About Me

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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.

Thursday, April 13, 2017

A "Safe" Sword


Greetings,

The concept of a "safe" sword is one which is presented again and again to us when considering which weapons we should buy and which weapons should be allowed in tournaments and so forth. This is a concept which badly needs to be addressed and some of the basic notions which are attached to this also addressed. These are weapons which are being discussed, regardless if they have dull edges and blunt points, and they are being used as simulated weapons as well.

When a weapon is lying on the ground away from anyone touching it is safe. This is when a weapon is safe, as soon as a person is involved there is an element where safety is reduced. The safety is reduced both for the person who is picking up the weapon and also for anyone who is around the person wielding the weapon. This is regardless of whether it is a sword, an axe, a mace, an assault rifle, a handgun or even a missile launcher, the same applies.

The weapon may be dropped on the wielder's toe, or even on a by-stander's toe. The relative safety of a weapon has more to do with the person holding the weapon than the weapon itself. A person who is trained in the safe use of a weapon is generally safer than one who is not. A person who has had more experience with a weapon is generally safer than one who is not. It is the person who determines how safe a weapon is or is not.

The image which I have posted with this post, is one that I really like a lot, and it is very pertinent with regard to this discussion. A sword is a weapon therefore it is not designed to be safe. Its purpose is to strike another person with the intent to do damage (simulated or not) against them. The aspects of selection which are made for particular weapons due to temper, type of hilt arrangement, edge thickness, and point characteristics cannot change the fact that it is still a weapon, and therefore is still not safe. These points are merely risk mitigating factors.

The same can be said for any rules or regulations imposed by organisations and tournaments with ...

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.

Monday, March 13, 2017

Book Review: Scottish Broadsword and British Singlestick

Greetings,

Time for another book review...

Farrell, Keith (2014) Scottish Broadsword and British Singlestick, Fallen Rook Publishing, Glasgow

First thing that you will notice is that it is by Keith Farrell, an author whom I have reviewed before. Yes. What does this mean? It means that the style of writing is easy to read and ensures that the point which is being made is made in very good fashion without having to resort to overtly complex words.

The book itself presents a great reproduction of Roworth's Arte of Defence on Foot of 1804, this has been transcribed by the author rather than simply presenting a facsimile of the original or referring to it. By doing this he gives a clear print version of the original noting the original page numbers and using the original illustrations. This allows the reader to read what was written by the original author without having to muddle through all of the issues of the original text.

So, many people will just go straight into the treatise and start describing techniques and stances and so forth, this is not the case with this book. There is actually only a relatively small amount of the book which actually deals with "how to", just over a third, that being said, it is the perfect foundation for what is presented. This book is not just a "how to guide" but an educational guide about the weapon systems and this is more important.

What this means is that the book provides the background of the era in which they were set. This background explains how the systems of swordsmanship formed as they did. You will find that systems of fencing, especially modern sport fencing, developed out of the conditions that developed around them. If you understand the background of a weapon system and its background you can understand where this came from.

Further to this, after the treatise is presented, the author presents how the treatise should be studied. This means he gives points about how the lessons presented in the treatise can be used and what the modern swordsman should be considering when taking on this sort of study. These elements are important as the modern physiology is not typically prepared for this.

Needless to say that overall I am very impressed with this book. It is an excellent book for the beginning broadswordsman, and also of great interest to anyone who is interested in the history of Scotland especially in the 17th to 19th centuries. So needless to say, it got me twice.

You can purchase this book at the link below:
http://www.fallenrookpublishing.co.uk/scottish-broadsword-and-british-singlestick.php

Cheers,

Henry

Monday, February 13, 2017

Relax and Fence

Greetings,

We all know that muscles need oxygen, so we need to breathe when we are exercising, so this would be the reason why some time ago I wrote a post about the necessity of standing up straight in the on guard position (http://afencersramblings.blogspot.com.au/2010/06/stand-up-straight-and-relax.html). What you will notice about this post is that there is an element of the relaxation point in here as well. This element will be the focus in this post.

First point, when you are tense, your muscles tense unconsciously. This burns energy, so you are burning fuel without even doing anything. Relaxing will increase your endurance when you fence. Further, when your muscles are tense before action they move slower, when they are relaxed before action they move faster.

