag:blogger.com,1999:blog-1178262688226237317.post-32739164116824434892020-03-14T08:37:00.004-07:002020-03-14T08:37:53.835-07:00Armored Sword and Shield Combat<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnzE16htqqaL1_txIJbyB2gTHs19eT4c1VSZxSFuZHps8uDMirV9oybcNB9qq1dfo510Ip64mK-rz1FCXLcuPUAH4B3z1dpv8jomiKr2rNeW1tl7wgKErPaOI6wfIT3iqLb0_8ZMzlhmo/s1600/Beinecke+MS+229+-+Arthurian+Romances+-+fol.+341v.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="768" data-original-width="931" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnzE16htqqaL1_txIJbyB2gTHs19eT4c1VSZxSFuZHps8uDMirV9oybcNB9qq1dfo510Ip64mK-rz1FCXLcuPUAH4B3z1dpv8jomiKr2rNeW1tl7wgKErPaOI6wfIT3iqLb0_8ZMzlhmo/s320/Beinecke+MS+229+-+Arthurian+Romances+-+fol.+341v.jpg" width="320" /></a>I have written a small essay surveying what little we can know about armored sword and shield combat in the High Middle Ages. In it, I discuss how the efforts at interpreting sword and shield combat by other authors have been deeply flawed by their reliance on specious connections between unarmored Fechtbuch techniques using dissimilar equipment. I also examine what we are capable of extracting about how the sword and shield form was practiced by considering the non-Fechtbuch iconography of the period along with analyses of certain chronicles. The article can be found here:<br />
<a href="http://www.schlachtschule.org/instruction/SwordandShield.pdf">http://www.schlachtschule.org/instruction/SwordandShield.pdf</a>Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com5tag:blogger.com,1999:blog-1178262688226237317.post-26705606661858525222020-01-01T12:32:00.000-08:002020-01-01T12:32:01.562-08:00Changing Interpretations: The Zornhau Versetzen<br />
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It is often said that “the only constant is change,” and the
study of historical martial arts does nothing to deny that aphorism.<span style="mso-spacerun: yes;"> </span>I recently had someone complain that a
picture in my book, <i style="mso-bidi-font-style: normal;">The Knightly Art of
the Longsword</i> (Lulu.com, 2009), shows me doing a displacement differently
from how I teach it now, and he was right.<span style="mso-spacerun: yes;">
</span>But as I wrote in the introduction to that book:<span style="mso-spacerun: yes;"> </span>“While the art of the longsword is an old
one, it is but newly rediscovered and our interpretations are relatively
recent. The process of interpreting medieval Fechtbücher is more art than
science, and even someone very familiar with the German language can be easily
confused by the writings of our fifteenth-century antecedents. Moreover, we’re
learning new things and discovering new sources all the time, things that can
have a great impact on our understanding of our art.<span style="mso-spacerun: yes;"> </span>As a result, our interpretations can (and
should) change significantly over time…” (p. 7).<span style="mso-spacerun: yes;"> </span>That process is ongoing, and, indeed, I do a
number of things differently now.<span style="mso-spacerun: yes;"> </span>For
many of these, see the corrigendum and additions in my book, <i style="mso-bidi-font-style: normal;">Longsword Training Guide</i> (Lulu.com 2018)
pp. 265-274.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj9Err7S2dI7usuapaqQcwH1njJylcDaKzMLdH74yPhukSxVOi3iSM5lMWUK2x1KhRWhvng81fIIsa7joFUmAC2A1I5dQfnHURqIbZ1L1Ujkag-FDAzc-qz8kN8YR5xs2D0LdpXEJaRrM/s1600/Bad+V+ersetzen.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="481" data-original-width="524" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj9Err7S2dI7usuapaqQcwH1njJylcDaKzMLdH74yPhukSxVOi3iSM5lMWUK2x1KhRWhvng81fIIsa7joFUmAC2A1I5dQfnHURqIbZ1L1Ujkag-FDAzc-qz8kN8YR5xs2D0LdpXEJaRrM/s320/Bad+V+ersetzen.jpg" width="320" /></a>One of the things I do differently now is the way I
understand how to displace with a Zornhau.<span style="mso-spacerun: yes;">
</span>In the picture referred to above from <i style="mso-bidi-font-style: normal;">The Knightly Art of the Longsword</i>, I displaced with my point up in
the air, as in the picture on the right.<span style="mso-spacerun: yes;">
</span>This way of displacing came from looking at the art in the Fechtbücher,
many of which depict displacements done in just this way, such as in the next
picture from the Cluny Fechtbuch folio 12r.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm6Dnp6Dv8ZpPyaynCALlt9hal00z7X6jCCu-NhsfzNBma19_RSIH2tzAZWY5NUJ-jieanhPZi4JztROOixbY2aUNfYkISqxF4mQ2vM8phzE3N-bBvLHZshJgq-iqmbEqJ_3uJhRDgOpk/s1600/Cluny+12r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm6Dnp6Dv8ZpPyaynCALlt9hal00z7X6jCCu-NhsfzNBma19_RSIH2tzAZWY5NUJ-jieanhPZi4JztROOixbY2aUNfYkISqxF4mQ2vM8phzE3N-bBvLHZshJgq-iqmbEqJ_3uJhRDgOpk/s320/Cluny+12r.jpg" width="320" /></a></div>
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Over time, however, that way of using the Zornhau to
displace came to seem unsatisfactory in practice. This led to a careful study of the texts,
which made me see it as inaccurate. When
studying the Fechtbücher, the artwork can be tremendously valuable for
interpreting techniques, but it must be remembered that the drawings were made by
hired artists, not by the practitioners.
Any skilled karateka who looks at the inaccurate and unrealistic figures
on karate trophies given out today can easily appreciate the problem. Thus, it is important to place more trust in
the text than in the art, even though the text can be quite problematic, too.</div>
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<o:p></o:p></div>
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In the Nuremberg Hausbuch (Ms 3227a), the anonymous author frequently
and adamantly insists that we should cut the man, not his sword, for example:<span style="mso-spacerun: yes;"> </span>“Do not strike to the sword, instead go for
the openings” [Ms 3227a fol. 18v].<span style="mso-spacerun: yes;"> </span>At
first glance, that seems to apply to a cut rather than to a displacement, but
the displacement used is a Zornhau, too.<span style="mso-spacerun: yes;">
</span>Referring to it, Peter von Danzig says we should do the cut “without
displacing” (Von Danzig fol. 23r) in order to counter a Zornhau.<span style="mso-spacerun: yes;"> </span>What I take that to mean is that you don’t
cut the sword to displace, you cut the man, just as the Nuremberg Hausbuch
teaches us, and that you do it with a Zornhau.<o:p></o:p></div>
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Continuing in the Nuremberg Hausbuch, we are told:<span style="mso-spacerun: yes;"> </span>“No matter how you fight always aim your
point at your opponent’s face or breast, then he will always have to worry that
you will be faster since you will have a shorter way to go in to him than he
has to you… And as soon as the opponent binds your sword then your point should
not be more than half an ell [~12”] from the opponent’s breast or face” [fol.
24r].<span style="mso-spacerun: yes;"> </span>In other words, when you bind,
whether you were the attacker or were displacing, cut straight in so that your
point is near to your opponent, even if it’s not aimed straight at him (if it
is aimed straight at him, that would mean you had hit him, unless you cut in
front of him, as, for example, you do with the Zornhau Ort) so that if he moves
or yields the bind you can instantly thrust (see also ff. 21r-v:<span style="mso-spacerun: yes;"> </span>“Since you know at once that you have a
shorter way to the opponent since you already have your point on his sword, as
close and as short as possible”).<o:p></o:p></div>
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This is echoed by von Danzig.<span style="mso-spacerun: yes;"> </span>Writing about how to displace, he said:<span style="mso-spacerun: yes;"> </span>“You are not to displace the way other
fighters do.<span style="mso-spacerun: yes;"> </span>When they displace, they
hold their points up or to the side. This means that they cannot attack the
four openings in the displacement with the point… If you want to displace, then
do it with a cut or a thrust and strive to reach the nearest opening immediately”
[fol. 26v].<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitfpsb5vHgv9tv6omuQ-B751tSoNrjM3SN-pAnmV5Dlqu7PSHXree2vzXiN0xpKr3hIGf3o-kw97KchzgM5WZbIyVYKJ7zbim_WfzOFOwTRMheR5ZDrwv2CXE9pUAKR5BboJPRJs_A7To/s1600/Good+Versetzen.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="557" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitfpsb5vHgv9tv6omuQ-B751tSoNrjM3SN-pAnmV5Dlqu7PSHXree2vzXiN0xpKr3hIGf3o-kw97KchzgM5WZbIyVYKJ7zbim_WfzOFOwTRMheR5ZDrwv2CXE9pUAKR5BboJPRJs_A7To/s320/Good+Versetzen.jpg" width="320" /></a>So the idea is that a displacement isn’t a thing by itself,
the way to displace is to cut in such a way that your sword gets in the way of
his, but if he were to make a mistake, your cut would land.<span style="mso-spacerun: yes;"> </span>Consider the Zwerchhau, for example:<span style="mso-spacerun: yes;"> </span>It can be used as an attack, but it can also
be used to displace a Zornhau.<span style="mso-spacerun: yes;"> </span>In both
cases, whether in the Vor or in the Nach, the cut is the same.<span style="mso-spacerun: yes;"> </span>There isn’t one version for the cut and a
different one used to displace, they are both just Zwerchhaue, and the Zornhau
should work the same way.<span style="mso-spacerun: yes;"> </span>As von Danzig
said, if you want to displace, do it with a cut or thrust, not with some hypothetical
“block,” and do it so that your point ends up near to your opponent and not up
or out to the side.<span style="mso-spacerun: yes;"> </span>Thus, when you look
in my latest book, <i style="mso-bidi-font-style: normal;">Longsword Training
Guide</i> (Lulu.com 2018), the Zornhau displacement looks quite different from
the way it did in my earlier longsword book, as the picture to the right shows.<o:p></o:p></div>
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For a detailed explanation of how to cut and to displace,
watch this video I made in order to help people understand the new
interpretation discussed above:<span style="mso-spacerun: yes;"> </span><a href="https://www.youtube.com/watch?v=VJgM3QiS4ik&t=16s">https://www.youtube.com/watch?v=VJgM3QiS4ik&t=16s</a><o:p></o:p></div>
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Incidentally, this principle is why a feint should never
work against a skilled practitioner of Liechtenauer’s art:<span style="mso-spacerun: yes;"> </span>Since we are taught to cut the man rather
than to his sword, when an opponent feints a cut, our “displacement” should
simply hit him when he moves his sword around for his real attack.<span style="mso-spacerun: yes;"> </span>For more on this, see this video:<span style="mso-spacerun: yes;"> </span><a href="https://www.youtube.com/watch?v=FfJ9svJnN9U">https://www.youtube.com/watch?v=FfJ9svJnN9U</a><o:p></o:p></div>
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I hope this short essay helps explain both how I got things
wrong at first, how I do them now, and why.<span style="mso-spacerun: yes;">
</span>This principle, while not immediately obvious and somewhat subtle, is
one of the true secrets of Liechtenauer’s art.<span style="mso-spacerun: yes;">
</span>It is an important part of what separates it from a mere beating of
sword on sword, and elevates it into one of the most sophisticated and elegant
martial arts of all time.<span style="mso-spacerun: yes;"> </span>And yes, I was
wrong.<span style="mso-spacerun: yes;"> </span>I freely admit it, and it won’t
be the last time, but I would rather admit to an error than to continue to be
wrong.<span style="mso-spacerun: yes;"> </span>The only way to be certain you’re
doing things incorrectly is to never change your interpretations, because that proves
you have ceased to study and train.<o:p></o:p></div>
<br />Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-25294925041493417982019-08-11T02:14:00.001-07:002021-05-27T11:02:52.069-07:00Striking with Spears?<br />
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I have long been troubled by the unarmored spear plays in Talhoffer's
Königsegg Codex, as in the picture here, et. seq.:<o:p></o:p></div>
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<a href="https://upload.wikimedia.org/wikipedia/commons/8/86/Ms.XIX.17-3_45r.png">https://upload.wikimedia.org/wikipedia/commons/8/86/Ms.XIX.17-3_45r.png</a><o:p></o:p></div>
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The problem with these plays (and there are only a very few—ff.
45r- 49r in MS XIX.17-3—is that there are a few which show the spears being
used to strike (as in the picture below).<span style="mso-spacerun: yes;">
</span>This is the justification a certain well-known but severely misguided HEMA interpreter to apply longsword striking techniques to the spear, which drives
me pretty insane.<span style="mso-spacerun: yes;"> </span>It just wasn't done
with spears, but a certain sector of the HEMA community just loves the ideas of
taking techniques from one form and applying them to a different form the way Fiore sometimes did.<span style="mso-spacerun: yes;"> </span>Sigh.<o:p></o:p></div>
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One of the reasons spears weren't used for striking is that
the spears were tapered, as you can see in this (and almost every other) spear
pictured in the Fechtbücher:<o:p></o:p></div>
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<a href="https://upload.wikimedia.org/wikipedia/commons/8/8c/Ms.Thott.290.2%C2%BA_101v.jpg">https://upload.wikimedia.org/wikipedia/commons/8/8c/Ms.Thott.290.2%C2%BA_101v.jpg</a><o:p></o:p></div>
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I don't want to go too deeply into why they were tapered,
but the short version is that by tapering the shaft you balance the spear
against the weight of the spear head.<o:p></o:p></div>
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The problem with striking with a tapered spear is that they
are therefore <i>thin </i>near the point at which you're striking, and so are
extremely likely to break.<span style="mso-spacerun: yes;"> </span>And yet,
there are those plates in Talhoffer, mocking what I thought I knew and
understood (and justifying that HEMA fellow in his making up of nonsense
techniques).<o:p></o:p></div>
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Looking at the striking spear plates, I saw that they are
not tapered in the drawing, but it's a mistake to see too much in the bad art
of medieval books, so I didn't want to just claim "But these 'spears' are different!"<span style="mso-spacerun: yes;">
</span>And yet, that's what I was thinking—as if they were really
"quarterstaffs with benefits," like the ones in Silver that have iron
caps on the end.<span style="mso-spacerun: yes;"> </span>“Why not a metal point?”
I asked myself.<o:p></o:p></div>
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Now, however, I think I have the answer, and it also
explains why these "spear" techniques are shown unarmored, and in an
unarmored section of the book (sometimes armored plays are shown out of armor,
but not usually in the armored section of a book):<span style="mso-spacerun: yes;"> </span>I think they are boar spears.<o:p></o:p></div>
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There is a very short section in “Fechtregeln” (“Cologne
Fechtbuch”) <span style="mso-spacerun: yes;"> </span>(MS Best.7020 (W*)150), from
c. 1500, which talks about techniques for boar spears.<span style="mso-spacerun: yes;"> </span>For example, “Item hy na volget eyn stuck ym
swynspeyß.” (“Item: Here follows a technique in the boar spear.” fol. 20v.).<span style="mso-spacerun: yes;"> </span>The techniques described in the Cologne
Fechtbuch are very vague (text only, too—no pictures), and it’s hard to see any
connection to the spear/staff techniques in Talhoffer, so this is obviously
something of a reach, but it does solve the question rather nicely.<o:p></o:p></div>
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After all, boar spears, if they were tapered at all, were
usually tapered toward the butt, not the point, to make them stronger at the
front end and so that you could push into the thicker part of the shaft for a better
grip in a hard push (with the boar pushing back!).<span style="mso-spacerun: yes;"> </span>You can see this here:<br />
<a href="https://nfknowledge.org/wp-content/uploads/2018/01/tapestry_two_1.jpg" target="_blank">https://nfknowledge.org/wp-content/uploads/2018/01/tapestry_two_1.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The term used for the weapon in the Königsegg Fechtbuch is
either “spüß” (which is just “spieß” or spear) <span style="mso-spacerun: yes;"> </span>or “glän,” a term which is more problematic,
at least for me.<span style="mso-spacerun: yes;"> </span>The translation in
Wiktenauer gives Glän as “glaive,” but the German word for glaive is “Glefe,”
not “Glän.”<span style="mso-spacerun: yes;"> The confusion shown regarding this term comes from the fact that </span><o:p></o:p>Glän is an archaic German word for lance, which took me a long time to track down in a very old German dictionary.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Moreover, while boars were hunted in partial armor sometimes
(Gaston Phoebus talks about wearing leg armor when doing so on foot), that didn’t
apply to commoners, as the picture from Gaston’s book I posted above shows,
which matches with what we see in Talhoffer.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Balanced against this rather complex argument (Occam’s
Razor, anyone?) is the fact that the weapons in Talhoffer don’t look much like
boar spears as they are traditionally depicted, with either a metal cross bar
or a tied-on crossbar of antler to prevent sir swine from crawling up the spear
to gut you.<span style="mso-spacerun: yes;"> </span>Nor are Talhoffer’s spears
reverse tapered as the boar spears often are.<span style="mso-spacerun: yes;">
</span>Still, it’s a fairly crude drawing, so I don’t lend to much weight to
this objection, even though it must be recognized.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I confess, however, that in spite of this weakness, I like
the boar spear idea.<span style="mso-spacerun: yes;"> </span>It makes sense in a
way in which just claiming spears were used as staves for striking blows does
not, and it answers all the questions (out of armor, striking with the weak
part, etc.) this issue raises.<span style="mso-spacerun: yes;"> </span>This will
therefore be my working hypothesis for now.<br /><br />Edited 10/20/19:<o:p></o:p><br />
Today, as I was reading Andre Paurñfeydt's work, I came across confirmation of my hypothesis. He wrote:<br />
"When your opponent opposes you with a sword or a boar spear, and you only have a messer, then stand down low, (with) the point against him on the right side. When he strikes a buffalo strike from the roof, step into the triangle and displace the strike short, so that he exposes himself." (1515 edition, p. H, tr. Robert Kraaijeveld).<br />
<br />
The accompanying picture:<br /><a href="http://wiktenauer.com/images/8/88/Paur%C3%B1feyndt_23.jpg">http://wiktenauer.com/images/8/88/Paur%C3%B1feyndt_23.jpg</a><br />
confirms a high vom Tag guard and the intention of swinging down from above with a Zornhau. Thus, it becomes clear that boar spears <i>were </i>used for heavy strikes, just like a staff, which strongly supports my hypothesis above.</div>
<br />Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-22706212516559355982019-05-21T13:30:00.000-07:002019-05-21T13:30:19.853-07:00Zornhau Ort vs. Zornort: Get Them Straight!
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There are two techniques with similar names which can cause
some confusion for translators, namely the Zornort and the Zornhau Ort, which I
translate as the Point of Wrath and the Point of the Wrath Cut,
respectively.<span style="mso-spacerun: yes;"> </span>Several authors conflate
the two terms, failing to distinguish them as very different techniques.<span style="mso-spacerun: yes;"> </span>One example of this can been seen in Christian
Tobler’s <i style="mso-bidi-font-style: normal;">In Saint George’s Name</i> (e.g.,
p. 29 et seq.), but I have seen the error in several other sources, too (I
chose the example I did because Tobler is a much better translator than I—which
makes this very surprising to see—not because I am criticizing his translations
in general).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Zornort is very different from the Zornhau Ort.<span style="mso-spacerun: yes;"> </span>The principle difference is that while both
are thrusts, and both start from a Bind of the Zornhau, the Zornort is done in
an Upper Hengen (it is Liechtenauer’s First Winden), while the Zornhau Ort is
done into Long Point.<span style="mso-spacerun: yes;"> </span>One of the reasons
this can be confusing is that any given master usually only uses one or the
other term, not both, and the two terms do seem very similar, after all.<span style="mso-spacerun: yes;"> </span>When comparing sources, however, the
distinction becomes clear.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Peter Von Danzig explains the Zornhau Ort very clearly, and
the matching picture below from Goliath illustrates it, showing a thrust into
Langenort.<span style="mso-spacerun: yes;"> </span>It is a bind of the Zornhau
to counter a Zornhau, followed by a thrust into Langenort done am Schwert when
your opponent is soft in the bind.<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://wiktenauer.com/images/2/29/MS_Germ.Quart.2020_011v.jpg">http://wiktenauer.com/images/2/29/MS_Germ.Quart.2020_011v.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
Wer dir oberhawt / zorñhaw ort dem drawt (Who cuts at you
from above, / The Point of the Wrath Cut threatens him.<span style="mso-spacerun: yes;"> </span>Codex 44 A 8 fol. 13r.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Text: “The Zornhau breaks with the point all cuts from above
and yet is nothing other than a strike which a peasant farmer would use. Use it
as follows: if you come into the Zufechten and your opponent strikes from his
right side to your head, then likewise also strike from your right side from
above without displacing and bind strongly against his sword. If he is soft in
the bind, shoot with the point straight in and long to the face or chest.”
