Pavlov's Fencers

Greetings,

Are you fencing for the points, or for the joy of swordsmanship? Is it more important that you struck your opponent, or how you struck your opponent? These are some important questions that we must ask ourselves as fencers, and as practitioners of swordplay.

I would say that there are some fencers out there who are like Pavlov's dogs, who are only happy when they hear the sound of a buzzer, or the referee announcing that they have struck their opponent. These individuals have little care for how they struck their opponent, so long as they struck their opponent. They will also find a single weakness in their opponent and then strike that area for as many points as they can; either until they have the points, or the weakness is fixed. Regardless of what sort of sword they carry or what sort of swordsmanship they claim to pursue, they are "sport fencers", there for the win.

Conditioning

The interesting thing is that Pavlov's dogs and the form of conditioning involved here is called "classical conditioning" what we see with fencers and their only glee being when they strike, and hear the buzzer or the referee announce a hit is called operant conditioning.

Operant conditioning (also called instrumental conditioning) is a type of associative learning process through which the strength of a behavior is modified by reinforcement or punishment. It is also a procedure that is used to bring about such learning. (https://en.wikipedia.org/wiki/Operant_conditioning)

 The reinforcement is the win, the punishment is the loss of the bout. This is a very simplistic way of looking at the processes and the thinking which is behind this "sport fencer", but it fits quite well. They only measure themselves on the strength of their last tournament placing, for the most part, who they have beaten recently, there is little consideration for personal development, and this approach affects their fencing and those they teach.

Effect

A person could succeed at being a "sport fencer" from learning a very simple set of skills to a very high degree of precision. These skills would then be applied to their opponent with simple counters against the actions they might perform, leading to simple attacks nurtured in the simple set of skills. An example from rapier: a lunge for the attack at Distance; thrust for closer which is part of the lunge anyway; a circular parry as the default defensive response to cover all Lines; and finally parry-and- riposte in Double and Single Time to counter the opponent's actions. Learned with precision and to a high degree of accuracy, these would be sufficient to see a "sport fencer" through most encounters. I know this from experience. I have been there... and found it boring.

The "sport fencer" refines their skills not to learning systems, but to what "works" against opponents at the time. They learn a collection of tips and tricks which they can apply against various opponents. Mostly, these tips and tricks are offensive in nature, as the focus is always on how to score against the opponent. The focus is always on how to score on the opponent.

When we examine different forms of fencing we see the effect on fencing, and the focus on their fencing baring out in the actions performed. Modern or sport fencing is focused on scoring points these days. Clubs are primarily focused on the most effective methods for striking the opponent, so methods such as "the flick" are used; methods which when used with a real sword would have no effect, except maybe the lightest of scratches. The flèche is over-used because it involves quickly striking the opponent.

The result of this focus on striking the opponent, on setting a buzzer off is a loss of form. The classical lines of fencing are lost, its classical skills are mostly lost along with it. There is also a loss of the control of Distance along with it; resulting in two fencers stabbing at one another at close range, neither wanting to break Distance for fear of being struck contorting themselves to bring their points in contact. It also results in fencers striking one another at the same time; 40 millisecond's difference (in épée) and one has struck the other first, and a point is awarded, but it is not good fencing.

In HEMA (Historical European Martial Arts) much the same thing is happening. Once all of the study was completed, there were those who decided that there must be somewhere they can test their skills against one another so HEMA tournaments were set up. They are scored in much the same way as sport fencing, with a referee awarding hits against either combatant when they are struck. With the introduction of line judges, it is drifting even further toward its cousin.

For some schools the training has also drifted more and more toward preparing their students for tournaments, making them eager to face the students of other schools, to taste victory. The focus is then on the result, not how the person got there. Actions are chosen out of the curriculum for how effective they will be in a tournament situation, rather than being taught as complete systems. Power is often emphasised over finesse to the point where these ostensibly unarmoured tournaments have competitors competing in a type of armour, because of the power increases, not being able to perform actions properly. Speed is emphasised over technique, with muscle used instead of the method described utilising the motions of the body, so actions are performed with too much power and too much speed, so they are sloppy and uncontrolled; so PPE (Personal Protective Equipment) becomes the prime ensurer of safety rather than the competitor's control.