When people tense up one of the first things they stop doing when they make an action in fencing is breathing. When you relax, you will breathe properly, this means that your muscles will become oxygenated properly this also means that you will have more endurance. When people tense up another thing they stop doing is thinking and this is never good. The physical elements lead to the psychological elements.

Relax, take a breath and just fence. "Well that's easy for you to say." Why? What is so important? Are you going to die if your opponent hits you? Most of the pressures that are built up, we build up ourselves and it is up to us to remove them. It is not easy and it will take time.

Practice is for practice. This means that you are supposed to try new things. This means that you are supposed to make mistakes. The most important thing is that you learn from those mistakes. If you are not getting hit while bouting at practice, then you are not learning, and you are not progressing. If you have just learnt a new action or skill in a lesson, you are supposed to be trying it out in bouting. Talk to your opponent and tell them what you want to practice; maybe they will want to practice something too and then you can help them.

Release the pressure. Find out what is causing the pressure in your fencing. Find a way to release it. ...

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.

Friday, January 13, 2017

The Broadsword: A Curatorial Discussion

Greetings,

So again, this is one of my more formal discussions on a subject. This means that it is long-ish. The subject of the broadsword is one which has been of interest to me for a while now, and was prodded along more recently by studying the smallsword, and also the workshops at Swordplay 2016 given by Keith Farrell. There are various arguments that you will find going through this post, some of which will be of interest and some, I hope, will clear some of the myths away. Thanks goes to Keith Farrell for his editorial assistance with this piece and correcting me on a few things.

Cheers,

Henry.

Abstract

          Most curatorial examinations of weapons are dry and give little detail as to their origins or development. What follows examines the origins and development of the broadsword along with some of the issues which have accompanied this weapon through history to this era. This examination is a close look at the broadsword to demonstrate that previous methods of classification need to be corrected and that the history of a weapon is important as is its development. Only through the assembly of all the data about a weapon can a person have any idea about how the weapon would handle.

Introduction

          What follows is an examination of the broadsword. It is indicated by the title that this will be a curatorial examination, but this will be a little broader than most curatorial examinations as they are most often concerned with hilt construction. This has often led to this misclassification of weapons. Thus this investigation will concern itself with the entire weapon, but also more than that.
          To begin with there is the question of what is and is not a broadsword, to this point a definition will be examined and argued for and against, then another proposed. Following this will be a brief history of the development of the broadsword. The word “development” is used here and not “evolution” as it was a process which was affected by external and internal factors, and also had an effect upon other weapons of similar make. Next will be a discussion of the broadsword and the backsword, two weapons which are often confused, usually as a result of one or both not having a clear definition. Getting even more specific there is the question of the claymore and what is and is not one, a question which has been argued to and fro for many years.
After all these preliminary arguments have been established and some of the background has also been established. Then the weapon will be examined. The previous is necessary so that both writer and reader understand what is being discussed. The broadsword will be discussed in order of hilt, blade and then the weapon in general. This will give the differences in different nationalities of broadsword, specifically, English, German and Scottish and the differences between them.
There will be mentions of other weapons of similar classification. The backsword has already been mentioned above, and will feature in different placed in the investigation. The sabre will also be mentioned in the discussions, but more in passing rather than in any sort of detail. Finally, with regard to use considerations, this can only come from the knowledge of the weapon as a whole. This discussion will only barely scratch the surface of that and give some very vague indications. The focus of this investigation is more about the form, origins and development of the weapon. 

Definition


“a broad-bladed sword used for cutting rather than stabbing. Also called backsword” (Collins English Dictionary, 2016)

          The definition supplied by the Collins English Dictionary (2016) is rather broad and covers quite a few weapons, it could even cover some forms of medieval sword as well, especially as the definition above does not in any way take into account the form of the hilt. What this means is that the definition needs some refining. The broadsword is most easily defined as a straight-bladed, double-edged, relatively broad-bladed sword with a basket-hilt that protects the hand. What needs to be noted here is that the previous definition did not take into account the hilt of the weapon which is a mistake often made in the curatorship of swords in that often all the weapon is not taken into account.
          The change in hilt is significant where the cross-guard was changed to a basket-hilt and is similar to that which is found with regard to the development of the rapier, and for similar reasons. The civilian rapier’s hilt developed to protect the unarmoured hand of the civilian. The more military broadsword hilt developed as armour declined as a result of the introduction of effective firearms to the battlefield.