(Id.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ringeck uses the same term for that play: <o:p></o:p></div>
<div class="MsoNormal">
Wer dir ober haw°et / Zor[n] haw ort im dröwet (Who cuts
from above / The Point of the Wrath Cut threatens him. Rinegck fol. 19r.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Conversely, in Talhoffer 1467 we see the Zornort:<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://wiktenauer.com/images/a/a2/Cod.icon._394a_3r.jpg">http://wiktenauer.com/images/a/a2/Cod.icon._394a_3r.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
Zorn ortt Im dröw. (Threaten him with the Point of Wrath.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Which he clearly distinguishes from the Long Point of
Wrath.<span style="mso-spacerun: yes;"> </span>This could well be a Zornhau Ort
in the sense von Danizg and Ringeck use Zornhau Ort, but Talhoffer is not
explicit about that:<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/0/08/Cod.icon._394a_3v.jpg">http://wiktenauer.com/images/0/08/Cod.icon._394a_3v.jpg</a></span><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
Das lang Zorn ortt. (The Long Point of Wrath.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Jörg Wilhalm shows the technique on two different sides, but
is consistent as to terminology:<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/a/a5/Cgm_3711_04r.jpg">http://wiktenauer.com/images/a/a5/Cgm_3711_04r.jpg</a></span><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
Das ist der Zornortt (That is the Point of Wrath. CGM 3711
fol. 4r).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/a/a3/Cgm_3711_04v.jpg">http://wiktenauer.com/images/a/a3/Cgm_3711_04v.jpg</a></span><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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Das ist der ander zornortt (That is the second Point of
Wrath. Id. fol. 4v.)<o:p></o:p></div>
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<br /></div>
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As this makes plain, the sources are clear as to the difference
between the Zornhau Ort and the Zornort, and they are consistent in their use
of each.<span style="mso-spacerun: yes;"> </span>This analysis is supported by
considering the Zornort in context as shown in different sources.<span style="mso-spacerun: yes;"> </span>Talhoffer and Wilhalm may not specifically
name the Zornhau Ort (unless that’s what Talhoffer means by the Lang Zornort),
but we do see the Zornort as pictured in Talhoffer and Wilhalm being described in
Ringeck and von Danzig.<span style="mso-spacerun: yes;"> </span>It is the First
Winden done from the bind of the Zornhau, as Ringeck describes here:<o:p></o:p></div>
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<br /></div>
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“When you strike a Zornhau and he displaces it and remains
strong at the sword hold strongly against it. With the strong of your sword,
slide up to the weak of his blade, wind the hilt in front of your head while
remaining am Schwert, and thrust into his face from above.” (Ringeck ff.
20r-v.)<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Compare that description of the Winden with this play from
Falkner:<o:p></o:p></div>
<div class="MsoNormal">
<a href="https://upload.wikimedia.org/wikipedia/commons/e/e0/Ms._KK5012_03r.jpg">https://upload.wikimedia.org/wikipedia/commons/e/e0/Ms._KK5012_03r.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
In zornnortt thu° recht winden (Do the right [correct] winding
in the Point of Wrath / If you wish to find the face open) (fol. 3r.)<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
It is clear that Falkner is describing the same technique as
Ringeck in ff. 20r-v:<span style="mso-spacerun: yes;"> </span>You cut with a Zornhau;
your opponent binds and is hard in the bind, so you wind up into an Upper
Hengen and thrust.<span style="mso-spacerun: yes;"> </span>While Ringeck doesn’t
name this play (although later in the book, on the chapter on Winden he calls
it the First Winden, see ff. 124v-125v), Falkner unequivocally calls it the “zornnortt,”
making this impossible to misinterpret.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In conclusion, these techniques are two sides of the same
coin.<span style="mso-spacerun: yes;"> </span>Both come from a bind of the
Zornhau (i.e., a Zornhau displaced by a Zornhau), and both are thrusts, but if
your opponent is soft in the bind then you thrust into Langenort for a Zornhau
Ort, while if he is hard in the bind you wind up into an Upper Hengen with a
First Winden or Zornort.<span style="mso-spacerun: yes;"> </span>They are,
however, very different from one another and the two terms should not be
confused or conflated.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Source Cited:</u><o:p></o:p></div>
<div class="MsoNormal">
Tobler, Christian. <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">In Saint George’s Name: An Anthology of
Medieval German Martial Arts</i>.<span style="mso-spacerun: yes;">
</span>Freelance Academy Press, 2010.<o:p></o:p></div>
<!--EndFragment--><br />Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-64364749592378773072019-05-16T11:47:00.000-07:002019-05-16T11:47:46.141-07:00Feather Sword: Another Word You’re Using Incorrectly
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<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyFQTC77Ro1CBkTmRHf_zb1yj4IXDeiEUNWHv3Qu2RWrAdoLKHVzJmLYnCmZ78S9Yhv3C4TFLLoZ0xMGYASJpI3jQpzwFQ7T43iLoov2KqLJlguwjuYTSgnB9K2uLGh3BqBJtP0wbWoi8/s1600/Fechtschwerter.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1024" data-original-width="363" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyFQTC77Ro1CBkTmRHf_zb1yj4IXDeiEUNWHv3Qu2RWrAdoLKHVzJmLYnCmZ78S9Yhv3C4TFLLoZ0xMGYASJpI3jQpzwFQ7T43iLoov2KqLJlguwjuYTSgnB9K2uLGh3BqBJtP0wbWoi8/s320/Fechtschwerter.jpg" width="113" /></a><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">One of the most pernicious errors of lexicology to be found
among the HEMA crowd is the use of the word “<i style="mso-bidi-font-style: normal;">Federschwert</i>” (lit. “feather sword”), or just “Feder,” to describe
the swords used in training and in the competitions known as Fechtschulen (that
a Fechtschule is a competition and not the term for a martial arts school is
yet another ignorant mistake they make, but we will set that aside for now).<span style="mso-spacerun: yes;"> </span>This mistake is as deeply entrenched as it is
completely misunderstood among HEMA groups—so much so, that they are not even
aware there might be an issue.<span style="mso-spacerun: yes;"> </span>They do not
even know to question it, and most wouldn’t care if they did.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The first use of the term Feder I have been able to find
comes from Egerton Castle, who uses it to refer to the practice rapiers used by
the Federfechter (Castle 1893 p. 106).<span style="mso-spacerun: yes;">
</span>The “Freifechter von der Feder zum Greifenfels” was a fencing guild
founded around 1570.<span style="mso-spacerun: yes;"> </span>The origin of their name is unclear, however, their arms depict two hands holding a feather and two
sword blades with feathered wings for crosses.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The Federfechter were in conflict with a previously
established fencing guild called the Marxbruder (“The Brotherhood of Saint Mark”),
a group established sometime before 1470.<span style="mso-spacerun: yes;">
</span>They were the only group authorized by Frederick III to certify masters
of the sword at that time.<span style="mso-spacerun: yes;"> </span>Hans
Talhoffer may have been a member as their badge shows up at least twice in his
Thott Codex from 1459, once on his coat of arms and once on a necklace around
the master’s neck (MS Thott.290.2º ff. 101v and 102r respectively).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The Marxbruder and the Federfechter generally represented two
different sides of the culture of Germany.<span style="mso-spacerun: yes;">
</span>The Marxbruder was primarily comprised of working men, while the
Federfechter were generally scholars and what we today would call “white collar”
workers.<span style="mso-spacerun: yes;"> </span>As a result, the Brothers of
St. Mark viewed the Federfechter as somewhat effete and unskilled.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">This perception of the Federfechter, coupled with what the
Marxbruder considered an infringement of their monopoly, led to acrimony
between the two groups.<span style="mso-spacerun: yes;"> </span>This acrimony resulted
in a series of fierce encounters in both Fechtschulen and in words.<span style="mso-spacerun: yes;"> </span>For example, this is an excerpt from a poem
written by a Marxbruder named Cristoff Jung:<o:p></o:p></span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">Ein Marx Bruder bin
Ich worn<o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">Dieser thut den
Federfechtern Zorn.<o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">…<o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">Dann Gennssfed’n und
Khil<o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">Braucht man nit zum
Ritterspiel<o:p></o:p></i></div>
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(A Marxbruder am I, / One who causes the feather fencers anger
… Because goose feathers and quills / Are not needed for knightly games; tr. by
the author) (Wassmanndorff 1870 p.37.)<o:p></o:p></div>
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<br /></div>
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The derision is manifest, as is the clear implication that
the Federfechter would do better to stick to their quill pens and leave swords
to the Marxbruder.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Note, however, that none of this indicates the use of the
word Feder to mean a practice sword, except by Castle, who wrote long after the
period and who does not support his assertion. Indeed, linguistically, the term
Federschwert appears to refer to fighting with words rather than swords—in other
words, using feathers (i.e., quill pens) to do your fighting (e.g., see Heidecker
1739).<o:p></o:p></div>
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Thus, it seems obvious that the use of the term Feder or
Federschwert to refer to practice longswords represents a thorough
misunderstanding of the word and the practice should be abandoned immediately
by anyone with any pretension to academic accuracy.<span style="mso-spacerun: yes;"> </span>Like the mistaken use of the word gambeson
(see my previous blog entry), it presents one more distasteful example of the
HEMA community’s utter lack of concern for scholarship.<span style="mso-spacerun: yes;"> </span>Only the "feather brained" will continue to get
it wrong.<o:p></o:p></div>
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Some will ignore this, arguing that language changes all the
time and that we should just accept that fact, allowing the ignorance of hoi
polloi to rule us.<span style="mso-spacerun: yes;"> </span>Nonsense.<span style="mso-spacerun: yes;"> </span>Certainly language changes over time, and
that is not necessarily a bad thing, but we should eschew such changes when
they represent error and misinformation, or when they diminish the precision or
clarity of the words being changed.<span style="mso-spacerun: yes;"> </span>Just
insisting that because a large group of people fail to know the correct term for
a thing means we should change what that thing is called is to embrace willful ignorance.<span style="mso-spacerun: yes;"> </span>For it to happen in a group which should
pride itself on scholarship is deplorable.<o:p></o:p></div>
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What, then, should we call practice swords?<span style="mso-spacerun: yes;"> </span>As with many such problems, the answer is
easily found simply by looking at the terminology in use at the time. Wassmannsdorff provides
us with an account of a Fechtschule held in Stuttgart in 1570 in which a
Marxbruder by the name of Hildebrand blinded his opponent with a <i style="mso-bidi-font-style: normal;">bloß-Fechtschwert</i> (p.19).<span style="mso-spacerun: yes;"> </span>This term can be seen in other sources as
well.<span style="mso-spacerun: yes;"> </span>Thus, the term used in period
seems to have been Fechtschwert (pl. Fechtschwerter), and there is no reason
not to follow that practice today.<o:p></o:p></div>
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<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">[1] Castle, Egerton. <i style="mso-bidi-font-style: normal;">Schools
and Masters of Fencing—From the Middle Ages to the Eighteenth Century.</i>
London, 1893, p. 106<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal">
[2] Christoff Jung von Breißlaw in Wassmannsdorff, Karl. <i style="mso-bidi-font-style: normal;"><a href="https://archive.org/details/sechsfechtschule00wass" target="_blank">Sechs Fechtschulen der Marxbrüder undFederfechter: aus den Jahren 1573 bis 1614.</a></i> Heidelberg, 1870, p. 37.<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Accessed 5/16/19. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">[3] Heidecker, Gotthard. <i style="mso-bidi-font-style: normal;"><a href="https://books.google.com/books?id=nghOAAAAcAAJ&pg=PA146&lpg=PA146&dq=Die+Leyr+Tyri:+Das+ist:+Altfr%C3%A4nkische+Possen,+mit+welchen+P.+Rudolf+Baffer&source=bl&ots=cAE1lYuhfz&sig=ACfU3U1NIvDgOa_4_VQpazVgCgbbflLmCg&hl=en&sa=X&ved=2ahUKEwijqqSfv6DiAhVHPq0KHVrxB2wQ6AEwAHoECAgQAQ#v=onepage&q=Die%20Leyr%20Tyri%3A%20Das%20ist%3A%20Altfr%C3%A4nkische%20Possen%2C%20mit%20welchen%20P.%20Rudolf%20Baffer&f=false" target="_blank">DieLeyr Tyri: Das ist: Altfränkische Possen, mit welchen P. Rudolf Baffer</a></i>. Frankfurt,
1739, p. 20.<span style="mso-spacerun: yes;"> </span>Accessed 5/16/19.<o:p></o:p></span></div>
<!--EndFragment--><br />Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-40693022224589687172019-04-29T09:58:00.000-07:002019-06-07T09:18:57.083-07:00A Review of the Henry V Sword from Arms and Armor<b><u>Introduction</u></b>:<br />
There is a “lovely little sword” (Oakeshott p. 67) in Westminster Abbey which is associated with the funeral achievements of Henry V. I recently acquired a modern copy of this sword from Arms and Armor of Minneapolis, MN (<a href="http://arms-n-armor.com/sword075.html">http://arms-n-armor.com/sword075.html</a>) as part of my collection of reproduction weapons which match the forms our school studies, and offer this review of the sword. Note that this is the flat-ground sword, not the hollow-ground version shown on the same page.<br />
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<b><u>Physical Characteristics:</u></b><br />
Weight:<span style="white-space: pre;"> </span>2.7 lbs. (hollow ground version: 2.3 lbs.)<br />
Length, overall:<span style="white-space: pre;"> </span>33.5”<br />
Length, blade:<span style="white-space: pre;"> </span>27.5”<br />
Length, grip:<span style="white-space: pre;"> </span>3.75”<br />
Width at cross:<span style="white-space: pre;"> </span>2.25”<br />
Width at PoP:<span style="white-space: pre;"> </span>1.25”<br />
Point of Balance:<span style="white-space: pre;"> </span>2.5” from cross<br />
Point of Percussion:<span style="white-space: pre;"> </span>~17” from cross<br />
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<b><u>Oakeshott Typology:</u></b><br />
Blade:<span style="white-space: pre;"> </span>Type XVIII<br />
<i>A broad blade (2”–2½” at the hilt) of four-sided “flattened diamond” section; the edges taper in graceful curves to a sharp point. The grip is of moderate length (3¾”–4”) ... </i><br />
<i><br /></i>
<i>In XV, the edges run quite straight to the acute point, giving a very narrow appearance to the lower part of the blade. In XVIII, the edges run in curves, and the lower part of the blade looks broader. The type is, in fact, admirably adapted for a cut-and-thrust style of fighting, and seems to be a logical development of Type XVI. The strong midrib gives great rigidity, yet toward the point at the centre of percussion there is plenty of width to each edge. The section varies, the four faces may be quite flat, but more usually they are gently hollowed; in later examples the sharp upstanding rib rising from a flat blade is found (fig. 105). Some XVIII's which have been much used and often sharpened are impossible to distinguish from XV's... </i>(Oakeshott pp. 67-69).<br />
<br />
Pommel:<span style="white-space: pre;"> </span>Type J1<br />
<i>This is an elaborated form of the classic wheel pommel. Its best exemplar is a sword of Type XVIII preserved in the library of the Abbey of Westminster, a most beautiful weapon which is associated with the name of King Henry V (fig. 75). This is no mere funerary object, but a magnificent fighting sword (bearing upon its still sharp edges much indication of use) which comes to life in one's hand. The pommel is very massive, but its weight is kept down because only the central thick disc is of solid iron; the raised rims are beaten out of thin iron and brazed on to the main part of the pommel </i>(id. pp. 103-104).<br />
<br />
Cross:<span style="white-space: pre;"> </span>Style 9<br />
<i>Akin to 7 in that it is ribbon-like in section, but the resemblance ends there. The ends are always rolled over, in section it is either flat on top and V-shaped underneath or of flat diamond section, and the ecusson grows naturally to a cusp from the slight taper of the arms </i>(id. pp. 117).<br />
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<b><u>Handling Characteristics:</u></b><br />
Oakeshott said of Henry V’s sword: “This is no mere funerary object, but a magnificent fighting sword (bearing upon its still sharp edges much indication of use) which comes to life in one's hand” (id. p. 103).<br />
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The thing you notice first when taking up this reproduction by Arms and Armor is the nimble quickness it exhibits. The blade is extremely well balanced, making the sword feel lighter than it actually is. The proximity of the Point of Balance (“PoB”) to the cross makes the sword very fast and reactive in the hand, with less “blade presence” than swords having the PoB farther from the cross. In spite of this, the overall heft of the sword gives it a feeling of authority in use—it is no mere willow wand, and it cuts with quick authority.<br />
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Oakeshott said Type XVIII swords were “admirably adapted for a cut-and-thrust style of fighting” (id. p. 67), and this modern recreation demonstrates that admirably. The nimbleness mentioned above, combined with the relative shortness of the blade (bringing the point closer to the hand), the stiffness of the diamond-shaped blade, and the wickedly acute shape of the point combine to create a superb thrusting sword. It balances so well in one’s hand that point control is effortless. At the same time, the Type XVIII design brings more of the “meat” of the blade forward than in swords designed primarily for thrusting, such as the Type XV’s they otherwise so closely resemble. This makes for a highly efficient cutting weapon. While it is a mistake to think of sword typologies as developing in some linear fashion along a path from one purpose to another, Oakeshott himself called this a development of the Type XVI (id. p. 68), which was, in turn, a development of the Type XV intended to improve cutting ability while still thrusting well.<br />
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Another factor to consider is the effect the shape of the blade has on thrusting attacks. Some people look at early swords with very broad points and mistakenly assume they aren’t intended for thrusting, but, in reality, this is incorrect, they are simply intended for thrusting against entirely unarmored targets. Having a wider point means the thrust does more damage, but the shape of the points on later swords need to balance that objective against the need (or potential need) to thrust into small gapes in armor, or even into mail links.<br />
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We can understand this question of point shape by looking at arrows. Arrows do not have any percussive effect—they kill entirely by cutting action in the target, with almost none of the hydrostatic shock upon which bullets rely. Thus, hunting points tend to be extremely broad to maximize the amount of cutting damage the arrow does, while war points tend to be extremely narrow so they can pass between plates (arrows, like swords, can almost never penetrate plate, popular ignorance notwithstanding) or punch through links of mail. That way armor offers a second kind of defense beyond merely helping to stop most attacks: It forces your opponent to use a weapon which does less damage when it does penetrate.<br />
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Sword thrusts are exactly like arrow strikes in terms of damage. The wider the point, the more damage a thrust will do; the narrower the point, the better the weapon is against armored opponents. Type XV swords were developed during the Age of the Transition when armor was becoming more complete and protective. The initial approach to better armor was to use large “Swords of War” of the Type XIII sort, but these swords proved unsatisfactory, and the Type XV was the result. With their extremely narrow points, they were superb at thrusting between plates and breaking links of mail underneath.<br />
<br />
Unfortunately, dedicated thrusting swords such as the Type XV’s are not quite as efficient for cutting when fighting unarmored opponents. This led to the development of the Type XVI, with blades which transitioned more gradually to the point, leaving more “meat” further forward on the blade for better cutting while still retaining an excellent narrow point. The Type XVIII is a further development of the Type XVI, where the fuller near the cross is eliminated to make the sword even more stiff for thrusting. It is usually a mistake to imagine a linear development of sword types, but in this case Oakeshott makes this particular line of development clear (id. p. 68).<br />
<br />
In a sense, the Type XVIII is a compromise design. It is neither as perfectly suited for thrusting as the Type XV, nor as well suited to cutting as is the Type X; rather, it combines the two designs for a more balanced ideal, a true cut and thrust sword optimized for both cutting and thrusting in armor or out of it. Arms and Armor has captured that balanced ideal very well in this reproduction, making a sword which, as Oakeshott said of the original, “comes to life in one’s hand.”<br />
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<b><u>Fit and Finish:</u></b><br />
Arms and Armor is well known for their craftsmanship and for being among the best of the production sword manufacturers, and their Henry V sword supports that reputation. The sword is extremely well made. The shapes are consistent and even, with no “off” or crooked lines. The decorative lines filed onto the cross are neat and well executed, and they align aesthetically with the edges of the blade. The cross and pommel are fit to the blade extremely well, with correct alignment and no significant gaps. The blade, cross, grip, and pommel are absolutely solid and rigid, with no wobble or movement at all, even when tapped against solid object. The polish is generally clean and smooth, taken to a satin finish which is excellent for this kind of reproduction. The inside of the pommel cutout is not polished, but it is fairly clean with only a little roughness (and is intended to be filled with some token or symbol anyway).<br />
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The grip is covered in leather which is stitched heavily along one side. The leather fits the hilt reasonably well, with only a slight bunching against the cross, and the fit is very tight and firm. The grip is the only place where the Arms and Armor sword falls slightly short in comparison with other high-end manufacturers. The seam is extremely thick and obtrusive, making it slightly uncomfortable to hold the seam side against one’s palm because of the bulk. The smooth wrap is also less aesthetically appealing than the string-wrapped technique often present on other high-end replicas (although that technique is not universal on real swords, by any means). It should be emphasized that this is a minor point, and represents a personal preference as much as an objective criticism.<br />
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<b><u>Compromises:</u></b><br />
While the Henry V sword is an extremely good sword which captures the essence of the originally very well (and far, far better than most other reproductions), it is not a perfect copy. Arms and Armor made several decisions with regard to the manufacture of this replica in order to make the sword more readily affordable. We will consider the three most obvious ones here.<br />
<br />
First, the original sword’s pommel is not a solid casting. The raised lip on the original is hammered out of thin sheet iron and then brazed into place in order to reduce the overall weight while still presenting a large, solid wheel (id. p. 103). The Arms and Armor pommel is cast from one piece of steel, a process far less expensive than hammering out a hollow fitting and then brazing it into place, a process Oakeshott says was used in others of the type in period (id.), and so hardly worthy of criticism.<br />
<br />