Tournaments

Tournaments become the focus rather than personal development, so the fencers only care about how well they went in the last tournament. They don't particularly care about how they got there, they only care about the result of the tournament. The higher placed individuals in the schools become the focus, they become the focus of training and the focus of attention and promotion. This is where it is evident that a school has a tournament focus, rather than a focus on swordsmanship. Members of such schools are always the first to argue the rules, squeezing the rules so they benefit their school's approach. 

The Double-Hit

One area of contention is always the double-hit and how it should be dealt with. In some tournaments there is the statement that double-hits will simply be fought again; in others the blows performed in the double-hit count against the combatants because they were foolish not to consider their defence; yet others introduce a concept found primarily in longsword schools and tournaments called the "after-blow", a combatant struck has a short period of time to return a blow against their opponent. I have already discussed this in a previous article.

These arguments often rage long and quite passionately with many different claims about the fairness or combat realities of one rule-set over another. The thing that is lost in these discussions is that both combatants in a double-hit have failed, they have failed to consider their defence. This is the problem with the focus on striking the opponent, the fundamentals of fencing of all kinds gets lost "to strike without being struck."

Results

The result-focus is an issue that many do not see because the effect is only found by how others perceive them. This is because the focus on results rather than how the person got to the result forgets the effect of what impact and they might have on their opponent, and on those who will see the bouts that they fought. I have previously discussed renown and notoriety and it is a subject which keeps coming up in discussion. In our modern world the problem is that the line between them often is blurred.

There are those who are known to be notorious, and this is their claim to fame, it is what attracts people to them. This is a reverse of what the concept really implies. For the swordsman of the Medieval and Renaissance period, and a little today, to be notorious is to be only respected for the victories that the individual gains. This individual is respected for their skills in combat, but they are not a person you want to get to know. Once they lose, their reputation that is the end of their respect, until they find victory again.

A fencer with renown is known for more than their skill, they are known for how they achieve their victory. They are respected for their skill, but also respected for much more, because of how they deal with their opponents. The fencer with renown's reputation lasts longer than their victories because they have the respect of people for more than just mere skill. This fencer has their eye on more than just the result, they are concerned about how they got there.

More to Life

There is more to life with a sword than just victory. There is more to swordplay than just learning those techniques that will allow you to defeat your opponent. Learning a system of swordsmanship is a longer, harder road than learning tips and tricks, and it will not win you tournaments in the beginning, it may not win you tournaments in the end, but it is a process of personal development that the focus on winning tournaments does not bring.

I have been the "sport fencer". I know what it is like to focus on the next tournament, the next opponent, the next victory, and it is a life which is far less fulfilling than delving into treatises and discovering the true arts of the sword which have been left to us. Learning a system of swordsmanship gives you a foundation upon which other learning can be based. Learning a system can allow you to take it apart so you can know how to deal with it if an opponent uses it against you.

Seek renown, be considerate of your opponent. Seek the honourable path, and the honourable victory. Find a teacher who will allow you to develop as a fencer, not one who is focused simply on how to defeat different opponents; there are always new opponents with new skills, a proper foundation is the best place to start to deal with them.

Cheers,

Henry.

P.S. You will notice a lot of Wikipedia links in my posts. This is a great resource of free information which is now reliably researched, as you will note by the references which appear at the bottom of each page. I donate to the Wikimedia Foundation every year to keep this non-profit group operational, and I recommend that everyone do the same, you can do this HERE. Please give, and keep this free source of information alive, there are few of them these days.