The Broadsword Story


“they [basket-hilted broadswords] are most closely associated with the 18th-century Scottish Highlander.” (Holmes, 2010:106)

          When the broadsword is thought of, it is the Scottish Highlander which is first thought of wielding the weapon. The history of the weapon will reveal that they were not the only people to use the weapon, and indeed it could be claimed that they were not even the first. The discussion which follows will follow the development of the broadsword, for the most part, in chronological order. It will start with a more general introduction to the history and then examine the three important centuries of development, the sixteenth, seventeenth and eighteenth centuries. While this is not really designed to be a curatorial discussion, there will be curatorial elements present.
          To begin there must be a brief examination of the weapon which came before, and to understand that this was primarily a military weapon, rather than a civilian one, even though it found its way into civilian hands. Its history starts with the knightly sword of war, as armour was lessened the hilt had to develop to protect the hand. These developments are primarily noted in England, the result being that the English hilt is the common ancestor of the basket-hilted claymore and English military pattern (Oakeshott, 2012:176). More of this much-argued weapon will be discussed later on.
          There is a lot of argument about the dating of weapons and where they came from. This is for a multitude of reasons firstly weapons are difficult to date due to similarity in design and references found for the pieces themselves (Oakeshott, 2012:177). To accurately date something a design needs to be in print in some form to compare to and when the designs are common across an expanse of time this makes the dating even more difficult. This situation can be complicated even further in the case of many swords not just the broadsword with regard to the idea of re-hilting. In the case of the broadsword re-hilting was common, an old blade would be placed in a new hilt, or rarer old hilt and new blade would be put together (Oakeshott, 2012:179). Needless to say, this results in a weapon, if it manages to date both parts with a date for one part and a date for the other.

Sixteenth Century

          Previously it was noted that the broadsword was primarily a military weapon. It was also noted that it was a modification of the knightly war sword, answering the need to protect the hand. After 1520 the knightly war sword acquires a more complex hilt, changes at end of the sixteenth century to the proto-typical forms of broadsword of 17th and 18th centuries (Oakeshott, 2012:126). These developments were in answer to a changing situation on the battlefield where armour was being reduced in answer to its lack of effect against firearms. The speed of which the development came is impressive.

One of the earliest basket-hilted swords was recovered from the wreck of the Mary Rose, an English warship lost in 1545. Before the find, the earliest positive dating had been two swords from around the time of the English Civil War. At first the wire guard was a simple design but as time passed it became increasingly sculpted and ornate. (Wikipedia, 2016)

          In a relatively short amount of time, the hilt of the weapon became more and more complex resulting, by middle of century hand protected and surrounded by plates, bars lined with leather or fabric (Coe, 1996:73). This is not a simple operation as can be told by anyone who has assembled a sword of such complex parts. What needs to be noted here is that the earliest hilt here is not Scottish, but English.
          Rather than being nationalistic about where it was invented at this point in time, the important thing to note here is that, the ancestry of broadsword hilts found in those that evolved by 1570s and survived (Oakeshott, 2012:156). It was this pattern of basket-hilt which was spread around and resulted in developments in other places. It should be noted that the beginnings of broadswords of 18th and 19th centuries in German experiments of c.1600 can be seen (Oakeshott, 2012:156).
          What is most interesting is that the weapons which were developed by the English would have to wait until toward the end of the century to cross over the borders of the closest neighbours, and thus would gain a new name, and not the one expected. As in the last years of the sixteenth century basket hilts associated with Highland Scots, known as ‘Irish hilts’ in early seventeenth (Oakeshott, 2012:176). More to the point many of these would be sourced from Continental swordsmiths.