Second, on the original, the tang is riveted directly to the pommel, whereas on the reproduction there is a peening block between the pommel proper and the end of the tang. It is not clear why Arms and Armor chose to do this, unless it is to reduce hammer marks (or the effort of polishing them away) on the pommel from the peening process. Regardless, this difference is utterly inconsequential, and, in fact, the modern result is, if anything, more aesthetically pleasing.<br />
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The third difference, the blade grinding, is much more problematic, although ultimately justifiable. Of the Type XVIII blade design, Oakeshott wrote “the four faces may be quite flat, but more usually they are gently hollowed” (id. p. 68), and the hollow grind is pronounced on the original blade in Westminster Abbey. Arms and Armor offers their Henry V reproduction both with and without the hollow-ground blade, but the example being reviewed here is not hollow ground.<br />
<br />
The hollow-ground version weighs 2.3 pounds, compared with 2.7 pounds for this version, a significant difference. However, the hollow-ground blade costs approximately $600.00 more, making flat-ground version far more affordable. Moreover, the handling of the flat-ground version is superb as it is and does not suffer enough to make this approach unacceptable, especially given that Oakeshott pointed out that not all Type XVIII’s were hollow ground. Indeed, one might ask whether the heavier solid pommel of the reproduction might not make the flat ground version handle more like the original by giving it a better balance than the hollow-ground reproduction with the same pommel has.<br />
<br />
This decision to offer the sword with a flat-ground blade is not a failure of quality or scholarship, but rather a conscious choice intended to offer a more affordable reproduction, and it is perfectly reasonable. If this sword were as clunky or unbalanced as most other efforts at reproducing Henry V’s sword are this choice might be questionable, but given how this blade feels in the hand, Arms and Armor deserves no criticism for this choice.<br />
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<b><u>Conclusion:</u></b><br />
The Henry V reproduction by Arms and Armor is a superb recreation of a true fighting sword which perfectly typifies the qualities of the original. It is quick and nimble with excellent balance, has superb fit and finish, and is quite reasonably priced. It is reasonably accurate in terms of design, and where it differs from the original it does so not from error but from a conscious effort to make a less expensive but still eminently functional sword. This reproduction is superb, and should be considered by anyone interested in arming swords of the Fifteenth Century.<br />
<br />
Here is a video adjunct to this review: <a href="https://www.youtube.com/watch?v=Wpsa83Xv85s">https://www.youtube.com/watch?v=Wpsa83Xv85s</a><br />
<br />
Reference cited:<br />
Oakeshott, E. <i>The Sword in the Age of Chivalry</i>. Arms and Armour Press, 1981.<br />
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Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-38377222854872777592019-04-19T13:03:00.002-07:002021-07-29T11:59:55.925-07:00What’s in a Name? The Difference Between Longswords and Bastard Swords in the Fechtbücher
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<div class="MsoNormal">
<o:p> </o:p><span style="font-size: 12pt;">Many of those who study medieval swords can be somewhat cavalier
(pun intended) regarding the precise lexicology of sword types.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">It is to be hoped that any who consider
themselves serious students of the subject will understand that the term “broadsword”
refers not to large, heavy cruciform swords of the type hoi polloi mean when
they use the term, but rather to basket-hilted, double-edged swords of the type
developed in England.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Some terms,
however, remain indistinct or confusing, even among the cognoscenti, especially
the term “bastard sword.”</span></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many sources tend to lump bastard swords together under the
broad heading of longswords (I do so myself in my unarmored longsword book, to
my shame), and yet a careful study will show a distinction between the two
terms, and, indeed, we see that distinction made manifest in the Fechtbücher,
as this essay will demonstrate. In this essay, I will urge the sense of the
term taught by the great Ewart Oakeshott, who referred to bastard swords as “hand-and-a-half”
swords, meaning that they fell between arming swords and longswords, and could be
used as easily with one hand on the hilt as with two [1].<span style="mso-spacerun: yes;"> </span>Conversely, we will limit the term “longsword”
to swords which are generally used only with two hands on the hilt (except in
armor, of course) because using them one-handed, while possible, would be awkward.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That definition is not absolute in the literature.<span style="mso-spacerun: yes;"> </span>For example, in 1801 Joseph Strutt referred
to a bastard sword as “A sword without edges or point.” [2] However, as early
as 1617, Joseph Swetnam referred to: “The Bastard Sword, the which sword is
something shorter than a long sword, and yet longer than a short sword.” [3] The
term “hand-and-a-half sword” only dates to the late nineteenth century [4], but
it seems clear this is what Swetnam meant and we will hold that term to be
synonymous with bastard sword.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This distinction between bastard swords and longswords shows
up in the Fechtbücher.<span style="mso-spacerun: yes;"> </span>When we look at
the Gladiatoria Fechtbuch from the first half of the fifteenth century, for example,
we see similar swords used both in an out of armor.<span style="mso-spacerun: yes;"> </span>All of the swords in that source, whether
used in armored combat or out of armor with a Langenschilte or buckler seem to
be bastard swords, with hilt and blade lengths appearing to be the same for all
(note, however, that this source does not contain any unarmored longsword
combat).<o:p></o:p></div>
<div class="MsoNormal">
Longswords in Harnischfechten in Gladiatoria:<span style="mso-spacerun: yes;"> </span><span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/7/74/MS_Germ.Quart.16_08r.jpg">http://wiktenauer.com/images/7/74/MS_Germ.Quart.16_08r.jpg</a></span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
Sword and buckler in Gladiatoria:<span style="mso-spacerun: yes;"> </span><span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/1/18/MS_Germ.Quart.16_54v.jpg" target="_blank">http://wiktenauer.com/images/1/18/MS_Germ.Quart.16_54v.jpg</a></span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Sword and Langenschilt in Gladiatoria:<span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/1/18/MS_Germ.Quart.16_54v.jpg" target="_blank">http://wiktenauer.com/images/1/18/MS_Germ.Quart.16_54v.jpg</a></span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In Paulus Kal’s 1470 Fechtbuch we see a distinct difference
between the longswords used for halfswording in armor or for unarmored
longsword and the bastard swords used one handed for sword and buckler combat.<o:p></o:p></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Longsword in Harnischfechten in Paulus Kal:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/1/1d/Cgm_1507_25v.jpg">http://wiktenauer.com/images/1/1d/Cgm_1507_25v.jpg</a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Longswords in Bloßfechten in Paulus Kal:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/4/45/Cgm_1507_65v.jpg">http://wiktenauer.com/images/4/45/Cgm_1507_65v.jpg</a></span><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: "Times New Roman";">Sword
and buckler in Paulus Kal:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/3/31/Cgm_1507_53r.jpg">http://wiktenauer.com/images/3/31/Cgm_1507_53r.jpg</a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The distinction is even plainer in Hans Talhoffer’s 1467
Fechtbuch.<span style="mso-spacerun: yes;"> </span>There we see distinctly different
swords for unarmored longsword or armored halfsword combat (longswords),
Langenschilt combat (bastard swords), and sword and buckler combat (arming
swords).<o:p></o:p></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Longswords in Bloßfechten in Talhoffer 1467:<span style="mso-spacerun: yes;"> </span><a href="http://wiktenauer.com/images/5/53/Cod.icon._394a_8r.jpg">http://wiktenauer.com/images/5/53/Cod.icon._394a_8r.jpg</a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Longsword in Harnischfechten in Talhoffer 1467:<span style="mso-spacerun: yes;"> </span><a href="http://wiktenauer.com/images/7/7f/Cod.icon._394a_37v.jpg">http://wiktenauer.com/images/7/7f/Cod.icon._394a_37v.jpg</a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Sword and Langenschilt in Talhoffer 1467:<span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-font-family: "Times New Roman";"><a href="http://wiktenauer.com/images/c/c4/Cod.icon._394a_68r.jpg">http://wiktenauer.com/images/c/c4/Cod.icon._394a_68r.jpg</a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: "Times New Roman";">Sword
and Buckler in Talhoffer 1467:<span style="mso-spacerun: yes;"> </span><a href="http://wiktenauer.com/images/c/c7/Cod.icon._394a_117r.jpg">http://wiktenauer.com/images/c/c7/Cod.icon._394a_117r.jpg</a></span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
From this we can develop a rough grouping of sword categorizations:<span style="mso-spacerun: yes;"> </span>Arming swords are intended for one-handed
use; longswords for two-handed use (except in armor); and bastard swords can be
used either one- or two-handed.<span style="mso-spacerun: yes;"> </span>Note that
the distinction between bastard swords and longswords isn’t necessarily tied to
Oakeshott’s sword types.<span style="mso-spacerun: yes;"> </span>For example,
while the bastard swords in Talhoffer 1467 all appear to be Type XVa’s, some of
the longswords appear to be XVa’s (albeit with longer hilts than those common
in the previous century) while others appear to belong to the Type XVIII series
(the art is not perfectly clear on this distinction, and, indeed, Oakeshott
himself pointed out that blurring occurred between types).<span style="mso-spacerun: yes;"> </span>The real distinction seems to be that bastard
swords are a bit longer than arming swords, but somewhat shorter than
longswords, especially in the hilt.<span style="mso-spacerun: yes;"> </span>This
may seem unclear when merely looking at the art of the period, but becomes much
plainer when actually handling swords of each type.<span style="mso-spacerun: yes;"> </span>The author owns a highly accurate replica of
a Type XVIIIb longsword which is simply not comfortable for use one handed,
even though a Type XVa of similar quality by the same company is easy to use
with either one or two hands.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
End Notes:<o:p></o:p></div>
<div class="MsoNormal">
[1] Oakeshott, Ewart.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">The Sword in the Age of Chivalry</i>.
Woodbridge: The Boydell Press, 1997, p. 60.<o:p></o:p></div>
<div class="MsoNormal">
[2] Strutt, Joseph. <i style="mso-bidi-font-style: normal;">The
Sports and Pastimes of the People of England from the Earliest Period:
Including the Rural and Domestic Recreations, May Games, Mummeries, Pageants,
Processions and Pompous Spectacles</i>. Methuen & Company, 1801, p. 211.<o:p></o:p></div>
<div class="MsoNormal">
[3] Swetnam, Joseph. <i style="mso-bidi-font-style: normal;">Schoole
of the Noble And Worthy Science of Defence.</i> Chapter XII. 1617. <a href="https://docs.google.com/document/d/1H2dBiXFry779WfdpBGFA8Bky7iLHneNi5_Lq9djVhr0/edit">https://docs.google.com/document/d/1H2dBiXFry779WfdpBGFA8Bky7iLHneNi5_Lq9djVhr0/edit#</a>.
Accessed 4/19/2019.<o:p></o:p></div>
<div class="MsoNormal">
[4] Cox, Trenchard. <i style="mso-bidi-font-style: normal;">A
General Guide to the Wallace Collection</i>.<span style="mso-spacerun: yes;">
</span>London: Wallace Collection, 1976, p. 155.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br />Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com1tag:blogger.com,1999:blog-1178262688226237317.post-63566881042136726402019-02-20T09:48:00.001-08:002019-02-20T09:48:24.717-08:00Resurrection, Not Invention
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<!--StartFragment-->
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<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwHxORnnbVhcMG7bmTFk2L5yKm8qeWm4n5URO78lAVMkMqlJVLI-VLGM_Uk-JU1VOPvuB3uo97h1-6ulS49zSlZhPKwPS_1B0Y9O0dpW8s9VH8ugw7V-AHvGQ_HGZh3W6ghFvmeoYtixo/s1600/ZO+Hands+1+7-22-18+copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1189" data-original-width="1600" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwHxORnnbVhcMG7bmTFk2L5yKm8qeWm4n5URO78lAVMkMqlJVLI-VLGM_Uk-JU1VOPvuB3uo97h1-6ulS49zSlZhPKwPS_1B0Y9O0dpW8s9VH8ugw7V-AHvGQ_HGZh3W6ghFvmeoYtixo/s320/ZO+Hands+1+7-22-18+copy.jpg" width="320" /></a><span style="font-family: inherit;">I recently watched a video of a Hontai Yoshin-ryu kata which
demonstrated a rather interesting tanto-dori or “knife taking” waza.<span style="mso-spacerun: yes;"> </span>Having once been a ju-jutsuka myself and
later studying military combatives, I was impressed by the technique, but
considered the initial wrist grab to be somewhat inefficient, thinking to
myself that I knew a better way to do it.<span style="mso-spacerun: yes;">
</span>I instantly set that thought aside, however, realizing I had fallen into
the trap of trying to “improve” historical systems of combat.<span style="mso-spacerun: yes;"> </span>If they did it that way, it would no longer
be Hontai Yoshin-ryu, which defeats the entire purpose of studying koryu
bujutsu today (as opposed to mere self defense) in the first place.<span style="mso-spacerun: yes;"> </span>They would be trying to improve a historical
artifact rather than understanding it, and thus would be destroying the very
thing they were trying to preserve.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">This has, obviously, strong parallels for those of us
studying the Kunst des Fechtens today.<span style="mso-spacerun: yes;"> </span>The
only valid goal for the study of historical martial arts should be to recreate
and then preserve them as they actually were.<span style="mso-spacerun: yes;">
</span>To “improve” them (as we ignorantly might think we are) is anathema to that
goal. <span style="mso-spacerun: yes;"> </span>It literally defeats the purpose.<span style="mso-spacerun: yes;"> </span>Understanding how to do that requires
searching the Fechtbücher for clues as to how the techniques were performed in
period, and keeping our modern notions out of things as much as possible.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Not long after I watched that video we were discussing the
Zornhau in class.<span style="mso-spacerun: yes;"> </span>I was emphasizing how
important it is to make the cut with your pommel well over to your left when executing
a Zornhau from the right shoulder (see the picture above) regardless of whether
you were cutting or displacing, rather than cutting with the pommel in line
with your sternum as most people mistakenly do it today.<span style="mso-spacerun: yes;"> </span>I asked my students whether they thought I
was right in teaching it this way, and if they agreed that I was, how they
could be<span style="mso-spacerun: yes;"> </span>sure (I often make my students
question my interpretations).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">My senior student immediately answered that it was a matter
of geometry, saying that if you cut with your pommel on your center line your
opponent can hit you in the bind, or if you’re displacing, you won’t close the line
well enough and the cut you’re trying to displace can still hit you.<span style="mso-spacerun: yes;"> </span>He was right, of course—I consider this one
of the most subtly brilliant parts of our art, and I was well pleased that he understood
this.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">It didn’t actually answer my question, however.<span style="mso-spacerun: yes;"> </span>My student pointed out why it’s a good way to
cut—why it works, and why it’s effective.<span style="mso-spacerun: yes;">
</span>His answer, however, did not indicate how we know that to be the correct
way to interpret Master Liechtenauer’s art, which was the key point I was
trying to make.<span style="mso-spacerun: yes;"> </span>It’s the point we must
make every time we interpret a technique, and that we must bear in mind for
every part of every technique.<span style="mso-spacerun: yes;"> </span>How do
you know this is how it was actually done in the Liechtenauer system in
period?<span style="mso-spacerun: yes;"> </span>Not “how might it be done” or “how
can I make this work really well,” but “How did Master Johannes Liechtenauer
and his students do it?”<span style="mso-spacerun: yes;"> </span>The right way
might not be the best way—the German masters were human, too.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">To accomplish that, we have to really read what the masters
had to say.<span style="mso-spacerun: yes;"> </span>Master Peter von Danzig (we’ll
presume it was he) wrote this about the Zornhau:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">“The Zornhau breaks all cuts from above with the point and
yet is nothing other than a strike which a peasant farmer would use. Use it as
follows: if you come into the Zufechten and your opponent strikes from his
right side to your head, then likewise also strike from your right side from above
without displacing and bind strongly against his sword. If he is soft in the
bind, shoot straight in and long with the point to his face or chest.” (Codex
44 A 8 fol. 13r.)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Later, writing about displacing, the master said:<span style="mso-spacerun: yes;"> </span>“You are not to displace the way other
fighters do. When they displace, they hold their point up or to the side. This
means that they cannot attack the four openings in the displacement with the
point. Because of this, they are often hit. If you want to displace though,
then do it with a cut or a thrust and strive to reach the nearest opening Indes.
This way, masters cannot come to blows against you without endangering
themselves.” (Id. fol. 26v.)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">What we learn from this is that we are not to make “empty
displacements” that just strike into our opponent’s sword (as sword taggers all
do today, and as bad swordsmen apparently did in period), but rather, we are to
displace with a cut—the same kind of cut we’d use for an attack.<span style="mso-spacerun: yes;"> </span>There aren’t really any “blocks” of the sort
modern martial arts students use in our art; instead, we displace with regular
cuts and thrusts in such a way that at the end, we threaten the enemy with our
point.<span style="mso-spacerun: yes;"> </span>That’s what Master Peter meant above
by cutting from your right side “without displacing.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">But how can this be done safely?<span style="mso-spacerun: yes;"> </span>Christian Tobler coined the phrase “make your
sword your shield” many years ago, and I actually thought he took the phrase
from a Fechtbuch at first because it so aptly matches what we have to do.<span style="mso-spacerun: yes;"> </span>We must make our swords our shields, so that
when we cut (or when we use cuts to displace) we are safe as we do so.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">We know how the Zornhau is supposed to be done:<span style="mso-spacerun: yes;"> </span>It is not a wide swinging action done with
the arms from guard to guard as many of the ignorantsia (to coin a phrase) practice
it today when playing silly games of sword tag or ludicrously incorrect test
cutting, but rather is done in a straight line using a push-pull motion of the
hands, as if a cord were tied from your edge to the target (see Ms 3227a fol.
14v), and ending with your point at or near your opponent (id. fol. 24r), not
down near the ground, up in the air, or out to the side.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Understanding all of that, we then have to ask ourselves how
we can use such a cut to safely displace a similar one. <span style="mso-spacerun: yes;"> </span>As my students can tell you, using a Zornhau
to displace a determined Zornhau will result in you getting hit unless you
close your opponent’s line of attack as you displace by moving your pommel over
to the left side of your chest (for a cut from the right).<span style="mso-spacerun: yes;"> </span>They frequently do get hit in class when they
try to displace without moving their pommels over to the left as they displace,
unless they beat into their opponent’s sword in the kind of empty displacement
Master Peter told us not to use.<span style="mso-spacerun: yes;"> </span>That is
where my senior student’s point about the geometry of the technique comes into
play—that is how you make it work.<span style="mso-spacerun: yes;"> </span>Now
we are using that idea to answer the problem of making the masters’
instructions work when we do things the way they say to do it, and not just
trying to figure out a way to do a thing from whole cloth because it works or
seems like a smart or effective approach.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">This essay is about the process of interpretation:<span style="mso-spacerun: yes;"> </span>How do we work out the correct way of doing a
given technique, going beyond the often incomplete descriptions the masters
give us in the Fechtbücher?<span style="mso-spacerun: yes;"> </span>The answer
lies in correlating not just different parts of the same text, but all the
related texts in order to find clues about how the technique has to work and
what it’s supposed to<span style="mso-spacerun: yes;"> </span>do when you use it,
then using those clues to inform your interpretation.<span style="mso-spacerun: yes;"> </span>Your interpretation should reconcile as much
of the instructional material as possible and look for the best way to make the
technique work in view of all those bits of information, eschewing your own
personal ideas about how to do a thing garnered from other study or, heaven
forfend, silly, meaningless games of sword tag or test cutting.<span style="mso-spacerun: yes;"> </span>Our job is to resurrect a lost art as it was
really done, not to invent a new one with no historical accuracy or relevance
to our modern world.<o:p></o:p></span></div>
<!--EndFragment--><br />Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-26963368274866048502018-09-18T10:18:00.000-07:002018-09-18T10:21:56.547-07:00A Description of a Pollaxe Bout From Histoire Plaisante et Cronicque du Petit Jehan de Saintré<div style="background-color: white; color: #1d2129; font-size: 14px; margin-bottom: 6px;">
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One of the most instructive descriptions of a pollaxe bout
in the literature: Look at the mention of strikes without specifying the part
of the axe used (presumably meaning the mail was used by default), but then the
strike to the fingers, which <i style="mso-bidi-font-style: normal;">does</i>,
specifically saying the "sharp of his axe," meaning the taillent; the
mention of striking the "bars of his visor" (meaning they were
wearing grilled visors of the kind many of the LH crowd says didn't exist); the
fact that he struck to the visor with the "handle" (i.e., the queue)
of the axe, just as we're taught to do in Le Jeu; and the fact that he worked
to disarm his opponent, which is one of the most highly favored tactics in Le
Jeu.<o:p></o:p></div>
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CHAPTER XLII.<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">How they marched one
against the other; each doing valiantly.<o:p></o:p></i></div>
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And when the Mareschal had given them leave to go, as they
advanced one upon the other, you had thought they had been two lions unchained.
But there was this difference; as Saintré was making for him, he cried aloud,
that all might hear him, “Hah, my ever-gentle dame, and whose I am!” and then
they began to fall upon one another. Then Sir Enguerrant, who was a most
valiant Knight, strong and powerful, and larger built than Saintré, raised his
axe, and dealt him such a blow upon the shoulder that he made him reel, while
Saintré, in return, struck him with the handle of his axe upon the bars of his
vizor, driving him several paces back. Then Sir Enguerrant elevated his axe to
strike a second time; but Saintré, making for him, gave him such a cut over the
hand with the sharp of his axe that neither guard nor anything else could
avail, so that all his fingers were smashed and benumbed. Sir Enguerrant, who
was now hot, nor knew anything of what had happened to his fingers, thought
again to lift his axe, and it was only then he began to feel the pain, and that
he could no longer wield it. So, as a wary and a dauntless Knight, holding his
axe in his left hand, he opened his arms to seize Saintré by the waist. But
when Saintré perceived his aim, he continued to strike, nor ever once let him
approach. And when he saw his moment, all on a sudden he gave him such a blow
on the hand in which he was holding the axe, that he sent it flying in the air;
and when Sir Enguerrant saw that his axe was gone, in sheer desperation he
rushed upon Saintré, to close with him, catching him by one arm. But when the
King saw the axe of Sir Enguerrant upon the ground, and the two together by the
middle, as Prince and Judge sovereign, he at once threw down his wardour, and
said, "Ho, ho!" Then were the two champions separated by the guards.