Gripping the Sword

 Greetings,

For starters, don't grip the sword hold the sword. The subject of how to hold a sword is a subject that I am back at AGAIN. It would seem that most people when they approach the subject, give little consideration to its importance, and then wonder why they are having difficulties with the more precise actions of fencing later on, or in some cases find themselves with injuries. Yes, at least one injury, or strain, can be traced back to holding the sword in an incorrect manner, as will be described below.

Hold the Sword

Let me say this again, DON'T grip the sword, hold the sword. The weapon should be placed in your hand and you should hold the sword in natural fashion. The weapon needs to become a natural extension of your body, not something that you are gripping on to for dear life. 

Hold the sword firmly so you can feel it against your fingers and hand. It is described as like holding a small bird, firmly enough that it will not escape, but not so hard that you will crush it.

The previous article was quite short, and went over some of the basic details about how to hold a sword. It indicated that it was dependent much on the weapon that was being used at the time, and this is very true. You don't hold a foil the same way that you hold a longsword, or a sabre. Each has a slightly different hilt construction which will affect the way that you wrap your fingers around the hilt.

The previous article indicated that the sword should not be held too tightly not gripped but held. It indicated that a sword that was gripped too tightly would reduce the amount of control the fencer had on it rather than increasing the amount of control the fencer had on it. Clearly if it was gripped too loosely there would be little control over the weapon. The weapon needs to be held properly, with the correct amount of pressure from the fingers on the handle of the weapon. 

The article then went to discuss holding the sword by the index finger and the thumb primarily, and then the different types of grip that could be used and some discussion of which method may be more beneficial to a fencer and for which reason. Here, there will be a little more discussion about the physical characteristics of the sword, which will affect the method of holding the weapon, more specifically the handle.

The Handle

There are many options for buying a weapon for the practice of Historical European Martial Arts, many more than I had options for when I started. There are all the options available from simply buying an "off the shelf" model all the way up to a fully-customized weapon of the fencer's choice. The fencer can often choose hilt, blade, and pommel shape. Of little concern quite often is the handle. Most often the options available are whether it is covered in leather, wire bound, plain wood (and what type of wood) or what combination of these. The handle usually comes in a standard shape, only the length is of concern. The shape of the handle is of concern, as is the size of the handle, all of these things affect how effectively the individual is able to hold the weapon.

The shape of the handle does have an effect on how effectively the fencer is able to hold the weapon. If the handle is too thick, then the individual may not be able to wrap their fingers all the way around the handle, this will result in them gripping the handle, and often too tightly. This is often for fear of losing the weapon, the result of this hard grip is discomfort and potential further issues as will be described. If the handle is too thin, the individual's fingers will overlap, resulting in discomfort similar to that of the thick handle. The correct size should enable the tips of the fingers to touch the palm comfortably. This will enable the handle to be held properly.

Further, the handle can be shaped to fit the hand of the fencer making the handle even more comfortable for them. Thinning out certain parts to add more grip, adding hatching for more grip, or simple removal of certain areas so the handle simply sits in the hand, all add to the ease of holding the handle of the weapon. 

Likewise the length of the handle should place the pommel of a single-handed weapon just below, or at, the grove at the bottom of the hand. A shorter handle can be uncomfortable, placing the pommel in the hand. Likewise longer handles can get in the way of performing actions. These physical characteristics of the handle are often forgotten, but can make a comfortable sword into an excellent sword.

Method

Did you choose your method of holding your sword, or were you told that this was the way to do it, and just followed? Have you considered why you hold your sword in this particular manner? Have you considered the effects of this method, as compared to other methods? These are questions that we should always be asking ourselves about how we hold our swords. A change in method may open new opportunities.

At the beginning of our fencing careers, we are often told how to hold the sword, and usually just follow what is said without question, because we do not know any better, and that is expected. If that method does not work for the fencer it should be expected that the individual will change their method. This is the reason that the teacher should offer options for how to hold the sword. In my previous article on the subject two options were discussed, and also some considerations of their effects. You need to consider why you are holding your sword in this manner.