Seventeenth Century

          In a typical Victorian fashion many have attempted to classify the broadsword hilts of the seventeenth century to try and see if there are any patterns of development, but not with much success, “Any attempt to specify prototypical patterns for the broadsword hilts of the seventeenth century would be doomed to failure,” (Oakeshott, 2012:173). This is for two clear reasons the first of which is that the broadsword hilt spread to different nations and was thus changed and developed as according to their own requirements. The second is that, “Basket hilts underwent various changes during the course of the [17th] century.” (Coe, 1996:74), and when these two are combined, there are too many variables to be tracked.
          What is known is that, “Basket hilts continued to be used during the seventeenth century, especially in England and Scotland” (Coe, 1996:74), which is of little surprise due to the origins of the hilt itself in the sixteenth century as indicated above. More to the point it is also here where most of the fame for the broadsword is found. While the Scottish hilt seems to dominate in popularity and in form and construction, English hilts of same period are often of fine construction (Coe, 1996:74). The other thing that should be noted with regard to this is that with regard to the origins of this weapon, it has a distinctively English heritage.

“Scottish it was, even in the seventeenth century, and exclusively Scottish it became, but England has good a claim to it, for it originated in that country. However, since it is always called the ‘Scottish’ sword ... it is necessary to observe the distinctions.” (Oakeshott, 2012:170)

          One of the most useful things about the popularity of an item in the historical record is that sometimes it makes it easier to track through the historical record because it was more likely to be recorded, and also because it was more likely to be researched and thus the information brought to light. In the case of the Scottish broadsword both are the case.

“The 1881 Ancient Scottish Weapons had this to say: The broadsword first appears in formal record in Scotland in 1643, when, along with the Lochaber axe and the Jedburgh staff, it constitutes part of the equipment of the levies then called out by the Convention of Estates, From 1582 to 1649 a "ribbit gaird" often appears as the "essay" of the armourers of Edinburgh, but in 1649 it was changed to "ane mounted sword, with a new scabbard and an Highland guard."” (Scottish Tartans Authority, 2016)

          This clearly dates the first official record of the appearance of the “Highland guard”, clearly what was to be known as the Scottish hilt later on, and fills in another piece of the puzzle of the history of the broadsword which otherwise would have remained unfound. The seventeenth century served as a kind of formative years for the Scottish hilt in which it developed and took its shape. Needless to say that there were many variations of hilt through the period, as a curatorial discussion will find, but eventually will settle on a single one.

“The Scottish basket hilt, with its traditional heart-shaped piercings and large square plates, seems to have appeared in the second half of the century [17th] and remained in use for over a hundred years.” (Coe, 1996:74)

Eighteenth Century


"During the 18th century, the fashion of dueling in Europe focused on the lighter smallsword, and fencing with the broadsword came to be seen as a speciality of Scotland. A number of fencing manuals teaching fencing with the Scottish broadsword were published throughout the 18th century." (Wikipedia, 2016)

          While the Wikipedia (2016) is not the most reliable source the information presented above is accurate. Most of the Continent was focused on the use of the smallsword and thus most of use of the broadsword was left to military matters. Being a more “native” weapon to the Scots, manuals for the use of the broadsword were also published alongside those for the smallsword.
In the case of the broadsword, the stage of full development had arrived, “The basket-hilted sword, in which the entire hand was protected by a leather-lined cage of bars was made in many variations throughout the eighteenth century.” (Coe, 1996:85). The complete hand was protected and the weapon was established. In the end, the broadsword would serve more as a military sword rather than a civilian sword and, “The variety of basket hilts found on eighteenth-century military swords is enormous,” (Coe, 1996:86). One thing that can be said is that the Scottish type was the more dominant form later due to its developmental stages.

“As for the ‘Scottish’ sword, in its earliest forms it as uncompromisingly English, and remained a standard English pattern far into the eighteenth century; only very late in the century did it become exclusively Scottish.” (Oakeshott, 2012:170)

          The Scottish form of broadsword was to dominate in form and function and became the more dominant form of hilt for the military. Even in the backsword form, the “basket-hilted backsword of about 1766. Swords of this pattern were fashionable for officers in the last quarter of the eighteenth century.” (Coe, 1996:86). The effect of the popularity of this form of hilt type can be seen in popular culture as for the most part when a basket-hilt is seen it is compared to the Scottish form. Instantly the broadsword is associated with the eighteenth-century Scottish Highlander, and also the Highland Regiments of the British Empire which followed.