Then the King, by the Mareschal, called the two champions before him, and then
had said to them, “You, Sir Enguerrant, and you, Jehan de Saintré, the King
desires you should know, that you have each so nobly and so valiantly acquitted
yourselves that it would have been impossible to have done better; but,
according to the articles, the Lord, the King, who here is, has recognized that
the combat was to end either when one or other of you were borne to the ground,
or either had lost his axe from both his hands. So, by the terms, Jehan de
Saintré, the Lord, the King, adjudges to you the prize.”<o:p></o:p></div>
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Vance, Alexander. <i style="mso-bidi-font-style: normal;">The
History and Pleasant Chronicle of Little Jehan de Saintré</i>. London: Chapman
and Hall, 1863, pp.128-130.<o:p></o:p></div>
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Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com4tag:blogger.com,1999:blog-1178262688226237317.post-18705067206510148172018-09-15T17:48:00.000-07:002018-09-22T19:49:35.514-07:00Some Observations on the Judicial Duel as Practiced in Fifteenth-Century GermanyI have written a monograph on judicial combats in 15th-century Germany. It focuses upon <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlnYVbCJTJgGRhI8E-UMT9_lH7kYbqvARHliEEomofeQKfCxC_cndtscOFYquN9Aw5jPdgjk-OF24mWgeNiCODU93ZsVvDsCOFc3j9HcNb3fPSaG9YGdSTK-Db3b2xmQcPxYQJfH3Pcz0/s1600/Cover+Pic+for+Duel+Paper.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="994" data-original-width="646" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlnYVbCJTJgGRhI8E-UMT9_lH7kYbqvARHliEEomofeQKfCxC_cndtscOFYquN9Aw5jPdgjk-OF24mWgeNiCODU93ZsVvDsCOFc3j9HcNb3fPSaG9YGdSTK-Db3b2xmQcPxYQJfH3Pcz0/s320/Cover+Pic+for+Duel+Paper.jpeg" width="207" /></a></div>
information from the Fechtbücher, but examines other sources, too, both modern and historical. Most of the scholarship available today regarding deeds of arms is focused on France and England, while this paper focuses strictly on judicial combats in Germany, and is intended primarily for students of historical European martial arts--especially those who follow the Liechtenauer school--who want to understand the context of the arts they study.<br />
<br />
This paper may be distributed freely, within the rules of copyright.<br />
<br />
<a href="http://www.schlachtschule.org/instruction/TheJudicialDuelV.2.pdf">http://www.schlachtschule.org/instruction/TheJudicialDuelV.2.pdf</a>Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com3tag:blogger.com,1999:blog-1178262688226237317.post-2483647148850061722018-08-31T15:42:00.003-07:002022-10-26T08:53:03.882-07:00Where's the Axe?<!--[if gte mso 9]><xml>
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</xml><![endif]--><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhogSW7bh1cZKBgp3LHbhbwMelYcOD-mucQpEO2ZCkWroh2o0OSlGaYMhMJZFE4MzHIcser8MPSG6lRvsI9qVlhg50Qm2gT2Xny63Xb6UkPpAQXevQZbwMaZYLkLsCBD0H0vT8foBF72JY/s1600/MS_Chart.A.558_078v.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1121" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhogSW7bh1cZKBgp3LHbhbwMelYcOD-mucQpEO2ZCkWroh2o0OSlGaYMhMJZFE4MzHIcser8MPSG6lRvsI9qVlhg50Qm2gT2Xny63Xb6UkPpAQXevQZbwMaZYLkLsCBD0H0vT8foBF72JY/s320/MS_Chart.A.558_078v.png" width="224" /></a>Few terms used in the study of medieval combat are as often confused or misused as the word “pollaxe.”<span style="mso-spacerun: yes;">
</span>Partly, this is due to the fact that modern people want to apply modern
rules of logic to medieval subjects, something which is not supported by
actually reading what medieval men wrote.<span style="mso-spacerun: yes;">
</span>They also tend to ignore the root forms of words and focus only on the
modern forms, ignoring the shifts of language so apparent to the historian.<o:p></o:p></div>
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For example, in period, the term was not “poleaxe” as people
use it today, but “pollaxe.”<span style="mso-spacerun: yes;"> </span>This makes
little sense to<span style="mso-spacerun: yes;"> </span>the modern reader
because he doesn’t know what a poll is, and since he just sees an axe on a
pole, “poleaxe” makes sense to him.<span style="mso-spacerun: yes;"> </span>Unfortunately,
as Kettering’s Law says, it is often true that:<span style="mso-spacerun: yes;">
</span>“L<span style="mso-bidi-font-weight: bold;">ogic</span> is an
organized <span style="mso-bidi-font-weight: bold;">way to go</span> wrong
with <span style="mso-bidi-font-weight: bold;">confidence</span>.”<span style="mso-spacerun: yes;"> </span>In fact, in the Middle Ages “poll” meant head
(as in our modern term for counting heads, or “polling"), and the term refers to
the head of the axe and not the shaft of the weapon.<span style="mso-spacerun: yes;"> </span>Thus, the modern term “poleaxe” represents a
gross misunderstanding of the real word.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The poll (or pole) is not the greatest lexicological
problem, however; in fact, most non-English-speaking sources don’t use the term
pollaxe, simply calling them “axes.”<span style="mso-spacerun: yes;"> </span>The
real problem is that people think an axe must have an axe blade—after all,
isn’t it logical?<span style="mso-spacerun: yes;"> </span>As a result, when they
find examples of “poll weapons” which do not have axe blades, they decide they
can’t be pollaxes and invent fanciful<span style="mso-spacerun: yes;">
</span>names for them.<span style="mso-spacerun: yes;"> </span>The great Ewert
Oakeshott is a good example.<span style="mso-spacerun: yes;"> </span>In his <i>European
Weapons and Armour</i>, he seems to have invented the term “Lucerne Hammer” to
describe this kind of weapon because there were many of this style found in Lucerne,
Switzerland:<br />
<a href="http://www.myarmoury.com/images/features/pic_spot_poleaxe09.jpg">http://www.myarmoury.com/images/features/pic_spot_poleaxe09.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I cannot find who coined the term Bec de Corbin, or “crow’s
beak” for this kind of weapon:<br />
<a href="https://upload.wikimedia.org/wikipedia/commons/d/d7/Ms.Thott.290.2%C2%BA_132r.jpg">https://upload.wikimedia.org/wikipedia/commons/d/d7/Ms.Thott.290.2%C2%BA_132r.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
The ignorance displayed thereby is appalling, and yet its
use is almost universal among living history folks.<span style="mso-spacerun: yes;"> </span>In fact, “crow’s beak” is never used for axes
in any source; rather, the term “falcon’s beak” is used to describe the hook on
the back of an axe, not the weapon in whole:<span style="mso-spacerun: yes;">
</span>“And immediately place the dague of your axe between his bec de faucon
and his hand…”<span style="mso-spacerun: yes;"> </span>(“Et incontinent mettre
la dague de la vostre entre son becq de faulcon…,” Le Jeu para. 16).<span style="mso-spacerun: yes;"> </span>Moreover, neither bec de corbin nor bec de
faucon is an appropriate term for describing an axe.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Some people call these kinds of weapons—with a hammer head
backed by a spike—“pole hammers,” demonstrating (and compounding) their
ignorance about the terms being used.<span style="mso-spacerun: yes;"> </span>In
reality, the weapons shown above, both the so-called “Lucerne hammer” and “Bec
de Corbin,” are called “axes” in most medieval sources, or pollaxes in English
sources.<span style="mso-spacerun: yes;"> </span>The French call them “Hache,”
the Italians “Azza,” and the Germans “Axe” (or axt), with no mention of
hammers.<span style="mso-spacerun: yes;"> </span>And indeed, with just a single exception
(Codex 11093) all of them show <i style="mso-bidi-font-style: normal;">only</i>
this kind of axe (the hammer head backed with a spike) and none show axes with an
axe blade (Mair shows something with an axe blade and some wild spikes on the
back, but it appears to be a specialized weapon for unarmored combat, if,
indeed, it ever existed—Mair was sometimes somewhat fanciful).<span style="mso-spacerun: yes;"> </span>So every time a Fechtbuch says something
about an axe, azza, or hache, it <i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">always</span></i> means a hammer backed with
a spike for hooking, and never a weapon with an axe blade (again, except Codex
11093).<span style="mso-spacerun: yes;"> </span>Here are some examples:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“The first bind with the axe.” <span style="mso-spacerun: yes;"> </span>(“Das erste anbinden mit der axt,” Talhoffer
1467 fol. 41r.)<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://wiktenauer.com/images/3/3f/Cod.icon._394a_41r.jpg">http://wiktenauer.com/images/3/3f/Cod.icon._394a_41r.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“The way you will confront someone with the axe.”<span style="mso-spacerun: yes;"> </span>(“Wie dú dich gegen aim[e] anndern schick[e]n
sollt mit der axe,” Kal fol. 37v.)<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://wiktenauer.com/images/1/1a/Cgm_1507_37v.jpg">http://wiktenauer.com/images/1/1a/Cgm_1507_37v.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“The first bind with the axe.”<span style="mso-spacerun: yes;"> </span>(“Das erste anbinden mit der Axe,” Kal fol.
38r.)<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://wiktenauer.com/images/d/d0/Cgm_1507_38r.jpg">http://wiktenauer.com/images/d/d0/Cgm_1507_38r.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then, there is the question of weapons with an axe head and
a spike (bec de faucon), such as this one (pardon my use of a reproduction, but
the design is accurate):<br />
<a href="http://www.medievalcollectibles.com/images/Product/large/600640.png">http://www.medievalcollectibles.com/images/Product/large/600640.png</a><o:p></o:p></div>
<div class="MsoNormal">
Most people call these pollaxes or axes, today, and yet they
are not.<span style="mso-spacerun: yes;"> </span>I do not blame people for this
misunderstanding; indeed, if you read my pollaxe book, you will see I include
this weapon among the pollaxes because at the time I did not know to question
the “common beliefs” on the subject.<span style="mso-spacerun: yes;"> </span>It
was not until I published a translation of the Peter Falkner Fechtbuch section covering axes and halberds that it was
possible to know that these weapons are actually halberds, and not axes at all.<span style="mso-spacerun: yes;"> </span>The Falkner Fechtbuch is explicit about this,
and it makes sense when you think about it.<span style="mso-spacerun: yes;">
</span>What is a halberd but a blade with a top spike and a back spike on a
shaft?<span style="mso-spacerun: yes;"> </span>It is only that some of these
weapons are very elaborate, as if for use by real men at arms (i.e., knights)
and not common troops (i.e., billmen and halberdiers), and we associate the
pollaxe with men at arms, not with common troops.<span style="mso-spacerun: yes;"> </span>This can excuse those who got it wrong before
we learned what Falkner had to<span style="mso-spacerun: yes;"> </span>say, but
there is no excuse for those who<span style="mso-spacerun: yes;"> </span>ignore
this and cling in ignorance to the wrong term.<span style="mso-spacerun: yes;">
</span>One has but to look at Falkner’s plain text and pictures, and it becomes
impossible to confuse them.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“If you have a murder axe or halberd…”<span style="mso-spacerun: yes;"> </span>(“Merck hastu ein mordtagst oder hellebarten,”
Falkner fol. 62v.)<o:p></o:p></div>
<div class="MsoNormal">
<a href="https://upload.wikimedia.org/wikipedia/commons/d/d3/Ms._KK5012_62v.jpg">https://upload.wikimedia.org/wikipedia/commons/d/d3/Ms._KK5012_62v.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Wind to him the blade of your halberd in front to the neck.”
<span style="mso-spacerun: yes;"> </span>(“wind ym das platt diner hellenbarten,”
Falkner fol. 63v.)<o:p></o:p></div>
<div class="MsoNormal">
<a href="https://upload.wikimedia.org/wikipedia/commons/e/e6/Ms._KK5012_63v.jpg">https://upload.wikimedia.org/wikipedia/commons/e/e6/Ms._KK5012_63v.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Note, this piece is plain and simple: If you have a halberd
and he likewise…” (“Merck das stück ist schlecht und gerecht hastü ein
hellenbarten vnd er einen,” Falkner fol. 64r.)<o:p></o:p></div>
<div class="MsoNormal">
<a href="https://upload.wikimedia.org/wikipedia/commons/c/c2/Ms._KK5012_64r.jpg">https://upload.wikimedia.org/wikipedia/commons/c/c2/Ms._KK5012_64r.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Note that the weapons above from Falkner are axe blades
backed by a spike/hook, making them <i style="mso-bidi-font-style: normal;">halberds</i>.<span style="mso-spacerun: yes;"> </span>The only exception is the one on the left in folio
62v which shows a hammer backed by a spike, making it an axe, and the reader
can see the master was explicit about this in the text.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is popular today to ignore historical fact in an effort
to appear hip or trendy or <i style="mso-bidi-font-style: normal;">something</i>,
because people fear—fairly dread—being thought of as pedantic, or, god forbid,
a <i style="mso-bidi-font-style: normal;">scholar</i>.<span style="mso-spacerun: yes;"> </span>Even when you teach them the facts, they tend
to ignore them because they fear the disapprobation of the reverse snobs among
their fellows who laud ignorance; weaklings always care more about the opinions
of the popular crowd than they do about facts.<span style="mso-spacerun: yes;">
</span>This issue, however, is not open to doubt.<span style="mso-spacerun: yes;"> </span>Put most simply, an axe, within the context
of historical combat, must have a hammer head.<span style="mso-spacerun: yes;">
</span>That hammer may be backed by a spike/hook (and they are <i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">only</span></i>
used for hooking, never for striking in <i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">any</span></i> Fechtbuch), as they are in almost
all Fechtbücher, or by an axe blade, as seems more common in the non-Fechtbuch
iconography, but it is the hammer head which defines it as an axe, not an axe
blade.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sources Cited:<o:p></o:p></div>
<div class="MsoNormal">
Hans Talhoffer 1467:<span style="mso-spacerun: yes;"> </span>Cod.icon.
394a<o:p></o:p></div>
<div class="MsoNormal">
Le Jeu de La Hache:<span style="mso-spacerun: yes;"> </span>MS
Français 1996<o:p></o:p></div>
<div class="MsoNormal">
Paulus Kal:<span style="mso-spacerun: yes;"> </span>Cgm 1507<o:p></o:p></div>
<div class="MsoNormal">
Peter Falkner:<span style="mso-spacerun: yes;"> </span>MS
KK5012<o:p></o:p></div>
<!--EndFragment--><br />Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-78002524426254035662018-08-07T10:17:00.000-07:002018-08-07T10:23:52.045-07:00Master the Art of the German Longsword<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjiyve8_s4wwPwAyCbiu9XZ0w3PILwNstKIAKSstijcRN2RMFFDD4J4Gs7yNngeyZN7jTAPrJxkv3zEd-ZiWjP9-NbDuB-mxk8oZcnfXWoMuiKHLeZJIIhXt_i4tndMNrhmTSbtk68iFs/s1600/Training+Guide+Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="960" data-original-width="742" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjiyve8_s4wwPwAyCbiu9XZ0w3PILwNstKIAKSstijcRN2RMFFDD4J4Gs7yNngeyZN7jTAPrJxkv3zEd-ZiWjP9-NbDuB-mxk8oZcnfXWoMuiKHLeZJIIhXt_i4tndMNrhmTSbtk68iFs/s320/Training+Guide+Cover.jpg" width="247" /></a>Announcing the publication of Hugh Knight's newest book, <i>The Longsword Training Guide</i>, now available on Lulu.com: <a href="http://www.lulu.com/shop/hugh-knight/longsword-training-guide/paperback/product-23733751.html" target="_blank">HERE</a><o:p></o:p></div>
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Mr. Knight's previous book, <i>The Knightly Art of the
Longsword</i>, taught the techniques of historical German swordsmanship, but
just learning techniques is not enough if you want to understand how to
actually use the system.</div>
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<o:p></o:p></div>
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<br /></div>
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<i>The Longsword Training Guide</i> picks up where that
previous one left off, taking those techniques and putting them into realistic
context by combining them into drills and partner exercises intended to teach
the reader how to use the art as Master Liechtenauer intended. It is almost 300
pages in length, stuffed with hundreds of detailed photographs showing every
step of the forms and drills being taught.<o:p></o:p></div>
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<br /></div>
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As a special feature, the book is being released in a spiral
binding designed to allow the book to be laid flat for easier use during
training sessions.<o:p></o:p></div>
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<i>The Longsword Training Guide</i> is intended to be
used in close conjunction with <i>The Knightly Art of the Longsword</i>. The author recommends buying them together since the new book does not contain
detailed instruction for most of the techniques themselves. It can be purchased
<a href="http://www.lulu.com/shop/hugh-knight/the-knightly-art-of-the-longsword/paperback/product-6254637.html" target="_blank">HERE</a>.<o:p></o:p></div>
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Note: I need to tell people who are considering buying this
book that Lulu.com has changed their printing process, and the pictures came
out very dark, even though the photographs I used were good (the cover photo is
a perfect example). I have shown the book to people and they all agreed you can
make out the techniques easily in spite of this, but I wanted to be honest
about it. I am becoming very disappointed with Lulu.com, but in spite of this
flaw I believe the book will be of great interest and highly useful to anyone
who<span style="mso-spacerun: yes;"> </span>wants to understand Master
Liechtenauer's art.</div>
Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-60139684243297868382018-07-17T08:46:00.001-07:002018-07-17T08:46:29.982-07:00Some Considerations on the Use of Feints Against Skilled Swordsmen<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibIeBgN17lhpR-rFqhZXMZnT9oNDnw1xY0pP2-oOwfzvoPyrSbj-KVVr5JQLLxSATptopV5sXfzi_1cnY4wXDe8oZzEVWe3NjqlX-8LKRHUVMKhfmmyuzYVVLNMoy6MOBH6XEPN2XneLQ/s1600/MS_E.1939.65.341_002v.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1073" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibIeBgN17lhpR-rFqhZXMZnT9oNDnw1xY0pP2-oOwfzvoPyrSbj-KVVr5JQLLxSATptopV5sXfzi_1cnY4wXDe8oZzEVWe3NjqlX-8LKRHUVMKhfmmyuzYVVLNMoy6MOBH6XEPN2XneLQ/s320/MS_E.1939.65.341_002v.jpg" width="228" /></a>We have been taught that feints are a powerful tool in a
fighter’s toolbox that allow us to create openings in our opponents’ defense
through which we can attack. In truth, feints can be highly effective at doing
that, which is why the masters gave us feints to use. Here is an excellent example: “The Veler: All fighters who rely on
displacing are deceived and defeated with the Veler. When you close with him, feint any Oberhau to
his left side. From there, when he wants to displace it, you can easily hit
another opening.” (Ringeck fol. 29v.) Von Danzig is even more explicit about the
Veler, saying: “The Veler is a piece which can be used against many fighters
who rely on fighting to the sword and not to the openings.” (Von Danzig fol.
22r.)</div>
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<o:p></o:p></div>
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What is true for a common fighter, however, is not
necessarily true for a student of Master Liechtenauer’s art, and that is
certainly the case with feints.<span style="mso-spacerun: yes;"> </span>In
actuality, no feint should ever work on a fighter who understands and applies
Master Liechtenauer’s art correctly.<span style="mso-spacerun: yes;">
</span>Let’s examine why that is so.<o:p></o:p></div>
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Ringeck and von Danzig say fighters who rely on displacing
or cutting to the sword are defeated by the Veler, and we are told:<span style="mso-spacerun: yes;"> </span>“For he who defends against strikes is always
in greater danger than the one who strikes, since he must either defend or
allow himself to be hit if he is to have a chance to strike a blow himself.