Does the method give you better control of the sword? Does the method give you better strength in engagement? Does the method give you a balance of these attributes? Is the method that you are using actually comfortable? Frankly, if it the answer to the last one is not a resounding "Yes," then you need to think about seeking another option for holding your sword.

We will examine two typical methods of holding the rapier, and one extreme method. Each will be examined for its advantages and what it gives the fencer. This will describe the effect holding the sword in this manner applies to the sword in a functional sense, which is the most important, rather than any other consideration. Each will be examined to see what the fencer is given by using these methods.

Single Finger

In the single finger method, the index finger is placed about the forward quillon, or ricasso. The thumb is then placed on the back of the ricasso, or placed on top of the tip of the index finger by preference. There is a different effect from both of these positions, the latter gives more strength to the edge when making parries and actions, but has the thumb activated all of the time. The former has the thumb relaxed and can be used as a counter-lever to the index finger to control the weapon.

The advantage of the single finger method is that it allows the lower fingers freedom for use to manipulate the weapon, and leaves the wrist freedom of movement for manipulation of movement of the weapon. This allows the weapon to move freely as the fencer desires. This is a very basic form of grip where the sword is essentially held between the index finger and the thumb, with the other fingers and the hand assisting in the movement of the sword, and nothing more. They can, should it be required, be used for strength actions, but most of the time, they should not. There is a lot of freedom of action in this method.

Two Finger

In this method, the index and middle fingers are placed about the ricasso. The thumb touches the tip of the middle finger. More of the handle is placed in the hand for this method, and the more of the hand is used to hold the weapon. This means that the hand is used to manipulate the weapon.

The advantage of this method is that the sword is held firmly which means it is useful especially for longer weapons. The fingers lock the handle against the hand and the hand is moved rather than the fingers to manipulate the weapon. This means that it is primarily up to the wrist and forearm to move the weapon about. This method gives the weapon strength in its engagement with others and results in no change depending on whether strength or fine actions are required. This method is more common to the later period treatises.

"Pommeling"

 "Pommeling" is an extreme form of holding a sword more common to sport fencing than it is to the rapier, but worthy of mention in this discussion. In this method, the pommel is placed in the palm of the hand and the index finger is extended so it is either just over the quillon, or just below as in a normal grip. The other fingers are placed around the grip as they are usually.

The greatest advantage of this method is that it gives the fencer the extra reach of the handle usually taken up by the hand. There are some claims that this method also gives superior leverage in the sword due to its extended position, but this is disputed. It is recommended that this method is only used by more experienced fencers as it is quite easy to lose the weapon through disarming. There is also some control lost of the weapon due to its extended position, unless the fencer has a particularly strong hand and fingers.

Different Methods

There are lots of different methods for holding a sword, and only three have been discussed as they are the most commonly used with the rapier. The first two are the most commonly taught, with the last being an extreme example given to show an extreme approach to gaining a little more advantage of reach over an opponent. Serious consideration should be given as to what method a person uses and what advantages the method gives. 

The question of comfort should not be ignored when using a particular method of holding a sword. Find something that is comfortable for you, because holding the sword is the thing that you are going to be doing the most while you are engaged in swordplay. Talk with your teacher if you are finding your current method uncomfortable. Examine each aspect of the method and see if there are any aspects that can be changed to make it more comfortable for you. The importance of a correct method of holding the weapon cannot be denied.

Importance of Correct Method of Holding

Only a correct method of holding the sword will allow you to perform actions correctly when you are engaged with an opponent, or even in drills. The feedback that you will receive through the sword is important as this will allow you to respond correctly to the stimulus that your opponent gives with their sword. Holding the sword correctly will give you the correct feeling through the sword (senso di ferro) which will allow you to anticipate the actions of the opponent.