Broadsword or Backsword?

          To delve into the question of the broadsword is also to come up against all sorts of different questions and be confronted by different weapons which may claim to be the same thing when in fact they are not, and sometimes they are. One of the first stops along this path is the backsword. This is the first question that must be answered, what is the difference between the broadsword and the backsword, where is the line drawn between the two, or is there one to be drawn? The answer to this is actually relatively simple, but some other things have to be taken into account.

“The Basket hilted sword was also called the Scottish Broad Sword. There was also a version called the claidheamh cuil which means back sword. The back was blunt with just one sharp edge.” (Watterott, 2016)
         
What can be seen here is that the concept of the backsword is actually quite found quite far afield. In this case there is Scottish Gaelic for the term backsword meaning a weapon which has only one sharp edge, so in essence the idea stands on firm ground. When it comes to the broadsword it is the Scots who would seem to be the experts, as for questions about the “claymore”, they will be answered later on. In our contemporary society ideas of curatorial differences in weapons based on form rather than function still hold true, “Where the blade has only one cutting edge it is known as a backsword.” (Akehurst, 1969:8). This does not take into account the use of the weapon merely the form of the weapon.
          One of the more interesting discoveries which came out of this research is that the weapons, both the broadsword and backsword were claimed as cavalry weapons (Wagner, 2004:20). This is most interesting as it is the Scots Highland Regiments which were primarily infantry units where the broadsword is most known from, not to mention all of the evidence from manuals which points to using the weapon on foot. Further in the same discussion he claims that the weapon, “had a straight blade, originally two-edged, later only one sharp edge. These weapons were uniform in character,” (Wagner, 2004:20). What should be noted is that it is the two-edged broadsword, of the infantry version which will be the primary focus of this study and that in the sources which describe the use of the weapons both terms were used to describe the same weapon meaning the difference is more a question for curators, rather than those interested in its use.

What is a Claymore?

When the word “claymore” is said two weapons are immediately thought of, a two-handed weapon of medieval origin and also the basket-hilted broadsword more associated with a later period. The question remains as to which is the “claymore”. Of course it would be simple just to use a modern definition.
The Merriam-Webster dictionary defines a “claymore” as “a large 2-edged sword formerly used by Scottish Highlanders, also their basket-hilted broadsword” (Merriam-Webster, 2016). This is rather confusing as it actually indicates two weapons a large one and also the basket-hilted broadsword. What this means is that the common confusion as to what a claymore actually is continues. The aim of what follows is to bring some of this discussion out and find a solution to this question.

“Perhaps the most famous version of the broadsword is the Scottish claymore. Though claymores were originally two-handed swords usually with simple cruciform hilts, their most famous incarnations were fitted with basket hilts, these swords became iconic weapons of the Highland Regiments that fought for the British Empire.” (Soud, 2014:53)

          Soud (2014) would indicate that both were named “claymore”, both the two-handed version and also the basket-hilted version, and that the name was carried through from one weapon to another. Thus for this author it would seem that it is not a matter of naming convention which is the problem, merely that it is a problem with naming the correct era which is being spoken about. For him there would be a “medieval claymore” and a “basket-hilted claymore”. Unfortunately, this does not take into account the origins of the word or where the weapon came from.

“The long two hander was called a claidheamh dà làimh, translated it literally means two handed sword. … In the romanticised period after the Jacobites the term Claymore was then applied to the long medieval sword.” (Watterott, 2016)

          Watterott (2016) examines the native language from which the term “claymore” came from, Scottish Gaelic, presenting the name of the two-handed sword in the language and giving the reason that it was changed to the more familiar one in the later period. This would seem to give more evidence than the previous explanation of giving both weapons the same name. Further to this he explains why the basket-hilted weapon is correctly named “claymore” using similar evidence.

“The Scottish version [of the basket-hilted sword] was broader than similar swords of the time. This sword was called a claidheamh-mór. This is Gaelic and translates into Great Sword due to its larger size than its contemporaries. It is well accepted that Claymore is derived from the Gaelic claidheamh-mór.” (Watterott, 2016)

          Watterott (2016) uses the original language and demonstrates through history the naming conventions of why the basket-hilted weapon should be called “claymore” and the two-handed weapon ...