That is why Liechtenauer says: ‘I say truthfully, no man can defend without
danger.’” (Hs 3227a fol. 20v.)<span style="mso-spacerun: yes;"> </span>We are
also told:<span style="mso-spacerun: yes;"> </span>“Do not strike at the sword,
but always to the openings, to the head or the body, if you wish to remain
unharmed.”<span style="mso-spacerun: yes;"> </span>(Ib. fol. 23r.)<span style="mso-spacerun: yes;"> </span>In other words, we are taught to never strike
to the enemy’s sword, but to his openings, instead.<span style="mso-spacerun: yes;"> </span>We are also told that displacing attacks will
get you killed because you can’t hit him while you’re displacing and so are
always on the defensive (that’s not true with single-time techniques, but let’s
keep this simple for this discussion).<o:p></o:p></div>
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Consider the Veler in light of that instruction.<span style="mso-spacerun: yes;"> </span>If you cut at your opponent’s sword to
displace his cut, then when he suddenly pulls his sword around to strike with
his real attack, you will hit only empty air and will be hit yourself.<span style="mso-spacerun: yes;"> </span>But if you cut at your opponent, only letting
his sword get in the way to displace it, then when he pulls his sword away for
his real cut, yours will continue on into your opponent.<span style="mso-spacerun: yes;"> </span>And since your cut started before your
opponent pulled his sword around for his real cut, your cut will land
first.<span style="mso-spacerun: yes;"> </span>Your opponent must either accept
getting hit, or convert his cut into a displacement, which puts him on the
defensive—in the Nach— and gives you control.</div>
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This doesn’t mean we don’t displace attacks—we most
certainly do, and we need to.<span style="mso-spacerun: yes;"> </span>But it
means that when you displace you must do so either with a cut that will hit
your opponent if he pulls away, or which leaves your point ready to strike him
if he does so.<span style="mso-spacerun: yes;"> </span>“You are not to displace
the way other fighters do. When they displace, they hold their point up or to
the side. This means that they cannot attack the four openings in the
displacement with the point.” (Von Danzig fol. 26v.)<o:p></o:p></div>
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<br /></div>
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But what if we have to cut at the enemy’s sword?<span style="mso-spacerun: yes;"> </span>When we displace a Zwerchhau with an
Unterhengen (e.g., Ringeck fol. 53r), we are taught to cut into the middle of
the attacking sword, which means we can’t hit into the enemy directly if he
moves his sword.<span style="mso-spacerun: yes;"> </span>We are also taught to
go directly into a thrust from the bind, however, and so that thrust should hit
before the enemy can cut to our other side if<span style="mso-spacerun: yes;">
</span>the enemy leaves the bind.<span style="mso-spacerun: yes;"> </span>We
have to learn not to think of the counter to the Zwerchhau as a cut and then
thrust, but as one action—cut-and-thrust.<span style="mso-spacerun: yes;">
</span>That way, if the enemy leaves the bind without doing something to stop
our attack he will be hit before he can hit us.<span style="mso-spacerun: yes;">
</span>This is yet another reason for not cutting down to the ground with the
huge over-done strikes poorly taught people use; doing so makes you vulnerable
to feints.<span style="mso-spacerun: yes;"> </span>An empty displacement is one
which simply stops an attack, but has no action performed Indes from that
bind.<span style="mso-spacerun: yes;"> </span>A correct displacement is just the
first part of an action which attacks our opponent.<o:p></o:p></div>
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This video demonstrates this concept:<span style="mso-spacerun: yes;"> </span><a href="https://www.youtube.com/watch?v=FfJ9svJnN9U&t=1s">https://www.youtube.com/watch?v=FfJ9svJnN9U&t=1s</a><o:p></o:p></div>
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Thus, it should be plain why it is so important that we
attack the man, not the sword, and why we must never use empty
displacements.<span style="mso-spacerun: yes;"> </span>Feints are intended to make
it easy to beat people who are ignorant of Master Liechtenauer’s art and do
those things.<span style="mso-spacerun: yes;"> </span>You see this constantly
when watching sword taggers play.</div>
Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-84622780807923900742018-06-07T10:40:00.000-07:002018-06-12T18:51:43.953-07:00I Am Proud to be Dogmatic<br />
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I just had someone send me a video essay by one of the
popular “cool kids” of HEMA in which the author argued that it’s wrong to say
we should only use push-pull cuts. He
implied that saying we should only use push-pull cuts was dogmatic and somehow “bad,”
a sure sign someone was too focused on something… oh, I don’t know, like historical accuracy, or
that kind of pointless stuff.</div>
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<o:p></o:p></div>
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This person admits he studies late-period saber and that he
also studied Fiore’s sword, along with a hodge-podge of other things.<span style="mso-spacerun: yes;"> </span>His study has no stylistic focus, a fact
hardly unusual among the HEMA crowd.<span style="mso-spacerun: yes;"> </span>That’s
fine, people are allowed to do whatever they want, more power to them, it’s not
the end<span style="mso-spacerun: yes;"> </span>of the world when they get
something as obscure and irrelevant in the modern world as medieval combat
wrong.<span style="mso-spacerun: yes;"> </span>The problem is he compends that
hodge-podge smattering of unrelated facts to answer stylistic questions, then
spreads the resulting misinformation all over the Internet where it is gobbled
up by credulous people who care more about the popularity of a presenter than they
do about the facts, and that is not acceptable.<o:p></o:p></div>
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The popular guru of all kinds of combat ever conducted
anywhere throughout all of time and with all weapons ever used points out that
different schools of the saber had different ways of cutting with them.<span style="mso-spacerun: yes;"> </span>Fact.<span style="mso-spacerun: yes;">
</span>He says Meyer gave hints of using the arms to cut.<span style="mso-spacerun: yes;"> </span>Probably true.<span style="mso-spacerun: yes;"> </span>He says Fiore used the arms to cut
in large motions.<span style="mso-spacerun: yes;"> </span>Fact. He then draws
those facts together to “prove” that all arts use swinging arm cuts.<span style="mso-spacerun: yes;"> </span>False.<span style="mso-spacerun: yes;">
</span>That conclusion does not follow, and it assumes facts not in
evidence.<span style="mso-spacerun: yes;"> </span>He even <b>admits</b> that
Liechtenauer told us to cut with a push-pull motion (I’ve published the evidence
for this so often I refuse to do it yet again here, especially since this guy
admits it), but still claims that <b>all</b> systems used swinging cuts with
the arms since some of them did.<o:p></o:p></div>
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He claims that the Scheitelhau is a different kind of cut.<span style="mso-spacerun: yes;"> </span>Half true.<span style="mso-spacerun: yes;">
</span>Yes, you lift your hands at the end of the cut, but at the beginning, it’s
still<span style="mso-spacerun: yes;"> </span>a push-pull motion, literally
indistinguishable from a Zornhau.<span style="mso-spacerun: yes;">
</span>Liechtenauer doesn’t tell us that in those exact words, but consider,
why would you do it any other way?<span style="mso-spacerun: yes;"> </span>Why
would you telegraph your cut any more than you had to, when it’s not necessary?<span style="mso-spacerun: yes;"> </span>He said the same about the Krumphau.<span style="mso-spacerun: yes;"> </span>Yes, when you cut with the Krumphau you must
first turn your blade crosswise, but you then cut using a push-pull motion of
your hands, not a swing of your arms, and the pictorial evidence for this is
plain.<span style="mso-spacerun: yes;"> </span>This is the kind of nonsense
people come to believe when they refuse to study a system for its own sake, and
so don’t recognize how internally consistent it is.<o:p></o:p></div>
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What he is <b>really</b> advocating is mixing and matching
different systems, and even different forms, together in one cluttered
mess.<span style="mso-spacerun: yes;"> </span>Doing that defeats the entire
purpose of resurrecting these lost arts, and is the worst kind of dilettante behavior.<span style="mso-spacerun: yes;"> </span>It says you care nothing about learning or
understanding any historical system of combat, you just want to mix and match anything
you, personally, in your vast martial expertise garnered without ever having
been in a real fight, think is cool and neat.<span style="mso-spacerun: yes;">
</span>Oh, and anyone who cares about doing things right is a stuffy purist and
dogmatic and pedantic and probably mean, too, because he cares about boring
stuff like facts.<o:p></o:p></div>
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Fiore did things differently from the way Liechtenauer did
them in many ways, even making the kind of large cuts the German masters railed
against.<span style="mso-spacerun: yes;"> </span>Meyer used the longsword
differently too, because he taught Schulfechten, and didn’t use thrusts with
the longsword (except as threats).<span style="mso-spacerun: yes;">
</span>Late-period military saber is so different from fifteenth-century
longsword I’m insulted to even have to compare it.<span style="mso-spacerun: yes;"> </span>None of that changes the way the early German
masters told us to use the Longsword—with small<span style="mso-spacerun: yes;">
</span>cuts, which cut as though a string were tied from your edge to the
target, and which end up pointing right at your opponent’s face or chest if you
miss.<span style="mso-spacerun: yes;"> </span>In other words, with a
push-pull<span style="mso-spacerun: yes;"> </span>motion of the hands.<o:p></o:p></div>
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Masters do things differently in different styles, and that’s
fine—there is no one universal truth of combat.<span style="mso-spacerun: yes;">
</span>You can tell an Okinawan style of karate-do such as Goju-ryu from a
Japanese style such as Shotokan by the former’s circular blocks compared to the
latter’s linear ones.<span style="mso-spacerun: yes;"> </span>Mixing them
together just creates a new system, which may seem acceptable to people who
practice modern self defense, but none of us will <b>ever</b> be in a serious
fight with longswords, so making up a new system by mixing parts of different
systems together is contrary to the very idea of resurrecting an existing one.<span style="mso-spacerun: yes;"> </span>Yes, the masters did that in period, but since
we will never be in a sword fight we have no need to make a better system and,
since none of us has ever been in a one, we aren’t qualified to do so.<span style="mso-spacerun: yes;"> </span>We should be resurrecting existing systems to
learn how they were used, not pretending we should make our own or that we can do
so intelligently.<span style="mso-spacerun: yes;"> </span>Today, that is the
stuff not of scholars and martial artists, but of dilettantes playing at sword
tag and tatami butchering after a rousing game of Dungeons and Dragons.<o:p></o:p></div>
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Our popular kid then goes on to cite a certain New York
instructor, who argues for changing all we know about the German longsword
because he wants to make it match his modern, made-up school of kenjutsu so he
can justify doing test cutting with the kind of huge, overblown cuts the
masters warn us never to do (to be fair, he was really saying this fellow is
wrong for arguing there is no push-pull cutting at all, but he gets no points since he
didn’t reject him completely). <span style="mso-spacerun: yes;"> </span>Worse,
this comes on the heels of another article I recently read written by an engineer arguing
that the push-pull cut is entirely wrong because it’s not as efficient at
cutting tatami.<span style="mso-spacerun: yes;"> </span>Yes, people really do
miss the point that much.<o:p></o:p></div>
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If I sound scornful and angry in this post, it’s because I
am.<span style="mso-spacerun: yes;"> </span>I am sick to death of the people out
there ignoring the facts of our art to push what we might call a “mergist” or “universal
system” agenda, ridiculing anyone who cares about accurately resurrecting a
single, historical system.<span style="mso-spacerun: yes;"> </span>Do what you
want to do, play what games you will, but stop<span style="mso-spacerun: yes;"> </span>criticizing those of us working hard to actually resurrect a historical
system of combat for being too “stuffy and dogmatic.”<span style="mso-spacerun: yes;"> </span>Dogma is the point—it’s a goal to be sought,
not a flaw to be criticized.<span style="mso-spacerun: yes;"> </span>I am
dogmatic and proud.<o:p></o:p></div>
<!--EndFragment--><br />Edited to Add:<br />To the illiterate fellow who wrote me saying I claimed that the popular guru of all kinds of combat ever conducted anywhere throughout all of time and with all weapons ever used said you never use a push-pull cut: It must be your lack of reading skills which made you misunderstand my argument in the first place. I said (in paragraph 3) the guru admitted Liechtenauer told us to use a push-pull motion. That's a big part of my argument--he admitted that, and never showed any situations where you *don't* use a push-pull cut. He claimed that of the Scheitelhau and Krumphau, but I explained above why those claims simply indicate he doesn't know how to perform those cuts correctly. So, you are as wrong about your specific claim as you were in the subsequent general one.<br /><br />As for your claim that I'm an idiot for saying we always use push-pull cuts, you made a claim but failed to support it. That makes you both intellectually dishonest and a typical HEMArrhoid.Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com2tag:blogger.com,1999:blog-1178262688226237317.post-85861159836601647262018-05-14T10:14:00.003-07:002022-11-28T07:18:45.897-08:00Gambesons, or, How Ignorance Thrives on Popular Opinion.<!--[if gte mso 9]><xml>
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</xml><![endif]--><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguHErc9BuBPve5EJmy63HKseuiD3rLHL7FxV_KlhDlr_ad8B20dqyndloDePaimiIXSxfaM4-a7pln016PcYDSyIafQlkCvyAdkbiWuAtFCQnbGEmRJb_WSAEpkl7FpYdZk8a7Ig1TWv0/s1600/Mac+Bible+118-14.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="467" data-original-width="479" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguHErc9BuBPve5EJmy63HKseuiD3rLHL7FxV_KlhDlr_ad8B20dqyndloDePaimiIXSxfaM4-a7pln016PcYDSyIafQlkCvyAdkbiWuAtFCQnbGEmRJb_WSAEpkl7FpYdZk8a7Ig1TWv0/s320/Mac+Bible+118-14.jpg" width="320" /></a><span style="font-size: 12pt;">“Striding heroically to the ring, I donned my gambeson,
carefully tucked my man-bun under my mask, picked up my federschwert, and
participated joyously in longsword sparring, secure in the knowledge that I was
a mighty swordsman in spite of having never read a Fechtbuch.”</span></div>
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<o:p></o:p></div>
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While that’s said tongue in cheek, it must be admitted to be
fairly typical, too.<span style="mso-spacerun: yes;"> </span>The sad part is
that almost everything of a factual nature in that statement is dead wrong, in
spite of the fact that almost the entire body of HEMA practitioners would find
nothing wrong with it.<span style="mso-spacerun: yes;"> </span>Sparring refers,
specifically, to fistic arts, and should not be used for bouting with
weapons.<span style="mso-spacerun: yes;"> </span>“Federschwert” comes from a
misunderstanding a German poem, and should not be used to refer to practice
swords.<span style="mso-spacerun: yes;"> </span>And it is not possible to be any
kind of a mighty swordsman today, but especially not if one just plays sword
tag without serious study.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I have addressed most of those errors in other essays (and
probably shall have to again), but of specific interest to us in this essay is
the fact that our intrepid, but poorly educated, hero above is not wearing a
gambeson, probably doesn’t know what a gambeson is, and has probably never seen
one.<span style="mso-spacerun: yes;"> </span>All of his buddies call the padded
coats they wear “gambesons,” and for a certain class of person, force of
personality matters more than mere scholarship.<span style="mso-spacerun: yes;">
</span>If the cool kids say it, then it’s so, and anyone who disagrees is a Bad
Person (tm), and probably (gasp!) a pedant, to boot.<span style="mso-spacerun: yes;"> </span>Disagreeing with the Unity is double-plus
ungood.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Worse, when you confront them with their error, they will
look up the word in a modern dictionary, then insist they have “documented”
their use of the term.<span style="mso-spacerun: yes;"> </span>Sadly, modern
dictionaries are rarely of any value when looking for historical technical
terms.<span style="mso-spacerun: yes;"> </span>In fact, most museum staff—in
spite of being real scholars—are rarely any better, since they are usually only
interested in the artistic value/merits of an artifact, not its mundane use.<span style="mso-spacerun: yes;"> </span>Likewise, the minutiae of historical combat
are of little interest to real (read: “academic”) historians; they think the
practice of getting too involved in the nuts and bolts of history causes one to
miss the more important Big Picture, and derisively dismiss it as “tank
spotting,” in reference to WWII history buffs who care too much about the
specific tanks engaged in a given battle.<span style="mso-spacerun: yes;">
</span>We cannot rely on any of those sources.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One might ask why this is important.<span style="mso-spacerun: yes;"> </span>After all, if “everyone” uses a term in a
given way, haven’t they redefined it?<span style="mso-spacerun: yes;">
</span>And besides, they’re afraid they’ll hurt their friends’ feelings if they
use a term correctly when those friends do not.<span style="mso-spacerun: yes;">
</span>And besides again, language is changing all the time, so we should just
accept that!<span style="mso-spacerun: yes;"> </span>So there, you mean-spirited
pedant!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Of course, it’s true that language does change
constantly.<span style="mso-spacerun: yes;"> </span>Not all change is good,
however.<span style="mso-spacerun: yes;"> </span>Change which improves the
precision of language should be embraced, but change which does not should be
eschewed.<span style="mso-spacerun: yes;"> </span>The fact that language was
woefully imprecise in a given period of study is immaterial to that; we, today,
need precision in order to talk about things meaningfully.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What then, is a gambeson, and why is it important to use the
term precisely?<span style="mso-spacerun: yes;"> </span>More importantly, how do
we find out?<span style="mso-spacerun: yes;"> </span>Simple.<span style="mso-spacerun: yes;"> </span>Go to the real experts and the primary source
material.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“…aketon was a plain quilted coat usually worn under the
armour. Gambesons, on the other hand, are often described in early inventories
as being made of silk or some other rich material, decorated with embroidery
and coats-of-arms, a fact suggesting that, sometimes at least, they were
designed to be worn as independent defences or as surcoats. This view is
supported by a number of texts that refer to the gambeson being worn over the aketon,
the hauberk or, from the end of the 13th century, over plate armour… In a few
instances two aketons are worn, the upper, which should probably here be called
a gambeson, without sleeves.”<span style="mso-spacerun: yes;"> </span>Blair, C. <u>European
Armour.</u> Macmillan, 1959. p. 33.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“The gambesons were quilted coats similarly decorated with heraldry
and intended for external wear; one was covered in white silk with a black bend
decorated with three dolphins in gold. The aketons were quilted garments intended
for wear under mail armour…”<span style="mso-spacerun: yes;"> </span>Richardson,
R. <i>The Medieval Inventories of the Tower Armouries 1320–1410.</i> Diss.
University of York, 2012. Web, 14 May 2018, pp. 178-179.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Thus, we see a clear distinction between aketons, quilted
garments worn under armor, and gambesons, rich garments, often highly
decorated, worn over armor.<span style="mso-spacerun: yes;"> </span>Just calling
them both gambesons ignores this important distinction, and reduces the
precision with which we can discuss them.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What does a gambeson look like? Here we can see them in the
famous Mac Bible.<span style="mso-spacerun: yes;"> </span>Note the way the
shoulder holes sick up stiffly, showing their heavily quilted construction:<span style="mso-spacerun: yes;"> </span><<a href="http://manuscriptminiatures.com/4673/7957/">http://manuscriptminiatures.com/4673/7957/</a>>.<span style="mso-spacerun: yes;"> </span>M.638 Maciejowski Bible (fol. 11r).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We can see the distinction between aketons and gambesons
discussed here, where in both kinds of combat the aketon is the padded
foundation garment worn under armor, and the expensive gambeson is worn over
the mail and aketon in jousts:<span style="mso-spacerun: yes;"> </span>“For War:
an aketon, plates from Germany or elsewhere, and in addition to the aketon as
above, a good gorget, sword, axe with a spike, and a long knife… For Jousts:
aketon, hauberk, and gambeson, which is made of silken cloth and the like, and
can be so costly that the steel plates, basinet and helmet are as nothing in
comparison.” Meyer, P., G. Paris, A. Thomas, and M. Roques. “Modus armandi
milites ad torneamentum.” 1884. Romania. Paris: Société des amis de la
Romania [etc.].<span style="mso-spacerun: yes;"> </span>p. 530. Translation
copyright Will McLean 2013.<o:p></o:p></div>
<div class="MsoNormal">
< <a href="http://willscommonplacebook.blogspot.com/2013/01/modus-armandi-milites-ad-torneamentum.html">http://willscommonplacebook.blogspot.com/2013/01/modus-armandi-milites-ad-torneamentum.html</a>><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sometimes, the foundation garment could be called a doublet
(although the term aketon can also be seen quite late in the period), but still
not a gambeson:<span style="mso-spacerun: yes;"> </span>“He schal have noo
schirte up on him but a dowbelet of ffustean lynyd with satene cutte full of
hoolis.”<span style="mso-spacerun: yes;"> </span>(He shall have no shirt upon
him, but a doublet of fustian lined with satin cut full of holes.) <span style="mso-spacerun: yes;"> </span>Anon. <i>How a man schall be armyd at his ese
when he schal fighte on foote</i> Hastings MS. fol. 122v.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short, gambesons were worn over armor, aketons under it; aketons
could sometimes be worn alone in armored combat.<span style="mso-spacerun: yes;"> </span>Ignoring that doesn’t make one cool.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Quite apart from simply learning what gambesons really were,
there are important lessons here about research.<span style="mso-spacerun: yes;"> </span>First, popular opinion is utterly meaningless,
and usually wrong.<span style="mso-spacerun: yes;"> </span>Second, starting with
a belief and then working to prove that belief correct is not real scholarship,
and can lead to serious mistakes.<span style="mso-spacerun: yes;"> </span>And third,
don’t be afraid to stand up for accuracy; precision is important, and you
shouldn’t fear the ignorant disapprobation of your fellows.<span style="mso-spacerun: yes;"> </span>We know what Master Hans Talhoffer said about
being fearful:<span style="mso-spacerun: yes;"> </span>"Fencing requires
heart; if you frighten easily, then you are not to learn to fence."