Correct blade engagement actions, especially when engaged with an opponent relies on senso di ferro which relies on holding the sword properly. If you are gripping the sword tightly you will not be able to feel these sensations through the sword. Likewise, if you are not holding the sword tightly enough, you will not feel the sensations through the sword and you will miss your opportunity to respond to the actions of your opponent. Further the Actions on the Blade, both the Attacks on the Blade and the Takings of the Blade also require you to have such sensations and to be holding the sword properly so you can manipulate it properly so you can perform these actions correctly. So much of fencing comes down to how you hold the sword.

Even the performance of offensive actions in the correct manner result from the correct manner of holding the sword. A thrust made with a hand that is gripping the sword tightly will likely strike hard each time, almost regardless if the opponent is even at correct Distance. A thrust made with a hand that is holding the sword correctly will likely strike the opponent with just enough force that they will feel it sufficiently, especially if they are at correct Distance. If they are too close, for some reason, there is flexibility in the hand to compensate for some of this.

A cut made correctly with a rapier should impact and then slide along the target allowing the edge of the weapon to do the intended damage. The cut should not strike and bounce off. Test-cutting experiments that I have performed have demonstrated that a cut which is delivered where the edge is driven into the target, will simply bounce off, doing little damage. While a cut which is performed so the edge strikes and then the edge is drawn through the target does damage to the target, quite a bit in fact. The difference often lies not only in the method, but in how the sword is held.

A cut which is made where the sword is gripped in the hand hard, is likely to result in the cut bouncing off the target with little effect. A cut which is made where the sword is held properly with a more firm, but relaxed hand will impact and then slice through the target with great effect. A lot of cutting correctly with the rapier comes down to how the sword is held. Further, holding the sword tightly while cutting can result in damage to the fencer.

Injury from Cutting

A fencer who persistently cuts with a had grip on their sword can eventually damage themselves if they are not particularly careful. If the fencer is not careful when they are careful the stress from the impact of cutting can be transferred through the hand, through the wrist, to the elbow, resulting in damage to the elbow. This damage also results from the full extension of the arm in both cutting and thrusting.

The damage that can result from cutting with a stiff grip is damage to the tendons of the elbow, this is known as Tennis Elbow or Golfer's Elbow, depending on which tendon it damages. The damage results because the hand is locked and the impact has to go somewhere, often it travels through the hand to the wrist, this may take some of the impact out. Often it travels further to the elbow resulting in the two conditions mentioned. This is especially the case where the arm is fully extended. The same can result where the arm is fully extended in a thrust. A way to stop some of this damage is to not fully extend the arm in either the thrust or the cut, however a proper method of holding the sword is also effective. It is best if both of these methods are used.

Hold the Sword

Holding the sword is one of the beginner lessons that is taught at the beginning of most swordsmanship courses. A method is often told by the teacher how the sword will be held and the student follows the instructions, in the worst case, the lesson is skipped, or is absent and the student is left to figure it out for themselves. It is often the case that the lesson is never revisited by the teacher or the student.

The lesson should be revisited, especially if the student is having trouble with their lessons. It could be as simple as the student is having trouble with holding the sword, or they might have a handle which is the wrong shape, or too big. In this case a simple solution can change the fencer's ability to progress. The student should be aware from the beginning of their lessons that if something is not comfortable, their grip included, that they should check in with their teacher about the issue.

The effect of the method of holding the sword should not be underestimated as it does effect senso di ferro and as a result if effects all the skills that rely upon this important aspect of swordsmanship. If the student's hand or arm is tiring quickly during lessons, the sword may not be too heavy, it may simply be that they are gripping the sword, rather than holding it. There is a difference between these two, it is subtle, but there is a difference. 

If you grip the sword and cut, especially with your arm fully extended, you are likely not going to make an effective cut. Further you are headed down a road toward damage of your elbow and a lifetime of issues with that joint. Simple correction at the early stages can prevent this issue. Holding the sword and cutting with an arm which is not completely extended will result in a much more effective cut, and also reduce the damage to the elbow. The same applies to the thrust. This is something that both students and teachers should pay attention to all the way through the fencing career.

