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Either an author who fences, or a fencer who tends to write a lot. I found a passion for writing first, then I found fencing. I also found that the pen and the sword work very well together. The pen may be mightier than the sword but together they are much greater.

Saturday, July 13, 2013

Case of Rapiers: A Bluffer's Guide


Introduction

            The case of rapiers is a challenging weapon form to learn and one which is quite difficult to master. Indeed the authors of the reference material to be used in this lesson advise the reader that this weapon form should only be used by a practitioner who is sufficiently trained and experienced in their use, to quote di Grassi “he which is not much practised and exercised therein, ought not to make profession of this Arte: for he shall find himself to be utterly deceived.” (di Grassi, 1594).
The case of rapiers is essentially the use of two rapiers at the same time however it is not always as simple as this. These weapons are often matched in length, but not necessarily. The weapon form is sometimes called “Florentine” by some, describing the use of two swords simultaneously. In some ways this combination is similar to rapier and cane as there are two long items, but different in that both are weapons and can be used offensively. In a way it is also similar to the rapier and dagger combination in that there are two offensive items to use, but it is also different in that both weapons are long.
            This is a weapon form which has been discussed by several theorists and masters of the Renaissance period. For the purposes of the following investigation the focus of the research will be on one of these, Giacomo di Grassi. The single source was chosen as it supplies a relatively simple approach to the use of the case of rapiers, and provides a solid foundation for the theoretical elements found in its use. This lesson will also take into account my own experiences in the use of the case of rapiers, which has been noted to be somewhat different to most.
            The focus of this lesson is the investigation of the use of the weapon form in a practical manner. In order to find a foundation it will be based upon having opponents with matched weapons in the active descriptions of the form on the basis that the manuals describe this. This is most useful as it describes not only how to attack but also to defend against the same combination. Before this is possible it is important that a more general approach is taken to the form, thus the operation of the weapons alone, before coming to a place where contact with another opponent is possible.

Bibliographic Issues

            In the study of the case of rapiers there are some bibliographical issues that need to be taken into account before any real study can be achieved. One of the first things is with regard to the weapon, the second with the device in the other hand, and lastly there is a language issue that needs to be taken into account. These need to be addressed in some fashion before a real study can take place.
            First of all is the language. The True Art of Defence by di Grassi was originally written in Italian and published in 1570. The 1595 version of the manual which is being used for this investigation is an English translation of this manual. This is important as it means that however skilled the translator of the language there will be some interference between the different versions of the manual. Indeed there are even issues as the 1595 version was written in Elizabethan English which is different to the modern language. This issue does form a barrier to the research, but not one which is insurmountable.  
            Further to this language issue, and directly related is the names of the device being used, the sword. Often “spada” in Renaissance manuals is translated as “rapier” where in actual fact it simply means “sword”. This is the case for the translation from the 1570 Italian to the 1595 English. While it would be more accurate to refer to this description as a case of swords lesson, the rapier is the focus and while cutting actions are primarily the purview of the sword, the cutting actions can be performed with a rapier. Aside from this, the fact that it is referred to as a rapier in the 1595 version makes the discussion of the weapon valid.

Principles

            The case of rapiers would seem to be one of the most complex systems devised, and in some ways it is, however what should be noted about this is that as with any system it is based on principles and for the most part these principles are relatively simple. While the principles do not explain the entire system they are advantageous in gaining an understanding of the foundations of the system.
            The simple thing is that the case of rapiers places a sword in each hand this is clear and evident to all. Regardless of the length of the weapons and whether they be matched or not it is two swords. These weapons have the ability to both strike and defend the wielder. It is important that both hands can be used to attack and defend for maximum effect, “a man ought to accuftome his bodie, armes and handes afwell to ftrike as defend.” (di Grassi, 1594).
            The case of rapiers is two weapons, as stated, two weapons which can both attack and defend. What needs to be realised here on a conscious level is that the weapons are one in each hand and each can be used independently and in combination in order to achieve the end of the combatant.

