Friday, August 31, 2018

Where's the Axe?

Few terms used in the study of medieval combat are as often confused or misused as the word “pollaxe.”  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.  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.

For example, in period, the term was not “poleaxe” as people use it today, but “pollaxe.”  This makes little sense to  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.  Unfortunately, as Kettering’s Law says, it is often true that:  “Logic is an organized way to go wrong with confidence.”  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.  Thus, the modern term “poleaxe” represents a gross misunderstanding of the real word.

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.”  The real problem is that people think an axe must have an axe blade—after all, isn’t it logical?  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  names for them.  The great Ewert Oakeshott is a good example.  In his European Weapons and Armour, 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:
http://www.myarmoury.com/images/features/pic_spot_poleaxe09.jpg

I cannot find who coined the term Bec de Corbin, or “crow’s beak” for this kind of weapon:
https://upload.wikimedia.org/wikipedia/commons/d/d7/Ms.Thott.290.2%C2%BA_132r.jpg
The ignorance displayed thereby is appalling, and yet its use is almost universal among living history folks.  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:  “And immediately place the dague of your axe between his bec de faucon and his hand…”  (“Et incontinent mettre la dague de la vostre entre son becq de faulcon…,” Le Jeu para. 16).  Moreover, neither bec de corbin nor bec de faucon is an appropriate term for describing an axe.

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.  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.  The French call them “Hache,” the Italians “Azza,” and the Germans “Axe” (or axt), with no mention of hammers.  And indeed, with just a single exception (Codex 11093) all of them show only 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).  So every time a Fechtbuch says something about an axe, azza, or hache, it always means a hammer backed with a spike for hooking, and never a weapon with an axe blade (again, except Codex 11093).  Here are some examples:

“The first bind with the axe.”  (“Das erste anbinden mit der axt,” Talhoffer 1467 fol. 41r.)

“The way you will confront someone with the axe.”  (“Wie dú dich gegen aim[e] anndern schick[e]n sollt mit der axe,” Kal fol. 37v.)

“The first bind with the axe.”  (“Das erste anbinden mit der Axe,” Kal fol. 38r.)

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):
http://www.medievalcollectibles.com/images/Product/large/600640.png
Most people call these pollaxes or axes, today, and yet they are not.  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.  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.  The Falkner Fechtbuch is explicit about this, and it makes sense when you think about it.  What is a halberd but a blade with a top spike and a back spike on a shaft?  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.  This can excuse those who got it wrong before we learned what Falkner had to  say, but there is no excuse for those who  ignore this and cling in ignorance to the wrong term.  One has but to look at Falkner’s plain text and pictures, and it becomes impossible to confuse them.

“If you have a murder axe or halberd…”  (“Merck hastu ein mordtagst oder hellebarten,” Falkner fol. 62v.)

“Wind to him the blade of your halberd in front to the neck.”  (“wind ym das platt diner hellenbarten,” Falkner fol. 63v.)

“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.)

Note that the weapons above from Falkner are axe blades backed by a spike/hook, making them halberds.  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.

It is popular today to ignore historical fact in an effort to appear hip or trendy or something, because people fear—fairly dread—being thought of as pedantic, or, god forbid, a scholar.  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.  This issue, however, is not open to doubt.  Put most simply, an axe, within the context of historical combat, must have a hammer head.  That hammer may be backed by a spike/hook (and they are only used for hooking, never for striking in any 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.

Sources Cited:
Hans Talhoffer 1467:  Cod.icon. 394a
Le Jeu de La Hache:  MS Français 1996
Paulus Kal:  Cgm 1507
Peter Falkner:  MS KK5012

Tuesday, August 7, 2018

Master the Art of the German Longsword


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Announcing the publication of Hugh Knight's newest book, The Longsword Training Guide, now available on Lulu.com: HERE

Mr. Knight's previous book, The Knightly Art of the Longsword, 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.

The Longsword Training Guide 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.

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.

The Longsword Training Guide is intended to be used in close conjunction with The Knightly Art of the Longsword. 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 HERE.

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  wants to understand Master Liechtenauer's art.