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

Akehurst, R. (1969) Antique Weapons for Pleasure and Investment, Arco Publishing Company Inc., New York

Burton, R. (1987) The Book of the Sword, Dover Publications Inc, Mineola, New York (originally published 1884)

Coe, M. (et. al.) (1996) Swords and Hilt Weapons, Prion Books Ltd, London

Collins English Dictionary (2016) “Definition of Broadsword”, http://www.collinsdictionary.com/dictionary/english/broadsword, Harper Collins Publishers, Glasgow

Holmes, R. (2010) Weapon: A Visual History of Arms and Armour, Dorling Kindersley, London


Oakeshott, E. (2012) European Weapons and Armour: From the Renaissance to the Industrial Revolution, The Boydell Press, Woodbridge

Scottish Tartans Authority (2016) “Highland Weapons”, http://www.tartansauthority.com/highland-dress/highland-weapons/

Soud, D. (2014) The Illustrated History of Weapons: Swords, Spears & Maces, Kingsford Editions, Heatherton, Victoria

Wagner, E. (2004) Swords and Daggers: An Illustrated Handbook, Dover Publications Inc., Mineola, New York

Watterott, H. (2016) “Is it a Claymore or a Scottish Basket Hilted Broadsword - History Police 3”, http://slaintescotland.com/blog/history-police/item/41-is-it-a-claymore-or-a-scottish-basket-hilted-broadsword-history-police-3.html

Wikipedia (2016) “Basket-hilted sword”, Wikimedia Foundation https://en.wikipedia.org/wiki/Basket-hilted_sword

Tuesday, December 13, 2016

Solo Training: For the Solo Practitioner


Greetings,

This was going to be a post about finding a local group and what consists of a good group with local contacts in my local area, but I changed my mind. I figured that there is a lot of information out there about how to find a local group for doing Historical European Martial Arts (HEMA) in what ever particular flavour you are looking for. Less, on the other hand, is said about the solo practitioner and how a person is to go it alone. Luckily we have the internet and faster communications which makes things easier, but there are still times when it is necessary to do things solo.

Sometimes a group is not convenient to get to. Sometimes the group does not mesh well with you, or is not studying what you are interested in. There are lots of reasons for going it alone. Sometimes it is just necessary for you to start the research into a particular form on your own to get a handle on it before involving other people. Every one of these is a valid reason for going it alone and you should not be ashamed for any of them.

The first thing that the future solo practitioner should note is that it is a hard road, but it is also rewarding as well. Groups have some support mechanisms which are absent when studying or practicing alone. All of the work falls to you, but in the end so do all of the rewards of that work. You can stand there at the end and say that you did it. Each advance is something that you did on your own and each advancement is an achievement in its own right.

In studying alone or practicing alone there are many choices to make, and all of them are open. There is no one to sway you from one path to another or make any other determinations. In the same way there also equally as many chances to be distracted. This is where you need to keep with what you are doing. ...

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.

Sunday, November 13, 2016

My Treatise

Greetings,

The idea of putting your knowledge in words is somewhat of a scary prospect. When it comes to fencing and especially the use of the rapier it becomes a little larger due to all of the previous work which others have done. Some of my readers may know of this particular project. I have indicated toward it once or twice in various posts previously. This particular post is designed to have a bit of an examination of the reasoning behind it and the process that I went through to write it.

A Little History

My real official fencing history starts with my local chapter of the Society for Creative Anachronism (SCA) and the use of the sword and shield to become a "heavy" fighter. I would go to practice, loose some arrows at a target to keep my eye in, and then spend an hour or two throwing blows at the pell with a rattan sword. This was to learn how to throw the blows properly, and it felt right.

My parents then moved and I moved with them. Luckily I found a fencing club at the university I was attending at the time and started with the foil. I spent six months doing footwork and trying to learn how to parry. The footwork ended up passable, the parrying was very rudimentary. My lunge on the other hand seemed to be something I was good at. It was long, accurate, and fast. I had to leave the university and lost contact. I came back later and things had changed.