(Ambraser Codex, fol. 1v.)<span style="mso-spacerun: yes;"> </span>So buck up,
scholar, call a gambeson a gambeson, and do not fear the masses in their
ignorance.<o:p></o:p></div>
<!--EndFragment--><br />Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-51153733704856598312018-03-26T11:48:00.000-07:002018-03-26T11:48:32.175-07:00Durchwechseln: The Process of Interpretation
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<br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUtj8mIJel_WXSmonpVSBSzOUwf2TEoLmzSMUb8CKQ2anrXGBlDWOuA7lfGf4mJdMauXBMBxpu4uHNglXV1XFgkW6AhHko7DyMeBOUPdqEuNrXEbC7bbXnbfTidmNBnfiSmxYAoWYWnjE/s1600/MS_E.1939.65.341_006v.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1511" data-original-width="1026" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUtj8mIJel_WXSmonpVSBSzOUwf2TEoLmzSMUb8CKQ2anrXGBlDWOuA7lfGf4mJdMauXBMBxpu4uHNglXV1XFgkW6AhHko7DyMeBOUPdqEuNrXEbC7bbXnbfTidmNBnfiSmxYAoWYWnjE/s320/MS_E.1939.65.341_006v.jpg" width="217" /></a>I have long been troubled by my interpretation of the Durchwechseln, or “changing through.” Was it done into Langenort (“long point”), or was it done into an upper Hengen? I first learned to do it into an Upper Hengen, however, I could find nothing in any Fechtbuch to support (or refute, but see below from Kal) that interpretation. On the other hand, doing it that way worked very well, while trying to do it into Langenort did not, because there was often insufficient room for it from the bind. This essay is about the process I used to develop my current interpretation.<br /></div>
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Here is a video showing the Durchwechseln being done into an Upper Hengen: <a href="https://www.youtube.com/watch?v=dcn2fGnyuKM">https://www.youtube.com/watch?v=dcn2fGnyuKM</a> (note that I do this somewhat differently now, circling my point around more to hit the face or chest rather than just hitting the first target to which my point comes).</div>
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Many students of the Kunst des Fechtens struggle with interpreting techniques which are not explicitly described by the masters, so I thought it might be useful to describe the process I used to interpret the Durchwechseln, specifically, as a way of teaching people how to do so more generally.</div>
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My approach to interpretation has two primary tacks: First, look to the Fechtbücher, always. See what the Masters actually said, even when it seems vague, and never make anything up. Second, work through the interpretation you develop in actual practice, and make sure it works mechanically (not in free play; childish games of sword tag are far too unrealistic to prove anything at all) in terms of length, measure, timing, etc.</div>
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Studying the Fechtbücher involves more than just paging through the pictures or glancing over the texts. In his ground-breaking book, <u>The Martial Arts of Renaissance Europe </u>(Yale, 2000), Professor Sydney Anglo discusses a process we might term a “dossier approach” for understanding the material:</div>
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“In general, however, our knowledge of unarmed combat in medieval and renaissance Germany depends more upon the accumulation of a massive dossier of overlapping evidence than on the clarity of any single treatise. Similar holds, throws and trips recur throughout the different manuscripts. Sometimes they are obviously copied from one another; sometimes they illustrate different stages of a similar maneuver; and sometimes they give the impression of the same idea having been arrived at independently.” (p. 184.)</div>
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By comparing and contrasting a given technique both in the various sources and within the same source when it appears multiple times, we often find that the description or pictures will, as Professor Anglo says, give us a “view” of the technique from different angles or with different descriptions which can come together to give a far more complete understanding than any single description or picture can. Let’s use that approach to interpret the Durchwechseln.</div>
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Here is the description of the Durchwechseln in the pseudo-Peter von Danzig Fechtbuch:</div>
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“If you come against your opponent in the Zufechten, strike strongly at him. If he in turn strikes to your sword and not to your body, slide the point from under his sword before he binds to your sword, then thrust on the other side of his blade to his face or chest.” (Cod. 44.A.8 fol. 31r.)</div>
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Note that details are frustratingly absent; he says nothing about your position as you thrust, nor does any other extant source do so any more plainly.</div>
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Few of the pictorial sources show the Durchwechseln, but the Paulus Kal Fechtbuch does (the Glasgow Fechtbuch shows it too, but less clearly):</div>
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“Learn the Durchwechseln from both sides.” (CGM 1507 fol. 66r.)</div>
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<a href="http://wiktenauer.com/wiki/Paulus_Kal_Fechtbuch_(Cgm_1507)#/media/File:Cgm_1507_66r.jpg">http://wiktenauer.com/wiki/Paulus_Kal_Fechtbuch_(Cgm_1507)#/media/File:Cgm_1507_66r.jpg</a></div>
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Master Paulus’ picture seems to make it clear that the technique is being done into Langenort, however, experience has shown that pictorial sources are often very poorly drawn and/or at distinct odds with the more detailed textual descriptions, often drastically so. Still, this seemed the best and clearest indication of how to do the technique, so I moved on to the second part of the process—testing.</div>
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Unfortunately, the testing process did not support the use of Langenort. In the Kal picture, the combatants are shown too far apart to actually hit one another; at that distance, it is easy to drop your point under your opponent’s blade and thrust, but if the attacker is close enough to his opponent to have hit him with his initial cut, there isn’t enough room to come up into Langenort. Moreover, this problem is even worse if the initial cut is one of the shorter-ranged ones, such as a Zwerchhau, which requires you to be closer from the start.</div>
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The Durchwechseln is a very widely mentioned technique because it has a lot of different applications, so this gave me a lot of different places to look as I applied the dossier approach. Still, almost all the sources were extremely vague, and offered very few new insights. Turning again to the pseudo-von Danzig, however, I found help in an unlikely place: the plays of the Schielhau.</div>
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“If he skillfully evades this blow of your sword [i.e., your Schielhau] and tries to Durchwechseln below, then thrust with the point straight in front of you [“with your arms extended” Ringeck says in fol. 31v, meaning Langenort] so that he may not Durchwechseln.” (von Danzig fol. 23v.)</div>
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In other words, von Danzig and Ringeck both say that if you counter your opponent’s initial cut with a Schielhau, and he then attempts to “change through” under your counter, that you should counter his Durchwechseln with a thrust into Langenort (“with your arms extended”); in other words, Langenort “breaks” (counters) Durchwechseln. In this we can find our answer, although it’s not explicit.</div>
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If the Durchwechseln is done into Langenort, then how can it be countered by Langenort? The reach would be the same for both, and the person doing the Durchwechseln in that example would win since he moved first. That being the case, Langenort would not work well to counter the Durchwechseln described above in the plays of the Schielhau. If, however, the Durchwechseln is done into an Upper Hengen, things are different: Langenort is an excellent counter to the Durchwechseln because it has longer reach, especially if you step backward as you execute the thrust into Langenort to take advantage of the reach it provides, and this offsets the fact that your opponent moved first.</div>
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Testing this, we found that it worked admirably. You can use a Durchwechseln into the Upper Hengen from even the most short-ranged techniques, and the reach advantage of Langenort makes countering the Durchwechseln practical and easy. Figuring that out, however, required both applying the dossier approach to a number of different books, and to different plays within each of those books, then testing the mechanics out in practice. On a more subtle level, I had to do more than merely read the descriptions (which never mention the final position), I had to apply an understanding of what each of several different techniques was supposed to do in order to understand the implications of the techniques in question. I had to ask, “If this is the counter, what does that tell me about how to do the Durchwechseln itself?” Interpretation is often like that, requiring you to work backward from something else to get at what you’re trying to understand.</div>
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I hope this helps others who are struggling to understand the techniques of our art, especially those which aren’t explicitly described or pictured.</div>
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Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-554240437620643672017-12-29T21:12:00.001-08:002017-12-29T21:50:03.322-08:00Some Thoughts On Using Medieval Art to Document Medieval Combat<br />
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<span style="font-family: inherit;">Recently, I had a discussion with a gentleman about an
aspect of medieval combat, <i>viz.</i>,
using a buckler in full plate. Rather
than engaging in well-reasoned discourse, the gentleman chose to simply post a
handful of manuscript pictures, believing that a picture being worth a thousand
words, he could thus make his point without having to lower himself to debate
me. Perhaps he thought it an excellent
way to express his lofty disdain. In any
case, we will use that “discussion,” along with several other examples, to
examine the bigger picture of using medieval art to document our understanding
of medieval combat.</span></div>
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<span style="font-family: inherit;"><o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">Unfortunately for him, his pictures didn’t prove his point
at all. Consider this picture of St.
Michael:</span><br />
<span style="font-family: inherit;"><a href="https://images.metmuseum.org/CRDImages/ep/web-large/DT200571.jpg" target="_blank">https://images.metmuseum.org/CRDImages/ep/web-large/DT200571.jpg</a><o:p></o:p></span></div>
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<span style="font-family: inherit;">It would seem to prove that bucklers were not at odds with
full plate all by itself. Unfortunately,
that is not the case. St. Michael is
almost always depicted with a shield, usually a buckler, regardless of the
period or the kind of armor he’s wearing:</span><br />
<span style="font-family: inherit;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Michael4.jpg/200px-Michael4.jpg">https://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Michael4.jpg/200px-Michael4.jpg</a><o:p></o:p></span></div>
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<span style="font-family: inherit;">This is because of the superstitious symbols associated with
St. Michael in church myths, not because anyone ever saw him using a shield or
buckler—he was not, after all, real.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">This picture depicts a scene from the Battle of Battle of
Otterburn from a very late edition of Froissart’s Chronicles:</span><br />
<span style="font-family: inherit;"><a href="https://en.wikipedia.org/wiki/Froissart%27s_Chronicles#/media/File:Otterburn_Battle.jpg">https://en.wikipedia.org/wiki/Froissart%27s_Chronicles#/media/File:Otterburn_Battle.jpg</a><o:p></o:p></span></div>
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<span style="font-family: inherit;">Looking at the figures in the foreground, we can see several
fully armored figures using bucklers; again, my friend’s point made, right? Alas, not so.
The battle took place in 1388, but the painting clearly depicts
late-fifteenth century harness of a sort from long after 1388.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">Or consider the Battle of Crecy, fought in 1346. To look at this picture from the Arsenal
Library in Paris, one would assume that the men at arms on both sides fought
ahorse:<o:p></o:p></span></div>
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<span style="font-family: inherit;"><a href="http://www.gettyimages.com/detail/news-photo/the-battle-of-crecy-on-26-august-1346-between-the-french-news-photo/587494300?esource=SEO_GIS_CDN_Redirect#hundred-years-war-the-battle-of-crecy-on-26-august-1346-between-the-picture-id587494300">http://www.gettyimages.com/detail/news-photo/the-battle-of-crecy-on-26-august-1346-between-the-french-news-photo/587494300?esource=SEO_GIS_CDN_Redirect#hundred-years-war-the-battle-of-crecy-on-26-august-1346-between-the-picture-id587494300</a><o:p></o:p></span></div>
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<span style="font-family: inherit;">Yet we know very well that most of the English men at arms
fought on foot. Looking at the picture,
we would also assume that the men at arms of both sides fought in full plate
harnesses of the middle fifteenth century, and yet we know the battle occurred
almost 100 years before that. This is a
frequent problem in the study of armor; for example we see an effigy of a
famous person, not realizing the armor depicted thereon is typical of a much
later period, when the family finally got around to having the effigy made.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">Sadly, not even all Fechtbücher can be trusted. This plate from Paul Hector Mair shows two
figures practicing Langenschilt combat in full plate:</span><br />
<a href="http://wiktenauer.com/wiki/Paulus_Hector_Mair#/media/File:Mair_longshield_11.jpg"><span style="font-family: inherit;">http://wiktenauer.com/wiki/Paulus_Hector_Mair#/media/File:Mair_longshield_11.jpg</span></a><br />
<span style="font-family: inherit;">Sadly, Mair seems to have been less of a practitioner than a collector; he
copied older Fechtbücher, often embellishing them to make them more
appealing. When we look at the original
page that was copied for the above, we see that it depicted the combatants in
the leather “cat suits” which were universally shown in other manuscripts; Mair
just put them in armor because he thought it looked cooler; here’s the same
technique from Mair’s source, Codex Wallerstein:</span><br />
<span style="font-family: inherit;"><a href="http://wiktenauer.com/wiki/Paulus_Hector_Mair#/media/File:Cod.I.6.4%C2%BA.2_097r.jpg">http://wiktenauer.com/wiki/Paulus_Hector_Mair#/media/File:Cod.I.6.4%C2%BA.2_097r.jpg</a><o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">Likewise, Mair showed sword and buckler fighting with the
combatants wearing plate gauntlets:</span><br />
<span style="font-family: inherit;"><a href="http://wiktenauer.com/wiki/Opus_Amplissimum_de_Arte_Athletica_(Cod.icon._393)#/media/File:Cod.icon._393_II_062v.jpg">http://wiktenauer.com/wiki/Opus_Amplissimum_de_Arte_Athletica_(Cod.icon._393)#/media/File:Cod.icon._393_II_062v.jpg</a><o:p></o:p></span></div>
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<span style="font-family: inherit;">None of the sources he copied showed the models wearing
gauntlets; indeed, if you understand how bucklers were actually used in combat,
you’ll realize that bucklers were used <i>as</i>
gauntlets; never to block, but primarily to protect the sword hand (see: “<i>What’s
a Buckler For</i>” here: <<a href="http://talhoffer.blogspot.com/2013/05/else-whats-buckler-for.html">http://talhoffer.blogspot.com/2013/05/else-whats-buckler-for.html</a>>)<o:p></o:p></span></div>
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<span style="font-family: inherit;">Thus, wearing gauntlets while using a buckler was pointless.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">In a previous discussion, that same gentleman expressed the
notion that a poll weapon with an axe blade on one side and a spike on the back
should be termed a pollaxe. I do not
blame him for this; indeed, in my book on pollaxe combat I called this kind of
weapon a pollaxe. When we see fully
armored men at arms using a poll weapon, especially a non-utilitarian one, we
assume it to be a pollaxe, since halberds were typically used by lightly armored
common troops and pollaxes by men at arms.
When Peter Falkner’s Fechtbuch
became available, however, everything changed.
Falkner points to this exact sort of
weapon, and calls it a halberd, and subsequent research on my part
confirmed that to be typical:</span><br />
<span style="font-family: inherit;"><a href="https://commons.wikimedia.org/wiki/File:Ms._KK5012_64r.jpg">https://commons.wikimedia.org/wiki/File:Ms._KK5012_64r.jpg</a><o:p></o:p></span></div>
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<span style="font-family: inherit;">Again, the art led many of us (me included at first) astray,
and we were set to rights only when we got more information about the art we
were seeing (indeed, I believe my acquaintance still considers this a pollaxe
in spite of the detailed evidence to the contrary I presented). In fact, the defining characteristic of a
pollaxe is the hammer head, as hard as that might be to believe. Without the hammer, it’s not an axe at all.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">What led me to even question the use of bucklers by fully
armored men at arms? Studying how they
were used, of course, and ignoring the art.
A buckler is never used to block in any source I have ever seen from the
Middle Ages (see my article cited above).
George Silver talks about a buckler being used (out of armor) with a
broadsword, and talks about blocks with it (very vaguely, only saying to use it
like a dagger), but the weapon he depicts is much larger than the medieval
buckler (or even most Renaissance ones—look at diGrassi for example), and is
obviously different in use. This might
be because the closed hilts on the
broad- and backswords Silver favored obviated the need for a “gauntlet” for the
sword hand.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">And, of course, <i>partly</i>
armored troops might have a real need for a buckler, so we see that in a lot of
cases, as in this example:</span><br />
<span style="font-family: inherit;"><a href="http://www.thearma.org/Manuals/I33-guards_files/image093.jpg">http://www.thearma.org/Manuals/I33-guards_files/image093.jpg</a><o:p></o:p></span></div>
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<span style="font-family: inherit;">Yet someone might say: “But it’s armored combat!” Yes, but remember I stipulated “fully armored
in plate.” Indeed, one of the paintings
presented to me as proof of armored buckler use was a depictions of some of
Charles the Bold’s elite guards; Englishmen billmen who were issued significant
plate armor, but who carried swords and bucklers as backup weapons.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">The simple fact is that you don’t need to block cuts from
one-handed swords when you are fully armored in plate, because arming swords
are useless against plate. Look at depictions
of armored sword and shield combat during the age of plate, and you will usually
see the shield dependent from a guige strap which would prevent the shield from
being used to do anything but to block the face by lifting it, as in this
picture from BNF Français 120 Lancelot du Lac, but nothing else:<o:p></o:p></span></div>
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<span style="font-family: inherit;"><a href="https://i.pinimg.com/736x/c4/c6/e0/c4c6e094b4064a5364034f530b2a3f17--graal-lancelot.jpg">https://i.pinimg.com/736x/c4/c6/e0/c4c6e094b4064a5364034f530b2a3f17--graal-lancelot.jpg</a><o:p></o:p></span></div>
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<span style="font-family: inherit;">That’s because an arming sword can’t do much to someone in
plate. And if you’re wearing gauntlets (“fully
armored”), then you have nothing for which to use the buckler; there is no
sense in carrying one at all.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">So we can find lots of reasons a medieval painting might
show armored men, even fully armored men at arms, using a buckler: Anachronism on the part of the painter, or an
attempt to depict foreigners he has never seen, a mistake by the painter (or
patron in the case of Mair), artistic or religious rules for certain
characters, a depiction of partly or lightly armored troops, etc. But there’s no reason for a fully armored man
at arms to use a buckler, and when we weed out the problematic sources, we
almost never see it.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit; font-size: 12.0pt;">In conclusion, using medieval
art to document aspects of medieval combat is problematic at best, and entirely
misleading at worst. If you don’t know
the exact circumstances and context of the artwork you will almost certainly
misunderstand it. If you aren’t exactly
sure what you’re seeing, you might believe the English men at arms fought on horseback
at Crecy (or Agincourt, for that matter, since many paintings show that, too), or
that a poll weapon without a hammer head is a pollaxe, or that fully armored
men at arms used bucklers in combat, or that the Langenschilt was used in full
plate. You must not simply google
whatever you want to prove and then demand everyone accept random medieval art
as documentation for whatever odd kind of argument you believe to be true. If you haven’t documented the art itself, in
context, then the art has no value whatsoever as documentation, and even then
it can still be wrong. At best, random
bits of medieval art can be used as a suggestion for a hypothesis, which must
then be subjected to careful, educated, rigorous research in order to determine
its validity or lack thereof. It can
never be an argument itself.</span>Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-33289643312994109852017-10-04T13:22:00.000-07:002017-10-04T13:22:13.389-07:00On Using a Sword in Armored Combat with Both Hands on the Hilt
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<!--StartFragment-->
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV3Z0xNYLVB9h_BaiPmPEb8Ek2xgu84egiUd1FzF0YKmyyS8LW0rs1xJldN2ixhUgnEGHyN8eZcW7tb_8pUHRX5RppJVWQjEKJmIvM3jPTdCD4ByxngQ2t_aG1VCXGu91aNzD7sGZGHX0/s1600/Ambraser+fol+15v.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1199" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV3Z0xNYLVB9h_BaiPmPEb8Ek2xgu84egiUd1FzF0YKmyyS8LW0rs1xJldN2ixhUgnEGHyN8eZcW7tb_8pUHRX5RppJVWQjEKJmIvM3jPTdCD4ByxngQ2t_aG1VCXGu91aNzD7sGZGHX0/s320/Ambraser+fol+15v.jpg" width="213" /></a></div>
<div class="MsoNormal">
I see that the Popular Names are trying to reinvent the Kunst des Fechtens. <i>Again</i>.
Sigh. The new subject is about
whether you should hold your sword with both hands on the hilt in
Harnischfechten.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
First, let’s define some terms purely for ease of
discussion. One of the lesser-known
terms today for halfswording is “gewappeter hant” or “armor hand” (see Krakow
Gladiatoria fol. 3v below). It refers to
what we all think of as a halfsword grip, with the right hand on the grip and
the left hand holding the middle of the blade.
That appellation alone should make this entire question plain (as in,
“armor hand” is what you use in <b>armor</b>), but what the hell, let’s play it
out.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And while no one I know uses this term, let’s call it
“unarmored hand” when you have both hands on the hilt. I make no implication with this, it’s purely
for the sake of clarity.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Source Material:</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, let’s turn (as you know I always do; I’m such a
rebel—not like the popular kids who just intuit all of this without regard to
those boring, stuffy old masters) to the source material. There are a tiny little handful of techniques
in all the material which depict the use of the unarmored-hand grip in
Harnischfechten. I include literally all
of them below:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
1.) Fiore: The figure in the bottom-right corner is in the
Middle Iron Gate:<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://wiktenauer.com/wiki/Flos_Duellatorum_(Pisani_Dossi_MS)#/media/File:Pisani-Dossi_MS_25a.jpg">http://wiktenauer.com/wiki/Flos_Duellatorum_(Pisani_Dossi_MS)#/media/File:Pisani-Dossi_MS_25a.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
“My name is Middle Iron Gate, and whether you are armored or
unarmored I make strong thrusts. I step offline with my left foot and I put a
thrust into your face. I can also place my point and blade between your arms in
such a way that I will put you into the middle bind, as depicted and identified
earlier.” (tr. from Wiktenauer.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
2.) Fiore: A technique to counter the above:<br />
<a href="http://wiktenauer.com/wiki/Fiore_de%27i_Liberi#/media/File:MS_Ludwig_XV_13_33r-c.jpg">http://wiktenauer.com/wiki/Fiore_de%27i_Liberi#/media/File:MS_Ludwig_XV_13_33r-c.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
“This cover is made from the True Cross Guard, when I step
diagonally offline. And so that you can see what can be done from this cover,
my students will show the plays that follow it, and since they are experienced
in mortal combat, they will show these skills without hesitation.” (tr. from
Wiktenauer.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There then follow a couple more plates in which Fiore shows
different things you can do from (2.) above.
Note, however, that each one is just another way to follow on from the
displacement of the unarmored-hand thrust.
When you consider that, you realize that Fiore shows exactly one single technique
done in the unarmored-hand grip.
One. And that the guy doing the
unarmored hand is the <b>enemy</b>—the
one who loses the engagement.