Remember to hold the sword correctly, and revisit your method of holding the sword, especially if you begin to feel it to be uncomfortable, or you feel actions to be more difficult than they should be. The method of holding the sword is simple, but essential do not just push it aside and forget it.

Cheers,

Henry.

Check Your Height

Greetings,

Much has been said in various manuals and treatises about the combat of the short fencer against the tall fencer and also vice versa. These are considerations of note and need to be taken into account. What does not seem to appear all that often are considerations of teaching a shorter or taller student and how this may change the approach that the teacher might take. This is something which needs to be considered as this will affect how the individual will be effective with their weapon.

Being a taller person, actions are performed in a particular way, and tactics are appropriate to a particular method. These are not so much for a shorter person. Thus as a taller person who is teaching people who are shorter, these things need to be taken into account. This is vital otherwise we are teaching the shorter person simply that they will be less effective because they are shorter and cannot do what the taller people can do, and this does everyone concerned a disservice.

What is ironic is that most people assume that because taller people have the length that they have the advantage, this is not necessarily the case. If a person who is shorter than their opponent extends their weapon from their shoulder, they will be directing their point toward the target area of the opponent.  If a taller person extends their weapon from their shoulder, they may be directing their point over the head of their opponent. By having to drop the point down, length is lost due to the change in angle from the right angle at origin to an acute angle. The same reason a person may safely stop-hit at the face while keeping their leg free from attack. This is also something that should be taken into account.

In teaching the height of the individual must be taken into account, especially if there is a marked difference in height between the trainer and student. There is little point in teaching a short person to fight like a tall person as they do not have the reach, and there is not much greater advantage of the reverse because then the taller person will not learn to use the advantage of their reach. Actions which rely on an individual being a particular height as compared to their opponent should be examined, as many of them will not be as effective, and in some cases effective at all when the fencer is shorter. It is at this point in time that the trainer needs to change tact to suit the student.

A cut delivered vertically designed to clear or at least block the opponent's weapon while striking them is an excellent attack and works beautifully when executed properly, when the fencer is the same height or taller than the opponent. When the fencer is shorter, the angles are changed. The sword will connect further up on the weapon and so will not have the strength to do the job designed and the striking part of the weapon is less likely to strike the opponent due to length. The result is that this technique is not as effective, if at all. The trainer thus needs to find an alternative, such as stepping off-line and striking the arm, or stepping off-line and coming upward and underneath to strike the flank. This is only one example, there are many more.

Both teachers and students need to take height differences into account, not only from the point of view of combat situations, but also from a teaching point of view. A shorter or taller student is going to result in different angles as a result of their height. These are going to have to be taken into account in their training, and some actions will have to be modified. A good teacher will look at this as just another challenge to be surmounted in the adventure of teaching.

Cheers,

Henry.

On Holding the Sword

Greetings,

The action of holding the sword is one of the most fundamental of fencing, and yet it is one which seems to be passed over in preference for other subjects such as how the rest of the body should be placed. It would seem that holding the sword, or the grip would be a simple action, but there are mistakes that can easily be made which will affect how the sword is used.

Gripping the sword seems simple enough but there are often mistakes made. The sword is sometimes held too tightly or too loosely. The sword is sometimes held by the wrong fingers, or with the pressure of the wrong fingers. Each one of these elements can impact how the sword is used by the fencer. Of course it also depends on which sword is being spoken about, so some specificity is necessary before proceeding any further.

Weapon

The reason that the sword needs to be spoken about is that the hilt shape and construction will be important to how the sword will be correctly held. Holding a foil with a French grip will be different to holding a sabre, which will be different to holding a rapier. Due to it being the weapon which I have most familiarity with, the rapier will be the focus of the discussion. To this, the weapon will be taken to have a straight handle, quillons, and a ricasso as the essential elements which will be required.

Sword Methodology

With the weapon and hilt discussed, the gripping of the weapon can be returned to. The rapier may be gripped in several different ways, depending on what the fencer intends to do with the weapon, and how the fencer wishes to fence with it or what style they wish to use. Again, some specificity is required because often the grip will change to suit the the methodology of using the sword. For the purposes of this discussion the fencer will be assumed to be using an Italian or Elizabethan methodology, thus using both cut and thrust, but primarily thrust.