The weapons had changed all of a sudden, they were longer and made out of fibreglass rods glued together and then wrapped in tape. I asked what was going on and was told that they were doing a SCA rapier practice and asked if I would like a go. It looked like fun, sure I said, here is where my love of this weapon truly started. This was some 20-odd years ago.

Treatise Foundation

Since then I have spent the time learning all that I could about the rapier and how it worked. This was sometimes a matter of learning it "on the job" and sometimes learning it from manuals of the period. My two favourite manuals are Giacomo di Grassi's True Arte of Defense (1594) and Vincentio Saviolo's His Practice in Two Bookes (1595). I find myself always going back to these two and always finding something new when I do.

Taking the influence mostly of Saviolo my particular method is a compilation of various elements of various masters compiled into a single work, much the same way he did. I found what made sense and worked for me and developed my own style out of it. This means that while my rapier techniques and method are based on period sources, they are not all from a single source. This means I have the adaptability to change to what is required as presented by my opponent. This is the method which I have developed over the past years and it is this method which appears in my treatise.

Now there will be some who will claim that I am merely butchering what I have researched and then calling it my own. They will also claim that I am not doing "true rapier" of any "style" because of this method. To these people I ask, what is what I have done any different from any master previously? How many times do we hear in manuals a master stating that he does not do a particular technique because he does not like it or does not think it is effective? What is the difference?

The next claim will be that I am plagiarizing and not giving due credit to where I have taken my research. To this I will merely state that fencing theory is very much in the common knowledge arena and anyone who claims a right to it is fooling themselves. To say that I am a plagiarist is to also call most of our previous authors who wrote the manuals the same, and also modern ones to boot. I am taking a series of well-known actions and explaining and assembling them in my own fashion. To claim plagiarism here would be to claim plagiarism on a new piece of music written because none of the notes, times and tempos are different.

(Congratulations dear reader for getting this far.)

Reasons

Why would a person go to the effort of attempting to write all that the know and put it into a book? The challenge of writing a book in the first place would be one. The attempt to codify years of knowledge so that a person can see what they have done is another. To present to others their own ideas about the use of a weapon is another reason. Some of these reasons are mine, but not the main one.

Reading from period sources scares some people because they are unfamiliar with the language and do not understand what's going on. My first reason for writing this treatise was to break down this barrier for some people. This is the reason why it will be presented in Modern English and also a dialect of Elizabethan English. By having the two side by side the language will be less frightening for some people and may encourage them to reach out an begin to read primary sources themselves rather than relying on secondary materials.

The Historical European Martial Arts (HEMA) community now has a history which is at least 20 years old, if not 30. This means that there have been people out there studying period manuals for this extent of time. There have been some wonderful productions of period works made available to the public and I thank those who do this for us. There have been some wonderful interpretations of period manuals made available to the public and I thank those who do this for us also. What I have not seen is anyone grow the gumption to put their name on the line and do what the masters did and write their own treatise. Not a translation. Not an interpretation. A treatise of how the individual fights. In this way I hope that my treatise will stand as a sort of a challenge to these people to put their pens to paper and write their own. It would be better that we write these manuals and have them in print than have these knowledgeable individuals pass on and not leave what they know to the rest of the world, as so many did previously.

Not a "master"? Neither were many of the people who produced manuals in the period in which the weapons were used sharp. If you have at least 10 years start planning, if you have 20 or more, this challenge is aimed at you.

(Almost there reader, really you are.)

Writing

Where do you begin? The beginning you say. Actually no, I didn't. I started with the format of the book. Because I knew I was going to be translating it into Elizabethan English (EE) and having it look as close to the real thing, the modern one needed to be formatted in a similar way so that the various chapters and bits and pieces matched up. This gave me some ideas about parts that I should be writing at least. Most of it is based on a combination of di Grassi and Saviolo, you should not be surprised.

The next bit was to sit down and plan my chapters so I could organise things a bit better. Theory first, practice second, demonstration of the combination of both as a third, with sundry notes as the final bit. This was the process I went through chopping things down into little bits until I had a structure that I could use, then re-organising the structure so it made sense. Then re-organising things again because this bit needs to be before that bit because you haven't mentioned that bit yet. Please note this was only the "first book". The "second book" was going to be just like Saviolo's about duelling and other more social subjects, and only to appear in the EE version.