Note, too, the date of the source:
The first quarter of the Fifteenth century; extremely early. More on this below.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
3.) Gladiatoria:<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://wiktenauer.com/images/thumb/6/64/MS_Germ.Quart.16_03v.jpg/1280px-MS_Germ.Quart.16_03v.jpg">http://wiktenauer.com/images/thumb/6/64/MS_Germ.Quart.16_03v.jpg/1280px-MS_Germ.Quart.16_03v.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
“Note the fifth technique: Now if you have thrown your spear
and he wants to over rush you with his spear, then take your sword in both your
hands and strike out his thrust up from below. And when you have struck out his
thrust, take your sword at the armor-hand and work with him for the spear.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In other words, the only action taken using the
unarmored-hand grip is to slap the spear thrust away, after which you assume
the armor-hand grip and go to work.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
4.) Talhoffer’s Ambraser
Codex (c. 1450):<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://wiktenauer.com/images/thumb/4/47/MS_78.A.15_15v.jpg/800px-MS_78.A.15_15v.jpg">http://wiktenauer.com/images/thumb/4/47/MS_78.A.15_15v.jpg/800px-MS_78.A.15_15v.jpg</a><o:p></o:p></div>
<div class="MsoNormal">
“This is the first instruction in which one lets the student
step ahead, especially it is the upper [posture] after forming up, and it is
also advantageous against a thrust. -- This is the other position in the
advantage.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In reality, this is similar to the play in Fiore above
(although here the defender uses an unarmored-hand grip, unlike in Fiore). Rudolph intends an Unterstich, and Ludwig
will displace it from above (although Master Hans says nothing about what to do
after the thrust).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Analysis:</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There we have it, that is all of the plays in the
Fechtbücher which depict the unarmored hand in Harnischfechten. Seriously.
That’s it. Those plays shown
above are the source for the large amount of unarmored-hand fencing shown in
videos from this recent sword-tag event.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So, what do we have?
One kind of thrust (a simple Unterstich), and two ways to displace
it. Of those two ways to displace it,
only one was done with an unarmored-hand grip, and we were only given the
displacement, nothing to do from it, so it’s not even a full technique.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Note, too, that in both those techniques, the person who
attacks using the unarmored-hand grip is the one who will lose the engagement,
so the masters aren’t <b>suggesting</b> you use an unarmored-hand grip to
attack, they’re showing you what to do if your opponent does. Note, too, that both of these are quite early
works, so it’s possible that this might be a throwback to an earlier time when
halfswording was not universal (remember, it’s unlikely that all, or even most,
men at arms followed Liechtenauer’s teaching).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My personal belief is that in the Ambraser play shown above,
Master Hans is saying that since someone might use an unarmored-hand thrust,
and since such thrusts have such long range, you can use this upper guard as a
way to close to the Zufechten without having to worry about the range disparity;
note how he talks about closing (“step ahead,” he says). That explains why there’s no follow-on
actions described for after the displacement—you’re supposed to go to an
armor-hand grip.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then we are given a way to displace a spear thrust, but the
follow-on after the displacement is done with an armored-hand grip; as with the
Ambraser Codex technique, he’s showing you a way to mitigate the spear’s
advantage of reach, not telling you to fight with the unarmored-hand grip.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Conclusion:</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are no cuts with the sword (contrary to what I’ve seen
in videos recently from a major sword-tagging event), no actions done from or in
a bind, no attacks at all other than a single Unterstich (which is never shown
being done by the man who wins the engagement) in any of the Fechtbücher
unarmored-hand plays. Nothing. One thrust (done by the loser), and two ways
to displace longer-ranged attacks. This
does not support the argument for the existence of unarmored-hand fighting in
armor. The cool kids need to stop trying
to impress the ignorant and gullible and instead learn to focus on the source
material we have been given. In short,
take your left hand off of your grip and put it on the blade where it
belongs. Also, stop misrepresenting our
art, you’re embarrassing us.<o:p></o:p></div>
<!--EndFragment-->Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-53607268506979540432017-03-02T12:17:00.001-08:002017-03-02T12:32:29.447-08:00On Drills<div class="MsoNormal">
I worked up a new pollaxe drill yesterday, and it got me to
thinking about what, exactly, a drill should be.<span style="mso-spacerun: yes;"> </span>Judging by what I see on YouTube, most
schools think a drill is either a solo exercise like a karate kata, or else a
sort of repetitive exercise where they bang on each other’s swords, usually while
aiming at one another’s blades rather than at their partner as they should.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Solo exercises are found in many martial arts, and have a
minor value even in ours.<span style="mso-spacerun: yes;"> </span>In my school,
I use solo drills to help rank beginners work on guards and on simple cuts (to
learn to cut solely with the hands, not the arms, and at the correct angle,
etc.).<span style="mso-spacerun: yes;"> </span>We later use the simple cutting
drill on the pell to reinforce angles of attack so as to ensure we are cutting
straight rather than flat (edge alignment).<span style="mso-spacerun: yes;"> </span>After just a
few months, the guards drill is absolutely useless because the student will be
using the various guard in actual technique practice and in real drills (see
below), and thus the guards drill is completely superfluous.<span style="mso-spacerun: yes;"> </span>The simple cuts solo drill likewise becomes
useless because of pell work and a simple partner cutting exercise we do.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Binding and working “am Schwert” (“on the sword”) is central
to the Kunst des Fechtens.<span style="mso-spacerun: yes;"> </span>Moving from
one technique to another by oneself thus focuses on something practiced only
minimally by us.<span style="mso-spacerun: yes;"> </span>Of course, we do free
cuts, but they are usually to or from a bind (although there are certain
specialized exceptions); if you are moving from cut to cut without actions at the
bind, it is extremely likely you have done way too much playing of sword tag
and not nearly enough real KdF practice.<span style="mso-spacerun: yes;">
</span>Thus, once you have learned how to make the basic movements, solo
practice is nearly useless (not counting pell work as solo practice).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Likewise, repetitive banging on each others’ swords is
pointless; it, too, derives from way too much completely undisciplined playing
of sword tag in which am Schwert techniques are not even considered.<span style="mso-spacerun: yes;"> </span>Central to that kind of “exercise” is the
idea of leaving the bind without limiting your opponent’s response for safety, an
idea entirely contrary to Master Johannes’ teachings, as is aiming at the blade
rather than the man.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Both of these approaches are wrong for the practice of the
KdF (except as noted).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Having already discussed the limited value of solo drills,
let us turn to partner, or “structured” drills.<span style="mso-spacerun: yes;">
</span>First, we must distinguish between what I call “drills” and “forms.”<span style="mso-spacerun: yes;"> </span>A form (my term for them) is a choreographed
exercise intended to teach the student how to execute techniques correctly in a
sequence with good form.<span style="mso-spacerun: yes;"> </span>Like drills,
these are performed with a partner, but unlike drills, they are entirely
predetermined; there are no choices or decisions in their execution.<span style="mso-spacerun: yes;"> </span>Meyer uses these extensively, calling them
“devices.”<span style="mso-spacerun: yes;"> </span>They are somewhat like
Japanese kenjutsu kata, and fulfill exactly the same purpose.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In contrast, a drill is an exercise wherein one partner
preforms an action from a limited menu of allowed choices, and the other
partner must respond correctly, then the partners reset, and the actor chooses
a different action to which his partner must respond correctly.<span style="mso-spacerun: yes;"> </span>I call the person who is acting from the menu
of choices the “Teacher” and the one who must respond the “Student.”<span style="mso-spacerun: yes;"> </span>These titles don’t have any reference out of
the context of the drill, as the teacher may be of lower or higher rank, and
they will switch places once one iteration of the drill is completed; they only
refer to each partner’s role in any given drill.<span style="mso-spacerun: yes;"> </span>The Teacher’s job is to act in such a way as
to allow the Student to learn to do his techniques correctly under pressure and
to be forced to do so when he doesn’t know what’s coming, just as in combat.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here’s an example of a simplified longsword drill:<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The Student
attacks with a Zornhau.<span style="mso-spacerun: yes;"> </span>The Teacher
either:<o:p></o:p></div>
<div class="MsoNormal">
(1.) Pretends to start to displace, but stops, thus ensuring
that the student is really aiming for the cut, and is not going to turn to the
Teacher’s sword, or,<o:p></o:p></div>
<div class="MsoNormal">
(2.)<span style="mso-spacerun: yes;"> </span>displaces the
Student’s cut and remains hard in the bind, to which the Student should respond
with the First Winden, or,<o:p></o:p></div>
<div class="MsoNormal">
(3.)<span style="mso-spacerun: yes;"> </span>displaces and
then leaves the bind to cut at the other side of the Student’s head, to which
the student should respond with bricht Abnehmen, or, … etc., etc. (This is a
simplified version of one of our drills).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Some drills can be quite complex, requiring that when the
Student responds correctly to a given technique, the Teacher then responds to
that technique with another, forcing the Student to respond correctly to the
second technique.<span style="mso-spacerun: yes;"> </span>For example, in (2.)
above, when the Student winds, the Teacher may push the Winden aside, requiring
the Student to shift to the Second Winden in response.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Drills such as these come as close to real combat as is
possible in the practice of the KdF.<span style="mso-spacerun: yes;">
</span>Since it is not possible to do accurate free play with any of the
unarmored forms, drills are essential to learning as much about how to fight as
we can in these safety-conscious days.<span style="mso-spacerun: yes;">
</span>The point is to force the Student to react correctly with a historically
accurate and canonically correct response to an attack with correct form and
function while under pressure.<span style="mso-spacerun: yes;"> </span>This
teaches students to learn to keep a flexible mind (i.e., not to anticipate,
which is why (1.) above is so important), and to act with proper form even
under pressure.<span style="mso-spacerun: yes;"> </span>This is only possible
when the student has truly learned to execute his techniques perfectly at a
“muscle memory” level.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Contrast this kind of drill with the mere “banging swords”
which seem almost universal elsewhere.<span style="mso-spacerun: yes;">
</span>Sword banging (to coin a phrase) teaches nothing about the Kunst des
Fechtens; in those, you don’t have to think, don’t have to plan, are taught to
leave the bind without rendering your opponent harmless, and to attack the
sword, not the man.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By practicing both correct drills and correct forms,
students of the KdF come as close as possible to understanding the true art of
combat without falling prey to the inaccuracies and bad habits inherent in the
game of sword tag.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In <a href="http://www.lulu.com/shop/hugh-knight/the-knightly-art-of-the-longsword/paperback/product-6526382.html" target="_blank">my book on the longsword</a> I included a handful of
structured drills of the sort explained here, but I also included a structured
way to create drills for any situation.<span style="mso-spacerun: yes;">
</span>I have since come to realize that was a mistake, because people using my
book to learn the art have a very tough time creating realistic drills which
correctly express the central tenets of the art.<span style="mso-spacerun: yes;"> </span>Thus, I have written a book which includes
twelve structured drills of the sort described above, sixteen forms, instructions for pell work, solo drills for beginners, and much more to help
with the actual training process.<span style="mso-spacerun: yes;"> </span>I have
taken it down from Lulu.com for revision, but look for the expanded second
edition soon.<br />
<br />
Here is a video of two of my students performing a structured drill:<br />
Drill #8:<span style="mso-spacerun: yes;"> </span>Sprechfenster<o:p></o:p></div>
<div class="MsoNormal">
Setup: <span style="mso-spacerun: yes;"> </span>Teacher starts
in vom Tag and Student in left Langenort.<o:p></o:p></div>
<div class="MsoNormal">
1.)<span style="mso-spacerun: yes;"> </span>First
Choice:<span style="mso-spacerun: yes;"> </span>Teacher steps straight in and
attempts to beat Student’s sword down to allow himself to get close.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Response:<span style="mso-spacerun: yes;"> </span>Student responds with a Durchwechseln.<o:p></o:p></div>
<div class="MsoNormal">
2.)<span style="mso-spacerun: yes;"> </span>Second
Choice:<span style="mso-spacerun: yes;"> </span>Teacher steps around Student’s
point with a slope step as he attacks with a Zornhau.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Response:<span style="mso-spacerun: yes;"> </span>Student counters Teacher’s Zornhau with an
Absetzen.<o:p></o:p></div>
<div class="MsoNormal">
3.)<span style="mso-spacerun: yes;"> </span>Third
Choice:<span style="mso-spacerun: yes;"> </span>Teacher simply waits in vom Tag.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Response:<span style="mso-spacerun: yes;"> </span>If Teacher does not act within five seconds
after assuming vom Tag, Student attacks with a long thrust into right
Langenort.<o:p></o:p></div>
<div class="MsoNormal">
3a.)<span style="mso-spacerun: yes;"> </span>Advanced
Choice:<span style="mso-spacerun: yes;"> </span>Teacher counters Student’s long thrust (in (3.) above) with a lower Schielhau.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Response:<span style="mso-spacerun: yes;"> </span>Student counters Teacher’s Schielhau with a
Schnappen (not shown in the video as they were doing a simplified version.)<o:p></o:p></div>
<div class="MsoNormal">
<a href="https://www.youtube.com/watch?v=V8Qa4JadPYk" target="_blank">https://www.youtube.com/watch?v=V8Qa4JadPYk</a><br />
(I apologize for the bad quality of the video, but I hope it gives an idea of
what a drill looks like.)<o:p></o:p></div>
<div class="MsoNormal">
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<div class="MsoNormal">
Copyright © 2017 by the author.<span style="mso-spacerun: yes;"> </span>All rights reserved, but this article may be
shared as long as full credit is given and it is distributed for free.<o:p></o:p></div>
Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-9507385907972516782017-01-23T15:45:00.002-08:002019-06-07T09:15:30.389-07:00The Failure of Test Cutting: Or, the Bad Form Caused by Butchering Tatami<div class="MsoNormal">
<span style="font-size: 12pt;">I have been roundly criticized by sword taggers and tatami
butcherers for pointing out that both activities ruin one’s form and technique
and violate the principles taught explicitly by the Masters.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">I frequently post pictures and/or videos of
both activities on the die Schlachtschule FaceBook page to show people how
these practices force people to ignore the Fechtbücher.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Recently, I posted a truly awful (but, sadly, not atypical)
picture of a young man performing an execrable test cut which led to my being
attacked and vilified.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">I am, they say,
wrong, and the Fechtbücher are too unclear for us to say that their ways of
cutting today are wrong.</span></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the contrary, the masters are quite explicit with regards
to cutting and the kinds of errors to avoid.<span style="mso-spacerun: yes;">
</span>To that end, let us look at a picture of someone performing test cutting
and compare it to what we read in the Fechtbücher.<span style="mso-spacerun: yes;"> </span>Please note that the attached picture is in
no way unusual or atypical, it is merely one I recently posted; most test
cutters look much like this.<span style="mso-spacerun: yes;"> </span>Moreover,
this and other, similar, pictures constantly receive warm congratulations and
approbation for the form shown, making it clear this is what the HEMA mainstream
finds laudable. <span style="mso-spacerun: yes;"> </span>(NB:<span style="mso-spacerun: yes;"> </span>I have no idea who this young man is, and I
bear him no special animus.<span style="mso-spacerun: yes;"> </span>His picture
is typical of what I have seen, and was grabbed randomly.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPRbycaEW1wDziuiMaOaJQccREPU0DB2ocn6twOirxEH8gtxQbWkJyAc6R-xcKwL-rX2qIaYIAapk6Rcl0maOq9ZbCwhYhs3nFOY2yOP8G0lUDHWxUlNmUq2fWo4XgI2ubRB6GRO2NdGU/s1600/15994995_10100226763421255_4783577354519304772_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPRbycaEW1wDziuiMaOaJQccREPU0DB2ocn6twOirxEH8gtxQbWkJyAc6R-xcKwL-rX2qIaYIAapk6Rcl0maOq9ZbCwhYhs3nFOY2yOP8G0lUDHWxUlNmUq2fWo4XgI2ubRB6GRO2NdGU/s400/15994995_10100226763421255_4783577354519304772_o.jpg" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lesson:<span style="mso-spacerun: yes;"> </span>Do not fight
in wide movements:<o:p></o:p></div>
<div class="MsoNormal">
“For you should strike or thrust in the shortest and nearest
way possible. For in this righteous fighting do not … fight in large movements
by which people restrict themselves.”<span style="mso-spacerun: yes;">
</span>(Ms 3227a fol. 14r.)<o:p></o:p></div>
<div class="MsoNormal">
Analysis:<span style="mso-spacerun: yes;"> </span>That he is
fighting with a “large movement” is too obvious to require comment.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lesson:<span style="mso-spacerun: yes;"> </span>Wide strikes
create openings your opponent can exploit:<o:p></o:p></div>
<div class="MsoNormal">
“With their bad displacements and wide fighting they try to
look dangerous with wide and long strikes that are slow and with these they
perform strikes that miss and create openings in themselves.”<span style="mso-spacerun: yes;"> </span>(Id. ff. 14r-v.)<o:p></o:p></div>
<div class="MsoNormal">
Analysis:<span style="mso-spacerun: yes;"> </span>This is obviously
an extremely wide strike, and the fact that he is open to an attack while
helplessly out of place cannot be denied.<span style="mso-spacerun: yes;">
</span>“Slow” is something of a misnomer; the cut might have been performed at
high speed, but the distance it travels takes a long time.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lesson:<span style="mso-spacerun: yes;"> </span>Stand in a
well-balanced stance so you can move easily.<o:p></o:p></div>
<div class="MsoNormal">
“Also know that when you fight with another you should step
with caution and be sure in the movements as if you were standing on a scale
and adapt accordingly if you go forward or backward as is fitting.”<span style="mso-spacerun: yes;"> </span>(Id. fol. 15v.)<o:p></o:p></div>
<div class="MsoNormal">
Analysis:<span style="mso-spacerun: yes;"> </span>The word “scale”
here is a reference to die Waage, or “the scale,” which is the term for the
normal stance used in Master Johannes’ system.<span style="mso-spacerun: yes;">
</span>It requires that we stand in a balanced position in order to be prepared
to step in any direction instantly.<span style="mso-spacerun: yes;"> </span>The
stance seen in the photograph is obviously not a balanced stance, nor does it
resemble die Waage when done correctly, as can be seen here:<br />
<a href="http://wiktenauer.com/wiki/Codex_Wallerstein_(Cod.I.6.4%C2%BA.2)#/media/File:Cod.I.6.4%C2%BA.2_006v.jpg" target="_blank">http://wiktenauer.com/wiki/Codex_Wallerstein_(Cod.I.6.4%C2%BA.2)#/media/File:Cod.I.6.4%C2%BA.2_006v.jpg</a><br />
The text says, in relevant part, “And stand firmly in the balance
stance as shown here.”<span style="mso-spacerun: yes;"> </span>(Codex
Wallerstein fol. 6v.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lesson:<span style="mso-spacerun: yes;"> </span>Don’t take
large steps because you won’t be ready to step again if you need to do so:<o:p></o:p></div>
<div class="MsoNormal">
“You should also … not step too wide, so that you can pull
back and be ready for another step backwards or forwards.”<span style="mso-spacerun: yes;"> </span>(Ms 3227a fol. 15v.)<o:p></o:p></div>
<div class="MsoNormal">
Analysis:<span style="mso-spacerun: yes;"> </span>He has
taken such a large step that it is patent he would be incapable of a rapid step
in any direction.<span style="mso-spacerun: yes;"> </span>Obviously, his
recognition of the fact that tatami mats don’t hit back has caused him to
ignore correct form (if, indeed, he even knows anything about it).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lesson:<span style="mso-spacerun: yes;"> </span>Always aim at
your opponent’s face or breast:<o:p></o:p></div>
<div class="MsoNormal">
“No matter how you fight always aim the point at the opponent’s
face or breast, then he will always have to worry that you will be faster since
you will have a shorter way to go in to him than he has to you.”<span style="mso-spacerun: yes;"> </span>(Id. fol. 25r.)<o:p></o:p></div>
<div class="MsoNormal">
Analysis: This lesson teaches us to not cut past our
opponent.<span style="mso-spacerun: yes;"> </span>Doing so leaves us wide open
to a counter attack since his point or edge will be closer to us than ours is
to him; the proximity of his point or edge will allow it to hit sooner than we
can respond.<span style="mso-spacerun: yes;"> </span>In the picture the cutter’s
sword is very far past his target and not aimed anywhere near his opponent’s
face or breast, so we can see this problem quite clearly.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lesson:<span style="mso-spacerun: yes;"> </span>If you cut
too widely or too hard you will create openings for your opponent:<o:p></o:p></div>
<div class="MsoNormal">
“You shall be careful and note if you can get in behind his
sword and always go the nearest way and never too wide, so that the opponent
does not come before you.”<span style="mso-spacerun: yes;"> </span>(Id.)<o:p></o:p></div>
<div class="MsoNormal">
Analysis:<span style="mso-spacerun: yes;"> </span>This
instruction mirrors that above; if you cut wider than the masters teach, you
will create an opening your opponent can exploit.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short, then, he stepped much too far, his stance is dangerously
unbalanced, and his cut is grossly overdone, leaving him helplessly exposed and
unable to respond quickly to an attack.<span style="mso-spacerun: yes;"> </span>He
got literally every part of the cut that we can see in the picture wrong (we
can’t discuss the technical execution of the cut itself without a video).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Test cutters claim they have to do test cutting or else they
will be unable to be sure they are cutting correctly.<span style="mso-spacerun: yes;"> </span>As this analysis shows, that is utter
nonsense since their cuts in no way resemble the proper method of cutting.<span style="mso-spacerun: yes;"> </span>They must overcut this way in order to make
the ultra-clean cuts they erroneously believe to be important, and that error
means they will always cut incorrectly.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
They also argue that test cutting can teach edge alignment.<span style="mso-spacerun: yes;"> </span>While there is a tiny grain of truth in that
statement, they grossly exaggerate the point, as a brief historical analysis
makes plain:<span style="mso-spacerun: yes;"> </span>Simply put, there is not
the slightest hint of proof for the practice of test cutting in period.<span style="mso-spacerun: yes;"> </span>None.<span style="mso-spacerun: yes;"> </span>If
it was so important, why didn’t medieval masters teach their students to do it?