“For feeing they are two weapons, & yet of one felffame kind, they ought equally and indifferently to be handled, the one performing that which the other doth, & euery of thẽ being apt afwel to strik as defend.” (di Grassi, 1594)

            This means that the weapons can be used alone against the opponent doing what needs to be done or they can also be used in combination. The used in combination is the more effective choice but the independent option should not be forgotten. In combination, the actions of one weapon should be supported by the actions of the other weapon. Thus where one is used to defend so the other should strike, and where a weapon is used to strike, so should the other defend. This allows for the maximum benefit possible from using two weapons.
            As with any weapon form in the arts of the Renaissance period, circular and sloping footwork is the best approach to the opponent. In the case of two weapons of length this is vital. To approach directly upon the opponent is substantially less effective than to use circular or sloping footwork to change the facing and thus gain an advantage over the opponent.
            The case of rapiers is a complex weapon form, but the basics should never be forgotten, they still apply. The simple actions which work at single rapier work just as well with the case of rapiers. In all instances the single weapon can dominate and beat the double weapons so long as the one using the single does not forget the foundation elements. This is the same with ward choice, using one which confirms to the basic principles and works for you is best, remember to move through them rather than remaining static.
            These are the base principles which will form the foundation of the information which follows. The principles will be found in the various elements and elucidated upon in order that their real meaning can be completely understood. Without the principles which have been presented this system works substantially less well.

Wards

            In the case of the wards for the case of rapiers, they are wards in the truest sense; they are positions from which a defence or offence is launched not positions of safety. Giacomo di Grassi uses his wards as positions from which the action is started. These are foundation positions which enable the weapons to be used against the opponent. Regardless of the ward chosen there are some important factors which need to be taken into account.
            The first factor has already been iterated in that they are positions from which an action is made, not guards and thus positions of safety. The combatant should always remain alert and aware of the actions of the opponent regardless of the position he is in. Further to this the combatant needs to be aware of the position of his weapons.
The weapons need to be held in such a way that they are not easy to tangle. This issue of tangling must be taken into account whether it is an active action of the opponent in order to immobilise the weapons or an inadvertent action of the combatant making an action of his own. In this they need to be kept separate in some fashion, in order that one weapon does not foul the action of the other or by its action become entangled in the other.
In the discussion of the sword there is always the consideration of lines. These are important for defensive and offensive purposes. In the typical situation the lines are based on the position of the primary weapon. In the case of using two swords, both are essentially the primary weapon thus resulting in a complication. In essence due to the doubling of weapons the lines are doubled; one for each weapon.
The place where this is of most importance is the inside and outside lines. This is not to say that there is less significance for the high and low lines. Each weapon has an inside and outside line. What needs to be noticed here is that the inside lines will occupy the same space as they cover the same area. It is possible to make all four parries with each weapon, thus two parries could be used to cover a single line. More of this will be discussed later on.
In his manual, di Grassi discusses three wards, as he does through the entire manual. These wards are the High, Broad and Low wards. In all cases it is the rear weapon which is the focus of this description. The forward weapon, regardless of the hand, will adopt a Low ward, which is slightly more extended in the double Low ward. The rear weapon accompanies the rear foot. The only ward which is actually depicted in his manual is the High ward. The following is the depiction from the 1570 manual.


            The High ward as presented has the left foot forward with the left sword in a Low ward, while the right sword is in the High ward position. The rear arm is high above the head in the position of first while the other is in the usual position of the Low ward. This footwork position remains the same for all of the wards as does the rear foot accompanying the “descriptor” weapon at the rear.
            The Broad ward as described has the same footwork position as above and the same position for the left-hand sword in the Low ward. The rear arm is extended from the body to the right in a position of second with the point aimed at the opponent. The arm needs to be extended in this position for the ward to be formed properly.
            The Low ward, and di Grassi’s preference for ward, is slightly different from the others but the same principles apply. Once again the footwork position is the same with the left to the front and the right to the rear. In this case the weapons are both in the Low ward position and the forward weapon should be pressed forward a little from the front leg for clearance. This ward is clearly demonstrated as the preferred ward as it is used to oppose the other two wards using contra-postura, and also di Grassi spends more time discussing the Low ward than any other ward.
            There are other wards which can be used indeed Marozzo describes a ward for each hand alluding to the use of two weapons independently in the process. Other wards which may be adopted are ones such as the open ward in which one weapon is placed to the front aligning with the foot on that ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Bibliography

di Grassi, G. (1595) His True Arte of Defence, translated by I. G., Signe of the Hand and Starre, London