Effects

A sword which is held too tightly is difficult to move because the muscles are already constrained. It is also difficult to practice fine movements because of the constraint on the muscles. Further, feeling through the blade (senso di ferro or sentiment du fer) is more difficult to access if the weapon is held too tightly. If the weapon is used to cut, the weapon will more likely smack into the target and bounce off rather than slicing into the target. Finally, holding the sword tightly uses energy which will tire the hand quickly which means the fencer will tire quickly.

A sword which is held too loosely is difficult to control, and is thus difficult to practice accurate fine movements due to the lack of control. The weapon is more easily controlled by the opponent. The weapon will be easily beaten and the fencer is more likely to be disarmed. If the weapon is held too loosely it will not be able to apply the pressure that is required to transmit a proper cut, and the looseness of the blade will likely make it bounce off rather than slicing the target.

The rapier should be held by the index and the thumb primarily, assisted by the other fingers. If it is held by the middle, ring and little finger, there will be less control over the point. There will also be a higher likelihood of the fencer being disarmed due to the lack of pressure around the ricasso. Pressure from the lower fingers should only be used to move the point about, these are manipulators.

The Grips

In every method, the sword should be gripped as if holding a small bird. Firm enough so that it will not fly away, but not so tightly that you will crush it. Another way to think of this is how you would hold the hand of your significant other, tight enough to let them know that you are there, but not so tight that you will crack their knuckles. The grip should be firm not tight.

The first method of gripping the rapier is the single finger grip in which the index finger alone is wrapped around the ricasso, around the true edge. The thumb should fold over and either sit on the quillon block or on top of the index finger, or on the false edge of the ricasso. The other three fingers should be then wrapped around the handle. This is the method that I prefer.

The second method of gripping the rapier is the two-finger grip in which the index and middle fingers are wrapped about the ricasso. They are both placed about the true edge side of the ricasso. The thumb is then placed against the index finger or against the false edge of the ricasso. The ring finger and little finger are then wrapped about the handle.

Other methods of gripping the sword are modifications of one of these two methods. The only method which I strongly discourage is one in which the index finger is wrapped around the quillon on the false edge side of the ricasso and the middle finger is wrapped around the quillon on the true edge side of the ricasso. This method results in a "punch-grip" on the sword, which often results in a lack of control and also striking much harder than is required for this weapon.

Which Method?

Which method should you use? The one which is most comfortable for you. So long as you follow the guidelines which have been presented here, and then find the method which is most comfortable for you and provides you with the easiest method of movement of the sword, then you should be fine.

If you have any questions about this, feel free to ask. Ask your trainer, ask your class-mates, everyone will (or should) have an idea of the reason why they hold the sword in the way that they do. Different ideas about how to hold the sword can only be of benefit.

The correct method of holding the sword is essential for using the sword properly. Actions can only be performed accurately and properly if the sword is held properly. Often the root-cause of a fencer's issue with a particular technique is that they are simply holding the sword incorrectly, or at least with some issues. The most fundamental elements have the greatest effect on your fencing, the way that you grip your sword is one of these.

Cheers,

Henry.

The Myth of Speed

Greetings,

Interested in learning how to be amazingly fast, performing actions faster than your opponents? Do you want to know the secrets? Unfortunately the secrets are not really secrets. In fact, there are no secret methods or practices to make you faster. It comes from practice.

Now, it is true that muscle use does have a part to play and this has an effect upon the skill being performed, but where the muscles end the hard work begins. There is only a finite amount of power that can be added to an action before it starts to be a problem. Too much power added to the action can actually decrease the efficiency of the action. Practicing the action allows control to be added to the equation thus the right amount of power is added.

The reason that the more experienced combatant seems to move faster is that they have had more practice. The result of the practice is that the actions of the combatant become efficient thus making the ...