<span style="mso-spacerun: yes;"> </span>Rather, they taught their students to cut
on pells, and that practice serves us well today, too.<span style="mso-spacerun: yes;"> </span>Utter perfection of edge alignment simply isn’t
as important as test cutters make it out to be, and careful attention to pell
work is more than sufficient to the task without teaching the bad habits
inherent in test cutting.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For more information see this more extensive discussion of
the inherent evils of test cutting:<br />
<a href="http://talhoffer.blogspot.com/2008/02/myth-of-test-cutting.html">http://talhoffer.blogspot.com/2008/02/myth-of-test-cutting.html</a><o:p></o:p></div>
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This should serve to utterly silence those who scream in
outrage over my criticisms of this photograph and all others like it.<span style="mso-spacerun: yes;"> </span>It’s wrong, period.<span style="mso-spacerun: yes;"> </span>End of debate.<o:p></o:p></div>
Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com2tag:blogger.com,1999:blog-1178262688226237317.post-12257253158218887102016-06-07T14:15:00.001-07:002016-06-07T14:17:20.324-07:00Pollaxe Workshop Sponsored by Historic Enterprise's KnightSchoolHello to anyone still reading this blog!<br />
<br />
I haven't posted anything on here for several years because life has been interfering. However, I was recently honored to be invited to do a pollaxe workshop by Gwen Nowrick and Jeff Hedgecock of Historic Enterprises under the auspices of their excellent KnightSchool program in Ramona, CA.<br />
<br />
While doing the workshop, I had one of my students, Chad Cordero, film most of the demonstration parts; the result is the YouTube video posted below. I am pleased with how it came out. The sound is poor due to a strong wind and some airplane and car noise, but I believe everything I say can be understood.<br />
<br />
As always, I welcome responsible questions and comments.<br />
<br />
<a href="https://www.youtube.com/watch?v=5iIIkAmeKKU">https://www.youtube.com/watch?v=5iIIkAmeKKU</a>Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0tag:blogger.com,1999:blog-1178262688226237317.post-58321913960923569552013-05-18T15:25:00.000-07:002013-05-18T15:41:06.801-07:00Else What's a Buckler For?<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGFy9pk3HHeYcNLIOQFvBJfGc5WKO0gOvFIr4oYF2I-UKfQIKtSZXL4OMrNLcbZWgVT-zbASc8HY8VEvof6KcO25rbwWx4j_0WVUL6epjjp-DBDZztHRNKZLP7ZP4d0QePxC2LxbtjJw/s1600/SnB+Examplar.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGFy9pk3HHeYcNLIOQFvBJfGc5WKO0gOvFIr4oYF2I-UKfQIKtSZXL4OMrNLcbZWgVT-zbASc8HY8VEvof6KcO25rbwWx4j_0WVUL6epjjp-DBDZztHRNKZLP7ZP4d0QePxC2LxbtjJw/s320/SnB+Examplar.JPG" width="320" /></a></div>
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I just had a teenager roundly criticize one of my sword and
buckler videos because I did not displace with my buckler, but just kept it
over my hand. He mistakenly believes
that bucklers are shields and must, therefore, be used to actively displace
attacks. His confusion is exacerbated by
the fact that bucklers are used to displace attacks in Renaissance rapier or
side-sword play. I have received many
such comments over the years, so I felt it was time to discuss the buckler and
how it was actually used in the Middle Ages.
(NB: Everything in this article
relates to the Middle Ages; things were different in the Renaissance.)</div>
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<br /></div>
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There are four primary sources for sword and buckler
techniques in the Middle Ages: I.33,
Hans Talhoffer (primarily his 1459 and 1467 editions), Andreas Lignitzer, and Paulus Kal. There are a few other sources that show the
form, but they usually just copy these earlier sources (e.g., the re-drawing of
I.33 in Wilhalm and Mair). This is all
we really can know about buckler combat; there are manuscript paintings showing
the form, but they are too vague to tell us much.</div>
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<br /></div>
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When we look at the Fechtbuch sources, we see that none of
them show a single active displacement with a buckler—not one—and yet that is
precisely how most people, including the young “expert” above, who have not
studied the art seriously think bucklers were used. “After all, if you aren’t blocking with it,
why have it? It’s a shield, right? And shields were used to block, right?”</div>
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<br /></div>
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There are some few plays shown in the Fechtbücher which can
be confusing and which might lead someone who has not studied them carefully to
believe he was seeing an active displacement.
For example, <b><a href="http://daten.digitale-sammlungen.de/0000/bsb00001840/images/index.html?fip=193.174.98.30&id=00001840&seite=110" target="_blank">this</a> </b>plate from Paulus Kal looks like one. Translation: “The
first technique: Catch his weak on the
buckler while striking down wherever you wish.” (Fol. 53v)</div>
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But when you study the source carefully, you find that the
initial displacement was done with the sword, and the buckler was then used to
pin his opponent’s sword, freeing him to leave the bind with his sword for the
leg cut. <a href="http://daten.digitale-sammlungen.de/0000/bsb00001840/images/index.html?fip=193.174.98.30&id=00001840&seite=109" target="_blank"><b>Here </b></a>is the previous plate
showing the actual displacement. Translation: “Do this
in the first bind.” (Fol. 53r)</div>
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<br /></div>
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So in the plates from Kal above, we are shown that you first
displace his cut with your sword (53r), then you pin that sword in place with
your buckler to make it safe to leave the bind to cut at his leg (53v). Folio 53v does not show a displacement with
the buckler, it shows what to do after the displacement with the sword in 53r. This is in keeping with the teachings of the
Liechtenauer tradition, which say that you never leave the bind unless you have
first done something to prevent your opponent from killing you with a
Nachreisen as you do so.</div>
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<br /></div>
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There are several sources that show this kind of pinning
action. For example, in <a href="http://collections.royalarmouries.org/image.php?i=576199&r=2&t=4&x=9" target="_blank"><b>this </b></a>play from
I.33, we see a bind with the sword (top), then the buckler is used to pin the
attacker’s hands (and thus his sword) so the defender can safely cut him
(bottom).</div>
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<br /></div>
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If bucklers were not used to displace attacks, for what then
were they used? There were several uses
for the buckler; we have seen one of
them already above: to pin the enemy’s sword so as to make it safe to leave the
bind. In addition, bucklers were used to
strike one’s opponent, and for “zone denial.”
Their most important use, however, was to protect the fighter’s right
hand—a sort of gauntlet, if you will, without the limits a gauntlet places on
flexibility and sword handling.</div>
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Striking with the buckler is easy to understand. While you are bound sword to sword (or, as in
this case, cutting), you strike with the buckler as shown <a href="http://commons.wikimedia.org/wiki/File:Ms.Thott.290.2%C2%BA_122v.jpg" target="_blank"><b>here</b></a>. Also, in Lignitzer’s last play of the buckler, you displace
with your sword in a halfsword grip, then release your right hand, grab his
buckler with it, and strike him with his own buckler (see Ringeck fol. 55v);
Kal shows the same play (see Kal fol. 56r).</div>
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<br /></div>
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The next use, zone denial, is somewhat less obvious. We usually see bucklers held out at arms’
length, as in <a href="http://wiktenauer.com/wiki/File:MS_Thott.290.2%C2%BA_118v.jpg" target="_blank"><b>this</b></a> plate from Talhoffer 1459. The reason for this is that by doing so, you create a
cone-shaped zone in which you cannot easily be hit. To understand this, we must look (just for a
moment) to a master from the Renaissance, Giocomo di Grassi. In the buckler chapter in his book, we see <a href="http://wiktenauer.com/wiki/File:Di_Grassi_16.jpg" target="_blank"><b>this </b></a>picture. As the lines on the picture show, the further the buckler is
held from the body, the broader the area in the “shadow” (protection) of the
buckler is. When the buckler is held
close to the body, it protects an area only the size of the buckler itself; at
arms’ length, it protects an area several times that size. This is not a displacement, it is a zone
defense intended to force your opponent to strike where you are unprotected,
thus limiting the angles at which he can attack. When he does attack, you cannot just leave
the buckler in place and hope it stops his attack, you must actively displace it
with your sword.</div>
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<br /></div>
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The primary use of the buckler, however, is as a gauntlet
for the right hand. Unlike later
weapons, medieval swords did not have elaborate guards around the sword hand to
protect them from being hit. Thus, an
enemy could simply strike your hand or arm as you attack, as we see in <b><a href="http://daten.digitale-sammlungen.de/0002/bsb00020451/images/index.html?fip=193.174.98.30&id=00020451&seite=243" target="_blank">this</a> </b>plate from Talhoffer 1467. To prevent this, the masters taught us to cover the sword
hand with the buckler both as we displace with the sword as we see in <b><a href="http://daten.digitale-sammlungen.de/0002/bsb00020451/images/index.html?fip=193.174.98.30&id=00020451&seite=240" target="_blank">this</a> </b>plate from Talhoffer 1467, and to cover the hand as we attack, as shown in the top pair
of figures from I.33 <a href="http://collections.royalarmouries.org/image.php?i=576196&r=2&t=4&x=9" target="_blank"><b>here</b></a>. (NB: Mair shows
figures performing some of these exact same techniques while wearing gauntlets,
which can be confusing to some. Remember
that he was copying earlier works in his possession, and that he did not always
copy them accurately. For example, when
showing Langenschilt dueling, which was never done in armor, Mair shows the
techniques being performed by fully armored men.)</div>
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<br /></div>
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Again, please understand that the buckler is not used for an
active displacement in any of these sources—not even once. If you think that is what you are seeing, you
need to study the source more carefully.</div>
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<br /></div>
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In conclusion, bucklers were used for a variety of purposes,
including pinning an opponent’s hands or sword to make it safe to leave the
bind; buckler strikes; zone denial; and as a pseudo-gauntlet for the right
hand. They were not used, however, for
the thing most people who have not studied this art believe they were—actively
displacing attacks.</div>
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<br /></div>
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One last note:
Whenever I post something like this, I usually receive comments arguing
that “absence of evidence is not evidence of absence.” In other words, they argue that I cannot
claim bucklers were never used to displace attacks just because none of the
extant sources do so, and claim that there may have been sources showing
displacements which did not survive.
There is a microscopic grain of truth in this largely fatuous argument—one
which holds in every real-world argument that claims a thing does not
exist: You can rarely prove a negative
conclusively. The fact remains, however,
that we have varied sources that show consistency, and since we can only
practice the art we are given, the argument is moot.</div>
Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com6tag:blogger.com,1999:blog-1178262688226237317.post-41504196249898004572013-05-11T03:55:00.000-07:002013-05-11T03:55:10.453-07:00The Intent of the Vorschlag<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAt9lvKnjk2jAwSVc7tYdcKIJkmvN4nkTTwJHU5RriXSI6QJuLel80go493L7HEEfGxwDa_sstxeHwl2FxViEBf-RQEv8TU_w5JRf8TofJCVxrrlcihKMYdDN5bhf5R7o2NTIAgxXMM-s/s1600/Struct+Drill+2+B+Cropped.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAt9lvKnjk2jAwSVc7tYdcKIJkmvN4nkTTwJHU5RriXSI6QJuLel80go493L7HEEfGxwDa_sstxeHwl2FxViEBf-RQEv8TU_w5JRf8TofJCVxrrlcihKMYdDN5bhf5R7o2NTIAgxXMM-s/s320/Struct+Drill+2+B+Cropped.JPG" width="320" /></a><o:p> </o:p></div>
<div class="MySubtitle">
When we attack first, that attack is called a Vorschlag—a
“before strike.” We are</div>
taught that to
fight in the Vor is best, and that to attack first is the preferred (although,
contrary to popular misconception, not the only) way to take the Vor. Döbringer tells us: “The Vorschlag is a great
advantage in fighting as you will hear in the text.” Hs 3227a fol. 14v. But when you attack with a Vorschlag, what is
your intent—what should you be trying to do?
What is Döbringer’s “great advantage”?
Are you expecting your blow to hit your opponent and end the fight in a
single action, or is there more to it than that?<br />
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<br /></div>
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Looked at in one way, the answer seems obvious: When you use a Vorschlag you intend to strike
your opponent, killing him and thus ending the fight as quickly as
possible. And yet, when we study the
instructions for attacking with a Vorschlag that is not what we find. Ringeck tells us this: “If you strike an Oberhau from the right side
then follow the blow with your right foot.”
Ringeck fol. 12v. Following the
blow means that you strike with your sword before you step forward—your cut
precedes your step.</div>
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<br /></div>
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Following the blow is not, however, the fastest way to move
your sword, and presumably, if our primary intent was to maximize the chance of
our Vorschlag landing unopposed we would want to cut as fast as possible. The fastest way to cut is actually to step
first, then whip the sword in with a powerful snapping motion of the hands, and
we are specifically told not to do that.
Thus, if your goal is to guarantee a hit, following the blow is not the
ideal way to cut. Nor should this really
be surprising. The fact of the matter is
that if your opponent has judged measure correctly, you will have to take a
step in order to hit him. Since he can
displace your attack just by moving his hands, and since his hands will always
be faster than your step (unless he gets stupid), there should be little chance
of making your Vorschlag hit regardless of how fast you are.</div>
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<br /></div>
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This leads to an inescapable conclusion: There is little reason to perform a Vorschlag
at top speed, because there is no advantage in doing so; in fact, there is a
disadvantage in trying to go too fast because people tend to use too much
muscle when they do so, making them too tight at the conclusion of the cut, and
slow to go on to the next technique. We
have seen this in our classes when we practice drills in which the student is
required to react to what his partner does, but does not know in advance what
that will be: When they cut too fast, fighters
have a difficult time moving smoothly to the next technique they need to use when
their Vorschlag is displaced because a kind of muscular and mental inertia
takes place.</div>
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<br /></div>
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Moreover, a careful consideration of the Fechtbücher
suggests that physical ability is not the most important factor in fighting. Döbringer says: “That is why Liechtenauer’s swordsmanship is
a true art that the weaker wins more easily by use of his art than the stronger
by using his strength. Otherwise what use would the art be?” Hs 3227a fol. 22v. The same may be said of speed and for exactly
the same reason: If you need to be
exceptionally fast, then what use is art?
In fact, the real lesson is that art enables us to overcome physical
ability—to defeat someone stronger and/or faster than we are.<br />
<br />
This should not be taken to mean that we should act slowly—quite the
contrary. Döbringer says this about the
Vorschlag: “And when you close with him thinking that you have the correct
measure and believe that you can reach him, then you shall go at him quickly
and with speed to the head and to the body.”
Hs 3227a fol. 16r. The reason for
this, however, is not because you should expect your Vorschlag to hit—we have
already discussed why that is not very likely.
Rather, it is because moving quickly makes it more difficult for your
opponent to see what you are doing and to formulate a careful response. So yes, we should cut quickly, but we do not
need to cut at top speed. Be relaxed and
cultivate a flexible mind so that you can see your opponent’s response and be
prepared to react to it quickly and smoothly.
There is little point in executing an extremely fast Vorschlag but then
not being able to move quickly to the next technique when you come into the
Krieg.</div>
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<br /></div>
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So we return to our original question: If a Vorschlag is unlikely to hit, then what
is its intent? Why bother trying to
strike first at all? Master Sigmund
tells us this: “Note: Above all other
things, you must understand the principles of Vor and Nach, because the entire
art of fighting is based upon them. Vor
means preempting him with a blow or thrust against an opening before he can hit
you, so he must displace.” Ringeck fol.
15r. This passage tells us that the
Vorschlag is not primarily about hitting first, but about preempting your
opponent. When you follow the blow your
sword threatens your opponent, forcing him to displace your attack rather than
attacking himself; this allows you to close safely and puts you in the Vor and
him in the Nach.</div>
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<br /></div>
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This does not require great speed, it merely requires that
you act first and that you present a serious threat. In a sense, your cut actually clears a path
for you to enter into the engagement while at the same time putting your
opponent on the defensive. Of course, if
the Vorschlag does land then that is wonderful—the fight is over as quickly as
possible and with as little danger to you as possible. We should not expect that, however, and
should not work to find ways to bring that about, such as cutting faster,
taking larger steps, etc., because such actions tend to make the necessary next
steps after the bind slower and more difficult.</div>
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<br /></div>
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Move quickly, but be relaxed and in control. Move constantly, too; when your Vorschlag is
displaced move immediately on to your next attack and to the next until your
opponent is defeated. Learn to overcome
your opponent’s speed and strength with art so that you crush him with attack
after attack, never letting up the pressure and never giving him a chance to
attack until he is defeated. Never make
an empty displacement that allows your opponent to take the initiative from
you. Take the initiative with your
Vorschlag and never relinquish it. This does
not require great speed or strength, it requires art.</div>
Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com5tag:blogger.com,1999:blog-1178262688226237317.post-48440376557777058622013-01-14T22:28:00.000-08:002013-01-25T03:48:09.106-08:00Countering the Schnappen<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg86BOgJ_ux2hzVBnZor0AOT7bVnm86joEE9h2pMzLiC6mOCFUCu_dSZjXv1Hi-QfcCvrJoQDjyCiAjXd6tJoCiDpK07_D8TGcHvR9ho86BYndtNox_KUuXt_l79E0PN3uNL_-vi9azFqU/s1600/bsb00001840_00136.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg86BOgJ_ux2hzVBnZor0AOT7bVnm86joEE9h2pMzLiC6mOCFUCu_dSZjXv1Hi-QfcCvrJoQDjyCiAjXd6tJoCiDpK07_D8TGcHvR9ho86BYndtNox_KUuXt_l79E0PN3uNL_-vi9azFqU/s320/bsb00001840_00136.jpg" width="320" /></a></div>
I have long been troubled that the Schnappen, one of the most ubiquitous counter techniques in Liechtenauer’s longsword system, apparently had no canonical counter. Sure, it’s possible to make a technique up like many people do, but our school is committed to practicing canonical techniques *only*, and this seemed like too large a hole to leave unplugged.<br />
<br />
A friend of mine and I discussed this, and he suggested getting under with an Abschneiden, but I pointed out that that would only work if the Schnappen was done with the hands much too high (which, admittedly, is how most people do it, I’m sad to say). Correctly done, however, a Schnappen is more of a thrust of the pommel over your opponent’s hands with almost no lifting of your hands at all. And since the main Abschneiden from below requires the enemy’s hands to be raised up, that wasn’t it. Nor could the Abschneiden against a Zwerchhau work since you can’t really get your blade around correctly.<br />
<br />
But then I looked more closely at the other Abschneiden—the one I never see anyone demonstrate or include in books any more (Tobler has it in “Secrets of German Medieval Swordsmanship,” but he does it incorrectly). The text says:<br />
<br />
“<i>Item, wann du im mitt ainem haw oder sunst starck vff sin Schwert bindest, laust er dann sein schwert abschnappen von dem dinen vnnd schlecht dir oben zuo dem kopff, so verwende din schwert mitt dem gehültz für dein haupt vnd schnyd im vnden durch sin arm; vnd setz mitt dem schnitt den ort vnden an sin brust.</i>”<br />
<br />
“If you bind strongly against his sword and he then snaps his sword over yours to strike at your head, wind your sword with the hilt in front of your head and slice under his arm. As you slice, set the point down into his chest.” Ringeck ff. 45r-v.<br />
<br />
To be honest, I hadn’t looked at this much because I was simply going by the interpretation in Tobler, and it didn’t seem to offer much that the other Abschneiden plays didn’t—except for that word “abschnappen” or “snaps.” Despite the fact that it actually talks about an abschnappen, I had been looking at that word more generically—i.e., that he simply raises his hands and does a cut. Then I realized how foolish I’d been: Of course this was the counter to the Schnappen, and it had been staring me right in the face, if only I hadn’t been so canalized by accepting the incorrect interpretation in “Secrets.”<br />
<br />
Tonight we tried this technique out for the first time, and it works amazingly well. It will not succeed against a Schnappen that is done fast and correctly, but that’s true of many counters—they only work if your opponent hesitates slightly or does something a bit off. But the action is fast and extremely effective when done correctly. The biggest trick is to wind quickly and lightly under your opponent’s arms; don’t treat it like a wide, powerful Unterhau; this is a Schnitt, not a Hau. Try to make first contact ahead of the middle of your blade on the underside of his arm, and then slice by pushing along under his arm as you drive your point into his chest. Also, don’t pull back any farther than you need to—don’t make contact near your point because that will make the technique take too long.<br />
<br />
You can see a video of the technique here: <a href="http://www.youtube.com/watch?v=hh1UwpTLVoc">http://www.youtube.com/watch?v=hh1UwpTLVoc</a><br />
<div>
<br />
Edited to add: I should point out that my friend and colleague, Dave Clarke, figured this out before I did, and I would have known that had I not misunderstood his e-mail to me on the subject.</div>
Hugh Knighthttp://www.blogger.com/profile/16542885684779106386noreply@blogger.com0