Once it is organised then I wrote. I started with the theory element. The hardest part about writing a book based on stuff that you know is filtering out stuff which isn't stuff you know. I made the determination on this one that if I could not explain it and give the "why" answer it would be left out. This was made all the harder because of my training as an historian which was saying "Document it!" all the time. It all also applied all the way through the practical bit as well.

Explaining physical actions is not easy, try it sometime and you will see that it is not as easy as you might think. This is further compounded in the earlier sections of the book where you cannot use jargon which you have not introduced which would explain things simply. I spent sometime at my desk waving a stick, and standing up, and sitting down and writing, and standing up again to repeat the action and so forth. Eventually all of the practical stuff got written.

Next was the "second book". This was based much on Saviolo's Second Book "Of Honour and Honourable Quarrels", thus a sort of code book for duelling. Surprisingly it was actually much easier to write this bit than the previous bit once I managed to get my head straight about what I was talking about. Honour is a sticky subject and it can tie you up in knots really easily. Keeping it all straight was rather a challenge and I can tell you that I still think that I missed something.

Done? Nope. Now we go back and write all the introductory bits. Most of this is tooting your horn about how wonderful fencing is and how awesome the book is. Easy, right? Once you get on a roll it can get easier as you go along, but you do feel like that you are saying the same thing over and over again, especially after doing the "second book". This bit was actually easier to do in EE than it was in Modern English.

Speaking of which, then once all of this is done it all needs to be translated into EE. Or at least the bits which you haven't already because it was just easier to write it that way the first time. If you want to have a look at the process of learning EE that I went through and a bit deeper into this process, have a look at my other blog http://oldewordes.blogspot.com.au/. This is where I have documented my delving into the interesting thing that is EE. One thing that I will tell you, after doing this, it makes Shakespeare a breeze.

Finally comes all the "book" stuff. The bits where you assemble the two together, some of which I have started, others which I have not. At the moment I am doing more edits. I was hoping that this was going to be out in 2016, looks like not to be.

Conclusion


There is the process and some information about my treatise. I will keep people updated and posted as things progress, as much as I can remember to. Just know that it is progressing and it will come out at some point in time. This is one of those projects where you just have to keep plodding along, knowing that in the end, it will be worth it all.

Cheers,

Henry.

Thursday, October 13, 2016

Renown Versus Notoriety

Greetings,

Renown and notoriety are two words which some may have heard and some may have not. They are how different fencers are talked about, even if the people doing the talking do not even know the words or what they mean. This post is designed to bring these two words into the light of examination and show how the actions of a swordsman can determine the reactions that he will get from other swordsmen and even non-combatants.

Definitions

The first thing to do is to define these words and to do that definitions have been taken from www.merriam-webster.com. Thus the definitions of the words are:
Renown: a state of being widely acclaimed and highly honoured
Notoriety: the condition of being famous or well-known especially for something bad: the state of being notorious
Clearly they both have something in common in that in both cases a person with renown and a person who has notoriety are well-known. This is the common element that links them. The difference is that one is respected and praised while the other is known for something less than positive. It is in this difference where the importance lies. Now that we have the definitions and the beginnings of an explanation, we can begin to relate them to the swordsman.

For the Swordsman

"How you win is ... important, if not more important, than any individual victory. You must win decisively, cleanly, and gallantly." (Evangelista, 2000:301)
These are two sides to fame. We all know of celebrities who are famous for doing good things and staying that way, but we all know of celebrities who are good at what they do, but are known also for bad things. The former have renown, the latter have notoriety.

In relation to the swordsman, the swordsman who has renown is respected on and off the field regardless of the result of his bouts or tournaments, or even whether he even participates in tournaments. When he fights he fights with grace and skill, acknowledging the skill of his opponent, a truly positive influence on the community. The swordsman who has notoriety is respected on the field ...

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


Evangelista, N. (2000) The Inner Game of Fencing: Excellence in Form, Technique, Strategy, and Spirit, Masters Press, Illinois, USA