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.

Fencing Movies - Problems with Getting it Right

Greetings, Movies with fencing in them are there for the entertainment of the people who view them. All fencers enjoy a good fencing movie. All remember the fencing scene at the top of the cliff in "The Princess Bride". The problem is that quite frequently experienced fencers will look at these movies and see holes in the technique and the actions of the combatants. This blog is a brief investigation into the problems with getting such things right, and also continuing to make them saleable for the general public, as unfortunately the educated fencing community seems to be rather small for budgeting an entire movie around. Various aspects will be addressed and considered. The first problem that is encountered in the making of a fencing movie is the approach. It is a question of choreography versus combat. The purpose of the combat in a movie is to enhance the scene and develop dramatic elements between the combatants involved in the action. The purpose of an encounter between two fencers is a test of skill which is the focus of the encounter, considerations of their relationship to one another is usually not considered. Thus the big difference here is that one set of action is an attempt to tell a story while the other is a martial engagement between two individuals for the purpose of the encounter, rather than for developing a storyline. This particular situation leads to other elements of great importance to this particular topic. Fencers are trained to strike their opponents with their weapons. Admittedly there is a level of control behind this striking, but the intention is to strike the opponent before he strikes you. For the actor involved in a dramatic situation, the last thing they want to do is to actually strike their opponent. Stringent safety precautions are laid into the training in order that the actors do not strike one another. Anytime that one actor happens to hit the other is usually the result of a lapse in judgement or a break from a set routine. This is a fundamental difference that must be taken into account. Intent is important and the intent of an action more so. Fencers use tactical considerations for the actions that they will use against their opponent. They will use the most efficient method of striking their opponent while at the same time ensuring that they are not struck. This differs greatly from the actor. The actor has a set of choreographed actions which were developed by the fight director of the movie for the actor to perform in order to portray the action required by the director. There are no real tactical considerations here in the hands of the actor at all. The actions are controlled not by the person holding the weapon but by someone else, thus the actor is not free to change an action in order to be more efficient or in order to avoid an action which will result in defeat. Their fate, or the fate of their character has already been determined by the director and writer. This is obviously not the case for the fencer, who is in control of their own actions and responses to their opponent's actions. Both actors and fencers are involved in training in order that they are prepared for the encounter with their opponent, but the training is different for the two and also the length is also different. While a fencer will spend months and years perfecting their technique in order to improve themselves, the actor has a much shorter period of time. On average the actor has about six weeks in order to learn all that they need to in order to perform the actions that are set by the fight director and the director of the movie. This truncates the training of the individual quite markedly. This is not to say that there are not actors who are also fencers, this is simply not the case as Basil Rathbone clearly proves. The thing is that the actions learn by the actor are set moves which are performed for the movie. While there is a basic introduction to what the actor is supposed to be doing the main focus is on those actions as determined by the director and the fight director. It is only this set of moves which is the focus for the actor. If the fencer limits themselves to a predetermined set of actions this would limit them a great deal and would not make a very effective fencer. The image presented in movies is quite different from the actual nature of fencing. The image depicted by the movie is dependent on many factors and what sort of story the director wants to portray in the movie. This is of great importance. "By the Sword" depicts some elements of sport fencing in it. Some of the training is addressed, but the main focus in this is to depict the actions of the fencers as having speed and elegance once trained properly. This is reflected by their actions before and after training has been done. Still, though the actions are limited by what was required for the movie. Swashbuckling movie such as "Pirates of the Caribbean" and "The Three Musketeers" want to portray something different and thus the actions are different. The most important thing in this respect is that movies tend to focus on the flash and the bash. The sound of steel on steel and the large flowing actions of the characters in the movie. The use of the weapon is dependent on the character being depicted. Certain actions will be used by some characters and not by others, this enables some character development through physical actions. This is all quite different from actual fencing where economy of action is the focus and being the most effective against the opponents being the prime objective.

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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.